85
Portfolios%3D%22509%22%20and%20Disp_Obj_Type%3D%22Painting%22
Painting
Colonel Nathaniel Rochester
American artist, (active )
American artist
United States
Primary
Audubon, John James
United States
1785 - 1851
Male
Previous attribution
Previously attributed to
30 x 25 in. (76.2 x 63.5 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
before 1831
1821
1830
1800-1900, 19th century, from Rochester collections, men, New York State & Local History, paintings, portraits
Painting
Long celebrated as our city’s founder, Nathaniel Rochester (1752–1831) was recently discovered to have bought and sold enslaved people while he lived in Maryland. Not only did Rochester buy and sell enslaved people in the South as a business venture, he continued to own and profit from the labor of enslaved individuals after moving north. In fact, he did so until New York State law made it impossible for him to continue in 1827. This information makes evident how insidious and enmeshed slavery was in the business life of the early nineteenth century, even in the northern states.
Many decades before Kodak gave us the snapshot, a portrait such as this one was a way for a privileged, white person of this period to capture their likeness for posterity. In comparison, the enslaved Black men, women, and children of Rochester’s household did not have their portraits painted. Their names, likenesses, and personal stories went largely unrecorded and most have not survived history—another example of the dehumanization of enslaved individuals during this period of American history.
[Gallery label text, 2021]
verso
1934.1
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Memorial Art Gallery
9/8/1999
34.1TR1
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Memorial Art Gallery
Imaging complete
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Painting
Steamship James Fisk, Jr.
James Bard, 1815 - 1897
Bard, James
United States
1815 - 1897
Male
29 1/4 x 49 1/2 in. (74.3 x 125.7 cm)
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Oil
Oil
1870
1870
1870
1800-1900, 19th century, boats, paintings, seascapes
Painting
The large steamship in this painting, the James Fisk, Jr., was a ferryboat with a side paddlewheel, decorated with oversized flags and at least six gold eagles. It was named for its owner, a powerful financier who lived a colorful life that was ended by a scandalous shooting. Fisk also owned the Bristol, which can be seen in the distance.
Known for his pristine depictions of ferries and steamboats, self-taught artist James Bard painted so accurately that it was said that shipbuilders could rebuild their boats based on his works.
[Gallery label text, 2002]
lower right
1965.60
item
Memorial Art Gallery
9/8/1999
65.60TR1
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Memorial Art Gallery
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7/13/2000
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65.60DI#2
digital image
9/7/2012
http://127.0.0.1:5000/Media/images/65.60_A2.jpg
Painting
The Night Before the Battle
James Henry Beard, (Buffalo, NY, 1811 - 1893, Flushing, NY)
Beard, James Henry
United States
1811 - 1893
Male
30 1/2 x 44 1/2 in. (77.5 x 113 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
1865
1865
1865
1800-1900, 19th century, Death, genre scenes, paintings, war
Painting
James Beard had first-hand experience as a captain in the Union army during the Civil War. This painting, completed in the year the war ended, is a dramatic statement about the ever-present possibility of death on the battlefield.
[Gallery label text, 2007]
Were it not for details like the skeleton keeping vigil behind the cannon, the cruciform composition of the flag draped over the sleeping soldier, and the scattered playing cards suggestive of luck and chance, this painting would be a simple narrative about the Civil War. However, such potent symbolism imbues the work with layers of spiritual significance.
Perhaps the reminders of death and sacrifice that the artist included in his masterful painting emerged from his firsthand experience in the Union Army during the Civil War. The meticulously selected and carefully arranged details attest to the poignancy of the soldiers' situation and contrast with the implied violence that will occur on the morrow.
[Gallery label text]
lower left
1978.15
item
Memorial Art Gallery
9/8/1999
78.15TR1
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Memorial Art Gallery
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6/26/2000
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6/26/2000
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7/16/2012
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Painting
The Sierras Near Lake Tahoe, California
Albert Bierstadt, 1830 - 1902
Bierstadt, Albert
United States
1830 - 1902
Male
14 15/16 x 21 1/16 in. (38 x 53.5 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
1865
1865
1865
1800-1900, 19th century, deer, landscapes, mountains, paintings
Painting
Bierstadt was one of the most gifted artists to depict the stunning mountain views of the expanding frontier, far west of the Hudson River region that had inspired earlier American landscape painters. He was a member of the generation of artist-explorers who traveled with expeditions or in their footsteps and recorded the visual experience. MAG's painting quietly but masterfully convinces us of the grandeur of mountains and sky by including the tiny deer to give a sense of scale, and by suffusing the surface of the painting with a warm, glowing palette.
lower leftverso, centerverso, upper left, 'No.' is painted over an illegible word.verso
1992.78
item
Memorial Art Gallery
9/8/1999
92.78TR1
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Memorial Art Gallery
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6/26/2000
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Painting
Afternoon Light
Ralph Albert Blakelock, 1847 - 1919
Blakelock, Ralph Albert
United States
1847 - 1919
Male
16 1/8 x 24 1/16 in. (41 x 61.1 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
ca. 1880-1890
1880
1890
1800-1900, 19th century, landscapes, paintings, romanticism
Painting
This brooding, moody canvas was created by one of the most haunted souls in the history of American art. Ralph Blakelock, a man diagnosed as a paranoid schizophrenic and placed in a sanitarium for fifteen years, painted some of the most mysterious, expressive and poetic paintings in 19th century America. Indeed, his interest in and exploration of the unknown and the expressive were deeply admired by such radical 20th century abstract painters as Willem deKooning, Jackson Pollock and Franz Kline....
[Gallery label text]
lower rightcardboard backing of paintingverso, Visible before relining.
1974.4
item
Memorial Art Gallery
9/8/1999
74.4TR1
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Memorial Art Gallery
Imaging complete
7/13/2000
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Painting
Landscape with Trees
Ralph Albert Blakelock, 1847 - 1919
Blakelock, Ralph Albert
United States
1847 - 1919
Male
8 x 12 1/4 in. (20.3 x 31.1 cm)
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without frame
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overall
frame
Oil
Oil
ca. 1880 - 1890
1880
1890
1800-1900, 19th century, landscapes, paintings
Painting
lower right, In arrowhead shaped enclosure at bottom right
1994.34
item
Memorial Art Gallery
9/8/1999
94.34TR1
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Memorial Art Gallery
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8/3/2000
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Painting
Trial Scene
David Gilmour Blythe, 1815 - 1865
Blythe, David Gilmour
United States
1815 - 1865
Male
22 1/4 x 27 in. (56.5 x 68.6 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
ca. 1862-1863
1862
1863
1800-1900, 19th century, genre scenes, men, paintings, politics in art
Painting
Blythe’s painting shows a scene of frontier justice in a rough building serving as a courtroom. A backwoods “lawyer” at the center either defends or makes his case against a shackled prisoner at the right. However, some elements of the scene, including the onlookers—some armed with long guns, some distracted by a card game—and the pot and sack at the lower left labelled “tar” and “feathers,” reveal that this is an extrajudicial proceeding. The prisoner whittles unconcernedly while his fate is decided, suggesting that this is a typically satirical genre scene for Blythe, who made other paintings of farcical trials and caricatured politics.
[Gallery label text, 2019]
verso, Exhibition label, removed from painting and now stored in object file.illegible, lower left, Letters from the dealers and the permanent collection worksheet done in 6/78 claim that it is signed, but it is very difficult to read now.
1941.24
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Memorial Art Gallery
9/8/1999
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Painting
The Indian Hunter
DeWitt Clinton Boutelle, (Troy, NY, 1820 - 1884, Bethlehem, PA)
Boutelle, DeWitt Clinton
United States
1820 - 1884
Male
32 5/8 x 47 1/8 in. (82.9 x 119.7 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
1846
1846
1846
1800-1900, 19th century, landscapes, paintings
Painting
lower left
1984.47
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Memorial Art Gallery
9/8/1999
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2/1/2001
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Painting
Mr. Gerald Fowler
John Bradley, d. 1847
Bradley, John
United States
- 1847
Male
34 x 28 in. (86.4 x 71.1 cm)
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overall
frame
Oil
Oil
1836
1836
1836
1800-1900, 19th century, men, paintings, portraits
Painting
lower left
1997.19
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Memorial Art Gallery
9/8/1999
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1/20/2006
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Painting
The Clipper Ship "Flying Cloud" off the Needles, Isle of Wight
James E. Buttersworth, (England, 1817 - 1894, West Hoboken, NJ)
Buttersworth, James E.
United States
1817 - 1894
Male
12 1/16 x 18 1/16 in. (30.6 x 45.9 cm)
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overall
frame
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Oil
Oil
ca. 1859-1860
1859
1860
1800-1900, 19th century, boats, paintings, seascapes, waves
Painting
lower right
1989.71
item
Memorial Art Gallery
9/8/1999
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Painting
Shooting Flamingoes
George Catlin, 1796 - 1872
Catlin, George
United States
1796 - 1872
Male
19 x 26 1/2 in. (48.3 x 67.3 cm)
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frame
Oil
Oil
1857
1857
1857
1800-1900, 19th century, birds, paintings
Painting
Shooting Flamingoes is a shocking and confusing painting to 21st century sensibilities. To our eyes, the mass killing of the flamingoes is unthinkable, sensitive as we are to the role hunting has played in the extinction of many species over the past century and a half. To our eyes, the startled native guide is an offensive stereotype, a comic, cartoon-like character next to the upright, composed figure of the hunter.
In pre-Civil War America, George Catlin, a well-known artist of the period, was commissioned to create a nine-part series to glorify the Colt rifle. Shooting Flamingoes was one image in that advertising campaign. While the original intent of this painting doesn’t invalidate our contemporary reactions, it does set the piece within a historical context that explains its initial point-of-view.
[Gallery label text, 2004]
lower rightback of stretcher, visible before relining, but no longer extant
1941.25
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Memorial Art Gallery
9/8/1999
41.25TR1
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Memorial Art Gallery
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6/23/2000
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Painting
View of West Point
Attributed to Thomas Chambers, 1808 - after 1866
Chambers, Thomas
United States
1808 - after 1866
Male
22 1/4 x 30 1/8 in. (56.5 x 76.5 cm)
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overall
frame
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without frame
Oil
Oil
after 1828
1829
1838
1800-1900, 19th century, boats, landscapes, paintings, rivers
Painting
At a time when there was no photography, videography, or cinema, people relied on landscape paintings to be their windows onto the world beyond their immediate horizons.
Thomas Chambers capitalized on people's interest in the American landscape. He is noted for his many picturesque views of early 19th-century America, including this one of the United States Military Academy at West Point on the Hudson River. Chambers worked from personal observation, but also consulted many British and American prints for his paintings.
You should not be surprised if you visit other museums and see a painting similar to this one. At least six other views of West Point were painted by Chambers.
