Samuel Woodburn

British, 1786 - 1853

Explore Selected Works

See all 17 works of art
Lodovico Carracci, The Nativity with Saints Francis and Agnes, c. 1605, pen and brown ink and brown wash with white heightening over black chalk; traces of incising, Adolph Caspar Miller Fund, 1975.52.1

The Nativity with Saints Francis and Agnes

Lodovico Carracci · c. 1605 · pen and brown ink and brown wash with white heightening over black chalk; traces of incising ·  Accession ID  1975.52.1

Amico Aspertini, Saint Sebastian, c. 1505, oil on panel, Samuel H. Kress Collection, 1961.9.1

Saint Sebastian

Amico Aspertini · c. 1505 · oil on panel ·  Accession ID  1961.9.1

Pietro Testa, The Prophecy of Basilides, c. 1648/1649, pen and brown ink with black and brown washes over black chalk with traces of red chalk, on two joined sheets of greenish-blue laid paper, squared in red chalk, laid down on old mount, William B. O'Neal Fund and Gift of Funds from Ann and Matthew Nimetz, and from Andrea Woodner, 2022.160.1

The Prophecy of Basilides

Pietro Testa · c. 1648/1649 · pen and brown ink with black and brown washes over black chalk with traces of red chalk, on two joined sheets of greenish-blue laid paper, squared in red chalk, laid down on old mount ·  Accession ID  2022.160.1

Giulio Romano, The Sacrifice of a Goat to Jupiter, c. 1527/1528, pen and brown ink with brown wash over black chalk on laid paper, Ailsa Mellon Bruce Fund, 1973.47.1

The Sacrifice of a Goat to Jupiter

Giulio Romano · c. 1527/1528 · pen and brown ink with brown wash over black chalk on laid paper ·  Accession ID  1973.47.1

A nude woman with pale pink skin reclines under cream-white sheets in a bed as she reaches for the cloak of a man with light skin standing in front of the bed, who leans away with arms raised in this horizontal painting. The mattress runs along the bottom edge of the canvas, and the man is shown from the knees up. The woman’s bare torso faces us, hips stacked, as she turns her face to our right in profile, looking at the man. She props her body up with her right elbow, to our left, on a mauve-pink pillow. With that hand, she clutches the end of the man’s royal-blue cloak. With her other hand, she reaches with palm up across the body of the man toward his face. Her strawberry-blond hair is pulled back under a muted red ribbon, woven with pearls, and gathered at the nape of her neck. Soft curls frame her forehead and temple. A teardrop pearl earring dangles from her right earlobe. Her nose is long and slender, and her small, pale peach lips are slightly parted. The man’s body is angled toward the woman, to our left, but he twists and leans away, to our right. With elbow raised, he grips her extended forearm with his right hand, to our left. He raises his other arm with his palm out. He looks up with brown eyes under raised brows. His mouth is open and his head tipped sharply away from the woman so his chin-length, wavy, brown hair hangs by his face. He wears an ochre-yellow, thigh-length tunic over a white shirt. A thin olive-colored belt is tied in a bow at his waist. His vivid blue cloak wraps over his right upper arm, farther from us, around his torso and hips, and is pulled by the woman. Rose-pink, shiny curtains frame the scene in the upper corners, and beyond, the background is swallowed in shadow.
Guercino, Joseph and Potiphar's Wife, 1649, oil on canvas, Patrons' Permanent Fund, 1986.17.2

Joseph and Potiphar's Wife

Guercino · 1649 · oil on canvas ·  Accession ID  1986.17.2

Dozens of people line up around a shed-like structure and around stone ruins to kneel before a woman and baby at the lower center of this circular painting. All the people have pale skin. The crowd gathers along a pathway that winds around a rocky mountain at the top middle of the composition. Most of the people are on foot but a few ride horses or camels. The line of people curves around and through an arched opening in a stone ruin to our left. Sitting at the center of the painting, behind the woman and baby, Mary and Jesus, the structure is open at the front and has a triangular pitched roof. Some of the people, including the three closest to Mary and Jesus, wear elegant, gold-trimmed clothing. Others wear simple tunics, and several people standing along the ruins in the middle distance wear only white loincloths. Ages of the people range from young and cleanshaven to older and bearded. Their costumes are mostly pale yellow, coral orange, crimson red, shell pink, or sky blue. Some people raise their heads and hands while others hold hands to their chests and close their eyes. Mary wears a pale blue robe over a blush-pink dress. Jesus is nude and an older man standing nearby wears an apricot-colored robe over a blue tunic. The older man, Mary, and Jesus have gold halos. A peacock and two other birds stand on the roof of the manger, which shelters an ox, ass, and horses.
Fra Angelico, Fra Filippo Lippi, The Adoration of the Magi, c. 1440/1460, tempera on poplar panel, Samuel H. Kress Collection, 1952.2.2

The Adoration of the Magi

Fra Angelico, Fra Filippo Lippi · c. 1440/1460 · tempera on poplar panel ·  Accession ID  1952.2.2

Lodovico Carracci, The Virgin and Child Appearing to Saints George and William, pen and brown ink with brown wash over black chalk on laid paper, Ailsa Mellon Bruce Fund, 1972.49.3

The Virgin and Child Appearing to Saints George and William

Lodovico Carracci · · pen and brown ink with brown wash over black chalk on laid paper ·  Accession ID  1972.49.3

Agostino Carracci, Landscape with Two Washerwomen, 1580s, pen and brown ink on laid paper, Ailsa Mellon Bruce Fund, 1978.19.1

Landscape with Two Washerwomen

Agostino Carracci · 1580s · pen and brown ink on laid paper ·  Accession ID  1978.19.1

Zanobi Strozzi, Initial Q with a Procession of Children, c. 1430s, tempera and gold leaf on parchment, Woodner Collection, Gift of Dian Woodner, 2013.130.1

Initial Q with a Procession of Children

Zanobi Strozzi · c. 1430s · tempera and gold leaf on parchment ·  Accession ID  2013.130.1

Dirk Helmbreker, Self-Portrait, 1670s?, red chalk, Ailsa Mellon Bruce Fund, 1982.38.1

Self-Portrait

Dirk Helmbreker · 1670s? · red chalk ·  Accession ID  1982.38.1

Bibliography

1921

  • Ref Number: 2584
    Lugt, Frits. Les marques de collections de dessins & d'estampes; marques estampillees et ecrites de collections. Amsterdam: Vereenigde drukkerijen, 1921.

  • Ref Number: 2584 and 2591.
    Lugt 2584 and 2591.

  • Ref Number: 2591
    Lugt, Frits. Les marques de collections de dessins & d'estampes; marques estampillees et ecrites de collections. Amsterdam: Vereenigde drukkerijen, 1921.