12
Portfolios%3D%222293%22%20and%20Century%3D%2218th%20Century%22
Metalwork
Coffee Pot
Peter Archambo, (active 1699 - 1759)
Archambo, Peter
England
1699 - 1759
Male
8 1/2 x 7 3/8 x 4 1/2 in. (21.6 x 18.7 x 11.4 cm)
.
.
.
overall
overall
Silver
Silver
1732
1732
1732
18th century, vessels
Metalwork
In 18th-century Britain, sterling silver was the “coinage of the realm,” and literally worth its weight. The ownership of silver goods, however, was more than a display of wealth; it was also an expression of a patron’s taste, education, and power. The government recognized the importance of the silversmiths’ trade to the economy, and closely monitored the quality and hierarchy of British artisans through requirements for silver weights and hallmarks. Their wide variety of goods found markets at the royal court, among a growing professional and merchant class, and through expanding international trade.
Quality British silver of this period has long been a favorite of private collectors. The majority of MAG’s collection of continental and English silver comes from the Woodward family, who donated over 70 pieces in the 1950s.
[Label text from It Came From the Vault exhibition, 2013]
1956.17
item
Memorial Art Gallery
5/11/2000
56.17SL1
slide
with 56.44.1 & .2
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full front
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full front
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
56.17DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/56.17_I1.jpg
56.17SL2
slide
with 56.43, 56.42.1, 56.39, 56.23, 56.44.1 , 56.18
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
56.17DI#2
digital image
1/26/2010
http://127.0.0.1:5000/Media/images/56.17_A1.jpg
Painting
Portrait of a Man
Unknown Gentleman
Henry Benbridge, (Philadelphia, PA, 1743 - 1812, Philadelphia, PA)
Benbridge, Henry
United States
1743 - 1812
Male
Zoffany, Johann
Germany
1733 - 1810
Male
Previous attribution
29 1/4 x 19 1/4 in. (74.3 x 48.9 cm)
.
.
.
Oil
Oil
0
0
American art, men, paintings, portraits
Painting
This portrait was attributed to the German artist Johann Zoffany when it was acquired by Memorial Art Gallery in 1966. Prompted by MAG director Harris Prior, Smithsonian curator Robert Stewart investigated further and came to the conclusion that the American-born portraitist Henry Benbridge was the true artist. Shortly thereafter, this portrait was loaned to an exhibit of Benbridge’s work in the National Portrait Gallery in Washington, DC. Stewart described it as “one of the nicest of what I call his ‘portraits in the small.’” The elongated forehead, proportionately small body, and decorative plant matter in the foreground are hallmarks of Benbridge’s style.
[Label text from It Came From the Vault exhibition, 2013]
1966.24
item
Memorial Art Gallery
9/8/1999
66.24TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
66.24SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
66.24DI1
digital image
Memorial Art Gallery
Imaging complete
2/1/2001
http://127.0.0.1:5000/Media/images/66.24_A1.jpg
Ceramics
Plate
Cornelis de Berg, active 18th c.
Berg, Cornelis de
Netherlands
Male
1 x 8 3/4 x 8 3/4 in. (2.5 x 22.2 x 22.2 cm)
.
.
.
overall
overall
Faience
Faience
ca. 1725
1720
1730
Ceramics
Mrs. John Oothout’s fine collection of Delftware was well-known in part because it contained several examples purchased from the French writer Emile Zola, also a connoisseur of the pottery.
[Label text from It Came From the Vault exhibition, 2013]
bottom, In underglaze bluebottombottom
1929.44
item
Memorial Art Gallery
2/3/2001
negative
Back
1 x 1
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
Front
1 x 1
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
29.44DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/29.44_A1.jpg
29.44DI#2
digital image
7/20/2010
http://127.0.0.1:5000/Media/images/29.44_A2.jpg
29.44DI#3
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/29.44_A3.jpg
Ceramics
Plate
Jan Theunis Dextra
Dextra, Jan Theunis
Netherlands
Male
1 3/4 x 12 1/8 x 12 1/8 in. (4.4 x 30.8 x 30.8 cm)
.
.
.
overall
overall
Faience
Faience
ca. 1759-1765
1759
1765
Ceramics
Delftware is a generic term that describes a type of tin-glazed earthenware made in The Netherlands. The industry was based in the small town of Delft near the city of Rotterdam, a major seaport accessed by canals from all directions. This degree of access was critical to the industry’s success, as plates, vases, and all forms of pottery were exported widely throughout Europe and as far afield as the Middle East. The industry reached its height in the 1680s, when about 2,000 potters were employed by over 30 manufactories—all in a town with a population of only 24,000.
The mass production of Delftware emerged in the early 1600s because of the strong trade between The Netherlands and China. The Dutch East Indian Company imported millions of pieces of Chinese porcelain; they were, however, affordable to only the wealthiest Europeans. Delftware, much of which mimics the patterns and blue and white color schemes of eastern porcelain, was a less expensive and more easily obtainable substitute.
[Label text from It Came From the Vault exhibition, 2013]
1929.41
item
Memorial Art Gallery
2/3/2001
29.41DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/29.41_I1.jpg
negative
Front
1 x 1
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
Back
1 x 1
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
29.41DI#2
digital image
6/15/2010
http://127.0.0.1:5000/Media/images/29.41_A1.jpg
29.41DI#2
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/29.41_A2.jpg
Painting
Mrs. William Provis of Bath
Thomas R. A. Gainsborough, (Sudbury, England, 1727 - 1788, London)
Gainsborough, Thomas R. A.
England
1727 - 1788
Male
29 1/2 x 24 in. (74.9 x 61 cm)
.
.
.
overall
frame
.
.
.
Oil
Oil
1766
1766
1766
1600-1800, 18th century, George Eastman Collection, paintings, portraits, women
Painting
A founding member of the Royal Academy, Thomas R. A. Gainsborough was a premier 18th-century English portraitist whose upward trajectory to fame began with a strategic move to Bath, a town with many portrait-commissioning British gentry. This particular portrait captures Bath resident Ann Pigott in her lonely and isolated youth. At 17, she married a much older William Provis and was left alone and childless while he lived at his country estate. As British gentry were selling family art collections in face of financial strain from estate taxes implemented in 1894, newly-wealthy Americans were building art collections. George Eastman acquired this portrait in 1912 in that manner and later bequeathed it to the University of Rochester.[
Label text from It Came From the Vault exhibition, 2013]
1978.1
item
Memorial Art Gallery
11/2/2000
78.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
78.1DI1
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/78.1_A1.jpg
78.1DI#2
digital image
11/6/2012
http://127.0.0.1:5000/Media/images/78.1_A2.jpg
78.1DI#3
digital image
11/27/2017
http://127.0.0.1:5000/Media/images/78.1_A3.jpg
Metalwork
Cup: "Saltby Plate"
Benjamin Pyne, (1653 - 1732)
Pyne, Benjamin
England
1653 - 1732
Male
4 1/4 x 6 3/4 x 4 in. (10.8 x 17.1 x 10.2 cm)
.
.
.
Silver
Silver
1710
1710
1710
1600-1800, 18th century, dishes, horses, leisure activities, men, metalwork
Metalwork
front, With image of horse and jockey
1954.13
item
Memorial Art Gallery
3/10/2001
54.13SL1
slide
Full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.13DI#2
digital image
1/26/2010
http://127.0.0.1:5000/Media/images/54.13_A1.jpg
glossy
front
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
front
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.13DI1
digital image
front
10/3/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/54.13_I1.jpg
54.13SL2
slide
Full Back
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Mrs. Thomas Orby Hunter
Sir Joshua Reynolds, (Plymouth, England, 1723 - 1792, London)
Reynolds, Joshua
England
1723 - 1792
Male
25 x 30 in. (63.5 x 76.2 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1758-1759
1758
1759
Painting
Sir Joshua Reynolds, the foremost portraitist in 18th-century England, painted members of the aristocracy as well as the newly-rich mercantile class. The first president of the Royal Academy in London, he did more than anyone to raise the status of art and artists in Britain. Reynolds.
The information attached to this painting when it entered MAG’s collection in 1930 identified the sitter only as Mrs. Thomas Orby Hunter, wife of an important Member of Parliament and a Lord of the Admiralty. Orby Hunter lost his first two wives to early deaths, probably in childbirth. Based on stylistic grounds that suggest a date of the late 1750s, we speculate that the sitter is Thomas Orby Hunter’s third wife, Marion Cunningham, whom he married after his second wife’s death in June of 1756.
[Label text from It Came From the Vault exhibition, 2013]
1939.11
item
Memorial Art Gallery
11/3/2000
39.11SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
39.11DI1
digital image
5/16/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/39.11_I1.jpg
39.11DI#2
digital image
2/22/2013
http://127.0.0.1:5000/Media/images/39.11_A1.jpg
Drawing
Caricature
Giovanni Battista Tiepolo, (Venice, 1696 - 1770, Madrid)
Tiepolo, Giovanni Battista
Italy
1696 - 1770
Male
8 15/16 x 5 13/16 in. (22.7 x 14.7 cm)
.
.
.
sheet
sheet
.
.
.
overall
frame
Pen and ink
Pen and ink
0
0
Drawing
By comically exaggerating or distorting physical features, artists create caricatures for the express purpose of satirizing or ridiculing their subjects. Caricatures can be insulting or complimentary; during the 1700s, the caricature became connected with journalism and was used extensively in the political arena.
Although known primarily for his superb paintings, Tiepolo was also a prolific draftsman who created enough caricatures to fill three albums. In this drawing, the artist represents his subject, surely a well-known Venetian nobleman, with humor although not with kindness. The combination of smooth pen lines with subtle wash shading emphasizes the figure’s pronounced hunchback, long spindly legs, large nose, and excessively high forehead. A very short shadow that defines the ground on which he stands rescues him from floating aimlessly in the blank space of the paper.
