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Home , Benjamin Champney, Browne House, Casey Farm, Castle Tucker, Coffin House, Fitz Henry Lane

Historic FRONT COVER:

Braddock Mead, aka John Green (c. 1688-1757) [compiler], Thomas Jefferys (c. 1710-1771) [publisher] A Map of the most Inhabited part of New England, containing the Provinces of Bay and , with the Colonies of and , Divided into Counties and Townships: The whole composed from Actual Surveys and its Situation adjusted by Astronomical Observations 1774 Hand-colored copper plate engraving 41½ x 39½ inches

NH: (1833-1905) Whaleback Lighthouse Off Portsmouth, New Hampshire [detail] circa 1872 MA: (1738-1815) Lady Temple (Elizabeth Bowdoin of ) circa 1767 CT: Frank Convers Mathewson (1862-1941) Noank Shipyard [detail] 1899 VT: James King Bonnar (1883-1961) Mount Equinox, Manchester, [detail] circa 1950 RI: John La Farge (1835-1910) Newport, Windmill, Near Easton’s Pond. Early Spring, Southeast Wind 1864 ME: winslow Homer (1836-1910) Sea and Rocks at Prouts Neck, [detail] 1895

“” An Exhibition and Sale of Paintings, Watercolors, Drawings, Prints, Photographs, and Sculpture Illustrating Four Centuries of the History, Culture, and Natural Beauty of the New England Region To Benefit

~ America’s Oldest, Largest and Most Comprehensive Regional Heritage Organization ~ and in Celebration of the Centennial of its Founding

JULY 12 - NOVEMBER 14, 2010

William Vareika Fine Arts Ltd The Newport Gallery of American Art 212 bellevue avenue • newport, rhode island 02840 WWW.VAREIKAFINEARTS.COM 401-849-6149 Historic New England: A Personal Reflection

“Our New England antiquities are fast disappearing...The situation requires aggressive action by a large and strong society, which shall cover the whole field and act instantly wherever needed to lead in the preservation of noteworthy buildings and historic sites.” (1874-1947) Founder of Historic New England, 1910

“The greatest use of life is to spend it for something that will outlast it.” William James (1842-1910)

My family roots are firmly planted in New England, my ancestors having arrived here during one of the great immigration waves of the early 20th Century. I was born in South Boston and raised in the industrial city of Brockton, Massachusetts, where my paternal grandfa- ther had come to find work in a shoe factory when he first arrived in America from Lithuania before returning to to fight for the US Army in World War I. My paternal grandmother worked on the campaigns of legendary Boston Democratic Mayor James Michael Curley. My maternal grandmother, who settled in South Boston after emigrating from County Galway, Ireland, found employment as a domestic in Boston. My wife Alison’s maternal ancestors arrived in New England on the Mayflower. Her grandfather was a successful Harvard-educated attorney who waged an unsuccessful campaign for Massachusetts Governor on the Republican ticket. Alison’s father came to New England from Oklahoma to attend Yale. My father was the first member of his family to graduate from college, attending Northeastern University on the GI Bill in the evenings when I was a child. The stories of our children’s ancestors – among them some of New England’s earliest European settlers and its struggling early 20th century immigrants – reveal two significant and very different perspectives on the complex and rich history of the region.

Nearly all of my fondest early memories took place among the historic sites and landmarks of New England: skating on the Boston Com- mon ice rink and riding the swan boats on the frog pond in the Boston Public Garden; visiting the attractions of the Freedom Trail, and battlefields of Lexington and Concord; touring Old Ironsides in the Charlestown Navy Yard; summer trips to the White Mountains and the Berkshires; fishing on Cape Cod; and reliving the region’s nostalgic past at Old Mystic, Plymouth, and Sturbridge. Later, while a prelaw student at Boston College in the early 1970s, I worked as an intern in the Mayor’s Office in Brockton. One of my projects was the publication of a guide to the city, which included a historical sketch. Researching and writing the guide showed me that even my own familiar hometown, a tired, struggling New England industrial city, possessed a fascinating and unique history to be acknowledged and preserved; this is true of every town and city in New England. This effort led to the establishment of the Brockton Historical Commission and my appointment as one of its first commissioners.

The William Vareika Fine Arts gallery was born out of a preservation crusade in the 1970s involving an endangered John La Farge deco- rated church in Newport, Rhode Island. I abandoned law school plans to volunteer to direct a protracted legal battle to save the historic landmark church and its La Farge murals and opalescent glass windows. I had discovered this important and eccentric artist in the one art history course I took as part of my liberal arts education. This academic experience and the ensuing preservation and restoration project altered my planned vocation in public service law as I developed a career as an art dealer and a passion for art and historic preser- vation. Among my preservation mentors during this period were the members of the tiny “faithful remnant” group with whom I worked in the battle to save the La Farge church. Though most were elderly and retired, they scrimped and saved to support our cause, some taking second mortgages on their homes in order to raise the necessary funds. One of our supporters was affectionately known around town as “Waterworks Annie” for once having courageously used her body to block a bulldozer in an attempt to prevent the destruction of the historic Newport Waterworks building. Unfortunately, even her bravery and dedication couldn’t prevent its eventual demolition.

In 1979, while a graduate student in the American Civilization program at Brown University, I served as the resident caretaker at a Rhode Island property owned by the Society for the Preservation of New England Antiquities (SPNEA), as Historic New England was known at the time. Today, I am honored to serve as a Trustee of the organization and a member of its Public Outreach Committee.

Throughout the years of the fight to preserve the La Farge church and during my time at Brown, I was forced to support myself in cre- ative ways. Along with working as the part-time custodian and art installer at the Newport Art Association (now Newport Art Museum), where I later served for twenty years as a Trustee, I found that I possessed a talent for buying and selling antique artworks. This began on a modest scale with my finding “sleepers” at yard sales, junk shops, and country auctions and mostly turning them over for a profit to dealers and a small number of private collectors. Over time, my experience, knowledge, and confidence grew as I developed from a “picker” to a private art dealer operating out of my small 1860s Newport carriage house, which later also served as home to Alison and our growing family. My first art purchases were a portrait of a boy with a parrot that came from the estate of the noted Newport and Boston collector Maxim Karolik, and a small John La Farge watercolor of the sea, which I sold to the . Alison and I opened our Bellevue Avenue, Newport gallery in 1987 with a dual mission: to provide a public space for the exhibition of im- portant historical American art, with an emphasis on the art of Newport and the region, and to support charitable causes. Over the past twenty-one years, we have staged a number of benefit exhibitions that have raised considerable funds and public consciousness about a variety of charities relating to the arts, education, the environment, health care, animal welfare, social services, and historic preserva- tion. I am pleased that millions of dollars have been contributed to non-profits as a result of these efforts and the success of our business.

During the centennial year of the founding of Historic New England, with thirty-six historic properties throughout New England, including four in Rhode Island, and valuable educational programs that served over 10,000 Rhode Island school children last year, this organization was a natural choice as the beneficiary of our 2010 summer exhibition. We are pleased to present the exhibition “Historic New England.”

This catalogue illustrates about one third of the approximately 150 works that are featured in the exhibition: oil paintings, watercolors, drawings, prints, photographs, and sculptures representing all six New England states and spanning a 250 year period from 1730 to 1980. The artworks selected depict a diversity of subject matter characteristic of New England over the past three centuries. The natural beauty that has attracted artists, settlers, and visitors to the region is displayed in the exhibition’s , from the majestic mountains of Vermont and New Hampshire to the rolling hills and farmlands of Western Massachusetts; in its seascapes, with proud ships and rocky shores and green, foamy surf from Maine to Connecticut. The exhibition’s cityscapes and townscapes recall a time when Boston was the “Hub of the Universe,” when Providence was a major national industrial center, when Gloucester and Newburyport were populated with farmers and fishermen who made their living from the bounty of the land and sea. Portraits of the wealthy and prominent hang alongside images of everyday New Englanders. The region’s extensive maritime heritage is detailed in works depicting fishing, whaling, shipbuilding, sailing, and naval history.

We are honored to contribute all opening gala reception donations and a portion of the sales proceeds from this exhibition to enhance the important mission of Historic New England. We encourage our friends and clients to learn more about the organization and to support its cause.

