RECENT ACQUISITIONS
- Dürer, The Death of the Virgin
- Dürer, The Virgin with the Swaddled
- Krug, Madonna and Child
- Beham, Christ Bearing the Cross
- Beham, Cimon and Pero
- Beham, Triumph of the Noble
- Lautensack, Landscape
- Goltzius, Pietà
- Muller, Cleopatra
- Muller, The Fight
- Callot, La Petite Place de Sienne
- Bosse, Le Pâtissier
- Rembrandt, Christ and the Woman
- Rembrandt, The Goldsmith
- Della Bella, The Five Deaths
- Della Bella, Death on the Battlefield
- Falck, Vanitas (Old Coquette)
- Cantarini, St. Anthony of Padua
- Vauquer, Ornament Plate
- Everdingen, Four Mineral Springs
- Canaletto, Imaginary View of Venice
- Hogarth, Two Receipts
- Le Bas, Repas Italien
- Frye, Life-Sized Heads
- Piranesi, Veduta del Porto
- Piranesi, Veduta del Ponte
- Tiepolo, The Four Evangelists
- Dambrun, La Partie de Wisch
- Lafitte, An Amorous Couple
- Gericault, Horses Going to a Fair
- Cruikshank, “Charing Cross?”
- Decamps, Les Mendiants
- Callow, Bologna
- Malardot, La Pêche
- Malardot, Two Peasants
- Bracquemond, Le Haut
- Whistler, Annie, Seated
- Whistler, Thames Police
- Whistler, Thames Warehouses
- Carrière, Self Portrait
- Devambez, Quai de Métro
- Haskell, Caricature of Whistler
- Barlach, Die Wandlungen Gottes
- Laboureur, January in the Omnibus
- Laboureur, La Halte des Bohèmiens
- Bellows, The Black Hand
- Blampied, Nursing the Baby
Triumph of the Noble, Victorious Women
Engraving, 1549, 22 x 135 mm., Bartsch 143, Pauli 244 i/iii, ex collection Bernhard Keller (Lugt 384). Superb impression on laid paper with partial thread margins or trimmed on the plate mark but with a white border outside the subject all around. Both Sebald and Barthel had engraved essentially the same image before this, but without text and identified only as a generic triumphal procession, perhaps of Bacchus. But something different is going on here. The carried urns are now flaming rather than vegetal – a sexual connotation -- and what is being celebrated is the power of women over men. Images dealing with that subject are frequent in the sixteenth century (Aristotle and Phyllis, Samson and Delilah, Virgil and the Courtesan, etc.) but perhaps never before as a triumphal procession, a satiric riff on a previously solemn subject.