Ceramic vessel with handles containing holes for hanging; 729 on underside.
Caroline Tarbell Tupper Collection of Pre-Columbian Art
Seated female figure; ashen clay with figures left leg missing.
Gift of Mrs. MacKinley Helm in memory of Dr. MacKinley Helm
Mexico; Central Veracruz, Remojades area
Drypoint print of a man, seated and staring out the window as rain appears against the backdrop of other buildings. Signed and titled below image.
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Pulpit Relief by Luca della Robia, Florence
Image of a male soldier standing up with his sword pointed towards the ground.
ARNESON, Robert
4 3/4 x 14 1/2 x 3 1/4" Ceramic brick with ears extending from left and right. Brick is partially glazed with the word BRICK inscribed at center with W and Z.
Arneson, Robert
BENTON, Thomas Hart
Matted lithograph of a group of men cradling wheat. In the background are rolling hills at upper right under a group of billowing clouds.
Lungren, Fernand
LUNGREN, Fernand
PALLY, Marc
Graphite, colored pencil, acrylic on wood
Two sided mixed media work with a male figure on one side; second side includes a female figure with starfish form.
TIEPOLO, Gian Domenico
Pen and black ink, gray wash, on cream paper
The Feitelson Collection of Old Master Drawings
MAHU, Cornelis
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.
MAHU, Cornelius. b. The Netherlands, 1613 - 1689
The Sedgwick Collection of Old Master Paintings
ALBERTI, Cherubino
Resurrection, 16th-17th C.
Pen, brown ink, and grey wash on cream paper
ALBERTI, Cherubino, b. Italy, 1553-1615
Gift of the Lorser Feitelson and Helen Lundeberg Feitelson Arts Foundation
Fainting Virgin Mary with Two Marys and Joseph of Arimathea, 17th C.
Brush and black ink, wash, white over black chalk on brown paper
Artist Unknown, b. 17th c.
Artist unknown
Gift of Walter Silva through the Art Affiliates to the Ala Story Print Collection
ASPERINI, Amico (Imitator of)
Hercules and Cerberus, 15th-16th C.
Pen and faded brown ink, brown wash on tan paper
ASPERINI, Amico (Imitator of),
BACKHUYSEN, Ludolf
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
BARTOLOMMEO, Fra (Circle of)
Nude Youth (recto), 15th - 16th c.
Black chalk on cream paper (recto)
Giustiniani Apollo (verso), 15th - 16th c.
Bellini, Giovanni (Attributed to)
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
Elevation of the Cross, 17th C.
Black chalk, brown ink, brown wash, on cream paper
BENSO, Giulio, b. Italy, 1601-1688
CAMBIASO, Luca (Circle of)
Holy Family with Saint John the Baptist, 16th C.
Pen and brown ink on off-white paper; laid down
Pen and wash with brown ink, traces of black and red chalk; laid down
CAMBIASO, Luca, b. Italy, 1527-1585
CARRACCI, Annibale
Castle Landscape, 16th-17th C.
Pen and brown ink on discolored light tan paper
CARRACCI, Annibale, b. Italy, 1560-1609
CASTELLO, Giovanni Battista (IL BERGAMASCO)
The Death of Queen Sophonisba, 16th C.
CAVEDONE, Giacomo
Adoration of the Magi, 16th-17th C.
Pen, brown ink, brown wash over black chalk on off-white paper
CAVEDONE, Giacomo b. Italy, 1577-1660
CESI, Bartolomeo (Attributed to)
Working Man with Stick or Hoe, 16th - 17th c.
Red chalk with white on grey paper
CESI, Bartolomeo (Attributed to), b. Italy, 1556-1629
Da Treviso The Elder, Girolamo (Attributed to)
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
DAVID, Gerard, Studio of
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
DE LEONE, Andrea
Seated Old Man (recto), Robed Figure in Clouds (verso), 17th C.
Red chalk on tan paper; verso: black chalk drawing
DE LEONE, Andrea, b. Italy, 1610-1685
DUJARDIN, Karel (Attributed to)
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
DURER, Albrecht (After) German
Willibald Pirckheimer of Eichstatt
DURER, Albrecht (After)
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.
FLANDES, Juan de
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
Seated Female Nude Extending a Wreath, 1640s
Black and white chalk on blue paper
FLINCK, Govaert, b. Kleve, 1615-1660
Follower of Perugino
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
GANDOLFI, Mauro (Attributed to)
Studies of Six Heads, ca. 1790-1795
Pen with dark brown ink on discolored white paper
GANDOLFI, Mauro (Attributed to), b. Italy, 1764-1834
German
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.
Christ and Saint Peter: Pasce Oves Mea, ca. 1696
Brush and brown wash over red chalk on cream paper
GIORDANO, Lucas, b. Italy, 1634-1705
Gift of the Lorser Feitelson and Helen Lundeburg Feitelson Arts Foundation
HONDECOETER, Melchior de
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
Italian or French
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.
