Provenance

Ehrich Galleries

Ehrich Bros.

est. 1903

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See all 19 works of art
Shown from about the waist up, a woman with smooth, pale skin sits in a chair facing our right in front of a canvas on an easel in this vertical portrait. She leans onto her right elbow, which rests on the seat back. She turns her face to look at us, lips slightly parted. Her dress has a black bodice and a deep rose-pink skirt and sleeves. She wears a translucent white cap over her hair, which has been tightly pulled back. A stiff, white, plate-like ruff encircles her neck and reaches to her shoulders. She holds a paintbrush in her right hand and clutches about twenty brushes, a wooden paint palette, and a rag in her left hand, at the bottom right of the canvas. The painting behind her shows a man wearing robin's egg-blue and playing a violin.
Judith Leyster, Self-Portrait, c. 1630, oil on canvas, Gift of Mr. and Mrs. Robert Woods Bliss, 1949.6.1

Self-Portrait

Judith Leyster · c. 1630 · oil on canvas ·  Accession ID  1949.6.1

The head and pale face of a bearded man with a ring of interwoven branches of thorns over his chin-length, wavy, reddish-brown hair floats against a white cloth that has been hung over a wooden rod in this vertical painting. The cloth fills the composition. At its center, the man’s head faces us and he looks down with heavy-lidded, brown eyes. His lips are parted, and his cheeks are slightly sunken and shaded with pale lilac purple under high cheekbones. Blood drips down the man’s pallid forehead from the thorns. A brown spot high on his right cheek, on our left, might be a bruise or injury. A soft brown glow surrounds the head. The white cloth is frayed along its front edge, where it rests facing us on a wooden surface along the bottom edge of the painting. The cloth is bunched a little to each side where it drapes over the wooden rod above. The white cloth is painted with tones of pale coral pink, icy blue, silvery white, and dove gray. The background behind the cloth is black.
Domenico Fetti, The Veil of Veronica, c. 1618/1622, oil on panel, Samuel H. Kress Collection, 1952.5.7

The Veil of Veronica

Domenico Fetti · c. 1618/1622 · oil on panel ·  Accession ID  1952.5.7

Shown from about the hips up, a young woman with smooth, light skin, rosy cheeks, and dark brown hair stands in front of a dark background holding a pewter plate with two human eyes on it, and a tall palm frond in this vertical painting. She stands with her body and face angled to our right but she looks to our left from the corners of her dark eyes, under dark eyebrows. She has a long, straight nose, and her pink lips are closed. A strong light falls on the woman’s face from our left, leaving the other half of her face in darkness. She wears a crown of ruby-red, buttercup-yellow, shell-pink, and white flowers on her head. A faint gold halo catches the light above the flowers and then is swallowed in shadow. Her dress has a close-fitting, scarlet-red bodice over puffy white, long sleeves. A teal-blue ribbon on her chest frames a gold and red brooch-like medallion. Three strings of white pearls encircle her neck above the neckline. Olive-green fabric that drapes over her left shoulder, farther from us, and around her waist is gathered with a gold brooch at her left hip. In her right hand, closer to us, she holds the pewter plate with two lidded human eyes with dark pupils; they seem to look out at us. In her left hand, she holds a long yellow palm frond, which is bright against the dark brown background. The identify of the woman is written in capital, gold letters in the upper left corner “S. LVCIA.”
Francisco de Zurbarán, Saint Lucy, c. 1625/1630, oil on canvas, Chester Dale Collection, 1943.7.11

Saint Lucy

Francisco de Zurbarán · c. 1625/1630 · oil on canvas ·  Accession ID  1943.7.11

Against a landscape, a pale-skinned man walking hunched over as he carries a large bundle like pillows wrapped in a blanket on his back nearly fills this vertical painting. Close to us, the man walks to our right with his head down and his eyes closed or downcast under straight, furrowed brows. He has a wide, prominent nose, a brown beard, and close-cropped hair. With muscled forearms arms raised overhead, he clutches the forest-green cloth tied around the bundle, which has cloth with dark green stripes against cream white. The man wears a red, waist-length tunic over an ankle-length, bright white garment, which splits up the side to show his muscular legs and bare feet. He strides across a moss-green rock. On the far side of the rock on which he stands, to our left, a sand-brown path curves away from us to the wide, arched opening of a building. The structure has gray walls, possibly stone, with goldenrod-yellow paneling around the second story, and a red roof. At the arched opening, a couple dozen people, tiny in scale, gather around a person who stands and gestures with arm extended over a second person lying on a cloth. The four corners of the cloth are suspended by four ropes, barely visible, where the cloth had been lowered to the ground from above, presumably from the four people on the roof. The people in the crowd wear robes in mustard yellow, navy blue, plum purple, dark red, and white. Another building and a stone tower rise beyond the structure. To our right, the land dips down to the horizon line, which comes about a quarter of the way up the painting. People walk along the distant path that passes in front of a house at the foot of a steel-blue, rocky outcropping. A leafy tree grows where the road bends out of sight, and bands of white clouds stretch across the pale, muted turquoise sky.
Netherlandish 16th Century, The Healing of the Paralytic, c. 1560/1590, oil on panel, Chester Dale Collection, 1943.7.7

The Healing of the Paralytic

Netherlandish 16th Century · c. 1560/1590 · oil on panel ·  Accession ID  1943.7.7

