{ "objects" : [ { "embark_ID" : 992, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/992", "Disp_Access_No" : "13-P-558", "_AccNumSort1" : "", "Disp_Create_DT" : "19th Century", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1899", "Disp_Title" : "Father's Return", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Harriet Cany Peale", "Sort_Artist" : "Peale, Harriet Cany", "Disp_Dimen" : "24 x 19 3/4 in. (61 x 50.2 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "19 3/4 in.", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>Harriet Cany Peale was the second wife of Rembrandt Peale. In 1840 he and Harriet married, and she also became his student and assistant. In that same year she began exhibiting her work in Philadelphia at the Pennsylvania Academy of the Fine Arts and the Artists’ Fund Society, and continued to exhibit regularly throughout the rest of her life. She has been associated with the Hudson River School of painting, and is primarily known for landscapes, portraits, and still-life, as well as copies of her husband’s and other artist’s works. She frequently collaborated with Rembrandt Peale on copies of his famous “Porthole” painting of George Washington (Patriae Pater).<BR/><BR/><SPAN STYLE="font-style:italic">Father’s Retur</SPAN>n depicts a pleasant and sentimental genre scene of 19th-century domestic life.<BR/></SPAN>", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-P-558.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-P-558.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-P-558.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-P-558.jpg", "IsPrimary" : "1", "_SurrogateID" : "79", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3012, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3012", "Disp_Access_No" : "90-P-374", "_AccNumSort1" : "", "Disp_Create_DT" : "Early 19th Century", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1832", "Disp_Title" : "Ann Emily Rush", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "James Peale", "Sort_Artist" : "Peale, James", "Disp_Dimen" : "29 x 24 5/8 in. (73.7 x 62.5 cm)", "Disp_Height" : "29 in.", "Disp_Width" : "24 5/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas, laid down on panel", "Disp_Medium" : "Oil on canvas, laid down on panel", "Info_Page_Comm" : "Gallery Label: James Peale’s early career was interrupted when he was commissioned to serve in the Maryland Regiment during the Revolutionary War. Afterwards, he moved to Philadelphia and worked together with his brother, Charles Willson, creating miniatures while his brother painted large-scale oil portraits. After 1810, failing eyesight forced Peale to abandon miniatures for larger formats. The sitter in this oil portrait is Ann Emily Rush, whose father was Benjamin Rush, a signer of the Declaration of Independence. Peale conveys Ann Emily’s intelligence and self-confidence with her direct gaze and upright posture. ", "Dedication" : "Purchased with funds provided by Philip Reiff, Mansfield W. Williams, and Alexis C. Manice", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/90-P-374.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/90-P-374.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/90-P-374.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/90-P-374.jpg", "IsPrimary" : "1", "_SurrogateID" : "241", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3051, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3051", "Disp_Access_No" : "91-P-389", "_AccNumSort1" : "", "Disp_Create_DT" : "1838", "_Disp_Start_Dat" : "1838", "_Disp_End_Date" : "1838", "Disp_Title" : "Self-Portrait", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rembrandt Peale", "Sort_Artist" : "Peale, Rembrandt", "Disp_Dimen" : "17 1/2 x 14 1/2 in. (44.5 x 36.8 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "14 1/2 in.", "Dimen_Extent" : "window opening-oval", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gallery Label: Rembrandt was the second son of Charles Willson Peale. He was born in Bucks County and spent much of his career in Philadelphia. He is best known for the portrait of George Washington he painted as a teenager working alongside his father who was completing a commissioned portrait of the first President. In 1814, Rembrandt opened the first museum in North America designed specifically to exhibit art, known as "Peale's Baltimore Museum and Gallery of Fine Arts.” He painted this relatively informal, intimate self-portrait for his niece and art pupil, Mary, daughter of his brother and fellow-painter Rubens Peale. ", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91-P-389.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91-P-389.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91-P-389.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91-P-389.jpg", "IsPrimary" : "1", "_SurrogateID" : "254", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5093, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5093", "Disp_Access_No" : "15-P-585", "_AccNumSort1" : "", "Disp_Create_DT" : "19th Century", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1899", "Disp_Title" : "Portrait of Helena Lawrence Holmes Penington (1769-1852)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sarah Miriam Peale", "Sort_Artist" : "Peale, Sarah Miriam", "Disp_Dimen" : "24 x 17 1/2 in. (61 x 44.5 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "17 1/2 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>Born in Philadelphia, Sarah Miriam Peale along with her sisters, Margaretta Angelica and Anna Claypoole Peale trained as artists under the tutelage of their father, James Peale, serving as his apprentices. Sarah was known for her portraiture and still-life paintings. She moved to Baltimore for instruction in oil painting and glazing techniques and remained there for 20 years before moving to St. Louis where she was commissioned by various families. She is regarded by many as the first woman in the United States to achieve professional recognition as an artist. In 1824, Sarah and Anna became the first two female members of the Pennsylvania Academy of the Fine Arts. <BR/><BR/>This portrait was probably painted by Sarah at a young age, and was possibly painted together with Anna and instruction from their father.