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Politics in an Oyster House
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Politics in an Oyster House


Description Conservation Exhibitions Provenance Credit
Description Woodville adopted the subject of newspaper reading seen in works by his Düsseldorf contemporaries Johann Peter Hasenclever and Wilhelm Kleinenbroich, placing it in a distinctly American interior, described by a contemporary critic as "one of those subterranean temples devoted to the immolation of bivalves . . . vulgarly known as oyster cellars." After their meal, the younger of the two figures, bearded and wearing his top hat indoors, leans across the table, counting arguments off on the fingers of one hand and clasping the newspaper that fuels his opinions in the other. The older man, balding, ruddy-faced, and red-nosed, warmed by the liquor in his half-empty glass, looks out with amusement at the viewer. The booth in which they are seated, with its red privacy curtain pulled aside, creates a shallow proscenium stage for this scene of intergenerational argument. The characters are engaged with the politics of their time, on which Woodville, characteristically, takes no stand. The foreground details of recognizable objects - the red spittoon, the umbrella, the penny newspaper, and the discarded "segar" stub - set this drama squarely in contemporary times. This small-scale cabinet picture was painted for prominent Baltimore citizen John H. B. Latrobe. Latrobe might have commissioned it in person on his Grand Tour of Europe, which took him "down the Rhine" in 1847. After shipment to New York for a brief exhibition at the American Art-Union, it was delivered to Latrobe's residence in Baltimore on May 29, 1848, with a note from William Woodville V, the artist's father, saying "Caton desires me to say to you, that if you do not like it, you must not hesitate about returning it to me, and he will, with the greatest pleasure, paint another for you." Apparently, the painting pleased Latrobe a great deal; he loaned it to the first annual exhibition of paintings at the Maryland Historical Society, and it hung in the parlor of his home at Charles and Read Streets until the death of his widow in 1905. Woodville exhibited a copy of this work with the title A New York Communist Advancing an Argument to some acclaim at the Royal Academy in London, where he was then resident, in 1852. A woodblock print of the painting illustrated the review of the exhibition in The Illustrated London News, which called it "a spirited little piece . . . of more than ordinary merit." The lithograph of the picture, produced by Fanoli, printed by Lemercier, and distributed by Goupil & Co. included a "dedication to John H. B. Latrobe, Esq." (see fig. 38 and checklist no. 21). It was offered in a full-page advertisement, along with several prints after works by William Sidney Mount, in the December 21, 1850, issue of The Literary World as "a most exquisite representation of American politicians."
Conservation
Date Description Narrative
10/03/1960Treatmentexamined for loan; repaired
5/03/1962Treatmentexamined for condition; cleaned; loss compensation; mounted; coated
10/04/1983Loan Considerationexamined for loan
12/06/1985Loan Considerationexamined for loan
9/25/1986Loan Consideration{\rtf1\ansi\ansicpg1252\deff0\deflang1033{\fonttbl{\f0\fnil\fcharset0 Arial;}}\viewkind4\uc1\pard\fs20 examined for loan\par}
3/07/1994Loan Considerationexamined for loan
2/15/2007Loan Considerationexamined for loan
Exhibitions
  • Four Centuries of American Art. Minneapolis Institute of Arts, Minneapolis. 1963-1964.
  • Richard Caton Woodville. Corcoran Gallery of Art, Washington; The Walters Art Gallery, Baltimore; Munson-Williams-Proctor Arts Institute- Museum of Art, Utica; High Museum of Art, Atlanta; Brooklyn Museum, Brooklyn. 1967-1968.
  • Three Hundred Fifty Years of Art and Architecture in Maryland. Art Gallery, University of Maryland, College Park. 1984.
  • From Torchlights to Television. Maryland Historical Society, Baltimore. 1986-1987.
  • America: The New World in Nineteenth Century Painting. Osterreichische Galerie Belvedere, Vienna. 1999.
  • Highlights from the Collection. The Walters Art Gallery, Baltimore. 1998-2001.
  • American Stories. The Metropolitan Museum of Art, New York; Los Angeles County Museum of Art, Los Angeles. 2009-2010.
  • The Dusseldorf School of Painting-Crossing Bridges between Cultures. Stiftung Museum Kunst Palast, Dusseldorf. 2011-2012.
  • New Eyes on America: The Genius of Richard Caton Woodville. The Walters Art Museum, Baltimore; Mint Museum of Art Uptown, Charlotte. 2013.
  • La peinture Americaine: 1830-1900 (The American Painting). Fondation de l'Hermitage, Lausanne 8. 2014.
Provenance Acquired by John H. B. Latrobe (from the artist), Baltimore, 1848. Acquired by C. Morgan Marshall [1]; given to Walters Art Museum, 1945. [1] possibly purchased from the estate of Mrs. John H.B. Latrobe, 1905
Credit Gift of C. Morgan Marshall, 1945

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Period
1848
Medium
oil on fabric
(Painting & Drawing)
Accession Number
37.1994
Measurements
H: 16 1/4 x W: 13 1/16 in. (41.2 x 33.1 cm); Framed H: 20 1/4 x W: 17 3/8 x D: 3 in. (54.3 x 44 x 7.5 cm)
Geographies
Location Within Museum
Out On Exhibition Loan

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