Provenance

The A.W. Mellon Educational and Charitable Trust

est. 1930

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We look across an expanse of a flat, grassy lawn at the towering spire of a stone church outlined against billowing clouds in this horizontal landscape painting. The lawn is dappled with light filtering through a line of trees with thick, green canopies to our left. The trees take up almost the left half of the composition, and they line a dirt path where three people walk. Tiny in scale, the people are painted with strokes of slate blue, red, white, and black. A few animals, perhaps cows, graze on the lawn near more trees on the far side of the green. Beyond the trees, the church sits on the horizon, which comes about a quarter of the way up the composition. Minuscule touches of yellow, black, and red may suggest more people in the deep distance. The pale blue sky is nearly filled with puffy parchment-white and mauve-tinged clouds.
John Constable, Salisbury Cathedral from Lower Marsh Close, 1820, oil on canvas, Andrew W. Mellon Collection, 1937.1.108

Salisbury Cathedral from Lower Marsh Close

John Constable · 1820 · oil on canvas ·  Accession ID  1937.1.108

Both dressed in white, a little boy leans onto the lap of a woman sitting in front of a smooth, sunlit boulder with a landscape to the right in this vertical portrait painting. Both people have pale skin with rosy cheeks. To our left, the woman sits with her body facing our right. Her round face also tips to our right, and she looks at us with gray eyes. She has an upturned nose and her full, pink lips are closed in a slight smile. Her long legs are crossed at the ankles, and dark gray slippers peek out from under the long hem. She wears a diaphanous, eggshell-white gown gathered under her bust. The short sleeves of the dress are puffy over sheer sleeves that extend to her wrists. A sheer veil is tied over her brown hair with a gray ribbon falls over her shoulders. She wears coral-red beaded necklace and drop earrings. Her hands rest in her lap and intertwine with the little boy’s hands. He stands behind her and leans onto her knees with both elbows. His round face is framed by a cap of honey-brown hair, and he looks at us with big, lapis-blue eyes. The boy has a small nose and bow-shaped lips. He wears a flax-yellow and mist-gray short sleeved garment with a bow in the back. Light falls on the pair from our left, and throws some of the foliage surrounding them into shadow. Burnt orange, gold, and white leaves and flowers surround the boulder behind the woman, and a view into a moss-green forest interior extends into the distance to our right.
Sir Thomas Lawrence, Lady Mary Templetown and Her Eldest Son, 1802, oil on canvas, Andrew W. Mellon Collection, 1937.1.96

Lady Mary Templetown and Her Eldest Son

Sir Thomas Lawrence · 1802 · oil on canvas ·  Accession ID  1937.1.96

Shown from the knees up, an older man sits in a rustic wooden chair and holds up a pocket watch for a young child who stands at his knees in this vertical portrait painting. They both have pale, peachy skin with flushed cheeks. They are lit from our upper left so the man’s face is partly in shadow while light pours onto the child’s upturned face. The man’s body is angled to our right, almost in profile, but he turns his head to look at us with dark eyes under heavy brows. His has a bulbous nose, lined cheeks, and a heavy jowl around thin lips, which are closed in a line. His light gray, wavy hair is tied back at the nape of his neck. He wears a black coat with a high collar and tightly fitting sleeves. A streak of white at his neck suggests a white shirt under the black, high-necked vest that covers his torso. He rests his right elbow, closer to us, on the arm of the chair so he can dangle a pocket watch in front of the child. The man’s knees disappear behind the child, who leans against his legs. The pocket watch is attached to a short gold chain, and the child holds up the fob, which is shaped like a Hershey’s Kiss candy, at the end of the chain. The young boy looks up at the watch with luminous, brown eyes. He has smooth, round cheeks, a short nose, and his pink lips are closed. The child has wavy, golden brown hair and his white garment has a squared neckline, short sleeves, and falls like a skirt off the bottom edge of the painting. The background behind the pair is painted with streaks of marigold orange, gold, and olive green to suggest trees against a sky painted with butter and harvest yellow, rust orange, and just a touch of pale blue at the upper left corner. The entire portrait is loosely painted, especially in the background, chair, and clothing.
Sir Henry Raeburn, John Tait and His Grandson, c. 1793, with additions c. 1800, oil on canvas, Andrew W. Mellon Collection, 1937.1.103

John Tait and His Grandson

Sir Henry Raeburn · c. 1793, with additions c. 1800 · oil on canvas ·  Accession ID  1937.1.103

