METROPOLITAN MUSEUM OF ART
Selected Gill & Lagodich framing projects for the Metropolitan Museum of Art include provision of period frames for George Henry Durrie, Red School House (Country Scene), 1858; William A. Harper, The Trees, Early Afternoon, France, 1905; Marsden Hartley, Mt. Katahdin (Maine), Autumn No. 2, 1939-40 and Portrait of Albert Pinkham Ryder, 1938; Childe Hassam, Peach Blossoms—Villiers-Le-Bel, 1887–89; Joshua Johnson, Emma Van Name, c. 1805, Charles Ethan Porter, Cracked Watermelon, 1890, and Charles Caleb Ward, Coming Events Cast Their Shadows Before, 1871. Gilding conservation and restoration of museum-owned frame original to painting by Childe Hassam, The Church at Gloucester, 1918. Custom replication of original period frames from G&L Collection for Frank Benson, Children in Woods, 1905; Ernest Blumenschein, Taos Valley, New Mexico, 1933; John Steuart Curry, John Brown, 1939; Luigi Lucioni, Portrait of Jared French, 1930; Edmund Tarbell, Across The Room, 1899; and Bumpei Usui, The Furniture Factory, 1925. Custom replication from small archival photograph of a lost-original c.1905 hand-carved and gilded frame for Arthur Mathews painting, Afternoon Among The Cypresses — frame recreated from a photograph of the painting in its original frame found in Arthur Mathews’s Furniture Shop period scrapbook archived at Oakland Museum of California.
note: framed paintings are shown in alphabetic order by artist. please check back soon for more images.
JOHN STEUART CURRY (1897–1946)
John Brown, 1939, oil on canvas, 69" x 45". © John Steuart Curry. Custom-made replica, Early American molding frame, first-quarter-19th-century, beveled wood profile with worn ebonized patina and gilded flat liner. Molding width: 6-1/2” "Throughout the 1930s, Kansas-native Curry was closely associated with Benton as a member of the artistic movement known as Regionalism. John Brown reprises the subject of Curry's mural in the rotunda of the Kansas State Capitol. One of the most controversial figures in nineteenth-century American history, Brown opposed the extension of slavery in the 1850s into the Kansas Territory. Curry depicted Brown larger-than-life in an open, stark landscape besieged by a tornado—a meteorological symbol of the conflict—with a slave at his side. The abolitionist's crazed expression and animated hair and beard suggest the messianic fervor that fueled his opposition to human bondage." Arthur Hoppock Hearn Fund, 1950 (50.94.1) —Metropolitan Museum permanent collection label.
GEORGE HENRY DURRIE (1820 – 1863)
Red Schoolhouse (Country Scene), 1850–60, oil on canvas, 28-1/4" x 41-1/4", c. 1850s American painting frame, gilded applied composition ornament on wood; molding width 5". "Based in New Haven, Connecticut, Durrie traveled throughout the state, painting scenes of rural life. He was noted for his winter landscapes, which idealize the harsh season and effectively capture the visual effects of snow and ice. The New York lithographic firm Currier & Ives chose a number of his scenes for reproduction and distribution. In this nostalgic work, Durrie depicted a one-room schoolhouse with a blanket of unmelted snow on its roof, surrounded by children at play." —Metropolitan Museum of Art, permanent collection label.
