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Inscription: (in each corner and in center): A [image of a knot] E [reversed] (unidentified)(on scabbard hanging from man on left): AVE : / REGINA . C[AELORVM] (Hail the Queen of the Heavens [reference to one of the Marian antiphons]) (on dog’s collar, left): OFANGRE (too fragmentary for interpretation) (on dog’s collar, center): A [image of a knot] E [reversed] (unidentified)
Paris: Henri Laurens, 1929. p. 326. Rorimer, James J.

Folios from an Album of CalligraphyMounted within colorful ebru (marbled) papers and surrounded by parti-colored inner borders, these two pages of graceful calligraphy form part of a leather-bound album composed of six folios
p.5 recto, p.4 verso p.1 p.4 Artwork Details Use your arrow keys to navigate

1889 Object Number: 89.4.1473 Mary Elizabeth Adams Brown ; Felice Beato Sally B.

The Master of Varlungo is the name attached to a group of pictures apparently dating from the last two decades of the thirteenth century. His eponymous work is a fragmentary Madonna and Child in the church of San Pietro a Varlungo, Florence
Edward B. Garrison. Italian Romanesque Panel Painting.

the artist’s brother, Theo van Gogh, Paris (1889–d. 1891; sent to him by the artist on September 28, 1889); his widow, Johanna van Gogh-Bonger, Amsterdam, in trust for their son, Vincent Willem van Gogh (1891–95; consigned by June 1895 to Lucien Moline (Galerie Laffitte), Paris; sold with six other paintings for fl
–B. de La Faille. "Vincent van Gogh."

Paris: Hôtel Drouot, May 14, 1912. no. 82, p. 24, ill.

Bibliography of The Met’s Scientific Research department
Krekeler, P. Roelofs, I. Verslype, B. van Kooij, and A. van Loon.

From the Passion of Christ window, choir of the castle chapel (the Schlosskapelle) at Ebreichsdorf, south of Vienna.; Lolowrat-Liebsteinsky, Ebreichsdorf (1843-73) ; Count Joseph Arco-Zinneberg, Ebreichsdorf (1873-1922) ; [ Duveen Brothers, London, Paris and New York] ; Mrs
Berlin: Akademische Verlagsgesellschaft Athenaion, 1913. p. 199.

(p. 209). Madrid. Fundación Juan March.

New York: The Metropolitan Museum of Art, 1930. p. 241–42, ill. fig. 148 (b/w).