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Local Accession Number: FA_CC.000277
Connick Job Number: [4499]
Title: Wisdom, religious vows, holy orders
Creator/Contributor: Charles J. Connick Associates (creator)
Genre: Design drawings; Gouaches
Date created: 1945-1961 (approximate)
Physical description: 1 gouache : color ; 52 x 18 cm.
General notes: Title from item, from additional material accompanying item, or from information provided by the Boston Public Library.; Handwritten on item back: Framingham Mass. Bethany Convent.
Date notes: Date supplied by cataloger.
Biographical and historical notes: Window designed for Bethany Convent, Framingham, Massachusetts.
Subjects: Stained glass; Windows
Collection: Charles J. Connick Gouaches - Massachusetts
Location: Boston Public Library, Arts Department
Shelf locator: Massachusetts Box #4
Rights: Rights status not evaluated.
Anne Fairchild Bowler (Mrs. Metcalf Bowler)
•Date: c. 1763
•Medium: Oil on Canvas
•Dimensions:
oOverall: 127.2 × 102.2 cm (50 1/16 × 40¼ in.)
oFramed: 142.9 × 118.1 × 4.4 cm (56¼ × 46½ × 1¾ in.)
•Credit Line: Gift of Louise Alida Livingston
•Accession Number: 1968.1.1
•Artists/Makers:
oPainter: John Singleton Copley, American, 1738-1815
Provenance
Susan Louisa Pendleton Bowler [Mrs. Robert Bonner Bowler, d. 1877], Cincinnati, Ohio, and Covington, Kentucky;[1] her daughter, Louisa Foote Bowler Livingston [Mrs. John Callendar Livingston, 1861-1933], New York;[2] her daughter, Louise Alida Livingston [d. 1967], Oyster Bay, New York; gift 1968 to NGA.
[1]Mrs. Bowler probably inherited the portrait from her husband Robert Bonner Bowler, the sitter’s grandson, who was born in Providence, Rhode Island, in 1803 and moved to Cincinnati. They were married in 1842; Noadiah Potter Bowler, Record of the Descendants of Charles Bowler. (Cleveland, 1905), 42. The date of Bowler’s death is unknown; he predeceased his wife (vital statistics file, Cincinnati Historical Society).
[2]Bowler 1905, 97; obituary, The New York Times, 16 August 1933, 17; she is called Louise in some sources.
[3]“National Gallery Acquires Its 10th Painting by Copley,” The New York Times, 19 July 1968, 25.
Associated Names
•Bowler, Susan Louisa Pendleton, Mrs.
•Livingston, Louisa Foote Bowler, Mrs.
•Livingston, Louise Alida, Miss
Exhibition History
•1874—Possibly Exhibition of Paintings, Engravings, Drawings, Aquarelles, and Works of Household Art, in the Cincinnati Industrial Exposition, Cincinnati, 1874, no. 318, as unidentified Copley Portrait.
•1889—Museum of Fine Arts, Boston, 1889-1902.
•1936—An Exhibition of Paintings by John Singleton Copley, Metropolitan Museum of Art, New York, 1936-1937, no. 24.
•1944—American Portraits by American Painters, Knoedler Galleries, New York, 1944, no. 7.
•1963—American Art from American Collections, Metropolitan Museum of Art, New York, 1963, no. 181.
•1965—John Singleton Copley, 1738-1815, National Gallery of Art, Washington; Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston, 1965-1966, no. 18.
Bibliography
•1873—Perkins, Augustus T. A Sketch of the Life and a List of Some of the Works of John Singleton Copley. Boston, 1873: 38.
•1874—Possibly Exhibition of Paintings, Engravings, Drawings, Aquarelles, and Works of Household Art, in the Cincinnati Industrial Exposition, Exh. cat. Cincinnati, 1874: no. 318, as unidentified Copley Portrait.
•1890—“Contributions to the Loan Exhibitions for the Year 1889.” Trustees of the Museum of Fine Arts. Fourteenth Annual Report. Boston, 1890: 46.
