Judith Carter Moale Cutting

Object Number: 
2006.27.2
Date: 
ca. 1886
Medium: 
Oil on canvas
Dimensions: 
canvas: 45 3/4 x 35 in. ( 116.2 x 88.9 cm ) frame: 59 x 48 x 6 in. ( 149.9 x 121.9 x 15.2 cm )
Gallery Label: 
This portrait of Judith Carter Moale Cutting (1843-1916) was painted from a photograph by Raimundo de Madrazo Y Garreta, a successful portrait artist from Spain who lived and worked mostly in Paris, but also established a successful studio in New York on West 45th Street catering to the city's wealthy upper class after his arrival in 1897. Both in Paris and New York, he won commissions from a number of prominent New Yorkers including the Vanderbilts, Robert L Stuart, and the Cuttings. He studied under his father, the Spanish artist Federico de Madrazo, who served as portrait painter to the Spanish Court. The Society owns three other paintings by Madrazo-two portraits and a view of a Moorish interior. Judith Carter Moale was born into one of Baltimore's old and distinguished families. In 1867, she married the grandson of Gertrude Livingston Cutting, Robert Livingston Cutting, Jr., a union that brought Judith into the heart of New York's elite upper class. Her husband was a successful stockbroker in his family's firm and was a millionaire at the time of his death. He was active in city politics and was a member of some of New York's most elite clubs. The couple lived on fashionable Fifth Avenue and had three sons, one of whom died young. Their eldest, also named Robert Livingston Cutting, Jr., was the source of some scandal. Disinherited by his parents after eloping with a stage actress, he was eventually sued by Mrs. Cutting, accused of embezzling a portion of her fortune. This imbroglio was followed closely by the press and made headlines in the New York Times. By marriage, the Cuttings were related to some of New York's best-known families, including the Ramsays, Murrays, Livingstons and Mills-all of whom are represented in the N-YHS collection--and had social ties to many others. Judith Cutting moved to Paris, without her husband, around 1885 and remained there for the next thirty years, until her death. The portrait of Mrs. Cutting was likely painted in France, and was based on her photograph. Madrazo also painted her husband's portrait in 1886 (1944.175), but in a smaller format, which the Society acquired from his niece as part of a gift of family portraits that also included a large well-executed pastel portrait in profile of Mrs. Cutting by Stanton and Butler (1944.176), as well as a number of swords-one from the Civil War-a pair of epaulets, a watercolor bearing a coat of arms for Walter Cutting, and an embroidered coat of arms.
Credit Line: 
Gift of Fine Art in memory of my late husband Orazio J. Di Rocco
Due to ongoing research, information about this object is subject to change.
Creative: Tronvig Group