1
10
290
-
https://artgalleries.milne-library.org/files/original/673f105c2bd5e3582e7c65db5b067740.jpg
c9bad6b0fe0ff9b781ad42eae64ff7ab
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Raccolta di Monumenti Sacri e Sepolcrali Volume 3
Subject
The topic of the resource
Roman Sculpture from the 15th and 16th Century
Description
An account of the resource
Volume 3 of 5
Creator
An entity primarily responsible for making the resource
Drawn by Francesco M. Tosi
Publisher
An entity responsible for making the resource available
Presso l'Editore Proprietario
Date
A point or period of time associated with an event in the lifecycle of the resource
15th and 16th Century Sculpture
Contributor
An entity responsible for making contributions to the resource
Unknown Donor
Rights
Information about rights held in and over the resource
Geneseo Foundation
Relation
A related resource
Volumes 1, 2, 4, and 5
Format
The file format, physical medium, or dimensions of the resource
20 x 16
Language
A language of the resource
Italian translated by Bianca Pedulla
Type
The nature or genre of the resource
Prints
Identifier
An unambiguous reference to the resource within a given context
Italian Monuments in Rome created during the 15th and 16th Century
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Prints were made circa 1835 to 1860
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Scolture dell' Antico Altares del Presepe nella Basilica Liberiana
Subject
The topic of the resource
Sculpture of the ancient altar of the nativity in the Basilica Liberiane
Description
An account of the resource
This sculpture along with the others that we will examine in the following table were once inside the interior of the church of S. Maria Maggiore, until they were removed with many other works by the order of Pope Benedict XIV which he restored so that the church could be rebuilt. We cannot say which was the foundation of their original destination, but it is certain that they had to be destined to decorate some altar and perhaps the same one was built by the cardinal of Estouteville.
This bas-relief was composed of two composite pillars and covered with beautiful ornaments, closed within these two niches separated by a pillar on which rest the arches of the niches forming shells. In the first of these, to the right of the beholder, may be seen the effigy of St. Abbot Bernard of Clairvaux, his face full of devout meditation. He has a book in his left hand, perhaps to mention the works written by this learned and holy man, and with his right hand holding a chain, to which is tied a filthy animal depicting the devil, which was won by the holy abbot and afflicted. The other niche is occupied by S. Jerome, as can be seen clearly from the lion, which is the animal always placed at the side of this saint, and the cardinal's hat owed to him because he was a priest of the Roman Church, and therefore decorated with the title of cardinal. He is dressed in a cardinal’s cloak that hangs from the shoulders broad with rich folds, and has a book in his hands in the act of opening it and read it.
The whole relief is surmounted by a lunette, in whose center is carved the figure of the Redeemer, and around it runs a carved frame, which is reminiscent of what rests on the pillars.
Creator
An entity primarily responsible for making the resource
Drawn by Francesco M. Tosi
Publisher
An entity responsible for making the resource available
Presso l'Editore Proprietario
Date
A point or period of time associated with an event in the lifecycle of the resource
15th and 16th Century Sculpture
Contributor
An entity responsible for making contributions to the resource
Unknown Donor
Rights
Information about rights held in and over the resource
Geneseo Foundation
Relation
A related resource
Volumes 1, 2, 4, and 5
Format
The file format, physical medium, or dimensions of the resource
20 x 16
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Print
Identifier
An unambiguous reference to the resource within a given context
Italian Monuments in Rome created during the 15th and 16th Century
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Prints were made circa 1835 to 1860
-
https://artgalleries.milne-library.org/files/original/0b9fe6a8453a17b2334001d89e7f433b.JPG
1e9791ac05b3814b96f14065f14356df
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Agnes Jeffrey Collection
Description
An account of the resource
A biography of the artist, Agnes Jeffrey, by her niece, Virginia Jeffrey Smith, who gave the paintings to SUNY Geneseo in Agnes Jeffrey's memory:
"Agnes Jeffrey was born in Edinburgh March 1806 and died in Rochester, NY, November, 1896. She was the third child of John Jeffrey, a leading barrister (lawyer) of Edinburgh and of Elizabeth McConnel, his wife. The family lived in York Place, Edinburgh, a very beautiful Georgian house which I have seen. They also have a summer place in Wigtownshire, going there each year by a three day's drive in their coach. She and her sisters painted and she studied painting in Edinburgh and then in London. Her watercolor "American wild flowers" took the first prize at the Crystal Palace- England's first world fair. She came to America, probably in the 1840s, to keep house for her widowed mother and two brothers who had preceded her to America and lived in Canadaigua. Her art was undoubtedly influenced by Raeburn, Scotland's chief artist who had painted portraits of her father and uncle. Her brother William, a leading attorney, who had come to the United States to act as agent for Mr. John Geig of Canadaigua in the Phelps Gorham Estate (land development), later moved to Rochester opening his own practice. Upon the death of his wife, Agnes came to Rochester to live, caring for his children, especially the two little girls- Clarice Greig Jeffrey, also a painter and who taught painting at the old Mechanics Institute, and Mary, also an artist who later married A. Byron Smith and became my mother. Four generations of the Jeffrey family have painted professionally. After her brother's death, and his property lost through mismanagement by his executor, she supported the two girls for years by painting and teaching art. A woman of intellectual ability, she was in authority in botany and on the Bible, teaching a Bible class most of her life. At the age of seventy she decided [she] wanted to read Dante in the original and began the study of Italian and learned to speak it as well as to read it fluently."
