Frederik Muller & Co.

est. 1843

Explore Selected Works

See all 12 works of art
Carlo Crivelli, Madonna and Child, c. 1490, tempera on panel, Samuel H. Kress Collection, 1939.1.264

Madonna and Child

Carlo Crivelli · c. 1490 · tempera on panel ·  Accession ID  1939.1.264

Twelve men and a woman kneel on the ground to either side of a moss-green rock and gesture or gaze up at a man floating on a black cloud, flanked by eight men, four to each side, in this vertical painting. The scene has an arched top with a shiny gold background within the curve. All the people have pale skin. The man at the top center, Jesus, sits enveloped in a red robe over a bare chest and feet. He looks down and to our left with light brown eyes under furrowed brows, and his brown hair falls to his shoulders. He has a long, straight nose, a curly beard, and his lips are closed. He holds up his right hand, on our left, with the first two fingers raised. In his other hand, he holds a thin, cross-topped staff with a fluttering red pennant marked with a cross. Red wounds pierce the palms of both hands and blood seeps from a gash over his right ribs. Bands of black clouds, one on each side, are occupied by four bearded men seen from the waist up in a vertical row, looking toward Jesus. Each man holds an object or two, including a palm frond, a book and miniature unicorn, two stone tablets, a harp, or sword, or they hold their hands up in prayer. In the upper corners, above where the gold background arches down, winged angels are painted in translucent white against a navy-blue background. Below Jesus and his cloud, a group of six men to our right and six men and a woman to our left create loose parentheses to either side of a smooth, rounded, green rock. The rock appears broken along the bottom and two footprints are impressed into the top. Closest to us to our left, a woman with pale skin and blond hair, wearing a deep, cobalt-blue mantle over her shoulders, looks up with light eyes and a slight smile on small lips. She holds her hands together in prayer and has a wide, flat, gold halo surrounding her head. Next to her, a cleanshaven young man with blond, curly hair, wearing a green cloak, wraps one arm around her and holds his other up in front of his chest. The other men all have trimmed or long beards. Some are balding with gray or white hair, and some have thick, chestnut or cinnamon-brown hair. They wear robes in crimson red, emerald green, lapis blue, or apricot orange. Most look up to the sky with furrowed brows, but one man, to our right, looks down at his neighbor. A row of leafy plants sprouts along the bottom edge of the painting, under the rock. Rays of light, created by lines incised into the gold background, radiate down from Jesus and upward from the heads of the people below.
Johann Koerbecke, The Ascension, 1456/1457, tempera on panel, Samuel H. Kress Collection, 1959.9.5

The Ascension

Johann Koerbecke · 1456/1457 · tempera on panel ·  Accession ID  1959.9.5

Agnolo di Domenico del Mazziere, Donnino di Domenico del Mazziere, Portrait of a Youth, c. 1495/1500, oil on panel transferred to canvas and solid support, Samuel H. Kress Collection, 1939.1.294

Portrait of a Youth

Agnolo di Domenico del Mazziere, Donnino di Domenico del Mazziere · c. 1495/1500 · oil on panel transferred to canvas and solid support ·  Accession ID  1939.1.294

A free-standing, bronze she-wolf stands as two male infants attempt to nurse at her teats in this sculpture. In this photograph, the wolf stands sideways facing our left with her head turned to look at us, eight teats hanging heavily along her underside. Her wide eyes are framed by raised but furrowed brows, and cup-like ears curl back on her round head. Her jaws are slightly open revealing sharp teeth. Her lean body is partly covered by tight clusters of parallel, undulating lines around her head, neck, and along her back, suggesting fur. Beneath her, one boy sits, rocking back on a low rock, and the other kneels. Both tilt their heads back and spread their arms wide as they reach for her teats. The bronze of the boys and wolf are rubbed gold in some areas, especially on the wolf’s ribs. The trio rest on a green and black marble pedestal.
Central Italian 15th Century, Central Italian 16th Century, Roman 15th Century, Roman 16th Century, The Capitoline Wolf Suckling Romulus and Remus, late 15th - early 16th century, bronze, Samuel H. Kress Collection, 1957.14.8

The Capitoline Wolf Suckling Romulus and Remus

Central Italian 15th Century, Central Italian 16th Century, Roman 15th Century, Roman 16th Century · late 15th - early 16th century · bronze ·  Accession ID  1957.14.8

Shown from the chest up, a bearded man with pale skin and flushed cheeks wears a chestnut-brown jacket with a thick, lace-trimmed, pleated, cream-white collar in this octagonal portrait painting. The man’s body is angled to our right, and he cuts his light brown eyes back to look at us. Wrinkles line the corners of his eyes under dark brows, and he has a straight, narrow nose and high cheekbones. His red lips are closed and almost lost in the shadow of his full, trimmed beard. His dark brown hair is combed back from a receding hairline and falls around his ears. The dense, ruffled collar comes up to the earlobe we can see. His brown vest has a row of gold buttons down the front, and there are more gold buttons down the sleeve. He is lit from our left so the far side of his face is in shadow. The dark brown background lightens slightly around his face.
Thomas de Keyser, Portrait of a Gentleman Wearing a Fancy Ruff, 1627, oil on copper, The Lee and Juliet Folger Fund, 2012.12.1

