Show Term
Title a/k/a |
Year | Format | Size | Signed | Location (Loc. Date) | 1976 # | NAD | Ahrens Plate | Public Notes | Score | |
A Difficult Move The Chess Players |
1865 | Oil on canvas | 27x22 | 1868 | A painting dated 1865 was auctioned in 1992 as A Difficult Move . However, in 1868 a painting The Chess Players was exhibited at NAD, which was likely this painting. | 1 | |||||
A Gentleman Caller | 1829 | Oil on canvas | 22x30 | Private Collection (2002) | 1 | ||||||
A Group of 14 Drawings | Pencil/Paper | 7x10 | 0 | ||||||||
A Lea Shore | ~1851 | 1851 | 1 | ||||||||
A Merrie Christmas to All | Watercolor and gold paint on board | 7.5x5.75 | Museum of Fine Arts, Boston (2019) | MFA says inscription is: 'TR in watercolor: Fasten , Mortals, To Arore him, learn His name to magnify. Bottem in watercolor: title. In stainglass window in gold: All nations shall come and worship thee O Lord' | 0 | ||||||
A Moonlight Serenade | 25x31.5 | 0 | |||||||||
A Mountain Storm | Watercolor | 0 | |||||||||
A Mourning Woman | 1843 | Watercolor, pen, ink/paper | 9.5x7.5 | R. W. Weir 1843, lower left | 1 | ||||||
A Roman Maiden | 8.5x11.5 | 0 | |||||||||
A Scene from Hamlet | Watercolor | 0 | |||||||||
A Sleeping Child | Watercolor | 0 | |||||||||
A Spanish Coquette | 11.5x16.5 | 0 | |||||||||
A Stiff Breeze | 1878 | 1 | |||||||||
A Wreck off Seabright (Jersey Coast) | 19x11.5 | 0 | |||||||||
Aaron Converting His Staff into a Serpent Moses and the Brazen Serpent |
Pen and wash with white | 9.5x6.25 | R. W. Weir, lower right | National Gallery of Art (1976) | 43 | 6-8 | 2 | ||||
Admiral Farragut at the Battle of Mobile Bay | 9.5x12.5 | 0 | |||||||||
Aequitas (Angel of Justice) | 1843 | Pen and black ink on yellow paper | 9x12 | R. W. Weir/1843, lower left | Museum of Fine Arts, Boston (2019) | 0 | |||||
Agony in the Garden | Graphite on off-white wove paper | 9.5x13.75 | Metropolitan Museum of Art (2019) | 0 | |||||||
An April Shower | Watercolor | 0 | |||||||||
An Autumn Landscape | Watercolor | 0 | |||||||||
Anchor Sheet Blue Seascape, Sail Boats on Windy Water (2011) |
Watercolor | 3.75x6.25 | Robt. W. Weir, lower right | Nearly identical to 'Blue Seascape' | 1 | ||||||
Angel Relieving Saint Peter a/k/a Angel Releasing Saint Peter | <=1825 | Painted in Florence, Italy. Artist Life shows relieving | 4 | ||||||||
Another Study from a Scene from Hamlet | Watercolor | 0 | |||||||||
Artist's View from West Point View from West Point |
Oil on canvas | 22x30 | Attributed. | Private Collection (1976) | 60 | Inscribed on verso: 'Professor Robt Weir view from West Point'. This work is described in the exhibition catalogue Robert Weir: Artist and Teacher of West Point (p. 37) as follows: 'This scene, probably looking north from atop Crow's Nest, a hill north of West Point, conveys the idea of a universe uninhabited by man... Weir has executed the painting with very loose brushwork with little emphasis on the detail of anything but the birds and foliage in the foreground. This painterly style asserts the unity found in nature which is undisturbed by man, helping the eye to blend easily the elements of sky, water and land. Weir's Falls of the Kaaterskill is closely allied in spirit with this painting.' Although the exhibition catalogue notes that the painting is inscribed on its verso: Professor Robt Weir - view from West Point, the inscription is no longer visible and may possibly have been obscured by the lining. | 3 | ||||
Artist's View from West Point | Oil on canvas | 27x38 | Attributed. | Auctions in 1990 (Christie's) and 1997 (Sotheby's) are for 27x38 paintings with this title, but not clear if they are the same. | 1 | ||||||
Bathers on the Coast | 1884 | Watercolor | 10x13 | R. W. W./1884, lower left | Brigham Young University, Museum of Fine Arts (2019) | 0 | |||||
Bay of Naples (Moonlight) | ~1830 | Oil on panel | 13x20 | Museum of Fine Arts, Boston (2019) | 1 | ||||||
Bedroom Interior | Watercolor | 8x6 | Brigham Young University Museum of Art (2019) | 0 | |||||||
Bianca | 1836 | Oil on canvas | 32.5x25.25 | Robt. W. Weir/West Point/1836 | Museum of Fine Arts, Boston (2019) | 25 | 5-8 | Based on character from The Story of the Young Italian from Tales of a Traveller by Washington Irving. This copy has no dog. | 3 | ||
Bianca | 1879 | Oil on canvas | 32.5x25.25 | Robt. W. Weir/1879, lower right | Palmer Museum of Art, State College, PA (2011) | 1880 | Based on character from The Story of the Young Italian from Tales of a Traveller by Washington Irving. This copy has a dog. For sale for $1,500 in 1880(per NAD 1861-1900). | 5 | |||
Bianca | 1831 | 1832 | Gerdts says RWW may have reworked this one for a later one, so this could be non-existent. | 1 | |||||||
Blackbird Pie | 1855 | Watercolor | 16x21 | Likely same as Magpies. | 0 | ||||||
Blue Seascape Anchor Sheet |
Watercolor | 3.25x6 | Robt. W. Weir, lower right | West Point Museum Collections, U.S. Military Academy (2002) | 63 | Nearly identical to 'Anchor Sheet', but definitely seems to be different. | 1 | ||||
Boats on the Hudson River Hudson River, Looking South from West Point |
Oil on panel | 7.5x12.75 | Robt. W. Weir, lower left | 1 | |||||||
Bob and Blucher | ~1835 | 1835 | 1 | ||||||||
Bourbon's Halt at LaRiccia, on His March to the Assault on Rome Bourbon's Last March The Duke of Bourbon's Halt at La Riccia, on His March to the Assau Rome, May 3d, 1527 |
1834 | Oil on canvas | 28x36 | Robt. W. Weir/1834 | Los Angeles Museum of Art (2019) | 41 | 1835 | Engraved by James Smillie and appeared in The Token in 1835. Possibly other copies? Gerdts shows as 28x36 oil-on-canvas-on-masonite, LA shows as 35x47 oil-on-wood. | 3 | ||
Bowling Green New York | 1840 | Watercolor, pencil/paper | A very careful study showing many interesting landmarks of old New York | 0 | |||||||
Boy in Chair | 1857 | Robt. W. Weir/1857, lower right | 0 | ||||||||
Cadet at Drawing Board | 1836 | Ink drawing | 5.25x3.75 | R. W. Weir/1836, lower left | West Point Museum Collections, U.S. Military Academy (2002) | 77 | 1 | ||||
Calm Waters | Drawing-Watercolor, Watercolor/Board | 6.5x9.5 | R. W. Weir, lower left | 1 | |||||||
Card Players | Oil on canvas | 20x24 | Brigham Young University Museum of Art (2019) | 0 | |||||||
Castle on a River | Watercolor on paper | 8.75x14 | Unsigned | National Gallery of Art (2019) | 58 | Handwritten 'For Mrs. Tucerman / with Mr. Weirs' | 1 | ||||
Charles I (after Van Dyck) | 6.5x8.5 | 0 | |||||||||
Child Reading | 1850 | Watercolor, wash heightened with white/brown paper | 9.5x17.25 | 0 | |||||||
Child's prayer The Child's Evening Prayer |
Oil on panel | 20x14 | Kennedy Galleries, New York (2002) | 2 | |||||||
Child's Toys | 6.5x7.5 | Unsigned | New Jersey (2021) | Unsigned, but has a book title Ordnance and Gunnery , a West Point book. Offered for $795+$12 shipping eBay auction #224480903230 in June, 2021. | 1 | ||||||
Christ and Nicodemus | <=1825 | Painted in Florence, Italy | 4 | ||||||||
Christ Bearing the Cross | 18x24.5 | 0 | |||||||||
Christ in the Garden Christ In The Garden of Gethsemane |
Black and gray ink washes, pen and brown ink, watercolor, and graphite on off-white wove paper | 9.5x12.75 | Metropolitan Museum of Art (2019) | MET says 'Inscription: [at lower right]: sale stamp. ' | 1 | ||||||
Christ in the Garden | 20x14.5 | Religious Paintings shows date of 1873. | 2 | ||||||||
Christ's Journey to Emmaus Christ on the Way to Emmaus, Christ on His Way to Emmaus, The Way to Emmaus |
13.5x20 | 1879 | 6-6 | Listed in Estate as Christ's Journey to Emmaus | 3 | ||||||
Christ's Journey to Emmaus, Sketch Christ on the Way to Emmaus, Christ on His Way to Emmaus, The Way to Emmaus |
1 | ||||||||||
Church of the Holy Innocents, West Point Sunday Morning |
~1847 | Oil on canvas | Robt. W. Weir, lower center | National Gallery of Art (2019) | 7-5 | This version is a closeup of the entryway. | 1 | ||||
Church of the Holy Innocents, West Point | ~1850 | Oil on canvas | 14x20 | West Point Museum Collections, U.S. Military Academy (2013) | 69 | 7-4 | The upper right of this version (West Point) is almost entirely clouds. Described 'Sunlit view of the Church looking toward transept entrance. Storm King is in left background. Figures are walking to and from the church.' May be signed, lower left. | 2 | |||
Church of the Holy Innocents, West Point | Oil on canvas | 16x22 | This version (auctioned 2005) has sheep in foreground, trees in upper left/right. 1850 exhibition says 'A gothic church upon the top of a great knoll, at the foot of which sheep are feeding. Beyond are woods, and in the distance, indistinct forms of rocky hills.' | 4 | |||||||