Contributor
An entity responsible for making contributions to the resource
Virginia Jeffrey Smith
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Allemander"
Subject
The topic of the resource
Watercolor
Description
An account of the resource
Yellow Flowers, Realism.
The date of attribution is c. 1870
For more information on Agnes Jeffrey, see collection description.
Old Accession Number: J-2D-JEFFREY-A-10.
Creator
An entity primarily responsible for making the resource
Agnes Jeffrey (1806-1896)
Source
A related resource from which the described resource is derived
Gift in 1971 from Virginia Jeffrey Smith of East Avenue, Rochester, NY, grand niece of Agnes Jeffrey.
Part of the "Art of Four Generations of Jeffrey Family Women" exhibit sponsored by the College from June 27th to July 18th, 1976 at the Brodie Fine Arts Gallery.
Also shown in "The Genteel Pastime: 19th Century Watercolors by the Ladies of the Jeffrey Family" at the Memorial Art Gallery of the University of Rochester from December 9, 1988 to February 26, 1989.
Date
A point or period of time associated with an event in the lifecycle of the resource
1980
Format
The file format, physical medium, or dimensions of the resource
15.5x20
Identifier
An unambiguous reference to the resource within a given context
1980.49
-
https://artgalleries.milne-library.org/files/original/a7b487b107fd04ca5fb16144def79a55.jpg
ff3c48aeccecfb3dea459e242eb5cdfb
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Agnes Jeffrey Collection
Description
An account of the resource
A biography of the artist, Agnes Jeffrey, by her niece, Virginia Jeffrey Smith, who gave the paintings to SUNY Geneseo in Agnes Jeffrey's memory:
"Agnes Jeffrey was born in Edinburgh March 1806 and died in Rochester, NY, November, 1896. She was the third child of John Jeffrey, a leading barrister (lawyer) of Edinburgh and of Elizabeth McConnel, his wife. The family lived in York Place, Edinburgh, a very beautiful Georgian house which I have seen. They also have a summer place in Wigtownshire, going there each year by a three day's drive in their coach. She and her sisters painted and she studied painting in Edinburgh and then in London. Her watercolor "American wild flowers" took the first prize at the Crystal Palace- England's first world fair. She came to America, probably in the 1840s, to keep house for her widowed mother and two brothers who had preceded her to America and lived in Canadaigua. Her art was undoubtedly influenced by Raeburn, Scotland's chief artist who had painted portraits of her father and uncle. Her brother William, a leading attorney, who had come to the United States to act as agent for Mr. John Geig of Canadaigua in the Phelps Gorham Estate (land development), later moved to Rochester opening his own practice. Upon the death of his wife, Agnes came to Rochester to live, caring for his children, especially the two little girls- Clarice Greig Jeffrey, also a painter and who taught painting at the old Mechanics Institute, and Mary, also an artist who later married A. Byron Smith and became my mother. Four generations of the Jeffrey family have painted professionally. After her brother's death, and his property lost through mismanagement by his executor, she supported the two girls for years by painting and teaching art. A woman of intellectual ability, she was in authority in botany and on the Bible, teaching a Bible class most of her life. At the age of seventy she decided [she] wanted to read Dante in the original and began the study of Italian and learned to speak it as well as to read it fluently."
Contributor
An entity responsible for making contributions to the resource
Virginia Jeffrey Smith
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Scottish Flowers" (Bluebells)
Subject
The topic of the resource
Watercolor
Description
An account of the resource
One of two panel mat with Thistle (1980.42)
Realism. The date of attribution is c. 1870
For more information on Agnes Jeffrey, see collection description.
Old Accession Number: J-2D-JEFFREY-A-2.
Creator
An entity primarily responsible for making the resource
Agnes Jeffrey (1806-1896)
Source
A related resource from which the described resource is derived
Gift to the college in 1971 from Virginia Jeffrey Smith of East Avenue, Rochester, NY, grand niece of Agnes Jeffrey. Part of the "Art of Four Generations of Jeffrey Family Women" exhibit sponsored by the College from June 27th to July 18th, 1976 at the Brodie Fine Arts Gallery Also shown in "The Genteel Pastime: 19th Century Watercolors by the Ladies of the Jeffrey Family" at the Memorial Art Gallery of the University of Rochester from December 9, 1988 to February 26, 1989.
