A Catalogue of the Collection of American Paintings 

in The Corcoran Gallery of Art 

VOLUME I 

THE CORCORAN GALLERY OF ART 

WASHINGTON, D.C. 
A Catalogue of the Collection of 

American Paintings 

in The Corcoran Gallery of Art 

Volume 1 

PAINTERS BORN BEFORE 1850 

THE CORCORAN GALLERY OF ART 

WASHINGTON, D .C 
Copyright © 1966 By Th e Corcoran Gallery of Art, Washington, D.C. 20006 
The Board of Trustees of 

George E. Hamilton, Jr., President 

Robert V. Fleming 

Charles C. Glover, Jr. 

Corcoran Thorn, Jr. 

Katherine Morris Hall 

Frederick M. Bradley 

David E. Finley 

Gordon Gray 

David Lloyd Kreeger 

The Corcoran Gallery of Art 

William Wilson Corcoran 

69.1 

A cknowledgments 

While the need for a catalogue of the collection has been apparent for some 

time, the preparation of this publication did not actually begin until June, 1965. 

Since that time a great many individuals and institutions have assisted in completing the information contained herein. It is impossible to mention each individual and institution who has contributed to this project. But we take particular 

pleasure in recording our indebtedness to the staffs of the following institutions 

for their invaluable assistance: Th e Frick Art Reference Library, Th e District of 

Columbia Public Library, Th e Library of the National Gallery of Art, Th e Prints 

and Photographs Division, Th e Library of Congress. 

For assistance with particular research problems, and in compiling biographical information on many of the artists included in this volume, special thanks are 

due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, 

Mrs. Carter Burns, Professor Francis W. Grubar, Mr. Richard A. Herman, 

Mrs. McCook Knox, Mr. Marchal Landgren, Mrs. John R. Slidell, Mrs. Edward 

Spingarn and Mrs. Hermann Warner Williams, Jr. 

T h e preparation of the catalogue was under the general supervision of 

Mrs. Ralp h E . Phillips, Research Curator. It would be difficult adequately to 

express our appreciation and gratitude to Mrs. Phillips for the energy and scholarly application she has devoted to its preparation. Th e Editorial Committee of 

the publication consisted of Mrs. Phillips; Richard A. Madigan, Assistant Director; James Harithas, Curator; and the undersigned. Miss Ellen C. Gross, Registrar; Roger Selby, Curator of Education; Miss Ellen D. Catledge, Curatorial Assistant; Mrs. Inga W. Heck, Supervisor of Extension Services; and Geoffrey P. 

Borwick, Administrative Assistant to the Director have ably assisted the Editorial 

Committee. Other members of Th e Corcoran Gallery of Art Staff have assisted 

with numerous details and their cheerful and willing help is warmly acknowledged. We also note with appreciation the research on the paintings in the collection accomplished by our predecessors on the Staff. Russell J . Quandt, Conservator, has contributed valuable technical assistance which has been of great benefit. 

T h e photographs in this catalogue are by Victor Amato, Staff Photographer. Th e 

design and production supervision of this volume was ably carried out by Phillip 

W. Birch and Richard Chodnicki of the Geo. W. King Printing Co. 

H . W. W., JR . 

Table of Contents 

Acknowledgments 

Introduction 

Notes on the Catalogue 

Unidentified Painter 17 

Unidentified Painter 17 

John Smibert 17 

Robert Feke 18 

John Wollaston 19 

Jeremiah Theus 21 

Matthew Pratt 21 

Benjamin West 22 

John Singleton Copley 24 

James Peale 26 

Ralph Earl 27 

Gilbert Stuart 28 

Joseph Wright 30 

John Trumbull 31 

Unidentified Painter 32 

Christian Gullager 32 

Edward Savage 33 

Unidentified Painter 35 

William Jennys 35 

Charles Peale Polk 35 

Robert Salmon 37 

John Vanderlyn 38 

Edward Greene Malbone 39 

Rembrandt Peale 39 

Washington Allston 42 

Thomas Birch 44 
John Wesley Jarvis 45 

Thomas Sully 46 

Samuel Lovett Waldo 48 

Unidentified Painter 49 

Charles Bird King 49 

James Frothingham 51 

William Edward West 51 

Samuel Finley Breese Morse 52 

Alvan Fisher 53 

Chester Harding 54 

Unidentified Painter 55 

Thomas Doughty 55 

John Neagle 57 

Asher Brown Durand 58 

Henry Inman 60 

Unidentified Painter 61 

Thomas Cole 61 

Robert Matthew Sully 64 

Robert Walter Weir. 64 

Fitz Hugh Lane 65 

Constantino Brumidi 66 

William Matthew Prior 66 

Unidentified Painter 67 

John Kendrick Fisher 67 

William James Hubard 68 

William Sidney Mount 68 

James Reid Lambdin 69 

Manuel Joachim de Franca 70 

Washington Blanchard 70 

Walter M. Oddie 71 

Seth Eastman 71 

John F. Francis 72 

Unidentified Painter with "JW" Monogram 73 

William Brenton Boggs 73 

Unidentified Painter 74 

Alfred Jacob Miller 74 

George Caleb Bingham 76 

John William Casilear 77 

William MacLeod 78 

Charles Loring Elliott 79 

Unidentified Painter 81 

Jane Stuart 81 

Louis Lang 81 

William (Tylee) Ranney 82 

Jennie Bellows Millard 83 

Unidentified Painter 83 

David Norslup (?) 84 

Christopher Pearse Cranch 85 

George Peter Alexander Healy 86 

Thomas Hewes Hinckley 92 

John Mix Stanley 93 

William E . Winner 93 

Emanuel Gottlieb Leutze 94 

John Frederick Kensett 96 

Regis Francois Gignoux 98 

Daniel Huntington 98 

Thomas Prichard Rossiter 100 

Thomas LeClear 101 

James Hope 101 

Henry Peters Gray 101 

James Walker 102 

George Douglass Brewerton 102 
Worthingto

n Whittredge 103 

William T. Mathews 105 

Henry Ulke 105 

George Fuller 106 

Jacob Hart Lazarus• • 106 

William Louis Sonntag 107 

Sanford Robinson Gifford 108 

William Garl Brown, Jr 109 

Jasper Francis Cropsey 109 

Johannes Adam Simon Oertel 110 

Paul WeberH I 

William Morris Hunt 111 

Nelson Augustus Moore 112 

Jonathan Eastman Johnson 112 

Richard Caton Woodville 115 

George Inness 116 

Frederick Rondel 120 

Frederic Edwin Church 120 

Frank Blackwell Mayer 122 

Robert Loftin Newman 123 

Benjamin Franklin Reinhart 123 

Severin Roesen 124 

Albert Bierstadt 125 

John George Brown 128 

Louis Maurer 129 

John Adams Elder 129 

William Trost Richards 130 

James David Smillie 130 

James Abbott McNeill Whistler 131 

Horace Bonham 132 

William Stanle

y Haseltine 133 

John La Farge 134 

Eliphalet Frazer Andrews 134 

Alexander Helwig Wyant 136 

Homer Dodge Martin 136 

Winslow Homer 137 

Elihu Vedder 139 

Max Weyl 139 

Carl Christ Brenner 140 

Robert Wylie 140 

William Keith 140 

Robert Swain Gifford 142 

William Gedney Bunce 142 

George Henry Smillie 142 

Peter Moran 143 

Edward Lamson Henry 143 

S. Jerom

e Uhl, Sr 145 

EdmundC. Messer 145 

William Sartain 145 

Carl Gutherz 146 

Thomas Eakins 147 

Augustus George Heaton 149 

Howard Helmick 149 

Mary Stevenson Cassatt 151 

James Edward Barclay 151 

Albert Pinkham Ryder 152 

Ralph Albert Blakelock 153 

Richard Norris Brooke 156 

Frank Knox Morton Rehn 156 

Frank Duveneck 157 

William Merritt Chase 158 

Abbott Handerson Thayer 159 
Introduction 

William Wilson Corcoran, Founder of the Gallery which bears his name, was 

a man of vision. He dedicated his museum to "the encouragement of American 

genius," a step consistent with his role as one of the earliest collectors and sponsors of contemporary American art. 

Mr. Corcoran, a native of Georgetown where he was born in 1798, went to 

work for the Bank of the United States in 1826. I n 1836 he resigned to found his 

own brokerage house and in 1840, in partnership with George W. Riggs, purchased the Bank of the United States. Mr. Corcoran retired from banking in 1854 

to concentrate on his philanthropic interests until his death in 1888 at the age 

of 89. 

Greatly appreciating the work of contemporary architects, Mr. Corcoran commissioned James Renwick to design the first building to house his private collection. Thi s building, in the style of Loui s XIII , was constructed at the corner of 

17th Street and Pennsylvania Avenue. It was among the first in the United States 

planned exclusively as an art museum. Th e uncompleted building was requisitioned by the Quartermaster-General's Department during the Civil War, and 

four years elapsed after the end of the war before the structure was returned to 

Mr. Corcoran to fulfill its original purpose. O n May 19, 1869, he deeded the 

building, grounds, his private collection and an endowment fund to a selfperpetuating Board of Trustees. Th e institution was chartered by Act of Congress 

on May 24, 1870. 

As the Gallery's collections increased it became apparent to the Board of 

Trustees that the young museum was outgrowing the original structure. O n 

April 3, 1891 the site of the present building was purchased. Th e architect of the 

new building was Ernest Flagg, who had made a profound study of the architectural requirements of an art museum. Hi s plans for the Corcoran proved to be 

extraordinarily advanced for their time. Ground was broken on June 26, 1893, 

the cornerstone was laid on May 10, 1894, and on January 8, 1897 the building 

was completed. Th e large wing added to house the collection bequeathed by 

William Andrews Clark was designed by Charles A. Piatt and opened on 

March 10, 1928. 

T h e nucleus of the collection of American paintings in Th e Corcoran Gallery of Art was formed by its Founder early in the second half of the nineteenth 

century. Twenty-three paintings were catalogued in 1855 by Charles Lanman, a 

landscape painter and critic. These, in addition to other works of art, were trans-
ferred to the Board of Trustees by Mr. Corcoran in 1869. Since that time, the 

Directors and Boards of Trustees have greatly augmented this collection of paintings, which now numbers five hundred and seventy-five works exclusive of 

watercolors. 

I n accordance with the wishes of Mr. Corcoran, the Directors and Staff of the 

Gallery have always placed special emphasis on collecting and exhibiting the 

work of American artists. Today the Gallery is a major center of American art 

in Washington and a focal point in the Capital where visitors from all parts of 

the nation and from foreign lands can discover the rich cultural heritage in 

American art and view its complete development. A concerted effort has been 

made during the last two decades to make the collection comprehensive in its 

coverage of art of the 18th, 19th and 20th centuries, and the collection now includes examples of the work of almost all major American painters. I n some cases 

an artist is represented by a group of works which demonstrates his development 

throughout his career and which also shows the variety of his subject matter. I n 

addition to the prominent artists included in the collection, there are, of course, 

painters who are less well known. These holdings are representative of all phases 

of American artistic creativity. 

T h e last catalogue of the permanent collection of American paintings, which 

was published in 1947, was essentially a check list; the present volume may be 

viewed rightfully as the first complete catalogue of the collection to be published. 

Thi s is the first of two volumes projected to cover the entire scope of the Gallery's 

holdings. It is devoted to artists born before 1850. Th e second volume will 

catalogue the paintings of those artists born after 1850. 

T o completely document the Corcoran's extensive holdings of American art, 

catalogues of the sculpture, the watercolors and drawings, and a check list of the 

prints included in the permanent collection are planned for future publication. 

I n the second century of its existence, the Corcoran remains a private institution, receiving no Federal appropriations or financial support from Th e District 

of Columbia. Further enrichment of the permanent collection depends upon private gifts, bequests and on purchases from the limited income from the Gallery's 

invested funds which can be applied to this purpose. Major works by artists not 

represented in the Gallery's collection are being constantly added and, except for 

examples of seventeenth century painting, most gaps are being filled. These and 

subsequent additions will greatly enrich the Gallery's holdings and contribute 

further to the diversity and depth of the collection. 

Hermann Warner Williams, Jr. 

Director 
Notes On The Catalogue 

This catalogue is arranged chronologically by the birthdate of the 

artists. A short biography follows each artist's name and dates. The 

works of each artist are listed in chronological sequence. Unidentified 

artists' works have been catalogued at the approximate date of execution. Major works have been illustrated and appear, with few exceptions, on the same page as the catalogue entry. All reproductions are 

identified by title and accession number. Each painting is catalogued 

by title, exact or approximate date if known, measurement in inches, 

height preceding width. Unless specified, all works are in oil on canvas. 

Previous collections, where known, have been listed followed by selected 

references to publications pertaining to the work. The source of the 

acquisition and the date is followed by the accession number. In addition, some aspects of a factual rather than interpretive nature of many 

of the works are discussed in a note. A -f after the title indicates that 

the work has been given to the Gallery subject to a life estate in the 

donor. 

In the course of research for this catalogue some paintings which 

were previously unidentified have been attributed to artists on the basis 

of style or documentary evidence which has definitely established the 

identity of the artist. In all cases, where the identity of the artist is not 

fully substantiated, an appropriate indication has been made. In a number of cases the identity of a sitter or the location of the scene portrayed 

has been changed on the basis of recent research. 
I 

Painters born before 1850 

O n the basis of style, it is reasonable to assume that the artist may have 

been one of the Patroon painters of the Hudson River valley. 

Unidentified Painter 

(c. 1718) 

PORTRAI T O F A GENTLEMA N c. 1718 

30-1/8 x 25-3/4 

COLL. : Massachusetts Historical Society, Boston 

REF. : C.G.A. Bull., Vol. 4, No. 3 (July 1951), p. 26, ill. 

PURCHASE: Gallery Fund, 1950 50.21 

Thi s portrait was in private hands in the Boston area in 1845, so it is tempting to 

presume that it was painted there. However, details of the wig and the clear and firm 

delineation of features suggest that the artist may have been one of the Patroon 

painters of the Hudson River valley. The pose, arrangement of dress and the background spandrels indicate that the limner relied on European engravings. The wig, as 

well as the style and technique of the painting, suggests a date of 1718 or shortly 

thereafter. 

MRS. RUSSEL L c. 1720 

30 x 25 

COLL. : descendants of sitter to Charles Pelham Curtis, Boston 

PURCHASE: Gallery Fund, 1955 55.96 

Thi s painting has been related to the Pollard Limner by some scholars; to the unidentified artist who painted DOROTH Y QUINCY (MRS. EDWARD JACKSON) , now in the collection of the Massachusetts Historical Society, by others; a third group sees nothing of 

New England in the portrait, and would place the artist in the Hudson River valley. 

Portrait of a Gentleman 50.21 

Unidentified Painter 

(c. 1720) 

Born in Edinburgh, Scotland, John Smibert served as an apprentice to a 

house painter before leaving for London in about 1700. There he supported himself as a coach painter and as a copyist of old masters while 

studying at the Great Queen Street Academy. He spent three years in 

Italy, where he copied the works of Raphael, Titia n and Van Dyck and 

painted some portraits from life. While in Florence, he met George 

Berkeley, the English philosopher, who was traveling as a tutor to the son 

of the Bishop of Clogher. 

Returning to London in 1720, Smibert worked successfully for eight 

years as a portrait painter. He renewed his friendship with Berkeley, who 

was planning to found a missionary college in Bermuda to convert and 

educate the Indians, and in 1728 joined Berkeley's party, which stopped 

at Newport, Rhode Island, en route to Bermuda to establish a provisions 

supply center for the college. Feeling that Berkeley's project was limited 

without further financial support, Smibert decided to remain in the colonies and left for Boston in 1729. He quickly prospered as a painter and 

dealer in art supplies and prints. He exhibited his copies of old masters 

and painted portraits for more than ten years without serious competition. Hi s marriage in 1730 to Mary Williams brought social connections, 

a dowry and seven children. I n 1740 he was chosen to design Faneuil 

Mrs. Russell 55.96 

John Smibert 

(1688-1751) 

17 
Hall, built by Peter Faneuil to serve as Boston's town meeting house and 

market. 

He died in Boston in 1751. Smibert's career encouraged and greatly 

influenced younger artists in the New England area such as Robert Feke, 

John Greenwood and John Singleton Copley. 

PETE R FANEUI L c. 1742 

49- 3/4 x 40 

COLL. : Mrs. John Jones (Mary Ann Faneuil, sister of Peter Faneuil) ; Edward Jones; 

Charles Jones; Peter Faneuil Jones; Miss Frances Jones 

REF. : H.W. Foote, John Smibert, 1950, p. 152, No. 3 

PURCHASE: William A. Clark Fund and gift of Orme Wilson, 1957 57.12 

Peter Faneuil (1700-1743), the wealthy Boston merchant and shipbuilder who was the 

donor to that city of Faneuil Hall, was painted by this artist at least twice. The 

Corcoran version was probably done about 1742. Another full-length version, commissioned by the grateful citizens of Boston, was damaged by fire in 1761 and was either 

restored or repainted by Henry Sargent in 1807. It still hangs in Faneuil Hall. 

Robert Feke, the son of a Baptist preacher and descendant of a family 

line in America as early as 1630, was born at Oyster Bay, Long Island. 

H i s earliest extant painting, a self-portrait, is dated about 1725. Ther e is 

a dearth of documentation regarding this artist, but it is believed that 

sometime between 1726-1741 he was a mariner by profession. I n 1741, 

evidence places him in Boston, where it is thought he met John Smibert. 

Although Smibert's influence is recognizable in Feke's painting, there is 

no proof that Feke was given instruction by the older artist. O n the 

contrary, it is generally assumed that he was self-taught. From the time 

of his marriage in 1742, Feke made his residence at Newport, Rhode 

Island, despite recorded travels and extended stays in Philadelphia, Boston and New York. It appears that at this time he gave up the sea and 

devoted himself to being a professional artist, for almost all of about 

seventy extant works are dated in the 1740's. About 1751, Feke left New 

England for the last time. It has often been stated that he went to Bermuda to recover from an illness and died there shortly after arrival, but 

there is no evidence to validate this story. Ther e is no record of Feke 

having students; however, reflections of his style are found in the early 

paintings of John Hesselius. 

SIMON PEASE c. 1744-1747 

50- 1/2'x 40 

COLL. : descendants of the sitter; Mr. and Mrs. Myron C . Taylor, New York 

REF. : R . Huntley, "Another Robert Feke Portrait Discovered," The American Collector, Vol. VII, No. 1 (Feb. 1938) , p. 5, ill.; Old and New England, Museum of Art, 

Rhode Island School of Design, 1945, No. 35, ill.; Robert Feke, Whitney Museum of 

American Art, 1946, No. 20 

PURCHASE: Gallery Fund, William A. Clark Fund and Anna E . Clark Fund, 1965 65.35 

Simon Pease (1695-1769) was born in Newport, Rhode Island, son of William Pease, a 

prominent merchant whose name appears in the Newport Annals. Simon continued in 

his father's business and took an active part in the cultural development of the city. 

He was made a Freeman of the Colony in 1718, and in 1729 represented Newport as 

Deputy in the General Assembly of Rhode Island, serving in that body in different 

capacities until 1757. When the Rhode Island University (now Brown University) was 

formed in 1764, he was one of the incorporators and trustees. He died at the age of 

seventy-three. 

18 

Peter Faneuil 57.12 

Robert Feke 

(born c. 1706; died c. 1752) 

Simon Pease 65.35 
John Wollaston was probably the son of J . Woolaston, an English 

painter and musician of the early 18th century. Little biographical material exists, but he must have trained in one of the several schools specializing in "drapery painting" in London. Hi s first known signed painting is dated 1736. He came to America in 1749 and during the next 

decade painted over three hundred portraits. He worked about three 

years in New York, was in the area of Annapolis during 1753 and 1754, 

in Virginia from 1755-1757, and briefly in Philadelphia in 1758, before 

leaving the colonies for India to accept a post as "writer" for the East 

India Company in Bengal. He was back in America in 1767, remaining 

only a few months at Charleston, South Carolina, before returning to 

England where he is presumed to have died shortly after. Wollaston exerted a profound influence on his American contemporaries, especially 

on Benjamin West, Matthew Pratt and the younger Hesselius. 

MRS. SIDNE Y BREES E (ELIZABET H PENKETHMAN ) c. 1750 

3 0 x 25-1/8 

INSCRIBED ON OLD STRETCHER: Painted in 1759 

COLL. : descendants of the sitter; Robert Palmiter, Bouckville, N.Y. 

REF. : E.B. Swenson, "Two Early American Portraits," C.G.A. Bull., Vol. 1, No. 1 (Oct. 

1947), pp. 1 ff., ill. 

PURCHASE: William A. Clark Fund, 1947 47.8 

Elizabeth Penkethman, daughter of a British Captain, was born in the city of New 

York in 1710 and married Sidney Breese, merchant, in 1733. She died in 1779. Thi s 

portrait was formerly dated 1759 because of an inscription on the old stretcher. Since 

it is known, however, that Wollaston left America for India in March 1759, not to 

return until 1767, the painting should probably be placed in his New York period, 

1749-1752/3. 

COLONE L ABRAHA M BARNE S 1753/54 

50-1/4 x 40-1/4 

COLL. : Mrs. Carlos Cusachs, direct descendant; Mrs. Mason Porter Cusachs, Annapolis; 

Mrs. Robert Glendinning, Annapolis; Mr. and Mrs. Breckinridge Long, Laurel, Md. 

REF. : T . Bolton and H . L. Binsse, "Wollaston, an Early American Portrait Manufacturer," The Antiquarian, Vol. XV I (June 1931), p. 5 0 

PURCHASE: Gallery Fund and gift of Orme Wilson, 1959 59.57 

Colonel Abraham Barnes (1715-1778) , born in Virginia, was granted a large estate in 

Leonardtown, Maryland, in 1774, where he built "Tudor Hall" which still exists as 

St. Mary's Memorial Library. He was a prosperous shipper and became active in public 

service as early as 1739, when he was serving as Justice in the St. Mary's County Court. 

He represented St. Mary's County in the General Assembly of Maryland from 1745-54, 

when he was chosen Delegate from that body for the Albany Congress. In 1746, then 

a Major, he was appointed to recruit men for the King's Army against the French. He 

was given his Colonelcy in 1756. But by 1774, he was no longer supporting the Crown, 

serving as Delegate to the Maryland Convention of that year and as Chairman of St. 

Mary's Committee of Correspondence in 1775. It was while Wollaston was painting in 

Annapolis, during the years 1753-54, that Colonel Barnes may have commissioned this 

portrait. 

John Wollaston 

(active 1736-1767) 

Mrs. Sidney Breese 47.8 

19 
Colone

l Abraham Barnes 

20 

59.57 
T h e son of Swiss Protestants who immigrated to South Carolina in 1735, 

Theus as a young man left his family in Orangeburgh Township to live 

in Charleston. Hi s presence there is first noted in an advertisement 

placed in the September 6, 1740 issue of the South-Carolina Gazette, 

which stated his availability as a painter of landscapes, portraits and 

"crests and Coats of Arms for Coaches or Chaises." Ther e is nothing 

recorded of Theus ' early training. Tha t he enjoyed a profitable career in 

Charleston is well attested by the more than fifty extant portraits which 

are known to be by his hand. He held drawing classes and was an active 

member of various social and political groups. He married twice, first in 

1741 and again in 1755, one year after his first wife died. Upon his death 

in 1774, the South-Carolina Gazette of May 23 summed up his career in 

these words: "On Wednesday last died a very ingenious and honest man, 

Mr. Jeremiah Theus , who had followed the Business of a Portrait 

Painter here upwards of 30 Years." 

MR. JONES c. 1750 

29-5/8 x 24-5/8 

PENCIL INSCRIPTION ON CANVAS BEFORE RELINING: Mr. Jones/Son of Samuel Jones/and 

Mary Odinsell (sic) / of EXETER PLANTATION/near Charleston/ S.C. 

COLL. : Mrs. Mary Sully and Andre Rueff, Brooklyn, who had acquired portrait from 

the family; Ruth Sully Curtis 

PURCHASE: Gallery Fund, 1949 49.62

This portrait presumably represents one of the three sons of Samuel Jones and Mary 

Odingsell of Exeter Plantation, near Charleston, South Carolina. Portraits of all three 

survive. One, dated c 1750, is in the collection of the Brooklyn Museum; the other is 

in a private collection. In no case has the identification of the sitter been established, 

although their names are known to be Samuel, John and Charles. 

Matthew Pratt was born in Philadelphia where he spent most of his 

life. I n 1749 he was apprenticed to his uncle, James Claypoole, limner 

and sign painter. From his own notes, we learn that he was painting 

portraits in Philadelphia from 1758-1764, spending some time in New 

York. He made two trips to England early in his career, first in 1764, 

studying for two and a half years with Benjamin West and painting 

another year and a half in Bristol, and again in 1770. For the most part, 

however, he carried on his work in Philadelphia, in later life teaching 

drawing and painting as well as accepting commissions, with only brief 

sojourns in New York and Virginia. He died in Philadelphia in 1805. 

Matthew Pratt 

(1734-1805) 

ELIZABET H STEVEN S CARL E c. 1790 

38 x 31-1/2 

COLL. : Mrs. Sarah Phillips Stevens, a descendant of the sitter; Fred T . Bechtel, nephew 

of Mrs. Stevens; Mrs. Fred T . Bechtel 

REF. : C.G.A. Bull., Vol. 4, No. 3 (July 1951) , pp. 4-5, ill. 

PURCHASE: Gallery Fund, 1950 50.20

Elizabeth Stevens, daughter of Thomas and Hannah Smith Stevens, was born August 

13, 1761. Her family lived on the road from Trenton to Princeton, and in 1776 they 

were in danger from marauding British troops. When the soldiers reached the Stevens 

home, Elizabeth's mother tried to hide her. However, Captain Israel Carle, a Hessian 

officer, saw her, fell in love at first sight, saved the home and family and returned 

after the war to marry her. She died on November 12, 1790. 

Elizabeth Stevens Carle 50.20 

21 

Jeremiah Theus 

(c. 1719-1774) 
I n 1760, at the age of twenty-one, Benjamin West arrived in Rome from 

America to study painting. By 1763 he was established in London as a 

painter of historical and mythological scenes, having come under the 

influence of Johann Winckelmann's studies of classical art. West's stature 

in England as an artist enjoying royal patronage made his studio the 

center for American artists in London. Charles Willson Peale, John Singleton Copley, Gilbert Stuart, Thomas Sully, Matthew Pratt and many 

other young Americans sought West's assistance; in fact, West's studio 

has been called the first American art school because of his influence as 

a teacher and sponsor. 

Benjamin West was born in Chester County, Pennsylvania, near Philadelphia, in 1738. At an early age he met William Williams, an itinerant 

English painter who appeared in Philadelphia at intervals between 1740 

and 1770 and who, taking an interest in the young man, introduced him 

to books on academic theories of art. West established himself in Philadelphia in the fall of 1756 after a short period of painting in Lancaster, 

Pennsylvania. He had no formal training, his sources, in addition to the 

paintings of Robert Feke and William Williams, being the readily available woodcuts and engravings of paintings by European masters. Th e 

visit of John Wollaston to Philadelphia in 1758 brought additional firsthand knowledge, but West was more interested, like Copley, in history 

painting than in portraiture, and thus was not greatly impressed by Wollaston's elegant style. Sometime in 1758 West moved to New York City in 

search of a more lucrative market for portraits. He found there a patron 

who gave him money for a trip to Europe, and, with the encouragement 

of his Philadelphian friends, he sailed for Rome in 1759. Hi s eventual 

rise to the Presidency of the Royal Academy in London, a position which 

he held from 1792 until his death, and his role as harbinger of Neo-Classicism and romantic art in England are important in the study of American art not only because he was the first American to achieve international renown, but also because of his generous patronage of all younger 

American artists who sought his aid. 

CUPI D STUN G BY A B E E 1774 

47-3/4 x 48-7/8 

SIGNED, 1.1.: B. West-11774-

COLL. : Mr. Vesey, Ireland; Sir Stuart M. Samuel, Bart., London; Mrs. E . Lovette West, 

Bronxville; Mrs. Robert A. Beyers, Dallas 

REF. : The Exhibition of the Royal Academy, 1775, the Seventh, p. 30, No. 335; J . Gait, 

The Life, Studies, and Works of Benjamin West . . ., London, 1820, p. 223 

GIFT : Bernice West Beyers, 1963 63.29.1

T he source of the subject of this painting is undoubtedly a poem from the collection 

of "Anacreontics," which at one time were ascribed to the Greek poet, Anacreon. 

Condensed in prose, it moralizes: Cupid, complaining of the pain of a bee's sting, is 

reminded by his mother that his darts cause much greater pain. West may have read 

it in the original Greek, or he may have known the translation published in 1651 by 

Thomas Stanley. Thi s painting, when exhibited at the Royal Academy in 1775, was 

entitled CUPID STUNG BY B E E IS CHERISHED BY HIS MOTHER. 

22 

Cupid Stung by a Bee 63.29.1 

Benjamin West 

(1738-1820) 
CUPI D AND PSYCH E 1808 

54-1/4 x 56-1/4 

SIGNED, l.r.: B. West-1808 

COLL. : unidentified English collection 

REF. : G. Evans, Benjamin West and the Taste of his Times, 1959, pp. 91 ff., ill. 

PURCHASE: Gallery Fund, 1910 10.1 

This painting portrays the dramatic moment when Cupid rescues his lover, Psyche, 

who has fainted from the scent of the ointment of beauty that lies in a flask at her 

feet—the climax of a series of trials Psyche has suffered through the jealousy of Venus, 

as told by Apuleius in Metamorphoses. 

TELEMACHU S AND CALYPSO c. 1809 

41-1/4 x 58-3/4 

COLL. : Mrs. E . Lovette West, Bronxville; Mrs. Robert A. Beyers, Dallas 

REF. : J . Gait, The Life, Studies, and Works of Benjamin West . . ., London, 1820, p. 

221. 

GIFT : Bernice West Beyers, 1963 63.29.2 

Fenelon's moralistic novel, Les aventures de Telemaque, fits d'Ulysse, published in 

1699, provides the episode West depicts. In searching for Ulysses, Telemachus, accompanied by Minerva in the guise of Mentor, is shipwrecked off Calypso's island. Ulysses 

has already left, and Calypso, inconsolable over his departure, tries to hold Telemachus, tempting him with the promise of immortality. 

Telemachus and Calypso 63.29.2 

23 
John Singleton Copley, born in Boston, received his first introduction to 

mezzotints and portraits when, in 1748, after his father's death, his 

mother married Peter Pelham, the English engraver. Copley inherited 

Pelham's workshop and tools at his step-father's death in 1751 and soon 

began experimenting in the art of engraving. Th e earliest extant portrait 

by Copley is a mezzotint of the Reverend William Welsteed, made in 

1753 by altering a plate of Peter Pelham's found in the studio. Hi s early 

portraits show a strong reliance on such mezzotints and on the paintings 

of John Greenwood and Robert Feke. Copley also knew of Smibert's 

collection of copies of old masters, although this collection seems to have 

had more influence on his dreams to study in Europe than on his actual 

portrait style. 

Joseph Blackburn, the English portraitist, visited Boston from 1755 to 

1762, and his influence gave Copley the finishing touches for grand portraits in the English style. I n 1765 Copley sent BO Y WIT H A SQUIRREL , the 

portrait of his half-brother, Henry Pelham, to the Society of Artists Exhibition in London, and enthusiastic praise from Joshua Reynolds and 

Benjamin West made him eager to go to England; only his financial 

success in the colonies made him postpone the decision to move. 

I n 1769 he married the daughter of a wealthy Boston merchant who later 

suffered a financial setback when his consignment of tea was thrown into 

the harbor during the Boston Te a Party. Despite Copley's desire to remain neutral in the increasing hostilities between the colonies and England, his family and business connections forced him to side with the 

loyalists, and he finally sailed to England without his family in 1774. 

The y joined him in London in 1775. 

Copley never returned to America. A trip to France and Italy in 1774 

and 1775, before he settled in London, gave him the opportunity to copy 

paintings in European galleries. Supporting his family by painting portraits, Copley now began working on the great history paintings he had 

dreamed of. I n 1783 he became a Member of the Royal Academy. He 

died in London in 1815. 

COLONE L JACOB FOWL E c. 1763 

5 0 x 40-1/2 

COLL. : William Fowle, Alexandria; Miss Mary H . Daingerfield, Alexandria—direct 

descendants of the sitter 

REF. : B.N. Parker and A.B. Wheeler, John Singleton Copley, American Portraits, Museum of Fine Arts, 1938, pp. 73-4, ill.; American Processional, 1492-1900, C.G.A., 1950, 

No. 35, pp. 55 and 235, ill. 

GIFT : Mary H . Daingerfield in memory of Francis Lee Daingerfield, 1937 37.3 

Jacob Fowle (or Fowler) is presumably the son of Jacob Fowle and Susanna Nick, 

whose birthdate is recorded in the Marblehead records of 1704. He was still living in 

1765 when his son's name is recorded as Jacob Fowler, Jr. (born 1741) in the marriage 

registry of Marblehead. Because of the profusion of Jacobs in the Fowle geneology, it 

is difficult to sort out biographical details, but it is likely that our Jacob Fowle, as 

one of Marblehead's leading merchants, served on a committee in 1755 to protest 

British excise duties and, as a Colonel, commanded a militia regiment in 1773. It is 

not clear whether an obituary of 1778 refers to father or to son, but it is evident that 

both were dead by that date. 

24 

John Singleton 

Copley 

(1738-1815) 
Colone

l Jacob Fowle 3 7

3

25 
James Peale, the youngest brother of Charles Willson Peale, was born in 

Chestertown, Maryland, and lived during the early part of his life in 

Annapolis. Th e first half of his career as a portrait and still-life painter 

was closely connected with that of his brother. Not only did he learn the 

arts of watercolor and oil painting from Charles Willson Peale, but, 

from 1779 to 1786, he assisted his brother in Philadelphia, both in painting and in work at the elder brother's museum. 

I n 1782 he married Mary Claypoole, the daughter of the artist James 

Claypoole of Philadelphia. Four years later the two Peale brothers divided their business, and James was to become a specialist in miniatures. 

He continued, however, to paint full-size portraits and worked also on 

historical subjects and landscapes. At least five of his seven children, 

including James Jr. and Sarah Miriam, also became painters. 

I n 1818, James Peale's eyes began to fail, possibly because of the strain of 

painting miniatures. He continued to work, however, living in Philadelphia until his death in 1831. 

MRS. JOH N P. V AN NESS (MARCIA BURNS) 1797 

2-3/4 x 2-1/2, watercolor on ivory 

SIGNED: JP/1797 

COLL. : Mrs. Philip Hinkle, Cincinnati, Ohio 

REF. : T . Bolton, Early American Portrait Painters in Miniature, 1921, p. 126, No. 32 

GIFT : Mrs. Philip Hinkle, 1897 97.8

A.T. KERR , ESQ., 1798 

3 x 2-1/2, watercolor on ivory 

SIGNED: JP/1798 

COLL. : Sarah A. Hagner, Washington 

BEQUEST: Sarah A. Hagner, 1898 98.4

PORTRAI T OF A GENTLEMA N 1817 

35-3/4 x 27-3/4 

SIGNED, l.r.: Ja» Peale/1817 

COLL. : descendants of sitter to Mrs. Robert Frazer, 1895; Margaret Frazer, Washington 

REF. : C.G.A. Bull, Vol. 5, No. 3 (June 1952) , p. 22 

PURCHASE: Gallery Fund, 1951 51.24

Companion piece to the following work 

PORTRAI T OF A LAD Y c. 1817 

35-3/4 x 28-1/8 

COLL. : descendants of sitter to Mrs. Robert Frazer, 1895; Margaret Frazer, Washington 

REF. : C.G.A. Bull., Vol. 5, No. 3 (June 1952), p. 22 

PURCHASE: Gallery Fund, 1951 51.25

Companion piece to the preceding portrait 

26 

James Peale 

(1749-1831) 

Portrait of a Gentleman 51.24 

Portrait of a Lady 51.25 
FRUI T c. 1820 

17-1/8 x 27 

REF. : C.G.A. Bull., Vol. 5, No. 3 (June 1952), p. 5, ill.; Masterpieces of The C.G.A., 

1959, p. 41, ill. 

PURCHASE: William A. Clark Fund, 1951 51.21 

James Peale painted several versions of this still-life subject. They vary in slight 

detail—in number of vine tendrils and in the treatment of soft spots on the apples 

and pears—but are essentially similar in general composition. 

Ralph Earl 

(1751-1801) 

Ralph Earl was born in Worcester County, Massachusetts. Nothing is 

known of his early training as a portrait and landscape painter. I n 1775, 

a year after his marriage to Sarah Gates, Earl opened a studio in New 

Haven, Connecticut. Hi s sketches of Lexington and Concord in that year 

formed the basis for four historical paintings of the Revolutionary Wa r 

which were engraved by Amos Doolittle of New Haven. I n 1778 Earl left 

for England, abandoning his American wife. There he received some 

training from Benjamin West. Hi s loyalist sympathies and his success as 

a portrait painter kept him in England until 1785. He exhibited at the 

Royal Academy and painted in the County of Norfolk as well as in 

London. During that period he remarried. I n 1785 Earl and his English 

wife returned to western Connecticut, where he completed a large 

number of portraits. He also painted landscapes of New York City and 

of various locations in New England. Hi s portrait style seems to have 

inspired a number of followers in the Connecticut area. Earl died in 

Bolton, Connecticut, in 1801. 

27 

Fruit 51.21 
TIMOTH Y GAY c. 1800 

24-1/2 x 19-1/2 

COLL. : descendants of the sitter to granddaughter, Mrs. H . B. Williams, Dorchester, 

Mass., 1907; Mr. and Mrs. Francis Sydney Smithers 

BEQUEST: Mabel Stevens Smithers, 1952, The Francis Sydney Smithers Memorial 52.8 

Timothy Gay was born in 1795, son of Timothy and Jane Henry Gay of Boston. Little 

is known of his life beyond the fact that he married Mary Smith of Roxbury, Massachusetts, in 1822 and that he inherited this portrait on his mother's death in 1824. 

Gilbert Stuart, the prolific portrait painter whose portraits of George 

Washington alone number almost one hundred, was born in 1755 of 

humble parents in North Kingstown, Rhode Island, and reared in Newport. As a youth, he was noticed by the Scottish painter, Cosmo Alexander, who undertook his training in Newport and in Edinburgh. On 

Alexander's sudden death, Stuart came home from Scotland, but managed to return to London in 1775 where he entered the studio of Benjamin West in 1777. By 1782 he had his own studio and enjoyed considerable success, but his extravagance and financial carelessness forced him 

and his family to leave London in 1787. Th e next five years were spent 

in Ireland. Th e same financial pattern made his departure necessary, and 

he returned to the United States in 1792. Here he painted in New York 

(1793-94), Philadelphia and Germantown (1794-1803). Washington 

(1803-05) and eventually in Boston, where he died in 1828. Hi s American 

years were most successful, with commissions coming from the political 

and social elite of the country. He was generous with help and advice to 

younger artists and exerted a strong influence on the development of 

American portrait painting in the early nineteenth century. 

GEORG E WASHINGTO N 

29-1/4 x 24 

COLL. : Colonel John Tayloe, Mount Airy; Mr. and Mrs. Benjamin Ogle Tayloe 

REF. : M. Fielding, Gilbert Stuart's Portraits of George Washington, 1923, No. 46, p. 

167 

BEQUEST: Mrs. Benjamin Ogle Tayloe, 1902 02.3 

Armed with introductions from The Honorable John Jay, Gilbert Stuart went to 

Philadelphia while Congress was in session there in 1794/1795 to fulfill a long-standing 

ambition to paint the portrait of George Washington. Th e President agreed to sit, 

and, during the next two years, Stuart painted three portraits of Washington from life. 

These are generally classed as follows: (1) The Vaughan type, showing the right side 

of the face, painted in 1795; (2) The Lansdowne type, full-length, painted in 1796; 

(3) The Athenaeum head, in 1796. Thi s portrait and its companion of Martha Washington were painted in Stuart's Germantown studio and were bought after Stuart's 

death by a group of gentlemen who presented them to the Boston Athenaeum—hence 

the name. The paintings are on loan in the Museum of Fine Arts, Boston. 

Stuart made countless copies of these portraits. Our GEORGE WASHINGTON is one of the 

Athenaeum type. According to Mantle Fielding, this particular portrait "was brought 

by Gilbert Stuart from Philadelphia in 1803 when he came to Washington, D.C., to 

paint the portrait of Thomas Jefferson. He sold the painting to Colonel John Tayloe 

of Mount Airy . . ." 

28 

Gilbert Stuart 

(1755-1828) 
Georg

e Washington

u ^ 

29 
GEORG E WASHINGTO N 

29-7/8 x 24-1/2 

COLL. : Miss Mary Ellen Ford and Charles Henry Hart; Senator William A. Clark, New 

York 

REF. : M. Fielding, Gilbert Stuart's Portraits of George Washington, 1923, No. 100, p. 

221 

BEQUEST: William A. Clark, 1926 26.172 

Thi s Athenaeum type portrait varies little from the preceding one. Washington wears 

a lace jabot rather than the ruffled linen, and the hair has been painted more freely. 

George Washington 26.172 

SAMUE L MILE S c. 1800 

29-1/4 x 23-1/4 

COLL. : Miss Elizabeth F. McKean 

REF. : M. Fielding, "List of Portraits not mentioned in Mason's Life of Stuart," Pennsylvania Magazine of History and Biography, July 1914, p. 328, No. 91; L . Park, 

Gilbert Stuart, an Illustrated Descriptive List of His Works; 1926, Vol. 2, pp. 525-6, 

No. 551; Vol. 4, p. 331, No. 551, ill. 

GIFT : Elizabeth F. McKean, 1909 09.14 

Samuel Miles (1740-1805) was born in Montgomery County, Pennsylvania. He served 

in the French and Indian War and later settled in Philadelphia as a wine merchant, 

becoming a large landholder in Chester County where he founded the town of Milesburg. He was a member of the Assembly from 1772-1776 and was appointed Brigadier 

General of the Pennsylvania forces in 1776, after he had been taken prisoner at the 

battle of Long Island. He was exchanged in 1778 and became successively Judge of 

the High Court of Errors and Appeals, member of the City Council of Philadelphia, 

Alderman and Mayor. 

CHIE F JUSTIC E EDWAR D SHIPPE N OF PENNSYLVANIA 1803 

29-1/4 x 24 

COLL. : Miss Bird, granddaughter of Judge Shippen; Mrs. Julian Izard Pringle, Georgetown, South Carolina, great-granddaughter 

REF. : G.C. Mason, The Life and Works of Gilbert Stuart, 1879, p. 255; Life in America, Metropolitan Museum of Art, New York, 1939, p. 40, No. 56, ill. 

