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MFA Images: Bouquets

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  • Large Green Vase with Mixed Flowers

    1910–12
    Odilon Redon (French, 1840–1916)

    Description

    Although Redon worked almost exclusively in black and white until he was fifty years old, he later became a bold and original colorist. He often painted macabre and supernatural subjects, and here a conventional still-life motif appears almost otherworldly, with the vase floating in ambiguous space and the colors more brilliant than any found in nature. Pastel produces deep, radiant hues, and Redon has maximized their intensity by juxtaposing complementary colors (yellow and purple, green and red), so that the flowers fairly glow.

    Inscription

    Lower left: ODILON REDON

    Provenance

    1925, Etienne Bignou (dealer, b. 1891 - d. 1950), Paris. William Alexander Cargill (d. 1962), Glasgow [see note 1]. November 12, 1928, sold by De Hauke and Co., Inc., New York, to John Taylor Spaulding (b. 1870 - d. 1948), Boston; 1948, bequest of John Taylor Spaulding to the MFA. (Accession Date: June 3, 1948) NOTES: [1] According to De Hauke and Co. the pastel came "from the collection of M. Etienne Bignou, Paris, 1925" and "from the collection of William A. C., Esq., Glasgow." This is almost certainly the collector William Cargill.

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    74.3 x 62.2 cm (29 1/4 x 24 1/2 in.)

    Accession Number

    48.591

    Medium or Technique

    Pastel on paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Pastels

    More Info
  • Vase of Flowers in a Niche

    about 1715
    Jan van Huysum II (Dutch, 1682–1749)

    Description

    The Dutch national passion for flowers is reflected in a strong tradition of floral paintings, a specialty that reached its peak during the eighteenth century in the work of Jan van Huysum. In this dazzling example of the artist’s technical brilliance and mastery of design, each flower precisely records a living specimen, including the rare and prized hybrid striped tulip. In spite of its vivid realism, however, we know the arrangement is an imaginary one, because it combines flowers that bloom at different times of the year. The artist composed the painting using individual studies made earlier from flowers in season.

    Inscription

    Lower right, on marble slab: Jan Van Husym fecit

    Provenance

    Probably by 1836 until 1867, Barons of Schönborn, Schloss Weissenstein, Pommersfelden, Germany [see note 1]; May 17, 1867, Schönborn sale, Hotel Drouot, Paris, lot 62, to the Comte de L'Epine for 15, 200 fr.; April 15, 1868, L'Epine sale, Hotel Drouot, Paris, lot 33, to Christianus Johannes Nieuwenhuys (b. 1799 - d. 1883), Amsterdam and London, for 10,100 fr. By 1877, Paul Pavlovich Demidoff, 2nd Prince of San Donato (b. 1839 - d. 1885), Florence; March 15 - April 10, 1880, Demidoff sale, San Donato Palace, lot 1101, to Stanton Blake (b. 1837 - d. 1889), Boston; 1889, purchased under the will of Stanton Blake by the MFA. (Accession Date: December 24, 1889) NOTES: [1] In the auction catalogue of May 17, 1867, this painting is said to have been noted in the Schönborn catalogues of 1719 and 1746, and to have been no. 302 in the catalogue of 1857. However, the painting's date of about 1732-1736 would make its inclusion in a 1719 inventory impossible. Moreover, the 1719 inventory of Lothar Franz von Schönborn (b. 1655 - d. 1729), the only one of the three above-mentioned catalogues to be published, does not include any paintings by Jan van Huysum. The painting was probably at Pommersfelden by 1836, as a letter from Jakob Felsing to Franz Erwein von Schönborn (January 17, 1836) indicates; he mentions seeing Van Huysum paintings on his recent trip to view the collection. For more information on the Schönborn collection and the inventories, see Katharina Bott, " 'La mia galleria Pommersfeldiana': Die Geschichte der Gemäldesammlung des Lothar Franz von Schönborn," in Die Grafen von Schönborn: Kirchenfürsten, Sammler, Mäzene (Nürnberg, 1989), 112-128. On the 1719 inventory, see ibid., Rudolf Bys: Fürtrefflicher Gemähld- und Bilder-Schatz (Weimar, 1997) and on the 1836 letter, ibid., Ein deutscher Kunstsammler zu Beginn des 19. Jahrhunderts: Franz Erwein von Schönborn (1776-1840) (Alfter, 1993), p. 31, doc. no. 71.

    Credit Line

    Bequest of Stanton Blake

    Details

    Dimensions

    88.9 x 69.9 cm (35 x 27 1/2 in.)

    Accession Number

    89.503

    Medium or Technique

    Oil on panel

    On View

    Angelica Lloyd Russell Gallery (Gallery 142)

    Collections

    Europe

    Classifications

    Paintings

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  • Winter Daffodils

    about 1902
    Sarah Wyman Whitman (American, 1842–1904)

    Description

    Provenance

    The artist; to MFA, 1904, bequest of the artist.

    Credit Line

    Bequest of the artist

    Details

    Dimensions

    23.49 x 15.24 cm (9 1/4 x 6 in.)

    Accession Number

    04.1724

    Medium or Technique

    Pastel on sanded paper mounted to paperboard

    Not On View

    Collections

    Americas

    Classifications

    Paintings

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  • Flowers on a Lacquer Plate

    Kaki zu
    花卉図

    Japanese
    Edo period–Meiji era
    1860s–1880s
    Kano Tomonobu (Japanese, 1843–1912)

    Description

    Provenance

    By 1911, purchased by William Sturgis Bigelow (b. 1850 - d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: August 3, 1911) NOTES: [1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Catalogue Raisonné

    KJM2-Modern-035

    Dimensions

    Image: 25.9 x 35.4 cm (10 3/16 x 13 15/16 in.)

    Accession Number

    11.6755

    Medium or Technique

    Panel; ink, color, and gold on silk

    Not On View

    Collections

    Asia

    Classifications

    Paintings

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  • Flowers

    Narcisse Virgile Diaz de la Peña (French, 1807–1876)

    Description

    Diaz was a member of the Barbizon School, a group of French landscape painters who were important precursors of the Impressionists. This flower piece, one of only a few by Diaz, is painted with his characteristic vigorous brushwork and interest in generalizing individual forms into broad areas of color. The high-keyed pastel colors suggest Diaz’s early training as a porcelain decorator.

    Inscription

    Lower right: N. Diaz.

    Provenance

    Collection of Alexander Moseley (?). By 1924, Miss Ellen F. Moseley, Boston, MA, probably by inheritance from her father; 1924, bequeathed by Ellen F. Moseley through Margaret LeMoyne Wentworth and Helen Freeman to the MFA. (Accession Date: May 1, 1924)

    Credit Line

    Bequest of Ellen F. Moseley

    Details

    Dimensions

    40 x 25.1 cm (15 3/4 x 9 7/8 in.)

    Accession Number

    24.236

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Europe

    Classifications

    Paintings

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  • Youth and Old Age (Zinnias and Black-eyed Susans)

    1925
    Charles Demuth (American, 1883–1935)

    Description

    Inscription

    Inscribed in graphite: Youth and Old Age [lower center], Black Eyed Susans [upper left]

    Signed

    Toward right border: Aug. C. Demuth, 1925, Lancaster, Pa

    Markings

    PDP Watermark Type: fragmentary Whatman watermark: (...MAN 1919 ENGLAND)

    Provenance

    Montross Gallery, 1926; Sarah Choate Sears; purchased by MFA, May 9, 1940.

    Credit Line

    Frederick Brown Fund

    Details

    Dimensions

    Sheet: 45.7 x 30.5 cm (18 x 12 in.)

    Accession Number

    40.231

    Medium or Technique

    Transparent and opaque watercolor over graphite pencil on paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • Roses in a Vase

    1872
    Henri Fantin-Latour (French, 1836–1904)

    Description

    Minutely observed still lifes of flowers, like this one, are among Fantin’s most celebrated works; these share the Impressionists’ interest in direct observation and domestic intimacy, but they also possess a hushed, timeless quality far removed from the instantaneity of Impressionist landscapes.

