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
collection/search/253592 https://www.metmuseum.org/art/collection/search/253592 Link
Inscription: (On scroll): . Ave . / . gracia . / . ple / na . (Hail [Mary] full of grace)Marking: Arms [on shield held by two angels, center top]: Vilanova of Castile, Catalonia, etc
collection/search/468106 https://www.metmuseum.org/art/collection/search/468106 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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?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
collection/search/469866 https://www.metmuseum.org/art/collection/search/469866 Link
