Provenance

W.M. Brady & Co., Inc.

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We look across the tops of trees down onto the roofs of a cluster of buildings and then a grassy expanse, a body of water, and rolling hills in this notably wide landscape painting. The trees are painted with shades of pine and olive green. At the center of the composition, the roofs are muted terracotta red with white chimneys except for the farthest structure, which has a gray roof around a lantern, perhaps indicating a church. Smoke puffs out of one chimney there. Trees with round canopies dot the pale, grassy field beyond that, which leads back to rows of tall, dark green cypress trees. A ribbon of ice blue across the left third of the painting indicates a body of water before russet-brown and muted sage-green hills roll into the deep, hazy distance. The horizon comes about two-thirds of the way up the painting, and glimpses of pale blue sky are visible through breaks in a blanket of pale gray and cream-white clouds above.
Théodore Rousseau, Panoramic Landscape near the River Moselle, c. 1830, oil on canvas, Chester Dale Fund, 2003.40.1

Panoramic Landscape near the River Moselle

Théodore Rousseau · c. 1830 · oil on canvas ·  Accession ID  2003.40.1

The person in the image is depicted in a dynamic stance, balancing on one leg while holding a cylindrical object with an ornate base. The person's head is tilted back, and the facial features include a slightly parted mouth and curly hair framing the face. The clothing is elaborate and flowing, with layered sleeves, and the figure stands within an abstract frame in front of a plain background.
Friedrich Sustris, Euterpe (Personification of Music), 1569/1573, pen and black ink with gray wash, heightened with white gouache, on gray-green laid paper squared in black chalk, Ruth and Jacob Kainen Memorial Acquisition Fund, 2021.15.1

Euterpe (Personification of Music)

Friedrich Sustris · 1569/1573 · pen and black ink with gray wash, heightened with white gouache, on gray-green laid paper squared in black chalk ·  Accession ID  2021.15.1

The image depicts a landscape sketched in a monochromatic palette of greys and blacks, with a textured quality. There are dense clusters of foliage in the foreground, detailed leaves frame the edges. In the middle ground, there is a body of water, possibly a river. In the distance, there is a castle or grand building on a hill, surrounded by woods. The style features delicate lines capturing textures of leaves, trees, and rocky cliff faces.
Gaspard Dughet, Italian Landscape with Fortifications and a Waterfall, mid-1660s, black and white chalk on blue laid paper, The Ahmanson Foundation and Edward E. MacCrone Fund, 2017.14.1

Italian Landscape with Fortifications and a Waterfall

Gaspard Dughet · mid-1660s · black and white chalk on blue laid paper ·  Accession ID  2017.14.1

The image depicts a woodland scene with a calm stream or river. The perspective is from slightly above water level, with the surface of the water mirroring the surrounding trees. The horizon is hidden by the dense forest in the distance. A solitary figure stands in the forest. The trees are detailed with robust, curving trunks and branches extending outward, casting shadowy patterns. The brushstrokes emphasize texture and depth, with light and shadow creating complexity. The color palette is sepia-toned, lending the image a warm and timeless quality.
Adolphe Appian, A Woodland River with a Fisherman, charcoal, chalk, and brushed washes with scratching out on wove paper, Ailsa Mellon Bruce Fund, 1989.16.1

A Woodland River with a Fisherman

Adolphe Appian · · charcoal, chalk, and brushed washes with scratching out on wove paper ·  Accession ID  1989.16.1

Constant Troyon, A Windmill against a Cloudy Sky, 1845/1850, oil paint and black chalk over charcoal on tan paper, Andrea Woodner Fund, 2007.57.1

A Windmill against a Cloudy Sky

Constant Troyon · 1845/1850 · oil paint and black chalk over charcoal on tan paper ·  Accession ID  2007.57.1

This is a drawing of cherubs and a garland. The image features a group of cherubs or putti carrying or playing with a garland of flowers. The drawing is done in a reddish-brown chalk, creating a soft look. The figures are depicted with movement and fluidity through the drapery and posture. The composition shows curved lines of the garland echoing the circular forms created by the bodies of the cherubs. The overall impression is one of liveliness and grace.
Charles de La Fosse, Angels and Putti Flying with a Garland: Design for a Ceiling, c. 1675, red and black chalk with touches of white chalk, squared in black chalk on light gray paper (formerly blue), with later framing line in brown ink, Gift of Donald Stone, 2022.40.23

Angels and Putti Flying with a Garland: Design for a Ceiling

Charles de La Fosse · c. 1675 · red and black chalk with touches of white chalk, squared in black chalk on light gray paper (formerly blue), with later framing line in brown ink ·  Accession ID  2022.40.23

The image shows a child-like figure in a floating or flying stance, with arms and legs extended. The facial features include a smiling mouth, closed eyes, and wavy hair. The figure is unclothed, with additional sketches of hands nearby. The background is a plain, textured surface.
Jacopo da Empoli, An Angel in Flight, c. 1594, black chalk and graphite on brown prepared paper, Gift of Diane Allen Nixon, 1999.29.1

An Angel in Flight

Jacopo da Empoli · c. 1594 · black chalk and graphite on brown prepared paper ·  Accession ID  1999.29.1

The image shows a side profile of a person from the shoulders up. The individual is depicted in a seated or standing position facing to the right, with their head slightly turned to reveal their side profile. The person has a pronounced nose, well-defined eyes, and full lips. Their hair is styled with curls cascading down and adorned with a headpiece or crown that includes beads and a feather element. They wear an elegant gown with lace detailing. There is no visible jewelry or objects held. The background is a textured shading within an oval shape, framed by a rectangular border with a decorative pattern.
John Hamilton Mortimer, Beatrice, 1775/1776, pen and black ink on laid paper, laid down on old mount, Gift of Thomas Vogler in memory of his brother Donald J. Vogler, 2017.53.79

Beatrice

John Hamilton Mortimer · 1775/1776 · pen and black ink on laid paper, laid down on old mount ·  Accession ID  2017.53.79

The image depicts a woman seated with a child in her lap. The woman looks down at the child, who has curly hair. Both figures are intricately drawn in a detailed line drawing style. The woman wears a headdress and flowing garment, holding a cross-topped staff. The child clutches her arm. Surrounding them are cloud-like forms and cherubic figures with wings, some holding rosary beads. In the background, more clouds and angelic faces are sketched.
Vicente Salvador Gómez, The Madonna of the Rosary, 1674, pen and brown ink on laid paper, Ailsa Mellon Bruce Fund, 1995.8.2

The Madonna of the Rosary

Vicente Salvador Gómez · 1674 · pen and brown ink on laid paper ·  Accession ID  1995.8.2

The image depicts a forest scene with an elevated point of view, showing various activities and landscapes. The horizon is high and marked by a line of trees. In the foreground, hunters and dogs are chasing a deer, surrounded by tall trees with detailed textures. The color palette includes browns, greens, and grays, creating a sense of age and enhancing the natural setting. Further away, more hunters and animals can be seen among a vast expanse of fading trees towards the horizon, emphasizing depth and scale.
Bernard van Orley, The Hunts of Maximilian: The Stag Hunt (August), 1528/1530, pen and brown ink with brown wash and watercolor over black chalk on laid paper, Gift of The Brown Foundation, Inc., Houston, 1997.69.1

The Hunts of Maximilian: The Stag Hunt (August)

Bernard van Orley · 1528/1530 · pen and brown ink with brown wash and watercolor over black chalk on laid paper ·  Accession ID  1997.69.1