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Description:
This is a wonderful dynamic duo of an early 19th century memorial needlework by Alida Dunbar and an oil on canvas portrait of Alida Dunbar by Ezra Ames. Alida Graverat Dunbar (1773-1840) married Robert Dunbar of Albany NY March, 24, 1796. This memorial was done by Alida for her father and mother Henry and Mary Graverat. Her portrait was painted by renowned artist Ezra Ames (1768 – 1836) of Albany NY in 1808. Robert Dunbar commissioned two portraits to be painted by Ezra Ames in 1808. Ezra Ames was born in Framingham, Massachusetts, in 1768, and grew up in what is now Wayland, Massachusetts. However, he ultimately became closely associated with the city of Albany, New York, where he dominated portrait painting during the early decades of the nineteenth century. In 1793 Ames left Worcester for Albany. He found that there was little artistic competition in the growing town (which became the state capital in 1796). An active freemason, Ames later served as the highly visible Grand High Priest of the Grand Chapter of New York State masons. He also profited from producing a steady flow of Masonic regalia and medals. As a painter Ames was not a consistent stylist, but his work generally owes the most to the example of Gilbert Stuart, whose portraits he occasionally copied and acquired. Several compositions, such as his early group portrait, The Fondey Family (1803, Albany Institute of History & Art), stand out in his career as ambitious showpieces, but undoubtedly his greatest bid for national recognition was his portrait (no longer extant) of Vice President, and former New York State Governor, George Clinton. Shortly after Clinton's death in 1812, Ames sent the portrait to the second exhibition of the Society of Artists of the United States in Philadelphia, where it surprised critics and received unusual acclaim. It was honored by becoming the first work ever purchased by the Pennsylvania Academy of the Fine Arts. Ames subsequently painted other versions of Clinton's portrait, notably the full-length likeness (1813) in the New York State Capitol. He is also known to have executed a few landscape paintings at this time. For the most part, though, the artist's activities were restricted to servicing the portrait needs of the upper Hudson River Valley, particularly the state legislature and the still-powerful descendants of the original Dutch patrons. While he made occasional trips to New York City and was elected an Honorary Member of that city's American Academy of Fine Arts in 1825, his financial base remained in Albany. He took an active role in local affairs there, serving as the chairman of the Fine Arts Committee of the Society for the Promotion of Useful Arts when it was established in 1815, and as director and finally president of the Mechanics and Farmers' Bank of Albany. At his death in Albany in 1836, he left a considerable estate worth $66,000, including over 50 of his own works that were auctioned by his family in 1842.
First I will describe the memorial - this is, in my opinion, a very large sized memorial needlework measuring 26 ½” x 32 ½” overall and the sight size is 20” x 26”! The work is excellent! It is silk embroidery in almost a raised trapunto fashion on silk. The background is water colored with a blue sky and clouds. There is a central chapel or church raised above a tree top in the center. On the left of the chapel written in script on the silk surrounded by an embroidered wreath it reads “In Memory of Mary Graverat Died 6th February 1798 Aged 55 years and 6 months”. To the right of the chapel again written in script with a wreath surrounding it “In Memory of Henry Garverat Died 15th August 1802 Aged 64 years 7 months” (and so many days) it is hard to see right there because there is quite a tear or rotten spot. On each side of the monuments or tabernacles that the inscriptions are written on you can see a water colored painted figure mourning. The watercolor absolutely and definitely needs some restoration – it is deterioration at the right top in the water colored silk over the tree. In the center of the picture from top down to the bottom of the tabernacle there is a water stain. I have tried to take as many photographs as I possible can so you can see the condition - overall and for the age of this piece I say it is really not all that bad – all things considered. It defiantly can be restored I know there are several places here and in England that restore these kind of pieces. The memorial is housed in early simple lemon gold gilt wood frame. The glass on the front as you can see has a reversed painted border of black and gold. On the bottom in gold script is the name Alida Dunbar. This memorial is only enhanced by the oil painted portrait of Alida Dunbar who is the artist/maker of this memorial needlework. The oil on canvas portrait is spectacular. The work is very well done – giving a soft yet detailed representation of Mrs. Dunbar. It is housed in an elegant nicely contrasting gold gilt carved wood frame. It is also a grand size measuring 40 ½” x 34 ½” overall and the sight size is 30 ½” x 24 ½”. These two pieces will be sold together as they have been together all of these years and I do not wish to separate them. What an incredible collection of American history in these two pieces!
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| Status: Sold |
Reference#: an3088 |
| Condition:
very good |
Year:
early 1800's
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| Title:
Needlework Memorial & Portrait By Ezra Ames |
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