Various painted scenes and images on wooden palette.

Classification: 
Date: 
n.d.
Medium: 
Oil on wood panel
Dimensions: 
Overall: 34 1/4 x 44 in. ( 87 x 111.8 cm )
Credit Line: 
Gift of Mr. and Mrs. Claude Brabyn
Object Number: 
1969.56
Gallery Label: 
These various painted scenes and images on a wooden palette are by Joseph Keppler, Sr. and unidentified friends.
Date Begin: 
0
Date End: 
0
eMuseum Object ID: 
57204
Due to ongoing research, information about this object is subject to change.

New York Central Park and City

Classification: 
Date: 
1934
Medium: 
Oil on canvas
Dimensions: 
canvas: 26 1/2 x 30 1/2 in. ( 67.3 x 77.5 cm ) frame: 37 3/4 x 41 3/4 in. ( 95.9 x 106 cm )
Description: 
In this twilit scene painted from a snowy Central Park, a succession of buildings along Central Park West runs from the Dakota at 72nd Street to the San Remo at 74th Street.
Credit Line: 
Gift of Robert Hauser
Object Number: 
2002.73
Marks: 
signature and date: Sigend and dated LR: "H. Hauser 1934/N.Y."
Gallery Label: 
Hauser represents the contiuation of European artists arriving in NYC. This canvas also records the development of land along the west side of Central Park as it became a highly desireable residential area.
Date Begin: 
0
Date End: 
1934
eMuseum Object ID: 
57182
Due to ongoing research, information about this object is subject to change.

Gertrude Lee Beach portraying Mary Skinner

Classification: 
Date: 
1944
Medium: 
Oil on canvas
Dimensions: 
without frame: 24 x 20 in. ( 61 x 50.8 cm )
Description: 
Peter Hopkins has depicted his wife, an aspiring actress whose career never fully developed, in her single most successful role as one of the daughters in "Life with Father." She wears a pink dress with a white collar, white gloves and a broad-brimmed straw hat with pink flower and black chin strap. Her body is turned to the right in full profile, but her head is turned so that she fully faces the viewer.
Credit Line: 
Gift of the Beach Family and the Estate of Peter Hopkins
Object Number: 
2001.227
Gallery Label: 
New York City was and still is a magnet for young people drawn to making a name for themselves in the arts. Although Hopkins' portrait of his wife shows her in her successful role, the reality of her subsequent career serves as an example of how even people of talent can founder in the City.
Date Begin: 
0
Date End: 
1944
eMuseum Object ID: 
57181
Due to ongoing research, information about this object is subject to change.

Self Portrait (Front Window)

Classification: 
Date: 
2001
Medium: 
Oil on canvas
Dimensions: 
canvas: 46 x 30 in. ( 116.8 x 76.2 cm ) frame: 47 1/2 x 31 1/2 x 2 in. ( 120.6 x 80 x 5.1 cm )
Description: 
Approximately 1/3 of the background is an orange wall, the interior of McKenzie's studio, while the balance is a window view looking south over Manhattan to the Twin Towers. The artist has depicted herself in a fully frontal position, wearing a blue boat-necked dress. Through the window can be seen in the near foreground a yellow building, behind which is a brown one and then a red brick one and several white spires and buildings.
Credit Line: 
Purchase
Object Number: 
2001.298
Gallery Label: 
Mary Beth McKenzie's self-portrait suggests a complex mixture of personal strengths, frailties, and emotions. Her self-portraits, as well as her portrayals of friends and relatives in figural works, are intended not as accurate renderings, but rather as psychological probes into individuals searching for inner understanding. By including the view of New York City seen from her studio window in the self-portrait shown here, McKenzie alludes to another aspect of her career -- canvases focused on older areas of New York City. In those paintings she draws the viewer's eye to details of architecture and the effect of light on old brick and old, often deserted streets. As a teacher at the Art Students League and the National Academy of Design, McKenzie often assigns self-portraits to her students, encouraging them to experience looking, artistically and psychologically, into one-self.
Date Begin: 
0
Date End: 
2001
eMuseum Object ID: 
57180
Due to ongoing research, information about this object is subject to change.

