Scott & Fowles

early 20th century

Explore Selected Works

Paul Manship, Flight of Night, 1918, bronze, Corcoran Collection (Bequest of James Parmelee), 2014.136.252

Flight of Night

Paul Manship · 1918 · bronze ·  Accession ID  2014.136.252

Anonymous Artist, Barbara Villiers, Duchess of Cleveland, c. 1661-1665, oil on canvas, Timken Collection, 1960.6.26

Barbara Villiers, Duchess of Cleveland

Anonymous Artist · c. 1661-1665 · oil on canvas ·  Accession ID  1960.6.26

Winslow Homer, Young Woman Sewing, 1876, watercolor over graphite on wove paper, Corcoran Collection (Bequest of James Parmelee), 2014.79.40

Young Woman Sewing

Winslow Homer · 1876 · watercolor over graphite on wove paper ·  Accession ID  2014.79.40

Alfred Stevens, Young Woman in White Holding a Bouquet, c. 1865/1875, oil on wood, Chester Dale Collection, 1963.10.65

Young Woman in White Holding a Bouquet

Alfred Stevens · c. 1865/1875 · oil on wood ·  Accession ID  1963.10.65

Shown from the lap up, a young woman with pale skin, rosy cheeks, dark eyes, and upswept chestnut-brown hair sits in an upholstered chair angled to our left and she looks in that direction in this vertical portrait painting. Light falls directly on her oval-shaped face, and she has a pointed chin and a straight nose. Her dark eyebrows are arched and though her eyes initially look dark as well, closer inspection reveals a sliver of silvery blue iris around the eye closer to us. Her full, pink mouth is slightly parted. She wears a brown, perhaps fur, shawl behind her shoulders over her long black dress. A few touches of rust red on the sleeve closer to us suggests a floral pattern but details are mostly lost in this dark area. She wears parchment-white gloves and her left hand, closer to us, appears to be tucked into a pocket or into a fold of her skirt so only the wrist is visible. She cups her opposite hand, perhaps cradling a small object. The fabric of the chair is painted with touches of burnt orange and ivory. Canary-yellow and white flowers dance around her head, presumably cascading from a vase on a table behind her. Most of the background, especially along the left edge, is painted with a field of stone blue but an area of loosely painted terracotta red above her head suggests a patterned wallpaper or more flowers.
Edgar Degas, Mademoiselle Malot, c. 1877, oil on canvas, Chester Dale Collection, 1963.10.18

Mademoiselle Malot

Edgar Degas · c. 1877 · oil on canvas ·  Accession ID  1963.10.18

Six pink-skinned ballerinas stretch of practice in this horizontal pastel drawing. The scene is roughly sketched so some details, like the women’s faces, are indistinct. They all have brown hair and costumes with sleeveless bodices and knee-length tutus. Three dancers cluster close to us. Two at the front have tutus shaded with peacock blue and amethyst purple and dotted with spring green. The bodices of these two and the one standing behind them are copper orange. The woman to our right holds both hands to the small of her back. Another touches her hair with both hands, and the third stands with her feet apart in fourth position, toes pointing outward, and hands clasped gracefully down in front of her. The other three dancers wear pale pink bodices and tutus that match the color of their skin. Taking up the left half of the composition and moving slightly back in space, one dancer leans forward with one arm raised, and the other two bend double to brush one hand by their feet. The floor is tawny brown. The background is loosely drawn with strokes of lime green, pale pink, teal blue, and sand brown. The artist’s name appeared in the lower left corner, “Degas.”
Edgar Degas, Ballet Scene, c. 1907, pastel on greenish transparent tracing paper, Chester Dale Collection, 1963.10.16

Ballet Scene

Edgar Degas · c. 1907 · pastel on greenish transparent tracing paper ·  Accession ID  1963.10.16

Three men and a woman sit around a wooden table on the right side of a dimly lit room in this horizontal painting. The scene is painted entirely in warm shades of bronze, golden yellow, and dark brown. A cleanshaven man to our right, Mercury, is dramatically backlit by golden light so we see his face almost in silhouette, though we can make out his eyes, straight nose, and parted lips. He rests both hands on the table, one palm down by the edge close to him and one palm up in front of him, near a glass of amber-colored liquid. He wears a gray and brown tunic, and light glinting in his chin-length hair suggests a silver band or another ornament. He looks toward a man and woman at the other end of the table, to our left and near the center of the composition. The woman’s head is covered with a dark cloth, and she holds a gray fowl in her lap. Her lips are also parted and her face tips down. The man next to her, closer to us, has a gray beard and hair, and he holds a rust-red cap at his chest with both hands as he looks across the table. A bowl of food lies in the center of the table between this couple and Mercury. The fourth person has a long gray beard and hair, and faces us across the table. He wears a gleaming copper and silvery-gray robe and cloak, and holds one hand up, palm down, over the table. Much of the rest of the room is swallowed in shadow but there is the suggestion of rafters and beams, and a small fire glows in a hearth on the left side of the scene. The artist signed and dated the lower left, “Rembrandt f. 1658.”
Rembrandt van Rijn, Philemon and Baucis, 1658, oil on panel transferred to panel, Widener Collection, 1942.9.65

Philemon and Baucis

Rembrandt van Rijn · 1658 · oil on panel transferred to panel ·  Accession ID  1942.9.65

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Wrestlers

Paul Manship · 1915 · bronze ·  Accession ID  2016.22.11

Paul Manship, Vase, 1913, bronze, Corcoran Collection (Bequest of James Parmelee), 2015.19.3683

Vase

Paul Manship · 1913 · bronze ·  Accession ID  2015.19.3683

Master of the Griselda Legend, Joseph of Egypt, c. 1490/1495, oil on panel transferred to canvas, Samuel H. Kress Collection, 1952.5.2

Joseph of Egypt

Master of the Griselda Legend · c. 1490/1495 · oil on panel transferred to canvas ·  Accession ID  1952.5.2