Provenance

Louis-François Crozat, marquis du Châtel

Châtel Louis-François, marquis du

French, 1691 - 1750

Explore Selected Works

A pale-skinned young girl leaning over a low fence and holding a broom gazes in our direction in this vertical painting. Her red hair is pulled back from her round face, and she has large hazel eyes under thin brows, a petite nose, and her coral-red mouth is slightly open. She is shown from the chest up, behind a wooden partition that spans the width of the painting. She wears a loose, ivory-white shirt under a garment with pumpkin-orange straps on the shoulders and chest. She leans forward with her elbows hooked over the partition as she holds a long-handled broom to her chest. A wooden pail with a bronze handle is overturned to the right of the broom. A blocky brown object to our left is difficult to make out. A dark brown semicircular object close to us in the center of the composition resembles the mouth of a well. Soft light from the upper left illuminates the girl and the left side of the caramel-brown wall behind her and throws the right side into shadow. A signature near the lower left looks like it had been painted on the inner edge of the well. It reads, “Rembrandt f. 1651.”
Dutch 17th Century, Carel Fabritius, A Girl with a Broom, probably begun 1646/1648 and completed 1651, oil on canvas, Andrew W. Mellon Collection, 1937.1.74

A Girl with a Broom

Dutch 17th Century, Carel Fabritius · probably begun 1646/1648 and completed 1651 · oil on canvas ·  Accession ID  1937.1.74

A man wearing armor, sitting astride a cream-white horse, drives a long lance down at a lizard-like dragon as a woman kneels with her hands in prayer in the landscape beyond in this vertical painting. Both people have pale skin and thin, gold halos floating above their heads. At the center of the composition, the man faces our left in profile as he looks down at the creature. The man has a straight nose and honey-brown hair under his gold-trimmed, pewter-gray helmet. Armor covers his entire body, and a celestial-blue cape billows behind him from where it fastens around his neck. A narrow, indigo-blue and gold band is tied around his left calf, and is inscribed with the word “HONI.” A black sword hangs from his left side. The horse is white with a silvery-white mane and tail. It rears on its hind legs as it turns its head to look at us with hazel-brown eyes. The horse wears a blue saddle and bridle, the same color as the man’s cape, trimmed with gold. A strap around the horse’s neck is painted in gold with the name, “RAPHELLO.” The rider thrusts his foot into the stirrup we can see as he plunges a lance down at the dragon under the horse’s front feet. The dragon has tawny brown skin with a mint green, dog-like head. It grips the earth with clawed feet as at pushes at the lance with one front foot. It twists its long, snake-like neck to look at the man with dark eyes. The dragon opens its pointed snout to show its teeth, and bat-like wings splay out. A tall outcropping over a cave rises along the left edge of the composition, behind the dragon. In a field a little farther back, to our right, the woman kneels with her body angled to our left. She tilts her head away from us and gazes past the man and horse. She has a straight nose, pale pink, bow-shaped lips, and her blond hair is pulled back in a bun. She wears a ruby-red dress and a sheer white wrap around her shoulders and across her arms. Around the woman, straw-yellow hills with bands of pine-green trees roll into the distance. Two terracotta-orange towers rise from a row of trees along the horizon. A few taller trees are outlined against the baby-blue sky, which lightens toward the horizon.
Raphael, Saint George and the Dragon, c. 1506, oil on panel, Andrew W. Mellon Collection, 1937.1.26

Saint George and the Dragon

Raphael · c. 1506 · oil on panel ·  Accession ID  1937.1.26

Shown from the knees up, a pale-skinned woman wears a wide, pleated collar and a black gown in this vertical portrait painting. Her body is angled to our left, and she looks at us from the corners of her light brown eyes. She has low brows, a straight nose, and her thin lips are closed. Her hair is pulled back under a pearl-white headdress at the back of her head, and a few tendrils curl alongside her face. Pearls hang from the ear we can see. The figure-eight pleats of the collar are as tall as her neck so her chin rests on it, and it is nearly as wide as her shoulders. A gold-colored corset comes down in a long U shape over her belly. Her black dress has puffed shoulders, and white lace extends back from the cuffs of the long sleeves. The full, black skirt flares out from her waist. She wears gold bracelets on both wrists. Her left arm, to our right, hangs down in front of her, and she wears a ring on the third finger of that hand. The back of a chair is at her other elbow, which is bent so she can rest a loose fist against her corset. She wears a gold ring on that index finger. The sides of the back of the chair are studded with brass bosses, and a gold-colored finial is at the front. The background is earthy brown.
Sir Anthony van Dyck, Portrait of a Flemish Lady, probably 1618, oil on canvas, Andrew W. Mellon Collection, 1940.1.14

