ANSHUTZ, Thomas (American 1851-1912) Portrait of Helen Thurlow Executed circa 1910 Pastel on linen canvas 33 3/4 x 30 inches (85.73 x 76.2 cm) Signed Center Right: Thos. Anshutz PROVENANCE: Jordan-Volpe Gallery, New York

Hirschl & Adler Galleries, New York, 1979–1988 Private Collection, Canada, since 1988

EXHIBITED: Hirschl & Adler Galleries, New York, 1980, American Art from the Gallery’s Collection, p. 87, no. 72, illus.

John Berggruen Gallery, San Francisco, California, 1980, American Paintings and Drawings, pp. 3-4, no. 1, illus.

Hirschl & Adler Galleries, New York, 1987, Painters in Pastel: A Survey of American Works, p. 58, no. 55, illus. in color

Thomas Anshutz is known as a major disciple of Thomas Eakins and as the teacher of many of the most significant figures of the Ashcan School and Precisionism. He was born in Newport, Kentucky in 1851, but spent his early life in Wheeling, West Virginia. In 1871 his family moved to Brooklyn and two years later he entered New York’s National Academy of Design. Anshutz soon recognized the exciting artistic developments occurring in Philadelphia, and in the fall of 1875 he enrolled in Thomas Eakins’ life class at the Philadelphia Sketch Club. He subsequently followed Eakins to the Pennsylvania Academy of the Fine Arts. By 1883 Anshutz had become Assistant Professor of Painting and Drawing to Thomas Eakins. Controversially, Eakins had insisted upon the use of nude models in life drawing classes with female students and three years later Anshutz succeeded Eakins after the latter’s dismissal from the school. Anshutz’s promotion disrupted the two artists’ close working and personal relationship but in many respects Anshutz continued the legacy of the Academy’s most celebrated painter. He served as the artistic link between the nineteenth century realism of Eakins and twentieth century realist movements. His students included Robert Henri, John Sloan, George Luks, William Glackens, Charles Demuth and Charles Sheeler. In 1898, Anshutz and Hugh Breckenridge established a summer art school in Fort Washington, Pennsylvania, known as the Darby School of Painting. In 1909, he succeeded William Merritt Chase as Director of The Pennsylvania Academy and in the following year, he became President of the Philadelphia Sketch Club. Thomas Anshutz painted many portraits over the course of his career, often using friends and relatives as models. His portrait of the artist Helen Thurlow is an excellent example of his mature, painterly style. His loose, fluid use of the pastel medium gives the figure a lively immediacy, capturing both the model’s form and the subtle effects of light bouncing off of her pink dress. Helen A. Thurlow was the daughter of Thomas and Annie Thurlow of Lancaster, Pennsylvania. She studied at the Pennsylvania Academy of Fine Arts, Philadelphia, from 1904-1912, where Thomas Anshutz was head instructor. The portrait is undoubtedly drawn from life during Ms. Thurlow's student years.

BELLOWS, George (American, 1882 - 1925) Dempsey and Firpo Executed circa 1923-24 Lithograph 27 x 30 inches (68.58 x 76.2 cm) Signed bottom right: “Geo Bellows” and bottom center: “Dempsey and Firpo” Edition Size: 103 PROVENANCE: George Longstreet

The Armand Hammer Foundation, since 1988

EXHIBITED: New York, Hammer Galleries, Visions of 20th Century Masters, November 2 - December 1, 1981, illustrated, last page (no numbers) George Bellows Lithographs, 1916-1924, Amon Carter Museum September 10 - November 13, 1988; Memphis Brooks Museum of Art, Memphis, Tenn., June 17 - July 30, 1989; National Academy of Design, New York City, September 14 - November 5, 1989; and the University of Arizona Museum of Art, Tucson, December 3, 1989 - January 17, 1990

New York, Hammer Galleries, 19th and 20th Century European and American Collection, 80th Anniversary, 2008, p. 68-69

LITERATURE: Lauris Mason, The Lithographs of George Bellows, a catalogue raisonne, Millwood, NY: KTO Press, 1977, Mason No. 181, Bellows no. 89, p. 253 George Bellows, The artist's image reflected in his lithographs, Glen Head, NY: Mason Fine Prints, 1978, p. 89

Born in Columbus, Ohio, Bellows attended Ohio University before studying under Robert Henri in New York. His choice of proletarian and sporting subjects and adoption of a loose, impressionistic style allies him firmly with the Ashcan School, the first generation of New York realists, so called because of their uncompromisingly urban themes, for which Henri was the spokesman. Bellows was one of the organizers of the 1913 Armory Show which introduced modern European painting in America. He achieved his first recognition with the bravura Stag at Sharkey's (1907), a vivid representation of an illegal prizefight. A later boxing painting, Dempsey and Firpo (1924; New York, Whitney Museum), represents his interest in such sporting subjects and likely served as his inspiration in producing this lithograph of the same title. He produced many lithographs after 1916 until his death in 1925.

