Ochre Editions
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The 20th century

Works made in the 20th century, anywhere in the world.

189 works · hang 4084 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

Section 1, north wall

  1. This is a drawing of a tool with intricate patterns. The tool appears elongated with a pronged end, and features symmetrical geometric designs etched along the handle. The drawing also includes a side profile showing its slender form.
    ForkAnthony Zuccarello, c. 1936Courtesy National Gallery of Art, Washington
  2. The image shows two large quilt blocks with a matching design, side by side. Each block consists of red and beige fabric with quilted stitching creating a textured appearance. The color palette includes primarily red, beige, and dark stitching outlining the patterns. The quilt blocks are placed centrally on a light-colored surface.
    Patchwork QuiltPaul Ward, c. 1936Courtesy National Gallery of Art, Washington
  3. Two Gulls and Cliffs, by Louis M. Eilshemius, ca. 1913-1921
    Two Gulls and CliffsLouis M. Eilshemius, ca. 1913-1921Courtesy of the Smithsonian American Art Museum
  4. Abraham Walkowitz
    Untitled (One Of Six Prints)Abraham Walkowitz, 1903-1925Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution

Section 1, south wall

  1. October Morning, by Frank A. Bicknell, ca. 1910
    October MorningFrank A. Bicknell, ca. 1910Courtesy of the Smithsonian American Art Museum
  2. A Rose, by Thomas Anshutz, 1907
    A RoseThomas Anshutz, 1907Courtesy of The Metropolitan Museum of Art
  3. The Bride, by Gari Melchers, ca. 1907
    The BrideGari Melchers, ca. 1907Courtesy of the Smithsonian American Art Museum

Section 2, south wall

  1. After the Bath, by Mary Cassatt, 1901
    After the BathMary Cassatt, 1901Courtesy of the Cleveland Museum of Art
  2. The image displays a single ornate vase with a bulbous base and a ruffled top, taking up most of the frame. The vase is predominantly pink with red accents, the ruffled top is highlighted with white on the inner edges, and there's a crisscross pattern visible on the body. Against a plain beige background, the vase is centrally positioned.
    Ornamental Ruby VaseRobert Stewart, c. 1936Courtesy National Gallery of Art, Washington
  3. The image depicts a landscape with towering rock formations dominating the scene. The ground is rugged and textured, leading the eye towards the rock pillars in the center. A structure or building is perched atop one of these rocks. The background shows the horizon above the structure, with clouds and sky stretching out beyond. The artwork features detailed brushstrokes adding texture to the rocks. The color palette is monochromatic with varying shades of charcoal or ink, emphasizing the contrast between the rocks and the sky.
    The Cliffs of the TrinityJoseph Pennell, 1913Courtesy National Gallery of Art, Washington
  4. The image shows two foot stools. One is a round stool with four legs and the other is a small two-step wooden staircase. The color palette includes shades of brown and tan against a light beige background. The round stool is positioned to the left, and the step-stool is to the right. Both are labeled with the words "Foot Stools" below them.
    Shaker StoolsLawrence Foster, 1935/1942Courtesy National Gallery of Art, Washington

Section 2, north wall

  1. The image shows a beige knitted fingerless glove on a light-colored background. The glove is flat and displayed vertically, with the thumb-piece extending to the left. There is a subtle dark pattern or lettering at the base of the glove. The color palette is warm with beige tones against the light background, emphasizing the texture and design of the glove.
    Knitted GloveElizabeth Moutal, c. 1936Courtesy National Gallery of Art, Washington
  2. This is a drawing of an abstract shape or artifact. The image features a central black object positioned against a plain, light-colored background. The object has a slightly irregular, elongated triangular form with rounded edges and contours. It includes a series of geometric holes and protrusions. The subtle shadowing suggests a three-dimensional form, yet the drawing maintains a simplicity that emphasizes the object's unique contours and cutouts.
    BootjackClaude Marshall, c. 1940Courtesy National Gallery of Art, Washington
  3. The Sprout Lot, by J. Francis Murphy, 1915
    The Sprout LotJ. Francis Murphy, 1915Courtesy of the Smithsonian American Art Museum

Section 3, north wall

  1. The image is a painting of a woman's nude upper body extending from her head down to her hips, depicted in a standing position with her head slightly tilted to one side. Her facial features are distinct with a strong brow, prominent nose, and full lips, and her long dark hair cascades down to her shoulders. The background features abstract brushstrokes in dark blues and browns, blending into the lighter brown tone of the canvas, enhancing the figure's prominence in the composition. The woman appears naturalistic, with no jewelry or other objects visible in the painting.
    NudeRoger de La Fresnaye, 1910Courtesy National Gallery of Art, Washington
  2. Admiral Sir David Beatty, Lord Beatty, by Cecilia Beaux, ca. 1920
    Admiral Sir David Beatty, Lord BeattyCecilia Beaux, ca. 1920Courtesy of the Smithsonian American Art Museum