• Explore sixteenth-to mid-twentieth-century paintings from Britain, featuring notable works by Reynolds, Gainsborough, Constable, and Turner.

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  • Ducks and Ducklings

    1850
    John Frederick Herring, Sr. (English, 1795–1863)

    Description

    Inscription

    Upper center, along grass: J.F. Herring Sen 18[50?]

    Provenance

    By 1874, with Charles Sumner, Boston, MA, USA; 1874 - Boston, MA, USA. Museum of Fine Arts (bequest of Sumner) (Accession date: April 27, 1874)

    Credit Line

    Bequest of Charles Sumner

    Details

    Dimensions

    27.3 x 30.5 cm (10 3/4 x 12 in.)

    Accession Number

    74.17

    Medium or Technique

    Oil on panel

    Not On View

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  • John Dryden

    Thomas Stothard (English, 1755–1834)

    Description

    Inscription

    Lower right: J. Dryden / t. Sto[...]hard

    Provenance

    By 1874, with Charles Sumner, Boston, MA, USA; 1874 - Boston, MA, USA. Museum of Fine Arts (bequest of Sumner) (Accession date: April 27, 1874)

    Credit Line

    Bequest of Charles Sumner

    Details

    Dimensions

    20.6 x 15 cm (8 1/8 x 5 7/8 in.)

    Accession Number

    74.21

    Medium or Technique

    Oil on zinc

    Not On View

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  • Washington Allston

    Attributed to William Walker (English, 1725–1793)

    Description

    Provenance

    Washington Allston (the sitter; d. 1843); by 1877, with John E. Allston, by inheritance, nephew of Allston; 1877 - Boston, MA, USA. Museum of Fine Arts (bequest of Allston) (Accession date: April 1, 1877)

    Credit Line

    Bequest of John E. Allston

    Details

    Accession Number

    77.64

    Medium or Technique

    Oil on canvas

    Not On View

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  • Solitude

    1879
    Robert Barrett Browning (British, 1846–1912)

    Description

    Inscription

    Lower left: 18 RBB 79 (letters joined)

    Provenance

    1882, acquired from the artist's family by Clara Jessup (Mrs. Bloomfield H.) Moore (b. 1824 - d. 1899), London, for the MFA [see note 1]. (Accession Date: October 25, 1882) NOTES: [1] The painting was exhibited by the artist at the Royal Academy in 1880 (no. 209). Mrs. Moore was a friend of the artist's father, the poet Robert Barrett Browning, and acquired the painting through him for the MFA.

    Credit Line

    Gift of Mrs. Bloomfield H. Moore

    Details

    Dimensions

    151.1 x 235.6 cm (59 1/2 x 92 3/4 in.)

    Accession Number

    82.232

    Medium or Technique

    Oil on canvas

    Not On View

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  • Still Life with Dead Partridge and Kingfisher

    Simon Peeterz. Verelst (Dutch (active in England), 1644–1721)

    Description

    In his twenties, Verelst moved to London, where he established his reputation painting flower pictures and portraits for the court of King Charles II. His rare gamepieces usually focus on a partridge, an expensive delicacy that he painted with great sensitivity to detail, texture, and color. Although dead animals were routinely hung on the walls in Dutch kitchens and markets, Verelst avoided any reference to a domestic or commercial context, silhouetting his dramatically lit birds before a neutral, shadowy background.

    Inscription

    Lower left, on stone ledge: S. verelst F.

    Provenance

    1880, Paul Pavlovich Demidoff, 2nd Prince of San Donato (b. 1839 - d. 1885), San Donato, Italy; March 15 - April 10, 1880, Demidoff sale, San Donato Palace, lot 1043, to Stanton Blake (b. 1837 - d. 1889), Boston; 1889, purchased under the will of Stanton Blake. (Accession Date: December 24, 1889)

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Dimensions

    74.6 x 62.9 cm (29 3/8 x 24 3/4 in.)

    Accession Number

    90.202

    Medium or Technique

    Oil on canvas

    Not On View

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  • Anne Vansittart, Lady Palk

    Sir Joshua Reynolds (English, 1723–1792)

    Description

    Provenance

    About 1761 Anne Vansittart, Lady Palk [see note 1]; By 19th century, by inheritance to the Palk family, Barons Haldon; By About 1891, by inheritance to Lord Lawrence Hesketh Palk, 2nd Baron Haldon, Haldon House, Devon, England [see note 2]; About 1891, Hon. Edward Arthur Palk, Testwood House, Totton, Hampshire, England [see note 3]; 1895, sold by Palk to Lawrie and Co., London; 1895, sold by Lawrie to Arthur Tooth and Sons, London, Paris and New York; 1895, sold by Arthur Tooth and Sons to the MFA for $5000. (Accession Date: March 1, 1895) NOTES: [1] Original commission, wife of Robert Palk (d. 1773) [2] Lord Haldon went bankrupt About 1891 and divided the family portraits up among the less penurious members of the family (d. 1903). [3] Possible gift of Lord Haldon, his brother.

    Credit Line

    Henry Lillie Pierce Fund

    Details

    Dimensions

    76.8 x 65.1 cm (30 1/4 x 25 5/8 in.)

    Accession Number

    95.178

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Man (said to be John Elliot)

    Unidentified artist, British, third quarter 17th century (British)

    Description

    Inscription

    Upper left: JOHN ELLIOT. / THE APOSTLE OF THE INDIANS / NASCIT. 1604; obit. 1690

    Provenance

    Anonymous dealer; by 1851 E. W. Radcliffe (from an anonymous dealer); 1851 William Whiting (from Radcliffe); Mrs. William Whiting, Roxbury, MA (presumably by inheritance); by 1896 Miss Rose Standish Whiting (presumably by inheritance); 1896 MFA (gift of Whiting) (Accessiond date: October 6, 1896)

    Credit Line

    Gift of Miss Rose Standish Whiting

    Details

    Dimensions

    99 x 82.9 cm (39 x 32 5/8 in.)

    Accession Number

    96.650

    Medium or Technique

    Oil on canvas

    Not On View

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  • Sir Walter Scott

    1824
    Charles Robert Leslie (English, 1794–1859)

    Description

    Inscription

    coat of arms and motto "WATCH WEEL" at upper left EL

    Provenance

    George Ticknor, Boston (original commission; historian and professor at Harvard); by 1896 Miss Anna Eliot Ticknor (by inheritance; daughter of Ticknor); 1896 MFA (bequest of Ticknor) (Accessiond date: October 22, 1896)

    Credit Line

    Bequest of Miss Anna Eliot Ticknor

    Details

    Dimensions

    91.5 x 71.1 cm (36 x 28 in.)

    Accession Number

    96.945

    Medium or Technique

    Oil on canvas

    Not On View

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  • Thomas John Dibdin

    William Owen (English, 1769–1825)

    Description

    Provenance

    By 1888-1897, Sir John Pender; May 29, 1897, Pender sale, Christie's, London, lot 62, to Arthur Tooth and Sons, London [see note 1]; 1897, sold by Arthur Tooth and Sons to the MFA for $600. (Accession Date: November 3, 1897) NOTES: [1] Sold as a work by Opie,"Charles Dibden, writer of Nautical Songs." Tooth London stock first entered June 1897. Transferred to New York Sales September 10, 1897.

    Credit Line

    Abbott Lawrence Fund

    Details

    Dimensions

    71.4 x 64.1 cm (28 1/8 x 25 1/4 in.)

    Accession Number

    97.444

    Medium or Technique

    Oil on canvas

    Not On View

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  • Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On)

    1840
    Joseph Mallord William Turner (English, 1775–1851)

    Description

    When Turner exhibited this picture at the Royal Academy in 1840 he paired it with the following extract from his unfinished and unpublished poem “Fallacies of Hope” (1812): “Aloft all hands, strike the top-masts and belay; Yon angry setting sun and fierce-edged clouds Declare the Typhon’s coming. Before it sweeps your decks, throw overboard The dead and dying - ne’er heed their chains Hope, Hope, fallacious Hope! Where is thy market now?” For the full text of Turner’s verse see A. J. Finberg, The Life of J.M.W. Turner, R.A., 2nd ed., 1961, p. 474


    One of Turner’s most celebrated works, Slave Ship is a striking example of the artist’s fascination with violence, both human and elemental. The painting was based on a poem that described a slave ship caught in a typhoon, and on the true story of the slave ship Zong whose captain, in 1781, had thrown overboard sick and dying slaves so that he could collect insurance money available only for slaves “lost at sea.” Turner captures the horror of the event and terrifying grandeur of nature through hot, churning color and light that merge sea and sky. The critic John Ruskin, the first owner of Slave Ship, wrote, “If I were reduced to rest Turner’s immortality upon any single work, I should choose this.”

    Provenance

    Consigned by the artist to his dealer, Thomas Griffith (b. 1795); December, 1843, sold by Griffith to John James Ruskin (b. 1785 - d. 1864), London, for his son, John Ruskin (b. 1819 - d. 1900) [see note 1]; April 15, 1869, Ruskin sale, Christie's, London, lot 50, unsold; 1872, sold by Ruskin, through William T. Blodgett (b. about 1832 - d. 1875), New York, to John Taylor Johnston (b. 1820 - d. 1893), New York [see note 2]; December 19-22, 1876, Johnston sale, American Art Association, New York, lot 76, to Alice Sturgis Hooper (b. 1841 - d. 1879), Boston [see note 3]; by descent to her nephew, William Sturgis Hooper Lothrop, Boston; 1899, sold by William Lothrop to the MFA for $65,000. (Accession Date: February 24, 1899) NOTES: [1] See Martin Butlin and Evelyn Joll, "The Paintings of J. M. W. Turner" (New Haven and London, 1984), text vol., pp. 236-237, cat. no. 385 and John Gage, ed., "Collected Correspondence of J. M. W. Turner" (Oxford, 1980), 282-283. [2] See Madeleine Fidell Beaufort and Jeanne K. Welcher, "Some Views of Art Buying in New York in the 1870s and 1880s," Oxford Art Journal 5, no. 1 (1982): 51. [3] For further on Alice Sturgis Hooper, her brother-in-law, Thornton K. Lothrop, and his son, William, see Andrew Walker, "From Private Sermon to Public Masterpiece: J. M. W. Turner's _The Slave Ship_ in Boston, 1876 - 1899," Journal of the Museum of Fine Arts, Boston 6 (1994): 4-13.

    Credit Line

    Henry Lillie Pierce Fund

    Details

    Dimensions

    90.8 x 122.6 cm (35 3/4 x 48 1/4 in.)

    Accession Number

    99.22

    Medium or Technique

    Oil on canvas

    On View

    The Beal Gallery (Gallery 251)

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  • William Lock of Norbury (1732–1810)

    1790
    Sir Thomas Lawrence (English, 1769–1830)

    Description

    Lawrence was the leading English portraitist at the end of the eighteenth century, in the generation following that of Joshua Reynolds and Thomas Gainsborough. This insightful characterization, painted when Lawrence was only twenty-one, exemplifies the artist’s desire to make portraits with a “living, personal existence.” According to tradition, the portrait was painted in a single sitting and, although unfinished (the hand is only sketched in), it pleased William Lock so much that he rewarded Lawrence with a payment higher than the agreed upon price.

    Provenance

    By 1898, with Arthur Tooth and Sons, London, England [see note 1]; 1898, sold by Arthur Tooth to Denman W. Ross; 1902, gift of Denman Ross to the MFA. (Accession date: October 1, 1902) NOTES: [1] According to Arthur Tooth's bill of sale to Denman W. Ross, March, 1898, this picture was previously in the collection of William Angerstein, a friend of the artist. This is also stated in Arthur Tooth and Sons, "Catalogue of High Class Paintings of the Early English Masters and Barbizon School,"March, 1898.

    Credit Line

    Gift of Denman Waldo Ross as a Memorial to Charles G. Loring

    Details

    Dimensions

    76.3 x 63.7 cm ( 30 1/16 x 25 1/16 in.)

    Accession Number

    02.514

    Medium or Technique

    Oil on canvas

    On View

    Britain, 1750-1800 / Portraits (Gallery 141)

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  • Portrait of a Woman

    Unidentified artist, British, 19th century (British)

    Description

    Provenance

    1896, S.A.W. Rogers, London; 1896, sold by Rogers. Wallis and Sons, London. Susan Cornelia Clarke (Mrs. Samuel Dennis) Warren (b. 1858 - d. 1901), Boston; January 8, 1903, Mrs. S. D. Warren sale, American Art Association, New York, lot 106 [see note 1] to Samuel Putnam Avery, New York, for the MFA for $4,100. (Accession Date: January 13, 1903) NOTES: [1] Attributed to Sir Thomas Lawrence and called "Portrait of Lady Lindhurst."

    Credit Line

    Bequest of Susan Cornelia Warren

    Details

    Dimensions

    76.2 x 63.5 cm (30 x 25 in.)

    Accession Number

    03.604

    Medium or Technique

    Oil on canvas

    Not On View

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  • Tivoli and the Roman Campagna with a Man and Woman

    about 1765-70
    Richard Wilson (Welsh (active in England and Italy), 1714–1782)

    Description

    Wilson began painting landscapes while on a sojourn to Italy in the 1750s, executing numerous sketches of the countryside around Rome. Here he depicts Tivoli (about twenty-five miles east of Rome), with its ancient buildings perched atop a cliff overlooking the Aniene River gorge. The town had long been popular with artists—Claude Lorrain, the great French landscape painter, worked there a century earlier. Notice how Wilson has included an artist sketching in the middle ground.

    Provenance

    Benjamin Booth (d. 1807), London; by descent to his daughter, Lady Richard Ford (d. 1849); May 30-31, 1809, Ford sale, Christie's, London, possibly lot 65, not sold, or lot 86. Joseph Gillot, Birmingham, England. 1874, William Angerstein, London; June 20, 1874, Angerstein sale, Christie's, London, lot 110, to White. By 1879, Sir Henry James Hawley (d. 1898), 4th Bart., Brighton, England. Susan Cornelia Clarke (Mrs. Samuel Dennis) Warren (b. 1858 - d. 1901), Boston; January 8, 1903, Mrs. S. D. Warren sale, American Art Association, New York, lot 117, to the MFA for $2,100. (Accession Date: January 13, 1903)

    Credit Line

    Bequest of Susan Cornelia Warren

    Details

    Dimensions

    99 x 125.4 cm (39 x 49 3/8 in.)

    Accession Number

    03.606

    Medium or Technique

    Oil on canvas

    On View

    Alan and Simone Hartman Galleries (Gallery 241)

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  • The Use of Tears

    1826–27
    Richard Parkes Bonington (English, 1802–1828)

    Description

    Provenance

    Jules van Praet (b. 1806 - d. 1887), Brussels [see note 1]; 1892, sold by the van Praet heirs to Henri Garnier, Paris [see note 2]; January 11, 1893, sold by Henri Garnier to Boussod, Valadon, et Cie., Paris (stock no. 22720); October 15, 1894, sold by Boussod, Valadon et Cie. to Josiah Bradlee, Boston [see note 3]; 1903, bequest of Josiah Bradlee to the MFA. (Accession Date: August 16, 1903) NOTES: [1] M. Haulleville, "Jules van Praet," La Revue Générale, vol. 47 (1888): 340, called "La Convalescente." [2] "L'achat de la collection Van Praet, par M. Henri Garnier, et la collection de M. Chauchard," Les Nouvelles de l'Intermediaire, no. 3 (January 30, 1893), pp. 18-19. [3] At the time of its sale to Bradlee, the painting was called "La visite". October 15, 1894 is the date on the Boussod invoice; according to the stock book, the sale was made on April 12, 1894. See the Getty Provenance Index, Goupil et Cie. Records, PI-Record G-34844 (stock book 14, no. 22720, p. 33).

    Credit Line

    Bequest of Josiah Bradlee

    Details

    Dimensions

    40.3 x 32.4 cm (15 7/8 x 12 3/4 in.)

    Accession Number

    03.740

    Medium or Technique

    Oil on canvas

    Not On View

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  • Study of a Young Woman's Head

    about 1895
    Sir Edward Coley Burne-Jones (English, 1833–1898)

    Description

    Influenced by the Pre-Raphaelite style, Burne-Jones presented idealized feminine beauty in his art. This work focuses on the beauty of the subject by depicting her profile against a diffused blue background. Her haunting, sensuous femininity is characteristic of the Pre-Raphaelite portrayal of women.

    Provenance

    July 16, 1898, posthumous Burne-Jones studio sale, Christie, Manson and Woods, London, lot 60, to P. and D. Colnaghi, London (stock no. 896) [see note 1]; 1905, sold by Colnaghi to Robert Walcott, Boston; gift of Robert Walcott to the MFA. (Accession Date: October 19, 1905) NOTES: [1] According to notes in the curatorial file, a Colnaghi label on the reverse of the painting reads "Purchased by us on July 16, 1898 at Messrs. Christie, Manson, etc., lot 60A, sale of remaining works by Sir Edward Burne-Jones sold by order of his executors." The description of lot 60 in the catalogue reads "A study of a female head," and the lot number may therefore have been mistaken for "60A."

    Credit Line

    Gift of Robert Walcott

    Details

    Dimensions

    61 x 45.7 cm (24 x 18 in.)

    Accession Number

    05.105

    Medium or Technique

    Oil on canvas

    Not On View

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  • Good News

    1866
    Erskine Nicol (Scottish, 1825–1904)

    Description

    Inscription

    Lower left: E Nicol. A.R.A. 1866 (E and N joined)

    Provenance

    By 1904 Anonymous collection. Mr. Dyson Lister, Source: owner name from Christie's; 1904/03/12 (0107) Lister sale (Christie's) London; 1904 - Wallis bought at Lister sale. By 1906 with Francis Skinner; 1906 - Boston, MA, USA. Museum of Fine Arts (bequest of Skinner) (Accession date: February 6, 1906)

    Credit Line

    Bequest of Francis Skinner

    Details

    Dimensions

    66 x 51.1 cm (26 x 20 1/8 in.)

    Accession Number

    06.4

    Medium or Technique

    Oil on canvas

    Not On View

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  • Windmill near Norwich

    John Crome (English, 1768–1821)

    Description

    Provenance

    Marianne Timmins (Mrs. Martin) Brimmer (b. 1827 - d. 1906), Boston; 1906, bequest of Mrs. Martin Brimmer to the MFA. (Accession Date: November 8, 1906)

    Credit Line

    Bequest of Mrs. Martin Brimmer

    Details

    Dimensions

    63.8 x 76.5 cm (25 1/8 x 30 1/8 in.)

    Accession Number

    06.2418

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Prince Regent, later George IV

    After Sir Thomas Lawrence (English, 1769–1830)

    Description

    After an original, one of several versions

    Provenance

    By 1907, Edward W. Forbes, Cambridge, MA; 1907, gift of Forbes to the MFA. (Accession Date: August 8, 1907)

    Credit Line

    Gift of Edward W. Forbes

    Details

    Dimensions

    30.8 x 21.9 cm (12 1/8 x 8 5/8 in.)

    Accession Number

    07.484

    Medium or Technique

    Oil on canvas

    Not On View

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  • Dudley Williams

    Sir Hubert von Herkomer (English, 1849–1914)

    Description

    Inscription

    Upper left: To my friend / H.D. Williams; Center left: H.H. 83

    Provenance

    About 1883, commissioned by Dudley Williams, Boston, MA; 1910, by inheritance to Hettie B. Williams, Boston, MA; 1910, gift of Hettie B. Williams. (Accession date: September 29, 1910)

    Credit Line

    Gift of Hetty B. Williams

    Details

    Dimensions

    76.5 x 63.5 cm (30 1/8 x 25 in.)

    Accession Number

    10.269

    Medium or Technique

    Oil on canvas

    Not On View

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  • John Eld of Seighford Hall, Stafford

    about 1775
    Thomas Gainsborough (English, 1727–1788)

    Description

    This painting emphasizes both Eld’s self-confidence and his devotion to charity, an important characteristic for a gentleman of sensibility in the eighteenth century. Eld was a benefactor of the Staffordshire General Infirmary and holds plans for the new hospital. The inscription on the base of the pedestal indicates that the portrait was commissioned in honor of the sitter, presumably to mark the hospital’s opening. Nearly one hundred subscribers contributed to the cost of the painting, and Eld himself made up the difference. The portrait hung in the hospital’s boardroom until 1909.

    Inscription

    Lower right, on base of the pedestal: By the Command / And at the Expence / of the Subscribers

    Provenance

    By 1772, commissioned by the trustees of the Staffordshire General Infirmary, England [see note 1]; May 10, 1912, Christie's London sale for the benefit of the Staffordshire General Infirmary, lot 49, to M. Knoedler and Co., London (stock no. 12859), for 4000 guineas [see note 2]; 1912, sold by Knoedler to the MFA. (Accession Date: September 5, 1912) NOTES: [1] John Eld (b. 1704 - d. 1796) was a founder and benefactor to the Infirmary since its creation in 1765. The work was lent by the Staffordshire Infirmary in 1910 to the Royal Academy in 1910 (no. 141) and Agnew's, London (no. 14). [2] Getty Provenance Index, M. Knoedler and Co. records, PI Record no. K-2222 (stock book 6, no. 12859, p. 29).

    Credit Line

    Special Painting Fund

    Details

    Dimensions

    Overall: 238.8 x 153 cm (94 x 60 1/4 in.) Framed: 260.4 x 174 cm (102 1/2 x 68 1/2 in.)

