40
Portfolios%20%3D%20%2220011%22%20and%20Century%20%3D%20%2219th%20Century%22
Work on Paper
Mrs. Martha Atkins Barnes
Lucius Barnes, (Middletown, Connecticut, August 1, 1819 - September 9, 1836, Middletown, Connec
Barnes, Lucius
American
August 1, 1819 - September 9, 1836
Primary
4 1/2 in. x 3 1/2 in.
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.
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Frame
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.
image only
watercolor & ink
watercolor & ink
1834
1834
1834
Art Object, Nomenclature
Work on Paper
Portrait of the artist's grandmother, Mrs. Martha Atkins Barnes of Middletown, Connecticut, shown seated in a chair. She is facing to the right reading the Bible. Lucius Barnes had been crippled at an early age and died at 17. He created this portrait around the age of 15.
yes, Lower center, Martha Barnes Age 96
L. Barnes
2002.1.5
item
Florence Griswold Museum
10/18/2001
8/10/2020
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1_5.jpeg
Sappho
Edward Sheffield Bartholomew, (Colchester, Connecticut, 1822 - 1858, Naples, Italy)
Bartholomew, Edward Sheffield
1822 - 1858
Primary
25 in. x 16 in. x 14 in.
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marble
marble
1850s
1850
1850
Art Object, Nomenclature
Bartholomew intended to be a painter until about 1845 when he realized that he was colorblind. He had been caring for the art collection at the Wadsworth Atheneum, the new public art museum in Hartford, Connecticut. A Colchesterm Connecticut, native, he lived in Hartford from the time he was 14, except fot some months of study at the National Academy of Design in New York. Sculpture became his new interest, and he moved to Italy in 1850 to pursue it. The base of this Neo-classical marble bust of a famous 7th century Greek poet is marked "Rome." Bartholomew moved to Naples and died there when he was only 36.
yes, on back of base, signed back of base "E.S. Bartholomew – Rome I85"
2002.1.6
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/Bartholemew - Sappho 87.18
Front
8/10/2020
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1__6-01.jpeg
Front, less lighting
8/10/2020
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1__6-02.jpeg
Right Side
8/10/2020
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1__6-03.jpeg
Back
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1__6-04.jpg
Noank Shipyard
Reynolds Beal, (New York, New York, 1867 - 1951, Rockport, Massachusetts)
Beal, Reynolds
American
1867 - 1951
Primary
12 in. x 16 in.
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overall
Frame
rectangular
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image only
oil
oil
ca. 1900
1895
1905
Art Object, Nomenclature
An Impressionist view of Palmer's Shipyard, Noank, Connecticut depicting a ship surrounded by scaffolding.
verso, Deacon Palmers Shipyard/Noank-Conn.
2002.1.10
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Beal_-_Noank_Shipyard_83.6.jpg
Boy Holding a Book
John Brewster, Jr., (Hampton, Connecticut, 1766 - 1854)
Brewster, John
American
1766 - 1854
Primary
26 in. x 22 in.
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overall
Frame
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image only
oil
oil
ca. 1810
1805
1815
Art Object, Nomenclature
Boy Holding a Book, was painted sometime after 1796 when Brewster moved to Baxton, Maine to live with his younger brother between trips to New England. The sharp delineation of the boy's features, his peaceful countenance and the subtle tints of his face are qualities that distinguish Brewster's best work. They give the boy an expressive clarity and directness that makes him endearing. The hermetic stillness of this elegantly compact and self contained image, projects a sense of classical purity, reflected from an aura of light in the background surrounding the figure to dramatize his presence. Brewster's images of the rural and small town society of our young republic have a clarity and presence that make them among the most appealing works of American itinerant folk painters.
2002.1.12
item
Florence Griswold Museum
10/18/2001
Boy Holding Book
Digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/IMAGE DIRECTORY/HSB Collection/Boy Holding Book copy.jpg
Thistle in a Field
Fidelia Bridges, (Salem, Massachusettes, 1835 - 1923)
Bridges, Fidelia
American
1835 - 1923
Female
Primary
14 in. x 10 in.