Cicero's Fountain The Fountain of Cicero |
1829 | Oil on canvas | 13.75x22 | Robt. W. Weir/1829 (lower right) | 83 | Listed by RWW as Cicero's Fountain (Irene Weir p100) | 5 | ||||
Cleric Seated At A Table Reading | ~1843 | Watercolor | 10x8 | Brigham Young University, Museum of Fine Arts (2019) | 0 | ||||||
Cluny Room, Rowsley, Scarsdale | 1873 | Watercolor with pen and ink | 10.5x14.5 | R. Weir | Private Collection Pyne (2020) | A painting of the Cluny Room of the Rowsley House. It shows William Lang, who built the house, and his daughter Mrs. Frances Dunning (who was married to E. J. Dunning). | 0 | ||||
Columbus Before the Council at Salamanca | 1884 | Oil on canvas | 29.25x40.125 | Robt. W. Weir, 1884, lower left. | West Point Museum Collections, U.S. Military Academy (2013) | 47 | 4-3 | Referred to in Estate as a replica of 1877 version. | 3 | ||
Columbus Before the Council at Salamanca | 1837 | Oil | 1841 | No visual record is known. RWW #47 based on likely time RWW list written, and fact that is shows as sold. | 5 | ||||||
Columbus Before the Council at Salamanca | 1877 | Oil on panel | 8.785x12 | Robt. W. Weir, 1877, lower right | 1878 | 6 | |||||
Columbus Before the Council at Salamanca, Study | Undated | Pen and Ink | 13.25x17.5 | Unsigned | West Point Museum Collections, U.S. Military Academy (2002) | 46 | 4-4 | 2 | |||
Columbus Before the Council at Salamanca, Tracing | 1858 | Tracing | Offered to Montgomery Meigs. Only referenced in a letter from Weir to Meigs. No known location, no known descriptions, etc. | 2 | |||||||
Compagna di Roma a/k/a Roman Campagna | 1879 | Oil on canvas (2016), oil on panel (2004,2011) | 11.5x18.5 | Robt. W. Weir, 1879, lower right. | Depicting a rider and horse in the Roman village | 2 | |||||
Confirmation Ceremony in Chapel near West Point | 1843 | Graphite and watercolor on paper | 8x11 | Museum of Fine Arts, Boston (2019) | Bishop laying hands on head of woman kneeling with others at altar rail of church. Signed and dated in pen, lower left: 1843. | 0 | |||||
Contempt of War | 1857 | Ink and sepia wash | 14x11 | R. W. W./1857 | Private Collection (1976) | 82 | 1 | ||||
Contempt of War, Preliminary Sketch | ~1857 | Private Collection () | Mentioned in Gerdts, p42, #82. Has inscription (likely not by RWW) 'Contempt of War' | 0 | |||||||
Convent Gate View from a Convent Gate near Rome; the Road Represented Descending. |
1829 | 2 | |||||||||
Couple Listening to Seashell | Robt. W. Weir, lower right | From a plate negative (from PR26). | 0 | ||||||||
Dante and Virgil Crossing the Styx Virgil and Dante Crossing the Styx, Dante Canta, iii |
1869 | Oil on board | 15.25x11.25 | Robt. W. Weir/1869 | West Point Museum Collections, U.S. Military Academy (2013) | 1869 | Listed with Dante first in Estate; Virgil first in NY Post. RWW wanted minimum of $500 per Religious Paintings article. Listed as For Sale in 1869 (per NAD 1861-1900). | 4 | |||
Dante and Virgil Crossing the Styx, Study | ~1869 | Pen and ink on blue paper | 6.75x11.5 | Robt. W. Weir, lower right | West Point Museum Collections, U.S. Military Academy (2013) | 5-13 | Photo from a plate negative (from PR26). Labeled on back as sketch of , added to Dante Crossing the Styx . | 2 | |||
Dante and Virgil Crossing the Styx, Study for Charon | ~1869 | Pen and ink on blue paper | Robt. W. Weir, bottom | Private Collection, Massachusetts (1972) | 5-14 | Smaller than STYX2. | 1 | ||||
David Garrick | 25x30 | 0 | |||||||||
Day Dreams | 25x31 | Companion to A Moonlight Serenade per Estate | 0 | ||||||||
Death of the Virgin, Study | Watercolor | 0 | |||||||||
Decorated U. S. sword hilt, and tip of sheath | Graphite on paper | Museum of Fine Arts, Boston (2019) | MFA says notes in graphite pencil above and to right of drawings | 0 | |||||||
Devotion | ~1850 | 1850 | 1 | ||||||||
Distress | Sold to John Trumbull for $6 via picture dealer Michael Paff. | 2 | |||||||||
Domestic Scene costume of Rome | 1 | ||||||||||
Don Quixote Scene from Don Quixote |
~1828 | Oil on canvas | 28.75x23.5 | Unsigned | West Point Museum Collections, U.S. Military Academy (2013) | 28 | 1828 | 3 | |||
Drawing in Sepia for a United States Bond | Watercolor | 0 | |||||||||
Drawing, Untitled, Sea | Robt. W. Weir, lower right | 0 | |||||||||
Dying Greek | ~1831 | 1831 | 3 | ||||||||
Easter Morning | 1875 | Oil on panel | 12x10 | Robt. W. Weir/1875, lower right | Private Collection (1976) | 40 | Gospel of John 20:6-8. See also 'Saints Peter and John at the Tomb of Our Saviour'. Sold in eBay auction 16 May 2021; opening bid $2,500 Buy-It-Now $7,500, went for $7,500 BIN. purchased in 2021 at an Estate Sale in NY. | 2 | |||
Embarkation of the Pilgrims Embarkation of the Pilgrims at Delft Haven, Holland, July 22nd, 1620 |
1843 | Oil on canvas | 144x216 | Robt. W. Weir/1843, lower left | 51 | 4-6 | Robert Walter Weir's best known painting | 5 | |||
Embarkation of the Pilgrims | Watercolor, pencil/paper | 6.3x10 | 0 | ||||||||
Embarkation of the Pilgrims, Notebook Sketch | 1837 | R. W. W., lower left | From a plate negative (from PR26). Has written on it 'Note book sketches of Embarkation'. Handwritten is something like 'Presentation(?) Sketch'. | 0 | |||||||
Embarkation of the Pilgrims, Notebook Sketches | ~1840 | From a plate negative (from PR26). Has written on it 'Note book sketches of Embarkation' | 0 | ||||||||
Embarkation of the Pilgrims, Replica | 1857 | Oil on canvas | 53.5x36 | Robt. W. Weir/1857, lower left | Brooklyn Museum, New York () | 52 | Listed as 48x71 in 1975 auction; likely framed dimensions. Woman closest on left side has dark clothes (light in original); no 'God With Us' in upper left (there is in original). Likely the one mentioned in letter from JFW to JAW dated 08 Jun 1895 of better specimens of their father's work. | 5 | |||
Embarkation of the Pilgrims, Sketch of John Robinson | ~1838 | Pen and brown ink on paper | 3.25x2.5 | Jno Robinson/R. W. W. | Private Collection (1976) | 54 | 4-12 | One drawing of John Robinson, looking up to the left | 2 | ||
Embarkation of the Pilgrims, Sketch of John Robinson | ~1838 | Pencil and ink sketch | 3.25x8.75 | Unsigned | Private Collection (1976) | 55 | Three drawings on one sheet of John Robinson. | 1 | |||
Embarkation of the Pilgrims, Sketch of William Brewster | ~1838 | Pencil sketch | 10.5x7.5 | Unsigned | West Point Museum Collections, U.S. Military Academy (2013) | 53 | Gerdts shows as 10.5x7.5, 2013 shows as 9-1/8x7. But images appear identical. | 1 | |||
Embarkation of the Pilgrims, Study | Graphite with gray and yellow-brown wash on paper | 8.75x12.5 | Museum of Fine Arts, Boston (2019) | MFA lists as 'Preliminary sketch for painting in the Capitol, Washington, D.C.' | 0 | ||||||
Embarkation of the Pilgrims, Study | ~1840 | Oil on canvas | 37.5x53 | Robt. W. Weir, lower left | Pilgrim Society, Plymouth, MA (1976) | 56 | 4-13 | 2 | |||
Embarkation of the Pilgrims, Study, Governor Carver | ~1840 | Oil on canvas | 27x22 | Brigham Young University Museum of Art (2019) | 1 | ||||||
Embarkation of the Pilgrims, Study, Mrs. Brewster | ~1840 | Oil on canvas | 27x22 | Brigham Young University Museum of Art (2019) | 1 | ||||||
Embarkation of the Pilgrims, Study, William Brewster | ~1840 | Oil on canvas | 27x22 | Brigham Young University Museum of Art (2019) | 1 | ||||||
Embarkation Sketch | Grey wash with some pencil on buff paper | Museum of Fine Arts, Boston (1972) | 4-10 | Perhaps people on a boat on left? | 1 | ||||||
Embarkation Sketch | Pen and ink on paper | West Point Museum Collections, U.S. Military Academy (1972) | 4-9 | Appears to be lots of people. | 1 | ||||||
Embarkation Sketch | 1837 | Pen and ink with some pencil on paper | R. W. W., lower left | West Point Museum Collections, U.S. Military Academy (1972) | 4-8 | People in a boat. Dated 1837 lower right. | 1 | ||||
Embarkation Sketch, Two Figures Grief |
Wash drawing | Robt. W. Weir, lower right | West Point Museum Collections, U.S. Military Academy (1972) | 4-11 | 1 | ||||||
Entrance to a Wood | 1836 | Watercolor and graphite on buff wove paper | 5.25x7 | R. W. Weir Del., lower left | Metropolitan Museum of Art (2019) | Commissioned by poet William Cullen Bryant as an illustration for his Inscription for the Entrance to a Wood. | 0 | ||||
Evening after the Crucifixtion | 2 | ||||||||||
Evening of the Crucifixion | Destroyed (1973) | Damaged by a fire in 1895, later destroyed (per Religious Paintings article) | 1 | ||||||||
Evening of the Crucifixion | 6-5 | 3 | |||||||||
Faith Holding the Sacramental Cup | 1867 | Oil on canvas | 29x24 | Unsigned | 37 | 4 | |||||
