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New York, p. 17 fig.. Pijoán, José and Manuel Cossi�o 1934.

The Metropolitan Museum of Art Bulletin 10, no. 1 (Summer 1951). p. 26.

This group of five ivory panels are the reassembled elements of a „composite casket,“ so called by scholars because the narrative scenes that adorn them are vignettes from a variety of popular stories and chivalric romances
IV, p. 200. Meyrick, Samuel Rush.

New York Times (June 3, 2001), p. AR 33. Carol Vogel.

New York: The Metropolitan Museum of Art, p. 26, fig. 38.

Until 1899, collection of Henry Hoffmann (1823-1897), Paris; May 1899, purchased by Henri de Morgan at the Hoffmann sale at Hôtel Drouot, Paris (lot 78); 1899-1901, collection of Henri de Morgan (1854-1909), Paris; acquired in 1901, purchased at the de Morgan sale at the American Art Galleries, New York (lot 67)
The Collection of Henry de Morgan. no. 366, p. 67. Fürtwangler, Adolf. 1913.

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
The Connoisseur 105, no. 463 p. 123. Grancsay, Stephen V.

The Artist: One of the great figures of seventeenth-century painting, Giovanni Francesco Barbieri was born in the town of Cento, not far from Ferrara. His nickname, Guercino—literally, “the little crossed-eyed�—derives from an eye defect evident in portraits of the artist
Bologna, 1971, p. 55. A. Pigler.

Richter, Gisela M. A. and Lindsley F. Hall. 1936. Red-Figured Athenian Vases in the Metropolitan Museum of Art. no. 81, pp. 111–12, pls. 83, 84, 173, New Haven: Yale University Press.Richter, Gisela M
Attic Red-Figured Vases: A Survey. p. 92, fig. 32d, New Haven: Yale University Press

Mexica (Aztec) artist to its continued use in the colonial period (Bravo, 2018, p.