“GOD’S FIRST TEMPLES: “A FOREST HYMN” IMAGES OF TREES IN AMERICAN ART” 1824 AN EXHIBITION AND SALE OF OVER ONE HUNDRED PAINTINGS, WATERCOLORS, DRAWINGS, PHOTOGRAPHS TH TH TH [excerpt] AND PRINTS FROM THE 18 , 19 AND 20 CENTURY
The groves were God’s first temples. IN CELEBRATION OF THE NEWPORT TREE SOCIETY Ere man learned THE EXHIBITION RUNS THROUGH MAY 31 To hew the shaft, and lay the architrave, MONDAY - SATURDAY 10 AM TO 6 PM & SUNDAY 1 TO 6 PM And spread the roof above them,---ere he framed The lofty vault, to gather and roll back WILLIAM VAREIKA FINE ARTS LTD The sound of anthems; in the darkling wood, 212 BELLEVUE AVENUE • NEWPORT, RHODE ISLAND 02840 Amidst the cool and silence, he knelt down, [email protected] WWW.VAREIKAFINEARTS.COM And offered to the Mightiest solemn thanks 401-849-6149 And supplication. For his simple heart Might not resist the sacred influences, Which, from the stilly twilight of the place,
And from the gray old trunks that high in heaven Mingled their mossy boughs, and from the sound Of the invisible breath that swayed at once All their green tops, stole over him, and bowed His spirit with the thought of boundless power T H E N E W P O R T T R E E S O C I E T Y And inaccessible majesty. Ah, why newportarboretum.org The City of Newport, Rhode Island is a living museum of American history and Should we, in the world’s riper years, neglect its distinctive botanical heritage is no small part of its unique story. During the God’s ancient sanctuaries, and adore Gilded Age, collectors, scientists and amateur horticulturists planted a large Only among the crowd, and under roofs, array of specimen trees in Newport, many of which were gathered by tree hunters from around the globe. That our frail hands have raised? Let me, at least,
Here, in the shadow of this aged wood, Since 1987, The Newport Tree Society has worked hand-in-hand with the City of Newport’s Forestry Division to protect and regenerate Newport’s legendary Offer one hymn---thrice happy, if it find urban forest. In 2011, the society launched a new citizen-centered model for Acceptance in His ear. citywide reforestation centered around The Newport Arboretum, New England’s first citywide arboretum. The Newport Arboretum is the popular face of the Newport Tree Society, inviting every Newporter to better understand WILLIAM CULLEN BRYANT and care for the Living Collections in their own yards.
- (1794 1878) The heart of this reforestation effort lies in heritage horticulture, the celebration of our city’s long history of exploratory arboriculture and its remaining core of historic designed landscapes and plant collections. From colonial-era hothouses that held specimens from all over the globe, to the scores of Gilded Age landscapes still in cultivation today, Newport is truly a jewel of American arboriculture, horticulture and landscape architecture. Our goal is to remember and reignite our once burning passion for silviculture by reforesting all four corners of our city with truly special specimen trees planted on both public and private property.
HENRY HAMMOND AHL (1869-1953)
“Tree”
Pencil on paper 5 x 7 inches
AMERICAN PRIMITIVE SCHOOL
“Fantasy Landscape”
circa 1875
Oil on canvas 28 x 32 inches
AMERICAN SCHOOL
“Apple Blossoms” circa 1875
Oil on canvas 17 x 9 inches
AMERICAN SCHOOL
“French Landscape with Stream” circa 1885
Oil on canvas 12 ¾ x 16 inches
AMERICAN SCHOOL
"Landscape with Farmhouse and Trees" circa 1880
Watercolor and gouache on paper 6 ¾ x 14 ¾ inches (Sight size)
AMERICAN SCHOOL (19th Century)
"Landscape with Trees and Stream" circa 1880
Watercolor on paper 20 x 13 ¼ inches (Sight size) Provenance: New Hampshire collection
AMERICAN SCHOOL
“Tree and Waterlilies” circa 1880
Pencil on paper 13 x 10 ¼ inches
AMERICAN SCHOOL
“Woodland Interior with Squirrel” circa 1875
Oil on canvas 18 ¼ x 15 ¼ inches
AMERICAN SCHOOL
“Wooded Landscape” circa 1900
Watercolor and pencil on paper 4 ½ x 5 ½ inches
AMERICAN SCHOOL
“Wooded Landscape with Fence” circa 1880
Oil on panel 11 ¼ x 9 ¼ inches
AMERICAN SCHOOL
“Wooden Bench in the Forest” circa 1880
Oil on panel 9 x 5 ¾ inches
AMERICAN SCHOOL
“Woodland Interior with Stream” circa 1870
Oil on canvas 18 x 14 inches
EDWARD MITCHELL BANNISTER (1828-1901)
"Walking Through a Field"
Oil on canvas 22 x 42 inches Initialed, lower left Signed on verso
W. H. BARKER (Late 19th Century)
“Winter in the Woods” 1886
Oil on canvas 20 x 16 inches Signed and dated 1886, lower right
WILLIAM NEWTON BARTHOLOMEW (1822-1898)
“Rural Landscape with River and Bridge”
Watercolor on paper 9 ¾ x 15 inches Signed, lower right
WALDO G. BEAMAN (1852-1937)
“View from Dr. Dwight L. Moody's, Northfield, Massachusetts” 1897
Oil on canvas 24 x 36 inches Signed and dated, lower right
ANNA RICHARDS BREWSTER (1870-1952)
“The Historic Elisha R. Reynolds House, Kingston, Rhode Island” circa 1920
Watercolor on paper 10 x 14 inches Signed, lower left Provenance: Family of the artist
THE FOUR SEASONS
ALFRED THOMPSON BRICHER (1837-1908)
“Winter – Medford, Massachusetts” 1867 Oil on canvas 16 x 12 ½ inches Signed, lower left
Exhibition: “Alfred Thompson Bricher: 1837-1908,” Indianapolis Museum of Art, September 12 – October 28, 1973; The George Walter Vincent Smith Art Museum, Springfield, Massachusetts, November 25, 1973 – January 13, 1974, Number 14
Literature: Jeffrey R. Brown, “Alfred Thompson Bricher 1837-1908,” Indianapolis Museum of Art, Indianapolis, Indiana, catalogue number 14, Illustrated, page 45
In 1869, this painting was published in a series of chromolithographs by Louis Prang & Company after Bricher’s “Four Seasons” paintings.
