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Paul Drey Gallery

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Tyrolean 15th Century, Portrait of a Man, c. 1490/1500, oil on panel, Samuel H. Kress Collection, 1952.5.71

Portrait of a Man

Tyrolean 15th Century · c. 1490/1500 · oil on panel ·  Accession ID  1952.5.71

Jean-Auguste-Dominique Ingres, Auguste-Jean-Marie Guénepin, 1809, graphite on wove paper, Gift of Peter Josten, 1978.9.1

Auguste-Jean-Marie Guénepin

Jean-Auguste-Dominique Ingres · 1809 · graphite on wove paper ·  Accession ID  1978.9.1

German 16th Century, The Annunciation, c. 1520, pen and brown ink with red-brown wash heightened with white on red-brown prepared laid paper, Ailsa Mellon Bruce Fund, 1971.21.2

The Annunciation

German 16th Century · c. 1520 · pen and brown ink with red-brown wash heightened with white on red-brown prepared laid paper ·  Accession ID  1971.21.2

A woman sitting on a throne with a child on her lap and two angels are carved from white marble and decorated with a few areas of gold in this freestanding sculpture. All four people face us in this photograph, and they have round cheeks, square jawlines, and closed lips. Black dots are painted for pupils but without irises or other paint on their faces, they all look startled or intense. The woman wears a gold crown over a cloth that drapes over her head, shoulders, and across her lap. Her knees are apart, and pointed shoes peek out under the rippling hem of her dress. She braces the child’s torso with her left hand, to our right, and touches his upper leg with the other hand. The child’s adult-like face is framed by gold hair. He holds up one hand, though the fingers have been broken off, and holds an open book facing out propped on his leg with his other hand. Writing on the pages has been painted. Two child-like, wingless angels stand on the arms of the throne behind the woman’s shoulders and hold a cloth up behind her head. On all four people, their hair and the necklines, hems, and cuffs of their garments have been painted with gold geometric designs. The Latin text on the book reads, "CONTINET IN GERMIO CELV TERRA Q REGENTE VIRGO DEI GENETRIX MCCCXXI.”
Verona 14th Century, Madonna and Child with Two Angels, 1321, marble, Samuel H. Kress Collection, 1961.9.95

Madonna and Child with Two Angels

Verona 14th Century · 1321 · marble ·  Accession ID  1961.9.95

Two scenes showing monks wearing black hoods and robes take place on this vertical panel painting. The left half is framed by a white stone arch supported on a pillar, which runs down the middle of the composition. Under the arch, a clean-shaven man sits with his body angled to our right. A book is open on his lap, and he holds up his left hand, to our right. He braces a gold-tipped long staff with his other hand, and a gold halo frames his lined face. His hood is down, and he wears a tall, brimless black cap. He sits in a room with a wood floor, wood ceiling, and a bench under an open window on the far wall. The shutters are pulled back to show a continuation of the background landscape on the right half. There, one monk holds another, who is smaller in scale, around the chest as the latter floats or stands in a white body of water. The person in the water holds a bucket limply by his side and looks at us. The water winds back to low, green hills and a pink stone building with white trim along the right edge of the painting. A church with ivory-white walls and a slate-blue roof is situated slightly farther back, and it continues to be visible through the windows. The narrow strip of white sky in the top right corner of the painting is lined along the top edge with aquamarine blue.
French 15th Century, A Miracle of Saint Benedict, c. 1480, oil on oak, Samuel H. Kress Collection, 1952.5.45

A Miracle of Saint Benedict

French 15th Century · c. 1480 · oil on oak ·  Accession ID  1952.5.45

Luca Cambiaso, The Martyrdom of Saint Lawrence, 1581, pen and brown ink with brown wash over black chalk on laid paper, laid down on blue paper, Ailsa Mellon Bruce Fund, 1971.80.2

The Martyrdom of Saint Lawrence

Luca Cambiaso · 1581 · pen and brown ink with brown wash over black chalk on laid paper, laid down on blue paper ·  Accession ID  1971.80.2

