Murder of the Princes
Classification:
Date:
ca. 1833-34
Medium:
Oil on canvas (relined)
Dimensions:
Overall: 56 x 44 in. ( 142.2 x 111.8 cm )
Framed: 67 in. × 55 in. × 4 1/2 in. (170.2 × 139.7 × 11.4 cm)
Credit Line:
Gift of The New-York Gallery of the Fine Arts
Object Number:
1858.48
Gallery Label:
This painting was procured by Flagg the patronage of Luman Reed, wealthy New York merchant and patron of American art, who sent him to Europe in 1834.
Provenance:
Luman Reed, d. 1836; Mrs. Luman Reed, New York, 1836-44; New-York Gallery of the Fine Arts, 1844-58.
Bibliography:
Dunlap, William, History of the Rise and Progress of the Arts of Design in the United States, New York: George P. Scott and Co., 1834, pp. 448-50.
"Miscellaneous Notices," The American Monthly Magazine III, June 1, 1834, p. 282.
"Letters from New York-No. IV," Life Illustrated, September 4, 1858, p. 147.
Koke, Richard J., American Landscape and Genre Paintings in the New York Historical Society, Vol. I, New York: The New-York Historical Society, 1982, pp. 27-8
Greenhouse, Wendy, The American Portrayal of Tudor and Stuart History, 1835-1865, Volume I (Text), A Dissertation Presented to the Faculty of the Graduate School of Yale University in Candidacy for the Degree of Doctor of Philosophy, 1989, pp. 162-4.
Foshay, Ella M., Mr. Luman Reed's Picture Gallery: A Pioneer Collection of American Art, New York: Harry N. Abrams, Inc., 1990, pp. 150-1.
Date Begin:
0
Date End:
1833
eMuseum Object ID:
21801
Due to ongoing research, information about this object is subject to change.
French Cottage
Classification:
Date:
1864
Medium:
Oil on wood panel
Dimensions:
Overall: 7 1/2 x 11 7/16 x 1/2 in. ( 19 x 29.1 x 1.3 cm )
Credit Line:
The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart
Object Number:
S-138
Marks:
inscriptions: Signed lower left: dated: Kunasseg 1864
Date Begin:
0
Date End:
1864
eMuseum Object ID:
21799
Due to ongoing research, information about this object is subject to change.
Study from Nature: Rocks and Trees
Collections:
Classification:
Date:
ca. 1856
Medium:
Oil on canvas
Dimensions:
Frame: 26 1/4 x 30 3/4 x 4 in. (66.7 x 78.1 x 10.2 cm)
Overall: 21 x 16 1/2 in. ( 53.3 x 41.9 cm )
Credit Line:
Gift of Mrs. Lucy Maria Durand Woodman
Object Number:
1907.26
Gallery Label:
With Cole's untimely death in 1848, Hudson River School artists rising to prominence at mid century found a new leader in Asher Brown Durand (1796-1886). Forsaking a successful career as a steel engraver, Durand had turned his attention to landscape painting in 1837, compelled by the first of many summer sketching expeditions he took with Cole to the Adirondack, Catskill, and White mountains. Durand shared with his friend and mentor a belief in the nobility of the virgin American landscape, redolent of divine promise, and set out to capture its essence in minute detail. His aesthetic vision, while beholden to Cole's, was decidedly less historic and allegorical and far more sensory and immediate. For Durand, it was the "common details" of nature, spotted in situ in the wilderness, that inspired him most. He experienced his communion with nature as a spiritual journey; making the sketches and paintings he produced acts of personal devotion. We see in his nature studies, both in graphite and in oil, a clear, reverent eye intent on recording nature's particulars so as to convey both the look and feel of direct experience.
The geological and botanical fidelity exhibited in Rocks and Trees corresponds with a fundamental tenet of Durand's landscape philosophy - truth to Nature - outlined in his 1855 "Letters on Landscape Painting." He wrote, "I have already advised you to aim at direct imitation as far as possible, in your studies of foreground objects. You will be most successful in the more simple and solid materials, such as rocks and tree trunks, and after these, earth banks and the coarser kinds of grass, with mingling roots and plants, the larger leaves of which can be expressed with even botanical truthfulness; and they should be so rendered, but when you attempt masses of foliage or running water, anything like an equal degree of imitation becomes impracticible."