ALFRED THOMPSON BRICHER (1837-1908)
“Spring – Newport, Rhode Island” 1867 Oil on canvas 16 x 12 ½ inches Signed and dated, lower left
Exhibition: “Alfred Thompson Bricher: 1837-1908,” Indianapolis Museum of Art, September 12 – October 28, 1973; The George Walter Vincent Smith Art Museum, Springfield, Massachusetts, November 25, 1973 – January 13, 1974, Number 11
Literature: Jeffrey R. Brown, “Alfred Thompson Bricher 1837-1908,” Indianapolis Museum of Art, Indianapolis, Indiana, catalogue number 11, Illustrated, page 45
In 1869, this painting was published in a series of chromolithographs by Louis Prang & Company after Bricher’s “Four Seasons” paintings.
ALFRED THOMPSON BRICHER (1837-1908)
“Summer – Milton, Massachusetts” 1867 Oil on canvas 16 x 12 ½ inches Signed, lower left
Exhibition: “Alfred Thompson Bricher: 1837-1908,” Indianapolis Museum of Art, September 12 – October 28, 1973; The George Walter Vincent Smith Art Museum, Springfield, Massachusetts, November 25, 1973 – January 13, 1974, Number 12
Literature: Jeffrey R. Brown, “Alfred Thompson Bricher 1837-1908,” Indianapolis Museum of Art, Indianapolis, Indiana, catalogue number 12, Illustrated, page 45
In 1869, this painting was published in a series of chromolithographs by Louis Prang & Company after Bricher’s “Four Seasons” paintings.
ALFRED THOMPSON BRICHER (1837-1908)
“Autumn – White Mountains, New Hampshire” 1867 Oil on canvas 16 x 12 ½ inches Signed and dated, lower left
Exhibition: “Alfred Thompson Bricher: 1837-1908,” Indianapolis Museum of Art, September 12 – October 28, 1973; The George Walter Vincent Smith Art Museum, Springfield, Massachusetts, November 25, 1973 – January 13, 1974, Number 13
Literature: Jeffrey R. Brown, “Alfred Thompson Bricher 1837-1908,” Indianapolis Museum of Art, Indianapolis, Indiana, catalogue number: 13, Illustrated, page 45
In 1869, these painting were published in a series of chromolithographs by Louis Prang & Company after Bricher’s “Four Seasons” paintings.