Paolo Farinati, Head of a Boy, black and white chalk on blue paper, Ailsa Mellon Bruce Fund, 1971.42.1

Head of a Boy

Paolo Farinati · · black and white chalk on blue paper ·  Accession ID  1971.42.1

The head and pale face of a bearded man with a ring of interwoven branches of thorns over his chin-length, wavy, reddish-brown hair floats against a white cloth that has been hung over a wooden rod in this vertical painting. The cloth fills the composition. At its center, the man’s head faces us and he looks down with heavy-lidded, brown eyes. His lips are parted, and his cheeks are slightly sunken and shaded with pale lilac purple under high cheekbones. Blood drips down the man’s pallid forehead from the thorns. A brown spot high on his right cheek, on our left, might be a bruise or injury. A soft brown glow surrounds the head. The white cloth is frayed along its front edge, where it rests facing us on a wooden surface along the bottom edge of the painting. The cloth is bunched a little to each side where it drapes over the wooden rod above. The white cloth is painted with tones of pale coral pink, icy blue, silvery white, and dove gray. The background behind the cloth is black.
Domenico Fetti, The Veil of Veronica, c. 1618/1622, oil on panel, Samuel H. Kress Collection, 1952.5.7

The Veil of Veronica

Domenico Fetti · c. 1618/1622 · oil on panel ·  Accession ID  1952.5.7

A young woman sitting with a nude infant lying in her lap is flanked on either side by an older woman to our left and an elderly man with a nude young boy to our right in this vertical painting. They all have pale skin tinged with blue. At the center, the young woman, Mary, is draped in a cobalt-blue mantle that partially covers her head and falls to her shoulders to wrap around a dusky rose-pink gown. The mantle is pushed back from one side of her head, revealing dark brown hair. Her right arm embraces the shoulders of the old woman standing next to her, to our left, who leans toward Mary. A tangerine-orange cloak wraps around the older woman and her hair is covered by a white cowl. Both women have long faces and noses with deep set eyes under thick arched brows, and they gaze down at the infant. The mostly bald, pudgy baby lies across a white piece of fabric, two corners of which are held up by the older woman. Another young boy stands alongside Mary to our right. He faces us, holding a basket or glass bowl containing oval-shaped caramel-brown objects the size of figs in one hand. His elongated head is crowned with tawny brown hair, and his face turns away from the infant to gaze off to our right. One finger of his left hand, on our right, rests alongside his rose-red lips. The elderly man stands behind him, leaning over Mary’s shoulder to look at the older woman. We see him from the waist up with a golden-yellow cloak layered over an olive-green vest, and the arm we see is clad in a white sleeve. The group takes up most of the height of the composition and are crowded together against an azure-blue sky swirling with thin gray and white clouds. The scene is painted largely with long strokes of saturated color. The dark gray ground below is painted with sketchy strokes of white, blue, and pink.
El Greco, The Holy Family with Saint Anne and the Infant John the Baptist, c. 1595/1600, oil on canvas, Samuel H. Kress Collection, 1959.9.4

The Holy Family with Saint Anne and the Infant John the Baptist

El Greco · c. 1595/1600 · oil on canvas ·  Accession ID  1959.9.4

Shown from the waist up against a vivid red background, a pale-skinned, cleanshaven man looks off to our left in this vertical portrait painting. His body is angled to our left, and his head tilts down so he looks in that direction from under faint eyebrows. He has bags under brown eyes, sunken cheeks, and soft jowls. He has a rounded nose and wide chin. His pale pink lips are closed and the far corner appears to be pulled slightly back. A close-fitting brimless black cap nearly covers his gray hair, and he wears an inky-black cloak over a black robe. His hands are together in prayer in the lower left corner of the panel, and the background is scarlet red.
French 15th Century, Portrait of an Ecclesiastic, c. 1480, tempera and oil on oak, Samuel H. Kress Collection, 1961.9.54

Portrait of an Ecclesiastic

French 15th Century · c. 1480 · tempera and oil on oak ·  Accession ID  1961.9.54