DOCSLIB.ORG

TEFAF New York Thomas Colville Fine Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TEFAF New York Thomas Colville Fine Art TEFAF New York Thomas Colville Fine Art October 28-November 1, 2017 Te Park Avenue Armory 643 Park Avenue | Between 66th & 67th Streets GEORGE BELLOWS (American 1882-1925) The Watermelon Man, 1906 Crayon, charcoal, pen & ink on paper 14 x 17 inches Signed Geo. Bellows lower left Provenance: Weyhe Gallery, New York Literature: “The Craftsman” Vol. 17, February 1910, p. 596; Marianne Doezema, George Bellows and Urban America, Yale University, 1992, pp. iii, 134, no. 56, frontispiece Marianne Doezema, Tenement Life: Clif Dwellers, 1906-1913, in the exhibition catalog for “George Bellows,” National Gallery of Art, Washington D.C., 2012, p. 50, fg. 4 Exhibited: New York, Independent Artists’ Exhibition, organized by Robert Henri in the exhibition catalog for “George Bellows,” National Gallery of Art, Washington D.C., 2012, p. 50, fg. 4 DAVID GILMOUR BLYTHE (American 1815-1865) January Bills Oil on canvas 20 x 24 inches Signed Blythe lower right Provenance: The artist George L. Hailman George W. Hailman Francis P. Garvan, 1939 Macbeth Gallery, New York Millicent Rogers, circa 1939 Arturo Peralta Ramos, by descent Gifted to Jacqueline Peralta Ramos, until 2017 Literature: Oliver W. Larkin, Art and Life in America, New York, Rinehart & Company, Inc., 1949, pg. 216 Dorothy Miller, The Life and Work of David G. Blythe, Pittsburg, Pennsylvania. University of Pittsburgh Press, 1950, pg. 75-76, 129 Bruce W. Chambers, The World of David G. Blythe (1815-1865), Washington DC, Smithsonian Institution Press, 1980, pg. 59 illustrated & pg. 155 Francis P. Garvin: Collector, New Haven, Connecticut, Yale University Press, 1980, pg. 52 Exhibited: Pittsburgh Art Association, Pittsburg, Pennsylvania, 1860, no. 76 Carnegie Institute, An Exhibition of Paintings by David G. Blythe, Pittsburgh, Pennsylvania, December 22, 1932-January 31, 1933, no. 21 Whitney Museum of American Art, Paintings by David G. Blythe, April 7-May 7, 1936. Metropolitan Museum of Art, Life in America for 300 Years: A Loan Exhibition of Paintings, S. L., October 17 - November 21, 1939, No. 3039.11 GEORGE BELLOWS (American 1882-1925) The Watermelon Man, 1906 Crayon, charcoal, pen & ink on paper 14 x 17 inches Signed Geo. Bellows lower left Provenance: Weyhe Gallery, New York Literature: “The Craftsman” Vol. 17, February 1910, p. 596; Marianne Doezema, George Bellows and Urban America, Yale University, 1992, pp. iii, 134, no. 56, frontispiece Marianne Doezema, Tenement Life: Clif Dwellers, 1906-1913, in the exhibition catalog for “George Bellows,” National Gallery of Art, Washington D.C., 2012, p. 50, fg. 4 Exhibited: New York, Independent Artists’ Exhibition, organized by Robert Henri in the exhibition catalog for “George Bellows,” National Gallery of Art, Washington D.C., 2012, p. 50, fg. 4 PASCAL DAGNAN-BOUVERET (French 1852-1929) Lady in Pink with her Child, 1882 Oil on canvas 25 x 32 inches Signed and dated PAJ Dagnan 1882 lower right Provenance: Hammer Galleries Mr. Jefrey and Mrs. Jill Stof, Wellesley, Massachusetts Literature: Catalouge des Oeuvres de M. Dagnan-Bouveret, Peintures, Paris, 1930, Librairie du Bulletin de L’Academie des Beaux- Arts, pg. 23 as Jeune demme en rose avec son enfant CHARLES-FRANÇOIS DAUBIGNY (French 