Provenance

Arthur J. Sulley & Co.

Arthur J. Sulley

Explore selected works

See all 28 works of art
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

Warm light coming from the left illuminates four men standing in pairs on either side of a dirt road that winds between rocky, tree-studded hills and a misty river in this almost square landscape painting. The trees have tall, gnarled, brown trunks with high canopies of sage, olive, and forest green while others have golden yellow leaves. The road curves in a C-shape along the foot of the hills that rise up the right side of the composition, their craggy faces painted in warm tones of sand, fawn, and caramel brown. Closest to us is rocky terrain covered with scrubby plants and two moss-covered trees growing next to a broken tree trunk that separates us from the men. The trees are just right of center and divide the scene vertically. The two men to the right of the tree rest among boulders next to the road. One sits and the other stands, and each holds a tall staff. A light-gray, bearded goat lies to the right of the men and closer inspection reveals another grazing nearby. On the left, one man sitting astride a donkey turns his head away from us to look at the man standing just behind him. The men are all simply dressed in knee-length breeches, shirts, and sleeveless coats in shades of brick red, ivory, and tan, or ginger brown, and wear tall, wide brimmed hats. A man driving cattle approaches them from farther back along the road. Beyond the tall trees near the center, the hills slope down to a winding river fringed with trees. The river flows into the distance, past headlands jutting into the water, and ends at a tall mountain rising from the low horizon. A thin wash of butter yellow creates a hazy glow over the river, headlands, and distant mountain. A pale robin's egg-blue sky scattered with petal-pink and dusty rose-colored clouds fills the top of the scene.
Jan Both, An Italianate Evening Landscape, c. 1650, oil on canvas, Patrons' Permanent Fund, 2000.91.1

An Italianate Evening Landscape

Jan Both · c. 1650 · oil on canvas ·  Accession ID  2000.91.1

Golden sunlight pours across a landscape with three people on horseback and two more people near a flock of sheep, a cow, and a mule in this horizontal painting. The people all have pale, peachy skin. The horizon is about a third of the way up the composition and is lined with towers on distant, hazy, pale yellow hills. Two of the horses are to the right of center, both facing us. The horse on the left is white, and the rider wears an azure-blue tunic and red brimless cap. The other horse is brown with a white blaze, and its rider wears a red tunic and black cap. That second rider points with a whip to the sitting and standing people near the sheep, to the right. Those two people wear brown jackets, and the standing man has a mustache. The seated person rests a long staff over one shoulder. About half of the nine sheep there lie on the ground, and the others stand. The cow dips her head down to the sheep, and the splay-footed donkey has baskets hung to each side. This grouping is in front of a copse of tall trees that nearly reach the top edge of the composition. The third rider is to our left and a short distance away. That dark brown horse gallops to our right. A short distance away, another herdsman along the left edge of the composition wears a red tunic and brown pants, and he rests a long staff on one shoulder. One cow stands and one lies down next to that herdsman. Sunlight rakes across twigs, leafy plants, scrubby growth, and rocks in the foreground, closest to us. Sailboats float on the waterways that stretch horizontally across the painting in the distance, and the land separating those bodies of water is dotted with spires, windmills, towers, and other structures. A dozen dark birds fly high in the sky, which takes up the top two-thirds of the picture. A bank of iridescent yellow and pearly white clouds trundle across the pale blue sky. The artist signed the painting in the lower right corner, “A.cuijp.”
Aelbert Cuyp, Horsemen and Herdsmen with Cattle, 1655/1660, oil on canvas, Widener Collection, 1942.9.16

Horsemen and Herdsmen with Cattle

Aelbert Cuyp · 1655/1660 · oil on canvas ·  Accession ID  1942.9.16

In a space almost entirely shrouded in shadow, light falls across a bearded man kneeling in front of a woman cradling an infant, as about a dozen people to our left look on in this horizontal painting. The people all appear to have light skin, though some are deep in shadow. The scene is painted with dabs and soft strokes of peanut and coffee brown, golden yellow, ivory, smoke gray, and muted terracotta red, so many of the details are indistinct. At the bottom center of the painting, the man, woman, and baby are small in scale, reaching less than halfway up the composition. The kneeling man wears a long, pale yellow robe that pools around his bent legs. Facing our right in profile, he has a fringe of gray hair around his balding head and a gray beard. He reaches out toward the baby resting along the woman's lap. The man holds an instrument like a stylus at the baby’s groin, and the child’s legs are bare. The infant is wrapped in a white cloth over his head and torso, and gold-colored fabric drapes over his head and shoulders. With tiny, rounded features, the baby looks toward the man at his feet. The woman wears a long-sleeved, muted red dress with white fabric across her chest. She looks down, and her head is wrapped with a pale gray turban that falls to either side of her face and covers her hair. At the front of the group of men and women looking on, to our left, a bearded man wearing a brown turban, a waist-length dark gray cape, and a lighter gray robe writes in an open book slung over his forearm. Several people, most also wearing turbans in silver gray, ruby red, or terracotta brown look over the man’s shoulder. A few more people look down at the scene from the shadows above, near the upper left corner of the painting. Behind the woman and child, a ladder leans against a platform, perhaps a loft, and draped fabric creates a canopy over the woman. A jumble of objects there merge with the deep shadows.
Rembrandt van Rijn, The Circumcision, 1661, oil on canvas, Widener Collection, 1942.9.60