Falstaff and Anne Page | Watercolor | 0 | |||||||||
Family Group | 1863 | Wash with gouache and graphite | 16.25x21.75 | Robt. W. Weir/1863, lower right | Los Angeles Museum of Art (2019) | Mother and 6 children at a table. | 0 | ||||
Family Group | ~1830 | 1830 | 1 | ||||||||
Family With Dog and Wagon | R. W. Weir, lower right | From a plate negative (from PR26). There is also an umbrella in the sketch. | 0 | ||||||||
Fidelity | Watercolor paper on board | 14x10 | 0 | ||||||||
Figure Praying in Landscape | 1877 | Oil on panel | 12x16 | R. W. Weir, 1877 | 1 | ||||||
Figure Study | 1840 | Gouache on paper | 8.5x5 | 1 | |||||||
Finishing touches | Oil on canvas | 22x17 | Attributed | 1 | |||||||
Fir Trees/A Cottage (a pair) | Drawing (2) | 10x13 | 0 | ||||||||
Firing the Gun, Siege Battery, West Point | Watercolor | 0 | |||||||||
Five in a Prison Cell | Oil on canvas | 25x30 | Brigham Young University Museum of Art (2019) | 0 | |||||||
Flemish Guard-room | ~1868 | 1868 | 1 | ||||||||
Flower Girls a/k/a Poseys for Sale | 1869 | Oil on canvas | 26x18 | Monogram WRW, dated 69 (lower left) | 1 | ||||||
Foraging | Smithsonian American Art Museum, Washington, DC (2002) | 0 | |||||||||
Forest Scene | Watercolor | 9.5x14 | 0 | ||||||||
Fort on the Hudson | 1860 | Oil on board | 6x10 | 1 | |||||||
Fort Putnam by Moonlight (West Point) | Watercolor | 0 | |||||||||
Fountain of Egeria | 1832 | 3 | |||||||||
Four Children | Ink sketch | 10x7.75 | Unsigned | Private Collection (1976) | 85 | Sketch of 4 small girls, apparently in a church. | 1 | ||||
Four studies | Ink and pencil | 8.5x6.125 | Robt. W. Weir | 1 | |||||||
Game of Chess | ~1850 | Sloan & Co., Inc, Washington () | 1850 | There were 4 paintings by this name exhibited in NAD 1850 (#163, 167, 245, 246), one listed as owned by William Appleton. These are different than 'A difficult move' (which was painted later) | 1 | ||||||
Game of Chess | ~1850 | 1850 | 1 | ||||||||
Game of Chess | ~1850 | 1850 | 1 | ||||||||
Game of Chess | ~1850 | 1850 | 1 | ||||||||
Gentleman Reading/Two Men Conversing | Watercolor, wash heightened with white/brown paper | 0 | |||||||||
George Washington | Ink on paper | 8.5x6.25 | Robt. W. Weir, lower left | 1 | |||||||
Governeur Kemble | 26x33 | Private Collection (2002) | 0 | ||||||||
Grand Canal, Venice | 21.5x26.5 | 0 | |||||||||
Greek | ~1832 | 1832 | 2 | ||||||||
Greek Boy Portrait of a Greek Boy |
~1829 | 1829 | 3 | ||||||||
Greek Girl The Greek Youth |
Tuckerman refers to this as one of Weir's Happiest efforts . | 1 | |||||||||
Group of Figures | Charcoal on wove paper | 6.75x9.5 | National Gallery of Art (2019) | 6-9 | 1 | ||||||
Gurth and Wambar, from opening scene of Ivanhoe | Robt. W. Weir, lower left | 1 | |||||||||
Haidee | Watercolor | 0 | |||||||||
Hamlet | 1844 | Pen and Ink | Robt. W. Weir/del, lower left | 5-7 | 1 | ||||||
Harbor Battery Siege Battery |
Watercolor | 6.5x9 | Robt. W. Weir, lower right | Private Collection (1976) | 62 | River, mountains, late autumn, military buildings. | 2 | ||||
Head of a Helmeted Figure | Etching printed in brown ink on wove paper | 4.75x4 | Robt. W. Weir, upper left | Detroit Institute of Arts (2019) | 0 | ||||||
Head of a Man ~1834 |
Oil on panel | 10x8 | Brigham Young University Museum of Art (2011) | 1 | |||||||
Head of a Woman | Oil on canvas | 21x17 | Brigham Young University Museum of Art (2019) | 0 | |||||||
Head of Old Man, Small White Ruff | Oil on board | 14x12 | Brigham Young University Museum of Art (2019) | 0 | |||||||
Hoboken Shipyard | Ink drawing | 7.75x10.25 | Hoboken, R. W. Weir, lower right | West Point Museum Collections, U.S. Military Academy (2002) | 73 | A ship's skeleton; not 'Hudson River from Hoboken' | 1 | ||||
Hoboken Walk | ~1832 | 1832 | 1 | ||||||||
Hudson Mansion | 1887 | Robt. W. Weir/1887, lower right | Kennedy Galleries, New York (2002) | Similar to Lane Cottage. Photo listed as 'Norton Catalog'. | 0 | ||||||
Hudson River from Hoboken Scene near Castle Point, Hoboken Coal Dock, Hoboken |
1878 | Oil on panel | 30x25 | Robt. W. Weir/1878, lower right | The Detroit Institute of the Arts (2019) | 71 | 1879 | 7-15 | Ahrens says oil on canvas; Wardle says oil on panel. | 5 | |
Hudson River from Hoboken, Study | Ink sketch | 3.25x2.75 | Unsigned | Private Collection (1976) | 72 | 1 | |||||
Hudson River from West Point | Oil/Canvas/Panel | 32x48 | May be View of the Hudson River 1864. | 1 | |||||||
Hudson River Landscape | Oil on panel | 10x14 | Robt. W. Weir, lower left | Amherst College (2019) | 0 | ||||||
Hudson River school painting with pink and yellow pastel hues | 1872 | Oil on board | 11x6.75 | Attributed. Signed RWW. | 1 | ||||||
Hunting dogs | 1828 | Oil on canvas | 38x51 | 1 | |||||||
Il Penseroso | Oil on canvas | 34x45 | Attributed | 32 | 2 | ||||||
Illustration for Shakespeare | Oil on canvas | 25x30 | Brigham Young University Museum of Art (2019) | 0 | |||||||
Indian Captives, Mass. 1650 Unredeemed Captive |
~1839 | Oil on canvas | 51.5x36.25 | Peabody Museum, Harvard University () | 1839 | At the Boston Athenaeum per American Cyclopaedia. Gerdts p34 says at Peabody Museum. | 4 | ||||
Indian Captives, Mass. 1650, Study Unredeemed Captive |
~1839 | Pencil sketch | 7.5x5.75 | Unsigned | Private Collection (1976) | 50 | 1 | ||||
Infant, John the Baptist | 1855 | Oil on canvas | 21x17 | Robt. W. Weir/1855, lower left | Private Collection (1973) | 6-2 | Canvas from Goupil & Co, 289 Broadway, NY. | 2 | |||
Innocent X (after Velasquez) | 20x24 | 0 | |||||||||
Interior of Church of the Holy Innocents | Ink on paper | 5.75x4 | R. W. Weir, lower left | 0 | |||||||
Interior of Church with Priest Administering the Sacrament of Holy Communion | Ink on paper | 6.25x10 | West Point Museum Collections, U.S. Military Academy (2013) | 0 | |||||||
Isaiah the Prophet | Watercolor | 0 | |||||||||
Italian Landscape | ~1826 | Watercolor | 9x6.75 | Robt. W. Weir, lower right | Los Angeles Museum of Art (2019) | 0 | |||||
Italian Nobleman | 1825 | Ink drawing | 8.5x5.5 | R. W. W./1825 | Private Collection (1976) | 21 | 1 | ||||
Jeremiah the Prophet | 9.5x12.5 | 0 | |||||||||
Jewish Magicians | ~1832 | 1832 | Bought by James E. DeKay, the naturalist. | 1 | |||||||
Justice after Guilio Romano | ~1826 | Watercolor | 10.5x6 | Unsigned | West Point Museum Collections, U.S. Military Academy (2002) | 19 | 1 | ||||
Kaaterskill Falls, New York Falls of the Kaaterskill |
~1850 | Oil on canvas | 24.5x18.5 | R. W. Weir, lower left | Kennedy Galleries, New York (2002) | 59 | 7-8 | 5 | |||
Knight's Encounter | 1855 | Ink and wash with white | 15.125x19.25 | Robt. W. Weir/1855 | Los Angeles Museum of Art (2019) | 33 | 1 | ||||
Knight's Encounter, Study | ~1855 | Pencil and ink sketch | 8.75x6.25 | Unsigned | West Point Museum Collections, U.S. Military Academy (2002) | 34 | 1 | ||||
La Baretta La Berretta |
~1832 | 1832 | Same size as Greek Youth/Greek Girl. Costume was imitated from the Greek painting. | 2 | |||||||
Lady in a Red Bodice Louisa Ferguson Weir in a Large Hat |
~1830 | Oil on canvas | 35.5x27.5 | Inscribed 'by Robert Weir' on the stretcher | Private Collection (2019) | 3 | 3-24 | Subject is his wife Louisa | 4 | ||
Lady in White Collar | Oil on canvas | 30x25 | Brigham Young University Museum of Art (2019) | 0 | |||||||
Lake George | 1880 | Oil on canvas | 18.25x24 | Robt. Weir, middle left | 68 | Dated on stretcher 1880. | 2 | ||||
Landing of Columbus in America | 1 | ||||||||||
Landing of Henry Hudson, 1608 | 1835 | Oil on canvas | 33x48 | Robt. W. Weir (lower center) | Private Collection (2011) | 49 | Auctioned for $80,000 in 1988. Had at Verplanck Point,near Peekskill, New York in title; was acquired by Julian Verplanck [Gerdts p17]. Listed in Gerdts as unsigned, but auctions as signed. | 7 | |||
Landing of Henry Hudson, second version | ~1838 | Oil on canvas | 68x108 | Unsigned | David David Galleries, Philadelphia (2011) (2011) | 48 | 4-1 | RWW owned it. | 4 | ||
Landscape | 1849 | Pencil and brown ink heightened with white | 14.5x18 | R. W. Weir/1849, lower right | Yale University Art Gallery (1976) | 61 | Mainly one slanted tree | 1 | |||
Landscape Along the Hudson River | Oil on panel | 13x17 | R. W. Weir | 1 | |||||||
Landscape with Castle | Graphite on paper | 6.25x8.75 | Robt. Weir, lower right | Museum of Fine Arts, Boston (2019) | 0 | ||||||
Landscape with Cattle | 30x40 | 0 | |||||||||
Landscape, 19th century | Oil | 18.75x26.75 | Attributed | Detroit Institute of Arts (2019) | Has 3 men hiking(?) with 2 dogs, stopped and talking, with one pointing to something. | 0 | |||||
Landscape, View at Belville View of Belle-ville Italy |
~1827 | 1827 | Seems to be America (Belleville, NY), so unclear where 'Italy' came from. | 4 | |||||||
Lane Cottage | ~1850 | Oil on panel | 17x14 | Robt. W. Weir, lower left | West Point Museum Collections, U.S. Military Academy (2013) | 75 | 7-6 | This is the cottage Robert and Louisa moved into in 1837. Ahrens has it signed/dated, 1976 WP catalog shows as unsigned. Could be 2 versions? | 2 | ||
Last of the Mohicans | Oil on canvas | 49.5x40 | Signed and titled on the stretcher: Last of the Mohicans / by Robt. W. Weir | 1 | |||||||
Launching the Lifeboat | 1878 | For sale for $385 in 1878 (per NDA 1861-1900) | 1 | ||||||||
Louisa and Birdcage | Ink sketch | 5.25x6.75 | Robt. W. Weir, lower left | Private Collection (1976) | 5 | 1 | |||||
Louisa Ferguson, Sketch | R. W. Weir, lower left | From a plate negative (from PR26). Fairly simple, pen and ink? | 0 | ||||||||
Louisa Ferguson, Sketch | Unsigned | From a plate negative (from PR26). Playing a mandolin(?), with two other people visible. | 0 | ||||||||
Louisa Ferguson, Sketch | From a plate negative (from PR26). Watercolor? | 0 | |||||||||
Louisa Ferguson, Sketch | R. W. W., lower right | From a plate negative (from PR26). With a mandolin(?). 'Portrait sketch by Robert W. Weir, in all probability a portrait of Louisa Ferguson Weir, his wife.' Backing of photo refers to a companion sketch. | 0 | ||||||||
Louisa Resting at Table | Pencil sketch | 8x7.75 | Unsigned | Private Collection (1976) | 6 | 1 | |||||
Louisa Seymour, Young Woman | 0 | ||||||||||
Louisa Seymour, Young Woman | 0 | ||||||||||
Louisa Shaping her Nails | Pencil and red chalk, highlighed in white | Unsigned | Private Collection (1976) | 7 | 1 | ||||||
Louisa with Lute Woman with Mandolin |
Watercolor and graphite on paper | 18.25x14.25 | 0 | ||||||||
Madonna and Child | Watercolor | 0 | |||||||||
Magpies | 1855 | Pen and Ink | 16x21 | Likely same as Blackbird Pie (listed as watercolor, auctioned in 1990). Image is of magpies (which are black and white), not blackbirds (all black). | 0 | ||||||
Man in Oriental Costume | Ink heightened with opaque watercolor | 6.25x3.25 | National Gallery of Art (2019) | Has 'Rubini' and wording written on bottom | 0 | ||||||
Market Scene, Rome | 58x33 | 1 | |||||||||
Marmion and De Wilton The Meeting of Marmion and DeWilton (scene from Sir Walter Scott's Marmion) |
1880 | Oil on canvas | 27x34 | Listed in estate, same size as one in Irene list. Were there 2 the same size? | 3 | ||||||
Marmion and De Wilton | ~1831 | 1831 | 1 | ||||||||
Martyrdom of St. Agatha (after Paul Veronese) | 38x33 | 0 | |||||||||
Mary & Justiniana-VanDyck | Oil on canvas | 28x20.5 | 1 | ||||||||
Meditation | Oil on canvas | 18.125x30.3 | 1880 | For sale for $1,000 in 1880 (per NAD 1861-1990). | 2 | ||||||
Merry Wives of Windsor Dr. Caius and Simple Dr.Caius, Simple and Dame Quickly |
1830 | Oil on canvas | 21x17.25 | R. W. Weir/1830, lower left | Smithsonian American Art Museum, Washington, DC (1976) | 24 | 1830 | 5-3 | Listed by RWW as 'Dr. Caius and Simple' (Irene Weir p101) | 5 | |
Merry Wives of Windsor, drawing | Wash on paper | R. W. Weir, lower left | Princeton University (1972) | 5-5 | 1 | ||||||
Merry Wives of Windsor, drawing Falstaff Disguised as the Witch of Brentford |
1851 | Brown wash with some pencil on paper | 15x12 | Robt. W. Weir 1851, lower right | West Point Museum Collections, U.S. Military Academy (2002) | 27 | 5-6 | 2 | |||
Michael Scot's Tomb | 28x34 | 0 | |||||||||
Military Sketch: Drum | Graphite on paper | 4.25x7.25 | Museum of Fine Arts, Boston (2019) | 0 | |||||||
Military Sketch: Horse Artillery Sabre | Graphite on paper | 4.5x7.75 | Museum of Fine Arts, Boston (2019) | Center in graphite pencil: title | 0 | ||||||
Military Sketch: Pouch and Strap | Graphite and watercolor on paper | 9x5 | Museum of Fine Arts, Boston (2019) | 0 | |||||||
Military Sketch: Powder horn formerly used for cannon priming | Graphite and watercolor on paper | 9x5 | Museum of Fine Arts, Boston (2019) | Below drawing in graphite pencil: title | 0 | ||||||
Miscellaneous Group of Landscapes, Figures on Horseback, Portraits and Genre Scenes | Pen and Ink | 0 | |||||||||
Moonlight in the Coliseum Coliseum by Moonlight |
~1828 | 1828 | I had seen ~1845 as earliest; not sure where. But in NAD 1828. | 3 | |||||||
Moonlight through the trees | Oil on canvas | With J. Alden Weir | 1 | ||||||||
Moorland Scenery | ~1832 | 1832 | 1 | ||||||||
Moses | Apparently several versions were made in the 1850s. | 1 | |||||||||
Moses Viewing the Promised Land | Oil on canvas | 24x36 | Private Collection () | 6-4 | Gerdts says in this version, Moses looks out toward the viewer, with the angel behind, and less dramatic than the other version. On the left outer edge of the canvas is 'No 5/Moses on the Mount' (not Weir's writing). Initials 'R W W' appear on back of stretcher. Canvas from Goupil's, 772 Broadway, NY. | 1 | |||||
Moses Viewing the Promised Land | Oil on canvas | 20.25x24 | Unsigned | The National Collection of Fine Arts, Smithsonian Institution (1976) | 45 | 6-3 | Referred to by Gerdts as an oil sketch. In chalk on stretcher by someone: 'R W W', and in pencil 'Moses on [?] Mount [?]'. Canvas from Goupil's, 289 Broadway, NY. | 2 | |||
Mother and Child | Watercolor | An original pen and ink sketch | 0 | ||||||||
Mother and Children | Pencil/Paper | 5.5x7 | 1 | ||||||||
Mother and Children by Birdcage, Sketch | Unsigned | From a plate negative (from PR26). | 0 | ||||||||
Mother Embracing her Child | 1843 | Watercolor | 9.5x7.5 | 0 | |||||||
Mother with Children and Dog | 0 | ||||||||||
Mother's Lessons, Amalfi | 1857 | Oil on panel | 16x12 | R. W. Weir, 1857 (lower right) | 1 | ||||||
Mother's Love | Oil on canvas | 9.5x7.5 | Signed lower right | Bedford Fine Art Gallery (2017) | For sale by Bedford Fine Art Gallery as of 2017-2019 | 0 | |||||
Mountain Lake in an Autumn Evening | ~1834 | 1835 | 1 | ||||||||
Mountain Landscape | 8.5x10 | 0 | |||||||||
Mrs. Alden and Children Mrs. Bradford Ripley Alden and her Children Alden Family |
1852 | Oil on panel | Robt. W. Weir/1852, lower left | Detroit Institute of Arts (2019) | 3-28 | Wife of Bradford Alden, Commandant of West Point, and her children. DIA says oil on canvas; elsewhere said oil on board. | 3 | ||||
Mrs. Alden and Children, Study | ~1852 | Oil on canvas | West Point Museum Collections, U.S. Military Academy (1974) | 3-30 | Photo says on reverse: 'rough. Oil on canvas by Robt. W. Weir. Given to West Point 1974. Model for finished painting of Alden family. Ripley(?).' | 1 | |||||
Mrs. Siddons (after Sir Joshua Reynold's celebrated painting of the 'Tragic Muse') | 13.5x16 | 0 | |||||||||
Musketeer | 1824 | Ink and grey wash | 4.75x5.5 | R. W. W./1824 | Private Collection (1976) | 22 | 1 | ||||
Near Newburgh | Newburgh is where Washington's Headquarters was painted, but this appears to be a different painting. | 0 | |||||||||
Niagara Falls | Oil on canvas | 50.5x38 | R. W. Weir/53, lower right | 'William Hodgins (2003) | 67 | Gerdts says 1853; 1990 auction 'dated 5*', 1992 auction says 1858. | 3 | ||||
Night Over the Hudson | Robt. W. Weir, lower right | From a plate negative (from PR26). | 0 | ||||||||
The Old Hall | 1878 | 1 | |||||||||
Old Mortality | 1829 | Pencil drawing on heavy cream paper | 7.5x9.75 | R. W. Weir/Old Mortality/1829 | Amherst College (2019) | 2 | |||||
On The Balcony Young Woman Holding Loose Flowers |
1876 | Oil on board | 16.75x12 | Robt. W. Weir 1876, lower left | Could be a copy of Greek Girl and/or La Baretta? | 1 | |||||
On the Doorstep When Other Friends Are Round Thee |
~1853 | Ink drawing | 9x6.25 | Robt. W. Weir, lower left | National Gallery of Art (2019) | 81 | Two other similar drawings exist per Gerdts. | 1 | |||
On the Lookout, West Point, 1812 | Watercolor | 0 | |||||||||
One of Weir Children | Oil on canvas | 24x20 | Brigham Young University Museum of Art (2019) | 0 | |||||||
Othello | 1 | ||||||||||
Our Saviour in the Garden | 15.5x11.5 | 0 | |||||||||
Out Lord on the Mount of Olives | 1877 | For sale for $550 in 1877 (per NAD 1861-1900). | 1 | ||||||||
Pastoral Scene | 1854 | Oil on panel | 14.5x20 | Robert Weir/1854 | Munson-Williams-Proctor Institute, Utica, NY (1976) | 57 | 1 | ||||
Peter and John Curing the Lame | ~1830 | Sketch | 1831 | See Saint Paul Preaching at Athens for more details. | 3 | ||||||
Philip IV of Spain (after Velasquez) | 11.5x14.5 | 0 | |||||||||
Picnic on the Hudson Picnic along the Hudson |
