Nicholas Varney Jewelry

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Bustamite, Cognac Diamond, Conch pearl, Coquille D’Oeuf Ear Clips, Duo Earring, fire opal, Lapis, mammoth ivory, Moonstone, Mother Of Pearl, Nephrite Jade, Nicholas Varney, Octopus Motif Bracelet, peridot, Petrified Palm Tree Agate, pink tourmaline, Sugalite, Tigers Eye, Ventoux Bracelet Cuff

Nicholas Varney Carved Tigers Eye, Pink Tourmaline And Diamond Square Duo Ring

Nicholas Varney Diamond, Moonstone, Fire Opal And Gold Ventoux Bracelet Cuff

Nicholas Varney Mother Of Pearl, Sugalite And Diamond Gold Earrings

Nicholas Varney 18K Gold, Colorless Diamond, Fire Opal And Sugalite Deco Necklace

Nicholas Varney 18K Gold, Sterling Silver And Spotted Turquoise Ear Pendants

Nicholas Varney Nephrite Jade Earrings

Nicholas Varney Petrified Palm Tree Agate, Diamond, Sapphire Octopus Motif Bracelet

Nicholas Varney Pink Tourmaline, Diamond, Gold, Mammoth Ivory And Coquille D’Oeuf Ear Clips

Nicholas Varney Tanzanite, Pink Tourmaline, Diamond, Lapis And Bustamite Duo Earring

Nicholas Varney Peridot, Conch Pearl And Diamond Ear Clips

Nicholas Varney Pink Tourmaline, Cognac Diamond & Gold Ear Pendants

Photos courtesy Nicholas Varney

Vietnamese Ceramics from Japanese Collections at Zetterquist Galleries

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13th - 15th century, Baluster Jar with Floral Decoration, Blue-and-White, Brown and White Jar, Charger with Bird Amongst Clouds, Cobalt Blue Ewer with Reticulated Parrot Plaque, Elephant Shaped Ewer, Lidded Bowl, Lidded Ewer, Lidded Jar with Carved Lotus Petals, meiping, Thanh Hoa, Vietnam, White-ware, Yuhuchunping Vase

Vietnamese White-ware Meiping. Height: 23 cm © 2014 Zetterquist Galleries

Thanh Hoa Lidded Jar with Carved Lotus Petals, Vietnam © 2014 Zetterquist Galleries

Large Lidded Bowl, 13th – 15th century, Vietnam. Diameter: 21.6 © 2014 Zetterquist Galleries

Massive Charger with Bird Amongst Clouds, Vietnam. Diameter: 44 cm © 2014 Zetterquist Galleries

Thanh Hoa White-ware Lidded Ewer, Vietnam. Height: 17.5 cm © 2014 Zetterquist Galleries

Cobalt Blue Ewer with Reticulated Parrot Plaque and Five Cups, Vietnam. Height: 25.5 cm © 2014 Zetterquist Galleries

Thanh Hoa Brown and White Jar with Lacquer Lid, Vietnam. Height: 19cm © 2014 Zetterquist Galleries

Blue and White Elephant Shaped Ewer, Vietnam. Length: 20.5cm © 2014 Zetterquist Galleries

Blue and White Yuhuchunping Vase, Vietnam. Height: 25cm © 2014 Zetterquist Galleries

Large Blue and White Baluster Jar with Floral Decoration, Vietnam. Height: 21.3 cm © 2014 Zetterquist Galleries

Large Polychrome Charger with Lion Decoration, Vietnam. Diameter: 37 cm © 2014 Zetterquist Galleries

ZETTERQUIST GALLERIES, 3 East 66th Street  #1B, New York, NY 10065 –  +1.212.751.0650  –  inquiries@Zetterquist.com

Roses

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Roses

Roses

Bernardo Strozzi (Genoa 1581 – 1644 Venice), David with the head of Goliath

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Bernardo Strozzi, circa 1635, David with the Head of Goliath

Bernardo Strozzi (Genoa 1581 – 1644 Venice), David with the head of Goliath. Estimation 60,000 — 80,000 €. Photo Sotheby’s.

oil on canvas; 46 by 38 3/4  in.; 116.8 by 98.4 cm.

Provenance: Dr. Gabriel de Térey, Freiburg and Vienna, about 1926-27;
From whom purchased by the Metropolitan Museum of Art, Fletcher Fund, 1927 (inv. no. 27.93).

