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Stiebel, Ltd.

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Shown from the waist up, a clean-shaven man with pale, peachy skin is dressed in black and burgundy red in this vertical portrait painting. His shoulders are as wide as the composition and his hat nearly touches the top edge, so he almost fills the painting. His body and face are angled to our right, and he looks off in that direction with hooded brown eyes under slightly raised brows. He has a long, bumped nose, high cheekbones, the hint of a five-o-clock shadow, and his pale pink lips are closed. His hair is cut straight across at ear length, and fuzzy sideburns come down to his jawline. A wide, soft black cap curves down either side of his head to ear level. He wears a white shirt with a delicate black pattern on the neckline, which is tied with a thin black ribbon. A voluminous dark red shawl or wrap has two black bands along the bottom hem, and it engulfs his sloping shoulders. In the lower corners of the painting, we see long black sleeves under the wrap. The sleeves have slashes to allow the white undergarment to show through. He is set against a lime-green background and illuminated by bright light from the upper right, which creates a darker green shadow behind him, to our left. The artist signed the painting with a symbol on a small, light brown panel, which appears to be affixed to the back wall in the upper left corner of the painting. The date, “1522,” appears over a winged serpent holding a ring in its mouth.
Lucas Cranach the Elder, Portrait of a Man, 1522, oil on panel, Samuel H. Kress Collection, 1959.9.1

Portrait of a Man

Lucas Cranach the Elder · 1522 · oil on panel ·  Accession ID  1959.9.1

Jean-Baptiste Greuze, The Angry Mother, black and gray wash over graphite on laid paper, Gift of Arthur L. Liebman, 1992.87.29

The Angry Mother

Jean-Baptiste Greuze · · black and gray wash over graphite on laid paper ·  Accession ID  1992.87.29

This painting shows a man seated on a red cushioned chair, his head turned toward us and his body facing slightly to the right, his hand resting on the corner of a table on the right. He has light skin, with a neatly trimmed gray mustache and pointed gray beard. His brown eyes look out at us, with his face is a neutral expression. His gray hair has a slight wave around his ears, and he wears a small black cap on the top of his head. He is wearing a red and black gown with wide sleeves, a white collar, and white cuffs. In his right hand, he holds a folded paper. His other hand rests on a closed book sitting on the table. The table is covered in a decorative cloth in shades of brown, black, white, blue, and gold, and next to the book is a white quill in a silver pot and an ornate golden clock. The background includes a large, draped curtain in a light pink color and a tall gray pillar on the left. A gray statue in a niche is partially visible in the top right corner.
Philippe de Champaigne, Omer Talon, 1649, oil on canvas, Samuel H. Kress Collection, 1952.5.35

Omer Talon

Philippe de Champaigne · 1649 · oil on canvas ·  Accession ID  1952.5.35

This sculpture is an architectural structure resembling a small tower or pavilion with intricate carvings. It has a domed top with detailed classical motifs, including flowers, columns, scale-like shapes, and swirling designs. The sculpture is white, standing on a square base with decorative carvings like garlands and rosettes. The cylindrical body has a multi-faceted section with small golden panels framed by columns and arches. It is placed indoors on a gray square base.
Florentine 15th Century, Desiderio da Settignano, Florentine 19th Century, Ciborium for the Sacrament, 1460s-c.1470 (stem with integral base); probably 1860s-c. 1870 (dome, enclosure, base beneath enclosure); 1870s (finial, bottom plinth), marble, Samuel H. Kress Collection, 1952.5.100

Ciborium for the Sacrament

Florentine 15th Century, Desiderio da Settignano, Florentine 19th Century · 1460s-c.1470 (stem with integral base); probably 1860s-c. 1870 (dome, enclosure, base beneath enclosure); 1870s (finial, bottom plinth) · marble ·  Accession ID  1952.5.100

The image shows a group of figures, both human and a cow, in a rural setting. One person is seated, holding a child, with most of their body shown. Another figure is leaning on a staff, facing downward, with short wavy hair and simple clothing. A third figure stands behind them. A cow with horns is on the left. The scene is sketched in brown ink wash, depicting a barn-like environment with few details.
Giovanni Battista Tiepolo, The Adoration of the Shepherds, 1735/1740, pen and brown ink with brown wash over black chalk on laid paper (backed with eighteenth century paper), Ailsa Mellon Bruce Fund, 1982.39.1

The Adoration of the Shepherds

Giovanni Battista Tiepolo · 1735/1740 · pen and brown ink with brown wash over black chalk on laid paper (backed with eighteenth century paper) ·  Accession ID  1982.39.1