Token Clerk

Classification: 
Date: 
1987
Medium: 
Oil on linen
Dimensions: 
Overall: 48 1/4 x 40 1/4 in. ( 122.6 x 102.2 cm )
Description: 
A young, heavy-set man wearing a white, open-collar shirt, stare out from a token booth. Across the tope is lettered "36th St/Avoid Lines Buy a ten Pak Today Save Time.: Lower left of the booth window is a sign "Tokens/$1.00/How many/Please." A turnstile is visible in the center of the painting.
Credit Line: 
Gift of the Artist
Object Number: 
2002.64
Marks: 
Inscription: inscribed reverse on masking tape: "J. HARRINGTON DINNERSTEIN CLASS" Inscription: on stretcher bar in ink: "J. HARRINGTON 718-441-1418"
Gallery Label: 
In addition to recording the long-ago $1 subway fare, this painting serves as a portrait of one of New York City's army of service workers, often unnoticed and unrecorded, who have been gradually being replaced by Metrocard machines. The man's stolid expression may be read as either boredom or resignation, another feature of repetitive, unacknowledged work.
Date Begin: 
0
Date End: 
1987
eMuseum Object ID: 
57179
Due to ongoing research, information about this object is subject to change.

Engagement Between the U.S. Frigate Chesapeake and H.M.S. Shannon

Classification: 
Date: 
n.d.
Medium: 
Oil on canvas (mounted on wood)
Dimensions: 
Overall: 8 3/8 x 10 1/4 in. ( 21.3 x 26 cm )
Credit Line: 
Bequest of Irving S. Olds
Object Number: 
1963.38
Gallery Label: 
On June 1, 1813, the United States frigate Chesapeake, 36 guns, Captain James Lawrence, accepted a challenge to combat from the British frigate, Shannon, 38 guns, Captain Philip Bowes Vere Broke, and sailed from Boston harbor to meet her adversary awaiting her off the Massachusetts coast. After an engagement of only fifteen minutes, the Chesapeake was boarded and captured and was taken as a prize to Halifax. The name of the artist is cited from an old label pasted on the reverse.
Date Begin: 
0
Date End: 
0
eMuseum Object ID: 
57074
Due to ongoing research, information about this object is subject to change.

Mad Max

Classification: 
Date: 
2002
Medium: 
Mixed media on masonite
Dimensions: 
image: 30 x 48 x 1 5/8 in. ( 76.2 x 121.9 x 4.1 cm )
Description: 
A white tiled subway wall, bearing various stickers (Locksmith, DADA, No Money Down, etc), painted construction instructions and graffiti (no war, F.D., etc). Along the bottom edge is a black and yellow striped diagonal band.
Credit Line: 
Gift of Angela and Burhan Dogancay
Object Number: 
2004.38
Gallery Label: 
The terse construction instructions and arrows indicating where work should be done evoke the 1990s and early 2000s when the New York City subway stations were undergoing extensive renovation, often including art work. The stickers and graffiti comments, on the other hand, reflect current events of interest or concern to subway users.
Date Begin: 
0
Date End: 
2002
eMuseum Object ID: 
57043
Due to ongoing research, information about this object is subject to change.

Up In The Bronx

Classification: 
Date: 
2002
Medium: 
Oil on canvas
Dimensions: 
canvas: 29 7/8 x 24 in. ( 75.9 x 61 cm )
Description: 
A curving segment of the elevated train above the intersection of Westchester Ave. and Sheridan Expressway, South Bronx, NY. A train is rounding the bend, while 4 MTA workers in hard hats and orange vests stand safely on a lower platform. Beneath the "el" can be seen portions of various bildings, ground floor businesses and parked cars.
Credit Line: 
Gift of a Friend of New York City
Object Number: 
2004.37
Marks: 
Inscription: In pencil, on reverse: "(c) Marc Winnat/ALL RIGHTS RESERVED" Inscription: Titled, signed and dated, in pencil, on reverse: " 'UP IN THE BRONX'/by/Marc Winnat, Nov, Dec 2002" Inscription: In pencil on reverse: "Completed on 31 December, 2002
Gallery Label: 
This painting documents the South Bronx as it was being transformed from the burnt-out area of the 1970s to a burgeoning antique and second hand furniture trading neighborhood. It is one of the non-Manhattan neighborhoods where the "El" still runs.
Date Begin: 
0
Date End: 
2002
eMuseum Object ID: 
56787
Due to ongoing research, information about this object is subject to change.

