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imagewidth (px) 55
7.06k
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stringlengths 3
5.36k
⌀ | object_name
stringclasses 444
values | other_name
stringlengths 1
59
⌀ | material
stringclasses 158
values | production.period
stringclasses 196
values | production.place
stringclasses 203
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|---|---|---|---|---|---|---|---|---|---|
38DUROM.1960.945.c
| durom.1960.945.c.5-ll.jpg | data/raw/images/oriental/1960 | null | null | null | null | null | null |
|
38DUROM.1960.945.c
| durom.1960.945.c.5-ll.jpg | data/raw/images/oriental/1960 | null | null | null | null | null | null |
|
38DUROM.1960.945.c
| durom.1960.945.c.5-ll.jpg | data/raw/images/oriental/1960 | null | null | null | null | null | null |
|
38DUROM.1960.945.c
| durom.1960.945.c.5-ll.jpg | data/raw/images/oriental/1960 | null | null | null | null | null | null |
|
38DUROM.1960.945.c
| durom.1960.945.c.5-ll.jpg | data/raw/images/oriental/1960 | null | null | null | null | null | null |
|
1,882durom.2001.121
| 2001.121-uu.jpg | data/raw/images/oriental/2001 | This pack of 54 cards depicts the famous views of Hong Kong, and was made for the export market | cards | 香港名胜图案扑克牌 | cards | null | Hong Kong |
|
1,882durom.2001.121
| 2001.121-uu.jpg | data/raw/images/oriental/2001 | This pack of 54 cards depicts the famous views of Hong Kong, and was made for the export market | cards | 香港名胜图案扑克牌 | cards | null | Hong Kong |
|
1,882durom.2001.121
| 2001.121-uu.jpg | data/raw/images/oriental/2001 | This pack of 54 cards depicts the famous views of Hong Kong, and was made for the export market | cards | 香港名胜图案扑克牌 | cards | null | Hong Kong |
|
1,882durom.2001.121
| 2001.121-uu.jpg | data/raw/images/oriental/2001 | This pack of 54 cards depicts the famous views of Hong Kong, and was made for the export market | cards | 香港名胜图案扑克牌 | cards | null | Hong Kong |
|
1,882durom.2001.121
| 2001.121-uu.jpg | data/raw/images/oriental/2001 | This pack of 54 cards depicts the famous views of Hong Kong, and was made for the export market | cards | 香港名胜图案扑克牌 | cards | null | Hong Kong |
|
1,374durom.1972.59
| durom.1972.59-tt.jpg | data/raw/images/oriental/1972 | Back scratcher, inlaid with silver and six red beads, two of which are missing (one probably replaced with a different bead. Also an orange tip to the handle. | back scratchers | null | wood | null | null |
|
1,374durom.1972.59
| durom.1972.59-tt.jpg | data/raw/images/oriental/1972 | Back scratcher, inlaid with silver and six red beads, two of which are missing (one probably replaced with a different bead. Also an orange tip to the handle. | back scratchers | null | wood | null | null |
|
1,374durom.1972.59
| durom.1972.59-tt.jpg | data/raw/images/oriental/1972 | Back scratcher, inlaid with silver and six red beads, two of which are missing (one probably replaced with a different bead. Also an orange tip to the handle. | back scratchers | null | wood | null | null |
|
1,374durom.1972.59
| durom.1972.59-tt.jpg | data/raw/images/oriental/1972 | Back scratcher, inlaid with silver and six red beads, two of which are missing (one probably replaced with a different bead. Also an orange tip to the handle. | back scratchers | null | wood | null | null |
|
1,374durom.1972.59
| durom.1972.59-tt.jpg | data/raw/images/oriental/1972 | Back scratcher, inlaid with silver and six red beads, two of which are missing (one probably replaced with a different bead. Also an orange tip to the handle. | back scratchers | null | wood | null | null |
|
147DUROM.1976.154.d
| 1976.154.a d1.jpg | data/raw/images/oriental/1976 | null | null | null | null | null | null |
|
147DUROM.1976.154.d
| 1976.154.a d1.jpg | data/raw/images/oriental/1976 | null | null | null | null | null | null |
|
147DUROM.1976.154.d
| 1976.154.a d1.jpg | data/raw/images/oriental/1976 | null | null | null | null | null | null |
|
147DUROM.1976.154.d
| 1976.154.a d1.jpg | data/raw/images/oriental/1976 | null | null | null | null | null | null |
|
147DUROM.1976.154.d
| 1976.154.a d1.jpg | data/raw/images/oriental/1976 | null | null | null | null | null | null |
|
2,539duruc.2016.44
| duruc.2016.44-bb.jpg | data/raw/images/castle/2016 | A rose bowl with a wire mesh cover that sits on an internal lip. Rim is decorated with a gadrooned border. Inscribed along the base: ’A.I.F.S. 1972’. Two ring handles are attached in the mouth of lion head fittings. Mesh cover is separate from the main body. A.I.F.S. is the American Institute for Foreign Studies. | rose bowls | null | metal | null | null |
|
2,539duruc.2016.44
| duruc.2016.44-bb.jpg | data/raw/images/castle/2016 | A rose bowl with a wire mesh cover that sits on an internal lip. Rim is decorated with a gadrooned border. Inscribed along the base: ’A.I.F.S. 1972’. Two ring handles are attached in the mouth of lion head fittings. Mesh cover is separate from the main body. A.I.F.S. is the American Institute for Foreign Studies. | rose bowls | null | metal | null | null |
|
2,539duruc.2016.44
| duruc.2016.44-bb.jpg | data/raw/images/castle/2016 | A rose bowl with a wire mesh cover that sits on an internal lip. Rim is decorated with a gadrooned border. Inscribed along the base: ’A.I.F.S. 1972’. Two ring handles are attached in the mouth of lion head fittings. Mesh cover is separate from the main body. A.I.F.S. is the American Institute for Foreign Studies. | rose bowls | null | metal | null | null |
