SUMMER HIGHLIGHTS
Brandon BALLENGEE, RIP Eskimo Curlew, 2007
mixed media - Color engraving; glass apothecary bottle with ashes, 32 x 44 in.
From "Frameworks of Absence" Series. Artist-cut print from a J.J. Audubon re-print Esquimaux Curlew engraved, printed and coloured by R. Havell from the "Amsterdam" Edition (1971-73) along with blue glass bottle of ashes from removed paper with etched text "RIP Eskimo Curlew." Extinct by the late 20th century.
2015.05.01 A-B
Credit Line: Lafayette College Art Collection, Easton, PA
Caleb BOYLE, John Jay (1745-1829); first Chief Justice of the U.S., after 1782
oil on canvas, 92 1/2 x 61 1/4 in.
Full length standing portrait showing Jay as treaty maker. This painting is a companion to Boyle's Thomas Jefferson (K 06). They have always been sold and purchased together, but are separate entities.
K 07
ADDITIONAL INFORMATION: NOTE: database had the 1782 date; 1801 date from information in the object file
See Gilbert Stuart, Portrait of John Jay, 1794
Full length standing portrait showing Jay as treaty maker. This painting is a companion to Boyle's Thomas Jefferson (K 06). They have always been sold and purchased together, but are separate entities.
_____________________
Provenance Notes:
This painting was unveiled on campus 09-02-1943 at a ceremony in the Kirby Hall of Civil Rights library.
Provenance:
1889 exhibited at the Washington Inaugural Centennial Exhibition at the Metropolitan Opera House; 1822 bought by Sir William Brown in Liverpool, England and hung in his "Holmbush House" in Faygate, Sussex for 106 years; sold by his great grandson Brigadier Gen. Howard Clifton Brown to Mr. Percy A. Rockefeller for $25,000.00; illustrated in the Rotogravure Section of the New York Times 01-08-1928; hung in Rockefeller's 26 Broadway, New York office until his death; 1939 exhibited at the opening of the Art Gallery of University of Southern California, Los Angeles.
Source Institute: Mr. Allan P. Kirby, Class of 1915
Credit Line: Kirby Collection of Historical Paintings, Lafayette College, Easton, PA; Gift of Allan P. Kirby (class of 1915)
Jean Baptiste CARPENTIER, Portrait of Lafayette, 1785
oil on canvas, 21 3/4 x 18 in.
P 911
Credit Line: Lafayette College Art Collection, Easton, PA; Gift of Stuart W. Jackson
Alonzo CHAPPEL, Benjamin Franklin (1706-1790), 1861
oil on canvas, 88 x 52 in.
Life-sized, standing Ben Franklin in his 70's, interior scene with table and chair and papers lying on the floor, Philadelphia, PA.
M 345
ADDITIONAL INFORMATION: Listed as ID# M 346 in 1955 inventory
National Portrait Gallery CAP Survey PA 22 0090
________________________________
Provenance:
As per Chappel exhibition catalogue, Brandywine River Museum 1995, pg 69: In 1944 Cecilia Haggerty of Brooklyn owned it (Herman H. Diers, Alonzo Chappel File, National Museum of American Art, Washington DC & Frick reference library NYC). Before entering Lafayette's collection, was at Vose Gallery, Boston. It may have been the Franklin portrait exhibited by Chappel at the Brooklyn Art Association in 1864 - see Clark S. Marlor A History of the Brooklyn Art Association with an Index of Exhibitions, New York: James F. Carr, 1970. p.148.
Information from Vose Gallery Postcard:
This important portriat remained in private hands for almost 100 years. It was recently discovered and purchased by the Vose Galleries of Boston. In this 250th anniversary year of Franklin's birth this painting is available for purchse.
-Vose Galleries of Boston, 55a Boylston Street, Boston MA
From Robert D. Schwarz Fine Paintings: multiple portraits of Franklin were done by Chappel. Most of these were made to be source material for prints for publication. It is unknown if this particular pieces was made for this purpose and if reproductions were made.
Source Institute: Marquis Foundation
Credit Line: Lafayette College Art Collection, Easton, PA; Gift of the Marquis Foundation
Crown Ducal (A G Richardson and Co Ltd), Dinner Plate: Landing of the Pilgrims, from the series Colonial Times, 1930-1940, ca.
glazed earthenware, 10 3/8 x 10 3/8 x 3/4 in.
Ceramic transferware dinner plate; ivory with blue color printed pattern, circular, scalloped rim with circular well; rim with diamond and foliate printed pattern and vignettes, each depicting Indigenous Americans and pilgrim imagery: Pocahontas Saving Life of John Smith; American Indian; Mayflower in Plymouth Harbor; Return of the Mayflower. Central image depicts The Landing of the Pilgrims aka Plymouth Rock, 1620 (c1869) Rothermel, Peter Frederick, 1812-1895, artist; Andrews, Joseph, 1806-1873, engraver. Reverse image depicts Pilgrim Exiles.
