{"object":[{"sourceId":{"label":"Source ID","value":"4660"},"copyright":{"label":"Copyright","value":"The American Folk Art Museum believes this work to be in the public domain."},"thesconceptsTechnique":{"label":"Technique","value":["http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster26674","http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster12336","http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster13041"]},"creditline":{"label":"Credit Line","value":"Eva and Morris Feld Folk Art Acquisition Fund"},"endDate":{"label":"End Date","value":"1845"},"sortNumber":{"label":"Sort Number","value":"2014     6    1"},"invno":{"label":"Accession number","value":"2014.6.1"},"medium":{"label":"Medium","value":"Oil on canvas laid to board"},"geographyPlaceregion":{"label":"Place/Region","value":"Springfield"},"media":{"label":"Media","value":{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/6119/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"6119"}},"title":{"label":"Title","value":"Portrait of Mary Wilcox"},"geographyCity":{"value":"Springfield"},"textEntriesWebsitedisplaytext":{"value":["Doyle catalogue note: This exceptional pair of portraits of Mary and Francis Wilcox, along with the porcelain and fabric doll and Staffordshire bank depicted in them, have been extensively documented through the years. Painted by Joseph Whiting Stock between February and April 1845, the posthumous likenesses were commissioned by Philo Franklin Wilcox, a prosperous businessman and banker in Springfield, Massachusetts. His children had died the previous December when Francis and Mary were two years, four months and four years, two months of age, respectively. Concurrently with these two half-length works, Stock painted a larger, full-length portrait of the two children, wearing the identical costumes seen here and also including the doll and bank. This work, now included in the collection of the National Gallery of Art, Washington, DC, and the two individual portraits, were passed down through the Wilcox family until they were discovered in 1949 by Josephine P. Clapp in the attic of the home of her late aunt, Therese Wilcox Powers, the granddaughter of Philo Franklin Wilcox. In a letter by Mrs. Clapp, written on July 3, 1974 to William P. Campbell, then Curator of American Painting at the National Gallery of Art, she writes \"When we inherited her home in Springfield, Mass. in 1949, our two portraits [the present works] as well as the one you have [the double portrait] were in the attic.... As the large portrait, yours, was too large to hang, we sold it. rather than have our four children use it as a target for their darts.\" [Courtesy of the Department of Curatorial Records, National Gallery of Art]The three paintings were documented in the meticulously maintained record book of Joseph Whiting Stock, who noted in his coded entries that the full-length portrait of both children cost $25, while the individual portraits, the present works, cost $5 apiece. Several years earlier, in 1838, Stock had painted other members of the Wilcox family, including Philo F. Wilcox himself and his wife, Orpha (described in the journal only as \"Mrs. Wilcox\", their children George and Ellen, as well as an earlier Francis Wilcox (who sadly, was also painted posthumously). The locations of these earlier paintings of the Wilcox family are unknown.Deborah Chotner's comments about the National Gallery's painting are equally germane to the individual portraits: \"Dating from his mature period, this portrait is an excellent example of Stock's special abilities to depict children: The felicitous choice of colors (which are particularly bold in this work - Mary wears bright blue, Francis apple green), the use of interesting accoutrements, and most important, a talent for capturing some of the spirit of his young subjects.\" [Deborah Chotner, American Naive Paintings: The Collections of the National Gallery of Art Systematic Catalogue, 1992, p. 379]In the present works, as distinguished from the double portrait, Mary and Francis hold their favorite toys, Mary her doll, and Francis his bank. A second Staffordshire house appears in Mary's portrait. Not included in the National Gallery's painting, this item does not appear to have passed down through the generations. In 1995 Jennifer A. Yungiger discussed the importance of the toys in the exhibition catalogue, Is She or Isn't He? Identifying Gender in Folk Portraits of Children. [Sandwich, MA: Heritage Plantation of Sandwich, 1995, pp. 71-3]: \"A circumstance which makes these portraits remarkable is the survival of the toys with which Mary and Francis are pictured.... The survival of the actual items that appear in portraits of children is a special and rare occurrence. It speaks to the larger issue of ownership of items that appear in folk portraits. Some have suggested that children did not actually own the items they were pictured with or the clothes they were pictured wearing....The doll and bank belonging to Mary and Francis Wilcox provide an example of what was probably the case most of the time, that the items with which children were pictured and the clothing they were wearing did actually belong to them.\"During the nineteenth century posthumous portraits were typically created as remembrances of beloved departed children. In these delightful, poignant portraits by Joseph Whiting Stock, the vivacious Mary Wilcox and her sweet brother Francis live on, commemorating their brief lives and their happy moments at play.We extend our sincere gratitude to Anne Halpern, in the Department of Curatorial Records, National Gallery of art, for her great generosity in searching their archives and sharing critical information pertaining to the history of these works.","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"]},"collections":{"label":"Collections","value":"Paintings"},"geography":{"label":"Geography","value":"Springfield"},"id":{"label":"Id","value":"155209"},"geographyState":{"value":"Massachusetts"},"thesconceptsMaterials":{"label":"Materials","value":["http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster26674","http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster12336","http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster13041"]},"geographyCountry":{"value":"United