Abraham Lincoln (1809-1865)

Classification: 
Date: 
1864
Medium: 
Oil on canvas
Dimensions: 
Canvas: 21 3/4 x 16 1/4 in. (55.2 x 41.3 cm) Frame: 26 5/8 x 21 7/8 in. (67.6 x 55.6 cm)
Credit Line: 
Gift of Mrs. Oscar Marshall and her children
Object Number: 
1926.4
Marks: 
signature and date: lower right: "W. E. Marshall 1864"
Gallery Label: 
In March 1861, Abraham Lincoln was sworn in as the nation's sixteenth president. By the time of his inauguration, the southern states had seceded from the Union and four years of civil war ensued. In January of 1863, Lincoln issued his Emancipation Proclamation and within a month of his second term as president, Union military triumphs heralded an end to the war. Lincoln's presidency came to an abrupt end in April of 1865, when he was assassinated by John Wilkes Booth in Ford's Theatre. The decorative border framing this oval portrait derives from the artist's early career as an engraver of portraits and bank notes. Marshall based this likeness of Lincoln on the photograph taken by Anthony Berger, a partner of the daguerreotype photographer Mathew Brady, on February 9, 1864, which was published in Meserve and Sandburg, "The Photographs of Abraham Lincoln" (1944, no. 85). This portrait was inherited by Oscar Marshall upon the death of his brother, the artist, and donated to the Society by the artist's sister-in-law.
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: 
1864
eMuseum Object ID: 
55759
Due to ongoing research, information about this object is subject to change.

John Paul Jones

Classification: 
Date: 
ca. 1896
Medium: 
Watercolor on deerskin
Dimensions: 
Overall: 2 1/8 x 2 1/8 in. ( 5.4 x 5.4 cm )
Description: 
Portrait of John Paul Jones, after an ivory miniature by the Countess de Bourbon de la Vendahl, done after an ivory miniature by the Countess's teacher, the Dutch artist Van der Huydt.
Credit Line: 
Gift of Colonel James Barnes
Object Number: 
1933.247
Inscriptions: 
Inscribed in watercolor [?] at left: "1776 JT"; and at bottom left "1776 / JT"
Gallery Label: 
Purchased by father of Donor for $5 at the auction at the American Art Galleries, NYC, March 20 1896, from the collection of Ed. Frossard, called the Trumbull Rvolutionary Gallery. Frossard forged Trumbull's intials on minatures and portraits which were believed to come from Alonzo Chappell's studio.
Provenance: 
Ex - Captian John Sanford Barnes Collection
Date Begin: 
0
Date End: 
1896
eMuseum Object ID: 
55709
Due to ongoing research, information about this object is subject to change.

George Washington (1732-1799)

Classification: 
Date: 
1841
Medium: 
Oil on canvas
Dimensions: 
Overall: 28 x 22 in. ( 71.1 x 55.9 cm ) frame: 34 x 28 x 3 in. (34 x 28 x 3 in.)
Description: 
Portrait of a young George Washington as a surveyor; sextant on stand, leaning against a rock; setting is in wilderness.
Credit Line: 
Bequest of Mrs. Bryan Kirby Stevens
Object Number: 
1930.2
Gallery Label: 
Best known as the leader of the Continental army against the British forces in the American Revolution and the first president of the United States, Washington also pursued a life-long interest in geography and cartography. Beginning with his early career as a Virginia County surveyor and throughout his life as a soldier, planter, businessman, land speculator, farmer, military officer, and president, Washington relied on and benefited from his knowledge of maps. Between 1747 and 1799 Washington surveyed over two hundred tracts of land and held title to more than sixty-five thousand acres in thirty-seven different locations. This portrait depicts Washington as a young surveyor, together with his sextant on a stand.
Bibliography: 
Apollo Association, for the Promotion of the Fine Arts in the United States: Catalogue of the Eighth Exhibition, at the Granite Building, Corner of Broadway and Chambers Street. 1841, New York: Charles Vinten, p. 8. "The Apollo Association," Arcturus, A Journal of Books and Opinion, Vol. 2, No. 12, November 1841, p. 373. "The Fine Arts. The Apollo Association," The New-York Mirror, Vol. XIX, No. 49, December 4, 1841, p. 390. "The Fine Arts. The Apollo Association. Musings Resumed," The New-York Mirror, Vol. XIX, No. 50, December 11, 1841, p. 399. "The Fine Arts. The Apollo Association. Musings Concluded," The New-York Mirror, Vol. XIX, No. 51, December 18, 1841, p. 407. Catalogue of American Portraits in The New-York Historical Society, New Haven: Yale University Press, Vol. III, 1974, p. 858. Koke, Richard J., American Landscape and Genre Paintings in the New-York Historical Society, Vol. I, New York: The New-York Historical Society, 1982, p. 169.
Date Begin: 
0
Date End: 
1841
eMuseum Object ID: 
55701
Due to ongoing research, information about this object is subject to change.

