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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
Emporium 86 (July 1937), p. 363, ill. p. 364, calls it Saint Catherine before the
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)
Pantheon 2 (July 1928). p. 372. Migeon, Gaston. Les Arts du Tissu.
.: The Metropolitan Museum of Art, p. 219, fig. 135. Posener, Georges 1959.
In Metropolitan Museum Journal, 8, c.f. p. 40, n. 36.
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
Augustin, p. 170. Scott, Nora E. 1945. Egyptian Statues.
New York, p. 17 fig.. Pijoán, José and Manuel Cossi�o 1934.
New York: The Metropolitan Museum of Art, 1925. p. 36, fig. 16.
London: Burlington Fine Arts Club, p. 81 no. 40 pl. 6.
This panel and a scene showing the Flagellation of Christ (The Met 2001.216.2) 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
London, 1959, p. 113. F. G. Grossmann, ed.
Bruckmann, 1901. no. 194, p. 26. Prachoff, Adrien.