1817-1878) Auvers-sur-Oise, 1864 Oil on panel 15 ½ x 26 inches Signed and dated Daubigny 1864 lower left Provenance: Collection of William Hood Stewart, until 1898 Henry Reinhardt Paintings and Works of Art V. S. Logan, Chicago, Illinois, 1900 Mrs. Marianne H. Low, New York, circa 1968 Exhibited: New York, American Art Galleries, Modern Masterpieces gathered by the Late Connoisseur William H. Stewart, February 3-4, 1898, no. 35, illustrated Note: Certifcate of authenticity from Boussod, Valadon & Cie., dated July 9, 1900. MAURICE DENIS (French 1870-1943) Florence, Piazza San Gallo, 1898 Oil on board 10 1/4 x 11 inches Initialed and dated MD 98 lower right Provenance: Count Harry Kessler The Revlon Collection Sale: Sotheby’s, New York, Impressionist and Modern Art, 10/9/1996, lot 30 Private Collection, Maine Exhibited: Galerie Druet, Maurice Denis, Paris, France, 1904, no. 63 Note: This picture is to be included in the forthcoming catalogue raisonné being compiled by Claire Denis and Fabienne Stahl at no. 898.0216. MAURICE DENIS (French 1870-1943) The Public Garden, circa 1900 Oil on artist’s board 9 ¼ x 13 inches Monogrammed MAUD lower right Provenance: Galerie Paul Vallotton, Lausanne, 1983 (no. 12474 in their archives) Note: This picture is to be included in the forthcoming catalogue raisonné being compiled by Claire Denis and Fabienne Stahl at no. 900.0023* and is accompanied by a letter of authenticity. JOHN WILLIAM HILL (American 1812-1879) The Hudson near World’s End, West Point, circa 1865 Watercolor on paper 11 ¾ x 18 inches Signed J.W. Hill lower left Provenance: The estate of former Pennsylvania Governor William W. Scranton and First Lady Mary L. Scranton GEORGE HITCHCOCK (American 1850-1913) The Mussel Gatherer, 1886 Oil on canvas 21 ¾ x 32 ¼ inches Signed and dated George Hitchcock 1886 lower left Provenance: The artist To his niece, Ethel Hitchcock By descent, until 2008 Thomas Colville Fine Art, LLC, 2008 Private collection, 2008-2017 WINSLOW HOMER (American 1836-1910) In the Garden, 1875 Watercolor on paper Sight size: 11 ½ x 7 7/8 inches Paper size: 14 x 10 inches Signed and dated W Homer 1875 lower left Provenance: Unidentifed auction, Boston, Massachusetts, circa 1878 Acquired by William S. Eaton, Boston, Massachusetts, circa 1878 By descent to Francis S. Eaton, Boston, Massachusetts, by 1926 Acquired by Wildenstein & Company, 1943 Lillian Bostwick Phipps (Mrs. Ogden Phipps), New York, 1944 Ogden Phipps, New York, circa 1987 By descent until 2007 Literature: “Art Notes,” New York World, 25 October 1875 “The Arts,” Appletons’ Journal of Literature, Science, and Art, 6 November 1875, pages 602-3 Lloyd Goodrich and Abigail Booth Gerdts, Record of Works by Winslow Homer, 1867-1876, vol. II, New York, 2005, no. 567, pages 359-60, illustrated Exhibited: Philadelphia, Pennsylvania, The Great Centennial Exhibition, 10 May-10 November 1876, no. 308 Boston, Massachusetts, Museum of Fine Arts, Exhibition of Works by Winslow Homer and John La Farge, June – August 1936 New York, Wildenstein & Co., A Loan Exhibition of Water Colors: Homer, Sargent, Marin, April – May 1947, no. 48 Washington, D. C., National Gallery of Art, Winslow Homer Watercolors, March – May 1986, no. 33 illustrated p. 45. WINSLOW HOMER (American 1836-1910) Orange Tree, Nassau, 1885 Watercolor on paper 14 x 20 1/2 inches Signed and dated Winslow Homer 1885 lower