Inscription: (On scroll): . Ave . / . gracia . / . ple / na . (Hail [Mary] full of grace)Marking: Arms [on shield held by two angels, center top]: Vilanova of Castile, Catalonia, etc
B. Lippincott, 1925. pp. 26, 233, pl. III, i, XVII, c. Ackerman, Phyllis.
New York: The Metropolitan Museum of Art, 1989, p
New York: The Metropolitan Museum of Art, 1989, p. 85, fig. 75.
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
Grossner Joan B. Grynbaum Tim Gunn Anne Gutting P. Gwebu Lewis I.
Burlington Magazine 4 (January 1904), p. 94, ill. p. 92, as at Dowdeswell; accepts
Tile This image of a soaring phoenix with crested head and elaborate plumage, surrounded by swirling clouds, is a striking example of the adaptation of Chinese imagery by Persian artists
New York: The Metropolitan Museum of Art, 1930. p. 135, ill. fig. 69 (b/w).
Moroni’s portrait of the Bergamasque professor Bartolomeo Bonghi (died 1584) is one of his finest works from the 1550s. Bonghi is shown seated on a Savonarolan-style chair with a book in his left hand, gazing toward the viewer, and with a cityscape through the window beyond
B[ryson]. B[urroughs]. "Venetian Paintings."
the high altar of the church of San Domenico, Modena (until about 1708–10); John Edward Taylor, London (until d. 1905); his widow, Mrs. John E. Taylor, London (1905–12; her sale, Christie’s, London, July 5 and 8, 1912, no
B. W[ehle]. "The Michael Dreicer Collection."
Dado PanelThe room in Nishapur, Iran, from which this dado panel was excavated once had a lively scheme of painted decoration. The upper section of the wall was colored a deep red, beneath which was a short horizontal frieze of hexagons and diamonds, and a four-foot-high dado with alternating rectangular and square panels
Metropolitan Museum of Art Bulletin vol. 37 no. 4 (1942). p. 104, ill. fig. 28 (b
Bowl Produced in northeastern Iran, in the province of Khurasan during the Samanid period, this large bowl with its high, flaring sides and bold, rhythmically spaced inscription in „new-style“ script exemplifies the elegance and perfect harmony of the „black-on-white wares“ unearthed in the cities of Nishapur and Samarqand
Perpetual Glory: Medieval Islamic Ceramics from the Harvey B.
New York: The Metropolitan Museum of Art, 1944. p. 90, ill. fig. 54 (b/w).
