Elizabeth Boott Duveneck
On View: American Art Galleries, 5th Floor, The United States on the World Stage, 1865–1930
When creating this ensemble of four panel paintings, Elizabeth Boott Duveneck looked to the dramatically cropped, asymmetrical compositions of Japanese art. In 1853 trade was reestablished between the Western world and Japan for the first time in more than two hundred years. Art enthusiasts, particularly in Duveneck’s native Boston, quickly amassed large collections of Japanese art.
This is a rare work by Duveneck, whose career was cut short by her premature death, soon after her move to Paris to marry her former teacher, the painter Frank Duveneck.
Oil on wood panel
Individual Panel: 35 15/16 x 10 in. (91.3 x 25.4 cm)
frame (individual frame): 43 1/8 x 17 1/8 x 1 7/8 in. (109.5 x 43.5 x 4.8 cm) (show scale)
Signed and dated at lower right of center panel: "ELB [monogram] / 1882"
Gift of Joan Harmen Brown, Mr. and Mrs. William Slocum Davenport, Mrs. Lewis Francis, Samuel E. Haslett, William H. Herriman, Joseph Jefferson IV, Clifford L. Middleton, the New York City Police Department, Mrs. Charles D. Ruwe, Charles A. Schieren, the University Club, Mrs. Henry Wolf, Austin M. Wolf, and Hamilton A. Wolf, by exchange, Frank Sherman Benson Fund, Museum Collection Fund, Dick S. Ramsay Fund, Carll H. de Silver Fund, John B. Woodward Memorial Fund, and Designated Purchase Fund
No known copyright restrictions
This work may be in the public domain in the United States. Works created by United States and non-United States nationals published prior to 1923 are in the public domain, subject to the terms of any applicable treaty or agreement.
You may download and use Brooklyn Museum images of this work. Please include caption information from this page and credit the Brooklyn Museum. If you need a high resolution file, please fill out our online application form
The Museum does not warrant that the use of this work will not infringe on the rights of third parties, such as artists or artists' heirs holding the rights to the work. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act.
The Brooklyn Museum makes no representations or warranties with respect to the application or terms of any international agreement governing copyright protection in the United States for works created by foreign nationals.
For further information about copyright, we recommend resources at the United States Library of Congress
, Cornell University
, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums
, and Copyright Watch
For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright
If you have any information regarding this work and rights to it, please contact email@example.com
Elizabeth Boott Duveneck (American, 1846-1888). Autumn Foliage, 1882. Oil on wood panel, Individual Panel: 35 15/16 x 10 in. (91.3 x 25.4 cm). Brooklyn Museum, Gift of Joan Harmen Brown, Mr. and Mrs. William Slocum Davenport, Mrs. Lewis Francis, Samuel E. Haslett, William H. Herriman, Joseph Jefferson IV, Clifford L. Middleton, the New York City Police Department, Mrs. Charles D. Ruwe, Charles A. Schieren, the University Club, Mrs. Henry Wolf, Austin M. Wolf, and Hamilton A. Wolf, by exchange, Frank Sherman Benson Fund, Museum Collection Fund, Dick S. Ramsay Fund, Carll H. de Silver Fund, John B. Woodward Memorial Fund, and Designated Purchase Fund
, 2005.54.1 (Photo: Brooklyn Museum, 2005.54.1_PS2.jpg)
overall, 2005.54.1_PS2.jpg. Brooklyn Museum photograph, 2009
"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.
Not every record you will find here is complete. More information is available for some works than for others, and some entries have been updated more recently. Records are frequently reviewed and revised, and we welcome
any additional information you might have.