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German, Nuremberg

Pen and ink, watercolor, gold and silver washes; paper bound in gold-tooled leather cover: 14 x 10 3/8 in. (35.56 x 26.35 cm); page: 13 5/8 x 9 7/8 in. (34.61 x 25.08 cm) Books & Manuscripts Rogers Fund, 1922 22.229 In many instances, the names of the tournament participants are written above them. They are armed for the Gestech, the joust fought with blunt lances. A helmet and a four-pronged lance head similar to those in the album are also on display in gallery 373 (acc. nos. 29.156.67a, 42.50.40). Albums such as this provide an invaluable record of the jousters’ colorful costumes, fanciful crests, and humorous, often satirical emblems that decorated the jouster’s shields and horse trappings.

This 112-sheet manuscript includes depictions of contestants equipped for various tournaments; a parade preceding a late form of tournament called a carrousel; participants in tournaments known as Gesellenstrechen, or bachelors’ jousts, held in Nuremberg between 1446 and 1561; and depictions of pageant sleighs, some of which were used in a parade held in the winter of 1640–41. The illustrations are probably the work of a Briefmaler, or letter painter, who also would have written and embellished official documents and painted coats-of-arms.

Album of Tournaments and Parades in Nuremberg late 16th–mid-17th century

Anthony Van Dyck

Etching; first state of seven 9 1/2 × 6 1/8 in. (24.1 × 15.6 cm) Prints Bequest of Mary Stillman Harkness, 1950 50.583.4 In this lively “Self-Portrait” of about 1640, Anthony van Dyck masterfully etched his rakishly turning head with the spontaneity and fluidity found in his drawings and merely suggested the rest of his body through the sketchy but deftly placed lines indicating his neck and collar. Together with the other prints in his “Iconography”—a portrait series depicting approximately one hundred famous nobles, scholars, and especially artists—Van Dyck’s “Self-Portrait” enlivened this established genre with its fresh and original depiction of the sitter. The plates to the “Iconography,” of which fifteen were executed by Van Dyck and the remainder by nine hired printmakers, underwent modification and reprinting many times over the centuries; fortunately, early states of those etched by Van Dyck himself survive, such as this first state of the “Self-Portrait.” Evident in later editions of the “Iconography,” the engraver Jacques Neeffs completed the composition with a sculptural bust and pedestal—whether or not this was Van Dyck’s intention remains unknown.

Self-Portrait from “The Iconography” ca. 1640

Gong Xian

Album of sixteen paintings; ink on paper 10 3/4 x 16 1/8 in. (27.3 x 41 cm) Paintings Gift of Douglas Dillon, 1981 1981.4.1a–o Remaining loyal to the vanquished Ming dynasty, the hermit Gong Xian came to terms with himself as an yimin, or “leftover subject,” under the Qing dynasty (1644–1911). In this leaf, from an album in which he compared his favorite haunts in and around the former Ming capital of Nanjing with the abodes of the immortals, Gong complemented his image of a reclusive dwelling with a poem that contrasts the ability of orchids, symbols of virtuous men, to endure the cold winter, while brambles — lowly men — are used as firewood. The artist perfected a technique of ink wash and dotting that enabled him to achieve both density and translucency in his paintings.

Landscapes with Poems 1688

Charcoal, brush and gray wash on wove paper N/A Drawing Gift of F. Elizabeth De Voy, 1911 1957.58.21 A male figure in a frock coat and top hat stands at right. He is being questioned by a male figure wearing a white apron at left. A female figure wearing a kerchief stands behind a counter. The setting is a small dry-goods or grocery store.

“What is this bill? Give it me to look at.”

1871-1951

John French Sloan American

Benjamin Franklin 1797 William Harrison, Jr.

