American Drawings Watercolors and Prints the Metropolitan Museum of Art Bulletin v 37 No 4 Spring 1980

8/12/2019 American Drawings Watercolors and Prints the Metropolitan Museum of Art Bulletin v 37 No 4 Spring 1980

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^ ~ ^ t long last, after years of hard work, thoughtfulplanning,intensivefundraising-andnot alittleanguish nd rustration-TheMetropolitanMuseumof Art willopen tsnew AmericanWingonJune11.Thiswillbeaproudmoment orus at theMetropolitannd orall Americans nterested n theirartisticheritage.Whatwe gainin this strikinglybeautifuladdition snot simply buildingbutafull-scalemuseumn itsownright-amuseum,moreover,thatis unrivaledn the qualityandcomprehensivenessf its collectionsof American rt.The newwing-six times the sizeof the original1924AmericanWingaroundwhich twasconstructed-makespossible he exhibitionof virtuallyall of our collection of paintings,sculpture,decorativearts, furniture,eand periodrooms.It encompasses garden ourtwithsculptureand majorarchitecturallements, ncluding he 1823facadeof the United StatesBranchBankon WallStreet, wo staircasesromLouisSullivan'sChicagoStockExchange,ndthe loggia romLouis ComfortTiffany's ouse,LaureltonHall.Designedby KevinRoche,JohnDinkelooandAssociates, he newwingis remarkablenot onlyfor its architecturalmajesty, utalso for the mannern which t suits thecollections;themostimportantworksareexhibited n spacious alleries rrangedhronologically ymediaand nperiodrooms. naccor withapolicyofdisplayinghemajority f theAmerican oldingsyet emphasizinghe primaryworksof art, the wing will later include an invaluableopenstudy-storagerea, n whichalmostall the reserveswill be accessibleo the public.The decisionto collectAmericanart wasmadeby the Museum's ounders,andit hasbeencontinuouslymplementedince hefirstAmerican aintings ndsculptureswereacquiredin the early 1870s.A majorgift of paintingsfrom George A. Hearn, in 1906, and theestablishmentof a fund in his name in 1911greatlyenhancedthe growingcollection. In 1910Mrs.RussellSagepurchasedor the Museumalmost700 piecesof seventeenth-, ighteenth-,andearlynineteenth-centuryurniture romEugeneBolles, someof whichhad been lent to theHudson-Fulton elebration f 1909-anexhibition nwhichAmerican ecorative rtshadbeendisplayedt theMetropolitanorthe first ime.Thispurchasewasthedeterminingactor n thedevelopmentof a decorativearts collection and led eventually o the constructionof theAmericanWingin 1924.DonatedbyMuseumPresident ndMrs.RobertW deForest, hewingwasdevotedmainly o thedecorative rtsand to periodroomsof the seventeenth hrough heearlynineteenth centuries. In subsequentyearsthe Museum acquiredAmericandecorativeartsand fine artsof the nineteenthand twentiethcenturies,with the resultthat its Americancollections renowremarkableor theirsize,range, ndquality,withoutstandingxamplesnallcategories.Almost every aspect of our nation's heritage in the visual arts is represented.The new AmericanWing could not have been achievedwithout the supportofcorporations, oundations,andloyalfriends,but limitedspacepermitsme to cite only a fewhere. An extraordinary gift was receivedfrom the late JoanWhitney Payson, and the City ofNew Yorkand The Charles EngelhardFoundationhavealso been extremely generous.The inauguralexhibition in The ErvingandJoyceWolf Gallerywill put on displaytheMuseum's most significant American drawings, watercolors, and prints, sixty of which arediscussedin this publicationby the coordinatorsof the exhibition:Kathleen A. Foster,AssistantCurator,PennsylvaniaAcademyof the Fine Arts;John Caldwell,Assistant Curator,AmericanPaintingsand Sculpture;and David W. Kiehl, Assistant Curator,Prints and Photographs.Thisshow is an auspicious beginning for this handsomenew galleryand for the new wing itself.Philippe de MontebelloDirectorThe Metropolitan Museum of Art Bulletin Volume XXXVII, Number 4 (ISSN 0026-1521) Spring 1980Publishedquarterly.Copyright ( 1980by The Metropolitan Museumof Art, Fifth Avenue and82nd Street, New York,N.Y. 10028.Second-classpostagepaid at New York,N.Y. and Additional MailingOffices. Subscriptions 14.00a year.Singlecopies 3.75. Sentfreeto Museum members.Fourweeks' notice requiredfor changeof address.Backissues availableon microfilm,from UniversityMicrofilms,313 N. FirstStreet, Ann Arbor, Michigan.Volumes I-XXVIII (1905-1942) availableas a clothbound reprintset or asindividualyearlyvolumes from Arno Press,3 ParkAvenue, New York,N.Y. 10016,or from the Museum, Box 255, GracieStation,New York,N.Y. 10028.Color photography n this issue by GeoffreyClements exceptpp. 9, 16, 17,25 (top), 28, 29, 41,and44 byTheMetropolitanMuseum of Art PhotographStudio. GeneralManagerof Publications:John P.O'Neill. Editor in Chief of the Bulletin:Joan Holt. Associate Editor:Joanna Ekman.Design: Irwin Glusker with MiriamHaas.On the cover: Courtyard, West End Library, Boston, 1901, by Maurice Prendergast (see p. 52)


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GERALD M. THAYER Male Ruffed Grouse in the Forest,about 1905-1909Prepared as an illustration for the book Concealing Coloration in the Animal Kingdom (1909),written by the artist and his father, Abbott H. Thayer, this watercolor continues the tradition ofartist-scientists like J.J.Audubon; who valued the precision and delicacy possible in the medium.


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AmericanDrawingsWatercolors

n d r i n t s

CHARLESWILLSONPEALETheMarquis eLaFayette, 787This portrait of Lafayette is one of agroup of mezzotints of major Revolu-

he misty abstraction of Whistler's Nocturne, the transfixingstareof Currier's Favorite Cat-what do such diverse images have in common? Tounderstand the logic and the special rewards of assembling these and otherprints, drawings, and watercolors in an exhibition celebrating the opening ofthe new American Wing, we begin with the simplest answers: all the worksare on paper, and all are by American artists. Curatorial necessity bringsthese prints together, and isolates them from the rest of the Metropolitan'scollection on permanent view, because long exposure to light will harmthem. Their special sensitivity demands low lighting and such limitedexposure that, like all other works in this show, they must be returned tostorage and replaced with new selections before the exhibition closes.

Fragility, then, unites an otherwise confusing mix of styles, tech-niques, and purposes that challenges conventional notions of American art.But is there also a native thread that runs through a Benjamin West sketch, aThomas Nast cartoon, and a Hudson River School drawing? Can wediscover an American vision that encompasses the sparkling naturalism of aforeign-born expatriate like John Singer Sargent, as well as the abstraction ofa native like the Pennsylvania German artist Johan Henrich Otto? Clearly,the heterogeneity of works on paper breaks down the categories constructedfrom our experience of oil paintings by presenting a wider sample of the artmade by, and for, American people.

