Sedelmeyer Gallery

French, active late 19th century - early 20th century

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Shown from the knees up, a pale-skinned man wearing armor stands with his body facing our left in profile but he turns his head to look up and over our right shoulder in front of a distant, gray landscape in this vertical portrait painting. He looks into the distance with brown eyes under dark, arched eyebrows. Chestnut-brown hair flows around his ears and to the back of his neck. His straight nose is slightly hooked at the end, and his pink lips are closed under a wispy mustache. He has plump, lightly flushed cheeks, and sagging jowls lead to a double chin. Light from our left glints off the suit of armor that covers his arms and round belly. He stands with his left hand, closer to us, resting on the hilt of a sword hanging at his side so his elbow points toward us. His other hand rests on the top of a cane. A leather strap crosses his chest, and a thin layer of lace encircles his neck. A ruby-red sash is tied around his upper left arm in a bow and billows around and behind him. The landscape beyond has a dark blue sky with charcoal-gray clouds above a low, sunlit horizon. The painting is inscribed with dark capital letters in the upper right corner: “MDV RAPHAEL RACIVS. H REIP. TRIREMIVM PRAEFE.”
Sir Anthony van Dyck, The Prefect Raffaele Raggi, c. 1625, oil on canvas, Widener Collection, 1942.9.90

The Prefect Raffaele Raggi

Sir Anthony van Dyck · c. 1625 · oil on canvas ·  Accession ID  1942.9.90

An older, pale-skinned man wearing a richly brocaded robe and bishop’s mitre stands under a rounded arch in front of a deep landscape in this tall, narrow, vertical painting. The man faces our right and has a deeply lined face with light brown eyes under thick brows, a long nose, and a pale, closed mouth. His dimpled chin and jowly neck are tinged with a five-o-clock shadow. The pointed gold mitre on his head is encrusted with pearls and ruby-red, olive-green, and dark gray gems. He wears a long white garment under a scarlet-red and shimmering gold brocaded robe. Bands down the shoulders and front of the robe show angels, an eagle, and a collection of objects. He wears marine-blue gloves and gold rings on both hands. One hand is held in front of his chest, the first two fingers extended. He holds a crozier, a staff with a gold, spiraling top, in the other hand. He stands on a pink and blue tiled floor near a gray step. The arched opening behind him gives way to a landscape with trees, gray stone towers, and distant blue hills under a pale blue sky.
Gerard David, Netherlandish 15th/16th Century, The Saint Anne Altarpiece: Saint Nicholas [left panel], c. 1500/1520, oil on panel, Widener Collection, 1942.9.17.a

The Saint Anne Altarpiece: Saint Nicholas [left panel]

Gerard David, Netherlandish 15th/16th Century · c. 1500/1520 · oil on panel ·  Accession ID  1942.9.17.a

Two women and a baby, all with pale skin, sit together on a gray, stone throne with patterned fabric hanging behind them and a patterned rug below in this narrow, vertical painting. The woman sitting on the throne, Saint Anne, is the largest. A second woman, Mary, is smaller in scale, and she sits on Saint Anne’s lap. Mary, in turn, holds a nude baby boy on her lap. Both women have light brown eyes under faint, arched brows, smooth skin, long straight noses, and their shell-pink lips are closed. Saint Anne sits with her body facing us and she looks down with her head slightly tilted to our left. Her white head covering drapes over her shoulders and hangs down from her chin to cover her neck. She wears a marine-blue dress cinched at her waist with a black and gold belt, and a crimson-red robe that falls to and puddles around her feet. Her right arm, on our left, wraps around and holds Mary’s hip, and she supports a book with gold-edged pages with her other hand. Mary sits on Saint Anne’s right thigh, to our left, and leans toward the baby, who sits on her left knee, to our right. Her long, wavy, brown hair falls over her shoulders, and she wears a cobalt-blue robe over a lilac-purple dress. The baby has short, curly blond hair and reaches to turn the pages of the book. He has rounded cheeks and a pudgy torso. The stone throne is ornamented on the arms and at the top corners with ivory-white, nude children that are presumably also carved out of stone. The cloth hanging behind Saint Anne is decorated with glimmering gold, ornamental leaf designs against a pine-green background. The rug beneath her feet is a geometric pattern of red, tan, black, and white.
Gerard David, Netherlandish 15th/16th Century, The Saint Anne Altarpiece: Saint Anne with the Virgin and Child [middle panel], c. 1500/1520, oil on panel, Widener Collection, 1942.9.17.b

The Saint Anne Altarpiece: Saint Anne with the Virgin and Child [middle panel]

Gerard David, Netherlandish 15th/16th Century · c. 1500/1520 · oil on panel ·  Accession ID  1942.9.17.b

