Provenance

Dr. Alfred Gold

Austrian, 1874 - 1958

Explore selected works

Honoré Daumier, Two Men, graphite on heavy wove paper, Rosenwald Collection, 1943.3.9319

Two Men

Honoré Daumier · · graphite on heavy wove paper ·  Accession ID  1943.3.9319

This painting depicts a young woman from the chest upwards, seated in a slightly turned position to the left. She has pale skin, reddish-brown hair styled back in a low bun, green eyes, and small pink lips that are slightly turned up at the ends. She is wearing a patterned garment with a plaid design in pink, light blue, and brown, featuring white trim around the neckline, along with some small black buttons. The background is a mottled gray with shades of light yellow and pale blue. The painting is signed "Corot" and dated "1859" in the bottom left corner.
Jean-Baptiste-Camille Corot, Portrait of a Young Girl, 1850 or 1859, oil on canvas, Chester Dale Collection, 1963.10.9

Portrait of a Young Girl

Jean-Baptiste-Camille Corot · 1850 or 1859 · oil on canvas ·  Accession ID  1963.10.9

Shown from about the knees up, a young woman sits in a chair angled to our right but she turns her face to look at us in this loosely painted, vertical portrait. Her chair has a rounded back and arms made from what looks like bent, woody vines, and the background is a solid field of pale aqua. Her dark hair is parted in the middle and tied at the nape of her neck with a red ribbon. Dark eyebrows curve over brown eyes, and she has a rounded nose, and her petal-pink lips are slightly parted. Her pale peach skin is tinged with green on her face and hands. Her right arm, on our left, rests along the arm of the chair. In her other hand, which rests in her lap, she holds a sprig of blooming oleander, with light pink flowers and green leaves. The bodice of her high-necked dress is striped with brick red and royal blue, and is lined with a row of round gold buttons down the front. The sleeves come down to her forearms and the cuffs and collar at her neck are white. Her full skirt is royal blue with pumpkin-orange dots. The brushwork is loose throughout and individual brushstrokes are visible, especially in the stripes of her bodice and the patchy peach tones that make up her skin.
Vincent van Gogh, La Mousmé, 1888, oil on canvas, Chester Dale Collection, 1963.10.151

La Mousmé

Vincent van Gogh · 1888 · oil on canvas ·  Accession ID  1963.10.151

Three women stand on or next to a ladder picking olives in an orchard in this horizontal landscape painting. The women, trees, ground, and sky are all painted with long, parallel brushstrokes that curve and swirl over the canvas. The palette is dominated by sage and laurel green, tan and chocolate brown, spruce blue, and eggshell white. The women are outlined with dark brown lines. All three wear long skirts and long-sleeved shirts, and all reach for olives on the trees or into baskets. One woman, to our left, stands on the ladder and faces us; the second woman leans or sits against the right side of the ladder and faces away, her hair covered in a cloth; and the third woman stands at the foot of the ladder to our right, turning away from us. The tan and pale green of their clothing is echoed in trees around them. Short, distinct brushstrokes in pine and light green, with a few touches of silvery blue, create leaves on trees whose gnarled trunks are outlined with dark brown. The horizon line comes about a third of the way up the composition, and the sky above is painted with distinct strokes of ivory, pale mint green, and a few touches of shell pink. The ground around the women and trees is painted with sage and celery green, slate blue, and brown. The brushstrokes are spaced far enough apart in places that bare canvas is visible underneath, especially in the ground.
Vincent van Gogh, The Olive Orchard, 1889, oil on canvas, Chester Dale Collection, 1963.10.152

The Olive Orchard

Vincent van Gogh · 1889 · oil on canvas ·  Accession ID  1963.10.152

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

Bibliography

1927

  • "Berlin-Paris." Der Cicerone 19 (1927): 269-270.

2012

  • Pucks, Stefan. "Alfred Gold - von Jungen Wien in die neue Welt." In Die historische Sammlung Otto Gerstenberg. 2 vols. Ostfildern, 2012: I: 96-101.