Today, just as a century ago, most American homes are decoratedwith art on paper: drawings and watercolors made by the family, photo-graphs, posters and prints, including reproductions of priceless works inother media. Art on paper is familiar, affordable, and approachable; itwelcomes amateur, provincial, and folk artists, commercial designers, andcraftsmen-all of whom are often excluded from surveys based on oilpainting. Paper media also reveal the more informal, experimental, orworkaday moments of the "fine" artists who are associated principally withother media. Potentially, then, an exhibition of works on paper makes aninviting and democratic introduction to American art. The complexity ofsuch a show results from its attempt to present a more provoking, morerepresentative survey.The exhibition cannot, in fact, survey the entire history of Americanprints, watercolors, and drawings because it is designed primarily tointroduce the best work in the Metropolitan's collection. The severalhundred items chosen for the show and the sixty works illustrated here canhardly represent all aspects of the Metropolitan Museum's holdings, muchless American art history. Furthermore, a century of acquisition has favoredcertain media (particularly watercolor), and this lopsidedness only increasesas an exhibition selection is made. The biases built into the collection havebeen given new twists by the curators, too, for even a committee agreementon quality and importance inevitably accommodates soft spots: for mostcurators, there can never be too many Winslow Homer watercolors on thelist. Finally, current notions of historical importance, representativeness, or


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so muchasa guardianof standards nherited from the Europeanmiddleandupperclasses. Thus American folk andpopularart,not yet well understoodor widely valued, are still vastly underrepresentedin the collection, eventhoughthey makeup the bulk of our art, and their excellence deservesbothrespectand attention. JohanHenrich Otto's fraktur was the product of anaesthetic as complex, disciplined, and academically bound as ThomasEakins'sJohn Biglin in a Single Scull;each demonstratesthe applicationofits culture's most refined artistic skills to the service of its most profoundvalues. Eakins'sBiglin embodies the tense rationalism and materialismofthe nineteenth-centurybourgeoisie;Otto's work displaysthe abstractformand symbolic content of an earlier,basicallymedieval Europeanaesthetic.Likemanyof the other watercolors n the American Wing exhibition, theseworksrightfullybelong in the paintings department, being comparableinscale, content, and intention to oils. This is particularlytrue in Otto's case,because his PennsylvaniaGerman community had no great oil paintingtradition; rakturand ceramicswerethe prestigeartsof his culture, andtheydeserve the status accordedthe highest genresin the mainstreamhierarchy.The Metropolitan's pattern of collection and exhibition gives us,then, a pictureof shifting tastes today,and a history of these changesin thepast. The appearanceof six of Edwin Austin Abbey's illustrations amidstthe great Impressionist and Post-Impressionist works donated to theMuseum by the H.O. Havemeyersprovidesa new insight into turn-of-the-century avant-garde ollecting. Likewise, the manyWilliam TrostRichardswatercolors presented to the Museum in 1880 testify to the vitality ofEnglish taste a century ago. The donor, the Reverend E.L. Magoon,envisioned the groupas the core of a "RichardsGallery"modeled aftertheTurner Gallery in London (now part of the Tate). Magoon's faith inRichards set an enthusiastic precedent for the acquisition of importantprints and drawingsby contemporaryartists. During their lifetimes, bothHomer and Sargentwere asked to select examplesfrom their best work inwatercolor or sale to the Metropolitan. These earlyacquisitions, includingRichards'sLake Squamfrom Red Hill, Homer's Fishing Boats, Key West,and Sargent'sEscutcheon of Charles V, remainhighlights of the collectionand challengesto presentcurators and benefactors.The historytold by the picturesthemselvesalso reveals truths aboutAmerican art that are not seen so clearlyin other media. The earlierworkspoignantlydemonstrate the difficulties of New Worlddraftsmenemulatingthe naturalisticconventions of post-RenaissanceEurope. The fluidity andconviction of Sargent,Homer,and Eakinswas hardwon in America,wherefiguresubjectswere a torture for artists without good teachers,live models,and Old Master precedents to copy. The conceptual vision of the "primi-tive,"untutored in illusionistic modelingor anatomy,was slow to changeitsflat and linear ways, especially when current fashion-such as neoclassi-cism-or the major sources of outside information (that is, books and

J. A. M. WHISTLER Rotherhithe, 1860Rotherhithe displays the clarity andcontrol that characterizedWhistler'searlyetchings. Later,he would experi-ment with atmospheric toning inprints such as Nocturne (see p. 38).


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practice,and both proceeded to enact the principles of JoshuaReynolds'Discourseson Art with an energetic literalness that astonished the jaderegularsof the Englishart world.West and Copley were two of the most successful Americans tooutdo the British on their own terms, but they were only the first insuccession of American champions of English taste. At mid-century thstaunchestfollowers of the greatart critic John Ruskin could be found inAmerica,wheredisciples like J.W. Hill or W.T. Richards,who were traineby Ruskin's books and Turner'sengravings,kept Pre-Raphaelite deals purfor decades. American Anglophilia is evident in our landscapeart, and it iclearest of all in drawingsandwatercolors,where the style and technique othe late eighteenth-century English topographicaldraftsmenespeciallyheldsway.The ascendancyof this taste was partly a continuation of coloniatradition, and mostly the accomplishmentof British emigres like the HillsThomasCole, or William Guy Wall, who founded the American landscapschool. Manyof these artists were watercolorspecialists, who sponsored anational fondness for this medium that led to the triumphs of Homer andSargenta few decades later.Often, these emigreswere printmakers,so thathe same artist could at once provide models for American engraverwatercolorpainters,and landscapedraftsmen. British engravingstaught theimportance of contour, detail, and value contrast, and they establishecompositional models and subject categories. In the spirit of West andCopley, printmakers pushed their technique to innovative extremes; theplates are ambitiously big, the panoramasextravagantlydetailed, and theeffects of color and chiaroscuroboldly experimental.If their style teachesus about the trainingof these printmakers,theisubjectmatter tells us what Americans wanted to celebrate and what theywanted to know. The face of George Washington, the skyline of New Yorkbattles,clipper ships and cats-all came out of a dialogue between what thepublic would buy, and what the artist cared to offer. Some artists openlyflouted popular taste, others willingly bent to please, and excellence-orsuccess-occurred at all stagesof this interchange.Paul Revere's umpishandlargely plagiarizedBoston Massacre s a demonstration of brashjournalistienergy powered by an astute sense of what Boston wanted. Eakins, withsome of the same hopes for his print of The Gross Clinic and withconsiderably more care, sadly misjudged Philadelphia's response. Thesuccess of Revere's image and the critical failure of Eakins's tell us littleabout the artistic quality of each print, and much about the power ocontent over formal considerations in American popular media.When appealingsubjectmatterallied with sophisticated techniqueprints became effective educators of American taste, especially on thfrontier.In the 1840sthe engravingsdistributedby the American Art-Unionpromoted the imagery of the best American painters by the country'subtlestengravers.A traveler n Frankfort,Kentucky,in 1855wrote back tothe New YorkartjournalTheCrayonhat "the only evidence I had of Art inthis town, were a couple of pencil lithographs in a drygoods store windowheaps of vulgar valentines, and three copies in the hotel office of an


