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Wax reduction for head of THE RECORDING ANGEL

Classification: 
Date: 
2006
Medium: 
Wax
Dimensions: 
Overall: 3 3/4 x 3 x 3 in. (9.5 x 7.6 x 7.6 cm)
Description: 
Wax reduction for head of THE RECORDING ANGEL Schmerhorn Symphony Center, Nashville, Tennessee. A10' winged figure rising to a height of 15' on its base. Patinated bronze. Installled December 2006.
Credit Line: 
Gift of Audrey Flack
Object Number: 
2008.46
Date Begin: 
0
Date End: 
2011
eMuseum Object ID: 
64196
Due to ongoing research, information about this object is subject to change.

Seal of the State of New York

Classification: 
Date: 
ca. 1840-1880
Medium: 
Carved wood, traces of paint
Dimensions: 
Overall: 6ft. 10 in. (208.3 cm)
Description: 
Monumental woodcarving depicting the Great Seal of New York State; female figures of Liberty (with Phrygian cap) and Justice (with scales) upon a scroll with the motto "Excelsior," framing a river scene with a rising sun beyond a group of mountains. Above, an American eagle with outstretched wings stands atop a globe.
Credit Line: 
Gift of Mrs. Laurence K. Groves
Object Number: 
2008.31
Gallery Label: 
The seal, which hung on the barn of a Cape Cod farmhouse from at least 1890 until 1982, was initially created for a grand public building in New York, possibly a courthouse. The seal's distinct iconography, with the figures of Liberty and Justice shown seated and facing one another, helps in dating the woodcarving. The State legislature adopted modifications to the seal twice in the 19th century, in 1809 and 1882. The latter modification specified that Liberty and Justice be shown standing, facing forward. The 1809 version, however, shows both figures seated, with Justice facing slightly to the right and Liberty in full profile. The seal likely dates before the official modification of 1882, during the period when seated figures were common and artistic license widely accepted in the depiction of the seal. During the mid-19th century, ship carvers proliferated in New York City to provide figureheads, stern carvings, and other ship decorations for the many ships being built in the bustling shipyards along the East River. During the 1840s and '50s, New York's shipyards were among the busiest in the country. A handful of highly skilled carvers provided decorations for ships but also produced a range of other carvings, from cigar store Indians and circus wagon figures to a range of architectural and church work. Most likely, this seal was made by a skilled ship carver whose work extended to public commissions.
Date Begin: 
0
Date End: 
1880
eMuseum Object ID: 
63447
Due to ongoing research, information about this object is subject to change.

Weighing The Baby

Classification: 
Date: 
1877
Medium: 
Painted plaster with terracotta wash
Dimensions: 
Overall: 20 7/8 x 15 1/4 x 12 1/2 in. ( 53 x 38.7 x 31.8 cm )
Description: 
Genre figure.
Credit Line: 
Gift of Richard L Gray and Robert L. Gray in memory of their parents Virginia H. Gray and George H. Gray
Object Number: 
2008.29
Marks: 
signed: proper left top of base: "JOHN ROGERS/NEW YORK/1876" inscribed: front of base: "WEIGHING THE BABY"
Date Begin: 
0
Date End: 
1877
eMuseum Object ID: 
63316
Due to ongoing research, information about this object is subject to change.

Scale Model Monument/Andrew Green, Father of Greater New York

Classification: 
Date: 
2007
Medium: 
Bronze on wood
Dimensions: 
Overall: 3 x 6 x 2 in. (7.6 x 15.2 x 5.1 cm)
Credit Line: 
Gift of the Artist
Object Number: 
2008.15
Inscriptions: 
Scale Model Monument/Andrew Green, Father of/Greater New York/Barbara Chase-Riboud
Date Begin: 
0
Date End: 
2012
eMuseum Object ID: 
63118
Due to ongoing research, information about this object is subject to change.

Alexander Hamilton (1757-1804)

Classification: 
Date: 
ca. 1835
Medium: 
Painted plaster
Dimensions: 
Overall: 29 3/4 x 10 1/4 x 9 in. (75.6 x 26 x 22.9 cm)
Description: 
Standing figure of Alexander Hamilton; metallic painted finish.
Credit Line: 
Gift of the Partnership for New York City
Object Number: 
2008.10.1
Gallery Label: 
Robert Ball Hughes' plaster statuette of Alexander Hamilton is a reduction of the marble statue that Hughes produced for the rotunda of the Merchants' Exchange in 1835. The first marble portrait statue carved in the United States, the figure was destroyed in the Great Fire of 1835 only eight months later. Only three other plaster reductions are known (Museum of the City of New York, Detroit Institute, and Schuyler Mansion), as well as a later marble (Pennsylvania Academy of the Fine Arts). This reduction was owned by the New York Chamber of Commerce (founded in 1768), which merged with the Partnership for New York City in 1979.
Provenance: 
New York Chamber of Commerce
Date Begin: 
0
Date End: 
1840
eMuseum Object ID: 
63101
Due to ongoing research, information about this object is subject to change.

