Provenance

Sale, The Hague

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More than a dozen light-skinned men, women, and children eat, drink, talk, and make music around a dancing couple under an arbor in this horizontal painting. Most of the people are dressed in muted tones of green, gray, and black. The patio-like space is enclosed by a railing along the back and a half wall to our right. Sage-green vines and leaves covering the roof-like trellis hang down. Ten men and women sit or stand closely around a long table along the left, next to the exterior wall of a red brick building. A woman sitting in a wooden chair at the end of the table closest to us wears a flax-yellow gown with a wide white collar and a starched white cap. She smiles up at the child she braces in her lap. The child stands and holds a toy in both hands and looks over one shoulder to our right. The child wears a carrot-orange gown with a white pinafore. Two men lean out of open windows at the far end of the brick building, and the people along the table drink, smile, or look on as a man in the center leads a woman by the hand to an open spot under the arbor. He wears a charcoal-gray suit, and a muted pink cap is pulled low over his eyes. He has a long, hooked nose, and light glints off teeth in his smiling mouth. The woman is pulled behind the man, so she stands flat-footed to our left of him. She faces our right but turns to looks at us from the corners of her dark eyes. Her light brown hair is gathered at the back of her head under a pearl-lined covering. She wears a dusty rose-pink gown with a sheer black shawl around her shoulders and white apron at her waist. Beyond the back rail, a man smiles widely as he balances a covered basket containing a gray chicken with one hand on his head. Nearby, a boy on our side of the rail talks with a little girl across the railing, who smiles back. Two men and a woman wearing a black head covering talk a short distance away. Close to us, a man, woman, and child in the lower right corner sit near two young men perched on the half wall, one playing a violin and the other a flute. A gleaming pewter ewer, a wooden barrel with a square opening, a white pipe, a terracotta bowl, broken eggs, a spoon, and an overturned pail of flowers lie scattered across the foreground of the patio. The artist signed and dated the lower left, “JSteen. 1663,” with the J and S overlapping.
Jan Steen, The Dancing Couple, 1663, oil on canvas, Widener Collection, 1942.9.81

The Dancing Couple

Jan Steen · 1663 · oil on canvas ·  Accession ID  1942.9.81

Shown from the chest up, a light-skinned man with a wrinkled face and a silvery gray beard and hair gazes into the distance in this oval portrait painting. His chest is angled to our right but he turns his head to look off over his other shoulder, to our left. His slate-blue eyes are a little sunken and lined with wrinkles. Shading marks the hollows of the temple and cheek we can see. His thin lips are closed and framed by his curly mustache and beard. A dark, mahogany-brown cap is pushed back on his head, and his brown jacket has gold-colored buttons down the front. The collar of a cream-colored shirt shows through at the neckline. The background is dark olive green. The artist signed the work near the man’s shoulder, to our right: “GDOV.”
Gerrit Dou, Bust of a Bearded Man, c. 1642/1645, oil on panel, Corcoran Collection (William A. Clark Collection), 2014.136.32

Bust of a Bearded Man

Gerrit Dou · c. 1642/1645 · oil on panel ·  Accession ID  2014.136.32

Shown from about the knees up, an older, bearded, pale-skinned man sits at a desk with his head in one hand in a shadowy room in this vertical painting. His body is angled to our right, and he sits in a heavy wooden armchair next to a desk. His left elbow, farther from us, rests on the chair’s arm, and he holds that hand to his forehead. He holds a quill with his other hand, which brushes his knee. He has ash-brown hair covered at the back by a cap and a long shaggy beard. He looks off to our right with dark, shaded eyes. His voluminous brown robe is brushed loosely with golden brown highlights. The rust-red garment under the robe is visible at the sleeves, neckline, and one knee. The desk, to our right, has a stack of papers or parchment. The oversized hilt of a long sword leans against the wall behind the desk. The background is painted with areas of earth and chestnut brown. Some areas of the scene are loosely painted so brushstrokes are visible, especially the brightest white highlights on his collar, the quill, the edges of the parchment, and glints on the sword. The artist signed the painting on the face of the desktop, near the lower right corner: “Rembrandt f.”
Rembrandt van Rijn, Anonymous Artist, The Apostle Paul, c. 1657, oil on canvas, Widener Collection, 1942.9.59

