Mrs. Irving Sands Olds (1889-1957)

Classification: 
Date: 
1931
Medium: 
Oil on canvas
Dimensions: 
Overall: 40 x 24 in. ( 101.6 x 61 cm )
Credit Line: 
Bequest of Irving S. Olds
Object Number: 
1963.106
Marks: 
signature and date: upper left: "Jere R. Wickwire / 31"
Gallery Label: 
Evelyn Foster was born in New York, the daughter of Pell W. Foster, an engineer and manufacturer. She married Irving S. Olds on October 13, 1917.
Date Begin: 
0
Date End: 
1931
eMuseum Object ID: 
42272
Due to ongoing research, information about this object is subject to change.

Irving Sands Olds (1887-1963)

Classification: 
Date: 
1959
Medium: 
Oil on canvas
Dimensions: 
Overall: 30 x 25 in. ( 76.2 x 63.5 cm )
Credit Line: 
Bequest of Irving S. Olds
Object Number: 
1963.68
Marks: 
signature and date: lower left: "John C. Johansen - 59"
Gallery Label: 
A native of Erie, Pennsylvania, Olds graduated from Yale and Harvard Law School, and was admitted to the Pennsylvania bar in 1910. He joined the New York law firm of White and Case in 1911, and was elected to the board of directors of United States Steel in 1936. He became chairman of the board four years later, and held that office until his death. Olds was a director of numerous and varied institutions, including the Cooper Union museum and The New-York Historical Society.
Date Begin: 
0
Date End: 
1959
eMuseum Object ID: 
42271
Due to ongoing research, information about this object is subject to change.

Aaron Ogden (1756-1839)

Classification: 
Date: 
1833
Medium: 
Oil on canvas, glue lined to canvas on expandable stretcher, butt joins reverse, miter front, with one horizontal cross member
Dimensions: 
Overall: 30 x 25 in. ( 76.2 x 63.5 cm ) Framed: 43 in. × 38 1/2 in. × 5 in. (109.2 × 97.8 × 12.7 cm)
Credit Line: 
Gift of several members of the Society
Object Number: 
1878.1
Gallery Label: 
A native of Elizabethtown, New Jersey, Ogden served as governor of the state from 1812 to 1813.
Bibliography: 
Morris, G. P., ed., "The Fine Arts: The National Academy," The New-York Mirror, A Weekly Journal, Devoted to Literature and the Fine Arts, Vol. X, July 6, 1833, p. 6. Huntington, Daniel, Asher B. Durand: A Memorial Address, New York: G. P. Putnam's Sons, 1887, p. 21. "Pictures by Durand," The New York Times, April 26, 1903, p. 34. Catalogue of the Gallery of Art of The New York Historical Society, New York: Printed for the Society, 1915, p. 30. Sherman, Frederic Fairchild, Early American Portraiture, New York: Privately Printed, 1930, p. 41. 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. 49, 107-8, 143-7, 149-152, 156-9, 610-4, 616. Dunlap, William, A History of the Rise and Progress of The Arts of Design in the United States, A Reprint of the Original 1834 Edition with a New Introduction by James Thomas Flexner, 1969, Vol. 2, Part 2, New York: Dover Publications, p. 287-8. A. B. Durand 1796-1886, Montclair, New Jersey, Montclair Art Museum Catalogue, October 24 - November 28, 1971, p. 25. Craven, Wayne, "Asher B. Durand: Career as an Engraver," The Art Journal, Spring 1971, pp. 53-7. Catalogue of American Portraits in The New-York Historical Society, New Haven: Yale University Press, Vol. 2, 1974, p. 584. Durand, John, The Life and Times of Asher B. Durand, Hensonville, New York: Black Dome Press, 2006 (first published by C. Scribner's Sons, 1894), p. 99. Ferber, Linda S., ed., "Asher B. Durand's Early Career," Kindred Spirits Asher B. Durand and the American Landscape, Brooklyn Museum, 2007, pp. 65-7, 81, Chronology.
Date Begin: 
0
Date End: 
1833
eMuseum Object ID: 
42269
Due to ongoing research, information about this object is subject to change.

John Christopher O'Conor (1847-1933)

Classification: 
Date: 
1894
Medium: 
Oil on canvas
Dimensions: 
canvas: 84 x 40 in. ( 213.4 x 101.6 cm )
Credit Line: 
Gift of Mrs. John Christopher O'Conor and Norreys Jephson O'Conor
Object Number: 
1933.9
Marks: 
Signed and dated at left: "Harper Pennington ’94" inscription: upper left, under O'Conor family coat of arms: "John Christopher O'Conor"
Gallery Label: 
The subject graduated from Columbia University Law School in 1870 and practiced law in New York for over sixty years. His portrait, which was painted in Newport, Rhode Island, is a good example of the type of portraiture in favor just before the turn of the century among those genteel wealthy Americans whose favorite summer residence was Newport. The portrait was a gift to the Society from his widow and their son.
Date Begin: 
0
Date End: 
1894
eMuseum Object ID: 
42267
Due to ongoing research, information about this object is subject to change.

