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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

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.

1933-1934, excavated under the direction of Henri Frankfort on behalf of the Oriental Institute of the University of Chicago; ceded to the Oriental Institute in the division of finds; acquired by the Museum in 1940, through an exchange of objects with the Oriental Institute
Abrams, p. 21, no. 6 (ill.), p. 217, no. 6. Moscati, Sabatino. 1960.

Beneath a curiously distended double arch of the nave of a church illuminated with bottle glass windows, the Virgin demurely extends her hand, on which a bearded Joseph places a ring rendered in raised, gilded pastiglia—the same technique used for the collar of the officiating priest and for the haloes decorated with pseudo-Kufic lettering
Art News 35 (May 1, 1937), p. 156, ill. p. 42. Charles Sterling.

The Artist: The Sienese master Simone Martini was one of the greatest and most influential painters of his time. His work combines an astonishing mastery of naturalistically observed details with an exquisite technique
New Haven, 1930, p. 53. Bernhard Berenson.

The Metropolitan Museum of Art Bulletin 41 (4), Spring 1984, p. 53, fig. 73.

The Artist: Antonio Vivarini was a member of a family documented on the island of Murano (Venice) and Padua from the second half of the fourteenth century. His father, Michele, and the founder of the family, „Vivarinus vitruarius,“ were both glassmakers
Art in America 26 (April 1938), p. 92, ill. p. 89. Harry B. Wehle.

New York, 1954, p. 94. Irma B. Jaffe.

B. "Some Princely Arms from India and Persia in the Wallace Collection."

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