BENTON, Thomas Hart (American, 1889 - 1975)

White Bluffs, Buffalo River

Painted in 1973 Tempera on board 9 1/2 x 14 inches

Signed & dated lower left: Benton '73

ssss PROVENANCE: Private Collection, AZ

BIERSTADT, Albert (American, 1830 - 1902) Wapiti Oil on canvas 30 x 50 1/4 inches (76.2 x 127.64 cm) Signed lower right: ABierstadt monogrammed signature PROVENANCE: M.Knoedler & Co., New York

Private Collection, California, 1962 - 2002 Private Collection, since 2002

Albert Bierstadt is widely recognized as one of America's most important nineteenth century landscape artists, celebrated for his dramatic views of the American West. In works such as Wapiti (Indian for North American elk), he set out to record the western landscape for posterity, painting the local wildlife and natural wonders of these largely unexplored regions. Bierstadt first traveled to the West in 1859 when he accompanied Colonel Frederick Lander on a government expedition to plot a route from Fort Laramie, Wyoming to the Pacific Ocean. On this trip the artist was introduced to the unspoiled landscape, which he would continue to paint for the rest of his life. Bierstadt's idealized interpretations of the West were in keeping with the popular concept of the frontier and his paintings were highly sought after by patrons willing to pay record prices for his splendid views. Wapiti is based on an earlier sketch, titled, Wapiti on the Prairie, which appeared in A. Pendarves Vivian's memoir of his own trip to the American West, Wanderings in the Western Land, published in 1879. This volume contains a number of Bierstadt's sketches. Gordon Hendricks has written that these sketches may have been completed between 1859 and 1873 on one of Bierstadt's first three trips to the west. A reporter who visited Bierstadt's studio in Waterville, New York wrote,

“In response to the request of his visitor, he showed me a large number of his original sketches. These sketches, let me observe, are mostly in oil, upon loose sheets of canvas, and were made in the open air in all seasons of the year, not excepting winter. They are classified, for the most part, according to the country of district where they were made, and are arranged in separate portfolios kept in closets or trunks, so that any sketch which may be wanted for a particular purpose can be found without a moment's delay. As the contents of these portfolios were slowly turned over it required no laborious searching to discover the original materials of several of our artist's great California pictures,” (Gordon Hendricks, Albert Bierstadt: Painter of the American West, New York, 1974, p. 240).

Bierstadt collected objects found along his journeys in the West. These, along with his numerous sketches allowed the artist to elaborate on his painted scenes, giving him the ability to enlarge a work to panoramic scope, such as Wapiti. The artist described his collection after a fire destroyed his studio in 1882,

“The studio had in it not only some valuable paintings, but, what were to me almost priceless, the collection that I made during ten years in the Rocky Mountains of costumes, carvings, implements, and paraphernalia of various tribes of Indians and many objects of a branch of natural history in which I had deeply interested myself. I had made a study of the wild-horned animals of this country, and had many specimen heads of the deep, wapiti, mountain sheep, and goats from the time their horns start to grow until they are the most perfect specimens obtainable. For instance, I had fourteen pairs of wapiti heads. In the studio, also, were a great number of valuable studies and sketches, together with pictures completed and incomplete,” (Hendricks, p. 275).

BRICHER, Alfred Thompson (American, 1837 - 1908) Well Rock, Scituate, MA Painted in 1878 Oil on canvas 18 x 36 inches (45.72 x 91.44 cm) Signed and dated lower right: ATBricher / NY 1878 PROVENANCE: Jeffrey R. Brown Fine Arts, East Longmeadow, Massachusetts

