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American paintings: A catalogue of the collection of the by ALBERT TEN EYCK; FELD, STUART P. GARDNER

By ALBERT TEN EYCK; FELD, STUART P. GARDNER

This can be the 1st special catalogue that has been released of the Museums American work. as a result measurement of the gathering, merely oil work by means of artists born via 1875—about part the collection—are integrated. runs 3 volumes the current quantity includes the paintings of painters born via 1815.

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Additional info for American paintings: A catalogue of the collection of the Metropolitan Museum of Art. Volume I: Painters born by 1815

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Mus. , xx (1962), pp. 257-263, reproduces the engraved source; says the Casali engraving was based on a theat- Mrs. Jerathmael Bowers Mary Sherburne (I735-I799) was the daughter of Joseph Sherburne (see below) by his marriage to Mary Watson in 1734- As her father's sole heir, she received a substantial fortune-a dowry of forty thousand pounds sterling when she married in 1763 and an AMERICAN additional twenty thousand upon his death in 1779. Her husband, Jerathmael Bowers, was from a wealthy and prominent Quaker family who lived at Somerset, Bristol County, Massachusetts.

Farington, The Farington Diary, ed. J. Greig (I924), III, pp. 227, 270 I I T. Sizer, The Yale University Library Gazette, xxn ( 1948), pp. , gives entry from Trumbull's early account book I I M. S. Robinson, AMERICAN PAINTINGS I Scene from "Orlando Furioso" 95· 22 ·5 For many years this picture was exhibited as Scene from The Tempest; later it was called merely Historical Subject. " Orlando has been told by a shepherd of the marriage of Angelica and Medoro and, as proof, is offered by the shepherd's wife the bracelet of gems that Angelica had given them as a reward for sheltering her and Medoro.

The portrait is one of Copley's most appealing studies of character. It catches the brightly alert dowager as she glances up momentarily from the book that has been the object of her concentrated attention. Except for the facial features, the portrait is identical to that of Mrs. James Russell (Museum of Fine Arts, Boston) and to the damaged and perhaps reduced portrait of Mrs. Elizabeth Austin (collection of Winthrop Kent, Buffalo, New York). The chair itself is one that appears in many of Copley's portraits and may have been part of his own household furnishings.

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