194
Portfolios%3D%222293%22%20and%20Period%3D%22%22
Sculpture
Eva May
Darryl Abraham, (Wayland, NY, 1948 - )
Abraham, Darryl
United States
1948
Male
12 1/2 x 20 1/2 x 12 1/2 in. (31.8 x 52.1 x 31.8 cm)
.
.
.
Mixed media
Mixed media
1970
1970
1970
18.77L
1900-2000, 20th century, mixed media, sculpture
Sculpture
1979.23
item
Memorial Art Gallery
9/8/1999
79.23DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/79.23_I1.jpg
79.23DI#2
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/79.23_A1.jpg
Painting
North River, Marshfield, MA
Carol Acquilano, (Rochester, NY, 1960 - )
Acquilano, Carol
United States
1960
Female
22 1/4 x 30 in. (56.5 x 76.2 cm)
.
.
.
sheet
Paint and ink
Paint and ink
2003
2003
2003
Painting
lower rightlower left, Fourth painting within a month long residence
2005.11
item
Memorial Art Gallery
1/19/2005
2005.11DI1
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/2005.11_A1.jpg
Painting
Sunny Ducks
Daniel Arthur Allen, (1946 - 1974, Rochester, NY)
Allen, Daniel Arthur
United States
1946 - 1974
Male
5 3/16 x 3 7/16 in. (13.1 x 8.8 cm)
.
.
.
sheet
vertical
sheet
Acrylic
Acrylic
1973
1973
1973
1900-2000, 20th century, birds, paintings
Painting
Nearly 40 years after it entered MAG’s collection, Daniel Allen’s tiny painting was re-discovered by an intern updating records for the museum website. Its quirky sense of humor and mysterious narrative caught her eye. Intern Sarah Gerin says: “Sunny Ducks’ intrigue lies in its ambiguity. It is kind and comforting, yet still forlorn and remote. In the painting, there is no context for what interaction is taking place, where it is taking place, or even its significance. With its enigmatic imagery and striking sense of both kindness and solitude, this scene reveals a clever and playful approach to the universal themes of isolation, alienation, and human relationships.”
[Label text from It Came From the Vault exhibition, 2013]
lower right
Christine Wheat
1975.12
item
Memorial Art Gallery
9/8/1999
75.12DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/75.12_A1.jpg
Print
Yellow Face
Karel Appel, (Amsterdam, 1921 - 2006, Zürich)
Appel, Karel
Netherlands
1921 - 2006
Male
31 1/2 x 23 1/4 in. (80 x 59.1 cm)
.
.
.
sheet
sheet
.
.
.
image
image
Printer's ink
Printer's ink
1970
1970
1970
Print
lower right, below imagelower left, below imagelower leftlower right
1997.181
item
Memorial Art Gallery
2/4/2001
97.181SL1
slide
2 x 2
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
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.181DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/97.181_A1.jpg
97.181DI#2
digital image
10/10/2012
http://127.0.0.1:5000/Media/images/97.181_A2.jpg
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
Drawing
Untitled (6 figures)
Eddie Arning, (Kenney, Texas, 1899 - 1993, Texas)
Arning, Eddie
United States
1899 - 1993
Male
Primary
21 15/16 x 16 1/16 in. (55.8 x 40.8 cm)
.
.
.
sheet
.
.
.
overall
frame
Pastel
Pastel
0
0
Drawing
Born into a Texas farming family, Eddie Arning spent most of his adult life in hospitals and institutions with a diagnosis of schizophrenia. In 1964, at the age of 66, he was given crayons and paper as part of an early art therapy project. Over the next nine years, he produced more than 2,000 drawings, many based on magazine advertisements he ripped out and saved. His hostile attitude caused him to be removed from the mental hospital in 1973; he lived the remainder of his life in a nursing home without ever again creating a piece of art.
[Label text from It Came From the Vault exhibition, 2013]
versoverso
2006.33
item
Memorial Art Gallery
4/5/2006
6057.5.DI1.JPG
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2006.33_I1.jpg
2006.33DI#2
digital image
Front
5/15/2007
http://127.0.0.1:5000/Media/images/2006.33_A1.jpg
Painting
The Garden
Darrel Austin, (Raymond, WA, 1907 – 1994, New Fairfield, CT)
Austin, Darrel
United States
1907 - 1994
Male
20 x 24 in. (50.8 x 61 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1941
1941
1941
2259
1900-2000, American art, animals in art, landscapes, nudes, paintings
Painting
This bizarre, spectral landscape was purchased from the Gallery’s 1945 exhibition The A B C’s of Modern Art, organized to foster a more liberal point of view amongst the Gallery’s audience. Painted in thick layers with a palette knife, Darrel Austin’s primordial visions were often peopled by predatory cats and shimmering female figures, as in The Garden. A frank reviewer in the Art Digest wrote in 1942, “It’s hard to explain Darrel Austin’s art, because he can’t explain it himself . So the most sensible approach for the viewer is just to enjoy them without thinking too logically.”
[Label text from It Came From the Vault exhibition, 2013]
lower right
1945.59
item
Memorial Art Gallery
9/8/1999
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
45.59SL1
slide
full w frame
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/45.59_I1.jpg
45.59DI#2
digital image
11/6/2012
http://127.0.0.1:5000/Media/images/45.59_A1.jpg
Drawing
Back Female Nude
Ralph Avery, 1906 - 1976
Avery, Ralph
United States
1906 - 1976
Male
16 1/8 x 11 7/8 in. (41 x 30.1 cm)
.
.
.
sheet
sheet
Watercolor
Watercolor
1949
1949
1949
Drawing
Ralph Avery graduated from Mechanics Institute (now RIT) in 1928 and taught there for over 25 years. He achieved local acclaim for his watercolor depictions of our city, particularly its Third Ward, as it was being forever changed by urban renewal in the 1960s. But his national commissions were equally impressive, helping to blur the distinction between illustration and fine art; his landscapes and city views were featured on the cover of Reader’s Digest 14 times. Avery bequeathed the contents of his studio to MAG. Among the works that entered the collection was this uncharacteristic but very beautiful sketch of a female nude.
[Label text from It Came From the Vault exhibition, 2013]
in the margin
1977.152.230
item
Memorial Art Gallery
9/8/1999
77.152.230DI#1
digital image
2/4/2009
http://127.0.0.1:5000/Media/images/77.152.230_A1.jpg
Watercolor
Jonathan Child House, South Washington Street, Rochester
Ralph Avery, 1906 - 1976
Avery, Ralph
United States
1906 - 1976
Male
10 1/4 x 13 3/16 in. (26 x 33.5 cm)
.
.
.
sheet
sheet
Watercolor
Watercolor
0
0
by Rochester artists, houses, Rochester, NY, views of Rochester & western New York, watercolors
Watercolor
This 1837 “Greek Revival” mansion is actually designed in the style of a Roman temple, with large Corinthian columns defining the front façade. Like innumerable structures found across the U.S., it represents the American fondness for adopting classical architecture styles for important buildings of political power and prestige.
[Label text from It Came From the Vault exhibition, 2013]
1977.152.51
item
Memorial Art Gallery
9/8/1999
77.152.51SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2.5x3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.152.51DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/77.152.51_A1.jpg
77.152.51DI#2
digital image
2/4/2009
http://127.0.0.1:5000/Media/images/77.152.51_A2.jpg
Painting
New Hope Skyline
Ralph Avery, 1906 - 1976
Avery, Ralph
United States
1906 - 1976
Male
20 x 24 in. (50.8 x 61 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1936
1936
1936
1900-2000, American art, architecture in art, art with Rochester connections, bridges, landforms in art
Painting
Ralph Avery is well-known locally for his views of downtown Rochester. In this early painting, however, he depicts the Stockton Avenue Bridge crossing over Ingham Creek in the vibrant artists’ colony at New Hope, PA.
[Label text from It Came From the Vault exhibition, 2013]
back of framelower left
1946.45
item
Memorial Art Gallery
9/8/1999
46.45DI1
digital image
5/1/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/46.45_I1.jpg
46.45DI#2
digital image
11/6/2012
http://127.0.0.1:5000/Media/images/46.45_A1.jpg
Painting
Blue Hydrangeas
Alice Worthington Ball, (Boston, MA, 1869 - 1929, Gloucester, MA)
Ball, Alice Worthington
United States
1869 - 1929
Female
34 x 40 in. (86.4 x 101.6 cm)
.
.
.
Oil
Oil
0
0
American art, flowers in art, paintings
Painting
Alice Worthington Ball studied in Paris and lived variously in Boston, Baltimore, and Gloucester. In 1910, the Christian Science Monitor offered her this early if somewhat backhanded praise: “Miss Ball has mastered the craft and paints like a man.” Four years later, the Boston Evening Transcript was more specific: “Miss Ball is not a timid painter. She wields an emphatic brush.” At the conclusion of her one-person exhibition at MAG in April 1922, she presented this large, harmonious canvas as a gift.
[Label text from It Came From the Vault exhibition, 2013]
lower right
1922.37
item
Memorial Art Gallery
9/8/1999
22.37SL1
slide
full
2 x 2
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
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
22.37DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/22.37_A1.jpg
Print
Dance of Death II (Totentanz II)
Ernst Barlach, (Wedel, Germany, 1870 - 1938, Rostock, Germany)
Barlach, Ernst
Germany
1870 - 1938
Male
12 7/8 x 18 in. (32.7 x 45.7 cm)
.
.
.
overall
sheet
.
.
.
overall
image
Printer's ink
Printer's ink
1922
1922
1922
Print
Ernst Barlach was an Expressionist sculptor, printmaker, and playwright who worked in a wide range of media. Like many other German artists of the period, he initially believed that war could serve as a catalyst that would disrupt the artifice and spiritual complacency of contemporary German society. His time in the military exposed him to the horrors of war, an experience that frequently emerges in the dark intensity of his later work.
In the early 1920s, Barlach began to experiment with the medium of woodcut, looking back to the late medieval period for both style and subject matter.
[Label text from It Came From the Vault exhibition, 2013]
Plate 4 of 7 from the portfolio The Transformations of God: Seven Woodcuts (Die Wandlungen Gottes: Sieben Holzschnitte)
lower right
1970.26
item
Memorial Art Gallery
5/12/2001
70.26SL1
slide
2 x 2
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
70.26DI#1
digital image
Front
6/18/2007
http://127.0.0.1:5000/Media/images/70.26_A1.jpg
Drawing
The Sun King
Stefano della Bella, 1610 - 1664
Bella, Stefano della
Italy
1610 - 1664
Male
10 11/16 x 5 15/16 in. (27.2 x 15.1 cm)
.
.
.
sheet
sheet
Pen and ink
Pen and ink
ca. 1650
1645
1655
Drawing
This delicate drawing shows Louis XIV, King of France, participating in a court ballet. Although highly decorative, it is an elegant and detailed portrait of a young man who, despite his age, has a commanding presence. It is also a romantic portrait of The Sun King, as he was called, who would ultimately become the most famous of French monarchs.
Born into a family of painters, sculptors, and goldsmiths, Stefano della Bella was quite possibly the most important Florentine artist of the 1600s. In 1633, he was sent to Rome to work for the wealthy and powerful Medici family, great patrons of the arts. Six years later, he traveled to Paris with the Medici ambassador to the court of King Louis XIII; his patrons included members of the French royal family, nobility, and publishers.
[Label text from It Came From the Vault exhibition, 2013]
1991.86
item
Memorial Art Gallery
2/26/2001
91.86SL1
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
91.86DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/91.86_A1.jpg
91.86DI#2
digital image
2/9/2012
http://127.0.0.1:5000/Media/images/91.86_A2.jpg
Watercolor
Cemetery, Père Lachaise
Ludwig Bemelmans, 1898 - 1962
Bemelmans, Ludwig
United States
1898 - 1962
Male
17 3/4 x 25 7/8 in. (45.1 x 65.7 cm)
.
.
.
sheet
Watercolor
Watercolor
ca. 1950
1945
1955
20th century, Abstract, MAG Lending Library, watercolors
Watercolor
Perhaps best known as the illustrator of the popular Madeline books, Ludwig Bemelmans breathes unexpected life into Père Lachaise cemetery in Paris. Established by Napoleon in 1803, the 125-acre cemetery is the final resting place of such famous figures as Héloise and Abelard, Honoré de Balzac, Frederic Chopin, Oscar Wilde, and Jim Morrison. At least six gendarmes are depicted in this watercolor, most giving directions to bewildered tourists and one giving chase to a dog on the loose.
[Label text from It Came From the Vault exhibition, 2013]
lower rightverso
Barbara Bemelmans
1958.65
item
Memorial Art Gallery
9/8/1999
58.65SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
5x3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
58.65DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/58.65_A1.jpg
58.65DI#2
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/58.65_A2.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
Drawing
Potato Salad Man
Peter Berg, 1948 - 1991
Berg, Peter
United States
1948 - 1991
Male
30 x 36 1/2 in. (76.2 x 92.7 cm)
.
.
.
overall
sheet
.
.
.
overall
image
.
.
.
Pen and ink
Pen and ink
1973
1973
1973
by Rochester artists
Drawing
Peter Berg, one of Rochester’s most beloved artists, graduated from Rochester Institute of Technology the same year he drew "Potato Salad Man." At the time of his death at age 43, he was an instructor of painting and drawing at MAG’s Creative Workshop. Visitors who remember his subject, the poet and former MAG educator Jim Lavilla-Havelin, will attest to Berg’s ability to render both the physical appearance and the emotional presence of his sitters.
[Label text from It Came From the Vault exhibition, 2013]
lower leftlower right
1974.32
item
Memorial Art Gallery
9/8/1999
74.32SL1
slide
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
74.32DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/74.32_A1.jpg
74.32DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/74.32_A2.jpg
Painting
Fishwife
Paul S. Berry, (1915 - 1997)
Berry, Paul S.
United States
1915 - 1997
Male
.
.
.
overall
frame
Oil
Oil
1950-1952
1950
1952
1900-2000, American art, color, figure, food, Images of Black People, jobs & work, line, men, movement, paintings, scale, shape, women
Painting
For many years, works from the annual Rochester-Finger Lakes Exhibition were purchased by MAG for the permanent collection. Fishwife, by Syracuse artist Paul S. Berry, is an example of such an acquisition made from the 1952 show. Its survival may rest on the fact that it entered the museum’s collection so soon after it was painted, as every August the artist would evaluate the contents of his studio and destroy anything that wasn’t up to his exacting standards.
According to Berry’s widow, Fishwife is painted in a style quite different from most of his work. A turbaned Haitian woman lifts an enormous, wide-eyed fish from a wicker basket; the diagonal line of her muscular arm echoes the ramshackle roofline of the building behind her. The influence of photography is seen in the arm of a third person poking in from the left side of the composition.
[Label text from It Came From the Vault exhibition, 2013]
lower right
Carolyn Berry
1952.50
item
Memorial Art Gallery
9/8/1999
52.50SL1
slide
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
52.50DI1
digital image
5/9/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/52.50_I1.jpg
52.50DI#2
digital image
2/22/2013
http://127.0.0.1:5000/Media/images/52.50_A1.jpg
Watercolor
People on the Beach at Trouville (Personnages sur la plage à Trouville)
Eugène-Louis Boudin, (Honfleur, France, 1824 – 1898, Deauville, France)
Boudin, Eugène-Louis
France
1824 - 1898
Male
6 9/16 x 12 9/16 in. (16.6 x 31.9 cm)
.
.
.
sheet
sheet
Watercolor
Watercolor
1864
1864
1864
Watercolor
"I have never forgotten that you were the first who taught me to see and to comprehend." --Claude Monet to Eugène Boudin, 1892
Eugène Boudin’s method of painting beach scenes en plein air and his attention to rendering the changes in natural light caused by weather and the time of day had a particular influence on the early work of Claude Monet. Best known for his paintings of vacationers on the beaches of the village of Trouville, Boudin was himself somewhat ambivalent about the idle nature of his subjects. The true focus of his paintings was natural light. As he wrote in a letter to a friend, "Should I confess it? This beach at Trouville which used to be my delight, now, since my return, seems like a frightful masquerade….When you’ve just spent a month among people devoted to the rough work of the fields, to black bread and water, and then you see again this bunch of gilded parasites who have so triumphant an air, it strikes you as pitiable and you feel a certain shame in painting such idleness. Fortunately…the Creator has spread out everywhere his splendid and warming light, and it is less this society that we produce than the element which envelops it."
[Label copy from Monet: Vision and Process exhibition, 2018]
Boudin’s method of painting beach scenes en plein air (“in the open air”) is linked to the work of the Impressionists. His attention to rendering the changes in natural light caused by weather and the time of day had a particular influence on the early work of Claude Monet.
Although best known for his paintings of vacationers on the beaches of the village of Trouville, he was somewhat ambivalent about his subjects. The true focus of his paintings was natural light. As he wrote in a letter to a friend upon his return from Brittany, where he had painted peasants laboring in the fields:
“Should I confess it? This beach at Trouville which used to be my delight, now, since my return, seems like a frightful masquerade…When you’ve just spent a month among people devoted to the rough work of the fields, to black bread and water, and then you see again this bunch of gilded parasites who have so triumphant an air, it strikes you as pitiable and you feel a certain shame in painting such idleness. Fortunately…the Creator has spread out everywhere his splendid and warming light, and it is less this society that we produce than the element which envelops it.”
[Label text from It Came From the Vault exhibition, 2013]
lower rightinside mat, from Knoedler gallery? Per note in curatorial file.
1991.79
item
Memorial Art Gallery
3/10/2001
91.79TR1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
91.79DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/91.79_A1.jpg
91.79DI#2
digital image
2/9/2012
http://127.0.0.1:5000/Media/images/91.79_A2.jpg
Painting
Morning Star
Eugen Bracht, (Morges, Switzerland, 1842 – 1921, Darmstadt, Germany)
Bracht, Eugen
Germany
1842 - 1921
Male
29 3/4 x 34 1/2 in. (75.6 x 87.6 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
ca. 1900
1895
1905
landscapes, paintings
Painting
lower leftback of board, Siegmundshof address is that of the artist's studio.back of panelback of boardback of support, On back of rectangular frame fastened to boardback of support, On back of rectangular frame fastened to boardback of support, On back of rectangular frame fastened to boardback of support, On back of rectangular frame fastened to board. Partly illegible.back of support, On back of rectangular frame fastened to board. Partly illegible.back of support, On back of rectangular frame fastened to board. Stencilled to two labels or sheets of paper which were then applied to the wood.back of support, On back of rectangular frame fastened to boardback of support, On back of rectangular frame fastened to boardback of support, On back of rectangular frame fastened to boardback of frameback of frameback of frameback of frame, Partly illegible.back of frame, Partly illegible.back of frameback of frame, If this really reads "10," may be catalogue number from 1900 exhibition in Vienna? See photocopy of catalogue in curatorial file
1913.10
item
Memorial Art Gallery
2/27/2001
transparency
4 x 5
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
13.10SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
13.10DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/13.10_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/13.10_A2.jpg
Painting
The Bath -- Watermill (Berta's) (2)
Warren Brandt, 1918 - 2002
Brandt, Warren
United States
1918 - 2002
Male
72 x 80 in. (182.9 x 203.2 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1964
1964
1964
1900-2000, American art, color, line, movement, paintings, shape
Painting
Warren Brandt’s obituary in the New York Times described him as “a painter whose dalliance with Abstract Expressionism gave way to a style of realism and domestic warmth.”
[Label text from It Came From the Vault exhibition, 2013]
Berta Borgenicht was the artist's stepdaughter and daughter of Grace Borgenicht, Warren Brandt's second wife. Grace Borgenicht was a gallery owner in New York City.
Water Mill is a town on the eastern end of Long Island, New York.
lower left
Isabella Brandt Johansen
1964.11
item
Memorial Art Gallery
9/8/1999
64.11TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.11SL1
slide
full
2 x 2
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
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.11DI1
digital image
5/16/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/64.11_I1.jpg
64.11DI#2
digital image
11/20/2012
http://127.0.0.1:5000/Media/images/64.11_A1.jpg
Watercolor
Mourning Painting
Celia or Clarissa Burt
Burt, Celia or Clarissa
United States
Female
20 3/4 x 18 1/4 in. (52.7 x 46.4 cm)
.
.
.
overall
sheet
.
.
.
image
image
.
.
.
overall
frame
Watercolor
Watercolor
0
0
Watercolor
on tombstonelower left, on mat
1959.60
item
Memorial Art Gallery
9/8/1999
59.60SL1
slide
full
2 x 2
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
59.60DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/59.60_A1.jpg
59.60DI#2
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/59.60_A2.jpg
Print
House in the Trees
Rosalie Macgill Carey, (Baltimore MD, 1898 - 1984, Baltimore MD)
Carey, Rosalie Macgill
United States
1898 - 1984
Female
6 7/16 x 5 1/16 in. (16.4 x 12.9 cm)
.
.
.
overall sheet
sheet
.
.
.
plate
image
Printer's ink
Printer's ink
0
0
1900-2000, 20th century, etchings, houses, trees in art
Print
lower right
1951.77
item
Memorial Art Gallery
9/8/1999
51.77SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2.5x3
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
51.77DI1
digital image
3/6/2002
http://127.0.0.1:5000/Media/images/51.77_A1.jpg
51.77DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/51.77_A2.jpg
Watercolor
Melon Glow
Jon Carsman, (Wilkes Barre, PA, 1944 - 1987)
Carsman, Jon
United States
1944 - 1987
Male
22 5/8 x 30 5/16 in. (57.5 x 77 cm)
.
.
.
overall
sheet
Watercolor
Watercolor
1977
1977
1977
Watercolor
lower right
1978.75
item
Memorial Art Gallery
9/8/1999
78.75SL1
slide
full
2 x 2
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
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
78.75DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/78.75_A1.jpg
78.75DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/78.75_A2.jpg
Print
Rock Cross
Edmond Casarella, (Newark NJ, 1920 - 1996, Englewood NJ)
Casarella, Edmond
United States
1920 - 1996
Male
32 3/4 x 25 13/16 in. (83.2 x 65.6 cm)
.
.
.
overall
sheet
.
.
.
overall
image
Printer's ink
Printer's ink
Medium formerly noted as: paper relief cut, color on wove paper
Current medium changed on 1/16/2001 by CLC after inspection by CA - Color woodcut printed on two sheets pieced together with masking tape.
0
0
20th century, Abstract, woodcuts
Print
Edmond Casarella used cardboard carved in relief to create this print. It follows from preliminary sketches he made of rocks along the Maine coast.
[Label text from It Came From the Vault exhibition, 2013]
lower rightlower leftlower center
Nikki Casarella
1957.56
item
Memorial Art Gallery
9/8/1999
negative
full
6x4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.56DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/57.56_A1.jpg
57.56DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/57.56_A2.jpg
Sculpture
Black Beast
Lynn Chadwick, (London, England, 1914 - 2003, Bisley, England)
Chadwick, Lynn
England
1914 - 2003
Male
40 x 79 1/4 x 28 in. (101.6 x 201.3 x 71.1 cm)
.
.
.
overall
overall
Bronze
Bronze
1960
1960
1960
20th century, animals in art, sculpture
Sculpture
The British sculptor Lynn Chadwick trained and worked as a draftsman until after World War II, when he began to experiment with openwork metal in the form of mobiles. After taking a welding course in 1950, he moved to the production of solid sculptures in bronze. His primary subject matter during this time was the human figure; he also made a number of large-scale bronze sculptures of abstract aggressive, angular creatures such as MAG’s Black Beast.
Although easily recognizable as an animal form, the roughened bronze lacks specific naturalistic features such as ears, eyes, and hooves. Chadwick focuses instead on expressing the beast’s massive, dynamic brute force through the sculpture’s surface texture and form. The areas of discoloration on Black Beast’s surface are not the original intent of the artist, but a result of the many years the sculpture stood in MAG’s old sculpture garden on the north side of the building. When conservation funds permit, the stained areas will be treated and the sculpture applied with a protective coating suitable for outdoor display.
[Label text from It Came From the Vault exhibition, 2013]
underside, Per the artist's family, the work is no. 324, in an edition of 4, of which this is #2
1980.41
item
Memorial Art Gallery
3/10/2001
80.41SL1
slide
side view in Sculpture Court
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
80.41SL2
slide
3/4 view in Sculpture Court
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
80.41SL3
slide
front on view in Sculpture Court
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
80.41DI1
digital image
in situ- Gertrude Herdle Moore Sculpture Garden
00/00/00
http://127.0.0.1:5000/Media/images/80.41_A1.jpg
80.41DI2
digital image
in SculptureGarden1/80
00/00/00
http://127.0.0.1:5000/Media/images/80.41_A2.jpg
80.41DI#3
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/80.41_A3.jpg
Painting
Untitled
Hilda Altschule Coates, 1900 - 1983
Coates, Hilda Altschule
United States
1900 - 1983
Female
Primary
21 1/2 x 30 1/16 in. (54.6 x 76.4 cm)
.
.
.
sheet
Ink
Ink
1956
1956
1956
Arena Group
Painting
lower right, in image
2006.24
item
Memorial Art Gallery
4/5/2006
6057.1.DI1.JPG
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2006.24_I1.jpg
2006.24DI#2
digital image
Front
5/15/2007
http://127.0.0.1:5000/Media/images/2006.24_A1.jpg
Painting
Untitled
Hilda Altschule Coates, 1900 - 1983
Coates, Hilda Altschule
United States
1900 - 1983
Female
42 x 35 in. (106.7 x 88.9 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1939
1939
1939
1900-2000, architecture in art, Arena Group, art with Rochester connections, cityscapes, flowers in art, food, home life, paintings, still lifes
Painting
From her limited formal art training, Hilda Altschule Coates evolved a personal and expressive style. What could Coates have embedded in this seemingly symbol-laden still life arranged in a corner of her apartment on Alexander Street? The initial sensation the viewer experiences is vertigo due to the dizzying perspective of the table and the white lily leaning towards the open third-floor window. Curiosity comes next. Who are the seven glasses for? Shouldn’t the lemon be in the empty fruit bowl rather than on the precipitously-tilted table? And why a white lily, traditionally a symbol of purity located near the Virgin Mary in paintings of the Annunciation? Unfortunately, a personal interpretation is lost to us as this painting was given to the Gallery after the artist’s death in 1983.