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Publishers ith a keen business ense and altruisticgoalsfor the futureofnativeart hired the best talent andemployedthe mediacapableof thecheapest, argesteditions. Their patronage et off a spiralof challengesbetweenartistsandtechnicianshatproduced,by 1890, he mostsophisti-cated,widely irculatedllustrated ress n theworld.Americanperiodicalsencouragedhe virtuosityof woodengraversike HenryMarsh, heybuiltThomasNast into a political orce,andthey broughtAbbey's llustrationsto thedoorsof admirers s distantas VincentVanGogh.The powerof this late nineteenth-centuryhenomenondrewthediverse alentsof Eakins,Homer, ndJohnLaFargentothe relatedieldsofillustration,watercolor,ndprintmaking,nd it inspireda host of artists'clubs promoting"minor"media.The proliferationof these specializedgroupsndicateshe new sophistication nd ambitionof the American rtcommunity fter he CivilWar.These clubs wanted o educateartistsandcollectors boutwatercolor,retching,orpastel,and heyhadaprofessionalinterestn establishinghe legitimacy,mportance,ndexpressive owerofthese media.Theircampaignucceeded s the intimacyandspontaneity fimpressionisticrtgained avor,and workson paperwereprized or theirrevelation of process and inspiration. Youngerartists abandonedthepopular n search of an individualistic vant-garde,nd techniques ikemonotype-a printingprocess hat perverselymakes an edition of one-wereeagerlyultivated.The newpatrons f theeightiesandninetiessharedthesetastes,andwereattracted ythe domesticscaleandmodestpricesofdrawings,watercolors,and prints. Given the strongcompetitionfromforeignart,it soon becameclearthat Americanartistswere more ikelytosella workon paper han anoil, andinterest n alternatemediagrew.A centuryhaspassed.Thesplitbetweenpopularandavant-gardertthat opened around 1880 widened as the most adventuresome rtistswillfullydetached hemselves rom the mainstream, nd as photographychangedthe nature of popular illustration and printmaking.Just aswoodcutsreplacedhand-decoratedrakturcertificatesand lithographedmourning pictures replacedwatercolor and needleworkoriginals,thephotographr the photographiceproductionliminated he engraverndoften the draftsman, oo. Photographic echniqueshave realizedthedemocratic reamof the Art-Unionby providingull-colorreproductionsof Homer'swatercolors or the walls of any home, but they have alsoendangeredoday'sregionalartistsby throwing hem into a discouragingmarketplaceompetitionwith the greatest rtof the past.Someinnovativeartists, ikeWill Bradley, daptedo the machineage andexploitedcommercialechniqueswith greateleganceand force.Bradley'swork oineda designtraditionrunning romWilliamMorris oWalterGropiushathasmade heposter nto theCurrier&Ivessolutionofthetwentieth enturyandhasinspireda renaissancen printmakinguringthelasttwodecades.Others, nreaction o thechillyandalienatingxcessesof themodernaesthetic,haverediscoveredheintimatescaleandindividu-alizedtouch of drawings.Today, he separationof the personal,privateexpression nd the democratic,publicstatementhasbecomeextreme,butthe oppositionlurksalready n the nineteenth-centuryonfrontationof

C. E W MIELATZ Bowling Green, 1910Mielatz, one of the first etchers tcelebrate the buildings and localitieof New York, experimented withvarious processes in the medium. Ithis view of Bowling Green and ol"Shipmasters'Row," (now the site othe Custom House), he created theffect of pastels by applying coloreinks before printing.

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THOMAS EMMES Increase Mather,1701

The earliest publication of books andprintsin English-speakingNorth Americaoccurred in the Puritan colony of Mas-sachusetts. It is appropriate that theMather family provided subjects for the

thirty years later, Emmes engraved alikeness of Increase Mather for use as afrontispiece in three of the clergyman'sreligioustracts.The Museum's impressionis bound in a copy of his BlessedHope,

curls contrast with the flat pattern of thetorso and crosshatchedbackground.While the portraits of Richard andIncreaseMatherdisplaya markedprovin-ciality, Pelham's mezzotint of Cotton


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i.nlhappvBosTo ee thnSaS deplore, ff kldi cop fTrtoomBermdiS A iutt mo finototttt awiilylhlhalcwVI.V,kS enmer. with g,lUetlfsmGo: IFfpeedLesfscaTfws lab5EaT$ih a nhue.hereJUSTIC .pflXcirderofX\lile ffithlefsl--n andhis fax-geBmds, orifaweepng'idcan oht appeafle Shot xenalC-t heimadatofth?\EitkmxlrotsRanotrtlrethoeoIa:iids; T[he aintiveO-hois ofVicimslih ashetfe; Satclae ields fliinmoiTherL.iktefterita.ians m:innS or thetlirtBe); ThcPatriotScopiousTatfor ead rec[, :eEeueoxeciionso thisiLote ilatXA3pprovetheCa,ea.a.ndmIei'olthe D . Aloriou'sTAibuer-ich einbahis theDeacd.-;Shall-reahr.a xESio never canu,Wv1J2;427t+~"if,w/ /4i/9 GSAM= ,;J3)CAT CLDWC h- CiSPTU iKS EkPAULCr REVERE:t'o C


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BERNARD ROMANS An Exact View of the Late Battleat Charlestown, 1775

AMOS DOOLITTLE afterLACOURFederalHall, 1790

cial artist engravedthe fury and smoke ofbattlefrom his own eyewitness drawingofthe fray. Aware of the conventions forportraying battle scenes, he framed hisview with a stage-set clump of vegetation

Frenchman Peter Lacour, Doolittle provided in his engraving the only contem-porary visual account of this importanevent. With great care he delineated thisview of the then newly remodeled City


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BENJAMIN WEST Studyfor AlexanderIII, 1784

Because of the predominance of portrai-ture in American painting during theseventeenth, eighteenth, and early nine-teenth centuries,drawingin the tradition-al sense of figurestudies andcomposition-

brown ink with brown wash reveals his ship to each other in the elaboratecompo-careful attention to sixteenth- and early sition. The subject,Alexander III,King ofseventeenth-centuryItalianmasters,both Scotland,Rescued from the Furyof a Stagin that country and later in the great by Colin Fitzgerald, was undoubtedlyEnglish privatecollections. One of a series suggested byWest's Scottish patron,Fran


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J. S. COPLEY Studyfor the Siegeof Gibraltar,1785-86

and became the second president of theRoyal Academy, is best known as one ofthe founders of neoclassicism, this draw-ing representsa later phase in his careerwhen he turned to compositions of ba-

awareness of work by European artists.This sketch forCopley'sSiegeof Gibraltaris evidentlyastudyforthe centralgroupoffigures (Spanish sailors in a wreckedlongboat) in a painting (Guildhall, Lon-

to establish Copley as one of the leadingBritish artists of his time. The drawingdisplaysa radically imple, almost abstractstyle of neoclassicism, of an elegance andgracenot often encountered. The figures