left Provenance: Reichard & Co., New York, 1885 Russell Sturgis, New York, probably 1885 By descent to Edward Sturgis, New York, 1909 By descent to Agnes Sturgis, Pleasantville, New York, 1946 Knoedler & Co., 1946 Wildenstein Gallery, New York, 1946-1947 Mr. & Mrs. Lawrence A. Fleischman, Detroit, Michigan, 1954 Priscilla Alden Bartlett Henderson, circa 1959 Sale: Sotheby Parke Bernet, April 25, 1980, lot 38, illustrated in color Lano Art Association, New York (acquired at the above sale) Helen Marx, 1986 – 2011 Literature: Helen Cooper, Winslow Homer Watercolors, New Haven, Connecticut, 1986, p. 136-137, no. 123, illustrated in color Martha Tedeschi and Kristi Dahm, Watercolors by Winslow Homer: The Color of Light, Art Institute of Chicago, Chicago, Illinois, 2008, p. 170, no. 2, illustrated in color Lloyd Goodrich and Abigail Booth Gerdts, Record of Works by Winslow Homer: 1883 through 1889, vol. IV.2, The Goodrich-Homer Art Education Project, New York, 2012, pg. 327, no. 1271, color illustrated pg. 539 Exhibited: New York, Reichard & Co., Water-Color Views by Winslow Homer, (c. 18 - c. 31), December 1885, no. 8 New York, New York Watercolor Club, Thirteenth Annual Exhibition, November- December 1902, no. 17 New York, Wildenstein & Co., A Loan Exhibition of Winslow Homer for the Beneft of the New York Botanical Garden, 19 February – 22 March 1947, no. 62 as Orange Trees and Gate Houston, Texas, Allied Arts Association Annual Art Festival, Paintings, Watercolors and Drawings by Winslow Homer, 1836-1910, November 1952, no. 25 Washington, D.C., National Gallery of Art; Fort Worth, Texas, Amon Carter Museum; New Haven, Connecticut, Yale University Art Gallery, Winslow Homer Watercolors, March-November 1986, no. 123 GEORGE INNESS (American 1825-1894) Delaware River, circa 1860-63 Oil on canvas 8 ¼ x 10 inches Signed G. Inness lower right Provenance: Possibly Samuel P. Avery, New York, New York (possibly sale, Henry H. Leeds & Miner Galleries, New York, New York [Samuel P. Avery sale], Feb. 4, 1867, no. 94) John F. Kensett, New York, New York until his death in 1872 Miss Elizabeth N. Kellogg, Brooklyn, New York, niece of Mr. Kensett, until 1913 Acquired by George H. Ainslie, George Ainslie Galleries, New York, Sep. 1913 Acquired by Peter Winchester Rouss, Esq., New York, Dec. 1913 By Descent to Mrs. Peter Winchester Rouss, New York Sale, American Art Association, New York, French furniture, French and American Paintings: Including Examples by Henner, Cazin, Dupre, Vibert, Innes [sic], Wyant, Moran, Murphy ... comprising the entire contents of the former residence of Mrs. Peter W. Rouss at 320 Garfeld Place, Brooklyn, N.Y, Oct. 22-24, 1936, lot 31 Acquired by Bartholomew J. Barry Gifted to Mrs. Belle Schwarzmann, sister-in-law of the above, New York Parke-Bernet Galleries, Inc., New York, Apr. 10 and 11, 1959, Valuable French XVIII Century Furniture and Objects of Art Belonging to the Late Belle Schwarzmann, lot 274 Acquired by Cora Cavanagh Cushny, Matinecock, New York and Lexington, Kentucky Estate of Cora Cavanagh Cushny Literature: “Fine Art; The Brooklyn Exhibition - Opening Reception Last Evening,” New York Herald, Dec. 3, 1878, p. 8, described as a “charming and early little George Inness Delaware River” LeRoy Ireland, The Works of George Inness, An Illustrated Catalogue Raisonne, University of Texas Press, 1965, no. 371, pp.