[Label text from It Came From the Vault exhibition, 2013]
“My art education is, and has been, without benefit of art school. I say this neither boastfully nor apologetically, simply with a wish to report the facts.” So wrote Hilda Altschule Coates, whose formal art training consisted of an undergraduate painting class while she worked on a degree in natural sciences at Hunter College, and another while pursuing her master’s degree in philosophy at Cornell University. Studying and working on her own, she evolved a style which she felt depended upon emotive rather than cerebral elements for its impact.
Many of Altschule’s paintings of the 30s and 40s are studies of interiors that draw the eye around a room and out the window to the world outside. This particular canvas shows the view from her apartment on Alexander Street in Rochester. The eccentric perspective and a fascination with surfaces – the cloudy glass of the goblets, the reflective tray upon which they rest, the warm patina of an antique table, and the glossy leaves of the lily plant – are characteristic of Altschule’s early work.
The lily is a symbol of purity; legend has it that the first lily sprang up from the tears Eve shed when she was expelled from the Garden of Eden.
[Gallery label text, 1994]
upper right
1983.12
item
Memorial Art Gallery
9/8/1999
83.12SL1
slide
full
2 x 2
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
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/83.12_I1.jpg
83.12DI#2
digital image
11/6/2012
http://127.0.0.1:5000/Media/images/83.12_A1.jpg
Painting
Eiffel Tower #1
William Congdon, 1912 - 1998
Congdon, William
United States
1912 - 1998
Male
43 1/2 x 35 1/2 in. (110.5 x 90.2 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1955
1955
1955
1900-2000, Abstract, American art, architecture in art, paintings
Painting
Once a prominent member of the New York School, William Congdon’s name has drifted into obscurity. His youthful wanderlust led him to Italy, France, Mexico, Turkey, Cambodia, and Africa on painting expeditions. Eiffel Tower #1 shows his characteristic use of a jack knife or the edge of a spatula to incise energetic lines into his paint, here suggesting the lacy ironwork of the French icon. In 1959, after years of emotional and creative turmoil, he retreated from public view and spent the last decades of his life as artist-in-residence at a Benedictine monastery near Milan. Shortly after his death, the New York Times wrote that “Most museums store their Congdons with countless other works deemed too marginal to show and too meaningful to sell.”
[Label text from It Came From the Vault exhibition, 2013]
verso
1957.3
item
Memorial Art Gallery
9/8/1999
57.3TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.3SL1
slide
full
2 x 2
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
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.3DI1
digital image
5/22/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/57.3_I1.jpg
57.3DI#2
digital image
11/20/2012
http://127.0.0.1:5000/Media/images/57.3_A1.jpg
Painting
Stairway of Francis I at Blois
Colin Campbell Cooper, (Philadelphia, PA, 1856 - 1937, Santa Barbara, CA)
Cooper, Colin Campbell
United States
1856 - 1937
Male
32 1/4 x 24 in. (81.9 x 61 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1900
1900
1900
architecture in art, art with Rochester connections, by Rochester artists, from Rochester collections
Painting
American-born painter Colin Campbell Cooper infused life into his paintings with an impressionist’s sense of air and light. After training in Philadelphia and Paris, he married fellow-artist and Rochester native Emma Lampert and the couple travelled around Europe and much of the world. Cooper painted subjects ranging from the Taj Mahal in India to the Main Street Bridge in Rochester, and was represented in MAG’s inaugural exhibition in 1913.
[Label text from It Came From the Vault exhibition, 2013]
lower rightverso
1914.5
item
Memorial Art Gallery
9/8/1999
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
14.5SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
14.5DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/14.5_I1.jpg
14.5DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/14.5_A1.jpg
14.5DI#3
digital image
11/6/2012
http://127.0.0.1:5000/Media/images/14.5_A2.jpg
Watercolor
The Breadwinner
Emma Lampert Cooper, (Nunda, NY, 1855 - 1920, Pittsford, NY)
Cooper, Emma Lampert
United States
1855 - 1920
Female
20 x 24 in. (50.8 x 61 cm)
.
.
.
.
.
.
overall
frame
Watercolor
Watercolor
1891
1891
1891
by Rochester artists, cats, genre scenes, home life, jobs & work, watercolors, women
Watercolor
Emma Lampert of Nunda, NY, studied at the Art Students League and taught at Mechanics Institute (now RIT) before marrying the well-known painter, Colin Campbell Cooper. This view of a Dutch interior was exhibited widely both here and abroad; it garnered several awards, including a medal at the 1893 World’s Columbian Exposition.
[Label text from It Came From the Vault exhibition, 2013]
lower right
1920.3
item
Memorial Art Gallery
9/8/1999
20.3TR1
transparency
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
20.3SL1
slide
full
2 x 2
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
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
20.3DI1
digital image
2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/20.3_A1.jpg
20.3DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/20.3_A2.jpg
20.3DI3
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
20.3DI#3
digital image
10/22/2008
http://127.0.0.1:5000/Media/images/20.3_A3.jpg
Watercolor
Untitled
David Cummings
Cummings, David
United States
Male
13 5/8 x 9 3/4 in. (34.6 x 24.8 cm)
.
.
.
.
.
.
overall
frame
Watercolor
Watercolor
1984
1984
1984
Watercolor
initialed, lower right
1985.26
item
Memorial Art Gallery
9/8/1999
glossy
full
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
85.26DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/85.26_A1.jpg
Drawing
Charles Spencer Chaplin
Chaplin with Rose, Charles Spencer Chaplin
E. E. Cummings, 1894 - 1962
Cummings, E. E.
United States
1894 - 1962
Male
25 1/2 x 19 3/8 in. (64.8 x 49.2 cm)
.
.
.
overall
sheet
Pen and ink
Pen and ink
by March 1924
3/1924
3/1924
1900-2000, 20th century, actors, drawing
Drawing
E.E. Cummings was an accomplished visual artist as well as one of America's greatest poets. Some of his early work was reproduced in The Dial, a magazine that was published from 1920 - 1929. The Dial's offerings included prose, poetry, critical reviews, as well as visual arts. Because of Cummings' friendship with the publisher, James Sibley Watson, Jr., he had an early relationship with the publication, which published his poems, his essays, and his drawings. James Sibley Watson, Jr., also provided Cummings with an apartment at 4 Patchin Place in Greenwich Village.
Watson, who along with his wife Hildegarde Lasell Watson, were supporters of a number of other artists, including sculptor Gaston Lachaise. He was the son of Emily Sibley Watson, who founded the Memorial Art Gallery of the Unversity of Rochester in 1913.
[Gallery label text]
along lower edgelower right
1997.14
item
Memorial Art Gallery
9/8/1999
97.14SL1
slide
full
2 x 2
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
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.14DI1
digital image
2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/97.14_A1.jpg
97.14DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/97.14_A2.jpg
Watercolor
Mrs. Rachel Tooker
Justus DaLee, (Pittstown, New York, 1793 - 1878, Eden, Wisconsin)
DaLee, Justus
United States
1793 - 1878
Male
3 1/2 x 3 in. (8.9 x 7.6 cm)
.
.
.
without frame
Watercolor
Watercolor
1845
1845
1845
portraits, women
Watercolor
Justus DaLee, a former professor of penmanship in nearby Palmyra, was an itinerant painter of small portraits, always in profile. By 1840, he was working in Rochester, taking advantage of the population and economic boom that had come with the opening of the Erie Canal 15 years earlier. Nothing is known of the sitter, Mrs. Rachel Tooker, aged 69, of Pittsford. Within a couple of years of painting her likeness, DaLee had moved to Buffalo, where his occupation was listed as “grocer.”
[Label text from It Came From the Vault exhibition, 2013]
in the imageversoverso
1986.129
item
Memorial Art Gallery
9/8/1999
86.129SL1
slide
full - front
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
86.129SL2
slide
full - back
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.129DI1
digital image
Front
00/00/00
http://127.0.0.1:5000/Media/images/86.129_A1.jpg
86.129DI2
digital image
Back
00/00/00
http://127.0.0.1:5000/Media/images/86.129_A2.jpg
Sculpture
Ceremonial Desert Form
Norman Daly, 1911 - 2008
Daly, Norman
United States
1911 - 2008
Male
18 x 8 x 2 in. (45.7 x 20.3 x 5.1 cm)
.
.
.
overall
overall
.
.
.
with base
overall
Marble
Marble
1962
1962
1962
1900-2000, placques
Sculpture
Decades ago, one of the prizes awarded at the Rochester-Finger Lakes Exhibition was a one-person show the following year. Norman Daly, a professor of art at Cornell University, received that honor in 1963 and this double-faced marble tablet was purchased for the permanent collection. It prefigures Daly’s greatest achievement: his invention, in 1972, of an entire civilization and an exhibition based on artifacts supposedly excavated from its ruins. Always interested in the art produced by ancient cultures, Daly created fragments of wall paintings, votives, tools, weapons, jewelry, and other objects from the mythical civilization of Llhuros, many of which resembled our double-sided Ceremonial Desert Form. The upward-reaching figure is a recurrent motif in his work.
[Label text from It Came From the Vault exhibition, 2013]
underside, on label
David G. Daly, MD
1964.4
item
Memorial Art Gallery
9/8/1999
64.4SL1
slide
2 x 2
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
glossy
full
4 x 5
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
64.4DI#1
digital image
6/4/2009
http://127.0.0.1:5000/Media/images/64.4_A1.jpg
64.4DI#2
digital image
12/12/2012
http://127.0.0.1:5000/Media/images/64.4_A2.jpg
64.4DI#3
digital image
12/12/2012
http://127.0.0.1:5000/Media/images/64.4_A3.jpg
Painting
Child's Portrait
Arthur B. Davies, 1862 - 1928
Davies, Arthur B.
United States
1862 - 1928
Male
58 x 38 in. (147.3 x 96.5 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1926
1926
1926
1900-2000, American art, figure, paintings
Painting
Arthur Davies, born in Utica and educated at the School of the Art Institute of Chicago, was considered one of the greatest American artists during his lifetime. He was a primary force behind the organization of the pioneering 1913 Armory Show, which introduced the American public to avant-garde European art and helped change the course of painting and sculpture in the United States.
Although Davies experimented with different styles, mediums, and techniques, he always returned to the figure as the central element of his paintings. In much of his work he created a fantasy world into which the viewer could escape from the stress of an increasingly mechanized age. The women and children he painted are often placed either into idyllic landscapes that emphasize the innocent world he sought to recreate, or into a simple color background, as in Child’s Portrait, which permits the viewer to forget all but the purity of his subject.
[Forman Gallery, Summer 2015]
back of canvas, Stamped twice on the back of the canvas and once on the stretcherback of stretcher, Mostly illegible; two words, second starting with Bback of canvas, Label printed in red, with handwritten notations in black inkback of canvasback of canvasback of stretcherback of stretcherback of stretcherback of stretcher
1967.7
item
Memorial Art Gallery
9/8/1999
67.7SL1
slide
2 x 2
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
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
67.7DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/67.7_I1.jpg
67.7DI#2
digital image
11/20/2012
http://127.0.0.1:5000/Media/images/67.7_A1.jpg
67.7DI#3
digital image
7/7/2015
http://127.0.0.1:5000/Media/images/67.7_A2.jpg
Drawing
Oxen Under Trees
Arthur B. Davies, 1862 - 1928
Davies, Arthur B.
United States
1862 - 1928
Male
12 5/8 x 9 3/8 in. (32 x 23.8 cm)
.
.
.
overall
sheet
Graphite
Graphite
ca. 1927
1922
1932
1900-2000, 20th century, drawing, landscapes, oxen, trees in art
Drawing
1932.3
item
Memorial Art Gallery
9/8/1999
32.3SL1
slide
full
2 x 2
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
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
32.3DI1
digital image
2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/32.3_A1.jpg
32.3DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/32.3_A2.jpg
32.3DI#3
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/32.3_A3.jpg
Textiles
At the Gates of Morning
Arthur B. Davies, 1862 - 1928
Davies, Arthur B.
United States
1862 - 1928
Male
69 x 38 1/4 in. (175.3 x 97.2 cm)
.
.
.
Wool
Wool
ca. 1925
1920
1930
1900-2000, nudes, tapestry, women
Textiles
Arthur B. Davies was the driving force behind the 1913 Armory Show which introduced Americans to radical European abstract art, but his own style remained representational throughout his career. This tapestry of the artist’s signature lyrical nudes dancing in the landscape was one of 36 tapestries he designed and had woven by the famous Gobelins factories in France. Only six were sold during his lifetime; the rest were later destroyed in a fire.
[Label text from It Came From the Vault exhibition, 2013]
1962.23
item
Memorial Art Gallery
9/8/1999
62.23TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
62.23SL1
slide
2 x 2
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
62.23DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/62.23_A1.jpg
62.23DI#2
digital image
5/4/2018
http://127.0.0.1:5000/Media/images/62.23_A2.jpg
Drawing
Dancer, Seen from Behind (Danseuse vue de dos)
Edgar Degas, 1834 - 1917
Degas, Edgar
France
1834 - 1917
Male
19 3/16 x 11 11/16 in. (48.7 x 29.7 cm)
.
.
.
sheet
sheet
.
.
.
overall
frame
Chalk
Chalk
ca. 1878-1881
1878
1881
1800-1900, 19th century, dance, drawing, Lockhart Collection, women
Drawing
Often called “the painter of modern life,” Edgar Degas filled his canvases with images from the vibrant world of performance and spectacle in the clubs and theaters of Paris during the latter part of the 1800s. Ballet dancers appealed to Degas as a pictorial subject for two key reasons: they represented modern subjects, and they offered female bodies that could be naturally observed in a host of complicated poses. Drawing from innumerable studies, he created light-filled images that represent the essence of natural movement.
Dancer, Seen from Behind is a study for a figure in the far right of Dancers in the Rehearsal Room, with a Double Bass, which is now in the Metropolitan Museum of Art.
[Label copy from Monet: Vision and Process exhibition, 2018]
lower left, oval Degas atelier stamp [Lugt 657]lower left, Degas atelier sale stamp
1987.65
item
Memorial Art Gallery
2/21/2001
87.65TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
87.65SL1
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
digital image
00/00/00
http://127.0.0.1:5000/Media/images/87.65_A1.jpg
87.65DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/87.65_A2.jpg
Drawing
Dancers
Edgar Degas, 1834 - 1917
Degas, Edgar
France
1834 - 1917
Male
37 5/8 x 26 3/4 in. (95.6 x 67.9 cm)
.
.
.
overall
frame
.
.
.
Pastel
Pastel
ca. 1900
1895
1905
1900-2000, 20th century, dance, drawing, women
Drawing
When asked by Mrs. Horace Havemeyer, an American collector, why he so often portrayed dancers, Degas replied “Because I find there, Madame, the combined movements of the Greeks.”
This pastel was produced late in the artist’s life when his eyesight had begun to fail. It is possible that his diminished vision resulted in the heavy contours that surround the dancers and give only the barest suggestion of their facial features. Rather than attempting great detail, he concentrated on mapping out the unpredictable effects of theatrical lighting on the forms of the figures.
[Label text from It Came From the Vault exhibition, 2013]
back of frame, From Cleveland Degas exhibition, Feb 7 - Mar 9 1947back of framelower leftback of panelback of panelback of panelback of panelback of panel, Label for AFA Degas and the Dance exhibitionback of panel, Label for National Gallery of Art Degas exhibition
1931.21
item
Memorial Art Gallery
1/17/2001
color separations
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
31.21TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
31.21SL1
slide
full
2 x 2
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
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
31.21SL2
slide
detail
2x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
31.21DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/31.21_A1.jpg
31.21DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/31.21_A2.jpg
Painting
Portrait of Daniel Webster (after F. DeBourg Richards)
George T. Deming, (Wellsboro, Pennsylvania, 1868 - 1948, Alameda, California)
Deming, George T.
United States
1868 - 1948
Male
Primary
Engraving
8 9/16 x 6 1/4 in. (21.7 x 15.8 cm)
.
.
.
sheet
horizontal
sheet
.
.
.
overall
frame
Oil
Oil
after 1846
1847
1856
1800-1900, 19th century, Daniel Webster, men, paintings, portraits
Painting
Orator, lawyer, statesman, and senator Daniel Webster (1782–1852) was the subject of many portraits, but none more charming than this one, informally titled Dan. Information on the back says the painting was copied from an engraving, which was no doubt itself a copy of an 1840s daguerreotype by F. DeBourg Richards.
Chief curator Marjorie Searl has determined that the original attribution to G. K. Merrick is incorrect. Markings on the back of the portrait were misleading; the signature for Merrick, an attorney in Wellsboro, PA, probably indicated ownership. Another inscription, “painted from an engraving by George Deming, Wellsboro, Pennsylvania,” most likely led to the interpretation that Deming was the engraver and Merrick was the painter. Thanks to the internet and Ancestry.com, we can now safely say that Deming was the painter, and we can speculate that Merrick purchased it from him.
[Label text from It Came From the Vault exhibition, 2013]
versoversolower center
1948.52
item
Memorial Art Gallery
9/8/1999
48.52DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/48.52_A1.jpg
48.52DI#2
digital image
2/9/2012
http://127.0.0.1:5000/Media/images/48.52_A2.jpg
Watercolor
Art Class Penn Academy
Charles Demuth, 1883 - 1935
Demuth, Charles
United States
1883 - 1935
Male
13 1/16 x 19 7/8 in. (33.1 x 50.5 cm)
.
.
.
sheet
sheet (irregular)
.
.
.
overall
frame
Watercolor
Watercolor
1906
1906
1906
1900-2000, 20th century, watercolors, women
Watercolor
Charles Demuth’s most famous paintings are in a hard-lined and tightly-controlled industrial style called Precisionism, which he helped develop, but his watercolors of people, fruit, and flowers are loose, sensuous, and evocative. This casual study of a woman in a studio at the Pennsylvania Academy of Fine Art was made when Demuth was a student there. Based upon a somewhat illegible inscription on the back, this figure may be Helen Torr, a modernist artist who ran in the same circles as Demuth and eventually married the artist Arthur Dove.
[Label text from It Came From the Vault exhibition, 2013]
verso, Somewhat illegible
2000.28
item
Memorial Art Gallery
4/12/2001
2000.28DI1
digital image
Memorial Art Gallery
Imaging complete
2 1/4
10/30/2001
http://127.0.0.1:5000/Media/images/2000.28_A1.jpg
2000.28PRT1
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.28TR1
transparency
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.28SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.28NEG1
negative
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.28DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/2000.28_A2.jpg
Drawing
Head of a Young Woman
Thomas W. Dewing, 1851 - 1938
Dewing, Thomas W.
United States
1851 - 1938
Male
10 1/4 x 8 1/4 in. (26 x 21 cm)
.
.
.
.
.
.
overall
frame
Silver point
Silver point
ca. 1895
1890
1900
1800-1900, 19th century, drawing, portraits, women
Drawing
Head of a Young Woman is the only silver point drawing in MAG’s collection. It is also the only American artwork that was given to the Gallery by Bertha Buswell, whose taste ran nearly exclusively to European fine and decorative arts. Unfortunately, we do not know anything about how or why she acquired such an anomaly, albeit a beautiful one, for her collection.
Silver point was a technique used extensively in the Renaissance and revived in the United States in the late 19th century. Every line was created by dragging a silver stylus across the surface of a specially-prepared paper. The stylus left a trail of silver on the paper, requiring perfect control by the artist, as this was not a forgiving medium where mistakes could be corrected with an eraser. With exposure to the air, the silver tarnished and created a warm brown tone. Because of the fragility of the silver and the paper, this lovely work is rarely exhibited.
[Label text from It Came From the Vault exhibition, 2013]
lower left
1955.79
item
Memorial Art Gallery
9/8/1999
55.79TR1
Transparency
Memorial Art Gallery
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
transparency
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.79SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
side
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3x2
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
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.79DI1
digital image
Memorial Art Gallery
Imaging complete
8/4/2000
http://127.0.0.1:5000/Media/images/55.79_A1.jpg
38dewing2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/38dewing2.tif
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
Print
Ochre
Richard Diebenkorn, 1922 - 1993
Diebenkorn, Richard
United States
1922 - 1993
Male
27 3/8 x 38 3/16 in. (69.5 x 97 cm)
.
.
.
sheet
.
.
.
overall
frame
.
.
.
image
Printer's ink
Printer's ink
1983
1983
1983
Print
lower rightlower left
1984.16
item
Memorial Art Gallery
9/8/1999
84.16SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.16DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/84.16_A1.jpg
84.16DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/84.16_A2.jpg
Painting
Happy
Walt Disney, 1901 - 1966
Disney, Walt
United States
1901 - 1966
Male
5 1/8 x 4 7/16 in. (13 x 11.3 cm)
.
.
.
overall
sheet
.
.
.
overall
frame
Paint
Paint
ca. 1937
1932
1942
1900-2000, American art, drawing, figure, storytelling with art
Painting
Anne Cassebeer may have been MAG’s youngest donor of art. Nineteen years old when she donated Happy, she was a student at Pembroke College and the daughter of artist and architect Walter Cassebeer, a member of MAG’s board.
We wish we could tell you the story of how Anne came to own a production cel depicting Happy, one of the Seven Dwarfs but, as often happens, the circumstances were not recorded at the time she made the gift. A good deal more is known about the Walt Disney film, Snow White and the Seven Dwarfs, released in 1937. It was the first full-length animated feature film with an official soundtrack. MAG’s Happy was one of 1,500,000 drawings and watercolors that were photographed to create Snow White.
[Label text from It Came From the Vault exhibition, 2013]
1944.18
item
Memorial Art Gallery
9/8/1999
44.18DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/44.18_A1.jpg
44.18DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/44.18_A2.jpg
Painting
Silver Surge
Mary Lou Dooley
Dooley, Mary Lou
United States
Female
49 1/2 x 46 in. (125.7 x 116.8 cm)
.
.
.
.
.
.
frame
Oil
Oil
1983
1983
1983
1900-2000, 20th century, paintings
Painting
Painter Mary Lou Dooley is the wife of MAG’s fifth director, Bret Waller, so it seems especially appropriate that one of her canvases was purchased to honor his service to the museum. In describing Silver Surge, she says: “It is a gestural painting related to my interest in calligraphy and movement. It also relates to the influence of two former professors who studied with Hans Hofmann. My intent is to achieve what appears to be a spontaneous result even though the painting has been reworked a number of times.”
[Label text from It Came From the Vault exhibition, 2013]
lower rightback of canvasback of canvas
1985.23
item
Memorial Art Gallery
9/8/1999
85.23SL1
slide
2 x 2
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
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
85.23DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/85.23_A1.jpg
85.23DI#2
digital image
3/4/2013
http://127.0.0.1:5000/Media/images/85.23_A2.jpg
Painting
Coast of Cornwall, near St. Ives
Paul Dougherty, (Brooklyn, NY, 1877 - 1947, Palm Springs, CA)
Dougherty, Paul
United States
1877 - 1947
Male
36 x 48 in. (91.4 x 121.9 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
circa 1915
1910
1920
American art, George Eastman Collection, paintings, seascapes
Painting
In 1915, Memorial Art Gallery mounted an exhibition of seascapes by a leading American marine painter of the time, Paul Dougherty. After the show was already open to the public, the artist sent an additional canvas, Coast of Cornwall, Near St. Ives, which he considered his best work to date. George Eastman had expressed interest in purchasing a Dougherty for the MAG collection. This painting was a top contender but several members of the Art Committee requested director George Herdle to ask the artist to rework the foreground. Reluctantly, Herdle complied and the mystified Dougherty politely asked him exactly what he would like done. In the meantime, Herdle sought the opinion of painter Elmer Schofield, who “thought the criticism not well made.” The director quickly assured Dougherty that all was well, overrode the Committee’s objections, and acquired this painting with funds donated by Eastman.
[Label text from It Came From the Vault exhibition, 2013]
lower left
1915.1
item
Memorial Art Gallery
9/8/1999
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
15.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
15.1DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/15.1_A1.jpg
15.1DI#2
digital image
2/1/2008
http://127.0.0.1:5000/Media/images/15.1_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/15.1_R1.jpg
Painting
Portrait of the Duchess
Rufus J. Dryer, (Rochester, NY, 1880 – 1937, Marcy, NY)
Dryer, Rufus J.
United States
1880 - 1937
Male
39 1/4 x 32 in. (99.7 x 81.3 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1920-1934
1920
1934
1900-2000, 20th century, portraits, women
Painting
Rufus K. Dryer was born into a well-to-do Rochester family of politicians and businessmen. Like many aspiring artists of the day, he studied with Robert Henri in New York City. And like many free spirits of means, he soon after moved to France to pursue his career, returning home only three years before his death. Nothing is known of the pensive woman wearing a fashionable cloche and fur whom Dryer painted in tones of blue and peach against a wildly-patterned wallpaper backdrop. This canvas appeared in the artist’s memorial exhibition here at MAG in 1937, shortly after which it was presented to us as a gift from Dryer’s sister, Leora, also an artist.
[Label text from It Came From the Vault exhibition, 2013]
lower right
1937.15
item
Memorial Art Gallery
9/8/1999
37.15SL1
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
neg
4x5
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
37.15DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/37.15_A1.jpg
37.15DI#2
digital image
11/20/2012
http://127.0.0.1:5000/Media/images/37.15_A2.jpg
Print
Affairements
Jean Dubuffet, 1901 - 1985
Dubuffet, Jean
France
1901 - 1985
Male
25 13/16 x 19 3/4 in. (65.5 x 50.1 cm)
.