Exposition: Baltimore, Baltimore Museum of Art, Three Baroque Masters: Strozzi, Crespi, Piazzetta, 28 April – 4 June 1944, no. 3;
Louisville, J. B. Speed Art Museum, Old Masters from the Metropolitan, 1 December 1948 – 23 January 1949 (no catalogue);
Madison, Memorial Union Gallery, University of Wisconsin, Old Masters from the Metropolitan, 15 February – 30 March 30 1949 (unnumbered catalogue);
Colorado Springs, Colorado Springs Fine Arts Center, Old Masters from the Metropolitan, 24 April – 30 June 1949 (no catalogue);
Winnipeg, Winnipeg Art Gallery, Favorite Italian and Spanish Masters of the 17th and 18th Centuries (The Baroque Era), 24 October – 18 November 1951, no. 22;
Binghampton, NY, University Art Gallery, State University of New York at Binghamton, Bernardo Strozzi: Paintings and Drawings, 8 October – 5 November 1967, no. 33;
Leningrad [St. Petersburg], State Hermitage Museum, 100 Paintings from the Metropolitan Museum, 22 May – 27 July 1975, no. 10;
Moscow, State Pushkin Museum, 100 Paintings from the Metropolitan Museum, 28 August – 2 November 1975, no. 10;
Bellevue, Washington, Bellevue Art Museum, Five Thousand Years of Faces, 30 January – 30 July 1983, (unnumbered catalogue).

Litterature: Possibly M. Boschini, La carta del navegar pittoresco, Venice 1660, edited by R. Pallucchini, Rome 1966, p. 566
H. B. Wehle, ‘Some Italian Baroque Paintings’, in Metropolitan Museum of Art Bulletin, 24 (July 1929), pp. 187, 190, reproduced p. 188;
A. McComb, The Baroque Painters of Italy: An Introductory Historical Survey, Cambridge, Ma., 1934, pp. 84, 127, reproduced fig. 84;
G. Fiocco in Allgemeines Lexikon der bildenden Künstler, 32, Leipzig 1938, p. 208 (where listed as formerly in the collection of Stefan von Auspitz, apparently incorrectly);
W. H. Siple, ‘An Unpublished Painting by Bernardo Strozzi’, in Bulletin of the Cincinnati Art Museum, 9 (October 1938), pp. 114–15 (suggests that it may be the version formerly in the Hirth collection, Berlin);
H. B. Wehle, The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings, New York 1940, p. 258, reproduced;
L. Mortari, ‘Su Bernardo Strozzi’, in Bollettino d’arte, 40 (October–December 1955), p. 331;
Catalogus schilderijen tot 1800, Rotterdam 1962, p. 136, under cat. no. 2343a;
L. Mortari, Bernardo Strozzi, Rome 1966, pp. 61, 96, 99, 102, 107, 154–55, 170, 185, reproduced fig. 367 (dates it about 1635, during the artist’s Venetian period);
M. Milkovich, in Bernardo Strozzi: Paintings and Drawings, exhibition catalogue, Binghamton 1967, pp. 12, 78, cat. no. 33, reproduced p. 79 (dates it about 1635);
A. Moir, The Italian Followers of Caravaggio, Cambridge, Ma. 1967, vol. 1, pp. 198, 201, 205; vol. 2, p. 108;
B. B. Fredericksen and F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American PublicCollections, Cambridge, Ma. 1972, pp. 193, 261, 607;
K. Baetjer, European Paintings in The Metropolitan Museum of Art by artists born before 1865, A Summary Catalogue, New York 1980, vol. I, p 181, reproduced vol. II, p. 174;
T. Schlotterback in Five Thousand Years of Faces, exhibition catalogue, Bellevue 1983, (unpaginated);
K. Baetjer, European Paintings in The Metropolitan Museum of Art by artists born before 1865, A Summary Catalogue, New York 1995, p. 107, reproduced;
M. C. Galassi in Bernardo Strozzi, exhibition catalogue, Genoa 1995, p. 206, under cat. no. 54;
F. Spadavecchia in Bernardo Strozzi, exhibition catalogue, Genoa 1995, p. 226 under cat. no. 64;
L. Mortari, Bernardo Strozzi, Rome 1995, pp. 190-92, cat. no. 494, reproduced;
C. Manzitti, Bernardo Strozzi, Turin 2013, p. 170, cat. no. 216, reproduced.