Load more

Recommended publications
  • 01 22 14.Pdf (6.700Mb)
    imvioa-rER. AND F'UBLISI-IER. OF' "EDUCATIONAL PHOTOGRAPHS And Views from all Parts of the Globe. - SPECIALTY. - Ruins of Ancient Carbon Photographs of European Cathedrals, Abbeys, Castles, Architecture, Arches, Statuary and Old and Modern Masters. 288 5th Avenue, New York. Bet. 30th and 3 1 st Streets. Russell Sturgis, President of the New York Architectural League. Dear Sir: "Your carbon photographs are Can I do anything for you during my next simply invaluable to students of trip abroad? I shall visit, as is my annual they all degrees of attainment, and custom, Ireland, England, France, Switzer- should be hung in full sight of every one who is occupied with land, Italy, Austria, Germany, Holland and thoughts upon the Fine Arts of Belgium. I shall try hard to include Russia the past. and the Scandinavian Countries. Having always met with delightful courtesy on the Professor Moore, of Harvard Uni- part of College Professors, I trust you will versity, writes: not consider it intrusive on my part, if I "Your carbons of architectural what series of that I have ask you to kindly suggest subjects are the finest to yet seen, and they seem to me photographs would be of greatest interest admirably suited to the needs of educators generally. My specialties are Colleges and other institutions, portraits of public men, makers of European where the history and principles History, Educators, Churchmen, Scholars, Fine Arts are taught." of the Great Lights in Art and Literature, the Old -i• Masters, Architecture, Archaeology, Geology, Cardinal Gibbons
    [Show full text]
  • Edward Sturgis of Yarmouth, Massachusetts 1613-1695
    EDWARD STURGIS OF YARMOUTH, MASSACHUSETTS 1613-1695 AND HIS DESCENDANTS ROGER FAXTON STURGIS, EDITOR PRINTED FOR PRIVATE CIRCULATION AT THE $tanbope preee BOSTON, MASSACHUSETTS 1914 (PlPase paste in your copy of Book) ADDENDA AND ERRATA. EDWARD STURGIS AND HIS DESCENDANTS. RocrnR FAXTON STURGIS, Editor. p. 22 In thinl line of third paragraph strike out "name m1kn0wn" brackets and substitute "Wendall." p. 22 In reference to Samuel Sturgis (D) strike 011t all after the date 1751 the third paragraph and substitute the following: - ''Fora third wife he marrh•d Abigail Otis a11d had a s011 J (E) born Ot:tuber l':I, 17::i7 aml a daughter l,ncretia CE) l November 11, 1758 (B. '.r. R. 2-275). Administration was grar upon his estate April 25, 1762, he being described as "of llarm:ta gentleman," to .Joseph Otis (his brother-in-law) and to his wi< .Abigail (B. 1'. C. vol. 10, p. 101). His estate was insolve11t am mention is made of children." p. 22 Strike out the reference to Prince Stnrgis (DJ aml sul.JstitutP following paragraph: - " Prince Sturgis (D), the fourth son, married October 12. 1 ElizalJelh Fayerweather and died at Dorchester, Massaeh11se 1779. There was one daughter of this marriage, ElizalJeth lJaptized February 7, 1740 and married December 2fl, liGl, Art Savage. They had five children. The eldest, Faith or Fidt married lkv. Hichard Munkhouse. Tlle others dir,d unmarrirc pp. 22 & 23. Strike out the reference to f-;anrnel (E) beginning at the foo µage 22 and substitute the following: - " Samnel (E), the other so11, married Lydia Crocker, daugl of Cornelius a11d Lydia (.J enkius) Crocker, aml had one child Sn (F) born November 8, 17G0 (4 B.