Portrait of a Flemish Lady

Sir Anthony van Dyck · probably 1618 · oil on canvas ·  Accession ID  1940.1.14

A woman with pale, peachy skin wearing elegant gold and ink-black garments sits in front of a stone portico in this vertical portrait painting. Her red armchair is angled to our right, but the woman turns to look at us under cocked brows. She has high, rosy cheekbones and a long straight nose. Her pink lips curve up in a smile framed by the faint suggestion of dimples. Her brown hair is pulled back under a gold band or net, and a gold earring hangs from the ear we see. Her gold dress has a fitted bodice with a line of buttons down the front and puffy, brocaded sleeves. She wears the bodice over a white chemise, which comes nearly to the double strand of pearls worn like a choker around her neck. Frothy white lace surges up to encircle the back of her neck, and more lace stretches back along her forearms from the cuffs of her gold dress. The black cloak she wears over the dress splits over the sleeves and flares up behind the neck, echoing the lace. A long gold chain weaves back and forth across the open front of the black cloak, which is patterned with black on black. The woman wears a ring on her right hand, which rests in her lap and holds a white flower. The cloak stops at the woman’s knees to reveal a gold and red striped skirt. The woman’s other hand, farther from us, rests along the arm of the chair and holds an ostrich' feather fan with a silver handle. A scarlet-red curtain in the upper left corner above the chair gives way to a view into a courtyard lined with a portico along the right side. The portico has three openings separated by wide, horizontally ribbed columns. Ornamental shells, creatures, and people are carved into the face of the portico, and bright green trees are just visible through the openings. Gray and white clouds sweep across a vivid blue sky around the woman’s head.
Sir Anthony van Dyck, Isabella Brant, 1621, oil on canvas, Andrew W. Mellon Collection, 1937.1.47

Isabella Brant

Sir Anthony van Dyck · 1621 · oil on canvas ·  Accession ID  1937.1.47

Shown from the lap up against a dark background, a pale-skinned woman wearing a black dress looks out at us in this vertical portrait. Soft light coming from our left highlights her oval face, the peach blush on her cheeks, and her crisp white collar, cap, and cuffs. Her brown hair is pulled back under the cap that flares slightly over her ears and the wide, lace-trimmed collar covers her shoulders. She has dark eyes, a straight nose, and her pink lips are slightly parted. Her left arm, on our right, rests on a table covered with a rose-red patterned carpet next to two pieces of fruit, perhaps apples, and a book fastened with metal clasps. She rests her other arm on the arm of the wooden chair and holds a deep pink carnation the same color as the carpet. She wears a ring on the third finger of each hand. The artist signed the work with black paint against the dark background near the upper right corner: “Rembrandt. f.1656.”
Rembrandt van Rijn, A Woman Holding a Pink, 1656, oil on canvas, Andrew W. Mellon Collection, 1937.1.75

A Woman Holding a Pink

Rembrandt van Rijn · 1656 · oil on canvas ·  Accession ID  1937.1.75

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

Italian 16th Century, Broad-rimmed bowl with the sacrifice of the Greeks at Aulis and the omen of the serpent devouring nine birds, interpreted by the priest Calchas; arms of Anne de Montmorency, 1535, tin-glazed earthenware (maiolica), Widener Collection, 1942.9.346

Broad-rimmed bowl with the sacrifice of the Greeks at Aulis and the omen of the serpent devouring nine birds, interpreted by the priest Calchas; arms of Anne de Montmorency

Italian 16th Century · 1535 · tin-glazed earthenware (maiolica) ·  Accession ID  1942.9.346

Bibliography

1877

  • Clément de Ris, Louis Torterat. Les amateurs d'autrefois. Paris, 1877: 183-207 (reprint Geneva, 1973).

1898

  • Tourneux, Maurice. "Diderot et le musée de l'Ermitage." Gazette des beaux-arts 19 (1898): 334.

1935

  • Le dessin français dans les collections du XVIIIe siècle. Exh. cat. [Organized by the Gazette des beaux-arts and Beaux-arts.] Paris, June-July 1935: 28.

1968

  • Stuffmann, Margret. "Les Tableaux de la collection de Pierre Crozat." Gazette des Beaux-Arts 72 (1968): 5-142