•1892—Museum of Fine Arts. Catalogue of Paintings and Drawings, With a Summary of other Works of Art, Exhibited on the Second Floor. 3rd ed. Boston, 1892: 16, no. 147.
•1895—Museum of Fine Arts. Catalogue of Paintings and Drawings with a Summary of other Works of Art, Exhibited on the Second Floor. Boston, 1895: 17, no. 155.
•1910—Bayley, Frank W. A Sketch of the Life and a List of Some of the Works of John Singleton Copley. Boston, 1910: 22.
•1915—Bayley, Frank W. The Life and Works of John Singleton Copley. Boston, 1915: 64.
•1930—Bolton, Theodore and Harry Lorin Binsse. “John Singleton Copley.” The Antiquarian 15 (December 1930): 116.
•1936—An Exhibition of Paintings by John Singleton Copley. Exh. cat. Metropolitan Museum of Art, New York, 1936-1937: no. 24.
•1938—Parker, Barbara Neville and Anne Bolling Wheeler. John Singleton Copley: American Portraits in Oil, Pastel, and Miniature with Biographical Sketches. Boston, 1938: 42-43, pl. 37.
•1944—American Portraits by American Painters. Exh. cat. Knoedler Galleries, New York, 1944: no. 7.
•1963—American Art from American Collections. Exh. cat. Metropolitan Museum of Art, New York, 1963: no. 181.
•1965—John Singleton Copley, 1738-1815. Exh. cat. National Gallery of Art, Washington; Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston, 1965-1966: no. 18.
•1966—Prown, Jules David. John Singleton Copley, vol. 1. Cambridge, MA: Harvard University Press, 1966, pp. 38, 103, 156-157, 210, fig. 119, no. 978.
•1970—American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 44, repro., Mrs. Metcalf Bowler.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: 391, fig. 564.
•1980—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 135, repro.
•1980—Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 13, no. 3, color repro.
•1981—Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: repro. 21, 22.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 387, no. 549, color repro., as Mrs. Metcalf Bowler.
•1986—Yarnall and Gerdts 1986, 1: 826, no. 19985.
•1988—Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 52, no. 3, color repro.
•1992—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 148, repro.
•1995—Miles, Ellen G. American Paintings of the Eighteenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1995: 28-30, color repro. 29.
From American Paintings of the Eighteenth Century:
1968.1.1 (2341)
Anne Fairchild Bowler (Mrs. Metcalf Bowler)
•c.1763
•Oil on Canvas, 127.2 × 102.2 (50 × 40)
•Gift of Louise Alida Livingston
Technical Notes
The painting is on a medium-weight, plain-weave fabric lined to linen. Gusping is present along the right and lower edges, the two edges that were x-radiographed. The thickly applied ground is off-white. The paint is generally applied in layers, and the flesh tones are intricately built up. Impasto appears in the details of the drapery, lace, and flowers. It appears that the background was blocked in before the figure and the drapery were completed.
There is some abrasion in the drapery at the right edge. Retouching over stains in the background and craquelure in the face are slightly discolored. In 1968 the varnish and a previous lining were removed and the painting was lined. The earlier lining, estimated to be about one hundred years old, was stamped twice with a canvas stamp that appeared to read “[ ]. L. BECHEY.”1
Provenance
Susan Louisa Pendleton Bowler [Mrs. Robert Bonner Bowler, d. 1877], Cincinnati, Ohio, and Govington, Kentucky;2 her daughter Louisa Foote Bowler Livingston [Mrs. John Callendar Livingston, 1861-1933], New York;3 her daughter Louise Alida Livingston [d. 1967], Oyster Bay, New York.4
Exhibited
Possibly Exhibition of Paintings, Engravings, Drawings, Aquarelles, and Works of Household Art, in the Cincinnati Industrial Exposition, Cincinnati, 1874, no. 318.5 MFA, on long-term loan, 1889-1902.6 An Exhibition of Paintings by John Singleton Copley, MMA, 1936-1937, no. 24. American Portraits by American Painters, 1730-1944, M. Knoedler & Co., New York, 1944, no. 7. Old and New England, RISD, 1945, no. 15. American Art from American Collections, MMA, 1963, no. 181. Copley, 1965-1966, no. 18.
