Mrs. Francis Meserole (1789-1865)
Classification:
Date:
1844
Medium:
Oil on canvas
Dimensions:
Overall: 28 x 23 in. ( 71.1 x 58.4 cm )
Credit Line:
Gift of Althea Meserole Jagger
Object Number:
1960.48
Marks:
signature: on spine of book: "James / Henry / Wright"
inscription: on back: "JHW / 1844"
Gallery Label:
Lettie Brower was the daughter of Adolphus and Althea (Hultz) Brower. She became the wife of Francis Meserole of Flushing, New York, in 1804.
Date Begin:
0
Date End:
1844
eMuseum Object ID:
19481
Due to ongoing research, information about this object is subject to change.
Unidentified man
Classification:
Date:
ca. 1840
Medium:
Oil on canvas
Dimensions:
Overall: 30 x 25 in. ( 76.2 x 63.5 cm )
Object Number:
X.162
Bibliography:
Catalogue of American Portraits in The New-York Historical Society, New Haven: Yale University Press, Vol. 1, 1974, p. 922.
Date Begin:
0
Date End:
1840
eMuseum Object ID:
19480
Due to ongoing research, information about this object is subject to change.
The Blind Samson in the Temple
Classification:
Date:
1861
Medium:
Oil on canvas
Dimensions:
Overall: 18 x 24 in. ( 45.7 x 61 cm )
Credit Line:
Purchase, The Louis Durr Fund
Object Number:
1959.78
Marks:
signed and dated: in lower left corner: "J. Carlin, 1861"
Date Begin:
0
Date End:
1861
eMuseum Object ID:
19479
Due to ongoing research, information about this object is subject to change.
Leroy Elwood Kimball (1888-1962)
Classification:
Date:
1959
Medium:
Oil on canvas
Dimensions:
Overall: 55 1/2 x 36 in. ( 141 x 91.4 cm )
Credit Line:
Purchase
Object Number:
1959.48
Marks:
signature and date: lower right: "John Johansen / 59"
Gallery Label:
A native of Flint, Michigan, Kimball was awarded an M.A. degree from New York University in 1917, and in 1925 became comptroller of the university, a position he held for twenty years. He was appointed vice-chancellor and comptroller in 1945 and two years later became secretary-treasurer of the board of trustees of the N.Y.U.-Bellevue Medical Center. Kimball was a member of N-YHS, and served as a vice-president and trustee.
Date Begin:
0
Date End:
1959
eMuseum Object ID:
19478
Due to ongoing research, information about this object is subject to change.
Mrs. Arthur Curtiss James (ca. 1868-1941)
Classification:
Highlight:
Not promoted
Date:
n.d.
Medium:
Pastel on burlap
Dimensions:
Overall: 36 x 24 in. ( 91.4 x 61 cm )
Credit Line:
Gift of the James Foundation
Object Number:
1959.38
Marks:
signature: upper right: "Robert Reed"
Gallery Label:
Harriet Eddy Parsons was the daughter of Sydenham Clark Parsons. She married Arthur Curtiss James in Northampton, Massachusetts, on April 23, 1890.
Date Begin:
0
Date End:
0
eMuseum Object ID:
19477
Due to ongoing research, information about this object is subject to change.
Blind Man's Bluff
Classification:
Date:
1836
Medium:
Oil on wood door panel
Dimensions:
Overall: 21 x 15 x 1 1/4 in. (53.3 x 38.1 x 3.2 cm)
Credit Line:
Gift of Dudley Butler, grandson of Luman Reed
Object Number:
1940.481
Gallery Label:
"Blind Man's Bluff" is one of a series of door panels that the New York art collector Luman Reed (1785-1836) commissioned to enhance the overall appearance of the art gallery in his Manhattan townhouse. As was fashionable among other elite American collectors, the floor plan of Reed's gallery was a double parlor. Two small doors opened into each of the two rooms, and two larger doors divided the double parlor, all of which had recessed panels. With the passion of a true collector, Reed was not one to waste valuable space for displaying works of art and decided to fill the door recesses with original paintings. Calling on Thomas Cole, Asher B. Durand, George Whiting Flagg, and William Sidney Mount to contribute to the scheme, Reed commissioned panels of simple genre subjects, which were to be executed in a free and uncomposed manner. Fourteen of the original panel paintings survive, four of which are by Cole and the rest attributed to Durand. The New-York Historical Society holds seven of the surviving panels by Durand, including this one, which would havd been mounted in one of the two larger doors dividing the double-room parlor. The other seven panels are dispersed among private collections and the Wadsworth Atheneum in Hartford, Connecticut.
