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Gallery 171 The amphora comes from a shipwrecked cargo vessel (Grand Congloué B)

Paris: Galerie Georges Petit, December 8–10, 1902. no. 68, p. 27, ill. p. 26.

On the back of this rectangular ivory panel, a raised rim surrounds a smooth, recessed compartment, displaying the vertical orientation of the ivory grain. The recessed field provided an area for the panel to receive a thin sheet of wax that could be used as an erasable writing surface
Les Arts 9, no. 100 (April 1910). p. 5.

The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
Building a Collection of Islamic Art at the Metropolitan Museum, 1870–2011 Priscilla P.

The Artist: Only during the last five decades has Donato de‘ Bardi emerged as an important figure in the history of north Italian painting, notable for the manner in which he responded to Netherlandish and French painting and set the stage for the achievement of Vincenzo Foppa—the outstanding painter of fifteenth-century Lombardy
Art News 36 (Janauary 15, 1938), p. 13, ill. Harry B. Wehle.

New York: The Metropolitan Museum of Art, p. 32, fig. 49.

The Hague, 1924, p. 378, attributes it to Daddi. Richard Offner.

Cup (no. 65.172.1) and Beaker (no. 1974.45)Inevitably, the immediate models used by Iranian glassmakers following the advent of Islam came from their Sasanian heritage, which in turn had developed from a centuries-long distinctive and individual artistic tradition in the geographical area of Greater Iran
Donald B. Harden, K. S. Painter, Ralph H. Pinder-Wilson, and Hugh Tait.

Inscription: „To the spirits of the dead. To the most saintly Cominia Tyche, his most chaste and loving wife, [from] Lucius Annius Festus. [She] died at the age of twenty-seven years, eleven months, twenty-eight days
The Art Bulletin, 14(1): p. 33. Richter, Gisela M. A. 1938.

Glass-Stained Credit Line: The Cloisters Collection, 1936 Object Number: 36.39.1a, b