155 UMMA Objects
Sort by


Roland Ginzel
The Queen of Kazalamoo
1964
Museum Purchase
1965/2.25
This carved, wooden Yaka figure depicts a man standing with an animal perched atop his head. The carving is stylized and exhibits characteristics typically seen among northern Yaka figural representations: flexed knees; arms bent with upturned palms positioned at shoulder level; and, an animal figure upon its head. In this case, the creature has a curved body and appears to be an anteater. The male figure has a narrow, cylindrical body; a slightly protruding belly; a simple coiffure; an elongated face; barely-open eyes from which vertical lines extend downward; a disproportionately large, pointed nose, and a darkened beard.
Yaka (Yaka (Kwango-Kwilu region style))
Figure
1915 – 1925
Gift of Candis and Helmut Stern
2005/1.193
This sketch depicts a man in profile, facing toward his right. He wears a turban and an elaborate collar. On the verso is pasted a small print of James Barry's painting "The Distribution of Premiums in the Society of Arts", originally part of a series "The Progress of Human Culture" painted between 1777 and 1784. The print is smaller and more simplified than the official print Barry made after his painting published in 1792, and probably came from a book. 
Untitled (Head of a Man Wearing a Turban)
1802 – 1825
Joseph F. McCrindle Collection
2009/1.525

Ronald E. Cooper
He's Got You and Me Brother
1992
Gift of The Daniel and Harriet Fusfeld Folk Art Collection
2002/1.213

Brigitte Matschinsky-Denninghoff
Untitled (Seated Figure)
20th century
Gift of Herbert Barrows
2002/2.99
Minimal line drawing presents a 3/4 profile of man, with right ear, a tuft of hair, mouth, nose, full right eye, partial left eye, eyebrows, eye lashes, and minimal chin.
Felix Albrecht Harta
Portrait of Arnold Schönberg
Gift of the Ernst Pulgram and Frances McSparran Collection
2007/2.112

Pietro Longhi
Studies for a Portrait Group
1702 – 1762
Museum Purchase
1954/2.51
This Qajar dish features three separate compartments and highly decorated exterior panels. Each side of the dish is decorated with a pair of young female faces that alternate with abstract deep blue designs. The interor panels lack decoration aside from the bases of each compartment which contain blue painted floral sprays. The craftmanship of the dish finds roots in the Kashan tradition of the 12th and 13th centuries, making it a testament to the continuation of traditional techniques in the region by the 19th century. 
Iranian (Iranian)
Shallow open box with three compartments, adorned with women's faces
19th century
Museum Purchase
1957/1.99
An earthenware figure of a horse and rider. The horse is standing on all fours on top of a rectangular slab base. It has a trimmed mane and long flowing tail, the male rider sitting tall and wearing a long coat, trousers, a tall cap, and boots. The rider has one hand in a position to hold reins. The figure is covered in a straw-colored glaze.
Chinese (Chinese (culture or style))
Horse and Rider
600 – 632
Gift of William Muschenheim
1987/1.149

Malvina Hoffman
Small Study for the Column of Life
1911 – 1921
Gift of Dr. and Mrs. Theodore B. Russell
1968/1.51
An earthenware figure of a man wears pants and a long coat with tight sleeves and a wide collar belted at the waist. He stands on a square platform with one hand raised. His face has a wide nose, big eyes, and big lips; his hair is pleated down the middle and braided around his head. The coat is colored in amber and green glazes. 
Chinese (Chinese (culture or style))
Central Asian Groom
618 – 906
Transfer from the College of Architecture and Design
1972/2.67
Black and white drawing of organic forms vaguely resembling human figures flowing into one another in a room-like space. On the right hand side of the grouping stands the most recognizably humanoid figure.
Arshile Gorky (American (North American))
Study for 'Image in Xhorkom'
1931 – 1941
Gift of Mrs. Florence L. Stol
1964/2.41
Loading…