The Apostle Paul

Rembrandt van Rijn, Anonymous Artist · c. 1657 · oil on canvas ·  Accession ID  1942.9.59

Shown from the waist up, a woman looks at us steadily from behind an oval opening in this vertical portrait, which is painted entirely in tones of sepia and golden brown. The woman’s shoulders and face are angled to our left, but she looks at us with large, dark eyes. She has a narrow face with a slightly bumped nose, high cheekbones, a dimple under her lower lip, and her mouth is closed. Her dark hair is pulled back, and curls fall to her shoulders. The bodice of her dress and the voluminous sleeves glint with highlights, suggesting satin or silk. A sheer cloth covering her chest may be lined with pearls, and bows are tied at her shoulders and over her breastbone. She holds one long-fingered hand up to touch the ribbon at her chest, and she wears a ring on that pinky. She holds a closed book by the spine with her other hand down by her waist. A curtain fills most of the background within the oval opening but is pulled aside to show a church tower to the left. The oval opening appears to be ornamented on our side with carved, chubby babies in the lower corners holding a blank banner, paint palette, brushes, maulstick, and books. At the upper corners are a drawing, drafting tools, globe, lute, and caduceus. The artist signed and dated the painting near the woman’s right elbow, to our left: “Cornelius Ionson Van Ceulen fecit 1657.”
Cornelis Jonson van Ceulen, Anna Maria van Schurman, 1657, oil on panel, Gift of Joseph F. McCrindle, 2002.35.1

Anna Maria van Schurman

Cornelis Jonson van Ceulen · 1657 · oil on panel ·  Accession ID  2002.35.1

A pale-skinned woman sits in a pool of light against a deeply shadowed background in the bottom half of this vertical painting. She sits in the center of the composition, in a heavy wooden armchair next to a bed, which is flanked by two men. The woman wears a rose-pink, fur-trimmed robe draped over a white chemise. A pearl necklace and gold bracelets gleam at her throat and wrists, and her chestnut-brown hair is partially pulled up while curls fall to her shoulders. She looks to her left, our right, at a shadowy bearded man. He wears a turban wrapped in a gold chain, a cloak patterned with shades of bronze, olive green, and rust red, and a sword hangs from his belt. He stands facing our left, stooping slightly to rest his right arm, farther from us, on her chair, and his hand brushes her shoulder. The woman's mouth is open and brow furrowed as she points to the bed with her right hand, to our left. Her other hand holds up the loose neckline of her chemise to cover her chest. The bed is angled slightly away from us, to our left. It is covered with white linens and a mustard-yellow coverlet. A burgundy-red cloth or garment is draped over a bedpost at the foot of the bed. A younger man stands on the far side of the bed with his body angled to our right. He wears an olive-green tunic. A broad, scarlet-red sash is tied around his waist, and a bunch of keys hangs from it. Shoulder-length, light brown hair frames his face. His head tilts slightly to our right, and his hands are clasped at the waist, holding what looks like a black cap. A faint light him behind him creates a soft halo around his body. The top half of the painting is swallowed in deep shadow. The artist signed and dated the painting in the lower right, “Rembrandt. f. 1655.”
Dutch 17th Century, Joseph Accused by Potiphar's Wife, 1655, oil on canvas transferred to canvas, Andrew W. Mellon Collection, 1937.1.79

Joseph Accused by Potiphar's Wife

Dutch 17th Century · 1655 · oil on canvas transferred to canvas ·  Accession ID  1937.1.79