2019.19.04
ADDITIONAL INFORMATION: Acquired for exhibition: A Band of Exiles on the Wild New England Shore; The Place of Peter Frederick Rothermel's The Landing of the Pilgrims in America's National Memory
March-May 2014
Source Institute: UNKNOWN
Credit Line: Lafayette College Art Collection, Easton, PA
Frederick Knecht DETWILLER, Orozco at Work, 1931, Jan 8
Serigraph, 9 1/4 x 13 1/4 in.
Black and white lithograph on buff colored paper or painter Jose Clemente Orozco (Mexico 1883-1949) sitting on a scaffold working on a mural at the New School.
2002.02.14
ADDITIONAL INFORMATION: Information on Orozco's New School Murals https://www.newschool.edu/university-art-collection/re-imagining-orozco-new-school-murals/
Credit Line: Frederick Knecht Detwiller Collection, Lafayette College, Easton, PA
Frederick Knecht DETWILLER, Hudson Bridge (George Washington Bridge), 1928
etching and aquatint on paper, overall: 20 5/8 x 15 1/8""
image: 16 3/4 x 11 1/2""
Building of Hudson Bridge (George Washington Bridge) in 1828
S 145 Q
ADDITIONAL INFORMATION: use 2002.02.22 for spring exhibit instead
Credit Line: Lafayette College Art Collection, Easton, PA
David Clyde DRISKELL, Accent of Autumn, 2016
textured serigraph, 42 x 30 in.
2020.03
ADDITIONAL INFORMATION: Master printmaker: Jase Clark
Printer: Experimental Printmaking Institute
Publisher: Raven Fine Print Editions
Credit Line: Lafayette College Art Collection, Easton, PA; Gift of Jon D. Smith, Jr. '66, in Honor of Professor Curlee Raven Holton
![Melvin EDWARDS, Transcendence, 2007-2008
stainless steel, 192 in.
Transcendence honors the life of David McDonogh, the first African American graduate of Lafayette College, Class of 1844.
2008.03
ADDITIONAL INFORMATION: Biography of David McDonogh by Martha T. Moore for Columbia Medicine Magazine, Spring 2008
http://www.columbiamedicinemagazine.org/webextra/spring-2018/node%3Atitle%5D-2
_____________________________________________________________________
In New York before the Civil War, African-American doctors were few, and medical education was closed to non-whites. The first black American university-trained doctor, James McCune Smith, went to Scotland to earn his MD before returning to New York in 1837. But more than a decade before slavery ended, David McDonogh, an African-American who was born an enslaved person, was practicing medicine and even specializing, in ophthalmology. Educated at what is now VP&S, he was the first black Columbia-trained doctor in New York.
Born in Louisiana enslaved by the owner of a cotton and sugar plantation, Dr. McDonogh studied at VP&S as part of efforts by the 19th century American Colonization Society’s movement to send African-Americans freed from slavery to Liberia, the African colony founded as a destination for freed African-Americans. But Dr. McDonogh, at the end of his training at Columbia in 1847, did not emigrate, and Columbia did not award him an MD degree.
Until this year. [2018]
At the 2018 VP&S graduation, Dean Lee Goldman awarded Dr. McDonogh the MD degree he would have received more than 170 years ago had he not been African-American. Dr. Goldman handed the posthumous degree to Patricia Worthy, Dr. McDonogh’s great-great-granddaughter.
“Dr. McDonogh’s qualification for the MD degree has not changed, but Columbia has,” Dr. Goldman said. “Part of celebrating our 250-year anniversary in 2017 included taking stock of our history. During this process, we decided to take action that was unthinkable in the 1800s but completely embraced by our current values.”
When he arrived at Columbia, Dr. McDonogh had already made history as the first African-American graduate of Lafayette College in Easton, Pa. He had been sent to Lafayette by his owner, John McDonogh, a supporter of the American Colonization Society. The colonization movement sought to gradually end slavery in the United States by “repatriating” African-Americans to Liberia, then a colony in Africa founded by the ACS in 1820. David McDonogh was to be educated in preparation for emigration.
David McDonogh was emancipated by his Presbyterian guardian soon after arriving at Lafayette in 1838. By the time he graduated in 1844, he was determined to pursue medical studies despite the whites-only admission policies then in place, and he was “decidedly, utterly and radically opposed”—as he wrote at the time—to going to Liberia before he finished medical training.
McDonogh spent a year training with a physician in Easton and then came to New York. According to an 1895 newspaper account, McDonogh studied at VP&S under John Kearney Rodgers, a prominent faculty member who was a founder of New York Eye and Ear Infirmary. After his time at Columbia, Dr. Rodgers appointed Dr. McDonogh to a staff position at the New York Eye and Ear Infirmary. McDonogh adopted the middle name “Kearney” in apparent tribute to his mentor. Throughout his life, Dr. McDonogh identified himself as a VP&S graduate, even though VP&S did not formally recognize his education.
