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Gilbert Stuart, Robert Liston, 1800, oil on canvas, Chester Dale Collection, 1957.10.1

Robert Liston

Gilbert Stuart · 1800 · oil on canvas ·  Accession ID  1957.10.1

The sculpture features a person sitting atop a highly decorated base. The person is a man with horns, cloven feet, and a muscular torso. He is nude except for a leaf covering his groin, and he holds a pan flute. He looks up and to the left with an open mouth. Below the seated man, the base of the sculpture is adorned with intricate patterns and reliefs, including winged people, human faces, shells, animals, and cherubs. The sculpture is on a base supported by crouching figures. The sculpture is made of dark-gray material with a metallic sheen, giving it a monochromatic appearance.
Paduan 16th Century, Venetian 16th Century, Incense Burner, c. 1560/1580, bronze, Widener Collection, 1942.9.139

Incense Burner

Paduan 16th Century, Venetian 16th Century · c. 1560/1580 · bronze ·  Accession ID  1942.9.139

This painting is a portrait of a woman. She is seated on a red chair with gold studs along its edges, positioned with her arms crossed over her lap, slightly turned to the left. The woman's facial features include a fair complexion with rosy cheeks, slightly smiling lips, and large, dark eyes. Her brown hair is curly and voluminous, adorned with a pearl band and a light blue ribbon visible towards the back. Her clothing consists of a long-sleeved white dress with a ruffled neckline, cinched in the waist by a light greenish-blue sash. The background is a plain, muted green tone, with a light color on the left indicating a partially visible door or paneling.
American 18th Century, Matilda Caroline Cruger, c. 1795, oil on canvas, Andrew W. Mellon Collection, 1942.8.13

Matilda Caroline Cruger

American 18th Century · c. 1795 · oil on canvas ·  Accession ID  1942.8.13

We look slightly down onto a woman dressed in golden yellows, sitting in a pale green chair, with a nude child sitting in her lap as they both gaze into a mirror in this vertical portrait painting. Both the people have pale, peachy skin. The chair is angled to our left so the woman’s knees and child cant down toward the lower left corner of the composition, and the woman leans onto the arm closer to us. The chair is painted mint green and the rose-pink upholstery is visible on the seat and a corner behind the woman’s shoulder. To our right, the woman’s vibrant, copper-colored hair is pulled loosely to the back of her head. She has a rounded nose, flushed cheeks, and her full, coral-pink lips are closed. Her long dress has a low, U-shaped neckline. The fabric shimmers from pale, cucumber green to light sunshine yellow. The sleeves of the dress split over the shoulder and a second long, goldenrod-yellow sleeve falls from her elbow off the bottom edge of the canvas. An oversized sunflower, larger than the woman’s face, is affixed to her dress near her left shoulder, closer to us. She looks with dark eyes down toward the small, gold-rimmed mirror she holds in her right hand, farther from us. The child also holds the handle of the mirror with both hands, and in the reflection, the child looks back at us with dark eyes, a button nose, and pink lips. The child’s hair in the reflection is the same copper color as the woman’s, but the child on her lap has blond, shoulder-length hair. The woman rests one hand on the child’s left shoulder, closer to us. The child has a rounded belly and smooth, rosy limbs. The woman and child are reflected in a second mirror hanging on the wall alongside them, opposite us. Their reflections are very loosely painted. The wall behind the pair is sage green across the top and it shifts to fawn brown across the bottom. Brushstrokes are visible throughout, especially in the woman’s dress and hair, and are more blended in the bodies and faces. The artist signed the painting in the lower right corner, “Mary Cassatt.”
Mary Cassatt, Woman with a Sunflower, c. 1905, oil on canvas, Chester Dale Collection, 1963.10.98

Woman with a Sunflower

Mary Cassatt · c. 1905 · oil on canvas ·  Accession ID  1963.10.98

Two pale-skinned women sit facing each other on a long sofa centered on the wall across from us in a room warmly lit from the right in this horizontal painting. The scene is loosely painted so some details are indistinct. The woman on our left wears a white, full-length dress belted at the waist and trimmed with a ruffled hem. The puffy sleeves narrow below the elbow and are tucked into long, fawn-brown gloves. She wears a brimmed hat topped with dabs of white and lapis-blue paint, presumably flowers, with a sheer veil covering her face and chin. Glints of gold at her wrists might be bracelets. Her lower body faces us but her head and torso turn to her left, our right, to face her companion. She leans forward, with her left hand slightly extended, and she rests her fingertips on the cushion between them. Her other hand, closest to us, holds the curving handle of a closed, shell-pink parasol trimmed with white. To our right, the second woman sits with her knees angled to our left as she turns her head in profile, looking at her companion. She wears a floor-length, butter-yellow dress with white, vertical stripes. The dress has a high black collar, and a black ribbon wraps around her waist and falls down the front of the dress. Her sleeves billow at the shoulder and narrow below the elbow. Her dark brown hair is gathered at the top of her head. She holds a flat object in the same butter yellow in her lap that may be a matching hat. The sofa spans almost the entire width of the center of the painting. Its seat is draped in spruce-green fabric, and emerald-green, mauve, rose-pink, black, and gold throw pillows are scattered along its length. The lower half of the wall behind the women is tawny brown while the upper half is divided into four sections. A coral-red and off-white wall hanging fills the wall to our left of the woman in white. A framed artwork and mustard-yellow fabric with daubs of white, ash gray, and black hang on it. Moving right, a column of three framed artworks hang on the wall between the women. Next is a large mirror with a gold frame that hangs behind the woman in yellow. At the far right is another column of three framed artworks. The room behind us is reflected in the large mirror, showing an amber-colored wall with large windows and more framed artworks. Steps leading up to another sunlit room are also visible. A wicker chair with a pink and white pillow sits in the lower right, facing the women at an angle. The floor in front of them fills the lower third of the composition and is covered with a vanilla-yellow carpet streaked with areas of smoke gray and brick red. Two small throw pillows with tassels lie at the feet of the woman in white. The tip of the parasol points to a small sage-green pillow with tomato-red tassels lying on the floor between the women. To our left of the woman in white is a cream-white pillow with marigold-orange tassels. The artist signed and dated the painting in the lower left, “Wm. M. Chase. Copyright 1895.”
William Merritt Chase, A Friendly Call, 1895, oil on canvas, Chester Dale Collection, 1943.1.2