.
.
sheet
sheet
.
.
.
plate
plate
Printer's ink
Printer's ink
1964
1964
1964
Print
lower right, below imagelower leftverso
1998.31
item
Memorial Art Gallery
10/22/1999
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2x3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.31SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.31DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/98.31_A1.jpg
98.31DI#2
digital image
10/10/2012
http://127.0.0.1:5000/Media/images/98.31_A2.jpg
Print
The Great Horse
Albrecht Dürer, (Nuremberg, Germany, 1471 - 1528, Nuremberg, Germany)
Dürer, Albrecht
Germany
1471 - 1528
Male
Primary
6 9/16 x 4 3/4 in. (16.7 x 12.1 cm)
.
.
.
sheet
sheet
.
.
.
overall
frame
Printer's ink
Printer's ink
1505
1505
1505
1400-1600, armor, engravings, horses, Lockhart Collection, Renaissance & Baroque
Print
With his extensive knowledge of science, anatomy, and the natural world, Albrecht Dürer epitomized the ideals of the Renaissance. He was the greatest artistic genius of his time and essentially changed the conception of printmaking in Germany. Dürer learned the techniques for engraving from his family of goldsmiths, but was later apprenticed to Michael Wolgemut, a well-known Nuremberg painter and maker of woodcuts. He was uniquely placed to learn and work in engraving, woodcut, and painting, although without his brilliance, these opportunities would have been unfulfilled.
[Label text from It Came From the Vault exhibition, 2013]
lower right, in the plate, in the imageupper center, in the image, in the plateverso, L in a boxverso
1975.35
item
Memorial Art Gallery
5/12/2001
75.35SL1
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
75.35DI1
digital image
4/8/2002
http://127.0.0.1:5000/Media/images/75.35_A1.jpg
75.35DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/75.35_A2.jpg
Sculpture
The Provider
William Ehrich, 1897 - 1960
Ehrich, William
United States
1897 - 1960
Male
4 1/2 x 6 x 12 in. (11.4 x 15.2 x 30.5 cm)
.
.
.
overall
overall
Limestone
Limestone
0
0
1900-2000, 20th century, Arena Group, by Rochester artists, sculpture, sheep
Sculpture
William Ehrich became a major contributor to the art community in western New York after arriving in Buffalo from Europe in 1929. He established a successful sculpting career despite the onset of the Great Depression, and taught both ceramics and sculpture at Memorial Art Gallery and the University of Rochester. MAG owns 13 Ehrich sculptures; The Provider showcases the closed-form, simplified, and idealized style of early modernism. The lamb may have held special significance to Ehrich, who was a practicing Methodist.
[Label text from It Came From the Vault exhibition, 2013]
on stone
Roger W. Ehrich
1949.56
item
Memorial Art Gallery
9/8/1999
49.56SL1
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
49.56DI#1
digital image
4/4/2008
http://127.0.0.1:5000/Media/images/Inventory pictures/49.56_I1.jpg
49.56DI#2
digital image
3/10/2009
http://127.0.0.1:5000/Media/images/49.56_A1.jpg
Textiles
Ceremonial Horse Cover
Embroidery Workshops of Bukhara
Embroidery Workshops of Bukhara
Uzbekistan
52 1/2 x 77 in. (133.4 x 195.6 cm)
.
.
.
overall
narrowest point
.
.
.
overall
overall
Embroidery
Embroidery
1860-1920
1860
1920
1800-1900, 19th century, embroidery
Textiles
When the Russian Imperial Army conquered the Emirate of Bukhara, one of three Uzbek dynasties, in 1868, only Bukhara retained a degree of independence as a Russian protectorate. Lavish ambassadorial gifts from the emirs to the tsars were obligatory, a diplomatic tradition that had developed over centuries. Examples included textiles, furniture, and weapons; among the most luxurious offerings were ceremonial horse covers and blankets embroidered in gold by the elite craftsmen of the Bukhara court.
This elaborate horse cover, which is lined with a traditional ikat-patterned fabric from Uzbekistan (see inset), was probably presented by the emir of Bukhara to the Russian imperial court during the late 1800s. The images of the sphinx and cannons embedded within the golden embroidery and floral patterns quite likely reference famous imperial landmarks in the Russian cities of Moscow and St. Petersburg.
[Label text from It Came From the Vault exhibition, 2013]
Bukhara is in present-day Uzbekistan.
back, Appears to be Russian language but not Cyrillic alphabet? See photo attached to Surrogates
1936.26
item
Memorial Art Gallery
7/20/2001
36.26SL1
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
glossy
back
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.26DI#2
digital image
Front
7/20/2012
http://127.0.0.1:5000/Media/images/36.26_A2.jpg
36.26DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/36.26_A1.jpg
36.26DI#3
digital image
Back
7/20/2012
http://127.0.0.1:5000/Media/images/36.26_A3.jpg
36.26DI#4
digital image
Detail
7/20/2012
http://127.0.0.1:5000/Media/images/36.26_A4.jpg
36.26DI#5
digital image
Detail
7/20/2012
http://127.0.0.1:5000/Media/images/36.26_A5.jpg
36.26DI#6
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/36.26_A6.jpg
36.26DI#7
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/36.26_A7.jpg
Painting
Honeoye #11
Kurt K. Feuerherm, (Germany, 1925 - 2019, Pittsford, NY)
Feuerherm, Kurt K.
United States
1925 - 2019
Male
36 x 24 in. (91.4 x 61 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
ca. 1962-1964
1962
1964
1900-2000, Abstract, Arena Group, art with Rochester connections, color, line, movement, paintings, shape
Painting
As a 25-year-old student at the Cranbrook Academy of Art, Kurt Feuerherm was represented in the Metropolitan Museum of Art’s first U.S. painting competition by a powerful depiction of a Mexican meat market that showed a crucifix hanging with butchered animal carcasses. Life magazine illustrated the work in a January 1951 article about the new generation of contemporary artists. In 1953, after graduating from Yale School of Art, Feuerherm moved to Rochester and taught, over the years, at Rochester Institute of Technology, MAG’s Creative Workshop, Monroe Community College, and Empire State College. Recently, he and three of his past students were featured in RoCo’s annual Makers and Mentors exhibition.
[Label text from It Came From the Vault exhibition, 2013]
lower rightold backing, now in curatorial fileold backing, now in curatorial file, MAG lending gallery labelold backing, now in curatorial fileold backing, now in curatorial fileold backing, now in curatorial file, Framer or dealer?
1964.66
item
Memorial Art Gallery
9/8/1999
glossy
full
8 x 10
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
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/64.66_I1.jpg
64.66DI#2
digital image
11/20/2012
http://127.0.0.1:5000/Media/images/64.66_A1.jpg
Medal
Aphrodite and Swift Runners Medal
John F. Flanagan, 1898 - 1952
Flanagan, John F.
United States
1898 - 1952
Male
2 7/8 x 2 7/8 in. (7.3 x 7.3 cm)
.
.
.
Bronze
Bronze
1932
1932
1932
medals
Medal
6th medal issued by the Society of Medalists
This bronze medal is the sixth issue by the Society of Medalists, which from 1930 to 1995 released 129 limited-edition medals to subscribing members. In the words of artist John F. Flanagan:
“This medal gets its inspiration from classical antiquity . . . the Swift Runners grasping the torch from the failing hands of the runner exhausted in the race is derived from the Lampadedromia, the Greek and Roman torch foot-race, in which the light is passed from one runner to the next waiting relay, competing with other lines of racing torch bearers.”
[Label text from It Came From the Vault exhibition, 2013]
lower right of obverse
1932.21
item
Memorial Art Gallery
9/8/1999
proof sheet
obverse
2 1/2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
proof sheet
reverse
2 1/2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
obverse
2 1/2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
reverse
2 1/2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
32.21DI1
digital image
Recto
00/00/00
http://127.0.0.1:5000/Media/images/32.21_A1.jpg
32.21DI2
digital image
Verso
00/00/00
http://127.0.0.1:5000/Media/images/32.21_A2.jpg
32.21DI#3
digital image
obverse
12/29/2011
http://127.0.0.1:5000/Media/images/32.21_A3.jpg
32.21DI#4
digital image
Reverse
12/29/2011
http://127.0.0.1:5000/Media/images/32.21_A4.jpg
Watercolor
Grove of Alder Trees
Patricia Tobacco Forrester, (Massachusetts, 1940 - 2011)
Forrester, Patricia Tobacco
United States
1940 - 2011
Female
81 x 51 1/2 in. (205.7 x 130.8 cm)
.
.
.
Watercolor
Watercolor
1979
1979
1979
watercolors
Watercolor
lower right
1979.62
item
Memorial Art Gallery
9/8/1999
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
details
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
79.62DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/79.62_A1.jpg
79.62DI#2
digital image
2/13/2013
http://127.0.0.1:5000/Media/images/79.62_A2.jpg
Painting
Moonrise in August
Alexis Jean Fournier, (St. Cloud, MN, 1865 - 1948, Lackawanna, NY)
Fournier, Alexis Jean
United States
1865 - 1948
Male
10 1/2 x 13 1/2 in. (26.7 x 34.3 cm)
.
.
.
overall
frame
.
.
.
without frame
stretcher
Oil
Oil
1914
1914
1914
Roycroft
Painting
Alexis Fournier was known as the “Court Painter” during his many years at Elbert Hubbard’s Roycroft community of artists and craftsmen in East Aurora, New York. The murals he painted of the great cities of the world still grace the walls of the main salon at the Roycroft Inn. He was also active in Minneapolis and the artists’ colony at Brown County, IN. Sometimes referred to as “the last American Barbizon,” his landscapes were reminiscent of the mid-19th-century French painters who championed a new realism in art. This lovely canvas was donated by the grandson of MAG’s founder.
[Label text from It Came From the Vault exhibition, 2013]
lower rightback of panelback of panelback of panel, also on back of frame
2005.26
item
Memorial Art Gallery
5/4/2005
2005.26DI1
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.26_I1.jpg
2005.26DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2005.26_A1.jpg
2005.26DI#3
detail
digital image
back of board with inscription
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.26_I2.jpg
2005.26DI#3
digital image
11/6/2012
http://127.0.0.1:5000/Media/images/2005.26_A2.jpg
Print
Air Frame
Helen Frankenthaler, 1928 - 2011
Frankenthaler, Helen
United States
1928 - 2011
Female
22 x 16 15/16 in. (55.9 x 43 cm)
.
.
.
overall
sheet
Printer's ink
Printer's ink
1965
1965
1965
1900-2000, 20th century, Charles Rand Penney Collection, serigraphs
Print
From the portfolio "New York Ten"
1975.329.3
item
Memorial Art Gallery
9/8/1999
75.329.3DI1
digital image
3/28/2002
http://127.0.0.1:5000/Media/images/75.329.3_A1.jpg
75.329.3SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.329.3DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/75.329.3_A2.jpg
Print
Venetian Doorway
Margaret Lial Freeman, 1893 - 1942
Freeman, Margaret Lial
United States
1893 - 1942
Female
12 3/16 x 8 3/8 in. (31 x 21.2 cm)
.
.
.
overall
sheet
.
.
.
overall
image
Printer's ink
Printer's ink
0
0
1900-2000, 20th century, monotypes, Venice, Italy
Print
lower rightlower center
1919.28
item
Memorial Art Gallery
9/8/1999
19.28DI1
digital image
3/6/2002
http://127.0.0.1:5000/Media/images/19.28_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/19.28_and 19.29_R1.jpg
19.28DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/19.28_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
Manuscript
The Gospels
Grigor of Tarsos, active 1215 - 1255
Grigor of Tarsos
Armenia
active 1215 - 1255
Male
9 5/8 x 7 1/2 x 4 1/8 in. (24.5 x 19 x 10.5 cm)
.
.
.
Ink
Ink
1216
1216
1216
1000-1400, illuminated manuscripts, Medieval
Manuscript
Illuminated manuscripts introduced the Byzantine style to most of Europe. This beautifully illustrated version of the Gospels comes from Armenia in modern-day Turkey. It was commissioned by a priest and written by the scribe Grigor of Tarsos; an unknown artist created the four illuminations of the Evangelists at a later date. The fragile manuscript traded hands during the Armenian Genocide in 1915, and came into Memorial Art Gallery’s collections in 1950, where conservators have treated it in hopes of preserving it for generations to come.
[Label text from It Came From the Vault exhibition, 2013]
1950.8
item
Memorial Art Gallery
1/29/2001
50.8SL1
slide
Gospel of St. Luke
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
113V
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
2R
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
4R
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
6R
8x10
00/00/00
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glossy
1V
8x10
00/00/00
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glossy
3V
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
4V
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
113V
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
166V
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
183V
8x10
00/00/00
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glossy
184V
8x10
00/00/00
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glossy
203V
8x10
00/00/00
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glossy
8x10
00/00/00
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negative
113V
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
113V
5x7
00/00/00
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negative
2R
5x7
00/00/00
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negative
3R
4x5
00/00/00
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negative
4R
4x5
00/00/00
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negative
5R
4x5
00/00/00
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negative
6R
4x5
00/00/00
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negative
8R
4x5
00/00/00
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negative
50R
4x5
00/00/00
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negative
74R
4x5
00/00/00
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negative
114R
4x5
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negative
183R
4x5
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negative
184R
4x5
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1V
4x5
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2V
4x5
00/00/00
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negative
3V
4x5
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negative
4V
4x5
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negative
5V
4x5
00/00/00
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negative
7V
4x5
00/00/00
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negative
58V
4x5
00/00/00
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negative
73V
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
100V
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
100V
4x5
00/00/00
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negative
113V
4x5
00/00/00
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negative
166V
4x5
00/00/00
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negative
183V
4x5
00/00/00
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negative
184V
4x5
00/00/00
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negative
203V
4x5
00/00/00
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negative
220V
4x5
00/00/00
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negative
235V
4x5
00/00/00
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negative
113V
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
113V
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
73V
4x5
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
50.8D1
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/50.8_A1.jpg
50.8SL2
slide
title page
2x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
50.8DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
50.8SL3
slide
Gospel of St. Matthew
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
50.8SL4
slide
1st canon table Grigor
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
50.8DI#2
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/50.8_A2.jpg
50.8DI#3
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/50.8_A3.jpg
50.8DI#4
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/50.8_A4.jpg
50.8DI#5
digital image
Detail
10/29/2012
http://127.0.0.1:5000/Media/images/50.8_A5.jpg
50.8DI#18
digital image
Detail
7/28/2014
http://127.0.0.1:5000/Media/images/50.8 det 3_A1.jpg
50.8DI#19
digital image
Detail
7/28/2014
http://127.0.0.1:5000/Media/images/50.8 det 2_A1.jpg
50.8DI#20
digital image
Detail
7/28/2014
http://127.0.0.1:5000/Media/images/50.8 det 4_A1.jpg
50.8DI#21
digital image
Detail
7/28/2014
http://127.0.0.1:5000/Media/images/50.8 det 5_A1.jpg
50.8DI#22
digital image
Detail
7/28/2014
http://127.0.0.1:5000/Media/images/50.8 det 6_A1.jpg
50.8DI#23
digital image
Detail
7/28/2014
http://127.0.0.1:5000/Media/images/50.8 det 7_A1.jpg
50.8DI#24
digital image
Detail
7/28/2014
http://127.0.0.1:5000/Media/images/50.8 det 8_A1.jpg
50.8DI#25
digital image
Detail
7/28/2014
http://127.0.0.1:5000/Media/images/50.8 det 9_A1.jpg
50.8DI#26
digital image
Detail
7/28/2014
http://127.0.0.1:5000/Media/images/50.8 det John_A1.jpg
50.8DI#27
digital image
Detail
7/28/2014
http://127.0.0.1:5000/Media/images/50.8 det Luke 2-p_A1.jpg
50.8DI#28
digital image
Detail
7/28/2014
http://127.0.0.1:5000/Media/images/50.8 det Luke_A1.jpg
50.8DI#29
digital image
Detail
7/28/2014
http://127.0.0.1:5000/Media/images/50.8 det Mark_A1.jpg
50.8DI#30
digital image
Detail
7/28/2014
http://127.0.0.1:5000/Media/images/50.8 det_A1.jpg
50.8DI#6
digital image
p. 1v
7/28/2014
http://127.0.0.1:5000/Media/images/50.8.1v_A1.jpg
50.8DI#7
digital image
p. 2r
7/28/2014
http://127.0.0.1:5000/Media/images/50.8.2r_A1.jpg
50.8DI#8
digital image
p. 2v
7/28/2014
http://127.0.0.1:5000/Media/images/50.8.2v_A1.jpg
50.8DI#9
digital image
p. 3r
7/28/2014
http://127.0.0.1:5000/Media/images/50.8.3r_A1.jpg
50.8DI#10
digital image
p. 3v
7/28/2014
http://127.0.0.1:5000/Media/images/50.8.3v_A1.jpg
50.8DI#11
digital image
p. 4r
7/28/2014
http://127.0.0.1:5000/Media/images/50.8.4r_A1.jpg
50.8DI#12
digital image
p. 4v
7/28/2014
http://127.0.0.1:5000/Media/images/50.8.4v_A1.jpg
50.8DI#13
digital image
p. 5r
7/28/2014
http://127.0.0.1:5000/Media/images/50.8.5r_A1.jpg
50.8DI#14
digital image
p. 5v
7/28/2014
http://127.0.0.1:5000/Media/images/50.8.5v_A1.jpg
50.8DI#15
digital image
p. 6r
7/28/2014
http://127.0.0.1:5000/Media/images/50.8.6r_A1.jpg
50.8DI#16
digital image
p. 7v
7/28/2014
http://127.0.0.1:5000/Media/images/50.8.7v Matthew_A1.jpg
50.8DI#17
digital image
p. 8r
7/28/2014
http://127.0.0.1:5000/Media/images/50.8.8r_A1.jpg
Painting
Dutch Landscape
Charles Paul Gruppé, (Picton, Ontario, Canada, 1860 - 1940, Rockport, MA)
Gruppé, Charles Paul
United States
1860 - 1940
Male
12 3/8 x 16 1/4 in. (31.4 x 41.3 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
0
0
1800-1900, American art, boats, by Rochester artists, paintings, seascapes
Painting
lower right
1991.32
item
Memorial Art Gallery
9/8/1999
91.32DI1
digital image
5/1/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/91.32_I1.jpg
91.32DI#2
digital image
11/6/2012
http://127.0.0.1:5000/Media/images/91.32_A1.jpg
Print
House and Trees
Hananiah Harari, (Rochester, NY, 1912 - 2000, Hawthorne, NY)
Harari, Hananiah
United States
1912 - 2000
Male
11 1/8 x 8 in. (28.3 x 20.3 cm)
.
.
.
plate
vertical
image
.
.
.
sheet
.
.
.
overall
frame
Printer's ink
Printer's ink
1938
1938
1938
houses, trees in art
Print
Born Richard Falk Goldman here in Rochester, Hananiah Harari studied at MAG’s Creative Worskhop, which he described as “a haven, and my first venture into the world of art.” He assumed his new name in 1935, about the time he became active in leftist politics. The cartoons he contributed to the publication The Masses caused him to be blacklisted in the 1950s during the McCarthy era.
[Label text from It Came From the Vault exhibition, 2013]
lower right, below imagelower left, below imagelower center, below image
2003.37
item
Memorial Art Gallery
9/16/2003
2003.37DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2003.37_A1.jpg
2003.37DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/2003.37_A2.jpg
Print
Apocalypse
Keith Haring, 1958 - 1990
Haring, Keith
United States
1958 - 1990
Male
Images
Burroughs, William
United States
1914 - 1997
Male
Text
38 x 38 in. (96.5 x 96.5 cm)
.
.
.
sheet/image
Printer's ink
Printer's ink
1988
1988
1988
1900-2000, 20th century, serigraphs
Print
Artist and activist Keith Haring gained fame during the early 1980s with his then-anonymous graffiti drawings in the New York subway system. Shortly after he was diagnosed with AIDS, he collaborated with the Beat writer William Burroughs to create the Apocalypse portfolio from which this print comes. Likening the epidemic to the end of the world, Haring’s disturbing imagery combines with Burroughs’ stream-of-consciousness poetry to produce a sense of the catastrophe wrought by the tiny virus. The artist died two years later, at the age of 31.
[Label text from It Came From the Vault exhibition, 2013]
From a portfolio of ten serigraphs.
lower rightalong right side
1996.5.22
item
Memorial Art Gallery
10/24/2002
96.5.18DI1
digital image
10/23/2002
http://127.0.0.1:5000/Media/images/96.5.18_A1.jpg
96.5.18DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/96.5.18_A2.jpg
96.5.18DI#3
digital image
4/4/2016
http://127.0.0.1:5000/Media/images/96.5.18_A3.jpg
Print
Stone Pines in Moonlight
Alfred Hartley, 1855 - 1933
Hartley, Alfred
England
1855 - 1933
Male
9 1/8 x 10 15/16 in. (23.2 x 27.8 cm)
.
.
.
sheet
Printer's ink
Printer's ink
ca. 1925
1920
1930
1900-2000, 20th century, aquatints, landscape, trees in art
Print
Published in Fine Prints of the Year, vol. 3, 1926, London and New York.
lower left, below imagelower right, below imagelower left, in marginlower left, in marginverso, same hand as inscription on verso of 26.4
1926.3
item
Memorial Art Gallery
8/18/2000
26.3DI#1
digital image
2/7/2008
http://127.0.0.1:5000/Media/images/26.3_A1.jpg
Watercolor
Portrait of James Sibley Watson, Sr.
George M. Haushalter, (Portland, ME, 1862 - 1943, Sodus Point, NY)
Haushalter, George M.
United States
1862 - 1943
Male
13 7/8 x 9 1/4 in. (35.2 x 23.5 cm)
.
.
.
sheet
vertical
sheet
Watercolor
Watercolor
1899
1899
1899
by Rochester artists
Watercolor
lower leftlower left
2005.19
item
Memorial Art Gallery
5/4/2005
2005.19DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2005.19_A1.jpg
2005.19TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2005.19SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Photograph
From "A Dialogue with Solitude"
David Heath, (Philadelphia, PA, 1931 - 2016, Toronto, Ontario, Canada)
Heath, David
United States
1931 - 2016
Male
20 1/16 x 15 15/16 in. (50.9 x 40.5 cm)
.
.
.
without mount
sheet
.
.
.
with mount
overall
Silver print
Silver print
1952-1962
1952
1962
48.72L
Photograph
The world feels safer in Mother’s lap. David Heath’s tightly cropped photo highlights the intense need of this child for the nurturing only her mother can provide. His book of photography, A Dialogue with Solitude, captures the intimacy and alienation of modern life. Heath’s preface states, “Out of acceptance of this truth: that the pleasures and joys of life are fleeting and rare, that life contains a larger measure of hurt and misery, suffering and despair—must come not the bitter frustration and anger of self-pity, but love and concern for the human condition.”
[Label text from It Came From the Vault exhibition, 2013]
verso mount, Stamped form filled in in black ink
1978.133
item
Memorial Art Gallery
9/8/1999
78.133DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/78.133_A1.jpg
78.133DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/78.133_A2.jpg
Print
Leisure
Arthur William Heintzelman, 1891 - 1965
Heintzelman, Arthur William
United States
1891 - 1965
Male
11 1/8 x 8 5/8 in. (28.3 x 21.9 cm)
.
.
.
overall
sheet
.
.
.
overall
plate
Printer's ink
Printer's ink
From the 30 on Van Gelder
1918
1918
1918
1900-2000, 20th century, etchings, women
Print
lower left, below imageextreme lower left extreme lower right
1959.133
item
Memorial Art Gallery
4/11/2001
59.133DI1
digital image
2/20/2002
http://127.0.0.1:5000/Media/images/59.133_A1.jpg
59.133DI#2
digital image
11/20/2012
http://127.0.0.1:5000/Media/images/59.133_A2.jpg
Sculpture
Altar Bowl with Weapon Artifact #2
Richard Hirsch, (New York, NY, 1944 - )
Hirsch, Richard
United States
1944
Male
35 x 35 x 23 in. (88.9 x 88.9 x 58.4 cm)
.
.
.
Earthenware
Earthenware
1995
1995
1995
1900-2000, 20th century, by Rochester artists, ceramics, School for American Craftsmen, sculpture
Sculpture
For three decades a professor at RIT’s School for American Crafts, Richard Hirsch is one of the acknowledged masters of contemporary ceramic art. His own collection of Asian ritual containers and stone tools inspired the series from which this piece comes. The forms hint at ritual sacrifice or other kinds of human ceremonies, while the surfaces allude to ancient weathered stone and bronze.
[Label text from It Came From the Vault exhibition, 2013]
Richard Hirsch
1996.32
item
Memorial Art Gallery
9/8/1999
96.32SL1
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
3 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
96.32TR1
transparency
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
96.32DI1
digital image
front
00/00/00
http://127.0.0.1:5000/Media/images/96.32_A1.jpg
Painting
Untitled
Hans Hofmann, 1880 - 1966
Hofmann, Hans
United States
1880 - 1966
Male
17 1/2 x 22 5/8 in. (44.5 x 57.4 cm)
.
.
.
sheet
.
.
.
overall
frame
Gouache
Gouache
1946
1946
1946
1900-2000, 20th century, paintings
Painting
lower right, XI 10 46 refers to the date the work was made: November 10, 1946verso, lower left, 3/8 in. from the side, 3 1/4 in. from the bottom, written sideways.