Battle of Centaurs and Lapiths, 1681-1682
Pen, black ink, grey wash, over black chalk on off-white paper
LAFAGE, Raymond, b. France, 1656–1684
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
MASTER OF THE FORTIES
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
MAZZUCCHELLI, Pier Francesco, called IL MORAZZONE
Agony in the Garden, 16th-17th C.
Pen, black ink, grey wash, white over black chalk on tan paper
MAZZUCCHELLI, Pier Francesco, called IL MORAZZONE, b. Italy, 1571–1626
MENESCARDI, Guistino
Mary Magdalen Washing the Feet of Christ, 18th C.
Brown ink and wash, white and red chalk on tan paper
MENESCARDI, Guistino, b. Italy, active ca.1740–1765
Death of Dido, 16th-17th C.
Pen and brown ink, brown wash on cream paper
NEBBIA, Cesare, b. Italy, 1536-1614
PASSAROTTI, Bartolomeo
pen and brown in on tan paper; laid down
PASSAROTTI, Bartolomeo, b. Italy, 1529 - 1592
PINELLI, Bartolomeo
Battle of Romans and Etruscans, 1823
PINELLI, Bartolomeo, b. Italy, 1781-1835
PSEUDO PIER FRANCESCO FIORENTINO
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.
RIBERA, Jusepe de (Circle of)
Penitent Saint Peter, 17th C.
pen and brown ink, grey wash, on tan paper
RIBERA, Jusepe de (Circle of), b. Italy, 17th C.
Gift of Lorser Feitelson and Helen Lundeberg Feitelson Arts Foundation
RIBERA, Jose de (Circle of)
Figure Studies, 17th C.
Pen and brown ink, grey wash, on tan paper
RIBERA, Jose de (Circle of), b. Italy, 17th C.
RIMINALDI, Orazio
Atalanta and Hippomenes, 17th C.
RIMINALDI, Orazio, b. Italy, 1593-1630
RONCALLI, Cristofano, (IL POMARANCIO, After)
Saint Domitilla, 16th-17th C.
Pen and brown ink, white, and brown wash on brown prepared paper
RONCALLI, Cristofano, (IL POMARANCIO, After), b. 1552/3 - 1626
ROTTENHAMMER, Hans
Perseus Rescuing Andromeda, 16th - 17th C.
Pen and brown ink, wash over black chalk on paper
ROTTENHAMMER, Hans, b. Germany, 1564-1625
RUISDAEL, Jacob van
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
SALVIATI, Francesco
The Deception of Ixion, 16th. C.
In Greek mythology King Ixion killed his father-in-law rather than honor the debt owed for his bride. To escape punishment for his crime, Ixion begged Zeus for assistance, as pictured in the lower right of the drawing. Zeus granted him refuge on Mt. Olympus but shortly after he arrived, Ixion made sexual advances towards Hera, Zeus’s wife. Incredulous at Ixion’s reported behavior, Zeus asked Hera to fashion a cloud in her image, which the artist depicts in the top right corner of the drawing. Ixion, overcome with passion, and believing the cloud to be Hera, made love to the cloud figure, the central subject of this drawing. A furious Zeus ordered that Ixion be strapped to a winged, burning wheel for eternity, calling out, “Repay your benefactor frequently with gentle favors in return.”
SALVIATI, Francesco, b. Italy, 1510 - 1563
Heavenly Hosts, 16th - 17th c.
Pen and brown ink, brown wash, over black chalk on cream paper
SARACENI, Carlo, b. Italy, 1578/9 - 1620
TEMPESTA, Antonio
Anthony Before Cleopatra, 16th - 17th C.
pen and brown ink, brown wash, on tan paper, laid down
TEMPESTA, Antonio, b. Italy, 1555 - 1630
Gift of the Lorser Feitelson and Helen Lundeberg Fietelson Arts Foundation
TIBALDI, Pellegrino
Frieze with Men, Putti, Satyr, and a Nymph, 16th C.
Pen, brown ink, wash over black chalk, white, on brown paper
TIBALDI, Pellegrino, b. Italy, 1527 - 1596
TIEPOLO, Giambattista
Angels and Figures, 18th C.
Pen and brown ink, brown wash on white paper
TIEPOLO, Giambattista, b. Italy, 1696 - 1770
The People of Israel and the Fiery Serpents, 1725-1735
TIEPOLO, Giambattista b. Italy, 1696 - 1770
Saint Anthony of Padua and the Infant Christ, 18th - 19th c.
Pen and grey ink, brown wash over black chalk, on cream paper
TIEPOLO, Gian Domenico, b. Italy 1727 - 1804
Head of an Old Man, 18th-19th c.
Black chalk, white, on grey-blue paper
Old man with beard and turban, facing left.
