Provenance: Works
of Art in the Putnam Foundation Collection
Italian and Spanish Paintings | Dutch and Flemish Paintings | French Tapestries and Paintings | American Paintings | Russian Icons
AMERICAN PAINTINGS
Albert
Bierstadt (American,
1830Ð1902)
Cho-looke,
the Yosemite Fall,
1864
Oil on canvas
34 1/4 x 27
1/8 in. (87 x 68.9 cm)
Signed and
dated lower left: A Bierstadt / 1864 (AB in monogram)
1966:001
PROVENANCE
American
Insurance Company, Boston
Gift to John
Ingersoll Bowditch, 1864
To his son,
Charles Pinkney Bowditch, 1889
To his son,
Harold Bowditch, Brookline, Massachusetts, 1919
Acquired by
the Putnam Foundation, 1966 [1]
PROVENANCE NOTES
[1] Having
been separated from its original title, the painting was known by at least two
other titles by the time it was acquired by the Putnam Foundation: Richard
Schaefer Trump, ÒLife and Works of Albert BierstadtÓ (Doctoral dissertation,
Ohio State University, 1963) p. 218, as Yosemite Scene of Bridal Veil Falls; Gordon Hendricks, Albert
Bierstadt: Painter of the American West (New York, 1973), pp. 132, 155, 326, no. 17, fig.1
(frontispiece), as Camping in the Yosemite.
Thomas
Birch (American,
1779Ð1851)
An
American Ship in Distress, 1841
Oil on canvas
36 x 53 3/4
in. (91.4 x 136.5 cm)
Signed and
dated lower right: Thos Birch / 1841 / Philadelphia
1973:001
PROVENANCE
James McGrath
and Samuel L. Lowe, Jr., Boston
Acquired by
the Putnam Foundation, 1973
John
Singleton Copley
(American, 1738Ð1815)
Mrs.
Thomas Gage, 1771
Oil on canvas
50 x 40 in.
(127 x 101.6 cm)
1984:001
PROVENANCE
By descent in
the Gage family, Firle Place, Sussex, until 1984
Consigned to
Thomas Agnew & Sons, London, sale February 24, 1984
Acquired by
the Putnam Foundation, 1984
Jasper F.
Cropsey (American, 1823Ð1900)
Apple
Blossoms, 1887
Oil on canvas
laid on panel
12 1/8 x 20
1/8 in. (30.8 x 51.1 cm)
Signed and
dated lower right: J.F. Cropsey 1887
1978:002
PROVENANCE
Acquired by
the Putnam Foundation, 1978
Martin
Johnson Heade
(American, 1819Ð1904)
The
Magnolia Blossom,
1888
Oil on canvas
15 1/8 x 24
1/8 in. (38.4 x 61.3 cm)
Signed lower
right: M.J. Heade;
on reverse: M.J. Heade / 1888
1965:001
PROVENANCE
U.S. Senator
George Hearst of California, Washington, D.C.
Given on May
2, 1890, to Peter Petersen Toft, London
William
Postar, Boston
Acquired by
the Putnam Foundation, 1965
George
Inness (American,
1825Ð1894)
Ariccia, 1874
Oil on canvas
26 1/2 x 56 7/8 in. (67.3 x 144.3 cm)
Signed and
dated lower right: G. Inness 1874
1972:001
PROVENANCE
Williams and
Everett Art Gallery, Boston
Arthur
Hunnewell
His daughter,
Jane B. Hunnewell, Wellesley, Massachusetts
Vose
Galleries, Boston
Acquired by
the Putnam Foundation, 1972
Eastman
Johnson (American,
1824Ð1906)
The
Cranberry Harvest, Island of Nantucket, 1880
Oil on canvas
27 3/8 x 54 1/2 in. (69.5 x 138.4 cm)
Signed and
dated lower right: E. Johnson 1880
1972:002
PROVENANCE
Auguste
Richard, 1880Ðat least 1893 [1]
With Bernard
Bivall, London, 1969
With Peter
Tillou, Inc., Litchfield, Connecticut, and Vose Galleries, Boston
Acquired by
the Putnam Foundation, 1972
PROVENANCE NOTES
[1] Johnson
submitted The Cranberry Harvest to the National Academy of Design spring exhibition in 1880.
During the next several years, the painting was on public view at the newly
opened uptown galleries of the Metropolitan Museum of Art, and later, in 1893,
at the WorldÕs Columbian Exposition in Chicago. For over seventy years
afterward, however, the painting was unrecorded.
Fitz Hugh
Lane (American, 1804Ð1865)
Castine
Harbor and Town, 1851
Oil on canvas
20 x 33 1/4
in. (50.8 x 84.5 cm)
Signed and
dated lower right: F. H. Lane / 1851
1986:001
PROVENANCE
Witherle
Memorial Library, Castine, Maine, ca. 1915
Hirschl &
Adler Galleries, New York, 1978 [1]
Private
collection
Acquired by
the Putnam Foundation, 1986
PROVENANCE NOTES
[1] The
painting was at one point catalogued as a moonlight scene (Salem, Mass., Essex
Institute, 1964, Fitz Hugh Lane, 1804Ð1865: American Marine Painter, cat. by John Wilmerding [reprint,
Gloucester, Mass., 1967], p. 58. no. 52).
