Provenance

Weyhe Gallery

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Max Weber, Reclining Nude, 1924, woodcut in black on laid paper, Gift of Jack and Margrit Vanderryn, 2015.114.62

Reclining Nude

Max Weber · 1924 · woodcut in black on laid paper ·  Accession ID  2015.114.62

John Hill, Henry J. Megarey, Rapids Above Hadley's Falls, 1822-1823, hand-colored engraving and aquatint on wove paper, Corcoran Collection (Museum Purchase, Mary E. Maxwell Fund), 2015.19.817

Rapids Above Hadley's Falls

John Hill, Henry J. Megarey · 1822-1823 · hand-colored engraving and aquatint on wove paper ·  Accession ID  2015.19.817

John La Farge, Study for "Commerce", c. 1885, pen and black ink over graphite on wove paper mounted to paperboard, Corcoran Collection (Museum Purchase, Membership Association Fund), 2015.19.743

Study for "Commerce"

John La Farge · c. 1885 · pen and black ink over graphite on wove paper mounted to paperboard ·  Accession ID  2015.19.743

Walter Gramatté, unidentified, Gustav Kiepenheuer, The Great Anxiety (Self-Portrait, in Three-Quarter Profile to the Right) (Die große Angst [Selbstportrat, Kopf im Halbprofil nach rechts]), 1918, drypoint on wove paper, Ruth and Jacob Kainen Collection, 1989.80.3

The Great Anxiety (Self-Portrait, in Three-Quarter Profile to the Right) (Die große Angst [Selbstportrat, Kopf im Halbprofil nach rechts])

Walter Gramatté, unidentified, Gustav Kiepenheuer · 1918 · drypoint on wove paper ·  Accession ID  1989.80.3

John La Farge, Study for "Christ Appearing to Mary", 1877-1878, graphite on tracing paper mounted to board, Corcoran Collection (Museum Purchase, Membership Association Fund), 2015.19.742

Study for "Christ Appearing to Mary"

John La Farge · 1877-1878 · graphite on tracing paper mounted to board ·  Accession ID  2015.19.742

Fields of elephant gray, coral orange, and turquoise surround a fan-like, abstracted palm frond near the center of this vertical, abstract painting. The fronds of the palm radiate like a starburst against unpainted, cream-white canvas. Three black, vertical bands spaced behind the palm suggest tree trunks, with the rightmost trunk dotted with spring green, perhaps representing moss or the leaves of a vine. The fields of gray to either side of the frond, the turquoise areas below the gray, and the coral at the bottom center are painted with visible brushstrokes, creating a mottled effect. Rounded turquoise forms above the gray are silhouetted against a field of pale blue, perhaps representing the sky along the top edge. A few pointed, oval leaves painted spring green with black outlines dip into the scene from the top of the composition. The artist signed the work in dark green paint in the lower right: “Henri-Matisse.”
Henri Matisse, Palm Leaf, Tangier, 1912, oil on canvas, Chester Dale Fund, 1978.73.1

Palm Leaf, Tangier

Henri Matisse · 1912 · oil on canvas ·  Accession ID  1978.73.1

Gaston Lachaise, Woman on Horseback (Equestrienne), model 1917, cast c. 1930/1931, bronze, Corcoran Collection (Gift of The Honorable Francis Biddle), 2015.19.3778

Woman on Horseback (Equestrienne)

Gaston Lachaise · model 1917, cast c. 1930/1931 · bronze ·  Accession ID  2015.19.3778

Reinhold Nägele, 12 Uhr Mittags, 1919, etching on laid tissue paper, Gift of Ruth Cole Kainen, 2012.92.405

12 Uhr Mittags

Reinhold Nägele · 1919 · etching on laid tissue paper ·  Accession ID  2012.92.405

Max Weber, Nude with Upraised Arm, 1919-1920, woodcut in black on laid paper, Gift of Jack and Margrit Vanderryn, 2015.114.25

Nude with Upraised Arm

Max Weber · 1919-1920 · woodcut in black on laid paper ·  Accession ID  2015.114.25

Charles Sheeler, George C. Miller, Delmonico Building, 1926, lithograph in black on wove paper, Corcoran Collection (Museum Purchase, Mary E. Maxwell Fund), 2015.19.744

Delmonico Building

Charles Sheeler, George C. Miller · 1926 · lithograph in black on wove paper ·  Accession ID  2015.19.744