Provenance

Louis-Charles Timbal

French, 1821 - 1880

Explore Selected Works

See all 24 works of art
Anonymous Artist, Madonna and Child with God the Father and Cherubim, 1480/1490, glazed terracotta, Andrew W. Mellon Collection, 1937.1.123

Madonna and Child with God the Father and Cherubim

Anonymous Artist · 1480/1490 · glazed terracotta ·  Accession ID  1937.1.123

The head and chest of a clean-shaven, pale-skinned man is shown in profile facing our right, in front of a curtain opening onto a sliver of a distant landscape in this vertical portrait painting. The man’s eye we can see is hazel under a thin brow, and he has a straight nose over a closed, peach-colored mouth. A crease running from the side of his nose to the corner of his mouth is lightly shaded, and his cheek flushes light pink. His straight, auburn-brown hair is cut to angle from his brow down to his neck. He wears a tall scarlet-red cap and a brown and gold tunic pleated in vertical folds down the front. The tunic is patterned with stylized leaves and vines in gold against the brown background. The neckline is lined with smoke gray, and the high neck of a garment beneath is patterned with gray leaves against brick red. The marine-blue, nearly black, cloth behind him covers most of the background. A narrow view along the right edge of the composition opens onto a landscape with the ruins of a terracotta-colored gate and city wall closer to us, though still deep in the distance. Even farther back is a walled town with gray and pale peach towers and crenellated walls. Spires are silhouetted against azure-blue mountains, hazy along the horizon in the distance, under a pale, ice-blue sky.
Ercole de' Roberti, Giovanni II Bentivoglio, c. 1474/1477, tempera on poplar panel, Samuel H. Kress Collection, 1939.1.219

Giovanni II Bentivoglio

Ercole de' Roberti · c. 1474/1477 · tempera on poplar panel ·  Accession ID  1939.1.219

Florentine 15th Century, Saint John the Baptist, c. 1490, painted terracotta, Andrew W. Mellon Collection, 1937.1.130

Saint John the Baptist

Florentine 15th Century · c. 1490 · painted terracotta ·  Accession ID  1937.1.130

Carved in high relief in white marble, a woman and the baby she holds are framed within a curved arch. The woman’s body faces us, but she turns her face to look down at the baby tucked into her left arm, to our right. The woman’s long hair is pulled back under a twisted band, and a few tendrils fall on her face. Her nose is pointed, and she has full lips over a narrow chin. Her dress is fastened on the chest with a button or brooch and is tied across the chest and high around the waist. The garment has elbow-length sleeves, and it falls in a swag across her hips over a long skirt that stops just short of her sandaled feet. The fabric is sheer so the nipple we can see is visible, and the fabric gathers in fine, shallow folds. Her other elbow is bent and held by her side, and the fingers on both hands are noticeably long. The child turns a chubby face up to the woman and crosses his hands over his chest. He is covered only by a cloth across his middle, and he has short, wavy hair. Pudgy rolls make creases on his neck, arms, and especially chunky thighs. The niche in which they stand has a fluted shell in the rounded portion above molding. The remaining niche is smooth, and the entire sculpture is set into a tan-colored wall.
Mino da Fiesole, Charity, 1475/1480, marble, Andrew W. Mellon Collection, 1937.1.117

Charity

Mino da Fiesole · 1475/1480 · marble ·  Accession ID  1937.1.117

Anonymous Artist, Madonna and Child with Angels, c. 1470, stucco, Samuel H. Kress Collection, 1943.4.78

Madonna and Child with Angels

Anonymous Artist · c. 1470 · stucco ·  Accession ID  1943.4.78

Anonymous Artist, Saint John the Baptist, c. 1850/1875, bronze, Samuel H. Kress Collection, 1957.14.13

