Provenance

Galerie Paul Cassirer

Verlag Paul Cassirer

active c. 1903 - 1933

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See all 27 works of art
This is a painting depicting a heraldic coat of arms. The image features a detailed coat of arms with a central shield, adorned with black and gold sections, and additional decorative elements above it. There is a figure resembling a unicorn emerging from the crest. The background is a deep red hue. The artwork is displayed within a wooden frame with crossbars. This style is associated with displaying family crests and lineage.
Bernhard Strigel, Hans Roth [reverse], 1527, oil on panel, Ralph and Mary Booth Collection, 1947.6.4.b

Hans Roth [reverse]

Bernhard Strigel · 1527 · oil on panel ·  Accession ID  1947.6.4.b

This painting shows a person standing in front of a window, turned slightly to the left. The person has fair skin, light blue eyes, and reddish-brown hair that falls just above their ears. Their pink lips are set in a neutral expression. They wear a flat black hat with a wide rim, and a brown fur mantle over a black garment with a tall white ruffled collar. They are holding a round orange fruit in their left hand, with a small gold ring on their pointer finger. The background on the right appears to be a green wall decorated with a faint yellow pattern. On the left is a window or opening that shows a landscape with a blue sky over a rocky mountain with green trees and small houses with red roofs. Below the mountain is a blue river and a brown road with a rider on horseback visible in the distance.
Bernhard Strigel, Hans Roth [obverse], 1527, oil on panel, Ralph and Mary Booth Collection, 1947.6.4.a

Hans Roth [obverse]

Bernhard Strigel · 1527 · oil on panel ·  Accession ID  1947.6.4.a

A young woman and older man accompanied by two winged angels kneel to gaze at a tiny infant lying on an overturned basket in this vertical painting. They and the five men standing or kneeling to each side all have pale skin. The woman, Mary, is on our left and leans forward with her hands stretched out toward the infant. Her long, honey-blond hair is covered with a pleated white cloth, and she wears a marine-blue gown over a garment with garnet-red sleeves. The older man, Joseph, kneels opposite her. He has a gray beard and hair and wears a charcoal-gray cloak over a scarlet-red robe. The nude infant, Jesus, lies on the basket between them next to a bundle of wheat. The angels are about half the size of Mary and Joseph and kneel just beyond Jesus. They both have blond hair and wings striped in shades of carnation pink, canary yellow, and celestial blue. The angel on our left wears an olive-green robe, and the other wears a white robe shaded with arctic blue. Mary, Joseph, Jesus, and the angels gather on a worn, tiled stone floor outside the ruins of a building with an exposed interior. Ornamented bronze and rose-pink panels are set into pillars and over openings. Ivy grows along the upper edges of the partially ruined walls, and small tree branches sprout on the roof. An owl and another bird perch on the remains of a wood roof tucked behind the first structure. An ox and a donkey are tucked into a back corner of the building below. Three men dressed in burgundy and black enter the ruins from the left. One wears a soft black hat and holds a musical instrument to his lips. Two more men kneel beyond Joseph on the right, and one wears pea green with a rose-pink cape. The background beyond the building and people is filled with a green and blue landscape scattered with buildings and tiny people walking and dancing around a fire.
Adriaen Isenbrant, The Adoration of the Shepherds, probably 1520/1540, oil on panel, Ailsa Mellon Bruce Fund, 1978.46.1

The Adoration of the Shepherds

Adriaen Isenbrant · probably 1520/1540 · oil on panel ·  Accession ID  1978.46.1

Verdant green fields roll in undulating waves back alongside a road in this horizontal landscape painting. The fields take up the left and center of the composition and are painted with thick, curling strokes of emerald, pea, and celery green, and corn yellow to suggest grasses and plants. The pale green road runs up along the right edge of the painting, and is layered with strokes and daubs in butter yellow, spring green, and faint blue. The fields and road meet the horizon line about halfway up the canvas, where an aquamarine-blue sky swirling with white and periwinkle-blue clouds fills the top half of the painting.
Vincent van Gogh, Green Wheat Fields, Auvers, 1890, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 2013.122.1