    Inscription

    Lower left: Fantin 72

    Provenance

    By 1911, Madame Esnault-Pelterie, Paris [see note 1]. Galerie Tempelaere, Paris [see note 2]; sold by Tempelaere to Kraushaar Galleries, New York; sold by Kraushaar to Mrs. Sarah Choate Sears (b. 1858 - d. 1935), Boston; by descent to her daughter, Helen Sears (Mrs. J. D. Cameron) Bradley (b. 1899 - d. 1966), Boston; 1940, sold by Mrs. Bradley to the MFA for $350. (Accession Date: May 9, 1940) NOTES: [1] Mme. Fantin-Latour, Catalogue de l'oeuvre complet (1849-1904) de Fantin-Latour (Paris, 1911), p. 73, cat. no. 646bis. [2] According to correspondence from Antoinette Kraushaar (March 2, 1942), the painting was purchased from Tempelaere. The reverse of the canvas has a Tempelaere stamp, with its old (pre-1925) address at 28, rue Lafitte.

    Credit Line

    Frederick Brown Fund

    Details

    Dimensions

    35.6 x 28 cm (14 x 11 in.)

    Accession Number

    40.232

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Vase of Mixed Flowers

    about 1872
    Martin Johnson Heade (American, 1819–1904)

    Description

    Today Heade is probably best known for his pictures of orchids [47.1164], magnolias [47.1169], water lilies [47.1165], and other flowers in which he focused on one, two, or three blooms. Painted life-size in a natural setting, their forms are often sexually suggestive. Throughout his life, however, Heade also painted more conventional flower pieces in keeping with contemporary taste. With its simple arrangement of blooms in a delicate vase set on a covered table, Vase of Mixed Flowers typifies those canvases.
    Though Heade deliberately selected flowers that allowed him to work with different shapes, textures, and colors, the arrangement does not appear contrived, and though the flowers may not be overtly erotic, Heade nonetheless recognized their expressive possibilities. Thus the rose seems to reach upwards and tentatively open its leaves outward, while the stamens shoot out from the fully open leaves of the azalea. Heade probably also chose the flowers with an eye towards their symbolism since he was well aware of the vogue in nineteenth-century America for assigning meanings to various flowers, particularly ones associated with the traits and character of women. Contemporary viewers familiar with the language of flowers might therefore have read the heliotrope and orange blossom as signs of devotion and purity and equated the rose with love. The carnation, on the other hand, conventionally signified disdain and heather indicated solitude—neither of them desirable qualities for women in that period.

    This text was adapted from Karyn Esielonis et al., Still-Life Painting in the Museum of Fine Arts, Boston, exh. cat.(Boston: Museum of Fine Arts, 1994).

    Inscription

    Lower right: M.J. Heade

    Provenance

    By 1884, William B. Bement (1817-1897), Philadelphia, Pa.; February 1899, Bement Collection auction, to C. Kavanaugh. 1948, with A. Frederick Mondschein, New York; 1948, sold by A. Frederick Mondschein to Maxim Karolik, Newport, R.I.; 1948, bequest of Martha C. (Mrs. Maxim) Karolik to the MFA. (Accession Date: June 3, 1948)

    Credit Line

    Bequest of Martha C. Karolik for the M. and M. Karolik Collection of American Paintings, 1815-1865

    Details

    Dimensions

    43.81 x 34.29 cm (17 1/4 x 13 1/2 in.)

    Accession Number

    48.427

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • White Flowers in a Bowl

    1885
    Berthe Morisot (French, 1841–1895)

    Description

    Although flowers are frequently included in Berthe Morisot’s portraits and interiors, still lifes make up only a small percentage of her work. White Flowers in a Bowl demonstrates the spontaneity associated with her late style. Morisot describes the forms of the bowl, pitcher, and bouquet with a thickly loaded brush, employing a loose, fluent touch. The quick, short strokes used for the flower petals convey the soft, dense quality of the white blooms, traditionally identified as Reines-Marguerites (an aster varietal). Morisot leaves peripheral sections of the unprimed canvas visible, emphasizing the unpremeditated appearance of her composition.

    Inscription

    Lower left: B Morisot

    Provenance

    1896, with Galerie Durand-Ruel, Paris [see note 1]. Octave Mirbeau (b. 1850 - d. 1917), Paris; February 24, 1919, posthumous Mirbeau sale, Galerie Durand-Ruel, Paris, lot 28. 1925, Durand-Ruel, New York (stock no. 8172); February 7, 1925, sold by Durand-Ruel to John Taylor Spaulding (b. 1870 - d. 1948), Boston; 1948, bequest of John Taylor Spaulding to the MFA. (Accession Date: June 3, 1948) NOTES: [1] Included in the exhibition "Berthe Morisot (Madame Eugène Manet): Exposition de son oeuvre" (Paris, Galerie Durand-Ruel, March 5-21, 1896), cat. no. 161 ("Reines- Marguerites")

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    46 x 55 cm (18 1/8 x 21 5/8 in.)

    Accession Number

    48.581

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Europe

    Classifications

    Paintings

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  • Flowers in a Blue Vase

    about 1910–13
    Maurice Brazil Prendergast (American (born in Canada), 1858–1924)

    Description

    Inscription

    Lower left: Prendergast

    Provenance

    The artist; with Kraushaar Galleries, New York; John T. Spaulding, Boston, 1925; to MFA, 1948, bequest of John T. Spaulding.

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    48.58 x 40.64 cm (19 1/8 x 16 in.)

    Accession Number

    48.589

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Mixed Flowers in an Earthenware Pot

    about 1869
    Pierre-Auguste Renoir (French, 1841–1919)

    Description

    In this rustic arrangement of dahlias, asters, and sunflowers, Renoir applied paint in two different ways, conveying the delicacy of petals with short, wet strokes and the solidity of the earthenware pot and burnished pears with broader, smoother brushwork. The picture marks Renoir’s closest collaboration with Monet; the young artists painted the same still life, sitting side by side before the arrangement. Monet’s version of the composition is now in the J. Paul Getty Museum.

    Inscription

    Lower right: Renoir

    Provenance

    1891, M. Duze; May 14, 1891, sold by Duze to Durand-Ruel, Paris; March 30, 1897, transferred from Durand-Ruel, Paris, to Durand-Ruel, New York; January 6, 1925, sold by Durand-Ruel, New York, to John Taylor Spaulding (b. 1870 - d. 1948), Boston; 1948, bequest of Spaulding to the MFA. (Accession Date: June 3, 1948)

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    64.8 x 54.3 cm (25 1/2 x 21 3/8 in.)

    Accession Number

    48.592

    Medium or Technique

    Oil on paperboard mounted on canvas

    On View

    Polly B. and Richard D. Hill Gallery (Gallery 253)

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Roses

    1926
    Charles Demuth (American, 1883–1935)

    Description

    Inscription

    Signed in pencil, C. Demuth, 1926; near center "Landcatster, PA"

    Provenance

    John T. Spaulding (1870-1948), Boston; bequest to MFA, June 3, 1948.

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    Sheet (sight): 29.2 x 42.5 cm (11 1/2 x 16 3/4 in.) Framed: 53 x 67 cm (20 7/8 x 26 3/8 in.)

    Accession Number

    48.766

    Medium or Technique

    Watercolor over graphite pencil on paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • Arbutus in a Shell Vase (Flowers of Hope)

    1869–70
    L. Prang & Company, Boston (American), After Martin Johnson Heade (American, 1819–1904)

    Description

    Provenance

    Maxim Karolik, Newport, Rhode Island; 1952, gift of Maxim Karolik to the MFA. (Accession Date: November 13, 1952)

    Credit Line

    Gift of Maxim Karolik for the M. and M. Karolik Collection of American Watercolors and Drawings, 1800–1875

    Details

    Dimensions

    Framed: 41.9 x 56.5 x 7.6 cm (16 1/2 x 22 1/4 x 3 in.) Overall: 21.6 x 36.2 cm (8 1/2 x 14 1/4 in.)

