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An open public space dominates the foreground of the image. In that space are several groups of children, particularly at the lower left of the image, a rooster at the lower right, and a water pump at the far side of the square just before the fence. Beyond is a street that recedes into the distance; on either side of the street are picturesque older buildings that face onto the square with banks of windows, overhangs, and steeply pitched rooflines.
James Abbott McNeill Whistler (American (North American))
The Cock and the Pump
1887
Bequest of Margaret Watson Parker
1954/1.398
This drawing depicts part of a large, Gothic-style church with lancet windows and buttresses, seen at night. Around the exterior of the building are two trees, a lamppost, four bollards, and a person seen in silhouette. A light source outside the image illuminates part of the church’s large arched window, and casts long shadows that fall to the left side of the composition. <br /> Inscribed on the recto, in pencil, in the image, “M. Bone / Amsterdam”
Sir Muirhead Bone (British (modern))
Amsterdam
1876 – 1953
Gift of Dr. Dean G. Hyde, class of '86
1992/1.127
The print depicts a walled town situated on top of a hill. Farmland, with assorted trees and enclosures, as well as telephone poles, stretches out below the walled village, especially in the middle and lower right portion of the image. While the lower left foreground remains largely empty, a body of water, with a boat, is visible in the top left background. The hilltop town clusters around a tower, which is circled by birds. Clouds are lightly indicated, as is smoke rising from several chimneys in the village.<br /> On plate lower right: "St. Paul, Alpes, Maritimes/Arms 1927". Signed lower right in margin: "John Taylor Arms - 1927".
John Taylor Arms (American (North American))
Saint Paul, Alpes Maritimes
1927
Gift of Carl Fredric Clarke
1949/1.43
A winter scene with a steepled church in the center surrounded by other buildings, including a three-story building on the right hand side. A bird perches on top of the steeple. Snow covers the ground and the trees in front of the church are bare. Pinks, whites, browns and blues dominate the palette.
Maurice Utrillo
L'Englise d'Aulnay-sous-Bois
1933 – 1943
Bequest from the Estate and Trust of Elise Reeder Olton
2014/1.615
This drawing shows a street scene with a number of people at a market, many of whom are carrying blue or white umbrellas. A lamp post is in the foreground, and line drawings of buildings comprise the background, and birds fly in the sky amid quickly sketched out white-grey clouds. The color palette is comprised of blues, browns, whites, greens and specks of red.
Camille Pissarro
Market Scene, Town Square
1833 – 1866
Bequest from the Estate and Trust of Elise Reeder Olton
2014/1.616

Fratelli Alinari
Cathedral, Florence
1855 – 1865
Gift of Mr. & Mrs. W. Howard Bond
1984/1.311
In this strongly vertical composition, a street crowded with groups of people and individuals—all rendered in silhouette and casting long shadows—recedes into space, seen from above. The street is lined with two- and, at most, four-story buildings on both sides. A hilly landscape rises behind the buildings, and a stormy-looking sky occupies the top portion of the image. In the right foreground, a woman is seen from the back as she stands on a small balcony looking down the street at a procession underway. The procession follows a banner depicting a saint, and proceeds towards the viewer. Some of the people in the street wear pointed hoods over their heads.<br /> The image is covered with diagonal slash marks. The print shows incredibly rich textural effects as a result of intense drypoint scraping, extensive biting in the darkest areas, and printing on very thick wove paper. <br /> Signed in the plate, l.l., recto, "Bone / 19[?]5"
Sir Muirhead Bone (British (modern))
A Spanish Good Friday
1925
Gift of Dr. Thomas DeKornfeld
1985/2.15
This abstract composition consists of small rectangles in tan, olive green, and dark brown, all vertically oriented and randomly spaced apart. Thin lines of the same colors also criss cross over the paper. The rectangles and lines are layered over an all grey background that stops before the edge of the composition, revealing the tan paper. A grid disappears under the paint but is visible on the edges of the paper.
Vieira Silva (French (culture or style))
The Town
1952
Museum Purchase
1955/1.63
Four buildings are situated at an angle and descend away from the viewer as if on a hill. A latticework pattern visible in the background suggests an industrial complex. Three figures in deep shadow walk in the foreground.&nbsp;
Blanche Grambs (American (North American))
Mining Town
1936 – 1943
Allocated by the U.S. Government Commissioned through the New Deal art projects
1943.43
A view of a city along the edge of water sweeps from the foreground towards the right in the distance. Along quays, bridges, and promenades can be seen groupings of people walking and in conversation. Boats populate the water's edge: smaller boats in the foreground, larger multi-masted ships in the distance.
James Abbott McNeill Whistler (American (North American))
The Riva, One of the 'Twelve Etchings,' or the 'First Venice Set'
1879 – 1880
Bequest of Margaret Watson Parker
1954/1.378
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