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.
image only
oil
oil
1875
1875
1875
Art Object, Nomenclature
Bridges was one of the prime painters of the Pre-Raphaelite persuasion in America. She worked primarily in Stratford and in Canaan, Connecticut, producing delicate watercolors and a few oils, of which "Thistle in a Field" is one of the finest.
yes, Lower right, F. Bridges 1875
2002.1.14
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Bridge_-_Thistle_83.22.jpg
2002_1_14
Primary
1MB
7/26/2016
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1_14.jpg
Norwalk Island
George Loring Brown, (Boston, MA, 1814 - 1889)
Brown, George Loring
American
1814 - 1889
Primary
14 1/2 in. x 21 in.
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Frame
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image only
oil
oil
1863
1863
1863
Art Object, Nomenclature
In his finished paintings, certain areas often are boldly brushed in with seperate strokes while others are painstakingly detailed, resulting in a clash of technique within the painting. This clash is
present in the "View of Norwalk Islands" (No. 15), which must rank as one of Brown's best paintings. Not only is "View of Norwalk Islands" inconsistent with handling, it also contains gross errors in scale. The sailboat at right center, for example, seems no larger than a toy. In spite of these incongruities, however, it is a charming picture. The sparkling clarity of the cool atmosphere, the richness of the forms built up with many colors, and the broad, panoramic composition, with small points of interest in a zig-zag line across the bay, create an attractive and surprisingly harmonious landscape.
yes, Lower right, Geo L. Brown 1863
2002.1.15
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Brown_-_Norwalk_Isl_90.6.jpg
The Charter Oak at Hartford
Frederic E. Church, (Hartford, Connecticut, 1826 - 1900)
Church, Frederic E.
1826 - 1900
Primary
24 in. x 34 1/4 in.
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overall
Frame
rectangular
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image only
oil
oil
c. 1846
1841
1851
Art Object, Nomenclature
The Charter Oak is a symbol of the spirit of independence that began the American Revolution. In 1687, Connecticut stood alone in New England in defying James II's orders to relinquish a 1662 charter that had given the colonies self-government. Legend has it that the candles went out suddenly at the showdown meeting and the charter vanished - into a hole in an ancient oak tree down the street which was said to have been a council tree of the Native Americans who watched for its leaves to appear in the spring to indicate the proper time for planting corn. When the tree was felled by a violent storm in 1856, a counting of its rings determined it to be almost a thousand years old.
The painting depicts the grand old tree with a fence just beyond it and the tiny figure of a woman to its left.
yes, Lower right, F. Church
2002.1.29
item
Florence Griswold Museum
10/18/2001
Charter Oak at Hartford
Digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/IMAGE DIRECTORY/HSB Collection/CharterOakatHartford copy.jpg
Study for "A Wild Scene"
Thomas Cole, (1801 - 1848)
Cole, Thomas
English
1801 - 1848
Primary
11 in. x 17 in.
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overall
image only
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overall
frame
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image only
oil
oil
1831
1831
1831
Art Object, Nomenclature
Through the support of his Connecticut patron Daniel Wadsworth, English-born Thomas Cole painted landscapes that captured America’s natural beauty. This canvas, executed in Italy, is an early study for the allegorical "Course of Empire" series of five paintings depicting the rise and fall of a great civilization. Although the stormy landscape appears untamed, the presence of small figures to the right of center suggests that the process of settlement is beginning. Cole lamented that America’s quest for progress came at the cost of its wilderness and inspired other artists of the Hudson River School to celebrate this unique national heritage.
2002.1.34
item
Florence Griswold Museum
10/18/2001
Study of a Wild Scene
Digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1_34.jpg
Twilight Over the Water
Charles Harold Davis, (Amesbury, Massachusetts, January 7, 1856 - August 5, 1933, Mystic, Connecticut)
Davis, Charles Harold
American
January 7, 1856 - August 5, 1933
Primary
13 in. x 21 in.
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overall
framed
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image only
oil
oil
1892
1892
1892
Art Object, Nomenclature
"Twilight Over the Water" was singled out by critics reviewing Davis's exhibition as one of his most beautiful works. Davis sent the painting to the influential collector and dealer Thomas Clark and his record book indicated that he ultimately gave the picture to "Mr Sargeant", presumably, the painter John Singer Sargeant, whom the artist knew.