AFTER
ALFRED THOMPSON BRICHER (1837-1908)
“Autumn” 1869
Chromolithograph on paper Published by Louis Prang & Co., Boston. 16 x 12 ¾ inches Signed and dated, lower left, in the plate
Note: The Print Department Collection of the Boston Public Library includes examples of “Autumn,” “Spring,” and “Summer”
MATHER BROWN (1761-1831)
“Full-length Portrait of a Gentleman Standing by a Tree” circa 1790
Oil on canvas 29½ x 19½ inches
JH BUFFORD (1810-1870)
“Sounds from the Old Stone Mill” 1857
Lithograph 3 1 12 /8 x 9 /4 inches
Cover to Music for piano and guitar by T Brigham Bishop who wrote "Shoo Fly Don't Bother Me" On Cover: “Respectfully Dedicated to the Citizens of Newport and Visitors of the Old Stone Mill”
Published by Oliver Ditson & Co, 277 Washington St, Boston
SYDNEY BURLEIGH (1853-1931)
“Landscape with Birch Tree”
Watercolor and gouache on paper 7 ¼ x 10 ¼ inches Signed, lower right
SYDNEY BURLEIGH (1853-1931)
“Spring Landscape: View of Monte Alle Croci” (Mountain of the Crosses) Florence, Italy Double Sided
Watercolor on paper 15 x 10 ¾ inches Signed, dated and incribed with location, lower left Inscribed Monte Alle Croci, Florence, April 8th
SYDNEY BURLEIGH (1853-1931)
“The Hopper, Mt. Greylock, Williamstown, Massachusetts”
Watercolor on paper 15 x 20 inches Signed, lower right Titled on label on verso
HELEN M. BUTMAN (died 1960)
“Grove of Trees” circa 1910
Watercolor on paper 9 x 7 inches Signed lower right
JOHN W. CASILEAR (1811-1893)
“Snowy Mountain” 1859
Oil on canvas 19 ¾ x 30 ½ inches Signed and dated, lower right
EDWIN GRAVES CHAMPNEY (1842-1899)
“Cows” circa 1875
Oil on canvas 9 ¾ x 12 ¾ inches Provenance: Family of the artist
CARLTON T. CHAPMAN (1860-1925)
“Landscape with Pond and Small House on Hillside”
Charcoal and pencil on paper 8 x 10 inches
CHEN CHI (1912-2005)
“Summer” 1962
Watercolor on paper 7 1 39 /8 x 8 /2 inches Signed and dated, lower left Signed and dated in Chinese script and chop, upper right
CHEN CHI (1912-2005)
“Autumn” 1962
Watercolor on paper 37 ¾ x 9 ½ inches Signed and dated, lower left Signed and dated in Chinese script and chop, upper right
ANTONIO CIRINO (1888-1983)
“Childe Hassam’s Hideaway” (Rockport, Massachusetts)
Oil on canvas 25 x 30 inches Signed, lower left
ANTONIO CIRINO (1888-1983)
“The Stream Marches On”
Oil on canvas 25 x 30 inches Signed, lower left
SAMUEL COLMAN (1832-1920)
“Old Apple Orchard, Newport” 1865
Watercolor and pencil on paper
5 ¼ x 9 ¼ inches Signed with initials, lower left Inscribed with title and dated, “July/65”, lower right center Also inscribed “oldest lot”, lower right Provenance: Family of the artist
SAMUEL COLMAN (1832-1920)
“Paradise Pond from Nature, Newport, Rhode Island” 1884
Oil on canvas 10 x 20 inches Signed and dated, lower left Titled on old label on stretcher
Provenance: Hamilton Ward, NY Supreme Court Justice; Frank Dudensing Gallery, NY; George L. Eaton; Nuala Pell, Newport, RI
LUCY SCARBOROUGH CONANT (1867-1920)
“In the Old Apple Tree” 1890
Oil on canvas 1 7 15 /4 x 21 /8 inches Signed and dated, lower right Exhibition: Paris Salon of 1891, Number 388
CHARLES COURTNEY CURRAN (1861-1942)
"An Afternoon Respite" 1894
Oil on canvas 9 x 12 inches Signed and dated, lower right
VICTOR DE GRAILLY (1804-1889)
“Idyllic Landscape”
Oil on canvas 17 x 24 inches
THOMAS DOUGHTY (1793-1856)
"Landscape with Stream”
Oil on canvas 28 x 33 ½ inches
ROBERT S. DUNCANSON (1821-1872)
“Landscape” 1863
Oil on canvas 5 1 14 /8 x 23 /8 inches Signed and dated lower left: R. S. D. / 1863 Provenance: Private collection, New Jersey
JOE EVANS (1857-1898)
“Landscape with Trees: Cornish, New Hampshire” 1893
Oil on canvas 18 x 22 inches Signed, dated, and inscribed "Cornish", lower left
ALEXIS J. FOURNIER (1865-1948)
“Forest Landscape” circa 1900
Oil on canvas 15 ½ x 19 inches
JOHN FROST (1890-1937)
“Woodcock Hunting” 1936
Oil on canvas 25 x 30 inches Signed and dated, lower right
WILLIAM HAMILTON GIBSON (1850-1896)
“A Scene in the Forest” 1881
Mixed media on paper 28 ¼ x 21 ½ inches Signed and dated, lower left
WILLIAM HART (1823-1894)
“A Summer Day in the Mountains” 1857
Oil on canvas 32 x 48 inches Signed and dated, lower right
WILLIAM HART (1823-1894)
“Landscape with Stream” 1874
Oil on canvas 1 3 10 /4 x 16 /8 inches Signed, lower right
WILLIAM JOHN HENNESSY (1839-1917)
“Butterflies & Apple Blossoms” 1874
Oil on canvas 20 ½ x 13 ½ inches Signed and dated, lower right
WINSLOW HOMER (1836-1910)
“Spring Farm Work, Grafting” 1870
Original wood engraving on paper 6 7/8 x 9 1/8 inches Initialed in print, lower left Originally published in Harper’s Weekly, April 30, 1870
WINSLOW HOMER (1836-1910)
“Swinging on a Birch Tree” 1867
Original wood engraving on paper 7 5 5 /8 x 3 /8 inches Initialed in reverse in print, lower right
Originally published in Our Young Folks, June, 1867
WINSLOW HOMER (1836-1910)
“The Morning Bell” 1873
Original wood engraving on paper 1 1 9 /8 x 13 /2 inches
Originally published in Harper’s Weekly, December 13, 1873
WINSLOW HOMER (1836-1910)
“The Surgeon at Work at the Rear During an Engagement” 1862
Original wood engraving on paper 1 3 9 /8 x 13 /4 inches Initialed in reverse in print, lower right
Originally published in Harper’s Weekly, July 12, 1862
CORTLANDT V.D. HUBBARD (1912-2000)
“Massachusetts Hall, Harvard University” circa 1930s
Silver print 7 x 9 ¼ inches Signed, lower right
CORTLANDT V.D. HUBBARD (1912-2000)
“Hollis Hall, Harvard University” circa 1930s
Silver print 7 x 9 ¼ inches Signed, lower right
DANIEL P. HUNTINGTON (1816-1906)
“Landscape, Lake Mohonk” 1899
Oil on canvas 44 x 56 inches Signed, dated and inscribed, Mohonk, lower left
Note: Lake Mohonk is a lake at the eastern end of Marbletown, New York, in Ulster County about 14 miles northwest of Poughkeepsie.
