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Wildenstein & Co., Inc.

Wildenstein & Co.

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Winslow Homer, Sparrow Hall, c. 1881-1882, oil on canvas, John Wilmerding Collection, 2025.89.10

Sparrow Hall

Winslow Homer · c. 1881-1882 · oil on canvas ·  Accession ID  2025.89.10

A woman carved from cream-white marble stands holding an open book to which she points in this free-standing sculpture. In this photograph, her body faces us but her head turns to our right. She has a long nose, small mouth, and rounded chin. Her wavy, upswept hair is topped by a semi-circular headdress. Her voluminous gown clings to her torso, leaving one breast exposed. The fabric falls in deep folds around her legs and sandalled feet. Her left shoulder, on our right, is bare. A band crosses her chest from that shoulder to her waist. She holds the tall book in her right hand, on our left, braced against that hip. Her other hand points to the words inscribed in Latin on its pages. It reads, “CALLIOPE REGI NA,HOMINVM, DIVVMQVE VO LVPTAS CARMINIS HE ROI NVMERIS FVLGENTIA SIGNIS AGMINA, BEL LANTVMQVE ANIMOS, ET P RAELIA CAN TO, INCLYTAQVE AETERNAE COMMI TO. NOMINA FAMAE.” She stands on a square base supported on a fawn-brown, veined marble plinth. The background behind her is nickel gray.
Augustin Pajou, Calliope, c. 1763, marble, Samuel H. Kress Collection, 1952.5.107

Calliope

Augustin Pajou · c. 1763 · marble ·  Accession ID  1952.5.107

About a dozen women, babies, and men gather in small groups across interior spaces with a bedroom to one side and a covered space to the other in this vertical panel painting. The women have nearly white-colored skin, and the men and children have pale skin, sometimes tinged with gray. The bed spans the left two-thirds of the composition. A woman lies under a vibrant red coverlet and white sheets pulled up to her chest. A white veil covers her head, forehead, and neck, and she wears a white, long-sleeved gown. Her shoulders rest up on pillows, and her head is surrounded by a shiny gold halo. A pale face by the woman’s feet looks through an opening at the base of the bed. Two women on the far side of the bed wear green or blue dresses and white head coverings. They both attend to a swaddled blond baby, who also has a gold halo. The wall behind the bed is patterned with an intricate geometric design in grass green and brown. The space above the bed is shiny gold punched with a leafy pattern. The wall is capped with an entablature held up with corbels. A balcony space rises to the left, and a structure with arched openings is to our right. A deep bench runs parallel to the bed along the bottom edge of the painting, closer to us. A balding man with a gray beard sits there and writes, brows deeply furrowed, on a scroll braced on one knee. If complete, writing on the scroll would read “NOMEN EST IOHANNES.” He wears a blue robe under a pale pink cloak, and he has a halo. A man standing just to our right of the seated man gestures toward the first with both hands. This second man has a brown beard and long hair and wears a marigold orange cloak over red robes. A bearded man with gray hair standing behind him wears leaf green and looks to our right. Four men and a haloed baby crowd in the covered space to our right. The man wearing green is shown again, now holding the nude baby. The man with brown hair now wears white vestments and cuts foreskin of the baby’s penis. Two other two men look on, and a sliver of an orange cap indicates that a fifth person is at the back of the crowd. The covered space is ivory-white and has a balcony above the taller, lower level. The whole panel is edged by gold patterned with a clover-like design.
Giovanni Baronzio, The Birth, Naming, and Circumcision of Saint John the Baptist, c. 1335, tempera on panel, Samuel H. Kress Collection, 1952.5.68

The Birth, Naming, and Circumcision of Saint John the Baptist

Giovanni Baronzio · c. 1335 · tempera on panel ·  Accession ID  1952.5.68

Painted in mostly in jewel tones of topaz and aquamarine blue, and sage, spring, and pine green, a meadow is enclosed by a wooden fence, against a landscape of gently rolling hills under a vibrant sky in this horizontal painting. The scene is loosely painted with visible brushstrokes. Touches of white, cotton candy-pink, ruby-red, and azure-blue paint in the long grasses close to us could be wildflowers. A few swipes of straw yellow and pale and lapis blue could represent two people, standing and kneeling, in the field close to the fence. The rickety fence starts at the right edge of the canvas and extends into the distance, angling away from us to our left. Rolling hills beyond are a patchwork of emerald green and caramel brown, and are dotted with trees with full, dark green canopies. One brown building sits on the crest of a hill to our right of center. The horizon comes about halfway up this picture, and the turquoise-colored sky is dotted with white puffs of clouds. The artist signed and dated the painting in the lower right corner, “Sisley 75.”
Alfred Sisley, Meadow, 1875, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.83