[Gallery label text, 2004]
1943.43
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Memorial Art Gallery
9/8/1999
43.43TR1
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43.43DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/43.43_A1.jpg
2chambers1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/2chambers1.tif
2chambers1(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/2chambers1(10).tif
43.43DI#2
digital image
8/30/2012
http://127.0.0.1:5000/Media/images/43.43_A2.jpg
Painting
Still Life with Fruit
Bryant Chapin, (Fall River, MA, 1859 - 1927, Fall River, MA)
Chapin, Bryant
United States
1859 - 1927
Male
10 x 15 1/8 in. (25.4 x 38.4 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1896
1896
1896
1800-1900, 19th century, fruit in art, paintings, still lifes
Painting
1967.63
item
Memorial Art Gallery
9/8/1999
67.63TR1
Transparency
Memorial Art Gallery
2 1/4 x 2 3/4
00/00/00
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transparency
2 x 3
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full
2 x 2
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67.63DI1
digital image
Memorial Art Gallery
Imaging complete
8/3/2000
http://127.0.0.1:5000/Media/images/67.63_A1.jpg
negative
2x3
00/00/00
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Painting
Boats on Shore, Yport, France
Harry Chase, (Woodstock, VT, 1853 – 1889, Sewanee, TN)
Chase, Harry
United States
1853 - 1889
Male
10 x 16 in. (25.4 x 40.6 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1885
1885
1885
1800-1900, 19th century, boats, paintings, seascapes, women
Painting
lower leftback of frame
1992.16
item
Memorial Art Gallery
9/8/1999
92.16SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
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92.16DI1
digital image
2 x 2
00/00/00
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92.16DI#2
digital image
6/7/2017
http://127.0.0.1:5000/Media/images/92.16_A2.jpg
Painting
Genesee Scenery
Thomas Cole, 1801 - 1848
Cole, Thomas
United States
1801 - 1848
Male
6 1/4 x 4 3/8 in. (15.9 x 11.1 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1846-1847
1846
1847
1800-1900, 19th century, bridges, Hudson River School, landscapes, paintings, rivers, views of Rochester & western New York, waterfalls
Painting
Like many artists, Thomas Cole traveled extensively, sketching views that he would later include in finished (and much larger) paintings. On a trip to the Upstate New York region, he sketched Deh-ga-ya-soh Creek at what is now Letchworth State Park in Mount Morris. Later that year, he used the sketch to create this study, which ultimately became the subject of the 'Genesee Scenery' (1847, 51 x 39 1/2 inches, owned by the Museum of Art, Rhode Island School of Design).
[Adapted from gallery label text, 2007]
1994.40
item
Memorial Art Gallery
9/8/1999
94.40TR1
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Memorial Art Gallery
2 1/4 x 2 3/4
00/00/00
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94.40TR2
transparency
4 x 5
00/00/00
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94.40DI2
digital image
Rhode Island School of Design
11/26/2001
http://127.0.0.1:5000/Media/images/related_images/94.40_R1.jpg
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digital image
Memorial Art Gallery
Imaging complete
6/26/2000
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94.40DI3
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94.40DI13
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94.40DI14
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94.40DI15
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94.40DI17
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00/00/00
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94.40DI18
digital image
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9cole1.tif
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Painting
Landscape Composition: Italian Scenery
An Italian Composition with a Tower Bridge
Thomas Cole, 1801 - 1848
Cole, Thomas
United States
1801 - 1848
Male
40 3/4 x 61 1/2 in. (103.5 x 156.2 cm)
.
.
.
overall
frame
.
.
.
Oil
Oil
1831-1832
1831
1832
1800-1900, 19th century, bridges, Hudson River School, landscapes, paintings, ruins, shrines
Painting
lower left
1971.37
item
Memorial Art Gallery
9/8/1999
71.37TR1
Transparency
Memorial Art Gallery
4 x 5
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71.37DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/71.37_A1.jpg
71.37SL2
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detail
2 x 2
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71.37DI2
digital image
Detail figure on bridge
6/25/2009
http://127.0.0.1:5000/Media/images/71.37_A2.jpg
71.37DI3
digital image
Detail shrine
6/25/2009
http://127.0.0.1:5000/Media/images/71.37_A3.jpg
71.37DI4
digital image
Detail figures
6/25/2009
http://127.0.0.1:5000/Media/images/71.37_A4.jpg
71.37DI#6
digital image
8/31/2012
http://127.0.0.1:5000/Media/images/71.37_A5.jpg
Painting
Chenango River, New York
Jasper Francis Cropsey, 1823 - 1900
Cropsey, Jasper Francis
United States
1823 - 1900
Male
10 3/8 x 16 7/8 in. (26.4 x 42.9 cm)
.
.
.
overall
frame
.
.
.
Oil
Oil
1858
1858
1858
1800-1900, 19th century, Hudson River School, landscapes, paintings
Painting
lower right
1973.40
item
Memorial Art Gallery
9/8/1999
73.40TR1
Transparency
Memorial Art Gallery
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.40TR2
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4 x 5
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73.40DI1
digital image
Memorial Art Gallery
Imaging complete
8/3/2000
http://127.0.0.1:5000/Media/images/73.40_A1.jpg
73.40DI#2
digital image
in frame
8/14/2007
http://127.0.0.1:5000/Media/images/Inventory pictures/73.40_I1.jpg
73.40DI#3
digital image
2/4/2016
http://127.0.0.1:5000/Media/images/73.40_A2.jpg
Painting
The Hudson River, New York
Gates of the Hudson from Fort Putnam, West Point
Jasper Francis Cropsey, 1823 - 1900
Cropsey, Jasper Francis
United States
1823 - 1900
Male
10 3/8 x 16 7/8 in. (26.4 x 42.9 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
1857-1858
1857
1858
1800-1900, 19th century, Hudson River School, landscapes, paintings
Painting
lower centerback of stretcher, on crossbar
1973.39
item
Memorial Art Gallery
9/8/1999
73.39TR1
Transparency
Memorial Art Gallery
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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2 x 2.5
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digital image
Memorial Art Gallery
Imaging complete
8/4/2000
http://127.0.0.1:5000/Media/images/73.39_A1.jpg
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Painting
Cows in the Valley, Watering
Asher Brown Durand, 1796 - 1886
Durand, Asher Brown
United States
1796 - 1886
Male
16 3/4 x 23 3/4 in. (42.5 x 60.3 cm)
.
.
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.
.
.
overall
frame
Oil
Oil
1854
1854
1854
1800-1900, 19th century, cows, Hudson River School, landscapes, mountains, paintings, rivers
Painting
lower right
1981.61
item
Memorial Art Gallery
9/8/1999
81.61TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
81.61SL1
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81.61DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/81.61_A1.jpg
Painting
Genesee Oaks
Asher Brown Durand, 1796 - 1886
Durand, Asher Brown
United States
1796 - 1886
Male
28 1/4 x 42 in. (71.8 x 106.7 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1860
1860
1860
1800-1900, 19th century, cows, Hudson River School, landscapes, paintings, rivers, trees in art, views of Rochester & western New York
Painting
Asher B. Durand was commissioned to paint this magnificent vista overlooking the Genesee River Valley in Geneseo, New York, by a member of the Wadsworth family, the village founders. At one time, they owned all the land from Geneseo to Rochester.
[Gallery label text, 2007]
No matter what the weather, this view across the Genesee Valley near Geneseo is as breathtaking now as it was over two hundred years ago, when landowner James S. Wadsworth commissioned Hudson River school founder Asher B. Durand to record the beauty of the landscape in a painting. In the summer of 1859, Durand traveled from New York City to the Genesee Valley to make preparatory sketches. Trained as an engraver, he recorded many of the details that he saw, but in addition, his personal belief in the immanence of the divine in the natural world motivated him to present a landscape that seems to extend infinitely.
Statuesque oak trees, many of which are still standing on the land, dominate the painting. In this region, the trees were more than a decorative feature. When the Wadsworths began to sell and lease land to local farmers, they included a clause in the contract requiring that a number of trees remain after the land was cleared. This was a holdover from British husbandry; the result was a countryside that was not only beautiful but that provided sun and moisture control for humans and animals alike. Genesee Oaks was Durand's tribute to the splendor of this valley.
[Gallery label text]
Durand visited the Genesee country but once, sketching in the Geneseo area during late June and July of 1859. Of his trip he wrote to his son in August: "With all my troubles I believe I have learnt more about the management of colors in the painting of trees than by all my previous practice, altho' I have never produced so little in the same span of time, not having made but four studies in five weeks."
During the following year, back in his studio, Durand painted Genesee Oaks, based on the sketches he had made. The painting was commissioned by James Samuel Wadsworth, a local squire, who owned the work when it was exhibited at the National Academy of Design in 1861. Seven oil studies done near Geneseo in 1859 are photographed in Durand's studio after 1878. A photograph shows three small sculptures of cows, two standing, one reclining that may have served as models for the animals in the painting.
Howard S. Merritt
Peters, Susan Dodge, ed. Memorial Art Gallery: An Introduction to the Collection. (Rochester, NY: The Memorial Art Gallery, 1988). p.182-3.
lower left
1974.5
item
Memorial Art Gallery
9/8/1999
74.5TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.5DI2
digital image
Memorial Art Gallery
8/25/2001
http://127.0.0.1:5000/Graphics/blank.gif
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digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/74.5_A1.jpg
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M425_p71.tif
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74.5DI2
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with frame
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74..5DI4
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Detail cows and figure under trees
00/00/00
http://127.0.0.1:5000/Media/images/74.5_A4.jpg
Painting
Still Life with Fruit
John Francis, (Philadelphia, PA, 1808 - 1886, Jefferson, PA)
Francis, John
United States
1808 - 1886
Male
25 3/16 x 30 3/8 in. (64 x 77.2 cm)
.
.
.
approximate installation dimensions
frame
Oil
Oil
1865
1865
1865
1800-1900, 19th century, fruit in art, paintings, still lifes
Painting
At first glance, it is tempting to interpret this painting as a celebration of mid-century American bounty. However, a second look finds half-eaten fruit pierced by a knife, bruised peaches, and a hungry hornet, images that suggest overripeness and decay. These elements can be traced back to 16th and 17th century Dutch still life traditions, particularly vanitas paintings that warned of the ephemeral nature of life.
Whether or not John Francis – originally an itinerant, self-taught portrait painter – was consciously invoking old master painting traditions, his involvement with the artistic community in Philadelphia would have exposed him to sophisticated subjects and tastes that, perhaps, he incorporated into his work.
[Gallery label text, 2009]
lower rightverso, lower right
1971.7
item
Memorial Art Gallery
9/8/1999
71.7TR1
transparency
4 x 5
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71.7DI1
digital image
Memorial Art Gallery
Imaging complete
4 x 5
10/30/2001
http://127.0.0.1:5000/Media/images/71.7_A1.jpg
Painting
Sketch of a Girl's Head
James E. Freeman, 1808 - 1884
Freeman, James E.
United States
1808 - 1884
Male
11 1/2 x 12 in. (29.2 x 30.5 cm)
.
.
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.
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.
vertical
frame
Oil
Oil
1852
1852
1852
1800-1900, 19th century, children, paintings, portraits
Painting
across the bottom
1936.20
item
Memorial Art Gallery
9/8/1999
36.20SL1
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full
2 x 2
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36.20DI1
digital image
00/00/00
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36.20DI#2
digital image
in frame
5/21/2009
http://127.0.0.1:5000/Media/images/Inventory pictures/36.20_I1.JPG
36.20DI#3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/36.20_A2.jpg
Painting
Portrait of Sophia Josephine Dixon
Mrs. Robert Fulton White
Attributed to Jefferson Gauntt, (1806 - 1864)
Gauntt, Jefferson
United States
1806 - 1864
Male
50 1/4 x 40 1/8 in. (127.6 x 101.9 cm)
.
.
.
overall framed size
vertical
frame
.
.
.
without frame
Oil
Oil
ca. 1850-1860
1850
1860
1800-1900, 19th century, birds, bridges, children, paintings, portraits, rivers, women
Painting
Attributed to Jefferson Gauntt
American, 1806 – 1864
Sophia Josephine Dixon, born circa 1852 - date of death unknown
Hiram, Angeline and daughter, Sophia Josephine Dixon portraits are not signed or dated. We believe all three were painted by the same artist, Jefferson Gauntt. The Dixon family’s life dates have been obtained through research. Based on these dates we speculate the portraits were painted between 1840 and 1860.
