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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
The Hague, 1924, p. 408 n. 1, as "the martyrdom of St.
Edmond de Goncourt Catalogue raisonné de l’Å“uvre peint, dessiné et gravé de P.
From the north nave of the former Carmelite church at Boppard-am-Rhein in Rheinland-Pflaz (Rhein-Hunsrück-Kreis), near Koblenz, Germany; Count Hermann Pückler, Muskau (from 1818) ; [ Frédéric Spitzer Austrian, Paris (from at least 1875-1893)] ; his posthumous sale, Chevallier & Mannheim, Paris (April 17–June 16, 1893, nos
Annual Report of the Trustees of the Metropolitan Museum of Art 69 (1938). p. 25.
Inscription: Inscribed on top of the nasal: „There is no God but God“, „Mohammad is the Messenger of God“; below the nasal: „Victory from God“, „By order of Safi ad-Din Ahmad Ibn (al-Hasan?)“; at the base of the nasal: „and close (imminent) conquest“; on the band at the base of bowl: a Koranic inscription; on the peak or visor, pious inscriptions which includes the 99 names of Allah, among them: „the hearing, the wise“; on the right cheek piece, front plate: „God“; on the right cheek piece, bottom most plate: „Oh living“, „Oh everlasting
Rouveyre, 1901. p. 111, no. N.1, pl. 8. Grancsay, Stephen V.
Brooklyn, New York: Brooklyn Museum, 1966. p. 84, no. 97, ill.
The Painting: This compact, miniature altarpiece was commissioned for devotions to the Virgin of the Rosary.[1] The rosary refers to both the series of prayers recited, and the string of prayer beads used as a memory device
X-radiograph of 1987.290.3a–p Fig. 7.
New York. Brooklyn Museum. „Loan Exhibition of European Arms and Armor,“ June 12–October 31, 1933, no. 4.Los Angeles. Los Angeles County Museum of Art. „Loan Exhibition of Mediaeval and Renaissance Arms and Armor from the Metropolitan Museum of Art,“ January 15–March 18, 1953, no
London: Royal Society of Arts, 1850. p. 81, no. 878.
.: The Metropolitan Museum of Art, p. 301, fig. 186.
Two men stand at a precipice beside towering spruce trees. They look across a gorge toward a majestic waterfall, having paused together to contemplate this untamed scenery at sunset. The figure on the left, shown wearing a top hat and overcoat, is most likely a self-portrait by Dahl
Müller, Künstblatt, no. 19 (1819), p. 73, quoted in Bang 1987, vol. 1, pp. 41,
Paris, 1878. p. 72. Dean, Bashford.
