• Explore these fifteenth- to twentieth-century German, Flemish, Dutch, Netherland, and Belgian paintings, including works by Rogier van der Weyden, Hans Memling, Peter Paul Rubens, Anthony van Dyck, Rembrandt, Jacob Isaacksz van Ruisdael, and Vincent van Gogh.

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  • Portrait of a Man Holding a Rosary

    Hans von Wertinger (German, about 1470–1533)

    Description

    Provenance

    Charles Sumner (b. 1811 - d. 1874), Boston and Washington, DC; 1874, bequeathed by Sumner to the MFA. (Accession Date: November 17, 1874)

    Credit Line

    Bequest of Charles Sumner

    Details

    Dimensions

    43.5 x 32.4 cm (17 1/8 x 12 3/4 in.)

    Accession Number

    74.2

    Medium or Technique

    Oil on panel

    Not On View

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  • The Lamentation

    1538
    Lucas Cranach, the Elder (German, 1472–1553)

    Description

    A traditionally Catholic subject, the lamentation over the dead Christ is described in the apocryphal gospel of Nicodemus, not in the canonical Bible. Here, Nicodemus holds Mary Magdalene’s ointment jar, and Joseph of Arimathea, with the crown of thorns, comforts the mourning Virgin. Saint John supports the dead Christ while Mary Magdalene kneels to kiss the wound on Christ’s hand. Despite the religious upheaval in northern Europe, Cranach’s Protestantism did not prevent him from accepting commissions for Catholic patrons.

    Inscription

    Lower left, on rock: 1538 / winged dragon symbol

    Provenance

    August 26, 1709, presented in Brno, Czech Republic, possibly by Maria Josepha Antonia (b. 1686 - d.1771), Countess of Oettingen and Countess von Paar [see note 1]. Desfours-Walderode collection, Czech Republic or Austria [see note 2]. Charles Sumner (b. 1811 - d. 1874), Boston and Washington, DC; 1874, bequest of Charles Sumner to the MFA. (Accession Date: November 17, 1874) [1] On the reverse of the panel is an old, paper label that reads: "Franciscus Antonius Comes de Lichtenstein obtulit JO[sef]a Comitissa Paar Nata Comitissa De Otting[en] pro aeterna memoria die 26 Augusti brünae Anno 1709" . The exact meaning of this inscription has not yet been deciphered. [2] On the reverse of the panel is an old, paper label with the Desfours de Mont et d'Athienville coat of arms beside the Walderode coat of arms. It reads "Lucas Kranach," and bears an inventory number, possibly 145, 845, or 945.

    Credit Line

    Bequest of Charles Sumner

    Details

    Dimensions

    60.3 x 40.0 cm (23 3/4 x 15 3/4 in.)

    Accession Number

    74.28

    Medium or Technique

    Oil on panel

    On View

    William A. Coolidge Gallery (Gallery 243A)

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  • Landscape with Goatherd and Goats

    Philipp Peter Roos (German (active in Rome), 1657–1706)

    Description

    Provenance

    By 1882, Edward Wheelwright; 1882, Gift of Wheelwright, Museum of Fine Arts, Boston (Accession date: December 1, 1882)

    Credit Line

    Gift of Edward Wheelwright

    Details

    Dimensions

    66.1 x 88 cm (26 x 34 5/8 in.)

    Accession Number

    82.269

    Medium or Technique

    Oil on canvas

    Not On View

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  • Union Army Veteran

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

    Description

    Inscription

    Lower left: Otto Grun[...]

    Provenance

    By 1892 Boston Art Students' Association; 1892 MFA (gift of Boston Art Students' Association) (Accession date: June 7, 1892)

    Credit Line

    Gift of the Boston Art Students' Association

    Details

    Dimensions

    91.2 x 60.6 cm (35 7/8 x 23 7/8 in.)

    Accession Number

    92.2641

    Medium or Technique

    Oil on canvas

    Not On View

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  • Arab Horsemen Resting at a Fountain

    Adolf Schreyer (German, 1828–1899)

    Description

    Inscription

    Lower right: Ad. Schreyer

    Provenance

    Edwin D. Maynard, Boston. William G. Russell, Boston; by 1897 Mrs. Roger N. Allen, Marion Russell and Thomas Russell (by inheritance; children of Russell); 1897 MFA (gift of Allen, Russell, and Russell) (Accessiond date: July 14, 1897)

    Credit Line

    Given in memory of W. G. Russell by his children, Mrs. Roger N. Allen, Marion Russell, and Thomas Russell

    Details

    Dimensions

    60 x 113.7 cm (23 5/8 x 44 3/4 in.)

    Accession Number

    97.232

    Medium or Technique

    Oil on canvas

    Not On View

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  • Virgin and Child

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

    Description

    Provenance

    1902, purchased by the MFA for $2000 [see note 1]. (Accession Date: January 17, 1902) NOTES: [1] Accessioned as a work by the School of Hans Memling. Later attributed to Memling himself, and finally a Follower of Hans Memling.

    Credit Line

    Elton Fund and Julia Bradford Huntington James Fund

    Details

    Dimensions

    27 x 19.5 cm ( 10 5/8 x 7 11/16 in.)

    Accession Number

    02.3

    Medium or Technique

    Oil on panel

    Not On View

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  • Dormition of the Virgin, with an Epitaph

    about 1493
    Unidentified artist, German (Nuremberg), last quarter of the 15th century (German (Nuremberg)), Formerly attributed to Michel Wolgemut (German, 1434–1519)

    Description

    Inscription

    Lower center: Nach Christi geburt 1479, am / Freitag vor S:Walburgen tag, / verschid die Erbar Frau Hett, / wig Volkamerin der Gott gne, / dig und barmherzig sey. "In the year of our Lord 1479, on the Friday before before St. Walpurga's day, departed this life the honorable Mistress Hettwig Volkarmer, to whom may God be gracious and merciful."

    Provenance

    About 1479 until the 17th century, church of St. Sebald, Nürnberg (original commission) [see note 1]. 1898, Santangelo collection, Naples; 1898, Santangelo sale, no. 143, to Edward Perry Warren (b. 1860), Lewes, England, on behalf of his mother, Susan Cornelia (Mrs. Samuel Dennis) Warren (b. 1825 - d. 1901), Boston; January 8, 1903, Mrs. S. D. Warren sale, American Art Association, New York, lot 120, not sold; 1903, gift of the children of Susan Cornelia Warren to the MFA. (Accession date: January 13, 1903) NOTES: [1] Its inscription honoring Hedwig Volckamer (d. 1479), this is one of four painted epitaphs that were displayed above the tomb of the Volckamer family near the south transept of St. Sebald, Nürnberg. Still in situ in 1623, they were removed at some later point during the 17th century, perhaps by members of the Volckamer family. See Gerhard Weilandt, "Die Ausstattung der Sebalduskirche in Nürnberg im Zeitalter der Gotik und Renaissance. Eine Topographie der Bilder" (forthcoming; manuscript copy in MFA curatorial file).

    Credit Line

    Gift of the children of Mrs. Samuel Dennis Warren in memory of their mother

    Details

    Dimensions

    205.5 x 111.5 cm (80 7/8 x 43 7/8 in.)

    Accession Number

    03.610

    Medium or Technique

    Oil on panel

    Not On View

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  • Saints George, Michael, and John the Baptist

    first quarter of the 16th century
    Unidentified artist, German (Upper Rhine) (German (Upper Rhine))

    Description

    Provenance

    Until 1848, Ludwig Schwanthaler (b. 1802 - d. 1848), Munich; 1848, by descent to his nephew, Rudolph Schwanthaler; September 22-24, 1879, Ludwig Schwanthaler collection sale, Morillon, Munich, lot 76 [see note 1]. 1907, purchased on the art market, Munich, by Edward W. Forbes; 1907, gift of Edward W. Forbes to the MFA. (Accession Date: August 8, 1907) NOTES: [1] On the provenance of this panel see Jeanne Peipers, "Le peintre du maître-autel de Lautenbach, l'atelier de Durer et l'art du Rhin Supérieur" (Frankfurt, 1996), pp. 321-325. It was the reverse of the left wing of a now dismantled altarpiece. The reverse of the right wing, depicting Saints Dorothy, Apollonia, and Agatha, was also owned by Ludwig Schwanthaler and was lot 77 in the auction of 1879. It was offered for sale from the collection of Karl, Count of Maldeghem, by Christie's, Amsterdam, March 24, 1999, lot 107.

    Credit Line

    Gift of Edward Waldo Forbes

    Details

    Dimensions

    184.2 x 123.2 cm (72 1/2 x 48 1/2 in.)

    Accession Number

    07.485

    Medium or Technique

    Oil on panel

    Not On View

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  • Saints Matthias and Matthew

    Master of the Holy Kinship (German (Cologne School), active last quarter of the 15th century)

    Description

    In contrast to the depiction of deep space favored by Netherlandish painters, Cologne-school artists compressed space and filled every nook with decorative ornament, as in the screen that frames the figures and blocks the stained-glass lunette. This work was originally part of a series of paintings of paired apostles (missionaries of Christ). Although not one of the first disciples, Matthias replaced the traitor Judas Iscariot, returning the number of apostles to twelve. The unidentified artist is named after the subject of a stylistically related altarpiece in Cologne.

    Provenance

    By 1906, with J. Drey, Munich, Germany (or A.S. Drey). - 1907 Julius Bohler, (München, Deutschland; Luzern, Schweiz). 1907 - 1907 Denman Waldo Ross (Cambridge, MA, USA); 1907 - Boston, MA, USA. Museum of Fine Arts (gift of Ross) (Accession date: November 14, 1907)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    48 x 32.4 cm (18 7/8 x 12 3/4 in.)

    Accession Number

    07.646

    Medium or Technique

    Oil on panel

    Not On View

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  • Hendrik van Halmale with his Horse and Groom

    Jürgen Ovens (German, 1623–1678)

    Description

    Inscription

    Lower right: M ESSIRE H E E [...] / D E H A L M A [...] / B A R O N.D E.[...]

    Provenance

    Possibly sold by a descendant of the sitter to Thomas Purvis, Lincoln's Inn Fields, London [see note 1]; June 1, 1849, Purvis sale, Christie's, London, lot 139, to T. P. Smyth, London, for £98.14; until at least 1883, still with Smyth [see note 2]. Eleanor Lucy de Falbe (d. 1899), London and Luton Hoo Park, England; May 19, 1900, posthumous de Falbe sale, Christie's, London, lot 87, to "Speyer" on behalf of a syndicate of dealers for £425.5, and acquired by Blakeslee Galleries, New York [see note 3]; 1900, sold by Blakeslee to Francis Bartlett, Boston; 1909, gift of Bartlett to the MFA [see note 4]. (Accession Date: February 25, 1909) NOTES: [1] According to William Stirling, Annals of the Artists of Spain (London, 1848), vol. 3, p. 1401, the painting--at that time attributed to Velázquez and in the possession of Purvis--was "purchased in Flanders from the subject's descendant, who would not part with the picture until he had cut out the coat of arms. The excerpt, however, was afterwards obtained for a trifle from the vendor's servant, and replaced in the canvass" (sic). [2] Smyth lent the painting to the exhibition "Manchester Art Treasures" (Manchester, 1857), cat. no. 782, and it was still in his possession at the time of the publication by Charles Boyd Curtis, Velázquez and Murillo (London, 1883), pp. 68-69, cat. no. 162. [3] In a letter to Francis Bartlett (November 24, 1900), T. J. Blakeslee wrote that "the painting was bought by a syndicate of dealers [at the de Falbe auction] for £425 and I bought the picture during the progress of the sale." [4] Accessioned as a work attributed to Peter Thys.

    Credit Line

    Gift of Francis Bartlett

    Details

    Dimensions

    228.3 x 158.1 cm (89 7/8 x 62 1/4 in.)

    Accession Number

    09.184

    Medium or Technique

    Oil on canvas

    Not On View

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  • In a Garden Restaurant

    Adolf Hölzel (German, 1853–1934)

    Description

    Inscription

    Lower right: A. Holzel

    Provenance

    By 1964, with Mrs. Edward Jackson Holmes, [Mary Stacy Beaman]; 1964 - Boston, MA, USA. Museum of Fine Arts (bequest of Holmes) (Accession date: June 3, 1909)

    Credit Line

    Gift of the Bostoner Deutsche Gesellschaft

    Details

    Dimensions

    68.2 x 84.2 cm (26 7/8 x 33 1/8 in.)

    Accession Number

    09.207

    Medium or Technique

    Oil on canvas

    Not On View

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  • Saint John the Baptist

    Bernhard Strigel (German, 1460–1528)

    Description

    Inscription

    Lower edge: S C TS IO H ES B A P TIST A

    Provenance

    By 1909, with Denman Waldo Ross (Cambridge, MA, USA); 1909 - Boston, MA, USA. Museum of Fine Arts (gift of Ross) (Accession date: August 5, 1909)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    77.8 x 25.7 cm (30 5/8 x 10 1/8 in.)

    Accession Number

    09.294

    Medium or Technique

    Oil on panel

    Not On View

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  • Dudley Williams

    Sir Hubert von Herkomer (English, 1849–1914)

    Description

    Inscription

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

    Provenance

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

    Credit Line

    Gift of Hetty B. Williams

    Details

    Dimensions

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

    Accession Number

    10.269

    Medium or Technique

    Oil on canvas

    Not On View

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  • Poultry Yard

    Max Rudolf Schramm-Zittau (German, 1874–1929)

    Description

    While this painting might be categorized as a landscape or even a scene of daily life, it has the tight focus and deliberate arrangement of interrelated forms that characterize still-life compositions. Unlike most still lifes, however, there is a suggestion of a story here, as the male turkey and peacock, each surrounded by females, confront each other across the poultry yard.

    Inscription

    Upper right: R U D O L F S C H R A M M -ZITTAU

    Provenance

    1911, Hugo Reisinger (b. 1856 - d. 1914), New York; gift of Reisinger to the MFA. (Accession Date: February 2, 1911)

    Credit Line

    Gift of Hugo Reisinger

    Details

    Dimensions

    125.1 x 201 cm (49 1/4 x 79 1/8 in.)

    Accession Number

    11.9

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Woman

    1549
    Lucas Cranach, the Younger (German, 1515–1586)

    Description

    Inscription

    center right: winged dragon symbol above 1549

    Provenance

    Adolf Thiem, San Remo, Italy. 1911, Ehrich Galleries, New York; 1911, sold by Ehrich Galleries to the MFA for $20,000 [see note 1]. (Accession Date: December 7, 1911) NOTES: [1] Accessioned as a work by Lucas Cranach the Elder.

    Credit Line

    Special Fund for the Purchase of Paintings

    Details

    Dimensions

    63.8 x 47 cm (25 1/8 x 18 1/2 in.)

    Accession Number

    11.3035

    Medium or Technique

    Oil on panel

    Not On View

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  • The Crucifixion and Scenes from the Life of Saint John the Baptist

    Master of Saint Severin (German (Cologne School), active about 1485–1515)

    Description

    Provenance

    Early 1490s, the Church of SS John and Cordula, Cologne (original commission) [see note 1]. 1887, art market, Paris; 1887, purchased in Paris by Eduard Friedrich Weber (b. 1830 - d. 1907) for the Galerie Weber, Hamburg; February 20-22, 1912, Galerie Weber sale, Lepke, Berlin, lot 62, to the MFA. (Accession Date: March 7, 1912) NOTES: [1] See Alfred Stange, "Kritisches Verzeichnis der deutschen Tafelbilder vor Dürer," vol. 1, "Köln, Niederrhein, Westfalen, Hamburg, Lübeck, und Niedersachsen" (Munich: Bruckmann, 1967), p. 102, no. 308 and ibid., "Deutsche Malerei der Gotik" (Nendeln, 1969), vol. 5, p. 104.

    Credit Line

    Picture Fund

    Details

    Dimensions

    Center panel: 128.0 x 216.0 cm (50 3/8 x 85 in.) Left wing: 127.5 x 100.0 cm (50 1/4 x 39 3/8 in.) Right wing: 127.0 x 100.0 cm (50 X 39 3/8 in.)

    Accession Number

    12.169a-e

    Medium or Technique

    Oil on panel

    Not On View

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  • Portrait of a Woman Standing beside a Chair

    1610
    Abraham Vinck (German (active in Holland), about 1580–1621)

    Description

    Inscription

    Upper left: A[...]R A H A M VIN C K; Upper right: A E T A S U A E 60 / A E 1610 [A and E joined]

    Provenance

    By 1898, Blakeslee Galleries, New York; October 10, 1898, sold by Blakeslee Galleries to the Museum of Fine Arts, Boston; 1903, deaccessioned by the MFA and sold to Blakeslee Galleries [see note 1]. By 1909, Robert Dawson Evans (b. 1843 - d. 1909), Boston; 1909, by inheritance to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA [ see note 1]. (Accession date: November 1, 1917) Notes: [1] The painting was exchanged in part payment for MFA object no. 01.7445. [2] Accessioned as a work of art by Michiel Janszen van Mierevelt.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    123.2 x 92.4 cm (48 1/2 x 36 3/8 in.)

    Accession Number

    17.3272

    Medium or Technique

    Oil on panel

    Not On View

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  • Interior of a German House

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

    Description

    Provenance

    By 1919 Abraham Shuman; 1919 - Boston, MA, USA. Museum of Fine Arts (bequest of Shuman) (Accession date: February 6, 1919)

    Credit Line

    Bequest of A. Shuman

    Details

    Dimensions

    42.2 x 56.5 cm (16 5/8 x 22 1/4 in.)

    Accession Number

    19.15

    Medium or Technique

    Oil on canvas

    Not On View

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  • Otto Bismarck

    Franz von Lenbach (German, 1836–1904)

    Description

    Inscription

    Lower right: f. Lenbach (f and L joined)

    Provenance

    William Shaus. Eben D. Jordan, Boston, MA; by 1924, by inheritance to Robert Jordan, Boston, MA; 1924, gift of Robert Jordan to the MFA. (Accession Date: April 17, 1924)

    Credit Line

    Gift of Robert Jordan from the collection of Eben D. Jordan

    Details

    Dimensions

    67.3 x 53.3 cm (26 1/2 x 21 in.)

    Accession Number

    24.224

    Medium or Technique

    Oil on paperboard

    Not On View

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  • Two Arab Horsemen

    Adolf Schreyer (German, 1828–1899)

    Description

    Inscription

    Lower right: Ad Schreyer

    Provenance

    By 1892, J. Abner Harper; February 23, 1892, sold by J. Abner Harper at Ortgies, New York (?). By 1930, Harriet J. White (Mrs. Frederick T.) Bradbury (d. 1930), Boston, MA; 1930, bequeathed by Harriet Bradbury to the MFA. (Accession Date: July 3, 1930)

    Credit Line

    Bequest of Mrs. Harriet J. Bradbury

    Details

    Dimensions

    29.8 x 22.9 cm (11 3/4 x 9 in.)

    Accession Number

    30.500

    Medium or Technique

    Oil on canvas

    Not On View

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  • Scenes from the Life of Saint Ursula: The Baptism of Saint Ursula and the Virgins in Rome (above); Saint Ursula and the Virgins Depart from Basel (below)

    Unidentified artist, German, 15th century (German)

    Description

    Provenance

    By 1826, Werner Moritz von Haxthausen (b. 1780 - d. 1842), Cologne and Bad Neuhaus an der Saale, Germany [see note 1]; after 1862, Guttenburg family, Bad Neuhaus an der Saale. 1941, William Randolph Hearst (b. 1863 - d. 1951), New York and Los Angeles; March 25, 1941, Hearst sale, Hammer Galleries, New York, lot 1427-338, to George H. Edgell, Boston; gift of George H. Edgell to the MFA. (Accession Date: October 9, 1941) NOTES: [1] This painting (along with MFA no. 51.2398) belonged to a series of eight (?) panels illustrating scenes from the life of St. Ursula. Six remained together until the time of the the Hearst auction in 1941, at which time they were further dispersed. Another panel from this cycle is today in the Steinmetz collection, Darmstadt, Germany. See Hiltrud Kier and Frank Günter Zehnder, Lust und Verlust II, Corpus-Band zu Kölner Gemäldesammlungen 1800-1860 (1998), pp. 305-306, nos. 157-165.

    Credit Line

    Gift of George H. Edgell

    Details

    Dimensions

    127.3 x 54 cm (50 1/8 x 21 1/4 in.)

    Accession Number

    41.707

    Medium or Technique

    Oil on panel

    Not On View

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  • Musical Party

    Godaert Kamper (German (active in Holland), 1613 or 1614–1679)

    Description

    Inscription

    Lower center, on edge of table: G. Kamp [...]

    Provenance

    Probably acquired in Europe by Delia Spencer (Mrs. Marshall) Field (b. 1854 - d. 1937), Washington, DC [see note 1]; by inhertance to her niece, Catherine Spencer (Mrs. Albert J.) Beveridge, Beverly Farms, MA; 1946, gift of Mrs. Albert J. Beveridge to the MFA. (Accession Date: September 12, 1946) NOTES: [1] According to information provided by Mrs. Beveridge, the painting was probably purchased by her aunt from a dealer abroad. At the time it was accessioned, it was attributed to Antonie Palamedesz.

    Credit Line

    Gift of Mrs. Albert J. Beveridge in memory of Delia Spencer Field

    Details

    Dimensions

    37.5 x 48 cm (14 3/4 x 18 7/8 in.)

    Accession Number

    46.842

    Medium or Technique

    Oil on panel

    Not On View

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  • Adoration of the Magi

    Workshop of Bartholome Zeitblom (German, 1455 to 1460–1518 to 1522)

    Description

    Provenance

    1928, acquired in Frankfurt by Mr. and Mrs. Frederick Starr, New York and Westport, Conn.; 1950, gift of the Starrs to the MFA. (Accession Date: June 17, 1950)

    Credit Line

    Gift of Mr. and Mrs. Frederick Starr

    Details

    Dimensions

    158.5 x 103.8 cm (62 3/8 x 40 7/8 in.)

    Accession Number

    50.2720

    Medium or Technique

    Oil on panel with fabric ground

    Not On View

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  • Scenes from the Life of Saint Ursula: Saint Ursula's Response is Delivered (above); Atherius and his Parents Make an Agreement Following Saint Ursula's Wishes (below)

    Unidentified artist, German, mid-15th century (German)

    Description

    Provenance

    By 1826, Werner Moritz von Haxthausen (b. 1780 - d. 1842), Cologne and Bad Neuhaus an der Saale, Germany [see note 1]; after 1862, Guttenburg family, Bad Neuhaus an der Saale. 1941, William Randolph Hearst (b. 1863 - d. 1951), New York and Los Angeles; March 25, 1941, Hearst sale, Hammer Galleries, New York, lot 1427-339, to Mrs. Gardiner Fiske, Boston; 1951, gift of Mrs. Gardiner Fiske to the MFA. (Accession Date: October 11, 1951) NOTES: [1] This painting (along with MFA no. 41.707) belonged to a series of eight (?) panels illustrating scenes from the life of St. Ursula. Six remained together until the time of the the Hearst auction in 1941, at which time they were further dispersed. Another panel from this cycle is today in the Steinmetz collection, Darmstadt, Germany. See Hiltrud Kier and Frank Günter Zehnder, Lust und Verlust II, Corpus-Band zu Kölner Gemäldesammlungen 1800-1860 (1998), pp. 305-306, nos. 157-165.

    Credit Line

    Gift of Mrs. Gardiner Fiske

    Details

    Dimensions

    128.9 x 111.5 cm (50 3/4 x 43 7/8 in.)

    Accession Number

    51.2398

    Medium or Technique

    Oil on panel

    Not On View

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  • Mountain Landscape from Clavadel

    1925–26
    Ernst Ludwig Kirchner (German, 1880–1938)

    Description

    Kirchner suffered a complete mental and physical collapse after being called up for service during World War I; he then settled in Switzerland, hoping the mountain air would cure mind and body. He turned to painting the high Alps, with bold colors and coarse brushwork, suggesting man at peace with nature-an ideal that contrasted sharply with his own wartime experience.

    Inscription

    Incised, upper right: K; and lower left: K; Lower right: ELKiRchneR; Reverse E L Kirchner / 25-26 / Berglandschaft von Clavadel

    Provenance

    The estate of the artist; sold by the estate of the artist to the Galerie Beyeler, Basel [see note 1]; possibly sold by Beyeler to E. and A. Silberman Galleries, New York; 1956, sold by Silberman to the MFA. (Accession date: January 12, 1956) NOTED: [1] According to a letter from Abris Silberman (January 31, 1956) to W.G. Constable of the MFA. Silberman implies that his gallery acquired the picture from Beyeler.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Copyright

    © (for works by E. L. Kirchner) by Ingeborg & Dr. Wolfgang Henze-Ketterer, Wichtrach/Bern

    Details

    Dimensions

    135 x 200.3 cm (53 1/8 x 78 7/8 in.)

    Accession Number

    56.13

    Medium or Technique

    Oil on canvas

    Out on Loan

    On display at Nagoya/Boston Museum of Fine Arts, Japan, March 19, 2016 – August 21, 2016

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  • Reclining Nude

    1909
    Ernst Ludwig Kirchner (German, 1880–1938)

    Description

    In 1905 Kirchner was among the founders of an idealistic artistic brotherhood in Dresden called The Bridge (Die Brücke). Inspired by the intensity of Vincent van Gogh’s vision of nature, Paul Gauguin’s arbitrary color, and the expressive distortion of the Norwegian painter Edvard Munch, these young artists and others developed a powerful style now known as German Expressionism. This nude embodies the Expressionist ideal - brilliant, exaggerated color; a deliberate roughness of texture; and the freshness of a sketch retained in the finished work.

    Inscription

    Lower left: E.L Kirchner 09

    Provenance

    Possibly with Alfred Flechtheim or the Galerie Flechtheim [see note 1]. 1935, possibly with Galerie Dr. Schumann, Frankfurt; 1935, possibly sold by Schumann to Mr. Ris; by 1948, given by Ris to his sister, Elisabeth Ris (b. 1872 - d. 1959), Zurich; 1953, sold by Miss Ris to Dr. Hermann Ganz, Zurich [see note 2]; January 1955, sold by Ganz to Roland, Browse and Delbanco, London; February 19, 1955, one-half share sold by Roland, Browse and Delbanco to Marlborough Fine Art, Ltd., London; April 8, 1957, remaining one-half share sold by Roland, Browse and Delbanco to Marlborough [see note 3]; 1957, sold by Marlborough to the MFA. (Accession Date: January 10, 1957) NOTES: [1] "Flechtheim" appears to be written in pencil on the back of the painting stretcher. Whether it was actually owned by Alfred Flechtheim or the Galerie Flechtheim (which had galleries in Düsseldorf, Berlin, Cologne and Frankfurt) is not known. [2] This information comes from a letter from Hermann Ganz to Thomas N. Maytham of the MFA (February 27, 1957); according to Dr. Ganz, Elisabeth Ris received the painting from her brother. He had purchased "some paintings" at the Galerie Schumann in 1935, but Miss Ris did not know if the Kirchner painting was among them. It was certainly in her possession by 1948, when she lent it to the Kunsthaus, Zurich. [3] The information about the transactions between Roland, Browse and Delbanco and Marlborough Fine Arts, Ltd., was provided by Carol Togneri, Research Scholar, Norton Simon Museum on November 4, 2002.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Copyright

    © (for works by E. L. Kirchner) by Ingeborg & Dr. Wolfgang Henze-Ketterer, Wichtrach/Bern

    Details

    Dimensions

    74 x 151.5 cm (29 1/8 x 59 5/8 in.)

    Accession Number

    57.2

    Medium or Technique

    Oil on canvas

    On View

    Charlotte F. and Irving W. Rabb Gallery (Gallery 155)

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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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  • Samels Family

    1788
    Johann Eckstein (German (active in the United States 1794–1817), about 1736–1817)

    Description

    Provenance

    Anonymous collection, London. 1958, sold at Christie's, London, and bought by anonymous dealer; sold by dealer to Julius H. Weitzner, New York and London [see note 1] ; 1959, sold by Weitzner to the MFA for $1500. (Accession date: March 19, 1959) NOTES: [1] according to letter of January 11, 1959 from Weitzner in curatorial file.