States"},"onview":{"label":"On View","value":"0"},"people":{"label":"Artist / Maker","value":{"displayOrder":"1","personRole":"Artist","personID":"643","content":"Joseph Whiting Stock"}},"classifications":{"label":"Classification(s)","value":"Paintings"},"textEntries":{"label":"Text Entries","value":["Doyle catalogue note: This exceptional pair of portraits of Mary and Francis Wilcox, along with the porcelain and fabric doll and Staffordshire bank depicted in them, have been extensively documented through the years. Painted by Joseph Whiting Stock between February and April 1845, the posthumous likenesses were commissioned by Philo Franklin Wilcox, a prosperous businessman and banker in Springfield, Massachusetts. His children had died the previous December when Francis and Mary were two years, four months and four years, two months of age, respectively. Concurrently with these two half-length works, Stock painted a larger, full-length portrait of the two children, wearing the identical costumes seen here and also including the doll and bank. This work, now included in the collection of the National Gallery of Art, Washington, DC, and the two individual portraits, were passed down through the Wilcox family until they were discovered in 1949 by Josephine P. Clapp in the attic of the home of her late aunt, Therese Wilcox Powers, the granddaughter of Philo Franklin Wilcox. In a letter by Mrs. Clapp, written on July 3, 1974 to William P. Campbell, then Curator of American Painting at the National Gallery of Art, she writes \"When we inherited her home in Springfield, Mass. in 1949, our two portraits [the present works] as well as the one you have [the double portrait] were in the attic.... As the large portrait, yours, was too large to hang, we sold it. rather than have our four children use it as a target for their darts.\" [Courtesy of the Department of Curatorial Records, National Gallery of Art]The three paintings were documented in the meticulously maintained record book of Joseph Whiting Stock, who noted in his coded entries that the full-length portrait of both children cost $25, while the individual portraits, the present works, cost $5 apiece. Several years earlier, in 1838, Stock had painted other members of the Wilcox family, including Philo F. Wilcox himself and his wife, Orpha (described in the journal only as \"Mrs. Wilcox\", their children George and Ellen, as well as an earlier Francis Wilcox (who sadly, was also painted posthumously). The locations of these earlier paintings of the Wilcox family are unknown.Deborah Chotner's comments about the National Gallery's painting are equally germane to the individual portraits: \"Dating from his mature period, this portrait is an excellent example of Stock's special abilities to depict children: The felicitous choice of colors (which are particularly bold in this work - Mary wears bright blue, Francis apple green), the use of interesting accoutrements, and most important, a talent for capturing some of the spirit of his young subjects.\" [Deborah Chotner, American Naive Paintings: The Collections of the National Gallery of Art Systematic Catalogue, 1992, p. 379]In the present works, as distinguished from the double portrait, Mary and Francis hold their favorite toys, Mary her doll, and Francis his bank. A second Staffordshire house appears in Mary's portrait. Not included in the National Gallery's painting, this item does not appear to have passed down through the generations. In 1995 Jennifer A. Yungiger discussed the importance of the toys in the exhibition catalogue, Is She or Isn't He? Identifying Gender in Folk Portraits of Children. [Sandwich, MA: Heritage Plantation of Sandwich, 1995, pp. 71-3]: \"A circumstance which makes these portraits remarkable is the survival of the toys with which Mary and Francis are pictured.... The survival of the actual items that appear in portraits of children is a special and rare occurrence. It speaks to the larger issue of ownership of items that appear in folk portraits. Some have suggested that children did not actually own the items they were pictured with or the clothes they were pictured wearing....The doll and bank belonging to Mary and Francis Wilcox provide an example of what was probably the case most of the time, that the items with which children were pictured and the clothing they were wearing did actually belong to them.\"During the nineteenth century posthumous portraits were typically created as remembrances of beloved departed children. In these delightful, poignant portraits by Joseph Whiting Stock, the vivacious Mary Wilcox and her sweet brother Francis live on, commemorating their brief lives and their happy moments at play.We extend our sincere gratitude to Anne Halpern, in the Department of Curatorial Records, National Gallery of art, for her great generosity in searching their archives and sharing critical information pertaining to the history of these works.","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"]},"beginDate":{"label":"Begin Date","value":"1845"},"thesconcepts":{"label":"Terms","value":["http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster26674","http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster12336","http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster13041"]},"displayDate":{"label":"Date","value":"1845"},"exhibitions":{"label":"Exhibitions","value":{"exhibitionDisplayDate":"Thursday, October 6, 2016 - Sunday, February 26, 2017","exhibitionEndISODate":"2017-02-26","exhibitionID":"163","exhibitionISOBeginDate":"2016-10-06","exhibitionBeginDate":"2016","exhibitionTitle":"Securing the Shadow","exhibitionEndDate":"2017"}},"thesconceptsObjecttype":{"label":"Object Type","value":["http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster26674","http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster12336","http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster13041"]},"dimensions":{"label":"Dimensions","value":"24 1/2 x 19 5/8 \" (62.2 x 49.8 cm)Frame: 29 1/4 x 24 3/8 x 2 1/4 \" (74.3 x 61.9 x 5.7 cm)"},"exhHistory":{"label":"Exhibition History","value":"Sandwich, MA, Heritage Plantation of Sandwich. Is She or Isn't He? Identifying Gender in Folk Portraits of Children, May 14-Oct. 29, 1995"}}]}