Open Content Program
The Birmingham Museum of art makes available digital images of works in the Museum’s collection believed to be in the public domain. Images are available free of charge for any use, commercial or non-commercial. Users do not need to contact the Museum for authorization to use these images. They are available through the Online Collection at artsbma.org/collection. See detailed instructions for specific work types below.
Identifying Open Content Images
The mission of the Birmingham Museum of Art is to spark the creativity, imagination, and liveliness of Birmingham by connecting all its citizens to the experience, meaning, and joy of art. The Museum understands that by sharing images of works online without restrictions, the BMA collection becomes more accessible to a larger audience.
For objects with images the rights status is displayed in the “credit line” section of the object information. The rights status or rights holder will be indicated. If the work is in the public domain and/or the image may be downloaded, the download icon will appear in the bottom right corner of the image area. To search the collection click here.
Works With Restrictions
For copyright-protected images that have been approved by copyright holders, a presentation-sized image is available, but can not be downloaded. A copyright statement clearly listing the name of the copyright holder is visible in the credit line area when the image is displayed. Thumbnail-sized images of copyrighted works are displayed under fair use.
When the owner of a work is impossible to determine or contact, the work is deemed an orphan work. The Museum will make thumbnails of orphan works available. If you are the representative or rights holder of an orphan work, please contact Rights and Reproductions.
Please use the following source credit when reproducing an Open Content image: Courtesy Birmingham Museum of Art, followed by the credit line provided in the object description.
Although there are no restrictions or conditions of the use of an Open Content image, the BMA would appreciate a gratis copy of any scholarly publication(s) in which the images are reproduced in order to maintain collection bibliography. Copies may be sent to the attention of:
Open Content Program
Digital Media Department
The Birmingham Museum of Art
2000 Rev. Abraham Woods Jr. Blvd
Birmingham, AL 35203
- If an image is not available under Open Content it may be because the work is still under copyright, the work is not owned by the museum, or the work has not yet been photographed to BMA standards.
- Request Images: If an image of a work is not available online or is under copyright, you may submit a request through our online request form. You may also request files in additional sizes or formats. A fee will be charged for this service.
- Our determination of public domain is made in good faith.
- Electronic records are based on historical information and may not be the Museum’s complete or current knowledge about an object. Research is ongoing.
- The ‘On View’ status may be delayed on the website by 24 hours. Please check with our Rights and Registration Office to confirm that a work of art will be on view before traveling to the Museum.
- Titles Mrs. Ogilvy (Former title)
- Artist Cornelis Jonson van Ceulen, I, Flemish, London 1593 - 1661 Utrecht
- Medium oil on panel
- Dimensions 43 1/2 × 31 1/2 × 1/4 in. (110.5 × 80 × 0.6 cm) frame: 52 3/16 × 40 1/2 × 4 5/8 in. (132.6 × 102.9 × 11.7 cm)
- Credit Line Bequest of Mrs. A. L. Fulenwider in memory of her sons, Howard M. and Leslie Fulenwider, 1954.2
- Work Type painting
- Classification Paintings
- On View
- Signature None
- Marks None
- Inscription Verso, top, across craddle slat, black marker: B.M.A.54.
- Provenance Charles Henry Wright, Collection of Halston Hall, Oswestry, Shropshire, England, as “Wife of Vandyke,” by 1891 [see note 1]; inherited by Louisa Elizabeth (Wright) Swann (1848-1922); auctioned at her sale, Mrs. Swann and Other Collections, Christie, Manson, & Woods, London, March 23, 1923, lot 24, as “Portrait of a Lady (said to be Lady van Dyck)”; purchased by "Collings," likely Frank W. Collings, Mayfair, London [see note 2]. Arthur Lewis Whitwam (1870-1940), Yorkshire, England; auctioned at his posthumous sale Old Pictures and Drawings, Christie’s, London, June 22, 1945, lot 30, as “Portrait of a Lady”; purchased by H. J. Spiller, London [see note 3]. Dealer Frost & Reed, London, by 1948, as "Mrs. Ogilvy" [see note 4]; possibly consigned to dealer Schaeffer Galleries, London, 1953 [see note 5]; by exchange from Frost & Reed to dealer Vose Galleries, Boston, January 31, 1953 [see note 6]; purchased by the Birmingham Museum of Art, Alabama, 1954
1. A description of the art collection at Halston Hall includes the painting, see Francis Leach. The county seats of Shropshire: a series of descriptive sketches, with historical and antiquarian notes, of the principal family mansions. Shrewsbury: Eddowes's Shrewsbury Journal Office, 1891. 388. The Wright family had purchased Halston Hall in 1847.
2. An annotated auction catalogue at the Getty Research Institute lists the buyer as “Collings.” Art Prices Current. London: Wm. Dawson & Sons ltd. 1922/23. 138 confirms that Collings is the name written in cursive in the Getty catalogue. This is most likely Frank W. Collings, who operated a picture gallery at 49 Old Bond Street in 1911, at 49 Dover Street in 1927, and at 23 Ryder Street as late as 1939. He was a fairly active purchaser at Christie auctions from 1907 through at least 1922.
3. According to an annotated copy of the auction catalog at the Getty Research Institute. See also Vose Galleries ledger record, see copy in the object file.
4. A photograph of 1954.2 provided by Frost & Reed to the Witt Library, Courtauld Institute of Art is dated 1948.
5. In 1973, Schaffer donated a photograph of 1954.2 to the National Gallery of Art. The photo is undated, but “Portrait of Mrs. Ogilvy” is inscribed on the reverse. In addition, the Schaeffer Archive at the Getty Research Institute includes correspondence with Frost & Reed from 1953, and from no other year. Schaeffer could have corresponded with Frost & Reed about the portrait in 1953, and perhaps took it on consignment. However, Vose Galleries purchased the portrait from Frost & Reed on January 31, 1953, so Schaeffer held the portrait for a very short period, if at all.
6. Vose Galleries stock no. 17460. Vose Galleries ledger records, see object file at the Birmingham Museum of Art.The ledger claims that the painting was “a Hungerford heirloom from Farley Castle.” This would be Farleigh Hungerford Castle in Somerset, England. This appears to contradict the known Halston Hall provenance. The sitter is here identified, without evidence, as Mrs. Ogilvy.