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Collecting Old Masters for New York: Henry Gurdon Marquand and the Metropolitan Museum of Art
Volume 9, Issue 1 (Winter 2017) Collecting Old Masters for New York: Henry Gurdon Marquand and the Metropolitan Museum of Art Esmée Quodbach [email protected] Recommended Citation: Esmée Quodbach, “Collecting Old Masters for New York: Henry Gurdon Marquand and the Metropolitan Museum of Art,” JHNA 9:1 (Winter 2017), DOI: 10.5092/jhna.2017.9.1.2 Available at https://jhna.org/articles/collecting-old-masters-new-york-henry-gurdon-mar- quand-metropolitan-museum-of-art/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 7:2 (Summer 2015) 1 COLLECTING OLD MASTERS FOR NEW YORK: HENRY GURDON MARQUAND AND THE METROPOLITAN MUSEUM OF ART Esmée Quodbach The subject of this article is the collector Henry Gurdon Marquand (1819–1902), banker and railroad financier, and a noted member of the burgeoning class of newly prosperous business magnates of Gilded Age New York. An exception- ally civic-minded patron, Marquand set out in the early 1880s to assemble a group of first-class Old Master paintings for the Metropolitan Museum of Art. This paper explores Marquand’s acquisitions, especially the Flemish and Dutch paintings he bought. Focusing on Marquand’s 1889 gift of thirty-seven Old Masters to the museum—the first gift of its kind—this paper also considers Marquand’s aspirations, not only as a major private collector but especially as a leading donor to the institution, whose second president he became in 1889. -
A Finding Aid to the Charles Henry Hart Autograph Collection, 1731-1918, in the Archives of American Art
A Finding Aid to the Charles Henry Hart Autograph Collection, 1731-1918, in the Archives of American Art Jayna M. Josefson Funding for the processing of this collection was provided by the Terra Foundation for American Art 2014 February 20 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Charles Henry Hart autograph collection, 1731-1918............................... 4 Series 2: Unprocessed Addition, 1826-1892 and undated..................................... 18 Charles Henry Hart autograph collection AAA.hartchar Collection -
The Hudson River School at the New-York Historical Society: Nature and the American Vision
The Hudson River School at the New-York Historical Society: Nature and the American Vision Marie-François-Régis Gignoux (1814–1882) Mammoth Cave, Kentucky , ca. 1843 Oil on canvas Gift of an Anonymous Donor, X.21 After training at the French École des Beaux-Arts , Gignoux immigrated to the United States, where he soon established himself as a landscape specialist. He was drawn to a vast underground system of corridors and chambers in Kentucky known as Mammoth Cave. The site portrayed has been identified as the Rotunda—so named because its grand, uninterrupted interior space recalls that of the Pantheon in Rome. Gignoux created a romantic image rooted in fact and emotion. In contrast to the bright daylight glimpsed through the cavern mouth, the blazing fire impresses a hellish vision that contemporaneous viewers may have associated with the manufacture of gunpowder made from the bat guano harvested and rendered in vats in that very space since the War of 1812. William Trost Richards (1833–1905) June Woods (Germantown) , 1864 Oil on linen The Robert L. Stuart Collection, S–127 Richards followed the stylistic trajectory of the Hudson River School early in his career, except for a brief time in the early 1860s, when he altered his technique and compositional approach in response to the Pre-Raphaelite aesthetics of the English critic John Ruskin. Ruskin’s call for absolute fidelity to nature manifested itself in the United States in a radical 1 group of artists who formed the membership of the Association for the Advancement of Truth in Art, to which Richards was elected in 1863. -
Van Gogh Museum Journal 1995