    Accession Number

    12.809

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 246)

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  • Fall of the Rhine at Schaffhausen

    about 1805–06
    Joseph Mallord William Turner (English, 1775–1851)

    Description

    Turner was among the most original landscape painters of the nineteenth century. In 1802 he visited the Swiss Alps, making more than four hundred drawings that he used for decades as source material for grand paintings. Turner captured the force of the famous waterfall at Schaffhausen by flattening thick paint with a palette knife, so that the water seems to have the solidity of the rocks whose shape it echoes. In the foreground, a mother rushes to protect her child from fighting cart horses; the scene provides local color, but also underscores the insignificance of human concerns before the power of nature—a romantic theme very much to Turner’s taste.

    Provenance

    February 1807, sold by the artist to Sir John Fleming Leicester (b. 1762 - d. 1827), 1st Lord de Tabley [see note 1]; until 1912, by descent within the family to Lord Cuthbert Leicster Warren and his wife; 1912, sold by Lady Leicester Warren to Arthur J. Sulley and Agnew, London (joint account; Agnew stock no. J1615); 1913, sold by Agnew and Sulley to the MFA for $95,460. (Accession Date: September 4, 1913) NOTES: [1] The date of sale was possibly February 9. He returned "The Shipwreck" (London, Tate Gallery) to Turner in partial exchange for the "Fall of the Rhine at Schaffhausen," paying an additional 50 guineas. Provenance is taken from Douglas Hall, "The Tabley House Papers," Walpole Society, 38 (1960-1962): 93; Martin Butlin and Evelyn Joll, "The Paintings of J. M. W. Turner," rev. ed. (New Haven and London, 1984), p. 48, cat. no. 61; and information provided by the Getty Provenance Index.

    Credit Line

    Bequest of Alice Marian Curtis, and Special Picture Fund

    Details

    Dimensions

    148.6 x 239.7 cm (58 1/2 x 94 3/8 in.)

    Accession Number

    13.2723

    Medium or Technique

    Oil on canvas

    On View

    The Beal Gallery (Gallery 251)

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  • Arrest of a Poacher

    1874?
    Charles Meer Webb (British (active in Germany), 1830–1895)

    Description

    Inscription

    Lower left: [...] Webb 187 [4?]

    Provenance

    By 1915 with Caroline L.W. French; 1915 - Boston, MA, USA. Museum of Fine Arts (bequest of French) (Accession date: May 6, 1915)

    Credit Line

    Bequest of Caroline L. W. French

    Details

    Dimensions

    72.7 x 105.1 cm (28 5/8 x 41 3/8 in.)

    Accession Number

    15.818

    Medium or Technique

    Oil on canvas

    Not On View

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  • John Howard Payne

    Charles Robert Leslie (English, 1794–1859)

    Description

    Signed

    C.R. Leslie 181... (lower right)

    Provenance

    With Miss Virginia Cox (Paris, France) possibly by inheritance?; god-daughter of sitter; possibly sold at auction; by 1915, with George R. White, from Cox (and Howard Payne) (London, England, UK); 1915 - Boston, MA, USA. Museum of Fine Arts (gift of White and Payne) (Accession date: June 3, 1915)

    Credit Line

    Gift of George R. White and Howard Payne

    Details

    Dimensions

    75.9 x 63.5 cm (29 7/8 x 25 in.)

    Accession Number

    15.876

    Medium or Technique

    Oil on canvas

    Not On View

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  • Apollo Destroying the Children of Niobe

    Richard Wilson (Welsh (active in England and Italy), 1714–1782)

    Description

    Wilson made many drawings in Rome and Naples between 1750 and 1757 that later served as backgrounds for his mythological and history paintings. The subject is taken from the Roman poet Ovid’s popular Metamorphoses. Niobe boasted unduly of her parentage, marriage, and fourteen children. The offended goddess Latona sent her own son and daughter, Apollo and Diana, to punish Niobe by slaying her children. Apollo, with Diana behind him, is shooting the children with arrows from the cloud at the left. Wilson, typically, conveys the drama through the landscape, rather than through the figures.

    Provenance

    By 1810 Hon. Charles Francis Greville, d. 1809; 1810/03/31 (0099) Greville sale (Christie's) London; 1810 - still in 1817, Col. Udney; bought at Greville sale. By 1832(?) - 1860 H.A.J Munro, (London, England; Novar, Highland, Scotland, UK) had at least two versions of picture one by 1832 and one by 1862; 1860/03/26 (0145) Munro sale (Christie's) London; 1860 - Wallis, bought at Munro sale [?Henry Wallis, dealer, d. 1892; checked Henry Wallis sale 1892/12/09 and Wallis and Son sale 1898/11/18 not in either]. By 1895 - 1904 James Orrock, (London, England, UK); 1895/04/25 (0321) London Orrock sale (Christie's) London; 1904/06/04 (0144) Orrock sale (Christie's); 1904 - S. T. Smith, (London, England, UK) bought at Orrock sale [address: 37 Duke St., St. James'; Samuel Theobald was the grandson of John Smith, the dealer; "John Smith and Son" was his firm. Samuel Theobal Smith, most commonly known as S.T. Smith was a dealer who d. April 1904; since he was already dead in 1904, "S.T. Smith" probably refers to the firm which was carried on by his son (name yet unknown) in 1905 as "S.T. Smith and Son" and was known to have existed at least until 1935]. By 1906 - Blakeslee Galleries (New York, NY, USA). By 1917 Denman Waldo Ross (Cambridge, MA, USA); 1917 - Boston, MA, USA. Museum of Fine Arts (gift of Ross) (Accession date: February 15, 1917)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    127.0 x 178.1 cm (50 x 70 1/8 in.)

    Accession Number

    17.586

    Medium or Technique

    Oil on canvas

    Not On View

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  • Tibullus at Delia's House

    1866
    Sir Lawrence Alma-Tadema (Dutch (active in England), 1836–1912)

    Description

    The Roman poet Tibullus is shown reciting to a group of friends in the house of his mistress, Delia. Alma-Tadema achieved extraordinary social and financial success for reconstructions of antiquity that gave late-nineteenth-century audiences an imaginary glimpse into a world very different from their own. Many of the impeccably rendered furnishings, such as the bronze stool and folding table and the painting behind Tibullus, represent actual objects found in the ruins of Pompeii.

    Inscription

    Lower right, on chair: L Alma Tadema

    Provenance

    1866, Ernest Gambart (b. 1814 - d. 1902), London (original commission); 1867, sold by Gambart to William Prescott Hunt, Boston [see note 1]. 1902, Blakeslee Galleries, New York; 1902, sold by Blakeslee to Robert Dawson Evans (b. 1844 - d. 1909) and his wife, Maria Antoinette Hunt Evans (b. 1845 - d. 1917), Boston [see note 2]; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession Date: November 1, 1917) NOTES: [1] This painting, executed in 1866, was one of twenty-four paintings that the art dealer Ernest Gambart ordered from Alma-Tadema in 1864. It was exhibited at Gambart's London gallery in 1867. See Jennifer Gordon Lovett and William R. Johnston, Empires Restored, Elysium Revisited: The Art of Sir Lawrence Alma-Tadema (Williamstown, MA, 1992), pp. 49-50, cat. no. 7. W. Prescott Hunt lent a "Pompeian Interior" by Alma-Tadema to the Allston Club, Boston, in 1867, but whether it is identical to the MFA painting is not known. The MFA painting was certainly lent in 1896-97 to the First Annual Exhibition, Carnegie Art Galleries, Pittsburgh (no. 1), but the lender's name is not given in the catalogue. [2] A signed letter from T. J. Blakeslee (April 28, 1902) attests that this is one of a group of paintings Evans bought from the gallery on January 8, February 20, and March 11, 1902.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    43.5 x 64.5 cm (17 1/8 x 25 3/8 in.)

    Accession Number

    17.3239

    Medium or Technique

    Oil on panel

    Not On View

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  • The Right Honorable Charles Hope

    Sir Henry Raeburn (Scottish, 1756–1823)

    Description

    Provenance

    By inheritance within the family, Hope Family, Scotland [see note 1]. Possibly July 4, 1913, Pictures and Drawings of the British and Continental Schools, Christie's, London, lot 137 to Wallis & Sons, Ltd, London. With Charles A. Walker, Boston. By 1915, Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession date: November 1, 1917) [1] According to information provided by Charles A. Walker.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    76.5 x 63.8 cm (30 1/8 x 25 1/8 in.)

    Accession Number

    17.3258

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of Two Girls (Misses Cumberland)

    English
    about 1772–73
    George Romney (English, 1734–1802)

    Description

    Richard Cumberland was one of the best-known writers of the day and friend to leading painters, poets, and actors. Here, his daughters, Elizabeth and Sophia, read his latest play, The Fashionable Lover. Romney constructs an affectionate and subtle narrative with the sisters’ differing responses. Elizabeth is on the cusp of adolescence and dressed in an “adult” gown: her dreamy stare suggests that the theme of fashionable love has sparked her imagination. Sophia, slim and childish in a green smock, struggles to understand the meaning of her father’s words.

    Provenance

    After 1772-3, commissioned from the artist by Richard Cumberland (b. 1732 - d. 1811) Cambridge, UK [see note 1]; by 1811, inherited by Sophia Cumberland (Mrs. William Badcock), (b. 1761 - d. 1823); after 1823, by descent through the family to Rev. W.R. Brodrick, (grandson of Sophia); March 19, 1892, Brodrick sale, Christie's, London, lot 724, bought in to F.H. Brodrick [see note 2]; June 14, 1902, Anonymous sale, Christie's, London, lot 91, to Agnew's, London (stock no. 518); 1902-4, sold by Agnew's to T. J. Blakeslee & Co. Galleries, New York; by 1909, purchased by Robert Dawson Evans (b. 1843 - d. 1909), Boston; 1909, inherited by his widow, Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession date: November 1, 1917). NOTES: [1] A prolific playwright and father of the sitters, Elizabeth (b. 1759/60 - d. 1837) and Sophia (b. 1761 - 1823), Kent. Elizabeth, (holding her father's 1772 play, The Fashionable Lover), would later become Lady Edward Cavendish-Bentinck, while Sophia would later become Mrs. William Badcock, then Mrs. Reese. [2] F.H. Brodrick lent the painting to the 1900 Grafton Galley Exhibition, London, no. 96.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    73.7 x 63.5 cm (29 x 25 in.)

    Accession Number

    17.3259

    Medium or Technique

    Oil on canvas

    On View

    Alan and Simone Hartman Galleries (Gallery 241)

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  • Henrietta Edgcumbe

    1759
    Sir Joshua Reynolds (English, 1723–1792)

    Description

    Provenance

    1759, painted probably for Richard Edgcumbe (b. 1716 - d. 1761), 2nd Baron Edgcumbe, London [see note 1]; by descent to his daughter, Henrietta Edgcumbe de Prades Lavalette (b. 1752 - d. 1827), London and Calais, France; by descent within the family. General de Witte, Paris [see note 2]. By 1899, Charles J. Wertheimer (d. 1911), London [see note 3]. Ernest Gimpel (b. 1858 - d. 1907), Gimpel and Wildenstein, Paris and New York [see note 4]. 1913, T. J. Blakeslee Galleries, New York; 1913, sold by Blakeslee to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession Date: November 1, 1917) NOTES: [1] Henrietta Edgcumbe, who married Charles de Prades Lavalette in 1770, was the daughter of Richard Edgcumbe and Ann Franks Day. Reynolds recorded an appointment with "Mrs Day" (Ann Franks Day) and "Miss" (Henrietta Edgcumbe) in January 1759; see Alan Taylor, "Ann Day and Henrietta Edgcumbe," Reynolds Newsletter 25 (Spring 2012), pp. 300-301. [2] According to notes in the curatorial file. [3] In Algernon Graves and William Vine Cronin, "A History of the Works of Joshua Reynolds," vol. 1 (London, 1899), p. 277, Charles John Wertheimer is said to be "the present owner." [4] A note in the curatorial file states: "René Gimpel says this portrait was sold by his father, E. Gimpel of Gimpel and Wildenstein." No date is provided.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    76.5 x 63.5 cm (30 1/8 x 25 in.)

    Accession Number

    17.3264

    Medium or Technique

    Oil on canvas

    Not On View

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  • Mrs. Edmund Morton Pleydell

    about 1765
    Thomas Gainsborough (English, 1727–1788)

    Description

    Mr. and Mrs. Pleydell lived in a large country house in Dorset, southwest of London. Gainsborough painted them when he lived in Bath, and his skill at balancing artistic imagination with observed truth is extremely well represented in these portrayals. The pose of Mrs. Pleydell is ultimately derived from a figure in the seventeenth-century painter Anthony van Dyck’s great group portrait of the Pembroke family, but the shimmering blue underskirt and voluminous pink dress, with its frothy lace accents, illustrate Gainsborough’s awareness of and ability to depict contemporary fashion.

    Provenance

    Mid 1760s, Anne Luttrell (Mrs. Edmund Morton Pleydell) (b. 1731 - d. 1819), Milborne St. Andrew, Dorset (original commission); by descent within the family to Col. Edmund Morton Mansel-Pleydell (b. 1850 - d. 1914), Whatcombe, Dorset; sold by Mansel-Pleydell to Arthur J. Sulley and Co., London [see note 1]; sold by Sulley to Theron J. Blakeslee Galleries, New York; 1909, sold by Blakeslee to Robert Dawson Evans (b. 1843 - d. 1909), Boston; 1909, by inheritance to his widow, Maria Antoinette Hunt (Mrs. Robert Dawson Evans) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession Date: November 1, 1917) NOTES: [1] According to a letter from T.J. Blakeslee to Mr. Evans (May 27, 1909).

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    126.4 x 104.8 cm (49 3/4 x 41 1/4 in.)

    Accession Number

    17.3266

    Medium or Technique

    Oil on canvas

    On View

    Britain, 1750-1800 / Portraits (Gallery 141)

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  • Portrait of an Actress as Omphale

    Attributed to William Hamilton (English, 1750-1801)

    Description

    Provenance

    By 1899(?) - 1922 William Sturgis Bigelow, d. 1926 (Boston, MA, USA); 1922 - Boston, MA, USA. Museum of Fine Arts (gift of Bigelow) (Accession date: January 5, 1922)

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    69.85 x 43.18 cm (27 1/2 x 17 in.)

    Accession Number

    22.10

    Medium or Technique

    Oil on canvas

    Not On View

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  • Mrs. Billington (1765/1768-1818) as Saint Cecilia

    1787–88
    George Romney (English, 1734–1802)

    Description

    Elizabeth Weichsel, “the ablest singer of her day and the richest professional woman in Europe,” married John Billington, a double bass player, in 1783. The most celebrated diva of the age, she was also among the most notorious, rumors being rife about her scandalous private life. Romney depicts her as Saint Cecilia, patron saint of music, probably at the singer’s request. She seems never to have collected the painting, and the fact that she commissioned the same subject from Reynolds the following year suggests she did not like Romney’s version.

    Provenance

    1802, upon the artist's death, by inheritance to his son, the Rev. John Romney (b. 1758 - d. 1832); April 27, 1807, Romney sale, Christie, Manson and Woods, London, lot 110, bought in; May 9, 1834, posthumous Romney sale, Christie, Manson and Woods, London, lot 86, to "Jonson," evidently on behalf of John Romney's daughter, Elizabeth Romney (d. 1893), Whitestock Hall, Colton, England [see note 1]; May 25, 1894, Elizabeth Romney estate sale, Christie, Manson and Woods, London, lot 194, sold to Agnew, London, for £945 (Agnew stock no. 6883); 1894, sold by Agnew to Colonel James Price [see note 2]; 1895, sold by Price's executors back to Agnew (stock no. 7336); 1895, sold by Agnew to Thomas Henry Ismay (b. 1837 - d. 1899), Liverpool, England and then returned by Ismay to Agnew (stock no. 7404); 1895, sold by Agnew to Wallis and Son, London; October 2, 1895, sold by Wallis and Son to M. Knoedler and Co., London and New York (stock no. 7944); March 10, 1896, sold by Knoedler to Clara Bertram (Mrs. David P.) Kimball (b. 1838 - d. 1920), Boston; 1923, bequest of Mrs. Kimball to the MFA. (Accession Date: September 6, 1923) NOTES: [1] According to a letter from Christie's, London, to the MFA (December 17, 1985), in the MFA curatorial file. [2] Information about Agnew's sales and re-acquisitions of the painting from 1894 to 1895 is taken from the Getty Provenance Index (Provenance of Paintings Record 11366).

    Credit Line

    Bequest of Mrs. David P. Kimball

    Details

    Dimensions

    127.7 x 101.9 cm (50 1/4 x 40 1/8 in.)

    Accession Number

    23.397

    Medium or Technique

    Oil on canvas

    Not On View

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  • A Hilltop (His Native Village)

    about 1809
    John Constable (English, 1776–1837)

    Description

    Provenance

    By 1880, Thomas Gold Appleton (b. 1812 - d. 1884), Boston; by inheritance to his nephew, Ernest Wadsworth Longfellow (b. 1845 - d. 1921), Boston; 1923, bequest of Ernest Wadsworth Longfellow to the MFA. (Accession Date: November 1, 1923)

    Credit Line

    Bequest of Ernest Wadsworth Longfellow

    Details

    Dimensions

    Image: 32 x 49.7 cm (12 5/8 x 19 9/16 in.)

    Accession Number

    23.489

    Medium or Technique

    Oil on paper mounted on canvas

    Not On View

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  • Two Children in a Landscape

    Unidentified artist, British, fourth quarter 18th century (British)

    Description

    Provenance

    October 13, 1894, sold by Lesser Adrian Lesser (dealer; b. 1849 - d. 1911), London, to M. Knoedler and Co., Paris, London and New York (stock no. 7658) [see note 1]; November 26, 1894, sold by Knoedler to Clara Bertram Kimball (b. 1838 - d. 1920), Boston; by inheritance to her husband, David Pulsifer Kimball (b. 1833 - d. 1923), Boston 1923, bequest of David P. Kimball to the MFA. (Accession Date: November 1, 1923) NOTES: [1] M. Knoedler and Co. records, Getty Provenance Index, PI Record no. K-4142 (stock book 4, no. 7658, p. 192), as William Beechey, "Two Children in a Landscape."

    Credit Line

    Bequest of David P. Kimball in memory of his wife Clara Bertram Kimball

    Details

    Dimensions

    31.1 x 35.6 cm (12 1/4 x 14 in.)

    Accession Number

    23.542

    Medium or Technique

    Oil on canvas

    Not On View

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  • Alexander Pope

    about 1736
    Jonathan Richardson (English, 1667–1745)

    Description

    Poet Alexander Pope was an important voice in early 18th-century England, known for his satirical and critical verse. Published in 1711, his An Essay on Criticism spawned the famous line: “To err is human, to forgive divine.”

    Provenance

    By 1807, Francis Rawdon-Hastings (b. 1754 - d. 1826), 1st Marquess of Hastings, Donington Park, Leicestershire, England [see note 1]; until 1869, passed by descent within the family at Donington Park; February 25, 1869, Marquis of Hastings sale, Phillips, London, lot 84, sold for £47.50 to Henry Graves, London; 1869, sold by Graves to James T. Fields (b. 1817 - d. 1881), Boston [see note 2]; to his widow, Annie Adams Fields (b. 1834 - d. 1915), Boston; 1915, to the estate of Mrs. Fields [see note 3]; 1924, gift of Dr. Zabdiel B. Adams, residuary legatee under the will of Mrs. Fields, to the MFA. (Accession Date: February 7, 1924) NOTES: [1] First recorded at Donington Park by John Britton, Beauties of England and Wales, vol. 9 (London, 1807), p. 400. [2] James T. Fields, Yesterdays with Authors (Boston, 1871), p. 4. According to Fields, the portrait had been "painted from life by Richardson for the Earl of Burlington." [3] First lent to the MFA by the estate of Annie Fields, February 5, 1915.

    Credit Line

    James T. Fields Collection

    Details

    Dimensions

    76.5 x 63.2 cm (30 1/8 x 24 7/8 in.) Framed: H. 43 in.; W. 38 in.

    Accession Number

    24.19

    Medium or Technique

    Oil on canvas

    On View

    Alan and Simone Hartman Galleries (Gallery 241)

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  • Sir Uvedale Price, Baronet (1747–1829)

    about 1799
    Sir Thomas Lawrence (English, 1769–1830)

    Description

    A landowner and landscape designer, Uvedale Price is best remembered for his Essay on the Picturesque, As Compared With The Sublime and The Beautiful, published in 1794. For him, the Picturesque was located between the gently Beautiful and the more thrilling Sublime. In practical terms, this meant he sought a middle ground between wild, uncontrolled landscape and highly formal, symmetrical gardens. When possible, he preferred to retain old trees, rutted paths, and textured slopes.

    Provenance

    By 1893, Thomas Price, London, England [see note 1]; May 6, 1893, sold by Thomas Price at Christie's, London [lot 55], and purchased by Wallis and Son, London, England. G. P. Avery, New York, NY [see note 2]. George H. Storey, former curator of the New York Metropolitan Museum of Art, New York, NY. Eben D. Jordan, Boston, MA; by 1924, by inheritance to Robert Jordan, Boston, MA; 1924, gift of Robert Jordan to the MFA. (Accession Date: April 17, 1924) NOTES: [1] probably acquired by inheritance, possibly part of the sitter's family? [2] possibly Samuel Putnam Avery?

    Credit Line

    Gift of Robert Jordan from the collection of Eben D. Jordan

    Details

    Dimensions

    76.2 x 63.5 cm (30 x 25 in.)