MARSDEN HARTLEY (1877–1973)
Portrait of Albert Pinkham Ryder, 1938, Oil on Masonite, 28” x 22"; c. 1930s American Modernist painting frame, House of Heydenryk, New York makers; silver-gilded beveled sight edge, wormy chestnut reverse profile, molding width: 4-3/8” CURRENTLY ON VIEW at the Met Breuer in the stellar exhibit “Marsden Hartley’s Maine”, March 15 – June 18, 2017 (And next summer into autumn at Colby College Museum of Art, July 8 – November 1)
CHILDE HASSAM (1859 – 1935)
Peach Blossoms — Villiers-le-Bel, 1887–89, oil on canvas, 21-1/2" x 18-1/8". c. 1890s American frame, gold leaf and Roman-gilding, applied ornament, on wood; very fine Whistler-inspired reeded design, molding width 7 inches. "Hassam studied in Paris from 1887 to 1889. During the summers, he and his wife visited friends at Villiers-le-Bel, about ten miles north-east of the city, in the Oise River valley. There, Hassam painted a series of deligthtul garden scenes that reflect his life liong interest in the subject. Although he produced few simple landscapes in the French countryside, this canvas is an exquisite exception. The unruly, overgrown peach tree in an orchard is delectably dynamic, especially in contrast to the controlled vision of nature in the manicured garden that usually preoccupied Hassam at Villiers-le-Bel." — Metropolitan Museum, permanent collection label. Gift of Mrs. J. Augustus Barnard, 1979, 1979.490.9
CHARLES ETHAN PORTER (1847–1923)
(Cracked Watermelon), c. 1890, oil on canvas, 19-1/8” x 28-3/16”; c. 1890s American painting frame, gilded hand-carved wood, molding width 4-7/8” MMA Purchase, Nancy Dunn Revocable Trust Gift, 2015 “The largely Connecticut-based, New York- and Paris-trained Porter was among the first African American artists to exhibit his work nationally. "Untitled (Cracked Watermelon)" is one of his largest and most impressive still lifes. Its subject—originally an African gourd brought to the New World by seventeenth-century Spaniards and cultivated by colonists—is also significant. Porter chose to paint what had been an earlier symbol of American abundance—and during the Civil War period one particularly associated with free blacks—when it was increasingly defined by virulent stereotyping. By reclaiming the "American" subject in artistic terms (and with a French stylistic flavor), Porter challenged a contemporary racist trope. A tour de force of the artist’s mature style—perfected in Paris under the influence of the work of Henri Fantin-Latour and Edouard Manet—"Untitled (Cracked Watermelon)" reveals Porter’s bravura handling of paint as well as his skills as a colorist in the composition’s dramatic light-dark contrasts of complementary colors. After decades of success painting still lifes of fruit and flowers—with the support of patrons such as Samuel Clemens and Frederic Edwin Church—Porter died in poverty and obscurity. A resurgence of interest in his work dates to the late 1980s.”
EDMUND CHARLES TARBELL (1862 – 1938)
Across The Room, ca. 1899, oil on canvas, 25" x 30-1/8", custom-made replica of c. 1895-1905 American Stanford White painting frame, gilded cast ornament on wood, molding width 7-1/4 inches, fabricated by Gill & Lagodich, replica of an original Stanford White frame in the Gill & Lagodich Collection. "The Boston Impressionist Tarbell's canvas recalls Johannes Vermeer's portrayals of quiet rooms occupied by solitary women. Its asymmetrical composition was inspired by Edgar Degas, James McNeill Whistler, and Japanese woodblock prints. The Chinese porcelain jar and Japanese screen demonstrate Tarbell's esteem for Asian art and suggest Boston's connection to the China trade. Thus, in many ways, the painting echoes the widespread belief — articulated by the novelist Henry James in 1867 — that Americans could 'deal freely with forms of civilization not our own, can pick and choose and assimilate an in short ... claim our property wherever we find it.'" —Metropolitan Museum, permanent collection label. Bequest of Miss Adelaide Milton de Groot (1876–1967), 1967, 67.187.141
JOSHUA JOHNSON (active 1796–1824)
Emma Van Name, ca. 1805, oil on canvas, 29" x 23". c. 1790s American painting frame; gilded wood with carved and applied ornament. Molding width: 3-1/8” "This compelling portrait of a Maryland toddler is widely regarded as an icon of American folk painting. Included in numerous international exhibitions since its discovery in the late 1950s by New York’s primary folk and modernist dealer, Edith Halpert, it is now accepted as an important work by Joshua Johnson, the earliest known professional African American painter. Son of a white man and an unidentified enslaved mother, Johnson apprenticed to a blacksmith before achieving his freedom in 1782, becoming part of Baltimore’s large free black population. Emma Van Name is arguably his most ambitious and engaging portrait of an individual child. Distinguished by a bravura demonstration of the presumably self-taught artist’s talent and imaginative flair in its nuanced palette, compositional complexity, deft handling of details, and surreally scaled goblet that incongruously comes to the subject’s waist, the work suggests the particular appeal of historical folk painting to early 20th-century modernists." —Metropolitan Museum permanent collection label.
BUMPEI USUI (American (born Japan), Nagano 1898–1994 New York)
The Furniture Factory, 1925, oil on canvas , 36” x 43”. Custom-made replica c. 1930s-40s American Modernist painting frame, reverse bolection profile, gilders clay and polychrome on wood, toned gesso hollow at sight edge. Molding width: 4-1/8” "The playful experimentation with perspective and proportions in this depiction of men and boys absorbed in various tasks related to furniture manufacture fills the canvas with frenetic energy. Details, such as the wide range of tools and machinery that animate the interior, reveal Usui’s own extensive knowledge of woodworking. Following his immigration to New York from Japan, Usui integrated into the city’s art community through his trade as a frame maker, through which he met many leading contemporary painters." —Metropolitan Museum of Art, Permanent Collection Label. Painting: MMA Purchase, Arthur Hoppock Hearn Fund, by exchange, 2014.