1881 | Oil on canvas | 20x30 | Robt. W. Weir 1881, lower left | Palmer Museum of Art, State College, PA (2011) | 2 | |||||
Picnic on the Hudson View of Hudson Highlands |
May be in American Art Journal. | 0 | |||||||||
Picnic on the Hudson Sandscape View South West Point |
One image is from a plate negative (from PR26), with handwritten on reverse what appears to be 'Sandscape by RWW'. Another may be from 'Charmed Places'. | 0 | |||||||||
Picnic on the Hudson Picnic along the Hudson |
1868 | Oil on panel | 6.25x10.25 | Robt. W. Weir 1868 (lower left) | 2 | ||||||
Picnic on the Hudson The Artist s View From The West |
0 | ||||||||||
Pirates | Oil on board | 11.5x16.25 | Unsigned | 1 | |||||||
Playful Companions - Dog and Monkey | Oil on canvas | 13x16 | Has a dog and a monkey clearly visible. | 1 | |||||||
Playful New Friends | 1855 | Watercolor and bodycolor | 15x20 | 0 | |||||||
Pocahontas | Oil on panel | 12x9.5 | Private Collection (2002) | 0 | |||||||
Poet's Dream | 1850 | Watercolor with ink and pencil | 9.25x13.5 | Robt. W. Weir Nov 9th 1850, lower center | Private Collection (2002) | 87 | 1 | ||||
Poet's Dream | ~1830 | Watercolor and pen and ink over graphite pencil with white heightening | 6.75x9 | Robt. W. Weir, lower center | Detroit Institute of the Arts (2019) | 0 | |||||
Ponte della Trinita View of Ponte de la Trinta |
~1825 | 1832 | 2 | ||||||||
Portia at the Palace of Octavia Portico of the Palace of Octavia, now one of the markets of Rome |
1874 | Oil on canvas | 33.5x51 | Robt. W. Weir/1874, lower left | The Chrysler Museum at Norfolk (2013) | 79 | 1874 | A Roman street scene on market day. Listed as For Sale in 1869 (per NAD 1861-1900). | 4 | ||
Portrait Civil War Lt. before an encampment | Oil on canvas | Unsigned | 1 | ||||||||
Portrait of a Gentleman | 1872 | Oil on canvas | 30x25 | 0 | |||||||
Portrait of a Lady | 1869 | Listed as For Sale in 1869 (per NAD 1861-1900) | 1 | ||||||||
Portrait of a Woman Reading, Unfinished | Oil on canvas | 30x25 | Brigham Young University Museum of Art (2019) | 0 | |||||||
Portrait of a Woman, Unfinished | Oil on canvas | 37x27 | Brigham Young University Museum of Art (2019) | 0 | |||||||
Portrait of a young girl holding a vase of flowers A Young Girl |
1869 | Oil on canvas | 24x20 | 1 | |||||||
Portrait of Alexander James Perry, AAJ (1828-1913) | West Point Museum Collections, U.S. Military Academy (2002) | 0 | |||||||||
Portrait of an Unidentified Gentleman | 1874 | Oil on canvas | 30x36 | Robt. W. Weir, 1874 (upper left, red) | 1 | ||||||
Portrait of Captain Biggs | 2 | ||||||||||
Portrait of Charles Carrol Parsons | University of the South Art Gallery, Sewanee (2002) | 0 | |||||||||
Portrait of Col. Hardes | 2 | ||||||||||
Portrait of Col. Robert E. Lee | 1852 | 30x24 | Private Collection, Virginia (1972) | 3-12 | Painted just after the Mexican war. Owned by Anne Carter Lee of Washington, DC. | 4 | |||||
Portrait of Col. Sylvanus Thayer | 1834 | Oil on canvas | 30x25 | Brigham Young University Museum of Art (2019) | Traditional portrait, hands not visible. One source says 1834, BYU says circa 1844. | 1 | |||||
Portrait of Col. Sylvanus Thayer | 1843 | Oil on canvas | 30x25 | Robt. W. Weir/1843, upper right | West Point Museum Collections, U.S. Military Academy (2013) | 3-9 | Has hand visible, holding rolled paper. | 1 | |||
Portrait of Col. Sylvanus Thayer | ~1845 | Oil on canvas | West Point Museum Collections, U.S. Military Academy (1991) | 3-10 | Very similar to THAY2, but feet can be seen, and a paper on the table rather than books, mantle visible in upper right. | 1 | |||||
Portrait of Col. Sylvanus Thayer | 1845 | 13 | Was hanging at the Mess Hall at West Point (circa 1947?). Seated. | 4 | |||||||
Portrait of Col. Sylvanus Thayer, Study | West Point Museum Collections, U.S. Military Academy (2002) | 0 | |||||||||
Portrait of General Thomas J. Rodman | 1875 | Oil on canvas | Robt. W. Weir/1875, upper left | West Point Museum Collections, U.S. Military Academy (1976) | 3-19 | Rodman is seated in a red chair. | 1 | ||||
Portrait of General Totten | 1864 | Oil on canvas | 30x25 | West Point Museum Collections, U.S. Military Academy (2013) | Was at West Point circa 1947. 1848 date based on Jan 1849 letter p104 Irene Weir. | 1 | |||||
Portrait of General Winfield Scott | ~1855 | Oil on canvas | 33.75x26.75 | Unsigned | Metropolitan Museum of Art (2019) | 3-18 | Stamped on back 'From / William Schaus / 303 / Broadway / New York / Prints Seller / & Artists Colourman'. Difference from others: does not have lowest dark wrinkle in collar that others have. | 1 | |||
Portrait of General Winfield Scott | ~1855 | Oil on canvas | 34x27 | National Portrait Gallery, Smithsonian Institution (2019) | Was hanging at the West Point library circa 1947. Very similar to SCOT4. | 2 | |||||
Portrait of General Winfield Scott | 1856 | Oil on canvas | 34.25x27 | West Point Museum Collections, U.S. Military Academy (2013) | 3-17 | Differences from SCOT3 include: arm extends to left edge (SCOT3 has some landscape there), extra dark wrinkle on collar. Very similar to SCOT1. | 2 | ||||
Portrait of General Winfield Scott | Oil on canvas | West Point Museum Collections, U.S. Military Academy (1976) | 3-13 | Has 7 buttons on the left side. Stretcher signed 'R. W. Weir/West Point/to be handled with care', and stretcher has Edward Dechaux trademark. | 1 | ||||||
Portrait of General Winfield Scott, Sketch | Pen and ink on blue paper | Private Collection, Massachusetts (1972) | 3-16 | 1 | |||||||
Portrait of General Winfield Scott, Unfinished | Oil on canvas | Private Collection, Massachusetts (1972) | 3-14 | Perhaps an oil sketch for SCOT5. Finished face, but thinly brushed jacket. | 1 | ||||||
Portrait of Genl. Winfield Scott | Oil on canvas | 22x27 | Butterfield Library (2019) | 3-15 | Differences from others: bottom two buttons on right side are far apart (e.g. could fit a full button between them), not 'squished'. | 1 | |||||
Portrait of Governor Throop | 1834 | Oil on canvas | New York City Art Commission/City Hall (2002) | 1834 | 3-2 | Was hanging in New York City Hall as of 1947. | 4 | ||||
Portrait of James Monroe | 1873 | Oil on canvas | 29.5x24.5 | The Pentagon (1972) | In style of Asher Brown Durand's engraving per Ahrens. Secretary of War. | 1 | |||||
Portrait of Jared Mansfield, after Thomas Sully | ~1837 | Oil on canvas | Yale University Campus (2002) | 3-8 | 1 | ||||||
Portrait of Joel Roberts Poinsett | Oil on canvas | 29.5x24.5 | Attributed | The Pentagon (1972) | Secretary of War | 1 | |||||
Portrait of John Canfield Spencer | 1873 | Oil on canvas | 29.5x24.5 | The Pentagon (1972) | Secretary of War | 1 | |||||
Portrait of John Ferguson Weir | ~1864 | Oil on canvas | 20x16 | National Academy Museum, New York (2011) | 3-21 | 2 | |||||
Portrait of John Henry Eaton | 1873 | Oil on canvas | 29x24 | The Pentagon (1972) | Secretary of War | 1 | |||||
Portrait of Joseph Tuckerman | 0 | ||||||||||
Portrait of Louisa Ferguson Weir Bust Portrait of Louisa Ferguson Weir |
~1845 | Oil on canvas | 30x25 | Brigham Young University Museum of Art (2011) | 0 | ||||||
Portrait of Louisa Ferguson Weir | Oil on board | 11.25x7.75 | Inscribed on the reverse | Private Collection (2019) | 0 | ||||||
Portrait of Louisa Ferguson Weir, Half-Length | Oil on canvas | Private Collection, Connecticut (1972) | 3-25 | 1 | |||||||
Portrait of Lt. Jerome Napoleon Bonaparte | 2 | ||||||||||
Portrait of Mayor Gideon Lee | Assuming Gideon Lee; Tuckerman refers to Mayor Lee suggesting portrait was at New York city hall. | 0 | |||||||||
Portrait of Major R. S. Baker | Oil on canvas | 34x27 | Private Collection (2002) | 9 | Baker was Julian Alden Weir's father-in-law. Stretcher inscribed 'Robt. W. Weir/West Point, N.Y.' | 2 | |||||
Portrait of Mayor Walter Bowne | Oil on canvas | 36x29 | Unsigned | New York City Hall (2002) | 3-4 | New York mayor. Is/was at New York City Hall | 2 | ||||
Portrait of Military Officer with Beard Portrait of a Military Officer, Likely Truman Seymour |
~1860 | Oil on canvas | 27x22 | Brigham Young University Museum of Art (2019) | 1 | ||||||
Portrait of Military Officer, purportedly Richard Delafield | Oil on canvas | 27x22 | Attributed. | 1 | |||||||
Portrait of Miss Vanderbilt | Oil on canvas | 32x22 | 1 | ||||||||
Portrait of Mrs Rawlins Lowndes Charleston SC | 1825 | Oil on canvas | 24.125x17 | Verso: 'Mrs. Rawlins Lowndes' and year(?) | 2 | ||||||
Portrait of Mrs. Alden | 1 | ||||||||||
Portrait of Mrs. Francis Rider Mrs. Francis Rider |
1840 | Oil on canvas | 34x27 | 8 | 2 | ||||||
Portrait of Professor Davies | 1 | ||||||||||