TIEPOLO, Gian Domenico, b. Italy, 1727 - 1804
VAN DYCK, Anthony (Circle of)
Pen and dark brown ink, brown wash, on cream paper
VAN DYCK, Anthony (Circle of), b. Antwerp, 1599 - 1641
VAROTTI, Giuseppe
Judgement of Paris, ca. 1730-1740
Brush and brown wash over black crayon on cream paper
VAROTTI, Giuseppe, b. Italy, 1715 - 1780
VERDIZOTTI, Giuseppe Maria
Apollo Flaying Marsyas, 16th-17th C.
Pen and brown ink on cream colored paper
VERDIZOTTI, Giuseppe Maria, b. Italy, 1537/40 - 1604/7
VOSTERMAN, Lucas the Elder (Attributed to)
Two Studies of Putti Stepping under a Drapery, 17th C.
Pen and black and brown ink, wash on brown paper
VOSTERMAN, Lucas the Elder (Attributed to), b. Antwerp, 1595-1675
WARHOL, Andy
Image of Debbie Harry; bust shot. Head slightly turned to the left. “Blondie—Debbie—was sweet, her hair was fixed up, and you’d never Believe she’s in her thirties—no wrinkles and so pretty. She must not have been pretty all these years, though, or I would have noticed her.”
Gift of the Andy Warhol Foundation for the Visual Arts, the Andy Warhol Photographic Legacy Program © The Andy Warhol Foundation for the Visual Arts, Inc.
WOUWERMAN, Phillips
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
ZUCCARO, Federico, 16th - 17th century
Resurrection of Christ, 16th - 17th century
pen and black and brown ink, white, brown wash
ZUCCARO, Federico, b. Italy, Sant'Angelo in Vado 1540/41 - 1609 Ancona
ZUCCARO, Taddeo (Circle of)
Firing of the Temple in Jerusalem, 16th C.
Pen and brown ink and wash, on brown paper
ZUCCARO, Taddeo (Circle of), b. Italy, 1529 - 1566
Master of the Investiture of St. Ildefonso
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
Pen and black ink, grey wash on cream paper
Master of the Martelli Mirror
Allegory of Reproduction
b. Italy, late 15th or early 16th c.
Sigmund Morgenroth Collection of Renaissance Medals and Plaquettes
Stamped print on gold foil of a seated figure with coins falling surrounded by a cicrular repeating device of a nude female figure and swan.
Master IO.F.F.
Horatius Cocles Defending the Bridge
b. Italy, active 1468–1484
Women Beyond Borders Art Collection founded by Lorraine Serena
Anonymous gift to the Ala Story Print Collection
Johann Rudolf Blumnecker, Austrian nobleman
A circular medal with a profile view of Johann Rudolf Blumnecker, a bearded man dressed in fine attire looking to the left.; text encompasses the parameter of the medal. There is a hole at the top center that was most likely used to display the medal.
Michael Peterle of St. Annaberg, Printer in Prague
A circular medal with the profile view of Michael Peterle of St. Annaberg looking to the right; the man is bearded and wears fine attire. Text surrounds the parameter of the medal. On the reverse is a depiction of Minerva seated and surrounded by her various emblems including the owl and the shield. The text above her image reads VENERANDA MINERVA.
Girolamo Scotti, Sorcerer, Alchemist, and Adventurer of Piacenza
An oval medal with the bust of Girolamo Scotti, a bearded man dressed in fine Renaissance attire including a high, stiff collar and hat. Text appears on both sides of the bust: EFIG: HIERONIMI on the left and SCOTTI PLACEN on the right.
An oval medal with the profile view of Christ looking to the left. The fine lines surrounding Christ’s head depict a halo and he wears the Crown of Thorns. On the reverse, three figures are depicted. Christ is in the center and two women on either side are present. The three seem to be interacting with cloth.
TRANCE/BORDERS: Light Side/Dark Side
Resin coated type laser-exposed print on Ilfospeed resin-coated digital paper, 35/50
Photograph of a dark haired female covering half her face with the shadow of a hand.
TWO O O ONE: Inside a Room of Sky; Memphis
Digital pigment print on Hahnemuhle German etching, 16/50
Etching with an image of a blue sky spiraling towards the center where three men stand. Edition, signature, and title in graphite at bottom right.
A black and white image of a white Chevron uniform shirt hanging from the top of a door.
In this work an image of Africa, painted in black, is combined with a gold-colored image of Germany. The background of the painting is made up of several representations of hand gestures used in deaf sign language, a reference to the Nazi program which sterilized the deaf with the goal of creating a superior race. The gestures translate a story written by Rickels in the chapter, “Into Africa,” part of his book Nazi Psychoanalysis–Crypto Fetishism. The narrative surrounds an early female German pilot who was among the first to fly to Africa and whose biography was co-opted for propaganda purposes by the Nazis.
Abstract composition primarily in shades of brown and green.
Maker unknown, Acoma Pueblo
Large Pueblo pot with white slip and black and orange geometric pattern.
Kenilworth Castle in the Reign of Queen Elizabeth
Leycester's Buildings, Kenilworth Castle
Kenilworth Castle in Reign of Queen Elizabeth
Africa, Zanzibar or Tanganyika