Mbunda artist – Sachihongo mask – Mbunda – The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/698689
Fagg, William B. The Epstein Collection of Tribal and Exotic Sculpture.
Fagg, William B. The Epstein Collection of Tribal and Exotic Sculpture.
I, p. 345, vol. II, pl. 139, nr. 1. Dimand, Maurice S.
From the high altar of the Cistercian abbey, Lichtenthal, near Baden-Baden, Baden-Württemberg; Dutch or German Private Collection ; [ Sotheby’s, London (July 28, 1939, no. 103) ] ; [ John Hunt, Ireland (1939–sold 1952)]
Oud Holland 52 (1935). p. 29. Huth, Hans.
Saint Matthew is shown seated in a dark interior lit by an oil lamp and assisted by an angel in his writing of the gospel. The diminutive scenes in the background, whose subjects have been debated, relate to his life as presented in the Golden Legend
B[ryson]. B[urroughs].
capture of Carthage by Publius Cornelius Scipio, an event that took place in 146 B.C
B. Tiepolo: la sua vita e le sue opere.
Oxford, 1976, vol. 1, p. 21 n. 8, p. 137 (notebook 31, p. 70), p. 151, suggests a
This arresting portrait of an unidentified young Florentine is dated by most scholars to the 1530s. During that decade Bronzino was often engaged in painting members of a close-knit circle of acquaintances with whom he shared literary interests, and this sitter—who so conspicuously holds open a book—may be from among that group
Harry B. Wehle.
Amazons in Greek Art. p. 114, Oxford: Clarendon Press.
Marking: Arms (on thirteen banners atop turrets, on bosses of vaulting above Joshua and David): azure, semé of fleurs-de-lis gold, within a border engrailed gules [Arms of Jean duc de Berry];(on banner next to end turret at right of tapestry): bendy of six, azure and gold [Arms of Burgundy];(on shield at right of figure): argent, a dragon vert [Arms of Joshua];(on shield at right of figure): azure, a harp gold [Arms of David]
Rorimer, James J., and Margaret B. Freeman.
Watteau, the son of a roofer, left Valenciennes for Paris about 1702 to work there as a copyist and assistant to Claude Gillot (1673–1722) and Claude III Audrun (1658–1734). He became interested in theater and fell under the spell of Peter Paul Rubens (1577–1640)
, ill. opp. p. 226 [reprinted, Paris, 1929, p. 67, no. 414, ill. opp. p. 66].