Copley’s mastery of the poses and gestures of mid-eighteenth-century English portraiture and his talent with color and the depiction of fabric are readily apparent in this portrait. Mrs. Bowler wears a very fashionable blue satin dress richly trimmed with two rows of lace at the sleeves and lace at the bodice, with a lace cap. According to contemporary inventories, blue was a color preferred by American sitters, whereas brighter colors, such as red, were more popular in Europe.7 Her distinctive blue sapphire necklace and earrings are unlike the pearls that many women wear in colonial portraits and were probably her own. She holds a garland of multicolored flowers tied along a length of pink ribbon. The careful modeling of the sitter’s face and hands, the flowers, and the lace is particularly noteworthy. In the background are a balustrade, a column, a curtain, and a landscape.
Mrs. Bowler’s frontal pose and gestures and the background curtain and column are typical of English portraits of the 17405 and 17505, which in turn were based on earlier works by English portraitists Sir Anthony Van Dyck and Sir Godfrey Kneller. Mid-century examples include Thomas Hudson’s portraits Unknown Woman (1750, Dulwich College, England) and Mary Panton, Duchess of Ancaster (1757, Grimsthorpe Castle, Lincolnshire) ; Allan Ramsay’s portraits A Lady in a ‘Van Dyck’ Dress (1749, private collection) and Flora MacDonald (1749, Ashmolean Museum, Oxford, England); and Joshua Reynolds’ early portrait Mrs. Joseph Hamar (c. 1747, City Museum and Art Gallery, Plymouth, England).8
Anne Fairchild (1730-1803) was the daughter of Major and Bathsheba Fairchild of Newport, Rhode Island. In 1750 she married Metcalf Bowler (1726-1789).9 She may also be the sitter in a portrait that Copley painted around 1758 (Colby College Museum of Art, Waterville, Maine),10 which shows a woman holding a bird cage, a symbol of the happiness of an engaged or married woman as a “voluntary prisoner” of love.11 Her husband Metcalf Bowler was an Englishman who became a prominent Newport legislator and judge. He represented Portsmouth in the General Assembly of Rhode Island, serving for nineteen years as Speaker of the House, and he was also a justice of the Superior Court. Their farm in Portsmouth was famous for its gardens and exotic plants. His prominent position in New England hid his role as a spy for the British during the Revolution, a fact that remained secret until this century.12
After the war Bowler wrote A Treatise on Agriculture and Practical Husbandry (Providence, Rhode Island, 1796), which discusses practical subjects, such as crops and manure. It ends, however, with a discussion of George Washington’s retirement “to his rural seat at Mount Vernon, on the Potowmack, with the blessings of his fellow citizens; and where he still continues to shed his beneficial influence by the promotion of agriculture, and patronage of the arts and sciences.” Bowler noted that other great men had done the same : “For it is well known from their own immortal writings, that Cicero, Virgil and Horace, were extremely fond of a country life, and retired to their farms, whenever business would permit them, prefering rural amusement, to the noisy splendor of court.”13 Bowler shared the postwar dreams of other late eighteenth-century Americans.
EGM
Notes
1.A drawing of the stamp by curator William P. Campbell, dated 1/68, is in the NGA conservation file. This would seem to be the stamp of Francis L. Bechet, listed in New York city directories from 1860 to 1866 as a “picture liner and restorer”; see Katlan 1987, 44.
2.Mrs. Bowler probably inherited the portrait from her husband, the sitter’s grandson, who was born in Providence, Rhode Island, in 1803 and moved to Cincinnati. They were married in 1842; Bowler 1905,42. The date of Bowler’s death is unknown, but he did predecease his wife (vital statistics file, Cincinnati Historical Society).
3.Bowler 1905, 97; obituary, New York Times, 16 August 1933,17; she is called Louise in some sources.
