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    Membership

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Home
  • Visit

    Visit

    • Plan Your Visit
    • Hours & Admission
    • Directions & Parking
    • Codes of Conduct
    • Group Experiences
    • Accessibility
    • Shop
    • Dining
    • Frequently Asked Questions

    Public Tours

    Led by our incredible docents, public tours take visitors through the museum’s collection and special exhibitions. More of a guided conversation in the galleries than a traditional lecture, our interactive tours share surprising stories and fun facts and encourage visitors to form personal connections with the art on view and each other.

     
  • Art

    Art

    • Exhibitions
    • Collection
    • Search the Collection
    • Public Art
    • Nordic Art and Culture Initiative
    • Publications

    One with Eternity: Yayoi Kusama

    Through May 24, 2026
    Jeffrey E. Gundlach Building

  • Events

    Events

    • Find an Event
    • M&T FIRST FRIDAYS
    • Music at the AKG
    • Public Tours
    • After Hours

    Erie County Free(ze) Week

    Join us for Erie County Free(ze) week from Thursday, February 19, through Monday, February 21! This week of free general admission for Erie County residents, with special programs and events, is a way for the museum to express its gratitude to all Erie County residents, the County Executive, and County Legislators for their generous support of museum operations.
     


     

  • Learn & Create

    Learn & Create

    • Studio Art Classes
    • Creative Commons
    • Blog
    • Free Digital Guide
    • Art’scool: School Tours
    • Lesson Plans
    • Resources for Educators

    Studio Art Classes

    Check out our ongoing Adult, Clay, and Kids' Classes! Students of all levels of experience are invited to get creative at the Buffalo AKG.

  • Entertain

    Entertain

    • Entertain at the Buffalo AKG
    • Book Your Birthday Party
    • Book the Art Truck
    • Book a Photography Session

    Entertain at the AKG

    The Buffalo AKG Art Museum provides an unparalleled setting for your special event. With one of the foremost collections of modern and contemporary art in the world, the museum offers exclusive opportunities for you and your guests. 

  • Support

    Support

    • Membership
    • Make a Donation
    • Museum Day Pass Donations
    • Corporate Support
    • Annual Fundraising Events
    • Travel with Us
    • Volunteer
    • Our Supporters

    Membership

    Buffalo AKG members receive an array of benefits throughout the run of One with Eternity: Yayoi Kusama, including exclusive early access to online reservations and invitations to special events and programming. Additionally, the special exhibition admission fee will be waived for members at the Associate level and above.

  • About

    About

    • Vision & Mission
    • Our Collections
    • Our Campus
    • Our History
    • Our Team
    • Annual Reports
    • 2016–2026 Strategic Plan
    • Building the Buffalo AKG Art Museum

    Campus History Timeline

    Trace the evolution of the museum’s campus, from groundbreaking for our first building in 1900 to the opening of the Buffalo AKG Art Museum in 2023.

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  4. Château de Plessier

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  4. Château de Plessier

Henry Cheffer

French, 1880-1957

No image available,
but we're working on it

Château de Plessier, not dated

Artwork Details

Materials

engraving

Collection Buffalo AKG Art Museum

Credit

Gift of the artist, 1923

Accession ID

1923:1

Object Classifications:

Prints

Work Type:

Engraving (print)

Information may change due to ongoing research. Glossary of Terms

Other Works by This Artist

  • Venice, not dated

    Henry Cheffer

    Venice

Collection Highlights

All Collection Highlights
  • Petit nu bleu (Little Blue Nude), ca. 1878-1879

    Pierre-Auguste Renoir

    A young white-skinned woman, nude to the waist, sits on the grassy bank of a body of water in the center of this vertically oriented painting. A blue cloth or portion of a garment with white edges loosely covers her lap. She grasps her left ankle, which rests on her right knee, with both hands, and she gazes toward the bottom left of the canvas. The paint was applied quickly and loosely with visible brushstrokes.
  • 1957-D-No. 1, 1957

    Clyfford Still

    Yellow, jagged-edged forms tear through portions of this mostly matte black canvas. The largest of these forms runs the full height of the painting near its right edge. Each of the yellow streaks includes small areas of white, which most appear in the center of the form, flanked by larger areas of yellow. Three small patches of unpainted canvas are visible near the bottom-left corner.
  • Return of the Prodigal Son, 1967

    Romare Howard Bearden

    Fragments of printed images are collaged together and supplemented with areas of paint to shape the three figures that dominate this composition. The face of the left-most figure is the best defined; he stares back at the viewer, and his lips are twisted upward in a wry grin. With his left arm, he pulls the shorter figure at center toward him in an embrace. From the right edge of the canvas, a third figure appears in profile carrying a candle lamp.
  • Painting No. 46, 1914-1915

    Marsden Hartley

    Diverse abstract patterns layer atop one another and a black background to fill much of this painting. Slightly below the center of the painting is a circle with a red center with white and black rings. Above this curves a red arc with two parallel, irregular white lines that spans nearly the entire width of the painting. Behind these elements are smaller sections of checked and ribbon-like patterns.
  • Le Canigou, 1921

    Juan Gris

    Le Canigou
  • Notre-Dame, une fin d'après-midi (A Glimpse of Notre Dame in the Late Afternoon), 1902

    Henri Matisse

    Notre-Dame, une fin d'après-midi (A Glimpse of Notre Dame in the Late Afternoon)
  • Mademoiselle Pogany II, 1920

    Constantin Brancusi

    Mademoiselle Pogany II
  • George Went Swimming at Barnes Hole, but It Got Too Cold, 1957

    Joan Mitchell

    Large, energetic brushstrokes in green, brown, black, red, blue, and white cover portions of this abstract painting’s white background. These marks are primarily concentrated in two areas: in the top half of the canvas, especially in the center, and on its lower edge, especially in the center and toward the right corner.
  • L'Objet invisible (Mains tenant le vide) [Invisible Object (Hands Holding the Void)], 1934 (cast executed 1935)

    Alberto Giacometti

    A life-sized bronze abstract female nude holds her hands placed in front of her chest, as if cradling an invisible sphere. She appears to be perched on a tall chair, which supports and frames the figure from behind. The facial features on her flat, round head are angular. Her long, skinny body terminates in long legs bent at the knee. The figure’s feet rest on a narrow rectangular shaped stool at the sculpture’s base.

Related People

  • Henry Cheffer
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