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Joel R. Bergquist Fine Arts

Joel Bergquist

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The image depicts a full-length figure in a semi-kneeling position. The person is leaning forward, resting their left leg on a stone, and beginning to rise. Their right arm is bent holding a bow, while their left arm is extended downward, touching a lion. The person has curly hair and classical features, with wings behind them. They also have a draped cloth at their waist and a quiver of arrows slung across their shoulder. The background shows detailed rock formations, creating an ancient or mythological setting.
Philippe-Auguste Hennequin, L’Amour terrassant un lion (Personification of Love Vanquishing a Lion), 1825, lithograph on wove paper, Ailsa Mellon Bruce Fund, 2016.198.4

L’Amour terrassant un lion (Personification of Love Vanquishing a Lion)

Philippe-Auguste Hennequin · 1825 · lithograph on wove paper ·  Accession ID  2016.198.4

The image shows a pastoral scene with a rural village setting viewed from a slightly elevated point. The horizon line is positioned near the top of the image, beyond clusters of buildings and a large tree. Detailed etchings suggest a meticulous, illustrative style achieved through fine brushstrokes or engraving techniques, creating texture in the foliage, structures, and landscape. The scene is portrayed in a monochromatic sepia color palette, giving it a vintage or historic atmosphere. A pathway leads through rustic structures with figures engaged in daily activities, transitioning into natural countryside elements framed by the sky in the distance.
Mademoiselle Le Roy, Francoise Basset, Four Landscapes after Le Sueur, c. 1772, chalk-manner printed in red on laid paper, Katharine Shepard Fund, 2020.37.4

Four Landscapes after Le Sueur

Mademoiselle Le Roy, Francoise Basset · c. 1772 · chalk-manner printed in red on laid paper ·  Accession ID  2020.37.4

The image shows ruins near St. Maur-les-Paris from a slightly elevated point of view. A tower with a clock and remnants of an ancient arch are visible against a high horizon. The composition features intricate line work, indicating an etching technique. Fine details depict the textures of the stone ruins, foliage, and thatched roofs. The color palette is warm monochrome, varying from sepia to sepia-orange. Two figures, barrels, and a chicken are near the viewer, surrounded by overgrown vegetation. In the distance, trees and additional ruins are framed by the sky.
Mademoiselle Le Roy, Francoise Basset, Vue d’une Ruine près St. Maur-les-Paris (View of a Ruin near St. Maur-les-Paris), c. 1772, chalk-manner printed in red on laid paper, Katharine Shepard Fund, 2020.37.3

Vue d’une Ruine près St. Maur-les-Paris (View of a Ruin near St. Maur-les-Paris)

Mademoiselle Le Roy, Francoise Basset · c. 1772 · chalk-manner printed in red on laid paper ·  Accession ID  2020.37.3

The image shows a woman reclining in a side profile. She has her head slightly tilted upwards and her hair is styled up. She is wearing a patterned or textured dress. There is no visible jewelry. The background is textured with light and shadow. The setting appears intimate and quiet.
Giuseppe De Nittis, The Dancer Holoke-GO-Zen, 1873, etching, drypoint, and roulette on laid paper, Ailsa Mellon Bruce Fund, 2010.7.1

The Dancer Holoke-GO-Zen

Giuseppe De Nittis · 1873 · etching, drypoint, and roulette on laid paper ·  Accession ID  2010.7.1

The image shows two women seated closely together on a chair or couch. The woman on the left leans towards the other, with her right arm resting on the back of the chair. She has brown hair in an updo. The other woman sits upright, holding an open book. Her hair is light brown or blonde with curls and a floral ornament. Both women have delicate features. They wear period-appropriate dresses: the first woman in a yellow-gold gown with a sash, and the second woman in a white gown with a blue wrap. The woman with lighter hair wears pearls. The background is dark, and the image is framed with blue and gold patterns.
Louis-Marin Bonnet, The Fine Musetioners, 1775, chalk manner with applied gold leaf on laid paper, Gift of Ivan E. and Winifred Phillips in honor of Margaret Morgan Grasselli, 2004.1.1