A pale-skinned man wearing a gray monk’s robe stands holding a wooden cross in one hand and a book and a baby in the other in this tall, narrow, vertical painting. The man is under a rounded arch in front of a deep landscape. His body faces us but he looks down and to our left with brown eyes under curved brows. He is clean-shaven, and his dark hair is cut into a ring around his head. The dark gray robe falls to his bare feet and is tied with a rope around his middle. The book he holds in his left hand, to our right, is open, the gold edges of the pages shiny against the vivid red binding. A small nude baby sits upright on the open book, hands together in prayer. The child has blond hair and thin limbs. The man stands on a pink and blue tiled floor near a gray step. Just beyond the dark gray stone arch is a cluster of royal blue iris. A grassy lawn extends to a body of water, a white tower tucked among trees, and distant blue hills under a pale blue sky.
Gerard David, Netherlandish 15th/16th Century, The Saint Anne Altarpiece: Saint Anthony of Padua [right panel], c. 1500/1520, oil on panel, Widener Collection, 1942.9.17.c

The Saint Anne Altarpiece: Saint Anthony of Padua [right panel]

Gerard David, Netherlandish 15th/16th Century · c. 1500/1520 · oil on panel ·  Accession ID  1942.9.17.c

Anonymous Artist, Saint Bernard with Donor [obverse], probably early 20th century, oil on panel, Chester Dale Collection, 1942.16.2.a

Saint Bernard with Donor [obverse]

Anonymous Artist · probably early 20th century · oil on panel ·  Accession ID  1942.16.2.a

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Saint Margaret [reverse]

Anonymous Artist · probably early 20th century · oil on panel ·  Accession ID  1942.16.2.b

Dense canopies enclose a forested interior along a stream in this horizontal landscape painting. Only a couple small patches of ultramarine-blue sky peek through the canopies, which are painted with dabs and strokes of pine, olive, and spring green. Dark trunks stand straight or curve up through the foliage. The stream begins in the lower right corner of the canvas and moves into the distance along the right half of the composition. Rippling water is painted with shades of muted green, ice blue, and very pale pink. Grassy patches line the dirt ground to the left. The artist signed and dated the painting in the lower left corner, “G. Courbet ’55.”
Gustave Courbet, The Stream (Le Ruisseau du Puits-Noir; vallée de la Loue), 1855, oil on canvas, Gift of Mr. and Mrs. P.H.B. Frelinghuysen in memory of her father and mother, Mr. and Mrs. H.O. Havemeyer, 1943.15.2

The Stream (Le Ruisseau du Puits-Noir; vallée de la Loue)

Gustave Courbet · 1855 · oil on canvas ·  Accession ID  1943.15.2

Antwerp 16th Century, Portrait of an Almoner of Antwerp, 1542, oil on panel, Gift of Lewis Einstein, 1956.3.2

Portrait of an Almoner of Antwerp

Antwerp 16th Century · 1542 · oil on panel ·  Accession ID  1956.3.2

Jean-Auguste-Dominique Ingres, Ulysses, 1827, oil on canvas on wood, Chester Dale Collection, 1963.10.34

Ulysses

Jean-Auguste-Dominique Ingres · 1827 · oil on canvas on wood ·  Accession ID  1963.10.34

Shown from the waist up, a light-skinned man sits sideways in a wooden chair so the arm closer to us rests along the chair’s back in this vertical portrait painting. Brushstrokes are visible throughout, especially in the clothing and hair. The man’s right arm, to our left, drapes across the back of the chair. His face turns slightly to our right, and he looks at us with gray eyes under black, curving brows. He has an oval face with high cheekbones and a snub nose. His coral-pink lips are closed and framed by a mustache and pointed patch of hair under his lower lip. He is lit from our left so the far side of his face is in shadow. His loose, curly brown hair cascades over his shoulders. He wears a tall black hat with a stiff, wide brim with a black rosette or pompom on the brim to our right side. The hat is tipped slightly to one side so it angles away from us. A flat, stiff, white collar extends from his chin down to his shoulders, and two tassels hang at this throat. The voluminous sleeve along the back of the chair has a gold pattern picked out in loosely painted, swirling, feathered, and flaring lines against a black background. The jacket is unbuttoned along the forearm to reveal a stark white undershirt that is gathered with a narrow ruffle at the wrist. The chair has a crimson-red center framed by wooden rails to each side and along the top. The background is earth brown to our right of the man, and deepens to dark shadows along the left. A coat of arms, the size of the man’s palm, hangs from the back wall. Three black cow heads create an inverted triangle on a gold field. Under the coat of arms the artist inscribed, “AETA SVAE.22 1645.”
Frans Hals, Willem Coymans, 1645, oil on canvas, Andrew W. Mellon Collection, 1937.1.69

Willem Coymans

Frans Hals · 1645 · oil on canvas ·  Accession ID  1937.1.69