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New York: The Metropolitan Museum of Art, 1929. p. 40.

Left:nswt Ds=f, „the king himself“Hr.w anx-msw.t, Horus Ankhmesu (Horus name of Senwosret I)Below vulture: Di=s…,may she give…“n[Tr nfr sHtp-jb-]raw Di(.w) an[x mj D.t]Right:Hr
North, Pyramid Temple of Amenemhat I, northeast corner of the statue-cult temple B,

Carboni, Stefano, and Timothy B. Husband.

–P.

This ivory panel is the right leaf of a folding diptych, a type of religious object composed of two panels that fold like a book. The three holes and drilled circles on the left edge remain from the hinges that once joined it to the matching leaf
Examples from this group (acc. no. 1970.324.7a, b; Walters Art Museum inv. no. 71.124

Journal of Glass Studies, 9: p. 17, figs. 6–7. Stern, E.

The Artist: Simon Vouet (see fig. 1 above) is one of a number of major artists, among whom are Jusepe de Ribera, Valentin de Boulogne, Gerrit van Honthorst, and Bartolomeo Manfredi, who worked in Rome in the immediate aftermath of Caravaggio’s death and absorbed his dramatic treatment of expressive lighting, startling naturalism, and psychologically penetrating approach to narrative subjects
Chilton Jr., and Sally and Howard Lepow Gifts; Charles B.

Excavated by Lord Carnarvon and Howard Carter, 1912. Acquired by Lord Carnarvon in the division of finds. Carnarvon Collection, 1912-1926. Carnarvon Collection purchased by the Museum from Lady Carnarvon, 1926
London: Burlington Fine Arts Club, p. 80 no. 38. Hayes, William C. 1959.

This panel and a scene showing the Flagellation of Christ (The Met 2001.216.2) come from a large dismantled retable probably made for the high altar of the former Collegiate Church (Kollegiatstift) of Sankt Maria und Sankt Georg, now the Neustädter Marienkirche, in Bielefeld
B.] Nordhoff. "Die Soester Malerei unter Meister Conrad."

Like a good number of works formerly attributed to Rembrandt, this large canvas was included in catalogues of the artist’s work through Bauch’s corpus of 1966 and then rejected by Gerson (1968, 1969). In 1923, however, Van Dyke, no doubt responding to the frequent suggestion of Frans Hals’s influence on the painting, assigned it to that master or to the „Hals School
Stuttgart, 1906, p. 397, ill. p. 145. Adolf Rosenberg.