1977.17
item
Memorial Art Gallery
9/8/1999
77.17SL1
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
77.17TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.17DI1
digital image
4 x 5
11/20/2002
http://127.0.0.1:5000/Media/images/77.17_A1.jpg
77.17DI#2
inscription
digital image
Verso
2/7/2008
http://127.0.0.1:5000/Media/images/Inventory pictures/77.17_I1.jpg
Watercolor
Paddling at Dusk
Winslow Homer, 1836 - 1910
Homer, Winslow
United States
1836 - 1910
Male
15 1/8 x 21 7/16 in. (38.4 x 54.5 cm)
.
.
.
overall
horizontal
frame
.
.
.
sheet
Watercolor
Watercolor
1892
1892
1892
1800-1900, 19th century, figure, Lockhart Collection, seascapes, watercolors
Watercolor
The remote North Woods Club in the Adirondacks was a favorite retreat for Winslow Homer. There, he painted over a hundred oils and watercolors and found congenial friends, including 22-year-old Ernest Yalden, son of members of the club and the subject of this painting. Yalden recalled Homer’s interest in capturing the play of light flashing off the blades as he paddled his own self-built, light-weight canoe.
The year after Homer painted him in his canoe, Yalden graduated with a civil engineering degree and started a trade school in New York City for uneducated Jewish immigrants. He founded the Mineralogy Club of New York and trained men to be navigators during World War I. An authority on sun-dialing, he became an accomplished amateur astronomer who built an observatory in his back yard.
[Label text from It Came From the Vault exhibition, 2013]
upper right
1984.51
item
Memorial Art Gallery
9/8/1999
84.51TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.51SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.51DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/84.51_A1.jpg
84.51DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.51TR2
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
M425_p109.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p109.tif
Print
Night in the Park
Edward Hopper, 1882 - 1967
Hopper, Edward
United States
1882 - 1967
Male
12 3/8 x 16 1/4 in. (31.5 x 41.3 cm)
.
.
.
sheet
sheet
.
.
.
image
image
Printer's ink
Printer's ink
1921
1921
1921
1900-2000, 20th century, American Scene/Regionalism, cityscapes, etchings, night
Print
In 1921, when this print was created, Edward Hopper was a relatively unknown artist who had sold a few paintings but had not begun to receive the acclaim that would be his within a few years. By 1931, when it was exhibited at MAG and acquired with funds donated by a relative of the Watson family, Hopper had become HOPPER; the Museum of Modern Art had purchased one of his paintings the year before. While MAG does not own any of his canvases, we are fortunate to own this print and one other from Hopper’s decade of printmaking, 1915–1924.
The cinematic quality of Hopper’s paintings is evident even in his etchings. A shadowy figure placed at the far end of a line of benches could easily be a character from a Hollywood “film noir.”
[Label text from It Came From the Vault exhibition, 2013]
lower right
1931.26
item
Memorial Art Gallery
9/8/1999
31.26SL1
slide
full
2 x 2
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
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
31.26DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/31.26_A1.jpg
31.26DI#2
digital image
9/6/2012
http://127.0.0.1:5000/Media/images/31.26_A2.jpg
Print
Winter Gorge -- Ithaca
Dorothy Hoyt, (East Orange, NJ, 1909 - 1997)
Hoyt, Dorothy
United States
1909 - 1997
Female
24 1/2 x 18 1/2 in. (62.2 x 47 cm)
.
.
.
overall
sheet
.
.
.
overall
image
Printer's ink
Printer's ink
1957
1957
1957
Print
lower rightlower left
1993.33
item
Memorial Art Gallery
9/8/1999
93.33SL1
slide
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
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
93.33DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/93.33_A1.jpg
93.33DI#2
digital image
1/8/2010
http://127.0.0.1:5000/Media/images/93.33_A2.jpg
Painting
Abandoned Railroad
Whitney F. Hoyt, 1910 - 1980
Hoyt, Whitney F.
United States
1910 - 1980
Male
27 1/2 x 39 1/2 in. (69.9 x 100.3 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1940
1940
1940
1667
1900-2000, art with Rochester connections, landforms in art, paintings, trains
Painting
Rochester artist Whitney Hoyt skillfully used light, line, and composition to create this moody rumination on the relationship between technology and nature. Decades after he painted Abandoned Railroad, Hoyt continued to find his muse in the landscape. He wrote in November 1966, “I enjoy walking in the woods and fields. The mood, the atmosphere of things growing, of things decaying delight me . . . At heart I am a pantheist. Despite the computer, humanism is not dead.”
[Label text from It Came From the Vault exhibition, 2013]
lower rightback of stretcherback of frameback of frame
Jerry Hoyt
1942.20
item
Memorial Art Gallery
9/8/1999
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
42.20DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/42.20_I1.jpg
42.20DI#2
digital image
11/20/2012
http://127.0.0.1:5000/Media/images/42.20_A1.jpg
Print
Untitled
Jasper Johns, (Augusta GA, 1930 - )
Johns, Jasper
United States
1930
Male
29 1/2 x 17 3/4 in. (74.9 x 45.1 cm)
.
.
.
sheet
sheet
.
.
.
overall
frame
.
.
.
plate
plate
Printer's ink
Printer's ink
14-color etching with spit-bite aquatint, sugar lift, soft ground, and drypoint. Printed from four copper plates.
1999
1999
1999
1900-2000, 20th century, aquatints, drypoint, etchings
Print
Dorothee Schwartz, in whose memory this print was given, was one of MAG’s most dedicated patrons. A 1930 graduate of the University of Rochester, she no doubt began her relationship with MAG as an undergraduate on the Prince Street campus. Her connoisseur’s spirit was evident in the home she designed with architect James Johnson and which she furnished with work by School for American Crafts artists.
When she died in 2000, her family and friends wished to commemorate her long relationship with MAG with an acquisition that Dorothee would have found visually engaging and challenging. This complex print by Jasper Johns is part of his Catenary series, a group of works that are unified by the catenary, a curved form created when a string or chain is suspended at both ends.
[Label text from It Came From the Vault exhibition, 2013]
lower right, below imagelower leftlower left, publisher's mark
1999.55
item
Memorial Art Gallery
2/14/2000
99.55TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
99.55SL1
slide
2 x 2
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
99.55DI1
digital image
Memorial Art Gallery
Imaging complete
6/19/2001
http://127.0.0.1:5000/Media/images/99.55_A1.jpg
Painting
Ready for the Fête
Francis Coates Jones, (Baltimore, MD, 1857 – 1932, New York, NY)
Jones, Francis Coates
United States
1857 - 1932
Male
20 x 14 in. (50.8 x 35.6 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
0
0
1800-1900, American art, costume, paintings, women
Painting
Francis Coates Jones was born in Baltimore and studied at the Académie Julian and the Ecole des Beaux Arts in Paris. He spent much of his life in New York City, where he was the treasurer of the National Academy of Design and a trustee of the Metropolitan Museum of Art. His Neoclassical style references the traditions of ancient Greece and Rome as well as the Italian High Renaissance. This painting demonstrates his mastery of texture and surface design in the rich drapes and folds of the woman’s robe.
[Label text from It Came From the Vault exhibition, 2013]
lower left
1958.6
item
Memorial Art Gallery
9/8/1999
58.6SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
58.6DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/58.6_I1.jpg
58.6DI#2
digital image
11/6/2012
http://127.0.0.1:5000/Media/images/58.6_A1.jpg
Furniture
Pair of Liturgical Candlesticks
William Alphonse Keyser, (Pittsburgh PA, 1936 - )
Keyser, William Alphonse
United States
1936
Male
34 11/16 x 10 5/8 x 10 5/8 in. (88.1 x 27 x 27 cm)
.
.
.
overall
overall
Rosewood and bronze
Rosewood and bronze
ca. 1962
1957
1967
School for American Craftsmen
Furniture
Around 1962, the Rev. Robert McNamara commissioned six candlesticks for the high altar at St. Bernard’s Seminary in memory of his mother. Liturgical changes initiated by the Second Vatican Council excluded traditional candlesticks set upon altars, so two were moved to a shrine of remembrance in the seminary chapel. When St. Bernard’s closed in 1981, all six were returned to Rev. McNamara, who donated a pair to MAG.
The artist, along with Wendell Castle, was one of the founders of the woodworking department at RIT’s School for American Craftsmen. “I’ve always believed in the presence of a . . . supreme craftsman,” he said in a 2003 interview for the Archives of American Art. “And I’ve come to believe that whatever I’ve been able to achieve has been His work more than mine, that I’m just a vehicle.”
[Label text from It Came From the Vault exhibition, 2013]
William Keyser
1989.18.1-.2
item
Memorial Art Gallery
9/8/1999
89.18.1DI#1
digital image
12/12/2012
http://127.0.0.1:5000/Media/images/89.18.1_A1.jpg
89.18.2DI#1
digital image
12/12/2012
http://127.0.0.1:5000/Media/images/89.18.2_A1.jpg
89.18.1-2DI#1
digital image
12/12/2012
http://127.0.0.1:5000/Media/images/89.18.1-2_A1.jpg
Watercolor
Fairy Tales (Märchen)
Paul Klee, (1879 - 1940)
Klee, Paul
Switzerland
1879 - 1940
Male
8 1/2 x 10 1/4 in. (21.6 x 26 cm)
.
.
.
without frame
.
.
.
overall
frame
Watercolor
Watercolor
ca. 1920
1915
1925
1900-2000, 20th century, paintings
Watercolor
upper left, in imageremoved from old backing, now in curatorial file
1957.37
item
Memorial Art Gallery
4/5/2000
57.37TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.37SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
6x4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.37DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/57.37_A1.jpg
57.37DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Lilacs and Books
Karl Knaths, 1891 - 1971
Knaths, Karl
United States
1891 - 1971
Male
30 x 40 in. (76.2 x 101.6 cm)
.
.
.
without frame
.
.
.
overall
frame
Oil
Oil
1955
1955
1955
1900-2000, 20th century, flowers in art, paintings
Painting
Karl Knaths seldom left his home in Provincetown, where he primarily painted familiar Cape Cod scenes: the rambling lilac bushes that overtake the island in the summer months and the local fishermen and their gear. The 1956 exhibition from which the Gallery purchased Lilacs and Books received a glowing review in the New York Times that predicted, “Knaths’ work may well be part of the work of our time that is likely to endure.” Despite his popularity in the 1950s, his lyrical style was eclipsed in the annals of history by the muscular, dripping abstractions of Jackson Pollock and other Abstract Expressionists.
[Label text from It Came From the Vault exhibition, 2013]
lower left
1956.60
item
Memorial Art Gallery
9/8/1999
56.60SL1
slide
full
2 x 2
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
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
5 x 7
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
56.60TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
56.60DI1
digital image
Memorial Art Gallery
Imaging Complete
3/13/2002
http://127.0.0.1:5000/Media/images/56.60_A1.jpg
56.60DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
56.60DI#2
digital image
Front
8/21/2012
http://127.0.0.1:5000/Media/images/Inventory pictures/56.60_I2.jpg
Watercolor
A Gray Day on the Riviera, Cap Ferrat
Louis Aston Knight, (Paris, France, 1873 – 1948, New York, NY)
Knight, Louis Aston
United States
1873 - 1948
Male
25 5/8 x 32 in. (65.1 x 81.3 cm)
.
.
.
Opaque watercolor
Opaque watercolor
0
0
American art, paintings, seascapes, watercolors
Watercolor
Louis Aston Knight was born of American parents in Paris, but didn’t visit the United States until 1905, by which time he was already an established painter. Two years later, he married a distant cousin, Caroline Ridgway Brewster of Rochester. Best known for bucolic Normandy landscapes in a style that Thomas Kinkade would appropriate many decades later, this particular view of the rocky French coastline east of Nice is unusual within the artist’s oeuvre in its muted palette and absence of picturesque old dwellings. Knight and his wife took refuge in New York City for the duration of WWI, and he lectured here at MAG in 1918.
[Label text from It Came From the Vault exhibition, 2013]
on the stretcherlower left
1913.2
item
Memorial Art Gallery
9/8/1999
13.2SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glass negative
8 x 10
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
13.2DI1
digital image
5/16/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/13.2_I1.jpg
13.2DI2
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/13.2_A1.jpg
13.2DI#3
digital image
12/12/2012
http://127.0.0.1:5000/Media/images/13.2_A2.jpg
Print
Maria und Elisabeth
Käthe Kollwitz, 1867 - 1945
Kollwitz, Käthe
Germany
1867 - 1945
Female
15 3/4 x 16 1/4 in. (40 x 41.3 cm)
.
.
.
sheet
sheet
Printer's ink
Printer's ink
1928
1928
1928
1900-2000, 20th century, women, woodcuts
Print
1937.11
item
Memorial Art Gallery
5/12/2001
37.11SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
3x2
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
37.11DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/37.11_A1.jpg
37.11DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/37.11_A2.jpg
Photograph
Winners of Little People of America King and Queen Contest
Leslie Krims, (Brooklyn, NY, 1942 - )
Krims, Leslie
United States
1942
Male
12 x 16 15/16 in. (30.5 x 43 cm)
.
.
.
overall
sheet
.
.
.
overall
image
.
.
.
with mount
overall
Sepia-toned silver print
Sepia-toned silver print
ca. 1970-1971
1970
1971
Photograph
The iconoclast photographer Les Krims, who has taught at SUNY Buffalo since 1969, has been the subject of both admiration and indignation. His staged tableaux, which he calls his “fictions,” have been influenced by Lenny Bruce, Rube Goldberg, Willem deKooning, and Peter Saul, among others. Much of his work has been an overt criticism of social documentary form and content. The portfolio from which this photograph comes was made over the course of two national conventions of the Little People of America. “These people annihilated the stereotype of ‘dwarf’ delivered by art history and socially concerned photography,” Krims says. “I thought my pictures rightly showed them as normal people who possessed oversized amounts of strong, straight, American character, and much courage.”
[Label text from It Came From the Vault exhibition, 2013]
lower right, below sheet
Leslie Krims
1975.404
item
Memorial Art Gallery
9/8/1999
75.404DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/75.404_A1.jpg
75.404DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/75.404_A2.jpg
Print
House in the Mountains
Tadeusz Kulisiewicz, (Kalisz, Poland, 1899 - 1988, Warsaw, Poland)
Kulisiewicz, Tadeusz
Poland
1899 - 1988
Male
11 9/16 x 11 13/16 in. (29.3 x 30 cm)
.
.
.
sheet
sheet
.
.
.
image
image
Printer's ink
Printer's ink
by 1933
1933
1933
Print
Three Sundays in October 1934 were dedicated to Polish music and dance in celebration of the exhibition Peasant, Decorative and Graphic Arts of Poland at MAG. Organized by the International School of Art in New York City, which was founded to preserve and promote the fast-disappearing folk arts of European countries, the exhibition was said to be the first exhibition of Polish art in America.
Tadeusz Kulisiewicz was affiliated with the Warsaw Academy of Art. After spending time in the small village of Szlembark, he created a series of prints based on the mountain culture there. Mrs. James Sibley Watson, MAG’s founder and a print collector in her own right, followed her usual practice of acquiring work from exhibitions to add to the permanent collection.
[Label text from It Came From the Vault exhibition, 2013]
lower right, below image
1934.8
item
Memorial Art Gallery
5/22/2001
34.8DI#1
digital image
7/30/2008
http://127.0.0.1:5000/Media/images/34.8_A1.jpg
Print
Children of the Park
Alice D. Laughlin, 1895 - 1952
Laughlin, Alice D.
United States
1895 - 1952
Female
9 x 8 7/8 in. (22.8 x 22.6 cm)
.
.
.
overall
sheet
.
.
.
overall
frame
.
.
.
overall
image
Printer's ink
Printer's ink
0
0
1900-2000, 20th century, children, wood engravings
Print
lower rightlower right
1927.38
item
Memorial Art Gallery
9/8/1999
27.38SL1
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
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
27.38DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/27.38_A1.jpg
27.38DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/27.38_A2.jpg
Painting
Table with Roman Colors
James Lechay, (New York, NY, 1907 – 2001, Wellfleet, MA)
Lechay, James
United States
1907 - 2001
Male
40 x 50 in. (101.6 x 127 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
0
0
1900-2000, 20th century, paintings
Painting
James Lechay played a notable role in the tradition of avant-garde painting in New York City, where his circle of friends included Milton Avery, Mark Rothko, and Arshile Gorky, and later in the Midwest, where he taught at the University of Iowa for nearly three decades. “A serious painter is what I like,” he said in an interview in 1995 at the age of 89. “Whether I like his work or not has nothing to do with it, but I like the fact that he’s serious and struggling and trying to find something. A carefully done, precise, boring rendition copy, that shows no search, I’m not interested in that, and I don’t think that goes anywhere. But the person who has all the wonderful mistakes of a human being, his work is wonderful because it has wonderful errors in it, it’s full of life. I mean that a cadaver is perfect, it doesn’t make any mistakes, but it’s also dead.”
[Label text from It Came From the Vault exhibition, 2013]
Don Lechay
1975.2
item
Memorial Art Gallery
9/8/1999
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
75.2TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.2SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.2DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/75.2_A1.jpg
Watercolor
After the Flood (Après le déluge)
Fernand Léger, (Argentan, France, 1881 – 1955, Gif-sur-Yvette, France)
Léger, Fernand
France
1881 - 1955
Male
25 3/8 x 19 15/16 in. (64.5 x 50.6 cm)
.
.
.
sheet
Gouache
Gouache
1948
1948
1948
Watercolor
This drawing is a design for publisher Louis Grosclaude’s 1949 luxury edition of the 19th-century poet Arthur Rimbaud’s famous volume of prose poetry, "Les Illuminations." Grosclaude commissioned the well-known artist Fernand Léger to create 15 lithographs for the book.
"After the Flood," the opening poem, begins:
As soon as the idea of the Flood was finished,
A hare halted in the clover and the trembling flower bells, and said its prayer to the rainbow through the spider’s web.
Leger’s illustration reflects the notion of the day after the flood with a rapidly-drawn landscape: a shining sun, a rainbow, and trees and flowers rooted in a green ground. A man gazes on the scene with a detached, somewhat impenetrable expression. Many scholars consider Rimbaud’s dreamlike and visionary prose poems the foundation of modern European poetry. Léger’s symbolic and referential illustrations seem particularly fitting as complements.
[Label text from It Came From the Vault exhibition, 2013]
lower right, in imageupper left cornerversoversoverso
2000.34
item
Memorial Art Gallery
3/27/2001
2000.34DI1
digital image
3/21/2002
http://127.0.0.1:5000/Media/images/2000.34_A1.jpg
Metalwork
Vase
Liberty & Co.
Liberty & Co.
England
7 1/8 x 4 x 2 7/8 in. (18.1 x 10.2 x 7.3 cm)
.
.
.
overall
Pewter
Pewter
before 1938
1928
1937
Metalwork
Liberty & Co., founded in London by Arthur Lasenby Liberty in 1875, was a purveyor of Japanese objects, exotic fabrics, and Art Nouveau silver and pewter. This vase is #030 in Liberty’s “Tudric” line of pewterware, introduced in 1901 and manufactured for them by W. H. Haseler, a Birmingham jeweler and silversmith. The stamp on the bottom tells us that it was made prior to 1914. The unplanished hammer marks are typical of the aesthetic of the time, which celebrated the mark of the craftsman’s hand.
[Label text from It Came From the Vault exhibition, 2013]
underside, Base coat: Acryloid B-72 in acetone
Accession number: Golden Fluid Acrylics (black)
Both layers soluble in Acetonebottom
2005.178
item
Memorial Art Gallery
7/22/2005
5981.168DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.178_I1.jpg
2005.178DI#1
digital image
Three-quarter
10/10/2007
http://127.0.0.1:5000/Media/images/2005.178_A1.jpg
Print
Temple
Roy Lichtenstein, (New York, NY, 1923 - 1997, New York, NY)
Lichtenstein, Roy
United States
1923 - 1997
Male
23 3/4 x 17 3/4 in. (60.3 x 45.1 cm)
.
.
.
overall
vertical
image
.
.
.
sheet
Printer's ink
Printer's ink
1964
1964
1964
1900-2000, 20th century, Charles Rand Penney Collection, lithographs, ruins
Print
lower right
Shelley Lee
1975.243
item
Memorial Art Gallery
9/8/1999
75.243DI1
digital image
12/7/2001
http://127.0.0.1:5000/Media/images/75.243_A1.jpg
75.243DI#2
digital image
10/10/2012
http://127.0.0.1:5000/Media/images/75.243_A2.jpg
Watercolor
Untitled
Joan Lyons, (New York, NY, 1937 - )
Lyons, Joan
United States
1937
Female
11 3/8 x 9 11/16 in. (28.9 x 24.6 cm)
.
.
.
sheet
vertical
sheet
.
.
.
overall
frame
Oil
Oil
1961
1961
1961
1900-2000, 20th century, by Rochester artists, watercolors
Watercolor
Joan Lyons founded the Visual Studies Workshop Press in Rochester in 1971 and she remains one of the nation’s most dedicated advocates of small edition artists’ books. A visual artist herself, she graduated from Alfred University. This colorful early drawing might be read as an aerial view of the landscape. It was donated by John Funt, an artist and the son of Candid Camera host Alan Funt.
[Label text from It Came From the Vault exhibition, 2013]
lower right
1973.73
item
Memorial Art Gallery
9/8/1999
73.73DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/73.73_A1.jpg
73.73DI#2
digital image
2/9/2012
http://127.0.0.1:5000/Media/images/73.73_A2.jpg
Painting
The Absinthe Drinker
Robert Lee MacCameron, 1866 - 1912
MacCameron, Robert Lee
United States
1866 - 1912
Male
43 x 33 in. (109.2 x 83.8 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1912
1912
1912
20th century, men, paintings
Painting
Robert Lee MacCameron was well-known for two very different kinds of paintings: society portraits of people like President Taft, Auguste Rodin, and Lady Astor, and depictions of the sordid demi-monde of his adopted city of Paris. The Absinthe Drinker, completed in the year of the artist’s death, is an excellent example of the latter. Despite the painting’s poor condition, the sitter’s ghastly complexion and stooped posture evoke the fate of those who lost themselves to “the green fairy,” as the potent and inexpensive spirit was sometimes called.
MacCameron married Louise Van Voorhis, a member of one of Rochester’s most prominent families. Her mother donated this painting to MAG many years after the painter’s death at age 46.
[Label text from It Came From the Vault exhibition, 2013]
lower left
1929.62
item
Memorial Art Gallery
9/8/1999
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
29.62TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
29.62DI1
digital image
full
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/29.62_A1.jpg
29.62DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/29.62_I1.jpg
Drawing
Skull
Don Manfredi, 1930 - 2000
Manfredi, Don
United States
1930 - 2000
Male
21 5/16 x 15 13/16 in. (54.2 x 40.2 cm)
.
.
.
sheet
sheet
.
.
.
Crayon
Crayon
1948
1948
1948
1900-2000, 20th century, by Rochester artists, drawing
Drawing
The year before Don Manfredi drew Skull, the New York Times singled him out in its review of an exhibition at the Weyhe Gallery: “The star here is young Don Manfredi, aged 16 . . . highly imaginative and very expert in his novel geometricizing, so to speak, of landscape.” Although he continued to paint and draw for the rest of his life, by the mid-1950s he was designing sets for Broadway productions as well. Those who met him after he arrived in Rochester in 1968 remember him as a conservator of paintings; MAG was among his clients. A few years before his death, Manfredi moved to the Italian Riviera, where he felt he would once again have time to pursue his own art.
[Label text from It Came From the Vault exhibition, 2013]
lower rightlower center
1955.248
item
Memorial Art Gallery
9/8/1999
55.248DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/55.248_A1.jpg
55.248DI#2
digital image
8/26/2008
http://127.0.0.1:5000/Media/images/55.248_A2.jpg
Sculpture
Maternity
Giacomo Manzù, 1908 - 1991
Manzù, Giacomo
Italy
1908 - 1991
Male
14 x 7 x 9 in. (35.6 x 17.8 x 22.9 cm)
.
.
.
.
.
.
approximate installation dimensions
object
Bronze
Bronze
1956
1956
1956
20th century, children, European art, sculpture, women
Sculpture
The remarkable bond between a mother and her child begins with gestation and continues after birth through touch. Our first lessons on how to interact with our world and the people around us begin in our mother’s arms. Giacomo Manzù captured this intensely physical relationship in a series of sculptures of women with their children in various states of embrace and caress. This sculpture was never put into production, and the chalky remains of the casting process remain on its surface.
[Label text from It Came From the Vault exhibition, 2013]
back
1957.32
item
Memorial Art Gallery
1/30/2001
57.32SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
side view
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
7 x 9
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
57.32DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/57.32_A1.jpg
57.32DI#2
digital image
Front
10/23/2009
http://127.0.0.1:5000/Media/images/57.32_A2.jpg
57.32DI#3
digital image
Side
10/23/2009
http://127.0.0.1:5000/Media/images/57.32_A3.jpg
Sculpture
Untitled
Graham Marks, (New York, NY, 1951 - )
Marks, Graham
United States
1951
Male
24 x 29 1/2 x 28 1/2 in. (61 x 74.9 x 72.4 cm)
.
.
.
overall
overall
Clay
Clay
ca. 1980
1975
1985
by Rochester artists
Sculpture
Graham Marks’s ambiguous ceramic work triggers associations with familiar forms: squishy cerebral folds or the hard, ragged interior of a nut. In 1980, Marks came to Rochester to teach a semester at Rochester Institute of Technology and this piece was awarded the purchase prize at the Gallery’s Rochester-Finger Lakes Exhibition. The same year he was featured in the national Ceramics Monthly and was quoted as saying, “Clay is a material that is engaging to me because of its resistance to the imposition of monologue and its insistence on dialogue. I inform it as much as it informs me.”