    Accession Number

    24.212

    Medium or Technique

    Oil on canvas

    On View

    Britain, 1750-1800 / Portraits (Gallery 141)

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  • Description

    Provenance

    Lansdowne Collection [according to a label on the back of the painting, identified as "Miss Fanny Dwight" by Copley]. By about 1870, in an anonymous collection. 1870, sold in an anonymous sale, Boston, MA, and purchased by Charles and Martha Babcock Amory, Boston, MA [probably still identified as Copley painting]; by 1925, by inheritance to Susan Greene Dexter, Boston, MA; 1925, bequeathed by Susan Greene Dexter to the MFA. (Accession Date: March 24, 1925)

    Credit Line

    Bequest of Susan Greene Dexter in memory of Charles and Martha Babcock Amory

    Details

    Dimensions

    69.9 x 57.2 cm (27 1/2 x 22 1/2 in.)

    Accession Number

    25.102

    Medium or Technique

    Oil on canvas

    Not On View

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  • John Taylor (1738–1814)

    about 1778
    Thomas Gainsborough (English, 1727–1788)

    Description

    The sitter was the son of a co-founder of Lloyds Bank and one of the most notable men in the rising industrial city of Birmingham. He married his wife Sarah in 1778; her portrait, designed as a pair to this, is in Washington’s National Gallery of Art.

    Provenance

    About 1778, commissioned by the sitter, John Taylor (b. 1738 - d. 1814), Bordesley Park and Moseley Hall, Birmingham [see note 1]; 1903, by descent to George William Taylor, Pickenham Hall, Swaffham, Norfolk and Turvey, Bedfordshire; 1906, sold by George William Taylor to M. Knoedler's, London, Paris, and New York, (Knoedler's London stock no. 4140, New York stock no. 11073) and P. & D. Colnaghi's, London and New York (private ledgers), and Trotti et Cie., Paris [see note 2]. By 1910, with Wallis and Son, London [see note 3]; 1910, Wallis and Son joint account with Agnew's, London, (Agnew's stock no. J 1538); 1913, sold by Agnew's to Holbrook Gaskell (b. 1813 - d. 1909), Wavertree, Liverpool; June 11, 1920, sold by Holbrook Gaskell in Christie's sale, London, lot 21, to Agnew's, London (Agnew's stock no. 5842); 1922, sold by Agnew's to C. Morland Agnew, London, and Ansdell. With Howard Young Galleries, New York and London. By 1924, Robert J. Edwards (d. 1924), Boston; 1924, by inheritance to his sisters, Hannah Marcy Edwards (d. 1929), Boston, and Grace M. Edwards (d. 1938), Boston; 1925, bequeathed by Robert J. Edwards to the MFA [see note 4]. (Accession Date: April 2, 1925) NOTES: [1] Taylor was known for being the co-founder of Lloyd's Bank in 1765. [2] The painting was acquired as a joint account from Taylor, presumably sold by Trotti et Cie. [3] According to Agnew's. From whom Wallis & Son purchased the painting is unknown. [4] Siblings Robert (d. 1924), Hannah (d. 1929), and Grace (d. 1938) Edwards were each collectors of art, who seemed to have had joint ownership of the objects in their possession. When Robert died, he bequeathed his collection to the MFA in memory of their mother, Juliana Cheney Edwards. In 1925, after his death, part of his collection was acquired by the Museum, and the remainder went to his sisters, with the understanding that the objects would ultimately be left to the MFA in the collection begun in memory of their mother. The collections of Hannah and Grace were left to the MFA in 1939, following Grace's death. It is not always possible to determine exactly which paintings each sibling had owned

    Credit Line

    Juliana Cheney Edwards Collection

    Details

    Dimensions

    75.9 x 64.5 cm (29 7/8 x 25 3/8 in.)

    Accession Number

    25.108

    Medium or Technique

    Oil on canvas

    On View

    Britain, 1750-1800 / Portraits (Gallery 141)

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  • Mrs. Robinson (Mary Darby Robinson)

    about 1783–84
    After Sir Joshua Reynolds (English, 1723–1792)

    Description

    Provenance

    After 1783-4, with Wynn Ellis (b. 1790 - d. 1875), London; July 15, 1876, Wynn Ellis estate sale, (lot 90), Christie's, London, bought in. By 1906, Thomas Hoade Woods [see note 1]; May 26, 1906, sold by Thomas Hoade Woods at Christie's, London [lot 72], to C. Davis (presumably Charles Davis), London. With Howard Young Galleries, New York and London. By 1924, Robert J. Edwards (d. 1924), Boston, MA; 1925, bequest of Robert J. Edwards to the MFA. [see note 2] (Accession Date: April 2, 1925) NOTES: [1] Woods was a partner at Christie's London for many years. [2] Siblings Robert (d. 1924), Hannah (d. 1929), and Grace (d. 1938) Edwards were each collectors of art, who seemed to have had joint ownership of the objects in their possession. When Robert died, he bequeathed his collection to the MFA in memory of their mother, Juliana Cheney Edwards. In 1925, after his death, part of his collection was acquired by the Museum, and the remainder went to his sisters, with the understanding that the objects would ultimately be left to the MFA in the collection begun in memory of their mother. The collections of Hannah and Grace were left to the MFA in 1939, following Grace's death. It is not always possible to determine exactly which paintings each sibling had owned.

    Credit Line

    Juliana Cheney Edwards Collection

    Details

    Dimensions

    76.5 x 63.5 cm (30 1/8 x 25 in.)

    Accession Number

    25.109

    Medium or Technique

    Oil on canvas

    Not On View

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  • Mrs. Thomas Mathews

    Thomas Gainsborough (English, 1727–1788)

    Description

    Provenance

    About 1773-4, commissioned by the sitter's husband, Captain Thomas Mathews, (b. 1741 - d. 1820); 1820, by inheritance to his wife, Diana Jones (d. 1822); by descent within the Jones family to R. O. Jones, Fonmon Castle, Cowbridge, South Glamorgan, Wales [see note 1]; 1923, R. O. Jones to Howard Young Galleries, New York and London. By 1924, Robert J. Edwards (d. 1924), Boston; 1925, bequeathed by Robert J. Edwards to the MFA. [see note 2] (Accession Date: April 2, 1925) NOTES: [1] After the death of her husband, Diana Jones Mathews returned to her family home, Fonmon Castle, to live with her brother and his family. She took her paintings with her, where they remained until after her death. [2] Siblings Robert (d. 1924), Hannah (d. 1929), and Grace (d. 1938) Edwards were each collectors of art, who seemed to have had joint ownership of the objects in their possession. When Robert died, he bequeathed his collection to the MFA in memory of their mother, Juliana Cheney Edwards. In 1925, after his death, part of his collection was acquired by the Museum, and the remainder went to his sisters, with the understanding that the objects would ultimately be left to the MFA in the collection begun in memory of their mother. The collections of Hannah and Grace were left to the MFA in 1939, following Grace's death. It is not always possible to determine exactly which paintings each sibling had owned.

    Credit Line

    Juliana Cheney Edwards Collection

    Details

    Dimensions

    76.8 x 64.7 cm (30 1/4 x 25 1/2 in.)

    Accession Number

    25.133

    Medium or Technique

    Oil on canvas

    On View

    Britain, 1750-1800 / Portraits (Gallery 141)

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  • Captain Thomas Mathews

    about 1772
    Thomas Gainsborough (English, 1727–1788)

    Description

    Diana Jones married Thomas Mathews in November 1763. Four years later, they moved to the fashionable resort of Bath, where Gainsborough painted them. Captain Mathews was infamous for sexually harassing the young and lovely singer Elizabeth Linley, provoking two duels with the amorous playwright Richard Brinsley Sheridan. (Mathews lost the first and won the second.) In a 1772 letter, Gainsborough mentioned that Sheridan and Linley had eloped, called Mathews a scoundrel, and expressed his sympathy for the playwright—presumably explaining why the artist left the portrait unfinished.

    Provenance

    About 1773-4, commissioned by the sitter, Captain Thomas Mathews (b. 1741 - d. 1820); 1820, by inheritance to his wife, Diana Jones (d. 1822); by descent within the Jones family to R. O. Jones, Fonmon Castle, Cowbridge, South Glamorgan, Wales [see note 1]; 1923, R. O. Jones to Howard Young Galleries, New York and London. By 1924, Robert J. Edwards (d. 1924), Boston; 1925, bequeathed by Robert J. Edwards to the MFA. [see note 2] (Accession Date: April 2, 1925) NOTES: [1] After the death of her husband, Diana Jones Mathews returned to her family home, Fonmon Castle, to live with her brother and his family. She took her paintings with her, where they remained until after her death. [2] Siblings Robert (d. 1924), Hannah (d. 1929), and Grace (d. 1938) Edwards were each collectors of art, who seemed to have had joint ownership of the objects in their possession. When Robert died, he bequeathed his collection to the MFA in memory of their mother, Juliana Cheney Edwards. In 1925, after his death, part of his collection was acquired by the Museum, and the remainder went to his sisters, with the understanding that the objects would ultimately be left to the MFA in the collection begun in memory of their mother. The collections of Hannah and Grace were left to the MFA in 1939, following Grace's death. It is not always possible to determine exactly which paintings each sibling had owned.

    Credit Line

    Juliana Cheney Edwards Collection

    Details

    Dimensions

    77.5 x 64.5cm (30 1/2 x 25 3/8in.)

    Accession Number

    25.134

    Medium or Technique

    Oil on canvas

    On View

    Britain, 1750-1800 / Portraits (Gallery 141)

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  • Apollo and the Muses

    Jacopo Amigoni (Italian (Venetian), about 1685–1752), With Francis Brerewood (British, about 1694–1781)

    Description

    Provenance

    Mid-18th century, Frederick Calvert, 6th Lord Baltimore (b. 1731 - d. 1771), Woodcote Park, Epsom, Surrey, England [see note 1]. By 1927, Eben Howard Gay, Boston, MA; 1927, gift of Eben Howard Gay to the MFA. (Accession Date: September 8, 1927) NOTES: [1] From the drawing room. The painting was not done expressly for this room, but fitted into design by Francis Brerewood, who modified portions of Woodcote Park for Lord Baltimore about 1753-55

    Credit Line

    Gift of Eben Howard Gay

    Details

    Dimensions

    275.6 x 190.5 cm (108 1/2 x 75 in.)

    Accession Number

    27.462a

    Medium or Technique

    Oil on canvas, extended

    Not On View

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    Europe

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  • Aristocrats and Peasants in Landscapes (one of four overdoors)

    Unidentified artist, Flemish, first half 18th century (Flemish (or British (?)))

    Description

    Located on the eastern end of the north wall.

    Provenance

    Mid-18th century, Frederick Calvert, 6th Baron of Baltimore (d. 1771?), Woodcote Park, Epsom, Surrey, England [see note 1]. By 1927, Eben Howard Gay, Boston, MA; 1927, gift of Eben Gay to the MFA. (Accession Date: September 8, 1927) NOTES: [1] From the drawing room. The paintings were not done expressly for this room, but fitted into design by Francis Brerewood, who modified portions of Woodcote Park for Lord Baltimore about 1753-55

    Credit Line

    Gift of Eben Howard Gay

    Details

    Dimensions

    55 x 113 cm (21 5/8 x 44 1/2 in.)

    Accession Number

    27.462b

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Aristocrats and Peasants in Landscapes (one of four overdoors)

    Unidentified artist, Flemish, first half 18th century (Flemish (or British (?)))

    Description

    Located on the eastern end of the south wall.

    Provenance

    Mid-18th century, Frederick Calvert, 6th Baron of Baltimore (d. 1771?), Woodcote Park, Epsom, Surrey, England [see note 1]. By 1927, Eben Howard Gay, Boston, MA; 1927, gift of Eben Gay to the MFA. (Accession Date: September 8, 1927) NOTES: [1] From the drawing room. The paintings were not done expressly for this room, but fitted into design by Francis Brerewood, who modified portions of Woodcote Park for Lord Baltimore about 1753-55

    Credit Line

    Gift of Eben Howard Gay

    Details

    Dimensions

    55 x 113 cm (21 5/8 x 44 1/2 in.)

    Accession Number

    27.462c

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Aristocrats and Peasants in Landscapes (one of four overdoors)

    Unidentified artist, Flemish, first half 18th century (Flemish (or British (?)))

    Description

    Located on the western end of the south wall.

    Provenance

    Mid-18th century, Frederick Calvert, 6th Baron of Baltimore (d. 1771?), Woodcote Park, Epsom, Surrey, England [see note 1]. By 1927, Eben Howard Gay, Boston, MA; 1927, gift of Eben Gay to the MFA. (Accession Date: September 8, 1927) NOTES: [1] From the drawing room. The paintings were not done expressly for this room, but fitted into design by Francis Brerewood, who modified portions of Woodcote Park for Lord Baltimore about 1753-55

    Credit Line

    Gift of Eben Howard Gay

    Details

    Dimensions

    55 x 113 cm (21 5/8 x 44 1/2 in.)

    Accession Number

    27.462d

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Aristocrats and Peasants in Landscapes (one of four overdoors)

    Unidentified artist, Flemish, first half 18th century (Flemish (or British (?)))

    Description

    Located on the western end of the north wall.

    Provenance

    Mid-18th century, Frederick Calvert, 6th Baron of Baltimore (b. 1731 - d. 1771), Woodcote Park, Epsom, Surrey, England [see note 1]. By 1927, Eben Howard Gay, Boston, MA; 1927, gift of Eben Howard Gay to the MFA. (Accession Date: September 8, 1927) NOTES: [1] From the drawing room. The paintings were not done expressly for this room, but fitted into design by Francis Brerewood, who modified portions of Woodcote Park for Lord Baltimore about 1753-55.

    Credit Line

    Gift of Eben Howard Gay

    Details

    Dimensions

    55 x 113 cm (21 5/8 x 44 1/2 in.)

    Accession Number

    27.462e

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • William J. Stillman

    1870
    Dante Gabriel Rossetti (English, 1828–1882)

    Description

    Inscription

    Lower right: G D R (in monogram) 1870

    Provenance

    1927, gift of Michael Spartali Stillman. (Accession Date: November 3, 1927)

    Credit Line

    Gift of Michael Spartali Stillman in memory of his mother, Marie Spartali Stillman

    Details

    Dimensions

    65.4 x 51.5 cm (25 3/4 x 20 1/4 in.)

    Accession Number

    27.571

    Medium or Technique

    Pastel on two sheets of paper joined and mounted on cardboard

    Not On View

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    Europe, Prints and Drawings

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  • Portrait of a Man

    Mather Brown (American, 1761–1831)

    Description

    Provenance

    Collection of Parkhurst family [see note 1]. By 1924, William Lockett Agnew (d. about 1918), London; 1924, Agnew sale, London (?) [see note 2]. By 1928, Eben Howard Gay, Boston, MA; 1928, gift of Eben Howard Gay to the MFA. (Accession Date: July 19, 1928) NOTES: [1] Mrs. Parkhurst had a sale on July 19, 1884, but unable to locate copy of catalogue [2] William Lockett Agnew died about 1918; on June 7, 1918 Agnew's had a sale of pictures that they had inherited from him; after Mrs. William Lockett Agnew's death there were two sales, one on March 27, 1922 of prints and one on June 15, 1923 of paintings; this picturewas not in any of these sales and thereis no other William Lockett Agnew sale listed on SCIPIO

    Credit Line

    Gift of Eben Howard Gay

    Details

    Dimensions

    75.6 x 63.2 cm (29 3/4 x 24 7/8 in.)

    Accession Number

    28.443

    Medium or Technique

    Oil on canvas

    Not On View

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    Americas

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  • Portrait of a Man in a Blue Coat

    about 1790
    Sir Thomas Lawrence (English, 1769–1830)

    Description

    Provenance

    Samson Fox, Harrogate, Yorkshire, England. Vicars Brotheres, London, England. Arthur Ackerman and Son, London, England. By 1929, George Black Nixon (d. 1929), Boston, MA; 1929, bequeathed (as "Charles James Fox") by George Nixon Black to the MFA. (Accession Date: March 7, 1929)

    Credit Line

    Bequest of George Nixon Black

    Details

    Dimensions

    76.2 x 63.5 cm (30 x 25 in.)

    Accession Number

    29.790

    Medium or Technique

    Oil on canvas

    On View

    Britain, 1750-1800 / Portraits (Gallery 141)

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  • Robert Hay

    about 1805–6
    Sir Henry Raeburn (Scottish, 1756–1823)

    Description

    Provenance

    About 1806, commissioned from the artist by Robert Hay (d. 1807), Drummelzier, Borders, Scotland, and Whittinghame, Lothian, Scotland; 1807, after his death, by inheritance within the Hay family; by 1883, by inheritance to Mr. W. J. Hay, grandson of Robert Hay. By 1923, Sir William H. Raeburn [see note 1]; January 26, 1923, sold anonymously by Sir William H. Raeburn at Christie's, London, lot 95, and bought by the D. Croal Thomson, dealer, Barbizon House, London, England; December 1923, sold by D. Croal Thomson, Barbizon House, no. 37, and bought by Howard Young Galleries, Inc., New York and London; 1929, sold by Howard Young Galleries to Mrs. William Arthur Gallup, Boston, MA; 1929, gift of Mrs. William Arthur Gallup to the MFA. (Accession Date: April 4, 1929) NOTES: [1] The picture was exhibited by Mr. W. J. Hay, at the "Century of Loan Exhibition 1813-1913,"(see exhibition catalogue, Algernon Graves, London, 1914).

    Credit Line

    Gift of Mrs. William Arthur Gallup

    Details

    Dimensions

    77.5 x 64.1 cm (30 1/2 x 25 1/4 in.)

    Accession Number

    29.894

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Description

    Inscription

    Falsely signed, lower left: I Blackburn Pinxit 1760

    Provenance

    By 1929, Frank W. Bayley; 1929, sold by Frank W. Bayley to the MFA for $2500 (Accession Date: April 4, 1929)

    Credit Line

    Archibald Cary Coolidge Fund

    Details

    Dimensions

    54.6 x 45.7 cm (21 1/2 x 18 in.)

    Accession Number

    29.931

    Medium or Technique

    Pastel on paper

    Not On View

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    Europe, Prints and Drawings

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  • Portrait of a Man (said to be Lord Anson)

    Follower of Sir Joshua Reynolds (English, 1723–1792)

    Description

    Provenance

    By 1930, Harriet J. White (Mrs. Frederick T.) Bradbury; 1930, bequeathed by Harriet J. Bradbury to the MFA. (Accession Date: July 3, 1930) NOTES: [1] There was a Reynolds painting, "Lord Anson," 30 x 25, bought by T. J. Blakeslee from Tooth and Sons in May, 1911 [Tooth London stock no. 5365]. Tooth had bought it from A. H. Thrift in July, 1910. This may very well be the MFA painting.

    Credit Line

    Bequest of Mrs. Harriet J. Bradbury

    Details

    Dimensions

    75.5 x 62.2 cm (29 3/4 x 24 1/2 in.)

    Accession Number

    30.491

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Woman (said to be Lady Scott)

    Sir Joshua Reynolds (English, 1723–1792)

    Description

    Provenance

    By 1896, David H. King, Jr.; February 17, 1896, sold by David H. King at American Art Association, New York [lot 123], and purchased by Blakeslee Galleries, New York (?). By 1922(?), George Robert White (d. 1922), Boston, MA; by 1922(?), presumably by inheritance, to his sister Harriet J. White (Mrs. Frederick T.) Bradbury; 1930, bequeathed by Harriet J. Bradbury to the MFA. (Accession Date: July 3, 1930)

    Credit Line

    Bequest of Mrs. Harriet J. Bradbury

    Details

    Dimensions

    76.5 x 64.1 cm (30 1/8 x 25 1/4 in.)

    Accession Number

    30.492

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Princess Amelia

    After Sir William Beechey (English, 1753–1839)

    Description

    After a painting in the Royal Collection, Windsor

    Provenance

    T. J. Blakeslee Galleries, New York. By 1930, Harriet J. White (Mrs. Frederick T.) Bradbury (d. 1930), Boston, MA (from Blakeslee Galleries?); 1930, bequeathed by Harriet Bradbury to the MFA. (Accession Date: July 3, 1930)

    Credit Line

    Bequest of Mrs. Harriet J. Bradbury

    Details

    Dimensions

    91.5 x 71.1 cm (36 x 28 in.)

    Accession Number

    30.498

    Medium or Technique

    Oil on canvas

    Not On View

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  • Weymouth Bay from the Downs above Osmington Mills

    about 1816
    John Constable (English, 1776–1837)

    Description

    Unlike his contemporary Turner, who traveled widely in search of impressive and dramatic scenery, Constable painted only the landscape of his native England. His images of modest countryside and the movement of clouds across the sky have the freshness and immediacy of on-the-spot observation. This view of Weymouth Bay in Dorset was painted during the artist’s honeymoon in the small village of Osmington Mills. Although Constable never returned to Osmington, he based a number of later paintings on the sketches he made during this visit.

    Provenance

    May 16, 1838, posthumous Constable sale, Foster and Sons, London, lot 45 to Burton (probably acting for Constable's heirs); to the artist's son, Charles Golding Constable (b. 1821 - d. 1879); July 11, 1887, Constable sale, Christie's, London, lot 75 to Agnew's, London [see note 1]; July 12, 1888, sold by Agnew to William H. Fuller, New York [see note 2]; February 25, 1898, Fuller sale, American Art Association, New York, lot 20, to Mr. and Mrs. William Caleb Loring, Boston [see note 3]; 1930, bequeathed by Mr. and Mrs. Loring to the MFA. (Accession Date: November 6, 1930) NOTES: [1] According to back stretcher inscription, the painting was purchased at the C.G. Constable sale by Agnew at this time. [2] See Chicago, World's Columbian Exposition, 1893, Loan Collection of Foreign Masterpieces, no. 2883, lent by Fuller [3] Lent by Mr. and Mrs. Loring to exhibition of "Old Masters" at Copley Society, Boston, 1903, no. 10; later lent by the Lorings to the MFA in 1912, 1915, and 1918.

