• Explore a selection of the MFA’s holdings of over 1,400 paintings from across Europe, featuring masterworks from the middle ages to the mid-twentieth century.

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  • Village Street

    1930s
    Marc Chagall (Russian (active in France), 1887–1985)

    Description

    Inscription

    Lower right: Chagall Marc

    Provenance

    1936, sold by the artist to Solomon R. Guggenheim, New York [see note 1]; 1937, given by Guggenheim to the Solomon R. Guggenheim Museum, New York; 1969, sold by the Guggenheim Museum to the Eva Lee Gallery, New York; sold by the Lee Gallery to Anna Feldberg, Boston; 1978, bequest of Anna Feldberg to the MFA. (Accession Date: April 12, 1978) NOTES: [1] The provenance was provided in a letter from Angelica Rudenstine, Guggenheim Museum, to Lucretia H. Giese, MFA (May 3, 1978). That Mr. Guggenheim purchased it directly from the artist is specified not in the letter, but in notes in the MFA curatorial file.

    Credit Line

    Bequest of Anna Feldberg

    Copyright

    © Artists Rights Society (ARS), New York / ADAGP, Paris

    Details

    Dimensions

    46 x 38.1 cm (18 1/8 x 15 in.)

    Accession Number

    1978.156

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Self-Portrait with a Beret

    about 1898–99
    Paul Cézanne (French, 1839–1906)

    Description

    Cézanne began a systematic campaign of self portraiture in the 1870s and continued it through the next thirty years. In this picture, made near the end of his life, the artist painted himself with a detachment that bordered on abstraction in the clean, geometric volumes of the hat, the barely indicated chair, the stark planes of cheekbone and forehead. This resulting work is among the simplest of Cézanne’s self portraits and recalls his stated desire to “make of Impressionism an art as solid as that of the museums.”

    Provenance

    Ambroise Vollard (b. 1867 - d. 1939), Paris; probably sold by Vollard to Egisto Fabbri (b. 1866 - d. 1933), Florence [see note 1]; November 15, 1928, sold by Fabbri to Georges Wildenstein and Paul Rosenberg and Co., Paris (stock no. 2266) [see note 2]; by 1929, sold by Rosenberg to Robert Treat Paine II (b. 1861 - d. 1943), Boston [see note 3]; by descent to his daughter, Elizabeth Paine (Mrs. Thomas) Metcalf (later Mrs. Thomas Card) (b. 1896), Boston; 1972, purchase and partial gift of Elizabeth Paine Metcalf to the MFA. (Accession Date: December 13, 1972) NOTES: [1] Egisto Fabbri was one of the first collectors to purchase the works of Cézanne through Vollard. He lent this painting to the Biennale, Venice, in 1920 (no. 25). [2] Fabbri sold thirteen of his Cézanne paintings to the dealers Georges Wildenstein and Paul Rosenberg of Paris. A document of November 15, 1928, confirms their receipt by intermediary Tammaro De Marinis, who oversaw their transport out of Italy. See Francesca Bardazzi, Cézanne in Florence: Two collectors and the 1910 exhibition of Impressionism (exh. cat. Palazzo Strozzi, Florence, March 2 - July 29, 2007), 25-26, 278, doc. 11. [3] Paine lent this painting to the exhibition "Cézanne, Gauguin, Seurat, van Gogh," Museum of Modern Art, New York, 1929, cat. no. 4.

    Credit Line

    Charles H. Bayley Picture and Painting Fund and Partial Gift of Elizabeth Paine Metcalf

    Details

    Dimensions

    64.1 x 53.3 cm (25 1/4 x 21 in.)

    Accession Number

    1972.950

    Medium or Technique

    Oil on canvas

    On View

    Sidney and Esther Rabb Gallery (Gallery 255)

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    Europe

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  • Visit to a Museum

    about 1879–90
    Edgar Degas (French, 1834–1917)

    Description

    This canvas belongs to a group of pictures in which Degas painted women looking at art in museums. In reference to another work in the series, the perversely contradictory and impish Degas nonetheless remarked to British painter Walter Sickert that he wanted to “give the idea of that bored and respectfully crushed and impressed absence of sensation that women experience in front of paintings.”

    Inscription

    Stamped, lower left: degas

    Provenance

    May 6-8, 1918, 1st Degas atelier sale, Galerie Georges Petit, Paris, lot 34, sold for 30,000 francs to Ambroise Vollard (b. 1867 - d. 1939), Durand-Ruel, Bernheim-Jeune, and Jacques Seligmann (b. 1858 - d. 1923), Paris, apparently for Seligmann [see note 1]; January 27, 1921, Seligmann sale, American Art Galleries, New York, lot 36, to C.W. Kraushaar, New York, possibly for Henry D. Hughes, Philadelphia [see note 2]; February 7, 1922, sold by Hughes to Durand-Ruel, New York (stock no. 4705); October 9, 1929, sold by Durand-Ruel to Gertrude (Mrs. George Cabot) Lee (b. 1879 - d. 1971), Westwood, MA; from Mrs. Lee to her niece, Betty Bartlett McAndrew (b. 1906 - d. 1986) and John McAndrew (b. 1904 - d. 1978), Wellesley, MA [see note 3]; 1969, gift of Mr. and Mrs. McAndrew to the MFA. (Accession Date: April 10, 1969) NOTES: [1] According to a letter from Caroline Durand-Ruel Godfroy of Durand-Ruel et Cie., Paris, to the MFA (November 20, 2001). The painting was purchased in Vollard's name, but, according to Durand-Ruel's records, all four parties paid for it (Bernheim-Jeune, Durand-Ruel, and Vollard were experts at the sale). Seligmann acquired full possession of the paintings by 1920; in the prefatory note to the catalogue of his 1921 auction are statements by Durand-Ruel, Vollard, and Bernheim-Jeune attesting to his ownership of seventy-one paintings purchased at the Degas atelier sale. [2] Henry D. Hughes acquired at least two other Degas paintings at the Seligmann sale of 1921 through New York dealers. It is therefore likely, though it has not been proved, that he acquired this painting through Kraushaar. [3] Mrs. McAndrew first lent the painting to the MFA in 1964. Her mother was George C. Lee's sister; therefore she was Mrs. Lee's niece by marriage. More information on their relationship is in the MFA curatorial file.

    Credit Line

    Gift of Mr. and Mrs. John McAndrew

    Details

    Dimensions

    91.8 x 68 cm (36 1/8 x 26 3/4 in.)

    Accession Number

    69.49

    Medium or Technique

    Oil on canvas

    Not On View

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  • Meadle

    John Northcote Nash (English, 1893–1977)

    Description

    Inscription

    Lower right: John Nash

    Provenance

    1932, sold by the artist, through Goupil Gallery, London, to the MFA for $10,050 [see note 1]. (Accession Date: February 4, 1932) NOTES: [1] MFA accession numbers RES.32.2-RES.32.18 purchased together for $10,050.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Copyright

    © John Northcote Nash Estate. All Rights Reserved 2011/ Bridgeman Art Library

    Details

    Dimensions

    76.8 x 55.9 cm (30 1/4 x 22 in.)

    Accession Number

    RES.32.15

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Fruit and Vegetable Vendors

    1577
    Scipio Goltzius (Flemish, active in late 16th century)

    Description

    This market scene is the only known painting by Scipio Goltzius, an Antwerp-based artist from a family of engravers. In Fruit and Vegetable Vendors, the artist has closely emulated the work of Vincenzo Campi, a painter from Northern Italy, whose compositions depicting abundant fruit and vegetable stalls were in turn influenced by the older Flemish painters Pieter Aertsen and Joachim Beuckelaer. Goltzius’s Flemish and Italian predecessors used similar formats, presenting produce in the context of the marketplace with vendors and customers included in the composition. His greater emphasis on the produce, however, represents a key moment in the transition to paintings that featured only inanimate objects, a critical development for the still life. How Goltzius came into contact with Campi’s work is unknown. It is possible that Goltzius travelled to Cremona or that Campi’s paintings found their way to the prosperous port city of Antwerp.

    Inscription

    Lower left, on bucket lid: SCIPIO GOLTZ. ANTWERPIENSIS. FECIT 1.5.7.7.

    Provenance

    Alvan Tufts Fuller (b. 1878 - d. 1958) and his wife, Viola Davenport Fuller (b. 1882 - d. 1959), Rye Beach, NH; by descent to their daughter, Mary Fuller Henderson (b. 1916 - d. 1989) and her husband, Robert L. Henderson, Boston; 1967, gift of Mr. and Mrs. Robert L. Henderson to the MFA. (Accession Date: June 28, 1967)

    Credit Line

    Gift of Mr. and Mrs. Robert L. Henderson

    Details

    Dimensions

    138.1 x 203.2 cm (54 3/8 x 80 in.)

    Accession Number

    67.752

    Medium or Technique

    Oil on canvas

    Not On View

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  • Woman Holding Flax and a Spindle

    18th century
    Attributed to Christian Seybold (Austrian, 1710–1736)

    Description

    Provenance

    1927, gift of Mrs. Ellerton James. (Accession date: September 8, 1927)

    Credit Line

    Gift of Mrs. Ellerton James

    Details

    Dimensions

    53.7 x 43.2 cm (21 1/8 x 17 in.)

    Accession Number

    RES.27.55

    Medium or Technique

    Oil on canvas

    Not On View

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  • Head of a Man

    French (?)
    mid-16th century
    School of François Clouet (French, 1510–1572)

    Description

    Provenance

    Edouard Warneck, Paris; May 27-28, 1926, sold at Galerie Georges Petit, Paris, lot lot 9 [as Maître français, Portrait présumé de Comte de Gordes (simiane), mignon de Henri III]. Private Collection, Paris. By 1958, Wildenstein & Co., New York; December 22, 1958, sold by Wildenstein to Forsyth Wickes, New York and Newport, RI (d. 1964); 1965, bequest of Forsyth Wickes. (Accession Date: January 8, 1969)

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    11.43 x 8.25 cm (4 1/2 x 3 1/4 in.)

    Accession Number

    65.2668

    Medium or Technique

    Oil on paper mounted on wood panel

    Not On View

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    Europe

    Classifications

    Miniatures

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  • Description

    Provenance

    1919, gift of Mrs. C.E. Danforth. (Accession date: June 26, 1919)

    Credit Line

    Gift of Mrs. C. E. Danforth

    Details

    Dimensions

    43 x 36.8 cm (16 15/16 x 14 1/2 in.)

    Accession Number

    RES.19.44

    Medium or Technique

    Oil on panel

    Not On View

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  • Portrait of a Man

    (formerly identified as Francis Hastings, Earl of Huntington

    about 1747–48
    Jean Baptiste Perronneau (French, 1715–1783)

    Description

    Provenance

    Possibly John Webb (b. 1799 - d. 1880), London, Kent and Cannes; possibly by descent to his daughter, Edith Cragg [see note 1]. 1937, Wildenstein and Co., Paris; January 23, 1937, sold by Wildenstein to Forsyth Wickes (b. 1876 - d. 1964), Paris, New York and Newport, RI [see note 2]; 1965, bequest of Forsyth Wickes to the MFA. (Accession Date: January 8, 1969) NOTES: [1] According to Wildenstein, the painting had belonged to "Mrs. Cragg, England," presumably Edith Cragg--daughter of the dealer and collector John Webb--who had inherited other eighteenth-century French paintings from her father. [2] At this time it was sold, the painting was called "Portrait of a man, presumably the portrait of Lord Huntington."

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    60.3 x 50.2 cm (23 3/4 x 19 3/4 in.)

    Accession Number

    65.2652

    Medium or Technique

    Oil on canvas

    On View

    Robert and Ruth Remis Gallery (Gallery 244)

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  • Abbeville

    Johan Frederik Thaulow (Norwegian, 1847–1906), Lent by The White Fund (American (Lawrence, MA))

    Description

    Inscription

    Lower right: Frits Thaulow

    Provenance

    February 6, 1899, sold by the Galerie Georges Petit, Paris, to Boussod, Valadon et Cie., Paris and New York (stock no 25756); March 21, 1899, sold by Boussod, Valadon et Cie. to Senator Edward O. Wolcott (b. 1848 - d. 1905), Colorado Springs and Washington, DC [see note]; by inheritance to his brother, Rev. William E. Wolcott (b. 1887 - d. 1911), Lawrence, MA; 1911, bequeathed by Wolcott to the White Fund of Lawrence, MA; November 13, 1912, placed on loan by the Trustees of the White Fund to the MFA. NOTE: Getty Provenance Index, Goupil et Cie. records, PI Record no. G-37181 (stock book 14, no. 25756, p. 189).

    Credit Line

    Deposited by the Trustees of the White Fund, Lawrence, Massachusetts

    Details

    Dimensions

    73.5 x 92.5 cm (28 15/16 x 36 7/16 in.)

    Accession Number

    L-R 1329.12

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Portrait of Two Boys (said to be the Autichamp Brothers)

    Attributed to Joseph Boze (French, 1744–1826)

    Description

    Boze’s sweetly rendered portraits, usually executed in an oval format, were popular among wealthy patrons and members of the French court. But the painter—who was not an academically trained artist—found less success at the Salon, the official exhibition of Paris’s Académie des Beaux Arts; he exhibited there only once, in 1791. The children in this double‑portrait are traditionally identified as the Autichamp brothers, and most likely belonged to a Royalist family. (The older boy, Charles, later became a count.) Like other artists who aligned themselves with France’s upper class, Boze was forced to go into exile during the most violent period of the French Revolution.

    Provenance

    Château du Blésois. July 23, 1930, anonymous sale, Hôtel des Ventes, Orléans, France [see note 1]. Probably 1930, sold by Cailleux, Paris to Forsyth Wickes (b. 1876- d. 1964), New York and Newport, RI [see note 2]; 1965, bequest of Forsyth Wickes to the MFA (Accession date: January 8, 1969) NOTES: [1] See Beaux-Arts, August, 1930, p 9. It sold as "Portrait d'un cadet et son jeune frère" by Greuze for 146,000 fr. [2] According to Marianne Roland Michel of Cailleux (letter Feb 19, 1990) this painting was sold to Forsyth Wickes on March 10, 1930. However, Wickes must have purchased it on a date after the Orleans sale. The exact date on which Cailleux sold it to Wickes is unknown.

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    72.4 x 58.4 cm (28 1/2 x 23 in.)

    Accession Number

    65.2636

    Medium or Technique

    Oil on canvas

    On View

    Ann and William Elfers Gallery (Gallery 245)

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    Europe

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  • The Marne at La Varenne

    about 1878

    Description

    Provenance

    Galerie Georges Petit, Paris. Richard Green Gallery, London. 1999, Eunice and Julian Cohen, Boston; 1999, gift of Eunice and Julian Cohen to the MFA. (Accession Date: December 15, 1999)

    Credit Line

    Gift of Eunice and Julian Cohen

    Details

    Dimensions

    40.0 x 67.3 cm (15 3/4 x 26 1/2 in.)

    Accession Number

    1999.585

    Medium or Technique

    Oil on canvas

    Not On View

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  • Atalanta Receiving the Boar's Head from Meleager

    1560s
    Paolo Veronese (Paolo Caliari) (Italian (Venetian), 1528–1588)

    Description

    The hero Meleager invited the beautiful huntress Atalanta to help kill the dangerous Calydonian Boar. The first to strike the beast, Atalanta was awarded its head, much to the chagrin of her male colleagues. Here Atalanta, wearing a maroon dress, holds court in the center of the painting as Meleager, in sky blue, points to the boar’s head held by a servant. The variety of colors and the rhetorical gestures of the figures, which lead the viewer’s eye across the canvas, are typical of the artist. Veronese (his nickname derived from his hometown of Verona) planned and executed small paintings like this with the same care and expensive materials he lavished on his largest works.

    Provenance

    Until 1657, Giovanni Batta Raggi (b. 1613 - d. 1657), Genoa [see note 1]; 1658, by inheritance to his brother, Cardinal Lorenzo Raggi (b. 1615 - d. 1687), Rome [see note 2]; until at least 1780, probably by descent within the family, to Giulio Raggi, Genoa [see note 3]; 1818, possibly still at the Raggi palace, Genoa [see note 4]. By 1902, Sir George Lindsay Holford (b. 1860 - d. 1926), Dorchester House, London and Westonbirt, Gloucestershire, England [see note 5]; July 15, 1927, Holford sale, Christie's, London, lot 131, to Agnew, London, for 1,700 guineas (stock no. 6745); October 26, 1928, sold by Agnew to Alessandro Contini Bonacossi (b. 1878 - d. 1955), Florence [see note 6]; May 26, 1930, sold by Contini Bonacossi to Mrs.Edward Jackson Holmes (Mary Stacy Beaman) (b. 1875), Boston; 1964, bequest of Mrs. Edward Jackson Holmes to the MFA. (Accession Date: December 9, 1964) NOTES: [1] This is one of five paintings by Veronese, depicting scenes from Roman mythology, that are recorded in Raggi's posthumous inventory of November 4, 1658 (see Piero Boccardo, ed., "L'Età di Rubens," exh. cat. Palazzo Ducale, Genoa, March 20 - July 11, 2004, pp. 325-26, nos. 51-55 and p. 372, cat. nos. 94a-c). Of these, four are at the MFA (accession nos. 59.260, 60.125, 64.2078, 64.2079) and the fifth, showing the Rape of Europa, is in the Rasini collection, Milan. [2] The paintings are also included in a list, dated November 6, 1658, of works of art to be sent to Raggi's brother in Rome; see Boccardo, ed., 2004 (as above, n. 1), p. 326 ("Cinque bislonghi di Paolo [Veronese]"). [3] After the death of Lorenzo, one painting by Veronese probably remained in Rome, with his cousin Sigismondo, although it is not known which; Sigismondo lent a bislungo, or painting of elongated format, to San Salvatore in Lauro in 1701 and 1710. The others were sent back to Genoa and are recorded in 1780 at the palace of Giulio Raggi, trisnipote (probably a great-grandson or -nephew) of Giovanni Batta. They are described simply as "diverse fregi con piccole figure di Paolo da Verona" (different friezes [i.e., paintings of a long format] with little figures by Paolo Veronese). [4] In 1818, three of the five paintings - the Rape of Europa and two that are not specified by subject - were recorded at the palace by an anonymous author ("Descrizione della città di Genova da un anonimo del 1818," p. 303). [5] According to information supplied by the Getty Provenance Index, Holford lent this picture to the Royal Academy Winter Exhibition, Burlington House, London, 1902 (cat. no. 117). He may well have inherited the painting from his father, Robert Holford (b. 1808 - d. 1892), who was an avid collector. When Gustav Waagen visited Dorchester House in 1851, however, he did not record this in the Holford collection. [6] The information on Agnew's transactions was supplied by the Getty Provenance Index.

    Credit Line

    Bequest of Mrs. Edward Jackson Holmes

    Details

    Dimensions

    25.7 x 101 cm (10 1/8 x 39 3/4 in.)

    Accession Number

    64.2079

    Medium or Technique

    Oil on canvas

    Out on Loan

    On display at Nagoya/Boston Museum of Fine Arts, Japan, September 19, 2015 – February 21, 2016

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  • View from the Terrace of a Villa at Niton, Isle of Wight, from Sketches by a Lady

    1826
    Joseph Mallord William Turner (English, 1775–1851)

    Description

    This charming summer scene is based on watercolor sketches done by Lady Julia Gordon, who had been Turner’s pupil years before. A view from the steps of her villa, it records the new fashion for “Italian” gardens with terraces and urns. Turner exhibited the painting under the title given here at the Royal Academy in 1826.

    Provenance

    Painted for Lady Willoughby Gordon (Julia Bennet) and based upon her sketches; by descent to Lady Gordon's granddaughter, Mrs. Disney Leith; by descent to her son, the seventh Lord Burgh; July 26, 1926, sale Christie's, London, lot 27, and bought by Sampson; 1929, with Dudley Tooth, London; 1933, sold by Dudley Tooth to William A. Coolidge, Topsfield and Cambridge, MA (d. 1992); 1993, bequest of William A. Coolidge. (Accession Date: January 27, 1993)

    Credit Line

    Bequest of William A. Coolidge

    Details

    Dimensions

    45.7 x 61 cm (18 x 24 in.)

    Accession Number

    1993.46

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Wedding Night of Tobias and Sarah

    1611
    Pieter Lastman (Dutch, 1583–1633)

    Description

    The Book of Tobit, part of the Roman Catholic Bible, recounts the story of Tobias, whose guardian angel, Raphael, guides him through the trials of his life. Following the angel’s advice, Tobias burns the heart and liver of a giant fish in order to drive off a demon who threatens his life on his wedding night. From the bed Sarah watches her husband with concern, as Raphael wrestles with the demon overhead. The legend of Tobias would become a favorite subject of Lastman’s most famous pupil, Rembrandt.

    Inscription

    Lower right: PLastman (P and L joined) fecit / 1611

    Provenance

    1819, possibly Dr. Adam Neale (d. 1832), Exeter, England; June 26, 1819, possibly Neale sale, Christie's, London, lot 45 [see note 1]. Private collection [see note 2]. 1962, M.H. Drey, Ltd., London; 1962, sold by Drey to the MFA. (Accession Date: November 14, 1962) NOTES: [1] A painting by Lastman of Tobias exorcising the Demon was included in the sale of Dr. Adam Neale. The catalogue gives neither its description nor its dimensions, so it cannot be positively identified with the MFA painting. Two other versions of the theme by Lastman are in Budapest (Szépmüvészeti Múzeum, inv. no. 5152) and Leeuwarden (Museum het Princessehof, inv. no. 3034). Both show Tobias and the demon, with the archangel Raphael, at the shore. [2] In a letter to the MFA (January 29, 1963), the dealer Margaret H. Drey wrote "when I bought the picture I was told that it came from a very good private collection, and although I pressed several times for further particulars, I got no response." She does not specify from whom she purchased it.

    Credit Line

    Juliana Cheney Edwards Collection

    Details

    Dimensions

    Overall: 41.2 x 57.8cm (16 1/4 x 22 3/4in.) Framed: 57.2 x 73.7 cm (22 1/2 x 29 in.)

    Accession Number

    62.985

    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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  • Portrait of a Prelate

    about 1540
    Jacopino del Conte (Italian (Florentine), 1515–1598)

    Description

    Provenance

    By 1865, Ventimiglia Family, Palermo. Prince Belmonte, Palermo. About 1865, Prince Pandolfini, Palermo. 1902, T. Lawrie and Co., London; 1902, sold by Lawrie to Theodore M. Davis, Newport, RI; 1915 bequest of Davis to the Metropolitan Museum of Art, New York; 1982, deaccessioned by the Metropolitan Museum, probably to Sotheby's, New York; June 17, 1982, sale, Sotheby's, New York, lot 112, to Mr. and Mrs. Stanley Moss, New York; 1991, gift of Mr. and Mrs. Stanley Moss to the MFA. (Accession Date: January 22, 1992)

    Credit Line

    Gift of Mr. and Mrs. Stanley Moss

    Details

    Dimensions

    109.9 x 93.4 cm (43 1/4 x 36 3/4 in.)

    Accession Number

    1991.1042

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Anne, Lady de la Pole

    1786
    George Romney (English, 1734–1802)

    Description

    Provenance

    1786, John William de la Pole (b. 1757 - d. 1799), 6th Bart., Shute House, near Axminster, Devonshire [see note 1]; 1799, by descent through the family to Sir Frederick Arundell de la Pole (b. 1850 - d. 1926), 11th Bart., Shute House, Devonshire; June 13, 1913, De La Pole sale, Christie's, London, lot 125, sold for £41,370 to Duveen Brothers, Inc., London; by 1919, sold by Duveen to Herbert Stern (b. 1859 - d. 1919), 1st Baron Michelham, Hellingley, Sussex; 1919, by inheritance to Stern's wife, Aimee Geraldine Bradshaw Stern (d. 1927), Baroness Michelham, London and Paris; November 23, 1926, Michelham sale, Hampton's, London, lot 297, sold for £46,200 to Agnew's, London (stock no. 6622); 1926, sold by Agnew's to Alvan Tufts Fuller (b. 1878 - d. 1958), Boston [see note 2]; 1959, to Fuller Foundation Inc., Boston; 1961, gift of Fuller Foundation to the MFA. (Accession Date: May 10, 1961) NOTES: [1] Original commission from the artist by the husband of the sitter. Anne Templer (d. 1832) of Stover House, Devonshire, married John William de la Pole (d. 1799) on January 9, 1791. [2] See Agnew's, 1817-1967 (London, 1967), n.p.

    Credit Line

    Given in memory of Governor Alvan T. Fuller by the Fuller Foundation

    Details

    Dimensions

    241 x 148.9 cm (94 7/8 x 58 5/8 in.)

    Accession Number

    61.392

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 246)

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  • Interior of a Church

    Unidentified artist, Dutch, 17th century (Dutch)

    Description

    Provenance

    By 1950, Rowland Burdon-Muller (b. 1891 - d. 1980), Lausanne and Boston; 1988, bequest of Rowland Burdon-Muller to the MFA. (Accession Date: March 23, 1988)

    Credit Line

    Bequest of Rowland Burdon-Muller

    Details

    Dimensions

    71.1 x 112.4 cm (28 x 44 1/4 in.)

    Accession Number

    1988.208

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • Still Life with Sea Shells

    1923
    James Ensor (Belgian, 1860–1949)

    Description

    In the 1923 painting Still-Life with Sea Shells, the eccentric Belgian artist James Ensor assembled a Japanese fan, teacup, and saucer along with rare shells as a group of curiosities—the sort of things one might have found in his parents’ coastal tourist shop. Displayed beneath the lightly sketched figure of a nude in the upper-right corner, the objects recall the northern tradition of symbolically laden still-lifes and the eighteenth-century taste for chinoiserie, as well as the newly emerged Surrealist habit of searching through flea markets and antique stores for compelling oddities, often with psychosexual overtones.

    Inscription

    Lower right: Ensor 1923

    Provenance

    Private collection, Paris; sold from private collection to the Swetzoff Gallery, Boston [see note 1]; June 22, 1959, sold by Swetzoff to G. Peabody Gardner, Boston; 1960, gift of G. Peabody Gardner to the MFA. (Accession Date: February 11, 1960) NOTES: [1] In a letter to Thomas Maythan of the MFA (June 29, 1960), Hyman Swetzoff wrote that the painting was purchased from a private collection in Paris; in a letter to Angelica Rudenstine of the MFA (May 3, 1963), he wrote that he was unable to reveal the name of the seller. The painting may also have been in Switzerland and Germany, as the reverse of the panel bears export stamps from those countries.

    Credit Line

    Gift of G. Peabody Gardner

    Copyright

    © 2013 Artists Rights Society (ARS), New York / SABAM, Brussels.

    Details

    Dimensions

    44.5 x 55 cm (17 1/2 x 21 5/8 in.)

    Accession Number

    60.124

    Medium or Technique

    Oil on paperboard mounted on a cradled wooden panel

    Not On View

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  • Saint Bartholomew

    Unidentified artist, Spanish, 15th century (Spanish)

    Description

    Provenance

    Oakes Angier Ames (b. 1829 - d. 1899); by descent to his son, Hobart Ames (b. 1865), North Easton, MA; by descent to his niece, Katherine Harte (Mrs. George) Putnam (b. 1891), Manchester, MA; 1986, gift of Mrs. George Putnam to the MFA. (Accession Date: January 22, 1986)

    Credit Line

    Gift of Mrs. George Putnam

    Details

    Dimensions

    111.8 x 68.3 cm (44 x 26 7/8 in.)

    Accession Number

    1985.1019

    Medium or Technique

    Tempera on panel

    Not On View

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  • Weaver

    1884
    Vincent van Gogh (Dutch (worked in France), 1853–1890)

    Description

    Van Gogh’s feeling for the working poor is evident from his earliest works. In 1883-84, he executed at least twenty-eight oil paintings, drawings, and watercolors of the weavers in the district near his family’s home in the Netherlands. His interest was aroused not only by the subject, but by the somber effect of the dark wood and gray walls, contrasting with the red cloth on the loom.