Portrait of a Gentleman Wearing a Fancy Ruff

Thomas de Keyser · 1627 · oil on copper ·  Accession ID  2012.12.1

Shown from the thighs up, a pale-skinned woman looks down and off to our left as she holds the pointed end of a dagger toward her chest in this vertical painting. Her lips are slightly parted, and her arms are spread wide as holds the hilt of the dagger in her right hand, to our left. Her hooded, dark brown eyes are rimmed with red. Her head tilts to our left, her pale lips parted. There are gray shadows at the corners of her mouth and along her jawline. Her brown hair is pulled back under a cloth covering painted with white flecks to suggest shiny thread or possibly jewels. She wears a long, tawny-brown gown with diaphanous sleeves. The bodice is laced up over a cream-white undergarment with a deep V neck and voluminous sleeves with unfastened cuffs near her wrists. She wears a large, teardrop-shaped pearl in the ear we can see and two necklaces. One necklace is a strand of pearls, and the other is a gold and possibly jeweled pendant with another teardrop pearl hanging from a cord. A gold belt drapes around her hips over a narrow waist. She is warmly lit from the upper left and set against an earth-brown background. The artist signed and dated the center left, “Rembrandt 1664.”
Rembrandt van Rijn, Lucretia, 1664, oil on canvas, Andrew W. Mellon Collection, 1937.1.76

Lucretia

Rembrandt van Rijn · 1664 · oil on canvas ·  Accession ID  1937.1.76

A sand-colored church dominates the right two thirds of this canvas in this horizontal landscape. Low-lying blue-green mountains recede into the deep distance to our left. To our right, the building is made up of staggered, squared-off walls with rectangular windows set at seemingly irregular intervals. To the left and near the center of the composition, a circular building has a low domed roof. Plants growing on the building suggest that this is a ruin. A tall obelisk stands in front of the round portion of the church, to the left of center in the composition. We look into the arched ruins or construction of another building behind and above the church. A dirt road crosses diagonally from our left to right in front of the structure. A person wearing a red hat and purple robe sits inside a carriage drawn by two black horses. The driver wears a blue uniform, as do two men walking alongside the carriage.
Pieter Jansz Saenredam, Church of Santa Maria della Febbre, Rome, 1629, oil on panel, Samuel H. Kress Collection, 1961.9.34

Church of Santa Maria della Febbre, Rome

Pieter Jansz Saenredam · 1629 · oil on panel ·  Accession ID  1961.9.34

Eight cows bathed in warm sunlight stand and lie on a riverbank carpeted in mossy green in this horizontal painting. The cows are amber, ginger, or tawny brown, bone white, or black, and all have short, curving horns. Seven are clustered closely together, at the bottom center of the painting. There, one tawny red cow with a white face looks at or toward us as it lies at the middle of the grouping, legs tucked under her big body. The eighth cow is black with a white face, and lies just to our left of the group. Behind the cows, to our right, a hill rises about halfway up the right side of the composition. Three men meet at the top. One man is on horseback with his back to us, while the other two stand to the right holding tall staffs. They are dressed in sage-green, tan, or peanut-brown tunics and knee-length pants, and they all wear hats. Beyond the cows, the silvery-blue river extends back to a row of low trees in the deep distance on the horizon, which comes about a quarter of the way up the composition. A few sailboats with white sails navigate the waterway. The sky, which takes up about three-quarters of the composition, is filled with puffy white, pale gray, and shell-pink clouds. A shaft of sunlight breaks through the clouds near the top center of the composition and falls toward the men on the hill. Birds flying in a loose band are painted with a few swipes of brown, tiny in the distance. The artist signed the lower right, “A:Cuijp.”
Aelbert Cuyp, River Landscape with Cows, 1645/1650, oil on panel, Gift of Family Petschek (Aussig), 1986.70.1

River Landscape with Cows

Aelbert Cuyp · 1645/1650 · oil on panel ·  Accession ID  1986.70.1

A stone bridge with turrets at each end spans a placid river in this horizontal landscape painting. The bridge takes up the right half of the composition, moving from the right edge of the canvas back and to our left. The horizon line comes about a quarter of the way up the painting so much of the tan-colored bridge is nearly silhouetted against the sky. The sun, low in the sky to our right, angles sharply through the four large stone arches of the bridge. The sky glows with golden light along the right side of the composition, and deepens to pale and then aquamarine blue to our left. Vegetation hangs down from the tops of tower-like structures rising at each end of the bridge. Along the shadowed riverbank, close to us, two men on horseback talk and gesture toward the bridge. Another standing to our right seems to point to a man in a boat near the shore, who stands with his arms spread. A dog looks at the man in the boat, and another man herds three cows through the water, near the lower left corner of the painting. All of the men except the cowherd wear or hold wide-brimmed hats and wear jackets and stockings in black, yellow, navy blue, or crimson red. The riverbank opposite us us sheer and rocky, but details are difficult to make out in the shadows there. Beyond the riverbank, sunlight brushes the tops of rolling green hills. Two buildings with low towers sit among the hills in the distance. Mountains beyond become more blue in the hazy light along the horizon.
Jan Asselijn, The Tiber River with the Ponte Molle at Sunset, c. 1650, oil on canvas, Florian Carr Fund, New Century Fund, and Nell and Robert Weidenhammer Fund, 2012.129.1

The Tiber River with the Ponte Molle at Sunset

Jan Asselijn · c. 1650 · oil on canvas ·  Accession ID  2012.129.1

Jan Gossaert, Two Kings and a Woman Leaving an Elaborate Palace, 1503/1508, pen and black ink on laid paper, Ailsa Mellon Bruce Fund and Gift of Dian Woodner, 2008.76.1

Two Kings and a Woman Leaving an Elaborate Palace

Jan Gossaert · 1503/1508 · pen and black ink on laid paper ·  Accession ID  2008.76.1