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Unidentified Woman
Unidentified Woman
Unidentified Man
Unidentified Man
Unidentified Man
Unidentified Man
Unidentified Man
Unidentified Man
Unidentified Man
Unidentified Woman
Mme. Bidetrenoulleau
Unidentified Woman
Mr. Coombs
Unidentified Woman
Man of the Djard Family
Pungwuni
Frank Johnson, Leader of the Brass Band of the 128th Regiment in Saratoga, with his wife, Helen
Charles Esteve Latil
Jessie Benton Frémont
John Samuel Sherburne
Coonley family
Miles King Jr.
Charles and Lavinia Stratton
Edward L. Davenport
A Young Woman Buying a Pink from a Young Man
Unidentified Man
Henri-Charles Maniglier
The great Jewish bride
Clara Louise Kellogg
Portraits of Surinamese Girls
Unidentified Man
Portraits of Surinamese Girls
Trial Piece Worked on Both Sides
The great Jewish bride
Charles Meigs
Unidentified Man
Mrs. Brumaud
Son of Prince de Joinville (Pierre Philippe Jean Marie d'Orleans)
Gloves
Gedicht op de zilveren bruiloft van Ludolph Simon de With en Maria de Wit, 15 augustus 1771
Japan; Illustrated book; Illustrated Books
William H. Maxwell
John Reynolds
Coat
G.W.M. Nutt and Minnie Warren
Portraits of Surinamese Girls
Charles and Lavinia Stratton
[The Oriel Window, South Gallery, Lacock Abbey]
Fox, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)
Thomas Stone
Memorial head (nsodie)
G.W.M. Nutt and Minnie Warren
Alexander Campbell
Feast Ladle
The great Jewish bride
James H. Lane
Lyman Trumbull
Saint Sebastian
Shown from the chest up on the far side of a narrow ledge, a woman wearing an elaborate headdress and gown faces our left in profile in this vertical portrait painting. Her pale-peach skin is smooth with little shading around the features. The hazel eye we see is heavy-lidded under a thin, arched brow. The woman has a notably high forehead and a sloped nose. Her lips are closed over a knobby chin and fleshy jawline. Her hair is gathered up in a fine gold net under a twisted, ring-like headdress held in place with long gold pins. The fabric of the headdress alternates between twists of parchment brown or light brown patterned with red or darker brown leaf patterns. A network of muted blue dots encircled with gold does not quite line up with the headdress it overlays. The high collar of the woman’s peacock-blue dress flares up the back of her head over a white collar that curls away along either side of her chin. The garment is covered with flowers and stems outlined in gold. There are thick gold bands at her neck and around her waist. A chain made up of two strands of gold orbs like oversized beads hangs from the shoulder closer to us and then wraps around her body. A gold pendant near her neck may be two chain links or a thin letter B. Light glints off the ledge along the bottom of the painting, and the background is inky black.
Adolph Heinrich Joseph Sutro
Lilliputian King, with John Drummond and Professor Cromwell
Estérel Village
John F. Gray
William Lee
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.
John J. Crittenden
Bowl with Inscription, "Sovereignty is God's"
L'Européenne
Invocation to Love
Johannes Vermeer. Gezicht op Delft / Vue de Delft / View of Delft / Ansicht von Delft
Seated Female Nude (Self-Portrait?)
La Dentellière
Charles and Lavinia Stratton
Shown from the chest up, a young, pale-skinned woman looks over her shoulder and grins widely at us so her bottom teeth show in this vertical painting. The girl’s shoulders face our left in profile, and she turns her head to look out from the corners of her large, dark eyes. She has a round face with faint brows, a slightly turned up nose, and full pink lips. A teardrop-shaped pearl hangs from the ear we see. Her dark hair is brushed back and covered by a charcoal gray cloth, which drapes to her upper back. A wide white collar lies across an ochre-yellow garment, and the background is dark brown. The whole painting has a yellow cast.
