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MFA Images: Men

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  • Self Portrait

    about 1903
    Edward Hopper (American, 1882–1967)

    Description

    Inscription

    Reverse: E. HOPPER

    Provenance

    The artist; the artist's mother; to Marion Hopper, Nyack, New York, the artist's sister; to Rev. Arthayer R. Sanborn; to Rev.. and Mrs. William H. Brittain; to MFA, 1976, purchase.

    Credit Line

    The Hayden Collection—Charles Henry Hayden Fund

    Details

    Dimensions

    51.43 x 41.27 cm (20 1/4 x 16 1/4 in.)

    Accession Number

    1976.606

    Medium or Technique

    Oil on canvas

    Out on Loan

    On display at Norman Rockwell Museum at Stockbridge, June 7, 2014 – October 26, 2014

    Collections

    Americas

    Classifications

    Paintings

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  • Saint Demetrius

    Scarsellino (Ippolito Scarsella) (Italian (Ferrarese), about 1550–1620)

    Description

    Provenance

    Lt. Colonel Sir Michael Peto, Bart., London. December 7, 1960, sale Sotheby's, London, lot 49. With Thomas Agnew and Sons, Ltd., London. By 1975, Paul Ganz, New York [see note 1]. By 1994, Stanley Moss & Company, Riverdale-on-Hudson, New York; 1994, sold by Moss to the MFA. (Accession date: May 25, 1994) NOTES: [1] according to Cecil Gould, "The Sixteenth-Century Italian Schools: National Gallery Catalogues," (London 1975), p. 182.

    Credit Line

    Henry H. and Zoe Oliver Sherman Fund

    Details

    Dimensions

    162.56 x 95.25 cm (64 x 37 1/2 in.)

    Accession Number

    1994.108

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Head of an Arab

    1891
    John Singer Sargent (American, 1856–1925)

    Description

    Provenance

    The artist; Mrs. Francis Ormond, his sister; to MFA, 1937, gift of Mrs. Francis Ormond.

    Credit Line

    Gift of Mrs. Francis Ormond

    Details

    Dimensions

    Overall: 80 x 58.7cm (31 1/2 x 23 1/8in.)

    Accession Number

    37.49

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • René Maizeroy

    about 1882
    Edouard Manet (French, 1832–1883)

    Description

    Inscription

    Lower right: manet

    Provenance

    1902, Bernheim-Jeune, Paris [see note 1]. By 1910, Eben Dyer Jordan (b. 1857 - d. 1916), Boston [see note 2]; 1916, by descent to his son, Robert Jordan (d. 1932), Paris; 1932, by inheritance to his widow, Mrs. Robert Jordan, Paris; 1937, gift of Mrs. Robert Jordan to the MFA. (Accession Date: October 14, 1937) NOTES: [1] According to a letter from Charles Cunningham, Assistant Curator of Paintings, MFA, to Robert M. Levy, Jacques Seligmann and Co., Inc., New York (October 19, 1937) in the MFA curatorial file. Cunningham conjectures that the painting may have passed from Bernheim-Jeune to Eben Dyer Jordan, though this cannot be substantiated. [2] Mr. Dyer lent the painting to the MFA in 1910.

    Credit Line

    Presented in memory of Robert Jordan by his wife

    Details

    Dimensions

    56.2 x 35 cm (22 1/8 x 13 3/4 in.)

    Accession Number

    37.621

    Medium or Technique

    Pastel on canvas

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Pastels

    More Info
  • William J. Stillman

    1870
    Dante Gabriel Rossetti (English, 1828–1882)

    Description

    Inscription

    Lower right: G D R (in monogram) 1870

    Provenance

    1927, gift of Michael Spartali Stillman. (Accession Date: November 3, 1927)

    Credit Line

    Gift of Michael Spartali Stillman in memory of his mother, Marie Spartali Stillman

    Details

    Dimensions

    65.4 x 51.5 cm (25 3/4 x 20 1/4 in.)

    Accession Number

    27.571

    Medium or Technique

    Pastel on two sheets of paper joined and mounted on cardboard

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Pastels

    More Info
  • Hamlet

    about 1864
    William Morris Hunt (American, 1824–1879)

    Description

    Provenance

    The artist; to Louisa D. (Mrs. William Morris) Hunt, wife of the artist; to Paul Hunt, Elinor Hunt Diederich, and Enid Hunt Slater, her children; descended in family; to MFA, 2000, partial gift of WIlliam Morris Hunt II.

    Credit Line

    Partial gift of William Morris Hunt II

    Details

    Dimensions

    239.39 x 146.37 cm (94 1/4 x 57 5/8 in.)

    Accession Number

    2000.1231

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Self-Portrait

    1880–85
    James Wells Champney (American, 1843–1903)

    Description

    Provenance

    Maxim Karolik, Newport; Gift to MFA November 13, 1958

    Credit Line

    Gift of Maxim Karolik for the M. and M. Karolik Collection of American Watercolors and Drawings, 1800–1875

    Details

    Catalogue Raisonné

    Karolik (1962) cat. 138, colorplate 1

    Dimensions

    Image within margins: 34.3 x 23.5 cm (13 1/2 x 9 1/4 in.) Sheet: 34.8 x 24.1 cm (13 11/16 x 9 1/2 in.)

    Accession Number

    58.1081

    Medium or Technique

    Transparent and opaque watercolor on paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • Josiah Johnson Hawes, Self-Portrait as an Old Man

    about 1895
    Josiah Johnson Hawes (American, 1808–1901 American)

    Description

    Provenance

    W. G. Russell Allen, Boston (1882-1955); his bequest to the MFA, accessioned 2004.

    Credit Line

    Bequest of W. G. Russell Allen

    Details

    Dimensions

    Image/mount: 17.2 x 12.8 cm (6 3/4 x 5 1/16 in.)

    Accession Number

    2004.127

    Medium or Technique

    Photograph, albumen print mounted on board

    Not On View

    Collections

    Americas, Photography

    Classifications

    Photographs

    More Info
  • Portrait of a Man Wearing a Fedora

    1941
    Jose Ignacio Aguirre (Mexican, 1900–1990 Mexican)

    Description

    Inscription

    In ink, l.r.: Ign. Aguirre

    Provenance

    the artist, Mexico City, to Edwin L. and Vivian Mayer, Oakland, CA; to Nina Mayer, Newton, MA; from whom given to the MFA June 23, 2004

    Credit Line

    Gift of Nina Mayer in honor of Edwin L. Mayer and Vivian Mayer

    Details

    Dimensions

    Sheet: 18 x 24 cm (7 1/16 x 9 7/16 in.) Mount: 40 x 33 cm (15 3/4 x 13 in.)

    Accession Number

    2004.490

    Medium or Technique

    Ink wash on paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Drawings

    More Info
  • Ainu Man with a Gun

    Custom of Hokkaido Tribe

    Japanese
    Taisho-early Showa era
    Artist Unknown, Japanese

    Place of Creation: Japan

    Description

    Provenance

    ex. Jaeger Collection Leonard A. Lauder Collection, Museum of Fine Arts, Boston, Fractional gift of Lauder (Accession date: March 20, 2002).

    Credit Line

    Leonard A. Lauder Collection of Japanese Postcards

    Details

    Dimensions

    Overall: 13.8 x 8.8 cm (5 7/16 x 3 7/16 in.)

    Accession Number

    2002.7697

    Medium or Technique

    Collotype; ink on card stock

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Postcards

    More Info
  • Nouveau Riche Gentleman's Outing on New Year's Day (Nenga no odekake)

    Postcard of a man and two servants at the porch

    Japanese
    Taisho - early Showa era
    Iizawa Ten'yo (Japanese, dates unknown Japanese), Printer Tokyo Printing Company (Tokyo insatsu kabushiki kaisha) (Japanese)

    Place of Creation: Japan

    Description

    Provenance

    Ex. Jaeger Collection Leonard A. Lauder Collection, Museum of Fine Arts, Boston, Fractional gift of Lauder (Accession date: March 20, 2002).

    Credit Line

    Leonard A. Lauder Collection of Japanese Postcards

    Details

    Dimensions

    Overall: 8.8 x 13.8 cm (3 7/16 x 5 7/16 in.)

    Accession Number

    2002.2810

    Medium or Technique

    Color collotype; ink on card stock

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Postcards

    More Info
  • New Techniques for a Beautiful Moustache (Shin'an bihatsu jutsu) from Ehagaki sekai

    Postcard of a sleeping man with moustache with baloons in the bed

    Japanese
    Late Meiji era
    1908
    Artist Unknown, Japanese, Publisher Kokkei shinbun sha (Japanese)

    Place of Creation: Japan

    Description

    Provenance

    Ex. Jaeger Collection Leonard A. Lauder Collection, Museum of Fine Arts, Boston, Fractional gift of Lauder (Accession date: March 20, 2002); ex. Jaeger Collection

    Credit Line

    Leonard A. Lauder Collection of Japanese Postcards

    Details

    Dimensions

    Overall (trimmed): 13.8 x 8.8 cm (5 7/16 x 3 7/16 in.)

