Marking: Arms (central panel, left window): D‚or au chevron de sable charge sur sa – pointe d‚une chaine de quatre chainons d‚argent elle meme placee en chevron.
D. Tjeenk Willink en Zoon, 1921. p. 535. Maeterlinck, Louis.
Ca. 1911, known and possibly purchased by Ernst Herzfeld, near Tell al-Deylam (ancient Dilbat); by 1914, collection of Frida and/or Georg Hahn, Berlin, who most probably acquired it from Ernst Herzfeld; 1939, left on deposit at the British Museum by the Hahn family; acquired by the Museum in 1947, purchased from Charlotte Weidler, New York, on behalf of Georg Hahn
from Dilbat Culture: Babylonian Medium: Gold Dimensions: L. 17.16 in. (43.6 cm) D.
Marking: Arms (central panel, left window): D‚or au chevron de sable charge sur sa – pointe d‚une chaine de quatre chainons d‚argent elle meme placee en chevron.
D. Tjeenk Willink en Zoon, 1921. p. 535. Maeterlinck, Louis.
Europe From France From A.D. 1800–1900 A Scene from Offenbach’s La Belle Hélène
The Artist: For a biography of Petrus Christus, see the Heilbrunn Timeline of Art History.The Painting: This mesmerizing image of Christ derives from the Gospels of Mark (15: 17–18) and John (19: 1–5) wherein Jesus was beaten, crowned with thorns, and dressed in a purple robe, subsequently to be presented by Pilate to the jeering crowd of Jews with the words „Ecce Homo“ (Behold the man)
Timken, New York (1949–d. 1959) New York. The Metropolitan Museum of Art.
Europe From France From A.D. 1800–1900 A Scene from Offenbach’s La Belle Hélène
The Artist: Dieric Bouts was initially mentioned by Lodovico Guicciardini as “Dirick d’Haarlem� in his Descrittione di tutti i Paesi Bassi, altrimenti detti Germania inferiore.[1] According to Karel van Mander, whose Schilder-boeck of 1604 described the life and works of 250 European painters of the fifteenth and sixteenth centuries, Dieric Bouts was one of the founders of the Haarlem School of painting
Davis, Newport, R.I. (1895–d. 1915; his estate, on loan to The Met, 1915–30)
Europe From France From A.D. 1800–1900 A Scene from Offenbach’s La Belle Hélène
Classification: Textiles-Tapestries Credit Line: Munsey Fund, 1932; Gift of John D.