    Credit Line

    Ellen Kelleran Gardner Fund

    Details

    Dimensions

    64.77 x 76.2 cm (25 1/2 x 30 in.)

    Accession Number

    59.194

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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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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    Paintings

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  • Still Life with Grapes on a Platter

    Isaak Soreau (German, active in second quarter, 17th century)

    Description

    Provenance

    Miss K. Ames, Holmdene, Burghfield, Berkshire, England; 1962, by descent to her nephew, W.A.R. Ames; June 29, 1962, sold Ames sale at Christie's, London [ as Ambrosius Bosschaert], no 113, and bought by Hallsborough Gallery, London, England in partnership with Julius H. Weitzner, London and NewYork [see note 1];1962, sold by Hallsborough Gallery and Weitzner to the MFA for $20,000. (Accession date: December 12, 1962) NOTES: [1] according to a letter of January 23, 1963 from Susanne A. King, Manager, William Hallsborough Ltd. in curatorial file, this painting was bought by William Hallsborough Ltd. together with two other dealers, including Mr. Weitzner, "in whose name the actual purchase was effected." King also adds that the painting originally came from the collection of Miss K. Ames, at whose death it was left it to Mr. Ames and his sisters, who put it up for sale at Christie's.

    Credit Line

    Juliana Cheney Edwards Collection

    Details

    Dimensions

    60.7 x 89.8 cm (23 7/8 x 35 3/8 in.)

    Accession Number

    62.1129

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • Still Life with Carp

    Pierre Nichon (French (Dijonnais), active in 1645–1655), After Sebastian Stoskopff (German, about 1596–1657)

    Description

    After a painting in the Musée de Clamecy at Nevers


    Six versions of this composition by the Alsatian artist Sebastian Stoskopff are known. This painting is one of two faithful iterations created by the little-known Dijon artist Pierre Nichon. There is no firm evidence indicating the reason for the great popularity of the image, although the dramatic use of light and the naturalistic depiction of the carp are certainly arresting. It is likely that the composition had symbolic significance. As a common symbol for Christ, the fish probably refers to the Eucharist, and the smoldering candle alludes to the transience of human life. Through the combination of these motifs, the painting arguably depicts Christian redemption without the inclusion of traditional Catholic religious symbols. Such an image may have resonated strongly with the relatively small Protestant minority in Alsace.

    Signed

    Lower left: P Nichon F

    Provenance

    Art dealer, Dijon; by 1951, sold by the dealer to Jean Neger, Paris; sold by Neger to an unknown art dealer [see note 1]. Private collection, Paris [see note 2]. 1963, Heim Gallery, Paris; 1963, sold by Heim to the MFA for $5,000. (Accession Date: November 13, 1963) NOTES: [1] Neger, an art dealer, lent the painting to the exhibition "Natures Mortes Françaises du XVIIème Siècle à nos jours" (Galerie Charpentier, Paris, 1951), no. 129, according to a letter from Colette Ducluzeau, Galerie Charpentier (October 1, 1964). Ms. Ducluzeau indicated that Neger said he acquired the painting from a small dealer in Dijon and sold it to another dealer. In a letter to the MFA (July 26, 1964), Dirk Hannema said that he recalled seeing "two still lifes of the same subject with the art dealer Neger" in 1949, but he did not identify either one with the MFA composition. He also said he believed that the MFA painting was once in the R. Payelle collection, a suggestion which has been repeated in literature on the picture. However, the Payelle painting was sold November 23, 1972, Palais Galliera, Paris, lot 46, and therefore cannot be identical with the one at the MFA, acquired in 1963. See Pierre Rosenberg, "France in the Golden Age: A Postscript," Metropolitan Museum of Art Journal 17 (1982): p. 32, cat. no. 75. [2] According to information provided by Heim at the time of the painting's acquisition.

    Credit Line

    Francis Welch Fund

    Details

    Dimensions

    49.21 x 59.05 cm (19 3/8 x 23 1/4 in.)

    Accession Number

    63.1628

    Medium or Technique

    Oil on canvas

    On View

    Jean S. and Frederic A. Sharf Visitor Center (130.10)

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    Europe

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  • Portrait of a Man Painting a Miniature

    Attributed to Augustin Ritt (German, active in Russia and France, 1765–1799)

    Description

    Provenance

    By 1965, 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

    Overall: 7 x 7 cm (2 3/4 x 2 3/4 in.)

    Accession Number

    65.2674

    Medium or Technique

    Watercolor and gouache on card (?)

    Not On View

    Classifications

    Miniatures

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  • Johann von Aich (1510–1549)

    about 1540
    Barthel Bruyn, the Elder (German, 1493–1555)

    Description

    Provenance

    By 1873, Schloss Roland Fahne, Düsseldorf. Martin Heckscher, Vienna (?). By 1909, Oscar Huldschinsky (b. 1848 - d. 1931), Berlin [see note 1]; May 10, 1928, Huldschinsky sale, Paul Cassirer and Hugo Helbing, Berlin, lot 44, to Siegfried Kramarsky (d. 1961), Amsterdam and New York [see note 2]; by 1965, sold by Kramarsky or his heirs to Rosenberg and Stiebel, New York; 1966, sold by Rosenberg and Stiebel to the MFA. (Accession date: January 12, 1966) NOTES: [1] See W. Bode, "Die Sammlung Oscar Huldschinsky," Frankfurt, 1909, p. 37. [2] Sigfried Kramarsky was a Jewish financier who served as the Amsterdam Director of the German Bank Lisser-Rosencrantz; he fled to Lisbon in 1939 before moving to New York with his family in January 1940. According to a letter from Saemy Rosenberg of Rosenberg and Stiebel to Thomas N. Maytham of the MFA (January 17, 1966; in MFA curatorial file), this picture and its companion (MFA 66.12) "were bought by the late Mr. Siegfried Kramarsky at the Huldinschky sale and have been in his family ever since."

    Credit Line

    Ernest Wadsworth Longfellow Fund

    Details

    Dimensions

    41.9 x 33.0 cm (16 1/2 x 13 in.)

    Accession Number

    66.11

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • Margarethe von Aich (1517–1570)

    about 1540
    Barthel Bruyn, the Elder (German, 1493–1555)

    Description

    Provenance

    By 1873, Schloss Roland Fahne, Düsseldorf. Martin Heckscher, Vienna (?). By 1909, Oscar Huldschinsky (b. 1848 - d. 1931), Berlin [see note 1]; May 10, 1928, Huldschinsky sale, Paul Cassirer and Hugo Helbing, Berlin, lot 45, to Siegfried Kramarsky (d. 1961), Amsterdam and New York [see note 2]; by 1965, sold by Kramarsky or his heirs to Rosenberg and Stiebel, New York; 1966, sold by Rosenberg and Stiebel to the MFA. (Accession Date: January 12, 1966) NOTES: [1] See W. Bode, "Die Sammlung Oscar Huldschinsky," Frankfurt, 1909, p. 37. [2] Sigfried Kramarsky was a Jewish financier who served as the Amsterdam Director of the German Bank Lisser-Rosencrantz; he fled to Lisbon in 1939 before moving to New York with his family in January 1940. According to a letter from Saemy Rosenberg of Rosenberg and Stiebel to Thomas N. Maytham of the MFA (January 17, 1966; in MFA curatorial file), this picture and its companion (MFA 66.11) "were bought by the late Mr. Siegfried Kramarsky at the Huldinschky sale and have been in his family ever since."

    Credit Line

    M. Theresa B. Hopkins Fund

    Details

    Dimensions

    41.9 x 32.7 cm (16 1/2 x 12 7/8 in.)

    Accession Number

    66.12

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • Still Life with Three Skulls

    1945
    Max Beckmann (German, 1884–1950)

    Description

    Beckmann fled Germany in 1937, taking refuge in Amsterdam, where he painted this still life during the final months of World War II. He combines a modern style of flattened space, schematic forms, and intense colors with traditional still-life objects-skulls, an extinguished candle, playing cards-that suggest the frailty and transience of human life. The artist described these years as “a truly grotesque time, full to the brim with work, Nazi persecutions, bombs, hunger.” In the choice of objects, the predominance of black, and the thick, rough paint, this still life captures the grim mood underlying such words.

    Inscription

    Lower right: beckmann / A 45.

    Provenance

    May 29, 1945, sold by the artist to Paul Cassirer and Co., Amsterdam [see note 1]; September 10, 1946, sold by Cassirer to Curt Valentin; November 19, 1946, sold by Valentin to Lois (Mrs. Culver) Orswell, Pomfret Center, CT [see note 2]; 1967, gift of Mrs. Culver Orswell to the MFA. (Accession Date: November 8, 1967) NOTES: [1] According to a letter from a representative of Paul Cassirer to the MFA (May 9, 1968). Jan Fontein, former MFA director, wrote to Theodore Stebbins of the MFA (October 12, 1994) that it may have been Cassirer's agent, Helmuth Luetjens, who was responsible for the purchase. Luetjens knew Beckmann during the war. [2] According to a letter from Mrs. Culver Orswell (1968).

    Credit Line

    Gift of Mrs. Culver Orswell

    Copyright

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

    Details

    Dimensions

    55.2 x 89.5 cm (21 3/4 x 35 1/4 in.)

    Accession Number

    67.984

    Medium or Technique

    Oil on canvas

    On View

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

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    Europe

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  • The Lamentation with the Two Thieves Crucified

    1515
    Lucas Cranach, the Elder (German, 1472–1553)

    Description

    Inscription

    Center, on middle cross: winged dragon symbol

    Provenance

    Unknown Italian collection (possibly Colonna family, Rome?) [see note 1]. By 1969, Frederick Mont, Inc., New York; 1970, sold by Mont to the MFA. (Accession Date: May 13, 1970) NOTES: [1] According to a letter from Betty Mont of Frederick Mont, Inc., to the MFA (April 4, 1970), an inscription on the reverse of the painting reading "Colonna" suggests it was with the Colonna family in Rome. Because this inscription is not legible today, this cannot be verified. Mrs. Mont believed the original frame to have been made in Italy and date to the 16th century. An Italian label was removed from the reverse of the painting and the panel bears an old Italian inscription, "Lucas Cranach / Olandese del Sec.o XV" (Lucas Cranach / Dutch, 15th century [sic]).

    Credit Line

    Seth K. Sweetser Fund

    Details

    Dimensions

    38.1 x 26.7 cm (15 x 10 1/2 in.)

    Accession Number

    1970.348

    Medium or Technique

    Oil on panel

    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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  • Pallas Athena, Venus and Juno

    German
    1593
    Hans von Aachen (German (Cologne) 1552–1615)

    Description

    Paris, prince of Troy, was made to choose the most beautiful among three goddesses, here identifiable by their attributes: Pallas Athena with her helmet; Venus, the winner, holding the golden apple; and Juno, with the crescent moon at her head. Such a painting required a sophisticated viewer to decipher its subject without narrative context. It was probably commissioned by a member of Rudolph II’s court at Prague, where Hans von Aachen was named court painter in 1592. Rudolph II was known as a great supporter of the arts and the creator of Europe’s most extensive Kunstkammer.

    Inscription

    Monogrammed and dated 1592 or 1593

    Provenance

    1872, Durnovo Family, Moscow; 1872, given by the Durnovo family to the Tretyakov Gallery, Moscow; subsequently returned to the Durovno family. 1918, in Vienna. 1922, in New York. Subsequently in Asuncion, Paraguay [see note 1]. 1930, acquired by the Gebrath family; 1930 until 1988, by descent within the Gebrath family, Buenos Aires and Rio de Janeiro; 1988, sold by the Gebrath family to the MFA. (Accession Date: September 28, 1988) NOTES: [1] The provenance information comes from Rüdiger an der Heiden, "Zu neu aufgefundenen Gemälden Hans von Aachens," Pantheon 32, no. 3 (1974): p. 249.

    Credit Line

    Juliana Cheney Edwards Collection

    Details

    Dimensions

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

    Accession Number

    1988.345

    Medium or Technique

    Oil on canvas

    On View

    Alyce Morrissey Gallery (Kunstkammer) (Gallery 143)

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    Europe

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  • Double Portrait

    1946
    Max Beckmann (German, 1884–1950)

    Description

    This double portrait shows two of Beckmann’s close friends: Hanns Swarzenski, a scholar of medieval art (and curator at the Museum of Fine Arts), and Curt Valentin (holding a candle), the New York art dealer who did much to promote Beckmann’s reputation in the United States. Both visited Beckmann in Amsterdam during 1946, after the war’s long interruption; but they visited at different times and never posed together. Instead, this imagined scene is a testament to the power of friendship and those who tended the light of civilization and civility during the long dark years of the Nazis.

    Signed

    At lower right: FüR KURT VALENTIN by BECKMANN A 46

    Provenance

    1946, gift of the artist to Curt Valentin (b. 1902 - d. 1954), New York; 1954, from Valentin to Hanns Swarzenski (b. 1903 - d. 1985), Cambridge, MA; 1989, gift of Hanns Swarzenski, through his estate, to the MFA [see note 1]. (Accession Date: November 29, 1989) NOTES: [1] In 1946, Max Beckmann painted this double portrait of his friends Curt Valentin, an art dealer who directed the Buchholz Gallery in New York, and Hanns Swarzenski, an art historian who became a curator at the MFA. Upon Valentin's death in 1954 it passed to Dr. Swarzenski. For more on the execution of the work, see Erhard Göpel and Barbara Göpel, eds., "Max Beckmann: Katalog der Gemälde" (Bern, 1976), vol. 1, pp. 438-39, cat. no. 731.

    Credit Line

    Gift of Dr. Hanns Swarzenski

    Copyright

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

    Details

    Dimensions

    130.81 x 75.56 cm (51 1/2 x 29 3/4 in.)

    Accession Number

    1989.348

    Medium or Technique

    Oil on canvas

    On View

    Charlotte F. and Irving W. Rabb Gallery (Gallery 155)

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    Europe

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  • Perry T. Rathbone

    1948
    Max Beckmann (German, 1884–1950)

    Description

    Perry T. Rathbone was one of Beckmann’s early supporters and a loyal friend. He helped arrange for Beckmann to teach at the School of Fine Arts at Washington University in St. Louis and organized the first American retrospective of the artist’s work in 1948. That year, he also sat for this portrait. Here Beckmann captures a young Rathbone, then serving as director of the St. Louis Art Museum. Rathbone went on to direct the MFA from 1955–72; he later gave the painting to the Museum.

    Inscription

    Signed and dated at lower right: Beckmann St. L 48

    Provenance

    November 20, 1948, sold by the artist to Perry T. Rathbone (b. 1911 - d. 2000), St. Louis and Boston [see note 1]; 1992, gift of Perry T. Rathbone to the MFA. (Accession Date: September 23, 1992) NOTES: [1] The portrait of Rathbone was executed between October and November, 1948. On its progress and acquisition (as recorded by Beckmann), see Erhard Göpel and Barbara Göpel, Max Beckmann: Katalog der Gemälde (Bern, 1976), vol. 1, cat. no. 773, pp. 465-466. Rathbone, director of the MFA from 1955 until 1972, was a friend and supporter of the artist.

    Credit Line

    Gift of Perry T. Rathbone

    Copyright

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

    Details

    Dimensions

    165.1 x 90.01 cm (65 x 35 7/16 in.)

    Accession Number

    1992.398

    Medium or Technique

    Oil on canvas

    On View

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

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    Europe

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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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    Europe

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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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    Europe

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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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  • Landscape with Classical Ruins

    Georg von Hoesslin (German, 1851–1923)

    Description

    Provenance

    Thomas Wigglesworth (b. 1814 - d. 1906 or 1907), Boston; 1908, gift of the estate of Thomas Wigglesworth to the MFA. (Accession date: April 9, 1908).

    Credit Line

    Gift of the Estate of Thomas Wigglesworth

    Details

    Dimensions

    92.2 x 152.5 cm (36 5/16 x 60 1/16 in.)

    Accession Number

    RES.08.13

    Medium or Technique

    Oil on canvas

    Not On View

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  • Study of a Hindu

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

    Description

    Signed

    none

    Provenance

    By 1909, Mrs. Thomas Riley. 1909, gift of Mrs. Thomas Riley. (Accession date: August 5, 1909)

    Credit Line

    Gift of Mrs. Thomas Riley

    Details

    Dimensions

    76 x 63.2 cm (29 15/16 x 24 7/8 in.)

    Accession Number

    RES.09.213

    Medium or Technique

    Oil on canvas

    Not On View

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  • H. D. Chapin

    1884
    Emil Otto Grundmann (German (active in the United States), 1844–1890)

    Description

    Inscription

    Upper right: Otto Grundman / 1884

    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 45.5 cm (24 x 17 15/16 in.)

    Accession Number

    RES.10.23a

    Medium or Technique

    Oil on canvas

    Not On View

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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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  • Landscape with Gentlefolk and Gypsies

    Jan Wildens (Flemish, 1586–1653)

    Description

    This work was the first Flemish painting to enter the MFA’s collection. Wildens collaborated with a number of painters in Rubens’s circle, including Jacob Jordaens and Frans Snyders. He also contributed the landscape backgrounds for several of Rubens’s own tapestry designs and paintings. Wildens completed at least four versions of a composition depicting a ferry crossing a river. Similar to one another, each is distinguished only by the varying positions and numbers of “gentlefolk and gypsies” in the foreground.

    Inscription

    Falsely signed, lower left: A Kierincks F. (signature no longer visible - see notes field)

    Provenance

    By 1850, John Adams Blanchard (b. 1807 - d. 1872), Boston [see note 1]; 1873, gift of Blanchard to the MFA. (Accession Date: January 24, 1873) NOTES: [1] Blanchard lent the painting to the Boston Athenaeum in 1850. The painting is falsely signed in the lower left "A. Keirincx F" and at the time was attributed to Alexander Keirincx.

    Credit Line

    Gift of John Adams Blanchard

    Details

    Dimensions

    130.2 x 203.2 cm (51 1/4 x 80 in.)

    Accession Number

    73.9

    Medium or Technique

    Oil on canvas

    On View

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

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  • Men and Animals Struggling Against Death & Father Time

    Circle Of David Vinckboons (Flemish, active in Holland 1576–1633)

    Description

    After a painting known through an engraving by Boetius Bolswert.

    Provenance

    Charles Sumner (b. 1811 - d. 1874), Boston and Washington, DC; 1874, bequeathed by Sumner to the MFA. (Accession Date: November 17, 1874)

    Credit Line

    Bequest of Charles Sumner

    Details

    Dimensions

    28.2 x 44.1 cm (11 1/8 x 17 3/8 in.)

    Accession Number

    74.3

    Medium or Technique

    Oil on panel

    Not On View

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  • Soldiers in a Guardroom

    Gerbrand van den Eeckhout (Dutch, 1621–1674)

    Description

    Provenance

    Charles Sumner (b. 1811 - d. 1874), Boston and Washington, DC; 1874, bequeathed by Sumner to the MFA. (Accession Date: November 17, 1874) NOTE: The remnant of a wax seal remains on the reverse of the painting, showing a scale weighing a heart, and the word "D'Amour".

    Credit Line

    Bequest of Charles Sumner

    Details

    Dimensions

    36.2 x 29.2 cm (14 1/4 x 11 1/2 in.)

    Accession Number

    74.4

    Medium or Technique

    Oil on panel

    Not On View

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  • Don Juan and Constance

    Circle Of Jacob Adriaensz. Backer (Dutch, 1608 or 1609–1651)

    Description

    This is probably a portrait of a husband and wife dressed up as characters from a Dutch adaptation of La Gitanilla by the Spanish author Miguel de Cervantes. The story tells of the romance between Don Juan, a Spanish nobleman, and Constance, a princess raised by gypsies. The painting represents their first encounter, arranged by Cupid. The unpicked rose in her hand symbolically serves as a happy allusion to love, courtship, and propriety. A combination of portrait and allegory, the scene would have been highly appropriate for an engaged or married couple.

    Inscription

    Lower left, on quiver: Illegible initials or monogram / 1673

    Provenance

    1841, with Harding's Gallery, Boston [see note 1]. Charles Sumner (b. 1811 - d. 1874), Boston and Washington, DC; 1874, bequeathed by Sumner to the MFA. (Accession Date: November 17, 1874) NOTES: [1] Exhibited as a work by Terburg, "An Officer and Lady," Harding's Gallery, Boston (see catalogue "Ancient Armour and Arms...Also a Choice Collection of Pictures" 1841, cat. no. 32).

    Credit Line

    Bequest of Charles Sumner

    Details

    Dimensions

    70.5 x 59.4 cm (27 3/4 x 23 3/8 in.)

    Accession Number

    74.9

    Medium or Technique

    Oil on canvas

    On View

    Robert and Ruth Remis Gallery (Gallery 244)

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  • Portrait of a Young Woman Holding a Basket of Fruit

    Jacob Fransz van der Merck (Dutch, about 1610–1664)

    Description

    Provenance

    Probably after 1852, acquired by Thomas Thompson (b. 1798 - d. 1869), Boston and New York [see note 1]; February 7, 1870, Thompson estate sale, Leeds and Miner, New York, lot 32 [see note 2]. Charles Sumner (b. 1811 - d. 1874), Boston and Washington, DC; 1874, bequeathed by Sumner to the MFA. (Accession Date: November 17, 1874) NOTES: [1] Although by 1844 Thompson already had an extensive art collection, an 1852 fire at Tremont Temple, Boston destroyed his collection entirely. He began to build up a new collection in 1852. [2] The painting was attributed at this time to Albert Cuyp, and was titled "Portrait of His Daughter." The reverse of the painting and its frame are stamped "Thompson Collection / New York - 1870 / Geo. P. Rowell." George Presbury Rowell (b. 1838 - d. 1908) of New York was Thompson's brother-in-law and later would serve as the estate executor to his sister, Thompson's widow, Elizabeth Rowell Thompson.

    Credit Line

    Bequest of Charles Sumner

    Details

    Dimensions

    72.7 x 59.3 cm (28 5/8 x 23 3/8 in.)

    Accession Number

    74.10

    Medium or Technique

    Oil on panel

    Not On View

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  • Drunken Bacchus with Faun and Satyr

    Follower of Peter Paul Rubens (Flemish, 1577–1640)

    Description

    Provenance

    Until about 1854/1858, private collection, Lisbon, Portugal; between about 1854 and 1858, sold from this private collection to John Louis O' Sullivan (b. 1813 - d. 1895), Lisbon and New York [see note 1]; about 1860, sold by Sullivan to Mr. and Mrs. Thomas H. Hardcastle, New York and Boston; 1879, sold from the estate of Mr. Hardcastle to the MFA for $500. (Accession Date: July 17, 1879) NOTES: [1] John O'Sullivan served as United States Minister to Portugal from 1854 until 1858.

    Credit Line

    Everett Fund

    Details

    Dimensions

    35.9 x 49.2 cm (14 1/8 x 19 3/8 in.)

    Accession Number

    79.164

    Medium or Technique

    Oil on copper

    Not On View

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  • Woman in Agony (the Death of Sophonisba?)

    Attributed to Gabriel Metsu (Dutch, 1629–1667)

    Description

    Inscription

    Lower left, on letter: G M A f

    Provenance

    March 17-19, 1840, probably Lebreton sale, Paillet, Paris, lot 33, sold for 2000 fr. [see note 1]. Probably acquired in France by Francis Brooks (b. 1824 - d. 1891), Boston [see note 2]; 1883, gift of Brooks to the MFA. (Accession Date: April 3, 1883) NOTES: [1] See Adriaan E. Waiboer, "Gabriel Metsu (1629-1667): Life and Work" (Ph.D. diss., New York University, 2007), pp. 823-825, cat. no. B-4. [2] The stretcher and frame of the painting were once mended with French newspaper, suggesting the painting was in a collection in France, where Brooks is known to have acquired other paintings.

    Credit Line

    Gift of Francis Brooks

    Details

    Dimensions

    78.5 x 72.4 cm (30 7/8 x 28 1/2 in.)

    Accession Number

    83.22

    Medium or Technique

    Oil on panel

    Not On View

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  • Road through a Forest

    Jacques d'Arthois (Flemish, 1613–1686)

    Description

    Inscription

    Lower right, on rock: Jacques d Arthois

    Provenance

    James Davis, Boston [see note 1]. 1884, Louise Winsor (Mrs. Francis) Brooks (b. 1835 - d. 1892), Boston; 1884, gift of Mrs. Francis Brooks to the MFA. (Accession Date: May 6, 1884) NOTES: [1] According to a letter from Francis Brooks to Charles Loring of the MFA (May 5, 1884). It was offered as a work by Swaneveldt.

    Credit Line

    Gift of Mrs. Francis Brooks

    Details

    Dimensions

    124.5 x 175.9 cm (49 x 69 1/4 in.)

    Accession Number

    84.249

    Medium or Technique

    Oil on canvas

    Not On View

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  • Virgin and Child with a Donor

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

    Description

    Inscription

    Upper left, on tapestry: NICOLAUS VO[...] NP

    Signed

    no

    Provenance

    By 1885, T.C. Felton, Boston; 1885, sold by T.C. Felton to the MFA for $500. (Accession Date: January 15, 1885)

    Credit Line

    Everett Fund

    Details

    Dimensions

    52.4 x 35.3 cm (20 5/8 x 13 7/8 in.)

    Accession Number

    85.2

    Medium or Technique

    Oil on panel

    Not On View

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  • Convalescent Mother and a Child

    about 1871
    Jozef Israëls (Dutch, 1824–1911)

    Description

    Inscription

    Lower left: Jozef Israels.

    Provenance

    Still with by 1882, James Staats Forbes, London, England, UK (d. 1904); 1882/04/22 (0093) Forbes sale (Christie's) London [bought in]. By 1886, with Dr. George A. Bethune, Boston, MA, USA; 1886/05/27 Bethune sale (Leonard) Boston (?). By 1887, with George A. Goddard; 1887, Boston, MA, USA. Museum of Fine Arts (gift of Goddard) (Accession date: December 6, 1887)

    Credit Line

    Gift of George A. Goddard

    Details

    Dimensions

    27.9 x 36.5 cm (11 x 14 3/8 in.)

    Accession Number

    87.411

    Medium or Technique

    Oil on panel

    Not On View

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  • Vegetables and a Basket of Fruit on a Table

    Attributed to Frans Snyders (Flemish, 1579–1657)

    Description

    Provenance

    1880, Paul Pavlovich Demidoff, 2nd Prince of San Donato (b. 1839 - d. 1885), Florence; March 15 - April 10, 1880, Demidoff sale, San Donato Palace, lot 1050 [see note 1], to Stanton Blake (b. 1837 - d. 1889), Boston; 1889, purchased under the will of Stanton Blake by the MFA. (Accession Date: December 24, 1889) NOTES: [1] Attributed in the auction catalogue to Willem Kalf.

    Credit Line

    Sidney Bartlett Bequest

    Details

    Dimensions

    83.8 x 95.9 cm (33 x 37 3/4 in.)

    Accession Number

    89.499

    Medium or Technique

    Oil on canvas

    On View

    Jean S. and Frederic A. Sharf Visitor Center (130.10)

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  • Butcher Shop

    1642
    David Teniers the Younger (Flemish, 1610–1690)

    Description

    Is it a butcher’s shop? Is it a kitchen? In this detailed view—likely Teniers’s earliest of slaughtered animals—the artist carefully rendered each component of the slaughtered ox: its head and hide in the lower left corner, the thickly painted flayed body front and center, and its lungs and liver on the chopping block. Since the early Middle Ages, slaughtering cattle and the use of the entire carcass had been regarded as a prudent provision for winter. The sieve hanging on the wall at left was a traditional attribute of the allegorical figure, Sapientia (Wisdom)—a possible nod of approval to the woman’s work.

