Man Reading at a Table

Classification: 
Date: 
1836
Medium: 
Oil on panel
Dimensions: 
panel: 29 1/4 x 11 in. ( 74.3 x 27.9 cm ) frame: 32 1/4 x 13 3/8 x 1 3/4 in. ( 81.9 x 34 x 4.4 cm )
Credit Line: 
Gift of Mr. and Mrs. Ralph F. Wolff
Object Number: 
2006.13
Gallery Label: 
"Man Reading at a Table" is one of a series of door panels that the New York art collector Luman Reed (1785-1836) commissioned to enhance the overall appearance of the art gallery in his Manhattan townhouse. As was fashionable among other elite American collectors, the floor plan of Reed's gallery was a double parlor. Two small doors opened into each of the two rooms, and two larger doors divided the double parlor, all of which had recessed panels. With the passion of a true collector, Reed was not one to waste valuable space for displaying works of art and decided to fill the door recesses with original paintings. Calling on Thomas Cole, Asher B. Durand, George Whiting Flagg, and William Sidney Mount to contribute to the scheme, Reed commissioned panels of simple genre subjects, which were to be executed in a free and uncomposed manner. Fourteen of the original panel paintings survive, four of which are by Cole and the rest attributed to Durand. The New-York Historical Society holds seven of the surviving panels attributed to Durand, including this one, which would have been mounted on one of the smaller doors leading into each room of the picture gallery. The other seven panels are dispersed among private collections and the Wadsworth Atheneum in Hartford, Connecticut.
Bibliography: 
Noble, Louis Legrand, The Life and Works of Thomas Cole, Hensonville, New York: Black Dome Press, 1964, pp. 155-65. Parry, Elwood, Thomas Cole's "The Course of Empire": A Study in Serial Imagery, PhD Dissertation, Yale, 1970, pp. 70-3. Lawall, David B., Asher Brown Durand: His Art and Art Theory in Relation to his Times, Submitted to Princeton University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy, March 1966, pp. 68, 188-92. 620. Lawall, David B., Asher B. Durand: A Documentary Catalogue of the Narrative and Landscape Paintings, New York & London, Garland Publishing, Inc., 1978, pp. 8-10. Frankenstein, Alfred, William Sidney Mount, New York, NY: Harry N. Abrams, Inc., 1975, pp. 69-70. Koke, Richard J., American Landscape and Genre Paintings in the New York Historical Society, Vol. I, New York: The New-York Historical Society, 1982, pp. 304-6, 402-4. Tufts, Eleanor, "Realism Revisited: Goya's Impact on George Bellows and other American Responses to the Spanish Presence in Art," Arts, No. 57, February 1983, PP. 105-13. Foshay, Ella M., Luman Reed's Picture Gallery: Pioneer Collection of American Art, New York: Harry N. Abrams, Inc., 1990, pp. 38-9, 67-9, 205-6. Burgard, Timothy Anglin, "New Discoveries in American Art," American Art Journal, Vol. 23, No. 1, 1991, pp. 70-4.
Date Begin: 
1831
Date End: 
1841
eMuseum Object ID: 
59763
Due to ongoing research, information about this object is subject to change.

Elias G. Drake

Classification: 
Date: 
probably before 1850
Medium: 
Oil on canvas
Dimensions: 
canvas: 32 1/2 x 27 1/2 in. (82.6 x 69.9 cm) frame: 41 x 35 x 4 in. (104.1 x 88.9 x 10.2 cm)
Credit Line: 
Gift of JPMorgan Chase & Co.
Object Number: 
2006.9
Date Begin: 
1850
Date End: 
1850
eMuseum Object ID: 
59533
Due to ongoing research, information about this object is subject to change.

Portrait of a bull

Classification: 
Description: 
Oil on canvas portrait of bull in left profile
Object Number: 
Z.3427
Date Begin: 
0
Date End: 
0
eMuseum Object ID: 
59153
Due to ongoing research, information about this object is subject to change.