Green Wheat Fields, Auvers

Vincent van Gogh · 1890 · oil on canvas ·  Accession ID  2013.122.1

Shown from the lap up, a young girl with pale, peachy skin and long, light brown hair wears a crimson-red dress with slashed, puffed sleeves and three large, gold-colored necklaces covering much of her chest in this vertical portrait painting. She sits with her body angled slightly to our left and, with her head tipped slightly forward, she looks off in that direction with slate-blue eyes under faint brows. Her long, wavy, golden-brown hair falls from her high forehead and lies loose around her shoulders. Her dress has bands of a floral pattern outlined in a lighter red against a ruby-red background, and the bodice ties with red laces down the front over a white undershirt. The tight-fitting, long sleeves are slashed around the elbows so the white linen shirt can be pulled through to create puffs. Her high-necked chemise has a jeweled band at the neck. The three strings of the distinctive necklace seem to be made of gold-colored strips of fabric or leather made into twisting loops, which are then linked together like a paper chain. Each strip is painted or decorated with a fine, dense lattice pattern and edged in gold. The girl sits with her wrists crossed in her lap against a black background.
Lucas Cranach the Elder, A Princess of Saxony, c. 1517, oil on panel, Ralph and Mary Booth Collection, 1947.6.2

A Princess of Saxony

Lucas Cranach the Elder · c. 1517 · oil on panel ·  Accession ID  1947.6.2

Shown from the lap up, a man wearing an ash-brown suit and top hat sits turned mostly away from us, next to a round table, facing a group of at least three women farther back in the room in this vertical painting. The scene is loosely painted with visible, mostly vertical strokes, and most of the forms, clothing, and objects are outlined in cobalt blue. Sitting in a wooden, ladderback chair, the man’s body takes up the bottom right quadrant of the painting. His skin is painted pale turquoise. His face turns away from us so we see the tip of his nose and the lines of his cheek and double chin. He has short brown hair under his top hat. He holds a silver-topped cane in one hand, which rests in his lap. A glass with some clear liquid sits on the table in front of him, to our left. A peanut-brown column spans the height of the painting just beyond him, near the right edge of the composition. Three women stand closely together in the near distance, in the upper left corner of the painting. At the front of the trio, a woman with a peach-colored face wears an indigo-blue mask over her eyes. A few swipes of paint indicate blond hair, possibly pulled up. She faces our right in profile and stands with her right hand, closer to us, planted on her hip. She wears a bubblegum-pink sleeveless top and form-fitting pants. The skin of her arm and the skin on the face of the woman standing just beyond her is a cream-white tinged with blue. That second woman faces our right in profile, and her blond hair is either short or also pulled up. A teal-green strap of a low-cut dress crosses over the shoulder we can see. A third woman stands in front of this pair, between them and the seated man. She faces away from us and wears a cotton candy-pink robe and hood that completely covers her body. The wall at the back of the room is painted with areas of brick red, moss green, and a grayish mauve pink.
Henri de Toulouse-Lautrec, Maxime Dethomas, 1896, oil on cardboard, Chester Dale Collection, 1963.10.219

Maxime Dethomas

Henri de Toulouse-Lautrec · 1896 · oil on cardboard ·  Accession ID  1963.10.219

Eight cows bathed in warm sunlight stand and lie on a riverbank carpeted in mossy green in this horizontal painting. The cows are amber, ginger, or tawny brown, bone white, or black, and all have short, curving horns. Seven are clustered closely together, at the bottom center of the painting. There, one tawny red cow with a white face looks at or toward us as it lies at the middle of the grouping, legs tucked under her big body. The eighth cow is black with a white face, and lies just to our left of the group. Behind the cows, to our right, a hill rises about halfway up the right side of the composition. Three men meet at the top. One man is on horseback with his back to us, while the other two stand to the right holding tall staffs. They are dressed in sage-green, tan, or peanut-brown tunics and knee-length pants, and they all wear hats. Beyond the cows, the silvery-blue river extends back to a row of low trees in the deep distance on the horizon, which comes about a quarter of the way up the composition. A few sailboats with white sails navigate the waterway. The sky, which takes up about three-quarters of the composition, is filled with puffy white, pale gray, and shell-pink clouds. A shaft of sunlight breaks through the clouds near the top center of the composition and falls toward the men on the hill. Birds flying in a loose band are painted with a few swipes of brown, tiny in the distance. The artist signed the lower right, “A:Cuijp.”
Aelbert Cuyp, River Landscape with Cows, 1645/1650, oil on panel, Gift of Family Petschek (Aussig), 1986.70.1