Bibliography:
Executor's Sale, Studies in Oil by Asher B. Durand, N.A., Deceased, Ortgies' Art Gallery, New York, April 13 and 14, 1887, p. 20, no. 300.
Catalogue of the Gallery of Art of The New York Historical Society, New York: Printed for the Society, 1915, p. 42.
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. 254, 364.
Lawall, David B., Asher B. Durand: A Documentary Catalogue of the Narrative and Landscape Paintings, New York & London, Garland Publishing, Inc., 1978, p. 177.
A Mirror of Creation: 150 Years of American Nature Painting, New York Friends of American Art in Religion, Inc., 1980, unpaginated.
Deak, Gloria-Gilda, Kennedy Galleries' Profiles of American Artists, New York: Kennedy Galleries, 1984, pp. 80-1.
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. 342.
Novak, Barbara, Nineteenth-Century American Painting, The Vendome Press, 1986, pp. 24-5.
Goddard, Donald, American Painting, New York: Hugh Lauter Levin Associates, Inc., 1990, pp. 49, 53.
Harvey, Eleanor Jones, The Painted Sketch: American Impressions from Nature 1830-1880, Dallas: Dallas Museum of Art, 1998, 140-1.
Foshay, Ella M., and Novak, Barbara, Intimate Friends: Thomas Cole, Asher B. Durand, William Cullen Bryant, New York: The New-York Historical Society, 2000, pp. 37-43, 55.
Bedell, Rebecca, The Anatomy of Nature: Geology & American Landscape Painting, 1835-1875, Princeton: Princeton University Press, 2001, pp. 60-4, 159, 161.
Leggio, Gail, "Nature's Presence: Asher B. Durand and American Landscape," American Arts Quarterly, Spring 2007, pp. 10-8.
Peck, H. Daniel, "Unlikely Kindred Spirits: A New Vision of Landscape in the Works of Henry David Thoreau and Asher B. Durand," American Literary History, Vol. 17, No. 4, November 30, 2005, pp. 699-700.
Vedder, Lee A. "Nineteenth-century American paintings." The Magazine Antiques 167 (2005): 146-155.
Date Begin:
0
Date End:
1856
eMuseum Object ID:
21798
Due to ongoing research, information about this object is subject to change.
Vesuvius and the Bay of Naples from the Island of Capri
Classification:
Highlight:
Not promoted
Date:
1850
Medium:
Oil on canvas
Dimensions:
Overall: 48 1/2 x 64 in. ( 123.2 x 162.6 cm )
Description:
Landscape with view of Mt. Vesuvius, the Palace of Tiberius, and the bay of Naples all from the island of Capri; maidens and bulls in foreground.
Credit Line:
Gift of Thomas Jefferson Bryan
Object Number:
1867.288
Marks:
signed and dated: on lower right: "G.L. Brown/Paris, 1850."
inscribed: on back of canvas, in black paint: "View of the town of Capri and distant view/ Island of Capri near Naples by Sun-set/painted by G.L. Brown for T. Jefferson Bryan, Esq. of Phila. Par
Date Begin:
0
Date End:
1850
eMuseum Object ID:
21797
Due to ongoing research, information about this object is subject to change.
Boy with Toy Drum
Collections:
Classification:
Date:
ca. 1845
Medium:
Oil on canvas
Dimensions:
Overall: 25 7/8 x 21 7/8 x 1 1/8 in. ( 65.7 x 55.6 x 2.9 cm )
Credit Line:
Purchased from Elie Nadelman
Object Number:
1937.454
Gallery Label:
This object was once part of the folk art collection of Elie Nadelman (1882-1946), the avant-garde sculptor. From 1924 to 1934, Nadelman's collection was displayed in his Museum of Folk Arts, located in the Riverdale section of the Bronx. The Historical Society purchased Nadelman's entire collection in 1937.
Provenance:
The Folk Art Collection of Elie Nadelman
Bibliography:
Chamberlain, Narcissa G. “William T.Bartoll, Marblehead Painter.” The Magazine Antiques, vol. 122 (November 1982): 1089–1095.
Date Begin:
0
Date End:
1845
eMuseum Object ID:
21796
Due to ongoing research, information about this object is subject to change.
