All in Museum And Gallery

Next Article

Museum And Gallery

What’s in a name?

THE SIGNATURE: Even if a friend did sign this, you’d think he’d have got the name right.

Up popped Lane’s request to change his name to Fitz Henry Lane. Walsh and her committee comrades figured “Henry” must be a mistake, a typo maybe. Still, it was an error they came across with some frequency in Lane records. And so they visited the state archives in Boston to look at Lane’s actual petition.

“And sure enough, there it was: Nathaniel Rogers Lane writing in to ask if he could have his name changed to Fitz Henry Lane,” says co-chair Sarah Dunlap. They realized that Lane had always been Fitz Henry. Fitz Hugh was the error.

The report of the discovery by Dunlap and Cape Ann Historical Museum librarian/archivist Stephanie Buck in the February 2005 issue of the Essex Genealogist heralded a new body of Lane research. Last year, Gloucester historian James Craig published Fitz H. Lane: An Artist’s Voyage Through Nineteenth-Century America (History Press), a biography that provides new insight into Lane’s involvement with the Transcendentalist, Spiritualist, and Temperance movements. Craig even turns up a brief mention that could be proof that Lane taught New Bedford marine painter William Bradford. Also last year, the staff at the Museum of Fine Arts in Boston made the case that Lane used a lens known as a camera lucida to help him trace the contours of landscapes onto his sketches and paintings. This fall, Dunlap and Buck are planning to publish a book on Lane’s years in Gloucester. Wilmerding, meanwhile, has assembled 50 artworks for the Cape Ann Historical Museum’s current exhibit “Fitz Henry Lane & Mary Blood Mellen: Old Mysteries and New Discoveries,” which looks at Lane’s artistic relationship with one of his chief students.

CLIPPER SHIP “SWEEPSTAKES”: What stands out is Lane’s attention to the way light breaks through clouds and falls on sails and waves.

Wilmerding, a descendant of major art collectors, began the research that would lead to his first book on Lane, which he published in 1964, while studying at Harvard. He was fortunate to be among the first scholars to examine the collection that Maxim Karolik, a pioneering collector of 18th- and 19th-century American art, had begun donating to the Museum of Fine Arts in 1938. And at the nearby Cape Ann Historical Museum, he had access to the largest collection of Lane works anywhere.