Provenance

Paul P. Rosenberg & Co.

Paul Rosenberg et Cie.
Rosenberg, Paul

est. 1878

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See all 86 works of art
Pale beige, angular houses cluster at the center of the horizontal landscape painting. The hilly, rocky landscape around and below the houses is painted with cool blues and greens, and warm ivory and caramel brown beneath a pale blue sky. The artist applied the paint with regular, parallel, straight strokes.
Paul Cezanne, Houses in Provence: The Riaux Valley near L'Estaque, c. 1883, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1973.68.1

Houses in Provence: The Riaux Valley near L'Estaque

Paul Cezanne · c. 1883 · oil on canvas ·  Accession ID  1973.68.1

Across a grassy field, a row of buildings and two trees line the horizon, which comes about halfway up this nearly square landscape painting. The field is painted with visible brushstrokes of sage, moss, and mint green as well as caramel brown, parchment white, and turquoise blue. The trees, to our left of center, are painted with dark green. The buildings have charcoal-gray or terracotta-red roofs with cream-white or slate-blue walls. The sky above is painted with dabs and strokes of ice and baby blue, with areas of pale peach and ivory white to suggest clouds.
Paul Cezanne, Landscape near Paris, c. 1876, oil on canvas, Chester Dale Collection, 1963.10.103

Landscape near Paris

Paul Cezanne · c. 1876 · oil on canvas ·  Accession ID  1963.10.103

Shown from the knees up, a pale-skinned woman wearing an off-the-shoulder, black gown stands in front of a maroon-red wall in this vertical portrait painting. Her body is angled to our left, but she turns her round face to us. Her dark gray eyes seem out of focus, looking slightly off to either side of us, under faint brows. Her nose is straight, her pink lips closed over a pillowy chin, and her cheeks are lightly blushed. Her black hair is parted down the middle and smoothed to each side, pulled back and framed by a garland of flowers that drapes from the crown of her head down to either side of her chin like parentheses. The garland is made of peach-colored roses, burgundy-red flowers, and sage-green leaves. Her sloping shoulders are pale and smooth. The sleeves of the black dress wrapping around her upper arms are edged with a wide band of lace. The edge of a white undergarment is visible along the top of the black dress, which has a tightly fitting bodice. The skirt billows out at the narrow waist to fall in thick, heavy folds off the bottom edge of the painting. A large, oval, red jewel is set into a silvery-gold brooch at the front center of her neckline. Dimples are visible across the backs of both pudgy hands. With her right hand, on our left, she holds the end of a long strand of pearls encircling her neck. On that wrist is a gold bracelet with coin-like disks hanging from thick, gold links, and she wears a gold ring with a pearl and blue and red jewels on that ring finger. Her other arm hangs by her side. There, she wears two bracelets, one of gold and pearl, the other with a medallion of celestial blue enamel surrounding a pearl, also set in gold. Two gold rings with red stones are on the third finger of that hand, and a silver ring with a crest is on her pinky finger. With that hand she holds a closed fan with silver and gold sticks, and the end of a sheer black shawl that wraps up across her back and over the other shoulder. The top two-thirds of the wall behind her is covered by a pattern of stylized wine-red flowers against a muted maroon-red background. A wooden rail divides the top section of the wall from the gray paneling below. A few objects in the lower left corner, seen beyond the edge of her skirt, are difficult to make out, but could include a richly decorated gold and upholstered chair, a glove, and a white, lace-edged handkerchief. The artist signed and dated the painting in the lower left corner of the red patterned wall: “I.A.D. INGRES P.XIT ANO 1851.” The woman’s name appears in the upper right, “M.E INES MOITESSIER NÉE DE FOUCAULD.”
Jean-Auguste-Dominique Ingres, Madame Moitessier, 1851, oil on canvas, Samuel H. Kress Collection, 1946.7.18

Madame Moitessier

Jean-Auguste-Dominique Ingres · 1851 · oil on canvas ·  Accession ID  1946.7.18

This painting displays bold lines and contrasting shapes that create the silhouette of a person sitting and holding pieces of fruit in their lap. The person appears to be nude, and their skin is painted in multiple shades of brown. The fruit on their lap is dark purple with green leaves growing from it, and it seems to be gathered in a white cloth. The background features swirling patterns in earthy tones including pale yellow and brown. Surrounding the shape of the person are white swirling lines and green shapes.
Georges Braque, Nude Woman with Fruit, 1925, oil on canvas, Chester Dale Collection, 1963.10.89

