10
keywordPath%20%3D%20%22GXWX%22
Drawing
Sketch for George Eastman Sculpture
Marisol, 1930 - 2016
Marisol
United States
1930 - 2016
Female
16 3/4 x 14 1/16 in. (42.5 x 35.7 cm)
.
.
.
without frame
Graphite
Graphite
0
0
1900-2000, 20th century, drawing, from Rochester collections, George Eastman, New York State & Local History
Drawing
1998.60
item
Memorial Art Gallery
3/23/2000
98.60SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
00/00/00
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glossy
8 x 10
00/00/00
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98.60DI1
digital image
00/00/00
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98.60DI#2
digital image
3/19/2009
http://127.0.0.1:5000/Media/images/98.60_A2.jpg
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)
.
.
.
approximate installation dimensions
frame
.
.
.
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
item
Memorial Art Gallery
9/8/1999
34.1TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
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34.1SL1
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8x10
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2 x 2
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full back
8x10
00/00/00
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34.1DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
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glossy
full front
8 x 10
00/00/00
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3unknown2.tif
digital image
00/00/00
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M425_p30.tif
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00/00/00
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34.1DI#2
digital image
8/28/2012
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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)
.
.
.
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
transparency
4 x 5
00/00/00
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2 x 2
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glossy
8 x 10
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negative
4 x 5
00/00/00
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78.187DI1
digital image
Memorial Art Gallery
Imaging complete
4 x 5
10/30/2001
http://127.0.0.1:5000/Media/images/78.187_A1.jpg
78.187DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/78.187-191_R1.jpg
78.187DI3
digital image
Memorial Art Gallery
Imaging complete
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/78.187_A2.jpg
5hopkins2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/5hopkins2.tif
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
78.188SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
78.188DI1
digital image
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
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/78.187-191_R1.jpg
5hopkins3.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/5hopkins3.tif
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
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
78.189TR3
transparency
8 x 10
00/00/00
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78.189TR2
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2.5 x 2.5
00/00/00
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78.189SL1
slide
full
2 x 2
00/00/00
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78.189DI1
digital image
Memorial Art Gallery
Imaging complete
2/20/2001
http://127.0.0.1:5000/Media/images/78.189_A1.jpg
78.187DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/78.187-191_R1.jpg
78.189DI3
digital image
Memorial Art Gallery
Imaging complete
00/00/00
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transparency
4 x 5
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digital image
00/00/00
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00/00/00
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Sculpture
Francis Granger (1792 - 1868)
Hiram Powers, 1805 - 1873
Powers, Hiram
United States
1805 - 1873
Male
23 x 17 x 11 in. (58.4 x 43.2 x 27.9 cm)
.
.
.
overall
.
.
.
with base
Marble
Marble
1837
1837
1837
1800-1900, 19th century, busts, Granger Family, Canandaigua, NY, men, New York State & Local History, politics in art, portraits
Sculpture
“Now then for a small piece of vanity—Powers, the sculptor, is taking me in clay, to be wrought in marble in Italy next summer. If he does not get a perfect head, it will be his first failure.”
New York Congressman and Canandaigua resident Francis Granger was one of many prominent American politicians to sit for a classical-style portrait bust by Hiram Powers. Many Grand Tourists made Powers’ sculpture studio in Florence, Italy, a stop on their travels, to witness the artist at work, view his latest creations, or commission a personal artwork.
[Label text from It Came From the Vault exhibition, 2013]
Why do portrait busts often have blank eyeballs? Here’s one theory: originally, many ancient Greek and Roman sculptures were painted, including the eyes, but over the years the paint has faded so that by the 19th century, the eyes appeared to be blank. While 19th century artists often modeled their portrait busts of important political figures on these Classical forms, they did not know that the eyes had been painted originally, so they left them blank. Only with current technology has it been possible to understand how the older sculptures actually appeared.
The subject of this sculpture, Francis Granger (1792 – 1868), was born a decade after the American Revolution and died right after the Civil War. A congressman from nearby Canandaigua when he posed for this sculpture in 1837, he said: “Now then for a small piece of vanity – Powers, the sculptor, is taking me in clay, to be wrought in marble in Italy next summer. If he does not get a perfect head, it will be his first failure.”
