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Panel with striding lion – Babylonian – Neo-Babylonian – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/322585

1902, excavated under the direction of R. Koldewey on behalf of the German Oriental Society; 1926, ceded to the Staatliche Museen zu Berlin, Vorderasiatisches Museum, in the division of finds; acquired by the Museum in 1931, purchased from the Staatliche Museen zu Berlin, Vorderasiatisches Museum
Louchheim, Aline B. 1949. “Near-Eastern Art Placed on Display: Metropolitan Shows

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Grisaille Panel – French – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/471887

From the chapel of Château-de-Bouvreuil, Rouen (destroyed late 16th century; glass installed in the chapel of a building constructed on the same site (late 17th century–early 19th century); [ Art market, rue Saint-Remain, Rouen (sold 1905) ; Albert Gorge, Rouen (1905–sold shortly after 1910) ; [ Bacri Frères, Paris (acquired shortly after 1910–sold before 1935)] ; [ Michel Acézat Paris, 1878–1944 (acquired before 1935–until 1944)] ; his posthumous sale, Hôtel Drouot, Paris (November 24-25, 1969, no
Smithsonian Institution Research Reports 4 (Spring 1973). p. 4.

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Panel with striding lion – Babylonian – Neo-Babylonian – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/322586

1902, excavated under the direction of R. Koldewey on behalf of the German Oriental Society; 1926, ceded to the Staatliche Museen zu Berlin, Vorderasiatisches Museum, in the division of finds; acquired by the Museum in 1931, purchased from the Staatliche Museen zu Berlin, Vorderasiatisches Museum
New York: The Metropolitan Museum of Art, p. 3, no. 2.

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Michele Giambono (Michele Giovanni Bono) – The Man of Sorrows – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/436498

Although a virtual contemporary of Jacopo Bellini, Giambono represents the final flowering of Late Gothic painting in Venice. It was the combined presence in Venice of Michelino da Besozzo, Gentile da Fabriano, and Pisanello that provided the reference points for his refined style, with its combination of decorative richness and acute description of flora and fauna
B[attista]. Cavalcaselle. 2nd ed. [1st ed. 1871].

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