Date
A point or period of time associated with an event in the lifecycle of the resource
1980
Format
The file format, physical medium, or dimensions of the resource
6x4.25
Identifier
An unambiguous reference to the resource within a given context
1980.41
Publisher
An entity responsible for making the resource available
Virgina Jeffrey Smith
Rights
Information about rights held in and over the resource
Geneseo Foundation
Relation
A related resource
Jeffrey Collection 1980.40-1980.57
Language
A language of the resource
English
Type
The nature or genre of the resource
Watercolor on paper
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
c. 1870
-
https://artgalleries.milne-library.org/files/original/04f6fb484c992ce50abb47e9b3abdf5b.jpg
74f5d7ea7be8f707f7851b7ba697323d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Agnes Jeffrey Collection
Description
An account of the resource
A biography of the artist, Agnes Jeffrey, by her niece, Virginia Jeffrey Smith, who gave the paintings to SUNY Geneseo in Agnes Jeffrey's memory:
"Agnes Jeffrey was born in Edinburgh March 1806 and died in Rochester, NY, November, 1896. She was the third child of John Jeffrey, a leading barrister (lawyer) of Edinburgh and of Elizabeth McConnel, his wife. The family lived in York Place, Edinburgh, a very beautiful Georgian house which I have seen. They also have a summer place in Wigtownshire, going there each year by a three day's drive in their coach. She and her sisters painted and she studied painting in Edinburgh and then in London. Her watercolor "American wild flowers" took the first prize at the Crystal Palace- England's first world fair. She came to America, probably in the 1840s, to keep house for her widowed mother and two brothers who had preceded her to America and lived in Canadaigua. Her art was undoubtedly influenced by Raeburn, Scotland's chief artist who had painted portraits of her father and uncle. Her brother William, a leading attorney, who had come to the United States to act as agent for Mr. John Geig of Canadaigua in the Phelps Gorham Estate (land development), later moved to Rochester opening his own practice. Upon the death of his wife, Agnes came to Rochester to live, caring for his children, especially the two little girls- Clarice Greig Jeffrey, also a painter and who taught painting at the old Mechanics Institute, and Mary, also an artist who later married A. Byron Smith and became my mother. Four generations of the Jeffrey family have painted professionally. After her brother's death, and his property lost through mismanagement by his executor, she supported the two girls for years by painting and teaching art. A woman of intellectual ability, she was in authority in botany and on the Bible, teaching a Bible class most of her life. At the age of seventy she decided [she] wanted to read Dante in the original and began the study of Italian and learned to speak it as well as to read it fluently."
Contributor
An entity responsible for making contributions to the resource
Virginia Jeffrey Smith
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Scottish Flowers" (Thistle)
Subject
The topic of the resource
Watercolor
Description
An account of the resource
Realism. The date of attribution is c. 1870
One of two-panel matte with Bluebells (1980.41)
For more information on Agnes Jeffrey, see collection description.
Old Accession Number: J-2D-JEFFREY-A-3.
Creator
An entity primarily responsible for making the resource
Agnes Jeffrey (1806-1896)
Source
A related resource from which the described resource is derived
Gift in 1971 from Virginia Jeffrey Smith of East Avenue, Rochester, NY, grand niece of Agnes Jeffrey. Part of the "Art of Four Generations of Jeffrey Family Women" exhibit sponsored by the College from June 27th to July 18th, 1976 at the Brodie Fine Arts Gallery Also shown in "The Genteel Pastime: 19th Century Watercolors by the Ladies of the Jeffrey Family" at the Memorial Art Gallery of the University of Rochester from December 9, 1988 to February 26, 1989.
Date
A point or period of time associated with an event in the lifecycle of the resource
1980
Format
The file format, physical medium, or dimensions of the resource
7.5" x 6"
Identifier
An unambiguous reference to the resource within a given context
1980.42
Publisher
An entity responsible for making the resource available
Virgina Jeffrey Smith
Rights
Information about rights held in and over the resource
Geneseo Foundation
Relation
A related resource
Jeffrey Collection 1980.40-1980.57
Language
A language of the resource
English
Type
The nature or genre of the resource
watercolor on paper
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
c. 1870
-
https://artgalleries.milne-library.org/files/original/aed2e89c3d7b7a9d41d693c04f37f6aa.jpg
64cd733ad1eea437fd58d24aa9027786
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Mr. and Mrs. Samuel S. Silverman Collection
Description
An account of the resource
This Collection contains oil paintings from several School of Paris artists: Blaquiere, Grandmaison, Hardy, Hasegawa, Marchand des Raux, Sanh, Tanaka, Ubeda, Coignard, Priking, Goetz and Grandjean. These are all artists that were active in and around Paris after WWII.
Roger Blaquiere was born in Paris in 1933. He attended the School of Applied Arts and the National School of Beaux Arts. He won the Prix d'Art Monumental in 1956, the Prix Casa Velazquez in 1959 and the Grand Prix de Rome in 1963. Blaquiere has had one-man shows in Madrid as well as in Paris. From 1958-1963, he participated in the Salon of Young Painters at the Museum of Modern Art. He exhibited in the Salon d'Automne in 1959 and 1960. He was one of twenty young French painters presented by the Museum of Modern Art and the Alliance Francaise in a traveling show in the United States. Stuart Preston, critic of the New York Times, reported that he and one other painter in the Exhibition gave promise of a fine future as an artist. Both France and the City of Paris have purchased his works.
