New York, 1950–1999
Daniel first played for the Philadelphia Orchestra before moving to Chicago in 1930
Inscription: [on black band against background] PADRE MIO SIENO SALVI CHOSTORO PEQUALI TU / VOLESTI CHIO PATISSI PASSIONE (My Father, let those be saved for whom you wished me to suffer the Passion); DOLCIXIMO FIGLIUOLO PELLAC: / TE CHIO TIDIE ABBI MIA DI CHOSTORO (Dearest Son, because of the milk that I gave you, have mercy on them)
Johnson Collection and the Philadelphia Museum of Art.
designs by Maxfield Parrish, for Edward Bok at the Curtis Publishing Company in Philadelphia
Until 1924, collection of Alexandre Merle de Massonneau, who acquired material from the Caucasus area of south Russia and Crimea in the late nineteenth and early twentieth centuries (Leskov 2008, p. 1); acquired by the Museum in 1924, purchased from the Massonneau collection in Paris by John Marshall, The Metropolitan Museum of Art’s agent in Europe
Philadelphia: University of Pennsylvania Museum of Archaeology and Anthropology,
Detroit, 1917—Detroit, 1987
Philadelphia: John Benjamins Pub. Co., 1996. Lasky, Victor.
Search art at the Metropolitan Museum.
series, type 1 (E90-1) for the American Caramel Company American Caramel Company, Philadelphia
Until 1924, collection of Alexandre Merle de Massonneau, who acquired material from the Caucasus area of south Russia and Crimea in the late nineteenth and early twentieth centuries (Leskov 2008, p. 1); acquired by the Museum in 1924, purchased from the Massonneau collection in Paris by John Marshall, The Metropolitan Museum of Art’s agent in Europe
Philadelphia: University of Pennsylvania Museum of Archeology and Anthropology, p
Until 1924, collection of Alexandre Merle de Massonneau, who acquired material from the Caucasus area of south Russia and Crimea in the late nineteenth and early twentieth centuries (Leskov 2008, p. 1); acquired by the Museum in 1924, purchased from the Massonneau collection in Paris by John Marshall, The Metropolitan Museum of Art’s agent in Europe
Philadelphia: University of Pennsylvania Museum of Archeology and Anthropology, p
Under [the Impressionists’] influence, Cassatt revised her technique, composition, and use of color and light, manifesting her admiration for the works of the French avant-garde, especially Degas and Manet.
France, the Franco-Prussian War interrupted Cassatt’s studies and she returned to Philadelphia
