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Possibly between 1787-1790, acquired by Sir William Hamilton (British Envoy and Plenipotentiary at the court of Naples), Naples; from the late 1780’s to 1801, possibly in the collection of Sir William Hamilton; 1801-1917, vase and lid probably in the possession of the Hope Family, at Deepdene, Surrey, England (1801-1831 with Thomas Hope; 1831-1862 with Henry Thomas Hope; 1862-1877 with Mrs
Classification: Vases Credit Line: Rogers Fund, 1917 Object Number: 17.230.14a, b

Metropolitan Museum of Art Bulletin vol. 32, section II (1937). p. 19, ill. fig.

Princeton, 1976, p. 15. Gail Gelburd.

New York: The Metropolitan Museum of Art, no. 3, p. 77.

BottleThis bottle clearly illustrates the transitional phase of development between Late Antique and early Islamic period artifacts. Of all the crafts, glassmaking was perhaps the most conservative in terms of both artistic continuity over time and the transfer of skills and ideas from one generation to another
London, p. 65, pl. 32i (related). Jenkins-Madina, Marilyn.

Two Zoomorphic Bottles (69.153 and 1999.145)Like the blue bottle decorated with applied threads of blue glass (X.21.210), the playful utilitarian objects 69.153 and 1999
Catalogue by Donald B. Harden and others. Milan, 1987.

The Sons of Hephaistos: Aspects of the Archaic Greek bronze Industry. p. 154, Roma
Classification: Bronzes Credit Line: Rogers Fund, 1960 Object Number: 60.11.2a, b

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

Margaret was the eldest child and favorite daughter of Sir Thomas More. She married William Roper (50.69.1) in 1521. She was born about October 1505, and the age assigned to her in the artist’s inscription indicates that this miniature was painted in 1535–36, shortly after her father’s execution
London, 1926, p. 225. Paul Ganz.

This is a signed early work by Cuyp, probably painted about 1643–44. Although larger than most works painted by the artist when he was in his early to mid-twenties, the painting shares with them a fluid touch and a palette reminiscent of Jan van Goyen; pale browns and yellows blend together in the landscape, tans and grays in the costumes, and blues in the sky
Vol. 2, London, 1909, p. 78, no. 238a, p. 102, no. 331. Wilhelm R. Valentiner.