4.“National Gallery Acquires Its 10th Painting by Copley,” New York Times, 19 July 1968, 25.
5.This was an unidentified Copley portrait lent by Mrs. R.B. Bowler, Cincinnati; see Yarnall and Gerdts 1986,11826. The catalogue commented, “This picture is of especial interest, as the work of one of those distinguished painters, who, like Stuart, Trumbull, and Sully, mark the early history of art in this country” (37).
6.Letter from Jennifer Abel, MFA registrar’s office, 14 November 1990 (NGA); MFA 1890, 46. A label on the back of the frame records the date of the loan as 28 May 1889 and gives the lender’s maiden name. A second label with a loan date of 1891 gives the lender as Mrs. J.C. Livingston, New York. In 1896 Mrs. Livingston gave her nephew Robert Pendleton Bowler permission to copy the portrait.
7.Nathalie Rothstein, “What Silk Shall I Wear?: Fashion and Choice in Some 18th and Early 1901 Century Paintings in the National Gallery of Art,” lecture, NGA, 16 September 1990.
8.On these portraits see Miles and Simon 1979, unpaginated, nos. 47 and 58, repro.; Smart 1992, no, no. 31, pi. 16, and 114, no. 36, pi. 17; and Waterhouse 1973, 50, pl. 2.
9.Bowler 1905, 11-12; Hazard 1915, 392, n. 5. Parker and Wheeler 1938, 42, give her birth date as 1732.
10.Prown 1966, 1:32, 35, 210, and fig. 84. This may be the “Portrait of a Lady” by Copley lent by C.L. Bowler of Providence to the Rhode Island Art Association Exhibition in September 1854 and mentioned in Tuckerman 1867: “a three-quarter length belongs to the Bowler family” of Providence, Rhode Island. Charles Lee Bowler (1786-1871), a grandson of Mrs. Metcalf Bowler, was the great-grandfather of Charles Fletcher, owner of this portrait in 1938. See Rhode-Island Art Association 1854, cited in Yarnall and Gerdts 1986, 1:827; Tuckerman 1867, 73; Bowler 1905, 43; Parker and Wheeler 1938, 43.
11.Fleischer 1988, 28-31, repro.
12.Clark 1930,101-117.
13.Bowler 1796, 87-88; this publication is referred to in Hazard 1915, 392, n. 5, and was called to my attention by Nancy Stula.
References
•1873—Perkins 138.
•1890—MFA: 46.
•1892—MFA: 16, no. 147.
•1895—MFA: 17, no. 155.
•1905—Bowler: 42, repro. opp. 12.
•1910—Bay ley: 22
•1915—Bayley:64.
•1930—Bolton and Binsse, “Copley”: 116.
•1938—Parker and Wheeler: 42-43, pi. 37.
•1966—Prown: 1:38, 103, 156-157, 210, and fig. 119.
•1980—Wilmerding: 44, color repro. 45.
•1981—Williams: repro. 2i, 22.
•1984—Walker: 387, no. 549, color repro.
•1988—Wilmerding 152, color repro. 53.
Several Wesleyan donors and friends attended the the Donors Associates Reception Nov. 5 in Daniel Family Commons. Guests included members of the Trustee Associates, President’s Circle, Founders Club, Willbur Fisk Associates, College Row Society, John Wesley Associates, 1831 Society, Douglas Cannon Club, Foss Hill Club, Day Society and Olin Associates. (Photo by Olivia Drake MALS '08)
MK1 Seafarer 21’ built by SmallCraft (Portsmouth) in the 1970s. Semi dis[placement hull with bilge keels. Configurable as a motor Cruiser/Fishing vessel or motor sailor.
Designer: Peter Small
L.O.A 21’ (Excluding Bowsprit)
L.W.L. 19’6”
Beam. 9’2”
Draft. 2’6”
Built to Small Craft (Portsmouth) specifications
Vincent Associates, manufacturer of UNIBLITZ shutters, provides a complete selection of shutter interconnect cables, interface cables, and remote activation cables for a versatile shutter system. Shop online!
