Provenance

A.S. Drey

est. c. 1864

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Two panels on a gilded, carved, wooden frame are swung open like shutters to show a bearded, gray-haired man wearing robes standing in each wing, on either side of panel with a pointed, arched top showing a woman holding a baby. In a three-lobed shape in the apex above the woman and child, a nude man crosses his arms over his chest. All the people have pale, ivory-colored skin. Gold halos encircle each person’s head and the background of all three panels is bright gold. The woman in the center panel is shown from the hips up with her body facing us. The deep blue mantle that drapes over her shoulders and her dusty rose-pink dress beneath are trimmed in gold. A sheer veil covers her wavy blond hair and a red, triangular form sits above her forehead like a diadem. She looks to our right with dark, almond-shaped eyes. She has a straight nose, her coral-pink lips are closed, and her smooth cheeks are lightly flushed with pale pink. She holds the child in the crook of her left arm, on our right, and rests her other hand in the baby’s lap. He has short, curly blond hair and looks directly at the woman. He reaches his right arm, farther from us, around his mother’s neck and hooks his other hand in the neckline of her dress. He wears a sheer shirt edged in gold, and the fabric draped around his hips is patterned with tangerine-orange and gold, with lapis-blue clover designs. He has rounded cheeks and a pudgy tummy, but his facial features and arms are scaled more like an adult. Twisted columns separate this central panel from the shutter-like panels to each side. A single person stands in each wing, filling most of the space, and both are angled and look towards the central panel. Both men have darker, olive-toned complexions, wear long robes trimmed in gold, and stand on floors patterned with orange, gold, and sparsely spaced royal blue diamond-shapes. The man to our left has short, steel-gray hair and a trimmed beard. Wrinkles line his forehead, and his brow is furrowed. He wears a topaz-blue, long sleeved garment under a honey-orange robe, the underside of which is ruby-red where it turns back over his wrists and shoulder. He holds a book with a dark cover up in his left hand, farther from us, and a large skeleton key in his other hand. In the right panel, a balding man has a fringe of long, gray hair and a flowing, full beard. His forehead is also creased with wrinkles and his brow is furrowed. The dark, olive-green lining of his rose-pink robe shows where it folds back at his neck, over his wrists, and down the front. His robe covers a topaz-blue garment as well. He holds a book, also with a dark cover, by his side with his left hand, closer to us, and holds up a feather quill with his opposite hand. The inner edges of each of the central panel and both wings are incised with bands of decorative floral and geometric designs punched into the gold backgrounds. In the pointed peak above the central panel, the nude man is shown from the waist up in a three-lobed, clover shape that would be visible even if the wings were closed. The man’s body faces us but his haloed head tips to his right, our left. He has a beard and long brown hair, and a hole dripping blood pierces the back of his left hand, visible on our right. The base of the tryptic is inscribed with gold letters in a dark field: “AVE GRATIA PLENA DO.”
Nardo di Cione, Saint John the Evangelist [right panel], c. 1360, tempera on panel, Samuel H. Kress Collection, 1939.1.261.c

Saint John the Evangelist [right panel]

Nardo di Cione · c. 1360 · tempera on panel ·  Accession ID  1939.1.261.c

The sculpture depicts a woman holding a child. The woman is seen from the waist up, wearing a gold robe with black details. Both the woman and child have pale skin with rosy cheeks, golden hair, and red lips in neutral expressions. The child is a young toddler, portrayed naked, with his arms on the woman's shoulders and his feet among the folds of her robe. The sculpture has a rectangular base in red and gold.
Florentine 15th Century, Madonna and Child, c. 1425, painted and gilded terracotta with wood backing, Samuel H. Kress Collection, 1943.4.93

Madonna and Child

Florentine 15th Century · c. 1425 · painted and gilded terracotta with wood backing ·  Accession ID  1943.4.93

