On the back of this rectangular ivory panel, a raised rim surrounds a smooth, recessed compartment, displaying the vertical orientation of the ivory grain. The recessed field provided an area for the panel to receive a thin sheet of wax that could be used as an erasable writing surface
Les Arts 9, no. 100 (April 1910). p. 5.
Learn more about the history of painted details on early Cycladic marble figures in the Leonard N. Stern Collection.
XXIX a and b.
Brought back from Europe to the United States in 1902-1903 by W.C. Fields (1880-1946) or obtained by Fields from D.W. Griffith in the late 1930s; 1946, by descent to Carlotta Monti (1907-1993), California; unknown date, sold on behalf of Carlotta Monti; 1980s-2004, private collection, New England; 2004, purchased by Henrietta and Christopher McCall on eBay; acquired by the Museum in 2023, purchased from Christopher McCall, Henley-on-Thames, UK
coverage and popular books around the excavations, removal of many sculptures from sites
[Ambroise Vollard, Paris, sold by winter 1924 to Reber]; Dr. Gottlieb Friedrich Reber, Lugano and Lausanne (1924–37; sold in November 1937 to Cooper); Douglas Cooper, London (1937–d. 1984; inv. no. 65; estate no. DC 35/34; his bequest to McCarty-Cooper); his partner and adopted son, William McCarty-Cooper, London (1984–86; sold in November 1986 to Lauder); Leonard A. Lauder, New York (1986–2013; transferred on April 8, 2013 to the Leonard A. Lauder Cubist Trust); The Leonard A. Lauder Cubist Trust, New York (2013–21; gift to MMA)
Milan, 1972, p. 102, no. 291, ill. p. 101, as "Nudo femminile in poltrona".
The first convincing argument for the attribution of this work to Van Borssom was made by Niemeijer in 1962, and the attribution was adopted by the Museum in 1990. In his approximately two dozen known paintings and in his numerous drawings, Van Borssom proves to have been an eclectic artist whose ideas came from a considerable variety of Dutch painters and draftsmen
Arts and Decoration 7 (June 1917), p. 402, ill. p. 401 (hanging on wall), as by Potter
Learn more about the history of painted details on early Cycladic marble figures in the Leonard N. Stern Collection.
XXIX a and b.
Boilly was born and educated around Lille. He moved to Paris in 1785 and exhibited at the Salon between 1791 and 1824. A painter in the tradition of Dutch seventeenth-century naturalism, for which he prepared by studying trompe l’œil as well as caricature, Boilly was well-known for genre scenes and for small-scale portraits, of which he claimed to have painted 4,500, most in single two-hour sittings
B. [Jean-Baptiste Boutard], "Beaux-Arts. Tableau du Couronnement; par M.
residents in modern times had brought them there for reuse from the ruins of Samarra, a site
Dimand 1932, p. 135. 2.
The Artist: A successor of Jan van Eyck and Petrus Christus, and a contemporary of Gerard David, Hans Memling was among the most important artists of fifteenth-century Bruges. Although he spent the majority of his career in that thriving city, he was born around 1435–40 in the German town of Klein-Krotzenburg near Seligenstadt, south-east of Frankfurt, Germany
Christ’s resurrection and of the promise of immortality for Christians.� See Hope B.
Freeman, Margaret B. "The Unicorn Tapestries."
