Box 263
Contains 223 Results:
The Metal Serpent, Depiction of scene from the Old Testament (Numbers 21, 4-9). Upon God's command, Moses saves the Israelites from a plague of serpents by fashioning a bronze serpent on a pole. Whoever looked at the bronze serpent was healed., 1618-1620
Vanderbilt photo identifier: SC.MSS.088.FLEM.0609; Public Notes: A very similar copy belongs to Sotheby's from the studio of Sir Anthony Van Dyck. Subtle differences and underprinting on "copy."
Moses Raising the Brazen Serpent, Depiction of Moses raising the Brazen Serpent to save the Israelites from the Plague of Snakes. Tells the biblical story of Numbers 21, 4-9. Figures gather around Moses to be healed by the bronze snake, while others lie dead in the foreground., c.1609-1610
Moses Raising the Brazen Serpent, Depiction of Moses raising the Brazen Serpent to save the Israelite's from the Plague of Snakes. Tells the biblical story of Numbers 21, 4-9. Figures gather around Moses to be healed by the bronze snake, while others lie dead in the foreground., c.1609-1610
Young Woman Resting her Head on her Hand (probably the Penitent Magdalene), Depiction of Mary Magdalen resting her head on her hand, looking up toward the heavens in deep thought with feelings of repentance., c.1617-1618
Vanderbilt photo identifier: SC.MSS.088.FLEM.0612; Public Notes: Photographer's mark in bottom left of photograph. A Photographer's stamp is on the back for Anderson, Roma. The oil sketch was sold to Christie's with a certificate from Professor Erik Larsen dated February 23, 1994. Complete oil painting of this composition may also exist.
Madonna of the Straw (The Nativity), Depiction of the Virgin Mary swaddling the Christ Child, gazing at him with saddened eyes foreboding Christ's death., c.1625
Vanderbilt photo identifier: SC.MSS.088.FLEM.0614; Public Notes: The accession number is 220. This painting was originally dated to painter's Italian period, but possibly painted after his return home.
The Virgin and Child, Depiction of Virgin and Christ Child gazing at one another. The Christ Child's hand outstretched toward his mother. Inspired by Titian's Madonna and Child with saints Stephen, Jerome, and Maurice., c.1650-1699
Vanderbilt photo identifier: SC.MSS.088.FLEM.0615; Public Notes: This popular composition was originally found as a sketch in Van Dyck's Italian sketchbook. Several copies followed. The Wallace Collection's picture was attributed to Van Dyck at the sale of the Cardinal Fesch when purchased for the 4th Marquess of Hertford.
Madonna and Sleeping Christ Child, The sleeping Christ child lies in the Virgin Mary's lap, with his leg propped on an orb. The Virgin Mary looks up toward the heavens.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0616; Public Notes: This piece once belonged to the Charles Sedelmeyer collection as indicated in pencil on our photograph.
Madonna and Child, Depiction of the Virgin Mary looking towards Heaven, holding the infant Christ child who looks at something outside of the picture plane.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0617; Public Notes: The photographer's mark is in the bottom left corner.
Virgin with Donors, The Christ child sits in the lap of the Virgin Mary, his hand outstretched toward the donors, who sit in prayer and look upon Christ in adoration. Two putti circle playfully overhead., c.1630
Vanderbilt photo identifier: SC.MSS.088.FLEM.0618; Public Notes: This piece most likely decorated the funerary tombs of the patrons depicted in the painting. The accession number is 1231.
Adoration of the Shepherds, Nativity scene depicting the shepherds surrounding the Virgin Mary and the Christ Child as they gaze upon him lovingly. Cherubs fly overhead.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0619; Public Notes: This piece depicts the same composition as Van Dyck's "Adoration of the Shepherds" that is housed at the Hamburg Kunsthalle Museum in Hamburg, Germany.
