{ "objects" : [ { "embark_ID" : 4804, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4804", "Disp_Access_No" : "1975.115", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1753", "_Disp_Start_Dat" : "1748", "_Disp_End_Date" : "1758", "Disp_Title" : "Man with a Book Seated in a Landscape", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas R. A. Gainsborough", "Sort_Artist" : "Gainsborough, Thomas R. A.", "Disp_Dimen" : "24 x 20 in. (61 x 50.8 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Although the name of the sitter is unknown, Gainsborough gives the viewer several clues that help place him in a social context: the gentleman holds a book, indicating he is learned; he leans on a stone pillar, with a pastoral landscape and a river behind him, suggesting he is a landowner. This portrait, made when Gainsborough was in his mid-20s, is a typical example of his early style. [Gallery label text, 2008] ", "Dedication" : "Gift of Dr. and Mrs. Fred W. Geib", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.115_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.115_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.115_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.115_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "29172", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned by Andy Olenick April 2009 from a 1999 transparency shot by James Via. Master exists only in TIF form, not DNG. On disk 090407", "View" : "" } , ] },{ "embark_ID" : 4805, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4805", "Disp_Access_No" : "1978.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1766", "_Disp_Start_Dat" : "1766", "_Disp_End_Date" : "1766", "Disp_Title" : "Mrs. William Provis of Bath", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas R. A. Gainsborough", "Sort_Artist" : "Gainsborough, Thomas R. A.", "Disp_Dimen" : "29 1/2 x 24 in. (74.9 x 61 cm)", "Disp_Height" : "29 1/2 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "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]", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.1_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.1_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.1_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.1_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "39387", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.1_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.1_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.1_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.1_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "47802", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4807, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4807", "Disp_Access_No" : "1978.2", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1789", "_Disp_Start_Dat" : "1784", "_Disp_End_Date" : "1794", "Disp_Title" : "Mrs. John Addison (Lucy Clark)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Hoppner", "Sort_Artist" : "Hoppner, John", "Disp_Dimen" : "28 x 21 in. (71.1 x 53.3 cm)", "Disp_Height" : "28 in.", "Disp_Width" : "21 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Having a portrait painted by a noted artist such as John Hoppner was a mark of status; decades later, American collectors still enjoyed the prestige of owning portraits of European gentry. Even into the twentieth century, America was seen as a young country, and newly-wealthy Americans could “borrow” the pedigree that accompanied the sitter by displaying these portraits. Comprehensive estate taxes were introduced in England in 1894, and in the years that followed, families were forced to sell off some of their family holdings, including real estate, household belongings, and works of art, to pay these death duties. At the same time, wealthy American industrialists like George Eastman, who owned this painting and several other British portraits, were building their art collections, and bought family portraits as well as Old Master works as they came on the market. Little is known of Mrs. Addison; her husband was in the civil service of the East India Company, and they lived in India for much of their married life. [Gallery label text, 2008] ", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13080", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4809, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4809", "Disp_Access_No" : "1955.180", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1760-1771", "_Disp_Start_Dat" : "1760", "_Disp_End_Date" : "1771", "Disp_Title" : "The Riva degli Schiavoni, Venice, Looking West", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William James", "Sort_Artist" : "James, William", "Disp_Dimen" : "25 3/4 x 40 in. (65.4 x 101.6 cm)", "Disp_Height" : "25 3/4 in.", "Disp_Width" : "40 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The waterfront promenade of the Riva degli Schiavoni, or River of the Slavs, has long been one of the most picturesque and popular in Venice. Paintings by the great Canaletto and his British followers like William James show the bustling of gondolas, sailing boats and barges; the promenade itself is equally lively with travelers, merchants and townspeople actively engaged in both commerce and recreation. [Gallery label text, 2008]", "Dedication" : "Gift of Mr. and Mrs. Harold L. Field", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "1955 - The painting was given to the Gallery as a Canaletto (certified by the Gallery it was purchased from, Howard Young Galleries, and endorsed by Dr. W. R. Valentiner). 