The Breakfast Tray

c. 1910

Elizabeth Okie Paxton

Artist, American, 1878 - 1972

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On View

West Building Main Floor, Gallery 70


Artwork overview

More About this Artwork

Article:  The Quiet Revolutions of Boston's Women Artists

The women who fought to become artists in the 19th century, only to have their contributions forgotten for nearly a century.


Artwork history & notes

Provenance

The artist; acquired 1925 by Misses Norton, Louisville, Kentucky; private collection, New York; (Vose Galleries, Boston); acquired September 1986 by private collection, Denver, Colorado; purchased 2023 by NGA.

Associated Names

Exhibition History

1911

  • The Exhibition of Boston Artists, Museum of Fine Arts, Boston, 1911, no. 40

1913

  • Eighty-Eight Annual Exhibition, National Academy of Design, New York, 1913, no. 244.

1914

  • Paintings by a Group of Boston Women, Drawings of Game Birds by Frank W. Benson, Monoprints by H. W. Rubins, Detroit Museum of Art, April, 1914, n. 8.

1924

  • Eighteenth Annual Exhibition of Selected Paintings and Small Bronzes by American Artists, The Buffalo Fine Arts Academy Albright Art Gallery, 1924, no. 160, repro. 104.

1958

  • Elizabeth Paxton. Recent and Earlier Paintings. Still Life and Landscape, The Guild of Boston Artists, Boston, 1958, no.9.

2001

  • A Studio of Her Own: Women Artists in Boston, 1870-1940, Museum of Fine Arts, Boston, 2001, unumbered catalogue, pl.56.

2013

  • Art and Appetite. American Painting, Culture and Cuisine, The Art Institue of Chicago; Amon Carter Museum, Fort Worth, 2013-2014, no. 46, repro. fig. 5.

Bibliography

2014

  • Tobey, Rena. "Elizabeth Okie Paxton and the Breakfast Tray. The Modernity of a New Woman Artist." Art Times 31, no. 1 (Summer 2014): 1, 15, repro. 15.

2019

  • Ward Faquin, Jane. "William McGregor Paxton and Elizabeth Okie Paxton." The American Art Review 31, no. 3 (May-June 2019): 60-67.

  • Ward Faquin, Jane. William McGregor Paxton and Elizabteh Okie Paxton. An Artistic Partnership. Exh. cat. Dixon Galleries and Gardens; The Butler Institute for American Art. Memphis and Youngstown, 2019: 40, fig. 2.5.


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