Adoration of the Shepherds, Depiction of the Virgin Mary holding the infant Christ child with the shepherds gathered around her. Joseph sits to the right of Mary and points to the sleeping Christ child while angels fly overhead., c.1626-1628
Vanderbilt photo identifier: SC.MSS.088.FLEM.0620; Public Notes: This painting is a variant of the "Adoration of the Shepherds" in the Onze-Lieve-Vrouwekerk, Dendermonde, although our painting was probably painted before the altarpiece. A copy of this painting exists in the Sint-Annakapel, Antwerp. Another copy is a nearly full-sized stained glass version. "Mezzotinto Bruckmann" is written on the bottom right corner of the photograph.
Madonna and Child with Musician Angels, Depiction of the Virgin Mary holding the Christ child, who is standing on a large orb. The mother and child are surrounded by two angels playing musical instruments
Vanderbilt photo identifier: SC.MSS.088.FLEM.0621; Public Notes: A very similar work exists in the Norton Museum of Art, West Palm Beach, Florida. This painting was a copy of the original. The accession number of the copy is 334 in the Accademia Nazionale Di San Luca.
The Holy Family with Angels Dancing and Making Music, The Virgin Mary and Christ child watch as angels dance and sing. St. Joseph sits in the corner. Instead of watching, he looks toward Heaven and listens to their melodious tune. The Christ child is depicted with a nimbus., c.1633
Vanderbilt photo identifier: SC.MSS.088.FLEM.0622; Public Notes: Another painting as well as an engraving exist depicting this same composition.
The Vision of Saint Anthony of Padua, Depiction of the Virgin Mary holding the Christ child. St. Anthony is sitting at the feet of the Virgin and the infant Christ's hand is outstretched caressing St. Anthony's face. A book sits in the foreground denoting his scholarship. There is a thistle in the background that is symbolic of the desolate world., 1630-1632
Vanderbilt photo identifier: SC.MSS.088.FLEM.0623; Public Notes:
The Tribute Money, Depiction of the scene from Matthew 22:15-22. The Pharisees are trying to trick Christ into challenging Caesar's tax. Christ expresses his disapproval by responding with "Render unto Caesar that which is Caesar's and unto God the things that are God's." In saying this, Christ gestures up toward heaven.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0624; Public Notes: This is a variation on Titian's painting in the National Gallery, London.
The Tribute Money, Detail image of Christ with halo.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0625; Public Notes:
Christ and Five Apostles (Fragment of the Miracle of the Loaves and Fishes), Depiction of Christ blessing the food, to multiply the bread and the fish to feed five thousand people(John 6:1-14). The apostles surround Christ with worried expressions.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0626; Public Notes: This is the upper right fragment of Van Dyck's "Miracle of the Loaves and Fishes" (156 cm x 228 cm) that was destroyed in 1945. This maimed version is in very good condition.
The Road to Calvary, Depiction of Christ on the road to Calvary. He is accompanied by several figures, both his supporters and his scoffers.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0627; Public Notes: Our photograph acknowledges Miss Clayton East. Perhaps as a previous owner.
The Betrayal of Christ, Scene depicting Christ on the night he was betrayed. Judas leans in to kiss Christ in order to exploit him. The angry mob of Sanhedrin follow close behind, ready to arrest Jesus. In the foreground, Saint Peter is shown smiting Malchus, the High Priest's servant, cutting off his ear. At the upper right of the painting, an owl flies directly over the kiss of Judas, signifying the nocturnal hour of the meeting as well as symbolizing evil (representing living in darkness/sin)., 1618-1620
Vanderbilt photo identifier: SC.MSS.088.FLEM.0628; Public Notes: This is one of Van Dyck's most famous compositions. Three other versions of this painting exist, all painted by Van Dyck exist.
The Betrayal of Christ, Scene depicting Christ on the night he was betrayed in the Garden of Gethsemane. Based on the version in John Chapter 18 when we see Saint Paul sever the ear of Malchus, the servant of the High Priest. Judas leans in to kiss Christ as an angry crowd with lanterns and weapons follow closely behind, ready to arrest Christ., c. 1618-1620
Vanderbilt photo identifier: SC.MSS.088.FLEM.0629; Public Notes: Photographer's mark in bottom right of photograph. This is one of the three versions of this painting created by Van Dyck. This piece possibly functioned as a modello in preparation for the larger versions.
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