Perhaps not surprisingly, information about McDonogh at Columbia is hard to come by. “Business relating to African-Americans is often not recorded in official records,” says Stephen Novak, head of archives and special collections at the Augustus C. Long Health Sciences Library. Although three African-American students came to VP&S through the colonization society, “Our records are completely silent on this. If it wasn’t documented in the ACS records at the Library of Congress, we’d have no idea it ever happened.”
Columbia’s medical school did not officially admit a black student until the 20th century, but the first official African-American graduate—Travis J.A. Johnson, Class of 1908—is indicative of how small the New York community of African-American physicians was: Dr. Johnson was the son of a doctor mentored by Dr. McDonogh.
Writing in P&S Journal (now Columbia Medicine) in 2000, the late historian Russell Irvine documented three African-Americans who studied medicine at Columbia before the Civil War with the financial support of the colonization movement. John Brown, a freeman from Connecticut who completed medical studies in 1832 but received no degree, also declined to go to Liberia. He became a teacher and lecturer. Washington Davis, the son of emigres to Liberia, began studies at VP&S in 1832 and returned to Liberia to practice medicine.
Of the three, only Dr. McDonogh worked as a physician in New York, maintaining offices in the heart of the city’s black community as it moved from Greenwich Village to Hell’s Kitchen. Though he trained in ophthalmology, he maintained a general medical practice that included delivering babies.
Raised in bondage, Dr. McDonogh was active in the abolitionist movement. “I can’t say he was best friends with Frederick Douglass but I can put them in the same room,” says Christine McKay, an archivist who researched McDonogh’s life for Lafayette College.
Beginning in 1853, McDonogh was a delegate to “colored conventions,” state and national political meetings that drew leading abolitionists including Douglass and physician James McCune Smith. After the Civil War, McDonogh was a founder of a local Colored Republican Association and was “among the more notable colored men on the stage,” according to a New York Tribune report, for a debate at the Cooper Institute between the presidential campaigns of Ulysses Grant and Horace Greeley.
Dr. McDonogh died of “congestion of the brain” in 1893 at his home in Newark, N.J.
The obelisk on his grave in Woodlawn Cemetery in the Bronx (the cemetery’s website lists him among the notable individuals buried there) befits his hard-won status as a professional and a man of property. Fifty people attended its unveiling, and in 1898, a group of black physicians opened McDonough Memorial Hospital in his honor. (Historical documents suggest he may have changed the spelling of his name, but his grave spells his name “McDonogh.”)
Columbia’s decision to award Dr. McDonogh’s degree comes at a time when universities founded before the Civil War have acknowledged their part in the history of racial discrimination and their ties to enslavement. A 2017 report by Columbia faculty and students, “Columbia University and Slavery,” details the support by VP&S leadership in the 1800s for colonization and theories on the physical inferiority of African-Americans.
“What our students should take from Dr. McDonogh’s life and history is the celebration and recognition of his courage to support the principles of human dignity, freedom, and rights,” says Anne L. Taylor, MD, vice dean for academic affairs at VP&S.
Dr. McDonogh’s degree is not an honorary one, she notes. “This is really awarding him something that he earned, that he was denied because of his race,” Dr. Taylor says. “What this reflects is the university both acknowledging the good that it did—that there were Columbia professors of good conscience who mentored him and nurtured him through his education—and acknowledging that things were done by less than contemporary standards.”
Patricia Worthy says she knew nothing of her great-great-grandfather’s life and achievements until contacted by Lafayette College officials last year. His years in slavery “are a part of history that’s horrible,” she says, “but he was able to persevere. It does make me feel proud.”
Dr. McDonogh’s name will certainly be known at VP&S now: The medical school has established a $1 million endowed scholarship, the David McDonogh Memorial Scholarship. Preference for the scholarship will be given to students who have overcome adversity or hardship to pursue a medical education. The scholarship was made possible by Roy Vagelos’54 and his wife, Diana, who provided funds to endow the McDonogh Memorial Scholarship in perpetuity. “There is no better way to honor Dr. McDonogh and his legacy,” says Dr. Goldman.
Columbia’s recognition of Dr. McDonogh is welcomed by the history professionals who have worked to bring Dr. McDonogh’s story to light.
“I was just delighted. I think that was a wonderful thing for VP&S to have done. It helps to right the record,” says Diane Windham Shaw, the archivist at Lafayette College who has documented McDonogh’s life. “It’s a wonderful tribute. And a richly deserved one.”
Lafayette has honored McDonogh, its first black graduate, with a commemorative sculpture by the renowned African-American sculptor Melvin Edwards. An African-American alumni networking group is named the McDonogh Network. “This is kind of a moment for recognizing and realizing that our history is more complex than we knew,” Ms. Shaw says. “We’ll all be better served by knowing.”
