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MFA Images: Boston

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  • New Boston and Charles River Basin, 1874

    Charles Davenport's plan for the Charles River Embankment, 1874

    J. H. Bufford Sons (American, 19th century American)

    Description

    Provenance

    PDP Register entry: Date acquired, 11/7/1902

    Credit Line

    Gift of John Joseph May

    Details

    Accession Number

    M19257

    Medium or Technique

    Chromo-lithograph

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Prints

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  • At Dusk (Boston Common at Twilight)

    1885–86
    Childe Hassam (American, 1859–1935)

    Description

    Childe Hassam, the son of a Dorchester hardware merchant, had made only one trip to Europe before painting Boston Common at Twilight. He studied French art in Boston collections, and he was familiar with the popular work of painters active in Paris, like Jean Béraud and Giuseppe de Nittis, who took modern life as their main subject and frequently depicted fashionable young women in urban settings. Hassam adapted their French aesthetic to his native city and began a series of large canvases representing several of Boston’s developing neighborhoods: Back Bay, the South End, and Park Square.
    Originally an open field for cattle grazing and military parades, the Boston Common had been transformed into an oasis of elm trees and graceful promenades by the time Hassam painted it in the mid-1880s. He chose a view of the Tremont Street Mall, one of five broad tree-lined walkways that provided Boston pedestrians with an elegant alternative to the city’s noisy thoroughfares. The artist doubtless enjoyed it himself, for his studio was just across the street.

    Despite the old-fashioned charm Boston Common at Twilight presents to viewers today, in Hassam’s time this scene was distinctly modern. Once an area of elegant residential row houses, many of the streets around the Boston Common recently had been transformed into a lively business district. The red brick buildings visible at left were mostly new; the traffic of trolley cars and carriages on the road marks the bustling commerce of late afternoon; and artificial light glows from streetlights and storefronts. Hassam enhanced his impression of the fast pace of city life by using a perspective scheme in which the vertical lines of the fence, the lampposts, and the trees recede rapidly into the distance, coming closer and closer together.

    Hassam contrasted the hurried movement at left with the calm quiet of the snowy park. A stylishly dressed young mother and her child pause to feed the birds while other figures stroll through the rosy dusk. Hassam used a variety of reds to unify his composition, bringing the rusty brick buildings, the glow of the lamps, and even the brilliant end of a lit cigarette in the hand of a passerby into harmony with the sunset sky and the pinkish snow. The artist’s interest in contemporary subjects and in different kinds of light allies this painting with Impressionism, but in Hassam’s gentle vision of the city, nature humanizes the modern world.

    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: [crescent] Childe Hassam/1885-6

    Provenance

    1885-86, the artist; 1887, sold at auction at Noyes, Cobb, and Co., Boston, March 9 (possibly to someone named "Daniels" as catalogue annotation suggests); possibly with a Mr. Andrews, Boston; by about 1893, to Samuel Appleton (1846-1926), Boston; 1926, by descent to his daughter, Maud E. Appleton (born 1873), Boston; 1927, lent by Maud E. Appleton to the MFA; 1931, gift of Miss Maud E. Appleton to the MFA. (Accession Date: December 3, 1931)

    Credit Line

    Gift of Miss Maud E. Appleton

    Details

    Dimensions

    106.68 x 152.4 cm (42 x 60 in.)

    Accession Number

    31.952

    Medium or Technique

    Oil on canvas

    On View

    Suzanne and Terrence Murray Gallery (Gallery 226)

    Collections

    Americas

    Classifications

    Paintings

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  • Carnival, Franklin Park, Boston

    1897
    Maurice Brazil Prendergast (American (born in Canada), 1858–1924)

    Description

    Provenance

    With Doll & Richards, Boston; before 1919, Miss Nellie P. Carter, Boston gift of the estate of Nellie P. Carter to MFA Nov. 7, 1935

    Credit Line

    Gift of the Estate of Nellie Parney Carter

    Details

    Catalogue Raisonné

    Clark, Matthews, Owens 0611

    Dimensions

    Sheet: 34 x 37.5 cm (13 3/8 x 14 3/4 in.) Framed: 54 x 59.7 cm (21 1/4 x 23 1/2 in.)

    Accession Number

    35.1689

    Medium or Technique

    Watercolor over graphite pencil on paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Watercolors

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  • The National Lancers with the Reviewing Officers on Boston Common

    1837
    Fitz Henry Lane (American, 1804–1865), After Charles Hubbard (American, 1801–1876 American), Printed by Thomas Moore Lithography, Boston (active 1835–1841)

    Description

    Provenance

    Mr. & Mrs. Maxim Karolik by whom given to MFA. (Accession Date: January 19, 1939)

    Credit Line

    The M. and M. Karolik Collection of Eighteenth-Century American Arts

    Details

    Catalogue Raisonné

    Peters, p. 288 pl. 101

    Dimensions

    Image: 37 x 52 cm (14 9/16 x 20 1/2 in.) Sheet: 48.2 x 58.5 cm (19 x 23 1/16 in.)

    Accession Number

    39.257

    Medium or Technique

    Lithograph, hand-colored

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Prints

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  • Boston Harbor

    1835
    John S. Blunt (American, 1798–1835 American)

    Description

    Blunt captured a rare event-the partial freezing of Boston Harbor. Ice was a serious hazard to shipping; in the distance a line of men pull a ship across the frozen water to get it to its destination. An inscription on the back of the painting locates the scene one mile below Boston’s Castle Island, facing east.

