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Shown from the hips up, a young man with pale skin and wearing black clothing sits with his body angled to our right as he turns to look at us in this vertical portrait painting. He looks out with green eyes under hooded lids. Light falls across his face from the upper left so his bumped nose casts a shadow on his high cheekbone. He has a wispy mustache over full, pink lips, which are slightly parted. His hair falls to his shoulders in auburn-brown curls, framing his slender face. Two silvery tassels hang on cords from a tall, wide, flat, bright white collar, which contrasts with the velvety black of his voluminous, long-sleeved jacket. His left hand, farther from us, rests on his knee and the other hand is curled so the back of his knuckles press against his right hip, closer to us. A patch of crimson red near that hand could be a pillow on his chair. His hat rests, presumably on a table, just beyond his legs. The hat has a tall, tapering, conical crown with a flat top. The shadowy wall behind him is mottled with slate gray and caramel brown, with a slightly darker panel to suggest a shallow niche.

Shown from the waist up, a light-skinned man sits sideways in a wooden chair so the arm closer to us rests along the chair’s back in this vertical portrait painting. Brushstrokes are visible throughout, especially in the clothing and hair. The man’s right arm, to our left, drapes across the back of the chair. His face turns slightly to our right, and he looks at us with gray eyes under black, curving brows. He has an oval face with high cheekbones and a snub nose. His coral-pink lips are closed and framed by a mustache and pointed patch of hair under his lower lip. He is lit from our left so the far side of his face is in shadow. His loose, curly brown hair cascades over his shoulders. He wears a tall black hat with a stiff, wide brim with a black rosette or pompom on the brim to our right side. The hat is tipped slightly to one side so it angles away from us. A flat, stiff, white collar extends from his chin down to his shoulders, and two tassels hang at this throat. The voluminous sleeve along the back of the chair has a gold pattern picked out in loosely painted, swirling, feathered, and flaring lines against a black background. The jacket is unbuttoned along the forearm to reveal a stark white undershirt that is gathered with a narrow ruffle at the wrist. The chair has a crimson-red center framed by wooden rails to each side and along the top. The background is earth brown to our right of the man, and deepens to dark shadows along the left. A coat of arms, the size of the man’s palm, hangs from the back wall. Three black cow heads create an inverted triangle on a gold field. Under the coat of arms the artist inscribed, “AETA SVAE.22 1645.”

Shown from the chest up, a young man with a plump, pale-skinned face hooks one elbow over the back of a wooden chair and looks at us in this vertical portrait painting. The man’s body faces our right as he turns his head over his right shoulder, closer to us, to gaze out with brown eyes under lifted brows. His nose ends with a round bump, and his round cheeks are flushed. He has a wispy mustache over full pink lips, which are parted. He wears a tall-crowned, brimmed black hat over a cloud of wavy, shoulder-length black hair. A lace-edged white collar spreads over an ink-black, satin coat. His right elbow is planted across the back of the chair, which has carved finials to either side. That hand is closed in a fist, which may hold something. The man’s hat casts a shadow on the right side of the taupe-gray wall behind him, where the artist has signed the painting with two monograms of his initials, “HF.” The brushwork is loose throughout, especially so in the man’s clothing.

George Washington

John Samuel Sherburne

Shown from about the hips up, a man with peachy skin, wearing an ink-black hat and coat with a bright white collar, looks out at us against a dark background in this vertical portrait painting. He stands with his body angled to our right and his face turned to look at us with dark gray eyes. His slim face is framed in long, brown curls under his tall, brimmed hat, which is cocked a little to our right, away from us. He has a straight, prominent nose, lightly flushed cheeks, and a wispy, light brown mustache above a small, pointed goatee under his lower lip. His neck is encased in a broad, starched, white linen collar, its wings lying along his collarbones. His velvety black coat has a row of tightly spaced buttons down the front. A cummerbund or sash wraps around his waist and hips. He rests his right hand, on our left, against his hip near his lower back, palm facing out. He wears a light, dove-gray glove on his opposite hand, and holds a second glove in that hand. The background is earth brown. The portrait is painted loosely, with broader brushstrokes in some areas, such as the hand at his hip and in the folds of the black garments.