“It’s great to have a story of a person to fit into New York history that we didn’t know about before—abolition history, Civil War history, community history, medical history,” says Ms. McKay, the archivist. “This is a person whose name has been known, but now we have filled in so many of the blanks.”
One piece of the McDonogh story remains elusive: a photograph of David Kearney McDonogh. A century and a half ago, as photography grew popular, it was common for people of professional attainment to have portraits made, so it is likely that Dr. McDonogh would have sat for the camera.
“Somewhere in this world,” Ms. McKay says, “there is a photograph.”
Source Institute: EPI
Credit Line: Lafayette College Art Collection, Easton, PA](/images/16220_h2048w2048gt.5.jpg)
Melvin EDWARDS, Transcendence, 2007-2008
stainless steel, 192 in.
Transcendence honors the life of David McDonogh, the first African American graduate of Lafayette College, Class of 1844.
2008.03
ADDITIONAL INFORMATION: Biography of David McDonogh by Martha T. Moore for Columbia Medicine Magazine, Spring 2008
http://www.columbiamedicinemagazine.org/webextra/spring-2018/node%3Atitle%5D-2
_____________________________________________________________________
In New York before the Civil War, African-American doctors were few, and medical education was closed to non-whites. The first black American university-trained doctor, James McCune Smith, went to Scotland to earn his MD before returning to New York in 1837. But more than a decade before slavery ended, David McDonogh, an African-American who was born an enslaved person, was practicing medicine and even specializing, in ophthalmology. Educated at what is now VP&S, he was the first black Columbia-trained doctor in New York.
Born in Louisiana enslaved by the owner of a cotton and sugar plantation, Dr. McDonogh studied at VP&S as part of efforts by the 19th century American Colonization Society’s movement to send African-Americans freed from slavery to Liberia, the African colony founded as a destination for freed African-Americans. But Dr. McDonogh, at the end of his training at Columbia in 1847, did not emigrate, and Columbia did not award him an MD degree.
Until this year. [2018]
At the 2018 VP&S graduation, Dean Lee Goldman awarded Dr. McDonogh the MD degree he would have received more than 170 years ago had he not been African-American. Dr. Goldman handed the posthumous degree to Patricia Worthy, Dr. McDonogh’s great-great-granddaughter.
“Dr. McDonogh’s qualification for the MD degree has not changed, but Columbia has,” Dr. Goldman said. “Part of celebrating our 250-year anniversary in 2017 included taking stock of our history. During this process, we decided to take action that was unthinkable in the 1800s but completely embraced by our current values.”
When he arrived at Columbia, Dr. McDonogh had already made history as the first African-American graduate of Lafayette College in Easton, Pa. He had been sent to Lafayette by his owner, John McDonogh, a supporter of the American Colonization Society. The colonization movement sought to gradually end slavery in the United States by “repatriating” African-Americans to Liberia, then a colony in Africa founded by the ACS in 1820. David McDonogh was to be educated in preparation for emigration.
David McDonogh was emancipated by his Presbyterian guardian soon after arriving at Lafayette in 1838. By the time he graduated in 1844, he was determined to pursue medical studies despite the whites-only admission policies then in place, and he was “decidedly, utterly and radically opposed”—as he wrote at the time—to going to Liberia before he finished medical training.
McDonogh spent a year training with a physician in Easton and then came to New York. According to an 1895 newspaper account, McDonogh studied at VP&S under John Kearney Rodgers, a prominent faculty member who was a founder of New York Eye and Ear Infirmary. After his time at Columbia, Dr. Rodgers appointed Dr. McDonogh to a staff position at the New York Eye and Ear Infirmary. McDonogh adopted the middle name “Kearney” in apparent tribute to his mentor. Throughout his life, Dr. McDonogh identified himself as a VP&S graduate, even though VP&S did not formally recognize his education.
Perhaps not surprisingly, information about McDonogh at Columbia is hard to come by. “Business relating to African-Americans is often not recorded in official records,” says Stephen Novak, head of archives and special collections at the Augustus C. Long Health Sciences Library. Although three African-American students came to VP&S through the colonization society, “Our records are completely silent on this. If it wasn’t documented in the ACS records at the Library of Congress, we’d have no idea it ever happened.”
Columbia’s medical school did not officially admit a black student until the 20th century, but the first official African-American graduate—Travis J.A. Johnson, Class of 1908—is indicative of how small the New York community of African-American physicians was: Dr. Johnson was the son of a doctor mentored by Dr. McDonogh.
Writing in P&S Journal (now Columbia Medicine) in 2000, the late historian Russell Irvine documented three African-Americans who studied medicine at Columbia before the Civil War with the financial support of the colonization movement. John Brown, a freeman from Connecticut who completed medical studies in 1832 but received no degree, also declined to go to Liberia. He became a teacher and lecturer. Washington Davis, the son of emigres to Liberia, began studies at VP&S in 1832 and returned to Liberia to practice medicine.