    Inscription

    Reverse, before fading: Boston Harbour Jany 12th 1835 I mile below the Castle looking to the East J S Blunt

    Provenance

    The artist; Louis Joseph Auction, Boston, 1945; with Charles D. Childs, Boston, 1945; to Maxim Karolik, Newport, R.I., 1945; to MFA, 1947, gift of Martha C. (Mrs. Maxim) Karolik.

    Credit Line

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

    Details

    Dimensions

    52.07 x 71.44 cm (20 1/2 x 28 1/8 in.)

    Accession Number

    47.1240

    Medium or Technique

    Oil on panel

    Not On View

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    Americas

    Classifications

    Paintings

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  • Brig "Antelope" in Boston Harbor

    1863
    Fitz Henry Lane (American, 1804–1865)

    Description

    Wealthy owners of sailing vessels commissioned images of their ships, just as landowners hired artists to paint pictures of their houses. Much of Lane’s income came from executing such works. Here, the artist painted “Antelope” (identifiable through her signal flags), as she appeared on her 1843 maiden voyage from East Boston to Asia. “Antelope” was one of the fastest ships trading between Boston, India, and China, a route that required extraordinary speed due to unpredictable weather and frequent pirate activity. Asian trade-in tea, fabric, and opium-established significant fortunes for many New England merchants.

    Inscription

    Reverse: Painted by F H Lane./July 1863

    Provenance

    The artist; Francis Dumaresq, Boston; to Henry de Ford, Brookline, his partner; to Adelaide de Ford, Brookline, his daughter; with Vose Galleries, Boston; with Charles D. Childs, Boston, 1945; to Maxim Karolik, Newport, R.I., 1945; to MFA, bequest of Martha C. (Mrs. Maxim) Karolik.

    Credit Line

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

    Details

    Dimensions

    61.59 x 91.44 cm (24 1/4 x 36 in.)

    Accession Number

    48.449

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

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  • Rainsford's Island, Boston Harbor

    about 1840
    Robert Salmon (English, 1775–1845 or after (active in the United States 1828–42) English)

    Description

    Provenance

    About 1840, the artist. With Parker Gallery, London. With Goodspeed's, Boston. Hermann F. Clarke (1882-1947), Brookline, Mass.; 1948, with Charles D. Childs, Boston; 1948, sold by Charles D. Childs 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

    41.91 x 61.59 cm (16 1/2 x 24 1/4 in.)

    Accession Number

    48.474

    Medium or Technique

    Oil on panel

    On View

    Prudence S. and William M. Crozier, Jr. Gallery (Gallery 121)

    Collections

    Americas, Europe

    Classifications

    Paintings

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  • Railroad Jubilee on Boston Common

    1851
    William Sharp (English, 1749–1824)

    Description

    Inscription

    Lower right: W Sharp pinxt/Boston 1851.

    Provenance

    The artist; Henry A. Morse, Boston; to his daughter, Mrs. Henry Ware Putnam, Newport, R.I.; Maxim Karolik, Newport, R.I., 1945; to MFA, 1948, gift of Martha C. (Mrs. Maxim) Karolik.

    Credit Line

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

    Details

    Dimensions

    99.69 x 147.64 cm (39 1/4 x 58 1/8 in.)

    Accession Number

    48.475

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

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  • Copley Square, Boston

    about 1908

    Description

    Inscription

    Lower right: A.C. GOODWIN

    Provenance

    The artist; John T. Spaulding; to MFA, 1948, bequest of John T. Spaulding.

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    76.83 x 91.76 cm (30 1/4 x 36 1/8 in.)

    Accession Number

    48.550

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

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  • Park Street, Boston

    about 1908

    Description

    Inscription

    Lower right: A C GOODWIN

    Provenance

    Hisotry of Ownership: the artist; John T. Spaulding; to MFA, 1948, bequest of John T. Spaulding.

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    48.58 x 66.04 cm (19 1/8 x 26 in.)

    Accession Number

    48.551

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

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  • Custom House Tower from the Public Garden, Boston

    about 1914
    Arthur Clifton Goodwin (American, 1864–1929)

    Description

    Inscription

    Lower right: A C GOODWIN

    Provenance

    The artist; John T. Spaulding; to MFA, 1948, bequest of John T. Spaulding.

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    42.86 x 53.02 cm (16 7/8 x 20 7/8 in.)