Notes: This is a characteristic work by Bernardo Strozzi. Typical of the artist are the fluid and voluminous folds of the white drapery as well as the ruddy complexion of the faces. The work is datable to circa 1635, shortly after Strozzi moved from his native Genoa to Venice, where he was to spend the rest of his life. Strozzi must have found considerable commercial success with the subject of David for he returned to the theme several times in different treatments of the theme, both in half-length and full-length formats.

The composition is known in three other versions, the best of which is the smaller work in the Gemaldegalerie Alte Meister, Dresden, in which the plumed hat is missing.¹ A second version was formerly in a Venetian private collection while a third, of horizontal format, was formerly in the Raffaldini collection in Florence and later on the London art market.² Galassi (see Literature) suggests Strozzi may have painted a prototype in Genoa which he then replicated during his Venetian period.

The design has strong parallels with Simon Vouet’s work of the same subject painted in Genoa for Giovanni Carlo Doria and today in the Museo di Palazzo Bianco in the same city. The similar design of Strozzi’s Judith with the head of Holofernes in a private collection in Barcellona strongly suggests that the two pictures may have been conceived as a pair, all the more so since the Judith also finds echoes with Vouet’s treatment of the subject, today in a private collection in Genoa, painted as a pendant to the David in Palazzo Bianco. Unfortunately, the precise dimensions of Strozzi’s Judith are unknown so this cannot be verified at this stage. If the pictures were indeed conceived as pendants then they may well be the works listed by Boschini (see Literature) as hanging in Venice in the Bonfaldini collection; it remains to be confirmed, however, if the David mentioned is the present work or another variant.

1. See Manzitti, under Literature, pp. 170-71, cat. no. 217, reproduced.
2. See Mortari 1966, under Literature, p. 185, reproduced fig. 370, and p. 107, reproduced fig. 378. The Raffaldini painting was sold London, Christie’s, 8 July 1988, lot 109.

Sotheby’s. Master Paintings: Part I. New York | 29 janv. 2015, 10:00 AM

Lush pink flower, Irving Penn, 1971

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Irving Penn, Lush pink flower

Lush pink flower, Irving Penn, 1971

Alessandro Turchi, called Orbetto (Verona 1578 – 1649 Rome), David with the head of Goliath

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David with the Head of Goliath, Orbetto

Alessandro Turchi, called Orbetto (Verona 1578 – 1649 Rome), David with the head of Goliath. Estimation 250,000 — 350,000 €. Photo Sotheby’s

oil on canvas; 49 by 37 1/2  in.; 124.5 by 95.4 cm.

Provenance: Anonymous sale, « Property of a Nobleman », New York, Sotheby’s, 28 May 1999, lot 46.

Notes: Alessandro Turchi’s David with the head of Goliath is a commanding and highly impressive image. In an earlier treatment of the subject, now in a private collection, Turchi painted David in a crouched position beside a tent, its ropes pinned behind him, his sword at his feet, and his drapery billowing dramatically at his shoulder.¹  Here, in contrast, the figure is shown against a dark background with no accoutrements, other than the sling hanging from David’s left hand.  The intense chiaroscuro effect instead provides the drama, bathing David in white light from left and creating a scene that is stark and imposing, yet simple.

The beautifully painted torso and arms are powerful and mature, yet through his treatment of David’s face, Turchi betrays the hero’s youth.  David’s expression, though determined, is humble rather than victorious.  The tension in his shoulders and the musculature of the upper arm convincingly convey the weight of the giant’s head in his grasp as he leans backward in order to counter its burden.  The drapery too is superb, the violet tunic and white undershirt, coiled so beautifully around the rope belt, fall in naturalistic folds that balance the composition at right.  The thickness of the fabric and painterly treatment of the highlighted folds are almost reminiscent of Guercino.

Born in Verona, Turchi received his initial training in the studio of Felice Brusasorci before moving to Rome circa 1614.  In many early documents, the artist is recorded as “Orbetto”, meaning « little blind one ».  The moniker likely dated back to Turchi’s youth, when he would guide his blind father, Silvestro, who had lost his sight in an accident at work.  By 1619 Turchi had settled permanently in Rome, becoming a member of the Accademia of San Luca of which he would be elected Principe in 1637, testament to his high standing among his contemporaries and almost certainly indicative of his affiliation with the powerful Barberini family.

1.  D. Scaglietti Kelescian, Alessandro Turchi, dello l’Orbetto, 1578 – 1649, exhibition catalogue, Milan 1999, p. 25, reproduced fig. 25.

