Christie, Manson & Woods, Ltd.

est. 1766

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Paul Troger, Saint Jerome in the Wilderness, pen and iron gall ink and gray wash over black chalk on laid paper, Ailsa Mellon Bruce Fund, 1990.10.2

Saint Jerome in the Wilderness

Paul Troger · · pen and iron gall ink and gray wash over black chalk on laid paper ·  Accession ID  1990.10.2

Benjamin West, Study of Moses Striking the Rock and a Procession [verso], 1778, black chalk on laid paper, Avalon Fund, 1991.90.1.b

Study of Moses Striking the Rock and a Procession [verso]

Benjamin West · 1778 · black chalk on laid paper ·  Accession ID  1991.90.1.b

Benjamin West, Study for The Battle of La Hogue [recto], 1778, pen and brown ink on laid paper, Avalon Fund, 1991.90.1.a

Study for The Battle of La Hogue [recto]

Benjamin West · 1778 · pen and brown ink on laid paper ·  Accession ID  1991.90.1.a

Shown from the knees up, a pale-skinned man wearing armor stands with his body facing our left in profile but he turns his head to look up and over our right shoulder in front of a distant, gray landscape in this vertical portrait painting. He looks into the distance with brown eyes under dark, arched eyebrows. Chestnut-brown hair flows around his ears and to the back of his neck. His straight nose is slightly hooked at the end, and his pink lips are closed under a wispy mustache. He has plump, lightly flushed cheeks, and sagging jowls lead to a double chin. Light from our left glints off the suit of armor that covers his arms and round belly. He stands with his left hand, closer to us, resting on the hilt of a sword hanging at his side so his elbow points toward us. His other hand rests on the top of a cane. A leather strap crosses his chest, and a thin layer of lace encircles his neck. A ruby-red sash is tied around his upper left arm in a bow and billows around and behind him. The landscape beyond has a dark blue sky with charcoal-gray clouds above a low, sunlit horizon. The painting is inscribed with dark capital letters in the upper right corner: “MDV RAPHAEL RACIVS. H REIP. TRIREMIVM PRAEFE.”
Sir Anthony van Dyck, The Prefect Raffaele Raggi, c. 1625, oil on canvas, Widener Collection, 1942.9.90

The Prefect Raffaele Raggi

Sir Anthony van Dyck · c. 1625 · oil on canvas ·  Accession ID  1942.9.90

Various Artists, Album of Engravings after Sir Peter Paul Rubens, 1613/1646, album compiled c. 1770, bound volume with 77 engravings on laid paper, William B. O'Neal Fund, 1996.78.1-77

Album of Engravings after Sir Peter Paul Rubens

Various Artists · 1613/1646, album compiled c. 1770 · bound volume with 77 engravings on laid paper ·  Accession ID  1996.78.1-77

Netherlandish 17th Century, Title Page for Apostolicarvm PII Qvinti Pont. Max..., 1640, engraving on laid paper, William B. O'Neal Fund, 1996.78.71

Title Page for Apostolicarvm PII Qvinti Pont. Max...

Netherlandish 17th Century · 1640 · engraving on laid paper ·  Accession ID  1996.78.71

Bertel Thorvaldsen, Possibly Lady Georgiana Bingham, model 1816 and/or 1817/1818, carved c. 1821/1824, Carrara marble, Patrons' Permanent Fund, 2011.101.3

Possibly Lady Georgiana Bingham

Bertel Thorvaldsen · model 1816 and/or 1817/1818, carved c. 1821/1824 · Carrara marble ·  Accession ID  2011.101.3

We look across choppy waves at a sailboat canting at a sharp angle, with several others floating nearby or in the distance, all beneath a sky filled with charcoal-gray clouds in this horizontal painting. In the bottom third of the canvas, the battleship-gray waves are topped with frothy white crests. The boat closest to us is slightly left of center, and its mast tips wildly to our right. Sunlight catches the straw-yellow sail as it pulls taut in the wind. At least two men crouch or bend over in the wooden vessel below, as white spray kicks up off the far side of the boat. Two white seagulls, tiny in scale, fly closer to the water’s surface to our left of that boat. The next closest vessel is to our right, and it is nearly swallowed in shadow. Two men huddle at one pointed end of the narrow boat, and a crimson-red sail flaps loosely in the wind. At least four more boats in the distance, along to the horizon, range in size from a small sailboat to a three-masted ship. The sail of the smallest boat also tips sharply to our right, but the tall masts of the ship are upright, and those sails are furled. Dark clouds billow up from the horizon, but break near the upper left corner. The sky beyond is pale apricot peach, and a few streaks of light reach the water’s surface.
Willem van de Velde the Younger, After the Storm, c. 1700, oil on canvas, Corcoran Collection (William A. Clark Collection), 2016.22.7

After the Storm

Willem van de Velde the Younger · c. 1700 · oil on canvas ·  Accession ID  2016.22.7

Giuseppe Bernardino Bison, The Virgin and Child Enthroned, Adored by Saints, 1790s(?), pen and brown ink with brown wash over graphite on laid paper with separate sheet pasted down, Purchased as the Gift of Dian Woodner, 2015.56.1

The Virgin and Child Enthroned, Adored by Saints

Giuseppe Bernardino Bison · 1790s(?) · pen and brown ink with brown wash over graphite on laid paper with separate sheet pasted down ·  Accession ID  2015.56.1

A bearded man, a young man, and five monks stand in a cream-white hall hung with a map and paintings in this horizontal painting. The people all have pale, peachy skin. The scene is lit from windows lining the wall to our left, where three monks stand, presumably talking. They and the other two monks wear long white robes with marine-blue hoods and cloth panels that hang down the fronts of the cassocks. Two monks have their hoods up and the other two have their hair cut into rings around their heads. The bearded man, Christopher Columbus, stands to the right on the other side of the hall, looking at a map hanging there. He has chin-length, dark hair and wears a bronze-brown, knee-length jacket, dark blue, knee-length pantaloons, and golden yellow stockings. His right hand, closer to us, is planted palm out against his hip, and he holds a red hat in that hand. The other foot is perched on a long bench that stretches along that wall. The young man sits and leans back on the bench with one forearm along the bench’s armrest. His other hand rests on Columbus’s knee, and Columbus rests his hand on that. The boy has long brown hair and wears a red cap, a parchment-white robe over yellow sleeves, sage-green stockings, and laced, toeless boots. Two bundles and a long stick are against the wall on our side of the bench. An object on the floor next to Columbus’s standing leg is covered by a brown cloth. A gold chain and a pink hoof protrude from the blanket. One of the monks standing behind Columbus wears a tight-fitting blue cap. A rosary hangs over his cassock from his waist, and extra panels of blue fabric drape down over his shoulders. Four paintings in our view hang near the high ceiling of the hall, which has arched openings and a pink floor. Doors or oversized shutters swing into view at the far end of the hall. The artist signed and dated the painting in the lower left corner, “Eug. Delacroix. 1838.”
Eugène Delacroix, Christopher Columbus and His Son at La Rábida, 1838, oil on canvas, Chester Dale Collection, 1963.10.127

Christopher Columbus and His Son at La Rábida

Eugène Delacroix · 1838 · oil on canvas ·  Accession ID  1963.10.127