Two panels on a gilded, carved, wooden frame are swung open like shutters to show a bearded, gray-haired man wearing robes standing in each wing, on either side of panel with a pointed, arched top showing a woman holding a baby. In a three-lobed shape in the apex above the woman and child, a nude man crosses his arms over his chest. All the people have pale, ivory-colored skin. Gold halos encircle each person’s head and the background of all three panels is bright gold. The woman in the center panel is shown from the hips up with her body facing us. The deep blue mantle that drapes over her shoulders and her dusty rose-pink dress beneath are trimmed in gold. A sheer veil covers her wavy blond hair and a red, triangular form sits above her forehead like a diadem. She looks to our right with dark, almond-shaped eyes. She has a straight nose, her coral-pink lips are closed, and her smooth cheeks are lightly flushed with pale pink. She holds the child in the crook of her left arm, on our right, and rests her other hand in the baby’s lap. He has short, curly blond hair and looks directly at the woman. He reaches his right arm, farther from us, around his mother’s neck and hooks his other hand in the neckline of her dress. He wears a sheer shirt edged in gold, and the fabric draped around his hips is patterned with tangerine-orange and gold, with lapis-blue clover designs. He has rounded cheeks and a pudgy tummy, but his facial features and arms are scaled more like an adult. Twisted columns separate this central panel from the shutter-like panels to each side. A single person stands in each wing, filling most of the space, and both are angled and look towards the central panel. Both men have darker, olive-toned complexions, wear long robes trimmed in gold, and stand on floors patterned with orange, gold, and sparsely spaced royal blue diamond-shapes. The man to our left has short, steel-gray hair and a trimmed beard. Wrinkles line his forehead, and his brow is furrowed. He wears a topaz-blue, long sleeved garment under a honey-orange robe, the underside of which is ruby-red where it turns back over his wrists and shoulder. He holds a book with a dark cover up in his left hand, farther from us, and a large skeleton key in his other hand. In the right panel, a balding man has a fringe of long, gray hair and a flowing, full beard. His forehead is also creased with wrinkles and his brow is furrowed. The dark, olive-green lining of his rose-pink robe shows where it folds back at his neck, over his wrists, and down the front. His robe covers a topaz-blue garment as well. He holds a book, also with a dark cover, by his side with his left hand, closer to us, and holds up a feather quill with his opposite hand. The inner edges of each of the central panel and both wings are incised with bands of decorative floral and geometric designs punched into the gold backgrounds. In the pointed peak above the central panel, the nude man is shown from the waist up in a three-lobed, clover shape that would be visible even if the wings were closed. The man’s body faces us but his haloed head tips to his right, our left. He has a beard and long brown hair, and a hole dripping blood pierces the back of his left hand, visible on our right. The base of the tryptic is inscribed with gold letters in a dark field: “AVE GRATIA PLENA DO.”
Nardo di Cione, Saint Peter [left panel], c. 1360, tempera on panel, Samuel H. Kress Collection, 1939.1.261.a

Saint Peter [left panel]

