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Seller Store cadmium24
(1549) 100.0%,

Location: Pitman, New Jersey
Ships to: US,
Item: 226449615623

Restocking Fee:No
Return shipping will be paid by:Buyer
All returns accepted:Returns Accepted
Item must be returned within:14 Days
Refund will be given as:Money Back
Unit of Sale:Single-Piece Work
Artist:Lilly F. Cropsey
Signed By:Lilly F. Cropsey
Size:Medium (up to 36in.)
Framing:Unframed
Region of Origin:New York, USA
Personalize:No
Year of Production:1887
Original/Licensed Reproduction:Original
Item Height:10 1/8 in
Style:Americana,Realism
Features:One of a Kind (OOAK)
Handmade:Yes
Culture:Hudson River School
Item Width:16 in
Time Period Produced:1850-1899
Signed:Yes
Color:Multi-Color
Period:Victorian (1830-1900)
Material:Canvas
Certificate of Authenticity (COA):No
Subject:Cows,Farming,Hastings,Inspirational,Landscape,New York,States & Counties,Tree,USA
Type:Painting
Theme:Americana,Animals,Art,Domestic & Family Life,History,Hobbies & Leisure,Nature,Patriotic,Topographical
Production Technique:Oil Painting
Country/Region of Manufacture:United States

1887 oil on canvas by listed American woman artist Lilly Frances Cropsey (16 Jul, 1859 – 21 Feb, 1889) depicting a landscape with dairy cow watching over her calf resting in the shade of the tree. The painting is unframed. It’s signed and dated “Lilly F. Cropsey. 1887”, lower left. Lilly F. Cropsey was the youngest daughter and pupil of leading Hudson River School artist Jasper Francis Cropsey (Am., 1823-1900). Shipping on this will be via USPS Registered Mail (a bit slow, but very safe) due to the amount I need to insure it for. Hudson River School paintings represent a major collecting category, well-known to all sellers and collectors. As a result, to appeal to beginners, things that aren’t HR School are called that even though they’re something else. There are 967,634 paintings, total, on eBay. Doing a search today for Hudson River School in Art/Paintings, using 4 filters and selecting: 1800-1849 + 1850-1899, Original, Oil Painting, and US Only, I get 121 results. The 121 items are a mix, but let’s pretend they’re all great. 121/967,634 = 0.000125 (0.0125%). The chance of finding a HR School painting here is 80x less than 1%. So, nobody considers this a place to go to for HR School paintings. People instead go where there are such things. During ‘Americana Week’, from Jan. 17-22, 2025, people will be viewing all the art in the annual sale of ’19th Century American and Western Art’ at Christie’s, New York. This painting by Lilly Cropsey is fresh-to-market and unrestored. It measures 10 1/8 x 16 inches. Being almost 140 years old and uncleaned, the painting is dark due to the discolored varnish and grime. This isn’t damage; it’s a (truly) fresh painting that nobody’s gotten their hands on yet. Professional cleaning recommended if you want the true colors revealed, unless you prefer the patina of age. The locale depicted has a certain type of vertical plank wooden fence that I’ve noticed in other paintings (see pictures posted). Dad, Jasper Cropsey, grew up on a farm in Rossville, Staten Island. His father was a farmer and his mother’s people, the Courtelyou family, had farm property there, too. Built in 1767, the Cropsey homestead fronted on what’s now Arthur Kill Rd. and was west of Arden Ave. Jasper usually painted cows at more of a distance. But, I posted a picture of one of his somewhat closer up views. This way, we can compare Lilly’s work to her Dad’s. In the collection of the Newington-Cropsey Foundation in Hastings, NY, a combination historic site and museum per their Gallery of Art, are the following five (5) oil on canvas paintings by Lilly Frances Cropsey: “Winter Landscape”, “Lilies Of The Valley and Roses”, “Butterflies and Flowers”, “Three Roses”, and “Head Of A Horse”. Although they never met her because she passed before they were born, Lilly Cropsey was the great aunt of Beatrice Ellsworth and her sister Barbara Newington, founders of the Newington-Cropsey Foundation. Beatrice and Barbara’s mother, Isabel, lost her mother when she was only around 2 years old. In 1885, at maybe 5 years old, Isabel went to live at the Jasper Cropsey residence, where her aunt Lilly Cropsey (Isabel’s mom’s sister) lived. I’d think that Lilly would’ve been like a surrogate mom to her niece, Isabel. That would last for only just 4 years because Lilly passed in 1889. Isabel still had grandmom there (Jasper’s wife), to raise her up well. Lilly Cropsey is listed in ‘The Annual