Horace Porter, 19th century US Ambassador to and Union Army General, once bemoaned his poor luck at being one of those “upon whom Providence did not sufficiently smile to permit us to be born in New England.” Those of us fortunate enough to have been born here or to have lived here long enough to call the region home should also feel extremely grateful that Historic New England remains steadfast in its mission to “keep history alive and to help people develop a deeper understanding and enjoyment of New England life and appreciation for its preservation.” May this noble work continue for the next hundred years and beyond.

Bill Vareika Newport, Rhode Island July 4, 2010 1. 13. Dole-Little House 25. 2. Nickels-Sortwell House 14. 26. 3. Marrett House 15. Swett-Ilsley House 27. Otis House About 4. House 16. Spencer-Peirce-Little Farm 28. Pierce House 5. Hamilton House 17. Beauport 29. Quincy House Historic 6. Sayward-Wheeler House 18. Cogswell’s Grant 30. New England 7. Rundlet-May House 19. Gedney House 31. Merwin House Defining the past. Shaping the future. 8. Gov. John Langdon House 20. Phillips House 32. 9. Jackson House 21. Boardman House 33. Clemence-Irons House For the past one hundred years Historic New England has brought the rich history 10. 22. Cooper-Frost-Austin House 34. Arnold House of New England to life for everyone interested in exploring the authentic New 11. Barrett House 23. 35. England experience from the seventeenth century to today. This year Historic New 12. 24. Codman Estate 36. England celebrates its centennial and launches a second century of protecting and sharing the stories, places, and objects that define New Englanders. Historic New England was founded in 1910 as the Society for the Preservation of New England Antiquities (SPNEA). Renamed Historic New England in 2004, the organization is celebrating and capturing history throughout 2010 with a variety of programs, including: an exhibition entitled Drawing Toward Home: Designs for Domestic Ar- chitecture at the National Building Museum, Washington, DC, through August 15; America’s Kitchens in at the Long Island Museum of American Art, History and Carriages, February 27-July 11; and a New England traveling exhibition, The Preservation Movement Then and Now, May 13-September 30, at Boott Cotton Mills Museum, Lowell, Massachusetts. Their ongoing 100 Years 100 Communities initiative is partnering with community groups to collect and Properties share important components of twentieth century history before they are lost Map • Founded in 1910 by Bostonian William Sumner Appleton, the country’s first professional preservationist • thirty-six historic homes and landscapes spanning four centuries and five states: Connecticut, Maine, Massachusetts, New Hampshire, Rhode Island • More than 110,000 objects: the largest assemblage of New England art and artifacts in the U.S., much displayed in its original context • online catalogue of more than 70,000 collection objects • educational programs serving more than 36,000 students each year • publications, public exhibitions, lectures, tours • preservation services including the stewardship easement program and Historic Homeowner membership and consultations

www.HistoricNewEngland.org Connecticut Marine artist Elisha Taylor Baker was born in 1827 in . His father, a former ship owner and captain, was a fish merchant. As a youth, Elisha spent some time at sea, probably in the whaling trade. He established a studio in downtown Manhattan at Pearl and South Streets and worked as a marine painter from about 1868. He painted portraits of all types of ships around New England, from racing yachts and whalers to steamships and schooners, as in this depiction of the Kate Church of New , Connecticut. Fish- ing, whaling, shipbuilding, and merchant shipping formed the backbone of the maritime-based economy of 18th and 19th century New England. Baker died in 1890 in , Connecticut. His work is held among the collections of: Mystic Seaport Museum; the Mariners’ Museum; New Bedford Whaling Museum; the Worcester Art Museum; and the . Elisha Taylor Baker (1827-1890) The Schooner “Kate Church” of New London, Connecticut Oil on canvas 24 x 31 inches Connecticut A leading tonalist painter, was born in Geneseo, New York and grew up in Syracuse. Ranger was largely self-taught as an artist, but studied at the College of Fine Arts at Syracuse University and in Europe, where he was influenced by the Barbizon painters and the Hague School of Dutch painters. He summered in Old Lyme and Noank and kept a winter studio in New York City. His discovery of beautiful and charming Old Lyme led to the formation of the important art colony there. Ranger first worked in watercolor, but turned to oil as his career progressed. He was most interested in seasonal landscapes, forest interiors, and marine subjects, such as this view of the picturesque coastline at Cos Cob, Connecticut. Cos Cob was home to one of New England’s oldest Henry Ward Ranger (1858-1916) and pre-eminent art colonies, where Coastal View, Cos Cob, Connecticut , Theodore Oil on panel 12 x 18 1/2 inches signed with Ranger’s artist stamp, lower left Robinson, , and J. Alden Weir helped shape American . Connecticut Marine painter and illustrator Carlton Theodore Chapman was born in New London, Ohio. As a boy, Chapman spent summers at his uncle’s shipyard in Maine, and remained an avid sailor all his life, frequenting the Narragansett Bay on yachts such as the Crescent. He studied in New York at the National Academy of Design and the Art Students League, and in Paris at the Académie Julian. Chapman was commissioned by the US Naval Academy to paint depictions of naval activities of the War of 1812. He was sent by Harper’s Magazine Weekly to Cuba to sketch the important engagements of the Spanish-American War. He also worked for Scribner’s Magazine illustrating articles on famous US naval battles. In the late 1880s the artist made sketch- ing trips throughout France. The brig Carlton Chapman (1860-1925) Enterprise, shown here, patrolled the “Enterprise” coming out of New London, July 15, 1897 northeast coast during and immediately Watercolor and pencil on paper 8 3/4 x 14 inches following the War of 1812, and once Titled, lower left and center sailed from New London, Connecticut to Newport, Rhode Island with President James Monroe as a passenger. Connecticut Landscape, marine, floral, and mural painter Frank Convers Mathewson was born in Barrington, Rhode Island. He studied in Paris at the Académie Julian and at the National School of Decorative Arts. He also studied painting in Fiesole, Italy with Frank Vincent DuMond. He worked in Providence with Frederick Batcheller, and with Hugo Bruel and Sydney Burleigh in the Fleur de Lys studio building. In 1904 he again traveled abroad, studying and painting in Cornwall, Paris, Bruges, and Munich. Upon returning to the , Mathewson established a studio on 57th Street in New York, where he remained for eleven years. Returning to Providence, the artist took up occupancy in Burleigh’s studio in the Fleur de Lys building. Mathewson painted scenes throughout New England, such as this view of the historic shipyard at Noank, Connecticut, established by the Palmer brothers in 1850. The “Palmer yard,” the largest facility for building and repair of wooden vessels in southern New England, was a popular subject for marine painters. Frank Convers Mathewson (1862-1941) Noank Shipyard 1899 Oil on canvas 16 x 20 inches signed and dated, lower right Connecticut Old Lyme Impressionist painter Will Howe Foote was born in Grand Rapids, Michigan. He studied at the Art Institute of Chicago and under Kenyon Cox and H. Siddons Mowbray at the Art Students League in New York City, where he became close friends with fellow student Frederick Frieseke. Foote also studied in Paris at the Académie Julian, as well as with J. A. M. Whistler. He was one of Connecticut’s ’s earliest artists, first arriving to paint in the summer of 1901 with his uncle, artist Wil- liam Henry Howe. The Old Lyme Colony was one of the earliest and most influential of the many artist colonies that developed throughout New England in the first decades of the 20th Century. Foote taught at the Art Students League and as assistant to Frank Vincent DuMond at the Old Lyme Summer School of Art. In 1909 Foote built a home on the Lieutenant River in Old Lyme. The artist spent winters painting in the warmer climates of Bermuda, the Caribbean, Mexico, and the Southwest. Foote enjoyed experimenting Will Howe Foote (1874-1965) with color and the effects of light in nature, “Black Point” Waterford, Connecticut as in this shimmering view of Black Point, Oil on board 12 x 16 inches signed, lower right inscribed with location on verso Waterford, Connecticut. Maine One of America’s most renowned marine artists, Nathaniel Rogers Lane was born in Gloucester, Massachusetts. Lane petitioned to change his name to Fitz Henry Lane in 1831. He apprenticed himself to the Boston lithographer William S. Pendleton, producing naval architecture drafts, panoramas, and topographical views of Boston and its harbor. Lane soon established himself as a printmaker as well as a painter. As a painter, he was largely self-taught, but the Boston- based English luminist marine artist Robert Salmon was a strong influence on his work. Returning to Gloucester in 1847, Lane designed and built a house and studio on Duncan’s Point that provided sweeping views of Gloucester harbor. The Penobscot Bay area of Maine was another important focus for Lane, as shown in this view of Castine from Hospital Island, one of Fitz Henry Lane (1804-1865) the artist’s most rare and important prints. Castine from Hospital Island 1855 He received many commissions from patrons Two-stone lithograph on paper 20 1/2 x 33 1/2 inches involved in Maine’s shipbuilding industry F. H. Lane, del. Printed by L. H. Bradford & Co’s. Lith. and maritime trades. Lane was known for his Published by Joseph L. Stevens, Jr. technical accuracy in depicting a vessel’s rig- ging, sail plan, and construction. It was said, “His pictures delighted sailors by their perfect truth.” Maine Master painter of marine and arctic scenes, William Bradford grew up in Fairhaven, Massachusetts, near New Bedford. In 1852 Bradford began painting and selling ship portraits. He studied with Albert Van Beest and sketched with . Bradford became known for his views of coastal New England, Nova Scotia, and Labrador. Shown here is a vessel out of Eastport, Maine, the easternmost port in the United States. Bradford’s success enabled him to establish studios in Boston and New York. The artist made several Arctic expeditions and became famous for his depictions of them. He traveled to England in 1871, where he was welcomed by British Arctic explorers and received many commissions for paintings, including one from Queen Victoria. Bradford returned to the United States in 1874. He lived and worked for a time in San Francisco and made painting trips throughout the west. He returned to New York and established a new studio in the Manhattan Studio Building. He maintained a summer studio in Fairhaven until the end of his life.