|
2,539duruc.2016.44
| duruc.2016.44-bb.jpg | data/raw/images/castle/2016 | A rose bowl with a wire mesh cover that sits on an internal lip. Rim is decorated with a gadrooned border. Inscribed along the base: ’A.I.F.S. 1972’. Two ring handles are attached in the mouth of lion head fittings. Mesh cover is separate from the main body. A.I.F.S. is the American Institute for Foreign Studies. | rose bowls | null | metal | null | null |
|
2,539duruc.2016.44
| duruc.2016.44-bb.jpg | data/raw/images/castle/2016 | A rose bowl with a wire mesh cover that sits on an internal lip. Rim is decorated with a gadrooned border. Inscribed along the base: ’A.I.F.S. 1972’. Two ring handles are attached in the mouth of lion head fittings. Mesh cover is separate from the main body. A.I.F.S. is the American Institute for Foreign Studies. | rose bowls | null | metal | null | null |
|
1,963durom.2004.18
| durom.2004.18.1-bb.jpg | data/raw/images/oriental/2004 | Wedding kimono, white, with elaborate woven pattern. | kimonos | null | textiles | Heisei Period | Japan (country) |
|
1,963durom.2004.18
| durom.2004.18.1-bb.jpg | data/raw/images/oriental/2004 | Wedding kimono, white, with elaborate woven pattern. | kimonos | null | textiles | Heisei Period | Japan (country) |
|
1,963durom.2004.18
| durom.2004.18.1-bb.jpg | data/raw/images/oriental/2004 | Wedding kimono, white, with elaborate woven pattern. | kimonos | null | textiles | Heisei Period | Japan (country) |
|
1,963durom.2004.18
| durom.2004.18.1-bb.jpg | data/raw/images/oriental/2004 | Wedding kimono, white, with elaborate woven pattern. | kimonos | null | textiles | Heisei Period | Japan (country) |
|
1,963durom.2004.18
| durom.2004.18.1-bb.jpg | data/raw/images/oriental/2004 | Wedding kimono, white, with elaborate woven pattern. | kimonos | null | textiles | Heisei Period | Japan (country) |
|
1,574durom.1983.21
| 1983.21.2.jpg | data/raw/images/oriental/1983 | Persian calligraphic bowl, enamel with 'Minai' work. Rounded sides decorated in red, green and blue on white ground, with two opposed equestrian figures separated by a tree with birds at the base and a Kufic inscription round the rim inside. It has calligraphic decoration on the outside as well. | bowls | null | ceramic | Seljuq-Ilkhan Dynasty | Iran |
|
1,574durom.1983.21
| 1983.21.2.jpg | data/raw/images/oriental/1983 | Persian calligraphic bowl, enamel with 'Minai' work. Rounded sides decorated in red, green and blue on white ground, with two opposed equestrian figures separated by a tree with birds at the base and a Kufic inscription round the rim inside. It has calligraphic decoration on the outside as well. | bowls | null | ceramic | Seljuq-Ilkhan Dynasty | Iran |
|
1,574durom.1983.21
| 1983.21.2.jpg | data/raw/images/oriental/1983 | Persian calligraphic bowl, enamel with 'Minai' work. Rounded sides decorated in red, green and blue on white ground, with two opposed equestrian figures separated by a tree with birds at the base and a Kufic inscription round the rim inside. It has calligraphic decoration on the outside as well. | bowls | null | ceramic | Seljuq-Ilkhan Dynasty | Iran |
|
1,574durom.1983.21
| 1983.21.2.jpg | data/raw/images/oriental/1983 | Persian calligraphic bowl, enamel with 'Minai' work. Rounded sides decorated in red, green and blue on white ground, with two opposed equestrian figures separated by a tree with birds at the base and a Kufic inscription round the rim inside. It has calligraphic decoration on the outside as well. | bowls | null | ceramic | Seljuq-Ilkhan Dynasty | Iran |
|
1,574durom.1983.21
| 1983.21.2.jpg | data/raw/images/oriental/1983 | Persian calligraphic bowl, enamel with 'Minai' work. Rounded sides decorated in red, green and blue on white ground, with two opposed equestrian figures separated by a tree with birds at the base and a Kufic inscription round the rim inside. It has calligraphic decoration on the outside as well. | bowls | null | ceramic | Seljuq-Ilkhan Dynasty | Iran |
|
2,450durom.2015.501
| durom.2015.501.3.jpg | data/raw/images/oriental/2015 | Bolt of synthetic fabric, probably a polyester mix, with Japanese Kanji script printed on the bottom. The fabric is mostly white in colour with shades of lilac used to decorate the surface. The fabric has regular wave like diamond shapes running in the weave through the bolt. The images printed on the fabric depict a traditional Japanese house set into a natural scene by a riverside. In the surrounding garden are flowers, reeds in the water and chrysanthemums. Sporadically across the rest of the fabric are small hilly banks surrounded by flowers, leaves and chrysanthemums which are orange or peach in colour. The bolt is wrapped around a central card tube that provides the item with some stability. The first 3300mm section of the fabric has a plain white stripe running down the centre of the design. At the end of this is a strip of Japanese characters printed in purple on the white fabric and a small printed paper label stuck on. Then the fabric design restarts without the white stripe down the centre. There is a small plain white band at the inner end. There is a slight stretch to the fabric. | Bolt | bolt of silk | polyester | Showa Period | Japan (country) |