Mrs. Charles A. Lamb (1829-1893)

Classification: 
Collections: 
Is owned by NYHS: 
Yes
Highlight: 
Display this item in the highlights
Date: 
1878
Medium: 
Oil on millboard
Dimensions: 
Framed: 26 3/4 in. × 36 in. × 4 in. (67.9 × 91.4 × 10.2 cm) Unframed: 15 1/2 × 24 3/4 in. (39.4 × 62.9 cm) Sight
Credit Line: 
Bequest of Mrs. Charles A. Lamb
Object Number: 
1893.2
Marks: 
signature and date: lower right: "C. A. Fassett 1878"
Gallery Label: 
Martha Joanna Nash, the daughter of Arvin and Lucinda (Vinton) Nash, was born in Plainfield, Massachusetts. She married Charles A. Lamb in 1852 and lived in Chicago was the next fourteen years. She moved to New York in 1866 and embarked on a literary career, writing many short stories for magazines as well as a novel, "Spicy," which was published in 1873. However, her 2-volume "History of the City of New York" (1877-81) was her first work to win wide acclaim.
Date Begin: 
0
Date End: 
1878
eMuseum Object ID: 
55700
Due to ongoing research, information about this object is subject to change.

Petrus (Peter) Stuyvesant (1611/12-1672)

Classification: 
Date: 
n.d.
Medium: 
Oil on wood panel
Dimensions: 
support: 22 1/2 x 17 1/2 in. ( 57.2 x 44.4 cm ) Frame: 29 1/4 x 25 x 2 1/2 in. (74.3 x 63.5 x 6.4 cm)
Credit Line: 
Gift of Robert Van Rensselaer Stuyvesant
Object Number: 
1909.2
Gallery Label: 
By 1635, Peter Stuyvesant, a native of west Friesland, the Netherlands, was employed by the Dutch West India Co. and sent to Brazil. In 1643 he was made governor of Curaçao and other Dutch islands of the West Indies; during an expedition against the Portuguese on St. Martin in 1644 his right leg was wounded, requiring amputation. In 1646 he was appointed director general of New Netherland; he served in that office until the colony came under British rule in 1664.
Bibliography: 
Krohn, Deborah, Peter Miller, and Marybeth De Filippis, eds., "Dutch New York Between East and West: The World of Margrieta van Varick." New York: Bard Graduate Center, New-York Historical Society, New Haven and London: Yale University Press, 2009, p. 176-177
Date Begin: 
0
Date End: 
0
eMuseum Object ID: 
55699
Due to ongoing research, information about this object is subject to change.

