Provenance

Mr. Cornelius Van Schaak Roosevelt

American, 1915 - 1991

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See all 317 works of art
There are bold, jagged, black lines and curved shapes forming an abstract pattern within a rectangular frame. The lines and shapes resemble a distorted human face, with features suggesting an eye, a nose, and lips. The eye appears large and circular with radiating lines, the nose has elongated curves, and the formation below represents tightly pursed lips. This abstract composition evokes the outline of a person's face reacting strongly to something.
M.C. Escher, Perfume (Bad Smell), 1921, woodcut on wove paper, Cornelius Van S. Roosevelt Collection, 1983.109.50

Perfume (Bad Smell)

M.C. Escher · 1921 · woodcut on wove paper ·  Accession ID  1983.109.50

The image showcases an arrangement of geometric shapes and lines, consisting of diamond-shaped facets intertwined with organic curves. The composition gives the impression of a mesmerizing maze or futuristic landscape. The smooth, amoeba-like forms with eyes can be interpreted as playful creatures moving through the scene. The diamonds and angular surfaces hint at a crystal cavern or intricate architectural structure, blending seamlessly with the whimsical figures.
M.C. Escher, Flatworms, 1959, lithograph, Cornelius Van S. Roosevelt Collection, 1974.28.77

Flatworms

M.C. Escher · 1959 · lithograph ·  Accession ID  1974.28.77

This print shows a large circle filled with repeating, interlocking shapes. The design shows the forms of bats and angels with outstretched wings in different orientations. The figures fit together like a puzzle, with no space between them. The pattern radiates from the center, where the creatures are largest, and they decrease in size towards the edges of the circle.
M.C. Escher, Circle Limit IV, 1960, woodcut in black on Japan paper, Cornelius Van S. Roosevelt Collection, 1982.90.9

Circle Limit IV

M.C. Escher · 1960 · woodcut in black on Japan paper ·  Accession ID  1982.90.9

This is a drawing of a stylized map with intricate details. The image depicts a landmass with abstracted and patterned topography, giving it a sense of texture and depth, suggesting hills, valleys, and water surrounding the area. The land is bordered by the sea with a repetitive wave pattern. The map includes geometric lines indicating elevation or distinct areas, and several buildings scattered across the landscape with varying shading. In the lower portion, there is a rectangular cartouche with the Latin inscription "DEUS MARE FECIT" and "BATAVUS LITORA." The drawing uses a monochrome palette, typical of etchings and prints, suggesting influence from traditional cartographic styles.
M.C. Escher, Illustration for "XIIme Congres Postal Universel", 1947, woodcut on thin white China paper, Cornelius Van S. Roosevelt Collection, 1974.28.28

Illustration for "XIIme Congres Postal Universel"

M.C. Escher · 1947 · woodcut on thin white China paper ·  Accession ID  1974.28.28

A circle filled with a pattern of interlocking fish with their mouths touching is printed with muted red, green, blue, orange, and black for this woodcut on cream-white paper. The fish mouths create three-pointed stars, and the fins fit together to create a dense design. Each fish has teardrop-shaped eyes with black pupils on white. A white stripe runs the length of each fish so that where the fins of one trio meet the mouths of another, a white asterisk form is made. The fish become smaller and then infinitesimal around the border. The artist inscribed the sheet under the printed image with “MCEscher XII-’59” to the lower left and “eigen druk” to the lower right. Another graphite inscription in the lower left corner of the sheet reads, “‘Circle-limit III’, colour-woodcut.”
M.C. Escher, Circle Limit III, 1959, woodcut in rust, olive, blue, brown and black, printed from five blocks, Cornelius Van S. Roosevelt Collection, 1982.90.7

Circle Limit III

M.C. Escher · 1959 · woodcut in rust, olive, blue, brown and black, printed from five blocks ·  Accession ID  1982.90.7

The image depicts a group of figures shown from the waist up in a vertically oriented composition. The central figure is leaning slightly towards another, with their heads close together. The central figure has facial features outlined with simple lines, including arched eyebrows and downcast eyes, and wears a headscarf colored in a muted blue-green. The hair style of the adjacent figure is curly and dark. Both figures are wrapped in draped garments. Other figures surround the central pair, varying in expression and detail. The background is plain brown textured.
Samuel Jessurun de Mesquita, Evil-speaking Little Women, 1927, etching with gray, blue and brown wash, Cornelius Van S. Roosevelt Collection, 1983.109.133

Evil-speaking Little Women

Samuel Jessurun de Mesquita · 1927 · etching with gray, blue and brown wash ·  Accession ID  1983.109.133

M.C. Escher, Mummified Priests in Gangi, Sicily, 1932, lithograph, Cornelius Van S. Roosevelt Collection, 1973.65.31

Mummified Priests in Gangi, Sicily

M.C. Escher · 1932 · lithograph ·  Accession ID  1973.65.31

At first glance, this vertical woodblock print shows six arched openings piercing walls, each of which frames a bird or horn with a view onto an outer space environment beyond. The walls and columns are printed brown and defined with grids in black or white. The logic indicating upright and upside down is confused, and the views out the openings shift to create disorienting optical effects. Neighboring arches pierce the walls to our left and ahead of us. A horn hangs from the left arch and what appeared to be a bird more closely resembles a bird with a person or a sphinx’s face. The view out these two windows shows a cratered landscape with planets and a comet across the dark sky. Below that, two more arches are cut into the wall that seems to be at the bottom of this space and the lower half of the right-hand wall. But we look up at the bird in front of us and the horn hanging from the right, so the top of these arches point toward the first pair, which are parallel to us. The view out these windows encompass swirling galaxies, stars, and planets in a black sky. The third pair of arches is on the top of the image, but we look down onto this pair, including the bird’s head and the opening of the horn. The view out these windows is down onto different sized craters that intersect like rings from stones tossed into a still lake. The artist signed the work with his blocky monogram in the lower left corner, as if on the face of that wall there as it zooms away from us: “I-’47 MCE.” The artist also signed the lower left margin, “MC Escher” with graphite and inscribed something in the right corner, but this is illegible in this image.
M.C. Escher, Other World (Another World), 1947, wood engraving and woodcut in black, medium brown, and green, printed from three blocks, Cornelius Van S. Roosevelt Collection, 1974.28.29

Other World (Another World)

M.C. Escher · 1947 · wood engraving and woodcut in black, medium brown, and green, printed from three blocks ·  Accession ID  1974.28.29

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Three Elements

M.C. Escher · 1963-1964 · pen and black ink and colored pencil on plastic ball ·  Accession ID  1974.28.82

The image displays a series of overlapping, curvilinear shapes arranged in a circular pattern with a spiraling effect. The shapes resemble fish with fins and eyes, alternating between black and white. The fish are intricately interlocked, forming a mesmerizing pattern.
M.C. Escher, Fish, 1956, wood engraving on laid paper, Cornelius Van S. Roosevelt Collection, 1983.109.63

Fish

M.C. Escher · 1956 · wood engraving on laid paper ·  Accession ID  1983.109.63