Portrait of Professor Dennis Hart Mahan | 1872 | Oil on canvas | 31x26 | West Point Museum Collections, U.S. Military Academy (2013) | 1 | ||||||
Portrait of Professor Jacob W. Bailey | 1875 | Oil on canvas | 30x25 | Robt. W. Weir/1875, upper right | West Point Museum Collections, U.S. Military Academy (2011) | 11 | 3-20 | This is a true portrait, separate from The Microscope | 2 | ||
Portrait of Professor William H. C. Barlett | ~1871 | Oil on canvas | 30x25 | Unsigned | West Point Museum Collections, U.S. Military Academy (1976) | 12 | 2 | ||||
Portrait of Thomas Hamilton, Esq. | ~1832 | Smithsonian American Art Museum, Washington, DC (2002) | 1832 | Author of Cyril Thornton | 1 | ||||||
Portrait of Thomas Hamilton, Sketch | ~1832 | 1832 | Author of Cyril Thornton | 1 | |||||||
Portrait of Truman Seymour | 1846 | Oil on canvas | 29x25 | Unsigned | Private Collection (2019) | 10 | Originally listed as ~1852. 1996 data shows year as 1846. | 3 | |||
Portrait of Walter Weir | 1853 | Oil on canvas | 16x12 | Robert W. Weir. NA | Trinity College, Hartford (2002) | 4 | 1853 written on back of frame. | 2 | |||
Portrait of William Weir | 1850 | Oil on panel | 10x8 | Unsigned | 1 | ||||||
Portrait of William Wilkins | 1873 | Oil on canvas | 29.5x24.5 | The Pentagon (1972) | Secretary of War | 1 | |||||
Portrait Study of a Young Man | ~1827 | Oil on panel | 10x8 | Brigham Young University Museum of Art (2019) | 0 | ||||||
Portraits of Three Pointer Dogs | ~1829 | 1829 | 1 | ||||||||
Praying Figures in a Church, Florence | ~1825 | Pen and brown and black ink with brown wash over graphite on wove paper | 7x9.25 | R. Weir, lower left | National Gallery of Art (2019) | 0 | |||||
Presentation in the Temple | 1835 | Oil on canvas | 35.5x29.5 | Robt. W. Weir. Pinxt-West Point, 1835, lower center | Private Collection (1972) | 38 | 1836 | 6-1 | Based on Luke 2:22-39 | 6 | |
Presentation in the Temple The Blessing; After Rembrandt |
Oil on panel | 7.5x8 | R.W.W. A Study from Remb | Private Collection (2020) | In 2020 in a deep dish cove frame, likely original. Signed by RWW as 'After Rembrandt'. Study for PRES1? [RENAMED FROM BLES1 to PRES2] | 1 | |||||
Profile of Louisa | 0 | ||||||||||
Prophet after Perugino | ~1826 | Watercolor | 8.5x4.25 | Unsigned | West Point Museum Collections, U.S. Military Academy (2013) | 18 | 1 | ||||
Reading by Mountain Lake | Oil on canvas | 18x30 | Private Collection (2002) | 1 | |||||||
Rebecca | 1835 | Oil on canvas | 23x19 | Robt. W. Weir/1835 | Private Collection (1976) | 26 | 1835 | 5-1 | 3 | ||
Rebecca | 1832 | Oil on canvas | 22.5x19.125 | Gerdts says 'several paintings of Rebecca', one owned by Baltimore patron Robert Gilmor. From Sir Walter Scott's Ivanhoe. | 3 | ||||||
Red Jacket Sagoyewatha |
1828 | Oil on canvas | New York Historical Society (2019) | Gerdts specifies that there is another version owned by New York State Historical Society, but credits the listed painting as being owned by New York Historical Society. | 0 | ||||||
Red Jacket | 1828 | 30.5x21 | R. W. Weir/1828, lower left | 14 | 1829 | 3-1 | Painted at the request of Dr. J. W. Francis of New York. Was in possession of banker Samuel Ward per Gerdts. | 8 | |||
Rembrandt's Mother | 1822 | Etching printed in black on laid japan paper | 3.5x3.25 | R. W. Weir/1822, center left | Detroit Institute of Arts (2019) | 0 | |||||
River and City view A River And City View Through Moonlit Clouds |
Oil on panel | 5x8 | 1 | ||||||||
Robed Man in an Archway | 1840 | Sepia wash and chinese white on paper | 8.5x5 | Robt. W. Weir 1840, lower left | 1 | ||||||
Rocky Palisades Giant s Causeway | 1878 | Watercolor | 11x15 | Brigham Young University Museum of Art (2019) | 0 | ||||||
Roman Forum | 0 | ||||||||||
Ruins of Fort Putnam, Near West Point on Hudson | Crayon and watercolor over graphite on paper | 14x19 | Robt. W. Weir, lower right | Museum of Fine Arts, Boston (2019) | Academic Drawing. Ruined fort with steps center, and two arched entrances right, light shining through broken walls left; glimpse of water beyond. | 1 | |||||
Rural Landscapes | Drawing (3) | 12.5x17.5 | 0 | ||||||||
Saint Nicholas Santa Claus, Study Saint Nick, Etching |
Private Collection () | Note dark shoe on bottom right, compared to light shoe in STNS1. | 0 | ||||||||
Saint Nicholas Santa Claus, Study | ~1837 | Ink | 13x15.75 | Unsigned | Private Collection (1976) | 31 | 1 | ||||
Saint Nicholas, Type 1 | 1837 | Oil on panel | 19.5x23.5 | Unsigned | Horizontal format, overmantle small, not much flooring visible. | 2 | |||||
Saint Nicholas, Type 2a The Night Before Christmas |
1838 | Oil on panel | 30x24.5 | Robt. W. Weir, West Point/1838, lower left | Butler Institute of American Art () | 30 | 5-10 | Only version signed and dated Saint Nicholas. Stockings initialed WW, AW, WW. Cuffs are green. | 3 | ||
Saint Nicholas, Type 2b | Oil on panel | 29.75x24.5 | Unsigned | National Museum of American Art, Smithsonian Institution, Washington, DC (2011) | Like NYHS version, but cuffs are blue. Stockings are initialed WW (left) and M (or LM?) (center). | 1 | |||||
Saint Nicholas, Type 2b | Oil on panel | 30x23.5 | Unsigned | New York Historical Society (1976) | 29 | Cuffs are brown. Stockings initialed WW on left, perhaps RW in middle. | 1 | ||||
Saint Nicholas, Type 2b | Oil on canvas | 30x25 | Unsigned | Sheldon Swope Art Gallery, Terre Haute, IN () | May not be by Weir (canvas not board, variations in technique). Stockings initialed JMB (left), M. R. Burrian (center), ERB (EBB(?)) (right). | 0 | |||||
Saint Nicholas, Type 2b | Oil on panel | 30x24.5 | Unsigned | Left stocking initialed 'WW', 'BW'(?) center stocking. | 2 | ||||||
Saint Nicholas, Type 3 | Watercolor on paper | Unsigned | Private Collection (1953) | Upturned stool on bottom left is not present. Likely a study for a Type 3 painting (which may have been done and given to J. Alden Weir) | 0 | ||||||
Saint Paul Preaching at Athens | 1821 | 120x96 | His first major work, at Columbia College per Irene Weir, but CC has no record per Gerdts. He was paid $200 to paint it. It took about 9 months per History of the Arts of Design. | 4 | |||||||
Saint Paul Preaching at Athens | ~1821 | A small sketch , which Mr. Paff bought for $5, and later declined to sell for $50 (but did!). Details in History of the Arts and Design p182. The $50 buyer had RWW do a companion, Peter and John Curing the Lame, which Mr. Paff then bought along with buying back this one. | 1 | ||||||||
Saint Peter at the Sepulchre | Watercolor | 0 | |||||||||
Saint Peter Healing the Lame Man, a Sketch for a Larger Picture | 1 | ||||||||||
Saints Peter and John at the Tomb of Our Saviour | 29x36 | 0 | |||||||||
Saving the Flag, Sketch | R. W. Weir, lower right | From a plate negative (from PR26). Reminiscent of Iwo Jima flag image. | 0 | ||||||||
Scene at Indian Falls, near West Point | 26.5x21.5 | 1878 | For sale for $660 in 1878 (per NAD 1861-1900) | 1 | |||||||
Sealing the Tomb of Our Saviour | Sepia drawing with India ink wash | Robt. W. Weir, lower center | Private Collection, McLean VA (1972) | 6-7 | 1 | ||||||
Seascape | Putnam County Historical Society (2001) | 0 | |||||||||
Seascape Marine |
Oil | R. W. Weir, lower right | The grayish-green waters of the sea lap the rocks at left, upon which towers the lighthouse; at right is a square-rigged sailing ship, and beyond are glimpsed another sailing ship and a steamer (from Oil Paintings of AAA). #45 in that book; apparently sold for $180 per handwritten note in book. | 0 | |||||||
Seascape with a Ship and Lighthouse Seascape, Lighthouse |
1869 | Oil on canvas | Robt. W. Weir/1869, lower left | Vose Galleries, Boston (1972) | 7-12 | Looks like a mirror image of description of SEAS1 | 1 | ||||
Seated Mother And Child | Oil on canvas | 20x16 | Brigham Young University Museum of Art (2019) | Appears to be a very young child, just barely able to stand. | 0 | ||||||
Seated Woman and Child | 1855 | Ink with pen and brush on paper | Private Collection, Massachusetts (1972) | 3-29 | Appears to be a young child, several years old | 1 | |||||
Seated Woman with Child | Sketch. From cdpics. From American Art Journal? | 0 | |||||||||
Self Portrait | 1824 | Oil on canvas | 25x20 | R. W. Weir/1824, lower left | Private Collection (1976) | 2 | Appears to be around 21 years old, as the date would suggest | 1 | |||
Self Portrait Self Portrait as an Old Man |
~1860 | Oil on canvas | 30x25 | New York Historical Society (2019) | 3-23 | Inscription: on paper label: 'R. W. Weir / West Point / N.Y. / with care'. Ahrens says there is a hole in the center of the canvas, and the condition is very poor. | 1 | ||||