Blooming Plum Tree, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)
Enclosed Valley
Alfred W. Ely
Abraham Lincoln
Walking ensemble
Samuel L. Breese
An older girl and a younger child, both with pale skin, bend toward each other as they look at a book spread open on a wooden cupboard in this nearly square painting. Shown from the hips up to our right, the girl leans over the cupboard with her body facing our left in profile. She looks at the child peering over the low ledge at the back of the cupboard with her head tilted slightly in that direction. The older girl has a straight, delicate nose, her smooth cheeks are flushed, and her rosy-red lips are pursed. Her brown hair is tucked under a bright white, ruffled cap encircled with a gold and cranberry-red ribbon. The long sleeves of the muted sapphire-blue dress seem to have been rolled back along the forearms to reveal cascading, white cuffs. A translucent white neckerchief, like a short, full scarf, is tucked into an ivory-white apron that also covers the flaring skirt. With both hands on the open book, she points to one page with a metal pointer like a knitting needle. Facing us, the smaller child looks at the book from behind the wood cupboard, eyes downcast, resting one forearm on the surface and pointing to a detail in the book. The child has delicate brows, a short, wide nose, and full raspberry-red lips are closed. The padded cap the child wears covers the ears and is loosely painted with a pattern of honey brown, silvery white, and slate blue. The nutmeg-brown sleeves are pushed back along the forearm and there are white cuffs or sleeves beneath. The cupboard has two diamond-shaped, iron-gray metal pulls in front. Light illuminating the pair from our left creates a greenish glow on the tawny-brown background behind them.
Study for the Nude Youth over the Prophet Daniel (recto); Figure Studies for the Sistine Ceiling (verso)
Painted almost entirely in tones of golden, mustard, and pale yellows, a young woman is shown from the lap up having turned to face us while making lace on a wooden frame in this vertical portrait painting. Her body faces our left almost in profile, but she turns her face to look at us with large, hazel-gray eyes. Her skin has a yellow cast but her smooth cheeks are lightly flushed, and her coral-red lips are parted. Her cinnamon-brown hair is parted down the middle and pulled back under a slate-blue ribbon, and she wears a teardrop-shaped earring in the ear we can see. Her burnt-orange shirt has pale yellow, wide cuffs at the elbow-length sleeves and a wide collar that rests across her chest and shoulders. The cuffs and collar are textured, suggesting fur. She rests her bare forearms against the wood frame in front of her, to our left, which is about the height of a table. A parchment-yellow cloth is draped over the frame, and she holds two short, cylindrical bobbins in her hands. Two more thread-wrapped bobbins hang to one side. The woman’s tea-brown skirt is partially hidden by a table situated closer to us, in the lower right corner of the painting. The table is covered with a patterned rug in maroon red, black, and gold. On the table are a low, wide pewter-gray bowl and a dark indigo-blue pillow with gold tassels and gold stripes near the seams. The wall behind the woman is honey yellow.
Code de Hammurabi
Margaret of Austria
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.”
Jean Marie Soulier
The Milkmaid
DeWitt Clinton
Winter Trees Reflected in a Pond
Shown from about the lap up, a young person with brown hair and a peachy complexion faces our left in profile as he leans onto a table and sets folded playing cards up in a row in this vertical painting. Shown against a dark background, his long, brown hair curls by his ears and is pulled back with a navy-blue ribbon at the nape of his neck. He has a delicately sloping nose, his pink lips are closed, the cheek facing us is flushed, and he looks down at the tabletop under lowered lids. He wears a chestnut-brown, long-sleeved coat with a dark blue sash across his chest and tied around his waist. The white of his undershirt peeks out at the high neck and wrists, and the brick-red lining of the sleeve of his jacket rolls back at his right wrist. The wooden table is lined with teal-blue fabric on its surface, and three coins lie near his left hand, closer to us. In that hand he holds three nested, vertically folded playing cards. With his right hand he places the last in a line of ten cards, standing vertically but close together like dominoes, in a curving row in front of him. Scarlet-red diamonds and hearts and the edges of some black shapes are visible within the bent cards. A jack of hearts and a piece of paper or the back of another card sit in a drawer that opens toward us along the side of the table. The artist signed the work in dark brown paint in the lower right corner: “J. Chardin.”
Tomb with Sphinxes and an Owl
Interieur van een timmermanswerkplaats
James Longstreet
Charles and Lavinia Stratton
Eliza Barclay Livingston
Frontispiece to "A Narrative of the Adventures and Escape of Moses Roper, from American Slavery"
Shown from the chest up, a light-skinned man wearing a burgundy-red turban faces our left in profile against a dark background in this vertical portrait painting. He looks off to the left, and the eye we can see is light brown under a faint, possibly plucked eyebrow. He has a straight nose, and his full peach-colored lips are closed. There is the suggestion of a puffy area under the eye we can see, but the rest of his skin is smooth. His brown hair is mostly tucked under his turban, and a piece of fabric hangs down the back of his neck. A band of his white undergarment is visible at the high neck of his olive-brown shirt, which appears to be pleated or striped down the front. He also wears a black jacket, which covers his shoulder and most of his chest. A brown band across the bottom edge of the painting could be a wooden railing or ledge, behind which the man is shown. Cracks are visible across the painting, especially in the deep green background.
"Antonius" Violin
Dress