James Coignard was born in Tours, France in 1925. He remained there until he was 17, then went to live in Paris. During the war, he returned to Touraine. While there, he met the painter Marchand des Raux. When Marchand des Raux returned to St. Jean, Cap Ferrat, Coignard joined him and worked in the studio belonging to Marchand des Raux. He made his home with this painter for many years. Coignard set himself up in a pottery studio in St. Cloud, continuing to paint and draw and to exhibit in the galleries of the Left Bank. In Paris, he met other painters and took part in the difficult life of Paris. He married in 1956 and abandoned Paris and pottery. He went to live on the Riviera. He had one-man shows in Sweden, Geneva, Venice, Paris, New York and Berlin. He also took part in a School of Paris exhibition in Dublin in 1960 and in Tokyo in 1961. He is represented in the following museums: Dublin Museum, Museum of San Diego, Museum of New Mexico, Historical Society of Montana, La Jolla Art Centre, Oklahoma Art Centre. Group Shows: 1956, Won first prize in Barcelona show of Fine Arts. 1957, Second Prize young painters & Juan Gris Prize honorable mention. 1959, Alexandria Biennale. 1960, Ecole de Paris & Galerie Charpentier. 1961, Salon de Paris (Japan). 1964, Biennale de Menton. 1964, First Prize Dorothy Gould.
Henri Goetz was born in New York in 1909 and arrived in Paris in 1930. He became a naturalized French citizen in 1949. Goetz had 32 one-man exhibitions in Europe. He is well known for his work in pastel and engraving as in painting. He started as a surrealist painter and developed into one of the foremost in abstraction. All of his work is done from nature, he made his sketches on the spot and then did the painting or pastel. In 1947, Alain Resnais did a film on him. He was a highly respected teacher as well, having two academies in Paris and being professor at the American School in Fontainebleau. He is represented at the following museums: Museum of Modern Art, Paris. Museum of Grenoble. Museum of Eliat. Museum of Newark (NJ). Museum of St. Etienne. Museum of San Diego (CA).
Raymond Grandjean was born in Lyon, France in 1929. He was independent in his artistic development, becoming a non-figurative painter in 1951. He had one-man shows in France since 1954 and participated in group shows in Italy and Germany. He is represented in the Museum of Lyon, and in the Museum of Modern Art in New York.
Louis de Grandmaison was born in Le Havre in 1928. He studied for a time with Andre Lhote. He had one-man shows in Paris since 1960 and participated in many group shows in the Museum of Modern Art (Paris), Luxembourg and New York. He is represented in the collections of the City of Paris, the Museum of Modern Art (Paris) and in private collections throughout Europe and the United States.
Shoichi Hasegawa was born in 1929 in Japan. His first one-man show was in Japan in 1957. He went to Paris in 1961 and worked in the studio of S.W. Hayter. He exhibited in the Salon of Young Painters, and in the Salon des Independants in 1962 and in many important group shows in Paris, London, Portugal, South America, Australia and Canada. In 1964, he had a one-man show at the Galerie La Nouvelle Gravure in Paris, at the Galerie Philadelphie (Paris), Stockholm, and Yugoslavia. His works are in the following museums: Victoria and Albert (London), Bibliotheque Nationale (Paris), Museum of Modern Art (New York), Norrkopings Museum (Sweden) and the French Ministry of Cultural Affairs (Paris).
Louis Marchand des Raux was born in Touraine in 1904 and went to the south of France in 1920. He started to paint in 1934 and was completely self-taught. An eminent collector, Adolphe Schloss, encouraged him and purchased his first canvases. He was the chief landscapist at the chateau "Ile-de-France" belonging to the Baronne Ephrussi de Rothschild. His work reflects the rich colors of the flowers that surrounded him. He exhibited widely in France, London and Italy.
Franz Priking was born in 1927 in Germany. In 1947 he was attracted to painting and abandoned his college studies in Weimar, entering the Bauhaus in Weimar (the college founded by Klee and Kandinsky). In 1948, he entered the Academy of Berlin, the class of Max Pechstein. As a student, he traveled to France in 1950 and lived there from then on. He exhibited in Germany, London, Geneva, throughout France and the United States.
Georges Sanh was born in 1909 in Hanoi, his father was French. He is a self-taught painter and expresses himself in a very personal way. He has been exhibited in Sweden, Norway, Switzerland and the United States.
Shu Tanaka was born in Tokyo in 1908, the son of a traditional painter. He studied at the Beaux Arts in Tokyo and was in China in 1935-1936. He went to live in Paris in 1954. He has exhibited in Tokyo and in many shows in Paris, particularly in the Musee Galliera with the Japanese painters of Paris in four successive years. He was influenced by the School of Paris tangentially but retained the Japanese spirit in his paintings.