    [Show full text]
  • Global Vistas: American Art and Internationalism in the Gilded Age
    Global Vistas: American Art and Internationalism in the Gilded Age Nicole Williams Honorary Guest Scholar and Postdoctoral Teaching Fellow (2019–2020) in the Department of Art History & Archaeology in Arts & Sciences at Washington University in St. Louis Global Vistas: American Art and Internationalism in the Gilded Age explores the importance of international travel and exchange to American art of the late nineteenth century, a period of transition for the United States marked by the rise of global trade, international tourism, massive waves of immigration, and forces of orientalism and imperialism. Through a selection of paintings, prints, photographs, and decorative arts from the Mildred Lane Kemper Art Museum, as well as other collections at Washington University in St. Louis, this Teaching Gallery exhibition reveals how Americans increasingly defined their nation by looking to the foreign cultures and landscapes of Asia, the Middle East, Europe, and the Caribbean basin. They imbued their art with a modern, multicultural spirit that also announced the country’s emerging status as a global power. In the decades following the Civil War, many Americans eagerly turned away from recent violence at home toward new vistas of adventure and opportunity abroad. A boom in international travel was facilitated by improvements to communication and transportation networks, such as the laying of the first transatlantic cable, the completion of the transcontinental railroad, the opening of the Suez Canal, and the introduction of regular steamship service between San Francisco and Yokohama, Japan. Young American artists flocked to study in Europe’s great art centers, often staying overseas for many years and establishing vibrant expatriate communities.
    [Show full text]
  • University Microfilms International 300 North Zeeb Road Ann Arbor Michigan 48106 USA St
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap, if necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • Maura Lucking “Seeing Clearly What Is Good”: Russell Sturgis and The
    At the turn of the twentieth century, architect and critic Russell Sturgis suggested MauraAmericans needn’t visit the great European Lucking capitals. “It is better to sit at home with a plan and twenty photographs,” he wrote in his popular textbook, “with a sense of what that architecture truly means, than it is, without that sense, to visit the cathedral itself or all the cathedrals in France.”1 Sturgis contradicted more than three hundred years of educational history by eschewing travel as the bedrock “Seeingof architectural knowledge acquisition; like many Clearly of his generation, he preferred Downloaded from http://direct.mit.edu/thld/article-pdf/doi/10.1162/thld_a_00029/1611514/thld_a_00029.pdf by guest on 30 September 2021 What to place his faith in the photograph. He believed that comprehensive visual literacy would provide his audience with improved faculties of judgement from a pedagogical rather than simply aesthetic perspective. That positivism would prove problematic at times, as in the cantankerous critic’s islate-life Good”: public battle with Frank Lloyd Wright. Sturgis decriedRussell Wright’s recently Sturgis completed Larkin Building as “a monster of awkwardness,” overwhelming in its monolithic massing with desperate need for modulating surface ornament, citing his “pile of photographs” as evidence.2 The architect took offense not so much at the mischaracterization of a site Sturgis had not visited in person or an aes- thetic gesture he did not grasp, but, rather, at the critic’s use of the wrong kind of andphotographs. Wright the defended his work by callingDidactic for adequate representations Image that might better simulate the position of a pedestrian bystander, at street-level 68 and without “murderous, wide-angle slanders” (Figure 1).3 Sturgis had indeed confused the façade direction and made a few factual errors, but worse: he had developed his analysis using photographs taken from an elevated position.4 Either retouched or taken on a bright, cloudy day, the building’s brick coursing does indeed appear to dissolve into pure surface.