    Provenance

    1884, with the artist but said to be owned by his brother, Theo van Gogh (b. 1857 - d. 1891), Paris [see note 1]; 1885, probably left by the artist in Nuenen and in 1886, deposited with Adrianus Schrauwen (b. 1834 - d. 1920), Breda; 1902, sold by Schrauwen to Johannis Cornelis Couvreur and his brother, Johannes Marinus Couvreur; sold by the Couvreurs to Kees Mouwen (b. 1853 - d. 1913 or 1914), Breda; 1903, probably sold by Mouwen through Kunstzalen Oldenzeel, Rotterdam [see note 2]. Mrs. C. Dekker-Fortanier, The Hague [see note 3]; Miss Nelly Dekker, The Hague; Mrs. C. Dekker-Weinberg, Wassenaar. By 1957, Bernard Houthakker, Amsterdam [see note 4]; 1958, sold by Bernard Houthakker to the MFA. (Accession Date: April 10, 1958) NOTES: [1] In a letter of about April 1, 1884, when this painting was still in progress, Vincent wrote to his brother Theo of "studies which are your property, which I will send you if you like, but if you don't care to have them, I will ask you if I may keep them sometime, as I need them for my work. The one is a large weaver, who weaves a piece of red cloth...." About a month later (about May 1, 1884), Vincent mentioned the painting as still being in his care. See J.-B. de la Faille, "The Works of Vincent van Gogh: His Paintings and Drawings" (Amsterdam, 1970), cat. no. F29 (letters no. 364 and 367). [2] Martha Op de Coul, "In Search of Van Gogh's Nuenen Studio," Van Gogh Museum Journal, 2002, p. 115, has identified the MFA painting with the Weaver exhibited at Oldenzeel from November 1 to December 13, 1903 (no. 12). This was evidently part of a group of works that Van Gogh had left in Nuenen, which were later packed and deposited with Adrianus Schrauwen, who then sold them. When they came into the possession of Kees Mouwen, they may have been owned jointly with Willem van Bakel (b. 1866); see pp. 107-109. [3] The information about the Dekker family is taken from De la Faille, 1970 (as above, n. 1). In earlier editions of De la Faille's catalogue, Nelly Dekker is given as the earliest owner, and Mrs. C. Dekker-Fortanier is listed second. [4] The dealer Houthakker wrote to MFA director Perry T. Rathbone (March 26, 1958) that the painting came "from the collection of Nelly Dekker, The Hague, and her heirs." In a subsequent letter (June 7, 1958), Houthakker mentioned other objects from the Dekker collection that he was selling.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Details

    Dimensions

    62.5 x 84.4 cm (24 5/8 x 33 1/4 in.)

    Accession Number

    58.356

    Medium or Technique

    Oil on canvas

    Not On View

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  • Rest on the Flight into Egypt

    1590–1600
    Cavaliere D'Arpino (Giuseppe Cesari) (Italian (Roman), 1568–1640)

    Description

    Giuseppe Cesari, known as the Cavaliere d’Arpino, was a prominent painter in Rome in the late sixteenth century. The energy, emotional truthfulness, and clear color of his paintings foreshadow the Baroque style of the seventeenth century. Painted on copper and in a perfect state of preservation, this work was formerly in the great collection formed by the wealthy and powerful Barberini family in Rome.

    Inscription

    Lower left: F.22.

    Provenance

    Maffeo Barberini, Prince of Palestrina (b. 1631 - d. 1685), Rome [see note 1]; until 1970, by descent within the Barberini family, Rome; 1970, sold by the Barberini family to P. and D. Colnaghi, London; 1971, sold by Colnaghi to John Goelet, New York; 1983, gift of Goelet to the MFA. (Accession Date: June 15, 1983) NOTES: [1] This is probably the painting in the posthumous inventory of Maffeo Barberini, drawn up in 1686 (VII.inv.86, fol. 208 l, no. 609), described as a Madonna and Child with St. Joseph, who offers dates to the infant; on copper; 1 3/4 palmi high (about 42 cm) by 1 1/4 palmi wide (about 30 cm) and attributed to "Vaini" (?). Around 1816, the painting was numbered F22 (visible in its lower left corner) in relation to an inheritance dispute then in progress within the Barberini family. See Marilyn Aronberg Lavin, Seventeenth-Century Barberini Documents and Inventories of Art (New York, 1975), pp. 420 and 715. The painting appears in the posthumous inventory of Francesco Barberini-Colonna, Prince of Palestrina (b. 1772 - d. 1853), drawn up in 1854 (accessible via the Getty Provenance Index Databases, http://piweb.getty.edu, Archival Document I-535), no. 22, described as a Rest on the Flight in to Egypt; on copper; attributed to Simon Vouet.

    Credit Line

    Gift of John Goelet

    Details

    Dimensions

    43.2 x 31.7 cm (17 x 12 1/2 in.)

    Accession Number

    1983.301

    Medium or Technique

    Oil on copper

    On View

    Robert and Ruth Remis Gallery (Gallery 244)

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  • Landscape with Bathers and Shepherds

    1804
    Jean-Victor Bertin (French, 1767–1842)

    Description

    Signed

    Lower Right: BERTIN 1804

    Provenance

    By 1981, Julia Appleton Bird (Mrs. Charles Sumner), Ipswich, MA; 1981, gift of Julia Appleton Bird. (Accession Date: January 13, 1982)

    Credit Line

    Gift of Mrs. Charles Sumner Bird (Julia Appleton Bird)

    Details

    Dimensions

    127.3 x 113.1 cm (50 1/8 x 44 1/2 in.)

    Accession Number

    1981.721

    Medium or Technique

    Oil on canvas

    Not On View

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  • Italian Landscape with Bathers

    1790
    Pierre Henri de Valenciennes (French, 1750–1819)

    Description

    Born in Toulouse, Valenciennes lived and worked in Rome from 1777 to 1784, and he brought back to Paris sketchbooks and oil sketches that would provide the raw material for many later landscape compositions. He sought to raise landscape painting to the respected level of history painting— the depiction of events from mythology, ancient history, or the Bible. Here, the bathers pose like antique sculptures, evoking an idyllic Roman past.

    Inscription

    Lower left: P de Valenciennes. 1790

    Provenance

    1791, possibly private collection, France [see note 1]. November 26, 1975, anonymous sale, Palais Galliéra, Paris, lot 28. By 1978, Herman Shickman Gallery, New York; 1978, sold by Shickman Gallery to John Goelet, New York; 1980, year-end gift of John Goelet to the MFA. (Accession Date: January 14, 1981) NOTES: [1] Possibly the painting by Valenciennes described as "View of Italy, with Young Women Bathing" (Vue d'Italie, avec de jeunes Filles qui se baignent), measuring 58 by 86 cm. (1 pied, 11 pouces; 2 pieds, 10 pouces), exhibited at the Paris Salon in 1791 and lent by Mme. ... (name withheld). See "Explication des Peintures, Sculptures, et Gravures de Messieurs de l'Academie Royale" (Paris, 1791), pp. 26-27, no. 132.

    Credit Line

    Gift of John Goelet

    Details

    Dimensions

    54 x 81.6 cm (21 1/4 x 32 1/8 in.)

    Accession Number

    1980.658

    Medium or Technique

    Oil on canvas

    Not On View

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  • Halt at the Spring

    1765
    François Boucher (French, 1703–1770)

    Description

    Boucher was the most fashionable and influential French artist of the eighteenth century. He painted major decorative ensembles, portraits, landscapes, and mythological scenes, and also designed tapestries, opera sets, porcelains, and book illustrations. Halt at the Spring was originally a smaller religious painting portraying the Rest on the Flight into Egypt, with Mary, Joseph, and the Christ Child at the left. Between 1761 and 1765, the painting was enlarged (the strips of added canvas are visible at the top and sides) and reworked into a picturesque fantasy of peasant life.

    Signed

    Center right, on pedestal of vase: FBoucher / 1765 (F and B joined)

    Provenance

    By 1769, Pierre-Jacques-Onésyme Bergeret de Grancourt (b. 1715 - d. 1785), Paris [see note 1]; April 24, 1786, posthumous Bergeret de Grancourt sale, Hôtel de Bergeret, Paris, lot 47, not sold. December 21-22, 1846, anonymous sale, Beurdley, Paris, lot 1. 1846/1848, probably acquired in Paris by Edward Preble Deacon (b. 1813 - d. 1851) and his wife, Sarahann Parker Deacon (b. 1821 - d. 1900), Boston [see note 2]; 1861, to Mrs. Deacon's father, Peter Parker (b. 1785 - d. 1870), Boston [see note 3]; February 1-3, 1871, Deacon House sale, Leonard and Co., Boston (unnumbered catalogue), sold to Franklin for the heirs of Peter Parker; 1871, gift of the heirs of Peter Parker to the MFA. (Accession Date: March 10, 1871) NOTES: [1] This painting was exhibited at the Salon of 1761, though the owner at the time is not known. This painting was subsequently reworked and enlarged; Boucher signed and dated it 1765. It was exhibited with its pendant (MFA accession no. 71.3) at the Salon of 1769, when Bergeret de Grancourt was recorded as the owner of both works. See Eric M. Zafran, "French Paintings in the Museum of Fine Arts, Boston," vol. 1 (Boston, 1998), cat. nos. 42-43, pp. 107-112. [2] It is possible that the Deacons purchased the two Boucher paintings at the December 21 auction in Paris. They are known to have made two trips to Paris, in 1846-47 and in 1848, to acquire furnishings for their home. See Zafran (as above, n. 1), p. 112. [3] Mr. Deacon died in 1851 and his widow and children went abroad in 1861, at which time the ownership of their home, known as Deacon House, passed to her father. See Zafran (as above, n. 2).

    Credit Line

    Gift of the heirs of Peter Parker

    Details

    Dimensions

    208.6 x 289.9 cm (82 1/8 x 114 1/8 in.)

    Accession Number

    71.2

    Medium or Technique

    Oil on canvas

    On View

    Ann and William Elfers Gallery (Gallery 245)

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  • Portrait of a Man

    Jan van Beers (Belgian, 1852–1927)

    Description

    Inscription

    Lower left: JAN VAN BEERS

    Provenance

    Before World War II, Wertheim family, Palais Wertheim, Vienna (original commission) [see note 1]. July 4, 1978, anonymous sale, Hôtel Drouot, Paris, lot 76. 1978, with Galerie Lesieutre, Paris; July 26, 1978, sold by Galerie Lesieutre to Hazlitt, Gooden and Fox, London; 1979, sold by Hazlitt, Gooden and Fox to the MFA. (Accession Date: May 16, 1979) NOTES: [1] In a letter of April 1986 in the MFA curatorial file, a German citizen claimed that his great-uncle, Franz von Wertheim, Jr. (b. 1865) of Vienna was the sitter for this portrait, and that it had been housed in the Palais Wertheim, his family's home in Vienna, before World War II. Although branches of the Wertheim family in Germany suffered great losses during World War II, the MFA received no indication from this correspondent that he believed this painting was seized or improperly sold during the war.

    Credit Line

    Seth K. Sweetser Fund

    Details

    Dimensions

    31.8 x 40.0 cm (12 1/2 x 15 3/4 in.)

    Accession Number

    1979.201

    Medium or Technique

    Oil on panel

    Not On View

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  • The Death of Seneca

    1750
    Noël Hallé (French, 1711–1781)

    Description

    A distinguished member of the Royal Academy of Painting and Sculpture, Hallé was renowned for his paintings of noble themes from ancient Greek and Roman history. This painting portrays the dying Roman philosopher and dramatist Seneca, who committed suicide when accused of conspiracy and condemned to death by Emperor Nero. Seneca’s wife begged to die with him, but he sent her away to spare her the pain of witnessing his death. Unlike most representations of this subject, Hallé’s painting focuses not on the death of the philosopher but on the poignant separation of the weakening Seneca and his distraught wife.

    Provenance

    With the artist (exhibited at the Salon of 1750); 1783, from the artist to Jean-Nöel Hallé, Paris; by inheritance, to descendants until about 1970. By 1975, consigned by Établissement Rustique, Vaduz, Liechtenstein to Heim Gallery, London; 1978, sold by Heim Gallery to the MFA. (Accession Date: April 12, 1978)

    Credit Line

    Juliana Cheney Edwards Collection

    Details

    Dimensions

    153.7 x 121.9 cm (60 1/2 x 48 in.)

    Accession Number

    1978.123

    Medium or Technique

    Oil on canvas

    Not On View

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  • Still Life with Pumpkin and Fruit

    1800
    Jan Evert Morel (Dutch, 1777–1808)

    Description

    Inscription

    Lower left: J E M. Reverse: J. E. Morel / 1800

    Provenance

    By 1963, Aimée Lamb (b. 1893 - d. 1989) and Rosamond Lamb (b. 1898 - d. 1989), Boston; 1972, gift of Misses Aimée and Rosamond Lamb to the MFA. (Accession Date: April 12, 1972)

    Credit Line

    Gift of Miss Aimée and Miss Rosamond Lamb

    Details

    Dimensions

    52 x 67.3 cm (20 1/2 x 26 1/2 in.)

    Accession Number

    1972.231

    Medium or Technique

    Oil on panel

    Not On View

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  • Saint Barbara

    Unidentified artist, Netherlandish, 16th century (Netherlandish)

    Description

    Provenance

    Acquired either by Stephen Higginson Perkins (b. 1804 - d. 1877) or his daughter, Elizabeth Perkins, Boston [see note 1]; by descent within the family to Sarah Cabot (Mrs. William Ellery) Sedgwick (b. 1904 - d. 1994), Boston; 1968, gift of Mrs. W. Ellery Sedgwick to the MFA. (Accession Date: December 11, 1968) NOTES: [1] According to a letter from Mrs. Sedgwick to the MFA (July 23, 1973) the painting was purchased either by her great-grandfather Perkins or his daughter, Miss Elizabeth Perkins.

    Credit Line

    Gift of Mrs. W. Ellery Sedgwick in memory of Miss Elizabeth Perkins

    Details

    Dimensions

    67.3 x 30.2 cm (26 1/2 x 11 7/8 in.)

    Accession Number

    68.787

    Medium or Technique

    Oil on panel

    Not On View

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  • Carmelina

    1903
    Henri Matisse (French, 1869–1954)

    Description

    Matisse represented the female nude many times, both in painting and in sculpture. In this striking early work, the rounded forms of Carmelina’s body, strongly modeled in light and dark, stand out almost in relief against the pattern of rectangular shapes behind her. The subject of the nude, usually relaxed and seductive, here becomes a confrontation between the boldly posed model and the artist, who is visible in the mirror at the back of the studio.

    Inscription

    Lower left: Henri Matisse

    Provenance

    By 1912, Bernheim-Jeune, Paris [see note 1]. 1931, Baron Shigetaro Fukushima (b. 1895 - d. 1960), Paris; 1931, sold by Fukushima, through the Pierre Matisse Gallery, New York, to the MFA for $10,050 [see note 2]. (Accession Date: February 4, 1932) NOTES: [1] Bernheim-Jeune et Cie. lent the painting to the "Second Post-Impressionist Exhibition" (Grafton Galleries, London, October 5 - December 31, 1912), cat. no. 9. [2] MFA accession numbers RES.32.2-RES.32.18 were purchased together for $10,050.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Copyright

    © 2011 Succession H. Matisse, Paris / Artists Rights Society (ARS), New York.

    Details

    Dimensions

    81.3 x 59 cm (32 x 23 1/4 in.)

    Accession Number

    RES.32.14

    Medium or Technique

    Oil on canvas

    Not On View

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  • French Soldiers in the Snow

    Paul Louis Narcisse Grolleron (French, 1848–1901)

    Description

    Inscription

    Lower right: P. Grolleron

    Provenance

    By 1967, Francis A. Foster; 1967, bequest of Foster. (Accession Date: June 28, 1967)

    Credit Line

    Gift of the Estate of Francis A. Foster

    Details

    Dimensions

    24.1 x 33 cm (9 1/2 x 13 in.)

    Accession Number

    67.672

    Medium or Technique

    Oil on panel

    Not On View

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  • Camel

    Charles Théodore Frère (French, 1814–1888)

    Description

    Inscription

    Lower right: TH. FRÈRE

    Provenance

    December 5, 1860, possibly sold at "Oil Paintings of the French and Belgian Schools," as no. 58, by Henry H. Leeds & Co., New York. [see note 1]. 1927, gift of Mrs. Ellerton James. (Accession date: September 8, 1927) NOTES: [1] Inscription in pencil on reverse of painting reads V11351 and 29334-3, likely a label from Vose Galleries, Boston.

    Credit Line

    Gift of Mrs. Ellerton James

    Details

    Dimensions

    24.1 x 33 cm (9 1/2 x 13 in.)

    Accession Number

    RES.27.53

    Medium or Technique

    Oil on panel

    Not On View

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  • Portrait of a Lady

    1757
    Joseph-Marie Vien (French, 1716–1809)

    Description

    Inscription

    Lower left: T M Vien (T M V in monogram) / Rom le 20 [aug]/1757

    Provenance

    By 1919, Mr. Turner, Paris. By 1927, Cailleux, Paris; May 8, 1935, sold by Cailleux to Forsyth Wickes, New York and Newport, RI (died 1964); 1965, bequest of Forsyth Wickes. (Accession date: January 8, 1969)

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    44.1 x 34.6 cm (17 3/8 x 13 5/8 in.)

    Accession Number

    65.2667

    Medium or Technique

    Pastel on parchment

    Not On View

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  • Courtyard in Constantinople

    1868
    Alberto Pasini (Italian, 1825–1899)

    Object Place: Italy

    Description

    Inscription

    Lower left: Constantinople

    Signed

    Lower right: A. Pasini, 1868

    Provenance

    1919, gift of Mrs. W. P. P. Longfellow. (Accession date: June 3, 1919)

    Credit Line

    Bequest of Mrs. W. P. P. Longfellow

    Details

    Dimensions

    26 x 46 cm (10 1/4 x 18 1/8 in.)

    Accession Number

    RES.19.38

    Medium or Technique

    Oil on canvas

    Not On View

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  • Head of a Young Woman

    18th century
    Unidentified artist, French, 18th century

    Description

    Provenance

    Possibly Comte d'Armagnac, Paris [see note 1]. Private Collection, England [see note 2]. December 20, 1940, anonymous sale, Christie's, London, lot 178 [see note 3]. May 16, 1945, sold by Wildenstein & Co., New York to Forsyth Wickes (b.1876- d.1964), New York and Newport, RI; 1965, bequest of Forsyth Wickes to the MFA [see note 4]. (Accession Date: January 8, 1969) NOTES: [1] According to Wildenstein at the time of the sale to Forsyth Wickes. A painting by Pater, described as "Tete de Femme," was included in the sale of The General d'Armagnac, February 19, 1857, Paris, lot 20, but whether this is identical to the present painting is unknown. [2] According to Wildenstein at the time of the painting's sale. [3] At the time of this sale the painting was attributed to Greuze with the description "Head of a Lady, with white dress." [4] At time of accessioning, the work was attributed to Jean-Baptiste Pater.

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    41.9 x 34.6 cm (16 1/2 x 13 5/8 in.)

    Accession Number

    65.2651

    Medium or Technique

    Oil on canvas

    Not On View

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  • Field of Poppies near Giverny

    1890
    Claude Monet (French, 1840–1926), Lent by The White Fund (American (Lawrence, MA))

    Description

    Inscription

    Lower right: Claude Monet 90

    Provenance

    October 31, 1890, sold by the artist to Durand-Ruel, Paris; February 29, 1892, sold by Durand-Ruel, New York, to Mr. Potter Palmer, Chicago, IL; November 23, 1894, sold by Mrs. Potter Palmer to Durand-Ruel, New York; March 22, 1899, sold by Durand-Ruel, New York, to G.O. Wolcott; owned by Senator Edward O. Wolcott, Colorado Springs and Washington DC; to his brother the Rev. William E. Wolcott, Lawrence, MA (d. 1911); bequeathed to the White Fund of Lawrence, MA. On loan to the MFA by the Trustees of the White Fund, Lawrence, MA, since November 13, 1912.

    Credit Line

    Deposited by the Trustees of the White Fund, Lawrence, Massachusetts

    Details

    Dimensions

    60.8 x 101.1 cm (23 15/16 x 39 13/16 in.)

    Accession Number

    L-R 1328.12

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Whitechapel Jew

    Henri Gaudier-Brzeska (French (active in Britain), 1891–1915)

    Description

    Provenance

    1915, by inheritance at the artist's death to his companion, Sophie Brzeska (d. 1925), Gloucestershire, England [see note 1]; 1927, sold from the estate of Sophie Brzeska to Harold Stanley (Jim) Ede (b. 1895 - d. 1990), Kettle's Yard, Cambridge, England; 1965, sold by Ede to the MFA. (Accession Date: December 8, 1965) NOTES: [1] Gaudier-Brzeska used his oil painting Portrait of a Whitechapel Jew (MFA accession no. 65.1683.2) as the support for his plaster relief The Wrestlers (MFA accession no. 65.1683.1). The painting and relief were separated by the MFA shortly after the object was acquired.

    Credit Line

    Otis Norcross Fund

    Details

    Dimensions

    91.5 x 71.1 cm (36 x 28 in.)

    Accession Number

    65.1683.2

    Medium or Technique

    Oil on canvas

    Not On View

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  • Juan-les-pins, the Bay and the Shore

    1893
    Eugène Louis Boudin (French, 1824–1898)

    Description

    Provenance

    April 12, 1893, sold by the artist to Galerie Durand-Ruel, Paris; December 21, 1893, transferred from Durand-Ruel, Paris, to Durand-Ruel, New York; January 20, 1894, sold by Durand-Ruel, New York, to A.W. Kingman, New York; March 27, 1895, left on deposit by Kingman at Durand-Ruel, New York; March 5,1896, sold by Kingman to Durand-Ruel, New York. Private collection [see note 1]; from private collection to Sam Salz, New York. 1975, Jerome K. Orbach, New York; November 13, 1990, sold at Sotheby's, New York, "The Collection of Jerome K. Ohrbach," lot 8, and bought by Eunice and Julian Cohen, Boston, MA; 1999, gift of Eunice and Julian Cohen. (Accession Date: December 15, 1999) NOTES: [1] we strongly suspect that this private collector was an American citizen; according to letter of November 30, 2001 from Caroline Durand-Ruel Godfroy in curatorial files, this picture was included in the following two exhibitions at Durand-Ruel, New York : "Exhibition, paintings by Eugène Boudin (1824-1898)," February 26 - March 15, 1919, no. 22, and "Paintings by Eugène Boudin," February 2 - 28, 1948, no. 7

    Credit Line

    Gift of Eunice and Julian Cohen

    Details

    Dimensions

    54.6 x 90.2 cm (21 1/2 x 35 1/2 in.)

    Accession Number

    1999.584

    Medium or Technique

    Oil on canvas

    Not On View

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  • Jupiter with Gods and Goddesses on Olympus

    1560s
    Paolo Veronese (Paolo Caliari) (Italian (Venetian), 1528–1588)

    Description

    Provenance

    Until 1657, Giovanni Batta Raggi (b. 1613 - d. 1657), Genoa [see note 1]; 1658, by inheritance to his brother, Cardinal Lorenzo Raggi (b. 1615 - d. 1687), Rome [see note 2]; until at least 1780, probably by descent within the family, to Giulio Raggi, Genoa [see note 3]; 1818, possibly still at the Raggi palace, Genoa [see note 4]. By 1930, Count Alessandro Contini Bonacossi (b. 1878 - d. 1955), Rome; May 26, 1930, sold by Contini Bonacossi to Mrs.Edward Jackson Holmes (Mary Stacy Beaman) (b. 1875), Boston; 1964, gift of Mrs. Edward Jackson Holmes to the MFA. (Accession Date: December 9, 1964) NOTES: [1] This is one of five paintings by Veronese, depicting scenes from Roman mythology, that are recorded in Raggi's posthumous inventory of November 4, 1658 (see Piero Boccardo, ed., "L'Età di Rubens," exh. cat. Palazzo Ducale, Genoa, March 20 - July 11, 2004, pp. 325-26, nos. 51-55 and p. 372, cat. nos. 94a-c). Of these, four are at the MFA (accession nos. 59.260, 60.125, 64.2078, 64.2079) and the fifth, showing the Rape of Europa, is in the Rasini collection, Milan. [2] The paintings are also included in a list, dated November 6, 1658, of works of art to be sent to Raggi's brother in Rome; see Boccardo, ed., 2004 (as above, n. 1), p. 326 ("Cinque bislonghi di Paolo [Veronese]"). [3] After the death of Lorenzo, one painting by Veronese probably remained in Rome, with his cousin Sigismondo, although it is not known which; Sigismondo lent a bislungo, or painting of elongated format, to San Salvatore in Lauro in 1701 and 1710. The others were sent back to Genoa and are recorded in 1780 at the palace of Giulio Raggi, trisnipote (probably a great-grandson or -nephew) of Giovanni Batta. They are described simply as "diverse fregi con piccole figure di Paolo da Verona" (different friezes [i.e., paintings of a long format] with little figures by Paolo Veronese). [4] In 1818, three of the five paintings - the Rape of Europa and two that are not specified by subject - were recorded at the palace by an anonymous author ("Descrizione della città di Genova da un anonimo del 1818," p. 303).

    Credit Line

    Bequest of Mrs. Edward Jackson Holmes

    Details

    Dimensions

    27.3 x 101 cm (10 3/4 x 39 3/4 in.)

    Accession Number

    64.2078

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Loing at Saint-Mammès

    1882
    Alfred Sisley (British (active in France), 1839–1899)

    Description

    At a moment when Monet sought out the charismatic coasts of Normandy and the French Riviera, Sisley continued to focus on his immediate surroundings, painting landscapes along the Seine in a high Impressionist style. Here wispy strokes of white suggest fast-moving clouds, while shorter, wetter ones describe the river’s ruffled surface. Humans are often all but absent from Monet’s pictures of the 1880s, but Sisley’s landscapes of the period remain emphatically inhabited, filled with the bridges, boats, and modest houses of his suburban environment.

    Provenance

    1890, Durand-Ruel, Paris; December 11, 1890, sold by Durand-Ruel to Coquelin Cadet; May 27, 1893, Coquelin Cadet sale, Georges Petit, Paris, lot 55. 1934, Bernheim-Jeune, Paris; November 15, 1934, sold by Bernheim-Jeune to Wildenstein & Co., Paris; transferred from Wildenstein, Paris, to Wildenstein, London; August 5, 1936, sold by Wildenstein, London, to William A. Coolidge (d. 1992), Topsfield and Cambridge, MA [see note 1]; 1993, bequest of William A. Coolidge to the MFA. (Accession Date: January 27, 1993) NOTES: [1] for details of Wildenstein's history with this painting, see letter of September 1, 1998 from Eliot W. Rowlands of Wildenstein & Co. to Erika Swanson of the MFA in curatorial file.

    Credit Line

    Bequest of William A. Coolidge

    Details

    Dimensions

    49.8 x 64.9 cm (19 5/8 x 25 9/16 in.)

    Accession Number

    1993.44

    Medium or Technique

    Oil on canvas

    On View

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

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  • Head of Diego

    1961
    Alberto Giacometti (Swiss (worked in France), 1901–1966)

    Description

    By 1950 Giacometti had shifted away from making the tall, attenuated sculptures that had won him world-wide acclaim, and had turned to painting and modeling portraits of the people closest to him, especially his wife Annette and his brother Diego. One year his junior, Diego was indispensable to Alberto’s work as both tireless model and technical assistant in the execution of his sculpture, all while pursuing his own career as a furniture designer and sculptor.

    Inscription

    Lower right: Alberto Giacometti

    Provenance

    1961, from the artist to Pierre Matisse Gallery, New York; 1962, sold by the Pierre Matisse Gallery to the MFA. (Accession Date: April 11, 1962)

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Copyright

    © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris. Licensed by VAGA, New York.

    Details

    Dimensions

    45.1 x 35 cm (17 3/4 x 13 3/4 in.)

    Accession Number

    62.283

    Medium or Technique

    Oil on canvas

    Not On View

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    Contemporary Art, Europe

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  • Saint Andrew

    1641
    Attributed to Jusepe de Ribera (Spanish (active in Italy), 1591–1652)

    Description

    Provenance

    Gustav von Gerhardt, Budapest; November 10, 1911, posthumous Gerhardt sale, Lepke, Berlin, lot 66 [see note 1]. Until about 1926, Count Andrássy, Budapest; about 1926, sold by Andrássy to Leo Budai-Goldberger (b. 1878 - d. 1945), Budapest [see note 2]. Possibly Ladislas Sós, Paris [see note 3]. About 1951, probably acquired in Paris by Pinakos, Inc. (Rudolf Heinemann, b. 1902 - d. 1975) and M. Knoedler and Co., Paris and New York (joint account) [see note 4]; March 28, 1951, full ownership acquired by Knoedler, New York (stock no. A4548); February 24, 1953, sold by Knoedler to Mrs. B[asil] Goulandris, Greenwich, CT; sold back to Knoedler (stock no. A6668); 1957, sold by Knoedler to Zannis L. Cambanis, London, who returned it to Knoedler; June 3, 1958, sold by Knoedler to Mr. and Mrs. Robert Beede; given by Mr. and Mrs. Beede to Russell B. Stearns (d. 1981) and Andrée B. Stearns, Dedham, MA; 1991, gift of Andrée B. Stearns to the MFA. (Accession Date: December 18, 1991) NOTES: [1] As Jusepe de Ribera, St. Peter. [2] The verso of a photograph of the painting (copy supplied by M. Knoedler and Co.) is inscribed in French and signed by Ladislas Sós, 1 rue Eugene, Paris: "The painting represented on the reverse was part of the collection of the late Leo Goldberger of Budapest, who purchased it around 1926 from Count Andrassy." [3] The inscription on the photograph (see above, n. 2) is not dated, and it is unclear what role, if any, Ladislas Sos had in selling this painting. He may be identical to the displaced person of the same name, whose card with the Barcelona Emigration Office notes that he departed Spain for France in July of 1945. [4] The reverse of the painting bears a French customs stamp as well as a shipping label from Lenars et Cie., Paris (annotated "KNO / No. 40"). When it was entered into the Knoedler stock book in 1951, the painting was initially titled, in French, "Vieux pecheur," and a payment to Lenars was noted. ADDITIONAL INFORMATION: Leo Goldberger, a Jewish industrialist in Hungary, was sent to the Mathausen concentration camp in 1944. He died of starvation shortly after the camp was liberated in 1945. The contents of his home, including his art collection, were looted. When and how this painting left Goldberger's possession and made its way to Paris is not known, nor is it certain who sold the work to Pinakos and Knoedler. The MFA has been in contact with a representative of the Goldberger heirs about the provenance of this painting. Research is ongoing.