Augustin Ubeda was born in Spain in 1925. He attended the Beaux Arts in Madrid from 1944-1948 and exhibited throughout Spain from 1949-1953. He won a scholarship to study in France and stayed in Paris from that point on. In 1957, he won the prize for young painters and had his first one-man show in Paris. He has exhibited in France, Switzerland, England, Sweden, Canada, Italy, the United States and all over South America.
The Collector, Mr. Silverman, owned a chain of stores and he was contacted through Edgar Tafel to donate the School of Paris paintings to SUNY Geneseo
Contributor
An entity responsible for making contributions to the resource
Mr. and Mrs. Samuel Silverman
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Ships at Anchor-Night"
Subject
The topic of the resource
Oil Painting
Description
An account of the resource
Oil on canvas
School of Paris
Signature: LR
James Coignard was born in Tours, France in 1925. He remained there until he was 17, then went to live in Paris. During the war, he returned to Touraine. While there, he met the painter Marchand des Raux. When Marchand des Raux returned to St. Jean, Cap Ferrat, Coignard joined him and worked in the studio belonging to Marchand des Raux. He made his home with this painter for many years. Coignard set himself up in a pottery studio in St. Cloud, continuing to paint and draw and to exhibit in the galleries of the Left Bank. In Paris, he met other painters and took part in the difficult life of Paris. He married in 1956 and abandoned Paris and pottery. He went to live on the Riviera. He had one-man shows in Sweden, Geneva, Venice, Paris, New York and Berlin. He also took part in a School of Paris exhibition in Dublin in 1960 and in Tokyo in 1961. He is represented in the following museums: Dublin Museum, Museum of San Diego, Museum of New Mexico, Historical Society of Montana, La Jolla Art Centre, Oklahoma Art Centre. Group Shows: 1956, Won first prize in Barcelona show of Fine Arts. 1957, Second Prize young painters & Juan Gris Prize honorable mention. 1959, Alexandria Biennale. 1960, Ecole de Paris & Galerie Charpentier. 1961, Salon de Paris (Japan). 1964, Biennale de Menton. 1964, First Prize Dorothy Gould.
Old Accession Number: SL-2D-Coignard-1.
Creator
An entity primarily responsible for making the resource
James Coignard (1925-2008)
Source
A related resource from which the described resource is derived
Gift from Mr. and Mrs. Samuel Silverman
Date
A point or period of time associated with an event in the lifecycle of the resource
1980
Relation
A related resource
One of 21 Oil Paintings in the Silverman Collection (1980.8.1 - 1980.8.21)
Format
The file format, physical medium, or dimensions of the resource
22 x 29.5
Identifier
An unambiguous reference to the resource within a given context
1980.8.2
-
https://artgalleries.milne-library.org/files/original/7b781993be34a88d31dca1ea84e88b77.jpg
4e106086c0342a0c78ec941f22789aff
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Agnes Jeffrey Collection
Description
An account of the resource
A biography of the artist, Agnes Jeffrey, by her niece, Virginia Jeffrey Smith, who gave the paintings to SUNY Geneseo in Agnes Jeffrey's memory:
"Agnes Jeffrey was born in Edinburgh March 1806 and died in Rochester, NY, November, 1896. She was the third child of John Jeffrey, a leading barrister (lawyer) of Edinburgh and of Elizabeth McConnel, his wife. The family lived in York Place, Edinburgh, a very beautiful Georgian house which I have seen. They also have a summer place in Wigtownshire, going there each year by a three day's drive in their coach. She and her sisters painted and she studied painting in Edinburgh and then in London. Her watercolor "American wild flowers" took the first prize at the Crystal Palace- England's first world fair. She came to America, probably in the 1840s, to keep house for her widowed mother and two brothers who had preceded her to America and lived in Canadaigua. Her art was undoubtedly influenced by Raeburn, Scotland's chief artist who had painted portraits of her father and uncle. Her brother William, a leading attorney, who had come to the United States to act as agent for Mr. John Geig of Canadaigua in the Phelps Gorham Estate (land development), later moved to Rochester opening his own practice. Upon the death of his wife, Agnes came to Rochester to live, caring for his children, especially the two little girls- Clarice Greig Jeffrey, also a painter and who taught painting at the old Mechanics Institute, and Mary, also an artist who later married A. Byron Smith and became my mother. Four generations of the Jeffrey family have painted professionally. After her brother's death, and his property lost through mismanagement by his executor, she supported the two girls for years by painting and teaching art. A woman of intellectual ability, she was in authority in botany and on the Bible, teaching a Bible class most of her life. At the age of seventy she decided [she] wanted to read Dante in the original and began the study of Italian and learned to speak it as well as to read it fluently."
Contributor
An entity responsible for making contributions to the resource
Virginia Jeffrey Smith
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Wintergreen" (Red Berries)
Subject
The topic of the resource
Watercolor
Description
An account of the resource
Realism. The date of attribution is c. 1870
For more information on Agnes Jeffrey, see collection description.
Old Accession Number: J-2D-JEFFREY-A-5
Creator
An entity primarily responsible for making the resource
Agnes Jeffrey (1806-1896)
Source
A related resource from which the described resource is derived
Gift from Virginia Jeffrey Smith of East Avenue, Rochester, NY, grand niece of Agnes Jeffrey.
