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I wanted to be better at lettering for tattoos. So I got a notebook and started studying and filling it with font and styles. Good exercise for all levels.
Public Domain: Studio handbook lettering over 250 pages, lettering, design and layouts, new alphabets
Public Domain: Studio handbook lettering over 250 pages, lettering, design and layouts, new alphabets
Public Domain: Studio handbook lettering over 250 pages, lettering, design and layouts, new alphabets
From Photo-Lettering, Inc.’s Ah! Big Little Book catalog, 1982.
This is not the Barnhart Bros. & Spindler Caslon Antique we know digitally.
Public Domain: Studio handbook lettering over 250 pages, lettering, design and layouts, new alphabets
Public Domain: Studio handbook lettering over 250 pages, lettering, design and layouts, new alphabets
The Cornell Farm
West Building, Main Floor—Gallery 63
•Date: 1848
•Medium: Oil on Canvas
•Dimensions:
oOverall: 93.3 × 124.4 cm (36¾ × 49 in.)
oFramed: 119.1 × 149.9 × 6 cm (46⅞ × 59 × 2⅜ in.)
•Credit Line: Gift of Edgar William and Bernice Chrysler Garbisch
•Accession Number: 1964.23.4
•Artists/Makers:
oArtist: Edward Hicks, American, 1780-1849
Overview
Edward Hicks, having apprenticed to a Pennsylvania coachmaker at thirteen, became a minister in 1811. He was torn between his calling as a Quaker minister and his love of painting, worrying that his art kept him from “the Lord’s work.”
Hicks precisely identified this subject with a long inscription along the bottom of the canvas: “An Indian summer view of the Farm & Stock OF JAMES C. CORNELL of Northampton Bucks county Pennsylvania. That took the Premium in the Agricultural society, October the 12, 1848 Painted by E. Hicks in the 69th year of his age.” Though the punctuation and capitalization are inconsistent, the quality of the lettering proves that Edward Hicks was schooled in sign painting.
Having no background in academic art, Hicks employed the direct approach of a primitive or folk painter. The horizontal band of livestock across the foreground, although childlike in its simplicity, clearly presents each prize-winning animal as an individual portrait. Hicks’ delight in creating ornamental pattern is evident in the arrangement of fences, while the rich red and bright white of the house and barn symmetrically flank this central landscape. Although the stark silhouettes of figures and buildings seem naive, Hicks softly blended his paints over the orchard to give the impression of space existing well beyond what the eye can see.
Inscription
•Across Bottom: An Indian summer view of the Farm & Stock of JAMES C. CORNELL of Northampton Bucks county Pennsylvania. That took the Premium in the Agricultural society, october the 12, 1848 / Painted by E. Hicks in the 69th year of his age.
Provenance
Painted for James C. Cornell, Northampton, Bucks County, Pennsylvania; to Theodore Cornell, his son; to Russell Cornell, his son; to Mr. and Mrs. J. Stanley Lee (Mrs. Lee is Hick’s great-granddaughter), Newtown, Pennsylvania, by whom sold in 1954 to Edgar William and Bernice Chrysler Garbisch; gift to NGA, 1964.
Associated Names
•Cornell, James C.
•Cornell, Russell
•Cornell, Theodore
•Garbisch, Edgar William, Mr. and Mrs.
•Lee, J. Stanley, Mr. and Mrs.
Exhibition History
•1882—Bucks County Bi-Centennial Celebration, Doylestown, Pennsylvania, 1882.
•1957—American Primitive Paintings from the Collection of Edgar William and Bernice Chrysler Garbisch, Part II, National Gallery of Art, Washington, 1957, no. 81.
•1957—Art Our Children Live With, Downtown Gallery, New York, 1957, no cat.
•1958—American Folk Art. Part of American Art. Four Exhibitions, Brussels Universal and International Exhibition, Belgium, 1958, no. 84, 45, repro. 51.
•1960—Edward Hicks, 1780-1849, Abby Aldrich Rockefeller Folk Art Center, Williamsburg, Virginia, 1960, no. 37.
•1961—101 Masterpieces of American Primitive Painting from the Collection of E.W. and B.C. Garbisch, traveling exh. by the Amer. Fed. of Arts, New York, 1961-1964, no. 75, color repro. First venue, The Metropolitan Museum of Art, New York.