Sotheby’s. Master Paintings: Part I. New York | 29 janv. 2015, 10:00 AM

Rose by Alan Shapiro photography

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Alan Shapiro, Rose

Rose by Alan Shapiro photography

Important paintings by Mattia Preti and Gilbert Stuart acquired by the Virginia Museum of Fine Arts

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Gilbert Stuart, Mattia Preti, Portrait of Rebecca White Pickering, The Visitation

Mattia Preti (Italian, 1613–1619), The Visitation, oil on canvas, 47 5/16”H × 67 1/32”W. Virginia Museum of Fine Arts, Richmond. Arthur and Margaret Glasgow Endowment.

RICHMOND, VA.- Two important paintings, one by 17th-century Italian painter Mattia Preti and the other by 19th-century American portraitist Gilbert Stuart, have been acquired by the Virginia Museum of Fine Arts and are on view in the galleries in time for the holidays.

17th-century Italian painting
• Mattia Preti (Italian, 1613–1619), The Visitation, oil on canvas, 47 5/16”H × 67 1/32”W. Virginia Museum of Fine Arts, Richmond. Arthur and Margaret Glasgow Endowment

The Visitation is an exceptional religious scene by the Baroque master Mattia Preti, whose work illustrates the realistic tendencies perfected by fellow Italian artist, Caravaggio (Michelangelo Merisi). Preti is generally described as the last great exponent of Caravaggesque naturalism, and here he revels in the tenderness of the scene unlike the coarse treatments of some of his counterparts. Especially appropriate to the Christmas season, this painting depicts the meeting of the Virgin Mary and her cousin Elizabeth, the first episode in the life of Christ recorded by Luke.

Preti, although born in Calabria and active in Naples and Malta later in his career, was working in Rome at the time this painting was produced. The museum’s holdings include important works by great artists active in Naples including Luca Giordano, Paolo de Matteis, Francesco Solimena, Salvator Rosa, and Artemisia Gentileschi. The addition of this work further enhances VMFA’s collection as a destination for the study of the Neapolitan baroque.

In this powerful and dramatic painting, Preti represents the meeting of the Virgin Mary with her older cousin Elizabeth. Mary hastened to visit her kinswoman following the Annunciation by the Angel Gabriel. Elizabeth, who was soon to give birth to St. John the Baptist, recognizes that Mary has been chosen as the mother of the Son of God, and greets her with the words “Blessed art thou among women and blessed is the fruit of thy womb. . . . For lo, as soon as the voice of thy salvation sounded in mine ears, the babe leaped in my womb for joy.” (Luke 1:42-44)

“This old master painting will become a visitor favorite, as well as a touchstone for the artist,” Director Alex Nyerges said. “We can think of no better Christmas gift to the commonwealth than exquisite art for all to enjoy.”

Gilbert Stuart (American, 1755-1828), Portrait of Rebecca White Pickering (Mrs. Timothy Pickering), 1817-18, oil on wood. J. Harwood and Louise B. Cochrane Fund for American Art.

19th-century American portrait
• Gilbert Stuart (American, 1755-1828), Portrait of Rebecca White Pickering (Mrs. Timothy Pickering), 1817-18, oil on wood. J. Harwood and Louise B. Cochrane Fund for American Art.

Gilbert Stuart – “the Vandyke of the Time”– was a master portraitist whose talents coincided with the needs of a generation anxiously crafting a new American identity. After the Revolution, persons once subject to the hierarchical social structure of the British Empire were freed to negotiate public and private selves within the context of a self-determined republic. To this end, Stuart imbued his clients’ portraits with the social parity accorded an international society of merchants, landowners and aristocrats. With its dazzling display of luxurious textures, this stunning likeness of the Massachusetts matriarch, Rebecca White Pickering (1754-1828), numbers among his finest work.

“Celebrated by his contemporaries for his life portraits of George Washington,” Susan Jensen Rawles, interim department head of American art said, “Stuart’s extraordinary talents are rarely as evident as in this portrait of Rebecca Pickering, its rich tones rendered with a fluid touch. We are thrilled to add it our American collections.”

84 Japanese works
Also acquired are 84 works by the 20th century Japanese shin-hanga woodblock print master, Kawase Hasui. In addition to this gift, collectors René and Carolyn Balcer have donated more than 580 Hasui works to VMFA. The exhibition, Water and Shadow: Kawase Hasui and Japanese Landscape Prints, is on view in VMFA’s Evans Court Gallery.

