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The Artist: Bernardo Daddi was one of the most important painters of the early Trecento in Florence. He began his activity there in the 1320s during the height of Giotto’s reign over Florentine painting
Art News 35 (May 1, 1937), p. 30, ill. p. 37 (color), calls it "St.
Henry II, King of France (until d. 1559); Carl August, Grand Duke of Saxe-Weimar-Eisenach, Residenzschloss, Weimar (by 1804–d. 1828); by descent to Wilhelm Ernst, Grand Duke of Saxe-Weimar-Eisenach, Residenzschloss, Weimar, later Schloss Heinrichau, Lower Silesia, Germany (now Henryków, Poland) (1901–d
New York: Atheneum, 1969. p.78, ill.
Fund, 1926 Object Number: 26.90 Inscription: Signed (lower right, on rock): A B
Der Cicerone 18, no. 4 (1926), p. 111, ill. p. 114. Julius Meier-Graefe.
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
B.] Nordhoff. "Die Soester Malerei unter Meister Conrad."
Inscription: Title page inscribed: Nr. 18; porfolio folder inscribed and dated: Erste / George Grosz – Mappe / 1917; extra porfolio folder inscribed and dated: Erste / George Grosz – Mappe / 1917; „Erinnerung an New York“ (lithograph) inscribed (lower left, on verso): Erinnerung an New York / George Grosz; „Straße in der Stadt“ (lithograph) inscribed (lower left, on verso):
Comparative Literature Studies 12 (September 1975), p. 230. George Grosz.
The Artist: Bernardo Daddi was one of the most important painters of the early Trecento in Florence. He began his activity there in the 1320s during the height of Giotto’s reign over Florentine painting
New York, 1954, p. 26. Klara Steinweg. "Contributo a due predelle di B.
The Painting: In his mid-fifties and at the height of his career, Paul Cézanne began a series of paintings, drawings, and watercolors of card players. The unprecedented repetition of the theme of card players and the monumental scale at which he chose to work in two of the later canvases demonstrate the significance of the project for him
October 5–November 14, 1917, no. 34 (as "Les joueurs de cartes," lent by the B.
Ratti Textile Center Modern and Contemporary Art 2 of 20 Soprano ophicleide in B-flat
and Contemporary Funds, Leonora Brenauer Bequest, in memory of her father, Joseph B.
