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The Cleveland Museum of Art Gallery

Choose from 35,905 images in our The Cleveland Museum of Art Collection

Honeysuckle, Early 20th century. William Morris (British, 1834-1896). Plain weave linen, printed; overall: 87 x 90

The Cleveland Museum of Art Gallery: Wooden Bow, First Intermediate period- Dynasty 12, 2123-1914 BC

Wooden Bow, First Intermediate period- Dynasty 12, 2123-1914 BC. Egypt, First Intermediate period- Middle Kingdom

The Cleveland Museum of Art Gallery: Sword and Scabbard (scabbard), 1700s. Java, 18th century. Steel and ivory; blade

Sword and Scabbard (scabbard), 1700s. Java, 18th century. Steel and ivory; blade: 47 cm (18 1/2 in.); hilt: 12

The Cleveland Museum of Art Gallery: Serpent-form Fan Handle(?), 900-1519. Central Mexico, Mixtec

Serpent-form Fan Handle(?), 900-1519. Central Mexico, Mixtec. Pale green jade; diameter: 1.9 cm (3/4 in.); overall: 10

The Cleveland Museum of Art Gallery: Fishtail Knife, 4000-3000 BC. Egypt, Predynastic Period, Naqada IIb period, 4000-3000 BC

Fishtail Knife, 4000-3000 BC. Egypt, Predynastic Period, Naqada IIb period, 4000-3000 BC. Tan-colored flint; overall: 6

The Cleveland Museum of Art Gallery: Fish and Rocks, mid- to late 1600s. Bada Shanren (Chinese, 1626-1705)

Fish and Rocks, mid- to late 1600s. Bada Shanren (Chinese, 1626-1705). Handscroll, ink on paper; overall: 29.2 x 157

The Cleveland Museum of Art Gallery: Crossbow Bolt, 1500s-1600s. Germany, 16th-17th century. Wood, leather

Crossbow Bolt, 1500s-1600s. Germany, 16th-17th century. Wood, leather, steel; average: 37.2 cm (14 5/8 in.)

Chopstick, 918-1392. Korea, Goryeo period (918-1392). Bronze; overall: 25.3 cm (9 15/16 in.)

The Cleveland Museum of Art Gallery: Dish, 1100s-1200s. Korea, Goryeo period (936-1392). Pottery; diameter

Dish, 1100s-1200s. Korea, Goryeo period (936-1392). Pottery; diameter: 18.3 cm (7 3/16 in.); overall: 4.5 cm (1 3/4 in)

Bronze Mount from a "Shawabty Bundle": Left Foot, c. 1336-1256 BC

The Cleveland Museum of Art Gallery: Pair of Bowls with Yellow Glaze, 1723-35. China, Qing dynasty (1644-1911)

Pair of Bowls with Yellow Glaze, 1723-35. China, Qing dynasty (1644-1911), Yongzheng mark and reign (1723-35)

Blue Bottle Vase, 1736-95. China, Qing dynasty (1644-1911), Qianlong mark and reign (1736-95)

Buddha's Conversion of Five Bhiksu, mid-1300s. Li Sheng (Chinese, active c. 1324-after 1375)

Teaspoon, c. 1770-1780. Samuel II Drowne (American, 1749-1815). Silver; overall: 2.6 cm (1 in.)

Crossbow Bolt, 1500s-1600s. Germany, 16th-17th century. Wood, leather, steel; average: 37.2 cm (14 5/8 in.)

Set of Dishes, 1736-95. China, Qing Dynasty (1644-1911), Qianlong reign (1736-95)

The Cleveland Museum of Art Gallery: Arrow Point, 1700s. Japan, Edo period (1615-1868). Steel; overall: 16.2 cm (6 3/8 in.); head

Arrow Point, 1700s. Japan, Edo period (1615-1868). Steel; overall: 16.2 cm (6 3/8 in.); head: 4.6 cm (1 13/16 in.)

Teaspoon, c. 1770-1780. Samuel II Drowne (American, 1749-1815). Silver; overall: 2.6 cm (1 in.)

The Cleveland Museum of Art Gallery: Arrow Point, 1700s. Japan, Edo period (1615-1868). Steel; overall: 18.5 cm (7 5/16 in.); head

Arrow Point, 1700s. Japan, Edo period (1615-1868). Steel; overall: 18.5 cm (7 5/16 in.); head: 5.8 cm (2 5/16 in.)