Born in Tokyo, Kawase Hasui was trained in traditional Japanese painting, watercolor, and oil painting. He studied Japanese prints with Kaburaki Kiyokata (1878-1972), and then began to work as an illustrator for magazines and advertisements. In 1918, Hasui’s first experimental prints were published by Watanabe Shōzaburō (1885-1962), initiating a collaboration that would last for the rest of Hasui’s life. The prints created by Hasui were named as “new prints” (shin-hanga), an art movement that began in the early 20th century. By bringing together the talents of an artist, a block carver, a printer, and a publisher, shin-hanga works mimicked the traditional collaborative process of ukiyo-e printmaking, as opposed to the “creative prints” (sosaku-hanga), another movement that emerged in Japan at the same time and advocated artists to create prints through their individual effort.

Tibetan textile
• Tibetan, Temple Hanging, dyed and painted silk appliqué, 93½”H × 67⅛”W. Virginia Museum of Fine Arts, Richmond. Gift of Anne and Larry Heilman.

VMFA’s world-class Himalayan collection is enriched by the gift of a large and visually powerful Tibetan textile. Nearly eight feet tall, it is composed of hundreds of small, quilted and embroidered silk elements—most auspicious emblems—joined to form an elaborate garland centered on an unfolding lotus. This colorful hanging would once have enlivened the interior of a Buddhist temple, where it might have either fronted a large altar or hung above an entryway, rather like an ornamental festoon in western architecture. Donors Anne and Larry Heilman­­­­ of Chevy Chase, Md., acquired the textile in Kathmandu, Nepal in 1972.

Additional Acquisitions
American
• Edward Heim (American, before 1880 – after 1937), Bessie Potter Vonnoh, ca. 1927, photograph, 9½ x 7¼”. Gift of Alexander Reeves, Richmond

Decorative Arts
• Jean Lurcat (French, 1892-1966): three Aubusson tapestries from 1965, wool:
Gemini, woven by the Atelier Gisèle Brivet, 41½ x 58¼”
The Awakening, woven by the Atelier Gisèle Brivet, 48 ⅜ x 79¼”
Cascade, woven by the Atelier Picaud, 42¾ x 58¼”
Gift of Mary and Lucien Rubenstein, Madison, WI

Photography
1. Selection of photographs by Rodchenko and other Russian Constructivists.
• Alexander Rodchenko (Russian, 1891–1956):
° with Henri Manuel (Russian, 1874 – 1947), Alexandr Rodchenko’s Worker’s Club installation at the 1925 Decorative Arts exhibition in Paris, 1925, gelatin silver print, 11.8 x 9.25”
° House on Novinskii Boulevard – Project architect Moisei Ginzburg, 1929, vintage gelatin silver print, 4¾ x 6¼”
° The Worker’s Faculty Student, 1924, vintage gelatin silver print; 4.8 x 3.4”
° Workers’ Demonstration, 1932, toned vintage gelatin silver print , 17.4 x 11.10”
° Fotomontazh k poeme V. Mayakovskovo ‘Pro Eto’ (Photomontage for Mayakovsky’s poem, ‘About This’), 1923, gelatin silver print, 9.4 x 6.8”
° Corner, 1925 (Untitled (Building), 1925), gelatin silver print, 5 x 6.10”
° Dom Mosselproma. House of Mosselprom, decorated by Rodchenko, 1925, gelatin silver print, 9.8 x 6.4”
° Canteen at the Electric Plant, 1929, gelatin silver print, 6.12 x 4.8”
° Pryzhok s shestom (High Jumper), 1937, gelatin silver print, 5.12 x 6.12”
° Pine trees. From the Karelia series, 1933, gelatin silver print; 8.8 x 5.8”
• Gustav Klutsis (1895 – 1938), Delo Chesti, Slavy, Doblesti i Gerojstva! (A Matter of Honor, Glory, Valor and Heroism!), 1931, vintage gelatin silver photomontage
• Max Alpert (1899–1980), Untitled (Dnepr Dam), gelatin silver print; 12.12 x 9”
• Piotr Otsup (1883 – 1963), S. Kobozev na sjemke prazdnovanija pervoj godovshchini Oktriabria. I.S. Kobozev (photographer) photographing the first October Celebration, 1918, gelatin silver print, 6.8 x 4.10”
• Georgi Zelma (Russian, 1906 – 1984):
° Tractor Driver, Birobizhan, mid – 1930s, vintage gelatin silver print; 2.3 x 3.1”
° Krasnaya Ploschad’, Kolonna ‘Elektrozavoda’. Red Square, Column of Electro-Factory, 1931, gelatin silver print, 4.1 x 6.5 in. Adolph D. and Wilkins C. Williams Fund

