German or Flemish
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.
Dutch and Flemish Renaissance painting represents the 16th-century response to Italian Renaissance art in the Low Countries. These artists, who span from the Antwerp Mannerists and Hieronymus Bosch at the start of the 16th century to the late Northern Mannerists such as Hendrik Goltzius and Joachim Wtewael at the end, drew on both the recent innovations of Italian painting and the local traditions of the Early Netherlandish artists. In demand in courts all over Europe for his reliable portraits in a style that combined Netherlandish precision with the lessons of Titian and other Italian painters. A meticulous handling of jewellery and sumptuous fabrics are typical Flemish characteristics sought after by courtly sitters. As Renaissance art styles moved through Northern Europe, they changed and were adapted to local customs. In England and the northern Netherlands the Protestant Reformation brought religious painting almost completely to an end. As in Italy, the decline of feudalism opened the way for the cultural, social, and economic changes associated with the Renaissance in Europe. The golden age of painting in the Netherlands was aided by the wealth of the region at this time as well as the presence of King Philip and the Burgundian court, which allowed court artists to flourish. The influence of art of the Netherlands on the European scene grew significantly at this point, with many of its masters gaining the respect and following of numerous Italian artists. The growth of the status of ‘artist’ in the Netherlands is demonstrated by an increase in artists who sign their name and paint self-portraits. Despite several very talented artists of the Tudor Court in England, portrait painting was slow to spread from the elite.
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.
The Sedgwick Collection of Old Master Paintings
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
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
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 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
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
Gift of the Lorser Feitelson and Helen Lundeberg Feitelson Arts Foundation
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
The People of Israel and the Fiery Serpents, 1725-1735
Pen and brown ink, brown wash on white paper
TIEPOLO, Giambattista b. Italy, 1696 - 1770
Angels and Figures, 18th C.
TIEPOLO, Giambattista, b. Italy, 1696 - 1770
TIEPOLO, Gian Domenico
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
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
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
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 IO.F.F.
Horatius Cocles Defending the Bridge
b. Italy, active 1468–1484
Sigmund Morgenroth Collection of Renaissance Medals and Plaquettes
Master of the Martelli Mirror
Allegory of Reproduction
b. Italy, late 15th or early 16th c.
Artist unknown
oval table case with hinged wire back stand
This gem tintype (image on tin) of a gentleman is housed within the slide locket of a bolo tie. Gem photographs were popular means to capture a miniature portrait of a loved one- each gem is roughly 1 ¼ inch high and 1 inch wide. The case of this tintype is relatively smaller, though.
Daniel Owens 1860, mother Sarah L. Owens
Photographed in the late 1800’s, this tintype (image on tin) depicts three children seated on a sleigh pulled by a small horse. They are posed upon the snow in front of a building, which is visible in the immediate background.
Young lady with elaborate scarf and headdress
No It Can Assess An Action, 1992
works on paper, abstract, letters, green, words
This work includes green plastic stencils and a pencil inscribed with FEHLAU NORTON HOLIDAY PROJECT @ 1992 as well as an instruction sheet for stenciling NO IT CAN ASSESS AN ACTION creating a palindrome on opposite walls; (a) instruction sheet; (b) pencil; (c) stencil for N; (d) stencil for o; (e) stencil for i; (f) stencil for T; (g) stencil for C; (h) stencil for S; (i) stencil for A; (j) stencil for E. The artist's work often shifts the viewer's point of reference through the doubling of images and text. Beginning in 1988, the Norton Family sent a limited edition Christmas gift to a wide list of friends in the art community including art institutions.
Donald P. Walton Jr. and Frances Jean Colpitt Estate
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.
Kenilworth Castle in the Reign of Queen Elizabeth
Leycester's Buildings, Kenilworth Castle
Kenilworth Castle in Reign of Queen Elizabeth
A color linoleum cut image of row of houses in winter. Signed and dated by the artist at the lower right.
Africa, Zanzibar or Tanganyika