Fuller Foundation, Inc.

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A clean-shaven, pale-skinned man with gray, powdered hair stands in the middle of a grassy landscape in this vertical portrait painting. He has smooth skin with hazel eyes under thick brows, a long nose, and his full, pale pink lips are closed. He stands facing us with his ankles crossed and his head turned slightly to look off to our right. A knee-length, ginger-brown jacket has a row of gold-colored buttons, the size of checkers pieces, down the front and lacy cuffs at the end of a row of three more buttons on each sleeve. One button is fastened across his chest over a white cravat and goldenrod-yellow vest patterned with tiny brown specks. His left hand, on our right, hangs down, holding a navy-blue tricorn hat next to navy breeches. White stockings cover his lower legs, and his black shoes have gleaming brass buckles. He leans his right hand, to our left, on the head of a wood walking stick, which is propped against that hip. The landscape around him is carpeted in shades of muted green with touches of golden yellow. White and dark pink flowers grow in clusters around his feet, and a grove of slender trees climbs a low hill on our right. Blue-green trees and vegetation stretch into the distance to meet a light blue body of water along the left edge of the painting. Low on the horizon, which comes about a fifth of the way up the composition, a mountain is hazy blue in the deep distance. Patches of vivid blue sky peek through swirling white, gray, and pale peach clouds that fill most of the background.
Sir Joshua Reynolds, John Musters, 1777-c. 1780, oil on canvas, Given in memory of Governor Alvan T. Fuller by The Fuller Foundation, Inc., 1961.2.2

John Musters

Sir Joshua Reynolds · 1777-c. 1780 · oil on canvas ·  Accession ID  1961.2.2

Through a golden haze and across an expanse of gently rippling water dotted with boats, ghostly ivory and parchment-white buildings rise along a distant shore in this loosely painted horizontal landscape. The misty horizon comes about a third of the way up the composition, and the sky above is mostly butter yellow with a few touches of shell pink, and a patch of topaz blue in the upper left corner. Closest to us, in the lower right corner, several honey-yellow boats are pulled up to a parchment-white dock. Touches of charcoal gray, peacock green, ruby red, and mauve pink suggest cloth or other objects filling the boats and piled on the corner of the dock. A few strokes of white, blush pink, and brick red suggest several people beyond a low wall or other structure to our right. Farther back and to our left, streaks and swipes of coral red, pale yellow, and gold suggest boats along a dock. Along the horizon, in the distance opposite us, there is a golden-yellow building with a tower on its front façade. Beyond this building, a cream-white structure with two tall domes rises against the sky. Along the horizon to either side, blended smudges of lilac purple, rose pink, and aquamarine blue suggest more buildings and boats. The buildings and boats are reflected in the loosely painted, straw-yellow water. The artist signed the painting as if he had written his initials on the wall near the lower right corner, “JMWT.”
Joseph Mallord William Turner, The Dogana and Santa Maria della Salute, Venice, 1843, oil on canvas, Given in memory of Governor Alvan T. Fuller by The Fuller Foundation, Inc., 1961.2.3

The Dogana and Santa Maria della Salute, Venice

Joseph Mallord William Turner · 1843 · oil on canvas ·  Accession ID  1961.2.3

James McNeill Whistler, Notes, published 1887, portfolio with five lithographs on chine collé mounted to wove paper, with original cover, Gift of the Fuller Foundation, Inc. and Print Purchase Fund (R. Horace Gallatin), 1992.46.1-5

Notes

James McNeill Whistler · published 1887 · portfolio with five lithographs on chine collé mounted to wove paper, with original cover ·  Accession ID  1992.46.1-5

James McNeill Whistler, Nocturne, 1878/1887, lithograph in black with blue chine collé on wove paper, Gift of the Fuller Foundation, Inc. and Print Purchase Fund (R. Horace Gallatin), 1992.46.1

Nocturne

James McNeill Whistler · 1878/1887 · lithograph in black with blue chine collé on wove paper ·  Accession ID  1992.46.1

James McNeill Whistler, Reading, 1879/1887, lithograph in black with chine collé on wove paper, Gift of the Fuller Foundation, Inc. and Print Purchase Fund (R. Horace Gallatin), 1992.46.5

Reading

James McNeill Whistler · 1879/1887 · lithograph in black with chine collé on wove paper ·  Accession ID  1992.46.5

James McNeill Whistler, Victoria Club, 1879/1887, lithograph in black with chine collé on wove paper, Gift of the Fuller Foundation, Inc. and Print Purchase Fund (R. Horace Gallatin), 1992.46.3

Victoria Club

James McNeill Whistler · 1879/1887 · lithograph in black with chine collé on wove paper ·  Accession ID  1992.46.3

James McNeill Whistler, Old Battersea Bridge, 1879/1887, lithograph in black with chine collé on wove paper, Gift of the Fuller Foundation, Inc. and Print Purchase Fund (R. Horace Gallatin), 1992.46.2

Old Battersea Bridge

James McNeill Whistler · 1879/1887 · lithograph in black with chine collé on wove paper ·  Accession ID  1992.46.2

James McNeill Whistler, Gaiety Stage Door, 1879/1887, lithograph in black with chine collé on wove paper, Gift of the Fuller Foundation, Inc. and Print Purchase Fund (R. Horace Gallatin), 1992.46.4

Gaiety Stage Door

James McNeill Whistler · 1879/1887 · lithograph in black with chine collé on wove paper ·  Accession ID  1992.46.4

A young, light-skinned, rosy-cheeked child stands against a landscape of trees and rolling hills in this vertical portrait painting. Some areas are loosely painted, especially in the background, giving the portrait a soft look. The boy stands with his body angled to our left but he turns to look at us with clear gray-blue eyes under faint brows. He has a straight nose and his dark rose-pink, heart-shaped lips are closed. His wispy, honey-brown hair curls around his face and down the back of his neck. He wears a long, white, dress-like garment with bands of satin on the short sleeves and around the bottom. The garment is gathered at the waist with a wide, robin’s egg-blue sash tied in a bow, with ends that reach down to the ground from his left hip, on our right. The boy holds a small bouquet of white and yellow flowers white moss-green buds and stems in front of his belly with his left hand. His other arm hangs by his side and he holds a large black hat with a fluffy plume. The toe of one red shoe pokes out under his garment. Around the boy, the grasses, bushes, and trees are painted loosely in muted greens, browns, and golden yellows. The sky deepens from smoke gray at the upper left corner to pale yellow on the far-distant horizon.
Thomas Gainsborough, Master John Heathcote, c. 1771/1772, oil on canvas, Given in memory of Governor Alvan T. Fuller by The Fuller Foundation, Inc., 1961.2.1

Master John Heathcote

Thomas Gainsborough · c. 1771/1772 · oil on canvas ·  Accession ID  1961.2.1