    Accession Number

    2002.2151

    Medium or Technique

    Color lithograph; ink on card stock

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Postcards

    More Info
  • The Fourth Oriental Head

    A Young Man in a Mezetin Cap (The Fourth Oriental Head)

    1635
    Rembrandt Harmensz. van Rijn (Dutch, 1606–1669)

    Description

    Provenance

    Wilhelm Koller (died 1871, Vienna, Lugt 2632); probably included in his sale, Vienna, Posonyi, 5 February 1872 (and following days); Henry F. Sewall (1816-1896, New York, Lugt 1309); purchased by MFA, November 1897.

    Credit Line

    Harvey D. Parker Collection—Harvey Drury Parker Fund

    Details

    Catalogue Raisonné

    Bartsch 289; Hind 134 ii

    Dimensions

    Platemark: 15.7 x 13.5 cm (6 3/16 x 5 5/16 in.) Sheet: 16.1 x 13.9 cm ( 6 5/16 x 5 1/2 in.)

    Accession Number

    P666

    Medium or Technique

    Etching

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Male effigy cache figure

    Muisca
    A.D. 1100–1550

    Place of Origin: Departments of Cundinamarca & Boyacá, Colombia

    Description

    Standing male figure holding a spear thrower. His open-work headdress includes three rings for attaching adornments (now lost), and he wears spiral ear flares and a multiple-strand necklace.

    Provenance

    Collected by Joaquin Arciniégas, Colombia, by March 1, 1906 (to San José, Costa Rica by May 23, 1908; to San Salvador, El Salvador by June 19, 1916); sold to Doctor Daniel Villatoro Rugama, San Salvador, El Salvador, August 6, 1929; sold to Oliverio Girondo, Paris, January 10, 1930 (to Argentina probably after 1946); with Leon Buki, Buenos Aires, Argentina by January 2, 1975; with Alphonse Jax, New York, by February 1975; to Landon T. Clay, Boston; to MFA, March 12, 1975, gift.

    Credit Line

    Gift of Landon T. Clay

    Details

    Dimensions

    16.51 cm (6 1/2 in.)

    Accession Number

    1975.48

    Medium or Technique

    Gold and copper alloy

    Not On View

    Collections

    Americas

    Classifications

    Ritual Objects

    More Info
  • The Bone Player

    1856
    William Sidney Mount (American, 1807–1868)

    Description

    William Sidney Mount’s The Bone Player combines elements of portraiture and genre painting, both fields for which he was well known. Born on Long Island, Mount apprenticed with his brother, a portrait and sign painter, and then studied at the National Academy of Design in New York; by 1856 he was well established as one of America’s leading artists. Mount painted The Bone Player after receiving a commission from the printers Goupil and Company for two pictures of African American musicians, to be lithographed for the European market. These became the last in a series of five life-size likenesses of musicians that Mount executed between 1849 and 1856.
    Scholars have differed over whether this image, painted just five years before the Civil War when tensions over slavery were high, is a typical nineteenth-century stereotyped depiction of an African American or a sensitive portrait of an individual. On the one hand, Mount titled the picture The Bone Player, indicating that it was his sitter’s musical skill, rather than his individual identity, that was the painting’s subject. The bones [1989.132a-d]—bars of ivory, wood, or bone clicked together—were an instrument associated with African American minstrels, a type recognizable to American and European audiences. Popular theories of evolution considered African Americans more intuitive than Caucasians and therefore more in touch with their natural musical talents. Mount knew that pictures of such African American types would sell: they appealed to Europeans because of their exoticism and to Americans because they were considered distinctly American. Moreover, Mount was not an abolitionist and so unlikely to challenge African American stereotypes.

    On the other hand, Mount carefully delineated his subject’s distinctive physical characteristics, such as his high cheekbones, white teeth, and neat mustache, treating him as an individual and not a type. Unlike the depictions of African Americans in contemporary genre painting, which often employed caricature, this sitter is life-size, making the viewer relate to him as a fellow human being. Mount himself played the violin and loved music. His personal interest in the subject may explain his portraits of musicians, the first of which depicts a Caucasian subject and thus does not involve African American stereotypes.

    In the end, the most convincing conclusion about this painting is that both interpretations have merit. Mount was walking a fine line between stereotyping and individualism, between genre painting and portraiture. His equivocation makes sense, for he executed the work when debate over slavery was intense. Whatever his political affiliations, Mount was primarily a painter trying to support himself through his art. In The Bone Player, he created a work that could be interpreted in different ways and thus appeal to buyers in both the North and the South, as well as abroad. Yet despite its ambiguity, the painting is still unprecedented in the humanity it affords its African American subject.

    This text was adapted from Elliot Bostwick Davis et al., American Painting [http://www.mfashop.com/9020398034.html], MFA Highlights (Boston: MFA Publications, 2003).

    Inscription

    Lower right, on box: Wm. S. Mount. 1856; Reverse, before relining: The Bone Player/Painted by Wm. S. Mount/1856

    Provenance

    By 1858, sold by the artist to John D. Jones for $200; by 1942, descended in the Jones family to Edith Carpender (Mrs. Edward H.) Floyd-Jones (1880-1952), New York and Long Island. 1943, sold by C. W. Lyon, Inc., New York to Maxim Karolik, Newport, R.I.; 1948, bequest of Martha C. (Mrs. Maxim) Karolik to the MFA. (Accession Date: June 3, 1948)

    Credit Line

    Bequest of Martha C. Karolik for the M. and M. Karolik Collection of American Paintings, 1815–1865

    Details

    Dimensions

    91.76 x 73.98 cm (36 1/8 x 29 1/8 in.)

    Accession Number

    48.461

    Medium or Technique

    Oil on canvas

    On View

    David and Stacey Goel Gallery (Gallery 239)

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Portrait of a Man Holding a Book

    about 1540
    Titian (Tiziano Vecellio) (Italian (Venetian), about 1488–1576)

    Description

    Titian was one of the first painters to use canvas as a support for nearly all of his portraits. He exploited the texture of the fabric as well as the three-dimensional properties of oil paint to create broken strokes and bold touches. In this portrait, Titian’s red-haired sitter is unidentified, but his book and sword proclaim his learning and noble status. He wears an ostentatious costume with prominent slashes, decorative aglets, and cuffs and collar dotted with pearls. Unlike Titian, he probably wasn’t Venetian—Venetian men of this period preferred solid colored robes.

    Inscription

    Lower left: Ticianus

    Provenance

    Until 1650, possibly the Oneto family, Genoa [see note 1]; 1650, possibly brought by Don Giovan Stefano Oneto and Don Agostino Oneto from Genoa to Palermo, Sicily; by descent within the Oneto family to Don Giuseppe Oneto e Lanza (d. 1852), Duke of Sperlinga, Palermo and Naples; 1864, sold by the heirs of Oneto e Lanza to the Count of Francavilla, Palermo; by descent to his son, Luigi Maria Majorca Mortillaro, Count of Francavilla, Palermo, who owned it until at least 1901 [see note 1]. Thos. Agnew and Sons, Ltd., London [see note 2]. Trotti et Companie, Paris [see note 3]. By 1907, purchased in Paris by Cottier and Company, New York [see note 4]; April 29, 1907, sold by Cottier to Frederick Bayley Pratt (b. 1865 - d. 1945), Brooklyn; April 3, 1943, sold by Pratt to Knoedler and Co., New York (stock no. A2555) and Pinakos, Inc., New York; 1943, sold by Knoedler and Pinakos to the MFA for $70,000. (Accession Date: April 8, 1943) NOTES: [1] The provenance given here (to 1901) is taken from Luigi Maria Majorca Mortillaro, "Ritratto di Giovan Paolo Baglione, Signore di Perugia, dipinto da Tiziano esistente in Palermo nella Galleria Francavilla" (Palermo: Alberto Reber, 1901), written when the painting was in the author's possession. [2] According to a letter from Charles R. Herschel, Knoedler, to W. G. Constable, MFA (April 13, 1943, in MFA curatorial file), "Agnew bought the picture in Palermo from the Count of Francovilla" [sic]. Agnew stockbooks (Getty Research Institute, Records of Thos. Agnew and Sons Ltd., 1852-1938, Microfiche no. 32) record a "Portrait of a Man" by Titian, stock no. 2214, that was sold by dealer Arthur Sulley to Agnew on May 6, 1907, and sold by Agnew to the Paris dealer Alexandre Imbert on July 22, 1907. These transactions postdate the documented acquisition of the painting by Frederick Bayley Pratt, making it difficult to identify with the MFA painting. [3] According to Harold E. Wethey, "The Paintings of Titian," vol. 2, "The Portraits" (London: Phaidon, 1971), p. 106, cat. no. 47. [4] John C. Van Dyke confirmed in letters to James Inglis of Cottier (April 25, 1907) and Frederick Pratt (April 27, 1907) that he saw the painting in Paris with Mr. Inglis, and that his admiration for it may have influenced Mr. Inglis's buying it for Cottier and Co. Whether it was purchased at Trotti is not known.

