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Princes of Liechtenstein

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Giuseppe Angeli, An Elderly Bishop, c. 1750, black, white, and red chalks on light brown laid paper, Bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann, 1997.57.3

An Elderly Bishop

Giuseppe Angeli · c. 1750 · black, white, and red chalks on light brown laid paper ·  Accession ID  1997.57.3

Jacopo Palma il Giovane, The Baptism of Christ, pen and brown ink with brown wash heightened with light gold gouache on brown washed laid paper, laid down, Rosenwald Collection, 1950.20.8

The Baptism of Christ

Jacopo Palma il Giovane · · pen and brown ink with brown wash heightened with light gold gouache on brown washed laid paper, laid down ·  Accession ID  1950.20.8

Ferdinand Kobell, Shepherds with Their Herd Fording a Stream, 1771, etching on laid paper, Ailsa Mellon Bruce Fund, 2012.38.1

Shepherds with Their Herd Fording a Stream

Ferdinand Kobell · 1771 · etching on laid paper ·  Accession ID  2012.38.1

Wolf Huber, The Annunciation to Joachim, 1514, pen and brown ink on laid paper, Rosenwald Collection, 1950.20.6

The Annunciation to Joachim

Wolf Huber · 1514 · pen and brown ink on laid paper ·  Accession ID  1950.20.6

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A View of Prato with Santa Maria delle Carceri and the Imperial Castle [verso]

Fra Bartolommeo · 1500/1504 · pen and brown ink on laid paper ·  Accession ID  1972.23.1.b

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

Ludwig Richter, Children and Goats Resting by a Felled Tree, 1868, pen and brown and some gray ink with watercolor and gouache, a few touches of varnish (gum arabic?) on wove paper, Wolfgang Ratjen Collection, Patrons' Permanent Fund, 2007.111.28

Children and Goats Resting by a Felled Tree

Ludwig Richter · 1868 · pen and brown and some gray ink with watercolor and gouache, a few touches of varnish (gum arabic?) on wove paper ·  Accession ID  2007.111.28

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

Johann Christoph Storer, The Generosity of Empress Pulcheria, 1644, pen and gray-brown ink with gray wash over black chalk on laid paper, Wolfgang Ratjen Collection, Patrons' Permanent Fund, 2007.111.165

The Generosity of Empress Pulcheria

Johann Christoph Storer · 1644 · pen and gray-brown ink with gray wash over black chalk on laid paper ·  Accession ID  2007.111.165