PURCHASE: Gallery Fund, 1874 74.8 

Edward Shippen, son of Edward Shippen, who had come to America from England in 

1700, and Sarah Plumley of Philadelphia, was born on February 16, 1729. He studied 

law in London, as well as in Philadelphia, and became Judge of the Vice-Admiralty as 

early as 1752 and subsequently President of the Court of Common Pleas. He was 

appointed Chief Justice of Pennsylvania in 1799, serving in this office until his death 

in 1806. His third daughter, Margaret Shippen, was the second wife of Benedict 

Arnold. Stuart painted this portrait during his residence in Philadelphia. 

Joseph Wright, only son of Joseph and Patience Lovell Wright, was born 

in Bordentown, New Jersey, in 1756. After his father's death in 1769, his 

mother, a wax modeller of renown, moved to New York and opened a 

waxworks museum. She left for England in 1772 and was joined there 

later by her children. I n London Wright learned modelling from his 

mother and studied painting with Benjamin West and with John 

Hoppner who had married his sister Phebe. Hi s paintings were shown in 

30 

Chief Justice Edward Shippen of 

Pennsylvania 

74.8 

Joseph Wright 

(1756-1793) 
the Royal Academy in 1780 and in 1782. After a brief stay in Paris in 

the winter of 1782, Wright returned to America, working in Philadelphia from 1783 to 1786. It was during this period that he painted George 

Washington's portrait at the General's headquarters at Rocky Hill , near 

Princeton, New Jersey. From 1786 to 1790 Wright lived in New York 

City, but returned to Philadelphia in the latter year, where he died 

during the yellow fever epidemic of 1793. 

BENJAMI N FRANKLI N 1782 

31 x 25 

INSCRIBED ON BACK (BEFORE RELINING) : "This picture of Dr. Franklin was painted 

at Paris in 1782, & was presented by him to Mr. Wm. Hodgson, of Colman Street, as 

a token of his Regard and Friendship." 

COLL. : William Hodgson, London, d. 1851; Graves, print seller, London, who through 

Henry Stevens, London, sold to William Wilson Corcoran 

REF. : C.C. Sellers, Benjamin Franklin in Portraiture, 1962, pp. 152-158, 418-420, No. 4, 

ill. 

PURCHASE: Gallery Fund, 1885 85.5 

In 1782, Joseph Wright, recently arrived in Paris, was commissioned to paint Franklin's portrait by Richard Oswald who was a British representative negotiating the 

Peace Treaty with the United States. Handicapped by Franklin's dislike of tedious 

sittings, Wright was referred to a 1778 pastel by Duplessis. The result is a more 

vigorously realistic portrait, undoubtedly due to Wright's close familiarity with Franklin, gained through letters from Benjamin West and acquaintances of his mother, 

Patience Wright. The Corcoran's version, the fourth painted by Wright, was owned 

originally by Franklin's friend and financial advisor, William Hodgson of London. 

Benjamin Franklin 85.5 

John Trumbul l was born in Lebanon, Connecticut. Hi s father, Governor 

of the state during and after the Revolutionary War, sent him to Harvard University and, when he graduated in 1773, strongly disapproved 

the young man's decision to become a painter. Trumbull' s plans were 

postponed by the Revolution, during which he served briefly as an aide 

to General Washington. He resigned his commission before the fighting 

ended and left the country to study in Benjamin West's studio in London. Upon arrival in England he was incarcerated for eight months as a 

spy. When he was released, Trumbul l returned to America, only to retrace his steps to West's studio in 1784. It was during this time that he 

decided to paint a series of scenes of the Revolution. Thi s project, which 

was greatly encouraged by Benjamin West and Thomas Jefferson, kept 

him in London until 1789, working on studies for the paintings. After 

several years in America as secretary to John Jay, Trumbul l returned to 

London with Jay in 1794, and remained there for ten years as a commissioner of the Jay Treaty. He continued work on his project of Revolutionary Wa r scenes and lived both in New York (1804-1808) and London (1808-1816) until his appointment as Director of the American 

Academy of Art in 1816. He held this position until 1837, securing a 

number of commissions for historical paintings, including eight large 

works for the Rotunda of the Capitol in Washington. During his last 

years he was supported by a pension from Yale University, given in 

exchange for his collection of paintings. Trumbul l died in New York 

City in 1843. 

John Trumbull 

(1756-1843) 

Mrs. Jonathan Mayhew Wainwright 

(Amelia Maria Phelps) 55.22 

31 
MRS. JONATHA N MAYHE W WAINWRIGH T (AMELIA MARIA PHELPS ) 1822 

30 x 24 

COLL. : The Wainwright Family 

REF. : T . Sizer, "Colonel John Trumbull's Works: A Final Report," The Art Bulletin, 

Vol. XXXVIII, No. 2 (June 1956) , pp. 113-117 

PURCHASE: Gallery Fund and gift of Ruth Wainwright Wallace, 1955 55.22 

T he sitter was the wife of Jonathan M. Wainwright, the first Bishop of New York. His 

portrait, a companion piece to this painting, was also painted by Trumbull in 1822 

and is in the New Britain Museum of American Art. 

JOH N ARTI S WILLSO N c. 1810 

27-7/8 x 22 

PAPER TAPED TO STRETCHER, u.r.: John Artis Willson/Brother of G. Grandmother Burche 

COLL. : Dr. Franklin Burche Pedrick, descendant 

BEQUEST: Dr. Franklin Burche Pedrick, 1951 51.30 

Russell Quandt, Conservator of the Corcoran, has found that the tacks used in attaching the canvas of this painting to its stretcher are similar to those found on a painting 

now in the collection at Williamsburg dated to 1815. Thi s fact, combined with details 

of the costume, point to a date of c. 1810. The work is characteristic of a better than 

average limner of the period, but no definite attribution can be made at this time. 

John Artis Willson may have lived in Marblehead, Massachusetts—his portrait came to 

the Corcoran with a group of family paintings from that area. 

Christian Gullager 

(1759-1826) 

Christian Gullager was born in Copenhagen, Denmark, where he studied 

at the Royal Academy. He won an award for his work, entitling him to 

three years' study in a foreign school. Gullager went to Paris, and studied 

there with Jacques Loui s David. He then spent some time in St. Thomas, 

West Indies, and emigrated to America around 1784. I n 1789 he was 

living in Boston, and at that time he painted from life a portrait of 

George Washington. Gullager lived in Boston with his American wife 

until 1797, when he moved to New York. He worked there for a few 

months as a theatrical designer and, in 1798, settled in Philadelphia. In 

1806 he left his family to seek work in New York, and is recorded as 

being in Charleston, South Carolina, in 1807. There is no further record 

of his travels or career as a portrait painter until he returned to Philadelphia shortly before his death in 1826. 

Samuel Barton 49.63 

SAMUE L BARTO N 1795 

23-3/4 x 18-5/8 

COLL. : the Barton Family; Mrs. Harold A. Sturges, niece of J. Webb Barton 

REF. : L . Dresser, "Christian Gullager, An Introduction to His Life and Some Representative Examples of His Work," Art in America, Vol. 37, No. 3 (July 1949) , p. 123 

PURCHASE: Gallery Fund, 1949 49.63 

32 

Unidentified Painter 

(c. 1810) 
Samuel Barton was born in Salem, Massachusetts, in 1767 and died, unmarried, at the 

age of 28. The young man's estate included a large wardrobe consisting of, among 

other items, "20 pr Silk stockings .. . 18 white Linnen Shirts .. . 17 waste coats 

. . . 25 muslin crevats." Thi s portrait is mentioned in a manuscript dated 1845, written 

by the husband of Samuel Barton's niece and preserved at the Essex Institute, Salem: 

"There is a portrait of him in the family, taken while sick, also a miniature, and by 

these we see he was a man of delicate constitution, but elegant personal appearance; 

his activity and vivacity of character is well exhibited in the sprightliness of countenance of these paintings." 

Edward Savage, portrait and historical painter and engraver, was born in 

1761 in Princeton, Massachusetts. He began his career in Boston in about 

1785. I n 1789 he received a commission from Harvard University for a 

portrait of George Washington, who was then in New York. Savage remained in New York painting portraits of the members of Washington's 

family until 1791, when he went to England, leaving unfinished an engraving of the Washington family. After two years in London, he 

returned to Massachusetts, married and moved in 1795 to Philadelphia, 

and for the next six years worked there as an engraver and portrait 

painter. He was also proprietor of Th e Columbian Gallery, where he 

exhibited and sold engravings and paintings. He was aided by John Wesley Jarvis (1780-1840), his apprentice, and by David Edwin (1776-1841), 

an English engraver who joined Savage's workshop in 1798. At this time 

the 1790 engraving of the Washington family was finally finished, becoming one of Savage's better known works, although it was probably completed by Edwin. I n 1798 Savage moved his business to Burlington, New 

Jersey, because of a yellow fever epidemic in Philadelphia, and three 

years later he settled in New York, accompanied by Jarvis and Edwin. I n 

1801, Jarvis finished his apprenticeship and Edwin returned to Philadelphia. It was at this time that Savage stopped publishing engravings. 

Savage took on other apprentices, including Charles Bird King 

(1785-1862), re-opened his Columbian Gallery in New York and was 

active there until 1811, when he moved his gallery of paintings, engravings and curios to Boston. He died in Princeton, Massachusetts in 1817. 

JOH N HANCOCK AND HI S WIF E 

90-7/8 x 59-3/8 

COLL. : descendants of the sitters; Woodbury Blair, the great grand-nephew of Dorothy 

Quincy Hancock 

REF. : R.S. Gottesman, "New York's First Major Art Show," The New-York Historical 

Society Quarterly, Vol. XLIII , No. 3 (July 1959) , p. 300, No. 49, ill. 

BEQUEST: Woodbury Blair, 1948 48.8 

John Hancock (1737-1793) was born in what is now Quincy, Massachusetts. After 

graduating from Harvard in 1754 he entered his uncle's mercantile business and, on 

the death of the uncle in 1764, inherited a vast fortune and prosperous business. 

President of the Continental Congress, first signer of the Declaration of Independence 

and first Governor of the Commonwealth of Massachusetts, he had shared with Samuel 

Adams the leadership of the Whigs in all the measures leading up to the American 

Revolution. He married Dorothy Quincy (1748-1830) in Boston in 1775. 

This portrait was included in the first ambitious art exhibition organized by Edward 

Savage in 1802 at Th e Columbian Gallery in New York. It hung for many years in 

the old Governor Wentworth House near Portsmouth, New Hampshire. 

33 

Edward Savage 

(1761-1817) 
John Hancock and His Wife 48.8 

34 
CHARLOTT E MARSTELLE R c. 1800 

29-3/4 x 24-1/4 

COLL. : Mrs. W.B. Laws, Calverton, Virginia 

REF. : C.G.A. Bull., Vol. 9, No. 1 (June 1957), p. 4, ill. 

PURCHASE: Gallery Fund, 1956 56.32 

Thi s subject has been identified as Charlotte Marsteller, granddaughter of Colonel 

Philip Marsteller, Aide-de-Camp to General Washington. She stands on the grounds of 

a Virginia plantation, possibly "Arrelton" in Prince William County between Greenwich and Nokesville, owned by successive members of her family. Charlotte died in 

1871 and is buried at the Greenwich Presbyterian Church. 

William Jennys was a portrait painter active in and near New Milford, 

Connecticut in the mid 1790's. He is listed as living in New York in 1797 

and 1798. After 1800 he worked his way up the Connecticut River valley 

into Massachusetts and Vermont and then traveled eastward toward 

Portsmouth, New Hampshire. Nothing more is known of his life. H e 

may be the son or younger brother of Richard Jennys, who lived in 

Boston in 1766, appeared in Charleston and Savannah between 1783 and 

1791, and was working in and near New Milford, Connecticut, until 

1799. Portraits originally attributed to a J . William Jennys through a 

misreading of the signature have now been included in the oeuvre of 

William Jennys. 

WOMA N WIT H A FA N c. 1800 

30-1/8 x 25 

COLL. : Mrs. A.G. Thayer, Brookline 

REF. : E.B. Swenson, "Two Early American Portraits," C.G.A. Bull., Vol. 1, No. 1 (Oct. 

1947), pp. 1 ff., ill.; A.K.D. Healy, "The Painter of the Painter Portraits," The Middlebury College Newsletter, Vol. XXIII , No. 3 (April 1948) , pp. 8 ff., ill.; W.L. Warren, 

"The Jennys Portraits," Connecticut Historical Society Bulletin, Vol. 20, No. 4 (Oct. 

1955) , pp. 112 ff. and "A Checklist of Jennys Portraits," ibid., Vol. 21, No. 2 (April 

1956) ,p . 64 

PURCHASE: Anna E . Clark Fund, 1947 47.12 

Born in Maryland in 1767, Charles Peale Polk moved into the home of 

his uncle, Charles Willson Peale, in Philadelphia when his father died in 

1777. Hi s uncle gave him lessons in painting, and by 1785 Polk was 

advertising as a portrait painter in Baltimore. H e spent more than 

twenty-five years as an artist working in and between Baltimore and Philadelphia. When he was unable to obtain portrait commissions, he hired 

out as a house, ship and sign painter, according to advertisements placed 

in Philadelphia in 1787. I n 1790 he sought permission from George 

Washington for sittings, but no portrait from life by Polk is known, and 

it is possible the request was not granted. He painted portraits of Franklin and Jefferson and made his living selling replicas of these and copies 

of his uncle's portraits of Washington when no portrait commissions 

were available. I n 1793 he opened a drawing school in Baltimore. Thi s 

project failed, and by 1818 he had given up painting to become a government clerk in Washington, D . C. 

Unidentified Painter 

(c. 1800) 

Charlotte Marsteller 56.32 

William Jennys 

(active c. 1795-1810) 

Woman with a Fan 47.12 

Charles Peale Polk 

(1767-1822) 

35 
THOMA S CORCORA N 

36-1/4 x 26-1/2 

COLL. : descendants of the sitter to Mrs. Robert Henry Dunlap 

REF. : C.G.A. Seventy-seventh Annual Report, 1947-1948, p. 8 

GIFT : Katharine Wood Dunlap, 1947 47.14 

Thomas Corcoran was born in Limerick, Ireland, in 1754. He came to Baltimore in 

1783 where he entered business with his uncle, William Wilson. Soon after his marriage to Hannah Lemmon of Baltimore County in 1788, he settled in Georgetown 

where he held several offices, including those of Postmaster and Mayor. He died in 

1830. 

MRS. THOMA S CORCORA N (HANNA H LEMMON ) 

36-5/8 x 26-1/2 

COLL. : descendants of the sitter to Arthur Hellen 

REF. : C.G.A. Seventy-seventh Annual Report, 1947-1948, p. 8 

GIFT : Arthur Hellen, 1947 47.15 

T he sitter was the mother of William Wilson Corcoran, the Founder of the Gallery. 

DAVID HUNTE R c. 1800 

27 x 23 

COLL. : Miss Frances Washington Weeks and Miss Nancy Hunter Weeks, direct descendants of the sitter 

GIFT : Miss Frances Washington Weeks and Miss Nancy Hunter Weeks, 1960 60.21.1 

David Hunter (1795-1813), youngest son of Colonel Moses Hunter and Anne Stephen 

Dandridge, was killed in the War of 1812. An obituary in the Enquirer, Richmond, 

reported his death thus: "Departed this life on the 11th November 1813 Lt. David 

Hunter of the 12th U.S. Regiment. Thi s young gentleman, who had not attained his 

19th year, fell on the field of Kesler [?], near Williamsburg in Upper Canada to the 

hard fought action of the 11th ult. He was the youngest son of the late Col. Moses 

Hunter of Berkeley [Virginia], and grandson of General Adam Stephen deceased. Born 

to an ample fortune, the noble ardor of youthful patriotism alone impelled him to 

follow the standard of his country in the present interesting conflict. He left his native 

state on the 10th of September last, reached Sackets Harbor on the 30th of October, 

and in a few days afterwards fell gloriously in the service of his country . . ." 

MOSES T . H U N T E R c. 1800 

27 x 23 

COLL. : Miss Frances Washington Weeks and Miss Nancy Hunter Weeks, direct descendants of the sitter 

REF. : C.G.A. Bull., Vol. II, No. 3 (May 1961) , pp. 4-5, ill. 

GIFT : Miss Frances Washington Weeks and Miss Nancy Hunter Weeks, 1960 60.21.2 

Moses T . Hunter, elder son of Colonel Moses Hunter and Anne Stephen Dandridge, 

was born in Berkeley County, Virginia, Oct. 12, 1791. He married Mary Washington 

Snicker in 1812 and died in 1829. He is holding Volume 9 of Rollin's Ant. History. 

ANN E EVELIN A HUNTE R c. 1800 

27-1/4 x 23-1/4 

COLL. : Miss Frances Washington Weeks and Miss Nancy Hunter Weeks, direct descendants of the sitter 

GIFT : Miss Frances Washington Weeks and Miss Nancy Hunter Weeks, 1960 60.21.3 

Presumably the eldest of the three children of Colonel Moses Hunter, she married 

Judge Henry St. George Tucker who was a member of a distinguished Williamsburg 

family. They lived in Berkeley County, Virginia. 

36 

Thomas Corcoran 47.14 

Anne Evelina Hunter 60.21.3 
Robert Salmon, the son of Francis Salomon, was born on November 5, 

1775 in Whitehaven, England. Little is known of his early training except the fact that he copied the works of Turner, Ibbetson, and the 

painters of the Norwich School. Hi s earliest dated work representing the 

English ship Ann is dated 1800. He exhibited under the name of Salomon at the Royal Academy in 1802 and at the Liverpool Academy in 

1824. He must have changed the spelling of his name shortly before 

leaving for Boston in August of 1828. I n Boston, Salmon painted many 

views of the harbor and individual portraits of ships, including, notably, 

the Constitution, now in the collection of the Institute of the Charlestown Navy Yard. Among his patrons were Thomas Handasyd Perkins 

and Messrs. Cabot, Cunningham, Forbes, Pickman, Cushing, and Otis. 

During his career, Salmon painted some 800 pictures, approximately 300 

in Boston during the period 1828 to 1841. After 1840, he dropped from 

view, presumably returning to England where he died after 1843. A catalogue of his works, a copy after the original by Salmon, is in the Boston 

Public Library; it lists works painted between 1828 and 1841 with information as to medium and size of each numbered work. 

37 

Robert Salmon 

(1775-after 1843) 

Boston Harbor 55.14 
HARBO R SCEN E 1842 

16-1/4 x 24-1/4; panel 

INSCRIBED ON BACK OF P A N E L: 39/ R.S.M.T./ 1841 [obscured]/ 1842 

REF. : C.G.A. Bull., Vol. 8, No. 3 (June 1956) , p. 25 

PURCHASE: Gallery Fund, 1955 55.15 

As the ships fly the Union Jack ensigns, it is thought that the scene is a British 

harbor; the rough coast depicted suggests the North of England or southern Scotland 

where it is believed Salmon was born and where he lived after he left Boston sometime 

after 1840. The painting was probably painted in 1841 and finished in 1842. The 

inscription R.S.M.T. is a mystery, although it seems likely that the first two initials, 

R.S., are the artist's. 

BOSTO N HARBO R 1843 

16-1/4 x 24-1/4; panel 

INSCRIBED ON BACK OF P A N E L: R.S.A.T. / by R. Salmon [obscured]/ 1843 / 1837 [crossed 

out] 

REF. : C.G.A. Bull, Vol. 8, No. 3 (June 1956) , p. 23, ill. 

PURCHASE: Gallery Fund, 1955 55.14 

Thi s view includes such Boston landmarks as the old fort and statehouse. Salmon 

appears to have worked on the scene in 1837 and finished it in 1843. It is the last 

painting on which Salmon is known to have worked. The meaning of the inscription, 

"R.S.A.T." is a mystery, although it is likely that the first two initials, R.S., are the 

artist's. 

John Vanderlyn 

(1775-1852) 

President Zachary Taylor 77.8 

John Vanderlyn, born in Kingston, New York, received his first lessons 

in drawing from Archibald Robinson. Vanderlyn's career was closely 

linked with that of his patron, Aaron Burr, who sponsored a brief period 

of study under Gilbert Stuart and a trip to Paris in 1796. Except for a 

return visit to New York from 1801 to 1803, Vanderlyn remained abroad 

until 1815. Th e dramatic peak of his career in Europe was marked in 

1808 by the award of a Gold Medal from Napoleon for his MARIU S AMI D 

T H E RUIN S O F CARTHAGE . Hi s position as protege of the Vice President had 

seemed to guarantee a successful career, but Burr's duel with Alexander 

Hamilton and his ultimate disgrace destroyed Vanderlyn's opportunities 

for political commissions. Furthermore, during his successful but prolonged stay in Rome and Paris, Vanderlyn had lost contact with other 

potential patrons in America. By the time he returned in 1815, he had 

been outdistanced by artists of equal merit and training. Finally, in 1837, 

Congress awarded him the commission for one of the historical paintings 

for the Rotunda of the Capitol. Vanderlyn returned to Paris to carry out 

the commission. When it was finished eight years later, the work was 

criticized and ridiculed by his contemporaries. Frustrated and bitter, he 

spent his last years in poverty and died penniless in his native town. 

38 
PRESIDEN T ZACHARY TAYLO R c. 1850 

30 x 25-1/4 

COLL. : Clark Mills, Washington 

REF. : The Work of John Vanderlyn (1776-1852), The Senate House Museum, Kingston, New York, 1938, p. 10, No. 9; Makers of History in Washington, 1800-1950, 

National Gallery of Art, Washington, 1950, No. 41, p. 56, ill. 

PURCHASE: Gallery Fund, 1877 77.8 

According to a note in the mss Register of the Corcoran, "This was among the last 

portraits painted by Vanderlyn and was executed from life soon after President Taylor 

was inaugurated. To relieve the veteran artist's poverty, it was raffled for $350 and was 

won by Clark Mills, sculptor." It is thought that Vanderlyn painted this version after 

his full-length portrait of President Taylor now hanging in City Hall, New York, for 

which the President sat in 1850, shortly before he died of typhus in July of that year. 

Edward Greene Malbone, America's best-known miniature painter, was a 

self-taught artist who left his home in Newport, Rhode Island, at the age 

of seventeen to establish himself in Providence. After two years there, he 

went to Boston to seek patronage and commissions. Between 1798 and 

1800 he traveled southward to Charleston and Savannah, including Philadelphia in his journeys. I n 1801 Malbone and his close friend Washington Allston set out from Charleston for England. Allston stayed in London for two years and then went on to Italy. Malbone, however, returned 

in November of 1801 to Charleston, having spent six months visiting 

studios, galleries and artists in London. During the next four years he 

traveled along the Eastern seaboard, working mainly in the northern 

cities of Boston, New York, Providence and Philadelphia. I n 1806 he 

returned to Charleston, where he became severely ill. Neither retirement 

to Newport nor a trip to Jamaica cured him, and he died in Charleston 

in May 1807 on his way home to Rhode Island from the West Indies. 

PORTRAI T OF T H E ARTIS T c. 1798 

27-3/4 x 22-1/2 

COLL. : Mrs. Henrietta Whitehorne, Newport, R.I.; General Henry Brewerton; George 

Douglas Brewerton 

REF. : R . P. Tolman, The Life Works of Edward Greene Malbone, The New-York 

Historical Society, 1958, No. 261, pp. 206 f., ill. 

PURCHASE: Gallery Fund, 1883 83.8 

This is the only completed contemporary portrait of Malbone and was used for the 

Gimbrede engraving which was published as the frontispiece of the September 1815 

issue of the Analectic Magazine. Malbone's sister, Henrietta Whitehorne, received it 

from his estate, and the portrait remained in the family until it was purchased from 

Mrs. Whitehorne's great-nephew. 

Edward Greene 

Malbone 

(1777-1807) 

Portrait of the Artist 83.8 

Rembrandt Peale, the son of Charles Willson Peale, was born on February 22, 1778. Hi s famous father was the boy's earliest teacher. He 

painted his first portrait at the age of thirteen, and four years later 

George Washington, at the request of Charles Willson Peale, agreed to 

39 

Rembrandt Peale 

(1778-1860) 
sit for the young artist. Thi s portrait proved to be Peale's source of 

inspiration and fame in later years, as he was able to capitalize on the 

fact that he was the sole living artist who had painted George Washington from life. 

Rembrandt Peale's restlessness and scientific curiosity caused him to try 

his hand at many aspects of the arts. While in England in 1802-1803 

exhibiting a mastodon skeleton from his father's Philadelphia museum, 

he studied at the Royal Academy with Benjamin West. He returned to 

Philadelphia to open his own studio and in 1805 helped to found the 

Pennsylvania Academy of the Fine Arts. He was in Europe again in 1808 

and 1809-10, painting portraits of illustrious men for his father's gallery 

and studying the historical and classical school of painting in Paris. He 

opened a science and art museum in Baltimore in 1814, but as this had 

as little success as his earlier gallery in Philadelphia (1811), he abandoned the project to concentrate on historical painting. I n 1823-24 he 

completed his famous so-called 'Tort Hole" portrait of George Washington, an idealized head based on his early portrait and on existing portraits of Washington as a younger man. He then painted his Equestrian 

Portrait of Washington (see below) which he hoped would hang in the 

Rotunda of the Capitol. I n 1825 he succeeded John Trumbul l as President of the American Academy of Fine Arts in New York. I n 1828 he 

again went to Europe; but the later years of his life were devoted for the 

most part to developing a Washington cult through lectures and writings 

illustrated with his own paintings. He settled permanently in Philadelphia, where he died in 1860, not long after his "Reminiscences" had 

been published in The Crayon. 

JACQUE S HENR I BERNARDI N D E S A I N T - P I E R R E 1808 

29 x 23-3/4 

COLL. : Charles Willson Peale Gallery, 1854; George Ord, Philadelphia; George W. 

Riggs, New York 

REF. : R. L . Hawkins, "Bernardin de Saint-Pierre and Peale's Philadelphia Museum 

. . .," The Romanic Review, Vol. XX , No. 1 (Jan. 1929) , pp. 1 ff., ill. 

GIFT : George W. Riggs, 1873 73.14 

Saint-Pierre (1737-1814), a French soldier of fortune, is perhaps best known as the 

author of Paul et Virginie. 

COUN T CHARLES-PHILIBER T D E L A S T E Y R I E D U SAILLAN T c. 1810 

29 x 22-7/8 

COLL. : Charles Willson Peale Gallery; R.P. [Rembrandt Peale?]; William Wilson Corcoran 

REF. : Auction Catalogue of Oil Paintings from the Charles Willson Peale Gallery, Oct. 

6, 1854, p. 13, No. 238 

GIFT : William Wilson Corcoran, 1869 69.50 

De Lasteyrie (1759-1849) was a philanthropist, economist, and author with scientific 

interests. In 1814, he founded the first lithographic establishment in France, not long 

after the invention of this technique of print-making by Aloys Senefelder in Munich. 

Thi s portrait hung in the Charles Willson Peale Gallery in Philadelphia. 

40 

Jacques Henri Bernardin 

de Saint-Pierre 

73.14 

Count Charles-Philibert de 

Lasteyrie du Saillant 

69.50 
Washington Before Yorktown 44.1 

41 
L T . COL . JOSEP H OUTE N BOGAR T c. 1822 (?) 

36 x 28 

REF. : C.G.A. Bull, Vol. 9, No. 4 (June 1958) , p. 19, ill.; Masterpieces of The C.G.A., 

1958, p. 45, ill. 

PURCHASE: Anna E . Clark Fund, 1957 57.14 

Colonel Bogart (1767-1838) was the organizer of probably the first battery of Horse 

Artillery formed in this country. He saw service during the War of 1812 when he was 

in command of the Third Artillery of the New York Volunteer Militia, as he is here 

shown. He married Mrs. Mary Tice of New York City in 1823. 

WASHINGTO N BEFOR E YORKTOW N 1824/1825 

139 x 121 

SIGNED, 1.1.: Remt Peale 

COLL. : estate of Rembrandt Peale; Mount Vernon Ladies Association, 1873 

REF. : E.B. Johnston, Original Portraits of Washington, 1882, pp. 122-125, ill.; J . H . 

Morgan and M. Fielding, The Life Portraits of Washington and Their Replicas, 1931, 

p. 386; G.A. Eisen, Portraits of Washington, 1932, Vol. 2, pp. 419-420 

GIFT : The Mount Vernon Ladies Association, 1944 44.1 

Thi s painting, known originally as TH E EQUESTRIAN PORTRAIT OF GEORGE WASHINGTON, 

shows Washington accompanied by his staff of general officers (Hamilton, Lafayette, 

Knox, Lincoln and Rochambeau) before the trenches at Yorktown. He is pictured in 

the act of rebuking a subordinate for neglect of duty. Peale used his "Port Hole" 

portrait, executed in 1823/4, as the model for Washington's head. The painting was 

intended for the Rotunda of the United States Capitol and was exhibited there in 

1825, according to the minutes of the Senate for Feb. 18 of that year. Authorization for 

its purchase at .$4,500 was passed by the Senate; however, the bill did not get through 

the House. 

Washington Allston, the first of the romantic painters in America, was 

born in Georgetown, South Carolina. At the age of seven he was sent to 

Newport, Rhode Island, to live with his uncle and attend school. Here 

he met Edward Malbone, who became his life-long friend. After graduation from Harvard in 1800, Allston returned to South Carolina and obtained reluctant permission from his family to study painting in England. I n the spring of 1801 Allston and Malbone arrived in London, 

and Allston was admitted to the Royal Academy, where he studied with 

Benjamin West. After a winter in Paris, he left for Italy in 1804. Ther e 

he spent three creative years, surrounded by an international group of 

artists and writers, including Samuel Taylor Coleridge, Washington Irving and the sculptors Bertel Thorwaldsen and Antonio Canova. 

Allston worked from 1808-1811 in Boston, returning to England in 1811 

with his wife, An n Channing, and his pupil, Samuel F . B. Morse. Hi s 

wife's death in 1815 and his own ill health made his remaining three 

years in England difficult ones. He left London in 1818 to spend the last 

twenty-five years of his life in Boston and Cambridgeport. He regretted 

his separation from European sources and produced little of significance 

himself, although his presence in America was a source of inspiration 

and help to the younger artists of the romantic school. Allston died in 

1843. During his last years, he completed his Lectures on Art and Poems, 

which was published posthumously in 1850. 

42 

L t. Col. Joseph Outen Bogart 57.14 

Washington Allston 

(1779-1843) 
SKETC H OF A POLIS H JE W 1817 

30-1/4 x 25-1/4 

SIGNED on back of canvas: Wa. Allston px* / London 1817 

COLL. : Thomas Dwight 

REF. : Exhibition of Pictures, Painted by Washington Allston, at Harding's Gallery, 

School Street, Boston, April 1 to July 10, 1839, No. 29; E.P. Richardson, Washington 

Allston: A Study of the Romantic Artist in America, 1948, pp. 116 and 201, No. 97 

PURCHASE: William A. Clark Fund, 1949 49.3 

One of four quick sketches of the heads of Polish Jews which Allston painted in one 

sitting in London in 1817. He later entitled one ISAAC OF YORK from Sir Walter Scott's 

Ivanhoe. That and a second sketch are owned by the Boston Athenaeum while the 

third is in the Museum of Fine Arts, Boston. All four of the sketches were shown in 

the exhibition of Allston's work in Chester Harding's Boston studio in 1839. 

TIM E AFTE R SUNSE T c. 1819 

18 x 25-1/2 

COLL. : C.R. Codman and descendants 

REF. : Exhibition of Pictures, Painted by Washington Allston, at Harding's Gallery, 

School Street, Boston, April 1 to July 10, 1839, No. 18; E.P. Richardson, Washington 

Allston: A Study of the Romantic Artist in America, 1948, p. 206, No. 118 

PURCHASE: William A. Clark Fund, Gallery Fund, and gifts of Orme Wilson, George E. . 

Hamilton, Jr., and R.M. Kauffmann, 1963 63.9 

In a letter written by Allston to William Collins, May 18, 1821, he refers to a painting 

entitled SUNSET as the third picture completed after his return to Boston from London 

in 1818. It was owned by C.R. Codman in 1827 when it was exhibited in Boston. 

Time After Sunset 

43 

63.9 
Thomas Birch was born in Warwickshire, England, the son of William 

Russell Birch, an engraver and miniature painter. I n 1794 he emigrated 

to America with his father. The y settled in Philadelphia, which was to 

be Thomas Birch's home for the rest of his life. He was trained by his 

father in painting and engraving, and, in 1799-1800, they collaborated on 

a set of topographic engravings, Views of Philadelphia, which were published under the firm name William Birch and Son. Birch turned seriously to landscape and marine painting after trips to the Delaware capes 

in the early nineteenth century. He subsequently painted a series of naval battles of the Wa r of 1812 which brought him considerable fame. 

Birch became an Honorary Member, Professional, of the National Academy of Design in 1833, and exhibited frequently at the Pennsylvania 

Academy of the Fine Arts, the Boston Athenaeum, the Apollo Association and American Art-Union, the American Academy, etc. 

VIE W OF T H E DELAWAR E NEAR PHILADELPHI A 1831 

40 x 60 

SIGNED, 1.1. (INCISED ON ROCK) : Thos. Birch/1831 

REF. : A.W. Rutledge, The Pennsylvania Academy of the Fine Arts, 1807-1870, 1955, p. 

27 (exhibition: 1831, p. 15, No. 40); C.G.A. Bull., Vol. 8, No. 3 (June 1956), p. 8, 

ill. 

PURCHASE: Gallery Fund, 1955 55.83 

View of the Delaware near Philadelphia 55.83 

Thomas Birch 

(1779-1851) 

44 
Born near Newcastle-on-Tyne, England, John Wesley Jarvis emigrated to 

America as a child with his family in 1785. After living in New York, the 

Jarvis family moved to Philadelphia. There, at the age of sixteen, Jarvis 

was apprenticed to Edward Savage to serve as an engraver and general 

assistant for five years. Savage moved his workshop to New York in 1801, 

and in the following year, at the end of his trying apprenticeship, Jarvis 

established himself as an independent engraver and portrait painter. I n 

1803 he and Joseph Wood (c. 1778-1830) formed a partnership which 

lasted until 1810. Jarvis then moved to Baltimore, where he and his wife 

and child lived until 1813. Shortly after their return to New York his 

wife died. From this time on until his death in 1840, New York served as 

the center for his career, although he spent much time in Charleston, 

New Orleans, Richmond and Washington seeking commissions. He completed a series of full-length portraits of heroes of the Wa r of 1812 for 

the New York City Hall, and by 1824 had gained a reputation as a 

veteran artist. During this period he took two apprentices, Henry Inman, 

whom Jarvis seems to have favored and who stayed with him for almost 

seven years; and John Quidor, who served a shorter apprenticeship of 

undetermined length. Jarvis can be considered the foremost portrait 

painter of New York in the early nineteenth century. Hi s known work 

includes over three hundred portraits. He suffered a paralytic stroke in 

1834, and died in New York on January 12, 1840. 

JOH N HOWAR D PAYN E c. 1812 

33-7/8 x 26-1/2; panel 

COLL. : Gilmor Meredith, Baltimore; William Wilson Corcoran 

REF. : H . E . Dickson, John Wesley Jarvis, American Painter, 1949, pp. 148, 361, No. 178 

GIFT : William Wilson Corcoran, 1883 83.7 

John Howard Payne, American actor and playwright and composer of the opera that 

gave us "Home Sweet Home," was born in New York City in 1791 and died in Tunis, 

Algeria, in 1852. Thi s portrait was made a few years after Payne's brilliant debut on 

the stage as Norval in the tragedy of Douglas presented in the Park Theatre in New 

York in 1809. He played during the season of 1812 in Baltimore where Jarvis was 

working at the time with great success. 

GENERA L JACOB JENNINGS BROW N c. 1815 

42-1/2 x 35 

COLL. : direct descendants of the sitter including Mrs. T . Bache Bleeker, Cold Spring 

Harbor, L.I. , the great, great granddaughter 

REF. : H.E . Dickson, John Wesley Jarvis, American Painter, 1949, pp. 196, 197, 345, 346, 

No. 23, ill. 

PURCHASE: Gallery Fund and gift of Orme Wilson, 1958 58.3 

Jacob Jennings Brown (1775-1828) was born in Bucks County, Pennsylvania. In 1798 

he was conducting a Quaker school in New York while he studied law and wrote 

political articles. Having married Pamelie Williams in 1802, he settled on the shore of 

Lake Ontario where he founded the town of Brownsville. He served as a county judge 

and, in 1809, was appointed Colonel in the militia. He was a General when the War 

of 1812 broke out and had command of the frontier from Oswego to Lake St. Francis. 

He won decisive victories over the British at Ogdensburg and Sackett's Harbor and was 

made Major General in the regular army in 1813, winning further victories at Chippewa and Lundy's Lane. In 1821 he was appointed General-in-Chief of the United 

States Army, a post he held until his death in 1828. He is buried in the Congressional 

Cemetery, Washington. 

45 

John Wesley Jarvis 

(1780-1840) 

General Jacob Jennings Brown 58.3 
Thomas Sully was easily the dominant figure in his generation of American portrait painters. During his long life he completed about 2000 portraits as well as some 500 subject pictures, historical scenes and landscapes. He was born in England, coming to this country in 1792 with his 

parents, actors, who settled in Charleston, South Carolina. At Bishop 

Smith's Academy he was a classmate of Charles Fraser, who, though a 

mere boy, Sully claims instructed him in the "rudiments of the art" and 

determined his course in future life. After some training in painting 

from his brother-in-law, Jean Belzons, in Charleston, he left at the age of 

sixteen to work with his elder brother, Lawrence, a miniaturist who was 

living in Richmond. A brief sojourn in Norfolk brought him in touch 

with Henry Benbridge. Here he executed his first miniature from life 

(1801) and painted his first portrait in oils (1802). O n the death of his 

brother in 1804, he assumed responsibility for the bereaved family in 

Richmond, later marrying the widow. During the following years we find 

him living in New York, in Boston where he was encouraged by Gilbert 

Stuart, and finally in 1808 settling in Philadelphia, his permanent home 

until his death in 1872. After less than a year's study in London under 

the patronage of Benjamin West and Sir Thomas Lawrence, he returned 

to Philadelphia in 1810, his reputation established as the leading portrait painter in that city. Here he remained except for professional visits 

along the Eastern Seaboard and a brief second trip to London in 1838 

when he painted the young Queen Victoria. Sully was a genial and generous man who helped and influenced many of the young artists of his 

time. He was also a careful business man. Th e Register of his paintings, 

kept throughout his life and now in the Pennsylvania Historical Society 

in Philadelphia, recording sitter, size, dates, price and buyer, is an invaluable key to all his works. 

JAMES MADISON 1809 

27-1/2 x 19-1/2; panel 

SIGNED ON BACK: Jas. Madison/painted by TSully/Phila. 

COLL. : Frederick E . Church, New York 

REF. : E . Biddle and M. Fielding, The Life and Works of Thomas Sully, 1921, p. 223, 

No. 1179 

GIFT : Frederick E . Church, 1877 77.4 

According to Sully's daughter, this portrait of James Madison (1751-1836), fourth 

President of the United States, was finished on April 6, 1809. An engraving of the work 

by David Edwin, published by W.H. Morgan, Philadelphia, in 1810, was widely distributed. 

WILLIA M B. WOOD AS " C H A R L E S D E M O O R" 1811 

42-1/4 x 30-1/8 

SIGNED, 1.1.: TS.1811 

COLL. : The Misses Hutchinson, Philadelphia 

REF. : E . Biddle and M. Fielding, The Life and Works of Thomas Sully, 1921, pp. 22, 

323, No. 2004; E.B. Swenson, "An Early Theatrical Portrait by Sully," C.G.A. Bull, Vol. 

3, No. 3 (Jan. 1951), pp. 6-12, ill. 

PURCHASE: Anna E . Clark Fund, 1949 49.2 

46 

James Madison 77.4 

William B. Wood as 

"Charles de Moor" 49.2 
Genera

l Andrew Jackson 69.49 47 
William Burke Wood, actor and theatrical manager, was born in Montreal in 1779. He 

first appeared on the American stage in 1798 in Annapolis, later playing in Baltimore, 

Washington, Philadelphia and New York. He began his career as manager in 1810, 

dividing his time between Baltimore and Philadelphia. He died in Philadelphia in 

1861. He is painted here in the character of Charles de Moor in Schiller's Die Rauber, 

written in 1777/1778. The play enjoyed great success in Europe and was a favorite in 

the United States. The scene depicted here takes place just before the turning point of 

the drama. Charles de Moor, resting with his men on a hill overlooking the Danube, 

muses on the futility of the past and hopelessness of the future. According to Sully's 

records, the painting was begun in Philadelphia August 10, 1810 and finished June 

1811. 

FANN Y RUNDL E 1828 

19 x 15 

COLL. : Joseph MacGregor Mitcheson, Philadelphia; Mrs. Mary Frances Nunns, Philadelphia 

REF. : E . Biddle and M. Fielding, The Life and Works of Thomas Sully, 1921, p. 265, 

No. 1523 

BEQUEST: Mary Frances Nunns, 1959 59.54 

Sully notes in his records that this portrait was painted partly from memory, begun on 

Nov. 27, 1828 and finished Dec. 27, 1828. He painted three replicas in 1859, varying 

slightly in size from the original portrait. 

GENERA L ANDRE W JACKSON 1845 

97-1/4 x 61-1/2 

SIGNED, 1.1.: TS 1845 

COLL. : Captain Lee; Jacob Thompson; John F. Cyle; William Wilson Corcoran 

REF. : Catalogue of the Works of Art Comprising the First Annual Exhibition, Washington Art Association, 1857, p. 3, No. 7; E . Biddle and M. Fielding, The Life and 

Works of Thomas Sully, 1921, p. 187, No. 882 

GIFT : William Wilson Corcoran, 1869 69.49 

Sully sketched and painted Andrew Jackson (1767-1845), seventh President of the 

United States, on various occasions as the hero of the battle of New Orleans fought in 

1815. Thi s full-length portrait, painted in July 1845, a month after Jackson's death, 

was probably based on drawings made shortly after the battle and used for the Congressional medal awarded Jackson. 

PORTRAI T OF TH E ARTIS T 1850 

30-1/4 x 25-1/4 

INSCRIBED ON BACK OF ORIGINAL CANVAS: Portrait of Tho& Sully. The Artist. Painted by 

himself 1850 

COLL. : William Wilson Corcoran 

REF. : E . Biddle and M. Fielding, The Life and Works of Thomas Sully, 1921, p. 290, 

No. 1737 

GIFT : William Wilson Corcoran, 1869 69.51 

Sully painted at least eighteen self-portraits, the first when he was twenty-one, the last 

at the age of eighty-four. He was sixty-five when this portrait was painted. 

