Provenance

Sale, Amsterdam

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Anonymous Artist, Old Woman Plucking a Fowl, 1650/1655, oil on canvas, Gift of Dr. and Mrs. Walter Timme, 1956.1.1

Old Woman Plucking a Fowl

Anonymous Artist · 1650/1655 · oil on canvas ·  Accession ID  1956.1.1

Shown from the chest up, a light-skinned man with a wrinkled face and a silvery gray beard and hair gazes into the distance in this oval portrait painting. His chest is angled to our right but he turns his head to look off over his other shoulder, to our left. His slate-blue eyes are a little sunken and lined with wrinkles. Shading marks the hollows of the temple and cheek we can see. His thin lips are closed and framed by his curly mustache and beard. A dark, mahogany-brown cap is pushed back on his head, and his brown jacket has gold-colored buttons down the front. The collar of a cream-colored shirt shows through at the neckline. The background is dark olive green. The artist signed the work near the man’s shoulder, to our right: “GDOV.”
Gerrit Dou, Bust of a Bearded Man, c. 1642/1645, oil on panel, Corcoran Collection (William A. Clark Collection), 2014.136.32

Bust of a Bearded Man

Gerrit Dou · c. 1642/1645 · oil on panel ·  Accession ID  2014.136.32

More than two dozen rowboats and sailboats bustle around a waterway in this horizontal landscape painting. Beige-colored water gently ripples across the bottom of the composition and extends into the deep distance, where buildings, windmills, and a church line the low horizon. Clouds with warm white tops and cool gray bottoms tower across a pale blue sky, which takes up the top three-quarters of the composition. A few reeds poke out of the water close to us, near the lower right corner of the painting. The row- and sailboats just beyond are packed with people. Two flags fly from the masts of the largest ship, which is to our left of center. One flag has red stripes flanking a white stripe, and the other is striped with red, white, and blue. Two rowboats have pulled up to the grassy shore of a spit of land to our left. A ladder leans against the steep hill rising from the water’s edge, and a cluster of spindly trees lean toward the water from the hillock. The people all wear clothing and hats in tones of brick red, ochre yellow, sable brown, and black. More boats move through the water back to the town and waterways to either side.
Jan van Goyen, View of Dordrecht from the North, early 1650s, oil on canvas, Corcoran Collection (William A. Clark Collection), 2014.136.34

View of Dordrecht from the North

Jan van Goyen · early 1650s · oil on canvas ·  Accession ID  2014.136.34

From our place on a dirt road, a row of buildings and houses extends from the right edge of this painting, into the distance and to our left in this vertical composition. People, all with light skin, come and go through doorways and hatches, work unloading goods next to a horse, and gather under a tattered awning down the road. Most of the people wear hats and dark clothing in tones of brown, black, and golden yellow, with a few touches of brick red. A jumble of objects, including a barrel, a wooden trap, and a ceramic vessel, and some chickens are gathered in the lower right corner of the panel, closest to us. A boy holding a long-necked vessel stands at an open hatch leading to an underground level of the structure nearby. That building has a large, steeply pitched, thatched dormer on a red tile roof. Green vines grow over parts of the peanut-brown stone and brick façade. A white stork with long legs and a long beak stands at a nest built on top of the chimney. A sign hangs above an open door, through which a person leans, and a birdcage hangs below the sign. In front of the open door, two men, one wearing a golden yellow vest and one wearing teal blue, unload large wooden barrels from a horse-drawn sled. The brown horse lifts one back foot off the ground, and the side of his hide is marked, perhaps with a sore. A tall tree with dark green leaves separates the building closest to us from its neighbor. A group of people and children are gathered under an awning there. One boy in the group pets a white, long-haired dog. Nearby, a man using crutches makes his way down the road toward us. A pair of dogs, one black and one brown and white, tussle over something in the lower left corner. The row of buildings extends in a line into the distance with steeply pitched, pointed rooflines. A tower, perhaps for a church, appears in the hazy distance to our left, near the left edge of the panel. Clouds with pale peach tops and lilac-gray undersides sweep across the sky above, parting to reveal on a couple slivers of blue sky beyond. The artist signed and dated the panel with black paint in the lower right corner: “Isack van Ostade 1645.”
Isack van Ostade, Workmen before an Inn, 1645, oil on panel, Gift of Richard A. and Lee G. Kirstein, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.64.1