<SPAN STYLE="font-family:'Book Antiqua';font-size:16pt"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-P-585.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-P-585.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-P-585.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-P-585.jpg", "IsPrimary" : "1", "_SurrogateID" : "5217", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2017, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2017", "Disp_Access_No" : "78-P-209", "_AccNumSort1" : "", "Disp_Create_DT" : "1851", "_Disp_Start_Dat" : "1851", "_Disp_End_Date" : "1851", "Disp_Title" : "Lager Beer Saloon", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Christian Schussele", "Sort_Artist" : "Schussele, Christian", "Disp_Dimen" : "20 3/4 x 24 3/4 in. (52.7 x 62.9 cm)", "Disp_Height" : "20 3/4 in.", "Disp_Width" : "24 3/4 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gallery Label: Although Schuessele’s style is academic, this ribald tavern scene with its predominantly brown palette is modeled on 17th-century Dutch genre scenes of common folk and everyday merry-making. Gas lights, with clearly visible delivery pipes, illuminate the room. The Franklin Institute awarded this painting the First Premium prize. Schuessele was born in the Alsace region and studied lithography in Paris before settling in Philadelphia around 1848. He became Professor of Painting at the Pennsylvania Academy of Fine Arts in 1868. Schuessele established the Ladies Life Class in 1869, the first course to allow female students to study from the live model. ", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78-P-209.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78-P-209.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78-P-209.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78-P-209.jpg", "IsPrimary" : "1", "_SurrogateID" : "162", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 325, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/325", "Disp_Access_No" : "07-P-531", "_AccNumSort1" : "", "Disp_Create_DT" : "1868", "_Disp_Start_Dat" : "1868", "_Disp_End_Date" : "1868", "Disp_Title" : "The Billet, Montgomery, PA", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Russell Smith", "Sort_Artist" : "Smith, Russell", "Disp_Dimen" : "24 x 36 1/2 in. (61 x 92.7 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "36 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Penelope P. (& Thomas) Watkins", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/07-P-531.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/07-P-531.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/07-P-531.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/07-P-531.jpg", "IsPrimary" : "1", "_SurrogateID" : "55", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 326, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/326", "Disp_Access_No" : "07-P-532", "_AccNumSort1" : "", "Disp_Create_DT" : "1846", "_Disp_Start_Dat" : "1846", "_Disp_End_Date" : "1846", "Disp_Title" : "Conestoga Valley", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Russell Smith", "Sort_Artist" : "Smith, Russell", "Disp_Dimen" : "27 1/4 x 39 5/8 in. (69.2 x 100.6 cm)", "Disp_Height" : "27 1/4 in.", "Disp_Width" : "39 5/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Penelope P. Watkins", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/07-P-532.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/07-P-532.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/07-P-532.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/07-P-532.jpg", "IsPrimary" : "1", "_SurrogateID" : "56", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 112, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/112", "Disp_Access_No" : "03-P-493", "_AccNumSort1" : "", "Disp_Create_DT" : "1833", "_Disp_Start_Dat" : "1833", "_Disp_End_Date" : "1833", "Disp_Title" : "William Logan Fisher (1781-1862)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert Street", "Sort_Artist" : "Street, Robert", "Disp_Dimen" : "29 1/2 x 24 1/2 in. (74.9 x 62.2 cm)", "Disp_Height" : "29 1/2 in.", "Disp_Width" : "24 1/2 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : " See the interpretive label written by Sarah Seraphin, MSLS, CA, <i>Rare Materials Librarian, Connelly Library</i>, for the exhibition <i>Teaching and Learning in the Art Museum: La Salle University Faculty Selections</i> in the online exhibition <a href="https://digitalcommons.lasalle.edu/faculty_selections_2018/2/">HERE</a>. William Logan Fisher (1781-1862) and his second wife, Sarah Lindley Fisher (1785-1865), lived at Wakefield, which was first the home of his parents Thomas Fisher (1741-1810) and Sarah Logan (1751-1796). Sarah Logan had inherited the northeastern portion of the Stenton Estate, which belonged to her grandfather James Logan, Secretary to William Penn; it was on this very land that Thomas Fisher built the Wakefield mansion in 1798. The house once stood at the northeast corner of Ogontz and Lindley Avenues, but was unfortunately destroyed by fire in 1985. In 1807 William Logan Fisher inherited Wakefield estate from his father and lived there with his family. In 1826, Fisher purchased Belfield from neighbor Charles Willson Peale, and gifted the house to his daughter, Sarah Logan Fisher (1806-1891) upon her marriage to William Wister (1801-1881) that same year. Fisher’s son Thomas Rodman Fisher (1802-1861) built “Little Wakefield” in 1829, which still stands today on La Salle University campus as St. Mutien Hall. ", "Dedication" : "Gift of Michael T. Fox", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/03-P-493.