PRESS IMAGES

THE PHILLIPS COLLECTION

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Toulouse-Lautrec Illustrates the Belle Époque


Henri de Toulouse-Lautrec, Moulin Rouge, La Goulue, 1891. Brush and spatter lithograph, printed in black on two sheets of wove paper. Trial proof, 65 3/4 × 46 7⁄16 in. Private collection

Henri de Toulouse-Lautrec, Moulin Rouge, La Goulue, 1891. Brush and spatter lithograph, printed in four colors. Key stone printed in black, color stones in yellow, red, and blue on three sheets of wove paper, 75 3⁄16 × 46 1⁄6 in. Private collection

Henri de Toulouse-Lautrec, The Englishman at the Moulin Rouge, 1892. Brush and spatter lithograph, printed in six or seven colors. Key stone printed in olive green, color stones in aubergine, blue, red, yellow, and black on wove paper. State II/II, 21 × 14 3/4 in. Private collection


Henri de Toulouse-Lautrec, Ambassadeurs, Aristide Bruant, 1892. Brush and spatter lithograph, printed in five colors. Key stone printed in olive green, color stones in orange, red, blue and black on two sheets of wove paper, 52 15⁄16 × 36 5⁄8 in. Private collection

Henri de Toulouse-Lautrec, Divan Japonais, 1892–93. Crayon, brush, spatter, and transferred screen lithograph, printed in four colors. Key stone printed in olive green, color stones in black, yellow, and red on wove paper, 31 3/4 × 23 15⁄16 in. Private collection

Henri de Toulouse-Lautrec, Cover for L’Estampe originale, 1893. Brush and spatter lithograph, printed in six colors. Key stone printed in olive green, color stones in beige, salmon red, red, yellow, and black on wove paper. Only state, 22 1/4 × 25 11⁄16 in. Private collection


Henri de Toulouse-Lautrec, Yvette Guilbert, 1893. Brush and crayon lithograph, printed in brownish black on wove paper. Only state, regular edition, from Le Café Concert album, Paris: L’Estampe originale. Private collection

Henri de Toulouse-Lautrec, Jane Avril, 1893. Brush and spatter lithograph. Key stone printed in olive green on wove paper. Unrecorded trial proof, 47 5⁄8 × 34 5⁄8 in. Private collection 

Henri de Toulouse-Lautrec, Jane Avril, 1893. Brush and spatter lithograph, key stone printed in olive green on wove paper. Trial proof, 47 9⁄16 × 33 7⁄8 in. Private collection 


Henri de Toulouse-Lautrec, Jane Avril, 1893. Brush and spatter lithograph, printed in five colors. Key stone printed in olive green, color stones in yellow, orange, red, and black on wove paper, 48 13⁄16 × 36 in. Private collection

Henri de Toulouse-Lautrec, At the Ambassadeurs, Singer at the Café-Concert, 1894. Crayon, brush and spatter lithograph, printed in six colors. Key stone printed in olive green, color stones in yellow, beige-gray, salmon pink, black, and blue on wove paper. Only state, 12 × 9 3/4 in. Private collection

Henri de Toulouse-Lautrec, The Box with the Gilded Mask, about 1894. Crayon, brush, and spatter lithograph with scraper, printed in five colors. Key stone printed in olive green, color stones in red or brown-red, yellow, gray-beige, and black-olive green or black on imitation Japan paper. Only state, 14 5⁄8 × 12 7⁄8 in. Private collection


Henri de Toulouse-Lautrec, Mademoiselle Marcelle Lender, Half-length, 1895. Crayon, brush, and spatter lithograph, printed in eight colors. Key stone printed in olive green, color stones in yellow, red, dark pink, turquoise-green, blue, gray, and yellow-green on wove paper. State IV/IV, 12 15⁄16 × 9 5⁄8 in. Private collection

Henri de Toulouse-Lautrec, May Belfort, 1895. Crayon, brush, and spatter lithograph, printed in five colors. Key stone printed in olive green, color stones in red, black, gray, and yellow on wove paper, 31 5⁄16 × 24 in. Private collection

Henri de Toulouse-Lautrec, May Milton, 1895. Crayon, brush, spatter, and transferred screen lithograph, printed in five colors. Key stone printed in olive green, color stones in blue, red, yellow, and black on wove paper, 31 5⁄16 × 24 in. Private collection


Henri de Toulouse-Lautrec, Mademoiselle Églantine’s Troupe, 1895–96. Brush, spatter, and crayon lithograph, printed in three colors. Key stone printed in turquoise, color stones in red and yellow on wove paper, 24 5⁄16 × 31 5⁄8 in. Private collection