    Accession Number

    52.1646

    Medium or Technique

    Chromolithograph

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Prints

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  • Fruit and Flower Piece

    1848
    William Sharp (English, 1749–1824)

    Description

    Fruit and Flower Piece is one of the few known paintings by William Sharp, an artist who worked primarily as a printmaker making illustrating botanical publications. Sharp emigrated from England and in the late 1830s settled in Boston where he was one of the first to experiment with color lithography. Fruit and Flower Piece reflects the aesthetic of Sharp’s botanical training: each object is carefully drawn with little modeling and flat coloring, emphasizing a linear elegance rather than a painterly approach. The asymmetrical composition and landscape background are derived from seventeenth-century Dutch and Flemish still lifes.
    The flowers and fruits in this lush image hail from a variety of climates and seasons. In a gilded French porcelain vase, Sharp included morning glories, tulips, lilies, foxglove, roses, dahlias, and phlox, as well as two large clusters of grapes. The vase itself is decorated with a landscape that echoes the scene in the background. A basket to the right holds strawberries, currants, and cherries; a peach and perhaps some plums are piled in a white pressed glass dish nearby. More peaches and plums, as well as apples, an exotic pineapple, and a bunch of bananas surround these containers on the marble tabletop. Such bountiful presentations were popular with American still-life painters at this time, suggesting and prosperity abundance to a Victorian audience.

    Karen Quinn

    Inscription

    Lower right: W Sharp. pinxt 1848 Boston

    Provenance

    The artist; Mrs. Lottie J. Whitney, Jamaica Plain, Mass.; to Mrs. Robert W. Swift, Jr., Milton, Mass., her granddaughter; with Gustav Klimann, Boston, 1959; to Maxim Karolik, Newport, R.I., 1959; to MFA, 1964, bequest of Maxim Karolik.

    Credit Line

    Bequest of Maxim Karolik

    Details

    Dimensions

    91.44 x 73.66 cm (36 x 29 in.)

    Accession Number

    64.449

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Vase of Flowers

    1873
    George Cochran Lambdin (American, 1830–1896)

    Description

    Inscription

    Lower right: Geo. C. Lambdin/1873. -Earles' Gallery and Looking Glass Wareroom, No 816 Chestnut Street, Philadelphia - Painted inscription: Calboun

    Provenance

    1873, the artist. By 1961, private collection, New Jersey; 1961, with Sally Turner, Plainfield, N.J.; 1961, sold by Sally Turner to Maxim Karolik, Newport, R.I.; 1964, bequest of Maxim Karolik to the MFA. (Accession Date: April 8, 1964)

    Credit Line

    Bequest of Maxim Karolik

    Details

    Dimensions

    40.64 x 30.48 cm (16 x 12 in.)

    Accession Number

    64.458

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Bunch of Flowers with Poppy and Carnation

    Unidentified artist, French, 19th century (French)

    Description

    Provenance

    Elita R. Dike, Brookline; to her spouse George P. Dike, Brookline; bequest to MFA May 14, 1969

    Credit Line

    Bequest of George P. Dike—Elita R. Dike Collection

    Details

    Dimensions

    Sheet: 33.5 x 25.4 cm (13 3/16 x 10 in.)

    Accession Number

    69.114

    Medium or Technique

    Hand-colored etching

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Basket of Flowers including London Pride, Carnations and Ten others, with beetle, on table (Probably from T. Bowles, "Four Arrangements in Baskets" 1775. [with June's name burnished out])

    Probably published 1755
    J. June (English, about 1740–1770), For Bowles and Carver (English, 18th–19th century English)

    Description

    Provenance

    Elita R. Dike, Brookline; to her spouse George P. Dike, Brookline; bequest to MFA May 14, 1969

    Credit Line

    Bequest of George P. Dike—Elita R. Dike Collection

    Details

    Catalogue Raisonné

    Dunthorne 048

    Dimensions

    Sheet: 34.9 x 24.8 cm (13 3/4 x 9 3/4 in.)

    Accession Number

    69.219

    Medium or Technique

    Handcolored etching and engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Upright basket of flowers

    Philippe Behagle (French, 1641–1705), After Jean-Baptiste Monnoyer (French, 1634–1699)

    Description

    Restrike of copy. From “Liure de Toutes Sortes de Fleurs d’après Nature”. Paris, 1670-1680.

    Credit Line

    Bequest of George P. Dike—Elita R. Dike Collection

    Details

    Catalogue Raisonné

    Dunthorne 212; Nissen 1399

    Dimensions

    Platemark: 45.6 x 36 cm (17 15/16 x 14 3/16 in.) Sheet: 54.8 x 38.4 cm (21 9/16 x 15 1/8 in.)

    Accession Number

    69.247

    Medium or Technique

    Etching and engraving handcolored

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

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  • Large upright basket of two full blown tulips, anemones, Maonthly rose, etc.

    After Jean-Baptiste Monnoyer (French, 1634–1699), Philippe Behagle (French, 1641–1705)

    Description

    From “Liure de Toutes Sortes de Fleurs d’après Nature”. Paris, 1660.

    Provenance

    Elita R. Dike, Brookline; to her husband George Dike, by whom given to MFA

    Credit Line

    Bequest of George P. Dike—Elita R. Dike Collection

    Details

    Catalogue Raisonné

    Dunthorne 212; Nissen 1399, R.D. 27

    Dimensions

    Platemark: 53.5 x 43.5 cm (21 1/16 x 17 1/8 in.) Sheet: 62.5 x 48 cm (24 5/8 x 18 7/8 in.)

    Accession Number

    69.249

    Medium or Technique

    Engraving and etching, handcolored

    Not On View

    Collections

    Prints and Drawings

    Classifications

    Prints

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  • Spanish Squil, Tulip, Sweet Pea (Plate from Lawrance,"Groups of Flowers", London

    1800
    Mary Lawrance (English, active 1790–1831)

    Place of Publication: London

    Description

    Provenance

    Elita R. Dike, Brookline; to her spouse George P. Dike, Brookline; bequest to MFA May 14, 1969

    Credit Line

    Bequest of George P. Dike—Elita R. Dike Collection

    Details

    Catalogue Raisonné

    Dunthorne 178

    Accession Number

    69.241

    Medium or Technique

    Etching, hand-colored

    Not On View

    Collections

    Prints and Drawings

    Classifications

    Prints

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  • Bouquet of Yellow and White Roses, Hyacinths, and Narcissi

    Bouquet of Yellow and White Rose, Hyacinths and Narcissus (Pl. 16, IVth Livraison of Prévost, "Collection des Fleurs et des Fruits...", Paris, 1805)

    1805
    After Jean Louis Prevost (French, about 1760 and after 1810)

    Place of Publication: Paris

    Description

    Pl. 16, IVe Livraison of Prévost, “Collection des Fleurs et des Fruits peints d’après Nature”, Paris, 1805)

    Provenance

    Elita R. Dike, Brookline; to her spouse George P. Dike, Brookline; bequest to MFA May 14, 1969

    Credit Line

    Bequest of George P. Dike—Elita R. Dike Collection

    Details

    Catalogue Raisonné

    Dunthorne 229; Nissen 1568

    Dimensions

    Sheet: 49 x 32 cm (19 5/16 x 12 5/8 in.)

    Accession Number

    69.264

    Medium or Technique

    Stipple engraving, printed in color and hand-colored

    Not On View

    Collections

    Prints and Drawings

    Classifications

    Prints

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  • Bouquet of Anemones (Pl. 45, 12e Cahier of Prévost, "Collection des Fleurs et des Fruits...", Paris, 1805)

    1805
    After Jean Louis Prevost (French, about 1760 and after 1810), Louis Charles Ruotte (French, 1754–about 1806)

    Place of Publication: Paris

    Description

    Provenance

    Elita R. Dike, Brookline; to her spouse George P. Dike, Brookline; bequest to MFA May 14, 1969

    Credit Line

    Bequest of George P. Dike—Elita R. Dike Collection

    Details

    Catalogue Raisonné

    Dunthorne 229; Nissen 1568

    Dimensions

    Sheet: 50.2 x 33 cm (19 3/4 x 13 in.)

