Scene on the Kentucky River

Date1804-1808

Attributed to George Beck (1749 - 1812)

MediumOil on laid paper

DimensionsUnframed: 17 x 22 7/8in. (43.2 x 58.1cm) and Framed: 20 15/16 x 26 7/8 x 1 15/16in.

Credit LineMuseum Purchase

Object number1968-501

DescriptionA landscape depicting a bend in a boulder- and tree-strewn river, the (viewer's) right half of the composition filled by a rocky outcropping with trees and other vegetation atop it and, some, leaning over the water below. A ferry is visible mid-river in the (viewer's) left side of the composition, with two architectural structures apparent on the far left shore. The sky is notable for its orange coloration. Emphasis is on the wildness of the natural setting.
The 2 1/4-inch cyma recta gilded frame may be original, although it is slightly oversized. Egg and dart ornament borders the sight edge, while beading appears inside the quarter-round outer edge.
Label TextEnglish-born George Beck was the first painter to work exclusively as a landscapist in America and, also, one of the earliest to cross the Allegheny Mountains. His westward move was undertaken not merely as an itinerant painter but as a permanent settler. Beck immigrated to America in 1795, landed at Norfolk, Virginia, and moved to Philadelphia in 1798. In the spring of 1804, he made an extended painting trip along the western frontier, his stops including Lexington, Kentucky, where he settled permanently by 1807.

This particular view of the Kentucky River emphasizes the area's wilderness, a theme considered eminently picturesque in the English landscape tradition. The ferry crossing in the middle left ground and two structures, barely visible on the far left bank, are the only signs of human intervention. The forcefully rushing water and unusual orange color of the sky add to the awesome aspects of Nature so compellingly captured by the artist.

This scene and another by Beck showing Boone's Knoll (CWF acc. no. 1968-502) were owned by succeeding generations descended from Major William S. Dallam (d. 1845) and his wife, Letitia Meredith Dallam (1790-1868). The Dallams are believed to have acquired the paintings, possibly directly from the artist, shortly after their 1808 marriage. The couple resided at "Winton" near Lexington, Kentucky, an estate inherited by Mrs. Dallam from her father, Major Samuel Meredith, who also was the house's builder. Colonial Williamsburg's two Beck paintings hung at "Winton" for nearly the entire length of their private ownership.

InscribedInscriptions in [ink? pencil? other?], presumably on the back of one of the strainers, are cited in Cleo Mullins's conservation treatment report of 15 February 1995 as reading "McCalls Ferry" and "Susquehanna/Susquihana [sic]". The report includes IR photos of these inscriptions. They were not discernible to the unaided eye in an examination of 2 October 2008.
The age and meaning of the inscriptions are unknown, but the wording suggests that the scene was once thought to be a Pennsylvania, not a Kentucky, one. McCall's Ferry is near Lancaster, Pennsylvania.
MarkingsThe primary support apparently bears three watermarks, one reading "Gilpin & Co", the second being a figure of a fleur-de-lis, and the third being [part of a shield?]. See photos of these in Cleo Mullins's conservation treatment report dated 15 February 1995.
ProvenanceAcc. nos. 1968-501 and 1968-502 are believed to have been acquired from the artist by Major William S. Dallam (d. 1845) and his wife, Letitia Meredith Dallam (1790-1868), shortly after the Dallams' wedding in Lexington, Kentucky, in 1808. The two paintings (and two other Becks not owned by CWF) hung at "Winton," the Kentucky estate inherited by Mrs. Dallam from her father (the builder of "Winton"), Major Samuel Meredith, during most of their private ownership.

From the aforementioned Dallams to their oldest daughter, Mrs. Robert Peter (Frances Paca Dallam)(1815-1907) of "Winton"; to their son, Hugh Peter (1854-1938) of "Winton"; to his daughter, Mrs. Howard Evans (Catherine Seaton Peter)(1895-1964) of "Winton"; to her husband, Howard Evans of "Winton" and, later, Lexington, Kentucky; purchased from Howard Evans by CWF 10 June 1968

[Source = memo of 2 October 1968 from Milo M. Naeve to the object file]