Self Portrait Self Portrait as a Young Man |
Oil on paper on cardboard | 11.75x9.5 | Unsigned | Worcester Art Museum (2011) | 1 | 3-22 | Unfinished. | 3 | |||
Self Portrait a/k/a Portrait of Prof. Weir by himself Self Portrait as an Old Man |
~1865 | Oil on panel | 17x14 | Brigham Young University Museum of Art (2019) | 3-24 | As an 'old man' | 3 | ||||
Seventeenth Century Hapsburg Court Scene | Oil on canvas | 19.25x26.25 | Brigham Young University Museum of Art (2019) | 0 | |||||||
Seventeenth Century Russian Court | Oil on canvas | 19.25x26.25 | Brigham Young University Museum of Art (2019) | 0 | |||||||
Sheet of Sketches | Graphite on paper | 11x8 | Museum of Fine Arts, Boston (2019) | 13 figure sketches | 0 | ||||||
Sheet of Sketches 2 | Pen and iron-gall ink on off-white wove paper | 5.25x3.5 | R. W. W., lower right | Metropolitan Museum of Art (2019) | Has 'Robert W. Weir' written on mount, but signature is R.W.W. From McGuire Scrapbook | 0 | |||||
Ship at Sea | Drawing-Watercolor, Watercolor/Paper | 6.25x10 | 0 | ||||||||
Shipwreck | Graphite on off-white wove paper | 5.25x7.5 | Weir, lower right | Metropolitan Museum of Art (2019) | 0 | ||||||
Sleeping Lute Player | ~1850 | Watercolor on paper | 13.5x9.75 | Robt. W. Weir, lower left | Museum of Fine Arts, Boston (2019) | Girl in medieval costume asleep in high-backed chair by table on which rests a lute. Dog asleep at her feet. Ornamental fireplace in background left. | 0 | ||||
Solitude | Drawing-watercolor, black chalk | 14.5x18.5 | 1 | ||||||||
Study of a Young Woman | Oil on panel | 12.25x10.25 | Initialed 'R. W....' l.l., inscribed 'by/Robert W. Weir/WEIR' in pencil on the reverse. | 1 | |||||||
Subsiding of the Water | 1 | ||||||||||
Summertime | Watercolor | 0 | |||||||||
Sunset | ~1831 | 1831 | 1 | ||||||||
Sunset Over a Bridge/Sunrise | 1847 | Drawing (2) | Kennedy Galleries, New York () | 1 | |||||||
Sunset, a View Near Rome | 1829 | 1829 | 1 | ||||||||
Temple of Paestum a/k/a Paestum by Moonlight | Mentioned in letter from JFW to JAW dated 08 Jun 1895 of better specimens of their father's work. | 2 | |||||||||
The Antiquary The Antiquary Introducing Lovel to his Womankind |
1830 | The Antiquary is a book by Sir Walter Scott. Presumably a painting from which a plate was made for the book. | 4 | ||||||||
The Bailey Family at Fordham on Harlem | 1874 | Oil on canvas | 25.5x35.5 | Robt. W. Weir/1874, lower left | Private Collection (1972) | 17 | 2 | ||||
The Bailey Family at Fordham on Harlem, Study | ~1874 | Pencil and ink wash | 4.5x6.5 | Unsigned | National Gallery of Art (2019) | 16 | 1 | ||||
The Bailey Family at Fordham on Harlem, Study | 1873 | Robt. W. Weir/1873, lower left | 16 | Apparently sold on eBay in 2002. | 1 | ||||||
The Belle of the Carnival | 1874 | Was for sale for $550 in 1874 (per NAD 1861-1900). | 2 | ||||||||
DUPLICATE: See PRES2 | Was originally assigned BLES1. However, it is the exact same subject as PRES1, so renamed. | 0 | |||||||||
The Broken Arrow | Watercolor | 0 | |||||||||
The Child's Dream | 19.5x14.5 | 0 | |||||||||
The Coming Storm | Watercolor, India Ink | 0 | |||||||||
The Confirmation | Watercolor | 0 | |||||||||
The Counsellor The Old Counselor Hooded Monk Reading a Pape |
Oil on panel | 14x10 | Two versions (per pictures). One exhibited at NAD in 1842. | 0 | |||||||
The Counsellor The Old Counselor Hooded Monk Reading a Pape |
Oil on board | 12x10 | 1 | ||||||||
The Duet | 1829 | Pen and black ink on blue paper | 9.75x7.75 | R. W. Weir/1829, lower left | Museum of Fine Arts, Boston (2019) | Woman seated, playing guitar; at right, lightly indicated, man standing playing flute. Both seen from rear. | 0 | ||||
The Freed Bird | ~1850 | 1850 | 1 | ||||||||
The Greenwich Boat Club | 1833 | Oil on canvas | 21.25x30.5 | R. W. Weir, dated 1833, l.r. | 15 | 1833 | 7 | ||||
The Hudson Highlands | Watercolor | 0 | |||||||||
The Indian Chief | Pen and ink on paper | 9.75x8 | Weir, lower center | Museum of Fine Arts, Boston (2019) | Assumed to be same as one in West Point death notice. MFA says many notes in graphite pencil. | 1 | |||||
The Infant Hercules (after Sir Joshua Reynolds) | 8x10 | 0 | |||||||||
The Last Communion of Henry Clay | ~1870 | Oil on board | 35x42.75 | Attributed | Kentucky Historical Society (2019) | Most noticeable is the black outfit of the priest (versus white in the others). 'This genre painting depicts an obviously ill Henry Clay wearing a red bed jacket sitting up in bed. The bed is located in front of window through which light is shining on Clay. Red velvet curtains surround the window; with one panel pulled to the side. On the window ledge can be seen a pocket watch, a vase with flowers, a bell and a book. There is a priest dressed in black garments standing next to the bed with a gold communion cup in his hand. To the left of the priest is an African-American man kneeling beside a chair. He is dressed in a brown coat and gray trousers. Behind him and the priest is a table covered with a red cloth with an additional white cloth on top of it. On the table is the priest's pitcher of communion wine and his Bible. In the background is a painting on the wall to the left of a fireplace. There is a red, green, and yellow patterned carpet on the floor. ' | 0 | ||||
The Last Communion of Henry Clay | 1852 | Oil on canvas | 28.25x35.5 | The Johnson Collection, Spartanburg, SC (2019) | 4-17 | Appears to be a finished product (e.g. has items on windowsill). Appears to match Ahrens plate 4-17, but might not. | 4 | ||||
The Last Communion of Henry Clay, Study | Oil on canvas | 23.5x30 | Unsigned | Private Collection (1976) | 42 | 4-16 | Gerdts writes that it has 'none of the finish of a completed product', and owned by Henry C. Robinson, Jr. Has no items on windowsill, for example. | 2 | |||
The Last Communion of Henry Clay, Study | en ink htd.white | 5.75x8 | 0 | ||||||||
The Last Communion of Henry Clay, Study | Watercolor | 1 | |||||||||
The Lesson | 1869 | Oil on canvas (1983) or Oil on board (1981) | 8x7 | 1 | |||||||
The Letter | 1851 | W/C gouache | 14x11 | lower left | 0 | ||||||
Reading the Letter | 1868 | Could be the same as LETT1? | 1 | ||||||||
The Little Reader | Watercolor on paper | 12.75x10.5 | Robt. W. Weir, lower left | Museum of Fine Arts, Boston (2019) | Child looking at open book resting on chair. | 0 | |||||
The Microscope An Old Philosopher showing the Microscope to two Boys |
1849 | Oil on canvas | 30x40 | Robt. W. Weir/1849, lower center | Yale University Art Gallery (2011) | 84 | 1878 | 3-26 | Pictured is Jacob Whitman Bailey, Professor of Chemistry at West Point. Mentioned in letter from JFW to JAW dated 08 Jun 1895 of better specimens of their father's work. | 6 | |
The Morning After the Crucifiction | 13x19.5 | Possibly the 'third version' of crucifixion theme mentioned in 'Religious Paintings' p747. | 0 | ||||||||
The Morning Glory | 16x13.5 | 0 | |||||||||
The Morning Toilet (after C. R. Leslie) | 8.5x10.5 | 0 | |||||||||
The Mother | ~1850 | 1850 | 1 | ||||||||
The Muse of Painting | 8.5x10.5 | 0 | |||||||||
The Old Forum as seen through the arch of Titus | 2 | ||||||||||
The Old Merchant Robed Scholar, Amerigo Vespucci |
Watercolor, pencil/paper | 19x15.5 | Unsigned | Private Collection (2019) | 80 | Gerdts refers to this as 'Robed Scholar', comparing the garb with The Microscope, and that the linen closet is the same as The Microscope and The Bailey Family at Fordham on Harlem. Art Bulletin says chair is used in Saint Nicholas, The Microscope, The Bailey Family at Fordham. | 1 | ||||
The Old Merchant Amerigo Vespucci |
1848 | Oil on canvas | 20x16 | R. W. Weir, 1848, lower right | Private Collection (2019) | Listed in 1999 auction as 1842, 2019 auction as 1848. | 3 | ||||
The Old Mill | Drawing-watercolor, graphite/paper | 8.5x12.25 | 0 | ||||||||
The Old Philosopher | 26.5x33.5 | 0 | |||||||||
The Old Philosopher | Watercolor | 0 | |||||||||
The Opening of Michael Scot's Tomb | Watercolor | 0 | |||||||||
The Passing | 1843 | Watercolor | 9.5x7.5 | 0 | |||||||
The Penitent | Watercolor | 0 | |||||||||
The Sea Shell | ~1850 | 1850 | 1 | ||||||||
The Snow Plow | 1872 | Oil on gesso panel | 12x19 | Robt. W. Weir/1872, lower right | West Point Museum Collections, U.S. Military Academy (2013) | 74 | 1878 | 2 | |||
The Spy | A spy followed by 2 horsemen on prancing steeds. | 1 | |||||||||
The Taking of the Veil The Consecration of a Nun |