    Accession Number

    69.267

    Medium or Technique

    Stipple engraving, printed in color

    Not On View

    Collections

    Prints and Drawings

    Classifications

    Prints

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  • Bouquet with Pink Roses and Blue Auriculas (Possibly a proof before numbers for Prévost, "Collection des Fleurs et des Fruits...", Paris, 1805)

    1805
    After Jean Louis Prevost (French, about 1760 and after 1810), F. Pointeau (French French)

    Place of Publication: Paris

    Description

    Provenance

    Elita R. Dike, Brookline; to her spouse George P. Dike, Brookline; bequest to MFA May 14, 1969

    Credit Line

    Bequest of George P. Dike—Elita R. Dike Collection

    Details

    Catalogue Raisonné

    Dunthorne 229, Possibly proof before numbers; Nissen 1568

    Dimensions

    Sheet: 54 x 35 cm (21 1/4 x 13 3/4 in.)

    Accession Number

    69.269

    Medium or Technique

    Stipple engraving, hand-colored

    Not On View

    Collections

    Prints and Drawings

    Classifications

    Prints

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  • Oreilles d'Ours-Primula auricula ( from Redouté, "Choix des Plus Belles Fleurs...", Paris, Panckoucke, et al...1827)

    published 1827
    After Pierre- Joseph Redouté (French, born in Flanders, 1759–1840), Victor (French, active 1820–1850)

    Place of Publication: Paris

    Description

    Provenance

    Elita R. Dike, Brookline; to her spouse George P. Dike, Brookline; bequest to MFA May 14, 1969

    Credit Line

    Bequest of George P. Dike—Elita R. Dike Collection

    Details

    Catalogue Raisonné

    Dunthorne 235, 1st; Nissen 1591

    Dimensions

    Platemark: 27 x 21.2 cm (10 5/8 x 8 3/8 in.) Sheet: 49.8 x 33 cm (19 5/8 x 13 in.)

    Accession Number

    69.291

    Medium or Technique

    Stipple engraving, in color and hand-colored

    Not On View

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  • Still Life with Flowers, Vegetables and Pigeons

    Simone del Tintore (Italian (Lucchese), about 1630–1708)

    Description

    Little is known of Tintore’s life, and few works are attributed to him. His still lifes are more decorative than naturalistic, with the abundance of fruits and vegetables loosely arranged; here, they are held together by a broad serpentine curve that moves the eye from upper right to lower left.

    Provenance

    1969, Frederick Mont, Inc., New York; 1969, sold by Mont to the MFA [see note 1]. (Accession Date: September 23, 1969) NOTES: [1] The painting was accessioned with an attribution to Tommaso Salini.

    Credit Line

    Lucy Dalbiac Luard Fund

    Details

    Dimensions

    118.74 x 88.26 cm (46 3/4 x 34 3/4 in.)

    Accession Number

    69.1059

    Medium or Technique

    Oil on canvas

    Not On View

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  • Still Life-Flowers in a Basket

    1850s
    Severin Roesen (American (born Prussia), 1816–1876 or after)

    Description

    Roesen painted about three to four hundred still lifes during his career, but little is known of his life. Evidence suggests that he trained as a porcelain painter in Germany and that he exhibited a still life at an art club in Cologne in 1847 before he fled Germany’s political turmoil in 1848. For the next nine years, he lived, exhibited, and developed a following among collectors and artists in New York. In 1857, apparently prompted by a downturn in the New York art market (the result of trouble in the city’s economy), he left for Pennsylvania, eventually settling in Williamsport in 1862. Pennsylvania offered not only a sizeable German community but also potential clients who had prospered by the booming lumber industry. It appears that Roesen remained in Williamsport until 1872. What happened to him after that remains a mystery, but reports that he returned to New York or that he died in a Philadelphia almshouse have proven unfounded.
    According to anecdotal evidence, Roesen may also have painted portraits, but only his still lifes have been identified. These works depict flowers and fruit, and combinations thereof, usually placed on a white or dark marble slab against a plain background. His training as a porcelain painter probably influenced his approach to still life, but his work is clearly an extension of the fruit and flower pieces of late-seventeenth- and early-eighteenth-century Dutch artists such as Jan van Huysum [89.503], Rachel Ruysch, and Maria van Oosterwijck. Roesen may have known these Dutch paintings at first hand or through the work of Jacob Preyer, who kept the tradition of still-life painting alive in nineteenth-century Düsseldorf.

    Roesen’s work defies a chronology. He dated only about two dozen of his paintings, and these all include similar objects. It is unlikely that Roesen painted directly from a model: it is difficult, even impossible, to replicate his arrangements with actual objects and he often combined flowers and fruits that bloomed at different times of the year. Roesen may instead have used popular prints or botanical drawings, or studies that he himself had made, as models for his arrangements. [1]

    It is unsurprising that Roesen’s work attracted buyers and many imitators, since the ground had been laid in the United States for art such as his. Dutch still lifes had been exhibited and actively collected in New York, Philadelphia, and Boston, and the precise drawing and elaborate compositions of the Düsseldorf school had shaped the taste and style of American collectors and painters. Moreover, Roesen’s images of natural abundance probably struck a chord with the growing American middle class, who might well have understood them as emblems of their own prosperity, plenitude, and well-being.

    Notes
    1. William H. Gerdts, Painters of the Humble Truth: Masterpieces of American Still Life, 1801–1939, exh. cat. (Columbia, Mo.: Philbrook Art Center and University of Missouri Press, 1981), 87–89.

    This text was adapted from Karyn Esielonis et al., Still-Life Painting in the Museum of Fine Arts, Boston, exh. cat.(Boston: Museum of Fine Arts, 1994).

    Provenance

    1969, with Vose Galleries, Boston; 1969, sold by Vose Galleries to the MFA. (Accession Date: November 19, 1969)

    Credit Line

    M. and M. Karolik Fund

    Details

    Dimensions

    76.2 x 102.23 cm (30 x 40 1/4 in.)

    Accession Number

    69.1228

    Medium or Technique

    Oil on canvas

    On View

    The Heide Family Galleries (Gallery 238A)

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  • Basket of White Flowers and Partridge Berries

    1870–79
    Isaac Sprague (American, 1811–1895)

    Description

    Inscription

    At right in pen: I. Sprague (Sprague Bequest - 1977.216-.267).

    Provenance

    Priscilla C. Sprague (great-niece of artist), Cambridge, MA; bequest to MFA, May 1977.

    Credit Line

    Bequest of Miss Priscilla C. Sprague

    Details

    Dimensions

    Sheet: 25.2 x 30.5 cm (9 15/16 x 12 in) oval

    Accession Number

    1977.226

    Medium or Technique

    Watercolor on paper

    Not On View

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  • Vase of Flowers

    1864
    John La Farge (American, 1835–1910)

    Description

    Best known for his major projects in mural painting and stained glass [http://www.mfa.org/search/collections?artist=john%20la%20farge&objecttype=32], particularly the interior design of Trinity Church in Boston, John La Farge also painted an important series of floral still lifes in oil in the 1860s. La Farge grew up in a cosmopolitan, French-speaking household, and in 1856 he toured the museums of Europe, spending a few weeks working in Thomas Couture’s studio. He decided to become an artist in 1859 and studied with William Morris Hunt [http://www.mfa.org/search/collections?artist=Hunt,%20William%20Morris&objecttype=66] in Newport, Rhode Island. Over the next decade La Farge painted lyrical still lifes of flowers in vases, hanging wreaths, and water lilies [RES.27.93] and other flowers in their natural settings. His still lifes are poetic and generalized rather than botanically accurate, evoking a mood and expressing emotion. Through his own success and that of his pupils, as well as other artists who were influenced by his work, La Farge was largely responsible for the development of the poetic flower composition in American still-life painting.
    Vase of Flowers is one of the most ambiguous and mysterious of La Farge’s floral paintings. A vase of roses, geraniums, and other pink and red flowers is set off-center on a tabletop in a shallow space. The background may be a Japanese screen or an open window, as in many of the artist’s early still lifes. It has been suggested that the vase may be a pi t’ung, a Chinese porcelain vessel for holding the brushes of artists and calligraphers, thus accounting for its distinctive shape. Fascinated by Asian art and an early collector of Japanese prints, La Farge also had a large collection of Chinese and Japanese ceramics. In addition, his wife was the great niece of Matthew Perry, who had opened Japan to Western trade in 1854.