2002.1.46
item
Florence Griswold Museum
10/18/2001
2002_1_46
image
Primary Image
4/24/2012
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1_46.jpg
twilghtoverwater
DETAIL
Digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/IMAGE DIRECTORY/HSB Collection/Twlight Over the Water copy.jpg
Early Morning on the Farmington
Dawson Dawson-Watson, (1864 - 1939)
Dawson-Watson, Dawson
English
1864 - 1939
Primary
22 in. x 18 in.
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image only
oil
oil
ca. 1894
1889
1899
Art Object, Nomenclature
This painting is signed with a monogram and is dedicated with the artist's love. Mary Benton of Manchester, Connecticut was Dawson-Watson's friend/patron. On the back of the painting is the title and the name "Benton".
2002.1.47
item
Florence Griswold Museum
10/18/2001
Early Morning on the Farmington
Digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/IMAGE DIRECTORY/HSB Collection/EarlyMorningontheFarmington.jpg
Seven Miles to Farmington
George Henry Durrie, (New Haven, Connecticut, 1820 - 1863)
Durrie, George Henry
American
1820 - 1863
Primary
26 in. x 36 1/8 in.
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overall
frame
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overall
Frame
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image only
oil
oil
ca.1853
1848
1858
Art Object, Nomenclature
Few artists shaped the popular image of New England more than George H. Durrie, whose Connecticut landscapes were distributed as prints by the firm of Currier and Ives. Painted in an era when railroads were becoming the dominant mode of travel, "Seven Miles to Farmington," which exists in several versions, encourages nostalgia for the country tavern as a cheery wayside social center. Rather than depicting rural homesteads in their original settings Durrie, who lived in New Haven, often selected elements to create idyllic composites.
yes, lower left, G.H. Durrie New Haven
2002.1.50
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Durrie_-_7_Miles_87.12.jpg
00/00/00
http://127.0.0.1:5000/graphics/blank.gif
Summer Landscape
George Henry Durrie, (New Haven, Connecticut, 1820 - 1863)
Durrie, George Henry
American
1820 - 1863
Primary
22 in. x 30 in.
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overall
frame
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image only
oil
oil
1862
1862
1862
Art Object, Nomenclature
Scenes like this seemed to many a faithful representation of rural America. Durrie shaped the farm buildings, fences, and animals into romantic idylls.
yes, lower left, Geo H. Durrie 1862
2002.1.51
item
Florence Griswold Museum
10/18/2001
Summer Landscape
Digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/IMAGE DIRECTORY/HSB Collection/Summer Landscape.jpg
In the Nick of Time
Alvan Fisher, (1792 - 1863)
Fisher, Alvan
1792 - 1863
Primary
29 in. x 36 in.
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overall
Frame
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image only
oil
oil
1848
1848
1848
Art Object, Nomenclature
One of America's first native landscape painters, Fisher evidently based "In the Nick of Time" from a passage in one of James Fenimore Cooper's novels. A pair of hunters silhouetted against a mountain lake take aim at a mountain lion that hovers menacingly over a mother and her two small cildren resting at the base of a rock. Two dogs are poised with their complete attention on the mountain lion. "In the Nick of Time" expresses perfectly the romanticism of mid-19th century America, characterized by Cooper's descriptions of the adventures found in the American wilderness.
yes, lower left, A. Fisher 1848
2002.1.57
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Fisher_-_In_the_Nick.jpg
8/10/2020
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1_57.jpeg
View on the River, Farmington
Marie Theresa Gorsuch Hart, (New York, New York, 1829 - 1921, Lakeville, Connecticut)
Hart, Marie Theresa Gorsuch
American
1829 - 1921
Female
Primary
10 3/4 in. x 20 1/8 in.
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.
overall
frame
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image only
oil
oil
1866
1866
1866
Art Object, Nomenclature
yes, , M.T. Hart 1866
2002.1.64
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Hart_-_View_90.14.jpg
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1_64.jpg
Painting
Summer Evening
Frederick Childe Hassam, (Dorchester, Massachusetts, October 17, 1859 - August 27, 1935, Easthampton, New
Hassam, Frederick Childe
American
October 17, 1859 - August 27, 1935
Primary
12 1/8 in. x 20 3/8 in.
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.
