Results

French Prints and Drawings of the XVIII Century
Closed January 14, 1945
The scene is depicted from a slightly elevated point of view, showing a lively view of the activity below. The horizon line is high in the composition, with a cluster of trees painted in light greens and blues. The style features sketch-like brown ink lines highlighting human figures and scene details. There are people and carriages in shades of grey and brown ink with white highlights, suggesting movement and interaction. In the background, there is a procession fading into a lightly sketched background. Soft washes of color define the landscape, creating depth. The overall palette is subtle and earthy, with muted tones.
Index of American Design
Closed April 23, 1944
The image depicts a composition of shapes and lines forming an abstract tapestry of animals and stars. Two horses with outlined forms are prancing in the center, with birds and bird-like shapes scattered throughout. Stars of different colors and patterns are interspersed among these figures. The colors and forms resemble a whimsical forest scene, with triangles suggesting trees and circles resembling berries. The design draws inspiration from folk art or quilting, creating an abstract representation of nature and festive patterns.
Prints and Drawings from the Rosenwald Collection
Closed February 13, 1944
This is a drawing of horses exercising with a rider. Two horses adorned with checkered blankets are guided by a rider. They are trotting in a space with brick walls in the background and a flat surface underfoot. The shading and texture add realism to the scene. The lines suggest movement and vitality. The rider is depicted in horse riding attire.
Prints, Watercolors, and Books by William Blake
Closed November 14, 1943
The image shows a group of figures interacting under a swirling sky. The figures are posed uniquely, with various gestures and expressions. The figure on the right holds a staff and gestures commandingly. The figures wear flowing garments in colors like blue, red, and earth tones. The background features a vibrant red and blue sky. The style is reminiscent of William Blake.
American Paintings
Closed June 13, 1943
In front of a crowd of at least two dozen people, an old man with a long white beard and hair, wearing tattered clothing, points with a crooked finger toward another man in this horizontal painting. All the people have pale, peachy skin except one man with light brown skin at the front of the crowd, to our right. The men in the painting wear waistcoats or jackets, with pants that buckle at the knee over stockings. At the center of the painting, the white hair of the oldest man, Rip van Van Winkle, flies back from his balding head as he looks to our left with bulging eyes. He has a bulb-like nose and his mouth is open. He holds the long barrel of a rifle with one hand and points to our left with gnarled fingers with the other. His shirt, jacket, and pants are all parchment white, with gaping holes in the elbows and knees. One calf is covered in a tattered, sky-blue stocking and the other leg is bare. All ten toes poke out of worn, buckled shoes. Rip Van Winkle points and looks wildly at the man standing nearby, to our left. That man’s cheeks and hooked nose are flushed red. Facing our right in profile, he glowers at Rip Van Winkle under lowered brows, and his pink lips turn downward at the corner we can see. A white braid falls over the shoulder closer to us, and he plants the back of that hand on his hip. His other hand rests on a wooden cane. He wears a tricorn hat and a navy-blue jacket with large, silver buttons over a rose-red vest and white shirt. A gold object, perhaps a pocket watch fob, hangs at his hip over straw-yellow pants. A third man, to our right, looks on with one hand raised, palm facing out. He holds a long, silver pipe in his other hand. He has brown skin, a pointed nose, full, pink lips, and bulging eyes. A rolled-up paper is tucked into a pocket of his honey-brown jacket, and he wears brick-red pants with teal-blue stockings. The bottom edge of the paper reads, “seventy-six.” Another partially unfurled scroll at his feet reads, “ELECTION RIGHTS OF CITIZENS LIBERTY BUNKER’S HILL.” A man leans against a tree beyond this trio, to our left. To our right, a dense crowd of dozens of men, women, and children, painted more loosely and with more exaggerated facial features, are clustered before a tan-colored house with a stepped roof and a two-story inn. The latter has a sign hanging from the eave with a portrait of a man with white hair, wearing a military uniform. The sign is labeled beneath with “GENERAL WASHINGTON.” People look on from the upstairs windows. An American flag with thirteen stars flutters from a flagpole, which a boy climbs. A sign over the door reads, “THE UNION HOTEL BY JONATHAN DOODITTLE.” Another sign, partially cropped by the right edge of the painting, reads, “ELECTIO RIGHT OF CITIZ.” Lilac-purple clouds billow up over aquamarine-blue hills in the distance, against a blue sky. The artist signed and dated the painting as if he had inscribed a rock near the lower center, “J. Quidor, N.Y. 189,” the next to last number obscured.
West Building Sculpture Galleries
Closed January 1, 1970
Leo Villareal
Closed January 1, 1970
Henri Matisse
Closed January 1, 1970
Mel Bochner
Closed January 1, 1970
Amor
Closed January 1, 1970
Subscribe to