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Berlinghiero – Madonna and Child – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/435658

This is one of a very few works that may be attributed to Berlinghiero based on analogies of style with a Crucifix in the Museo di Villa Guinigi, Lucca, that is signed „Berlingherius me pinxit.“ The painter—a key figure in the history of Tuscan painting—was from Volterra and is first documented in 1228 together with his two sons Barone and Bonaventura, both of whom, together with a third son, Marco, also became painters
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God Horus Protecting King Nectanebo II – Late Period – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/544887

Purchased from Eustache de Lorey, Paris, 1934; continuously exhibited and frequently published since that time; included in interational exhibition Cleopatra’s Egypt, Brooklyn and Munich, 1988, and La Gloire d’Alexandrie, Paris 1998
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Adélaïde Labille-Guiard – Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761–1818) and Marie Marguerite Carraux de Rosemond (1765–1788) – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/436840

Studying first with François Élie Vincent (1708–1790), a miniaturist whose Paris studio was in the same street as her father’s shop, Adélaïde Labille embarked upon her career before she was twenty
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Saint Servatius Crushing a Dragon, with Saint Michael Weighing Souls below (from a series with The Virgin Mary and Five Standing Saints) – German – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/474426

From the north nave of the former Carmelite church at Boppard-am-Rhein in Rheinland-Pfalz (Rhein-Hunsrück-Kreis), near Koblenz, Germany.; Count Hermann Pückler, Muskau (from 1818) ; [ Frédéric Spitzer Austrian, Paris (from at least 1875–sold 1893)] ; his posthumous sale, Chevallier & Mannheim, Paris (April 17–June 16, 1893, no
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El Greco (Domenikos Theotokopoulos) – Portrait of an Old Man – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/436574

For over a century scholars have considered whether or not this sympathetic portrait of an old man is a self-portrait by El Greco. Lafond (1906) described the seemingly Romantic notion as at best a plausible hypothesis, and a number of more recent scholars (for example, Wethey 1962) have rejected the idea, mainly on the basis of comparisons with presumed self-portraits inserted by El Greco into several of his major religious pictures (see also Christiansen 2003)
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Marble funerary altar of Cominia Tyche – Roman – Flavian or Trajanic – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/253569

Inscription: „To the spirits of the dead. To the most saintly Cominia Tyche, his most chaste and loving wife, [from] Lucius Annius Festus. [She] died at the age of twenty-seven years, eleven months, twenty-eight days
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