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Unidentified Woman
Unidentified Man
Unidentified Man
Unidentified Man
Unidentified Man
Unidentified Woman
Unidentified Woman
Unidentified Man
Unidentified Man
Unidentified Man
Mme. Bidetrenoulleau
Unidentified Woman
Unidentified Woman
Mr. Coombs
Jessie Benton Frémont
John Samuel Sherburne
Coonley family
Charles Esteve Latil
Pungwuni
Man of the Djard Family
Miles King Jr.
Edward L. Davenport
Charles and Lavinia Stratton
The great Jewish bride
Frank Johnson, Leader of the Brass Band of the 128th Regiment in Saratoga, with his wife, Helen
Unidentified Man
Clara Louise Kellogg
Unidentified Man
John Reynolds
The great Jewish bride
Gloves
John F. Gray
Portraits of Surinamese Girls
Portraits of Surinamese Girls
Thomas Stone
Portraits of Surinamese Girls
Japan; Illustrated book; Illustrated Books
A Young Woman Buying a Pink from a Young Man
Son of Prince de Joinville (Pierre Philippe Jean Marie d'Orleans)
Henri-Charles Maniglier
William H. Maxwell
Mrs. Brumaud
Unidentified Man
Coat
Lyman Trumbull
Alexander Campbell
Eliza Barclay Livingston
Bowl with Inscription, "Sovereignty is God's"
Samuel L. Breese
Charles Meigs
John J. Crittenden
Trial Piece Worked on Both Sides
Fox, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)
William Lee
Interieur van een timmermanswerkplaats
James H. Lane
Jean Marie Soulier
Lilliputian King, with John Drummond and Professor Cromwell
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.
Estérel Village
Gedicht op de zilveren bruiloft van Ludolph Simon de With en Maria de Wit, 15 augustus 1771
Adolph Heinrich Joseph Sutro
Memorial head (nsodie)
The great Jewish bride
[The Oriel Window, South Gallery, Lacock Abbey]
Charles Kean
Saint Sebastian
Feast Ladle
Grafmonument met alliantiewapen en vier kwartierwapens
Dress
Alfred W. Ely
Walking ensemble
G.W.M. Nutt and Minnie Warren
La Dentellière
J. B. Loir
Dress
James Longstreet
Seated Female Nude (Self-Portrait?)
Raft Cup
Dudrenec
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.
Abraham Lincoln and Family
Enclosed Valley
Study for the Nude Youth over the Prophet Daniel (recto); Figure Studies for the Sistine Ceiling (verso)
Hawk, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)
Farmhouse on the Slope of a Hill
L'Européenne
Johannes Vermeer. Gezicht op Delft / Vue de Delft / View of Delft / Ansicht von Delft
Oribe-Type Ewer
Charles and Lavinia Stratton
Hilma af Klint "Svanen, nr 17, grupp IX/SUW, serie SUW/UW", 1915. Stiftelsen Hilma af Klints Verk. Photo: Moderna Museet/Albin Dahlström.
The Milkmaid
Charles and Lavinia Stratton
Thomas Tingey
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.
Graven en gravinnen van Holland
G.W.M. Nutt and Minnie Warren
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.
DeWitt Clinton
Invocation to Love