Of the three, only Dr. McDonogh worked as a physician in New York, maintaining offices in the heart of the city’s black community as it moved from Greenwich Village to Hell’s Kitchen. Though he trained in ophthalmology, he maintained a general medical practice that included delivering babies.
Raised in bondage, Dr. McDonogh was active in the abolitionist movement. “I can’t say he was best friends with Frederick Douglass but I can put them in the same room,” says Christine McKay, an archivist who researched McDonogh’s life for Lafayette College.
Beginning in 1853, McDonogh was a delegate to “colored conventions,” state and national political meetings that drew leading abolitionists including Douglass and physician James McCune Smith. After the Civil War, McDonogh was a founder of a local Colored Republican Association and was “among the more notable colored men on the stage,” according to a New York Tribune report, for a debate at the Cooper Institute between the presidential campaigns of Ulysses Grant and Horace Greeley.
Dr. McDonogh died of “congestion of the brain” in 1893 at his home in Newark, N.J.
The obelisk on his grave in Woodlawn Cemetery in the Bronx (the cemetery’s website lists him among the notable individuals buried there) befits his hard-won status as a professional and a man of property. Fifty people attended its unveiling, and in 1898, a group of black physicians opened McDonough Memorial Hospital in his honor. (Historical documents suggest he may have changed the spelling of his name, but his grave spells his name “McDonogh.”)
Columbia’s decision to award Dr. McDonogh’s degree comes at a time when universities founded before the Civil War have acknowledged their part in the history of racial discrimination and their ties to enslavement. A 2017 report by Columbia faculty and students, “Columbia University and Slavery,” details the support by VP&S leadership in the 1800s for colonization and theories on the physical inferiority of African-Americans.
“What our students should take from Dr. McDonogh’s life and history is the celebration and recognition of his courage to support the principles of human dignity, freedom, and rights,” says Anne L. Taylor, MD, vice dean for academic affairs at VP&S.
Dr. McDonogh’s degree is not an honorary one, she notes. “This is really awarding him something that he earned, that he was denied because of his race,” Dr. Taylor says. “What this reflects is the university both acknowledging the good that it did—that there were Columbia professors of good conscience who mentored him and nurtured him through his education—and acknowledging that things were done by less than contemporary standards.”
Patricia Worthy says she knew nothing of her great-great-grandfather’s life and achievements until contacted by Lafayette College officials last year. His years in slavery “are a part of history that’s horrible,” she says, “but he was able to persevere. It does make me feel proud.”
Dr. McDonogh’s name will certainly be known at VP&S now: The medical school has established a $1 million endowed scholarship, the David McDonogh Memorial Scholarship. Preference for the scholarship will be given to students who have overcome adversity or hardship to pursue a medical education. The scholarship was made possible by Roy Vagelos’54 and his wife, Diana, who provided funds to endow the McDonogh Memorial Scholarship in perpetuity. “There is no better way to honor Dr. McDonogh and his legacy,” says Dr. Goldman.
Columbia’s recognition of Dr. McDonogh is welcomed by the history professionals who have worked to bring Dr. McDonogh’s story to light.
“I was just delighted. I think that was a wonderful thing for VP&S to have done. It helps to right the record,” says Diane Windham Shaw, the archivist at Lafayette College who has documented McDonogh’s life. “It’s a wonderful tribute. And a richly deserved one.”
Lafayette has honored McDonogh, its first black graduate, with a commemorative sculpture by the renowned African-American sculptor Melvin Edwards. An African-American alumni networking group is named the McDonogh Network. “This is kind of a moment for recognizing and realizing that our history is more complex than we knew,” Ms. Shaw says. “We’ll all be better served by knowing.”
“It’s great to have a story of a person to fit into New York history that we didn’t know about before—abolition history, Civil War history, community history, medical history,” says Ms. McKay, the archivist. “This is a person whose name has been known, but now we have filled in so many of the blanks.”
One piece of the McDonogh story remains elusive: a photograph of David Kearney McDonogh. A century and a half ago, as photography grew popular, it was common for people of professional attainment to have portraits made, so it is likely that Dr. McDonogh would have sat for the camera.
“Somewhere in this world,” Ms. McKay says, “there is a photograph.”
Source Institute: EPI
Credit Line: Lafayette College Art Collection, Easton, PA
Melvin EDWARDS, Untitled, 2005
Serigraph, 34 x 22 in.
Copper plate etching. Intaglio Print.
2013.04.073
ADDITIONAL INFORMATION: Publisher: Experimental Printmaking Institute
Source Institute: EPI
Credit Line: Lafayette College Art Collection, Easton, PA; Courtesy of Experimental Printmaking Institute, Easton, PA
Daniel Chester FRENCH, Study for Brooklyn Lafayette Relief, Prospect Park, 1916; 1931 cast in bronze
bronze, 8 3/4 x 11 x 1 1/4 in.