|
2,450durom.2015.501
| durom.2015.501.3.jpg | data/raw/images/oriental/2015 | Bolt of synthetic fabric, probably a polyester mix, with Japanese Kanji script printed on the bottom. The fabric is mostly white in colour with shades of lilac used to decorate the surface. The fabric has regular wave like diamond shapes running in the weave through the bolt. The images printed on the fabric depict a traditional Japanese house set into a natural scene by a riverside. In the surrounding garden are flowers, reeds in the water and chrysanthemums. Sporadically across the rest of the fabric are small hilly banks surrounded by flowers, leaves and chrysanthemums which are orange or peach in colour. The bolt is wrapped around a central card tube that provides the item with some stability. The first 3300mm section of the fabric has a plain white stripe running down the centre of the design. At the end of this is a strip of Japanese characters printed in purple on the white fabric and a small printed paper label stuck on. Then the fabric design restarts without the white stripe down the centre. There is a small plain white band at the inner end. There is a slight stretch to the fabric. | Bolt | bolt of silk | polyester | Showa Period | Japan (country) |
|
2,450durom.2015.501
| durom.2015.501.3.jpg | data/raw/images/oriental/2015 | Bolt of synthetic fabric, probably a polyester mix, with Japanese Kanji script printed on the bottom. The fabric is mostly white in colour with shades of lilac used to decorate the surface. The fabric has regular wave like diamond shapes running in the weave through the bolt. The images printed on the fabric depict a traditional Japanese house set into a natural scene by a riverside. In the surrounding garden are flowers, reeds in the water and chrysanthemums. Sporadically across the rest of the fabric are small hilly banks surrounded by flowers, leaves and chrysanthemums which are orange or peach in colour. The bolt is wrapped around a central card tube that provides the item with some stability. The first 3300mm section of the fabric has a plain white stripe running down the centre of the design. At the end of this is a strip of Japanese characters printed in purple on the white fabric and a small printed paper label stuck on. Then the fabric design restarts without the white stripe down the centre. There is a small plain white band at the inner end. There is a slight stretch to the fabric. | Bolt | bolt of silk | polyester | Showa Period | Japan (country) |
|
2,450durom.2015.501
| durom.2015.501.3.jpg | data/raw/images/oriental/2015 | Bolt of synthetic fabric, probably a polyester mix, with Japanese Kanji script printed on the bottom. The fabric is mostly white in colour with shades of lilac used to decorate the surface. The fabric has regular wave like diamond shapes running in the weave through the bolt. The images printed on the fabric depict a traditional Japanese house set into a natural scene by a riverside. In the surrounding garden are flowers, reeds in the water and chrysanthemums. Sporadically across the rest of the fabric are small hilly banks surrounded by flowers, leaves and chrysanthemums which are orange or peach in colour. The bolt is wrapped around a central card tube that provides the item with some stability. The first 3300mm section of the fabric has a plain white stripe running down the centre of the design. At the end of this is a strip of Japanese characters printed in purple on the white fabric and a small printed paper label stuck on. Then the fabric design restarts without the white stripe down the centre. There is a small plain white band at the inner end. There is a slight stretch to the fabric. | Bolt | bolt of silk | polyester | Showa Period | Japan (country) |
|
2,450durom.2015.501
| durom.2015.501.3.jpg | data/raw/images/oriental/2015 | Bolt of synthetic fabric, probably a polyester mix, with Japanese Kanji script printed on the bottom. The fabric is mostly white in colour with shades of lilac used to decorate the surface. The fabric has regular wave like diamond shapes running in the weave through the bolt. The images printed on the fabric depict a traditional Japanese house set into a natural scene by a riverside. In the surrounding garden are flowers, reeds in the water and chrysanthemums. Sporadically across the rest of the fabric are small hilly banks surrounded by flowers, leaves and chrysanthemums which are orange or peach in colour. The bolt is wrapped around a central card tube that provides the item with some stability. The first 3300mm section of the fabric has a plain white stripe running down the centre of the design. At the end of this is a strip of Japanese characters printed in purple on the white fabric and a small printed paper label stuck on. Then the fabric design restarts without the white stripe down the centre. There is a small plain white band at the inner end. There is a slight stretch to the fabric. | Bolt | bolt of silk | polyester | Showa Period | Japan (country) |
|
214durma.1985.9.1
| 1985.9.1.1-d2.jpg | data/raw/images/fulling_mill/1985 | 2 Fragmentary Saxon Cinerary Urns + 1 relatively complete urn on display; all in dark brown fabric with stamps. The urns are marked HC7, G6A and G18 | null | Cinerary Urns | pottery | Saxon | null |
|
214durma.1985.9.1