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    97.8 x 77.2 cm (38 1/2 x 30 3/8 in.)

    Accession Number

    43.83

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Portrait of a Man and a Boy (Count Alborghetti & Son)

    about 1545–50
    Giovanni Battista Moroni (Italian (Bergamese), about 1520–1578)

    Description

    Provenance

    By 1800, Teodoro Lechi (b. 1778 - d. 1866), Brescia; 1802, sold by Lechi to Richard Vickris Pryor (d. 1805), Blaire's Castle, near Bristol (painting probably remained in Italy) [see note 1]. Alborghetti collection, Bergamo; sold by Alborghetti family to Henry Doetsch (d. by 1895), London [see note 2]; June 22-25, 1895, posthumous Doetsch sale, Christie's, London, lot 63, to Colnaghi and Murray (joint account) [see note 3]; 1895, sold by Colnaghi to Bernard Berenson for the MFA for $3079. (Accession Date: December 1, 1895) NOTES: [1] This is the address given on the sale contract. No such castle now exists; perhaps Blaise Castle was intended. Pryor did not take the paintings back to England. He may have sold some in Rome in 1803; others remained in Milan with Francesco Ciceri, who managed the 1802 sale, and were dispersed after his death in 1834. See Nicholas Penny, The Sixteenth Century Italian Paintings, vol. 1, Paintings From Bergamo, Brescia and Cremona, National Gallery Catalogues series (London: National Gallery Company, 2004), pp. 197, 386-387. [2] According to the catalogue of the Doetsch sale ("Catalogue of the Highly Important Collection of Pictures by Old Masters of Henry Doetsch, Esq.," Christie, Manson, and Woods, London, June 22-25, 1895, p. 18, lot 63). [3] Sold as "Portraits of Count Alborghetti of Bergamo and his Son." Information about the buyers was provided by the Getty Provenance Index.

    Credit Line

    Museum purchase with funds donated by Mrs. Turner Sargent (Amelia J. Holmes)—Turner Sargent Fund

    Details

    Dimensions

    98.1 x 83.5 cm (38 5/8 x 32 7/8 in.)

    Accession Number

    95.1371

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Orestes A. Brownson

    1863
    George Peter Alexander Healy (American, 1813–1894)

    Description

    Inscription

    Center right: G.P.A. Healy/Chicago, 1863.;

    Provenance

    The artist; to Louisa (Mrs. G.P.A.) Healy, Chicago, the artist's wife, after 1863; to MFA, 1895, gift of Mrs. Louisa Healy.

    Credit Line

    Gift of Mrs. Louise Healy

    Details

    Dimensions

    140.97 x 111.12 cm (55 1/2 x 43 3/4 in.)

    Accession Number

    95.1368

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • The Master Smith of Lyme Regis

    1895
    James Abbott McNeill Whistler (American (active in England), 1834–1903)

    Description

    Inscription

    Center right: butterfly cartouche

    Provenance

    1895, with Wunderlich Galleries, New York; 1896, sold by Wunderlich Galleries to the MFA together with 96.950 for $7,200. (Accession Date: January 11, 1896)

    Credit Line

    Warren Collection—William Wilkins Warren Fund

    Details

    Dimensions

    51.43 x 31.11 cm (20 1/4 x 12 1/4 in.)

    Accession Number

    96.951

    Medium or Technique

    Oil on canvas

    On View

    Robert P. and Carol T. Henderson Gallery (Gallery 228)

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Self Portrait

    1866
    William Morris Hunt (American, 1824–1879)

    Description

    Inscription

    Lower right: WMH./1866- [WMH in monogram]; Reverse: W M Hunt./No 6-/No 5/ portrait de-/W M Hunt./Etats Unis/d'Amerique./No 2 Rue Chateau des Fleurs./PARIS.

    Provenance

    The artist; Mrs. Eleanor Hunt Diederich; to MFA, 1897, purchased for $2,500.

    Credit Line

    Warren Collection—William Wilkins Warren Fund

    Details

    Dimensions

    77.15 x 64.77 cm (30 3/8 x 25 1/2 in.)

    Accession Number

    97.63

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • William Ellery Channing

    1811
    Washington Allston (American, 1779–1843)

    Description

    Provenance

    The artist; to William Ellery Channing, 1811; to William Francis Channing, his son, 1842; to MFA, 1897, gift of William Francis Channing.

    Credit Line

    Gift of William Francis Channing

    Details

    Dimensions

    79.37 x 70.17 cm (31 1/4 x 27 5/8 in.)

    Accession Number

    97.65

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Alexander Moseley

    1880s
    Frederic Porter Vinton (American, 1846–1911)

    Description

    Provenance

    The artist; to Alexander Moseley; to MFA, 1900, bequest of Alexander Moseley.

    Credit Line

    Bequest of Alexander Moseley

    Details

    Dimensions

    133.03 x 107 cm (52 3/8 x 42 1/8 in.)

    Accession Number

    00.373

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • William Lock of Norbury (1732–1810)

    1790
    Sir Thomas Lawrence (English, 1769–1830)

    Description

    Lawrence was the leading English portraitist at the end of the eighteenth century, in the generation following that of Joshua Reynolds and Thomas Gainsborough. This insightful characterization, painted when Lawrence was only twenty-one, exemplifies the artist’s desire to make portraits with a “living, personal existence.” According to tradition, the portrait was painted in a single sitting and, although unfinished (the hand is only sketched in), it pleased William Lock so much that he rewarded Lawrence with a payment higher than the agreed upon price.

    Provenance

    By 1898, with Arthur Tooth and Sons, London, England [see note 1]; 1898, sold by Arthur Tooth to Denman W. Ross; 1902, gift of Denman Ross to the MFA. (Accession date: October 1, 1902) NOTES: [1] According to Arthur Tooth's bill of sale to Denman W. Ross, March, 1898, this picture was previously in the collection of William Angerstein, a friend of the artist. This is also stated in Arthur Tooth and Sons, "Catalogue of High Class Paintings of the Early English Masters and Barbizon School,"March, 1898.

    Credit Line

    Gift of Denman Waldo Ross as a Memorial to Charles G. Loring

    Details

    Dimensions

    76.3 x 63.7 cm ( 30 1/16 x 25 1/16 in.)

    Accession Number

    02.514

    Medium or Technique

    Oil on canvas

    On View

    Britain, 1750-1800 / Portraits (Gallery 141)

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Turkish Sentinel

    1877
    Charles Bargue (French, about 1825–1883)

    Description

    Bargue and Jean-Léon Gérôme collaborated on a three-volume course on drawing the human figure, intended to guide the novice student preparing to enter a professional workshop. Bargue flaunted his skill as a draughtsman in this jewel-like picture of a Turkish guard. The tiny composition boasts a remarkable range of textures and surfaces, from the gleaming hookah, to the cobbled street, to the soft pleated folds of the figure’s skirt.

    Inscription

    Lower right, on wall: BARGVE / 77

    Provenance

    A. Donatis [see note 1]. 1898, Arnold and Tripp, Paris; 1898, sold by Arnold and Tripp to to Susan Cornelia Clarke (Mrs. Samuel Dennis) Warren (b. 1825 - d. 1901), Boston; January 8, 1903, Mrs. S. D. Warren sale, American Art Association, New York, lot 19, to the MFA for $5,300. (Accession Date: January 13, 1903) NOTES: [1] A label on the reverse of the panel reads: "Collection A. Donatis, No. 1".

    Credit Line

    Bequest of Susan Cornelia Warren

    Details

    Dimensions

    28 x 21 cm (11 x 8 1/4 in.)