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/03-P-493.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/03-P-493.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/03-P-493.jpg", "IsPrimary" : "1", "_SurrogateID" : "2323", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 113, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/113", "Disp_Access_No" : "03-P-494", "_AccNumSort1" : "", "Disp_Create_DT" : "1833", "_Disp_Start_Dat" : "1833", "_Disp_End_Date" : "1833", "Disp_Title" : "Sarah Lindley Fisher (1785-1865)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert Street", "Sort_Artist" : "Street, Robert", "Disp_Dimen" : "29 1/2 x 24 1/2 in. (74.9 x 62.2 cm)", "Disp_Height" : "29 1/2 in.", "Disp_Width" : "24 1/2 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : " See the interpretive label written by Sarah Seraphin, MSLS, CA, <i>Rare Materials Librarian, Connelly Library</i>, for the exhibition <i>Teaching and Learning in the Art Museum: La Salle University Faculty Selections</i> in the online exhibition <a href="https://digitalcommons.lasalle.edu/faculty_selections_2018/3/">HERE</a>. William Logan Fisher (1781-1862) and his second wife, Sarah Lindley Fisher (1785-1865), lived at Wakefield, which was first the home of his parents Thomas Fisher (1741-1810) and Sarah Logan (1751-1796). Sarah Logan had inherited the northeastern portion of the Stenton Estate, which belonged to her grandfather James Logan, Secretary to William Penn; it was on this very land that Thomas Fisher built the Wakefield mansion in 1798. The house once stood at the northeast corner of Ogontz and Lindley Avenues, but was unfortunately destroyed by fire in 1985. In 1807 William Logan Fisher inherited Wakefield estate from his father and lived there with his family. In 1826, Fisher purchased Belfield from neighbor Charles Willson Peale, and gifted the house to his daughter, Sarah Logan Fisher (1806-1891) upon her marriage to William Wister (1801-1881) that same year. Fisher’s son Thomas Rodman Fisher (1802-1861) built “Little Wakefield” in 1829, which still stands today on La Salle University campus as St. Mutien Hall. ", "Dedication" : "Gift of Michael T. Fox", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/03-P-494.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/03-P-494.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/03-P-494.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/03-P-494.jpg", "IsPrimary" : "1", "_SurrogateID" : "2324", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2687, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2687", "Disp_Access_No" : "84-P-298", "_AccNumSort1" : "", "Disp_Create_DT" : "1898", "_Disp_Start_Dat" : "1898", "_Disp_End_Date" : "1898", "Disp_Title" : "Mary (La Sainte-Marie)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Henry Ossawa Tanner", "Sort_Artist" : "Tanner, Henry Ossawa", "Disp_Dimen" : "34 1/8 x 42 5/8 in. (86.7 x 108.3 cm)", "Disp_Height" : "34 1/8 in.", "Disp_Width" : "42 5/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>In this unconventional rendering of the Virgin Mary with the Christ child, Mary appears melancholy and lost in thought. The infant is almost completely covered by a shroud-like cloth, suggesting a foreshadowing of Jesus’ death. Tanner paid careful attention to details studied first-hand in Jerusalem, where he first traveled in 1898. Tanner’s style is academic and is distinctive for his use of luminous lighting. The model for Mary was newlywed Tanner’s Swedish-American wife. Tanner studied with Thomas Eakins at the Pennsylvania Academy of Fine Arts in the 1880s before traveling to and eventually settling in Paris, where, from 1894 on, his work appeared in the annual, juried Salon. <SPAN STYLE="font-style:italic">Mary</SPAN> is in its original tabernacle frame with its Salon entry number, 1252, and another label noting Tanner’s previous Salon medal for an earlier painting. While it was common for American artists to travel to Paris to study art and even settle in that art-making capital, Tanner attributed his choice to remain there to the racism he encountered in the United States as an artist of mixed African-, European-, and Native-American ancestry and his ability to be judged simply by his talent in France.<BR/></SPAN>", "Dedication" : "Purchased with funds provided by Regina and Ragan Henry", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84-P-298.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84-P-298.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84-P-298.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84-P-298.jpg", "IsPrimary" : "1", "_SurrogateID" : "196", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2023, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2023", "Disp_Access_No" : "78-P-219", "_AccNumSort1" : "", "Disp_Create_DT" : "19th Century", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1899", "Disp_Title" : "Autumn Landscape", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edward Moran", "Sort_Artist" : "Moran, Edward", "Disp_Dimen" : "6 5/8 x 11 5/8 in. (17 x 30 cm)", "Disp_Height" : "6 5/8 in.", "Disp_Width" : "11 5/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78-P-219.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78-P-219.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78-P-219.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78-P-219.jpg", "IsPrimary" : "1", "_SurrogateID" : "169", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }