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[Elia Volpi, Florence, until 1927; his sale, American Art Association, New York, April 2, 1927, no. 374, as by Margaritone d’Arezzo, for $900]; [Ercole Canessa, Paris and New York, 1927–d. 1929; his estate sale, American Art Association, New York, March 29, 1930, no
collection/search/436731 https://www.metmuseum.org/art/collection/search/436731 Link

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(see Lugt suppl. 2141b)Lower center of mount in ink: 133Marking: Lower right collector’s
collection/search/334653 https://www.metmuseum.org/art/collection/search/334653 Link

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collection/search/464077 https://www.metmuseum.org/art/collection/search/464077 Link

When this panel was in the Kann and Havemeyer collections, it was highly regarded as a Rembrandt. The picture held its place in Rembrandt catalogues through Valentiner’s unreliable corpus of 1931, after which the work was dropped from scholarly discussions for fifty years
collection/search/435597 https://www.metmuseum.org/art/collection/search/435597 Link

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Among hanging lighting devices, one type of lamp — globular in shape with a flaring neck — was especially common in Seljuq times. They are commonly called mosque lamps in reference to the enameled lanterns from Mamluk mosques in Cairo, which often include Qur’anic inscriptions
collection/search/450812 https://www.metmuseum.org/art/collection/search/450812 Link

Saint Matthew is shown seated in a dark interior lit by an oil lamp and assisted by an angel in his writing of the gospel. The diminutive scenes in the background, whose subjects have been debated, relate to his life as presented in the Golden Legend
collection/search/437630 https://www.metmuseum.org/art/collection/search/437630 Link