Raised on a farm in Windham, Connecticut, Samuel Lovett Waldo went 

to Hartford at the age of sixteen to study painting with a retired minister, Joseph Steward, who was himself an untrained artist. I n 1803 

Waldo opened his own studio in Hartford and soon after moved on to 

48 

Fanny Rundle 59.54 

Portrait of the Artist 69.51 

Samuel Lovett 

Waldo 

(1783-1861) 
Litchfield, Connecticut. He presently left New England, when he was invited by John Rutledge to Charleston, South Carolina, where he painted 

portraits for three successful years. With the help of his New York patrons he then financed three years of study in London with Benjamin 

West and John Singleton Copley. O n his return to New York in 1809, he 

established a studio, and a few years later accepted William Jewett as 

pupil and assistant. Around 1820 he took his pupil into partnership, and 

the firm of Waldo and Jewett became a successful business enterprise, the 

two artists collaborating on many paintings, with Waldo as the painter 

of hands and faces and Jewett, the painter of backgrounds, figures and 

accessories. Thi s partnership lasted until Jewett's retirement in 1854. 

Samuel Waldo was one of the founders of the National Academy of Design and a director of the Gallery of the American Academy of Art. 

During his partnership with Jewett, he continued to paint landscapes and 

portraits independently. Th e very comfortable inheritance which he left 

to his family on his death in 1861 is a measure of his success as both 

painter and business man. 

GEORG E WASHINGTO N PARK E CUSTI S 

36-1/2 x 28-3/4 

SIGNED, l.r.: Waldo 

COLL. : James Usher, New York 

REF. : Official Catalogue: Fine Arts, World's Columbian Exposition, Chicago, 1893, p. 

60, No. 2858 

PURCHASE: Gallery Fund, 1878 78.4 

George Washington Parke Custis (1781-1857) , the youngest of the four children of 

John Parke Custis and Eleanor Calvert, was adopted by George Washington when the 

boy's father, only surviving child of Mrs. Washington, died in 1781. His youth was 

spent at Mount Vernon. At the age of twenty-three he married Mary Lee Fitzhugh, 

and for most of their married life they resided at "Arlington House," now known as 

the Custis-Lee Mansion. He is recognized as the playwright who initiated the vogue for 

plays with American Indian themes, the best known being The Indian Prophecy and 

Pocahontas, or the Settlers of Virginia, produced in Philadelphia in 1827 and 1830, 

respectively. 

AN OFFICE R OF T H E UNITE D STATE S NAVY c. 1830 

30 x 25-1/4 

COLL. : Mr. Herzog, New Jersey; Robert Levy, New York 

REF. : C.G.A. Bull., Vol. 11, No. 2 (May 1960), p. 4, ill. 

BEQUEST: Robert Levy, 1959 

Unidentified Painter 

(c. 1830) 

59.56 

Thi s officer wears the uniform established by the United States Navy regulation of 

1830. The single epaulette identifies the sitter as a Lieutenant and the location of the 

epaulette on the right shoulder indicates he was the commanding officer on a ship. At 

one time this painting was thought to be a portrait of Commodore Uriah Phillips 

Levy (1792-1862) , but this identification has been disproved. 

Charles Bird King was born in Newport, Rhode Island, in 1785. Hi s first 

instructor in art was Samuel King, the former teacher of Stuart, Malbone 

and Allston. Around 1800 King left Newport to study with Edward Sa49 

George Washington Parke Custis 78.4 

Charles Bird King 

(1785-1862) 
vage in New York, going on to London in 1805 where he worked in 

Benjamin West's studio until 1812. It was at this time he became a roommate and firm friend of Thomas Sully who called him "the most industrious person I ever met with" and the possessor of "much mechanical 

skill." King returned to America in 1812, settling first in Philadelphia; 

but after four years of mediocre success he moved to Washington where 

he remained until his death in 1862, painting during the summers in 

Newport. Primarily a portrait painter, he claimed the important statesmen of the day as his sitters. He also painted around ninety portraits of 

visiting Indian Chiefs at the instigation of Thomas L . McKenney, the 

founder of the Indian Department of the Federal Government (see 

p. 80) • Less well-known are his still-lifes in the trompe I'oeil tradition. 

POOR ARTIST' S CUPBOAR D c. 1815 

29-3/4 x 27-3/4; panel 

REF. : Catalogue of the Apollo Association, New York, 1839, No. 230 (listed as STILL 

LIFE—TH E PROPERTY OF A POOR ARTIST); Masterpieces of The C.G.A., 1959, p. 46, ill. 

PURCHASE: Gallery Fund and Exchange, 1955 55.93 

King painted at least two very similar still-life subjects in the trompe I'oeil tradition 

depicting the futility of artistic accomplishment. Thi s version may have been done 

before he left Philadelphia for Washington in 1816, greatly discouraged by adverse 

criticism. The notice of the Sheriff's Sale dated January 1, 1812 at the upper left and 

the 1814 inscribed on one of the papers appear to confirm this assumption. However, it 

is difficult to explain why this painting was not publicly exhibited before 1839, if this 

is a fact. The second painting, VANITY OF AN ARTIST'S DREAM, signed and dated 1830, is 

in the Fogg Art Museum, Cambridge. 

HENR Y CLA Y 1821 

36-1/8 x 28-1/8 

COLL. : John Cranch, Urbana, Ohio 

REF. : C.H. Hart, "Life Portraits of Henry Clay," McClure's Magazine, Sept. 1897, p. 

940; R.J. Quandt, "Reclamation of Two Paintings," C.G.A. Bull., Vol. 6, No. 3 (Oct. 

1953), pp. 10-15, ill. 

PURCHASE: Gallery Fund, 1881 81.9 

At the age of thirty-four, Henry Clay (1777-1852) was elected to the House of Representatives, an office he held, serving as Speaker of the House, until 1825 except for one 

term (1821-23) when he retired to resume his law practice and retrieve his fortunes. 

King's portrait was painted just before this period of retirement which would have 

been effective in March 1821. Clay holds a Resolution of the House, dated February 10, 

1821, supporting the desire of South American peoples for independence. The portrait 

was engraved by Peter Maverick, New York, and published by Benjamin O. Tyler, 

1822, with captions in both English and Spanish. 

JOH N C. CALHOU N c. 1822 

30-1/2 x 25-3/8 

COLL. : Virgil Maxcy and his daughter, Mrs. G.W. Hughes 

REF. : Catalogue of the Eleventh Annual Exhibition of the Pennsylvania Academy of 

the Fine Arts, Philadelphia, 1822, No. 331 

PURCHASE: Gallery Fund, 1879 79.1 

Thi s portrait was commissioned from King by Virgil Maxcy, lawyer, politician and 

diplomat, when Calhoun was serving as Secretary of War during the administration of 

President Monroe (1817-1825) . 

50 

Poor Artist's Cupboard 55.93 

Henry Clay 81.9 
James Frothingham was born in Charlestown, Massachusetts, the son of a 

carriage builder. He worked with his father, mastering the technique of 

ornamental coach painting, and from that branched out into still-life 

and portrait painting. With some instruction in w6rk with oils from 

Fabius Whiting, a little known painter who had studied with Gilbert 

Stuart, he abandoned carriage painting in favor of portrait painting at 

the age of twenty. Encouraged by John R. Penniman, who sent him to 

Gilbert Stuart for criticism, he set up a studio in Salem for a time. He 

moved to New York in 1826. Besides his portrait commissions, he executed many excellent copies after Stuart. He was elected a Member of the 

National Academy of Design in 1832 and exhibited regularly at the 

American Academy, the Apollo Association, the Boston Athenaeum and 

the Pennsylvania Academy of the Fine Arts. He died in Brooklyn, where 

he had settled in 1844. 

JOH N PEDRICK , III 1812 (?) 

26-7/8 x 22-1/4; panel 

INSCRIBED ON BACK, u.l.c: John Pedrick 3/ of Marblehead/ Frothingham about 18[?]2 

COLL. : descendants of the sitter 

BEQUEST: Dt. Franklin Burche Pedrick, 1951 51.28 

T he ancestors of John Pedrick, III were among the first settlers in Marblehead, Massachusetts. In 1804, Pedrick was named cashier of the newly-established Bank of Marblehead. 

William Edward West, a portrait and figure painter, was born in Lexington, Kentucky, in 1788 when that region was still frontier country. He 

painted miniatures before studying with Sully in Philadelphia. He 

worked in Philadelphia from about 1807 to 1818 when he went to Natchez, Mississippi, painting portraits there for about a year before leaving 

for Italy to study. He lived in Europe for almost twenty years, becoming 

the fashionable portrait painter of travelers abroad. Hi s dashing and romantic portraits of Byron, Shelley and Trelawny are well-known. West 

left Italy for Paris in 1824. He reached the height of his success in England where he set up a London studio in 1825. However, after financial 

reverses due to unwise investments, he returned to America in 1838. He 

worked first in Baltimore, moving to New York in 1841. Hi s last two 

years were spent in Nashville, Tennessee, where he died in 1857. 

William Edward 

West 

(1788-1857) 

T H E MUSES OF P A I N T I N G , POETR Y AND MUSIC c. 1835 

37-3/4 x 32-3/4 

COLL. : estate of the painter; Sarah West Norvell Leonard, to Elizabeth H.E . McNabb, 

great grandniece of the artist 

REF. : American Painters of the South, C.G.A., 1960, pp. 29-30, ill. 

GIFT : Elizabeth H.E . McNabb in memory of Sarah West Norvell Leonard, 1957 57.2 

According to a letter from the donor, who is descended from the artist, the painting 

was executed about 1835 in Europe. 

T he Muses of Painting, Poetry, 

and Music 

57.2 

51 

James Frothingham 

(1786-1864) 
Samuel Finley 

Breese Morse 

(1791-1872) 

Born in Charlestown, Massachusetts, in the family of a Congregational 

clergyman and geographer, and educated at Andover and Yale, Samuel 

F.B. Morse began painting miniatures while still a college student. 

Overcoming strong parental disfavor, he was allowed to study with Washington Allston and to accompany him to London in 1811. He concentrated on historical painting in Benjamin West's studio, only "stooping" to 

portrait painting when financial necessity made it imperative. Returning 

to America in 1815, he found little interest in what he considered ideal 

art, however, and had to turn to portraiture in earnest. He painted for a 

time in Massachusetts and New Hampshire, finally going to Charleston, 

South Carolina, in 1818. He met with tolerable success, and in 1821 we 

find him in Washington executing his OL D HOUS E O F REPRESENTATIVES . 

Later, he settled in New York City where the success of his full-length 

portrait of Lafayette commissioned for City Hal l brought him immediate 

recognition. He was a founder and organizer of the National Academy of 

Design, serving as its first President from 1826-1845, and again in 

1861-62. After a second trip to Europe from 1829-1832, he devoted more 

and more of his time to invention and the perfection of the telegraph for 

which he is best known today. He continued his interest in the arts, 

however, participating in the formation of the Metropolitan Museum of 

Art and serving as its Vice President during the last year of his life. He 

died in New York in 1872. 

T he Old House of Representatives 11.14 

52 
T H E OL D H O U S E OF REPRESENTATIVE S 1822 

86-1/2 x 130-3/4 

SIGNED, 1.1.: S.F.B. MORSE. Pinxt/1822 

COLL. : an English Gentleman; Daniel Huntington; Charles Huntington 

REF. : H.B. Wehle, Samuel F.B. Morse, 1932, pp. 16 ff., ill.; American Processional, 

1492-1900, C.G.A., 1950, No. 116, pp. 107 ff. and 240, ill. (frontispiece in color); 

American Painters of the South, C.G.A., 1960, p. 30, ill. (in color on cover) 

PURCHASE: Gallery Fund, 1911 11.14 

Thi s monumental painting contains eighty-six portraits, for which each person sat, 

except one William Lowndes who was sketched from the gallery in the old House of 

Representatives Chamber. In Morse's own words: 

"The time chosen is at candle lighting while the members are assembling for an 

evening session . . . 

"The primary design of the present picture is not so much to give a highly finished 

likeness of the individuals introduced, as to exhibit to the public a faithful representation of the National Hall, with its furniture and business during the session of Congress . . ." 

The picture was completed in 1822 and taken on tour. With the proceeds from paid 

admissions Morse hoped to stabilize his shaky financial position. The public interest, 

however, was small. Thi s contributed in part to Morse's gradual abandonment of 

painting to devote himself to scientific work. 

JOSEP H GALE S 1821/1822 

10-1/8 x 8-5/8; panel 

COLL. : Lee B. Anderson, New York 

REF. : C.G.A. Bull., Vol. 5, No. 3 (June 1952) , pp. 5, 16, ill. 

PURCHASE: Gallery Fund, 1951 51.23 

Thi s study of Joseph Gales, reporter for the National Intelligencer, Washington, is one 

of the few known to have survived of eighty-five portrait sketches made by Morse 

between November 1821 and February 1822 in preparation for TH E OLD HOUSE OF 

REPRESENTATIVES. The figure of Gales appears at the extreme left of the finished 

painting. 

Alvan Fisher was born in Needham, Massachusetts, in 1792, and grew up 

in nearby Dedham. He had his first art instruction from the Boston artist, John R. Penniman. By 1814, according to a letter written by Fisher 

to Dunlap, he "commenced being artist, by painting portraits at a cheap 

rate." He lived in Hartford from 1822 to 1825, when he left for travel in 

Europe, visiting England, France, Switzerland and Italy. O n his return, 

he settled in Boston, in the area of which he lived until his death in 

Dedham, in 1863. Fisher was an early pioneer of American genre and 

landscape painting, particularly noted for his several large views of Niagara Falls, as well as for some of the earliest portraits of race horses in 

this country. 

AUTUMNA L LANDSCAP E WIT H INDIANS 1848 

42 x 54 

SIGNED, I.e.: AFisher/1848 

REF. : Charles Lanman, Catalogue of W.W. Corcoran's Private Gallery, Washington, 

1857, pp. 9 f., No. 23 (entitled EMIGRATION) 

COLL. : William Wilson Corcoran 

GIFT : William Wilson Corcoran, 1873 73.11 

This painting is closely related in subject matter to two other canvases by Fisher— 

INDIAN GUIDES, in the collection of The White House, and NEAR CAMDEN, MAINE, in the 

Newark Museum. 

53 

Alvan Fisher 

(1792-1863) 
MISHAP A T TH E FOR D 1818 

28-1/2 x 35; panel 

SIGNED, I.e.: A. Fisher, pinx. Feb. 4 [or 9f\ 1818 

REF. : C.G.A. Bull., Vol. 9, No. 4 (June 1958) , p. 11, ill. 

PURCHASE: Gallery Fund, 1957 57.11 

In the Alvan Fisher sketchbook of 1815 (No. IV, pp. 41 and 42) in the M.M. Karolik 

Collection of the Museum of Fine Arts, Boston, there are two drawings which are 

closely related to this painting. Another related drawing exists in a Fisher sketchbook 

in the Grearson Collection. 

Mishap at the Ford 57.11 

From Chester Harding's autobiography, My Egotistography (1866), 

we have an account of the rugged and adventuresome struggle of a 

young man making his way on the frontiers of America. He was born in 

Conway, New Hampshire, in 1792. He had worked at various trades in 

western New York State before he first tried portrait painting in Pitts54 

Chester Harding 

(1792-1866) 
burgh (1817). From here he went to Paris, Kentucky, and then to Philadelphia where he studied the works of Sully. He traveled in the Middle 

West, painting in St. Loui s until 1821. Hi s reputation was well established on his subsequent trip back East to New York and Boston, where 

he is said to have rivalled Stuart's popularity. After a fashionable success 

in London from 1823-26, he returned to New England, spending much of 

his time, however, on painting trips in Washington and nearby cities and 

in St. Louis, going as far south as New Orleans and north into Canada. 

He died in Boston in 1866. 

JOH N RANDOLP H OF R O A N O K E 1829/30 

30-1/4 x 25-1/4 

COLL. : W. Barksdale 

REF. : C . Harding, My Egotistography, Boston, 1866, p. 145; W. Bowen, ed. The 

History of the Centennial Celebration of the Inauguration of George Washington as 

First President of the United States, 1892, pp. 421, 521, ill. opp. p. 160 

PURCHASE: Gallery Fund, 1875 75.12 

While the Constitutional Convention of Virginia was convening in Richmond from 

1829 to 1830, Harding was in the city painting likenesses of the delegates. He completed eighteen portraits, including at least three of Randolph, all known today: one is 

in the Garvin Collection at Yale University; a second is in the collection of the 

National Gallery of Art, Washington; and the third is this portrait. In Harding's My 

Egotistography, published just before his death, he reminisces about Randolph: "I 

never in all my professional practice had a more agreeable sitter. He sat to me for 

three different pictures."; and, again, ". . . at the close of the second sitting, he said, 

'If you have no objection to showing your sketch, I would like to see it. I know, if 

it is like, it will be very ugly. Ah! It is very like.' " 

ISAA C THO M 

27 x 21-1/2; panel 

COLL. : descendants of the sitter to Mrs. Robert Henry Dunlap, great grandniece 

GIFT : Katharine Wood Dunlap, 1960 60.2 

Unidentified Painter 

Thi s portrait at one time was attributed to Chester Harding (1792-1866) . 

Born in Philadelphia, Doughty was a lithographer and one of the earliest American painters to devote himself entirely to landscape painting. 

After apprenticeship to a leather merchant, he worked as a leather currier until he could devote full time to painting in 1820. As early as 1821 

he was receiving commissions to paint gentlemen's estates, and in 1824 

he was elected a Member of the Pennsylvania Academy. He lived in 

Boston for a time after 1826. I n that year and in 1827 he exhibited at 

the National Academy with most enthusiastic notices in the New York 

Mirror, and in 1827 was elected an Honorary Member, Professional, of 

the Academy. He returned to Philadelphia in 1830 where he and his 

brother John published the Cabinet of Natural History and America?! 

Rural Sports, a periodical which appeared until 1834 and which carried 

Thomas Doughty 

(1793-1856) 

55 

John Randolph of Roanoke 75.12 
many hand-colored lithographs after Thomas Doughty's own works. 

Lithographs of his work were also found in regional guide books and in 

the elaborate gift books of the period. He moved back to Boston in 1832 

where he taught painting and exhibited in Harding's Gallery. I n 1837 he 

went to England for two years. He traveled again in Europe from 

1845-46, but his last years were spent for the most part in New York, 

where he died in 1856. 

AUTUM N ON TH E HUDSO N 1850 

34-3/8 x 48-1/2 

COLL. : commissioned from the artist by William Wilson Corcoran 

REF. : Charles Lanman, Catalogue of W.W. Corcoran's Private Gallery, Washington, 

1857, p. 10, No. 24 

GIFT : William Wilson Corcoran, 1869 69.70

LANDSCAP E 

7-1/4 x 14-3/4; academy board 

SIGNED, l.r.: T DOUGHTY 

COLL. : Abraham Cozzens, New York; William Wilson Corcoran 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 27 

GIFT : William Wilson Corcoran, 1869 69.4 

TINTER N ABBE Y after 1836 

29-1/2 x 36-3/8 

SIGNED, l.r.: T. DOUGHTY 

COLL. : William Church Osborn, New York 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 27 

GIFT : William Church Osborn, 1904 04.3 

Landscape 69.4 

56 
Thi s painting was undoubtedly inspired by Wordsworth's ode "Tintern Abbey" written 

in 1798 and widely read in the United States in the nineteenth century. Doughty has 

given a pictorial version of such word pictures as: 

"Once again 

Do I behold these steep and lofty cliffs, 

That on a wild secluded scene impress 

Thoughts of more deep seclusion; and connect 

T he landscape with the quiet of the sky." 

Though born in Boston, John Neagle grew up in Philadelphia and spent 

his whole life there as a portrait painter. He studied in the drawing 

academy of Pietro Ancora where he had instruction from Edward F . 

Peticolas. He worked briefly with Thomas Wilson, a coach and ornamental painter, and through him arranged to study with the portrait painter 

and lithographer, Bass Otis. By 1818 he had set up his own studio in 

Philadelphia. He traveled briefly in Kentucky and farther south, but by 

1822 he had paid his first visit to Sully's Philadelphia studio, and four 

years later married Sully's step-daughter. It was at this time he painted 

his famous picture, PA T LYO N A T HI S FORGE , the painting which made his 

reputation. Thereafter he was commissioned, over the years, to paint 

many of Philadelphia's notable personages. From 1825-1854 he kept what 

he called his "Blotter," a diary in which he recorded the exact dates of 

many of his paintings as well as fragmentary notes providing the reader 

with an intimate feeling for the personality of the artist. Neagle suffered 

a paralytic stroke toward the end of his life which ended his painting 

career. 

HENR Y BARRET T c. 1840f 

25-3/4 x 21-1/2 

INSCRIBED ON STRETCHER: Portrait of/Henry Barrett/ by John Neagle about 1840 

COLL. : descendants of sitter, Anna M. Archambault, Philadelphia and Mrs. J. Frederick M. Stewart, Upperville, Virginia 

REF. : Exhibition of Portraits by John Neagle, The Pennsylvania Academy of the Fine 

Arts, Philadelphia, 1925, p. 51, No. 32 

GIFT : Marguerite A.C. Stewart, 1964 64.21.2 

Henry Barrett was born in Philadelphia in 1795 and died at sea in 1845. 

ANNA MARGARETT A HAUP T c. 1840f 

27-1/2 x 23-1/3 

INSCRIBED ON BACK OF CANVAS: Portrait of/ Anna Margaretta (Wiall) Haupt. 1787-

1851/ wife of Jacob Haupt/ Attributed to John Neagle/ about 1840 

COLL : descendants of the sitter to Mrs. J. Frederick M. Stewart, great granddaughter 

GIFT : Marguerite A.C. Stewart, 1963 63.17 

Anna Margaretta Haupt was born in Philadelphia, July 22, 1788, daughter of Peter 

and Elizabeth Wiall. She married Jacob Haupt in Philadelphia in 1816. 

COLONE L RICHAR D MENTO R JOHNSO N 1843 

3D x 25 

INSCRIBED ON BACK OF CANVAS BEFORE RELINING: Col. Richard M. Johnson/ painted 

from the life by John Neagle/ Frankfort, Kentucky,/ March 9th, 1843. / Col. R.M. 

Johnson, Vice President of the United States,/ Under the Administration of Martin 

Van Buren./ Died November 19th, 1850. 

57 

Colonel Richard Mentor Johnson 02.4 

John Neagle 

(1796-1865) 
COLL. : estate of artist; Mr. and Mrs. Benjamin Ogle Tayloe 

REF. : Official Catalogue: Fine Arts, World's Columbian Exposition, Chicago, 1893, p. 

59, No. 2838a; C. H . Hart, "Portrait of Richard M. Johnson, Painted by John Neagle," 

Art in America, Vol. 4, No. 5 (August 1916), pp. 288-292, ill. 

GIFT : Mrs. Benjamin Ogle Tayloe, 1902. 02.4 

Colonel Johnson (1781-1850), prominent lawyer and Democratic politician, had served 

with distinction in the War of 1812, had been a member of the Kentucky State 

Legislature and both houses of Congress, had completed his term as ninth Vice President of the United States (1837-1841) , and was in Kentucky when Neagle painted his 

portrait in 1843. The painting remained in the artist's hands until his death, although 

in 1851 he had tried unsuccessfully to sell it and a heroic portrait of Henry Clay (now 

in the Union League Club, Philadelphia) to the Kentucky Legislature for a nominal 

price. 

GEORG E RUNDL E 1850 

20 x 16-3/4; composition board 

COLL. : the sitter to goddaughter, Ellen J. Lewis (Mrs. Joseph E . Coonan) 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 27 

GIFT : Joseph E . Coonan, in memory of his wife, 1931 31.3 

George Rundle, a Philadelphia merchant, was born in 1772 and died in 1859. 

According to a letter from Rundle's daughter, this portrait was painted in July 1850. 

Although Asher Brown Durand is considered one of the founders of the 

Hudson River School of landscape painting, his training and professional success came first as an engraver. Born in Jefferson Village (now 

Maplewood) in New Jersey, he was apprenticed in 1812 to Peter Maverick, a Newark engraver. At the end of Durand's apprenticeship in 1817 

he became a partner in the firm. Thi s partnership dissolved after the 

young man surpassed his master and was commissioned to engrave John 

Trumbull' s DECLARATIO N O F INDEPENDENCE . He soon became one of America's foremost engravers, working on plates for landscapes, portraits and 

banknote vignettes. Encouraged by his patron Luma n Reed, Durand 

gave up engraving in 1835 for oil painting. Hi s friendship with Thomas 

Cole spurred trips into upper New York State for subject matter. I n 1840 

and 1841, Durand traveled in Europe, visiting the usual museums where 

he was particularly interested in the landscapes of Claude Lorrain, whose 

qualities of light influenced his later works. O n his return to New York, 

Durand completed a large number of studio paintings based on sketches 

made abroad and in New York State and New England mountain areas. 

Active in the growing school of American landscape painting, Durand 

was a founder of the National Academy of Design and served as its second President from 1845 to 1861. I n 1855 his "Letters on Landscape 

Painting" appeared in The Crayon, a short-lived art periodical published by his son. An active member, also, of the Sketch Club (later the 

Century Club) of New York City, Durand exhibited frequently until his 

retirement in 1869 to New Jersey. He died there at the age of ninety, 

(see portrait below, p. 80) 

58 

Asher Brown Durand 

(1796-1886) 
Edg

e of the Forest 74.7 59 
T H E EDG E OF TH E FORES T 1871 

78-1/2 x 64 

SIGNED, l.r.: A.B. Durand/1871 

COLL. : purchased from the artist 

REF. : Daniel Huntington, Asher B. Durand, A Memorial Address, The Century, New 

York, 1887, p. 38 

PURCHASE: Gallery Fund, 1874 74.7 

In his address honoring Durand, given shortly after his death, Huntington said the 

following about this painting: "One of the later pictures (the largest, I believe, he 

ever painted), and one of the grandest and best, is the Forest Scenery now in the 

Corcoran Gallery. It was the last he painted before moving from New York to New 

Jersey. It is a noble work, broadly and simply painted. It represents the profound 

solitude of the forest primeval in its grandeur and silence, reveals the vigor of a 

master's hand and the ripe experience of a long life of serious study, and it is, 

moreover, strongly characteristic of the calmness and solidity of the author's mind. It 

is a subject of congratulation that such a grand and representative work is permanently placed in a fire-proof public institution so important as the Corcoran Gallery." 

Henry Inman was born in Utica, New York, where he received his first 

instruction in painting from an itinerant artist. I n 1812 he moved with 

his family to New York City, and two years later became apprenticed to 

John Wesley Jarvis. After his apprenticeship ended, he stayed on as a 

partner with Jarvis, the two artists collaborating in the execution of 

portraits, Jarvis painting the head, and Inman filling in costume and 

background. I n 1824 Inman established his own studio and, two years 

later, took on as partner his pupil, Thomas S. Cummings. Thi s partnership ended in 1828, and in 1831 Inman moved to Philadelphia. Here he 

joined Cephas G. Childs as partner for four years in the lithographic 

firm of Childs and Inman. Although Thomas Sully was working in Philadelphia at this time, Inman obtained numerous portrait commissions 

and achieved considerable success. He returned to New York in 1834, 

and, except for a trip to England in 1844-45 to paint the commissioned 

portraits of William Wordsworth and Thomas Macaulay, he remained 

in New York until his death in 1846. 

JOH N O'BRIE N 

13-3/4 x 11-1/4 

COLL. : descendants of the sitter to great-great granddaughter, Clarice G . Walker, Lime 

Kiln, Maryland 

GIFT : Clarice G . Walker, 1950 50.1 

John O'Brien was the father of Inman's wife, Jane Riker O'Brien. 

GRAC E ANN E O'BRIE N 

30 x 25 

COLL. : descendants of sitter to great-granddaughter, Clarice G. Walker, Lime Kiln, 

Maryland 

REF. : Catalogue of Works by the Late Henry Inman with a Biographical Sketch. 

Exhibition for the Benefit of His Wife and Children, New York, 1846, No. 29 (listed as 

PORTRAIT OF A LADY, lent by Mrs. Leacraft [sic]) 

GIFT : Clarice G. Walker, 1950 50.2 

Grace Anne O'Brien, daughter of the John O'Brien of the preceding portrait and sister 

of Inman's wife, married William Leaycraft and lived in Brooklyn. 

60 

Grace Anne O'Brien 50.2 
HENR Y CLA Y c. 1850 

27 x 2 2 

COLL. : Henry N . Barlow; William Wilson Corcoran 

REF. : C.H . Hart, "Life Portraits of Henry Clay," McClure's Magazine, Sept. 1897, pp. 

939-948 

GIFT : William Wilson Corcoran, 1873 73.12

Thi s portrait of Henry Clay (1777-1852), formerly attributed to Henry Inman 

(1801-1846) , was probably based on a daguerreotype made by Matthew B. Brady in 

1849, a copy of which is in the Library of Congress, Washington. 

Thomas Cole was one of the founders of the Hudson River School of 

landscape painting. Born in England, he came to Philadelphia with his 

family in 1819. He had been apprenticed to a textile designer and engraver in England, and in Philadelphia he also learned the techniques of 

wood engraving. After a brief trip to the West Indies, he rejoined his 

family in Steubenville, Ohio, where he was encouraged by an itinerant 

artist to become a portrait painter. Late in 1823 he returned to Philadelphia where he had the opportunity to study the landscapes of Thomas 

Birch and Thomas Doughty at the Pennsylvania Academy of the Fine 

Arts. Cole went to New York in 1825. Thre e of his early paintings, in61 

Unidentified Painter 

(c. 1850) 

Thomas Cole 

(1801-1848) 

Tornado 77.12 
spired by trips in the Catskills, were purchased by the artists William 

Dunlap, Asher Brown Durand and John Trumbull . Th e praise he received from these artists quickly established his reputation as a young, 

gifted landscape painter. Although he became active in the New York art 

world, he continued his sketching trips to the Catskills and along the 

banks of the Hudson River, spending less and less time in the city. Continually impressed by the grandeur of untamed nature, he made a short 

trip to Niagara Falls before he left for Europe in 1829. After spending 

some time in London and Paris, he arrived in Florence in 1831 where he 

studied the old masters in galleries and private collections. He then went 

to Rome, working in Claude Lorrain's former studio and sketching the 

Italian countryside. He returned to New York in 1832, married and 

settled in his favorite location, Catskill-on-the-Hudson. He painted numerous allegorical paintings for his New York patrons, and the engravings from these paintings established his popularity in America. After 

another sketching trip in Europe in 1841-2, he settled permanently in 

Catskill where he died in 1848. 

TORNAD O 1835 

46-3/8 x 64-5/8 

SIGNED, I.e.: T Cole/1835 

COLL. : Francis Alexander, Boston; Richard M. Olyphant, New York, 1877 

REF. : L.L . Noble, The Life and Works of Thomas Cole (1853), ed. by E.S . Vesell, 

1964, pp. 136, 138, 142; E.P . Richardson, American Romantic Painting, 1944, p. 30, ill. 

PURCHASE: Gallery Fund, 1877 77.12 

William Dunlap, in 1834, quotes Cole as saying: "My picture of a 'Tornado in an 

American Forest' was placed in a good situation [at the Gallery of British Artists, 

London] and was praised exceedingly in several of the most fashionable papers." Cole 

may have painted a second version of this subject on his return from the trip abroad 

(1829-1832), for, in repayment of a loan, he sent a painting entitled A TORNADO 

PASSING OVER AN AMERICAN FOREST to Francis Alexander, the portrait painter, with 

whom he had traveled in Italy. In a letter, dated March 26, 1835, he writes to 

Alexander in Boston: "About the picture; you must not be surprised if a large one, 

about 7 feet long, makes its appearance on your coast, not as a sea-serpent, but as 

a Tornado . . . the Tornado I speak of was painted the summer before last; it is 

sketchy, but I believe you are fond of such . . ." 

T H E DEPARTUR E 1837 

39-1/2 x 63 

SIGNED, l.c.r.: TC/1837 

COLL. : William P. van Rensselaer, New York; William Wilson Corcoran 

REF. : National Academy of Design Exhibition Record, 1943, Vol. 1, p. 8 9 (exhibition: 

1838, No. 64) ; L.L . Noble, The Life and Works of Thomas Cole (1853) , ed. by E.S . 

Vesell, 1964, pp. 180 ff.; E.P. Richardson, American Romantic Painting, 1944, p. 29, ill. 

GIFT : William Wilson Corcoran, 1869 69.2 

T H E RETUR N 1837 

39-3/4 x 63 

SIGNED, l.c.r.: T Cole. 1837 

COLL. : William P. van Rensselaer, New York; William Wilson Corcoran 

REF. : National Academy of Design Exhibition Record, 1943, Vol. 1, p. 89 (exhibition: 

1838, No. 65) ; L.L . Noble, The Life and Works of Thomas Cole (1853), ed. by E.S . 

Vessell, 1964, pp. 180 ff.; E.P. Richardson, American Romantic Painting, 1944, p. 29, ill. 

GIFT : William Wilson Corcoran, 1869 69.3 

62 
These two companion paintings were commissioned by William P. van Rensselaer in 

1837. The theme of the transitory character of man's life contrasted with the permanence of the world around him is developed symbolically with dawn vs. sunset, spring 

vs. autumn, the departure of knights for the wars vs. the return of their mourning 

procession. 

The Return 69.3 

63 

T he Departure 69.2 
T H E RETUR N FRO M TH E TOURNAMEN T 1841 

39-3/4 x 60-1/2 

SIGNED, 1.1.: T COLE 1841 

COLL. : Charles Brown Shaw, Dedham, Mass.; his daughter, Henrietta Shaw Kollock; 

his granddaughter, Annie Hicks Dillingham; his great-grandson, Alexander Kollock 

Dillingham 

REF. : C.G.A. Bull, Vol. 10, No. 3 (June 1959) , p. 5, ill. 

GIFT : Josephine C. Dillingham in memory of Alexander Kollock Dillingham, 1958 58.13 

A painter of miniatures and portraits in oil, Sully was born in Petersburg, Virginia, July 17, 1803, nephew of Thomas Sully and son of Matthew Sully, an equestrian circus performer from England. Hi s mother, a 

performer on the organ and piano, was a native Virginian. Robert Sully 

studied with his uncle and in England, where he exhibited at the Royal 

Academy from 1825 to 1827. He worked in Philadelphia, Richmond and 

Washington in 1831 and 1832, but thereafter remained mainly in 

Richmond. He died on October 16, 1855 in Buffalo, New York, while en 

route to Madison, Wisconsin, where he had planned to settle. 

CHIE F JUSTIC E JOH N MARSHAL L 1830 

37 x 29-1/4 

INSCRIBED ON BACK OF CANVAS: L.G. Allan I 1830 

COLL. : Mrs. Louisa G. Allan, Richmond 

REF. : A.W. Rutledge, The Pennsylvania Academy of the Fine Arts, 1807-1870, 1955, p. 

219 (exhibition: 1831, p. 14, No. 17) 

PURCHASE: Gallery Fund, 1887 87.1 

After resigning his commission in the Continental Army in 1781, John Marshall 

(1755-1835) went to Richmond to serve in the State Legislature. He was elected to 

Congress in 1798, became Secretary of State in 1800, and was appointed Chief Justice 

of The Supreme Court by John Adams in 1801. Thi s portrait is one of three painted 

by Robert Sully in Richmond during the Virginia Constitutional Convention in 

1829/30, the other two being in the City Hall of Richmond and in the Court House at 

Staunton, Virginia. A fourth was painted for the Historical Society of Wisconsin at 

Madison in 1855. 

Robert Walter Weir 

(1803-1889) 

Church of the Holy Innocents, 

Highland Falls, New York 

65.13 

Robert Walter Weir, born in New York, received his first instruction in 

art from Robert Cook, an English heraldic artist. He was also acquainted 

with John Wesley Jarvis. At the age of seventeen he attended the American Academy, of which John Trumbul l was still President, and studied 

anatomy at the New York University Medical School. I n 1824 he left for 

Italy where he spent three years in Florence and Rome, sharing rooms in 

Rome with his friend, the sculptor Horatio Greenough. Back in New 

York in 1828 he opened a studio, was elected a National Academician, 

and in 1832 was teaching Perspective in the Academy. I n 1834 he was 

appointed Instructor of Drawing at West Point to succeed Charles R. 

Leslie, and in 1836 was made Professor. Thi s position he held until his 

retirement in 1876. He claimed among his pupils such famous names as 

Grant, Lee, Sherman, Whistler and Seth Eastman, who was his assistant 

for six years. During this period he painted his well-known EMBARKATIO N 

O F TH E PILGRIM S for the Rotunda of the Capitol. Tw o of his seventeen 

children also became painters—John F. and J . Alden Weir. 

64 

Robert Matthew 

Sully 

(1803-1855) 
CHURC H OF T H E HOL Y INNOCENTS , HIGHLAN D FALLS , NE W Y O R K c. 1850 

22 x 29-1/2 

SIGNED: I.e.: Robt W. Weir 

PURCHASE: William A. Clark Fund, 1965 65.13 

T he artist was the architect of this church and is buried in its churchyard. The 

building was begun in the spring of 1844 and completed in July 1847 while Weir was 

Professor of Drawing (1834-1876) at the nearby United States Military Academy, West 

Point. 

Fitz Hugh Lane was born in Gloucester, Massachusetts, christened Nathaniel Rogers Lane, a name he later changed. Because of a crippling 

childhood disease, the boy began sketching at an early age. Noticing his 

ability, Gloucester lithographers gave him work at their shops. Ther e his 

drawings were seen by William S. Pendleton, who offered him an apprenticeship in Pendleton's well-known Boston lithography firm. I n 

1837, after a five-year apprenticeship with Pendleton, Lane joined the 

new publishing firm of Keith and Moore, where he collaborated on views 

of towns and harbors. I n 1845 he and John W. A. Scott formed their own 

lithography firm. I n 1849 he returned to Gloucester where he remained 

for the rest of his life. By this time Lane had become well-known as a 

marine painter. I n addition to a trip in 1850 to New York and BaltiFitz Hugh Lane 

(1804-1865) 

The United States Frigate President Engaging the British Squadron, 1815 61.7 

65 
more, and possibly to Puerto Rico, he spent his summers cruising with 

friends off the coast of Maine. These trips and his view of Gloucester 

harbor from the studio window in his stone house on Duncan Point gave 

h im the subject matter for his paintings, which were regularly exhibited 

during the following years at the Boston Athenaeum, and in New York 

at the National Academy of Design and the American Art-Union. Th e 

artist died in the summer of 1865. 

T H E UNITE D STATE S FRIGAT E PRESIDENT ENGAGIN G TH E BRITIS H 

SQUADRON , 1815 1850 

28 x 42 

SIGNED, l.r.,: F.H. Lane 1850. 

REF. : J . Wilmerding, Fitz Hugh Lane, 1804-1865, 1964, pp. vii-viii, 58, No. 50, ill. 

GIFT : Mr. and Mrs. Lansdell K. Christie, 1961 61.7 

Thi s painting is one of two known historical works by Lane of engagements in the 

War of 1812. The USS President, which had distinguished herself against the British 

fleet since the beginning of the war, set sail from New York with a leaking hull on 

Jan. 14, 1815 under the command of Stephen Decatur. The next day she fell in with 

a British squadron, and engaged in a long-running fight with the frigate HMS Endymion, while two other vessels, HMS Tenedos and HMS Majestic closed to join battle. 

T he Endymion was seriously damaged and withdrew, but the President's damaged hull 

was an unsurmountable handicap, and after six hours of struggle, in which 24 of her 

crew and officers were killed and 55 wounded, she was overpowered by the Majestic. 

Thi s painting by Lane, done some 30 years after the naval engagement, was probably 

commissioned by one of his New England patrons. 

Brumidi, an Italian by birth, came to America in 1852 after a successful 

career in Italy which had been interrupted by his revolutionary activities 

in 1848-49. He was in Mexico City for a short time, but settled in Washington in 1855 where he was employed for the next twenty-five years 

decorating the halls of the United States Capitol. Brumidi was a welltrained fresco painter, having worked as a young man on the restoration 

of some of Raphael's frescoes in the Vatican. Hi s most ambitious undertaking in the Capitol was the execution of the A P O T H E O S I S O F WASHINGTO N 

on the ceiling of the great dome. 

SAMUE L F.B. M O R S E (1791-1872) 

11 x 10-7/8 

COLL. : Louis D. Bliss, Washington, D.C.; Mr. and Mrs. Donald S. Bliss 

GIFT : Mr. and Mrs. Donald S. Bliss in memory of Louis D. Bliss, 1961 61.31 

Prior was born in Bath, Maine on May 16, 1806, second son of a Massachusetts shipmaster who was lost at sea in 1816. Prior's earliest known 

portrait was done in Portland in 1824. I n 1828 he married Rosamond 

Clark Hamblen, sister of four third-generation painters in business with 

their father in Portland. From 1827 to 1831, Prior advertised in the 

Maine Inquirer to do japanning, bronzing, gilding, sign and ornamental 

66 

Constantino Brumidi 

(1805-1880) 

William Matthew 

Prior 

(1806-1873) 
painting, drawings of machinery, enameling on glass, lettering, imitation 

carved work, portraits and miniatures and frames. Portraits of children 

and unshaded portraits could be had at reduced prices. He lived in Bath 

until 1831 and in Portland until 1840, when, with the Hamblens, he 

moved to Boston. Though this was his center, he was frequently on the 

road as an itinerant painter. He copied, on glass, portraits of such public 

figures as Washington, Webster and Lincoln in the collection of the 

Boston Athenaeum—a technique then much in vogue. I n 1846 he purchased a house in East Boston which he called "The Painting Garrett," 

where he lived and worked for the rest of his life, although he still made 

frequent trips through New England and even as far south as Baltimore. 

I n later years he became intensely interested in the Advent Movement 

and wrote several religious tracts on the subject. He died in East Boston 

in 1873. 

PORTRAI T O F A YOUN G GIR L c. 1840-1850 

18-1/2 x 13-3/4 

COLL. : Kate Deering Ridgely, Washington 

GIFT : Catherine Ridgely Brown, 1954 54.24 

T he Three Huidekoper Children 53.1 

Thi s portrait is unsigned. The attribution to Prior is not certain, but if it is not by 

Prior, it probably is by his brother-in-law, Sturtevant J. Hamblen, whose manner of 

painting closely follows his somewhat better-known kinsman. 

T H E THRE E HUIDEKOPE R CHILDRE N c. 1853 

35 x 29 

COLL. : Mrs. J. Herbert Stabler, Washington, daughter of Gertrude Huidekoper 

GIFT : Elizabeth H . Stabler, 1953 53.1

T he three children, from left to right, are named Edgar, Jr. (1845-1938) , Elizabeth 

(1851-1951) , and Gertrude (1846-1938) . Their father was Edgar Huidekoper, third son 

of Harm Jan Huidekoper who came to this country from Holland in 1796 and settled 

in Meadville, Pennsylvania. The children's mother, Frances Shippen, was the niece of 

Chief Justice Shippen (see above, p. 30) • 

Little is known of the background of John Kendrick Fisher. Tha t he was 

an American and that he studied in England, exhibiting scriptural paintings at the Royal Academy and other London galleries from 1830 to 1832 

is all that is recorded of his early training and work. He exhibited in the 

Boston Athenaeum in 1833, but in 1837-38 he was painting in Charleston, South Carolina. He seems to have lived in New York from that time 

until 1853, exhibiting at both the National Academy and the American 

Art-Union. He published a critical article on American Art in the Knickerbocker Magazine for June 1839. 

