Provenance

Henri Gallery

Henri 2 Gallery

American, est. 1957 - closed 1996

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The sculpture is a minimalist, abstract piece made of three large, flattened, and neatly stacked objects. It is colored vivid red with a glossy finish. The sculpture has smooth, rounded edges and even layering, giving it a contemporary appearance. It is of a considerable size, similar to furniture items like ottomans or low tables.
Mimi Herbert, Red Triplet, 1974, folded acrylic sheet, Corcoran Collection (Museum Purchase with the aid of funds from the National Endowment for the Arts, the William A. Clark Fund, and Margaret M. Hitchcock, 1974), 2015.143.163

Red Triplet

Mimi Herbert · 1974 · folded acrylic sheet ·  Accession ID  2015.143.163

The image shows a large trapezoidal shape filled with horizontal lines, with a grid of fine lines in the background. The lines create an abstract pattern, evoking the idea of a bookshelf or stacked papers. The composition conveys precision and organization, resembling blueprints or technical drawings.
Robert Stackhouse, Study for "Sleeping King Ascending", 1973, balsa wood, graphite, watercolor, and black marker on graph paper, Corcoran Collection (Museum Purchase, Maxwell Fund, 1974), 2015.19.2558

Study for "Sleeping King Ascending"

Robert Stackhouse · 1973 · balsa wood, graphite, watercolor, and black marker on graph paper ·  Accession ID  2015.19.2558

The image displays precise lines and geometric shapes forming a complex network across the canvas. A figure is centrally positioned, resembling a man seated at a table. The tablecloth is depicted in a checkered pattern, and the figure holds a rectangular object. Two other rectangles could be stacks of paper or books. Background lines and forms suggest a chair and a musical instrument, potentially a piano. In the lower section, an abstract representation of a dog's head is visible amidst fluid shapes and patterns.
Stuart Davis, Man at a Table, 1925, brush and black ink on wove paper, Gift of Ruth Cole Kainen, 2005.145.9

Man at a Table

Stuart Davis · 1925 · brush and black ink on wove paper ·  Accession ID  2005.145.9

The image depicts a series of curved, elongated, and parallel lines forming an abstract pattern reminiscent of stacked wooden planks. The arrangement creates a sense of movement and depth. The composition resembles a large curved roof or a wall made up of horizontal wooden beams. The earthy tones and textures enhance the resemblance to wood.
Robert Stackhouse, Drawing of "Ghost Dance", 1974, watercolor, gouache, and charcoal over graphite on wove paper, Corcoran Collection (Gift of the Women's Committee of the Corcoran Gallery of Art, 1974), 2015.19.2561

Drawing of "Ghost Dance"

Robert Stackhouse · 1974 · watercolor, gouache, and charcoal over graphite on wove paper ·  Accession ID  2015.19.2561

There are two elongated wooden boats depicted on the canvas. The color palette consists of varying shades of brown, beige, and tan representing the wood. The boat to the left appears shorter with a pronounced curve on its side, while the boat to the right is longer and slightly tilted, both casting light shadows on the surface below.
Robert Stackhouse, Untitled #5, 1971, watercolor over graphite on wove paper, Gift of Bob Stana and Tom Judy, 2019.109.68

Untitled #5

Robert Stackhouse · 1971 · watercolor over graphite on wove paper ·  Accession ID  2019.109.68

The painting depicts a landscape with a central mountain in the distance. The horizon is low, and there are rolling hills and green plant forms in the foreground. The mountain is dark green and black, set against a blue sky with hints of clouds. The brushstrokes are bold, with solid colors in blues, greens, greys, and earth tones.
Mary Beth Edelson, White Ridges, 1972, acrylic on wove paper, Corcoran Collection (Museum Purchase, 1972), 2015.19.2527

White Ridges

Mary Beth Edelson · 1972 · acrylic on wove paper ·  Accession ID  2015.19.2527

The image shows a landscape with a river running through it. There are bushes or tree branches in the foreground with green hues. A snow-covered hill is prominent, and a blue river winds around it. Further back, there are mountains or hills painted in brown and rust tones. The sky transitions from grey to black, creating a dramatic effect. The color palette includes whites, blues, greens, and browns.
Mary Beth Edelson, Quiet Landscape, 1972, acrylic on wove paper, Corcoran Collection (Museum Purchase, 1972), 2015.19.2526

Quiet Landscape

Mary Beth Edelson · 1972 · acrylic on wove paper ·  Accession ID  2015.19.2526

This is a detailed architectural plan on graph paper containing measurements and annotations related to construction elements. The grid lines serve as a guide for dimensions and scaling, while pencil sketches and lines depict various sections and perspectives of the structure. Some areas are shaded darker, possibly indicating specific structural components. Mathematical calculations and configurations are written throughout. The layout shows both vertical and horizontal orientations, revealing an organized planning process.
Robert Stackhouse, Study for "Sleeping King Ascending", 1973, graphite and red colored pencil on graph paper, Corcoran Collection (Museum Purchase, Maxwell Fund, 1974), 2015.19.2557

Study for "Sleeping King Ascending"

Robert Stackhouse · 1973 · graphite and red colored pencil on graph paper ·  Accession ID  2015.19.2557

This is a painting of urban storefronts featuring signage and window displays. The composition showcases two sections: on the left, part of an awning is visible with text partially reading "NTAL Cuisine" and a neon sign for "Maurice French Ice Cream Fountain Service." There is also a lower menu display behind red curtains. On the right, another storefront has a large sign for "Trucking" with a phone number and address "333." Below this is a window displaying various objects reflected in large glass panels against the backdrop of older urban architecture. This is in the style of Richard Estes.
Richard Estes, Oriental Cuisine, 1972, color silkscreen, Ailsa Mellon Bruce Fund, 1974.37.1

Oriental Cuisine

Richard Estes · 1972 · color silkscreen ·  Accession ID  1974.37.1

Mark Rothko, No. 17, 1958, pigmented hide glue, egg, and oil on canvas, Corcoran Collection (Museum Purchase, Gallery Fund, 1966), 2014.136.99

No. 17

Mark Rothko · 1958 · pigmented hide glue, egg, and oil on canvas ·  Accession ID  2014.136.99