Provenance

Private Collection c/o Mr. Stephane Cosman Connery

Sotheby's, New York
Sir Sean and Lady Connery

Explore Selected Works

See all 35 works of art
We look slightly down onto a bay that curves away from us into the distance and to our right in this horizontal landscape painting. C-shaped, shallow waves lap at the sandy beach from our right. Several people standing and playing in the water wear hats and long-sleeved shirts. Two women there hold up their skirts as they wade in the ankle-deep water, a small brown dog close behind them. Another person wearing white walks on the wet sand, and four more gather a short distance away, to our left, perhaps on a blanket. Opposite us and far away, brown horses pull a carriage along the beach. The taupe-colored sand is hemmed in by a curving band of celery-green grasses, which in turn surround dunes or hills and a rocky formation. A tree-lined hill gives way to the rocky promontory that juts onto the beach where the shoreline curves to our right. The promontory has a crack near the bottom, resembling the open mouth of a turtle. Beyond this, touches of white paint suggest buildings deep in the distance, in front of slate-gray hills lining the horizon. In the top two-thirds of the picture, flat-bottomed, white clouds drift across a sky that deepens from nearly white along the horizon to pale blue across the top edge of the composition. The artist signed the painting in the lower left corner, with spiky, left-leaning letters in lavender purple: “W. Whittredge.”
Worthington Whittredge, Second Beach, Newport, c. 1878/1880, oil on canvas, Paul Mellon Fund and Gift of Juliana Terian in memory of Peter G. Terian, 2004.58.1

Second Beach, Newport

Worthington Whittredge · c. 1878/1880 · oil on canvas ·  Accession ID  2004.58.1

Jan Pietersz Saenredam, Jan Pietersz Saenredam, Adam Naming the Animals, 1604, engraving on laid paper, Ailsa Mellon Bruce Fund, 1994.50.1

Adam Naming the Animals

Jan Pietersz Saenredam, Jan Pietersz Saenredam · 1604 · engraving on laid paper ·  Accession ID  1994.50.1

Jan Pietersz Saenredam, Jan Pietersz Saenredam, Adam and Eve Lamenting over the Corpse of Abel, 1604, engraving on laid paper, Ailsa Mellon Bruce Fund, 1994.50.6

Adam and Eve Lamenting over the Corpse of Abel

Jan Pietersz Saenredam, Jan Pietersz Saenredam · 1604 · engraving on laid paper ·  Accession ID  1994.50.6

Maurice de Vlaminck, Still Life with a Bowl of Fruit on a Checkered Tablecloth, c. 1916, pen and black ink, Gift of Helen Porter and James T. Dyke, 2004.91.1

Still Life with a Bowl of Fruit on a Checkered Tablecloth

Maurice de Vlaminck · c. 1916 · pen and black ink ·  Accession ID  2004.91.1

Jan Pietersz Saenredam, Jan Pietersz Saenredam, Adam and Eve Working, 1604, engraving on laid paper, Ailsa Mellon Bruce Fund, 1994.50.5

Adam and Eve Working

Jan Pietersz Saenredam, Jan Pietersz Saenredam · 1604 · engraving on laid paper ·  Accession ID  1994.50.5

We look sightly down and across a green meadow in front of us at a grove of tall trees to our left next to a shimmering body of water, before a deep view of distant mountains beneath an ice-blue sky in this horizontal landscape. A few slate-gray boulders and fallen tree trunks line the view along the bottom edge of the composition. To our left, tall, moss-green, leafy trees rise nearly the height of the canvas, shading a winding, dirt path that leads to building with white walls and a gray roof in the distance. A tower standing next to the structure suggests this could be a church. The land slopes gently to the water, perhaps a river, where five brown and white cows gather near the sand-colored shoreline at the lower center of the composition. Another pair of cows, one white and one chestnut brown, stand closer to us. The placid surface of the water reflects the pale blue of the sky and the soft green of the tree-covered hill across the river. The river winds under an arched bridge, into the distance to our left. Minuscule buildings and pointed spires dot the landscape that becomes hazy in the distance. The horizon comes about a third of the way up the canvas, and a few wispy, grayish clouds float across the light blue sky. The brushstrokes are blended and the palette dominated by earthy greens, browns, and watery blue, giving the landscape a soft appearance. The artist signed and dated the painting as if he had written his name on a rock near the lower left corner: “ABDurand 1861.”
Asher Brown Durand, Pastoral Landscape, 1861, oil on canvas, Gift of The Manoogian Foundation, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.96.1

Pastoral Landscape

Asher Brown Durand · 1861 · oil on canvas ·  Accession ID  1991.96.1

Franz Innocenz Josef Kobell, Landscape with a Pyramid and Classical Ruins, pen and brown ink on thin laid paper, Gift of the Christian Humann Foundation, 1996.128.21

Landscape with a Pyramid and Classical Ruins

Franz Innocenz Josef Kobell · · pen and brown ink on thin laid paper ·  Accession ID  1996.128.21

Franz Innocenz Josef Kobell, Pastoral Landscape with a Waterfall and a Temple, pen and brown ink on laid paper, Gift of the Christian Humann Foundation, 1996.128.22

Pastoral Landscape with a Waterfall and a Temple

Franz Innocenz Josef Kobell · · pen and brown ink on laid paper ·  Accession ID  1996.128.22

Pierre Alechinsky, Colloque écologique, 1972, acrylic on paper on canvas, Gift of Edward R. Broida, 2005.142.1

Colloque écologique

Pierre Alechinsky · 1972 · acrylic on paper on canvas ·  Accession ID  2005.142.1

Jan Pietersz Saenredam, Jan Pietersz Saenredam, Temptation of Man, 1604, engraving on laid paper, Ailsa Mellon Bruce Fund, 1994.50.3

Temptation of Man

Jan Pietersz Saenredam, Jan Pietersz Saenredam · 1604 · engraving on laid paper ·  Accession ID  1994.50.3