Margate seems to be associated with all that is wrong with the English seaside resort. It clearly has had a tough time, but I love it. Maybe its all that faded seaside glamour, but it is on a grand scale, and is now home to a Tate Gallery, and on a wonderfully bright winter's morning on the very last day of the year, it was bracing, bright.
After leaving the Tate Contemporary, we headed into Old Town to the Mad Hatter's, where I knew I could get the best cream tea known to man. Or at least on Thanet. My very good friend, Tony from NZ, had posted a shot of him having a cream tea back home, and I really fancied a proper one.
Sadly, The Mad Hatter's was closed, only open for a few hours on Saturdays now, so the search for tea went on.
We walked via a couple of retro shops, a number of which have opened in a small area of old town, making it very interesting indeed. I bought a fine paisley tie for work, and an 80s picture book of East Kent from the air. Very interesting.
We ended up having lunch at a nice Italian place called G on the seafront. It was very busy, but we got served quickly, and my chicken and salami panini was excellent.
And then it was back into the cold winter sunshine for a walk along the beach to the clock and Dreamland before turning for home. And for coffee. And the new year.
Photographs from the 2016 Global Partner Summit, Adobe Certified Associate World Championship, and Microsoft Office Specialist World Championship, held in Orlando, FL.
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By the mid-1950s the concept of supermarket and self-service reatil shopping was becoming established in the UK. This article from the June 1956 issue of "Art & Industry" magazine looks as the trend and the changes in design this required. This was two-fold; firstly the shelving units, or 'gondolas', that allowed visibilty of products as well as flexibility of layout for the shop, and the changes to the packaging design for goods to be sold via supermarkets and self-service. This latter involved ensuring that packaging was durable and was highly legible for shoppers to allow for recognition.
In terms of shopping fittings and equipments various interiors and layouts are shown as well as examples of units from manufacturers such as Parnall's and their 'Shomore' range.
I've scanned some sample double page spreads.
These pages as well as showing the colourful interior of a typical supermarket, shows and discusses the changing in packaging technology and design that self-service supermarket shopping ushered in for existing brands. Peek Frean biscuits, Chivers Jams, OXO's Fray Bentos tinned soups, Beefex tinned meats, and Quaker cereals are shown along with designers such as THM Partners, Lonsdale-Hands Associates and Erwin Wasey & Co. Ltd, as well as manufacturers such as the Metal Box Company. Premier Supermarket's own brand of packaged tea is also shown.
Photography from the 2015 Certiport Global Partners Summit & Microsoft Office Specialist & Adobe Certified Associate World Championships at Gaylord Texan Resort and Conference Center, Dallas, Texas.
Oral History Association of Australia and 21st State History Conference, Adelaide, South Australia.
Associate Professor Steve Hemming and Associate Professor Daryle Rigney, 'New histories of attachment: Indigenous Caring for Country programs.
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Photographs from the 2016 Global Partner Summit, Adobe Certified Associate World Championship, and Microsoft Office Specialist World Championship, held in Orlando, FL.
Shegerian & Associates is a professional association of attorneys who has the rich experience of handling the cases related to employee. who will fight for the employee rights.
Camden, Alabama:
Text:
This building was constructed c. 1849 as a Cumberland Presbyterian Church. The Camden Associate Reformed Presbyterian congregation was organized in September 1890 in the parlor of the W. J. Bonner home. There were twelve charter members. This building was purchased soon after. B. M. Miller, Governor of Alabama 1931-35, was an original trustee & deacon. In 1906 the structure was remodeled, with the front portico being enclosed & a new steeple added.
Erected 1988 in memory of the Rev. Renwick C. Kennedy, D. D. pastor of this congregation 1927-74
Associated Students hosts the campus and community to experience a night of culturally relevant artistic and multicultural performances by student organizations and diverse groups at the annual Multicultural Night (MAC) on Thursday, November 14, 2019 in Chico, Calif. One of the main focuses of Multicultural Night is the celebration and unity of various cultures.
(Jessica Bartlett/University Photographer/CSU Chico)