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Kennedy Galleries

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Ben Shahn, Atlantic City, 1946, tempera on paper on board, Gift of Funds from the Carmen S. Yamada Revocable Trust and Andrew and Denise Saul Endowment for Modern Art and Photography, 2026.39.1

Atlantic City

Ben Shahn · 1946 · tempera on paper on board ·  Accession ID  2026.39.1

A middle-aged, light-skinned man stands facing and looking at us, leaning on one arm propped on a tall rock in a landscape in this vertical portrait painting. The man looks out with dark blue eyes under curved black brows. He has a prominent nose, his full apricot-colored lips are closed, and there is a shadow of a beard on his smooth cheeks. He has a receding hairline, and his wavy, ash-gray hair curls around his high, white collar. The man wears a tawny-brown topcoat with white, ruffled cuffs at his wrists, and a long brown vest with fabric-covered buttons. He wears matching brown, knee-length pantaloons with white stockings, and black shoes with gold buckles. His feet are widely planted as he leans on the tall rock on his left elbow, to our right. His elbow rests on an open book on the tall, narrow rock, shaped like a podium. Writing visible in the thick book reads, “Nolumus Leges Angliae mutari.” He points with his other index finger to our right. Behind the man and to our right is a gray, stone statue of a woman wearing flowing robes. She holds a pair of scales in one hand a tall staff with a bell-like form at the top in the other elbow. The statue is angled toward the man, and the tall base on which she stands is carved with the words, “Co LEX ANGLI.” A tree with sickle-shaped leaves and peach-colored fruit spans the height of the composition behind the statue. Near the lower left corner of the composition, two halves of a piece of paper, torn from corner to corner, lies on the ground with the edges curling up. The writing on the paper reads, “Imperial Civil Law — Sumary proceeding.” A thick tree trunk curves in a shallow S shape up along the left edge of the canvas, behind the man. Fern-green jimson weed, clover, small flowers, and rocks carpet the ground beneath and around the man. In the distance, to our left, a man wearing a red coat, a tricorn hat, and holding a musket leads a mule carrying a pack, while sheep graze to our right. Pockets of azure-blue sky are visible beyond gray clouds to our left and fluffy, flaxen-yellow clouds to our right.
Charles Willson Peale, John Beale Bordley, 1770, oil on canvas, Gift of The Barra Foundation, Inc., 1984.2.1

John Beale Bordley

Charles Willson Peale · 1770 · oil on canvas ·  Accession ID  1984.2.1

The sculpture shows a figure on its back, legs bent, and an arm raised upwards. The figure appears muscular and is positioned on an irregular base. The sculpture is dark bronze with a metallic sheen. It seems to be made of metal, possibly bronze, giving it a reflective and solid appearance. The sculpture is placed on a flat surface and appears relatively small. The detailed texture of muscles and base is skillfully rendered.
William Rimmer, Joseph Ternbach, Dying Centaur, model 1869, cast 1967, bronze, Gift of the Avalon Foundation, 1968.2.1

Dying Centaur

William Rimmer, Joseph Ternbach · model 1869, cast 1967 · bronze ·  Accession ID  1968.2.1

This painting depicts a dark brown teapot and a fish on a white cloth. The fish is mostly greenish gray, with some white and pale red scales. It appears to be propped up on something, perhaps a plate or another fish, and its head is facing the right. The teapot is on the left, with its spout turned towards us. The background is textured beige, and the white cloth below the objects has some small folds in it.
John Frederick Peto, An English Breakfast, c. 1890s, oil on academy board, Collection of Mr. and Mrs. Paul Mellon, 1999.79.30

An English Breakfast

John Frederick Peto · c. 1890s · oil on academy board ·  Accession ID  1999.79.30

This painting displays an open safe filled with stacks of banknotes and coins. The safe is gray, while the money inside is in shades of green, red, and tan. The paper currency is in large bills, from $1,000 to $10,000, and the stacks are tied with pink ribbons. On the top shelf of the safe is a stack of large silver coins and smaller bronze coins. Hanging below the coins is a note on yellow paper titled "Semi-annual account" that lists the amounts of several categories: "Receipt", "Expenses", "Profit", "U.S.& B. Notes", and "Gold&Silver". The total amount is "492,392,296.50". The yellow lettering at the top of the safe reads "N.S.E. & W.R.R. DIVIDEND'S SAFE." The floor that the safe is on is a tan-and-gray checkered pattern.
Victor Dubreuil, Safe Money, 1898 or later, oil on canvas, Corcoran Collection (Museum Purchase through a gift from the heirs of George E. Lemon, 1980), 2015.19.167