1970 – note to file from Harris Prior, Memorial Art Gallery Director, “The young gentleman, David Posnett, from the Leger Galleries in London was here last winter. He looked at our Canaletto and immediately said that it is by William James, an English associate of Canaletto.” In addition, there are numerous references throughout the file about scholars viewing the painting and finding the early attribution to Canaletto dubious due to the style. Unfortunately, not all previous curators were fanatical about documenting such information, so we do not know exact names. Since then there have been numerous William James’ views of Venice that have been compared to the MAG painting (photocopies in file) and have been found to have a similar style. James flourished between 1760 and 1771, hence our dating for the painting. An identical painting hangs at the Sir John Soane Museum in London.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.180_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.180_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.180_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.180_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "26217", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Note that master image includes frame; it has been cropped out for this view.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.180_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.180_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.180_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.180_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "27901", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4233, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4233", "Disp_Access_No" : "1977.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1783", "_Disp_Start_Dat" : "1783", "_Disp_End_Date" : "1783", "Disp_Title" : "Miss Sophia Hoare", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sir Joshua Reynolds", "Sort_Artist" : "Reynolds, Joshua", "Disp_Dimen" : "36 x 28 in. (91.4 x 71.1 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "28 in.", "Dimen_Extent" : "overall", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Joshua Reynolds was the leading portrait painter in 18th-century England, the first president of London’s Royal Academy, and a respected art critic. He frequently modeled his sitters’ poses on those seen in Old Master painting and ancient classical sculpture. Reynolds’ use of rich color, strong lighting, and loose brushwork greatly influenced the next generation of British portraitists, including Sir Thomas Lawrence and Sir Henry Raeburn. The young woman in this portrait, Sophia Hoare (c. 1765-1836), was the daughter of Richard Hoare, an heir to the founder of England’s oldest private bank. Sophia’s portrait was commissioned by William Grimston, whom she married in February 1783. Reynolds noted the transaction in his account books: “Miss Hoare, paid by Mr. Grimpstone, £ 78 15s.; a very proper attention on the part of the fiancé.” [Forman Gallery, Summer 2015]", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "1911 exhibition catalogue lists the sitter as Miss Sophia Hoare and says she sat for the painting in October 1782. See photocopy in curatorial file.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.1_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.1_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.1_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.1_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "43990", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 4820, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4820", "Disp_Access_No" : "1976.24", "_AccNumSort1" : "", "Disp_Create_DT" : "1784", "_Disp_Start_Dat" : "1784", "_Disp_End_Date" : "1784", "Disp_Title" : "James Clitherow (1766-1841)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Romney", "Sort_Artist" : "Romney, George", "Disp_Dimen" : "30 x 25 in. (76.2 x 63.5 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Romney must have been well acquainted with James Clitherow as a young man: he made two portraits of him, as well as a replica, all within a span of a year. Clitherow, who had recently graduated from Oxford at the time this portrait was made, appears thoughtful and composed, demonstrating his erudition by holding a book. Newspaper accounts describe the portrait as having been painted for a price of just over £20. Romney directs the viewer’s focus by sketching Clitherow’s hands and stock, or neckcloth, only loosely; he concentrates instead on the details of the head, coat, and chair. [Gallery label text, 2008] ", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Other portraits of Clitherow by Romney: a replica of MAG''s at Detroit, painted in 1785; another version still at Boston House, Middlesex, England. See curatorial file for photos. A painting of a child entitled "Master Clitherow" is in the collection of the Snite Museum of Art at Notre Dame, but it is dated ca. ten years after MAG''s portrait, and the 1904 catalogue raisonne does not list a portrait of any Clitherow other than James. There has been great confusion between the provenance of MAG''s painting and the one at the DIA; Duveen''s and Knoedler''s records online show that the DIA painting is the replica and the one given by the family to Dr. George Cooper (1792-1877), then his son Dr. Clarence Cooper (1830-1924), South Norwood Park, London, England; his sale, Christie''s, London, June 13, 1913; purchased at that sale by Asher Wertheimer (1844-1918), London; Duveen, London; to Mrs. J. S. Holden, the DIA''s donor.