    Credit Line

    Gift of Andree B. Stearns

    Details

    Dimensions

    69.9 x 55.9 cm (27 1/2 x 22 in.)

    Accession Number

    1991.776

    Medium or Technique

    Oil on canvas

    Not On View

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  • Princess Mary, Daughter of Charles I

    about 1637
    Anthony van Dyck (Flemish, 1599–1641)

    Description

    Van Dyck was court painter to Charles I of England and highly acclaimed for his regal, yet sensitive, portrayals of the royal family. This portrait is possibly the one described in a 1647 letter from the king as “the Originall of My eldest Daughter” hanging in Hampton Court Palace. Van Dyck represents the six-year-old princess with poise beyond her years, dressed not as a child but a woman prepared to fulfill her role on the European stage. After failed attempts to betroth her to a son of Philip IV of Spain and her first cousin Charles I Louis, Elector Palatine, Mary—aged nine—married Prince William II of Orange on May 2, 1641.

    Provenance

    Possibly Charles I (b. 1600 - d. 1649), King of Scotland and England, Hampton Court Palace; 1649, possibly collected by the House of Commons and sold to Emanuel de Critz (b. 1608 - d. 1665) [see note 1]. Possibly Cardinal Jules Mazarin (b. 1602 - d. 1661), Paris [see note 2]. Augustus Phipps (b. 1762 - d. 1826), Mulgrave Castle, Lythe, near Whitby, England; April 19, 1834, posthumous sale of the Hon. Augustus Phipps, Christie, Manson, and Woods, London, to Welbore Ellis Agar, 2nd Earl of Normanton (b. 1778 - d. 1868), Somerley, Ringwood, England [see note 3]; until 1927, by descent within the family to Sidney James, 4th Earl of Normanton (b. 1865 - d. 1933); 1927, sold by the Earl of Normanton to Agnew, London (stock no. 6818) [see note 4]; 1928, sold by Agnew to Alvan Tufts Fuller (b. 1879 - d. 1958), Boston; 1959, to the Alvan T. Fuller Foundation; 1961, gift of the Alvan T. Fuller Foundation to the MFA. (Accession Date: May 10, 1961) NOTES: [1] Thanks are due to Sebastian Edwards for suggesting that this portrait of Mary Stuart (b. 1631 - d. 1660) may have been owned by her father, Charles I. In 1647, the king wrote in a letter about his pictures at Hampton Court, including "the Originall of My eldest Daughter (it hangs in this chamber over the board next to the Chimney)," though he does not specify the artist. In 1649, when Charles was executed, inventories of his collection were drawn up and included a "Princess Mary. princess of Orange. at Length." This was sold to Emanuel de Critz, a portrait painter who may also have worked as a dealer. See Oliver Millar, "Van Dyck in London," Burlington Magazine 110 (June, 1968), 311 and ibid., "The Inventories and Valuations of the King's Goods, 1649-1651," Walpole Society 43 (1970-1972), 151, no. 9. [2] The 1661 inventory of Cardinal Mazarin's collection included a painting "by Van Dyck, on canvas…the Princess of Orange, standing, dressed in blue," measuring approximately 48 by 39 inches. Oliver Millar has tentatively identified this with the MFA painting, which measures 52 by 42 inches. See Van Dyck: A Complete Catalogue of the Paintings (New Haven and London: Yale University Press, 2004), 339, cat. no. III.113 and 554, cat. no. IV.161. Although the MFA painting cannot be positively identified in the collection of Charles I (see above, n. 1) Mazarin did acquire, through agents, a number of works of art at the Commonwealth sales. [3] The April 19 sale was made up of the property of the late Viscountess Hampden. An annotated copy of the catalogue (reproduction in MFA curatorial file) has on its last page a handwritten description of the sale of four items "from the late Hon. Aug. Phipps's collection." The first is a painting by Van Dyck described as the "Princess Eliz. daughter of Charles 1st," sold to Lord Normanton for £135.9. [4] The stock number is found on a label on the reverse of the original stretcher. It was sold to Agnew as a portrait of Princess Henrietta Maria.

    Credit Line

    Given in memory of Governor Alvan T. Fuller by the Fuller Foundation

    Details

    Dimensions

    132.1 x 106.3 cm (52 x 41 7/8 in.)

    Accession Number

    61.391

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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  • The Laborer of Gibea Offering Hospitality to the Levite and His Wife

    Daniel Jansz. Thievaert (Dutch, before 1613–before 1658)

    Description

    Inscription

    Signed lower left

    Provenance

    By the mid-1930s, private collection, Germany; until 1984, by descent within the family to a private collection, London [see note 1]; February 22, 1984, sold from the private collection to Johnny Van Haeften, Ltd., London; November 15, 1984, sold by Johnny Van Haeften to Linda and Gerald Guterman, Bedford Hills, N.Y.; January 14, 1988, Guterman sale, Sotheby's, New York, lot 40, to Otto Naumann, Ltd., on behalf of the MFA. (Accession Date: February 24, 1988) NOTES: [1] According to a letter from Johnny Van Haeften to the MFA (May 19, 2004), the painting belonged to a German Jewish family that emigrated to England in the mid-1930s, taking the painting with them. In 1984 the family sold the painting to Johnny Van Haeften through an intermediary.

    Credit Line

    Henry H. and Zoe Oliver Sherman Fund

    Details

    Dimensions

    162 x 188 cm (63 3/4 x 74 in.)

    Accession Number

    1988.15

    Medium or Technique

    Oil on canvas

    Not On View

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  • Night Watchman

    1955
    Afro Basaldella (Italian, 1912–1976)

    Description

    Inscription

    Lower right: afro. 1955.

    Provenance

    1955, from the artist to Catherine Viviano Gallery, New York [see note 1]; May 31, 1955, sold by Viviano Gallery to Joseph Pulitzer, Jr. (b. 1913 - d. 1993) and Louise Vauclain Pulitzer (d. 1968), St. Louis; 1959, gift of Mr. and Mrs. Joseph Pulitzer to the MFA. (Accession Date: December 10, 1959) NOTES: [1] Included in the exhibition "Afro: Exhibition of Paintings" (Catherine Viviano Gallery, New York, April 25-May 21, 1955).

    Credit Line

    Gift of Mr. and Mrs. Joseph Pulitzer, Jr.

    Copyright

    Courtesy AFRO ARCHIVES FOUNDATION

    Details

    Dimensions

    120 x 80 cm (47 1/4 x 31 1/2 in.)

    Accession Number

    59.1004

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Contemporary Art, Europe

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  • Woman in an Interior

    1909
    Vilhelm Hammershøi (Danish, 1864–1916)

    Description

    In a modest interior lit by a central window, a woman sits absorbed in her work or reading. The painting’s clean lines and quietist atmosphere suggest Hammershøi’s admiration for Johannes Vermeer, 17th-century Dutch master of serene domestic scenes. Hammershøi produced 60 paintings of the apartment on the Strandgade in Christianshavn, Denmark where he lived with his wife (the model for this picture) from 1900 to 1909.

    Provenance

    1918, Eduard Rée, Copenhagen; October 16, 1918, Rée estate sale, Vagn Aagesen, Copenhagen, lot 22. 1924, Max Lester, Copenhagen; October 20, 1924, Lester sale, Winkel & Magnussen, Copenhagen, lot 21. March 20, 1961, anonymous sale, Arne Bruun Rasmussen, Copenhagen, lot 26. About 1960s, acquired by a private collector; about 1984/1985, sold by this private collector to Green Square, Copenhagen [see note 1]; June, 1985, sold by Green Square to John Goelet, New York; 1985, year-end gift of John Goelet to the MFA. (Accession Date: January 22, 1986) NOTES: [1] According to information kindly provided by Green Square (November 6, 2006).

    Credit Line

    Gift of John Goelet in memory of Hanns Swarzenski

    Details

    Dimensions

    57.1 x 62.2 cm (22 1/2 x 24 1/2 in.)

    Accession Number

    1985.930

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Women of Paris: The Circus Lover

    1885
    James Jacques Joseph Tissot (French, 1836–1902)

    Description

    Like the Impressionists, particularly his friend Edgar Degas, Tissot chose his subjects from modern urban life. His precise, detailed, and anecdotal style, however, was more closely related to conservative academic painting. This work belongs to a series called La Femme à Paris (Women of Paris), eighteen large paintings that depict women of different social classes encountered as if by chance at various occupations and amusements. Here, the woman engages the viewer as a participant in the action by her direct glance out of the picture. The event is a “high-life circus,” in which the amateur performers were members of the aristocracy.

    Inscription

    Lower left: J. J. Tissot

    Provenance

    1885, with Galerie Sedelmeyer, Paris; 1886, with Arthur Tooth and Son, London [see note 1]. 1889, E. Simon; March 30, 1889, anonymous (Simon) sale, Christie's, London, lot 143, to Mr. King. Goupil Gallery, London (?) [see note 2]. The Hon. Mrs. Arthur Henniker (Inger Margueretta Hutchinson) (d. 1923), Suffolk, England. By 1955, Gerald M. Fitzgerald, London [see note 3]; July 26, 1957, anonymous (Fitzgerald) sale, Christie's, London, lot 100, to Mr. Lloyd, director of Marlborough Fine Art, Ltd., London; 1958, sold by Marlborough Fine Art to the MFA for $5000 [see note 4]. (Accession Date: February 13, 1958) NOTES: [1] This painting was one in a series by Tissot, "Quinze Tableaux sur la Femme à Paris," exhibitied at the Galerie Sedelmeyer, April 19 - June 15, 1885, cat. no. 11 ("Les Femmes de sport"). It was exhibited at the Tooth Gallery, 1886, in "Pictures of Parisian Life" (cat. no. 7, "The Amateur Circus"). See Michael Wentworth, "James Tissot" (Oxford: Clarendon, 1984), Appendix V. [2] Notes in the curatorial file indicate that there is a label on the reverse of the stretcher from William Marchant and Co., The Goupil Gallery, London. [3] He lent the painting to the exhibition "James Tissot (1836-1902): An Exhibition of Paintings, Drawings, and Etchings" (Graves Art Gallery, Sheffield, May 1955), cat. no. 45. [4] Accessioned with the title "Amateur Circus."

    Credit Line

    Juliana Cheney Edwards Collection

    Details

    Dimensions

    147.3 x 101.6 cm (58 x 40 in.)

    Accession Number

    58.45

    Medium or Technique

    Oil on canvas

    On View

    Sidney and Esther Rabb Gallery (Gallery 255)

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  • Virgin and Child Enthroned with Four Angels

    about 1445
    Neri di Bicci (Italian (Florentine), about 1418–1492)

    Description

    The enthroned Virgin Mary offers a pomegranate, symbol of the Resurrection, to the infant Christ, as four cherubs look on. Their partially hidden bodies emphasize the depth and scale of the throne. Neri di Bicci’s style often exhibits a mixture of up-to-date elements, such as the heavy classical architecture and the beautifully rendered shadows in the scallop-shell niche, and more conservative aspects, such as the gold background. This painting was originally the central part of an altarpiece in the prestigious church of Santissima Annunziata in Florence. The Virgin’s blue mantle, created with the expensive pigment lapis lazuli, retains its brilliant blue.

    Provenance

    About 1445 until at least 1689, Chapel of St. James (Villani Chapel), Santissima Annunziata, Florence (original commission) [see note 1]. Private collection, France [see note 2]. Private collection, London. 1978 acquired by P. & D. Colnaghi, London; from Colnaghi, London to Colnaghi, New York; 1983, sold by Colnaghi, New York, to the MFA. (Accession Date: June 15, 1983) NOTES: [1] This was the central panel of an altarpiece commissioned by Jacopo Villani for the Chapel of St. James at SS Annunziata, of which the wings are at the Accademia, Florence, and the Allen Memorial Art Museum, Oberlin College. The altarpiece was still in situ in 1689, when the chapel was restored. When the altarpiece was removed from the church is not known. [2] Published by Federico Zeri, "Neri di Bicci: Reintegrazione di un dipinto già nella SS. Annunziata di Firenze," Antologia di Belle Arti 4, nos. 15-16 (1980), p. 131 as having been in an old French collection for many years (where it was attributed to Gerolamo di Giovanni da Camerino), a private London collection, and then with Colnaghi.

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    Overall (unframed): 154.6 x 88.9 cm (60 7/8 x 35 in.) Other (framed): 155.9 x 93.7 cm (61 3/8 x 36 7/8 in.)

    Accession Number

    1983.300

    Medium or Technique

    Tempera on panel

    On View

    Italian Renaissance Gallery E (Gallery 219)

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  • Deauville at Low Tide

    1897
    Eugène Louis Boudin (French, 1824–1898)

    Description

    Inscription

    Lower right: E. Boudin-97 / Deauville 10 Aout

    Provenance

    May 11, 1901, Louis Bernard sale, Hôtel Drouot, Paris, lot 10, to Durand-Ruel, Paris, for 4200ff; 1908, sold by Durand-Ruel to Milliken. Mary H. J. Parker (b. 1892 - d. 1980), Boston; bequest of Mary H. J. Parker to the MFA. (Accession Date: January 13, 1982)

    Credit Line

    Bequest of Mary H. J. Parker

    Details

    Dimensions

    55 x 95 cm (21 5/8 x 37 3/8 in.)

    Accession Number

    1981.719

    Medium or Technique

    Oil on canvas

    Not On View

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  • Suburban Street Scene

    Maurice Utrillo (French, 1883–1955)

    Description

    Inscription

    Lower right: Maurice. Utrillo. V.

    Provenance

    Paul Guillaume (b. 1891 - d. 1934), Paris; 1935, consigned by his widow, Domenica Guillaume (née Juliette Lacaze, b. 1898 - d. 1977), to the Valentine Gallery, New York (stock no. 1019C) [see note 1]; December, 1935, sold by Valentine Gallery to Katherine Harte (Mrs. George) Putnam (b. 1891 - d. 1986), Boston; 1980, gift of Mrs. George Putnam to the MFA. (Accession Date: November 12, 1980) NOTES: [1] Many thanks to Julia May Boddewyn for providing the details of the transactions with Valentine Gallery.

    Credit Line

    Gift of Mrs. George Putnam

    Copyright

    © Artists Rights Society (ARS), New York / ADAGP, Paris

    Details

    Dimensions

    50.5 x 65.1 cm (19 7/8 x 25 5/8 in.)

    Accession Number

    1980.404

    Medium or Technique

    Oil on canvas

    Not On View

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    Contemporary Art, Europe

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  • Fruit Displayed on a Stand

    about 1881–82
    Gustave Caillebotte (French, 1848–1894)

    Description

    Caillebotte delighted in unusual vantage points and compositions. This close-up view of fruit stacked on a market stand creates a bold pattern of repeated forms and colors, while the sensuous brushstrokes suggest the lusciousness of the fruit. A loyal and well-to-do member of the Impressionist group, Caillebotte bequeathed his extensive painting collection to the state. It became the nucleus of the Impressionist collection now in the Musée d’Orsay, Paris.

    Inscription

    Lower right: G. Caillebotte

    Provenance

    About 1881-1882, executed for Albert Courtier, Meaux [see note 1]; by descent from Courtier to Mme. Brunet, Paris [see note 2]; by descent from Mme. Brunet to a private collection, Paris; March 22, 1979, sale of private collector, Palais d'Orsay, Paris, lot 71, to Wildenstein and Co., New York, for the MFA. (Accession Date: May 16, 1979) NOTES: [1] Courtier was a notary at Meaux and friend of Caillebotte; the painting was intended for his dining room. See Marie Berhaut, "Caillebotte: sa vie et son oeuvre" (Paris, 1978), cat. no. 178. [2] The provenance is taken from notes in the MFA curatorial file.

    Credit Line

    Fanny P. Mason Fund in memory of Alice Thevin

    Details

    Dimensions

    76.5 x 100.6 cm (30 1/8 x 39 5/8 in.)

    Accession Number

    1979.196

    Medium or Technique

    Oil on canvas

    On View

    Sidney and Esther Rabb Gallery (Gallery 255)

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  • Portrait of a Woman

    1910
    Pablo Picasso (Spanish (worked in France), 1881–1973)

    Description

    Cubism, the watershed style invented by Picasso and Georges Braque, created a new and ambiguous relationship between three-dimensional form and the flat surface of the canvas. In austere, monochrome paintings, Picasso dissolved the language of pictorial representation into its basic elements of line, light, and shade, creating a subtly shifting grid that animates the entire canvas. The figure merges with the ground, but never entirely vanishes. Such clues as the hair at top left and the long face identify this portrait, while the right angles rising up in the background may represent paintings stacked against the studio wall.

    Provenance

    By 1929-30, Earl Horter (b. 1881 - d. 1940), Philadelphia [see note 1]; 1934, sold by Horter to Mrs. Gilbert W. Chapman (Elizabeth Fuller Goodspeed) [see note 2], New York; 1977, sold by Chapman to the MFA. (Accession Date: February 9, 1977) NOTES: [1] It is uncertain when Mr. Horter purchased Portrait of a Woman (1910), however the painting was shown hanging in his living room in a photograph dated to 1929-30 and reproduced in the Philadelphia Museum of Art’s catalogue for the exhibition: “Mad for Modernism: Earl Horter and his Collection" (1934). [2] The MFA curatorial files contain a signed and dated declaration by Mrs. Chapman attesting to the date of purchase from Mr. Horter as 1934.

    Credit Line

    Charles H. Bayley Picture and Painting Fund and Partial gift of Mrs. Gilbert W. Chapman

    Copyright

    © 2011 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

    Details

    Dimensions

    100.6 x 81.3 cm (39 5/8 x 32 in.)

    Accession Number

    1977.15

    Medium or Technique

    Oil on canvas

    On View

    Saundra B. and William H. Lane Galleries (Gallery 328)

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  • Peasants Taking their Animals to Water

    Description

    Inscription

    Falsely signed, lower left: Em. Van Marcke

    Provenance

    1972, Misses Aimee and Rosamond Lamb; 1972, gift of Misses Aimee and Rosamond Lamb. (Accession Date: April 12, 1972)

    Credit Line

    Gift of Miss Aimée and Miss Rosamond Lamb

    Details

    Dimensions

    41.9 x 70.5 cm (16 1/2 x 27 3/4 in.)

    Accession Number

    1972.230

    Medium or Technique

    Oil on canvas

    Not On View

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  • Virgin and Child with the Young Saint John the Baptist

    Antonio di Arcangelo (Italian (Florentine), active in 1520–1538)

    Description

    Provenance

    This information is in the process of being reviewed, and will be corrected and updated as research progresses. 1920s, sold by a Bostonian family to Mrs. Henry H. Chase, West Concord, NH [see note 1]; 1959, presented to her daughter, Mrs. W. Ogilvie Comstock, Brookline, MA; 1968, gift of Mr. and Mrs. W. Ogilvie Comstock. (Accession Date: December 11, 1968) NOTES: [1] According to a letter from Mrs. W. Ogilvie Comstock, daughter of Mrs. Chase, October 5, 1963, to the MFA. In addition, see letter in MFA curatorial file from the MFA to Mrs. Chase, indicating the painting was in her ownership by at least 1931.

    Credit Line

    Gift of Mr. and Mrs. W. Ogilvie Comstock

    Details

    Dimensions

    87.9 cm (34 5/8 in.)

    Accession Number

    68.786

    Medium or Technique

    Oil on panel

    Not On View

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  • Boris Anrep and his Family

    Henry Lamb (English, 1883–1960)

    Description

    Provenance

    1931, sold by the artist to the MFA for $535. (Accession date: February 4, 1932)

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Details

    Dimensions

    95.3 x 157.5 cm (37 1/2 x 62 in.)

    Accession Number

    RES.32.13

    Medium or Technique

    Oil on panel

    Not On View

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  • Street in Haarlem

    Cornelis Springer (Dutch, 1817–1891)

    Description

    Inscription

    Lower right: CS 51 (S and C in monogram)

    Provenance

    Francis A. Foster (b. 1872 - d. 1966), Vineyard Haven, MA; 1967, gift of the estate of Francis A. Foster to the MFA. (Accession Date: June 28, 1967)

    Credit Line

    Gift of the Estate of Francis A. Foster

    Details

    Dimensions

    33 x 42.5 cm (13 x 16 3/4 in.)

    Accession Number

    67.671

    Medium or Technique

    Oil on panel

    Not On View

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  • The Adoration of the Kings and the Annunciation

    After Fra Angelico (Italian (Florentine), about 1395/1400–1455)

    Object Place: Italy

    Description

    After a painting in the Museo de San Marco, Florence.

    Provenance

    By 1921, bought by William Sturgis Bigelow [see note 1]; 1926, gift of William Sturgis Bigelow. (Accession date: December 20, 1926) NOTES: [1] label on the back of the painting suggests it may have once been with Galleria Haritmann, December 1896.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    42.5 x 25.1 cm (16 3/4 x 9 7/8 in.)

    Accession Number

    RES.26.35

    Medium or Technique

    Tempera on panel

    Not On View

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  • Portrait of Mrs. Thomas Raikes (?)

    John Russell (English, 1745–1806)

    Description

    Provenance

    By 1908, Charles Wertheimer (b. 1842 - d. 1911), London [see note 1]. August 7, 1916, sold by Thomas Agnew and Sons, London, to M. Knoedler and Co., New York (stock no. WC 1057) [see note 2]; December 31, 1928, sold by Knoedler to Forsyth Wickes (b. 1876 - d. 1964), New York and Newport, RI; 1965, bequest of Forsyth Wickes to the MFA. (Accession Date: January 8, 1969) NOTES: [1] He lent this to the exhibition "Cent Pastels du XVIIIe siècle" (Galerie Georges Petit, Paris, May 18 - June 10, 1908), cat. no. 111. It was also published in The Connoisseur, vol. 22 (September - December, 1908), pp. 230, 278. A note in the curatorial file indicates that the pastel came from the V. Verlheim collection; whether this was a mis-transcription of the name Wertheimer is unknown, but it remains unsubstantiated. [2] Getty Provenance Index, M. Knoedler and Co. records, Watercolor stock book 4, p. 13, no. 1057, as "Miss Raikes."

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    29.8 x 24.8 cm (11 3/4 x 9 3/4 in.)

    Accession Number

    65.2666

    Medium or Technique

    Pastel on paper

    Not On View

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    Europe, Prints and Drawings

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  • The Announcement to the Shepherds

    Adam Colonia (Dutch, 1634–1685)

    Description

    Signed

    no signature

    Provenance

    Elizabeth Caroline Dowse (Mrs. Thomas Henderson) Chandler (b. 1825), Boston; 1917, bequest of Elizabeth C.D. Chandler to the MFA. (Accession Date: December 6, 1917)

    Credit Line

    Bequest of Elizabeth C. D. Chandler

    Details

    Dimensions

    80.9 x 66 cm (31 7/8 x 26 in.)

    Accession Number

    RES.17.104

    Medium or Technique

    Oil on canvas

    Not On View

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  • Servant Girl Plucking a Chicken

    Follower of Nicolas Bernard Lépicié (French, 1735–1784)

    Description

    Provenance

    Wildenstein & Co., New York, NY [see note 1]; November 13, 1945, sold by Wildenstein & Co., New York, to Forsyth Wickes, (b. 1876- d.1964) New York and Newport, RI; 1965, bequest of Forsyth Wickes to the MFA. (Accession Date: January 8, 1969) Notes [1] Formerly thought to be included in Comte de Houdetot sale, December 19-20, 1859, Hôtel des ventes, Paris, as lot 83. Based on the vague catalogue entry and lack of image, it cannot be verified that this is the same painting.

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    88.9 x 71.1 cm (35 x 28 in.)

    Accession Number

    65.2650

    Medium or Technique

    Oil on canvas

    Not On View

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  • Garden Wall

    1892
    George Morren (Belgian, 1868–1941), Lent by The White Fund (American (Lawrence, MA))

    Description

    Inscription

    Lower right: George Morren / Octo - 92

    Provenance

    Rev. William E. Wolcott, Lawrence, MA (d. 1911); bequeathed to the White Fund of Lawrence, MA. On loan to the MFA by the Trustees of the White Fund, Lawrence, MA, since November 13, 1912.

    Credit Line

    Deposited by the Trustees of the White Fund, Lawrence, Massachusetts

    Details

    Catalogue Raisonné

    Tony Calabrese, "George Morren, 1868-1941", Antwerp, 2000, n.24;

    Dimensions

    54 x 67 cm (21 1/4 x 26 3/8 in.)

    Accession Number

    L-R 1326.12

    Medium or Technique

    Oil on canvas

    Not On View

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  • Nobleman with Two Children in a Landscape

    Unidentified artist, Flemish, 16th–17th century (Flemish)

    Description

    Provenance

    Private collection, Bavaria [see note 1]; sold from the private collection to an unidentified dealer, Munich; sold by the dealer to Kurt Rossacher (b. 1918 - d. 1988), Salzburg; 1965, sold by Rossacher to the MFA. (Accession Date: November 10, 1965) NOTES: [1] In a letter to the MFA (March 23, 1966) Dr. Rossacher wrote of the painting, "I have bought it from a dealer in Munich, who had it -- as he says -- from the private collection of a Bavarian noble family. But he does not say the name of the collection...." At the time of its acquisition, the painting was attributed to Justus Sustermans.

    Credit Line

    M. Theresa B. Hopkins Fund

    Details

    Dimensions

    93.4 x 84.5 cm (36 3/4 x 33 1/4 in.)

    Accession Number

    65.1320

    Medium or Technique

    Oil on canvas

    Not On View

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  • Wiencyzyslawa Barczewksa, Madame de Jurjewicz

    Wieńczysława Barczewska, Madame de Jurjewicz

    1860
    Franz Xaver Winterhalter (German, 1806–1873)

    Description

    This lush portrait depicts a member of the Polish nobility who lived most of her life in Paris. Painted in the highest courtly style of the nineteenth century, the image also recalls the grand manner of seventeenth- and eighteenth-century portraits by such artists as Anthony van Dyck and Thomas Gainsborough. Winterhalter was one of the most sought-after and fashionable portraitists in Europe, working for the courts of France, Britain, and Belgium.

    Signed

    Signed and dated F. WINTERHALTER/PARIS 1860

    Provenance

    1928, Comtesse Jean de Quélen, France [see note 1]. By 1936 until at least 1988, Bussière collection, France [see note 2]. 1998, Konrad O. Bernheimer, Munich; 1998, sold by Bernheimer to the MFA. (Accession Date: October 21, 1998) NOTES: [1] She lent this to "L'exposition Winterhalter (Portraits de Dames du Second Empire)" (Jacques Seligmann et Fils, Paris, May 25 - June 15, 1928), cat. no. 14. [2] The Baronne de Bussière lent this to the exhibition "Winterhalter" (Knoedler, London, December 3-16, 1936), cat. no. 19 and the Baron de Bussière lent it to the exhibition "Franz Xaver Winterhalter and the Courts of Europe, 1830-1870" (National Portrait Gallery, London, and Petit Palais, Paris, 1987-1988), cat. no. 62.

    Credit Line

    Museum purchase with funds bequeathed by Genevieve Gray Young in memory of Patience Young and Patience Gray Young

    Details

    Dimensions

    156.1 x 124 cm (61 7/16 x 48 13/16 in.)