DAVID JOHNSON (1827-1908)
“Mount Chocorua, New Hampshire”
Oil on board 3 1 4 /8 x 6 /4 inches Signed with monogram, lower left
EDWIN BOYD JOHNSON (1904-1968)
“Nude Woman in Tropical Landscape” (American WPA period)
Oil on board 37 x 25 inches Signed and inscribed "Assisted by Lewis Crum" lower left
(Attributed to:) WILLIAM J. KAULA (1871-1953)
“New Hampshire Landscape” circa 1900
Oil on canvas 12 x 15 inches
JOHN F. KENSETT (1816-1872)
“The Old Oak”
Oil on canvas 18 ¼ x 24 ¼ inches
Provenance: Estate of the artist Family Estate, Kinderhook, New York
Exhibition: National Academy of Design Kensett Memorial Exhibition, 1873, no. 224
Literature: Robert Somerville, The Collection of Paintings of the Late John F. Kensett, Association Hall, New York, 1873, catalogue no. 224
Matthew Brady Studio, Atlas Size Photograph Album of The John F. Kensett Memorial Exhibition, New York, National Academy of Design, March, 1873, photo plate no.17 (Collection, Metropolitan Museum of Art, Research Library)
JOHN F. KENSETT (1816-1872) AND DANIEL P. HUNTINGTON (1816-1906)
“My Pleasure Ground”
Oil on canvas 18 x 14 inches Signed with both of the artists’ initials, lower left Inscribed with title on backing
Note: There is a painting of the Newport coast in the Karolik Collection at the Boston Museum of Fine Arts which is also a collaboration between Kensett and Huntington.
LOUIS ASTON KNIGHT (1873-1948)
“Shore Cottage Garden, Oyster Bay, Long Island” circa 1910
Watercolor and gouache on paper Signed, lower right Titled on verso
BANCEL LA FARGE (1875-1938)
“Apple Blossoms, Beverly Farms, Afternoon Light”
Oil on mahogany panel 14 x 11 inches Inscribed on verso: “Apple blossoms/Beverly Farms/ Afternoon light/Bancel la Farge”
JOHN LA FARGE (1835-1910)
“Evening Study” (Priest’s House, Nikko, Japan) 1886
Watercolor and gouache on paper 14 x 10 inches Initialed and dated, lower right Inscribed in black ink on verso: “Later gorgeous sunset Blue green at places And reddish Orange clouds Roof runs into background Nikko Japan July 1886.”
Provenance: Kennedy Galleries, New York; Paul Magriel, New York; Sotheby’s, May 20, 1998, Lot 35, New York; Private Collection, New York
Exhibitions: Whitney Museum, New York, The American Federation of the Arts, New York, “One Hundred Years of American Realism, Watercolors and Pastels from the Paul Magriel Collection,” 1965 William Vareika Fine Arts, Newport, RI, “John La Farge: American Artistic Genius and Renaissance Man,” 2009
JOHN LA FARGE (1835-1910)
“Study of Snow” circa 1884
Watercolor and gouache on mechanical reproduction 7 x 5 inches
Provenance: Given to Albert Stickney, John La Farge’s attorney, in payment for legal services; descended in the Stickney family to the present Literature: James Yarnall, John La Farge in Paradise: The Painter and His Muse, Newport, RI: William Vareika Fine Arts, 1995, p. 168, color illustration, p. 169, no. 231
JOHN LA FARGE (1835-1910)
“Palm Trees” circa 1890
Oil on canvas 24 x 15 inches
Note: Signature is not of the artist’s hand and may have been applied by the artist’s studio, estate, or other source
JOHN LA FARGE (1835-1910)
“Portrait of C. Grant La Farge as a Boy” circa 1865
Oil on panel 3 22 x 17 /16 inches Provenance: Family of the artist
Exhibitions: Wildenstem & Co., NY, 1931, “Loan Exhibition of Paintings by John La Farge and His Descendants”; Metropolitan Museum of Art, NY, 1936, “John La Farge Exhibition”; Graham Gallery, NY, 1966, “John La Farge” NOTE: C. Grant La Farge was a son of the artist
JOHN LA FARGE (1835-1910)
“Rocks by Path in the Sacred Grove at Paradise” circa 1865
Watercolor over pencil on paper 16 x 24 inches Signed with cipher, lower right
JOHN LA FARGE (1835-1910)
“Wood Interior” 1864
Oil on panel 3 9 /4 x 12 inches Signed and inscribed with title in artist’s handwriting on old label on verso
Provenance: Pierce & Co., Boston, auction, Nov. 20, 1878, no. 2; Dr. Arthur Tracy Cabot, Boston; His wife, Mrs. Arthur Tracy Cabot, Boston, 1912; Museum of Fine Arts, Boston, 1914-2006;William Vareika Fine Arts, Ltd.