.
overall
Frame
rectangular
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.
image only
oil
oil
1886
1886
1886
Art Object, Nomenclature
Painting
Summer evening depicts a young woman seated by an open window tending her geranium plant as the last moments of an afternoon sun slip away. It was possibly painted on Appledore, in the Isle of Shoals off the coast of New Hampshire where Hassam spent many summers.
yes, lower left, Childe Hassam 1886
2002.1.71
item
Florence Griswold Museum
10/18/2001
Summer Evening
Digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/IMAGE DIRECTORY/HSB Collection/SummerEvening.jpg
West Cornwall, Connecticut
David Johnson, (New York, New York, 1827 - 1908)
Johnson, David
American
1827 - 1908
Primary
16 1/4 in. x 13 in.
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.
.
overall
Frame
rectangular
.
.
.
image only
oil
oil
1875
1875
1875
Art Object, Nomenclature
2002.1.76
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Johnson_-_W.Cromwell_90.8.jpg
View near Greenwich, Connecticut
David Johnson, (New York, New York, 1827 - 1908)
Johnson, David
American
1827 - 1908
Primary
13 7/8 in. x 19 3/4 in.
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overall
Frame
.
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.
image only
oil
oil
1878
1878
1878
Art Object, Nomenclature
, signed and dated lower right with cojoined monogram: DJ 78
Inscribed with title and signed and dated verso "View of Greenwich, CT David Johnson 1878"
2002.1.77
item
Florence Griswold Museum
10/18/2001
viewneargreenwich
Digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/IMAGE DIRECTORY/HSB Collection/View near Greenwich, CT.jpg
Shore of Darien, Connecticut
Long Island Sound from Fish Island
John Frederick Kensett, (Cheshire, CT, 1816 - 1872, Long Island, NY)
Kensett, John Frederick
American
1816 - 1872
Male
Primary
12 in. x 20 in.
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frame
.
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image only
oil
oil
1872
1872
1872
Art Object, Nomenclature
This painting is part of a body of work known as the artist's "Last Summer's Work", a group of paintings produced during the summer of 1872, several months before Kensett's death. Most of these paintings were produced near to Kensett's studio on Contentment Island at Darien, Connecticut.
2002.1.82
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Kensett_-_Shore_Darien_91.7.jpg
Work on Paper
Summer Afternoon Morris, Connecticut
William Henry Lippincott, (Philadelphia, Pennsylvania, 1849 - 1920, New York)
Lippincott, William Henry
American
1849 - 1920
Primary
14 in. x 20 in.
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.
.
image only
watercolor
watercolor
1885
1885
1885
Art Object, Nomenclature
Work on Paper
2002.1.86
item
Florence Griswold Museum
10/18/2001
Summer Afternoon, Morris, CT
Digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/IMAGE DIRECTORY/HSB Collection/Summer Afternoon, Mor#98B69.jpg
Apple Orchard
Nelson A. Moore, (Kensington, Connecticut, 1824 - 1902)
Moore, Nelson A.
American
1824 - 1902
Primary
18 in. x 28 in.
.
.
.
image only
oil
oil
1878
1878
1878
Art Object, Nomenclature
A native of Kensington, Connecticut, N. A. Moore—as he was known professionally—ran a flourishing daguerreotype studio in Hartford for several years, but gave it up in order to work full time as a landscape painter. The deliberate attention to detail in "Apple Orchard" may reflect the artist’s past experience with photography.
Although "Apple Orchard" likely depicts the area around Kensington, Moore supplemented his income by traveling each summer to Lake George. There, tourists ordered large versions, to be delivered later, of the artist’s small oil sketches. If he received enough orders, Moore returned to Kensington for the winter to complete his commissions. If not, he and his son, the artist E. A. Moore, worked in various Connecticut cities, as well as in New York, Washington, D.C., and Minneapolis. N. A. Moore also served his Connecticut clients from a studio in Hartford.
N.A. Moore, Lower Left Corner, Written in black crayon on the stretcher: "Rofo 6172"
2002.1.96
item
Florence Griswold Museum
10/18/2001
Apple Orchard
Digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/IMAGE DIRECTORY/HSB Collection/AppleOrchard.jpg
View of the School House at Greens Farms
John Ludlow Morton, (1792 - 1871, Manhattan)
Morton, John Ludlow
1792 - 1871
Primary
18 in. x 24 in.
.
.
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overall
Frame
rectangular
.
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.
image only
oil
oil
1840
1840
1840
Art Object, Nomenclature
back, Signed and inscribed in the back "View of the School House/ at Greens Farms near/ South Port-Conct/ by J. L. Morton-NY"
2002.1.98
item
Florence Griswold Museum
10/18/2001
viewofschoolhouse
Digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1_98.jpg
Morton_-School_Hs
temporary digital
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Morton_-_School_Hs_90.15.jpg
Portrait of a Man
Harlan Page, (Coventry, Connecticut, 1791 - 1834)
Page, Harlan
American
1791 - 1834
Primary
21 1/4 in. x 18 3/4 in.
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.
overall
Frame
.
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image only
oil
oil
c. 1815
1810
1820
Art Object, Nomenclature
Page never made his living as an artist, and he is identified with only two portraits. This one seems a visual representation of the Second Great Awakening, the 19th-century religious revival that set his soul on fire.
2002.1.102
item
Florence Griswold Museum
10/18/2001
Portrait of a Man
Digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/IMAGE DIRECTORY/HSB Collection/PortraitofaMan copy.jpg
Portrait of Katherine Salisbury Newkirk
Ammi Phillips, (Colebrook, Connecticut, 1788 - 1865)
Phillips, Ammi
American
1788 - 1865
Primary
32 in. x 27 in.
.
.
.
overall
Frame
rectangular
.
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.
image only
oil
oil
c. 1825
1820
1830
Art Object, Nomenclature
Ammi Phillips is considered the leading country portrait painter of the 19th century America. Born in Colebrook, Connecticut, this self-taught painter crisscrossed Connecticut , Massachusetts and New York from at least 1811 until his last years. "Portrait of Katherine Salisbury Newkirk" is an exceptional example of the artist's work and probably dates from the early 1820s when Phillip's work turned gravely realistic with dark backgrounds and rich colors highlighting clothing accessories. The face is modelled with great attention to the definition of the sitter's details.
Katherine Salisbury Newkirk (1773–1866) was born in Catskill, Greene County, New York, to Abraham Salisbury and Elsie Hasbrouck. She married first Robert Black in 1797, and married second John Person Newkirk (1780–1855) in 1801, with whom she had six children.
2002.1.103
item
Florence Griswold Museum
10/18/2001
Portrait of Katherine Salisbury Newkirk Hickok
Digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/IMAGE DIRECTORY/HSB Collection/PortraitofKatherineSa#98BC0.jpg
8/10/2020
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1_103.jpeg
A Corner in an Etcher's Studio
Interior of Studio
The Etching Studio
Charles Adams Platt, (New York, New York, 1861 - 1933)
Platt, Charles Adams
American
1861 - 1933
Primary
21 3/4 in. x 19 3/4 in.
.
.
.
overall
Frame
.
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image only
oil
oil
1888
1888
1888
Art Object, Nomenclature
A view of the interior of the artist's studio in New York. This work was the frontispiece for the 1891 catalog of the New York Etching Club exhibition.
2002.1.105
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Platt_-_Studio_86.10.jpg
Hartford, Connecticut
Charles Adams Platt, (New York, New York, 1861 - 1933)
Platt, Charles Adams
American
1861 - 1933
Primary
10 1/4 in. x 13 3/4 in.
.
.
.
image only
oil
oil
1885
1885
1885
Art Object, Nomenclature
2002.1.104
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Platt_-_Hartford.jpg
Strawberries
Charles Ethan Porter, (Hartford, Connecticut, 1847 - 1923)
Porter, Charles Ethan
American
1847 - 1923
Primary
12 in. x 16 in.
.
.
.
image only
oil
oil
1888
1888
1888
Art Object, Nomenclature
Stiff life of strawberries in and around two baskets made of thin wood. Leaves in the background. Porter was one of the few black artists working in Connecticut. He studied at the National Academy of Design.
2002.1.109
item
Florence Griswold Museum
10/18/2001
2002_1_109
digital image
completed
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Porter_-_Stawberries_90.2.jpg
Autumn Landscape
Henry Ward Ranger, (Syracuse, New York, January 29, 1858 - November 7, 1916, New York, New York)
Ranger, Henry Ward
American
January 29, 1858 - November 7, 1916
Primary
12 in. x 16 in.
.
.
.
image only
oil
oil
American Barbizon
1897
1897
1897
Art Object, Nomenclature
In "Autumn Landscape" of 1897, a slow undulating stream seperates the viewer from the opposite shore, where two figures stroll beneath the towering deciduous trees. A riot of multi-colored foliage fills the upper canvas and is cropped by its edges, giving the effect of a protective "umbrella" of shimmering leaves.
2002.1.112
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Ranger_-_Autumn_Lands_91.4.jpg
Autumn Sunlight
In the Woods
Theodore Robinson, (1852 - 1896)
Robinson, Theodore
1852 - 1896
Primary
18 1/8 in. x 21 3/4 in.
.
.
.
overall
Image
.
.
.
overall
Frame
.
.
.
image only
oil
oil
1888
1888
1888
Art Object, Nomenclature
Th Robinson/1888, Lower right corner
2002.1.114
item
Florence Griswold Museum
10/18/2001
Autumn Sunlight
Digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/IMAGE DIRECTORY/HSB Collection/AutumnSunlight(IntheWoods).jpg
Strolling by the River
George Henry Smillie, (1840 - 1921)
Smillie, James David
American
1833 - 1909
Primary
Smillie, George Henry
American
1840 - 1921
Primary
12 5/8 in. x 10 in.
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image only
oil
oil
1861
1861
1861
Art Object, Nomenclature
2002.1.129
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Smillie_-_Stolling_93.3.jpg
Black Bass
Gurdon Trumbull, (Stonington, Connecticut, 1841 - 1903)
Trumbull, Gurdon
American
1841 - 1903
Primary
17 1/2 in. x 25 1/8 in.
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overall
Frame
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image only
oil
oil
1872
1872
1872
Art Object, Nomenclature
2002.1.139
item
Florence Griswold Museum
10/18/2001
2002_1_139
digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1_139.jpg
Painting
Horseneck Falls, Greenwich, Connecticut
John Henry Twachtman, (Cincinnati, Ohio, 1853 - 1902, Gloucester, Massachusetts)
Twachtman, John Henry
American
1853 - 1902
Primary
25 1/4 in. x 25 1/4 in.
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Frame
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image only
oil
oil
ca. 1890-1900
1890
1900
Art Object, Nomenclature
Painting
Florence Griswold Museum
2002.1.145
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1_145.jpg
overall
32kb
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Twachtman-Falls_89.8.jpg
Connecticut Shore - Winter
John Henry Twachtman, (Cincinnati, Ohio, 1853 - 1902, Gloucester, Massachusetts)
Twachtman, John Henry
American
1853 - 1902
Primary
24 1/8 in. x 30 in.
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image only
oil
oil
circa 1893
1888
1898
Art Object, Nomenclature
We must have snow and lots of it. Never is nature more lovely than when it is snowing. Everything is so quiet and the whole earth seems wrapped in a mantle… All nature is hushed to silence.
-Letter from Twachtman to J. Alden Weir, 1891
"Connecticut Shore, Winter" differs from Twachtman’s other winter scenes, which usually depict the artist’s Greenwich farmhouse swathed in delicately tinted snow. The black and brown of the boats and dock contrast sharply with the snow and ice clogging the water, underscoring winter’s bitter temperatures. This painting may depict the harbor at Bridgeport, where Twachtman first worked in 1888.
2002.1.143
item
Florence Griswold Museum
10/18/2001
2002_1_143
digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Twachtman_-_CT_Shore_Winter.jpg
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/2002_1_143.jpg
Barnyard
John Henry Twachtman, (Cincinnati, Ohio, 1853 - 1902, Gloucester, Massachusetts)
Twachtman, John Henry
American
1853 - 1902
Primary
30 1/4 in. x 25 1/8 in.
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overall
image
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Frame
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image only
oil
oil
ca. 1896-1897
1896
1897
Art Object, Nomenclature
J H Twachtman, Lower left
2002.1.142
item
Florence Griswold Museum
10/18/2001
2002_1_142
digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1_142 copy.jpg
John Severinus Conway
Fellow Student
Robert W. Vonnoh, (Hartford, Connecticut, September 17, 1858 - December 28, 1933, Nice, France)
Vonnoh, Robert W.