William Bradford (1823-1892) The “Mary Jane” of Eastport, Maine 1863 Oil on canvas 26 x 21 3/4 inches signed and dated, lower right Maine Marine painter William Frederick De Haas was born in Rotterdam, Holland in 1830. He was the older brother of Mauritz Frederik Hendrick De Haas, also a marine painter. William studied at the Academy of Fine Arts in Rotterdam, and with landscape painter Nicolaas J. Roosenboom at The Hague. He left Holland in 1854 and immigrated to the United States, establishing a studio in the Tenth Street Studio Building in New York City. De Haas is best known for his coastal scenes, many of which are of Maine. He exhibited frequently at the National Acad- emy of Design and the Art Association. De Haas died in Fayal, the Azores, in 1880. William Frederick De Haas (1830-1880) Bald Head Cliff, York, Maine 1874 Oil on canvas 22 x 36 inches signed and dated, lower left Maine

Alfred T. Bricher (1837-1908) Low Tide, Maine Oil on canvas 15 x 32 inches signed, lower left

Alfred T. Bricher (1837-1908) North Head Pen and ink on paper 2 1/2 x 5 3/4 inches Signed with monogram, lower right Maine

“Talk of mysteries! — Think of our life in nature, — daily to be shown matter, to come in contact with it, — rocks, trees, wind on our cheeks! the solid earth! the actual world!”

Henry David Thoreau the Maine Woods, 1848

Alfred T. Bricher (1837-1908) Peaceful Cove with Mother and Child Oil on canvas 18 x 39 inches signed, lower right

Alfred T. Bricher (1837-1908) Picnic on the Cove Pen and ink on paper 3 x 6 1/2 inches Signed with monogram, lower right Maine Winslow Homer is a major figure in American painting. Homer was born in Boston and grew up in Cambridge, Massachusetts . He apprenticed with lithographer J. H. Bufford in Boston in 1855 and studied drawing at the National Academy of Design. He began his career as an illustrator for Ballou’s Pictorial and Harper’s Weekly in New York. In 1861 Homer began painting in oils, having studied briefly with Frederic Rondel. He traveled to France in 1866-67, where he was influenced by Impressionism. After 1873, Homer also began to paint in watercolors and became a great master of the medium. In 1882 the artist settled in Prouts Neck, Maine, whose weather-beaten coast provided the Winslow Homer (1836-1910) artist with his most inspiring subject Sea and Rocks at Prouts Neck, Maine 1895 matter. Homer spent much of his Unique lithograph on paper 4 x 7 inches last twenty-five years at Prouts Neck Inscribed in the margins of the lithograph: and garnered close relationships with “Old proof/George Meyer’s Block/1895/Winslow Homer/ neighbors and the local fishermen. Original drawing on stone” His works are found in important collections throughout the United States. Maine Antonio Jacobsen, foremost chronicler of American shipping in the late 19th and early 20th Centuries, painted ships as they passed out of the age of sail into the age of steam. Jacobsen was born in Copenhagen, Denmark, and came to New York City in 1871 to avoid being drafted into the Franco-Prussian War. He spent his days in Battery Park looking for work, and would pause to sketch the ships in the harbor. He initially earned his living by decorating the doors to safes for Marvin Safe Company. In 1880 he moved to West Hoboken, New Jersey and continued to create portraits of ships, often receiving commissions from ship owners and captains, and eventually steamship companies. The Old Dominion, Fall River, and White Star Steamship Lines commissioned him to create portraits of all the vessels in their Antonio Jacobsen (1850-1921) fleets. Jacobsen became one of America’s Otter Cliffs, Bar Harbor, Maine 1908 premier marine artists. He occasionally Oil on board 8 x 12 inches signed and dated, lower right turned from ship portraits to coastal subjects, as in this rare view of the dramatic granite cliffs at Bar Harbor, Maine. Maine

Constantin Alexandrovitch Westchiloff (1877-1945 ) Constantin Alexandrovitch Westchiloff (1877-1945) Coastal View, Maine Rocky Coast, Maine Oil on board 11 x 14 inches Oil on board 11 x 14 inches Signed, lower left Signed and inscribed, “Maine,” lower left

Impressionist painter Constantin Alexandrovitch Westchiloff was born in Russia. He studied with Ilya Repin at the Royal Academy in St. Petersburg in 1898. In 1919 he exhibited at the First Free State Exhibition in Petrograd. He was also active in theatre design at the Petrograd Technical Institute. Westchiloff traveled extensively throughout Europe and the United States, establishing a studio in New York City. His favored medium was oil. He painted landscapes, portraits, figure and genre subjects, and is best known for his seascapes and harbor scenes, particularly of the New England coast, especially Maine. The artist eventually settled in New England, where he died in 1945. Maine American Impressionist painter Carroll Tyson was born in , where he lived for most of his life. During the summers, he worked out of a studio in Northeast Harbor, Maine, a picturesque village on . This setting was one of numerous coastal locations around Blue Hill, Maine, that afforded Tyson subjects for his most sought-after paintings. Many artists throughout American history have been inspired by the natural beauty of the Maine coastline, with its recreation activities and fishing and shipping industries that developed along the shore. Tyson studied with , Thomas Anshutz, and Cecilia Beaux at the Academy of Fine Arts. He also studied with Carl Marr and Walter Thor in Munich, . Tyson painted landscapes, seascapes, nature studies, and nudes in oil, watercolor, and pastel; he also produced prints of his works. Tyson was a discerning art collector, as well, and his estate included works by Renoir, Manet, Van Gogh, Goya, and Degas. He was a member of the National Academy of Design, the Philadelphia Art Club, and the Society of Inde-

Carroll Sargent Tyson (1877-1956) pendent Artists. Blue Hill, Maine Oil on canvas 25 x 30 inches signed, lower left Massachusetts Colonial portrait painter Joseph Blackburn was probably born in England. His style often emphasized artifice over , introducing fanciful costumes, lavish interior and garden settings, exaggerated jewelry, and dramatic poses derived from English mezzotints. He worked in Ber- muda from 1752 to 1753, receiving commissions from the leading families of the island. He relocated to the colonies and became successful in Newport, Rhode Island, at that time one of the major shipping centers of the Atlantic trade. Blackburn enjoyed success throughout New England, especially in Boston and Newburyport, Massachusetts and Portsmouth and Exeter, New Hampshire due to the patronage of wealthy colonists who appreciated his flattering likenesses and his skill at depicting silks, laces, and satins. One such portrait, shown here, is of William Taylor, a prominent Boston merchant who was elected captain of the Milton regiment of the Ancient and Honorable Artillery Company in 1760. Taylor married Sarah Cheeney in 1765 and died at the age of 75 in Milton. Blackburn was Boston’s leading portrait painter until he was surpassed in popularity by John Singleton Copley. Blackburn returned to London late in 1764, and painted in England, Dublin, and Wales between 1768 and 1777.

