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Weighing The Baby

Classification: 
Date: 
1941
Medium: 
Plaster
Dimensions: 
Overall: 4 x 3 x 2 in. ( 10.2 x 7.6 x 5.1 cm )
Description: 
Miniature genre group
Credit Line: 
Purchase, Foster-Jarvis Fund
Object Number: 
1951.441
Bibliography: 
Daily Evening Transcript, Boston, Sep. 25, 1876, p. 6. The Evening Post, New York, Nov. 9, 1876, p. 2. New York Daily Graphic, New York, Jan. 8, 1877, p. 3. 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. 80. Smith, Mrs. and Mrs. Chetwood, Rogers Groups: Thought and Wrought by John Rogers, Boston: Charles E. Goodspeed & Co., 1934, pp.84-5. Wallace, David H., John Rogers, The People's Sculptor, Middleton, CT: Wesleyan University Press, 1967, pp. 116-7, 241, 294, 300-1, 304. Bleier, Paul and Meta, John Rogers Statuary, Atglen, PA: Schiffer Publishing Ltd., 2001, pp. 158-9, 249.
Date Begin: 
0
Date End: 
1941
eMuseum Object ID: 
1268
Due to ongoing research, information about this object is subject to change.

INV.1300

Classification: 
Medium: 
Marble
Dimensions: 
Overall: 6 x 8 in. ( 15.2 x 20.3 cm )
Description: 
Pedestal
Credit Line: 
Gift from an unidentified source
Object Number: 
INV.1300
Date Begin: 
0
Date End: 
0
eMuseum Object ID: 
1266
Due to ongoing research, information about this object is subject to change.

Support bracket

Classification: 
Medium: 
White marble
Description: 
Rectangular block, possibly base for sculpture bust or plaque.
Credit Line: 
Gift from an unidentified source
Object Number: 
INV.15036
Date Begin: 
0
Date End: 
0
eMuseum Object ID: 
1264
Due to ongoing research, information about this object is subject to change.

Charles Willoughby Dayton III (1846-1910)

Classification: 
Date: 
1897
Medium: 
Plaster with velvet and wood frame
Dimensions: 
Overall: 15 3/4 x 12 1/4 x 1 in. ( 40 x 31.1 x 2.5 cm )
Description: 
Bas-relief portrait
Credit Line: 
Gift from an unidentified source
Object Number: 
INV.228
Marks: 
inscribed: "To Mrs. Charles W. Dayton Jan 1897/With the compliments of the Artist D. B. Sheahan"
Gallery Label: 
Date Begin: 
0
Date End: 
1897
eMuseum Object ID: 
1263
Due to ongoing research, information about this object is subject to change.

Bernard Mannes Baruch (1870-1960)

Classification: 
Date: 
ca. 1945
Medium: 
Dark golden brown patinated bronze
Dimensions: 
Overall: 20 x 7 1/2 x 9 in. ( 50.8 x 19 x 22.9 cm )
Description: 
Portrait bust
Credit Line: 
Gift of Dr. Maury P. Leibovitz
Object Number: 
1984.114
Marks: 
inscribed: back of neck the mark of: "Johnson Atelier, N.J." signed: back of collar: "Jo DAVIDSON PARIS 194? [round copyright or foundry mark]" inscribed: autographed across front of chest: "BM Barauch" inscription: cast into interior: "516"
Date Begin: 
0
Date End: 
1945
eMuseum Object ID: 
1261
Due to ongoing research, information about this object is subject to change.

Henry Morgenthau (1856-1946)

Classification: 
Date: 
1939
Medium: 
Dark golden brown patinated bronze with greenish tinge
Dimensions: 
Overall: 20 1/2 x 7 1/2 x 9 in. ( 52.1 x 19 x 22.9 cm )
Description: 
Portrait bust
Credit Line: 
Gift of Dr. Maury P. Leibovitz
Object Number: 
1984.115
Marks: 
signed: back of neck: "Jo DAVIDSON FISHKILL NY [?] [circle foundry or copyright stamp?] 1939" autographed: on front of base: "Henry Morganthaugh, Jr."
Date Begin: 
0
Date End: 
1939
eMuseum Object ID: 
1260
Due to ongoing research, information about this object is subject to change.

Fiorello La Guardia (1882-1947)

Classification: 
Date: 
1934
Medium: 
Dark golden brown patinated bronze
Dimensions: 
Overall: 11 3/4 x 7 1/2 x 8 1/2 in. ( 29.8 x 19 x 21.6 cm )
Description: 
Portrait bust
Credit Line: 
Gift of Dr. Maury P. Leibovitz
Object Number: 
1984.116
Marks: 
signed: below hair line: "Jo Davidson, copyright stamp, N.Y. 1934" inscribed: twice on underside of sculpture: "3518"
Date Begin: 
0
Date End: 
1934
eMuseum Object ID: 
1258
Due to ongoing research, information about this object is subject to change.

John Jay (1745-1829)

Classification: 
Date: 
1792
Medium: 
Painted plaster
Dimensions: 
Overall: 9 3/4 x 26 x 19 1/4 in., 30 lb. (24.8 x 66 x 48.9 cm, 13.6 kg)
Description: 
Portrait bust
Object Number: 
X.52
Date Begin: 
0
Date End: 
1792
eMuseum Object ID: 
1257
Due to ongoing research, information about this object is subject to change.