John Kendrick 

Fisher 

(1807-after 1853) 

PORTRAI T OF A CHIL D WIT H A SPRAY OF FLOWER S 

35-3/4 x 29 

COLL : Dr. Albert Kendrick Fisher, Washington 

GIFT : Dr. Albert Kendrick Fisher, 1948 

67 

Unidentified Painter 

(c. 1853) 
William James 

Hubard 

(1807-1862) 

John C. Calhoun 89.4 

William James Hubard in later life shrouded his origin in mystery, but 

the story as it is now known reads like a tale from Dickens. He was born 

in Whitchurch, Shropshire, England. As a child prodigy, clever at cutting silhouettes, he was exploited by a Mr. Smith who traveled with him 

throughout England and finally brought him to America in 1824. Hu -

bard broke with his manager after three years in New York and Boston. 

Encouraged by Gilbert Stuart, he became a portrait painter. He went 

back to England for a visit from 1826-28, and, on his return, worked first 

in Philadelphia, where he was helped by Thomas Sully, then in Baltimore, finally settling in Virginia. He took a second trip to Europe after 

his marriage in 1838. By the fall of 1841 he was installed in a studio in 

Richmond, where he remained until his death. I n his later life he became 

interested in sculpture and cast at least six bronze replicas of the marble 

statue of George Washington by Houdon in the Virginia Capitol. 

During the Civil Wa r he produced munitions in his foundry for the 

Confederate Government and in 1862 was killed by an accidental explosion in his laboratory. 

JOH N C. C A L H O U N c. 1832 

19-1/2 x 14-5/8; panel 

COLL. : Thomas S. Dabney, Gloucester County, Virginia; Sophia Dabney Thurmond, 

Washington 

REF. : 21st Annual Exhibition, Pennsylvania Academy of the Fine Arts, 1832, No. 74; 

Life in America, The Metropolitan Museum of Art, 1939, pp. 127-8, No. 172, ill.; 

William James Hubard, 1807-1862, The Valentine Museum and the Virginia Museum 

of Fine Arts, 1948, p. 5, No. 2, ill. 

PURCHASE : Gallery Fund, 1889 89.4

Thi s portrait was part of a series of "small whole lengths," portraits of prominent 

political figures of the day, including Clay, Jackson, Marshall, and possibly Webster. 

Hi s scenes of rural life on Long Island establish William Sidney 

Mount as one of America's outstanding genre painters. He was born 

at Setauket, Long Island, and spent most of his boyhood in the 

neighboring village of Stony Brook. He came from a family of artists, and 

in 1824, was apprenticed to his brother Henry, an ornamental and sign 

painter in New York City. I n 1826 he enrolled in the first classes held at 

the National Academy of Design, and, in 1832, he was elected Academician of the Academy. He worked chiefly in New York until 1837 when he 

returned to Stony Brook to settle permanently. He derived his chief support from commissioned portraits, but he was happiest when depicting 

the rural life and amusements of his Long Island neighbors, for which he 

is best-remembered today. He died at Setauket in the home of his 

brother Robert. 

T H E LON G STORY 1837 

17 x 22; panel 

SIGNED , 1.1.: Wm. S. MOUNT-11837 

COLL. : Robert Gilmor, Baltimore, 1837 

REF. : National Academy of Design Exhibition Record, 1826-1860 p. 42 (exhibition: 

1838, No. 308) ; B. Cowdrey and H.W. Williams, Jr., William Sidney Mount, 1807-1868, 

1944, p. 18, No. 27, ill. 

PURCHASE : Gallery Fund, 1874 74.69

William Sidney 

Mount 

(1807-1868) 

68 
T he Long Story 74.69 

Considered by Mount as his best work, this painting depicts a scene witnessed by the 

artist. In writing to Robert Gilmor, he identifies the figure seated at the right as a 

Long Island tavern and store-keeper; the man standing, as a traveler; and the invalid, 

as a "Barroom oracle." The speaker is entertaining the owner with the longest story he 

has ever told. Joseph Ives Pease (1809-1883) made a line engraving from this work in 

1842 entitled TH E TOUGH STORY. 

Lambdin was born in Pittsburgh, Pennsylvania on May 10, 1807. I n 1823 

he went to Philadelphia to study for about two years under Edward 

Miles and Thomas Sully. Returning to Pittsburgh, he established himself 

as a portrait and miniature painter, and proprietor of a museum and art 

gallery which provided the first public exhibition of works of art in the 

West. He moved with his collection to Louisville, Kentucky in the early 

30's. I n 1837 he settled in Philadelphia where he spent the rest of his life. 

For many years, he served as an officer in the Artists' Fun d Society and in 

the Pennsylvania Academy, and was an Honorary Member, Professional, 

69 

James Reid 

Lambdin 

(1807-1889) 
of the National Academy from 1840-1860. Hi s sitters included many 

national figures such as Lincoln, Grant, Webster and Chief Justice 

Marshall. 

EDWI N McMASTERS STANTO N 

44-1/2 x 34-1/2 

SIGNED, l.r.: / R Lambdin 

COLL. : Victor D. Spark, New York 

REF. : Civil War Centennial Exhibition, Washington County Museum of Fine Arts, 

Hagerstown, 1962, No. 28 

GIFT : Victor D. Spark, 1955 55.82 

Stanton (1814-1869), controversial political figure of the second half of the nineteenth 

century, served as Attorney General in President Buchanan's Cabinet and was appointed by President Lincoln in 1862 to serve as Secretary of War. 

Ther e is some question as to whether de Franca was born in Funchal, 

Madeira, or in Oporto, Portugal. He had, however, studied at the Lisbon 

Academy before coming to the United States at the age of nineteen to 

settle in Philadelphia. Here he had some training under Thomas Sully 

and exhibited at the Pennsylvania Academy, the Apollo Association and 

at the National Academy before moving to Pittsburgh. From Pittsburgh 

he wandered through Kentucky in search of portrait commissions, ultimately reaching St. Louis, Missouri, in 1847, where he remained until his 

death in 1865. 

Manuel Joachim 

de Franca 

(1808-1865) 

PORTRAI T OF A WOMAN c. 1835 

30 x 25 

COLL. : Marguerite Burbridge, Washington 

PURCHASE: Gallery Fund, 1960 60.13 

Washington 

Blanchard 

(1808-?) 

Little is known about this Boston miniaturist. He was active during the 

period 1831-1849. He exhibited at the Athenaeum Gallery in Boston in 

1835 and 1836. Surviving records show that during the winter of 1838-39, 

he was in Richmond, Virginia. He also visited Philadelphia in 1841 and 

Charleston, South Carolina, in January of 1844. I n 1849, he donated his 

miniature of Alexander Hil l Everett to the New-York Historical Society 

and at that time was listed as a resident of Boston. Th e miniature of 

Henry Clay, now in the Corcoran, was at one time in the collection of 

Joseph Gales, Esquire, editor of the National Intelligencer, Washington, 

D.C. (see above, p.53). O n the back of the frame is inscribed: "Henry 

Clay. Painted in 1842 by Blanchard, and for years in the possession of 

the late Joseph Gales Esq. by whom it was esteemed the best likeness 

ever made . . 

HENR Y CLAY 1842 

5x4 ; watercolor on ivory 

SIGNED, 1.1.: Blanchard 1842 

COLL. : Joseph Gales, Washington; William Wilson Corcoran 

REF. : C.H. Hart, "Life Portraits of Henry Clay," McClure's Magazine, September 1897, 

p. 939; T . Bolton, Early American Portrait Painters in Miniature, 1921, p. 14, No. 4 

GIFT : William Wilson Corcoran, 1879 79.3 

70 

Portrait of a Woman 60.13 
A landscape painter, said to be self-taught, Oddie was elected an Associate Member of the National Academy in 1833. I n subsequent years he 

lived in Bedford, Bushwick and Brooklyn on Long Island, and in New 

York City. He was the teacher of Edward Lamson Henry in 1855 when 

his studio was located on Broadway. He exhibited frequently at the National Academy, the Apollo Association, the American Art-Union, and in 

Philadelphia, Boston and Washington. Hi s landscapes were usually 

scenes of Long Island, the Hudson Valley and New England, with some 

few of the Allegheny Mountains in West Virginia. He died in 1865. 

LAK E NEAR LENOX , MASSACHUSETTS 1850 

36 x 49 

SIGNED, 1.1.: Walter M. Oddie/ 1850 

COLL. : William Wilson Corcoran 

REF. : Charles Lanman, Catalogue of W.W. Corcoran's Private Gallery, Washington, 

1857, p. 13, No. 50 

GIFT : William Wilson Corcoran, 1869 69.18 

Eastman was born in Brunswick, Maine, eldest son of Robert and Sarah 

Lee Eastman. He was appointed to the United States Military Academy 

on July 1, 1824, and two years later graduated as a second lieutenant. 

H i s early instruction in art must have been under Thomas Gimbrede, 

Drawing Master at the Academy. Hi s first four army years were spent at 

Fort Crawford, Wisconsin, and Fort Snelling, Minnesota, in part on topographical duty, but in 1833 he was called back to West Point to serve 

as assistant teacher of drawing under Charles Robert Leslie for a few 

months, then under Robert W. Weir until 1840. During this period Eastman turned seriously to painting, exhibiting regularly at the National 

Academy of Design to which he was elected Honorary Member, Amateur 

in 1839. I n the years that followed, he served in the Florida War 

(1840-41), again at Fort Snelling (until 1848), and in Texas (1848-49). 

His interest in and knowledge of the American Indian grew during service in these frontier posts, and in 1850 he was assigned to the Bureau of 

the Commissioner of Indian Affairs in Washington to illustrate the six 

volume work by Henry R. Schoolcraft, History and Statistical Information Respecting the History, Conditions and Prospects of Indian Tribes 

of the United States, published between 1853-56. Eastman's own American Aboriginal Portfolio appeared in 1853. He was ordered again to the 

Texas frontier in 1855, then back to Washington under the quartermaster general. In 1863 he was retired from active service, although he 

remained in command of successive posts until September 1867. From 

this time until after 1870 he was engaged in painting Indian scenes and 

views of American forts for the Capitol. He died in Washington in 1875. 

LACROSSE PLAYIN G AMON G TH E SIOUX INDIANS 1851 

28-1/4 x 40-3/4 

SIGNED, l.r.: S. Eastman/1851 

COLL. : William Wilson Corcoran 

71 

Walter M. Oddie 

(c. 1808-1865) 

Seth Eastman 

(1808-1875) 
Lacrosse Playing Among the Sioux Indians 69.63 

REF. : Official Catalogue: Fine Arts, World's Columbian Exposition, Chicago, 1893, p. 

58, No. 2815; American Genre, Whitney Museum of American Art, 1935, p. 16, No. 3 4 

GIFT : William Wilson Corcoran, 1869 69.63 

An engraving of a slightly different version of this scene appears in Part II of the five 

volume work by Henry R. Schoolcraft, Information Respecting the . . . Indian Tribes 

of the United States, illustrated by Eastman and published in 1852. 

A portrait and still-life painter and silhouettist, Francis was born in Philadelphia around 1808, the son of French Catholic parents. Although he 

spent more than twenty years in Jeffersonville, Pennsylvania, he also 

painted throughout the state and in Delaware, Washington, D.C. and 

Nashville, Tennessee. He exhibited at the Philadelphia Artists' Fund 

Society in 1840 and was represented at the Pennsylvania Academy of the 

Fine Arts in 1847, 1855, and 1858. Forty-nine paintings, ten of which are 

portraits, have been located, spanning more than forty years of his artistic career. Hi s still-lifes are of the Dutch "luncheon piece" type, paintings of decanters and cakes or fruit tumbling out of baskets. Francis left 

two versions of a catalogue of his works, List of Portraits Painted During 

My Professional Career Drawn from Recolection (sic) and Part of a List 

of Portraits Painted During My Professional Career. Shortly after his 

72 

John F. Francis 

(1808-1886) 
death in Jeffersonville, on November 15, 1886, a local minister, writing 

in the Herald & Free Press of nearby Norristown, spoke of Francis' "eccentricity," his "persistency in living alone" and "the misanthropic turn 

of his mind" in his late life. 

HEZEKIA H B. PACKE R 1840 

30-1/8 x 25 

SIGNED ON BACK: John F. Francis/ . . ./1840[f] 

COLL. : sitter to daughter, Mrs. David Jayne Hill; Mrs. Harry Newton Blue, Washington 

REF. : C.G.A. Bull., Vol. 13, No. 2 (May 1963) , pp. 5-6, ill. 

GIFT : Margaret Garber Blue, 1962 62.8 

Hezekiah B. Packer, a member of a prominent Pennsylvania Quaker family, was elected 

Associate Judge of Lycoming County, Pennsylvania, in 1861, an office he held until 1868. 

CATHERIN E PACKE R 1840 

30 x 25 

SIGNED ON BACK: traces of an indistinct inscription, probably John F. Francis 

COLL. : sitter to daughter, Mrs. David Jayne Hill; Mrs. Harry Newton Blue, Washington 

GIFT : Margaret Garber Blue, 1961 61.40 

Catherine Packer 61.40 

Catherine Schuable was born at Lewisburg, Pennsylvania, daughter of Judge Schuable. 

She married Judge Hezekiah B. Packer in 1840, and died in 1891. 

PEACHES , PEAR S AN D GRAPE S 1850 

20-1/4 x 24-1/4 

SIGNED, l.r: J.F. Francis/Pt /1850 

COLL. : Major Benedict Joseph Semmes, Memphis, and descendants 

PURCHASE: through the gift of James Parmelee, 1963 

STIL L LIF E WIT H SILVE R CAK E BASKE T 1866 

19-1/4 x 23-1/2 

SIGNED, l.r.: J.F. Francis,/1866. 

PURCHASE: through the gift of Josephine B. Crane, 1957 

STIL L LIF E WIT H BREA D c. 1850 

17-7/8 x 24 

SIGNED, 1.1.: JW 

PURCHASE: William A. Clark Fund, 1951 

63.5 

57.5 

51.22 

It has been suggested that this still-life painting might be attributed to John Archibald Woodside, Sr. (1781-1852) , but further research revealing work from his brush 

that approaches the competent and sophisticated style shown here is needed before 

such an attribution can be substantiated. 

57.5 

Unidentified Painter 

with "J.W." 

Monogram 

(c. 1850) 

Landscapes in oil, watercolor and pencil were an avocation with Boggs, 

for his real career was in the United States Navy. He was born in New 

Jersey, one of ten children, his father being a lawyer, Clerk of the United 

States District Court and Trustee of Rutgers College. Boggs attended 

73 

Still Life with Silver Cake Basket 

William Brenton 

Boggs 

(1809-1875) 
Captain Partridge's Military School in Middletown, Connecticut and 

then worked in the Phoenix Bank in New York. During this period of 

his life he painted as well as collected art works. He exhibited at the 

National Academy of Design between 1839 and 1844, both his own landscapes of New York, New Jersey and New Hampshire and paintings from 

his collection. He was an Associate Member of the Academy from 

1842-1845 when he was dropped, presumably because he had moved to 

Washington where he was, in 1842, a civilian clerk in the Navy Department. I n that year he married Eleanor Carter of Virginia. I n 1852 he was 

commissioned Purser in the Navy and spent four years with the Pacific 

Surveying Expedition, serving in part as one of the artists of the expedition. I n 1856-1857 he was on duty in Washington and exhibited in the 

First Annua l Exhibition of the Washington Art Association. From this 

time on he was in and out of the city, until he suffered serious injury in 

a ship fire in 1864. He served thereafter in Washington until his retirement in 1873. He died March 11, 1875 at his home in Georgetown. 

O N CATSKIL L CREE K 1850 

26-1/4 x 36-1/4 

INSCRIBED ON STRETCHER: The Catskill Mountains Dec 18501 The Canterskife[?]—apparently copied from original inscription during an early relining 

COLL. : William Wilson Corcoran 

REF. : Charles Lanman, Catalogue of W.W. Corcoran's Private Gallery, Washington, 

D.C., 1857, p. 10, No. 28 

GIFT : William Wilson Corcoran, 1869 69.57 

WILLIA M HENR Y HARRISO N c. 1850 

30 x 24-3/4 

COLL. : B.P . Davis, New York, 1879 

PURCHASE: Gallery Fund, 1879 79.22 

It is possible that this portrait of Harrison (1773-1841) , ninth President of the United 

States (March 4, 1841-April 4, 1841) , was based on the full-length portrait painted by 

Lambdin in 1840. 

Noted for his graphic portrayal of the scenery and life of the early West, 

Alfred Jacob Miller, son of a grocer, was born in Baltimore in 1810. He 

studied with Thomas Sully in 1831-32, and completed his training in 

Paris and Rome during the following two years. He returned to Baltimore in 1834, and set up a studio over the music store of a Mr. Willig, 

selling copies of masterpieces and illustrating sheet music for his landlord. I n 1837 he moved to New Orleans. Ther e he met Captain William 

Drummond Stewart, heir to a Scottish Baronetcy and a veteran explorer 

of America's far West. Stewart engaged Miller to accompany him on his 

fifth and last trip to the Rockies to record the scenery and events of the 

trip. Throughout the expedition Miller made scores of quick eyewitness 

sketches in pencil, pen and sepia, sometimes with touches of color. Back 

in his studio in New Orleans, and later in Baltimore, Miller translated 

them into paintings. After visiting Stewart in Scotland in 1840, Miller 

74 

On Catskill Creek 69.57 

Unidentified Painter 

(c. 1850) 

Alfred Jacob Miller 

(1810-1874) 
spent the winter of 1841 in London. Tha t spring he returned to Baltimore and to the settled life of a provincial painter. He exhibited in 

Baltimore, Philadelphia and New York, and from records in his account 

book kept from 1846 to 1870, apparently made a respectable living. From 

this period date several hundred portraits as well as drawings and watercolors of western and local life. Miller died in Baltimore in 1874. 

ELECTIO N SCENE , CATONSVILLE , BALTIMOR E COUNT Y c. 1860 

11-1/4 x 15-1/2; academy board 

SIGNED, l.r.: AJM 

COLL. : Columbus A. Miller, 1869; Charles Bowden; Henry Bowden 

REF. : M.H. Forbes, "Election Scene, Catonsville, Baltimore County," C.G.A. Bull., Vol. 

13, No. 3 (Oct. 1963), pp. 15 ff., ill. 

GIFT : Mr. and Mrs. Lansdell K. Christie, 1960 60.3 

Thi s painting is based on the pen and wash drawing, dated 1845, in the Karolik 

Collection of the Museum of Fine Arts, Boston, which differs from it only in minor 

details. It is probably the painting exhibited at the Pennsylvania Academy of the Fine 

Arts in 1861, No. 537 (for sale) . 

75 

Election Scene, Catonsville, Baltimore County 60.3 
George Caleb Bingham, recognized now as one of the outstanding 

painters of genre and political scenes of the middle 19th century, started 

his artistic career as a self-taught portrait painter, and throughout his 

life depended on that skill to make a living. Born in 1811 on a farm west 

of Charlottesville, Virginia, he was taken with his family in 1818 to 

Franklin, Missouri, a bustling frontier town. At the age of sixteen he was 

apprenticed to a cabinet-maker in Boonville, Missouri, but by 1833 he 

was painting portraits in "upper towns" on the Missouri River and was 

well-launched on his chosen profession. He studied briefly at the Pennsylvania Academy of the Fine Arts in 1838, and in 1840 a group of his 

paintings were exhibited for the first time at the National Academy of 

Design in New York. After four years in Washington, painting political 

Cottage Scenery 

61.36 

76 

George Caleb 

Bingham 

(1811-1879) 
figures in a studio in the Capitol basement without appreciable recognition, he returned to Missouri, and it was from 1845-47 that his work in 

genre and political subjects developed. Th e more popular of these became widely known through the engravings distributed by the American 

Art-Union and other print sellers in New York. He studied abroad at 

Dusseldorf from 1856-59, but on his return he took an active part in the 

political life of Missouri which infringed on his artistic output although 

many of his best-known canvases were painted in this period. He died in 

Kansas City in 1879. 

COTTAG E SCENERY 1845 

25-1/2 x 30 

SIGNED , 1.1.: G.C. Bingham 

COLL. : American Art-Union, 1845, James D. Carhart, Macon, Georgia, 1845: Carhart 

family, 1960; Mr. and Mrs. Lawrence A. Fleischman 

REF. : E.M. Bloch, "George Caleb Bingham and his Landscape 'Method' ", C.G.A. Bull., 

Vol. 13, No. 3 (Oct. 1963), pp. 3 ff., ill. 

PURCHASE : Gallery Fund and gifts of Charles C. Glover, Jr., Orme Wilson and Mr. and 

Mrs. Lansdell K. Christie, 1961 61.36

Thi s canvas is the earliest signed landscape by Bingham known to exist. From our 

knowledge of his early landscape style one may assume that no specific locality is 

depicted but that the scene falls into the category of a "fancy picture." 

Destined to become a successful engraver and landscape painter of the 

Hudson River School, John Casilear was born in New York City on June 

25, 1811. Hi s early training began at the age of fifteen when he was 

apprenticed to the engraver Peter Maverick. Later, he studied under 

Asher B. Durand. I n the company of Durand, John F. Kensett and 

Thomas Rossiter, he toured Europe from 1840-43, making a second trip 

abroad in 1857-58. Most of his professional career was spent as an engraver in New York City, where he was a member of several firms, including Tappan, Carpenter, Casilear and Company (c. 1854). He was 

elected an Associate of the National Academy in 1835 and gained full 

Academician status in 1851. Shortly after mid-century, Casilear had sufficient savings which enabled him to give up engraving and devote himself 

entirely to painting. Although he had done some landscapes while 

abroad, in the Swiss Alps and in the Forest of Fontainebleau, most of his 

scenes were taken from upstate New York and Vermont. Hi s works were 

well received during his lifetime, and he exhibited at the Pennsylvania 

Academy, the American Art-Union, Apollo Association, as well as the 

National Academy of Design. He died in Saratoga, New York, on August 

17, 1893. 

John William 

Casilear 

(1811-1893) 

LAK E GEORG E 

25-1/2 x 45-1/4 

Stamp of Casilear sale, l.r. 

COLL. : Josephine E . Harrison, Peconic, N.Y., niece of the artist 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 30 

GIFT. : Josephine E . Harrison, 1897 97.6

Casilear spent many summers in the vicinity of Lake George and painted numerous 

scenes of the area which were exhibited under titles with little variation. The painting 

in the Metropolitan Museum of Art bearing the same title, dated 1857, bears no 

relationship to this composition. 

77 
William MacLeod 

(1811-1892) 

Born in Alexandria, Virginia, William MacLeod had moved to New 

York City by 1848, when he first exhibited at the American Art-Union. 

T h e subjects of his landscape paintings show that he had worked along 

the Delaware and Hudson Rivers, in Washington, D.C. , in New England 

and the Scottish Highlands. He was still in New York in 1852-53 when 

he exhibited at the National Academy, but by 1857 he had moved to 

Washington, D.C. From 1874 to 1888 MacLeod served as Curator of the 

Corcoran Gallery, and continued his career as a landscape painter. He 

died in 1892. 

MARYLAN D HEIGHTS : SEIG E OF H A R P E R ' S FERR Y 1863 

30 x 44 

SIGNED, l.r.: W MacLeod 1863 

COLL. : Genevieve Plummer 

REF. : American Heritage Picture History of the Civil War, New York, 1960, Vol. I, 

pp. 226-7, ill. in color; H.W. Williams, Jr., The Civil War: The Artist's Record, 1961, 

No. 72 

GIFT : Genevieve Plummer, 1954 54.2 

T he landscape shows the Federal defensive works which protected the important Federal 

armory at Harper's Ferry. 

Maryland Heights: Seige of Harper's Ferry 54.2 

78 
GREA T FALL S O F T H E P O T O M A C 1873 

34 x 45 

SIGNED , 1.1.: W. MacLeod 1873 

COLL. : William Wilson Corcoran 

GIFT : William Wilson Corcoran, 1869 69.47 

Thi s painting was exchanged by the artist for an earlier version in Mr. Corcoran's 

collection. 

Charles Loring Elliott was born in Scipio, New York. Hi s father wanted 

him to be an architect. He sent him to a select local school for two years 

and supplied him with architectural plates for study in this field. However, by 1829 young Elliott was in New York City working with the 

painter John Quidor. He won the approval of John Trumbull , who earlier had discouraged him, telling of the rigors of an artist's life and 

advising him to continue in his pursuit of architecture. After a brief 

period of study with Trumbull , Elliott traveled in central New York 

State for ten years as an itinerant portrait painter. Returning to New 

York City, he achieved popularity among prominent citizens, artists and 

writers because of his skill in painting remarkable likenesses. He , along 

with other American portraitists of that time, was greatly influenced by 

the advent of the daguerreotype, and often worked directly from photographs. I n 1845 Elliott was elected an Associate of the National Academy 

of Design and was made an Academician the following year. He exhibited his work almost annually at the National Academy from 1844 until 

his death. Of nearly seven hundred portraits from his hand, only about 

one hundred and forty are known today. Although he resided chiefly in 

Hoboken, New Jersey, while working in New York City, Elliott was living in Albany when he died at the age of fifty-six. 

Charles Loring 

Elliott 

(1812-1868) 

HORATI O STON E 1845 

24 x 20-1/8 

INSCRIBE D O N BAC K O F CANVAS : Horatio Stone. 1810-1875/ by C.L. Elliott. 1845 

COLL. : Samuel P. Avery, New York 

REF. : T . Bolton, "Charles Loring Elliott, an account of his Life and Work" and "A 

Catalogue of the Portraits Painted by Charles Loring Elliott," Art Quarterly, Vol. V 

(Winter 1942) , No. 108, p. 94; National Academy of Design Exhibition Record 1826-

1860, The New-York Historical Society, 1943, Vol. I, p. 148 (exhibition: 1846, No. 212) 

GIFT : Samuel P. Avery, 1890 90.2 

Horatio Stone (1808-1875), born in Jackson, New York, practiced medicine in New 

York City from 1841-1847. His main interest was sculpture, however, and when he 

moved to Washington in 1848 he devoted full time to his art except for the period 

during the Civil War when he served as surgeon in the army. He was an early 

president of the Washington Art Association. Stone died in Carrara, Italy, in 1875. 

WILLIA M CULLE N BRYAN T 1854 (?) 

24-1/4 x 20-1/8 

SIGNED , l.r.: Elliott/ 185[4f] 

COLL. : Rufus W. Griswold; James C. McGuire 

79 
REF. : Catalogue of the Works of Art comprising the First Annual Exhibition of the 

Washington Art Association, 1857, p. 5, No. 79; T . Bolton, "Charles Loring Elliott, an 

account of his Life and Work" and "A Catalogue of the Portraits Painted by Charles 

Loring Elliott," Art Quarterly, Vol. V (Winter 1942) , No. 11, p. 86; National Academy 

of Design Exhibition Record 1826-1860, The New-York Historical Society, 1943, Vol. I, 

p. 149 (exhibition: 1854, No. 299) 

BEQUEST : James C. McGuire, 1888 88.5 

William Cullen Bryant, the author of Thanatopsis, was born in 1794 and died in 1878. 

Thi s portrait was probably the original from which J.C. Buttre made an engraving for 

Knickerbocker Magazine, Vol. LIII , 1854 and other publications of the period. 

JAMES C. McGUIR E 1854 

30-1/8 x 25 

SIGNED , I.e.: Elliott/ 1854 

REF. : T . Bolton, "Charles Loring Elliott, an account of his Life and Work" and "A 

Catalogue of the Portraits Painted by Charles Loring Elliott," Art Quarterly, Vol. V 

(Winter 1942) , No. 80, pp. 81 and 91 

BEQUEST : James C. McGuire, 1888 88.3 

James McGuire, an early collector of art in Washington, was one of the original 

Trustees of The Corcoran Gallery of Art. He so served until his death in 1888. 

Thomas Loraine McKenney 88.6 

THOMAS LORAIN E McKENNE Y 1856 

30-1/8 x 25-1/4 

COLL. : James C. McGuire, Washington 

REF. : Official Catalogue: Fine Arts, World's Columbian Exposition, Chicago, 1893, p. 

58, No. 2817; T . Bolton, "Charles Loring Elliott, an account of his Life and Work" 

and "A Catalogue of the Portraits Painted by Charles Loring Elliott," Art Quarterly, 

Vol. V (Winter 1942) , No. 79, pp. 72 and 91; National Academy of Design Exhibition 

Record 1826-1860, The New-York Historical Society, 1943, p. 150 (exhibition: 1856, No. 

154) 

BEQUEST : James C. McGuire, 1888 88.6 

McKenney (1785-1859) , soldier, author, politician and administrator of Indian affairs, 

was born in Hopewell, Maryland. He served in the War of 1812, and in 1816 was 

appointed by President Madison to serve as Superintendent of the Indian Trade. He 

was in charge of the Bureau of Indian Affairs under the War Department from 1824 

to 1830, negotiating treaties with the various tribes. With James Hall, he co-authored 

History of the Indian Tribes of North America . . ., Philadelphia, 1836-1844. He was 

instrumental in establishing in Washington a portrait gallery of Indians who visited 

the Capital, employing Charles Bird King, Henry Inman and other artists for the 

paintings. 

ASHE R BROW N DURAN D 1864 

27 x 22 

SIGNED , l.r.: A.B. Durand/by/ C L Elliott/ 1864 

COLL. : John Taylor Johnston, New York, 1876 

REF. : T . Bolton, "Charles Loring Elliott, an account of his Life and Work" and "A 

Catalogue of the Portraits Painted by Charles Loring Elliott," Art Quarterly, Vol. V 

(Winter 1942) , No. 33, pp. 75, 81 and 87 

PURCHASE : Gallery Fund, 1876 76.11 

Durand (1796-1886) was one of the leading painters of the Hudson River School. An 

earlier version of this portrait, dated 1860, is in the Walters Art Gallery, Baltimore. 

80 
WILLIA M WILSO N CORCORAN , 1867 

97-1/8 x 69 

COLL. : William Wilson Corcoran 

REF. : E . Strahan, ed., Art Treasures of America, Philadelphia, 1880, Vol. I, p. 4, ill.; 

T . Bolton, "Charles Loring Elliott, an account of his Life and Work" and "A Catalogue of the Portraits Painted by Charles Loring Elliott," Art Quarterly, Vol. V (Winter 

1942), No. 24, pp. 81 and 87 

GIFT : William Wilson Corcoran, 1869 69.1

Thi s portrait was painted over a period of two months in the private gallery of James 

C. McGuire of Washington, a fellow Trustee of the Corcoran Gallery and a noted 

early collector. William Wilson Corcoran (1798-1888) , banker and philanthropist, was 

the Founder of The Corcoran Gallery of Art. 

This portrait of the Founder of the Corcoran hung in the old building of the District 

Court. When the Court moved to its new quarters in 1952, the painting was presented 

to the Gallery. In the left background is the original Corcoran Gallery, designed by 

James Renwick; in the right background is the United States Capitol. 

WILLIA M WILSO N CORCORAN , c. 1870 

96 x 60 

COLL. : United States District Court for the District of Columbia 

GIFT : United States District Court for the District of Columbia, 1952 52.29

Jane Stuart, youngest child of Gilbert Stuart, was born in Boston in 

1812. She received her training as a portrait painter from her father. 

Upon his death in 1828, she and hey three sisters with their mother 

moved to Newport, Rhode Island, the parents' original home. Jane 

Stuart exhibited at the National Academy between 1829 and 1845, 

mainly portraits with an occasional genre subject. During the 1850's, she 

maintained a studio in Boston. A skilled copyist, she executed copies of 

many of her father's portraits. Most of her life was spent in Newport 

where she died on April 27, 1888. 

GEORG E WASHINGTO N 

106 x 62 

COLL. : William Wilson Corcoran 

REF. : J.H . Morgan and M. Fielding, The Life Portraits of Washington and their 

Replicas, 1931, p. 321, No. X X 

GIFT : William Wilson Corcoran, 1869 69.55

Thi s copy of Gilbert Stuart's Lansdowne type portrait of Washington was purchased 

by Mr. Corcoran from the artist at Newport, R.L, in 1854. 

Lang was a portrait, miniature and genre painter who was born in 

Wurttemberg, Germany in 1814. He studied in Paris in 1834 and emigrated to America in 1838. After a few years' residence in Philadelphia, 

he returned to Europe, spending several years in Italy. Upon his return 

to America in 1847 he settled in New York City, sharing for a time a 

studio with John F. Kensett and Thomas P. Rossiter. He was elected a 

National Academician in 1852 and remained in New York until his 

death in 1893. 

81 

Unidentified Painter 

(c. 1870) 

Jane Stuart 

(1812-1888) 
NORMA 1853 

34 x 28 

SIGNED , 1.1.: Lang 1853 

COLL. : William Wilson Corcoran 

REF. : Charles Lanman, Catalogue of W.W. Corcoran's Private Gallery, Washington, 

1857, p. 15, No. 63 

GIFT : William Wilson Corcoran, 1869 69.36 

T he portrait depicts the Italian opera singer, Balbina Steffenone, who was singing the 

title role in Bellini's Norma in Castle Garden, New York, in 1853 with great success. In 

Odell's Annals of the New York Stage a critic is quoted as saying "her 'Norma' has 

been universally conceded to be the only representation worthy of the character since 

the days of Parodi and some even go so far as to compare it favorably with Grisi's." 

T he comparison of this portrait with two lithographs of Steffenone in the Theatre 

Collection of the Harvard College Library confirms this identification. 

William (Tylee) 

Ranney 

(1813-1857) 

Ranney was born in Middletown, Connecticut, the son of a sea captain. 

He early discarded his middle name which never appears in his adult 

records. At thirteen he was apprenticed for six years to a tinsmith in 

Fayetteville, North Carolina, where his uncle was in business, but by 

1833 he was studying drawing in Brooklyn, New York. During the MexiDuck Shooting 69.62 

82 
can Wa r he served most of 1836 in the Texas Army. When he returned 

to Brooklyn, he exhibited at the National Academy and the Mechanics' 

Institute, and established his own portrait studio in New York, which he 

maintained from 1843 to 1847. He was one of the founders of the New 

York Cricket Club in 1843, always keeping an active interest in the sporting world which he enjoyed painting. I n 1848 he married and moved to 

Weehawken, New Jersey, returning to New York briefly and finally settling in Hoboken, New Jersey in 1853, where he worked on historical and 

western scene paintings until his untimely death of consumption. Ranney was elected an Associate Member of the National Academy of Design 

in 1850. A year after his death a Ranney Fun d Exhibition and sale was 

held at the Academy for the benefit of his widow and children. 

DUC K SHOOTIN G 1850 

30-1/4 x 40-3/8 

SIGNED, I.e.: W Ranney/1850 

COLL. : William Wilson Corcoran 

REF. : Catalogue of the Twenty-sixth Annual Exhibition, National Academy of Design, 

1851, No. 365; F.S. Grubar, William Ranney, Painter of the Early West, C.G.A., 1962, 

p. 36, No. 48, ill. 

GIFT : William Wilson Corcoran, 1869 69.62 

T he kneeling figure in this painting has been identified by the grandson of the artist 

as Richard Ranney (1815-1859) , the "brother of the artist. The standing figure may 

have been a neighbor's groom, who was sometimes used as a model by Ranney. The 

scene is probably the Hackensack, New Jersey, meadows, within view of the artist's 

studio. 

Little is known of Jennie Bellows Millard, beyond the fact that she was 

the wife of Judge John Aiken Millard of Troy, New York and painted 

her primitive scenes in the middle nineteenth century. 

MOUN T VERNO N c. 1850 

24 x 32-1/8 

COLL. : descendants of the painter to the donor 

GIFT : May Hastings Dickinson, 1952 52.5 

Jennie Bellows 

Millard 

(c. 1850) 

Thi s primitive view is an inaccurate depiction of Mount Vernon. The naval vessel is 

saluting the Tomb of George Washington in accordance with established custom. 

Unidentified Painter 

(c. 1845-1849) 

T H E BELLE CREOLE A T NE W ORLEAN S c. 1845-1849 

48 x 72 

COLL. : Emily Crane Chadbourne, Washington 

REF. : American Processional 1492-1900, C.G.A., 1950, pp. 146 and 244, No. 184, ill.; 

R. Samuel, L.V. Huber and W.C. Ogden, Tales of the Mississippi, 1955, p. 142, ill. 

GIFT : the Estate of Emily Crane Chadbourne, 1965 65.22 

Although the artist of this painting remains unidentified, except possibly by his initials on the large box on the pier at the lower right, the date may be considered 

accurate on the basis of costume, flag designs, and the identification of the three 

83 
T he Belle Creole at New Orleans 65.22 

steamboats. The Belle Creole, a sidewheel steamer of 447 tons, was built at Cincinnati, 

Ohio, in 1845 and abandoned in 1852. The Music was a sidewheel steamer of 198 tons, 

built at Jeffersonville, Indiana, in 1843 and abandoned in 1849. Both vessels had New 

Orleans as their home port. The steamer behind the Belle Creole may have been the 

Wave of 231 tons, of Louisville, Kentucky, built at New Albany, Indiana, and last 

recorded in 1851. 

David Norslup 

(c. 1865) 

Historical societies, marine museums and city directories of river cities 

and seaboard ports have been consulted without success in the attempt to 

identify David Norslup. 

NEGR O BOYS O N TH E QUAYSIDE c. 1865 

15-7/8 x 19-1/2; panel 

SIGNED, I.e.: Davi[d][No]rslu[p] 

REF. : C.G.A. Bull., Vol. 11, No. 3 (May 1961) , p. 11, ill. 

PURCHASE: Gallery Fund and William A. Clark Fund, 1960 60.38 

84 
The identification of this subject has proved to be very difficult to establish. However, 

there seems to be a reasonable basis for the supposition that the scene may be New 

Orleans. Despite the apparent signature, the identity of the artist has so far eluded all 

attempts at solution. The signature, if it is such, could also be read: Marslur. The 

given name, David, is less in doubt. The date of the work is also problematic, with 

suggestions ranging from the 1840's to the late 1880's. 

Cranch was a portrait, landscape and still-life painter, born in Alexandria (then in the District of Columbia). After graduation from Harvard 

in 1831, he became a Unitarian minister, serving congregations in Maine, 

Washington, D.C. , St. Louis, Cincinnati, Richmond, Louisville and Boston. He began painting as an amateur in Cincinnati during his ministry 

there, and after 1840 devoted full time to painting. He and his wife 

spent three years in Rome in the late 1840's when Cropsey and a colony 

of American landscapists were working there. The y returned to New 

York City in 1849, leaving again for Europe in 1853, this time remaining 

ten years in Paris. After his return to America in 1863, Cranch lived on 

Staten Island for ten years; he moved to Cambridge, Massachusetts, in 

1873 where he died in 1892. 

Christopher Pearse 

Cranch 

(1813-1892) 

85 

Negro Boys on the Quayside 60.38 
Castle Gondolfo, Lake Albano 69.23 

CASTL E GONDOLFO , LAK E ALBAN O 1852 

36-1/2 x 54-1/2 

SIGNED, l.r.: CP. Cranch/1852 

COLL. : the artist; William Wilson Corcoran 

REF. : Travelers in Arcadia, American Artists in Italy 1830-1875, Detroit Institute of 

Arts, 1951, p. 31, No. 37 

GIFT : William Wilson Corcoran, 1869 69.23

T h e internationally fashionable portrait painter, G.P.A. Healy, was the 

son of an improvident Boston ship captain. Although he had no formal 

training, Healy opened a studio in Boston when he was eighteen. Hi s 

desire to paint beautiful women led him to invite a prominent socialite, 

Mrs. Harrison Grey Otis, to sit for him. Hi s successful portrait of her 

resulted in other commissions, and with the encouragement of the artist 

Thomas Sully and the money he accumulated from his painting, he went 

to France to study under Baron Gros. I n Paris he improved his skill by 

copying numerous paintings at the Louvre. During his eight years on the 

Continent and in England, Healy attained an international reputation. 

H i s vitality and cordial simplicity, combined with his ability to paint 

convincing likenesses, made him extremely popular. Royalty, statesmen, 

businessmen and social leaders were eager to have the "Yankee artist" 

86 

George Peter 

Alexander Healy 

(1813-1894) 
paint their portraits. At the request of the French King Loui s Philippe, 

he returned to America in 1844 to paint a series of Presidential portraits. 

But with the King's abdication in 1848, Healy lost many of his European 

patrons and remained in the United States, working in Washington, 

D.C. , along the eastern seaboard and in the southern states. I n 1854, at 

the invitation of Mayor William B. Ogden, Healy settled in Chicago and 

continued his successful career there for thirteen years. He returned to 

Europe after the Civil War, lived in Rome and Paris, but continued to 

travel extensively on important commissions, which took him to many 

European capitals and occasionally back to the United States. Hi s enthusiasm for painting and his penchant for working rapidly account for the 

fact that he completed about one hundred portraits a year. Toward the 

end of his life, when his popularity began to wane and his vision faltered, Healy returned to Chicago where he died at the age of eighty-one. 

GEORG E PEABODY 1854 

32 x 26 

COLL. : Thomas B. Bryan, Chicago 

REF. : Healy's Sitters, The Virginia Museum of Fine Arts, 1950, p. 43, ill. 

PURCHASE : Gallery Fund, 1879 79.20 

George Peabody, an American banker and philanthropist, was born in Danvers, Massachusetts, in 1795 and died in London in 1869. He was the donor in 1857 of the 

Peabody Institute in Baltimore. 

MRS. R.H . WINSLOW 1859 

67-7/8 x 47-1/2 

SIGNED , l.r.: G.P.A. Healy, 1859 

COLL. : Dr. and Mrs. R.C.M . Page, New York 

GIFT. : Dr. and Mrs. R . C . M . Page, 1881 81.12 

Thi s portrait of Mrs. Winslow was painted before her subsequent marriage to Dr. 

Page. 

MRS. LEONAR D VOL K AND DAUGHTER , HONOR E 1862 

25-1/2 x 32 

SIGNED , l.r.: G.P.A. Healy 1862 

COLL. : Mrs. Emily C. Smith, Daytona Beach 

GIFT : Emily C. Smith, 1965 65.19 

Mrs. Volk was the wife of the sculptor Leonard Wells Volk (1828-1895) , whose bestknown work was the portrait bust of Abraham Lincoln modeled after a life mask 

executed in Chicago in 1860. Thi s portrait was probably painted in Chicago in the 

home of Stephen A. Douglas, first cousin to Mrs. Volk. Honore was one year of age 

at this time. 