James Madison (1750/51-1836)

Classification: 
Date: 
1835
Medium: 
Oil on canvas
Dimensions: 
Unframed: 30 1/4 × 25 1/4 in. (76.8 × 64.1 cm) Framed: 40 in. × 34 3/4 in. × 4 in. (101.6 × 88.3 × 10.2 cm)
Credit Line: 
Gift of The New-York Gallery of the Fine Arts
Object Number: 
1858.10
Gallery Label: 
This portrait was commissioned by Luman Reed as a part of Durand's series of the first seven presidents of the United States. Durand may have chosen to copy the likeness executed by Stuart rather than his own portrait of two years earlier because the latter represented the subject in old age while Stuart's image of 1804 was made when Madison was an active member of society and government in Washington.
Provenance: 
Luman Reed, d. 1836; Mrs. Luman Reed, New York, 1836-44; New-York Gallery of the Fine Arts, 1844-58.
Bibliography: 
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, p. 621 Sheldon, G. W., American Painters: With Eighty-Three Examples of their Work Engraved on Wood, New York: D. Appleton and Company, 1879, p. 129-130. Durand, John, The Life and Times of Asher B. Durand, New York: Charles Scribner's Sons, 1894; Reprint, Hensonville, NY: Black Dome Press, 2007), pp. 106-15. Sherman, Frederic Fairchild, Early American Portraiture, New York: Privately Printed, 1930, pp. 38-41. Bolton, Theodore, The William and Mary Quarterly, 3rd Ser. Vol. 8, No. 1, January 1951, pp. 25-47. 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. 57, 140-159, 192-4, 616. Catalogue of American Portraits in The New-York Historical Society, New Haven: Yale University Press, 1974, Vol. 2, pp. 513-4. Lassiter, Barbara Babcock, American Wilderness: The Hudson River School of Painting, Garden City, NY: Doubleday & Company, Inc., 1977, pp. 36-7. Foshay, Ella M., Luman Reed's Picture Gallery: Pioneer Collection of American Art, New York: Harry N. Abrams, Inc., 1990, pp. 19, 30-1, 46-8, 61-2, 84, 141-5, 208-9. Ferber, Linda S., ed., "Asher B. Durand, American Landscape Painter," Kindred Spirits Asher B. Durand and the American Landscape, Brooklyn Museum, 2007, pp. 70-1, 81, 130, 207, 217.
Date Begin: 
0
Date End: 
1835
eMuseum Object ID: 
55639
Due to ongoing research, information about this object is subject to change.

A Joyous Occasion at Roseland Ballroom

Classification: 
Date: 
1978
Medium: 
Acrylic on canvas
Dimensions: 
frame: 38 x 52 in. ( 96.5 x 132.1 cm )
Description: 
Interior scene of couples, mostly older, dancing.
Credit Line: 
Gift of Gertrude Faust and Judith Berger
Object Number: 
2004.15
Date Begin: 
0
Date End: 
1978
eMuseum Object ID: 
55619
Due to ongoing research, information about this object is subject to change.

Ariadne Asleep On The Island Of Naxos

Classification: 
Date: 
ca. 1811-1831
Medium: 
Oil on canvas
Dimensions: 
frame: 72 1/2 x 90 1/2 x 2 in. (72 1/2 x 90 1/2 x 2 in.) canvas: 70 x 86 cm (27 9/16 x 33 7/8 in.)
Description: 
Oil on canvas study for painting depicting Ariadne asleep, naked and abandoned by Theseus.
Credit Line: 
Gift of Mrs. Lucy Maria Durand Woodman
Object Number: 
1907.28
Gallery Label: 
John Vanderlyn, the grandson of the Colonial painter Pieter Vanderlyn (1687-1778), was sent to Europe to further his studies by his patron Aaron Burr (1756-1836). Vanderlyn favored classical subjects from Greek mythology, and this painting depicts the daughter of King Minos of Crete, Ariadne, who fell in love with the Athenian Theseus. She sailed with him to Naxos, where he abandoned her as she lay sleeping. Vanderlyn may have produced this copy of his original Ariadne (Pennsylvania Academy of Fine Arts), which was exhibited in Paris in 1812, in anticipation of a successful reception after his return to America in 1815. However, Ariadne's nudity caused a scandal and the painting remained unsold. In 1831 Vanderlyn sold both the original and the unfinished copy to Asher B. Durand, who made a smaller copy (Metropolitan Museum of Art) for his engraving of 1835. Combining classical references and a female nude conformed to the tastes of Napoleaonic France, but there was a further motivation - a financial one - for Vanderlyn's choice of subject. In Philadelphia the exhibition of a female nude by Adolph Ulrich Wertmuller brought him notoriety and a sizeable income. Although nudity in art was publicly protested by Americans, Vanderlyn observed that they would pay to see pictures of which they disapproved.
Provenance: 
Provenance: Mrs. Lucy M. Durand Woodman, daughter of A.B. Durand Asher B. Durand Collection, purchased directly from the artist (December 5, 1831) for $50.
Date Begin: 
0
Date End: 
1831
eMuseum Object ID: 
55519
Due to ongoing research, information about this object is subject to change.

