Palazzo Barberini, Rome, likely 1679-at least 1881 and probably 1890; E. Volpi, Florence, as early as 1890-1905; exported from Italy, July 1905 (dated customs stamp on reverse of panel); Oscar Huldschinsky, Berlin, from 1906-May 1928; Huldschinsky sale, Cassirer and Helbing, Berlin, May 10–11, 1928, no
B[attista]. Cavalcaselle.
Signed (lower left): PR; inscribed (verso, lower left) 17/35b.
: 33 1/2 × 72 in. (85.1 × 182.9 cm) a: 32 5/8 × 23 1/2 in. (82.9 × 59.7 cm) b:
In this painting, the Madonna and Child are flanked by Saint Francis to the left, shown in the gray habit of the Franciscan order and holding the cross within his stigmata-marked hand, and Saint Jerome to the right, attired in the red robes of a cardinal, signifying his service to Pope Damasus I (305–384 CE)
by 1834–d. 1849); his son, principe Maffeo Barberini Colonna di Sciarra, Rome (b.
invading Cimbrian Gauls at Vercellae, in Lombardy, an event that took place in 101 B.C
B. Tiepolo: la sua vita e le sue opere.
Inscription: Inscribed: (reverse, in a later hand) Ambrogio Borgognone fe.; (on Christ’s halo) IESVS CRISTV[S]; (on Virgin’s halo) [BE?]NIGNA; (on hem of Virgin’s cloak) NOMEN DOM[I]NI
Milan, 1936, p. 85. Harry B. Wehle.
New York: The Metropolitan Museum of Art, 1929. p. 40.
Said to be from Idalium, Cyprus (A Descriptive Atlas of the Cesnola Collection…, 1903, vol. 3, pt. 2, pl. LXXVIII, 1) Between 1865 and 1872, excavated in Idalium, Cyprus, by Luigi Palma di Cesnola; afterwards, collection of L
History, Chronology, Technic and Classification to the Sixteenth Century, Vol. 1. p.
Rorimer, James J., and Margaret B. Freeman.
The dye used in a Latin American Colonial textile from the sixteenth to seventeenth century is examined in order to determine the textile’s origin.
Photo: B.
Beads (1980.456, .457) and pendant (30.95.37)Among the luxury arts that flourished under the Fatimid caliphs, gold jewelry stands out for its innovation and complexity. According to literary sources, prodigious amounts of such jewelry were manufactured for both royal and patrician patrons; most of these items were later melted down for currency or refashioned into newer pieces
Catalogue by Mikhail B. Piotrovsky, John Vrieze, and others.
