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Hazlitt, Gooden & Fox Ltd.

Hazlitt, Gooden & Fox

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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

We look out over a patchwork of cultivated fields that slope down to our right and back to an ice-blue lake in this nearly square landscape painting. Rectangular fields fill the lower half of the composition in fern green, caramel brown, and golden tan. Sage-colored trees and bushes with dark brown trunks and branches separate the strip of grassy earth closest to us from the fields just beyond, and are scattered like tufts through the landscape. A rocky, slate-gray mountain brushed with lime-green trees that rises along the left edge of the canvas curves around a wedge of the arctic-blue lake. A few wispy cream-white clouds line the horizon, which comes about halfway up the composition.
Alexandre Calame, Swiss Landscape, c. 1830, oil on paper on canvas, Gift of Victoria and Roger Sant, 2003.41.1

Swiss Landscape

Alexandre Calame · c. 1830 · oil on paper on canvas ·  Accession ID  2003.41.1

Against a gold background, a blond woman is shown from the lap up, facing us as she holds and looks down at a plump baby sitting on a gold and white pillow on her lap in this vertical painting. Both people have pale, peachy skin, and faint halos encircle their heads. The child sits with his body angled to our right, toward his mother, but he turns to look off to our left with pale green eyes. He holds his right hand, on our left, up with his thumb and first two fingers raised. He has short, light brown hair, rounded cheeks, a delicate nose and lips, and chubby legs. He wears a light blue smock edged in gold, with gold filigree at the collar. The garment is belted with a twist of fabric patterned in bands of red, black, and gold. Under the smock he wears a half-sleeved, transparent undershirt. The woman steadies the baby with her long, delicate hands. She wears a sky-blue robe edged with gold, Arabic-like script. The lining, in a black and brown floral pattern, is visible where the edges of her robe turn back over her wrists and around her neck. Belted across the chest in a twist of blue and gold fabric, her dusky-pink dress is lined at the neck with a gold band with red and blue gems, with a brooch of pearls and rock crystal at the center. Her headdress is a sheer, white cloth bordered with a gold stripe, rolled atop her head and falling to her shoulders, where it is tucked into her robe. Some areas of the gold background have worn away to show the red layer beneath.
Domenico Ghirlandaio, Madonna and Child, c. 1470/1475, tempera on panel transferred to hardboard, Samuel H. Kress Collection, 1961.9.49

Madonna and Child

Domenico Ghirlandaio · c. 1470/1475 · tempera on panel transferred to hardboard ·  Accession ID  1961.9.49

The image depicts multiple figures in various poses. In the center, a child lies on the ground with lines radiating from them. A man kneels to the left, facing the child, and a woman kneels to the right. Surrounding them are smaller kneeling, haloed figures with wings. Two additional figures are on the left, one kneeling with a staff, and the other standing. On the right, another figure kneels with a staff, near a donkey and an ox. A dog is in the foreground. The background shows outlines of trees and hills in a minimalist style.
Pietro Perugino, The Adoration of the Shepherds, c. 1517, pen and brown ink over black chalk on laid paper, Anonymous Gift, 2003.14.1

The Adoration of the Shepherds

Pietro Perugino · c. 1517 · pen and brown ink over black chalk on laid paper ·  Accession ID  2003.14.1

The image depicts a landscape with a castle in a valley. Mountains are in the distance under a soft sky. The castle, stone with cylindrical towers, stands in the middle. There are rooftops indicating a village around it. The painting uses detailed brushstrokes for a realistic effect. The nearby land is brown and green, and foliage is in muted greens and browns. The color scheme is dominated by cool blues and grays, creating a serene atmosphere. Figures with a cart and animals are present in the middle ground.
John Varley, Harlech Castle and Snowdon, c. 1805, watercolor over graphite with sponging-out on wove paper, Ailsa Mellon Bruce Fund, 1992.96.2

Harlech Castle and Snowdon

John Varley · c. 1805 · watercolor over graphite with sponging-out on wove paper ·  Accession ID  1992.96.2

