{"object":[{"sourceId":{"label":"Source ID","value":"31"},"copyright":{"label":"Copyright","value":"The American Folk Art Museum believes this work to be in the public domain."},"creditline":{"label":"Credit Line","value":"Anonymous gift and gift of the Richard Coyle Lilly Foundation"},"endDate":{"label":"End Date","value":"1830"},"sortNumber":{"label":"Sort Number","value":"1980    28    1A    K"},"invno":{"label":"Accession number","value":"1980.28.1A-K"},"medium":{"label":"Medium","value":"Paint on pine, with brass handle"},"geographyPlaceregion":{"label":"Place/Region","value":"Dublin"},"media":{"label":"Media","value":[{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/978/full","mediaDepartment":"Object Photographs - multiple objects","mediaType":"Image","mediaId":"978"},{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/2780/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"2780"},{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/2779/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"2779"},{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/2778/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"2778"},{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/2777/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"2777"},{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/2776/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"2776"},{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/2775/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"2775"}]},"title":{"label":"Title","value":"Sample Box and Ten Panels"},"geographyCity":{"value":"Dublin"},"textEntriesWebsitedisplaytext":{"value":["Nineteenth-century decorative painters learned their skills in a variety of ways, from serving apprenticeships to reading instruction manuals. In 1812 Hezekiah Reynolds printed a pamphlet of paint recipes and techniques intended \u201cfor the use of those who have not been regularly instructed in the Art of Painting.\u201d In 1827 English author Nathaniel Whittock directed his book to \u201cthe house painter who intends becoming an imitator of fancy woods.\u201dThis sample box was discovered in the New Hampshire home of the decorative painter Moses Eaton. It includes ten narrow panels with exuberantly painted patterns produced in a variety of techniques such as vinegar painting, shelling, seaweed painting, stamping, and mottling. One panel is painted a solid yellow ocher. This would provide the base for vigorous patterning overlaid with a darker glaze or paint and manipulated using putty, leather, sponges, feathers, or the artist\u2019s own fingers to work the paint and create some of the textures displayed on these panels. Once the entire surface was dry, it received coats of varnish that protected the surface and added depth and luster.Stacy C. Hollander, \u201cSample Box and Ten Panels,\u201d exhibition label for Self-Taught Genius: Treasures from the American Folk Art Museum. Stacy C. Hollander and Valérie Rousseau, curators. New York: American Folk Art Museum, 2014.","This sample box was discovered by a descendent in the New Hampshire home of Moses Eaton. It probably was made and used by Moses Eaton Jr. rather than his father, though both men were decorative painters, known for stenciled painting on walls. The sample box includes ten narrow panels, nine of which display imaginative graining in a variety of patterns and colors. The tenth panel is coated with the ground color used in the other nine. The panels are contained in a small wooden box with brass handle that is itself covered with decorative grain painting. The painting displayed on these samples is most typically associated with painted decoration on case furniture and boxes rather than interior wall murals for which Eaton is recognized today. A tradition of imaginative and imitative graining on interior woodwork in homes, however, was established after the second quarter of the eighteenth century.The exuberantly textured surfaces offered in these sample panels came into widespread favor by the first quarter of the nineteenth century. The effects were produced by a variety of techniques that involved manipulating the paint while it was still wet. The ground was usually a light shade, with darker or contrasting colors applied over the base coat. The painter might employ aids such as putty, leather, sponges, feathers, or his own fingers to work the paint and create some of the textures displayed on these panels. Other effects were achieved through the use of vinegar or another liquid that reacted with the paint to produce unusual patterns.","Nineteenth-century decorative painters learned their skills in a variety of ways, from serving apprenticeships to reading instruction manuals. In 1812 Hezekiah Reynolds printed a pamphlet of paint recipes and techniques intended \u201cfor the use of those who have not been regularly instructed in the Art of Painting.