Joseph Blackburn (1700-1778) Colonel William Taylor (1714-1789) of the Ancient and Honorable Artillery Company circa 1755-58 Oil on canvas 30 x 25 inches Massachusetts John Singleton Copley, the premier portrait painter of the American colonies, was born in Boston. He first received art instruction from his stepfather, Peter Pelham, a London-trained engraver. While his early work was inspired by John Smibert and Joseph Blackburn, and drew heavily from English mezzotints for ideas about composition, settings, and costumes, the young painter quickly developed his own style, which included emphasizing the individuality of his sitters. Among the prominent colonists who sat for him was Lady Elizabeth Bowdoin Temple, daughter of James Bowdoin, Governor of Massachusetts. Reverend Manasseh Cutler, who dined with the Temples in New York in 1787, described Lady Temple as the greatest beauty he had ever seen. Her smiles alone “could not fail of producing the softest sensibility in the fiercest savage.” John Hancock commissioned Copley to create a portrait of Samuel Adams. In his most openly political portrait, Copley depicts Adams confronting Governor Thomas Hutchinson over the rights of the Massachusetts colony on the eve of the American Revolution. Copley achieved a degree of financial success that allowed him to live in the same style as his patrons. The artist settled in London where he continued painting portraits, numbering among his patrons British aristocrats and royals.

John Singleton Copley (1738-1815) Lady Temple [Elizabeth Bowdoin of Boston] (1750-1809) circa 1767 Pastel on paper laid down on canvas 23 x 18 1/4 inches Massachusetts Renowned American portraitist Gilbert Stuart was born in Saunderstown, North Kingstown, Rhode Island, and moved with his family to Newport in 1761, where he took lessons from artist Samuel King. As a boy, Stuart learned to sketch faces from an African slave, Neptune Thurston. In 1775 he went to London to study portraiture and was hired to paint draperies and backgrounds in the studio of the American expatriate artist Benjamin West. Stuart set up his own studio in 1782 and found immediate success. In 1793 Stuart sailed back to what had become the United States, intending to make his fortune painting portraits of the new American president, . Stuart painted at least one hundred versions of the three portraits of Washington he had done from life. Best-known is his 1796 “Athenaeum” portrait, which is the image on the US dollar bill. In 1805 Stuart settled in Boston. In 1816, when the Rev. John Thornton Kirkland sat for Stuart, he was serving as the fourteenth President of Harvard College. Kirkland presided over what is known as the “Augustan Age of Harvard,” raising intellectual standards, instituting new methods of instruction – such as the lecture – and banishing the brew houses, privies, sheep, and pigs from Harvard Yard.

Cortlandt V.D. Hubbard Gilbert Stuart (1755-1828) (1912-2000) Portrait of the Reverend John Thornton Kirkland 1816 Massachusetts Hall, Oil on wood panel 32 1/2 x 25 1/4 inches circa 1930s Silver print 7 x 9 1/4 inches Massachusetts Allen Crocker was a Boston attorney, author of law books, bookstore proprietor, and close friend of Gilbert Stuart.

Edwin Graves Champney was a member of the well-known New England artistic family that included the White Mountain School painter Benjamin Champney, the genre painter James Wells Champney, and the miniaturist Marie Champney Humphreys. Edwin was born in Boston, but moved with his family to Woburn, Massachusetts. He studied briefly in 1861 in North Conway, New Hampshire with his uncle Benjamin. During the Civil War, Edwin was stationed at Fort Macon on Hatteras Island in the Outer Banks of North Carolina; he made many sketches of army life. In 1871 Champney traveled to the and studied at the Royal Academy in Antwerp. He also traveled to Düsseldorf and Paris, returning to Boston Edwin Graves Champney in 1875. In 1876 he worked as an assistant to (1842-1899) John La Farge during the mural decoration Interior of the Munroe Tavern, of Trinity Church, Boston. Champney taught Lexington, Massachusetts drawing at the newly opened School of the circa 1885 Boston Museum of Fine Arts. In the late 1800s Oil on canvas the artist rented part of the Munroe Tavern 15 x 9 inches Gilbert Stuart (1755-1828) in Lexington, a 1695 building that served as a Provenance: Family of the artist Allen Crocker circa 1815 field hospital for retreating British troops at the battles of Lexington and Concord in 1775, now Oil on canvas 26 x 21 inches preserved as a museum. Massachusetts Influential marine artist Robert Salmon was born in England, near the Scottish border. Salmon lived in the ship-building town of Greenock on the west coast of Scotland from 1811 to 1822. His detailed depictions of sailing vessels reveal an intimate knowledge of ships and the sea, and re- flect the influence of 17th century Dutch marine painting. Salmon immigrated to Boston in 1828 and is credited with establishing the Luminist tradition in American painting. The many paintings Salmon produced of Boston and its environs include several works featuring Boston fires, most notably two completed in 1831 depict- ing a fire on Broad Street. He established himself primarily as a painter of marine scenes and ship portraits, but also painted theatrical scenery and panoramas. The artist maintained a studio on Marine Railway Wharf. Despite great success as a painter, Salmon resided in a small hut on the wharves of Boston Harbor. He left Boston in 1842, presumably to return to England. His last dated works are Italian scenes done in 1845.

Robert Salmon (1775-1844) Fire in Broad Street, Boston 1831 Oil on panel 8 x 9 7/8 inches signed and inscribed on verso: “painted by/R Salmon/1831” Massachusetts Robert Havell, Jr., the principal engraver of John James Audubon’s Birds of America, was born in Reading, England. The Havell family were expert engravers and the foremost practitioners of the aquatint method of etching. Working in London, under the direct supervision of Audubon and his son Victor and with an army of colorists, Robert produced all but the first ten plates of Audubon’s masterpiece. Havell and Audu- bon became close friends as well as collaborators. Havell visited Audubon in New York City at the naturalist’s invitation in 1839. Havell stayed first in Brooklyn, then moved to Ossining on the Hudson River, and finally settled in Tarrytown, New York. During this time Havell traveled in a horse- drawn trailer and sketched the countryside, later producing studio landscapes in oil and watercolor from his drawings. His paintings are in the style. Havell continued to make engravings and aquatints, Robert Havell, Jr. (1793-1878) as well, and produced panoramas of View of the City of Boston: From Dorchester Heights 1841 American cities, such as his important and Aquatint and engraving, printed in color rare early view of Boston from Dorchester 12 x 17 5/8 inches Heights. Painted & Engraved by Robt Havell. Printed by W. Neale. Colored by Havell & Spearing Massachusetts

