Provenance

Paul P. Rosenberg & Co.

est. 1878

Explore Selected Works

See all 60 works of art
Georges Seurat, The Watering Can - Garden at Le Raincy, c. 1883, oil on wood, Collection of Mr. and Mrs. Paul Mellon, 2014.18.51

The Watering Can - Garden at Le Raincy

Georges Seurat · c. 1883 · oil on wood ·  Accession ID  2014.18.51

We look across a river at a long, flat bridge that runs parallel to a hazy, city skyline in the distance in this horizontal painting. The scene is painted with visible dashes and strokes of mostly pastel blue, ivory white, muted mauve purple, and navy blue. The flat bridge spans the width of the composition along the horizon, which comes a third of the way up the canvas. The sky above is filled with clouds painted in muted tones of cream white, pale blue, and a few touches of shell pink, which mirror the water below. Along the horizon, buildings with spires and towers stretch from our right about two-thirds of the way across the canvas. To our left, a cluster of several boats, tiny in scale, gather near the bridge. Closer, and to our right, three larger ferries are crowded with passengers who are represented by minuscule daubs of brightly colored paint, mostly in black, golden yellow, crimson red, sky and cobalt blue, and ivory white. These boats are painted in short, flat brushstrokes in bands of flame red and midnight blue. The artist signed and dated the work at the lower left: "C. Pissarro, 1890."
Camille Pissarro, Charing Cross Bridge, London, 1890, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1985.64.32

Charing Cross Bridge, London

Camille Pissarro · 1890 · oil on canvas ·  Accession ID  1985.64.32

Giacomo Manzù, Turtle Seizing a Snake, 1962, bronze, Gift of Alexandre P. Rosenberg, 1983.21.1

Turtle Seizing a Snake

Giacomo Manzù · 1962 · bronze ·  Accession ID  1983.21.1

Georges Braque, Large Nude, 1927, brown chalk and stumping on wove paper laid down on canvas, Woodner Collection, 2000.25.1

Large Nude

Georges Braque · 1927 · brown chalk and stumping on wove paper laid down on canvas ·  Accession ID  2000.25.1

Shown from the chest up, a young woman with peach-colored skin standing angled to our left takes up right two-thirds of this vertical portrait painting. Her blond hair is accentuated with strokes of tawny brown and gathered at the back of her head. A long tendril cascades down her back. She is lit from the upper left, which casts the back of her head in shadow. Her eyes are downcast, and her long nose and small mouth are set in a round face. She wears an almost sheer white, sleeveless dress with a low scooped neckline. A background painted with long streaks of fawn brown and tan fills the space behind her. The artist signed and dated in the upper right, “Picasso 22.”
Pablo Picasso, Classical Head, 1922, oil on canvas, Chester Dale Collection, 1963.10.189

Classical Head

Pablo Picasso · 1922 · oil on canvas ·  Accession ID  1963.10.189

A nude woman sitting with bent knees is carved from white marble in this freestanding sculpture. In this view, the woman’s body faces us. Her right knee, to our left, is bent so that leg lies along the ground. Her feet are together, and the other bent leg is upright. She holds her left hand, to our right, to that cheek so the elbow is close to the raised knee. She leans onto her other hand, which is placed just behind her with the fingers facing in. Her round face tips toward her raised hand, and she has delicate features and wide cheeks. Her hair is parted down the middle, rolled along her hairline, and is pulled back. The square base on which she sits is carved from the same piece of marble. The sculpture is photographed against a gray background.
Aristide Maillol, La Méditerranée, c. 1906, Carrara marble, Collection of Mr. and Mrs. Paul Mellon, 1995.47.17