Part of the "Art of Four Generations of Jeffrey Family Women" exhibit sponsored by the College from June 27th to July 18th, 1976 at the Brodie Fine Arts Gallery.
Also shown in "The Genteel Pastime: 19th Century Watercolors by the Ladies of the Jeffrey Family" at the Memorial Art Gallery of the University of Rochester from December 9, 1988 to February 26, 1989.
Date
A point or period of time associated with an event in the lifecycle of the resource
1980
Format
The file format, physical medium, or dimensions of the resource
7" x 5.5"
Identifier
An unambiguous reference to the resource within a given context
1980.44
Publisher
An entity responsible for making the resource available
Virgina Jeffrey Smith
Rights
Information about rights held in and over the resource
Geneseo Foundation
Relation
A related resource
Jeffrey Collection 1980.40-1980.57
Language
A language of the resource
English
Type
The nature or genre of the resource
Watercolor on paper
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
c. 1870
-
https://artgalleries.milne-library.org/files/original/1eed3539cacfce6cccf5fc1fe4d50672.jpg
e3a9c8ad28d508c97b1dfd06aa6634d2
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Raccolta di Monumenti Sacri e Sepolcrali Volume 4
Subject
The topic of the resource
Roman Sculpture from the 15th and 16th Century
Description
An account of the resource
Volume 4 of 5
Creator
An entity primarily responsible for making the resource
Drawn by Francesco M. Tosi
Publisher
An entity responsible for making the resource available
Presso l'Editore Proprietario
Date
A point or period of time associated with an event in the lifecycle of the resource
15th and 16th Century Sculpture
Contributor
An entity responsible for making contributions to the resource
Unknown Donor
Rights
Information about rights held in and over the resource
Geneseo Foundation
Relation
A related resource
Volumes 1, 2, 3, and 5
Format
The file format, physical medium, or dimensions of the resource
20 x 16
Language
A language of the resource
Italian translated by Marisa Powell
Type
The nature or genre of the resource
Prints
Identifier
An unambiguous reference to the resource within a given context
Italian Monuments in Rome created during the 15th and 16th Century
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Prints were made circa 1835 to 1860
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Altare nel Tempietto di Bramante in S. Pietro Mantorio
Subject
The topic of the resource
TABLE LXXXV
ALTER
In the Temple of Bramante Lazeri in San Pietro in Montorio
Description
An account of the resource
TAVOLA LXXXV
In the model of architectural elegance that is in the walkway of S. Pietro of Montorio, and which Vasari says – cannot proportion, order, and diversity be imagined, and grace kinder be better imagined – this altar is dedicated to the Prince of the Apostles, of which Bramante himself was the creator. It consists of a table upon which stands a base, from two pillars stand out which encloses a seated statue of the first Vicar of Christ on Earth, who was given the keys to the Kingdom of Heaven, which is depicted by the artist on the right. In front of the table, there are three panes of which the two side arms refer to those who order the fabrication of this altar, the middle one containing the image of fish in the waves of the sea, which was important to the life of the sovereign apostle to whom this monument was dedicated. The bas-relief that adorns the aforementioned base recalls the terrible death administered to Peter by the impious Pagans. The whole work ends with an arch, within which a beautiful shell shape is enclosed.
Creator
An entity primarily responsible for making the resource
Drawn by Francesco M. Tosi
Publisher
An entity responsible for making the resource available
Presso l'Editore Proprietario
Date
A point or period of time associated with an event in the lifecycle of the resource
15th and 16th Sculpture
Contributor
An entity responsible for making contributions to the resource
Unknown Donor
Rights
Information about rights held in and over the resource
Geneseo Foundation
Relation
A related resource
Volumes 1, 2, 3, and 5
Format
The file format, physical medium, or dimensions of the resource
20 x 16
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Print
Identifier
An unambiguous reference to the resource within a given context
Italian Monuments in Rome created during the 15th and 16th Century
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Prints were made circa 1835 to 1860
-
https://artgalleries.milne-library.org/files/original/0ce04312d5addaa242064e813479f596.jpg
8fc59c33491b39c9666692d6cbd0aa0b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Raccolta di Monumenti Sacri e Sepolcrali Volume 3
Subject
The topic of the resource
Roman Sculpture from the 15th and 16th Century
Description
An account of the resource
Volume 3 of 5
Creator
An entity primarily responsible for making the resource
Drawn by Francesco M. Tosi
Publisher
An entity responsible for making the resource available
Presso l'Editore Proprietario
Date
A point or period of time associated with an event in the lifecycle of the resource
15th and 16th Century Sculpture
Contributor
An entity responsible for making contributions to the resource
Unknown Donor
Rights
Information about rights held in and over the resource
Geneseo Foundation
Relation
A related resource
Volumes 1, 2, 4, and 5
Format
The file format, physical medium, or dimensions of the resource
20 x 16
Language
A language of the resource
Italian translated by Bianca Pedulla
Type
The nature or genre of the resource
Prints
Identifier
An unambiguous reference to the resource within a given context
Italian Monuments in Rome created during the 15th and 16th Century
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Prints were made circa 1835 to 1860
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Altare nell'andito che immete nella Sagrestia di S. Maria del Popolo
Subject
The topic of the resource
Altar in the passage that leads into the sacristy of Santa Maria del Popolo
Description
An account of the resource
This a gift made by William Periera to the church of S. Maria del Popolo in 1447, and the work is really commendable for the beauty of its decorations and for the kindness of its design. One day it will have been in the church since the noble ornament of the altar, but having afterwards to give way to other works, he sought to place it among many other works in that hallway for which you enter in the sacristy.