Meadow

Alfred Sisley · 1875 · oil on canvas ·  Accession ID  1970.17.83

A small complex of white buildings with red-tile roofs are engulfed in a patchwork of lush, green farm fields over rolling hills in this nearly square painting. The sun-drenched scene is loosely painted with visible brushstrokes in shades of spring, clover, and pine green, with touches of caramel and sand brown. The horizon comes about three-quarters of the way up the composition, and white clouds float against the pale blue sky above. Small in scale, a few people walk along pathways between fields and a few work among the crops. The cluster of buildings is situated along the base of a hill that rises in the distance, about halfway up the painting. A man wearing a straw hat, a white shirt, and denim-blue overalls walks away from us, perhaps carrying a long-handled tool in the lower left corner of the painting. Another person, perhaps a woman wearing a dress and white cap, stands at a fence along the path, near the man. The artist signed and dated the work with dark paint in the lower right corner: “C.Pissarro.68.”
Camille Pissarro, Landscape at Les Pâtis, Pontoise, 1868, oil on canvas, Gift of Mr. and Mrs. David Rockefeller, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.101.1

Landscape at Les Pâtis, Pontoise

Camille Pissarro · 1868 · oil on canvas ·  Accession ID  1991.101.1

Shown from the shins up, a pale-skinned, balding, bearded man wearing a voluminous rust-red robe lined with black-speckled white fur looks out at us in this vertical portrait painting. The man sits in a wood-framed chair with a curving seat. His body angled slightly to our left, but his face turns to us. He looks out with dark gray eyes under a lined forehead, one eyebrow slightly cocked. He has a rounded nose, thin lips, and paunchy cheeks. A few wisps of gray hair are suggested across the top of his mostly bald head, and his gray beard is trimmed. His left hand, to our right, rests on the terminus of the chair’s arm, and his other hand rests in front of his belly, presumably with that elbow on the other arm. His robe falls heavily in deep folds, and the wide openings of the sleeves continue down and off the bottom edge of the canvas. The front of the robe and the insides of the sleeves are lined with white fur dotted with black. A scarf-like band of fabric brocaded with dark red-on-red drapes over one shoulder. The background is charcoal gray except for a dark, olive-green shape suggesting a doorway over the man’s left shoulder.
Jacopo Tintoretto, A Procurator of Saint Mark's, c. 1575/1585, oil on canvas, Samuel H. Kress Collection, 1952.5.79

A Procurator of Saint Mark's

Jacopo Tintoretto · c. 1575/1585 · oil on canvas ·  Accession ID  1952.5.79

A small child stands facing us on a sun-dappled path that runs up the center of a garden dominated by towering yellow and burnt-orange sunflowers in this loosely painted, vertical scene. The light comes from our right so long, sea-green and plum-purple shadows cross the peach-colored path. The path is wide at the bottom center of the canvas and narrows as it reaches the steps of a house, beyond the garden. Close to us, four blue and white porcelain urns line the path, separating it from the grassy banks to either side. The urns are filled with tall stems with coral-pink and cardinal-red flowers. The child stands about halfway back along the path, where the garden transitions from grass to the banks of tall sunflowers. A few strokes in front of the child could be a small dog. Behind the child, a woman and another child stand on the steps. The woman wears a cornflower-blue and white dress, while both children have bare legs and wear white clothes and yellow hats. All three have indistinct facial features and peach-colored skin. The house spans with width of the composition. It has an amethyst-purple roofline with two chimneys, and the petal-pink walls have mango-yellow highlights. Windows are covered with blue latticework. Above the house, fluffy white clouds float against a vibrant blue sky. The artist signed and dated the painting at the lower right in dark blue, “Claude Monet 80.”
Claude Monet, The Artist's Garden at Vétheuil, 1881, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.45