    [Show full text]
  • September 1905
    VOL. XVIII. No. 3. SEPTEMBER, 1905. WHOLE No. 84 A NEW SERIES OF STAGE SETTINGS FOR SHAKESPEARE'S "ROMEO AND JULIET "ILLUSTRATED . 175 FRANK CHOUTEAU BROWN THE FAMOUS JAPANESE ROOM IN THE MARQUAND HOUSE ILLUS- TRATED 193 RUSSELL STURGIS DECORATIVE PAINTING IN MAN- TUA, ITALY ILLUSTRATED . ALFREDO MELANI A NOVEL COLLEGE CHAPTER- HOUSE ILLUSTRATED . SOME CALIFORNIA BUNGALOWS- ILLUSTRATED . 217 THE AMERICAN PANTRY ILLUS- TRATED ...... 225 KATHERINE C. BUDD NOTES AND COMMENTS ILLUSTRATED 233 C. W. SWEET, Publisher R. W. REINHOLJD, Business Mgr. H.W.DESMOND, Editor H. D. CROLY. Associate Editor Subscription (Yearly;, $3.00 Published Monthly ' ' ^- -*' ": '~ ''--^ -''-''- i '.':' i T ''< '.V- . t .'i.'V'l '.'.".'. '''.".' '!-" -'I'li-m '.'. ''.' V>v:f/r ,';,. ..-., OFFICE OF PUBLICATION: Nos. 14 and 16 VESEY STREET, NEW YORK CITY. WESTERN OFFICE: 511 MONADNOCK BLOC., CHICAGO, ILL. FIG. A. VIA DEL MELANGOLO, VITERBO. (See article, "A New Series of Stage Settings for Shakespeare's 'Romeo and Juliet.' ") Vol. XVIII SEPTEMBER, 19O5 No. 3 A New Series of Stage Settings for Shake- speare's "Romeo and Juliet." Designed by Frank Chouteau Brown, Architect. Although the designing of stage scen- Italy, architectural designers had also ery does not belong to the ordinary been employed upon stage scenery. Ser- routine of work in an architectural of- lio in one of his works on Architecture, fice, yet the architect's training should gives us designs for stage settings ap- eminently fit him to suggest interesting propriate to different kinds of classic and architecturally correct stage pic- plays, and at least one stage setting of or not he a his was in Palladio's tures ; whether possesses design employed sufficient knowledge of scenic require- native town of Vicenza.
    [Show full text]
  • Architectural Record Company
    BRUCE PRICE. tTbe THE WORKS OF BRUCE PRICE. A CRITIQUE BY RUSSELL STURGIS. T may well be thought a great misfortune that the rage for what are supposed to be classical forms and classical combinations should have seized the community at a time when it is so entirely unfit to handle them. Its longing may be thought to prove its need. The fact that it cannot possibly hope to build in what is supposed to be the classical spirit is perhaps the reason why it longs to do so. Admit that the present historically learned epoch has discovered a virtue in certain ages of the past, which virtue it cannot but find itself notably deficient in, and it will yearn and strive that it may in some way, not yet clear to itself, seize some part of that lost propriety and intelligence. For propriety and intelligence are the chief characteristics of what the moderns call classical architecture. Little does the modern de- signer or the modern critic care about the facts, because the, as yet, ascertained $ facts are only slowly calling his attention. j{^H& Inasmuch as the men of the Renaissance and the men of the sixteenth century classical revival, or classical deca- dence, as you choose to con- sider it inasmuch as they had no suspicions that the buildings of Greece were differentiated in any- way from those at Rome, either in picturesqueness of situation, in ir- regularity of grouping, defying the "axis," or in smallness and sim- and inasmuch as had plicity ; they equally little idea that much of the original effect of the intended ef- fect of those Greek buildings lay Price.