It is dedicated to the Virgin Mary, as seen from the inscription carved into the base and flanked by the arms of the donor. From this base there are four pillars, which support a cornice carved in the three parts that make it up. Above this cornice and corresponding to the width of two pillars median with their whole thickness is a bezel that encompasses head of the Savior. The three-pillar and open niches contain three figures standing: the middle one is the effigy of the Virgin Mary, who has the right niche in the shape of an S. Augustine, Bishop and left that of S. Catherine. The beauty of the ornaments, which are the pillars of the simplicity of the work, and the manner in which it dealt with the large party of folds, which are made from 'other mantles that are dressed in the three figures, the fans believe this to what fine, and press to be a model for those who are dedicated to the beautiful art is ornamental.
The same William Pereira makes a gift of another beautiful altar (istile) not conformed to this the church of S. Paul, and we will give you more than before.
Creator
An entity primarily responsible for making the resource
Drawn by Francesco M. Tosi
Publisher
An entity responsible for making the resource available
Presso l'Editore Proprietario
Date
A point or period of time associated with an event in the lifecycle of the resource
15th and 16th Century Sculpture
Contributor
An entity responsible for making contributions to the resource
Unknown Donor
Rights
Information about rights held in and over the resource
Geneseo Foundation
Relation
A related resource
Volumes 1, 2, 4, and 5
Format
The file format, physical medium, or dimensions of the resource
20 x 16
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Print
Identifier
An unambiguous reference to the resource within a given context
Italian Monuments in Rome created during the 15th and 16th Century
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Prints were made circa 1835 to 1860
-
https://artgalleries.milne-library.org/files/original/1fde8c996722acb52088cd5581910bce.jpg
eee362ddee5005d43a0814cfdf46a145
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Raccolta di Monumenti Sacri e Sepolcrali Volume 3
Subject
The topic of the resource
Roman Sculpture from the 15th and 16th Century
Description
An account of the resource
Volume 3 of 5
Creator
An entity primarily responsible for making the resource
Drawn by Francesco M. Tosi
Publisher
An entity responsible for making the resource available
Presso l'Editore Proprietario
Date
A point or period of time associated with an event in the lifecycle of the resource
15th and 16th Century Sculpture
Contributor
An entity responsible for making contributions to the resource
Unknown Donor
Rights
Information about rights held in and over the resource
Geneseo Foundation
Relation
A related resource
Volumes 1, 2, 4, and 5
Format
The file format, physical medium, or dimensions of the resource
20 x 16
Language
A language of the resource
Italian translated by Bianca Pedulla
Type
The nature or genre of the resource
Prints
Identifier
An unambiguous reference to the resource within a given context
Italian Monuments in Rome created during the 15th and 16th Century
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Prints were made circa 1835 to 1860
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Altare nella Basilica di S. Giovanni in Laterano
Subject
The topic of the resource
Altar in the Basilica of San Giovanni in Laterano
Description
An account of the resource
As we said in the table LXV intend to repeat here, about the conduct of this elegant altar: that the author is something that is unknown and that it is the work of beautiful and exquisite work, both for the invention of the ornaments, which for the proportion of 'members.
Is seen in the Basilica of St. John leaned over the door of the chapel of the ancient family Massimi, noble architecture by Giacomo della Porta. The holy place in the middle of the recess formed between the cross-pillar is the figure of St. James Major, who holds the drone with his right hand or stick (viatorio) from which hangs a shell and a diaper, and has a book in his left hand close to his chest, and with whom he also holds a piece of the rich pallium that descends from the humerus I miss and wraps around with a nice party folds. The whole work is something very gentle and pure you pe 'that adorned her for the correctness of' his (modani), which prayers you do notice it more 'four, cute pilasters ending in many capitals of composite order and very vague to see. The beautiful cornice that rests above these, (comechè) original (estita) not, must not occur for what I imagined, but it is the result of my research. Because finding a day in the cloister of the basilica, in the last one of 'its corners a small fragment of the entablature, whose frieze was decorated with garlands woven with bells, and each of them contained a shell in the middle. Built soul I doubt this was not the cornice of 'altar, I wanted to measure the proportions and examine thoroughly the parties. In seeing that everything between them was answered exactly easy to convince me of the truth of the fact, and seeing me more convinced that ran from the similarity between the shells of the 'one to one that is suspended from the drone of S. James, I said so much that was the thing, and I wanted to add it to 'work to make something pleasing to the artists.