Henri de Toulouse-Lautrec, The Photographer Sescau, 1896. Brush, crayon, and spatter lithograph, printed in five colors. Key stone printed in blue, color stones in red, yellow, and green on wove paper, remarque in black, 23 7⁄8 × 31 ½ in. Private Collection

Henri de Toulouse-Lautrec, The Simpson Chain, 1896. Brush, crayon, and spatter lithograph, printed in three colors. Key stone printed in blue, color stones in red and yellow on wove paper, 32 5⁄8 × 47 1/4 in. Private Collection


Henri de Toulouse-Lautrec, The Jockey, 1899. Crayon, brush, and spatter lithograph, printed in six colors. Key stone printed in black, color stones in turquoise-green, red, brown, gray-beige and blue on China paper. State II/II, 20 3/8 × 14 1/4 in. Private collection

Henri de Toulouse-Lautrec, Jane Avril, 1899. Brush lithograph, printed in four colors from three stones. Key stone printed in black, one color stone in red, one in yellow and blue on wove paper, 22 1⁄16 × 14 15⁄16 in. Private collection

Louis Anquetin, Inside Bruant’s Mirliton, 1886–87. Oil on canvas, 57 1⁄16 × 61 13⁄16 in. Private collection

George Condo: The Way I Think


George Condo, Brachiosaurus, 1965. Pencil and marker on paper, 8 1/2 x 11 in. Private collection. Image courtesy Skarstedt Gallery and Sprüth Magers

George Condo, Only If You Are, 1974. Colored pencil and ink on paper, 9 x 6 in. Private collection. Image courtesy Skarstedt Gallery and Sprüth Magers 

George Condo, Spanish Head Composition, 1988. Oil and collage on paper mounted on canvas, 118 x 98 in. The Museum of Modern Art, New York. Given anonymously, 2013. Image courtesy Skarstedt Gallery and Sprüth Magers


George Condo, The Lunatic, 1998. Pastel on paper, 80 x 80 in. Private collection. Image courtesy Skarstedt Gallery and Sprüth Magers

George Condo, The Wedding Pianist, 1998. Pastel on paper, 30 x 22 in. Private collection. Image courtesy Skarstedt Gallery and Sprüth Magers

George Condo, Mental States 2, 2000. Watercolor and colored pencil on paper, 23 1/4 x 30 in. Private collection. Image courtesy Skarstedt Gallery and Sprüth Magers


George Condo, Study for the Insane Cardinal 4, 2003. Graphite on paper, 9 x 12 in. Private collection. Image courtesy Skarstedt Gallery and Sprüth Magers

George Condo, Untitled, 2003. Pastel on paper, 44 x 30 in. Private collection. Image courtesy Skarstedt Gallery and Sprüth Magers

George Condo, Embracing Couple 1, 2004. Watercolor and ink on paper, 10 1/4 x 8 1/2 in. Private collection. Image courtesy Skarstedt Gallery and Sprüth Magers


George Condo, Playboy Bunny Study 3, 2005. Ink on paper, 9 1/2 x 7 7/8 in. Private collection. Image courtesy Skarstedt Gallery and Sprüth Magers

George Condo, Jean Louis on Green, c. 2008. Pastel on board, 25 x 22 in. Private collection. Image courtesy Skarstedt Gallery and Sprüth Magers

George Condo, Study for Fallen Butler, 2009. Graphite and colored pencil on paper, 14 x 17 in. Private collection. Image courtesy Skarstedt Gallery and Sprüth Magers


George Condo, Wile E. Coyote, 2009. Acrylic, pastel, and graphite on paper, 25 x 22 in. Private collection. Image courtesy Skarstedt Gallery and Sprüth Magers

George Condo, The Fallen Butler, 2009. Oil and pastel on linen, 78 x 76 in. The Museum of Modern Art, New York. Gift of Adam Kimmel, 2010. Image courtesy Skarstedt Gallery and Sprüth Magers

George Condo, Red and Black Compression, 2011. Acrylic, charcoal, and pastel on paper, 60 x 80 in. Collection of Donald B. Marron, New York. Image courtesy Skarstedt Gallery and Sprüth Magers


George Condo, Untitled, 2013. Acrylic, charcoal, and pastel on linen, 62 x 58 in. Private collection. Image courtesy Skarstedt Gallery and Sprüth Magers

George Condo, Double Heads Drawing 7, 2015. Charcoal, pastel, and graphite on paper, 26 1/4 x 40 1/4 in. Private collection. Image courtesy Skarstedt Gallery and Sprüth Magers