Anthony Morris (1791-1839) or Herman Morris (1794-1849)

Classification: 
Date: 
ca. 1838
Medium: 
Oil on wood panel
Dimensions: 
Overall: 49 x 36 in. ( 124.5 x 91.4 cm )
Credit Line: 
Bequest of Cornelius von Erden Mitchell
Object Number: 
1966.29
Gallery Label: 
The subject is either Anthony or Herman Morris, the fourth and fifth sons of John Morris and Sarah (Bruen) Morris. A gift to the Society from the subject's great-grandnephew, this portrait hung in the entrance hall of the Mitchell home at 60 West 9th Street for many years.
Bibliography: 
Catalogue of American Portraits in the New-York Historical Society, no. 1768, Vol. 2, New Haven: Yale University Press, 1974, p. 552.
Date Begin: 
0
Date End: 
1838
eMuseum Object ID: 
42259
Due to ongoing research, information about this object is subject to change.

Edward Philip Livingston (1779-1843)

Classification: 
Date: 
ca. 1820-1825
Medium: 
Oil on wood panel
Dimensions: 
Overall: 36 x 27 3/8 in. ( 91.4 x 69.5 cm )
Credit Line: 
Gift of Goodhue Livingston, Jr.
Object Number: 
1960.83
Marks: 
inscription: on back: "Mrs. E. P. Livingston / Poughkeipsie [sic] / 1844"
Gallery Label: 
The subject was the son of Philip and Sarah (Johnson) Livingston, and the grandson of Philip Livingston, a signer of the Declaration of Independence. He was lieutenant governor of New York from 1830 to 1832.
Date Begin: 
0
Date End: 
1825
eMuseum Object ID: 
42257
Due to ongoing research, information about this object is subject to change.

Mrs. Lintz, Senior

Classification: 
Date: 
ca. 1840
Medium: 
Oil on canvas
Dimensions: 
Overall: 30 x 25 in. ( 76.2 x 63.5 cm )
Credit Line: 
Gift of Edith A. Bagg in memory of her mother, Matilda McLean Lintz Bagg
Object Number: 
1944.262
Gallery Label: 
The subject was probably the mother of William Lintz, grandfather of the donor.
Date Begin: 
0
Date End: 
1840
eMuseum Object ID: 
42256
Due to ongoing research, information about this object is subject to change.

William Lintz (ca. 1815-1874)

Classification: 
Date: 
ca. 1845
Medium: 
Oil on canvas
Dimensions: 
Overall: 36 1/4 x 29 1/4 in. ( 92.1 x 74.3 cm )
Credit Line: 
Gift of Edith A. Bagg in memory of her mother, Matilda McLean Lintz Bagg
Object Number: 
1944.265
Gallery Label: 
In 1845 James Herring sent a "Portrait of a Gentleman" and a "Portrait of a Lady" to the National Academy of Design exhibition, and these were listed as owned by William Sneckner (Sneckner was the maiden name of William Lintz's wife). The Society's portraits of Mr. and Mrs. Lintz were probably these two portraits.
Date Begin: 
0
Date End: 
1845
eMuseum Object ID: 
42255
Due to ongoing research, information about this object is subject to change.

Luman Reed (1785-1836)