Exhibition Record of the American Watercolor Society, 1867–1921’ by Amy Torbert, Barra Fellow, Center for American Art, Philadelphia Museum of Art & ‘Nature And Culture: American Landscape And Painting, 1825-1875’ by Barbara Novak. Novak noted that “Cropsey’s daughter Lilly (who painted flowers) owned ‘Indian Summer, Autumn Poems and Sketches’ (1883) inscribed with her name, with flower illustrations by L. Clarkson”. I think the context of that was a discussion on still life painting back then. I’ve posted lots of pictures of things (perhaps of interest for research) other than the painting offered here & I’ve written a ‘lot essay’ as follows if interested. If not, you already know the basics: authorship, some family background, size, condition, listings, collection references, etc. Please, though, read on if you want to find out more. I’d think there would be some people who’d want to know as much as possible. Jasper Cropsey’s (Dad’s) paintings can sell for more than half a million dollars at auction. I had an unsigned oil sketch by him that I sold here. The buyer sent me a picture of it after he cleaned it. It looked amazing! My listing and selling that was like an isolated incident. Normally, there would be about zero chance of either happening here because of (a) lack of supply and (b) lack of interest in artworks priced above a certain number. Currently, there are 5 Jasper Cropsey paintings (2 watercolors and 3 oils) simultaneously listed for sale on both the f*rst dibs and Art-sy sites, ranging from 57,500 to 295K. Lilly Cropsey’s paintings are more rare than Dad’s. I’m unaware of any having gone through auction. But, if I were to consign this painting to auction, I’d want to get it up in NY State. There’s a little auction in Freehold, NY that looks good. They did well with a painting w/ cows by Julie Hart Beers. She’s the only other NY Hudson River School woman artist I can think of. Beers was also from an artist family, with her brothers William and James MacDougal Hart being painters. James was more the specialist in close-up cow paintings. I’ve posted pictures of a July, 1886 photograph in the collection of the Hastings Historical Society, depicting Jasper F. Cropsey, his wife Maria Cooley Cropsey (1827-1906), and their family who were there at Hastings, NY for the photo. As for the two young ladies to the left of the picture, if Jasper’s eldest daughter Mary Cortelyou Cropsey Copinger (1850-1921) and family are not there (they lived in Manhattan), one of the ladies could be Jennie Cropsey Blanchard. The other young lady would be our artist, Lilly Frances Cropsey. There’s another way to know what Lilly F. Cropsey looked like because the oil on canvas, “Portrait of Lilly Cropsey”, signed “M.K.K.”, is in the Newington Cropsey Foundation (Gift from Barbara Newington, 11/6/79). But, the foundation’s website doesn’t offer much in the way of seeing their wealth of information, including inventory, online. It seems to be an appointment based thing. A note on that 1886 photograph: it was posted online, broken into 3 sections, for whatever reason. I understand it was coming from a historical society, so probably just a volunteer writing things. But, they wrote a word in there that I don’t like. The three black people in the picture would’ve been employed by Jasper Cropsey. Their job descriptions are unknown to me. Maybe one guy was a coach driver and the other man a landscaper (?). I assume the Cropseys liked them or they would’ve fired them. The Cropsey’s position was abolition. According to The White House Historical Association: “… his concern for the Union brought him back to America in 1863 during the American Civil War. On June 11, 1864, Cropsey and his wife Maria met President Abraham Lincoln at the White House. Although presented formally, they unexpectedly encountered the president a second time later that day during a visit with their artist friend Francis Bicknell Carpenter. Carpenter had been granted use of the State Dining Room as a temporary studio to complete his painting “First Reading of the Emancipation Proclamation.” Maria Cropsey overcame her surprise to present the president with a bouquet of flowers”. Lilly F. Cropsey was just 29 years old when she passed in 1889. She hadn’t married nor had children. Her gravestone is at Sleepy Hollow Cemetery, Sleepy Hollow, Westchester County, New York. Being in her 20’s and unmarried, Lilly resided with her parents at their properties including the Aladdin estate in Warwick, NY until 1884 and then at Ever Rest in