Shown from the chest up, a pale-skinned young man with dark hair and a brown mustache and goatee looks at us from the corners of his dark eyes in this vertical portrait painting. His body and face are angled to our left, and his left eyebrow, closer to us, is slightly cocked while other is low over his other eye. He has a straight nose, a square jaw, and his pink lips are closed. His short, brown hair lays flat against his head but curls around the ear we can see. He wears a pecan-brown vest over a black, long-sleeved shirt with a white, lace-edged collar at the neck. His garments blend into the peanut-brown background so the light falling from the upper left highlights his features and white collar.

Shown from about the hips up, a young, pale-skinned man with curly brown hair stands facing and looking at us, wearing a plum-purple coat under a golden yellow cape in this vertical portrait painting. The man’s oval face is angled a little to our left so he looks out from the corners of his gray eyes. His left eyebrow, on our right, is slightly arched. His skin is smooth and his cheeks lightly flushed. He has a long, straight nose, his pink lips are closed, and there is a faintly painted suggestion of a goatee. Wavy bangs fall across his forehead, and he has curly, chin-length hair. He stands with his right hand, on our left, on his hip, and in his other arm, he holds a wooden staff with a pewter-gray, metal, scoop-like hook at the top. White lace trims the high neck of his garment and the cuffs of his sleeves. Light reflecting off the plum-purple coat suggests a soft material, possibly velvet. Crisp reflections on the deep, butter-yellow cape fastened over one shoulder suggest satin. An emerald-green cloth hanging from the top right corner of the painting falls behind the man’s shoulder. Behind the cloth and to our left, a craggy, rocky outcropping opens to a view of a landscape with a green valley and topaz-blue mountains in the distance. Bands of golden light illuminate the cloudy sky above. The work is inscribed with yellow lettering in the lower right corner to read, “Philip Lord Wharton 1632 about ye age of 19.” The artist’s name is painted in the lower left: “P. Sr Ant: vandike.”

Shown from the chest up, a clean shaven, young man with pale, rosy skin and curly, mahogany-red hair, looks at or toward us against a black background in this vertical portrait painting. His body is angled to our left, and he turns his face slightly to look our way with sienna-brown eyes under curved eyebrows. He has a long, prominent nose and small thin pink lips. His shoulder length hair curls tightly around his face and covers his ears. He wears a tomato-red shirt with a high collar trimmed with white.

Thomas Stone

Alexander Hamilton

Unidentified Man

Son of Prince de Joinville (Pierre Philippe Jean Marie d'Orleans)

Shown from the shoulders up, a man with peachy skin looks off to our left as he holds the feathered end of an arrow up in a hand resting along the bottom edge of this vertical portrait painting. Shown against a marine-blue background, he looks into the distance with hazel eyes under bushy eyebrows. He has a long, bumped nose, and his full, pale pink lips are closed. His round cheeks are tinged with pink, and there is a hint of a five-o-clock shadow around his mouth and jawline. Chestnut-brown, curly hair hangs to the base of his neck, and wispy curls fall across his forehead from under his tall, chocolate-brown cap. The cap has a small gold pin high over the ear we can see. The man wears a garnet-red jacket with a black collar over a white collarless shirt decorated with five black, narrow bands below the neckline. The fingers of his right hand, to our left, rest with the fingertips braced along on the bottom edge of the painting, as if along a ledge. He pinches the shaft of an arrow with his index finger and thumb, so we see the sienna-brown feathers. He wears a gold ring embedded with a small blue gem near the first knuckle of his ring finger.