    La Farge’s use of a gilded panel for this painting, as well as his atypical inclusion of a calling card with the date and his signature in the lower right corner, may indicate that Vase of Flowers was painted as a demonstration piece in the hope of obtaining a commission from architect Henry Van Brunt for decorative panels. La Farge did, in fact, receive the commission and completed three of six panels intended for the dining room of a townhouse that Van Brunt was designing in Boston. La Farge, however, became ill and was forced to give up the project.

    La Farge later painted glowing still lifes of flowers in watercolor and also created floral stained glass windows. These jewel-like panels of opalescent glass, for which he received a patent in 1880, graced the mansions of such wealthy patrons as Cornelius Vanderbilt.

    This text was adapted from Elliot Bostwick Davis et al., American Painting [http://www.mfashop.com/9020398034.html], MFA Highlights (Boston: MFA Publications, 2003).

    Inscription

    Lower right: J. La Farge/1864

    Provenance

    1864, the artist. March 30-31, 1887, Noyes Auction House, Boston, lot 13. Before 1907, James Brown Case (1825-1907), Boston and Weston, Mass.; 1907, by descent to his daughters, Louisa W. Case (1862-1946) and Marian R. Case (1864-1944), Weston; 1920, gift of Misses Louise W. and Marian R. Case to the MFA. (Accession Date: February 26, 1920)

    Credit Line

    Gift of the Misses Louisa W. and Marian R. Case

    Details

    Dimensions

    46.99 x 35.56 cm (18 1/2 x 14 in.)

    Accession Number

    20.1873

    Medium or Technique

    Oil on gilded panel

    On View

    Robert P. and Carol T. Henderson Gallery (Gallery 228)

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  • Hollyhocks in a Copper Bowl

    1872
    Gustave Courbet (French, 1819–1877)

    Description

    Gustave Courbet returned to still-life painting in 1871 while serving a six-month prison sentence for aiding in the destruction of the Vendôme Column during the Paris Commune. After his requests for live models and access to the prison roof for landscape views were denied, he had his sister bring fruit and flowers to his cell. Hollyhocks in a Copper Bowl was likely painted after the artist had been transferred from the prison to a sanatorium because of his failing health. Such late still lifes are humbler than his earlier work in the genre. Placed against a dark background, the floral arrangement in Hollyhocks in a Copper Bowl exists almost entirely in shadow. The ethereal appearance of the white hollyhocks, painted quickly in short, broad brushstrokes gives the still life a melancholic tone. Courbet’s late still lifes arguably record his internal struggle to center himself in his art after great disappointment and public disgrace. The more somber tone of his works after his imprisonment may also reflect his savvy awareness of how his personal scandal could be used to sell paintings.

    Inscription

    Lower left: 72 / G. Courbet

    Provenance

    1872, probably M. Reinach, Paris [see note 1]. Galerie Bernheim-Jeune, Paris. Galerie Levesque, Paris. By 1914, Charles Pearson, Paris [see note 2]; October 18, 1927, Pearson sale, Cassirer and Helbing, Berlin, lot 15, sold for 23,600 M. 1928, Galerie Thannhauser, Lucerne; July 30, 1928, sold by Thannhauser to John Taylor Spaulding (b. 1870 - d. 1948), Boston; 1948, bequest of John Taylor Spaulding to the MFA. (Accession Date: June 3, 1948) NOTES: [1] Mr. Reinach was a friend of the artist, although his exact identity is not certain. It has been suggested that he was Jacques, Baron de Reinach (b. 1840 - d. 1892), a Frankfurt-born financier in Paris; or that he was the father of Joseph (b. 1856) and Salomon (b. 1858) Reinach, a writer and art historian respectively. See Petra ten-Doesschate Chu, Letters of Gustave Courbet (Chicago and London, 1992), pp. 178, 657. This has been identified as one of the paintings Courbet painted for Reinach while in captivity in 1872. For further information, see Robert Fernier, La vie et l'oeuvre de Gustave Courbet: catalogue raisonné (Paris, 1977), vol. 2, p. 142, cat. no. 801. [2] He lent this to the exhibition "Fransk Malerkunst," Dansk Kunstmuseums Forening, Copenhagen, May 15-June 30, 1914, cat. no. 45.

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    60 x 48.9 cm (23 5/8 x 19 1/4 in.)

    Accession Number

    48.530

    Medium or Technique

    Oil on canvas

    On View

    Jean S. and Frederic A. Sharf Visitor Center ( 130.10)

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  • Roses in a Glass Vase

    1890
    Henri Fantin-Latour (French, 1836–1904)

    Description

    Fantin was the late 19th-century’s undisputed master of the rose. Here a rough, scumbled background offsets the delicacy and fleshy softness of these overblown blossoms, so real we can almost smell their perfume. A devoted student of the old masters, Fantin spent many hours in his early career copying 17th-century Dutch still lifes at the Louvre, and yet his compositions remain unmistakably of their own time, almost photographic in their ambition to arrest a momentary sensation.

    Inscription

    signed lower right: Fantin 90

    Provenance

    Probably from the artist to Elizabeth Ruth (Mrs. Edwin) Edwards (b. about 1833 - d. 1907), London [see note 1]. 1906, Ferdinand Dreyfus (b. 1849 - d. 1915), Paris [see note 2]. César de Hauke (b. 1900 - d. 1965), Paris. Galerie Hector Brame, Paris. Desmond Robinson, London. 1965, with Frost and Reed, London [see note 3]. April 15, 1970, anonymous sale, Sotheby's, London, lot 3, to the Lefevre Gallery, London, for £27,000; 1970, sold by Lefevre to a private collector, Paris [see note 4]. July 1, 1974, anonymous sale, Christie's, London, lot 10, to Alice A. Hay (d. 1987), New York; 1987, bequest of Alice A. Hay to the MFA. (Accession Date: June 24, 1987) NOTES: [1] Information on provenance is taken from the 1970 Lefevre Gallery catalogue (see below, n. 4) and the 1974 Christie's auction catalogue. Mr. and Mrs. Edwin Edwards were friends of Fantin-Latour and acted as dealers for him in England. [2] He lent this painting to the "Exposition de l'Oeuvre de Fantin-Latour" (Paris, May-June, 1906), cat. no. 82. [3] According to a label affixed to the reverse of the painting. It was probably not a part of the gallery stock, but rather went to Frost and Reed for restoration or framing work. [4] According to correspondence from Jodie Waldron of the Lefevre Gallery (August 24, 2006). The painting was included in the exhibition "XIX & XX Century French Paintings" (Lefevre Gallery, London, November 12 - December 19, 1970), cat. no. 7. ADDITIONAL INFORMATION: In 1947, a painting by Fantin-Latour of a "bouquet of roses in a glass" was listed among the objects that had been seized by the Nazis from the collection of Jean-Ferdinand Dreyfus of Paris during World War II and had not yet been returned. See Bureau Central des Restitutions, Répertoire des Biens Spoliés en France Durant la Guerre, 1939-1945, vol. 2, Tableaux, tapisseries, et sculptures (Berlin, 1947), p. 230, no. 5128: "Bouquet de roses dans un verre". It is possible, though not certain, that the MFA painting belonging to Ferdinand Dreyfus in 1906 was passed down to a relative named Jean-Ferdinand and that this is the work of art in question. However, the cultural property claim application of Jean-Ferdinand Dreyfus does not list any painting by Fantin. This claim is on file at the National Archives and Records Administration, College Park, MD, Record Group 260 (Microfilm Publication M1949, Roll 16), Claim no. F049B. There is no indication that the MFA painting passed through any of the collecting points established by Allied forces after World War II for the purpose restituting looted works of art. Jean Mendelson, Director of Archives, Ministère des Affaires Étrangères, Paris, stated in a letter (December 21, 2006) that the archive of the French Ministry of Foreign Affairs possesses no documentation indicating that this painting was looted, and indeed, that the only such indication is the listing in the Répertoire des Biens Spoliés. Research is ongoing to determine whether the MFA painting was seized by Nazi forces during World War II and, if so, whether it was restituted to its rightful owner.

