Provenance

James Mackinnon

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The painting depicts a canal with white and tan buildings lining either side. There is a church tower on the left, and in the distance the buildings create a path down the canal leading to an arched bridge. The buildings have reddish-brown roofs, and the front sides of the buildings on the right side are in shadow. On the left edge of the canal there are two long brown boats. The water is a green-blue color, and the sky is mostly light gray with areas of dark blue in the upper right corner
Jules-Romain Joyant, The Church of San Trovaso, Venice, c. 1830, oil on paper on canvas, Gift of Frank Anderson Trapp, 2004.166.24

The Church of San Trovaso, Venice

Jules-Romain Joyant · c. 1830 · oil on paper on canvas ·  Accession ID  2004.166.24

Soft green hills carpeted with plants sweep away from us in the bottom third of this horizontal painting on paper. A few terracotta-red roofs the upper expanses of tan-colored walls are nestled into the trees along the bottom edge of the paper. A few more structures with cream-white walls are tucked among trees in the distance before grassy hills surge up along the horizon. A few clouds drift across the hazy, pale blue sky above. The edges of the paper are visible especially along the top and bottom edges.
Simon Denis, View near Naples, c. 1806, oil on paper on canvas, Chester Dale Fund, 1998.21.1

View near Naples

Simon Denis · c. 1806 · oil on paper on canvas ·  Accession ID  1998.21.1

The image depicts an observer standing inside ruins of a stone structure, looking through a large archway framing distant ships at sea. The horizon is low, just above the ocean. A sailing vessel is visible through the arch, with loose brushstrokes portraying ancient textures. Earth-toned colors dominate the scene with figures walking beneath the arch. Faint hills or mountains are visible in the background.
Giacinto Gigante, View through the Temple of Venus, Baia, 1860s?, watercolor with gouache over traces of graphite on wove paper, Ailsa Mellon Bruce Fund, 2017.139.1

View through the Temple of Venus, Baia

Giacinto Gigante · 1860s? · watercolor with gouache over traces of graphite on wove paper ·  Accession ID  2017.139.1

The image shows a landscape viewed from a slightly elevated angle. A pathway leads towards the center with dense trees and a large rock formation obscuring the horizon. The artwork features delicate pencil strokes capturing the texture of foliage and rocks with shading. The color palette is monochromatic with shades of grey and black on a white background. The terrain closest to us is undulating with sparse vegetation and rocks. In the distance, the path winds through the landscape towards man-made structures partially covered by nature.
Jean-Paul Flandrin, Oaks along the Appian Way near Albano, 1834, graphite on wove paper, Ailsa Mellon Bruce Fund, 2013.14.1

Oaks along the Appian Way near Albano

Jean-Paul Flandrin · 1834 · graphite on wove paper ·  Accession ID  2013.14.1

The image shows a canal scene from an elevated angle with buildings and the sky lining the horizon. An arched stone bridge is at the center, with detailed architecture. The brushstrokes are refined, depicting the structure and water ripples. The color palette consists of blues and earthy tones capturing light and shadow. Buildings on each side of the canal are illuminated by sunlight. Small boats float on the water, some with sailcloths open. Human figures are visible near the water and further down the canal.
William James Müller, The Rialto Bridge, Venice, 1835, watercolor and gouache over graphite and scratching out on wove paper, Gift of Donald Stone in honor of James and Elizabeth Mackinnon, 2022.40.44

The Rialto Bridge, Venice

William James Müller · 1835 · watercolor and gouache over graphite and scratching out on wove paper ·  Accession ID  2022.40.44

The image depicts a maritime scene with several ships sailing on a vast ocean expanse. The horizon is above the midpoint, and the waves are shown with swirling brushstrokes. The color palette consists of greys and blues, with hints of white in the waves. Seagulls are seen in the sky.
Anthony Vandyck Copley Fielding, The Coming Storm: A Fishing Boat Making for Home off Whitby, 1840, watercolor over traces of graphite with scratching out, Gift of James Mackinnon, 2022.151.1

The Coming Storm: A Fishing Boat Making for Home off Whitby

Anthony Vandyck Copley Fielding · 1840 · watercolor over traces of graphite with scratching out ·  Accession ID  2022.151.1

The image shows a close-up drawing of a person's upper body, focusing on the head and shoulders. The individual is in a three-quarter view, slightly turning towards the viewer. The face is detailed with a straight nose, shaded eyes, and closed lips. Blush is added to the cheeks for realism. The person has light, softly curled hair. They wear draped fabric resembling a cloak or wrap. The plain background directs attention to the subject.
George Chinnery, Head of a Man, c. 1810/1825, graphite and watercolor on laid paper, William B. O'Neal Fund, 2019.30.1

Head of a Man

George Chinnery · c. 1810/1825 · graphite and watercolor on laid paper ·  Accession ID  2019.30.1

The image is a sketch of an alleyway viewed from a slightly elevated angle. The scene shows buildings lining the narrow path, drawing the eye upwards. In the foreground, there is a group of figures and a solitary figure walking away. The pencil work is soft and sketchy, with varying intensities of graphite creating light and shadow. The composition is in shades of gray, with a monochromatic color palette emphasizing light and shadow. The background is indistinct, blending buildings and figures into a hazy suggestion of architecture and life.
Gustave Doré, A Backstreet in London, 1868, graphite with stumping on wove paper, Gift in Memory of Philip Leonard, 2008.73.1

A Backstreet in London

Gustave Doré · 1868 · graphite with stumping on wove paper ·  Accession ID  2008.73.1

The image shows ancient ruins on the left side of a landscape painting. The ruins are weathered and reddish-brown, contrasting with the surrounding greenery. A horizon is visible in the middle of the painting, with more ruins extending into the distance. Distant mountains are softly rendered in blue and gray tones. The sky fills the upper half of the painting with gentle, flowing clouds against a pale blue backdrop. A flock of birds flies across the sky above the ruins. The color palette includes warm reds, browns, greens, and blue-gray tones, creating a serene atmosphere.
Félix-Hippolyte Lanoüe, The Aqua Claudia in the Roman Campagna, c. 1840, pastel on paper laid down on board, Ailsa Mellon Bruce Fund, 2014.167.1

The Aqua Claudia in the Roman Campagna

Félix-Hippolyte Lanoüe · c. 1840 · pastel on paper laid down on board ·  Accession ID  2014.167.1

The image displays a coastal scene with a rocky shore featuring round boulders and tidal pools. The horizon is low, meeting the ocean where a small sailboat with a bright sail is visible. In the distance, a faint horizon separates the sea from the sky. On the right, tall cliffs with stratified layers are depicted in earthy browns and subtle greens. The brushwork is delicate and detailed, with softly blended watercolors in the sky transitioning from pale blues to warm creams. The color palette consists of soft, natural tones, creating a serene coastal atmosphere.
Edward William Cooke, The Rocky Beach and Cliffs at Fécamp, mid-1830s, watercolor on wove paper, Ailsa Mellon Bruce Fund, 2013.14.2

The Rocky Beach and Cliffs at Fécamp

Edward William Cooke · mid-1830s · watercolor on wove paper ·  Accession ID  2013.14.2