\u201d In 1827 English author Nathaniel Whittock directed his book to \u201cthe house painter who intends becoming an imitator of fancy woods.\u201dThis sample box was discovered in the New Hampshire home of the decorative painter Moses Eaton. It includes ten narrow panels with exuberantly painted patterns produced in a variety of techniques such as vinegar painting, shelling, seaweed painting, stamping, and mottling. One panel is painted a solid yellow ocher. This would provide the base for vigorous patterning overlaid with a darker glaze or paint and manipulated using putty, leather, sponges, feathers, or the artist\u2019s own fingers to work the paint and create some of the textures displayed on these panels. Once the entire surface was dry, it received coats of varnish that protected the surface and added depth and luster.Stacy C. Hollander, \u201cSample Box and Ten Panels,\u201d exhibition label for Self-Taught Genius: Treasures from the American Folk Art Museum. Stacy C. Hollander and Valérie Rousseau, curators. New York: American Folk Art Museum, 2014.","Painted Furniture"]},"collections":{"label":"Collections","value":"Three Dimensional Works"},"geography":{"label":"Geography","value":"Dublin"},"id":{"label":"Id","value":"152215"},"geographyState":{"value":"New Hampshire"},"geographyCountry":{"value":"United States"},"onview":{"label":"On View","value":"0"},"people":{"label":"Artist / Maker","value":{"displayOrder":"1","personRole":"Artist","personID":"849","content":"Moses Eaton Jr."}},"classifications":{"label":"Classification(s)","value":"Tools and Equipment"},"textEntries":{"label":"Text Entries","value":["Nineteenth-century decorative painters learned their skills in a variety of ways, from serving apprenticeships to reading instruction manuals. In 1812 Hezekiah Reynolds printed a pamphlet of paint recipes and techniques intended \u201cfor the use of those who have not been regularly instructed in the Art of Painting.\u201d In 1827 English author Nathaniel Whittock directed his book to \u201cthe house painter who intends becoming an imitator of fancy woods.\u201dThis sample box was discovered in the New Hampshire home of the decorative painter Moses Eaton. It includes ten narrow panels with exuberantly painted patterns produced in a variety of techniques such as vinegar painting, shelling, seaweed painting, stamping, and mottling. One panel is painted a solid yellow ocher. This would provide the base for vigorous patterning overlaid with a darker glaze or paint and manipulated using putty, leather, sponges, feathers, or the artist\u2019s own fingers to work the paint and create some of the textures displayed on these panels. Once the entire surface was dry, it received coats of varnish that protected the surface and added depth and luster.Stacy C. Hollander, \u201cSample Box and Ten Panels,\u201d exhibition label for Self-Taught Genius: Treasures from the American Folk Art Museum. Stacy C. Hollander and Valérie Rousseau, curators. New York: American Folk Art Museum, 2014.","This sample box was discovered by a descendent in the New Hampshire home of Moses Eaton. It probably was made and used by Moses Eaton Jr. rather than his father, though both men were decorative painters, known for stenciled painting on walls. The sample box includes ten narrow panels, nine of which display imaginative graining in a variety of patterns and colors. The tenth panel is coated with the ground color used in the other nine. The panels are contained in a small wooden box with brass handle that is itself covered with decorative grain painting. The painting displayed on these samples is most typically associated with painted decoration on case furniture and boxes rather than interior wall murals for which Eaton is recognized today. A tradition of imaginative and imitative graining on interior woodwork in homes, however, was established after the second quarter of the eighteenth century.The exuberantly textured surfaces offered in these