The image shows a woman seated in profile, with her full body visible and slightly reclined in an ornate chair. She wears a voluminous blue gown adorned with white lace trim, and her hands are delicately clasped together in her lap. Her facial features are finely detailed with a light complexion, rosy cheeks, and an expression of calm contemplation. Her hair is styled in a traditional manner, partially covered by a matching blue bonnet. The chair she sits in is upholstered in green fabric with a floral pattern and has a wooden frame. In the background, there are lush trees and a distant landscape, alongside a large architectural stone element to the left.
French 18th/19th Century, Madame La Duchesse de Mortemart, watercolor with gray wash and touches of gouache over red and black chalks on wove paper, Gift of Arthur L. Liebman, 1992.87.5

Madame La Duchesse de Mortemart

French 18th/19th Century · · watercolor with gray wash and touches of gouache over red and black chalks on wove paper ·  Accession ID  1992.87.5

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

An older woman sitting in a tall, wooden, throne-like chair, holding a seated baby in her lap, is flanked by a bearded man to our left and a young girl to our right in this vertical painting. All the people have pale or rosy skin and flat, plate-like halos, three of which are inscribed with names. The bearded man’s halo reads, “S IOHANE.” The older woman’s is “S ANNA,” and the young girl’s reads, “MARIA.” The throne takes up the right half of the composition. The face of the older woman, Saint Anne, is deeply creased, and she has jowls along her jawline and bags under her eyes. With a smile, she looks down at the baby in her lap. She wears a dark brown robe with a cream-white wimple that covers her hair and neck and cascades down her shoulders. A long, scarlet-red cloak drapes from her right shoulder, to our left, and across her lap. With that arm, she supports the seated baby, Jesus. The chubby baby is nude except for a silvery-white cloth gathered around his hips, and he faces our right, looking at the young woman there, Mary. He holds one hand up by his chest and, with the other, reaches for and grips a small, dark red apple Mary holds. Both Jesus and Mary have blond hair, rounded cheeks and jawlines, and full, rose-red lips. Mary’s long, wavy hair falls loosely to her waist. She holds out the apple with one hand and, with the other, picks up the skirt of her moss-green dress to reveal a powder-blue skirt beneath. One of Saint Anne’s large hands wraps around Mary’s lower back. The bearded man, Saint John, kneels on the other side of the throne, facing Mary. He looks at her with dark eyes under a gathered brow. Wrinkles line his cheeks, forehead, and the corners of his eyes. He points with his right hand, closer to us, at Jesus and gestures down at a white lamb, also with a halo, at his knees with the other. He has a cap of light brown, curly hair and a full beard. He wears a mustard-brown robe rolled back to the elbows. Behind the chair, a black wall has two steps down to span the background behind Saint John’s head. There is a white column on each step, and a landscape beyond has a river, trees, and a town nestled on craggy cliffs in the distance. The sky above is pale blue. With tiny letters, the artist signed the painting with his initials intertwined, “HBG,” on the throne between Saint Anne and Mary.
Hans Baldung Grien, Saint Anne with the Christ Child, the Virgin, and Saint John the Baptist, c. 1511, oil on hardboard transferred from panel, Samuel H. Kress Collection, 1961.9.62

Saint Anne with the Christ Child, the Virgin, and Saint John the Baptist

Hans Baldung Grien · c. 1511 · oil on hardboard transferred from panel ·  Accession ID  1961.9.62

This is an image of allegorical figures surrounded by clouds. Several classical figures draped in robes and adorned with laurels or other decorative headpieces are engaging in a ceremonious scene. A central figure, who appears to be youthful and partially clothed, is holding laurel wreaths, while other figures are interacting with or presenting items to them. They stand surrounded by swirling clouds or ethereal forms, contributing to a celestial or mythological atmosphere. The artwork features intricate line work and detailed expressions characteristic of neoclassical or mythological art styles.
Charles-Nicolas Cochin II, Allegory of Fame, 1773, red chalk with traces of graphite on wove paper, Gift of Arthur L. Liebman, 1992.87.23

Allegory of Fame

Charles-Nicolas Cochin II · 1773 · red chalk with traces of graphite on wove paper ·  Accession ID  1992.87.23

The image shows two individuals seated on the ground. The person on the left has their arm around the shoulders of the person on the right. Both individuals have facial features, hair styled neatly, and wear long garments. The person on the left wears a headdress. There are no visible jewelry or objects. The background includes a wooden fence and foliage.
Jean-Baptiste Le Prince, Two Russians Seated in Landscape, brown chalk on beige laid paper, Gift of Arthur L. Liebman, 1992.87.8

Two Russians Seated in Landscape

Jean-Baptiste Le Prince · · brown chalk on beige laid paper ·  Accession ID  1992.87.8