River Landscape with Cows

Aelbert Cuyp · 1645/1650 · oil on panel ·  Accession ID  1986.70.1

We look down onto a wide, bustling, tree-lined avenue filled with buildings, people, and horse-drawn carriages in this horizontal painting. Muted, warm browns, sage green, slate blue, and brick red dominate the urban scene, which is loosely painted with short and long dotted brushstrokes so some details are difficult to make out. The street extends diagonally up from our lower left with wide gray sidewalks on either side, which are lined by slender trees sparsely dotted with brown leaves. Dozens of pedestrians meander individually, in pairs, and in small groups on the sidewalks in coats and hats. Across from us, multi-storied buildings with store fronts at street level stretch across the width of the canvas. Rows of windows line the facades. Horse-drawn carriages move in both directions on the street and two omnibuses have pulled to the curb closest to us, where passengers have lined up. Two brick-red, hexagonally shaped kiosks stand opposite each other on either side of the street about halfway along the boulevard. Sunlight filters onto the scene, creating a dappled effect in some areas, especially over to our right. The artist signed and dated the painting in dark green in the lower right corner: “C.Pissarro.97.”
Camille Pissarro, Boulevard des Italiens, Morning, Sunlight, 1897, oil on canvas, Chester Dale Collection, 1963.10.198

Boulevard des Italiens, Morning, Sunlight

Camille Pissarro · 1897 · oil on canvas ·  Accession ID  1963.10.198

Shown from the lap up, a pale-skinned woman looks off to the left in front of a vivid green background in this vertical portrait painting. The woman’s whole body angles to the left as she gazes in that direction with gray eyes under faint brows. Her nose is indented on the long side, and her thin pink lips are closed in a line. Her strawberry-blond hair is pulled back over her left ear, to our right, and is otherwise hidden under a wide, floppy black cap. A glint of gold at the top of the hat could be her hair or a brooch or decoration. Her tightly fitting black bodice has a high collar. Her arms rest by her sides, and the sleeves are wine red. A belt around her narrow waist is laced with black on an orange band at the front, and a section below has a crosshatched pattern painted with delicate black lines on golden yellow. The woman is lit from our left and casts a darker green shadow on the lime-green background. The top and left edges of the panel are also lined with darker green.
Lucas Cranach the Elder, Portrait of a Woman, 1522, oil on panel, Samuel H. Kress Collection, 1959.9.2

Portrait of a Woman

Lucas Cranach the Elder · 1522 · oil on panel ·  Accession ID  1959.9.2

Shown from the waist up, a young boy with blond hair faces us, wearing an embroidered garment and heavy cloak in this vertical portrait painting. His body angles slightly to our right, but he looks just off to our left with pale blue, faintly bulbous eyes. He has pale skin, flushed cheeks, a delicate nose, a pointed chin, and his pink lips are closed. His wavy hair curls around his shoulders, and a fringe of bangs spans his forehead. A crown of black pearls, gold, and green stones is set at an angle on his head. His high-necked light brown shirt is edged with gold and embroidered with white and gold. The long sleeves are brocaded with a ruby-red floral pattern against darker garnet red. He holds the edge of a caramel-brown, sleeveless overcoat with one pale hand, and the other is cupped with fingers pointing upward just below. He is shown against a black background.
Lucas Cranach the Elder, A Prince of Saxony, c. 1517, oil on panel, Ralph and Mary Booth Collection, 1947.6.1

A Prince of Saxony

Lucas Cranach the Elder · c. 1517 · oil on panel ·  Accession ID  1947.6.1

Bibliography

1973

  • 25 Jahre. Feilchenfeldt in Zürich. Zürich, 1973 (introduction by Marianne Feilchenfeldt).

1988

  • Tafel, Verena. "Paul Cassirer als Vermittler Deutscher Impressionistischer Malerei in Berlin. Zum Stand der Forschung." Zeitschrift des Deutschen Vereins für Kunstwissenschaft 42 (1988): 31-46.