    Accession Number

    03.601

    Medium or Technique

    Oil on panel

    Not On View

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Old Man in Prayer

    Circle Of Rembrandt Harmensz. van Rijn (Dutch, 1606–1669)

    Description

    Provenance

    1775, possibly John Bertels (d. 1792), Brussels and London; April 8, 1775, possibly in the Bertels sale, Walsh, London, lot 54 [see note 1]. About 1902, private collection, Worcestershire, England; about 1902, sold from the private collection to F. Newcombe (d. 1911), Bristol, England; 1902, sold by Newcombe to Whitworth Wallis (b. 1855 - d. 1927), Birmingham, England [see note 2]; 1903, sold by Wallis, through Charles Deschamps and Walter Gay, to the MFA for $22,218. (Accession Date: July 16, 1903) NOTES: [1] The MFA painting has been tentatively identified with Rembrandt, "An Old Man's Head," measuring 28 x 22 1/2 inches, that was included in the John (Jean) Bertels sale in 1775. [2] In a letter from Whitworth Wallis to Walter Gay (April 28, 1903), he said that he did not have any provenance for the painting beyond the fact that "it was shown to me last year and it came out of an old Worcestershire mansion -- which I am told was the Bishop's Palace." A letter from H. W. Maxwell, Bristol Museum and Art Gallery to the MFA (January 26, 1939) indicates that F. Newcomb's son recalled that his father acquired the painting "at a sale at a private house in the Midlands about 1906 [sic] and that afterwards sold it to the late Sir Whitworth Wallis."

    Credit Line

    Arthur Rotch Fund

    Details

    Catalogue Raisonné

    Bredius 73; RRP C 20

    Dimensions

    75.3 x 59.7 cm (29 5/8 x 23 1/2 in.)

    Accession Number

    03.1080

    Medium or Technique

    Oil on panel

    On View

    Art of the Netherlands in the 17th Century Gallery (Gallery 242)

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    Europe

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  • Fray Hortensio Félix Paravicino

    1609
    El Greco (Domenikos Theotokopoulos) (Greek (active in Spain), 1541–1614)

    Description

    El Greco was born on Crete and trained in Italy before emigrating in his thirties to Spain. Best known for his intense and spiritual religious paintings, El Greco was also a perceptive and powerful portraitist. Paravicino, a close friend of the artist, was an important theologian, orator, and poet. Limiting the colors almost entirely to the black and white of the friar’s habit, El Greco created a subtle and compelling image that emphasizes psychological rather than physical presence. The work was purchased in 1904 on the recommendation of John Singer Sargent, another great portraitist and an admirer of Spanish art.

    Inscription

    Center right: domenikos theotokopoulos / e'poiei (in Greek characters)

    Provenance

    By 1724, Duque de Arcos, Madrid [see note 1]. By 1786, Convent of San Hermenegildo, Madrid (?) [see note 2]. Until 1904, Javier de Muguiro, Madrid; 1904, sold by Muguiro to the MFA for $17,166. (Accession Date: May 1, 1904) NOTES: [1] According to notes in the MFA curatorial file, Antonio Palomino recorded the painting there in 1724; see his "El Parnaso Español" vol. 3 (1724), p. 287. [2] According to notes in the MFA curatorial file, this painting was listed in the inventory of the convent in 1786.

    Credit Line

    Isaac Sweetser Fund

    Details

    Dimensions

    Overall: 112.1 x 86.1cm (44 1/8 x 33 7/8in.) Framed: 152.4 x 125.1 cm (60 x 49 1/4 in.)

    Accession Number

    04.234

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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    Europe

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    Paintings

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  • Philip IV, King of Spain

    1624
    Workshop of Diego Rodríguez de Silva y Velázquez (Spanish, 1599–1660)

    Description

    Closely resembles and is possibly after a painting in the Metropolitan Museum of Art, New York (no. 14.40.639)

    Provenance

    By 1892, with Luis de Navas, Madrid [see note 1]; 1904, sold by Navas, possibly on behalf of Don Francisco María de Borbón y Castellvi (b. 1853 - d. 1942), Madrid, to Denman Waldo Ross for the MFA for $41,222 [see note 2]. (Accession Date: November 7, 1904) NOTES: [1] This is probably the "Portrait of Philip IV" by Velázquez that Navas lent in 1892-1893 to the Exposition Historico-Europea, Madrid, Sala XXIV, cat. no. 105. [2] The ownership of this painting prior to 1904 has not been firmly established. During a trip to Madrid in September 1904, Denman Waldo Ross came across a photograph of this painting at the home of Luis de Navas, who arranged for Ross to see it at the home of its owner, the "Prince of Bourbon (Duke of Anjou)." In fact, this was probably Francisco María de Borbón y Castellvi, who claimed (but did not legitimately bear) the titles of Duke of Anjou and Prince of Bourbon. On October 1, 1904, he provided a statement (signed as François, Duke de Bourbon) of its sale to Ross, indicating that it had been the property of his family. In November 1904, H. O. Havemeyer received an anonymous letter (Paris, October 13, 1904) alleging that, in fact, Luis de Navas had owned the painting and fabricated its provenance in order to sell it more readily. A letter to the editor of the New York Sun from A. de Beruete, a Madrid art critic (January 2, 1905), states that the picture had been in the possession of Luis de Navas since at least 1892, when he lent it to the Historic European Exhibition in Madrid. In fact, it was exhibited under his name, which strongly suggests his ownership; see above, n. 1. In February 1906, the MFA received two letters from the Countess of Carignano, New York, on behalf of the Prince de Bourbon, affirming his former ownership of the painting.

    Credit Line

    Sarah Wyman Whitman Fund

    Details

    Dimensions

    208.6 x 110.2 cm (82 1/8 x 43 3/8 in.)

    Accession Number

    04.1606

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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    Europe

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  • John La Farge

    1891
    Robert Wilton Lockwood (American, 1861–1914)

    Description

    Inscription

    Lower left: Wilton Lockwood 1891

    Provenance

    The artist; to MFA, 1909, purchased for $4,000.

    Credit Line

    The Hayden Collection—Charles Henry Hayden Fund

    Details

    Dimensions

    96.2 x 76.52 cm (37 7/8 x 30 1/8 in.)

    Accession Number

    09.208

    Medium or Technique

    Oil on canvas

    On View

    Robert P. and Carol T. Henderson Gallery (Gallery 228)

    Collections

    Americas

    Classifications

    Paintings

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  • Dudley Williams

    Sir Hubert von Herkomer (English, 1849–1914)

    Description

    Inscription

    Upper left: To my friend / H.D. Williams; Center left: H.H. 83

    Provenance

    About 1883, commissioned by Dudley Williams, Boston, MA; 1910, by inheritance to Hettie B. Williams, Boston, MA; 1910, gift of Hettie B. Williams. (Accession date: September 29, 1910)

    Credit Line

    Gift of Hetty B. Williams

    Details

    Dimensions

    76.5 x 63.5 cm (30 1/8 x 25 in.)

    Accession Number

    10.269

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Marquis de Pastoret

    1829
    Hippolyte Delaroche (French, 1797–1856)

    Description

    Claude-Emmanuel-Joseph-Pierre Pastoret is depicted in the year he became Chancellor of France, the culmination of a brilliant forty-year career in public life. The sitter’s pose is relaxed and his face thoughtful and unidealized, but his prestige and power are emphasized by the billowing, opulent robes of his office. Pastoret wears the insignia of a Grand Officer of the Order of Saint-Esprit around his neck and the Saint Andrew Cross and Legion of Honor medal on his lapel. Pastoret’s son commissioned this portrait from his friend Delaroche, who was primarily a painter of highly detailed historical scenes.

    Inscription

    Lower left: P. DelaRoche; Upper right (now barely visible): CLAUDE EMMANUEL JOSEPH PIERRE / MARQUIS DE PASTORET / CHANCELIER DE FRANCE / TUTEUR DES ENFANTS DE FRANCE

    Provenance

    By 1829, commissioned from the artist by Amédée-David de Pastoret (b. 1791 - 1857) son of the sitter, Claude-Emmanuel Joseph Pierre, Marquis de Pastoret (b. 1755/6 - d. 1840), Marseilles; 1857, by descent to the granddaughter of the sitter, the Marquise du Plessis Bellière (formerly de Pastoret) [see note 1]; May 10-11, 1897, sold by the estate of the Marquise de Plessis Bellière, Hotel Drouot, Paris, lot 25, possibly purchased by Edgar Degas, (b. 1834 - d. 1917), Paris [see note 2]. By 1900, Pierre Decourcelle (b. 1856 - d. 1926), Paris [see note 3]; May 29-30, 1911, Decourcelle sale, Galerie Georges Petit, Paris, lot 11, to the MFA for $6377. (Accession Date: July 6, 1911) NOTES: [1] According to Jean Guiffrey, "Recent Acquisitions of the Department of Painting" in the MFA Bulletin IX.53 (February 1911), pg. 47, upon her death, the Marquise de Plessis Belliere bequeathed all her property to the Pope. A legal decision overruled her will, leading to the public sale of her possessions in 1897. [2] According to Guiffrey, Pg. 47, also "The Private Collection of Edgar Degas," Metropolitan Museum of Art (1997), Cat. no. 442, Pg. 50. [3] P. Decourcelle lent the painting to the Paris Exposition in 1900, no. 230.