Sunday at the Whitney

Classification: 
Date: 
1944
Medium: 
Oil on canvas
Dimensions: 
canvas: 18 1/8 x 24 1/2 in. ( 46 x 62.2 cm )
Description: 
A scene in the 2nd Whitney Museum with various figures looking at paintings on the walls. Two figures -- a small standing girl in a yellow dress and a seated woman in blue are the only figures facing forward. Red carpet on the floor; pale green wall in foreground gallery; creamy white wall in rear gallery.
Credit Line: 
Partial gift of Frank and Wendy Csoka, museum purchase
Object Number: 
2004.7
Marks: 
signature and date: LRC: "S. Csoka 1944"
Gallery Label: 

Stephen Csoka was born in Hungary, where he trained at the Royal Academy in Budapest and enjoyed a successful career as an artist before immigrating to the U.S. in 1934. Upon arriving in this country, Csoka worked as a house painter in order to support his family, but found time to create painted observations of his new Brooklyn neighborhood and of some places he visited in New York. Eventually he produced enough work to successfully exhibit at local galleries and went on to become a member of the National Academy, the Society of American Graphic Artists, the Audubon Artists Associate and the Pastel Society of America.

"Sunday at the Whitney" depicts a diverse group of visitors enjoying the paintings at the Whitney Museum, which in 1944 was located at 10 West 8th Street.

Provenance: 
The painting was purchased from the artist's son Frank Csoka, who owns most of the works made by his father.
Date Begin: 
0
Date End: 
1944
eMuseum Object ID: 
56541
Due to ongoing research, information about this object is subject to change.

Shrewsbury River, New Jersey

Classification: 
Is owned by NYHS: 
Yes
Highlight: 
Display this item in the highlights
Date: 
1859
Medium: 
Oil on canvas
Dimensions: 
Canvas: 18 1/2 x 30 1/2 in. (47 x 77.5 cm) Frame: 32 x 44 x 3 1/2 in. (81.3 x 111.8 x 8.9 cm)
Description: 
Depicts, in a horizontal format, the estuary landscape of the Shrewsbury River near Red Bank, New Jersey. A wooded promontory of the Navesink Highlands, at left, is juxtaposed with areas of calm, flat water, punctuated with reeds, and dotted with the white sails of pleasure craft. The tranquil scenery is bathed in light emanating from a vast expanse of sky.
Credit Line: 
The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart
Object Number: 
S-229
Gallery Label: 
Reflects Kensett's distinctive mature style featuring reflective expanses of water along the northeastern seaboard set against a brilliant and seemingly limitless sky. The radiant light, and calm stillness of the water exudes divine presence and an enveloping mood of reverie, offering a contemplative and spiritually imbued interpretation of American scenery akin to that described by the American Transcendentalist writers, Ralph Waldo Emerson and Henry David Thoreau.
Provenance: 
Kensett's brother, 1859; Robert L. Stuart, New York City, ca. 1865; Lenox Library, later New York Public Library, 1892-1944
Bibliography: 
"Sketchings," The Crayon, Vol. VI, March 1859, p. 91. 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. 242. Mitchell, Mark D., and Manthorne, Katherine E., "Luminism Revisited: Two Points of View," Luminist Horizons: The Art and Collection of James A. Suydam, New York: George Braziller, 2006, pp. 121-43
Date Begin: 
0
Date End: 
1859
eMuseum Object ID: 
56324
Due to ongoing research, information about this object is subject to change.

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Creative: Tronvig Group