Shown from the thighs up, a pale-skinned woman looks down and off to our left as she holds the pointed end of a dagger toward her chest in this vertical painting. Her lips are slightly parted, and her arms are spread wide as holds the hilt of the dagger in her right hand, to our left. Her hooded, dark brown eyes are rimmed with red. Her head tilts to our left, her pale lips parted. There are gray shadows at the corners of her mouth and along her jawline. Her brown hair is pulled back under a cloth covering painted with white flecks to suggest shiny thread or possibly jewels. She wears a long, tawny-brown gown with diaphanous sleeves. The bodice is laced up over a cream-white undergarment with a deep V neck and voluminous sleeves with unfastened cuffs near her wrists. She wears a large, teardrop-shaped pearl in the ear we can see and two necklaces. One necklace is a strand of pearls, and the other is a gold and possibly jeweled pendant with another teardrop pearl hanging from a cord. A gold belt drapes around her hips over a narrow waist. She is warmly lit from the upper left and set against an earth-brown background. The artist signed and dated the center left, “Rembrandt 1664.”
Rembrandt van Rijn, Lucretia, 1664, oil on canvas, Andrew W. Mellon Collection, 1937.1.76

Lucretia

Rembrandt van Rijn · 1664 · oil on canvas ·  Accession ID  1937.1.76

Three children are shown from the waist up, closely grouped together and facing the viewer. The child on the left has short blond hair and rosy cheeks, looking slightly upward and holding a book. The child in the center has similar blond hair and a gentle expression, facing slightly towards the other children. The child on the right has slightly darker, light brown hair, an upturned chin, and a subtle smile while looking directly at the viewer. They are dressed in robes or garments with bare shoulders, the central figure in orange and the child on the right in dark brown. The child on the right holds a book, with their hand resting on its cover. The background of the image consists of softly painted muted earthy tones with a warm, subtle light.
Thomas Sully, The Vanderkemp Children, 1832, oil on canvas, Gift of Countess Mona Bismarck, 1966.11.1

The Vanderkemp Children

Thomas Sully · 1832 · oil on canvas ·  Accession ID  1966.11.1

Ralph Earl, Thomas Earle, 1800, oil on canvas, Andrew W. Mellon Collection, 1947.17.42

Thomas Earle

Ralph Earl · 1800 · oil on canvas ·  Accession ID  1947.17.42

This painting shows the upper body of a woman seated in a chair. She is wearing a white bonnet with ruffled edges, covering her wavy, light brown hair. Her facial features include fair skin, thin lips, a long nose, and a pointed chin. She is dressed in a deep red gown with a high white collar. The chair has a blue cushion and wooden frame with curved armrests. The background is a gradient of brown at the top and tan at the bottom.
Gilbert Stuart, Sarah Homes Tappan (Mrs. Benjamin Tappan), 1814, oil on wood, Gift of Lady Vereker, 1970.34.3

Sarah Homes Tappan (Mrs. Benjamin Tappan)

Gilbert Stuart · 1814 · oil on wood ·  Accession ID  1970.34.3

The image displays three children in a domestic setting. One boy is sitting upright, leaning towards a girl who is lying down. He has curly, light-brown hair and wears a red dress with ruffles. The girl beside him has long, dark, wavy hair and wears a light-colored gown. She appears to be holding the baby's hand. The boy is holding the baby's foot and looking kindly at the baby who has light hair and a relaxed expression. The background features a warmly-lit room with a staircase and a doorway. Two people are faintly visible descending the stairs in the adjacent section.
Thomas Sully, The David Children, 1826, oil on canvas, Chester Dale Collection, 1948.13.1

The David Children

Thomas Sully · 1826 · oil on canvas ·  Accession ID  1948.13.1

Shown from the waist up on the far side of a table or ledge, a man with a pale, olive complexion rests his arm alongside a small white dog lying on the ledge in this vertical portrait painting. The scene has an overall honey-colored hue over a palette dominated by blacks, olive green, and gold-tinged ivory white. To our right in the composition, the man’s body is angled to our left and he looks out at us from the corners of his dark eyes. He has a straight nose and high cheekbones. A mustache and trimmed beard frame his pink lips, which curve slightly up at the corners. His brown hair is brushed back from a pointed widow’s peak on his forehead, and it blends into the dark olive-green curtain hanging behind him. The high corners of his black robe are connected with a gold chain, and the robe comes to a V over a white shirt. His left hand, on our right, rests on the ledge, near the bottom of the composition. A small dog with pointed ears and shaggy, ivory-white fur is tucked behind the man’s arm, its left paw between the man’s thumb and forefinger. A shaft of black and gold indicate the hilt of a sword, presumably hung from the man’s waist. To our left, a dusty rose-pink book stands on a brown box. Upon closer inspection, an inscription has been painted in black on the upper right corner of the box: “VICO LO OPUS AETA.” Beyond the book, a view of a landscape through an open window fills the upper left quadrant of the composition. A person wearing a long brown robe stands on a path that zigzags into the distance, past dark green bushes and trees. Ice-blue, jagged mountains line the horizon. The sky above the mountains is parchment white and bands of slate-blue clouds fill in the top of our view.
Cariani, Portrait of a Man with a Dog, c. 1520, oil on canvas, Gift of Samuel L. Fuller, 1950.11.2

Portrait of a Man with a Dog

Cariani · c. 1520 · oil on canvas ·  Accession ID  1950.11.2

Bibliography

1932

  • The Burlington Magazine 60 (May 1932):261 [obituary for Harold Louis Ehrlich]

  • "Harold L. Ehrich Dies Suddenly." Art News 30 (2 April 1932):13

1934

  • "Ehrich-Newhouse History Related." Art News 32 (9 June 1934):10.

  • "Art Firms Merge." Art Digest 8 (15 May 1934): 8.

1936

  • Art News 34 (8 February 1936): 11 [obituary for Walter Ehrich]

1944

  • Lancour, Harold. American Art Auction Catalogues, 1785-1942; a union list. New York [NY Public Library], 1944: [several Ehrich Galleries listings].