Sickle Blade, 1980-1801 BC. Egypt, Middle Kingdom, Dynasty 12. Flint; overall: 5 cm (1 15/16 in.)

The Cleveland Museum of Art Gallery: Arrow Point, 1700s. Japan, Edo period (1615-1868). Steel; overall: 16.8 cm (6 5/8 in.); head

Arrow Point, 1700s. Japan, Edo period (1615-1868). Steel; overall: 16.8 cm (6 5/8 in.); head: 4.7 cm (1 7/8 in.)

Band, 1700s. France ?, 18th century. Embroidery: linen; overall: 208.3 x 12.7 cm (82 x 5 in.)

The Cleveland Museum of Art Gallery: Arrow Point, 1700s. Japan, Edo period (1615-1868). Steel; overall: 22.2 cm (8 3/4 in.); head

Arrow Point, 1700s. Japan, Edo period (1615-1868). Steel; overall: 22.2 cm (8 3/4 in.); head: 6.1 cm (2 3/8 in.)

Autumn Mist in the Countryside, 1647. Zou Zhe (Chinese, c. 1610-before 1688)

Lady Mulgrave, 19th-20th century. Samuel Arlent-Edwards (American, 1862-1938). Mezzotint;

The Cleveland Museum of Art Gallery: Crossbow Bolt, 1600s. Germany, 17th century. Wood (flights missing) and steel; overall

Crossbow Bolt, 1600s. Germany, 17th century. Wood (flights missing) and steel; overall: 37 cm (14 9/16 in.)

The Cleveland Museum of Art Gallery: Arrow Point, 1700s. Japan, Edo period (1615-1868). Steel; overall: 16.9 cm (6 5/8 in.); head

Arrow Point, 1700s. Japan, Edo period (1615-1868). Steel; overall: 16.9 cm (6 5/8 in.); head: 4.8 cm (1 7/8 in.)

The Cleveland Museum of Art Gallery: Machine Lace Narrow Strip, 19th century (after 1810). Flanders, 19th century (after 1810)

Machine Lace Narrow Strip, 19th century (after 1810). Flanders, 19th century (after 1810). Lace ; overall: 3

The Cleveland Museum of Art Gallery: Bobbin Lace Band, 17th century. Italy, Venice, 17th century. Lace

Bobbin Lace Band, 17th century. Italy, Venice, 17th century. Lace, bobbin; overall: 5.2 x 116 cm (2 1/16 x 45 11/16 in)

Sickle Blade, 1980-1801 BC. Egypt, Middle Kingdom, Dynasty 12. Flint; overall: 5 cm (1 15/16 in.)

The Cleveland Museum of Art Gallery: Bobbin Lace Edging, 18th century. France, Valenciennes, 18th century

Bobbin Lace Edging, 18th century. France, Valenciennes, 18th century. Lace, bobbin: linen; average: 278.2 x 6

The Cleveland Museum of Art Gallery: Sword and Scabbard (sword), 1700s. Java, 18th century. Steel and ivory; blade

Sword and Scabbard (sword), 1700s. Java, 18th century. Steel and ivory; blade: 47 cm (18 1/2 in.); hilt: 12

$Water Village, 1570. Wen Boren (Chinese, 1502-1575). Handscroll, ink and light color on paper; overall: 26.7 x 183 cm (10 1/2 x 72 1/16 in.). In the autumn of 1570, Wen Boren painted this seemingly unemotional scene of low-lying marshlands with a chain of rounded mountains in the background. A fishing boat is nestled on the shore near the village. Although paths and bridges traverse the landscape, only two people are visible in the stillness. From the restrained atmosphere of this landscape, one would never guess that Wen Boren was known as the 'bad boy' of the Wu School for his explosive temper. As a younger man, he was even embroiled in a contentious lawsuit with his own uncle, Wen Zhengming (1470-1559), a master of Ming dynasty painting with whom he had trained. The ideal of the scholar-painter, or literati, was that an artist's moral character is reflected in his paintings, so there was great incongruity between Wen Boren's difficult personality and his restrained landscapes. A contemporary, Wang Shizhen, wrote this about him: 'This gentleman is prone to behave odiously and screamed accusations at people. How is it possible for him to carry in his bosom such a wealth of scenic wonders?' Who knows what effort it took to subdue his fractious spirit to project an image of coolness and refined taste in his paintings?$