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keywordPath%20%3D%20%22GXVE%22%20and%20Disp_Obj_Type%20%3D%20%22Painting%22
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)
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approximate installation dimensions
frame
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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
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Memorial Art Gallery
9/8/1999
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Painting
My Hills of Home
Anna Mary Robertson Moses, (Greenwich, NY, 1860 - 1961, Hoosick Falls, NY)
Moses, Anna Mary Robertson
United States
1860 - 1961
Female
18 x 36 in. (45.7 x 91.4 cm)
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without frame
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overall
horizontal
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Oil
Oil
1941
1941
1941
1900-2000, 20th century, folk art, landscapes, paintings
Painting
If you asked people to name an American artist, chances are that many of them would say “Grandma Moses,” for her name has come to be associated with a distinctive style of painting and rural subjects that strike a common national chord.
Grandma Moses first began to paint in her seventies, after arthritis made it impossible for her to continue to embroider. A New York collector driving through Moses’s home town of Hoosick Falls, New York, saw her paintings in a drugstore, bought them, and bought more after visiting her at her farm. She had her first exhibition in 1940.
In her biography, she wrote: "I look back on my life like a good day's work, it was done and I feel satisfied with it. I was happy and contented, I knew nothing better and made the best out of what life offered. And life is what we make it, always has been, always will be."
[Gallery label text, 2009]
lower leftverso, In handwriting of the artist's brother, Fred E. Robertson
1953.3
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Memorial Art Gallery
9/8/1999
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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)
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approximate installation dimensions
frame
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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
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Memorial Art Gallery
9/8/1999
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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)
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approximate installation dimensions
frame
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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
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Memorial Art Gallery
9/8/1999
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4 x 5
10/30/2001
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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)
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approximate installation dimensions
frame
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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
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Memorial Art Gallery
9/8/1999
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2/20/2001
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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)
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approximate installation dimensions
frame
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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
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Memorial Art Gallery
9/8/1999
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Painting
Emily
Susan C. Waters, 1823 - 1900
Waters, Susan C.
United States
1823 - 1900
Female
41 x 30 in. (104.1 x 76.2 cm)
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vertical
frame
Oil
Oil
ca. 1845
1840
1850
children, folk art, portraits
Painting
Portraits with a characteristic flat quality, distorted proportions, and attention to patterned detail were commonly painted by self-trained, itinerant (traveling) artists. For many families, these portraits were the only record of a relative’s appearance.
Although this work is not signed, it is attributed to Susan Waters because it resembles other portraits of children that she did sign. Waters often placed her sitters in the foreground of an outdoor setting, looking out at the viewer with a gaze while holding something in their hands. Waters was born in Binghamton, New York. She taught herself to paint and traveled in the region of Pennsylvania and New York’s Southern Tier from 1843 to 1845. Later in her career, she turned from portraiture to still life and animal paintings, and became well-known for her paintings of the sheep that she raised at her home in Bordentown, New Jersey.
1977.179
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Memorial Art Gallery
9/8/1999
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5/16/2002
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11/11/2016
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Painting
Theorem Painting: Basket of Fruit
American artist, (active )
American artist
United States
Primary
13 x 15 1/4 in. (33 x 38.7 cm)
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Opaque watercolor
Opaque watercolor
0
0
folk art, paintings, still lifes, watercolors
Painting
1953.36
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Memorial Art Gallery
9/8/1999
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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)
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overall
horizontal
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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
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Memorial Art Gallery
10/25/1999
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