Inventory of State House Art and Artifact Collections

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Inventory of State House Art and Artifact Collections

Massachusetts State House Inventory of Art and Artifact Collections Sculpture ~ Statues and Large Monuments SUBJECT ARTIST LOCATION John Andrew Thomas Ball, 1872 Doric Hall William F. Bartlett Daniel Chester French, 1905 Bartlett Hall Beacon Hill Monument After Charles Bulfinch, 1898 Ashburton Park Civil War Army Nurse Bela Pratt, 1911 Nurses Hall Mary Dyer Sylvia Shaw Judson, 1959 Front Grounds Joseph Hooker Daniel Chester French, 1903 Front Grounds Anne Hutchinson Cyrus E. Dallin, 1915 Front Grounds John F. Kennedy Isabel McIlvain, 1990 Front Grounds Henry Cabot Lodge Raymond Porter, 1932 Front Grounds Horace Mann Emma Stebbins, 1965 Front Grounds Mass. Fallen Firefighters Robert Shure, 2007 Ashburton Park Mass. Law Enforcement Michael Kenny, 2004 Ashburton Park “Sacred” Cod Unknown artist, 1784 House Chamber George Washington Francis Chantrey, 1826 Doric Hall Daniel Webster Hiram Powers, 1859 Front Grounds Roger Wolcott Daniel Chester French, 1906 Third Floor Massachusetts State House Art Collection: Inventory of Art and Artifacts Sculpture ~ Busts and Small Sculptures John Adams John F. Paramino, 1924 Nurses Hall Oliver Ames Robert A. Kraus, 1890 Memorial Hall Louis D. Brandeis Eleanor Platt, c. 1942 Third Floor George Boutwell Martin Milmore, 1869 Storage Cicero 19th century cast by Caproni Brothers Library Chaplains’ Memorial Bashka Paeff, 1929 Third Floor “Creation” Kay Worden, 1963 Doric Hall “David and Goliath” Jean M. A. Mercie, 19th century Doric Hall Benjamin Franklin Horatio Greenough, c. 1840 Senate Chamber Arthur B. Fuller Attributed to George Bartlett Library Frederick Greenhalge Samuel Kitson, 1895 Memorial Hall Charles F. Hoar Daniel Chester French, 1908 Library Marquis de Lafayette Horatio Greenough, 1833 Senate Chamber Abraham Lincoln Sarah F. Ames, 1867 Senate Chamber Henry Cabot Lodge, Jr. Philip S. Sears, 1929 Bartlett Hall Henry Cabot Lodge, Sr. Philip S. Sears, 1929 (1988 cast) Bartlett Hall John D. Long Pierre Millet, late 19th century Library Samuel Walker McCall Cartaino Paolo, 1917 Nurses Hall Theodore Roosevelt Gutzon Borglum, 1919 Library William E. Russell Richard E. Brooks, 1893 Main Stair Hall Samuel F. Smith Cyrus Cobb, 1896 Storage Charles Sumner Martin Milmore, c. 1865 Senate Chamber Caleb Tillinghast Paul A. Garey, c. 1900 Library Henry Todd Unknown artist, c. 1840 Room 27 Gardner Tufts Richard E. Brooks, 1892 Storage George Washington Christian Gullagher, c. 1799 Senate Chamber George Washington J. A. Houdon (1932 cast) Doric Hall Henry Wilson Martin Milmore, c. 1872 Senate Chamber Massachusetts State House Art Collection: Inventory of Art and Artifacts Sculpture ~ Bust/Plaque combination installations, all located in or adjacent to Doric Hall John Hancock—Declaration of Independence Bust cast from original by Horatio Stone, 1915 Abraham Lincoln—Gettysburgh Address Bust cast from life mask by Leonard Volk, 1912 HEAR US: Massachusetts Women’s Leadership Memorial. Honoring: Dorothea Dix, Lucy Stone, Mary Kenney O’Sullivan, Josephine St. Pierre Ruffin, Sarah Parker Remond, and Florence Luscomb. Sheila Levrant DeBretteville, Susan Sellers, and Robert Shure, 1999 .