    [Show full text]
  • 1 APPENDIX D BIBLIOGRAPHIES of ARCHITECTS, MCKIM, MEAD and WHITE Charles Follen Mckim (1847-1909 Was Born at Isabella Furnace
    1 APPENDIX D BIBLIOGRAPHIES OF ARCHITECTS, MCKIM, MEAD AND WHITE Charles Follen McKim (1847-1909 was born at Isabella Furnace, Chester County, Pennsylvania and was the anchor of the practice and the partner who enshrined the commitment to Beaux-Arts ideals. McKim studied Mining Engineering briefly at Harvard and in the summer of 1867 apprenticed under the noted architect, Russell Sturgis (1836-1909) in New York.1 From 1867-1870 McKim attended the École des Beaux-Arts in Paris returning to the United States in 1870. He brought with him the teachings of the École that combined ideals of beauty and clear planning to produce monumental architecture, and added Ruskinian precepts he had absorbed during this brief stay in Sturgis’ office – expressive massing, solid and straight forward construction and symbolic meaning enhanced by mural painting and decorative sculpture.2 Before McKim entered into a partnership with William B. Bigelow and William Mead in 1872 in New York City, he worked for a short time in the office of Henry Hobson Richardson (1838-1886), and became Richardson’s principal assistant working in the Spring of 1872 on the early studies for Trinity Church in Boston. William Rutherford Mead (1846-1928) was born in Brattleboro, Vermont and graduated from Amherst College in 1867. He worked for an engineer for a short time before entering the New York architectural office of Russell Sturgis as a paying student for instruction in architecture in 1867. Mead left New York for one and a half years and 1 Leland Roth, The Architecture of McKim, Mead & White 1890-1920: A Building List (New York and London: Garland Publishing, 1978), xvii.
    [Show full text]
  • OUR LADY of LOURDES ROMAN CATHOLIC CHURCH, 467 West 142Nd Street, Borough of Manhattan
    Landmarks Preservation Commission July 22, 1975, Number 2 LP-0892 OUR LADY OF LOURDES ROMAN CATHOLIC CHURCH, 467 West 142nd Street, Borough of Manhattan. Architect O'Reilly Brothers; built 1902-04. Landmark Site: Borough of Manhattan Tax Map Block 2058, Lot 33. On May 27, 1975, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of Our Lady of Lourdes Roman Catholic Church and the proposed designation of the related Landmark Site (Item No. 5). The hearing had been duly advertised in accordance with the provisions of law. Three witnesses spoke in favor of designation. There were no speakers in opposition to designation. DESCRIPTION AND ANALYSIS Our Lady of Lourdes Roman Catholic Church, located on West 142nd Street near the Hamilton Heights Historic District and the uptown campus of City College, is one of the earliest and most notable examples, of adaptive reuse in New York City. Built in 1902-04, the architectural firm of O'Reilly Brothers, of Paterson, New Jersey, imaginatively incorporated into the new ecclesiastic structure stEme.s salvaged from three of the City's most famous 19th century edifices: the National Academy of Design, St. Patrick's Cathedral and the A.T. Stewart Mansion. The picturesque National Academy, designed by P.a. Wight in Venetian Gothic style, which since 1865 had dominated the northwest corner of Twenty-third Street and Fourth Avenue (now Park Avenue South), provided the chief design elements and the main fabric of the church. The entire north end (apse) of Our Lady of Lourdes and a section of the east wall, visible from the cloister, is composed of architec­ tural elements transposed from the original east end;, facing l1adison Avenue, of St.
