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Bob P. Haboldt & Co.

Haboldt & Co.

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Shown from the hips up, a man with pale skin and shoulder-length brown hair, wearing a long-sleeved, rose-pink satin jacket and pants, props a flagpole with a voluminous blue flag against one shoulder in this vertical portrait painting. He stands with his body facing our left in profile with his left hand on his hip, elbow jutting out at us. He turns his face to look directly at us with dark eyes. He has a straight nose, rosy cheeks, and a mustache and narrow goatee below his lips, which are slightly parted. He wears a wide-brimmed black hat generously adorned with pale blue, turquoise, pale yellow, and orange plumes. The fabric of his pink clothing reflects the light in wide patches of white, creating the impression of a satin sheen. Wide, pale gray lace lines the front opening of the jacket, the shoulders, the arms, and the sides of the trousers. His white lace collar is tied with a pale celery-green bow and a bow of the same color ties the lace cuff of the wrist we can see. A baby-blue sash wraps around his waist and is tied in a large rosette at the back. Both hands are covered with ivory-white gloves. His left wrist rests against his hip so the underside of those fingers dangle down, while the other hand supports the flag pole, which is wrapped in blue fabric. A sword hangs from his front hip. The topaz-blue fabric of the flag, or standard, drapes down from the flag pole, which extends off the top right corner of the canvas. A coat of arms, about the size of a person’s palm, hangs from a nail with a string in the upper left corner on the taupe-colored wall behind the man. The coat of arms is made up of three fleur-de-lis lined up in a diagonal band and the remaining two corners are filled with stylized lions, long tongues curling out. The artist dated the work “1640” in the lower left corner.
Johannes Cornelisz Verspronck, Andries Stilte as a Standard Bearer, 1640, oil on canvas, Patrons' Permanent Fund, 1998.13.1

Andries Stilte as a Standard Bearer

Johannes Cornelisz Verspronck · 1640 · oil on canvas ·  Accession ID  1998.13.1

This is a drawing of a grand architectural setting with a multitude of figures gathered around an elaborate building. The architecture features a combination of Renaissance and classical styles, including ornate arches, decorative columns, and a façade with sculptural elements. The scene includes a double staircase with balustrades leading to a central arched entrance. People in detailed attire are gathered on either side of the staircase and spread out across the foreground. The structure conveys a sense of grandeur and ceremony, with architectural details providing depth and perspective.
Domenico Fossati, Campo San Zanipolo Decorated for the Visit of Pius VI, 1782, pen and dark brown inks with gray wash over graphite on laid paper, J. Carter Brown Fund, 1996.37.1

Campo San Zanipolo Decorated for the Visit of Pius VI

Domenico Fossati · 1782 · pen and dark brown inks with gray wash over graphite on laid paper ·  Accession ID  1996.37.1

This is a drawing featuring intricate surroundings and furniture. The central scene displays three individuals in period attire interacting in a room. Two hold lit candles, and a bird is featured on a pedestal-like structure. The room includes decorative paneling and detailed furnishings. The border presents owls, books, papers, celestial embellishments, and a cherub playing a musical instrument. An open book with musical notations is also included in the ornate frame.
Bernard Picart, Le Lutrin: A Night Scene with Boirude, Brontin, and L'Amour Surprised by an Owl Flying Out of a Lectern, c. 1718, pen and black ink with gray wash, heightened with white, indented for transfer with the verso blackened, and the border on an attached sheet of paper, Ailsa Mellon Bruce Fund, 2015.98.1

Le Lutrin: A Night Scene with Boirude, Brontin, and L'Amour Surprised by an Owl Flying Out of a Lectern

Bernard Picart · c. 1718 · pen and black ink with gray wash, heightened with white, indented for transfer with the verso blackened, and the border on an attached sheet of paper ·  Accession ID  2015.98.1

The image depicts a sketch of a person from the chest up, featuring a focus on the face and headwear. The individual faces slightly to the right, with a direct gaze. Their facial features are detailed, with a smooth complexion and full lips, along with long, wavy hair flowing down past the shoulders. The hair is drawn with flowing lines for texture. The person wears a large, wide-brimmed hat casting a shadow, adding a dramatic touch to the portrait. A garment with buttons can be seen under the hat. The background is plain, emphasizing the subject.
Michael Sweerts, Jan van den Enden, c. 1651, black chalk on laid paper, New Century Fund, 2012.58.1

