Provenance

Mr. and Mrs. Edgar William Garbisch

he: 1899 - 1979; she: 1907 - 1979

Explore Selected Works

See all 428 works of art
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Samuel French of Lowell, Massachusetts

Ruth Whittier Shute, Samuel Addison Shute · probably 1832 · watercolor and graphite ·  Accession ID  1971.83.32

Abram Ross Stanley, Joshua Lamb, 1842, oil on canvas, Gift of Edgar William and Bernice Chrysler Garbisch, 1980.62.22

Joshua Lamb

Abram Ross Stanley · 1842 · oil on canvas ·  Accession ID  1980.62.22

American 19th Century, General Washington on a White Charger, 1835 or after, oil on wood, Gift of Edgar William and Bernice Chrysler Garbisch, 1955.11.22

General Washington on a White Charger

American 19th Century · 1835 or after · oil on wood ·  Accession ID  1955.11.22

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Young Man Wearing White Vest

American 19th Century · c. 1810 · oil on canvas ·  Accession ID  1955.11.24

American 19th Century, Sophia Mead, c. 1845, oil on canvas, Gift of Edgar William and Bernice Chrysler Garbisch, 1953.5.47

Sophia Mead

American 19th Century · c. 1845 · oil on canvas ·  Accession ID  1953.5.47

Eunice Pinney, Mother and Daughter, pen and brown ink and watercolor over graphite on laid paper, Gift of Edgar William and Bernice Chrysler Garbisch, 1953.5.135

Mother and Daughter

Eunice Pinney · · pen and brown ink and watercolor over graphite on laid paper ·  Accession ID  1953.5.135

Thomas Chambers, New York Harbor with Pilot Boat "George Washington", mid 19th century, oil on canvas, Gift of Edgar William and Bernice Chrysler Garbisch, 1978.80.1

New York Harbor with Pilot Boat "George Washington"

Thomas Chambers · mid 19th century · oil on canvas ·  Accession ID  1978.80.1

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Conference of Mary, Queen of Scots, with Lord Lindsay on the Banks of Loch Catrine

American 19th Century · c. 1835 · pen and ink with watercolor ·  Accession ID  1971.83.35

Dozens of light-skinned men and women gather around clusters of columns and sandstone-colored buildings that line a crimson-red river to our right in this horizontal painting. The center of the painting is dominated by a structure made up of three rows of three columns each, which hold up a flat-topped roof. A similar structure angles into the distance along the left edge of the painting. The columns of these two structures are carved with bands showing people separated by rings of vertical lines. The capitals are carved with stylized leaves. Just beyond the columns to our left, a blocky, rose-pink structure is carved with more people, seated or standing singly or in pairs. More rectangular, parchment-brown buildings extend into the distance along the water’s edge. The people gathered along the riverbank wear robes and tunics in deep blue or black, bright white, or saturated tones of cobalt blue, ruby red, or shell pink. Standing within the columns of the central structure, a crowned, bearded man wearing an emerald-green robe under a scarlet-red cloak gestures to our right, toward the red river. A woman nearby, wearing lapis blue and also crowned, watches with hands flung up as a person pours red liquid from a bucket. Most of the other people look or gesture toward the river, which winds in deep S-curves from the horizon line, which comes about two-thirds of the way up the composition, through sage-green fields, to the town. A single, white lightning bolt zigzags down from a white cloud in an otherwise navy-blue sky above.
Erastus Salisbury Field, "He Turned Their Waters into Blood", c. 1865/1880, oil on canvas, Gift of Edgar William and Bernice Chrysler Garbisch, 1964.23.3

"He Turned Their Waters into Blood"

Erastus Salisbury Field · c. 1865/1880 · oil on canvas ·  Accession ID  1964.23.3

American 19th Century, "We Go for the Union", c. 1840/1850, oil on canvas, Gift of Edgar William and Bernice Chrysler Garbisch, 1956.13.13

"We Go for the Union"

American 19th Century · c. 1840/1850 · oil on canvas ·  Accession ID  1956.13.13