A Friendly Call

William Merritt Chase · 1895 · oil on canvas ·  Accession ID  1943.1.2

A band of several galloping horses and riders move across the center of this vertical painting. The color palette is dominated by blended earthy brown, green, and pale pink. The horses, which have reddish-brown coats and tails, nearly span the width of the painting. They move to our left with their legs fully extended. Underneath the horses’ flying legs lies the body of a man. The felled rider faces upward, his eyes closed and his legs splayed. He has a light brown beard, mustache, and hair, and pale tan skin. He wears brown riding boots with black tops, white breeches, and a pink jersey with black sleeves. His riding helmet, with a matching pink cover, lies behind his head on the ground. At least three additional horses are in the band, and the two foremost have empty saddles. The two horses beyond them, farther into the picture, have male riders, who wear riding outfits and helmets in colors of smudged and blended orange, lavender purple, and green. They also have brown mustaches and beards. The band races through a field painted with a muddy green interspersed with strokes of orange and white. The horizon line is high, just above the level of the horses’ backs, about four-fifths of the way up the painting. Blue sky peeks out amid a mixture of pale pink and yellow clouds above. There are trees in the background indicated by a few strokes and dashes of paint. The painting style is loose and brushy throughout, without sharp detail or lines, except for the sketched-in black lines that delineate the bodies and tack of the horses.
Edgar Degas, Scene from the Steeplechase: The Fallen Jockey, 1866, reworked 1880-1881 and c. 1897, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1999.79.10

Scene from the Steeplechase: The Fallen Jockey

Edgar Degas · 1866, reworked 1880-1881 and c. 1897 · oil on canvas ·  Accession ID  1999.79.10

This painting shows a man from the legs up, his body facing slightly to the left but his head turning to look at us. He has pale skin, ruddy cheeks, short, dark hair, a dark, curling mustache, a dark goatee, arched eyebrows, deep-set eyes, and thin lips set in a neutral expression. He wears a dark green smock with a white lace collar, and beneath that a white lacy garment over a dark green robe. He holds a black book in his left hand, and his right hand rests on a table next to him that is draped in red fabric. On the table appears to be a tall white hat with gold detailing. The background is a dark brown-green color.
Bernardo Strozzi, Bishop Alvise Grimani, 1633 or after, oil on canvas, Samuel H. Kress Collection, 1961.9.41

Bishop Alvise Grimani

Bernardo Strozzi · 1633 or after · oil on canvas ·  Accession ID  1961.9.41

We look up at the exterior of a church that soars the height of this vertical painting. The church is painted with visible dabs and strokes of azure blue, peach, lavender purple, and camel brown to create a blurred look, as if seeing a reflection in the rippling surface of a puddle. The church façade is angled to our left, away from us. The main door and its surround takes up the center of the composition, where a rectangular door is set within nested, pointed arches that lead up to a narrow, tall, triangular gable. The point of that gable overlaps the round, dark rose window, which is the same width as the portal surround below. Spires flank the central section and rise precipitously off the top edge of the painting. The sky above is painted with daubs of white and pale blue. The artist signed and dated the lower left, “Claude Monet 94.”
Claude Monet, Rouen Cathedral, West Façade, 1894, oil on canvas, Chester Dale Collection, 1963.10.49

Rouen Cathedral, West Façade

Claude Monet · 1894 · oil on canvas ·  Accession ID  1963.10.49

The sculpture is a wooden chair featuring a decorative backrest with a circular emblem in the center that includes a coat of arms and the letters "G M" etched on either side. The chair is made of richly colored brown wood with visible grain patterns and detailed carvings, adding texture and depth. The legs cross in an X pattern and end in carved lion's paws. The armrests have a rolled design. The chair is topped with a blue cushioned seat with tassels at the edges.
Italian 16th Century, Walnut Savonarola Chair with Letters G.M., c. 1520/1540, walnut, Widener Collection, 1942.9.392

Walnut Savonarola Chair with Letters G.M.

Italian 16th Century · c. 1520/1540 · walnut ·  Accession ID  1942.9.392

This painting shows a tranquil river scene with a distant horizon on the left showing rolling landscapes, trees, and small brown buildings across calm water. Closest to us, on the left, clusters of trees with dark branches hang over the water, casting reflections on the water's gray surface. There appear to be two people at the edge of the water who are kneeling down, but the details are unclear. The sky is light blue with small white clouds drifting across it. The color palette includes deep greens, browns, blues, and whites, and the brushstrokes are visible, with long, thick strokes for the sky and background, and shorter, dotted ones in the trees.
Charles-François Daubigny, Washerwomen at the Oise River near Valmondois, 1865, oil on wood, Gift of R. Horace Gallatin, 1949.1.3

Washerwomen at the Oise River near Valmondois

Charles-François Daubigny · 1865 · oil on wood ·  Accession ID  1949.1.3

Bibliography

1929

  • International Studio (November 1929):8

1984

  • Norton, Thomas E. [Foreword by Douglas Dillon]. 100 Years of Collecting in America; The Story of Sotheby Parke Bernet. New York, 1984: 12-13, 17.