Exhibited: Museum of Fine Arts, Boston, La Farge Memorial Exhibition January 1-31, 1911 (titled, In the Forest); McMullen Museum of Art, Boston College, Boston, Courbet: Mapping Realism, September 1 – December 8, 2013 Literature: American Paintings in the Museum of Fine Arts, Boston, Vol. I. Boston, MA: Museum of Fine Arts, 1969, listed on page 182, no. 695 as In the Forest, illustrated; McMullen Museum of Art, Boston College, Boston, Courbet: Mapping Realism, 2013, 126, Ill. 41
THEODORE OTTO LANGERFELDT (1841-1906)
“Landscape with Hill and Boats”
Watercolor on paper 5 ¾ x 8 ¾ inches (Sight size) Initialed, lower right
EDMUND DARCH LEWIS (1835-1910)
"The Mountain Lake" (Mt. Mansfield, Vermont) 1869
Oil on canvas 30 x 50 inches Signed and dated, lower left
Exhibition: (possibly) The Pennsylvania Academy of the Fine Arts Annual Exhibition, Philadelphia, 1869, No. 241
JERVIS MC ENTEE (1828-1891)
“Esopus Creek, New York” 1867
Oil on canvas 1 8 x 14 /8 inches Incised lower left: JME / 67 Inscribed on stretcher in pencil: Esopus Creek / J McEntee Goupil & Co., New York stamp on verso of canvas
WILLIAM RICKARBY MILLER (1818-1893)
“View of Pelham Priory” 1854
Watercolor, gouache & graphite on paper 10 ½ x 14 ½ inches Signed, inscribed with title, and location, New Rochelle, and dated Oct 1854, lower right
JOHN FRANCIS MURPHY (1853-1921)
“September Grays” 1892
Oil on canvas laid down on panel 14 x 19 inches Signed and dated, lower right
Provenance: Macbeth Gallery, NY, Bishop Bromley Oxnam (purchased from the above in 1940)
Exhibition: Macbeth Gallery, NY, Fortieth Anniversary Exhibition, April 11-30, 1932
GEORGE LOFTUS NOYES (1864-1954)
“The Valley Farm in Winter” circa 1930
Oil on canvas board 9 x 12 inches Signed, lower right
R. NYE American School, 19th Century
“Boys Fishing” 1877 (after Waiting for a Bite by Winslow Homer)
Oil on canvas 9 ½ x 14 inches Signed, “Nye,” and dated, lower left
WALTER LAUNT PALMER (1854-1932)
“Winter Twilight” 1873
Oil on canvas laid down on board 3 1 18 /8 x 12 /4 inches Signed and dated, lower right
WALTER LAUNT PALMER (1854-1932)
“An Upland Stream” 1904
Oil on canvas 16 x 24 ¼ inches Signed, lower right
EARL PURDY (EARLY 20TH CENTURY AMERICAN)
“Trinity Church, Newport, Rhode Island” 1925
Etching on paper 1 1 10 /4 x 7 /4 inches Titled and dated in plate, lower left Signed in plate, lower right Pencil signed in margin, lower right
HENRY WARD RANGER (1858-1916)
“Autumnal Hues” 1899
Oil on canvas 28 x 36 inches Signed and dated, lower left
Provenance: Henry Ward Ranger Memorial Exhibition and Sale, American Art Association, NY, 1917, No. 67 (purchased for $550.00 by The Henry D.G. Rohlfs Gallery, Brooklyn); Richard York Gallery, NY, 1987
AIDEN LASSELL RIPLEY (1896-1969)
“Grouse and Barberries”
Watercolor on paper 12 x 18 inches Signed lower left, Sketch A. Lassell Ripley and titled Inscribed on verso: "Grouse and Barberries" / A. Lassell Ripley
Provenance: Private collection, Dublin, NH
WILLIAM TROST RICHARDS (1833-1905)
“A Farmhouse and Grainfields” Chester County, Pennsylvania circa 1887
Watercolor on paper 12 x 19 1/8 inches
Provenance: Family of the artist Exhibited: Brandywine River Museum, Chadds Ford, Pennsylvania, “Pastoral Interlude: William T. Richards in Chester County,” September 8 – November 18, 2001 Literature: Linda S. Ferber Pastoral Interlude: William T. Richards in Chester County. Chadds Ford, PA: Brandywine River Museum, 2001, illus. no. 14, p. 41
WILLIAM TROST RICHARDS (1833-1905)
“An Outdoor Studio” circa 1860-61
Pencil on blue-green paper 5 5 4 /8 x 3 /8 inches Provenance: Family of the artist Exhibited: The Hudson River Museum, Yonkers, New York, 1986 Literature: Ferber, Linda S. “Never at Fault”: The Drawings of William Trost Richards (Yonkers, NY: The Hudson River Museum, 1986) 64-65, illus. no. 47, p. 65
WILLIAM TROST RICHARDS (1833-1905)
“Autumn Leaves” circa1870
Watercolor on paper 1 6 /8 x 5 inches Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Backyard of House, Germantown, Pennsylvania” 1861
Pencil on grey paper 3 6 x 9 /8 inches Inscribed July 4, 1861, lower center Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Beach at Beverly Farms, Cape Ann, Massachusetts” 1877-82
Watercolor and gouache on heavy paper 23 x 36 ¾ inches Signed and dated, lower left, Wm. T. Richards 1877-8s Inscribed with title on verso