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Picturing America at the KIA………………………………………………………………………………………3
at the Kalamazoo Institute of Arts 314 S. Park Street Kalamazoo, MI 49007 269/349-7775, www.kiarts.org 2 Table of Contents Information about Picturing America at the KIA………………………………………………………………………………………3 The Art John Singleton Copley, Mars, Venus and Vulcan: The Forge of Vulcan , 1754……………………….…………..………………4 Charles Willson Peale, The Reverend Joseph Pilmore , 1787……………………………………………………………………...5 John James Audubon, White Headed Eagle , 1828………………………………………………………………………..………...6 Hiram Powers, George Washington , 1838-1844……………………………………………………………………………………..7 Severin Roesen, Still Life with Fruit and Bird’s Nest , n.d………………………………………..…………………………………..8 Johann Mongels Culverhouse, Union Army Encampment , 1860…………………………………………………………………..9 William Gay Yorke, The Great Republic , 1861…………………………………………………………………..………………….10 Eastman Johnson, The Boy Lincoln , 1867………………………………………………………………………………….……….11 Robert Scott Duncanson, Heart of the Andes , 1871……………………………………………………………..………………...12 Albert Bierstadt, Mount Brewer from Kings River Canyon , 1872……………………………………………………..……..........13 Edmonia Lewis, Marriage of Hiawatha , 1872………………………………………………………………………….…………….14 Jasper Francis Cropsey, Autumn Sunset at Greenwood Lake, NY , 1876…………………………………………….…………15 Henry Ossawa Tanner, The Visitation , 1890-1900……………………………………………………..…………………………..16 Frederick William MacMonnies, Nathan Hale , 1890………………………………………………………………………………..17 William Merritt Chase, A Study in Pink (Mrs. Robert MacDougal), 1895………………………………………………..……….18 Alfred Stieglitz, The Steerage , 1907…………………………………………………………………………………………...........19
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This dissertation h been microfilmed exactly as received Mic 61—925 MacKENZIE, Donald Ralph. PAINTERS IN OHIO, 1788-1860, WITH A BIOGRAPHICAL INDEX. The Ohio State University, Ph.D., 1960 Fine A rts University Microfilms, Inc., Ann Arltor, Michigan Copyright by Donald Ralph MacKenzie 1961 PAINTERS IN OHIO, 1788-1860 WITH A BIOGRAPHICAL INDEX DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Donald Ralph MacKenzie, B. A., M. S. ****** The Ohio State University 1960 Approved by /Adviser* School oC Fine and Applied Arts PREFACE In 1953, when the author was commissioned to assemble and catalogue the many paintings owned by the Ohio Historical Society, it quickly became apparent that published reference works on early mid- western painters were sadly lacking. At that time the only source books were the standard biographical indexes of American artists, such as Mallett's Index of Artists and Mantle Fielding's Dictionary of Amer ican Painters. Sculptors and Engravers. The mimeographed WPA Histori cal Survey American Portrait Inventory (1440 Early American Portrait Artists I6b3-1860) furnished a valuable research precedent, which has since been developed and published by the New York Historical Society as the Dictionary of Artists in America 1564-1860. While this last is a milestone in research in American art history, the magnitude of its scope has resulted in incomplete coverage of many locales, especially in the Middlewest where source material is both scarce and scattered. The only book dealing exclusively with the Ohio scene is Edna Marie Clark's Ohio Art and Artists, which was published in 1932.
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Spring 1988 Nicholas Longworth 17 Nicholas Longworth: Art Patron of Cincinnati Abby S. Schwartz ... A little bit of an ugly man came in...he came forward and, taking my hand and squeezing it hard, he looked at me with a keen, earnest gaze. ... His manners are extremely rough and almost course, but his shrewd eyes and plain manner hide a very strong mind and generous heart.1 These observations made in 1841 by the young artist Lilly Martin Spencer hardly seem appropriate for a man who was among America's wealthiest and one of Cin- cinnati's most prominent citizens. Described by another contemporary as "dry and caustic in his remarks" and "plain and careless in his dress, looking more like a beggar than a millionaire,"2 Nicholas Longworth, however eccentric and controversial, was a leading Cincinnati art patron as well as an outstanding collector and a generous supporter of the arts during the middle of the nineteenth century. Longworth's eccentricities of dress and behav- ior are well documented in photographs, portraits, and anec- dotes. While the Portrait of Nicholas Longworth by Robert Scott Duncanson (1 821-1872) portrays the subject as an important property owner and vintner, the work also docu- ments Longworth's eccentric habit of pinning notes to his suit cuffs to remind himself of important errands and appoint- ments. The portrait, painted in 18 5 8, is on permanent loan to the Cincinnati Art Museum from the Ohio College of Applied Science. An often repeated anecdote details young Abraham Lincoln's visit to Longworth's renowned gardens During the years he resided at Belmont (now where Lincoln mistook the master of the house for a gardener: the Taft Museum), 1830 until his death in 18 6 3, Longworth In the middle of the gravel path leading to a pillared portico, a amassed a personal art collection, assisted a number of artists small, queerly dressed old man, with no appearance whatever offinancially, offered advice and letters of introduction to having outgrown his old-fashioned raiment, was weeding.
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Benjamin Franklin, 1862
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Martina Droth and Michael Hatt The Greek Slave by Hiram Powers: A Transatlantic Object Nineteenth-Century Art Worldwide 15, no. 2 (Summer 2016) Citation: Martina Droth and Michael Hatt, “The Greek Slave by Hiram Powers: A Transatlantic Object,” Nineteenth-Century Art Worldwide 15, no. 2 (Summer 2016), http://www.19thc- artworldwide.org/summer16/droth-hatt-intro-to-the-greek-slave-by-hiram-powers-a- transatlantic-object. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Droth and Hatt: The Greek Slave by Hiram Powers: A Transatlantic Object Nineteenth-Century Art Worldwide 15, no. 2 (Summer 2016) The Greek Slave by Hiram Powers: A Transatlantic Object by Martina Droth and Michael Hatt The aim of this special issue on The Greek Slave is to offer a sustained examination of one of the most famous works of the nineteenth century, bringing together interdisciplinary and transatlantic perspectives on its political, cultural, aesthetic, and material significance (fig. 1). The Greek Slave is an icon of American art, and perhaps it is little wonder that its extensive historiography has been almost exclusively focused on its role in American culture, particularly in relation to the history of slavery and abolition. However, the circumstances of The Greek Slave’s production, dissemination, and reception initially unfolded in Italy and Britain, complicating its designation as a work of “American art.” Multiple Greek Slaves were commissioned in Florence by both English and American patrons; executed with the aid of skilled Italian craftsmen; shipped to London, Paris, New York, and other cities; exhibited at galleries and world’s fairs in Europe and America; and copied by British, American, and French firms in the form of prints, photographs, and statuettes.
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Visual Narratives of the Portrait Busts of Edmonia Lewis
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American Sculpture: Revolution to Rebellion
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