    [Show full text]
  • The Grange” by John Hubbard Sturgis, 1862-1866
    Redesign of “The Grange” by John Hubbard Sturgis, 1862-1866 MARGARET HENDERSON FLOYD I ot only are the histories of many parlor are comparable in elaboration and in great Colonial and Federal houses importance to these other contemporane- N in New England genealogically in- ous structures, which are among the finest tertwined, but their architectural motifs remaining domestic designs of the period. echo one another. In particular, a compara- The great house of early eighteenth- tively short period of intense building ac- century America, in the cases of the tivity in the late 1730s produced for the Royalls and Thomas Hancock, was an Boston area an unprecedented number of emulation of smaller contemporary En- domestic designsof a fully developed High glish country residences by the wealthy Georgian style which are interestingly in- provincial. For Ogden Codman, Sr. (fig. terrelated. The second building campaign 93), the reacquisition of the Codman House between 1732and 1739at the Royall house in 1862 appears to have been a symbolic in Medford, for example, brought that ear- gesture. The new appellation “The lier seventeenth-century establishment to Grange” only serves to underscore Og- the form we know today.’ The Vassal1fam- den’s vision of his role as one of the landed ily, with whom Dr. Charles Russell fled to gentry. Peer houses west of Boston would Antigua at the time of the Revolution, was then have included “The Vale” of Theo- related to the Royalls, who had also made dore Lyman, whose family had been estab- their fortune in the West Indies.2 lished in that American Palladian house in The house of Thomas Hancock on Bea- Wahham (designed by Samuel McIntire of con Hill (1737-1740) was unusual for the Salem) since 1793.5In the same town, Gov- Boston area in that it was constructed of ernor and Mrs.
    [Show full text]
  • Persons and Places
    PERSONS AND PLACES George Santayana Based on the texts originally published in 1944, 1945, and 1953 The Santayana Edition www.iupui.edu/~santedit/sant/ I Fragments of Autobiography I My Place, Time, and Ancestry A document in my possession testifies that in the parish church of San Marcos in Madrid, on the first of January, 1864, a male child, born on the sixteenth of the previous December, at nine o’clock in the evening, at No. 69 Calle Ancha de San Bernardo, was solemnly christened; being the le- gitimate son of Don Agustín Ruiz de Santayana, native of Zamora, and of Doña Josefina Borrás, native of Glasgow; his paternal grandparents being Don Nicolás, native of Badumès, in the province of Santander, and Doña María Antonia Reboiro, native of Zamora; and his maternal grandparents being Don José, native of Reus, Catalonia, and Doña Teresa Carbonell, native of Barcelona. The names given him were Jorge Agustín Nicolás, his godparents being Don Nicolás Ruiz de Santayana, and Doña Susana Sturgis; “whom I admonished”, writes Don Joaquín Carrasco, who signs the certificate with his legalrúbrica or flourish, “of their spiritual relation- ship and duties.”* * Don Paulino Corrales Diaz, Presbítero, Licenciado en Sagrada Teología y Cura Proprio de la Parroquia de San Marcos de esta Corte, y en su nombre D. Prudencio M. Gil y Ar- guso, encargado accidentalmente del Despacho. Certifico: Que en el libro décimo de Bautismos que se guarda en este archivo al folio setenta y cinco se halla inscripta la siguiente partida, que copiada literalmente dice así:
    [Show full text]
  • Ruskin, Norton, and Memorial Hall
    Ruskin, Norton, and Memorial Hall The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Shaffer, Robert B. 1949. Ruskin, Norton, and Memorial Hall. Harvard Library Bulletin III (2), Spring 1949: 213-231. Citable link https://nrs.harvard.edu/URN-3:HUL.INSTREPOS:37363276 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Ruskin, Nor ton, and Memorial Hall I-IE 1nost frightening building in greater Boston! In these , vo r ds 1\-1arcclB rcu er rccen tl y j n dica ted his feelings about Harvard University's l\1cmorjal Hull.. And the ,vell- kno,vn -architect \Vent on to say·: 'An impossible con- glonleratc of imitations. .. It is too high and too big for the land on ,vhich it is built. The building has no connection ,vith the streets and is ,vholly unrelated to its surroundings . .. the n1aterials used throughout in construction are an unf orrunate choice. Clumsy and formless on the exterior, ,vhat possible inducement is there to enter?,. 1 There 2re a grcnt many people ,vho are in complete agreement \vith this judgn1ent, but jr is not shared by all. For example, \Valter H. l(ilham, the Boston architect, says that 'Harvard has not properly appreciated this n1onument in recent years," and c]aimsthat the build- ing has its points.
    [Show full text]