Creator
An entity primarily responsible for making the resource
Drawn by Francesco M. Tosi
Publisher
An entity responsible for making the resource available
Presso l'Editore Proprietario
Date
A point or period of time associated with an event in the lifecycle of the resource
15th and 16th Century Sculpture
Contributor
An entity responsible for making contributions to the resource
Unknown Donor
Rights
Information about rights held in and over the resource
Geneseo Foundation
Relation
A related resource
Volumes 1, 2, 4, and 5
Format
The file format, physical medium, or dimensions of the resource
20 x 16
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Print
Identifier
An unambiguous reference to the resource within a given context
Italian Monuments in Rome created during the 15th and 16th Century
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Prints were made circa 1835 to 1860
-
https://artgalleries.milne-library.org/files/original/898d74cbea382d7d02444812cade0367.jpg
086bbe10e5d8ea956144091c0d96cef2
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Raccolta di Monumenti Sacri e Sepolcrali Volume 3
Subject
The topic of the resource
Roman Sculpture from the 15th and 16th Century
Description
An account of the resource
Volume 3 of 5
Creator
An entity primarily responsible for making the resource
Drawn by Francesco M. Tosi
Publisher
An entity responsible for making the resource available
Presso l'Editore Proprietario
Date
A point or period of time associated with an event in the lifecycle of the resource
15th and 16th Century Sculpture
Contributor
An entity responsible for making contributions to the resource
Unknown Donor
Rights
Information about rights held in and over the resource
Geneseo Foundation
Relation
A related resource
Volumes 1, 2, 4, and 5
Format
The file format, physical medium, or dimensions of the resource
20 x 16
Language
A language of the resource
Italian translated by Bianca Pedulla
Type
The nature or genre of the resource
Prints
Identifier
An unambiguous reference to the resource within a given context
Italian Monuments in Rome created during the 15th and 16th Century
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Prints were made circa 1835 to 1860
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Altare nella chiesa di a Marcello
Monumento Sepolcrale del Card. Nicola de'Cusa nella chiesa di a Pietro in Vincoli
Subject
The topic of the resource
Altar in the church of San Marcello
Tomb of Cardinal Nicola de’Cusa in the church of San Pietro in Vincoli
Description
An account of the resource
Entering the church of S. Marcello, in the third chapel on the right hand you see the altar that we give in this table. The chapel contains, provided in 1562 by Monsignor Griffins and finished in ornate in 1607 by Cav. John Matthew his kinsman, since its first erection was colored by Giovanni Battista Ricci from Novara and Francesco Salviati, who painted the main face. We do not know the author of this 'work of art, but the beauty of the decorations and the right proportion of' members are believed to be good for anything in the century.
The upper part of the table is occupied by the monument erected in S. Pietro in Vincula to the memory of the illustrious Cardinal Nicholas de Cusa , so called from his birthplace on the banks of the Moselle to Treves , where was born the year 1405. He was in charge of the monastery Wotobergense regular canon, archdeacon do Liege, dean of St. Florinus Constance and prothonotary apostolic. Intervened in 1441 at the Diet of Mainz, where the presence of Emperor Frederick III defended (gagliardemente) the Pontiff. Ascended the Chair of Peter Nicholas V, was this Pope to December 20 , 1448 raised to the honor of the purple with the title of S. Pietro in Vincula , which added a monastery and embellished the church of a new ceiling. He held several important legations in Germany, Bohemia, and in other northern provinces, and worked for all things of great benefit to Christianity. In the absence of Pius II in Rome he kept his post as vicar linked the city, and it was all an object of admiration and complacency. In addition to that he was a man full of so much teaching to write on a variety of materials a good number of works, which were printed in Basel gathered in three vol. in fol. in 1565.
Do not stay there we know by reporting the following words of Ciaconio (Vit et res. Gest. Pont. V. 5. P. 975) in praise of this man virtuous: (LATIN)
He had until (visso) a singular devotion to the chains that (avvinsero) the apostle Peter in prison, and therefore is seen portrait on the front of his monument in the act of praying (ginocchinone) to land the Prince of the Apostles who is sitting in the middle, and the other side has also an angel with bent knee, while his hands were holding up the chain. The top of the monument contains the arms of a Cardinal, who was a shrimp on a blue field.
Creator
An entity primarily responsible for making the resource
Drawn by Francesco M. Tosi
Publisher
An entity responsible for making the resource available
Presso l'Editore Proprietario
Date
A point or period of time associated with an event in the lifecycle of the resource
15th and 16th Century Sculpture
Contributor
An entity responsible for making contributions to the resource
Unknown Donor
Rights
Information about rights held in and over the resource
Geneseo Foundation
Relation
A related resource
Volumes 1, 2, 4, and 5
Format
The file format, physical medium, or dimensions of the resource
20 x 16
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Print
Identifier
An unambiguous reference to the resource within a given context
Italian Monuments in Rome created during the 15th and 16th Century
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Prints were made circa 1835 to 1860