Workmen before an Inn

Isack van Ostade · 1645 · oil on panel ·  Accession ID  1991.64.1

We stand in the central nave of a deeply shadowed church looking down toward the altar in this horizontal painting. Sunlight streams in from our right to bathe white pillars lining the nave with light, and it illuminates a wooden stall, like a private seating box, situated in front of the columns to our left. The forehead, eyes, and one hand of a young child peeks over the top edge of one of the panels, perhaps peering at us. Touches of pale red and yellow suggest stained glass over the dimly lit altar at the far end of the church, across from us. Gold chandeliers with curling, scrolling arms hang along the length of the nave, well below the dark, vaulted ceiling. About a dozen of men wearing black enter the church in a line from the left, near the altar. Closer to us, to our right, two men lean together in conversation with a dog nearby. One man gestures to a rectangular stone slab that has been lifted from the church floor to reveal dirt underneath, to our left. Two shovels, a broom, and a skull lay nearby. In front of the men, in the lower right corner of the canvas, a woman sits and nurses a swaddled infant. A young boy and another dog near the pair looks toward or at us. Two dogs stand in the shadows around the column closest to us on the left, and one raises its leg to relieve itself on the base.
Emanuel de Witte, The Interior of the Oude Kerk, Amsterdam, c. 1660, oil on canvas, Patrons' Permanent Fund, 2004.127.1

The Interior of the Oude Kerk, Amsterdam

Emanuel de Witte · c. 1660 · oil on canvas ·  Accession ID  2004.127.1

Several people sit, stand, or stroll along a dirt road that winds from the lower left corner of this horizontal landscape painting into the distance, past trees and cottages under a vivid blue sky. The horizon line comes about a third of the way up the canvas, and the cloud studded, azure-blue sky fills the space above. Sunlight filtered through puffy white and steel-gray clouds illuminates the scene from the upper right, creating patches of light and shadow throughout. The road meanders through the center of the composition and is lined with dark and sage-green shrubs, scrubby growth, and gnarled, crooked trees. Closest to us and to our left, two tan cottages are tucked into deep shade created by a grove of several tall trees. The cottages have steeply pitched roofs and windows flanked by gray or brick-red shutters. Three people sit and stand near the path outside the closest building. A short distance to our right, a man sitting on a fallen log carries walking stick and a bundle on his back. His body faces us but his head is turned to our right to gaze toward the man and woman about to stroll past him, headed in our direction. The woman wears a black dress over a white skirt, and a white head covering and shawl. The man wears a brimmed hat with a red decoration, a brown coat with gold buttons down the front and a wide white collar, and heeled shoes. Beyond them, the road curves to our left around a small pond in front of the second cottage. Two people crouch to set a toy sailboat afloat by the edge of the pond, and a brown dog sniffs the ground nearby. Two more people stand talking at the doorway to the second cottage and another dog leaps up at the half-door. Further along the road, the light becomes stronger, illuminating a horse, rider, and another person walking alongside the horse. The road continues to curve around a butter-yellow cottage nestled in a grove of trees on the right. A sunny field is visible in the far distance.
Meindert Hobbema, A View on a High Road, 1665, oil on canvas, Andrew W. Mellon Collection, 1937.1.62

A View on a High Road

Meindert Hobbema · 1665 · oil on canvas ·  Accession ID  1937.1.62

This vertical portrait painting shows a pale-skinned older woman wearing a full, long-sleeved black dress with a wide white ruff at her neck and white lace cuffs at her wrists. She sits in a curving, low-backed wood chair against a pale brown background. Her body and the chair are angled slightly to our left, and she looks directly at us. She has small eyes, pink, rounded cheeks, and a wide chin. Her lips are parted in a slight smile, and her hair is covered by a starched, sheer white cap that flares at the sides. The ruff around her neck is gathered in accordion-like, narrow figure-eight folds, and it extends flat and stiff, nearly to her shoulders. Close inspection reveals that the dress is woven with a black-on-black brocade pattern and has a line of small black buttons down the front. She holds a small brown leather book tooled with gold ornament in her right hand, on our left, and her other hand rests on the arm of the chair. She wears a gold ring on each hand. An inscription is painted to our left of her head: “AETAT SVAE 60 ANo 1633.”
Frans Hals, Portrait of a Woman Aged Sixty, 1633, oil on canvas, Andrew W. Mellon Collection, 1937.1.67

