Provenance

Kleinberger Gallery

est. 1848

Explore Selected Works

See all 20 works of art
Giovanni Battista Tiepolo, Saint Roch Carried to Heaven by Angels, c. 1735/1745, oil on canvas, Gift of Howard Sturges, 1956.9.16

Saint Roch Carried to Heaven by Angels

Giovanni Battista Tiepolo · c. 1735/1745 · oil on canvas ·  Accession ID  1956.9.16

Anonymous Artist, Old Woman Plucking a Fowl, 1650/1655, oil on canvas, Gift of Dr. and Mrs. Walter Timme, 1956.1.1

Old Woman Plucking a Fowl

Anonymous Artist · 1650/1655 · oil on canvas ·  Accession ID  1956.1.1

Bernard van Orley, Putto with Arms of Jacques Coëne [reverse], c. 1513, oil on panel, Samuel H. Kress Collection, 1952.5.47.b

Putto with Arms of Jacques Coëne [reverse]

Bernard van Orley · c. 1513 · oil on panel ·  Accession ID  1952.5.47.b

Surrounded by twenty-two men, women, and winged angels, a young man, wearing only a white loincloth, stands in a shallow body of water facing another man who kneels on the bank next to him and pours water onto his head in this horizontal painting. All the people have pale skin. At the center of the composition, the man in the water, Jesus, stands with his body angled slightly to our right. He is slim with shoulder-length, chestnut-brown hair, and he raises his hands to his chest, fingertips almost touching. To our right, the man who trickles water onto his head, John, faces our left in profile. Long, scraggly brown hair and beard frame his lined, wrinkled face, and he wears a camel-brown robe covering his torso and legs. It appears to be made from an animal skin whose face hangs at the bottom, draped over the edge of the riverbank. His bare arms reach forward toward Jesus as he upends a vessel in his right hand to pour out drops of water. The pair is flanked by three angels. The angel kneeling on the bank to our left has red hair and rust-red and teal-blue wings. That angel wears a scarlet-red cloak richly decorated with gold patterns and bordered with gemstones. With hands raised and fingertips touching, the angel holds a gray-green cloak hanging over a white robe. Two smaller angels kneel closer to us in front of the men. The red-headed angel on our left wears a powder-blue robe and strums a lute. The other, with blond hair and a white robe, draws a bow across a violin to our right. A crowd of fifteen people float above and around Jesus, John, and the angels to create an arch over them. They are dressed in robes of crimson or rose red, violet purple, peacock blue, moss green, or beige, and some are dressed as clergy members. Each person holds an object, for example, a basket of wafers, a sword, or a bishop’s crook. A man on the right side wearing armor kneels on a dragon. An elderly bearded man wearing a crown sits at the top of the arch with his hands raised. Small angels on either side of him hold open his scarlet-red cloak, which is lined with peacock blue. A long, narrow scroll curls in the pale blue sky under him. It reads, “HIC EST EILIVS MEVS DILECTV IN QVO MICHI CONLICVI.” The landscape around Jesus, John, and the angels on the riverbank creates a low hill topped with bushy trees. A half moon of pale blue sky encloses the landscape, creating a dome shape across the center of the composition. The crowd of men and women seem to float between the sky and the shiny gold background that surrounds the people and whole scene.
Master of the Saint Bartholomew Altar, The Baptism of Christ, c. 1485/1500, oil on panel, Samuel H. Kress Collection, 1961.9.78

The Baptism of Christ

Master of the Saint Bartholomew Altar · c. 1485/1500 · oil on panel ·  Accession ID  1961.9.78

Bernard van Orley, The Marriage of the Virgin, c. 1513, oil on panel, Samuel H. Kress Collection, 1952.5.48

The Marriage of the Virgin

Bernard van Orley · c. 1513 · oil on panel ·  Accession ID  1952.5.48

Shown from the chest up, a young woman faces us holding a nude baby in her arms in this vertical painting. They both have pale, peachy skin with pink cheeks. The woman has an oval face with a thin nose, and her coral-pink, bow mouth is closed. She looks down and to our left with dark eyes under arched brows. Her hair is covered by a bone-white veil, and an azure-blue mantle is draped over her rose-pink robe, which is a darker pink at the shoulders. She cradles the plump child in her crossed arms. The baby has short, wavy, copper-red hair framing a round, flushed face with a button nose, peach lips, and hazel eyes that look at us. He holds a bird in his left hand, on our right. The bird has an off-white body with charcoal-gray wings and neck, and a strawberry-red face. The baby grasps one end of the woman’s veil with his other hand. The background is concrete gray to our left, and the right half is covered by a ginger-brown curtain.
Giovanni Battista Tiepolo, Madonna of the Goldfinch, c. 1767/1770, oil on canvas, Samuel H. Kress Collection, 1943.4.40

Madonna of the Goldfinch

Giovanni Battista Tiepolo · c. 1767/1770 · oil on canvas ·  Accession ID  1943.4.40

Biagio d'Antonio, Portrait of a Boy, c. 1476/1480, oil and tempera on poplar panel, Samuel H. Kress Collection, 1939.1.179

Portrait of a Boy

Biagio d'Antonio · c. 1476/1480 · oil and tempera on poplar panel ·  Accession ID  1939.1.179

