Tag Archives: Portraits

Photographing Our Painting Collection

Here in the Museum of the City of New York’s Collections Department we have embarked on an exciting new project to digitize selected objects from our paintings holdings. This is the first time we have shot paintings and, while every object in our collection requires special attention while being photographed, when we start a new medium there are always new things to consider. In this case we had to think about how to deal with shiny surfaces that reflect light and create highlights that are hard to remove by merely adjusting the angle of our lights. We purchased custom filters for our Broncolor Lightbars fit with a polarized film and then attached a polarizing filter to the lens of our Hasselblad H4D. If you have ever worn polarized sunglasses then you know that looking through a polarizing filter greatly reduces glare and reflections from shiny surfaces. With the added polarizing film on our lights and the polarizing filter on our camera lens we are able to completely zero out all reflections coming off the painting and spilling into our camera. If you would like a complete breakdown of how polarization works read this.

Here is an example of New York politician and judge Gabriel George Ludlow, shot with and without the polarizing filter so you can see how really effective this method is. The artist of this beautiful portrait, John Singleton Copley (1738-1815), was an influential painter in colonial America and is well-known for his portraits of prominent figures.

John Singleton Copley (1738-1815). Gabriel George Ludlow. ca. 1770. Museum of the City of New York. 72.31.

John Singleton Copley (1738-1815). Gabriel George Ludlow. ca. 1770. Museum of the City of New York. 72.31.

We are very excited to make these paintings accessible to researchers and curators to view and study without having to make a trip to our storage facility. The portrait collection consists of prominent New Yorkers by many well-known artists from the early 1700′s through the 1980′s. Some of the real gems of our collection include portraits of DeLancey Iselin Kane and Eleanora Iselin Kane by the artist Thomas Wilmer Dewing (1851-1938). The portrait of DeLancey Iselin Kane is considered his most famous portrait and has been published extensively. The painting is in its original frame, designed specifically for the portrait by Stanford White.

Thomas Wilmer Dewing (1851-1938). DeLancey Iselin Kane. 1887. Museum of the City of New York. 40.417

Other paintings of note are the James Abercrombie Burden Family by Eastman Johnson; Cornelius and Sarah Bogart Ray by John Wollaston; and A Spanish Boy by Alice Neel.  Many of these paintings underwent restoration and cleaning prior to their digitization. Our painting collection ranges from the typical turn-of-the-century portraits as seen above to this dark and moody portrait of John Barrymore in the character of Hamlet painted by James Montgomery Flagg (1877-1960) ca. 1923.

James Montgomery Flagg (1877-1960). John Barrymore as Hamlet. ca. 1923. Museum of the City of New York. 46.414.1.

We set up a temporary studio for three days in a temporarily empty gallery on our newly renovated third floor.  Here is a shot of our setup in action. Please check in with our collections portal in the near future to view this amazing collection in your own home.

Treasures and “Shandas” from the Collection on Yiddish theater

In the early decades of the twentieth century, the streets of the Lower East Side were plastered with theatrical advertisements for Der yidisher kenig lir and Mentsh un Tayvl.  Second Avenue was the Broadway of the Yiddish stage and two of its brightest dramatic lights were Jacob P. Adler and David Kessler.

White Studios. David Kessler, ca. 1905. Museum of the City of New York. X2012.7.2.

A prominent actor and manager, Kessler operated several theatres.  His Second Avenue Theatre is often credited with the establishment of the Yiddish theater district on Second Avenue.

Morris Bellin Studio. Jacob P. Adler. Museum of the City of New York. X2012.7.1.

Adler, known as “The Great Eagle” for his commanding gaze and presence, was not only a major star but also fathered an acting dynasty consisting of his children Celia, Luther, and Stella Adler.  Though Adler and Kessler worked together in their early careers, these two titans competed for audiences, doubtless putting a strain on their friendship.

Thanks to generous funding from the David Berg Foundation and the Lemberg Foundation, the Museum has begun processing its Collection on Yiddish theater. While there is still a lot to discover, this letter from Jacob P. Adler to David Kessler provides a peek into their friendship and their rivalry.

Jacob P. Adler letter to David Kessler, undated. Museum of the City of New York, Collection on Yiddish theater.

The translated letter reads as follows:

Friend Kessler!
I wonder very much that with my good performance and friendly relationship with you that you should believe  I badmouthed you or spread slander, and that I spoke badly when I was not spellbound by the masterpiece.   Of course, I understand that you, with your own opinion that differs from mine entirely, would also stage it in order to bring in cash.  But who knows?  [Upon reflection, I] may turn out to be satisfied and not protest that my daughter is acting in it.
I know that you probably half believed.  Now you know positively that the gossip monger is a dirty, contemptible creature.  I beseech you to spit in his face, and tell him he should write in his own name.
With caution and friendship,
Yours truly, Jacob P. Adler.

The daughter Adler refers to is likely the talented Celia, the eldest in his acting brood. Though she spent time performing in Philadelphia, Ms. Adler came to New York at David Kessler’s invitation, and performed in several productions with him. I looked into several different sources, but was unable to determine which production caused the “shanda” (Yiddish for  scandal) mentioned in the letter.  What was said, who said it, and about which production is unknown.  What is clear is the intensity of feeling from Adler, that same intensity he devoted to moving audiences.  It gives us a the tiniest glimpse of what it must have been like to see the passion of “The Great Eagle” on stage.

Check back for more peeks into the troves of the Museum’s Theater Collection.

Many thanks to Alyssa Masor for her guidance in Yiddishisms.

Gender Bending in 19th Century New York

In the summer of 1836 in New York City, a white man named Robert Haslem met a black woman named Mary Jones on Bleecker Street. The two proceeded down Greene Street (now approximately Minetta Street), where they became intimate. On his way home, Haslem noticed that his wallet was missing; in its place was another man’s wallet. Haslem tracked down the man, who admitted to also having relations with Mary Jones, but was unwilling to report the theft of his wallet to the police. Haslem disclosed his story to the police and an officer went in search of Mary Jones. The officer found her and feigned interest. When she led him down Greene Street and initiated contact, he arrested her. He continued his investigation by searching her and discovered, to his shock, that Mary Jones was actually a man.

Lithograph issued by Henry R. Robinson. The Man - Monster. Artist unknown. Museum of the City of New York. 95.54.11.

Peter Sewally, alias Mary Jones, lived and worked at a Greene Street brothel as a domestic worker. He donned female attire while at the brothel, claiming that the customers enjoyed his feminine appearance. The police officer searched Jones’s room and found more men’s wallets. Sewally had been supplementing his income by dressing as Mary Jones and pickpocketing the men with whom he had encounters.

Sewally was charged with grand larceny and forced to appear in court as Mary Jones. This caused quite a stir among the media and the general public. Indeed, media accounts of Sewally’s trial focused more on his manner of dress than the crime he was charged with. The jury convicted Sewally and sentenced him to five years imprisonment at Sing Sing. Soon afterward, the lithograph above was published in New York City. Its sensational title, “The Man-Monster,” clashes with the graceful portrayal of Sewally clothed in a pretty dress.

For more information about Peter Sewally, please visit these websites:

Peter Sewally – Mary Jones, June 11, 1836

City of Eros: New York City, Prostitution, and the Commercialization of Sex, 1790-1920