    Provenance

    Until 1771, Louis de Moni (b. 1698 - d. 1771), Leyden [see note 1]; April 13, 1772, de Moni sale, Leyden, lot 109. 1782, Dirk Haak, Leyden; April 18, 1782, Haak sale, Leyden, lot 19, to J. W. Heybroek; April 9, 1788, Heybroek sale, Rotterdam, lot 79, to Heybroek. 1789, Hendrik Twent, Leyden; August 11, 1789, Twent sale, Leyden, lot 49, to Delfos. 1880, Paul Pavlovich Demidoff, 2nd Prince of San Donato (b. 1839 - d. 1885), Florence; March 15 - April 10, 1880, Demidoff sale, San Donato Palace, lot 1030, to Stanton Blake (b. 1837 - d. 1889), Boston; 1889, purchased under the will of Stanton Blake by the MFA. (Accession Date: December 24, 1889) NOTES: [1] This and the following provenance information (through 1789) comes from Peter C. Sutton et al., "The Age of Rubens" (exh. cat. Boston, 1993), p. 423, cat. no. 69.

    Credit Line

    Sidney Bartlett Bequest

    Details

    Dimensions

    Overall: 68.4 x 98cm (26 15/16 x 38 9/16in.) Framed: 88.9 x 116.8 cm (35 x 46 in.)

    Accession Number

    89.500

    Medium or Technique

    Oil on panel

    Not On View

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  • Usurer with a Tearful Woman

    1654
    Gabriel Metsu (Dutch, 1629–1667)

    Description

    Metsu’s small, elegantly painted pictures are rich in narrative detail. Here, an unhappy debtor pathetically holds up a legal document, pleading for leniency. Hovering over his coins and strongbox, the stern old usurer, or moneylender, appears unmoved. In a society that greatly valued thrift and the wise management of money, the painting may have been understood as a warning against the excesses of both borrower and lender.

    Inscription

    Center left, on paper: GMetsu (G and M joined)

    Provenance

    April 9, 1687, anonymous sale, Amsterdam, lot 29. 1801, member of the Elias family; May 11, 1801, Elias sale [see note 1], Amsterdam, lot 46, to Cornelis Buijs (b. 1746 - d. 1826). 1860, Daniël Hooft (d. by 1860); October 30, 1860, Hooft sale, Cornelis François Roos, Amsterdam, lot 4, sold to Roos. Auguste Stevens (d. by 1867); May 1-2, 1867, posthumous Auguste Stevens sale, Hotel Drouot, Paris, lot 28, sold for 8400 fr., probably to Étienne Le Roy (b. 1808- d. 1878), Brussels [see note 2]. 1874, John W. Wilson, Paris; April 27-28, 1874, Wilson sale, Hotel Drouot, Paris, lot 61, sold for 40,000 fr. to Decamps [see note 3]. 1880, Paul Pavlovich Demidoff, 2nd Prince of San Donato (b. 1839 - d. 1885), Florence; March 15 - April 10, 1880, Demidoff sale, San Donato Palace, lot 1137, to Stanton Blake (b. 1837 - d. 1889), Boston; 1889, purchased under the will of Stanton Blake by the MFA. (Accession Date: December 24, 1889) NOTES: [1] In a letter to the MFA (August 26, 1996; in MFA curatorial file), Burton Fredericksen, Director, Getty Provenance Index, suggests that the painting was included in this sale. He identifies the consignor as a member of the Elias family, possibly Jacob Arnoudsz. Elias (b. 1728 - d. 1800) of Amsterdam, then recently deceased. [2] Étienne Le Roy was the expert at the Stevens sale. That he had owned the painting is according to Louis Decamps, "Correspondance," Gazette des Beaux-Arts 33, pt. 2 (1873), p. 279. [3] For the name of the buyer (very likely Louis Decamps), and for a transcription of the entry on the painting in the 1860 Hooft catalogue, see Adriaan E. Waiboer, "Gabriel Metsu (1629-1667): Life and Work" (Ph.D. diss., New York University, 2007), pp. 398-399, cat. no. A-14.

    Credit Line

    Sidney Bartlett Bequest

    Details

    Dimensions

    74 x 67.3 cm (29 1/8 x 26 1/2 in.)

    Accession Number

    89.501

    Medium or Technique

    Oil on canvas

    On View

    Robert and Ruth Remis Gallery (Gallery 244)

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  • Vase of Flowers in a Niche

    about 1715
    Jan van Huysum II (Dutch, 1682–1749)

    Description

    The Dutch national passion for flowers is reflected in a strong tradition of floral paintings, a specialty that reached its peak during the eighteenth century in the work of Jan van Huysum. In this dazzling example of the artist’s technical brilliance and mastery of design, each flower precisely records a living specimen, including the rare and prized hybrid striped tulip. In spite of its vivid realism, however, we know the arrangement is an imaginary one, because it combines flowers that bloom at different times of the year. The artist composed the painting using individual studies made earlier from flowers in season.

    Inscription

    Lower right, on marble slab: Jan Van Husym fecit

    Provenance

    Probably by 1836 until 1867, Barons of Schönborn, Schloss Weissenstein, Pommersfelden, Germany [see note 1]; May 17, 1867, Schönborn sale, Hotel Drouot, Paris, lot 62, to the Comte de L'Epine for 15, 200 fr.; April 15, 1868, L'Epine sale, Hotel Drouot, Paris, lot 33, to Christianus Johannes Nieuwenhuys (b. 1799 - d. 1883), Amsterdam and London, for 10,100 fr. By 1877, Paul Pavlovich Demidoff, 2nd Prince of San Donato (b. 1839 - d. 1885), Florence; March 15 - April 10, 1880, Demidoff sale, San Donato Palace, lot 1101, to Stanton Blake (b. 1837 - d. 1889), Boston; 1889, purchased under the will of Stanton Blake by the MFA. (Accession Date: December 24, 1889) NOTES: [1] In the auction catalogue of May 17, 1867, this painting is said to have been noted in the Schönborn catalogues of 1719 and 1746, and to have been no. 302 in the catalogue of 1857. However, the painting's date of about 1732-1736 would make its inclusion in a 1719 inventory impossible. Moreover, the 1719 inventory of Lothar Franz von Schönborn (b. 1655 - d. 1729), the only one of the three above-mentioned catalogues to be published, does not include any paintings by Jan van Huysum. The painting was probably at Pommersfelden by 1836, as a letter from Jakob Felsing to Franz Erwein von Schönborn (January 17, 1836) indicates; he mentions seeing Van Huysum paintings on his recent trip to view the collection. For more information on the Schönborn collection and the inventories, see Katharina Bott, " 'La mia galleria Pommersfeldiana': Die Geschichte der Gemäldesammlung des Lothar Franz von Schönborn," in Die Grafen von Schönborn: Kirchenfürsten, Sammler, Mäzene (Nürnberg, 1989), 112-128. On the 1719 inventory, see ibid., Rudolf Bys: Fürtrefflicher Gemähld- und Bilder-Schatz (Weimar, 1997) and on the 1836 letter, ibid., Ein deutscher Kunstsammler zu Beginn des 19. Jahrhunderts: Franz Erwein von Schönborn (1776-1840) (Alfter, 1993), p. 31, doc. no. 71.

    Credit Line

    Bequest of Stanton Blake

    Details

    Dimensions

    88.9 x 69.9 cm (35 x 27 1/2 in.)

    Accession Number

    89.503

    Medium or Technique

    Oil on panel

    On View

    Angelica Lloyd Russell Gallery (Gallery 142)

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  • The Eavesdropper

    1655–56
    Nicolaes Maes (Dutch, 1634–1693)

    Description

    This painting is one of a series that Maes painted in Dordrecht between 1655 and 1657. In each one an eavesdropper (usually a woman) exposes the peccadilloes of other members of the household. The artist employed gentle satire and an ingenious narrative structure to ridicule the vices of sloth, anger, and lust. Here, the eavesdropper engages the viewer directly; in the background a servant is receiving the advances of a suitor. Maes was among the first Dutch painters to depict the domestic interior as a suite of rooms rather than as a shallow, three-walled box. In this he decisively influenced Johannes Vermeer and Pieter de Hooch.

    Provenance

    1862, the widow Mrs. van Griensven-Berntz (d. by 1862); April 25, 1862, Griensven-Berntz sale, Nijhoff, The Hague, lot 19. Étienne Le Roy (b. 1808 - d. 1878), Brussels [see note 1]. 1880, Paul Pavlovich Demidoff, 2nd Prince of San Donato (b. 1839 - d. 1885), Florence; March 15 - April 10, 1880, Demidoff sale, San Donato Palace, lot 1060, to Stanton Blake (b. 1837 - d. 1889), Boston; 1889, purchased under the will of Stanton Blake by the MFA. (Accession Date: December 24, 1889) NOTES: [1] While it is not known precisely when he owned the painting, his wax seal (now largely obliterated) remains on the reverse.

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Dimensions

    72.39 x 52.07 cm (28 1/2 x 20 1/2 in.)

    Accession Number

    89.504

    Medium or Technique

    Oil on panel

    Not On View

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  • Boy and Girl Blowing Soap Bubbles

    Matthijs Naiveu (Dutch, 1647–1721)

    Description

    Provenance

    June 27, 1752, anonymous sale, Grim, Amsterdam, lot 21. 1880, Paul Pavlovich Demidoff, 2nd Prince of San Donato (b. 1839 - d. 1885), Florence; March 15 - April 10, 1880, Demidoff sale, San Donato Palace, lot 1048 [see note 1], to Stanton Blake (b. 1837 - d. 1889), Boston; 1889, purchased under the will of Stanton Blake by the MFA. (Accession Date: December 24, 1889) NOTES: [1] Attributed in the auction catalogue to Gaspard Netscher.

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Dimensions

    49.6 x 41.6 cm (19 1/2 x 16 3/8 in.)

    Accession Number

    89.506

    Medium or Technique

    Oil on canvas

    Not On View

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  • Still Life with Dead Partridge and Kingfisher

    Simon Peeterz. Verelst (Dutch (active in England), 1644–1721)

    Description

    In his twenties, Verelst moved to London, where he established his reputation painting flower pictures and portraits for the court of King Charles II. His rare gamepieces usually focus on a partridge, an expensive delicacy that he painted with great sensitivity to detail, texture, and color. Although dead animals were routinely hung on the walls in Dutch kitchens and markets, Verelst avoided any reference to a domestic or commercial context, silhouetting his dramatically lit birds before a neutral, shadowy background.

    Inscription

    Lower left, on stone ledge: S. verelst F.

    Provenance

    1880, Paul Pavlovich Demidoff, 2nd Prince of San Donato (b. 1839 - d. 1885), San Donato, Italy; March 15 - April 10, 1880, Demidoff sale, San Donato Palace, lot 1043, to Stanton Blake (b. 1837 - d. 1889), Boston; 1889, purchased under the will of Stanton Blake. (Accession Date: December 24, 1889)

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Dimensions

    74.6 x 62.9 cm (29 3/8 x 24 3/4 in.)

    Accession Number

    90.202

    Medium or Technique

    Oil on canvas

    Not On View

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  • Saint Luke Drawing the Virgin

    about 1435–40
    Rogier van der Weyden (Flemish, about 1400–1464)

    Description

    This is among the most important northern European paintings in the United States. In it Rogier exquisitely combined the Gothic legacy of stylized patterning with a new sense of naturalism. He did not, however, merely replicate the world around him, but manipulated details to create an intricate program of symbols. For example, the enclosed garden in this painting refers to the Virgin’s purity while the carved figures of Adam and Eve on the arms of the throne symbolize Christ’s and Mary’s roles in redeeming humankind from original sin. Rogier may have modeled Saint Luke’s features on his own.

    Provenance

    About 1435/1440, possibly the Chapel of St. Catherine, Cathedral of St. Gudule, Brussels (original commission) [see note 1]. Between 1520 and 1574, probably given by Philip II of Spain (b. 1527 - d. 1598) to the Escorial, Madrid [see note 2]. By 1835, Don Infante Sebastián Gabriel Borbón y Braganza (b. 1811 - d. 1875), Madrid [see note 3]; 1837, confiscated from Braganza by Isabella II, Queen of Spain (b. 1830 - d. 1904) [see note 4]; by 1868, returned by the Queen of Spain to Sebastián Gabriel Borbón y Braganza [see note 5]; 1875, by descent to his son Pedro de Borbón y de Borbon, Duque de Dúrcal (b. 1862-d. 1892); April 5, 1889, Borbón y de Borbón sale, American Art Association, New York, lot 67, to Henry Lee Higginson, Boston; 1893, gift of Mr. and Mrs. Henry Lee Higginson to the MFA. (Accession Date: May 30, 1893) NOTES: [1] See Dirk de Vos, Rogier van der Weyden: The Complete Works (Antwerp, 1999), cat. no. 8, pp. 203, 206, n. 14. The panel may have been installed in the chapel devoted to St. Catherine at the Cathedral of St. Gudule, where the city's guild of painters held their services and where the artist was buried. Alternatively, it may have been installed in their guildhouse. Luke was the patron saint of painters' guilds. [2] See De Vos (as above, n. 1), pp. 200, 203-204. This was probably the painting seen by the artist Albrecht Dürer during his stay in Brussels in 1520, and it is probably the painting listed in the 1574 inventory of works of art Philip II placed in the Escorial. [3] Inventory, Galería de Pinturas del Serenísimo Señor Ynfante Don Sebastian Gabriel, 1835, no. 102 (attributed to Lucas van Leyden). Archivo de Palacio, Sección Histórica, caja 123, as cited by Mercedes Agueda, "La colleción e pinturas del infante Don Sebastián Gabriel," Boletín del Museo del Prado, III, 8 (1982): 109. [4] In 1837, Sebastián Gabriel Maria de Borbón y Braganza's possessions were confiscated for political reasons and the paintings were exhibited in the Museo de la Trinidad. [5] The painting was returned to Braganza when he recognized Isabella II as the Queen of Spain. Exhibited, "Catalogue abrégé des tableaux exposés dans les salons de l'ancien asile de Pau, appartenant aux héritiers de feu Mgr. l'Infant don Sébastien [Gabriel] de Bourbon et Bragnace" (Pau, September, 1876), no. 641.

    Credit Line

    Gift of Mr. and Mrs. Henry Lee Higginson

    Details

    Dimensions

    137.5 x 110.8 cm (54 1/8 x 43 5/8 in.)

    Accession Number

    93.153

    Medium or Technique

    Oil and tempera on panel

    On View

    William A. Coolidge Gallery (Gallery 243A)

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  • Portrait of a Woman

    Attributed to Dirck Dircksz. Santvoort (Dutch, 1610–1680)

    Description

    Provenance

    1893, Dowdeswell and Dowdeswell, Ltd., London; July 8, 1893, sold by Dowdeswell and Dowdeswell to Denman Waldo Ross (b. 1853 - d. 1935), Cambridge, MA; 1893, gift of Denman Waldo Ross to the MFA. (Accession Date: September 1, 1893)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    61.3 x 49.8 cm (24 1/8 x 19 5/8 in.)

    Accession Number

    93.191

    Medium or Technique

    Oil on panel

    Not On View

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  • Portrait of a Woman Wearing a Gold Chain

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

    Description

    As a young painter newly arrived in Amsterdam, Rembrandt rapidly gained fame for his stylish portraits of Dutch burghers. Paired images of couples were common in the Netherlands; this painting and its companion, MFA Object No. 93.1475, show an unidentified husband and wife. Rembrandt captures the viewer’s attention with his vivid presentation of the woman’s engaging personality and the dazzling rendering of her multi-layered lace collar and gold chain. Rembrandt’s technique was already daring; he has scratched the highlights of his subject’s curly hair into the wet paint with the butt end of his brush.

    Inscription

    Upper right: R E M[...] / 16[...]

    Provenance

    Baron François-Florentin-Achille de Seillière (b. 1813 - d. 1873) [see note 1]; by descent to his daughter, Anne Alexandrine Jeanne Jeanne Marguérite Seillière (b. 1839 - d. 1905), Princess Sagan, Paris; 1889, sold by Princess Sagan to Durand-Ruel, Paris [see note 2]. 1889, Cottier and Co., London and New York [see note 3]; sold by Cottier to Frederick Lothrop Ames (b. 1835 - d. 1893), Boston; by descent to his widow, Rebecca (Mrs. Frederick L.) Ames (b. 1838 - d. 1905), Boston; 1893, gift of Mrs. Frederick L. Ames to the MFA. (Accession Date: December 12, 1893) NOTES: [1] First published as in the Seillière collection by C. Vosmaer, "Rembrandt: sa vie et ses oeuvres" (The Hague, 1877), p. 503; also see Alfred von Wurzbach, "Rembrandt - Galerie" (Stuttgart, 1886), p. 75, no. 320. [2] "Current News in the Fine Arts," New York Times, December 24, 1893, p. 13. [3] The Studio, n.s., vol. 4, no. 11 (October, 1889), p. 176.

    Credit Line

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

    Details

    Catalogue Raisonné

    Bredius 346; RRP C 73

    Dimensions

    69.5 x 53 cm (27 3/8 x 20 7/8 in.)

    Accession Number

    93.1474

    Medium or Technique

    Oil on panel

    On View

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

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  • Portrait of a Man Wearing a Black Hat

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

    Description

    Inscription

    Lower right : Rembrandt fe / 1634

    Provenance

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

    Credit Line

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

    Details

    Catalogue Raisonné

    Bredius 197; RRP C 72

    Dimensions

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

    Accession Number

    93.1475

    Medium or Technique

    Oil on panel

    On View

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

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  • Virgin and Child Adored by Saints

    After Peter Paul Rubens (Flemish, 1577–1640)

    Description

    After an oil sketch in the Gemäldegalerie, Staatliche Museen, Berlin.

    Provenance

    1897, Sedelmeyer Gallery, Paris; 1897, sold by Sedelmeyer to the MFA for 15,000 fr. ($2885). (Accession Date: October 21, 1897)

    Credit Line

    Moses Kimball Fund

    Details

    Dimensions

    83.2 x 59.4 cm (32 3/4 x 23 3/8 in.)

    Accession Number

    97.443

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Woman

    1648
    Jan Hals (Dutch, active about 1630–1650)

    Description

    The son of Frans Hals the Elder (1581/85-1666), Jan Hals specialized in portraits and scenes of daily life. This portrait, painted two years before his death, can be compared with Portrait of a Man (MFA object no. 66.1054) by his celebrated father, likewise painted at the end of his career.

    Inscription

    Center left: AETATIS SUA 47 / 1648 / IH (monogram)

    Provenance

    By 1788, George Temple-Nugent-Grenville (b. 1753 - d. 1813), 1st Marquess of Buckingham, Stowe House [see note 1]; until 1848, by inheritance through the dukes of Buckingham, Stowe House; September 14, 1848, Stowe House sale, lot 307, to Anthony for £7.7. Mrs. James Whatman (d. 1905), Maidstone, Kent; May 13, 1899, Whatman ("property of a lady") sale, Christie's, London, lot 91, to Lawrie and Co., London, for £2100 [see note 2]. Acquired in London by T. J. Blakeslee, New York; 1901, sold by Blakeslee to the MFA for $24,000. (Accession Date: October 24, 1901) NOTES: [1] This painting and its companion, a portrait of a man (Art Gallery of Ontario, Toronto), were first recorded in 1788 in the state dressing room at Stowe House, as portraits of a Burgomaster and his wife by Van Horst. The paintings retained their attribution to Van Horst in guidebooks to the collection through 1832; in a guidebook edition of 1838 they were first attributed to Frans Hals. See Seymour Slive, Frans Hals (London: Phaidon, 1974), vol. 3, pp. 148-149, cat. D59 and pp. 155-156, cat. no. D77. [2] Sold as a work by Frans Hals.

    Credit Line

    Henry Lillie Pierce Fund

    Details

    Dimensions

    127.6 x 101.6 cm (50 1/4 x 40 in.)

    Accession Number

    01.7445

    Medium or Technique

    Oil on canvas

    Not On View

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  • Marie Anne Schotten

    about 1628
    Cornelis de Vos (Flemish, 1584 or 1585–1651)

    Description

    This stately portrait of a Flemish aristocrat was purchased by the museum in 1903 as a work by the painter Anthony van Dyck. Although opinions vary, scholars have suggested since the 1940s that the portrait was, instead, painted by van Dyck’s slightly older contemporary Cornelis de Vos.

    Provenance

    Until about 1794, the church of SS. Michael et Gudule, Brussels [see note 1]. 1899, Lawrie and Co., London [see note 2]; sold by Lawrie to T. J. Blakeslee, Blakeslee Galleries, New York; 1903, sold by Blakeslee Galleries to the MFA for $26,000. (Accession Date: January 3, 1903) NOTES: [1] The earliest published description of this portrait of Marie Anne Schotten was by Guillaume Pierre Mensaert in 1763. He described the painting as by Van Dyck, hanging over an epitaph of the sitter's family in the church in Brussels; see G. P. Mensaert, Le peintre amateur et curieux, part 1 (Brussels, 1763), p. 79. J. A. Rombaut described Maire Anne Schotten's marble tomb and transcribed the epitaph, which was dedicated to her and inscribed with the year of her death (1628). He noted that her husband, Charles Schotte, had commissioned the monument (see Bruxelles Illustrée, vol. 1 [Brussels, 1777], pp. 265-266). The painting was described at the church as late as 1792, and was probably removed from the building around 1794. For further information see Katlijne van der Stighelen, De Portretten van Cornelis de Vos (1584/5-1651): Een Kritische Catalogus (Brussels, 1990), pp. 133-135. [2] Lawrie and Co. lent the painting to the Exposition Van Dijck, Antwerp, August 12 - October 15, 1899 (cat. no. 74) and to the Royal Academy, London, 1900.

    Credit Line

    Isaac Sweetser Fund and Museum purchase with funds donated by contribution

    Details

    Dimensions

    182.9 x 119.7 cm (72 x 47 1/8 in.)

    Accession Number

    03.25

    Medium or Technique

    Oil on canvas

    Not On View

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  • Interior of a Dutch House

    about 1680
    Pieter de Hooch (Dutch, 1629–after 1684)

    Description

    De Hooch spent his mature years in Delft before moving to Amsterdam, and like Delft painters Nicolaes Maes and Emanuel de Witte, he was particularly interested in the geometry of spaces and the warmth of the light that illuminates them. De Hooch expanded his interior spaces to include the world beyond them so that the home is connected, through the open doorway, to its environs. Inventories describe curtains-such as those depicted here-in the side rooms looking out on the street; these presumably protected against the scrutiny of passersby and too much outside light. The figures in De Hooch’s paintings are usually members of the middle classes, shown at their tasks in order to reflect a virtuous mode of living. Particularly innovative were his depictions of servants performing domestic chores or housewives supervising maids in interiors. The ambiguous psychology among the figures heightens the naturalism of these scenes.

    Inscription

    Lower left: P. d. Hoogh / A 168[0?]

    Provenance

    May 23, 1764, anonymous sale, Hendrik de Winter, Amsterdam, lot 179, to Van der Schley [see note 1]. 1863, Jean-Jacques Meffre, Paris; March 9, 1863, Meffre sale, Hôtel Drouot, Paris, lot 43, sold for 4950 fr [see note 2]. 1869, Comte de Bearnetz, Paris; February 12, 1869, Bearnetz sale, Hôtel Drouot, Paris, lot 17, sold for 1200 fr. 1874, Bernier de Passy, Paris; May 5, 1874, Bernier de Passy sale, Hôtel Drouot, Paris, lot 23, sold for 2500 fr. Josef Ritter von Lippmann Lissingen, Vienna; March 16, 1876, Lissingen sale, Hôtel Drouot, Paris, lot 25, sold for 4,000 fr. Étienne Martin, Baron de Beurnonville (b. 1825 - d. 1906), Paris; May 9-16, 1881, Beurnonville sale, Galerie Georges Petit, Paris, lot 337, to Alfred Walcher, Ritter von Moltheim for 7,200 fr. May 16, 1882, Prince Liechtenstein sale, Hôtel Drouot, Paris, lot 23, to Charles Sedelmeyer, Paris for 4,800 fr.; January 26, 1886, sold by Sedelmeyer to Colnaghi, London. 1889, David P. Sellar, London; June 6, 1889, Sellar sale, Galerie Georges Petit, Paris, lot 42, to Charles Sedelmeyer, Paris, for 6,000 fr.; 1889, sold by Sedelmeyer to Durand-Ruel, Paris and New York. 1898, Sedelmeyer Gallery, Paris [see note 3]. Susan Cornelia Clarke (Mrs. Samuel Dennis) Warren (b. 1858 - d. 1901), Boston; January 8, 1903, Mrs. S. D. Warren sale, American Art Association, New York, lot 97, to Samuel Putnam Avery, New York, for the MFA for $3,500. (Accession Date: January 13, 1903) NOTES: [1] See Peter Sutton, Pieter de Hooch (Oxford, 1980), pp. 114-115, cat. no. 140. [2] Titled "Départ pour le marche," and erroneously said to be dated 1656. In the catalogues for each of the nineteenth-century sales in which this painting was included, the date was said to be 1656. It also bore several different titles, including "Intérieur hollandais," "La ménagère hollandaise," and "Les ménagères hollandaises." [3] Illustrated Catalogue of 300 Paintings by Old Masters (Paris: Sedelmeyer Gallery, 1898), p. 88, cat. no. 73 (as "Dutch Housewives").

    Credit Line

    Bequest of Susan Cornelia Warren

    Details

    Dimensions

    57.5 x 69.8 cm (22 5/8 x 27 1/2 in.)

    Accession Number

    03.607

    Medium or Technique

    Oil on canvas

    On View

    Robert and Ruth Remis Gallery (Gallery 244)

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  • Old Man in Prayer

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

    Description

    Provenance

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

    Credit Line

    Arthur Rotch Fund

    Details

    Catalogue Raisonné

    Bredius 73; RRP C 20

    Dimensions

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

    Accession Number

    03.1080

    Medium or Technique

    Oil on panel

    On View

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

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  • Mercury and Aglauros

    about 1645–47
    Carel Fabritius (Dutch, 1622–1654)

    Description

    In Metamorphoses, Ovid recounts the Roman myth of the mortal Aglauros. According to the story, the god Mercury falls in love with Aglauros’s sister Herse and offers Aglauros gold to bring him to her. Poisoned with jealousy by the goddess Minerva, Aglauros refuses. Here Fabritius depicts the moment just before Mercury turns Aglauros to stone. A student of Rembrandt, Fabritius’s dramatic lighting and very human portrayal reflect his teacher’s influence.

    Provenance

    March 21, 1763, anonymous sale, Hôtel des Américains, Paris, lot 117a. June 19, 1764, [Pierre Lebrun], Hôtel d’Aligre, Paris, lot 20a. January 14, 1765, Nicolas de Largillière and others sale, Roi des Indes, Paris, lot 71a. December 2, 1765, anonymous (M. l’Abbé […]) sale, Roi des Indes or Hôtel des Amériquains, Paris, lot 101a. December 15, 1766, anonymous sale, Roi des Indes or Hôtel des Américains, Paris, lot 86, sold to Vincent Donjeux (dealer). December 2, 1768, anonymous sale, at the dentist Mr. Hallée’s premises, Paris, lot 28. 1771, Pierre Lebrun (b. about 1700 - d. 1771); November 18, 1771, Pierre Lebrun sale, Lebrun’s premises on the rue de l’Arbre-Sec, Paris, lot 80. 1776, Antoine Joseph Eslacs du Bouquet, marquis d'Arcambal (b. 1727 - d. 1789), Paris; February 22, 1776, Marquis d'Arcambal sale, Hôtel d'Aligre, Paris, lot 11a, sold to Jacques Langlier (dealer). February 23, 1778, Armand-Frédéric-Ernest Nogaret and others sale, Hôtel d'Aligre, Paris, lot 57, sold to Pierre-François Basan (b. 1723 - d. 1797), Paris [see note 1]. 1851, sold by a merchant on the rue Saint Georges, Paris [see note 2]. 1854, acquired in Paris by Francis Brooks (b. 1824 - d. 1891), Boston [see note 3]; 1891, by inheritance to Louise Winsor (Mrs. Francis) Brooks (b. 1835 - d. 1892), Boston; 1903, sold by the estate of Mrs. Francis Brooks to the MFA for $27,500. (Accession Date: July 1, 1903) NOTES: [1] For information on these eighteenth-century sales, see Josua Bruyn, “Addenda en registers,” Oud Holland, 109, nos. 1/2 (1995), p. 107, n. 29; Josua Bruyn, “Fabritius’s Early Mythological Paintings in Paris Auctions 1764-1771,” Oud Holland, 119, nos. 2/3 (2006), pp. 90-92; Sophie Raux, "Carel Fabritius in eighteenth-century Paris," Burlington Magazine, February 2012, pp. 103-106; Sophie Raux, “Letter: The provenance of Carel Fabritius’s ‘Mercury and Argus’ and ‘Mercury and Aglauros’,” Burlington Magazine, February 2013, p. 97. Raux (2013, p. 97) speculated that the sales held between 1763 and 1768 were “organized by him [Lebrun] for the purpose of selling items from his own stock,” though there is no compelling evidence confirming Lebrun’s ownership of the MFA’s painting, which changed hands at least four times between 1763 and 1768, much before its appearance in his 1771 posthumous sale. In the sales held between 1763 and 1768, the painting was attributed to Rembrandt. In the sales held between 1771 and 1778 it was attributed to Johann Liss. In the four sales held between 1763 and 1765, and the two further ones in 1776 and 1778 (but not those of 1766, 1768, and 1771), the painting was accompanied by a second painting, also thought to be by Liss and considered a pendant, representing Mercury and Argus, now in the Los Angeles County Museum of Art and likewise attributed to Fabritius. [2] E. Durand-Gréville, "La Peinture aux États-Unis," Gazette des Beaux-Arts, 36, no. 1 (1887), p. 66, according to whom it was offered with a group of pictures. [3] According to the will of Francis Brooks. When it was in his possession, it was attributed to Rembrandt (as it was falsely signed, "Rembrandt, 1652") and was thought to represent Danae, or the "Shower of Gold." Mr. Brooks wrote: "This picture I had for months in Dresden, in the Gallery," although the Gemäldegalerie, Dresden, was unable to confirm that it had ever been on loan there (letter to the MFA, March 2, 1939). It was not attributed to Fabritius until 1986; see Frederik J. Duparc, “A ‘Mercury and Aglauros’ reattributed to Carel Fabritius,” Burlington Magazine, November 1986, pp. 799-802.

