STERLING & FRANCINE CLARK ART INSTITUTE, WILLIAMSTOWN, MA
Gill & Lagodich donated nine custom-made replica frames for watercolors in the Clark’s stellar exhibit “Winslow Homer: Making Art, Making History” June 9 – September 8, 2013
Using period models from the G&L Collection, we replicated six c.1890s gilded wood replica frames and three c.1880s gilded oak and cast ornament frames. Here, paintings are shown chronologically.
ABOUT THE EXHIBITION “Robert Sterling Clark declared Winslow Homer (1836–1910) to be among the greatest artists of the nineteenth century. Acting on this belief, Clark bought more than two hundred of Homer’s works and eventually owned more works by Homer than by any other artist. The breadth and ambition of Clark’s collection, more important than the large number of works it contains, make it the finest gathering of Homer’s art assembled by any individual since the artist’s death. Homer began his career as an illustrator for the popular press, providing pictures of current events for newspapers in Boston and New York. Historians use these, as well as his paintings and watercolors, to illustrate mid-nineteenth-century political and economic developments. Art historians, too, use the works to explore not only Homer’s life and endeavors, but also to consider broader questions such as the rise of the critical press, the quest for a national style, and the ramifications of the expanding nineteenth-century art market. One work can tell a number of stories. Sterling Clark’s and the Sterling and Francine Clark Art Institute’s Homer collection has a multifaceted history, too. Sterling Clark acquired his first painting by Homer in 1915 and continued adding to the collection up until the Institute opened in 1955. In the years since then, Homer’s works have played a prominent role in the museum’s exhibitions, publications, and programs. The Clark extends its appreciation to Gill & Lagodich Fine Period Frames for their generous contribution towards the framing of our Winslow Homer watercolors.” —Clark exhibition text
WINSLOW HOMER (1836–1910)
Lemon, 1876, watercolor over graphite, with touches of gouache, on cream wove paper, 18-7/8 x 11-15/16 in. The Clark Art Institute, 1955.1494. Gill & Lagodich custom-made replica c 1880s American painting frame; gilded applied ornament on oak, molding width 4-3/8 in.
WINSLOW HOMER (1836–1910)
Feeding Time, 1878, watercolor, gouache, and graphite on cream wove paper, 8-3/4 x 11-3/16 in.. The Clark Art Institute, 1955.1493. Gill & Lagodich custom-made replica c. 1890s American gilded wood frame, molding width 4-1/2 in.
WINSLOW HOMER (1836–1910)
Shepherdess of Houghton Farm, 1878, Watercolor and graphite, with additions in ink and gouache, on cream wove paper, 11 x 19 in. The Clark Art Institute, 1955.1483. Gill & Lagodich custom-made replica c 1880s American painting frame; gilded applied ornament on oak, molding width 4-3/8 in.
WINSLOW HOMER (1836–1910)
Perils of the Sea, 1881, watercolor over graphite on cream wove paper, 14 5/8 x 20 15/16 in. The Clark Art Institute, 1955.774. Gill & Lagodich custom-made replica c 1880s American painting frame; gilded applied ornament on oak, molding width 4-3/8 in. “For most of 1881 and 1882, Homer lived in the English village of Cullercoats, near Tynemouth, on the North Sea. There, he concentrated on watercolors, depicting the working lives of the people in the fishing community. The painting Perils of the Sea portrays a group gathered at the Volunteer Life Brigade’s Watch House. Seven years after completing the watercolor, Homer made an etching after it, altering some of the details and retaining the natural reversal of a composition that takes place in the printing process. He included two remarques (the small images of an anchor and a sailor’s head) in the lower margin. Homer clearly felt that Perils of the Sea offered a theme to which a wide audience would respond. Sterling Clark achieved a collecting coup by acquiring both the watercolor and the etching and bringing the two versions together.” —Exhibition text
WINSLOW HOMER (1836–1910)
Beach Scene, Cullercoats, 1881, watercolor, over graphite on cream wove paper, 11-7/16 x 19-1/2 in. The Clark Art Institute, 1955.1490. Gill & Lagodich custom-made replica c. 1890s American gilded wood frame, molding width 4-1/2 in.
WINSLOW HOMER (1836–1910)
An October Day, 1889, watercolor over graphite, with scraping, on cream wove paper, 14 -/16 x 19-3/4 in. The Clark Art Institute, 1955.770. Gill & Lagodich custom-made replica c. 1890s American gilded wood frame, molding width 4-1/2 in.
WINSLOW HOMER (1836–1910)
A Good Pool, Saguenay River, 1895, watercolor over graphite, with scraping on cream wove paper, 9-3/4 x 18-7/8 in. The Clark Art Institute, 1955.1492. Gill & Lagodich custom-made replica c. 1890s American gilded wood frame, molding width 4-1/2 in.
WINSLOW HOMER (1836–1910)
Fish and Butterflies, 1900, watercolor over graphite, on cream wove paper, 14-7/16 x 20-11/16 in. The Clark Art Institute, 1955.775. Gill & Lagodich custom-made replica c. 1890s American gilded wood frame, molding width 4-1/2 in.
WINSLOW HOMER (1836–1910)
The Eagle's Nest (Osprey’s Nest), 1902, watercolor over graphite on cream wove paper, 21-9/16 x 13-9/16 in. The Clark Art Institute, 1955.1502. Gill & Lagodich custom-made replica c. 1890s American gilded wood frame, molding width 4-1/2 in.