An older girl and a younger child, both with pale skin, bend toward each other as they look at a book spread open on a wooden cupboard in this nearly square painting. Shown from the hips up to our right, the girl leans over the cupboard with her body facing our left in profile. She looks at the child peering over the low ledge at the back of the cupboard with her head tilted slightly in that direction. The older girl has a straight, delicate nose, her smooth cheeks are flushed, and her rosy-red lips are pursed. Her brown hair is tucked under a bright white, ruffled cap encircled with a gold and cranberry-red ribbon. The long sleeves of the muted sapphire-blue dress seem to have been rolled back along the forearms to reveal cascading, white cuffs. A translucent white neckerchief, like a short, full scarf, is tucked into an ivory-white apron that also covers the flaring skirt. With both hands on the open book, she points to one page with a metal pointer like a knitting needle. Facing us, the smaller child looks at the book from behind the wood cupboard, eyes downcast, resting one forearm on the surface and pointing to a detail in the book. The child has delicate brows, a short, wide nose, and full raspberry-red lips are closed. The padded cap the child wears covers the ears and is loosely painted with a pattern of honey brown, silvery white, and slate blue. The nutmeg-brown sleeves are pushed back along the forearm and there are white cuffs or sleeves beneath. The cupboard has two diamond-shaped, iron-gray metal pulls in front. Light illuminating the pair from our left creates a greenish glow on the tawny-brown background behind them.
Jean Siméon Chardin, The Little Schoolmistress, after 1740, oil on canvas, Andrew W. Mellon Collection, 1937.1.91

The Little Schoolmistress

Jean Siméon Chardin · after 1740 · oil on canvas ·  Accession ID  1937.1.91

Shown from the waist up on the other side of a strawberry-red table, an elderly, pale-skinned woman sits facing us, sleeping with her head propped on her hand in this vertical painting. She is brightly lit from our upper left, which creates deep shadows across her face, and behind and around her. The woman rests her cheek against her closed left fist, to our right. That elbow is propped on a gold and amber-yellow cushion tucked into the corner where the table meets the wall to our right. Her brows are slightly furrowed over deep-set eyes. She has loose jowls, thin lips, and wrinkles line the corners of her eyes and her mouth. Almost lost in shadow, her other hand rests on the large book lying open before her. She wears a black coat draped over a parchment-white garment. Her hair is covered by a ginger-brown and black striped veil that hangs to her shoulders. Three iron-gray keys hang from a rail running across the wall next to her at head height. The wall is sage green and mustard yellow in the light, and the corners and left edge are swallowed in shadow. The artist signed the painting in capital letters on the right, just above the rail, “N. Maes.”
Nicolaes Maes, An Old Woman Dozing over a Book, c. 1655, oil on canvas, Andrew W. Mellon Collection, 1937.1.63

An Old Woman Dozing over a Book

Nicolaes Maes · c. 1655 · oil on canvas ·  Accession ID  1937.1.63

This painting is a portrait of a woman. She is seated on a red chair with gold studs along its edges, positioned with her arms crossed over her lap, slightly turned to the left. The woman's facial features include a fair complexion with rosy cheeks, slightly smiling lips, and large, dark eyes. Her brown hair is curly and voluminous, adorned with a pearl band and a light blue ribbon visible towards the back. Her clothing consists of a long-sleeved white dress with a ruffled neckline, cinched in the waist by a light greenish-blue sash. The background is a plain, muted green tone, with a light color on the left indicating a partially visible door or paneling.
American 18th Century, Matilda Caroline Cruger, c. 1795, oil on canvas, Andrew W. Mellon Collection, 1942.8.13

Matilda Caroline Cruger

American 18th Century · c. 1795 · oil on canvas ·  Accession ID  1942.8.13

About three dozen people gather in a grassy field to either side of a crumbling structure to kneel and pray before a woman and baby in the center of this horizontal painting. The woman, Mary, and baby, Jesus, have smooth, pale skin while the others have light or tanned skin. The structure has sand-colored stone pillars, a wooden triangular, pitched roof, and a straw floor. Mary, who has an elongated torso, sits facing us with her knees apart. She wears an azure-blue robe over a rose-pink dress. A shell-pink veil covers her head and body. Jesus sits on her left knee, his pudgy body angled to our left. He is nude except for a transparent cloth wrapped over one shoulder and the opposite hip. Mary’s left hand braces his torso. On Mary’s right, our left, Joseph, an older man, stands facing us. He clasps his hands at his chest and leans on a long stick. He has wrinkled skin, long, gray curly hair, and a full beard. Both Mary and Joseph tilt their heads to their right, our left, as they look down at Jesus. Joseph wears a golden yellow robe over a blue tunic. Joseph, Mary, and Jesus have faint gold halos. Behind them, a brown cow and gray donkey rest on the straw. People closest to Mary and Jesus kneel and bow their heads while the people to the left and right sides mostly stand. Three men kneeling closest to Mary and Jesus offer gifts, including a bronze vessel and a gold jar. One man has long dark brown hair and a beard, and wears a gold crown. Another man is bald with long gray hair and beard, while the third is cleanshaven with shoulder-length brown hair. These men wear robes in powder blue, carnation pink, or celery green with delicate silver and gold embelishments. Others in the crowd range in age from young and cleanshaven to older and bearded. They wear robes and tunics in shades of raspberry pink, butterscotch yellow, lapis blue, plum purple, or forest green. Several horses, their coats white or cinnamon brown, stand among the crowd, a few with riders. To our right, one horse rears its head and two others stand facing each other. Beyond the crowd, grassy green meadows and hills dotted with trees lead back to the horizon. A pale blue sky fills the top third of the composition.
Sandro Botticelli, The Adoration of the Magi, c. 1478/1482, tempera and oil on poplar panel, Andrew W. Mellon Collection, 1937.1.22