Established in 1623, Gloucester, Massachusetts, on Cape Ann, is America’s oldest seaport and has played an important role in the economic and cultural history of New England. Gloucester was a major shipbuilding center. The first schooner was built there in 1713. Gloucester is also famous for fishing. Catches of cod, haddock, redfish, and flounder supported a great fleet of nearly four hundred schooners. Glouces- ter’s working harbor, scenic beauty, and quality of light have attracted generations of artists. Smith Cove is home to the Rocky Neck Art Colony, the oldest in the country. A host of important 19th century painters established Gloucester as an arts center, beginning with native-born Fitz Henry Lane. Historic New Fitz Henry Lane (1804-1865) England maintains the 1907 Squall at the Entrance to Gloucester Harbor 1842 Sleeper-McCann House, Oil on canvas 20 x 30 inches “Beauport,” in Gloucester. Signed and dated, lower right Massachusetts Landscape and marine painter, scientist and mathematician, author, botanist, clockmaker, and art teacher, Gustavus Frankenstein was born in Darmstadt, Germany. The Frankenstein family emigrated and, surviving shipwreck off the coast of Virginia, settled in Cincinnati, Ohio. Young Gustavus trained as a clockmaker. When the family moved to Springfield, Ohio, he became a teacher at the Springfield Female Seminary. In the 1850s Frankenstein’s brother Godfrey enlisted his help in painting a panorama of Niagara Falls, the exhibition of which became a popular public attraction. Frankenstein painted in New England as well, as in this sunrise view of the 19th century China Trade shipping center, Salem, Massachusetts. In 1867 he embarked on a sketching tour of Europe with Godfrey. Frankenstein lived for periods in Florida, Hawaii, and Bermuda before returning to Springfield, Ohio, where he built a studio near the family home and continued his clockmaking and painting. He also wrote popular stories for young people. Frankenstein is most famous for Gustavus X. Frankenstein (1827-1893) constructing the perfect cube of order 8. Sunrise, Salem, Massachusetts circa 1860 Oil on academy board 9 ½ x 12 inches Inscribed on verso: “Sunrise, Salem, Mass. Painted from Nature by Gustavus Frankenstein” Massachusetts Leading 19th century marine artist James Edward Buttersworth was born in Middlesex County, England. He began his career study- ing under his father Thomas, himself a respected marine artist. Butter- sworth immigrated to the United States, arriving in New York in the midst of the Golden Age of sail and steam. He busied himself chronicling the maritime world of New York Harbor, later settling in West Hoboken, New Jersey. The artist supplemented his income from the sale of paintings by working for Currier and Ives lithographers. Buttersworth recorded all types of vessels to be found along the New York, New Jersey and New England coasts, from packet ships, steamships, clipper ships, and naval frigates, to harbor craft and racing yachts, such as those depicted here in Boston Harbor. He also portrayed warships and historic naval actions. James E. Buttersworth (1817-1894) He represented ships with great accuracy. Yachting in Boston Harbor Buttersworth painted nine America’s Cup Oil on artist board 7 1/2 x 11 inches races, from 1870 to 1893. His career spanned Signed lower right: “J.E. Buttersworth” sixty years, comprising a significant contribu- Inscribed on verso: “Yachting in Boston Harbor” tion to the preservation of a colorful period in American maritime history that is important in the heritage of the New England region. Massachusetts Marine and landscape painter and etcher Lemuel D. Eldred was born at Poverty Point, a former shipbuilding and whaling center in Fairhaven, Massachusetts. He was a boatbuilder’s son. His early teachers included Fairhaven natives: portraitist William Mosher; painter and decorator Caleb Purrington; and celebrated marine painter William Bradford. Eldred established a studio in Boston around 1875. The young painter furthered his studies in Europe at the Académie Julian in Paris. Eldred specialized in marine subjects, especially scenes along the New England coast, the Bay of Fundy, and the St. Lawrence River. He painted inland landscapes as well, as in his views of the White Mountains of New Hampshire. He also painted scenes inspired by his journeys through Spain, Italy, the Mediterranean, and northern Africa. In his seventies, Eldred turned to etching as Lemuel D. Eldred (1848-1921) his preferred medium. He produced popular series Fairhaven, Massachusetts 1893 depicting old whaling vessels and harbor scenes and Oil on canvas 16 x 28 inches signed and dated, lower left the frigate Constitution. He spent his later years in Boston and at Bradford’s old studio in Fairhaven. Massachusetts Dean of the Cape Ann School, Frederick Mulhaupt was born in Rock Port, Missouri. After moving to Kansas City, he apprenticed with an itinerant sign painter and studied at the Kansas City School of Design. Mulhaupt then went to Chicago, where he enrolled at the Art Institute. In 1904 Mulhaupt moved to New York. Later, he lived in Paris for several years and also traveled to St. Ives in Cornwall, England, where he painted the Cornish coastline and fishing towns. In 1907 Mulhaupt began spending summers in Gloucester, Massachusetts, becoming a year-round resident in 1922 and establishing a studio on Rocky Neck. This painting depicts the deliverance of an injured crewman from a fishing boat of the Cape Ann fleet. The ship’s broken bowsprit is visible and its upside-down flag signifies distress. Whether this scene depicts an actual event Mulhaupt witnessed or something from the annals of fishing on Cape Ann is uncertain. In any event, this impressionist masterpiece is a tribute to the harsh realities of the New England fishing industry. “It is not the going out of port, but the coming in, that determines the success of the voyage.” Henry Ward Beecher

Frederick Mulhaupt (1871-1938) Disaster at Sea circa 1915 Oil on canvas 36 x 36 inches signed, lower left Massachusetts Founder of the Pop , Andy Warhol was born in Forest City, Pennsylvania. He attended the Carnegie Institute of Technology (now Carnegie Mellon University) in and worked during the summers creating window displays for the Joseph Horne Department Store. He moved to New York City and began a career as a commercial artist. By 1955 Warhol was the most successful commercial artist in New York. The first public appearance of his comic strip characters was a window display for Lord and Taylor in 1961. His first exhibition con- sisted of thirty-two versions of his Campbell’s Soup Can at the Ferus Gal- lery in Los Angeles in 1962. His second exhibition, which included his Red Elvis and Marilyn variations, made him famous. Warhol’s East 47th Street studio, known as the Factory, became the center of pop culture in New York. His silk-screened images of iconographic objects such as dollar bills, Coca-Cola bottles, and the faces of celebrities and politicians became highy sought-after by art enthusiasts. The silkscreen print of U.S. Senator Edward M. Kennedy of Massachusetts was created by Warhol as a fundraiser for the 1980 Kennedy presidential campaign.

“For what Pericles said to the Athenians has long been true of this Commonwealth: ‘We do not imitate – for we are a model to others.’ ” president John F. Kennedy

Andy Warhol (1928-1987) Edward Kennedy 1980 Silkscreen print with ruby diamond dust on museum board 40 x 32 inches signed and numbered, lower right New Hampshire