La Méditerranée

Aristide Maillol · c. 1906 · Carrara marble ·  Accession ID  1995.47.17

A woman with light skin sits facing us across a marble-topped table in a café in this vertical painting. Her body is angled slightly to our right, and she rests her right elbow, on our left, on the table. She leans her right cheek onto the back of her right hand as she gazes into the distance. She holds a cigarette in her other hand, which rests on the tabletop. Her pale pink dress has long sleeves with ruffles at the cuffs, and buttons down the front of the skirt can be seen under the table. A lace bow or ruffles cascade down at her neck. Straw-colored hair peeks out under a black hat encircled with a wide band of lace. A short, stemmed glass sitting on the table in front of her holds a small, round piece of fruit surrounded by caramel-colored liquid. The white marble tabletop is streaked with gray. The burgundy, patterned banquette she sits on takes up the bottom half of the composition, and wood paneling around a slate-gray metal grate fills the top half. Loose brushstrokes are visible throughout. The artist signed the work as if he had written his name on the surface of the table, near the front edge to our left, "Manet."
Edouard Manet, Plum Brandy, c. 1877, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1971.85.1

Plum Brandy

Edouard Manet · c. 1877 · oil on canvas ·  Accession ID  1971.85.1

Henri Rousseau, Self-Portrait, 1895, pen and brown ink on brown wove paper, Collection of Mr. and Mrs. Paul Mellon, 1995.47.66

Self-Portrait

Henri Rousseau · 1895 · pen and brown ink on brown wove paper ·  Accession ID  1995.47.66

A young girl with pale skin and long brown hair looks at us as she braces a tall, wooden hoop with one hand by her hip in this vertical painting. The girl stands close to us with her body angled to our right, and she looks at us from the corners of her dark blue eyes. Her delicate nose, rosy cheeks, and closed, rose-pink lips are set in a heart-shaped face. She has wavy, chestnut-brown hair that falls loosely around her shoulders. Bangs brush across her forehead, and her hair is pulled back in half, tied in a pale blue ribbon. She wears a sky-blue dress with a ruffle around the wide collar. The long sleeves are rolled back over her wrists, and the dress is tied at the waist with an aquamarine-blue sash tied into a bow at her lower back. The knee-length skirt flares out from the waist. She wears ice-blue socks pulled halfway up her shins and black, low-heeled Mary Jane-style shoes tied with bows over the arches. One foot turns to rest on the bottom edge of the wooden hoop she braces with her left hand, farther from us. She holds a short stick by her side with the other hand. The ground around her is painted with blended areas of muted topaz blue, peach, and canary yellow. The top third of the background is a loosely painted garden, with lime and spring-green leaves, and a cluster of shell-pink flowers to our right. The artist signed and dated the painting in the lower left corner, “Renoir. 85.”
Auguste Renoir, Girl with a Hoop, 1885, oil on canvas, Chester Dale Collection, 1963.10.58

Girl with a Hoop

Auguste Renoir · 1885 · oil on canvas ·  Accession ID  1963.10.58

Shown from the hips up, a pale-skinned woman wearing a tightly corseted dress looks off to our left in this vertical pastel drawing. The portrait is loosely sketched with blended areas, giving it a soft look. The woman’s body is angled to our left, and her hands touch in front of her lower belly. She looks off with large, wide set, slightly bulging green eyes under dark brows. She has a round face, full pink lips, and the suggestion of a dimple in her chin. Her dark brown hair is pulled up under a gold band, and bangs curl across her forehead. A short, delicate ringlet curls up the nape of her neck. She wears a light-colored, round earring in the ear we see and a string of pearls, which may hold a round jewel that rests in the hollow of her throat. Her dress is powder blue down the front and coffee bean brown to either side and on the sleeves. The edges of the brown sections are lined with flowers drawn loosely in shades of pastel pink, blue, yellow, and green. The low, curving neckline is edged with white ruffles, and the waist is cinched to an almost startling degree. The sleeves come down just past her elbow, and the cuffs are also lined with white ruffles. Long, tan-colored gloves stretch back to the cuffs. The background is fog gray. The artist signed and dated the pastel faintly in the lower left corner, “Manet 1882.”
Edouard Manet, Madame Michel-Lévy, 1882, pastel on canvas, Chester Dale Collection, 1963.10.161

Madame Michel-Lévy

Edouard Manet · 1882 · pastel on canvas ·  Accession ID  1963.10.161