| 1985.9.1.1-d2.jpg | data/raw/images/fulling_mill/1985 | 2 Fragmentary Saxon Cinerary Urns + 1 relatively complete urn on display; all in dark brown fabric with stamps. The urns are marked HC7, G6A and G18 | null | Cinerary Urns | pottery | Saxon | null |
|
214durma.1985.9.1
| 1985.9.1.1-d2.jpg | data/raw/images/fulling_mill/1985 | 2 Fragmentary Saxon Cinerary Urns + 1 relatively complete urn on display; all in dark brown fabric with stamps. The urns are marked HC7, G6A and G18 | null | Cinerary Urns | pottery | Saxon | null |
|
214durma.1985.9.1
| 1985.9.1.1-d2.jpg | data/raw/images/fulling_mill/1985 | 2 Fragmentary Saxon Cinerary Urns + 1 relatively complete urn on display; all in dark brown fabric with stamps. The urns are marked HC7, G6A and G18 | null | Cinerary Urns | pottery | Saxon | null |
|
214durma.1985.9.1
| 1985.9.1.1-d2.jpg | data/raw/images/fulling_mill/1985 | 2 Fragmentary Saxon Cinerary Urns + 1 relatively complete urn on display; all in dark brown fabric with stamps. The urns are marked HC7, G6A and G18 | null | Cinerary Urns | pottery | Saxon | null |
|
774durom.1962.202
| durom.1962.202-ss1.jpg | data/raw/images/oriental/1962 | Bronze figure of a standing Bodhisattva Guanyin, traces of paint and gilt. The figure wears a long robe with has a hood covering the crown which the figure is wearing. There is no clothing or jewelry covering the chest of the figure, which is more likely to be the feature of a Buddha or Luohan (Arhat) rather than that of a Guanyin; on the other hand, a Buddha or Luohan would not wear a long skirt such as the one this figure is wearing. The left hand of the figure is holding a bottle or vase, while the right arm and hand is not seen. At the back, a 6-character inscription of the Buddhist charm 'Nan mo a mi tuo fo (Namo Amitabha)', meaning 'devotion to the Buddha of Infinite Light'. | figurines | 青铜描金加彩观音像 | bronze | Ming | China |
|
774durom.1962.202
| durom.1962.202-ss1.jpg | data/raw/images/oriental/1962 | Bronze figure of a standing Bodhisattva Guanyin, traces of paint and gilt. The figure wears a long robe with has a hood covering the crown which the figure is wearing. There is no clothing or jewelry covering the chest of the figure, which is more likely to be the feature of a Buddha or Luohan (Arhat) rather than that of a Guanyin; on the other hand, a Buddha or Luohan would not wear a long skirt such as the one this figure is wearing. The left hand of the figure is holding a bottle or vase, while the right arm and hand is not seen. At the back, a 6-character inscription of the Buddhist charm 'Nan mo a mi tuo fo (Namo Amitabha)', meaning 'devotion to the Buddha of Infinite Light'. | figurines | 青铜描金加彩观音像 | bronze | Ming | China |
|
774durom.1962.202
| durom.1962.202-ss1.jpg | data/raw/images/oriental/1962 | Bronze figure of a standing Bodhisattva Guanyin, traces of paint and gilt. The figure wears a long robe with has a hood covering the crown which the figure is wearing. There is no clothing or jewelry covering the chest of the figure, which is more likely to be the feature of a Buddha or Luohan (Arhat) rather than that of a Guanyin; on the other hand, a Buddha or Luohan would not wear a long skirt such as the one this figure is wearing. The left hand of the figure is holding a bottle or vase, while the right arm and hand is not seen. At the back, a 6-character inscription of the Buddhist charm 'Nan mo a mi tuo fo (Namo Amitabha)', meaning 'devotion to the Buddha of Infinite Light'. | figurines | 青铜描金加彩观音像 | bronze | Ming | China |
|
774durom.1962.202
| durom.1962.202-ss1.jpg | data/raw/images/oriental/1962 | Bronze figure of a standing Bodhisattva Guanyin, traces of paint and gilt. The figure wears a long robe with has a hood covering the crown which the figure is wearing. There is no clothing or jewelry covering the chest of the figure, which is more likely to be the feature of a Buddha or Luohan (Arhat) rather than that of a Guanyin; on the other hand, a Buddha or Luohan would not wear a long skirt such as the one this figure is wearing. The left hand of the figure is holding a bottle or vase, while the right arm and hand is not seen. At the back, a 6-character inscription of the Buddhist charm 'Nan mo a mi tuo fo (Namo Amitabha)', meaning 'devotion to the Buddha of Infinite Light'. | figurines | 青铜描金加彩观音像 | bronze | Ming | China |
|
774durom.1962.202
| durom.1962.202-ss1.jpg | data/raw/images/oriental/1962 | Bronze figure of a standing Bodhisattva Guanyin, traces of paint and gilt. The figure wears a long robe with has a hood covering the crown which the figure is wearing. There is no clothing or jewelry covering the chest of the figure, which is more likely to be the feature of a Buddha or Luohan (Arhat) rather than that of a Guanyin; on the other hand, a Buddha or Luohan would not wear a long skirt such as the one this figure is wearing. The left hand of the figure is holding a bottle or vase, while the right arm and hand is not seen. At the back, a 6-character inscription of the Buddhist charm 'Nan mo a mi tuo fo (Namo Amitabha)', meaning 'devotion to the Buddha of Infinite Light'. | figurines | 青铜描金加彩观音像 | bronze | Ming | China |
|
896durom.1964.455
| durom.1964.455-ff.jpg | data/raw/images/oriental/1964 | Lamp with open single spout, red colour, blackened around the spout. | lamps | null | pottery | Hellenistic | Jerusalem |
|