sample panels came into widespread favor by the first quarter of the nineteenth century. The effects were produced by a variety of techniques that involved manipulating the paint while it was still wet. The ground was usually a light shade, with darker or contrasting colors applied over the base coat. The painter might employ aids such as putty, leather, sponges, feathers, or his own fingers to work the paint and create some of the textures displayed on these panels. Other effects were achieved through the use of vinegar or another liquid that reacted with the paint to produce unusual patterns.","Nineteenth-century decorative painters learned their skills in a variety of ways, from serving apprenticeships to reading instruction manuals. In 1812 Hezekiah Reynolds printed a pamphlet of paint recipes and techniques intended \u201cfor the use of those who have not been regularly instructed in the Art of Painting.\u201d In 1827 English author Nathaniel Whittock directed his book to \u201cthe house painter who intends becoming an imitator of fancy woods.\u201dThis sample box was discovered in the New Hampshire home of the decorative painter Moses Eaton. It includes ten narrow panels with exuberantly painted patterns produced in a variety of techniques such as vinegar painting, shelling, seaweed painting, stamping, and mottling. One panel is painted a solid yellow ocher. This would provide the base for vigorous patterning overlaid with a darker glaze or paint and manipulated using putty, leather, sponges, feathers, or the artist\u2019s own fingers to work the paint and create some of the textures displayed on these panels. Once the entire surface was dry, it received coats of varnish that protected the surface and added depth and luster.Stacy C. Hollander, \u201cSample Box and Ten Panels,\u201d exhibition label for Self-Taught Genius: Treasures from the American Folk Art Museum. Stacy C. Hollander and Valérie Rousseau, curators. New York: American Folk Art Museum, 2014.","Painted Furniture"]},"beginDate":{"label":"Begin Date","value":"1820"},"displayDate":{"label":"Date","value":"1820\u20131830"},"exhibitions":{"label":"Exhibitions","value":[{"exhibitionDisplayDate":"Tuesday, May 13, 2014 - Sunday, August 17, 2014","exhibitionEndISODate":"2014-08-17","exhibitionID":"171","exhibitionISOBeginDate":"2014-05-13","exhibitionBeginDate":"2014","exhibitionTitle":"Self-Taught Genius","exhibitionEndDate":"2014"},{"exhibitionDisplayDate":"Thursday, July 11, 2002 - Sunday, January 5, 2003","exhibitionEndISODate":"2003-01-26","exhibitionID":"73","exhibitionISOBeginDate":"2002-07-11","exhibitionBeginDate":"2002","exhibitionTitle":"American Anthem","exhibitionEndDate":"2003"},{"exhibitionDisplayDate":"Saturday, April 4, 1992 - Sunday, September 6, 1992","exhibitionEndISODate":"1992-09-06","exhibitionID":"406","exhibitionISOBeginDate":"1992-04-04","exhibitionBeginDate":"1992","exhibitionTitle":"The Art of Embellishment","exhibitionEndDate":"1992"},{"exhibitionDisplayDate":"Thursday, April 13, 1989 - Sunday, July 16, 1989","exhibitionEndISODate":"1989-07-16","exhibitionID":"7","exhibitionISOBeginDate":"1989-04-13","exhibitionBeginDate":"1989","exhibitionTitle":"Expressions of A New Spirit","exhibitionEndDate":"1989"},{"exhibitionDisplayDate":"Wednesday, November 25, 1981 - Sunday, September 19, 1982","exhibitionEndISODate":"1982-09-19","exhibitionID":"272","exhibitionISOBeginDate":"1981-11-25","exhibitionBeginDate":"1981","exhibitionTitle":"A Selection from the Permanent Collection","exhibitionEndDate":"1982"},{"exhibitionDisplayDate":"Monday, August 26, 2019 - Sunday, January 3, 2021","exhibitionEndISODate":"2021-01-03","exhibitionID":"241","exhibitionISOBeginDate":"2019-08-26","exhibitionBeginDate":"2019","exhibitionTitle":"Six Decades Collecting Self-Taught Art","exhibitionEndDate":"2021"},{"exhibitionDisplayDate":"Wednesday, June 20, 2012 - Sunday, October 7, 2012","exhibitionEndISODate":"2012-10-07","exhibitionID":"151","exhibitionISOBeginDate":"2012-06-20","exhibitionBeginDate":"2012","exhibitionTitle":"COMPASS: Folk Art in Four Directions","exhibitionEndDate":"2012"},{"exhibitionDisplayDate":"1993\u20132001","exhibitionEndISODate":"2001-10","exhibitionID":"64","exhibitionISOBeginDate":"1993-10-05","exhibitionBeginDate":"1993","exhibitionTitle":"America's Heritage","exhibitionEndDate":"2001"}]},"dimensions":{"label":"Dimensions","value":"Box: 8 3/4 × 15 1/16 × 2 5/8\"Panels: 6 7/8 × 14 × 1/8\" each"}}]}