Portrait of a member of the Antwerp family De Deckere, aged 62
Oil on panel, 28 7/16 x 25 x 2 3/4"
This artist is called Master of the ‘40s because most of his paintings are dated to the 1540’s such as this work dated to 1544. He worked mainly in Antwerp, painting portraits of wealthy, middle-class men and women; at upper right is the inscription AETATIS SVAE/62 which was used to notate age.
MASTER OF THE FORTIES
b. The Netherlands ca. 1540's
The Sedgwick Collection of Old Master Paintings
Oil on panel, 21 x 23 1/4 x 2"
Oil on panel painting of an open air market; soldiers fill the image with horses parked at center.
]]>Landscape with Soldiers before a Market, mid 17th C.
Oil on panel, 21 x 23 1/4 x 2"
Oil on panel painting of an open air market; soldiers fill the image with horses parked at center.
WOUWERMAN, Phillips
b.The Netherlands, 1619 - 1668
The Sedgwick Collection of Old Master Paintings
Oil on canvas, 27 5/8 x 33 1/8 x 2"
This work was given to Mr. and Mrs. Sedgwick by Robert W. de Forest, the former President of the Metropolitan Museum of Art and Mrs. Sedgwick’s uncle.
]]>The Gnarled Oak, 17th C.
Oil on canvas, 27 5/8 x 33 1/8 x 2"
This work was given to Mr. and Mrs. Sedgwick by Robert W. de Forest, the former President of the Metropolitan Museum of Art and Mrs. Sedgwick’s uncle.
RUISDAEL, Jacob van
b. The Netherlands, ca. 1628 - 1682 Amsterdam
The Sedgwick Collection of Old Master Paintings
Tempera on panel, 39 1/2 x 29 3/4 x 5 1/2"
The inscriptions on the backs of paintings can be deceptive. The handwritten notation in ink on the verso of this painting cites the date, 1460, and attributes the painting to Andrea Verrocchio. The inscription further indicates that Andrea Verrocchio (1435-1488) was the master of Pietro Perugino (1446-1523) in Florence, who himself was the master of Raphael (1483-1520). We know now, however, that Raphael entered Perugino’s studio about thirty-five years after 1460. Therefore, the commentary here was added some time after the painting was made. The exposed worm tunnels on the sides support this conclusion as well because they are evidence that the panel was thinned, and a layer of gesso and paint were added at the same time as the inscription. Inclusion of this inscription appears to be an attempt to construct a more favorable artistic lineage for the painting.
]]>Virgin and Child, mid 15th c.
Tempera on panel, 39 1/2 x 29 3/4 x 5 1/2"
The inscriptions on the backs of paintings can be deceptive. The handwritten notation in ink on the verso of this painting cites the date, 1460, and attributes the painting to Andrea Verrocchio. The inscription further indicates that Andrea Verrocchio (1435-1488) was the master of Pietro Perugino (1446-1523) in Florence, who himself was the master of Raphael (1483-1520). We know now, however, that Raphael entered Perugino’s studio about thirty-five years after 1460. Therefore, the commentary here was added some time after the painting was made. The exposed worm tunnels on the sides support this conclusion as well because they are evidence that the panel was thinned, and a layer of gesso and paint were added at the same time as the inscription. Inclusion of this inscription appears to be an attempt to construct a more favorable artistic lineage for the painting.
PSEUDO PIER FRANCESCO FIORENTINO
b. Italy, Florence mid 15th C.
The Sedgwick Collection of Old Master Paintings
1960.5
Oil on panel, 22 5/8 x 18 3/4 x 2"
Oil on panel painting of the Adoration of the Magi which includes three kings (Magi) presenting gifts of gold, frankincense, and myrrh to the baby jesus whom they found by following a star.
]]>Adoration of the Magi, late 15th c.
Oil on panel, 22 5/8 x 18 3/4 x 2"
Oil on panel painting of the Adoration of the Magi which includes three kings (Magi) presenting gifts of gold, frankincense, and myrrh to the baby jesus whom they found by following a star.
MASTER OF THE INVESTITURE OF ST. ILDEFONSO
b. Netherlands, late 15th Century
The Sedgwick Collection of Old Master Paintings
1960.3
Oil on panel, 18 1/4 x 23 5/8 x 2 3/8"
Flemish oil painting of a still life with fruit and insects; butterflies at upper left with seeded fruit and nuts in foreground.