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J.S. COPLEY Mrs.EdwardGreen,about1790

American drawing was restricted almostentirely to portraitureuntil well into thenineteenth century. Earlypatrons had lit-tle interest in art beyond the utilitarianpurpose of preservinglikenesses, prefera-

was little known here, and he could haveseenfew examplesin Boston before he leftfor Europe in 1773. His drawing of Mrs.EdwardGreen, dated 1765, was done atthe beginningof his best periodof work in

Europe early in life and was the firsAmerican artist to study in Paris. Incontrast to Copley's rococo concern forcolor and luscious fabric, Vanderlyn'approach in his chalk drawing of Sarah


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JOHN VANDERLYN SarahRussellChurch, 1799

C. DE SAINT-MEMIN An Osage Warrior,about 1804

JAMESSHARPLES Albert Gallatin,about 1797

figureof calmgrace n aclassical andscape.Saint-Memin, a Frenchman, came tothis country in 1793. With his estatesconfiscated during the revolutions inFranceand Haiti, he turned to his earlier

preparedpaper,using a physiognotrace,adevice something like a pantographthatenabledhim to tracehis subjects'features.Neoclassicalin its dignity andrefinement,this smallwatercolorof an Osage warrior

GeorgeRomney in England.He settled inPhiladelphia,probablyabout the time hedrew this pastel of Albert Gallatin, thenleader of the Republican opposition inCongressand later Secretaryof the Trea


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ASHER BROWN DURAND Ariadne, 1835

EDWARD SAVAGE The Eruptionof Mt. Etna in 1787, 1799

Printedfull-color mezzotints like Savage'sEruptionof Mount Etnawere rareeven inEngland. Few impressions of this imagewere probably made, since the artistappliedthe color byhandto the plateprior

known for his portraits of Washington,Franklin,Jefferson, Dr. Rush, David Rit-tenhouse, and GeneralWayne,and for theprint of the signing of the Declaration ofIndependence.

Island of Naxos (Pennsylvania Academyof the Fine Arts, Philadelphia).The careand control lavished on this plate areindicative of Durand's great admirationfor the original work, which was in his


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A. ROBERTSON New York(New York as Washington Knew It), 1794-97

SAMUEL SEYMOUR afterBIRCH The City of New York,1803

Traditionallyntitled New YorkasWash-ingtonKnewIt,thisengraved iew,whichhasastill,peacefulquality,s most ikelybyRobertsonafter his own watercolorof1793. Archibald and his brother Alex-

this scene by talented students survive.Severalof them, like this engraving,ackthe additional hipping oundat therightin Robertson'soriginalwatercolor;per-haps the sensitivelycolored print was

the Federaltyle,wasplannedoriginallysthepresidentialmansionbeforeCongresmoved to Philadelphia.At the farleft isTrinityChurch, ebuilt nmodifiedGothicstyleafter twasburnedduring he war


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3

There s simultaneouslynenigmatic nda theatricalqualityto Birch'srichlycol-ored, rareengravingof New YorkfromBrooklynHeights.The white horsegrazespeacefully eneath hestorm-blastedree,

York,he realsubjectof the print, s only those of rebuiltTrinityChurch,Federaperceived ncethe viewerhas taken n the Hall,MiddleDutch Church,Saint Paul'incongruously astoral cene.Birchhim- Church, and the Brick Presbyterianselfmust havehadsecond houghts,as he Church.Birch s best known forvariouerased hehorse n later tatesof theprint series of engravings hat document the


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lNT

JOHN BAKER Fisherand Bird'sMarbleYard,about 1837

Baker's engraving of the 1830s for themarble firm of Fisher & Bird at 350Houston Street in New York resemblesothertradecardsof the period.The formatis larger than that of most cards or bill-

crates.The fact that so few exampleshavesurvived would point to its use on themore perishable abels. In this advertisingimage, as in the painting of DuncanPhyfe'scabinetmakingshop on the facing

only the latest styles and the best workmanshipcharacterizehis firm's productswhich areprominentlydisplayed.The charming watercolor of Phyfe'shop and warehouse on Fulton Street inbeen convinc-

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J. R. SMITH Shop and Warehouse of Duncan Phyfe, about 1816-17

A. J. DAVIS Design for a Bank or Public Building, about 1835-40

atvarioustimes in Boston, New York,andPhiladelphia.In each city he ranadrawingschool, and among his students wereSanford Gifford and Emanuel Leutze.Phyfe,who occupied buildings on Fulton

workof his shop.The watercolorbelow is by AlexanderJackson Davis, an architect, who is bestknown forhisroleinthe AmericanGothicrevival, although he created neoclassical

with the blackbackground.Although theprojectwas never realized,the watercoloris evidence of Davis's finesse as an archi-tect. What at first appears to be a smallGreektemplebecomes,when we compare


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JOHAN HENRICH OTTO FrakturMotifs, about 1780-90

NATHANIEL CURRIER The FavoriteCat, about 1840-50

The FavoriteCatcaptures he essenceofthe animal n a mannerassociatedmorewithcountryor "naive" rtists hanwiththe firm of Nathaniel Currier, laterCurrier& Ives. Its bold iconicfrontality

did the designabove. He mayhavecomefrom Ephrata, Pennsylvania, and heworked n Lancaster nd Buckscountiesbetween1772 and 1778.Watercolors fthistypeare calledfraktursbecause hey

flowerswereprobablyonepurelyor heartist's musement.reatedrimarilyorthe Pennsylvaniaerman ommunityfrakturontinued traditionating ackto illuminated anuscriptsf the middl


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The striking and unusual image above is intensely,almost obsessivelystudied (evenprobably rom the hand of a partlytrained to a cut silhouette along the top margin),artist, who worked meticulously in pen giving the whole an eerie, nearly surrealand black ink combined with gray and quality reminiscent of such disparatewhite washes. The building in the center nineteenth- and twentieth-century artists

this disjunction between intent and effectthatgivessuch worksbyfolk or "country"artists their extraordinary appeal todayThe drawing was probably preservedmore because of a sentimental tie to the


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D. W.KELLOGG& CO. Memorial Print,about 1836

UNIDENTIFIED ARTIST View from the House of Henry BriscoeThomas, about 1841

largelydisappeared.The memorial print from the HartfordlithographersD. W. Kellogg& Co. is a latemanifestation of a tradition that firstappeared in America at the end of the

heroes.By the 1830s the tradition of handcraftsmanshipwas replacedby such com-mercially printed images as this example,left blank so that the familycould fill in thenames. The carefulhand-coloringand the

the day,D. W. Kellogg& Co. issued largnumbers of prints at low cost to a wideaudience. These companies would frequently adapt popular subjects by competitors with only the slightestvariations


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WILLIAM GUY WALL New Yorkfrom Weehawk,about 1823

Wall's New York from Weehawk reflectsthe Dublin-born artist's awarenessof theremarkableachievement of British water-colorists of the late eighteenth and nine-teenth centuries. In the tradition of such

