Spanierman Gallery

Explore Selected Works

Pompeo Batoni, Portrait of a Gentleman, c. 1762, oil on canvas, Gift of Joseph F. McCrindle, 2004.86.1

Portrait of a Gentleman

Pompeo Batoni · c. 1762 · oil on canvas ·  Accession ID  2004.86.1

A stream meanders back through snowbanks in this wooded landscape, which is created entirely with cool, pale tones of white, gray, blue, lilac, and golden beige in this nearly square painting. Steep banks sloping toward the stream are mounded with snow. Touches of tan and pale pink suggest traces of foliage in some of the tree branches above. The paint is loosely applied so some brushstrokes are visible, creating a soft, hazy view of this scene.
John Henry Twachtman, Winter Harmony, c. 1890/1900, oil on canvas, Gift of the Avalon Foundation, 1964.22.1

Winter Harmony

John Henry Twachtman · c. 1890/1900 · oil on canvas ·  Accession ID  1964.22.1

Sheer, vertical, cliffs, brightly lit in cream white and rust orange by the low sun, tower over a band of people riding horses into the distance in this long, horizontal landscape painting. The glowing cliffs dominate the upper right quadrant of the painting. They lighten from burnt orange along the jagged tops to flame orange down the steep sides, and are and warm, parchment white near the earth. One tall, narrow promontory to our right looms over a range of lower, rounded cliffs. As the cliffs move into the distance, they are shrouded with a lavender-purple haze. The land closest to us dips into a shallow valley at the bottom center of the composition, leading away from us. The dirt-packed earth is dotted with pine-green, scrubby bushes and vegetation and a grove of low, gnarled trees a short distance to our right. One chestnut-brown horse walks along the path at the bottom center of the composition, lagging behind a cluster of at least two dozen horses and riders winding into the distance. The horses range from ivory white to tawny brown and charcoal gray. The riders are loosely painted so some details are indistinct, but they all seem to have brown skin and dark hair. They wear feathered headdresses and garments in teal blue, fawn brown, or golden yellow. They ride over a low hill toward a crystal-blue river, and then back along a flat expanse toward a row of minuscule, triangular tepees lining the horizon in the deep distance. The horizon comes halfway up the composition, and the tepees are backed by a row of rose-pink, flat-topped cliffs. A pale yellow disk hangs low in the sky, over the distant cliffs. The sky above deepens from soft, lilac purple along the horizon to ice and sapphire blue along the top. A few wispy clouds are burnished orange in the sunlight. The artist signed and dated the painting in the lower right corner, “TYMoran 1881,” with the T, Y, and M overlapping to make a monogram.
Thomas Moran, Green River Cliffs, Wyoming, 1881, oil on canvas, Gift of the Milligan and Thomson Families, 2011.2.1

Green River Cliffs, Wyoming

Thomas Moran · 1881 · oil on canvas ·  Accession ID  2011.2.1

George Henry Hall, Tulip, 1869, oil on wood, Gift of William and Abigail Gerdts, 2018.44.9

Tulip

George Henry Hall · 1869 · oil on wood ·  Accession ID  2018.44.9

Carved from white marble, a girl steps and leans forward on a disk-like pedestal with a wide fluted base in this free-standing sculpture. In this photograph, she steps away from us to our right. She wears a flowing, knee-length dress or toga, which swirls around her, and her feet are bare. She leans forward at the hip, with her bent right leg supporting her weight. Her other leg extends behind her, toe tapping the base with her heel lifted, as if mid-stride. She holds her left hand up to cup her opposite ear, with her elbow lifted as she leans forward. Her right hand clutches a staff, arm bent at the elbow, which she thrusts downward. The end of the staff meets a fragment of a column at her foot, about the height of the girl’s shin. The capital is carved with decorative leaves and shell-shaped designs. The skirt flickers around the stick as if in a strong wind. The right side of the dress has dropped off her shoulder, baring one breast. The exposed body and limbs are round and smooth. Her hair, carved in undulating waves, is loosely swept back, with a cascade of waves falling over her left shoulder. Her face is round and full, and her expression concentrated, with a furrow in her brow and her mouth turned downward, eyes closed. The column fragment at her feet has one smooth face, which is incised with a rectangle carved with the name “Randolph Rogers” and the date, “1860.”
Randolph Rogers, Nydia, the Blind Girl of Pompeii, model 1855, carved 1860, marble, Patrons' Permanent Fund, 2000.85.1

Nydia, the Blind Girl of Pompeii

Randolph Rogers · model 1855, carved 1860 · marble ·  Accession ID  2000.85.1

Lilly Martin Spencer, Raspberries, c. 1859, oil on canvas, Gift of William and Abigail Gerdts, 2005.161.1

Raspberries

Lilly Martin Spencer · c. 1859 · oil on canvas ·  Accession ID  2005.161.1

Daniel Huntington, Rear View of a Skeleton, 1848, graphite and chalk on wove paper laid down to board, Corcoran Collection (Museum Purchase, William A. Clark Fund), 2015.19.2483

Rear View of a Skeleton

Daniel Huntington · 1848 · graphite and chalk on wove paper laid down to board ·  Accession ID  2015.19.2483

William Etty, Studies for Joan of Arc, 1843/1847, pen and brown ink with brown wash on wove paper, The Edith Tanenbaum Rudolf Collection, 2018.26.24

Studies for Joan of Arc

William Etty · 1843/1847 · pen and brown ink with brown wash on wove paper ·  Accession ID  2018.26.24

Daniel Huntington, Swiftwater, 1854, graphite with gouache on wove paper, Corcoran Collection (Museum Purchase, William A. Clark Fund), 2015.19.2484

Swiftwater

Daniel Huntington · 1854 · graphite with gouache on wove paper ·  Accession ID  2015.19.2484