896durom.1964.455
| durom.1964.455-ff.jpg | data/raw/images/oriental/1964 | Lamp with open single spout, red colour, blackened around the spout. | lamps | null | pottery | Hellenistic | Jerusalem |
|
896durom.1964.455
| durom.1964.455-ff.jpg | data/raw/images/oriental/1964 | Lamp with open single spout, red colour, blackened around the spout. | lamps | null | pottery | Hellenistic | Jerusalem |
|
896durom.1964.455
| durom.1964.455-ff.jpg | data/raw/images/oriental/1964 | Lamp with open single spout, red colour, blackened around the spout. | lamps | null | pottery | Hellenistic | Jerusalem |
|
896durom.1964.455
| durom.1964.455-ff.jpg | data/raw/images/oriental/1964 | Lamp with open single spout, red colour, blackened around the spout. | lamps | null | pottery | Hellenistic | Jerusalem |
|
2,925eg4416
| eg4416-wel430-bb.jpg | data/raw/images/egyptian/eg | miniature alabastron, bag shaped with short straight neck and two lug handles | Kohl Pot | kohl pot | limestone | null | Egypt |
|
2,925eg4416
| eg4416-wel430-bb.jpg | data/raw/images/egyptian/eg | miniature alabastron, bag shaped with short straight neck and two lug handles | Kohl Pot | kohl pot | limestone | null | Egypt |
|
2,925eg4416
| eg4416-wel430-bb.jpg | data/raw/images/egyptian/eg | miniature alabastron, bag shaped with short straight neck and two lug handles | Kohl Pot | kohl pot | limestone | null | Egypt |
|
2,925eg4416
| eg4416-wel430-bb.jpg | data/raw/images/egyptian/eg | miniature alabastron, bag shaped with short straight neck and two lug handles | Kohl Pot | kohl pot | limestone | null | Egypt |
|
2,925eg4416
| eg4416-wel430-bb.jpg | data/raw/images/egyptian/eg | miniature alabastron, bag shaped with short straight neck and two lug handles | Kohl Pot | kohl pot | limestone | null | Egypt |
|
1,525durom.1979.12.16
| durom.1979.12.16.1-ff.jpg | data/raw/images/oriental/1979 | Four page letter from Dr Mary Prouse Gell address 13 Kan Mien Hutung, East City, Peking, to her Aunt Ann. Letter dated April 3rd 1925. Mary Gell writes about having to go shopping, and people coming over for lunch, which is why she is writing the letter a day earlier than usual. She thanks her aunt for having written so often and how she would like to join her Maux class, and that the Chinese men remind her of Maux, due to the pitch of the voices in conservation when at a distance. She writes about T.E.B's poem, about his childhood and how the Chinese have the gift of seeing through party politics. Mary Gell writes about last Sunday and about the jolly time that she had, as the old Bishop to the service at St Faith's and that a Miss Mary Scott really enjoyed it. She also mentions how worried she is about starting the hospital up without the bishop to be responsible to. She also writes about meeting a Miss Dilton, whose mother both she Aunt Ann and Joyce had meet in London. She also went to a 'shantung party' which she really enjoyed, and describes how she has now become skilled with her chopsticks something Miss Dilton could not understand as she was too English. . | Letter | null | paper | null | Beijing |
|
1,525durom.1979.12.16
| durom.1979.12.16.1-ff.jpg | data/raw/images/oriental/1979 | Four page letter from Dr Mary Prouse Gell address 13 Kan Mien Hutung, East City, Peking, to her Aunt Ann. Letter dated April 3rd 1925. Mary Gell writes about having to go shopping, and people coming over for lunch, which is why she is writing the letter a day earlier than usual. She thanks her aunt for having written so often and how she would like to join her Maux class, and that the Chinese men remind her of Maux, due to the pitch of the voices in conservation when at a distance. She writes about T.E.B's poem, about his childhood and how the Chinese have the gift of seeing through party politics. Mary Gell writes about last Sunday and about the jolly time that she had, as the old Bishop to the service at St Faith's and that a Miss Mary Scott really enjoyed it. She also mentions how worried she is about starting the hospital up without the bishop to be responsible to. She also writes about meeting a Miss Dilton, whose mother both she Aunt Ann and Joyce had meet in London. She also went to a 'shantung party' which she really enjoyed, and describes how she has now become skilled with her chopsticks something Miss Dilton could not understand as she was too English. . | Letter | null | paper | null | Beijing |
|
1,525durom.1979.12.16
| durom.1979.12.16.1-ff.jpg | data/raw/images/oriental/1979 | Four page letter from Dr Mary Prouse Gell address 13 Kan Mien Hutung, East City, Peking, to her Aunt Ann. Letter dated April 3rd 1925. Mary Gell writes about having to go shopping, and people coming over for lunch, which is why she is writing the letter a day earlier than usual. She thanks her aunt for having written so often and how she would like to join her Maux class, and that the Chinese men remind her of Maux, due to the pitch of the voices in conservation when at a distance. She writes about T.E.B's poem, about his childhood and how the Chinese have the gift of seeing through party politics. Mary Gell writes about last Sunday and about the jolly time that she had, as the old Bishop to the service at St Faith's and that a Miss Mary Scott really enjoyed it. She also mentions how worried she is about starting the hospital up without the bishop to be responsible to. She also writes about meeting a Miss Dilton, whose mother both she Aunt Ann and Joyce had meet in London. She also went to a 'shantung party' which she really enjoyed, and describes how she has now become skilled with her chopsticks something Miss Dilton could not understand as she was too English. . | Letter | null | paper | null | Beijing |