    Accession Number

    1998.396

    Medium or Technique

    Oil on canvas

    Not On View

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  • Virgin and Child with an Angel

    about 1470
    Cosimo Rosselli (Italian (Florentine), 1439–1507)

    Description

    Provenance

    By 1930, Count Alessandro Contini-Bonacossi (b. 1878 - 1955), Rome; May 26, 1930, sold by Contini-Bonacossi to Mrs. Edward Jackson Holmes (Mary Stacy Beaman) (b. 1875), Boston; 1964, bequest of Mrs. Edward Jackson Holmes. (Accession date: December 9, 1964)

    Credit Line

    Bequest of Mrs. Edward Jackson Holmes

    Details

    Dimensions

    73.0 x 45.4 cm (28 3/4 x 17 7/8 in.)

    Accession Number

    64.2077

    Medium or Technique

    Oil and tempera on panel

    On View

    Italian Renaissance Gallery (Gallery 206)

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  • Virgin and Child

    about 1509–10
    Andrea del Sarto (Italian (Florentine), 1486–1530)

    Description

    Andrea del Sarto’s serene paintings often combine crisp draperies with blurred contours of facial features, limbs, and hands. Sarto—so named for his father’s profession as a sarto, or tailor—taught many of the brightest talents in Florence, including Rosso Fiorentino. But he also absorbed contemporary influences. This early work seems to be based on a specific Virgin and Child painting, now lost, by the slightly older Raphael.

    Provenance

    By 1827, possibly Joseph Strutt, Derby, England (?) [see note 1]; probably by mid-19th century, in the collection of the Strutt family [see note 2]; until 1960, by descent within the Strutt family to the Lord Belper collection; 1960, sold by Belper to Agnew's, London (stock no. 32592); July 19, 1971, sold by Agnew's to William A. Coolidge (b. 1901 - d. 1992), Topsfield and Cambridge, MA; 1993, bequest of William A. Coolidge to the MFA. (Accession Date: January 27, 1993) NOTES: [1] A "Madonna and Child" by Andrea del Sarto appears in the 1827 inventory of Joseph Strutt, Derby (no. 55), though this has not been positively identified with the MFA painting. [2] According to information provided by Agnew's, London, to William A. Coolidge.

    Credit Line

    Bequest of William A. Coolidge

    Details

    Dimensions

    82.5 x 65.4 cm (32 1/2 x 25 3/4 in.)

    Accession Number

    1993.43

    Medium or Technique

    Oil on panel

    On View

    Museum Council Gallery (Gallery 254)

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  • Still Life with Sweetmeats

    Unidentified artist, Spanish, 17th century (Spanish)

    Description

    The friezelike arrangement of tipped and propped confections suggests a display in a shop window. The boxes hold glazed fruit and candy and sticks of brown sugar; in the center is a broken piece of gingerbread. At the time this picture was painted, Spanish colonies on the islands of the Caribbean led the world in the production and export of sugar. Rare and expensive, sugar was available only to the privileged few, and this modest image by an unknown artist may have been understood as a status symbol or even as a proud reminder of Spain’s preeminence among European powers.

    Provenance

    Anonymous collection, Spain. Anonymous dealer, Switzerland; sold by this dealer to Frederick Mont, New York; 1962, sold by Mont to the MFA for $7,000 [see note 1]. (Accession Date: February 14, 1962) NOTES: [1] In a letter to the MFA (October 26, 1962), Mont said that "the painting comes from Spain. We purchased it from an agent in Switzerland."

    Credit Line

    M. Theresa B. Hopkins Fund

    Details

    Dimensions

    39.7 x 72.1 cm (15 5/8 x 28 3/8 in.)

    Accession Number

    62.172

    Medium or Technique

    Oil on canvas

    Not On View

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  • Virgin and Child

    Sassoferrato (Giovanni Battista Salvi) (Italian (Roman), 1609–1685)

    Description

    Provenance

    By 1964, Louis Agassiz Shaw, Boston, MA [see note 1]; 1991, gift of Louis Agassiz Shaw. (Accession Date: November 20, 1991) NOTES: [1] From April 1964 until 1991, this painting was on loan from Louis Agassiz Shaw to the MFA (Loan Number T.L. 12,310).

    Credit Line

    Gift of Louis Agassiz Shaw

    Details

    Dimensions

    48.3 x 38.7 cm (19 x 15 1/4 in.)

    Accession Number

    1991.693

    Medium or Technique

    Oil on canvas mounted on Masonite

    Not On View

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  • Portrait of a Woman

    about 1818
    Attributed to John Constable (English, 1776–1837)

    Description

    Provenance

    By 1941, private collection, England and Detroit; sold from the estate of the collector to an antique dealer, Detroit; about 1941, sold by the dealer to Ira S. Parke, Amherst, MA and Pacific Grove, CA [see note 1]; 1961, gift of Ira S. Parke to the MFA. (Accession date: April 12, 1961) NOTES: [1] A letter in the MFA curatorial file from Ira S. Parke to the MFA (January 4, 1961) states that he purchased the painting "about twenty years ago." A note by Mr. Parke (undated; probably 1961) states that the dealer from whom he purchased it said "that it came into his possession in a mass of household goods that he had bought from the Estate of an English woman who had come to live in Detroit."

    Credit Line

    Gift of Ira S. Parke

    Details

    Dimensions

    22.6 x 21.6 cm (8 7/8 x 8 1/2 in.)

    Accession Number

    61.241

    Medium or Technique

    Oil on paperboard

    Not On View

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  • Forest Scene with Hunters

    about 1615
    Roelandt (Roelant) Jacobsz. Savery (Flemish, 1576–1639)

    Description

    Savery traveled in 1603 to Prague, where he worked for Emperor Rudolf II. Probably painted after the artist returned to Amsterdam, this magical landscape draws on Savery’s memories of the mountainous scenery of the Tyrol, Rudolf’s menagerie of birds and animals, and castles that he passed on his way along the Rhine. Combining delicate foreground detail with an atmospheric background, this evocative fantasy differs markedly from the more straightforward and naturalistic landscapes that would soon dominate seventeenth-century Dutch painting.

    Inscription

    PEB

    Provenance

    Until 1910, Countess André Mniszech, Wisniowiec, Poland (today Vishnevets, Ukraine); May 9-10, 1910, Mniszech sale, Hôtel Drouot, Paris, lot 88, to Margossian; November 21-22, 1935, Margossian sale, Hôtel Drouot, Paris, lot 19. 1937, Mestrallet, the Netherlands (?); February, 1937, sold by Mestrallet to Pieter de Boer, Amsterdam (stock no. 2319); February, 1937, sold by de Boer to Theo Niemeijer, Laren, the Netherlands; 1988, sold by Theo Niemeijer to the MFA. (Accession Date: February 24, 1988)

    Credit Line

    Charles H. Bayley Picture and Painting Fund

    Details

    Dimensions

    52 x 85.4 cm (20 1/2 x 33 5/8 in.)

    Accession Number

    1988.14

    Medium or Technique

    Oil on Panel

    Not On View

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  • Three Women

    Narcisse Virgile Diaz de la Peña (French, 1807–1876)

    Description

    Inscription

    Lower right: N. Diaz

    Provenance

    Probably before 1922, Doll and Richards, Inc., Boston, MA [see note 1]. By 1959, with anonymous donor; 1959, anonymous gift to the MFA. (Accession Date: November 12, 1959) [1] A label on the back of the frame reads "Doll and Richards, Inc." and gives the stock number C44152. The gallery maintained the name Doll and Richards until the death of J. Dudley Richards in 1922.

    Credit Line

    Anonymous gift

    Details

    Dimensions

    59.4 x 39.4 cm (23 3/8 x 15 1/2 in.)

    Accession Number

    59.779

    Medium or Technique

    Oil on panel

    Not On View

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  • The Sacrifice of the Old Covenant

    about 1626
    Peter Paul Rubens (Flemish, 1577–1640)

    Description

    This oil sketch is the design for one tapestry in a cycle known as The Triumph of the Eucharist. The Old Testament sacrifice of a lamb was presented as a foreshadowing of the sacrifice of Christ, commemorated in the sacrament of the Eucharist, or Holy Communion. Rubens depicted the scene as if on a tapestry suspended from the surrounding architecture; the illusion in the final woven version would be of one tapestry within another.

    Provenance

    Elector Palatine (?) [see note 1]. Robert Spencer (b. 1611 - d. 1702), 2nd Earl of Sunderland, Althorp, Brington, Northamptonshire; by descent within the family to Albert Edward John Spencer (b. 1892 - d. 1975), 7th Earl of Spencer, Althorp; sold by Spencer to Thomas Agnew and Sons, London; 1961, sold by Agnew to William A. Coolidge (b. 1901 - d. 1992), Topsfield and Cambridge, MA; 1985, gift of William A. Coolidge to the MFA. (Accession Date: November 27, 1985) NOTES: [1] Nora de Poorter, "The Eucharist Series," vol. 1, Corpus Rubenianum series (London and Philadelphia, 1978), p. 318, notes that the provenance can be securely traced back to Robert Spencer, 2nd Earl of Sunderland, "who bought many paintings on the continent to adorn his home at Althorp," and that while it is said to have come from the collection of the Elector Palatine, this has never been verified. See, for example, "Exhibition of Pictures from the Althorp Collection" (exh. cat. Agnew, London, February-March, 1947), cat. no. 15.

    Credit Line

    Gift of William A. Coolidge

    Details

    Dimensions

    70.5 x 87.6 cm (27 3/4 x 34 1/2 in.)

    Accession Number

    1985.839

    Medium or Technique

    Oil on panel

    On View

    Leo and Phyllis Beranek Gallery (Gallery 243)

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  • The Tempest

    1930; 1946-49
    Max Beckmann (German, 1884–1950)

    Description

    Throughout his career Beckmann was attracted to mysterious allegories and complicated symbolism, and his works are often difficult to decode. With its swirl of ambiguous, nightmarish figures, this painting’s exact subject remains something of a mystery. The ambiguity is reinforced by the fact that Beckmann thought and rethought the work: he began the painting in 1947, but reworked it heavily two years later, changing its name from Jupiter to The Tempest.

    Inscription

    Lower right: BecKman

    Provenance

    1958, by inheritance to artist's widow, Mrs. Max Beckmann (Mathilde Kaulbach), Frankfurt, Germany and St. Louis, MA; 1958, gift of Beckmann. (Accession date: January 9, 1958)

    Credit Line

    Gift of Mrs. Max Beckmann

    Copyright

    © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.

    Details

    Dimensions

    179.4 x 66 cm (70 5/8 x 26 in.)

    Accession Number

    58.24

    Medium or Technique

    Oil on paperboard mounted on plywood

    On View

    Saundra B. and William H. Lane Galleries (Gallery 334)

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  • Holy Family with Angels

    1608–10
    Francesco Albani (Italian (Bolognese), 1578–1660)

    Description

    Trained by Annibale Carracci in Bologna, Albani accompanied his master to Rome, where he helped establish the new Baroque style. Compressed within a shallow pictorial space, the solemn figures, animated by twisting drapery, have the bulk and monumentality of sculpture. Small, precious paintings on copper, with their smooth surfaces and delicate brushwork, were much in demand among private collectors.

    Provenance

    By 1965, de Corbiac family, Lembras, France; from the heirs of Louis Durand de Corbiac (1872-1965) to John Cardinal Wright, Rome; 1979, bequeathed to his sister and brother-in-law, Mr. and Mrs. John Havery, Boston; 1983, from Haverty to the MFA. (Accession Date: June 15, 1983)

    Credit Line

    Gift of Mr. and Mrs. John W. Haverty in memory of John Cardinal Wright and Henry H. and Zoe Oliver Sherman Fund

    Details

    Dimensions

    36.2 x 27.3 cm (14 1/4 x 10 3/4 in.)

    Accession Number

    1983.250

    Medium or Technique

    Oil on copper

    On View

    Robert and Ruth Remis Gallery (Gallery 244)

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  • Cercle du Blé

    1953
    Matta (Roberto Sebastián Matta Echaurren) (Chilean, 1911–2002)

    Description

    Cercle du Blé explores a primordial landscape of violence and conflict, connecting to three key events or movements that influenced Matta’s work: the Spanish Civil War, Surrealism, and World War II.
    Born in Chile, Matta spent much of his professional life in Europe, where the violence of the Spanish Civil War helped to shape his vision, which often incorporates elemental struggle and psychic distress. Matta first experimented with the kind of apocalyptic imagery visible in Cercle du Blé after the 1936 assassination of his friend, Spanish poet and playwright Federico García Lorca. Matta’s immediate creative response to Lorca’s death was the script for the never-produced experimental film The Earth Is a Man, which is filled with emotional images of growth, perversion, and violence in a traumatic, nonsensical world. The Earth is a Man became a significant source of material for Matta’s future work as a painter.

    In Paris in 1937, Matta became a member of the movement known as Surrealism, and he introduced their concept of automatic drawing, or the practice of working without planning or forethought, into his art. Many Surrealists pursued automatism in order to reach beyond their artistic training and produce dreamlike imagery unfettered by reason or logic. Matta’s particular method was to apply thin washes of pigment to the canvas, then rub or smear them using his hand or a cloth. Once this improvisational process was complete, Matta would use a brush to define the forms he discerned in the smeared paint. Cercle du Blé shows significant evidence of Matta’s automatism, with rubbed and abraded lines appearing in almost every area of the canvas.

    The final event that shaped Matta’s Cercle du Blé was World War II. Matta fled Europe for the United States in 1939, returning to Paris only in 1948. (While in New York, Matta educated a number of American artists, including Jackson Pollock, about Surrealism.) As the full horrors of the war (including the Holocaust) became known, Matta grew interested in depicting collective struggles rather than his own personal inner world. Matta described this shift, writing “I was attempting to use a social morphology, not a personal psycho-morphology: to move away from the intimate, imaginary forms … towards the cultural, totemic expressions of civilizations … the formation of cultures in confrontation with social landscapes.” [1] The spearlike shapes in Cercle du Blé bring to mind archaic armies clashing in battle, and the painting’s title, which translates as “Circle of Wheat,” suggests the scything of crops at harvest time, an age-old metaphor for the collective loss of life in war. Matta first explored these themes around the time of World War II, and thereafter they had a pervasive impact on his work.

    Notes
    1. Germana Ferrari, ed., Matta: Entretiens Morphologiques: Notebook No. 1, 1936–44 (London: Sistan, 1987, 229.

    Heather Hole

    Provenance

    1953, the artist. Susan W. and Stephen D. Paine, Cambridge, Mass.; 1981, gift of Susan W. and Stephen D. Paine to the MFA. (Accession Date: January 13, 1982)

    Credit Line

    Gift of Susan W. and Stephen D. Paine

    Copyright

    © 2011 Artists Rights Society (ARS), New York / ADAGP, Paris.

    Details

    Dimensions

    113.03 x 172.72 cm (44 1/2 x 68 in.)

    Accession Number

    1981.666

    Medium or Technique

    Oil on canvas

    Not On View

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  • Cliffs on the Edge of the Sea

    1869
    Edgar Degas (French, 1834–1917)

    Description

    Inscription

    Lower left: (signed indistinctly)

    Provenance

    July 2-4, 1919, Degas studio sale (4th), no. 59b. Collection Nunès and Fiquet, Paris. By 1928, with Alexander Reid, Reid and Lefevre, London; 1928, bought from Reid and Lefevre by Herbert Pope, Chicago; inherited by Lydia Pope Turtle and Isabel Pope Conant (daughters); by 1980, Lydia Pope Turtle, Bedford and Brookline, Mass.; 1980, gift of Lydia Pope Turtle and Isabel Pope Conant. (Accession Date: November 12, 1980)

    Credit Line

    Gift of Lydia Pope Turtle and Isabel Pope Conant in memory of their father, Hubert Pope

    Details

    Dimensions

    44.1 x 58.4 cm (17 3/8 x 23 in.)

    Accession Number

    1980.390

    Medium or Technique

    Pastel on paper

    Not On View

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    Europe, Prints and Drawings

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  • The Taking of Christ

    about 1620
    Unidentified artist, Flemish, 17th century (Flemish)

    Description

    In this dramatic close-up view of the Arrest of Christ, each person is shown reacting in the moment after Judas’s kiss revealed Christ to the soldiers. Vivid gestures and expressions tell the story: the soldiers seize Christ, St. Peter raises his knife to smite off the ear of an enemy, others recoil in horror. Light from different sources highlights hands and faces, intensifying the narrative. This artist, like many throughout Europe, adopted the theatrical style of the Roman/Neapolitan painter Caravaggio.

    Provenance

    Private collection, Switzerland (?) [see note 1]. 1977, Gabinetto delle Stampe; 1977, sold by Gabinetto delle Stampe to Colnaghi, Zurich; 1977, consigned by Colnaghi, Zurich to Colnaghi, London; 1978, sold by Colnaghi to Bruno Meissner, Zurich and probably sold back to Colnaghi; 1979, sold by Colnaghi to the MFA. (Accession Date: March 14, 1979) NOTES: [1] According to notes in the curatorial file.

    Credit Line

    Juliana Cheney Edwards Collection

    Details

    Dimensions

    Overall: 148 x 194.3 cm (58 1/4 x 76 1/2 in.)

    Accession Number

    1979.154

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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  • Camille Monet and a Child in the Artist's Garden in Argenteuil

    1875
    Claude Monet (French, 1840–1926)

    Description

    Camille, Monet’s first wife, is shown with a child in the garden of their house in Argenteuil, near Paris, where they lived between 1872 and 1877. The shimmering reds, blues, greens, and white that capture the brilliance of a sun-drenched day are applied with many small brushstrokes, whose varied shapes create the different textures of flowers, grass, and clothing.

    Inscription

    Lower left: Claude Monet 75

    Provenance

    October 1875, possibly sold by the artist to Clément Courtois, Mulhouse [see note 1]. Julius Oehme, Paris. 1900, with Durand-Ruel, Paris and New York. By 1905, Desmond FitzGerald (b. 1846 - d. 1926), Brookline, MA [see note 2]; April 21, 1927, FitzGerald sale, American Art Association, New York, lot 187, sold for $12,000 to Edwin Sibley Webster (b. 1867 - d. 1950) and Jane Hovey Webster (b. 1870 - d. 1969), Newton, MA; by descent to an anonymous donor, New York; 1976, year-end, anonymous gift to the MFA. (Accession Date: January 12, 1977) NOTES: [1] The provenance given here (to 1927) is taken from Daniel Wildenstein, "Monet: Catalogue Raisonné" (1996), vol. 2, p. 157, cat. no. 382. [2] He lent the painting to the exhibition "Loan Collection of Paintings by Claude Monet and Eleven Sculptures by Auguste Rodin," Copley Society, Boston, March 1905, cat. no. 29.

    Credit Line

    Anonymous gift in memory of Mr. and Mrs. Edwin S. Webster

    Details

    Dimensions

    55.3 x 64.7 cm (21 3/4 x 25 1/2 in.)

    Accession Number

    1976.833

    Medium or Technique

    Oil on canvas

    On View

    Lorna and Robert Rosenberg Gallery (Gallery 252)

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  • Saint Sebastian Tended by Saint Irene and Her Maid

    about 1631–6
    Bernardo Strozzi (Italian (Genoese, active in Genoa and Venice), 1581–1644)

    Description

    According to legend, Saint Sebastian was condemned to be executed by archers because he refused to renounce his Christian faith. Saint Irene and her maid discovered him pierced by arrows, but still alive, and nursed him back to health. In later centuries Sebastian was often invoked for protection against plague, particularly in Venice, where Strozzi painted this work. Just as Sebastian absorbed the arrows without perishing, the faithful believed the saint would protect them from the wounds of disease.

    Provenance

    About 1631-1636, the composition was created as a single canvas; probably by the end of the 17th century, it had been separated into two sections, MFA object nos. 1972.83 (lower section) and 2003.72 (upper section) [see note 1]. 1971, anonymous collection, Scotland; June 30, 1971, sale of anonymous collector, Sotheby's, London, lot 71, to S. Pollak for Hallsborough Gallery, London [see note 2]; 1972, sold by Hallsborough Gallery to the MFA. (Accession Date: March 8, 1972) NOTES: [1] The original composition was probably divided by the mid-17th century, and almost certainly by 1693. This is suggested by the existence of two paintings attributed to Strozzi's assistant, Ermanno Stroiffi (b. 1613 - d. 1693), which replicate the fragments now at the MFA. It has been determined that these two canvases (church of San Martino, Nespoledo, near Udine, 161 x 130 cm. and Museo Civico, Padua, 74 x 114 cm.) were never part of a single composition (Lucio Zambon, Conservator, oral communication, October 1, 2004), but were created separately, probably after the original by Strozzi had been divided. Strozzi's canvas, therefore, was most likely divided before Stroiffi's death in 1693, either by Strozzi himself or by an early owner of his work. A technical examination of the stretchers confirms that the canvas had been cut by the late 18th to mid-19th century. [2] F. Schrecker, director of the Hallsborough Gallery, contacted Sotheby's about the provenance of the picture at the time it was acquired. In a letter to Perry T. Rathbone of the MFA (October 11, 1971; in MFA curatorial file), Schrecker wrote that Sotheby's "assured us that it came directly from a private collection in Scotland. Unfortunately, however, this previous owner, for personal reasons, is unwilling to disclose his name." Ellis Waterhouse wrote to Perry T. Rathbone (March 14, 1972), "I rather think, but cannot check this, that I saw it in Edinburgh about twenty years ago, rather fleetingly, and was told it belonged to some Roman Catholic establishment." Attempts to verify this have not yet been successful.

    Credit Line

    Charles Potter Kling Fund and Francis Welch Fund

    Details

    Dimensions

    166.7 x 118.7 cm (65 5/8 x 46 3/4 in.)

    Accession Number

    1972.83

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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  • Bacchus and Ariadne

    about 1640
    Eustache Le Sueur (French, 1616–1655)

    Description

    Ariadne, daughter of King Minos of Crete, helped the Greek hero Theseus escape from her father’s infamous Labyrinth, but Theseus abandoned her soon after on the island of Naxos. She was rescued by Bacchus, god of wine, who is seen here rushing in from his ship. He honored her by flinging her crown up into the sky, where it became a constellation of stars. The figures in Le Sueur’s paintings have a cool monumentality that suggests sculpture; the pose of Ariadne comes from ancient Roman sarcophagi, and that of Bacchus from the renowned classical statue, the Apollo Belvedere.

    Provenance

    Possibly Marie-Jeanne Bécu, Comtesse du Barry (b. 1746 - d. 1793), Paris; February 17, 1777, possibly in the du Barry sale, Paillet, Paris, lot 20 [see note 1]. 1789, Philippe-Louis Parizeau (b. 1740 - d. 1801), Paris; March 26, 1789, Parizeau sale, Paillet, Paris, lot 32, bought in; May 24, 1792, Parizeau sale, Hôtel de Bullion Paris, lot 63, bought in [see note 2]; March 11, 1793, Parizeau sale, Paris, lot 43. 1966, private collection; 1966, sold from this private collection, through an unknown intermediary, to Heim Gallery, Paris; 1968, sold by Heim to the MFA [see note 3]. (Accession Date: December 11, 1968) NOTES: [1] See Eric Zafran, French Paintings in the Museum of Fine Arts, Boston, vol. 1, Artists Born Before 1790 (Boston, 1998), p. 67, cat. no. 20. [2] Alain Mérot, Eustache Le Sueur (1616-1655) (Paris: Arthena, 1987), p. 179, cat. no. 31. [3] Accessioned as a work by Simon Vouet.

    Credit Line

    Ernest Wadsworth Longfellow Fund, and Grant Walker Fund

    Details

    Dimensions

    175.3 x 125.7 cm (69 x 49 1/2 in.)

    Accession Number

    68.764

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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    Europe

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  • Landscape at Le Cateau, France

    1921
    Auguste Herbin (French, 1882–1960)

    Description

    Inscription

    Lower right: herbin 1921

    Provenance

    1931, Léonce Rosenberg (b. 1877 - d. 1947), Paris; 1931, sold by Rosenberg to the MFA for $10,050 [see note 1]. (Accession Date: February 4, 1932) NOTES: [1] MFA accession numbers RES.32.2-RES.32.18 purchased together for $10,050.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Copyright

    © 2011 Artists Rights Society (ARS), New York / ADAGP, Paris.

    Details

    Dimensions

    46 x 55 cm (18 1/8 x 21 5/8 in.)

    Accession Number

    RES.32.11

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Man

    about 1665
    Frans Hals (Dutch, 1581 to 1585–1666)

    Description

    Frans Hals, foremost painter in the city of Haarlem, was one of the most original and penetrating portraitists of the 17th century. This work, painted when the artist was in his eighties, is striking for the freedom of its vigorous brushwork. At the time, an admirer described Hals’s late portraits as “very rough and bold, nimbly touched and well‑ordered. They are pleasing and ingenious and, seen from afar, they seem alive and appear to lack nothing.” The sitter wears a Japonse rok (Japanese housecoat), a fashionable article of clothing that Dutch merchants initially received as gifts from the Japanese shogun and later manufactured domestically to meet a growing demand.

    Inscription

    Lower right: F H (monogram)

    Provenance

    By 1873, Dr. Max Strauss, Vienna [see note 1]; by 1917, sold by Strauss to Dr. Leon Lilienfeld (b. 1869 - d. 1938), Vienna [see note 2]; 1938, by inheritance to his widow, Antonie Schulz Lilienfeld (b. 1876 - d. 1972), Vienna and Gstaad, Switzerland but prevented from export and remained in the custody of Emerich Hunna, Vienna [see note 2]; 1941, pawned by Hunna to the Dorotheum, Vienna [see note 3]; March 21, 1944, transferred to Alt Aussee, Austria [see note 4]; 1946, collected by Allies and released to the United States Forces in Austria [see note 5]; 1948, restituted to Antonie Lilienfeld, Winchester, MA; 1966, gift of Mrs. Lilienfeld to the MFA. (Accession Date: December 14, 1966) NOTES: [1] According to Cornelis Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, trans. Edward G. Hawke, vol. 3 (London, 1910), p. 91, no. 323, this was included in the exhibition "Gemälde alter Meister aus dem Wiener Privatbesitz" (Vienna, 1873), cat. no. 41. [2] The painting was in the Lilienfeld collection by 1917, when it was published by Gustav Glück, Niederländische Gemälde aus der Sammlung des Herrn Dr. Leon Lilienfeld in Wien (Vienna, 1917), p. 63, cat. no. 25. According to a letter from Mrs. Lilienfeld to Seymour Slive (May 6, 1956; in MFA curatorial file), it had been purchased from Max Strauss. [3] Just after the Anschluss, or the incorporation of Austria into Nazi Germany in March 1938, the Lilienfelds fled for Italy. Dr. Lilienfeld died of natural causes there, and his wife continued on to Switzerland before emigrating to the United States. Mrs. Lilienfeld sought to export their art collection in 1938, but eight paintings of high value were prevented from leaving Austria. They remained in the custody of attorney Emerich Hunna. See Sophie Lillie, Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens (Vienna: Czernin, 2003), pp. 683, 696-697, and a copy of the May 28, 1941 Memorandum Regarding Pictures in Vienna Belonging to Mrs. Antonie Lilienfeld (sent by Richardson, Wolcott, Tyler and Fassett, Boston, to W. G. Constable, MFA, March 1, 1946) [4] Hunna pawned this work and a painting then called "Vanitas," attributed to Dou (MFA accession no. 48.1165) to the auction house Dorotheum, Vienna, for 15,000 RM. He later claimed that the money was needed to pay the costs of liquidation and taxes, and that the pictures would be better protected there (letter to Mrs. Lilienfeld, February 12, 1946; copy in MFA curatorial file). In 1943, Gottfried Reimer had the paintings appraised with an eye to acquiring them for the Führermuseum, the art museum Hitler was planning for Linz, Austria. [5] In 1944, the paintings were removed to the abandoned salt mines in Alt Aussee by the Austrian Monuments Protection Agency (Institut für Denkmalpflege), where they--along with other works stored by the Nazis--were to be kept safe from wartime bombing. [6] Letter from the Headquarters of the United States Forces in Austria to Andrew Ritchie (March 18, 1946). Ritchie had served in the Monuments, Fine Arts and Archives division of the Allied Forces, and was enlisted by W. G. Constable of the MFA to help Mrs. Lilienfeld locate and recover her artwork.

    Credit Line

    Gift of Mrs. Antonie Lilienfeld in memory of Dr. Leon Lilienfeld

    Details

    Dimensions

    85.8 x 67 cm (33 3/4 x 26 3/8 in.)

    Accession Number

    66.1054

    Medium or Technique

    Oil on canvas

    On View

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

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  • Christ the Almighty

    17th–18th century
    Unidentified artist, Greek or Rumanian, 17th or 18th century (Greek)

    Description

    Provenance

    By 1925, Mrs. Philip L. Carbone; 1925, gift of Mrs. L. Carbone. (Accession date: January 8, 1925)

    Credit Line

    Gift of Mrs. Philip L. Carbone

    Details

    Dimensions

    42.1 x 31.0 cm (16 9/16 x 12 3/16 in.)