Bronze statuette: female figure in flowing garments

Classification: 
Date: 
late 19th Century
Medium: 
Copper Alloy
Dimensions: 
0verall: 8 x 3 1/2 in., 2.6 ft (20.3 x 8.9 x 80 cm)
Description: 
Bronze, green patina, woman walking with head bent
Credit Line: 
Gift of Mrs. Nora Durand Woodman
Object Number: 
1985
Inscriptions: 
Painted in red on base No.1985, also 1985 on underside.
Gallery Label: 
Could this be by D.C. French? BR
Provenance: 
Estate of Thomas H. Hotchkiss
Bibliography: 
KW:SE 6/23/92, This is part of the Hotchkiss gift, He got it in Italy?, Acc. NO. will change to 193[2 or 9]
Date Begin: 
1850
Date End: 
1899
eMuseum Object ID: 
61621
Due to ongoing research, information about this object is subject to change.

Sojourner Truth Monument

Collections: 
Classification: 
Date: 
1999
Medium: 
Bronze
Dimensions: 
Overall: 20 x 24 x 14 in. (50.8 x 61 x 35.6 cm)
Credit Line: 
Purchase
Object Number: 
2007.13
Date Begin: 
1999
Date End: 
1999
eMuseum Object ID: 
59955
Due to ongoing research, information about this object is subject to change.

Fragment of the equestrian statue of King George III

Classification: 
Date: 
1770-1776
Medium: 
Lead
Dimensions: 
Overall: 5 1/2 x 13 x 17 1/2 in. ( 14 x 33 x 44.4 cm )
Description: 
Fragment of molded lead statue resembling folds of a garment; traces of gilding on one side.
Credit Line: 
Purchase
Object Number: 
1878.4
Gallery Label: 
The gilded statue of George III placed at Bowling Green by the British Government was torn from its pedestal by a jubilant crowd after a public reading of the Declaration of Independence on July 9, 1776. Fragments of the statue were transported to Litchfield, Connecticut and made into bullets for the Revolutionary troops. It is believed that Connecticut Loyalists took some of the fragments and hid them in and around their homes, for pieces such as this have been found buried in the area.
Date Begin: 
0
Date End: 
1776
eMuseum Object ID: 
59169
Due to ongoing research, information about this object is subject to change.

Jeremiah Dodge (1781-1860)

Classification: 
Date: 
ca. 1835
Medium: 
Grey-green and off-white painted wood (pine?)
Dimensions: 
Overall: 27 1/2 x 18 1/8 x 12 1/4 in. ( 69.9 x 46 x 31.1 cm )
Description: 
Portrait bust
Credit Line: 
Bequest of Miss Fanny E. Marquand
Object Number: 
1952.349
Gallery Label: 
Jeremiah Dodge was a ship carver active in New York City in the first half of the 19th century. He is known to have carved numerous ships' figureheads--the most famous was the figure of Andrew Jackson for the U.S.S. "Constitution." This bust of the carver, executed by his son Charles, represents one of the rare ventures of the early American woodcarving craft into the realm of fine art portraiture, a venture much in the same vein as that achieved by William Rush (1756-1833).
Date Begin: 
0
Date End: 
1835
eMuseum Object ID: 
58213
Due to ongoing research, information about this object is subject to change.