Thomas Moran (American, 1837Ð1926)
Opus 24: Rome, from
the Campagna, Sunset, 1867
Oil on canvas
25 x 45 1/8 in. (63.5 x
114.6 cm)
Signed, dated, and
inscribed lower left: Thos Moran. 1867 / Op. 24.
2005:001
PROVENANCE
Purchased directly from
the artist in the 1880s(?) by Mr. Joseph Gilbert for $75.00 [1]
Presented as a wedding
gift to Sylvia Gilbert, Mr. GilbertÕs daughter, and Arthur Percival Woodward,
early 1900s(?)
By descent to their son,
Benjamin Woodward
Given to Diana Woodward
Stephens, mid-1980s
Acquired by
the Putnam Foundation, 2005
PROVENANCE NOTES
[1] In the 1860s Moran
maintained a written list of his significant works. This record, referred to as
the ÒOpus List,Ó includes forty-two works. The last entry, which dates to
November 1868, is reproduced from the ÒOpus ListÓ (Gilcrease Museum, Tulsa,
Okla.) as follows: ÒNo. 24. Rome, from the Campagna, Sunset / Painted in June
1867 after return from Europe. Size 25 x 45. Shown at A.F.S. in Feb & March
1868. Sent to Chicago in April 1868. / Returned in July 1868. / [added in
purple ink] Afterwards sold to Gilbert for $75.00.Ó Moran often inscribed the
opus number near his signature; it appears on the Timken picture, just after
the date.
Raphaelle Peale (American, 1774Ð1825)
Cutlet and Vegetables, 1816
Oil on panel
18 1/4 x 24 1/4 in. (46.4
x 61.5 cm)
Signed, dated, and
inscribed lower right: Raphaelle Peale Phila May 1816
Dated on verso in pencil:
1816
2000:002
PROVENANCE
Peale Museum,
Philadelphia, by 1817 [1]
M. Thomas & Sons,
Auctioneers, Philadelphia (PealeÕs Museum Gallery of Oil Paintings, National
Portrait and Historical Gallery Illustrative of American History), October 6, 1854, lot 257 (as Cutlet and
Vegetables) [2]
Townsend Ward,
Philadelphia, 1854
Private collections
Skinner, Inc., Boston,
November 11, 1994, lot 69 (as Still LifeÑBeef and Cabbage)
Schwarz Galleries,
Philadelphia, 1994
Acquired by
the Putnam Foundation, 2000
PROVENANCE NOTES
[1]
In what is said to be a manuscript page of additions to the Peale Museum
catalogue in Charles Willson PealeÕs hand, the work is titled Ò231. A loin of
VealÓ (Historical Catalogue of Paintings in the Philadelphia Museum [1813, with later handwritten
additions; Historical Society of Philadelphia]). On March 4, 1817, in an
advertisement for the Peale Museum in Philadelphia, PoulsonÕs American Daily
Advertiser
announced that Ònumerous valuable and interesting subjectsÓ had been added to
the display, including ÒA Still Life Piece, representing a fillet of Veal and
Vegetables.ÑPainted by Mr. Raphael Peale.Ó
[2] The picture
apparently stayed with the Peale Museum until the auction sale of the
collection in 1854, when it was purchased by Townsend Ward, librarian of the
Historical Society of Pennsylvania, for $20.00Ñthe highest price given for any
of PealeÕs still lifes then on offer. In an annotated copy of the 1854 sales
catalogue, it is called Loin of Veal (M. Thomas and Sons, Auctioneers, PealeÕs Museum Gallery of Oil
Paintings, National Portrait and Historical Gallery Illustrative of American
History, October 6, 1854, lot 257
[copy in the Historical Society of Philadelphia]).
John Frederick Peto (American, 1854Ð1907)
In the Library, 1894/1900
Oil on canvas
30 x 40 in. (76.2 x 101.6
cm)
Signed and dated lower
right: J. F. Peto / 1900
Signed, dated, and
inscribed on verso: IN THE LIBRARY./John F. Peto/Artist./1894/ISLAND HEIGHTS/N.J.
2000:001
PROVENANCE
Private collection,
Philadelphia, reportedly by family descent for four generations, ca. 1900Ð1999
[documented from ca. 1931 as with Harriet Edkins
To her daughter Helen
Edkins Campbell, 1973
To J. Stewart Campbell,
her husband, 1977
To James S. Campbell and
Harriet R. Campbell Young, their children, 1999]
Kennedy Galleries, New York,
1999
Acquired by
the Putnam Foundation, 2000
Benjamin
West (American,
1738Ð1820)
Fidelia
and Speranza, 1776
Oil on canvas
53 3/4 x 42 5/8 in. (136.5 x 108.3 cm)
Signed and
dated lower left: B. West / 1776
1969:001
PROVENANCE
Acquired by
the Putnam Foundation, 1969 [1]
PROVENANCE NOTES
[1] The
Timken painting was exhibited at the Royal Academy in 1777 (no. 364). John
Boydell published, on November 9, 1778, a mezzotint by Valentine Green after
the painting. Fidelia and Speranza may be an allegorical portrait, possibly of sisters, of a type
that was common during the period. It does not appear in the early lists of
WestÕs work, which is characteristic of his portraits.