Nude Woman with Fruit

Georges Braque · 1925 · oil on canvas ·  Accession ID  1963.10.89

We look across a body of water at two houses, some smaller outbuildings, and a houseboat along the far bank in this abstracted, horizontal landscape painting. Painted with thin, loose strokes of moss and pine green, pale topaz and denim blue, and black, many of the details are indistinct. The cream-white houses have dark roofs and are nearly engulfed by tall, lush trees that reach nearly to the top of the canvas. Fog-gray clouds float against a watery blue sky above. The green of the trees is reflected in the water below, where some of the canvas remains unpainted, especially in the lower left corner. A crimson-red blotch appears over the houses.
Paul Cezanne, At the Water's Edge, c. 1890, oil on canvas, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.1

At the Water's Edge

Paul Cezanne · c. 1890 · oil on canvas ·  Accession ID  1972.9.1

A nude boy or young man sits on a gray box and hunches over his foot, next to a second nude boy who stands facing us in this loosely painted, vertical scene. Both boys have light skin with a yellow cast, and their bodies are outlined with delicate brown lines. They both have short-cropped brown hair, and their facial features are sketched in with brown paint. To our left, the boy sitting on the box looks down at his right foot, on our left, which he holds up on the box with both hands. Next to him, the second boy stands with his arms down by his sides and he looks off into the distance to our right. The room is undefined but has a pale, rust-red floor. Behind them, a terracotta-red urn and jug sit on a platform, possibly in a niche in the silvery-gray wall. Brushstrokes are visible throughout. The artist signed the painting in red letters in the upper left corner: “Picasso.”
Pablo Picasso, Two Youths, 1906, oil on canvas, Chester Dale Collection, 1963.10.197

Two Youths

Pablo Picasso · 1906 · oil on canvas ·  Accession ID  1963.10.197

A wood table is piled with stylized and abstracted objects, including a jug, lemons, a knife, guitar, newspaper, and a smoking pipe in this horizontal still life painting. The objects are made up of areas of mostly flat color and many are outlined in black, creating the impression that some shapes are two-dimensional and assembled almost like a collage. We look down onto the top of the table and at the front, where the grain of the wood is painted in tan against a lighter background. Concentric black and white circles make up the knob on the face of the table’s single drawer. There are two rows of objects on the table. Along the front, near the left corner of the table, the knife hangs with its blade slightly over the open drawer. A newspaper with the title “LE JOUR” rests next to the knife. Next to the newspaper are two yellow pieces of fruit, near the front right corner of the table. Behind the fruit, the right third of the pitcher is marine blue and the left two thirds is mostly straw yellow, with one round olive-green area near the handle. Next to the pitcher is a tobacco pipe, and, at the back left edge of the table, the guitar. The instrument rests on its side so the front of the soundboard faces the viewer, and the neck extends to our left. The instrument is bisected lengthwise into two halves that appear to be spliced together, and the edges and features of the halves are not symmetrical or aligned with each other. The bottom half of the guitar is painted a beige color, and is curved like a typical guitar body. The top half is painted black, and the contour of the instrument’s body rises into two pointed peaks instead of mirroring the rounded forms below. The sound hole is markedly smaller on the bottom half, and the two halves of the hole do not exactly line up. A rectangular form behind the table could be a screen. The left side is fern green, the right side black. Behind the screen is a wallpapered wall above wood paneling. The wallpaper is patterned with teardrop shapes, dots, and zigzagging lines in fawn brown against parchment white. The artist signed and dated the painting in the lower right corner, “G Braque 29.”
Georges Braque, Still Life: Le Jour, 1929, oil on canvas, Chester Dale Collection, 1963.10.91

Still Life: Le Jour

Georges Braque · 1929 · oil on canvas ·  Accession ID  1963.10.91

A woman wearing a pale blue and gray patterned top and turquoise skirt stretches out in an armchair in this stylized, almost square painting. The scene is loosely painted with areas of mostly flat color, especially in the background, so some details are difficult to make out. The woman is centered in the composition, and her legs stretch to our left. She has upswept dark brown hair, peach-colored skin, and her eyes, nose, and mouth are drawn with dark gray lines. Her blousy top is vertically patterned with lead-gray leaves down the front and elongated dots on the sleeves. Each sleeve also has a carrot-orange band on the upper arm. Her skirt is spearmint green, and she wears bone-white pumps. She sits in a canary-yellow armchair with red down the front of the arms and along the bottom, where the wood frame would be. One foot stretches to rest on a matching footstool, while her other leg is curled under her. The denim-blue floor tilts toward us and is covered with thin white lines in a chevron pattern. In the lower right is a red table with a bright yellow vase covered with swipes of brown and green. The vase is filled with elongated, abstract mauve-pink and mint-green shapes on slender white stems. The back wall of the room has an aqua-green cabinet to our left, which holds a silver urn and dishes of round objects. There is also a cantaloupe-orange footstool and other pieces of small furniture there, below paintings on the white wall. Above the woman is a white door with panels outlined in gray, and a section of black wall to our right has more paintings. The artist signed and dated the lower right, “Henri Matisse 40.”
Henri Matisse, Woman Seated in an Armchair, 1940, oil on canvas, Given in loving memory of her husband, Taft Schreiber, by Rita Schreiber, 1989.31.1