American School (18th - early 19th Century) American School (18th - early 19th Century) Mrs. George Jaffrey IV (Eliza Wetherell Jaffrey) circa 1810 George Jaffrey IV (born Jeffries) circa 1810 Oil on cradled wood panel 28 x 23 inches Oil on cradled wood panel 28 x 23 inches Provenance: Descendants of the sitter, the Jaffrey Family, Provenance: Descendants of the sitter, the Jaffrey Family, Jaffrey, New Hampshire Jaffrey, New Hampshire New Hampshire A leader of the White Mountain School of painting, Samuel Lancaster Gerry was born in Boston. He began his career as a sign and decorative painter in partnership with fellow artist James Burt out of their shop on Cornhill at the foot of Washington Street. Gerry painted in the Hudson River School style and was largely self- taught. Besides , Gerry is noted for portraiture as well as genre and animal subjects. He was founder and president of the Boston Art Club. Gerry made several trips abroad, traveling through France, England, , and Italy. Upon his return to the United States, he established a studio in Boston and taught art classes at the Tremont Street Studio Building. He made many painting trips to the lake district and Samuel L. Gerry (1813-1891) White Mountains of New Hampshire. White Mountain Landscape “Men hang out their signs indicative of their respective Along with many other artists, Gerry Oil on canvas 8 x 13 inches trades; shoe makers hang out a gigantic shoe; jewelers a frequented Benjamin Champney’s Signed, lower left monster watch, and the dentist hangs out a gold tooth; but North Conway studio. Gerry died in up in the Mountains of New Hampshire, God Almighty has Roxbury, Massachusetts, in 1891. The hung out a sign…” artist’s works are held in collections across the United States. New Hampshire An important second generation Hudson River School painter, was born in Paisley, Scotland. Hart studied art in Scotland before immigrating to Albany, New York with his family. As a youth he worked painting coaches and decorating window-shades, and also took up portrait painting. By the time Hart was eighteen, he was a professional portrait painter, and by 1847 had established a reputation as a landscape painter. He was mainly self-taught, though and Asher B. Durand were major influences on his work. By 1854 he had established a studio in New York City. Hart traveled throughout the United States, particularly Michigan, where he spent several years. Many of his paintings are dramatic sea- scapes depicting the coast of Maine, most frequently from Grand Manan Island. In the late 1850s and throughout the 1860s, he also made frequent sketching trips to William Hart (1823-1894) the White Mountains of New Hampshire. New Hampshire Landscape 1857 This major exhibition landscape painting Oil on canvas 32 x 48 inches signed and dated, lower right by Hart depicts an idyllic summer day in antebellum New Hampshire. Many of his paintings were produced as engravings and widely distributed. New Hampshire Hudson River School landscape artist David Johnson was born in New York City. Johnson studied at the National Academy of Design and briefly with fellow artist Jasper F. Cropsey. Johnson made his first study from nature in 1847 in the company of Luminist painter John F. Kensett, who became a lifelong friend. In 1851 Johnson made the first of many sketching trips to the White Mountains, visiting North Conway with John W. Casilear. The picturesque profile of captured his imagination, as did the primeval drama of Franconia Notch. Johnson made numer- ous painting trips throughout New England and New York State. His work was exhibited widely in the United States and in Paris. The artist died in David Johnson (1827-1908) 1908 in Walden, New York. His Mount Chocorua, New Hampshire paintings are found in museum Oil on canvas 4 3/8 x 6 1/4 inches (shown actual size) signed with monogram, lower left and private collections across the United States. New Hampshire Landscape and marine painter Harrison Bird Brown was born in 1831 in Portland, Maine. As a young man, Brown apprenticed as a house and ship painter with Forbes and Wil- son in Portland before advancing to sign and banner painting and opening his own shop. By 1857 Brown had begun easel painting. The artist became known for his White Mountain landscapes, such as the one shown here, and marine paintings of Maine’s Casco Bay and New Brunswick’s Grand Manan Island. He also produced two widely distributed illus- trations of Crawford Notch for the Maine Central Railroad in 1890. Brown became the best known native Maine painter of his time, and gained fame for himself and the state with a large canvas in the Maine pavilion of the 1893 World’s Columbian Exposition in Chicago. In 1892 he was elected president of the Portland Society of Art, which he had helped found ten Harrison Bird Brown (1831-1915) years earlier. Also in 1892, the artist moved to View of the White Mountains from Jones Farm 1862 England, where he remained for the rest of his Oil on canvas 25 1/4 x 42 1/4 inches life and continued to paint. This panoramic Signed, dated, and inscribed (on the stretcher): view of the White Mountains is typical of the “White Mt. from/N. Jone’s Farm/Painted by HBBrown 1862” finest creative output of this well-known New England artist. The subject demonstrates the appeal that the picturesque White Mountains have long held as a popular tourist destination. New Hampshire The original Whaleback Lighthouse was built in 1829-30. It remained in use until 1872, although it was poorly built and leaked heavily in storms and high seas. To remedy the problem, a second lighthouse was constructed alongside the first in 1870-71. The new light went into operation in 1872. The old tower was allowed to stand, with its light removed, until 1880 when it was torn down. A Daboll fog trumpet was installed at its top in 1877. William Trost Richards’ Whaleback Lighthouse, off Portsmouth, New Hampshire depicts the old and the new Whaleback lighthouses side-by- side during the period from 1871-72 to 1877. This painting was once owned by Le Grand Lockwood (1820-1872), Treasurer of the New York Stock Exchange. One of the country’s first millionaires, Lockwood built a mansion in his boyhood home of Norwalk, Connecticut, and filled it with paintings, statuary and antiques.

William Trost Richards (1833-1905) William Trost Richards (1833-1905) Whaleback Lighthouse, off Portsmouth, Hampton Beach, New Hampshire 1869 New Hampshire circa 1872 Graphite on blue paper 6 7/8 x 13 3/4 inches Oil on canvas Inscribed: “Hampton Beach” 25 3/4 x 36 1/2 inches and dated “July 29, ’69” lower right; Signed, lower left inscribed “Gray, brown muck,” lower center Provenance: Family of the Artist New Hampshire Marine and landscape painter was born in Portsmouth, New Hampshire, but relocated with his family to Newburyport, Massachusetts. Bricher moved to Boston to seek employment, and worked as a clerk at a mercantile house while painting part-time. As an artist, Bricher was largely self-taught. In 1858 he began painting full-time and established a studio in Newburyport. That year he made the first of many sketching trips through New York, New Jersey, and New England. He also sketched along the Mississippi River and in the Midwest. Later, he discov- ered the attractions of the Rhode Island coast and the rugged beauty of the coasts of Maine and New Brunswick, Canada. In 1859 Bricher opened a Alfred T. Bricher (1837-1908) studio in Boston, relocating to New White Mountain Landscape with Fisherman (Mount Chocorua, New Hampshire) 1864 York City in 1868. In 1890 he built a Oil on canvas 16 x 26 inches signed and dated, lower left home in New Dorp, on Staten Island. New Hampshire One of the greatest sculptors in American history, Augustus Saint-Gaudens was born in Dublin, Ireland. He was brought as an infant by his family to New York City. At age thirteen he apprenticed as a cameo cutter. He studied at the Cooper Union, National Academy of Design, and École des Beaux-Arts in Paris, as well as in Rome and Florence. His first major commission, completed in 1881, was “Admiral Farragut,” in Madison Square Park, New York City. Saint-Gaudens helped found the Society of American Artists and co-founded the American Academy in Rome. Shown in this medallion portrait is William Evarts Beaman (1881-1945) as a little boy, the son of New York attorney Charles Cotesworth Beaman, Jr. and Hettie Sherman Evarts Beaman. The portrait was commissioned by the Beamans and completed during Saint-Gaudens’ first summer in Cornish, New Hampshire as payment for the house and studio the artist was renting on the Beamans’ farm. Saint-Gaudens settled year- round in Cornish, where a vibrant and influential arts colony grew up around his studio.

Augustus Saint-Gaudens (1848-1907) William Evarts Beaman in His Fourth Year 1885 Bronze 18 1/2 x 18 1/2 inches in diameter New Hampshire

Childe Hassam (1859-1935) Childe Hassam (1859-1935) Sunset and the New Moon - Isles of Shoals Sunset Sky (Isles of Shoals, New Hampshire) 1905 1908 Oil on panel 6 1/2 x 9 inches Oil on panel 4 5/8 x 7 3/4 inches Signed and dated, lower left Signed on verso Private collection Private collection

The Isles of Shoals are a group of nine small rocky islands located ten miles off the coast of New England. The island group is divided by the border between Maine and New Hampshire. The Isles were a prime destination for European fishermen before the Pilgrims landed. The largest of the islands is Appledore (formerly Hog Island). Early colonial cod-fishing communities were based on the islands. During the Revolutionary War the islanders were evacuated to the mainland. The islands remained largely abandoned until the middle of the 19th Century, when Thomas Laighton and Levi Thaxter opened a popular summer hotel on Appledore. Laighton’s daughter, Celia, married Levi. Celia Thaxter was a painter, gardener, and one of the most popular of New England poets. Much of Thaxter’s writing was inspired by the Isles of Shoals. She was the hostess of a vibrant summer salon on Appledore where artists, writers, and musicians gathered, including Childe Hassam Rhode Island

Charles Blaskowitz was one of the most highly trained and skilled cartographers in the British military. His 1777 chart of Narragansett Bay and Plan of the Town of Newport were executed as part of an ambitious plan to map the entire Atlantic seaboard from New Brunswick to New York. Samuel Holland, first Surveyor-General of lands for the Northern District of British North America, undertook the mission in 1764 with the intention of providing the British government with the best pos- sible maps of the Atlantic coast during a time when the colonies were beginning to show signs of insurrection. Blaskowitz was responsible for Rhode Island, and one of his purposes was to determine Newport’s potential as a naval base. The results of his survey were remarkably precise and detailed. Blaskowitz’s chart shows strategic fortifications, farms, and even the names of the farmers. Narragansett Bay proved to be a strategic port and was the site of a significant confrontation between the HMS Rose and the Newport colonists over smuggling; this event helped initiate the American Revolution.

