Provenance

Kleinberger Gallery

est. 1848

Explore Selected Works

See all 20 works of art
Giovanni Battista Tiepolo, Saint Roch Carried to Heaven by Angels, c. 1735/1745, oil on canvas, Gift of Howard Sturges, 1956.9.16

Saint Roch Carried to Heaven by Angels

Giovanni Battista Tiepolo · c. 1735/1745 · oil on canvas ·  Accession ID  1956.9.16

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

Bernard van Orley, Christ among the Doctors [obverse], c. 1513, oil on panel, Samuel H. Kress Collection, 1952.5.47.a

Christ among the Doctors [obverse]

Bernard van Orley · c. 1513 · oil on panel ·  Accession ID  1952.5.47.a

Bernard van Orley, Putto with Arms of Jacques Coëne [reverse], c. 1513, oil on panel, Samuel H. Kress Collection, 1952.5.47.b

Putto with Arms of Jacques Coëne [reverse]

Bernard van Orley · c. 1513 · oil on panel ·  Accession ID  1952.5.47.b

Surrounded by twenty-two men, women, and winged angels, a young man, wearing only a white loincloth, stands in a shallow body of water facing another man who kneels on the bank next to him and pours water onto his head in this horizontal painting. All the people have pale skin. At the center of the composition, the man in the water, Jesus, stands with his body angled slightly to our right. He is slim with shoulder-length, chestnut-brown hair, and he raises his hands to his chest, fingertips almost touching. To our right, the man who trickles water onto his head, John, faces our left in profile. Long, scraggly brown hair and beard frame his lined, wrinkled face, and he wears a camel-brown robe covering his torso and legs. It appears to be made from an animal skin whose face hangs at the bottom, draped over the edge of the riverbank. His bare arms reach forward toward Jesus as he upends a vessel in his right hand to pour out drops of water. The pair is flanked by three angels. The angel kneeling on the bank to our left has red hair and rust-red and teal-blue wings. That angel wears a scarlet-red cloak richly decorated with gold patterns and bordered with gemstones. With hands raised and fingertips touching, the angel holds a gray-green cloak hanging over a white robe. Two smaller angels kneel closer to us in front of the men. The red-headed angel on our left wears a powder-blue robe and strums a lute. The other, with blond hair and a white robe, draws a bow across a violin to our right. A crowd of fifteen people float above and around Jesus, John, and the angels to create an arch over them. They are dressed in robes of crimson or rose red, violet purple, peacock blue, moss green, or beige, and some are dressed as clergy members. Each person holds an object, for example, a basket of wafers, a sword, or a bishop’s crook. A man on the right side wearing armor kneels on a dragon. An elderly bearded man wearing a crown sits at the top of the arch with his hands raised. Small angels on either side of him hold open his scarlet-red cloak, which is lined with peacock blue. A long, narrow scroll curls in the pale blue sky under him. It reads, “HIC EST EILIVS MEVS DILECTV IN QVO MICHI CONLICVI.” The landscape around Jesus, John, and the angels on the riverbank creates a low hill topped with bushy trees. A half moon of pale blue sky encloses the landscape, creating a dome shape across the center of the composition. The crowd of men and women seem to float between the sky and the shiny gold background that surrounds the people and whole scene.
Master of the Saint Bartholomew Altar, The Baptism of Christ, c. 1485/1500, oil on panel, Samuel H. Kress Collection, 1961.9.78

The Baptism of Christ

Master of the Saint Bartholomew Altar · c. 1485/1500 · oil on panel ·  Accession ID  1961.9.78

The lifeless body of a bearded young man partly wrapped in an ivory cloth is being lowered from a cross to a group of people at its foot in this vertical painting. All the people have peachy or pale skin, and most are dressed in cream white and shades of brown. The body and head of the dead man, Jesus, slump to our left, eyes closed and mouth hanging open. His arms and hands are streaked with red, and drips of blood dot his head. Two men on ladders propped against the back of the cross reach over the top crossbar, and one man on our right holds Jesus’s left wrist. A long white cloth is draped over the crossbar and falls to wrap around Jesus’s hips. Two more men stand on the ladders on either side of the cross, one with his arm around Jesus’s torso while the other reaches forward to hold a torch that dramatically lights the cluster of bodies. An older man with white hair and beard, wearing a scarlet-red tunic, stands in front and cradles the hips and legs of Jesus as he is lowered. Six people stand to the right of the old man and the cross. A strong light falls on the face of a pale, older woman. Her eyes are closed, her mouth open, and her arms limp as she is caught by the people around her. The men in the group wear hats and the women’s heads are covered with scarves. From the shadows to the left of the cross, near the edge of the painting, the pale face of a woman peers onto the scene. The landscape behind the cross and group is deep in shadow, but rust-red streaks line the horizon in the distance.
Dutch 17th Century, Constantijn van Renesse, The Descent from the Cross, 1650/1652, oil on canvas, Widener Collection, 1942.9.61

