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Hirschl & Adler Galleries

Hirschl & Adler
Hirschl & Adler Galleries, Inc.

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Frederic Edwin Church, Newport Mountain, Mount Desert, 1851, oil on canvas, John Wilmerding Collection, 2025.89.1

Newport Mountain, Mount Desert

Frederic Edwin Church · 1851 · oil on canvas ·  Accession ID  2025.89.1

Winslow Homer, Sparrow Hall, c. 1881-1882, oil on canvas, John Wilmerding Collection, 2025.89.10

Sparrow Hall

Winslow Homer · c. 1881-1882 · oil on canvas ·  Accession ID  2025.89.10

John Frederick Peto, Take Your Choice, 1885, oil on canvas, John Wilmerding Collection, 2025.89.13

Take Your Choice

John Frederick Peto · 1885 · oil on canvas ·  Accession ID  2025.89.13

A dirt path winds through a field of gold-green grass back to a town built on low hills in this horizontal, densely hazy landscape painting. Several minuscule people walk on the path and at least one person rides a horse. More people are gathered by a domed, white structure in the distance, where the winding path meets a straighter road leading up into the town near the left edge of the canvas. At least six people sit or stand near a conical white tepee to the right, in the lower quadrant. Two horses and about two dozen smaller animals graze nearby. In the town, the cluster of low, flat-topped buildings, the one domed building with two slender minarets, and palm trees are painted in tones of muted mauve pink and peach. The sun is painted as a hot blaze of light low in the washed-out sky over rocky mountains, which stretch across the left half of the composition. The artist signed and dated the painting with angular red letters in the lower right corner, “S.R. Gifford 1874.”
Sanford Robinson Gifford, Siout, Egypt, 1874, oil on canvas, New Century Fund, Gift of Joan and David Maxwell, 1999.7.1

Siout, Egypt

Sanford Robinson Gifford · 1874 · oil on canvas ·  Accession ID  1999.7.1

The sculpture is a round relief featuring two young girls facing each other. The girls are engaged in a gentle interaction, with one girl looking at the other girl as she points towards her chest area. Both girls are wearing long-sleeved attire, detailed with folds and textures. The medium of the sculpture is a dark bronze material. Surrounding the girls are engraved flowers. There are inscriptions around the sculpture's border stating "Daughters of Frederick and Elizabeth Shattuck" and the artist's initial "S. L. Pratt 1887."
Bela Lyon Pratt, Clara and Lizzie, Daughters of Frederick and Elizabeth Shattuck, model 1893, cast 1894, bronze, Gift of John Goelet in honor of J. Carter Brown, 1992.80.1

Clara and Lizzie, Daughters of Frederick and Elizabeth Shattuck

Bela Lyon Pratt · model 1893, cast 1894 · bronze ·  Accession ID  1992.80.1

A balding, older man sits in a golden boat guided by a winged angel away from craggy rocks to calm waters, toward a shaft of light piercing a billowing bank of clouds in this horizontal landscape painting. The man and angel both have light skin. The man wears a crimson-red tunic and has a fringe of white curls and a long, white beard. He holds his hands up, palms facing out, as he looks toward the light in the upper left corner of the canvas. His golden boat is made up of wings and human bodies facing inward, the rudder and figurehead at the bow broken off. The man glides from low, jagged rocks in the lower right corner onto placid waters. Floating above the man and slightly to our left, the angel has long golden hair, a flowing white tunic, lilac-purple wings, and a bright starburst at the forehead. The angel gestures up to the shaft of light, where another angel has swept down into the cloud bank. Dozens of touches of white paint farther up in the clouds, closer to the light in the top left, suggest more angels descending toward the scene below. Concentric rings of clouds darken from butter yellow in the upper left to pale mauve and muted plum purple across the landscape. The artist signed the painting as if he had inscribed his name and date on a rock near the lower left, “T. Cole 1842.” A second inscription, to the right of center along the lower edge on another rock, reads “Rome.”
Thomas Cole, The Voyage of Life: Old Age, 1842, oil on canvas, Ailsa Mellon Bruce Fund, 1971.16.4