    Accession Number

    RES.25.17

    Not On View

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  • Portrait of a Woman with a Corsage of Blue Flowers

    Jean Baptiste Perronneau (French, 1715–1783)

    Description

    Signed

    Upper right: Perronneau

    Provenance

    1935, Galerie Paul Cailleux, Paris; May 8, 1935, sold by Cailleux 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)

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    42.5 x 52.1 cm (16 3/4 x 20 1/2 in.)

    Accession Number

    65.2665

    Medium or Technique

    Pastel on paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Pastels

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  • Salome with the Head of Saint John the Baptist

    18th century
    After Carlo Dolci (Italian (Florentine), 1616–1686)

    Description

    After a painting in the Royal Collection at Hampton Court or another autograph version

    Provenance

    Acquired in Italy by John Sittingborne. 1833, John Watkins Brett (b. 1805 - d. 1863), London and New York [see note 1]; 1835, probably sold by Brett to Robert Gilmor, Jr. (b. 1774 - d. 1848), Baltimore [see note 2]; from Brett to his nephew, Thomas Swann, Baltimore; 1886, Swann Sale, Leonard and Co., Boston, lot 61, possibly to Otis Kimball (d. 1912) or his wife, Margaret Rogers (Mrs. Otis) Kimball, Boston [see note 3]; 1915, gift of Mrs. Otis Kimball to the MFA. (Accession Date: December 2, 1915) NOTES: [1] Brett lent the painting to an exhibition held at the Boston Athenaeum and the Pennsylvania Academy of Fine Arts, 1833, cat. no. 35. According to the catalogue, this painting and its companion, a Magdalen also attributed to Dolci, were acquired in Italy by John Sittingborne for 1500 guineas. [2] Information about Gilmor's acquisition and ownership of the painting was kindly provided by Lance Humphries (correspondence with the MFA, December 18, 1996). [3] According to Humphries (as above, n. 2) several other lots at this auction were purchased by "Kimball," although the purchaser of this particular lot is unknown.

    Credit Line

    Gift of Mrs. Otis Kimball

    Details

    Dimensions

    118.5 x 94.9 cm (46 5/8 x 37 3/8 in.)

    Accession Number

    RES.15.87

    Medium or Technique

    Oil on canvas

    Not On View

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  • Luncheon Party in a Park

    Le Déjeuner de jambon

    about 1735
    Nicolas Lancret (French, 1690–1743)

    Description

    Provenance

    By 1756, Ange-Laurent de la Live de Jully (b. 1725 - d. 1770), Paris [see note 1]; May 2, 1770, La Live de Jully sale, Paris, lot 79, sold for 202 livres to Sevin [see note 2]. 1790, Pierre-Louis Eveillard, Marquis de Livois (b. 1736 - d. 1790), Angers; July 23, 1799, posthumous Livois sale, Paris, lot 192. 1925, M. le Marquis de la Rochefoucauld-Bayers, Paris [see note 3]. By 1927, David David-Weill (b. 1871 - d. 1952), Paris and Neuilly-sur-Seine, France [see note 4]; 1937, sold by David-Weill to Wildenstein and Company, New York [see note 5]. By 1945, Jacques Helft Gallery, New York; February 1, 1945, sold by Jacques Helft to Forsyth Wickes (b. 1876 - d. 1964), New York and Newport, RI; 1965, bequest of Forsyth Wickes to the MFA. (Accession Date: January 8, 1969) NOTES: [1] In 1756, the painting was engraved by P. E. Moitte, who dedicated his work to La Live de Jully. The painting is also included in La Live de Jully's collection catalogue of 1764; see Colin B. Bailey, "Ange-Laurent de la Live de Jully: A Facsimile Reprint of the Catalogue Historique (1764) and the Catalogue Raisonné des Tableaux (March 5, 1770)" (New York, 1988), p. 37. It is a replica of a larger painting by Lancret, "Luncheon with Ham" (Chantilly, Musée Condé), commissioned by King Louis XV in 1735. It has been suggested that La Live de Jully commissioned the MFA painting, but given its approximate date this is not likely, as he was only ten years old in 1735. [2] Getty Provenance Index, Sale Catalogue F-A233, lot 79. [3] He lent the painting to the "Exposition du Paysage Français de Poussin à Corot," Palais de Beaux-Arts, Paris, May-June, 1925, cat. no. 162. [4] See Gabriel Henriot, Collection David-Weill, volume 1, Peintures (Paris, 1927), part 2, pp. 223-225. [5] "Sale of the David-Weill Collection," Art News, February 27, 1937, p. 12 and "David-Weill Pictures Come to New York," Art Digest, vol. 12, no. 3 (November 1, 1937), p. 13.

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    54.1 x 46 cm (21 5/16 x 18 1/8 in.)

    Accession Number

    65.2649

    Medium or Technique

    Oil on canvas

    Not On View

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  • Windmill on a Bluff

    Georges Michel (French, 1763–1843), Lent by The White Fund (American (Lawrence, MA))

    Description

    Provenance

    Senator Edward O. Wolcott, Colorado Springs and Washington DC; to his brother the Rev. William E. Wolcott, Lawrence, MA (d. 1911); bequeathed to the White Fund of Lawrence, MA. On loan to the MFA by the Trustees of the White Fund, Lawrence, MA, since November 13, 1912.

    Credit Line

    Deposited by the Trustees of the White Fund, Lawrence, Massachusetts

    Details

    Dimensions

    55 x 45.7 cm (21 5/8 x 18 in.)

    Accession Number

    L-R 1325.12

    Medium or Technique

    Oil on paper mounted on canvas

    Not On View

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  • Landscape with Goats

    about 1660
    Adam Pijnacker (Dutch, 1622–1673)

    Description

    Although Pijnacker’s paintings exhibit the characteristics of Dutch Italianate landscapes, there are no known documents that confirm he ever visited in Italy. Instead, he may have developed his luminous compositions infused with a golden-colored light from the works of artists like Jan Both. Though undated, this painting was assuredly executed around 1660, about the time the artist moved from Schiedam to Amsterdam. Pijnacker’s paintings of this period were executed on a larger scale than his earlier works and—as is evident in this painting—often feature giant cabbage leaves in the foreground, distant mountain views, and prominently-placed birch trees.

    Inscription

    Lower center: APynacker (A and P Joined)

    Provenance

    Possibly Pierre Louis Paul Randon de Boisset (b. 1708 - d. 1776), Paris; February 3, 1777, possibly posthumous Randon de Boisset sale, Pierre Remy, Paris, lot 103 [see note 1]. 1809, possibly Pierre Grand-Pré, Paris; February 16-24, 1809, possibly Grand-Pré sale, Paris, lot 95a, to Alexandre-Joseph Paillet (b. 1743 - d. 1814), Paris. With James McClure and Son, Glasgow [see note 2]. Thos. Agnew and Sons, London [see note 3]. By 1949, Marion Schlesinger (Mrs. Jasper) Whiting (b. 1880 - d. 1965), Boston; 1965, bequest of Mrs. Jasper Whiting to the MFA. (Accession Date: May 20, 1965) NOTES: [1] On the early provenance of the painting, see Laurie B. Harwood, "Adam Pynacker (c. 1620 - 1673)" (Doornspijk, 1988), pp. 111-112, cat. no. B4. [2] A label on the reverse of the painting, now partially obliterated, reads "James McClure & Son / ...to her majesty / carvers, gilders, printsellers / 90, St. Vincent Street, Glasgow." James McClure is known to have been active in the second half of the nineteenth century. [3] On the reverse of the stretcher is a label from Agnew and the remains of an old, English language label that is largely illegible.

    Credit Line

    Bequest of Mrs. Jasper Whiting

    Details

    Dimensions

    96.9 x 84.5 cm (38 1/8 x 33 1/4 in.)

    Accession Number

    65.615

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Sketch for Automedon with the Horses of Achilles

    1867
    Henri Regnault (French, 1843–1871)

    Description

    Provenance

    November 20, 1997, sale, Christie's, London, lot 271. James MacKinnon, London [from Christie's sale?]; 1998, sold by MacKinnon to the MFA. (Accession Date: June 24, 1998)

    Credit Line

    Grant Walker Fund

    Details

    Dimensions

    45.72 x 37.85 cm (18 x 14 7/8 in.)

    Accession Number

    1998.65

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Musical Instruments

    Attributed to Evaristo Baschenis (Italian (Bergamese), 1617–1677)

    Description

    Baschenis, who was a priest as well as an artist, was one of the first to specialize in still lifes featuring musical instruments. His choice of subject was undoubtedly influenced by the fine lutes and violins crafted in the towns surrounding his native Bergamo, in Lombardy.

    Provenance

    1964, Bruno Lorenzelli Antichità, Bergamo, Italy; 1964, sold by Lorenzelli to the MFA. (Accession Date: October 14, 1964)

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    72.4 x 98.5 cm (28 1/2 x 38 3/4 in.)

    Accession Number

    64.1947

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Wreckers

    1791
    George Morland (English, 1763–1804)

    Description

    Provenance

    By 1864, with H. Hasket Smith, Esq., Trowswell, Goudhurst; May 28, 1864, H. Hasket Smith sale at Christie's, London, bought in; May 9, 1896, Smith sale, Christie's, London, lot 101, to Frazer for 520 guineas. 1908, with Barnett Lewis [see note 1]; March 3, 1930, Lewis sale, Christie's, London, lot 113 to Blaker for £441. By 1933, with Dudley Tooth, London; 1933, sold by Dudley Tooth to a relative of Ogden Phipps [see note 2]; subsequently given to Phipps as a gift; acquired from Ogden Phipps by William A. Coolidge (b. 1901 - d. 1992), Topsfield and Cambridge, MA [see note 3]; 1993, bequest of William A. Coolidge to the MFA. (Accession Date: January 27, 1993) NOTES: [1] Lent by Lewis to the Franco- British Exhibition, no. 20. [2] See copy of William A. Coolidge writings in MFA curatorial file, stating that the painting was purchased by an "English relative" of Ogden Phipps and given to him as a wedding gift. [3] Coolidge acquired the painting from Phipps, according to his writings.

    Credit Line

    Bequest of William A. Coolidge

    Details

    Dimensions

    103.8 x 139.4 cm (40 7/8 x 54 7/8 in.)

    Accession Number

    1993.41

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Harbor Scene in Holland

    1868
    Johan Barthold Jongkind (Dutch, 1819–1891)

    Description

    Inscription

    Lower left: Jongkind 1868

    Provenance

    By 1910, Ferdinand Blumenthal (b. 1847 - d. 1914), Paris [see note 1]; by descent to his son, Count Cecil Pecci-Blunt (d. 1965), Paris and Rome [see note 2]; 1961, gift of Count Cecil Pecci-Blunt to the MFA. (Accession Date: December 13, 1961) NOTES: [1] He lent the painting to the "Exposition de chefs-d'oeuvre de l'école française" (Galeries Georges Petit, Paris, May 2 - 31, 1910), cat. no. 107 (as "Rotterdam"). See also L. Roger-Milès, "La Collection F. Blumenthal: Études et Documents" (Paris, 1920), p. 105, ill. (as "Le Bassin, à Rotterdam"). [2] He lent the painting to the "Tentoonstelling Jongkind (1819-1891)" (Pulchri Studio, 's-Gravenhage and Rijksmuseum, Amsterdam, March - April, 1930), cat. no. 37 (as "Rotterdam").

    Credit Line

    Gift of Count Cecil Pecci-Blunt

    Details

    Dimensions

    41.9 x 55.9 cm (16 1/2 x 22 in.)

    Accession Number

    61.1242

    Medium or Technique

    Oil on canvas

    Not On View

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  • Young Boy

    Attributed to Jean-Baptiste Greuze (French, 1725–1805)

    Description

    Provenance

    1878, M. Laurent-Richard, Paris; May 23-25, 1878, Laurent-Richard sale, Hôtel Drouot, Paris, lot 97, sold for 15,600 fr. to Alphonse Legrand, probably for Quincy Adams Shaw (b. 1825 - d. 1908), Boston; by descent to his grandson, Louis Agassiz Shaw (b. 1908 - d. 1990), Boston; 1991, gift of the estate of Louis Agassiz Shaw to the MFA. (Accession Date: November 20, 1991)

    Credit Line

    Gift of Louis Agassiz Shaw

    Details

    Dimensions

    41.0 x 32.9 cm (16 1/8 x 12 15/16 in.)

    Accession Number

    1991.692

    Medium or Technique

    Oil on canvas mounted on Masonite

    Not On View

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  • Reveries

    1957
    John von Wicht (German (active in the United States), 1888–1970)

    Description

    Provenance

    By 1957, from the artist to Passedoit Gallery, New York; 1958, Henry H. Crapo; Institute of Contemporary Art (buying through Crapo; "provisional collection"); 1961, sold by the Institute of Contemporary Art to the MFA. (Accession date: April 12, 1961)

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Details

    Dimensions

    121.9 x 152.1 cm (48 x 59 7/8 in.)

    Accession Number

    61.200

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Contemporary Art, Europe

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  • Venus Clipping Cupid's Wings

    about 1870–73
    Jean-Baptiste-Camille Corot (French, 1796–1875)

    Description

    Inscription

    signed lower right: Corot

    Provenance

    1875, Arthur Stevens (b. 1825 - d. 1909), Brussels. 1878, Alfred de Knyff (b. 1819 - d. 1885), Brussels and Paris. By 1895, Émile Dekens, Brussels; 1897, sold by Dekens, through Durand-Ruel, Paris, to Henry Osborne Havemeyer (b. 1847 - d. 1907) for Oliver Hazard Payne (b. 1839 - d 1917), New York [see note 1]; by inheritance to his nephew, Harry Payne Bingham (b. 1887 - d. 1955), New York; until 1987, by descent within the family. Anonymous gift to the MFA. (Accession Date: January 20, 1988) NOTES: [1] See Frances Weitzenhoffer, The Havemeyers: Impressionism Comes to America (New York: Abrams, 1986), pp. 125-126.

    Credit Line

    Gift in memory of the late Harry Payne Bingham

    Details

    Dimensions

    70.5 x 54 cm (27 3/4 x 21 1/4 in.)

    Accession Number

    1987.745

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Forest Gorge

    Joos de Momper, the Younger (Flemish, 1564–1635)

    Description

    Inscription

    Lower left: I D M

    Provenance

    By 1935, Baroness von Isbary, Vienna; by descent to her daughter, Princess Windisch-Grätz, Vienna; sold by Princess Windisch-Grätz to Frederick Mont, Inc., New York; 1959, sold by Mont to the MFA for $9,000. (Accession Date: October 8, 1959) NOTES: [1] At the time of its acquisition, the painting was said to have come from the collection of Baroness Isbary, Vienna. Correspondence from Betty Mont to Kenneth Donahue, Director of the Los Angeles County Museum of Art (August 29, 1968) reveals that Mont had purchased the painting from Baroness Isbary's daughter, Princess Windisch-Grätz. Presumably, it was Princess Windisch-Grätz or her mother who had lent the painting to the exhibition organized by P. de Boer, Amsterdam and Galerie Sanct Lucas, Vienna (of which Mont was director), "Die Jüngeren Brueghel und ihr Kreis" (Vienna, Palais Pallavicini, March 16 - April 15, 1935). In a letter of September 19, 1968, Mrs. Mont wrote to Mr. Donahue that around 1912 Princess Windisch-Grätz's grandfather had purchased the Schloss Friedau (Austria), including about three-quarters of its large painting collection. It is therefore possible that the MFA painting had come from the Schloss Friedau and was passed on by descent to Baroness Isbary.

    Credit Line

    Francis Welch Fund

    Details

    Dimensions

    50.5 x 93.3 cm (19 7/8 x 36 3/4 in.)

    Accession Number

    59.659

    Medium or Technique

    Oil on panel

    Not On View

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  • Study of a Seated Nude

    Aleksandr Yevgeniyevich Yakovlev (Russian (active in France), 1887–1938)

    Description

    Provenance

    By late 1930s, from the artist to Vose Galleries, Providence, RI, and Boston, MA . By 1959, Leo Wassermen; 1959, by inheritance to Mr. and Mrs. David R. Pokross, Belmont, MA; 1984, gift of Pokross. (Accession Date: January 16, 1985)

    Credit Line

    Gift of Mr. and Mrs. David R. Pokross

    Details

    Dimensions

    88.9 x 68.58 cm (35 x 27 in.)

    Accession Number

    1984.979

    Medium or Technique

    Oil on pressed-wood board

    Not On View

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  • Artist's Model (Ingeborg Onsager)

    Edvard Munch (Norwegian, 1863–1944)

    Description

    Munch’s explorations of death and tortured sexuality brought his paintings notoriety around 1900. By comparison, this frontal view of Ingeborg Onsager appears serene. The wife of a fellow Norwegian painter, Onsager modeled regularly for Munch—her round face and wide-set eyes are often recognizable in his prints and paintings. For all its composure, the picture still exhibits the intense color and bold brushwork that made Munch a hero for artists of the next generation. He likely painted it in 1912, the year when a major retrospective in Cologne introduced his work to such young German artists as Ernst Ludwig Kirchner, providing inspiration for the Expressionist movement.

    Inscription

    Lower right: E. Munch / 1[9]

    Provenance

    1913, sold in Stockholm [see note 1]. 1913 until 1916, Carl Steinbart, Berlin. 1916, Galerie Thannhauser, Munich (stock no. 4268) [see note 2]. By 1927 until 1932, Gerd and Otto Nyquist, Oslo. 1932, Wangs Kunsthandel, Oslo. 1932, Thomas Olsen, Oslo [see note 3]; 1957, sold by Olsen to Galleri Kaare Berntsen, Oslo; 1957, sold by Berntsen to the MFA. (Accession Date: December 12, 1957) NOTES: [1] Many thanks are due to Gerd Woll for helping to establish the provenance of this painting (e-mail correspondence in MFA curatorial file: January 12, 2005 and December 6, 2007). The picture was included in the exhibition "Edvard Munch," Konstnärshuset, Stockholm, September, 1913. A photograph of the exhibition shows a label marked "sold" hanging on the painting. [2] See "Katalog der modernen Galerie Heinrich Thannhauser, München" (Munich, 1916), 154. The stock number is taken from a label on the reverse of the stretcher. [3] Olsen lent the painting to the exhibition "Edvard Munch. Utstilling malerier, akvareller, tegninger, grafik" (Kunstnernes Hus, Oslo, November 10 - December 16, 1951), cat. no. 89 (as "Ingeborg").

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Copyright

    © 2011 The Munch Museum / The Munch-Ellingsen Group / Artists Rights Society (ARS), New York.

    Details

    Dimensions

    162.9 x 97.5 cm (64 1/8 x 38 3/8 in.)

    Accession Number

    57.744

    Medium or Technique

    Oil on canvas

    Not On View

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  • Sir Edmund Andros

    Unidentified artist, British, 17th century (British)

    Description

    Provenance

    By 1685, Sir Edmund Andros, London (the sitter; colonial governor of New England colonies; d. 1714); 1714, by inheritance to Andros family; 1929, by inheritance to Walter Fachin Adros; 1929, on consignment from Andros to Stevens and Brown, Ltd., London; 1929, from Stevens and Brown to Henry Lee Shattuck, Boston; 1983, bequest of Shattuck. (Accession Date: January 12, 1983)

    Credit Line

    Bequest of Henry Lee Shattuck in memory of Morris Gray

    Details

    Dimensions

    73.7 x 62.2 cm (29 x 24 1/2 in.)

    Accession Number

    1983.37

    Medium or Technique

    Oil on canvas

    Not On View

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  • Fishermen and their Families on the Shore of the Bay of Naples

    1873
    Ivan Konstantinovich Aivazovsky (Russian, 1817–1900)

    Description

    Inscription

    Lower left: Aivasovsky / 1873

    Provenance

    November 27, 1981, anonymous sale, Christie's, London, lot 202, to the MFA. (Accession Date: December 9, 1981)

    Credit Line

    Gift of Katharine H. Putnam, by exchange

    Details

    Dimensions

    133.4 x 171.1 cm (52 1/2 x 67 3/8 in.)

    Accession Number

    1981.509

    Medium or Technique

    Oil on canvas

    Not On View

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  • View of the Seine at Herblay

    1889
    Paul Signac (French, 1863–1935)

    Description

    Like Monet and Pissarro before him, Signac frequently selected sites along the Seine to experiment with technique and nature observation. The artist’s system of juxtaposing dots (“points” of contrasting color) to create a continuous image, was particularly well-suited to depicting the sparkling surface of water, as in this view of a bend in the river opposite the town of Herblay.

    Inscription

    Lower left: Op 203. Lower right: P. Signac

    Provenance

    Given by the artist to Edmond Cousturier (b. 1861 - d. 1943) and Lucie Cousturier (b. 1870 - d. 1925), Paris [see note 1]. 1953, authenticated by Jean Metthey (dealer), Paris [see note 2]. Hugo Moser, New York. 1960, Hammer Galleries, New York (stock no. 18063-1); March 18, 1960, sold by Hammer Galleries to Julia Appleton (Mrs. Charles Sumner) Bird (b. 1894 - d. 1983), East Walpole, MA; 1980, gift of Mrs. Charles Sumner Bird to the MFA. (Accession Date: October 15, 1980) NOTES: [1] This painting can be seen in photographs of the Cousturier home, and is pictured in the background of Maximilien Luce's 1903 portrait of Mme. Cousturier. [2] According to information provided by Hammer Galleries in 1960, the painting was at one time accompanied by a certificate from Metthey. At least one other painting from the Cousturiers' collection, and at least one work by Lucie Cousturier herself, passed through the hands of Jean Metthey at around this time.

    Credit Line

    Gift of Mrs. Charles Sumner Bird (Julia Appleton Bird)

    Details

    Dimensions

    33.3 x 46.4 cm (13 1/8 x 18 1/4 in.)

    Accession Number

    1980.367

    Medium or Technique

    Oil on canvas

    On View

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

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  • Saint Benedict Joseph Labre

    Antonio Cavallucci (Italian (Roman), 1752–1795)

    Description

    Provenance

    1795, Antonio Cavallucci (?), Rome [see note 1]. By 1968, Andrew S. Ciechanowiechi, Rome; 1968, given by Ciechanowiechi to Anthony M. Clark, London [see note 2]; July 6, 1978, Clark sale, Christie's, London, lot 15, to the MFA [see note 3]. (Accession Date: January 10, 1979) NOTES: [1] notes in curatorial file indicate that this painting was possibly in the artist's studio at his death and may be mentioned in his inventory, folio 648, no. 29. [2] according to excerpt from Athony Clark's notebooks in curatorial file, Ciechanowiechi gave this painting to Clark in 1968. [3] according to letter of August 14, 1978 from Michael Simpson of Somerville & Simpson Ltd to John Walsh of the MFA in curatorial file, Somerville & Simpson Ltd, London, served as an intermediary or agent for this sale.

    Credit Line

    Seth K. Sweetser Fund

    Details

    Dimensions

    59.4 x 45.4 cm (23 3/8 x 17 7/8 in.)

    Accession Number

    1979.35

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Virgin Receiving the Prayers of Saint Dominic

    1737–39
    Giovanni Battista Tiepolo (Italian (Venetian), 1696–1770)

    Description

    Provenance

    Until 1889, David P. Sellar, London (?); June 6, 1889 Sellar sale, Galerie Georges Petit, Paris, lot 83 (?) [see note 1]. Until 1906, Irving M. Scott, San Francisco; February 9, 1906, Scott sale, American Art Association, New York, lot 24, to Mary (Mrs. Edward D.) Brandegee (d. 1956), Boston [see note 2]; by inheritance to her daughter, Mrs. Martina Louise Brandegee Lawrence (d. 1959); by inheritance to her husband, James Lawrence; 1976, gift of James Lawrence to the MFA. (Accession Date: November 18, 1976) NOTES: [1] See Eduard Sack, "Giovambattista und Domenico Tiepolo" (Hamburg, 1910), p. 115. [2] Mrs. Brandegee's purchase is documented in a printed receipt (February 9, 1906), in the MFA curatorial file; also see the American Art Association sales catalogue and accompanying account in "The Sun," also available in curatorial file. From May 23 to October 10, 1907, Mrs. Brandegee deposited the picture on loan to the MFA as "Allegorical Sketch," loan number: 357.07.

    Credit Line

    Gift of James Lawrence in memory of Martina Louise Lawrence

    Details

    Dimensions

    36.83 x 55.88 cm (14 1/2 x 22 in.)

    Accession Number

    1976.765

    Medium or Technique

    Oil on paper mounted on canvas

    Out on Loan

    On display at Sagawa Art Museum, Shiga, June 25, 2016 – August 28, 2016

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  • Harbor at Honfleur

    1865
    Eugène Louis Boudin (French, 1824–1898)

    Description

    Inscription

    Lower right: E. Boudin 65; Lower left: Honfleur

    Provenance

    Around 1927/1930, Galerie Bignou, Paris (?) [see note 1]. Around 1930, purchased in Paris by an anonymous donor; 1971, gift of the anonymous donor to the MFA. (Accession Date: November 10, 1971) NOTES: [1] The back of this cradled panel is stamped "BIGNOU". Étienne Bignou (b. 1891 - d. 1950) opened his gallery in Paris in 1927. He was particularly interested in Boudin.

    Credit Line

    Anonymous gift

    Details

    Dimensions

    20.3 x 26.7 cm (8 x 10 1/2 in.)

    Accession Number

    1971.425

    Medium or Technique

    Oil on paper mounted on panel

    Not On View

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  • The Descent from the Cross

    1860–1870
    Follower of Eugène Delacroix (French, 1798–1863)

    Description

    Provenance

    February 17, 1864, sold at Delacroix sale at Pillet, Lainné, Paris, lot 221. By 1897, with Charles Sedelmeyer, Paris; 1897, sold by Charles Sedelmeyer to Josiah Bradlee, Boston, MA; 1903, bequest of Josiah Bardlee. (Accession date: August 16, 1903)

    Credit Line

    Bequest of Josiah Bradlee

    Details

    Dimensions

    32.3 x 47 cm (12 11/16 x 18 1/2 in.)

    Accession Number

    03.742

    Medium or Technique

    Oil over pen and ink on paper mounted on panel

    Not On View

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  • Description

    Provenance

    By 1902, Winthrop Sargent, Boston [see note 1]; possibly by descent to his sister-in-law, Mrs. Horatio Appleton Lamb (Annie Lawrence); by descent to her daughters, Aimée and Rosamond Lamb; 1968, gift of Misses Aimée and Rosamond Lamb. (Accession date: November 13, 1968) NOTES: [1] see date from label on back of painting, which also states that painting was in owner's family for over eighty years.

    Credit Line

    Gift of Miss Aimée and Miss Rosamond Lamb

    Details

    Dimensions

    43.18 x 35.56 cm (17 x 14 in.)

    Accession Number

    68.738

    Medium or Technique

    Oil on canvas

    Not On View

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  • Back Gardens from Houghton Place

    1913
    Spencer Frederick Gore (English, 1878–1914)

    Description

    A view through bare trees from the window of No.2 Houghton Place where the artist lived 1912-13. It shows the garden of No. 1 Houghton Place, backing onto the garden of a house on Eversholt Street, with the gardens of a terrace in Lidlington Place on the left.

    Inscription

    Stamped, lower right: S.F. GORE

    Provenance

    1914, most probably by inheritance to Mrs. Spencer Gore, the artist's widow, Woodnesboro, Kent, England; July 26, 1931, sold by Mrs. Spencer Gore to the MFA for $10,050 [see note 1]. (Accession Date: February 4, 1932) NOTES: [1] MFA accession numbers RES.32.2-RES.32.18 purchased together for $10,050.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Details

    Dimensions

    61.2 x 66.4 cm (24 1/8 x 26 1/8 in.)

    Accession Number

    RES.32.10

    Medium or Technique

    Oil on canvas

    Not On View

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  • Young Woman Churning Butter

    about 1848–51
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    1873, Leon Gauchez (dealer; b. 1825 – d. 1907), Brussels; May 5-8, 1873, "Marquis de La Rochebousseau" (Gauchez) sale, Paris, lot 27 [see note 1], sold for 9700 fr. to Laurent-Richard for 9700 fr.; May 23-25, 1878, Laurent-Richard sale, Hotel Drouot, Paris, lot 50, sold for 9800 fr. to Mrs. Mary J. Morgan (d. 1885), New York; March 5, 1886, posthumous Morgan sale, American Art Association, New York, lot 170, sold for $8100 to Charles Crocker for M. Knoedler and Co., New York (stock no. 5050); March 6, 1886, sold by Knoedler to Frederick Lothrop Ames (b. 1835 - d. 1893), Boston [see note 2]; by descent to his son, John Stanley Ames (b. 1878- d. 1959), Boston; to his widow, Nancy (Mrs. John Stanley) Ames; 1966, gift of Mrs. Ames to the MFA. (Accession Date: December 14, 1966) NOTES: [1] As "La Baratteuse." The Marquis de la Rochebousseau was a pseudonym for the dealer Gauchez. [2] Sold as "The Wood Chopper." See Getty Provenance Index, M. Knoedler and Co. Records, PI record no. K-10207 (Book 4, stock no. 5050, p. 49). Mr. Ames first lent the painting to the MFA in May, 1886.

