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Joseph Whiting Stock

Mary and Francis Wilcox, 1845

Not on View

Medium

oil on canvas

Dimensions

overall: 122 x 101.6 cm (48 1/16 x 40 in.)

Credit Line

Gift of Edgar William and Bernice Chrysler Garbisch

Accession Number

1959.11.2

Artists / Makers

Joseph Whiting Stock (artist) American, 1815 - 1855

Image Use

This image is in the public domain.
Read our full Open Access policy for images .

Inscription

on book: REMEMBER / ME

Provenance

Mr. and Mrs. Philo Franklin Wilcox, Springfield, Massachusetts, by 1845; by inheritance to their son, Frank P. Wilcox; his daughter, Theresa Wilcox Powers, by 1949; her niece, Josephine Powers Clapp [Mrs. R. Duncan Clapp], Sarasota, Florida, 1949-1953;[1] sold to (Peter Kostoff, Springfield, Massachusetts); sold 1953 to Edgar and Bernice Chrysler Garbisch; gift 1959 to NGA.

[1] Josephine Clapp, in a letter of 3 July 1974 to William Campbell (in NGA curatorial files), states that when she and Mr. Clapp inherited her aunt's house in Springfield, Mass., in 1949, they found this (and two other individual Stock portraits of the same children) in the attic. She sold the double portrait, as it was too large to hang in her home, but kept the other two until 1974.

Associated Names

Clapp, Josephine Powers
Garbisch, Edgar William, Mr. and Mrs.
Kostoff, Peter
Powers, Theresa Wilcox
Wilcox, Frank P.
Wilcox, Philo Franklin, Mr. and Mrs.

Exhibition History

1971: Twenty-five Folk Artists: Their Lives and Work, Abby Aldrich Rockefeller Folk Art Center, Williamsburg, Virginia, 1971, no cat.

1976: Extended loan for use by Secretary William T. Coleman, Jr., U.S. Department of Transportation, Washington, D.C., 1976-1977.

1977: Joseph Whiting Stock, Smith College Museum of Art, Northampton, Massachusetts, 1977, 2, 7, 55-56, no. 29, color repro. on cover.

1981: American Naive Paintings from the National Gallery of Art, Terra Museum of American Art, Evanston, Illinois, 1981-1982, no. 14, color repro. (cat. by Ronald McKnight Melvin).

1985: American Naive Paintings from the National Gallery of Art, Exh. cat. Traveling exh. by the International Exhibitions Foundation, Washington, 1985-1987, no. 58, color repro. First venue: Museum of American Folk Art, New York.

1988: La Nascita di Una Nazione: Pittori americani dalla National Gallery of Art di Washington 1730-1880, Palazzo Pepoli Campogrande, Bologna; Galleria Internazionale d'Arte Moderna di Ca'Pesaro, Venice, 1988-1989, no. 58, repro.

1992: Meet Your Neighbors: New England Portraits, Painters, & Society, 1790-1850, Old Sturbridge Village, Massachusetts, 1992, 32, fig. 11. (cat. by Jessica F. Nicoll).

1995: Is She or Isn't He? Identifying Gender in Folk Portraits of Children. Heritage Plantation of Sandwich, Massachusetts, 1995, no. 36, repro.

2010: American Naive Paintings from the Garbisch Collection at the National Gallery of Art, Taubman Museum of Art, Roanoke, Virginia, 2010, no cat.

2016: Securing the Shadow: Posthumous Portraiture in America, American Folk Art Museum, New York, 2016-2017, unnumbered catalogue, repro.

Bibliography

1970: American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 100, repro.

1976: Tomlinson, Juliette, ed. The Paintings and the Journal of Joseph Whiting Stock. Middletown, Connecticut, 1976: 44, 66-67, fig. 1 :30.

1980: American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 225, repro.

1984: Black, Mary. "Phrenological Association, Footnotes to the Biographies of Two Folk Artists." The Clarion (Fall 1984): 44-52, fig. 1.

1992: American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 344, repro.

1992: Chotner, Deborah, with contributions by Julie Aronson, Sarah D. Cash, and Laurie Weitzenkorn. American Naive Paintings. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 377-379, color repro. 378.

1992: Meet Your Neighbors: New England Portraits, Painters, & Society, 1790-1850. Exh. cat. Old Sturbridge Village, Massachusetts, 1992: 32, fig. 11 (cat. by Jessica F. Nicoll).