Dated Web objects before 1800 through 1839

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Francis I, Study for "Gallery of the Louvre"

Samuel F. B. Morse

Date: between 1831 and 1832

Credit Line: Terra Foundation for American Art, Gift of Berry-Hill Galleries in honor of Daniel J. Terra

Object number: C1984.5

Text Entries: Kloss, William. Samuel F.B. Morse. New York: Harry N. Abrams Inc., Publishers in association with the National Museum of American Art, Smithsonian Institution, 1988. Text p. 130, ill. p. 131 (color). Reymond, Nathalie. Un regard américain sur Paris (An American Glance at Paris). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text p. 70; ill. p. 67 (color). Cartwright, Derrick R. The Extraordinary and the Everyday: American Perspectives, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 24 (checklist). Cartwright, Derrick R. L'Héroïque et le quotidian: les artistes américains, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 24 (checklist). Bourguignon, Katherine M. and Elizabeth Kennedy. An American Point of View: The Daniel J. Terra Collection. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 50. Bourguignon, Katherine M. and Elizabeth Kennedy. Un regard transatlantique. La collection d'art américain de Daniel J. Terra. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 50. Brownlee, Peter John. A New Look: Samuel F. B. Morse's "Gallery of the Louvre." (exh. brochure, National Gallery of Art, Washington, D.C.). Washington: National Gallery of Art, 2011. Text, p. 3; ill. fig. 4 (color). Brownlee, Peter John. Samuel F. B. Morse’s Gallery of the Louvre and the Art of Invention. (exh. cat., The Huntington Library, Amon Carter Museum of American Art, Seattle Art Museum, Crystal Bridges Museum of American Art, Detroit Institute of Arts, Peabody Essex Museum, Reynolda House Museum of American Art, New Britain Museum of American Art). Chicago, Illinois: Terra Foundation for American Art, 2014. Text p. 24, 103; ill. p. 24 (color).

Lorenzo and Jessica

Washington Allston

Date: 1832

Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund

Object number: 2000.3

Text Entries: An Exhibition of Pictures Painted by Washington Allston. (exh. cat., Harding's Gallery). Boston, Massachusetts: Harding's Gallery, 1839. No. 38, p. 7. Ticknor, William D. Remarks on Allston's Paintings. Boston, Massachusetts: Houghton Mifflin, 1839. Text pp. 9–11. Ware, William. Lectures on the Works and Genius of Washington Allston. Boston, Massachusetts: Phillips, Sampson and Company, 1852. Text pp. 75–77. Flagg, Jared B. The Life and Letters of Washington Allston. New York: C. Scribner's Sons, 1892. Text p. 392. Brooklyn Museum Quarterly 2 (April–October 1915): 283. Richardson, Edgar Preston. Washington Allston: A Study of the Romantic Artist in America. Chicago, Illinois: University of Chicago Press, 1948. Text pp. 149, 181; pl. LIII, no. 138, p. 21. Gerdts, William H. and Theodore E. Stebbins, Jr. A Man of Genius: The Art of Washington Allston. (exh. cat., Museum of Fine Arts, Boston). Boston, Massachusetts: Museum of Fine Arts, 1979. Text pp. 141, 143, 147, 169; ill. p. 198, no. 64 (black & white). Mandeles, C. "Allston's The Evening Hymn." Arts 54 (January 1980): 142–45. Ill. (black & white). Feld, Stuart P. Boston in the Age of Neo-Classicism, 1810-1840. (exh. cat., Hirschl & Adler Galleries, Inc.). New York: Hirschl & Adler Galleries, Inc., 1999. Text p. 122; ill. p. 123, no. 75 (color). Bourguignon, Katherine M. and Elizabeth Kennedy. An American Point of View: The Daniel J. Terra Collection. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 52, 191; ill. pp. 5 (color), 53 (color), 191 (black & white). Bourguignon, Katherine M. and Elizabeth Kennedy. Un regard transatlantique. La collection d'art américain de Daniel J. Terra. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 52, 191; ill. pp. 5 (color), 53 (color), 191 (black & white). Side by Side: Works from the Terra Foundation for the Arts and the Detroit Institute of Arts. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text p. 5; ill. p. 4 (color). Deux collections en regard: oeuvres de la Terra Foundation for the Arts et du Detroit Institute of Arts. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text p. 5; ill. p. 4 (color). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text pp. 24–26, 37; fig. 4, p. 25; ill. p. 37 (color).

