Thomas Moran Album

Thomas Moran, in the latter part of the 1870s, working at the etching table in the Newark studio that served as his base during most of that decade. This was a period of growing popularity for the medium, and Moran acquired his own etching press at this time. After 1878, many of Moran’s major etchings were derived from his impressions of East Hampton. (Archival photo, East Hampton Library)

Thomas Moran (1837-1926) in a photo portrait, c. 1922. His palette, brushes and painting tools are in the collection of the East Hampton Library.

Thomas Moran. “Autumn on Peconic Bay” 1904. Oil on canvas, 20 x 30 inches. Private collection. An example of Moran’s East Hampton themes that emphasize dramatic skies, deep space and complex receding planes constructed with contrasting tonalities and a carefully planned distribution of light. A follower of the Romantic tradition, Moran believed in conveying the subjective spirit, or mood, of a site and composed his paintings in the studio.

In his East Hampton paintings, Thomas Moran often composed the work to emphasize the region’s flat character and vast, unbroken skies.  This small, 8-inch by 8-inch tile is an unusual one-of-a-kind artifact that calls attention to Moran’s friendship with artists who were members of the Tile Club. His interest in making his first visit to East Hampton in 1878 developed from the Tile Club’s discussion of their excursion to Eastern Long Island that year.

The large, 60 light sash bay window salvaged from a New York storefront is a distinctive feature of the east facade.

North facade. The two large windows were salvaged from a New York City commercial building. The use of architectural elements from the past was in vogue among Moran’s acquaintances during the early 1880s. Providing north light for an art studio is traditional.

The Studio interior view, looking north. The elaborately carved Federal Period fireplace mantle is one of the artifacts that Moran transported from New York.

Interior, looking towards the main staircase, and providing a view of newel posts, railing and balusters salvaged from New York residences. Two graceful Ionic pilasters support the balcony which served as a family sitting area.

The picturesque turret, one of the building’s distinctive features, was designed with built-in upholstered seating. It provides views of the pond, the Osborn garden, and the long narrow Moran garden running east to west.