Henri-Charles Maniglier

Shown from the waist up in front of a black background, a young woman with pale white skin and curly brown hair looks directly out at us over her shoulder with her body angled to our left in this vertical portrait. She has dark brown eyes, a straight nose, smooth skin, and her pink lips are closed. Curls fall across her forehead but the rest of her hair is pulled up under a white lace scarf, called a mantilla. The mantilla is tucked under the wide orange and black shawl wrapped around her shoulders. She clasps her hands at her waist, and her hands and forearms are covered with long white gloves that disappear under the shawl.

This vertical portrait shows the head, shoulders, and chest of a young man with smooth, pale skin and shoulder-length, dark blond hair positioned behind a narrow gray, stone ledge. Shown against a black background, the man tilts his head to our left and his eyes cut to our right. His left eyebrow, on our right, is slightly arched over brown eyes. He has a long, straight nose, pale pink lips, and his hair falls down the sides of his face from beneath a crimson-red, flat-topped cap. He wears a brown garment with white linen peeking through at the shoulder seams. The neck and seam down the front are lined with white, perhaps fur. He holds his right hand to his chest with his middle finger overlapping his ring finger.

The head, shoulders, and chest of a man wearing a deep rose-red garment fills this vertical portrait painting. His body is angled slightly to our left, and he looks directly at us from the corners of his eyes. His brown hair falls across his forehead, sweeps down over his ears, and curls gently at the nape of his neck. His eyebrows arch over brown eyes, and he has a long, angular nose. His upper lip is full, and his mouth is closed. He has high cheekbones and a cleft in his chin. The high collar is a black band over the voluminous red garment, which falls in pleats or folds down his chest. His right hand, on our left, lifts to clutch the fabric near his chest, in the lower left corner of the painting, and he wears a gold ring on his pinky finger. The background behind the man fades from dark aquamarine blue across the top to pale arctic blue at his shoulders, which span the width of the composition.

François Tronchin

Edward L. Davenport

William Lee

Alfred W. Ely

Unidentified Man

Unidentified Man

John Reynolds

Unidentified Man

Shown from the waist up, a woman with pale skin and brown hair, wearing a dark corset and white fabric over her shoulders, looks down at needlework in her hands in this vertical painting. Her cheeks are rosy and her dark hair is pulled back, though it seems looser down the sides of her face. A small, coral-red, crescent shape at the back of her head could be covering her hair or holding it in place. White, nearly translucent fabric lies loosely across her shoulders over a dark, moss-brown, long-sleeved dress. Her breasts swell over the squared, lace-trimmed neckline. She holds white fabric and perhaps a needle in her hands, which rest on a tan cushion on her lap. The scene is loosely painted throughout so some of the details are difficult to make out. A darker spot along her right index finger could be a thimble. The background is the same olive-tan of the cushion.

Ensemble

Miles King Jr.

This painting shows a man standing upright, his body slightly turned to the right. He has pale skin and curled white hair under a large black hat, and he wears a long brown jacket over a yellow vest with a white ruffled neck and a wide blue-and-white striped sash over his torso. His pants are black, and he wears tall black boots with brown tops. His hands are covered by yellow gloves, and he is holding a tall, thin rifle on the left, its bottom on the ground. Next to him on the right is a white dog with brown spots and large brown ears. The dog is sitting, looking up at the man. The background features an outdoor setting, with a landscape of hazy hills in shades of pale green and blue below a white and gray sky. There is a tall, dark green tree behind the man, and the ground he stands on is brown.

Unidentified Man

John F. Gray

Alexander Campbell

Lyman Trumbull

Portraits of Surinamese Girls

Unidentified Man

Abraham Lincoln

Portraits of Surinamese Girls

James H. Lane

Charles Kean

The Sampling Officials of the Amsterdam Drapers’ Guild, Known as ‘The Syndics’