    Credit Line

    Bequest of Alice A. Hay

    Details

    Dimensions

    42.54 x 37.78 cm (16 3/4 x 14 7/8 in.)

    Accession Number

    1987.291

    Medium or Technique

    Oil on canvas

    Not On View

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  • Poppies in a Wine Flask

    Unidentified artist, Italian (Roman), 17th century (Italian (Roman)), Formerly attributed to Michelangelo Merisi da Caravaggio (Italian, 1571 - 1610)

    Description

    It was once believed that this still life was the work of the great seventeenth century Italian painted Caravaggio. Caravaggio’s revolutionary paintings focused on everyday people and objects, which he depicted with robust naturalism and made emphatically three-dimensional through bold contrasts of light and shadow. Only one still life is now convincingly attributed to Caravaggio, but his influence can be seen in many Italian examples.

    Inscription

    Falsely signed, lower right: M A'Cariva [...] fe

    Provenance

    By 1698, Earls of Leicester, Penshurst Place, Kent, England, UK (painting said to be at Penshurst since 17th c.); until 1945, by descent within the family to William Philip Sidney, 6th Baron De L'Isle and Dudley, Penshurst Place; 1950, placed on consignment by Lord De' Isle to Paul Cassirer, Inc., Amsterdam and London [see note 1]; 1950, sold by Cassirer to the MFA for $20,160. (Accession Date: April 13, 1950) NOTES: [1] Sold to Paul Cassirer as a painting by Caravaggio.

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    65.1 x 56.5 cm (25 5/8 x 22 1/4 in.)

    Accession Number

    50.651

    Medium or Technique

    Oil on canvas

    Not On View

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  • Three White Tulips

    1912
    Charles Sheeler (American, 1883–1965)

    Description

    Early in his career during several trips to Europe between 1904 and 1909, Sheeler became acquainted with modernism. He was particularly astonished by the paintings by Picasso, Braque, and Cézanne he saw during a visit to Michael Stein’s (avant-garde writer Gertrude Stein’s brother) Paris apartment. Sheeler wrote of his reaction, “They were strange pictures which no amount of description, of which I had considerable in advance, could prepare me for the shock of coming upon them for the first time…But this much was evident in spite of the bewilderment, that something profound was in the making,” (Carol Troyen and Erica E. Hirshler, “Charles Sheeler: Paintings and Drawings,” Boston: Museum of Fine Arts, 1987, p. 44). Over the next few years Sheeler turned away from the fluid, popular style of painting he had learned from William Merritt Chase, and began to investigate the a more classical, structured manner of painting, inspired, for the most part, by Cézanne.
    During the 1910s, Sheeler often worked in series, setting himself compositional problems with a limited number of variables and conscientiously exploring their permutations, as though he were following a deliberate program of self-education. “Three White Tulips” belongs to one such series, of which three additional examples have been located, each painted in 1912 in oil on panel and each measuring approximately fourteen by ten and one half inches. In all four pictures, Sheeler adhered to the same general formula, with only minor variations in the number of flowers, their arrangement, and the vessel that holds them. One of the pictures (“Red Tulips,” Regis Collection, Minneapolis) was sent to the 1913 Armory Show, the first great show of modern art in America, and thereafter to several other exhibitions.
    “Three White Tulips” represents the series at its simplest. The flowers are centered in the panel, their blossoms spread out in an elegant chevron that appears to fan out flat across the picture surface but also to twist slightly in space. The tabletop, outlined by a heavy black line that recedes diagonally into depth, is painted in the same opalescent hues and with the same patchy and slightly clumsy brush strokes as the background, vase, blossoms, and leaves-only the thick outline and the occasional use of white for highlights separate one form from another. The pictorial issues Sheeler evidently was exploring here were those preoccupying much of the international avant-garde during this period: the reconciliation of description and decoration, of flat and illusionistic space, and of the relative utility of local and ambient color in unifying and organizing a composition. His guide in this quest was Cézanne, whose special love for casual floral subjects, use of animated, seemingly unstudied brush strokes going off in all directions (particularly in the backgrounds of his pictures), and use of heavy outlines are here emulated, if not quite mastered.
    These pictures of tulips also point to Sheeler’s appreciation of similar motifs appearing on chests (see 32.274), ceramics (see 02.323), and birth and marriage certificates produced by Pennsylvania Germans in the late eighteenth and early nineteenth centuries. Sheeler knew their designs well, for as early as 1910 he spent numerous weekends exploring rural Bucks and Lancaster counties (the heart of “Pennsylvania Dutch” country). A dower chest he once owned (Christian Seltzer, “Pennsylvania German Dower Chest,” 1781, Museum of Art, Pennsylvania State University), features ornamental panels of symmetrically arranged, schematically drawn tulips (a favorite motif of the Pennsylvania Germans) arrayed much as Sheeler does in “Three White Tulips.” Splayed across the picture surface, they create a simple, charming arrangement. This unusual marriage of influences-the integration of revolutionary stylistic concerns and decorative patterns with roots in folk or primitive art-linked Sheeler with the most progressive artistic minds of his day. And although his technique is not fully mature here (he would soon substitute a smoother stroke and subtler color), “Three White Tulips” established a pattern for the rest of his work. Hereafter, his richest pictures would be those in which the traditional and the modern are harmoniously intertwined.

    This text was adapted by Janet Comey from Carol Troyen and Erica E. Hirshler, “Charles Sheeler: Paintings and Drawings” (Boston: Museum of Fine Arts, 1987).

    Inscription

    Lower left: Sheeler 1912

    Provenance

    The artist, with Downtown Gallery, New York; to Parke-Bernet, New York; to William H. Lane (1914-1995), 1953; to William H. Lane Foundation, 1953; to MFA, 1990, gift of the William H. Lane Foundation.

    Credit Line

    Gift of the William H. Lane Foundation

    Details

    Dimensions

    34.92 x 26.67 cm (13 3/4 x 10 1/2 in.)

    Accession Number

    1990.442

    Medium or Technique

    Oil on panel

    Not On View

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  • Wild Roses in an Antique Chinese Bowl

    1880
    John La Farge (American, 1835–1910)

    Description

    Thick, slightly textured, cream wove paper.

    Inscription

    Initialed and dated lower right in black wash: JLF / 1880

    Provenance

    Elizabeth Howard Bartol Bequest, 1927

    Credit Line

    Bequest of Miss Elizabeth Howard Bartol

    Details

    Dimensions

    Platemark: 27.6 x 23 cm (10 7/8 x 9 1/16 in.) Sheet: 27.6 x 22.9 cm (10 7/8 x 9 in.) Framed: 49.8 x 43.8 cm (19 5/8 x 17 1/4 in.)

    Accession Number

    RES.27.96

    Medium or Technique

    Transparent and opaque watercolor on paper

    Not On View

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  • Study of a Flowering Branch

    Jean Baptiste Robie (Belgian, 1821–1910)

    Description

    Robie began his career painting portraits of Napoleon that were sold to English tourists on their way to Waterloo, site of the French leader’s defeat. He later turned to still life, gaining a substantial reputation in Belgium, the United States, and France, where an effusive critic noted that he “reigns without rival in the domain of flowers.” Although this delicate rendering of a branch of mountain ash seems very casual, the surface is meticulously worked with barely perceptible brushstrokes and the lighting is carefully staged so that the highlighted blossoms emerge dramatically from deep background shadow.

