Provenance

Frank K. M. Rehn Gallery

Explore Selected Works

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Family Portrait

Peppino Mangravite · 1930 · oil on canvas ·  Accession ID  2016.22.9

A cluster of houses and a rock wall are sketched with charcoal on tan-colored paper in this horizontal drawing. The rock wall stretches across the bottom of the drawing and fades where it might blend with sand or grass. One house takes up the right third of the picture, and its narrow end rests on or just behind a dip in the rock wall. The windows are shuttered. A wall or fence extends to the left, and the peaks of at least four more roofs, three with chimneys, are outlined against the blank sky. The artist signed the lower left corner, “Edward Hopper.” The number “51.1” is written in the lower right corner.
Edward Hopper, Houses, Gloucester, c. 1923, charcoal on wove paper, Corcoran Collection (Museum Purchase, Membership Association Fund), 2014.136.193

Houses, Gloucester

Edward Hopper · c. 1923 · charcoal on wove paper ·  Accession ID  2014.136.193

Eugene Speicher, Woman Lost in Thought, 1920s, graphite on wove paper, Corcoran Collection (Museum Purchase), 2015.19.353

Woman Lost in Thought

Eugene Speicher · 1920s · graphite on wove paper ·  Accession ID  2015.19.353

Bernard Karfiol, Summer, 1927, oil on canvas, Corcoran Collection (Museum Purchase, William A. Clark Fund), 2015.19.50

Summer

Bernard Karfiol · 1927 · oil on canvas ·  Accession ID  2015.19.50

Edward Hopper, Burlesque Theatre, Times Square, early 1940s, charcoal on wove paper, Corcoran Collection (Museum Purchase, Membership Association Fund), 2015.19.737

Burlesque Theatre, Times Square

Edward Hopper · early 1940s · charcoal on wove paper ·  Accession ID  2015.19.737

Reginald Marsh, Girl Walking (Elevated), 1945, pen and black ink with wash on wove paper, Corcoran Collection (Museum Purchase, Membership Association Fund), 2015.19.738

Girl Walking (Elevated)

Reginald Marsh · 1945 · pen and black ink with wash on wove paper ·  Accession ID  2015.19.738

A light-skinned man and woman and a collie dog are outside a white house at the edge of a pale peach field of grass in this horizontal painting. Taking up a bit more than the top right quadrant of the composition, the house is white with pale blue shadows. Near the back, left corner of the house, the door has two tall, inset frosted glass panels and a shallow roof supported with scrolling, carved corbels. The door is flanked by a bay window on the left and a single window on the right. A shadowy grove of blue-green trees grows to the left of the house with one branch reaching toward the bay window. The woman faces us and stands between the bay window and door with downcast eyes and folded arms. Her blond hair is pulled or brushed back, and she wears a snug fitting, calf-length teal-blue dress. The man sits on the doorstep so his knees are angled to our left. His near arm drapes over his left knee and his far hand reaches toward the dog, his fingers and thumb touching. He has short blond hair and a ruddy face, and he wears a white t-shirt and olive-green pants. The dog stands in the middle of the field with its body angled to our right, its pointed ears and tail pricked up as it swivels its head to look to our left. It has an auburn-brown coat with white belly, chest, and tip of the tail. There are a few areas of spearmint green in the otherwise peach-colored grass, which is tall enough to brush the belly of the dog. The artist signed the lower right, “EDWARD HOPPER.”
Edward Hopper, Cape Cod Evening, 1939, oil on canvas, John Hay Whitney Collection, 1982.76.6

Cape Cod Evening

Edward Hopper · 1939 · oil on canvas ·  Accession ID  1982.76.6

A buoy and a sailboat with three men and a woman tip at an angle on rolling aquamarine and azure-blue waves in this horizontal painting. The white wooden boat sails away from us toward the right side of the composition. Its unfurled sail is tinged with taupe and pale blue and attached to a pale wooden mast. The boat has a low cabin with round portholes on the side we can see. Two of the men are shirtless, tanned, and have their backs to us. One sits in the cockpit wearing a white hat with a short brim as he holds the tiller. The other man stands on the deck with his arms crossed. Beyond the standing man, the woman lies along the roof of the cabin, her head at about the height of the man’s chest. She is barefoot and lies on her stomach wearing long, blue pants and a watermelon-pink halter top and matching kerchief covering her hair. The third man stands to her right, his slender body angled toward us while holding onto the mast with one hand and rigging with the other. The woman and third man have noticeably pale skin. A buoy near the boat is battleship-gray with streaks of rust along its base and a copper-green bell inside. It floats just to the left of and tips toward the boat on a rising swell. The scene is lit by bright sunlight coming from the left side of the baby-blue sky with bands of feathery clouds, which takes up the top two-thirds of the composition. The artist signed the lower right, “EDWARD HOPPER.”
Edward Hopper, Ground Swell, 1939, oil on canvas, Corcoran Collection (Museum Purchase, William A. Clark Fund), 2014.79.23

Ground Swell

Edward Hopper · 1939 · oil on canvas ·  Accession ID  2014.79.23

Raphael Soyer, A Railroad Station Waiting Room, c. 1940, oil on canvas, Corcoran Collection (Museum Purchase, William A. Clark Fund), 2015.19.69

A Railroad Station Waiting Room

Raphael Soyer · c. 1940 · oil on canvas ·  Accession ID  2015.19.69