    Credit Line

    Susan Cornelia Warren Fund and the Picture Fund

    Details

    Dimensions

    155.3 x 122.6 cm (61 1/8 x 48 1/4 in.)

    Accession Number

    11.1449

    Medium or Technique

    Oil on canvas

    On View

    The Beal Gallery (Gallery 251)

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    Europe

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  • Figurine of a man with cymbals

    Cypriote
    Archaic Period

    Description

    Statuette of man holding cymbals. Gray. Traces of red. Lower part cylindrical.

    Provenance

    By date unknown: with General Luigi Palma di Cesnola (from Cyprus); May 16, 1872: purchased by MFA from General Luigi Palma di Cesnola for $ 1,704.39 (this figure is the total price for MFA 72.1-72.473 and 72.4871-72.4900)

    Credit Line

    Museum purchase with funds donated by subscription

    Details

    Dimensions

    14 cm (5 1/2 in.)

    Accession Number

    72.150

    Medium or Technique

    Terracotta

    Not On View

    Collections

    The Ancient World

    Classifications

    Sculpture

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  • Figurine of a man leaning against a pillar

    Greek

    Place of Manufacture: Tanagra, Boiotia, Greece

    Description

    Statuette of a fully draped man; he leans against a pillar. Uncolored.

    Credit Line

    Gift of Thomas Gold Appleton

    Details

    Dimensions

    20.3 cm (8 in.)

    Accession Number

    79.9

    Medium or Technique

    Terracotta

    Not On View

    Collections

    Europe, The Ancient World

    Classifications

    Sculpture

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  • Portrait of a Man Wearing a Black Hat

    1634
    Rembrandt Harmensz. van Rijn (Dutch, 1606–1669)

    Description

    Inscription

    Lower right : Rembrandt fe / 1634

    Provenance

    Baron François-Florentin-Achille de Seillière (b. 1813 - d. 1873) [see note 1]; by descent to his daughter, Anne Alexandrine Jeanne Jeanne Marguérite Seillière (b. 1839 - d. 1905), Princess Sagan, Paris; 1889, sold by Princess Sagan to Durand-Ruel, Paris [see note 2]. 1889, Cottier and Co., London and New York [see note 3]; sold by Cottier to Frederick Lothrop Ames (b. 1835 - d. 1893), Boston; by descent to his widow, Rebecca (Mrs. Frederick L.) Ames (b. 1835 - d. 1905), Boston; 1893, gift of Mrs. Frederick L. Ames to the MFA. (Accession Date: December 12, 1893) NOTES: [1] First published as in the Seillière collection by C. Vosmaer, "Rembrandt: sa vie et ses oeuvres" (The Hague, 1877), p. 503; also see Alfred von Wurzbach, "Rembrandt - Galerie" (Stuttgart, 1886), p. 75, no. 320. [2] "Current News in the Fine Arts," New York Times, December 24, 1893, p. 13. [3] The Studio, n.s., vol. 4, no. 11 (October, 1889), p. 176.

    Credit Line

    Gift of Mrs. Frederick L. Ames, in the name of Frederick L. Ames

    Details

    Catalogue Raisonné

    Bredius 197; RRP C 72

    Dimensions

    69.9 x 53 cm (27 1/2 x 20 7/8 in.)

    Accession Number

    93.1475

    Medium or Technique

    Oil on panel

    On View

    Art of the Netherlands in the 17th Century Gallery (Gallery 242)

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    Europe

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  • Drinking cup (kylix) depicting a man holding a basket, a pot and a staff

    Greek
    Late Archaic Period
    about 485–480 B.C.
    Onesimos

    Place of Manufacture: Athens, Attica, Greece

    Description

    Interior: A bearded, wreathed man with short, curly hair and a receding forehead and a snub nose, leans over with left knee bent, and carries in his right hand a large cauldron inscribed in Greek “the boy” (HO PAIS) and in his right hand he holds a basket and staff. In field inscribed “the boy is handsome” (HOPAIS KALOS).

    Exterior side A: Horse standing beside a tree, a hat of skin hangs on a branch. On either side of the horse ia a youth, one nude, the other wrapped in a himation. The nude boy is holding the horse’s reigns.

    Exterior side B: Two horses face to face. A youth between them.

    Condition: Side B is much damaged. Considerably restored.

    Inscription

    Inscribed: "The boy is handsome" (HO PAIS KALOS); On bucket: "The boy" (HO PAIS) On the pot in the right hand of the man: ΗΟΠΑΙS Interior: ΗΟΠΑΙS ΚΑLΟΣ

    Provenance

    By 1894: with Edward Perry Warren (according to his records: bought at Chiusi); 1895: purchased by MFA from Edward Perry Warren for $ 29,857.37 (this figure is the total price for MFA 95.9-95.174)

    Credit Line

    Catharine Page Perkins Fund

    Details

    Catalogue Raisonné

    Caskey-Beazley, Attic Vase Paintings (MFA), no. 081.

    Dimensions

    Height: 8 cm (3 1/8 in.); diameter: 22.2 cm (8 3/4 in.)

    Accession Number

    95.29

    Medium or Technique

    Ceramic, Red Figure

    On View

    Greek Archaic Gallery (Gallery 113)

    Collections

    The Ancient World

    Classifications

    Vessels

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  • Figure of a man with fruit

    about 1760
    Made at Bow Manufactory (England)

    Object Place: England

    Description

    Figure of a man with fruit. Leaning against tree trunk on which are applied flowers. Wearing yellow lined pink flowered frock coat, figured vest & knee breeches. Holds in right hand blue apron filled with fruits & leaves, in left hand black tricorne hat.

    Provenance

    Lady Charlotte Schreiber; George Washington Wales; 1903, bequest of George Washington Wales to the MFA.

    Credit Line

    Bequest of George Washington Wales

    Details

    Dimensions

    34.93 cm (13 3/4 in.)

    Accession Number

    03.329

    Medium or Technique

    Ceramic

    Not On View

    Collections

    Europe

    Classifications

    Ceramics, Porcelain

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  • Portrait of a Man in a Brown Coat

    Francisco Goya y Lucientes (Spanish, 1746–1828)

    Description

    Provenance

    1910, with the Walter Kimball Gallery, Boston [see note 1]; probably sold by Kimball to Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1927), Boston; 1910, gift of Mrs. W. Scott Fitz to the MFA. (Accession Date: February 17, 1910) NOTES: [1] Mrs. Fitz wrote to Arthur Fairbanks, Director of the MFA (February 16, 1910), offering as a gift "the portrait by Goya that is now on exhibition at the Kimball Gallery on Arlington St." The reverse of the frame also bears a label from the Kimball Gallery.

    Credit Line

    Gift of Mrs. W. Scott Fitz

    Details

    Dimensions

    105.4 x 83.2 cm (41 1/2 x 32 3/4 in.)

    Accession Number

    10.33

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Standing figure of man from a model

    Egyptian
    Middle Kingdom, Dynasty 11–13
    2061–1640 B.C.

    Findspot: Sheikh Farag, Egypt

    Description

    This figure from a wooden model depicts a striding man with left leg advanced. He wears a short, black wig and a long, white kilt. The skin is painted a reddish-brown. The eyes are detailed in black and white. The arms are carved as separate components and attached to the shoulders with dowels. The left side of the head is broken off.

    Provenance

    From Sheikh Farag, S.F.187. Excavated by the Harvard University–Boston Museum of Fine Arts Expedition; assigned to the MFA in the division of finds by the government of Egypt. (Accession Date: December 4, 1913)

    Credit Line

    Harvard University—Boston Museum of Fine Arts Expedition

    Details

    Dimensions

    Height: 17.5 cm (6 7/8 in.)

    Accession Number

    13.3849

    Medium or Technique

    Wood

    Not On View

    Collections

    The Ancient World

    Classifications

    Models

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  • An Elegant Man Seated under a Willow Tree

    Indian, Mughal
    Mughal period
    1600–05
    Attributed to Aqa Riza (Persian, active in India about 1580–1620)

    Object Place: possibly Lahore, Northern India or Pakistan

    Description

    Inscription

    Inscription by tree says "Raqm Agha Riza Murid Bakhlas," identifying the artist as Aqa Riza

    Provenance

    By 1912, Victor Goloubew (b. 1879 - d. 1945), Paris [see note 1]; 1914, sold by Goloubew through M. Meyer-Riefstahl to the MFA for $76,999.81 (total price for 14.532-700). (Accession Date: June 4, 1914) NOTES: [1] Victor Goloubew was born in Russia but lived in Paris by the time of this acquisition. He formed this collection of Persian and Indian miniature paintings and exhibited it at the Musée des Arts Décoratifs in Paris from 1912 to 1914 (Paull, Florence Virginia. "The Goloubew Collection of Persian and Indian Paintings." Museum of Fine Arts Bulletin. Vol. XIII. No. 74. (February 1915) 1-16).

