Provenance

Boussod et Valadon

French, est. 1884 - closed 1919

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See all 18 works of art
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Washerwomen on the Banks of the Marne

Léon Augustin Lhermitte · 1898 · oil on canvas ·  Accession ID  2015.19.30

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Picking Fruit at Ariccia

Jean-Baptiste-Camille Corot · 1860/1875 · oil on canvas ·  Accession ID  2015.143.7

Alfred Stevens, Young Woman in White Holding a Bouquet, c. 1865/1875, oil on wood, Chester Dale Collection, 1963.10.65

Young Woman in White Holding a Bouquet

Alfred Stevens · c. 1865/1875 · oil on wood ·  Accession ID  1963.10.65

The painting depicts a forest floor under tall trees, with a grassy path leading into the distance. The sky is obscured by dense green foliage and tree limbs. Rocks and shrubs are visible on the ground, and the forest stretches into the distance. The trees are dark brown, with patches of white suggesting dappled light coming in through the branches above. The leaves and ground are mostly dark green, with some patches of brown, lighter green, and yellow.
Narcisse Diaz de la Peña, Forest Scene, 1874, oil on wood, Gift of R. Horace Gallatin, 1949.1.4

Forest Scene

Narcisse Diaz de la Peña · 1874 · oil on wood ·  Accession ID  1949.1.4

Shown from the knees up, a woman stands facing us as she turns her head to look off to our right in this vertical portrait painting. The woman has pale, peachy skin, deeply shadowed, hooded eyes, and a straight nose. Shadows fill the hollow of her high cheekbones, and she has a thin face. Her black hair is plaited and tied up and back under brown bands. Earrings hang from each ear, and she wears two strands of white and gray pearls and three red necklaces. Her shoulders slope down, and her arms hang by her sides. The garnet-red bodice of her dress is cut low over a white undergarment. Red straps loop up over her mostly bare shoulders. Sapphire-blue sleeves leave the shoulders exposed and have black bands at the cuffs, which fall short of her wrists. An apron tied around her waist is loosely painted with deep red flowers and dark green leaves against a parchment-brown background. Her long skirt is midnight blue in the shadows. She holds a shimmering object in her right hand, to our left, and rests her other hand on the brown stone wall that runs behind her thighs. A tree edges into the scene along the right, and a few white stucco houses with flat, red roofs cluster on a rocky hill in the distance behind the woman, to our left. The cliffs span most of the background and end in a sheer face near the right edge of the canvas. The sky is tinged with peach at the horizon glimpsed at the foot of the cliff but is mostly steely gray. The artist signed the lower left corner, “COROT.”
Jean-Baptiste-Camille Corot, Agostina, 1866, oil on canvas, Chester Dale Collection, 1963.10.108

Agostina

Jean-Baptiste-Camille Corot · 1866 · oil on canvas ·  Accession ID  1963.10.108

This painting shows a waterfront with boats and buildings in the distance. The shadowy horizon line divides the composition between the gray sky and gray water. The distant shore features faint outlines of buildings. Closer to us, boats are anchored with their masts tied up, creating lines against the sky. The sails and rigging are painted in earthy colors. At the bottom of the painting, shadowy shapes that may be the silhouettes of people appear to walk across a path or bridge. Most of the painting is in shades of gray, and the brushstrokes are soft and translucent, giving the painting a blurred quality.
James McNeill Whistler, Grey and Silver: Chelsea Wharf, c. 1864/1868, oil on canvas, Widener Collection, 1942.9.99

Grey and Silver: Chelsea Wharf

James McNeill Whistler · c. 1864/1868 · oil on canvas ·  Accession ID  1942.9.99

The sculpture depicts a standing nude female figure with long golden hair cascading over her shoulders and down her back. Her arms are by her sides, and she stands upright, looking down and to the left. The material of the sculpture is dark, and her skin is a dark brown color. There are some small dots of gold on her torso and around her groin. The figure stands on a round base with an uneven surface.
Paul Gauguin, Eve, 1890, glazed ceramic, Ailsa Mellon Bruce Fund, 1970.30.1