Bibliography:
Noble, Louis Legrand, The Life and Works of Thomas Cole, Hensonville, New York: Black Dome Press, 1964, pp. 155-65.
Parry, Elwood, Thomas Cole's "The Course of Empire": A Study in Serial Imagery, PhD Dissertation, Yale, 1970, pp. 70-3.
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. 68, 188-92. 620.
Lawall, David B., Asher B. Durand: A Documentary Catalogue of the Narrative and Landscape Paintings, New York & London, Garland Publishing, Inc., 1978, pp. 8-10.
Frankenstein, Alfred, William Sidney Mount, New York, NY: Harry N. Abrams, Inc., 1975, pp. 69-70.
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. 304-6, 402-4.
Tufts, Eleanor, "Realism Revisited: Goya's Impact on George Bellows and other American Responses to the Spanish Presence in Art," Arts, No. 57, February 1983, PP. 105-13.
Foshay, Ella M., Luman Reed's Picture Gallery: Pioneer Collection of American Art, New York: Harry N. Abrams, Inc., 1990, pp. 38-9, 67-9, 205-6.
Burgard, Timothy Anglin, "New Discoveries in American Art," American Art Journal, Vol. 23, No. 1, 1991, pp. 70-4.
Date Begin:
0
Date End:
1836
eMuseum Object ID:
19476
Due to ongoing research, information about this object is subject to change.
George Inness (1825-1894)
Classification:
Date:
ca. 1880
Medium:
Oil on canvas
Dimensions:
Overall: 21 x 17 in. ( 53.3 x 43.2 cm )
Credit Line:
Purchase, Foster-Jarvis Fund
Object Number:
1958.89
Marks:
signature: lower left: "Inness, Jr."
label: on stretcher: "Portrait of / Geo. Inness / Painted by / G. I., Jr."
inscription: on frame: "This is Geo. Inness' / own hand writing"
Gallery Label:
George Inness, Jr., the son of the famous landscape painter, studied with his father for many years and absorbed much of his manner. This portrait by the younger Inness was used as the frontispiece for his biography of his father, "Life, Art, and Letters of George Inness" (1917).
Date Begin:
0
Date End:
1880
eMuseum Object ID:
19475
Due to ongoing research, information about this object is subject to change.
Factories at Canton (from the harbor) China
Classification:
Highlight:
Not promoted
Date:
1840
Medium:
Oil on burlap
Dimensions:
Overall: 17 5/8 x 30 7/8 in. ( 44.8 x 78.4 cm )
Credit Line:
Gift of Louis S. Tieman
Object Number:
1960.79
Date Begin:
0
Date End:
1840
eMuseum Object ID:
19470
Due to ongoing research, information about this object is subject to change.
Anna Canfield Park (1841-ca. 1912)
Classification:
Date:
1859
Medium:
Oil on canvas
Dimensions:
Overall: 30 x 25 in. ( 76.2 x 63.5 cm )
Credit Line:
Gift of the Estate of Mrs. Robert Carmer Hill
Object Number:
1956.85
Marks:
signature and date: lower right: "F. S. / 1859"
Gallery Label:
The subject was the daughter of Charles Francis Park. She became the wife of Winthrop Sargent Gilman in 1861.
Date Begin:
0
Date End:
1859
eMuseum Object ID:
19468
Due to ongoing research, information about this object is subject to change.
William Sidney McCoun (1813-1873)
Classification:
Date:
1832
Medium:
Oil on wood panel
Dimensions:
Overall: 24 x 19 5/8 in. ( 61 x 49.8 cm )
Credit Line:
Purchase, Abbott-Lenox Fund
Object Number:
1957.114
Marks:
label: on back: "Painted in the Summer of 1832 by Wm. Dunlap"
Gallery Label:
Sidney McCoun was the son of William Townsend McCoun and Emma (Jackson) McCoun. McCoun was an attorney and was associated for a time with his brothers in the firm of McCoun and West at 6 Broad Street, and later with McCoun and Clark at 53 Wall Street. As a young man he was a close friend of William Dunlap.
Date Begin:
0
Date End:
1832
eMuseum Object ID:
19469
Due to ongoing research, information about this object is subject to change.
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