    Accession Number

    48.556

    Medium or Technique

    Pastel on paperboard

    Not On View

    Collections

    Americas

    Classifications

    Paintings

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  • The Lawrence Room, Museum of Fine Arts, Boston

    1879
    Enrico Meneghelli (American (born in Italy), 1853–after 1912)

    Description

    This is one of five paintings featuring the MFA’s collection executed by Enrico Meneghelli, an Italian-born artist who worked in Boston and New York. Little is known about Meneghelli; even his death date remains uncertain. His known oeuvre includes a small number of landscapes, several street scenes, and at least one still life, but his specialty was the depiction of museum interiors. Paintings documenting collections, both real and imagined [1975.805], first became popular in Europe in the seventeenth century; among the earliest American examples are Samuel F. B. Morse’s Gallery of the Louvre (1831–33, Terra Foundation for American Art, Chicago), which shows an imaginative display of works selected from the Louvre’s collection, and Amasa Hewins’s The Tribuna of the Uffizi [2011.2102, a view of one of the most admired museum galleries of the day. Meneghelli’s pictures feature the actual installations of well-known art galleries, among them the Boston Athenaeum and the Louvre. The largest group shows spaces in the original Museum of Fine Arts building in Copley Square.
    Founded in 1870, the Museum opened to the public on July 4, 1876. [1]John Sturgis and Charles Brigham designed its Italian Gothic revival building, inspired by London’s then new and innovative South Kensington Museum (now the Victoria and Albert Museum). Their original plans also encompassed two projected expansions: one completed in 1879 and one in 1890. While the first item to enter the MFA’s collection was Elijah in the Desert [70.1] by the American painter Washington Allston, the Museum collected and displayed a wide range of material, including Greek vases and Egyptian mummies, European decorative arts and paintings, Japanese arms, and plaster casts of the great sculpture of antiquity and the Renaissance. As was common practice, the galleries were crowded with objects and paintings were hung salon style, one over the other.

    The Lawrence Room, Museum of Fine Arts, Boston records the second-floor gallery named in honor of benefactor Timothy Bigelow Lawrence. His original bequest of armor to the Boston Athenaeum in 1869 was the catalyst for prominent Bostonians to found a separate, new museum for fine arts the following year: the Athenaeum did not have enough space to house the armor, nor enough room to expand to build the new gallery that Lawrence’s wife offered to help finance. Mrs. Lawrence gave $25,000 toward the new museum—the Museum of Fine Arts. Lawrence’s armor, stored in a warehouse that burned in the Great Fire of Boston in 1872, was lost before construction began. Nevertheless, planning for the MFA continued, and the insurance money collected for the loss of the armor helped the Athenaeum trustees to purchase Renaissance textiles, metalwork, and woodwork for the new institution. The walls of the MFA’s Lawrence Room are shown lined with the sixteenth-century English oak paneling that had originally been purchased by Elizabeth Chapman Lawrence, widow of the donor, as the setting for the armor collection. Royal portraits are set into the walls and the room is filled with decorative arts and furniture, including a sled [73.5a-c] from Friesland, a Dutch province, which is partially visible at the right. Beyond the Lawrence Room, the Loan Room is visible, containing between the windows two of the panels by Claude-Nicolas Ledoux originally from the Hotel de Montmorency in Paris [http://www.mfa.org/search/collections?keyword=Hotel+de+Montmorency].

    Notes
    1. “About the MFA,” Museum of Fine Arts, Boston, http://www.mfa.org/about/ [http://www.mfa.org/about/]; for more on the MFA’s history, see Maureen Melton, An Invitation to Art: A History of the Museum of Fine Arts, Boston [http://www.mfashop.com/780878467457.html] (Boston: MFA Publications, 2009).

    Karen E. Quinn

    Inscription

    Lower right: E. Meneghelli. 1879.

    Provenance

    1879, the artist. With private dealer. By 1957, with M. Knoedler and Company, New York; 1957, gift of M. Knoedler and Company to the MFA. (Accession Date: October 9, 1957)

    Credit Line

    Gift of M. Knoedler & Co., Inc.

    Details

    Dimensions

    40.96 x 50.8 cm (16 1/8 x 20 in.)

    Accession Number

    57.675

    Medium or Technique

    Oil on canvas mounted on Masonite

    On View

    Mary Stamas and Frances Vrachos Hemicycle Gallery (Gallery 148)

    Collections

    Americas

    Classifications

    Paintings

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  • West Church, Boston

    1900–01
    Maurice Brazil Prendergast (American (born in Canada), 1858–1924)

    Description

    Inscription

    l. r. in brown ink: Prendergast

    Provenance

    McBeth Galleries; Hirschl & Adler, New York; puchased by MFA, December 11, 1958. Sheldon F. Wardwell; to (Macbeth), 1940; Robert Brackman, 1941; to (Hirschl & Adler), 1958; to present collection, 1958.

    Credit Line

    The Hayden Collection—Charles Henry Hayden Fund

    Details

    Catalogue Raisonné

    Clark, Matthews, Owens 0764

    Dimensions

    Sheet: 27.8 x 39.1cm (10 15/16 x 15 3/8in.) Framed: 39.4 x 51.8 cm (15 1/2 x 20 3/8 in.)

    Accession Number

    58.1199

    Medium or Technique

    Transparent and opaque watercolor over graphite pencil on paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • Noontime, St. Botolph Street, Boston

    about 1923
    George Benjamin Luks (American, 1866–1933)

    Description

    George Luks, a realist painter associated with Robert Henri and the Ashcan school, chose the crowded streets of New York City, and the urban and rural poor as his subjects. He is noted for his broadly-brushed paintings of miners, elderly women, immigrant children, and wrestlers (see 45.9). In a lesser-known chapter of his life, Luks painted more than a dozen oils and watercolors during an extended visit to Boston in 1922 and 1923. He was the guest of a former student, Margarett Sargent McKean, a cousin of John Singer Sargent and an aspiring artist. Margarett Sargent had been an apprentice of sculptor Gutzon Borglum in 1917, when she met Luks and began to study painting with him. By the late 1920s, she was painting strikingly modernist oils and began to exhibit her work at Kraushaar Galleries in New York.