Saint John the Baptist

Anonymous Artist · c. 1850/1875 · bronze ·  Accession ID  1957.14.13

A young, pale-skinned woman with long, blond hair and wearing a coral-red gown stands on a pedestal before a landscape filled with people in this vertical painting. The painting has an arched top, and the woman who fills most of the view is Claudia Quinta. Her hair is adorned with strands of pearls, and a larger pearl hangs from a piece of jewelry like a brooch at the top center over her forehead. A sheer veil covers the back of her head. Her body faces us but she turns her head slightly to our right, so she gazes at us from the corners of her light hazel eyes. A pearl necklace with a square gold, sapphire-blue jewel and pearl pendant encircles her neck. The brown sleeves of her dress are flecked densely with short gold lines, and white fabric shows at gaps over the elbows. The red bodice has a high waist tied with a brown belt, which also holds sheer fabric in place so it falls to her knees over the long red skirt. The skirt is bordered with a gold geometric design along the bottom hem, which stops just short of her sandaled feet. In her right hand, on our left, she holds a small, navy-blue boat with a gold figure standing in it. Her other hand rests by her left thigh, to our right. She balances near the front edge of the rectangular pedestal, which is pale violet purple. On the front face, two winged, chubby children are painted white to resemble stone carvings. They brace a panel bordered in gold. The plaque has a teal-blue background, and gold letters read, “CLAVDIA CASTA FVI NEC VVLGVS CREDIDIT AMEN ET TAMEN ID QVOD ERAM TESTIS MIHI PRORA PROBAVIT CONSILIVM ET VIRTVS SVPERANT MATERQVE DEORVM ALMA PLACET POPVLO ET PER ME HVNC ORATA TVETVR.” Beyond Claudia Quinta a river winds in a tight S-curve through dark green hills. Farther back, to our left, a group of people with thin, elongated bodies dressed in blue, light brown, and orange walk in front of a tall dark blue building as they head toward a river on the right side. The building has an arched opening and a tower topped with a taupe-brown spire. To our right of Claudia Quinta, a woman wearing a rose-pink dress holds a rope around the prow of a boat at the edge of the river. Like the boat held by Claudia Quinta, it is navy blue and has the same shape. The pale lavender-purple river continues into the distance, where it meets rocky outcroppings along the horizon, which comes about halfway up the composition. A pale blue sky above is filled with wispy bands of clouds.
Neroccio de' Landi, Claudia Quinta, c. 1490/1495, tempera on poplar panel, Andrew W. Mellon Collection, 1937.1.12

Claudia Quinta

Neroccio de' Landi · c. 1490/1495 · tempera on poplar panel ·  Accession ID  1937.1.12

Anonymous Artist, Bust of a Warrior, 1850/1870, terracotta, Samuel H. Kress Collection, 1943.4.74

Bust of a Warrior

Anonymous Artist · 1850/1870 · terracotta ·  Accession ID  1943.4.74

Shown from the waist up, a pale-skinned woman wearing a jeweled dress faces our left in profile in this vertical portrait painting. She looks into the distance with the light brown eye we can see, under a faint, arched brow. She has a petite nose, smooth, lightly flushed cheeks, and her peach-colored lips are closed. Her rust-brown gown is trimmed with wide, mustard-yellow panels studded with pearls, rubies, and sapphires along the front of the bodice and down the sleeve we can see. The elbow of that sleeve, near the bottom edge of the painting, is gathered in intricate, narrow pleats. White fabric billows out from the seam where the sleeve meets her shoulder, and a wide scarlet-red belt bordered with pearls wraps around her waist. Her blond hair is pulled back and coiled into a horn over her ear. Her head is covered with a translucent white veil that falls in deep folds to her shoulder. Another sheer veil layered over the first sweeps down over the high hairline of her forehead. A double strand of white pearls encircles her neck above the white collar of her gown. A marine-blue cloth with an olive-green lining nearly fills the background beyond her, but a sliver of a landscape view can be seen along the left edge of the composition. The window opens onto a town with coral-red city walls in front of blue and gray buildings. Hazy blue mountains line the horizon in the deep distance, and the sky above deepens from pale, ice blue over the mountains to topaz blue across the top.
Ercole de' Roberti, Ginevra Bentivoglio, c. 1474/1477, tempera on poplar panel, Samuel H. Kress Collection, 1939.1.220

Ginevra Bentivoglio

Ercole de' Roberti · c. 1474/1477 · tempera on poplar panel ·  Accession ID  1939.1.220

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The Virgin in Adoration

Italian 19th Century · mid 19th century · terracotta ·  Accession ID  1937.1.124