Hudson. Although Wall may have in-tended it for his Hudson RiverPortfolio, aseries of engravings of the 1820s, hedecided in 1823 to issue separatelya printby John Hill after this view and one of New

by his contemporaries and modem-dayviewers.Hill, who emigratedto America in 1815

pursued an active and influential careeengraving n aquatint views of the Ameri-


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JOHN HILL afterWALLThe Palisades, 1823-24

JOHNWILLIAMHILLCircularMill,King Street,New York,1823

icent aquatint in brown ink with addi-tional handcoloring, and a rareproof.Thepublished versions were intended for theHudson RiverPortfolio;this image,No. 2of the fourth part,was issued in 1823-24.

lifes, such as Plums, often in jewel-likecolors, follow Ruskin's prescription forfine observation and meticulous detail.Hill also created a number of less precisecompositions, many of which continue

from the topographicalwatercolor painting he must have learned from Britishtrained artists like his father and WallHill's picture is unusually fine because ofthe delicacy of color, as in the dark pink


28/56

THOMAS COLE The Fountain, 1843

The founder of the Hudson River schoolof landscape painting, Cole was a finedraftsmanas well. In this pencil drawingheightened with white on green paper,Cole illustratedascene from TheFountain,

depict a moment early in the poem whenan Indian warrior,mortally wounded inbattle, crawls to a fountain to "slake hisdeath thirst." Cole's inscription, "TheFountain No. 1," probably indicates that

dants,asanexampleof the planned seriesThe drawingwasdone late in the artist'sshort career,and reflects his study of thedrawingsof the British landscapistJohnConstable. The soft pencil strokes and


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JOHN E KENSETT Birch Tree,Niagara, 1851

Empire(New-YorkHistoricalSociety), hispatrons preferred his pure landscapes,particularly American views like TheOxbow (Metropolitan Museum). Thislack of enthusiasm for what Cole termed

Where Cole depictedawhole scene withina highly developed composition, Kensetthas concentrated on drawing with greatsubtlety and refinement a sharplyfocuseddetail of several trees, carefully recording

ly.His lettersindicate that he was in Mainein late July 1850 and at Niagara Falls inAugust 1851,and this picturewasprobablydone at that time.Kensett,a member of the second gener


30/56

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ROBERT HAVELL Panoramic View of New York rom the East River,1844

The largenumber of printed views docu-menting the expansion of New Yorkduring the second quarter of the nine-teenth century reflected the pride andsatisfaction of its citizens in the growing

churchesmoved uptown. The demand forimagesof buildings,civicevents, and broadvistas made this an active period forprintmakersof all degreesof competence.Havell, best known for his aquatints of

of the aquatintand the richhand-coloringIn the Hill-Papprill view, the sweep ofBroadway eadsthe eye through the denseurbanfabric to the Gothic-style edifice ofTrinityChurch, then recently completed.

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31/56

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32/56

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JOHN SARTAINafter BINGHAM The County Election, 1854

The quality and innovative force of artcreated for wider audiences in the secondhalf of the nineteenth century earned theperiod its name as a Golden Age forAmerican printmaking and illustration.

quality engravings after the work ofAmerican painters. In 1852 Binghamcontracted the English-trained engraverSartain, who worked on the plate foralmost two years while the artist can-

most books and magazines.Nast exploited the powerof the popularmedium of wood engraving,as the technique grewmore refined in the 1870s.Hisdrawings attacking the corrupt William


33/56

THOMAS NAST"LetUs Prey,"1871

EDWIN AUSTIN ABBEY In a Tavern,1886

creditedwith Tweed's initial overthrow in1871andhis conviction-on 204 counts offraud-in 1873. Three weeks after thepublic investigation began, Nast pub-lished "Let Us Prey"to warn that Tweed

touched on modern subjects.His illustra-tions of Shakespeare,Herrick,and Gold-smith became internationally famous,partlybecause they were photographicallyreproducedin Harper'sMonthlyand then

of a flashy cavalier.The poem suggestedthe seventeenth century to Abbey, whocarefullyresearchedandlovingly renderedthe evocative period setting. His livelysplinteredline recorded a delightful range

I


34/56

JAMESHAMILTON Beach Scene, about 1865

The British tradition in watercolor con-tinued to inspire American landscapepainting through the 1870s. At mid-cen-tury, the medium was still dominated byBritish emigres like Hamilton, who left

displayed his command of the master'svaried watercolortechnique and his graspof Turner's weeping spatialconstructionsin BeachScene,with its greatbreadth andbrilliance.LikeTurner,Hamilton dragged

spent two years in England, where heprobably studied Turner's work at firsthand as well as similar coastal views byDavid Cox, and two other Turnerfollow-ers, J. B. Pyne and Copley Fielding


35/56

WILLIAMTROST RICHARDS Lake Squam from Red Hill, 1874

by another Philadelphian, Richards,whose sensibilitywas shapedby ayoungergeneration of English artists, the Pre-Raphaelites, and their persuasive apolo-gist,John Ruskin. Richards also admired

inherentlycriticalof artists who painted,asHamiltondid, largely rommemory andimagination. The special affection forwatercoloramongRichards and his fellow"AmericanPre-Raphaelites" eveals their

meet the sun conveys a Luminist sense ofpanorama, while the quiet mood andhandling create a Luminist moment ofbreathlesscontemplation. Such evocationof spaciousvistas within small watercolor


36/56

WINSLOW HOMER Eight Bells, 1887

NATHANIEL CURRIER Clipper Ship RedJacket, 1855

Eightlarge-plateetchings created between1884 and 1889, including Eight Bells,represent the culmination of Homer'sexperience with printmaking. Thoughbasedon oils andwatercolors,the etchings

figures, but also eliminated much of thesurrounding detail of the original paint-ing. In contrast to many of his contem-poraries, Homer was interested in thequality of his etched lines. Therefore, his

Homer started his artistic career as draftsmanin the Boston lithographyfirmof John H. Bufford, but his best-knowngraphic images are those he produced foHarper'sWeekly nd other illustratedperi


37/56

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38/56

WINSLOW HOMER FishingBoats, Key West, 1903

In 1881 and 1882 Homer spent severalmonths in the English fishing village ofCullercoatsrethinkinghis entire approachto watercolor. Already a leader in theAmerican watercolor movement, Homer

personal and impressionistic manner, hisEnglishworkshowed amore conventionalnotion of the picturesque, delivered in amonumental and deliberate style. Insidethe Bar,one of the most powerfulproducts

His fascination with the sea continuedthroughout Homer's career, but afte1885, when he began to spend his winterin the Caribbean,the earlierspontaneousplein air style returned to modify his


39/56

WINSLOW HOMER Insidethe Bar,Tynemouth, 1883

WINSLOW HOMER A Wall, Nassau, 1898

handling.The slightlylater,even morefluidFishingBoats,KeyWest,reveals heenergy ndassurance f the masterof themedium as he approached he age ofseventy. His quick pencil sketch first

greaterbreadth.This drive toward sim-plicity affected Homer's palette, too,which containedonly a few colors andblack,houghheusedsuchsmallmeans osuggesta varietyof textures-from the

conveys the reflected glare of Floridsunlighton the Lizze with astonishineconomy nd ruth.Thedirectness f suchtechniquehelps us reconstruct he creation of FishingBoats,while two larg


40/56

J. A. M. WHISTLER Nocturne, 1878

Probablythe most influential printmakerof the nineteenth century was the expatri-ate Whistler, who sparked a revival ofetching and lithography among his col-leagues. Rotherhithe (see p. 3) is an

the etched line and to detail. He wouldchange the latter practice in the FirstVenice Set of 1880, where hand-appliedplate tone greatly enhanced the delicateimages. Prior to these prints, he experi-

subtle gradations that characterize theVenice Set. In Nocturne, however, bluepaperadds a richnesscomparable o thatofhis paintings of the same period. Becauseof artistic indifference to lithography


41/56

THOMAS EAKINS The GrossClinic, 1875-76

Eakins was proud of his masterpiece,TheGross Clinic, and anxious to have itknown abroad.To get a reliableblackandwhite reproduction, he prepareda smallink-wash duplicate to be copied photo-

almostblack,andtherefore confused bothvalue structureandareasof detail likeTheGross Clinic's bright drops of blood.PerhapsEakinsknew that the first correct-ed color-sensitive plates were being pro-

densityto highlights. Eakins preparedforall laterreproductionsin this manner;fewAmerican painterswere so fastidious, orso attuned to the latest photographictechnology. Evidently Eakinswas pleased


42/56

THOMAS EAKINS The Pathetic Song, about 1881

THOMAS EAKINS John Biglin in a SingleScull, 1873-74

Eakinspaintedabout two dozenwatercol-ors, mostly in the critical years between1873 and 1882,when American watercol-or painting was enjoying its greatestgrowth. The works on these two pages

paint active bodies unhampered by cloth-ing, amidst bright effects of sunlight andreflection. Watercolor, with its cleanwashes and reflecting surface, was wellsuited to the haze and sparkleof his sunny

His academic training, or perhaps hisinsecurity,demanded such a method, forJohn Biglin was one of Eakins's debutentries at the American Watercolor Soci-ety's exhibition in New York in 1874.

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worldliberatedthe body,Eakins'sindoor,feminine world allowed emotion, con-templation,and art,especiallymusic. ThePatheticSong, a watercolor replicaof thelarger oil of the same title from 1881,

plishment,a Sundayafternoon concert athome drew upon the talents of familymembersandfriends;here,both MargaretHarrison (the singer,who was given thewatercolor copy for her help modeling)

ballad with "pathetic" themes of love,untimely death, and virtue. Eakins's re-strained treatment of this scene provesagain his subtlety with material fromeveryday life. Without attempting to


44/56

WILLIAMM.CHASE Reverie:A Portrait f a Woman,about1890-95

The sensitiveportraits n these twopagesareexamplesof the most painterlyprint-making process, the monotype. Themethod was introduced in the seven-teenth centuryby Castiglionein an at-

surface of the copper sheet prior toprinting,becamemoreessential to theirimages,artistscompletelydispensedwiththe etched ines.Theywouldpaintdirectlyon the clean platewith printer's nk or

printed, nlyoneprintexactlyikeeachothese could be produced.A second impressioncould be made if enough inkremainedon the surface,but pastelsanwatercolorswould then be added to


45/56

CHARLES ABEL CORWIN Portraitof Whister, 1880

Reverie,mostlikelya portrait f hiswife,and probablyfrom about 1895, is amasterfulmageequalto his work n oils.Thefreedomandassurance f his bravurastrokesof wiped area are even more

junctionwith the print's argesize,givesthis monotypean extraordinarympact.Frank Duveneck and the group ofAmerican rtist-friendstudyingwith himin Venicealsoemployed he technique n

boldappearancef theartist'shumbprinin the face,andthe starkhighlighting fWhistler'sshirt and coat, profile, anddramatic ock of white hair. Himself askilledprintmaker,Whistlerwas nVenic


46/56

JOHNLAFARGE TheStrangeThingLittleKiosaiSaw n theRiver,1897

La Farge ntegratedJapanese principlesofdesign and color into his own Frenchartistic tradition. His interest drew him toJapanin 1886 and 1890, and in 1897 hepainted a series of watercolors inspiredby

subject came from the life story of theJapanesepainterKiosai.As a child, Kiosaimistook a "strangething" floating in theriver for the "fairy tortoise" of Japanesenurserytales.Hauling it onto the bank,he

cession of contradictoryresponses;at firsmysterious and attractive, the image be-comes sinister and repulsive as closerinspection revealstracesof blood. Distasteand curiosity then yield to aesthetic con-


47/56

MARYCASSATT The Fitting, 1891

forms it. Asymmetricallybalancedagainstawild rose, the facefloats luminously, likea lost petal in an eerie void.The American expatriate Mary Cassattwas introduced to the lessons of Japanese

beganwhat was to be her most importantcontribution to printmakinghistory-theset of ten color prints for which sheadaptedJapanesewoodblock methods to acombination of etching and engraving.

blockprint with her innovative use osoft-ground etching, drypoint, and aquatint in which color washand-applied o theplate. In The Fitting, the introduction othe mirror reinforces the flat pattern o


48/56

CHILDE HASSAM Old Lace, Cos Cob, 1915

JOSEPH PENNELL Lower Falls,Yosemite,1912

Hassam, an American Impressionistpainter, urned to printmakingin 1915, heyear in which he etched Old Lace, CosCob. His fine lines and delicateuse of platetone successfully capture the light-

Hassam often explored the patterningeffects of strong lights and shadows.The etchings, engravings, and litho-graphsof printmakerJosephPennellfocuson physical settings, whether steel mills,

also for the novelty of restrictingthe viewto only the lower portion of this well-known spectacle. In the Museum's im-pression, the first trial proof from thestone, one is more aware of light and


49/56

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51/56

JOHN SINGER SARGENT The Escutcheon of Charles V of Spain,about 1912

JOHN SINGER SARGENT SpanishFountain,about 1914

Sargent turned to watercolor for thepleasureshisportraitcommissionsdenied:spontaneity, informality, the color andmovement of outdoor light, and thefreedom of self-chosen subjects. After

though Sargent remained more illusion-istic and less interested in brokencolor,heshared Monet's delight in pure visualsensation. Both artists insisted that theirpleinairsubjectshad no specialmeaningor

and coherence of architectureor sculptureto control the fluid asymmetricalmotionof his color and brushwork.This methodorganizes Spanish Fountain and TheEscutcheon of Charles V, where the


52/56

JULIAN ALDEN WEIR Anna Dwight WeirReadinga Letter,about 1890

WILL H. BRADLEY Thanksgiving, 1895

Weir's tender watercolor of his first wifeechoes many of his interests before 1890.Trained at the Ecole de Beaux-Arts, Weirapplied the precision of the academictraditionwith special graceto his portraits

on darkandlight valuesrather than strongcolor. This taste, as well as the informalmood and geometric organization, couldhave been influenced by the portraits ofDegas, Whistler, and especiallyManet. A

finishing it.Bradley's bold colors and curvilinearmasses and lines, as in this poster for theChapBook,helped to popularize postersinAmerica. His art nouveau style owed