Eve

Paul Gauguin · 1890 · glazed ceramic ·  Accession ID  1970.30.1

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Returning from the Pasture: Evening

Anton Mauve · n.d. · oil on canvas ·  Accession ID  2015.143.15

A woman and the baby she holds float in a cloud flanked by two winged angels, as two women stand below in this tall, vertical painting. All the people have pale skin shaded with smoke gray, and their necks, fingers, and limbs are elongated. At the top center of the painting Mary holds Jesus on her lap. Jesus is nude except for a white cloth wrapped around his middle. His body faces us as he looks off to our left. He has blond, curly hair and the pudgy features of a baby. He grasps the forefinger of Mary’s right hand, to our left, and his other hand rests by his side. Mary looks down at the baby with her head tilted to our right. One hand reaches around Jesus’s torso and the other arm is lifted, so he can hold her finger. She wears a white veil draped over chestnut-brown hair and a sapphire-blue cloak over a voluminous, rose-pink dress. A winged angel looks on to each side of this pair. Both angels have blond hair and delicate features. The angel to our left wears a parakeet-green robe and has ice-blue wings. That angel crosses arms over the chest, as the angel to our right holds hands together in prayer. The second angel wears shell white and has silvery-gray wings. Both are seen from the chest up from behind puffy, pale blue clouds. Above the angels, rows of ghostly winged baby heads are loosely painted with tones of ivory white and slate gray. They frame a golden glow that surrounds Mary’s head. At Mary’s feet are five more winged baby heads. In the bottom third of the painting, two women stand with their bodies facing inward, toward each other. They both have honey-brown hair, snub noses, and pointed chins. The woman to our left looks up at Mary with large, glistening eyes, her pale pink lips parted. She wears a canary-yellow robe over a topaz-blue, long-sleeved garment. One hand curves over the head of a lion standing in front of her, holding one end of a long palm frond that rests on her right shoulder, closer to us. Two curling lines on the lion’s forehead are the cursive Greek letters for Delta and Theta, which are the artist’s initials. The woman to our right looks down so we see her in profile. A gossamer-white veil covers her hair and drapes across her chest. She is enveloped in a shimmering, flame-red cloak. A white lamb lies across the woman’s left forearm, closer to us, and the woman holds her other hand up to her chest.
El Greco, Madonna and Child with Saint Martina and Saint Agnes, 1597/1599, oil on canvas, wooden strip added at bottom, Widener Collection, 1942.9.26

Madonna and Child with Saint Martina and Saint Agnes

El Greco · 1597/1599 · oil on canvas, wooden strip added at bottom ·  Accession ID  1942.9.26

From a grassy embankment, we look across a placid body of water to a cluster of cream-white buildings on the far bank in this horizontal landscape painting. The scene is painted with blended strokes, giving it a soft and hazy look. Closest to us, dots of canary yellow, sky blue, and white suggest flowers growing on the verdant embankment. Closer to the water, two trees have ash-brown trunks and canopies like clouds of pale sage green. To our left of the trees, a light-skinned woman stands near the water with a bundle on her back. She wears a straw-yellow cap, a shin-length dress, and an apron. A second person wearing a yellow cap and a blue shirt sits facing away from us, to our right of the trees. Buildings and trees along the far bank are reflected in the pale blue water. The villa there is made up of several interconnected buildings with rectangular windows and shallow, gabled, charcoal-gray roofs. One more building is nestled into the trees that surround the complex, to our right. Painted with a few strokes of ocean blue, gray, or pale yellow, at least three people stand or walk along the far bank. The forest stretches across the horizon, which comes a third of the way up the canvas. A few small, puffy white clouds drift across the expanse of blue sky above. The artist signed the painting with black letters in the lower left corner, “Corot.”
Jean-Baptiste-Camille Corot, Ville-d'Avray, c. 1865, oil on canvas, Gift of Count Cecil Pecci-Blunt, 1955.9.1

Ville-d'Avray

Jean-Baptiste-Camille Corot · c. 1865 · oil on canvas ·  Accession ID  1955.9.1