    In 1922 Luks, fresh from a sanitarium where he was recovering from a bout with alcohol and recently divorced from his second wife, visited Sargent. By this time she was married to Quincy Adams Shaw McKean, a private banker in Boston. She later recalled that Luks had come to visit her for a weekend, but had stayed for almost a year. Not only did McKean provide living quarters for Luks, she also allowed him the use of her studio at 30 St. Botolph Street and organized an exhibition of his work in her summer home in Beverly, Massachusetts.

    McKean remembered that Luks disdained the Boston painters who remained in their prim studios painting hired nude models. He exclaimed, “Why didn’t they look at Beacon Hill, Commonwealth Avenue, the Swan Boats, fruit vendors on Charles Street, the squalor of St. Botolph Street and the vigorous L. Street Brownies?” (Margarett Sargent McKean, “George Luks,” Boston: Joan Peterson Gallery, 1966, brochure in MFA American paintings files). Luks threw himself into painting these subjects in Boston (see 60.538 and 1979.263). In “Noontime, St. Botolph Street, Boston,” he depicted the scene outside Margarett’s studio at midday when the shadows cast by the awnings were very pronounced against the old-fashioned bow-front facades of the buildings. These elliptical bays protruding from the structures on St. Botolph Street and elsewhere in the Back Bay and the South End were constructed beginning in the 1840s. They were peculiar to Boston and almost unknown in Luks’s New York City. St. Botolph Street is situated between the Back Bay and South End sections of Boston. Laid out in the early 1880s, St. Botolph Street initially attracted middleclass residents. By the early 1920s when Luks was painting in the area, most of the middleclass families had moved to the suburbs, the neighborhood had become more Bohemian, and many of the townhouses had been turned into lodging houses.

    In addition to painting the striped awnings against the yellow- and red-brick facades on St. Botolph Street, Luks also included an iceman carrying a block of ice with tongs. To the left is probably a part of the ice wagon’s wheel. Before refrigerators were introduced into most homes in the 1930s, food was stored in iceboxes, and blocks of ice were delivered door to door by an iceman. Luks’s inclusion of this unglamorous figure was typical of the Ashcan school artists, who made working people, from longshoremen to scrubwomen, the subjects of their pictures. Luks painted a related work entitled “St. Botolph Street,” depicting women sitting on their stoops socializing on a summer’s evening (“Skinner: American and European Paintings,” May 8, 1998, lot 220).

    Margarett Sargent McKean and her husband acquired many of Luks’s Boston paintings, including “Noontime, St. Botolph Street, Boston.” In 1960 the Museum purchased two of Luks’s Boston pictures, the present painting and “View of Beacon Street from Boston Common” (60.538).

    Janet Comey

    Inscription

    Lower right: George Luks

    Provenance

    The artist; Mr. and Mrs. Quincy Adams Shaw McKean, Boston, about 1923; to MFA, 1960, purchase.

    Credit Line

    Emily L. Ainsley Fund

    Details

    Dimensions

    76.83 x 64.13 cm (30 1/4 x 25 1/4 in.)

    Accession Number

    60.537

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

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  • View of Beacon Street from Boston Common

    about 1923
    George Benjamin Luks (American, 1866–1933)

    Description

    By the late nineteenth century, concern arose that city children had insufficient access to the outdoors. The Playground Association of America, founded in 1906, was dedicated to promoting parks and recreation for urban children. George Luks’s “View of Beacon Street from Boston Common” illustrates this goal: two beautifully dressed young girls, accompanied by their governess, walk their dog in Boston Common, a large park in the center of the city. Although the common had been established in the seventeenth century for the communal pasturing of cows, by the nineteenth century it was an oasis of nature in the midst of the city.
    Best known for his gritty images of street life in New York’s poorer districts, Luks painted more prosperous people and neighborhoods when he visited Boston from 1922 to 1923. He was a guest of Margarett Sargent, a cousin of the artist John Singer Sargent. Wealthy and socially prominent, Margarett Sargent had studied drawing and painting with Luks in New York. Because she was his guide to Boston, Luks became familiar with the more affluent areas of the city, such as Beacon Street and the adjacent Boston Common. Behind the girls who are enjoying fresh air and exercise in the park, Luks painted the graceful bow fronts of the early nineteenth-century townhouses on Beacon Street, architectural features popular in Boston and almost unknown in New York.

    This text was adapted from Carol Troyen and Janet Comey, “Children in American Art” (Nagoya/Boston Museum of Fine Arts, 2007, in Japanese).

    Inscription

    Lower right: George Luks

    Provenance

    The artist; Mr. and Mrs. Quincy Adams Shaw McKean, Boston, about 1923; to MFA, 1960, purchase.

    Credit Line

    Emily L. Ainsley Fund

    Details

    Dimensions

    92.07 x 77.15 cm (36 1/4 x 30 3/8 in.)

    Accession Number

    60.538

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Object accessories, Pedestals

    More Info
  • South Boston Pier, Sunset

    1895–97
    Maurice Brazil Prendergast (American (born in Canada), 1858–1924)

    Description

    Inscription

    L.L. in graphite: Prendergast / 95

    Provenance

    Donald G. Crowell; Mrs. Donald Gibbs Crowell; gift to MFA, March 20, 1963.

