From the former choir screen of the Cathedral of Strasbourg; C. Joret, Paris ; [ Henri Daguerre, Paris ] ; J. H. Fitzhenry (until d. 1913) ; his sale, Christie, Manson and Woods (November 18-19, 24-26, 1913) ; [ Alphonse Kann French, Paris (1/2 interest sold 1933)] ; [ Demotte Inc
P. Dutton, 1970. p. 258. Boccador, Jacqueline.
Stand for a Qur’an Manuscript (Rahla) A masterpiece of design, this carved book stand, or rahla, is made from a single slab of teak and is framed by inlays composed of various woods in shades of brown and black
London: Peeter Davies, Ltd. by the Shenval Press, 1930. p. 190, ill. fig. 95 (b/w
This is one of a very few works that may be attributed to Berlinghiero based on analogies of style with a Crucifix in the Museo di Villa Guinigi, Lucca, that is signed „Berlingherius me pinxit.“ The painter—a key figure in the history of Tuscan painting—was from Volterra and is first documented in 1228 together with his two sons Barone and Bonaventura, both of whom, together with a third son, Marco, also became painters
Edward B. Garrison.
For over a century scholars have considered whether or not this sympathetic portrait of an old man is a self-portrait by El Greco. Lafond (1906) described the seemingly Romantic notion as at best a plausible hypothesis, and a number of more recent scholars (for example, Wethey 1962) have rejected the idea, mainly on the basis of comparisons with presumed self-portraits inserted by El Greco into several of his major religious pictures (see also Christiansen 2003)
Manuel B. CossÃo. El Greco.
The Art of South Italy: Vases from Magna Graecia no. 44, p. 123, Richmond: Virginia
The Art of South Italy: Vases from Magna Graecia no. 44, p. 123, Richmond: Virginia
Emile Gavet, Paris (until 1897) ; his sale, Galerie Georges Petit, Paris (May 9–June 9, 1897, no. 327) ; Paul Casimir Garnier, Paris (1897–1916) ; his sale, Hôtel Drouot, Paris (December 18–23, 1916, no
Wasmuth, 1922. p. 8, pl. 45c. Goldschmidt, Adolph.
In addition to an innovative series of portraits (see The Met 14.40.645), Antonello has left a no less inventive series of bust-length images of Christ as the Man of Sorrows
B[attista]. Cavalcaselle.
When it came to depicting Jesus on the Cross, many artists of the earlier Middle Ages portrayed Jesus as alive and alert, his body entirely resistant to the trauma of crucifixion. In this example, Jesus almost bears himself easily, with his torso erect, knees slightly bent, and head held high
Rorimer, James J., and Margaret B. Freeman.
Each of Moretto’s rare portraits of the 1520s and 1530s demonstrates his innovative approach to the genre, culminating in the outstanding Portrait of a Man (National Gallery, London, NG 1025) of 1526, one the earliest full-length, life-size, independent portraits in Italy
B[attista]. Cavalcaselle.
