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Stiebel, Ltd.

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Shown from the waist up, a clean-shaven man with pale, peachy skin is dressed in black and burgundy red in this vertical portrait painting. His shoulders are as wide as the composition and his hat nearly touches the top edge, so he almost fills the painting. His body and face are angled to our right, and he looks off in that direction with hooded brown eyes under slightly raised brows. He has a long, bumped nose, high cheekbones, the hint of a five-o-clock shadow, and his pale pink lips are closed. His hair is cut straight across at ear length, and fuzzy sideburns come down to his jawline. A wide, soft black cap curves down either side of his head to ear level. He wears a white shirt with a delicate black pattern on the neckline, which is tied with a thin black ribbon. A voluminous dark red shawl or wrap has two black bands along the bottom hem, and it engulfs his sloping shoulders. In the lower corners of the painting, we see long black sleeves under the wrap. The sleeves have slashes to allow the white undergarment to show through. He is set against a lime-green background and illuminated by bright light from the upper right, which creates a darker green shadow behind him, to our left. The artist signed the painting with a symbol on a small, light brown panel, which appears to be affixed to the back wall in the upper left corner of the painting. The date, “1522,” appears over a winged serpent holding a ring in its mouth.
Lucas Cranach the Elder, Portrait of a Man, 1522, oil on panel, Samuel H. Kress Collection, 1959.9.1

Portrait of a Man

Lucas Cranach the Elder · 1522 · oil on panel ·  Accession ID  1959.9.1

Jean-Baptiste Greuze, The Angry Mother, black and gray wash over graphite on laid paper, Gift of Arthur L. Liebman, 1992.87.29

The Angry Mother

Jean-Baptiste Greuze · · black and gray wash over graphite on laid paper ·  Accession ID  1992.87.29

Philippe de Champaigne, Omer Talon, 1649, oil on canvas, Samuel H. Kress Collection, 1952.5.35

Omer Talon

Philippe de Champaigne · 1649 · oil on canvas ·  Accession ID  1952.5.35

François Boucher, Sancho Fleeing from the Servants of the Duke, 1735/1736, black chalk and gray wash heightened with white gouache on light brown laid paper, Gift of Arthur L. Liebman, 1992.87.9

Sancho Fleeing from the Servants of the Duke

François Boucher · 1735/1736 · black chalk and gray wash heightened with white gouache on light brown laid paper ·  Accession ID  1992.87.9

Surrounded by twenty-two men, women, and winged angels, a young man, wearing only a white loincloth, stands in a shallow body of water facing another man who kneels on the bank next to him and pours water onto his head in this horizontal painting. All the people have pale skin. At the center of the composition, the man in the water, Jesus, stands with his body angled slightly to our right. He is slim with shoulder-length, chestnut-brown hair, and he raises his hands to his chest, fingertips almost touching. To our right, the man who trickles water onto his head, John, faces our left in profile. Long, scraggly brown hair and beard frame his lined, wrinkled face, and he wears a camel-brown robe covering his torso and legs. It appears to be made from an animal skin whose face hangs at the bottom, draped over the edge of the riverbank. His bare arms reach forward toward Jesus as he upends a vessel in his right hand to pour out drops of water. The pair is flanked by three angels. The angel kneeling on the bank to our left has red hair and rust-red and teal-blue wings. That angel wears a scarlet-red cloak richly decorated with gold patterns and bordered with gemstones. With hands raised and fingertips touching, the angel holds a gray-green cloak hanging over a white robe. Two smaller angels kneel closer to us in front of the men. The red-headed angel on our left wears a powder-blue robe and strums a lute. The other, with blond hair and a white robe, draws a bow across a violin to our right. A crowd of fifteen people float above and around Jesus, John, and the angels to create an arch over them. They are dressed in robes of crimson or rose red, violet purple, peacock blue, moss green, or beige, and some are dressed as clergy members. Each person holds an object, for example, a basket of wafers, a sword, or a bishop’s crook. A man on the right side wearing armor kneels on a dragon. An elderly bearded man wearing a crown sits at the top of the arch with his hands raised. Small angels on either side of him hold open his scarlet-red cloak, which is lined with peacock blue. A long, narrow scroll curls in the pale blue sky under him. It reads, “HIC EST EILIVS MEVS DILECTV IN QVO MICHI CONLICVI.” The landscape around Jesus, John, and the angels on the riverbank creates a low hill topped with bushy trees. A half moon of pale blue sky encloses the landscape, creating a dome shape across the center of the composition. The crowd of men and women seem to float between the sky and the shiny gold background that surrounds the people and whole scene.
Master of the Saint Bartholomew Altar, The Baptism of Christ, c. 1485/1500, oil on panel, Samuel H. Kress Collection, 1961.9.78

