Provenance

Galerie Paul Cassirer

active c. 1903 - 1933

Explore Selected Works

See all 27 works of art
Three apples and two pears sit next to a knife and a luminous, white mug on a tan, stone surface before a muted, olive-green background in this horizontal still life painting. The objects and background are painted with blended strokes, giving the painting a soft, glowing appearance. At the center of the ledge or table, the apples are dappled with candy red and pale yellow. Two golden and moss-green pears are to our left, one upright and the other lying with its stem coming toward us. The fruit is painted with white highlights from a light source to our left. The cream-white mug sits next to the apples to our right. The mug has straight sides, a low band near the top and bottom, and the handle curves out to our right. Between the apples and mug, the black handle of a knife angles to our right, off the edge of the table. Shadows are painted in brick red on the surface of the table, which extends off both sides of the canvas. There is a vertical seam in the table under the upright pear.
Jean Siméon Chardin, Still Life with a White Mug, c. 1764, oil on canvas, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.6

Still Life with a White Mug

Jean Siméon Chardin · c. 1764 · oil on canvas ·  Accession ID  1972.9.6

Shown from the waist up, a clean-shaven man with pale, peachy skin is dressed in black and burgundy red in this vertical portrait painting. His shoulders are as wide as the composition and his hat nearly touches the top edge, so he almost fills the painting. His body and face are angled to our right, and he looks off in that direction with hooded brown eyes under slightly raised brows. He has a long, bumped nose, high cheekbones, the hint of a five-o-clock shadow, and his pale pink lips are closed. His hair is cut straight across at ear length, and fuzzy sideburns come down to his jawline. A wide, soft black cap curves down either side of his head to ear level. He wears a white shirt with a delicate black pattern on the neckline, which is tied with a thin black ribbon. A voluminous dark red shawl or wrap has two black bands along the bottom hem, and it engulfs his sloping shoulders. In the lower corners of the painting, we see long black sleeves under the wrap. The sleeves have slashes to allow the white undergarment to show through. He is set against a lime-green background and illuminated by bright light from the upper right, which creates a darker green shadow behind him, to our left. The artist signed the painting with a symbol on a small, light brown panel, which appears to be affixed to the back wall in the upper left corner of the painting. The date, “1522,” appears over a winged serpent holding a ring in its mouth.
Lucas Cranach the Elder, Portrait of a Man, 1522, oil on panel, Samuel H. Kress Collection, 1959.9.1

Portrait of a Man

Lucas Cranach the Elder · 1522 · oil on panel ·  Accession ID  1959.9.1

At least one rowboat occupied by two people floats on a lake, which is surrounded by lush green vegetation in this vertical landscape painting. The scene is loosely painted with short and long parallel brushstrokes, so some details are difficult to make out. The white of the four geese lining the bank near us break up a color palette almost entirely dominated by spring, mint, and sage green and royal and baby blue. Three of the geese stand in a line and the fourth bends down to peck at the grass. A bed of deep pink flowers is indicated with touches of vibrant color to our right of the geese. One person wearing a golden yellow garment and a butter-yellow hat rows the boat near the center of the lake. A smudge of cobalt blue could be another person in that boat. Other curved lines in the water could be additional boats or may be reflections in the lake’s surface. Barely discernable, a person, possibly holding a stick, stands among the tall trees lining the opposite bank. The horizon line comes about three-quarters of the way up the composition, and the sky above is painted with watery blue, pale yellow, and ivory-white brushstrokes. The artist signed the work with dark letters near the lower left corner: “B. Morisot.”
Berthe Morisot, Girl in a Boat with Geese, c. 1889, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.50

Girl in a Boat with Geese

Berthe Morisot · c. 1889 · oil on canvas ·  Accession ID  1970.17.50

German 15th/16th Century, The Rule of Bacchus [left panel], c. 1535, oil on hardboard transferred from panel, Samuel H. Kress Collection, 1952.5.31.a

The Rule of Bacchus [left panel]

German 15th/16th Century · c. 1535 · oil on hardboard transferred from panel ·  Accession ID  1952.5.31.a

A gold chalice holding a thin, green serpent sits in an arched niche in this vertical painting. Light falls across the chalice from our right so it casts a shadow in the shallow gray stone niche. The chalice has a flaring, six-lobed foot, and a knob on the stem is set with red and green, diamond-shaped stones. The slender green snake drapes inside the cup’s round bowl. The serpent’s mouth is open and tongue flicks out to our right, and the tail hangs out of the chalice to our left.
Hans Memling, Chalice of Saint John the Evangelist [reverse], c. 1470/1475, oil on panel, Samuel H. Kress Collection, 1952.5.46.b

Chalice of Saint John the Evangelist [reverse]

Hans Memling · c. 1470/1475 · oil on panel ·  Accession ID  1952.5.46.b

Honoré Daumier, The Beggars, c. 1843, oil on canvas, Chester Dale Collection, 1963.10.12

The Beggars

Honoré Daumier · c. 1843 · oil on canvas ·  Accession ID  1963.10.12

Bernhard Strigel, Margarethe Vöhlin [reverse], 1527, oil on panel, Ralph and Mary Booth Collection, 1947.6.5.b

Margarethe Vöhlin [reverse]

Bernhard Strigel · 1527 · oil on panel ·  Accession ID  1947.6.5.b

Adolph Menzel, The Artist's Sister Emilie, 1851, pastel and black chalk on brown wove paper, Wolfgang Ratjen Collection, Purchased as the Gift of Ladislaus and Beatrix von Hoffmann, 2007.111.19

The Artist's Sister Emilie

Adolph Menzel · 1851 · pastel and black chalk on brown wove paper ·  Accession ID  2007.111.19

Florentine 15th Century, Madonna and Child, c. 1425, painted and gilded terracotta with wood backing, Samuel H. Kress Collection, 1943.4.93

Madonna and Child

Florentine 15th Century · c. 1425 · painted and gilded terracotta with wood backing ·  Accession ID  1943.4.93

A woman sitting close to us in front of a deep landscape holds up a white cloth with the image of a man’s face on it in this vertical painting. The woman and the image on the cloth both have pale skin, hooded eyes, and long, straight noses. The woman’s shoulders are squared toward us, and her legs are tucked under her. Her head tips slightly to our right. Her eyes are downcast, and her bow-shaped lips are parted. She wears a white, turban-like headdress with a white veil covering her neck and upper chest. Her rose-pink dress is mostly covered by a voluminous, lapis-blue robe falling from the back of the headdress to the ground, where it puddles in angular folds. On the white cloth she holds up, the man’s head has chin-length blond hair and a beard. He looks out at us with light brown eyes. The woman sits on a grassy field. A dirt path cuts through a shallow valley across the picture, not far behind the woman. More harvest-yellow and moss-green hills roll back to a town with gray stone buildings with blue roofs along the horizon, which comes three-quarters of the way up the composition. The sky above deepens from white at the horizon to azure blue across the top of the painting.
Hans Memling, Saint Veronica [obverse], c. 1470/1475, oil on panel, Samuel H. Kress Collection, 1952.5.46.a

Saint Veronica [obverse]

Hans Memling · c. 1470/1475 · oil on panel ·  Accession ID  1952.5.46.a