Woman Seated in an Armchair

Henri Matisse · 1940 · oil on canvas ·  Accession ID  1989.31.1

Four young women with medium brown skin sit or stand on a pumpkin-orange ground in this horizontal painting. The women are divided into pairs by a broad, gold, undulating brushstroke running down the middle of the ground they occupy. They are mostly nude, and three have long black hair while one has flame-red hair. To our left, the woman with red hair stands facing us, wearing a glittering, silver necklace as she gazes off to our right. She presses a white patch, perhaps the end of a loincloth, to her upper leg with both hands. Seated next to her is a woman with most of her body turned away from us. She leans over onto her left arm and turns her head over that shoulder to look down and off to our right. Both women to our right are seated close to each other, their shoulders overlapping. One woman wears a white cloth around the hip we can see, and the other wears knee-length breeches. They both look toward us. Beyond the women is what appears to be a stream running diagonally from the lower left to end in a small pool in the middle right. It transitions from muted oranges and green to smoky blue and gray. Opposite us, more orange ground is lined with dense groves of dark green trees that wind into the distance. A woman wearing a coral-colored hood and blue robe holds the arm of a child, and a black dog crouches at their feet. They stand near a slightly larger-than-life-sized topaz-blue statue of a standing woman with her elbows bent and arms raised. The sky beyond the trees is streaked and swirled with bright orange, yellow, and blue. The artist signed and dated the painting, along with the title, in the lower left corner, “Paul Gauguin 98 TE PAPE NAVE NAVE.”
Paul Gauguin, Te Pape Nave Nave (Delectable Waters), 1898, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1973.68.2

Te Pape Nave Nave (Delectable Waters)

Paul Gauguin · 1898 · oil on canvas ·  Accession ID  1973.68.2

We look down onto papers and books piled on a small wooden table with delicate, spindle legs, with a dog and cat on a sofa in the background in this vibrantly colored, stylized, vertical painting. The scene is loosely painted with dabs and visible brushstrokes in butterscotch and golden yellow, azure and navy blue, apple red, and white. The square table takes up most of the bottom two-thirds of the composition. Its surface is almost entirely covered with a spread of papers and stacks of books, including two thick, white volumes near the front, right corner and a thin red book on the other front corner. Smaller squares between the books are painted with streaks and washes of turquoise blue, scarlet, and brick red. A tall, narrow vase with abstracted, ice-blue flowers sits behind the stacked books, to our right. Beyond that, at the back right corner of the table, a sheet of paper reads “ALBUM MUSICAL,” with the final L partially obscured by a piece of bubblegum-pink paper set askew atop the stacked books. The artist’s name appears in rust-red letters on a paper at the back left corner of the table: “Bonnard.” The rug beneath the table is dominated by a vivid, azure-blue ring. The blue ring is surrounded by a white band decorated with widely spaced, black ovals dotted with pale lemon yellow. At the center of the blue ring is a black circle dotted with abstracted rosettes made with rings of apricot orange and gray around yellow centers. At the back edge of the rug, at the top left corner of the painting, a white cat sits and brown spotted dog lies on a mustard-yellow sofa, which has a wooden arm on the end we can see. There is a tangerine-orange chair next to it, in the upper right corner of the painting, and a teal-blue block there could be a pillow. The floor between the furniture is goldenrod yellow.
Pierre Bonnard, Work Table, 1926/1937, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 2006.128.12

Work Table

Pierre Bonnard · 1926/1937 · oil on canvas ·  Accession ID  2006.128.12

Bibliography

1933

  • Eglington, Laurie. "Paul Rosenberg Now in New York Comments on Art." The Art News 32 (December 2, 1933): 3-4.

1941

  • "Rosenberg Opens." The Art Digest 16 (15 November 1941): 6.

1959

  • "Paul Rosenberg, Art Dealer, Dies." [obit.] The New York Times. (1 July 1959): 31.