Thoughts of the Future (Thoughts of Liberia, Emancipation)

Collections: 
Classification: 
Date: 
1861
Medium: 
Oil on canvas
Dimensions: 
Overall (unframed): 18 x 21 in. (45.7 x 53.3 cm) Overall (framed): 26 1/2 x 30 1/2 x 3 in. (67.3 x 77.5 x 7.6 cm)
Description: 
An African-American man, wrapped in brown coat and scarf, sits near a slightly dilapidated hearth, heating his kettle. In one hand is his cane, in the other a folded newspaper; his hat sits on the floor nearby. In the top right corner are his painter's tools. Pinned to the door is a poster marked "Hayti."
Credit Line: 
The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart, New-York Historical Society
Object Number: 
S-200
Gallery Label: 
The subject of this painting is probably a freeman, since most slaves were forbidden to read. The title informs us that the man's thoughts have wandered to Liberia, where the American Colonization Society was organizing a resettlement of freed slaves. The reference to "Hayti" is a reminder of the fight for freedom in that French colony, as well as the social and political turmoil that followed. Slaves in Haiti won their freedom in 1804, after a 13 year war against their French owners.
Bibliography: 
Holzer, Harold, ed. "Lincoln and New York." New York: The New-York Historical Society and London: Philip Wilson Publishers Ltd., 2009.
Date Begin: 
0
Date End: 
1861
eMuseum Object ID: 
59122
Due to ongoing research, information about this object is subject to change.

The Scythe Grinder

Classification: 
Date: 
1856
Medium: 
Oil on canvas
Dimensions: 
Overall: 24 1/8 x 20 in. ( 61.3 x 50.8 cm ) frame: 30 1/4 x 26 1/4 x 3 in. (30 1/4 x 26 1/4 x 3 in.)
Description: 
An African-American boy cranks the wheel, watching with fascination as the scythe makes contact with the stone. The white supervisor watches with a kindly look. Various farm tools are strewn nearby. To the right stands a barn in which a man unloads hay from a wagon. On the barn roof are three birds and a rooster weathervane, above is a clouded blue sky.
Credit Line: 
Gift of Charles E. Dunlap
Object Number: 
1947.493
Gallery Label: 
Edmonds' artistic style owes much to the practices of Dutch and Flemish painting, which he studied closely during his travels through Europe. Americans admired those earlier works for the clear and straightforward expression of the Dutch national character. Artists like Edmonds hoped to use a similar style to convey a sense of the maturing character of America. A sketch based on this painting was used for a banknote engraving.
Bibliography: 
Mann, Maybelle, "Francis William Edmonds: Mammon and Art," The American Art Journal, Vol. 2, No. 2, Autumn 1970, pp. 92-106. Mann, Maybelle, Francis William Edmonds: Mammon and Art, New York University Ph.D. Dissertation, 1972, pp. 146-8. Mann, Maybelle, "Humor and philosophy in the paintings of Francis William Edmonds," Antiques, November 1974, pp. 862-70. Mann, Maybelle, Francis William Edmonds, Washington, D.C.: International Exhibits Foundation, 1975, p. 46. Koke, Richard J., American Landscape and Genre Paintings in the New York Historical Society, Vol. I, New York: The New-York Historical Society, 1982, pp. 6-7. Clarke, H. Nichols B., Francis W. Edmonds, American Master in the Dutch Tradition, Washington, D.C.; Published for Amon Carter Museum by Smithsonian Institution Press, 1988, pp. 111-9.
Date Begin: 
0
Date End: 
1856
eMuseum Object ID: 
59098
Due to ongoing research, information about this object is subject to change.