]]>Still live with Fruit and Insects, 1649
Oil on panel, 18 1/4 x 23 5/8 x 2 3/8"
Flemish oil painting of a still life with fruit and insects; butterflies at upper left with seeded fruit and nuts in foreground.
MAHU, Cornelius, b. The Netherlands, 1613 - 1689
The Sedgwick Collection of Old Master Paintings
Oil on panel, 18 1/4 x 23 5/8 x 2 3/8"
Flemish oil painting of a still life with fruit and insects; butterflies at upper left with seeded fruit and nuts in foreground.
]]>Still Life with Fruit and Insects, 1649
Oil on panel, 18 1/4 x 23 5/8 x 2 3/8"
Flemish oil painting of a still life with fruit and insects; butterflies at upper left with seeded fruit and nuts in foreground.
The Sedgwick Collection of Old Master Paintings
1960.10
Oil on panel, 34 3/4 x 29 x 4 5/8
Oil on panel painting of the Portrait of Christina, Grand Duchess of Tuscany. She is wearing traditional Elizabethan dress embellished with gold buttons, pearls and a lace ruff; painting is framed in an ornate gold.
]]>Portrait of Christiana, Grand Duchess of Tuscany, ca. 1589
Oil on panel, 34 3/4 x 29 x 4 5/8
Oil on panel painting of the Portrait of Christina, Grand Duchess of Tuscany. She is wearing traditional Elizabethan dress embellished with gold buttons, pearls and a lace ruff; painting is framed in an ornate gold.
Italian or French
The Sedgwick Collection of Old Master Paintings
Oil on canvas, 65 1/2 x 71 1/4 x 2 7/8"
Large oil on canvas painting with a standing pelican at left; multiple ducks and birds populate the lower foreground and upper background
]]>Landscape with Birds, 17th C.
Oil on canvas, 65 1/2 x 71 1/4 x 2 7/8"
Large oil on canvas painting with a standing pelican at left; multiple ducks and birds populate the lower foreground and upper background
HONDECOETER, Melchior de
b. The Netherlands, 1636 - 1695 Amsterdam
The Sedgwick Collection of Old Master Paintings
Oil on panel, 18 7/8 x 16 1/8 x 2 5/8"
The backs of paintings may often disclose information about a work’s provenance, or history of ownership. Here, the labels show that this painting by an unknown German artist, possibly in the school of Hans Holbein (1497-1543), was once in the collection of George P. Boyce, Esq. The label at top right denotes that the work was exhibited in The Tudor Exhibition at the New Gallery in 1890, while the one at lower left provides a faithful description of the subject. Research about this particular exhibition, and others to which the owner lent this painting, indicates that in 1890 it was exhibited in the West Hall of the New Gallery on Regent Street, London, alongside 136 other portraits of the royal family, nobility, and gentry, made during the time of Henry VIII (1509-1547). However, inscriptions can also be specious. At the end of the 19th century, this painting was thought to be a portrait of Henry Grey, Duke of Suffolk. Decades of scholarship since leave this figure unidentified and simply referred to now as, Portrait of a Man
]]>Portrait of a Man, mid 16th C.
Oil on panel, 18 7/8 x 16 1/8 x 2 5/8"
The backs of paintings may often disclose information about a work’s provenance, or history of ownership. Here, the labels show that this painting by an unknown German artist, possibly in the school of Hans Holbein (1497-1543), was once in the collection of George P. Boyce, Esq. The label at top right denotes that the work was exhibited in The Tudor Exhibition at the New Gallery in 1890, while the one at lower left provides a faithful description of the subject. Research about this particular exhibition, and others to which the owner lent this painting, indicates that in 1890 it was exhibited in the West Hall of the New Gallery on Regent Street, London, alongside 136 other portraits of the royal family, nobility, and gentry, made during the time of Henry VIII (1509-1547). However, inscriptions can also be specious. At the end of the 19th century, this painting was thought to be a portrait of Henry Grey, Duke of Suffolk. Decades of scholarship since leave this figure unidentified and simply referred to now as, Portrait of a Man
German, mid 16th C.
The Sedgwick Collection of Old Master Paintings
Oil on panel, 18 7/8 x 15 3/4 x 2 5/8"
German or Flemish oil painting of a fully clothed female clasping her hands in front. Her dress reflects layering of an undergament with outer dress and the wearing of a black hood over a linen undercap. These hoods became more complex and structured over time.
]]>Portrait of a Woman, 16th C.
Oil on panel, 18 7/8 x 15 3/4 x 2 5/8"
German or Flemish oil painting of a fully clothed female clasping her hands in front. Her dress reflects layering of an undergament with outer dress and the wearing of a black hood over a linen undercap. These hoods became more complex and structured over time.
Oil on panel, 19 1/2 x 47 3/4 x 2 3/8"
Nicholas Tolentino was a 13th century Italian priest who was canonized in 1446 by Pope Eugene IV. Known for his eloquence, he was believed to have performed several miracles during his lifetime. Here, from left to right, we see him freeing a prisoner, supporting a man who was unjustly hanged until he could be let down, reviving a dead person, rescuing a ship from distress, and preaching.
]]>Scenes From the Life of Nicholas Tolentino,15th C.
Oil on panel, 19 1/2 x 47 3/4 x 2 3/8"
Nicholas Tolentino was a 13th century Italian priest who was canonized in 1446 by Pope Eugene IV. Known for his eloquence, he was believed to have performed several miracles during his lifetime. Here, from left to right, we see him freeing a prisoner, supporting a man who was unjustly hanged until he could be let down, reviving a dead person, rescuing a ship from distress, and preaching.
Follower of Perugino, b. Italy
The Sedgwick Collection of Old Master Paintings
Oil on panel, 18 1/4 x 15 1/2 x 1 3/4"
The labels affixed to this work provide a history of where the painting was displayed. The red starburst label indicates that this painting was available for purchase at the American Art Galleries at Madison Square South, New York, as part of the sale of the William M. Laffan Collection on January 20, 1911. The auction catalogue for that sale specifies that the painting, then misidentified as a Spanish Saint Dorothea, was purchased by Robert S. Minturn for $800. Later, it turned up in the collection of Robert B. Minturn. The three labels--at top center, bottom left and bottom right–- attached to both the frame and the panel reveal that this painting was exhibited at the Fogg Art Museum at Harvard University, where it was lent by Robert B. Minturn, Francis M. Sedgwick’s uncle, in 1934.
Portrait of an Infanta, 15th C.
Oil on panel, 18 1/4 x 15 1/2 x 1 3/4"
The labels affixed to this work provide a history of where the painting was displayed. The red starburst label indicates that this painting was available for purchase at the American Art Galleries at Madison Square South, New York, as part of the sale of the William M. Laffan Collection on January 20, 1911. The auction catalogue for that sale specifies that the painting, then misidentified as a Spanish Saint Dorothea, was purchased by Robert S. Minturn for $800. Later, it turned up in the collection of Robert B. Minturn. The three labels--at top center, bottom left and bottom right–- attached to both the frame and the panel reveal that this painting was exhibited at the Fogg Art Museum at Harvard University, where it was lent by Robert B. Minturn, Francis M. Sedgwick’s uncle, in 1934.
FLANDES, Juan de
d. 1516, Spain
The Sedgwick Collection of Old Master Paintings
Oil on panel, 28 11/16 x 27 x 3"
Oil on panel painting of a Dutch female wearing the traditional dress of the 17th Dutch . This includes a white linen diadem cap with white bobbin lace edging; a huge ruff which is intricately detailed and a black gown with a black bodice of velvet lined with fur which is for married women only. The sleeves mirror the gown and are detachable with buttons.
]]>Portrait of a Woman, 17th C.
Oil on panel, 28 11/16 x 27 x 3"
Oil on panel painting of a Dutch female wearing the traditional dress of the 17th Dutch . This includes a white linen diadem cap with white bobbin lace edging; a huge ruff which is intricately detailed and a black gown with a black bodice of velvet lined with fur which is for married women only. The sleeves mirror the gown and are detachable with buttons.
Dutch, 17th C.
The Sedgwick Collection of Old Master Paintings
Oil on panel, 24 x 23 1/2 x 2 3/4"
Oil on panel painting of a landscape with a horseman positioned on top of a small hill overlooking a river; rolling hills in background.
]]>Landscape with Horsemen, 17th C.
Oil on panel, 24 x 23 1/2 x 2 3/4"
Oil on panel painting of a landscape with a horseman positioned on top of a small hill overlooking a river; rolling hills in background.
DUJARDIN, Karel (Attributed to)
b. The Netherlands, ca. 1622 - 1678
The Sedgwick Collection of Old Master Paintings
Oil on panel, 19 1/2 x 47 3/4 x 2 3/8"
Oil on panel painting of the Lamentation which is a very common subject in Christian art from the High Middle Ages to the Baroque. After Jesus was crucified, his body was removed from the cross and his friends mourned over his body.
