Collections: American Art: Saint Catherine of Siena

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On View: Cylindrical Stand with Separate Bowl (Together Forming a Table of Offerings) of the Superintendent of the Granary, Ptahyeruka

This jar and stand were used in a tomb to offer water, milk, beer, or wine to the deceased. They were set up in front of a “false door...

Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: Christ Child with Passion Symbols

    Religious paintings in private chapels often had both didactic and devotional purposes. From the sixteenth century, missionaries intent on i...


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    48.206.84_SL3.jpg 48.206.84.jpg CONS.48.206.84_xrs_detail01.jpg CONS.48.206.84_xrs_detail02.jpg CONS.48.206.84_xrs_detail03.jpg CONS.48.206.84_xrs_detail04.jpg

    Saint Catherine of Siena

    Lists of paintings in dowries and estate inventories often include descriptions, however brief, of their frames. In the colonial period, frames were often higher in value than their painted images, especially when made of silver or embellished with gold leaf. Paintings were even cut down to fit expensive frames or discarded altogether and replaced with mirrors.

    The nearby large painting on copper of Saint Catherine of Siena was evidently so esteemed by its owner that a richly embossed silver frame was commissioned for it. The valuable silver frames for the two small, unrefined interpretations of the Annunciation and the Meeting of Joachim and Anna—adorned with embossed flowers, twisted Solomonic columns, putti (winged infants), scalloped shells, and mythological creatures—were probably worth more than the paintings.

    Las listas de pinturas en dotes e inventarios de propiedad a menudo incluyen descripciones, aunque breves, de sus marcos. En el periodo colonial, los marcos solían ser más costosos que las imágenes pintadas que contenían, especialmente cuando estaban hechos de plata o adornados con hoja de oro. Las pinturas incluso se cortaban para hacerlas encajar dentro de marcos costosos o se desechaban del todo y se sustituían por espejos.

    La gran pintura sobre cobre cercana que muestra a Santa Catalina de Siena evidentemente era tan estimada por su propietario que comisionó un lujoso marco de plata repujada para contenerla. Los valiosos marcos de plata de las dos pequeñas, y algo ingenuas, interpretaciones de La Anunciación y El Encuentro de Joaquín y Ana—adornadas con flores en relieve, columnas Salomónicas en espiral, putti (querubines o amorcillos), conchas onduladas y criaturas mitológicas—probablemente valían más que las pinturas mismas.

    This text refers to these objects: ' 41.1275.13; 41.1275.14; 48.206.84

    • Medium: Painting: Oil on copper Frame: Silver on wood core
    • Geographical Locations:
      • Possible place made: Italy
      • Possible place made: Peru
    • Dates: 17th century
    • Dimensions: 17 3/4 x 15in. (45.1 x 38.1cm) frame: 29 1/4 x 27 x 2 in. (74.3 x 68.6 x 5.1 cm)  (show scale)
    • Collections:American Art
    • Museum Location: This item is not on view
    • Exhibitions:
    • Accession Number: 48.206.84
    • Credit Line: Frank L. Babbott Fund, Frank Sherman Benson Fund, Carll H. de Silver Fund, A. Augustus Healy Fund, Caroline A.L. Pratt Fund, Charles Stewart Smith Memorial Fund, and Ella C. Woodward Memorial Fund
    • Rights Statement: No known copyright restrictions
    • Caption: Saint Catherine of Siena, 17th century. Painting: Oil on copper Frame: Silver on wood core, 17 3/4 x 15in. (45.1 x 38.1cm). Brooklyn Museum, Frank L. Babbott Fund, Frank Sherman Benson Fund, Carll H. de Silver Fund, A. Augustus Healy Fund, Caroline A.L. Pratt Fund, Charles Stewart Smith Memorial Fund, and Ella C. Woodward Memorial Fund, 48.206.84
    • Image: x-ray, detail, CONS.48.206.84_xrs_detail04.jpg. Brooklyn Museum photograph
    • Record Completeness: Best (90%)
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