View of Broadway and City Hall, N.Y.C.
Classification:
Date:
ca. 1925-1935
Medium:
Oil on canvas
Dimensions:
Overall: 19 x 35 in. ( 48.3 x 88.9 cm )
Credit Line:
Commissioned by the Society
Object Number:
X.264
Gallery Label:
This painting is a modern rendition by an unidentified artist of the engraving by Carl Frederik Akrell of Stockholm.
Date Begin:
0
Date End:
1935
eMuseum Object ID:
40804
Due to ongoing research, information about this object is subject to change.
Mrs. John William Davis (1832-1902)
Classification:
Date:
n.d.
Medium:
Oil on canvas
Dimensions:
Overall: 21 x 17 in. ( 53.3 x 43.2 cm )
Credit Line:
Bequest of Cornelius von Erden Mitchell
Object Number:
1966.23
Marks:
signed: upper right: "Carroll Beckwith"
Gallery Label:
Mary Louise Van Beuren was the daughter of Michael Murray Van Beuren and Mary Spingler (Fonerden) Van Beuren. She married John William Davis (1828-1887) on November 11, 1851. This portrait was a gift to the Society from her grandson.
Date Begin:
0
Date End:
0
eMuseum Object ID:
40757
Due to ongoing research, information about this object is subject to change.
Ezra Ames (1768-1836)
Classification:
Date:
ca. 1810
Medium:
Oil on canvas
Dimensions:
Overall: 30 x 24 x 1 in. ( 76.2 x 61 x 2.5 cm )
Description:
In this self-portrait, Ames is wearing a steel-gray coat, cream waistcoat, and white shirt; his eyes are gray and his hair is graying; he is set against a brown background.
Credit Line:
Purchase, The Watson Fund
Object Number:
1967.11
Gallery Label:
This portrait was formerly owned by Ellen A. Wade and Mary Wade Dahl, adn the subject was identified as the artist's half-brother Henry Ames. Several self-portraits were painted by Ezra Ames, and five of these are listed in Bolton and Cortelyou's Ezra Ames of Albany, pp. 203-204. This portrait may be no. 12 in that catalog, which is described as: "Unfinished. A portrait of 'Ezra Ames unfinished' is listed and appraised at $25.00 in the Inventory, 1836, of the Ezra Ames estate. Unlocated."
Date Begin:
0
Date End:
1810
eMuseum Object ID:
40690
Due to ongoing research, information about this object is subject to change.
Mrs. John Bryan (1773-1854)
Classification:
Date:
ca. 1815
Medium:
Oil on linen
Dimensions:
Overall: 29 7/8 x 23 3/4 x 3/4 in. ( 75.9 x 60.3 x 1.9 cm )
Description:
Mrs. John Bryan's style of dress in this portrait is of the era when Dolley Madison was hostess at the White House; typical of Ames's style is the rather plain but painterly rendering of the face, the use of the large drapery in the upper right corner, and the barely visible column and base in the background.
Credit Line:
Gift of Nanette Bryan
Object Number:
1961.10
Gallery Label:
Catherine Carmichael of Morristown, New Jersey, was the third wife of John Bryan. Though her portrait is attributed to Ezra Ames, it is not mentioned in Bolton and Cortelyou's "Ezra Ames of Albany" (1955), the standard catalog of Ames's work.
Date Begin:
0
Date End:
1815
eMuseum Object ID:
40687
Due to ongoing research, information about this object is subject to change.
Thomas Ellison (1773-1820)
Classification:
Date:
ca. 1810
Medium:
Oil on wood panel
Dimensions:
Overall: 28 1/2 x 22 in. ( 72.4 x 55.9 cm )
Credit Line:
Bequest of Mrs. Emily Ellison Post, in memory of her parents, Charles Litchfield Ellison and Harriet E. (Morton) Ellison
Object Number:
1942.322
Marks:
label: on back: "Col. Thomas Ellison / Son of Wm Ellison & Mary Floyd / Born Jan. 28, 1773 / Died Aug. 8, 1820 / Married Harriet Rumsey"
Gallery Label:
Col. Thomas Ellison was the son of William and Mary (Floyd) Ellison. He belonged to a prominent New York City and Orange County family and servied as an officer in the New York Militia. His portrait was a gift to the Society from his great-granddaughter.
