collection/search/323576 https://www.metmuseum.org/art/collection/search/323576 Link
Gérôme specialized in a brand of photographic realism which, from the 1840s onward, distinguished him from the increasingly stale Neoclassical style promulgated by the followers of Jean Auguste Dominique Ingres
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42; Castañeda and Mendoza, 1933, p. 16; Kurath and MartÃ, 1964, p. 47, 60, 84)
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Inscription: (on each corner and center): A [image of a knot] E [reversed] (unidentified)(on dog collar; twice): AE(on dog collar bearing arms; twice): AMarking: Arms (on dog collar on right): Quarterly, 1 and 4, barry of six or and azure, the first two bars debruised by three roses gules, seeded proper; 2 and 3, or, three escutcheons gules
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collection/search/253512 https://www.metmuseum.org/art/collection/search/253512 Link
top (not original) with rosewood binding and purfling (inside) of pine/rosewood/p/
Inscription: Mount, lower right, in graphite: 2000.483 RUBENSMarking: Watermark with crowned shield and countermark with three letters-perhaps arms of Burgundy with Austria
collection/search/342945 https://www.metmuseum.org/art/collection/search/342945 Link
Until 1899, collection of Henry Hoffmann (1823-1897), Paris; May 1899, purchased by Henri de Morgan at the Hoffmann sale at Hôtel Drouot, Paris (lot 78); 1899-1901, collection of Henri de Morgan (1854-1909), Paris; acquired in 1901, purchased at the de Morgan sale at the American Art Galleries, New York (lot 67)
collection/search/246931 https://www.metmuseum.org/art/collection/search/246931 Link
collection/search/245376 https://www.metmuseum.org/art/collection/search/245376 Link