•1966—Three Self-Taught Pennsylvania Artist: Hicks, Kane and Pippin, Carnegie Institute of Art, Pittsburgh; Corcoran Gallery of Art, Washington, 1966-1967, no. 33, color repro.
•1968—American Naive Painting of the 18th and 19th Centuries: 111 Masterpieces from the Collection of E.W. and B.C. Garbisch, traveling exh. by Amer. Fed. of Arts, N.Y., 1968-1970, no. 73, repro. First venue: Grand Palais, Paris.
•1970—American Naive Painting of the 18th and 19th Centuries: Masterpieces from the Collection of E.W. and B.C. Garbisch, organized by the Amer. Fed. of Arts, N.Y., and Mainichi News., Nihobashi Mitsukoshi, Tokyo, 1970, no cat.
•1970—The New World: 1620-1970, Chrysler Museum of Art, Provincetown, Massachusetts, 1970, no. 15.
•1971—What is American in American Art, M. Knoedler and Co. [benefit exhibition for the Museum of American Folk Art], New York, 1971, no. 46, color repro.
•1974—Our Land, Our Sky, Our Water, organized for International Exposition, Spokane, Washington, 1974, no. 15.
•1978—The American Folk Art Tradition: Paintings from the Garbisch Collection, National Gallery of Art, Washington, D.C., 1978.
•1980—American Folk Painters of Three Centuries, Whitney Museum of American Art, New York, 1980, 96, color repro. (cat. edited by Jean Lipman and Thomas Armstrong).
•1981—American Naive Paintings from the National Gallery of Art, Terra Museum of American Art, Evanston, Illinois, 1981-1982, no. 26, color repro. (cat. by Ronald McKnight Melvin).
•1985—American Naive Paintings from the National Gallery of Art, Exh. cat. Traveling exh. by the International Exhibitions Foundation, Washington, 1985-1987, no. 36, color repro. First venue: Museum of American Folk Art, New York.
•1988—La Nascita di Una Nazione: Pittori americani dalla National Gallery of Art di Washington 1730-1880, Palazzo Pepoli Campogrande, Bologna; Galleria Internazionale d’Arte Moderna di Ca’Pesaro, Venice, 1988-1989, no. 36, repro.
•1996—1846: Portrait of the Nation, National Portrait Gallery, Washington, D.C., 1996, unnumbered catalogue, repro.
•1997—Charles Sheeler in Doylestown: American Modernism and the Pennsylvania Tradition, Allentown Art Museum; Amon Carter Museum, Fort Worth; Cincinnati Art Museum, 1997-1998, no. 40, repro.
•1999—The Kingdoms of Edward Hicks, 5 venues, shown only at the first two, The Abby Aldrich Rockefeller Folk Art Center, Williamsburg; Philadelphia Museum of Art, 1999-2000, no. 82, fig. 171.
•2018—Outliers and American Vanguard Art, National Gallery of Art, Washington; High Museum of Art, Atlanta; Los Angeles County Museum of Art, 2018-2019, no. 35.
Bibliography
•1947—Editorial, Antiques, 52 (October 1947): 252-253.
•1950—Lipman, Jean, and Alice Winchester. Primitive Painters in America 1750-1950. New York, 1950: 46-47.
•1952—Ford, Alice. Edward Hicks, Painter of the Peaceable Kingdom. Philadelphia, 1952: 97, 107, 108, 121, color repro. opp. 108.
•1966—Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 2:480, color repro.
•1970—American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 68, repro.
•1971—Campbell, William P. “The American Heritage at the National Gallery of Art.” Connoisseur 178 (December 1971): 270, 272.
•1974—Lipman, Jean, and Alice Winchester. The Flowering of American Folk Art. New York, 1974: color pl. 70.
•1975—Parry, Ellwood. “Edward Hicks and A Quaker Iconography.” Arts Magazine 49 (June 1975): 94.
•1976—Lipman, Jean, and Helen M. Franc. Bright Stars: American Painting and Sculpture Since 1776. New York, 1976: color repro., 60.
•1978—King, Marian. Adventures in Art: National Gallery of Art, Washington, D.C. New York, 1978: 100, pl. 63.
•1979—Haverstock, Mary Sayre. An American Bestiary. New York, 1979: color repro., 146.