    Credit Line

    Francis Bartlett Donation of 1912 and Picture Fund

    Details

    Dimensions

    14.7 x 8.2 cm (5 13/16 x 3 1/4 in.)

    Accession Number

    14.609

    Medium or Technique

    Opaque watercolor and gold on paper

    Not On View

    Collections

    Asia

    Classifications

    Paintings

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  • Young Man Standing in Blue Gown

    Persian
    Safavid Period
    late 17th century
    Muhammad Yusuf (Persian, worked 1630s–1660s)

    Object Place: Islamic World

    Description

    Inscription

    signed "Muhammad Yusuf Husain Jami"

    Signed

    signed "Muhammad Yusuf Husain Jami"

    Provenance

    By 1912, Victor Goloubew (b. 1879 - d. 1945), Paris [see note 1]; 1914, sold by Goloubew through M. Meyer-Riefstahl to the MFA for $76,999.81 (total price for 14.532-700). (Accession Date: June 4, 1914) NOTES: [1] Victor Goloubew was born in Russia but lived in Paris by the time of this acquisition. He formed this collection of Persian and Indian miniature paintings and exhibited it at the Musée des Arts Décoratifs in Paris from 1912 to 1914 (Paull, Florence Virginia. "The Goloubew Collection of Persian and Indian Paintings." Museum of Fine Arts Bulletin. Vol. XIII. No. 74. (February 1915) 1-16).

    Credit Line

    Francis Bartlett Donation of 1912 and Picture Fund

    Details

    Dimensions

    8.4 x 17.7 cm

    Accession Number

    14.637

    Medium or Technique

    Paper; painting on paper

    Not On View

    Collections

    Asia

    Classifications

    Books and manuscripts

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  • Head on an Old Man

    mid to late 16th century
    Style of Baccio Bandinelli (Italian, 1493–1560)

    Description

    Provenance

    Marquis Charles de Valori (1820-1883, Paris, Lugt 2500); his heirs; sale of his collection, Paris, Roblin, purchased through Mr. Walter Gay.

    Credit Line

    Francis Bartlett Donation of 1912

    Details

    Catalogue Raisonné

    Macandrew 101

    Dimensions

    Sheet: 25.5 x 19.1 cm (10 1/16 x 7 1/2 in.)

    Accession Number

    15.1242

    Medium or Technique

    Pen and brown ink heightened with white, on buff paper

    Not On View

    Collections

    Prints and Drawings

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    Drawings

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  • Young Man in Oriental Costume

    Follower of Ferdinand Bol (Dutch, 1616–1680)

    Description

    Provenance

    Possibly with a Colonel (William?) Hope, London [see note 1]. 1803, with Mr. White, London; March 4, 1803, White and others sale, Christie's, London, 87, to Woodburn (probably John Woodburn), London for £136.10 [see note 2]; April 5-6, 1805, John Woodburn and others sale, Phillip's, London, lot 92, to Philip Metcalfe (b. 1733 - d. 1818), London for £105 [see note 3]; by descent to his great-nephew, Henry Metcalfe (b. 1791 - d. by 1850), London; June 15, 1850, posthumous Metcalfe sale, Christie's, London, lot 32, bought in [see note 4]; by descent within the family until the 20th century [see note 5]. December 11, 1909, anonymous ("property of a gentleman") sale, Christie, Manson and Woods, London, lot 146, to Lewis and Simmons, London, for £714 [see note 6]. By 1911 until at least 1913, Charles Sedelmeyer, Paris. 1914, Henry Reinhardt, New York; 1914, sold by Reinhardt, through Louis Ralston, New York, to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston [see note 7]; 1917, bequest of Mrs. Evans to the MFA. (Accession Date: November 1, 1917) NOTES: [1] Charles Sedelmeyer wrote to Lionel Cust (March 24, 1915) after the painting had been sold to Mrs. Evans that "the person who sold it to me told me that he learned this picture ... belonged once to a Colonel Hope" and Sedelmeyer speculated that it had come from the Clinton-Hope collection. That it was with William Hope is according to Hofstede de Groot, A Catalogue Raisonné of the works of the most eminent Dutch Painters of the Seventeenth Century, vol. 6 (London, 1916), cat. no. 29. Neither of these suggestions has been verified. [2] As Rembrandt, "Portrait of a Turkish Nobleman." [3] As Rembrandt, "A capital Portrait of Belthazer." Information about the identity of the seller is taken from the Getty Provenance Index (sale catalogue Br-322). [4] As Rembrandt, "A Man in an Oriental Dress and Turban." [5] According to a letter from Charles Sedelmeyer to Lionel Cust (April 9, 1915), the painting remained in the Metcalfe family for "more than a century" until it was put up for sale in 1909. [6] Whether the seller was a descendant of the Metcalfe family (as suggested by Sedelmeyer; as above, n. 5) is not clear. It sold as Rembrandt, "Portrait of an Oriental Prince." The buyer has also been recorded as "Smith." [7] As Rembrandt, "The Young Samson".

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    151.2 x 123.5 cm (59 1/2 x 48 5/8 in.)

    Accession Number

    17.3231

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Europe

    Classifications

    Paintings

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  • Old Man Seated on a Trunk

    1826
    Jean-Baptiste-Camille Corot (French, 1796–1875)

    Description

    From 1825 to 1828, Corot lived abroad in Italy, where he produced numerous figure studies. Working with local Italian models, Corot often posed his subjects in unadorned interiors, rendering their homely features and modest costumes with tenderness and candor.

    Inscription

    Lower right: COROT; Lower left: Janvier 1826

    Provenance

    Sold by the artist and, about 1872/1873, re-acquired for about 800 fr. [see note 1]; May 26-28, 1875, posthumous Corot sale, Hôtel Drouot, Paris, lot 26, to Febvre (probably Alexis Joseph Febvre, Paris) for 750 fr. 1880, Aimé Diot (d. 1896), Paris; 1880, sold by Diot to Dr. Henry Clay Angell (b. 1829 - d. 1911), Boston; by inheritance to his widow, Martha Bartlett Angell (b. 1833 - d. 1919), Boston; gift of Martha B. Angell to the MFA. (Accession Date: March 20, 1919) NOTES: [1] According to Alfred Robaut, L'Oeuvre de Corot: Catalogue Raisonné et Illustré (Paris, 1905), vol. 2, cat. no. 89. Robaut does not specify from whom Corot re-acquired the painting at this time.

    Credit Line

    The Henry C. and Martha B. Angell Collection

    Details

    Dimensions

    32.1 x 22.9 cm (12 5/8 x 9 in.)

    Accession Number

    19.79

    Medium or Technique

    Oil on paper, mounted on board

    On View

    Polly B. and Richard D. Hill Gallery (Gallery 253)

    Collections

    Europe

    Classifications

    Paintings

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  • Portrait of an Old Man with long beard

    Nicholas Lagneau (French, 1590–1666)

    Description

    Markings

    l.r. Lugt 2600

    Provenance

    Earl of Warwick (181-1893), Warwick castle, Warwick, Lugt 2600. Mrs. Jacob Crownishield Rogers; by whom given to MFA April 21, 1921

    Credit Line

    Gift of Mrs. Jacob Crownishield Rogers in memory of John Pierpont Morgan

    Details

    Dimensions

    Sheet: 33 x 25.5 cm (13 x 10 1/16 in.)

    Accession Number

    21.749

    Medium or Technique

    Black, red, and white chalk on cream antique laid paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

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  • Actor Arashi Ryûzô II (?)

    二代目嵐竜蔵ヵ

    Japanese
    Edo period
    Artist Utagawa Toyokuni I (Japanese, 1769–1825), Publisher Yama-Den (Japanese)

    Description

    Signed

    Toyokuni ga 豊国画

    Markings

    Censor's seal: kiwame 改印:極

    Provenance

    Spring 1913, purchased by William S. and John T. Spaulding from Frank Lloyd Wright in Japan; December 1, 1921, given by William S. and John T. Spaulding to the Museum.

    Credit Line

    William S. and John T. Spaulding Collection

    Details

    Dimensions

    36.3 x 17.7 cm (14 5/16 x 6 15/16 in.)

    Accession Number

    21.6947

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

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  • Portrait of a Man in a Blue Coat

    about 1790
    Sir Thomas Lawrence (English, 1769–1830)

    Description

    Provenance

    Samson Fox, Harrogate, Yorkshire, England. Vicars Brotheres, London, England. Arthur Ackerman and Son, London, England. By 1929, George Black Nixon (d. 1929), Boston, MA; 1929, bequeathed (as "Charles James Fox") by George Nixon Black to the MFA. (Accession Date: March 7, 1929)

    Credit Line

    Bequest of George Nixon Black

    Details

    Dimensions

    76.2 x 63.5 cm (30 x 25 in.)

