Provenance

Carstairs Gallery

est. 1934

Explore Selected Works

See all 29 works of art
Auguste Renoir, The Young Soldier, c. 1880, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 2014.18.46

The Young Soldier

Auguste Renoir · c. 1880 · oil on canvas ·  Accession ID  2014.18.46

Seven people with cream-white skin crowd together, sitting at or standing among tables in an interior space in this vertical painting. The composition is dominated by shades of blue and pale green. On the right side and closest to us, a woman sits opposite a man at a butter-yellow table, both facing our left in profile. The table extends in from the right, almost halfway up the canvas. The pair are shown from the knees up and span most of the height of the painting. The woman wears a long, teal-blue jacket over a peanut-brown skirt and a frilled cap topped with a pine-green bow. The man wears an olive-green bowler and cinnamon-brown coat, and rests one arm on the table. Two glasses sit on the table in front of them. In the center of the painting, a woman wearing a long, black coat stands on the far side of the table, her head nearly reaching the top edge of the composition. Her body is angled slightly to our right and she gazes off in that direction. Beyond her is another table with two men partly obscured by the couple in front of us. One sitting at the table has flame-red hair topped with a round cap, and a portion of his aqua and peacock-blue striped jacket is visible. Near him, another person in a dark garment with a high collar stands with their back to us, most of the head cropped by the top edge. Along the left side, two women stand one behind the other with their backs to us. The woman closest to us looks away, wearing a short, parchment-white jacket over an aquamarine-blue skirt. The jacket is belted at the waist and the collar, upper back, and long cuffs are rust red. The woman beyond her turns her head to our right in profile, and wears a light blue jacket and pale green skirt. The features and clothing of each person in the scene is outlined in charcoal gray. The artist signed the painting in the upper right corner, “HTLautrec,” with the H, T, and L interlocking to make a monogram.
Henri de Toulouse-Lautrec, A Corner of the Moulin de la Galette, 1892, oil on cardboard, Chester Dale Collection, 1963.10.67

A Corner of the Moulin de la Galette

Henri de Toulouse-Lautrec · 1892 · oil on cardboard ·  Accession ID  1963.10.67

Shown from the knees up, an older man sits next to a black, curly-haired poodle on a rough-hewn, stone chair against a vibrant, indigo-blue sky in this vertical portrait painting. The man’s torso is angled slightly to our right but his left leg crosses over his other knee so his legs angle toward us. He looks at us with silvery-blue eyes under gray brows. He has a wide nose, thin, pink lips set in line, and a square jaw. A pale area above his upper lip could be a closely cropped mustache. Wrinkles surround his eyes and line his cheeks and jawline. He wears black trousers and a maroon-red jacket with wide, black lapels and cuffs over an eggshell-white shirt and tie, which is pinned with a silver ball. His right elbow rests on the arm of the chair so his hand rests in his lap. He wears a gold ring on the pinky finger of his other hand, which wraps around the dog’s body. The dog faces and looks at us with gold-rimmed brown eyes, and the dog’s fur is highlighted with icy blue, suggesting a glossy coat. The man and dog sit on what appears to be a sand-brown rock in the general shape of a chair. Behind the man and far below, along the right edge of the canvas, the landscape plummets down to a bright blue body of water, which surrounds a flat-topped, rocky outcropping that comes up to the shoulder level of the man. A cylindrical structure with one window sits next to a line of trees atop the outcropping in the distance. The sky meets the water at the horizon, about a quarter of the way up the canvas, and deepens from arctic white around the outcropping and man to deep cobalt blue around the two gray clouds near the top corners of the painting. A streak of light angles from the cloud to our right down toward the man’s head. The painting is signed and dated at the front of the chair, under the man’s elbow, near the lower left corner: “Pour Chester Dale et Coco Mon Pape Innocent X de Velasquez Salvador Dalí 1958.”
Salvador Dalí, Chester Dale, 1958, oil on canvas, Chester Dale Collection, 1963.10.11

Chester Dale

Salvador Dalí · 1958 · oil on canvas ·  Accession ID  1963.10.11

Constantin Guys, Carriage with Driver and Groom: Spring, pen and brown ink and watercolor, Ailsa Mellon Bruce Collection, 1970.17.154

Carriage with Driver and Groom: Spring

Constantin Guys · · pen and brown ink and watercolor ·  Accession ID  1970.17.154

Eugène Boudin, A Couple Seated on the Beach with Two Dogs, c. 1865, watercolor and graphite, Collection of Mr. and Mrs. Paul Mellon, 1985.64.72

A Couple Seated on the Beach with Two Dogs

Eugène Boudin · c. 1865 · watercolor and graphite ·  Accession ID  1985.64.72

Jean-Charles Cazin, Paris Scene with Bridge, oil on wood, Ailsa Mellon Bruce Collection, 1970.17.20

Paris Scene with Bridge

Jean-Charles Cazin · · oil on wood ·  Accession ID  1970.17.20

Constantin Guys, Carriage with Driver and Groom: Autumn, pen and brown ink and watercolor, Ailsa Mellon Bruce Collection, 1970.17.153

Carriage with Driver and Groom: Autumn

Constantin Guys · · pen and brown ink and watercolor ·  Accession ID  1970.17.153

We look across a glimmering river toward docks, about a dozen small boats, and a mustard-brown, boxy building under a bridge that crosses the width of the canvas in this horizontal landscape painting. A patch of green grass lines the riverbank in the lower right corner of the canvas. The land curves away out of sight, and then back into the scene below the abutment of the bridge along the right side of the painting. From the ivory-colored abutment, the straight deck of the bridge is supported by two shallow, iron-gray arches, and the bridge extends off the left side of the composition. Dots of red and gray on the bridge suggest vehicles or pedestrians. The river below is painted with blended strokes of silvery gray, icy blue, and pale lavender purple around the low-sided sailboats. One turquoise-colored houseboat is pulled up to the riverbank to our right. The long, rectangular, flat-topped building is pierced with two stories of windows, which are outlined in spruce green against the golden yellow. The horizon line runs just below the bridge deck, just under halfway up the composition. The sky above is painted with longer swipes of cream white and smoke gray. Loose, short brushstrokes are visible throughout, especially in the water, boats, and bridge. The artist signed the painting in the lower right corner, "Claude Monet."
Claude Monet, Bridge at Argenteuil on a Gray Day, c. 1876, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.44

Bridge at Argenteuil on a Gray Day

Claude Monet · c. 1876 · oil on canvas ·  Accession ID  1970.17.44

French 19th Century, Race Course at Longchamps, c. 1870, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.114

Race Course at Longchamps

French 19th Century · c. 1870 · oil on canvas ·  Accession ID  1970.17.114

Maurice Utrillo, Street at Corté, Corsica, 1913, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.89

Street at Corté, Corsica

Maurice Utrillo · 1913 · oil on canvas ·  Accession ID  1970.17.89