Van Gogh Museum Journal 1995 bron Van Gogh Museum Journal 1995. Waanders, Zwolle 1995 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199501_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 6 Director's Foreword The Van Gogh Museum shortly after its opening in 1973 For those of us who experienced the foundation of the Van Gogh Museum at first hand, it may come as a shock to discover that over 20 years have passed since Her Majesty Queen Juliana officially opened the Museum on 2 June 1973. For a younger generation, it is perhaps surprising to discover that the institution is in fact so young. Indeed, it is remarkable that in such a short period of time the Museum has been able to create its own specific niche in both the Dutch and international art worlds. This first issue of the Van Gogh Museum Journal marks the passage of the Rijksmuseum (National Museum) Vincent van Gogh to its new status as Stichting Van Gogh Museum (Foundation Van Gogh Museum). The publication is designed to both report on the Museum's activities and, more particularly, to be a motor and repository for the scholarship on the work of Van Gogh and aspects of the permanent collection in broader context. Besides articles on individual works or groups of objects from both the Van Gogh Museum's collection and the collection of the Museum Mesdag, the Journal will publish the acquisitions of the previous year. Scholars not only from the Museum but from all over the world are and will be invited to submit their contributions. -
The Ancient Historical Records of Norwalk, Conn
hbl.stx i F 104.N9H3 ^ Ancient historicalal records of Norw ^ ^T illllllllll /\ 153 D07bfi51D T «^«^«^«^«^ GAYLORD RG ^ ^ <* PLEASE NOTE It has been necessary to replace some of the original pages in this book with photocopy reproductions because of damage or mistreatment by a previous user. Replacement of damaged materials is both expensive and time-consuming. Please handle this volume with care so that information will not be lost to future readers. Thank you for helping to preserve the University's research collections. ^ •?BV»^ T THE /7 ^ ANCIENT HISTORICAL RECORDS OF NORWALK, CONN. WITH A PLAN OF THE ANCIENT SETTLEMENT, AND OF THE TOWN IN 1847 C O M P I BY EDWIi, HALL, PASTOR OF THE FIR.sT CON'GREGATIONAL CHURCTT. ANDREW SELLECK, NORWALK. C(jNN.: IvisoN, Phinney, Blakeman k Co., 48 AND 50 WALKER STREET, NEW Y R K. 1865. REV. KELSON R. PEARSOH Entered according to Act of Congress, in the year 1847, by EDWIN HALL, in the Clerk',- Office of the District Court of the United States, for the District of Connecticut. ADVERTISEMENT TO THE READER. The design of the compiler of this work has not been to -write a History of Norwalk; but to copy from the Records whatever mat- ters appeared to be of any historical interest j and in all cases to let the Records speak for themselves. The genealogical registers are very imperfect ; and if any fami- lies are omitted, it is because they were not put upon the public re- cords and because the ; compiler, after repeatedly advertising, and alter some months' delay, has failed to obtain them. -
Late-Victorian Artists Presented As Strand Celebrities Type Article
Title "Peeps" or "Smatter and Chatter": Late-Victorian Artists Presented as Strand Celebrities Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/14210/ Dat e 2 0 1 9 Citation Dakers, Caroline (2019) "Peeps" or "Smatter and Chatter": Late-Victorian Artists Presented as Strand Celebrities. Victorian Periodicals Review. pp. 311-338. ISSN 0709-4698 Cr e a to rs Dakers, Caroline Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author “Peeps,” or “Smatter and Chatter”: Late-Victorian Artists Presented as Strand Celebrities CAROLINE DAKERS I had not been at the hotel [in Switzerland] two hours before the parson put it [the Strand] into my hands. Certainly every person in the hotel had read it. It is true that some parts have a sickly flavour, perhaps only to us! I heard many remarks such as, “Oh! How interesting!” The rapture was general concerning your house. Such a house could scarcely have been imagined in London.1 Harry How’s “Illustrated Interview” with the Royal Academician Luke Fildes in his luxurious studio house in London’s Holland Park may have seemed a little “sickly” to Fildes and his brother-in-law Henry Woods, but such publicity was always welcome in an age when celebrity sold paintings. As Julie Codell demonstrates in The Victorian Artist: Artists’ Lifewritings in Britain ca. 1870–1910, late nineteenth-century art periodicals played an important role in building and maintaining the public’s interest in living artists. -
Thomas Betts (1618 - 1688)