53/56

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54/56

MAURICE PRENDERGAST Piazzadi San Marco, about 1898

Prendergastbrought the decorative prin-ciplesof Post-Impressionism o watercolorten years before Sargent's Impressioniststyle bloomed in that medium. Prender-gastwas an accomplishedwatercolorist in

Prendergast characteristically added aPost-Impressionist play between the sur-facepatternand the illusion of deep spaceto the Impressioniststreet scene with itsbird's-eyeperspective and abstracted de-

Cezanne'scompositional geometry, rein-forced by a surface network of pen con-tours and scrapings.Prendergastwas at hisbest in watercolor,and his example, com-bined with the tremendous prestige of


55/56

HENRY MARSH Moth and Beetles, 1862Henry Marsh'sminutely detailed render-ingsof moths andbeetles on wood blocksgreatly enhanced the new edition ofHarris'sReporton the Insectsof Massachu-settsInjuriouso Vegetables, ublished in alimited edition by the state in 1862.Marsh'swork surpassesmuch of the con-temporarywood-engraved illustration inmagazinesand other publications.

CREDITSCover Maurice Prendergast (1859-1924). Courtyard, West End Library,Boston, 1901. Watercolor and pen and ink, 14Y8 211'/4nches. Gift of the Estate of Mrs. Edward Robinson, 1952. 52.126.7 IFCGerald M. Thayer (1883-1939). Male Ruffed Grouse in the Forest, c. 1905-1909. Watercolor, 193/4 20 inches. Rogers Fund, 1916. 16.167 2 James A. McNeill Whistler (1834-1903). Rotherhithe,1860. Etching, 10/8 x 77/s nches. Harris Brisbane Dick Fund, 1917. 17.3.49 3 Charles Willson Peale (1741-1827). The Marquis de LaFayette, 1787. Mezzotint, 73/8x 55/8nches. Gift of Samuel P. Avery,1894. 94.1 4 John William Hill (1812-79). Plums, 1870. Watercolor and pencil, 7 x 117/8nches. Gift ofJ. Henry Hill, 1882. 82.9.1 5 Charles Frederick William Mielatz (1860-1919). Bowling Green,1910. Etching printed in colors, 10 x 7 inches. Purchase, Robert B. Dodson Gift, 1931. 31.40.45 6 Thomas Emmes (active c. 1700). Increase Mather, 1701. In Increase Mather, The BlessedHope, Boston,1701; 5 1 16 x 3/8 inches. Bequest of Charles Allen Munn, 1924. 24.90.1821 7 Peter Pelham (c. 1695-1751). Cotton Mather, 1728. Engraving, 13/8 x 93/4 inches. Bequest of Charles Allen Munn, 1924.24.90.14 8 Paul Revere (1735-1818). The Bloody Massacre, 1770. Mezzotint, 103s x 9 inches. Gift of Mrs. Russell Sage, 1909. 10.125.103 9 Bemard Romans (c. 1720-84). An Exact View of the LateBattle at Charlestown, 1775. Hand-colored engraving, 12s x 167/8nches. Bequest of Charles Alien Munn, 1924.24.90.46. 9 Amos Doolittle (1754-1832) after Peter Lacour (active 1785-99). FederalHall, The Seat of Congress, 1790. Hand-colored engraving, 16's x 12 15/16 inches. The Edward W C. AmrnoldCollection of New York Prints, Maps and Pictures, Bequest of Edward W C. Amold, 1954.54.90.743. 10 Benjamin West (1738-1820). Study for Alexander III, King of Scotland, Rescued from the Fury of a Stag by Colin Fitzgerald,c. 1789. Light brown ink and light brown wash, 17 s x 24/2inches. Promised gift of Mr. and Mrs. Erving Wolf. 11 John Singleton Copley (1738-1815). Study for the Siege of Gibraltar, 1785-86. Pen and ink, 10% x 20'34 nches. Purchase, Louisa EldridgeMcBumey Gift. 60.44.12 12 John Singleton Copley. Mrs. Edward Green, c. 1790. Pastel, 23 x 17'/2 nches. Curtis Fund, 1908. 08.1 13 Charles Balthazar-JulienFevret de Saint-M6min (1770-1852).An Osage Warrior, c. 1804. Watercolor, 71/4x 6 5/16 inches. The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1954. 54.82 13 James Sharples (c. 1751-1811). Albert Gallatin, c. 1797.Pastel, 93/8sx 73/8s nches. Gift of Josephine L. Stevens, 1908. 08.144 13 John Vanderlyn (1775-1852). Sarah Russell Church, 1799. Black and white chalk, 8 7/16 x 6s/8 nches. Bequest of Ella ChurchStrobell, 1917. 17.134.4 14 Edward Savage (1761-1817). The Eruption of Mount Etna in 1787, 1799. Mezzotint printed in colors, 28 11/16 x 20 3/16 inches. Purchase, Gift of William H. Huntington,by exchange, 1977. 1977.551 15 Asher Brown Durand (1796-1886). Ariadne, 1835. Engraving, 17'/2x 203/4 inches. Harris Brisbane Dick Fund, 1927. 27.10.12 16 Archibald Robertson (1765-1835).New York (New York as Washington Knew It), 1794-97. Hand-colored engraving, 20 15/16 x 15 3/32 inches. The Edward W C. Amold Collection of New York Prints, Maps and Pictures, Bequest ofEdward W. C. Amold, 1954.54.90.612 17 Samuel Seymour (active 1796-1823) after William Birch (1755-1834). The City of New York in the State of New York, North America, 1803. Hand-coloredengraving, 24 x 183/4nches. The Edward W C. Amold Collection of New York Prints, Maps and Pictures, Bequest of Edward W C. Arnold, 1954. 5490.612 18 John Baker (active 1831-41). Fisher andBird's Marble Yard,c. 1837. Engraving, 9/8 x 8 13/ 16 inches. The Edward W C. Amold Collection of New York Prints, Maps and Pictures, Bequest of Edward W C. Amold, 1954. 54.90.673 19 JohnRubens Smith (1775-1849). Shop and Warehouse of Duncan Phyfe, c. 1816-17. Watercolor and pen and brown ink 153/4 x 187/8 inches. Rogers Fund, 1922. 22.28.1 19 Alexander Jackson Davis(1803-92). Design for a Bank or Public Building, c. 1835-40. Pen and ink, pencil, and watercolor, 12 3/16 x 17T/inches. Harris Brisbane Dick Fund, 1924. 24.66.457 20 Nathaniel Currier (1813-88).The Favorite Cat, c. 1840-50. Hand-colored lithograph, 12' /8 8 11 16 inches. Bequest of Adele S. Colgate, 1962. 63.550.159 21 Johan Henrich Otto (active 1772-88). Fraktur Motifs, c. 1780-90. Penand red ink and watercolor, 13/8 x 16'/2 nches. Gift of EdgarWilliam and Bernice Chrysler Garbisch, 1966.66.242.1 22 Unidentified American artist. View from the House of Henry Briscoe Thomas,Maryland c. 1841. Pen and ink and wash, 14 x 11'V inches. Gift of Lydia Bond Powel, 1967. 