Provenance

Arthur Tooth & Sons, Ltd.

Arthur Tooth & Sons, Ltd.
Tooth Bros.

est. 1842

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We look across an expanse of a flat, grassy lawn at the towering spire of a stone church outlined against billowing clouds in this horizontal landscape painting. The lawn is dappled with light filtering through a line of trees with thick, green canopies to our left. The trees take up almost the left half of the composition, and they line a dirt path where three people walk. Tiny in scale, the people are painted with strokes of slate blue, red, white, and black. A few animals, perhaps cows, graze on the lawn near more trees on the far side of the green. Beyond the trees, the church sits on the horizon, which comes about a quarter of the way up the composition. Minuscule touches of yellow, black, and red may suggest more people in the deep distance. The pale blue sky is nearly filled with puffy parchment-white and mauve-tinged clouds.
John Constable, Salisbury Cathedral from Lower Marsh Close, 1820, oil on canvas, Andrew W. Mellon Collection, 1937.1.108

Salisbury Cathedral from Lower Marsh Close

John Constable · 1820 · oil on canvas ·  Accession ID  1937.1.108

Eight men, women, and children stand or sit in straight-backed, wooden chairs gathered along a sandy beach near low, gently breaking waves with sailboats floating in the ocean beyond in this horizontal landscape painting. The scene is loosely painted throughout, making much of the detail indistinct. Most of the people sit with their backs to us but the faces we can see suggest they have light skin. The people gather in a loose crowd that spans the left half of the composition, except for one woman wearing white and holding a blue parasol who sits to the right. The women wear long dresses with full skirts in shades of black, aquamarine or arctic blue, or snowy white. They all wear straw-colored hats with royal-blue bands. The three men also wear hats and suits in black or pecan brown. Two women, in addition to the one sitting alone, hold up blue parasols. One child wears a white dress and hat, and the other wears shades of blue and a straw hat with a red band. A white dog with brown spots stands on our side of the chairs near a woman and the child wearing white. One tall, wooden pole with a blue banner rises high above the crowd near the left edge of the composition, and another with a red pennant is farther back to the right. Between the group and the water, a person rides a brown horse, several women walk, and two children play in the sand. A rowboat is near the breaking waves and five white sailboats line the horizon, which comes about a quarter of the way up this painting. A steamship leaves a line of muted lilac-purple smoke in the deep distance to the right. A blanket of pale gray clouds cover much of the bright blue sky. The artist signed the lower right corner, “E. Boudin.”
Eugène Boudin, Beach at Trouville, 1864/1865, oil on wood, Ailsa Mellon Bruce Collection, 1970.17.12

Beach at Trouville

Eugène Boudin · 1864/1865 · oil on wood ·  Accession ID  1970.17.12

The painting shows a beach scene with several people gathered on the shore. The people are gathered between four white tent-like structures in the center of the painting. All the people are elaborately dressed in colorful gowns or suits, with many wearing hats or holding parasols. Behind the group is the ocean, with a few people swimming on the left. The color scheme includes earthy tones for the sand and beach huts, and brighter colors like whites, blacks, blues, and reds for the people's clothing. The sky is predominantly painted in soft blues and grays with some wispy white clouds.
Eugène Boudin, Beach Scene, 1862, oil on wood, Collection of Mr. and Mrs. Paul Mellon, 1983.1.13

Beach Scene

Eugène Boudin · 1862 · oil on wood ·  Accession ID  1983.1.13

Shown from the knees up, a woman wearing a black dress is painted with areas of mottled color in this vertical painting. The woman’s body faces us, her shoulders sloping steeply down from her elongated neck. She sits with her hands in her lap, and she looks down and to our left. Her peach-colored, long, narrow face comes to a point at her chin, and her cheeks are flushed pink. Her almond-shaped eyes, curved brows, long nose, and closed lips are outlined with gray. Her brown hair is pulled up and back, and short bangs brush her forehead. A gold-colored disk at the point of the dress’s V-neck could be a brooch. Two parallel black lines suggest a chair rail running behind the woman’s elbows. The background is painted with visible strokes of fog gray and moss green above the rail and darker, elephant gray below. The artist signed the upper right corner, “modigliani.”
Amedeo Modigliani, Café Singer, 1917, oil on canvas, Chester Dale Collection, 1963.10.44

Café Singer

Amedeo Modigliani · 1917 · oil on canvas ·  Accession ID  1963.10.44

About two dozen men and women sit in straight-backed, wooden chairs gathered along a sandy expanse around pockets of water under a slate-blue sky that fills the top two-thirds of this horizontal landscape painting. Most of the people sit with their backs to us but the faces we can see suggest they all have light skin. The people gather in a loose crowd that crosses the left two-thirds of the composition. The women wear dark hats and long dresses with full skirts, their shoulders wrapped in shawls in black, red, dark yellow, or cream white. The men also wear hats, most of them black bowler hats, and suits in black or pecan brown. A few women hold up blue parasols in harvest gold, slate blue, teal, or gray. Two women and a man sit on the sand to the right. Three changing huts stand behind the group across the left half, and two brown horses stand at the water’s edge nearby. Three poles march into the distance to the right near where more people gather across a pocket of water. The artist signed and dated the lower right corner, “E. Boudin – 65.”
Eugène Boudin, Bathing Time at Deauville, 1865, oil on wood, Collection of Mr. and Mrs. Paul Mellon, 1983.1.8