]]>Lamentation, late 15th C./early 16th C.
Oil on panel, 19 1/2 x 47 3/4 x 2 3/8"
Oil on panel painting of the Lamentation which is a very common subject in Christian art from the High Middle Ages to the Baroque. After Jesus was crucified, his body was removed from the cross and his friends mourned over his body.
DAVID, Gerard, Studio of
b. The Netherlands, ca. 1450 - 1523
The Sedgwick Collection of Old Master Paintings
1960.4
Oil on panel,
41 3/4 x 30 1/2 x 7 5/8"
The lattice structure seen on the back of this painting is known as a cradle. It is made of slats of wood adhered to the back of the panel in the direction of the wood grain, with sliding members inserted at right angles. Cradling was a common practice of restoration for centuries and was used to correct and stabilize damage caused by cracking, warping, and even insect infestation, all of which can be seen here. This method of straightening was carried out by first thinning the wood, one result of which is that the tunnels made by worms are exposed. Impressions of the nails, which were used to secure the cradle, are visible in the corners and sides. Though these restoration techniques were common at one point , conservators today take a less invasive approach in their measures to ensure longevity.
]]>Virgin and Child with Two Saints, 2nd half 15th C.
Oil on panel,
41 3/4 x 30 1/2 x 7 5/8"
The lattice structure seen on the back of this painting is known as a cradle. It is made of slats of wood adhered to the back of the panel in the direction of the wood grain, with sliding members inserted at right angles. Cradling was a common practice of restoration for centuries and was used to correct and stabilize damage caused by cracking, warping, and even insect infestation, all of which can be seen here. This method of straightening was carried out by first thinning the wood, one result of which is that the tunnels made by worms are exposed. Impressions of the nails, which were used to secure the cradle, are visible in the corners and sides. Though these restoration techniques were common at one point , conservators today take a less invasive approach in their measures to ensure longevity.
Da Treviso The Elder, Girolamo (Attributed to)
active Treviso, 1455 - 1497
The Sedgwick Collection of Old Master Paintings
Oil on panel painting of an elderly woman. She is wearing traditional dress including a veiled cap and is holding rosary beads.
]]>Portrait of an Elderly Woman, 1544
Oil on panel, 15 5/8 x 11 3/4 x 1 1/2"
Oil on panel painting of an elderly woman. She is wearing traditional dress including a veiled cap and is holding rosary beads.
The Sedgwick Collection of Old Master Paintings
Oil on panel, 39 1/8 x 30 3/4 x 7 3/4"
Oil on panel painting enclosed within a raised altar. The Virgin Mary is clothed in a blue-green robe looking over the baby Jesus positioned on a red sofa-like structure. Sky and mountains in background.
]]>Virgin and Child Before a Landscape, 15th C.
Oil on panel, 39 1/8 x 30 3/4 x 7 3/4"
Oil on panel painting enclosed within a raised altar. The Virgin Mary is clothed in a blue-green robe looking over the baby Jesus positioned on a red sofa-like structure. Sky and mountains in background.
BELLINI, Giovanni (Attributed to)
b. Italy, ca. 1430-1500
The Sedgwick Collection of Old Master Paintings
1960.1
Oil on panel, 18 1/4 x 21 3/4 x 2 7/8"
Oil on panel frame which was either partially or fully removed. This could suggest that the frame was repurposed. Barely discernable are numbers and letters, including a typewritten “RGNE” on the torn label at left. The identification of the numbers across the top is also unknown. A faint, handwritten inscription down the right edge reads “Bakhuysen,” referring to the painter of this work. The painting is an oil on panel, and at a later date was reinforced by a method known as cradling, of which there is another example on view in this exhibition.
]]>Riverscape, 17th C.
Oil on panel, 18 1/4 x 21 3/4 x 2 7/8"
Oil on panel frame which was either partially or fully removed. This could suggest that the frame was repurposed. Barely discernable are numbers and letters, including a typewritten “RGNE” on the torn label at left. The identification of the numbers across the top is also unknown. A faint, handwritten inscription down the right edge reads “Bakhuysen,” referring to the painter of this work. The painting is an oil on panel, and at a later date was reinforced by a method known as cradling, of which there is another example on view in this exhibition.
BACKHUYSEN, Ludolf
b. The Netherlands, 1631-1708
The Sedgwick Collection of Old Master Paintings