The Baptism of Christ

Master of the Saint Bartholomew Altar · c. 1485/1500 · oil on panel ·  Accession ID  1961.9.78

Florentine 15th Century, Desiderio da Settignano, Florentine 19th Century, Ciborium for the Sacrament, 1460s-c.1470 (stem with integral base); probably 1860s-c. 1870 (dome, enclosure, base beneath enclosure); 1870s (finial, bottom plinth), marble, Samuel H. Kress Collection, 1952.5.100

Ciborium for the Sacrament

Florentine 15th Century, Desiderio da Settignano, Florentine 19th Century · 1460s-c.1470 (stem with integral base); probably 1860s-c. 1870 (dome, enclosure, base beneath enclosure); 1870s (finial, bottom plinth) · marble ·  Accession ID  1952.5.100

A young woman wearing a white robe and teal-blue cape is held aloft on the shoulders of three floating angels, surrounded by clouds crowded with cherubs above a group of people looking up from below in this vertical painting. All the people have light skin. The woman, Mary, lifts her arms, palms open. Her pink lips are parted, and her brown eyes look up toward light shining through a patch of blue sky from the top left corner of the painting. Her white robe has voluminous, long sleeves and is belted and tied with a strip of cloth. A gold clasp secures her cape, which is rimmed at the neck with gold. Her long, blond hair and her cape swirl around her. Above her, in the top right corner, four winged faces with round, chubby cheeks and tousled hair look around the scene. Other winged angels are faintly outlined in a coral-pink cluster in the white clouds beyond the woman. One of these angels strums the strings of a harp. The sky around them swirls with patches of hazy of sapphire and celestial blue mixed with wispy, white clouds. Three winged angels support Mary’s legs with their arms intertwined. The angels have chin-length, wavy blond hair and they wear robes in rose pink, mint, or moss green. Their hair and drapery flutters as if in a breeze as they look down onto the crowd of people below. In the lower right corner and closest to us, a balding man with a gray beard and hair is shown from about the waist up, facing away from us. He wears a dark blue robe with mustard-brown fabric draped over his left elbow and across his back. He looks up at Mary with his right hand raised to shield his eyes. He reaches down with his left hand to touch a book on a brown rock beside him. A slip of paper under the book reads, “BALDSLEA,” with the “BAL” intertwined as a monogram. Just beyond him to our right, a young woman with long, curly brown hair clutches her breast as she stares up. Beyond this pair, a group of people robed in muted pastel yellow, green, blue, or pink, gather around a white stone box, a tomb. On the side of the tomb facing us, a sculpted frieze shows a child-like cherub among stylized waves and swirls. To our left, two bearded men stand looking at the people leaning over and gathered near the tomb. The man closer to us gestures with his left hand and holds a large book or tablet tucked along his right side. The head of a third man, white-bearded and stooped, appears behind them. The scene is loosely painted so some details are indistinct, especially in the group gathered around the tomb and the onlookers below.
Juan de Valdés Leal, The Assumption of the Virgin, c. 1658/1660, oil on canvas, Samuel H. Kress Collection, 1961.9.46

The Assumption of the Virgin

Juan de Valdés Leal · c. 1658/1660 · oil on canvas ·  Accession ID  1961.9.46

Jean-Baptiste Mallet, Young French Marquise in Exile in Lausanne, 1789, gouache on wove paper, Gift of Arthur L. Liebman, 1992.87.12

Young French Marquise in Exile in Lausanne

Jean-Baptiste Mallet · 1789 · gouache on wove paper ·  Accession ID  1992.87.12

Giovanni Battista Tiepolo, The Adoration of the Shepherds, 1735/1740, pen and brown ink with brown wash over black chalk on laid paper (backed with eighteenth century paper), Ailsa Mellon Bruce Fund, 1982.39.1

The Adoration of the Shepherds

Giovanni Battista Tiepolo · 1735/1740 · pen and brown ink with brown wash over black chalk on laid paper (backed with eighteenth century paper) ·  Accession ID  1982.39.1

French 18th/19th Century, Madame La Duchesse de Mortemart, watercolor with gray wash and touches of gouache over red and black chalks on wove paper, Gift of Arthur L. Liebman, 1992.87.5

Madame La Duchesse de Mortemart

French 18th/19th Century · · watercolor with gray wash and touches of gouache over red and black chalks on wove paper ·  Accession ID  1992.87.5