Provenance

Henry Goldman

American, 1857 - 1937

Explore Selected Works

See all 15 works of art
A woman sits on a narrow plinth representing the ground and holds a baby, who is wrapped in her robe, in this freestanding white marble sculpture. In this photograph, the woman’s body faces us, and her head tilts slightly to our left. Her voluminous mantle drapes over her head and falls in deep folds and creases around her shoulders, arms, the child’s lower body, and her own lap and legs. The front of the mantle lies open exposing the curved neckline of her robe and the upper body of the child. The woman’s hands curve loosely encircle the child’s hip and lower legs. He rests his head and one hand against her chest with his face also turned to us. His legs stretch across her lap and his little feet stick out from the edge of her mantle. The pair sit on a narrow rectangular plinth.
Jacopo della Quercia, Madonna of Humility, c. 1400, marble with traces of gilding, Samuel H. Kress Collection, 1960.5.2

Madonna of Humility

Jacopo della Quercia · c. 1400 · marble with traces of gilding ·  Accession ID  1960.5.2

Shown from the chest up, a pale-skinned, clean-shaven man wears furs and fine fabrics in this vertical portrait painting. He is angled to our left and looks down in that direction with brown eyes under slender brows. His shoulder-length, dark brown hair is topped by a soft black cap adorned with a gold medallion-like badge over the temple closer to us. The man has a long, pointed nose, his pale pink lips are closed, and his jawline is darkened by a five-o-clock shadow. He wears a white shirt with a wide, square neckline under a vest or low-cut doublet striped with black and gold. A voluminous black overcoat is lined with tawny-brown fur and edged with gold, L-shaped bands over the shoulders. He holds the sides of the coat together low on his chest with his right hand, to our left. The sleeve looks like black velvet over a translucent white cuff, and the man wears a gold ring with a gray gem on that index finger. A brown band across the bottom of the picture could be a narrow ledge in front of the man or a board or slab oriented vertically, like a frame. A small piece of white, creased paper appears to be affixed to the front of the board with red wax, a glimpse of which is shown along the top edge. A scarlet-red curtain hangs behind the man across the left two-thirds of the composition. A rectangle on the dark wall to our right could be a window opening or a painting. There we find a hilly landscape with trees, buildings, and water. Close to us in that distant view, a man wearing robes and on horseback rides away from a man carrying a lance and running after the horse.
Bartolomeo Veneto, Portrait of a Gentleman, c. 1520, oil on panel transferred to canvas, Samuel H. Kress Collection, 1939.1.257

Portrait of a Gentleman

Bartolomeo Veneto · c. 1520 · oil on panel transferred to canvas ·  Accession ID  1939.1.257

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 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, 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

Shown from the chest up behind a stone ledge, a light-skinned man with a mustache, beard, and shoulder-length brown hair, wearing a black garment with voluminous sleeves, tilts his head back to look at us from the corners of his eyes in this vertical portrait painting. His body is angled to our left but he tips his head back to look past his rounded nose at us with dark eyes from under arched brows. His right fist, on our left, rests on a closed book bound in moss green, which is fastened with a metal clasp. The book rests on the ivory-white stone ledge, which steps up to a higher level to our right. He clenches a wad of nickel-gray cloth in the hand on the book, and his other arm rests by his side, extending out of view behind the ledge. His black, long-sleeved jacket has full sleeves and is open at the neck over a collarless white shirt. A squared opening is cut into the elephant-gray stone wall behind him to our left. A cityscape beneath a pale blue sky is visible in the distance out the window. The Roman characters “VVO” appear to be carved into the front face of the ledge, at the bottom edge of the canvas.
Cariani, Portrait of a Venetian Gentleman, c. 1510/1515, oil on canvas, Samuel H. Kress Collection, 1939.1.258