    Inscription

    signed and dted lower left: J. Robie, Mai 1871

    Provenance

    By 1984, with Wheelock Whitney and Co., New York, NY; 1984, purchased by the MFA from Wheelock Whitney. (Accession Date: May 9, 1984)

    Credit Line

    Fanny P. Mason Fund in memory of Alice Thevin

    Details

    Dimensions

    54.61 x 34.92 cm (21 1/2 x 13 3/4 in.)

    Accession Number

    1984.169

    Medium or Technique

    Oil on panel

    Not On View

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  • Bell Flower

    1870–1900
    Scowen & Co. (English, Ceylon, 1860's)

    Description

    Inscription

    L. l. in negative: "Scowen" verso in pencil: "Bell Flower"

    Provenance

    Ken Jacobson, Essex, England; purchased February 1983.

    Credit Line

    Francis Welch Fund

    Details

    Dimensions

    Image/Sheet: 21.4 x 27.4 cm (8 7/16 x 10 13/16 in.)

    Accession Number

    1983.136

    Medium or Technique

    Photograph, albumen print

    Not On View

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    Europe, Photography

    Classifications

    Photographs

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  • Varieties of Cherry Blossoms

    Japanese
    Edo period - Meiji era
    late 19th century
    Kôri (dates unknown)

    Object Place: Japan

    Description

    Provenance

    By 1911, purchased by William Sturgis Bigelow (b. 1850 - d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: August 3, 1911) NOTES: [1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    Image: 117.2 x 54.9 cm (46 1/8 x 21 5/8 in.) Overall: 201.9 x 74.9 cm (79 1/2 x 29 1/2 in.)

    Accession Number

    11.8465

    Medium or Technique

    Hanging scroll; ink and color on silk

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  • Double Cherry in Flower

    八重桜

    Japanese
    Edo period
    1843–47 (Tenpô 14–Kôka 4)
    Artist Utagawa Hiroshige I (Japanese, 1797–1858)

    Description

    Inscription

    Poem, by Gojûrinren Tôri: Hareru made/ ni shite machiakazu/ yayoi sora 晴れるまて にして待あかす やよひ空 五十鈴連 桃李

    Signed

    Hiroshige hitsu 広重筆

    Markings

    Censor's seal: Mera No blockcutter's mark 改印:米良 彫師:なし

    Credit Line

    William S. and John T. Spaulding Collection

    Details

    Catalogue Raisonné

    Ôta kinen bijutsukan, Hiroshige kachôga ten (1997), #19

    Dimensions

    Chûtanzaku; 36.8 x 13 cm (14 1/2 x 5 1/8 in.)

    Accession Number

    21.8052

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

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    Prints

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  • Kanamono in the form of a stem of chrysanthemum, with backplate

    Japanese
    Edo period–Meiji era
    mid to late 19th century (before 1889)

    Description

    Signed

    Unsigned 無銘

    Provenance

    1890, Charles Goddard Weld Collection; bequest to MFA, Boston, December 7, 1911.

    Credit Line

    Charles Goddard Weld Collection

    Details

    Dimensions

    Overall: 3.9 x 1 cm (1 9/16 x 3/8 in.)

    Accession Number

    11.5576

    Medium or Technique

    Main material: gold; other metals: shibuichi plate; decorative technique: takabori

    Not On View

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    Asia

    Classifications

    Arms and armor

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  • Magnolias

    about 1883–1900
    Martin Johnson Heade (American, 1819–1904)

    Description

    Inscription

    Lower right: M J. Heade

    Provenance

    The artist; John F. Hulme, Cream Ridge, N.J.; with Macbeth Gallery, New York, 1945; to Maxim Karolik, Newport, R.I., 1945; to MFA, 1947, gift of Maxim Karolik.

    Credit Line

    Gift of Maxim Karolik for the M. and M. Karolik Collection of American Paintings, 1815–1865

    Details

    Dimensions

    60.96 x 38.1 cm (24 x 15 in.)

    Accession Number

    47.1157

    Medium or Technique

    Oil on canvas

    Not On View

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    Americas

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  • Cineraria

    about 1915-17
    Edna Boies Hopkins (American, 1872–1937 American)

    Description

    Inscription

    In graphite, l.l.: Edna Boies Hopkins; l.r.: No 17

    Provenance

    John T. Spaulding (1870-1948) Boston; by whom given to MFA by bequest June 3, 1948

    Credit Line

    Bequest of John T. Spaulding

    Details

    Catalogue Raisonné

    Vasseur 27

    Dimensions

    Sheet: 39 x 32.8 cm (15 3/8 x 12 15/16 in.) Block: 22.7 x 20 cm (8 15/16 x 7 7/8 in.)

    Accession Number

    48.905

    Medium or Technique

    Color woodcut

    Not On View

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  • Still Life with Roses in a Glass Vase

    Samuel John Peploe (Scottish, 1871–1935)

    Description

    The Scottish painter Peploe spent a number of years in Paris, where he responded to a range of influences from contemporary avant-garde art. Although he painted figure subjects and landscapes, Peploe preferred still life to both. “There is so much,” he explained, “in mere objects, flowers, leaves, jugs, what not—colors, forms, relations—I can never see that mystery coming to an end.”

    Inscription

    Lower right: peploe

    Provenance

    By 1926, Alex Reid and Lefevre, Glascow. 1948, John Taylor Spaulding, Boston, MA (d. 1948); 1948, bequest of Spaulding. (Accession Date: June 3, 1948)

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    61 x 50.8 cm (24 x 20 in.)

    Accession Number

    48.586

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Still Life with Azaleas and Apple Blossoms

    1878
    Charles Caryl Coleman (American, 1840–1928)

    Description

    Charles Caryl Coleman’s Still Life with Azaleas and Apple Blossoms demonstrates the influence of the Aesthetic movement on American painting and decorative arts. The movement originated in Britain in the 1870s and 1880s as a reaction against the Industrial Revolution and mass production. It was characterized by a belief in the spiritual and moral power of beauty and by a desire to improve the quality of everyday life through handsome and well-made furnishings and decoration. Like John La Farge [20.1873], Thomas Wilmer Dewing [34.131], James Abbott McNeill Whistler [42.302], and other exponents of the Aesthetic movement, Coleman strove for beauty in the line, color, and arrangement of the objects in his painting. The overall patterning of his composition, his incorporation of exotic traditions, and the manner in which he planned his painting to harmonize with the room around it demonstrate Coleman’s sympathy with the movement.
    An expatriate who lived in Italy for more than fifty years, Coleman was renowned for his beautiful studio in Rome, where he lived until the mid-1880s, and his Villa Narcissus in Capri, where he stayed for the remainder of his life. Both were sumptuously decorated with tapestries, classical antiquities, and ornamental objects from various cultures. The English painter Walter Crane described Coleman’s Roman studio as “the most gorgeous studio of bric-a-brac of any.”[1]Coleman’s interest in the decorative is nowhere more apparent than in the series of large-scale still-life panels he painted in the late 1870s and 1880s.

    In his still-life paintings, Coleman often mixed objects from many cultures: Persian fabrics, Turkish carpets, Venetian vases, Japanese fans, many from his own collection. In Still Life with Azaleas and Apple Blossoms, however, he was inspired both in his composition and his choice of objects by the contemporary fashion for Japanese art. Coleman chose a tall, narrow canvas to suggest a Japanese hanging scroll or the panel of a screen. His apple blossoms in a yellow vase intertwine with azaleas in a lustrous Japanese bronze repoussé pot, against a background of kimono fabric. Even Coleman’s initials in monogram in the lower right and the inscriptions “1878” and “Roma” in the gold leaf rectangular cartouches on the lower left recall the seals often found on Japanese scrolls.