Gloves

John Curzon Seton

A pale-skinned woman wearing a long, rose-pink gown sits amid a lush landscape in this vertical portrait painting. The woman’s body is angled to our left, but she turns her head to look at us with green eyes under dark brows. She has a long, straight nose, smooth, flushed cheeks, and her carnation-pink lips are closed. Her long, curly, ash-brown hair is loosely pulled back in an emerald-green ribbon, but tendrils floating around her face seem to lift as in a breeze. A ponytail or thick tendril drapes over her far shoulder, almost reaching her waist. The low neckline of her gown is wrapped with translucent, gold cloth, and the elbow-length sleeves are gauzy white. The gown has a pale pink bodice and long, full skirt. Ribbons the same green as the one in her hair wrap around her waist and around the elbow we can see. She crosses her ankles so delicate, high-heeled, charcoal-gray slippers peek out from the bottom hem of her skirt. She sits on a gray boulder, her hands folded in her lap as she holds the ends of her translucent scarf. A tall tree grows along the right edge of the composition to arc up and over with olive-green and harvest-gold leaves. Beyond the woman, the land dips down to our left back into a tree-filled valley. Swipes of slate blue in the distance could be mountains. A short distance from us, to our left, one tree with a narrow, pale green canopy grows up against the sky. Behind that tree, yellow sunlight breaks through light blue, lavender-purple, and silver clouds that fill the rest of the sky. Parts of the scene are loosely painted with swirling, fluttering strokes, especially in the woman’s costume and the trees around her.

James H. Lane

Shown from the hips up, a man with peachy skin and long, brown curly hair and goatee stands in front of a window opening onto a moonlit sky in this vertical portrait painting. His body faces our right and his right fist, closer to us, rests on his hip so his elbow juts toward us. Wearing a dark, wide brimmed hat, he turns his head to look over his right shoulder directly at us. His eyebrows are slightly raised over brown eyes, and he has a bumpy nose, a slight double chin, and pale pink lips that curve in the suggestion of a smile. He wears a golden yellow jacket with buttons along the sleeve we can see. The wrist of the jacket is trimmed with a wide, lace-edged cuff and a similarly wide, lace-trimmed collar lies over the armor breastplate that covers his chest. A marigold-orange sash is tied around the breastplate as well near the waist, and the goldenrod-yellow jacket drapes from a portly belly over his hips. He stands in front of a gray wall pierced with a rectangular window. The view has a veil of dark gray clouds over the moonlit sky.

Coat

Shown from the waist up, an older man with pale, peachy skin looks out at us with deep-set, gray eyes under a furrowed brow, in front of a sable-brown background in this vertical portrait painting. His body is angled to our left, and his face turns to us. He has a faintly pink, bulbous nose, and his slightly sunken cheeks are shaded with gray. His peach-colored lips are framed with a wispy, gray mustache and goatee. Bronze-orange lines are incised within the battleship gray of his hair to create soft curls under his brown beret, which has gold trim around the base. The dark collar of his fawn-brown coat is turned up so his neck is covered. He is lit from the upper left, so his body and the right side of the painting are deeply shadowed. On our left, the canvas is painted with blended strokes of tawny and dark brown. His dark coat blends into the background, and his folded hands are in shadow in the lower left corner. The brushstrokes are visible in some areas, especially in the man’s face. The painting is signed and dated next to his shoulder, to our left, “Rembrandt f. 1659.”

Unidentified Man

Shown from the waist up, a cleanshaven man with pale, peachy skin, wearing a black cap and a voluminous fur-lined, black cloak, is positioned behind a crimson-red ledge or tabletop in this vertical portrait painting. His head and torso nearly fills the composition. His body is angled to our left, and he looks off in that direction with dark brown eyes under faint eyebrows. His high cheeks are lightly flushed, and he has a pointed nose and a hint of a five o-clock shadow. His soft black cap has flaps that cover his ears. The wide, fur lapels of his black cloak nearly reach his shoulders. The sleeves of the garment beneath has a tan and black checked pattern, and a white undershirt peeks out at his neck and cuffs. A cross hanging from a heavy gold chain has black pearls in the cross of each arm and a teardrop-shaped black pearl hangs from the bottom. The cross has a hand on each short arm, two feet on the long leg, and a red circle at the center. The sitter’s left hand, on our right, rests on the red ledge holding a pair of gloves that are ivory white around the wrist and charcoal gray at the fingers. His right hand, father from us, rests in a loose fist near his other wrist. A folded piece of white paper with black writing lies to our left of the hands. It reads, “NVNQVID NON PAVCITAS DIERVM MEORVM FINIETVR BREVIS.” The background behind the man is mottled with rust brown and steel gray. Gold writing spans the background to either side of the man’s head, reading, “BRIANVS TVKS, MILES, ANO ETATIS EVAE LVII” along the top and “DROIT ET AVANT” below.