•1980—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 175, repro.
•1980—Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 10, no. 19, color repro.
•1983—Mather, Eleanore Price. Edward Hicks: His Peaceable Kingdoms and Other Paintings. Newark, Delaware, 1983: 85, 195, no. 106, color pl. 8.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 543, no. 820, color repro.
•1985—Ford, Alice. Edward Hicks, His Life and Art. New York, 1985: 234-236, color repro.
•1988—Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 90, no. 22, color repro.
•1992—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 202, repro.
•1992—Chotner, Deborah, with contributions by Julie Aronson, Sarah D. Cash, and Laurie Weitzenkorn. American Naive Paintings. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 194-196, color repro. 195.
•1992—National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 226, repro.
•1998—Ford, Alice. Edward Hicks, Painter of the Peaceable Kingdom. Philadelphia, 1998: 97, 108, 120, repro.
•2001—Southgate, M. Therese. The Art of JAMA II: Covers and Essays from The Journal of the American Medical Association. Chicago, 2001: 178-179, 216, color repro.
•2004—Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 300, no. 242, color repro.
From American Naïve Paintings:
1964.23.4 (1936)
The Cornell Farm
•1848
•Oil on Canvas, 93.3 × 114.4 (36¼ × 49)
•Gift of Edgar William and Bernice Chrysler Garbisch
Inscriptions
•Across Bottom: An Indian summer view of the Farm & Stock of JAMES c. CORNELL of Northampton Bucks county Pennsylvania. That took the Premium in the Agricultural society, October the 12., 1848 / Painted by E. Hicks in the 69th year of his age.
Technical Notes
The tacking margins on the fine support are intact, although unusually narrow (1 cm). The off-white ground is smoothly applied. The darker and cooler colors were applied first in relatively thin layers. The lighter colors were placed over them in heavier application. Low impasto is evident in the highlights and details. There is no visible underdrawing in natural light or infrared reflectography, and no design changes are apparent. Vertical streaks in the sky appear to originate beneath the paint film. The picture is in excellent condition with only a few tiny losses scattered in the sky and foreground.
Provenance
James C. Cornell, Northampton, Bucks County, Pennsylvania; to Theodore Cornell, his son; to Russell Cornell, his son; to Mr. and Mrs. J. Stanley Lee (Mrs. Lee is Hicks’ great-granddaughter), Newtown, Pennsylvania, by whom sold in 1954 to Edgar William and Bernice Chrysler Garbisch.
Exhibitions
Bucks County Bi-Centennial Celebration, Doylestown, Pennsylvania, 1881. // NGA, 1957, no. 81. // Art Our Children Live With, Downtown Gallery, New York, 1957, no cat. // American Art, Brussels Universal and International Exhibition, Belgium, 1958, no. 84. / / Edward Hicks, 1/80-1849, AARFAC, 1960, no. 37. / / 101 Masterpieces, 1961-1964, no. 75, color repro. // Three Self-taught Pennsylvania Artists: Hicks, Kane and Pippin, Carnegie Institute of Art, Pittsburgh; Corcoran Gallery of Art, Washington, 1966-1967, no. 33, color repro. // in Masterpieces, 1968-1970, no. 73, color repro. // Tokyo, 1970. / / The New World: 162.0-19/0, Chrysler Museum of Art, Provincetown, Massachusetts, 1970, no. 15. // What is American in American Art, M. Knoedler and Co., New York, 1971, catalogue by Mary C. Black, no. 46, color repro. / / Twenty-five Polk Artists: Their Lives and Work, AARFAC, 1971, no cat. / / Our Land, Our Sky, Our Water, organized for International Exposition, Spokane, Washington, 1974, no. 15. // Whitney, 1980, 96, color repro. / / Terra, 1981-1981, no. 26, color repro. / / American Naïve Paintings, (IEF) 1985-1987, no. 36, color repro. // Italy, 1988-1989, no. 36, color repro.
