Provenance

Berry-Hill Galleries

Explore Selected Works

See all 11 works of art
Charles Dana Gibson, Uncle Sam Shielding France from Germania, c. 1917, pen and black ink over graphite on heavy wove paper, Corcoran Collection (Gift of Orme Wilson), 2015.19.1037

Uncle Sam Shielding France from Germania

Charles Dana Gibson · c. 1917 · pen and black ink over graphite on heavy wove paper ·  Accession ID  2015.19.1037

Charles Dana Gibson, The New Hat, 1905, black ink and graphite on paperboard, Corcoran Collection (Gift of Orme Wilson), 2015.19.1038

The New Hat

Charles Dana Gibson · 1905 · black ink and graphite on paperboard ·  Accession ID  2015.19.1038

George Henry Durrie, Winter in the Country, c. 1858, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1994.59.1

Winter in the Country

George Henry Durrie · c. 1858 · oil on canvas ·  Accession ID  1994.59.1

About two dozen round, pale green plums tumble out of an upended square wooden box onto a reflective, dark brown surface in this horizontal still life painting. Many of the plums have a frosty sheen and about half of them lie in a pile within the basket. The other dozen spill out of the box onto the wood tabletop. Most have stubby stems, and one, closest to us, has a longer stem with two browning leaves. The leaves and round fruit create reflections on the polished wood surface. The box was made by weaving broad sheets of light wood into a square. The layers are visible along the upper edge, which faces us. There are a few dark spots and imperfections in the wood. An ice-blue cloth hangs behind the box and crinkles in folds along the table. The artist signed the work in the lower right, “J.Decker.”
Joseph Decker, Green Plums, c. 1885, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1994.59.4

Green Plums

Joseph Decker · c. 1885 · oil on canvas ·  Accession ID  1994.59.4

Jervis McEntee, Mount Desert Island, Maine, 1864, oil on canvas, Gift of John Wilmerding in honor of Jo Ann and Julian Ganz, 2016.141.1

Mount Desert Island, Maine

Jervis McEntee · 1864 · oil on canvas ·  Accession ID  2016.141.1

Charles Dana Gibson, His Granddaughters Discover He Knows the Words of the Star Spangled Banner, 1920s, pen and black ink over graphite on paperboard, Corcoran Collection (Gift of Orme Wilson), 2015.19.1036

His Granddaughters Discover He Knows the Words of the Star Spangled Banner

Charles Dana Gibson · 1920s · pen and black ink over graphite on paperboard ·  Accession ID  2015.19.1036

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Study for "Leisure and Labor"

Frank Blackwell Mayer · c. 1858 · watercolor and graphite on wove paper ·  Accession ID  2015.19.1048

We look slightly down onto a rocky, natural stone arch next to a cave opening, both perched on a high, grassy cliff in front of a shimmering, aquamarine-blue body of water in this horizontal landscape painting. The arch is situated to our left of center, and the cave beyond the gaping opening extends off the left side of the canvas. In tones of ash and caramel brown, the jagged arch and outcroppings are lit from our left so deep shadows are cast along crevasses to our right. Shadow also sweeps across the emerald-green grass at the base of the arch and cave. A few more serrated rocks poke out of the water like teeth far below, to our right, presumably at the base of the cliff on which we are situated. To our left, the rocky shoreline juts into the water in the distance in front of mauve-purple mountains in the deep distance along the horizon, which comes about halfway up this composition. Tiny in scale, minuscule, triangular white sails dot the waterway. Similarly tiny white birds fly high above the water. Pale, petal-pink and white clouds line the horizon beneath a sky that deepens from light turquoise over the clouds to the same aquamarine blue of the water below.
William Stanley Haseltine, Natural Arch at Capri, 1871, oil on canvas, Gift of Guest Services, Inc., in Honor of the 50th Anniversary of the National Gallery of Art, 1989.13.1

Natural Arch at Capri

William Stanley Haseltine · 1871 · oil on canvas ·  Accession ID  1989.13.1

Two pieces of paper money, two coins, and a small black and white photograph of a bearded man seem to be affixed to a dark surface surrounded by a wide wooden frame, to which several stamps have been affixed in the lower left corner. A dollar bill with frayed edges is stuck to the black background across the center, and the lower left corner lifts up. The dollar bill has a portrait of George Washington in an oval at the center with “UNITED STATES” above. The serial number “Z143091888” appears in red to the left and is repeated in the upper right corner, and “ONE DOLLAR WASHINGTON DC” is printed in black to the right. Overlapping the top left of the dollar bill, another bill about half the size is printed with a portrait of a cleanshaven, light-skinned man in a high-necked coat and frilled collar, angled to our right but looking at us over a long, hooked nose and wide lips. To our right, the bill reads, “UNITED STATES FRACTIONAL CURRENCY,” and, below a seal, “FIFTY CENTS.” Above the dollar bill, a worn, copper-colored coin is held to the panel by three small prongs. The coin has the head of a person facing our left in profile. An inscription around the edge reads, “AUCTORI CONNEC.” A small photograph showing the head and shoulders of a bearded, balding man wearing glasses and a dark suit seems to have been tucked into the lower left corner between the dark background and the wood frame. Slightly behind the photograph, a silver coin resting on the ledge of the frame has a six-pointed star with a striped crest at the center, and is inscribed around the edge, “UNITED STATES OF AMERICA 1853.” Above the photograph is a dark circular stamp stuck with a pin. Attached to the bottom left corner of the wood frame are several different colored, cancelled stamps, some of them torn. In the bottom center, a piece of paper with the typed words “J. Haberle” seems to have been pasted onto the frame. The painting is inscribed in the upper right with red against the black field: “J. HABERLE NEW HAVEN, CT. 1887.” Upon closer inspection, we notice the edge of the wood frame is actually rough canvas. There also does not seem to be a gap between the painted picture and the wood frame. We eventually realize that all of it—the money, photograph, stamps, and frame—are all painted to create an illusion.
John Haberle, Imitation, 1887, oil on canvas, New Century Fund, Gift of the Amon G. Carter Foundation, 1998.96.1

Imitation

John Haberle · 1887 · oil on canvas ·  Accession ID  1998.96.1

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Still Life, "Trilby"

Louis Maurer · c. 1895 · oil on canvas ·  Accession ID  2014.136.81