MRS. MERIWETHE R LEWI S CLAR K II 1873f 

28-1/2 x 23-1/2 

SIGNED , u.r.: G.P.A. Healy/1873/Rome 

COLL. : descendant of the sitter, Mrs. Clark Mcllwaine, Washington 

GIFT : Margaret Clark Mcllwaine, 1963 63.23 

Meriwether Lewis Clark II, grandson of William Clark (1770-1838) , the famous explorer of the American Northwest, married Mary Martin Anderson of Louisville, Kentucky, in 1871 when she was nineteen years old. Thi s portrait was painted by Healy in 

Rome while the Clarks were on an extended honeymoon. 

87 
JUSTI N SMIT H MORRIL L OF V E R M O N T 1884 

29-3/4 x 24-7/8 

SIGNED , u.r.: G.P.A. Healy, 1884; inscribed on stretcher: Hon. J.S. Morrill, Vt by Healy 

COLL. : William Wilson Corcoran 

GIFT : William Wilson Corcoran, 1884 84.4 

Morrill, born in Strafford, Vermont in 1810, was a prosperous merchant, farmer and 

politician. Elected in 1855, he served five terms in Congress and was the writer of the 

Morrill Tariff Bill of 1861. In 1867 he was elected to the United States Senate and 

served four terms. He was the author of a book entitled Self-Consciousness of Noted 

Persons, published in Boston in 1886. 

A series of Presidential portraits by George Peter Alexander Healy was 

originally commissioned in 1842 by Loui s Philippe I, King of France, for 

the gallery at Versailles. Th e series was never delivered, as Loui s Philippe was overthrown in 1848. I n 1860 the portraits were purchased from 

Healy by Thomas B. Bryan of Chicago who commissioned the artist to 

paint John Adams, Andrew Jackson, James Buchanan and Abraham 

Lincoln to round out the collection. A portrait of William Henry Harrison was unaccountably omitted from the series. Thomas B. Bryan put 

the collection on the market and when it came to the attention of William Wilson Corcoran, he recommended that the group be purchased by 

T h e Corcoran Gallery of Art in 1879. A portrait of Chester A. Arthur 

was commissioned from Healy by Mr. Corcoran and was added to the 

series. Additional Presidential portraits by other artists have since been 

acquired by the Corcoran, but are not part of this original set of fifteen 

portraits. 

JOH N ADAMS 1860 

30 x 25 

SIGNED , I.e.: Healy after Stuart /Quincy, Oct, 1860 

COLL. : Thomas B. Bryan, Chicago 

REF. : G. Golterman, The Book of the Presidents, St. Louis, Mo., 1953, ill. 

PURCHASE : Gallery Fund, 1879 79.6 

John Adams (1735-1826) was the second President of the United States, serving from 

March, 1797, to March, 1801. The painting is based on the original portrait from life 

painted in 1798 by Gilbert Stuart, now in the collection of the National Gallery of 

Art, Washington, D.C. 

THOMA S JEFFERSO N 

30 x 25 

COLL. : Thomas B. Bryan, Chicago 

REF. : G. Golterman, The Book of the Presidents, St. Louis, Mo., 1953, ill. 

PURCHASE : Gallery Fund, 1879 79.7 

Thomas Jefferson (1743-1826) was the third President of the United States, serving 

from March, 1801, to March, 1809. Thi s work is based on a portrait by Gilbert Stuart 

painted in Boston c. 1810 for President Madison (now in a private collection) , which 

in turn was based on the life portrait by Stuart belonging to Percy Straus, Jr., Houston. 

88 
JAMES MADISON 

30 x 25 

COLL. : Thomas B. Bryan, Chicago 

REF. : G. Golterman, The Book of the Presidents, St. Louis, Mo., 1953, ill. 

PURCHASE : Gallery Fund, 1879 79.8 

James Madison (1751-1836) was the fourth President of the United States, serving 

from March, 1809, to March, 1817. Thi s portrait is based on a portrait by Chester 

Harding at Washington and Lee University. 

JAMES MONRO E 

39-3/8 x 34-1/4 

COLL. : Thomas B. Bryan, Chicago 

REF. : G. Golterman, The Book of the Presidents, St. Louis, Mo., 1953, ill. 

PURCHASE : Gallery Fund, 1879 79.9 

James Monroe (1758-1831) was the fifth President of the United States, serving from 

March, 1817, to March, 1825. This painting is based on the portrait by John Vanderlyn 

(1816) in the collection of Miss Emily Johnson, Frederick, Maryland. 

JOH N QUINCY ADAMS 1858 

30 x 25 

SIGNED , I.e.: G.P.A. Healy, 1858 

COLL. : Thomas B. Bryan, Chicago 

REF. : Healy's Sitters, The Virginia Museum of Fine Arts, Richmond, 1950, p. 63, ill.; 

G. Golterman, The Book of the Presidents, St. Louis, Mo., 1953, ill.; M. de Mare, 

G.P.A. Healy, American Artist, 1954, p. 22 

PURCHASE : Gallery Fund, 1879 79.10 

John Quincy Adams (1767-1848) was the sixth President of the United States, serving 

from March, 1825, to March, 1829. Thi s portrait is based on Healy's portrait painted 

from life in 1845 in the collection of the Musee National Blerancourt. 

ANDRE W JACKSON 1861 

27-1/2 x 23-1/4 

SIGNED , c.r.: G.P.A. Healy 11861 

COLL. : Thomas B. Bryan, Chicago 

REF. : Healy's Sitters, The Virginia Museum of Fine Arts, Richmond, 1950, p. 58, ill.; 

M. de Mare, G.P.A. Healy, American Artist, 1954, pp. 119-124 

PURCHASE : Gallery Fund, 1879 79.11 

Andrew Jackson (1767-1845) was the seventh President of the United States, serving 

from March, 1829, to March, 1837. Thi s painting of 1861 is based on Healy's original 

study made at Th e Hermitage in 1845. 

MARTI N VAN B U R E N 1857 

30 x 25 

SIGNED , r.c: G.P.A. Healy/Philo April 15^/1857 

COLL. : Thomas B. Bryan, Chicago 

REF. : Healy's Sitters, The Virginia Museum of Fine Arts, Richmond, 1950, p. 66, ill.; 

G. Golterman, The Book of the Presidents, St. Louis, Mo., 1953, ill.; M. de Marc, 

G.P.A. Healy, American Artist, 1954, p. 23 

PURCHASE : Gallery Fund, 1879 79.12 

Martin Van Buren (1782-1862) was the eighth President of the United States, serving 

from March, 1837, to March, 1841. Thi s portrait was painted from life sixteen years 

after the end of Van Buren's term of office. 

89 
90 

Abraham Lincoln 79.19 
JOH N TYLE R 1842 

30-1/8 x 25-1/8 

COLL. : Thomas B. Bryan, Chicago 

REF : Healy's Sitters, The Virginia Museum of Fine Arts, Richmond, 1950, p. 62, ill.; 

G. Golterman, The Book of the Presidents, St. Louis, Mo., 1953, ill.; M. de Mare, 

G.P.A. Healy, American Artist, 1954, pp. 102-4 

PURCHASE: Gallery Fund, 1879 79.13

John Tyler (1790-1862) was the tenth President of the United States, serving from 

April, 1841, to March, 1845. Thi s portrait was painted from life. 

JAMES K. POL K 1846 

30-1/2 x 25-1/2 

SIGNED, I.e.: G.P.A. Healy/1846 

COLL. : Thomas B. Bryan, Chicago 

REF. : Healy's Sitters, The Virginia Museum of Fine Arts, Richmond, 1950, p. 67, ill.; 

M. de Mare, G.P.A. Healy, American Artist, 1954, p. 67 

PURCHASE: Gallery Fund, 1879 79.14

James Knox Polk (1795-1849) was the eleventh President of the United States, serving 

from March, 1845, to March, 1849. The portrait was painted from life. 

ZACHARY TAYLO R 1860 

30 x 25 

SIGNED, l.r.: G.P.A. Healy, after AMANS 1860 

COLL. : Thomas B. Bryan, Chicago 

PURCHASE: Gallery Fund, 1879 79.15

Zachary Taylor (1784-1850) was the twelfth President of the United States, serving 

from March, 1849, to July, 1850. According to the mss Register, this painting was 

copied from an original portrait from life by Jacques Amans (1801-1888) . 

MILLAR D FILLMOR E 1857 

30 x 25 

SIGNED, c.r.: G.P.A. Healy, Dec. 2nd, 1857 

COLL. : Thomas B. Bryan, Chicago 

REF. : Makers of History in Washington 1800-1950, National Gallery of Art, 1950, p. 

57, No. 42, ill.; Healy's Sitters, The Virginia Museum of Fine Arts, Richmond, 1950, 

p. 67, ill.; M. de Mare, G.P.A. Healy, American Artist, 1954, p. 25

PURCHASE: Gallery Fund, 1879 79.16

Millard Fillmore (1800-1874) was the thirteenth President of the United States, serving from July, 1850, to March, 1853. The portrait was painted from life. A full-length 

version hangs in Th e White House. 

FRANKLI N PIERC E 1852 

30 x 25 

SIGNED, l.r.: G.P.A. Healy/Nov. 1852 

COLL. : Thomas B. Bryan, Chicago 

REF. : Makers of History in Washington 1800-1950, National Gallery of Art, 1950, p. 

58, No. 43, ill.; Healy's Sitters, The Virginia Museum of Fine Arts, Richmond, 1950, 

p. 59, ill.; G. Golterman, The Book of the Presidents, St. Louis, Mo., 1953, ill. 

PURCHASE: Gallery Fund, 1879 79.17

Franklin Pierce (1804-1869) was the fourteenth President of the United States, serving 

from March, 1853, to March, 1857. The portrait was painted from life. A later replica, 

dated 1853, is in the collection of The National Gallery of Art. Several other versions 

are known, including those in the Karolik Collection, Museum of Fine Arts, Boston, 

and in the New-York Historical Society. 

91 

James K. Polk 79.14
JAMES BUCHANA N 1859 

30 x 25 

INSCRIBE D O N BAC K O F CANVAS : His Excellency the President of the United States, 

painted at the Presidential Mansion for T.B. Bryan, Esq., by G.P.A. Healy, Sept. 

28, 1859. 

COLL. : Thomas B. Bryan, Chicago 

REF. : Makers of History in Washington 1800-1950, National Gallery of Art, 1950, p. 

59, No. 44, ill.; G. Golterman, The Book of the Presidents, St. Louis, Mo., 1953, ill. 

PURCHASE : Gallery Fund, 1879 79.18 

James Buchanan (1791-1861) was the fifteenth President of the United States, serving 

from March, 1857, to March, 1861. 

ABRAHA M LINCOL N 1860 

30-3/8 x 25-3/8 

SIGNED , l.r.: G.P.A. Healy 11860 

COLL. : Thomas B. Bryan, Chicago 

REF. : M. de Mare, G.P.A. Healy, American Artist, 1954, pp. 189-190 

PURCHASE : Gallery Fund, 1879 79.19 

Abraham Lincoln (1809-1865) was the sixteenth President of the United States, serving 

from March, 1861 until his death in April of 1865. Thi s rare, beardless likeness of the 

President-elect was painted by Healy in Springfield, Illinois. Through the efforts of Mrs. 

McCook Knox, member of the Council of the Corcoran, the historical importance of 

the portrait has become widely recognized. The United States Post Office Department 

used it for the one cent stamp in the Lincoln Sesquicentennial Commemorative Series 

in 1959. 

CHESTE R A. A R T H U R 1884 

30 x 25 

SIGNED , u.r.: G.P.A. Healy. April, 1884 

REF. : Makers of History in Washington 1800-1950, National Gallery of Art, 1950, p. 

88, No. 68, ill.; Healy's Sitters, The Virginia Museum of Fine Arts, Richmond, 1950, 

p. 66, ill.; G. Golterman, The Book of the Presidents, St. Louis, Mo., 1953, ill. 

GIFT : William Wilson Corcoran, 1884 84.3 

Chester Alan Arthur (1830-1886) was the twenty-first President of the United States, 

serving from September, 1881, to March, 1885. According to the mss Register of the 

Gallery, the work was painted from life for William Wilson Corcoran. 

Thomas Hewes 

Hinckley 

(1813-1896) 

T h e animal and landscape painter, Thomas Hewes Hinckley, was born 

and died in Milton, Massachusetts, where he spent most of his life. I n 

1829 he was apprenticed to a merchant in Philadelphia as his father 

opposed a career in painting. However, he attended some drawing classes 

while there, conducted by an artist named Mason. Thi s was the only 

instruction he received in art except for some hints on color from a sign 

painter. I n 1833, after his father's death he became a professional artist. 

He began his career as a painter of signs, then took up portraiture and 

finally concentrated on landscapes and animal painting. I n 1845 he was 

invited by Daniel Webster to make drawings of his famous Ayrshire 

herd. He studied the deer on Naushon Island and in the Adirondacks, 

and in 1870 visited California where he painted the elk. He took one 

trip to Europe in 1851, studying the works of Sir Edwin Landseer and 

other English and Flemish painters. At this time two of his hunting scenes 

were shown at the Royal Academy in London. However, throughout his 

life he did not exhibit many works, his paintings finding ready purchasers among the gentleman farmers and hunters of the period. 

92 
STA G I N T H E ADIRONDACKS 1866 

36 x 29 

SIGNED, l.r.: T.H. Hinckley/1866 

COLL. : the artist's estate to his grandson, the donor 

GIFT : Captain Robert M. Hinckley, USN (ret.) , 1965 65.10 

Although a painter of portraits and landscapes, John Mix Stanley specialized in Indian scenes of the West. He was born in Canandaigua, New 

York and was orphaned at the age of fourteen. He was apprenticed to a 

wagon-maker in Buffalo, where he presumably decorated coaches, but by 

1834 he was painting portraits and landscapes in Detroit. During the 

next few years he traveled to Fort Snelling, Minnesota; Galena and Chicago, Illinois. He returned East in 1840, painting portraits in Troy, New 

York; Philadelphia, and Baltimore. I n 1842 he made his first trip to the 

Southwest, to Fort Gibson in Arkansas Territory, and began working on 

his Western scenes in earnest, exhibiting eighty-five in Cincinnati in 

1845. Th e next year he traveled to Santa Fe, New Mexico, where he 

joined an expedition to California as a military draughtsman under 

Stephen Watts Kearney. I n 1847-48 he went from California to Oregon, 

recorded an exploration of the Columbia River Valley and was nearly 

massacred by Indians at Willamette. After a trip to Hawaii where he 

stayed until 1850, Stanley exhibited his Indian gallery in several eastern 

cities and finally deposited it at the Smithsonian Institution with the 

hope that it would be purchased by the government. I n this he was 

disappointed, and the whole collection, except for five paintings, was 

destroyed in the Smithsonian fire of 1865. Stanley retired from Washington to Detroit in 1864, where he died in 1872. 

Stag in the Adirondacks 65.10 

John Mix Stanley 

(1814-1872) 

T H E DISPUTE D SHO T 1858 

36 x 29 

SIGNED, 1.1.: J.M. Stanley./1858 

REF. : Catalogue of the Third Annual Exhibition, The Washington Art Association, 

1859, p. 2, No. 1; Fishing and Shooting in Art, The Baltimore Museum of Art, 1958, 

No. 29 

COLL. : William Wilson Corcoran 

GIFT : William Wilson Corcoran, 1869 69.5 

A note in the mss Register in the Corcoran reads: "This picture first appeared in 

Washington City soon after it was painted, at the Artists Association Exhibition, the 

best exhibition of pictures in Washington ever made up to that time, and Mr. Corcoran soon purchased it . . ." T he Disputed Shot 69.5 

T h e portrait, genre, historical and religious painter, William Winner 

was born in Philadelphia. Nothing is known of his early training, but he 

was settled in Philadelphia in 1836 and remained there, with the exception of a visit to Charleston, South Carolina in 1848, until his death. He 

exhibited frequently at the Pennsylvania Academy of the Fine Arts, 

Boston Athenaeum, Apollo Association, American Art-Union and at the 

National Academy of which he was an Honorary Member, Professional. 

He died in 1883. 

93 

William E. Winner 

(c. 1815-1883) 
ANN E AND MARY CORNELI A JONES 1853f 

26 x 21-3/4; canvas mounted on academy board 

SIGNED, I.e.: Winner/53 

COLL. : Caleb and Mary Ann T . Jones; Ashile Lucian Archambault, Philadelphia; Mrs. 

J. Frederick M. Stewart, Upperville, Virginia—descendants 

GIFT : Marguerite A.C. Stewart, 1963 63.18 

Anne and Mary Cornelia were the daughters of Caleb and Mary Ann Taylor Jones of 

Philadelphia who resided at the corner of 15th and Walnut Streets in what is now the 

financial heart of the city. 

Emanuel Gottlieb 

Leutze 

(1816-1868) 

Member of the National Academy, painter of portraits and historical 

and classical subjects, Emanue l Leutze is best remembered for his WASH -

INGTO N CROSSIN G TH E DELAWAR E (Metropolitan Museum of Art) and often 

thought of as a German artist not only because he was born in Gmund 

(Wurttemberg) but also because he spent a good part of his professional 

life in Dusseldorf. Hi s father was a German mechanic who emigrated to 

this country when his son was still a child. The y lived in Philadelphia 

where Leutze studied painting with John Rubens Smith, and when he 

was twenty he was painting portraits at Churchtown, Pennsylvania. He 

went to Washington in 1837 to sketch the heads of statesmen to be engraved for a national work, which was unfortunately never published. I n 

T he Amazon and her Children 69.20 

94 
1840 he traveled to Diisseldorf to study painting under Karl-Friedrich 

Lessing, married and settled there. When Eastman Johnson was studying 

in Diisseldorf in 1849, he and Leutze shared a studio. Leutze worked also 

in Munich, Venice and Rome and made a short trip to the United States 

in 1851. When he finally returned to America in 1859, he was commissioned to paint WESTWARD TH E COURS E O F EMPIRE , a mural for the House 

of Representatives. I n preparation he conscientiously visited the Rocky 

Mountains and journeyed back to Germany to consult with Wilhelm von 

Kaulbach on fresco technique. He was thus the first to employ the stereochromatic process in mural painting in the United States. Leutze lived 

in New York and Washington, where he died in 1868. 

T H E AMAZON AND HE R C H I L D R E N 1851 

40-1/2 x 62-1/4 

SIGNED , 1.1.: E Leutze/1851 

COLL. : William Wilson Corcoran 

REF. : Charles Lanman, Catalogue of W.W. Corcoran's Private Gallery, Washington, 

1857, p. 7, No. 8 

GIFT : William Wilson Corcoran, 1869 69.20 

T he painting was purchased from the artist in New York by Mr. A.M. Cozzens for Mr. 

Corcoran. 

On the Banks of a Stream 63.12 

95 
CROMWEL L AND MILTO N 1854 

60-1/4 x 83-3/4 

SIGNED , l.r.: E. Leutze. Dsdf.1854. 

COLL. : William Wilson Corcoran 

REF. : Catalogue of the Works of Art comprising the First Annual Exhibition, Washington Art Association, 1857, p. 5, No. 83; The Art Treasures of America, Edward 

Strahan, ed., Philadelphia, 1880, pp. 11-12, ill.; Catalogue of Exhibition of Work by 

Emanuel Leutze, The Century Association, New York, 1946, No. 82 

GIFT : William Wilson Corcoran, 1869 69.32 

Thi s painting depicts the English poet John Milton (1608-1674) seated at an organ 

console. Oliver Cromwell (1599-1658), Lord Protector of England, is seated at the left 

center, hands resting on his sword, with his wife at his left. A pencil drawing, possibly 

by the artist, which identifies eight of the fifteen persons, is in the Corcoran Collection. An engraving was made in Germany from Leutze's cartoon for this painting. 

ON TH E BANKS OF A STREA M c. 1860 

18-1/4 x 24-1/4 

COLL. : McMahon Collection, Brooklyn 

PURCHASE : Anna E . Clark Fund, 1963 63.12 

John Frederick 

Kensett 

(1816-1872) 

Kensett, first an engraver, became one of the most popular landscape 

painters of his period. Born in Cheshire, Connecticut, he studied engraving with his father. After his father's death in 1829, Kensett worked in 

New Haven with his uncle, Alfred Daggett, until 1838. Ther e he became 

acquainted with the painter Thomas Rossiter. I n 1838 he went to New 

York as a bank note engraver, but in 1840 he sailed to Europe with his 

friend Rossiter, Asher B. Durand and J.W. Casilear. For seven years he 

studied and painted in England, France, Germany, Switzerland and 

Italy. During this period he exhibited landscapes in the American ArtUnion. After 1847 he lived in New York City, although he continued to 

travel in New York State and to the mountains and coast of New England. I n 1866 he accompanied General Pope to Colorado, traveling also 

in New Mexico. He was elected a Member of the National Academy in 

1849. When the Metropolitan Museum was established in 1870, he became a member of the Board, and gave more than thirty of his landscapes to its then small collection. H e died in New York City in 1872. 

SKETC H OF M O U N T WASHINGTO N 1851 

11-3/8 x 20 

SIGNED , l.r.: JF. K. 51 

COLL. : William Wilson Corcoran 

REF. : Charles Lanman, Catalogue of W.W. Corcoran's Private Gallery, Washington, 

1857, p. 14, No. 56 

GIFT : William Wilson Corcoran, 1869 69.74 

T he mss Register of the Gallery contains the following: "Taken from North Conway. 

It afterwards was painted on a large scale and engraved." In his account book 

(1848-1872) for the year 1851, Kensett recorded four landscapes of Mt. Washington 

sold during the year. While no dimensions are given, the names of the purchasers and 

prices are listed for three of the works. The title for each work is recorded MT . 

WASHINGTO N - LANDSCAPE . None is dated according to month, and the exact date of 

sale is not listed. 

96 
High Bank, Genesee River 

HIG H BANK, GENESE E RIVE R 1857 

30-1/2 x 49-1/4 

SIGNED, 1.1.: JF. K. 57 

COLL. : Richard M. Olyphant, New York, 1877; Samuel P . Avery, New York 

REF. : National Academy of Design Exhibition Record 1826-1860, New-York Historical 

Society, 1943, Vol. I, p. 276 (exhibition: 1858, No. 418); C.G.A. Handbook of the 

American Paintings, 1947, p. 35, ill. 

PURCHASE: Gallery Fund, 1877 77.15

T he Genesee River flows north from northern Pennsylvania to Lake Ontario near 

Rochester, New York. Kensett made many sketching trips through New York, not only 

up the Hudson and in the Catskills and Adirondacks, but also across the state to 

Niagara. Thi s is probably the painting exhibited at the National Academy in 1858 

under the title VIEW ON TH E GENESEE NEAR MOUNT MOAT, then belonging to Richard M. 

Olyphant, and later included in the sale of the Olyphant Collection in 1877. A smaller 

version of this scene entitled HIGH BANKS and dated 1859 was included in the sale of 

the Robert Morrison Olyphant Collection in New York in 1919. 

AUTUM N AFTERNOO N ON L A K E GEORG E 1864 

48-3/4 x 72-1/2 

COLL. : Richard M. Olyphant, New York, 1877; Samuel P. Avery, New York 

REF. : Edward Strahan, The Art Gallery at the Exhibition . . ., Philadelphia, 1877, p. 

52 (wood engraving by J. Dalziel) ; C.G.A. Handbook of the American Paintings, 1947, 

p. 35

PURCHASE: Gallery Fund, 1877 77.11

97 

77.15 
Regis Francois 

Gignoux 

(1816-1882) 

Regis Gignoux was born in Lyon, France, where he studied at the Academy of St. Pierre. He won a scholarship to the Ecole des Beaux Arts in 

Paris, studying with Paul Delaroche. After painting in Switzerland for a 

summer, he emigrated to the United States around 1841, following an 

American girl he had met in Europe who later became his wife. The y 

settled in Brooklyn where Gignoux was active in art circles and exhibited frequently in New York, Boston and Philadelphia. I n 1851 he was 

elected a Member of the National Academy, and also served as the first 

President of the Brooklyn Academy. He was the teacher and a close 

friend of George Inness. Returning to France in 1870, he died in Paris in 

1882. 

LANDSCAP E 1849 

34-1/2 x 30-1/2 

SIGNED, I.e.: R. Gignoux 11849 

COLL. : William Wilson Corcoran 

REF. : Charles Lanman, Catalogue of W.W. Corcoran's Private Gallery, Washington, 

1857, p. 8, No. 12 

GIFT : William Wilson Corcoran, 1869 69.73 

Winter Scene 69.7 

WINTE R SCEN E 1850 

36 x 50-1/4 

SIGNED, l.r.: R. Gignoux 11850 

COLL : William Wilson Corcoran 

REF. : Charles Lanman, Catalogue of W.W. Corcoran's Private Gallery, Washington, 

1857, p. 6, No. 6; Catalogue of the Third Annual Exhibition, Washington Art Association, 1859, p. 5, No. 122 

GIFT : William Wilson Corcoran, 1869 69.7 

A similar scene now in the Karolik Collection in the Museum of Fine Arts, Boston, is 

inscribed on the back of the canvas: Vue prise dans le New Jersey . . . 1847. 

Daniel Huntington, a portrait, historical and landscape painter, was 

born in New York City. As a student at Yale University he knew Jonathan Trumbull. After a year at Yale, he transferred to Hamilton College 

near Utica, New York, where he met Charles Loring Elliott by whom he 

was encouraged to become an artist. I n 1836 he was studying under Samuel Morse and Henry Inman in New York City. He went to Europe in 

1839 with his contemporary and follower, Henry Peters Gray; a second 

trip in 1842 took him to Rome, where he spent much of his time for the 

next three years. On his return to New York City he established himself 

as a portrait painter, having already been elected to the National Academy in 1840. From 1851 to 1858 Huntington worked in England. On 

his last trip abroad in 1882 he visited Spain. Huntington's works were 

greatly admired by his contemporaries—he has left around 1,200 known 

paintings, 1,000 of which are portraits. He served twice as President of 

the National Academy from 1862-1870 and from 1877 to 1890. He died 

in New York City in 1906. 

98 

Daniel Huntington 

(1816-1906) 
Mercy'

s Dream 69.67

99 
JOSEP H HENR Y 1857 

30-1/4 x 25-1/2 

SIGNED , l.r.: D Huntington 1857 

COLL. : James C. McGuire, Washington 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 37 

BEQUEST : James C. McGuire, 1888 88.4 

Professor Henry (1797-1878) , the foremost American physicist of his generation, was 

born in Albany. His experiments in the field of electromagnetism, started in 1829, 

made him internationally respected. He was a professor at Princeton University from 

1832 until he was appointed in 1846 the first Secretary of the Smithsonian Institution. 

He was a prime mover in establishing the National Academy of Sciences. 

MERCY' S DREA M 1850 

90-1/4 x 67-1/2 

SIGNED , 1.1.: D. Huntington/ the 2nd picture of Mercy's Dream/ painted 1850 

COLL. : William Wilson Corcoran 

REF. : J.T. Flexner, That Wilder Image: The Painting of America's Native School from 

Thomas Cole to Window Homer, 1962, pp. 178 f., ill. 

GIFT : William Wilson Corcoran, 1869 69.67 

Huntington's first painting of this passage from Pilgrim's Progress was completed in 

1842 on the return from his first trip abroad and is probably the version now in the 

collection of the Pennsylvania Academy of the Fine Arts. The Corcoran version is 

Huntington's second painting of the subject, executed in 1850. A third replica, owned 

by the Metropolitan Museum of Art is dated 1858. Thi s very popular subject was 

reproduced by several contemporary engravers. 

A painter of portraits, historical and religious subjects, Rossiter was born 

in New Haven on September 29, 1818. He studied with Nathaniel Jocelyn and at the age of twenty had his own portrait studio in New Haven. 

I n 1840 he was elected an Associate Member of the National Academy. 

During the same year he went to Europe with Durand, Kensett and 

Casilear. After six months in London and a year in Paris with Kensett, 

where he studied in life classes and copied at the Louvre, Rossiter went 

to Rome with Thomas Cole. There he set up a studio on the Vi a Felice 

where he spent five winters, traveling during the summers in Italy, Germany and Switzerland. When he returned to New York in 1846, he 

shared a studio with Kensett and Loui s Lang. I n 1849 he was elected a 

Member of the National Academy, serving on its Council in 1851 and 

again in 1860. He married Anna Ehrick Parmly in 1851. Returning to 

Europe in 1853, he studied and maintained a studio in Paris for three 

years, won a gold medal in the Paris Exposition of 1855 and was back in 

New York in 1856. After a year of painting portraits, he turned to historical and religious painting. I n 1861 he built a house from his own design in Cold Spring on the Hudson, where he lived until his death on 

May 17, 1871. 

REBECC A A T T H E WEL L 1852 

3 9 x 3 2 

SIGNED , l.r.: Rossiter/ 1852 

COLL. : William Wilson Corcoran 

REF. : National Academy of Design Exhibition Record 1826-1860, The New-York Historical Society, 1943, p. 104 (exhibition: 1852, No. 51) ; Charles Lanman, Catalogue of 

W.W. Corcoran's Private Gallery, Washington, 1857, p. 9, No. 21 

GIFT : William Wilson Corcoran, 1869 69.30 

Thomas Prichard 

Rossiter 

(1818-1871) 

100 
Thomas L e Clear was born in Owego, New York, in 1818. He began to 

paint as a child and at the age of twelve was already selling his work. He 

was employed as a portrait and decorative painter from about the age of 

fourteen. L e Clear's family moved to London, Ontario in 1832; and he 

worked there and in Goderich, Ontario until 1834. After several years of 

wandering in western New York and as far west as Green Bay, Wisconsin, he settled in New York in 1839. He moved to Buffalo after his marriage in 1844, but returned to New York City in 1860. L e Clear became a 

National Academician in 1863. He died in 1882 at his home in Rutherford Park, New Jersey. 

WILLIA M PAG E 1876 

24-1/4 x 20 

SIGNED , l.r.: T. Le Clear NA./1876 

COLL. : the artist 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 37 

PURCHASE : Gallery Fund, 1878 78.5

Page (1811-1885) was an important romantic portrait and figure painter. 

Thomas Le Clear 

(1818-1882) 

William Page 78.5 

James Hope was born at Drygrange, Roxboroughshire, Scotland, and was 

brought to Canada as a child. After his father's death in 1831, Hope was 

apprenticed for five years to a wagon-maker in Fairhaven, Vermont. 

Ther e he earned the money to pay for a year's study at Castleton Seminary, after which he took up portrait painting in West Rutland. From 

1844 to 1846 he painted portraits in Montreal. He returned to teach at 

the Seminary in Castleton, where he built a house in 1851. At this time he 

abandoned portraiture for landscape painting, often spending the 

winters in his New York City studio. While serving in the Civil Wa r he 

made studies which he later developed into a series of large paintings of 

Civil Wa r battles. After 1872 Hope built a studio in Watkins Glen, New 

York, where he devoted himself again to landscape painting. He died 

there in 1892. 

James Hope 

(1818/19-1892) 

TAVER N I N N E W BOSTON , VERMON T 1855 

25-7/8 x 35-7/8 

SIGNED , l.r.: / . Hope/ 1855 

COLL. : Robert G . Mclntyre, New York 

REF. : C.GA. Handbook of the American Paintings, 1947, p. 37 

GIFT : Robert G . Mclntyre, 1947 47.10 

New Boston is in the township of Chittenden, Rutland County, Vermont, and not far 

from Castleton where Hope lived for several years prior to the Civil War. 

Henry Peters Gray was born in New York City. He studied with Daniel 

Huntington in New York, later accompanying his instructor to Europe 

in 1839. After his return in 1841, Gray painted in New York and Boston 

for several years before taking a second trip to Europe from 1845 to 1846. 

Henry Peters Gray 

(1819-1877) 

101 
T he Judgment of Paris 77.10 

He was elected to the National Academy in 1842, and, when he returned 

to New York City in 1846, enjoyed great popularity, winning acclaim 

especially for his classical and historical figure pieces. He served as President of the National Academy in 1870-71. After another trip to Italy, 

where he stayed until 1875, he returned to New York City. He died there 

in 1877, 

T H E JUDGMEN T OF P A R IS 1861 

50-7/8 x 41 

SIGNED, 1.1.: Gray. N. Y. 1861 

COLL. : Richard M. Olyphant, New York, 1877; Samuel P . Avery, New York 

REF. : H.T. Tuckerman, Book of the Artists, 1867, pp. 442 f.; E.P. Richardson, American Romantic Painting, 1944, p. 34, No. 153, ill.; J . T. Flexner, That Wilder Image: 

The Paintings of America's Native School from Thomas Cole to Winsloxv Homer, 1962, 

p. 179, ill. 

PURCHASE: Gallery Fund, 1877 77.10 

Thi s painting has been widely exhibited under either the title TH E APPLE OF DISCORD 

or its present title. 

James Walker 

(1819-1889) 

Review of Rhode Island and 53.13 

Maine Troops 

James Walker was born in England on June 3, 1819 and was brought to 

New York as a child. While still a young man, he lived in New Orleans 

and in Mexico City, where he was at the outbreak of the Mexican War. 

He joined the American forces as an interpreter and returned to Mexico 

City with the occupying army. He was back in New York in 1848 in his 

own studio. He made a trip to South America, then worked in Washington, D.C. between 1857 and 1862, painting his BATTL E O F CHAPULTEPE C 

for the United States Capitol. Walker later painted canvases of Civil War 

subjects which he is said to have executed from studies made while with 

the army. I n 1884 he went to California where he died on August 29, 

1889 at the home of his brother in Watsonville. 

REVIE W O F R H O D E ISLAND AND MAIN E TROOP S 1861 

16 x 21; wood panel 

SIGNED, 1.1.: / Walker 1861 

REF. : M.R. McNaughton, "J ame s Walker—Combat Artist of Two American Wars," 

Military Collector and Historian, Vol. IX, No. 2 (summer 1957) , p. 35 

PURCHASE: Gallery Fund, 1953 53.13 

Little is known of George Douglass Brewerton. He was born in 1820, and 

was living in Brooklyn in 1854 when he exhibited two western views in 

the National Academy. When he entered two paintings in the 1859 exhibition of the Pennsylvania Academy, he gave Newport, Rhode Island as 

his address. Tha t his family connections center around Newport is borne 

out by his claim that Henrietta Whitehorne of Newport, sister of the 

artist Edward Greene Malbone, was his great-aunt. Brewerton died in 

1901. 

102 

George Douglass 

Brewerton 

(1820-1901) 
Crossing the Rocky Mountains 69.12 

CROSSING TH E ROCK Y MOUNTAIN S 1854 

30 x 44-1/4 

SIGNED , 1.1.: G. Douglass Brewerton / 1854 

COLL. : William Wilson Corcoran 

REF. : GO West, Young Man, An Exhibition of Early Western Paintings . . . , Marion 

Koogler McNay Art Institute, San Antonio, 1960, no catalogue number 

GIFT : William Wilson Corcoran, 1869 69.12

Thi s is possibly the painting entitled PRAIRI E SCEN E NEA R TH E ROCK Y MOUNTAIN S lent to 

the National Academy of Design, New York, in 1854 (No. 217) by Dr. R.C. Moffatt. 

Worthington Whittredge was born on a farm near Springfield, Ohio, and 

began his career in Cincinnati in about 1840, first as a house and sign 

painter. He worked there until 1849, chiefly painting portraits, with a 

brief stay in Indianapolis in 1842 as a daguerreotypist and some work in 

West Virginia. I n 1849 he went to Europe, traveling for two years in 

England, Belgium, Germany and France before going to Diisseldorf, 

where he spent three years studying under Carl Lessing. I n 1854 he went 

to Italy, stopping first in Florence, but finally reaching Rome where he 

stayed until 1859, becoming a member of the colony of international 

artists and writers which included such names as Sanford Gifford, Frederic Church, Thomas Crawford, the Robert Brownings and Nathaniel 

Thomas Worthington 

Whittredge 

(1820-1910) 

103 
Hawthorne. O n his return to America in 1859, Whittredge opened a 

studio in New York City, where he worked until 1880. I n 1865-66 he 

accompanied Major-General John Pope on an expedition to the Rocky 

Mountains, and during the next thirty years made three other trips to 

the West and Mexico. However, after his marriage in 1867, his traveling 

was limited principally to New England and upstate New York. He was 

elected a National Academician in 1861, serving as President of the Academy in 1865 and from 1874 to 1877. He died in 1910 in Summit, New 

Jersey, where he had moved in 1880. 

TROU T BROO K I N T H E CATSKILL S 1875 

35-1/2 x 48-3/8 

SIGNED , 1.1.: W. Whittredge 

COLL. : the artist 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 38 

PURCHASE : Gallery Fund, 1875 75.5

A small study of this scene, 13" x 16", entitled TROU T STREA M and signed W. Whittredge, was included in the New York sale of the Robert Morrison Olyphant Collection 

in 1919. Its present location is not known. 

Trout Brook in the Catskills 75.5

104 
William T . Mathews was born in Bristol, England on May 7, 1821, and 

was brought to this country by his family who settled in Rochester, Ohio 

about 1833. He began his painting career in Ohio during the 1840's and 

by 1850 had moved to New York City where he maintained a studio 

until the late sixties. He did much of his work in Washington, D.C. , 

including portraits of Presidents Lincoln, Hayes, Garfield, Harrison and 

McKinley. He died in Washington on January 11, 1905, his later years 

saddened by obscurity and poverty. 

JAMES ABRA M GARFIEL D 1882 

30 x 25 

SIGNED, 1.1.: W.T. Mathews/ 1882 

COLL. : the artist 

REF. : Mr. President, Dallas Museum of Fine Arts, 1956, No. 39, ill.; C . Jones, Homes of 

the American Presidents, 1962, p. 139, ill. 

PURCHASE: Gallery Fund, 1883 83.2 

James Abram Garfield (1841-1881) was the twentieth President of the United States, 

serving from March, 1881, until September of that year when he was assassinated. Thi s 

portrait was painted from a photograph. 

BENJAMI N HARRISO N 1899 

30 x 25 

SIGNED, 1.1.: William T. Matheivs 

COLL. : the artist 

REF. : Mr. President, Dallas Museum of Fine Arts, 1956, No. 42, ill.; Vincent Wilson, 

Jr., The Book of the Presidents, Silver Spring, 1962, p. 53, ill. 

PURCHASE: Gallery Fund, 1899 99.14 

Benjamin Harrison (1833-1901) was the twenty-third President of the United States, 

serving from March, 1889, until March, 1893. The painting was commissioned by the 

Corcoran Gallery. 

WILLIA M McKINLE Y 1900 

30-1/4 x 25-1/4 

SIGNED, l.r.: William T. Mathews/1900 

COLL. : the artist 

REF. : Mr. President, Dallas Museum of Fine Arts, 1956, No. 43, ill. 

PURCHASE: Gallery Fund, 1901 01.10 

William McKinley (1843-1901) was the twenty-fifth President of the United States, 

serving from March, 1897, to September 14, 1901, when he died from a wound inflicted 

by an assassin in Buffalo, New York. This painting was commissioned by the Corcoran 

Gallery in 1900. 

A painter of portraits and historical genre, as well as a naturalist, Ulke 

was born on January 29, 1821 in Frankenstein, Germany. He studied in 

Berlin with Professors Wilhelm Wach and Peter Cornelius. A participant 

in the 1848 revolution, he was wounded, captured and imprisoned. 

When released in 1849, he came to America working as a designer and 

illustrator in New York City before moving to Washington to settle permanently. He painted over one hundred portraits of high government 

105 

William T. Mathews 

(1821-1905) 

Henry Ulke 

(1821-1910) 
officials. He also gathered during that period what was, in 1927, mentioned as the largest collection of American beetles, now owned by the 

Museum of Natural History at the Carnegie Institute, in Pittsburgh. He 

died in Washington on February 17, 1910. 

ULYSSES SIMPSON GRAN T 1882 

30 x 25 

SIGNED, 1.1.: Henry Ulke 

COLL. : the artist 

REF. : Civil War Centennial Exhibition, Washington County Museuhi of Fine Arts, 

Hagerstown, 1962, p. 3, No. 54, ill. 

PURCHASE: Gallery Fund, 1882 82.3 

Ulysses Simpson Grant (1822-1885) , the eighteenth President of the United States, 

served from March, 1869, to March, 1877. A three-quarter length version of this portrait, painted in 1875, is in The White House. 

George Fuller 

(1822-1884) 

Evening-Lorette 00.6 

George Fuller was born in Deerfield, Massachusetts. He took up painting 

in 1841 after accompanying his elder half-brother, the artist Augustus 

Fuller, on a painting tour through New York State. After studying 

briefly in Albany, Fuller began his career in Boston. From 1847 to 1859 

he studied in New York and painted portraits in Philadelphia and cities 

farther south. After six months in Europe, he returned to manage the 

family farm in Deerfield. Hi s art production was necessarily curtailed 

during this period, but the paintings he did execute took on a romantic 

mystery which had not existed in his earlier portraits. I n 1876 these 

paintings were sold in Boston to save the farm from bankruptcy. The y 

attracted much public attention, and Fuller then decided to resume his 

career as an artist. He opened a studio in Boston and exhibited regularly 

at the American Art-Union, Boston Athenaeum and National Academy 

of which he had been an Associate Member since 1854. He achieved 

marked success and became a popular figure emulated by younger artists. 

Fuller died in 1884, only eight years after he publicly resumed his career. 

EVENING-LORETT E 1882 

49-7/8 x 29-5/8 

SIGNED, 1.1.: G. Fuller I 1882 

COLL. : Joseph H . White, Brookline, 1884; William T . Evans, New York, 1900 

REF. : Memorial Exhibition of the Works of George Fuller, Museum of Fine Arts, 

Boston, 1884, No. 156; J.B. Millet, George Fuller, His Life and Works, Boston, 1886, p. 

92 

PURCHASE: Gallery Fund, 1900 00.6 

Jacob Hart Lazarus was born in New York City where he lived and 

worked until his death in 1891. Of his early training in painting we 

know little except that he studied portraiture with Henry Inman. He 

first exhibited at the National Academy in 1841, becoming an Associate 

Member of the Academy in 1850. Hi s paintings and miniatures were also 

shown at the Boston Athenaeum and the Pennsylvania Academy. 

106 

Jacob Hart 

Lazarus 

(1822-1891) 
GIR L WIT H FLOWER S c. 1853 

41 x 32 

COLL. : Amelia B. Lazarus, wife of the artist; Virginia Wallach, Brooklyn 

GIFT : Virginia Wallach, 1907 07.22

Thi s may be the painting exhibited by Lazarus in the National Academy of Design in 

1953 entitled FLOWER GIRL (NO. 187) . 

William Loui s Sonntag (or Sontag) was born in 1822 in East Liberty, 

now a part of Pittsburgh, Pennsylvania. He spent the early years of his 

career in Cincinnati, working there until he left for Italy in 1855 for a 

year's study in Florence. When he returned to America, he established 

his studio in New York City where he lived until his death in 1900. H e 

was best known for his Italian and American landscapes in romantic 

style, although early in his career he collaborated with John C. Wolfe in 

painting a panorama of Paradise Lost and Paradise Regained. He was 

elected a Member of the National Academy in 1861. 