Tombstone, Oct. 2010, Colleen Piccone
A favorite of MAG visitors, the portrait of Sophia Josephine Dixon was conserved in 2006 through a Lower Hudson Conference Conservation Treatment Grant and has been on view in the 19th century American gallery. We are happy to reunite her with her parents, Hiram and Angeline Dixon, whose portraits were conserved in 2008 through the Henry Luce Foundation American Art Conservation Grant. This is the first time that MAG has exhibited the portraits together as a family. They were given to the Gallery by Sophia Josephine’s daughter, Mrs. George B. Penny.
The Dixons’ daughter, Sophia Josephine, holds her pet goldfinch on a string, illustrating her patience and nurturing nature in training a wild bird as her pet. Her white dress with blue ribbon sash, lace pantaloons and straw hat are those of a well-bred young girl from a successful American family. In the early nineteenth century, girls were generally depicted in domestic settings. By 1831, however, “The Mother’s Book” by Lydia Child argued that girls as well as boys would benefit from open air and should be allowed to play outside.
The Dixon family lived north of New York City, first in Hudson, NY and then in Tarrytown, NY.
Excerpted from installation text, Oct. 2010
Colleen Piccone, Curatorial Dept.
lower left, in Scotch thistle
1942.45
item
Memorial Art Gallery
9/8/1999
42.45TR1
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Memorial Art Gallery
4 x 5
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http://127.0.0.1:5000/Graphics/blank.gif
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42.45DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/42.45_A1.jpg
Painting
A Brace of Ducks
Richard LaBarre Goodwin, 1840 - 1910
Goodwin, Richard LaBarre
United States
1840 - 1910
Male
30 x 25 in. (76.2 x 63.5 cm)
.
.
.
without frame
.
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.
overall
frame
Oil
Oil
1885
1885
1885
1800-1900, 19th century, birds, by Rochester artists, paintings, still lifes, trompe l'oeil
Painting
lower right
1964.39
item
Memorial Art Gallery
9/8/1999
64.39TR1
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Memorial Art Gallery
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digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/64.39_A1.jpg
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RocStudio.jpg
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SyrStudio.jpg
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22haberle3.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/22haberle3.tif
Painting
Torn-in-Transit with Woman's Photograph
John Haberle, 1856 - 1933
Haberle, John
United States
1856 - 1933
Male
14 x 12 1/8 in. (35.6 x 30.8 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1888-1889
1888
1889
1800-1900, 19th century, paintings, trompe l'oeil
Painting
lower right
1965.6
item
Memorial Art Gallery
9/8/1999
65.6TR1
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Memorial Art Gallery
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65.6DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/65.6_A1.jpg
65.6DI2
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Graphics/blank.gif
22haberle1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/22haberle1.tif
Painting
Hummingbird with Cattleya and Dendrobium Orchids
Martin Johnson Heade, 1819 - 1904
Heade, Martin Johnson
United States
1819 - 1904
Male
22 1/4 x 14 3/8 in. (56.5 x 36.5 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
ca. 1890
1885
1895
1800-1900, 19th century, birds, flowers in art, paintings
Painting
Two masterpieces of nature – the hummingbird and the orchid – were subjects that Martin Johnson Heade painted repeatedly. Beginning in 1863, Heade made the first of three trips to Brazil to paint the bird that remained a life-long obsession. Heade wrote, “A few years after my appearance in this breathing world I was attacked by the all-absorbing hummingbird craze and it has never left me since.”
The exotic South American jungle was a far cry from the marshes and fields of Heade’s native New England, but both landscapes inspired his passion for the natural world and nurtured the intertwined development of his scientific interest and his artistic brilliance.
[Gallery label, 2009]
lower rightback of frameback of frameback of frameback of frame, almost illegible. The Haseltine Galleries closed in 1894.back of frame
1976.3
item
Memorial Art Gallery
9/8/1999
76.3TR1
Transparency
Memorial Art Gallery
4 x 5
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76.3TR2
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PINK
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Memorial Art Gallery
Imaging complete
8/28/2000
http://127.0.0.1:5000/Media/images/76.3_A1.jpg
76.3DI2
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Memorial Art Gallery
Imaging complete
00/00/00
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16heade2.tif
digital image
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76.3DI#3
digital image
12/4/2013
http://127.0.0.1:5000/Media/images/76.3_A3.jpg
Painting
Newbury Hayfield at Sunset
Martin Johnson Heade, 1819 - 1904
Heade, Martin Johnson
United States
1819 - 1904
Male
11 1/4 x 25 3/16 in. (28.6 x 64 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1862
1862
1862
1800-1900, 19th century, landscapes, paintings
Painting
lower left
1975.21
item
Memorial Art Gallery
9/8/1999
75.21TR1
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Memorial Art Gallery
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75.21DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/75.21_A1.jpg
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M425_p77.tif
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00/00/00
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M425_p77(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p77(10).tif
75.21DI#2
digital image
8/31/2012
http://127.0.0.1:5000/Media/images/75.21_A2.jpg
Painting
Landscape with Figures
Joseph H. Hidley, 1830 - 1872
Hidley, Joseph H.
United States
1830 - 1872
Male
10 7/8 x 20 7/8 in. (27.6 x 53 cm)
.
.
.
overall
horizontal
.
.
.
without frame
Oil
Oil
0
0
1800-1900, 19th century, cows, folk art, houses, men, paintings, women
Painting
This painting was never intended to hang on a wall. Rather, it was created as part of a wall to decorate a panel underneath a tall window in the parlor of a home in Eagle Mills, New York, near Albany.
The artist was an unusual individual. In addition to painting scenes to decorate rooms in the Albany region, Joseph Hidley was a house painter, a carpenter, and arranger of stuffed birds and dried flowers.
For his underwindow panels, he is thought to have derived his inspiration from European viewbooks, which is why this scene is reminiscent of a Swiss landscape. We are still trying to locate the original view that Hidley copied.
[Gallery label text, 2002]
1997.173
item
Memorial Art Gallery
10/25/1999
97.173SL1
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Painting
The Artist's Studio in an Afternoon Fog
Winslow Homer, (Boston, MA, 1836 - 1910, Prout's Neck, ME)
Homer, Winslow
United States
1836 - 1910
Male
24 x 30 1/4 in. (61 x 76.8 cm)
.
.
.
with frame
frame
Oil
Oil
1894
1894
1894
1800-1900, 19th century, paintings, seascapes, weather & water
Painting
In the course of his long and distinguished career, Winslow Homer shifted his focus from robust descriptions of American life to studies of interaction between man and the powerful forces of nature, particularly the ocean. This evocative painting of his studio at his family’s compound on the coast of Maine in Prout’s Neck, near Portland, is considered one of Homer’s most masterful works.
[Gallery label text, 2007]
A foggy day on the coastal peninsula of Prout's Neck, Maine, inspired Winslow Homer to paint one of his most elegant and contemplative works. His studio and family home stand silhouetted between the darker cliffs in the foreground and the paler sky. The painting's composition balances strong diagonal and horizontal elements in the lower half with a monolithic sky punctuated by a circle of sun.
Homer was known for his many paintings of rural America, as well as his illustrations of the Civil War. In 1883, Homer left New York City, where he had been living, and settled permanently in Prout's Neck. During his years there, he produced some of the most thrilling marine paintings in the history of American art.
[Gallery label text, 2006]
lower rightremoved, kept in file, Exhibition label for Panama-Pacific International Expositionremoved, kept in file
1941.32
item
Memorial Art Gallery
9/8/1999
41.32TR1
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Memorial Art Gallery
Imaging complete
6/23/2000
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Memorial Art Gallery
Imaging complete
6/23/2000
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41.32DI#3
digital image
12/4/2013
http://127.0.0.1:5000/Media/images/41.32_A3.jpg
41.32DI#4
digital image
Memorial Art Gallery
Imaging complete
9/19/2019
http://127.0.0.1:5000/Media/images/41.32_A3.jpg
Painting
Ann Gennett Pixley Lacey (1809 - 1841)
Attributed to Milton W. Hopkins, 1789 - 1844
Hopkins, Milton W.
United States
1789 - 1844
Male
North, Noah
United States
1809 - 1880
Male
Previous Attribution
30 x 25 in. (76.2 x 63.5 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
1835-1836
1835
1836
1800-1900, 19th century, folk art, New York State & Local History, paintings, portraits, women
Painting
In this painting, Ann Lacey (the mother of Pierrepont and Eliza (78.188 and 78.189)) holds a book in her hand. Her traditional pose suggests that she was a cultured and literate individual.
The portraits of the Lacey family were passed down through the generations in the family home in Scottsville, New York, until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors.
[Excerpted from gallery label text, 2006]
M. W. Hopkins
American, 1789 - 1844
Ann Gennett Pixley Lacey (1809 - 1841)
ca. 1835 - 1836
Oil on canvas
Gift of Mr. and Mrs. Robert H. Dunn
in memory of Ruth Hanford Munn
and James Buell Munn, 78.187
Ann Gennett was born in Kirkland, New York, and her family later moved to nearby Chili. Around 1830, she married Allen Tobias Lacey, son of a neighboring farmer and political associate of her father. She was the mother of Pierrepont and Eliza, whose portraits hang nearby.
In the painting, she is shown holding a small book, a popular motif that suggests literacy and a certain level of affluence.
Ann Lacey died of cancer at the age of 32 and she is buried in the Fellows Cemetery in Chili. Shortly thereafter, Allen Lacey remarried, and in 1847, the family moved west to farm in Marshall, Michigan.
{Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial}
The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery.
The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors.
{Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial}
1978.187
item
Memorial Art Gallery
9/8/1999
78.187TR1
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Memorial Art Gallery
Imaging complete
4 x 5
10/30/2001
http://127.0.0.1:5000/Media/images/78.187_A1.jpg
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78.187DI3
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Memorial Art Gallery
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Painting
Eliza Pixley Lacey (1834 - 1839)
Attributed to Milton W. Hopkins, 1789 - 1844
Hopkins, Milton W.
United States
1789 - 1844
Male
North, Noah
United States
1809 - 1880
Male
Previous Attribution
30 x 25 in. (76.2 x 63.5 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
1835-1836
1835
1836
1800-1900, 19th century, children, folk art, New York State & Local History, paintings, portraits, women
Painting
M. W. Hopkins
American, 1789 - 1844
Eliza Pixley Lacey (1834 - 1839)
ca. 1835 - 36
Oil on canvas
Gift of Mr. and Mrs. Robert H. Dunn
in memory of Ruth Hanford Munn and
James Buell Munn, 78.188
M.W. Hopkins painted several portraits of young girls holding flower baskets. Eliza was painted when she was about two, and may have been Hopkins’ youngest and most endearing sitter.
Portrait painting was not Hopkins’ sole occupation; he was also a farmer and ornamental painter who decorated carriages and signs.
Eliza was only five when she died. She is buried in Fellows Cemetery in Chili along with her mother, Ann, whose portrait hangs nearby.
{Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial}
The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery.
The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors.
{Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial}
1978.188
item
Memorial Art Gallery
9/8/1999
78.188TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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Memorial Art Gallery
Imaging complete
4 x 5
10/30/2001
http://127.0.0.1:5000/Media/images/78.188_A1.jpg
78.187DI2
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00/00/00
http://127.0.0.1:5000/Media/images/related_images/78.187-191_R1.jpg
5hopkins3.tif
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Painting
Pierrepont Edward Lacey (1832 - after 1860) and His Dog, Gun
Attributed to Milton W. Hopkins, 1789 - 1844
Hopkins, Milton W.
United States
1789 - 1844
Male
North, Noah
United States
1809 - 1880
Male
Previous Attribution
42 x 30 1/8 in. (106.7 x 76.5 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
1835-1836
1835
1836
1800-1900, 19th century, children, dogs, folk art, New York State & Local History, paintings, portraits
Painting
The Lacey family lived and farmed in Scottsville, New York, a small village south of Rochester on the Oatka Creek. Like many families of means, they used the services of a local artist to have their likenesses painted, since photography as we know it did not exist. For many years, this artist was thought to be Noah North, but recent scholarship points to Milton Hopkins, with whom North probably apprenticed. Painting was not Hopkins' sole occupation. As well, he farmed and was a carriage and sign painter, and was involved in anti-Masonic, abolitionist, and temperance politics.
Pierrepont Lacey was born in 1832, and like many little boys, he probably was not comfortable posing for a painting in his best clothes. The family dog, Gun, most likely didn't stand still for long, either, so it may have been quite a challenge for the artist to capture the likenesses of boy and dog. When Pierrepont was fifteen, his family moved to Marshall, Michigan. He grew up, married, and was the father of one son. Milton Hopkins moved to Ohio shortly after this portrait was painted, where he continued to paint portraits and work for the Underground Railroad.
[Gallery label text, 2000]
Like many young boys, Pierrepont Lacey was probably not comfortable posing for a painting dressed in his best suit and red shoes. Gun, the family dog, was most likely a restless subject for the artist to capture, as well.
There are six known portraits by Hopkins showing children dressed in their finest clothes, often accompanied by their dogs. All of the children’s parents were connected to the artist through their activities in anti-Masonic, abolitionist, and temperance politics.
MAG’s nearly full-size portrait is one of the most engaging likenesses done by Hopkins and has become an American folk art icon.
[Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial]
The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery.
The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors.
[Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial}]
1978.189
item
Memorial Art Gallery
9/8/1999
78.189TR1
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Memorial Art Gallery
4 x 5
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Memorial Art Gallery
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2/20/2001
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Memorial Art Gallery
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5hopkins1.tif
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Painting
Early Moonrise in Florida
July Moonrise in Florida (Eastman Catalog)
George Inness, (Newburgh, NY, 1825 – 1894, Bridge of Allan, Scotland)
Inness, George
United States
1825 - 1894
Male
24 3/8 x 36 1/4 in. (61.9 x 92.1 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1892-1893
1892
1893
1800-1900, 19th century, George Eastman Collection, landscapes, paintings
Painting
For George Inness, an adherent of the mystical Swedenborgian faith, landscape elements and colors had specific symbolic qualities. For example, he wrote that the moon is a ‘natural emblem of faith,’ reassuring the faithful that divine light still exists even though it is not directly visible in the night sky. In Inness’s philosophical system, blue is the color of faith.
[Gallery label text, 2007]
lower right
1936.61
item
Memorial Art Gallery
9/8/1999
36.61TR1
Transparency
Memorial Art Gallery
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Memorial Art Gallery
Imaging complete
7/10/2000
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digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/26inness1.tif
36.61DI2
digital image
Memorial Art Gallery
4/17/2014
http://127.0.0.1:5000/Media/images/36.61_A2.jpg
Painting
Genesee River
David Johnson, (New York, NY, 1827 - 1908, Walden, NY)
Johnson, David
United States
1827 - 1908
Male
15 5/8 x 22 1/2 in. (39.7 x 57.2 cm)
.
.
.
without frame
.
.
.
overall
frame
Oil
Oil
1888
1888
1888
1800-1900, 19th century, cows, landscapes, paintings, rivers, trees in art, views of Rochester & western New York
Painting
This pastoral scene shows cows wading at a bend in the Genesee River while their herder lounges on the ground at the left. It was painted by David Johnson, an artist from New York City who specialized in Genesee landscapes in the mid-19th century, a time when few artists were making the journey upstate.
The name Genesee originates with the Seneca people, meaning “beautiful or pleasant valley.” The rich soil of the valley and the abundance of the river has made this region a desirable location to live for centuries. This painting was made almost 100 years after the Canandaigua Treaty of 1794, in which the United States of America established the Seneca Nation’s land rights for Western New York with the Genesee River as the eastern boundary, Lake Ontario as the northern boundary, and Niagara River as the western boundary. Many subsequent violations and treaties slowly encroached upon these rights; today only three tracts of land are left to the Seneca in the region, including the Cattaraugus Reservation.
[Gallery label text, 2021]
initialed, lower leftverso, visible before reliningremoved from backing, now in curatorial file
1969.64
item
Memorial Art Gallery
9/8/1999
69.64TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.64SL1
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full
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full
4 x 5
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69.64DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/69.64_A1.jpg
Painting
Back from the Orchard
Eastman Johnson, 1824 - 1906
Johnson, Eastman
United States
1824 - 1906
Male
10 3/8 x 6 5/8 in. (26.4 x 16.8 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
ca. 1876
1871
1881
1800-1900, 19th century, children, figure, paintings
Painting
lower right
1975.138
item
Memorial Art Gallery
9/8/1999
75.138TR1
Transparency
Memorial Art Gallery
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.138SL1
slide
full
2 x 2
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glossy
8x10
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75.138DI1
digital image
Memorial Art Gallery
Imaging complete
8/3/2000
http://127.0.0.1:5000/Media/images/75.138_A1.jpg
75.138DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
A Showery Day, Lake George
John Frederick Kensett, 1816 - 1872
Kensett, John Frederick
United States
1816 - 1872
Male
14 1/8 x 24 1/8 in. (35.9 x 61.3 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1860
1855
1865
1800-1900, 19th century, boats, Hudson River School, lakes, landscapes, mountains, paintings, rain, weather & water
Painting
1974.29
item
Memorial Art Gallery
9/8/1999
74.29TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.29SL1
slide
full
2 x 2
00/00/00
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74.29SL2
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detail
2 x 2
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4x5
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74.29DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/74.29_A1.jpg
74.29_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/74.29_A2.jpg
74.29TR2
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
13kensett2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/13kensett2.tif
M425_p66(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p66(10).tif
Painting
Roses
Ada Howe Kent, (Rochester, NY, 1858 - 1942, Rochester, NY)
Kent, Ada Howe
United States
1858 - 1942
Female
7 3/16 x 14 in. (18.2 x 35.5 cm)
.
.
.
without frame
stretcher
.
.
.
overall
frame
Oil
Oil
1898
1898
1898
1800-1900, 19th century, by Rochester artists, flowers in art, paintings
Painting
Ada Howe Kent was a Rochester painter and watercolorist who exhibited nationally with the American Water Color Society. Having studied with James McNeill Whistler in Paris, Kent became enamored of oriental art and accumulated an extensive collection of Japanese prints.
A daughter of John H. Kent, first vice-president of the Eastman Dry-plate and Film Company (forerunner of the Eastman Kodak Company), the artist was known for her philanthropic activities, most significantly for the gift of Kent Hall in 1916 to the Rochester Y.W.C.A. as a residence for women.
[Gallery label text, 2004]
lower right
1955.191
item
Memorial Art Gallery
9/8/1999
55.191SL1
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
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glossy
full
8 x 10
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55.191DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/55.191_A1.jpg
Painting
London Bus Driver
Cabby or London Cabby
George Luks, 1867 - 1933
Luks, George
United States
1867 - 1933
Male
27 x 22 in. (68.6 x 55.9 cm)
.
.
.
without frame
Oil
Oil
1889
1889
1889
1800-1900, 19th century, Ashcan School and friends, Encyclopedia Britannica Collection, men, paintings, portraits
Painting
Luks, like Glackens, was originally from Philadelphia and moved to New York City in 1896. He was one of The Eight who exhibited together at Macbeth Gallery in 1908, and his painting of a boy with dice reflects his interest in depicting aspects of life in the lower classes. Here, a boy who looks to be no more than ten is smoking, more than likely earning his own living as a shoeshine boy, and supplementing his income by gambling.
The painting, inscribed To Elizabeth, was given by the artist to his student, Elizabeth Olds, who studied with him at the Art Students League in New York City. Elizabeth Olds was an accomplished printmaker and, like her teacher, believed in the importance of art for all people, not just the upper classes.
[Gallery label text]
lower leftverso
1951.9
item
Memorial Art Gallery
9/8/1999
51.9TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.9SL1
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negative
4x5
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51.9DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/51.9_A1.jpg
51.9SL2
slide
detail of flower
2 x 2
00/00/00
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51.9TR2
transparency
4 x 5
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digital image
00/00/00
http://127.0.0.1:5000/Media/images/51.9_A2.jpg
51.9DI#3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.9_A3.jpg
Painting
Judge and Mrs. Arthur Yates
Conversation Piece
M. M. Manchester, active ca. 1840
Manchester, M. M.
United States
active ca. 1840
Male
36 x 58 3/4 in. (91.4 x 149.2 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1840
1835
1845
1800-1900, 19th century, folk art, men, paintings, portraits, women
Painting
This grand portrait might have been a focal point in Judge and Mrs. Yates’s parlor. Judge Yates built the first steam saw mill in Tioga County, and was justice of the peace and postmaster.
Whether the furnishings, book, and clothing accurately depict the Yates’s possessions is impossible to say. They are meant to convince us of the pair’s position within the local gentry. Yards of satiny fabric held in place by a curtain holdback speak of luxury. Mrs. Yates’s jewelry, lace collar, cuffs and trimmed handkerchief, were the accoutrements of a lady of means. Judge Yates holds a book by English theologian William Paley entitled Natural Theology, a text regularly consulted by well-read gentlemen of the 19th century. While we know very little about Mr. Manchester, the artist, we can safely say that he was familiar with the grand tradition of portraiture that frequently placed subjects within ennobling, but not always authentic, settings.
[Gallery label text, 2002]
verso, Visible before relining
1941.30
item
Memorial Art Gallery
9/8/1999
41.30TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.30SL1
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full
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neg
8x10
00/00/00
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41.30DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/41.30_A1.jpg
41.30DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.30DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/41.30_A2.jpg
Painting
Normandy Trees
Homer Dodge Martin, 1836 - 1897
Martin, Homer Dodge
United States
1836 - 1897
Male
27 1/2 x 35 1/4 in. (69.9 x 89.5 cm)
.
.
.
Oil
Oil
0
0
1800-1900, 19th century, George Eastman Collection, landscapes, paintings, trees in art
Painting
lower right
1936.63
item
Memorial Art Gallery
9/8/1999
36.63SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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8x10
00/00/00
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36.63DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/36.63_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/36.63_I1.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
Painting
Antoinette Pierson
William Sidney Mount, 1807 - 1868
Mount, William Sidney
United States
1807 - 1868
Male
24 x 33 in. (61 x 83.8 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1830
1830
1830
1800-1900, 19th century, children, paintings, portraits
Painting
Antoinette Pierson resided in nearby Canandaigua, New York. She was eight years old when this portrait was painted.