Cast of plaster maquette for French's Lafayette at Prospect Park; rectangular study in relief (horse, Lafayette, tree).
1991.01.03
ADDITIONAL INFORMATION: The piece has been painted and the original metal cannot be determined without removing from formica frame; Also a study for ID# 17X; this cast was picked up a month after French's death.
Provenance Notes:
Oct. 1931: DCF died; Nov. 1931: Dr. Lewis picked up the model for the college.
Provenance:
DCF to FKDetwiller: 6/8/1931: "There is a little sketch model that I had made of the Brooklyn Monument, which is a foot square, more or less...if you care for it, I shall be happy to send it where you say..." July 1931: DCF offered to cast "his little model in bronze, and present it to the college."
Credit Line: Lafayette College Art Collection, Easton, PA; Gift of Mr. Daniel Chester French
Jean Baptiste LE PAON, Lafayette at Yorktown, 1782-85, ca.
oil on canvas, 36 1/2 x 28 3/4 in.
Full length standing pose of Lafayette with his horse being held by his attendant (possibly James Armistead - not confirmed), battlefield in background.
L 400
ADDITIONAL INFORMATION: Provenance Notes:
This provenance is taken from 1934, 1938, 1955 correspondence in the object file. It is also listed in the "Lafayette Centenary Exhibition" catalogue in object file. Still undergoing research. There is a letter from Nolhac in the file that indicates he did not have a pedigree from the seller he purchased it from and could not remember the dealer in Paris he used. A note from Mr. Hubbard in the object file states "Le Paon was the court painter to Louis XVI and that the painting is recorded in Bergets French Dictionary of Painters." He also states there is an "engraving of the painting by Le Mire with dedication to General Washington engraved upon the plate. Mt. Vernon has one of these engravings. This is the original painting."
Noel Le Mire engraving also exists in the collection of the Houghton Library at Harvard University, inscribed with dedication to General Washington (Fogg Art Museum, Harvard Honors Lafayette, catalog prepared by Agnes Mongan December 3, 1975 - March 12, 1976; pp. 40-41).
See ID# D 204 for the engraving.
Provenance:
circa 1908-1918 Rodman Wanamaker purchased from the collection of M. Pierre Nolhac(q) for $8500;
Mrs. Ripley Hitchcock of New York helped her friend, Sara Hill of New York, sell the painting to Helen Fahnstock Hubbard (Mrs. John Hubbard) for $3500.00. Gifted to Lafayette College by Mrs. Hubbard in 1938
According to an article in The Lafayette, June 10, 1938, Mrs. Helen Fahnstock of New York and Paris gave the painting in memory of her husband, John Hubbard, graduate of Harvard U, 1892. It was unveiled at Commencement 1938.
According to the Frick Reference Library, record # 18235:
Mlle de la F...
(h) Douthitt Gallery;
(h) M. Pierre de Nolhac;
(h) sold by him to Mr. Rodman Wanamaker, Philadelphia (died March 9, 1928);
(h) bequeathed by him to his son, Capt. John Wanamaker;
(h) presented by him to a relative;
(h) Mrs. John Hubbard, New York;
(h) Lafayette College, Van Wickle Library, Easton, Pennsylvania.
Credit Line: Lafayette College Art Collection, Easton, PA; Gift of Helen Fahnstock Hubbard in Memory of her husband, John Hubbard (Harvard class of 1892)
Louis C. Tiffany & Company (attributed), Shield of Achilles, 1876-1880, ca.
ink on paper, 40 1/2 x 40 1/2 in.
Drawing of the Shield of Achilles as described in the Iliad in brown and black inks, transparent brown washes on wove paper, and graphite. Designed by Lafayette students; sophomore class c. 1876-1880 and executed by Tiffany & Co., New York.
1997.02
ADDITIONAL INFORMATION: Found in Kirby Basement during 1997 renovation (may have been moved from South College library in 1958 renovation).
Mount stored with framed drawing at KASC/Painting Rack 20/A (6/3/2021 DB).
Provenance Notes:
Drawing designed by students and executed by Tiffany & Co., New York.
Provenance:
Gift of Lafayette students to Professor R.B. Youngman, circa 1876-80.
See object file for additional documentation; condition report, slides with details of drawing;
+++++++++++++++++++++
Lafayette College Journal
It has been Prof. Youngman’s custom to challenge each sophomore class, while they were reading the eighteenth book of the Iliad, to produce a representation of the shield of Achilles, as there described. Three times the proposal has been accepted. The first shield, by a member of the class of ’71, is a burlesque and displays much originality. The second, from the class of ’80, is the result of considerable study, and is quite artistic. But the class of ’81 has far outdone both the former, and claims the result of its efforts to be the best representation of the famous shield of Achilles existing, or possible, in the present state of knowledge regarding the very ancient Greeks and their customs. When the usual challenge was given to the class, three members, Messrs. Haymaker, Lehman and Scott, appointed themselves a committee to answer it.