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/76.24_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/76.24_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/76.24_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/76.24_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "43070", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4821, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4821", "Disp_Access_No" : "1977.2", "_AccNumSort1" : "", "Disp_Create_DT" : "after 1782", "_Disp_Start_Dat" : "1783", "_Disp_End_Date" : "1792", "Disp_Title" : "Eleanor Todd, Lady Maitland (1762-1856)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Romney", "Sort_Artist" : "Romney, George", "Disp_Dimen" : "30 x 25 in. (76.2 x 63.5 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This unfinished portrait depicts Eleanor Todd, who became Lady Maitland in 1782 when she married James, Viscount Maitland, eighth Earl of Lauderdale. Although it is not known why the portrait was never completed, at this point in his career, Romney had a large number of unfinished paintings in his studio. Sitters were required to pay half his fee before the painting could commence, but the daunting schedule of sittings and the artist’s demands for specific poses and clothing dissuaded some clients from continuing the professional relationship. Still, the presence of half-finished portraits in the studio served as a sort of showcase, enabling potential subjects to see examples of Romney’s work. [Gallery label text, 2008]", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.2_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.2_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.2_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.2_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "43071", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4564, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4564", "Disp_Access_No" : "1987.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1795", "_Disp_Start_Dat" : "1795", "_Disp_End_Date" : "1795", "Disp_Title" : "The Death of Richard II (after Francis Wheatley)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Anker Smith", "Sort_Artist" : "Smith, Anker", "Disp_Dimen" : "12 11/16 x 8 13/16 in. (32.2 x 22.4 cm)", "Disp_Height" : "12 11/16 in.", "Disp_Width" : "8 13/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/87.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/87.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/87.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/87.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "16167", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4592, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4592", "Disp_Access_No" : "1948.48", "_AccNumSort1" : "", "Disp_Create_DT" : "1770", "_Disp_Start_Dat" : "1770", "_Disp_End_Date" : "1770", "Disp_Title" : "Sir Joshua Reynolds (1723-1792) (after a self-portrait)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "James Watson", "Sort_Artist" : "Watson, James", "Disp_Dimen" : "11 13/16 x 19 1/2 in. (30 x 49.5 cm)", "Disp_Height" : "11 13/16 in.", "Disp_Width" : "19 1/2 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Mezzotint", "Info_Page_Comm" : "", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/48.48_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/48.48_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/48.48_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/48.48_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "28668", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4827, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4827", "Disp_Access_No" : "1987.1", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1792-1793", "_Disp_Start_Dat" : "1792", "_Disp_End_Date" : "1793", "Disp_Title" : "The Death of Richard II", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Francis Wheatley", "Sort_Artist" : "Wheatley, Francis", "Disp_Dimen" : "78 x 60 in. (198.1 x 152.4 cm)", "Disp_Height" : "78 in.", "Disp_Width" : "60 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "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]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/87.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/87.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/87.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/87.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17184", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5633, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5633", "Disp_Access_No" : "1992.30", "_AccNumSort1" : "", "Disp_Create_DT" : "1774", "_Disp_Start_Dat" : "1774", "_Disp_End_Date" : "1774", "Disp_Title" : "A View of New York from the North West", "Alt_Title" : "Wooded Heights View", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Joseph F.W. Des Barres", "Sort_Artist" : "Des Barres, Joseph F.W.", "Disp_Dimen" : "10 5/8 x 17 13/16 in. (27 x 45.3 cm)", "Disp_Height" : "10 5/8 in.", "Disp_Width" : "17 13/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Hand-colored aquatint", "Info_Page_Comm" : "A print from the first important marine atlas, American Neptune, presents a scene of British naval vessels sailing near rural Manhattan shores – ostensibly a peaceful and calm moment, but deceptively so, since it would only be a matter of months before resistance to British rule surfaced. The New York that we see through Des Barres’s eyes is over two centuries and a national history removed from Rhonda Schaller’s memento mori for the destruction of the World Trade Center, but contained in both works is the kernel of political struggle and tragic loss of life. [Label text, 2003]", "Dedication" : "Gift of Mr. and Mrs. John M. 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