The Adoration of the Magi

Sandro Botticelli · c. 1478/1482 · tempera and oil on poplar panel ·  Accession ID  1937.1.22

This painting shows a woman sitting and cradling an infant on her lap. The woman faces slightly left and looks down at the child with a slight smile. She has pale skin and golden hair covered by a semi-translucent white veil. She wears a red garment with gold embroidery and a dark blue cloak with gold trim and a star-shaped brooch on her shoulder. The infant has curly golden hair and is dressed in a sheer garment, looking up towards the woman. Surrounding these two people are more people with wings and cherubic children with the bodies of red-and-gold birds. All of these people have pale skin and golden hair, and they wear colorful robes in shades of red, white, and light blue. Everyone in the painting has a golden halo around their head, and the background is a decorative golden surface with intricate patterns around the edge of the painting.
Matteo di Giovanni, Madonna and Child with Angels and Cherubim, c. 1460/1465, tempera on poplar panel, Andrew W. Mellon Collection, 1937.1.9

Madonna and Child with Angels and Cherubim

Matteo di Giovanni · c. 1460/1465 · tempera on poplar panel ·  Accession ID  1937.1.9

Shown from the shoulders up, a man with peachy skin looks off to our left as he holds the feathered end of an arrow up in a hand resting along the bottom edge of this vertical portrait painting. Shown against a marine-blue background, he looks into the distance with hazel eyes under bushy eyebrows. He has a long, bumped nose, and his full, pale pink lips are closed. His round cheeks are tinged with pink, and there is a hint of a five-o-clock shadow around his mouth and jawline. Chestnut-brown, curly hair hangs to the base of his neck, and wispy curls fall across his forehead from under his tall, chocolate-brown cap. The cap has a small gold pin high over the ear we can see. The man wears a garnet-red jacket with a black collar over a white collarless shirt decorated with five black, narrow bands below the neckline. The fingers of his right hand, to our left, rest with the fingertips braced along on the bottom edge of the painting, as if along a ledge. He pinches the shaft of an arrow with his index finger and thumb, so we see the sienna-brown feathers. He wears a gold ring embedded with a small blue gem near the first knuckle of his ring finger.
Hans Memling, Portrait of a Man with an Arrow, c. 1470/1475, oil on panel, Andrew W. Mellon Collection, 1937.1.42

Portrait of a Man with an Arrow

Hans Memling · c. 1470/1475 · oil on panel ·  Accession ID  1937.1.42

A man stands and a woman sits near a herd of seven cows under a light-drenched sky in this horizontal landscape painting. The herd gathers on a grassy rise just beyond some large boulders and twiggy branches. The cows are caramel or copper brown and ivory white. They stand and lie, legs tucked demurely beneath their hulking bodies, facing different directions, their short horns curling like parentheses against the sky. The man stands on our side of the herd with his back to us to the left of center. He holds a tall shepherd’s staff in one hand as he hunches slightly and points with the other, to our right. He wears a high-crowned, wide-brimmed black hat, a crimson-red jacket, black trousers, and black knee-high boots. A knapsack hangs across one shoulder and rests behind his left hip. The woman sits on the far side of the herd so we see her under the man’s raised arm. She looks at him, her face peachy and round under a wide-brimmed straw-colored hat. She wears a white shirt under a robin’s egg-blue dress, and also holds a tall staff upright with both hands. Two more pale-skinned people sit on the ground or on a donkey in the near distance to our right, near the right edge of the canvas. Both wear hats and earth-toned clothing in black, gray, and blue. The donkey stands facing us, its face low, and a pair of baskets are slung across its back. The people and cattle cast long shadows from the setting sun, out of view to our left. The sunset ignites the undersides of the towering, slate-gray clouds with peach and gold against the ice-blue sky. A body of water stretches from beyond the low hill to a distant shore, where stone ruins are outlined on the horizon, which comes about a third of the way up the composition. A flock of six birds and another pair dot the sky.
Aelbert Cuyp, Herdsmen Tending Cattle, 1655/1660, oil on canvas, Andrew W. Mellon Collection, 1937.1.59

Herdsmen Tending Cattle

Aelbert Cuyp · 1655/1660 · oil on canvas ·  Accession ID  1937.1.59

Bibliography

1973

  • Finley, David. A Standard of Excellence. Washington, 1973.

1978

  • Koskoff, David E. The Mellons: The Chronicle of America's Richest Family. New York, 1978