The Fugitive's Story

Collections: 
Classification: 
Date: 
September 7, 1869
Medium: 
Bronze
Dimensions: 
Overall: 21 7/8 x 16 x 12 in. ( 55.6 x 40.6 x 30.5 cm )
Description: 
Genre figure: This bronze sculptural group in bronze depicts three of the most prominent leaders in the anti-slavery movement--poet John Greenleaf Whittier, Brooklyn clergyman Henry Ward Beecher (brother of Harriet Beecher Stowe) and the editor of the Boston abolitionist newspaper the "Liberator" William Lloyd Garrison-- grouped around a small desk, listening intently to a young mother with an infant in her arms telling of her daring escape from slavery. Patent # 3657: September 7 1869
Credit Line: 
Purchase
Object Number: 
1936.630
Marks: 
signed: proper left front of base: "JOHN ROGERS/NEW YORK" inscribed: front of base: "THE FUGITIVE'S STORY/JOHN G WHITTIER-H. G. BEECHER-Wm LLOYD GARRISON" inscribed: proper right back of base: "PATENTED/SEPT 7. 1869"
Gallery Label: 
This bronze served as the master model for the plasters that Rogers sold to a broad audience of middle-class Americans. Rogers built his early fame on his Civil War subjects, and after the conflict ended, he produced a few final groups memorializing some of its most important figures. The Council of War (1952.334, 1925.42, 1936.657) depicts its highest military officials: General Ulysses S. Grant, Secretary of War Edwin M. Stanton, and President Abraham Lincoln. In The Fugitive's Story Rogers paid tribute to leaders of the abolitionist movement: the poet John Greenleaf Whittier, the editor William Lloyd Garrison, and the preacher Henry Ward Beecher. Rogers' biographer, David Wallace, called it a "civilian counterpart" to The Council of War. The artist's last Civil War subject, The Fugitive's Story offered a perfect bookend to his acclaimed series, returning as it did to his beginnings. Rogers' first Civil War-related subject was The Slave Auction of 1859 (1928.28), which condemned the evils of slavery in the days leading up to the war, and his last Civil War group memorialized the triumph of the abolitionist cause. The three men are gathered around a desk listening to the tale of a slave who has escaped to the North with her baby. A small bundle containing her worldly possessions lies at her feet, and she clasps her child to her shoulder. Her head is inclined toward Garrison, seated at his desk, and all three men gaze at her with expressions of deep interest and concern, likewise drawing the viewer's eye to her earnest face. Whittier (at left) and Garrison (at right) hold papers that suggest their role as writers in the fight against slavery; Rogers further emphasizes the point with the inkpot and papers on Garrison's desk. The artist often incorporated portraits into his narrative groups, but this is the only instance in which he inscribed the names of the sitters on the base to make his subject perfectly clear. The story reportedly had a powerful effect on the former slave Sojourner Truth: the abolitionist newspaper the Independent reported that when she saw the work, she burst into tears, remembering her own escape with her small child. Rogers' own convictions about abolition are evidenced in the time and care that he took preparing the group, and in his later memories of it. The artist wrote to Beecher and secured his enthusiastic approval for the idea. He interviewed each of his three sitters and took detailed measurements, secured photographs, and even took life masks of Beecher and Garrison. Both men wrote to Rogers with suggestions for the composition and for his portrayals of them. There were reports from all three that they were satisfied with the likenesses; Garrison called the sculpture "a marked success, both in regard to the likenesses and as a work of art." William Cullen Bryant wrote to Rogers in relation to The Fugitive's Story, "You have succeeded in a higher degree than almost any artist in making sculpture a narrative art." Public reaction was equally enthusiastic, and critics were quick to connect this valedictory work with Rogers' humble The Slave Auction of little more than a decade earlier, when he could not induce stores to carry the sculpture for fear of offending their Southern customers. The subject apparently had strong poetic resonances for his viewers. Rogers was compared to Whittier, the poet he portrayed, with one commentator declaring, "What Whittier is in verse Rogers is in sculpture." The Boston Advertiser called the group "a perfect poem of our history." Yet another writer connected it with efforts to establish a colony for former slaves in Liberia, in western Africa, writing a poem from the point of view of the fugitive as a wife looking forward to a reunion with her husband, who was preparing a home for them there. Rogers considered The Fugitive's Story an important landmark in his oeuvre. Nearly twenty years later, in an 1887 interview for the New York Herald, Rogers related tales of his time with Beecher and Garrison preparing for this work, and in an 1890 article that Rogers authored for the New York Times, he wrote at length about his process in developing the sculpture, quoting his correspondence with Whittier and Garrison. He may well have been indirectly promoting a more recent work, a figure of Beecher that he created from the life mask, photographs, and measurements that he used for The Fugitive's Story as a memorial when Beecher died in 1887 (1937.35).
Bibliography: 
Articles, Scrapbooks of miscellaneous clippings, etc. about John Rogers, Vols. 1, 2, 3, 4, New York Historical Society. Daily Evening Transcript, Boston, May 16, 1871, n.p. The Evening Post, New York, Dec. 21, 1873, p. 1. Barck, Dorothy, "Rogers Group in the Museum of the New-York Historical Society," New-York Historical Society Quarterly, Vol. XVI, No. 3, October 1932, p. 76. Smith, Mrs. and Mrs. Chetwood, Rogers Groups: Thought and Wrought by John Rogers, Boston: Charles E. Goodspeed & Co., 1934, pp. 74-5. Wallace, David H., John Rogers, The People's Sculptor, Middleton, CT: Wesleyan University Press, 1967, pp. 108, 111, 126, 135, 150, 221-3, 256, 275-6, 278, 286-7, 294, 304. Craven, Wayne, Sculpture in America, New York: Thomas Y. Crowell Company, 1968, pp. 357-366. Wallace, David H., "The Art of John Rogers: So Real and So True," American Art Journal, November 1972, pp. 59-70. Boime, Albert, The Art of Exclusion: Representing Blacks in the Nineteenth Century, Washington: Smithsonian Institution Press, 1990, pp. 104-5, 188-99, 232, 238. Bleier, Paul and Meta, John Rogers Statuary, Atglen, PA: Schiffer Publishing Ltd., 2001, pp. 116-7.
Date Begin: 
0
Date End: 
1869
eMuseum Object ID: 
56747
Due to ongoing research, information about this object is subject to change.

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Creative: Tronvig Group