Safe Money

Victor Dubreuil · 1898 or later · oil on canvas ·  Accession ID  2015.19.167

We look across a wide, low clearing at a mountain rising beyond rocky hills, which are mostly covered in pines and blazing red and orange autumn trees, in this horizontal landscape painting. The green grass of the clearing is littered with dead trees and stumps. Beyond a narrow opening between the hills, almost at the center of the composition, a massive mountain towers against the powder-blue sky, nearly reaching the top edge of the painting. The mountain’s jagged face is mottled with warm tones of cinnamon, rust, and caramel brown. The scene is bathed in warm light coming from our right but pewter-gray storm clouds move in from the upper left to encircle the mountain peak. Closest to us, a line of broken tree trunks spans the width of the painting, mixed with scarlet-red, marigold-orange, and green vegetation and reeds. A silvery pond lies just beyond them to our left. Tiny in scale within the landscape, a horse and rider gallop along a wide dirt road emerging from the lower right toward a white house nestled at the foot of the hill to our left. The rider wears a knee-length, denim-blue tunic and red leggings. Upon closer inspection, two children and a white dog become visible, walking toward the rider. A straw-yellow structure sits against the hill to our right. A horse-drawn carriage moves away from the house in the far distance, where the road curves toward the notch. The artist signed and dated the painting as if he wrote directly onto a broken trunk in the lower left corner of the painting: “T. Cole 1839.”
Thomas Cole, A View of the Mountain Pass Called the Notch of the White Mountains (Crawford Notch), 1839, oil on canvas, Andrew W. Mellon Fund, 1967.8.1

A View of the Mountain Pass Called the Notch of the White Mountains (Crawford Notch)

Thomas Cole · 1839 · oil on canvas ·  Accession ID  1967.8.1

An abstracted painting of a roughly oval-shaped jack-in-the-pulpit flower fills this vertical composition with cool, saturated blues, grays, and greens. A royal-blue elongated, rounded core at the bottom center is surrounded by a pale gray flame-like shape. Petals flare outward and up around the core to reach toward the sides and top of the canvas. A thin white line extends upward from the top center of the core to meet the pointed tip of the unfurling, innermost midnight-blue petal. Layers of green, reminiscent of leaves, curl outward around the top half of the flower. Pale blue in each of the four corners creates the impression of a background behind the flower, and fades to white at the top corners.
Georgia O'Keeffe, Jack-in-the-Pulpit No. IV, 1930, oil on canvas, Alfred Stieglitz Collection, Bequest of Georgia O'Keeffe, © Board of Trustees, National Gallery of Art, Washington, 1987.58.3

Jack-in-the-Pulpit No. IV

Georgia O'Keeffe · 1930 · oil on canvas ·  Accession ID  1987.58.3

A young man shown from the waist up behind a tabletop takes up the left half of this vertical portrait, and a geranium in a terracotta pot takes up the right half of the painting. The man has pale, peachy skin and dark brown hair. He wears a pair of glasses with small oval lenses, a white neckcloth, and a brown coat. He looks down and to our left. He holds a second pair of silver-rimmed glasses in his right hand on the table, and his left hand, on our right, rests on the edge of the terracotta pot. The tall, leggy geranium nearly reaches the upper edge of the canvas and has two clusters of small red flowers near its top. The young man and plant are shown against a fawn-brown background. The artist signed and dated the painting in white letters in the lower right corner: “Rem Peale 1801.”
Rembrandt Peale, Rubens Peale with a Geranium, 1801, oil on canvas, Patrons' Permanent Fund, 1985.59.1

Rubens Peale with a Geranium

Rembrandt Peale · 1801 · oil on canvas ·  Accession ID  1985.59.1

Hulking mountains are mostly backlit against a watery blue sky edged with shell pink along the horizon, which comes about two-thirds of the way up this horizontal landscape painting. Light falls across felled and gnarled trees along the bottom edge of the canvas. Two thin trunks, one of them broken to a jagged point, rise along the left edge of the composition with their green leaves outlined against the sky. The land dips steeply away into a valley wending between forested mountains. Fog has settled along the valley like a river of mist. The mountains lighten from dark, earthy green and brown close to us to muted fawn-brown in the distance. A sliver of pale-yellow sun peeks over the summit of the nearest mountain, which is to our left. Clouds kick up over the distant mountaintops, and a few wisps of peach-colored clouds float across the blue sky above. The artist signed and dated the work in black paint on a branch on the ground in the lower center, “T. Cole 1826.”
Thomas Cole, Sunrise in the Catskills, 1826, oil on canvas, Gift of Mrs. John D. Rockefeller 3rd, in Honor of the 50th Anniversary of the National Gallery of Art, 1989.24.1

Sunrise in the Catskills

Thomas Cole · 1826 · oil on canvas ·  Accession ID  1989.24.1

The image consists of bold, curving lines and geometric shapes forming an abstract composition. In the foreground, there is a large face with exaggerated features resembling a mask. Above, a figure is seated on a stylized horse-like creature. In the background, there are shapes resembling cloverleaves and stars interspersed throughout the composition, with a flower-like shape in the center.
Heinrich Campendonk, C. Naumans, Frau mit Blume (Woman with a Flower), 1918, woodcut in black on japan paper, Gift of Ruth Cole Kainen, 2007.141.4

Frau mit Blume (Woman with a Flower)

Heinrich Campendonk, C. Naumans · 1918 · woodcut in black on japan paper ·  Accession ID  2007.141.4