[Label text from It Came From the Vault exhibition, 2013]
1991.88
item
Memorial Art Gallery
2/26/2001
91.88SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
91.88DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/91.88_A1.jpg
91.88DI#2
digital image
10/10/2012
http://127.0.0.1:5000/Media/images/91.88_A2.jpg
Painting
Panel with Classical Male Figure
Austrian artist, (active )
Austrian artist
Austria
Primary
6 7/8 x 4 7/8 in. (17.5 x 12.4 cm)
Paint
Paint
0
0
1600-1800, 18th century, costume, glass, men
Painting
The history of European stained glass in American museums is by its nature a history of fragments, as these works are completely removed from their architectural context. Determining their date and nationality is further complicated by the popularity that stained glass enjoyed in the post-Renaissance period as well as the disastrous impact of revolution and on the windows of European homes and churches.
The painted panels with classical figures [42.33.1-3] were never intended to represent medieval or Renaissance glass, as were those on the previous page; the figural style suggests an origin in the 1800s.
[Label text from It Came From the Vault exhibition, 2013]
back
1942.33.3
item
Memorial Art Gallery
12/15/2009
42.33.3DI#1
digital image
12/4/2009
http://127.0.0.1:5000/Media/images/42.33.3_A1.jpg
Painting
Panel with Classical Male Figure
Austrian artist, (active )
Austrian artist
Austria
Primary
6 7/8 x 4 7/8 in. (17.5 x 12.4 cm)
Paint
Paint
0
0
1600-1800, 18th century, glass, men
Painting
The history of European stained glass in American museums is by its nature a history of fragments, as these works are completely removed from their architectural context. Determining their date and nationality is further complicated by the popularity that stained glass enjoyed in the post-Renaissance period as well as the disastrous impact of revolution and on the windows of European homes and churches.
The painted panels with classical figures [42.33.1-3] were never intended to represent medieval or Renaissance glass, as were those on the previous page; the figural style suggests an origin in the 1800s.
[Label text from It Came From the Vault exhibition, 2013]
1942.33.2
item
Memorial Art Gallery
12/15/2009
42.33.2DI#1
digital image
12/4/2009
http://127.0.0.1:5000/Media/images/42.33.2_A1.jpg
Painting
Panel with Classical Male Figure
Austrian artist, (active )
Austrian artist
Austria
6 7/8 x 4 7/8 in. (17.5 x 12.4 cm)
.
.
.
Paint
Paint
0
0
1600-1800, armor & weaponry, men, stained glass
Painting
The history of European stained glass in American museums is by its nature a history of fragments, as these works are completely removed from their architectural context. Determining their date and nationality is further complicated by the popularity that stained glass enjoyed in the post-Renaissance period as well as the disastrous impact of revolution and on the windows of European homes and churches.
The painted panels with classical figures [42.33.1-3] were never intended to represent medieval or Renaissance glass, as were those on the previous page; the figural style suggests an origin in the 1800s.
[Label text from It Came From the Vault exhibition, 2013]
1942.33.1
item
Memorial Art Gallery
2/27/2001
42.33.1DI#1
digital image
12/4/2009
http://127.0.0.1:5000/Media/images/42.33.1_A1.jpg
Painting
The Death of Richard II
Francis Wheatley, (London, 1747 - 1801)
Wheatley, Francis
England
1747 - 1801
Male
78 x 60 in. (198.1 x 152.4 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
ca. 1792-1793
1792
1793
1600-1800, 18th century, armor, men, paintings, violence, world history
Painting
Francis Wheatley was best known for his historical paintings, scenes of daily life, and portraits. He trained at the Royal Academy in London and became the director of the Society of Artists in 1774. Debts and an unfortunate affair with the wife of a colleague led to his abrupt departure from England to Ireland. He returned in 1783, when he began painting illustrations for works by contemporary authors. The success of these “painted illustrations” led to major commissions, including the one for this monumental painting from the print publisher Robert Bowyer.
One of Bowyer’s most ambitious projects was an illustrated edition of David Hume’s "The History of England." It comprised not only a lavish publication, but the creation of a “History Gallery” for the public display of the original paintings. According to Bowyer’s prospectus, the paintings were intended “to rouse the passions, to fire the mind with emulation of heroic deeds, or to inspire it with detestation of criminal actions.”
Wheatley responded to this challenge by depicting the more dramatic version of Richard’s death, in which he was beheaded rather than starved in prison. The theatrical gestures and expressions, lurid coloring, and bold brushwork serve to heighten the violent drama of the events. In the end, the project was a financial disaster; the paintings from the gallery, including Wheatley’s "The Death of Richard II," were sold in a lottery in 1807.
[Label text from It Came From the Vault exhibition, 2013]
1987.1
item
Memorial Art Gallery
11/3/2000
87.1TR1
transparency
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
87.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
87.1DI1
digital image
8 x 10
00/00/00
http://127.0.0.1:5000/Media/images/87.1_A1.jpg
87.1DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif