Meintest du ein p?
Prince Antonin Juritzky, also known as Alfred Juritzky-Warberg, Vienna or Schloss Gablitz, near Vienna (in 1923); [Nicholas A. Karger, until 193(?); sold to Kleinberger]; [Kleinberger, Paris and New York, until 1934; sold to Wildenstein]; [Wildenstein, New York, 1934–41; sold to The Met]
Art News 39 (November 2, 1940), p. 8, ill. (color).
Augustin, p. 83. Hayes, William C. 1953.
The Metropolitan Museum of Art Bulletin (February 1950), p. 178–79, ill.
The low relief carving on this ivory panel represents the progress of the hunt in three scenes. On the left, the chase begins as a hunter on a galloping horse blows his horn while his dog runs beside him and　court ladies watch from the parapets of the castle
Techener, 1840. p. 30, pl. XXIII. Hagen, Frederik.
Leipzig, 1846, vol. 1, p. 120, as the "Vertreibung der Hagar".
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
New York, 1947, p. 164.
This magnificent painting by the leading painter of King Louis XIV (1638–1715)—the artist who supervised the decoration of the Louvre and Versailles and headed the Gobelins manufactory for tapestries and furniture—is a landmark in the history of French portraiture
Paris, 1997, p. 57, ill. p. 59, as private collection, Great Britain; dates it about
The Artist: Antonio Vivarini was a member of a family documented on the island of Murano (Venice) and Padua from the second half of the fourteenth century. His father, Michele, and the founder of the family, „Vivarinus vitruarius,“ were both glassmakers
Art in America 26 (April 1938), p. 92, ill. p. 89. Harry B. Wehle.
1911–13, excavated under the direction of Baron Max von Oppenheim; ceded to Baron Max von Oppenheim in the division of finds; acquired by the Museum in 1943, purchased from the Alien Property Custodian, New York
New York: The Metropolitan Museum of Art, p. 23, fig. 35.
