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Art Institute of Chicago, “Recent Purchases and Gifts,” Art Institute of Chicago Quarterly 46, 4 (November 1952), p. 72 (ill.).
Carmen Gomez-Moreno, Medieval Art from Private Collections: A special exhibition at The Cloisters, exh. cat., Metropolitan Museum of Art, New York, 1962, under nos. 104, 105.
Yvonne Hackenbroch, Bronzes, other Metalwork, and Sculpture in the Erwin Untermyer Collection (New York, 1962), p. 25.
Hermann Schnitzler, Peter Bloch, Charles Ratton, and Fritz Volbach, Mittelalterische Elfenbein-und Emailkunst aus der Sammlung E. und M. Kofler-Truniger, Luzern, 2 vols. (Düsseldorf, 1965), p, 74, under no. E137.
Sotheby Parke Bernet, New York, The Thomas F. Flannery Collection: Medieval and Later Works of Art (December 1, 1983), under no. 14.
Peter Barnet, Pete Dandridge et al., Lions, Dragons, & other Beasts: Aquaminilia of the Middle Ages, Vessels for Church and Table, exh. cat., Metropolitan Museum of Art with The Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, New York, 2006, p. 188, under no. 52.
South Bend, Indiana, University Art Gallery, University of Notre Dame, 1 October – 30 October, 1957.
Art Institute of Chicago, Small Bronzes from Chicago Collections, 22 July – 8 October, 1972.
Moscow, State Pushkin Museum of Fine Arts, Decorative-Applied Art from Late Antiquity to the Late Gothic Style, 14 May - 14 July 1990, and the Hermitage Museum, Leningrad, 14 August - 14 October 1990, no. 53.
Ferdinand Robert-Turnow (died 1875), Berlin [according to letter from Saemy Rosenberg to Hans Huth, 30 October 1951, in curatorial file; see also Wilhelm von Bode: Mein Leben, Thomas Gaehtgens and Barbara Paul, eds., vol. 1 (Berlin, 1997), pp. 83–85]; bequeathed by him to Empress Friedrich (the former Crown Princess Victoria), whose husband reigned briefly as Friedrich III, Berlin, and Schloss Friedrichshof, Taunus; on her death in 1901 bequeathed to her daughter, Princess Margarete of Prussia, Landgravin of Hesse (d. 1953), Schloss Friedrichshof, Taunus [according to letter cited above]; sold to Rosenberg & Stiebel, New York, 1951 [according to copy of letter from Saemy Rosenberg to Hans Huth, 30 October 1951, cited above]; sold to the Art Institute 1952.
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