CLASSIC ITALIA N LANDSCAP E WIT H TEMPL E OF VENUS c. 1860 

36 x 60 

SIGNED, 1.1.: W.L. Sonntag 

COLL. : Orson D. Munn, New York 

REF. : C.GA. Handbook of the American Paintings, 1947, p. 38 

GIFT : Charles A. Munn and Victor G . Fischer in memory of Orson D. Munn, 1912 12.1 

Classic Italian Landscape with Temple of Venus 12.1 

107 

William Louis 

Sonntag 

(1822-1900) 
Sanford Robinson 

Gifford 

(1823-1880) 

Sanford Gifford was born in Greenfield, New York, son of the owner of 

extensive iron works in Saratoga County. He attended Brown University 

from 1842-44, leaving to study painting in New York City under John 

Rubens Smith. A sketching tour in the Catskills and the Berkshires in 

1846 provided the stimulus for his subsequent concentration on landscape painting. He worked in New York City until 1855, becoming an 

Associate in the National Academy in 1850 and a full Member in 1854. 

During the summer of 1855 he went to England and Scotland, spending 

the next two years traveling in France, Belgium, Holland, Italy, Austria 

and Switzerland, with Worthington Whittredge at times as sketching 

companion. O n his return to America in 1857 he established his studio 

in the famous building on 10th Street in New York which housed many 

well-known artists of the period, and maintained this address throughout 

the rest of his life. He served briefly in the Civil War, having taken 

another trip to Europe in 1859 before the conflict and a third in 1868 

covering the Mediterranean countries. When he returned in 1870, he 

started out on a sketching trip in the West with Whittredge and Kensett, 

but left them in Denver to join Col. F.V. Hayden's expedition to the 

Indian country of Colorado and Wyoming. I n 1874 he spent some time 

sketching along Lake Superior, and, during a similar trip in 1880, contracted a cold which developed into pneumonia. H e died a few weeks 

later in New York City. He was a man of many friends and was a popular member of both the Century and Union clubs. 

NEA R ARRICIA , ITAL Y 1868 

6-3/4 x 9-1/2 

SIGNED, 1.1.: 5 R Gifford 

COLL. : Prince Ludivico Chigi, Italy; Lewis Berry M. Crocker, Brooklyn 

GIFT : Anna E . Erickson, 1954 54.1 

108 

Ruins of the Parthenon 81.7 
RUIN S OF T H E PARTHENO N 1880 

27-5/8 x 53-3/8 

SIGNED , 1.1.: S.R. Gifford 1880 

COLL. : the artist's estate (sale, 1881) 

REF. : A Memorial Exhibition of the Paintings of Sanford Robinson Gifford, N.A., The 

Metropolitan Museum of Art, 1881, No. 726; A.T. Gardner, "Hudson River Idyl," The 

Metropolitan Museum of Art Bulletin, Vol. VI, No. 8 (April 1948) , p. 236 

PURCHASE : Gallery Fund, 1881 81.7

A similar painting is in the collection of the Century Association, New York. 

William Garl Brown was born in England, son of a Leicester landscape 

painter. He came with his family to the United States in 1837, and probably lived in Brooklyn from 1837-45. He seems to have shared a studio 

in New York City around 1842 with his father. He exhibited at the 

National Academy in 1840 and by 1846 had gone to Virginia where he 

established himself in Richmond as a portrait painter. He traveled to 

Mexico in 1847 to paint portraits of Zachary Taylor and other Mexican 

Wa r heroes, which he exhibited in Richmond and Philadelphia in the 

fall of that year. I n the 1850's he was traveling in the South, working 

especially in North Carolina and probably in Maryland, although his 

home is listed as in New York from 1856-65. After the Civil War, Brown 

went south again, painting portraits in North Carolina and Virginia. I n 

1876 he married Mary McFeely from Charleston, South Carolina, and 

the couple lived in Richmond from the 1880's until his death in 1894. 

GENERA L ZACHARY TAYLOR , 1847 

30 x 25 

INSCRIBE D O N TH E BAC K O F CANVAS BEFOR E RECLINING : Major Genl. Za[chary] Taylor/ 

Painted by William G. Browne/ of Richmond Va. U States,/ while on a visit at Genl. 

Taylors./ Head Quarters, Army of Occupati/on. at Walnut Springs Mexico/ August 

12th. 1847 

COLL. : Mrs. J.L.M. Curry 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 32, ill. 

GIFT : Mrs. J.L.M. Curry, 1903 03.9

William Garl 

Brown, Jr. 

(1823-1894) 

General Zachary Taylor 03.9 

J.F . Cropsey, an architect and landscape painter, was born near Rossville, Staten Island. After five year's study in an architect's office, during 

which time he also studied painting, Cropsey turned his full attention to 

landscape painting. He first exhibited in 1843 at the National Academy, 

became a regular exhibitor there and was elected an Associate Member 

in 1845. I n 1847, after his marriage, he went to Europe with his wife, 

traveling and sketching in Great Britain and Switzerland, and finally in 

Italy, where he took a studio in Rome. The y returned in 1850, and in 

1851 Cropsey was elected a full Member of the Academy. He went back 

to Europe in 1857, remaining in London and exhibiting at the Royal 

Academy until 1863 when he returned to the States because of the Civil 

War. As an architect Cropsey designed numerous houses in Long Branch, 

New Jersey and on Long Island, the Pullman Mansion in Chicago and 

his own home in Hastings-on-Hudson, where he lived in his later years. 

Perhaps his best known architectural designs were those made for the 

Jasper Francis 

Cropsey 

(1823-1900) 

109 
Johannes Adam 

Simon Oertel 

(1823-1909) 

Born near Nuremberg, Germany, Johannes Oertel planned to enter the 

ministry but was equally drawn to a career in art. After studying at the 

Polytechnic Institute at Nuremberg, he worked under J.M . EnzingMuller in Munich. He emigrated to America in 1848, settling in Newark, 

110 

Washington's headquarters on the Hudson 69.17

Sixth Avenue Elevated Railroad Stations in New York City. He continued to exhibit landscapes at the National Academy, as well as at the 

Pennsylvania Academy of the Fine Arts and in other academic exhibitions. He was a founder of the American Water-Color Society. Cropsey 

died in Hastings-on-Hudson in 1900. 

WASHINGTON' S HEADQUARTER S O N TH E HUDSO N 185-(?) 

23 x 27-3/4 

COLL. : William Wilson Corcoran 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 39 

GIFT : William Wilson Corcoran, 1869 69.17
New Jersey, and making his living as a portrait painter, engraver and 

decorator of ceilings. He soon moved to Washington, D.C. , where he was 

commissioned in 1857-58 to do the designs for the ceiling of the Old 

House of Representatives. After the Civil Wa r Oertel entered the Protestant Episcopal Ministry, serving parishes in many southern states and 

in Washington, D.C. until his retirement in 1895. He finally settled in 

Vienna, Virginia, where he painted religious subjects until his death in 

1909. 

T H E PATRIARCH' S ARGUMEN T 

24 x 20 

COLL. : William Wilson Corcoran 

GIFT : William Wilson Corcoran, 1884 84.6 

Paul Weber, a landscape and portrait painter, was born at Darmstadt, 

Germany in 1823. He studied in Frankfurt, Germany before coming to 

the United States in 1848, settling in Philadelphia. He exhibited frequently at the Pennsylvania Academy throughout his life, showing first 

in 1849. I n 1857 he toured Scotland and Germany. Returning to Darmstadt in 1860, he was appointed Court painter to the Grand Duke of 

Hesse-Darmstadt. He later returned to the United States, again making 

his home in Philadelphia where he died in 1916. 

SCEN E I N T H E CATSKILL S 1858 

21 x 17-1/4 

SIGNED, l.r.: Paul Weber./1858 

COLL. : William Wilson Corcoran 

REF. : Catalogue of the Third Annual Exhibition, Washington Art Association, 1859, p. 

4, No. 50; C.GA. Handbook of the American Paintings, 1947, p. 39 

GIFT : William Wilson Corcoran, 1869 69.34 

William Morris Hunt was born in Brattleboro, Vermont. He entered 

Harvard in 1840 but dropped out before graduating because of ill 

health. I n 1843 his widowed mother took her children to Italy, where 

they spent the winter in Rome. At first interested in sculpture, he went 

in 1844 to Paris to study with Antoine Loui s Barye, and the following 

year enrolled in the sculpture class at Diisseldorf. He soon left, however, 

disliking the methodical and rigid approach to art taught there. He 

returned to Paris to study painting with Thomas Couture. During the 

following years he traveled in Europe, studying paintings by Dutch and 

Spanish masters as well as the work of contemporary French artists. He 

became a close friend of Francois Millet and a disciple of the Barbizon 

School. When he returned to America he married, and, working first in 

Brattleboro, Vermont and Newport, Rhode Island, finally moved his studio to Boston in 1862. I n 1866 he returned to Europe and, after much 

traveling, spent the winter of 1867-68 in Rome. O n his return in 1868 he 

opened a drawing school for ladies in Boston where he developed his 

111 

Paul Weber 

(1823-1916) 

Scene in the Catskills 69.34 

William Morris 

Hunt 

(1824-1879) 
Head of a Young Woman 

theories of art education later published in 1875 as Talks on Art. He 

taught in Boston until 1873, went to Florida to restore his health and 

then returned to painting, which he had almost completely abandoned 

while teaching. I n 1875 he was commissioned by New York State to paint 

two murals in the State Capitol in Albany, and under the stress of this 

work, completed in December 1878, his health broke down again. T h e 

following summer he drowned swimming off the Isle of Shoals, Appledore, New Hampshire. 

RAPIDS, SISTE R ISLANDS 1878 

11-1/4 x 17-1/8; academy board 

COLL. : Mr. and Mrs. Francis Sydney Smithers 

REF. : Exhibition of the Works of William Morris Hunt, Museum of Fine Arts, Boston, 

1879, p. 24, No. 59 

GIFT : Mabel Stevens Smithers, 1938, The Francis Sydney Smithers Memorial 38.7 

Another version of this scene by Hunt was exhibited at the Macbeth Galleries, New 

York, in 1906. Its present location is not known. 

HEA D OF A YOUN G WOMAN 

16 x 12 

SIGNED, 1.1.: WMH (monogram) 

COLL. : Temple family, Boston 

REF. : Portraiture: the 19th and 20th Centuries, Munson-Williams-Proctor Institute, 

Utica, 1957, p. 31, No. 24 

PURCHASE: Gallery Fund, 1950 50.8 

Nelson Augustus 

Moore 

(1824-1902) 

Born in Kensington, Connecticut, Nelson Moore was trained as a portrait painter in New York City under Thomas Cummings in 1847 and 

under Daniel Huntington in 1849. Despite this training, he devoted most 

of his time to the painting of landscapes, living and working in Kensington. He died in 1902. 

LANDSCAPE 1890' 

14-1/4 x 24-1/4 

SIGNED, 1.1.: Moore/90; and on back of canvas: NA Moore/1890 

COLL. : Ethelbert Allen Moore, son of the artist 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 39 

GIFT : Ethelbert Allen Moore, 1935 35.3 

Jonathan Eastman 

Johnson 

(1825-1906) 

Born in Lowell, Maine, Eastman Johnson spent his boyhood in Augusta, 

where his father was serving as Secretary of State for Maine. Hi s talent 

for drawing was soon realized, and at the age of sixteen he was employed 

by John H . Bufford's lithography shop in Boston. Soon he took up the 

popular art of crayon portraiture, and from 1841 to 1849 worked as a 

portrait artist in Augusta; Cambridge, Massachusetts; Newport, Rhode 

Island and Washington, D.C., where his father's political status won important sitters for him. I n 1849 he went to Diisseldorf, Germany, to study 

with Emanuel Leutze. After some time there and in France and Italy, he 

spent four years in Th e Hague where he became known as the "Ameri112 

50.8 
can Rembrandt" for his studies of the works of this and other Dutch 

masters. After a short period in Thomas Couture's studio in Paris, he 

returned to America in 1855. Johnson sought out genre subjects during 

the next few years among the Indians of the Great Lakes region and the 

Negroes of the South before he settled in New York City in 1859. I n 1860 

he was elected to the National Academy. Spending the summers of the 

1870's in Nantucket, Johnson produced numerous genre scenes, but 

turned almost exclusively to commissioned portraits in his later years. He 

died in New York City in 1906. 

GIR L AND PET S 1856 

25 x 28-3/4; academy board 

SIGNED, 1.1.: E. Johnson. 1856 

COLL. : William Wilson Corcoran 

Girl and Pets 69.44 

113 
REF. : Catalogue of the Works of Art comprising the First Annual Exhibition, Washington Art Association, Washington, 1857, p. 5, No. 71; American Genre, The Whitney 

Museum of American Art, New York, 1935, p. 19, No. 61; J.I.H . Baur, Eastman Johnson, The Brooklyn Museum, 1940, p. 64, No. 105 

GIFT : William Wilson Corcoran, 1869 69.44 

A smaller and later version of this subject, dated 1859, was in the New York market in 

1940. Its present location is not known. 

T he Shelter 63.11 

114 

T H E SHELTE R c. 1870 

23-3/8 x 27; academy board 

SIGNED, l.r.: E.J. 

COLL. : the artist's estate 

REF. : D.F. Hoopes, "The Shelter by Eastman Johnson," C.G.A. Bull., Vol. 13, No. 3 

(Oct. 1963), pp. 17 ff., ill. 

PURCHASE: William A. Clark Fund, Gallery Fund and through the gift of Louise S. 

Thompson, 1963 63.11 
Thi s painting was also referred to as T H E TRUANTS . It was one of a series of "finished 

studies," all related to "sugaring off," painted between 1865 and 1873 in anticipation of 

securing a commission for a large canvas depicting the maple sugar camps of Johnson's 

native Fryeburg, Maine. 

T H E EARRIN G 1873 

22 x 26; academy board 

SIGNED , l.r.: E. Johnson) 1873 

COLL. : Nathan Guilford, c. 1880; Mrs. Stewart, 1936; Guilford Stewart, grandson of the 

first recorded owner, Sharon, Connecticut 

GIFT : Captain A.S. Hickey, U.S.N, (ret.), in memory of his wife, Caryl Crawford 

Hickey, 1957 57.21

HAROL D McGUFFE Y 1880 

19-1/2 x 16-1/8 

COLL. : Alexander Hamilton McGuffey, 1880; Margaret D. McGuffey; Kingsley R. MacGuffey 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 40 

GIFT : Kingsley R. MacGuffey, 1930 30.3

T he Earring 57.21 

According to an inscription on the back of the canvas, the portrait was painted in 

Nantucket. Harold McGuffey was born in 1878 and died in 1881 at the age of two and 

one half years. His father, Alexander McGuffey, was co-author with his brother, William, of the McGuffey Readers. 

HARRIE T HUBBAR D AYE R 1881 

72 x 37-1/2 

SIGNED , l.r.: E. Johnson/ 1881 

COLL. : family of the sitter to Mrs. Valentine E . Macy, Jr., granddaughter 

GIFT : Harriet Ayer Seymour Macy, 1963 63.24

According to a letter from the granddaughter of the subject this portrait was painted 

in Nantucket in the summer of 1881. The painting has not heretofore been recorded. 

Richard Caton Woodville was born in Baltimore in 1825 of a family 

prominent in the social and political affairs of Maryland. He studied at 

St. Mary's College and the University of Maryland to enter the medical 

profession, but subsequently decided on a career in art. He probably had 

some art instruction with Alfred Jacob Miller and access to the Robert 

Gilmor Collection of masterpieces in Baltimore, at that time one of the 

best in the country. At the age of twenty he went to Diisseldorf to study, 

and after six years in Germany moved on to Paris and to London. 

During these years he sent a number of paintings to American exhibitions, although he made only two short visits to the States himself. Hi s 

work became well-known, and popular engravings were distributed 

through the American Art-Union. Hi s premature death in London in 

1855 (listed incorrectly in many references as 1856) cut short a promising career. Hi s canvases, telling stories of past and contemporary life, 

exerted an influence on genre painting which continued long after his 

death. 

Harriet Hubbard Ayer 63.24 

Richard Caton 

Woodville 

(1825-1855) 

115 
Waiting for the Stage 60.33 

WAITIN G FO R T H E STAG E 1851 

15 x 18-1/2 

SIGNED, l.r.: R.C.W. 1851 /Paris 

COLL. : Woodville family; Lucius Tuckerman, 1867, New York, and descendants 

REF. : F.S. Grubar, "Richard Caton Woodville's Waiting for the Stage/' C.G.A. Bull., 

Vol. 13, No. 3 (Oct. 1963) , pp. 10 ff., ill. 

PURCHASE: Gallery Fund, William A. Clark Fund, and through the gifts of Mr. and 

Mrs. Lansdell K. Christie and Orme Wilson, 1960 60.33

In 1851 a lithograph after the painting was published by Goupil and Company with 

the title CORNERED. 

Born in 1825 on a farm near Newburgh, New York, George Inness 

moved with his family to Newark, New Jersey, in 1830. I n 1841 he was 

apprenticed to the New York City engraving firm of Sherman and Smith, 

but his interest soon turned to painting. He exhibited for the first time 

at the National Academy in 1844 and at the American Art-Union the 

116 

George Inness 

(1825-1894) 
following year. After studying briefly in Brooklyn with Francois Regis 

Gignoux, he opened his own New York studio. Inness spent a few 

months abroad in 1847, returned to New York City, and was again in 

Europe from 1850 to 1852. I n 1859 he moved from New York to Medfield, Massachusetts, retaining, however, his New York City studio. I n 

1864 he moved to Eagles wood, New Jersey and then to Brooklyn in 1867. 

He was elected a Member of the National Academy in 1868. He returned 

to Europe in 1870 to spend two years in and near Rome, sketching and 

painting landscapes. After another short period in New York City, he 

went to France and England where he stayed from 1873 to 1875. He 

settled finally in Montclair, New Jersey in 1878 but his restlessness took 

h im again to France, Germany and Scotland in 1894. He died in August 

of that year while visiting Bridge-of-Allan, Scotland. 

LANDSCAP E c. 1846-50 

18-1/8 x 2 6 

COLL. : William Wilson Corcoran 

REF. : Charles Lanman, Catalogue of W.W. Corcoran's Private Gallery, Washington, 

1857, p. 14, No. 57; L . Ireland, The Works of George Inness, 1965, p. 8, No. 14, ill. 

GIFT : William Wilson Corcoran, 1869 69.42 

Landscape 

117 

69.42 
HILLSID E A T ETRETA T 1876 

25-3/4 x 38-3/8 

SIGNED , 1.1.: G. Inness 1876 

COLL. : Edward N. Gibbs, New York; Mrs. Gibbs Sherrill, Beverly Farms, Massachusetts 

REF. : C.G.A. Bull., Vol. 11, No. 2 (May 1960), p. 7, ill.; The Paintings of George 

Inness (1844-1894), University Art Museum, the University of Texas, 1965, p. 26, No. 

64; L . Ireland, The Works of George Inness, 1965, p. 194, No. 781, ill. 

PURCHASE : Gallery Fund and William A. Clark Fund, 1959 59.6

AUTUMN , MONTCLAI R c. 1888 

30-1/4 x 25-1/4 

SIGNED , l.r.: G. Inness 

COLL. : Mr. and Mrs. Francis Sydney Smithers, Greenwich, Connecticut 

REF. : George Inness of Montclair, The Montclair Art Museum, N.J., 1964, No. 30, ill.; 

L . Ireland, The Works of George Inness, 1965, pp. 322 f., No. 1281, ill. 

GIFT : Mabel Stevens Smithers, 1938, The Francis Sydney Smithers Memorial 38.6 

HARVES T MOON 1891 

30 x 44-1/2 

SIGNED , 1.1.: G. Inness, 1891 

COLL. : Thomas B. Clarke, New York, 1899; Mr. and Mrs. Francis Sydney Smithers 

REF. : Catalogue of the 63rd Annual Exhibit, The Pennsylvania Academy of the Fine 

Arts, 1893/1894; No. 13; Masters in Art, Vol. 9, part 102 (June, 1908, p. 41), p. 253; 

L. Ireland, The Works of George Inness, 1965, p. 343, No. 1351, ill. 

BEQUEST : Mabel Stevens Smithers, 1952, The Francis Sydney Smithers Memorial 52.7 

Hillside at Etretat 59.6

118 
Sunset in the Woods 91.10 

Tenafly, Autumn 26.104 

119 
SUNSE T I N T H E WOODS 1891 

48 x 70 

SIGNED, 1.1.: G. Inness 1891 

COLL. : Thomas B . Clarke, New York, 1891 

REF. : L . Ireland, The Works of George Inness, 1965, p. 350, No. 1372, ill. 

PURCHASE: Gallery Fund, 1891 91.10

T he artist wrote on July 23, 1891: "The material for my picture was taken from a 

sketch made near Hastings, Westchester Co., N.Y., twenty years ago. Thi s picture was 

commenced seven years ago, but until last winter, I had not obtained any idea commensurate with the impression received on the spot. The idea is to represent an effect 

in the woods towards sundown, but to allow the imagination to predominate." 

TENAFLY , AUTUM N 1891 

30-1/4 x 45-1/2 

SIGNED, l.r.: G. Inness, 1891 

COLL. : Thomas B . Clarke, New York; J.W. Ladd, Portland, Oregon; Emerson McMillin, New York, 1913; William A. Clark, New York 

REF. : L . Ireland, The Works of George Inness, 1965, p. 357, No. 1391, ill. 

BEQUEST: William A. Clark, 1926 26.104

Inness gave this painting the alternative title AUTUMN TINTS. 

Frederick Rondel, landscape and animal painter, was born in Paris. He 

studied first under Theodore Gudin and then under Gudin's pupil, Auguste Jugelet, before coming to America. I n 1857 his name appears as an 

exhibitor at the National Academy of Design in New York City, and he 

was elected a Member of the Academy in 1861. During the next seven 

years he lived in Boston and South Maiden, Massachusetts, and maintained a studio in New York. He returned to Europe for a long visit in 

1862, but by 1868 he was again painting and exhibiting in New York. 

WOODE D LANDSCAP E 

14 x 2 0 

SIGNED, 1.1.: F. Rondel 

COLL. : Thompson Collection; Rudolph Max Kauffmann, Washington 

REF. : C.G.A. Bull., Vol. 7, No. 4 (Sept. 1955) , p. 21 

GIFT : Rudolph Max Kauffmann, 1954 54.15

Frederic Edwin 

Church 

(1826-1900) 

Born in Hartford, Connecticut, Frederic Edwin Church received his 

first painting instruction from Benjamin Hutchins Coe and Alexander 

Hamilton Emmons in Hartford in 1842-43. He then became Thomas 

Cole's only student, living and studying with him in Catskill, New York 

from 1844 to 1846. He exhibited first at the National Academy in 1845, 

moved to New York City the following year and was elected Associate to 

the National Academy in 1849, when he was only twenty-three years old. 

Throughout this period he made numerous sketching trips to New England and the Catskills. Inspired by the travel accounts of the German 

naturalist, Alexander Humboldt, Church set out, first in 1853 and again 

in 1859, for a pictorial exploration of South America, traveling through 

120 

Frederick Rondel 

(1826-1892) 
Ecuador, Panama and Colombia, and even staying for a while in the 

same house in Quito, Ecuador, that Humboldt had occupied fifty years 

earlier. Le d by his inquiring nature, Church sketched the icebergs off the 

Labrador coast in the summer of 1859, and six years later was investigating the tropical forests of Jamaica. I n 1868 he left the United States for 

an extensive tour of the Near East, Greece, Italy and Egypt and returned 

to New York a year and a half later by way of France and England. By 

1872 Church moved into "Olana," a home and studio which he had 

designed high on a hill near Hudson, New York. When an attack of 

rheumatism crippled his right arm, he learned to paint with his left 

hand; however, after 1877 he was no longer able to work and had to 

content himself for the last twenty years of his life with traveling, mainly 

to Mexico, for the winters. He died in New York City at the age of 

seventy-four. 

SCENERY OF TH E M A G D A L E N A RIVER , NE W GRANADA, SOUT H AMERI CA 1854 

27-3/4 x 36-1/2 

SIGNED, 1.1.: CHURCH.I 1854 

COLL. : A.M. Cozzens, New York; William Wilson Corcoran 

REF. : C.GA. Handbook of the American Paintings, 1947, p. 41, ill. 

GIFT : William Wilson Corcoran, 1869 69.16

Srpnprv nf the Map-Hal en a Rive r 69.16

121 
Niagara Falls 76.15 

Thi s work is probably the first painting of South America completed by Church 

following his trip there in 1853. A leaf from the artist's sketchbook dated 1853 contains 

a detailed drawing of the boat, or Champan, in the center foreground of the painting. Thi s drawing is in the collection of the Cooper Union Museum. 

NIAGARA FALLS , 1857 

42-1/2 x 90-1/2 

SIGNED, l.r.: F.E. CHURCH I 1857 

COLL. : William Stevens Williams; John Taylor Johnston, 1867 

REF. : Paintings by Frederic E. Church, N.A., The Metropolitan Museum of Art, 1900, 

catalogue unnumbered, ill.; Official Catalogue . . . Fine Arts: United States Section, 

Panama-Pacific International Exposition, San Francisco, 1915, No. 2935; Survey of 

American Painting, Carnegie Institute, 1940, No. 97, ill.; Three Centuries of Niagara 

Falls, Albright-Knox Art Gallery, Buffalo, 1964, p. 23, No. 23, ill.; D.C. Huntington, 

The Landscapes of Frederic Edwin Church, 1966, pp. 1 ff. (in color) 

PURCHASE: Gallery Fund, 1876 76.15 

Church painted Niagara Falls as viewed from the Canadian shore in 1857 just prior to 

his second trip to South America. It was considered in its day "the finest picture ever 

painted on this side of the Atlantic" and was the major American painting at the 

Paris International Exposition in 1867. The first chromolithographs of the painting 

were issued in England in 1857 by C. Risdon/ Day & Son. The copyright was purchased from the artist and registered through the District Court of Southern New York 

in 1857 by William Stevens Williams and Company, New York dealers and first owners 

of the painting. While many copies in oil were made of NIAGARA FALLS , no replicas by 

Church have been located. There are a number of preliminary drawings in the collection of the Cooper Union Museum. 

Born in Baltimore, Frank Mayer studied painting there with Alfred Jacob Miller and Ernst Fischer. I n 1851 he visited the Territory of Minnesota and made sketches of the Dakota Indians which were later reproduced in his work, With Pen and Pencil on the Frontier (1872). Mayer 

spent the years from 1864 to 1870 in Paris where he studied with Charles 

122 

Frank Blackwell 

Mayer 

(1827-1899) 
Gleyre and Gustave Brion and exhibited at the Salons. He returned to 

America to live chiefly in Baltimore and Annapolis, producing colonial 

American historical scenes and genre subjects in a humorous anecdotal 

vein. He died in Annapolis in 1899. 

LEISUR E AND LABO R 1858 

15-5/8 x 23 

SIGNED, l.r.: F.B. Mayer/1858 

COLL. : William Wilson Corcoran 

REF. : Catalogue of the Third Annual Exhibition, Washington Art Association, 1859, p. 

3, No. 30; Life in America, The Metropolitan Museum of Art, New York, 1939, p. 

159, No. 157, ill.; American Painters of the South, C.G.A., 1960, p. 37, No. 123, ill. 

GIFT : William Wilson Corcoran, 1869 69.95 

Thi s painting was formerly known AS DOING AND DREAMING. 

Robert Loftin Newman was born in Richmond, Virginia, spending his 

youth there and, after 1838, in Tennessee. I n 1850 he went to Paris to 

study painting under Thomas Couture, but returned the same year to 

Tennessee. I n 1854 he was back in Paris, where he met Francois Millet 

and the Barbizon School painters. At the outbreak of the Civil War, 

Newman was employed as a draughtsman by the Confederacy and later 

served in the Sixteenth Virginia Infantry. After the war he established 

a studio in New York City, where he lived a quiet life with little public 

recognition. Ther e were but two exhibitions of his work during his lifetime, at the Boston Museum of Fine Arts and at Knoedler's in New York, 

the latter organized by his friends in 1894. Newman died in New York 

City in 1912. 

Robert Loftin 

Newman 

(1827-1912) 

GIR L BLOWIN G SOAP BUBBLE S 

21-1/8 x 16-1/8 

SIGNED, 1.1.: R L Newman 

COLL. : Frederic Fairchild Sherman 

REF. : F.C. Sherman, "Robert Loftin Newman: An American Colorist," Art in America, 

Vol. IV, No. 5 (April 1916) , p. 184, ill.; Paintings by Robert Loftin Newman, The 

Whitney Museum of American Art, New York, 1935, No. 18; A Memorial Exhibition of 

the Work of Robert Loftin Newman, The Virginia Museum of Fine Arts, Richmond, 

1942, pp. 36, 38, No. 29, ill. 

PURCHASE: Gallery Fund, 1948 48.55 

Girl Blowing Soap Bubbles 48.55 

Known for his portraits, historical, genre and landscape paintings, Reinhart, youngest of nine children, was born on August 29, 1829, near 

Waynesburg, Pennsylvania. He demonstrated an early talent for drawing 

and had a few painting lessons in Pittsburgh when he was only fifteen 

years old. I n 1847 he went to New York to study at the National Academy. He traveled to Ohio and several western cities, using Haysville, 

Ohio as his address when he exhibited in 1848 at the National Academy. 

Wanting to study composition and design for historical painting, he set 

off for Europe in 1850. He visited Diisseldorf, Paris and Rome before 

returning three years later to New York, where he opened a studio. He 

made painting trips to the Middle West and the South, keeping a studio 

Benjamin Franklin 

Reinhart 

(1829-1885) 

123 

Leisure and Labor 69.95 
T he Emigrant Train Bedding Down for the Night 59.21 

in New Orleans in 1859-60. I n 1861 he went to England where he met 

with great success, painting portraits of the nobility and such distinguished comtemporaries as Carlyle and Tennyson. After seven years he 

returned to New York and lived there for the rest of his life. He became 

an Associate Member of the National Academy in 1871, and engravings 

of his portraits and genre works were published and widely distributed. 

He died in Philadelphia in 1885. 

T H E EMIGRAN T TRAI N BEDDIN G DOW N FO R TH E NIGH T 1867 

40 x 70 

SIGNED, 1.1.: B F Reinhart/1867 

COLL. : Dr. William F. Hughes, 1929; Rectory of St. Gregory the Great, New York; Mr. 

and Mrs. Lansdell K. Christie, New York, 1958 

REF. : C.G.A. Bull., Vol. 11, No. 2 (May 1960) , pp. 5 and 14, ill.; George R. Stewart, 

"The Prairie Schooner Got Them There," American Heritage, Vol. XIII, No. 2 (Feb. 

1962), pp. 8 f., ill. (in color) 

GIFT : Mr. and Mrs. Lansdell K. Christie, 1959 59.21 

Thi s painting appears to have been based on studies made during one of Reinhart's 

trips through the Middle West. 

Severin Roesen came to America from Cologne, Germany, where he had 

been working as a still life painter as well as a porcelain and enamel 

painter. Between 1848 and 1850 he sold eleven of his still lifes to the 

124 

Severin Roesen 

(?-c. 1871) 
American Art-Union, and in 1850 he was listed in the New York City 

directory, an address he maintained until 1857. He was working from 

1858 to 1870 in Williamsport, Pennsylvania, and of his eighty or more 

known paintings most are to be found in Williamsport and Lycoming 

County. It is said that he died in a Philadelphia almshouse in 1871. 

STIL L LIFE , FLOWER S AND FRUI T 1848 

36 x 26 

SIGNED , l.r.: S. Roesen 1848 

REF. : C.GA. Bull, Vol. 12, No. 2 (May 1962), pp. 5 and 10, ill. 

PURCHASE : through the gift of Orme Wilson, 1961 61.20 

Albert Bierstadt enjoyed great popularity and success as a landscape 

painter of the American West. He was born in Solingen, Germany, near 

Diisseldorf and emigrated to America in 1832 with his parents who 

settled in New Bedford, Massachusetts. Prior to his return to Diisseldorf 

to study painting in 1853, he exhibited some of his works in Boston. 

Traveling for three years in Germany, Switzerland and Italy, Bierstadt 

spent the winter of 1856-57 in Rome and returned to Massachusetts the 

following year. After several sketching trips to Rhode Island and New 

Hampshire, he joined Colonel Frederick W. Lander's party which was 

heading westward from Troy, Missouri to make a preliminary survey for 

a railroad route from the Mississippi River to the West Coast. H e left 

the party to sketch and travel independently and returned to New York 

in 1859. Th e next year Bierstadt exhibited his first painting of the Rocky 

Mountains, received great acclaim for the work and was elected to the 

National Academy. A n account of the following three decades of his life 

reads like a travelogue. H e took a second trip to the American West for 

a short period in 1863 with journalist Fitz Hugh Ludlow. Thre e years 

later he married and established a large home and studio at Irvingtonon-Hudson, New York, returning there periodically to translate his 

sketches into extensive landscapes. Bierstadt revisited Europe in 1867-69 

on a government commission and made three other brief tours abroad 

within the next twenty years, alternating these with trips to Nassau, Florida, the Bahamas and Canada. O n a third visit to the West, he maintained a studio in San Francisco from 1871-73, during which time he 

traveled and sketched in the Sierra Nevadas and the Rocky Mountains. 

When his home burned in 1882, he moved to New York City where he 

experienced a gradual loss of popularity. He died there in 1902. 

Still Life, Flowers and Fruit 61.20 

Albert Bierstadt 

(1830-1902) 

BUFFAL O TRAIL : TH E IMPENDIN G STOR M 1869 

29-1/2 x 49-1/2 

SIGNED , 1.1.: ABierstadt/1869 

COLL. : J. Kugal, France; Bernard Black 

REF. : The Art Quarterly, Vol. XXIII , No. 2 (Summer 1960), pp. 185 and 192, ill.; 

Gordon Hendricks, "The First Three Western Journeys of Albert Bierstadt," The Art 

Bulletin, Vol. XLVI, No. 3 (Sept. 1964) , pp. 342 and 355, No. 37 

PURCHASE : through the gift of Mr. and Mrs. Lansdell K. Christie, 1960 60.1 

125 
As the artist and his wife were traveling in Europe from 1867-70, this scene was 

probably painted from studies made earlier, either on Bierstadt's first western expedition with Frederick William Lander, then Colonel in the United States Army, in 

1858-59, or on the second expedition with Fitz Hugh Ludlow in 1863. Gordon Hendricks suggests that the painting may well have been based on sketches taken on the 

trail between Thirty-two Mile Creek and Fort Kearny, combined with sketches made 

in the Wind River Country in Wyoming, TH E BUFFAL O TRAI L in the Karolik Collection 

of the Museum of Fine Arts, Boston, depicts the same locale. 

MOUNTAINOU S LANDSCAP E BY M O O N L I G H T 1871 

30-1/3 x 50-1/3 

SIGNED , l.r.: ABierstadt 71 

COLL. : Mr. and Mrs. Harry L . Tepper 

REF. : G. Hendricks, "The First Three Western Journeys of Albert Bierstadt," The Art 

Bulletin, Vol. XLVI , No. 3 (Sept. 1964) , p. 361, No. 181; Albert Bierstadt, 1830-1902, A 

Retrospective Exhibition, Santa Barbara Museum of Art, 1964, No. 55 

GIFT : Mr. and Mrs. Harry L . Tepper, 1960 60.40

MOUN T CORCORA N 1875/77 

61 x 96-1/4 

SIGNED , l.r.: ABierstadt 

COLL. : William Wilson Corcoran 

REF. : H . McCracken, Portrait of the Old West, 1952, p. 135, ill. (in color); G. Hendricks, "The First Three Western Journeys of Albert Bierstadt," The Art Bulletin, Vol. 

XLVI, No. 3 (Sept. 1964) , p. 358, No. 116 

PURCHASE : Gallery Fund, 1878 78.1

T he Buffalo Trail: The Impending Storm 

126 
Thi s peak, a little to the south of Mt. Whitney in the Sierra Nevada Mountains, was 

named by Bierstadt in compliment to William Wilson Corcoran. It was painted in 

Bierstadt's studio from studies made on the spot, probably during the 1871-73 trip. 

Bierstadt apparently made at least one smaller version of this subject which in 1960 

was in a private collection in Florida. 

T H E LAS T O F TH E BUFFAL O c. 1889 

71-1/4 x 119-1/4 

SIGNED, l.r.: Albert Bierstadt 

COLL. : Mrs. Albert Bierstadt, New York 

REF. : V. Barker, American Painting: History and Interpretation, 1950, pp. 587 and 589, 

ill.; H . McCracken, Portrait of the Old West, 1952, pp. 136 and 142, ill. (in color); G. 

Hendricks, "The First Three Western Journeys of Albert Bierstadt," The Art Bulletin, 

Vol. XLVI , No. 3 (Sept. 1964), pp. 342 and 360, No. 166, ill. 

GIFT : Mrs. Albert Bierstadt, 1909 09.12 

T he locale depicted in this painting has been identified as the Castle Rock area in 

the Green River valley, Wyoming. Although painted much later, this version of the 

subject was based on sketches made by Bierstadt on either his 1863 trip through the 

West or on the expedition of 1871-73. A somewhat smaller version, also entitled TH E 

LAST OF TH E BUFFALO and very similar except that the standing buffalo at the left is 

lacking, is in the collection of the Whitney Gallery of Western Art, Cody, Wyoming, 

which also has several oil studies for the painting. A photogravure made from the 

Corcoran painting, bearing Bierstadt's signature and a copyright date of 1891, is in the 

collection of the Joslyn Art Museum, Omaha. The engraver is not known. 

127 

T he Last of the Buffalo 09.12. 
John George Brown was born in England, probably in Durham. By 1855 

he was working in Brooklyn, New York and he first exhibited at the 

National Academy in 1858, becoming a Member in that year. He thereafter exhibited frequently at the Academy, the Boston Athenaeum and 

the Pennsylvania Academy. He died in New York in 1913. 

ALLEGR O 1864 

6-5/8 x 5-3/4; academy board 

SIGNED, 1.1.: J.G. Brown/ 1864 

COLL. : William Wilson Corcoran 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 43 

GIFT : William Wilson Corcoran, 1869 69.72.1

PENSEROSO 1865 

6-1/2 x 5-5/8; wood panel 

SIGNED, l.r.: J.G. Brown/ 1865 

COLL. : William Wilson Corcoran 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 43 

GIFT : William Wilson Corcoran, 1869 69.72.2

T H E LONGSHOREMEN' S NOO N 1879 

33-1/4 x 50-1/4 

SIGNED, 1.1.: J.G. Brown N.A./N.Y. 1879 

COLL. : William T . Evans 

REF. : American Genre, The Whitney Museum of American Art, New York, 1935, p. 

14, No. 14; Life in America, The Metropolitan Museum of Art, 1939, p. 202, No. 269, 

ill. 

PURCHASE: Gallery Fund, 1900 00.4

128 

John George Brown 

(1831-1913) 

T he Longshoremen's Noon 00.4 
Loui s Maurer was born in Biebrich-on-the-Rhine in Germany and studied in the city of Mayence before emigrating to the United States with 

his parents when he was nineteen. He worked for the firm of Currier and 

Ives in New York for eight years and was then employed by Major and 

Knapp. From 1872 to 1884 he directed the commercial lithography firm 

of Maurer and Heppenheimer. After his retirement in 1884, he devoted 

the rest of his life to painting and various avocations. He died at the age 

of one hundred in New York City in 1932, the same year as the death of 

his son, the artist Alfred H . Maurer. 

STIL L LIFE—"TRILBY " c. 1895 

19 x 28 

PURCHASE: Anna E . Clark Fund, 1960 60.41 

T he novel Trilby by George Du Maurier was published in London in 1894. The 

legend on the spine of the book reading Trilby du Maurer instead of Du Maurier may 

be intended as the artist's signature. 

Louis Maurer 

(1832-1932) 

Still Life—"Trilby" 60.41 

John Adams Elder was born in Fredericksburg, Virginia. At seventeen he 

went to New York to study with Daniel Huntington. Th e following year 

he traveled to Dusseldorf, Germany, with Emanuel Leutze and remained 

in Europe for five years. O n his return he worked in New York for a 

few years, leaving for Fredericksburg just before the outbreak of the 

Civil War. He fought with the Confederate Army and stayed in the 

Richmond area after the war, painting portraits and battle scenes. U n -

able to continue his work because of illness, he spent the last five years of 

his life in his native town, and died there in 1895. 

GENERA L THOMAS JONATHA N JACKSON 

69-1/2 x 54-1/2 

SIGNED, l.r.: J.A. Elder/ VA 

COLL. : William Wilson Corcoran 

REF. : E.P. Richardson, American Romantic Painting, 1944, p. 32, No. 209; A Retrospective Exhibition of the Work of John Adams Elder, 1833-1895, Virginia Museum of 

Fine Arts, Richmond, 1947, p. 10, No. 12, ill. 

GIFT : William Wilson Corcoran, 1884 84.2

Thomas Jonathan Jackson (1824-1863) , called "Stonewall" after his battle-saving stand 

at First Manassas (Bull Run) in 1861, was given his first independent command in 

the Confederate Army in Virginia's Shenandoah Valley. 

GENERA L ROBER T E . LE E 

54-1/2 x 40-3/4 

SIGNED, 1.1.: J.A. Elder/ Richmond VA 

COLL. : William Wilson Corcoran 

REF. : A Retrospective Exhibition of the Work of John Adams Elder, 1833-1895, Virginia Museum of Fine Arts, Richmond, 1947, p. 6, No. 17, ill. 

GIFT : William Wilson Corcoran, 1884 84.1

Thi s portrait of General Lee (1807-1870) was probably painted following the end of 

the Civil War. It is doubtful that this work was taken from life, although Elder had 

served on active duty in the Confederate Army. 

129 

John Adams Elder 

(1833-1895) 
William Trost 

Richards 

(1833-1905) 

William Trost Richards, a landscape and marine painter, was born in 

Philadelphia. Trained as a designer of gas fixtures and chandeliers, he 

studied painting with Paul Weber in his free time. I n 1853 he went to 

Europe for three years to study in Florence, Rome and Paris. After his 

return, he married, settled in Germantown, Pennsylvania and did some 

painting, although he supported his family by designing chandeliers. He 

went to Dusseldorf and Dormstadt, Germany in 1866 for further study. 

O n his return to Philadelphia he took up marine painting, for which he 

is best known. He spent several summers between 1870 and 1878 on the 

New Jersey coast, and by 1874 began to include Newport, Rhode Island 

in his periodic travels. He settled in Newport permanently in 1890, making frequent trips to the British Isles and Norway. He exhibited his 

works at the Pennsylvania Academy and the American Academy and was 

a Member of the National Academy. He died in Rhode Island in 1905. 