They began their work with an extremely careful examination of the text, word by word. They also read every book they could obtain, which would throw light upon the passage, and profited largely by the results of Schliemann’s recent discoveries. Thus, they slowly elaborated a design, which was sketched by Mr. Haymaker, in accordance with the suggestions of the committee. When the sketch was completed, an appeal was made to the class for the financial support in having a finished drawing made by some artist. The appeal was answered generously.
Mr. Whitehouse, who is at the head of Tiffany’s designing department, was selected to do the work; a selection which his execution of the work has justified. The drawing is colored to imitate the metallic lustre of the wonderful shield. It is thirty-six inches in diameter (the size of the largest found by S,) and is set in a plain but elegant frame of ebony, about fifty inches square. The figures portrayed are arranged in three departments, indicative of their cosmical character.
I. The Heavens (the boss of the shield).
II. The Earth, (the open field of the shield).
Scenes from Town Life
City at Peace
a. Marriage Festival
b. Dispute between two men.
c. Trial before Judges
City at War
a. A City Besieged
b. An Ambuscade
c. The Fight
Scenes from Country Life
Agricultural
a. Ploughing
b. Reaping
c. Vintage
Grazing
a. Pasturing Cattle
b. A Sheep-walk
c. A Shepherd’s Dance
III. The Water (Around the shield runs the strength of Oceanus).
The frame is mounted upon an easel by means of a pivot, which allows it to revolve, thus permitting an easy inspection of the various scenes. The easel is eight feet high and is made of ebony, with ornamentation in gilt lines. Above the frame, on the easel, is a Greek inscription in sunken gilt letters:
“As I shall forge most envied arms, the gaze
Of wondering ages, and the world’s amaze.”
Below the frame is a silver plate bearing the inscription of presentation and the names of the class of ’81. The shield was presented to the College, very informally, at last commencement, and has been placed in the reading room.
Heinrich Schliemann; 6 January 1822 – 26 December 1890
Published about Troy 1868, 1874, 1875,
Credit Line: Lafayette College Art Collection, Easton, PA
George LUKS, General Peyton Conway March (1864-1955), 1919
oil on canvas, 44 1/8 x 38 3/8 in.
Peyton Conway March (December 27, 1864 – April 13, 1955) was a United States Army officer who served as Chief of Staff of the United States Army from 1918 until 1921. March attended Lafayette College from 1880-1884; his father was Francis Andrew March, a Lafayette professor. Painted from photograph.
L 407
ADDITIONAL INFORMATION: From Robert D. Schwarz: George Luks values vary dramatically based on subject matter; portraits by the artist are some of the least valuable.
Gift of Allan P. Kirby; using Scott & Fowles; E.J. Rousuck
Source Institute: Mr. Allan P. Kirby, Class of 1915
Credit Line: Kirby Collection of Historical Paintings, Lafayette College, Easton, PA; Gift of Allan P. Kirby (class of 1915)
Danny LYON, Sheriff Jim Clark arrests two SNCC voter registration workers on the steps of the federal building, Selma, Alabama, 1963
Later gelatin silver print, 11 x 14 in.
2016.07.010
ADDITIONAL INFORMATION: Illustrated: Danny Lyon, The Seventh Dog (New York, The Phaidon Press, 2014), p. 193
Credit Line: Lafayette College Art Collection, Easton, PA; Gift of Bennett ('79) and Meg Goodman
Thomas NAST, Sunset"" (Cox) in Turkey (in Europe). A Thanksgiving Dream that maybe realized., 1885
ink on paper, 10 1/2 x 11 3/16 in.
pen and ink drawing published in Harper's Weekly, (May 12, 1885, pg. 807) with Cox, US Ambassador to the Ottoman Empire staring at Sultan Abdul Hamid II, depicted as a turkey.
illustrated: Samuel Cox &
Participants: Samuel Cox; Abd-al-Hamid
Published in Harper's Weekly 05.12.1885 ,pg 807 (See printed version in "other images"
2012.01.11
ADDITIONAL INFORMATION: for image of completed drawing in Harper's weekly, 1885, pg 807
Samuel Cox ; Abd-al-Hamid
https://www.dilibri.de/rlb/content/titleinfo/2054067
Samuel Sullivan "Sunset" Cox (1824-1889) was a American Congressman and diplomat; represented Ohio and New York in US House of Representatives and served as US Ambassador to the Ottoman Empire.
Grover Cleveland nominated Cox as ambassador to Ottoman Empire in May 1885
https://en.wikipedia.org/wiki/Samuel_S._Cox
Source Institute: Portraits Inc
Faith RINGGOLD, You Put the Devil in Me, 2004
Serigraph, 25 3/4 × 19 1/2 inches
paper size: 29 3/8 × 22 1/4 inches
screenprint on paper
2013.04.027
ADDITIONAL INFORMATION: Publisher: Experimental Printmaking Institute
Printer: Curlee Raven Holton
28 July 2004
Source Institute: EPI
Credit Line: Lafayette College Art Collection, Easton, PA; Courtesy of Experimental Printmaking Institute, Easton, PA
Giorgio SOMMER, Chiostro di S. Martino (Cloister of the Monastery of S. Martino), c. 1860s
Vintage albumen print from collodion negative, 11 x 14 3/4 in.