Toward the end of his life Edward Hicks created four farmscapes of the Pennsylvania countryside.1 These late paintings, which feature calm, harmonious views of Bucks County farms, are considered to be his finest works. Hicks’ granddaughter reported that the artist “always considered the Cornell picture his masterpiece.”2
In this resplendent panoramic view of his friend’s neatly cultivated property Hicks presents convincing atmospheric perspective and suffuses the landscape with the golden light of Indian summer. Against this naturalistic background, however, Hicks parades Cornell’s prizewinning livestock across the foreground in an unnaturalistic way, their flat, sharply delineated shapes reminiscent of the crowded collages of animals in some of his peaceable kingdom pictures. Most of the figures populating the middle ground have one arm extended, appearing to call attention proudly to outstanding features of the bountiful farm. Descendants have identified the belted figure as the farm owner, James Cornell, in conversation with his friend William Janney. Their inspection of the farm may represent a real scene, since Cornell was awarded several prizes at the 1848 Newtown Exhibition and Janney apparently was on the committee of judges. In addition to honors for his horses, swine, sheep, poultry, and native stock, Cornell was presented with “the first premium of $5 for the best cultivated Farm over 100 acres, regard being had to the quality of produce, mode of cultivation, and general appearance.”3
Although Hicks relied on his observations of nature, another source of inspiration for The Cornell Farm may have been The Country Fair, 182.5 (private collection) by John A. Woodside (1781-1851).4 Both paintings depict houses and barns perched on gently rolling hills with a variety of animals arranged in profile across the foreground. Although Woodside distributes his animals and figures more evenly throughout the landscape, both artists include men with stiff, outstretched arms pointing to features of the farm and conversing with each other. Hicks’ farmer with a plow, on the right, also seems to derive from two plowing farmers on the left of Woodside’s canvas. The animals in both paintings may ultimately derive from British livestock and sporting prints of the late eighteenth and nineteenth centuries, which frequently depicted animals in profile or aligned horizontally across the composition. These prints were extremely popular, serving as wall decorations and advertisements for stockbreeders.5
Hicks’ farm scenes may also reflect his own reverence for farming. He tried his hand at it briefly in 1813 and later remarked, “[I] verily thought then and still think farming more consistent with the Christian, and was willing to sacrifice all my fondness for painting.”6 Hicks’ farmscapes present this ideal Christian way of life; they are secular peaceable kingdoms occupied by men and animals in complete harmony with each other.
America’s earliest landscapes, like those painted by Winthrop Chandler (q.v.) in the eighteenth century or Ralph Wheelock’s Farm (1965.15.13) of c. 1814 by Francis Alexander (q.v.), were often “portraits” of a landowner’s property and possessions, and The Cornell Farm falls within this tradition. Some writers, recognizing the relationship of Hicks’ farmscapes to these early landscapes, have concluded that they have “no historical or religious connotation,”7 but it would seem incongruous for the deeply religious Hicks to paint a scene without some allusion to his strong Quaker ideals. Although The Cornell Farm and the other farmscapes relate to the topographical tradition, they are “profoundly Quaker pictures.”8 Their harmony, serenity, and richness prove that industry and Quaker piety can result in an earthly perfection.9
The Cornell Farm was painted for James Cornell himself, who must have been pleased with the portrait of his prize bull which he had commissioned from Hicks two years earlier in 1846.10 Slides taken at the farm’s site reveal that Hicks attempted to portray its actual topography and appearance. The landscape today remains similar to Hicks’ depiction; two wagon houses still stand, although the original house was replaced and the barn burned down in the 1960$.
LW
Notes
1.Hicks’ other farmscapes are The Residence of Thomas Hillhorn, 1845 (AARFAC; Mather 1983, cat. no. 101), his earliest farm scene; The Residence of David Twining in 178 5, c. 1845-1846 (four versions; Mather 1983, cat. nos. 101-105) and The Leedom Farm, 1849 (AARFAC; Mather 1983, cat. no. 107). The latter, like The Cornell Farm, shows expansive, panoramic views, while the other two focus on only a segment of the farm. It is generally assumed that Hicks was inspired by his actual Pennsylvania surroundings. The Residence of David Twining 1785, however, is based on Hicks’ memories of his childhood rather than on a contemporary scene.
2.A 1954 letter,}. Stanley Lee to Colonel Garbisch, records Edward Hicks’ granddaughter quoting the painter to Lee.
3.The Doylestown Democrat and Bucks County Republican, 17 October 1848.
4.Reproduced in Virgil Barker, American Painting (New York, 1950), 373.