Portrait of a Venetian Gentleman

Cariani · c. 1510/1515 · oil on canvas ·  Accession ID  1939.1.258

A winged angel with arms crossed kneels across from a young woman sitting and holding a book, both under an archway in a paneled room in this vertical painting. They both have pale, yellow-toned skin, blond hair, and flat, gold halos. They also have golden brown eyes, long, straight noses, smooth cheeks, and their pale, pink lips are closed. To our right, the woman sits in a throne-like chair with her body facing our left. Her head tilts down, and she looks toward the angel under lowered lids. Her hair is pulled back under the neck of the lapis-blue cloak she wears over a crimson-red dress. The dress and cloak are trimmed with gold, and a there is a gold starburst on the cloak over her left shoulder, closer to us. She holds her other hand up near that shoulder with her fingertips brushing her chest. With her other hand, she holds open the pages of a small book in her lap, so her fingers overlap some of the words. The entire Latin inscription would read, “virgo concipiet et pariet filium et vocabitur nomen eius emmanuel butirum et mel come dit ut fiat reprobare.” A slender, bone-white column separates her from the angel across from her, along the left edge of the painting. The angel has curly, shoulder-length hair and wears a robe with a gold, floral pattern against a burgundy-red background. Long, golden wings emerge from the shoulder blades and extend off the side of the composition. An open archway just beyond the angel is filled with streaks of flax yellow and burnt orange, possibly representing flames. Some of the walls in the room around the pair are pale olive green and other areas are darker spruce green. There are bands of coral-pink molding and inset panels of patterned mosaics. The flat ceiling of the space immediately over the pair is decorated with checkerboard panels in navy blue, hunter green, brown, and brick red. Gold lines create a ray coming from the ceiling toward the woman. At the back of the space, beyond the column separating the woman and angel, the room extends into an alcove with an arched hallway painted with gold stars against a midnight-blue background. Double doors open at the back of the alcove onto a room with a pale-yellow curtain with a mesh-like trim. We see the pair as if through a stone archway that lines the top and sides of the composition. The upper corners are filled with leafy decorations, as if carved into the stone.
Masolino da Panicale, The Annunciation, c. 1423/1424, tempera (and possibly oil glazes) on panel, Andrew W. Mellon Collection, 1937.1.16

The Annunciation

Masolino da Panicale · c. 1423/1424 · tempera (and possibly oil glazes) on panel ·  Accession ID  1937.1.16

Shown from the hips up, a nude woman stands between a table in front of her and a clothed man behind her, against a deep landscape in this vertical painting. The man rests one hand on her shoulder and holds up a mirror with the other. The woman’s pale skin has a pronounced golden glow. Her body faces us and she looks to our left, holding her waist-length, curly, strawberry-blond hair with her right hand by her face. Her hair on the other side is tied back with a sage-green band behind her ear. She wears a sheer white sash wrapped around her back and upper arms. A muted rose-pink, velvet sash loops over her left forearm, to our left. That hand rests on a round, squat glass bottle that sits on a leaf-green table, with her index finger covering the opening of the bottle. She wears a gold ring with a small dark stone on her left ring finger, and another gold ring rests on the table. The back corner of the table covers her genitals in the lower right corner of the painting. Behind her and to our left, a man with an olive-toned complexion and short curly brown hair, moustache, and long beard looks down his long nose at the woman as he rests his left hand, to our right, on her shoulder. He has dark eyebrows, flushed cheeks, and his pink lips are closed. He wears a cranberry-red coat embroidered along the edges with gold. White ruffles encircle his neck and the cuff we can see. Almost lost in shadow, the hilt of his sword peeks around his hip. With his right hand, to our left, he holds up a dark rectangular object in a wood-colored frame. The reflections of his fingertips in the glass indicate that this is a mirror, but the surface is otherwise black. A dense, forest-green tree grows in the landscape behind the woman. The view over the man’s shoulder, to our left, has sea-green hills beneath a watery blue sky with cream-white clouds.
Italian 15th/16th Century, Allegory of Love, c. 1520/1540, oil on canvas, Samuel H. Kress Collection, 1939.1.259

