Rogier van der Weyden
Found in 30 Collections and/or Records:
Adoration of the Magi, In this image we see the Virgin and Child surrounded by Joseph and the three Magi while several other followers stand in the background. The scene is set in a Romanesque ruin converted into a stable. In the foreground, one king leans to kiss Christ's hand, while the others stand holding their gifts. Joseph stands to the left of Mary and Christ. The patron of the painting is depicted behind him kneeling behind a stone wall. A crucifix hangs above Mary's head on the stable, which houses a donkey and a cow. In the bottom right corner sits a greyhound., c.1450-1456
Vanderbilt photo identifier: SC.MSS.088.FLEM.0579; Public Notes: This piece is the central panel for the triptych with the Adoration of the Magi, the "Columba Altarpiece."
[Deposition], The scene of the Deposition of Christ from the Cross.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0100; Public Notes:
Descent from the Cross, Depiction of Christ's descent from the cross. Jesus's body is being held by Joseph of Arimathea, Nicodemus, and a helper. Mary has fallen to the ground as a result of fainting. She is held by St. John and the holy women. Mary Magdalen clasps her hands in prayer and cries to the far right., c.1435
Vanderbilt photo identifier: SC.MSS.088.FLEM.0597; Public Notes: Photographer's mark is in the bottom right of the photograph.
Descent from the Cross, Detail image of Saint Nicodemus crying at Christ's descent from the cross., c.1435
Vanderbilt photo identifier: SC.MSS.088.FLEM.0598; Public Notes:
Francesco d'Este, Portrait of Francesco d'Este (born c.1430, died after 1475). The sitter is depicted in three-quarter view and looks away from the viewer. He holds a small hammer and a ring in his hands, which may symbolize his power. Francesco was the illegitimate son of Leonello d'Este, ruler of Ferrara. This portrait was painted when Francesco was around thirty years old., c.1460
Vanderbilt photo identifier: SC.MSS.088.FLEM.0571; Public Notes: The accession number for this piece is 32.100.43. Our photograph improperly identifies the sitter as Lionello d'Este/ Meliaduso d'Este.
Madonna and Child, This painting depicts the Virgin Mary nursing the infant Christ. She appears to be framed by two columns, perhaps in a window.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0587; Public Notes: This painting appears to be a variation of one done by Bernard Van Orley.
Madonna, Child, and Saints, This painting depicts the Virgin Mary holding the infant Christ child surrounded by saints. The two saints to the left of Mary can be identified as St. Peter (who holds the key to the Church) and St. John the Baptist (who points to a small lamb). The saints to the right of Mary may be St. Mark (holding the book) and St. John. All figures stand in the interior of a church. Overhead, an angel crowns the Virgin Mary.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0593; Public Notes: This painting once belonged to the Cook gallery in England.
Madonna, Child, and Saints, This painting depicts the Virgin Mary holding the infant Christ child surrounded by saints. The two saints to the left of Mary can be identified as St. Peter (who holds the key to the Church) and St. John the Baptist (who points to a small lamb). The saints to the right of Mary may be St. Mark (holding the book) and St. John. All figures stand in the interior of a church. Overhead, an angel crowns the Virgin Mary.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0594; Public Notes: This painting once belonged to the Cook gallery in England.
Portrait of a Lady, Portrait of an unknown sitter. Her downcast eyes and clasped hands allude to her mental concentration. She wears her hair pulled back in a caul beneath a sheer veil. Her plucked eyebrows and hairline along with her costume suggest that she was a noblewoman of the Burgundian court., c.1460
Vanderbilt photo identifier: SC.MSS.088.FLEM.0569; Public Notes: The accession number is 1937.1.44.
Portrait of a Man in a Turban, Portrait of an unknown young man wearing a turban. The man is depicted in three-quarter view and holding a small pink flower. This flower is presumably a sign of his marriage and it is likely that this painting was paired with a portrait of his fiancee who may have held a ring., c.1425-1450
Vanderbilt photo identifier: SC.MSS.088.FLEM.0575; Public Notes: The accession number is 49.7.24. Although the sitter's pose is derived from portraits by Rogier Van der Weyden, it is likely that this painting was produced by a follower in the 1440's, as indicated by the costume of the sitter.
Portrait of a Man, Portrait of an unknown man. He stands against a dark green background looking at something outside of the picture plane. This hairstyle indicates that the portrait cannot date from later than 1455, when it became customary to wear hair below the ears., c.1450-1455
Vanderbilt photo identifier: SC.MSS.088.FLEM.0574; Public Notes: This painting has been severely damaged and restorations have altered its original appearance as a result.
