Gilded and painted plaster on wood, four panels
Not on view
Stettheimer depicts herself—paintbrush and palette in hand—on the rightmost panel of this folding screen. She is joined by her three siblings, who are also rendered with symbols indicating their interests and personalities. Henrietta poses with a quill pen signifying her profession as an author. Caroline, the head of the family’s social affairs, wears an elegant gown. Dressed in sporting clothes, their brother Walter trains two dogs. While Stettheimer exhibited her paintings and decorative works during her lifetime, she preferred to live with them as opposed to selling them. Displayed in the artist’s apartment, this screen served a dual-purpose: it functioned as a utilitarian object and as an artwork that exemplifies Stettheimer’s unique vision of modern portraiture.
2020
Provenance Research Project
This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.
? – 1944, Florine Stettheimer (1871–1944), New York
[1944 – ?, Ettie Stettheimer (1875–1955), New York, inherited from Florine Stettheimer (her sister)]
By 1971, Barbara S. Adler (1903–1971), New York (Florine and Ettie Stettheimer’s niece)
1971, The Museum of Modern Art, New York, acquired by bequest from Barbara S. Adler
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Florine Stettheimer
American, 1871–1944 57 works onlineBy “this thing,” Stettheimer meant New York City in the 1920s and 1930s, when its streets, parks, theaters, museums, parties, and personalities became the subjects of her paintings and poems.
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![Proletarian Intellectuals [Else Schuler, Tristan Rémy, Franz Wilhelm Seiwert, Gerd Arntz]](https://www.moma.org/media/W1siZiIsIjMyNDY2MCJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDUxMng1MTJcdTAwM2UiXV0.jpg?sha=01800b3742a0ddcb)
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