Nardo di Cione · c. 1360 · tempera on panel ·  Accession ID  1939.1.261.a

Two panels on a gilded, carved, wooden frame are swung open like shutters to show a bearded, gray-haired man wearing robes standing in each wing, on either side of panel with a pointed, arched top showing a woman holding a baby. In a three-lobed shape in the apex above the woman and child, a nude man crosses his arms over his chest. All the people have pale, ivory-colored skin. Gold halos encircle each person’s head and the background of all three panels is bright gold. The woman in the center panel is shown from the hips up with her body facing us. The deep blue mantle that drapes over her shoulders and her dusty rose-pink dress beneath are trimmed in gold. A sheer veil covers her wavy blond hair and a red, triangular form sits above her forehead like a diadem. She looks to our right with dark, almond-shaped eyes. She has a straight nose, her coral-pink lips are closed, and her smooth cheeks are lightly flushed with pale pink. She holds the child in the crook of her left arm, on our right, and rests her other hand in the baby’s lap. He has short, curly blond hair and looks directly at the woman. He reaches his right arm, farther from us, around his mother’s neck and hooks his other hand in the neckline of her dress. He wears a sheer shirt edged in gold, and the fabric draped around his hips is patterned with tangerine-orange and gold, with lapis-blue clover designs. He has rounded cheeks and a pudgy tummy, but his facial features and arms are scaled more like an adult. Twisted columns separate this central panel from the shutter-like panels to each side. A single person stands in each wing, filling most of the space, and both are angled and look towards the central panel. Both men have darker, olive-toned complexions, wear long robes trimmed in gold, and stand on floors patterned with orange, gold, and sparsely spaced royal blue diamond-shapes. The man to our left has short, steel-gray hair and a trimmed beard. Wrinkles line his forehead, and his brow is furrowed. He wears a topaz-blue, long sleeved garment under a honey-orange robe, the underside of which is ruby-red where it turns back over his wrists and shoulder. He holds a book with a dark cover up in his left hand, farther from us, and a large skeleton key in his other hand. In the right panel, a balding man has a fringe of long, gray hair and a flowing, full beard. His forehead is also creased with wrinkles and his brow is furrowed. The dark, olive-green lining of his rose-pink robe shows where it folds back at his neck, over his wrists, and down the front. His robe covers a topaz-blue garment as well. He holds a book, also with a dark cover, by his side with his left hand, closer to us, and holds up a feather quill with his opposite hand. The inner edges of each of the central panel and both wings are incised with bands of decorative floral and geometric designs punched into the gold backgrounds. In the pointed peak above the central panel, the nude man is shown from the waist up in a three-lobed, clover shape that would be visible even if the wings were closed. The man’s body faces us but his haloed head tips to his right, our left. He has a beard and long brown hair, and a hole dripping blood pierces the back of his left hand, visible on our right. The base of the tryptic is inscribed with gold letters in a dark field: “AVE GRATIA PLENA DO.”
Nardo di Cione, Madonna and Child, with the Man of Sorrows [middle panel], c. 1360, tempera on panel, Samuel H. Kress Collection, 1939.1.261.b

Madonna and Child, with the Man of Sorrows [middle panel]

Nardo di Cione · c. 1360 · tempera on panel ·  Accession ID  1939.1.261.b

Two painted panels on a gilded, carved, wooden frame are swung open like shutters to show a bearded, gray-haired man wearing robes standing in each wing, on either side of painted central panel with a pointed, arched top showing a woman holding a baby. The woman and child have pale skin and the men to either side have more tanned complexions. Gold halos encircle each person’s head, and the backgrounds of all three panels are bright gold. The woman in the center panel is shown from the hips up with her body facing us. The deep blue mantle that drapes over her shoulders and her dusty rose-pink dress beneath are trimmed in gold. A sheer veil covers her wavy blond hair and a red, triangular form sits above her forehead like a diadem. She looks to our right with dark, almond-shaped eyes. She has a straight nose, her coral-pink lips are closed, and her smooth cheeks are lightly flushed with pale pink. She holds the child in the crook of her left arm, on our right, and rests her other hand in the baby’s lap. He has short, curly blond hair and looks at the woman. He reaches his right arm, farther from us, around his mother’s neck and hooks his other hand in the neckline of her dress. He wears a sheer shirt edged in gold, and the fabric draped around his hips is patterned with tangerine-orange and gold, with lapis-blue clover designs. He has rounded cheeks and a pudgy tummy, but his facial features and arms are more like an adult. Twisted columns separate this central panel from the shutter-like panels to each side. A single person stands in each wing, filling most of the space, and both are angled and look toward the central panel. Both men wear long robes trimmed in gold, and stand on floors patterned with orange, gold, and sparsely spaced royal-blue diamond shapes. The man to our left has short, steel-gray hair and a trimmed beard. Wrinkles line his forehead, and his brow is furrowed. He wears a topaz-blue, long-sleeved garment under a honey-orange robe, the underside of which is ruby-red where it turns back over his wrists and shoulder. He holds a book with a dark cover up in his left hand, farther from us, and a large skeleton key, the length of his forearm, in his other hand. In the right panel, a balding man has a fringe of long, gray hair and a flowing, full beard. His forehead is also creased with wrinkles and his brow is furrowed. The dark, olive-green lining of his rose-pink robe shows where it folds back at his neck, over his wrists, and down the front. His robe covers a topaz-blue garment as well. He holds a book, also with a dark cover, by his side with his left hand, closer to us, and holds up a feather quill with his other hand. The inner edges of the central panel and both wings are decorated with bands of floral and geometric designs punched into the gold backgrounds. In the pointed peak above the central panel, the nude man is shown from the waist up in a three-lobed, clover shape that would be visible even if the wings were closed. The man’s body faces us but his haloed head tips to his right, our left. He has a beard and long brown hair, and a hole dripping blood pierces the back of his left hand, visible on our right as he crosses his arms over his chest. The base of the central panel has gold letters in a dark field: “AVE GRATIA PLENA DO.”
Nardo di Cione, Madonna and Child, with Saints Peter and John the Evangelist, and Man of Sorrows [entire triptych], c. 1360, tempera on panel, Samuel H. Kress Collection, 1939.1.261.a-c

