Sideboard — Edward William Godwin, Designed 1867, made c. 1876

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These are claims by the holder and by Wikidata, read 2026-09-04, and join nothing until an editor confirms them.

Holder's headings: furniture

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Credit: Robert Allerton, Harry and Maribel G. Blum, Mary and Leigh Block, Mary Waller Langhorne, Mrs. Siegfried G. Schmidt, Tillie C. Cohn, Richard T. Crane, Jr. Memorial, Eugene A. Davidson, Harriott A. Fox, Florence L. Notter, Kay and Frederick Krehbiel endowment funds; European Decorative Arts Purchase Fund;Irving and June Seaman Endowment Fund; through prior acquisition of the Reid Martin Estate. CC0.
Licence: CC0-1.0
Evidence: api.artic.edu artworks api: is_public_domain=true on artwork 186047 (read 2026-08-27)
Record: https://www.artic.edu/artworks/186047
IIIF: manifest

Within fifty years of Designed 1867, made c. 1876

4159

Madonna and Child and St. John, Study after Francia; Madonna and Child with St. John, Study after Dossi; Madonna and Child with St. John, Bishop Saint, St. Appolonia; Madonna and Child in Niche, Study after Sculpture by Salvator Mundy, Felice Giani, Italian, 1758–1823 — Madonna and Child and St. John, Study after Francia; Madonna and Child with St. John, Study after Dossi; Madonna and Child with St. John, Bishop Saint, St. Appolonia; Madonna and Child in Niche, Study after Sculpture by Salvator MundyFelice Giani, Italian, 1758–18231821–22Cooper Hewitt, Smithsonian Design Museum

Le Romain, Jean-Baptiste Huet, French, 1745 – 1811 — Le RomainJean-Baptiste Huet, French, 1745 – 18111821Cooper Hewitt, Smithsonian Design Museum

The Four Evangelists, Study after Giambologna, Felice Giani, Italian, 1758–1823 — The Four Evangelists, Study after GiambolognaFelice Giani, Italian, 1758–18231821–22Cooper Hewitt, Smithsonian Design Museum

Four Putti Making Music, Study after Lodovico Carracci; Christ, Study after Massari, Felice Giani, Italian, 1758–1823 — Four Putti Making Music, Study after Lodovico Carracci; Christ, Study after MassariFelice Giani, Italian, 1758–18231821–22Cooper Hewitt, Smithsonian Design Museum

Saint in Ecstacy, After Franceschini; Classicized Version of Vision of St. Catherine of Vigri, Study after Franceschini, Felice Giani, Italian, 1758–1823 — Saint in Ecstacy, After Franceschini; Classicized Version of Vision of St. Catherine of Vigri, Study after FranceschiniFelice Giani, Italian, 1758–18231821–22Cooper Hewitt, Smithsonian Design Museum

Venus and Cupid, Study after Annibale Carracci, Felice Giani, Italian, 1758–1823 — Venus and Cupid, Study after Annibale CarracciFelice Giani, Italian, 1758–18231821–22Cooper Hewitt, Smithsonian Design Museum

Three Herms, Studies after Carracci, Felice Giani, Italian, 1758–1823 — Three Herms, Studies after CarracciFelice Giani, Italian, 1758–18231821–22Cooper Hewitt, Smithsonian Design Museum

Madonna and Child in Glory, Study after Mastelletta; Angel Gabriel Driving Lucifer from Heaven, Study after Marcantonio Franceschini, Felice Giani, Italian, 1758–1823 — Madonna and Child in Glory, Study after Mastelletta; Angel Gabriel Driving Lucifer from Heaven, Study after Marcantonio FranceschiniFelice Giani, Italian, 1758–18231821–22Cooper Hewitt, Smithsonian Design Museum

Also at The Art Institute of Chicago

475

Statuette of a Female Figure, Ancient Greek — Statuette of a Female FigureAncient GreekEarly Bronze Age, 2600–2400 BCEThe Art Institute of Chicago

Ring with a Scarab Bezel, Ancient Egyptian — Ring with a Scarab BezelAncient EgyptianSecond Intermediate Period, Dynasty 15 (about 1650–1550 BCE)The Art Institute of Chicago

Fragment of a Stela of Neferhotep, Ancient Egyptian — Fragment of a Stela of NeferhotepAncient EgyptianNew Kingdom, mid-Dynasty 19, about 1240-1195 BCEThe Art Institute of Chicago

Funerary Papyrus of Tayuhenutmut, Ancient Egyptian — Funerary Papyrus of TayuhenutmutAncient EgyptianThird Intermediate Period, probably Dynasty 21 (about 1069-945 BCE)The Art Institute of Chicago

Cauldron, China — CauldronChinaWestern Zhou dynasty (1046–771 BC ), early 9th century BCThe Art Institute of Chicago

Coffin and Mummy of Paankhaenamun, Ancient Egyptian — Coffin and Mummy of PaankhaenamunAncient EgyptianThird Intermediate Period, Dynasty 22, reign of Osorkon I (about 924–889 BCE)The Art Institute of Chicago

Relief Showing the Head of a Winged Genius, Neo-Assyrian — Relief Showing the Head of a Winged GeniusNeo-AssyrianNeo–Assyrian Period, reign of King Ashurnasirpal II (883–859 BCE)The Art Institute of Chicago

Altar, Ancient Greek — AltarAncient GreekGeometric Period (800–600 BCE)The Art Institute of Chicago

In the stacks

Not yet checked3

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

Lectures on English poets, The spirit of the age · William Hazlitt
His grand work is (at least) an experlmentum cruets to show the weak sides and imperfections of human reason as the sole law of human action. By overshooting the mark, or by * flying an eagle flight, forth and right on/ he has pointed out the limit or line of separation, between what is practicable and what is barely conceivable — by imposing impossible tasks on the naked strength of the will, he has discovered how far it is or is not in our power to dispense with the illusions
0.69
Lectures on English poets, The spirit of the age · William Hazlitt
The Enquiry concerning Political Justice (it was urged by its favourers and defenders at the time, and may still be so, without either profaneness or levity) is a metaphysical and logical commentary on some of the most beautiful and striking texts of Scripture. Mr. Godwin is a mixture of the Stoic and of the Christian philosopher. To break the force of the vulgar objections and outcry that have been raised against the Modern Philosophy, as if it were a new and monstrous birth in morals, it may be worth noticing,
0.69
Lectures on English poets, The spirit of the age · William Hazlitt
of natural imagination. He at the same time admitted that Mr Godwin had improved his native sterility in this respect ; or atoned for it by incessant activity of mind and by accumulated stores of thought and powers of language. In fact, his forte is not the spon- taneous, but the voluntary exercise of talent. He fixes his ambition on a high point of excellence, and spares no pains or time in attaining it. He has less of the appearance of a man of genius, than any one who has
0.68

Made in the nineteenth century, like Sideboard.

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