the high altar of the church of San Domenico, Modena (until about 1708–10); John Edward Taylor, London (until d. 1905); his widow, Mrs. John E. Taylor, London (1905–12; her sale, Christie’s, London, July 5 and 8, 1912, no
B[ryson]. B[urroughs]. "A Fifteeth-Century Italian Panel."
Inscription: (on each corner and center): A [image of a knot] E [reversed] (unidentified)(on dog collar; twice): AE(on dog collar bearing arms; twice): AMarking: Arms (on dog collar on right): Quarterly, 1 and 4, barry of six or and azure, the first two bars debruised by three roses gules, seeded proper; 2 and 3, or, three escutcheons gules
Striking differences in dimension and composition have prompted scholars to question
Senwosret I at Lisht were decorated with one hundred relief panels, four of which have
Georges de La Tour’s Fortune Teller is one of the painter’s early masterpieces. It has been variously dated between 1620 and 1639, and it is most likely from the 1630s. The canvas is signed at top right: G
It has in fact been suggested that the Fortune Teller may have been a pendant to
Celebrating 50 years of the Temple of Dendur at The Met, this web feature offers essays, videos, and articles exploring its rich history.
Skip to main content On April 28, 1967, United States President Lyndon B.
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
content The American Wing at The Metropolitan Museum of Art Davidson, Marshall B.
in. (21.3 x 14.3 cm) Classification: Drawings Credit Line: Gift from the Karen B.
From a hypogeum (so-called “tomb B�) on the property of Savino Scocchera in Mandorleto Grotticelle, east of Canosa, Italy (Cozzi 1896, p. 494) 1895, found in a tomb near Canosa, Apulia, Italy; [by 1904 and until 1906, with Cesare and Ercole Canessa, Naples and Paris]; acquired in 1906, purchased from C
group as the loutrophoroi 06.1021.245 and 06.1021.249; the pyxis 06.1021.253a, b;
Greek settlers and the Scythian peoples around them profoundly impacted each other’s culture and art for centuries.
This gold casing would have been fitted onto a leather sword sheath, now lost.
Along with the Virgin and Child with Saint Anne (The Met 14.40.633), the Salvator Mundi (Savior of the World) is one of two exceptional paintings by Albrecht Dürer in the collection of The Metropolitan Museum
Could the Salvator Mundi have served a similar purpose in Dürer’s workshop?