|
1,525durom.1979.12.16
| durom.1979.12.16.1-ff.jpg | data/raw/images/oriental/1979 | Four page letter from Dr Mary Prouse Gell address 13 Kan Mien Hutung, East City, Peking, to her Aunt Ann. Letter dated April 3rd 1925. Mary Gell writes about having to go shopping, and people coming over for lunch, which is why she is writing the letter a day earlier than usual. She thanks her aunt for having written so often and how she would like to join her Maux class, and that the Chinese men remind her of Maux, due to the pitch of the voices in conservation when at a distance. She writes about T.E.B's poem, about his childhood and how the Chinese have the gift of seeing through party politics. Mary Gell writes about last Sunday and about the jolly time that she had, as the old Bishop to the service at St Faith's and that a Miss Mary Scott really enjoyed it. She also mentions how worried she is about starting the hospital up without the bishop to be responsible to. She also writes about meeting a Miss Dilton, whose mother both she Aunt Ann and Joyce had meet in London. She also went to a 'shantung party' which she really enjoyed, and describes how she has now become skilled with her chopsticks something Miss Dilton could not understand as she was too English. . | Letter | null | paper | null | Beijing |
|
1,525durom.1979.12.16
| durom.1979.12.16.1-ff.jpg | data/raw/images/oriental/1979 | Four page letter from Dr Mary Prouse Gell address 13 Kan Mien Hutung, East City, Peking, to her Aunt Ann. Letter dated April 3rd 1925. Mary Gell writes about having to go shopping, and people coming over for lunch, which is why she is writing the letter a day earlier than usual. She thanks her aunt for having written so often and how she would like to join her Maux class, and that the Chinese men remind her of Maux, due to the pitch of the voices in conservation when at a distance. She writes about T.E.B's poem, about his childhood and how the Chinese have the gift of seeing through party politics. Mary Gell writes about last Sunday and about the jolly time that she had, as the old Bishop to the service at St Faith's and that a Miss Mary Scott really enjoyed it. She also mentions how worried she is about starting the hospital up without the bishop to be responsible to. She also writes about meeting a Miss Dilton, whose mother both she Aunt Ann and Joyce had meet in London. She also went to a 'shantung party' which she really enjoyed, and describes how she has now become skilled with her chopsticks something Miss Dilton could not understand as she was too English. . | Letter | null | paper | null | Beijing |
|
921durom.1964.510
| durom.1964.510-tt.jpg | data/raw/images/oriental/1964 | Base sherd from a flat based jug, fired and burnished black. | jugs | null | pottery | Early Bronze Age III | Jericho |
|
921durom.1964.510
| durom.1964.510-tt.jpg | data/raw/images/oriental/1964 | Base sherd from a flat based jug, fired and burnished black. | jugs | null | pottery | Early Bronze Age III | Jericho |
|
921durom.1964.510
| durom.1964.510-tt.jpg | data/raw/images/oriental/1964 | Base sherd from a flat based jug, fired and burnished black. | jugs | null | pottery | Early Bronze Age III | Jericho |
|
921durom.1964.510
| durom.1964.510-tt.jpg | data/raw/images/oriental/1964 | Base sherd from a flat based jug, fired and burnished black. | jugs | null | pottery | Early Bronze Age III | Jericho |
|
921durom.1964.510
| durom.1964.510-tt.jpg | data/raw/images/oriental/1964 | Base sherd from a flat based jug, fired and burnished black. | jugs | null | pottery | Early Bronze Age III | Jericho |
|
1,389durom.1973.52
| 1973.52.1-ff.jpg | data/raw/images/oriental/1973 | Japanese gold lacquered Buddha, with stand. Separate lotus flower section. | figures | null | wood | Momoyama Period | Japan (country) |
|
1,389durom.1973.52
| 1973.52.1-ff.jpg | data/raw/images/oriental/1973 | Japanese gold lacquered Buddha, with stand. Separate lotus flower section. | figures | null | wood | Momoyama Period | Japan (country) |
|
1,389durom.1973.52
| 1973.52.1-ff.jpg | data/raw/images/oriental/1973 | Japanese gold lacquered Buddha, with stand. Separate lotus flower section. | figures | null | wood | Momoyama Period | Japan (country) |
|
1,389durom.1973.52
| 1973.52.1-ff.jpg | data/raw/images/oriental/1973 | Japanese gold lacquered Buddha, with stand. Separate lotus flower section. | figures | null | wood | Momoyama Period | Japan (country) |
|
1,389durom.1973.52
| 1973.52.1-ff.jpg | data/raw/images/oriental/1973 | Japanese gold lacquered Buddha, with stand. Separate lotus flower section. | figures | null | wood | Momoyama Period | Japan (country) |
|
789durom.1962.32
| 1962.32.1.jpg | data/raw/images/oriental/1962 | Colour woodblock double triptych print, depicting the last stand of the Kusunoki at Shijo-Nawate, under a hail of arrows and among fallen warriors, showing (r to l) Wada Shinbochi Genshu, Kusunoki Masatsura, Wada Shinbei Masatomo, Kusunoki Masayuki, Koshiro Hyogo and Noda Shiro, by Utagawa Kuniyoshi, 1857 (Ichiyusai Kuniyosh) | Woodblock Print | null | Japanese paper | Edo Period | Japan (country) |