    Credit Line

    Bequest of Mr. and Mrs. William Caleb Loring

    Details

    Dimensions

    55.9 x 77.2 cm (22 x 30 3/8 in.)

    Accession Number

    30.731

    Medium or Technique

    Oil on canvas

    Not On View

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  • Henry Perkins Weston with his Family

    Unidentified artist, British, third quarter 18th century (British)

    Description

    Provenance

    About 1770, Henry Perkins Weston (d. 1826), West Horsley, Surrey, England (original commission); until 1931, by decent within the famliy to Charles Francis Russell Nugent Weston (d. 1950), West Horsley; 1931, sold by Weston to Ehrich Galleries, New York; November 20, 1931, Ehrich Galleries sale, American Art Association, New York, lot 48, to the MFA for $3000 [see note 1]. (Accession Date: December 3, 1931) NOTES: [1] Sold as painting by Johan Zoffany.

    Credit Line

    Ellen Page Hall Fund, William Alfred Paine Fund, Martha Silsbee Fund, Maria Antoinette Evans Fund, Eva Channing Fund, and Anne Lewis Renton Fund

    Details

    Dimensions

    91.1 x 114 cm (35 7/8 x 44 7/8 in.)

    Accession Number

    31.975

    Medium or Technique

    Oil on canvas

    Not On View

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  • Description

    Provenance

    Dr. William Hewson Baltzell; by 1933, Mrs. William Hewson Baltzell (Alice Cheney) (presumably by inheritance; widow of Baltzell); 1933, given in memory of Dr. William Hewson Baltzell by his wife, Alice Cheney Baltzell to the MFA. (Accession Date: January 5, 1933)

    Credit Line

    Given in memory of Dr. William Hewson Baltzell by his wife, Alice Cheney Baltzell

    Details

    Dimensions

    122.9 x 100 cm (48 3/8 x 39 3/8 in.)

    Accession Number

    33.19

    Medium or Technique

    Oil on canvas

    Not On View

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  • William Chafyn Grove (1731–1793)

    1779–80
    George Romney (English, 1734–1802)

    Description

    A lawyer, Grove entered London’s Middle Temple (essentially a law school) in 1750 and was called to the bar six years later. He was never famous, but Romney conveys a sense that he was a man of solid respectability and social comfort. Grove served as Member of Parliament for Shaftesbury between 1768 and 1774 and then for Weymouth and Melcombe Regis. He married his cousin, Elizabeth Grove, in October 1776; the couple had no children.

    Provenance

    By 1793, William Chafyn Grove (I), Zeals House, Wiltshire, England, UK (original commission, d. 1793); 1793-1832, Mrs. Elizabeth Grove, Zeals House, Wiltshire, England, UK (widow of William Chafyn Grove (I), by inheritance with house, d. 1832); 1832-1851, Chafyn Grove, Zeals House, Wiltshire, England, UK (by inheritance with house, d. 1851); 1851-?, William Chafyn Grove (II), Zeals House, Wiltshire, England, UK (by inheritance with house); by 1865, William Chafyn Grove (III), Zeals House, Wiltshire, England, UK (by inheritance with house, d. 1865); 1865-1891, Julia Elizabeth Chafyn Grove, Zeals House, Wiltshire, England, UK (by inheritance, sister of Grove, d. 1891); 1891-1913, George Troyte-Chafyn-Grove, Zeals House, Wiltshire, England, UK (by inheritance with house, d. 1913) [1]; 1913-1930, Lt. Col. Edward George Troyte-Bullock, Zeals House, Wiltshire, England, UK (by inheritance with house, d. 1942); July 18, 1930, (0088) Troyte-Bullock sale (Christie's) London; 1930, Martin buying for Frederick L. Jack (bought at Troyte-Bullock sale); 1930-1935, Frederick L. Jack (buying through Martin); 1935, gift of Jack. ( Accession Date: April 18, 1935) NOTES: [1] born Geo. Bullock, assumed about 1852 by Royal Licence surname of Troyte in addition to and before Bullock in conformity with the will of maternal relative, Rev. Edward Berkely Troyte, assumed Chafyn-Grove in lieu of Bullock in 1892

    Credit Line

    Gift of Frederick L. Jack

    Details

    Dimensions

    127 x 100.3 cm (50 x 39 1/2 in.)

    Accession Number

    35.1218

    Medium or Technique

    Oil on canvas

    On View

    Britain, 1750-1800 / Portraits (Gallery 141)

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  • The Paterson Children

    After Sir Henry Raeburn (Scottish, 1756–1823)

    Description

    After a painting at Polesden Lacey, Surrey

    Provenance

    By 1919, Agnew's (?), London, England, UK (original version of picture passed through Agnew's three times between 1913 and 1918, this version has not been identified in stock records [see note 1]). 1935, Frederick L. Jack; 1935, MFA (gift of Jack). (Accession Date: April 18, 1935) NOTES: [1] The original of this picture went through Agnew's as follows: February 5, 1913, Agnew's (from C. Patterson); May 26, 1913, Arthur Henderson (from Agnew's); November 6, 1913, Agnew's (from Arthur Henderson); February 4, 1914, L.R. Bevan (from Agnew's); January 15, 1917, Agnew's (from G.L. Bevan); March 13, 1918, Hon. Mrs. Ronald Greville (lived at Polesden Lacey, from Agnew's). The painting in Boston MFA is not found in Agnew's records from 1913 - 1920, so "Agnew's, 1919" might be referring to the original picture.

    Credit Line

    Gift of Frederick L. Jack

    Details

    Dimensions

    127.3 x 101 cm (50 1/8 x 39 3/4 in.)

    Accession Number

    35.1219

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Sir William Beechey

    Richard Rothwell (Irish, 1800–1868)

    Description

    Provenance

    Until at least 1907, by descent from the sitter to her granddaughter, Mrs. F.A. Hopkins [see note 1]. With Vose Galleries, Providence, RI and Boston. By 1935, Frederick L. Jack (from Vose Galleries?); 1935, MFA (gift of Jack). (Accession Date: April 18, 1935) NOTES: [1] See reference in W. Roberts, "Sir William Beechey R.A." (London: Duckworth and Co, 1907),189 (repr opp. 22): "by permission of Mrs. F.A. Hopkins."

    Credit Line

    Gift of Frederick L. Jack

    Details

    Dimensions

    78.1 x 63.2 cm (30 3/4 x 24 7/8 in.)

    Accession Number

    35.1220

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Man (said to be Humphrey Donaldson)

    Sir William Beechey (English, 1753–1839)

    Description

    Provenance

    Frederick Henry Alderton, Ipswich, Suffolk, England [see note 1]. Boston, MA. Ehrich Galleries (?), New York. By 1935, Vose Galleries, Providence, RI; 1935, Dr. Frederick Lafayette Jack; 1935, gift of Jack. (Accession Date: April, 18, 1935) NOTES: [1] according to letter of November 30, 1951 from Vose Galleries cited in MFA curatorial file.

    Credit Line

    Gift of Frederick L. Jack

    Details

    Dimensions

    76.8 x 64.1 cm (30 1/4 x 25 1/4 in.)

    Accession Number

    35.1221

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Barges on a River

    Peter De Wint (English, 1784–1849)

    Description

    Provenance

    By 1850, W. Vokins, London, England, UK; May 22, 1850, Vokins sale (Christie's) London (?) [bought in]. 1935, Miss Heloise E. Hersey; 1935, MFA (gift of Hersey estate). (Accession Date: October 2, 1935)

    Credit Line

    Gift of the Estate of Heloise E. Hersey

    Details

    Dimensions

    35.2 x 48.9 cm (13 7/8 x 19 1/4 in.)

    Accession Number

    35.1488

    Medium or Technique

    Oil on paperboard mounted on panel

    Not On View

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  • Description

    Inscription

    Center left: ANNO DNI. 154[...]; Center right: [...TA[...IS SVAE XXX[...]

    Provenance

    1540s-1583, Sir William Butts, London, England, UK (original commission, the sitter, d. 1583) [see note 1]; 1583-early 20th century, by inheritance to the Butts family; by inheritance to Capt. J.F. Anthony Butts; 1935, by inheritance to Mrs. Coleville Hyde and Anthony Butts [see note 2]; 1935, sold by Hyde and Butts to the MFA for $80,000 [see note 3]. (Accession Date: November 7, 1935) NOTES: [1] Lived at Somerset House, London, son of Sir William Butts, physician to Henry VIII, High Sheriff of Norfolk and Suffolk under Queen Elizabeth. [2] Mrs. Hyde was the widow of Capt. J.F. Butts, Anthony Butts was their son. [3] Accessioned as Hans Holbein the Younger. ADDITIONAL INFORMATION: The elder Sir William Butts had two portraits done by Holbein, one of which is in Isabella Stuart Gardner Museum, P21e1.

    Credit Line

    Charles Edward French Fund

    Details

    Dimensions

    74.6 x 60.3 cm (29 3/8 x 23 3/4 in.)

    Accession Number

    35.1751

    Medium or Technique

    Tempera and oil on panel

    Not On View

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  • Benjamin West

    Charles Robert Leslie (English, 1794–1859)

    Description

    Provenance

    About 1817, Benjamin West (?) (original commission); about 1817-about 1833, Otway Cave (?), (from West?) (information from back of picture, could not be documented, bought contents of West's studio); about 1833, Cave sale (?); about 1833, T.N. Wheelwright (?) (bought at Cave sale, information from back of picture, could not be documented). By 1878, Stephen Higginson Perkins; 1878, bequeathed by Stephen Higginson Perkins to the MFA [see note 1]; 1928, returned to Perkins' heirs; 1936, MFA (gift of Perkins' heirs). (Accession Date: July 7, 1936) NOTES: [1] reproduced in "MFA Catalogue of Paintings," 1921, p. 152, #438 (inventory number: 78.32).

    Credit Line

    Gift of the heirs of Stephen Higginson Perkins

    Details

    Dimensions

    79 x 63.5 cm (31 1/8 x 25 in.)

    Accession Number

    36.354

    Medium or Technique

    Oil on panel

    Not On View

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  • Gig Upsetting at the Races

    Attributed to Philippe Jacques de Loutherbourg II (French (Alsace, active in Britain), 1740–1812)

    Description

    Provenance

    1887, Anonymous sale, Boston, and bought by Charles E.Ware (d. 1887), Boston [as Hogarth]; 1887, by inheritance to Miss Mary Lee Ware, Boston; 1937, bequest of Ware. ( Accession Date: May 5, 1937)

    Credit Line

    Bequest of Mary Lee Ware

    Details

    Dimensions

    132.1 x 183.5 cm (52 x 72 1/4 in.)

    Accession Number

    37.469

    Medium or Technique

    Oil on canvas

    Not On View

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  • Man by a Woman's Bedside

    Henry Tonks (English, 1862–1937)

    Description

    Provenance

    By 1937, following artist's death, with C. H. Collins-Baker (executor of the artist's estate); 1937, gift of C. H. Collins-Baker. ( Accession Date: October 14, 1937)

    Credit Line

    Gift of C. H. Collins Baker

    Details

    Dimensions

    48.2 x 36.8 cm (19 x 14 1/2 in.)

    Accession Number

    37.627

    Medium or Technique

    Pastel on paper mounted on paper

    Not On View

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    Europe, Prints and Drawings

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  • Nude Woman Seated in a Landscape

    William Etty (English, 1787–1849)

    Description

    Provenance

    By 1937, Sir Edward Cunard, (b. 1891 - d. 1962), 5th Baronet of Bush Hill, Nova Scotia; 1937, sold by Cunard to Knoedler & Co., New York, (stock no. A 1942); 1938, sold by Knoedler & Co. to the MFA for $75. (Accession Date: January 13, 1938).

    Credit Line

    Frederick Brown Fund

    Details

    Dimensions

    58.1 x 48 cm (22 7/8 x 18 7/8 in.)

    Accession Number

    38.8

    Medium or Technique

    Oil on paperboard mounted on Masonite

    Not On View

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    Europe

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  • Les Petites Belges (Young Belgian Women)

    1906
    Walter Richard Sickert (English, 1860–1942)

    Description

    Best known for his dimly lit interior scenes of nude and clothed women, Walter Sickert was the leader of an Edwardian avant-garde group known as the Camden Town painters. Sickert had studied in Paris, and this composition betrays the influence of Edgar Degas, whose technically and psychologically complex pictures Sickert admired. He discovered his models for the scene, the Belgian sisters Jeanne and Hélène Daurmont, on a London street when he overheard them asking a policeman for directions in French.

    Inscription

    Lower left: Sickert

    Provenance

    By 1907, Bernheim-Jeune, Paris (stock no. 15532); 1908, sold by Bernheim-Jeune to Mrs. Sarah Choate Sears (b. 1858 - d. 1935), Boston; by descent from Mrs. Sears to an anonymous donor; 1938, anonymous gift to the MFA. (Accession Date: May 11, 1938)

    Credit Line

    Anonymous gift

    Details

    Dimensions

    51.1 x 41.0 cm (20 1/8 x 16 1/8 in.)

    Accession Number

    38.774

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Carolina

    1903–04
    Walter Richard Sickert (English, 1860–1942)

    Description

    Inscription

    Lower left: Sickert

    Provenance

    January 3, 1907, sold by the artist to Bernheim-Jeune, Paris (stock no. 15505); January 18, 1907, sold by Bernheim-Jeune to Mrs. Sarah Choate Sears (b. 1858 - d. 1935), Boston [see note 1]; by descent from Mrs. Sears to an anonymous donor; 1938, anonymous gift to the MFA. (Accession Date: May 11, 1938) NOTES: [1] The dates of Bernheim Jeune's acquisition and sale of this painting are taken from Wendy Baron, Sickert: Paintings and Drawings (New Haven and London: Yale University Press, 2006), p. 282, cat. no. 193, which clarifies that Mrs. Sears bought it through a Miss Swan.

    Credit Line

    Anonymous gift

    Details

    Dimensions

    46 x 38.1 cm (18 1/8 x 15 in.)

    Accession Number

    38.775

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Les Vénitiennes (Venetian Women)

    1903–04
    Walter Richard Sickert (English, 1860–1942)

    Description

    Inscription

    Lower left: Sickert

    Provenance

    December 8, 1906, sold by the artist to Bernheim-Jeune, Paris (stock no. 15275); January 18, 1907, sold by Bernheim-Jeune to Mrs. Sarah Choate Sears (b. 1858 - d. 1935), Boston [see note 1]; by descent from Mrs. Sears to an anonymous donor; 1938, anonymous gift to the MFA. (Accession Date: May 11, 1938) NOTES: [1] The dates of Bernheim Jeune's acquisition and sale of this painting are taken from Wendy Baron, Sickert: Paintings and Drawings (New Haven and London: Yale University Press, 2006), p. 295, cat. no. 213, which clarifies that Mrs. Sears bought it through a Miss Swan.

    Credit Line

    Anonymous gift

    Details

    Dimensions

    45.7 x 57.2 cm (18 x 22 1/2 in.)

    Accession Number

    38.776

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Girl in White Dress

    After Andrew Plimer (British, 1763–1837)

    Description

    Provenance

    1938, Nathaniel T. Kidder (1896-1938); 1938, bequest of Kidder. (Accession Date: October 13, 1939)

    Credit Line

    Bequest of Nathaniel T. Kidder

    Details

    Dimensions

    Framed: 6.4 x 5.6 cm (2 1/2 x 2 3/16 in.)

    Accession Number

    38.1404

    Not On View

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    Europe

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    Miniatures

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  • Mountain Village

    1926–29
    Paul Henry (Irish, 1876–1958)

    Description

    Inscription

    Lower right: PAUL HENRY

    Provenance

    1938, purchased in Dublin by Henry L. Shattuck, Boston [see note 1]; 1938, gift of Shattuck to the MFA. (Accession Date: November 17, 1938) NOTES: [1] According to a letter of February 28, 1939 in curatorial file, Shattuck purchased the picture in Dublin in the summer of 1938. Although we do not know exactly from whom he acquired the picture, a label on the reverse of the frame reads "Cambridge's Fine Arts Galleries, Dublin."

    Credit Line

    Gift of Henry L. Shattuck

    Copyright

    © Estate of Paul Henry, IVARO, Dublin, 2012.

    Details

    Dimensions

    29.8 x 35 cm (11 3/4 x 13 3/4 in.)

    Accession Number

    38.1550

    Medium or Technique

    Oil on canvasboard

    Not On View

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    Europe

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  • Landscape near Avignon

    Herbert Hughes-Stanton (English, 1870–1937)

    Description

    Inscription

    Lower left: Hughes-Stanton

    Provenance

    1939, G.E. Delbos, Grosse Pointe, MI; 1939, MFA, gift of Delbos. (Accession Date: June 8, 1939)

    Credit Line

    Gift of C. E. Delbos in memory of his mother

    Details

    Dimensions

    41 x 51.1 cm (16 1/8 x 20 1/8 in.)

    Accession Number

    39.604

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • La Croix-Blanche at Saint-Mammès

    1884
    Alfred Sisley (British (active in France), 1839–1899)

    Description

    While Monet and Renoir were gravitating towards the charismatic landscapes of the Atlantic coast and the French Riviera, Sisley continued to focus on his own less dramatic surroundings. This stretch of the Seine, about thirty-five miles outside Paris, allowed him to explore the effects of early spring light. At right stands the grand 17th-century manor La Croix-Blanche, but Sisley took more interest in rendering the blue shadows of bare trees along the shore than in the grand building that gave the painting its name.

    Inscription

    Lower right: Sisley. 84.

    Provenance

    1884, sold by the artist to Georges Petit, Paris [see note 1]. 1899, possibly with Durand-Ruel, Paris [see note 2]. By 1929, Hannah Marcy Edwards (d. 1929), Boston [see note 3]; 1929, by descent to her sister, Grace M. Edwards (d. 1938), Boston; 1939, bequest of Hannah Marcy Edwards to the MFA [see note 4]. (Accession Date: October 11, 1939) NOTES: [1] See François Daulte, "Alfred Sisley" (Paris, 1959), no. 509. [2] According to Daulte, 1959 (see above, n. 1), this was cat. no. 147 in the exhibition "Monet, Pissarro, Renoir, et Sisley," Durand-Ruel, Paris, April 1899. Daulte also identifies this painting with cat. no. 300 in the exhibition "Paintings by Boudin...Sisley," Grafton Galleries, London, January-February, 1905; notes in the MFA curatorial file suggest that the latter piece of information is incorrect. That the painting was included in the 1899 Durand-Ruel exhibition has not been confirmed. [3] According to notes in the MFA curatorial file, this picture may have entered Hannah Marcy Edwards's collection as early as 1917, but was certainly in her possession at the time of her death in 1929. [4] Siblings Robert (d. 1924), Hannah (d. 1929), and Grace (d. 1938) Edwards were each collectors of art, who seemed to have had joint ownership of the objects in their possession. When Robert died, he bequeathed his collection to the MFA in memory of their mother, Juliana Cheney Edwards. In 1925, after his death, part of his collection was acquired by the Museum, and the remainder went to his sisters, with the understanding that the objects would ultimately be left to the MFA in the collection begun in memory of their mother. The collections of Hannah and Grace were left to the MFA in 1939, following Grace's death. It is not always possible to determine exactly which paintings each sibling had owned.

    Credit Line

    Juliana Cheney Edwards Collection

    Details

    Dimensions

    65.4 x 92.4 cm (25 3/4 x 36 3/8 in.)

    Accession Number

    39.680

    Medium or Technique

    Oil on canvas

    On View

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

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    Europe

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  • Sir Charles William Doyle

    Margaret Carpenter (English, 1793–1872)

    Description

    Provenance

    1824, in the possession of the sitter, Sir Charles William Doyle, (b. 1770- d. 1842); until 1936, by descent within the family to John Dudley North, 13th Lord North (b. 1917- d. 1941), Wroxton Abbey, Banbury, Oxfordshire, England; 1936, John Levy Galleries, New York [see note 1]; by 1939, sold by John Levy Galleries to William de Krafft, New York, NY; 1939, sold by William de Krafft to the MFA for $1000. (Accession Date: December 14, 1939) NOTES: [1] See advertisement found in Art News, XXXV, No. 21, February 1937, Pg. 23.

    Credit Line

    Museum purchase with funds donated by William de Krafft

    Details

    Dimensions

    76.5 x 63.5 cm (30 1/8 x 25 in.)

    Accession Number

    39.795

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Carters with a Load of Slate

    about 1790
    George Morland (English, 1763–1804)

    Description

    As a young artist, Morland copied the work of such 17th-century Dutch painters as Adriaen van Ostade and Paulus Potter, whose rustic scenes of country inns and rural laborers likely inspired paintings like Carters with a Load of Slate. Morland was clearly fond of the natural world, and his compositions often feature a variety of animals. He is said to have kept goats, dogs, foxes, horses, squirrels, guinea pigs, and dormice in his garden in the early 1790s.

    Inscription

    Lower right: G. Morland pinxt

    Provenance

    1940, Miss Amelia Peabody, Boston; 1940, gift of Miss Amelia Peabody. (Accession date: October 10, 1940)

    Credit Line

    Gift of Miss Amelia Peabody

    Details

    Dimensions

    99.4 x 127.6 cm (39 1/8 x 50 1/4 in.)

    Accession Number

    40.589

    Medium or Technique

    Oil on canvas

    On View

    Alan and Simone Hartman Galleries (Gallery 241)

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    Europe

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  • Hope

    1896
    Sir Edward Coley Burne-Jones (English, 1833–1898)

    Description

    Hope, one of the three theological Virtues, is symbolized here as a prisoner chained indoors, holding a branch of apple blossoms and reaching upward to pull the blue sky down toward her. The slender, vertical format of this painting recalls the fact that many of Burne-Jones’s designs were successfully translated into stained-glass windows and textiles. Burne-Jones painted this work for Mrs. Whitin, of Whitinsville, Massachusetts. He had previously worked on a large watercolor version of the same subject.

    Inscription

    Lower right: E:BURNE:JONES: / Finished 1896:

    Provenance

    1896, Mrs. George Marston Whitin (Catharine Whitin Lasell) (b. 1856), Whitinsville, MA (original commission) [see note 1]; by descent to her daughters, Mrs. Laurence Murray Keeler (Elizabeth Klock Whitin, b. 1880), Mrs. Sydney Russell Mason (Elsa Whitin, b. 1884), Mrs. Elijah Kent Swift (Katharine Leland Whitin, b. 1887), and Mrs. William Carey Crane (Lois Haven Whitin, b. 1896), Whitinsville; 1940, gift of Mrs. Laurence Murray Keeler, Mrs. Sydney Russell Mason, Mrs. Elijah Kent Swift and Mrs. William Carey Crane to the MFA. (Accession Date: November 14, 1940) NOTES: [1] Edward Burne-Jones had been commissioned by Mrs. Whitin, through Christine Barrington, an intermediary, to paint a dancing figure. A letter from Ms. Barrington to Mrs. Whitin (July 29, 1896; typed transcript in the MFA curatorial file) indicates that by mid-1896, work on the commission was proceeding poorly. She wrote: "This picture that he is at now is the figure of 'Hope' (oils of course) 'a girl [I quote from him now] in prison, reaching up one hand, and pulling the blue sky down to her. Flowers are springing up between the stone flags of her cell, and a branch of apple tree is in full blossom in her other hand. Will you let me know if this will be liked, and I will go on with it quickly, and undertake to finish it within the year.' " A letter from Ms. Barrington to Mrs. Whitin (September 9, 1896) confirms her acceptance of his offer for the painting of Hope; correspondence from 1897 between Mrs. Whitin and the artist discusses shipment and payment.

    Credit Line

    Given in memory of Mrs. George Marston Whitin by her four daughters, Mrs. Laurence Murray Keeler, Mrs. Sydney Russell Mason, Mrs. Elijah Kent Swift and Mrs. William Carey Crane

    Details

    Dimensions

    179 x 63.5 cm (70 1/2 x 25 in.)

    Accession Number

    40.778

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Chief Justice Peter Oliver

    Richard Wilson (of Birmingham) (British, 1752–1807)

    Description

    Inscription

    Center left, on letter: Miss Betsy Watson / Plimouth. Lower right, on base of column: R. Wilson Pix.

    Provenance

    By 1783, Mrs. Elisha Hutchinson (Mary Watson), Birmingham, England (granddaughter of sitter). Mrs. Martin Brimmer (Sarah Watson), Milton, MA (possibly from Hutchinson); Brimmer family (by inheritance); by c.1896, Mr. and Mrs. Martin Brimmer (Mary Ann Timmins), Boston (probably by inheritance); 1896 Mrs. Martin Brimmer (Mary Ann Timmins), Boston (by inheritance); by 1929-1941 Mrs. W. Austin Wadsworth (Elizabeth Wadsworth), Geneseo, NY (probably by inheritance; niece of Brimmer); 1941, gift of Wadsworth. (Accession Date: January 9, 1941)

    Credit Line

    Gift of Mrs. W. Austin Wadsworth

    Details

    Dimensions

    75.9 x 52.1 cm (29 7/8 x 20 1/2 in.)

    Accession Number

    41.10

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Woman and Flowers

    1868
    Sir Lawrence Alma-Tadema (Dutch (active in England), 1836–1912)

    Description

    In many paintings, Alma-Tadema infused the stylistic elements of northern European scenes of daily life with the contemporary Victorian interest in classical antiquity (the artist kept 168 volumes of photographs of Greek and Roman antiquities). Here, Alma-Tadema depicted a woman in classical dress leaning on a Pompeian bronze table, the model for which is now in the archaeological museum in Naples. The artist’s detailed treatment of flowers, jewelry, and textiles helps to create a sensuous and highly exotic mood.

    Inscription

    Center left, on table edge: L. ALMA-TADEMA 1868

    Provenance

    By 1872, Thomas Wigglesworth (b. 1814 - d. 1906 or 1907), Boston [see note 1]; by descent to his niece, Henrietta Goddard Wigglesworth (Mrs. W. Scott Fitz) (b. 1847 - d. 1927), Boston; by descent to her son, Edward Jackson Holmes (b. 1873 - d. 1950), Boston; 1941, gift of Edward Jackson Holmes to the MFA. (Accession Date: March 13, 1941) NOTES: [1] He first lent the painting to the Boston Athenaeum in 1872 ("The Roman Lady," cat. no. 158).

    Credit Line

    Gift of Edward Jackson Holmes

    Details

    Dimensions

    49.8 x 37.2 cm (19 5/8 x 14 5/8 in.)

    Accession Number

    41.117

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • Ghosts of Georgian London

    Nora Wydenbruck (British, born in 1894)

    Description

    Provenance

    By 1941, collection of Mrs. R. M. Saltonstal, Chestnut Hill, MA; 1941, gift of Mrs. R. M. Saltonstall. (Accession date: December 11, 1941)

    Credit Line

    Gift of Mrs. R. M. Saltonstall

    Details

    Dimensions

    25.4 x 35.6 cm (10 x 14 in.)

    Accession Number

    41.858

    Medium or Technique

    Pastel

    Not On View

    Collections

    Contemporary Art, Europe, Prints and Drawings

    Classifications

    Pastels

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  • Waterloo Bridge, London

    Duncan James Grant (English, 1885–1978)

    Description

    Provenance

    1939 (possibly), Agnew, London; 1939, acquired by Leger, London, from Agnew; 1939, acquired by Alastair Hunter, London, from Leger; 1943, American British Art Center, New York; 1943, gift from the American British Art Center to the MFA. (Accession Date: January 14, 1943)

    Credit Line

    Gift of the American Academy and National Institute of Arts and Letters Fund, American British Art Center

    Details

    Dimensions

    40.6 x 55.2 cm (16 x 21 3/4 in.)

    Accession Number

    43.2

    Medium or Technique

    Oil on paperboard

    Not On View

    Collections

    Contemporary Art, Europe

    Classifications

    Paintings

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  • Robert Devereux, 2nd Earl of Essex, as a Knight of the Garter

    Attributed to Sir William Segar (English, active by 1589, died in 1633)

    Description

    Provenance

    Stephens family, Chavenage, Tetbury, Gloucestershire, England; from Stephens to relative of Mrs. Albion Dyer Wilde; 1944, by intertiance to Mrs. Albion Dyer Wilde, Canton Junction, MA and her sister, Miss Helen Elizabeth Endicott; 1944, gift of Wilde and Endicott. (Accession Date: June 8, 1944)

    Credit Line

    Gift of Miss Helen Elizabeth Endicott and Mrs. Albion Dyer Wilde

    Details

    Dimensions

    113.3 x 86.4 cm (44 5/8 x 34 in.)

    Accession Number

    44.621

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • Waterworks at Marly

    about 1876
    Alfred Sisley (British (active in France), 1839–1899)

    Description

    Sisley likely painted this view of a pumping station on the Seine in the fall of 1876. At left, a modern brick building, constructed in 1850, houses the pump, while bright foliage fills the right background. A lone figure fishes off the dock in the middle distance. The true subject of Sisley’s picture is the river itself, which reflects the cloudy sky, the autumn leaves, the docks, and waterworks in its glittering, moving surface.

    Inscription

    Lower left: Sisley

    Provenance

    Durand-Ruel, Paris and New York [see note 1]. By about 1915, William Simes (b. about 1844 - d. 1927), Boston [see note 2]; by descent to his daughter, Olive Simes (b. 1882 - d. 1971), Boston; 1945, gift of Miss Olive Simes to the MFA. (Accession Date: September 6, 1945) NOTES: [1] See François Daulte, "Alfred Sisley: catalogue raisonné de l'oeuvre peint" (Lausanne, 1959), cat. no. 216. [2] In a letter from Olive Simes to the MFA (September 12, 1945; in MFA curatorial file), she writes of the painting that "my father, William Simes, bought it at least thirty years ago, but I do not remember where."

    Credit Line

    Gift of Miss Olive Simes

    Details

    Dimensions

    46.5 x 61.8 cm (18 5/16 x 24 5/16 in.)

    Accession Number

    45.662

    Medium or Technique

    Oil on canvas

    On View

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

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    Europe

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  • A Glade

    about 1845–55
    Lionel Bicknell Constable (British, 1828–1887)

    Description

    Provenance

    By 1946, John Mitchell Fine Paintings, New York; 1946, sold by John Mitchell to MFA for $1350 [see note 1]. (Accession Date: May 9, 1946). NOTES: [1] Accessioned as a work by John Constable, but later attributed to his son, Lionel Bicknell Constable.

    Credit Line

    Warren Collection—William Wilkins Warren Fund

    Details

    Dimensions

    24.5 x 30.2 cm (9 5/8 x 11 7/8 in.)

    Accession Number

    46.398

    Medium or Technique

    Oil on paper mounted on canvas

    Not On View

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    Europe

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  • Portrait of a Young Woman (The Debutante)

    Ethel Walker (English, 1861–1951)

    Description

    Provenance

    By 1947, American British Art Center; 1947, gift of American British Art Center. (Accession Date: May 23, 1947)

    Credit Line

    Gift of the American Academy and National Institute of Arts and Letters Fund, American British Art Center

    Details

    Dimensions

    60.6 x 50.8 cm (23 7/8 x 20 in.)

    Accession Number

    47.1056

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Stour Valley and Dedham Church

    about 1815
    John Constable (English, 1776–1837)

    Description

    Constable’s varied brushstrokes capture the light and weather of the English landscape, the textures of earth and foliage. He was the son of a miller, and his images of his native Suffolk often record the activities of the agricultural year. This down-to-earth scene shows manure being taken from a dung heap to be spread over the fields after harvest. The painting was commissioned as a wedding present for a bride who, like Constable, had grown up in this area.

    Provenance

    1815, Thomas Fitzhugh (b. 1770 - d. 1856), Old Hall, East Bergholt, Suffolk, England, for his wife, Philadelphia Godfrey Fitzhugh (d. 1869) (original commission) [see note 1]. About 1880/1900, James McLean [see note 2]; by descent to his daughter, Alice T. McLean; sold by Alice McLean to John Mitchell, New York; 1948, sold by Mitchell to the MFA for $16,250. (Accession Date: March 11, 1948) NOTES: [1] See R. B. Beckett, "A Constable of 1814-15," Burlington Magazine, January 1956, p. 18. On October 25, 1814, Constable wrote in a letter to his future wife, Maria Bicknell: "I have almost done a picture of 'The Valley' for Mr. Fitzhugh (a present for Miss G to contemplate in London)...." Philadelphia Godfrey married Thomas Fitzhugh on November 11, 1814. On June 30, 1815, Constable wrote again to Miss Bicknell, "I am now going to send home Mrs. Fitzhugh's picture of Dedham." [2] According to John Mitchell, in a letter to to W.G. Constable of the MFA (February 17, 1948), James McClean purchased the painting "fifty to sixty-five years ago" in England.

    Credit Line

    Warren Collection—William Wilkins Warren Fund

    Details

    Dimensions

    55.6 x 77.8 cm (21 7/8 x 30 5/8 in.)

    Accession Number

    48.266

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Benjamin Vaughan

    1768
    Francis Cotes (English, 1726–1770)

    Description

    Inscription

    Center left: F Cotes pxt. 1768 (F and C joined)

    Provenance

    1768, Benjamin Vaughan (b. 1713 - d. 1786) and Hannah Halfhide Vaughan (b. 1707 - d. 1787), Great Parndon, Sussex, England (original commission) [see note 1]; by descent within the family; 1900/05, sold by a member of the Vaughan family, England, to Benjamin Vaughan (b. 1837 - d. 1912), Cambridge, MA [see note 2]; by descent to his daughter, Bertha H. Vaughan, (b. 1866 - d. 1948), Cambridge, MA; 1948, by inheritance to Samuel Vaughan, Boston, and Mrs. Mary Vaughan Marvin, New York; 1948, gift of Samuel Vaughan and Mary Vaughan Marvin to the MFA. (Accession Date: March 11, 1948) NOTES: [1] The sitter, Benjamin Vaughan, a scrivener and ship broker of Ballyhoe, Tipperary, England, married Hannah Halfhide in 1736. Her portrait, also by Francis Cotes, came to the MFA along with her husband's. Both are buried in Great Pardon, Essex, England, according to the family's Bible and documents. [2] The name of the descendant who sold the paintings to Benjamin Vaughan was "Hyne-Hancock" or "Vaughan-Arbuckle" from the English line of the family. The donors are direct descendents of the sitter's brother, Samuel Vaughan, according to their letter to the MFA.

    Credit Line

    Gift of Samuel Vaughan and Mary Vaughan Marvin

    Details

    Dimensions

    127 x 101.9 cm (50 x 40 1/8 in.)

    Accession Number

    48.277

    Medium or Technique

    Oil on canvas

    On View

    Britain, 1750-1800 / Portraits (Gallery 141)

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  • Hannah Vaughan

    1766
    Francis Cotes (English, 1726–1770)

    Description

    Cotes painted paired portraits of Benjamin Vaughan, a London scribe and ship insurer, and Hannah Halfhide thirty-two years after their marriage. He sits holding a large tome, marked “Ledger,” on his splayed legs—a reminder that he was a practical man of business. Hannah appears wistful and lost in thought. Cotes lavished enormous attention on the materials of her beautiful costume. The artist’s bright palette of intense greens, pinks, and creamy whites owes a great deal to his early training with the colored chalks called pastels.

    Inscription

    Center left: F Cotes px [...] 1766. (Fand C joined)

    Provenance

    1766, Benjamin Vaughan (b. 1713 - d. 1786), and Hannah Halfhide Vaughan (b. 1707 - d. 1787), Great Parndon, Sussex, England (original commission) [see note 1]; by descent within the family; 1900/05, sold by a member of the Vaughan family, England, to Benjamin Vaughan (b. 1837 - d. 1912), Cambridge, MA [see note 2]; by descent to his daughter, Bertha H. Vaughan (b. 1866 - d. 1948), Cambridge, MA; 1948, by inheritance to Samuel Vaughan, Boston, and Mrs. Mary Vaughan Marvin, New York; 1948, gift of Samuel Vaughan and Mary Vaughan Marvin to the MFA. (Accession Date: March 11, 1948) NOTES: [1] The sitter, Hannah Halfhide, married Benjamin Vaughan, a scrivener and ship broker of Ballyhoe, Tipperary, England, in 1736. His portrait, also by Francis Cotes, came to the MFA along with his wife's. Both are buried in Great Pardon, Essex, England, according to the family's Bible and documents. [2] The name of the descendant who sold the paintings to Benjamin Vaughan was "Hyne-Hancock" or "Vaughan-Arbuckle" from the English line of the family. The donors are direct descendents of the sitter's brother, Samuel Vaughan, according to their letter to the MFA.

    Credit Line

    Gift of Samuel Vaughan and Mary Vaughan Marvin

    Details

    Dimensions

    127.6 x 101.9 cm (50 1/4 x 40 1/8 in.)

    Accession Number

    48.278

    Medium or Technique

    Oil on canvas

    On View

    Britain, 1750-1800 / Portraits (Gallery 141)

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    Europe

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  • Portrait of a Woman

    1631
    Cornelis Jonson van Ceulen, the Elder (English (active in Holland), 1593–1661)

    Description

    Inscription

    Lower right: C. J. fecit / 1631

    Provenance

    Possibly Dowdeswell and Dowdeswell, Ltd., London [see note 1]. 1910, A. S. Drey, Munich; September, 1910, sold by Drey to Delia Spencer (Mrs. Marshall) Field (b. 1854 - d. 1937), Paris and Washington, D.C.; by inheritance to her niece, Catherine Spencer (Mrs. Albert J.) Beveridge, Beverly Farms, MA; 1948, gift of Mrs. Albert J. Beveridge to the MFA. (Accession Date: June 3, 1948) NOTES: [1] The Dowdeswell archives were said to have recorded a 1631 portrait of a woman on panel, signed and dated by Cornelis Jonson, measuring 16 x 13 inches. See A. J. Finberg, "A Chronological List of Portraits by Cornelis Jonson," Walpole Society 10 (1922), p. 21.

    Credit Line

    Gift of Mrs. Albert J. Beveridge in memory of Delia Spencer Field

    Details

    Dimensions

    43.2 x 33 cm (17 x 13 in.)

    Accession Number

    48.504

    Medium or Technique

    Oil on panel

    Not On View

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  • Canadian Soldier

    1917
    Augustus Edwin John (Welsh, 1878–1961)

    Description

    Inscription

    Upper right: John / 1917

    Provenance

    By 1920, Mrs. Kemnelley (perhaps Kennedy?), London. [see note 1]. By 1939, John Taylor Spaulding, Boston, MA [see note 2]; 1948, bequeathed by Spaulding to the MFA. (Accession Date: June 3, 1948) NOTES: [1] according to sticker on the reverse of the painting, it was lent by her to exhibition at Chenil Galleries, Chelsea, London, March 1920. [2] according to notes in curatorial file, W.G. Constable of the MFA saw this painting in Spaulding's apartment in 1939.

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    58.4 x 43.2 cm (23 x 17 in.)

    Accession Number

    48.566

    Medium or Technique

    Oil on canvas

    Not On View

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  • Summer Afternoon (Artist in his Studio with a Model)

    about 1913
    Sir William Orpen (Irish (active in England), 1878–1931)

    Description

    Orpen studied in Dublin and then at London’s Slade School, becoming one of the most successful, and most honored, portrait painters of his generation. Here, in one of his numerous forays into self-portraiture, Orpen (who was known for his wit and humor) depicts himself at work in his Chelsea studio, gesturing mock-heroically as his model yawns.

    Inscription

    Lower right: O R P E N

    Provenance

    1920, Mrs. John F. Carroll; February 5, 1920, sold at Carroll sale, Anderson Galleries, New York, no. 112, and bought by 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

    96.5 x 86.4 cm (38 x 34 in.)

    Accession Number

    48.582

    Medium or Technique

    Oil on canvas

    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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  • Portrait of a Man Seated in an Armchair (said to be William Fairlie)

    about 1795
    Sir Henry Raeburn (Scottish, 1756–1823)

    Description

    Unlike his fellow Scot, Allan Ramsay, Sir Henry Raeburn worked exclusively in Scotland. He lacked traditional training in draftsmanship, but his vigorous, sympathetic, and direct portraits are deftly painted with broad and thick brushstrokes. His works often feature seated male sitters.

    Provenance

    James Fairlie, Holms, Kilmarnock, Strathclyde, England (original commission; brother of William Fairlie; d. 1819); 1819, by inheritance to Fairlie-Cuninghame families; sold by family to Thomas Agnew & Sons, London; 1911, sold by Agnew's to Marczell von Nemes, Budapest, Magyarorszag. By 1915, with the Ehrich Galleries, New York [see note 1]; March 21, 1916, sold by the Ehrich Galleries to John Taylor Spaulding, Boston, MA (d. 1948); 1948, bequest of Spaulding. (Accession Date: June 3, 1948) NOTES: [1] March 22-April 10, 1915, this picture was exhibited at the Ehrich Galleries, "Exhibition of Paintings by Gainsborough, Reynolds, Raeburn," New York.

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    127 x 101.6 cm (50 x 40 in.)

    Accession Number

    48.590

    Medium or Technique

    Oil on canvas

    On View

    Britain, 1750-1800 / Portraits (Gallery 141)

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  • Early Snow at Louveciennes

    about 1870–71
    Alfred Sisley (British (active in France), 1839–1899)

    Description

    Louveciennes was one of the riverside towns northwest of Paris most closely associated with the Impressionist movement. Sisley moved there in 1871 after his home and studio in the neighboring town of Bougival were sacked by advancing Prussian troops. Representing snowy rooftops, smoking chimneys, and trudging pedestrians, this scene evokes the chilly atmosphere of rural France in the année terrible (terrible year) of the Franco-Prussian War.

    Inscription

    Lower right: A. Sisley

    Provenance

    By 1892, M. Picq-Véron, Ermont-Eaubonne, France [see note 1]; June 25, 1892, sold by Picq-Véron to Durand-Ruel, Paris (stock no. 2389); October 25, 1897, sold by Durand-Ruel to Hugo von Tschudi for the National Gallery, Berlin [see note 2]; 1936, exchanged by the National Gallery, Berlin, with Fritz Nathan, Galerie Nathan, St. Gallen, Switzerland; sold by Nathan, through Walter Feilchenfeldt, to Paul Rosenberg, Paris [see note 3]. 1937, with Raphael Gérard, Paris [see note 4]. 1939, Arthur Tooth and Sons, London; May 19, 1939, sold by Tooth 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. Picq-Véron was a prominent collector of Sisley's work. [2] See letters of December 9, 1967 and January 31, 1968 from Charles Durand-Ruel to Lucretia Geise of the MFA in curatorial files. Mr. von Tschudi was a close friend of the Durand-Ruel family, as well as an avid collector of Impressionist painting. He served as Director of the National Gallery, Berlin from 1896 to 1909. [3] The Sisley was one of five paintings deaccessioned by the National Gallery and exchanged with dealer Fritz Nathan for Caspar David Friedrich's "Man and Woman Looking at the Moon." See Manet bis Van Gogh: Hugo von Tschudi und der Kampf um die Moderne (Berlin: Nationalgalerie, 1996), p. 106, cat. no. 32 and Esther Tisa Francini et al., Fluchtgut-Raubgut (Zurich, 2001), pp. 112-113. The latter source cites information from Fritz Nathan's son Peter, according to whom the Sisley was sold by his father to Paul Rosenberg, who then gave the painting to the MFA. This is at least partially incorrect, as the painting came to the MFA in the bequest of John Taylor Spaulding, who had purchased it from Tooth. Fritz Nathan did however state that he sold the painting through Feilchenfeldt to Rosenberg; see his Erinnerungen aus meinem Leben (Zurich, 1965), p. 90. At the time Spaulding purchased it from Tooth, it was planned for inclusion in a Sisley exhibition to be held at Paul Rosenberg's gallery in Paris in the spring of 1939, but whether Rosenberg continued to hold any ownership in the work at that time is not known. [4] According to D. Corcoran of Reid and Lefevre (letter to the MFA, October 9, 1967), Gérard lent the painting to the exhibition "Pissarro and Sisley," Reid and Lefevre Gallery, London, January 1937, cat. no. 15. Whether Gérard owned it at this time is not certain. A letter from Dudley Tooth of Tooth and Sons (May 20, 1939) says that the painting "passed into my hands by the dealer who made the exchange" with the National Gallery in Berlin.

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    54.9 x 73.7 cm (21 5/8 x 29 in.)

    Accession Number

    48.600

    Medium or Technique

    Oil on canvas

    On View

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

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  • Grapes and Walnuts on a Table

    1876
    Alfred Sisley (British (active in France), 1839–1899)

    Description

    It was likely at Monet’s suggestion that Sisley undertook this still life—one of just nine he ever painted. With its inventory of fruit, plate, walnuts, knife, and nutcracker, the modest composition exhibits all the hallmarks of an Impressionist picture, painted from life and in natural light. Ranged across the snowy expanse of the tablecloth—its topography of creases rendered with brisk strokes of blue and white—these objects almost take on the character of a landscape, Sisley’s more accustomed genre.

    Inscription

    Lower left: Sisley

    Provenance

    October 1, 1881, sold by the artist to Durand-Ruel, Paris [see note 1]; February 6, 1925, sold by Durand-Ruel to John Taylor Spaulding (b. 1870 - d. 1948), Boston; 1948, bequest of Spaulding to the MFA. (Accession Date: June 3, 1948) NOTES: [1] According to a November 11, 1924 letter to Spaulding from E.C. Holston, (his Durand-Ruel, New York representative), Mr. Paul Durand-Ruel (b. 1831 - d. 1932) purchased the painting about fifty years prior and kept it in his private collection throughout his life.

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    38.1 x 55.2 cm (15 x 21 3/4 in.)

    Accession Number

    48.601

    Medium or Technique

    Oil on canvas

    Not On View

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  • Catherine of Aragon

    Attributed to Joannes Corvus (Jan Rav) (Flemish (active in England, 1512), died after 1544)

    Description

    Provenance

    By 1948, Elizabeth Day McCormick; 1948, gift of McCormick. (Accession Date: October 5, 1948)

    Credit Line

    The Elizabeth Day McCormick Collection

    Details

    Dimensions

    58.1 x 45.7 cm (22 7/8 x 18 in.)

    Accession Number

    48.1142

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • Lion and Lioness

    1771
    George Stubbs (English, 1724–1806)

    Description

    Stubbs began his career as a portraitist and an anatomical illustrator, becoming widely renowned with the publication of The Anatomy of the Horse (1766). His aptitude for rendering the physical structure of animals is evident in the muscular haunches of this lioness. Natural phenomena were both an object of study and a source of awe for eighteenth-century artists and scientists, who endeavored to describe the natural world, master its complexity, and convey its sublime power. By manipulating setting, light, and color, Stubbs gives his realistic representation of the lions, plants, and trees an eerie and fantastic quality.

    Inscription

    Lower center: Geo Stubbs / pinxit. 1771

    Provenance

    Sir Reginald William Proctor-Beauchamp, 5th Bart. (b. 1853 - d. 1912), Langley Park, Norfolk; 1912, by inheritance to Sheila Ginevra Hilda Mary Beauchamp (Mrs. Hermon Barker-Hahlo) (d. 1953), The Cottage, Bergh Apton, Norwich, Norfolk; May 31, 1946, Beauchamp sale, Christie's, London, lot 60, to Agnew's, London. 1949, Durlacher Brothers, New York; 1949, sold by Durlacher Brothers to the MFA for $3400. (Accession Date: January 13, 1949)

    Credit Line

    M. Theresa B. Hopkins Fund

    Details

    Dimensions

    102.9 x 127.6 cm (40 1/2 x 50 1/4 in.)

    Accession Number

    49.6

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 246)

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  • Landscape with Milkmaids and Cattle

    Gainsborough Dupont (English, 1754–1797), After Thomas Gainsborough (English, 1727–1788)

    Description

    After a painting in the Cincinnati Institute of Fine Arts

    Provenance

    Possibly with Richard Brinsley Sheridan [see note 1]. By 1844, Henry Pelham Pelham-Clinton, (b. 1785 - d. 1851), 4th Duke of Newcastle-under-Lyme, Clumber Park, Nottinghamshire; by descent within the family to Henry Edward Hugh Pelham-Clinton-Hope, (b. 1907 - d. 1988), 9th Duke of Newcastle-under-Lyme, Earl of Lincoln [see note 2]; June 4, 1937, Christie's Earl of Lincoln Sale, London, lot 32 to Vicars Brothers, Ltd., London, for £3150 for Bernard Eckstein, 2nd Bart., Oldlands Hall, Fairwarp, Uckfield, Sussex [see note 3]; December 8, 1948, Eckstein estate sale, Sotheby's London, lot 71, sold to Frost and Reed, London; 1949, probably sold by Frost and Reed to John Mitchell Chapman, Santa Monica, CA; 1949, sold by Chapman to MFA for $20,190. (Accession Date: June 29, 1949). NOTES: [1] As suggested by Ellis K. Waterhouse, (National Gallery of Scotland), this was the painting "Return from Milking" lent by Richard Brinsley Sheridan to the British Institution in 1814, but this has not been confirmed. (February 25, 1949 letter to John Mitchell Chapman). [2] The nephew of Henry Pelham Archibald Douglas Pelham-Clinton, 7th Duke of Newcastle, who inherited painting and Earldom. [3] According to annotation in sale catalogue.

    Credit Line

    Juliana Cheney Edwards Collection

    Details

    Dimensions

    121.3 x 147 cm (47 3/4 x 57 7/8 in.)

    Accession Number

    49.553

    Medium or Technique

    Oil on canvas

    Not On View

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  • Inspiration of an Artist

    Gerard Soest (Westphalian (active in Britain), about 1600–1680)

    Description

    Provenance

    Sold at Christie's, London, February 27, 1948, and bought by Thomas Agnew & Sons, Ltd.; 1949, sold by Agnew to the MFA for $1543. (Accession Date: November 14, 1949)

    Credit Line

    Ernest Wadsworth Longfellow Fund

    Details

    Dimensions

    111.5 x 142.5 cm (43 7/8 x 56 1/8 in.)

    Accession Number

    49.1707

    Medium or Technique

    Oil on canvas

    Not On View

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  • High Spring Tide, Cork

    1939
    Jack Butler Yeats (Irish, 1871–1957)

    Description

    Inscription

    Upper right: Jack B Yeats.

    Provenance

    1950, from the artist to Henry L. Shattuck, Boston; 1950, gift of Henry L. Shattuck to the MFA. (Accession Date: October 18, 1950)

    Credit Line

    Gift of Henry L. Shattuck

    Copyright

    © 2011 Artists Rights Society (ARS), New York / DACS, London.

    Details

    Dimensions

    91.4 x 121.9 cm (36 x 48 in.)

    Accession Number

    50.3414

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Exposition of the Talmud

    1904
    Sir William Rothenstein (English, 1872–1945)

    Description

    Inscription

    Lower left: W.R. 1904

    Provenance

    By 1950, to artist's daughter, Mrs. E.F. Hesslein; 1950, gift of Hesslein. (Accession date: November 9, 1950)

    Credit Line

    Gift of Mrs. E. F. Hesslein

    Details

    Dimensions

    114.9 x 145.1 cm (45 1/4 x 57 1/8 in.)

    Accession Number

    50.3435

    Medium or Technique

    Oil on canvas

    Not On View

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  • Hou Qua

    Unidentified artist, Chinese, Follower of George Chinnery (British (active in India and Canton), 1774–1852)

    Description

    Provenance

    About 1858, Daniel Nicolson Spooner (original commission); by descent within the family to the painting's donors; 1950, gift of Mrs. Thomas Motley, Mrs. William Jason Mixter, Mrs. George B. Dabney, Henry H. Fay, Frederick L. Dabney, and Thomas N. Dabney to the MFA. (Accession date: December 14, 1950)

    Credit Line

    Gift of Mrs. Thomas Motley, Mrs. William Jason Mixter, Mrs. George B. Dabney, Henry H. Fay, Frederick L. Dabney, and Thomas N. Dabney in memory of Daniel N. and Elizabeth E. Spooner

    Details

    Dimensions

    74.9 x 55.9 cm (29 1/2 x 22 in.)

    Accession Number

    50.3792

    Medium or Technique

    Oil on canvas

    Not On View

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    Asia, Europe

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  • River Landscape with a Boy Fishing (On the Arno)

    Richard Wilson (Welsh (active in England and Italy), 1714–1782)

    Description

    Provenance

    1895, James Price (?); June 15, 1895, sold at Price Sale, Christie's London, no. 67, and bought by Wallace (or Wallis ?). By 1920, George Harland-Peck, London; June 25, 1920, Harland-Peck sale at Christie's, London, no. 146, and bought by William B. Paterson; 1920, William K. Richardson (buying through Paterson); 1951, bequest of Richardson. (Accession date: March 8, 1951)

    Credit Line

    Bequest of William K. Richardson

    Details

    Dimensions

    101.9 x 127.6 cm (40 1/8 x 50 1/4 in.)

    Accession Number

    51.449

    Medium or Technique

    Oil on canvas

    Not On View

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  • Miss Mary Tunaley

    1790–3
    Joseph Wright of Derby (English, 1734–1797)

    Description

    According to family tradition, the sitter, Mary Tunaley, was a particular favorite of Joseph Wright, who in the early 1790s lived near the Tunaley family in Derby, England. She eventually came to Boston with her husband, Francis Boott, a partner in the trading firm Boott & Farrow and cousin to Kirk Boott, who helped establish the earliest textile mills in Lowell, north of Boston. Mary was the great-grandmother of Guy Lowell, architect of the MFA’s 1909 building, whose wife gave the painting to the Museum.

    Provenance

    Believed to have passed by descent from the sitter, Mary Tunaley Boott, through the Boott family, to Guy Lowell (b. 1870 - d. 1927) and his wife, Henrietta Sargent Lowell (b. 1874 - d. 1953), Brookline, MA [see note]; 1951, gift of Mrs. Guy Lowell to the MFA. (Accession Date: June 14, 1951) NOTE: Mrs. Lowell lent the painting to the MFA in 1937 and 1945. Guy Lowell's mother, Mary Wolcott Goodrich, was the daughter of Samuel Griswold Goodrich (b. 1793 - d. 1860) and his wife Mary Boott Goodrich (b. 1806 - d. 1868), the daughter of Francis and Mary Tunaley Boott.

    Credit Line

    Gift of Mrs. Guy Lowell

    Details

    Dimensions

    77.2 x 64.1 cm (30 3/8 x 25 1/4 in.)

    Accession Number

    51.1528

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Towards the Sea, near Sanary, France

    Herbert Herman Newton (British, 1881–1959)

    Description

    Provenance

    1953, gift of Mrs. C. I. Stralem, Pleasantville and New York, N.Y. (Accession date: November 4, 1953)

    Credit Line

    Gift of Mrs. C. I. Stralem

    Details

    Dimensions

    40.64 x 60.96 cm (16 x 24 in.)

    Accession Number

    53.2373

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Contemporary Art, Europe

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  • Haymaker and Sleeping Girl

    Mushroom Girl

    late 1780s
    Thomas Gainsborough (English, 1727–1788)

    Description

    The existence of a preparatory drawing indicates that Gainsborough took particular pains with this composition. Although apparently about erotic desire, the painting also offers a deeper meditation on longing and regret. The young woman’s pale skin and refined clothing suggest that she is not a country girl, whereas the hay in the youth’s hat and rake reveal that he has paused in his labors. The young man is separated from the object of his desire by social class as well as by the fence; the terrier will soon bark and shatter the young man’s idyllic reverie. Gainsborough Dupont, the artist’s nephew and apprentice, chose this painting when offered any work in his uncle’s studio.

    Provenance

    1788, gift of the artist to his nephew, Gainsborough Dupont (b. 1754 - d. 1797); April 1, 1797, Dupont sale, Christie's, London, lot 103, bought in by Crofts [see note 1]; by descent within the family to his nephew, Richard Gainsborough Dupont; June 8, 1872, Dupont sale, Christie's, London, lot 67, to White. By 1891, William Houldsworth, Halifax, Yorkshire; May 23, 1891, Houldsworth sale, Christie's, London, lot 60, to Agnew's, London (stock no. 5987); between 1903 - 1905, sold by Agnew's to Lord James Joicey, 1st Baron Joicey, Chester-Le-Street, Durham [see note 2]; about 1907, sold by Joicey to E.M. Hodgkins, Paris; from Hodgkins to Samuel G. Archibald, Paris and Montreal; March 30, 1951, posthumous Archibald sale, Parke-Bernet, New York, lot 249, to Cecil G. Doward, New York for $1800 [see note 3]. By 1953, Vose Galleries, Boston; 1953, sold by Vose Galleries to the MFA for $15,000. (Accession Date: December 10, 1953) NOTES: [1] See The Fifth Volume of the Walpole Society, 1915-16 and 1916-1917, Ed. A.J. Finberg, pg. 96, no. 103 and pg. 98, footnote 1. [2] See Century of Loan Exhibitions, Agnew's, 1903, no. 21. According to Vose, the work was possibly exhibited by Joicey in London/Glasgow in 1905. [3] According to sale catalogue annotation, the painting probably went directly from Doward to Vose.

    Credit Line

    M. Theresa B. Hopkins Fund and Seth K. Sweetser Fund

    Details

    Dimensions

    Overall: 227.3 x 149.9 cm (89 1/2 x 59 in.)

    Accession Number

    53.2553

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 246)

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    Europe

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  • Portrait of a Man Standing Beside a Table

    1745
    Arthur Devis (English, 1712–1787)

    Description

    Signed

    Signed and dated on rear seat rail: ADevis (A and D in monogram) fe/ 1745

    Provenance

    Before World War I, purchased in Bath, England, by a private collector; by descent from the collector to an anonymous donor; 1953, anonymous gift to the MFA. (Accession date: December 10, 1953)

    Credit Line

    Anonymous gift

    Details

    Dimensions

    50.8 x 35.9 cm (20 x 14 1/8 in.)

    Accession Number

    53.2856

    Medium or Technique

    Oil on canvas

    On View

    Alan and Simone Hartman Galleries (Gallery 241B)

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    Europe

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  • Portrait of a Woman Seated beside a Table

    about 1739–1740
    Arthur Devis (English, 1712–1787)

    Description

    Provenance

    Before World War I, purchased in Bath, England, by a private collector; by descent from the collector to an anonymous donor; 1953, anonymous gift to the MFA. (Accession date: December 10, 1953)

    Credit Line

    Anonymous gift

    Details

    Dimensions

    50.8 x 35.8 cm (20 x 14 1/8 in.)

    Accession Number

    53.2857

    Medium or Technique

    Oil on canvas

    On View

    Alan and Simone Hartman Galleries (Gallery 241B)

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    Europe

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  • Portrait of a Man Seated beside a Table

    Attributed to William Verelst (Dutch (active in England), active by the period between 1732–1756)

    Description

    Provenance

    Before World War I, purchased in Bath, England by a private collector; by descent from the collector to an anonymous donor; 1953, anonymous gift to the MFA. (Accession date: December 10, 1953)

    Credit Line

    Anonymous gift

    Details

    Dimensions

    50.8 x 35.6 cm (20 x 14 in.)

    Accession Number

    53.2858

    Medium or Technique

    Oil on canvas

    On View

    Regional Styles in Middle Colonies Gallery (Gallery 134)

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    Europe

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  • Portrait of a Woman Standing in a Garden

    about 1739–1740
    Arthur Devis (English, 1712–1787)

    Description

    Provenance

    Before World War I, purchased in Bath, England by a private collector; by descent from the collector to an anonymous donor; 1953, anonymous gift to the MFA. (Accession date: December 10, 1953)

    Credit Line

    Anonymous gift

    Details

    Dimensions

    50.8 x 35.6 cm (20 x 14 in.)

    Accession Number

    53.2859

    Medium or Technique

    Oil on canvas

    On View

    Regional Styles in Middle Colonies Gallery (Gallery 134)

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    Europe

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  • Portrait of a Woman

    Sir Joshua Reynolds (English, 1723–1792)

    Description

    Provenance

    Possibly 1806, purchased in London by Barney Smith (b. 1763), [see note 1]; 1917, by descent through the family to Robert Wheaton Rivers, Santa Barbara, CA [see note 2]; After 1940, sold by Robert Wheaton Rivers to Vose Galleries, Boston (stock no. 12554); 1943, sold by Vose Galleries to Walter J. Noonan, Boston, MA; 1954, bequest of Noonan to the MFA. (Accession date: December 18, 1954). NOTES: [1] According to inscription on back of painting: "This picture was bought in London by Barney Smith Esq., before 1813, prob. 1806. It was relined under the case of Doll and Richards in 1876." In 1813, Smith purchased Milton Hall, the estate of Gov. Thomas Hutchinson, where the painting hung until 1917. [2] Rivers is the great -great -grandson of Barney Smith. He provides the history of the painting in a document dated April 15, 1940 in the file. He refers to the portrait as the "Hon. Mrs. Fenwick."

    Credit Line

    Bequest of Walter J. Noonan

    Details

    Dimensions

    76.5 x 63.5 cm (30 1/8 x 25 in.)

    Accession Number

    54.1412

    Medium or Technique

    Oil on canvas mounted on composition board

    Not On View

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    Europe

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  • Shobdon Folly: Romanesque Fragments

    1952
    John Piper (English, 1903–1992)

    Description

    Inscription

    Lower right: John Piper.

    Provenance

    From the artist to Curt Valentin Gallery, New York; 1956, sold by Valentin Gallery to the MFA for $450. (Accession Date: January 12, 1956)

    Credit Line

    Otis Norcross Fund

    Details

    Dimensions

    113.3 x 152.1 cm (44 5/8 x 59 7/8 in.)

    Accession Number

    56.14

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • April 1957 (Celestial Blue)

    1957
    Ben Nicholson (English, 1894–1982)

    Description

    Nicholson drew early inspiration from cubist still life paintings by Braque and Picasso, but his own works—especially those from the 1950s—go further by embracing almost complete abstraction. His compositions feature deconstructed, silhouetted objects that are largely architectural, that seem to overlap and frame each other in a system of transparent layers. This painting dates to the decade of Nicholson’s greatest success, when the artist was recognized with several international awards and a retrospective exhibition of his work at the Tate Gallery in London.

    Inscription

    Verso: Ben Nicholson / April 1957

    Provenance

    1959, sold by the artist to Gimpel Fils, London; 1960, sold by Gimpel to Galerie Charles Lienhard, Zürich [see note 1]; 1960, sold by Galerie Lienhard to the MFA. (Accession Date: September 21, 1960) NOTES: [1] Information about these transactions was provided in a letter from Charles Gimpel of Gimpel Fils to the MFA (January 22, 1963).

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Copyright

    © 2011 Artists Rights Society (ARS), New York / DACS, London.

    Details

    Dimensions

    108 x 121.9 cm (42 1/2 x 48 in.)

    Accession Number

    60.961

    Medium or Technique

    Oil on Masonite

    Not On View

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    Contemporary Art, Europe

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  • Seventh Plague of Egypt

    1823
    John Martin (English, 1789–1854)

    Description

    In the Bible, Moses calls down ten plagues before the pharaoh is persuaded to free the enslaved Israelites. This work, one of Martin’s grandest paintings, depicts the seventh: “And Moses stretched forward his rod toward heaven, and the Lord sent thunder and hail, and fire rained down onto the earth.” Moses and his brother Aaron are at the left upon the foreground balustrade while the anguished Egyptians, including the pharaoh, cower amidst the towering buildings of Thebes. Inspired by Turner, Martin produced a series of these dramatic ancient or biblical scenes. In this case, he drew upon some of the earliest illustrated publications on Egyptian monuments to create an authentic setting.

