These paintings are from a larger mural cycle executed in 1982 for the Philip Morris Company, now known as Altria. The series comprises 22 paintings, totaling nearly 200 running feet. It was commissioned for the basement-level corporate dining room in the company’s building at Park Avenue and 42nd Street. Installed around the entire perimeter of the dining room, the murals offered employees a trompe l’oeil, panoramic view of Manhattan that was identical to the one that could be seen from the executive suites on the 26th floor of the building. Haas worked from photographs that he made from the roof of the building adjacent to the Philip Morris building, ensuring a precise view of the city skyline. As a suite, this series demonstrates the witty use of architectural space that is typical of the artist’s work. In the original windowless basement setting for Cityscape, Haas offered diners a bright panorama of the city. Other works by Haas include similarly unexpected views. A mural at 112 Prince Street depicts windows and architectural details on a formerly blank wall, and his work on the Con Edison substation at Peck Slip includes illusionistic buildings and a “view” of the Brooklyn Bridge.

These paintings are from a larger mural cycle executed in 1982 for the Philip Morris Company, now known as Altria. The series comprises 22 paintings, totaling nearly 200 running feet. It was commissioned for the basement-level corporate dining room in the company’s building at Park Avenue and 42nd Street. Installed around the entire perimeter of the dining room, the murals offered employees a trompe l’oeil, panoramic view of Manhattan that was identical to the one that could be seen from the executive suites on the 26th floor of the building. Haas worked from photographs that he made from the roof of the building adjacent to the Philip Morris building, ensuring a precise view of the city skyline. The canvases in this group feature part of the southern view from the Philip Morris building, including the World Trade Center Towers, the Statue of Liberty, and the Empire State Building. They belong to the 11-part section of the mural that depicts the entire width of the island and part of Brooklyn. As a suite, this series demonstrates the witty use of architectural space that is typical of the artist’s work. In the original windowless basement setting for Cityscape, Haas offered diners a bright panorama of the city. Other works by Haas include similarly unexpected views. A mural at 112 Prince Street depicts windows and architectural details on a formerly blank wall, and his work on the Con Edison substation at Peck Slip includes illusionistic buildings and a “view” of the Brooklyn Bridge.

These paintings are from a larger mural cycle executed in 1982 for the Philip Morris Company, now known as Altria. The series comprises 22 paintings, totaling nearly 200 running feet. It was commissioned for the basement-level corporate dining room in the company’s building at Park Avenue and 42nd Street. Installed around the entire perimeter of the dining room, the murals offered employees a trompe l’oeil, panoramic view of Manhattan that was identical to the one that could be seen from the executive suites on the 26th floor of the building. Haas worked from photographs that he made from the roof of the building adjacent to the Philip Morris building, ensuring a precise view of the city skyline. As a suite, this series demonstrates the witty use of architectural space that is typical of the artist’s work. In the original windowless basement setting for Cityscape, Haas offered diners a bright panorama of the city. Other works by Haas include similarly unexpected views. A mural at 112 Prince Street depicts windows and architectural details on a formerly blank wall, and his work on the Con Edison substation at Peck Slip includes illusionistic buildings and a “view” of the Brooklyn Bridge.

These paintings are from a larger mural cycle executed in 1982 for the Philip Morris Company, now known as Altria. The series comprises 22 paintings, totaling nearly 200 running feet. It was commissioned for the basement-level corporate dining room in the company’s building at Park Avenue and 42nd Street. Installed around the entire perimeter of the dining room, the murals offered employees a trompe l’oeil, panoramic view of Manhattan that was identical to the one that could be seen from the executive suites on the 26th floor of the building. Haas worked from photographs that he made from the roof of the building adjacent to the Philip Morris building, ensuring a precise view of the city skyline. As a suite, this series demonstrates the witty use of architectural space that is typical of the artist’s work. In the original windowless basement setting for Cityscape, Haas offered diners a bright panorama of the city. Other works by Haas include similarly unexpected views. A mural at 112 Prince Street depicts windows and architectural details on a formerly blank wall, and his work on the Con Edison substation at Peck Slip includes illusionistic buildings and a “view” of the Brooklyn Bridge.

These paintings are from a larger mural cycle executed in 1982 for the Philip Morris Company, now known as Altria. The series comprises 22 paintings, totaling nearly 200 running feet. It was commissioned for the basement-level corporate dining room in the company’s building at Park Avenue and 42nd Street. Installed around the entire perimeter of the dining room, the murals offered employees a trompe l’oeil, panoramic view of Manhattan that was identical to the one that could be seen from the executive suites on the 26th floor of the building. Haas worked from photographs that he made from the roof of the building adjacent to the Philip Morris building, ensuring a precise view of the city skyline. As a suite, this series demonstrates the witty use of architectural space that is typical of the artist’s work. In the original windowless basement setting for Cityscape, Haas offered diners a bright panorama of the city. Other works by Haas include similarly unexpected views. A mural at 112 Prince Street depicts windows and architectural details on a formerly blank wall, and his work on the Con Edison substation at Peck Slip includes illusionistic buildings and a “view” of the Brooklyn Bridge.

These paintings are from a larger mural cycle executed in 1982 for the Philip Morris Company, now known as Altria. The series comprises 22 paintings, totaling nearly 200 running feet. It was commissioned for the basement-level corporate dining room in the company’s building at Park Avenue and 42nd Street. Installed around the entire perimeter of the dining room, the murals offered employees a trompe l’oeil, panoramic view of Manhattan that was identical to the one that could be seen from the executive suites on the 26th floor of the building. Haas worked from photographs that he made from the roof of the building adjacent to the Philip Morris building, ensuring a precise view of the city skyline. As a suite, this series demonstrates the witty use of architectural space that is typical of the artist’s work. In the original windowless basement setting for Cityscape, Haas offered diners a bright panorama of the city. Other works by Haas include similarly unexpected views. A mural at 112 Prince Street depicts windows and architectural details on a formerly blank wall, and his work on the Con Edison substation at Peck Slip includes illusionistic buildings and a “view” of the Brooklyn Bridge.

Katherine Schmidt created this frank portrait of the daughter of her African American maid, Almeda, in 1937. Schmidt studied at the Art Students League and was one of the earliest members of the Whitney Studio Club. This work was first exhibited in a one-woman show at Edith Halpert's Downtown Gallery in 1939. The New York Times commented: "Katherine Schmidt, whose realistic and humorous genre subjects are well known, has turned to the 'social scene' for her latest inspiration . . . workmen, shopgirls and everyday types . . ."

Born and raised in the Bronx, Daniel Hauben is acclaimed as one of the borough’s most versatile and prolific painters. Working in both oil and pastel, he has spent 30 years capturing the life of the Bronx, working en plein air throughout and around the borough. Vivien Raynor, writing in the New York Times in 1988 noted, “it is no great exaggeration to say that the borough – its projects, tenements and elevated railroads, its grungy colors, is to Mr. Hauben what Giverny was to Monet.” Hauben echoes this assessment: “I’m a landscape painter,” he says. “It just so happens that the landscape I paint is most often the Bronx.” Of his acquisition of this work, Henry Luce III commented that he purchased it never knowing anything about the artist, but simply liking it visually: “It’s the city I know.”

Steve Wheeler is considered the leading member of the group identified as the Indian Space Painters who achieved prominence in 1940s New York. Although based upon an internalization of Native American imagery, primarily from the Pacific Northwest (that he studied at both the American Museum of Natural History and the Brooklyn Museum), Wheeler’s work is intensely personal and based not only on visual sources, but also numerous literary references. "Wild Chase" is a signigicant example of Wheeler's early 1940s style.

The painting depicts the view of Central Park West from the artist's apartment on West 67th Street. Teh sculpture by Aristide Maillol (1861-1944) is still in the family's collection.