    Credit Line

    Gift of Mrs. John S. Ames

    Details

    Catalogue Raisonné

    Murphy 20

    Dimensions

    56.8 x 35.8 cm (22 3/8 x 14 1/8 in.)

    Accession Number

    66.1052

    Medium or Technique

    Oil on panel

    Not On View

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  • Saint John the Baptist

    18th century
    Unidentified artist, Greek, 18th century (Greek, 18th century)

    Description

    Provenance

    By 1925, Mrs. Philip L. Carbone; 1925, gift of Mrs. L. Carbone. (Accession date: January 8, 1925)

    Credit Line

    Gift of Mrs. Philip L. Carbone

    Details

    Dimensions

    41.9 x 28.2 cm (16 1/2 x 11 1/8 in.)

    Accession Number

    RES.25.16

    Medium or Technique

    Tempera on Panel

    Not On View

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  • Portrait of a Young Woman Wearing a Blue Ribbon at her Throat

    Attributed to Jean Martial Frédou (French, 1711–1795)

    Description

    Provenance

    Sale Georges Bougarel, Paris, Hôtel Drouot, Paris, June 15 -16, 1922, lot no. 79 (as "Portrait de jeune fille...Atelier de Drouais?"); Cailleux, Paris; November 12, 1927, sold by Cailleux to Forsyth Wickes, New York and Newport, RI (died 1964); 1965, bequest of Forsyth Wickes (Accession date: January 8, 1969)

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    46.4 x 37.5 cm (18 1/4 x 14 3/4 in.)

    Accession Number

    65.2664

    Medium or Technique

    Pastel on paper

    Not On View

    Collections

    Europe, Prints and Drawings

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  • Musical Instruments and Sculpture in a Classical Interior

    Unidentified artist, Italian (Italian), Formerly attributed to Bartolomeo Bettera (Italian, 1624–1687)

    Description

    Provenance

    By 1913, with the heirs of George A. Kettell; 1913, gift of the heirs of George A. Kettell. (Accession date: April 3, 1913)

    Credit Line

    Gift of the heirs of George A. Kettell

    Details

    Dimensions

    96.5 x 131.7 cm (38 x 51 7/8 in.)

    Accession Number

    RES.13.3

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Serenade

    La Sérénade

    Nicolas Lancret (French, 1690–1743)

    Description

    Provenance

    August 12, 1946, sold by Wildenstein & Co., New York to Forsyth Wickes (b.1876- d. 1964), New York and Newport, RI; 1965, bequest of Wickes to the MFA. (Accession Date: January 8, 1969)

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    27 x 20 cm (10 5/8 x 7 7/8 in.)

    Accession Number

    65.2648

    Medium or Technique

    Oil on panel

    Not On View

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  • Oasis

    about 1857
    Jean-Léon Gérôme (French, 1824–1904), Lent by The White Fund (American (Lawrence, MA))

    Description

    Inscription

    Lower left: J. L. GEROME

    Provenance

    1901, sold by the artist to Boussod, Valadon et Cie., Paris and New York (stock no. 27404); October 30, 1901, sold by Boussod, Valadon et Cie. to Senator Edward O. Wolcott (b. 1848 - d. 1905), Colorado Springs and Washington, DC [see note]; by inheritance to his brother, Rev. William E. Wolcott (b. 1887 - d. 1911), Lawrence, MA; 1911, bequeathed by Wolcott to the White Fund of Lawrence, MA; November 13, 1912, placed on loan by the Trustees of the White Fund to the MFA. NOTE: Getty Provenance Index, Goupil et Cie. records, PI Record no. G-38829 (stock book 14, no. 27404, p. 299). As "Chameaux buvant."

    Credit Line

    Deposited by the Trustees of the White Fund, Lawrence, Massachusetts

    Details

    Dimensions

    65.1 x 82 cm (25 5/8 x 32 5/16 in.)

    Accession Number

    L-R 1324.12

    Medium or Technique

    Oil on canvas

    Not On View

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  • Untitled

    1950–55
    Matta (Roberto Sebastián Matta Echaurren) (Chilean, 1911–2002)

    Description

    Provenance

    the artist; to Nina Dausset; to Dr. William Dameshek, 1955; to MFA 1965, gift of Dr. William Dameshek.

    Credit Line

    Gift of Dr. William Dameshek

    Copyright

    © 2011 Artists Rights Society (ARS), New York / ADAGP, Paris

    Details

    Dimensions

    81.3 x 101.6 cm (32 x 40 in.)

    Accession Number

    65.496

    Medium or Technique

    Oil on canvas

    Not On View

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    Americas, Contemporary Art

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  • A Merry Company

    1630–33
    Jacob Duck (Dutch, about 1600–1667)

    Description

    This work by Duck, an artist best known for his images of guardrooms and brothels, is a “merry company” painting showing young people amusing themselves in fancy dress. The sensuous life-reflected in indications of music making, eating, and drinking as well as in the cloak, sword, and spurs of the soldier-is the ostensible subject of many “merry company” paintings. A document of 1636 refers to Duck’s paintings as “moderne beeldekens” (modern paintings with contemporary figures). The elegance of the figures and the quiet mood emphasize ideas about respectability and upper-bourgeois manners. Typical of Duck’s work is the recycling of individuals, groups of figures, accessories, and still -life details, suggesting that he kept a stock of props in his studio and also worked from a repertoire of drawings.

    Provenance

    1972, Jon Nicholas Streep, New York; 1972, sold by Streep to Maida and George Abrams, Newton, MA; 1997, gift of Maida and George Abrams to the MFA. (Accession Date: January 21, 1998) NOTE: This painting was formerly attributed to Pieter Codde.

    Credit Line

    Gift of Maida and George Abrams in memory of Stephen D. Paine

    Details

    Dimensions

    47.62 x 31.75 cm (18 3/4 x 12 1/2 in.)

    Accession Number

    1997.304

    Medium or Technique

    Oil on panel

    Not On View

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  • The Inlet at Berck (Pas-de-Calais)

    1882
    Eugène Louis Boudin (French, 1824–1898)

    Description

    In the years of the Barbizon painters’ triumph at the Paris Salon, Boudin began painting his intimately-observed views of the Normandy coastline. Working outdoors in all weather, he paid particular attention to scudding clouds and changing seas. His early paintings often depict the fashionable Parisian tourists who flocked to northern shores in the 1850s, but in this view of the beach at Berck, a fishing and resort town, he instead explored the strand itself, bordered by simple houses, scattered with fence posts and tufts of sea grass.

    Inscription

    Lower right: E Boudin / 16 juillet 80

    Provenance

    1892, E. O'Doard, Paris; November 29, 1892, sold by O'Doard to Durand-Ruel, Paris; March 8, 1900, sold by Durand-Ruel to Adolphe-Eugène Tavernier (b. 1854? - d. after 1907), Paris [see note 1]. Possibly with J. Eastman Chase Gallery, Boston [see note 2]. By 1926, Desmond FitzGerald (b. 1846 - d. 1926), Brookline, MA; by descent to his daughter-in-law, Agnes Blake (Mrs. Stephen S.) FitzGerald (b. 1876), Weston, MA; 1964, bequest of Mrs. Stephen S. FitzGerald to the MFA. (Accession Date: October 14, 1964) NOTES: [1] This information is taken from Robert Schmit, "Eugene Boudin" (Paris, 1973), vol. 2, p. 140, cat. no. 1658. [2] Notes in the MFA curatorial file record a label from Chase Gallery on the reverse of the frame. Chase was active as a dealer from about the 1870s until the 1920s.

    Credit Line

    Bequest of Mrs. Stephen S. FitzGerald

    Details

    Dimensions

    54.6 x 75 cm (21 1/2 x 29 1/2 in.)

    Accession Number

    64.1905

    Medium or Technique

    Oil on canvas

    Not On View

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  • Christ Blessing

    1481
    Hans Memling (German (worked in Flanders), about 1430–1440 to 1494)

    Description

    Memling was one of the major figures of early Netherlandish painting. The portrait-like conception of this painting was inspired by a medieval document that gave a physical description of Christ. Both the sensitive modeling of the face and the gesture of the left hand casually resting on the bottom of the frame create an illusion of space and depth. The painting is still in its original frame, an exceptionally rare survival. The date of the painting (1481) is inscribed at the top center of the frame.

    Provenance

    Until about 1910/1915, Andrés Avelino Arteaga Silva (b. 1833 - d. 1910) and Maria de Belén Echagüe Mendez de Vigo (b. 1847 - d. 1907), Marqueses de Argüeso, Madrid; about 1910/1915, by descent to their daughter, Maria de las Mercedes de Arteaga y Echagüe, Marquesa de Argüeso, Madrid; about 1954, sold by the Marquesa de Argüeso to Frederick Mont, Inc., Baron Joseph van der Elst (b. 1896 - d. 1971), and Gaby Seefried von Bayern; June 16, 1954, sold by Frederick Mont to M. Knoedler and Co., New York (stock no. A5724) [see note]; January 3, 1955, sold by Knoedler to William A. Coolidge (b. 1901 - d. 1992), Topsfield and Cambridge, MA; 1993, bequest of William A. Coolidge to the MFA. (Accession Date: January 27, 1993) NOTE: Getty Provenance Index, M. Knoedler and Co. records, painting stock book 10, p. 130, no. 5724.

    Credit Line

    Bequest of William A. Coolidge

    Details

    Dimensions

    35.1 x 25.1 cm (13 13/16 x 9 7/8 in.)

    Accession Number

    1993.40

    Medium or Technique

    Oil on panel

    On View

    William A. Coolidge Gallery (Gallery 243A)

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  • Time Unveiling Truth

    about 1745–50
    Giovanni Battista Tiepolo (Italian (Venetian), 1696–1770)

    Description

    This complex allegory displays Tiepolo’s facility for depicting abstract concepts through personification. Truth is depicted as a proud young woman whose fair, voluptuous beauty is revealed by the dark, gnarled figure of Father Time. Time’s chariot and his scythe symbolize death; Cupid, whose quiver of arrows remains on the ground, represents earthly love rendered powerless by Time. The parrot and the mirror represent Truth’s enemies: sensuousness, vanity, and deceit. Truth’s emblem, the sun, shines above, while all earthly things, symbolized by the globe, lie subject beneath her foot.

    Provenance

    1865, acquired in Venice by Louis Auguste (b. 1805 - d. 1889), Baron de Schwiter, Vienna; May 3, 1886, Schwiter sale, Galerie Georges Petit, Paris, lot 38, to Willy Blumenthal, Paris; November 29, 1935, Blumenthal sale, Galerie Charpentier, Paris, lot 65, to Léon Cotnareanu; December 14, 1960, Cotnareanu sale, Musée Galliéra, Paris, lot 14, to Rudolf J. Heinemann (dealer; b. 1902 - d. 1975), New York; 1961, sold by Rudolph J. Heinemann to the MFA for $210,000. (Accession Date: December 13, 1961)

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    231.1 x 167 cm (91 x 65 3/4 in.)

    Accession Number

    61.1200

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 246)

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    Europe

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  • Saint Mary Magdalen

    about 1480-90
    Bartolomeo Vivarini (Italian (Venetian), active about 1440, died after 1500)

    Description

    Provenance

    By 1888, Quincy Adams Shaw (b. 1825 - d. 1908), Boston [see note 1]; by descent to his grandson, Louis Agassiz Shaw (b. 1908 - d. 1990), Boston; 1991, gift of the estate of Louis Agassiz Shaw to the MFA. (Accession Date: November 20, 1991) NOTES: [1] The painting is mentioned as being in the Quincy Adams Shaw collection by F. Harck, "Aus amerikansichen Galerien," Repertorium für Kunstwissenschaft XI (1888): p. 79, where it is attributed to Alvise Vivarini and dated to about 1490.

    Credit Line

    Gift of Louis Agassiz Shaw

    Details

    Dimensions

    56.83 x 36.0 cm (22 3/8 x 14 1/6 in.)

    Accession Number

    1991.691

    Medium or Technique

    Tempera on panel

    Not On View

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    Europe

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  • Description

    Provenance

    By 1942, Joseph Warren (d. 1946), Brookline, MA; 1946, by descent to his son, Joseph Warren, Jr (d. 1957), Boston; by descent to his children, Howland Warren, Richard Warren, Dedham, MA, and Mary Murphy, Nahant, MA; gift of Howland Warren, Richard Warren, and Mary W. Murphy. (Accession date: October 8, 1961)

    Credit Line

    Gift of Howland Warren, Richard Warren, and Mary W. Murphy

    Details

    Dimensions

    145.1 x 97.8 cm (57 1/8 x 38 1/2 in.)

    Accession Number

    61.177

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • The Crucifixion

    1762
    Pompeo Batoni (Italian (Roman), 1708–1787)

    Description

    The American painter Benjamin West wrote that the Italian artists he met in Rome in the 1760s “thought of nothing, looked at nothing, but the work of Pompeo Batoni.” Batoni based his dramatic style on classical sculpture and on the art of Renaissance masters such as Raphael. His rich color, close attention to detail, and strictly controlled compositions influenced painters throughout Europe. This is a rare religious painting by the artist, whose portraits of popes, kings, and British aristocrats on the “Grand Tour” made him the most successful artist in Rome.

    Provenance

    Private collection, Genoa (?) [see note 1]. 1987, Carlo Sestieri, Rome; 1987, sold by Sestieri to Heim, London and Old Masters (Paintings and Sculptures) Ltd., London; 1987, sold by Heim and Old Masters, Ltd. to the MFA. (Accession Date: June 24, 1987) NOTES: [1] According to Edgar Peters Bowron, "Pompeo Batoni's 'Allegory of Peace and War' and other subject pictures," in Studi di Storia dell'Arte in onore di Denis Mahon, ed. Maria Grazia Bernardini et al. (Milan: Electa, 2000), p. 360, n. 5, the painting is said to have come from a Genoese collection.

    Credit Line

    Henry H. and Zoe Oliver Sherman Fund

    Details

    Dimensions

    99.06 x 74.93 cm (39 x 29 1/2 in.)

    Accession Number

    1987.296

    Medium or Technique

    Oil on canvas

    On View

    European Painting Gallery (Gallery 249)

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    Europe

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    Paintings

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  • Second Loss of Eurydice

    1959
    Jan Cox (Belgian, 1919–1980)

    Description

    Provenance

    1959, with the artist, Jan Cox; 1959, sold by Jan Cox to the MFA for $2000. (Accession Date: June 9, 1959)

    Credit Line

    S. A. Denio Collection—Sylvanus Adams Denio Fund and General Income

    Copyright

    © 2011 Artists Rights Society (ARS), New York / SABAM, Brussels.

    Details

    Dimensions

    156.5 x 160.3 cm (61 5/8 x 63 1/8 in.)

    Accession Number

    59.341

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Contemporary Art, Europe

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    Paintings

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  • Aristocrats and Royalty at an Event in the Country

    Unidentified artist, Franco-Dutch or German, 17th–18th century (Franco-Dutch or German)

    Description

    Provenance

    Jessie Mott Peck McFadyen [Cambridge, MA?]; by 1982, to her daughter-in-law Nancy G. MacFadyen, Cambridge, MA [see note 1]. 1984, gift of Nancy G. MacFadyen, in memory of Jessie Mott Peck McFadyen. (Accession Date: January 16, 1985) NOTES: [1] according to notes from December 21, 1984 in curatorial file, donor says her mother-in-law (from whom she acquired the picture) may have purchased it in Europe earlier in the century.

    Credit Line

    Gift of Nancy G. MacFadyen, in memory of Jessie Mott Peck McFadyen

    Details

    Dimensions

    13 x 22.4 cm (5 1/8 x 8 13/16 in.)

    Accession Number

    1984.948

    Medium or Technique

    Watercolor on ivory

    Not On View

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    Europe

    Classifications

    Miniatures

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  • Reclining Nude

    about 1840–41
    Gustave Courbet (French, 1819–1877)

    Description

    Inscription

    Lower left: G. Courbet

    Provenance

    M. Lemercier, Le Havre, France; sold by the daughters of Lemercier [see note 1]. Galerie Robert Schmit, Paris [see note 2]. Makowski, Paris. Galerie Fabiani, Paris. 1954, Oppenheimer, Paris; 1954, sold by Oppenheimer to the Matthiesen Gallery, London; 1957, sold by Matthiesen Gallery to the MFA for £8,500. (Accession Date November 14, 1957) NOTES: [1] According to information provided by the Matthiesen Gallery at the time of its purchase. [2] Information about Schmit, Makowski, and Fabiani is taken from Robert Fernier, La vie et l'oeuvre de Gustave Courbet: Catalogue Raisonné (Paris, 1977), vol. 1, cat. no. 17.

    Credit Line

    Gift of Mrs. Samuel Parkman Oliver

    Details

    Dimensions

    104.7 x 143.5 cm (41 1/4 x 56 1/2 in.)

    Accession Number

    57.702

    Medium or Technique

    Oil on paper mounted on canvas

    Not On View

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    Europe

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  • Young Woman Ironing

    about 1800
    Louis-Léopold Boilly (French, 1761–1845)

    Description

    Boilly’s precise, intimate pictures, filled with anecdotal detail, were inspired by seventeenth-century Dutch paintings of daily life. This portrayal of a young laun- dress demonstrates Boilly’s rich, warm color and masterful rendering of textures and materials. Note such details as the water carafe, the glazed ceramic pitcher, and the glowing brazier used to heat the irons.

    Inscription

    Lower right: L. LBoilly (second L and B joined)

    Provenance

    Possibly acquired in Paris by Nikolaus Reber-Passavant (b. 1735 - d. 1821) for the Burckhardt family, Basel and passed by descent through the family to Theodora von der Mühll-Burckhardt (b. 1895 - d. 1983), Basel [see note 1]; December 9, 1981, anonymous (von der Mühll and others) sale, Sotheby Parke-Bernet, London, lot 2, to Hazlitt, Gooden and Fox, London; 1983, sold by Hazlitt, Gooden and Fox to the MFA. (Accession Date: January 12, 1983) NOTES: [1] According to information provided by Sotheby's at the time of the painting's acquisition. The early provenance has not been verified.

    Credit Line

    Charles H. Bayley Picture and Painting Fund

    Details

    Dimensions

    40.7 x 32.4 cm (16 x 12 3/4 in.)

    Accession Number

    1983.10

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Young Woman Looking through a Window

    Johann Georg Meyer (German, 1813–1886)

    Description

    Inscription

    Lower right: Meyer von Bremen / Berlin

    Provenance

    1887, probably the estate of the artist [see note 1]. Frank Gair Macomber (b. 1849 - d. 1941), Boston (?) [see note 2]. 1968, by inheritance from his mother to Erwin Starr (b. 1917 - d. 2002) and his wife, Helen G. Starr (b. 1922 - d. 2002), Boston and Key Biscayne, FL; 1981, gift of Erwin and Helen Starr to the MFA. (Accession Date: December 9, 1981) NOTES: [1] This was probably one of two paintings entitled "Erwartung" ("Expectation") lent by the estate of the artist to a special exhibition of his work at the Royal National Gallery, Berlin, May 22 - June 3, 1887, according to Rudolph Meyer-Bremen (letter of January 28, 2007). [2] According to a label on the reverse of the panel bearing Macomber's name.

    Credit Line

    Gift of Erwin and Helen Starr

    Details

    Dimensions

    22.2 x 15.2 cm (8 3/4 x 6 in.)

    Accession Number

    1981.497

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • Pilate Washing his Hands and Saint Martin of Tours with a Beggar and the Donor

    Attributed to Master of Alkmaar (Netherlandish, active about 1504–1540)

    Description

    Provenance

    Before 1930, G. Stein, Paris (?) [see note 1]. June 1, 1932, anonymous sale, Dorotheum, Vienna, lot 1. By 1934, David Goldmann (b. 1887 - d. 1967), Vienna [see note 2]; 1938, seized by Nazi forces and taken to the Kunsthistorisches Museum and stored at the Central Depot, Neue Burg, Vienna, where it was reserved for the Führermuseum [see note 3]; transferred to Alt Aussee [see note 4]; October 12, 1945, recovered by Allied forces and taken to the Munich Central Collecting Point (no. 8875) [see note 5]; January 1, 1947, given to the custody of the Stichting Nederlandsch Kunstbezit (inv. no. 1557) [see note 6]; 1948 until 1952, on loan from the Stichting Nederlandsch Kunstbezit to the Archbishop Museum, Utrecht (inv. no. ABM s212) [see note 7]; March 10, 1952, removed from the Archbishop Museum and sent to Germany for restitution to David Goldmann, New York [see note 8]; until 1979, by descent within Mr. Goldmann's family [see note 9]; May 30, 1979, consigned anonymously by the family of David Goldmann to Sotheby Parke-Bernet, New York, lot 174, not sold; 1979, sold by the family to a private collector, New York [see note 10]; 1980, sold by the private collector, through Richard J. Collins, Inc., New York, to the MFA. (Accession Date: October 15, 1980) NOTES [1] According to notes in the MFA curatorial file. [2] Published by L. Frölich-Bum, "Einige Werke des Meisters von Alkmaar in Wiener Privatbesitz" Oud-Holland 51 (1934), pp. 182-187, as belonging to David Goldmann. When they were in Mr. Goldmann's possession, the two panels formed a triptych, with a 17th-century Spanish relief sculpture of St. Anthony between them. On the collection of David and Lily Goldmann, see Sophie Lillie, Was einmal war, Handbuch der enteigneten Kunstammlungen Wiens (Vienna, 2003), pp. 409-415. [3] With the Anschluss, or annexation of Austria to Nazi Germany in March, 1938, the possessions of David Goldmann were seized almost immediately by Nazi forces. Goldmann's panels appear in a Nazi-generated inventory of 1939 as no. DG (David Goldmann) 107: "Hausaltar mit zwei Altarflügeln. Werke eines Malers aus der Antwerpener Schule, auf dem einen Flügel Christus vor Kaiaphas, auf dem anderen Christus vor Pilatus, auf der einen Seite ein heiliger Bischof, auf der anderen der gegeisselte Christus. In dem Schrank ein Heiliger." Inventar der Sammlung D.G., in Katalog beschlagnahmter Sammlungen, inbesondere der Rothschild-Sammlungen in Wien, Verlags-Nr. 4938, Staatsdruckerei Wien, 1939, Privatarchiv, reproduced in Lillie, Was einmal war (as above, n. 1), p. 412, no. 107. The panels also appear in a Nazi inventory of July 31, 1940 of works reserved for the decoration of the Führermuseum, the art museum Adolf Hitler planned to build in Linz, Austria: Verzeichnis der für Linz in Aussicht genommenen Gemälde, p. 8: "Ferner als Reserve für dekorative Zwecke ... Niederländisch, um 1500, Hausaltar." [4] Many works of art stored elsewhere by the Nazis were moved to the abandoned salt mines of Alt Aussee in Austria, where they would be safe from wartime bombing. [5] Allied troops established collecting points where looted works of art could be identified for eventual restitution to their rightful owners. These paintings came to the Munich Central Collecting Point from Alt Aussee (no. 4095), and were numbered 8875. This information is taken from inventory card 1557 A-B, Stichting Nederlandsch Kunstbezit Archive, no. 846, and Munich Central Collecting Point inventory card, National Archives and Records Administration, College Park, MD (Proprty Card 8875; Microfilm M1946, Reel 50). [6] After World War II, the Stichting Nederlandsch Kunstbezit (SNK, Foundation for Netherlandish Art Property) was assigned the task of recuperating looted artworks from abroad and returning them to their rightful owners in the Netherlands. [7] The panels were mistakenly believed to have come from the collection of O. Lanz of Amsterdam. For this reason, they were not returned to David Goldmann immediately following the war, but were taken to the Netherlands along with other works of art destined for restitution by the SNK (letter from Rudolf E. O. Ekkart, Head of the Origins Unknown Project (Bureau Herkomst Gezocht), The Hague, August 17, 2004). [8] This information was made available through the generous assistance of Arno van Os, registrar at the Museum Catharijneconvent, Utrecht (letter of May 13, 2004). On February 21, 1952 the Archbishop Museum received a letter from the Bureau Herstelbetalings- en Recuperatiegoederen requesting the return of the panels to David Goldmann and on March 10 they left the museum for restitution to him. In spite of this, the panels were listed among the works still missing from Mr. Goldmann's collection in 1957 (Verzeichnisse gesuchter Kunstwerke aus österreichischem Besitz, II., Privateigentümer, available online at http://www.kreisky.org/naziartloot/list.html). Their restitution in 1952 to David Goldmann's family has been confirmed in a signed statement by his daughter (May 10, 2004), as well as in a letter from her to the MFA (June 26, 2004). [9] According to the letter from Mr. Goldmann's daughter (as above, n. 8). [10] According to an interoffice memorandum (September 20, 1981; in the MFA curatorial file).

    Credit Line

    Marion F. Winnek Fund

    Details

    Dimensions

    87.6 x 41 cm (34 1/2 x 16 1/8 in.)

    Accession Number

    1980.357a-b

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • Fishing on the Bank of the Oise, Pontoise

    Emilio Sánchez Perrier (Spanish, 1855–1907)

    Description

    Inscription

    Lower left: E Sanchez Perrier / Pontoise

    Provenance

    By 1978, Ira Spanierman, Inc., New York; 1979, sold by Spanierman to the MFA. (Accession Date: Janaury 10, 1979)

    Credit Line

    Fanny P. Mason Fund in memory of Alice Thevin

    Details

    Dimensions

    26.7 x 35 cm (10 1/2 x 13 3/4 in.)

    Accession Number

    1979.4

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • The Archangel Gabriel

    After Master of the Miraculous Annunciation of Ss. Annunziata (Italian (Florentine), 1523–1588)

    Description

    After a fresco in the church SS. Annunziata, Florence

    Provenance

    By 1978, Misses Aimée and Rosamond Lamb, Boston, MA; 1978, gift of Misses Aimée and Rosamond Lamb [formerly as Nelli]. (Accession Date: January 10, 1979)

    Credit Line

    Gift of Miss Aimée and Miss Rosamond Lamb

    Details

    Dimensions

    17.78 x 12.7 cm (7 x 5 in.)

    Accession Number

    1978.685

    Medium or Technique

    Oil on copper

    Not On View

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    Europe

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  • Landscape with Two Breton Women

    1889
    Paul Gauguin (French, 1848–1903)

    Description

    Between 1886 and 1891 Gauguin spent extended periods in the rural community of Pont-Aven, Brittany, in northwestern France. There he painted scenes of everyday life invested with symbolic, even religious, significance. Here two Breton peasants sit in the shade. The right-hand figure seems at first to be praying, but in fact she’s eating—holding a piece of fruit, perhaps, in her left hand and a knife in her right. The painting demonstrates a shift in Gauguin’s style away from the brushy, Impressionistic manner of his early career towards the broad, flat expanses of color that characterize his Tahitian pictures.

    Inscription

    Lower left: P. Gaugin 89

    Provenance

    February 23, 1891, Gauguin sale, Hôtel Drouot, Paris, lot 23 (no. 24 in the procès-verbaux) to Ker-Xavier Roussel, (b. 1867 - d. 1944), Paris, for 280 fr.; owned jointly by Roussel, Paul Sérusier, Maurice Denis, Pierre Bonnard, Edouard Vuillard (b. 1868 - d. 1940), Frédéric Henry, and Julien Magnin [see note 1]; 1905, acquired fully by Vuillard [see note 2]; 1940, by inheritance to Vuillard's nephew (and Roussel's son), Jacques Roussel, Paris; 1954, sold by Jacques Roussel to Georges Maratier for Jean Davray, Paris; 1964, sold by Davray to Alex Maguy, Paris; 1964, sold by Maguy to Harry and Mildred Remis, Boston; 1976, partial gift of Harry and Mildred Remis to the MFA; 2001, remaining interest passed by descent to Robert and Ruth Remis, Boston; 2007, gift of Robert and Ruth Remis to the MFA. (Accession Date: December 12, 2007) NOTES: [1] As suggested by the correspondence of Frédéric Henry, an architect and intimate friend of Edouard Vuillard, from November 17 and December 24, 1905, it is possible that Pierre Hermant (a composer), Paul Percheron (a businessman and mystic), and Henri Roussel (K.-X. Roussel's brother, a doctor) were also joint owners of this painting (see letter from Juliet Bareau to Barbara Shapiro, March 11, 1985, in MFA curatorial file). [2] In a letter from Daniel Wildenstein to Barbara Shapiro (January 28, 1976; in MFA curatorial file), the family of Vuillard and Roussel are said to have provided the following information: Sérusier, Denis, Bonnard, Vuillard, and Roussel bought this painting jointly in 1891 to help Gauguin, and rotated it among themselves for specified periods of time. This arrangement soon grew impossible and it was Vuillard who finally paid back the other four owners and kept the painting for himself. When he died, his nephew and Roussel's son, Jacques Roussel, inherited it. This is supplemented by information provided in the correspondence of Frédéric Henry (see above, n. 1) that Julien Magnin was in possession of the painting at the time of his death in October 1905, at which time the remaining joint owners drew lots to establish sole ownership. Presumably Vuillard acquired it in this way.

    Credit Line

    Gift of Harry and Mildred Remis and Robert and Ruth Remis

    Details

    Dimensions

    72.4 x 91.4 cm (28 1/2 x 36 in.)

    Accession Number

    1976.42

    Medium or Technique

    Oil on canvas

    On View

    Sidney and Esther Rabb Gallery (Gallery 255)

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    Europe

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  • Beautiful City of Sligo

    1952
    Jack Butler Yeats (Irish, 1871–1957)

    Description

    Inscription

    Lower left: Jack B. Yeats

    Provenance

    By 1953, Waddington Galleries, Montreal; 1953, sold by Waddington Galleries to Henry L. Shattuck, Boston; 1971, bequest of Shattuck. (Accession Date: April 14, 1971)

    Credit Line

    Bequest of Henry L. Shattuck

    Copyright

    © 2011 Artists Rights Society (ARS), New York / DACS, London.

    Details

    Dimensions

    51.1 x 67.9 cm (20 1/8 x 26 3/4 in.)

    Accession Number

    1971.156

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Promise of Spring

    1890
    Sir Lawrence Alma-Tadema (Dutch (active in England), 1836–1912)

    Description

    Alma-Tadema’s later works are often small-scale, sentimental images of young lovers. In Promise of Spring, he created a highly romanticized and lush setting through the use of color and detail. The arched branches and intricate blooms of the tree meet the curved bodies of the lovers below. This movement frames the outward gaze of the female figure, whose pose exudes a relaxed beauty. The painting also presents such subtle, classicizing details as the marble architectural elements and the ancient dress.

    Inscription

    Center right: L Alma Tadema / Op CCC III

    Provenance

    By 1910, with Arthur Tooth and Sons (?), London, England, Paris, France, and New York, NY [see note 1]. By 1939, Frances M. Baker, Boston, MA; 1939, bequest of Frances M. Baker to the MFA. (Accession Date: November 9, 1939) NOTES: [1] see Dircks, Rudolf, "The Later Works of Sir L. Alma-Tadema," (1910), p 14, where lists "by permission of Messrs. Arthur Tooth and Sons." Tooth had another painting titled "The Voice of Spring," in stock 1910, but its dimensions were 19 1/4" x 45 3/4".

    Credit Line

    Bequest of Frances M. Baker

    Details

    Dimensions

    38.1 x 22.5 cm (15 x 8 7/8 in.)

    Accession Number

    RES.39.94

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • Portrait of a Woman

    Louise d'Orleans
    Princess of Beauvau

    After Jean Marc Nattier (French, 1685–1766), Formerly attributed to Rosalba Giovanna Carriera (Italian (Venetian), 1675–1757)

    Description

    Provenance

    Gift of Misses Aimée and Rosamond Lamb, 1968. (Accession date: November 13, 1968)

    Credit Line

    Gift of Miss Aimée and Miss Rosamond Lamb

    Details

    Dimensions

    39.69 x 31.43 cm (15 5/8 x 12 3/8 in.)

    Accession Number

    68.737

    Medium or Technique

    Pastel on paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Pastels

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  • Beech Wood

    about 1916
    Harold Gilman (English, 1876–1919)

    Description

    Inscription

    Lower right: H. Gilman

    Provenance

    1919, most probably by inheritance to Mrs. Harold Gilman, the artist's widow; 1932, Mrs. Harold Gilman sold to MFA for $10,050 [see note 1]. (Accession Date: February 4, 1932) NOTES: [1] MFA accession numbers RES.32.2-RES.32.18 purchased together for $10,050.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Details

    Dimensions

    61.6 x 51.4 cm (24 1/4 x 20 1/4 in.)

    Accession Number

    RES.32.9

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Treaty Port Painting

    Unidentified artist, Chinese

    Description

    Provenance

    By 1966, Colonel and Mrs. Thomas R. West; 1966, gift of Colonel and Mrs. Thomas R. West. (Accession Date: November 9, 1966)

    Credit Line

    Gift of Colonel and Mrs. Thomas R. West

    Details

    Accession Number

    66.940

    Medium or Technique

    Painting on glass

    Not On View

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    Asia, Europe

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  • Saint Barbara

    19th century
    Unidentified artist, Serbian or Bulgarian, 19th century (Serbian or Bulgarian)

    Description

    Provenance

    By 1925, Mrs. Philip L. Carbone; 1925, gift of Mrs. L. Carbone. (Accession date: January 8, 1925)

    Credit Line

    Gift of Mrs. Philip L. Carbone

    Details

    Dimensions

    25.9 x 9.3 cm (10 3/16 x 3 11/16 in.)

    Accession Number

    RES.25.15

    Medium or Technique

    Tempera on panel

    Not On View

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  • Portrait of a Boy Holding a Portfolio (Le Jeune Écolier)

    School of Nicolas Bernard Lépicié (French, 1735–1784)

    Description

    Inscription

    On portfolio: de la fosse

    Provenance

    Delafosse family (?). by 1923, Georges Wildenstein; Wildenstein & Co., New York; November 27, 1928, sold by Wildenstein & Co. and bought by Forsyth Wickes, New York and Newport, RI (d. 1964); 1965, bequest of Forsyth Wickes (Accession date: January 8, 1969)

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    47.6 x 35.6 cm (18 3/4 x 14 in.)

    Accession Number

    65.2663

    Medium or Technique

    Pastel on paper

    Not On View

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    Europe, Prints and Drawings

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  • Donkeys in the Campagna

    1883
    Giuseppe Raggio (Italian, 1823–1916)

    Description

    Inscription

    Lower right: G. Raggio. R O M A. 83

    Provenance

    1911, gift of Dr. Harold W. Dana. (Accession date: July 6, 1911)

    Credit Line

    Gift of Dr. Harold W. Dana

    Details

    Dimensions

    45.4 x 71.1 cm (17 7/8 x 28 in.)

    Accession Number

    RES.11.15

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Portrait of a Dancer (Mademoiselle Marie Sallé?)

    about 1735
    Nicolas Lancret (French, 1690–1743)

    Description

    Lancret’s work was often inspired by the French stage. His many small portraits of actors and dancers were avidly collected by contemporaries. This sitter likely sits before a theatrical backdrop, showing her “well-turned ankle,” and may well be connected with the stage. Elaborately dressed, she bears a close resemblance to Mlle Marie Sallé (1707–1756), a dancer and choreographer whom Voltaire (1694–1778) praised for her expressive gracefulness. Like many of Lancret’s works, this painting is heavily influenced by the genre scenes of elegant figures in garden settings popularized by his contemporary Jean-Antoine Watteau (1684–1721).

    Provenance

    Before 1937, Samuel Reading Bertron (b. 1865 - d. 1938), New York; by descent to his daughter, Elizabeth Bertron Fahnestock (Mrs. Wladimir W. Bouimistrow), New York and Paris [see note 1]. By 1937, Wildenstein and Co., New York [see note 2]; January 14, 1943, sold by Wildenstein to Forsyth Wickes (b. 1876 - d. 1964), Boston and Newport, RI; 1965, bequest of Forsyth Wickes to the MFA. (Accession Date: January 8, 1969) NOTES: [1] The provenance information was provided by Wildenstein to Forsyth Wickes at the time of the painting's acquisition. The dealer listed "Mrs. S. Fahnestock" and "Mrs. W. Bouimistrow" separately, although they are the same individual. Elizabeth Bertron was the first wife of Snowden A. Fahnestock; in 1930 she married Wladimir (or Vladimir) Bouimistrow. [2] It was lent by Wildenstein to "An Exhibition of French Paintings of the Eighteenth and Early Nineteenth Centuries," Cincinnati Art Museum, October 2 - November 7, 1937, no. 12.

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    Overall: 27.9 x 33cm (11 x 13in.) Framed: 46.4 x 51.4 x 7 cm (18 1/4 x 20 1/4 x 2 3/4 in.)

    Accession Number

    65.2647

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • Spring Pasture

    1889
    Camille Pissarro (French (born in the Danish West Indies), 1830–1903), Lent by The White Fund (American (Lawrence, MA))

    Description

    Inscription

    Lower left: C. Pissarro. 1889

    Provenance

    July 26, 1889, sold by the artist to Boussod, Valadon et Cie., Paris and New York (stock no. 20004); March 14, 1892, sold by Boussod, Valadon et Cie. to Senator Edward O. Wolcott (b. 1848 - d. 1905), Colorado Springs and Washington DC [see note]; by inheritance to his brother, Rev. William E. Wolcott (b. 1887 - d. 1911), Lawrence, MA; 1911, bequeathed by Wolcott to the White Fund of Lawrence, MA; November 13, 1912, placed on loan by the Trustees of the White Fund to the MFA. NOTE: Getty Provenance Index, Goupil et Cie. records, PI Record no. G-31453 (stock book 13, no. 20004, p. 21). As "Matin d'automne."

    Credit Line

    Deposited by the Trustees of the White Fund, Lawrence, Massachusetts

    Details

    Dimensions

    60 x 73.7 cm (23 5/8 x 29 in.)

    Accession Number

    L-R 1323.12

    Medium or Technique

    Oil on canvas

    On View

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

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  • Oasis at Sunset

    Charles Théodore Frère (French, 1814–1888)

    Description

    Inscription

    Lower left: TH. FRèRE

    Provenance

    By 1965, Mrs. Edward Jackson Holmes (b. 1875), Boston, MA; 1965, bequest of Holmes. (Accession date: April 14, 1965)

    Credit Line

    Bequest of Mrs. Edward Jackson Holmes

    Details

    Dimensions

    21.2 x 37.1 cm (8 3/8 x 14 5/8 in.)

    Accession Number

    65.436

    Medium or Technique

    Oil on panel

    Not On View

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  • Men and Animals

    1952
    Karel Appel (Dutch, 1921–2006)

    Description

    Appel was a founding member of CoBrA, a short-lived post-War association of painters, writers, and poets, whose name is an acronym for Copenhagen, Brussels, and Amsterdam, the capital cities of the founders’ countries. Emphasizing spontaneity and directness, some members, such as Appel, based their work on children’s drawings and folk art, and the art of Paul Klee, often in bold colors.

    Provenance

    1997, gift of the estate of Eva Louise Merrill to the MFA. (Accession Date: June 25, 1997)

    Credit Line

    Gift of the Estate of Eva Louise Merrill

    Copyright

    © Artists Rights Society (ARS), New York / Beeldrecht, Amsterdam

    Details

    Dimensions

    80.33 x 100.01 cm (31 5/8 x 39 3/8 in.)

    Accession Number

    1997.134

    Medium or Technique

    Oil on burlap

    Not On View

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  • Portrait of a Woman

    William Hogarth (English, 1697–1764)

    Description

    Provenance

    With C. Mason, London, England, UK (Christie's?); by 1928, sold by Mason to P. Jackson Higgs, New York, NY; 1928, sold by Higgs to the Vose Galleries, Providence, RI, and Boston, MA. By 1929, (from Vose?) to Charles W. Whittier. By 1946, Mrs. Wingate Rollins, Milton, MA; 1964, gift of Rollins. (Accession date: September 23, 1964)

    Credit Line

    Gift of Mrs. Wingate Rollins

    Details

    Dimensions

    75 x 62.5 cm (29 1/2 x 24 5/8 in.)

    Accession Number

    64.1602

    Medium or Technique

    Oil on canvas

    Not On View

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  • Saint James the Great of Compostella

    Master of the Saint Bartholomew Altarpiece (German, active in late 15th to early 16th century)

    Description

    This fragment, probably part of an altarpiece, presents Saint James as a pilgrim like those who flocked to the shrine of his relics in Santiago de Compostella, Spain. The painter is named after an altarpiece illustrating the life of Saint Bartholomew now in the Alte Pinakothek, Munich.

    Provenance

    Richard von Kaufmann (b. 1849 - d. 1908), Berlin; December 4, 1917, Kaufmann sale, Cassirer and Helbing, Berlin, lot 133, to Walter von Pannwitz (d. 1920), Heemstede, The Netherlands [see note 1]; transferred to The Aurora Trust [see note 2]; July 6, 1966, Aurora Trust sale, Sotheby's, London, lot 72, to Thomas Agnew and Sons, Ltd., London; June 21, 1967, sold by Agnew to William A. Coolidge (b. 1901 - d. 1992), Topsfield and Cambridge, MA; 1993, bequest of William A. Coolidge to the MFA. (Accession Date: January 27, 1993) NOTES: [1] Der Cicerone, January, 1918, pp. 26-27; also see letter from Gerald G. Stiebel to the MFA (April 28, 2002; in MFA curatorial files) and Otto von Falke and Max J. Friedländer, "Die Kunstsammlung von Pannwitz" (Munich, 1925), cat. no. 8. [2] The Aurora Trust was set up in the late 1940s by Walter von Pannwitz's widow, Catalina, as a respository for the their art collection.

    Credit Line

    Bequest of William A. Coolidge

    Details

    Dimensions

    Overall: 14.3 x 13 cm (5 5/8 x 5 1/8 in.)

    Accession Number

    1993.39

    Medium or Technique

    Oil on panel

    On View

    Alyce Morrissey Gallery (Kunstkammer) (Gallery 143)

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  • Double Portrait of Trudl

    1931
    Oskar Kokoschka (Austrian, 1886–1980)

    Description

    Kokoschka completed several paintings and at least twenty drawings of his neighbor’s daughter, Gertrud Bandera (known as Trudl), while living in Vienna in 1931–32. He observed competing qualities within the adolescent girl, alluding to them here within a single frame. At right, a crescent on Trudl’s headband identifies her with Diana, the virgin goddess of the hunt and the moon, while at left, peacock feathers adorning her hair suggest a connection with Juno, goddess of marriage and childbirth. This dual-image presents a contrast between chaste youthful innocence and future potential for motherhood.

    Inscription

    Upper left: O K / 1931

    Provenance

    Until at least 1932, the artist [see note 1]. By 1935 until at least 1946, Franz Kochmann (b. 1872 - d. 1956), Dresden and Utrecht [see note 2]. By 1956, Willy Hahn (b. 1896 - d. 1988), Stuttgart [see note 3]; sold by Willy Hahn, through an agent, to the Lock Galleries, New York [see note 4]; 1961, sold by Lock Galleries to the MFA for $28,000. (Accession Date: November 8, 1961) NOTES: [1] At the end of 1931, Kokoschka made plans to send the painting to the Moderne Galerie, Vienna, to which he offered it for sale. Correspondence between the artist and the Moderne Galerie (Archives of the Österreichische Galerie Belvedere, Vienna, Zl. 37/1932, kindly provided by Thomas Geldmacher) attests that the work was at the gallery by January, 1932, when negotiations for its purchase were underway. However, the gallery declined to buy it. Kokoschka also mentioned his hopes to sell the painting in several published letters; see "Oskar Kokoschka, Briefe, II, 1919-1934," ed. Olda Kokoschka and Heinz Spielmann (Düsseldorf, 1985), letters to Alice Lahmann, late 1931, pp. 240-241 and Friedrich T. Gubler, January 9, 1932, pp. 244-245. By March the painting was apparently on the Paris art market. In a letter to Julius Böhler (March 12, 1932; "Oskar Kokoschka, Briefe," pp. 249-251) Kokoschka wrote that he had the painting at the Galerie Bernheim-Jeune, Paris. Bernheim-Jeune has been unable to confirm that the painting was ever at the gallery. The painting was exhibited in the summer of that year at the 18th Biennale Exhibition, Venice. The exhibition catalogue states that it belonged to the National Gallery, Dresden. Dr. Birgit Dalbajewa, Galerie Neuer Meister, Staatliche Kunstsammlungen Dresden (correspondence of May 9, 2005) attests that the painting was never in the possession of the National Gallery, but suggests that it might have been lent from Dresden. Hans Posse, at that time the director of the National Gallery of Dresden, curated the Biennale and negotiated the loans. Moreover, Franz Kochmann, a Dresden resident, owned the painting by 1935; it is possible that he acquired it at about this time, lending it to the Biennale through the National Gallery. See below, n. 2. [2] Edith Hoffmann, "Kokoschka: Life and Work" (Boston, 1947), p. 330, cat. no. 246, first published the painting as being in the collection of Franz Kochmann, who emigrated from Dresden to Utrecht in 1940. He had lent the painting to the "Ausstellung" (exhibition) held at the Kunsthaus, Zurich, April 18 - May 15, 1935, cat. no. 99, a loan negotiated by Hans Posse of the National Gallery, Dresden. As indicated by documents issued by the Gemeentemuseum and currently housed in the Municipal Archive of the City of the Hague (file no. 108), on April 4, 1940, Mr. Kochmann deposited several works of art -- including this painting -- at the Gemeentemuseum, the Hague. On May 2, 1946, the Gemeentemuseum returned the painting to him. Correspondence from Hans Janssen, curator, Gemeentemuseum (March 15, 2005) confirms this. Copies of the Gemeentemuseum documents, from 1940 and 1946, are in the MFA curatorial file. [3] Hans Maria Wingler, "Oskar Kokoschka: das Werk des Malers" (Salzburg, 1956), p. 321, cat. no. 262 (as in a private collection, Stuttgart). Hahn was a close friend of the artist as well as an important collector of his work. See Hans Kinkel, "Der Sammler Willy Hahn wird neunzig," Weltkunst 58, no. 14 (July 15, 1986), p. 2013. [4] According to a letter from Charles K. Lock, Lock Galleries, to Diana Hallowell, MFA (January 12, 1962).

    Credit Line

    Seth K. Sweetser Fund

    Copyright

    © 2011 Artists Rights Society (ARS), New York / Pro Litteris, Zurich.

    Details

    Dimensions

    101 x 71.5 cm (39 3/4 x 28 1/8 in.)

    Accession Number

    61.1138

    Medium or Technique

    Oil on canvas

    Not On View

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  • Mary Magdalen

    about 1525–30
    Jan Gossaert (Netherlandish, 1478–1532)

    Description

    Opulently adorned and bejeweled, Mary Magdalene is depicted here before she took her oaths of poverty and chastity. Gossaert, sometimes called Mabuse after the town where he was born, was perhaps the first artist to translate the ideals of the Italian Renaissance into a northern aesthetic. He crafted elaborate details and luminous surfaces in the Netherlandish tradition, but he also introduced classical elements such as the antique-inspired urn that foreshadows Mary’s anointment of Christ’s feet.

    Provenance

    Lucien Félix Claude-Lafontaine (b. 1840 -d. 1909), Paris; March 14, 1918, sale, Hôtel Drouot, Paris, lot 3, possibly unsold or re-purchased, and remained within the family [see note 1]; April 11, 1962, Claude-Lafontaine sale, Palais Galliera, Paris, lot 8, to Rosenberg and Stiebel, New York; April 19, 1963, sold by Rosenberg and Stiebel to William A. Coolidge (b. 1901 - d. 1992), Topsfield and Cambridge, MA; 1991, gift of Coolidge to the MFA. (Accession Date: September 25, 1991) NOTES: [1] According to a letter from Claude-Lafontaine's grandson, Olivier Bès de Berc, to Perry Rathbone of the MFA (September 21, 1963), after Claude-Lafontaine's death in 1909, his collection was divided among his heirs. Some of these objects (including this painting) were included in the auction of the of G[authier] V[illars] collection, Paris, on March 14, 1918. Because in 1962 this painting was auctioned again by the family, it may have gone unsold or was re-purchased in 1918. It appears in the auction catalogue as a portrait of a woman, attributed to Bernard van Orley, with an annotated sale price of 11,000 fr.

    Credit Line

    Gift of William A. Coolidge

    Details

    Dimensions

    49.53 x 39.37 cm (19 1/2 x 15 1/2 in.)

    Accession Number

    1991.585

    Medium or Technique

    Oil on panel

    On View

    William A. Coolidge Gallery (Gallery 243A)

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  • Portrait of a Young Girl Holding a Cat

    1711
    Constantijn Netscher (Dutch, 1668–1723)

    Description

    Inscription

    Lower left: Const. Netscher / 1711

    Provenance

    Francis Shaw (b. 1855 - d. 1935), Wayland, MA [see note 1]. Joseph Warren (b. about 1877 - d. by 1942), Brookline, MA [see note 2]; to his son, Joseph Warren, Jr. (b. about 1907 - d. by 1958), Boston; by inheritance to his siblings, Howland Warren, Wahunt, MA, Richard Warren, Dedham, MA, and Mary W. Murphy, New York; 1961, gift of Howland Warren, Richard Warren, and Mary W. Murphy to the MFA. (Accession Date: October 8, 1961) NOTES: [1] According to labels on the reverse of the painting's stretcher and frame. The reverse of the canvas bears a stamp indicating that the painting was restored at the Copley Gallery, Boston, in 1922, though it does not state who the owner was at that time. [2] The painting was first lent to the MFA from the estate of Joseph Warren in 1942. It was attributed at that time to an unknown artist of the Flemish school.

    Credit Line

    Gift of Howland Warren, Richard Warren, and Mary W. Murphy

    Details

    Dimensions

    49.2 x 40 cm (19 3/8 x 15 3/4 in.)

    Accession Number

    61.176

    Medium or Technique

    Oil on panel

    Not On View

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  • Roses in a Glass Vase

    1890
    Henri Fantin-Latour (French, 1836–1904)

    Description

    Fantin was the late 19th-century’s undisputed master of the rose. Here a rough, scumbled background offsets the delicacy and fleshy softness of these overblown blossoms, so real we can almost smell their perfume. A devoted student of the old masters, Fantin spent many hours in his early career copying 17th-century Dutch still lifes at the Louvre, and yet his compositions remain unmistakably of their own time, almost photographic in their ambition to arrest a momentary sensation.

    Inscription

    signed lower right: Fantin 90

    Provenance

    Acquired from the artist by Elizabeth Ruth Edwards (b. about 1833 - d. 1907), London [see note 1]. By 1906, Ferdinand Dreyfus (b. 1849 - d. 1915), Paris [see note 2]; by descent to his son, Jean Ferdinand-Dreyfus (b. 1888 – d. 1962), Paris; 1942, probably confiscated from Jean Ferdinand-Dreyfus by Nazi forces and, between 1947 and 1962, recovered by the Dreyfus family [see note 3]; January 23, 1962, sold by C. F. Dreyfus (Claude Ferdinand Dreyfus) and R. Schwob d’Héricourt to the Galerie Hector Brame, Paris; October 10, 1962, sold by Brame to Frost and Reed Gallery, London [see note 4]; about 1962/1963, sold by Frost and Reed to Desmond Robinson, London [see note 5]. April 15, 1970, anonymous sale, Sotheby's, London, lot 3, to the Lefevre Gallery, London, for £27,000; 1970, sold by Lefevre to a private collector, Paris [see note 6]. July 1, 1974, anonymous sale, Christie's, London, lot 10, to Alice A. Hay (d. 1987), New York; 1987, bequest of Alice A. Hay to the MFA. (Accession Date: June 24, 1987) NOTES: [1] According to William Gaunt, “Fantin-Latour: In the Maturity of His Art,” Connoisseur 152 (January – April, 1963): 220-222. Edwin Edwards (d. 1879) and his wife Elizabeth were friends of Fantin-Latour and acted as dealers for him in England. [2] He lent this painting to the "Exposition de l'Oeuvre de Fantin-Latour" (Paris, May-June, 1906), cat. no. 82, and is listed as the owner by Mme. Fantin-Latour, Catalogue de l‘Oeuvre Complet (1849-1904) de Fantin-Latour (Paris: Henri Floury, 1911), p. 148, cat. no. 1410. [3] In 1947, a painting by Fantin-Latour of a "bouquet of roses in a glass" (“bouquet de roses dans un verre”) was listed, without dimensions or an image, among the objects that had been confiscated in 1942 from the home of Jean Ferdinand-Dreyfus, the eldest son of Ferdinand Dreyfus, and had not yet been returned. See Bureau Central des Restitutions, Répertoire des Biens Spoliés en France Durant la Guerre, 1939-1945, vol. 2, Tableaux, tapisseries, et sculptures (Berlin, 1947), p. 230, no. 5128. This painting had also been reported on Jean Ferdinand-Dreyfus’s itemized art claim to the Ministry of Foreign Affairs, Paris, 1945 (RA 625). The fact that the MFA painting was sold shortly after Jean Ferdinand-Dreyfus’s death by his heir indicates that, if it is the same painting, it must have been returned to the family between 1947 and 1962. [4] Many thanks to Sophie Brame for supplying information about the Galerie Hector Brame transactions. [5] According to Gaunt, 1963 (as above, n. 1). There is also a Frost and Reed label affixed to the reverse of the painting dated 1965, at which time it was evidently at the gallery for restoration or framing work. [6] According to correspondence from Jodie Waldron of the Lefevre Gallery (August 24, 2006). The painting was included in the exhibition "XIX & XX Century French Paintings" (Lefevre Gallery, London, November 12 - December 19, 1970), cat. no. 7.

    Credit Line

    Bequest of Alice A. Hay

    Details

    Dimensions

    42.54 x 37.78 cm (16 3/4 x 14 7/8 in.)

    Accession Number

    1987.291

    Medium or Technique

    Oil on canvas

    Not On View

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  • Summer Night's Dream (The Voice)

    1893
    Edvard Munch (Norwegian, 1863–1944)

    Description

    Munch was strongly influenced by the work of Vincent van Gogh and Paul Gauguin, in particular by these artists’ use of color and form to express intense personal meaning. In the late 1880s, Munch conceived an epic series of paintings entitled The Frieze of Life, which dealt poetically and symbolically with life, love, and death. Many of his most memorable images were part of this ultimately unfinished project. Summer Night’s Dream, the first work in the cycle of Love, portrays the initial glimmer of adolescent sexual awakening. Bathed in an eerie light, the painting is probably set in the Borre Forest, a traditional place of courtship during Norway’s long midsummer nights.

    Inscription

    Lower left: E. Munch 1893

    Provenance

    Sold by the artist to Professor Helge Bäckström (b. 1865 - d. 1932) and his wife Rägnhild Bäckström (b. 1871 - d. 1908), Stockholm, Sweden [see note 1]. 1924, with Galerie Commeter, Hamburg [see note 2]. 1926, Paul Cassirer, Berlin [see note 3]. Between about 1927 and 1937, with the Moderne Galerie Thannhauser, Berlin [see note 4]. 1937, acquired by Harald Holst Halvorsen (d. 1960), Oslo, Norway [see note 5]; 1959, sold by Halvorsen to the MFA for $35,000. (Accession Date: May 14, 1959) NOTES: [1] In the MFA curatorial file are photographs of the painting hanging in the Bäckströms' home. The couple knew the artist personally; Mrs. Bäckström was the sister of Munch's model, Dagny Juell Przybyszewski, and she herself posed for Munch twice. [2] According to Gerd Woll, Edvard Munch: Complete Paintings, Catalogue Raisonné (London, 2009), vol. 1, cat. no. 319, the painting was included in an exhibition held October 9-21, 1924, at the Galerie Commeter. [3] Lent to the exhibition "Edvard Munch: Gemälde und Graphik," Städtische Kunsthalle, Mannheim, November 7, 1926-January 9, 1927, cat. no. 5, as "Mondschein am Fjord." Many thanks to Hannah Krause of the Kunsthalle, Mannheim (correspondence to the MFA, May 18, 2010) for providing information about this exhibition. [4] According to the exhibition catalogue "Edward Munch" (New York: The Solomon R. Guggenheim Museum, 1965), cat. no. 19, the painting was with the Galerie Thannhauser, Berlin, before it was owned by Halvorsen, though no dates of ownership are given. The gallery opened its Berlin branch in 1927 and closed it in 1937, so if the painting was at the gallery, it would have been there within that decade. [5] According to a letter from Mr. Halvorsen to the MFA (April 4, 1959). He does not specify from whom he acquired it.

    Credit Line

    Ernest Wadsworth Longfellow Fund

    Copyright

    © 2013 The Munch Museum / The Munch-Ellingsen Group / Artists Rights Society (ARS), New York.

    Details

    Dimensions

    87.9 x 108 cm (34 5/8 x 42 1/2 in.)