    Credit Line

    Martha Ann Edwards Fund

    Details

    Dimensions

    72.4 x 91.1 cm (28 1/2 x 35 7/8 in.)

    Accession Number

    03.1143

    Medium or Technique

    Oil on canvas

    On View

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

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  • Portrait of an Old Woman

    Salomon Koninck (Dutch, 1609–1656)

    Description

    Inscription

    Center left: S Konin[ck]

    Provenance

    1904, purchased in Paris by Walter Gay for the MFA for $14,685 [see note 1]. (Accession Date: April 21, 1904) NOTES: [1] MFA accession numbers 04.265 and 04.266 were acquired together for this amount (04.265 has been deaccessioned). Gay had bought the two paintings by April 3, 1904, when he wrote to MFA director Edward Robinson that "there was some unavoidable delay--Vollon was very ill, and I couldn't disturb him...but the pictures are finally shipped." Whether Gay was referring either to the painter Antoine Vollon (b. 1833 - d. 1900), at that time already deceased, or to his son Alexis (b. 1865 - d. 1945) is not known; nor is it certain that the Vollon he refers to was the owner of the paintings.

    Credit Line

    Isaac Sweetser Fund

    Details

    Dimensions

    92.3 x 70.3 cm (36 5/16 x 27 11/16 in.); Legacy dimension: 92.3 x 70.3 cm (346 3/8 x 27 5/8 in.)

    Accession Number

    04.266

    Medium or Technique

    Oil on panel

    Not On View

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  • Portrait of a Man with a Ruff

    1616
    Werner Jacobsz. van den Valckert (Dutch, about 1580/85–about 1627)

    Description

    Dutch portraitists active in the first decades of the 17th century frequently produced restrained works in which the sitter looks out with a calm, steady gaze. Such static sobriety may have been intended to indicate the patron’s rational self-control. Here, Van den Valckert’s delicate brushwork emphasizes the tactility of skin and fabric. His unknown subject must be relatively affluent—he wears black satin clothing with brocading and decorative slits and slips his hand into a deerskin glove. Is he preparing to head outdoors?

    Inscription

    Center right: A E 35 / A 1616 / W V VALCKERT / PIN CET [ALC joined]

    Provenance

    By 1852, Johann Peter Weyer (b. 1794 - d. 1864), Cologne [see note 1]; August 25, 1862, Weyer sale, Heberle, Cologne, lot 421, sold for 80 M. 1902, Count Léon Mniszech, Wisniowiec, Poland (today Vishnevets, Ukraine); April 9, 1902, Mniszech sale, Galerie Georges Petit, Paris, lot 179, sold for 6,800 fr. By 1906, Charles Fairfax Murray (b. 1849 - d. 1919), London; sold by Murray to Edward Waldo Forbes (b. 1873 - d. 1969), Cambridge, MA; 1906, gift of Edward Waldo Forbes to the MFA. (Accession Date: October 1, 1906) NOTES: [1] The painting was no. 239 in the 1852 catalogue of Weyer's collection; see Horst Vey, "Johann Peter Weyer: seine Gemäldesammlung und seine Kunstliebe," Wallraf-Richartz Jahrbuch 28 (1966): 233.

    Credit Line

    Gift of Edward Waldo Forbes

    Details

    Dimensions

    73 x 55.5 cm (28 3/4 x 21 7/8 in.)

    Accession Number

    06.1909

    Medium or Technique

    Oil on panel

    Not On View

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  • The Holy Family

    early 16th century
    Unidentified artist, Flemish, 16th century, After Michelangelo Buonarroti (Italian (Florentine), 1475–1564)

    Description

    After the Doni Tondo in the Uffizi, Florence

    Provenance

    By 1842, Pierfrancesco Rinuccini (b. 1788 - d. about 1852), Palazzo Rinuccini, Florence [see note 1]; May 1, 1852, Rinuccini sale, Florence, lot 38 [see note 2], probably unsold and by descent to his daughter, Eleonora Rinuccini-Corsini (b. 1813 - d. 1886), Florence; sold from the Rinuccini-Corsini collection to Edward W. Forbes; 1907, gift of Forbes to the MFA. (Accession Date: August 8, 1907) NOTES: [1] Recorded as in the Rinuccini collection by Frédéric Fantozzi, "Nouveau Guide de Florence ou Description Artistique et Critique de la Ville et ses environs" (Florence, 1851; translated from the Italian ed. of 1842), p. 691. [2] Although lot 38 in this auction catalogue matches the description of the MFA painting exactly, the dimensions given (154 x 170 cm) are notably different.

    Credit Line

    Gift of Edward W. Forbes

    Details

    Dimensions

    138.1 x 108.2 cm (54 3/8 x 42 5/8 in.)

    Accession Number

    07.486

    Medium or Technique

    Oil on panel

    Not On View

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  • Ships in a Storm

    Jacob Adriaensz. Bellevois (Dutch, 1621–1676)

    Description

    Provenance

    Until 1907, Edward Balfour, Esq. (b. 1849 - d. 1927), Balbirnie, Fife, Scotland; May 31, 1907, Balfour sale, Christie, Manson and Woods, London, lot 136 [see note 1] to Gooden and Fox, London; 1907, sold by Gooden and Fox to the MFA for $16,650 [see note 2]. (Accession Date: August 8, 1907) NOTES: [1] Sold as a work by Ludolf Backhuysen. [2] MFA accession numbers 07.499 - 07.502 were acquired together for this amount.

    Credit Line

    Julia Bradford Huntington James Fund

    Details

    Dimensions

    128 x 176.8 cm (50 3/8 x 69 5/8 in.)

    Accession Number

    07.499

    Medium or Technique

    Oil on canvas

    Not On View

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  • Peasants Carousing

    1662
    Jan Miense Molenaer (Dutch, 1609 or 1610–1668)

    Description

    Many scenes featuring peasants are set in inns. This low-life tavern scene features a cavernous space with peasants making music, fighting, eating, drinking, dancing, and cavorting. A contemporary document indicates that the painting was based on a comic poem by Gerbrand Adriaensz. Bredero and that the commission was offered as an exchange for an interest payment on the painter’s house. Such images, painted for the edification of the well-to-do, were meant to denounce the riotous carryings-on of the lower classes.

    Inscription

    Lower left on bench: Jan . Molenaer 1662

    Provenance

    Until 1907, Edward Balfour, Esq. (b. 1849 - d. 1927), Balbirnie, Fife, Scotland; May 31, 1907, Balfour sale, Christie, Manson and Woods, London, lot 142, to Gooden and Fox, London; 1907, sold by Gooden and Fox to the MFA for $16,650 [see note 1]. (Accession Date: August 8, 1907) NOTES: [1] MFA accession numbers 07.499 - 07.502 were acquired together for $16,650.

    Credit Line

    Julia Bradford Huntington James Fund

    Details

    Dimensions

    112.7 x 130.2 cm (44 3/8 x 51 1/4 in.)

    Accession Number

    07.500

    Medium or Technique

    Oil on canvas

    On View

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

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  • Barnyard Fowl and Peacocks

    Melchior d' Hondecoeter (Dutch, 1636–1695)

    Description

    Hondecoeter specialized in painting birds. The artist’s large‑scale depictions, which could at times exceed 15’ in width, were purchased by rich citizens of Amsterdam who displayed them in their town houses and country estates. In addition to common ducks, hens, and roosters, Hondecoeter has here included two peacocks—a rare and foreign species that, much like tulips, was cultivated by Holland’s elite. So popular were Hondecoeter’s paintings that in the 19th century he was called “the Raphael of bird painters.”

    Inscription

    Upper center on stone wall: Melchio d hondecoeter

    Provenance

    Until 1907, Edward Balfour, Esq. (b. 1849 - d. 1927), Balbirnie, Fife, Scotland; May 31, 1907, Balfour sale, Christie, Manson and Woods, London, lot 140, to Gooden and Fox, London; 1907, sold by Gooden and Fox to the MFA for $16,650 [see note 1]. (Accession Date: August 8, 1907) NOTES: [1] MFA accession numbers 07.499 - 07.502 were acquired together for $16,650.

    Credit Line

    Julia Bradford Huntington James Fund

    Details

    Dimensions

    121.9 x 156.5 cm (48 x 61 5/8 in.)

    Accession Number

    07.501

    Medium or Technique

    Oil on canvas

    On View

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

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  • River Landscape with a Ferry and a Church

    about 1656
    Jan Josephsz. van Goyen (Dutch, 1596–1656)

    Description

    Inscription

    Lower right, on side of boat: VG / 165[6?]

    Provenance

    1907, Edward Balfour, Esq. (b. 1849 - d. 1927), Balbirnie, Fife, Scotland; May 31, 1907, Balfour sale, Christie, Manson and Woods, London, lot 139, to Gooden and Fox, London, for £819; 1907, sold by Gooden and Fox to the MFA for $16,650 [see note 1]. (Accession Date: August 8, 1907) NOTES: [1] MFA accession numbers 07.499 - 07.502 were acquired together for $16,650.

    Credit Line

    Julia Bradford Huntington James Fund

    Details

    Dimensions

    47.3 x 66.7 cm (18 5/8 x 26 1/4 in.)

    Accession Number

    07.502

    Medium or Technique

    Oil on panel

    Not On View

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  • Portrait of a Woman

    1670s
    Nicolaes Maes (Dutch, 1634–1693)

    Description

    Maes studied drawing in his native Dordrecht before moving to Amsterdam, where he was a student of Rembrandt. He painted themes from religious history as well as scenes of everyday life, but by the 1660s dedicated himself to portraiture. Portraits like this one reveal his admiration for the work of the Flemish painters Rubens and van Dyck.

    Provenance

    July 2, 1909, anonymous ("property of a gentleman") sale, Christie's, London, lot 95, to Asher Wertheimer (d. 1918), London for £2255 [see note 1]; sold by Wertheimer to Vose Galleries, Boston [see note 2]; 1910, sold by Vose to Mrs. W. Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1929), Boston; 1910, gift of Mrs. Scott Fitz to the MFA. (Accession Date: April 21, 1910) NOTES: [1] This painting was sold with its companion, a portrait of a gentleman also by Maes, with identical dimensions. The companion is now in the collection of the Indianapolis Museum of Art. [2] According to a letter from Vose to Arthur Fairbanks of the MFA (April 5, 1910), the painting "comes from the collection of Lord Buckland through Asher Wertheimer, the London dealer." However, the agent for Lord Buckland was unable to confirm that this painting was ever in the family's possession (letter from L. A. Daniel to Charles Cunningham of the MFA, December 19, 1939).

    Credit Line

    Gift of Mrs. W. Scott Fitz

    Details

    Dimensions

    115.9 x 95 cm (45 5/8 x 37 3/8 in.)

    Accession Number

    10.104

    Medium or Technique

    Oil on canvas

    Not On View

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  • Adriana van Ijlen

    Michiel Jansz. van Miereveld (Dutch, 1567–1641)

    Description

    Inscription

    Upper right: Aetatis 66 / Anno 1616

    Provenance

    1896, Dowdeswell and Dowdeswell, London; 1896, sold by Dowdeswell to Sedelmeyer Gallery, Paris [see note 1]; 1900, sold by Sedelmeyer to Francis Bunker Greene (b. 1844-d. 1911), Boston; 1911, gift of the estate of Francis B. Greene to the MFA. (Accession Date: August 3, 1911) NOTES: [1] According to notes in the curatorial file, annotations in a copy of a Sedelmeyer Gallery catalogue (held by the RKD in The Hague) indicate that this painting was sold by Dowdeswell to Sedelmeyer on June 15, 1896 for 10,175 francs and by Sedelmeyer to Francis Bunker Greene of Boston on September 20, 1900, for 20,000 francs. It was exhibited by Sedelmeyer in 1896 as "Portrait of a Lady," with a pendant, "Portrait of a Gentleman." See 100 Paintings by Old Masters (Sedelmeyer Gallery, Paris, 1896), pp. 32-33, nos. 22, 23.

    Credit Line

    Gift of the Estate of Francis B. Greene in memory of Mr. and Mrs. Francis B. Greene

    Details

    Dimensions

    104.8 x 88.9 cm (41 1/4 x 35 in.)

    Accession Number

    11.1452

    Medium or Technique

    Oil on panel

    Not On View

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  • The Crucifixion

    about 1525
    Joos van Cleve (Flemish, active in 1511–died in 1540 or 1541)

    Description

    One of the leading artists in sixteenth-century Antwerp, Joos combined such stylized and decorative elements as the arabesque flutter of Christ’s loincloth with naturalistic details, including the greenish pallor of Christ’s flesh. The weighty fall of the Virgin’s cloak emphasizes her restrained grief, while Saint John’s drapery reflects his agitation. Rather than rendering such details as the tiny party departing from the scene less distinctly to show that they are far away, Joos used color to demarcate distance-brown for the foreground, green for the middle ground, and blue for the background.

    Provenance

    Gottfried Christoph Beireis (b. 1730 - d. 1809), Helmstedt, Germany. 1881, private collection, Düsseldorf; 1881, sold from this private collection, through Oscar Eisenmann, Cassel, to Eduard Friedrich Weber (b. 1830 - d. 1907) for the Galerie Weber, Hamburg; Feburary 20-22, 1912, Galerie Weber sale, Lepke, Berlin, lot 84, to the MFA. (Accession Date: March 7, 1912)

    Credit Line

    The Picture Fund

    Details

    Dimensions

    80.4 x 63.2 cm (31 5/8 x 24 7/8 in.)

    Accession Number

    12.170

    Medium or Technique

    Oil on panel

    On View

    William A. Coolidge Gallery (Gallery 243A)

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  • Portrait of a Woman and Her Son

    Justus Susterman (Flemish, 1597–1681)

    Description

    Provenance

    Guadagni collection, Florence (?) [see note 1]. 1872, Prince Napoléon-Jerome Bonaparte (b. 1822 - d. 1891), Paris; May 9, 1872, Prince Bonaparte sale, Christie's, London, sold for 110 gns. to Holloway. 1907, R. Kirkman Hodgson, Ashgrove, Seavenoaks; February 23, 1907, Hodgson sale, Christie's, London, lot 70, to Robert Dunthorne (dealer), London for £777.10; by 1910, with William M. Bullivant, Boston [see note 2]; 1912, sold to the MFA for $2950. (Accession Date: June 6, 1912) NOTES: [1] In 1872 and 1907 this was sold as a portrait of the Marchesa Guadagni and her son, and was said in the auction catalogues to have come from the "Guadagni Gallery." [2] The painting was lent under Mr. Bullivant's name from 1910 until it was acquired in 1912; however, correspondence from Robert Dunthorne to the MFA in 1912 indicates that he received payment for the painting. Bullivant may have been acting on Dunthorne's behalf, or they may have owned it jointly.

    Credit Line

    Picture Fund and Gift of William M. Bullivant

    Details

    Dimensions

    124.7 x 101.9 cm (49 1/8 x 40 1/8 in.)

    Accession Number

    12.425

    Medium or Technique

    Oil on canvas

    Not On View

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  • Judith with the Head of Holofernes

    1543
    Jan Massys (Netherlandish, 1509–1575)

    Description

    Old Testament heroines feature prominently in Jan Massys’s body of work, particularly as nudes. Here he portrays Judith, who saved her fellow Israelites from the forces of Assyrian king Nebuchadnezzar by beheading his general Holofernes. She used her beauty to first win his trust. Massys’s sensual interpretation of the subject is consistent with the 16th-century trend of depicting Judith as a beguiling seductress rather than a virtuous conqueror. This is the earliest signed work by Massys, whose father, Quentin, was an influential Netherlandish painter.

    Inscription

    Lower right, along back edge of sword blade: O P VS JOHANNES MATSIIS; Lower right, on blade near hilt: [...] 1543

    Provenance

    Private collection, Spain. By 1902, William Turner Dannat (b. 1853 - d. 1929), Paris [see note 1]; 1912, sold by William T. Dannat to the MFA for $6790. (Accession Date: October 3, 1912) NOTES: [1] William Turner Dannat was an American painter who worked in Spain and settled in Paris. He acquired several paintings in Spain, probably including this one; according to notes in the MFA curatorial file it had been in a private collection there. When and how it came into Dannat's possession, however, is not known. He lent the painting to the "Exposition des Primitifs Flamands à Bruges" (Bruges, 1902), cat. no. 241.

    Credit Line

    Abbott Lawrence Fund and Picture Fund

    Details

    Dimensions

    102.2 x 75.6 cm (40 1/4 x 29 3/4 in.)

    Accession Number

    12.1048

    Medium or Technique

    Oil on panel

    On View

    William A. Coolidge Gallery (Gallery 243A)

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  • Still Life with Stoneware Jug, Wine Glass, Herring, and Bread

    1642
    Pieter Claesz. (Dutch, about 1597–1660)

    Description

    Claesz. specialized in the monochrome “breakfast piece,” a type of still life that presents the makings of a modest meal, primarily in related shades of muted green, gray, and brown. He usually approached his subject from a low vantage point, created a sense of depth by overlapping objects and blurring the edges of those farther back. Knife handles often project over the edge of the table, extending the composition into the viewer’s own space; this device also creates a sense of instability that plays against the careful and harmonious arrangement of objects on the table.

    Inscription

    Center right: PC (monogram) / 1642

    Provenance

    Edward Wheelwright (b. 1824 - d. 1900), Boston; by inheritance to Mrs. Edward Wheelwright, Boston; 1913, bequest of Mrs. Edward Wheelwright to the MFA. (Accession Date: April 3, 1913)

    Credit Line

    Bequest of Mrs. Edward Wheelwright

    Details

    Dimensions

    29.8 x 35.8 cm (11 3/4 x 14 1/8 in.)

    Accession Number

    13.458

    Medium or Technique

    Oil on panel

    On View

    Robert and Ruth Remis Gallery (Gallery 244)

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  • Still Life with Silver Brandy Bowl, Wine Glass, Herring, and Bread

    1642
    Pieter Claesz. (Dutch, about 1597–1660)

    Description

    Claesz. specialized in the monochrome “breakfast piece,” a type of still life that presents the makings of a modest meal, primarily in related shades of muted green, gray, and brown. He usually approached his subject from a low vantage point, created a sense of depth by overlapping objects and blurring the edges of those farther back. Knife handles often project over the edge of the table, extending the composition into the viewer’s own space; this device also creates a sense of instability that plays against the careful and harmonious arrangement of objects on the table.

    Inscription

    Center left: PC (monogram) / 1642

    Provenance

    Edward Wheelwright (b. 1824 - d. 1900), Boston; by inheritance to Mrs. Edward Wheelwright, Boston; 1913, bequest of Mrs. Edward Wheelwright to the MFA. (Accession Date: April 3, 1913)

    Credit Line

    Bequest of Mrs. Edward Wheelwright

    Details

    Dimensions

    29.9 x 35.9 cm (11 3/4 x 14 1/8 in.)

    Accession Number

    13.459

    Medium or Technique

    Oil on panel

    On View

    Robert and Ruth Remis Gallery (Gallery 244)

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  • Cottage Interior

    Bernardus Johannes Blommers (Dutch, 1845–1914)

    Description

    Blommers and van Gogh were on good terms when Vincent lived in The Hague, the capital of Dutch art. Painters of scenes from everyday life - whether French or Dutch - provided van Gogh with the example he needed to become a painter of peasants, in works such as the The Potato Eaters (1885, Van Gogh Museum, Amsterdam), his powerful image of a peasant family at supper.

    Inscription

    Lower right: Blommers

    Provenance

    By 1915, with William R. Wilson (Boston, MA, USA); 1915 - Boston, MA, USA. Boston Museum of Fine Arts (gift of Wilson) (Accession date: June 3, 1915)

    Credit Line

    William R. Wilson Donation

    Details

    Dimensions

    25.4 x 31.1 cm (10 x 12 1/4 in.)

    Accession Number

    15.878

    Medium or Technique

    Oil on canvas

    Not On View

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  • Young Girl Sewing

    Jozef Israëls (Dutch, 1824–1911)

    Description

    Inscription

    Lower left: Jozef Israels.

    Provenance

    By 1915 William R. Wilson (Boston, MA, USA); 1915 - Boston, MA, USA. Museum of Fine Arts (gift of Wilson) (Accession date: June 3, 1915)

    Credit Line

    William R. Wilson Donation

    Details

    Dimensions

    58.4 x 84.5 cm (23 x 33 1/4 in.)

    Accession Number

    15.885

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Young Man

    1650
    Unidentified artist, Flemish, 17th century (Flemish)

    Description

    Inscription

    Said to have been inscribed on reverse: aeta.sue 21 /1650

    Provenance

    1916, Rose Lamb (b. 1843 - d. 1927), Boston; 1916, gift of Miss Lamb to the MFA. (Accession Date: December 14, 1916)

    Credit Line

    Gift of Miss Rose Lamb

    Details

    Dimensions

    61 x 51.1 cm (24 x 20 1/8 in.)

    Accession Number

    16.389

    Medium or Technique

    Oil on canvas

    Not On View

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  • Boar Hunt

    about 1625–30
    Frans Snyders (Flemish, 1579–1657)

    Description

    During the seventeenth century, dramatic hunt scenes often decorated royal hunting lodges. While Snyders’s contemporaries normally put man at the center of such images, Snyders concentrated on realistic observation of the animals. His highly sought-after paintings were often based on portraits of individual hunting dogs. Here, the dog on the far right may be wearing a protective cloak because he was particularly prized by his owner.

    Inscription

    Lower right, on dog's collar: F. Snyders fecit

    Provenance

    1889, Don Pedro de Alcantara de Borbón y de Borbón Duque de Dúrcal (b. 1862 - d. 1892), Madrid; April 5, 1889, Dúrcal sale, American Art Association, New York, lot 54. By 1889, John Templeman Coolidge (b. 1856 - d. 1945), Boston [see note 1]; 1917, gift of Coolidge to the MFA. (Accession Date: February 15, 1917) Notes: [1] The painting was lent by Coolidge to the MFA on November 1, 1889.

    Credit Line

    Gift of John Templeman Coolidge, Jr.

    Details

    Dimensions

    220.6 x 505.1 cm (86 7/8 x 198 7/8 in.)

    Accession Number

    17.322

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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  • Portrait of a Woman

    Follower of Ludolf de Jongh (Dutch, 1616–1679)

    Description

    Provenance

    By 1897, Denman Waldo Ross (b. 1853 - d. 1935), Cambridge, MA [see note 1]; 1917, gift of Denman Waldo Ross to the MFA. (Accession Date: February 15, 1917) NOTES: [1] According to notes in the curatorial file, Ross lent this to the Loan Exhibition of 100 Masterpieces (Copley Society, Boston, March 5-28, 1897), cat. no. 97. It was attributed to Bartholomeus van der Helst and called "The Burgomaster's Wife."

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    72 x 57.5 cm (28 3/8 x 22 5/8 in.)

    Accession Number

    17.591

    Medium or Technique

    Oil on canvas

    Not On View

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  • Still Life with Dead Heron and Swan

    Attributed to Elias Vonck (Dutch, 1605–1652)

    Description

    Signed

    Signed center left: Elias Vonck

    Provenance

    By 1905, Denman Waldo Ross (b. 1853 - d. 1935), Cambridge, MA; 1917, gift of Denman Waldo Ross to the MFA. (Accession Date: April 5, 1917)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    127 x 109.2 cm (50 x 43 in.)

    Accession Number

    17.1409

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe, Prints and Drawings

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  • Portrait of a Man

    Jacob van Oost, the Younger (Flemish, 1637–1713)

    Description

    Provenance

    Foucard sale. By 1917, Denman Waldo Ross (Cambridge, MA USA); 1917 - Boston, MA, USA. Museum of Fine Arts (gift of Ross) (Accession date: April 5, 1917)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    75.6 x 58.4 cm (29 3/4 x 23 in.)

    Accession Number

    17.1410

    Medium or Technique

    Oil on canvas

    Not On View

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  • Interior of the Oude Kerk, Delft

    Hendrick Cornelisz. van Vliet (Dutch, 1611 or 1612–1675)

    Description

    Provenance

    By 1909, Denman Waldo Ross (b. 1853 - d. 1935), Cambridge, MA; 1917, gift of Denman Waldo Ross to the MFA. (Accession Date: April 5, 1917)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    108.3 x 87.9 cm (42 5/8 x 34 5/8 in.)

    Accession Number

    17.1411

    Medium or Technique

    Oil on canvas

    Not On View

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  • Italian Landscape with Peasants and Donkeys

    Willem de Heusch (Dutch, 1638–1692)

    Description

    Inscription

    Lower right: W D H (joined); and falsely, JBoth f

    Provenance

    18th century, probably acquired in France by Alexander Besborodko (b. 1747 - d. 1799) [see note 1]; by descent to Grigorii Aleksandrovich Koucheleff Bezborodko (b. 1832 - d. 1870), St. Petersburg; June 5, 1869, Koucheleff Besborodko sale, Hôtel Drouot, Paris, lot 5 [see note 2]. Eleanor Lucy de Falbe (d. 1899), London and Luton Hoo Park, England; May 19, 1900, posthumous de Falbe sale, Christie's, London, lot 92, to Samuel Theobald Smith (d. 1904), London, for £52.10; June 9, 1904, Smith sale, Robinson and Fisher, London, lot 77; from the executors of Smith to Ehrich Galleries, New York [see note 3]; March 24, 1905, Ehrich sale, Fifth Avenue Art Galleries, New York, lot 45, to F. A. Chapman for $1,550. By 1912, Arthur Brewster Emmons (b. 1850 - d. 1922), Newport, RI and New York; 1917, gift of Arthur Brewster Emmons to the MFA. (Accession Date: April 5, 1917) NOTES: [1] Although the painting can be securely documented only as early as 1869, the Koucheleff collection was formed in large part by Alexander Besborodko, Grand Chancellor of Russia under Catherine the Great. On the formation of his collection, see Ernest Frydeau, "Vente Koucheleff-Besborodko," Revue Internationale de l'art et de la Curiosité, 1869, pp. 369-370, and R. P. Gray, "The Golitsyn and Kushelev-Bezborodko Collections and their Role in the Evolution of Public Art Galleries in Russia," Oxford Slavonic Papers, n.s., vol. 31 (1998): pp. 57-58. [2] The painting is falsely signed "JBoth f," and was attributed to Jan Both in the 1869 Koucheleff catalogue and the 1904 Smith catalogue. In the De Falbe catalogue of 1900 and the Ehrich catalogue of 1905, the painting was attributed to Jan and Andries Both. [3] It is unknown if the painting sold at the 1904 auction. According to the 1905 Ehrich sale catalogue, it came "from the executors of S. T. Smith, London."