|
789durom.1962.32
| 1962.32.1.jpg | data/raw/images/oriental/1962 | Colour woodblock double triptych print, depicting the last stand of the Kusunoki at Shijo-Nawate, under a hail of arrows and among fallen warriors, showing (r to l) Wada Shinbochi Genshu, Kusunoki Masatsura, Wada Shinbei Masatomo, Kusunoki Masayuki, Koshiro Hyogo and Noda Shiro, by Utagawa Kuniyoshi, 1857 (Ichiyusai Kuniyosh) | Woodblock Print | null | Japanese paper | Edo Period | Japan (country) |
|
789durom.1962.32
| 1962.32.1.jpg | data/raw/images/oriental/1962 | Colour woodblock double triptych print, depicting the last stand of the Kusunoki at Shijo-Nawate, under a hail of arrows and among fallen warriors, showing (r to l) Wada Shinbochi Genshu, Kusunoki Masatsura, Wada Shinbei Masatomo, Kusunoki Masayuki, Koshiro Hyogo and Noda Shiro, by Utagawa Kuniyoshi, 1857 (Ichiyusai Kuniyosh) | Woodblock Print | null | Japanese paper | Edo Period | Japan (country) |
|
789durom.1962.32
| 1962.32.1.jpg | data/raw/images/oriental/1962 | Colour woodblock double triptych print, depicting the last stand of the Kusunoki at Shijo-Nawate, under a hail of arrows and among fallen warriors, showing (r to l) Wada Shinbochi Genshu, Kusunoki Masatsura, Wada Shinbei Masatomo, Kusunoki Masayuki, Koshiro Hyogo and Noda Shiro, by Utagawa Kuniyoshi, 1857 (Ichiyusai Kuniyosh) | Woodblock Print | null | Japanese paper | Edo Period | Japan (country) |
|
789durom.1962.32
| 1962.32.1.jpg | data/raw/images/oriental/1962 | Colour woodblock double triptych print, depicting the last stand of the Kusunoki at Shijo-Nawate, under a hail of arrows and among fallen warriors, showing (r to l) Wada Shinbochi Genshu, Kusunoki Masatsura, Wada Shinbei Masatomo, Kusunoki Masayuki, Koshiro Hyogo and Noda Shiro, by Utagawa Kuniyoshi, 1857 (Ichiyusai Kuniyosh) | Woodblock Print | null | Japanese paper | Edo Period | Japan (country) |
|
1,269durom.1969.678
| 1969.678 d2.jpg | data/raw/images/oriental/1969 | Blue and white bottle-shaped vase. Possible inscription in Arabic(?) on the base. | vases | null | porcelain | null | West Asia |
|
1,269durom.1969.678
| 1969.678 d2.jpg | data/raw/images/oriental/1969 | Blue and white bottle-shaped vase. Possible inscription in Arabic(?) on the base. | vases | null | porcelain | null | West Asia |
|
1,269durom.1969.678
| 1969.678 d2.jpg | data/raw/images/oriental/1969 | Blue and white bottle-shaped vase. Possible inscription in Arabic(?) on the base. | vases | null | porcelain | null | West Asia |
|
1,269durom.1969.678
| 1969.678 d2.jpg | data/raw/images/oriental/1969 | Blue and white bottle-shaped vase. Possible inscription in Arabic(?) on the base. | vases | null | porcelain | null | West Asia |
|
1,269durom.1969.678
| 1969.678 d2.jpg | data/raw/images/oriental/1969 | Blue and white bottle-shaped vase. Possible inscription in Arabic(?) on the base. | vases | null | porcelain | null | West Asia |
|
518durom.1960.2233
| durom.1960.2233-ff.jpg | data/raw/images/oriental/1960 | Red lacquer Ruyi sceptre, decorated with carved patterns of the Eight Daoist Emblems motif. The head, in the shape of a Lingzhi fungus and turns upwards; the surface is carved with a flower basket and peaches and some of the Eight Daoist Emblems including the sword, the flute, the bamboo tube and rods ( a kind of drum). The upper part and the lower part of the handle are decorated with carved patterns of peach and lotus. The middle section of the handle is enhanced with a rectangular band, carved with the castanets and the fan; the handle ends with a rectangular terminal carved with a gourd. The rest space of the ground is decorated with incised repeating flower pattern or Swatiska enclosed with squares. The back of the sceptre is filled with repeating Swastika patterns. | scepters | 剔红暗八仙纹如意 | lacquer | Qing | China |
|
518durom.1960.2233
| durom.1960.2233-ff.jpg | data/raw/images/oriental/1960 | Red lacquer Ruyi sceptre, decorated with carved patterns of the Eight Daoist Emblems motif. The head, in the shape of a Lingzhi fungus and turns upwards; the surface is carved with a flower basket and peaches and some of the Eight Daoist Emblems including the sword, the flute, the bamboo tube and rods ( a kind of drum). The upper part and the lower part of the handle are decorated with carved patterns of peach and lotus. The middle section of the handle is enhanced with a rectangular band, carved with the castanets and the fan; the handle ends with a rectangular terminal carved with a gourd. The rest space of the ground is decorated with incised repeating flower pattern or Swatiska enclosed with squares. The back of the sceptre is filled with repeating Swastika patterns. | scepters | 剔红暗八仙纹如意 | lacquer | Qing | China |
|
518durom.1960.2233
| durom.1960.2233-ff.jpg | data/raw/images/oriental/1960 | Red lacquer Ruyi sceptre, decorated with carved patterns of the Eight Daoist Emblems motif. The head, in the shape of a Lingzhi fungus and turns upwards; the surface is carved with a flower basket and peaches and some of the Eight Daoist Emblems including the sword, the flute, the bamboo tube and rods ( a kind of drum). The upper part and the lower part of the handle are decorated with carved patterns of peach and lotus. The middle section of the handle is enhanced with a rectangular band, carved with the castanets and the fan; the handle ends with a rectangular terminal carved with a gourd. The rest space of the ground is decorated with incised repeating flower pattern or Swatiska enclosed with squares. The back of the sceptre is filled with repeating Swastika patterns. | scepters | 剔红暗八仙纹如意 | lacquer | Qing | China |
