Provenance

Prince Johann II of Liechtenstein

1840 - 1929

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A woman with smooth, pale skin, wearing an ivory-white headdress and a peacock-blue dress, is shown from the hips up in this vertical portrait painting, which has an arched top. The woman’s body and face are angled to our left, and she looks off in that direction with gray eyes. Her smooth cheeks are lightly blushed in her heart-shaped face. She has a high forehead, faint brows, and her full, pale pink lips are closed. Narrow panels of her headdress come down the sides of her face, emphasizing the heart shape. The fabric covers her head and falls in a veil down her back. Her dress comes up high across the back of her neck and then flares out to nearly her armpits across a low, straight neckline. Sheer fabric covers her chest, and the inner part of her neckline has a band of black to each side. The blue dress is lined with gray fur along the neckline, down the front, and on the undersides of voluminous sleeves, which are turned back at her wrists. Black cuffs peek out from under the folds. In her right hand, to our left, she holds a single pink carnation in front of her abdomen with her thumb and first two fingers. She wears a gold ring on the pointer finger of her other hand, in which she holds a string of coral-red beads. A hint of a gold belt is just visible between and behind her hands. The green background behind her glows around her shoulders and deepens to moss green around the arched top of the panel.
Joos van Cleve, Margaretha Boghe, probably 1518, oil on panel, Ailsa Mellon Bruce Fund, 1962.9.2

Margaretha Boghe

Joos van Cleve · probably 1518 · oil on panel ·  Accession ID  1962.9.2

Shown from the waist up, a clean-shaven, pale-skinned man dressed in black gazes at us in this vertical portrait painting, which has an arched top. His body is angled to our right, but he glances back toward us with slightly drooping hazel-green eyes under slender brows. His face tapers to a narrow chin, and his pale pink lips are closed. His ear-length brown hair and bangs are mostly covered by a wide, black hat that sits cocked to our left. He wears a voluminous black coat with a wide fur collar over a black garment with a notched collar. A white shirt beneath is visible at the neck and cuffs. He pulls a bone-white glove onto one hand and wears a gold ring with a green gem on the index finger of his bare hand. The green background behind him glows around his shoulders and deepens to moss green around the arched top of the panel.
Joos van Cleve, Joris Vezeleer, probably 1518, oil on panel, Ailsa Mellon Bruce Fund, 1962.9.1

Joris Vezeleer

Joos van Cleve · probably 1518 · oil on panel ·  Accession ID  1962.9.1

Shown from the thighs up, a woman and two children are carved in high and low relief on this white marble, vertically oriented rectangular panel. The woman’s body faces us, but she cranes her neck sharply to look up and to our left. She has rounded features and wears a veil that drapes over her head and long robe. She holds up a scroll carved with the word “CHARITAS” in her right hand, to our left, and wraps her other hand around the shoulders of two small children in the lower right. The children face her and tip their heads back, and they appear to drink streams of liquid coming from a flame-shape on her chest. The trio are enclosed in a quatrefoil shape, which has lobes at each corner separated by points along each edge. Stepped molding frames the quatrefoil.
Giovanni di Balduccio, Charity, c. 1330, marble, Samuel H. Kress Collection, 1960.5.4

Charity

Giovanni di Balduccio · c. 1330 · marble ·  Accession ID  1960.5.4

A freestanding, winged angel with a halo is carved from white marble streaked with gray. In this view, the angel’s body faces us, and the head turns slightly to our left. Curls frame a round face with delicate features in front of a flat, plate-like halo. The angel’s long robe is pinned at the chest, tied around the waist, and falls in thick folds into puddles around the feet. The angel holds one hand up with the first two fingers raised and holds a scroll down by the hip with the other hand. One pointed shoe peeks from under the robe, which almost covers the round base on which the angel stands. The sculpture is photographed against a pale gray background.
Venetian 14th Century, Angel of the Annunciation, c. 1340, marble, Samuel H. Kress Collection, 1960.5.10

Angel of the Annunciation

Venetian 14th Century · c. 1340 · marble ·  Accession ID  1960.5.10

Bonino da Campione, Prudence, c. 1357, marble, Samuel H. Kress Collection, 1960.5.6

Prudence

Bonino da Campione · c. 1357 · marble ·  Accession ID  1960.5.6

Pisan 14th Century, Angel with Symphonia, c. 1360, marble, Samuel H. Kress Collection, 1960.5.14

Angel with Symphonia

Pisan 14th Century · c. 1360 · marble ·  Accession ID  1960.5.14

This vertical portrait painting shows the head, shoulders, and chest of a pale-skinned young man in front a cream-white, stone window that opens onto blue sky. The man’s body is angled slightly to our left and he looks directly at us with wide-set, pale blue eyes. He has smooth skin, a rounded nose, a wide jawline, and full, light pink lips. He wears a brimless crimson-red cap over brown hair that curls over his ears and down to the nape of his neck. His slate-blue jacket is lined with brown, perhaps fur, around the high neck and down the front. The jacket has puffy sleeves and vertical pleats over the chest. He is positioned in front of the stone opening, the edges of which run parallel to top and sides of the composition. Vivid blue sky fills the opening behind the young man.
Filippino Lippi, Portrait of a Youth, c. 1485, oil and tempera on panel, Andrew W. Mellon Collection, 1937.1.20

Portrait of a Youth

Filippino Lippi · c. 1485 · oil and tempera on panel ·  Accession ID  1937.1.20

Benedetto da Maiano, Madonna and Child, c. 1475, marble, Samuel H. Kress Collection, 1960.5.16

Madonna and Child

Benedetto da Maiano · c. 1475 · marble ·  Accession ID  1960.5.16

A laurel branch to the left and a palm branch to the right, both in muted green tones, curve toward each other, crossing near the top to frame a sprig of spiky juniper in this square painting. A scroll with the Latin words “VIRTVUTEM FORMA DECORAT” weaves around and across the circle made by the branches near the bottom of the composition. The laurel has slightly serrated, oblong leaves that come to a point at either end. The palm has closely packed, narrow leaves that flare out like a feather to our right. The laurel, palm, and delicate twig of juniper are cut off near the bottom edge, where there is an area of flat brown that rises like a mound at the middle and tapers to each side. The rest of the background is dark brown speckled with rose pink, and a crimson-red, round seal is pressed into the top right corner.
Leonardo da Vinci, Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forma Decorat [reverse], c. 1474/1478, tempera on panel, Ailsa Mellon Bruce Fund, 1967.6.1.b

Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forma Decorat [reverse]

Leonardo da Vinci · c. 1474/1478 · tempera on panel ·  Accession ID  1967.6.1.b

Bonino da Campione, Justice, c. 1357, marble, Samuel H. Kress Collection, 1960.5.5

Justice

Bonino da Campione · c. 1357 · marble ·  Accession ID  1960.5.5