William Roper, a Kentish landowner, lawyer, and four-time member of Parliament, was a member of Sir Thomas More’s household for more than sixteen years and married his eldest daughter, Margaret, in 1521
London, 1926, p. 225. Paul Ganz.
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
Hearn, Seán Hemingway, Herbert Heyde, Marsha Hill, Timothy B.
The Development of Attic Black Figure, Vol. 24, 2nd ed.. p. 99 [p. 38 n. 11], pl.
The Bulletin of the Metropolitan Museum of Art 28 (2), p. 24.
1920s, collection of Kaiky Muncherjee, Aden; [Gazdar Bros., Bombay]; 1943, bought by Joseph Brummer from Gazdar Bros., Bombay (Brummer inv. no. N5562); acquired by the Museum in 1947, purchased from the estate of Joseph Brummer, New York
Le Caire: Société royale de géographie d’Égypte, p. 106, p. 108, pl.
New York: The Metropolitan Museum of Art, 1925. p. 40, fig. 20, ill. p. 41.
From the abbey of Moutiers-Saint-Jean, near Dijon; M. Ohresser, Moutier-Saint-Jean, France (until 1909) ; [ Demotte Inc., Paris (sold 1909) (?) ] ; Michel Manzi French, Paris (through M. Pagenel, Paris, until 1919) ; [ Demotte Inc
London: Phaidon Press, 1959. p. 10, fig. 2. Rorimer, James J.
Watteau did not participate in public exhibitions, nor title his pictures, whose meaning is often difficult to fathom. This late work is clearly a theatrical subject, and as he is known to have made drawings of comic actors and quacks from an early age, he must have been interested in the theater throughout his short life
Paris, [1904], p. 166, ill. p. 15. Emile Dacier.
Giovanni de Lutero, known as Dosso Dossi, painted this landscape with figures soon after becoming court artist to Duke Alfonso I d’Este of Ferrara, where the artist arrived by July 1513. The subject is generally given as the Three Ages of Man, analogous to Titian’s well-known painting of the subject (National Gallery of Scotland, Edinburgh), with „youth“ represented by the youngsters who watch the amorous couple, who in turn represent „maturity“, while the two men in the background symbolize „old age“
Milan, 1936, p. 151. Harry B. Wehle.
De Boccard, p. 164, pl. CXXVI, fig. 1081. Harper, Prudence O. 1969.
