Provenance

Bernard Danenberg Galleries, Inc.

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Rust brown, pewter gray, steel blue, and tan geometric forms are piled up in this abstract vertical painting to suggest buildings, train tracks, and metal grates on city streets. The composition is densely packed with shapes, many of them repeating in clusters. For instance, in the center, three rust red, angular shapes resemble escalator steps. Below and to the right, five narrow triangles form an arc. Near the bottom edge, six thinly painted, triangular, kelly-green shapes point almost downward like nested arrows. The green color is strongest along their edges but quickly feathers away as it moves inward. More pointed shapes in denim blue are layered in front of them near the lower right corner, with the points facing our left. The dark tones are broken up by soft honey-gold fields at the sides and near the bottom. A row of narrow gray rectangles spans the lower edge of the canvas like the slats of a pier or a moving walkway. In tiny letters, the artist signed and dated the work near the lower right corner, “MAX WEBER 1915.”
Max Weber, Rush Hour, New York, 1915, oil on canvas, Gift of the Avalon Foundation, 1970.6.1

Rush Hour, New York

Max Weber · 1915 · oil on canvas ·  Accession ID  1970.6.1

The sculpture is of a large feline, likely a panther or similar big cat, sitting upright on a rectangular base. The sculpture is made of a dark, patinated bronze material. The cat's body is shown in a sitting posture, with its back straight and tail curled around its body. The facial features are smooth with detailed eyes, ears, and a slightly open mouth, giving it an attentive expression as it looks to one side. The sculpture is life-sized compared to a real big cat and appears robust and solid.
William Zorach, Puma (looking right), 1948, bronze, Gift of Eric M. Wunsch, 1971.33.2

Puma (looking right)

William Zorach · 1948 · bronze ·  Accession ID  1971.33.2

The sculpture depicts a stylized representation of a feline. The feline is seated upright with its tail wrapped around its body and resting on the base. The sculpture is crafted from a dark green material with a smooth, reflective surface. The feline's features are slightly abstracted, with exaggerated eyes, prominent ears, and a streamlined body, highlighting the animal's form and musculature. The scale and positioning of the sculpture make it appear imposing and majestic, with the creature's gaze directed forward.
William Zorach, Puma (looking left), 1948, bronze, Gift of Eric M. Wunsch, 1971.33.1

Puma (looking left)

William Zorach · 1948 · bronze ·  Accession ID  1971.33.1

This painting shows two individuals from the waist up seated at a table. The person on the left is a woman with a short, dark bob haircut, pale skin, and soft facial features. She is wearing a red sleeveless dress with a white collar. One of her hands is resting on the table, and she is looking to the right towards the person sitting next to her. The person on the right is a man with a pale complexion and either a bald head or sparse white hair. He is wearing a brown suit with a vest, a white shirt, and a dark tie. He is holding an orange glass in his right hand, resting it on the table, and he is looking forward. In the background, there is a framed picture or window on the wall behind them, depicting two indistinct people in conversation, standing close together. The painting has a muted and softly blurred tone.
Guy Pène du Bois, Pierrot Tired, c. 1929, oil on canvas, Corcoran Collection (Museum Purchase through the gifts of William Wilson Corcoran and Ivan C. Aivasovsky, 1981), 2015.19.177

Pierrot Tired

Guy Pène du Bois · c. 1929 · oil on canvas ·  Accession ID  2015.19.177

This painting shows a yellow ink pot, a white pen or quill, and an opened blue envelope resting on top of a large green book. The ink pot has a drop of black ink running down its side. The pot and the quill are both on top of the blue envelope, which has one side that has been ripped open and a pink stamp in one corner. The green book at the bottom has stripes of black and red on its spine, surrounded by gold borders. The surface underneath the book is black, and the wall behind the objects is tan, with the left side in shadow.
John Frederick Peto, The Blue Envelope, c. 1890s, oil on wood, Collection of Mr. and Mrs. Paul Mellon, 1999.79.28

The Blue Envelope

John Frederick Peto · c. 1890s · oil on wood ·  Accession ID  1999.79.28