Etching and line engraving on paper

Image: 9.5 x 7.4cm (3 3/4 x 2 15/16”) Sheet: 16.1 x 10.7cm (6 5/16 x 4 3/16”)

Prints

National Portrait Gallery, Smithsonian Institution

S/NPG.77.83

Angelica Kauffman

Black and white chalk, on gray prepared paper 14 3/16 x 16 11/16 in. (36 x 42.4 cm) Drawings Purchase, several members of The Chairman’s Council Gifts, 2003 2003.87 The lives of two remarkable eighteenth-century women connect in this image. The Swiss-born artist Angelica Kauffmann had trained in Italy with her painter father, moved to London in 1766, and been elected a founding member of the Royal Academy in 1768. As a successful subject painter and portraitist, her works often centered on female subjects and this life-sized study relates to a full-length oil of 1791 (Private Collection) that portrays Emma, Lady Hamilton as the Comic Muse. The subject’s beauty, dramatic flair and rise in social position had turned her into a celebrity and this image coincides with her recent marriage to Sir William Hamilton, the British envoy to Naples—the couple returned to London for the ceremony.

Portrait of Emma Hamilton 1791

Suzuki Harunobu

Woodblock print (first edition); ink and colors on paper, medium-sized print (chuban) 11 1/4 x 8 in. (28.6 x 20.3 cm) Prints The Francis Lathrop Collection, Purchase, Frederick C. Hewitt Fund, 1911 JP698 This beguiling scene of a girl lulled by the sound of a softly boiling tea cauldron, set on a portable hearth of the type used during the summer, is one of Harunobu’s Eight Parlor Views (Zashiki hakkei). It playfully alludes to “Night Rain,” one of the Eight Views of the Xiao and Xiang Rivers in China, a venerable theme in both Chinese and Japanese painting. Here the summer mood intrinsic to that landscape is transposed to the interior of an Edo (Tokyo) house of pleasure. Harunobu’s work is distinctive for its subtle tonality, achieved by mixing pigments rather than by superimposing two printed colors.

Night Rain at the Double-Shelf Stand, from the series Eight Parlor Views (Zashiki hakkei) ca. 1766

Oliver Wendell Holmes, Sr. Jacques Reich, 10 Aug 1852 - 08 Jul 1923

Etching

Image: 31 × 24 cm (12 3/16 × 9 7/16”) Sheet: 56.5 × 41.5 cm (22 1/4 × 16 5/16”)

Prints

National Portrait Gallery, Smithsonian Institution; gift of Oswald D. Reich, 1899

S/NPG.67.95

Portrait of Adolphe Thiers (French, 1871–1873), president of the French Republic, 1872. late 19th century Michel-Marie Carquillat

Medium: silk Technique: jacquard woven

N/A

Woven textile

Textile Department, Cooper Hewitt, Smithsonian Design Museu Collection

1959.53.5

Portrait of Monnoyer from “Le Livre de toutes sortes de fleurs d’après nature”

Engraving on paper

N/A

Bound Print

Gift of Eleanor and Sarah Hewitt, 1670–1680

1931.73.311

Portrait of Monnoyer, from “Le Livre de toutes sortes de fleurs d’après nature,” book of bound engravings.

Jean-Baptiste Monnoyer, (French, 1636–1699)

Jean Fouquet

Metalpoint, black chalk on white prepared paper 7 13/16 x 5 5/16 in. (19.8 x 13.5 cm.)

Drawings Purchase, Rogers Fund and Gift of Mrs. Benjamin Knower, Bequest of Ogden Mills, and Bequest of Collis P. Huntington, by exchange, 1949 49.38 Although the inscription describes the sitter as “A Roman legate of our Holy Father in France,” there has been no satisfactory identification of this man. The drawing, an outstanding and rare survival of a fifteenth-century French work on paper, is by the painter and illuminator Jean Fouquet. Fouquet was patronized by the highest classes, as his home city of Tours was the preferred residence of the French royal court. In this sheet, the figure is placed to the left in three-quarter view, giving the legate a distance appropriate to his rank. This distance is balanced by the descriptive, sculptural treatment of the face and the psychological characterization therein. Fouquet was one of the first Northern artists to recognize and incorporate the artistic innovations of fifteenth-century Italy into the prevailing Franco-Flemish style, as manifested in the combination of monumentality and descriptive detail seen here. Fouquet’s sheet is also an early survival of the portrait drawing genre, which gained great importance and popularity in France in the sixteenth century. In modern times, this drawing has always been considered a masterpiece. When it was sold at auction in 1936, it fetched the highest price paid for a drawing to that date.