About a dozen men and women gather around three men hanging from wooden crosses, all against a deep landscape beneath a shiny gold sky in this horizontal painting. All the people we can see have pale or tanned skin. The men on the crosses wear only white loincloths, and a gold halo encircles the head of the man in the middle, Jesus. Jesus hangs with his hands and feet nailed to the cross, and a man on the ground has pierced his right side with a lance. Blood drips down his face from a ring of thorns. Four winged angels, small in scale to the rest of the people, catch the blood pouring from the nails in his hands and feet, and the wound on his side in golden chalices. The crosses to either side angle in toward Jesus, and the men are tied to them with their arms hooked backward over the crosspiece. Their legs are tied to the vertical beam of the cross, and they bleed from wounds on their thighs. Near the head of the man to our left, an angel hovers and holds up a miniature man, like a doll. The man on the cross to our right turns his head away from the demon holding out another miniature man. Across the bottom of the composition, the people in the crowd wear garments in ginger brown, cranberry and burgundy red, and olive green. Three women, two young men, and a man on horseback are tightly clustered on the ground in the left half. The woman closest to us, Mary, wears a marine-blue gown and a white head covering. She is partly slumped to one side, supported by a woman on her left, to our right, and a young man standing just behind her. The third woman kneels on Mary’s other side, near the lower left corner of the composition, with her hands clasped together. Behind the women, the horse and its elderly, bearded rider and the cleanshaven man piercing Jesus’s side with a spear both look up at Jesus. The rider touches his left eye with the index finger of that hand, and short, red rays emanate from his eyelid. Near the back end of the horse, a man holds a bucket and a long pole supporting a sponge in a U-shaped crook at the top. A cluster of eight men are gathered in the lower right half. Two are on horseback, and the rider closest to us wears peanut-brown armor and helmet. He holds a tall staff with a red pennant bearing the letters “SPQR.” Beyond the crosses, pale green hills topped with trees and bushes lead back to a town skyline painted in shades of baby and teal blue. Scenes with people, tiny in scale, are scattered across the city and landscape. There, a crowd greeting a man entering the city on a donkey is seen in the distance to our left. A group lowers a man from a cross on a hill to our right, and a man hangs from a tree along the right edge of the composition. The gold sky fills the top quarter of the scene.
Master of the Death of Saint Nicholas of Münster, Calvary, c. 1470/1480, oil on panel, Patrons' Permanent Fund, 2001.70.1

Calvary

Master of the Death of Saint Nicholas of Münster · c. 1470/1480 · oil on panel ·  Accession ID  2001.70.1

Bernard van Orley, Christ among the Doctors [obverse], c. 1513, oil on panel, Samuel H. Kress Collection, 1952.5.47.a

Christ among the Doctors [obverse]

Bernard van Orley · c. 1513 · oil on panel ·  Accession ID  1952.5.47.a

A woman wearing a cobalt-blue robe and a white veil sits with her hands raised, palms out, as she looks toward a slender, bearded man who stands to our left in this vertical painting. Both have light skin and delicate features, and they sit in a room with stone walls and arched windows. There are faint circles under the woman’s light brown eyes. She has a long slender nose, and her pink lips are pursed. One knee is bent, and she is low to the ground, suggesting she sits on a stool. A book lies open on a wooden stand in front of her to our right, below her left elbow. The ruffled edges of her multi-layered, white veil sweep over her forehead and down to her shoulders. Her loose, long-sleeved blue garment is edged with gold and falls in angular folds to pool at her feet. She holds her long-fingered, slender hands up at her chest, palms facing the man to our left. He stands with his body angled toward her as he looks down, his head tipped slightly forward. His brown hair falls over his shoulders. His voluminous, gold-edged, red cloak is fastened at his throat with a gold, jeweled brooch, and it drapes over his shoulders and around his lower torso, leaving his arms, chest, and a gash over his right ribs exposed. He holds a tall, gold staff topped with a jeweled cross in his left hand, to our right. A moss-green pennant flutters back from the base of the cross, as if lifted in a breeze. The man holds up his other hand so the palm faces the woman with the first two fingers raised. Round, puncture wounds with red blood mark the palm of that hand and tops of both bare feet. The floor is patterned with gray, brown, blue, and green tiles. The wall behind the woman has honey-brown paneling along the bottom half and the top half is slate gray. Gray columns are spaced along that wall, supporting a curving, vaulted ceiling. Two arched windows pierce the wall behind the woman, and both have stained glass designs within the curving tops. The window closer to us opens onto a narrow view of a landscape with a rose-pink arch over a bridge, and a path winding through green fields. An open door over the shoulder of the man, to our left, shows the stepped roofline of a pink building under a blue sky. The entire scene is framed with a flattened arch supported by gleaming columns of polished, veined brown stone, creating the impression that we look onto the people and room through the arch. The columns have leafy capitals and white bases. The tan-colored arch is carved with a row of stylized rosettes along the opening that spans the top of the painting.
Anonymous Artist, Christ Appearing to the Virgin, c. 1475, oil on panel, Andrew W. Mellon Collection, 1937.1.45

Christ Appearing to the Virgin

Anonymous Artist · c. 1475 · oil on panel ·  Accession ID  1937.1.45