[Gallery label text, 2007]
verso
1930.56
item
Memorial Art Gallery
9/8/1999
30.56TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
30.56SL1
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full
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30.56DI1
digital image
Memorial Art Gallery
Imaging complete
7/17/2000
http://127.0.0.1:5000/Media/images/30.56_A1.jpg
Painting
Still Life Number 26: Silver Basket of Fruit
Rubens Peale, (Philadelphia, PA, 1784 - 1865, Philadelphia, PA)
Peale, Rubens
United States
1784 - 1865
Male
13 7/8 x 20 in. (35.2 x 50.8 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
canvas
Oil
Oil
1857-1858
1857
1858
2.47L
1800-1900, 19th century, fruit in art, paintings, still lifes
Painting
In March, 1857, Rubens Peale wrote: “I painted all day on Number 15 and Number 26 as it has been very stormy today, nothing going on out doors…. After this, however, visitors came to stay and part of the house was given over to them.”
What is somewhat surprising is that Peale, a member of the illustrious family of artists and naturalists, did not begin painting until he was seventy-one. Until then, his work had focused on museums and farming. Considering the artist’s limited visual acuity, the texture and color of the fruit and basket in this quiet still life are all the more remarkable.
[Gallery label text, 2005]
lower right
1964.40
item
Memorial Art Gallery
9/8/1999
64.40TR1
Transparency
Memorial Art Gallery
full
4 x 5
00/00/00
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64.40SL1
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full
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64.40DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/64.40_A1.jpg
64.40TR2
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
12peale1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/12peale1.tif
M1.64.40.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M1.64.40.tif
Painting
Articles Hung on a Door
John Frederick Peto, 1854 - 1907
Peto, John Frederick
United States
1854 - 1907
Male
30 x 21 3/4 in. (76.2 x 55.2 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
after 1890
1891
1900
1800-1900, 19th century, paintings, trompe l'oeil
Painting
verso, Visible before re-lining.
1965.3
item
Memorial Art Gallery
9/8/1999
65.3TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.3SL1
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full
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65.3DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/65.3_A1.jpg
65.3TR2
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
22haberle2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/22haberle2.tif
65.3DI2
digital image
8/6/2014
http://127.0.0.1:5000/Media/images/65.3_A2.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Old Woman with a Bible
Ammi Phillips, 1788 - 1865
Phillips, Ammi
United States
1788 - 1865
Male
33 1/2 x 28 in. (85.1 x 71.1 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1834
1829
1839
1800-1900, 19th century, folk art, paintings, portraits, women
Painting
We take for granted the ability to record our families' faces. Even the likenesses of those long-dead are etched in our memories by their photographs. But before cameras and film, the only way to save a "likeness" was to create a life or death mask, draw or paint a picture, or make a sculpture.
In rural New York State, many portraits were done by painters like Ammi Phillips who had a minimal amount of training. Their customers, in turn, passed paintings down through the generations until all too often, the identity of the sitters was lost.
If we don't know whose portrait this was, and if Ammi Phillips was not an academically trained artist, why do we continue to appreciate this work and keep it in a museum? The directness of human spirit that these paintings convey combined with the intricacy of design and patterning create a work filled with the "visual delight" that we search for in a work of art.
[Gallery label text, 2008]
This woman’s identity has not been preserved, but we might speculate with confidence that she was a devout person, as her arm is placed so firmly on the Bible. Notice, too, how carefully the artist painted the fabric of her day-cap, the embroidery on her shawl, and even the tasseled trim of the curtains.
[Gallery label text, 2008]
1984.22
item
Memorial Art Gallery
9/8/1999
84.22TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.22SL1
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full
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4x5
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84.22DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/84.22_A1.jpg
84.22DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/84.22_A2.jpg
84.22SL2
slide
detail face during conservation
2 x 2
00/00/00
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84.22SL3
slide
detail embroidery band
2 x 2
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4phillips1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/4phillips1.tif
Painting
Portrait of a Dark-haired Man Reading the "Genesee Farmer"
possible portrait of Luther Tucker, editor of the "Genesee Farmer"
Asahel Lynde Powers, (Springfield, VT, 1813 - 1843, Olney, IL)
Powers, Asahel Lynde
United States
1813 - 1843
Male
30 x 25 in. (76.2 x 63.5 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1839
1834
1844
1800-1900, 19th century, by Rochester artists, men, paintings, portraits, views of Rochester & western New York
Painting
The artist of the painting signed the back of the canvas with a flourish “Asahel Powers.” Powers was a self-taught portrait painter who traveled throughout the countryside in search of portrait commissions. Unfortunately, history has lost the name of this dapper gentleman who, we infer by the books and writing cabinet visible behind him, was a learned man of means. His interests and likely profession are further indicated by "The Genesee Farmer" in his hands, a popular journal dedicated to agriculture and horticulture founded in Rochester in 1831.
This portrait broadly tells the story of early Euro-American settlers who were cultivating and living off of the land of the Genesee Valley. It does not capture the story of the Indigenous people who had lived in those lands for hundreds of years prior to the arrival of the European settlers. Coincidentally, this portrait was painted during the infamous Trail of Tears, a brutal upheaval in American history over land rights in which the military forcibly moved over 60,000 Indigenous people (Cherokee, Chickasaw, Choctaw, Muscogee, Osage, and Seminole, including thousands of their Black slaves) to an undesirable stretch of prairie land, now in Oklahoma. During the forced march, many thousands of men, women, and children suffered and died from exposure, disease, and starvation.
[Gallery label text, 2021]
verso, Inscription with signature, sketches of men's heads, and calligraphic "A" in black paint on back of canvas.
See digital images of canvas verso attached to Embark record.
2001.1
item
Memorial Art Gallery
3/27/2001
2001.1DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.1_A6.jpg
negative
4 x 5
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00/00/00
http://127.0.0.1:5000/Media/images/2001.1_A1.jpg
Powers back detail.jpg
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/2001.1_A2.jpg
Powers back detail 2.jpg
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/2001.1_A3.jpg
Powers back signature.jpg
digital image
Detail
00/00/00
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Powersback1.jpg
digital image
Detail
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Painting
Home Late
Mortimer Smith, 1840 - 1896
Smith, Mortimer
United States
1840 - 1896
Male
40 x 46 in. (101.6 x 116.8 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
1866
1866
1866
1800-1900, 19th century, children, families, genre scenes, home life, men, paintings, weather & water
Painting
Home Late is the earliest identified painting by Mortimer Smith. The shadowy interior of the frontier cabin demonstrates his mastery of the genre scene: the rifle hanging from the ceiling side by side with drying meats and vegetables, supper cooking in the kettle suspended in the stone fireplace, and the dog sleeping peacefully by the fire. Smith is equally adept at capturing the warm glow cast by the fire as it contrasts with the cold light of the winter scene beyond the doorway. The child pausing in the doorway heightens the emotional ambiguity of the scene as he surveys the cabin's interior, perhaps to gauge the mood within as he returns home late from skating.
Smith's landscape and genre scenes suggest familiarity with his better-known contemporaries, like Albert Bierstadt and Eastman Johnson. Certainly, early exposure to the work exhibited at the Cosmopolitan Art Association in Sandusky provided Smith with models of painting styles that continued to influence him throughout his life.
[Gallery label text]
lower left
1975.139
item
Memorial Art Gallery
9/8/1999
75.139TR1
Transparency
Memorial Art Gallery
pink
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Memorial Art Gallery
Imaging complete
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11/18/2019
http://127.0.0.1:5000/Media/images/75.139_A3.jpg
Painting
The Farm
James Somerville, 1849 - 1905
Somerville, James
United States
1849 - 1905
Male
6 x 12 in. (15.2 x 30.5 cm)
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overall
frame
Oil
Oil
1885
1885
1885
1800-1900, 19th century, barns, by Rochester artists, chickens & roosters, landscapes, paintings, Rochester Art Club founders
Painting
lower left
1951.105
item
Memorial Art Gallery
9/8/1999
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4/24/2002
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51.105DI2
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2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/51.105_A1.jpg
Painting
Peeling Onions
Lilly Martin Spencer, 1822 - 1902
Spencer, Lilly Martin
United States
1822 - 1902
Female
36 x 29 in. (91.4 x 73.7 cm)
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approximate installation dimensions
frame
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Oil
Oil
ca. 1852
1847
1857
1800-1900, 19th century, food, genre scenes, home life, jobs & work, paintings, women
Painting
lower left, in frontmost peach. Second numeral unclear.
1988.6
item
Memorial Art Gallery
9/8/1999
88.6TR1
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Memorial Art Gallery
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Memorial Art Gallery
Imaging complete
7/13/2000
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Memorial Art Gallery
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Painting
Elizabeth Perkins Sturgis (1756 - 1843)
Gilbert Stuart, (Saunderstown RI, 1757 - 1828, Boston)
Stuart, Gilbert
United States
1757 - 1828
Male
28 3/4 x 23 1/8 in. (73 x 58.7 cm)
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approximate installation dimensions
frame
.
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without frame
Oil
Oil
ca. 1806
1801
1811
1800-1900, 19th century, paintings, portraits, women
Painting
Gilbert Stuart was known for his portraits of George Washington – including the one on the dollar bill.
[Gallery label text, 2007]
1941.35
item
Memorial Art Gallery
9/8/1999
41.35TR1
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Memorial Art Gallery
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Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/41.35_A1.jpg
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x-ray
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Painting
Russell Sturgis (1750 - 1826)
Gilbert Stuart, (Saunderstown RI, 1757 - 1828, Boston)
Stuart, Gilbert
United States
1757 - 1828
Male
28 3/4 x 24 1/8 in. (73 x 61.3 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
ca. 1806
1801
1811
1800-1900, 19th century, artist portraits, artists, men, paintings, portraits
Painting
Gilbert Stuart was known for his portraits of George Washington – including the one on the dollar bill.
[Gallery label text, 2007]
1941.34
item
Memorial Art Gallery
9/8/1999
41.34TR1
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Memorial Art Gallery
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Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/41.34_A1.jpg
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Painting
Boat Race at Skaneateles
Harry J. Sunter, (Massachusetts, 1850 – 1889, Washington DC)
Sunter, Harry J.
United States
1850 - 1889
Male
25 x 33 in. (63.5 x 83.8 cm)
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overall
frame
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without frame
Oil
Oil
1878
1878
1878
1800-1900, 19th century, boats, genre scenes, lakes, paintings, seascapes, views of Rochester & western New York
Painting
Skaneateles Lake is located in the Finger Lakes region, part of the traditional lands of the nations that make up the Haudenosaunee. The frequent use of Haudenosaunee names in this region—Genesee, Irondequoit, Honeoye, and Canandaigua—is evident in the name of the lake and the town located on the northern tip, Skaneateles, which means “long lake.”
This painting depicts a sculling race from an era, and an area, when travel by boat was more common than today. The two steamboats seen here have flags bearing their names, identifying them as the Echo (on the left) and the Glen Haven, which carried vacationers arriving on trains and carriages at the top of Skaneateles Lake down to the resorts and summer cottages at the southern end. This scull race was widely advertised as part of the Fourth of July festivities on the lake in 1878. The artist shows people cheering from nearby boats as Charles E. Courtney from Union Springs passes by, winning the race by only one minute. The subject of the painting was unknown until it was included in a 1962 exhibition in New York, where a Skaneateles native recognized the scene and wrote a letter to his local paper.
