Dein Suchergebnis zum Thema: Mann

Mann, 1973. p. 304.

Until 1796, collection of the Aldobrandini family, Aldobrandini Palace, Rome; 1796, purchased by Vicenzo Pacetti from the Aldobrandini family; 1796, acquired by Henry Philip Hope from Vicenzo Pacetti; 1796-1917, the Hope collection, displayed at the Duchess Street mansion, London and (after 1835) at Deepdene House, Dorking, Surrey, England (both residences of Thomas Hope, elder brother of Henry P
the Hope Collection, London and Deepdene. no. 6, pp. 72–3, pl. 49, 1, Berlin: Mann

Said to be from Olympia (Mertens 1985, p. 19). [Until 1906, art market, Paris]; 1906-1913, collection of J. Pierpont Morgan, New York; 1913-1917, estate of J.P. Morgan; acquired in December 1917, gift of J
Mann. Mertens, Joan R. 1985. "Greek Bronzes in the Metropolitan Museum of Art."

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
Mann, 1998. p. 119. Campbell, Thomas P., ed.

Mann.

Mann, 1998. p. 119. Campbell, Thomas P., ed.

Inscription: (top center): F [image of a knot] R (too fragmentary for interpretation, most likely added later as a reference to Francius de La Rochedfoucauld) (in each corner): : A [image of a knot] E [reversed] (unidentified)(on two dog collars): A [image of a knot] E [reversed] (unidentified)
Mann, 1998. p. 119. Campbell, Thomas P., ed.

Inscription: (in each corner and in center): A [image of a knot] E [reversed] (unidentified)(on scabbard hanging from man on left): AVE : / REGINA . C[AELORVM] (Hail the Queen of the Heavens [reference to one of the Marian antiphons]) (on dog’s collar, left): OFANGRE (too fragmentary for interpretation) (on dog’s collar, center): A [image of a knot] E [reversed] (unidentified)
Mann, 1998. p. 119. Campbell, Thomas P., ed.

Although better known as a painter of large-scale canvases, Tintoretto produced numerous portraits and was highly esteemed by his contemporaries as a portraitist. It was he, indeed, and not Veronese, Titian’s protégé, who replaced Titian as official portraitist of the Venetian government (in 1559, although the sansaria, or state stipend, was granted in 1574)
"Zur Ausstellung in Wien: Tintoretto und der ‚Weissbärtige Mann‚ im ‚Bordone-Saal

Inscription: (on each corner and in center): A [image of a knot] E [reversed] (unidentified)(on red horn): W [backwards E] D H N O H N M E H O M (too fragmentary for interpretation)
Mann, 1998. p. 119. Campbell, Thomas P., ed.