The Circumcision

Rembrandt van Rijn · 1661 · oil on canvas ·  Accession ID  1942.9.60

Six women, eight men, two satyrs, and one child gather in pairs and trios in a loose row that spans the width of this nearly square painting. They are set within a landscape with craggy rocks, cliffs, and trees. Most of the people face us, and the men, women, and child have pale skin. The two satyrs have men’s torsos and furry goat’s legs, and they have darker, olive complexions. Most of the men wear voluminous, knee-length togas wrapped in short robes in shades of white, topaz blue, grass green, coral orange, or rose pink. Most of the women wear long, dress-like garments in tones of shell pink, apricot orange, or lapis blue over white sleeves. For all but one woman, their garments have fallen off one shoulder to reveal a round, firm breast. Several objects are strewn on the rocky, dirt ground in front of the group, including a wide, wooden bucket with a piece of paper affixed to its front to our right, a glass goblet, a pitchfork, a large blue and white ceramic dish filled with grapes and small yellow fruits, and an overturned cup near the center. Cliff-like, craggy rocks rise steeply behind the group to our left, filling much of the sky opposite a tall grove of leafy, dark green trees to our right. A few puffy white clouds float across the vivid blue sky. The slip of paper on the barrel has been inscribed, “joannes bellinus venetus p MDXIIII.”
Giovanni Bellini, Titian, The Feast of the Gods, 1514/1529, oil on canvas, Widener Collection, 1942.9.1

The Feast of the Gods

Giovanni Bellini, Titian · 1514/1529 · oil on canvas ·  Accession ID  1942.9.1

Shown from about the knees up, an older, bearded, pale-skinned man sits at a desk with his head in one hand in a shadowy room in this vertical painting. His body is angled to our right, and he sits in a heavy wooden armchair next to a desk. His left elbow, farther from us, rests on the chair’s arm, and he holds that hand to his forehead. He holds a quill with his other hand, which brushes his knee. He has ash-brown hair covered at the back by a cap and a long shaggy beard. He looks off to our right with dark, shaded eyes. His voluminous brown robe is brushed loosely with golden brown highlights. The rust-red garment under the robe is visible at the sleeves, neckline, and one knee. The desk, to our right, has a stack of papers or parchment. The oversized hilt of a long sword leans against the wall behind the desk. The background is painted with areas of earth and chestnut brown. Some areas of the scene are loosely painted so brushstrokes are visible, especially the brightest white highlights on his collar, the quill, the edges of the parchment, and glints on the sword. The artist signed the painting on the face of the desktop, near the lower right corner: “Rembrandt f.”
Rembrandt van Rijn, Anonymous Artist, The Apostle Paul, c. 1657, oil on canvas, Widener Collection, 1942.9.59

The Apostle Paul

Rembrandt van Rijn, Anonymous Artist · c. 1657 · oil on canvas ·  Accession ID  1942.9.59

Close to us, a bearded, balding man leads a donkey carrying a woman and child to our right against a hilly landscape in this horizontal painting. All three people have pale, peachy skin and halos. The man has a gray beard and hair, and wears a royal-blue tunic under a ruby-red robe. He leans on a walking stick and looks back at the donkey. The woman riding the donkey wears a blue and gold brocade-like cloak covering her head and body. She has a straight nose, small pink lips, and she looks toward the infant she holds close to her body. The baby wears a white garment and reaches for the woman’s face with one hand as he turns to look over his shoulder toward us. The path they walk on is lined with grass and detailed plants. A river runs parallel to the path a short distance away. The horizon line comes about two-thirds of the way up the painting is lined with green trees, blue mountains, and a few buildings to our left. Wispy white clouds sweep across an azure-blue sky streaked with peach near the horizon.
Vittore Carpaccio, The Flight into Egypt, c. 1515, oil on panel, Andrew W. Mellon Collection, 1937.1.28