Bathing Time at Deauville

Eugène Boudin · 1865 · oil on wood ·  Accession ID  1983.1.8

A tree with emerald-green leaves and laden with white blossoms grows in a dirt field, and is silhouetted against a vibrant blue sky in this horizontal landscape painting. The scene is loosely painted with visible dabs and strokes. The tree takes up most of the left half of the painting, and is closest to us. It casts a dappled shadow onto the ground to our right. A barren tree with gnarled branches grows nearby, in the tree’s shadow. A row of more trees extends in the distance to our right. A narrow dirt path, bordered by low green growth, stretches from the bottom edge of the canvas, to our right of center, into the field. To our left and farther from us, a woman leans over and reaches for the ground. She faces our left in profile and wears a white bonnet, a brown shawl, and a blue skirt. Near the line of trees to our right, a man walks toward the woman. He wears blue pants, a white shirt, a dark cap, and he carries a tan bag over his left shoulder. There are more trees along the horizon, which comes about a third of the way up the composition. The sky above is light gray near the horizon and deepens to vivid blue with fluffy white clouds. The painting is signed and dated in the lower right: “C. Pissarro 1872.”
Camille Pissarro, Orchard in Bloom, Louveciennes, 1872, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.51

Orchard in Bloom, Louveciennes

Camille Pissarro · 1872 · oil on canvas ·  Accession ID  1970.17.51

Painted entirely with small dots of pure color mostly in slate and azure blue, olive green, and cream white, this scene shows a sandy beach stretching to a lighthouse at the center and a four-story building to our right in this horizontal seascape. The tall, slender lighthouse standing on the water’s edge a short distance from us is painted with specks of azure and sky blue, ivory, and peach. In the distance to our left, a pier stretches into the sea along the horizon, which comes about two-thirds of the way up this composition. A sailboat floats just off the pier, near the left edge of the painting. To our right of the lighthouse and extending off the right edge of the canvas, the building has three levels of windows and a row of dormers along the tall, peaked roof. The building is painted with touches of dove gray, sapphire blue, and pale pink. In front of the building and to our right, a denim-blue shed has a tangerine-orange roof. A wooden rowboat outlined in cornflower blue with flecks of dandelion yellow rests on the sand next to the shed. In front of us, dots of moss green blend into the blond tones of the sand, creating an impression of grass on the beach. Sunlight shimmers on the sea to our left, which is painted with short dashes of mint and seafoam green, baby blue, cream, and shell pink, beneath a clear, ice-blue sky.
Georges Seurat, The Lighthouse at Honfleur, 1886, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1983.1.33

The Lighthouse at Honfleur

Georges Seurat · 1886 · oil on canvas ·  Accession ID  1983.1.33

Two people are depicted in this painting. The person on the left is standing with their hands on a wooden chair. They have light skin, close-cut hair, and wear a long, black, high-necked dress. The person on the right is seated or standing in front of a wooden table. They wear a white ruffled top and a dark red skirt with lighter red spots, and their hair is styled back in a bun. Their skin is pale yellow, and they hold a light-colored piece of fabric or paper. The two people are looking towards each other. On the table between the two people there appears to be a red bowl and a patterned, off-white object with a black handle. In the background are muted beige walls with a brown and white patterned object near the top left corner. The paint has been applied in thick brushstrokes, and the people and objects lack detail.
Edouard Vuillard, The Conversation, 1891, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.92

The Conversation

Edouard Vuillard · 1891 · oil on canvas ·  Accession ID  1970.17.92

A dozen men, women, and children walk, stand, or sit on a waterside wharf that spans this horizontal painting. A jetty stretches into the distance at a right angle, starting to the left of center. Dozens more people pack the jetty. The people close to us all appear to have pale skin. The men wear suits and hats in brown or black, and the women wear long hoop skirts, capes, and hats, some with veils, in shades of sky blue, red, gray, or mustard yellow. A man and woman sit on an ice-blue bench near a solitary streetlamp at the center of the composition. A small brown dog runs toward the bench from the right, and a black and white dog sniffs the ground to the left. Facing away from us, a man and woman lean onto a white fence at the water’s edge near the entry to the jetty. A dock is across a strip of topaz-blue water, where a sailboat kicks up some white ripples. Two flag-topped masts rise beyond the crowded jetty, and a steampipe between them pours charcoal-gray smoke into the pale blue sky. Paler gray clouds line the top edge of the painting, and a loose band of white clouds lines the horizon, which comes about a quarter of the way up the composition. The scene is loosely painted so people’s features and many details are indistinct. The artist signed and dated the lower right, corner, “E. Boudin. 63.”
Eugène Boudin, Jetty and Wharf at Trouville, 1863, oil on wood, Collection of Mr. and Mrs. Paul Mellon, 1983.1.9

Jetty and Wharf at Trouville

Eugène Boudin · 1863 · oil on wood ·  Accession ID  1983.1.9

Shown from the hips up, a young woman with pale skin, pink cheeks, and copper-red hair sits gazing at us in this vertical portrait painting. She has wide-set, brown eyes, a pointed chin, and her pink lips are closed with a mere hint of a smile. Curls frame her forehead and face, and the rest of her hair is pulled up at the back of her head. She sits on a chair upholstered dusky rose-pink chair with her body angled to our right. Her left arm, on our right, rests on the curved back of the chair, and her fingers are interlaced. Her white gown has a low, scooped neckline trimmed with ruffles and is tightly cinched under her bosom. A dove-gray shawl with gleaming straw-yellow accents wraps around her back and drapes loosely over her shoulders and upper arms. A rust-red cloth hangs in folds from the top edge of the painting to fill the right three-quarters of the background. It is pulled aside to the left to reveal a glimpse of a landscape with a green lawn and trees under an azure-blue streaked with white and gray clouds.
Gilbert Stuart, Ann Barry, 1803/1805, oil on canvas, Gift of Jean McGinley Draper, 1954.9.3

Ann Barry

Gilbert Stuart · 1803/1805 · oil on canvas ·  Accession ID  1954.9.3