Portrait of an Ecclesiastic ca. 1461

Graphite, pen and ink, brush and watercolor in paper N/A Drawings Museum purchase through gift of various donors 1901.39.882 Elevation if mantelpiece. At center, a tablet with four dancing women. On either side, swags and bucranium. Above this, a ceramic vessel. At left, profile view.

Project for a Chimneypiece

Trophy Gabriel Huquier, French, 1695–1772

Etching on Paper

N/A

Print

Gift of Eleanor and Sarah Hewitt, 18th century

1931.94.553

Engraving, second state of the two (BN) sheet: 11 3/4 x 17 5/8 in. (29.8 x 44.8 cm) Prints Purchase, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1962 62.600.230 Signature: On the pedestal at the lower right, “CL. MELLAN GALL’ / INVEN. ET SCVLP.”, and at the lower left, “cum privilegio” Inscription: Inscription in ink at the right, “Un homme à genoux aux pieds de la religion sous la figure d’une femme qui montre a cet homme un religieux faisant l’aumône. / Ch. Leblanc / 1 etat avant les armes / du Card. de Richelieu”

Allegory on Charity (?)

Calude Mellan French

Edward Francis Burney

Engraving Sheet: 7 1/16 × 5 3/4 in. (18 × 14.6 cm) Prints, Ephemera Gift of Bella C. Landauer, 1926 26.28.258 Inscription: Inscribed in plate upper left: “E. F. Burney Esq. del.”; upper right: “J. Neagle fc.”; center: “This is to certify that the Bearer / is a Member of the Original Society of Copper-Plate Printers, held at / the Red Lion Poppin’s Court, / Fleet Street”

Certificate of Membership of the Society of Copper-Plate Printers 19th century

Construction and Installation of Victorian Doors, Smithsonian Institution Building, or Castle

Photographic print mounted on board.

10” x 8” (12 x 9.5)

Black and White Photographs

Smithsonian Institution Archives, Record Unit 95, Box 31, Folder 29, Image No. SIA_000095_ B31_F29_001

72.11321

Installation of door between South Tower and Great Hall of the Smithsonian Institution Building, or Castle, for the SI Associates’ Lounge.

Richard Farrar

Thomas Rowlandson British

Etching, printed in brown ink

sheet: 11 9/16 x 9 3/16 in. (29.3 x 23.4 cm)

Prints

The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1959

59.533.687

Inscription: Inscribed in plate: “Woodward del.”, “Etched by Rowlandson” / above: “Desire / No. 7”; below: “Various are the ways this Passion might be depicted in this / Delineation the subjects chosen are simple..a Hungry Boy / -- and a Plumb Pudding”

Desire (Le Brun Travested, or Caricatures of the Passions) January 20, 1800

General Nathaniel Lyon [Unknown]

Albumen silver print

Image: 6.9 × 5.5 cm (2 11/16 × 2 3/16”) Sheet: 9.2 × 6 cm (3 5/8 × 2 3/8”)

Photograph

National Portrait Gallery, Smithsonian Institution; gift of Francis James Dallett

S/NPG.88.5

Wood Engraving

Sheet: 11 1/4 × 7 1/2 in. (28.5 × 19 cm)

Prints

Gift of Mrs. Yvonne Möen Cumerford, 1965

65.570.61(29)

Inscription: Inscribed in block lower left: “DUJARDIN”; lower right: “JJ Grandville”; bottom center: “Il se relève, blanchi par devant des pieds à la tête.”