James Beekman (1732-1807)
Classification:
Date:
1761
Medium:
Oil on canvas
Dimensions:
Overall: 47 3/4 x 34 3/8 in. ( 121.3 x 87.3 cm )
Credit Line:
Gift of the Beekman Family Association
Object Number:
1962.64
Gallery Label:
Merchant James Beekman (1732-1807) recorded this painting and the companion portrait of his wife (1962.65) in his household account book on March 11, 1762. He paid Lawrence Kilburn 20 pounds for "Drawing myne & my Wife Picture" and recorded another L11.10 paid to carver Stephen Dwight for the frames.
Bibliography:
Ledes, Allison E., ed. "The Magazine Antiques: January 2005." New York: Brant Publications, Inc., 2005.
Date Begin:
0
Date End:
1761
eMuseum Object ID:
21795
Due to ongoing research, information about this object is subject to change.
Mrs. Peleg Pelton (Anne Stoddard, 1759-after 1826).
Classification:
Highlight:
Not promoted
Date:
1826
Medium:
Oil on canvas
Dimensions:
Overall: 35 x 28 3/4 in. ( 88.9 x 73 cm )
Object Number:
1984.71
Date Begin:
0
Date End:
1826
eMuseum Object ID:
21794
Due to ongoing research, information about this object is subject to change.
Virgin and Child Enthroned with Ten Saints: Maestà
Classification:
Highlight:
Not promoted
Date:
ca. 1330–34
Medium:
Gilded gesso and tempera on panel
Dimensions:
Overall: 13 13/16 × 9 15/16 × 11/16 in. (35.1 × 25.2 × 1.7 cm)
Credit Line:
Gift of Thomas Jefferson Bryan
Object Number:
1867.375
Bibliography:
Sciacca, Chrstine, editor. Florence at the Dawn of the Renaissance: Painting and Illumination 1300-1350. Los Angele: Getty Publications, 2012.
Date Begin:
0
Date End:
1334
eMuseum Object ID:
21790
Due to ongoing research, information about this object is subject to change.
Louisa Lee Schuyler (1837-1926)
Classification:
Date:
1879
Medium:
Oil on canvas
Dimensions:
Framed: 38 1/2 × 33 1/4 × 3 1/4 in. (97.8 × 84.5 × 8.3 cm)
Unframed: 29 × 23 5/8 in. (73.7 × 60 cm)
Credit Line:
Gift of Louisa Lee Schuyler and Georgina Schuyler
Object Number:
1925.4
Marks:
Signed and dated upper right: Ln Bonnat / 1879
Gallery Label:
Louisa Lee Schuyler, the eldest daughter of George Lee Schuyler and Eliza (Hamilton) Schuyler, became a patron of The New-York Historical Society in 1925, in which year she presented in her own name and that of her sister Georgina (who had died two years before) eleven portraits of members of the Schuyler family ranging in date from the early 18th to the late 19th centuries, giving the Society a valuable collection of the likenesses of one of the most prominent families of New York.
Date Begin:
0
Date End:
1879
eMuseum Object ID:
21776
Due to ongoing research, information about this object is subject to change.
Johannes Schuyler, Jr. (1697-1741)
Classification:
Date:
ca. 1725
Medium:
Oil on canvas
Dimensions:
Overall: 30 x 25 in. ( 76.2 x 63.5 cm )
Credit Line:
Bequest of Philip Schuyler
Object Number:
1915.10
Gallery Label:
The artist of this painting executed several portraits of the Schuyler family in the 1720s and for centuries was known simply as “the Schuyler painter.” Researchers now believe this artist was Nehemiah Partridge, one of a group of painters working along the Hudson River Valley in the early eighteenth century. Aside from the color of the sitter's coat, this portrait is nearly identical to a painting of the subject’s older brother, Philip. Both may be based on a mezzotint after Sir Godfrey Kneller’s portraits, which were popular in London a decade or so earlier.
The subject was the second son of Captain Johannes Schuyler and Elizabeth (Staats) Wendel Schuyler. He married Cornelia Van Cortlandt (1698-1762) in the New York Dutch Church on October 18, 1723. The couple lived with their eleven children in Albany, where Johannes Schuyler, Jr., served as mayor and was a merchant, alderman, and Indian commissioner. His portrait was a gift to the Society from his great-great-grandson.
Date Begin:
0
Date End:
1725
eMuseum Object ID:
21775
Due to ongoing research, information about this object is subject to change.
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