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Attributed to a painter of the Princeton Group – Terracotta neck-amphora (jar) – Greek, Attic – Archaic – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/258464

[By 1964 and until 1973, with Herbert Cahn, Basel]; 1973, purchased by Rosemary and George Lois from Herbert Cahn; 1973-2010, collection of Rosemary and George Lois, New York; on loan to the Metropolitan Museum of Art in 1973, 1992, and 1999; acquired in 2010, purchased from Rosemary and George Lois through Bobbie Entwistle of Entwistle London
1 Terracotta column-krater (bowl for mixing wine and water) Attributed to the manner

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Rococo Revival Parlor | The Metropolitan Museum of Art

https://www.metmuseum.org/about-the-met/collection-areas/the-american-wing/period-rooms/rococo-revival-parlor

The Richard and Gloria Manney John Henry Belter Rococo Revival Parlor presents a sumptuous mid-nineteenth-century parlor characteristic of affluent homes in the United States. It features furniture by one of the most innovative and virtuosic American cabinetmakers of the period in a room whose architectural elements are from the double parlor of a Classical Revival style villa built around 1850 in Astoria, Queens, for a prosperous businessman named Horace Whittemore (1813–1871).
five hundred percent stronger and more durable than furniture made in the ordinary manner

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Master of the Berswordt Altar – The Crucifixion – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/436997

This panel and a scene showing the Flagellation of Christ (The Met 2001.216.2) come from a large dismantled retable probably made for the high altar of the former Collegiate Church (Kollegiatstift) of Sankt Maria und Sankt Georg, now the Neustädter Marienkirche, in Bielefeld
whose deviations from his more refined style are due to the retention of an older manner

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Master of the Berswordt Altar – The Flagellation – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/438466

This panel and a scene showing the Crucifixion of Christ (The Met, 43.161) come from a large dismantled retable probably made for the high altar of the former Collegiate Church (Kollegiatstift) of Sankt Maria und Sankt Georg, now the Neustädter Marienkirche, in Bielefeld
whose deviations from his more refined style are due to the retention of an older manner

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Andrea Briosco, called Riccio – Rothschild lamp – Italian, Padua – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/236643

Baron James Mayer de Rothschild (by 1865–d. 1868) ; his son, baron Gustave de Rothschild (until d. 1911) ; his son, baron Robert de Rothschild (d. 1946) ; by descent through the Rothschild family (until 2009) ; [ sold by private agreement through Christie’s, London ; to MMA ]
magisterial Paschal Candelabrum, Riccio yoked form, function, and imagery in a manner

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Albrecht Dürer – Self-portrait, Study of a Hand and a Pillow (recto); Six Studies of Pillows (verso) – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/459214?exhibitionId=%7Bae20192b-5e81-4e7f-82b9-5136a6c60d78%7D&oid=459214&pkgids=447&pg=0&rpp=20&pos=21&ft=*&offset=20&locale=en

Inscription: On the recto at the center top: the monogram Ad was added by another hand in thicker, more reddish brown ink.Marking: Inscribed in brown ink on the verso at the center top: 1493; at the lower left, a collector’s stamp about 8mm in diameter, in reddish brown: MUZ LUBOM Sorrounding the letters IO (or the number 10?)Watermark: three fleurs-de-lis in a shield, with a crown and flower and a suspended letter t (similar to Piccard XIII (III), no
series of sketches of pillows, exploring the effects of light on the folds in a manner

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