THOMAS BETTS (1618 - 1688) and HIS DESCENDANTS Princip::illy compiled by CHARLES WYllYS BETTS New York, 1888 Indexed by William E. Weihrouch 1991 The accompanying history of Thomas Betts and his descenfu\nts was principally compiled by the late C. Wyllys Betts (482). At his death on April 27, 1887, the larger part of the history down to and including part of the "FIFTH GENERATION," was al ready in the bands of the printer. It was not his intention at this time, as I am informed, to carry the family history in detail further than the fifth generation, except in the case of his own immediate branch of it, the descendants of Samuel Comstock Betts (63) and Uriah Betts (237). He had in 1886 published a catalogue of the descendants of Samuel Comstock Betts in the line of Zebulon Betts (237), and it was, perhaps, his in tention at a later period, but not in the present volume, to continue to the present time the list of desceudants of all branches of the family. His death terminated any such plans, and placed upon me, his brother, the duty of carrying forward his unfinished work, as far as it bad been already entered upon. I have completed his work as far as possible for me to do by using the materials which he left, and by following the lines of in quiry upon whicll he had already entered. I have commenced no independent investigations .• Any omissions are due to the fact that the work is thus pre sented. The history of the descendants of U ria Betts (237) has, however, been written wholly by me, because personally known. -
Augustus Saint-Gaudens's the Puritan Founders' Statues, Indian
Augustus Saint-Gaudens’s The Puritan Founders’ Statues, Indian Wars, Contested Public Spaces, and Anger’s Memory in Springfield, Massachusetts Author(s): Erika Doss Source: Winterthur Portfolio, Vol. 46, No. 4 (Winter 2012), pp. 237-270 Published by: The University of Chicago Press on behalf of the Henry Francis du Pont Winterthur Museum, Inc. Stable URL: http://www.jstor.org/stable/10.1086/669736 Accessed: 28-11-2016 15:01 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms The University of Chicago Press, Henry Francis du Pont Winterthur Museum, Inc. are collaborating with JSTOR to digitize, preserve and extend access to Winterthur Portfolio This content downloaded from 129.74.116.6 on Mon, 28 Nov 2016 15:01:40 UTC All use subject to http://about.jstor.org/terms Augustus Saint-Gaudens’s The Puritan Founders’ Statues, Indian Wars, Contested Public Spaces, and Anger’s Memory in Springfield, Massachusetts Erika Doss Dedicated in 1887 in Springfield, Massachusetts, The Puritan is a large bronze statue of a menacing figure clutching a huge Bible. Commissioned as a memorial to Deacon Samuel Chapin (1595–1675), The Puritan was designed by Augustus Saint-Gaudens and erected in an urban park surrounded by factories and tenements. -
Making American Taste: Narrative Art for a New Democracy
MAKING AMERICAN TASTE: NARRATIVE ART FOR A NEW DEMOCRACY I. Importing Grand Manner Taste Benjamin West (1738–1820), Chryseis Returned to her Father, Benjamin West (1738–1820), Aeneas and Creusa, 1771. Oil on 1771. Oil on canvas. New-York Historical Society, Gift of Mr. canvas. New-York Historical Society, Gift of Mr. William H. Webb, William H. Webb, 1865.1 1865.2 West took inspiration from Homer’s The Iliad to show the helmeted The Trojan War forms the backdrop to Aeneas and Creusa, named for Odysseus returning Chryseis to her elderly father, Chryses, a priest of the husband and wife whose story is recounted in Virgil’s The Aeneid. Apollo. The reunion takes place beneath a statue of Apollo, who had Aeneas explains to Creusa and their son Ascanius the meaning of the answered Chryses’ prayers for his daughter’s release from captivity at omens (including the meteor streaking through the sky) that precipitate the hands of King Agamemnon. When this painting and its pendant, their flight from Troy. Aeneas and Creusa, debuted at London’s Royal Academy in 1771, these Neoclassical paintings represented the height of artistic taste. II. Taste and History Painting Louis Lang (1814–1893), Return of the 69th (Irish) Regiment, George Henry Boughton (1833–1905), Pilgrims Going to N.Y.S.M. from the Seat of War, 1862. Oil on canvas. New-York Church, 1867. Oil on canvas. New-York Historical Society, Historical Society, Gift of Louis Lang, 1886.3. Photo (during The Robert L. Stuart Collection, S-117 treatment) courtesy Williamstown Art Conservation Center, Called the “Painter of New England Puritanism,” Boughton often 2010 took inspiration from books, relying here on William Henry Bartlett’s Newly conserved and on public view for the first time in over 60 1853 history, The Pilgrim Fathers. -
History and Genealogy of the Families of Old Fairfield; V