    Inscription

    Lower left: J Martin 1823

    Provenance

    1825, sold by the artist to John George Lambton, 1st Earl of Durham (b. 1792 - d. 1840), Lambton Castle, Durham, England, for 500 gn. [see note 1]; by descent within the family to John Frederick, 5th Earl of Durham (b. 1884 - d. 1970), Lambton Castle; April 18, 1932, Earl of Durham sale, Anderson and Garland, Newcastle-upon-Tyne (sale held at Lambton Castle), lot 48, sold for £15. 1960, P. & D. Colnaghi, London; 1960, sold by Colnaghi to the MFA for £900. (Accession Date: October 13, 1960) NOTES: [1] The painting was included in the inaugural exhibition of the Society of British Artists, London, in 1824 (cat. no. 22), and was purchased by Lambton in 1825. See Thomas Balston, John Martin 1789-1854: His Life and Works (London, 1947), pp. 78-79 and Egyptomania: Egypt in Western Art, 1730-1930 (exh. cat. Paris, Ottawa and Vienna, 1994/1995), cat. no. 231, p. 372.

    Credit Line

    Francis Welch Fund

    Details

    Dimensions

    144.1 x 214 cm (56 3/4 x 84 1/4 in.)

    Accession Number

    60.1157

    Medium or Technique

    Oil on canvas

    On View

    The Beal Gallery (Gallery 251)

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  • Description

    Provenance

    By 1942, Joseph Warren (d. 1946), Brookline, MA; 1946, by descent to his son, Joseph Warren, Jr (d. 1957), Boston; by descent to his children, Howland Warren, Richard Warren, Dedham, MA, and Mary Murphy, Nahant, MA; gift of Howland Warren, Richard Warren, and Mary W. Murphy. (Accession date: October 8, 1961)

    Credit Line

    Gift of Howland Warren, Richard Warren, and Mary W. Murphy

    Details

    Dimensions

    145.1 x 97.8 cm (57 1/8 x 38 1/2 in.)

    Accession Number

    61.177

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Woman

    about 1818
    Attributed to John Constable (English, 1776–1837)

    Description

    Provenance

    By 1941, private collection, England and Detroit; sold from the estate of the collector to an antique dealer, Detroit; about 1941, sold by the dealer to Ira S. Parke, Amherst, MA and Pacific Grove, CA [see note 1]; 1961, gift of Ira S. Parke to the MFA. (Accession date: April 12, 1961) NOTES: [1] A letter in the MFA curatorial file from Ira S. Parke to the MFA (January 4, 1961) states that he purchased the painting "about twenty years ago." A note by Mr. Parke (undated; probably 1961) states that the dealer from whom he purchased it said "that it came into his possession in a mass of household goods that he had bought from the Estate of an English woman who had come to live in Detroit."

    Credit Line

    Gift of Ira S. Parke

    Details

    Dimensions

    22.6 x 21.6 cm (8 7/8 x 8 1/2 in.)

    Accession Number

    61.241

    Medium or Technique

    Oil on paperboard

    Not On View

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    Europe

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  • Anne, Lady de la Pole

    1786
    George Romney (English, 1734–1802)

    Description

    Provenance

    1786, John William de la Pole (b. 1757 - d. 1799), 6th Bart., Shute House, near Axminster, Devonshire [see note 1]; 1799, by descent through the family to Sir Frederick Arundell de la Pole (b. 1850 - d. 1926), 11th Bart., Shute House, Devonshire; June 13, 1913, De La Pole sale, Christie's, London, lot 125, sold for £41,370 to Duveen Brothers, Inc., London; by 1919, sold by Duveen to Herbert Stern (b. 1859 - d. 1919), 1st Baron Michelham, Hellingley, Sussex; 1919, by inheritance to Stern's wife, Aimee Geraldine Bradshaw Stern (d. 1927), Baroness Michelham, London and Paris; November 23, 1926, Michelham sale, Hampton's, London, lot 297, sold for £46,200 to Agnew's, London (stock no. 6622); 1926, sold by Agnew's to Alvan Tufts Fuller (b. 1878 - d. 1958), Boston [see note 2]; 1959, to Fuller Foundation Inc., Boston; 1961, gift of Fuller Foundation to the MFA. (Accession Date: May 10, 1961) NOTES: [1] Original commission from the artist by the husband of the sitter. Anne Templer (d. 1832) of Stover House, Devonshire, married John William de la Pole (d. 1799) on January 9, 1791. [2] See Agnew's, 1817-1967 (London, 1967), n.p.

    Credit Line

    Given in memory of Governor Alvan T. Fuller by the Fuller Foundation

    Details

    Dimensions

    241 x 148.9 cm (94 7/8 x 58 5/8 in.)

    Accession Number

    61.392

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 246)

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  • Sadak in Search of the Waters of Oblivion

    John Martin (English, 1789–1854)

    Description

    Provenance

    1949, sold at Robinson and Foster's, London, and bought by Bonham's (?) [see note 1]. By 1951, Robert Frank, London; 1955, by descent to his wife Mrs. Robert Frank, London. By 1961, Philip Hofer, Cambridge, MA; 1961, gift of Hofer. (Accession date: September 20, 1961) NOTES: [1] according to letter of August 9, 1961 from Thomas Balston in curatorial file.

    Credit Line

    Gift of Philip Hofer, Esq.

    Details

    Dimensions

    76.2 x 64.1 cm (30 x 25 1/4 in.)

    Accession Number

    61.394

    Medium or Technique

    Oil on canvas

    Not On View

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  • Lady Anne Fitzpatrick

    about 1775
    Sir Joshua Reynolds (English, 1723–1792)

    Description

    Provenance

    About 1775, John Fitzpatrick (b. 1745 – d. 1818), 2nd Earl of Upper Ossory, Farmingwoods, Rockingham Forest, England (original commission) [see note 1]; by descent within the family to his daughter, Emma Mary Wilson (b. 1807 – d. 1882) and her husband, Robert Vernon Smith (b. 1800 – d. 1873), 1st Baron Lyvedon [see note 2]; by descent to their son, Gowran Charles Vernon; April 5, 1897, sold by Vernon, through Agnew, London, to James Ross, Montreal; July 8, 1927, Ross sale, Christie’s, London, lot 17, to Agnew, London, for Alvan Tufts Fuller (b. 1879 – d. 1958), Boston; 1959, to the Alvan T. Fuller Foundation; 1961, gift of the Fuller Foundation to the MFA. (Accession Date: September 20, 1961) NOTES: [1] The provenance given here is based on research published in David Mannings, Sir Joshua Reynolds: A Complete Catalogue of His Paintings (Yale University Press, 2000), p. 192, cat. no. 630. On June 10, 1775, Reynolds recorded a payment made to him by “Lord Ossory, for Lady Ann Fitzpatrick.” See Malcolm Cormack, “The Ledgers of Sir Joshua Reynolds,” Walpole Society 42 (1970): 160. Lord Ossory lent the painting -- a portrait of his daughter, Anne -- to the British Institution in 1813, no. 121. [2] Lady Lyvden lent the painting to the British Institution in 1844. It had probably passed to her through her half-sister, the sitter Anne Fitzpatrick, who died in 1841.

    Credit Line

    Given in memory of Governor Alvan T. Fuller by the Fuller Foundation

    Details

    Dimensions

    144.5 x 101.6 cm (56 7/8 x 40 in.)

    Accession Number

    61.961

    Medium or Technique

    Oil on canvas

    Not On View

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  • John Bensley Thornhill (1773–1841) as a Boy

    about 1784–85
    George Romney (English, 1734–1802)

    Description

    This full-length portrait is a fine example of Romney’s later style and anticipates the informality that would dominate later British portraiture. The boy’s languid pose sets the tone, enhanced by the restrained color scheme and casual handling of the background. The subtly placed diagonals of his cocked arm and leg crossed at the knee enliven a composition largely governed by strong verticals. The boy was the son of Cudbert Thornhill, the captain of a ship for the East India Company.

    Provenance

    1784-85, probably commissioned by Cudbert Thornhill (b. 1723 - d. 1809), Hull, England and Calcutta, India [see note 1]; 1841, by descent through the family to General Charles Powlett Lane (b. 1826 - d. 1910), Badgemore, Henley on Thames [see note 2]; 1910, by inheritance to his widow, Mrs. C. P. Lane (Bertha D'Albiac du Boulay) (b. 1849 - d. 1939), Donhead Hall, Shaftesbury; 1919, sold by Mrs. C. P. Lane to Agnew's, London; June 1925, sold by Agnew's to Governor Alvan Tufts Fuller (b. 1878 - d. 1958), Boston; 1958, with the Alvan T. Fuller Foundation, Boston; 1961, gift of the Alvan T. Fuller Foundation to the MFA. (Accession date: September 20, 1961) NOTES: [1] Father of the sitter, John Bensley Thornhill (b. 1773 - d. 1841), Cosspore, India and Blackheath, England. John Bensley Thornhill was director of the East India Company from 1815 - 1841. He became the adopted heir of Francine Bensley and later used Bensley name. See also the complete Thornhill family tree, provided by Valerie Thornhill in MFA curatorial file. [2] Charles Powlett Lane was a Major General in the British Indian Army. He was the son of John Bensley Thornhill's daughter, Emily Maria Thornhill (d. 1877), who married Charles Lane (b. 1793 - d. 1878), Badgemore, Oxfordshire, England.

    Credit Line

    Given in memory of Governor Alvan T. Fuller by the Fuller Foundation

    Details

    Dimensions

    186.7 x 121 cm (73 1/2 x 47 5/8 in.)

    Accession Number

    61.962

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 246)

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  • Description

    Provenance

    By about 1911, Otto H. Kahn, Mannheim, Germany, and New York (b. 1897 - d. 1934) [see note 1]; after his death, to his estate; 1961, sold from the Kahn estate to William Oelschlager [see note 2]; 1961, sold by Oelschlager to Maxim Karolik (d. 1963), Newport, RI, and Boston [see note 3]; 1964, bequest of Karolik. (Accession date: April 8, 1964) NOTES: [1] Otto H. Kahn emigrated to the United States in 1893. He was a banker and patron of the arts. [2] according to a letter of April 20, 1964 from Oelschlager to Sarah Bullock of the MFA in curatorial file. Oelschlager states that when he purchased the painting from Kahn's "gentlemens estate" in 1961, the painting had already been in Kahn's collection for fifty years. In a letter of April 29, 1961 from Oelschlager to Maxim Karolik (who would eventually bequeath the work to the MFA), also in curatorial file, Oelschlager labels the painting a "virgin" picture, since he believed it to have been in the hands of one owner (Kahn) for at least half a century. [3] according to letter of April 29, 1961 cited above.

    Credit Line

    Bequest of Maxim Karolik

    Details

    Dimensions

    64.1 x 76.2 cm (25 1/4 x 30 in.)

    Accession Number

    64.456

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Woman

    William Hogarth (English, 1697–1764)

    Description

    Provenance

    With C. Mason, London, England, UK (Christie's?); by 1928, sold by Mason to P. Jackson Higgs, New York, NY; 1928, sold by Higgs to the Vose Galleries, Providence, RI, and Boston, MA. By 1929, (from Vose?) to Charles W. Whittier. By 1946, Mrs. Wingate Rollins, Milton, MA; 1964, gift of Rollins. (Accession date: September 23, 1964)

    Credit Line

    Gift of Mrs. Wingate Rollins

    Details

    Dimensions

    75 x 62.5 cm (29 1/2 x 24 5/8 in.)

    Accession Number

    64.1602

    Medium or Technique

    Oil on canvas

    Not On View

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  • Figure Studies

    Attributed to Sir Lawrence Alma-Tadema (Dutch (active in England), 1836–1912)

    Description

    Provenance

    By 1965 Mrs. Edward Jackson Holmes (Mary Stacy Beaman) (b. 1875), Boston, MA; 1965, bequest of Mrs. Edward Jackson Holmes. (Accession Date: April 14, 1965)

    Credit Line

    Bequest of Mrs. Edward Jackson Holmes

    Details

    Dimensions

    20.6 x 15.3 cm (8 1/8 x 6 in.)

    Accession Number

    65.434

    Medium or Technique

    Oil on panel

    Not On View

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  • Portrait of a Whitechapel Jew

    Henri Gaudier-Brzeska (French (active in Britain), 1891–1915)

    Description

    Provenance

    1915, by inheritance at the artist's death to his companion, Sophie Brzeska (d. 1925), Gloucestershire, England [see note 1]; 1927, sold from the estate of Sophie Brzeska to Harold Stanley (Jim) Ede (b. 1895 - d. 1990), Kettle's Yard, Cambridge, England; 1965, sold by Ede to the MFA. (Accession Date: December 8, 1965) NOTES: [1] Gaudier-Brzeska used his oil painting Portrait of a Whitechapel Jew (MFA accession no. 65.1683.2) as the support for his plaster relief The Wrestlers (MFA accession no. 65.1683.1). The painting and relief were separated by the MFA shortly after the object was acquired.

    Credit Line

    Otis Norcross Fund

    Details

    Dimensions

    91.5 x 71.1 cm (36 x 28 in.)

    Accession Number

    65.1683.2

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Young Woman with a Kerchief

    1775–1799
    Unidentified artist, British, fourth quarter 18th century (British), Formerly attributed to George Chinnery (British (active in India and Canton), 1774–1852)

    Description

    Provenance

    By 1964, Forsyth Wickes, New York, Newport, RI, and Boston, MA (died 1964); 1965, bequest of Wickes. (Accession Date: January 8, 1969)

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    47 x 40 cm (18 1/2 x 15 3/4 in.)

    Accession Number

    65.2656

    Medium or Technique

    Tempera on paper mounted on canvas

    Not On View

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  • Presumed Portrait of Mrs. A. Clarke

    Daniel Gardner (English, about 1750–1805)

    Description

    Provenance

    By 1935, Albert Meyer, Paris [see note 1]; June 15, 1938, Meyer sale, Galerie Charpentier, Paris, lot 11, sold to Forsyth Wickes (b. 1876 - d. 1964), New York and Newport, RI; 1965, bequest of Forsyth Wickes to the MFA. (Accession Date: January 8, 1969) NOTES: [1] Seymour de Ricci, Collection Albert Meyer (Paris: Seligmann, 1935), cat. no. 28.

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    25.7 x 20.3 cm (10 1/8 x 8 in.)

    Accession Number

    65.2659

    Medium or Technique

    Pastel on paper

    Not On View

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    Europe, Prints and Drawings

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  • Portrait of Mrs. Thomas Raikes (?)

    John Russell (English, 1745–1806)

    Description

    Provenance

    By 1908, Charles Wertheimer (b. 1842 - d. 1911), London [see note 1]. August 7, 1916, sold by Thomas Agnew and Sons, London, to M. Knoedler and Co., New York (stock no. WC 1057) [see note 2]; December 31, 1928, sold by Knoedler to Forsyth Wickes (b. 1876 - d. 1964), New York and Newport, RI; 1965, bequest of Forsyth Wickes to the MFA. (Accession Date: January 8, 1969) NOTES: [1] He lent this to the exhibition "Cent Pastels du XVIIIe siècle" (Galerie Georges Petit, Paris, May 18 - June 10, 1908), cat. no. 111. It was also published in The Connoisseur, vol. 22 (September - December, 1908), pp. 230, 278. A note in the curatorial file indicates that the pastel came from the V. Verlheim collection; whether this was a mis-transcription of the name Wertheimer is unknown, but it remains unsubstantiated. [2] Getty Provenance Index, M. Knoedler and Co. records, Watercolor stock book 4, p. 13, no. 1057, as "Miss Raikes."

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    29.8 x 24.8 cm (11 3/4 x 9 3/4 in.)

    Accession Number

    65.2666

    Medium or Technique

    Pastel on paper

    Not On View

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  • Beautiful City of Sligo

    1952
    Jack Butler Yeats (Irish, 1871–1957)

    Description

    Inscription

    Lower left: Jack B. Yeats

    Provenance

    By 1953, Waddington Galleries, Montreal; 1953, sold by Waddington Galleries to Henry L. Shattuck, Boston; 1971, bequest of Shattuck. (Accession Date: April 14, 1971)

    Credit Line

    Bequest of Henry L. Shattuck

    Copyright

    © 2011 Artists Rights Society (ARS), New York / DACS, London.

    Details

    Dimensions

    51.1 x 67.9 cm (20 1/8 x 26 3/4 in.)

    Accession Number

    1971.156

    Medium or Technique

    Oil on canvas

    Not On View

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  • Eruption of Vesuvius with Destruction of a Roman City

    1824
    Sebastian Pether (British, 1790–1844)

    Description

    Inscription

    Lower center, on rock: S. Pether / 1824

    Provenance

    Art market, London [see note 1]. By 1977, Old Hall Gallery, Ltd., Surrey, England; 1978, sold by Old Hall Gallery to the MFA. (Accession Date: April 12, 1978) NOTES: [1] According to the Old Hall Gallery, the painting was acquired at a sale of "important pictures by one of the auction houses in London." This sale has not been identified.

    Credit Line

    Grant Walker Fund

    Details

    Dimensions

    71.4 x 92 cm (28 1/8 x 36 1/4 in.)

    Accession Number

    1978.157

    Medium or Technique

    Oil on canvas

    On View

    Susan Morse Hilles Gallery (Gallery 152)

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  • Bocca Baciata (Lips That Have Been Kissed)

    English
    1859
    Dante Gabriel Rossetti (English, 1828–1882)

    Description

    Rossetti here depicts his mistress, Fanny Cornforth, gazing at the viewer or perhaps at her own reflection in a mirror. The sensual sitter represents an idealized beauty, while the artist’s use of luxurious decorative elements invites sheer visual enjoyment. Inscribed on the back of this panel is a line from a sonnet by the fourteenth-century Italian writer Giovanni Boccaccio: “Bocca baciate non perda ventura, anzi rinova come fa la luna” (The mouth that has been kissed loses not its freshness; still it renews itself even as does the moon).

    Inscription

    Lower left: G C D R (monogram); Reverse: Bocca Baciata no perde ventura, anzi rinnova come fa la / Boccaccio

    Provenance

    1859, commissioned by George Price Boyce (b. 1826 - d. 1897), Chelsea, England [see note 1]; July 2, 1897, posthumous Boyce sale, Christie, Manson and Woods, London, lot 211, to Dunthorne [see note 2]. 1897, Agnew, London, and Charles Fairfax Murray (b. 1849 - d. 1919), London [see note 3]; 1897, ownership passed fully to Murray; 1906, sold by Murray to Mary Pratt (Mrs. Edward D.) Brandegee (b. 1871 - d. 1956), Brookline; by descent to her daughter, Martina Brandegee Lawrence (b. 1906 - d. 1959), Brookline; by inheritance to her husband, James Lawrence (b. 1907 - d. 1995), Brookline; 1980, gift of James Lawrence to the MFA. (Accession Date: June 18, 1980) NOTES: [1] Boyce, an architect, painter, and founding member of the Pre-Raphaelite society, was also a close friend and patron of Rossetti. He commissioned this painting from Rossetti on July 23, 1859 and it was completed on October 13. He lent it to the "Exhibition of Old Masters," Royal Academy, London, 1883, cat. no. 309. [2] The name of the buyer is recorded by Algernon Graves, "Art Sales," vol. 3 (London, 1921), p. 104. He may have been an agent for Agnew or Murray. [3] Charles Fairfax Murray was a partner with Agnew and purchased paintings for the firm. According to Barbara Bryant, in "The Age of Rossetti, Burne-Jones, & Watts: Symbolism in Britain, 1860-1910" (exh. cat., Tate Gallery, London 1997), p. 96, cat. no. 2, the painting was owned jointly by Agnew and Murray until 1897, and Murray sold it to Mrs. Brandegee in 1906.

    Credit Line

    Gift of James Lawrence

    Details

    Dimensions

    32.1 x 27.0 cm (12 5/8 x 10 5/8 in.)

    Accession Number

    1980.261

    Medium or Technique

    Oil on panel

    On View

    Musical Instruments Alcove (Gallery 103C)

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  • Painter's Honeymoon

    about 1864
    Frederic, Lord Leighton (English, 1830–1896)

    Description

    Love is equated with art in this romantic image which – in its evocation of the past and its precise, controlled style – epitomizes officially sanctioned academic practice in the late nineteenth century. Leighton, who was elected president of the Royal Academy in London in 1879, spent many years studying in Germany, France, and Italy. The composition and glowing color of Painter’s Honeymoon reflect the influence of such sixteenth-century Venetian painters as Giorgione and Titian.

    Provenance

    By 1864, with Moreby [see note 1]. By 1870, John Smith, London; May 4, 1870, John Smith sale, Christie's, London, lot 70, bought in and subsequently sold to Thos. Agnew and Sons, London (stock no. 6211) [see note 2]. By 1878, J.L. Kennedy Esq., Ardwick Hall, Manchester [see note 3]; until 1981, by descent within the family; June 5, 1981, anonymous ("property of a nobleman") sale, Christie's, London, lot 48, to Richard Green, London for the MFA. (Accession Date: June 10, 1981) NOTES: [1] According to the 1981 Christie's catalogue. The painting was exhibited by the artist at the Royal Academy in 1866. [2] The painting was received by Agnew on December 31, 1870, from "Smith." [3] Lent by J.L. Kennedy to the Manchester Exhibition, May 16, 1878, no. 20.

    Credit Line

    Charles H. Bayley Picture and Painting Fund

    Details

    Dimensions

    83.8 x 76.8 cm (33 x 30 1/4 in.)

    Accession Number

    1981.258

    Medium or Technique

    Oil on canvas

    Not On View

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  • Rabbit amid Ferns and Flowering Plants

    1855
    William J. Webbe (British, active in 1853–1878)

    Description

    Inscription

    Lower left: W. J. Webbe 1855

    Provenance

    By 1971, The Stone Gallery, Newton-upon-Thyme, England. Mrs. Crawford J. Cambell, Boston, MA. The English Gallery, Boston, MA; sold by the English Gallery to the MFA. (Accession Date: December 9, 1981)

    Credit Line

    Gift of Mrs. Samuel Parkman Oliver

    Details

    Dimensions

    35.6 x 35.6 cm (14 x 14 in.)