Portrait of a Woman, Portrait of an unknown woman looking directly at the viewer. She wears a broad white cap pinned around her face and a brownish grey robe with black fur trim. Her hands are clasped in front of her and she wears several gold rings. It has been speculated that the sitter may have been Van der Weyden's wife., c.1432-1435
Vanderbilt photo identifier: SC.MSS.088.FLEM.0568; Public Notes: The accession number is 545D. This painting has been ascribed to Van der Weyden since Friedlander's assessment in 1908.
Portrait of an Unknown Woman, This painting of an unknown woman. She wears a winged headdress covered by a veil and what appears to be some sort of quilted earmuffs.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0567; Public Notes:
Presentation in the Temple, Depiction of (Luke 2:22-38) Jesus being presented to the Lord in the Temple of Jerusalem forty days after his birth. St. Simeon holds Christ in his arms at the altar as the elderly Prophetess Anna stands around the other side. Mary and Joseph stand at the front of the altar to present the infant Christ. In the left foreground stands Mary's servant. She carries a small basket holding turtledove- the customary sacrifice for the first born child. A small white dog stands at her heels., c.1450-1456
Vanderbilt photo identifier: SC.MSS.088.FLEM.0581; Public Notes: This piece is presumably the far right for the triptych with the Adoration of the Magi, "Columba Altarpiece."
Saint George and the Dragon, An illustration of Saint George slaying a dragon to free a princess. The original setting to this story would have been Asia Minor, however, the artist has changed it to a contemporary Belgian countryside., c. 1432-1435
Vanderbilt photo identifier: SC.MSS.088.FLEM.0347; Public Notes: This piece was formerly attributed to Hubert van Eyck. It was sold at Sotheby's London, March 16, 1966. The painting may have been used for personal devotion.
Saint George and the Dragon, An illustration of Saint George slaying a dragon to free a princess. The original setting to this story would have been Asia Minor, however, the artist has changed it to a contemporary Belgian countryside., ca. 1432-1435
Vanderbilt photo identifier: SC.MSS.088.FLEM.0348; Public Notes: This piece was formerly attributed to Hubert van Eyck. It was sold at Sotheby's London, March 16, 1966. The painting may have been used for personal devotion.
St. John and St. Mary, This painting depicts St. John consoling the kneeling Virgin Mary. Both figures wear halos and have tears on their faces. Mary clasps her hands in prayer with downward cast eyes while St. John looks up towards the heavens.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0602; Public Notes:
St. Luke Painting the Virgin, Depiction of the Virgin suckling the Christ child while St. Luke sits in front of the pair drawing the Virgin's portrait in metal point. The three figures sit under a portico in a castle. Mary sits on a wooden throne in front of hanging canopy in red brocade. On the arm of the chair on which Mary sits is a carving of Adam and Eve in reference to the Fall of Man. In the background, two figures stand on a bridge with their backs to the viewer (possibly representing Joachim and Anna, the Virgin's parents). A river lined by buildings winds into the distance.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0590; Public Notes: This painting is one of several copies of the original "St. Luke Painting the Virgin" of the Museum of Fine Arts, Boston. The original painting is SC.MSS.088.FLEM.0591 in our collection. The last known repository for this copy was Burg Kreuzenstein, Austria.
St. Luke Painting the Virgin, Depiction of the Virgin suckling the Christ child while St. Luke sits in front of the pair drawing the Virgin's portrait in metal point. The three figures sit under a portico in a castle. Mary sits on a wooden throne in front of hanging canopy in red brocade. On the arm of the chair on which Mary sits is a carving of Adam and Eve in reference to the Fall of Man. In the background, two figures stand on a bridge with their backs to the viewer (possibly representing Joachim and Anna, the Virgin's parents). A river lined by buildings winds into the distance., c.1435-1436
Vanderbilt photo identifier: SC.MSS.088.FLEM.0591; Public Notes: The accession number is 95.153.
The Annunciation (Diptych), This diptych depicts the Annunciation. On the left side, we see the Virgin Mary at her prie-dieu in her bedroom. She wears a starburst halo. In the background is a lily plant, symbolizing the Virgin's purity. On the right side of the diptych, we see the Archangel Gabriel with a scepter in his left hand. He has come to tell Mary that she is pregnant.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0578; Public Notes:
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