    Credit Line

    Gift of Arthur Brewster Emmons

    Details

    Dimensions

    93.6 x 111.1 cm (36 7/8 x 43 3/4 in.)

    Accession Number

    17.1420

    Medium or Technique

    Oil on canvas

    Not On View

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  • Yacht of the Princes of Orange and Other Ships

    Jan Abrahamsz. Beerstraten (Dutch, 1622–1666)

    Description

    Inscription

    Lower right: J Beerstraaten

    Provenance

    1905, Ehrich Galleries, New York; March 24, 1905, Ehrich sale, Fifth Avenue Art Galleries, New York, lot 37, withdrawn. By 1913, Arthur Brewster Emmons (b. 1850 - d. 1922), Newport, RI and New York; 1917, gift of Arthur Brewster Emmons to the MFA. (Accession Date: April 5, 1917)

    Credit Line

    Gift of Arthur Brewster Emmons

    Details

    Dimensions

    75.9 x 107 cm (29 7/8 x 42 1/8 in.)

    Accession Number

    17.1421

    Medium or Technique

    Oil on panel

    Not On View

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  • Young Man in Oriental Costume

    Follower of Ferdinand Bol (Dutch, 1616–1680)

    Description

    Provenance

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

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

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

    Accession Number

    17.3231

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Young Married Couple

    about 1621–22
    Jacob Jordaens (Flemish, 1593–1678)

    Description

    Although the sitters in this portrait are unidentified, in all likelihood they were husband and wife. The painting has the typical format of a seventeenth-century marriage portrait, and the ivy clinging to the architecture behind them is a symbol of marital love and fidelity. Although the figures’ poses suggest an affectionate connection to one another, their faces turn to the spectator.

    Provenance

    1880, possibly John Robert Townshend, 1st Earl Sydney (b. 1805 - d. 1890), Kent, England [see note 1]. 1907, Messrs. Lawrie and Co., London; 1907, sold by Lawrie, through Blakeslee Galleries, New York, to Robert Dawson Evans (d. 1909), Boston; 1909, by inheritance to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA [see note 2]. (Accession Date: November 1, 1917) NOTES: [1] According to notes in the curatorial file, the Earl of Sydney lent a painting attributed to Rubens to the Royal Academy in 1880 (no. 54, "A Lady and a Gentleman," 48 1/2 x 36 1/2 in.). [2] Accessioned as a work by Peter Paul Rubens.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    124.5 x 92.4 cm (49 x 36 3/8 in.)

    Accession Number

    17.3232

    Medium or Technique

    Oil on panel

    On View

    William I. Koch Gallery (Gallery 250)

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  • Sheep Grazing in an Open Field

    Anton Mauve (Dutch, 1838–1888)

    Description

    Inscription

    Lower left: A Mauve

    Provenance

    Possibly with W. J. Loggen and Zoon, Amsterdam [see note 1]. By 1909, Robert Dawson Evans (b. 1843 - d. 1909), Boston; 1909, by inheritance to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession date: November 1, 1917) Notes: [1] According to information in the curatorial file, the Evans acquired a painting by Anton Mauve, which was from W.J. Loggen & Zoon in Amsterdam.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    55.2 x 66 cm (21 3/4 x 26 in.)

    Accession Number

    17.3238

    Medium or Technique

    Oil on canvas

    Not On View

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  • Tibullus at Delia's House

    1866
    Sir Lawrence Alma-Tadema (Dutch (active in England), 1836–1912)

    Description

    The Roman poet Tibullus is shown reciting to a group of friends in the house of his mistress, Delia. Alma-Tadema achieved extraordinary social and financial success for reconstructions of antiquity that gave late-nineteenth-century audiences an imaginary glimpse into a world very different from their own. Many of the impeccably rendered furnishings, such as the bronze stool and folding table and the painting behind Tibullus, represent actual objects found in the ruins of Pompeii.

    Inscription

    Lower right, on chair: L Alma Tadema

    Provenance

    1866, Ernest Gambart (b. 1814 - d. 1902), London (original commission); 1867, sold by Gambart to William Prescott Hunt, Boston [see note 1]. 1902, Blakeslee Galleries, New York; 1902, sold by Blakeslee to Robert Dawson Evans (b. 1844 - d. 1909) and his wife, Maria Antoinette Hunt Evans (b. 1845 - d. 1917), Boston [see note 2]; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession Date: November 1, 1917) NOTES: [1] This painting, executed in 1866, was one of twenty-four paintings that the art dealer Ernest Gambart ordered from Alma-Tadema in 1864. It was exhibited at Gambart's London gallery in 1867. See Jennifer Gordon Lovett and William R. Johnston, Empires Restored, Elysium Revisited: The Art of Sir Lawrence Alma-Tadema (Williamstown, MA, 1992), pp. 49-50, cat. no. 7. W. Prescott Hunt lent a "Pompeian Interior" by Alma-Tadema to the Allston Club, Boston, in 1867, but whether it is identical to the MFA painting is not known. The MFA painting was certainly lent in 1896-97 to the First Annual Exhibition, Carnegie Art Galleries, Pittsburgh (no. 1), but the lender's name is not given in the catalogue. [2] A signed letter from T. J. Blakeslee (April 28, 1902) attests that this is one of a group of paintings Evans bought from the gallery on January 8, February 20, and March 11, 1902.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    43.5 x 64.5 cm (17 1/8 x 25 3/8 in.)

    Accession Number

    17.3239

    Medium or Technique

    Oil on panel

    Not On View

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  • Pool in the Forest

    Theophile Emile Achille de Bock (Dutch, 1851–1904)

    Description

    Inscription

    Lower left: Th de Bock

    Provenance

    By 1906, W. Scott & Sons, Montreal; 1906, sold by W. Scott & Sons to Robert C. Vose Galleries, Boston; February 28, 1907, sold by Vose Galleries to Robert Dawson Evans (b. 1843 - d. 1909), Boston; 1909, by inheritance to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession date: November 1, 1917)

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    11.1 x 22.8 cm (4 3/8 x 9 in.)

    Accession Number

    17.3244

    Medium or Technique

    Oil on panel

    Not On View

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  • Shepherd and Sheep under the Trees

    Anton Mauve (Dutch, 1838–1888)

    Description

    Inscription

    Lower right: A Mauve. f

    Provenance

    July 19, 1897, sold by Boussod, Valadon et Cie. (Goupil Gallery), Paris and London, to Alexander Young, London [see note 1]; sold by Young to Thomas Agnew and Sons, Ltd., London; 1906, sold by Agnew to C. W. Kraushaar Art Galleries, New York; sold by Kraushaar Galleries to Robert Dawson Evans (b. 1843 - d. 1909) and Maria Antoinette Hunt Evans (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession Date: November 1, 1917) NOTES: [1] Getty Provenance Index, Goupil et Cie. records, PI record no. G-36484 (stock book 14, no. 25059, p. 142).

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    40 x 72.4 cm (15 3/4 x 28 1/2 in.)

    Accession Number

    17.3248

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of Two Women and a Man

    Unidentified artist, Dutch, 16th century (Dutch)

    Description

    Provenance

    Possibly with Charles A. Donaldson, Edinburgh; by inheritance to Sir George H. Donaldson (b. 1845 - d. 1925), London and Paris [see note 1]. Ehrich Gallery, New York; sold by Ehrich Gallery to T.J. Blakeslee Galleries, New York; April 10, 1913, sold by Blakeslee Galleries to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston [see note 2]; 1917, bequest of Mrs. Robert Dawson Evans to the MFA [see note 3]. (Accession date: November 1, 1917) Notes: [1] Early provenance provided by T.J. Blakeslee Galleries, New York. [2] Sold as "The Meyer Family" by Barthel Bruyn the Elder. [3] Accessioned as a work of art attributed to the Cologne School.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    76.5 x 72.4 cm (30 1/8 x 28 1/2 in.)

    Accession Number

    17.3267

    Medium or Technique

    Oil on panel transferred to canvas

    Not On View

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  • Judah and Tamar

    1644
    Ferdinand Bol (Dutch, 1616–1680)

    Description

    Like his teacher Rembrandt, Bol often painted Biblical subjects with strong human drama. In this Old Testament scene, Bol relates the moment of amorous deception when Judah gives the pledge of a ring, staff, and bracelets to a veiled harlot, who is actually his daughter-in-law, Tamar. Tamar, the widow of Judah’s first two sons, disguised herself as a prostitute to deceive Judah because he had not redeemed his promise to marry her to his third son. The heightened psychological state of the figures is conveyed by contrasting the anxious lust of Judah with the cool determination of Tamar.

    Inscription

    Lower left: F. Bol. fecit / 1644

    Provenance

    1894, Sir Walter Randolph Farquhar (b. 1842 - d. 1901), London; June 2, 1894, Farquhar sale, Christie's, London, lot 97 to Charles Sedelmeyer, Paris, for £73.10 [see note 1]; probably sold by Sedelmeyer to Peter Arrell Brown Widener (b. 1834 - d. 1915), Elkins Park, PA [see note 2]. Blakeslee Galleries, New York; by 1915, probably sold by Blakeslee to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston [see note 3]; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession Date: November 1, 1917) NOTES: [1] Titled "The Marriage Contract." [2] According to a letter from Edith Standen of the Widener Collection to the MFA (January 3, 1939), Mr. Widener purchased the painting in the 1890s, and it left his collection before 1908. It was included in the catalogue of his collection published in 1900 (Catalogue of the Paintings forming the Private Collection of P. A. B. Widener, part II, no. 169). At least one other painting in the Widener collection was acquired from the Farquhar sale through Sedelmeyer. [3] Mrs. Evans bought a number of paintings from Blakeslee. She first lent this to the MFA in 1915, as "Ruth and Boaz."

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    123.2 x 172.4 cm (48 1/2 x 67 7/8 in.)

    Accession Number

    17.3268

    Medium or Technique

    Oil on canvas

    On View

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

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  • Portrait of a Man in Black

    1643
    Johannes Cornelisz. Verspronck (Dutch, about 1606/09–1662)

    Description

    Inscription

    Lower right: A Etatis 40: J Verspronck 1643: (Vers in monogram)

    Provenance

    By 1870, Adriaan van der Willigen (b. 1810 - d. 1876), Harlem [see note 1]; April 20, 1874, Van der Willigen sale, A. G. de Visser, The Hague, lot 101. 1875, Prince Paul Galitzin, Paris; March 10, 1875, Galitzin sale, Hotel Drouot, Paris, lot 64, sold for 1060 fr. 1881, John W. Wilson, Paris; March 14, 1881, Wilson sale, at his residence, Paris, lot 118, sold to Charles Sedelmeyer, Paris for fr. 1,150. Rodolphe Kann (b. 1845 - d. 1905), Paris [see note 2]; 1907, sold by the heirs of Rodolphe Kann to Duveen Brothers, Paris. Blakeslee Galleries, New York; sold by Blakeslee to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession Date: November 1, 1917) NOTES: [1] See A. van der Willigen, Les Artistes de Harlem (Harlem and The Hague, 1870), p. 307. This painting and its pendant, MFA accession no. 17.3271, have an identical provenance and were included in the same lot in the 1874 sale. [2] Wilhelm von Bode, Catalogue of the Rodolphe Kann Collection (Paris, 1907), cat. no. 91. When and how the portraits came into his possession is not known, however, as they are not mentioned in earlier publications of the Kann collection.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    81.9 x 65.7 cm (32 1/4 x 25 7/8 in.)

    Accession Number

    17.3270

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Woman in Black

    1643
    Johannes Cornelisz. Verspronck (Dutch, about 1606/09–1662)

    Description

    Inscription

    Lower left: A Etatis 37: J Verspronck an 1643 (Vers in monogram)

    Provenance

    By 1870, Adriaan van der Willigen (b. 1810 - d. 1876), Harlem [see note 1]; April 20, 1874, Van der Willigen sale, A. G. de Visser, The Hague, lot 101. 1875, Prince Paul Galitzin, Paris; March 10, 1875, Galitzin sale, Hotel Drouot, Paris, lot 64, sold for 1060 fr. 1881, John W. Wilson, Paris; March 14, 1881, Wilson sale, at his residence, Paris, lot 119, sold to Charles Sedelmeyer, Paris for fr. 1,100. Rodolphe Kann (b. 1845 - d. 1905), Paris [see note 2]; 1907, sold by the heirs of Rodolphe Kann to Duveen Brothers, Paris. Blakeslee Galleries, New York; sold by Blakeslee to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession Date: November 1, 1917) NOTES: [1] See A. van der Willigen, Les Artistes de Harlem (Harlem and The Hague, 1870), p. 307. This painting and its pendant, MFA accession no. 17.3270, have an identical provenance and were included in the same lot in the 1874 sale. [2] Wilhelm von Bode, Catalogue of the Rodolphe Kann Collection (Paris, 1907), cat. no. 90. When and how the portraits came into his possession is not known, however, as they are not mentioned in earlier publications of the Kann collection.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    80.4 x 65.1 cm (31 5/8 x 25 5/8 in.)

    Accession Number

    17.3271

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Day before Parting

    1862
    Jozef Israëls (Dutch, 1824–1911)

    Description

    Van Gogh, trained as a minister, was always aware of the moral element in any work of art. Thinking of artists whom he greatly admired, he wrote to his brother that “in Millet, in Jules Breton, and in Jozef Israels, the precious pearl, the human soul, is even more in evidence and better expressed, in a noble, worthier, & if you will allow me, more evangelical tone.” This moving image by Israels depicts the grief of a fisherman’s widow on the day before his burial.

    Inscription

    Lower left: Jozef Israels - 1862

    Provenance

    Possibly by 1862, from the artist to Joss Rherr von Rhude, Utrecht, Netherlands; 1875, sold by the Rhude estate to James Staats Forbes (d. 1905), London, England; 1904 or 1905, possibly sold at Forbes estate sale to A. Preyer (dealer), The Hague, Netherlands; possibly by 1905, Roland Crocker Lincoln (d. 1906 ?); 1918, possibly by inheritance to his wife Alice N. Lincoln, Stoneleigh, Forest Hills, NY; 1918, gift of Alice N. Lincoln to the MFA. (Accession Date: June 6, 1918)

    Credit Line

    Gift of Alice N. Lincoln

    Details

    Dimensions

    102.5 x 126.0 cm (40 3/8 x 49 5/8 in.)

    Accession Number

    18.278

    Medium or Technique

    Oil on canvas

    Not On View

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  • Harbor by Moonlight

    1871
    Johan Barthold Jongkind (Dutch, 1819–1891)

    Description

    Inscription

    Lower right: Jongkind 1871

    Provenance

    Bernheim-Jeune, Paris. Aimé Diot, Paris. By 1888 Henry C. Angell, Boston; 1911, by inheritance to his wife, Martha B. Angell, Boston; 1919, gift of Martha B. Angell to the MFA. (Accession Date: March 20, 1919)

    Credit Line

    The Henry C. and Martha B. Angell Collection

    Details

    Dimensions

    34 x 46.0 cm (13 3/8 x 18 1/8 in.)

    Accession Number

    19.95

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Resurrection of Christ (recto); The Instruments of the Passion (verso)

    Unidentified artist, Dutch, first half 16th century (Dutch)

    Description

    Provenance

    1920, John Ellerton Lodge (b. 1878 - d. 1942), Boston; 1920, gift of John Ellerton Lodge to the MFA [see note 1]. (Accession Date: September 2, 1920) NOTES: [1] The painting was given in the name of his brother, George Cabot Lodge.

    Credit Line

    Gift of George Cabot Lodge

    Details

    Dimensions

    87.5 x 37.1 cm (34 1/2 x 14 5/8 in.)

    Accession Number

    20.860

    Medium or Technique

    Oil on panel

    Not On View

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  • Huntresses Resting

    Livio Mehus (Flemish (active in Florence), 1630–1691)

    Description

    Provenance

    1921, purchased by the MFA. (Accession Date: April 21, 1921)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    68.6 x 52.4 cm (27 x 20 5/8 in.)

    Accession Number

    21.751

    Medium or Technique

    Oil on canvas

    Not On View

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  • Wrestlers in a Landscape

    Livio Mehus (Flemish (active in Florence), 1630–1691)

    Description

    Provenance

    1921, purchased by the MFA. (Accession Date: April 21, 1921)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    67.9 x 52.7 cm (26 3/4 x 20 3/4 in.)

    Accession Number

    21.752

    Medium or Technique

    Oil on canvas

    Not On View

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  • Dante and Beatrice

    1851
    Ary Scheffer (Dutch (active in France), 1795–1858)

    Description

    Beatrice, the Italian poet Dante’s beloved, serves as his guide through Paradise in his epic poem, The Divine Comedy (1321). The verses from the poem that Scheffer illustrates are written on the frame and translate as follows: “And, of a sudden, meseemed that day was added / unto day, as though he who hath the power, / had adorned heaven with a second sun. Beatrice was standing with her eyes all fixed / upon the eternal wheels, and I fixed my sight / removed from there above, on her.”

    Inscription

    Lower left: Arij Scheffer

    Provenance

    By 1851, commissioned by and sold to Charles C. Perkins, Boston; by 1921, by inheritance to the Perkins's heirs; 1921, sold by Perkins' heirs to the MFA for $1600. (Accession Date: June 2, 1921)

    Credit Line

    Seth K. Sweetser Fund

    Details

    Dimensions

    180 x 99 cm (70 7/8 x 39 in.)

    Accession Number

    21.1283

    Medium or Technique

    Oil on canvas

    Not On View

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  • Interior of Antwerp Cathedral at Night

    1638
    Pieter Neeffs (Flemish, about 1578–1657 to 1661)

    Description

    Inscription

    Lower right, on base of pier: P. NEFS. / 1.6.3.8

    Provenance

    By 1921 William Sturgis Bigelow (Boston, MA, USA); 1921 - Boston, MA, USA. Museum of Fine Arts (gift of Bigelow) ( Accession date: July 7, 1921)

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    39.3 x 49.8 cm (15 1/2 x 19 5/8 in.)

    Accession Number

    21.1456

    Medium or Technique

    Oil on panel

    Not On View

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  • Girl Tending Cows

    Richard Burnier (Dutch (active in Germany), 1826–1884)

    Description

    Inscription

    Lower right: R. Burnier 7.5

    Provenance

    By 1922 Henry Grew Crosby; 1922 - Boston, MA, USA. Boston Museum of Fine Arts (gift of Crosby) (Accession date: May 15, 1922)

    Credit Line

    Gift of Henry Grew Crosby

    Details

    Dimensions

    72.4 x 101.6 cm (28 1/2 x 40 in.)

    Accession Number

    22.586

    Medium or Technique

    Oil on canvas

    Not On View

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  • Winter Landscape with Sheep

    Anton Mauve (Dutch, 1838–1888)

    Description

    Inscription

    Lower right: A. Mauve f

    Provenance

    1922, bequest of Miss Ellen Gray. (Accession Date: May 18, 1922)

    Credit Line

    Bequest of Miss Ellen Gray

    Details

    Dimensions

    108.6 x 86.4 cm (42 3/4 x 34 in.)

    Accession Number

    22.587

    Medium or Technique

    Oil on canvas

    Not On View

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  • Street in Amersfoort, Holland

    Adrianus Eversen (Dutch, 1818–1897)

    Description

    Inscription

    Lower left: A Eversen; Reverse: A Eversen / 1857

    Provenance

    By 1922 Mrs. Ellen Page Hall (Cambridge, MA, USA) [address in 1917: 3 Hilliard St., Cambridge, MA; wife of John R. Hall]; 1922 - Boston, MA, USA. Museum of Fine Arts (gift of Hall) (Accession date: July 20, 1922)

    Credit Line

    Gift of Mrs. Ellen Page Hall

    Details

    Dimensions

    54 x 69.5 cm (21 1/4 x 27 3/8 in.)

    Accession Number

    22.631

    Medium or Technique

    Oil on canvas

    Not On View

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  • Mid-day Meal

    Johannes Albert Neuhuys (Dutch, 1844–1914)

    Description

    Inscription

    Lower left: Alb. Neuhuijs

    Provenance

    By 1902, A. Preyer, Den Haag, The Netherlands; October 13, 1902, sold by Preyer to M. Knoedler and Co., London, Paris, and New York (stock no. 10001); 1902, sold by Knoedler to Walter G. Oakman (b. 1864 - d. 1922), New York; March 7, 1906, sold by Walter G. Oakman to Knoedler, New York (stock no. 11017) [see note 1]; 1907, sold by Knoedler to Ernest Wadsworth Longfellow (b. 1845 - d. 1921), Boston; 1923, bequeathed by Longfellow to the MFA. (Accession Date: November 1, 1923) NOTES: [1] See Getty Provenance Index, M. Knoedler and Co. Records, PI record numbers K-9685 (stock book 5, no. 10001, p. 71) and K-14031 (stock book 5, no. 11017, p. 123). www.getty.edu/research/tools/provenance

    Credit Line

    Bequest of Ernest Wadsworth Longfellow

    Details

    Dimensions

    55.9 x 45.4 cm (22 x 17 7/8 in.)

    Accession Number

    23.464

    Medium or Technique

    Oil on panel

    Not On View

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  • Rotterdam Harbor

    1907
    Johann Hendrik van Mastenbroek (Dutch, 1875–1945)

    Description

    Inscription

    Lower right: J.H.v. Mastenbroek, 1907.

    Provenance

    With Arthur Tooth and Sons, London, Paris, and New York; sold by Tooth to Ernest Wadsworth Longfellow (b. 1845 - d. 1921), Boston [see note 1]; 1923, bequeathed by Longfellow to the MFA. (Accession Date: November 1, 1923) NOTES: [1] unable to find in Tooth stock records

    Credit Line

    Bequest of Ernest Wadsworth Longfellow

    Details

    Dimensions

    64.5 x 90.5 cm (25 3/8 x 35 5/8 in.)

    Accession Number

    23.471

    Medium or Technique

    Oil on canvas

    Not On View

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  • Stream through the Forest

    1872
    César de Cock (Belgian, 1823–1904)

    Description

    Inscription

    Lower right: Cesar De Cock / 1879

    Provenance

    By 1880, Ernest Wadsworth Longfellow (b. 1845 - d. 1921), Boston; 1923, bequeathed by Longfellow to the MFA. (Accession Date: November 1, 1923)

    Credit Line

    Bequest of Ernest Wadsworth Longfellow

    Details

    Dimensions

    43.8 x 64.5 cm (17 1/4 x 25 3/8 in.)

    Accession Number

    23.484

    Medium or Technique

    Oil on canvas

    Not On View

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  • Seaweed Gatherer

    Anton Mauve (Dutch, 1838–1888)

    Description

    Inscription

    Lower right: A Mauve

    Provenance

    February 9, 1874, acquired in The Hague by Goupil et Cie., Paris (stock no. 8757); September 18, 1878, sold by Goupil to Thomas Gold Appleton (b. 1812 - d. 1884), Boston [see note]; to his nephew, Ernest Wadsworth Longfellow (b. 1845 - d. 1921), Boston; 1923, bequest of Ernest Wadsworth Longfellow to the MFA. (Accession Date: November 1, 1923) NOTE: Goupil et Cie. records, Getty Provenance Index, PI Record No. G-11922 (stock book 7, no. 8757, p. 118). As "Plage et chariot."

    Credit Line

    Bequest of Ernest Wadsworth Longfellow

    Details

    Dimensions

    21.6 x 29.5 cm (8 1/2 x 11 5/8 in.)

    Accession Number

    23.492

    Medium or Technique

    Oil on panel

    Not On View

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  • Interior of a Church

    Johannes Bosboom (Dutch, 1817–1891)

    Description

    Inscription

    Lower left: Bosboom

    Provenance

    By 1923, David P. Kimball, d. 1923, Boston, MA; 1923, bequeathed by David P. Kimball to the MFA. (Accession Date: November 1, 1923)

    Credit Line

    Bequest of David P. Kimball in memory of his wife Clara Bertram Kimball

    Details

    Dimensions

    79.7 x 66.4 cm (31 3/8 x 26 1/8 in.)

    Accession Number

    23.520

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Girl in Frisian Costume Holding a Rose and a Basket of Cherries

    Unidentified artist, Dutch, second quarter 17th century (Dutch)

    Description

    Provenance

    Clara Bertram Kimball (b. 1838), Boston; by inheritance to her husband, David Pulsifer Kimball (b. 1833 - d. 1923), Boston; 1923, bequeathed by David P. Kimball to the MFA [see note 1]. (Accession Date: November 1, 1923) NOTES: [1] In 1923 David Kimball bequeathed forty paintings to the MFA in memory of his wife, Clara Bertram Kimball. He noted in his will that these were "from the collection made by her and bequeathed to me."

    Credit Line

    Bequest of David P. Kimball in memory of his wife Clara Bertram Kimball

    Details

    Dimensions

    92 x 70.2 cm (36 1/4 x 27 5/8 in.)

    Accession Number

    23.525

    Medium or Technique

    Oil on panel

    Not On View

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  • Return of the Flock

    Anton Mauve (Dutch, 1838–1888)

    Description

    Inscription

    Lower right: Atelier / A Mauve

    Provenance

    By 1903, Eben D. Jordan, Boston, MA; by 1924, by inheritance to Robert Jordan, Boston, MA; 1924, gift of Robert Jordan to the MFA. (Accession Date: April 17, 1924)

    Credit Line

    Gift of Robert Jordan from the collection of Eben D. Jordan

    Details

    Dimensions

    63.8 x 47 cm (25 1/8 x 18 1/2 in.)

    Accession Number

    24.222

    Medium or Technique

    Oil on canvas

    Not On View

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  • Horses Drinking

    Anton Mauve (Dutch, 1838–1888)

    Description

    Inscription

    Lower left: A Mauve

    Provenance

    Collection of Eben D. Jordan, Boston, MA; by 1924, by inheritance to Robert Jordan, Boston, MA; 1924, gift of Robert Jordan to the MFA. (Accession Date: April 17, 1924)

    Credit Line

    Gift of Robert Jordan from the collection of Eben D. Jordan

    Details

    Dimensions

    25.4 x 33 cm (10 x 13 in.)

    Accession Number

    24.229

    Medium or Technique

    Oil on panel

    Not On View

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  • Farm in Holland

    Jacobus Hendrikus Maris (Dutch, 1837–1899)

    Description

    Inscription

    Lower right: J. Maris

    Provenance

    By 1903, Eben D. Jordan, Boston, MA; by 1924, by inheritance to Dorothy Jordan Robinson; 1924, gift of Dorothy Jordan Robinson to the MFA. (Accession Date: April 17, 1924)

    Credit Line

    Gift of Dorothy Jordan Robinson, from the Collection of Eben D. Jordan

    Details

    Dimensions

    46.7 x 54 cm (18 3/8 x 21 1/4 in.)

    Accession Number

    24.231

    Medium or Technique

    Oil on canvas

    Not On View

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  • Man on a White Horse

    Evert Pieters (Dutch, 1856–1932)

    Description

    Inscription

    Lower right: E. Pieters

    Provenance

    About 1902/1904, Frans Buffa & Zonen, Amsterdam [see note 1]; about 1902/1904, sold by Buffa to C. W. Kraushaar Galleries, New York; sold by Kraushaar to Robert J. Edwards (d. 1924), Boston; 1925, bequest of Robert J. Edwards to the MFA. [see note 2] (Accession Date: April 2, 1925) NOTES: [1] The provenance was provided by Antoinette Kraushaar in a letter to Charles Cunningham of the MFA (January 3, 1940). She noted that Buffa was an agent for Pieters. [2] Siblings Robert (d. 1924), Hannah (d. 1929), and Grace (d. 1938) Edwards were each collectors of art, who seemed to have had joint ownership of the objects in their possession. When Robert died, he bequeathed his collection to the MFA in memory of their mother, Juliana Cheney Edwards. In 1925, after his death, part of his collection was acquired by the Museum, and the remainder went to his sisters, with the understanding that the objects would ultimately be left to the MFA in the collection begun in memory of their mother. The collections of Hannah and Grace were left to the MFA in 1939, following Grace's death. It is not always possible to determine exactly which paintings each sibling had owned.