Charles Blaskowitz (18th Century) A Topographical Chart of the Bay of Narragansett in the Province of New England, with all the Isles Contained Therin, among which Rhode Island and Conanicut have been particularly surveyed, showing the true position and bearings by the Banks, Shoals, Rocks, etc. as likewise the Soundings 1777 Engraving on paper 40 x 28 inches Inscribed: “Engraved and printed for Wm. Faden, Charing Cross, as the act directs, July 22nd, 1777.” Rhode Island was a leading member of the second generation of Hudson River School painters. Born in Connecticut, the son of an English immigrant engraver, Kensett received training in that field from his father. At age twenty-four he traveled to Europe, where he remained until 1847. Upon his return to America the artist set up a studio in the New York University Building. He spent many summers painting in the mountains of New York, Vermont, New Hampshire, Massachusetts, and Maine with artist friends such as John Casilear, Benjamin Champney, and Frederick Church. He also painted in Ohio, New Jersey, West Virginia, on the Great Lakes, and at Niagara Falls, often with his friend Louis Lang. He traveled with John Frederick Kensett (1816-1872) fellow painters up the Missouri and Spouting Rock, Newport, Rhode Island circa 1865 Mississippi Rivers and to Montana Oil on canvas 14 x 24 inches and Colorado. Kensett first came to Newport, Rhode Island in 1854. By the 1860s Kensett had reached the height of his career as a Luminist painter. Many of the artist’s finest and most sought-after paintings were executed along the Newport shore. Rhode Island

“Along the gray rocks of the Rhode Island shore, of which he was so fond, and which is nowhere so truthfully shone as by his hand, the moan of the ocean has henceforth a deeper pathos.” Eulogy of John F. Kensett 1872 George W. Curtis

John Frederick Kensett (1816-1872) Twilight: Fort Dumpling, Near Newport, Rhode Island 1854 Oil on academy board 7 3/4 x 12 1/8 inches John Frederick Kensett (1816-1872) Signed and dated, lower center Beacon Rock, Newport 1863 Private collection Oil on paper mounted on board 5 x 9 inches Signed with monogram and dated, lower right Private collection

Joshua A. Williams (1817-1892) Fort Dumpling, Newport, Rhode Island circa 1860s-1870s Stereoscopic albumen print 3 3/8 x 6 7/8 inches Inscribed with location on verso Rhode Island Landscape, portrait, and still life painter, poet and naturalist, is one of the most important American Romantic painters of the 19th Century and one of the major figures in the development of Luminism. Born in Pennsylvania, he received his first art training from local painters Edward and Thomas Hicks. In 1858 Heade took a studio in the Tenth Street Studio building in New York City. He also kept a studio at times in Providence, Rhode Island, and in Boston. Heade traveled widely, painting both small detailed nature studies and large landscapes. Although Heade traveled throughout the world, the time he spent living and working in Rhode Island from the late 1850s to the early 1870s had the greatest impact on his work. His early landscapes were roughly imitative of the Hudson River School. Inspired, however, by the rich natural beauty and the unusual quali- ties of light and atmosphere of the Narragansett Bay region, Heade began to develop his mature Martin Johnson Heade (1819-1904) Luminist style. In 1883 the artist settled in St. Coast of Newport 1874 Augustine, Florida. Oil on canvas 51 x 72 inches signed and dated, lower left Provenance: Louisville Liberty National Bank and Trust Company, Louisville, Kentucky Exhibited: Louisville Industrial Exposition, 1875 Rhode Island One of the most celebrated artists of his day, Hudson River School painter Albert Bierstadt was born in Prussia. When a child, his family immigrated to America and settled in New Bed- ford, Massachusetts. In 1853 Bierstadt studied in Düsseldorf with two American painters in residence there, and Emmanuel Leutze. He later made a sketching trip through Swit- zerland, over the Alps and into Italy with Whit- tredge and Sanford Gifford. Bierstadt returned to the United States and made his first of many trips to the American West in 1859, accompanying Colonel Frederick West Lander. There, Bierstadt began producing the vast, romantic landscapes for which he became famous. The artist also sketched and photographed in the White Mountains of New Hampshire and in Rhode Island. His Fishing Station, Watch Hill, Rhode Island depicts traditional coastal New England fishing equipment, includ- ing dories and skiffs, a lobster trap, and drying nets. From 1877 to 1893 the artist wintered in the Albert Bierstadt (1830-1902) Caribbean. At the height of his success, Bierstadt Fishing Station, Watch Hill, Rhode Island built a mansion and studio, “Malkasten,” in Oil on paper mounted on canvas 14 1/2 x 19 inches Irvington-on-Hudson, New York. Signed with monogram, lower left signed and inscribed with title on stretcher Rhode Island William Trost Richards is one of the most important American landscape and marine painters of the 19th century and one of the many artists who found special inspira- tion in the natural environment around Newport. He was born in Philadelphia, and studied at an early age with the artist Paul Weber. In 1853 Richards went to Europe and studied in Paris, Florence, and Rome. He returned to Europe several years later to study in Dusseldorf, where he was influ- enced by the precisionist German drafts- men. He also became intrigued by the work of the Pre-Raphaelite School, with their attention to detail, particularly with regard to elements of the landscape. Throughout the 1860s, Richards painted primarily along the Hudson River, particularly in the Adirondacks, and around Philadelphia. In the early 1870s, Richards began to paint William Trost Richards (1833-1905) along the New Jersey coast and in the Nar- A Rhode Island Farmhouse 1882 ragansett Bay region. He first summered in Watercolor on paper 9 1/4 x 14 1/2 inches Newport in 1874 and purchased a home Signed and dated, lower left on Gibbs Avenue in 1875. He continued Provenance: Family of the artist to paint in Newport and Jamestown for the rest of his life, dividing his time between his farm in Chester County, Pennsylvania, Newport, Europe, and England. Rhode Island William Trost Richards is best known for the artworks he created in Rhode Island, inspired by the sublime natural beauty of the Narragansett Bay and its sandy beaches and rocky shoreline. In 1882 he built a large cliff-top home at “Gray Cliff” on Conanicut Island overlooking the Bay. Richards died in Newport in 1905. Richards’ work has been the subject of a number of important museum exhibitions: St. Louis Museum of Fine Arts (1907); Art Association of Newport (1954, 1976); Pennsylvania Academy of the Fine Arts (1956, 1973); Brooklyn Mu- seum (1973); the New Britain Museum of American Art (1973); Metropolitan Museum of Art (1982-83); Hud- son River Museum (1986); Brandywine River Museum (2001); the Adirondack Museum (2002); and the Cantor Center, Stanford University (2010). Richards exhibitions are planned for the Brandywine River Museum and the Pennsylvania Academy of the Fine Arts for 2011, and the Newport Art Museum for 2012.

“He copied what he saw with a minute fidelity, he was led William Trost Richards (1833-1905) to copy because he loved what he saw and recognized light Gathering Sea Weed 1883 shining through its surfaces. But if he had not also brought Watercolor and pencil on paper 9 3/4 x 13 3/8 inches to the worship of nature his own penetrating individuality, Signed and dated, lower right he would not have made works which all his contemporaries acknowledge as embodiments of truth and beauty when they say, ‘That is a Richards.’” Harrison S. Morris William Trost Richards: Masterpieces of the Sea, 1912 Rhode Island John La Farge is one of the most important American artists and cultural figures of the 19th Century. He first came to Newport in 1859 to study in the studio of William Morris Hunt. He married Margaret Perry of Newport and continued to live and work there much of the time until his death in 1910. La Farge made significant contribu- tions in many areas, including landscape, flower and figure painting, mural decora- tion, stained glass design, book illustration, and art teaching, writing, and criticism.