The Descent from the Cross

Dutch 17th Century, Constantijn van Renesse · 1650/1652 · oil on canvas ·  Accession ID  1942.9.61

We look through shadowed trees at a river winding into the distance in this horizontal landscape painting. Close to us, a cluster of three thin trees and a larger central tree are deep in shadow, which contrasts with the light-filled scene beyond. The topaz-blue river curves from the lower right corner, across the canvas, and into the distance at the center. A few spindly trees grow along the riverbank in front of a hut with a thatched roof to our right. The bank to our left is lined with reeds and tall grasses. Behind the central shadowed tree, a long, low, narrow boat is occupied by four people with pale skin. To our left, a person with a dark garment and white collar reclines near a seated man wearing yellow and a feathered cap. To our right, another person reclines near the boatman who pushes the boat through the water using a long pole. The harvest yellow and sage green of the riverbanks and vegetation beyond the boats fades to hazy, pale blue mountains along the horizon line, which comes just over halfway up the composition. White clouds float across a blue sky above.
Annibale Carracci, River Landscape, c. 1590, oil on canvas, Samuel H. Kress Collection, 1952.5.58

River Landscape

Annibale Carracci · c. 1590 · oil on canvas ·  Accession ID  1952.5.58

We look across a stream and through a loose screen of shadowy trees at a sunlit farm under a powder-blue sky with towering, puffy clouds in this vertical landscape painting. The ground and stream closest to us are painted in tones of olive green, sepia and earth brown, black, and slate gray. Nearly lost in shadow, a group of six people gathers at the water’s edge in the lower left. Small in scale within the composition, they wear brick-red, gray, or caramel-brown garments. Beyond them, a low picket fence winds through and between a loose band of shadowy trees, which are painted with gnarled, dark gray trunks and camel-brown, sage, and pine-green leaves. The trees to our left are closer and taller, while those to our right are a little farther away. The sun pours from the upper left into the field beyond. The farm buildings there have tan walls and sloping, peach-colored roofs. A few animals and people, smaller than the group in front, stand among the buildings, and more cottages can be glimpsed through a stand of trees on our right. The horizon line comes about a third of the way up the composition, and a church and steeple are silhouetted against the sky in the deep distance. A few birds fly in front of gray and white clouds that rise from the right side and spread across the top of the canvas.
Meindert Hobbema, A Farm in the Sunlight, 1668, oil on canvas, Andrew W. Mellon Collection, 1937.1.60

A Farm in the Sunlight

Meindert Hobbema · 1668 · oil on canvas ·  Accession ID  1937.1.60

Bernard van Orley, The Marriage of the Virgin, c. 1513, oil on panel, Samuel H. Kress Collection, 1952.5.48

The Marriage of the Virgin

Bernard van Orley · c. 1513 · oil on panel ·  Accession ID  1952.5.48

Shown from the knees up, a pale-skinned woman in front of a gold background wears a rose-pink cloak over a sky-blue dress and holds up a tooth in a pair of pincers in this vertical painting. Her body faces us but she looks slightly off to our left with pale brown eyes under faint, arched brows. She has a long nose and her thin, coral-pink lips are closed. Her wavy, auburn-brown hair falls closely around her neck. Her light blue dress has narrow, V-shaped neckline and the high waistline is gathered under a white belt or sash to create the impression of vertical pleats. Her deep pink cloak is fastened with a cord at the neck. It falls over her shoulders and arms, and she holds up the opposite hem with her left hand, on our right. In her right hand, on our left, she holds up a pair of iron-colored pincers holding a small, white object, a tooth. The surface of the painting is noticeably cracked, especially in the shiny gold background behind the person.
Piero della Francesca, Saint Apollonia, c. 1455/1460, tempera on poplar panel, Samuel H. Kress Collection, 1952.5.19

Saint Apollonia

Piero della Francesca · c. 1455/1460 · tempera on poplar panel ·  Accession ID  1952.5.19