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Fitz Henry Lane
HISTORICAL ARCHIVE • CATALOGUE RAISONNÉ • EDUCATIONAL RESOURCE
An online project under the direction of the CAPE ANN MUSEUM
An online project under the direction of the CAPE ANN MUSEUM
Catalog entry
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inv. 614
Dana Beach, Manchester
Salt Island, Good Harbor Beach
(with Mary Blood Mellen) 1860 Oil on canvas 15 1/8 x 23 1/4 in. (38.4 x 59.1 cm) No inscription found
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Related Work in the Catalog
Provenance (Information known to date; research ongoing.)
John Wilmerding
Maxim Karolik, Newport, R.I.
Dr. and Mrs. Irving F. Burton
Kennedy Galleries, New York, 1987
Robert L. McNeil, Jr., Philadelphia
Philadelphia Museum of Art, 2009
Exhibition History
DeCordova Museum, Lincoln, Massachusetts, Fitz Hugh Lane: The First Major Exhibition, March 20–April 17, 1966.
Traveled to: Colby College Art Museum, Waterville, Maine, 30–6, 1966.
Traveled to: Colby College Art Museum, Waterville, Maine, 30–6, 1966.
Cape Ann Historical Museum, Gloucester, Massachusetts, The Mysteries of Fitz Henry Lane, July 7–September 16, 2007., no. 18, ill. in color, p. 69.
Traveled to: Spanierman Gallery, New York, N.Y., 4–1, 2007.
Traveled to: Spanierman Gallery, New York, N.Y., 4–1, 2007.
Spanierman Gallery in association with Vallejo Gallery, New York, New York, American Marine Paintings, 1830–1930, October 4–December 1, 2007.
Published References
Moses, Michael A. "Mary B. Mellen and Fitz Hugh Lane." Antiques Magazine Vol. CXL, No. 5 (November 1991)., p. 836. ⇒ includes 
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Wilmerding, John. Fitz Henry Lane & Mary Blood Mellen: Old Mysteries and New Discoveries. New York: Spanierman Gallery, 2007., pl.18, p. 69. ⇒ includes text
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Commentary
Fitz Henry Lane's luminous views of beaches and harbors from Massachusetts to Maine have long been considered some of the finest achievements in nineteenth-century American landscape painting. His works' signature serenity has been identified as an artistic corollary to the roughly contemporary development of Transcendentalist philosophy and Unitarian faith in the Boston area.
In recent years, Lane's relationship with his gifted student and collaborator Mary Blood Mellen has come to light, altering the attributions of numerous works once securely identified as Lane's. In his 2007 study Fitz Henry Lane & Mary Blood Mellen: Old Mysteries and New Discoveries, John Wilmerding reported that Dana Beach, Manchester "appears to be a joint effort, with Lane having executed the strong foreground edge, while Mellen depicted the beach itself and entire background."
– From the Philadelphia Museum of Art's wall label