Provenance

Knight, Frank & Rutley

Explore Selected Works

Shown from the chest up, this pale-skinned woman wears a transparent veil and a green gown laced up the bodice in this vertical portrait painting. Her shoulders and face angle to our left, and she looks at us from the corners of her brown eyes with her head tipped slightly away from us. She has faint, arched brows, a long, delicate nose, and a rounded jaw. Shallow dimples to either side of her pale pink lips suggest a faint smile over a cleft chin. Her blond hair is pulled back under a diaphanous veil, which is held in place with a band around the crown of her head. The veil falls in gossamer folds over her shoulders. The bodice and sleeves of her gown are asparagus green. The front is laced over a white shirt, and the white fabric has been pulled through at her shoulders where the sleeves would be tied to the bodice. The gold dress and the white chemise are edged with bands of floral, geometric patterns in gold, and a gold belt wraps around her waist. The pendant hanging from her pearl necklace has red and blue gems set in gold, with three more pearls hanging from the bottom. Another necklace looks like a chain of small, star-like forms, and it is tucked into her bodice. She holds her right hand, to our left, cupped near her chest, and her other arm hangs by her side, off the bottom edge of the composition. The background is black, and the edge of the panel is decorated with a band of gold, geometric, knot-like patterns. The gold border disappears behind the woman’s shoulders, which span the width of the painting.
Girolamo di Benvenuto, Portrait of a Young Woman, c. 1508, oil on poplar panel, Samuel H. Kress Collection, 1939.1.353

Portrait of a Young Woman

Girolamo di Benvenuto · c. 1508 · oil on poplar panel ·  Accession ID  1939.1.353

The soaring, gilded vault of a central aisle of the inside of a church fills this horizontal painting. The ceiling of the nave curves up and away from us like a tunnel. It is lined with coffers, which have inset panels, decorated with gold. The light-filled nave angles down from the top center of the composition toward the lower left as it moves away from us. The white stone pillars supporting the barrel vault are intricately carved and decorated with pudgy, winged cherubs holding portraits of men, and aisles run parallel to the central nave to our left and right. In the side aisles, pink marble columns flank altars in chapels. At the far end of the church, the nave is interrupted where it opens into the light-filled crossing, before continuing beyond. Marking the space where the long hall of the church is intersected by a shorter arm to create a cross shape is a structure made of four twisting columns supporting a pointed canopy, all cast in bronze. Tiny men and women pray or gather in pairs and small groups along the nave. Some wear tattered clothing and others are elegantly dressed.
Giovanni Paolo Panini, Interior of Saint Peter's, Rome, c. 1754, oil on canvas, Ailsa Mellon Bruce Fund, 1968.13.2

Interior of Saint Peter's, Rome

Giovanni Paolo Panini · c. 1754 · oil on canvas ·  Accession ID  1968.13.2

Two large dogs approach a man lying unconscious and mostly buried in the snow in this horizontal painting. The head of the man comes toward us, at the lower center of the composition, and the dogs are close to us. In the center of the painting, a large tan and white dog has short, glossy fur and floppy ears, and its jowly mouth hangs open with the pink tongue visible. It paws at the snow partially covering most of the body of the man, who wears an olive-green coat with a fur collar and white shirt. The dog looks up to our right, and its body and white-tipped tail recede diagonally into the picture to the left. There is a red blanket with black edging over the dog’s back, and the hound wears a wide, fur-lined silver collar ornamented with metalwork lions and bells. The second dog, a dark brown brindle color, sits to the immediate left of the first dog. It gazes down at the prone person and bends its head down to lick a bare pale, pink hand that protrudes from under the snow. The brindle dog wears a small barrel around its neck on a brown buckled leather collar. The man’s dark brown hair falls over the snow. His pale gray face is upward, and his shoulders are visible while his arms splay out, and the rest of his body, extending into the picture, is covered with snow. The man’s eyes are closed. His right hand, in a tan leather glove, reaches toward us from the snow, while a green velvet cap with a red ribbon lies under the hand. The scene is enclosed by large, angular, steel and blue-gray boulders and rock formations, with two craggy pine trees above. Beyond lies a mountain landscape with a V-shaped pass at the center top framed by the steep ascent of jagged, snowy hillsides and a sliver of blue sky. A blocky stone building is nestled in among the crags to our right. On a path leading from the building, three bearded men wearing black caps and robes hurry toward the dogs. The nearest of them holds up a staff with a cross on the top and waves or signals to the men farther back along the path.
Sir Edwin Landseer, Alpine Mastiffs Reanimating a Distressed Traveler, 1820, oil on canvas, Patrons' Permanent Fund, 2019.120.1

Alpine Mastiffs Reanimating a Distressed Traveler

Sir Edwin Landseer · 1820 · oil on canvas ·  Accession ID  2019.120.1