This is one of the earliest portraits in which Jarvis experimented with an exceedingly loose brushwork in the background, barely suggesting the trunk, limb, and leaves of a tree at the right; the forms at the left defy identification.
Bibliography:
"Donations," The New-York Historical Society Quarterly, Vol. 26, No. 4, October 1942, pp. 103-6.
Dickson, Harold E., John Wesley Jarvis: American Painter, 1780-1840, New York: The New-York Historical Society, 1949, pp. 197-8, 348.
Catalogue of American Portraits in The New-York Historical Society, Vol. 2, New York: The New-York Historical Society, 1974, pp. 148-9.
Date Begin:
0
Date End:
1810
eMuseum Object ID:
40668
Due to ongoing research, information about this object is subject to change.
John Bryan (1765-1849)
Classification:
Date:
ca. 1815
Medium:
Oil on panel
Dimensions:
Overall: 30 x 23 5/8 x 3/8 in. ( 76.2 x 60 x 1 cm )
Description:
In this portrait of Bryan, he is represented in a brown fur-lined coat with another fur hanging on the wall at the right, a reference to his profession.
a prominent merchant and farmer who traded extensively with John Jacob Astor between 1813 and 1815. By 1833 his son, Francis, who later became an alderman, had joined his firm. John Bryan was an original director of Mechanics and Farmers Bank, Albany.
Credit Line:
Gift of Nanette Bryan
Object Number:
1961.9
Gallery Label:
The painting is attributed to Ames on the basis of style; the technical rendering of the head; especially, suggests that artist, who had by 1815 been active in Albany for many years. The painting is not listed, however, in Bolton and Cortelyou's Ezra Ames of Albany, 1955, the definite catalog of Ames' work.
Date Begin:
0
Date End:
1815
eMuseum Object ID:
40653
Due to ongoing research, information about this object is subject to change.
Goldsborough (or Goldsbrow) Banyar, Sr. (1724-1815)
Classification:
Highlight:
Not promoted
Date:
1802
Medium:
Oil on linen
Dimensions:
Overall: 52 x 42 x 1 in. ( 132.1 x 106.7 x 2.5 cm )
Description:
This is a rather ambitious portrait which, although the subject is seated, reveals the influence of Gilbert Stuart's Lansdowne Washington; no longer is the setting the pleasant well-appointed parlor or library of a prosperous provincial merchant, but now the large Iconic column and the great drapery in the upper right pretend to something far more grandiose; the body appears flat, almost silhouette-like in its blackness and sharp contours; the hands suggest the artist's lack of anatomical understanding; the style in general is that of a colonial limner and has not reached the sophistication attained about a decade later in the artist's famous portrait of Governor George Clinton.
Credit Line:
Gift of the Estate of Augustus Van Horne Stuyvesant, Jr.
Object Number:
1957.47
Marks:
signed and dated: lower left: "E. Ames Pinxt 1802"
Gallery Label:
Ames's account book does not list this painting in the year 1802, but records instead the "odd jobs" which occupied much of his time.
Provenance:
The Augustus Van Horne Stuyvesant, Jr. Collection
Date Begin:
0
Date End:
1802
eMuseum Object ID:
40647
Due to ongoing research, information about this object is subject to change.
The Bear Dance
Classification:
Date:
ca. 1870
Medium:
Oil on linen
Dimensions:
frame: 50 x 72 1/2 in. ( 127 x 184.2 cm )
Overall: 41 x 62 in. ( 104.1 x 157.5 cm )
Description:
Oil on canvas painting depicting a large congregation of bears dancing and socializing in a forest clearing; those in the foreground dance to music provided by a group of musicians playing trombones, trumpets, the bass, drums and cymbals on a ledge at left; a group in left foreground eats watermelon and drinks wine from bottles; wine cases at left, a basket of grapes, a grapevine and a covered pewter stein in the lower foreground. Another band plays in the right middleground while more bears arrive, descending a hill at right, some dancing and carrying grape vines and garlands. Foliaged trees provide a backdrop; blue sky visible above.