Hastings-on-Hudson, NY from 1885 until her passing in 1889. Hastings-on-Hudson is a village in Westchester County located in the southwestern part of the town of Greenburgh. The Cropsey family home (Ever Rest) was built in 1835 and purchased by Jasper F. Cropsey in 1885. Mr. Cropsey extended Ever Rest by adding an artist’s studio to it (also served as a family room), completed by 1887. The homestead is located at 49 Washington Avenue. On May 17, 1973, both the New York and National Historical Societies declared the homestead a historical site. It’s listed in the National Register of Historic Places in New York. In the 1886 exhibition of the American Watercolor Society, Lilly Cropsey contributed ‘Pansies’, as #143. The American Watercolor Society was founded in New York City on December 5, 1866 as the American Society of Painters in Water Colors. The first President was Hudson River School artist Samuel Colman. At the initial meeting in 1866, Samuel Colman, William Hart, Alfred Fredericks, Wm. Craig, Gilbert Burling, Ed. Hooper, Constant Mayer, and A. L. Rawson were present. At the second meeting, on January 2d, 1867, R. Swain Gifford, J.C. Nicoll, Harry Fenn, F.F. Durand, J.F. Cropsey and H. Sarony joined in the new movement; and on the 20th of the following December, the first exhibition was held, in conjunction with the Fall and Winter Exhibition of the National Academy of Design. In June 1856, Jasper Cropsey and his wife had sailed for England and soon thereafter settled into a studio at Kensington Gate in London. In July of 1859, Lilly Frances Cropsey was born, in London. Jasper Cropsey was a famous artist in England. Queen Victoria was also a painter (her watercolors are very good). Apparently, Jasper Cropsey instructed the Queen’s children in art. Whether or not Cropsey’s own children were present or participated on such occasions is unknown to me. Princess Louise became a talented painter. Well, the Cropseys returned to America in 1863. Being just 4 years old at the time, I wouldn’t think that Lilly Cropsey grew up to have British accent. But, I do wonder if, being born in England, she’d technically have dual citizenship due to that. Beginning in 1866, Jasper Cropsey was building a twenty-nine room mansion in Warwick, New York, called Aladdin. It wasn’t completed until around 1869, and it was possibly only intended to be a summer residence, though a lavish one. According to the Paterson Guardian, Feb. 11, 1868: “The other day Mr. Jasper Francis Cropsey, the well-known artist of West Milford, sold a number of his pictures at the Leeds Gallery, New York. The sale was well attended and produced good prices…”. According to that quote, Jasper Cropsey was “of West Milford”. I know he didn’t live in his studio at 625 Broadway NYC because it was commercial building. So, where did Jasper Cropsey, Lilly, and family actually reside between 1863-1869 and otherwise when they weren’t summering at Warwick, NY from 1869-1884? It would seem to be that they lived in West Milford, NJ. The problem is, that’s around 45 miles from New York City, where Cropsey’s studio was. That would’ve been quite a hike, back then. Luckily, by the 1850’s, there was a train per the New York and Erie Rail Road, sometimes called the Eerie Railway. It was still a little far, maybe 12 miles from West Milford, NJ, but there was a station, long forgotten today (and not necessarily where you’d think it was per it’s name), called Ramapo Station, just over the state line in NY. To get there, traveling east, Cropsey would probably pass somewhere near Ringwood Manor in NJ, heading in the direction of Hillburn, NY. The station was between Suffern and Sloatsburg, NY. There was probably a coach service to get people to and from the station. Jasper Cropsey was successful enough, at the time, that he could’ve had drivers in his direct employ. I’d imagine that Jasper didn’t go to his NYC studio every day. 625 Broadway would’ve been a business address, a place to paint huge studio paintings, etc. Lilly would’ve been around 17 years old by 1876. It was still a country divided, even though the Civil War was over. What Lilly Cropsey grew up with, knowing her dad’s manner (and, his friends’ manner) of painting, was on it’s way to becoming less appreciated. The chapter we’d call ‘The Hudson River School’ didn’t abruptly end. It was more like a gradual change where landscape paintings continued to look like the places depicted, as always, but they began to appear more loose, or with softer edges, fuzzier, mistier, etc. Call it