A man, woman, several children, a dog, and a chicken work and play outside a two-story, partially vine-covered, brown brick house in this vertical painting. All the people have peachy, light skin. We look slightly down onto a courtyard enclosed by the house to our right and a wall along the back of the yard, a short distance from us. To our right and closest to us, laundry dries on a line over a pile of branches, cast off bricks, and a wooden shovel near the lower right corner. A young girl wearing a white bonnet, a royal-blue shirt, and a long, harvest-yellow skirt sits on the dirt ground, leaning toward a little boy holding the paws of a black and white dog that stands on its hind legs. A broom leans against a fenced-in chicken coop behind the boy, and a bunch of carrots rests on the flat roof of the coop. Beyond the children, a woman sits hunched on a rushed chair, cleaning mussels taken from a wooden bucket and placed in an earthenware dish. A bearded man leans in the open doorway in the courtyard wall looking at the woman and a young girl helps a toddler stand nearby, as a chicken pecks at the ground. The roof slouches atop the brick house along the top edge of the canvas to our right, and the peak of another roof and trees rise above the courtyard wall. Fluffy white clouds float across the bright blue sky in the upper right corner. The artist signed and dated the work in dark paint in the lower center: “Av. Ostade 1673.”
Adriaen van Ostade, The Cottage Dooryard, 1673, oil on canvas, Widener Collection, 1942.9.48

The Cottage Dooryard

Adriaen van Ostade · 1673 · oil on canvas ·  Accession ID  1942.9.48

Shown from the hips up, a man with pale, peachy skin, dressed in a black suit and tall hat, looks at us from in front of a dark brown background in this vertical portrait painting. The man’s body is angled to our right, almost in profile, but he turns his head to look at us from the corners of his eyes under lifted brows. He has rounded nose, a thin mustache over wide, pink lips, and a deep cleft in his chin. His face is fleshy under his eyes and along his jawline, and he has a slight double chin. The wide brim of his tall black hat casts a shadow across his eyes. Shoulder-length, brown, curly hair falls on a wide, lace-edged bright white collar, which lies flat across his chest and shoulders. Light glints off his black jacket, suggesting a sheen. Wide white, disk-like cuffs encircle his wrists over puffs of voluminous white sleeves that gather on his forearms. A black, velvety cape drapes from the shoulder closer to us and down across his waist. He points to our right with his right arm, closer to us. The fawn-brown glove or pair of gloves he holds in his other hand by his far hip is cut off by the bottom edge of the canvas.
Rembrandt van Rijn, Portrait of a Gentleman with a Tall Hat and Gloves, c. 1656/1658, oil on canvas transferred to canvas, Widener Collection, 1942.9.67

Portrait of a Gentleman with a Tall Hat and Gloves

Rembrandt van Rijn · c. 1656/1658 · oil on canvas transferred to canvas ·  Accession ID  1942.9.67

A woman with pale skin, wearing a black dress and holding a full, billowing white ostrich feather, is shown from the hips up against a dark background in this vertical portrait painting. She has dark eyes, faint, arched brows, a slightly pink nose, and her pink lips are parted. Light falls from our left, creating shadows under the other cheekbone and along the side of her neck. Her shoulders are covered by a transparent, white, lace-edged wrap fastened with a bow. Her black dress also has wide, white cuffs, exposing a thick, possibly jeweled bracelet on each wrist. She wears two gold rings, one with a clear gem, perhaps a diamond, gold, dangling earrings, and a round pendant necklace. The lush white ostrich feather arches down from her right hand, held at her waist by her opposite hand, clasping that wrist.
Rembrandt van Rijn, Portrait of a Lady with an Ostrich-Feather Fan, c. 1656/1658, oil on canvas transferred to canvas, Widener Collection, 1942.9.68

Portrait of a Lady with an Ostrich-Feather Fan

Rembrandt van Rijn · c. 1656/1658 · oil on canvas transferred to canvas ·  Accession ID  1942.9.68