The Flight into Egypt

Vittore Carpaccio · c. 1515 · oil on panel ·  Accession ID  1937.1.28

A seated nude woman reaches for and embraces a partially clothed man as he begins to stride away in this horizontal painting. A winged child holds a dove near his face to our left, and two dogs stand to our right of the pair. The woman sits facing away from us, twisting to our right. Her knees are bent with one knee raised as she leans back on her seat and turns to wrap her arms around the man’s chest. Her flushed face looks up toward the man. She has pale skin, and her blond hair is braided and coiled on the back of her head. A sheer white cloth drapes from her left shoulder, along the left side of her body, and over that knee. Her seat is covered with an orchid-pink cloth. The man strides to our right with his shoulders angled in that direction. He turns his head to look at the woman under lowered lids. He has short, curly brown hair, and his pink lips are parted. He wears a steel-blue toga tied in place with a gold band over one shoulder. A horn is tied around his waist with a gold sash. He wears a shin-high, laced sandal on the leg we can see. The arm closer to the woman is held high, that hand gripping a tall staff. He holds the leashes of the two dogs with his other hand, by his side. A pink band is tied around that upper arm. One bronze-brown dog stands facing our right in profile, while the other, closer to us, has a white body and a brown head, which hangs down as it looks to our left. Both dogs have floppy ears, and their mouths are open with their pink tongues hanging out. In the shadows just beyond the woman’s back knee, the winged baby hunches his shoulders while holding the white dove to his cheek. The cherub has short, blond hair, rounded, flushed cheeks, and small white wings. The elbow closer to us rests on a ledge or tree branch. A tree grows up next to the cherub, reaching off the top edge of the painting. A hill rises to our right in the distance, and a rainbow arcs against a pale blue sky screened with parchment-white clouds. A bright white flash in the upper right corner illuminates the trees beneath it.
Titian, Italian 16th Century, Venus and Adonis, c. 1540s/c. 1560-1565, oil on canvas, Widener Collection, 1942.9.84

Venus and Adonis

Titian, Italian 16th Century · c. 1540s/c. 1560-1565 · oil on canvas ·  Accession ID  1942.9.84

Shown from the chest up, a light-skinned, blond young woman wearing a gold and red gown and pearls looks off to our left in this vertical portrait painting. Her face and body both angle to our left, and she gazes in that direction with brown eyes under faint brows. She has smooth skin, a long, straight nose, and her closed, light pink lips curl up slightly at the corners. Long, cottony, light blond hair falls over her ears and flows down beyond her shoulders. At the back of her head, she wears a caramel-brown cap decorated with black, web-like lines and a row of pearls along the front edge. Her bodice is the same golden brown color, with the black linework in a leaf and floral pattern. The low neckline runs straight across her chest, and swaths of scarlet-red fabric wrap over her shoulders to meet in a wide V. Clusters of three tiny pearls line the squared edge of her neckline. A double-stranded pearl necklace has a red gemstone pendant that hangs at the base of her neck. A third, single strand of pearls hangs low over her chest, holding a pendant with a magenta-pink stone flanked by more pearls. A landscape stretches into the distance behind her. Dark green, grassy fields dotted with trees leads back to a winding body of water, over her shoulder to our right. Stone walls enclose at least two clusters of buildings, including several towers, far back along the banks. The light blue sky is tinged with petal pink near the horizon, over mountains painted blue in the hazy distance. An ivory-white band spans the bottom edge of the portrait, and is inscribed, “QVANTVM HOMINI FAS EST MIRA LICET ASSEQVAR ARTE. NIL AGO: MORTALIS EMVLOR ARTE DEOS.” The band is flanked by a triangle to each side; the one to our left has the letters “CP” or “OP,” and the one to our right reads “NER” with the N and E conjoined. The painting has an ornately carved, brown wooden frame. A rope design divides the border into alternating squares and rectangles. Each rectangular box has a pair of carved eagle heads flanking an orb, while a flame-like shape is in each of the smaller square boxes. The boxes and trim have slate-blue backgrounds, and gold edging.
Neroccio de' Landi, Portrait of a Lady, c. 1485, tempera on pine panel, Widener Collection, 1942.9.47

Portrait of a Lady

Neroccio de' Landi · c. 1485 · tempera on pine panel ·  Accession ID  1942.9.47

Shown from about the hips up, a man with peachy skin, wearing an ink-black hat and coat with a bright white collar, looks out at us against a dark background in this vertical portrait painting. He stands with his body angled to our right and his face turned to look at us with dark gray eyes. His slim face is framed in long, brown curls under his tall, brimmed hat, which is cocked a little to our right, away from us. He has a straight, prominent nose, lightly flushed cheeks, and a wispy, light brown mustache above a small, pointed goatee under his lower lip. His neck is encased in a broad, starched, white linen collar, its wings lying along his collarbones. His velvety black coat has a row of tightly spaced buttons down the front. A cummerbund or sash wraps around his waist and hips. He rests his right hand, on our left, against his hip near his lower back, palm facing out. He wears a light, dove-gray glove on his opposite hand, and holds a second glove in that hand. The background is earth brown. The portrait is painted loosely, with broader brushstrokes in some areas, such as the hand at his hip and in the folds of the black garments.
Frans Hals, Adriaen van Ostade, 1646/1648, oil on canvas, Andrew W. Mellon Collection, 1937.1.70

Adriaen van Ostade

Frans Hals · 1646/1648 · oil on canvas ·  Accession ID  1937.1.70

Bibliography

1930

  • The Times (London). 1 November 1930:17 [obituary for Arthur J. Sulley]

  • Art News 29 (22 November 1930):14 [obituary for Arthur J. Sulley]