WILLIAM TROST RICHARDS (1833-1905)
“Edge of the Forest with Bridge over Stream”
Pencil on paper 11 ½ x 17 inches (Sight size) Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Figure Reading”
Pencil and Chinese white on gray paper 5 ½ x 7 ½ inches Dated, “Aug 14, 1859,” lower left Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Forest Interior and Pool”
Pencil on paper 6 7/8 x 10 ½ inches Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Lake George” June 24, 1855
Pencil on cream paper 7 x 11 7/8 inches Signed and dated, lower right Provenance: Family of the artist
Exhibited: The Hudson River Museum, Yonkers, New York, 1986; The Adirondack Museum, Blue Mountain Lake, New York, 2002
Literature: Ferber, Linda S. “Never at Fault”: The Drawings of William Trost Richards (Yonkers, NY: The Hudson River Museum, 1986) 34-35, illus. no. 16, p. 34; Ferber, Linda S. and Welsh, Caroline M. In Search of a National Landscape: William Trost Richards and the Artists’ Adirondacks, 1850-1870 (Blue Mountain Lake, NY: The Adirondack Museum, 2002) illus. no. 1, p. 36
WILLIAM TROST RICHARDS (1833-1905)
“Lake Scene” 1853
Pencil on paper 5 ¼ x 9 ½ inches Dated, May 15th 1853, lower left Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Lake Study”
Ink and watercolor on paper 4 ¾ x 7 ¼ inches Scribble on the verso Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Landscape in Tacoma Territory” 1889
Watercolor on paper 10 x 14 inches Inscribed with location on verso Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Landscape with Farmhouse” 1861
Pencil on green paper 1 1 5 /4 x 9 /8 inches Dated July 1, 1861, lower right Provenance: Family of the artist (Probably Bethlehem, PA)
WILLIAM TROST RICHARDS (1833-1905)
“Landscape with House”
Pencil on beige paper 5 1/8 x 7 ½ inches Dated, August 7th 1861 lower left Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Landscape with Figure in Row Boat”
Watercolor on paper 4 ½ x 7 7/16 inches (Sight size) Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Landscape with Stream”
Pencil on paper 9 1/8 x 7 1/8 inches (Sight size) Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Mountain Landscape with River”
Pencil on blue paper 5 ½ x 9 5/8 inches Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Mountain Landscape with Trees” 1867
Pencil on green paper 9 ¼ x 11 ¾ inches Inscribed with location and date, lower right. Inscription reads Lauterbrunnen Aug 16th 1867. Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Parkland” 1867
Pencil on paper 9 1/8 x 11 5/8 inches Inscribed at lower left: “June 24th 1867” and at lower right: “Darmstadt” Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Potter’s Cove, Conanicut Island, Rhode Island”
Watercolor and pencil on paper 12 1/8 x 24 5/8 inches The following inscription appears on an old label affixed to the backing: Potter’s Cove/ Narragansett Bay rapid sketch made by/ Wm. T. Richards/ 1 ½ hours, presented in commemoration/ of his Hurricane Cruise in the/ Seabird
WILLIAM TROST RICHARDS (1833-1905)
“Ship Building”
Pencil on paper 9 ¼ x 14 inches Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Small Vertical Tree”
Pencil on paper 9 ¼ x 6 inches Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Stream in the Woods at Germantown” 1868
Pencil on paper 9 x 11 ¾ inches Inscribed Aug 19/68 Germantown, lower left Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Stream Bank with Figure” June 29, 1861
Pencil and gouache on gray paper 9 ¼ x 16 inches Dated, lower center Provenance: Family of the artist Exhibited: The Hudson River Museum, Yonkers, New York, 1986 Literature: Ferber, Linda S. “Never at Fault”: The Drawings of William Trost Richards (Yonkers, NY: The Hudson River Museum, 1986) illus. no. 46, p. 64
WILLIAM TROST RICHARDS (1833-1905)
“Study of a Tree”
Pencil on paper 5 ¾ x 4 ¼ inches Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Summer Landscape, Canaan, Connecticut” circa 1903
Oil on board 5 1/4 x 9 1/4 inches Signed, lower left
WILLIAM TROST RICHARDS (1833-1905)
“The Artist's Easel in the Woods” early 1860s
Pencil on blue paper 4 3/16 x 4 5/16 inches Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Tree Study” circa 1878
Pencil on paper 7 ½ x 5 inches Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Tree Study” 1880