Classification: 
Date: 
1844
Medium: 
Oil on canvas
Dimensions: 
Overall: 30 x 25 in. ( 76.2 x 63.5 cm ) Frame: 39 1/2 x 34 1/2 x 4 1/4 in. (100.3 x 87.6 x 10.8 cm)
Credit Line: 
Gift of The New-York Gallery of the Fine Arts
Object Number: 
1858.56
Gallery Label: 
Luman Reed established himself as a successful New York merchant in the 1820s and soon became a pioneering patron of the fine arts, opera and theater in the city. As his wealth grew, he became a serious collector of American and European art, which he displayed in a gallery in his Manhattan townhouse. His interest in native and natural art and devoted patronage to artists such as Durand, Thomas Cole and William Sidney Mount helped foster an artistic culture of American artists painting American subjects. Eight years after Reed’s death, a group of investors purchased his collection and created the New-York Gallery of the Fine Arts, conceived as a permanent art collection. In 1858, the gallery’s holdings, including Reed’s collection as well as paintings donated by other American artists, were donated to the New-York Historical Society. Born in what is now known as Maplewood, New Jersey, Asher Durand (1796-1886) studied engraving with his father before serving as apprentice to the engraver Peter Maverick from 1812 to 1817. By the 1820’s and 1830’s, Durand was a successful printmaker and engraver, helping to organize the New York Drawing Association, which became the National Academy of Design in 1826. Encouraged by Luman Reed (1785-1836), Durand eventually gave up engraving in favor of painting portraits and genre scenes. By the 1840’s, after being inspired by the painter Thomas Cole (1801-1848), Durand devoted himself to landscape painting, assuming a leading role in the American landscape school, and exerted considerable influence upon younger painters. Durand's original portrait of Reed was painted in 1835 for Reed's business partner Jonathan Sturges and given by the latter's heirs in 1895 to the New York Chamber of Commerce, of which the Reed had been a member. The Society's replica was painted by Durand so that a likeness of the founder of the collection might be included among the eighty paintings that formed the New York Gallery of Fine Arts. Another replica is in the Metropolitan Museum of Art.
Provenance: 
Luman Reed, d. 1836; Mrs. Luman Reed, New York, 1836-44; New-York Gallery of the Fine Arts, 1844-58.
Bibliography: 
"National Academy," The New York Herald, New York, May 27, 1836, p. 1. Morris, G. P., ed., "National Academy of Design," The New-York Mirror, A Weekly Journal, Devoted to Literature and the Fine Arts, Vol. XIII, June 25, 1836, p. 414. Morris, G. P., ed., "National Academy of Design," The New-York Mirror, A Weekly Journal, Devoted to Literature and the Fine Arts, Vol. XIV, August 20, 1836, p. 62. 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, pp. 129-30. Huntington, Daniel, Asher B. Durand: A Memorial Address, New York: G. P. Putnam's Sons, 1887, p. 22. "Pictures by Durand," The New York Times, April 26, 1903, p. 34. Tolman, Ruel P., "Asher Brown Durand," Art in America, Vol. 11, No. 4, June 1923, pp. 196-200. Sherman, Frederic Fairchild, Early American Portraiture, New York: Privately Printed, 1930, pp. 38-41. Howe, Winifred E., A History of the Metropolitan Museum of Art: With a Chapter on the Early Institutions of Art in New York, New York: The Metropolitan Museum of Art, 1946, pp. 62-7. 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. 63, 140, 149-52, 159-62, 192-4, 610, 614, 616, 620. Catalogue of American Portraits in The New-York Historical Society, New Haven: Yale University Press, 1974, Vol. 2, p. 655. Lawall, David B., Asher B. Durand: A Documentary Catalogue of the Narrative and Landscape Paintings, New York & London, Garland Publishing, Inc., 1978, p. xiii, xviii. Lynes, Russell, "Luman Reed: A New York Patron," Apollo, Vol. 107, No. 192, 1978, pp. 124-9. Mann, Maybelle, "The New-York Gallery of Fine Arts: 'A Source of Refinement,'" American Art Journal, Vol. XI, January 1979, p. 76. Gerdts, Abigail Booth, "Newly Discovered Records of the New-York Gallery of the Fine Arts, The Archives of American Art Journal, Vol. 21, No. 4, 1981, pp. 2-9. Foshay, Ella M., Luman Reed's Picture Gallery: Pioneer Collection of American Art, New York: Harry N. Abrams, Inc., 1990, Frontispiece. Caldwell, John and Roque, Oswaldo Rodriguez, American Paintings in the Metropolitan Museum of Art, Vol. I, A Catalogue of Works by Artists Born by 1815, New York: The Metropolitan Museum of Art, 1994, pp. 412-4. Foshay, Ella M., and Novak, Barbara, Intimate Friends: Thomas Cole, Asher B. Durand, William Cullen Bryant, New York: The New-York Historical Society, 2000, p. 53. Vedder, Lee A., "Heeding the Call of Nature: The Art of Asher Brown Durand," The New-York Journal of American History, New York: New-York Historical Society, Vol. LXV, No. 4, Fall 2004, pp. 44, 47. Ferber, Linda S., ed., "Asher B. Durand, American Landscape Painter," Kindred Spirits Asher B. Durand and the American Landscape, Brooklyn Museum, 2007, pp. 77-8, 81.
Date Begin: 
0
Date End: 
1844
eMuseum Object ID: 
42249
Due to ongoing research, information about this object is subject to change.

Joseph Reed (1741-1785)

Classification: 
Date: 
ca. 1835-1860
Medium: 
Oil on canvas
Dimensions: 
Overall: 20 1/4 x 16 in. ( 51.4 x 40.6 cm )
Credit Line: 
Gift of the artist
Object Number: 
X.24
Gallery Label: 
James Peale's original portrait of Reed, a brigadier general and military secretary to General George Washington, dates from 1775-77 and is now in the collection of the Historical Society of Pennsylvania. Hagen was active as a painter from about 1835 to 1860 and made this copy of Peale's portrait sometime during this period.
Date Begin: 
0
Date End: 
1860
eMuseum Object ID: 
42248
Due to ongoing research, information about this object is subject to change.

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Creative: Tronvig Group