Girl in a Red Dress

Ammi Phillips

Date: c. 1835

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.57

Text Entries: (modified anniversary publication entry) In 1809 Ammi Philips began advertising his services as a portraitist and his prolific success as a portrait painter spanned more than fifty years. Demand for portraits steadily increased with the rise of the nation's merchant and middle classes, and self-trained artists like Phillips made a living traveling from town to town painting on commission. Unlike many itinerant artists, however, Phillips often settled, with his family, in a town or village for several years at a time, only moving on when he had exhausted the possibilities for employment in that community. Although many of his works are neither signed nor dated, ongoing scholarship has carefully reconstructed Phillips' oeuvre by tracing his career through county and town records, land deeds, and a collection of official documentation that places the artist in specific regions during certain years. Stylistically linked to a period between 1830 and 1835, Girl in a Red Dress exemplifies the artist's method of using an interchangeable stock of garments and props for his portraits. The painting is one of several similar likenesses in which a young sitter wears a wide-necked red dress, coral necklace, and pulled-back hair surrounded by a dog, carpet, and berries (following the eighteenth-century portrait tradition of using emblematic attributes, Phillips' incorporation of the puppy and berries represents, respectively, the sitter's fidelity and youthful vitality). This stylistic streamlining would not only save time and money for the artist, but would also ensure that each new client would have a reasonable idea of what to expect from the finished product.

Portrait of a Woman said to be Clarissa Gallond Cook, in front of a Cityscape

Erastus Salisbury Field

Date: c. 1838

Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund

Object number: 2000.4

Text Entries: Painter Erastus Salisbury Field of Leverett, Massachusetts, enjoyed a prolific and prosperous career of sixty-five years. After brief instruction in 1824 from Samuel F. B. Morse (1791-1872), Field crossed New England to paint portraits of rural society figures. The 1830s were productive for Field: he refined his artistic skills, developed an increasingly personal style and obtained commissions through a network of family associations. Field painted several portraits of residents from Petersham, Massachusetts, among them the Cook and Gallond families. In this portrait said to be Clarissa Gallond Cook, Field skillfully portrayed the sitter's prominent brow and long nose as well as her modishly styled hair of the mid-1830s. The unusual background shows an unidentifiable port city, perhaps along the Hudson River where the Cook family sailed their merchant schooner, the "Sarah Taintor." Instead of a traditional feminine landscape setting, the female sitter is posed before a background suggestive of trade and industry more typically found in male portraits. A similarly provocative background appears in a Field portrait from the Shelburne Museum in Vermont. The identification of the sitter remains in question. She may be one of Clarissa's sisters, Almira Gallond Moore or Louisa Gallond Cook, who also married into the Cook family.

Portrait of Blanch Sully

Thomas Sully

Date: 1839

Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund

Object number: 2000.2

Text Entries: Roughly contemporary, these two portraits each depict a member of the artist's family. Jonathan Adams Bartlett's "likeness" of his sister, Harriet, is exceptional in its inclusion of books-both in her hand and stacked on the table-a nod to the intellectual realm most associated with men. Though fashionably rouged and coifed, Harriet is nevertheless portrayed as actively seeking knowledge: her over-the-shoulder look at the viewer seems to indicate an interruption of activity-a moment captured-additionally emphasized by the tassel caught in mid-swing behind her. Likewise, Thomas Sully portrays his daughter Blanch with a fashionable hairstyle and headdress, which serve in effect to "crown" her head. Sully executed this canvas soon after returning home from painting the commissioned portrait of the young Queen Victoria. Interestingly, the twenty-one year old Blanch accompanied her father to London and often modeled in the queen's stead between sessions. The painting of Blanch serves as a visual poem to her intelligence, beauty and charm. Like Bartlett, Sully relied on visual symbols to convey an inner truth of individual character.