[Gallery label text, 2021]
lower right
1967.36
item
Memorial Art Gallery
9/8/1999
67.36TR1
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Memorial Art Gallery
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Memorial Art Gallery
Imaging complete
7/10/2000
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Painting
Anne Mumford Palmer
Abbott Handerson Thayer, 1849 - 1921
Thayer, Abbott Handerson
United States
1849 - 1921
Male
24 x 19 1/2 in. (61 x 49.5 cm)
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without frame
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overall
frame
Oil
Oil
1879
1879
1879
1800-1900, 19th century, figure, flowers in art, paintings, portraits, women
Painting
A vision of fresh beauty in her portrait, Anne Mumford Palmer lived a life that was hardly placid. Born to a Rochester lawyer and his wife, Palmer moved to New York City after her father became the treasurer of Western Union. She was a good friend of the distinguished American writer Henry Adams and his wife, Clover.
An adventurous marriage to Englishman E. Nelson Fell included draining swamps in Florida to build a British colony called Fellsmere. Four years were spent with their three children on the Siberian steppes where Nelson Fell supervised a mining operation.
When Anne Mumford Palmer, age 22, was painted by Abbott Thayer, newly returned from studying in France, her life lay ahead of her like a limitless ocean. When she sold the painting to MAG founder Emily Sibley Watson in 1930, she was nearing the end of her remarkable journey, and would die seven years later. More remains to be learned about an interesting life.
[Gallery label text, 2009]
versoupper right
1951.37
item
Memorial Art Gallery
9/8/1999
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7/19/2000
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detail of signature
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Painting
American Harvesting (after Jasper Cropsey)
American artist, (active )
Cropsey, Jasper Francis
United States
1823 - 1900
Male
Original artist
After
American artist
United States
Primary
32 1/2 x 44 1/4 in. (82.6 x 112.4 cm)
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approximate installation dimensions
frame
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Oil
Oil
after 1851
1852
1861
1800-1900, 19th century, Hudson River School, jobs & work, landscapes, paintings
Painting
While we may not know who painted this work, we can trace its inspiration. In 1851 Jasper Cropsey's painting American Harvesting was in the American Art-Union's annual exhibition in New York. The American Art-Union, formed in 1844, promoted American artists by purchasing and exhibiting their works. To familiarize more Americans with these artists, engravings were made and distributed to members. Possibly, one of these engravings was owned by the artist who did the Gallery's painting. Several other versions of this work exist and were most likely inspired by the same print. A version of the this image was printed by Currier & Ives, entitled 'A Summer Landscape: Haymaking."
Cropsey's painting is currently in the collection of the <a href="http://www.artmuseum.iu.edu">Indiana University Art Museum</a>.
[Gallery label text, 2002]
1977.196
item
Memorial Art Gallery
9/8/1999
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Memorial Art Gallery
Imaging Complete
3/13/2002
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Painting
Wadsworth Meadow, Geneseo, New York
Frederick T. Vance, 1840 - 1892
Vance, Frederick T.
United States
1840 - 1892
Male
18 x 30 in. (45.7 x 76.2 cm)
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overall
frame
Oil
Oil
1866
1866
1866
1800-1900, 19th century, by Rochester artists, landscapes, paintings, Rochester Art Club founders, trees in art, views of Rochester & western New York
Painting
lower left
1971.57
item
Memorial Art Gallery
9/8/1999
71.57TR1
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Memorial Art Gallery
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digital image
Memorial Art Gallery
Imaging complete
6/19/2001
http://127.0.0.1:5000/Media/images/71.57_A1.jpg
Painting
Outlet of Lake George
Outlet of Lake George - Rogers Rock in the Distance
Jacob C. Ward, 1809 - 1891
Ward, Jacob C.
United States
1809 - 1891
Male
21 3/4 x 30 in. (55.2 x 76.2 cm)
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overall
frame
.
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without frame
Oil
Oil
ca. 1840
1835
1845
1800-1900, 19th century, American art, landscapes, movement, paintings, trees in art
Painting
1947.19
item
Memorial Art Gallery
9/8/1999
47.19TR1
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Memorial Art Gallery
Imaging complete
7/10/2000
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digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/47.19_A2.jpg
Painting
Study for "Christ Rejected"
Benjamin West, 1738 - 1820
West, Benjamin
United States
1738 - 1820
Male
30 7/8 x 42 1/8 in. (78.4 x 107 cm)
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approximate installation dimensions
frame
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.
Oil
Oil
1811
1811
1811
1800-1900, 19th century, Christ, paintings, Pontius Pilate, rejection
Painting
According to the Christian gospels, Jesus was brought before Caiaphus and his fellow high priests, who rejected Jesus and gave him to Pilate to be crucified. Even today, among contemporary clergy and theologians, there is debate about the historical circumstances of Christ's death.
Benjamin West depicted the traditional narrative in a compressed manner, bringing together elements of the events that were to follow: the crucifix and the instruments of the passion lie in the foreground; Mary, the mother of Jesus, and Mary Magdalene anticipate Jesus' suffering with looks of sorrow and horror; Roman soldiers stand by with spears.
The artist was born in pre-Revolutionary Philadelphia, studied in Italy, and settled permanently in England, where he became the second president of the Royal Academy of Arts. He became known for his dramatic historical and religious subjects. West taught the first generation of American artists, including Gilbert Stuart and Matthew Pratt. The finished version of Christ Rejected is monumental, at 16' x 23', and it hangs at the Pennsylvania Academy of the Fine Arts in Philadelphia.
[Gallery label text, 2004]
lower center
1964.59
item
Memorial Art Gallery
9/8/1999
64.59TR1
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Memorial Art Gallery
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Memorial Art Gallery
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7/14/2000
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Painting
Genesee River Valley I
Lemuel M. Wiles, (Perry, NY, 1826 - 1905, New York, NY)
Wiles, Lemuel M.
United States
1826 - 1905
Male
11 1/2 x 19 3/4 in. (29.2 x 50.2 cm)
.
.
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overall
frame
Oil
Oil
ca. 1865-1870
1865
1870
1800-1900, 19th century, children, landscapes, paintings, views of Rochester & western New York, women
Painting
Wiles, an artist from Perry, New York, offers two views of the rolling valleys of the Genesee. Both feature people who seem to be admiring the landscape, as we are invited to do: two women have laid down a rug or blanket on which to picnic, looking out over the rooftops of a barn and other outbuildings; a boy gazes out over the valley while his cows graze nearby. Atmospheric perspective renders the far hills a misty mirage. The artist wrote “Endeavor, as far as possible, to carry the eye beyond the canvas into the subject or scene depicted. Anything short of this detracts from your effort as a work of art. The master conceals his art and fascinates you in the spirit of his work. Therefore, consider your pigments your servants, not your masters. Study good pictures much, but study nature more.”
[Gallery label text, 2021, although painting ultimately not included in installation]
1971.8
item
Memorial Art Gallery
9/8/1999
71.8TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.8SL1
slide
2 x 2
00/00/00
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negative
full
4 x 5
00/00/00
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71.8DI1
digital image
Memorial Art Gallery
Imaging complete
8/28/2000
http://127.0.0.1:5000/Media/images/71.8_A1.jpg
71.8DI#2
digital image
9/5/2012
http://127.0.0.1:5000/Media/images/71.8_A2.jpg
Painting
Genesee River Valley II
Lemuel M. Wiles, 1826 - 1905
Wiles, Lemuel M.
United States
1826 - 1905
Male
11 1/2 x 19 3/4 in. (29.2 x 50.2 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
ca. 1865-1870
1865
1870
1800-1900, 19th century, children, landscapes, paintings, views of Rochester & western New York
Painting
Wiles, an artist from Perry, New York, offers two views of the rolling valleys of the Genesee. Both feature people who seem to be admiring the landscape, as we are invited to do: two women have laid down a rug or blanket on which to picnic, looking out over the rooftops of a barn and other outbuildings; a boy gazes out over the valley while his cows graze nearby. Atmospheric perspective renders the far hills a misty mirage. The artist wrote “Endeavor, as far as possible, to carry the eye beyond the canvas into the subject or scene depicted. Anything short of this detracts from your effort as a work of art. The master conceals his art and fascinates you in the spirit of his work. Therefore, consider your pigments your servants, not your masters. Study good pictures much, but study nature more.”
[Gallery label text, 2021, although painting ultimately not included in installation]
1971.9
item
Memorial Art Gallery
9/8/1999
71.9TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.9SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
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glossy
full
8 x 10
00/00/00
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71.9DI1
digital image
Memorial Art Gallery
Imaging complete
8/28/2000
http://127.0.0.1:5000/Media/images/71.9_A1.jpg
71.9DI#2
digital image
9/5/2012
http://127.0.0.1:5000/Media/images/71.9_A2.jpg
Painting
Early Morning
Alexander H. Wyant, (Evans Creek, OH, 1836 - 1892, New York, NY)
Wyant, Alexander H.
United States
1836 - 1892
Male
15 1/2 x 22 1/4 in. (39.4 x 56.5 cm)
.
.
.
Oil
Oil
0
0
1800-1900, 19th century, dawn, landscapes, paintings
Painting
lower right
1951.104
item
Memorial Art Gallery
9/8/1999
51.104TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.104SL1
slide
2 x 2
00/00/00
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glossy
8x10
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negative
4x5
00/00/00
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51.104DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/51.104_A1.jpg
Painting
Catskill Panorama
William Louis Sonntag, 1822 - 1900
Sonntag, William Louis
United States
1822 - 1900
Male
20 1/8 x 32 1/8 in. (51.1 x 81.6 cm)
.
.
.
Oil
Oil
0
0
1800-1900, 19th century, lakes, landscapes, mountains, paintings, rivers
Painting
lower right
1938.40
item
Memorial Art Gallery
9/8/1999
38.40SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
00/00/00
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glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
38.40DI1
digital image
5/9/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/38.40_I1.jpg
38.40DI2
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/38.40_A1.jpg
Painting
Portrait of the Artist's Father
Portrait of DeWitt Clinton Ellis
Harvey Ellis, (1852 - 1904)
Ellis, Harvey
United States
1852 - 1904
Male
14 x 11 7/8 in. (35.6 x 30.2 cm)
.
.
.
overall
stretcher
.
.
.
overall
frame
Oil
Oil
1879
1879
1879
1800-1900, 19th century, by Rochester artists, men, paintings, portraits, Rochester Art Club founders
Painting
lower leftlower leftback of canvaslower leftback of frame, partial
1997.4
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
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97.4DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/97.4_I1.jpg
97.4DI2
digital image
8x10
00/00/00
http://127.0.0.1:5000/Media/images/97.4_A1.jpg
97.4DI#3
digital image
6/19/2015
http://127.0.0.1:5000/Media/images/Inventory pictures/97.4_I2.JPG
97.4DI#4
digital image
2/4/2016
http://127.0.0.1:5000/Media/images/97.4_A2.jpg
97.4DI#5
digital image
6/7/2017
http://127.0.0.1:5000/Media/images/97.4_A3.jpg
Painting
Ripening Grain
Robert Bruce Crane, 1857 - 1937
Crane, Robert Bruce
United States
1857 - 1937
Male
25 x 30 in. (63.5 x 76.2 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
ca. 1893
1888
1898
1800-1900, 19th century, landscapes, paintings
Painting
lower right
1938.4
item
Memorial Art Gallery
9/8/1999
38.4SL1
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
38.4DI1
digital image
5/22/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/38.4_I1.jpg
38.4DI2
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/38.4_A1.jpg
Painting
View of Venice
Venetian Scene
Thomas Moran, 1837 - 1926
Moran, Thomas
United States
1837 - 1926
Male
19 3/4 x 24 1/2 in. (50.2 x 62.2 cm)
.
.
.
overall
frame
.
.
.
without frame
Oil
Oil
1890
1890
1890
1800-1900, 19th century, boats, paintings, seascapes, Venice, Italy
Painting
Thomas Moran was an adventurous landscape painter who traveled far and wide in search of compelling views. He accompanied the first government-sponsored expedition to Yellowstone, shortly before it became a national park, and his drawings and watercolors from that expedition formed the basis for dramatic paintings of western views. In 1886, he journeyed to Venice, where his watercolors captured views of lagoons and picturesque buildings. These sketches formed the basis of immensely popular studio paintings like the one hanging here.
In the second half of the nineteenth century, Venice was a favored Old World destination for many American writers and painters, including Mark Twain, Henry James, and James MacNeill Whistler. However, Moran's work probably had the greatest impact on Americans' awareness of La Serenissima (the most serene), a fond nickname for Venice.
[Gallery label text, 2004]
lower left
2000.6
item
Memorial Art Gallery
4/13/2000
2000.6CNEG1
negative
full
4 x 5
00/00/00
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full
8 x 10
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2000.6TR1
transparency
full
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full
2 x 2
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2000.6DI1
digital image
4 x 5
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2000.6DI2
digital image
4 x 5
00/00/00
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Painting
Sunset Glow - Autumn
James McDougal Hart, 1828 - 1901
Hart, James McDougal
United States
1828 - 1901
Male
17 x 25 1/4 in. (43.2 x 64.1 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1870
1870
1870
19th century, cows, fall, landscape, landscapes, paintings
Painting
lower left
1929.124
item
Memorial Art Gallery
9/8/1999
29.124SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
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29.124DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/29.124_I1.jpg
29.124DI2
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/29.124_A1.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Francis Granger (1792 - 1868)
Daniel Huntington, 1816 - 1906
Huntington, Daniel
United States
1816 - 1906
Male
32 x 27 in. (81.3 x 68.6 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1871
1871
1871
19th century, from Rochester collections, Granger Family, Canandaigua, NY, portraits
Painting
lower left
1946.62
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
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46.62DI1
digital image
full
2/7/2006
http://127.0.0.1:5000/Media/images/Inventory pictures/46.62_I1.jpg
46.62DI#1
digital image
full
4/10/2006
http://127.0.0.1:5000/Media/images/46.62_A1.jpg
46.64TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Santo: St. John Nepomuk
American artist, (active )
American artist
United States
Primary
15 1/2 x 10 1/4 in. (39.4 x 26 cm)
.
.
.
Paint and gesso
Paint and gesso
1840
1840
1840
Painting
1977.152.369
item
Memorial Art Gallery
9/8/1999
77.152.369SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.152.369DI#1
digital image
8/22/2007
http://127.0.0.1:5000/Media/images/77.152.369_A1.jpg
Painting
Santo: Saint Rosalia of Palermo
Jose Aragon, (active 1820 - 1835)
Aragon, Jose
United States
1820 - 1835
Male
11 1/2 x 7 1/2 in. (29.2 x 19.1 cm)
.
.
.
Paint and gesso
Paint and gesso
ca. 1820-1840
1820
1840
1800-1900, 19th century, female saints, paintings
Painting
1977.152.368
item
Memorial Art Gallery
9/8/1999
77.152.368SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.152.368DI#1
digital image
8/2/2007
http://127.0.0.1:5000/Media/images/77.152.368_A1.jpg
Painting
The Last Supper
American artist, (active )
American artist
United States
Primary
9 1/8 x 12 1/2 in. (23.2 x 31.8 cm)
.
.
.
Oil
Oil
ca. 1820
1815
1825
47.64
Painting
1981.20
item
Memorial Art Gallery
9/8/1999
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
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81.20DI#1
digital image
8/2/2007
http://127.0.0.1:5000/Media/images/81.20_A1.jpg
Painting
Mrs. Gerald (Catherine) Fowler
John Bradley, d. 1847
Bradley, John
United States
- 1847
Male
34 x 28 in. (86.4 x 71.1 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1836
1836
1836
1800-1900, books, costume accessories, figure, paintings, portraits
Painting
lower right
1997.20
item
Memorial Art Gallery
9/8/1999
97.20SLS1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
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glossy
8x10
00/00/00
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97.20TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.20DI#1
digital image
1/20/2006
http://127.0.0.1:5000/Media/images/97.20_A1.jpg
Painting
Roland at the Pass, from the Song of Roland
Attributed to Worthington Whittredge, (Springfield, OH, 1820 - 1910, Summit, NJ)
Whittredge, Worthington
United States
1820 - 1910
Male
Primary
13 3/4 x 18 1/2 in. (34.9 x 47 cm)
.
.
.
stretcher
horizontal
.
.
.
.
.
.
overall
frame
Oil
Oil
0
0
Painting
back of stretcher, Blue-bordered label with illegible, faded handwritingback of canvas, Per Paul J. Cardile appraisal, from the Hague, Netherlandsback of stretcher, Possibly T + 3 digits?back of stretcher, Modern hand-- matches a label on 2005.278 so maybe Brandt?
2005.279
item
Memorial Art Gallery
3/3/2006
2005.279DI#1
digital image
full
6/7/2006
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.279_I1.jpg
2005.279DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2005.279_A1.jpg
2005.279DI#3
digital image
8/2/2012
http://127.0.0.1:5000/Media/images/2005.279_A2.jpg
2005.279DI#5
digital image
Back
1/9/2022
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.279_I3.JPG
2005.279DI#4
digital image
1/9/2022
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.279_I2.JPG
2005.279DI#6
digital image
1/28/2022
http://127.0.0.1:5000/Media/images/2005.279_A3.jpg
Painting
On a French River
Emma Lampert Cooper, (Nunda, NY, 1855 - 1920, Pittsford, NY)
Cooper, Emma Lampert
United States
1855 - 1920
Female
18 x 22 1/8 in. (45.7 x 56.2 cm)
.
.
.
without frame
.
.
.
approximate installation dimensions
frame
Oil
Oil
0
0
1800-1900, American art, architecture in art, man-made environment, paintings
Painting
"On A French River" was conserved in 2008 thanks to a gift from Mildred and Alfred Boylan, who donated the painting to MAG in 1996.
lower leftverso, paper label attached to back of stretcher.verso, Writer unknown (see photo attached)recto, Circular white label with green text (see photo attached)
1996.99
item
Memorial Art Gallery
9/8/1999
96.99SL1
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
96.99DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/96.99_I1.jpg
96.99DI#4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/96.99_A1.jpg
Painting
View of the Delaware Water Gap
Attributed to Thomas Chambers, 1808 - after 1866
Chambers, Thomas
United States
1808 - after 1866
Male
23 x 30 1/2 in. (58.4 x 77.5 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
0
0
1800-1900, American art, American history, landforms in art, landscape, paintings, perspective, scale, transportation, weather & water
Painting
1947.16
item
Memorial Art Gallery
9/8/1999
47.16SL1
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
neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
47.16DI1
digital image
5/9/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/47.16_I1.jpg
47.16DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/47.16_A1.jpg
47.16TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2chambers2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/2chambers2.tif
Painting
Figure with Flamingoes
The Flamingoes
Frederick Stuart Church, 1842 - 1923
Church, Frederick Stuart
United States
1842 - 1923
Male
15 x 12 in. (38.1 x 30.5 cm)
.
.
.
Oil
Oil
0
0
1800-1900, American art, figure, music in art, paintings, people in art
Painting
lower right
1951.38
item
Memorial Art Gallery
9/8/1999
51.38SL1
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
51.38DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/51.38_I1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/51.38_A1.jpg
Painting
Portrait of Hiram Westley Dixon (1817- 1888)
Jefferson Gauntt, (1806 - 1864)
Gauntt, Jefferson
United States
1806 - 1864
Male
35 3/4 x 28 1/2 in. (90.8 x 72.4 cm)
.
.
.
.
.
.
approximate installation dimensions
Oil
Oil
circa 1850-1860
1850
1860
1800-1900, American art, costume, men, paintings, portraits
Painting
Hiram Wesley Dixon, Born circa 1817- died Dec. 1, 1888 (Tarrytown, NY)
Hiram, Angeline and daughter, Sophia Josephine Dixon portraits are not signed or dated. We believe all three were painted by the same artist, Jefferson Gauntt. The Dixon family’s life dates have been obtained through research. Based on these dates we speculate the portraits were painted between 1840 and 1860.
Tombstone, Oct. 2010, Colleen Piccone
The Dixon family lived north of New York City, first in Hudson, NY and then in Tarrytown, NY.
Although painted separately, Mr. and Mrs. Dixon appear to share a couch against a large window through which an elaborate landscape can be seen. Both are dressed in stylish and sophisticated attire. Hiram W. Dixon was the owner of a hardware store in Hudson. In 1856, Mr. Dixon was elected a messenger of the Electoral College to carry the vote to Washington. A newspaper article reported that each year he “predicted the election returns and his selections were as predictable as the Gallup polls.” In 1864, he was a director of The First National Bank of Hudson and in 1866, appointed postmaster of the Hudson post-office.
In 1866, the family became members of the First Reformed Protestant Dutch Church in Hudson. Mr. Dixon was also involved in real estate and insurance in Tarrytown where there is a street named for him.
Text Panel, Oct. 2010, Colleen Piccone
verso
1952.36
item
Memorial Art Gallery
9/8/1999
52.36SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
52.36DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/52.36_I1.jpg
52.36_DI#2
digital image
1/20/2009
http://127.0.0.1:5000/Media/images/52.36_A1.jpg
Painting
Portrait of Mary Burbank (1806 - 1888)
William Cogswell, (Sandusky, NY, 1819 - 1903, Pasadena, CA)
Cogswell, William
United States
1819 - 1903
Male
46 x 35 in. (116.8 x 88.9 cm)
.
.
.
without frame
.
.
.
overall
frame
Oil
Oil
1863
1863
1863
1800-1900, American art, costume, figure, portraits, women
Painting
Mary Goodrich Burbank, 1863
Born Dec. 28, 1806 - died July 4, 1888 (Rochester, NY)
The artist, William Cogswell, was born in upstate New York and taught himself portrait painting in the 1830s. He worked as a professional artist in New York City and exhibited at the National Academy and the American Art-Union. His best-known work is a portrait of Abraham Lincoln in the White House Collection. His portraits also include Presidents Grant and McKinley.
The portraits of Mr. and Mrs. Burbank were conserved by a Henry Luce Foundation Conservation Grant.
Gallery label, Feb. 2011, Colleen Piccone
The portraits of Mr. and Mrs. Burbank provide an unparalleled way of standing ‘face to face’ with early generations of Americans – those people who lived before Kodak gave us the snapshot.
Gideon Webster Burbank was educated in New York City and established a dry goods business in Kendall, NY in 1824. The following year he married Mary Goodrich and she bore eleven children. In 1839, after the Erie Canal was completed, Mr. Burbank started a career in Rochester as a manufacturer of flour at the Frankfort Mills. His mill sent barrels of flour to London as Rochester’s exhibit in the first World’s Fair in 1851. In the late 1850s, he designed and operated the steamer “Fulton” which made trips between Rochester and Buffalo on the Erie Canal. In 1869, he became a partner in the firm of Richardson, Burbank & Company, owners of the New York Flour Mills. He also served as president and director of several banks, and as a trustee of the First Baptist church.
Mr. Burbank was one of the earliest and most generous supporters of the University of Rochester and served on its Board of Trustees for nineteen years. In 1854, when the University was just four years old, he established the “Gideon Webster Burbank Professorship of Intellectual and Moral Philosophy.” His gift of $20,000 was, until that point, the largest single donation and helped inspire confidence in the long-term success of the University. He later suffered great financial loss, but remained proud of his connection to the University, saying “That I have saved.”
The Burbank family plot is located in Mt. Hope Cemetery.
Text Panel, Feb. 2011, Colleen Piccone
1973.69.1
item
Memorial Art Gallery
9/8/1999
73.69.1SL1
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
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.69.1DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/73.69.1_I1.jpg
73.69.1DI2
digital image
6/25/2009
http://127.0.0.1:5000/Media/images/73.69.1_A1.jpg
73.69.1DI#3
digital image
1/23/2010
http://127.0.0.1:5000/Media/images/73.69.1_A2.jpg
Painting
Portrait of Gideon Burbank (1803 - 1873)
William Cogswell, (Sandusky, NY, 1819 - 1903, Pasadena, CA)
Cogswell, William
United States
1819 - 1903
Male
46 x 35 in. (116.8 x 88.9 cm)
.
.
.
without frame
.
.
.
overall
frame
Oil
Oil
1863
1863
1863
1800-1900, American art, figure, implements & costume, men, paintings, portraits
Painting
Gideon Webster Burbank, Sr., 1863
Born May 24, 1803 - died March 4, 1873 (Rochester, NY)
The artist, William Cogswell, was born in upstate New York and taught himself portrait painting in the 1830s. He worked as a professional artist in New York City and exhibited at the National Academy and the American Art-Union. His best-known work is a portrait of Abraham Lincoln in the White House Collection. His portraits also include Presidents Grant and McKinley.
The portraits of Mr. and Mrs. Burbank were conserved by a Henry Luce Foundation Conservation Grant.
Gallery label, Feb. 2011, Colleen Piccone
The portraits of Mr. and Mrs. Burbank provide an unparalleled way of standing ‘face to face’ with early generations of Americans – those people who lived before Kodak gave us the snapshot.
Gideon Webster Burbank was educated in New York City and established a dry goods business in Kendall, NY in 1824. The following year he married Mary Goodrich and she bore eleven children. In 1839, after the Erie Canal was completed, Mr. Burbank started a career in Rochester as a manufacturer of flour at the Frankfort Mills. His mill sent barrels of flour to London as Rochester’s exhibit in the first World’s Fair in 1851. In the late 1850s, he designed and operated the steamer “Fulton” which made trips between Rochester and Buffalo on the Erie Canal. In 1869, he became a partner in the firm of Richardson, Burbank & Company, owners of the New York Flour Mills. He also served as president and director of several banks, and as a trustee of the First Baptist church.
Mr. Burbank was one of the earliest and most generous supporters of the University of Rochester and served on its Board of Trustees for nineteen years. In 1854, when the University was just four years old, he established the “Gideon Webster Burbank Professorship of Intellectual and Moral Philosophy.” His gift of $20,000 was, until that point, the largest single donation and helped inspire confidence in the long-term success of the University. He later suffered great financial loss, but remained proud of his connection to the University, saying “That I have saved.”
The Burbank family plot is located in Mt. Hope Cemetery.
Text Panel, Feb. 2011, Colleen Piccone
lower right
1973.69.2
item
Memorial Art Gallery
9/8/1999
73.69.2SL1
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
73.69.2DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/73.69.2_I1.jpg
73.69.2DI2
digital image
6/25/2009
http://127.0.0.1:5000/Media/images/73.69.2_A1.jpg
73.69.2DI#3
digital image
1/23/2010
http://127.0.0.1:5000/Media/images/73.69.2_A2.jpg
Painting
Upper Falls of the Genesee
Colin Campbell Cooper, 1856 - 1937
Cooper, Colin Campbell
United States
1856 - 1937
Male
8 9/16 x 5 3/16 in. (21.7 x 13.2 cm)
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.
.
without frame
.
.
.
overall
frame
Oil
Oil
0
0
by Rochester artists
Painting
lower right
1994.37
item
Memorial Art Gallery
9/8/1999
94.37SL1
slide
full
2 x 2
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
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.37DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/94.37_A1.jpg
Painting
Still Life with Goblet and Fruit
Helen Searle, (Burlington, VT, 1830 - 1884, Jackson, IL)
Searle, Helen
United States
1830 - 1884
Female
Primary
17 x 15 5/16 in. (43.2 x 38.9 cm)
.
.
.
overall
vertical
frame
Oil
Oil
1871
1871
1871
Painting
Helen Searle grew up in Rochester and taught art in Batavia, New York. In 1860, she moved to Dusseldorf to study with the distinguished painter Johan Wilhelm Preyer, whose still lifes were considered the finest in Germany (see below). He took a particular interest in Searle, and it is clear that she was greatly influenced by him. Preyer, in turn, was a devoté of 17th century Dutch artist Jan de Heem, whose work is on view on MAG’s second floor.
[Gallery label text, 2009]
lower rightverso, fragmentary
2009.5
item
Memorial Art Gallery
1/5/2009
2009.5DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2009.5_I1.JPG
2009.5DI2
00/00/00
http://127.0.0.1:5000/Media/images/2009.5_A1.jpg
2009.5DI#3
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/2009.5_A2.jpg
Painting
Fame
James Carroll Beckwith, (Hannibal, MO, 1852 – 1917, New York, NY)
Beckwith, James Carroll
United States
1852 - 1917
Male
Primary
22 1/2 x 23 3/4 in. (57.2 x 60.3 cm)
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.
.
overall
frame
Oil
Oil
1878
1878
1878
Painting
In ancient times, the laurel wreath connoted victory. A wreathed skull, however, came to symbolize the transience of fame and glory and was referred to as a memento mori (“remember you will die”). A painting that included this type of imagery is called a vanitas.
Beckwith was widely known for lush portraits of women and light-filled landscapes. It’s interesting to speculate about the circumstances that compelled him to paint such a somber picture. Written on the back of the painting is this phrase, which is, perhaps, a clue: Gathered this laurel in the “Boboli Gardens” Florence spring of 1878 – Painted in Paris summer of 1878. Carroll Beckwith April 20 – 1915.
[Gallery label text]
yes, verso
2009.75
item
Memorial Art Gallery
5/7/2009
2009.75DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2009.75_I1.JPG
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2009.75_A1.jpg
2009.75DI#2
digital image
11/20/2009
http://127.0.0.1:5000/Media/images/2009.75_A2.jpg
Painting
View of the Pitkin House and East Avenue
Charles Willson, (1826 - 1901, Fordham, NY)
Willson, Charles
United States
1826 - 1901
Male
20 3/8 x 30 1/4 in. (51.8 x 76.8 cm)
.
.
.
without frame
.
.
.
overall
frame
Oil
Oil
1859
1859
1859
American art, by Rochester artists, cityscapes, houses, paintings, views of Rochester & western New York
Painting
The 1839 Pitkin House, just a few blocks away from MAG at 474 East Avenue, was one of the first mansions built in the area. The rutted dirt of the street contrasts with the elegant brick edifice of the house, but wooden braces along the road supporting newly-planted trees reveal that East Avenue was being gentrified. William Pitkin, who selected the lot and had the house built, was at first a druggist, but went on to become a banker, an alderman, a University of Rochester trustee, and the mayor of Rochester in 1844-45. Later, another well-known Rochester entrepreneur, Daniel Powers, lived in the house. He opened the first public art gallery in the city in his grand Powers Building at the Four Corners.
This painting was made by Rochester artist Charles Willson during Powers’ tenure in the house. At a time when paintings of houses were used to demonstrate the wealth and good taste of the homeowners, Willson was clever enough to depict the house from an angle that shows the deep lot and additions at the back, something that would not have been seen if he’d painted the house from the front.
[Gallery label text, 2021]
lower leftleft side of frame, On left side of frame written "APG"
1973.13
item
Memorial Art Gallery
9/8/1999
73.13SL1
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
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.13DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/73.13_I1.jpg
73.13DI2
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/73.13_A2.jpg
73.13DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/73.13_R1.jpg
73.13DI4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/73.13_R2.jpg
73.13DI5
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/73.13_R3.jpg
73.13DI6
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/73.13_R4.jpg
73.13DI7
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/73.13_R5.jpg
73.13DI8
digital image
00/00/00
http://127.0.0.1:5000/Media/images/73.13_A1.jpg
Painting
Sunset over the Sea
Thomas Moran, 1837 - 1926
Moran, Thomas
United States
1837 - 1926
Male
5 1/8 x 10 1/4 in. (13 x 26 cm)
.
.
.
without frame
.
.
.
overall
frame
Oil
Oil
ca. 1900
1895
1905
1800-1900, 1900-2000, 20th century, paintings, seascapes
Painting
lower left
1983.112
item
Memorial Art Gallery
9/8/1999
83.112TR1
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 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
83.112SL1
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
83.112DI1
digital image
Memorial Art Gallery
Imaging complete
8/4/2000
http://127.0.0.1:5000/Media/images/83.112_A1.jpg
83.112DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Pittsford on the Erie Canal
George Harvey, 1800 - 1878
Harvey, George
United States
1800 - 1878
Male
17 1/2 x 23 1/2 in. (44.5 x 59.7 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1837
1837
1837
Painting
This scene is thought to be in the vicinity of King’s Bend Park just outside of Pittsford Village.
[Gallery label text, 2007]
lower right
2005.33
item
Memorial Art Gallery
5/20/2005
2005.33DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.33_I1.jpg
2005.33det1DI2
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/2005.33_A2.jpg
2005.33det2DI3
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/2005.33_A3.jpg
2005.33det3DI4
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/2005.33_A4.jpg
2005.33DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2005.33_A6.jpg
2005.33SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2005.33TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2005.33.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/2005.33.tif
M425_A.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_A.tif
6harvey1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/6harvey1.tif
2005.33DI#5
digital image
1/20/2006
http://127.0.0.1:5000/Media/images/2005.33_A5.jpg
2005.33DI#6
digital image
11/1/2005
http://127.0.0.1:5000/Media/images/2005.33_A7.jpg
2005.33DI#7
digital image
1/7/2014
http://127.0.0.1:5000/Media/images/2005.33_A8.jpg
Painting
Elijah Talcott Miller (1800 - 1854)
Noah North, 1809 - 1880
North, Noah
United States
1809 - 1880
Male
27 x 22 3/4 in. (68.6 x 57.8 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1835
1835
1835
men, portraits
Painting
1974.8
item
Memorial Art Gallery
9/8/1999
74.8TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.8 SL1
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
74.8DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/74.8_I1.jpg
74.8DI#2
digital image
8/19/2011
http://127.0.0.1:5000/Media/images/74.8_A1.jpg
Painting
Mosque of Sidi Haloui, Tlemcen, Algeria
Arabian Street Scene
Samuel Colman, 1832 - 1920
Colman, Samuel
United States
1832 - 1920
Male
20 3/8 x 12 in. (51.8 x 30.5 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1875
1875
1875
1800-1900, American art, architecture in art, daily life, paintings
Painting
This painting is related to a larger, more developed watercolor painting dated 1875 in the collection of the New York Public Library titled Moorish Mosque of Sidi Halou, Tlemcin, Algeria, 1875, 44 x 26 inches.
lower left
1951.43
item
Memorial Art Gallery
9/8/1999
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
51.43DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/51.43_I1.jpg
51.43DI#2
digital image
6/14/2010
http://127.0.0.1:5000/Media/images/51.43_A1.jpg
51.43DI#3
digital image
2/4/2016
http://127.0.0.1:5000/Media/images/51.43_A2.jpg