    Accession Number

    59.301

    Medium or Technique

    Oil on canvas

    On View

    Sidney and Esther Rabb Gallery (Gallery 255)

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  • Portrait of a Man

    about 1810
    John Miers (British, 1758(?)–1821)

    Description

    Provenance

    1952, Edward H. R. Revere; by descent to Margaret A. Revere and Anna P. Revere; 1984, gift of Margaret A. Revere and Anna P. Revere to the MFA. (Accession Date: September 12, 1984)

    Credit Line

    Gift of Margaret A. Revere and Anna P. Revere

    Details

    Dimensions

    5.56 x 3.17 cm (2 3/16 x 1 1/4 in.)

    Accession Number

    1984.504

    Medium or Technique

    Watercolor on ivory

    Not On View

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  • Still Life with Blue Plums and a Glass of Water

    1925
    Georges Braque (French, 1882–1963)

    Description

    In the 1920s Braque produced a number of horizontal still lifes more naturalistic in style than the fragmented, Cubist compositions of his earlier work. These still lifes have been interpreted as a response to the rappel à l’ordre (return to order), a widespread desire for the reestablishment of traditional values in postwar France. Here the rounded, deep-hued plums suggest a renewed interest in naturalistic form, while the off-kilter tabletop reveals Braque’s Cubist roots.

    Inscription

    Lower left: G. Braque/ 25-

    Provenance

    By 1925, Mr. and Mrs. Paul Rosenberg, New York [see note 1] 1957, gift of Mr. and Mrs. Rosenberg. (Accession date: May 9, 1957) NOTES: [1] according to letter of April 16, 1957 from Paul Rosenberg to Perry T. Rathbone of the MFA in curatorial files, this picture was in the Rosenberg private collection since 1925. A letter of May 20, 1957 from Alexandre Rosenberg, also in curatorial files, reveals that the work was included in the exhibition, "Marguerite and Paul Rosenberg: Private Collection," November - December 1953, Rosenberg Gallery, New York.

    Credit Line

    Gift of Mr. and Mrs. Paul Rosenberg

    Copyright

    © 2011 Artists Rights Society (ARS), New York / ADAGP, Paris.

    Details

    Dimensions

    23.2 x 73.1 cm (9 1/8 x 28 3/4 in.)

    Accession Number

    57.523

    Medium or Technique

    Oil on canvas

    Not On View

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  • Young Woman Kneeling Before a Priest

    1826
    Jean Baptiste Mallet (French, 1759–1835)

    Description

    Inscription

    Lower right: Mall [...] t / 1826

    Provenance

    By 1982, Julia Appleton Bird (Mrs. Charles Sumner), East Wadpole, MA; 1982, gift of Julia Appleton Bird to the MFA. (Accession Date: December 8, 1982)

    Credit Line

    Gift of Mrs. Charles Sumner Bird (Julia Appleton Bird)

    Details

    Dimensions

    24.1 x 32.7 cm (9 1/2 x 12 7/8 in.)

    Accession Number

    1982.640

    Medium or Technique

    Oil on canvas mounted on Masonite

    Not On View

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  • Rabbit amid Ferns and Flowering Plants

    1855
    William J. Webbe (British, active in 1853–1878)

    Description

    Inscription

    Lower left: W. J. Webbe 1855

    Provenance

    By 1971, The Stone Gallery, Newton-upon-Thyme, England. Mrs. Crawford J. Cambell, Boston, MA. The English Gallery, Boston, MA; sold by the English Gallery to the MFA. (Accession Date: December 9, 1981)

    Credit Line

    Gift of Mrs. Samuel Parkman Oliver

    Details

    Dimensions

    35.6 x 35.6 cm (14 x 14 in.)

    Accession Number

    1981.441

    Medium or Technique

    Oil on canvas

    Not On View

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  • Christ Before Pilate and Christ as the Man of Sorrows

    Attributed to Master of Alkmaar (Netherlandish, active about 1504–1540)

    Description

    Provenance

    Before 1930, G. Stein, Paris (?) [see note 1]. June 1, 1932, anonymous sale, Dorotheum, Vienna, lot 1. By 1934, David Goldmann (b. 1887 - d. 1967), Vienna [see note 2]; 1938, seized by Nazi forces and stored at the Central Depot, Neue Burg, Vienna, where it was reserved for the Führermuseum [see note 3]; transferred to Alt Aussee [see note 4]; October 12, 1945, recovered by Allied forces and taken to the Munich Central Collecting Point (no. 8875) [see note 5]; January 1, 1947, given to the custody of the Stichting Nederlandsch Kunstbezit (inv. no. 1557) [see note 6]; 1948 until 1952, on loan from the Stichting Nederlandsch Kunstbezit to the Archbishop Museum, Utrecht (inv. no. ABM s212) [see note 7]; March 10, 1952, removed from the Archbishop Museum and sent to Germany for restitution to David Goldmann, New York [see note 8]; until 1979, by descent within Mr. Goldmann's family [see note 9]; May 30, 1979, consigned anonymously by the family of David Goldmann to Sotheby Parke-Bernet, New York, lot 174, not sold; 1979, sold by the family to a private collector, New York [see note 10]; 1980, sold by the private collector, through Richard J. Collins, Inc., New York, to the MFA. (Accession Date: October 15, 1980) NOTES [1] According to notes in the MFA curatorial file. [2] Published by L. Frölich-Bum, "Einige Werke des Meisters von Alkmaar in Wiener Privatbesitz" Oud-Holland 51 (1934), pp. 182-187, as belonging to David Goldmann. When they were in Mr. Goldmann's possession, the two panels formed a triptych, with a 17th-century Spanish relief sculpture of St. Anthony between them. On the collection of David and Lily Goldmann, see Sophie Lillie, Was einmal war, Handbuch der enteigneten Kunstammlungen Wiens (Vienna, 2003), pp. 409-415. [3] With the Anschluss, or annexation of Austria to Nazi Germany in March, 1938, the possessions of David Goldmann were seized and expropriated almost immediately by Nazi forces. Goldmann's panels appear in a Nazi-generated inventory of 1939 as no. DG (David Goldmann) 107: "Hausaltar mit zwei Altarflügeln. Werke eines Malers aus der Antwerpener Schule, auf dem einen Flügel Christus vor Kaiaphas, auf dem anderen Christus vor Pilatus, auf der einen Seite ein heiliger Bischof, auf der anderen der gegeisselte Christus. In dem Schrank ein Heiliger." Inventar der Sammlung D.G., in Katalog beschlagnahmter Sammlungen, inbesondere der Rothschild-Sammlungen in Wien, Verlags-Nr. 4938, Staatsdruckerei Wien, 1939, Privatarchiv, reproduced in Lillie, Was einmal war (as above, n. 1), p. 412, no. 107. The panels also appear in a Nazi inventory of July 31, 1940 of works reserved for the decoration of the Führermuseum, the art museum Adolf Hitler planned to build in Linz, Austria: Verzeichnis der für Linz in Aussicht genommenen Gemälde, p. 8: "Ferner als Reserve für dekorative Zwecke ... Niederländisch, um 1500, Hausaltar." [4] Many works of art stored elsewhere by the Nazis were moved to the abandoned salt mines of Alt Aussee in Austria, where they would be safe from wartime bombing. [5] Allied troops established collecting points where looted works of art could be identified for eventual restitution to their rightful owners. These paintings came to the Munich Central Collecting Point from Alt Aussee (no. 4095), and were numbered 8875. This information is taken from inventory card 1557 A-B, Stichting Nederlandsch Kunstbezit Archive, no. 846, and Munich Central Collecting Point inventory card, National Archives and Records Administration, College Park, MD (Property Card 8875; Microfilm M1946, Reel 50). [6] After World War II, the Stichting Nederlandsch Kunstbezit (SNK, Foundation for Netherlandish Art Property) was assigned the task of recuperating looted artworks from abroad and returning them to their rightful owners in the Netherlands. [7] The panels were mistakenly believed to have come from the collection of Otto Lanz of Amsterdam. For this reason, they were not returned to David Goldmann immediately following the war, but were taken to the Netherlands along with other works of art destined for restitution by the SNK (letter from Rudolf E. O. Ekkart, Head of the Origins Unknown Project (Bureau Herkomst Gezocht), The Hague, August 17, 2004). [8] This information was made available through the generous assistance of Arno van Os, registrar at the Museum Catharijneconvent, Utrecht (letter of May 13, 2004). On February 21, 1952 the Archbishop Museum received a letter from the Bureau Herstelbetalings- en Recuperatiegoederen requesting the return of the panels to David Goldmann and on March 10 they left the museum for restitution to him. In spite of this, the panels were listed among the works still missing from Mr. Goldmann's collection in 1957 (Verzeichnisse gesuchter Kunstwerke aus österreichischem Besitz, II., Privateigentümer, available online at http://www.kreisky.org/naziartloot/list.html). Their restitution in 1952 to David Goldmann's family has been confirmed in a signed statement by his daughter (May 10, 2004), as well as in a letter from her to the MFA (June 26, 2004). [9] According to the letter from Mr. Goldmann's daughter (as above, n. 8). [10] According to an interoffice memorandum (September 20, 1981; in the MFA curatorial file).

    Credit Line

    Marion F. Winnek Fund

    Details

    Dimensions

    87.6 x 35.9 cm (34 1/2 x 14 1/8 in.)

    Accession Number

    1980.356a-b

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • The Virgin of the Annunciation

    After Master of the Miraculous Annunciation of Ss. Annunziata (Italian (Florentine), 1523–1588)

    Description

    After a fresco in the church SS. Annunziata, Florence

    Provenance

    By 1978, Misses Aimée and Rosamond Lamb, Boston, MA; 1978, gift of Misses Aimée and Rosamond Lamb [formerly as Nelli]. (Accession Date: January 10, 1979)

    Credit Line

    Gift of Miss Aimée and Miss Rosamond Lamb

    Details

    Dimensions

    17.78 x 12.7 cm (7 x 5 in.)

    Accession Number

    1978.684

    Medium or Technique

    Oil on copper

    Not On View

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    Europe

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  • The White Hat

    about 1780
    Jean-Baptiste Greuze (French, 1725–1805)

    Description

    Although Greuze was commissioned to paint many portraits, it’s unlikely that this painting depicts an actual person. The young woman, who appears at once innocent and seductive, is probably the product of the artist’s imagination. Greuze has dressed her in the more natural, déshabillé (“undressed”) fashion that was en vogue at the time. Queen Marie Antoinette began wearing white muslin dresses that did not require structural undergarments in the 1780s and after some initial scandal, this style became very popular.

    Provenance

    Thomas Dowse (b. 1772 - d. 1856), Cambridge, MA; bequeathed by Dowse to the Boston Athenaeum; 1975, sold by the Boston Athenaeum to the MFA. (Accession Date: March 10, 1976)

    Credit Line

    Gift of Jessie H. Wilkinson—Jessie H. Wilkinson Fund, Grant Walker Fund, Seth K. Sweetser Fund, and Abbott Lawrence Fund

    Details

    Dimensions

    Overall: 56.8 x 46.4cm (22 3/8 x 18 1/4in.) Framed: 69.9 x 59.7 x 6.4 cm (27 1/2 x 23 1/2 x 2 1/2 in.)

    Accession Number

    1975.808

    Medium or Technique

    Oil on canvas

    On View

    Ann and William Elfers Gallery (Gallery 245)

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    Europe

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  • Stuffed Shirts (Les Plastrons)

    1900
    Pablo Picasso (Spanish (worked in France), 1881–1973)

    Description

    Inspired by the café-concerts and music halls he visited during his second trip to Paris, here the young Picasso captured, in the vein of Degas and Toulouse-Lautrec, the spectacle of modern entertainment.

    Inscription

    Upper left: PR Picasio [sic]

    Provenance

    1901, possibly Eugène Blot (b. 1857), Paris [see note 1]. By 1931, Josef Stransky (b. 1872 - d. 1936), New York; 1936, after Stransky's death, consigned to Wildenstein and Co., London [see note 2]. By 1969, Julia Appleton (Mrs. Charles Sumner) Bird (b. 1894 - d. 1983), East Walpole, MA; 1970, gift of Mrs. Charles Sumner Bird to the MFA. (Accession Date: March 26, 1970) NOTES: [1] This may be the painting lent by Eugène Blot to the Galerie Ambroise Vollard, June 25-July 14, 1901, no. 54 ("Chanteuse"). Ralph Flint, "The Private Collection of Joseph Stransky," Art News 29, no. 33 (May 16, 1931), p. 88, gives the provenance of the painting as Blot, Paris. [2] Exhibited at " 'Collection of a Collector': Modern French Paintings from Ingres to Matisse (The Private Collection of the late Josef Stransky," Wildenstein, London, July 1936, cat. no. 28.

    Credit Line

    Gift of Mrs. Charles Sumner Bird (Julia Appleton Bird)

    Copyright

    © 2011 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

    Details

    Dimensions

    13.6 x 22.5 cm (5 3/8 x 8 7/8 in.)

    Accession Number

    1970.475

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • Madame Bonjean

    1930
    Pavel Tchelitchew (American (born in Russia, also active in France), 1898–1957)

    Description

    This elegant and somewhat skeptical figure is the wife of Jacques Bonjean, an influential Paris art dealer who specialized in the avant-garde and operated a gallery in silent partnership with fashion designer Christian Dior. Trained in Moscow, Tchelitchew fled south to Ukraine during the Russian Revolution, making his way to Paris by 1920. He eventually came to the United States in the early 1930s. For four decades Tchelitchew was one of the most important and innovative set designers in Europe and the United States, working with figures like fellow Russian, choreographer George Balanchine.

    Inscription

    Lower right: P. Tchelitchew

    Provenance

    By 1931, with Jacques Bonjean, Paris [see note 1]; May 18, 1931, Jacques Bonjean sold to MFA. (Accession date: February 4, 1932) NOTES: [1] Jacques Bonjean, a dealer in Paris, was also the husband of the sitter of the painting, Madame Bonjean.

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Dimensions

    73 x 49.8 cm (28 3/4 x 19 5/8 in.)

    Accession Number

    RES.32.25

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas, Europe

    Classifications

    Paintings

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  • Grand Trianon

    about 1905
    Henri Eugène Augustin Le Sidaner (French, 1862–1939)

    Description

    Inscription

    Lower right: Le SidaneR

    Provenance

    Galerie Georges Petit, Paris (stock nos. 3224 and 8554) [see note 1]. By 1928, private collection, England [see note 2]. Until 1967, Katharine Dexter McCormick (b. about 1875 - d. 1967), Santa Barbara, CA and Boston; 1968, bequest of Katharine Dexter McCormick to the MFA. (Accession Date: September 11, 1968) NOTES: [1] According to Yann Farinaux-Le Sidaner, "Le Sidaner: L'oeuvre peint et gravé" (Paris: Editions André Sauret, 1989), p. 102, cat. no. 197. [2] See Camille Mauclair, "Henri Le Sidaner" (Paris: Galeries Georges Petit and Henri Floury, 1928), 94.

    Credit Line

    Bequest of Katharine Dexter McCormick

    Details

    Dimensions

    70.5 x 94.6 cm (27 3/4 x 37 1/4 in.)

    Accession Number

    68.567

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • A Student

    about 1930
    Felice Casorati (Italian, 1883–1963)

    Description

    Though he trained as a lawyer, Casorati wanted to be an artist and around 1900 began working in a delicate and decorative style influenced by the Art Nouveau. By 1920 he had come to the style of this painting, with its rough paint surface and solid, blocky forms. Here, palette in hand, a student looks out of the canvas, seeming befuddled or maybe a little disheartened. From the way the scene is arranged it is not clear whether the student is looking at the person who is painting him or at a canvas of his own.

    Inscription

    Inscribed on the back: FELICE CASORATI/ NO. 22, RITRATTO DI UN ALLIEVO

    Signed

    Lower right: CASORATI

    Provenance

    1931, sold from the Prima Quadriennale d'Arte Nazionale (exhibition), Rome, to the MFA [see note]. (Accession Date: February 4, 1932) NOTE: Two paintings by Casorati, MFA accession numbers RES.32.2 and RES.32.18, were purchased together for $10,050. This painting was exhibited as "Ritratto di un allievo" [annotated by hand in the catalogue: "Riccardo Chiceo"], cat. no. 22 in room 11.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Copyright

    © 2011 Artists Rights Society (ARS), New York/SIAE, Rome.

    Details

    Dimensions

    123.7 x 86.7 cm (48 11/16 x 34 1/8 in.)

    Accession Number

    RES.32.8

    Medium or Technique

    Oil on plywood panel

    Not On View

    Collections

    Europe

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  • Treaty Port Painting

    Unidentified artist, Chinese

    Description

    Provenance

    By 1966, Colonel and Mrs. Thomas R. West; 1966, Gift of Colonel and Mrs. Thomas R. West. (Accession Date: November 9, 1966)

    Credit Line

    Gift of Colonel and Mrs. Thomas R. West

    Details

    Accession Number

    66.939

    Medium or Technique

    Painting on glass

    Not On View

    Collections

    Asia, Europe

    Classifications

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  • Virgin and Child

    18th century
    Unidentified artist, Greek (Macedonian or Balkan), 18th century (Greek (Macedonian or Balkan))

    Object Place: Macedonia, Greece

    Description

    Provenance

    By 1925, Mrs. Philip L. Carbone; 1925, gift of Mrs. L. Carbone. (Accession date: January 8, 1925)

    Credit Line

    Gift of Mrs. Philip L. Carbone

    Details

    Dimensions

    30.7 x 10.5 cm (12 1/16 x 4 1/8 in.)

    Accession Number

    RES.25.14

    Medium or Technique

    Tempera on panel

    Not On View

    Collections

    Europe

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  • Portrait of a Young Boy (said to be Marc Réné de Heere)

    1760
    Simon Bernard Le Noir (French, 1729–1789)

    Description

    Inscription

    Lower right: Le Noir pxit / 1760

    Provenance

    Vigna (?). By 1935, sold to Forsyth Wickes, New York and Newport, RI (died 1964) [see note 1]; 1965, bequest of Wickes. (Accession Date: Janaury 8, 1969) NOTES: [1] lent by Wickes to "L'Art Français au XVIII ème siècle," Copenhagen, August 25 - October 6, 1935, no. 278.

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    46.4 x 39 cm (18 1/4 x 15 3/8 in.)

    Accession Number

    65.2662

    Medium or Technique

    Pastel on paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Pastels

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  • Mrs. H. D. Chapin

    1878
    Emil Otto Grundmann (German (active in the United States), 1844–1890)

    Description

    Inscription

    Upper right: Otto Grundmann 78.

    Provenance

    1910, bequest of Mr. and Mrs. H.D. Chapin. (Accession date: September 29, 1910)

    Credit Line

    Bequest of Mr. and Mrs. H. D. Chapin

    Details

    Dimensions

    61 x 45.2 cm (24 x 17 13/16 in.)

    Accession Number

    RES.10.23b

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Portrait of a Woman Wearing a Pearl Necklace

    1638
    Unidentified artist, French, second half 17th century (French)

    Description

    Provenance

    October 16, 1935, sold by André Seligmann, Paris, to Forsyth Wickes (b. 1876 - d. 1964), New York and Newport, RI [see note 1]; 1965, bequest by Wickes to the MFA. (Accession date: January 8, 1969) Notes: [1] Sold as a painting by the artist "L'advocat." This was a misreading of a signature on the recto upper left corner of the painting which reads "M. Laduocat" and an inscription on the verso of the painting which reads: "Marg. Roullier/ feme de M. L'Adovc/ fait par du Gryer(?)/ en l'anne 1638."

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    Overall: 34.4 x 25.5 cm (13 9/16 x 10 1/16 in.)

    Accession Number

    65.2646

    Medium or Technique

    Oil on panel

    Not On View

    Collections

    Europe

    Classifications

    Paintings

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  • Quay at Villefranche

    1892
    Eugène Louis Boudin (French, 1824–1898), Lent by The White Fund (American (Lawrence, MA))

    Description

    Inscription

    Lower right: E. Boudin 92. / Villefranche 27 fev. 92.

    Provenance

    May 10, 1892, sold by the artist to Durand-Ruel, Paris; by 1898, with Durand-Ruel, New York; March 22, 1899, sold by Durand-Ruel, New York, to Senator Edward O. Wolcott, Colorado Springs and Washington DC; to his brother the Rev. William E. Wolcott, Lawrence, MA (d. 1911); bequeathed to the White Fund of Lawrence, MA. On loan to the MFA by the Trustees of the White Fund, Lawrence, MA, since November 13, 1912.

    Credit Line

    Deposited by the Trustees of the White Fund, Lawrence, Massachusetts

    Details

    Dimensions

    50.7 x 74.6 cm (19 15/16 x 29 3/8 in.)

    Accession Number

    L-R 1322.12

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Saint Catherine of Alexandria

    Workshop of Bartolomeo Veneto (Italian (Venetian), active in 1502, died in 1546)

    Description

    Provenance

    By 1943, Edward Jackson Holmes (b. 1873 - d. 1950) and Mrs. Edward Jackson Holmes (Mary Stacy Beaman) (b. 1875), Boston; 1965, bequest of Mrs. Edward Jackson Holmes to the MFA [see note 1]. (Accession Date: April 14, 1965) Notes: [1] Accessioned as a work of art by Paolo Veneziano.

    Credit Line

    Bequest of Mrs. Edward Jackson Holmes

    Details

    Dimensions

    38.7 x 34.6 cm (15 1/4 x 13 5/8 in.)

    Accession Number

    65.435

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • Flowers in a Vase

    K. van Velde (Dutch, 20th century)

    Description

    Provenance

    After World War II, Jaap Vandenbergh, North Andover, MA; after his death, by inheritance to his widow, Eva Louis Vandenbergh, who later became Mrs. Ezra Merrill, MA; 1988, bequest of Eva Louis Merrill. (Accession Date: June 25, 1997)

    Credit Line

    Gift of the Estate of Eva Louise Merrill

    Details

    Dimensions

    62.23 x 52.07 cm (24 1/2 x 20 1/2 in.)

    Accession Number

    1997.131

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Contemporary Art, Europe

    Classifications

    Paintings

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  • Rape of the Sabine Women

    1963
    Pablo Picasso (Spanish (worked in France), 1881–1973)

    Description

    Painted when he was eighty-two, this is Picasso’s last major statement about the horrors of war, perhaps inspired by the Cuban missile crisis. Here, Picasso transforms a familiar subject from the art of the past-the story of early Romans who, suffering a shortage of marriageable women, invited the neighboring Sabines to Rome and then carried off all their young women. Against a sunny background of blue sky and green fields, the overlapping forms of grotesquely distorted figures are compressed into the foreground space, the horses and soldiers trampling a woman and her child.

    Inscription

    Upper right: Picasso; Reverse: 4.1.63. / 10. / 11. / 12. / 13. / 14. / 15. / 16. / 17. / 18. / 19. / 20. / 21. / 22. / 23. / 25. / 26. / 28. / 29. / 31. / 2.2.63. / 7. (in irregular columns)

    Provenance

    Probably sold by the artist to the Galerie Louise Leiris, Paris [see note 1]; 1964, sold by the Galerie Leiris to M. Knoedler and Co., New York (stock no. A8624); 1964, sold by Knoedler to the MFA. (Accession Date: May 13, 1964) NOTES: [1] It was included in the exhibition "Picasso Peintures 1962-1963" (Galerie Louise Leiris, Paris, January 15 - February 15, 1964), cat. no. 17.

    Credit Line

    Juliana Cheney Edwards Collection, Tompkins Collection—Arthur Gordon Tompkins Fund, and Fanny P. Mason Fund in memory of Alice Thevin

    Copyright

    © 2011 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

    Details

    Dimensions

    195.3 x 131.1 cm (76 7/8 x 51 5/8 in.)

    Accession Number

    64.709

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Contemporary Art, Europe

    Classifications

    Paintings

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  • Saint Catherine

    1610–14
    El Greco (Domenikos Theotokopoulos) (Greek (active in Spain), 1541–1614)

    Description

    The legendary Saint Catherine was widely renowned for her learning and wisdom, so much so that the Roman emperor Maxentius wanted her to be his wife. Her Christian faith was so strong that she refused the pagan ruler; in retaliation, he ordered that she be tortured. Catherine was bound to a spiked wheel, but freed when a thunderbolt from heaven shattered it. In this painting, she displays the martyr’s palm while resting her left arm on a fragment of the wheel; her right hand holds the sword with which she was ultimately beheaded.

    Provenance

    By 1908 until about 1936, Marqués de Alós, Castillo de Balsareny, Barcelona [see note 1]. November, 1958, sold by Tomás Harris, London, to Pinakos, Inc. and M. Knoedler and Co., New York (Knoedler stock no. A7109); February, 1959, sold by Knoedler to Mrs. Charles S. Payson, Manhasset, NY; January, 1960, returned by Mrs. Payson to Pinakos and Knoedler (stock no. A7452) [see note 2]; February, 1960, sold by Knoedler to William A. Coolidge (b. 1901 - d. 1992), Topsfield and Cambridge, MA [see note 3]; 1993, bequest of William A. Coolidge to the MFA. (Accession Date: January 27, 1993) NOTES: [1] According to Harold E. Wethey, El Greco and His School, vol. 2, Catalogue Raisonné (Princeton, 1962), p. 111, cat. no. 201. First published by Manuel B. Cossio, El Greco (Madrid, 1908), p. 553, cat. no. 17. [2] Information about Knoedler's purchases and sales of the painting was provided in a letter from Knoedler to the MFA (September 3, 1991). [3] First lent to the MFA on December 27, 1962 (loan no. 200.62).

    Credit Line

    Bequest of William A. Coolidge

    Details

    Dimensions

    100.5 x 63.8 cm (39 9/16 x 25 1/8 in.)

    Accession Number

    1993.38

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • John Bensley Thornhill (1773–1841) as a Boy

    about 1784–85
    George Romney (English, 1734–1802)

    Description

    This full-length portrait is a fine example of Romney’s later style and anticipates the informality that would dominate later British portraiture. The boy’s languid pose sets the tone, enhanced by the restrained color scheme and casual handling of the background. The subtly placed diagonals of his cocked arm and leg crossed at the knee enliven a composition largely governed by strong verticals. The boy was the son of Cudbert Thornhill, the captain of a ship for the East India Company.

    Provenance

    1784-85, probably commissioned by Cudbert Thornhill (b. 1723 - d. 1809), Hull, England and Calcutta, India [see note 1]; 1841, by descent through the family to General Charles Powlett Lane (b. 1826 - d. 1910), Badgemore, Henley on Thames [see note 2]; 1910, by inheritance to his widow, Mrs. C. P. Lane (Bertha D'Albiac du Boulay) (b. 1849 - d. 1939), Donhead Hall, Shaftesbury; 1919, sold by Mrs. C. P. Lane to Agnew's, London; June 1925, sold by Agnew's to Governor Alvan Tufts Fuller (b. 1878 - d. 1958), Boston; 1958, with the Alvan T. Fuller Foundation, Boston; 1961, gift of the Alvan T. Fuller Foundation to the MFA. (Accession date: September 20, 1961) NOTES: [1] Father of the sitter, John Bensley Thornhill (b. 1773 - d. 1841), Cosspore, India and Blackheath, England. John Bensley Thornhill was director of the East India Company from 1815 - 1841. He became the adopted heir of Francine Bensley and later used Bensley name. See also the complete Thornhill family tree, provided by Valerie Thornhill in MFA curatorial file. [2] Charles Powlett Lane was a Major General in the British Indian Army. He was the son of John Bensley Thornhill's daughter, Emily Maria Thornhill (d. 1877), who married Charles Lane (b. 1793 - d. 1878), Badgemore, Oxfordshire, England.

    Credit Line

    Given in memory of Governor Alvan T. Fuller by the Fuller Foundation

    Details

    Dimensions

    186.7 x 121 cm (73 1/2 x 47 5/8 in.)

    Accession Number

    61.962

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 246)

    Collections

    Europe

    Classifications

    Paintings

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  • Kouros (youth), in pose of a dancer

    Italic, Etruscan
    Archaic Period
    about 500 B.C.

    Description

    Nude kouros in dancing pose. Finial of a candelabrum or a kottabos stand. Tangs project from the feet and are encrusted with lead. The body is deep green with a lighter green patina on arms.

    Provenance

    By 1976: with Peter Sharrer, Ancient Art, Inc., 72 Fairmount Road, Ridgewood, New Jersey 07450; purchased by MFA from Peter Sharrer, December 8, 1976 with funds provided by Dr. Ernest and Virginia Lewisohn Kahn

    Credit Line

    Gift of Dr. Ernest and Virginia Lewisohn Kahn

    Details

    Catalogue Raisonné

    Sculpture in Stone and Bronze (MFA), no. 087.

    Dimensions

    Height (including tangs) 13.3 cm (5 1/4 in.)

    Accession Number

    1976.789

    Medium or Technique

    Bronze

    Not On View

    Collections

    The Ancient World

    Classifications

    Sculpture

    More Info

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