“He gets up, covered from head to toe in snow.” from the Little Miseries of Human Life 1843 J. J. Grandville

Lower Main Hall Exhibits, Smithsonian Institution Building, or Castle 1849-1931

Photographic Print Mounted on Board

N/A

Gelatin silver prints

Smithsonian Institution Archives, Record Unit 95, Box 31A, Folder 01, Image No. SIA_000095_ B31A_F01_001

SA-46

Interior view, exhibits in the Lower Main Hall, also known as the Great Hall, of the Smithsonian Institution Building, or Castle, showing portable stove at end of hall.

[Unknown]

Samuel Colman, American, 1832–1920

Graphite, greasy black crayon, brush and gouache on brown paper.

N/A Drawings Gift of Mrs. Samuel Colman 1939.85.75 Recto: Four dandelions at left, and a yellow moth at top right. Verso in opposite direction: Horizontal view of a white daisies in blossom, parts of which are drawn over the lateral designs at center; a forked stem of cammomile with two petals at left, and a cammomile petal with part of the stem, shown from above, at right.

Study of White Daisy, Chamomile Stem with Two Petals, and a Chamomile Petal

The Fish–monger Torii Kiyonaga

Woodblock print; ink and color on paper

H. 10 1/16 in. (25.6 cm); W. 7 9/16 in. (19.2 cm)

Prints

H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929

JP1718

The Infant St. John the Baptist Holding up His Robe ca. 1649

Etching; second state of three

Sheet (trimmed): 5 9/16 × 3 5/8 in.

(14.1 × 9.2 cm)

Prints

Purchase, Joseph Pulitzer Bequest, 1917

17.50.17.299

Inscription: Lettered along bottom: ‘la Bella fecit / Cum priveligio Regis / Mariet (sheet trimmed at left and right)’

Stefano della Bella

INDX.

Album of Tournaments and Parades in Nuremberg Sourced from Met Museum Archives

Self-Portrait from “The Iconography” Sourced from Met Museum Archives

Landscapes with Poems Sourced from Met Museum Archives

Benjamin Franklin Sourced from Smithsonian Museum Archives

Portrait of Emma Hamilton Sourced from Met Museum Archives

Night Rain at the Double-Shelf Stand, from the series Eight Oliver Wendell Holmes, Sr. Parlor Views Sourced from Met Museum Archives Sourced from Smithsonian Museum Archives

Portrait of Adolphe Thiers (French, 1871–1873), Sourced from Met Museum Archives

Portrait of Monnoyer Sourced from Smithsonian Museum Archives

Portrait of an Ecclesiastic Sourced from Met Museum Archives

“What is this bill? Give it me to look at.”

Sourced from Smithsonian Museum Archives

Project for a Chimneypiece Sourced from Smithsonian Museum Archives

Trophy Sourced from Smithsonian Museum Archives

Allegory of Charity Sourced from Met Museum Archives

Certificate of membership of the society of copper-plate printers Sourced from Met Museum Archives

Construction and Installation of Victorian Doors, Smithsonian Institution Building, or Castle Sourced from Smithsonian Museum Archives

Desire (Le Brun Travested, or Caricatures of the Passions) Sourced from Smithsonian Museum Archives

General Nathaniel Lyon Sourced from Smithsonian Museum Archives

“He gets up, covered from head to toe in snow.” from the Little Miseries of Human Life Sourced from Met Museum Archives

Lower Main Hall Exhibits, Smithsonian Institution Building, or Castle Sourced from Smithsonian Museum Archives

Study of White Daisy, Chamomile Stem with Two Petals, and a Chamomile Petal Sourced from Met Museum Archives

The Fish-monger Sourced from Met Museum Archives

The infant St. John the Baptist Holding up His Robe Sourced from Met Museum Archives

INDX.

Images manipulated with Adobe Photoshop

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