Golf at Van Courtland Park

Classification: 
Date: 
1947
Medium: 
Oil on canvas mounted to board with artist-carved frame
Dimensions: 
frame: 10 3/8 x 18 3/4 in. ( 26.4 x 47.6 cm ) image: 6 1/2 x 11 in. ( 16.5 x 27.9 cm )
Credit Line: 
Gift of Janice Caban in memory of Ida Rothbort
Object Number: 
2003.84.2
Marks: 
signature: signed in LLC of painting: "S. Rothbort" signature: carved signature in LLC of frame: "S. Rothbort"
Gallery Label: 
Donor states that the Artist, her grandfather, was living in Gravesend section of Brooklyn at 823 Avenue S when these works were made. He painted on location and the frames were carved in his basement.
Date Begin: 
0
Date End: 
1947
eMuseum Object ID: 
55503
Due to ongoing research, information about this object is subject to change.

John Brown's Blessing

Classification: 
Collections: 
Date: 
1867
Medium: 
Oil on canvas
Dimensions: 
canvas: 84 1/4 x 60 1/4 in. ( 214 x 153 cm ) frame: 89 x 65 x 2 in. (226.1 x 165.1 x 5.1 cm)
Description: 
John Brown (1800-1859) of Osawatomie, being led to his execution at Charleston, Virginia, December 2, 1859. Brown stops to bless a young black child held forward by a kneeling mother. Two white children, accompanied by their black nurse, look on. Surrounded by soldiers, his arms bound, Brown stands tall and resolute but turns a gentle gaze on the child.
Credit Line: 
Gift of the children of Thomas S. Noble and Mary C. Noble, in their memory
Object Number: 
1939.250
Inscriptions: 
Inscribed on back of canvas: T. S. Noble and John Brown / by T. S. Noble / C[incinnati], U.S. A.
Gallery Label: 
In 1859, John Brown's planned slave uprising, raid on the federal arsenal at Harpers Ferry, Virginia and subsequent execution galvanized the nation. Abolitionists celebrated him as a martyr to the antislavery cause while southern whites denounced him and his northern supporters. Thomas S. Noble's heroic life-size painting depicts Brown's apocryphal last act: kissing a slave child on the way to the gallows. To commemorate the eighth anniversary of Brown's execution, John Brown's Blessing was publicly exhibited in Boston, where it received a lukewarm reception. A local newspaper reported: "[The anniversary was] appropriately commemorated by the presentation to the Boston public of T. S. Noble's picture of Brown's passage to the Scaffold, when he stopped on his way to bless a negro child… Mr. Noble is a Southerner, and served in the rebel army four years, but he regarded the execution of Brown as one of the great historic events of the century, and has lost friends and position at home by representing SO unwelcome a matter to the South… We can hardly call it a great picture; yet there is much food for reflection and observation in it...."
Bibliography: 
Rasmussen, William M. S. and Robert S. Tilton. Lee and Grant. Richmond: Virginia Historical Society, 2007. Holzer, Harold and The New-York Historical Society. "The Civil War in 50 Objects." New York: Viking, 2013.
Date Begin: 
0
Date End: 
1867
eMuseum Object ID: 
55251
Due to ongoing research, information about this object is subject to change.

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