    Credit Line

    Juliana Cheney Edwards Collection

    Details

    Dimensions

    38.7 x 23.5 cm (15 1/4 x 9 1/4 in.)

    Accession Number

    25.117

    Medium or Technique

    Oil on panel

    Not On View

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  • River Landscape with Cattle

    Willem Maris (Dutch, 1844–1910)

    Description

    Inscription

    Lower right: Willem Maris

    Provenance

    With A. Buffa and Sons, Amsterdam, The Netherlands. With C. W. Kraushaar Galleries, New York, NY. By 1924, Robert J. Edwards (d. 1924), Boston; 1925, bequest of Robert J. Edwards to the MFA. [see note 1] (Accession Date: April 2, 1925) NOTES: [1] Siblings Robert (d. 1924), Hannah (d. 1929), and Grace (d. 1938) Edwards were each collectors of art, who seemed to have had joint ownership of the objects in their possession. When Robert died, he bequeathed his collection to the MFA in memory of their mother, Juliana Cheney Edwards. In 1925, after his death, part of his collection was acquired by the Museum, and the remainder went to his sisters, with the understanding that the objects would ultimately be left to the MFA in the collection begun in memory of their mother. The collections of Hannah and Grace were left to the MFA in 1939, following Grace's death. It is not always possible to determine exactly which paintings each sibling had owned.

    Credit Line

    Juliana Cheney Edwards Collection

    Details

    Dimensions

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

    Accession Number

    25.118

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Woman

    1581
    Frans Pourbus, the Elder (Netherlandish, 1545–1581)

    Description

    Inscription

    AE (interlocked) TA (interlocked) 19 upper right; dated 1581 upper left

    Provenance

    By 1733, gallery of the Princes of Liechtenstein, Vienna [see note]; 1918, removed from the gallery and taken to Schloss Valtice (Feldsberg), present-day Czech Republic; 1922, sold by the Princes of Liechtenstein to Glückselig (dealer), Vienna. William Sturgis Bigelow (b. 1850 - d. 1926), Boston; 1927, bequest of William Sturgis Bigelow to the MFA. (Accession Date: March 22, 1927) NOTE: Information about the movement of the painting within the Liechtenstein collection and its sale in 1922 was provided by Gustav Wilhelm, Director of the Liechtenstein Collection, in a letter to the MFA of December 30, 1955. The painting bears a seal from the Liechtenstein collection that dates from 1733. It was included in the Katalog der fürstlich Liechtensteinischen Bilder-Galerie im Gartenpalais der Rossau zu Wien (1885), cat. no. 77.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    142.9 x 78.4 cm (56 1/4 x 30 7/8 in.)

    Accession Number

    27.176

    Medium or Technique

    Oil on panel

    Not On View

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  • Aristocrats and Peasants in Landscapes (one of four overdoors)

    Unidentified artist, Flemish, first half 18th century (Flemish (or British (?)))

    Description

    Located on the eastern end of the north wall.

    Provenance

    Mid-18th century, Frederick Calvert, 6th Baron of Baltimore (d. 1771?), Woodcote Park, Epsom, Surrey, England [see note 1]. By 1927, Eben Howard Gay, Boston, MA; 1927, gift of Eben Gay to the MFA. (Accession Date: September 8, 1927) NOTES: [1] From the drawing room. The paintings were not done expressly for this room, but fitted into design by Francis Brerewood, who modified portions of Woodcote Park for Lord Baltimore about 1753-55

    Credit Line

    Gift of Eben Howard Gay

    Details

    Dimensions

    55 x 113 cm (21 5/8 x 44 1/2 in.)

    Accession Number

    27.462b

    Medium or Technique

    Oil on canvas

    Not On View

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  • Aristocrats and Peasants in Landscapes (one of four overdoors)

    Unidentified artist, Flemish, first half 18th century (Flemish (or British (?)))

    Description

    Located on the eastern end of the south wall.

    Provenance

    Mid-18th century, Frederick Calvert, 6th Baron of Baltimore (d. 1771?), Woodcote Park, Epsom, Surrey, England [see note 1]. By 1927, Eben Howard Gay, Boston, MA; 1927, gift of Eben Gay to the MFA. (Accession Date: September 8, 1927) NOTES: [1] From the drawing room. The paintings were not done expressly for this room, but fitted into design by Francis Brerewood, who modified portions of Woodcote Park for Lord Baltimore about 1753-55

    Credit Line

    Gift of Eben Howard Gay

    Details

    Dimensions

    55 x 113 cm (21 5/8 x 44 1/2 in.)

    Accession Number

    27.462c

    Medium or Technique

    Oil on canvas

    Not On View

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  • Aristocrats and Peasants in Landscapes (one of four overdoors)

    Unidentified artist, Flemish, first half 18th century (Flemish (or British (?)))

    Description

    Located on the western end of the south wall.

    Provenance

    Mid-18th century, Frederick Calvert, 6th Baron of Baltimore (d. 1771?), Woodcote Park, Epsom, Surrey, England [see note 1]. By 1927, Eben Howard Gay, Boston, MA; 1927, gift of Eben Gay to the MFA. (Accession Date: September 8, 1927) NOTES: [1] From the drawing room. The paintings were not done expressly for this room, but fitted into design by Francis Brerewood, who modified portions of Woodcote Park for Lord Baltimore about 1753-55

    Credit Line

    Gift of Eben Howard Gay

    Details

    Dimensions

    55 x 113 cm (21 5/8 x 44 1/2 in.)

    Accession Number

    27.462d

    Medium or Technique

    Oil on canvas

    Not On View

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  • Aristocrats and Peasants in Landscapes (one of four overdoors)

    Unidentified artist, Flemish, first half 18th century (Flemish (or British (?)))

    Description

    Located on the western end of the north wall.

    Provenance

    Mid-18th century, Frederick Calvert, 6th Baron of Baltimore (b. 1731 - d. 1771), Woodcote Park, Epsom, Surrey, England [see note 1]. By 1927, Eben Howard Gay, Boston, MA; 1927, gift of Eben Howard Gay to the MFA. (Accession Date: September 8, 1927) NOTES: [1] From the drawing room. The paintings were not done expressly for this room, but fitted into design by Francis Brerewood, who modified portions of Woodcote Park for Lord Baltimore about 1753-55.

    Credit Line

    Gift of Eben Howard Gay

    Details

    Dimensions

    55 x 113 cm (21 5/8 x 44 1/2 in.)

    Accession Number

    27.462e

    Medium or Technique

    Oil on canvas

    Not On View

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  • Still Life with Goblet and Fruit

    1656
    Jan Jansz. van de Velde (Dutch, 1619 or 1620–1662)

    Description

    A member of a prominent family of artists, Jan van de Velde distinguished himself among still-life painters of the mid-seventeenth century for his simple, yet elegant compositions featuring a few carefully chosen objects—here, a lemon, roemer (goblet) and imported wan-li porcelain bowl. The origins of such masterfully balanced still lifes can be found in Van de Velde’s native Haarlem. In this city, Pieter Claesz and Willem Heda pioneered the tradition of depicting simple Dutch meals monochromatically. Van de Velde remained faithful to the studied, objective quality of his predecessors’ work, closely observing the unique manner in which light responded to diverse surfaces, such as glass, porcelain, or fruit. By mid-century, the artist had moved to Amsterdam, which, stimulated by Willem Kalf’s arrival in 1650, had become a center for still-life painting. Whereas Kalf’s colorful compositions celebrated the opulence of exquisite objects, Van de Velde’s canvases were more austere. Kalf’s dramatic use of light and warmer tonalities ultimately influenced Van de Velde’s later work.

    Inscription

    Lower right: Jan Vande Velde ANO / 1656 / fecit

    Provenance

    Henry Jacob Bigelow (b. 1818 - d. 1890), Boston, MA; by descent to William Sturgis Bigelow (b. 1850 - d. 1926), Boston; by 1927, from William Bigelow to an anonymous donor; 1927, gift by exchange from an anonymous donor to the MFA. (Accession Date: September 8, 1927)

    Credit Line

    Anonymous gift, by exchange

    Details

    Dimensions

    37.5 x 34.9 cm (14 3/4 x 13 3/4 in.)

    Accession Number

    27.465

    Medium or Technique

    Oil on canvas

    Not On View

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  • Artist's Studio

    1706
    Balthazar van den Bossche II (Flemish, 1681–1715)

    Description

    Inscription

    Lower right: J. v. Bosch f. 1706

    Provenance

    By 1764 (?), Lucas Stamp, Gent, Belgium [see note 1]. Collection of Walter Cooper Green; by 1928, by inheritance to his daughter, Sarah Hammond Blane; 1928, bequeathed by Sarah Hammond Blane to the MFA. (Accession Date: November 1, 1928) NOTES: [1] Duverger says the owner was probably Schamp, not Stamp. Source: Decamps

    Credit Line

    Bequest of Sarah Hammond Blane in memory of her father, Walter Cooper Greene

    Details

    Dimensions

    59.1 x 84.8 cm (23 1/4 x 33 3/8 in.)

    Accession Number

    28.857

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Deposition of Christ

    Goswin van der Weyden (Flemish, about 1465–after 1538)

    Description

    Provenance

    By 1929, J. Homer Pierce; 1929, gift of J. Homer Pierce (as follower of Rogier van der Weyden) to the MFA. (Accession Date: February 7, 1929)

    Credit Line

    Gift of J. Homer Pierce

    Details

    Dimensions

    81 x 84.5 cm (31 7/8 x 33 1/4 in.)

    Accession Number

    29.725

    Medium or Technique

    Oil on panel

    Not On View

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  • Sara van Bosschaert (version of 3/4-length portrait in the Prinsenhof, Delft)

    1619
    Workshop of Michiel Jansz. van Miereveld (Dutch, 1567–1641)

    Description

    Inscription

    A Etatis. 56. / A. 1619

    Provenance

    Daniel Sargent Curtis (b. 1825 - d. 1908), Boston and Venice [see note 1]; probably from Curtis to Frederic Porter Vinton (b. 1846 - d. 1911), Boston [see note 2]; 1911, Annie Pierce (Mrs. Frederic Porter) Vinton (b. 1855 - d. 1929), Boston; 1929, bequeathed by Mrs. Annie P. Vinton to the MFA. (Accession Date: June 6, 1929) NOTES: [1] According to a letter from Mrs. Vinton to Keith MacLeod (1927; in the MFA curatorial files). Mrs. Vinton first lent the painting to the MFA in 1911. [2] Painter Frederic Porter Vinton almost certainly knew Daniel Sargent Curtis and his son, Ralph Wormeley Curtis (b. 1854 - d. 1922), and probably acquired the painting directly from one of them.

    Credit Line

    Bequest of Mrs. Annie P. Vinton in memory of Frederic Porter Vinton

    Details

    Dimensions

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

    Accession Number

    29.975

    Medium or Technique

    Oil on panel

    Not On View

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  • Isabella, Lady de La Warr

    about 1638
    Anthony van Dyck (Flemish, 1599–1641)

    Description

    While in England as court painter to Charles I, Van Dyck executed refined portraits for the local aristocracy. Isabella, pictured here, was the daughter of diplomat Thomas Edmonds and wife of Henry, the 4th Lord de la Warr, also a diplomat and treasurer to Charles I. Van Dyck likely modeled her portrait on that of his slightly earlier Anne Killigrew, Mrs. Kirke (Huntington Art Gallery, San Marino, CA). In both paintings the sumptuously dressed women gesture to a rosebush—a possible allusion to love.

    Provenance

    About 1638, Isabella, Lady De La Warr (sitter; b. 1607 - d. 1677?), Buckhurst Park, Sussex, England; by descent within the De La Warr family, Buckhurst Park [see note 1]; sold by the De La Warr family to an unknown private collection [see note 2]; February 10-11, 1919, anonymous sale ("by order of an Executor"), American Art Association, New York, lot 81, sold for $1300 to M. Knoedler and Co., New York; December, 1919, sold by Knoedler to Colnaghi, London; to Otto C. H. Gutekunst, London [see note 3]; 1930, sold by Gutekunst to the MFA for $121,440. (Accession Date: May 1, 1930) NOTES: [1] The painting was lent by the Earl De La Warr to the British Institution in 1844 (no. 88) and 1857 (no. 5) and the Grosvenor Gallery in 1887 (no. 131). It was lent by Countess De La Warr to the National Portrait Exhibition, London, 1868 (no. 705). [2] The 1919 auction catalogue indicates that the painting had been "bought from the De La Warr family." [3] Getty Provenance Index, M. Knoedler and Co. Records, PI record no. K-13218 (stock book 6, no. 14599, p. 186). Gutekunst was a partner in the London gallery Colnaghi.

    Credit Line

    Harriet J. Bradbury Fund

    Details

    Dimensions

    Overall: 213.4 x 137.2 cm (84 x 54 in.)

    Accession Number

    30.445

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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  • Woman in a Window, Holding a Dead Fowl

    Dominicus van Tol (Dutch, about 1635–1676)

    Description

    Inscription

    Lower center, on parapet: D.V.TOL

    Provenance

    1890, Friedrich Paulig, Sommerfeld, Germany; May 19-20, 1890, Paulig sale, Heberle, Cologne, lot 85, sold for M 1410. Possibly by about 1919, George R. White (d. 1922), Boston [see note 1]; possibly passed by inheritance from White to his sister, Harriet J. White (Mrs. Frederick T.) Bradbury (d. 1930), Boston; 1930, bequest of Mrs. Harriet J. Bradbury to the MFA. (Accession Date: July 3, 1930) NOTES: [1] In 1922, George R. White bequeathed to his sister, Harriet J. Bradbury, his collection of pictures and other works of art. No itemized list of these works of art is known, but the collection was almost certainly formed by 1919, the date of his original will. When Mrs. Bradbury died in 1930 she left her art collection, including those items inherited from her brother, to the MFA. This painting was accessioned as "Woman with Fowl," by a Dutch artist of the 17th century.

    Credit Line

    Bequest of Mrs. Harriet J. Bradbury

    Details

    Dimensions

    41.6 x 30.2 cm (16 3/8 x 11 7/8 in.)

    Accession Number

    30.503

    Medium or Technique

    Oil on panel

    Not On View

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  • Margareta Snyders (Born de Vos)

    Attributed to Anthony van Dyck (Flemish, 1599–1641)

    Description

    Provenance

    By about 1799, Robert Vernon, England; By 1831 - 1866, Hon. George Vernon (d. 1866), by inheritance; 1866 - 1883, Augustus Henry Vernon, 6th Baron (d. 1883), by inheritance, Sudbury Hall, Derbyshire, England; 1883 - 1898, George William Henry Vernon, 7th Baron (d. 1898), by inheritance, Sudbury Hall, Derbyshire, England; 1898 - 1915, George Francis Augustus, Vernon, 8th Baron (d. 1915), by inheritance, Sudbury Hall, Derbyshire, England; 1915 - 1927, Francis Lawrance Vernon, 9th Baron William Venables-Vernon, by inheritance, Sudbury Hall, Derbyshire, England; 1927 - 1931(?), sold by Vernon to Asscher and Welker, London, England [see note 1]; 1931, sold by Asscher and Welcker to the MFA for $19,500. (Accession Date: April 2, 1931) NOTES: [1] Asscher and Welcker's address: 8 Duke Street, London

    Credit Line

    Maria Antoinette Evans Fund

    Details

    Dimensions

    52.1 x 45.4 cm (20 1/2 x 17 7/8 in.)

    Accession Number

    31.188

    Medium or Technique

    Oil on canvas

    Not On View

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  • Shepherd and Sheep on a Woodland Road

    Anton Mauve (Dutch, 1838–1888)

    Description

    Inscription

    Lower left: A Mauve f

    Provenance

    1891, James Staats Forbes (b. 1823 - d. 1904), London; December 11, 1891, sold in The Hague from the Forbes collection to Boussod, Valadon et Cie., Paris (stock no. 21870); September 1, 1892, sold by Boussod, Valadon et Cie. to M. Knoedler and Co., Paris and New York (stock no. 7147); November 3, 1892, sold by Knoedler to William C. Cotton, Brookline, MA [see note 2]; to his sister, Elizabeth A. Cotton, Brookline; 1933, gift of Elizabeth A. Cotton to the MFA. (Accession Date: March 2, 1933) NOTES: [1] Getty Provenance Index, Goupil et Cie. records, PI Record G-32138 (stock book 13, no. 21870, p. 66). [2] Getty Provenance Index, M. Knoedler and Co. records, PI Record no. K-7575 (stock book 4, no. 7147, p. 163).

    Credit Line

    William C. Cotton Collection

    Details

    Dimensions

    60.6 x 80.6 cm (23 7/8 x 31 3/4 in.)

    Accession Number

    33.323

    Medium or Technique

    Oil on canvas

    Not On View

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  • Bandits Leading Prisoners

    about 1646
    Jan Both (Dutch, about 1618–1652)

    Description

    Jan Both was one of the leading members of the second generation of seventeenth-century Dutch Italianate painters. The bandits in this view of the Italian countryside offer a vivid reminder of the dangers of seventeenth-century travel.

    Inscription

    Lower left on rock: JBoth. f. (J and B joined)

    Provenance

    About 1646, Clifford family, Amsterdam (original commission); November 10, 1762, Clifford and others sale, Hendrik de Leth, Amsterdam, lot 17, sold for 899 florins to Pierre Fouquet, Jr. (b. 1729 - d. 1800) with or for John Greenwood (b. 1727 - d. 1792) on behalf of Sir Lawrence Dundas (b. about 1710 - d. 1781), 1st Bt., Moor Park and London [see note 1]; May 31, 1794, posthumous Dundas sale, Greenwood, London, lot 34, sold for £504 to Thomas Dundas (b. 1741 - d. 1820), 1st Baron Dundas; until 1934, by descent within the family to the Marquess of Zetland, London [see note 2]; April 27, 1934, Marquess of Zetland sale, Christie's, London, lot 113, to Colnaghi, London and New York (stock no. A1808); 1934, sold by Colnaghi to the MFA for $1006. (Accession Date: October 4, 1934) NOTES: [1] See Denys Sutton, "The Dundas Pictures," Apollo, September 1967, pp. 207 and 211. John Greenwood wrote to Dundas in October, 1762, sending him a copy of the auction catalogue and recommending that he purchase the painting by Both. In 1763, he sent Sir Dundas an invoice for the Both and other paintings. According to the 1794 Dundas sale catalogue, the painting "was purchased from the Clifford family of Amsterdam, for whom it was painted." [2] Thomas Dundas, who bought back the picture at the 1794 posthumous sale of his father, had a son also named Lawrence Dundas (b. 1766 - d. 1839). The latter was created the 1st Earl of Zetland in 1838. His own grandson, again named Lawrence Dundas (b. 1844 - d. 1929), was the 1st Marquess of Zetland.

    Credit Line

    Seth K. Sweetser Fund

    Details

    Dimensions

    165.4 x 217.5 cm (65 1/8 x 85 5/8 in.)

    Accession Number

    34.239

    Medium or Technique

    Oil on canvas

    On View

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

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  • Portrait of a Boy

    Attributed to Jacob Ferdinand Voet (Flemish, 1639–about 1700)

    Description

    Provenance

    1935, Mary Thacher; 1935, gift of Miss Mary Thatcher to the MFA [see note 1]. (Accession Date: January 10, 1935) NOTES: [1] Accessioned as a work of the Franco-Flemish school.

    Credit Line

    Gift of Miss Mary Thacher

    Details

    Dimensions

    89.8 x 69.5 cm (35 3/8 x 27 3/8 in.)

    Accession Number

    35.3

    Medium or Technique

    Oil on canvas

    Not On View

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  • Postman Joseph Roulin

    1888
    Vincent van Gogh (Dutch (worked in France), 1853–1890)

    Description

    One of van Gogh’s closest friends and favorite sitters in Arles was the local postman, Joseph Roulin. While painting this work, van Gogh wrote to his brother, “I am now at work with another model, a postman in blue uniform, trimmed with gold, a big bearded face, very like Socrates.” Indeed, the modest postman has all the authority of an admiral. Van Gogh also painted several portraits of Madame Roulin (for example, MFA object no. 48.548), as well as images of their children, delighted, as he wrote, to depict “a whole family.”

    Provenance

    1889, given or left by the artist to Joseph and Marie Ginoux, Arles; July 9, 1897, sold by the Ginoux, through Henri Laget, to Ambroise Vollard (b. 1867 - d. 1939), Paris [see note 1]; probably September 1, 1897, sold by Vollard to Cornelis Hoogendijk (b. 1866 - d. 1911), The Hague [see note 2]; May 21-22, 1912, posthumous Hoogendijk sale, Frederik Muller, Amsterdam, lot 26, to Galerie Bernheim-Jeune, Paris (stock no. 19248) and Paul Cassirer, Inc., Berlin; 1916, sold by Cassirer to Carl Sternheim (b. 1878 - d. 1942) and Théa Sternheim (b. 1883 - d. 1971), La Hulpe, Belgium [see note 3]; February 11, 1919, Théa Sternheim sale, Frederik Muller, Amsterdam, lot 8, not sold [see note 4]; until 1928, in the Sternheim collection [see note 5]; 1928, sold by Théa Sternheim, through Alfred Flechtheim, to the Galerie Étienne Bignou, Paris [see note 6]; 1928, sold by Bignou to M. Knoedler and Co., New York (stock no. A289) and Alex Reid and Lefèvre, Ltd., London [see note 7]; 1928, sold by Knoedler to Robert Treat Paine, 2nd (b. 1861 - d. 1943), Boston; 1935, gift of Robert Treat Paine, 2nd, to the MFA. (Accession Date: December 5, 1935) NOTES: [1] Although in 1888 van Gogh sent many paintings from Arles to his brother Theo in Paris, he retained the painting of the Postman Roulin. When the artist departed Arles for St. Rémy in May 1889, he left a number of paintings with his landlords the Ginoux -- though whether he intended to store them or leave them as gifts is not known. After his death the paintings were rediscovered and sold by the Ginoux through the agent Laget. See Walter Feilchenfeldt, By Appointment Only (London: Thames and Hudson, 2006), pp. 293-305. [2] Hoogendijk made at least seven visits to Vollard's gallery between 1897 and 1899. He is known to have purchased a large group of paintings by Van Gogh on September 1, 1897; he acquired further paintings by the artist in 1899. See Herbert Henkels, "Cézanne en Van Gogh in het Rijksmuseum voor Moderne Kunst in Amsterdam: de collectie van Cornelis Hoogendijk (1866-1911)," Bulletin van het Rijksmuseum 41 (1993): 274-275, n. 23 and Rebecca A. Rabinow, ed., Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde (exh. cat., Metropolitan Museum of Art, New York, 2006), pp. 57, 59 n. 38, and 223. According to Feilchenfeldt 2006 (as above, n. 1), p. 304, this painting was among those sold in September, 1897. [3] See Théa Sternheim, "Tagebücher, 1905-1927" (Mainz, 1995), pp. 181, 449. The picture was purchased in January of that year. [4] Only three paintings from the auction were sold; all the others, including the "Postman Joseph Roulin," were returned to the Sternheims. See Carl Sternheim, "Briefe: Briefwechsel mit Thea Sternheim, Dorothea und Klaus Sternheim" (Luchterhand, 1988), vol. 2, p. 759. [5] The painting was lent by Carl Sternheim to the exhibition "Ausstellung von Meisterwerken aus Privatsammlungen," Kunstmuseum Winterthur, Germany, August 20 - September 24, 1922. Following the exhibition, the painting - along with other works of art from the Sternheim collection - was deposited at the Kunstmuseum Winterthur. A letter from Heinz Keller, Curator, Kunstmuseum Winterthur to Angelica Rudenstine of the MFA (April 24, 1964), indicates that he did not know when the paintings were returned. However, the "Postman Joseph Roulin" was lent to the exhibition "Vincent van Gogh," Kunsthalle, Basel, March 27 - April 21, 1924 and Kunsthaus, Zurich, July 3 - August 10, 1924. In the catalogue it is said to be on deposit at Winterthur. Théa and Carl Sternheim divorced in 1927 and Théa retained possession of the painting. [6] See Théa Sternheim, "Erinnerungen" (Freiburg, 1995), p. 504. [7] According to letters from Duncan Macdonald of the Bignou Gallery (November 1, 1940) and G. Corcoran of Alex Reid and Lefèvre, Ltd. (April 30, 1964) in the MFA curatorial file. The galleries Bignou and Reid and Lefevre were associated, and shared a stock of paintings.

    Credit Line

    Gift of Robert Treat Paine, 2nd

    Details

    Dimensions

    81.3 x 65.4 cm (32 x 25 3/4 in.)

    Accession Number

    35.1982

    Medium or Technique

    Oil on canvas

    On View

    Sidney and Esther Rabb Gallery (Gallery 255)

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  • Carter on a Country Road

    1867
    Anton Mauve (Dutch, 1838–1888)

    Description

    Soon after van Gogh came to study informally with his cousin Anton Mauve, he wrote to his brother, “Mauve has taught me to see so many things that I used not to see.” Mauve was van Gogh’s mentor and protector when the young artist first lived in The Hague, where Mauve was one of the most important working artists. But Vincent’s liaison with a homeless prostitute turned Mauve against him, and the artists parted company.

    Inscription

    Lower right: A Mauve

    Provenance

    Henry P. Kidder (b. 1823 - d. 1886), Boston; by inheritance to his son, Nathaniel Thayer Kidder (b. 1860 - d. 1938), Boston; 1938, bequest of Nathaniel T. Kidder to the MFA. (Accession Date: November 17, 1938)

    Credit Line

    Bequest of Nathaniel T. Kidder

    Details

    Dimensions

    61.3 x 91.2 cm (24 1/8 x 35 7/8 in.)

    Accession Number

    38.1419

    Medium or Technique

    Oil on canvas

    Not On View

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  • Isabella Brant as Glycera

    Follower of Peter Paul Rubens (Flemish, 1577–1640)

    Description

    Provenance

    By 1874, Rev. I. Salter, The Ridge, Chipping Sodbury, Avon, England [see note 1]; from Salter (?) to Edward Burges, The Ridge, Chipping Sodbury, Avon; by descent (?) to Miss Dora Burges, The Ridge, Chipping Sodbury, Avon. Mrs. Carfax Liddon, Old Cleve, Washford, Somerset, England. June 22, 1938, anonymous sale, Sotheby's, London, lot 92, to Roland and Delbanco, London (their stock no. 1731); 1938, sold by Roland and Delbanco, through Dr. Karl Lilienfeld, New York, to the MFA for $26,000. (Accession Date: November 11, 1938) NOTES: [1] Date from Roland and Delbanco stock record.

    Credit Line

    Seth K. Sweetser Fund

    Details

    Dimensions

    64.2 x 49.2 cm (25 1/4 x 19 3/8 in.)

    Accession Number

    38.1616

    Medium or Technique

    Oil on panel

    Not On View

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  • Church of Saint Cecilia, Cologne

    about 1670–80
    Gerrit Adriaensz. Berckheyde (Dutch, 1638–1698)

    Description

    Inscription

    Lower right: G Berck Heyde / [...]

    Provenance

    1865, Sergey Mikhailovich Golitsyn (b. 1843), Museum of Western European Painting of Prince S. M. Golitsyn, Moscow; 1886, museum collection sold by Golitsyn to the State Hermitage Museum, St. Petersburg (inventory no. 2410) [see note 1]; 1929, deaccessioned by the Hermitage and sold, probably to the Galerie Van Diemen, Berlin; 1930, sold by Van Diemen to M. Knoedler and Co., Paris and New York (stock no. A 1263) [see note 2]; 1938, sold by Knoedler to the MFA for $1650. (Accession Date: November 10, 1938) NOTES: [1] Information about the painting's pre-1930 provenance was kindly provided by Irina Sokolova, Curator, State Hermitage Museum (e-mail correspondence, September 18, 2006). For more on the foundation of the Golitsyn Museum in 1865 and its sale in 1886, see R. P. Gray, "The Golitsyn and Kushelev-Bezborodko Collections and Their Role in the Evolution of Public Art Galleries in Russia," Oxford Slavonic Papers n.s., vol. 31 (1998): 51-67, esp. 55-56. [2] Information about the transaction between Van Diemen and Knoedler was provided by the Getty Research Institute.