Pencil on paper 14 x 9 7/8 inches Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Tree Study”
Pencil on paper 11 1/8 x 8 3/16 inches Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Tree Study”
Pencil on paper 8 ¾ x 11 ½ inches Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Tree Trunks and Boulders” June 25, 1854
Pencil on cream paper 7 3/8 x 5 5/8 inches Inscribed, lower left: “June 25th 1854” Provenance: Family of the artist
Exhibited: The Hudson River Museum, Yonkers, New York, 1986 Literature: Ferber, Linda S. “Never at Fault”: The Drawings of William Trost Richards (Yonkers, NY: The Hudson River Museum, 1986) 28-29, illus. no. 11, p. 28
WILLIAM TROST RICHARDS (1833-1905) “Trees” 1855
Pencil on paper 11 3/8 x 8 1/8 inches Dated, Oct 22nd 1855, lower right Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Trees” 1877
Pencil on paper 14 ½ x 10 inches Inscribed at lower right: “July 4 ’77” and inscribed at lower left: “(Fixed)” Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Trees in a Landscape” 1858
Pencil and Chinese white on green paper 6 x 8 7/8 inches Dated, June 12th 1858, lower left Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Two Figures in a Landscape”
Sepia on paper 7 x 9 ½ inches Full images on the verso Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Windblown Trees”
Pencil on blue paper 6 ¾ x 13 ¾ inches Provenance: Family of the artist
WILLIAM TROST RICHARDS (1833-1905)
“Winter Landscape, Canaan, Connecticut” 1903
Oil on board 5 1/8 x 9 1/4 inches Signed and dated, lower left
WILLIAM TROST RICHARDS (1833-1905)
“Woodland, Autumn” circa 1870
Watercolor on paper 6 ½ x 4 ½ inches Provenance: Family of the artist
THEODORE ROBINSON (1852-1896)
“Cathedral at Vernon, France” 1888
Oil on panel 13 ⅛ x 9 ½ inches Signed and dated on verso: Cathedral. Vernon
EMILY SARGENT (1859-1929)
“Alhambra” circa 1912
Watercolor on paper 18 x 15 inches
Provenance: Muriel Case, Newport, RI Miss Case was the granddaughter of Admiral Augustus Ludlow Case of Newport, RI a close friend of John Singer Sargent and Emily Sargent. This rare watercolor was a gift from the artist to Admiral Case and descended in the Case family to Muriel Case who sold it to William Vareika. Exhibited: Sargent Abroad: An Exhibition September 7 – December 13, 1997 Adelson Galleries, New York
FRANK HENRY SHAPLEIGH (1842-1906)
“Mountain Village” circa 1866
Oil on canvas 18 x 24 inches
WILLIAM LOUIS SONNTAG (1822-1900)
“October in New Hampshire, Near the Foot of Mt. Washington”
Oil on canvas 20 ⅛ x 36 ⅛ inches Signed lower left: Sonntag Inscribed on verso: October in N. H / Near the foot of / Mt. Washington
HELENA STURTEVANT (1872-1946)
“A Mansion” May, 1895
Watercolor on paper 9 ½ x14 inches Signed and dated, lower right
Note: Helena Sturtevant was a founding artist member of the Art Association of Newport
HELENA STURTEVANT (1872-1946)
“A Mansion” April, 1895
Watercolor on paper 9 ½ x14 inches Signed and dated, lower right
Note: Helena Sturtevant was a founding artist member of the Art Association of Newport
HELENA STURTEVANT (1872-1946)
“First Baptist Church, Providence” 1927
Etching on paper 11 ¼ x 8 inches Signed and dated in margin, lower left
Note: Helena Sturtevant was a founding artist member of the Art Association of Newport
HELENA STURTEVANT (1872-1946)
“Paradise” Middletown 1915
Pastel on board 19 x 25 inches Signed, lower left
Note: Helena Sturtevant was a founding artist member of the Art Association of Newport
GEORGE A. SWIFT (1865-1945)
“Tennis Courts, Brooklawn Park, New Bedford, Massachusetts”
Watercolor on paper 9 ½ x 14 inches Signed, lower right
CHARLES AUGUSTE THIEBAUT (b. 1840)
“The Old Mill” 1875
Lithograph on paper 6 ¼ x 10 inches Published by J. Bien Lithographers, New York
UNKNOWN ARTIST
“Res. of Elbert J. Anderson Redwood Farm, Portsmouth, RI” 1878
Colored stone lithograph on paper 6 x 8 ¾ inches
UNKNOWN PHOTOGRAPHER
“Newport Tower with Naval Officer” 1880s
Albumen print 11 x 16 inches
UNKNOWN PHOTOGRAPHER
“Rhode Island Hall, Brown University” 1880s
Albumen print 6 x 8 ½ inches
UNKNOWN PHOTOGRAPHER (19th Century)
“Landscape View near Woodstock, Vermont with Mountain” circa 1880s
Albumen print 7 x 8 ½ inches
UNKNOWN PHOTOGRAPHER (19th Century)