“. . . the influences of Newport, of its skies, its field tints and sea hues, have been as unmistakably powerful (on La Farge) as in the lasting effects produced on Titian by the rocks and slopes of his native Cadore.” A. Bowman Dodd the Art Journal 1885 John La Farge (1835-1910) Evening Study, Newport, RI (From Hazard’s Farm, Paradise Valley) 1871 Oil on panel 12 1/4 x 16 1/2 inches signed and dated, lower left Rhode Island

John La Farge (1835-1910) John La Farge (1835-1910) Windmill (Newport, Windmill, Near Easton’s Pond Early Spring, Winter Evening Sky (“Winter Evening Sky: Out-of-doors Southeast Wind) 1864 study, from nature. Water Color.”) circa 1878 Oil on canvas 12 x 10 inches Watercolor on paper 10 3/4 x 9 inches Rhode Island Leading American Impressionist John Henry Twachtman was born in Cincinnati, Ohio. He studied at the Ohio Mechanics Institute, McMicken School of Design, the Royal Academy in Munich, and the Académie Julian in Paris. He taught at Frank Duveneck’s school in Florence, and painted in Holland, Germany, and Italy. In 1889, Twachtman taught open-air painting classes in Newport, Rhode Island, perhaps the earliest in the US. Paradise Rocks, New- port is the only known Newport painting by Twachtman that is not a harbor view. This image depicts an area near Newport known as “Paradise” located behind Sachuest Beach in Middletown. The artist expertly conveys the feeling of standing in the midst of the site on a cloudy midday. The vantage point appears to be look- ing east from the south edge of Nelson’s Pond. Behind the small island are the pudddingstone ridges of the Paradise Hills, often called Paradise Rocks. By the end of John Henry Twachtman (1853-1902) 1889 Twachtman was living in Greenwich, Paradise Rocks, Newport (Middletown, Rhode Island) circa 1889 Connecticut and teaching at Cos Cob with Oil on canvas 31 1/2 x 47 inches Julian Alden Weir. He helped form the Signed, lower right group in 1897. In 1900 he began renting a studio and teach- ing classes in Gloucester, Massachusetts. Rhode Island The view in Mathewson’s painting looks down from College Hill (formerly Prospect Hill) in Providence to the Rhode Island State Capitol. The capitol is framed by the buildings of the historic East Side. Roger Williams founded Providence on this site and it contains some of the oldest sections of the city. The Providence Preservation Society and the Rhode Island Historical Society have preserved numerous historic buildings in this area. Brown University and the Rhode Island School of Design are located here. The Rhode Island State House is a neoclassical building on the National Register of Historic Places. Designed by the architectural firm of McKim, Mead, and White and built from 1895 to 1904, it is constructed of white Georgia marble. On top of the dome is a statue of Independent Man. The building is a testament to Rhode Island’s political, cultural, and economic standing at the turn of the century. The Rhode Island State House Restoration Com- mittee has restored the interior and many of the historic portraits of the governors Frank Convers Mathewson (1862-1941) that adorn the walls of the State House. Bill State House: Springtime Oil on canvas board 12 x 16 inches Vareika was appointed a member of this Signed, lower right titled and signed on verso Committee by Governor Carcieri. Rhode Island

One of America’s finest realist painters and lithogra- phers, George Wesley Bellows was born in Columbus, Ohio. Bellows studied with Silas Martin, William Mer- ritt Chase, and Robert Henri. Henri was the leader of “The Eight,” also called the Ash Can School, which had a strong influence on the young artist’s style and subject matter. Bellows spent the summer of 1911 painting on Monhegan Island, off the coast of Maine, with Henri and Rockwell Kent. This experience had a profound effect on Bellows’ emerging style, as did his experiments that summer with Maratta’s color theories. He returned to the island often and explored the expressive potential of strong, pure color, which would become one of his trademarks. That same year, Bellows helped organize the groundbreaking Armory Show in New York. In 1918 and 1919, the artist summered and painted on Aquidneck Island in Rhode Island, producing this boldly depicted Middletown landscape. In 1920 Bellows purchased land in Woodstock, New York, where he built a studio and home.

George Bellows (1882-1925) Sun Beams and Rain (Middletown, Rhode Island) 1919 Oil on canvas 18 x 22 inches signed, lower right

Vermont

William Trost Richards (1833-1905) Lake Champlain 1855 Pencil on paper 3 3/8 x 11 3/8 inches inscribed and dated, lower center ptovenance: Family of the artist Exhibition: The Adirondack Museum, Blue Mountain Lake, New York, 2002 Illustrated: 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. 4, p. 38

“Vermont is a state I love. I could not look upon the peaks of Ascutney, Killington, Mansfield, and Equinox without being moved in a way that no other scene could move me. It was here that I first saw the light of day; here that I received my bride; here my dead lie, pillowed on the loving breast of our everlasting hills. I love Vermont because of her hills and valleys, her scenery and invigorating climate, but most of all because of her indomitable people. They are a race of pioneers who have almost beggared themselves to serve others. If the spirit of liberty should vanish in other parts of the union and support of our institutions should languish, it could all be replenished from the generous store held by the people of this brave little state of Vermont.” president Calvin Coolidge, 1928 Vermont One of the greatest American Impressionist artists, Frederick Childe Hassam was born in Dorchester, Massachusetts. Early in his career, Hassam apprenticed as a wood engraver and worked as a freelance illustrator. He studied drawing, anatomy, and painting at the Lowell Institute in Boston and es- tablished a studio there. In 1883 he met the poet and art patron Celia Thaxter, and subsequently made many painting trips to her summer home on Appledore in the Isles of Shoals off the New Hamp- shire coast. From 1886 to 1889 Hassam studied at the Académie Julian in Paris. Upon returning to the United States, he set up a studio in New York City. In 1897 Hassam helped form the Ten American Painters group, with whom he exhibited throughout his career. Hassam traveled widely, establishing an interna- tional reputation. The artist was fifty-six years old when he turned his hand to etching. He soon mastered this medium, Childe Hassam (1859-1935) especially the effects of light, as is dis- A Vermont Village 1923 played in this view of a Vermont village Etching on paper 6 x 8 3/4 inches with its interplay of light and shadow Signed with the artist’s “CH” monogram and dated 1923 in the plate, lower right created by a passing shower. Signed with the artist’s “CH” monogram and inscribed “imp.” in pencil, lower right margin Vermont Rockport School painter, designer, and teacher James King Bonnar was born in North Adams, Massachusetts and made his home in Newtonville. He studied at the Massachusetts School of Art (now Massachusetts College of Art) with Joseph DeCamp and Ernest Major. He was active in the North Shore, Newton, and Rockport, Massa- chusetts art associations. Bonnar painted and created murals in private homes and institutions throughout New England. It is not known how many murals he painted nor how many have sur- vived. He was especially fond of Maine, Massachusetts, Vermont, and New Hampshire subjects. These include harbor and coastal scenes of the North Shore, Cape James King Bonnar (1883-1961) Ann, and Martha’s Vineyard, Mount Equinox, Vermont circa 1950 the shipbuilding industry, and Oil on canvas 25 x 39 1/2 inches autumn and winter landscapes, Signed, lower right such as this snowy view of Mount Equinox in Vermont. Vermont

“When people who have never lived in New Hampshire or Vermont visit here, they often say they feel like they’ve come home. Our urban center, commercial districts, small villages and industrial enterprises are set amid farmlands and forests. This is a landscape in which the natural and built environments are balanced on a human scale. Unknown Photographer (19th Century) This delicate balance is the nature Unknown Photographer (19th Century) View of the Town of Woodstock, Vermont circa 1880s of our ‘community character.’ Landscape View near Woodstock, Vermont circa 1880s Albumen print 7 x 8 ½ inches It’s important to strengthen our Albumen print 7 x 8 ½ inches distinctive, traditional settlement patterns to counteract the commercial and residential sprawl that upsets this balance and destroys our economic and social stability.”

Richard J. Eward Proud to Live Here BACK COVER:

Anglo-American School Thomas McDonogh circa 1794 Oil on tin 12½ x 9¾ inches

Provenance: Descendants of the sitter, the Jaffrey Family, Jaffrey, New Hampshire

Note: Thomas McDonogh was born in County Sligo, Ireland. He came to America prior to the American Revolution as secretary to John Wentworth, Royal Governor of New Hampshire. During the War, he spent time as a Loyalist in exile in Canada and in England. Following the War and prior to 1794, McDonogh was made British Consul to New England and was headquartered in Boston. He died on January 26, 1805, and is buried in Milton, Massachusetts. William Vareika Fine Arts Ltd The Newport Gallery of American Art 212 Bellevue Avenue • Newport, Rhode Island 02840 401-849-6149 • www.vareikafinearts.com • [email protected]