Alex Wengraf Limited

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A bearded man wearing only a cloth tied around his hips bends toward a short column with his hands behind his back in this freestanding, silver sculpture. In this photograph, the man’s muscular body faces us, but his head turns sharply to the left as he looks down. A flat, starburst-like gold halo sits atop his long hair, which is pulled back to the nape of his neck. The black column is to our left, and it disappears behind the man’s hip. The tall pedestal has molding and decorative ornaments around a window on the front face. Material inside looks like tiny, fine chain links or a similar substance. The silver of the man’s body gleams with tones of muted pink and pale, slate blue where the light falls, especially across his chest and hips. The sculpture is photographed in front of a pale gray background.
Alessandro Algardi, Christ at the Column, model c. 1630s, cast probably mid 17th century, silver, New Century Fund, Gift of The William Stamps Farish Fund, 1998.95.1

Christ at the Column

Alessandro Algardi · model c. 1630s, cast probably mid 17th century · silver ·  Accession ID  1998.95.1

Set in a mountainous landscape, a curvy, robust woman wounded with a short slash across her chest reclines into the arms of an older, bearded man as second, cleanshaven man, at the lower left corner, holds an arrow tip to his own chest in this horizontal painting. The people have pale, peachy skin but the older man has a more tan complexion. The reclining woman at the center of the composition, Dorinda, lies back with her left cheek pressed against that shoulder. Her left elbow, on our right, is propped up at shoulder height, perhaps on a rock, and she holds up her other arm alongside her body, her palm facing out at the younger man in the lower left, Silvio. A string of pearls sits like a crown on Dorinda’s blond, curling hair. The skin of her face is pale but her eyelids and cheeks are deeply flushed. She looks down along her body toward Silvio with dark eyes, and her slack lips are parted. Her flowing white blouse falls off her shoulders and bunches up across her chest, almost covering the bleeding wound on the center of her chest. Her wine-red skirt glints in the light, suggesting it is silk, and is bunched up around her bare feet. Silvio has flowing dark brown hair and pointed features. He is shown from the waist up, leaning toward and looking up at the wounded woman. His hair falls loosely over his shoulders, and his pink lips are parted. He holds a brown wrap over a blousy white shirt with his right hand, closer to us, and holds up the point of an arrow to his chest with the other hand. The older man, to our right, has a wiry gray beard and ash-gray hair curling around his ears. Wrinkles line his forehead, the corners of his eyes, and the sides of his mouth. His dark brown robe nearly swallows his body. He looks down toward Silvio as he supports Dorinda. A gold and black quiver of arrows and a silver, crescent-shaped horn with red tassels sit near the lower right corner, near Dorinda’s elbow. A tree grows right behind the man. The rest of the mountainous landscape is hazy in the deep distance.
Louis Vallée, Silvio with the Wounded Dorinda, 165(1)?, oil on canvas, Gift of Patricia Bauman and the Honorable John Landrum Bryant, 2000.114.1

Silvio with the Wounded Dorinda

Louis Vallée · 165(1)? · oil on canvas ·  Accession ID  2000.114.1

Pierre Puget, Milo of Croton, marble original 1670-1682, bronze reduction late 17th/early 18th century, bronze, Andrew W. Mellon Fund, 1985.51.1

Milo of Croton

Pierre Puget · marble original 1670-1682, bronze reduction late 17th/early 18th century · bronze ·  Accession ID  1985.51.1