The Artist: Bernardo Daddi was one of the most important painters of the early Trecento in Florence. He began his activity there in the 1320s during the height of Giotto’s reign over Florentine painting
predella that included panels now in The Met (43.98.3) and the Pechère collection, Brussels
The Artist: Bernardo Daddi was one of the most important painters of the early Trecento in Florence. He began his activity there in the 1320s during the height of Giotto’s reign over Florentine painting
predella that included panels now in The Met (43.98.4) and the Pechère collection, Brussels
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
XXII, 10, Brussels: Latomus, revue d’études latines. Richter, Gisela M.
Inscription: (on banderole held by Micah): D[omi]n[u]S . egredit[ur] . de . loco . / IsAie . XXVOI / S[an]c[t]o . suo . (the Lord embarks from His holy place, [Isaiah 26:21 or Micah 1:2-3])(on frame of mirror):
The quality and style of the weaving suggest that the series was created in Brussels
Toronto. Art Gallery of Ontario. „Small Wonders: Gothic Boxwood Miniatures,“ November 5, 2016–January 22, 2017.New York. The Metropolitan Museum of Art. „Small Wonders: Gothic Boxwood Miniatures,“ February 22–May 21, 2017
ca. 1525–1569 Brussels) 1565 Jacob Willemsz van Veen (1456–1535), the Artist’s
December 14, 1935December 14, 1935 (lot 22); Pierre Bergé & Associés (Belgian), Brussels
This luxurious ivory box is an outstanding example of approaches to art-making typical of French royal courts of the fourteenth century. Composed of six panels of ivory glued to cardboard, it is the type of precious and exclusive object that royals and high aristocrats desired, commissioned, and gifted during festive occasions like New Year’s Day
Brussels: P. Weissenbruch, 1888. no. 1179, p. 222.
Brussels, 1995, p. 171, ill. p. 195 (color). Katharine Baetjer.
Under the influence of Joannes and Andreas Ruckers I, in the seventeenth century Antwerp reached its peak of production and began producing more uniform instruments.
A polygonal virginal dated 1548 (Musical Instruments Museum, Brussels, inv. no. 1587
the convent of Sant’Antonio da Padova, Perugia (until 1663; sold to Christina); Christina, former Queen of Sweden, Rome (1663–d. 1689; unnum. inv., ca. 1689); Cardinal Decio Azzolino, Rome (d. 1689); his nephew, marchese Pompeo Azzolino, Rome (1689–96; sold to Odescalchi); principe Livio Odescalchi, duca di Bracciano, Rome (1696–d
ans, Palais Royal (1785–92; sold to Walckiers); vicomte Edouard de Walckiers, Brussels