American
September 17, 1858 - December 28, 1933
Primary
45 in. x 35 1/8 in.
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overall
Frame
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overall
image
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image only
oil
oil
1883
1883
1883
Art Object, Nomenclature
on stretcher, "JOHN S. CONWAY FELLOW STUDENT 83 , JULIAN ACADY PARIS , ROBERT VONNOH , PLEASANT VALLEY LYME CONN." is inscribed on the stretcher.
2002.1.149
item
Florence Griswold Museum
10/18/2001
2002_1_149
digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/IMAGE DIRECTORY/2002/091-fgm copy.jpg
Portrait of Robert Weir, 1878
J. Alden Weir, (West Point Academy, New York, 1852 - 1919, Connecticut)
Weir, J. Alden
American
1852 - 1919
Primary
10 1/4 in. x 7 7/8 in.
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image only
oil
oil
1878
1878
1878
Art Object, Nomenclature
2002.1.154
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Weir_JA_-Study_85.11.jpg
Silver Chalice, Japanese Bronze and Red Taper
J. Alden Weir, (West Point Academy, New York, 1852 - 1919, Connecticut)
Weir, J. Alden
American
1852 - 1919
Primary
17 1/8 in. x 11 5/8 in.
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image only
oil
oil
c. 1884-1889
1884
1889
Art Object, Nomenclature
Weir's still life "Silver Chalice, Japanese Bronze, and Red Taper" is a tribute to Whistler, featuring the flat blocks of color, cropped view of objects, muted color harmonies and decorative abstract composition that are common in Whistler's work. Whistler's signature and monogram are isolated against blank white in a prominent area of Weir's composition.
center left, Whistler's monogram of a butterfly and "Whistler" are inscribed, center left.
2002.1.157
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSBimages/Weir,_JA-Samovar93.11.jpg
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1_157.jpg
The Fisher Boy
Edwin White, (South Hadley, Massachusetts, 1817 - 1877)
White, Edwin
American
1817 - 1877
Primary
30 in. x 22 1/2 in.
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overall
Frame
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oil
oil
1840
1840
1840
Edwin White, a popular genre and historical painter descended from Elder John White, one of the first settlers on the Connecticut River, just above Hartford, was born in South Hadley, Mass., May 21, 1817. In Hartford, at the age of eighteen, he entered the studio of Mr. Hewins as a pupil in portraiture and soon after he received a commission to paint an original Madonna in Norwalk.
2002.1.161
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/White-FisherBoy_91.JPG
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1_161.jpg
Fall Landscape, 1891
Henry C. White, (Hartford, Connecticut, September 15, 1861 - September 28, 1952, Waterford, Conn
White, Henry C.
American
September 15, 1861 - September 28, 1952
Primary
16 in. x 26 in.
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.
oil
oil
1891
1891
1891
2002.1.162
item
Florence Griswold Museum
10/18/2001
2002_1_162
digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/IMAGE DIRECTORY/2002/2002_1_162 .jpg
The Farmer's Garden, Simsbury
Worthington Whittredge, (1820 - 1910)
Whittredge, Worthington
1820 - 1910
Primary
15 in. x 9 5/8 in.
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image only
oil
oil
1875
1875
1875
Art Object, Nomenclature
on verso, "The Farmer's Garden/Simsbury" is Inscribed on verso in two different colors of paint. The Farmer's Garden is in one color, and Simsbury is in brown
2002.1.165
item
Florence Griswold Museum
10/18/2001
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1_165_Verso 2.jpg
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/2002 /2002_1_165.jpg
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSBimages/Whittredge - Farmer Garden .JPG
Wallingford, Connecticut
John Williamson, (Scottland, 1826 - 1885)
Williamson, John
Scotts
1826 - 1885
Primary
10 1/4 in. x 16 1/4 in.
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Frame
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image only
oil
oil
1867
1867
1867
Art Object, Nomenclature
This scene is more intimate and has a closer viewpoint than most paintings Williamson did. The trees that dominate in so lively a manner are a reminder that he was also a fine still-life painter who depicted flowers still growing outdoors. Williamson's sensitivity to the spirit
2002.1.170
item
Florence Griswold Museum
10/18/2001
2002_1_170
digital
completed
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/HSB/Williamson_-_Wallingford_8_.JPG