On the Coast of New Jersey 83.6 

ON TH E COAST OF N E W JERSE Y 1883 

40-1/4 x 72-1/4 

SIGNED , l.r.: Wm. T. Richards, 1883 

COLL. : the artist 

PURCHASE : Gallery Fund, 1883 83.6 

Thi s canvas was painted "to order on approval" for the Gallery. 

SCOTTIS H COAST c. 1892 

8-3/4 x 16; wood panel 

COLL. : Mrs. William T . Brewster 

BEQUEST : Mrs. William T . Brewster, through the National Academy of Design, 1953 

53.43 

An old label on the back of the panel identifies the artist and the subject matter, 

"possibly Scottish," giving the date as "probably about 1892." 

T H E COAST OF N E W ENGLAN D 1894 

27-1/8 x 47-1/8 

SIGNED , 1.1.: Wm. T. Richards. 94 

COLL. : George E . Lemon 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 45 

BEQUEST : the Heirs of George E . Lemon, 1897 97.12 

James David Smillie 

(1833-1909) 

James David Smillie was a painter and engraver who was born in New 

York City in 1833. He was the son of James Smillie and was trained by 

his father as a steel engraver. He collaborated with his father until 1864, 

mainly as an engraver of bank notes. About this time, after a visit to 

Europe, James David Smillie turned also to painting and exhibited at 

the National Academy of Design. He was made an Associate Member of 

the Academy in 1865 and elected an Academician in 1876. He was a 

founder and president of the American Water Color Society and died in 

New York in 1909. 

130 
T H E CLIFF S OF NORMANDY 1885 

41-1/2 x 66-1/2 

SIGNED, 1.1.: / D Smillie/ N.Y. 1885 

COLL. : the artist 

REF. : First Annual Exhibition: Oil Paintings by Contemporary American Artists, 

C.G.A., 1907, No. 372; The Seashore in Paintings of the 19th and 20th Centuries, 

Carnegie Institute Museum of Art, Pittsburgh, 1965, No. 42, ill. 

PURCHASE: Gallery Fund, 1907 07.10 

Born in Lowell, Massachusetts, James Abbott Whistler spent the years 

from 1843 to 1849 with his family in St. Petersburg, Russia, where his 

father worked from 1842 as a civil engineer. Returning to Massachusetts 

at his father's death, he was enrolled in the Military Academy at West 

Point where he received high honors in draughtsmanship. At this time 

he added his mother's maiden name, McNeill, to his own. He left in 

1854 before graduating, worked as a draughtsman for the U.S. Geodetic 

Survey and set up his own studio in Washington, D.C. When he was 

twenty-one he went to London, and then to Paris, to study painting. He 

lived in Paris until 1859, studying at Charles Gleyre's studio, working on 

etchings and becoming acquainted with a number of French artists, including Henri Fantin-Latour and Gustave Courbet. He never returned 

to the United States. He settled in London in 1859, making various trips 

T he Cliffs of Normandy 07.10 

James Abbott 

McNeill Whistler 

(1834-1903) 

Battersea Reach 

131 

41.30 
to Paris, Brittany and Southern France. He first exhibited at the Royal 

Academy in 1860; in 1863 his painting, TH E WHIT E GIRL , hung in Paris in 

the Salon des Refuses. He was already well-known for his etchings. However, in the following years his popularity waned as his works became 

more abstract and less related to the style of either the French Impressionists or the English Pre-Raphaelites. I n 1877 several works on exhibit 

at the new Grosvenor Gallery in London were attacked by the critic 

John Ruskin as the supreme insult to painting, as "flinging a pot of 

paint in the public's face." Although Whistler won a libel suit against 

Ruskin for this statement in 1879, he was by then completely bankrupt 

and was forced to sell works at great sacrifice. A commission for a set of 

twelve etchings of Venice saved him from complete ruin, and he 

returned to England in 1880 to rebuild his reputation and become recognized as one of the leading painters and etchers of his day. Whistler died 

in London in 1903. 

BATTERSE A REAC H c. 1865 

20 x 30 

SIGNED, l.r.: butterfly monogram 

COLL. : Mr. Cavafy, England; Dr. John Cavafy; E.S. Kennedy, New York; Isaac Cook, Jr., 

St. Louis, 1911; James Parmelee 

REF. : An Exhibition of Paintings owned in St. Louis, City Art Museum of St. Louis, 

1911, pp. 105 and 107, No. 84, ill.; "Washington: Parmelee Bequest to Corcoran," Art 

News, Vol. XXXIX, No. 16 (Jan. 18, 1941) , p. 22, ill.; D. Sutton, Nocturne: The Art 

of James McNeill Whistler, 1964, pp. 42 and 63, No. 9, ill. 

BEQUEST: James Parmelee, 1941 41.30

T he Corcoran possesses a letter written by the artist in 1893: "The picture called 

'Battersea Reach' was painted by me, I cannot remember exactly in which year, but 

when I was living in Lindsey Row, Chelsea. It was a view of the opposite bank of 

the river, from out of my window, on a brilliant autumn evening—and the painting is 

a favorite of mine. It was bought from me by Mr. Cavafy—and remained always in 

the family until sold by Dr. John Cavafy to Mr. E.S. Kennedy of New York." 

There is very little biographical material available on Horace Bonham. 

He was born in West Manchester, Pennsylvania in 1835. He studied with 

Leon Bonnat in Paris and exhibited genre subjects at the National Academy of Design, New York, from 1879 to 1886. He died in 1892. 

NEARIN G TH E ISSUE A T TH E COCKPI T 1870 

20-1/4 x 27-1/8 

SIGNED, u.r.: Horace Bonham 70-

COLL. : Thomas B. Clarke, 1899 

REF. : Life in America, The Metropolitan Museum of Art, 1939, p. 178, No. 234, ill.; 

The Negro in American Painting, Bowdoin College Museum of Art, Brunswick, 1964, 

No. 50, ill. 

PURCHASE: Gallery Fund, 1899 99.6

132 

Horace Bonham 

(1835-1892) 
Nearing the Issue at the Cockpit 99.6 

William Stanley Haseltine was born in Philadelphia in 1835. He began 

painting under Paul Weber at the age of fifteen. After two years at the 

University of Pennsylvania he transferred to Harvard, graduating in 

1854, after which he accompanied Weber to Germany. He studied under 

Andreas Achenbach in Diisseldorf, meeting there Leutze, Whittredge 

and Bierstadt who became his sketching companions and life-long 

friends. He returned to America in 1858, and took a studio on West 10th 

Street, New York, in the building that housed many of his fellow-artists. 

He was elected a Member of the National Academy in 1861, exhibiting 

there regularly as well as at the Century and Salmagundi Clubs. After his 

marriage in 1866, he went abroad again, living in Paris and Rome but 

making annual visits back to the United States. Between 1890 and 1899 

he and his family spent most of their time in America, but in 1899 they 

returned to Rome where he died in 1900. He was active in the affairs of 

the art world, serving on the Art Committee for the World's Columbian 

Exposition in Chicago in 1893 and being one of the Founders of the 

American Academy in Rome. 

William Stanley 

Haseltine 

(1835-1900) 

133 
Castle Rock, Nahant 52.3 

John La Farge 

(1835-1910) 

Flowers on a Window Ledge 49.1

CASTL E ROCK, NAHAN T 1865 

24 x 38 

SIGNED , l.r.: W.S. Haseltine / 1865 

COLL. : estate of the artist 

REF. : C.GA. Bull, Vol. 6, No.2 (July 1953) , p. 6, ill. 

GIFT : Helen Haseltine Plowden, 1952 52.3 

John L a Farge was born in New York City in 1835 of Franco-American 

parents. After graduating from Mount St. Mary's College in Maryland, 

he studied law briefly. When he was twenty-one, he left for Europe to 

visit relatives and spent a few weeks studying with the artist Thomas 

Couture in Paris, primarily to enrich his educational experience. Tw o 

years later he returned to America and, after instruction with William 

Morris Hunt in Rhode Island, began to paint professionally. Th e intellectual L a Farge drew upon his knowledge of art history and applied to 

his own work the ideas and methods of the past. I n 1876 when he was 

invited by his friend, the architect H.H . Richardson, to design the interior of Trinit y Church in Boston, L a Farge revived the neglected principles of Venetian mural painting and the workshop tradition of the old 

masters. Hi s knowledge of poetry and history provided him with subject 

matter for his many later murals. Hi s absorption with the effects of light 

and color and his continuing work with church interiors led him to 

successful experiments with stained glass. I n 1886 he traveled with philosopher Henry Adams, sculptor Augustus Saint-Gaudens, architect H . H . 

Richardson and statesman John Hay to the Orient and the South Seas. 

Thi s journey was reflected in his later paintings and writings. During his 

long career L a Farge published several books of travel and art criticism. 

He died at Providence, Rhode Island in 1910. 

FLOWER S O N A WINDO W LEDG E c. 1862 

24 x 20 

SIGNED , I.e.: La Farge 

COLL. : Mrs. Daniel Merriman; her son, Roger Merriman 

REF. : La Farge Memorial Exhibition, The Metropolitan Museum of Art, New York, 

1936, No. 5, ill.; De Gustibus . . . an Exhibition of American Paintings Illustrating a 

Century of Taste and Criticism, C.G.A., 1949, No. 16, ill. 

PURCHASE : Anna E . Clark Fund, 1949 49.1

According to Henry La Farge, a grandson of the painter, this canvas was painted 

between 1862-65 at Newport from a room in the family home there which had a view 

of the Paradise Valley rocks seen in the background of the painting. Other related 

still-life landscapes exist: one belongs to Henry La Farge; another was in the Sir 

William Van Home Collection; and a third is in the Isabella Stewart Gardner Museum, Boston. 

Eliphalet Frazer 

Andrews 

(1835-1915) 

Andrews was born in Steubenville, Ohio on June 11, 1835. He studied 

with Leon Bonnat in Paris and later in Diisseldorf, Germany. During the 

late 1870's, Andrews, who at that time was a resident of Washington, 

began to drop in for frequent visits to the Corcoran Gallery. Th e atrium 

134 
of the Gallery was filled with casts of famous European sculpture and 

attracted many area residents who came with charcoal, pastels and pencil 

to make copies of the works. I n 1877, Andrews began to give instruction 

and advice to these young artists several days each week on a volunteer 

basis. I n 1887, he was engaged by the Gallery as both teacher of drawing 

and school director. By January of 1890 quarters were ready for this 

small group of students and Andrews remained Director of the School 

until 1902. He died in Washington in March, 1915. 

WILLIA M HENR Y HARRISO N 1879 

30-1/8 x 25-1/* 

SIGNED , l.r.: E.F. Andrews/ 1879 / after / J.H. Beard / 1840 

COLL. : the artist 

REF. : G. Golterman, The Book of the Presidents, St. Louis, Mo., 1953, ill.; Makers of 

History in Washington, 1800-1950, National Gallery of Art, Washington, 1950, p. 48, 

No. 33, ill. 

PURCHASE : Gallery Fund, 1880 80.1

William Henry Harrison (1773-1841) was the ninth President of the United States, 

serving from March, 1841 until his death in April, 1841. The mss Register of the 

Gallery states that this painting was copied from the original 1840 portrait by James 

Henry Beard which at that time was in Cincinnati. 

RUTHERFOR D BIRCHAR D HAYES 1881 

30-1/8 x 25-1/4 

SIGNED , 1.1.: E.F. Andrews/ 1881 

COLL. : the artist 

REF. : Mr. President, Dallas Museum of Fine Arts, 1956, No. 38, ill. 

PURCHASE : Gallery Fund, 1882 82.2

Rutherford Birchard Hayes (1822-1893) was the nineteenth President of the United 

States, serving from March, 1877, to March, 1881. The portrait was painted from life. 

ANDRE W JOHNSO N 1885 

30-1/8 x 25-1/4 

SIGNED , l.r.: E.F. Andrews/ 1885 

COLL. : the artist 

REF. : Mr. President, Dallas Museum of Fine Arts, 1956, No. 35, ill.; Vincent Wilson Jr., 

The Book of the Presidents, Silver Spring, 1962, p. 41, ill. 

PURCHASE : Gallery Fund, 1882 82.1

Andrew Johnson (1808-1875) was the seventeenth President of the United States, 

serving from April, 1865, until March, 1869. Thi s posthumous likeness was based on 

an engraving and an oil portrait by an unidentified painter. 

JAMES M. CARLISL E 1897 

30 x 25 

SIGNED , 1.1.: E.F. Andrews / 1897 

COLL. : the artist 

GIFT : Eliphalet Frazer Andrews, 1897 97.4

James M. Carlisle was the first President of the Board of Trustees of The Corcoran 

Gallery of Art, serving from 1869 to 1877. 

135 
Alexander Helwig 

Wyant 

(1836-1892) 

Alexander Wyant was born in Evans Creek, Ohio on January 11, 1836. 

At an early age he was apprenticed to a harness maker and sign painter, 

but upon turning twenty-one, he took up painting. O n the advice of 

George Inness whom he consulted in New York City, he sought the patronage of Nicholas Longworth of Cincinnati, who financed a year of 

study at the National Academy and in 1865 a brief period of work in 

Diisseldorf. Upon his return to this country, he opened a studio in New 

York City. During 1873, Wyant suffered a paralytic stroke while on a 

government expedition into Arizona and New Mexico, which forced him 

to learn to paint with his left hand. From this time on he spent winters 

working in New York City and summers at Keene Valley, New York and 

at Arkville in the Catskills. He was a Member of the National Academy 

and one of the founders of the American Water Color Society. He died 

in New York in 1892. 

EARL Y AUTUMN , ADIRONDACKS 

26-3/8 x 40-1/4 

SIGNED , 1.1.: AH Wyant 

COLL. : Mr. and Mrs. Francis Sydney Smithers 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 47 

GIFT : Mabel Stevens Smithers, 1938, The Francis Sydney Smithers Memorial 38.5 

VIE W FRO M MOUN T MANSFIELD, NE W YOR K 

36-3/4 x 60-1/2 

SIGNED , l.r.: A.H. Wyant 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 47 

PURCHASE : Gallery Fund, 1901 01.7 

Homer Dodge 

Martin 

(1836-1897) 

Mussel Gatherers 52.6 

T h e landscape painter, Homer Martin, was born in Albany, New York 

on October 28, 1836. He studied under William Hart at the National 

Academy in New York and from 1862-1893 made New York his home. 

He traveled in England and France on several occasions, staying for an 

extended period, from 1881-1886, in Normandy. Martin and his wife 

moved to St. Paul, Minnesota, in 1893, where he produced some of his 

finest landscapes despite growing blindness and ill health. He died there 

on February 12, 1897. One of the founders of the Society of American 

Artists, Martin was also an Academician of the National Academy, elected in 1878. 

MUSSEL GATHERER S 1886 

29-1/8 x 46-1/2 

SIGNED , l.r.: H.D. Martin / 1886 

COLL. : Mr. and Mrs. Francis Sydney Smithers 

BEQUEST : Mabel Stevens Smithers, 1952, The Francis Sydney Smithers Memorial 52.6 

Thi s work was probably painted in Normandy. 

136 
Winslow Homer was born on February 24, 1836 in Boston, Massachusetts. He showed an interest in drawing at an early age and at nineteen 

was apprenticed to the Boston lithographer, J.H . Bufford. Tw o years 

later, in 1857, he became a free-lance illustrator and drew scenes of contemporary life and the Civil Wa r for Harper's Weekly and Ballou's Pictorial. He first ventured into oil painting in 1861, and except for very 

brief study in a Brooklyn drawing school and the National Academy he 

can be considered essentially self-taught in this medium. I n 1865, he was 

elected an Academician of the National Academy, and in the following 

year he spent ten months in France, dividing his time between Paris and 

the country. After 1874 he gave up illustration entirely, devoting himself 

to watercolor and oil painting. On his return from a visit in England 

from 1881-82, Homer moved to Prout's Neck, Maine and, with the exception of short trips, he remained there until his death on September 29, 

1910. During the last period of his life, he became a recluse from society 

and spent his time painting the sea and the Maine coastline. 

SKETC H OF A COTTAG E YAR D c. 1876 

10-1/4 x 14-1/2; academy board 

COLL. : William S. Eaton and Francis S. Eaton, Boston; William F.C. Ewing, New York; 

Oliver B. James, Phoenix 

REF. : D.W. Phillips, "Sketch of a Cottage Yard by Winslow Homer," C.G.A. Bull, Vol. 

13, No. 3 (Oct. 1963) , pp. 20 ff., ill. 

PURCHASE: William A. Clark Fund and through the gift of Orme Wilson, 1961 61.18 

Sketch of a Cottage Yard 

137 

Winslow Homer 

(1836-1910) 

61.18 
In 1875 Homer visited Petersburg, Virginia, and spent much of his time in the Negro 

section, working among the cabins and using the Negroes as models. During this and 

subsequent visits, Homer painted a series of oils and watercolors of which this painting 

is typical. It is closely related in mood and technique to TH E CARNIVAL (Metropolitan 

Museum of Art) and SUNDAY MORNING IN VIRGINIA (Cincinnati Art Museum) , both 

executed in 1877. 

A LIGH T ON TH E SEA 1897 

28-1/4 x 48-1/4 

SIGNED, l.r.: HOMER 1897 

COLL. : the artist 

REF. : 1st Exhibition of Contemporary American Oil Paintings, C.G.A., 1907, No. 68; 

W.H. Downes, Life and Works of Winslow Homer, 1911, pp. 202, 231 and 240, ill.; L . 

Goodrich, Winslow Homer, 1945, pp. 145-6 and 187; Winslow Homer: A Retrospective 

Exhibition, The National Gallery of Art, Washington, 1958, p. 121, No. 69; A.T. 

Gardner, Winslow Homer, 1961, pp. 213 and 248, ill. 

PURCHASE: Gallery Fund, 1907 07.3 

Thi s painting, formerly entitled MOONLIGHT, WOOD'S ISLAND LIGH T and one of several in 

which Homer depicted a figure or figures against the sea, is related to T H E WREC K (or 

GIR L WITH RE D STOCKINGS) , a watercolor in the Museum of Fine Arts, Boston, and to 

two oils, A SUMMER NIGHT, 1890, in the Musee National d'Art Moderne, Paris, and TH E 

GALE , 1893, in the Worcester Art Museum. According to Lloyd Goodrich, this painting 

is apparently Homer's last in which the figure of a woman appears. 

A Light on the Sea 

138 

07.3 
Elih u Vedder, a descendant of early Dutch settlers, was born in New 

York on February 26, 1836. Encouraged by his mother, he began to study 

art at the age of twelve. After a short term of employment in the office of 

an architect, Vedder continued his art studies with Tompkins H . Matteson in Sherbourne, N.Y. At the age of twenty, he went abroad, studying 

with Francois Picot in Paris, Bonaiuti in Florence, and in Diisseldorf. O n 

his return to America in 1861 he established a studio in New York City, 

spending several impoverished and Bohemian years illustrating books, 

magazines and greeting cards. I n 1865 he was elected an Academician of 

the National Academy, among the youngest artists to be so honored, and 

was also a member of the Society of American Artists. I n the same year 

he returned to Europe, and after his marriage in 1867 settled permanently in Rome, spending his summers on the Isle of Capri and making 

frequent trips back to the States where he completed several mural paintings and mosaics. He died in Rome on January 29, 1923. 

I N MEMORIA M 1879 

44-1/8 x 20 

SIGNED, 1.1.: Elihu Vedder / Rome 1879 

COLL. : J.G. Blake, Boston, 1880 (?) 

REF. : E . Vedder, The Digressions of Elihu Vedder, 1910, Vol. 2, p. 478 

PURCHASE: Anna E . Clark Fund, 1959 59.23

According to Dr. Regina Soria, who has done extensive research on the artist, Vedder 

painted several versions of this work as a memorial to his eldest son, Philip, who died 

in 1875. 

Max Weyl was born in Muhlen-am-Neckar, near Wurttemburg, Germany on December 1, 1837. He came to this country in 1853 and established himself as a jeweller in Washington, D.C. He painted still lifes of 

fruit and flowers which he often displayed in the window of his jewelry 

store. I n 1867, his work came to the attention of Samuel H . Kauffmann, 

later President of the Board of Trustees of the Corcoran Gallery, who 

bought one of his paintings and became a regular patron. I n 1879, Weyl 

went abroad for a year. Upon his return, he painted many scenes of 

Washington, particularly in the vicinity of Georgetown and Rock Creek 

Park. He died on July 6, 1914. 

In Memoriam 59.23 

Max Weyl 

(1837-1914) 

ROC K CREE K 1877 

30-1/8 x 50 

SIGNED, l.r.: Max Weyl 77 

COLL. : Mrs. William Dawson, Washington 

GIFT : Agnes M.B. Dawson, 1964 64.13

LOVER' S LAN E 1904 

25 x 32 

SIGNED, l.r.: Max Weyl 04 

COLL. : the artist 

PURCHASE: Gallery Fund, 1904 04.4

139 

Elihu Vedder 

(1836-1923) 
Born in Bavaria, Carl Christ Brenner received his elementary education 

in German public schools. Bright and artistically talented, Brenner was 

noticed by his art teacher, Philipp Frohlich, who gave him private instruction and managed to have the boy accepted at the Royal Academy 

in Munich before he was fourteen. However, Brenner's father insisted on 

his son's following his own profession, that of glazier, and in 1853 

brought him, along with the rest of his family, to the United States 

where they eventually settled in Louisville, Kentucky. By the time he was 

twenty-six he had established himself under the name of Charles C. 

Brenner as a house, sign and ornamental painter and proprietor of a 

paint store in Louisville. Fourteen years later, using his given name, 

Carl, he began to devote his entire attention to etching and landscape 

painting, especially to the rendering of beech trees. Hi s work was widely 

acclaimed by fellow Kentuckians. He died in Louisville in the summer of 

1888. 

AFTERNOO N I N EARL Y JUNE , A KENTUCK Y BEEC H GROV E 1880 

26 x 46 

SIGNED, 1.1.: Carl C. Brenner J1880 

COLL. : Proctor Knott 

REF. : J. Bier, "Carl C. Brenner, A German American Landscapist," The American-German Review, Vol. XVII, No. 4 (April, 1951), p. 22 

PURCHASE: Gallery Fund, 1881 81.3 

Born on the Isle of Man, England in 1839, Robert Wylie came with his 

family to the United States while still a child. From 1859 to 1862 he 

studied art at the Pennsylvania Academy and appears to have been working principally in sculpture. References note that during this period he 

exhibited works in ivory and clay. I n 1863, Wylie left for France to study 

with Jean-Leon Gerome at the Ecole des Beaux Arts. He remained in 

France, spending much time in Brittany, until his death in 1877. 

A FORTUN E TELLE R OF BRITTAN Y 

33-7/8 x 47-3/4 

SIGNED, 1.1.: R. WYLIE 

COLL. : Thomas B. Clarke, New York, 1899 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 49 

PURCHASE: Gallery Fund, 1899 99.11 

William Keith was born in Old Meldrum, Aberdeenshire, Scotland on 

November 21, 1839. He came to America with his family and began his 

professional career in New York as a wood engraver while still in his 

teens. I n 1859, Keith went to California. Here he became interested in 

landscape painting and was employed by the Northern Pacific Railroad 

to paint characteristic scenes along its route. He was abroad from 

1869-71, studying first in Dusseldorf, and later in Spain. O n his return to 

America he worked in New Orleans during the 1880's, but finally settled 

in California where he remained, except for a trip to Europe in 1893, 

140 

Carl Christ Brenner 

(1838-1888) 

Robert Wylie 

(1839-1877) 

William Keith 

(1839-1911) 
until his death in Berkeley in 1911. He was the acknowledged leader of 

art on the West coast, and when George Inness visited California in 1890 

he made Keith's studio his headquarters. 

BY TH E C R E E K , SONOMA 

40-1/4 x 50-1/4 

SIGNED, 1.1.: W. Keith/ S.F. 

REF. : Brother Fidelis Cornelius, Keith: Old Master of California, 1942, Vol. I, p. 568; 

1958, Vol. II , p. 237 

PURCHASE: Gallery Fund, 1911 11.11 

Sonoma is a small town several miles north of San Francisco, not far from Berkeley 

where Keith once lived. 

By the Creek, Sonoma 

141 

11.11 
A distant cousin of Sanford Gifford, Robert Swain Gifford was born on 

Naushon Island, Massachusetts. I n the late 1850's he studied painting in 

the port of New Bedford with Albert Van Beest, a visiting Dutch marine 

painter, and with Benjamin Russell, who specialized in watercolors of 

whaling scenes. I n 1864, he opened his own studio in Boston and first 

exhibited at the National Academy of Design in New York, where he 

moved two years later. Although he traveled and painted in Oregon and 

California in 1869 and in Europe and North Africa in the 1870's, he 

maintained his studio and home in New York. He became an Associate 

Member of the National Academy in 1867 and an Academician in 1878. 

He was a member of numerous artists' societies, including the Society of 

London Painters and the American Water Color Society, where he frequently exhibited watercolors of places seen during his travels. Gifford 

died in New York City in 1905. 

OCTOBE R ON TH E C O A ST OF MASSACHUSETTS 1873 

11-1/2 x 21-3/4; panel 

SIGNED, l.r.: R Swain Gifford 73-, and on back, October, on Coast of Mass-/ By R Swain 

Gifford 

COLL. : Arthur Jeffrey Parsons, Washington 

REF. : C.GA. Handbook of the American Paintings, 1947, p. 49 

GIFT : Arthur Jeffrey Parsons, 1907 07.23

William Gedney Bunce was born in Hartford, Connecticut. Although he 

took drawing lessons from Julius Busch in Hartford in 1856, he did not 

begin to study painting seriously until 1863, after he had been wounded 

in the Civil War serving as a volunteer with the First Connecticut Cavalry. Hi s first teacher was William Hart in New York, where Bunce 

remained until 1867, studying also at the Cooper Union School. I n 1867 

he went to Paris, studied at Munich and Antwerp and finally settled in 

Venice, where he was visited as late as 1891 by younger American artists. 

Hi s numerous scenes of Venice became well-known in Europe and America. It is not certain when he returned to the United States, but in 1907 

he was made a Member of the National Academy and had participated 

in several exhibitions in this country, first noted in 1901. He returned to 

Hartford, and continued to paint marine scenes along the New England 

coast until his death in his native city in 1916. 

VENICE : SUNRIS E 

23-3/4 x 36-3/4 

SIGNED, l.r.: [William Gedney] Bunce 

COLL. : George W. Maynard 

PURCHASE: Gallery Fund, 1919 19.25

George Henry Smillie, younger brother of the artist James David Smillie 

(1833-1909), was born in New York City. He studied engraving with his 

father James Smillie, a well-known line engraver, and studied painting 

142 

Robert Swain 

GifFord 

(1840-1905) 

October on the Coast of 

Massachusetts 

07.23 

William Gedney 

Bunce 

(1840-1916) 

George Henry 

Smillie 

(1840-1921) 
with James MacDougal Hart. I n 1881 he married one of his brother's 

students and the couple later shared a studio with his brother in New 

York City, where George Henry spent his entire professional life except 

for brief painting trips to the West, Florida and L o ng Island. I n 1882 he 

was elected to the National Academy. He was also an officer of the American Water Color Society. He died in Bronxville in 1921. 

A LON G ISLAND FAR M 

19 x 33 

SIGNED, 1.1.: Geo. H. Smillie—N.Y. 

COLL. : William T . Evans, 1900 

PURCHASE: Gallery Fund, 1900 00.1

AUTUM N O N T H E M A S S A C H U S E T TS COAST 1888 

25-1/2 x 50-1/2 

SIGNED, 1.1.: Geo. H. Smillie—88 

COLL. : Ralph Cross Johnson, Washington 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 49 

GIFT : Ralph Cross Johnson, 1897 97.2

A Long Island Farm 00.1 

Autumn on the Massachusetts Coast 97.2 

Peter Moran, born in Bolton, Lancashire, England on March 4, 1841 and 

brought to the United States in 1844, was principally a painter and 

etcher of animals and, on occasion, of landscapes. He studied with his 

older brothers, Edward and Thomas . Except for a visit to England in 

1863 where he presumably went to study, he passed most of his life in 

Philadelphia where he died on November 9, 1914. Hi s wife, the former 

Emil y Kelly of Dublin, Ireland, was also an artist. 

PASTORA L LANDSCAP E 

22-1/2 x 34-1/2 

SIGNED, l.r.: P. Moran 

COLL. : Harry Alvan Hall; Mrs. Robert S. Pickens 

GIFT : Vinton Liddell Pickens, 1963 63.39

Edward Lamson Henry, a genre, landscape and portrait painter, was 

born on January 12, 1841 in Charleston, South Carolina. As a child, he 

was taken to New York City where he first studied art with Walter M. 

Oddie in 1855. Thre e years later he became a student at the Pennsylvania 

Academy of the Fine Arts in Philadelphia. I n 1860 he visited Europe, 

studying under Charles Gleyre and Gustave Courbet. Upon his return to 

the United States, he settled in New York City, where he won recognition for his European and American genre scenes and was elected to the 

National Academy in 1869. He returned to Europe in 1871, again in 

1875 after his marriage, and for the last time in 1881. From the mid1880's, Henry and his wife spent their summers in Ellenville, New York, 

where he died on May 11, 1919. 

143 

Peter Moran 

(1841-1914) 

Edward Lamson 

Henry 

(1841-1919) 
T H E OL D WESTOVE R MANSION 1869 

11-1/4 x 14-5/8; panel 

SIGNED, l.r.: EL Henry. 69 

COLL. : Mr. Whitney, Philadelphia, 1870 

REF. : E . McCausland, The Life and Work of Edward Lamson Henry . . ., 1945, pp. 

29, 86 and 163, No. 84; American Processional, 1492-1900, C.G.A., 1950, pp. 188 and 

247, No. 244, ill.; H.W. Williams, Jr., The Civil War: The Artists' Record, 1961, pp. 

166-7, No. 149, ill. (in color) 

GIFT : The American Art Association, 1900 00.11 

T he following inscription is attached to the panel: "Westover House" James River Vaj 

Painted from a drawing made in Oct-11864 During the Campaign of /Gen. Grant, 

1864-5./ painted for Mr. Whitney of Logan Sqr./ Phila- 1869-70- \E L Henry. The 

pencil and wash sketch, WESTOVER, JAMES RIVER, 1864, which was drawn by Henry on 

the spot during General Grant's James River campaign, is now in the collection of 

the New York State Museum, Albany. A somewhat different version from the Corcoran 

painting, also based on the drawing, is in The Century Association, New York. 

T he Old Westover Mansion 

144 
Born in Millersburg, Ohio in 1842, Uh l was a painter in oils and watercolors, especially of portraits. He studied under Carolus-Duran and Puvis 

de Chavannes in France and exhibited during his stay there at the Paris 

Salon. He is represented in the Capitol in Washington and in the "State 

building" in Columbus, Ohio. He had a studio in Washington for several years during the 1890's and was a member of the Society of Washington Artists and the Washington Water Color Club. I n 1898 and 1900 he 

was working in New York. He died in April, 1916, at his home in Cincinnati. 

GROVE R CLEVELAN D 1890 

30 x 24-7/8 

COLL. : the artist 

PURCHASE : Gallery Fund, 1891 91.7 

Grover Cleveland (1837-1908) was the twenty-second and twenty-fourth President of 

the United States and served from March, 1885, to March, 1889, and from March, 1893, 

to March, 1897. An inscription on the stretcher states: Painting from life, May 1890 at 

816 Madison Ave. N.Y. Res of Ex President Grover Cleveland) By S Jerome Uhl; Last 

sitting—May 17, 1890. 

Edmund C. Messer, painter, art teacher, and sometime poet and art 

critic, was born in Skowhegan, Maine in 1842. He studied at the National 

Academy of Design, at the Pennsylvania Academy of the Fine Arts, and 

in Paris with Raphael Collin, Gustave Courtois and Aime Morot. After 

settling in Washington in the early 1880's, he organized an art school in 

the building known as Vernon Row on Pennsylvania Avenue, and 

founded the Washington Art Club. He later taught with his friend 

Richard N . Brooke at the Art Students' League of Washington. From 

1902 to 1918, he held the post of Principal of the Corcoran School of Art. 

He died in Menominee, Wisconsin on February 9, 1919. 

SEL F PORTRAI T 1917 

20-1/2 x 17-1/8; academy board 

SIGNED , 1.1.: ECM—17 

COLL. : the family to his daughter, Mary Burt Messer 

GIFT : Mary Burt Messer, 1958 58.27 

E.C. Messer was appointed Principal of the Corcoran School of Art in 1902, a post he 

held until 1918. 

William Sartain, an engraver, landscape and portrait painter, was born 

in Philadelphia in 1843, the second son of the artist, John Sartain. He 

studied mezzotint engraving under his father and at the Pennsylvania 

Academy of the Fine Arts. I n Paris he worked under Leon Bonnat and at 

the Ecole des Beaux Arts. He returned to Paris often in later life, retainS. Jerome Uhl, Sr. 

(1842-1916) 

Edmund C. Messer 

(1842-1919) 

William Sartain 

(1843-1924) 

145 
ing there a summer studio from which he made frequent excursions into 

Italy and Spain. He was one of the founders of the Society of American 

Artists and an Associate Member of the National Academy of Design. He 

became president of the New York Art Club and later taught in the life 

class of the Art Students' League. He died in 1924. 

Street in Dinan, Brittany 01.1 

ARA B CAMP , ALGIER S 1902 

18-3/8 x 24-3/8 

SIGNED, l.r.: W. SARTAIN., and on back, Arab Camp/ By William Sartain. /1902. 

COLL. : James Parmelee 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 50 

BEQUEST: James Parmelee, 1941 41.57

STREE T I N DINAN, BRITTAN Y 

19 x 13-1/4 

SIGNED, l.r.: W. SARTAIN. 

COLL. : John Elderkin, New York 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 50 

GIFT : John Elderkin, 1901 01.1

Carl Gutherz, a portrait, mural and allegorical painter, was born in Switzerland on January 28, 1844 and was brought to the United States by his 

family in 1851. At the age of sixteen, he studied mechanical drawing in 

Memphis, Tennessee and later designed the warship U.S.S. Alabama. I n 

1869 he entered the Ecole des Beaux Arts in Paris, studying under Gustave Boulanger, Jules LeFebvre and Isidore Pils. Leaving Paris at the 

outbreak of the Franco-Prussian War, he went first to Munich and then 

to Rome, where he studied with Attilio Simonetti and painted the first 

of his long series of allegories. When he came back to America, he assisted 

Halsey C. Ives in the reorganization of the St. Loui s School of Fine Arts. 

I n 1880, he returned to Paris where he remained for the next seventeen 

years, becoming part of a group of artists which included Luc-Olivier 

Merson and Puvis de Chavannes. When he was commissioned to decorate 

the ceiling of the Representatives' reading room in the Library of Congress in Washington, he returned to the United States to supervise the 

work. He died in Philadelphia on February 7, 1907. 

SUSAN B. ANTHON Y 1895 

24 x 20 

SIGNED, l.r.: CARL GUTHERZ/ 1895 

COLL. : Mrs. John B. Henderson 

GIFT : Mrs. John B. Henderson, 1900 00.10

Susan B. Anthony, ardent nineteenth century feminist and crusader, was born in 

Adams, Massachusetts in 1820. She organized the first woman's state temperance society 

in America in 1852; she served as the New York State agent of the American Anti-slavery Society in 1856; and she devoted herself passionately to the agitation for woman's 

rights. She was the proprietor of The Revolution, a weekly paper published in New 

York which had as its motto "The true republic—men, their rights and nothing more; 

women, their rights and nothing less," and served as Vice-President-at-large and later 

as President of the National Woman Suffrage Association. She died in Rochester, New 

York in 1906. 

146 

Carl Gutherz 

(1844-1907) 
Born in Philadelphia, where he spent most of his life, Thomas Eakins 

attended the Pennsylvania Academy from 1861 and studied anatomy at 

the Jefferson Medical College. Although drawn to a medical career, he 

went to Paris in 1866 to study painting at the Ecole des Beaux Arts with 

Jean-Leon Gerome and Leon Bonnat. Leaving Paris in 1869, he traveled 

in Spain where, in the Prado at Madrid, he greatly admired the works of 

Velasquez and Ribera. Eakins returned to Philadelphia in 1870, resumed 

his studies of anatomy at the Jefferson Medical College and taught life 

drawing at the Academy. During this time he also took great interest in 

the scientific aspects of the body in motion, and his paper on muscular 

action was published in the Proceedings of the Philadelphia Academy of 

Natural Sciences. I n 1877 he exhibited in the first Society of American 

Artists exhibition in New York City and became a member of this radical group in 1880. By 1879 Eakins was virtually Director of the Philadelphia Academy and in 1882 was named to that position. Hi s insistence on 

the study of the nude as the foundation for painting and drawing made 

h im unpopular with the Directors of the Academy. Forced to leave in 

1886, Eakins founded the Art Students' League of Philadelphia, which 

prolonged his teaching career for a few years. During the 1880's Eakins 

received almost no recognition as an artist, and his paintings were exhibited only once in Philadelphia during this decade, at the Earle Galleries. 

At the University of Pennsylvania, with the instruction of the photographer Eadweard Muybridge, Eakins made studies of animals and nude 

models in motion, and developed a camera which worked on the same 

principle as the modern movie camera. During this period he also painted many portraits. After 1900 he did receive some acclaim as an artist 

and in 1902 was elected to the National Academy. Hi s health began to 

decline in 1910, and he did little painting between that time and his 

death in Philadelphia in 1916. 

T H E PATHETI C SONG 1881 

45 x 32-1/2 

SIGNED, 1.1.: Eakins./1881 

COLL. : Edward Horner Coates, Philadelphia, from the artist 

REF. : Fourth Annual Exhibition, Society of American Artists, New York, 1881, No. 21 

(listed as LADY SINGING A PATHETIC SONG) ; L . Goodrich, Thomas Eakins, His Life and 

Work, 1933, p. 174, ill.; Thomas Eakins: A Retrospective Exhibition, National Gallery 

of Art, Washington, 1961, p. 72, No. 40, ill.; P.W. Schwartz, Great Paintings of All 

Time, 1965, pp. 160-1, ill. (in color) 

PURCHASE: Gallery Fund, 1919 19.26 

T he singer in the painting is Margaret A. Harrison, sister of Thomas Alexander and 

Birge Harrison, Philadelphia marine and landscape painters. The pianist is Susan 

Hannah Macdowell, whom Eakins married in 1884. The cellist is Mr. Stolte, a member 

of the Philadelphia Philharmonic Orchestra. A sketch for this work was listed in 1933 

as in the collection of Davis Wilson Jordan of New York; and an unrecorded watercolor 

version (15 x 10-1/2) belongs to the granddaughter of the then Miss Harrison in the 

painting to whom it was given by Eakins. 

147 

Thomas Eakins 

(1844-1916) 
Th

e Pathetic Song 19.26 

148 
Augustus Heaton, a descendant of Rembrandt Peale, was born in Philadelphia, where he studied at the Pennsylvania Academy of the Fine Arts 

under Peter F. Rothermel. Before leaving for Paris in the fall of 1863, he 

exhibited his first painting at the Academy. I n Paris he was the first 

American to enter the Ecole des Beaux Arts under the new policy of 

admitting "foreigners." He studied there with Alexandre Cabanel, the 

Court painter of the Second Empire. When Heaton returned to the 

United States in 1866, he was appointed art professor and lecturer at the 

School of Design for Women in Philadelphia, and in 1868 was made an 

Associate of the Pennsylvania Academy. After working in New York for 

several years, he returned to Paris in 1878 to study with Leon Bonnat, 

exhibiting in four of the Paris Salons. O n his return in 1884 he settled in 

Washington, where he lived until 1908. Hi s painting, TH E RECAL L O F 

COLUMBUS , completed in 1883, was purchased during this period for the 

Capitol by the Joint Congressional Library Committee. An engraving of 

the painting was later used on the fifty-cent stamp in the Columbian 

Series. I n addition to historical painting, Heaton accepted commissions 

for portraits, working in Cincinnati, New Orleans, Charleston and New 

York, where he moved his studio in 1908. He died in New York in 1931. 

Augustus George 

Heaton 

(1844-1931) 

WILLIA M WILSO N CORCORA N 1888 

37-1/2 x 29-1/4 

SIGNED , l.r.: A.G. HEATON/ 1888 

COLL. : the artist 

REF. : "The Original Corcoran," Bull., Washington Building Congress, Inc., Vol. 29, 

No. 6 (March 1966), pp. 14 ff., ill. 

GIFT : the family of the artist, 1953 53.31

Mr. Corcoran, the Founder of the Gallery, was born in 1798 and died in 1888. 

Howard Helmick, painter, etcher and illustrator, was born in Zanesville, 

Ohio. He studied with Peter F. Rothermel at the Pennsylvania Academy 

in Philadelphia and then went to Paris, where he worked with Alexandre Cabanel, the leading academician of the period. He next went to 

London, remaining there from 1872 to 1887. He exhibited frequently at 

the Society of British Artists and was also a member of the Royal Society 

of Painters and Etchers. He was well-known in England as an illustrator, 

and his series of etchings of the life of Thomas Carlyle, commissioned by 

an English periodical, were highly praised. Returning to the United 

States in 1887, he settled in Washington, continued to illustrate for The 

Century and Harper's Magazine and taught painting and drawing at 

Georgetown University and in his Georgetown studio until his death in 

1907. He was not as widely acclaimed in the United States as in Europe— 

only one exhibition of his works was held in the United States during his 

lifetime. 

Howard Helmick 

(1845-1907) 

T H E EMIGRANT' S LETTE R 1868 

19-3/4 x 16-1/4; paper 

SIGNED , 1.1.: H. HELMICK./68 

COLL. : William Wilson Corcoran 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 50 

GIFT : William Wilson Corcoran, 1869 69.68

149 
Woma

n with a Dog 09.8 

150 
Daughter of a wealthy and socially prominent Pittsburgh banker, Mary 

Cassatt was born in Allegheny City, Pennsylvania and spent part of her 

childhood with her family in France. She returned with them to Philadelphia, where she attended the Pennsylvania Academy. I n 1868, despite 

parental objections, she went to Europe to study. She traveled in Italy, 

France, Spain and Holland and closely studied the works of Corregio, 

Rubens and other European masters. After some instruction from 

Eduardo Raimondi, a fashionable painter in Parma, she settled in Paris 

in 1874, exhibiting at the Salon that year. Ther e she studied further with 

Benjamin Constant and Charles Chaplin. She had meanwhile seen the 

pastels of Edgar Degas and was strongly attracted by his sense of composition and draughtsmanship. She showed him her work, which he greatly 

admired, and after her paintings were rejected by the 1875 and 1877 

Salons, he invited her to exhibit with the Impressionists in 1877. From 

that time on she worked closely with Degas, Renoir and Sisley, and exhibited oils, pastels, etchings and lithographs at Durand-Ruel and was again 

included in the exhibitions of the Impressionists in 1879, 1880, 1881 and 

1886. She was awarded the Legion of Honor in 1904 and was elected an 

Associate in the National Academy of Design in 1910. She was a leading 

figure in Paris at the turn of the century, but after 1912 she suffered from 

increasing blindness and died at her chateau near Beauvais in 1926. 