    Credit Line

    Museum purchase with funds donated by Mrs. Charles Gaston Smith's Group

    Details

    Dimensions

    33 x 40.6 cm (13 x 16 in.)

    Accession Number

    38.1652

    Medium or Technique

    Oil on panel

    Not On View

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  • Artist in his Studio

    about 1628
    Rembrandt Harmensz. van Rijn (Dutch, 1606–1669)

    Description

    In this small painting, the young Rembrandt seems to represent the daunting moments of conception and decision necessary to the creation of a work of art. An artist confronts his easel in a studio bare of everything except his essential tools. This drama, with its emphasis on thought rather than action, is intensified by the expressive use of light and shadow. The painting’s daring perspective is also important: the distant figure of the painter seems dwarfed by his work, looming large in the foreground.

    Provenance

    Chevalier Antoine de la Roque (b. 1672 - d. 1744), Paris; April, 1745, posthumous La Roque sale, Gersaint, Paris, lot 65, to Nelson. 1773, Le Favre and Jean Baptiste Pierre Le Brun (b. 1748 - d. 1813), Paris; January 11, 1773, Le Favre and Le Brun sale, Basan, Paris, lot 25. George Douglas (b. 1761 - d. 1827), 16th Earl of Morton and his wife, Susan Elizabeth Buller-Yarde-Buller (b. 1793 - d. 1849), Countess of Morton, Dalmahoy House, Kirknewton, Midlothian, Scotland [see note 1]; April 27, 1850, Countess of Morton sale, Christie's, London, lot 70, not sold [see note 2]; passed to the Countess of Morton's brother, John Buller-Yarde-Buller (b. 1799 - d. 1871), 1st Baron Churston, Lupton, Devonshire; until 1925, by descent within the family; June 26, 1925, Lord Churston and others sale, Christie's, London, lot 14, sold for £1417.10 to Zink, probably for Robert Langton Douglas (b. 1864 - d. 1951), London [see note 3]. By 1926, Zoë Oliver (Mrs. Henry S.) Sherman, Boston [see note 4]; 1938, gift of Zoë Oliver Sherman to the MFA. (Accession Date: December 31, 1938) NOTES: [1] In the 1926 Churston sale catalogue, the painting is said to be "formerly in the collection of the Right Hon. The Earl of Morton, at Dalmahoy, Kirknewton, Midlothian." The seller of the collection in 1850 was his (deceased) wife, the Dowager Countess of Morton. [2] The painting brought only six guineas when it was put up for auction in 1850. [3] Although published sale results give the purchaser as "Zink," Robert Langton Douglas is said to have acquired the painting by C. Hofstede de Groot, "Rembrandt's Painter in His Studio," Burlington Magazine 47, no. 272 (November, 1925): p. 265. [4] First published in her collection by W. R. Valentiner, "Two Early Self-Portraits by Rembrandt," Art in America 14 (1926): p. 118, fig. 1.

    Credit Line

    Zoe Oliver Sherman Collection given in memory of Lillie Oliver Poor

    Details

    Catalogue Raisonné

    Bredius 419; RRP A 18

    Dimensions

    Overall: 24.8 x 31.7cm (9 3/4 x 12 1/2in.)

    Accession Number

    38.1838

    Medium or Technique

    Oil on panel

    On View

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

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  • Homer Dictating to Scribes

    Aert de Gelder (Dutch, 1645–1727)

    Description

    The influence of Rembrandt, de Gelder’s teacher, is apparent in the artist’s expressionistic handling of paint and interest in the depiction of age and knowledge. However, de Gelder has expanded Rembrandt’s color palette and given additional emphasis to the specific gestures and poses of his figures. Note how the students bend intently over their writing desks, and the schoolmaster braces a shaking left hand against his cane.

    Inscription

    upper left: A[...]Ge[...]de[...]f

    Provenance

    Pieter Steijn, The Hague [see note 1]; by inheritance to his widow, Cornelia Schellinger Steijn, The Hague; October 7, 1783, Steijn sale, Rietmulder, The Hague, lot 65, sold for 21.5 fl. May 23, 1798, anonymous sale, Amsterdam, lot 67, to Berkenbosch for 26 fl. Maréchal Nicolas Jean de Dieu Soult (b. 1769 - d. 1851), duc de Dalmatie, Paris; May 17, 1852, posthumous Soult sale, Galerie Lebrun, Paris, lot 150, to Bonnefons for 85 fr. [see note 2]. Beaumont family, Paris [see note 3]; sold by Comte Beaumont to Arnold Seligmann, Rey and Co., Inc., New York; 1939, sold by Seligmann to the MFA for $6500. (Accession Date: January 12, 1939) NOTES: [1] For information on the eighteenth-century sales, see Karl Lilienfeld, Arent de Gelder: sein Leben und seine Kunst (The Hague, 1914), pp. 188-189, nos. 147-148 and Peter C. Sutton, catalogue entry in Rembrandt: A Genius and His Impact, by Albert Blankert (exh. cat. National Gallery of Victoria, Melbourne, 1997), p. 318, cat. no. 71. [2] The painting may have been bought in by the auctioneer, Bonnefons de Lavialle. It was attributed in the catalogue to the school of Rembrandt, entitled "Maître d'école." [3] According to correspondence from Paul M. Byk of Seligmann, Rey and Co. to the MFA (December 22, 1938), the painting had belonged to the Beaumont family "for at least two generations."

    Credit Line

    Ernest Wadsworth Longfellow Fund

    Details

    Dimensions

    101.0 x 127.6 cm (39 3/4 x 50 1/4 in.)

    Accession Number

    39.45

    Medium or Technique

    Oil on canvas

    Not On View

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  • Peeter Symons

    about 1630–32
    Anthony van Dyck (Flemish, 1599–1641)

    Description

    The portrait of Peeter Symons was painted after Van Dyck’s return to his native Antwerp in 1627, following his extended stay in Italy. While working on this painting, Van Dyck made changes to the composition—notice the silhouette of an outstretched arm to the sitter’s right. This pentimento indicates that the portrait is by Van Dyck, rather than a copy or version by an artist in his studio. The identity of the sitter is known from a late 17th-century engraving published by Jacobus de Man, inscribed Petrus Symen pictor Antverpiensis, or “Peter Symons, painter from Antwerp.” Symons entered the Antwerp painter’s guild as a master in 1629–30.

    Provenance

    Possibly about 1813/1815, acquired by Frederik Willem, Count of Limburg-Stirum (b. 1774 - d. 1858), Deventer and the Hague, the Netherlands [see note 1]; by descent to his granddaughter, Anna von Köckritz (born Countess of Limburg-Stirum) (b. 1839 - d. 1916), Wohlau, Poland and Berlin; 1890, sold by Anna von Köckritz to Francis Bartlett (b. 1836 - d. 1913), Boston; probably by descent to an anonymous donor, Boston; 1939, anonymous gift to the MFA. (Accession Date: May 11, 1939) NOTES: [1] When Anna von Köckritz sold the painting to Francis Bartlett in 1890, she attested that it had been in her family for about seventy or eighty years. It belonged to her grandfather, who she believed had bought the picture around 1813-1815.

    Credit Line

    Anonymous gift in memory of Francis Bartlett

    Details

    Dimensions

    114.6 x 95 cm (45 1/8 x 37 3/8 in.)

    Accession Number

    39.558

    Medium or Technique

    Oil on canvas

    Not On View

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  • Evangelist Writing

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

    Description

    Inscription

    Falsely signed, center right: Rembrandt f. 16 [canvas cut]

    Provenance

    Thomas Emmerson (dealer), London. Mrs. Hall, London. Thomas Humphry Ward (b. 1845 - d. 1926), London [see note 1]. 1897, Sedelmeyer Gallery, Paris [see note 2]. 1905, Lawrie and Co., London; January 28, 1905, Lawrie sale, Christie's, London, lot 101, bought in by Lawrie at £2205. 1909, Sulley and Co., London [see note 3]. Possibly James Stillman (b. 1850 - d. 1918), New York; possibly by inheritance to his son, Charles Chauncey Stillman (b. 1877 - d. 1926), New York; February 3, 1927, posthumous Stillman sale, American Art Association, New York, lot 26, sold for $78,000 to John Ringling, New York and Sarasota, FL; 1939, sold by the estate of John Ringling to the MFA for $85,000. (Accession Date: May 11, 1939) NOTES: [1] Early provenance information is taken from C. Hofstede de Groot, A Catalogue Raisonné of the Most Eminent Dutch Painters of the Seventeenth Century, trans. Edward Hawke (London, 1916), vol. 6, pp. 126-127, cat. no. 183, and has not been verified. The painting is also said to have been exhibited at Manchester, 1857. A Rembrandt, "Young Man in a Turban" was lent to Manchester in this year, but it is unlikely to have been the MFA painting. It was lent by Robert Napier, and -- as this painting was described in his collection catalogue of 1865 -- it measured 34 x 30 inches, was signed and dated 1642, and did not otherwise match the description of the MFA canvas. [2] "100 Paintings by Old Masters" (Paris: Sedelmeyer Gallery, 1897), p. 40, cat. no. 33. [3] W. R. Valentiner, Rembrandt: Die Meisters Gemälde, 3d ed. (Stuttgart and Leipzig, 1909), p. 458.

    Credit Line

    Francis Bartlett Donation of 1912

    Details

    Catalogue Raisonné

    Bredius 619

    Dimensions

    104.5 x 84.5 cm (41 1/8 x 33 1/4 in.)

    Accession Number

    39.581

    Medium or Technique

    Oil on canvas

    Not On View

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  • View of Alkmaar

    about 1675–80
    Jacob Isaacksz. van Ruisdael (Dutch, 1628 or 1629–1682)

    Description

    In the late 1660s and 70s Ruisdael produced a number of small-scale panoramic landscapes of his native Haarlem and the nearby cities of Bloemendaal and Alkmaar. Viewed from a high vantage point, Alkmaar’s imposing Gothic Laurenskerk—Church of St. Lawrence, identified by its squat spire—can be seen on the horizon. The large building surrounded by a copse of trees in the left middle ground may be an allusion to Egmond Castle, which had been destroyed by the Spanish in 1574. The figures and dogs in the lower left foreground add visual interest to the landscape and provide a sense of scale.

    Inscription

    Lower left: Ruisdael

    Provenance

    Eugène de Beauharnais (b. 1781 - d. 1824), 1st Duke Leuchtenberg, Milan and Munich [see note 1]; by descent within the family to Georg, 5th Duke Leuchtenberg (b. 1872 - d. 1929), St. Petersburg and Seeon Castle, Bavaria, Germany [see note 2]. 1939, with Hans Gronau (b. 1904 - d. 1951), London; 1939, sold by or through Gronau to Arnold Seligmann, Rey and Co., Paris and New York [see note 3]; 1939, sold by Seligmann Rey and Co. to the MFA for $15,000. (Accession Date: December 14, 1939) NOTES: [1] "Catalogue des Tableaux de la Galerie de son Altesse Royale, Monsieur le Duc de Leuchtenberg à Munich" (Munich, 1825), p. 41. cat. no. 108. [2] This painting was not included in the Georg von Leuchtenberg sale held at Helbing, Munich, in 1934. [3] Indicated by correspondence from Gronau to W. G. Constable of the MFA (August 11, 1939). The reverse of the painting's stretcher has a French shipping label bearing Gronau's name and "A[rnold] S[eligmann] Rey."

    Credit Line

    Ernest Wadsworth Longfellow Fund

    Details

    Dimensions

    44.5 x 43.5 cm (17 1/2 x 17 1/8 in.)

    Accession Number

    39.794

    Medium or Technique

    Oil on canvas

    On View

    Leo and Phyllis Beranek Gallery (Gallery 243)

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  • Mulay Ahmad

    about 1609
    Peter Paul Rubens (Flemish, 1577–1640)

    Description

    This painting is a free copy after a lost portrait by Jan Cornelisz. Vermeyen (1500– 1559) that was probably in Rubens’s own collection. Therefore, Mulay Ahmad had died many years before Rubens painted him. Though in fact a brutal leader, the Berber King of Tunis was for Rubens an idealized, exotic champion of Christianity whose image later served as a model for the Black King in several of Rubens’s images of the Adoration of the Magi.

    Provenance

    Until 1640, the artist [see note 1]. Jacques Jean de Raedt (b. 1757 - d. 1838), Mechelen, Belgium [see note 2]. William Waldegrave (b. 1753 - d. 1825), 1st Baron Radstock, Longhill Castle, Wiltshire and Coleshill, Berkshire, England; May 12, 1826, posthumous Radstock sale, Christie's, London, lot 23, to Christianus Johannes Nieuwenhuys (b. 1775 - d. 1837), Amsterdam, for £136.10; May 11, 1833, Nieuwenhuys sale, Christie's, London, lot 106, bought in. 1834, Colonel Bird. 1846, anonymous sale, LeRoy, Brussels [see note 3]. Arthur Wellesley (b. 1769 - d. 1852), 1st Duke of Wellington, London. 1870, Marquis Guy du Blaisel (d. 1870), Paris; March 16-17, 1870, posthumous Blaisel sale, Hôtel Drouot, Paris, lot 110, bought in; May 17-18, 1872, posthumous Blaisel sale, Christie's, London, lot 147, bought in [see note 4]. 1889, E. Secrétan, Paris; July 1- 4, 1889, Secrétan sale, Galerie Sedelmeyer, Paris, lot 159, to Charles Sedelmeyer (b. 1837 - d. 1925), Paris, for 2600 fr. By 1904, John Wanamaker (b. 1838 - d. 1922), Philadelphia [see note 5]. By 1939, Paul Drey, New York; 1940, sold by Paul Drey to the MFA for $8650. (Accession Date: January 11, 1940) NOTES: [1] This painting can be identified with one of the two "portraits of a King of Tunisia after Antonius Moro," that are listed (nos. 148, 149) in the 1640 posthumous inventory of Rubens's possessions. Rubens's portraits of Mulay Ahmad (the MFA painting) and Mulay Hasan (now lost) were in fact made after originals by Jan Cornelisz. Vermeyen. For a full discussion, see Julius S. Held, "Rubens' 'King of Tunis' and Vermeyen's Portrait of Mulay Ahmad," Art Quarterly (1940): 30-36. [2] Peter C. Sutton, Age of Rubens (exh. cat. Museum of Fine Arts, Boston, 1994), p. 235, cat. no. 9, who cites for this information C. J. Nieuwenhuys, A Review of the Lifes and Works of Some of the Most Eminent Painters (London, 1834), p. 198, no. 47. [3] The information about Bird and the 1846 sale is taken from Kristin Lohse Belkin and Fiona Healy, A House of Art: Rubens as Collector (Antwerp, 2004), 137, cat. no. 17; it has not been verified. [4] On the Blaisel sales, see Max Rooses, L'Oeuvre de P. P. Rubens, vol. 4 (Antwerp, 1890), 275, nos. 1067-1068. [5] E. C. Siter, "Catalogue of the Collection of Pictures by the Old Masters..." (Philadelphia, [1904]), cat. no. 246.

    Credit Line

    M. Theresa B. Hopkins Fund

    Details

    Dimensions

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

    Accession Number

    40.2

    Medium or Technique

    Oil on panel

    On View

    Leo and Phyllis Beranek Gallery (Gallery 243)

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  • Head of Cyrus Brought to Queen Tomyris

    about 1622–23
    Peter Paul Rubens (Flemish, 1577–1640)

    Description

    Rubens stages the story of Queen Tomyris, who defeated the Persian king Cyrus and had his head bathed in blood in revenge for his treacherous role in the death of her son. The painting may have been commissioned by Rubens’s patron Archduchess Isabella, ruler of the Southern Netherlands, to symbolize just retribution by a virtuous monarch. Pageants and processions in Isabella’s honor had linked her with Tomyris and other warrior queens of antiquity. The painting was probably designed by Rubens and largely executed by studio assistants, under his supervision. Rubens’s sons served as models for the pages at left.

    Provenance

    Probably Isabella Clara Eugenia (b. 1566 - d. 1633), Infanta of Spain, Brussels; by inheritance to Cardinal Infante Ferdinand (b. 1609 or 1610 - d. 1641), Brussels; 1643, sold in Brussels to an anonymous buyer [see note 1]. 1645, Matthijs Musson, Antwerp [see note 2]. By 1662, Christina, Queen of Sweden (b. 1626 - d. 1689), Rome [see note 3]; bequeathed by Queen Christina to Cardinal Decio Azzolino (b. 1623 - d. 1689), Rome; by inheritance to his nephew, Marchese Pompeo Azzolino (d. 1696), Rome [see note 4]; 1692, sold by Pompeo Azzolino to Livio Odescalchi (b. 1652 - d. 1713), Duke of Bracciano, Rome; by inheritance to his nephew, Baldassare Erba Odescalchi (d. 1746), Rome; 1721, sold by Odescalchi to Pierre Crozat (b. 1665 - d. 1740), Paris, for Philippe II (b. 1674 - d. 1723), Duc d'Orléans, Paris [see note 5]; by descent within the House of Orléans to Louis-Philippe-Joseph (b. 1747 - d. 1793), Duc d'Orléans, Paris; 1792/93, sold from the Orléans collection to Thomas Moore Slade, London [see note 6]; April 1793, private sale of the Orléans collection through Slade, London, to John Bligh Darnley (b. 1767 - d. 1831), 4th Earl of Darnley, Cobham Hall, Kent, for 1200 guineas; until at least 1914, by descent within the family to Ivo Francis Walter Darnley (b. 1859 - d. 1927), 8th Earl of Darnley, Cobham Hall [see note 7]. 1919, acquired by Henry George Charles Lascelles (b. 1882 - d. 1947), 6th Earl of Harewood, Harewood House, Yorkshire [see note 8]; 1941, sold by Harewood to Robert Langton Douglas for the MFA for $53,500. (Accession Date: February 13, 1941) NOTES: [1] According to a letter from the Brussels art dealer P. Christyn to the Antwerp art merchant Matthijs Musson (December 16, 1643), an unidentified man had recently purchased six large Rubens paintings from the "Hof," or palace of the dukes of Brabant in Brussels. Among these was "the head of Cyrus which is being presented to a queen, with many accompanying figures, that is very well painted." The six paintings were probably owned by the Infanta Isabella and were passed along at her death to the Cardinal-Infante Ferdinand of Austria, then sold after his death in 1641. See Robert W. Berger, "Rubens's 'Queen Tomyris with the Head of Cyrus,'" MFA Bulletin 77 (1979): 11-12. He suggests that Isabella commissioned the painting around 1622/23 as an allegory of her power and virtue (see pp. 22-23). [2] Musson drew up a stock of paintings that were to be offered for sale to Amalia von Solms (October 26, 1645), designated "pictures which come from the Infant[e]", that is, Ferdinand of Austria and which included "a picture of King Cyrus whose head is placed in his blood, with fifteen figures, quite pleasant, by Rubens, life size." See Berger 1979 (as above, n. 1), p. 11. In the MFA picture are fifteen clearly legible figures (two armored guards obscured at the right, which may account for the discrepancy). [3] The painting was listed in inventories of Queen Christina's collection in Rome in 1662 (probable date of document), 1688, and 1689. Five of the six Rubens paintings named in Christyn's 1643 letter (cited above, note 1) ended up in Queen Christina's collection. See Berger 1979 (as above, n. 1), p. 14. [4] Christina bequeathed her collection to her close friend, Cardinal Decio Azzolino. He died only months after she did, leaving the collection to his nephew, who sold nearly all of it. [5] Philippe d'Orléans sought to acquire Queen Christina's collection of paintings as early as 1714, when he first sent Crozat to Rome to negotiate a purchase. The contract for sale was not drawn up until 1721. [6] Thomas Moore Slade, Baron George Kinnaird, and Mr. Morland and Mr. Hammersley sought to acquire the entire Orléans collection of paintings as early as June, 1792, but were unsuccessful. Subsequently, after the Italian paintings had been sold, Slade returned to Paris to negotiate the purchase of the Dutch and Flemish pictures. His offer was accepted and he took the paintings with him to England, where he sold them privately in 1793. See William Buchanan, Memoirs of Painting (London, 1824), vol. 1, 159 - 164. [7] Lord Darnley lent the painting to the exhibition "L'art belge au XVIIe siècle," (Brussels, June - November, 1910), cat. no. 407. In 1914, the MFA considered purchasing the painting through Richard Norton, at that time in England; Norton acted as an art expert on behalf of the museum. He wrote to MFA director Arthur Fairbanks (March 12, 1914) that Lord Darnley was preparing to sell some of his pictures and recommended the Rubens painting of Queen Tomyris with the Head of Cyrus for the museum. However, the trustees declined to purchase it. [8] According to a letter from Robert Langton Douglas to Charles C. Cunningham of the MFA (June 25, 1941; in MFA curatorial file). Douglas did not specify whether it was acquired directly from the Darnley family.

    Credit Line

    Juliana Cheney Edwards Collection

    Details

    Dimensions

    205.1 x 361 cm (80 3/4 x 142 1/8 in.)

    Accession Number

    41.40

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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  • Woman and Flowers

    1868
    Sir Lawrence Alma-Tadema (Dutch (active in England), 1836–1912)

    Description

    In many paintings, Alma-Tadema infused the stylistic elements of northern European scenes of daily life with the contemporary Victorian interest in classical antiquity (the artist kept 168 volumes of photographs of Greek and Roman antiquities). Here, Alma-Tadema depicted a woman in classical dress leaning on a Pompeian bronze table, the model for which is now in the archaeological museum in Naples. The artist’s detailed treatment of flowers, jewelry, and textiles helps to create a sensuous and highly exotic mood.

    Inscription

    Center left, on table edge: L. ALMA-TADEMA 1868

    Provenance

    By 1872, Thomas Wigglesworth (b. 1814 - d. 1906 or 1907), Boston [see note 1]; by descent to his niece, Henrietta Goddard Wigglesworth (Mrs. W. Scott Fitz) (b. 1847 - d. 1927), Boston; by descent to her son, Edward Jackson Holmes (b. 1873 - d. 1950), Boston; 1941, gift of Edward Jackson Holmes to the MFA. (Accession Date: March 13, 1941) NOTES: [1] He first lent the painting to the Boston Athenaeum in 1872 ("The Roman Lady," cat. no. 158).

    Credit Line

    Gift of Edward Jackson Holmes

    Details

    Dimensions

    49.8 x 37.2 cm (19 5/8 x 14 5/8 in.)

    Accession Number

    41.117

    Medium or Technique

    Oil on panel

    On View

    Musical Instruments Alcove (Gallery 103C)

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  • Dead Birds and Hunting Equipment in a Landscape

    Jan Weenix (Dutch, 1642–1719)

    Description

    Inscription

    The initials JW [joined] that appeared at lower right were deemed false and removed during the 1978 cleaning of the painting.

    Provenance

    By 1901, Helen Bigelow (Mrs. Daniel) Merriman (b. 1844 - d. 1933), Boston [see note 1]; by descent to her daughter-in-law, Dorothea Foote (Mrs. Roger) Merriman (b. 1880 - d. 1970), Cambridge, MA; 1941, gift of Mrs. Merriman to the MFA. (Accession Date: October 13, 1941) NOTES: [1] Mrs. Merriman lent this painting to the Worcester Art Museum in 1901. It was formerly attributed to Snyders.

    Credit Line

    Gift of Mrs. Roger Merriman

    Details

    Dimensions

    97.8 x 83.8 cm (38 1/2 x 33 in.)

    Accession Number

    41.744

    Medium or Technique

    Oil on canvas

    On View

    Jean S. and Frederic A. Sharf Visitor Center (130.10)

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  • Portrait of a Man and Woman in an Interior

    1665–1667
    Eglon van der Neer (Dutch, 1634–1703)

    Description

    An affluent couple is seated comfortably in their handsome room, with embossed leather covering the wall and a Persian carpet on the table. Dutch artists often depicted paintings within paintings to comment on their subjects, and here the image of Venus over the mantel may allude to the couple’s marital harmony. When van der Neer’s painting entered the Museum’s collection in 1941, Venus had been over-painted with a sedate landscape, reflecting the more straitlaced taste of a later age.

    Inscription

    Lower right: E. vander Neer f.

    Provenance

    February 17, 1802, anonymous ("M. W...") sale, Rue de Bouloy, Paris, lot 27 [see note 1]. May 17, 1824, anonymous sale, Hôtel de Bullion, Paris, lot 48 [see note 2]. 1841, Charles-August-Louis Joseph (b. 1811 - d. 1865), Duc de Morny; April 27, 1841, Morny sale, G. Benou, Paris, lot 17, unsold; November 25, 1842, Morny sale, Paillet, Paris, lot 14, unsold; February 25-26, 1845, Morny sale, Hôtel des Ventes, Paris, lot 63 [see note 3], sold for 1,505 francs to Cousin. Désiré van den Schrieck (b. 1786 - d. 1857), Louvain; April 8-10, 1861, posthumous Schrieck sale, at his gallery, Louvain, lot 68, sold to Ferdinand Laneuville (d. 1866) for 3,500 francs, possibly for the Comte Duchâtel, Paris [see note 4]. By 1934, Robert Lebel (b. 1901 - d. 1986), Paris [see note 5]; between 1934 and 1936, sold by Lebel to Walter Westfeld (b. 1889 - d. after 1942), Elberfeld (Wuppertal) and Düsseldorf, Germany [see note 6]. 1941, E. and A. Silberman Galleries, New York [see note 7]; 1941, sold by Silberman to the MFA for $7500. (Accession Date: December 11, 1941) NOTES: [1] Described as a work on panel by Eglon van der Neer, 27 by 25 inches, depicting a Dutch couple whose black dress indicates they are a burgomaster and his wife, sitting in an interior with a fireplace and a table with fruit on it. [2] Eddy Schavemaker kindly provided this information. [3] The paintings included in the February 1845 sale were sold on Morny's behalf under the name of Jean-Jacques Meffre, who served as his art advisor and painting conservator. See Robin Emlein, "La Collection du duc de Morny, Étude du goût pour les écoles du Nord en France au XIXe siècle," Master's thesis, École du Louvre, 2007, vol. 1, pp. 41-44 and vol. 2, pp. 121-122 (cat. B100). [4] Émile Leclercq, "Correspondance Particulière," Gazette des Beaux-Arts 1861, pp. 180-181. Laneuville, an expert at the sale, was also buying for the Comte Duchâtel. This painting, however, does not appear in subsequent sales of paintings from the Comte Duchâtel collection. [5] The painting was included in the exhibition held at Robert Lebel's gallery at 13, rue de Seine, Paris, "Une Collection de Tableaux de Petits Maitres Hollandais & Flamands," December 11-28, 1934, cat. no. 25. An old photograph of the painting exists in Lebel's photographic archive; it is annotated on the back: "Eglon van der Neer." [6] Robert Lebel visited the MFA on October 8, 1943 and told curator W. G. Constable that he had sold this painting to Walter Westfeld around 1937. According to a letter from Walter Westfeld's brother to the MFA (February 6, 1944), Lebel had written to him in the fall of 1943 as well, stating that around 1935/1936 he had sold the painting to Westfeld, who had it at the Galerie Kleucker and "at a time, in Amsterdam." A painting described as a Company Scene by Eglon van der Neer, which is probably the present painting, was exhibited at the Galerie August Kleucker, Düsseldorf, in mid-May, 1936. [7] A photograph of the painting, supplied to the MFA by Silberman, bears W. R. Valentiner's authentication on the reverse, dated May 15, 1941. The painting was first offered to the MFA on June 3, 1941. A subsequent letter from dealer Abris Silberman to W. G. Constable of the MFA (June 3, 1942) states that "the painting was brought to this country by a refugee some time ago" but had never been in a U.S. collection. Attempts to determine when and how Silberman acquired the work have not been successful. ADDITIONAL INFORMATION: In 1920 Walter Westfeld opened a gallery that bore his name in Elberfeld (present-day Wuppertal). However, under the Nazi regime he was forced to discontinue his business because he was Jewish; the Galerie Walter Westfeld officially closed on May 27, 1936. Several months later, his associate August Kleucker was put in charge of liquidating the gallery stock through the Galerie Kleucker in Düsseldorf. It is not known whether this painting had formed part of Westfeld's gallery stock or whether he owned it privately, thus it is not known if it was part of the 1936 liquidation through Kleucker. In the fall of 1937, Westfeld was forced to turn over to the Gestapo a list of all the works of art still in his possession; the Van der Neer does not appear on this list. Whether it was no longer in Westfeld's possession at this time, or had been deliberately left off the list, is uncertain. In November 1938 Westfeld was arrested for foreign exchange violations. He was subsequently found guilty of having -- after the closure of his gallery -- illegally shipped works of art and other assets abroad, to Paris and Amsterdam, and of continuing to sell his own works of art through Kleucker. Whether the Van der Neer left his possession in one of these ways is not known. According to correspondence from a family member to the MFA (November 11, 2004), Westfeld had paintings and other valuables at the Rotterdamse Wisselbank in Amsterdam as late as 1939; again, it is not known if the Van der Neer could have been among these. The valuables were apparently taken unlawfully and sold during World War II, and remain untraced. In 1939 Nazi authorities seized Westfeld's remaining art assets in Germany and auctioned them through Lempertz, Cologne, on December 12-13, 1939. The Van der Neer painting was not included in this sale. After Westfeld's trial in Nazi Germany, he served a prison sentence at Lüttringhausen. In 1942 he was sent to the Theresienstadt concentration camp and, in 1943, to Auschwitz. He was declared deceased at the end of World War II. In June, 2011 the MFA reached a financial settlement with the heirs and the estate of Walter Westfeld for the Portrait of a Man and Woman in an Interior, allowing the work to remain at the museum. This was based on a review of the above research, which outlines a limited number of ways the painting could have left his possession. It seems unlikely that Westfeld gave or sold the painting voluntarily after the closure of his gallery in May, 1936. Rather, as a Jewish art dealer living in Nazi Germany, he probably disposed of it due to persecution. Bibliography: Herbert Schmidt, Der Elendsweg der Düsseldorfer Juden: Chronologie des Schreckens, 1933-1945 (Düsseldorf: Droste, 2005), pp. 273-278; Victoria S. Reed, "Walter Westfeld (1889-1943?), Art Dealer in Nazi Germany," in Vitalizing Memory: International Perspectives in Provenance Research (Washington, DC: American Association of Museums, 2005); Monika Tatzkow, in Verlorene Bilder, Verlorene Leben: Jüdische Sammler und was aus ihren Kunstwerken wurde (Munich, 2009), pp. 87-97; and Victoria Reed, "Walter Westfeld and the van der Neer Portrait in Boston: The Case Study of a Jewish Art Dealer in Düsseldorf," in Alfred Flechtheim: Raubkunst und Restitution, ed. Andrea Bambi and Axel Drecoll, Schriftenreihe der Vierteljahrshefte für Zeitgeschichte, vol. 110 (Berlin: Walther de Gruyter, 2015), pp. 179-188. For further information, please see "Resolved Claims" at http://www.mfa.org/collections/provenance/nazi-era-provenance-research

    Credit Line

    Seth K. Sweetser Fund

    Details

    Dimensions

    73.9 x 67.6 cm (29 1/8 x 26 5/8 in.)