The Voyage of Life: Old Age

Thomas Cole · 1842 · oil on canvas ·  Accession ID  1971.16.4

Ralph Earl, Martha Tennent Rogers (Mrs. David Rogers) and Her Son, probably Samuel Henry Rogers, 1788, oil on canvas, Gift of Edgar William and Bernice Chrysler Garbisch, 1965.15.9

Martha Tennent Rogers (Mrs. David Rogers) and Her Son, probably Samuel Henry Rogers

Ralph Earl · 1788 · oil on canvas ·  Accession ID  1965.15.9

This painting shows a plucked chicken hanging upside down by one yellow leg from a piece of string. The chicken's bare skin is pale yellow with some areas of pale pink. Its tail and head are still intact, showing white plumage and a red crest. There are some small white feathers still connected to its skin, and a few scattered feathers float downward against the brown wooden panel background.
William Michael Harnett, Plucked Clean, 1882, oil on canvas, Corcoran Collection (Museum Purchase, William A. Clark Fund, 1977), 2014.136.133

Plucked Clean

William Michael Harnett · 1882 · oil on canvas ·  Accession ID  2014.136.133

A man looks up as he kneels with his hands clasped in prayer in a small golden boat on a river that rushes toward craggy rocks in this horizontal landscape painting. The man has pale skin, dark brown hair and beard, and he wears a crimson-red tunic. A winged figurehead at the front of the gold boat holds up an hourglass. The boat sails to our right, away from calm waters to the left toward whitewater rapids along the right edge of the composition. A ridge of tall, jagged, moss-covered rock lines the water’s edge to our left and another channels the water on the opposite side of the river. Closest to us, a barren, blasted tree twists up from the lower right corner. The river passes off the right edge of the canvas, and calm waters beyond extend into the distance. The horizon line comes just under halfway up the composition. Bands of golden yellow break through the deep mauve-pink sky near the horizon line to our right. Diagonal plum-purple streaks suggest falling rain in the distance. A white glow in the upper left corner emanates around a person with long, reddish-blond hair and pale skin, who looks down at the man in the boat. That person wears a white garment and a golden star shines at the forehead. Smudges of fog blue in the sky above the man first read as clouds but upon closer inspection, the cloud-like forms contain the faces of three bearded men.
Thomas Cole, The Voyage of Life: Manhood, 1842, oil on canvas, Ailsa Mellon Bruce Fund, 1971.16.3

The Voyage of Life: Manhood

Thomas Cole · 1842 · oil on canvas ·  Accession ID  1971.16.3

In a darkened room, two women sit at a round table near a man who stands leaning against a fireplace mantle, all illuminated only by a soft, yellow light from a ceiling lamp hanging over the table in this nearly square painting. All the people are light skinned and have brown or dark hair. The brushwork throughout is loose and details are indistinct. The brightest object in the room, the light, has a flaring shade over a spherical body, and hangs from three curling, scrolling arms. Painted in butter and golden yellow, it seems to be made from brass. The table is bare except for a white teapot and two small, white teacups on saucers near the women who sit to our right. The women have turned their wooden chairs to face each other next to the table, so the one closer to us sits with her back to us. Both have brown hair pulled up in buns, and they look down at their hands. The woman farther away wears a pine-green dress with white trim at the cuffs, and the one facing away from us wears a slate-blue, high-necked dress with a white collar. The one who faces us wears holds something white in her hands, presumably needlework. A third chair at the table, closest to us, is turned toward the women, but is empty. The man stands in semi-darkness behind the two women next to a glowing fireplace. He has a full beard and wears a black suit. He leans on the mantel with his left arm, on our right, with his other hand on his hip. Though his eyes are deeply shaded, he seems to look down at the woman in the blue-gray dress. A large mirror over the fireplace reflects the heads of the man and the woman facing us, as well as the back of a blue-gray lidded vase on the mantel and a clock hanging on the opposite wall, out of our view. A curtain runs along the wall beyond the fireplace and is painted with the suggestion of a floral pattern in strokes of forest green, burnt orange, gray, and tan. The rest of the room is swallowed in shadowy areas of dusky browns, grays, and tans. The artist signed the work in red letters in the lower left corner: “Claude Monet.”
Claude Monet, Interior, after Dinner, 1868/1869, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1983.1.26

Interior, after Dinner

Claude Monet · 1868/1869 · oil on canvas ·  Accession ID  1983.1.26