[Label text from It Came From the Vault exhibition, 2013]
1980.45
item
Memorial Art Gallery
9/8/1999
80.45SL1
slide
full 3/4
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
80.45DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/80.45_A1.jpg
80.45DI#2
digital image
12/12/2012
http://127.0.0.1:5000/Media/images/80.45_A2.jpg
Painting
Woman in a Cloak
Robert E. Marx, (Northeim, Germany, 1925 - 2020, Rochester, NY)
Marx, Robert E.
United States
1925 - 2020
Male
48 x 42 in. (121.9 x 106.7 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1961
1961
1961
1900-2000, 20th century, art with Rochester connections, paintings, women
Painting
Painter-printmaker Robert Marx taught at the State University at Brockport from 1970 to 1990. His figures personify the frustrating, hurtful, and dysfunctional aspects of the human condition in relation to authority, personal relationships, and oneself. He invites the viewer to meet the gaze of his subject, stating, “If I am successful, my people will make eye contact with you and a dialogue will begin.”
[Label text from It Came From the Vault exhibition, 2013]
Painter-printmaker Robert Marx taught at the State University at Brockport from 1970 to 1990. His figures personify the frustrating, hurtful, and dysfunctional aspects of the human condition. He invites the viewer to meet the gaze of his subject, stating, “If I am successful, my people will make eye contact with you and dialogue will begin.” He currently lives and works in Rochester, New York.
[Gallery Label Text, Summer 2015]
lower right
Robert Marx
1965.22
item
Memorial Art Gallery
9/8/1999
65.22TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.22SL1
slide
2 x 2
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
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
65.22DI1
digital image
Memorial Art Gallery
Imaging complete
6/19/2001
http://127.0.0.1:5000/Media/images/65.22_A1.jpg
Painting
The Picador
Eugene McCown, (Eldorado Springs, MO, 1898 - 1966, New York, NY)
McCown, Eugene
United States
1898 - 1966
Male
32 x 25 3/4 in. (81.3 x 65.4 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1928
1928
1928
3.46L
Painting
When he turned 19, aspiring artist Eugene McCown said goodbye to Missouri and made his way to Paris, where he fell into a social circle that included Virgil Thompson, Gertrude Stein, Peggy Guggenheim, Marcel Duchamp and other luminaries of the bohemian scene. In the City of Light, he was able to live openly as a gay man and acquired a reputation as a bon vivant. It’s unclear how much time he actually spent painting, as only a handful of his works are known today. From existing photographs of those, "The Picador" seems typical in terms of the elongated figures and slightly surreal setting, if not in homoerotic content.
[Label text from It Came From the Vault exhibition, 2013]
initialed, upper righton the stretcher
1982.54
item
Memorial Art Gallery
9/8/1999
82.54DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/82.54_I1.jpg
82.54DI#2
digital image
3/4/2013
http://127.0.0.1:5000/Media/images/82.54_A1.jpg
Print
Boston Harbor
John C. Menihan, (Rochester, NY, 1908 - 1992, Rochester, NY)
Menihan, John C.
United States
1908 - 1992
Male
12 5/8 x 18 7/8 in. (32 x 47.9 cm)
.
.
.
overall
sheet
.
.
.
overall
image
Printer's ink
Printer's ink
ca. 1937
1932
1942
1900-2000, 20th century, boats, by Rochester artists, lithographs
Print
lower right
John C. Menihan, Jr.
1986.106
item
Memorial Art Gallery
9/8/1999
86.106SL1
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
86.106DI1
digital image
1/16/2002
http://127.0.0.1:5000/Media/images/86.106_A1.jpg
86.106DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/86.106_A2.jpg
Sculpture
Madonna and Child
Ivan Mestrovic, (Vrpolje, Croatia, 1883 – 1962, South Bend, IN)
Mestrovic, Ivan
Croatia
1883 - 1962
Male
20 1/2 x 15 x 11 in. (52.1 x 38.1 x 27.9 cm)
.
.
.
.
.
.
approximate installation dimensions
object
Bronze
Bronze
1917 (cast 1925)
1917
1917
1900-2000, 20th century, Madonna and Child, sculpture
Sculpture
Examples of prehistoric cave painting and rock art indicate humans have always recognized the divine bond between a mother and her child. With his austere modernist figures, Ivan Mestrovic sought to capture a universal spiritual feeling. His unique style clearly affected the many Rochesterians who donated money to purchase this piece from a popular exhibition of the artist’s sculpture held at the Gallery in 1925.
[Label text from It Came From the Vault exhibition, 2013]
1925.35
item
Memorial Art Gallery
1/30/2001
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3/4 view
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
25.35SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3/4 view
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
side view
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
in gallery
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
25.35DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/25.35_A1.jpg
25.35DI#2
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/25.35_A2.jpg
Drawing
The End of the Workday (La fin de la journée)
Jean François Millet, 1814 - 1875
Millet, Jean François
France
1814 - 1875
Male
29 1/4 x 37 x 3/4 in. (74.3 x 94 x 1.9 cm)
.
.
.
overall
sheet
.
.
.
overall
frame
Pastel
Pastel
1865-1870
1865
1870
1800-1900, 19th century, drawing, genre scenes, George Eastman Collection, jobs & work, landscapes, men
Drawing
On one of their many long, evening walks, Millet said to his brother Pierre: “It is astonishing toward the approach of night, how grand everything on the plain appears, especially when we see figures thrown out against the sky. Then they look like giants.”
The End of the Workday showcases Millet’s fascination with the hour of twilight, which moved him by its power to transform human and other natural forms into strange shapes, evocative of dreams. The pastel, which shows a peasant silhouetted against the fading sky, putting on his jacket after a day of labor, is classic Millet. Best known as a painter of peasants, a politically and socially complex subject matter in France of the 1800s, his scenes of rural life focused on the human figure as much if not more than the landscape.
[Label text from It Came From the Vault exhibition, 2013]
lower right
1936.74
item
Memorial Art Gallery
4/24/2001
36.74TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.74SL1
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
glossy
5x7
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
neg
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.74DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/36.74_A1.jpg
36.74DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/36.74_A2.jpg
Drawing
Seated Figure
Henry Spencer Moore, (Castleford, England, 1898 - 1986, Perry Green, England)
Moore, Henry Spencer
England
1898 - 1986
Male
9 15/16 x 6 7/8 in. (25.2 x 17.4 cm)
.
.
.
overall sheet
sheet
Gouache
Gouache
1970-1971
1970
1971
Drawing
1973.105
item
Memorial Art Gallery
2/20/2001
73.105SL1
slide
full
2 x 2
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
73.105DI1
digital image
2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/73.105_A1.jpg
73.105DI#2
digital image
10/10/2012
http://127.0.0.1:5000/Media/images/73.105_A2.jpg
Print
Bridge in the Pass at Glencoe-- Scotland
Thomas Moran, 1837 - 1926
Moran, Thomas
United States
1837 - 1926
Male
13 3/8 x 17 5/16 in. (33.9 x 44 cm)
.
.
.
overall
sheet
.
.
.
overall
image
Printer's ink
Printer's ink
1888
1888
1888
landscape
Print
This landscape is one of several works that were the result of a trip Thomas and Mary Moran made to Scotland in 1882. It shows the Bridge of Three Waters, near the site where members of the MacDonald clan were massacred by solders from a Campbell regiment in 1692.
[Label text from It Came From the Vault exhibition, 2013]
lower left, T. Moranlower right, in imagelower left, in image, Written backwards in the platelower center, in the plate
1988.35
item
Memorial Art Gallery
9/8/1999
88.35SL1
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
glossy
1x1
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
88.35DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/88.35_A1.jpg
88.35DI#2
digital image
2/8/2012
http://127.0.0.1:5000/Media/images/88.35_A2.jpg
Painting
Night Music Opus #21
Robert Motherwell, (Aberdeen, WA, 1915 - 1991, Provincetown, MA)
Motherwell, Robert
United States
1915 - 1991
Male
32 1/2 x 25 1/2 in. (82.6 x 64.8 cm)
.
.
.
overall
frame
.
.
.
overall
Acrylic
Acrylic
1989
1989
1989
collage
Painting
Collages hang on refrigerator doors and the walls of museums. Tearing and cutting paper, positioning and repositioning the pieces, and layering them on top of each other until they create a satisfying composition—these are practices that preschoolers and the most sophisticated artists share.
Artist Robert Motherwell worked in collage in preparation for some of his larger paintings, and he also created collages that were finished works of art themselves, such as his Night Music series. About the colors, one writer described “the ochre and the black of ancient cave paintings, charred by fire, darkened by age; and there are earth colors, of clay and soil. And there are the lighter, fragile eggshell colors of day. These are all offered up, in the bands and layers of their forms, whether perfect in their angles, or incomplete, ragged.”
[Label text from It Came From the Vault exhibition, 2013]
Much of the art of the twentieth century challenges the viewer to leave the comfort of recognizable subject matter and confront more directly color, form and expressive technique. As an example, this collage by Robert Motherwell is representative of his nearly lifelong effort to expand the conventional boundaries of painting. Motherwell, who gave voice to the aesthetics and philosophies of the New York City -based Abstract Expressionists, created works imbued with tension and paradox. For him and his fellow painters (among them Jackson Pollock and Mark Rothko), the canvas presented a surface on which to record gesture and emotion, liberated from the need to record an objective reality.
[Gallery label text]
upper right
Estate of Robert Motherwell
2001.3
item
Memorial Art Gallery
4/9/2001
2001.3SL1
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
2001.3DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/2001.3_A1.jpg
Print
Untitled
Robert Motherwell, (Aberdeen, WA, 1915 - 1991, Provincetown, MA)
Motherwell, Robert
United States
1915 - 1991
Male
24 x 20 in. (61 x 50.8 cm)
.
.
.
sheet
Printer's ink
Printer's ink
1964
1964
1964
1900-2000, 20th century, serigraphs
Print
Estate of Robert Motherwell
1975.335.5
item
Memorial Art Gallery
9/8/1999
negative
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
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
negative
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
75.335.5DI1
digital image
7/22/2004
http://127.0.0.1:5000/Media/images/75.335.5_A1.jpg
75.335.5DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/75.335.5_A2.jpg
Painting
Resting Rock
Walter Tandy Murch, 1907 - 1967
Murch, Walter Tandy
United States
1907 - 1967
Male
35 x 30 in. (88.9 x 76.2 cm)
.
.
.
canvas
.
.
.
overall
frame
Oil
Oil
1961
1961
1961
1900-2000, 20th century, paintings, still lifes
Painting
Walter Murch’s poetic depictions of objects—clocks, gears, light bulbs, tools, stones—defy easy categorization. A unique figure among his contemporaries of the 1950s and 1960s, Murch was good friends with another outlier artist, Joseph Cornell, whose work The Admiral’s Game is on display nearby. The two shared an interest in the poetic significance of mundane objects. Through their eyes, a common object like a rock or a scrap of weathered wood is transformed into something mysterious and extraordinary.
[Summer 2015]
Walter Scott Murch
1998.78
item
Memorial Art Gallery
10/20/1999
98.78TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.78SL1
slide
full
2 x 2
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
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.78DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/98.78_A1.jpg
Drawing
Interior Scene
Lowell Blair Nesbitt, (Baltimore, MD, 1933 - 1993, New York)
Nesbitt, Lowell Blair
United States
1933 - 1993
Male
Primary
35 3/16 x 44 3/16 in. (89.4 x 112.3 cm)
.
.
.
overall
sheet
.
.
.
overall
frame
Graphite
Graphite
1966
1966
1966
Drawing
lower center
2007.51
item
Memorial Art Gallery
1/16/2008
2007.51_I1.JPG
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2007.51_I1.jpg
2007.51DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/2007.51_A1.jpg
Sculpture
Totem
Louise Nevelson, 1900 - 1988
Nevelson, Louise
United States
1900 - 1988
Female
71 1/2 x 7 3/8 in. (181.6 x 18.7 cm)
.
.
.
Wood
Wood
1958
1958
1958
1900-2000, 20th century, sculpture
Sculpture
verso, Written by hand on a piece of masking tape stuck to the back of the object.
1961.4
item
Memorial Art Gallery
9/8/1999
61.4SL1
slide
full
2 x 2
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
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
61.4DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/61.4_A1.jpg
Painting
Starlings Flocking
Bror Julius Olsson Nordfeldt, (Sweden (Tullstorp, Skane), 1878 - 1955, Henderson, TX)
Nordfeldt, Bror Julius Olsson
United States
1878 - 1955
Male
40 x 48 in. (101.6 x 121.9 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1947
1947
1947
20th century, birds, movement, paintings
Painting
A Rochester artist, Whitney Hoyt (also represented in this exhibition), purchased Starlings Flocking from a show in New York and immediately presented it to MAG. The Swedish-born B. J. O. Nordfeldt was recognized as a master of Expressionism and in her letter of thanks to the donor, Gallery director Gertrude Herdle Moore waxed rhapsodic in describing her reaction to his painting: “I cannot tell you whether I am hearing or seeing it more—or whether I have ever before been caught up into such a dynamic sensation of movement sweeping through space. The Van Gogh Starry Night did the same thing to me . . . [Those starlings] fill the air about you with their darting wings and cut it as if it were a visible substance . . . I have begun to hear a pulsating beat in the spiraling motion of the design and to feel surrounded by its luminous planes.”
[Label text from It Came From the Vault exhibition, 2013]
lower right
1948.1
item
Memorial Art Gallery
9/8/1999
48.1SL1
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
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/48.1_I1.jpg
48.1DI#2
digital image
7/12/2012
http://127.0.0.1:5000/Media/images/48.1_A1.jpg
Print
Mystic
Thom O'Connor, 1937 -
O'Connor, Thom
United States
1937
Male
16 7/8 x 12 5/8 in. (42.8 x 32 cm)
.
.
.
sheet
sheet
.
.
.
image
image
Printer's ink
Printer's ink
by 1965
1965
1965
Print
lower left, below imagelower center, below imagelower right, below image
1975.264
item
Memorial Art Gallery
9/8/1999
75.264 SL1
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
2.5x3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.264DI#1
digital image
7/30/2008
http://127.0.0.1:5000/Media/images/75.264_A1.jpg
Drawing
Over Blue
Georgia O'Keeffe, (Sun Prairie, WI, 1887 - 1986, Santa Fe, NM)
O'Keeffe, Georgia
United States
1887 - 1986
Female
Primary
28 x 22 in. (71.1 x 55.9 cm)
.
.
.
overall
vertical
frame
.
.
.
overall
sheet
.
.
.
overall
frame
.
.
.
frame
Pastel
Pastel
1918
1918
1918
10.2006L
Drawing
This beautiful image was created by Georgia O’Keeffe soon after her return to New York City from Texas at the invitation of art dealer and photographer Alfred Stieglitz, whom she would marry several years later. It is from the very earliest part of her career, the first decade in which she seriously identified as an artist.
Its remarkably light-filled palette contrasts with the Gallery’s 1931 painting by O’Keeffe, Jawbone and Fungus.
The Memorial Art Gallery is deeply grateful to Anne Whitman, whose commitment to the Rochester community motivated her to leave this treasure from her collection to an institution that would share it with visitors for many generations to come.
[Gallery label text, 2007]
upper right corner of original backing boardupper left quadrant of original backing board, hand drawn five pointed star with letters OK in centerupper left quadrant of original backing board
Juan Hamilton
2006.77
item
Memorial Art Gallery
2/22/2006
10.2006LDI#1
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2006.77_I1.jpg
2006.77TR1
transparency
full
4 x 5
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
2006.77DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2006.77_A1.jpg
2006.77SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2006.77DI#2
digital image
7/29/2022
http://127.0.0.1:5000/Media/images/2006.77_A2.jpg
Painting
A New Arrangement
Ivan G. Olinsky, (Kropyvnytskyi, Ukraine, 1878 – 1962, New York, NY)
Olinsky, Ivan G.
United States
1878 - 1962
Male
30 x 25 in. (76.2 x 63.5 cm)
.
.
.
Oil
Oil
ca. 1920
1915
1925
1900-2000, 20th century, paintings, women
Painting
Ivan Olinksy, a Russian who arrived in New York City at age 13, was for many years the studio assistant of John LaFarge, the celebrated muralist and stained glass designer. After LaFarge’s death, Olinsky became a well-known painter in his own right, and George Herdle included his work in MAG’s inaugural exhibition of 1913. In attempting to trace that painting for the Gallery’s 75th anniversary show, MAG made contact with Olinsky’s daughter and grandsons. Serendipitously, Olinksky’s great-grandson had just graduated from the University of Rochester, and the family generously donated A New Arrangement to the permanent collection.
[Label text from It Came From the Vault exhibition, 2013]
lower leftback of stretcherverso
1988.24
item
Memorial Art Gallery
9/8/1999
88.24TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
88.24SL1
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
88.24DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/88.24_A1.jpg
88.24DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Ceramics
Portrait Bust of a Man
Attributed to Vincenzo Onofri, active 1493-1594
Onofri, Vincenzo
Italy
Male
16 1/4 x 18 1/2 x 9 1/4 in. (41.3 x 47 x 23.5 cm)
.
.
.
overall
without base
Terracotta
Terracotta
late 15th Century - early 16th Century
1467
1532
1400-1600, busts, men, portraits, Renaissance & Baroque, sculpture
Ceramics
1968.4
item
Memorial Art Gallery
3/13/2001
68.4SL1
slide
full
2 x 2
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
glossy
full
4 x 5
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
68.4D1
digital image
full
2 x 2
6/20/2002
http://127.0.0.1:5000/Media/images/68.4_A1.jpg
68.4DI#2
digital image
12/12/2012
http://127.0.0.1:5000/Media/images/68.4_A2.jpg
68.4DI#3
digital image
Three-quarter
12/12/2012
http://127.0.0.1:5000/Media/images/68.4_A3.jpg
Painting
Spring through the Willows
William C. Palmer, 1906 - 1987
Palmer, William C.
United States
1906 - 1987
Male
31 1/2 x 40 3/4 in. (80 x 103.5 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1957
1957
1957
20th century, Abstract, paintings, spring, trees in art
Painting
Early in his career, William Palmer was a muralist for the WPA, earning $24 a week for his hospital and post office commissions. He went on to found the School of Art at the Munson-Williams-Proctor Arts Institute in Utica, and became a highly regarded painter of colorful, abstract New York landscapes.
[Label text from It Came From the Vault exhibition, 2013]
lower centerback of stretcherback of stretcher
1958.17
item
Memorial Art Gallery
9/8/1999
58.17SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
58.17DI1
digital image
5/9/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/58.17_I1.jpg
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
details
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
58.17DI#2
digital image
Front
8/21/2012
http://127.0.0.1:5000/Media/images/Inventory pictures/58.17_I2.jpg
58.17DI#3
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/58.17_A1.jpg
Print
Nude on Silver Bench
Philip Pearlstein, 1924 -
Pearlstein, Philip
United States
1924
Male
29 1/2 x 37 1/2 in. (74.9 x 95.3 cm)
.
.
.
overall
sheet
.
.
.
overall
image
Printer's ink
Printer's ink
1973
1973
1973
Print
Philip Pearlstein began his career as a landscape painter but by the 1960s had become recognized as one of the foremost painters of the contemporary nude. Art critic and historian Sidney Tillim wrote that Pearlstein “paints the nude not as a symbol of beauty and pure form but as a human fact—implicitly imperfect.”
[Label text from It Came From the Vault exhibition, 2013]
lower leftlower right
Philip Pearlstein
1973.133
item
Memorial Art Gallery
9/8/1999
glossy
8x10
00/00/00
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negative
4x5
00/00/00
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73.133I1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/73.133_A1.jpg
73.133DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/73.133_A2.jpg
Print
The Frugal Repast (Le Repas Frugal)
Pablo Picasso, 1881 - 1973
Picasso, Pablo
Spain
1881 - 1973
Male
23 1/2 x 20 in. (59.7 x 50.8 cm)
.
.
.
sheet
sheet
.
.
.
plate
plate
.
.
.
overall
frame
Printer's ink
Printer's ink
1904
1904
1904
Print
With its iconic image of a man and woman sitting at a table in a wine shop, a sharp realism evoking the couple’s poverty and despair, "The Frugal Repast" is Picasso’s most famous print. It is especially remarkable because, at the time he created it, the artist had no formal training in printmaking. Beyond its emotional appeal, the fineness of technique is a testament to Picasso’s genius and ability to master a new medium so quickly.
Picasso produced only a few copies of this etching and drypoint when he created it in 1904. Almost ten years later, his dealer Ambrose Vollard, well known for his marketing and financial skills, bought the copper plate, strengthened it with steel facing, and, along with 14 smaller etchings, produced an unsigned edition of 250. This series, known as the The Saltimbanque Suite, assured Picasso’s reputation not only as painter, but master printmaker.
[Label text from It Came From the Vault exhibition, 2013]
1983.120
item
Memorial Art Gallery
4/24/2001
83.120SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
5x7
00/00/00
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negative
full
4x5
00/00/00
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83.120DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/83.120_A1.jpg
83.120DI#2
digital image
12/28/2010
http://127.0.0.1:5000/Media/images/83.120_A2.jpg
Sculpture
Francis Granger (1792 - 1868)
Hiram Powers, 1805 - 1873
Powers, Hiram
United States
1805 - 1873
Male
23 x 17 x 11 in. (58.4 x 43.2 x 27.9 cm)
.
.
.
overall
.
.
.
with base
Marble
Marble
1837
1837
1837
1800-1900, 19th century, busts, Granger Family, Canandaigua, NY, men, New York State & Local History, politics in art, portraits
Sculpture
“Now then for a small piece of vanity—Powers, the sculptor, is taking me in clay, to be wrought in marble in Italy next summer. If he does not get a perfect head, it will be his first failure.”
New York Congressman and Canandaigua resident Francis Granger was one of many prominent American politicians to sit for a classical-style portrait bust by Hiram Powers. Many Grand Tourists made Powers’ sculpture studio in Florence, Italy, a stop on their travels, to witness the artist at work, view his latest creations, or commission a personal artwork.
[Label text from It Came From the Vault exhibition, 2013]
Why do portrait busts often have blank eyeballs? Here’s one theory: originally, many ancient Greek and Roman sculptures were painted, including the eyes, but over the years the paint has faded so that by the 19th century, the eyes appeared to be blank. While 19th century artists often modeled their portrait busts of important political figures on these Classical forms, they did not know that the eyes had been painted originally, so they left them blank. Only with current technology has it been possible to understand how the older sculptures actually appeared.
The subject of this sculpture, Francis Granger (1792 – 1868), was born a decade after the American Revolution and died right after the Civil War. A congressman from nearby Canandaigua when he posed for this sculpture in 1837, he said: “Now then for a small piece of vanity – Powers, the sculptor, is taking me in clay, to be wrought in marble in Italy next summer. If he does not get a perfect head, it will be his first failure.”
[Gallery label text, 2009]
1930.73
item
Memorial Art Gallery
9/8/1999
30.73SL1
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
30.73TR1
transparency
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
30.73DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/30.73_A1.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
Drawing
Romantic Scene with Ruined Castle
Walter Rauschenbusch, (Rochester, New York, 1861 - 1918, Rochester, New York )
Rauschenbusch, Walter
United States
1861 - 1918
Male
9 x 11 3/8 in. (22.9 x 28.9 cm)
.
.
.
overall
sheet (irregular)
.
.
.
overall
frame
Charcoal
Charcoal
ca. 1880
1875
1885
Drawing
Sometimes, complete mysteries present themselves at MAG. How did a drawing by Walter Rauschenbusch, a giant among theologians in the late 19th and early 20th centuries, come to MAG? No paperwork exists to tell us the story.
Drawings like these, incorrectly called “sandpaper drawings,” were done as art exercises in the 19th century. Usually, the student was given the task of copying a popular print onto specially prepared board. Perhaps Rauschenbusch, who grew up in Rochester, went to a school that taught this technique. Perhaps he kept the drawing with him throughout his life; his signature is on the back, along with the word “Lent.” Perhaps, when he died, the drawing was put out with unwanted papers, or it may have been passed along to a family member, a neighbor, or a friend. At some point, the drawing was brought to MAG, but the trail, such as it is, ends there. And perhaps a visitor to our exhibition will be able to shed some light on this mystery!
[Label text from It Came From the Vault exhibition, 2013]
lower rightverso
1989.31
item
Memorial Art Gallery
9/8/1999
89.31DI#1
digital image
8/26/2008
http://127.0.0.1:5000/Media/images/89.31_A1.jpg
Photograph
Hildegarde Watson
Man Ray, 1890 - 1976
Ray, Man
United States
1890 - 1976
Male
9 15/16 x 8 in. (25.2 x 20.3 cm)
.
.
.
overall
sheet
.
.
.
overall
image
Gelatin silver print
Gelatin silver print
ca. 1925
1920
1930
Photograph
Man Ray was the only American who was intimately tied to the Surrealist group in Paris. During the 1920s, his photographic portraits were highly sought after, by the bohemian crowd as well as the social elite. Thwarting expectations causes a sense of tension that was one of the aims of the Surrealists; here, the inclusion of the mannequin arm is intended to disturb and disorient the viewer. Man Ray used the false arm in another portrait in 1932, that of fashion designer Elsa Schiaparelli.
The subject here is Hildegarde Watson, daughter-in-law of the museum’s founder. She was a philanthropist, singer, painter, writer, photographer, and active preservationist.
[Label text from It Came From the Vault exhibition, 2013]
below image, Appears to be written over another signature in image area, possibly in negative?
1982.46
item
Memorial Art Gallery
9/8/1999
82.46SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8x10
00/00/00
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negative
full
4x5
00/00/00
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82.46DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/82.46_A1.jpg
82.46DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/82.46_A2.jpg
Drawing
Geraniums
Odilon Redon, (Bordeaux, France, 1840 - 1916, Paris)
Redon, Odilon
France
1840 - 1916
Male
19 13/16 x 15 7/8 in. (50.3 x 40.3 cm)
.
.
.
sheet
sheet
.
.