    Credit Line

    Gift of Mrs. Donald Gibbs Crowell in memory of her husband

    Details

    Catalogue Raisonné

    Clark, Matthews, Owens 0607

    Dimensions

    Sheet: 53 x 67 cm (20 7/8 x 26 3/8 in.)

    Accession Number

    63.281

    Medium or Technique

    Pastel on paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Pastels

    More Info
  • Old Warehouse, Dock Square, Boston

    1858–60
    Alfred K. Kipps (English, 1860s English), Printed by Louis Prang & Company (American, active 1860–1897)

    Description

    Inscription

    Printed below: title and notes

    Provenance

    Maxim Karolik, Newport; Gift to MFA June 8, 1964

    Credit Line

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

    Details

    Catalogue Raisonné

    Karolik cat. no 482

    Accession Number

    62.93

    Medium or Technique

    Chromolithograph on paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Boston Harbor

    about 1850–55
    Fitz Henry Lane (American, 1804–1865)

    Description

    Gloucester, Massachusetts, native Fitz Henry Lane was at the height of his career by 1850, when he executed this grand and tranquil scene of the bustling port of Boston. From the vantage of a hill in East Boston, a perspective popularized in printed views of the city, Lane suggests topographical accuracy in his carefully constructed scene of vessels dispersed before the horizon. Prominent features of the city such as the Massachusetts State House and the Old South Church are clearly visible, but Lane lowered the horizon line to convey a sense of the expansive harbor. Like Thomas Cole [47.1201]and Frederic Edwin Church [1982.419], Lane was capable of achieving an extraordinary balance between reality and the ideal. Here he delicately combines the topography of the port with his idealized version of the scene; his romantic seascape is suffused with a sense of calm and quietude.
    Lane was largely self-taught, although he was a quick study of those resources available to him. As an apprentice in the Boston lithography shop of William S. Pendleton, he was known for his careful draftsmanship that enabled him to render all the details of different sailing vessels. While he honed his drawing skills producing popular prints, Lane also absorbed the lessons of British-born painter Robert Salmon, who settled in Boston in 1828 and flourished as a marine painter [27.356]. Lane’s Boston Harbor recalls Salmon’s handling of topographical details and his use of familiar devices, such as the small boat being rowed toward the horizon that provides a sense of scale.

    Lane portrays the calm waters with his characteristic luminosity. The elegiac quality of the scene is also typical of Lane; his paintings often depict the end of the day and evoke the end of an era. At the time Lane was painting his ambitious scenes of the major Massachusetts ports of Boston, Salem, and Gloucester, which likely appealed to patrons engaged in the shipping industry, the Erie Canal had diverted much of the traffic that would have passed through those destinations to New York. The encroaching world of steam power, which dominated the Hudson River corridor from Albany to New York City, is indicated here by the appearance of a white steam ship entering the harbor at the far right.

    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

    Probably Amanda Hill (Mrs. Charles M.) Peirce (1836-1922), New Bedford, Mass.; by descent to her daughter, Annie Pierce (Mrs. Willis E.) Lougee (born 1861), New Bedford; by descent to her daughter, Grace Howland (Mrs. Moses M.) Sargeant (1881-1965), New Bedford; about 1960, by descent to her daughter, Anne Sargeant (Mrs. Thomas W.) Farnsworth, Jr., New Bedford; 1966, sold by Anne Sargeant Farnsworth to the MFA. (Accession Date: February 17, 1966)

    Credit Line

    M. and M. Karolik Collection of American Paintings, 1815–1865, by exchange

    Details

    Dimensions

    66.04 x 106.68 cm (26 x 42 in.)

    Accession Number

    66.339

    Medium or Technique

    Oil on canvas

    On View

    Dr. Lawrence H. and Roberta Cohn Gallery (Gallery 235)

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • The Boston Massacre

    The Bloody Massacre

    1770
    Paul Revere, Jr. (American, 1734–1818), Christian Remick (American, 1726–after 1783)

    Description

    Inscription

    L. r. in black ink: Cold by Christ[n.] Remick

    Provenance

    Marshall; Watson Grant Cutter; Frank Bartlett Cutter and Henry Orville Cutter; Watson Grant Cutter; gift 1967

    Credit Line

    Gift of Watson Grant Cutter

    Details

    Dimensions

    Framed: 36.8 x 33 x 2.9 cm (14 1/2 x 13 x 1 1/8 in.) Overall: 36.2 x 33cm (14 1/4 x 13in.) Other (Sight; Sight measurement of print): 26 x 21.9cm (10 1/4 x 8 5/8in.)

    Accession Number

    67.1165

    Medium or Technique

    Engraving, hand-colored with watercolor and gold pigment by Christian Remick

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Prints

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  • King's Chapel, Boston

    about 1923
    George Benjamin Luks (American, 1866–1933)

    Description

    Inscription

    Lower center: George Luks;

    Provenance

    The artist; Mr. and Mrs. Quincy Adams Shaw McKean; to MFA, 1979, purchase.

    Credit Line

    The Hayden Collection—Charles Henry Hayden Fund

    Details

    Dimensions

    92.39 x 76.52 cm (36 3/8 x 30 1/8 in.)

    Accession Number

    1979.263

    Medium or Technique

    Oil on canvas

    Not On View

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    Americas

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  • The "Niagara" in the Atlantic Dock, East Boston

    about 1855
    Southworth and Hawes (American, 1843–62)

    Description

    Markings

    L. r. plate maker mark: "Doublé/A. Gaudin". Spirit of Fact #10.

    Provenance

    Richard Parker, Jaffrey, NH; gift to MFA May 25, 1994.

    Credit Line

    Gift of Richard Parker in memory of Herman Parker

    Details

    Dimensions

    Plate: 16.7 x 21.7 cm (6 9/16 x 8 9/16 in.)

    Accession Number

    1994.121

    Medium or Technique

    Photograph, daguerreotype

    Not On View

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    Americas, Photography

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    Photographs

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  • Boston Public Garden

    1910–15
    Unidentifed artist, American, 19th century (American)

    Description

    Inscription

    Below: Boston 4/11.

    Provenance

    From the estate of Louis Charles Moeller (1855-1930, distributed about 1964) according to Childs Gallery.

    Credit Line

    Gift of William and Nancy Osgood

    Details

    Dimensions

    Sheet: 22.9 x 29.2 cm (9 x 11 1/2 in.)

    Accession Number

    1995.164

    Medium or Technique

    Watercolor on paper

    Not On View

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    Americas, Prints and Drawings

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    Watercolors

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  • View of Boston Common

    about 1750
    Hannah Otis (1732–1801)

    Object Place, Boston, Massachusetts, United States

    Description

    Rectangular canvas-work picture depicting a Georgian-style house with horse paddock; a church steeple and beacon in foreground; a figure on horseback and black servant in foreground; a male and female figure at left looking over a wall at a body of water; military-style building in background; trees, flowers, birds and animals throughout; original pine frame with gilt border and original glass.

    Provenance

    Descended from the artist to Harrison Gray Otis and other members of the Otis family; on loan to the Museum in 1929-1930 and from 1954 to 1995; consigned by members of the family to auction; acquired by the Museum in 1996 at Sotheby's, sale 6800, January 20, 1996, lot 1132.

    Credit Line

    Museum purchase with funds donated by a Friend of the Department of American Decorative Arts and Sculpture, a Supporter of the Department of American Decorative Arts and Sculpture, Barbara L. and Theodore B. Alfond, and Samuel A. Otis, and William Francis Warden Fund, Harriet Otis Cruft Fund, Otis Norcross Fund, Susan Cornelia Warren Fund, Arthur Tracy Cabot Fund, Seth K. Sweetser Fund, Edwin E. Jack Fund, Helen B. Sweeney Fund, William E. Nickerson Fund, Arthur Mason Knapp Fund, Samuel Putnam Avery Fund, Benjamin Pierce Cheney Fund, and Mary L. Smith Fund

    Details

    Dimensions

    61.59 x 133.98 cm (24 1/4 x 52 3/4 in.)

    Accession Number

    1996.26

    Medium or Technique

    Wool, silk, metallic threads, and beads on linen ground; predominately tent stitch; original frame and glass

    Not On View

    Collections

    Americas, Textiles and Fashion Arts

    Classifications

    Textiles

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  • The Britannia Entering Boston Harbor

    1848
    Artist Fitz Henry Lane (American, 1804–1865)

    Description

    The arrival of British steamship “Britannia” in Boston harbor in 1840 established a strong commercial link with Great Britain and made Boston the major American port for the transmission of mail and cargo to and from Europe. Steamships were familiar sights to Bostonians by this time, but it was a noteworthy event to see such an important vessel. Lane painted the steamship at least twice. In 1842 he depicted the ship foundering in rough seas (Peabody-Essex Museum, Salem, Massachusetts). This view, however, probably was based on a small pencil sketch he made on the spot some years earlier (Cape Ann Museum, Gloucester, Massachusetts). “Britannia” moves through Boston Harbor with a procession of sailing vessels and an American steamer behind; two rowboats filled with men salute the arriving ship.

    Provenance

    The artist; with Vose Galleries, by 1980; sold by Vose to Norma and Roger Alfred Saunders, 1980; gift of Saunders' to MFA. (Accession Date: September 20, 2000)

    Credit Line

    Gift of Norma and Roger Alfred Saunders

    Details

    Dimensions

    14 3/4 x 19 3/4 in. (37.5 x 50.2 cm)

    Accession Number

    2000.825

    Medium or Technique

    Oil on panel

    Not On View

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    Americas

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  • Arlington Street Church, Boston

    about 1862
    Josiah Johnson Hawes (American, 1808–1901 American)

    Description

    Inscription

    Printed below image: "Arlington Street Church/ Boston/ Photographed by J. J. Hawes, 19 Tremont Row, Boston"

    Provenance

    W. G. Russell Allen, Boston (1882-1955); his bequest to the MFA, accessioned 2004

    Credit Line

    Bequest of W. G. Russell Allen

    Details

    Dimensions

    Image/mount: 55.9 x 43.2 cm (22 x 17 in.) Mount: 64.5 x 47.9 cm (25 3/8 x 18 7/8 in.)

    Accession Number

    2004.124

    Medium or Technique

    Photograph, albumen print mounted on board

    Not On View

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    Americas, Photography

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  • Snow Scene on the Northeast Corner of the Boston Common

    about 1875
    Josiah Johnson Hawes (American, 1808–1901 American)

    Description

    Provenance

    W. G. Russell Allen, Boston (1882-1955); his bequest to the MFA, accessioned 2004

    Credit Line

    Bequest of W. G. Russell Allen

    Details

    Dimensions

    Image/mount: 35.2 x 28 cm (13 7/8 x 11 in.)

    Accession Number

    2004.126

    Medium or Technique

    Photograph, albumen print mounted on board

    Not On View

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    Americas, Photography

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  • Boston from the Ship House, Navy Yard

    William James Bennett (American (born in England), 1787–1844 American)

    Description

    Provenance

    PDP Register entry: Date acquired, 6/18/1901

    Credit Line

    Gift of The Club of Odd Volumes

    Details

    Accession Number

    M15769

    Medium or Technique

    Etching and engraving

    Not On View

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    Americas, Prints and Drawings

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  • Charles River and Beacon Hill

    about 1892
    Childe Hassam (American, 1859–1935)

    Description

    In Charles River and Beacon Hill Hassam employed the radical compositional effects that he had seen in French painting to portray changing aspects of Boston. Like GustaveCaillebotte [2011.231] and other French Impressionists, Hassam used dramatically plunging recession and a broad expanse of empty foreground to draw the viewer into his cityscape, which includes three of Boston’s important topographical features. On the left is the Charles River, which divides the city from Cambridge; in the center is Beacon Hill, settled in the eighteenth century and the site of the gold-domed Massachusetts State House; and on the right is the Back Bay, a fashionable residential area that had recently been created after a forty-year landfill project. As Hassam was no doubt aware, there had been much discussion in Boston as to how to take best advantage of the Charles River. Hassam showed the dirt road and narrow walkway along the embankment, and he drew attention to the river via the boat landing and the blue-coated man at the railing smoking his pipe. Shortly thereafter, the scene was altered when a 100-foot-wide (30.5-meter-wide) concrete promenade was constructed beyond the sea wall. Here Hassam captured the city of his youth as it was transforming itself into a sophisticated urban center.

    This text was adapted from Janet L. Comey’s entry in Impressionism Abroad: Boston and French Painting, by Erica E. Hirshler et al., exh. cat. (London: Royal Academy of Arts, 2005).

    Inscription

    Lower right: [crescent] Childe Hassam.

    Provenance

    1893, with Doll and Richards Gallery, Boston; after 1893, probably sold by Doll and Richards to Frederic Amory (1844-1928), Boston; by 1916, by descent to his niece, Margot Amory Ketchum; 1948, by inheritance to her husband, Phillips Ketchum; 1978, sold by Phillips Ketchum to the MFA. (Accession Date: May 10, 1978)

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Details

    Dimensions

    40.96 x 45.72 cm (16 1/8 x 18 in.)

    Accession Number

    1978.178

    Medium or Technique

    Oil on canvas

    On View

    Suzanne and Terrence Murray Gallery (Gallery 226)

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  • Mount Vernon Street, Beacon Hill

    about 1900
    Artist Baldwin Coolidge (American, 1845–1928 American)

    Description

    Provenance

    Purchased from Lee Gallery, Winchester, MA or Witkin Gallery, NYC; Richard Germann, Boston, MA; gift June 2001.

    Credit Line

    Gift of Richard Germann

    Details

    Dimensions

    Image/Sheet: 19.1 x 25.4 cm (7 1/2 x 10 in.) Mount: 24.2 x 30.5 cm (9 1/2 x 12 in.)

    Accession Number

    2001.301

    Medium or Technique

    Photograph, albumen print

    Not On View

    Collections

    Americas, Photography

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    Photographs

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  • Dartmouth Street from Copley Square

    about 1910–20
    Arthur Clifton Goodwin (American, 1864–1929)

    Description

    Inscription

    Lower left: A C GOODWIN

    Provenance

    The artist; Mr. and Mrs. Raymond J. Horowitz; to MFA, 1984, gift of Mr. and Mrs. Raymond J. Horowitz.

    Credit Line

    Gift of Mr. and Mrs. Raymond J. Horowitz

    Details

    Dimensions

    33.02 x 48.26 cm (13 x 19 in.)

    Accession Number

    1984.915

    Medium or Technique

    Pastel on paper mounted on paperboard

    Not On View

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  • Tremont Street, Boston

    about 1843
    Philip Harry (American (born in England), 1843–1860 American)

    Description

    Provenance

    About 1843, the artist. George Horace Lorimer (1867-1937); October 24-28, 1944, George Horace Lorimer sale, Parke-Bernet, New York, lot 888, as Street Scene, American c. 1850. 1944, with Victor Spark, New York; 1944, sold by Victor Spark to Maxim Karolik, Newort, R.I.; 1947, gift of Maxim Karolik to the MFA. (Accession Date: June 12, 1947)

    Credit Line

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

    Details

    Dimensions

    34.92 x 40.96 cm (13 3/4 x 16 1/8 in.)

    Accession Number

    47.1150

    Medium or Technique

    Oil on panel

    On View

    Prudence S. and William M. Crozier, Jr. Gallery (Gallery 121)

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  • The Barnstormer, Old South Theater, Boston

    1918
    Arthur Clifton Goodwin (American, 1864–1929)

    Description

    Inscription

    Lower right: A.C.G.; Reverse: A C Goodwin/The Barnstormer/Old South Theater/Boston/1918

    Provenance

    The artist; John T. Spaulding; to MFA, 1948, bequest of John T. Spaulding.

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    31.75 x 38.1 cm (12 1/2 x 15 in.)

    Accession Number

    48.554

    Medium or Technique

    Oil on paperboard

    Not On View

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    Americas

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    Paintings

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  • View of Roxbury

    1854
    J. W. A. Scott (American, 1815–1907 American)

    Description

    Provenance

    1854, the artist. By 1980, Charles Wood, Boston; about 1980, sold by Charles Wood to William B. Osgood, Norwich, Vt.; 1999, gift of William B. Osgood to the MFA. (Accession Date: December 15, 1999)

    Credit Line

    Gift of William B. Osgood in memory of John C. Kiley

    Details

    Dimensions

    Height x width: 28 1/4 x 35 in. (71.8 x 88.9 cm) Framed: 36 x 43 in. (91.4 x 109.2 cm)

    Accession Number

    1999.535

    Medium or Technique

    Oil on canvas

    On View

    The Heide Family Galleries (Gallery 238B)

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  • Boston's Beacon Street

    Japanese
    Shôwa era
    1967 (Shôwa 42)
    Artist Matsubara Naoko (Japanese, born in 1937 Japanese)

    Description

    Edition: 39/50.

    Signed

    Naoko Matsubara.

    Provenance

    1969, gift of Eli Goldston to the MFA. (Accession Date: June 11, 1968)

    Credit Line

    Gift of Mr. Eli Goldston

    Copyright

    © Naoko Matsubara

    Details

    Dimensions

    46.5 x 58.5 cm (18 5/16 x 23 1/16 in.)

    Accession Number

    69.981

    Medium or Technique

    Woodblock print; color on paper

    Not On View

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    Asia, Contemporary Art, Prints and Drawings

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    Prints

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  • Boston Public Library

    Japanese
    Shôwa era
    1960s
    Artist Matsubara Naoko (Japanese, born in 1937 Japanese)

    Description

    Edition: 37/100.

    Signed

    Naoko Matsubara.

    Provenance

    1969, gift of Eli Goldston to the MFA. (Accession Date: June 11, 1968)

    Credit Line

    Gift of Mr. Eli Goldston

    Copyright

    © Naoko Matsubara

    Details

    Dimensions

    45.8 x 58.9 cm (18 1/16 x 23 3/16 in.)

    Accession Number

    69.980

    Medium or Technique

    Woodblock print; ink on paper

    Not On View

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    Asia, Contemporary Art, Prints and Drawings

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    Prints

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  • Old North Church in Boston

    Japanese
    Shôwa era
    1967 (Shôwa 42)
    Artist Matsubara Naoko (Japanese, born in 1937 Japanese)

    Description

    Edition: 7/50.

    Signed

    Naoko Matsubara

    Provenance

    1969, gift of Eli Goldston to the MFA. (Accession Date: June 11, 1968)

    Credit Line

    Gift of Mr. Eli Goldston

    Copyright

    © Naoko Matsubara

    Details

    Dimensions

    46.8 x 58.5 cm (18 7/16 x 23 1/16 in.)

    Accession Number

    69.979

    Medium or Technique

    Woodblock print; color on paper

    Not On View

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    Asia, Contemporary Art, Prints and Drawings

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  • South Station - Rush Hour

    about 1949
    John Whorf (American, 1903–1959)

    Description

    Inscription

    Signed lower right: "John Whorf ‘49 ? ".

    Provenance

    Ralph Bradley, Canton, MA; gift to MFA, November 14, 1962.

    Credit Line

    Gift of Ralph Bradley

    Copyright

    Reproduced with permission.

    Details

    Dimensions

    Sight: 55.9 x 75.6 cm (22 x 29 3/4 in.)

    Accession Number

    62.1108

    Medium or Technique

    Watercolor

    Not On View

    Collections

    Americas, Contemporary Art, Prints and Drawings

    Classifications

    Watercolors

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  • Winter, North End, Boston

    1936
    John Whorf (American, 1903–1959)

    Description

    Signed

    Lower right: John Whorf

    Provenance

    By 1937, Grace Horne Galleries, Boston; 1937, sold by Grace Horne Galleries to the MFA for $150. (Accession date: January 14, 1937)

    Credit Line

    Museum purchase with funds donated by Mrs. Charles Gaston Smith's Group

    Copyright

    Reproduced with permission.

    Details

    Dimensions

    Sheet: 39.5 x 56 cm (15 9/16 x 22 1/16 in.)

    Accession Number

    37.60

    Medium or Technique

    Watercolor on paper

    Not On View

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    Americas, Prints and Drawings

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    Watercolors

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  • Winter, East Boston

    1933
    John Whorf (American, 1903–1959)

    Description

    Inscription

    Signed lower right in brush: "John Whorf 33"

    Provenance

    Helen S. Coolidge, Boston, MA; bequest to MFA, February 13, 1963.

    Credit Line

    John Gardner Coolidge Collection

    Copyright

    Reproduced with permission.

    Details

    Dimensions

    36.8 x 55.9 cm (14 1/2 x 22 in.)

    Accession Number

    63.177

    Medium or Technique

    Watercolor

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Watercolors

    More Info

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