Provenance

Christie, Manson & Woods, Ltd.

est. 1766

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Benjamin West, Study for The Battle of La Hogue [recto], 1778, pen and brown ink on laid paper, Avalon Fund, 1991.90.1.a

Study for The Battle of La Hogue [recto]

Benjamin West · 1778 · pen and brown ink on laid paper ·  Accession ID  1991.90.1.a

Shown from the knees up, a pale-skinned man wearing armor stands with his body facing our left in profile but he turns his head to look up and over our right shoulder in front of a distant, gray landscape in this vertical portrait painting. He looks into the distance with brown eyes under dark, arched eyebrows. Chestnut-brown hair flows around his ears and to the back of his neck. His straight nose is slightly hooked at the end, and his pink lips are closed under a wispy mustache. He has plump, lightly flushed cheeks, and sagging jowls lead to a double chin. Light from our left glints off the suit of armor that covers his arms and round belly. He stands with his left hand, closer to us, resting on the hilt of a sword hanging at his side so his elbow points toward us. His other hand rests on the top of a cane. A leather strap crosses his chest, and a thin layer of lace encircles his neck. A ruby-red sash is tied around his upper left arm in a bow and billows around and behind him. The landscape beyond has a dark blue sky with charcoal-gray clouds above a low, sunlit horizon. The painting is inscribed with dark capital letters in the upper right corner: “MDV RAPHAEL RACIVS. H REIP. TRIREMIVM PRAEFE.”
Sir Anthony van Dyck, The Prefect Raffaele Raggi, c. 1625, oil on canvas, Widener Collection, 1942.9.90

The Prefect Raffaele Raggi

Sir Anthony van Dyck · c. 1625 · oil on canvas ·  Accession ID  1942.9.90

Netherlandish 17th Century, Title Page for Apostolicarvm PII Qvinti Pont. Max..., 1640, engraving on laid paper, William B. O'Neal Fund, 1996.78.71

Title Page for Apostolicarvm PII Qvinti Pont. Max...

Netherlandish 17th Century · 1640 · engraving on laid paper ·  Accession ID  1996.78.71

We look across choppy waves at a sailboat canting at a sharp angle, with several others floating nearby or in the distance, all beneath a sky filled with charcoal-gray clouds in this horizontal painting. In the bottom third of the canvas, the battleship-gray waves are topped with frothy white crests. The boat closest to us is slightly left of center, and its mast tips wildly to our right. Sunlight catches the straw-yellow sail as it pulls taut in the wind. At least two men crouch or bend over in the wooden vessel below, as white spray kicks up off the far side of the boat. Two white seagulls, tiny in scale, fly closer to the water’s surface to our left of that boat. The next closest vessel is to our right, and it is nearly swallowed in shadow. Two men huddle at one pointed end of the narrow boat, and a crimson-red sail flaps loosely in the wind. At least four more boats in the distance, along to the horizon, range in size from a small sailboat to a three-masted ship. The sail of the smallest boat also tips sharply to our right, but the tall masts of the ship are upright, and those sails are furled. Dark clouds billow up from the horizon, but break near the upper left corner. The sky beyond is pale apricot peach, and a few streaks of light reach the water’s surface.
Willem van de Velde the Younger, After the Storm, c. 1700, oil on canvas, Corcoran Collection (William A. Clark Collection), 2016.22.7

After the Storm

Willem van de Velde the Younger · c. 1700 · oil on canvas ·  Accession ID  2016.22.7

Theodor Galle, Title Page for Agostino Mascardi, Silvarium Libri IV, 1622, engraving on laid paper, William B. O'Neal Fund, 1996.78.59

Title Page for Agostino Mascardi, Silvarium Libri IV

Theodor Galle · 1622 · engraving on laid paper ·  Accession ID  1996.78.59

Pier Francesco Mola, The Return of the Spies from the Promised Land, c. 1666, pen and brown ink with brown wash over black chalk on laid paper, laid down on an old album sheet, Gift of Donald Stone, 2022.40.6

The Return of the Spies from the Promised Land

Pier Francesco Mola · c. 1666 · pen and brown ink with brown wash over black chalk on laid paper, laid down on an old album sheet ·  Accession ID  2022.40.6

Christoffel Jegher, Printer's Device for the Plantin Press, 1613/1646, woodcut in red on laid paper [proof], William B. O'Neal Fund, 1996.78.77

Printer's Device for the Plantin Press

Christoffel Jegher · 1613/1646 · woodcut in red on laid paper [proof] ·  Accession ID  1996.78.77

This painting is a portrait of a woman. She is seated and facing slightly to the left, with her hands in her lap. She has fair skin, blue eyes, a soft chin, dark curly hair, and pink lips in a neutral expression. She is wearing a golden-brown gown with voluminous sleeves, a low neckline, and pearl accents. She is also adorned with a pearl necklace, earrings, and a bracelet, with more pearls in her long hair. In one hand she is holding white flowers. The background is a warm, dark-toned interior with some red drapery visible on the left.
Anonymous Artist, Barbara Villiers, Duchess of Cleveland, c. 1661-1665, oil on canvas, Timken Collection, 1960.6.26

Barbara Villiers, Duchess of Cleveland

Anonymous Artist · c. 1661-1665 · oil on canvas ·  Accession ID  1960.6.26

Jacopo Zanguidi, called Bertoia, Massacre of the Innocents [recto], pen and brown ink with brown wash on blue-green paper, Ailsa Mellon Bruce Fund, 1971.67.7.a

Massacre of the Innocents [recto]

Jacopo Zanguidi, called Bertoia · · pen and brown ink with brown wash on blue-green paper ·  Accession ID  1971.67.7.a

This painting shows a man standing, his body and head slightly turned to the right. He has fair skin, arched eyebrows, round green eyes, a long nose, thin pink lips, a long brown beard, and a thin brown mustache. He wears a black flat-topped cap and a dark robe with puffed sleeves and lacy white details around the cuffs and neck. A gold ring with a green stone is on his left forefinger. He stands next to a wide window with a yellow sill, and in the background there is a landscape with dark green trees, green fields, a rustic house, and a faint person standing next to a horse, all under a blue sky.
Hans Mielich, A Member of the Fröschl Family, c. 1539/1540, oil on panel, Gift of David Edward Finley and Margaret Eustis Finley, 1984.66.1

A Member of the Fröschl Family

Hans Mielich · c. 1539/1540 · oil on panel ·  Accession ID  1984.66.1