67.143 23 D. W. Kellogg & Co., Memorial Print, c. 1836. Hand-colored lithograph, 12'/2x 15 11/16 inches.Gift of Marie L. Russell, 1942. 42.8.1 24 William Guy Wall (1792-after 1864). New York from Weehawk, c. 1823. Watercolor, 161/sx 251/2 nches. The Edward W C. Amold Collection of New YorkPrints, Maps and Pictures, Bequest of Edward W C. Amold, 1954. 54.90.109 25 John Hill (1770-1850) after William Guy Wall. The Palisades, 1823-24. Hand-and plate-colored aquatint, plate: 1715 16 x 24'/4 inches, The Edward W C. Amold Collection of New York Prints, Maps and Pictures, Bequest of Edward W. C. Amold, 1954. 54.90.601 25 John William Hill (1812-79). Circular Mill,King Street, New York, 1833. Pen and ink and watercolor, 9 11/16 x 13'/2 nches. The Edward W C. Amold Collection of New York Prints, Maps and Pictures, Bequest of Edward W C. Anold, 1954.54.90.170 26 Thomas Cole (1801-48). The Fountain, 1843. Pencil with white on light green paper, 7 x 93/4 inches. Gift of Erving Wolf Foundation, 1977. 1977.182.7 27 John F. Kensett (1816-72).Birch Tree, Niagara, 1851. Pencil, 16s8 x 10/8 inches, Morris K. Jesup Fund, 1976. 1976.19 28 Robert Havell (1793-1878). Panoramic View of New York from the East River, 1844. Hand-coloredaquatint, plate: 35'/4x 12 inches. The Edward W C. Amold Collection of New York Prints, Maps and Pictures, Bequest of Edward W C. Arnold, 1954. 54.90.643 29 Henry Papprill (active 1840s) afterJohn William Hill. New York from the Steeple of Saint Paul's Church, Looking East, South and West, 1848. Hand-colored aquatint, 36/8 x 21'/4inches. The Edward W C. Amold Collection of NewYork Prints, Maps and Pictures, Bequest of Edward W C. Amold, 1954. 54.90.587 30 John Sartain (1808-97) after George Caleb Bingham (1811-79). The County Election, 1854. Engraving, 26'/4 x32'/s inches. The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1952. 52.572 31 Thomas Nast (1840-1902). A Group of Vultures Waiting for the Storm to "Blow Over -"Let Us Prey."Published in Harper'sWeekly,Sept. 23,1871. Woodcut, 143/16 x 95/16 inches. Harris Brisbane Dick Fund, 1928.28.111.4(1) 31 Edwin Austin Abbey(1852-1911). In a Tavem-"Phillada Flouts Me,"1886. Published in Harper'sNew MonthlyMagazine,July 1887. Pen and ink on board, 11'/4x 17/8 inches. Bequest of Mrs. H. O. Havemeyer, 1929. The H. O. Havemeyer, Collection. 29.100.928 32 JamesHamilton (1819-78). Beach Scene, c. 1865. Watercolor, gouache, pen and ink on light blue paper, 11/8 x 16 inches. Rogers Fund, 1966.66.142 33 William Trost Richards (1833-1910). Lake Squam fromRed Hill, 1874. Watercolor and gouache, 8 11/16 x 13'/2 nches. Gift of Rev. E. L. Magoon, 1880.80.1.6 34 Winslow Homer (1836-1910). Eight Bells, 1887. Etching, 19 x 24/4 inches. Harris BrisbaneDick Fund, 1924. 24.39.4 35 Nathaniel Currier (1813-88). Clipper Ship RedJacket,1855. Hand-colored lithograph, 16'/8x 23 11/16 inches. Bequest of Adele S. Colgate, 1962. 63.550.17 36 WinslowHomer. Fishing Boats, Key West, 1903. Watercolor and pencil, 13/8 x 21'/2inches. Amelia B. Lazarus Fund, 1910. 10.228.1 37 Winslow Homer. Inside the Bar,Tynemouth, 1883. Watercolor, gouache,and pencil, 15'8 x 28'/2 inches. Gift of Louise Ryals Arkell, in memory of her husband, Bartlett Arkell, 1954. 54.183 37 Winslow Homer. A Wall, Nassau, 1898. Watercolor and pencil, 14'/4x 21'/2inches. Amelia B. LazarusFund, 1910. 10.228.9 38 James A. McNeill Whistler. Nocturne, 1878 (printed in 1887). Lithotint, 6'4 x 10'/4 nches. Harris Brisbane Dick Fund, 1917. 17.3.159 39 ThomasEakins (1844-1916). The Gross Clinic, 1875-76. Ink wash and pencil on cardboard, 238 x 19'/8 nches. Fletcher Fund, 1923. 23.94 40 Thomas Eakins. The Pathetic Song, c. 1881. Watercolor and pencil,sheet: 16'4 x 11s inches. Bequest of Joan Whitney Payson, 1975. 1976.201.1 41 Thomas Eakins. John Biglin in a Single Scull, 1873-74. Watercolor and pencil, 17'/8x 23 inches. Fletcher Fund, 1924.24.108 42 William Merritt Chase (1844-1916). Reverie: A Portrait of a Woman, c. 1890-95. Monotype, 19'/2x 15'4 inches. Purchase, Louis V Bell, William E. Dodge, and Fletcher Funds; MurrayRafsky Gift; and funds from various donors, 1974. 1974.544 43 Charles Abel Corwin (1857-1938). Portrait of Whistler, 1880. Monotype, 8 13 16 x 6 1 16 inches. The Elisha Whittelsey Collection,The Elisha Whittelsey Fund, 1960.60.611.134 44 John La Farge(1835-1910). The Strange Thing Little Kiosai Saw in the River, 1897. Watercolor, gouache, and pencil, 123/4 18'/2 nches. Rogers Fund,1917. 17.180.2 45 Mary Cassatt (1845-1926). The Fitting, 1891. Drypoint, soft-ground etching, and aquatint; printed in color, 14 13/16 x 10'/8 nches. Gift of Paul J. Sachs, 1916. 16.2.8 46 ChildeHassam (1859-1935). Old Lace, Cos Cob, 1915. Etching, 6 15/16 x 6 13/16 inches. Gift of Mrs. Childe Hassam, 1940.40.30.16 47 Joseph Pennell (1857-1926). Lower Falls, Yosemite, 1912. Lithograph,22 7/16 x 17 inches. The Elisha W\hittelsey Collection, The Elisha Whittelsey Fund, 1975. 1975.617.1 48 John Singer Sargent (1856-1925). Spanish Fountain, c. 1914. Watercolor and pencil, 20/8 x 139/16 inches. Purchase, Joseph Pulitzer Bequest, 1915. 15.142.6 49 John Singer Sargent. The Escutcheon of Charles V of Spain, c. 1912. Watercolor and pencil, 11/8 x 173/4 inches. Purchase, Joseph


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Documents

American Drawings Watercolors and Prints the Metropolitan Museum of Art Bulletin v 37 No 4 Spring 1980