    Like Whistler, whose famous Peacock Room of 1876–77 (Freer Gallery of Art, Washington, D.C.) epitomized Aestheticism, Coleman thought of his composition as an integral part of the decorative scheme for an entire room. This intention is clear from a sketch on the stretcher (the wooden framework supporting the canvas) indicating the position of this painting on a wall and an accompanying penciled note that reads: “From Drawing Room facing fire, right of glass.” He was evidently pleased with Still Life with Azaleas and Apple Blossoms, for he made a near copy in 1879 (De Young Museum, Fine Arts Museums of San Francisco).

    Notes
    1. Walter Crane, An Artist’s Reminiscences (London: Methuen & Co., 1907), 129.

    This text was adapted from Elliot Bostwick Davis et al., American Painting [http://www.mfashop.com/9020398034.html], MFA Highlights (Boston: MFA Publications, 2003).

    Provenance

    The artist; private collection, California; by early 1980s, private collection, California; October 24, 2000, sale, Christie's, Los Angeles, lot 30; by 2001, with Vance Jordan Fine Art, Inc., New York; 2001, sold by Vance Jordan Fine Art to the MFA. (Accession Date: June 27, 2001)

    Credit Line

    Charles H. Bayley Picture and Painting Fund, Paintings Department Special Fund, American Paintings Deaccession Fund, and Museum purchase with funds donated by William R. Elfers Fund, an anonymous donor, Mr. and Mrs. E. Lee Perry, Jeanne G. and Stokley P. Towles, Mr. Robert M. Rosenberg and Ms. Victoria DiStefano, Mr. and Mrs. John Lastavica, and Gift of Dr. Fritz B. Talbot and Museum purchase with funds donated by Mrs. Charles Gaston Smith's Group, by exchange

    Details

    Dimensions

    180.3 x 62.9 cm (71 x 24.75 in.)

    Accession Number

    2001.255

    Medium or Technique

    Oil on canvas

    Not On View

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  • Still Life—Flowers

    1920s
    Abraham Walkowitz (American (born in Russia), 1878–1965)

    Description

    Inscription

    Lower left: A. WALKOWITZ; lower right: A. WALKOWITZ

    Provenance

    The artist; Louis Shapiro; to MFA, 1940, gift of Louis Schapiro.

    Credit Line

    Gift of Louis Schapiro

    Copyright

    Courtesy Zabriskie Gallery, New York

    Details

    Dimensions

    46.35 x 38.42 cm (18 1/4 x 15 1/8 in.)

    Accession Number

    40.622

    Medium or Technique

    Oil on paper

    Not On View

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  • Red Poppies

    1953
    Max Weber (American (born in Russia), 1881–1961)

    Description

    Inscription

    Lower right: MAX WEBER

    Provenance

    The artist; with Downtown Gallery, New York; to William H. Lane Foundation, 1956;to MFA, 1990, gift of the William H. Lane Foundation.

    Credit Line

    Gift of the William H. Lane Foundation

    Copyright

    © Museum of Fine Arts, Boston

    Details

    Dimensions

    68.58 x 48.58 cm (27 x 19 1/8 in.)

    Accession Number

    1990.453

    Medium or Technique

    Oil on canvas

    Not On View

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    Americas

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  • My Mother's Hats

    1943
    Loïs Mailou Jones (American, 1905–1998)

    Description

    Jones studied at the School of the Museum of Fine Arts, Boston and her earliest works are designs for textiles and costumes. In the 1930s, she turned to painting, continuing her studies in Paris. She taught at Howard University from 1930 to 1977 and in 1973 she was the first African-American woman to be given a one-person show at the MFA. This painting, which depicts three elaborate hats designed by Jones’s milliner mother, is typical of her richly colored and freely-brushed style of the 1940s.

    Provenance

    the artist; to her estate; to MFA, 2005, gift of the Loïs Mailou Jones Pierre-Noël Trust.

    Credit Line

    Gift of the Loïs Mailou Jones Pierre-Noël Trust

    Copyright

    © Lois Mailou Jones Pierre-Noel Trust

    Details

    Dimensions

    45.7 x 53.3 cm (18 x 21 in.)

    Accession Number

    2005.215

    Medium or Technique

    Oil on canvas

    Not On View

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  • Floral Study (Poppies?)

    Antoine Berjon (French, 1754–1843)

    Description

    Provenance

    PDP Register entry: Date acquired, 11/5/1931 Print dealer's no. 2120/4. Formerly part of 31.1292.

    Credit Line

    Julia Knight Fox Fund

    Details

    Dimensions

    Sheet: 44 x 30.5 cm (17 5/16 x 12 in.)

    Accession Number

    31.1488

    Medium or Technique

    Black, white, and red chalk on blue laid paper

    Not On View

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  • Petunia Planes

    1952 (block cut 1952)
    Blanche Lazzell (American, 1878–1956)

    Description

    Provenance

    William G. Russell Allen (1882-1955, Boston); his gift to MFA, February 1953

    Credit Line

    Gift of W. G. Russell Allen

    Details

    Dimensions

    Image: 30.5 x 35.6 cm (12 x 14 in.)

    Accession Number

    53.138

    Medium or Technique

    Color woodcut

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  • The White Petunia

    printed 1932, block cut 1932
    Blanche Lazzell (American, 1878–1956)

    Description

    Provenance

    Mrs. Roberts Sellars, Clarksburg, West Virginia; gift to MFA, January 10, 1957

    Credit Line

    Gift of Mrs. Robert Sellers, In memory of the Artist

    Details

    Dimensions

    Image: 35.6 x 30.5 cm (14 x 12 in.)

    Accession Number

    57.98

    Medium or Technique

    Color woodcut

    Not On View

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  • Cactus and Tropical Foliage

    about 1919–22
    Joseph Stella (American, 1877–1946)

    Description

    Inscription

    Signed center right in graphite: Joseph Stella

    Markings

    PDP Watermark Type: watermark: ANCNE MANUFRE CANSON & MONTGOLFIER VIDALON LES ANNONAY

    Provenance

    John Berggruen Gallery, San Francisco, CA; purchased by MFA, September 1984.

    Credit Line

    Sophie M. Friedman Fund

    Details

    Dimensions

    Sheet: 46.4 x 61.3cm (18 1/4 x 24 1/8 in.) Framed: 66 x 80 cm (26 x 31 1/2 in.)

    Accession Number

    1984.412

    Medium or Technique

    Watercolor over graphite pencil on paper

    Not On View

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  • Still-Life with Six Sunflowers

    1998
    Linda Etcoff (American, born in 1952 American)

    Description

    Inscription

    In pencil, l.r.: LE 1998

    Provenance

    The artist; purchased by MFA March 24, 1999

    Credit Line

    Museum purchase with funds donated by Susan W. Paine

    Copyright

    © Linda Etcoff

    Details

    Dimensions

    Overall: 102.9 x 66cm (40 1/2 x 26 in.) Framed: 111.8 x 73 cm (44 x 28 3/4 in.)

    Accession Number

    1999.54

    Medium or Technique

    Charcoal and pastel on paper

    Not On View

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  • The Violet Jug

    1926 (block cut 1919)
    Artist Blanche Lazzell (American, 1878–1956)

    Description

    cat. 2

    Inscription

    recto: "The Violet Jug / Blanche Lazzell-1926" verso:" The Violet Jug / Blanche Lazzell / Provincetown Mass. / 50 prints of the year 1926 / 162/6"

    Provenance

    Leslie and Johanna Garfield,NY; year-end gift to MFA Dec. 31, 2001

    Credit Line

    Gift of Leslie and Johanna Garfield

    Details

    Catalogue Raisonné

    Shapiro 2

    Dimensions

    Image: 29.2 x 29.2 cm (11.5 x 11.5 in.)

    Accession Number

    2001.877

    Medium or Technique

    Color woodcut

    Not On View

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