1933-1934, excavated under the direction of Henri Frankfort on behalf of the Oriental Institute of the University of Chicago; ceded to the Oriental Institute in the division of finds; acquired by the Museum in 1940, through an exchange of objects with the Oriental Institute
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From the Benedictine convent of Santa Cruz de la Serós, Jaca; Charles Stein(?), Paris; Sir Thomas Gibson Carmichael, Bart., Castle Craig(sold 1902); Carmichael sale, Christie, Manson & Woods, London(May 12–13, 1902, no
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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
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Inscription: (Exterior legend): [image of a flower] ATTENDITE . ET . VIDETE . SI EST . DOLOR . SICVT . DOLOR . MEVS([image of a flower] Look and see if [there] is sorrow like my sorrow [Lamentations 1:12])(Interior legend): O CRUX
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CarpetA so-called ‘thunder-and-lightening’ symbol covers the entire field of this rug. Against this background appear a single, scalloped central medallion and four corner pieces
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Each of Moretto’s rare portraits of the 1520s and 1530s demonstrates his innovative approach to the genre, culminating in the outstanding Portrait of a Man (National Gallery, London, NG 1025) of 1526, one the earliest full-length, life-size, independent portraits in Italy
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