2019.03.132
ADDITIONAL INFORMATION: Title correction by Lafayette College faculty Diane Ahl, Arthur J. '55 & Barbara S. Rothkopf Professor of Art History, Ph.D.
Credit Line: Lafayette College Art Collection, Easton, PA; Gift of Bennett ('79) and Meg Goodman
Work Info sheet
Edgar Zell STEEVER, Stalking Leopard, 1959 ca
bronze, 93 1/2 x 23 in.
Stalking stance of a leopard on concrete base.
2009.01.09
ADDITIONAL INFORMATION: Cast at Beddi-Rassy Foundry, 227 India Street, Brooklyn, NY 11222 (Beddy-Makky Foundry since 1960). There is also a plaster cast of this sculpture in KHCR 303 art storage. Sculpture associated with Lafayette Football.
Credit Line: Lafayette College Art Collection, Easton, PA; Gift of class of 1958
Thomas SULLY, Marquis de Lafayette, Jan 16, 1826-1833
oil on canvas, 28 3/4 x 18 1/2 in.
Study oil painting; full portrait of man in dark suit with high collared white shirt and dark cape with red collar, top hat with walking stick in hand; in shadow of large covered porch structure; exterior scene of streetscape, figure with horses.
1987.01
ADDITIONAL INFORMATION: Dec. 1824 Sully states in his autobiography, "Lafayette I painted from life in Washington"--this likely refers to an ink and watercolor sketch (see letter from Stuart Feld and picture in object file).
NOTE: end date determined by Linda Ayres, Mt Vernon house and garden, 2006
Provenance Notes:
Excerpt from Marvin Sadik's letter in object file dated April 15, 1987.
Provenance:
Thomas Sully, 1826; Garrett C. Neagle, the artist's grandson, 1872; Josiah Brant, 1876; Mr. and Mrs. Arthur Church, Brandt's daughter and son-in-law, 1900; Mr. and Mrs. Hubert Church, the Church's son and daughter-in-law, 1931; Hubert Church, Jr., Elizabeth Church Hayne, and Joan Church Roberts, the children of Mr. and Mrs. Hubert Church, 1982-1987; Mrs. Shirley Sack.
for a life-size painting commissioned by "The Citizens of Philadelphia" in 1824 now in the collection of Independence National Park and exhibited at the Second Bank of Philadelphia. Dec. 1824 Sully states in his autobiography, "Lafayette I painted from life in Washington"--this likely refers to an ink and watercolor sketch (see letter from Stuart Feld and picture in object file).
NOTE: end date determined by Linda Ayres, Mt Vernon house and garden, 2006
Culture: Study for Independence Hall Portrait
From Robert D. Schwarz Fine Paintings: This is a smaller version of the painting in the collection of Independence National Historical Park; though different in some fine details it does not appear to be a study but rather another version.
Credit Line: Lafayette College Art Collection, Easton, PA
Tiffany Glass and Decorating Company, Alcuin and Charlemagne, 1898
stained glass, 159 x 64 in.
Four vertical register memorial window composed as follows:
Top: fanlight shaped lunette panel in elaborate scrolling Renaissance Revival style foliate interlace composition in gold, blue and green.
Middle: Figural register depicting Alcuin and Charlemagne reviewing a book in a library. Both are standing full figure in medieval garb. The king is crowned and Alcuin holds a book with both hands. Jewel tones with red and blue the most prominent colors.
Bottom: Dedication panel in large horizontal ovoid cartouche rendered in gold and jewel tones.
2011.01.01
ADDITIONAL INFORMATION: The original sketch for this window was done by Fredrick Wilson circa 1893.
Alcuin was the English man-of-letters who assisted Charlemagne in founding a royal academy.
Per Priscilla Throop: ""the background is the still extant Palatine Chapel at Aachen.""
Source Institute: Pardee Hall
Credit Line: Lafayette College Art Collection, Easton, PA
William WALCUTT, Pulling Down the Statue of George III at Bowling Green, 1857
oil on canvas, 51 5/8 x 77 5/8 in.
M 340
ADDITIONAL INFORMATION: After the reading of the draft of the Declaration of Independence at Bowling Green, lower Manhattan, July 10, 1776, Colonists respond by pulling down on the equestrian statue of King George III off its pedestal with ropes by colonists. Many colonists shown in action moving around, buildings to the left and right, two dogs in the foreground.
Source Institute: Marquis Foundation
Credit Line: Lafayette College Art Collection, Easton, PA; Gift of the Marquis Foundation