Sunday Morning

Classification: 
Date: 
1866
Medium: 
Oil on canvas
Dimensions: 
Overall: 24 1/4 x 36 in. ( 61.6 x 91.4 cm ) frame: 36 3/4 x 48 1/2 x 4 in. (36 3/4 x 48 1/2 x 4 in.)
Description: 
A family gathered around the hearth for Sabbath Bible Reading. The grandfather sits to the left of the dwindling fire, bible open on his lap. A girl sits at his knee, listening intently. Other family members are positioned nearby; the grandmother gazing at the embers, the father in a Queen Anne style chair, the mother nursing her baby; two young children whispering at far right; and a young man and woman at left, apparently lost in their own thoughts. Above the mantel is a row of objects, most prominent among them a pair of export porcelain parrots.
Credit Line: 
The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart
Object Number: 
S-219
Gallery Label: 
"Sunday Morning" depicts an American family in the aftermath of the Civil War and reflects the country's process of healing and recuperation. The scene is of a Sabbath Bible reading and suggests the reawakening of religion, as well as the virtues of old-fashioned domestic values as antidotes for the suffering of wartime. Painted in the spirit of Colonial Revivalism, the scene captures the country's struggle to regain its moral grounding after the shattering experience of civil war.
Bibliography: 
"Fine Arts," The Evening Post, April 17, 1866, p. 2. "Soiree at the Academy of Design. Forty-First Annual Exhibition," New York Daily Tribune, April 17, 1866, p. 8 "National Academy of Design. Forty-First Annual Exhibition," The New York Leader, April 28, 1866, p. 1. "New Publications," The Albion, May 5, 1866, p. 213. "Fine Arts. The Forty-First Exhibition of the National Academy of Design," The Nation, May 11, 1866, p. 603. "National Academy of Design," American Art Journal, May 31, 1866, p. 84. "Editor's Easy Chair," Harper's Magazine, June 1866, pp. 117-8. "The National Academy of Design," New York Tribune, July 4, 1866, p. 5. Tuckerman, Henry T., Book of the Artists, American Artist Life, Comprising Biographical and Critical Sketches of American Artists: Preceded by an Historical Account of the Rise and Progress of Art in America, New York: P. Putnam & Son, 1867, pp. 466-71. Ingram, J.S., The Centennial Exposition, Described and Illustrated, being a Concise and Graphic Description of this Grand Enterprise, Commemorative of the First Centennary of American Independence …, 1876, Philadelphia: Hubbard Bros., p. 374. "The Fine Arts at the Centennial.-VIII," American Architect and Building News, August 19, 1876, pp. 269-70. Hills, Patricia, Eastman Johnson, New York: Crown Publishers, 1972, pp. 38. Hills, Patricia, The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes, New York Garland Publishing, Inc., 1977, pp. 63, 92-3. Koke, Richard J., American Landscape and Genre Paintings in the New York Historical Society, Vol. II, New York: The New-York Historical Society, 1982, p. 236. Carbone, Teresa A. and Hills, Patricia, et al., Eastman Johnson: Painting America, New York: Brooklyn Museum of Art in association with Rizzoli International Publications, 1999, pp.66-8. Gallati, Barbara Dayer, "American Genre painting and the Rise of 'Average Taste,'" The Magazine Antiques, November/December, 2011, pp. 134-141.
Date Begin: 
0
Date End: 
1866
eMuseum Object ID: 
59097
Due to ongoing research, information about this object is subject to change.