Shown from the chest up, a clean-shaven, pale-skinned man holds one hand to his chest and rests the other on a rug-covered ledge with the other in this vertical portrait painting. The man’s body is angled to our left, and he looks down in that direction with dark eyes under thick brows. Crow’s feet crinkle at the corners of his eyes, and there are dark hollows underneath. Soft jowls hang to create a slight double chin. His thin lips are set in a line over a wide, round chin, which is darkened with a five o’clock shadow. He has chin-length, reddish-blond hair, and straight, wispy bangs sweep loosely across his high forehead. He wears a white chemise under a gold, brocade garment, which is mostly hidden by a slate-blue cloak. The cloak is lined with spotted fur, which is turned over to create a wide collar across his shoulders. The sleeve on his left arm, to our right and closer to us, splits over a dusky-pink sleeve. Two gold buttons on the cloak there are decorated with thistle plants and blossoms. The fingers of his right hand, to our left, are gathered like a closed rose bud at his chest. He wears a gold ring on the index finger of the other hand, which rests on the end of the gray stone ledge so his fingertips brush the tapestry draped there. The man is lit from our left against a black background.

Shown from the lap up against a dark background, a pale-skinned woman wearing a black dress looks out at us in this vertical portrait. Soft light coming from our left highlights her oval face, the peach blush on her cheeks, and her crisp white collar, cap, and cuffs. Her brown hair is pulled back under the cap that flares slightly over her ears and the wide, lace-trimmed collar covers her shoulders. She has dark eyes, a straight nose, and her pink lips are slightly parted. Her left arm, on our right, rests on a table covered with a rose-red patterned carpet next to two pieces of fruit, perhaps apples, and a book fastened with metal clasps. She rests her other arm on the arm of the wooden chair and holds a deep pink carnation the same color as the carpet. She wears a ring on the third finger of each hand. The artist signed the work with black paint against the dark background near the upper right corner: “Rembrandt. f.1656.”

Unidentified Man

Unidentified Woman

Shown from the knees up, a pale-skinned woman wearing a black dress with white cuffs and a wide, starched collar sits in a wooden chair against a dark brown background in this vertical portrait painting. Her body faces us and she looks off to our left with brown eyes. She has slight jowls at her chin and her eyes, mouth, and forehead are lined. Her hair is pulled back under a close-fitting black cap. Extending straight from around her neck, her white collar is pleated into narrow figure-eights and nearly reaches her shoulders. She wears a brown stole over her velvety black dress, and both nearly blend with the dark background. She holds a pair of pince-nez spectacles in her right hand, which rests on a thick book in her lap. The spine faces her right, and the opposite edge is fastened with metal clasps. A braided cord affixed to the narrow end of the book near us creates a loop.

A pale-skinned young girl leaning over a low fence and holding a broom gazes in our direction in this vertical painting. Her red hair is pulled back from her round face, and she has large hazel eyes under thin brows, a petite nose, and her coral-red mouth is slightly open. She is shown from the chest up, behind a wooden partition that spans the width of the painting. She wears a loose, ivory-white shirt under a garment with pumpkin-orange straps on the shoulders and chest. She leans forward with her elbows hooked over the partition as she holds a long-handled broom to her chest. A wooden pail with a bronze handle is overturned to the right of the broom. A blocky brown object to our left is difficult to make out. A dark brown semicircular object close to us in the center of the composition resembles the mouth of a well. Soft light from the upper left illuminates the girl and the left side of the caramel-brown wall behind her and throws the right side into shadow. A signature near the lower left looks like it had been painted on the inner edge of the well. It reads, “Rembrandt f. 1651.”

The Night Watch Militia Company of District II under the Command of Captain Frans Banninck Cocq

Unidentified Men

Thomas Tingey

Unidentified Man

Unidentified Man

Copy of The Night Watch

John J. Crittenden

This vertical portrait painting shows the head, shoulders, and chest of a pale-skinned young man in front a cream-white, stone window that opens onto blue sky. The man’s body is angled slightly to our left and he looks directly at us with wide-set, pale blue eyes. He has smooth skin, a rounded nose, a wide jawline, and full, light pink lips. He wears a brimless crimson-red cap over brown hair that curls over his ears and down to the nape of his neck. His slate-blue jacket is lined with brown, perhaps fur, around the high neck and down the front. The jacket has puffy sleeves and vertical pleats over the chest. He is positioned in front of the stone opening, the edges of which run parallel to top and sides of the composition. Vivid blue sky fills the opening behind the young man.

Shown from the chest up, a clean-shaven young man with pale, peachy skin looks off to our left against a cloudy sky in this vertical portrait painting. His body is angled to our left, and he gazes in that direction with dark eyes under thick, arched brows. He has a long nose, smooth cheeks, and a hint of a five-o-clock shadow around his closed, peach-colored lips. Chestnut-brown hair is covered by a black headdress with two long tails. One end drapes over the front of his right shoulder, farther from us, and the other end hangs down his back. He wears a brick-red garment that falls in vertical pleats from a high collar. A white undergarment peeks out from the top of the neckline, and the collar is fastened with a small clasp at the throat. Behind him, tan-colored clouds float across a blue sky.

Charles Meigs

Portrait of Isabella Brant

The great Jewish bride

Unidentified Man

This painting is a portrait of a man from the chest upwards, his body and head turned slightly to the left. The man has pale skin, blue eyes, high cheekbones, slightly furrowed brows, a straight nose, and pink lips in a neutral expression. He has shoulder-length wavy brown hair and wears a dark green jacket with a white-and-yellow fur collar and a floppy black hat with a brim that curves around his forehead. The background is plain black. A monogram is visible in the top left corner, and the date "1507" is inscribed in the top right corner.

Desk and Bookcase

Portraits of Surinamese Girls

Shown from the waist up, a young woman with pale, peachy skin faces and looks directly at us in this vertical portrait painting. The subtly upturned corners of her mouth and the outer corners of her eyes are touched with shadows. Her delicate eyebrows are faintly painted over dark brown eyes. She has a long straight nose and an oval-shaped face framed by large teardrop pearl earrings. Her dark brown hair is parted down the middle and pulled back under a wide, gold-colored headdress, which creates a halo-like ring around her head. Precisely formed curls rest against her forehead over each temple. Her black dress has voluminous, puffy sleeves framing a sheer, butter-yellow panel covering her chest. White ruffles emerge at her neck and cuffs. A gold Maltese cross, which flares at the end of each arm, hangs from a thick gold chain that falls over her chest and down to her waist. She touches the chain with her left hand, on our right, and with the other she holds the body of a small furry brown animal with bared teeth. The background behind the woman is black down the center and a dark emerald-green curtain falls to either side.

Frontispiece to "A Narrative of the Adventures and Escape of Moses Roper, from American Slavery"

J. B. Loir

1st Earl Charles Grey

Doublet

Unidentified Man

La Dentellière

Portrait de l'artiste tenant un chardon

La Femme au miroir

James Longstreet

Louis XIV (1638-1715), roi de France

Unidentified Woman

Isaac and Rebecca, Known as ‘The Jewish Bride’

The Battle of Waterloo

Portrait de Lisa Gherardini, épouse de Francesco del Giocondo, dit La Joconde ou Monna Lisa

Unidentified Woman

Thomas Jonathan Jackson

Henry B. Nones

Jean Marie Soulier

Thomas Jefferson