“Landscape View near Woodstock, Vermont with River” circa 1880s
Albumen print 7 x 8 ½ inches
UNKNOWN PHOTOGRAPHER (19th Century)
“View of the Town of Woodstock, Vermont with Tree Path” circa 1880s
Albumen print 7 x 8 ½ inches
UNKNOWN PHOTOGRAPHER (19th Century)
“View of the Town of Woodstock, Vermont” circa 1880s
Albumen print 7 x 8 ½ inches
HENDRIK-DIRK KRUSEMAN VAN ELTEN (1829-1904)
“SUMMER LANDSCAPE WITH SHEPHERD, DOG & SHEEP” 1870
Oil on canvas 40 ¼ x 67 ½ inches Signed and dated, lower right
Note: This landscape probably depicts a scene in the Catskill Mountains near to the artist’s summer home in Ellenville, New York
ELIHU VEDDER (1836-1923)
“Capri”
Charcoal and pastel on paper 12 x 6 ½ inches (Sight size) Provenance: Kennedy Galleries, New York
ELIHU VEDDER (1836-1923)
“Coptic Convent, Beni Surf”
Pastel on paper 8 x 13 inches Inscribed Provenance: Kennedy Galleries, New York
ELIHU VEDDER (1836-1923)
“Trees after a Storm, Cuba”
Pencil on paper 5 ½ x 3 inches Provenance: Kennedy Galleries, New York
ELIHU VEDDER (1836-1923)
“Trees in Turner, Maine”
Pencil on paper 5 ¼ x 3 5/8 inches Provenance: Kennedy Galleries, New York
EMILY BURLING WAITE (1887-1980)
“Old Trinity Church Newport, Rhode Island” 1922
Etching on paper Signed, dated and titled, lower right 7 ½ x 9 ½ inches (Sight size)
EMILY BURLING WAITE (1887-1980)
“Bishop Berkeley’s House Middletown, Rhode Island” 1922
Etching on paper 4 ¾ x 6 ¾ inches Titled, signed and dated, 10.22, lower left Signed, lower right
EMILY BURLING WAITE (1887-1980)
“The Vernon House Newport, Rhode Island” 1922
Etching on paper 5 x 6 7/8 inches Signed and dated on plate, lower left Signed in pencil in margin, lower right
EMILY BURLING WAITE (1887-1980)
“Stone Tower with Trees Newport, Rhode Island” circa 1922
Etching on paper 5 ¼ x 7 ½ inches Signed in pencil in margin, lower right
HARRY WILLSON WATROUS (1857-1940)
“Nocturne”
Oil on canvas 12 x 10 inches
BENJAMIN WEST (1738-1820)
“Classical Figure Studies” (double sided)
Pencil on paper 14 x 18 ½ inches Kennedy Galleries label on mat board
BENJAMIN WEST (1738-1820)
“William Penn’s Treaty with the Indians, when he founded the Province of Pensylvania [sic] in North America 1681” 1775
Engraving on paper 16 ½ x 23 inches (image size)
Inscribed: “To the Proprietaries of the Province of Pensylvania &. &. This Print, Engraved from the Original Painting belonging to the late Thomas Penn Esquire. Is respectfully Inscribed by Their obedient humble servant John Boydell.Published June 12, 1775 by John Boydell Engraver in Cheapside London,” lower center; Inscribed: “Benj. West pinxit,” lower left; Inscribed: “John Hall sculpsit,” lower right
GEORGE W. WHITAKER (1841-1916)
“Country Farm House” 1890
Oil on canvas 20 ½ x 30 inches Signed and dated, lower right
NOTE: This home became the first site of a medical facility that later became the Goddard Memorial Hospital in Stoughton, Massachusetts.
GEORGE W. WHITAKER (1841-1916)
“Wooded Landscape with Figures” 1896
Oil on canvas 33 ½ x 59 ½ inches Signed and dated, lower left
T. WORTHINGTON WHITTREDGE (1820-1910)
“A Mexican Fountain, City of Orizaba” 1903
Oil on canvas 18 ½ x 26 ¼ Signed and dated, lower right Inscribed with title and dated 1893 on back of canvas. The artist obviously signed and dated the artwork a decade after it was painted.
Illustrated: Anthony Janson, “Worthington Whittredge,” Cambridge University Press, 1989, no. 161, p. 200
T. WORTHINGTON WHITTREDGE (1820-1910)
“A Stroll Down a Country Lane, Tiverton, Rhode Island” circa 1883-86
Oil on canvas 8 x 12 inches
T. WORTHINGTON WHITTREDGE (1820-1910)
“Forest Interior”
22 3/16 x 14 7/8 inches Oil on canvas Signed, lower left
T. WORTHINGTON WHITTREDGE (1820-1910)
“Idyllic Farm Scene with Cows In Summer, near Millburn, NJ” circa 1880
Oil on canvas 15 x 23 inches Signed, lower left
T. WORTHINGTON WHITTREDGE (1820-1910)
“Landscape with Hunter and Dog” 1847
Oil on canvas 14 x 21 inches Signed and dated, lower center
ALEXANDER WYANT (1835-1910)
"Autumn In the Woods" circa 1880-85
Oil on canvas 48 ½ x 36 ½ inches Signed, lower right
Provenance: Harold I. Pratt to 1920 Exhibited: Paris, France, “Paris 1900: The American School at the Universal Exposition,” 1999-2001
Illustrated: Eliot Clark, “Sixty Paintings By A.H. Wyant,” privately printed, 1920, no. 11, pp 30-31