.
overall
frame
Pastel
Pastel
1902
1902
1902
1900-2000, 20th century, drawing, flowers in art, Lockhart Collection
Drawing
lower right, in the image
1989.50
item
Memorial Art Gallery
2/22/2001
89.50TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
89.50SL1
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
89.50DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/89.50_A2.jpg
89.50DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/89.50_A1.jpg
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
Sculpture
Two Lines [Small Series]
Two Blades
George Rickey, 1907 - 2002
Rickey, George
United States
1907 - 2002
Male
31 1/8 in. (79.1 cm)
.
.
.
Stainless steel
Stainless steel
1963
1963
1963
Sculpture
Careful observers may recognize that a similar but much larger sculpture marks MAG’s front entrance, where its blades move gracefully in the breeze. MAG director Grant Holcomb met Mildred Baker, the donor of this work, a number of years ago and the two became friends. When she died, MAG received 14 works of art from her collection, including "Two Lines," which she had acquired directly from George Rickey.
Lifelong experience as a sailor observing the forces of the wind, combined with training as an engineer, gave Rickey the skills and insight to assemble perfectly balanced elements that float through the air to achieve his goal of isolating “motion as a visual component and design with that.”
[Label text from It Came From the Vault exhibition, 2013]
on baseunderside of base, white paper label covering almost entire bottom of base
1999.32
item
Memorial Art Gallery
4/12/2000
99.32SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x2
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
99.32DI1
digital image
11/15/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/99.32_I1.jpg
99.32_I2.JPG
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/99.32_I2.JPG
99.32_I3.JPG
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/99.32_I3.JPG
99.32_I4.JPG
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/99.32_I4.JPG
99.32_I5.JPG
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/99.32_I5.JPG
99.32_I6.JPG
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/99.32_I6.JPG
99.32_I7.JPG
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/99.32_I7.JPG
99.32_I8.JPG
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/99.32_I8.JPG
99.32DI#2
digital image
2/22/2013
http://127.0.0.1:5000/Media/images/99.32_A1.jpg
Print
Nude
Jorge Rigol, 1910 - 1991
Rigol, Jorge
Cuba
1910 - 1991
Male
14 3/8 x 11 in. (36.5 x 27.9 cm)
.
.
.
sheet
Printer's ink
Printer's ink
1953
1953
1953
20th century, nudes, woodcuts
Print
Dr. Isabel Rigol
1956.56
item
Memorial Art Gallery
2/3/2001
56.56DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/56.56_A1.jpg
56.56DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/56.56_A2.jpg
Print
The Goldweigher's Field
Rembrandt Harmensz. van Rijn, (Leiden, 1606 - 1669, Amsterdam)
Rijn, Rembrandt Harmensz. van
Netherlands
1606 - 1669
Male
4 13/16 x 12 5/8 in. (12.2 x 32.1 cm)
.
.
.
sheet
sheet
.
.
.
overall
frame
Printer's ink
Printer's ink
1651
1651
1651
1600-1800, 17th century, drypoint, etchings, landscapes
Print
This landscape is of a real place: the city of Haarlem with the spire of the Grootekerk can be seen at the left and the church tower of Bloemendaal is in the right middle ground. Rembrandt has subtly manipulated the scene into a carefully composed and extended horizontal panorama. He uses diagonal lines to indicate divisions in the fields. Horizontal lines showing property divisions and the woods also serve to slow the viewer’s gaze. The addition of drypoint, or lines scratched in the plate without the use of acid, heightens the contrast between light and shadow.
The title for this print comes from the author of a 1751 catalogue of Rembrandt’s prints. He mistook this landscape for the property of the goldweigher, the Receiver General Jan Uytenbogaert, who was the subject of one of Rembrandt’s portraits. The Goldweigher’s Field actually shows the estate of the merchant Christoffel Thijs, who sold Rembrandt his house in 1639 and to whom Rembrandt was in debt.
[Label text from It Came From the Vault exhibition, 2013]
lower left, in the image, in the plate, A crown over an indistinct snaking motif
1987.63
item
Memorial Art Gallery
6/6/2001
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
87.63DI1
digital image
8x10
00/00/00
http://127.0.0.1:5000/Media/images/87.63_A1.jpg
87.63DI#2
digital image
2/13/2013
http://127.0.0.1:5000/Media/images/87.63_A2.jpg
Drawing
Homage to Poussin (Et In Arcadia Ego)
James Rosen, (Detroit, MI, 1933 - )
Rosen, James
United States
1933
Male
23 5/8 x 32 in. (60 x 81.3 cm)
.
.
.
without frame
.
.
.
overall
frame
Crayon
Crayon
0
0
Drawing
James Rosen’s poetic works often reference Renaissance masterpieces that deal with religious themes. Here he reinterprets the figures from a painting titled Les Bergers d'Arcadie (Et in Arcadia ego) by the 15th-century master Nicolas Poussin (see inset), in which the shepherd’s tracing of his shadow on the stone tomb face is traditionally interpreted as man’s creation of his first image. The drawing in our exhibition is a study for one of Rosen’s layered wax paintings owned by The Rooms, the largest public cultural space in Newfoundland and Labrador, where the artist now resides.
[Label text from It Came From the Vault exhibition, 2013]
James Rosen
1995.9
item
Memorial Art Gallery
9/8/1999
95.9SL1
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
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
95.9DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/95.9_A1.jpg
Print
A Pale Angel's Halo
James Rosenquist, 1933 - 2017
Rosenquist, James
United States
1933 - 2017
Male
30 1/4 x 22 1/2 in. (76.8 x 57.2 cm)
.
.
.
overall
sheet
.
.
.
overall
image
Printer's ink
Printer's ink
1973
1973
1973
1900-2000, 20th century, lithographs, serigraphs
Print
Poet and art critic Nicolas Calas wrote of this image when it was published as part of a portfolio titled Reality and Paradoxes in 1973: “An inward image, transmitted verbally, has the power to transform a common image into an exceptional one. Blue, yellow and red express a divine utterance in primary colors: ‘pale angel.’ Suddenly the yellow is apprehended as gold, the ground as heavenly blue, the handle as the outline of a halo, and also of the back of an angel’s head and ears. The cut away space of the pail’s body recalls the ethereal quality of angels.”
[Label text from It Came From the Vault exhibition, 2013]
1973.113
item
Memorial Art Gallery
9/8/1999
73.113SL1
slide
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
73.113DI1
digital image
12/5/2001
http://127.0.0.1:5000/Media/images/73.113_A1.jpg
73.113DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/73.113_A2.jpg
Drawing
Ultra
Edward Ruscha, 1937 -
Ruscha, Edward
United States
1937
Male
11 7/16 x 29 1/16 in. (29.1 x 73.8 cm)
.
.
.
overall
sheet
.
.
.
overall framed size
frame
.
.
.
overall
image
Gunpowder
Gunpowder
1970
1970
1970
drawing
Drawing
For a year, this drawing resided in the home of Vice President and Mrs. Walter Mondale, part of a group of 75 works of art from museums in the Northeast borrowed for the official residence on the grounds of the Naval Observatory in Washington. In a letter dated April 26, 1979, Joan Mondale wrote to Director John Mahey, “Having spent many of my working years in museums, I know that lending works of art brings mixed feelings—the pleasure of sharing, pride that the work has been sought, and the apprehension for one’s treasures. Be assured, your generosity in loaning works to the Vice President’s House is gratefully appreciated.” (Did Mrs. Mondale know that Pop artist Ed Ruscha’s lover was named Ultra Violet?)
[Label text from It Came From the Vault exhibition, 2013]
lower left below image
Ed Ruscha
1975.289
item
Memorial Art Gallery
9/8/1999
75.289 SL1
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
75.289DI#1
digital image
Recto
2/20/2008
http://127.0.0.1:5000/Media/images/75.289_A1.jpg
75.289DI#2
digital image
2/10/2016
http://127.0.0.1:5000/Media/images/75.289_A2.jpg
Print
Palisades
Rudolph Ruzicka, 1883 - 1978
Ruzicka, Rudolph
United States
1883 - 1978
Male
11 1/4 x 8 3/16 in. (28.6 x 20.8 cm)
.
.
.
plate
image
.
.
.
sheet
.
.
.
overall
frame
Printer's ink
Printer's ink
1917
1917
1917
1900-2000, 20th century, landscapes, New York State, rivers, trees in art, wood engravings
Print
In October of 1917, George Herdle brought to MAG an exhibition of prints made by members of the newly-formed Painter-Gravers of America. Among the over 90 prints was Rudolph Ruzicka’s Palisades, which was purchased for the collection for $10.80. With a minimum of colors and lines, the artist created an arresting image of a Hudson River scene, familiar and yet in his hands almost exotic. Interest in his work remained keen in Rochester, and he was given a solo exhibition at MAG the following year.
[Label text from It Came From the Vault exhibition, 2013]
in the platelower right, in margin
1917.11
item
Memorial Art Gallery
9/8/1999
17.11SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
00/00/00
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glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
17.11DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/17.11_A1.jpg
17.11DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/17.11_A2.jpg
Painting
In the Nevada Desert
Sven Birger Sandzén, 1871 - 1956
Sandzén, Sven Birger
United States
1871 - 1956
Male
Primary
32 x 48 in. (81.3 x 121.9 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1917
1917
1917
1900-2000, landscape, landscapes
Painting
back of stretcher, topback of stretcher, bottom, Artist's notation (see photo attached to object record, 62.33_a2.jpg)
1962.33
item
Memorial Art Gallery
9/8/1999
62.33DI1
digital image
5/9/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/62.33_I1.jpg
62.33DI#2
digital image
11/20/2012
http://127.0.0.1:5000/Media/images/62.33_A1.jpg
Painting
Waterfall
Tetsuro Sawada, (Morioka, Japan, 1919 - 1986, Kawasaki, Japan)
Sawada, Tetsuro
Japan
1919 - 1986
Male
14 1/4 x 18 11/16 in. (36.2 x 47.5 cm)
.
.
.
sheet
Gouache
Gouache
1950-1959
1950
1959
Japanese, waterfalls
Painting
Tetsuro Sawada was born and studied in Japan. Drafted into the Japanese army in 1945 and detained in Siberia after the war, he returned to his art after his release from prison in 1947. He attained international prominence in January 1960, when he had a solo exhibition at the Meltzer Gallery in New York. His one-man show was reviewed by the well-known New York Times art critic John Canaday, who wrote glowingly that the artist was well on his way to “converting the abstract idiom of our decades into a generally comprehensible expression of nature.”
MAG purchased three of his works, including Waterfall, directly from the 1960 Meltzer exhibition.
[Label text from It Came From the Vault exhibition, 2013]
1960.42
item
Memorial Art Gallery
3/10/2001
60.42SL1
slide
2 x 2
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
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
60.42DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/60.42_A1.jpg
60.42DI#2
digital image
10/10/2012
http://127.0.0.1:5000/Media/images/60.42_A2.jpg
Sculpture
Eagle
Wilhelm Schimmel, 1817-1890
Schimmel, Wilhelm
United States
1817 - 1890
Male
6 1/2 x 10 1/4 in. (16.5 x 26 cm)
.
.
.
Pine
Pine
ca. 1870
1865
1875
19th century, birds, sculpture, woodwork
Sculpture
1957.28
item
Memorial Art Gallery
9/8/1999
57.20SL1
slide
full
2 x 2
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
57.20SL2
slide
3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
58.28DI#1
digital image
Three-quarter from right
00/00/00
http://127.0.0.1:5000/Media/images/57.28_A1.jpg
58.28DI#2
digital image
Three-quarter from left
00/00/00
http://127.0.0.1:5000/Media/images/57.28_A2.jpg
57.28DI#3
digital image
11/20/2012
http://127.0.0.1:5000/Media/images/57.28_A3.jpg
57.28DI#4
digital image
11/20/2012
http://127.0.0.1:5000/Media/images/57.28_A4.jpg
Painting
Polgrennow Farm
W. Elmer Schofield, (Philadelphia, PA, 1867 - 1944, Cornwall, England)
Schofield, W. Elmer
United States
1867 - 1944
Male
30 x 36 1/8 in. (76.2 x 91.8 cm)
.
.
.
overall
frame
.
.
.
without frame
Oil
Oil
0
0
Painting
lower leftback of stretcher, Under edge of canvasback of frame
1977.204
item
Memorial Art Gallery
9/8/1999
77.204SL1
slide
full
2 x 2
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
77.204DI#2
digital image
2/1/2008
http://127.0.0.1:5000/Media/images/77.204_A1.jpg
77.204DI#1
digital image
6/26/2007
http://127.0.0.1:5000/Media/images/Inventory pictures/77.204_I1.jpg
77.204DI#3
digital image
with frame
5/7/2014
http://127.0.0.1:5000/Media/images/77.204_A2.jpg
77.204DI#4
digital image
Verso
5/7/2014
http://127.0.0.1:5000/Media/images/77.204_A3.jpg
Print
Turkish Harbor
Edythe Shedden, (Dumont, NJ, 1921 - 2017, Pittsford, NY)
Shedden, Edythe
United States
1921 - 2017
Female
24 x 36 in. (61 x 91.4 cm)
.
.
.
overall
image
.
.
.
overall
sheet
Printer's ink
Printer's ink
ca. 1978
1973
1983
Arena Group
Print
Edythe Shedden, at the age of 91, remains one of Rochester’s most respected artists. A lifelong traveler, she journeyed to Turkey four times. This print was inspired by the harbor at Marmaris, a popular port that hugs the coastline of the Turkish Riviera. Shedden never made this image available for sale, so MAG’s example, a bequest from her friend Isabel Herdle, is a rare treasure indeed.
[Label text from It Came From the Vault exhibition, 2013]
lower right, below imagelower left, below image
2005.135
item
Memorial Art Gallery
6/3/2005
5981.146DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.135_I1.jpg
2005.135DI#2
digital image
Front
5/15/2007
http://127.0.0.1:5000/Media/images/2005.135_A1.jpg
Drawing
Marcus Garvey
Luvon Sheppard, (Sanford, FL, 1940 - )
Sheppard, Luvon
United States
1940
Male
24 1/16 x 18 1/16 in. (61.1 x 45.9 cm)
.
.
.
overall
sheet
Wash
Wash
1970
1970
1970
by Rochester artists, Images of Black People
Drawing
Now a professor of art at RIT, Luvon Sheppard was MAG’s coordinator of neighborhood services when he drew this portrait of the controversial Jamaican orator and activist. Marcus Garvey was perhaps best known for founding the Back-to-Africa movement, which called for a return of the African diaspora to its ancestral homelands. He famously feuded with W. E. B. DuBois, another activist and the first African American to graduate from Harvard, who described him unsympathetically as “a little, fat black man; ugly, but with intelligent eyes and a big head.”
[Label text from It Came From the Vault exhibition, 2013]
1971.11
item
Memorial Art Gallery
9/8/1999
71.11DI#1
digital image
12/7/2010
http://127.0.0.1:5000/Media/images/71.11_A1.jpg
Print
Third Ward Patterns
Edna Weeks Smith, (Portland, ME, 1903 – 1986, San Mateo, CA)
Smith, Edna Weeks
United States
1903 - 1986
Female
17 1/8 x 12 3/16 in. (43.5 x 31 cm)
.
.
.
screen
image
.
.
.
overall sheet
sheet
Printer's ink
Printer's ink
0
0
Print
Edna Weeks Smith taught for many years at MAG’s Creative Workshop. It was largely through her efforts that the Gallery’s annual Clothesline Festival came into being back in 1957.
[Label text from It Came From the Vault exhibition, 2013]
2005.39
item
Memorial Art Gallery
4/13/2005
5981.6DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.39_I1.jpg
2005.39DI2
digital image
9/23/2010
http://127.0.0.1:5000/Media/images/2005.39_A1.jpg
Painting
Clarence J. McCarthy (1887 - 1953)
Eugene Speicher, 1883 - 1962
Speicher, Eugene
United States
1883 - 1962
Male
36 x 30 in. (91.4 x 76.2 cm)
.
.
.
without frame
Oil
Oil
ca. 1907
1902
1912
1900-2000, 20th century, artist portraits, artists, men, paintings
Painting
Throughout history, artists have painted portraits of their friends, including friends who are often artists themselves. The young man in this portrait, Clarence J. McCarthy, met the artist Eugene Speicher while both were studying at the Albright Art School in their native Buffalo. The two also studied together at New York City’s Art Students League with the influential teacher Robert Henri. Speicher became an important portrait painter, and McCarthy, a significant illustrator.
[Forman Gallery, Summer 2015]
lower left
1982.51
item
Memorial Art Gallery
9/8/1999
82.51TR1
Transparency
Memorial Art Gallery
4 x 5
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
82.51SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
82.51DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/82.51_A1.jpg
Print
The Women's Bath
Attributed to Hans Springinklee, 1490/1495 - ca. 1540
Springinklee, Hans
Germany
1490-1495 - ca. 1540
Male
Attributed to
Dürer, Albrecht
Germany
1471 - 1528
Male
original artist
After
drawing
8 3/4 x 9 3/16 in. (22.2 x 23.3 cm)
.
.
.
sheet
horizontal
sheet
.
.
.
Printer's ink
Printer's ink
0
0
1400-1600, health & hygiene, Lockhart Collection, nudes, Renaissance & Baroque, women, woodcuts
Print
Reverse copy after a drawing by Albrecht Dürer.
Public baths for both men and women enjoyed great popularity in Renaissance Germany; women’s baths in particular were frequent subjects of artists like Albrecht Dürer and his followers. Images of female nudity often carried erotic overtones, as seen here in the woman at center, who gazes directly at the viewer while turning her body in a frontal pose. These depictions of the female nude sometimes carried moral and menacing messages, as they were also used to portray women as prostitutes and witches.
[Label text from It Came From the Vault exhibition, 2013]
verso, L in a boxverso
1975.45
item
Memorial Art Gallery
5/15/2001
75.45 SL1
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
2.5x3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.45DI1
digital image
4/8/2002
http://127.0.0.1:5000/Media/images/75.45_A1.jpg
75.45DI#2
digital image
10/10/2012
http://127.0.0.1:5000/Media/images/75.45_A2.jpg
Watercolor
Jungle Harbour
Edward John Stevens Jr., (Jersey City, NJ, 1923 – 1988, Passaic, NJ)
Stevens, Edward John
United States
1923 - 1988
Male
19 7/16 x 23 7/16 in. (49.4 x 59.6 cm)
.
.
.
overall
sheet
.
.
.
overall
image
Gouache
Gouache
1946
1946
1946
Watercolor
Described as a “most unusual personality,” Edward John Stevens, Jr. was only 23 and primarily self-taught when he attained acclaim in the competitive New York City art world. After participating in his first group exhibition at the Weyhe Gallery in 1943, he was awarded with annual one-man shows over the next four years, from which every painting was sold. His imaginary scenes of fantastical animals and environments showed the influence of African and Pre-Columbian art, and modernist styles such as Cubism and Surrealism. He painted Jungle Harbour after his first trip to Cuba. The meticulously-detailed surface demonstrates horror vacui (from the Latin “fear of empty space”), a characteristic common in art made by untrained artists.
[Label text from It Came From the Vault exhibition, 2013]
lower rightlower left
1964.112
item
Memorial Art Gallery
9/8/1999
glossy
full
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.112DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/64.112_A1.jpg
64.112DI#2
digital image
5/24/2011
http://127.0.0.1:5000/Media/images/64.112_A2.jpg
Ceramics
Fork
William Stewart, (Plattsburgh, NY, 1941 - 2020, Spencerport, NY)
Stewart, William
United States
1941 - 2020
Male
83 x 19 x 10 in. (210.8 x 48.3 x 25.4 cm)
.
.
.
overall
Ceramic
Ceramic
1991
1991
1991
1900-2000, 20th century, American art, by Rochester artists, ceramics, decorative arts, sculpture
Ceramics
1992.84
item
Memorial Art Gallery
9/8/1999
92.84SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
w 92.85
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
92.84DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/92.84_A1.jpg
92.84SL2
slide
with 92.85
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
2.5 x 3
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
92.84TR1
transparency
full
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
92.84DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/92.84_A2.jpg
Ceramics
Rake
William Stewart, (Plattsburgh, NY, 1941 - 2020, Spencerport, NY)
Stewart, William
United States
1941 - 2020
Male
74 x 21 1/2 x 10 in. (188 x 54.6 x 25.4 cm)
.
.
.
overall
Ceramic
Ceramic
1991
1991
1991
1900-2000, 20th century, American art, by Rochester artists, ceramics, decorative arts, sculpture
Ceramics
1992.85
item
Memorial Art Gallery
9/8/1999
92.85DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/92.85_A1.jpg
negative
2.5 x 3
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
92.85TR1
transparency
full
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
92.85SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
92.85DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/92.85_A2.jpg
Print
Quetzalcoatl
Rufino Tamayo, (Oaxaca, Mexico, 1899 - 1991, Mexico City)
Tamayo, Rufino
Mexico
1899 - 1991
Male
27 x 51 1/2 in. (68.6 x 130.8 cm)
.
.
.
.
.
.
overall
frame
Printer's ink
Printer's ink
1979
1979
1979
Print
Rufino Tamayo is considered by many to be the father figure of contemporary Mexican art. Although he lived in New York City and Paris for many years, Tamayo’s work was always informed by his deep affinity for his own Zapotec Indian culture. The subject of this print is Quetzalcoatl, the plumed serpent who in Zapotec mythology was the god of the winds. Tamayo, a master printmaker, found mixographs particularly suited to his personal style. Using a wax slab rather than a conventional metal plate or stone, the mixograph technique allows the artist to create a painterly, textured surface.
[Label text from It Came From the Vault exhibition, 2013]
1986.8
item
Memorial Art Gallery
5/22/2001
86.8TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.8SL1
slide
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
glossy
4x5
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
86.8DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/86.8_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
Prairie Red
Mark Tobey, 1890 - 1976
Tobey, Mark
United States
1890 - 1976
Male
55 5/8 x 27 3/4 in. (141.3 x 70.5 cm)
.
.
.
overall
frame
.
.
.
without frame
Tempera
Tempera
1964
1964
1964
1900-2000, 20th century, paintings, red
Painting
Mark Tobey’s observations about his own work are especially eloquent and revealing:
Over the past 15 years, my approach to painting has varied, sometimes being dependent on brushwork, sometimes on lines, dynamic white strokes in geometric space. For me, the road has been a zig-zag into and out of old civilizations, seeking new horizons through meditation and contemplation. My sources of inspiration have gone from those of my native Middle West to those of microscopic worlds. I have discovered many a universe on paving stones and tree barks.
Some critics have criticized me for being what they call an Orientalist and using Oriental models for my work. But they were wrong….What did develop there was what I call the calligraphic impulse that has opened out new horizons for my work. Now I could paint the turmoil and tumult of the great cities, the intertwining of the lights and the streams of people caught up in the mesh of their net.
[Summer 2015]
lower right
1969.43
item
Memorial Art Gallery
9/8/1999
69.43SL1
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
69.43TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.43DI1
digital image
full
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/69.43_A2.jpg
69.43DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/69.43_A1.jpg
Painting
Untitled
Josephine Tota, (Corato, Italy, 1911 - 1996, Rochester, NY)
Tota, Josephine
United States
1910 - 1996
Female
Primary
14 1/16 x 16 1/8 in. (35.7 x 41 cm)
.
.
.
overall
overall
.
.
.
frame
Egg tempera
Egg tempera
1987
1987
1987
Painting
The remarkable paintings of Rochester artist Josephine Tota were private reflections, often resulting from dreams or memories. Her unique style was influenced by medieval paintings. As in traditional Catholic altarpieces, the small figure (the artist) prays on her knees, beseeching help from the larger figures. This image may reference her 1984 cataract surgery and the resulting complications that had her dependent upon and possibly resentful of her doctors.
[Label text from It Came From the Vault exhibition, 2013]
lower right
Rosamond Tota
2011.56
item
Memorial Art Gallery
7/18/2011
6445.4DI#1
digital image
7/18/2011
http://127.0.0.1:5000/Media/images/Inventory pictures/2011.56_I1.jpg
2011.56DI#2
digital image
12/6/2011
http://127.0.0.1:5000/Media/images/2011.56_A1.jpg
2011.56DI#3
digital image
1/6/2016
http://127.0.0.1:5000/Media/images/2011.56_A2.jpg
Drawing
The Plumed Helmet: Study for "The Parting"
Joyce Treiman, 1922 - 1991
Treiman, Joyce
United States
1922 - 1991
Female
30 3/8 x 22 in. (77.2 x 55.9 cm)
.
.
.
sheet
Graphite
Graphite
1982
1982
1982
1900-2000, 20th century, drawing
Drawing
lower right
1986.131
item
Memorial Art Gallery
9/8/1999
86.131TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.131SL1
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
glossy
5x7
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
86.131DI1
digital image
Memorial Art Gallery
Imaging complete
6/19/2001
http://127.0.0.1:5000/Media/images/86.131_A1.jpg
Sculpture
Double Level Diffraction
Wen Ying Tsai, (Armory, China, 1928 - 2013, New York, NY)
Tsai, Wen Ying
United States
1928 - 2013
Male
47 x 24 x 17 in. (119.4 x 61 x 43.2 cm)
.
.
.
Stainless steel
Stainless steel
0
0
Sculpture
Wen Ying Tsai was trained as both an engineer and an artist and his cybernetic sculptures are a fusion of technology and aesthetics. The stainless steel rods, topped with round optical devices, are wired to vibrate at a constant rate. They are subjected to a flashing strobe light that is triggered by ambient sound, such as a voice or a hand clap. When the frequency of the flash matches that of the rods’ vibration, the sculpture appears stationary. As the rate of flash is changed, the effect alters from a slow and undulating motion to an agitated one.
Unfortunately, "Double Level Diffraction" malfunctioned shortly after it was presented to MAG. The highly delicate nature of the mechanism has defied even the artist’s attempts to repair it.
