Provenance

Walter M. Feilchenfeldt

Explore Selected Works

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Jacopo Palma il Giovane, The Baptism of Christ, pen and brown ink with brown wash heightened with light gold gouache on brown washed laid paper, laid down, Rosenwald Collection, 1950.20.8

The Baptism of Christ

Jacopo Palma il Giovane · · pen and brown ink with brown wash heightened with light gold gouache on brown washed laid paper, laid down ·  Accession ID  1950.20.8

A woman wearing a long, royal-blue dress is surrounded by nine winged angels as she floats on a thin, bright white, downward-pointing crescent moon above a deep landscape with a town tucked into rolling hills in this vertical painting. The woman, Mary, and all the angels have pale, peachy skin and long, brown hair. Mary and the angels float against a pale yellow and pale peach field of light enclosed within a mass of steel-gray clouds. She presses her fingertips together in front of her chest and gazes down and to our right, her dark eyes almost closed. She has a delicate, straight nose, and her small mouth is closed. Her brown hair parts in the middle and flows down over her shoulders. The angels wear flowing gowns in sky or topaz blue, olive green, tangerine orange, white, or light pink, each with matching wings. Three angels place a gold crown on Mary's head. Four others hold up the edges of a silvery white cape, which is fastened across her shoulders with brooches of white pearls surrounding ruby-red stones. The final two angels hold up the downward-facing points of the crescent moon beneath her. In the landscape below, groupings of trees are dotted among the rolling hills, with a village in the distance to our left. The blue, hazy horizon comes about a sixth of the way up the composition. A brown boulder sits in the bottom left corner, closer to us. The paint is visibly cracked throughout.
Michel Sittow, The Assumption of the Virgin, c. 1500, oil on panel, Ailsa Mellon Bruce Fund, 1965.1.1

The Assumption of the Virgin

Michel Sittow · c. 1500 · oil on panel ·  Accession ID  1965.1.1

Domenico Campagnola, Landscape with a Boy Fishing, c. 1516, pen and brown ink over leadpoint on laid eighteenth-century (Mariette) mount, Rosenwald Collection, 1950.20.1

Landscape with a Boy Fishing

Domenico Campagnola · c. 1516 · pen and brown ink over leadpoint on laid eighteenth-century (Mariette) mount ·  Accession ID  1950.20.1

Adolph Menzel, The Artist's Sister Emilie, 1851, pastel and black chalk on brown wove paper, Wolfgang Ratjen Collection, Purchased as the Gift of Ladislaus and Beatrix von Hoffmann, 2007.111.19

The Artist's Sister Emilie

Adolph Menzel · 1851 · pastel and black chalk on brown wove paper ·  Accession ID  2007.111.19

Posters fill a billboard-like wall that stretches across most of the horizontal composition in this loosely painted scene. Two red-and-white striped tents with rounded tops are in the lower left quadrant of the composition. One person, perhaps a woman wearing a hat and a white dress, stands in blue shadow near one of the tents, and four others stroll across the golden-tan walkway to the right. One pedestrian wears a white dress and carries a white parasol. A man and woman wear russet brown, and the person next to the woman in white wears black. The posters are painted in tones of canary yellow, lapis blue, and red with a few touches of cool green and white. The posters, tents, and the people’s bodies are outlined in cobalt blue. Two rooflines to the left and some vertical strokes in turquoise green, light pink, and pale yellow suggest buildings stretching into the distance. A banner flies from the top of the wall in the upper right corner of the painting against a vivid blue sky in the top third of the composition. Brushstrokes are visible throughout, and glimpses of raw canvas are light brown at the edges. The artist signed the painting in the lower right corner in blue, “Marquet.”
Albert Marquet, Posters at Trouville, 1906, oil on canvas, Collection of Mr. and Mrs. John Hay Whitney, 1998.74.1

Posters at Trouville

Albert Marquet · 1906 · oil on canvas ·  Accession ID  1998.74.1

Wolf Huber, The Annunciation to Joachim, 1514, pen and brown ink on laid paper, Rosenwald Collection, 1950.20.6