Madonna and Child, with Saints Peter and John the Evangelist, and Man of Sorrows [entire triptych]

Nardo di Cione · c. 1360 · tempera on panel ·  Accession ID  1939.1.261.a-c

Venetian 15th Century, Portrait of a Man, late 15th century, oil on panel, Timken Collection, 1960.6.1

Portrait of a Man

Venetian 15th Century · late 15th century · oil on panel ·  Accession ID  1960.6.1

Shown from the thighs up, a man with pale, peachy skin looks at us in front of a dark gray background in this vertical portrait painting. His body and head angle to our right so he looks out of the corners of his brown eyes under dark, cocked brows. He has a rounded nose, flushed cheeks, the suggestion of a goatee, and his full, pale pink lips are closed. His face is nestled in a narrow froth of lace that lines the top of the high collar of his pale yellow jerkin. Eight iron-gray buttons line the front of the collar and continue down onto the chest. The jerkin is slashed vertically down the front and both short, cap sleeves. A black belt fits tightly around his narrow waist and a sword hangs from the far hip. The long sleeves under the jerkin are charcoal gray, as are the puffy tops of his pants, His right elbow, to our left, is slightly bent as his arm rests by his side. The backs of his other fingers rest in a loose fist against his far hip. A dark triangular form in the lower left corner of the painting could be the corner of a dark table. An inscription to the left of the man’s head reads “AE.S.20 Ao. 1558.”
Anonymous Artist, Portrait of a Young Man, 1558, oil on panel, Samuel H. Kress Collection, 1961.9.79

Portrait of a Young Man

Anonymous Artist · 1558 · oil on panel ·  Accession ID  1961.9.79

Vincenzo Civerchio, Christ Instructing Peter and John to Prepare for the Passover, 1504, tempera on panel, Samuel H. Kress Collection, 1961.9.67

Christ Instructing Peter and John to Prepare for the Passover

Vincenzo Civerchio · 1504 · tempera on panel ·  Accession ID  1961.9.67

The sculpture depicts a lion in a dynamic pose, with its body turned slightly and its tail curved back over its hind legs. The sculpture is made from a dark material, likely bronze, with a green patina around the mane. The lion is positioned on a rectangular base for stability. The mane and muscular form of the lion are detailed and realistic, conveying power and dignity.
Roman 18th/19th Century, Lion, c. 1780/1855, bronze, Samuel H. Kress Collection, 1957.14.7

Lion

Roman 18th/19th Century · c. 1780/1855 · bronze ·  Accession ID  1957.14.7

The image shows a portrait of a man in a side profile view. He has a long nose, a subtle mustache, a thin beard along his jawline, and medium-length hair that falls around his ears. He is wearing a wide-brimmed hat with a round, decorative element on the side. The background is plain and neutral.
German 16th century (Augsburg), Portrait of a Man Wearing a Hat with a Medallion, 1520/1540, colored chalks on laid paper, Woodner Collection, 1991.182.4

Portrait of a Man Wearing a Hat with a Medallion

German 16th century (Augsburg) · 1520/1540 · colored chalks on laid paper ·  Accession ID  1991.182.4

Bibliography

1928

  • Drey, A. S. Flemish Primitives Formerly in the Collection of the Prince of Hohenzollern-Sigmaringen. New York, 1928.