Knitting for the Soldiers

Classification: 
Date: 
1861
Medium: 
Oil on millboard
Dimensions: 
Framed: 17 1/4 × 19 3/4 × 2 5/8 in. (43.8 × 50.2 × 6.7 cm) Unframed: 9 3/8 × 11 3/4 in. (23.8 × 29.8 cm)
Description: 
A young girl in a brown dress, cheeks flushed, stands in a slightly dilapidated kitchen near the warmth of the stove. She is knitting a nearly completed sock in blue and white. Above the stove, a cabinet is partly open, revealing the plates within.
Credit Line: 
The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart
Object Number: 
S-26
Marks: 
signature and date: LL: E. JOHNSON 1861
Gallery Label: 
Searching for American subjects for his genre paintings, Johnson turned his attention to the Civil War, particularly as it affected domestic occupations. To that end, he focused on anecdotal scenes from the homefront, as in "Knitting for the Soldiers." The painting shows a young girl knitting for the troops and is faithful to the convention of using female subjects to establish domestic virtues.
Bibliography: 
"The R.L. Stuart Gallery at the Lenox Library, New York City, The Illustrated American, March 18, 1893, p. 333. New York Public Library, Catalogue of Paintings in the Picture Galleries, New York: The New York Public Library, Astor, Lenox and Tilden Foundations, 1938. p. 17. Hills, Patricia, Eastman Johnson, New York: Crown Publishers, 1972, p. 40. Hills, Patricia, The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes, New York Garland Publishing, Inc., 1977, p. 82. Koke, Richard J., American Landscape and Genre Paintings in the New York Historical Society, Vol. II, New York: The New-York Historical Society, 1982, p. 235. Holzer, Harold, ed. "Lincoln and New York." New York: The New-York Historical Society and London: Philip Wilson Publishers Ltd., 2009.
Date Begin: 
0
Date End: 
1861
eMuseum Object ID: 
59096
Due to ongoing research, information about this object is subject to change.

Kosciuszko's Monument, West Point

Classification: 
Collections: 
Date: 
ca. 1845
Medium: 
Oil on canvas
Dimensions: 
Overall: 23 1/4 x 28 3/4 in. ( 59.1 x 73 cm ) Framed: 34 × 38 3/4 × 5 1/8 in. (86.4 × 98.4 × 13 cm)
Credit Line: 
Purchase
Object Number: 
1923.6
Gallery Label: 
The painting itself is based on an engraving by Robert Wallis after the original taken in 1836 by William Henry Bartlett.
Date Begin: 
0
Date End: 
1845
eMuseum Object ID: 
59066
Due to ongoing research, information about this object is subject to change.

John James Audubon (1785-1851)

Classification: 
Date: 
n.d.
Medium: 
Oil on linen
Dimensions: 
Canvas: 44 1/4 x 35 x 3/4 in. ( 112.4 x 88.9 x 1.9 cm ) Frame: 48 3/8 × 39 1/4 × 2 3/4 in. (122.9 × 99.7 × 7 cm)
Description: 
In this portrait, Audubon is depicted with his hunting dog and a double-barrelled shotgun.
Credit Line: 
Purchase
Object Number: 
1974.46
Gallery Label: 
In this portrait, Audubon is depicted with his hunting dog and a double-barrelled shotgun.
Date Begin: 
0
Date End: 
0
eMuseum Object ID: 
58888
Due to ongoing research, information about this object is subject to change.

Mrs. Charles Jeffery Smith (Elizabeth Woolsey Smith, 1736-1816)

Classification: 
Date: 
1794
Medium: 
Oil on canvas
Dimensions: 
canvas: 47 3/4 x 41 3/4 in. ( 121.3 x 106 cm ) frame: 52 x 46 in. ( 132.1 x 116.8 cm )
Credit Line: 
Purchase, Thomas Jefferson Bryan Fund
Object Number: 
1975.28
Marks: 
inscriptions: lower left: R. Earl Pinxt. 1794
Gallery Label: 
Elizabeth Woolsey Smith, of Smithtown, Long Island, was active in the domestic production of silk and is credited with introducing silkworm culture to her native region. Itinerant American portraitist Ralph Earl depicts Mrs. Smith stringing silkworm cocoons in preparation for spinning the silk into thread.
Provenance: 
Purchased in Kent, Ct. by Vose Galleries in 1966 from a descendent of the subject.
Date Begin: 
0
Date End: 
1794
eMuseum Object ID: 
58871
Due to ongoing research, information about this object is subject to change.

Pages

Subscribe to RSS - PAINTINGS
Creative: Tronvig Group