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Supporting museums Art we've helped buy An Allegory of Justice and Vanity
An Allegory of Justice and Vanity An Allegory of Justice and Vanity

An Allegory of Justice and Vanity

Unknown Artist

Art Funded
1939
Dimensions
264 x 218 cm
Art Fund grant
£100 (Total: £250)
Vendor
N S Trivas
'Veritas - Vanitas', an allegory of Vanity showing Truth personified by a young woman holding a pair of scales and a mirror.

A skull rests on a folio.

Oil on canvas

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Chinese ritual vessel
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Chalgrove II Hoard
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Cattle and Haystack, Twilight & Essex Fields
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Catching the Steamer
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Castle Crag, Derwentwater
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Caitya sculpture
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Cain & Abraham and Isaac
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Bust of Thomas Howard, Earl of Arundel
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Bronze figure - Fortuna
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Bramerton Hills near Norwich
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Bouquet de Roses dans un Vase
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Boswood's Thigh and the Right Arm of Michelangelo's David
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Boar's Head Tureen
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Bell salt
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Beech Top- Knole
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Basin with the arms of Spannocchi
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Autumn Landscape
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Attendant bodhisattva
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Assyrian relief
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Apples in a Bag
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Animals and birds in a landscape
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Anglo-Saxon bowl
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Angelica encountering the wounded Medoro
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Angel Carrying a Torch
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An Allegory of Justice and Vanity
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Album of portrait drawings
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Album of drawings
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Abraham and Hagar Surprised by Sarah
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A Study of Henry Irving as Becket
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A painted fan on silk
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A Mourning Knight
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A Man leading a Horse
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A Highland Scene - 'In Connernara'
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A Head of a Woman
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A Farmyard with a Well
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A drawing of the Virgin and Child
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A collection of Japanese metalwork sword fittings
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A collection of 45 gold snuff boxes and objects of vertu
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A Bowl of Pears & Seated Woman
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A Beach Scene with Fisherfolk
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9th century seated Buddha
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3 Drawings
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 Acquired 1925
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 Acquired 2009
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1) Figure on horseback; 2) Delacroix letter
 Acquired 2008
1) Coastal scene with coach and retinue; 2) Coastal scene with ship aground
 Acquired 2009
1) Coast Scene; 2) Scene on a Rocky Coast
 Acquired 1931

Nominally inspired by Lucretius' De rerum natura, Piero di Cosimo's The Forest Fire takes its scientific subject and embellishes it with fantastical creatures from the artist's imagination: Bulls, bears, lions and deer-like creatures with human faces all flee wearily from a fire.

Rubens' portrait of Thomas Howard, 2nd Earl of Arundel dates from about 1629. The Earl was a great collector, and Rubens had painted the earl's wife a few years earlier on a visit to Antwerp. This drawing in pen and ink with a chalk base is unusually informal, reflecting perhaps the comfortable relationship between artist and patron.

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1 . An Allegory of Justice and Vanity

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