    Accession Number

    41.935

    Medium or Technique

    Oil on panel

    Not On View

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  • Mercury and a Sleeping Herdsman

    about 1632–33
    Peter Paul Rubens (Flemish, 1577–1640)

    Description

    Figure studies for the ceiling of the Banqueting House, Whitehall.


    From 1629 until 1634, Rubens painted the ceilings of the Banqueting House at the Palace of Whitehall, the main London residence for England’s monarchs during the 16th and 17th centuries. Commissioned by King Charles I, the ceiling commemorates the reign of his father, James I, who united the kingdoms of Scotland and England. This oil sketch combines two figure studies for the ceiling’s many panels: the robed figure in the lower right is the yeoman in the Union of the Kingdoms, and Mercury appears in the Peaceful Reign of James I.

    Provenance

    1803, possibly François Pauwels, Brussels; August 22, 1803, possibly Pauwels sale, DeMarneffe, Brussels, lot 68, bought in; August 25, 1814, possibly Pauwels sale, Geens, Brussels, lot 15, to Léandre Dacosta for 18 fr. [see note 1]. Sedelmeyer collection, Paris [see note 2]. 1881, Étienne-Edmond Martin, Baron de Beurnonville (b. 1825 - d. 1906), Paris; May 9-16, 1881, Beurnonville sale, Galerie Georges Petit, Paris, lot 441, to Baron d'Eder, Paris, for 2550 fr. [see note 3]. 1886, Artaria, Vienna [see note 4]. Seeger, Berlin [see note 5]. 1920, Galerie Haberstock, Berlin (stock no. 1029) [see note 6]. 1924, with Spink and Sons, London [see note 7]. 1933, art market, New York [see note 8]. 1942, Frederick Mont, New York [see note 9]. 1942, Arnold Seligmann, Rey and Co., Inc. New York [see note 10]; 1942, sold by Arnold Seligmann, Rey and Co. to the MFA for $12,500. (Accession Date: April 9, 1942) NOTES: [1] At one time this composition was painted over to depict Mercury and Argus with a cow, seen in foreshortening from the back, and a dog, sleeping at the lower left. The description of the Rubens painting in the two Pauwels sale catalogues matches the appearance of the MFA painting in its overpainted state. Its dimensions (97 x 78 cm.), however, do not. In Rubens: The Ceiling Decoration of the Banqueting Hall, Corpus Rubenianum Ludwig Burchard series, pt. 15 (London: Harvey Miller, 2005), vol. 1, cat. no. 3g, p. 181, Gregory Martin suggests that when it was in the Pauwels collection, the MFA panel was enlarged to allow for a mountainous landscape; this would account for the discrepancy in dimensions. Martin further suggests that the "additions may have been executed for the most part on paper laid down on panel," which would explain an annotation found next to the lot description in the 1814 sale catalogue: "faux et peint sur papier". If the MFA composition was enlarged, such additions were removed by 1881, when the painting was in the Beurnonville sale and its dimensions recorded as 65 x 52 cm. [2] A wax seal on the reverse of the panel indicates that the painting was in the Sedelmeyer collection. [3] Max Rooses, "L'oeuvre de P. P. Rubens" (Antwerp, 1890), vol. 3, p. 123, gives the name of the buyer. [4] Martin 2005 (as above, n. 1). [5] Ludwig Burchard, "A Loan Exhibition of Rubens," Wildenstein, New York (exh. cat. February 20 - March 31, 1951), p. 24, cat. no. 27; Seeger's dates of ownership are not given. A customs stamp from Berlin, found on the reverse of the panel, further indicates that the painting was once in that city. [6] Julius S. Held, "The Oil Sketches of Peter Paul Rubens: A Critical Catalogue" (Princeton, 1980), vol. 1, cat. no. 139; also see Martin 2005 (as above, n. 1) for the stock number. [7] Information from a photograph on file at the Witt Library, Courtauld Institute of Art, London, which shows the painting in its overpainted state. [8] Martin 2005 (as above, n. 1). [9] Information from a photograph on file at the Witt Library, which shows the painting in its cleaned state; also see Martin 2005 (as above, n. 1), p. 183, n. 8. [10] Arnold Seligmann, Rey, and Co. provided provenance information that conflicts with the information given here. According to a letter from Paul M. Byk of Arnold Seligmann, Rey and Co. (April 21, 1942; in the MFA curatorial file), "the picture was in an American private family and ... the owner who disposed of it had inherited the picture from the parents. Thus the picture has been in America for the last forty or fifty years." In a telephone conversation recorded by William G. Constable, Curator, Department of Paintings, MFA (April 29, 1942), Byk said that he understood that the picture passed directly from Baron d'Eder into the aforementioned American private collection.

    Credit Line

    Ernest Wadsworth Longfellow Fund

    Details

    Dimensions

    63.5 x 53 cm (25 x 20 7/8 in.)

    Accession Number

    42.179

    Medium or Technique

    Oil on panel

    On View

    William I. Koch Gallery (Gallery 250)

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  • Angels with the Instruments of the Passion

    Unidentified artist, Flemish, first half 16th century (Flemish)

    Description

    Provenance

    Anonymous dealer; sold by dealer to Mrs. Andrew Wheelwright (Susan Perkins Cabot), Boston; 1942, by descent to her daughter, Mary C. Wheelwright (b. 1878 - d. 1956), Northeast Harbor, ME; 1942 gift of Miss Mary C. Wheelwright to the MFA. (Accession Date: May 14, 1952)

    Credit Line

    Gift of Miss Mary C. Wheelwright

    Details

    Dimensions

    54.3 x 16.5 cm (21 3/8 x 6 1/2 in.)

    Accession Number

    42.282a

    Medium or Technique

    Oil on panel

    Not On View

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  • Angels with the Instruments of the Passion

    Unidentified artist, Flemish, first half 16th century (Flemish)

    Description

    Provenance

    Anonymous dealer; sold by dealer to Mrs. Andrew Wheelwright (Susan Perkins Cabot), Boston; 1942, by descent to her daughter, Mary C. Wheelwright (b. 1878 - d. 1956), Northeast Harbor, ME; 1942, gift of Miss Mary C. Wheelwright to the MFA. (Accession Date: May 14, 1952)

    Credit Line

    Gift of Miss Mary C. Wheelwright

    Details

    Dimensions

    54.3 x 16.5 cm (21 3/8 x 6 1/2 in.)

    Accession Number

    42.282b

    Medium or Technique

    Oil on panel

    Not On View

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  • Landscape with an Avenue of Trees

    Peter Paul Rubens (Flemish, 1577–1640)

    Description

    This remarkable late panoramic landscape sketch depicts the area surrounding Het Steen, an estate outside Antwerp that Rubens acquired in 1635. The high vantage point, framing trees at right, and diagonal recession into depth are typical of Rubens’s landscapes. A country house, perhaps the artist’s own, is visible in the distance at right. The painting once belonged to the famed connoisseur and Rubens patron Everhard Jabach (1618-1695), in whose collection it was described as unfinished. The cloud-filled sky, foliage of the trees at right, and foreground strip were added at a later date, presumably to make the painting more saleable.

    Provenance

    Éverhard Jabach (d. 1695), Paris [see note 1]. William Clarkson Wallis (d. 1931), Brighton, England; 1938, sold from the Wallis collection to David Koetser Gallery, London; sold by Koetser to Paul Bottenwieser (dealer), London [see note 2]; sold by Bottenwieser to Arnold Seligmann, Rey and Co., New York; 1943, sold by Arnold Seligmann, Rey and Co. to the MFA for $11,000. (Accession Date: December 9, 1943) NOTES: [1] In his posthumous inventory of 1696, no. 152: "Paysage; sur le devant une grande allée d'arbres avec une prairie. Ce tableau n'est point encore finy; il est sur papier, collé sur bois, peint à l'huille, de Rubens." "Éverard Jabach: Collectionneur Parisien," Mémoires de la Société de l'Histoire de Paris et de l'Ile-de-France 23 (1894): p. 257. [2] That the painting came from the Clarkson Wallis collection and was sold in 1938 is according to Gustav Glück, Die Landschaften von Peter Paul Rubens (Vienna: Schroll, 1940), p. 31, no. 24 (as "Die Allee"), where it it listed as being with Paul Bottenwieser, London. According to notes from an interview with dealer David Koetser by MFA curator W. G. Constable (January 3, 1946), the painting was "bought from the Brighton owner by Koetser, London; sold by him to Bottenwieser, and then passed to or shared by Arnold Seligmann."

    Credit Line

    Ernest Wadsworth Longfellow Fund

    Details

    Dimensions

    55.9 x 71.8 cm (22 x 28 1/4 in.)

    Accession Number

    43.1332

    Medium or Technique

    Oil on paper mounted on panel

    Not On View

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  • Portrait of a Man with an Armillary Sphere

    Follower of Anthony van Dyck (Flemish, 1599–1641)

    Description

    Provenance

    By 1904/6, Mrs. Bayard Thayer, Lancaster, MA; 1941, by inheritance to Mrs Thayer's daughter, Mrs. William Dexter, Boston; 1944, gift of Dexter. (Accession Date: December 14, 1944)

    Credit Line

    Gift of Mrs. William Dexter in memory of her mother, Mrs. Bayard Thayer

    Details

    Dimensions

    125.1 x 108.6 cm (49 1/4 x 42 3/4 in.)

    Accession Number

    44.835

    Medium or Technique

    Oil on canvas

    Not On View

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  • Peasants Merrymaking

    late 1630s
    Adriaen van Ostade (Dutch, 1610–1684)

    Description

    Ostade was a leader among the many painters of daily life who appeared in the Netherlands during the seventeenth century. Peasant themes—tavern subjects, domestic scenes, and images of work— allowed him to capture bawdy characters, touching family scenes, and the physically demanding toil of the lower classes. Using exaggerated gestures, facial expressions, and dark compositions, Ostade emphasized the cruder qualities of their lives. While some scholars see moralizing overtones in his paintings, others find an unbiased glimpse of common life.

    Provenance

    Sir R. Brackenbury. 1853, Robert White, Edinburgh; June 11, 1853, White sale, Christie, Manson and Woods, London, lot 49, to Frederick Richard Sears (b. 1824 - d. 1907), Boston, for £25 [see note 1]; 1915, sold by the estate of Frederick Richard Sears to his son, Philip Shelton Sears (b. 1867 - d. 1953), Brookline, MA [see note 2]. 1941, acquired by John Mitchell, London and New York; probably sold by Mitchell to Max B. Berman, New York; 1944, consigned by Berman to French and Company, New York (stock no. 77274/2) [see note 3]; 1945, sold by French and Co. to the MFA for $5500. (Accession Date: October 11, 1945) NOTES: [1] A handwritten label on the back of the panel reads "Van Ostade / Bought at Christie + Manson's sale in London of the gallery of Sir R. Brackenbury, by me, F. R. S. June 11, 53." The label from the sale, numbered 49, also remains on the panel's reverse. [2] Another label, once affixed to the reverse of the painting, reads "Painting by van Ostade, Bought from the estate of F. R. Sears Esq. by Philip S. Sears 1915." [3] A note by MFA curator W. G. Constable (November 1945) states that John Mitchell indicated he had acquired the painting in 1941 and sold it to a private collector, who probably sold it to French and Company.

    Credit Line

    Seth K. Sweetser Fund

    Details

    Dimensions

    47.3 x 62.9 cm (18 5/8 x 24 3/4 in.)

    Accession Number

    45.735

    Medium or Technique

    Oil on panel

    Not On View

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  • Grapes, Peaches and Quinces in a Niche

    Frans Snyders (Flemish, 1579–1657)

    Description

    Snyders painted many different kinds of still-life subjects, from large kitchen pieces to intimate representations of flowers. Some of his compositions are complex and dynamic; others, such as this one, are more focused and quiet. His brushwork, too, is sometimes precise and barely perceptible, sometimes more fluid, or, as here, almost sketchy. The low viewpoint of this painting, emphasized by the shadow of the box that overlaps the edge of the niche, suggests that it was intended to be hung high, perhaps over a door.

    Provenance

    1946, A. F. Mondschein (Frederick Mont), New York; 1946, sold by Mondschein to the MFA for $1250. (Accession Date: February 14, 1946)

    Credit Line

    Charles Edward French Fund

    Details

    Dimensions

    75.2 x 54.3 cm (29 5/8 x 21 3/8 in.)

    Accession Number

    46.59

    Medium or Technique

    Oil on panel

    On View

    Thomas Jefferson Coolidge III Gallery (Gallery 248)

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  • Portrait of a Young Woman as Flora

    1633
    Paulus Moreelse (Dutch, 1571–1638)

    Description

    This image of a young woman in arcadian dress reflects the fashion for pastoral themes that arose in the Netherlands following the appearance of P.C. Hooft’s play Granida (1605). Moreelse, who was active in Utrecht, was among the earliest Dutch artists to depict such themes.

    Inscription

    Upper right: P M (monogram) / 1633

    Provenance

    Dowdeswell and Dowdeswell, Ltd., London [see note 1]. By 1900, purchased in Rome by Delia Spencer (Mrs. Marshall) Field (b. 1854 - d. 1937), Paris and Washington, D.C. [see note 2]; by inheritance to her niece, Catherine Spencer (Mrs. Albert J.) Beveridge, Beverly Farms, MA; 1946, gift of Mrs. Albert J. Beveridge to the MFA. (Accession Date: June 13, 1946) NOTES: [1] C. H. de Jonge, Paulus Moreelse: Portret en Genreschilder te Utrecht, 1571-1638 (Uitgevers, 1938), p. 122, cat. no. 283. [2] According to information provided by Mrs. Beveridge to the MFA (August 15, 1946), a painting of Mrs. Field's Paris apartment, done in 1900 by Walter Gay, shows that this painting was in her possession by that time. According to an earlier letter from Mrs. Beveridge (May 31, 1946) the painting was included in an inventory of Mrs. Spencer's Washington home in 1913, in which it was said to have been bought in Rome.

    Credit Line

    Gift of Mrs. Albert J. Beveridge in memory of Delia Spencer Field

    Details

    Dimensions

    74.3 x 59.4 cm (29 1/4 x 23 3/8 in.)

    Accession Number

    46.559

    Medium or Technique

    Oil on panel

    Not On View

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  • Landscape with Burning City

    about 1500
    Herri Met De Bles (Flemish, about 1480–after 1550)

    Description

    Provenance

    By 1929, Franz W. Koenigs (b. 1881 - d. 1941), Haarlem, the Netherlands [see note 1]; April 2, 1940, ownership transferred from Koenigs to Lisser and Rosenkranz Bank in partial payment for a loan [see note 2]; April 19, 1940, consigned by Lisser and Rosenkranz to Jacques Goudstikker Gallery [see note 3]; June, 1940, sold by Lisser and Rosenkranz, through Goudstikker and with the intervention of Franz Koenigs, to Alois Miedl [see note 4]; June, 1940, sold by Miedl to Hermann Goering, Carinhall [see note 5]. 1946, Julian Acampora, New York [see note 6]; 1946, sold by Acampora to Aram Gallery, New York; 1946, sold by Aram to the MFA for $3,200. (Accession Date: November 14, 1946) NOTES: [1] Koenigs was a Protestant German businessman living in the Netherlands. Along with other drawings and paintings from his art collection, this landscape was on loan to the Museum Boymans, Rotterdam, from 1935 to 1940. It was included in the exhibition catalogues "Ausstellung alter Malerei aus Privatbesitz" (Kunstverein, Düsseldorf, June 1 - July 15, 1929), cat. no. 5 and "Verzameling Koenigs Schilderijen" (Museum Boymans, Rotterdam, 1935), cat. no. 12. [2] In 1931, Koenigs took out a loan from Lisser and Rosenkranz bank, using his art collection as collateral. In 1935 the terms of this loan were formalized: Koenigs gave the bank the right to sell the collection, if necessary, when the loan became due in June 1940, or if the bank was liquidated before this five-year term was up. On April 2, 1940, Lisser and Rosenkranz did go into liquidation and Koenig's debt became due. On this date the bank declared itself the sole owner of the art collection. [3] By the end of 1939 it had already become clear that Koenigs would not be able to pay off his loan to Lisser and Rosenkranz before the due date of June, 1940, without selling his art collection. Jacques Goudstikker gallery had been employed on behalf of Koenigs and Lisser and Rosenkranz to help sell the collection. On April 19, Goudstikker collected thirty-five paintings from the Koenigs collection on behalf of Lisser and Rosenkranz, in order to sell them. [4] On May 15, 1940, Hitler's second-in command, Hermann Goering, visited Goudstikker accompanied by his chief purchasing agent, Andreas Hofer, and his friend Alois Miedl. In June, Miedl purchased thirty-one paintings from the Koenigs collection from Goudstikker. Evidence suggests that Franz Koenigs himself was active in the sale of these paintings and understood the conditions of the sale. According to interviews with Jacques Goudstikker's widow and Miedl, Koenigs approved of Miedl's intention to offer one of the paintings as a gift to Goering and may have offered his assistance with this. [5] Miedl sold nineteen paintings, including the Landscape with Burning City, to Hermann Goering. They were delivered to his residence at Carinhall, Germany, on June 10, 1940. In May 1945, Goering attempted to safeguard his collection by shipping the objects from Carinhall to Berchtesgaden in Bavaria. The train was intercepted by the Allies. Much of the collection was recovered, but numerous articles were also looted, possibly by Allied troops and by the local population. Some objects were found in private homes and on the black market. They were returned to the Netherlands and became the property of the Dutch government. This painting, however, was not recovered. For further on the shipments from Carinhall, see Nancy H. Yeide, Beyond the Dreams of Avarice: The Hermann Goering Collection (Dallas: Laurel Publishing, 2009), p. 16, and for information on the MFA painting, p. 292, cat. no. A452. [6] In 1946 the MFA purchased the painting from Aram Gallery, in New York. Siegfried F. Aram (letter to the MFA, September 20, 1948) attested that he had purchased it from Julian Acampora, a New York restorer, and that it had come from the collection of the Count d'Urbania. After inquiring further about its history, Aram was told that it been with Devany's auction galleries, New York, and that it had come from a collection in Chicago. This account is inconsistent and was almost certainly fabricated. ADDITIONAL INFORMATION: By 1948 the MFA was aware that the painting had come from Carinhall and was being sought by the Dutch government. The museum entered discussions with the authorities in the Netherlands at this time. In a letter from A. P. A Vorenkamp, Director of Boymans Museum, to George Edgell, Director of the MFA (November 25, 1948), he confirmed that he had "turned the 'Herri met de Bles affair' over" to the General Commission of Recuperation, Amsterdam. However, the MFA was not contacted by the Commission. In 1998, the MFA again contacted the Netherlands, corresponding with the Inspectorate of Cultural Heritage. It was confirmed that the painting was missing from the Netherlands and it could not be determined why it had not been returned. An heir of Franz Koenigs has also claimed to have legal title to the objects sold through Goudstikker, on the grounds that Koenigs was forced to sell his possessions at a cost below fair market value. On November 3, 2003, the Dutch Advisory Committee on the Assessment of Restitution Applications rejected these claims. The resolution, "Advice concerning the application for restitution of the Koenigs collection," is accessible online at: http://www.restitutiecommissie.nl/images/stories/rc_1.6/ukadvice-repkoenigs.pdf The MFA awaits communication from the interested parties regarding their attempts to reach a neutral resolution of the ownership of the painting.

    Credit Line

    Seth K. Sweetser Fund

    Details

    Dimensions

    13.0 x 25.7 cm (5 1/8 x 10 1/8 in.)

    Accession Number

    46.1143

    Medium or Technique

    Oil on panel

    Not On View

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  • Fort on a River

    Jan Josephsz. van Goyen (Dutch, 1596–1656)

    Description

    Inscription

    Lower left, on side of boat: VG 1644

    Provenance

    Count André Mniszech (b. 1823 - d. 1905), Paris [see note 1]. About 1920, Wildenstein, Paris. 1925, D. Hermsen, The Hague. By 1929 until at least 1931, P. de Boer, Amsterdam [see note 2]. Asscher and Welker, London; between about 1931 and 1937, sold by Asscher and Welker to Georg Schicht (b. 1884 - d. 1961), London [see note 3]. 1937, brought to the United States. 1946, acquired by John Nicholson Gallery, New York (stock no. 1923); 1947, sold by Nicholson to the MFA for $4500. (Accession Date: March 13, 1947) NOTES: [1] Provenance information (to 1925) is taken from Hans-Ulrich Beck, Jan van Goyen, 1596-1656 (Amsterdam, 1973), p. 341, cat. no. 757. Mniszech was a Polish portraitist who worked in Paris. [2] The painting was featured in a P. de Boer advertisement published in 1929 (see, for example, Pantheon, November 1929) and was exhibited at the gallery in 1930 and 1931. [3] According to correspondence from John P. Nicholson to W. G. Constable of the MFA (March 17, 1947).

    Credit Line

    Francis Welch Fund

    Details

    Dimensions

    42.5 x 75.5 cm (16 3/4 x 29 3/4 in.)

    Accession Number

    47.235

    Medium or Technique

    Oil on panel

    Not On View

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  • Portrait of a Woman

    about 1670
    Gerard ter Borch (Dutch, 1617–1681)

    Description

    Although best known for his narrative pictures of contemporary life, Gerard ter Borch was a master at painting small, exquisite portraits. Not only the size of this painting but also the placement of the subject within it, low and off-center against an empty background, give this unidentified woman a diminutive delicacy and poignant sense of isolation.

    Provenance

    Karl Eduard von Liphart (b. 1808 - d. 1891), Dorpat (Estonia), Bonn, and Florence. Frederick Bayley Pratt (b. 1865 - d. 1945), Glen Cove, Long Island; by descent to his daughter, Helen Ladd Pratt (b. 1899 - d. 1972) and her husband, Jesse Holladay Philbin (b. 1890 - d. 1959), New York; April 3, 1947, consigned by J. H. Philbin to M. Knoedler and Co., New York (stock no. CA 2825) [see note 1]; 1947, sold by Knoedler to the MFA for $6000. (Accession Date: April 10, 1947) NOTES: [1] According to information provided by Knoedler at the time of the acquisition, this painting came from the estate of Frederick Bayley Pratt. For further information, see Getty Provenance Index, M. Knoedler and Co. records, Commission Book 4, p. 79, no. CA 2825.

    Credit Line

    M. Theresa B. Hopkins Fund

    Details

    Dimensions

    46.4 x 38.1 cm (18 1/4 x 15 in.)

    Accession Number

    47.372

    Medium or Technique

    Oil on canvas

    Not On View

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  • Kitchen Interior

    166 (?)
    Emanuel de Witte (Dutch, about 1617–1691or 1692)

    Description

    This is one of few domestic scenes by De Witte, who is known primarily for his paintings of church interiors. The well-equipped kitchen-with its cauldron, roasting oven, mortar and pestle, reed chair, and cheeses on shelves-features a recessed sink with two pumps for water from the well and the cistern. The human element is typically rather insignificant in De Witte’s work; here, a maidservant stands at the far end of the room with her back to the viewer, accompanied by only the family dog. A ghostly outline visible through thinning paint reveals that the artist originally placed the maid in front of the fire. The proportions and plan of the carefully articulated space, enlivened by sharp contrasts of light and dark, do not correspond to those of actual seventeenth-century Amsterdam kitchens; an element of fantasy marks De Witte’s architectural views as well. The artist’s interest in perspective and light reflect his artistic training in Delft.

    Inscription

    Center right, on mantelpiece: E de Witte / 166[...]

    Provenance

    1669, possibly Laurens Mauritsz Doucy, Amsterdam [see note 1]. 1683, possibly Tames van den Bergh, Amsterdam [see note 2]. 1841, J. Kleinenbergh, the Netherlands; July 14, 1841, Kleinenbergh sale, Lamme, Leiden, lot 70, sold to Exforth for 205 fl. [see note 3]. Daniel Woodin, England; from Daniel Woodin to Fred Woodin, England [see note 4]. 1946, Koetser Gallery, London; 1946, half-share sold to W. E. Duits, Ltd., London (stock no. 7755); 1947, half-share sold back by Duits to Koetser, London and New York; 1947, sold by Koetser to the MFA for $5000. (Accession Date: September 18, 1947) NOTES: [1] This may be the "Koockentie" (kitchen scene) by Emanuel de Witte included in Doucy's inventory of January 18, 1669 (no. 56); see A. Bredius, Künstler-Inventare (The Hague, 1916), vol. 2, p. 424. Witte lived with Doucy between 1664 and 1667. [2] Possibly the "Keucken" (kitchen) by Emanuel de Witte included in his inventory of July 5, 1683 (no. 29). Getty Provenance Index Archival Document N-26. [3] Attributed in the catalogue to Pieter de Hooch. [4] A label on the reverse of the painting reads "From Fred Woodin's collection / From Daniel Woodin."

    Credit Line

    Seth K. Sweetser Fund

    Details

    Dimensions

    48.6 x 41.6 cm (19 1/8 x 16 3/8 in.)

    Accession Number

    47.1314

    Medium or Technique

    Oil on canvas mounted on panel

    On View

    Robert and Ruth Remis Gallery (Gallery 244)

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    Europe

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