The image shows a young child sitting on a chair at a table, writing on a piece of paper. The child's facial features, short hair, and dark clothing are visible. On the table in front of them are an open book, a closed book, and an inkwell. In the background, there is a dimly lit room with a bookshelf filled with books.
Edmond Eugène Valton, The Scholar, 1869, black chalk with stumping, heightened with white, on blue wove paper, Collection of Mr. and Mrs. Paul Mellon, 1995.47.68

The Scholar

Edmond Eugène Valton · 1869 · black chalk with stumping, heightened with white, on blue wove paper ·  Accession ID  1995.47.68

The image shows a man standing in a full-length portrait. He is leaning on a low stone wall, with his right elbow on the wall and his left leg crossed over the right. He holds a black top hat in his right hand, resting it on the wall. The man has a calm expression, with soft eyes, a straight nose, and a small mouth. His hair is styled in a powdered fashion typical of the 18th century. He is dressed in a dark blue coat with brass buttons, a white waistcoat, tan breeches, white stockings, and black shoes with bows. He is also holding light-colored gloves in his left hand. The background includes architectural elements like a broken wall and carved stone blocks with classical motifs. In the distance, there are trees and classical buildings against a blue sky with soft clouds.
Hugh Douglas Hamilton, Frederick North, Later Fifth Earl of Guilford, in Rome, 1790, pastel and gouache(?) with touches of graphite on paper mounted to canvas (on strainer/stretcher), Gift of the 50th Anniversary Gift Committee, 1991.86.1

Frederick North, Later Fifth Earl of Guilford, in Rome

Hugh Douglas Hamilton · 1790 · pastel and gouache(?) with touches of graphite on paper mounted to canvas (on strainer/stretcher) ·  Accession ID  1991.86.1

This is a drawing of an architectural ceiling or dome structure, viewed from below. The design includes geometric patterns, arches, and detailed embellishments. The use of perspective enhances the three-dimensionality of the structure. The shading delineates the angles and surfaces of the architectural elements.
Andrea Pozzo, Illusionistic Architecture for the Vault of San Ignazio, 1685/1690, pen and gray and brown ink with gray wash on two joined sheets of heavy laid paper, Gift of Robert M. and Anne T. Bass, 1994.16.1

Illusionistic Architecture for the Vault of San Ignazio

Andrea Pozzo · 1685/1690 · pen and gray and brown ink with gray wash on two joined sheets of heavy laid paper ·  Accession ID  1994.16.1

This is a drawing of a highly detailed architectural design reminiscent of Baroque or Renaissance ceilings. It features ornate panels, ceremonial motifs, and sculptural embellishments. The drawing includes multiple roundels and medallions depicting allegoric figures and intricate floral designs. The central ceiling painting shows a sky with mythical figures, creating a sense of depth and grandeur typical of trompe-l'oeil painting. The drawing is in grayscale and may have been created as a preliminary study for a mural or fresco.
Ferdinando Galli Bibiena, A Grand Illusionistic Ceiling, 1720/1740, pen and brown ink with gray and brown washes over graphite on laid paper, Pepita Milmore Memorial Fund and an Anonymous Donor, 1994.73.1

A Grand Illusionistic Ceiling

Ferdinando Galli Bibiena · 1720/1740 · pen and brown ink with gray and brown washes over graphite on laid paper ·  Accession ID  1994.73.1

This drawing is a sketch of two people seen from the knees up. The person on the right is a bare-chested man with a muscular build, his head turned towards the left. His facial features are minimal, and he has short, curly hair. Cloth appears to drape and flow around his waist. The person on the left appears to be a woman who is facing the left with her head turned back towards the right, showing similarly minimal facial features. She also has curly hair and is nude, although she holds a large bundle of cloth in front of her. This cloth appears to be the same cloth that is wrapped around the man's waist. The drawing is in reddish-brown chalk on a beige background.
Guercino, Amnon and Tamar, 1649, red chalk on laid paper, Ailsa Mellon Bruce Fund, 1989.14.1

Amnon and Tamar

Guercino · 1649 · red chalk on laid paper ·  Accession ID  1989.14.1