Provenance

Babcock Galleries

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Seymour Lipton, Study for "Eagle", 1963, black conté crayon on wove paper, Corcoran Collection (Estate of Seymour Lipton), 2015.19.2961

Study for "Eagle"

Seymour Lipton · 1963 · black conté crayon on wove paper ·  Accession ID  2015.19.2961

Marsden Hartley, Millstone in the Woods, 1920s, brush and black ink on brown wove paper, Corcoran Collection (Museum Purchase, Gallery Fund), 2015.19.1060

Millstone in the Woods

Marsden Hartley · 1920s · brush and black ink on brown wove paper ·  Accession ID  2015.19.1060

Seymour Lipton, Study for "Eagle", 1963, black conté crayon on wove paper, Corcoran Collection (Estate of Seymour Lipton), 2015.19.2960

Study for "Eagle"

Seymour Lipton · 1963 · black conté crayon on wove paper ·  Accession ID  2015.19.2960

Seymour Lipton, Untitled, 1951, black conté crayon on wove paper, Corcoran Collection (Estate of Seymour Lipton), 2015.19.2965

Untitled

Seymour Lipton · 1951 · black conté crayon on wove paper ·  Accession ID  2015.19.2965

Thomas Eakins, Study for "The Dancing Lesson": The Boy, probably 1877, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1985.64.15

Study for "The Dancing Lesson": The Boy

Thomas Eakins · probably 1877 · oil on canvas ·  Accession ID  1985.64.15

Seymour Lipton, Study for "Eagle", 1963, black conté crayon on wove paper, Corcoran Collection (Estate of Seymour Lipton), 2015.19.2962

Study for "Eagle"

Seymour Lipton · 1963 · black conté crayon on wove paper ·  Accession ID  2015.19.2962

On the brick pavement of a sunny veranda, a young toddler leans heavily on her right arm, to our left, as she reaches for a wooden block in this horizontal painting. Much of her face is cast in deep shadow from the bright light overhead, but light brushes the tops of her cheeks and the tip of her nose. She grips a wooden block with her left hand, closer to us. Her left leg stretches to our right in a stocking striped with vivid red and white. Light glints off the shiny material of her black, round-toed slipper. She has short, golden-brown hair, and her white smock is richly embroidered in a pattern of white-one-white with alternating linked loops. Scattered before her, at arms-length, are seven other alphabet blocks lettered in gray with red and tan faces, several wooden building blocks, and a ball of red yarn. A doll in a black dress lies with limbs akimbo, face-down by a potted plant at the right edge of the canvas. A red wagon drawn by white toy horse sits near the left edge. The scene is enclosed with a deep, emerald-green hedge stretching across the background. The artist signed and dated this work as if he had inscribed two of the bricks on the patio with red paint in cursive script, in the lower right corner: “Eakins 76.”
Thomas Eakins, Baby at Play, 1876, oil on canvas, John Hay Whitney Collection, 1982.76.5

Baby at Play

Thomas Eakins · 1876 · oil on canvas ·  Accession ID  1982.76.5

Thomas Eakins, The Chaperone, c. 1908, oil on canvas, Gift of John Wilmerding, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.34.1

The Chaperone

Thomas Eakins · c. 1908 · oil on canvas ·  Accession ID  1991.34.1

Amethyst-purple mountains and clouds against a slightly lighter, lavender-purple sky loom over a strip of land painted as bands of brick red and royal blue in this abstracted, horizontal landscape painting. One tall peak with a flattened top rises in front of a few more lower, rounded peaks to our right. Round clouds, like cotton balls, in the same amethyst-purple of the mountains, float against the lighter purple sky. The sky, clouds, and mountains are painted with areas of mottled purple over a red underlayer, all outlined in lapis blue. The horizon line created by the strip of deep red land comes about halfway up the composition. There is a pair of green trees with triangular canopies at the water’s edge near the center of the red band. A few touches of forest-green nearby suggest more trees or bushes. The red band is streaked vertically with visible brushstrokes in flame, ruby, and burgundy red. Along the bottom edge of the painting, the land curves toward us near the lower left corner, around a field painted with horizontal streaks of cobalt and navy blue with a few thin, white lines to suggest ripples. The artist signed and dated the painting in the lower right corner: “M.H. 42.”
Marsden Hartley, Mount Katahdin, Maine, 1942, oil on hardboard, Gift of Mrs. Mellon Byers, 1970.27.1

Mount Katahdin, Maine

Marsden Hartley · 1942 · oil on hardboard ·  Accession ID  1970.27.1

This vertical canvas is filled with geometric shapes that create patterns in red, blue, yellow, green, black, and white in this abstract painting. The paint is applied with visible brushstrokes, giving some areas a mottled look. Some of the patterns seem to revolve around a red circle near the top center. The circle has a black cross like a plus sign on a white field at its center, and a white band around its perimeter is outlined in black. A blue and white checkered band curves up over the red circle to our left while a banner-like form of alternating, wavy yellow and black lines cascade down to the right of the circle. Horizontal bands of red, white, and black extend across the canvas behind the circle. Below the circle, a blue panel with a curly, cursive red “E” is flanked to the left with a red and white checkerboard, then alternating, almost vertical lines of blue and white. The red number “4” appears on a yellow field at the bottom center of the work, and is flanked by rectangular forms and alternating bands of color to either side.
Marsden Hartley, Berlin Abstraction, 1914/1915, oil on canvas, Corcoran Collection (Museum Purchase, Gallery Fund), 2014.79.21

Berlin Abstraction

Marsden Hartley · 1914/1915 · oil on canvas ·  Accession ID  2014.79.21