Results

Paris, The Favorable Climate
Closed January 11, 1949
The image depicts two figures reclining. The figures are seen from the back and side, with a focus on their torsos and legs. The figure on the left has their arm raised, partially obscuring their face, and has curly hair. The second figure is positioned with their head turned away, wearing a hat, with their body partially visible. They appear to be reclining on a textured surface. The background features a mix of dark and light textured areas, suggesting a natural setting.
Audubon Prints
Closed December 12, 1948
This is a painting of two herons in a natural setting. The black-crowned night heron and its juvenile are surrounded by tall grass, flowers, and a water source. The adult heron is shown with its head lowered, near a small frog. The juvenile heron, with streaked brown plumage, stands among greenery and white flowers. The painting is in the style of John James Audubon, showcasing avian anatomy and habitat.
American Paintings from the Collection of the National Gallery of Art
Closed July 11, 1948
The image shows a portrait of a man's upper body. He is seated or standing, looking slightly to his right. The man has a round face, fair skin, prominent eyes, and light-brown curly hair. He is wearing an elegant red garment with fur trim around the collar. One of his hands is touching his clothing at the chest. The background is a dark, neutral shade, emphasizing the man's features and attire.
American Graphic Art from the Eighteenth Century to the Present Day
Closed November 14, 1948
Printed with black lines and shading and then painted, a row of seven red-uniformed soldiers to the right fire rifles into a crowd of dozens in a town square in this vertical engraving. The soldiers are led by an eighth behind the line, who raises a sword. Blood gushes from wounded people to the left, who wear clothing in shades of marine and sky blue and brick red. A small brown dog stands near one dead person along the bottom of the composition, and two- and three-story buildings enclose the rectangular square behind the action. The sky is tinted blue along the top of the print, and a crescent moon is in the top left corner. An inscription near the dog in the image reads, “Engrav’d Printed & Sold by Paul Revere Boston.” Printed text over the image reads, “The Bloody Massacre perpetuated in King Street Boston on March 5th 1770 by a party of the 29th Regt.” Three columns of text below read, “Unhappy Boston! See thy Sons deplore, They hallowed Walks besmear’d with guiltless Gore. While faithless P—n and his savage Bands, With murd’rous Rancour stretch their bloody Hands; Like fierce Barbarainas grinning o’er their Prey, Approve the Carnage and enjoy the Day. If sealding drops from Rage from Anguish Wrung, If speeches Sorrows lab’ring for a Tongue, Or if a weeping World can ought appease, The plaintive Ghosts of Victims such as these; The Patriot’s copious Tears for each are shed, A glorious Tribute which embalms the Dead. But know, Fat summons to that awful Goal, Where Justice strips the Murd’rer of his Soul: Should venal C—ts the scandal of the Land, Snatch the relentless Villain from her Hand, Keen Execrations on this Plate inscribed, Shall reach a Judge who never can be brib’d.” Cursive printed script below reads, “The unhappy Sufferers were Sam’l Gray, Sam’l Maverick, Jam’s Caldwell, Crispus Attacuks & Pat’k Carr Killed. Six wounded, two of them (Christ’r Monk and John Clark) Mortally.”
Etchings by James McNeill Whistler
Closed October 24, 1947
The image shows a panoramic view of a city along a waterfront with classical architecture and sailing ships. The horizon line is in the center of the composition, emphasizing the water with reflections of buildings and ships. The etching features delicate brushstrokes creating motion in the clouds and a monochromatic palette of sepia and black. Architectural elements and masts rise into the sky, while the horizon adds depth to the scene.
Prints by Henri de Toulouse-Lautrec
Closed April 4, 1948
The image features a person pouring liquid from a pitcher into a basin while kneeling. The person's face is not visible, their hair is long and brown, tied back with a red ribbon. They are wearing a long dark garment with puffed sleeves and light-colored cuffs. Other elements in the image include a fireplace or stove, a small decorative object on top, a red-patterned rug on the floor, and walls with decorative elements and what appears to be a window or a door frame.
Prints and Drawings by William Blake
Closed June 8, 1947
This is a painting of a group of figures and sheep under a tree in the style of William Blake. The image features a collection of figures arranged in an arc, each holding musical instruments like harps, lyres, and trumpets. The figures are painted in flowing robes, suggesting a harmonious gathering. The scene includes sleeping sheep in the foreground, and the night sky above with a crescent moon and a single star. The painting uses muted, watercolor-like tones.
American Paintings from the Collection of the National Gallery of Art
Closed March 30, 1947
This painting is a portrait of a seated man. His body is facing the right with his head turned to us, a neutral expression on his face. The man has pale skin, rosy cheeks, bright blue eyes, thin lips, and gray hair that curls around his ears. He is dressed formally in a dark red coat with gold buttons and a white cravat at his neck, sitting in a red upholstered chair, holding a book in his right hand. The background consists of red drapery on one side and blue and yellow hues on the other, suggesting a cloudy sky.
Facsimiles of Russian Folk Prints
Closed May 13, 1946
The image shows a dog sled team moving toward a ship in the distance. The horizon line is high in the image with the ship on it, depicted against the sky. Bold black lines provide a high-contrast, dynamic effect highlighting the cold environment. The color palette is black and off-white. Sled dogs pull a sled with people on it across a snow-covered landscape towards the ship. Beside the ship, small dark figures are gathered.
The Life of Christ as Depicted in the Etchings of Rembrandt
Closed September 8, 1946
Printed with black lines and deep, velvety shading on tan-colored paper, a man, Jesus, stands at the center of a crowd of more than two dozen people, mostly adults and a few children, in this horizontal etching and drypoint. Jesus is left of center. He stands facing us, but he turns his head to look to our left. Rays of light emanate from behind his head against the towering cave opening that surrounds him. His curly hair falls long over his shoulders, and he holds both hands out. His eyes are lightly incised, giving them an almost blurred look. A crowd of people lie or kneel to our right. Some use crutches or walking sticks, and some are on carts. All the people appear to have pale skin except for one with darker-toned skin to the right in this gathering. That person has a rounded nose, full lips, and wears an earring that gleams brightly in the deep shadows. A camel stands at the far side of this group under an arched opening. The people standing and one person sitting close to Jesus to the left are fully shaded, and those farther left are lightly outlined and sparsely shaded so they appear to be much lighter on the white paper. Close to Jesus are a woman holding a baby, a seated, clean-shaven young man, and several bearded men. Most of those who are along the left edge of the sheet wear turbans or floppy caps.
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