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collection/search/503846 https://www.metmuseum.org/art/collection/search/503846 Link

This crucifix was made to be carried in processions and is painted on both sides. Before entering the Kress collection (Shapley 1966) the two sides were separated, but they were re-united in the Museum in 1988
collection/search/437020 https://www.metmuseum.org/art/collection/search/437020 Link

collection/search/472381 https://www.metmuseum.org/art/collection/search/472381 Link

This is an early work by Alessandro Bonvicino, known as Moretto da Brescia, who, along with Girolamo Romanino, was the dominant painter in the city of Brescia (then in the westernmost area of Venice’s mainland empire) in the first half of the sixteenth century
collection/search/437157 https://www.metmuseum.org/art/collection/search/437157 Link

collection/search/488575 https://www.metmuseum.org/art/collection/search/488575 Link

Owned by S. Simonian, Hamburg Germany, before 2013. Published 1997 and 2003, exhibited in Frankfurt in 1999 and Vienna in 2003 and published in exhibition catalogs. Purchased from Pierre Bergé & Associés, Paris, 2013
collection/search/591557 https://www.metmuseum.org/art/collection/search/591557 Link

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In addition to an innovative series of portraits (see The Met 14.40.645), Antonello has left a no less inventive series of bust-length images of Christ as the Man of Sorrows
B[attista]. Cavalcaselle.

baron Arthur de Schickler, Martinvast, France (by 1908–d. 1919); his daughter, comtesse Hubert de Pourtalès, Martinvast (1919; sold to Duveen); [Duveen, Paris, and Wildenstein, Paris, 1919, as by Alvise Vivarini; sold to Salomon]; William Salomon, New York (d
collection/search/436769 https://www.metmuseum.org/art/collection/search/436769 Link

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