14th – 17th century (?), male.
Initials of a painter and engraver.
Cited by Bartsch and Defer; known for an engraving of Young Satyr and Old Satyr copied from an etching by Marcantonio Raimondi.
14th – 17th century (?), male.
Initials of a painter and engraver.
Cited by Bartsch and Defer; known for an engraving of Young Satyr and Old Satyr copied from an etching by Marcantonio Raimondi.
German (?), 14th – 17th century (?), male.
Monogram of an engraver.
Brulliot made a reference to this artist. His monogram is usually interpreted as A. A. B., but it could also be read as M. B. He left a cartouche, held by two eagles and topped by a ram's head....
German (?), 14th – 17th century (?), male.
Monogram of an engraver (stippling).
Brulliot makes a reference to A. B. He produced decorations in gold and silver.
German, 14th – 16th century ?, male.
Monogram of an engraver.
The monogram A.H.C. is found on various prints, in particular a Bacchus and Woman Bathing.
14th – 16th century (?), male.
Monogram of an engraver (wood).
14th – 17th century (?), male.
Monogram of an engraver. Religious subjects.
Cited by Defer; credited with a Nativity.
French, 14th – 17th century (?), male.
Active in Troyes.
Monogram of a glass painter.
School of Champagne.
According to Ris Paquot, A. L. B. worked at the church of St-Nizier.
German, 14th – 17th century (?), male.
Monogram of a draughtsman, engraver (wood).
The monogram A. M. is found on an engraving on wood of a View of the Town of Meissen.
German, 14th – 17th century (?), male.
Monogram of an engraver.
14th – 17th century (?), male.
Monogram of an artist.
Cited by Defer; noted for his Statue of Diana at Ephesus. Probably the same artist as in the preceding entry.
14th – 17th century (?), male.
Monogram of an engraver.
Italian, 14th century, male.
Monogram of an engraver (burin).
The engraver known as A. V. is mentioned by Brulliot. He worked in Italy towards the end of the 14th century and is known for his Equestrian Statue of Marcus Aurelius, which is a copy of an engraving by Marco da Ravenna....
Italian, 14th – 15th century, male.
Active in Ferrara.
Died c. 1454, in Ferrara.
Sculptor (wood).
Arduino Abaisi, the most famous member of the Abaisi family, produced woodcarvings for churches and private patrons in Ferrara, Modena and Mantua from 1406 to 1452. He found great favour at court and a patron in Duke Leonello d'Este. Son of Tommasino da Baisio, he was sometimes assisted by his brother Alberto, notably in the carvings for the sacristy of the bishop's palace in Ferrara....
Italian, 14th century, male.
Active in Ferrara.
Died before 1390.
Sculptor (wood).
Giovanni Abaisi produced the carvings for the choir of the old church of S Domenico in Ferrara in 1384.
Italian, 14th – 15th century, male.
Active in Ferrara.
Died before 1423.
Sculptor (wood).
Son of Giovanni da Baisio, Tommasino Abaisi executed the carvings for the choir of the Chiesa dei Servi church in Ferrara between 1405 and 1406. He is also believed to have worked for the monastery of S Bartolo and other churches in Ferrara....
Persian School, 14th – 15th century, male.
Active at the end of the 14th and at the beginning of the 15th century.
Painter.
Abd al Havy was a pupil of Shams al Din. In 1393, Tamburlaine (Timur) took him to Samarkand, where it is believed that he ran the city’s artistic workshops. No work has been attributed to him with any certainty....
Deluxe manuscript (Aberdeen, U. Lib., MS. 24) made in England around 1200. It is remarkable for its lavish illustrations, amply covered in gold leaf; for the wealth of its codicological data and for its close relationship to the Ashmole Bestiary. The book was left unfinished, so sketches and the detailed instructions for its colouring and assembly remain visible. The last few pages were completed in the 14th century. The book begins with a Creation cycle of full-page miniatures culminating in Adam Naming the Animals and Christ in Majesty. A portrait or narrative illustration of each animal precedes every text description.
The manuscript contains the press mark of King Henry VIII’s library, mainly assembled after the dissolution of the monasteries, but its provenance before 1542 is not known. Muratova (1986, pp. 118–144) uses cumulative information from a group of related manuscripts to suggest a provenance in the north-east Midlands; Geddes (...
[Abu Ṭāhir]
Persian family of potters. The family is sometimes known, somewhat improperly, by the epithet Kashani [al-Kashani, Qashani], which refers to their home town, Kashan. It was a major centre for the production of lustre pottery in medieval Iran, and they were among the leading potters there, working in both the Monumental and the Miniature styles (see Islamic art, §V, 3(iii)). As well as the lustre tiles for many Shi‛ite shrines at Qum, Mashhad, Najaf and elsewhere, they made enamelled and lustred vessels. Three other families of Persian lustre potters are known, but none had such a long period of production. At least four generations of the Abu Tahir family are known from signatures on vessels and tiles, including dados, large mihrabs and grave covers. The family may be traced to Abu Tahir ibn Abi Husayn, who signed an enamelled bowl (Cairo, Mus. Islam. A.). A lustre bowl in the Monumental style (London, N.D. Khalili priv. col.), signed by ...
Italian, 14th century, male.
Active in Bologna in 1352.
Painter. Religious subjects.
Bolognese School.
A monk, Giovanni Acario produced a number of different works for the Dominican convent, including the altarpiece for the high altar in the chapel of S Domenico.