Provenance

Bernheimer Fine Arts Ltd.

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In the distance, a fortress sits on a rocky plateau below a sky filled with lightly rolling white and gray clouds in this horizontal landscape painting. The horizon line is low, about a quarter of the way up the composition, so the plateau and fortress loom high above the surrounding land. The fortress is made up two distinct sections, with a nearly windowless stronghold or massive city wall to the right and what looks like a row of six interconnected white rowhouses to the left. More rooflines peek over the stronghold. Tiny in scale, people work on scaffolding erected against a grassy cliff below the white section. Five men and women and a child and a few cows gather in the foreground, closer to us. People walk through the landscape in the background and along roads leading to the fortress. A hilly landscape recedes deep into the distance to our left below pale peach and lilac-purple clouds.
Bernardo Bellotto, The Fortress of Königstein, 1756-1758, oil on canvas, Patrons' Permanent Fund, 1993.8.1

The Fortress of Königstein

Bernardo Bellotto · 1756-1758 · oil on canvas ·  Accession ID  1993.8.1

Jan Brueghel the Elder, Wooded Landscape with Travelers, 1610, oil on panel, The Lee and Juliet Folger Fund, 2020.26.1

Wooded Landscape with Travelers

Jan Brueghel the Elder · 1610 · oil on panel ·  Accession ID  2020.26.1

John Russell, Miss Raymond, 1783, pastel on cream laid paper, mounted to canvas (on stretcher), Ellen F. Karpf and New Century Fund, 2004.20.1

Miss Raymond

John Russell · 1783 · pastel on cream laid paper, mounted to canvas (on stretcher) ·  Accession ID  2004.20.1

About a dozen men and women gather around three men hanging from wooden crosses, all against a deep landscape beneath a shiny gold sky in this horizontal painting. All the people we can see have pale or tanned skin. The men on the crosses wear only white loincloths, and a gold halo encircles the head of the man in the middle, Jesus. Jesus hangs with his hands and feet nailed to the cross, and a man on the ground has pierced his right side with a lance. Blood drips down his face from a ring of thorns. Four winged angels, small in scale to the rest of the people, catch the blood pouring from the nails in his hands and feet, and the wound on his side in golden chalices. The crosses to either side angle in toward Jesus, and the men are tied to them with their arms hooked backward over the crosspiece. Their legs are tied to the vertical beam of the cross, and they bleed from wounds on their thighs. Near the head of the man to our left, an angel hovers and holds up a miniature man, like a doll. The man on the cross to our right turns his head away from the demon holding out another miniature man. Across the bottom of the composition, the people in the crowd wear garments in ginger brown, cranberry and burgundy red, and olive green. Three women, two young men, and a man on horseback are tightly clustered on the ground in the left half. The woman closest to us, Mary, wears a marine-blue gown and a white head covering. She is partly slumped to one side, supported by a woman on her left, to our right, and a young man standing just behind her. The third woman kneels on Mary’s other side, near the lower left corner of the composition, with her hands clasped together. Behind the women, the horse and its elderly, bearded rider and the cleanshaven man piercing Jesus’s side with a spear both look up at Jesus. The rider touches his left eye with the index finger of that hand, and short, red rays emanate from his eyelid. Near the back end of the horse, a man holds a bucket and a long pole supporting a sponge in a U-shaped crook at the top. A cluster of eight men are gathered in the lower right half. Two are on horseback, and the rider closest to us wears peanut-brown armor and helmet. He holds a tall staff with a red pennant bearing the letters “SPQR.” Beyond the crosses, pale green hills topped with trees and bushes lead back to a town skyline painted in shades of baby and teal blue. Scenes with people, tiny in scale, are scattered across the city and landscape. There, a crowd greeting a man entering the city on a donkey is seen in the distance to our left. A group lowers a man from a cross on a hill to our right, and a man hangs from a tree along the right edge of the composition. The gold sky fills the top quarter of the scene.
Master of the Death of Saint Nicholas of Münster, Calvary, c. 1470/1480, oil on panel, Patrons' Permanent Fund, 2001.70.1

Calvary

Master of the Death of Saint Nicholas of Münster · c. 1470/1480 · oil on panel ·  Accession ID  2001.70.1

Adolph Menzel, The Interior of the Jacobskirche at Innsbruck, 1872, gouache on wove paper, Pepita Milmore Memorial Fund and gift of The Ahmanson Foundation, 2000.56.1

The Interior of the Jacobskirche at Innsbruck

Adolph Menzel · 1872 · gouache on wove paper ·  Accession ID  2000.56.1

Shown from the lap up, a man with pale skin sits facing our right in profile, playing a bagpipe in this vertical painting. He is lit from our left so his face is in shadow, and he looks off to our right. He has dark eyebrows, a chestnut-brown mustache and short beard, and a rounded nose. He wears a floppy, chocolate-brown beret that covers his hair and the ear facing us. A cream-white, voluminous shirt falls off the shoulder close to us, and a fawn-brown robe gathers around his lap. He blows into a long mouthpiece as he squeezes the tawny-brown bag of the instrument between his forearms. Two long, wooden pipes rest over his shoulder, and he covers the finger-holes of the flute-like chanter at the front of the bag. The background behind him is pale peanut brown. The artist signed and dated the painting just to the right of the musician’s face, “HTBrugghen fecit 1624,” with the HTB intertwined into a monogram.
Hendrick ter Brugghen, Bagpipe Player, 1624, oil on canvas, Paul Mellon Fund and Greg and Candy Fazakerley Fund, 2009.24.1

Bagpipe Player

Hendrick ter Brugghen · 1624 · oil on canvas ·  Accession ID  2009.24.1