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Saint Servatius Crushing a Dragon, with Saint Michael Weighing Souls below (from a series with The Virgin Mary and Five Standing Saints) – German – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/474426

From the north nave of the former Carmelite church at Boppard-am-Rhein in Rheinland-Pfalz (Rhein-Hunsrück-Kreis), near Koblenz, Germany.; Count Hermann Pückler, Muskau (from 1818) ; [ Frédéric Spitzer Austrian, Paris (from at least 1875–sold 1893)] ; his posthumous sale, Chevallier & Mannheim, Paris (April 17–June 16, 1893, no
Shepard, Mary B. Europe in the Middle Ages, edited by Charles T.

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The Virgin Mary and Five Standing Saints above Predella Panels – German – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/473007

From the north nave of the former Carmelite church at Boppard-am-Rhein in Rheinland-Pflaz (Rhein-Hunsrück-Kreis), near Koblenz, Germany; Count Hermann Pückler, Muskau (from 1818) ; [ Frédéric Spitzer Austrian, Paris (from at least 1875-1893)] ; his posthumous sale, Chevallier & Mannheim, Paris (April 17–June 16, 1893, nos
Shepard, Mary B. Europe in the Middle Ages, edited by Charles T.

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Netsuke: From Fashion Fobs to Coveted Collectibles – The Metropolitan Museum of Art

https://www.metmuseum.org/essays/netsuke-from-fashion-fobs-to-coveted-collectibles

Inrô and netsuke, often made of expensive, rare materials and bearing the signature and seal of the carver, were designed not only for their functional ability to carry things, but also as markers of wealth.
Netsuke served as anchors or counterweights for inrô and sagemono ( 14.40.843a,b)

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Fragmentary Plate with Engraved Designs – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/449824

Fragmentary PlateThis shallow plate has a plain rim with a rounded edge. The wall curves down and in, with a depression ( diam. 4 cm [1 5/8 in.]) at the center of the floor. Most of the floor is missing; similar plates have either a plain base or three applied feet (see, for example, Smith 1957, no
Metropolitan Museum of Art Bulletin vol. 37 no. 4 (1942). p. 109, ill. fig. 33 (b/

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Berlinghiero – Madonna and Child – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/435658

This is one of a very few works that may be attributed to Berlinghiero based on analogies of style with a Crucifix in the Museo di Villa Guinigi, Lucca, that is signed „Berlingherius me pinxit.“ The painter—a key figure in the history of Tuscan painting—was from Volterra and is first documented in 1228 together with his two sons Barone and Bonaventura, both of whom, together with a third son, Marco, also became painters
Edward B. Garrison.

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