The Artist's Garden at Vétheuil

Claude Monet · 1881 · oil on canvas ·  Accession ID  1970.17.45

A pale-skinned young man with a carrot-red beard and hair faces us, straddling a green chair in a sunny outdoor setting in this vertical painting. The scene is loosely painted so his features are indistinct. His eyes are painted as pale blue dots, and he looks out at us. His chair unfolds into an X shape, with interlacing slats to make the seat. He leans forward to rest his hands on one side of the chair, and his legs are spread wide. He wears a marine-blue jacket over a white shirt, sage-green trousers streaked with gray, and black shoes. A soft blue V-shape at the neck suggests a neckerchief. Behind him, a half wall is topped by a trellis. The wall is painted in muted tones of pale laurel green while the trellis is painted with crisscrossed strokes of pine green. Daubs of emerald, pine, and forest green suggest vines and leaves, and flicks of orange, gold, and blue could be flowers. The ground beneath the man is pale peach scattered with thin scribbles and patches of fog blue. The painting is inscribed with “E 72.” in the lower right.
Edouard Manet, George Moore in the Artist's Garden, c. 1879, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 2006.128.24

George Moore in the Artist's Garden

Edouard Manet · c. 1879 · oil on canvas ·  Accession ID  2006.128.24

Two large dogs approach a man lying unconscious and mostly buried in the snow in this horizontal painting. The head of the man comes toward us, at the lower center of the composition, and the dogs are close to us. In the center of the painting, a large tan and white dog has short, glossy fur and floppy ears, and its jowly mouth hangs open with the pink tongue visible. It paws at the snow partially covering most of the body of the man, who wears an olive-green coat with a fur collar and white shirt. The dog looks up to our right, and its body and white-tipped tail recede diagonally into the picture to the left. There is a red blanket with black edging over the dog’s back, and the hound wears a wide, fur-lined silver collar ornamented with metalwork lions and bells. The second dog, a dark brown brindle color, sits to the immediate left of the first dog. It gazes down at the prone person and bends its head down to lick a bare pale, pink hand that protrudes from under the snow. The brindle dog wears a small barrel around its neck on a brown buckled leather collar. The man’s dark brown hair falls over the snow. His pale gray face is upward, and his shoulders are visible while his arms splay out, and the rest of his body, extending into the picture, is covered with snow. The man’s eyes are closed. His right hand, in a tan leather glove, reaches toward us from the snow, while a green velvet cap with a red ribbon lies under the hand. The scene is enclosed by large, angular, steel and blue-gray boulders and rock formations, with two craggy pine trees above. Beyond lies a mountain landscape with a V-shaped pass at the center top framed by the steep ascent of jagged, snowy hillsides and a sliver of blue sky. A blocky stone building is nestled in among the crags to our right. On a path leading from the building, three bearded men wearing black caps and robes hurry toward the dogs. The nearest of them holds up a staff with a cross on the top and waves or signals to the men farther back along the path.
Sir Edwin Landseer, Alpine Mastiffs Reanimating a Distressed Traveler, 1820, oil on canvas, Patrons' Permanent Fund, 2019.120.1

Alpine Mastiffs Reanimating a Distressed Traveler

Sir Edwin Landseer · 1820 · oil on canvas ·  Accession ID  2019.120.1

Shown from the lap up, a bearded, pale-skinned man wearing a suit faces our left in profile in this vertical portrait painting. The man looks down at an open book on his lap. He has a prominent, straight nose, high cheekbones, and the corner of his mouth turns down. His gleaming black hair is cut short and parted along the left, and his beard is trimmed. He wears a black vest and suit jacket, a black ascot polka dotted with white, and his white shirt is visible at the high collar and cuffs. A blue flower is threaded through his lapel, and he wears chestnut-brown pants. He holds one side of the book open with his left hand, closer to us, and holds a partially smoked, thin cigar with this other. The wood-framed chair has a curved, round-topped back. The background deepens from peanut-brown along the right to almost black near the top left corner. The artist signed and dated the painting at the top left, “F. Bazille. 1869.”
Frédéric Bazille, Edmond Maître, 1869, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1985.64.2

Edmond Maître

Frédéric Bazille · 1869 · oil on canvas ·  Accession ID  1985.64.2

Bibliography

1961

  • Cabanne, Pierre. The Great Collectors. Paris, 1961; New York, 1963: 229-255.

1978

  • Patterson, Jerry E. "Wildenstein & Co.: Crossing into its second century." Art News (March 1978):94+