?prince Philippe François de Rubempré, Brussels (until 1766; sale, Brussels, April 11, 1765, no. 130, and—evidently the same picture—August 8, 1766, no. 36); ?duc d’Arenberg (until 1847; his sale, Brussels, October 4, 1847, no
collection/search/436048 https://www.metmuseum.org/art/collection/search/436048 Link
Two Tusk Fragments with the Ascension of Christ:17.190.46 and 17.190.48Conforming to the shape of the ivory tusks from which they were carved, these two fragmentary images of the Ascension are so similar that they must have been carved by the same workshop
collection/search/453638 https://www.metmuseum.org/art/collection/search/453638 Link
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1959, excavated under the direction of Robert H. Dyson Jr. on behalf of the Hasanlu Project sponsored by the University Museum of the University of Pennsylvania, the Archaeological Service of Iran, and The Metropolitan Museum of Art; acquired by the Museum in 1960, as a result of its financial contribution to the excavations
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collection/search/469866 https://www.metmuseum.org/art/collection/search/469866 Link
collection/search/239973 https://www.metmuseum.org/art/collection/search/239973 Link
For the late production of Severo’s workshop, see Warren 2014, p. 140. 2.
collection/search/543900 https://www.metmuseum.org/art/collection/search/543900 Link
collection/search/488102 https://www.metmuseum.org/art/collection/search/488102 Link
Although a virtual contemporary of Jacopo Bellini, Giambono represents the final flowering of Late Gothic painting in Venice. It was the combined presence in Venice of Michelino da Besozzo, Gentile da Fabriano, and Pisanello that provided the reference points for his refined style, with its combination of decorative richness and acute description of flora and fauna
Here is a link to download the audio instead. Playlist 2639.
