Provenance

George Granville Leveson-Gower, 2nd marquess of Stafford

British, 1758 - 1833

Explore Selected Works

A young woman sleeps with her cheek resting on the back of one hand next to a woman holding a nude baby and two winged angels in this vertical painting. All the people have pale skin and they nearly fill the composition. The sleeping woman, Saint Catherine, rests her elbow on a stone table covered by a golden yellow cloth, which also wraps around her shoulders. Her knees are angled to our right and her face tips onto her hand to our left. Her curly, light brown hair is pulled back. She has delicately arching eyebrows, a straight nose, and her pink lips are closed. Her pale, olive-green, floor-length dress is tied at the waist with a mauve-purple sash. She wears a gold ring with a gray stone on the third finger of her left hand, which rests in her lap. To our right, the second woman, Mary, leans over Saint Catherine. Mary’s head is angled to our left, toward the sleeping saint, and she looks to our right, down past the baby. Mary’s complexion is has a faint gray cast, and her brown hair is covered by a white cloth, which is surrounded by a halo of light. A dark garment covers her shoulders over a scarlet-red dress. The baby sits on Mary’s lap with his body facing our left, toward Saint Catherine. He leans our way and looks at us with dark eyes. Light catches his brown curls and he has chubby cheeks, arms, and legs. Along the bottom edge of the canvas, a puff of gray cloud near the lower right corner seems to support Mary’s feet. A curving, charoal-gray spike in the lower left corner of the painting is partially covered by the yellow drapery. Behind Saint Catherine and over her head, next to Mary, are two winged angels with dark blond, curly hair. The angel closer to us rests one hand on the pine-green pillow behind Saint Catherine’s head and turns to look past Mary in profile, lips parted. The angel behind looks down with hands together in prayer. Light falls across the scene from our right. The upper right corner behind Mary is filled with brick-red clouds that, upon closer examination, are filled with faces looking onto the scene.
Lodovico Carracci, The Dream of Saint Catherine of Alexandria, c. 1593, oil on canvas, Samuel H. Kress Collection, 1952.5.59

The Dream of Saint Catherine of Alexandria

Lodovico Carracci · c. 1593 · oil on canvas ·  Accession ID  1952.5.59

Shown from the hips up, a woman with pale skin, wearing a sapphire-blue gown, looks over her left shoulder at us in this vertical portrait painting. Her body faces our left in profile, and she looks at us from the corners of her large, hooded, gray eyes. She has an oval face with a straight nose, rosy cheeks, and her full, pink lips are closed. Wisps of brown hair fall across her forehead, and her face and neck are framed by a cloud of soft curls tied with a royal-blue bow over the ear on the side we can see. Around her neck is a cream-white pearl choker necklace. Her low-cut bodice is lined with transparent parchment-white fabric, which she holds at her chest with her right hand, farther from us. We see one blousy sleeve of her blue, satin dress, and the sleeve is tied at the elbow. Equally blousy white sleeves cover her forearms. With her left hand, closer to us, she holds a wreath of orange, pale blue, deep pink, and white flowers down by her waist. She is lit from the upper left, and the background behind her is dark in shadow. A patterned curtain hangs along the left edge of the painting.
Sébastien Bourdon, Countess Ebba Sparre, 1652/1653, oil on canvas, Samuel H. Kress Collection, 1952.5.34

Countess Ebba Sparre

Sébastien Bourdon · 1652/1653 · oil on canvas ·  Accession ID  1952.5.34

Shown from the knees up, a light-skinned man wearing a loose, ink-black garment with a white collar leans back in a wooden chair in this vertical portrait painting. His body faces our left almost in profile, but he turns his head to look at us from the corners of his light hazel-brown eyes, the eyebrow closer to us slightly cocked. Crow’s feet line the corners of his hooded eyes. He is lit from our right so the side of his face to our left is in shadow. His slightly hollow cheeks are lined between his nose and mouth with wrinkles. His silvery-gray beard is trimmed close to his angled jawline and pointed chin. His gray hair is closely cropped hair under a velvety-black, three-pointed cap. The white collar is trimmed with stripes and a row of delicate dots along the edge. The man leans heavily against his left arm, closer to us, which is stretched along the arm of the chair to nearly span the width of the painting. That hand curls around the terminal of the chair, which is carved with a stylized flower in a disk. He wears a gold ring with a dark blue stone on the pinky of that hand. He marks the spot in a closed book with his other hand, and rests the book in the crook of the elbow draped along the arm of the chair. The book he holds has a sand-brown cover, and is about the size of a thick paperback novel. The crimson-red lining along the back of the chair, to our right, and the cushion on which the man sits is trimmed with rows of fringe of the same color. The background behind the man is deep, sable brown in the corners and lightens to tan around the man’s head.
Giovanni Battista Moroni, "Titian's Schoolmaster", c. 1575, oil on canvas, Widener Collection, 1942.9.45

"Titian's Schoolmaster"

Giovanni Battista Moroni · c. 1575 · oil on canvas ·  Accession ID  1942.9.45

A smiling young child holds the latch of an open wooden door as she looks toward a woman to our right in this almost square painting. The woman and child both have pale skin and stand in a bedroom. To our left, the child is the same height as the door handle, and she faces us. Her blond, upswept hair is backlit, and light falls on her from windows to our left. She turns to look at the woman with dark eyes, a slight smile on her pink lips. She wears a garment with a mauve-gray bodice and sleeves, a sage-green apron over a honey-yellow, ankle-length skirt, and dark shoes. She holds the ring of the door latch with her right hand, to our left, and holds a ball by her side in her other hand. The room has white walls with thick wood beams above, wood molding around the door and window, and a clay-red tiled floor. On the wall to either side of the girl and about the same height as she is, white tiles painted with scenes in azure blue line the walls. Wooden chairs to either side of the door have lion-shaped finials and a diamond pattern on the cloth-covered backs. A landscape painting in a black frame hangs over the door, and a wood table covered with a red cloth, holding a ceramic jug, sits to our left, along the wall coming toward us. The rightmost third of the composition is spanned by a bed set within a ceiling-high, cabinet-like enclosure. The woman stands in front of the bed, her body facing our left in profile. A white kerchief covers her hair and is tied under her chin. She wears a red shirt with white at the chest and cuffs, which are rolled back. A marine-blue skirt falls to her ankles. She holds a brown cloth in front of her, and another cloth is draped over a chair. A gleaming, squat, brown jug sits on floor nearby. A forest-green curtain lines the squared opening to the bed, and another green curtain is pulled to one side of a window next to the open door. Through the door and window, we see a second door across a shallow entryway, which leads outside. Both halves of the outer, Dutch door are open, though the top half swings in a little more than the bottom half. The space beyond has a fence or trellis, green plants, and the edge of a red roof.
Pieter de Hooch, The Bedroom, 1658/1660, oil on canvas, Widener Collection, 1942.9.33

The Bedroom

Pieter de Hooch · 1658/1660 · oil on canvas ·  Accession ID  1942.9.33