Dein Suchergebnis zum Thema: Aachen

Inscription: Inscribed in Greek: [On lid] Here is your son…Here is your Mother (on either side of Christ’s head); Jesus; Mother of God; John; [on lid moving clockwise from upper left] Saint Demetrios; Saint Eustathios; Saint Lawrence; Luke; Mark; Thomas; James; Saint Damianos; Saint Kosmas; Saint Gregory the Miracle-Worker; Bartholomew; Matthew; Jude; Simon; [on side moving clockwise from upper left] Saint Anastasios; Saint Nicholas; Saint Platon; Saint Theodore; Saint Prokopios; Saint George; Saint Merkourios; Saint Eustratios; Saint Panteleimon; Saint Andrew; Saint John; Saint Paul; Saint Peter; [inside lid] Hail, full of grace!; The Nativity; Here is your son
Aachen: La Ruelle’sche Accidenzdruckerei, 1896. pp. 169–79, pl.

possibly William Uhde, Paris, until ca. 1906; sold to Suermondt]; Edwin Suermondt, Aachen

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masterpieces that, over the centuries, have been dispersed to such far-flung locations as Aachen

possibly William Uhde, Paris, until ca. 1906; sold to Suermondt]; Edwin Suermondt, Aachen

The Painting: This compact, miniature altarpiece was commissioned for devotions to the Virgin of the Rosary.[1] The rosary refers to both the series of prayers recited, and the string of prayer beads used as a memory device
Exh. cat., Peter van den Brink, ed., Suermondt Ludwig Museum, Aachen and The National

The Artist: For a biography of Jan van Eyck, see the Heilbrunn Timeline of Art History.The Paintings: In unusually tall, narrow paintings, the Crucifixion and Last Judgment emphasize the narrative features of these well-known biblical themes prophesied in Isaiah and related in the Gospels of Matthew, Mark, Luke, and John for the Crucifixion, and in Deuteronomy and the Book of Revelation for the Last Judgment
of the subject ascribed to Dieric Bouts or his school (Suermondt-Ludwig-Museum, Aachen

Emile Gavet, Paris (until 1897) ; his sale, Galerie Georges Petit, Paris (May 9–June 9, 1897, no. 327) ; Paul Casimir Garnier, Paris (1897–1916) ; his sale, Hôtel Drouot, Paris (December 18–23, 1916, no
Aachener Kunstblätter 31 (1965). pp. 14–15. „Departmental Accessions .“

Aachener Kunstblätter 31 (1965). p. 16. Kühnel, Ernst.

This diptych is composed of two rectangular panels of ivory held together with four hinges, allowing it to close like a book. The smooth backs or exteriors reveals the vertical orientation of the ivory grain typical of medieval ivory carving, with the distal end of the ivory tusk facing downward
Aachener Kunstblätter 31 (1965). pp. 21–22. Kunsthalle Köln.

Collection of Thomas Howard, Earl of Arundel (1585-1646); until 1875, collection of the Dukes of Marlborough; by 1900, collection of Sir Arthur Evans; acquired in 1941, purchased from the estate of Sir Arthur Evans
Aachener Kunstblätter, : pp. 215–17, fig. 7. Kyrieleis, Helmut. 1971.