Vase of Fruit1830–186014 1/2 × 10 1/2"Watercolor and pencil on paperGift of Cyril Irwin Nelson in memory of his grandparents, Guerdon Stearns and Elinor Irwin (Chase) Holden, and in honor of his parents, Cyril Arthur and Elise Macy Nelson1983.29.20Monochromatic theorem painting of compote with short stem and wide circular base holding abundant display of fruit, flowers and leaves standing on rectangular slab with thumb-grooved edge, executed in shades of gray. Grapes LS and RS, peaches middle, flowers and leaves around back; behind vertical leaves. Compote ringed with small leaves and larger overlapping leaves with black spots. All forms outlined in pencil and filled with graphite or watercolor wash. Negative spaces darkly inked. On plain paper. Frame: Heavily grained and varnished wood frame, 2.5" w., molding with fluted thumb groove and lapped joins. White mat, black paper backing.15220420Artist unidentifiedDrawingsThe American Folk Art Museum believes this work to be in the public domain. United StatesTreasures of Folk Art: Museum of American Folk ArtWorks on PapereMuseum - Collection HighlightsGrisaille painting was introduced into America by 17th century Dutch settlers in the Hudson Valley who used the technique in still life painting on furniture. Theorem painting came into vogue early in the 19th century, peaked in the 1820's and 30's and waned towards mid century. The compositions were built with the use of stencils and usually painted in color, as the grisaille technique was much more difficult to successfully execute. One lithographic source for this popular exercise piece was produced by kelloggs & Comstock whose dates of operation were 1848-1850. An earlier source must also have been available as there is a now unlocated watercolor dated 1831. See attachment from AARFAC # 129. Also see Kelloggs & Comstock lithograph in file.watercolorStill lifePAINTINGDuring the Renaissance, artists produced monochromatic paintings and drawings exclusively in tones of gray to simulate classical sculpture. Neoclassical taste at the turn of the nineteenth century reinvigorated monochromatic themes in the decorative arts, and work en grisaille persisted through the middle of the century in forms such as theorem paintings and sandpaper drawings. This is one of several similar compositions painted in monochromatic washes in shades of gray. Initially it gives the appearance of a theorem painting, executed with the aid of stencils, but many elements appear to have been painted freehand to simulate the theorem’s hard-edged effect.
The image closely follows the lithograph Vase of Fruit published by Kelloggs & Comstock of New York City and Hartford, Connecticut (1848–1850). This type of still life, depicting overflowing displays of fruit and flowers, captured the growing sense of America’s bounty after the first quarter of the nineteenth century. Instructions and copy sources were provided by teachers and also published in magazines, which accounts for the multiple examples of patterns that exist today.
Stacy C. Hollander, "Vase of Fruit," in American Anthem: Masterworks from the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001), 341. Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information. To help improve this record, please email photoservices@folkartmuseum.org These three works, a grisaille theorem on paper and two tinsel paintings, are examples of a large number of works executed in a variety of mediums that draw from a single common design source, although that source has not yet been identified or linked to any specific school tradition. Kellogg & Comstock, a Hartford printing company that operated from 1848 to1850, produced a lithograph of the work. Color variation is to be noted in the tinsel paintings in which stencils were probably used.
Lee Kogan, "Vase of Fruit," exhibition label for FOILED: Tinsel Painting in America. Lee Kogan, curator. New York: American Folk Art Museum, 2012-2013.18301860 1983 29 2 Grisaille painting was introduced into America by 17th century Dutch settlers in the Hudson Valley who used the technique in still life painting on furniture. Theorem painting came into vogue early in the 19th century, peaked in the 1820's and 30's and waned towards mid century. The compositions were built with the use of stencils and usually painted in color, as the grisaille technique was much more difficult to successfully execute. One lithographic source for this popular exercise piece was produced by kelloggs & Comstock whose dates of operation were 1848-1850. An earlier source must also have been available as there is a now unlocated watercolor dated 1831. See attachment from AARFAC # 129. Also see Kelloggs & Comstock lithograph in file.watercolorStill lifePAINTINGDuring the Renaissance, artists produced monochromatic paintings and drawings exclusively in tones of gray to simulate classical sculpture. Neoclassical taste at the turn of the nineteenth century reinvigorated monochromatic themes in the decorative arts, and work en grisaille persisted through the middle of the century in forms such as theorem paintings and sandpaper drawings. This is one of several similar compositions painted in monochromatic washes in shades of gray. Initially it gives the appearance of a theorem painting, executed with the aid of stencils, but many elements appear to have been painted freehand to simulate the theorem’s hard-edged effect.
The image closely follows the lithograph Vase of Fruit published by Kelloggs & Comstock of New York City and Hartford, Connecticut (1848–1850). This type of still life, depicting overflowing displays of fruit and flowers, captured the growing sense of America’s bounty after the first quarter of the nineteenth century. Instructions and copy sources were provided by teachers and also published in magazines, which accounts for the multiple examples of patterns that exist today.
Stacy C. Hollander, "Vase of Fruit," in American Anthem: Masterworks from the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001), 341. Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information. To help improve this record, please email photoservices@folkartmuseum.org These three works, a grisaille theorem on paper and two tinsel paintings, are examples of a large number of works executed in a variety of mediums that draw from a single common design source, although that source has not yet been identified or linked to any specific school tradition. Kellogg & Comstock, a Hartford printing company that operated from 1848 to1850, produced a lithograph of the work. Color variation is to be noted in the tinsel paintings in which stencils were probably used.
Lee Kogan, "Vase of Fruit," exhibition label for FOILED: Tinsel Painting in America. Lee Kogan, curator. New York: American Folk Art Museum, 2012-2013.