Credit Line:
Gift of Enoch G. Megrue
Object Number:
1942.108
Marks:
Stamp: canvas stencil: "Goupil's/722/Broadway, N.Y."
Gallery Label:
William Holbrook Beard, who worked in New York City from 1859 until his death, earned a reputation as one of America's finest animal painters. Many of his paintings employed animals to mimic and satirize human behavior, thus participating in a tradition dating back to antiquity. This painting of a rather exclusive party in a forest clearing is also known as The Bears of Wall Street Celebrating a Drop in the Stock Market, and The Wall Street Jubilee.The painting was previously owned by the Strangers Club in New York City. When the club disbanded its property was divided among its members, and this painting was taken by Joseph R. Megrue, father of the donor.
Provenance:
Enoch G. Megrue
Joseph R. Megrue, 1896
Strangers Club, New York, 1893
Date Begin:
0
Date End:
1870
eMuseum Object ID:
40628
Due to ongoing research, information about this object is subject to change.
Ki On Twog Ky (also known as Cornplanter ) (1732/40-1836)
Collections:
Classification:
Is owned by NYHS:
Yes
Highlight:
Display this item in the highlights
Date:
1796
Medium:
Oil on canvas
Dimensions:
Canvas: 30 x 25 in. ( 76.2 x 63.5 cm )Frame: 44 3/4 x 39 15/16 x 5 in. (113.7 x 101.4 x 12.7 cm)
Description:
Bust-length portrait of a ranking Native American chief of the Seneca tribe wearing a silver medal around his neck, a pair of silver armbands, a plumed headdress, nose and ear rings, and a scarlet shroud around his shoulders. He holds across his chest, in his right hand, a smoking pipe, adorned with feathers.
Credit Line:
Gift of Thomas Jefferson Bryan
Object Number:
1867.314
Marks:
signed and dated: at right: "F. Bartoli. / New York. / 1796"
Gallery Label:
The portrait commemorates Cornplanter's May 1786 meeting with the U.S. Congress in New York, which signaled the establishment of peaceful relations between the Seneca chief and the young republic. He wears the regalia presented to him by the "Council of the Thirteen Fires." In addition to bestowing these gifts, Congress gave Cornplanter assurances that both the British and Americans wanted peace with the Native Americans and would respect the boundaries of land assigned to them by treaty. According to documented genealogy on the Abeel family presented by Louise Williamson Brooks, a family descendent, Cornplanter was born around 1742, one of eight children of Johannes (John) Abeel (baptized April 8, 1722) and the Indian princess Aliquipiso of the Turtle Clan of the Seneca Tribe, whom he met as a fur trader among the Six Nations. Cornplanter died in 1836 on Cornplanter Island in the Allegheny River.
Bibliography:
Wettenkampf, Frank, "How Indians were Pictured in Earlier Days," The New-York Historical Society Quarterly, Vol. 33, no. 4, October 1949, p. 217. Catalogue of American Portraits in The New-York Historical Society, New Haven: Yale University Press, Vol. I, 1974, p. 427. Ledes, Allison Eckhardt Ledes, "Current and coming," The Magazine Antiques, January 2005, p. 16.
Date End:
1796
eMuseum Object ID:
40589
Exclude from TMS update:
OFF
Due to ongoing research, information about this object is subject to change.
Landscape
Classification:
Date:
n.d.
Medium:
Oil on canvas
Dimensions:
Overall: 25 3/4 x 36 in. ( 65.4 x 91.4 cm )
Credit Line:
Gift of Mrs. Adelaide Haight Chapin
Object Number:
1937.1714
Date Begin:
0
Date End:
0
eMuseum Object ID:
40545
Due to ongoing research, information about this object is subject to change.
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