[Label text from It Came From the Vault exhibition, 2013]
This sculpture was commissioned especially for the Gallery.
1978.73a
item
Memorial Art Gallery
9/8/1999
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
78.73a-bDI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/78.73a-b_A1.jpg
78.73aDI#1
digital image
3/19/2018
http://127.0.0.1:5000/Media/images/Inventory pictures/78.73a_I1.JPG
78.73aDI#2
video
3/19/2018
http://127.0.0.1:5000/Media/images/Inventory pictures/78.73a_I2.mp4
Metalwork
Horned Animal
Unknown artist
Unknown artist
Primary
4 5/16 x 4 x 1 15/16 in. (11 x 10.2 x 5 cm)
.
.
.
overall
overall
Bronze
Bronze
0
0
deer, European art, sculpture
Metalwork
In her letter to the donor of this sculpture, then Gallery Director Gertrude Herdle Moore thanked him for the “prehistoric bronze handle in the form of a horned animal.” There is no record as to what the figurine might have been a handle for. It was initially thought to be from the Isles of Scilly, an archipelago southwest of Great Britain, but inquiries to scholars in that region revealed otherwise. The culture and date of origin for the little bronze animal remain unknown.
[Label text from It Came From the Vault exhibition, 2013]
1948.57
item
Memorial Art Gallery
3/10/2001
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
48.57DI1
digital image
Memorial Art Gallery
Imaging Complete
00/00/00
http://127.0.0.1:5000/Media/images/48.57_A2.jpg
48.57DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
48.57DI#3
digital image
Three-quarter
11/6/2007
http://127.0.0.1:5000/Media/images/48.57_A1.jpg
Sculpture
Bird
? Inuit artist, (active )
Inuit artist
Canada
Primary
3 7/8 x 5 3/8 x 7 1/2 in. (9.8 x 13.7 x 19.1 cm)
Bone
Bone
0
0
86-1
Sculpture
This unsigned and undated bird came from the estate of Isabel C. Herdle (1904–2004), Curator Emeritus of the Memorial Art Gallery. Judging from the size, it may have been carved out of whalebone, a material widely used by Native American and First Nations people of the Pacific Northwest. MAG received several Inuit artworks from Miss Herdle’s estate.
[Label text from It Came From the Vault exhibition, 2013]
underside, Base coat: Acryloid B-72 in Acetone
Accession number: Golden Fluid Acrylics (black)
2005.144
item
Memorial Art Gallery
5/6/2005
5981.26.JPG
digital image
side
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.144_I1.jpg
2005.144DI#2
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/2005.144_A1.jpg
2005.144DI#3
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/2005.144_A2.jpg
Textiles
Medallion Rug
American artist, (active )
American artist
United States
Primary
27 1/4 x 66 1/2 x 3/8 in. (69.2 x 168.9 x 1 cm)
.
.
.
overall
overall
Wool
Wool
late 19th century
1867
1899
19th century, circle, color, rugs
Textiles
Hooked rugs are among the most enduring forms of American folk art. Although commercial pattterns became available in the late 1860s, earlier designs were the product of the maker’s own imagination and circumstances. The rugs were typically crafted by women, often using worn scraps of material and homemade dyes, who sometimes copied examples made by friends and neighbors. We can imagine that the person who designed this particular rug was a farmer’s wife, proud of her livestock and the variety of flowers she grew in her garden. The fact that some of the medallions have lost their edges suggest that it has been cut down from its original size due to wear.
[Label text from It Came From the Vault exhibition, 2013]
1952.5
item
Memorial Art Gallery
9/8/1999
52.5SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
52.5SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
52.5DI#1
digital image
4/17/2008
http://127.0.0.1:5000/Media/images/52.5_A1.jpg
52.5DI#2
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/52.5_A2.jpg
52.5DI#3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/52.5_A3.jpg
Painting
Portrait of Children with Dog
American artist, (active )
American artist
United States
Primary
48 x 36 in. (121.9 x 91.4 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
0
0
Painting
This painting was in the collection of Peter Barry, mayor of Rochester from 1955 to 1961. He was the grandson of Patrick Barry, co-founder of the Ellwanger and Barry Nurseries in the Mt. Hope section of the city.
[Label text from It Came From the Vault exhibition, 2013]
1982.25
item
Memorial Art Gallery
9/8/1999
82.25SL1
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
82.25DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/82.25_I1.jpg
82.25DI#2
digital image
11/20/2012
http://127.0.0.1:5000/Media/images/82.25_A1.jpg
Textiles
Roman Scene
American artist, (active )
American artist
United States
Primary
25 x 32 1/2 in. (63.5 x 82.6 cm)
.
.
.
.
.
.
frame
Thread
Thread
0
0
Textiles
This detailed but unidentified scene incorporates distinctive characteristics from ancient Roman culture, including an army legionary standard topped with an eagle at top right, men dressed in bronze armor and helmets, and women in classical drapery.
[Label text from It Came From the Vault exhibition, 2013]
1975.137
item
Memorial Art Gallery
9/8/1999
75.137 SL1
slide
full
2 x 2
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
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.137DI1
digital image
5/9/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/75.137_I1.jpg
75.137DI#2
digital image
2/22/2013
http://127.0.0.1:5000/Media/images/75.137_A1.jpg
Furniture
Table
American artist, (active )
American artist
United States
Primary
33 1/2 x 72 x 26 in. (85.1 x 182.9 x 66 cm)
.
.
.
Wood
Wood
0
0
Furniture
This table belonged to Rochester patron of the arts Charlotte Whitney Allen, for whom MAG’s library is named. It is a lovely example of the Art Deco style that flourished in Europe and America between the World Wars. Symmetrical and rectilear, this aesthetic represented the ultimate in modernity and luxury at the time.
[Label text from It Came From the Vault exhibition, 2013]
1978.85
item
Memorial Art Gallery
9/8/1999
78.85DI#1
digital image
11/29/2012
http://127.0.0.1:5000/Media/images/Inventory pictures/78.85_I1.JPG
78.85DI#2
digital image
3/4/2013
http://127.0.0.1:5000/Media/images/78.85_A1.jpg
Furniture
Tilt-top Table
American artist, (active )
American artist
United States
Primary
28 x 20 3/4 in. (71.1 x 52.7 cm)
.
.
.
Papier-maché
Papier-maché
0
0
furniture
Furniture
Between 1750 and 1850, furniture and decorative objects made from papier-maché enjoyed great popularity, especially in France and England. Multiple layers of macerated paper pulp mixed with a binder such as glue or flour were pressed into a mold to dry. After it was baked at a temperature of 1000 degrees Fahrenheit, the substance was strong enough to saw and shape like wood. Extremely thin slices of mother-of-pearl were applied to the surface of the finished piece and the entire surface was “japanned” (coated with asphaltum, amber, linseed oil and rosin in turpentine) until it was smooth again. Finally, the varnish covering the glistening bits of shell was sanded away, creating the effect of expensive inlay.
[Label text from It Came From the Vault exhibition, 2013]
1965.13
item
Memorial Art Gallery
9/8/1999
glossy
full front
8 x 10
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
glossy
side view
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
side view
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.13DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/65.13_A1.jpg
65.13DI#2
digital image
12/12/2012
http://127.0.0.1:5000/Media/images/65.13_A2.jpg
65.13DI#3
digital image
12/12/2012
http://127.0.0.1:5000/Media/images/65.13_A3.jpg
Watercolor
Vorschrift: George Washington
American artist, (active )
American artist
United States
Primary
12 3/16 x 7 1/8 in. (31 x 18 cm)
.
.
.
.
.
.
overall
frame
Watercolor
Watercolor
1808
1808
1808
1800-1900, American art, folk art, language in art, watercolors
Watercolor
A vorshrift was a writing exercise, common within Pennsylvania-German communities, that typically included an ornate introductory letter, a selection of Bible text and/or poetry, and examples of the alphabet. They were often presented as gifts; this one is dedicated to “Joseph Hofman” and is notable for the portrait of George Washington rendered at the bottom.
[Label text from It Came From the Vault exhibition, 2013]
top
1954.54
item
Memorial Art Gallery
9/8/1999
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.54DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/54.54_A1.jpg
54.54DI#2
digital image
2/13/2013
http://127.0.0.1:5000/Media/images/54.54_A2.jpg
Glass
Glass Medallion of Otto IV
Austrian artist, (active )
Austrian artist
Austria
Primary
5 3/8 x 5 3/8 in. (13.7 x 13.7 cm)
Glass
Glass
0
0
1600-1800, 17th century, armor, portrait, portraits, stained glass, weapons, world history
Glass
This small glass roundel, probably created for an armorial window, depicts Otto IV of Brunswick (1175–1218), who served as the King of Germany, the King of Italy, and emperor of the Holy Roman Empire. Although Otto lived during the middle Medieval period in Europe, the artist has shown him in the guise of an emperor of ancient Rome.
[Label text from It Came From the Vault exhibition, 2013]
1955.170.6
item
Memorial Art Gallery
12/15/2009
55.170.6DI#1
digital image
12/4/2009
http://127.0.0.1:5000/Media/images/55.170.6_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, 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
Textiles
Stumpwork Panel with Figures and Animals
British artist
British artist
Great Britain
Primary
12 x 15 3/4 in. (30.5 x 40 cm)
.
.
.
Embroidery
Embroidery
0
0
Textiles
1984.62
item
Memorial Art Gallery
5/12/2001
84.62SL1
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
84.62SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.62SL3
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.62SL4
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.62DI#1
digital image
4/22/2008
http://127.0.0.1:5000/Media/images/84.62_A1.jpg
Painting
Woman and Child on a Verandah
Chinese artist
Chinese artist
China
Primary
20 1/4 x 14 1/4 in. (51.4 x 36.2 cm)
.
.
.
sheet
sheet
.
.
.
overall
frame
Ink
Ink
0
0
Chinese
Painting
Reverse glass painting is a technique by which the artist applies paint, usually oil, on the back of a clear glass panel. The pigment adheres to the smooth surface of the glass, retaining a fresh color similar to that of enamels. The glass becomes part of the picture by providing the ground for the paint as well as the cover for the artwork.
Although examples of this technique exist from the Roman period of European history, reverse glass painting was first introduced into Asia in the early 1700s. By the early 1800s, there was a large market for these paintings among European and American traders and travelers to China; most were made by Chinese artists specifically for export to the West. The most popular subjects were portraits, images of children playing at the Imperial palace, and landscape and harbor scenes.
[Label text from It Came From the Vault exhibition, 2013]
1996.65
item
Memorial Art Gallery
10/28/1999
96.65SL1
slide
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
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/96.65_A1.jpg
96.65DI#2
digital image
3/22/2004
http://127.0.0.1:5000/Media/images/Inventory pictures/96.65_I1.jpg
96.65DI#3
digital image
2/5/2013
http://127.0.0.1:5000/Media/images/96.65_A2.jpg
Ceramics
Black-topped Jar with Flat Bottom
Egyptian artist
Egyptian artist
Egypt
Primary
4 3/4 in. (12.1 cm)
.
.
.
Ceramic
Ceramic
Before 3400 BCE
3410 BCE
3401 BCE
from Rochester collections
Ceramics
This ceramic vessel and ornate pair of earrings [28.244] are only two of the over 500 artifacts given to MAG by Rochester businessman C. Herbert Ocumpaugh in 1928, when he donated his entire collection of Greek, Roman, Egyptian, and Middle Eastern antiquities to the University of Rochester. Although he was not an archeologist—he had never traveled to these areas of the world—he developed a lifelong fascination with ancient cultures fueled by many visits to the Metropolitan Museum of Art. Aided by archeologists and museum directors, he spent 25 years amassing objects as diverse as iridescent glass, bronze figures of gods and goddesses, and richly-painted Greek ceramics. Ocumpaugh’s donation formed the core of MAG’s ancient collection; today, over 50 objects from this group are included in the exhibits of the Helen H. Berkeley Gallery of Ancient Art on the second floor.
[Label text from It Came From the Vault exhibition, 2013]
1928.104
item
Memorial Art Gallery
2/3/2001
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
28.104DI#1
digital image
Side
9/25/2007
http://127.0.0.1:5000/Media/images/28.104_A1.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Mummy Portrait
Egyptian artist
Egyptian artist
Egypt
Primary
54 x 15 1/2 in. (137.2 x 39.4 cm)
.
.
.
.
.
.
overall
frame
Plaster
Plaster
0
0
Painting
1928.356
item
Memorial Art Gallery
2/4/2001
28.356SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
28.356DI1
digital image
5/16/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/28.356_I1.jpg
28.356SL2
slide
detail - top 1/3 of middle section
2x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
28.356SL3
slide
detail - middle 1/3 of middle section
2x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
28.356SL4
slide
detail - bottom 1/3 of middle section
2x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
28.356DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/28.356_A2.jpg
Basketry
Basket
First Nations artist, (active )
First Nations artist
Canada
9 x 9 x 12 3/4 in. (22.9 x 22.9 x 32.4 cm)
.
.
.
Cherry
Cherry
First Nations; made in Fraser River Region, British Columbia, Canada
0
0
19th century, basketry, Native American, Native American art
Basketry
In 1897, after her first husband deserted her and her child, a young nurse named Hattie Lockwood pooled her resources with another friend in Tacoma and determined to build a hospital for injured miners in Skagway, Alaska. On the voyage north, their ship was wrecked in a blizzard; all their building and medical supplies were lost, and the women barely escaped with their lives. After three grueling years in the Alaskan wilderness, Lockwood returned to the United States and eventually married Henry Strong, the first president of Eastman Kodak Co. This and several other baskets the new Mrs. Strong had acquired during her youthful sojourn were later donated to MAG.
The “chainsaw” pattern was designed after First Nations people in British Columbia became aware of logging operations near the Fraser River. The red portions are natural-color cherry bark; the black is cherry bark darkened from being buried in “muck and charcoal.”
[Label text from It Came From the Vault exhibition, 2013]
1922.12
item
Memorial Art Gallery
2/3/2001
slide
2 x 2
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
22.12DI#1
digital image
3/10/2008
http://127.0.0.1:5000/Media/images/22.12_A1.jpg
negative
with 22.3, 22.4, 22.13
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Glass
Armorial Panel
Flemish artist
Flemish artist
Flanders
Primary
10 x 8 3/8 in. (25.4 x 21.3 cm)
.
.
.
Glass
Glass
1875-1925
1875
1925
stained glass
Glass
Small glass panels showcasing the coats of arms—specially-designed, unique combinations of lines, colors, and symbols that represent an individual or family—were especially popular among American collectors. While many were original, others were legitimate copies used to replace broken originals or decorate new and renovated buildings in the medieval or Renaissance style. There was also a large market for modern forgeries made specifically to serve an ever-growing market of collectors.
Of these three armorial panels [42.31, 42.34.3, 55.98], the only early example is the piece with the motto Bibe Si Sapis, which means “If thou art wise, drink.” The other two, both of which have women holding coats of arms, are modern, probably made in the late 19th or early 20th centuries.
[Label text from It Came From the Vault exhibition, 2013]
1955.98
item
Memorial Art Gallery
2/27/2001
55.98DI#1
digital image
12/4/2009
http://127.0.0.1:5000/Media/images/55.98_A1.jpg
Glass
Armorial Panel
Flemish artist
Flemish artist
Flanders
Primary
11 1/2 x 8 3/8 in. (29.2 x 21.3 cm)
.
.
.
Glass
Glass
1875-1925
1875
1925
1400-1600, costume, stained glass
Glass
Small glass panels showcasing the coats of arms—specially-designed, unique combinations of lines, colors, and symbols that represent an individual or family—were especially popular among American collectors. While many were original, others were legitimate copies used to replace broken originals or decorate new and renovated buildings in the medieval or Renaissance style. There was also a large market for modern forgeries made specifically to serve an ever-growing market of collectors.
Of these three armorial panels [42.31, 42.34.3, 55.98], the only early example is the piece with the motto Bibe Si Sapis, which means “If thou art wise, drink.” The other two, both of which have women holding coats of arms, are modern, probably made in the late 19th or early 20th centuries.
[Label text from It Came From the Vault exhibition, 2013]
1942.31
item
Memorial Art Gallery
2/27/2001
42.31DI#1
digital image
12/4/2009
http://127.0.0.1:5000/Media/images/42.31_A1.jpg
Manuscript
Leaf from a Book of Hours
French artist, (active )
French artist
France
Primary
7 1/4 x 5 1/2 in. (18.4 x 13.9 cm)
.
.
.
overall
sheet
Ink
Ink
ca. 1425
1420
1430
1400-1600, Crucifixion, European art, illuminated manuscripts
Manuscript
Psalm 51:15 [or Vulgate 50:17]: Domine labia mea aperies et os meum adnuntiabit laudem tuam (O Lord, open thou my lips; and my mouth shall show forth thy praise).
Books of Hours are Christian prayer books that, beginning in the 1200s, were used in the private devotional practices of the laity. They had several components, including a calendar, the four Gospel Lessons, the Hours of the Virgin, the Hours of the Cross and Holy Spirit, special prayers to the Virgin and saints, and the Office of the Dead. Some Books of Hours were special commissions, created by artists attached to royal courts; others were standardized “stock” that were ordered and then personalized for individual patrons.
This leaf is the first page of the Hours of the Cross, which traditionally opens with an illuminated initial letter, an illustration of the Crucifixion, and the accompanying prayer: “Lord, open Thou my lips and my mouth shall show forth Thy Praise.”
[Label text from It Came From the Vault exhibition, 2013]
1937.55
item
Memorial Art Gallery
9/8/1999
37.55SL1
slide
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
6.5x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
37.55DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/37.55_A1.jpg
37.55DI#2
digital image
Recto
11/28/2012
http://127.0.0.1:5000/Media/images/37.55_A2.jpg
37.55DI#3
digital image
Verso
11/28/2012
http://127.0.0.1:5000/Media/images/37.55_A3.jpg
Manuscript
Leaf from an Antiphonary: Music for the Office of Matins
French artist, (active )
French artist
France
Primary
34 7/16 x 25 5/16 in. (87.4 x 64.3 cm)
.
.
.
sheet
sheet
Ink
Ink
1400-1499
1400
1499
1000-1400, illuminated manuscripts, Medieval, musical scores
Manuscript
The early Christian church continued the ancient Jewish practice of reciting prayers at predetermined hours of the day and night. Called the “Divine Office” or the “Liturgy of the Hours,” it consists of psalms supplemented by hymns and readings. Together with the Office of the Mass, this repetitive daily cycle constitutes the official public prayer life of the Roman Catholic faith.
This decorated page is a leaf from an antiphonary, which is the volume containing the antiphons, or responses, and verses sung at the services of the Divine Office. The page is large and the text clearly written so that the choir could read from a single page. The smaller red text on this leaf, an abbreviation of the Latin words ad matutinum invitatorum, indicates that what follows is the music to begin the Office of Matins, celebrated at either midnight or 2:30 am.
[Gallery label text, June 2013]
lower center, below image, At lower center of both recto and versoverso, u.r.
1998.23
item
Memorial Art Gallery
3/10/2001
98.23SL1
slide
2 x 2
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
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.23DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/98.23_A1.jpg
98.23DI#2
digital image
Recto
11/28/2012
http://127.0.0.1:5000/Media/images/98.23_A2.jpg
98.23DI#3
digital image
Verso
11/28/2012
http://127.0.0.1:5000/Media/images/98.23_A3.jpg
Glass
Armorial Plaque
German artist
German artist
Germany
Primary
11 x 8 1/8 in. (27.9 x 20.6 cm)
Glass
Glass
Northern German or Netherlandish
0
0
1600-1800, 17th century, armor, stained glass
Glass
Small glass panels showcasing the coats of arms—specially-designed, unique combinations of lines, colors, and symbols that represent an individual or family—were especially popular among American collectors. While many were original, others were legitimate copies used to replace broken originals or decorate new and renovated buildings in the medieval or Renaissance style. There was also a large market for modern forgeries made specifically to serve an ever-growing market of collectors.
Of these three armorial panels [42.31, 42.34.3, 55.98], the only early example is the piece with the motto Bibe Si Sapis, which means “If thou art wise, drink.” The other two, both of which have women holding coats of arms, are modern, probably made in the late 19th or early 20th centuries.
[Label text from It Came From the Vault exhibition, 2013]
bottom, On a painted scroll
1942.34.3
item
Memorial Art Gallery
12/15/2009
42.34.3DI#1
digital image
12/4/2009
http://127.0.0.1:5000/Media/images/42.34.3_A1.jpg
Sculpture
St. Barbara
German artist
German artist
Germany
Primary
29 7/16 x 9 3/16 x 5 1/8 in. (74.8 x 23.4 x 13 cm)
.
.
.
without base
overall
.
.
.
with base
overall
Wood
Wood
Made in Ulm, Baden-Württemberg
1470-1489
1470
1489
1400-1600, Renaissance & Baroque, sculpture, St. Barbara, women
Sculpture
According to Christian legend, Saint Barbara was the beautiful daughter of a wealthy pagan named Dioscorus, who lived in Nicodemia (present-day Turkey) during the 3rd century. Fearful of losing Barbara to the outside world, her father kept her locked in a tower. She secretly converted to Christianity; when she told Dioscorus of her new-found faith, he reported her to the authorities. She was sentenced to torture and beheading—a decree carried out by her father himself.
In Christian art, Barbara is usually shown holding the tower in which she was imprisoned and a book, which represents the teachings that led to her conversion. Here, she also wears fine clothing that represents her wealth. A purse hangs from her belt, and she wears a golden crown.
This sculpture originally formed part of a larger late medieval altarpiece that included other solitary or grouped figures. Although beautifully carved, the last 500 years have taken their toll on both her appearance and structure. Old repairs have broken off or splintered, and both original and later paint and gilding are flaking, making her too unstable for continuous display. MAG staff is working to identify funds for her treatment so that she can be returned to permanent exhibition in the medieval galleries.
[Label text from It Came From the Vault exhibition, 2013]
1955.46
item
Memorial Art Gallery
1/19/2001
55.46SL1
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
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.46D1
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/55.46_A1.jpg
55.46DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.46DI#3
digital image
3/9/2010
http://127.0.0.1:5000/Media/images/55.46_A2.jpg
55.46DI#4
digital image
Three-quarter
3/9/2010
http://127.0.0.1:5000/Media/images/55.46_A3.jpg
55.46DI#5
digital image
Three-quarter
3/9/2010
http://127.0.0.1:5000/Media/images/55.46_A4.jpg
55.46DI#6
digital image
Side
3/9/2010
http://127.0.0.1:5000/Media/images/55.46_A5.jpg
55.46DI#7
digital image
Side
3/9/2010
http://127.0.0.1:5000/Media/images/55.46_A6.jpg
55.46DI#8
digital image
Back
3/9/2010
http://127.0.0.1:5000/Media/images/55.46_A7.jpg
Textiles
Lace Collar
Italian artist
Italian artist
Italy
Primary
4 1/8 x 84 in. (10.5 x 213.4 cm)
.
.
.
overall
overall
Lace
Lace
1565-1635
1565
1635
lace
Textiles
1955.269
item
Memorial Art Gallery
2/9/2006
55.269DI1
digital image
partial
2/8/2006
http://127.0.0.1:5000/Media/images/55.269_A5.jpg
55.269_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/55.269_A1.jpg
55.269_A2.jpg
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/55.269_A2.jpg
55.269_A3.jpg
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/55.269_A3.jpg
55.269_A4.jpg
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/55.269_A4.jpg
Sculpture
Madonna and Child
Italian artist
Italian artist
Italy
Primary
17 1/2 x 6 1/4 x 3 5/8 in. (44.5 x 15.9 x 9.2 cm)
.
.
.
Wood
Wood
0
0
1600-1800, 17th century, figures, Madonna and Child, woodwork
Sculpture
At the First Council of Ephesus in 431 CE, Mary’s divine status was confirmed by church leaders. After this, images of her as the mother of Christ became icons of Catholic art and faith. Some depictions include elaborate groupings of angels and saints while others, such as this sculpture, focus our attention on their corporeal bond as mother and child. Images of Jesus in Mary’s arms, both as an infant and as an adult man, permeate the history of western art.
[Label text from It Came From the Vault exhibition, 2013]
back
1955.106
item
Memorial Art Gallery
3/13/2001
55.106SL1
slide
2 x 2
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
negative
full
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
2 x 2.5
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
54.27DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/55.106_A1.jpg
55.106DI#2
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/55.106_A2.jpg
55.106DI#3
digital image
Three-quarter
10/29/2012
http://127.0.0.1:5000/Media/images/55.106_A3.jpg
Jewelry
Micromosaic for Necklace
Italian artist
Italian artist
Italy
Primary
1 x 1 3/8 x 1/4 in. (2.6 x 3.5 x 0.6 cm)
.
.
.
overall
overall
Glass
Glass
ca. 1840
1835
1845
Jewelry
This intricate souvenir jewelry set features 15 different Roman architectural wonders commonly visited by Grand Tourists, including the Pantheon, the Colosseum, St. Peter’s, the Forum Romanum, and the Column of Trajan. The small scenes are produced in micromosaic, using tiny oblong tesserae of glass and stone in numbers up to 1,400 per square inch. Micromosaic jewelry remained fashionable in Europe through the mid-1870s.
[Label text from It Came From the Vault exhibition, 2013]
1929.79c
item
Memorial Art Gallery
7/24/2012
29.79bDI#2
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/29.79b-c_A1.jpg
Jewelry
Micromosaic for Necklace
Italian artist
Italian artist
Italy
Primary
1 1/16 x 1 3/8 x 1/4 in. (2.7 x 3.5 x 0.6 cm)
.
.