Allegory of Love

Italian 15th/16th Century · c. 1520/1540 · oil on canvas ·  Accession ID  1939.1.259

A young woman, holding a baby in her lap, sits on a wide bench draped with a patterned midnight-blue fabric in this vertical panel painting. The panel is rectangular at the bottom and becomes a pointed arch at the top. The woman and baby both have pale skin tinged with peach, and halos inscribed on a gleaming gold background. The woman’s body is angled to our right and she tilts her head in that direction to look down at the child. She has a slender, oval face, with hazel-brown eyes under thin brows, a long nose, and coral-pink lips. A sliver of blond hair peeks out from the honey-gold cowl that covers her head, neck, and shoulders. The cowl is layered over her gold-trimmed, burgundy-red robe, which has an opening through which her right arm, closer to us, reaches to support to the child. That arm is covered by a long, gold sleeve patterned with scalloped brick-red and marine-blue designs and smoke-gray flowers. The word “MATER” is inscribed on her neckline and “AVE MARIA GRATIA PLENA DOM TECV BEN” along the bottom hem. On the woman’s lap, the child is angled to our left with the woman’s slender hands wrapped around his torso. His mouth is slightly open as he tilts his head up to look at her. His right hand, on our left, reaches up to gesture at her neckline. He has wavy, blond hair and hazel eyes under faint brows, a small nose, and peach-colored lips set in a round face. He wears an ankle-length, cobalt-blue tunic trimmed with bright gold. The fabric on the bench is covered with cobalt-blue and crimson-red flowers, and pools around the seat and across the floor.
Gentile da Fabriano, Madonna and Child Enthroned, c. 1420, tempera on poplar panel, Samuel H. Kress Collection, 1939.1.255

Madonna and Child Enthroned

Gentile da Fabriano · c. 1420 · tempera on poplar panel ·  Accession ID  1939.1.255

Three women, a man, child, and four winged angels are carved in relief on a panel to occupy a shallow space in this white marble sculpture. The group fills the panel, which is square on the bottom and comes to a triangular point at the top. The people have narrow, almost slitted eyes, straight noses, and thin lips. One of the women, Mary, sits on a throne at the center holding a child, Jesus, who stands one of her knees. Mary wears a crown, and her robes drape to the floor. One hand wraps around Jesus’s torso. He holds something down by his side with one hand and reaches the other up with the first two fingers raised toward a woman, Queen Sancia, who kneels in the lower left corner of the panel. Mary reaches her other arm out to touch Queen Sancia’s head as well. The queen and others in the scene are smaller in scale than Mary. Queen Sancia faces our right in profile as she looks at Jesus with her arms crossed over her chest. She and the woman standing behind her both wear veils that cover their foreheads, chins, and necks. The standing woman touches Queen Sancia’s shoulder with one hand and holds the other to her own chest. A man standing on Mary’s other side, in the lower right corner, wears a hooded robe and holds a book and a cross. He has a beard, and his hair is cut into a ring around his head. Winged angels stand with hands held across their chests behind the man and Queen Sancia. Two more angels hold up a cloth behind Mary and Jesus. The edges of the panel are carved to resemble molding.
Tino di Camaino, Madonna and Child with Queen Sancia, Saints, and Angels, c. 1335, marble, Samuel H. Kress Collection, 1960.5.1

Madonna and Child with Queen Sancia, Saints, and Angels

Tino di Camaino · c. 1335 · marble ·  Accession ID  1960.5.1

Bibliography

1922

  • Valentiner, Wilhelm R. The Henry Goldman Collection. New York (privately printed), 1922.

1937

  • "Henry Goldman, 79, Banker, Dies Here." The New York Times (5 April 1937): 19, col. I.

  • "The Death of Henry Goldman." The Art News 35 (17 April 1937): 19.