Provenance

Edward C. and Mary Emma Griffin Walker

he: died 1915; she: 1855 - 1937

Explore selected works

See all 19 works of art
Eugène Carrière, Arsène Carriere, 1899/1900, oil on canvas, Corcoran Collection (Edward C. and Mary Walker Collection), 2015.19.59

Arsène Carriere

Eugène Carrière · 1899/1900 · oil on canvas ·  Accession ID  2015.19.59

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Testing the Fates

Adolphe Monticelli · c. 1860 · oil on canvas ·  Accession ID  2015.19.66

Shown from the knees up, a woman with pale, almost white-colored skin looks out at us in this hazy, shadowy vertical painting. The setting is painted with smudged browns around a corner of electric-blue sky at the upper right. The woman rests her right elbow, to our left, up on a surface, presumably a rocky ledge, but details are difficult to make out. Her shoulders are angled slightly to our left, but her face is turned to us. She looks out with dark eyes under lowered brows. At first glance she seems to look at us, but a closer look shows that outlining around her irises and eyelids indicates that she looks slightly up and to our right. Her lips are closed, and her chin is tucked back. Copper-red hair is parted down the middle and gleams along the center part before falling quickly into shadow as it reaches down past her hips. She rests her chin against a closed fist of the arm propped on the ledge. The other hand sits next to the elbow on the ledge. One sapphire-blue sleeve falls off her sleeveless, low-cut dress, which falls straight off the bottom edge of the painting. The scene is painted with blended strokes, including the woman’s features, so has a soft, ethereal look. The artist signed the brown area near the lower left with honey-yellow paint, “J J HENNER.”
Jean-Jacques Henner, Standing Woman, c. 1903, oil on canvas, Corcoran Collection (Edward C. and Mary Walker Collection), 2015.19.63

Standing Woman

Jean-Jacques Henner · c. 1903 · oil on canvas ·  Accession ID  2015.19.63

This painting depicts a street scene from a slightly elevated perspective. A tan dirt road stretches into the distance, lined with white houses on the left side. On the right side is a tall fence, and behind it the green tops of trees or bushes are visible. People in dark clothing walk along the street in the distance. Beyond them, taller trees are visible, with more buildings below them. The sky above is softly colored in hues of yellow, peach, and gray. The brushstrokes are loose and visible.
Alfred Sisley, Marly-le-Roi, c. 1875, oil on canvas, Corcoran Collection (Edward C. and Mary Walker Collection), 2014.136.61

Marly-le-Roi

Alfred Sisley · c. 1875 · oil on canvas ·  Accession ID  2014.136.61

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Landscape with Fisherman

Gustave Courbet · 1872 · oil on canvas ·  Accession ID  2014.136.56

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Environs of Cannes

Albert André · before 1902 · oil on canvas ·  Accession ID  2015.19.57

Lush treetops give way to a body of water and a hill in this loosely painted horizontal landscape. The trees across the bottom edge of the canvas are painted with visible or blended strokes in shades of spring, pine, and forest green, aquamarine, and midnight blue. The body of water is skimmed with pale peach, yellow, and blue before the hill rises to nearly touch the top edge of the painting. The vegetation on the hill is painted in shades of celery and olive green, navy and cobalt blue, and a few touches of rust red. Strokes of ivory white suggest houses clustered near the shoreline. The sky is painted with long strokes in pale pink along the horizon and deepens to powder blue across the top.
Auguste Renoir, View of Monte Carlo from Cap Martin, c. 1884, oil on canvas, Corcoran Collection (Edward C. and Mary Walker Collection), 2014.136.60

View of Monte Carlo from Cap Martin

Auguste Renoir · c. 1884 · oil on canvas ·  Accession ID  2014.136.60

One of two pale-skinned women standing by a window reads a letter and smiles in this vertical painting. Both women wear white caps. The woman reading the letter is the younger of the pair, and she stands to our left. She holds the paper to catch the light coming from the window, which is mostly covered with a white and pink-checked curtain. Her body faces us, but she turns her smooth-cheeked face to the letter in her hands. Her eyebrows are lifted, and her closed lips curve in a faint smile. She wears a wide-sleeved, black shirt over a white garment and a long brown skirt. The other, older woman to our right stand with her body angled to our left. She holds another piece of paper in one hand and clasps that wrist with her other hand. Her head tips away from us and she gazes down, facing our left in profile. Lines on her cheeks suggest her age. She wears a brown and black apron over a butter yellow, long-sleeved shirt that buttons at the wrists. Her hands are clasped in front of a marine-blue skirt. A table between us and the second woman holds two bowls, one with a wooden utensil, and a skein of red yarn with a half-knitted sock or stocking. The drawer facing us is open. The window is set deep into the thick wall, and a picture of a bearded man with long hair glowing with a gold halo hangs on the inside surface of the window frame between the women. The wall is mottled peanut brown.
Gari Melchers, The Letter, 1882, oil on canvas, Corcoran Collection (Edward C. and Mary Walker Collection), 2016.23.5

The Letter

Gari Melchers · 1882 · oil on canvas ·  Accession ID  2016.23.5

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Champs-Elysées

Jean François Raffaëlli · n.d. · pastel on canvas ·  Accession ID  2015.19.67

From high up, we look down and out at a river with seven ferries and barges, the waterway lined with buildings on the bank to our right, in this loosely painted, horizontal landscape. Dashes of muted blue, fern green, and tan create the rippling surface of the river, which fills most of the bottom half of the painting. A dark tugboat chugs out of the scene near the bottom center of the composition, and the other vessels create diagonals along the river, angled down toward the bottom right corner. Closer to us in the lower left corner of the painting, a platform edge with a railing juts out to or over the water. At least six people stand on the platform alone or in pairs. They are loosely painted with touches of black, gray, yellow, plum purple, and peach. The platform itself is painted with swipes of sky blue, oatmeal brown, butter yellow, and rose pink. Each person creates a reflection in the surface of the platform, suggesting it is wet, perhaps with rain. The spiky branches of a row of trees along the far side of the platform are sharp against the landscape beyond. The buildings on the far bank are several stories high and lined with windows. Buildings farther in the distance have triangular rooflines or domes, which become slate blue along the hazy horizon. An arched bridge with a flat deck spans the river about halfway back along the river as we see it. In the top half of the picture, fog-gray and cream-white clouds fill the sky with patches of hazy powder blue showing through. The artist signed and dated the painting in sable brown in the lower left corner, “C. Pissarro. 1900.”
Camille Pissarro, The Louvre, Afternoon, Rainy Weather, 1900, oil on canvas, Corcoran Collection (Edward C. and Mary Walker Collection), 2014.136.59

The Louvre, Afternoon, Rainy Weather

Camille Pissarro · 1900 · oil on canvas ·  Accession ID  2014.136.59