American Barbizon School or Tonalism. It coexisted with Hudson River School art. Jasper Cropsey continued to exhibit his normal work until 1899. I’d end the Hudson River School chapter there. Aside from foreign scenes, one thing to appreciate about Hudson River School art is the Americana aspect. I like that and I like that the paintings, today, are antiques. Another thing to appreciate is the history behind it all. Not having made arrangements myself to request a viewing of the portrait painting of Lilly in the foundation, all I have in front of me online is the July, 1886 family photograph to look at. The three people seated together were: Jasper Cropsey, his wife, and you’d think, his eldest daughter present. This daughter could’ve been Mary (b. 1850) or Jennie (b. 1852), but not Rose (because she passed in 1884). If that’s the case, that an eldest daughter would be higher up in the pecking order, I’d think the young lady seated in her own chair, to the far left, was the youngest daughter, Lilly. She would’ve been 27 at the time. Her dog, or the family dog, is attached to her. I think of Lilly as an animal lover. I see a loving emotion in the painting of cows offered here. Also, Lilly did paint a portrait of a horse, in the Newington Cropsey Foundation collection. I assume the photograph’s date is correct as it’s pretty specific (July of 1886). In the photograph are two white men, to the right. In the center and toward the left are two young kids. These would be two of Jasper Cropsey’s grandchildren. It’s hard to know if the kids were boys or girls (they put all kids in dresses back then). The kids look younger than the 9-14 year old children that would have been Mary Cortelyou Cropsey Copinger’s kids’ ages in 1886. Note: Mary Cortelyou Cropsey Copinger (Mr. Copinger passed in 1900) Dunne Howells was, along with Rose Constance Wack, executor of the estate of Maria Cooley Cropsey who outlived her husband, Jasper. I have to assume one of the kids in the photo is Isabel Amelia Wack (1882–1958) at around 5 years old. If that’s right, I’d assume the other child in the photo is Isabel’s sister, Constance Rose Wack (1879-1961), who would’ve been around 7 at the time. The white men could’ve been the husband of Jasper’s late daughter Rose Victoria Cropsey (1858-1884), Conrad Wack (b. 1851); Jasper’s son, Samuel Cropsey (b. 1853); and/or James Blanchard (husband of Jennie Cropsey). The family said that Isabel Amelia Wack came to live with Jasper Cropsey (and family) in 1885. Isabel would grow up and marry William Steinschneider (1889 – 1970), Mayor of Hastings-on-Hudson. Their daughters were Barbara Steinschneider (1923 – 2023), Mrs. John C. Newington, and Beatrice Steinschneider (1920-2004), Mrs. Arthur T. Ellsworth. It was this line of Jasper Cropsey’s family, Isabel Amelia Wack (one of Jasper’s granddaughters), her husband William Steinschneider, and their kids Barbara and Beatrice, who’d all live in the Jasper and Maria Cropsey house (Ever Rest) in Hastings, NY into the 20th century. That’s the site of The Newington Cropsey Foundation, which houses the works of Jasper Cropsey and his daughter Lilly Cropsey. Artists Lilly and Jasper are 3x great aunt and 3x great grandfather to Matthew and Jennifer Ellsworth, the children of Beatrice’s son William W. Ellsworth of Suffern, NY. Back in the 1960’s Beatrice’s sister, Barbara, was the main buyer of the Cropsey paintings that would form the collection that would become that of the Foundation. The family didn’t just have these paintings laying around. When the matriarch, Jasper’s wife Maria, passed in 1906, the family’s paintings were sold at auction to settle the estate. It’s interesting to think about Sleepy Hollow Cemetery where Lilly and her parents were laid to rest. Also there are: Washington Irving, who wrote our famous Halloween story, The Legend of Sleepy Hollow featuring Ichabod Crane and the Headless Horseman, as well as Vincent Astor, Andrew Carnegie, Walter Chrysler, Geraldine Rockefeller Dodge, James Alexander Hamilton, William Rockefeller, Charles Sheeler, Elizabeth Arden, etc. As far as I know, Lilly Cropsey could be the only one there who actually painted a “Head Of A Horse”. The Headless Horseman might have had a pumpkin for a head, but his horse still had his (real) head. Sleepy Hollow is 6 miles from Hastings On Hudson, where Lilly lived. From Hastings, you’d just follow Broadway (Route 9) through Dobbs Ferry, Irvington and Tarrytown to get to Sleepy Hollow.

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