    Accession Number

    1981.441

    Medium or Technique

    Oil on canvas

    Not On View

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  • Mrs. Richard Hoare Holding her Child

    about 1763
    Sir Joshua Reynolds (English, 1723–1792)

    Description

    The foremost portrait painter in London and an influential teacher and theorist, Reynolds was the first president of the Royal Academy in England. This unfinished picture may be an abandoned first version of a full-length portrait now in the Wallace Collection, London. It reveals Reynolds’s methods of constructing a painting. Beginning with a sketchy outline drawn with the brush, Reynolds blocked in broad areas of color, emphasizing subtle tonal values by choosing closely-related grays and whites.

    Provenance

    By 1843, Francis Egerton (b. 1800 - d. 1857), 1st Earl of Ellesmere, Bridgewater House, London [see note 1]; until 1976, by descent through the Earls of Ellesmere, Bridgewater House [see note 2]; June 18, 1976, consigned by the Trustees of the Ellesmere Settlement, Christie's, London, lot 118, sold for £3800 to Colnaghi, London and New York. 1980, with Possessions of Prominence, Inc., New York (?) [see note 3]. January 21, 1982, anonymous sale, Sotheby Parke-Bernet, New York, lot 28, to the MFA. (Accession Date: February 10, 1982) [1] According to correspondence from John Ingamells, Director, The Wallace Collection to the MFA (December 21, 1983, citing a letter from E. G. Thompson of Bridgewater House dated February 2, 1933), in 1843, the painting was described in the Bridgewater House catalogue as a work by Lawrence, "Study of a Female Head (One of the Siddons Family)". It was listed as such by Anna Jameson in her 1844 Companion to the Most Celebrated Private Art Galleries of Art in London, no. 305, p. 161. Subsequently, according to E. G. Thompson, it was catalogued as a work by West, "Lady and Child Unfinished Sketch." When the painting was relined around 1900, a card was found between the canvas and the stretcher that said "Lord Francis Egerton / 26th prize. A lady and child. Original sketch by West." [2] The painting was on loan to the Manchester City Art Gallery between 1961 and 1976. [3] Ellen Stern, "Best Bets," New York Magazine, February 4, 1980, p. 54, published a profile on the business, noting that "a Joshua Reynolds oil sketch of Mrs. Hoare and her Child" was for sale at that time.

    Credit Line

    Charles H. Bayley Picture and Painting Fund

    Details

    Dimensions

    75.9 x 63.5 cm (29 7/8 x 25 in.)

    Accession Number

    1982.138

    Medium or Technique

    Oil on canvas

    On View

    Britain, 1750-1800 / Portraits (Gallery 141)

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  • Sir Edmund Andros

    Unidentified artist, British, 17th century (British)

    Description

    Provenance

    By 1685, Sir Edmund Andros, London (the sitter; colonial governor of New England colonies; d. 1714); 1714, by inheritance to Andros family; 1929, by inheritance to Walter Fachin Adros; 1929, on consignment from Andros to Stevens and Brown, Ltd., London; 1929, from Stevens and Brown to Henry Lee Shattuck, Boston; 1983, bequest of Shattuck. (Accession Date: January 12, 1983)

    Credit Line

    Bequest of Henry Lee Shattuck in memory of Morris Gray

    Details

    Dimensions

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

    Accession Number

    1983.37

    Medium or Technique

    Oil on canvas

    Not On View

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  • Lila Lancashire

    Sir John Lavery (Irish, 1856–1941)

    Description

    Inscription

    Lower right: J Lavery

    Provenance

    1983, gift of Southgate. (Accession Date: September 14, 1983)

    Credit Line

    Gift of Mr. and Mrs. Richard W. Southgate

    Details

    Dimensions

    76.5 x 63.5 cm (30 1/8 x 25 in.)

    Accession Number

    1983.373

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Man

    about 1810
    John Miers (British, 1758(?)–1821)

    Description

    Provenance

    1952, Edward H. R. Revere; by descent to Margaret A. Revere and Anna P. Revere; 1984, gift of Margaret A. Revere and Anna P. Revere to the MFA. (Accession Date: September 12, 1984)

    Credit Line

    Gift of Margaret A. Revere and Anna P. Revere

    Details

    Dimensions

    5.56 x 3.17 cm (2 3/16 x 1 1/4 in.)

    Accession Number

    1984.504

    Medium or Technique

    Watercolor on ivory

    Not On View

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    Miniatures

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  • Grotto by the Seaside in the Kingdom of Naples with Banditti, Sunset

    1778
    Joseph Wright of Derby (English, 1734–1797)

    Description

    Wright was an inventive and talented artist who painted portraits, landscapes, and unusual images of contemporary life. He spent most of his career in his native Derby in England, but a trip to Italy in 1773–75 provided much material for his art. He witnessed an eruption of Mount Vesuvius and sketched the grottoes off the coast of Salerno, near Naples; both subjects became favorites for his later work. A group of melancholy bandits adds a picturesque note to this composition, one of Wright’s most important grotto paintings. With its hazy atmosphere and soft, golden light, the landscape is at once poetic and realistic.

    Provenance

    1780, sold by the artist to Josiah Cockshutt (b. 1737 - d. 1801), Chaddesden, Derbyshire [see note 1]; by descent from Cockshutt to his grandson, Cockshutt Heathcote (b. 1793 - d. 1885), Derbyshire; 1840, from Heathcote to Godfrey Meynell, Meynell Langley, Derbyshire [see note 2]; until 1986, by descent within the Meynell family; July 9, 1986, anonymous (Meynell) sale, Sotheby's, London, lot 82, to Thomas Agnew and Sons, Ltd.; 1990, sold by Agnew to the MFA. (Accession Date: February 28, 1990) NOTES: [1] See Benedict Nicolson, "Joseph Wright of Derby: Painter of Light" (New Haven and London, 1968), vol. 1, cat. no. 277. Wright sent Cockshutt a bill on August 29, 1780, for this painting and two others, "A Cavern with the Figure of Julia," and "Virgil's Tomb." [2] The painting was accepted in lieu of payment for a debt owed to Meynell; see Nicolson (as above, n. 1) and Judy Egerton, "Wright of Derby" (exh. cat. Tate Gallery, London, 1990), p. 162, cat. no. 99.

    Credit Line

    Charles H. Bayley Picture and Painting Fund and other Funds, by exchange

    Details

    Dimensions

    121.9 x 172.7 cm (48 x 68 in.)

    Accession Number

    1990.95

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 246)

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  • The Wreckers

    1791
    George Morland (English, 1763–1804)

    Description

    Provenance

    By 1864, with H. Hasket Smith, Esq., Trowswell, Goudhurst; May 28, 1864, H. Hasket Smith sale at Christie's, London, bought in; May 9, 1896, Smith sale, Christie's, London, lot 101, to Frazer for 520 guineas. 1908, with Barnett Lewis [see note 1]; March 3, 1930, Lewis sale, Christie's, London, lot 113 to Blaker for £441. By 1933, with Dudley Tooth, London; 1933, sold by Dudley Tooth to a relative of Ogden Phipps [see note 2]; subsequently given to Phipps as a gift; acquired from Ogden Phipps by William A. Coolidge (b. 1901 - d. 1992), Topsfield and Cambridge, MA [see note 3]; 1993, bequest of William A. Coolidge to the MFA. (Accession Date: January 27, 1993) NOTES: [1] Lent by Lewis to the Franco- British Exhibition, no. 20. [2] See copy of William A. Coolidge writings in MFA curatorial file, stating that the painting was purchased by an "English relative" of Ogden Phipps and given to him as a wedding gift. [3] Coolidge acquired the painting from Phipps, according to his writings.

    Credit Line

    Bequest of William A. Coolidge

    Details

    Dimensions

    103.8 x 139.4 cm (40 7/8 x 54 7/8 in.)

    Accession Number

    1993.41

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Loing at Saint-Mammès

    1882
    Alfred Sisley (British (active in France), 1839–1899)

    Description

    At a moment when Monet sought out the charismatic coasts of Normandy and the French Riviera, Sisley continued to focus on his immediate surroundings, painting landscapes along the Seine in a high Impressionist style. Here wispy strokes of white suggest fast-moving clouds, while shorter, wetter ones describe the river’s ruffled surface. Humans are often all but absent from Monet’s pictures of the 1880s, but Sisley’s landscapes of the period remain emphatically inhabited, filled with the bridges, boats, and modest houses of his suburban environment.

    Provenance

    1890, Durand-Ruel, Paris; December 11, 1890, sold by Durand-Ruel to Coquelin Cadet; May 27, 1893, Coquelin Cadet sale, Georges Petit, Paris, lot 55. 1934, Bernheim-Jeune, Paris; November 15, 1934, sold by Bernheim-Jeune to Wildenstein & Co., Paris; transferred from Wildenstein, Paris, to Wildenstein, London; August 5, 1936, sold by Wildenstein, London, to William A. Coolidge (d. 1992), Topsfield and Cambridge, MA [see note 1]; 1993, bequest of William A. Coolidge to the MFA. (Accession Date: January 27, 1993) NOTES: [1] for details of Wildenstein's history with this painting, see letter of September 1, 1998 from Eliot W. Rowlands of Wildenstein & Co. to Erika Swanson of the MFA in curatorial file.

    Credit Line

    Bequest of William A. Coolidge

    Details

    Dimensions

    49.8 x 64.9 cm (19 5/8 x 25 9/16 in.)

    Accession Number

    1993.44

    Medium or Technique

    Oil on canvas

    On View

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

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  • View from the Terrace of a Villa at Niton, Isle of Wight, from Sketches by a Lady

    1826
    Joseph Mallord William Turner (English, 1775–1851)

    Description

    This charming summer scene is based on watercolor sketches done by Lady Julia Gordon, who had been Turner’s pupil years before. A view from the steps of her villa, it records the new fashion for “Italian” gardens with terraces and urns. Turner exhibited the painting under the title given here at the Royal Academy in 1826.

    Provenance

    Painted for Lady Willoughby Gordon (Julia Bennet) and based upon her sketches; by descent to Lady Gordon's granddaughter, Mrs. Disney Leith; by descent to her son, the seventh Lord Burgh; July 26, 1926, sale Christie's, London, lot 27, and bought by Sampson; 1929, with Dudley Tooth, London; 1933, sold by Dudley Tooth to William A. Coolidge, Topsfield and Cambridge, MA (d. 1992); 1993, bequest of William A. Coolidge. (Accession Date: January 27, 1993)

    Credit Line

    Bequest of William A. Coolidge

    Details

    Dimensions

    45.7 x 61 cm (18 x 24 in.)

    Accession Number

    1993.46

    Medium or Technique

    Oil on canvas

    Not On View

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  • Wiencyzyslawa Barczewksa, Madame de Jurjewicz

    Wieńczysława Barczewska, Madame de Jurjewicz

    1860
    Franz Xaver Winterhalter (German, 1806–1873)

    Description

    This lush portrait depicts a member of the Polish nobility who lived most of her life in Paris. Painted in the highest courtly style of the nineteenth century, the image also recalls the grand manner of seventeenth- and eighteenth-century portraits by such artists as Anthony van Dyck and Thomas Gainsborough. Winterhalter was one of the most sought-after and fashionable portraitists in Europe, working for the courts of France, Britain, and Belgium.

    Signed

    Signed and dated F. WINTERHALTER/PARIS 1860

    Provenance

    1928, Comtesse Jean de Quélen, France [see note 1]. By 1936 until at least 1988, Bussière collection, France [see note 2]. 1998, Konrad O. Bernheimer, Munich; 1998, sold by Bernheimer to the MFA. (Accession Date: October 21, 1998) NOTES: [1] She lent this to "L'exposition Winterhalter (Portraits de Dames du Second Empire)" (Jacques Seligmann et Fils, Paris, May 25 - June 15, 1928), cat. no. 14. [2] The Baronne de Bussière lent this to the exhibition "Winterhalter" (Knoedler, London, December 3-16, 1936), cat. no. 19 and the Baron de Bussière lent it to the exhibition "Franz Xaver Winterhalter and the Courts of Europe, 1830-1870" (National Portrait Gallery, London, and Petit Palais, Paris, 1987-1988), cat. no. 62.

    Credit Line

    Museum purchase with funds bequeathed by Genevieve Gray Young in memory of Patience Young and Patience Gray Young

    Details

    Dimensions

    156.1 x 124 cm (61 7/16 x 48 13/16 in.)

    Accession Number

    1998.396

    Medium or Technique

    Oil on canvas

    Not On View

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  • Adelaide Road, N.W.

    1922
    Robert Bevan (English, 1865–1925)

    Description

    Inscription

    Lower left: Robert Bevan

    Provenance

    By inheritance to Robert A. Bevan, artist's son, London; 1932, sold by Robert A. Bevan to the MFA for $10,050 [see note 1]. (Accession Date: February 4, 1932) NOTES: [1] MFA accession numbers RES.32.2-RES.32.18 purchased together for $10,050.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Details

    Dimensions

    51.1 x 72 cm (20 1/8 x 28 3/8 in.)

    Accession Number

    RES.32.5

    Medium or Technique

    Oil on canvas

    Not On View

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  • Interior of a Cinema

    Study for Oratio Obliqua

    1918–20
    Walter John Bayes (English, 1869–1956)

    Description

    Provenance

    By 1931, Francis Moore, London; July 23, 1931, sold by Francis Moore at Sotheby's and Co., London, no. 41, to the MFA for $10,050 [see note 1]. (Accession Date: February 4, 1932) NOTES: [1] MFA accession numbers RES.32.2-RES.32.18 purchased together for $10,050.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Details

    Dimensions

    42.5 x 32.5 cm (16 3/4 x 12 13/16 in.)

    Accession Number

    RES.32.6

    Medium or Technique

    Oil on canvas

    Not On View

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  • Beech Wood

    about 1916
    Harold Gilman (English, 1876–1919)

    Description

    Inscription

    Lower right: H. Gilman

    Provenance

    1919, most probably by inheritance to Mrs. Harold Gilman, the artist's widow; 1932, Mrs. Harold Gilman sold to MFA for $10,050 [see note 1]. (Accession Date: February 4, 1932) NOTES: [1] MFA accession numbers RES.32.2-RES.32.18 purchased together for $10,050.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Details

    Dimensions

    61.6 x 51.4 cm (24 1/4 x 20 1/4 in.)

    Accession Number

    RES.32.9

    Medium or Technique

    Oil on canvas

    Not On View

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  • Back Gardens from Houghton Place

    1913
    Spencer Frederick Gore (English, 1878–1914)

    Description

    A view through bare trees from the window of No.2 Houghton Place where the artist lived 1912-13. It shows the garden of No. 1 Houghton Place, backing onto the garden of a house on Eversholt Street, with the gardens of a terrace in Lidlington Place on the left.

    Inscription

    Stamped, lower right: S.F. GORE

    Provenance

    1914, most probably by inheritance to Mrs. Spencer Gore, the artist's widow, Woodnesboro, Kent, England; July 26, 1931, sold by Mrs. Spencer Gore to the MFA for $10,050 [see note 1]. (Accession Date: February 4, 1932) NOTES: [1] MFA accession numbers RES.32.2-RES.32.18 purchased together for $10,050.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Details

    Dimensions

    61.2 x 66.4 cm (24 1/8 x 26 1/8 in.)

    Accession Number

    RES.32.10

    Medium or Technique

    Oil on canvas

    Not On View

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  • Boris Anrep and his Family

    Henry Lamb (English, 1883–1960)

    Description

    Provenance

    1931, sold by the artist to the MFA for $535. (Accession date: February 4, 1932)

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Details

    Dimensions

    95.3 x 157.5 cm (37 1/2 x 62 in.)

    Accession Number

    RES.32.13

    Medium or Technique

    Oil on panel

    Not On View

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  • Meadle

    John Northcote Nash (English, 1893–1977)

    Description

    Inscription

    Lower right: John Nash

    Provenance

    1932, sold by the artist, through Goupil Gallery, London, to the MFA for $10,050 [see note 1]. (Accession Date: February 4, 1932) NOTES: [1] MFA accession numbers RES.32.2-RES.32.18 purchased together for $10,050.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Copyright

    © John Northcote Nash Estate. All Rights Reserved 2011/ Bridgeman Art Library

    Details

    Dimensions

    76.8 x 55.9 cm (30 1/4 x 22 in.)

    Accession Number

    RES.32.15

    Medium or Technique

    Oil on canvas

    Not On View

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  • Wonderful Month of May

    Walter Richard Sickert (English, 1860–1942)

    Description

    Inscription

    Lower right: Sickert

    Provenance

    By 1924, Savile Gallery [see note 1]; 1924, Savile Gallery sold to Leicester Gallery [see note 2]. By 1929, Thomas Agnew & Sons, London [see note 3]; July 27, 1931, sold by Thomas Agnew and Sons through Philip Hendy to the MFA for $10,050 [see note 4]. (Accession Date: February 4, 1932) NOTES: [1] According to label affixed to reverse of painting. [2] According to notes on Leicester Gallery documentation in MFA curatorial file, which lists this painting as No. 100 in Leicester Gallery label. [3] Exhibited in "Contemporary British Artists," Thomas Agnew & Sons, 1929, no. 15. [4] MFA accession numbers RES.32.2-RES.32.18 purchased together for $10,050.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Details

    Dimensions

    58.1 x 65.1 cm (22 7/8 x 25 5/8 in.)

    Accession Number

    RES.32.18

    Medium or Technique

    Oil on canvas

    Not On View

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  • Parade at Aldridge's

    1914
    Robert Bevan (English, 1865–1925)

    Description

    Bevan was one of several English artists who formed the Camden Town Group in 1911, named after the working-class area of London that provided many of the group’s artists with their subject matter. The scene shown here is the preparation for a horse auction. Bevan studied in France, and the bold colors and simplification of form here reflect the influence of Gauguin, with whom he became acquainted while painting in Brittany in 1894.

    Provenance

    By inheritance to Robert A. Bevan, artist's son, London; 1932, Robert A. Bevan sold to MFA. (Accession Date: February 4, 1932)

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Dimensions

    63.4 x 76.3 cm (24 15/16 x 30 1/16 in.)

    Accession Number

    RES.32.19

    Medium or Technique

    Oil on canvas

    Not On View

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  • Mornington Crescent

    1911
    Spencer Frederick Gore (English, 1878–1914)

    Description

    Inscription

    Stamped, lower left: S.F. GORE

    Provenance

    1914, most probably by inheritance to Mrs. Spencer Gore, the artist's widow, Woodnesboro, Kent, England; July 26, 1931, sold by Mrs. Spencer Gore to the MFA. (Accession date: February 4, 1932)

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Dimensions

    41 x 51.1 cm (16 1/8 x 20 1/8 in.)

    Accession Number

    RES.32.22

    Medium or Technique

    Oil on canvas

    Not On View

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  • Farm at Wimborne, Dorset

    1925
    Henry Lamb (English, 1883–1960)

    Description

    Inscription

    Lower right: Lamb / 25

    Provenance

    November 1931, sold by the artist to the MFA for 25 pounds (British sterling). (Accession Date: February 4, 1932)

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Dimensions

    46 x 55.9 cm (18 1/8 x 22 in.)

    Accession Number

    RES.32.23

    Medium or Technique

    Oil on canvas

    Not On View

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  • Garden in Winter

    1930
    John Northcote Nash (English, 1893–1977)

    Description

    Known for his landscapes and botanical illustrations, Nash left London for rural Buckinghamshire in 1922, where he painted views of his home and the surrounding countryside. Using surrealistic shadows, varied brushstrokes, and subdued colors, Nash creates an evocative, atmospheric view of his garden on a cold, bare, winter day.

    Inscription

    Lower left: John NasH.

    Provenance

    August 7, 1931, sold by the artist, through the Goupil Gallery, London, to the MFA. (Accession date: February 4, 1932)

    Credit Line

    Museum purchase with funds donated by contribution

    Copyright

    © John Northcote Nash Estate. All Rights Reserved 2011/ Bridgeman Art Library

    Details

    Dimensions

    76.2 x 60.5 cm (30 x 23 13/16 in.)

    Accession Number

    RES.32.24

    Medium or Technique

    Oil on canvas

    Not On View

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  • Promise of Spring

    1890
    Sir Lawrence Alma-Tadema (Dutch (active in England), 1836–1912)

    Description

    Alma-Tadema’s later works are often small-scale, sentimental images of young lovers. In Promise of Spring, he created a highly romanticized and lush setting through the use of color and detail. The arched branches and intricate blooms of the tree meet the curved bodies of the lovers below. This movement frames the outward gaze of the female figure, whose pose exudes a relaxed beauty. The painting also presents such subtle, classicizing details as the marble architectural elements and the ancient dress.

    Inscription

    Center right: L Alma Tadema / Op CCC III

    Provenance

    By 1910, with Arthur Tooth and Sons (?), London, England, Paris, France, and New York, NY [see note 1]. By 1939, Frances M. Baker, Boston, MA; 1939, bequest of Frances M. Baker to the MFA. (Accession Date: November 9, 1939) NOTES: [1] see Dircks, Rudolf, "The Later Works of Sir L. Alma-Tadema," (1910), p 14, where lists "by permission of Messrs. Arthur Tooth and Sons." Tooth had another painting titled "The Voice of Spring," in stock 1910, but its dimensions were 19 1/4" x 45 3/4".

    Credit Line

    Bequest of Frances M. Baker

    Details

    Dimensions

    38.1 x 22.5 cm (15 x 8 7/8 in.)

    Accession Number

    RES.39.94

    Medium or Technique

    Oil on panel

    Not On View

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