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 The Cascade at Tivoli (Proper)
- Artist Claude-Joseph Vernet, French, 1714 - 1789
- Medium oil on canvas
- Dimensions 38 1/2 x 53 1/4 in. (97.8 x 135.3 cm) frame: 47 1/4 × 62 1/2 × 2 1/2 in. (120 × 158.8 × 6.4 cm)
- Credit Line Museum purchase with funds provided by the Beaux Arts Krewe in honor of Mrs. Elbert (Sallye) Martin and by Mr. and Mrs. William H. Hulsey, and Martee Woodward Webb, 1985.3
- Work Type painting
- Classification Paintings
- On View
- Inscription Verso, top stretcher bar, center, typed label: [top half ripped] / No 35094 / BY APPOINTMENT / TO THE LATE KING GEORGE VI / London, 43, Old Bond Street / Piccadilly, W. Verso, top stretcher bar, upper left, typed label: [ripped] NEW & SO [ripped] LTD.
- Provenance William Danby, the younger, (d. 1833); by bequest to his wife Mrs. Danby Vernon Harcourt (d. 1879), Swinton Park, by 1865 [see note 1]; by bequest to George Danby Affleck, later known as George Danby Danby, 1879 [see note 2]; purchased by Samuel Cunliffe-Lister, 1st Lord Masham, with the Swinton Estate, 1882; inherited by to his granddaughter Molly (d. 1974) and her husband Philip Lloyd-Greame (d. 1972), who assumed the name Cunliff-Lister and in 1935 were created Viscount and Viscountess Swinton and in 1955 1st Earl and Countess of Swinton, 1924 until at least 1963 [see note 3]; probably bought by dealers Oscar and Peter Johnson, Ltd., London, by 1967, until at least 1970 [see note 4]. J.E. Bulmer, London [see note 5]; auctioned at Sotheby’s, London, December 12, 1979, lot 22. Dealer Alexander Gallery, London, 1983 [see note 7]. Private collection, New York; auctioned at Sotheby’s, New York, January 17, 1985, lot 169; purchased by Birmingham Museum of Art, Alabama, 1985
1. John Fisher, The History and Antiquities of Masham and Mashamshire…, London, 1865, p. 168, “The Cascade at Tivoli, &c.—Vernet, Joseph” is noted as in the Drawing Room. National Exhibition of Works of Art at Leeds, 1868, Leeds, 1969, no. 410, lent by Mrs. Danby Vernon- Harcourt (née Anne Holwell Gater), who had inherited Swinton Estate and the painting from her first husband William Danby, the younger, d. 1833. In 1838 she married Rear-Adm. Octavius Vernon-Harcourt (d. 1863).
2. 5th son of Sir Robert Affleck, 4th Bt., he was the grandnephew of Mary Affleck, who was married to William Danby, the elder (d. 1781), the first mother-in-law of Mrs. Danby Vernon-Harcourt.
3. Philip Cunliffe-Lister (1884-1972), 1st earl Swinton, was born Philip Lloyd-Greame but changed his name to Cunliff-Lister when his wife inherited Masham Estate from her grandfather in 1924. She was also known as Lady Masham.
4. Oscar and Peter Johnson, Ltd. organized the exhibition London, Lowndes Lodge Gallery, Pictures and Drawings from Yorkshire Houses, April 1963 - May, 1963, no. 18, ill. Lent by The Rt. Hon. The Earl and Countess of Swinton. Oscar and Peter Johnson Ltd. Then lent the painting for the exhibition London, Kenwood, The Iveagh Bequest, The Origins of Landscape Painting in England, 1967, no. 27. 1985.3 then appeared in an advertisement for the dealer in April 1970 in The Connoisseur.
5. Auctioned but bought-in at Sotheby’s, London, July 12, 1972, lot 17, bought-in at £7,500.
6. Annotation by Neil McLaren on photograph at the Getty Research Institute.
7. According to annotation on photo at the Getty Research Institute.