[Gallery label text, 2009]
1930.73
item
Memorial Art Gallery
9/8/1999
30.73SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
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negative
4 x 5
00/00/00
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30.73TR1
transparency
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
30.73DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/30.73_A1.jpg
Drawing
Sketch for George Eastman Sculpture
Marisol, 1930 - 2016
Marisol
United States
1930 - 2016
Female
16 3/4 x 14 1/16 in. (42.5 x 35.7 cm)
.
.
.
without frame
Graphite
Graphite
0
0
1900-2000, 20th century, drawing, from Rochester collections, George Eastman, New York State & Local History
Drawing
1998.59
item
Memorial Art Gallery
3/23/2000
98.59SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.59DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/98.59_A1.jpg
98.59DI#2
digital image
3/19/2009
http://127.0.0.1:5000/Media/images/98.59_A2.jpg
Textiles
Sampler
Ann Gennett Pixley Lacey, (1809 - 1841)
Lacey, Ann Gennett Pixley
United States
1809 - 1841
Female
10 1/4 x 10 3/4 in. (26 x 27.3 cm)
.
.
.
Silk
Silk
1819
1819
1819
1800-1900, 19th century, folk art, leisure activities, New York State & Local History, textiles
Textiles
The Memorial Art Gallery is fortunate to have in its collection both a portrait of Ann Gennett Lacey and an example of her needlework made when she was only ten years old (see row seven of her sampler). She was probably enrolled at a female academy in Riga, west of Rochester, where she was taught these skills.
Following the American Revolution, schools for young women began to flourish, and fine needlework was one of the subjects (as well as music, reading, writing, and arithmetic) included in the curriculum. The stitching of samplers was believed to be a sign of virtue, achievement and industry, stitched more to demonstrate education than to preserve a skill.
{Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial}
1978.191
item
Memorial Art Gallery
9/8/1999
78.191SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
78.191NEG1
negative
2 x 3
00/00/00
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78.191PRT1
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
78.191DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/78.191_A1.jpg
78.187DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/78.187-191_R1.jpg
78.191DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/78.191_A3.jpg
78.191DI4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/78.191_A2.jpg
78.191_I4.JPG
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/78.191_I4.JPG
78.191_I3.JPG
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/78.191_I3.JPG
78.191_I2.JPG
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/78.191_I2.JPG
78.191_I1.JPG
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/78.191_I1.JPG
Drawing
Sketch for George Eastman Sculpture
Marisol, 1930 - 2016
Marisol
United States
1930 - 2016
Female
16 3/4 x 14 1/16 in. (42.5 x 35.7 cm)
.
.
.
without frame
Graphite
Graphite
0
0
1900-2000, 20th century, drawing, George Eastman, New York State & Local History
Drawing
lower right
1998.61
item
Memorial Art Gallery
3/23/2000
98.61SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.61DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/98.61_A1.jpg
98.61DI#2
digital image
3/19/2009
http://127.0.0.1:5000/Media/images/98.61_A2.jpg
Painting
George Eastman (1854-1932)
Philip Alexius de László, (Budapest, Hungary, 1869 - 1937, London, England)
de László, Philip Alexius
England
1869 - 1937
Male
16 x 13 in. (40.6 x 33 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1926
1926
1926
1900-2000, 20th century, art with Rochester connections, George Eastman, new york state & local history, New York State & Local History, paintings, portrait
Painting
De Laszlo also painted a portrait of George Eastman that now hangs at the Massachusetts Institute of Technology, as well as portraits of Eastman's parents.
back of frame, Also an incised inscription with Grieve's name and addressback of panelback of panel, Lechertier Barbe Ltd was in business at 95 Jermyn St from 1898 until 1970lower right
1926.8
item
Memorial Art Gallery
11/2/2000
26.8SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
26.8DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/26.8_I1.jpg
26.8DI2
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/26.8_A1.jpg
26.8DI#3
digital image
3/25/2008
http://127.0.0.1:5000/Media/images/26.8_A2.jpg
26.8TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif