Provenance

Archibald Philip Primrose, 5th Earl Rosebery

British, 1847 - 1929

Explore Selected Works

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Fiestas De La S. Iglesia Metropolitana, Y Patriarchal De Sevilla, Al Nveuo Cvlto Del Señor Rey S. Fernando el Tercero De Castilla Y De Leon...

Luisa Morales, Francisco de Arteaga, Matias Arteaga y Alfaro, Lucas de Valdés, Fernando de la Torre Farfán · 1671 · 1 vol: ill: title page by Matias Arteaga y Alfaro after Francisco Herrera II, and two frontispiece portraits by Arteaga after Bartolomeo Murillo and Francisco Herrera II respectively, plus 18 etching and engravings (9 folding, 9 full-page), 7 by MatiasArteaga y Alfaro (with 1 after Bernard Simon), 1 after Juan Valdés Leal, 2 by Lucas Valdés, 2 by Francisco de Arteaga, 2 by Luisa Morales, rest unsigned ·  Accession ID  1983.49.18

Shown from the thighs up, an older, balding man with a long white beard stands wearing a full suit of armor draped in a burgundy-red cloak in this vertical portrait painting. The man’s body is angled to our right, but he looks at us from the corners of his dark eyes. He has bushy gray brows, a bumped nose, high cheekbones, and his lips are closed. He has short white hair around a receding hairline, and his beard falls to his chest. His pewter-gray armor gleams darkly with cream-white accents. With one hand, he braces a baton against his right hip, to our left, and with the other gathers the folds of his cloak down by that side. The cloak is tied over one shoulder and falls heavily around his body. His helmet rests on a shoulder-high gray stone structure, perhaps a mantle or a ledge, behind the man to our right. The rest of the background is charcoal gray.
Titian, Italian 16th Century, Vincenzo Cappello, c. 1550/1560, oil on canvas, Samuel H. Kress Collection, 1957.14.3

Vincenzo Cappello

Titian, Italian 16th Century · c. 1550/1560 · oil on canvas ·  Accession ID  1957.14.3

A man with pale peach skin and dark hair wears a military uniform and stands in front of a desk in this vertical portrait painting. He nearly fills the composition so seems close to us, and he looks directly at us. His body is angled slightly to our left and he tucks his right hand, on our left, flat against his chest between the buttons of his jacket. His navy-blue waistcoat is white along the front where it is fastened with brass buttons along his chest. The jacket has red cuffs, gold epaulets on the shoulders, and three medals affixed to the chest. White britches end just below the knee, and white stockings covering his calves are wrinkled at the ankle above black shoes with brass buckles. A candle burns low in a lamp on an ornately carved and gilded desk behind the man. Books and papers are piled on the desk to our right. More papers and a thin sword rest on a chair in front of the desk to our right. The chair is also carved and gilded, and is upholstered with scarlet-red fabric decorated with gold bees. The legs of the chair push back the forest-green carpet underfoot. A tall clock stands on the wall opposite us and reads 4:13. A few capital letters are written on a scroll of paper on the chair, “COD.” The artist’s name is also written as if printed on a scroll of paper on the floor behind the desk to our left: “LVD.CI.DAVID OPVS 1812.”
Jacques-Louis David, The Emperor Napoleon in His Study at the Tuileries, 1812, oil on canvas, Samuel H. Kress Collection, 1961.9.15

The Emperor Napoleon in His Study at the Tuileries

Jacques-Louis David · 1812 · oil on canvas ·  Accession ID  1961.9.15

Bibliography

1985

  • Debrett's Peerage Ltd. Debrett's Peerage and Baronetage London, 1985:1025