5.While Ford 1951, 97, mentions the possibility that Hicks may have seen Woodside’s painting, she believes it unlikely. However, Woodside was a contemporary of Hicks and a leading sign painter in nearby Philadelphia, and the possibility should not be discounted. Since Hicks was concerned first and foremost with religious pursuits, his Memoirs contain little information to assist historians in pinning down his artistic influences. On Woodside, see Stuart P. Feld and Albert Ten Eyck Gardner, American Paintings: A Catalogue of the Collection of the Metropolitan Museum of Art (Greenwich, 1965), 151.
6.Louisa Dresser, “The Peaceable Kingdom,” Bulletin of the Worcester Art Museum 2.5 (Spring 1934), 17.
7.Three Self-Taught Pennsylvania Artists: Hicks, Kane and Pippin [exh. cat., Carnegie Institute of Art] (Pittsburgh, 1966), unpaginated.
8.Parry 1975, 94.
9.It is worth noting that Hicks painted this scene at the same time the Hudson River School artists were creating their tributes to God’s nature. The Cornell Farm seems to relate philosophically, as well as in subject matter, to this academic landscape tradition. Hicks, in this peaceful scene with its warm, glowing light, shares the Hudson River painters’ belief in the manifestation of God’s presence in nature and light. Like the academic landscape painters, he considered man in harmony with the landscape or as “part and parcel of God” (Ralph Waldo Emerson as quoted in Barbara Novak, American Painting of the Nineteenth Century: Realism, Idealism and the American Experience, id ed. [New York, 1979], no). In fact, the Quaker belief that all men possess a portion of the Spirit (Eleanore Price Mather, “A Quaker Icon: The Inner Kingdom of Edward Hicks,” Art Quarterly 36 [Spring/Summer 1973], 85) resembles the Emersonian belief in physical facts as “the end or last issue of spirit” (Emerson as quoted in Novak 1979, in).
10.James Cornell’s Prize BU//ÍS at AARFAC and reproduced in Mather 1983 (see Bibliography), cat. no. 108. A receipt which was removed from the reverse reads: “James Cornell / To Edward Hicks Do / To painting his prize bull. $15.00 / Rec 5th mo 16th 1846 the above in full / of all demands by me / Edward Hicks.” As Mather explains, this work has its precedents in Dutch pastoral lithographs (81-86).
References
•1947—Antiques, 51 (October): 151-153 (untitled editorial).
•1950—Lipman and Winchester: 46-47.
•1951—Ford (see Bibliography): 97, 107, 108, in, color repro. opp. 108.
•1971—Campbell, William P. “The American Heritage at the National Gallery of Art.” Connoisseur 178 (December):
•2-70, 2.72-
•1974—Lipman, Jean, and Alice Winchester. The Flowering of American Folk Art. New York: color pi. 70.
•1975—Parry, Ellwood. “Edward Hicks and a Quaker Iconography.” Arts Magazine 49 (June): 94.
•1976—Lipman, Jean, and Helen M. Franc. Bright Stars: American Painting and Sculpture Since 1776. New York: color repro. p. 60.
•1979—Haverstock, Mary Sayre. An American Bestiary. New York: color repro. p. 146.
•1983—Mather (see Bibliography): 85, 195, cat. no. 106, color pi. 8.
•1985—Ford (see Bibliography): 134-136, color repro.
Public Domain: Studio handbook lettering over 250 pages, lettering, design and layouts, new alphabets
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Public Domain: Studio handbook lettering over 250 pages, lettering, design and layouts, new alphabets
Public Domain: Studio handbook lettering over 250 pages, lettering, design and layouts, new alphabets
from: M. Tolnai, "Letters voor Moderne Reclame-Kunst". 3e verbeterde druk. Amaco, Amsterdam, c. 1941
I saw a piece on facebook which had been hand-lettered using this interesting style. I must remember it 😀
Public Domain: Studio handbook lettering over 250 pages, lettering, design and layouts, new alphabets
Hand lettered script, vector illustration and letters drawn from photo reference for a set of holiday drink recipes and bottle labels.
Public Domain: Studio handbook lettering over 250 pages, lettering, design and layouts, new alphabets
Public Domain: Studio handbook lettering over 250 pages, lettering, design and layouts, new alphabets
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244/14a Huỳnh Văn Bánh F11 Q.Phú Nhuận HCM
183 Trương Định Q3
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