The Fine Musetioners

Louis-Marin Bonnet · 1775 · chalk manner with applied gold leaf on laid paper ·  Accession ID  2004.1.1

This image shows a sketch of a man depicted from the upper body upwards, in a reclining position. His head is tilted slightly back. His facial features are detailed with a mustache and short curly hair. He appears to be wearing a garment, likely a shirt or jacket, as suggested by the folds of fabric sketched around his shoulders and upper torso. The artwork is monochromatic, with the background fading into light sketch marks. The sketch does not show any distinct objects or jewelry. The artist's signature can be seen in the lower right corner of the sketch.
Giovanni Boldini, Whistler Asleep, 1897, drypoint on pale green-gray paper, Ailsa Mellon Bruce Fund, 2014.27.1

Whistler Asleep

Giovanni Boldini · 1897 · drypoint on pale green-gray paper ·  Accession ID  2014.27.1

The image shows a full-body drawing of an older man standing in a room. He has his arms crossed over his chest and is looking slightly to his left. The man has a beard, a moustache, full hair, and is wearing a long coat or robe with shoes. There are various objects around him, including a chair, papers with geometric drawings, an easel, and a bust sculpture. The background includes a window overlooking a landscape with greenery and hills. The room is filled with books, diagrams, and busts on shelves.
Paul Gavarni, Frédéric Sauvage, 1853, lithograph on chine appliqué, Ailsa Mellon Bruce Fund, 2016.198.6

Frédéric Sauvage

Paul Gavarni · 1853 · lithograph on chine appliqué ·  Accession ID  2016.198.6

The image shows a landscape with architectural elements. Buildings can be seen in the far distance, integrated into hills. The style appears to be an etching or engraving with detailed lines. The color scheme is sepia and brown. In the foreground, there is water, foliage, and a partially ruined structure with a statue, surrounded by greenery. Trees and plants are present throughout the scene.
Mademoiselle Le Roy, Francoise Basset, Vue d'une ruine près Chantilly (View of a Ruin near Chantilly), c. 1772, chalk-manner printed in red on laid paper, Katharine Shepard Fund, 2020.37.1

Vue d'une ruine près Chantilly (View of a Ruin near Chantilly)

Mademoiselle Le Roy, Francoise Basset · c. 1772 · chalk-manner printed in red on laid paper ·  Accession ID  2020.37.1

The image shows a street scene with a fountain in the center, adorned with a statue. The street is bustling with horse-drawn carriages and figures, some holding umbrellas. The brushstrokes vary throughout the scene, adding texture and movement. The color palette is largely monochrome. The detailed etching technique creates depth, capturing a lively urban environment. In the distance, the scene fades into lighter tonal values, suggesting the continuation of the cityscape.
Jules de Bruycker, Piccadilly Circus, London [Large Plate], 1916, etching and drypoint on simili japan paper, Ailsa Mellon Bruce Fund, 2017.7.1

Piccadilly Circus, London [Large Plate]

Jules de Bruycker · 1916 · etching and drypoint on simili japan paper ·  Accession ID  2017.7.1

This is a drawing of a small, open-air art shop or kiosk displaying sketches. The image depicts an outdoor scene where several individuals are examining artwork that is put up on the walls of a small structure. The structure appears makeshift, with a slanted roof, and it is filled with artworks displayed prominently for viewing. There are stacks of paper or books on the counter. The individuals present are engaged in observing these artworks. The scene is detailed, capturing textures of clothing and the woodwork of the structure, along with subtle shadows and highlights giving an almost lifelike, three-dimensional appearance.
Nicolas-Toussaint Charlet, Le Marchand de dessins lithographiques (The Lithograph Seller), 1819, lithograph on wove paper, Ailsa Mellon Bruce Fund, 2016.198.2

Le Marchand de dessins lithographiques (The Lithograph Seller)

Nicolas-Toussaint Charlet · 1819 · lithograph on wove paper ·  Accession ID  2016.198.2