1863 | Oil on canvas | 49.5x39.75 | Robt. W. Weir/1863, lower left | Yale University Art Gallery (2011) | 39 | 4-18 | Nun is Carlotta, daughter of Larenzana family. Mentioned in letter from JFW to JAW dated 08 Jun 1895 ( the Nun ) of better specimens of their father's work. A Percy said that his mother bought the painting for $3,000 and offered to gift it to the Metropolitan Museum of Art, per letter of JFW to JAW dated 05 May 1903. | 6 | ||
The Taking of the Veil, Sketch The Consecration of a Nun |
1826 | (sketch) | 1832 | The original sketch, taken when the event took place. | 2 | ||||||
The Vintage | ~1831 | 1831 | 1 | ||||||||
The Weeping Stones (Temple at Jerusalem) | 14x19.5 | 0 | |||||||||
The White Mountains (from Crawford Notch) | 19x11.5 | 0 | |||||||||
The Young Italian | 1880 | For sale for $1,500 in 1880 (per NAD 1861-1900) | 1 | ||||||||
The Young Painter | 1879 | 1 | |||||||||
There is No Place Like Home | 20.5x14.5 | 0 | |||||||||
Three Days | 1 | ||||||||||
Three Men Before a Fireplace | 1843 | Watercolor | 12x9 | Brigham Young University Museum of Art (2019) | 0 | ||||||
Tis but Fancy's Sketch | Graphite on wove paper | 10.5x8.25 | National Gallery of Art (2019) | 0 | |||||||
Titian in his Atelier a/k/a Titian in his Studio | 11.5x17.5 | 1878 | Estate Catalogue and Gerdts have as 'Atelier'. For sale for $500 in 1878 (per NAD 1861-1900). | 3 | |||||||
Title Page to an Unpublished Edition of Skakspeare | Watercolor | 0 | |||||||||
Trout Stream in the Katskills | Watercolor | 0 | |||||||||
Two Levant Magicians | 1830 | Oil | 9.25x7.5 | IAP 71771799 | 0 | ||||||
Two Marys at the Sepulchre | 1865 | Oil on canvas | 36x48 | Robt. W. Weir, 1865, lower left | Private Collection (2019) | 1865 | Framed dimensions 42x55. High auction estimate 50-70 British Pounds (>$100K high end) | 5 | |||
U. S. Sword Hilt, with Double Band of Decoration | Graphite on paper | 10.5x8.75 | Museum of Fine Arts, Boston (2019) | 0 | |||||||
U.S. Volunteer Militia | ~1842 | Oil on canvas | 17x14 | Robt. W. Weir, lower left | West Point Museum Collections, U.S. Military Academy (2011) | 78 | 2 | ||||
U.S.B. Exchange | Sepia wash with pencil | 8.5x14 | R. W. Weir, lower right | Private Collection (1976) | 23 | 1 | |||||
Under the Evening Lamp | Watercolor | 0 | |||||||||
Unknown, from The Estate of Ambassador Pamela Harriman | 1 | ||||||||||
Venice A Pier at Venice |
Oil on canvas | 30x25 | R. W. Weir, lower center on the raft | 2 | |||||||
View Across Shrewsbury Inlet | 1878 | For sale for $385 in 1878 (per NDA 1861-1900) | 1 | ||||||||
View in Rome | 1829 | 1828 | 2 | ||||||||
View from the Top of Cronert, (?) looking southeast | 1880 | For sale for $200 in 1880 (per NAD 1861-1900) | 1 | ||||||||
View of Breakneck Hill near West Point Breakneck Hill, West Point |
1848 | 1848 | 2 | ||||||||
View of Hudson River Valley, Environs of West Point | ~1840 | Oil on canvas | 12x16 | West Point Museum Collections, U.S. Military Academy (2013) | 0 | ||||||
View of Matteawan | 1 | ||||||||||
View of the Hudson View South from West Point |
~1870 | Oil on canvas | 12x20 | R. W. Weir, lower left | Putnam County Historical Society (2002) | 64 | 1 | ||||
View of the Hudson from West Point A view of the Highlands from West Point |
1863 | Oil on canvas | 32x48.5 | Separate from 1864 version. See [https://www.the-athenaeum.org/art/full.php?ID=12227#] (e.g. 1863 has a man behind the couple with the umbrella) | 1 | ||||||
View of the Hudson River | 1869 | Oil on canvas | Robt. W. Weir/1869, lower left | Fruitlands Museum, Harvard, MA (2014) | 7-11 | Similar to HUDS1/HUDS2, but painted from father away. Two cannons, but people by both of them (HUDS1/HUDS2 only have people at left cannon). Hudson River Highlands (1991) shows as owned by West Point, but as of 2014 was at Fruitlands Museum. | 1 | ||||
View of the Hudson River | 1864 | Oil on canvas | 32x48 | Robt. W. Weir/1864, lower left | West Point Museum Collections, U.S. Military Academy (2013) | 66 | 1865(?) | 7-10 | Inscribed on the label on the back of the stetcher: 'With great care./Prof. Weir/Westpoint [sic]/N.Y.' NAD 1865 has #507 The Highlands, from West Point. For sale. | 4 | |
View of the Lunatic Asylum, at Bloomingdale | ~1835 | 1835 | 1 | ||||||||
View of the Old Federal Hall in Wall-street | ~1835 | 1835 | 1 | ||||||||
View of West Bank of Hudson | 1 | ||||||||||
View of West Point | Watercolor | 2.75x4.25 | R. W. W., lower left | Los Angeles Museum of Art (2019) | 0 | ||||||
View on the Lake of Bolsena | ~1832 | 1832 | 1 | ||||||||
View Up the Hudson, from the North Battery | ~1835 | 1835 | 1 | ||||||||
Virgil's Tomb | 1 | ||||||||||
Visiting Day at West Point | Oil on art board | 16x20 | Robt. W. Weir, lower left | Private Collection (1976) | 76 | Verso: 'Visiting day at West Point' | 1 | ||||
War | Watercolor | Made with Peace for the painting in the Chapel at West Point | 0 | ||||||||
War and Peace Peace and War |
1840 | Mural, Oil on canvas | 132x264 | Unsigned | Old Cadet Chapel, U.S. Military Academy (1976) | 35 | 6-18 | At the Academy Chapel at West Point. Still there as of about 1947. Gerdts lists as 1836-1840. | 4 | ||
War and Peace, Sketch of 3 figures | Pen and brown ink with some pencil on paper | 6-13 | Three allegorical figures | 1 | |||||||
War and Peace, Sketch of 3 figures | Pen and ink, brown wash, and pencil on paper | R. W. Weir, lower right | 6-14 | Three allegorical figures | 1 | ||||||
War and Peace, Sketch: Scales of Justice | Ink wash on blue paper | R. W. W., lower right | Private Collection, Massachusetts (1972) | 6-12 | Two seated women, pile of allegorical symbols, cornucopia, scales of justice. | 1 | |||||
War and Peace, Study for Peace Standing Saint (mistitled) |
Wash with pen and ink on paper | 12x8.75 | R. W. W., lower right | National Gallery of Art (2019) | 6-16 | 1 | |||||
War and Peace, Study for Peace | Sepia wash | 13.5x9.75 | R. W. W., lower right | Private Collection (1976) | 36 | 6-17 | Made with War for the painting in the Chapel at West Point. Similar to WARS5. | 2 | |||
War and Peace, Study for Peace Polyhymnia |
Wash with pen and brown ink on paper | 14.75x9.25 | R. W. Weir, lower right | West Point Museum Collections, U.S. Military Academy (2002) | 20 | 6-15 | Peace is looking down and to the left. Idealized figure playing the harp. | 2 | |||
Washington's Headquarters at Newburgh | Oil on canvas | 14.25x20.25 | West Point Museum Collections, U.S. Military Academy (2013) | This version has no cows in front | 0 | ||||||
Washington's Headquarters at Newburgh | ~1834 | Oil on canvas | 22x27 | Unsigned | 70 | 1933 postage stamp with image based on Smillie's engraving based on this painting. | 2 | ||||
Weir Family Interior | Oil wash and graphite on panel | 19.25x26.5 | West Point Museum Collections, U.S. Military Academy (2013) | Has 17 individuals, 16 around a table, one sitting in a chair. | 0 | ||||||
West Point | Oil on panel | 10x14 | Robt. Weir/18--, lower left | Kennedy Galleries, New York (1976) | 65 | Has two cannons visible close to viewer. | 2 | ||||
When Soft Stars are Peeping | ~1850 | 1850 | 1 | ||||||||
Woman and Child, Study I 1843 |
Pen and ink on yellow paper | 13.5x11.25 | Robt. W. Weir/1843, lower left | Museum of Fine Arts, Boston (2019) | 0 | ||||||
Woman and Child, Study II 1843 |
Pen and ink on yellow paper | 14.5x11 | Robt. W. Weir/1843, lower left | Museum of Fine Arts, Boston (2019) | 0 | ||||||
Woman and Dog, Sketch | R. W. W., lower left | From a plate negative (from PR26). Woman is looking down. | 0 | ||||||||
Woman in an Interior | 8x5.25 | 0 | |||||||||
Woman Looking Up, Unfinished | Oil on canvas | West Point Museum Collections, U.S. Military Academy (1974) | 0 | ||||||||
Woman Praying | Pencil and chalk drawing | 9x6.75 | Unsigned | West Point Museum Collections, U.S. Military Academy (2002) | 44 | 1 | |||||
Woman Reaching to Ship | Oil on canvas | 24x37 | Robert W. Weir | 1 | |||||||
Woman Reading | 0 | ||||||||||
Women and Sleeping Child | Ink sketch | 3x4.5 | Unsigned | Private Collection (1976) | 86 | Woman on left is leaning on bed with one arm | 1 | ||||
Women and Sleeping Child | Ink on paper | 7.5x10.5 | Robt. W. Weir, lower right | West Point Museum Collections, U.S. Military Academy (2013) | Woman on left has arms folded | 0 | |||||
Women in a Landscape | 1869 | Oil on board | 9.75x8.75 | R. W. W./1869, lower right | Private Collection (2017) | Unclothed woman with 2 young girls, looking at a book? Painting? Note: William Gerdts passed away in April, 2020. | 0 | ||||
Young Girl Caring for Infant | Gouache | 5x4 | 2 | ||||||||
Young Woman and Her Dogs | 1879 | Oil on canvas | 32x25 | Signed/dated lower right | 1 | ||||||
Young Woman Artist | 1879 | Oil on panel | 11x8.25 | 0 |