|
518durom.1960.2233
| durom.1960.2233-ff.jpg | data/raw/images/oriental/1960 | Red lacquer Ruyi sceptre, decorated with carved patterns of the Eight Daoist Emblems motif. The head, in the shape of a Lingzhi fungus and turns upwards; the surface is carved with a flower basket and peaches and some of the Eight Daoist Emblems including the sword, the flute, the bamboo tube and rods ( a kind of drum). The upper part and the lower part of the handle are decorated with carved patterns of peach and lotus. The middle section of the handle is enhanced with a rectangular band, carved with the castanets and the fan; the handle ends with a rectangular terminal carved with a gourd. The rest space of the ground is decorated with incised repeating flower pattern or Swatiska enclosed with squares. The back of the sceptre is filled with repeating Swastika patterns. | scepters | 剔红暗八仙纹如意 | lacquer | Qing | China |
|
518durom.1960.2233
| durom.1960.2233-ff.jpg | data/raw/images/oriental/1960 | Red lacquer Ruyi sceptre, decorated with carved patterns of the Eight Daoist Emblems motif. The head, in the shape of a Lingzhi fungus and turns upwards; the surface is carved with a flower basket and peaches and some of the Eight Daoist Emblems including the sword, the flute, the bamboo tube and rods ( a kind of drum). The upper part and the lower part of the handle are decorated with carved patterns of peach and lotus. The middle section of the handle is enhanced with a rectangular band, carved with the castanets and the fan; the handle ends with a rectangular terminal carved with a gourd. The rest space of the ground is decorated with incised repeating flower pattern or Swatiska enclosed with squares. The back of the sceptre is filled with repeating Swastika patterns. | scepters | 剔红暗八仙纹如意 | lacquer | Qing | China |
|
803durom.1963.19
| 1963.19-ff.jpg | data/raw/images/oriental/1963 | painted marble carving of Krishna perched on Kaliya, playing the flute and flanked by Kaliya's wives. Kaliya is a serpent who preyed on the local flocks. At the herdsmen's entreaty, Krishna plunged into the water and captured Kaliya. | figures | null | marble | null | Rajasthan State |
|
803durom.1963.19
| 1963.19-ff.jpg | data/raw/images/oriental/1963 | painted marble carving of Krishna perched on Kaliya, playing the flute and flanked by Kaliya's wives. Kaliya is a serpent who preyed on the local flocks. At the herdsmen's entreaty, Krishna plunged into the water and captured Kaliya. | figures | null | marble | null | Rajasthan State |
|
803durom.1963.19
| 1963.19-ff.jpg | data/raw/images/oriental/1963 | painted marble carving of Krishna perched on Kaliya, playing the flute and flanked by Kaliya's wives. Kaliya is a serpent who preyed on the local flocks. At the herdsmen's entreaty, Krishna plunged into the water and captured Kaliya. | figures | null | marble | null | Rajasthan State |
|
803durom.1963.19
| 1963.19-ff.jpg | data/raw/images/oriental/1963 | painted marble carving of Krishna perched on Kaliya, playing the flute and flanked by Kaliya's wives. Kaliya is a serpent who preyed on the local flocks. At the herdsmen's entreaty, Krishna plunged into the water and captured Kaliya. | figures | null | marble | null | Rajasthan State |
|
803durom.1963.19
| 1963.19-ff.jpg | data/raw/images/oriental/1963 | painted marble carving of Krishna perched on Kaliya, playing the flute and flanked by Kaliya's wives. Kaliya is a serpent who preyed on the local flocks. At the herdsmen's entreaty, Krishna plunged into the water and captured Kaliya. | figures | null | marble | null | Rajasthan State |
|
2,653eg1603
| eg1603-d2.jpg | data/raw/images/egyptian/eg | Horus bird, wearing crown of Upper and Lower Egypt. Tail and feet lost. Modern pins in feet stumps for attachment into base. | Animal Figurine | horus figurine | bronze | Late Period | Egypt |
|
2,653eg1603
| eg1603-d2.jpg | data/raw/images/egyptian/eg | Horus bird, wearing crown of Upper and Lower Egypt. Tail and feet lost. Modern pins in feet stumps for attachment into base. | Animal Figurine | horus figurine | bronze | Late Period | Egypt |
|
2,653eg1603
| eg1603-d2.jpg | data/raw/images/egyptian/eg | Horus bird, wearing crown of Upper and Lower Egypt. Tail and feet lost. Modern pins in feet stumps for attachment into base. | Animal Figurine | horus figurine | bronze | Late Period | Egypt |
|
2,653eg1603
| eg1603-d2.jpg | data/raw/images/egyptian/eg | Horus bird, wearing crown of Upper and Lower Egypt. Tail and feet lost. Modern pins in feet stumps for attachment into base. | Animal Figurine | horus figurine | bronze | Late Period | Egypt |
|
2,653eg1603
| eg1603-d2.jpg | data/raw/images/egyptian/eg | Horus bird, wearing crown of Upper and Lower Egypt. Tail and feet lost. Modern pins in feet stumps for attachment into base. | Animal Figurine | horus figurine | bronze | Late Period | Egypt |
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