Sharp Shooters

Classification: 
Date: 
1862
Medium: 
Painted plaster
Dimensions: 
Overall: 12 x 11 3/4 x 8 in. ( 30.5 x 29.8 x 20.3 cm )
Description: 
Genre figure.
Credit Line: 
Gift of Miss Katherine Rebecca Rogers
Object Number: 
1936.713
Marks: 
inscribed: front of base: "SHARP SHOOTERS"
Gallery Label: 
The year 1862 was a busy one for Rogers: he issued three Civil War-related groups before releasing Sharp Shooters. Whereas his earlier groups, Camp Life: The Card Players (not represented in the N-YHS collection), The Camp Fire: Making Friends with the Cook (1936.714), and The Town Pump (1932.101, 1941.917), depicted innocuous scenes of camp life, for this work Rogers chose a subject directly related to the fighting, drawn from stories of Hiram Berdan's regiment of sharpshooters. A story in the Boston Post of May 24, 1862, provided a direct inspiration: "Two of the 'dead-shots' are skulking behind a stone wall; one hoisting a figure, made up of a stuffed coat and cap, just above the wall, while his companion, with rifle in rest, 'draws a sure bead' upon the unlucky wight away yonder who may happen to show his head while aiming at the dummy target." Kirk Savage, a scholar of Civil War sculpture, has written wonderfully of this group: Like his preceding groups, this was a two-figure composition arranged around a central prop, but, unlike all of his other work, the orientation of the group presented a paradox to the viewer. Rogers' Groups always had a clear front and back; the primary side in front carried the title of the work on its base, while the rear was squared off so that it could be pushed flush against a wall if need be. In Sharp Shooters, however, front and rear are reversed. From the front, the figures are turned away from the viewer, rendering their action puzzling. From the rear, we look directly into the face and gun of the sharpshooter and realize that the middle figure is a dummy, a fake soldier, thrust in the air to lure the enemy to come out and shoot. The two perspectives are radically different, the front corresponding to the Union side, the rear to the enemy side, and both are necessary to grasp the meaning of the Group as a whole. Is this a black-comedy moment of camp life or a deadly scene of combat? It could be either or both. The presence of sharpshooters within the army lines, equipped with highly accurate long-range rifles, blurred the distinction between battle and encampment. They could and did fire at unsuspecting enemy soldiers at any time, often making them hated even by their own troops, because they extended the psychological stress of combat into what had been peaceful breaks. In Rogers' Group the ghastly ruse of the dummy looks like a comic note from the Union side (the front) and a tragic note from the Confederate side (the rear). The disjunction in mood and perspective is surely deliberate; Rogers was struggling to represent the new conditions of warfare and the disorientation they caused in the ordinary soldier. Though fascinating in its multiple meanings and its intriguing combination of menace and humor, Sharp Shooters was neither a commercial nor a critical success. It drew little attention compared with his other subjects, perhaps because of public concerns about the practices of this new breed of soldier. The few press notices it earned express this ambivalence: the soldiers' actions in the sculpture were described as a "wise trick" and ingenious but intended to deceive the enemy, who was, after all, a fellow countryman. The sculpture sold poorly and was withdrawn from Rogers' stock before the publication of his first catalogue in 1866. As a result, the group is extremely rare today and offers an illuminating view of the artist's daring attempt to chronicle the new conditions of this unprecedented conflict.
Bibliography: 
Article, Scrapbooks of miscellaneous clippings, etc. about John Rogers, Vols. 1, 2, 3, New York Historical Society. The Evening Post, New York, Oct. 16, 1862, p. 2. The Evening Post, New York, Nov. 8, 1862, p. 1. Daily Evening Transcript, Boston, Nov. 10, 1862, p. 2. Daily Evening Transcript, Boston, Dec. 1, 1862, p. 1. Wells, Samuel R., ed., "John Rogers, the Sculptor," American Phrenological Journal and Life Illustrated, Vol. 49, no. 9, September 1869, pp. 329-30. Smith, Mrs. and Mrs. Chetwood, Rogers Groups: Thought and Wrought by John Rogers, Boston: Charles E. Goodspeed & Co., 1934, pp.64-5. Wallace, David H., John Rogers, The People's Sculptor, Middleton, CT: Wesleyan University Press, 1967, pp. 91, 99, 148, 204, 295, 299, 304. Bleier, Paul and Meta, John Rogers Statuary, Atglen, PA: Schiffer Publishing Ltd., 2001, pp. 78-9.
Date Begin: 
0
Date End: 
1862
eMuseum Object ID: 
1256
Due to ongoing research, information about this object is subject to change.

INV.751

Classification: 
Medium: 
Wood and metal
Dimensions: 
Overall: 2 x 14 x 9 in. ( 5.1 x 35.6 x 22.9 cm )
Description: 
Plaque
Object Number: 
INV.751
Date Begin: 
0
Date End: 
0
eMuseum Object ID: 
1255
Due to ongoing research, information about this object is subject to change.

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