Portrait of a Woman Aged Sixty

Frans Hals · 1633 · oil on canvas ·  Accession ID  1937.1.67

Two light-skinned men on horseback ride toward us on a rutted, country road set in a sweeping view with a watermill along a river to our left, and a screen of trees to our right in this horizontal landscape painting. The horizon comes about a third of the way up the composition, and many of the trees and the watermill are shown against the white and dove-gray clouds rolling across the pale blue sky. The riders are small in scale when compared to the landscape. The man to our left rides a chestnut-brown horse and wears a red jacket and a black, wide-brimmed hat pushed back on his head. The man to our right, on a silvery gray horse, wears a brown hat and clothing. White streaks at their necks and cuffs suggest lace or linen undershirts. Both horses walk with their bodies angled slightly to our left on the curving path. Two dogs trot ahead of the riders, toward us. A charcoal-gray, wooden bridge beyond the men to our left leads to the watermill. The squat, wide building is constructed on a stone foundation with wooden posts and beams that make a geometric pattern within the canary-yellow stucco. The gabled roof is covered with terracotta-red tiles at the peak closest to us, but the rest is thatched in gray and tawny brown. One small chimney rises from the center and the other from the end farther from us. A tall, water wheel is affixed to the shaded side of the building closest to us. A few ducks float in the grass-lined river near the lower left corner of the composition. The trees that dominate the right half of the canvas are painted with shades of moss, sage, and pine green and golden yellow. Only closer inspection reveals the tip of a church spire rising behind the treetops to our right. In the shadows beneath the trees, we also find a man wearing a tall sack on his back and holding a walking stick as he sits on a low rise near the lower right corner, and a man and child walking away from us along the path in the distance, into the trees.
Meindert Hobbema, The Travelers, 166[2?], oil on canvas, Widener Collection, 1942.9.31

The Travelers

Meindert Hobbema · 166[2?] · oil on canvas ·  Accession ID  1942.9.31

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

An old man and a young woman holding an infant are seated together in the center of this almost square painting. All three people have pale, peachy skin. To our left, the man sits on a low, tan brick wall with his head bowed to look at the baby on the woman’s lap. A periwinkle-blue cloak is wrapped around the kelly-green robe that covers his shoulders, back, and legs. One hand grips a short staff planted on the ground. His receding white hair and beard are thin and scraggly with tufts sticking out over his ears. The woman sits next to and slightly in front of him, to our right, on a low rock, her body angled toward the man. A long, cobalt-blue cloak is draped around her shoulders and covers her knees over her rose-pink gown. Her honey-brown hair is parted in the middle and gathered at the back of her head. Her brown eyes look down at the infant, who is blond with brown eyes. A long white shawl is tucked into the neckline of her dress, drapes over her shoulders, and wraps under the baby as she cradles his body with one hand under his backside and the other behind his head. The baby lies on his back with his head turned toward the woman, and he points to her with one outstretched arm. The dirt ground is scattered with pebbles that make a loose ring around the trio, with moss-green growth to either side. A brown brick wall fills the upper half of the composition behind the people and extends off the top edge. A rounded arch pierces the back wall to our right of the woman. On the other side of the opening, trees with copper-brown leaves grow up along the left and the landscape beyond opens onto rocky hills with a white, square tower. In the deep distance, the silhouette of a town is painted in robin’s egg-blue against a pale peach horizon line. Thin, white clouds skim across the blue sky above.
Giorgione, The Holy Family, probably c. 1500, oil on panel transferred to hardboard, Samuel H. Kress Collection, 1952.2.8

The Holy Family

Giorgione · probably c. 1500 · oil on panel transferred to hardboard ·  Accession ID  1952.2.8