    Accession Number

    29.790

    Medium or Technique

    Oil on canvas

    On View

    Britain, 1750-1800 / Portraits (Gallery 141)

    Collections

    Europe

    Classifications

    Paintings

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  • Portrait of a Man wearing a skull cap

    Portrait of a Man

    Nicholas Lagneau (French, 1590–1666)

    Description

    Provenance

    Acquired July 1931

    Credit Line

    Helen and Alice Colburn Fund

    Details

    Dimensions

    Sheet: 31.7 x 23.5 cm (12 1/2 x 9 1/4 in.)

    Accession Number

    31.449

    Medium or Technique

    Black and red chalk on antique cream laid paper

    Not On View

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  • Josiah Johnson Hawes

    about 1890
    Southworth and Hawes (American, 1843–62)

    Description

    Markings

    U. r. plate maker mark: "Scovills". Spirit of Fact plate maker mark #1.

    Provenance

    Edward Southworth Hawes; gift to MFA December 9, 1943.

    Credit Line

    Gift of Edward Southworth Hawes in memory of his father Josiah Johnson Hawes

    Details

    Dimensions

    Plate: 10.2 x 8.3 cm (4 x 3 1/4 in.)

    Accession Number

    43.1442

    Medium or Technique

    Photograph, daguerreotype

    Not On View

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  • Young Man with Beard

    1845–61
    Southworth and Hawes (American, 1843–62)

    Description

    Markings

    L. r. plate maker mark: "Doublé/J.P". Spirit of Fact #9.

    Provenance

    Edward Southworth Hawes; gift to MFA December 9, 1943.

    Credit Line

    Gift of Edward Southworth Hawes in memory of his father Josiah Johnson Hawes

    Details

    Dimensions

    Plate: 14.1 x 10.8 cm (5 9/16 x 4 1/4 in.)

    Accession Number

    43.1466

    Medium or Technique

    Photograph, daguerreotype

    Not On View

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  • Seated Man with Dimple in Chin

    1845–61
    Southworth and Hawes (American, 1843–62)

    Description

    Provenance

    Edward Southworth Hawes; gift to MFA December 9, 1943.

    Credit Line

    Gift of Edward Southworth Hawes in memory of his father Josiah Johnson Hawes

    Details

    Dimensions

    Plate: 14 x 10.8 cm (5 1/2 x 4 1/4 in.)

    Accession Number

    43.1476

    Medium or Technique

    Photograph, daguerreotype

    Not On View

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  • Portrait of a Man Playing a Lute

    1576
    Bartolomeo Passarotti (Italian (Bolognese), 1529–1592)

    Description

    The man’s costume, with its prominent white lace collar and cuffs, is typical of Bolognese gentlemen in the period. Leaning informally against a table, he deftly strums his lute—possibly to the tune of the folded sheet of music beside him—while gazing at the viewer. The sheet is only partially decipherable and its text, which could contain clues to the sitter’s identity, has thus far eluded identification. The portrait, which bears a date in Roman numerals at upper right, was executed at the height of Passarotti’s career.

    Inscription

    Upper right: A N N O IVBILLEI BON / M D LXXVI

    Provenance

    By 1919, Mr. and Mrs. William de Forest Thomson, Boston (in 1948, at Mr. Thomson's death, it passed by inheritance to his widow); 1948, bequest of Mrs. William de Forest Thomson [see note 1]. (Accession Date: January 8, 1948) NOTES: [1] Accessioned as a work by Agostino Carracci.

    Credit Line

    Bequest of Mrs. William de Forest Thomson

    Details

    Dimensions

    77 x 60 cm (30 5/16 x 23 5/8 in.)

    Accession Number

    48.55

    Medium or Technique

    Oil on canvas

    On View

    Musical Instrument Gallery (Gallery 103D)

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  • Picture of a Man from America (Amerikawa kuni jinbutsu no zu)

    Japanese
    Edo period
    1854–60 (Ansei era)
    Artist Isshusai Kunikazu (Japanese, active about 1848–1868), Publisher Ishikawaya Wasuke (Ishiwa) (Japanese)

    Description

    Signed

    Ôju Kunikazu sha 応需国員写

    Provenance

    1953, sold by Warren E. Cox to the MFA. (Accession Date: May 14, 1953)

    Credit Line

    Asiatic Curator's Fund

    Details

    Catalogue Raisonné

    Kitagawa, "Bosuton bijutsukan shozô Kamigata-e mokuroku" (Kansai daigaku, 2007), p. 128

    Dimensions

    Vertical chûban; 25.2 x 18.3 cm (9 15/16 x 7 3/16 in.)

    Accession Number

    53.451

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

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  • Study of Man in Turban and Loincloth

    Gustave Clarence Rodolphe Boulanger (French, 1824–1888 French)

    Description

    Inscription

    In crayon, lower left, "G. Boulanger".

    Markings

    bookplate with monogram

    Provenance

    Maison L. Ducrot (C. Chaudre and P. Husson), Paris; Miss Evelyn Cristy; acquired by bequest October 1953

    Credit Line

    Bequest of Miss Evelyn Cristy

    Details

    Dimensions

    Sheet: 39.8 x 26 cm (15 11/16 x 10 1/4 in.)

    Accession Number

    53.2211

    Medium or Technique

    Crayon on paper

    Not On View

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  • Portrait of a Man Standing Beside a Table

    1745
    Arthur Devis (English, 1712–1787)

    Description

    Signed

    Signed and dated on rear seat rail: ADevis (A and D in monogram) fe/ 1745

    Provenance

    Before World War I, purchased in Bath, England, by a private collector; by descent from the collector to an anonymous donor; 1953, anonymous gift to the MFA. (Accession date: December 10, 1953)

    Credit Line

    Anonymous gift

    Details

    Dimensions

    50.8 x 35.9 cm (20 x 14 1/8 in.)

    Accession Number

    53.2856

    Medium or Technique

    Oil on canvas

    On View

    Alan and Simone Hartman Galleries (Gallery 241B)

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  • Young Man in a Velvet Cap

    1637
    Rembrandt Harmensz. van Rijn (Dutch, 1606–1669)

    Description

    Provenance

    Pierre Mariette (1634-1716, Paris, Lugt 1787); Mrs. Edward Jackson Holmes; given by her to MFA, 14 October 1954.

    Credit Line

    Gift of Mrs. Edward Jackson Holmes

    Details

    Catalogue Raisonné

    Bartsch 268; Hind 151 ii

    Dimensions

    Platemark: 9.6 x 8.3 cm (3 3/4 x 3 1/4 in.) Sheet: 9.8 x 8.5 cm (3 7/8 x 3 3/8 in.)

    Accession Number

    54.1057

    Medium or Technique

    Etching

    Not On View

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  • Head of Bearded Man in Profile

    1818
    (Friedrich) Wilhelm Reuter (German, 1768–1834 German)

    Description

    Credit Line

    George Peabody Gardner Fund

    Details

    Dimensions

    Legacy dimension: 8 1/2 x 6 3/8 in.

    Accession Number

    57.134

    Medium or Technique

    Crayon lithograph on paper washed with yellow watercolor

    Not On View

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  • Bearded Man in Tall Hat and Long Coat

    November 19, 1851
    John Mackie Falconer (American (born in Scotland), 1820–1903)

    Description

    Beared man in tall hat and long coat, seated on a stool facing left.

    Inscription

    Inscribed in graphite lower right: 2/9 / JMFalconer / Nov 19. 1851

    Provenance

    Maxim Karolik, Newport; Gift to MFA February 12, 1959

    Credit Line

    Gift of Maxim Karolik for the M. and M. Karolik Collection of American Watercolors and Drawings, 1800–1875

    Details

    Catalogue Raisonné

    Karolik (1962) cat. 179

    Dimensions

    Sheet: 24.3 x 18.9 cm (9 9/16 x 7 7/16 in.)

    Accession Number

    59.97

    Medium or Technique

    Watercolor over graphite on paper

    Not On View

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  • Young Man in White Apron

    about 1851
    John Mackie Falconer (American (born in Scotland), 1820–1903)

    Description

    Seated, full front, his right foot resting on a box, a red cloth in his left hand.

    Inscription

    Inscribed lower right in brush and brown wash: JMF 2/17 / Decr 20/5.