George Condo, Double Heads Drawing 10, 2015. Charcoal, pastel, ink wash, and graphite on paper, 26 1/4 x 40 1/4 in. Private collection. Image courtesy Skarstedt Gallery and Sprüth Magers

Arlene Shechet: From Here On Now


Arlene Shechet, Best Behavior, 2014. Glazed ceramic, glazed kiln shelf, and painted and carved hardwood, 45 1/2 x 20 x 20 in. Courtesy of the artist and Sikkema Jenkins & Co. Photo: Lee Stalsworth

Arlene Shechet, Go Figure (detail), 2016. Glazed ceramic, gold, and steel, 72 5/8 x 16 x 13 1/2 in. Courtesy of the artist and Sikkema Jenkins & Co. Photo: Lee Stalsworth

Arlene Shechet, The Possibility of Ghosts, 2013/2016. Glazed ceramic and concrete, 47 x 21 1/2 x 17 in. Courtesy of the artist and Sikkema Jenkins & Co. Photo: Lee Stalsworth


Arlene Shechet, Go Figure, 2016. Glazed ceramic, gold, and steel, 72 5/8 x 16 x 13 1/2 in. Courtesy of the artist and Sikkema Jenkins & Co. Photo: Lee Stalsworth

Arlene Shechet, Untitled (Hanging Sculpture), 2016. Glazed ceramic. Courtesy of the artist and Sikkema Jenkins & Co. Photo: Lee Stalsworth

SELECTED IMAGES


Pierre-Auguste Renoir, Luncheon of the Boating Party, 1880-81, The Phillips Collection, Washington, DC, Acquired 1923

Milton Avery, Black Sea, 1959, The Phillips Collection, Washington, DC, Acquired 1965

Pierre Bonnard, The Open Window, 1921, The Phillips Collection, Washington, DC, Acquired 1930


Georges Braque, The Round Table, 1929, The Phillips Collection, Washington, DC, Acquired 1934

Jacob Lawrence, The Migration Series, Panel no. 1: During World War I there was a great migration north by southern African Americans., between 1940 and 1941, Casein tempera on hardboard 12 x 18 in. The Phillips Collection, Washington, DC Acquired 1942 © Estate of Gwendolyn Knight Lawrence/Artists Rights Society (ARS), New York

Paul Cézanne, Self-Portrait, 1878−1880, The Phillips Collection, Washington, DC, Acquired 1928


Honoré Daumier, The Uprising (L'Emeute), 1848 or later, The Phillips Collection, Washington, DC, Acquired 1925

Hilaire-Germain-Edgar Degas, Dancers at the Barre, 1880s–c. 1900, The Phillips Collection, Washington, DC, Acquired 1944

Willem de Kooning, Asheville, 1948, The Phillips Collection, Washington, DC, Acquired 1952


Wolfgang Laib, Wax Room: Wohin bist Du gegangen – wohin gehst Du? (Where have you gone – where are you going?), 2013, Beeswax, light bulb, The Laib Wax Room is supported by The Phillips Collection Dreier Fund for Acquisitions; gifts in memory of trustee Caroline Macomber; Brian Dailey and Paula Ballo Dailey; a community of online contributors; and a partial gift of the artist. Wax donated by Sperone Westwater, New York

Edward Hopper, Sunday, 1926, Oil on canvas, 29 x 34 in. The Phillips Collection, Washington, DC, Acquired 1926

Georgia O'Keefe, Ranchos Church, No. II, NM, 1929. Oil on canvas, 24 1/8 x 36 1/8 in. The Phillips Collection, Washington, DC, Acquired 1930


Esther Bubley, General Service Department, 30 Rockefeller Plaza, New York City, c. 1950s. Gelatin silver print, 9 3/8 in x 6 3/8 in. The Phillips Collection, Washington, DC, Gift of Cam and Wanda Garner, 2012

DOROTHY KOSINSKI, DIRECTOR


Dorothy Kosinski, Director

PHILLIPS EXTERIOR


Carriage House-Phillips Collection Center for the Study of Modern Art

Phillips Collection House-Front View

Hunter Courtyard

PHILLIPS INTERIOR


The Rothko Room

Sant Building gallery

Music Room

Archival Photos


1) Marjorie and Duncan Phillips in front of Renoir's Luncheon of the Boating Party (1880-81), ca. 1954. Photo by Naomi Savage

2) Duncan Phillips, founder of The Phillips Collection. Photo by Clara E. Sipprel, ca. 1922.

3) Duncan Phillips on a transatlantic journey, 1930s. Courtesy of The Phillips Collection, Washington, DC


4) The house at 21st and Q Streets, NW, ca. 1900.