2. 12 photographs purchased from the Estate of George Cruger:
• Mary Ellen Mark (American, b. 1941), India, 1989, gelatin sliver print
• Alvin Langdon Coburn, (British,1882–1966), Greyfriars Church, photogravure
• Unknown photographer, (Point Lobos), ca. 1930, silver gelatin print,
• Unknown photographer, Louvre Gallery nearly Empty, 1939, series of five silver-gelatin prints
• Claudio Cambon (American, b. 1967), ‘Papa’ John Wallace, Bosun, 1998, gelatin-silver print
• Unknown photographer (perhaps from New York Herald-Tribune), two gelatin-silver prints depicting José Ramón Miguel Agustín Pro Juárez, 1927, gelatin-silver print
• Underwood & Underwood, Some Men Climb ‘Some Heights’ To Get Some Women, ca. 1930. Kathleen Boone Samuels Memorial Fund

3. Gyorgy Kepes (American/Hungarian, 1906-2001), four untitled abstractions, gelatin silver prints. Adolph D. and Wilkins C. Williams Fund

4. Arnold Newman (American, 1918-2006), four silver gelatin prints:
• Man Ray, Los Angeles, 1948
• Moses & Raphael Soyer, NYC, 1942
• Grandma Moses, Eage Bridge, NY
• Danny Kaye Kathleen Boone Samuels Memorial Fund

5. Elisabeth Sunday (American, born 1958), Emerge (Tuareg Woman, The Sahara Desert, Mali), 2007, platinum print on rag paper. Adolph D. and Wilkins C. Williams Fund.

Roses by Georgianna Lane

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Roses

Roses by Georgianna Lane

Two gifts in one: Joachim von Sandrart’s ‘Mystic Marriage’ on view at Kunsthistorisches Museum

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Archduke Leopold William, Joachim von Sandrart, Kunsthistorisches Museum, Mystical Marriage of Saint Catherine with Saints Leopold and William

Joachim von Sandrart, Mystical Marriage of Saint Catherine with Saints Leopold and William. 1647/49, Maplewood. Inv.no. GG 1117 © KHM.

VIENNA.- To commemorate the 400th birthday of Archduke Leopold William (1614-1662), the founder of the Picture Gallery, the Kunsthistorisches Museum is showcasing a small panel dedicated to him by Joachim von Sandrart (Frankfurt/Main 1606 – 1688 Nuremberg), the celebrated German painter and writer on art. In many ways this is a highly sophisticated and exceptional present: unusually, the panel is painted both on the ob- and the reverse, combining two different genres – one depicts a religious scene, the other is a trompe l’œil still life. In a complex play on illusion and reality, Sandrart elevates the back of the painting to its subject matter, offering a virtuoso rendering of the actual support (a wooden panel) augmented by a painted joint and a (painted) piece of parchment – apparently attached with sealing wax – bearing the work’s dedication to the Archduke.

In the course of his life Sandrart worked in a number of cities located in countries ruled by the Habsburgs (among them Prague and Vienna, as well as at Lambach Monastery); Emperor Ferdinand III was such an admirer of his art that he ennobled him in 1653. Sandrart’s most important contribution to art history, however, is his Teutsche Academie der Edlen Bau-Bild- und Mahlerei-Künste (The German Academy of the Noble Arts of Architecture, Sculpture and Painting), published in Nuremberg in 1675.

In 2012 the Picture Gallery started a new series of exhibitions called „Points of View“; each focuses on an exceptional painting from our collection that is either rarely shown for lack of wall space, or one where recent research offers new insights.

The exhibition is curated by Dr. Gudrun Swoboda.

Painted Reverse with the dedication addressed to Archduke Leopold William (To Leopold William, the esteemed Bishop of Strasbourg and His Serene Highness the Archduke of Austria etc., his most gracious master, this picture was painted and humbly dedicated by the aforementioned Serene Highness’ most humble and devoted servant Joachim Sandrart of Stockau), 1647/49, Maplewood. Inv.no. GG 1117 © KHM.