.
overall
overall
Glass
Glass
ca. 1840
1835
1845
Jewelry
This intricate souvenir jewelry set features 15 different Roman architectural wonders commonly visited by Grand Tourists, including the Pantheon, the Colosseum, St. Peter’s, the Forum Romanum, and the Column of Trajan. The small scenes are produced in micromosaic, using tiny oblong tesserae of glass and stone in numbers up to 1,400 per square inch. Micromosaic jewelry remained fashionable in Europe through the mid-1870s.
[Label text from It Came From the Vault exhibition, 2013]
1929.79b
item
Memorial Art Gallery
7/24/2012
29.79bDI#2
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/29.79b-c_A1.jpg
Jewelry
Micromosaic Necklace
Italian artist
Italian artist
Italy
Primary
1 x 16 15/16 x 3/8 in. (2.5 x 43 x 1 cm)
.
.
.
overall
overall
Glass
Glass
ca. 1840
1835
1845
1800-1900, 19th century, architecture in art, enamels, glass, jewelry, mosaic
Jewelry
This intricate souvenir jewelry set features 15 different Roman architectural wonders commonly visited by Grand Tourists, including the Pantheon, the Colosseum, St. Peter’s, the Forum Romanum, and the Column of Trajan. The small scenes are produced in micromosaic, using tiny oblong tesserae of glass and stone in numbers up to 1,400 per square inch. Micromosaic jewelry remained fashionable in Europe through the mid-1870s.
[Label text from It Came From the Vault exhibition, 2013]
1929.79a
item
Memorial Art Gallery
3/10/2001
29.79DI#1
digital image
29.77-.79
8/15/2007
http://127.0.0.1:5000/Media/images/29.77-.79_A1.jpg
29.79aDI#2
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/29.79a_A1.jpg
Sculpture
Seated Figure of Christ
Italian artist
Italian artist
Italy
Primary
8 x 3 11/16 x 5 1/8 in. (20.3 x 9.3 x 13 cm)
.
.
.
with base
overall
.
.
.
without base
overall
Terracotta
Terracotta
possibly 1600s
1600
1600
1600-1800, 17th century, Christ, figure, male figures
Sculpture
The Christian image called the “Man of Sorrows” originated in German art during the 1400s in response to late medieval devotional practices. The image came not from stories of the life of Christ, but from passages in the Old Testament, in particular Isaiah 53, which theologians saw as foreshadowing the coming of the Messiah: “He is despised and rejected of men, a Man of sorrows, and acquainted with grief.”
This statuette is difficult to localize or date. Depictions of the Man of Sorrows took many forms and were created in many cultures and media. These images were transmitted across Europe through highly portable prints as well as by itinerant artists. Although not definitive, the medium here of glazed terracotta suggests a southern rather than northern European artist.
[Label text from It Came From the Vault exhibition, 2013]
1955.48
item
Memorial Art Gallery
3/13/2001
55.48SL1
slide
2 x 2
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
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3x2
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
55.48DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/55.48_A1.jpg
55.48DI#2
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/55.48_A2.jpg
55.48DI#3
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/55.48_A3.jpg
Glass
Copy of the Barovier Wedding Goblet
Italian (Murano) manufactory, (active )
Italian (Murano) manufactory
Italy
7 x 8 1/2 x 8 1/2 in. (17.8 x 21.6 x 21.6 cm)
.
.
.
Glass
Glass
early 1900s
1900
1900
1800-1900, 19th century, compote, glass, horses, trees in art, women
Glass
The Barovier “Coppa Nuziale,” or wedding goblet, was made by the Venetian master glassmaker Angelo Barovier during the late 1400s. Originally designed for the marriage of the Duke of Ferrara, the piece is one of the most famous and frequently reproduced works of Renaissance glass in existence. The images on the bowl include wedding portraits of the bride and groom. A group of women on horseback ride toward a fountain in which, on the other side of the goblet, they are shown bathing nude.
Reproductions of this iconic Renaissance work represent the revitalization during the late 19th century of Murano’s centuries-long fame as a glassmaking center. One of the earliest figures in this effort was Antonio Salviati, whose adaptation of traditional skills to modern manufacturing processes promoted ornate and highly decorative glass as an accessible art form rather than one limited to the very wealthy. Many of the existing copies are attributed to his manufactory.
[Label text from It Came From the Vault exhibition, 2013]
1955.97
item
Memorial Art Gallery
3/10/2001
55.97DI#2
digital image
Side 1
9/19/2007
http://127.0.0.1:5000/Media/images/55.97_A1.jpg
55.97DI#1
digital image
side 2
9/19/2007
http://127.0.0.1:5000/Media/images/55.97_A2.jpg
55.97DI#3
digital image
side 3
9/19/2007
http://127.0.0.1:5000/Media/images/55.97_A3.jpg
55.97DI#4
digital image
side 4
9/19/2007
http://127.0.0.1:5000/Media/images/55.97_A4.jpg
Painting
Design for Tea Labels: Cat Preparing Tofu
Japanese artist, (active )
Japanese artist
Japan
Primary
8 1/8 x 7 3/8 in. (20.7 x 18.8 cm)
Watercolor
Watercolor
0
0
Painting
Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album
1974.50.29
item
Memorial Art Gallery
8/8/2008
74.50.29DI#1
digital image
8/14/2008
http://127.0.0.1:5000/Media/images/74.50.29_A1.jpg
74.50.29SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Design for Tea Labels: Crane with a Banner
Japanese artist, (active )
Japanese artist
Japan
Primary
7 7/8 x 7 1/2 in. (20 x 19.1 cm)
Watercolor
Watercolor
0
0
Painting
Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album.
Shown here are two examples from a portfolio of 44 tea label designs. Each includes spaces to accommodate the name of the distributor and its brand of imported Japanese tea.
The Western-style shoe on the samurai’s left foot suggests that these images may have been drawn by a non-Japanese artist (the footwear on his right foot has some resemblance to the traditional woven sandal). In fact these images may be works by an early graphic designer in Rochester. Then-director Harris K. Prior wrote in his correspondence to the previous owner of the portfolio, “I think that, in view of the fact that they relate to a Rochester artist we should take advantage of your generosity and acquire them for the collection.” The letter does not mention the name of the artist.
[Label text from It Came From the Vault exhibition, 2013]
right panel, in image, Biklen, Winzer & Co. was a wholesale grocery company in Burlington, Iowa
1974.50.42
item
Memorial Art Gallery
8/8/2008
74.50.42DI#1
digital image
8/14/2008
http://127.0.0.1:5000/Media/images/74.50.42_A1.jpg
74.50.42SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Design for Tea Labels: Man Sifting Tea
Japanese artist, (active )
Japanese artist
Japan
Primary
7 7/8 x 6 15/16 in. (20 x 17.7 cm)
Watercolor
Watercolor
0
0
Painting
Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album.
1974.50.13
item
Memorial Art Gallery
8/8/2008
74.50.13DI#1
digital image
8/14/2008
http://127.0.0.1:5000/Media/images/74.50.13_A1.jpg
74.50.13SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Design for Tea Labels: Samurai with a Sword
Japanese artist, (active )
Japanese artist
Japan
Primary
7 11/16 x 7 1/16 in. (19.5 x 18 cm)
Watercolor
Watercolor
0
0
Painting
Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album
Shown here are two examples from a portfolio of 44 tea label designs. Each includes spaces to accommodate the name of the distributor and its brand of imported Japanese tea.
The Western-style shoe on the samurai’s left foot suggests that these images may have been drawn by a non-Japanese artist (the footwear on his right foot has some resemblance to the traditional woven sandal). In fact these images may be works by an early graphic designer in Rochester. Then-director Harris K. Prior wrote in his correspondence to the previous owner of the portfolio, “I think that, in view of the fact that they relate to a Rochester artist we should take advantage of your generosity and acquire them for the collection.” The letter does not mention the name of the artist.
[Label text from It Came From the Vault exhibition, 2013]
1974.50.33
item
Memorial Art Gallery
8/8/2008
74.50.33DI#1
digital image
8/14/2008
http://127.0.0.1:5000/Media/images/74.50.33_A1.jpg
74.50.33SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Furniture
Chest
Mexican artist
Mexican artist
Mexico
Primary
25 x 37 3/4 x 23 in. (63.5 x 95.9 x 58.4 cm)
Wood
Wood
0
0
Furniture
According to family lore, this chest was removed from the cathedral in Puebla, Mexico, in 1910 by Lord Cowdray, a British petroleum magnate, and later sold to the donor’s aunt, who was a nurse in Mexico. Whether or not this provenance is accurate, it is a beautiful and puzzling piece. MAG consulted an expert on Hispanic furniture, who called it “a quality antique piece of authentic craftsmanship” but was unable to confirm its origin. She cited similar styles prevalent throughout Latin America and noted that sometimes artisans used old wood and primitive tools, even distressing and rusting the materials to appear older. Her best guess was that the chest was made in the 19th century, possibly in Peru, considering the fine and profuse carving. However, she noted that the eyelet hinges did indeed look Mexican. Such are the mysteries that museum curators sometimes research for many years without reaching a definitive conclusion.
[Label text from It Came From the Vault exhibition, 2013]
inside cover, Notecard of "Mrs. Wells Coleman, 67 Park Lane, Rochester 10, New York" taped to inside cover of chest - removed 4/7/08 and encapsulated - now kept in object file.back lower edge, Chest:
Base coat: Acryloid B-67 in Naptha
Accession number: Golden Fluid Acrylics (white)
Top coat: Acryloid B-72 in Acetone
Base layer soluble in Naptha; number and top coat soluble in Acetone
Key:
Base coat: Acryloid B-72 in Acetone
Accession number: Golden Fluid Acrylics (white)
Top coat: Acryloid B-67 in Naptha
Base layer and number soluble in Acetone; top coat soluble in Naptha
2008.8
item
Memorial Art Gallery
9/27/2007
6141DI#1
digital image
Three-quarter
9/27/2007
http://127.0.0.1:5000/Media/images/Inventory pictures/2008.8_I1.jpg
2008.8DI#2
digital image
3/4/2013
http://127.0.0.1:5000/Media/images/2008.8_A1.jpg
2008.8DI#3
digital image
3/4/2013
http://127.0.0.1:5000/Media/images/2008.8_A2.jpg
Sculpture
Mask
Mindimbit artist, (active )
Mindimbit artist
Papua New Guinea
45 9/16 x 10 5/8 x 9 7/16 in. (115.7 x 27 x 24 cm)
.
.
.
Raffia
Raffia
Mindimbit; made in Middle Sepik River Region, Papua New Guinea
ca. 1950
1945
1955
Oceanic, Oceanic art (Pacific Islands)
Sculpture
Today, the country of Papua New Guinea is largely Christian. Masks remain a part of its culture as vestiges of earlier animist and ancestor worship religions. Although the modern versions are made to be sold to western tourists, the artists use the same centuries-old materials and techniques of the traditional forms. This mask contains an interior armature to rest on the wearer’s shoulders. Thatches of red grass on either side obscure hand holes to allow the wearer to manipulate the mask without detection. Its pristine condition exposes the mask’s function as an aesthetic object made for sale, rather than a ritual one made for use.
[Label text from It Came From the Vault exhibition, 2013]
1992.27
item
Memorial Art Gallery
3/20/2001
92.27DI#1
digital image
3/13/2009
http://127.0.0.1:5000/Media/images/Inventory pictures/92.27_I1.jpg
92.27DI#2
digital image
3/4/2013
http://127.0.0.1:5000/Media/images/92.27_A1.jpg
Textiles
Chasuble
Spanish artist, (active )
Spanish artist
Spain
Primary
Gossaert, Jan
Flanders
ca. 1472 - 1532
Male
Designer
Attributed to
52 1/2 x 29 in. (133.4 x 73.7 cm)
.
.
.
Embroidery
Embroidery
probably 1520s
1520
1520
1400-1600, embroidery, European art, Judeo-Christian, religious & ritual objects
Textiles
A chasuble is the outer garment worn by a priest or bishop when celebrating the Mass, the core sacred ritual of the Roman Catholic faith. The embroidered bands down the front and back, called orphreys, depict events from the life of the Virgin Mary.
Clues to the origin and date of the chasuble emerge from both the medium and the design of the orphreys. While the gold thread and velvet suggest a Spanish origin, the designs themselves have been attributed to the famous Flemish artist Jan Gossaert. The designs may have been commissioned by a Spanish patron. Such an alliance is well imaginable, as during the 1520s both Spain and the Netherlands were ruled by the Hapsburg family; trade, both artistic or mercantile, flourished between the two territories.
[Label text from It Came From the Vault exhibition, 2013]
1939.2
item
Memorial Art Gallery
7/20/2001
39.2aSL1
slide
full- front
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
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
6x5
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
neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
39.2bSL2
slide
full- back
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
Detail
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
Detail
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.2a-bDI#1
digital image
Front
00/00/00
http://127.0.0.1:5000/Media/images/39.2_A1.jpg
39.2a-bDI#2
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/39.2_A2.jpg
39.2DI#3
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/39.2_A3.jpg
39.2DI#4
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/39.2_A4.jpg
39.2DI#5
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/39.2_A5.jpg
39.2DI#6
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/39.2_A6.jpg
39.2DI#7
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/39.2_A7.jpg
39.2DI#8
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/39.2_A8.jpg
39.2DI#9
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/39.2_A9.jpg
39.2DI#10
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/39.2_A10.jpg
Textiles
Lace-Trimmed Handkerchief
Spanish artist, (active )
Spanish artist
Spain
Primary
10 x 10 1/4 in. (25.4 x 26 cm)
.
.
.
Linen
Linen
1890-1920
1890
1920
Textiles
What are called “the needle arts,” in particular embroidery and lace-making, were the domain of women throughout centuries of European and American history. As early as the 1500s, a young girl was trained in these arts by nuns, tutors, and her female relatives; her prowess was often a measure of both her breeding and suitability for marriage.
The making of lace, which developed from the art of embroidery, was intimately tied to fashion and social status. The addition of lace to collars, handkerchiefs, and other costumes established the wearer as a person of wealth. The industrial revolution transformed the lace-making industry; although elaborate handmade lace was still a mark of status, mass production also made it available to those of lesser means.
[Label text from It Came From the Vault exhibition, 2013]
1991.103.4
item
Memorial Art Gallery
7/20/2001
91.103.4DI#1
digital image
5/8/2008
http://127.0.0.1:5000/Media/images/91.103.4_A1.jpg
Painting
Portrait of a Child with a Dog
Spanish artist, (active )
Spanish artist
Spain
Primary
29 1/2 x 25 in. (74.9 x 63.5 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
probably mid-1600s
1600-1800, 17th century, children, dogs, paintings, portraits
Painting
Portraits often include visual elements similar to those used by other painters of the period. The landscape and the rich drapery behind the child suggest a Spanish origin. Based on these elements as well as the treatment of the child’s face, one scholar has suggested that MAG’s Child with a Dog could be the work of Juan Battista Martinez del Mazo, the son-in-law of the most famous Spanish painter of the mid-1600s, Diego Velázquez. After his father-in-law’s death, Mazo succeeded Velázquez as the official painter to the royal family; many of his portraits were of children, and many made use of similar background landscapes and drapery. We believe now that this work is by a painter active among the Spanish nobility during the mid-17th century, a period marked by prosperity and a flourishing of the arts known as Spain’s Golden Age.
[Label text from It Came From the Vault exhibition, 2013]
1964.51
item
Memorial Art Gallery
1/30/2001
64.51SL1
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
3 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.51D1
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/64.51_A1.jpg
64.51DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.51DI#2
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/64.51_A2.jpg
Painting
Portrait of Aaron Burr (1756 – 1836)
John Vanderlyn, 1775 - 1852
Vanderlyn, John
United States
1775 - 1852
Male
9 1/2 x 7 1/2 in. (24.1 x 19.1 cm)
.
.
.
without frame
.
.
.
overall
frame
Oil
Oil
0
0
Painting
Thomas Jefferson’s vice president, Aaron Burr (1756–1836), is notorious for having killed his political rival Alexander Hamilton in an illegal duel. Despite his reputation for a hot temper and a host of sensual vices, Burr was an early advocate for women’s right to vote and the abolition of slavery.
This painting is a copy after a well-known portrait of Burr by John Vanderlyn in the collection of the New York Historical Society, but a definitive attribution has proved elusive. The beautifully-painted face is surrounded by crudely-painted areas of the background and clothing which may be by a later, less-skilled restorer. This portrait was deaccessioned from the Washington University Art Museum in 1962 and sold to the Kennedy Galleries in New York City. It came into the collection of Elizabeth G. Holahan, long-time president of the Landmark Society of Western New York and the Rochester Historical Society, who bequeathed it to the Gallery in 2005.
[Label text from It Came From the Vault exhibition, 2013]
back of frameback of frame, circular metal diskback of frame, Almost illegible. Six lines of text.back of frameback of frame, Inscription listing Paris origin as noted here not found on frame May 2014back of frameback of frameback of stretcherback of stretcher, On top of duct tape wrapping stretcher
2005.248
item
Memorial Art Gallery
9/30/2005
6014.4DI1
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.248_I1.jpg
2005.248DI#2
digital image
11/6/2012
http://127.0.0.1:5000/Media/images/2005.248_A1.jpg
2005.248DI#3
digital image
Verso
5/7/2014
http://127.0.0.1:5000/Media/images/2005.248_A2.jpg
Print
Bust of a Man ("Bust of Doctor Faustus") (after Rembrandt)
Bust of Doctor Faustus
Jan Georg van Vliet, (Delft, ca. 1610 - after 1635)
Rijn, Rembrandt Harmensz. van
Netherlands
1606 - 1669
Male
Rijn, Rembrandt Harmensz. van
Netherlands
1606 - 1669
Male
After
Vliet, Jan Georg van
Netherlands
ca. 1610 - after 1635
Male
5 13/16 x 5 1/8 in. (14.8 x 13 cm)
.
.
.
sheet
sheet
1630-1633
1630
1633
1600-1800, 17th century, etchings, men, portraits
Print
Johannes van Vliet worked for Rembrandt in the late 1620s and 1630s. For the most part, he prepared Rembrandt’s painted compositions for production as prints; he also made direct copies of the master’s prints.
Van Vliet created etchings after his own designs as well, although many derive thematically from work by Rembrandt. Scenes of everyday life, peasants, card players, and beggars were his subject matter of choice.
[Label text from It Came From the Vault exhibition, 2013]
upper right, in the plate, Rembrandt's monogram, last used on paintings in 1632
1992.63
item
Memorial Art Gallery
3/20/2001
92.63SL1
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
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
92.63DI1
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Media/images/92.63_A1.jpg
92.63DI#2
digital image
3/13/2008
http://127.0.0.1:5000/Media/images/92.63_A2.jpg
Painting
The Alhambra
Vaclav Vytlacil, 1892 - 1984
Vytlacil, Vaclav
United States
1892 - 1984
Male
31 1/2 x 24 in. (80 x 61 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1955
1955
1955
5125
20th century, Abstract, paintings
Painting
Vaclav Vytlacil was at the epicenter of the American modernist movement. A student of Hans Hofmann, his own star pupils included Cy Twombly, James Rosenquist, Robert Rauschenberg, and Louise Bourgeois. In 1936, he co-founded the American Abstract Artists Group with his friends Arshille Gorky, Byron Browne, and Willem de Kooning. The New Yorker reviewed his 1956 exhibition of “engaging, atmospheric abstractions” of the Alhambra, from which MAG purchased this painting. It was not MAG’s first choice, but unfortunately the artist had just presented that one to his wife for Christmas and was reluctant to ask her to give it up. The energy and spontaneity of our painting, however, is an excellent example of his work from this period.
[Label text from It Came From the Vault exhibition, 2013]
verso
1957.1
item
Memorial Art Gallery
9/8/1999
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.1DI1
digital image
5/9/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/57.1_I1.jpg
57.1DI#2
digital image
2/22/2013
http://127.0.0.1:5000/Media/images/57.1_A1.jpg
Furniture
Table
Michael Lasell Watson, Jr., 1948 -
Watson, Michael Lasell
United States
1948
Male
Primary
28 3/4 x 60 1/4 x 25 7/8 in. (73 x 153 x 65.7 cm)
.
.
.
Yellow birch
Yellow birch
1975
1975
1975
Furniture
1984.3
item
Memorial Art Gallery
9/8/1999
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.3DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/84.3_A1.jpg
84.3DI#2
digital image
3/4/2013
http://127.0.0.1:5000/Media/images/84.3_A2.jpg
84.3DI#3
digital image
3/4/2013
http://127.0.0.1:5000/Media/images/84.3_A3.jpg
Painting
Discourse
Max Weber, (Bialystok, Poland, 1881 – 1961, Great Neck, NY)
Weber, Max
United States
1881 - 1961
Male
27 x 22 in. (68.6 x 55.9 cm)
.
.
.
overall
frame
.
.
.
Oil
Oil
1940
1940
1940
1900-2000, 20th century, Encyclopedia Britannica Collection, men, Modernism, paintings
Painting
lower right
1951.13
item
Memorial Art Gallery
9/8/1999
51.13TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.13SL1
slide
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
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
51.13DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/51.13_A1.jpg
Watercolor
Clock
John C. Wenrich, 1894 - 1970
Wenrich, John C.
United States
1894 - 1970
Male
20 1/2 x 14 in. (52 x 35.5 cm)
.
.
.
image
vertical
sheet
.
.
.
overall
frame
Opaque watercolor and charcoal
Opaque watercolor and charcoal
c.1919
1914
1924
84.040
1900-2000, 20th century, by Rochester artists, cityscapes, watercolors
Watercolor
In 2003, the Gallery received 50 drawings and watercolors that Rochester artist John C. Wenrich painted in France after he served in the First World War. This group includes both sketches and more fully developed images, like this one of Le Gros Horloge, or The Great Clock, in Rouen, France. Wenrich’s paintings show his fascination with the culture, history, and architecture of France. The pedestrian street below this clock links the site where Joan of Arc was burned at the stake in 1431 with the cathedral Claude Monet painted repeatedly, in different seasons and weather, during the 1890s.
[Label text from It Came From the Vault exhibition, 2013]
lower right, in image
2003.97
item
Memorial Art Gallery
8/18/2003
2003.97DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2003.97_A1.jpg
2003.97SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2003.97DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/2003.97_A2.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
Sculpture
St. George and the Dragon #1
William White, 1918 -
White, William
United States
1918
Male
17 1/2 x 8 1/2 x 8 1/2 in. (44.5 x 21.6 x 21.6 cm)
.
.
.
overall
overall
.
.
.
with base
overall
Bronze
Bronze
0
0
American art, dragons, male figures, metalwork, sculpture, St. George
Sculpture
Although both casting and forging are ancient metalworking techniques, there was a period during the 1950s and ‘60s when it became quite fashionable to combine them in a single piece. This was the first example of a cast and forged sculpture to enter MAG’s collection. It was given in memory of Giovanni Polizzi, a young sculptor and member of the Arena Group who was killed in an auto accident at the age of 34.
[Label text from It Came From the Vault exhibition, 2013]
1955.178
item
Memorial Art Gallery
9/8/1999
55.178SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
2.5 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
2.5 x 2.5
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
55.178DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/55.178_A1.jpg
55.178DI#2
digital image
2/22/2013
http://127.0.0.1:5000/Media/images/55.178_A2.jpg
Sculpture
Near the Pond
Frans Wildenhain, (Leipzig, Germany, 1905 - 1980, Rochester, NY)
Wildenhain, Frans
United States
1905 - 1980
Male
42 3/4 x 19 7/8 x 2 in. (108.6 x 50.5 x 5.1 cm)
.
.
.
with frame
Ceramic
Ceramic
0
0
Arena Group, School for American Craftsmen
Sculpture
Possibly a reference to the pond near his home and studio in Pittsford, this work is one of Wildenhain’s earliest two-dimensional mural forms. Wildenhain, who founded and then taught at RIT’s School for American Crafts from 1950 to 1970, was godfather to the donors’ daughter Anastasia. She remembers visiting his studio as a child and playing with clay on his potter’s wheel. Anastasia also recalls Wildenhain complaining, while pounding his heart, that Watson, a scientist, thought with his brain while he, an artist, thought from his heart.
[Label text from It Came From the Vault exhibition, 2013]
verso, Finger Lakes exhibition label (partial) on back.
1997.16
item
Memorial Art Gallery
9/8/1999
97.16SL1
slide
2 x 2
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
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.16DI#1
digital image
3/12/2008
http://127.0.0.1:5000/Media/images/97.16_A1.jpg
97.16DI#2
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/97.16_A2.jpg
Painting
Portrait of Michael Lasell Watson
Irving Ramsey Wiles, 1861 - 1948
Wiles, Irving Ramsey
United States
1861 - 1948
Male
24 x 21 in. (61 x 53.3 cm)
.
.
.
with frame
Oil
Oil
1921
1921
1921
Painting
In April of 1921, Emily Sibley Watson commissioned this portrait of her young grandson from the prominent New York City painter Irving Ramsey Wiles for $1,500. She lent it to Wiles’ one-man exhibition here at MAG the following month.
[Label text from It Came From the Vault exhibition, 2013]
versoupper right
2005.18
item
Memorial Art Gallery
5/4/2005
2005.18DI1
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.18_I1.jpg
2005.18DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2005.18_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2005.18_R1.tif
pdf file
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/pdf/2005.18_R1.pdf
2005.18DI#4
digital image
1/11/2012
http://127.0.0.1:5000/Media/images/2005.18_A2.jpg
Painting
St. Fichera
Jerome Witkin, 1939 -
Witkin, Jerome
United States
1939
Male
50 1/4 x 48 1/4 in. (127.6 x 122.6 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1977
1977
1977
Painting
right edgeverso, stretcher
1986.135
item
Memorial Art Gallery
9/8/1999
86.135SL1
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
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/86.135_I1.jpg
86.135DI#2
digital image
11/6/2012
http://127.0.0.1:5000/Media/images/86.135_A1.jpg