The Annunciation to Joachim

Wolf Huber · 1514 · pen and brown ink on laid paper ·  Accession ID  1950.20.6

Jean-Auguste-Dominique Ingres, Philippe Mengin de Bionval, 1812, graphite on wove paper, Woodner Collection, 1991.182.21

Philippe Mengin de Bionval

Jean-Auguste-Dominique Ingres · 1812 · graphite on wove paper ·  Accession ID  1991.182.21

A woman with smooth, pale skin, wearing an ivory-white headdress and a peacock-blue dress, is shown from the hips up in this vertical portrait painting, which has an arched top. The woman’s body and face are angled to our left, and she looks off in that direction with gray eyes. Her smooth cheeks are lightly blushed in her heart-shaped face. She has a high forehead, faint brows, and her full, pale pink lips are closed. Narrow panels of her headdress come down the sides of her face, emphasizing the heart shape. The fabric covers her head and falls in a veil down her back. Her dress comes up high across the back of her neck and then flares out to nearly her armpits across a low, straight neckline. Sheer fabric covers her chest, and the inner part of her neckline has a band of black to each side. The blue dress is lined with gray fur along the neckline, down the front, and on the undersides of voluminous sleeves, which are turned back at her wrists. Black cuffs peek out from under the folds. In her right hand, to our left, she holds a single pink carnation in front of her abdomen with her thumb and first two fingers. She wears a gold ring on the pointer finger of her other hand, in which she holds a string of coral-red beads. A hint of a gold belt is just visible between and behind her hands. The green background behind her glows around her shoulders and deepens to moss green around the arched top of the panel.
Joos van Cleve, Margaretha Boghe, probably 1518, oil on panel, Ailsa Mellon Bruce Fund, 1962.9.2

Margaretha Boghe

Joos van Cleve · probably 1518 · oil on panel ·  Accession ID  1962.9.2

Shown from the waist up, a clean-shaven, pale-skinned man dressed in black gazes at us in this vertical portrait painting, which has an arched top. His body is angled to our right, but he glances back toward us with slightly drooping hazel-green eyes under slender brows. His face tapers to a narrow chin, and his pale pink lips are closed. His ear-length brown hair and bangs are mostly covered by a wide, black hat that sits cocked to our left. He wears a voluminous black coat with a wide fur collar over a black garment with a notched collar. A white shirt beneath is visible at the neck and cuffs. He pulls a bone-white glove onto one hand and wears a gold ring with a green gem on the index finger of his bare hand. The green background behind him glows around his shoulders and deepens to moss green around the arched top of the panel.
Joos van Cleve, Joris Vezeleer, probably 1518, oil on panel, Ailsa Mellon Bruce Fund, 1962.9.1

Joris Vezeleer

Joos van Cleve · probably 1518 · oil on panel ·  Accession ID  1962.9.1

Circles, stars, birds, and crescent shapes are painted against a tent-shaped structure in this pale-toned, abstracted watercolor and drawing. The tent shape has three peaks near the top and is stepped across the bottom. Where what might be called the roof flares over the straighter side walls are an R to the left and, to the right, an N with a curling, red swirl off the top right stem of the letter. Three gray birds with oversized blue eyes are painted in a field of other geometric shapes in shades of cobalt blue, muted purple, mint green, and faint yellow. A cluster of nested, curving pink lines in the lower left corner suggest a rose. The background is mostly white with three circles in shades of purple, and the paper is saturated with red and yellow that bleed into each other across the bottom edge. The artist signed the top left corner of the paper, “Klee.” The watercolor is mounted on cardboard. On that cardboard is written, “1917 92” to the lower left and “Persische Nachtigallen” to the lower right.
Paul Klee, Persische Nachtigallen (Persian Nightingales), 1917, gouache, watercolor, and pen and black ink over graphite on laid paper, mounted on cardboard; the sheet bordered at the top with yellow paper strip mounted to support, Gift of Catherine Gamble Curran and Family, in Honor of the 50th Anniversary of the National Gallery of Art, 1990.59.2

Persische Nachtigallen (Persian Nightingales)

Paul Klee · 1917 · gouache, watercolor, and pen and black ink over graphite on laid paper, mounted on cardboard; the sheet bordered at the top with yellow paper strip mounted to support ·  Accession ID  1990.59.2