THE FAMILIES OF OLD FAIRFIELD 335 Dorothy, bapt. 14 Sept. 1707, d. y. Dorothy, b. 11 Nov. 1709, bapt. 13 Nov. 1709, d. y. XNathan, b. 13 Mar. 1710/1, bapt. 18 Mar. 1710/1, d. 12 May 17S7 in 47 yr. (g. s., Fairfield); adm'n granted, 30 June 1757; m. (1) Ann Adams, dau. of David, bapt. 12 Feb. 1715/6, d. before 1743; m. (2) Abigail . Benjamin, bapt. 20 Sept. 1713, d. y. Jennings, Matthew, s. of Joshua. Married (1) Mary , who renewed Covenant at Fairfield Church, 5 Sept. 1697. Married (2) Hannah, widow of Nathaniel Lyon, and dau. of Samuel Jackson. Will 20 Dec. 1737, proved 8 May 1738; wife Hannah; dau. Hannah; sons Daniel, Jeremiah; Ruth Bulkley, Mary Ogden, Rebecca Middlebrook, Hannah Jennings. Children [by first wife], bapt. at Fairfield: Matthew, b. in 1695, bapt. 5 Sept. 1697, d. y. Elizabeth, b. in 1697, bapt. 31 Oct. 1697, d. y. X Daniel, b. in 1700, bapt. 7 Apr. 1700, d. abt. 1778; m. Hannah Hendrick. X Jeremiah, b. in 1703, bapt. 11 Apr. 1703, d. by 1780; Inv. 19 June 1780; m. 15 Dec. 1726, Elizabeth Coley. Mary, b. in 1705, bapt. 2 Sept. 1705, d. y. Ruth, bapt. 11 Oct. 1708, d. abt. 1787; m. (1) Joseph Bulkley; m. (2) 14 Mar. 1754, Seth Samuel Burr. Mary, b. abt. 1710, d. at Greenfield, 31 May 1768 ae. abt. 60; m. 1 Jan. 1730, John Ogden. Sarah, d. y. Rebecca, m. 2 June 1734, Jonathan Middlebrook. Child [by second wife]: Hannah, bapt. 10 July 1720, d. -
Dutch Utopia: American Artists in Holland, 1880‐1914
Dutch Utopia: American Artists in Holland, 1880‐1914 About the Telfair Museum of Art Three unique buildings, three distinct collections, bridging three centuries of art & architecture… The Telfair Museum of Art, the oldest public art museum in the South, has been an integral part of the city of Savannah for over a century. Since opening its doors to the public in the 1880s, the museum has grown from a renovated family mansion into a distinguished cultural institution boasting three architecturally‐significant buildings; a permanent collection of approximately 4,000 works of art from America and Europe, dating primarily from the eighteenth through the twenty‐ first centuries; and a history of dynamic educational programming, community outreach, and exciting exhibitions. Located in Savannah’s vibrant historic district, the museum consists of the Telfair Academy and the Owens‐Thomas House—two circa 1820 National Historic Landmark buildings—and the contemporary Jepson Center for the Arts. About this Guide This guide is designed to be used by educators in conjunction with field trips to the Dutch Utopia exhibition or as a stand‐alone resource guide for classroom use. This internationally travelling exhibition offers a wealth of subjects to explore with your students. Potential curriculum connections may be found for grades 2 – 12 in areas ranging from Fine Arts, Social Studies, Science, and particularly English Language Arts given the narrative content of many works in the exhibition. This guide includes a timeline, suggested in‐class activities, Georgia Performance Standards connections, resources, and links for further information. The guide is accompanied by a transparency packet download on the museum’s website which may be used for education purposes. -
American Paintings, Furniture & Decorative Arts
AMERICAN PAINTINGS, FURNITURE & DECORATIVE ARTS Wednesday, October 5, 2016 NEW YORK AMERICAN PAINTINGS, FURNTURE & DECORATIVE ARTS AUCTION Wednesday, October 5, 2016 at 10am EXHIBITION Saturday, October 1, 10am – 5pm Sunday, October 2, Noon – 5pm Monday, October 3, 10am – 5pm Tuesday, October 4, 9am – Noon LOCATION Doyle ?? ????????? ??????????????????????????????? 175 East 87th Street New York City 212-427-2730 Doyle.com wwwDoyle.com/BidLive.DoyleNewYork.com/BidLive Catalogue: $35 INCLUDING PROPERTY FROM THE ESTATES OF Donald Brenwasser Estate of Patricia M. De Bary Doris Tracy Driscoll CONTENTS Estate of Dorothy J. Henry Paintings 1-113 Estate of Jane Kitselman Prints 114-125 A New York Estate Furniture & Decorations 126-224 A New York State Collection Silver 225-267 Shepherd Raimi Furniture & Decorations 268-310 AMERICAN PAINTINGS & PRINTS Ruth Sternberg Carpets & Rugs 311-336 The Thurston Collection Glossary I Conditions of Sale II INCLUDING PROPERTY FROM Terms of Guarantee IV The Arts Students League, New York, to be Sold for the Information on Sales & Use Tax V Benefit of the Institution Buying at Doyle VI The Collection of Dr. William H. Gerdts Selling at Doyle VIII The Heckscher Foundation for Children, to be Sold for the Auction Schedule IX Benefit of the Philanthropic Programs Company Directory X The High Museum of Art, Sold to Benefit Future Acquisitions Absentee Bid Form XII Elizabeth Mankin, Kent, Connecticut The Metropolitan Museum of Art A Mid-Atlantic Museum to Benefit the Acquisitions Fund Sold to Benefit the Collection of the Morris-Jumel Mansion Museum A New England Collection The Collection of John R. and Anne J. Willis THE THURSTON COLLEctION Doyle is honored to auction property from The Thurston Collection for the benefit of three charitable organizations in North Carolina.