    Provenance

    Maxim Karolik, Newport; Gift to MFA February 12, 1959

    Credit Line

    Gift of Maxim Karolik for the M. and M. Karolik Collection of American Watercolors and Drawings, 1800–1875

    Details

    Catalogue Raisonné

    Karolik (1962) cat. 284

    Dimensions

    Sheet: 25. x 19 cm (9 13/16 x 7 1/2 in.)

    Accession Number

    59.102

    Medium or Technique

    Watercolor over graphite on paper

    Not On View

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  • Portrait of a man of intellect

    Roman, Eastern Mediterranean
    Late Imperial Period
    A.D. 275–325

    Place of Manufacture: Athens, Attica, Greece

    Description

    The head must have been fitted into a body wearing a tunic and wrapped in a mantle that came high up behind the figure’s neck. Long beards were somewhat unfashionable in ruling circles, and the long beard here may well indicate that the man was a philosopher in the ancient Greek tradition. Athens was a center of philosophic education in late Antiquity as it had been throughout its history. The man’s short haircut, which has military and athletic suggestions rare at the time, and the intense, emphatically outlined eyes give the head an exceptionally forceful presence.
    The nose and the right eye have been damaged. The hair and beard exhibit some abrasions and traces of a cement deposit. Otherwise, the surfaces are in good condition and have a light yellow patina.

    Scientific Analysis:

    University of South Florida Lab No. 8445: Isotope ratios - delta13C +2.3 / delta18O -7.3

    Attribution - Mt. Pentelikon near Athens. Justification - C and O isotopes, fine grain, pure white, said to be from Athens

    Provenance

    By date unknown: said to have been found in a well at Agia Paraskevi close to Athens, in the area of an Early Christian basilica; by 1962: with J. J. Klejman, 982 Madison Avenue, New York; purchased by MFA from J. J. Klejman, May 9, 1962

    Credit Line

    John H. and Ernestine A. Payne Fund

    Details

    Catalogue Raisonné

    Sculpture in Stone (MFA), no. 381; Sculpture in Stone and Bronze (MFA), p. 116 (additional published references).

    Dimensions

    Height: 46.3 cm (18 1/4 in.)

    Accession Number

    62.465

    Medium or Technique

    Marble from Mt. Pentelikon, near Athens

    Not On View

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    Europe, The Ancient World

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  • A Gentleman in a Fur-Trimmed Cloak

    Le Gentilhomme au manteau bordé de fourrures tenant ses mains derrière le dos

    1624
    Jacques Callot (French, 1592–1635)

    Description

    Markings

    Verso, right center, stamped in brown ink, the mark of the MFA (Lugt 282)

    Provenance

    Craddock & Barnard, London; from whom purchased May 8, 1963

    Credit Line

    Katherine E. Bullard Fund in memory of Francis Bullard

    Details

    Catalogue Raisonné

    Meaume 675; Lieure 555, only state

    Dimensions

    Sheet: 14.8 x 9.7 cm (5 13/16 x 3 13/16 in.) Platemark: 14.3 x 9.2 cm (5 5/8 x 3 5/8 in.)

    Accession Number

    63.500

    Medium or Technique

    Etching

    Not On View

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  • Portrait head of a man with curly hair

    Roman Provincial?
    Imperial Period, Early Flavian
    A.D. 69–79

    Description

    This portrait head is probably from a statue. Despite the damages, a lively sense of the sitter’s pleasant yet shrewd personality comes through to us, the broad forehead with its wrinkles and curly hair, and the little chin set amid folds of flesh. The face and surrounding hair have caught the new Flavian restlessness in sculptural style; the back half of the head still manifests the flat, tightly curled hair of a Julio-Claudian court portrait. This portrait, then, is a creation of the decade when the Flavian styles of sculptural richness were being formed and first exploited.
    Nose, chin, and a piece at the side of the neck have been broken away or damaged. The ears have suffered in a similar fashion. The surfaces are worn and weathered, perhaps both in antiquity and in a recent setting. There are remains of a black deposit in the hair and pitting on the face.

    Scientific Analysis:
    Marble has been scientifically tested with X-Ray Diffraction and determined to be Dolomitic.
    Harvard Lab No. HI111: Isotope ratios - delta13C +3.58 / delta18O -3.09, Attribution - Thasos-Cape Vathy, Justification - Dolomitic by XRD.

    Provenance

    By date unknown: said to be in the Somzée Collection; by 1962 with Mario Barsanti, Rome, Italy (acquired from Renê Withofs of Brussels); 1962: purchased by Horace L. Mayer from Mario Barsanti; August 11, 1962: loaned by Horace L. Mayer to MFA (as 158.62); gift of Horace L. Mayer to MFA, December 26, 1963

    Credit Line

    Gift of Horace L. Mayer

    Details

    Catalogue Raisonné

    Sculpture in Stone (MFA), no. 344; Sculpture in Stone and Bronze (MFA), p. 115 (additional published references).

    Dimensions

    Height: 31 cm (12 3/16 in.)

    Accession Number

    63.2760

    Medium or Technique

    Marble, Dolomitic from the Greek island of Thasos

    Not On View

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    The Ancient World

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  • Portrait of a Man in his Study

    about 1785
    Marguerite Gérard (French, 1761–1837)

    Description

    Provenance

    By 1918, Mrs. George A. Brackett, Minneapolis, MN; 1918, gift of Mrs. Brackett to Minneapolis Institute of Fine Arts [see note 1]; July 9, 1952, sold by Minneapolis Institute of Fine Arts to Victor Spark, New York. 1952, Wildenstein and Co., New York; December 8, 1952, sold by Wildenstein to Forsyth Wickes (b. 1876 - d. 1964), New York, Newport, RI, and Boston; 1965, bequest of Forsyth Wickes to the MFA. (Accession Date: January 8, 1969) NOTES: [1] As "Portrait of Giovanni Paesiello: 1741-1816" by Elisabeth Louise Vigée le Brun.

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    21.9 x 15.9 cm (8 5/8 x 6 1/4 in.)

    Accession Number

    65.2645

    Medium or Technique

    Oil on panel

    Not On View

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  • Portrait of a Man with Boston "Atlas"

    1845
    Unidentified artist, American, mid-19th century (American)

    Description

    Provenance

    The artist; private collection, Weare, N.H.; with The One-Fifth Group, Inc., Weare, N.H., 1984; to MFA, 1984, purchase.

    Credit Line

    Robert Jordan Fund

    Details

    Dimensions

    76.2 x 63.5 cm (30 x 25 in.)

    Accession Number

    1984.174

    Medium or Technique

    Oil on canvas

    Not On View

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    Americas

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  • Elderly Man in Profile, Looking Down

    1850–60
    Southworth and Hawes (American, 1843–62)

    Description

    Markings

    U. r. plate maker mark: "Scovills". Spirit of Fact #1.

    Provenance

    Richard Parker, Jaffrey, NH; gift to MFA May 25, 1994.

    Credit Line

    Gift of Richard Parker in memory of Herman Parker

    Details

    Dimensions

    Plate: 10.16 x 8.25 cm (4 x 3 1/4 in.)

    Accession Number

    1994.154

    Medium or Technique

    Photograph, daguerreotype

    Not On View

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  • Seated Man with a Gun and a Knife (noose hanging from tree above)

    late 18th century
    Unidentified artist, French, 18th century

    Description

    Inscription

    On book within image: Boindin / helvetius / Diderot; and on another booK: Sistême de La Nature

    Provenance

    Eleanor A. Sayre, Cambridge, MA; bequest to MFA

    Credit Line

    Bequest of Eleanor A. Sayre

    Details

    Dimensions

    Sheet: 24 x 19 cm (9 7/16 x 7 1/2 in.)

    Accession Number

    2002.441

    Medium or Technique

    Ink and wash on paper

    Not On View

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  • Andalusian Smuggler (Cloaked Man) with Bull

    El Embozado or [El Torero Anciano] (The Cloaked Man or the Old Bullfighter)
    Embozado with a gun

    1824–28, printed 1954
    Francisco Goya y Lucientes (Spanish, 1746–1828), Printed by Ture Bengtz (American, 1907–1973)

    Description

    Inscription

    Lr. vertically in reverse, in plate: JUERY / R. S.t JACQUES 43; Verso, in blue ink, hand of E. Sayre: This impression pulled / on old paper by / Ture Bengtz, Boston, / 1954

    Provenance

    Eleanor A. Sayre, Cambrige, MA; bequest to MFA October 23, 2002

    Credit Line

    Bequest of Eleanor A. Sayre

    Details

    Catalogue Raisonné

    Harris 034, IV, 1-2

    Dimensions

    Platemark: 19.1 x 12.3 cm (7 1/2 x 4 13/16 in.) Sheet: 29.7 x 21.5 cm (11 11/16 x 8 7/16 in.)

    Accession Number

    2002.541

    Medium or Technique

    Etching and drypoint

    Not On View

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