Jan van den Enden

Michael Sweerts · c. 1651 · black chalk on laid paper ·  Accession ID  2012.58.1

This painting shows a variety of flowers in a decorative light orange vase. The flowers are of a variety of sizes and colors, including bright orange, blue, white, red, and pink, surrounded by green leaves and stems. The vase is positioned centrally at the bottom of the painting, with most of the tall flowers extending upwards to the top of the painting. Some flowers also drip down the sides of the vase or lie on the surface below. The surface and the wall behind the vase are both light brown. The orange vase appears to have shapes either carved or painted on it, but they are hard to identify. The lines in this painting are loose and sketch-like, and the colors have been applied similarly, sometimes bleeding out of the outlines of the flowers.
Jan van Huysum, Bouquet of Spring Flowers in a Terracotta Vase, 1720s, oiled charcoal and watercolor on laid paper, Pepita Milmore Memorial Fund, The Ahmanson Foundation Fund, Linda H. Kaufman Fund, and Mr. and Mrs. Louis Glickfield Fund, 2011.74.1

Bouquet of Spring Flowers in a Terracotta Vase

Jan van Huysum · 1720s · oiled charcoal and watercolor on laid paper ·  Accession ID  2011.74.1

The image shows a drawing of five human figures in an intertwined composition. One central figure is standing with a child holding their hand. Another figure is standing with a hand raised to their head. There is a seated figure with an outstretched arm, possibly holding or offering an object. Another figure is standing with a staff or stick, appearing in motion. The figures have various musculature and fabric-like elements. The background is simple with shading and a ground line beneath the figures.
Joachim Anthonisz Wtewael, The Judgment of Paris, c. 1615, pen and brown ink with gray washes over black chalk on laid paper, Ailsa Mellon Bruce Fund, 1990.35.1

The Judgment of Paris

Joachim Anthonisz Wtewael · c. 1615 · pen and brown ink with gray washes over black chalk on laid paper ·  Accession ID  1990.35.1

The painting depicts a seascape. The horizon is in the lower third of the composition, where the sky meets the calm sea. In front of it are multiple sailing ships floating on the water in the distance. Above the water, the sun is setting, and dark purple clouds cross the pale-blue sky. The sun casts pale yellow and orange light on the sky and sea, while there are cooler blues and muted grays in the water and shadows of clouds.
Hendrik Willem Mesdag, Sunset at Scheveningen: A Fleet of Fishing Vessels at Anchor, 1894, oil on canvas, Paul Mellon Fund and the Frank Anderson Trapp Fund, 2012.48.1

Sunset at Scheveningen: A Fleet of Fishing Vessels at Anchor

Hendrik Willem Mesdag · 1894 · oil on canvas ·  Accession ID  2012.48.1

This is a drawing of various religious figures and scenes. The drawing shows detailed sketches of figures in religious attire, including one figure holding a child. The drawing features expressive lines capturing the intricate details of the garments. The style suggests inspiration from the Renaissance era. The figures are positioned in a way that suggests a narrative connection.
Master of the Drapery Studies, Saint Christopher, Saint John the Baptist, the Virgin and Child, and Christ Blessing (recto), 1485/1495, pen and brown ink on laid paper, Purchased as the Gift of Ladislaus and Beatrix von Hoffmann, 2015.98.2.a

Saint Christopher, Saint John the Baptist, the Virgin and Child, and Christ Blessing (recto)

Master of the Drapery Studies · 1485/1495 · pen and brown ink on laid paper ·  Accession ID  2015.98.2.a

In the image, there is a detailed line drawing of a full-length figure standing on the right side. The person is upright, holding a palm branch in their right hand and a book in their left. The person has delicate facial features, an expressionless gaze, long curly hair, and wears a crown of greenery or leaves. They are dressed in long robes that cover their entire body. Two lambs rest on the ground next to them, each with intricate woolly coat detailing. The left side of the image is mostly blank, with a textured and aged appearance. The background is plain and unadorned.
Master of the Drapery Studies, Saint Agnes (verso), 1485/1495, pen and brown ink on laid paper, Purchased as the Gift of Ladislaus and Beatrix von Hoffmann, 2015.98.2.b

Saint Agnes (verso)

Master of the Drapery Studies · 1485/1495 · pen and brown ink on laid paper ·  Accession ID  2015.98.2.b

The sculpture depicts two mythological figures embracing in a dynamic pose. The male figure appears to be lifting the female figure, both displaying muscular forms. The male figure wears a helmet with wings, resembling Mercury or Hermes. Both figures are nude, with the male figure sporting a winged sandal. The sculpture is monochrome, likely marble, with intricate anatomical detailing. The figures stand on a pedestal above the viewer.
Michael Philip I, Mercury Abducting Psyche, 1652, black chalk, pen and brown ink, brown and grey wash heightened with white, Gift of Ruth Cole Kainen, 2012.92.778

Mercury Abducting Psyche

Michael Philip I · 1652 · black chalk, pen and brown ink, brown and grey wash heightened with white ·  Accession ID  2012.92.778