Mary Stevenson 

Cassatt 

(1845-1926) 

WOMA N WIT H A DO G c. 1880 

39-1/2 x 25-1/2 

SIGNED, l.r.: Mary Cassatt 

COLL. : purchased from the artist 

REF. : Second Exhibition: Oil Paintings by Contemporary American Artists, C.G.A., 

1908, No. 252, ill.; M. Breuning, Mary Cassatt, 1944, p. 16, ill.; Masterpieces of The 

C.G.A., 1959, p. 58, ill. (on cover in color) ; Manet, Degas, Berthe Morisot and Mary 

Cassatt, The Baltimore Museum of Art, 1962, p. 31, No. 104, ill. 

PURCHASE: Gallery Fund, 1909 09.8 

T he portrait was painted on the balcony of the artist's apartment at 13 avenue 

Trudaine in Paris in the early eighties. It has been suggested that the young lady is 

Mary Cassatt's sister, Lydia, who died in 1882. 

James Edward Barclay was born in London. Nothing is known of his 

training or the earlier years of his career as a portraitist. An obituary 

notice in The New York Sun, August 10, 1903 states that "he spent most 

of his later years in this country and painted many prominent people 

here." He was elected a member of the Society of Washington Artists in 

1898. Commissioned to paint the portrait of the Lor d Mayor of Edinburgh, Scotland, he returned to the British Isles and died in Edinburgh 

"of a pulmonary disease . . . in his fifty-seventh year." 

SAMUE L HAY K A U F F M A N N 1898 

30 x 25 

SIGNED, l.r.: J.E. Barclay-1898-

COLL. : the sitter 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 52 

GIFT : the Heirs of Samuel Hay Kauffmann, 1908 08.4 

151 

James Edward 

Barclay 

(1846-1903) 
Samuel Hay Kauffmann was elected Trustee of The Corcoran Gallery of Art in 1881. 

He became President of the Board of Trustees in 1894, an office he held until his 

death in 1906. 

Born in New Bedford, Massachusetts, Ryder taught himself to paint. 

Few artists influenced his style; instead, he found inspiration for the 

subjects and moods of his works in the poetry of the English language 

and in the changing phases of the sea. I n about 1870 he followed his 

brother to New York City and lived there with his parents and brother 

until 1880, when he established his own studio on Washington Square. 

Ryder studied briefly at the National Academy but quit when the academic training required him to draw from plaster casts. Befriended by 

the dealer Daniel Cottier, Ryder and other young artists exhibited their 

works in 1875 in a group exhibition and formed the rebellious Society of 

American Artists in 1877. I n that year, Ryder made a short trip to London, but he was an impatient tourist and soon returned to New York. 

From 1878 to 1887 Ryder exhibited annually at the Society of American 

Artists. I n 1882 he and Cottier returned to Europe, traveling rapidly 

through England, Holland, France, Italy, Spain and North Africa. I n 

1887 and 1896 he made ocean crossings on the trans-Atlantic liner of his 

friend Captain John Robinson, but did not stay in England for any 

length of time on either trip. After 1887 he no longer exhibited his 

works and by 1900 preferred to rework old canvases rather than to create 

new subjects. I n 1906 the National Academy and the Society of American 

Artists merged, and Ryder was elected a Member of the Academy. Some 

of his works were exhibited in the Armory Show, but he did not attract a 

large following of collectors and admirers during his lifetime. However, 

a market was established for his paintings, and numerous forgeries appeared at this time; Ryder was often called upon to pass judgment, as he 

never signed his own works, and was therefore the only man capable of 

establishing their authenticity. After an illness in 1915, Ryder lived with 

an old friend in Elmhurst, Long Island, where he died in 1917. 

T H E STABL E c. 1875 

8 x 10 

SIGNED, l.r.: (traces of inscription now illegible) 

COLL. : Stanford White, New York, 1907; James G . Shepherd, Scranton, Pennsylvania, 

1913; Mr. and Mrs. Francis Sydney Smithers 

REF. : C.G.A. Bull., Vol. 3, No. 4 (May 1950) , p. 4, ill.; Albert Pinkham Ryder, C.G.A. , 

1961, p. 49, No. 6 i 

GIFT : Mabel Stevens Smithers, 1949, The Francis Sydney Smithers Memorial 49.51 

Thi s early work is related in subject and style to Ryder's IN TH E STABLE, Gellatly 

Collection, National Collection of Fine Arts; to TH E WHIT E HORSE, in the collection of 

T he Art Museum, Princeton University; and to STABLE SCENE, in the collection of 

Vassar College. 

152 

Albert Pinkham 

Ryder 

(1847-1917) 
T he Stable 

Born in 1847, the son of a doctor, Ralph Albert Blakelock chose to abandon his medical education after he graduated from the City College of 

New York and pursue a painting career. Although he was almost entirely 

self-taught, he succeeded in having a picture accepted for a National 

Academy exhibition by the time he was twenty. During a sketching trip 

to the American West, he became steeped in the mysteries of Indian lore. 

He married in 1876 and opened a studio in New York City, but as his 

family and their needs grew, the value of his paintings dwindled, until he 

was forced to sell his work for whatever price he could obtain. His increasing poverty and the humiliation he was forced to endure drove him 

to insanity, and he was committed to the State Hospital on Long Island 

shortly before the birth of his ninth child in 1899. He spent most of the 

next seventeen years in the state asylum at Middletown, New York. 

During his illness, his work was rediscovered, he was made a Member of 

the National Academy, and prices for his paintings soared. In 1916 

153 

49.51 

Ralph Albert 

Blakelock 

(1847-1919) 
Blakelock was released under legal guardianship for a few years, but he 

was unable to attain his former proficiency, although he continued painting privately. He died of a heart attack at the age of seventy-two, while he 

was on a camping trip in the Adirondacks. 

COLORAD O PLAINS 

16-3/8 x 24-1/8 

SIGNED IN ARROW-HEAD, 1.1.: R A Blakelock 

REF. : C.GA. Handbook of the American Paintings, 1947, p. 52; Go West, Young Man, 

Marion Koogler McNay Art Institute, San Antonio, 1960, unnumbered 

PURCHASE: Gallery Fund, 1905 05.2 

INDIA N CAMP A T TWILIGH T 

7-1/8 x 10-1/8 

SIGNED IN ARROW-HEAD, 1.1.: R A Blakelock 

COLL. : J.R. Andrews; James Parmelee 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 5 3 

BEQUEST: James Parmelee, 1941 41.33 

154 

Colorado Plains 05.2 
MOONLIGH T c. 1890 

27-1/8 x 37-1/8 

COLL. : Harry W. Watrous; William T . Evans, New York, 1913; William A. Clark, New 

York 

REF. : First Annual Exhibition: Oil Paintings by Contemporary American Artists, 

C.G.A., 1907, No. 95; E . Daingerfield, Ralph Albert Blakelock, 1914, pp. 26 f., ill.; 

Illustrated Handbook of The W.A. Clark Collection, C.G.A., 1932, p. 36, No. 2008, ill.; 

L . Goodrich, Ralph A. Blakelock, 1947, pp. 32 and 37 

BEQUEST : William A. Clark, 1926 26.08 

MOONLI T LANDSCAP E 

16-1/4 x 22; panel 

SIGNE D I N ARROW-HEAD , l.r.: R A Blakelock 

COLL. : James Parmelee 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 53 

BEQUEST : James Parmelee, 1941 41.2 

A NOOK I N T H E ADIRONDACKS 

10-3/4 x 9; panel 

SIGNE D I N ARROW-HEAD , 1.1.: R A Blakelock 

COLL. : J.R. Andrews; James Parmelee 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 53 

BEQUEST : James Parmelee, 1941 41.34 

Moonlight 26.08 

155 
Richard Norris 

Brooke 

(1847-1920) 

A Pastoral Visit, Virginia 81.8 

Brooke was born in Warrenton, Virginia in 1847. He studied with Ed -

mund Bonsall at the Pennsylvania Academy of the Fine Arts, and, in 

1866, held classes in three private schools in Philadelphia. I n 1869, he 

competed for and won the Chair of Fine Arts at the Virginia Military 

Institute at Lexington, resigning in 1872 to accept an appointment in 

the diplomatic corps as United States Consul at L a Rochelle, France. 

After four years, he relinquished this post to study under Leon Bonnat 

in Paris. I n 1879, he returned to the United States, settling in Washington and holding the vice-presidency of the Washington Art Club from 

1881 to 1884. Later he made five trips abroad purchasing for the Waggaman Collection. It was at this time that he studied briefly in Paris with 

Carolus-Duran and painted in Holland. Founder of the Art Students' 

League of Washington, President for many years of the Society of Washington Artists, and Vice-Principal of the Corcoran School of Art from 

1902 to 1918, he was closely identified with the art interests of the national capital. He died in Warrenton, April 25, 1920. 

A PASTORA L VISIT, VIRGINI A 1881 

47-3/4 x 65-3/4 

SIGNED, l.r.: Richd. N. Brooke. 1881./ (ELEVE DE BONNAT-PARIS) 

COLL. : purchased from the artist 

REF. : Nineteenth Century Virginia Genre, Virginia Museum of Fine Arts, Richmond, 

1946, pp. 7 and 26, No. 5, ill.; The Portrayal of the Negro in American Painting, 

Bowdoin College Museum of Art, Brunswick, 1964, No. 58, ill. 

PURCHASE: Gallery Fund, 1881 81.8 

Local tradition claims that this painting depicts a house in Warrenton, Virginia. The 

pastor is said to be Mr. Daniel Brown; the woman, Georgianna Weeks. 

Frank Rehn, landscape and marine painter, was born in Philadelphia. 

At the age of eighteen he enrolled at the Pennsylvania Academy of the 

Fine Arts. He was able to earn a living by portrait commissions from 

friends and from the sale of terracotta placques which he painted with 

still-lifes, portraits and marine scenes. I n 1881 he moved to New York 

and established his studio with a group of artists on the top floor of the 

Hotel Chelsea, which he retained until his death in 1914. After a trip to 

the New Jersey seashore he concentrated almost exclusively on seascapes. 

He never went abroad, but preferred to spend the summers in Magnolia, 

Massachusetts where he painted in the company of John Henry Twachtman, Childe Hassam and William Merritt Chase. He was elected an Associate Member of the National Academy in 1899, and became a 

Member in 1908. He was also a member of the Society of American 

Artists. 

I N TH E G L I T T E R I N G MOONLIGH T 

30-1/2 x 50-1/4 

SIGNED, 1.1.: FKM—Rehn 

COLL. : Charles E . Foster 

GIFT : Charles E . Foster, 1913 13.2 

156 

Frank Knox Morton 

Rehn 

(1848-1914) 
Frank Duveneck was born in Covington, Kentucky, the son of Bernard 

Decker. Hi s widowed mother later married Squire Joseph Duveneck and 

the artist took Duveneck as his legal name. Before leaving for Munich in 

1870, Duveneck worked on decorations for Catholic churches in Covington and then with a German decorator in Cincinnati. After three years 

at the Academy in Munich, where he studied with Wilhelm von Diez, 

Duveneck returned to Ohio, traveled and exhibited his works in Cincinnati and in Boston. He returned to Munich in 1875 with John Twachtman, and after a few months at the Academy rebelled against its neoclassical ideals. After trips to Venice and New York City, Duveneck again 

returned to Munich in 1878 and formed a group of artists, which became 

known as "the Duveneck Boys." Thi s group moved to Florence in 1879, 

spending the summer months in Venice. Duveneck took up etching, exhibiting at the London Society of Painters and Etchers. He also exhibited 

during this period at the National Academy of Design in New York and 

the Society of American Artists. I n 1885 he went to Paris, married and 

moved back to Florence with his wife. He lived there with frequent trips 

to Paris, until his wife's death in 1888. Duveneck then returned, first to 

Boston and soon after to Cincinnati, where he taught classes at the Art 

Museum. I n 1892 he returned to Florence, living there and in Spain and 

Paris until 1900, when he returned to the United States to join the faculty of the Art Academy of Cincinnati. He was made a Member of the 

National Academy in 1906, served on various exhibition juries during 

the following years, and was awarded a Special Gold Medal of Honor at 

the Panama-Pacific Exposition in San Francisco in 1915. He died in Cincinnati in 1919. 

DILLAR D H . C L A R K 1877 

30-1/4 x 25-3/8 

SIGNED, l.r.: FDuveneck. Munich 11877 

COLL. : Captain D. H . Clark 

REF. : Frank Duveneck, Cincinnati Art Museum, 1936, No. 22, ill.; Paintings by Frank 

Duveneck (1848-1919), Whitney Museum of American Art, New York, 1938, No. 12 

PURCHASE: Gallery Fund, 1921 21.4 

Dillard Hazelrig Clark was born in Kentucky in 1847. A graduate of the United States 

Military Academy, he took part in the Indian campaigns following the Civil War. He 

took leave from his military service in the 1870's to travel abroad, spending at least 

part of his stay in Munich where he met Duveneck and other art students at the 

Academy. Thi s portrait was painted by Duveneck in settlement of a debt of about ten 

dollars incurred at this time, and remained in Clark's possession until 1921 when his 

offer to sell it was accepted by the Corcoran. Clark, who had been retired a captain in 

1891 and who, thereafter, had taught military science and tactics in several colleges 

before entering an old soldier's home, used the money from the sale to purchase a farm 

in Oklahoma which turned out to be oil land and which made him a millionaire before 

his death in San Diego in 1926. 

HEA D OF A GIR L c. 1880 

21-1/8 x 17-1/2 

SIGNED, I.e.: FDuveneck 

REF. : Paintings by Frank Duveneck (1848-1919), Whitney Museum of American Art, 

New York, 1938, No. 28 

PURCHASE: Gallery Fund, 1920 20.2 

According to the mss Register, this painting and an unlocated companion piece, HEAD 

OF A BOY, were painted in Munich where they remained in a private collection until 

1920. 

157 

Dillard H . Clark 21.4 

Frank Duveneck 

(1848-1919) 

Head of a Girl 20.2 
William Merritt 

Chase 

(1849-1916) 

An English Cod 05.5 

William Andrews Clark 17.3 

William Merritt Chase was born in Williamsburg (now Ninevah), 

Franklin County, Indiana in 1849. He studied first with Benjamin Hays, 

an Indianapolis artist who recognized his talent and who, in 1869, encouraged him to leave for New York, providing him with a letter of introduction to his next teacher, J . O. Eaton. I n the same year,.Chase enrolled 

in the National Academy of Design. Hi s next period of study, beginning 

in 1872, took him to Munich, under the sponsorship of several leading 

citizens of St. Loui s where Chase's family now lived and where he 

worked for two years after leaving New York. I n Munich, he studied 

with Alexander Wagner, Karl von Piloty, and Wilhelm Leibl, opening 

his own studio there together with Frank Duveneck in 1875 and painting 

so brilliantly that by 1877 he was asked to join the faculty of the Royal 

Academy, an honor which he declined. I n 1878, he re-established himself 

in New York, opening his Tenth Street Studio, where he entertained the 

leading artists of the day and taught painting; he also taught at the Art 

Students' League. I n the 1880's, he became an influential member of the 

Society of American Artists, participated in the founding of the Society 

of American Painters in Pastel, took part in the activities of the Til e 

Club, and by 1902, the year of his election to "The T e n , " had had a 

number of important exhibitions, had taught in Brooklyn and Chicago, 

had founded his famous Chase School in New York, and had traveled 

many times to Europe. He received many honors and awards during his 

lifetime, and as a teacher profoundly influenced a number of the important painters of the next generation, such as Marsden Hartley, Charles 

Demuth, Edward Hopper and Georgia O'Keefe. He died in New York in 

1916. 

AN ENGLIS H CO D 1904 

36-1/4 x 40-1/4 

SIGNED , 1.1.: Ww> M. Chase. 

COLL. : purchased from the artist 

REF. : H.W. Henderson, Art Treasures of Washington, 1912, pp. 141-2, ill.; K.M. Roof, 

The Life and Art of William Merritt Chase, 1917, pp. 216-18; W. Born, Still Life 

Painting in America, 1947, p. 42, ill.; Chase Centennial Exhibition, John Herron Art 

Museum, Indianapolis, 1949, No. 50, ill. 

PURCHASE : Gallery Fund, 1905 05.5 

According to Katherine M. Roof, in her biography of Chase, the artist found the fine 

cod depicted in the painting lying on a marble slab in a fishmonger's stall in London 

in 1904 and persuaded the owner to rent it to him for several hours, in which time 

he painted it to his own and the fishmonger's keen satisfaction. 

WILLIA M ANDREWS CLAR K c. 1915 

50-1/2 x 40-1/4 

SIGNED , 1.1.: WTM M. Chase. 

COLL. : William Andrews Clark 

REF. : The Sixth Exhibition of Contemporary American Oil Paintings, C. G . A., 1916, 

No. 259, ill. 

GIFT : William Andrews Clark, 1917 17.3 

158 
William A. Clark (1839-1925) came to Washington in 1905 as a United States Senator 

from Montana. His interest in the Corcoran dates from this time. He was elected a 

Trustee in 1914, serving until his death, and over the years contributed generously 

toward the prize awards granted in the Gallery's Biennial Exhibitions of Contemporary American Oil Paintings. In 1921 he established a trust fund, the income from 

which would perpetuate "The William A. Clark Prize Awards," with surplus income 

to be used for the purchase of paintings by American artists. On his death he bequeathed his extensive art collection to the Corcoran, and his family contributed funds 

to erect, as a memorial, a wing to the Gallery for its installation. 

SEL F PORTRAI T 1915 

25 x 20-1/4 

SIGNED , 1.1.: To my friend Annie T. Lang/Wm M. Chase./1915. 

REF. : A. Burroughs, Limners and Likenesses, 1936, p. 188, ill.; From The Archives of 

American Art: The Role of the Macbeth Gallery, The American Federation of Arts, 

1962, No. 4 

PURCHASE : Gallery Fund, 1923 23.3 Self Portrait 23J 

Abbott Handerson Thayer was born in Boston where he had some informal art instruction during his teens from an amateur painter of animals. 

When his family moved to Brooklyn in 1867, he studied at the Brooklyn 

Art School and later at the National Academy of Design, opening his 

own studio in Brooklyn in 1869. I n 1875 he married, and the young 

couple sailed for Europe where he studied first at the Ecole des Beaux 

Arts, then in the atelier of Jean-Leon Gerome. When they returned in 

1879, he set up his studio in New York City, spending summers painting 

in New Hampshire. O n his wife's death in 1891 and his subsequent remarriage, he spent more and more time in New Hampshire, virtually a 

recluse at the foot of Mount Monadnock. During this period he began to 

formulate theories on the concealing coloration in nature, developing 

studies which were used in military camouflage in World Wa r II. I n 

later years he made three brief trips to Europe. He died in Monadnock 

in 1921. 

Abbott Handerson 

Thayer 

(1849-1921) 

MOUN T MONADNOCK 

22 x 24 

SIGNED , l.r.: Abbott H. Thayer, and on back, Franklin MacVeagh/ from Abbott H. 

Thayer/In Memory of the former's great kindness/ in the Summer of 1911. Dublin 

N.H. 

COLL. : Franklin MacVeagh; Eames MacVeagh 

REF. : C.G.A. Handbook of the American Paintings, 1947, p. 54 

PURCHASE : Anna E . Clark Fund, 1934 34.6 

A letter from Mr. Eames MacVeagh, in the Gallery files, dated October 15, 1934, states: 

"It was painted, I think from the angle of his Dublin property and he [the artist] 

presented it to my father while the latter was Secretary of the Treasury, in grateful 

return for a service rendered and is so inscribed. As I recollect it, the service was some 

sort of rescue in South America of one of his daughters, made possible through the 

far reaching instrumentalities of the Treasury Department." A larger verision of MOUN T 

MONADNOCK , one of several which the artist painted from his home at Dublin, New 

Hampshire, is in the collection of the Metropolitan Museum of Art. 

159 
HEA D OF A YOUN G WOMA N 

16-3/4 x 13-5/8 

SIGNED, 1.1.: -AM. ThayerCOLL. : Victor G . Fischer, New York 

REF. : Abbott H. Thayer Memorial Exhibition, C.G.A. , 1922, No. 42 

GIFT : Victor G . Fischer, 1911 11.7 

Thi s is probably a study of the artist's daughter Gladys who is often depicted in his 

paintings. 

SEL F PORTRAI T 1919 

22-1/4 x 24; wood panel 

SIGNED, l.r.: Abbott H. Thayer/ 1919 

COLL. : the estate of the artist 

REF. : Abbott H. Thayer Memorial Exhibition, C.G.A., 1922, p. 7, No. 33, ill. (frontispiece) ; The Impressionist Mood in American Painting, Th e American Academy of Arts 

and Letters, 1959, No. 29 

PURCHASE: Gallery Fund, 1922 22.4 

160 

Self Portrait 22.4 


Index 

Paintings and Artists 

John Adams, George Peter Alexander Healy, 88 

John Quincy Adams, George Peter Alexander Healy, 89 

Afternoon in Early June, A Kentucky Beech Grove, Carl Christ Brenner, 140 

Allegro, John George Brown, 128 

Allston, Washington, 42 

Amazon and Her Children, The, Emanuel Leutze, 95 

Andrews, Eliphalet Frazer, 134 

Susan B. Anthony, Carl Gutherz, 146 

Arab Camp, Algiers, William Sartain, 146 

Chester A. Arthur, George Peter Alexander Healy, 92 

Autumn Afternoon on Lake George, John Frederick Kensett, 97 

Autumn on the Hudson, Thomas Doughty, 56 

Autumn on the Massachusetts Coast, George Henry Smillie, 143 

Autumn, Montclair, George Inness, 118 

Autumnal Landscape with Indians, Alvan Fisher, 53 

Harriet Hubbard Ayer, Eastman Johnson, 115 

Barclay, James Edward, 151 

Colonel Abraham Barnes, John Wollaston, 19, 20 

Henry Barrett, John Neagle, 57 

Samuel Barton, Christian Gullager, 32 

Batter sea Reach, James Abbott McNeill Whistler, 131, 132 

BELLE CREOLE at New Orleans, The, Unidentified Painter, 83, 84 

Bierstadt, Albert, 125 

Bingham, George Caleb, 76 

Birch, Thomas, 44 

Blakelock, Ralph Albert, 153 

Blanchard, Washington, 70 

Lt. Col. Joseph Outen Bogart, Rembrandt Peale, 42 

Boggs, William Brenton, 73 

Bonham, Horace, 132 

Boston Harbor, Robert Salmon, 37, 38 

Mrs. Sidney Breese (Elizabeth Penkethman), John Wollaston, 19 

Brenner, Carl Christ, 140 

Brewerton, George Douglass, 102 

Brooke, Richard Norris, 156 

General Jacob Jennings Brown, John Wesley Jarvis, 45 

Brown, John George, 128 

Brown, Jr., William Garl, 109 

Brumidi, Constantino, 66 

William Cullen Bryant, Charles Loring Elliott, 79 

James Buchanan, George Peter Alexander Healy, 92 

Buffalo Trail: The Impending Storm, Albert Bierstadt, 125, 126 

Bunce, William Gedney, 142 

Marcia Burns (Mrs. John P. Van Ness), James Peale, 26 

By the Creek, Sonoma, William Keith, 141 

A 

B 
John C. Calhoun, William James Hubard, 68 

John C. Calhoun, Charles Bird King, 50 

Elizabeth Stevens Carle, Matthew Pratt, 21 

James M. Carlisle, Eliphalet Frazer Andrews, 135 

Casilear, John William, 77 

Cassatt, Mary Stevenson, 151 

Castle Gondolfo, Lake Albano, Christopher Pearse Cranch, 86 

Castle Rock, Nahant, William Stanley Haseltine, 134 

Chase, William Merritt, 158 

Self Portrait, William Merritt Chase, 159 

Church, Frederic Edwin, 120 

Church of the Holy Innocents, Highland Falls, New York, Robert Walter Weir, 65 

Dillard H. Clark, Frank Duveneck, 157 

Mrs. Meriwether Lewis Clark II, George Peter Alexander Healy, 87 

William Andrews Clark, William Merritt Chase, 158 

Classic Italian Landscape with Temple of Venus, William Louis Sonntag, 107 

Henry Clay, Washington Blanchard, 70 

Henry Clay, Charles Bird King, 50 

Henry Clay, Unidentified Painter, 61 

Grover Cleveland, S. Jerome Uhl, Sr., 145 

Cliffs of Normandy, The, James David Smillie, 131 

Coast of New England, The, William Trost Richards, 130 

Cole, Thomas, 61 

Colorado Plains, Ralph Albert Blakelock, 154 

Copley, John Singleton, 24 

Thomas Corcoran, Charles Peale Polk, 36 

Mrs. Thomas Corcoran, (Hannah Lemmon), Charles Peale Polk, 36 

William Wilson Corcoran, Charles Loring Elliott, 5, 81 

William Wilson Corcoran, Augustus George Heaton, 149 

William Wilson Corcoran, Unidentified Painter, 81 

Cottage Scenery, George Caleb Bingham, 76, 77 

Cranch, Christopher Pearse, 85 

Cromwell and Milton, Emanuel Gottlieb Leutze, 96 

Cropsey, Jasper Francis, 109 

Crossing the Rocky Mountains, George Douglass Brewerton, 103 

Cupid and Psyche, Benjamin West, 23 

Cupid Stung by a Bee, Benjamin West, 22 

George Washington Parke Custis, Samuel Lovett Waldo, 49 

Departure, The, Thomas Cole, 62, 63 

Disputed Shot, The, John Mix Stanley, 93 

Doughty, Thomas, 55 

Duck Shooting, William Ranney, 82, 83 

Durand, Asher Brown, 58 

Asher Brown Durand, Charles Loring Elliott, 80 

Duveneck, Frank, 157 

Eakins, Thomas, 147 

Earl, Ralph, 27 

Early Autumn, Adirondacks, Alexander Helwig Wyant, 136 

Earring, The, Eastman Johnson, 115 

Eastman, Seth, 71 

c 

D 

E 
Edge of the Forest, Asher Brown Durand, 59, 60 

Elder, John Adams, 129 

Election Scene, Catonsville, Baltimore County, Alfred Jacob Miller, 75 

Elliott, Charles Loring, 79 

Emigrant's Letter, The, Howard Helmick, 149 

Emigrant Train Bedding Down for the Night, The, Benjamin Franklin Reinhart, 

English Cod, An, William Merritt Chase, 158 

Evening-Lorette, George Fuller, 106 

Peter Faneuil, John Smibert, 18 

Feke, Robert, 18 

Millard Fillmore, George Peter Alexander Healy, 91 

Fisher, Alvan, 53 

Fisher, John Kendrick, 67 

Flowers on a Window Ledge, John L a Farge, 134 

Fortune Teller of Brittany, A, Robert Wylie, 140 

Colonel Jacob Fowle, John Singleton Copley, 24, 25 

Franca, Manuel Joachim de, 70 

Francis, John F., 72 

Benjamin Franklin, Joseph Wright, 31 

Frothingham, James, 51 

Fruit, James Peale, 27 

Fuller, George, 106 

Joseph Gales, Samuel Finley Breese Morse, 53 

James Abram Garfield, William T . Mathews, 105 

Timothy Gay, Ralph Earl, 28 

Gignoux, Regis Francois, 98 

Girl Blowing Soap Bubbles, Robert Loftin Newman, 123 

Girl with Flowers, Jacob Hart Lazarus, 107 

Girl and Pets, Eastman Johnson, 113 

Gifford, Robert Swain, 142 

Gifford, Sanford Robinson, 108 

Ulysses Simpson Grant, Henry Ulke, 106 

Gray, Henry Peters, 101 

Great Falls of the Potomac, William MacLeod, 79 

Gullager, Christian, 32 

Gutherz, Carl, 146 

John Hancock and His Wife, Edward Savage, 33, 34 

Harbor Scene, Robert Salmon, 38 

Harding, Chester, 54 

Benjamin Harrison, William T . Mathews, 105 

William Henry Harrison, Eliphalet Frazer Andrews, 135 

William Henry Harrison, Unidentified Painter, 74 

Harvest Moon, George Inness, 118 

Haseltine, William Stanley, 133 

Anna Margaretta Haupt, John Neagle, 57 

Rutherford Birchard Hayes, Eliphalet Frazer Andrews, 135 

Head of a Girl, Frank Duveneck, 157 

Head of a Young Woman, William Morris Hunt, 112 

Head of a Young Woman, Abbott Handerson Thayer, 160 

F 

G 

H 
Healy, George Peter Alexander, 86 

Heaton, Augustus George, 149 

Helmick, Howard, 149 

Henry, Edward Lamson, 143 

Joseph Henry, Daniel Huntington, 100 

High Bank, Genesee River, John Frederick Kensett, 97 

Hillside at Etretat, George Inness, 118 

Hinckley, Thomas Hewes, 92 

Homer, Winslow, 137 

Hope, James, 101 

Hubard, William James, 68 

Three Huidekoper Children, The, Unidentified Painter, 67 

Hunt, William Morris, 111 

Anne Evelina Hunter, Charles Peale Polk, 36 

David Hunter, Charles Peale Polk, 36 

Moses T. Hunter, Charles Peale Polk, 36 

Huntington, Daniel, 98 

Indian Camp at Twilight, Ralph Albert Blakelock, 154 

Inman, Henry, 60 

In Memoriam, Elihu Vedder, 139 

Inness, George, 116 

In the Glittering Moonlight, Frank Knox Morton Rehn, 156 

Andrew Jackson, George Peter Alexander Healy, 89 

General Andrew Jackson, Thomas Sully, 47, 48 

General Thomas Jonathan Jackson, John Adams Elder, 129 

Jarvis, John Wesley, 45 

Thomas Jefferson, George Peter Alexander Healy, 88 

Jennys, William, 35 

Andrew Johnson, Eliphalet Frazer Andrews, 135 

Johnson, Jonathan Eastman, 112 

Colonel Richard Mentor Johnson, John Neagle, 57 

Mr. Jones, Jeremiah Theus, 21 

Anne and Mary Cornelia Jones, William E . Winner, 94 

Judgment of Paris, The, Henry Peters Gray, 102 

Samuel Hay Kauffmann, James Edward Barclay, 151 

Keith, William, 140 

Kensett, John Frederick, 96 

A.T. Kerr, Esq., James Peale, 26 

King, Charles Bird, 49 

Lacrosse Playing Among the Sioux Indians, Seth Eastman, 71 ,72 

La Farge, John, 134 

Lake George, John William Casilear, 77 

Lake Near Lenox, Massachusetts, Walter M. Oddie, 71 

Lambdin, James Reid, 69 

Landscape, Thomas Doughty, 56 

Landscape, R£gis Francois Gignoux, 98 

Landscape, George Inness, 117 

I 

J 

K 

L 
Landscape, Nelson Augustus Moore, 112 

Lane, Fitz Hugh, 65 

Lang, Louis, 81 

Last of the Buffalo, The, Albert Bierstadt, 127 

Count Charles-Philibert de Lasteyrie du Saillant, Rembrandt Peale, 40 

Lazarus, Jacob Hart, 106 

Mrs. William Leaycraft (Grace Anne O'Brien), John Neagle, 60 

Le Clear, Thomas, 101 

General Robert E. Lee, John Adams Elder, 129 

Leisure and Labor, Frank Blackwell Mayer, 123 

Hannah Lemmon (Mrs. Thomas Corcoran), Charles Peale Polk, 36 

Leutze, Emanuel Gottlieb, 94 

Light on the Sea, A, Winslow Homer, 138 

Abraham Lincoln, George Peter Alexander Healy, 90, 92 

Long Island Farm, A, George Henry Smillie, 143 

Longshoremen's Noon, John George Brown, 128 

Long Story, The, William Sidney Mount, 68, 69 

Lover's Lane, Max Weyl, 139 

MacLeod, William, 78 

James Madison, George Peter Alexander Healy, 89 

James Madison, Thomas Sully, 46 

Malbone, Edward Greene, 39 

Portrait of the Artist, Edward Greene Malbone, 39 

Chief Justice John Marshall, Robert Matthew Sully, 64 

Charlotte Marsteller, Unidentified Painter, 35 

Martin, Homer Dodge, 136 

Maryland Heights: Seige of Harper's Ferry, William MacLeod, 78 

Mathews, William T. , 105 

Maurer, Louis, 129 

Mayer, Frank Blackwell, 122 

Harold McGuffey, Eastman Johnson, 115 

James C. McGuire, Charles Loring Elliott, 80 

Thomas Loraine McKenney, Charles Loring Elliott, 80 

William McKinley, William T . Mathews, 105 

Mercy's Dream, Daniel Huntington, 99, 100 

Messer, Edmund C , 145 

Self Portrait, Edmund C. Messer, 145 

Samuel Miles, Gilbert Stuart, 30 

Millard, Jennie Bellows, 83 

Miller, Alfred Jacob, 74 

Mishap at the Ford, Alvan Fisher, 54 

James Monroe, George Peter Alexander Healy, 89 

Moonlight, Ralph Albert Blakelock, 155 

Moonlit Landscape, Ralph Albert Blakelock, 155 

<eCharles de Moor" (portrayed by William B. Wood), Thomas Sully, 46 

Moore, Nelson Augustus, 112 

Moran, Peter, 143 

Justin Smith Morrill of Vermont, George Peter Alexander Healy, 88 

Morse, Samuel Finley Breese, 52 

Samuel F.B. Morse, Constantino Brumidi, 66 

M 
Mount, William Sidney, 68 

Mount Corcoran, Albert Bierstadt, 126 

Mount Monadnock, Abbott Handerson Thayer, 159 

Mount Vernon, Jennie Bellows Millard, 83 

Mountainous Landscape by Moonlight, Albert Bierstadt, 126 

Muses of Painting, Poetry and Music, The, William Edward West, 51 

Mussel Gatherers, Homer Dodge Martin, 136 

Neagle, John, 57 

Near Arricia, Italy, Sanford Robinson Gifford, 108 

Nearing the Issue at the Cockpit, Horace Bonham, 132, 133 

Negro Boys on the Quayside, David Norslup, 84, 85 

Newman, Robert Loftin, 123 

Niagara Falls, Frederic Edwin Church, 122 

Nook in the Adirondacks, A, Ralph Albert Blakelock, 155 

Norma, Louis Lang, 82 

Norslup, David, 84 

Grace Anne O'Brien (Mrs. William Leaycraft), Henry Inman, 60 

John O'Brien, Henry Inman, 60 

October on the Coast of Massachusetts, Robert Swain Gifford, 142 

Oddie, Walter M., 71 

Oertel, Johannes Adam Simon, 110 

Officer of the United States Navy, An, Unidentified Painter, 49 

Old House of Representatives, Samuel Finley Breese Morse, 52, 53 

Old Westover Mansion, The, Edward Lamson Henry, 144 

On the Banks of a Stream, Emanuel Gottlieb Leutze, 95, 96 

On Catskill Creek, William Brenton Boggs, 74 

On the Coast of New Jersey, William Trost Richards, 130 

Catherine Packer, John F. Francis, 73 

Hezekiah B. Packer, John F. Francis, 73 

William Page, Thomas Le Clear, 101 

Pastoral Landscape, Peter Moran, 143 

Pastoral Visit, Virginia, A, Richard Norris Brooke, 156 

Pathetic Song, The, Thomas Eakins, 147, 148 

Patriarch's Argument, The, Johannes Adam Simon Oertel, 111 

John Howard Payne, John Wesley Jarvis, 45 

George Peabody, George Peter Alexander Healy, 87 

Peaches, Pears and Grapes, John F. Francis, 73 

Peale, James, 26 

Peale, Rembrandt, 39 

Simon Pease, Robert Feke, 18 

John Pedrick III, James Frothingham, 51 

Elizabeth Penkethman (Mrs. Sidney Breese), John Wollaston, 19 

Penseroso, John George Brown, 128 

Amelia Maria Phelps (Mrs. Jonathan May hew Wainwright), John Trumbull, 31, 32 

Franklin Pierce, George Peter Alexander Healy, 91 

Polk, Charles Peale, 35 

James K. Polk, George Peter Alexander Healy, 91 

N 

O 

P 
Poor Artist's Cub oard, Charles Bird King, 50 

Portrait of a Child with a Spray of Flowers, John Kendrick Fisher, 67 

Portrait of a Gentleman, James Peale, 26 

Portrait of a Gentleman, Unidentified Painter, 17 

Portrait of a Lady, James Peale, 26 

Portrait of a Woman, Manuel Joachim de Franca, 70 

Portrait of a Young Girl, William Matthew Prior, 67 

Pratt, Matthew, 21 

Prior, William Matthew, 66 

John Randolph of Roanoke, Chester Harding, 55 

Ranney, William (Tylee), 82 

Rapids, Sister Islands, William Morris Hunt, 112 

Rebecca at the Well, Thomas Prichard Rossiter, 100 

Rehn, Frank Knox Morton, 156 

Reinhart, Benjamin Franklin, 123 

Return, The, Thomas Cole, 62, 63 

Return from the Tournament, Thomas Cole, 64 

Review of Rhode Island and Maine Troops, James Walker, 102 

Richards, William Trost, 130 

Rock Creek, Max Weyl, 139 

Roesen, Severin, 124 

Rondel, Frederick, 120 

Rossiter, Thomas Prichard, 100 

Ruins of the Parthenon, Sanford Robinson Gifford, 108, 109 

Fanny Rundle, Thomas Sully, 48 

George Rundle, John Neagle, 58 

Mrs. Russell, Unidentified Painter, 17 

Ryder, Albert Pinkham, 152 

Jacques Henri Bernardin de Saint-Pierre, Rembrandt Peale, 40 

Salmon, Robert, 37 

Sartain, William, 145 

Savage, Edward, 33 

Scene in the Catskills, Paul Weber, 111 

Scenery of the Magdalena River, New Granada, South America, 

Frederic Edwin Church, 121 

Scottish Coast, William Trost Richards, 130 

Self Portraits 

William Merritt Chase, 159 

Edward Greene Malbone, 39 

Edmund C. Messer, 145 

Thomas Sully, 48 

Abbott Handerson Thayer, 160 

Shelter, The, Eastman John, 114 

Chief Justice Edward Shippen of Pennsylvania, Gilbert Stuart, 30 

Sketch of a Cottage Yard, Winslow Homer, 137 

Sketch of Mount Washington, John Frederick Kensett, 96 

Sketch of a Polish Jew, Washington Allston, 43 

Smibert, John, 17 

R 

s 
Smillie, George Henry, 142 

Smillie, James David, 130 

Sonntag, William Louis, 107 

Stable, The, Albert Pinkham Ryder, 152, 153 

Stag in the Adirondacks, Thomas Hewes Hinkley, 93 

Stanley, John Mix, 93 

Edwin McMasters Stanton, James Reid Lambdin, 70 

Still Life, Flowers and Fruit, Severin Roesen, 125 

Still Life-"Trilby", Louis Maurer, 129 

Still Life with Bread, Unidentified Painter with "JW" monogram, 73 

Still Life with Silver Cake Basket, John F. Francis, 73 

Horatio Stone, Charles Loring Elliott, 79 

Street in Dinan, Brittany, William Sartain, 146 

Stuart, Gilbert, 28 

Stuart, Jane, 81 

Sully, Robert Matthew, 64 

Sully, Thomas, 46 

Portrait of the Artist, Thomas Sully, 48 

Sunset in the Woods, George Inness, 119, 120 

Tavern in New Boston, Vermont, James Hope, 101 

General Zachary Taylor, William Garl Brown, Jr., 109 

Zachary Taylor, George Peter Alexander Healy, 91 

President Zachary Taylor, John Vanderlyn, 39 

Telemachus and Calypso, Benjamin West, 23 

Tenafly, Autumn, George Inness, 119, 120 

Thayer, Abbott Handerson, 159 

Self Portrait, Abbott Handerson Thayer, 160 

Theus, Jeremiah, 21 

Isaac Thorn, Unidentified Painter, 55 

Time after Sunset, Washington Allston, 43 

Tintern Abbey, Thomas Doughty, 56 

Tornado, Thomas Cole, 61, 62 

Trout Brook in the Catskills, Thomas Worthington Whittredge, 104 

Trumbull, John, 31 

John Tyler, George Peter Alexander Healy, 91 

Uhl, S. Jerome, Sr., 145 

Ulke, Henry, 105 

Unidentified Painters 

BELLE CREOLE at New Orleans, The, 83, 84 

Henry Clay, 61 

William Wilson Corcoran, 81 

William Henry Harrison, 74 

Three Huidekoper Children, The, 67 

Charlotte Marsteller, 35 

Officer in the United States Navy, An, 49 

Portrait of a Gentleman, 17 

Mrs. Russell, 17 

Isaac Thorn, 55 

John Artis Willson, 32 

T 

U 
Unidentified Painter with "JW" monogram 

Still Life with Bread, 73 

United States Frigate PRESIDENT Engaging the British 

Squadron, 1815, The, Fitz Hugh Lane, 65, 66 

Martin Van Bur en, George Peter Alexander Healy, 89 

Vanderlyn, John, 38 

Mrs. John P. Van Ness (Marcia Burns), James Peale, 26 

Vedder, Elihu, 139 

Venice: Sunrise, William Gedney Bunce, 142 

View of the Delaware near Philadelphia, Thomas Birch, 44 

View from Mount Mansfield, New York, Alexander Helwig Wyant, 136 

Mrs. Leonard Volk and daughter, Honore, George Peter Alexander Healy, 87 

Mrs. Jonathan May hew Wainwright (Amelia Maria Phelps), John Trumbull, 31, 32 

Waiting for the Stage, Richard Caton Woodville, 116 

Waldo, Samuel Lovett, 48 

Walker, James, 102 

George Washington, Gilbert Stuart, 28, 29, 30 

George Washington, Jane Stuart, 81 

Washington before Yorktown, Rembrandt Peale, 41, 42 

Washington's Headquarters on the Hudson, Jasper Francis Cropsey, 110 

Weber, Paul, 111 

Weir, Robert Walter, 64 

West, Benjamin, 22 

West, William Edward, 51 

Weyl, Max, 139 

Whistler, James Abbott McNeill, 131 

Whittredge, Thomas Worthington, 103 

John Artis Willson, Unidentified Painter, 32 

Winner, William E. , 93 

Mrs. R. H. Winslow, George Peter Alexander Healy, 87 

Winter Scene, Regis Francois Gignoux, 98 

Wollaston, John, 19 

Woman with a Dog, Mary Stevenson Cassatt, 150, 151 

Woman with a Fan, William Jennys, 35 

William B. Wood as "Charles de Moor", Thomas Sully, 46 

Wooded Landscape, Frederick Rondel, 120 

Woodville, Richard Caton, 115 

Wright, Joseph, 30 

Wyant, Alexander Helwig, 136 

Wylie, Robert, 140 

V 

w