From the former transept portal of the cathedral of Saint-Lazare at Autun; Roidet-Haudaille (architect), Autun, France ; Abbé Victor Terret, Autun, France ; [ Jean Peslier, Vézelay (sold 1935)] ; [ Brummer Gallery, Paris and New York (1935–1947)]
Autun: Abbé Victor Terret, 1925. p. 50, pl. XLVIII.
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.
Dimensions: Overall (a: cope): 58 × 122 1/2 in. (147.3 × 311.1 cm) Overall (b:
Bulletin of the Metropolitan Museum of Art, 24(8): p. 203, fig. 6.Richter, Gisela
Bulletin of the Metropolitan Museum of Art, 24(8): p. 203, fig. 6.
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.
PanelOne of the most fascinating and mysterious objects of early Islamic art in the Museum’s collection, this wood panel was acquired in 1937 from the dealer Paul Mallon in Paris
I. 5684 a-b); Museum of Islamic Art, Cairo (nos. 9518, 11636); Museum of Archaeology
Mosque LampThis lamp has a flattened, almost globular body with a long flared neck and a low folded foot. Three suspension loops are attached to the body. The enameled and gilded decoration consists of three main registers and four narrower bands of continuous vegetal patterns
P.
From the former Lady Chapel of the Benedictine abbey of Saint-Germain-des-Prés, Paris (closed February 1792; panels possibly removed by November 25, 1796; chapel destroyed 1802); [possibly Jacques Seligmann, Paris and New York] ; Private Collection, Paris (until 1958) ; [ Brimo de Laroussilhe, Paris (1958–sold 1972)] ; [ Galerie für Glasmalerei, Zurich (1972–sold 1973)]
New York: The Metropolitan Museum of Art, 1975. p. 18.
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].
