Provenance

Otto Naumann

Naumann Ltd., Otto

Explore Selected Works

Shown from the shoulders up, a bearded man with wrinkles lining his pale-skinned face looks up and to our left, toward a bright light source, in this vertical portrait painting. His shoulders are angled to our left, and he tips his head slightly back so his face turns toward us. He looks up from the corners of his gray eyes under bushy brows. A soft gray cap, pushed back high over the crown of his head, frames his face over a few tuffs of charcoal-gray hair on his high forehead. His brows are furrowed and his hollow cheeks ruddy. He has a silvery gray mustache, and his long, full beard falls to his chest. Lines have been incised in the gray and white paint of his beard to reveal an underlayer of rust orange. His slate-gray tunic is streaked with fawn brown to create highlights. The background is painted with blended strokes of leather brown and touches of golden orange, and it lightens around the man’s head.
Jan Lievens, Bearded Man with a Beret, c. 1630, oil on panel, Gift of George M. and Linda H. Kaufman, 2006.172.1

Bearded Man with a Beret

Jan Lievens · c. 1630 · oil on panel ·  Accession ID  2006.172.1

A jumble of pewter plates and a pitcher, glass goblets, a gold chalice, a brass candlestick, and other vessels along with lemons, olives, and the remains of a mince pie are arranged on a cream-white tablecloth bunched on a dark green tabletop in this square still life painting. The scene is painted almost entirely in shades of cool grays, gold, brown, and white against a deep beige background. The objects span width of the canvas across its center. At the left edge of the painting, a vibrant yellow lemon has been cut so its rind curls in a spiral that hangs over the front edge of the table. Behind the lemon, a scissor-like candle snuffer is propped against the wide ledge of the tall brass candlestick, its white candle nearly burned down. A few glistening olives sit in a small pewter plate, and one olive sits on the tabletop near the lemon and candlestick. A glass goblet with a wide stem with textured knubs rests upended on an elaborately chased, gold, footed vessel that has been tipped over so its wide shallow bowl faces away from us. The tall pewter pitcher behind this is dented on its rounded body. The lidded gold chalice next to the jug is the tallest object in the painting. Next to the chalice, along the right half of the painting, is a glass oil cruet with a long, curving spout, a tall, cylindrical vessel holding a small pile of salt, and a straight-sided, low glass holding beer. In front of these objects, an untouched bread roll and knife sit on a pewter plate at the center of the composition. The remains of the mince pie with its pastry crust sit on a large pewter plate to our right. In front of it is a smaller plate holding a broken goblet and a piece of black and white paper rolled into a cone. A few empty oyster shells sit on the table to the left and right, near the lemons and mince pie. The artist signed and dated the painting along the edge of the white cloth near the lower right corner: “HEDA 1635.”
Willem Claesz Heda, Banquet Piece with Mince Pie, 1635, oil on canvas, Patrons' Permanent Fund, 1991.87.1

Banquet Piece with Mince Pie

Willem Claesz Heda · 1635 · oil on canvas ·  Accession ID  1991.87.1

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

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

Gillis van Tilborgh the Younger, Self-Portrait in the Studio, c. 1645, oil on panel, Gift of Otto Naumann and Heidi Shafranek, 2003.153.1

Self-Portrait in the Studio

Gillis van Tilborgh the Younger · c. 1645 · oil on panel ·  Accession ID  2003.153.1

Amid the white crests of gray, churning waves, two masted ships tip wildly near a rocky outcropping beneath slate-gray and lavender-purple clouds in this horizontal landscape painting. The horizon comes a quarter of the way up the painting, and the ships are outlined against the clouds, which sweep across the sky from the lower right to the upper left corner. A patch of topaz-blue sky shines through at the top center of the painting. The long side of the three-masted ship to our left faces us and flags, possibly white with red stripes, fly from two of its masts. The ship at the center of the painting is angled toward us and a single white flag with a red cross flies from one of its two masts. Tiny in scale, people are gathered on the decks and climb the rigging alongside the masts. On the boat at the center, one person hovers overboard, perhaps holding onto a rope or shown falling to the sea. Foamy waves lap at the tall, jagged rock formations to our right, which jut out of the ocean like teeth. The largest boulder, near the right edge of the painting, is painted with tones of golden tan and silvery gray, suggesting it catches sunlight. The lower rocks, closer to us, are in shadow and painted coffee brown and iron gray. Upon closer inspection, two people climb onto the jagged rock closest to us. More scrutiny reveals several people in a rowboat and two men in the water around the rocks. A few birds, minuscule against the waves, fly over the rocks.
Willem van de Velde the Younger, Ships in a Gale, 1660, oil on panel, Patrons' Permanent Fund, 2000.72.1

Ships in a Gale

Willem van de Velde the Younger · 1660 · oil on panel ·  Accession ID  2000.72.1

Nicolaas Muys, A Lady Wearing a Dormeuse Cap, c.1770, red and black chalk on laid paper, Purchased as the Gift of Ivan and Winifred Phillips in Honor of Margaret Morgan Grasselli, 2016.96.1

A Lady Wearing a Dormeuse Cap

Nicolaas Muys · c.1770 · red and black chalk on laid paper ·  Accession ID  2016.96.1

Against a dark background, an abundant, colorful arrangement of flowers and fruit fills this vertical still life painting. Set on a stone ledge, a barely visible terracotta vase contains the overflowing bouquet of flowers and greenery. Carnations, tulips, peonies, roses, tuberoses, hops, and other flowers create swirling, circular patterns that sweep across the panel. A delicate stalk of wheat and a few long, thin stems create bright, sinuous lines that span the composition. Peaches and green and purple grapes are piled on the ledge to our right, and an orange butterfly perches below. Barely noticeable, small, pale blue, yellow, white, and orange butterflies hover around the arrangement, while small insects and flies crawl on a few of the flowers and pieces of fruit. Drops of water reflect the light on some of the greenery, fruit, and tulip petals. The flowers are strongly lit across the face of the arrangement, which creates deep shadows to the sides and back.
Jan van Huysum, Still Life with Flowers and Fruit, c. 1715, oil on panel, Patrons' Permanent Fund and Gift of Philip and Lizanne Cunningham, 1996.80.1

Still Life with Flowers and Fruit

Jan van Huysum · c. 1715 · oil on panel ·  Accession ID  1996.80.1

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