The estate of James R. Ryan, Michigan, until 2006 Alfred Thompson Bricher was born in Portsmouth, New Hampshire, and grew up in Newburyport, Massachusetts. Having apparently taught himself how to paint, he opened a studio in Boston in 1859. During the 1860s, he focused on landscape painting, traveling to the Catskill and White Mountains as well as along the New England coast. He began exhibiting his work in the mid-1860s, and gained widespread recognition through chromolithographs produced by L. Prang & Co. He married in 1868 and moved to New York, where he had a studio in the Y. M. C. A. Building. Bricher began to focus almost exclusively on the New England coast during the 1870s, and he would continue to paint coastal views until the end of his life. He spent much time on the Maine coast and Grand Manan Island in New Brunswick, as well as on Long Island and Staten Island, where he settled in 1894. Perhaps in order to compensate for his lack of formal instruction, Bricher rapidly assimilated the styles of major landscape painters such as Thomas Cole, Asher B. Durand, and Frederic Church during the early and mid-1860s. As his interests expanded to incorporate luminist principles, Bricher looked increasingly to John Frederick Kensett’s work for inspiration, although Bricher’s work was always more rooted in his direct experience of nature. Bricher hit his stride as a painter while working in this mode during the 1870s, and he developed a more distinctive style during the 1880s and 1890s, in which he used slanting sunlight and freer brushwork in order to capture atmospheric effects along the coast. Well Rock, Scituate, Massachusetts depicts a rock formation that juts into the sea at Minot Beach, which lies a few miles north of Scituate Harbor. On the beach nearby, a fisherman smoking a pipe shows his wares to a woman with a parasol and her daughter. The fisherman’s sailboat is anchored in the middle ground. The loose paint handling in the rocks conveys their solidity, and it suggests the foam on the crests of the waves. The afternoon sun bathes the scene in a warm light.

CURRAN, Charles Courtney (American, 1861 - 1942) An Afternoon Respite Painted in 1894 Oil on canvas 9 x 12 inches (22.86 x 30.48 cm) Signed & dated lower right: Chas C. Curran 1894 Born in Hartford, Kentucky, Charles Courtney Curran studied briefly at the Cincinnati School of Design in 1881. After moving to New York City the following year, Curran enrolled at the National Academy of Design and continued his training at the Art Students League. He received early recognition, first exhibiting at the National Academy in 1883. This marked the beginning of a lifelong association with the Academy, where Curran proceeded to exhibit in an impressive sixty-one consecutive annual exhibitions, as well as nearly every winter exhibition from 1906 to 1932. Between 1889 and 1891 Curran studied at the Académie Julian in Paris. His exposure to French Impressionism there is evident in the brighter palette and dappled light effect of our 1894 painting An Afternoon Respite. This small jewel depicts a young woman who, after picking the orange flowers that rest in her lap, has reclined on a shady hill overlooking the ocean. Depicted in profile, she gazes out toward a small sailboat in the middle ground and a sailing ship in the distance. Her relaxed posture and expression and the harmonious palette of blues, greens, and lavender both contribute to a mood of leisure and contentment. Upon his return to America, Curran divided his time between New York City and his house and studio near Cragsmoor, New York, where he was a leader of the Cragsmoor Art Colony. Founded by Edward Lamson Henry in 1883, the Cragsmoor Colony became a favorite retreat for landscape painters, who were attracted to its clear views of the surrounding mountains and valleys. Curran first stayed there as a guest of artist and writer Frederick Dellenbaugh in 1903, and eventually built his summer home there in 1910. As art historian William H. Gerdts wrote, “Cragsmoor enjoyed a new influx of ‘permanent visitors’ in the early years of this century. Charles Courtney Curran was undoubtedly the most renowned of this second generation.”1

1 William H. Gerdts, Art Across America: Two Centuries of Regional Painting (New York: Abbeville Press, 1990), 1: 167.

Curran remained associated with Cragsmoor into the late 1930s.

DUVENECK, Frank (American, 1848 - 1919) Girl with Rake Painted in 1886 Oil on canvas 34 x 25 1/4 inches (86.36 x 64.14 cm) Signed, dated & inscribed lower left: F Duveneck, Florence 1886 PROVENANCE: Private Collection, Ohio

Anonymous Collection, Connecticut Private Collection, Michigan Vose Galleries, Massachusetts Hirschl & Adler Galleries, New York Private Collection, Canada, since 1988

EXHIBITED: Cincinnati, Ohio, Cincinnati Art Museum, An American Painter Abroad: Frank

Duveneck’s European Years, October 3, 1987 – January 3, 1988 LITERATURE: Robert Neuhaus, Unsuspected Genius: The Art and Life of Frank Duveneck, San

Francisco: Bedford Press, 1987, no. 49, illustrated p. 69 Michael Quick, An American Painter Abroad: Frank Duveneck’s European Years, Cincinnati Art Museum, 1987, illustrated p. 84, plate 29 Theodore E. Stebbins, Jr., The Lure of Italy: American Artists and The Italian Experience, 1760-1914, Museum of Fine Arts, Boston, 1992, p. 415 Owen Gallery, Frank and Elizabeth Boott Duveneck, exhibition catalogue, 1996, p. 26

Frank Duveneck played an important and sometimes unheralded role in American painting at the end of the nineteenth century. He painted with William Merritt Chase; made etchings with Whistler; was friends with John Singer Sargent (who said, “Frank Duveneck is the greatest talent of the brush of his generation”); and socialized with Henry James. These were significant achievements for the child of immigrants raised on the recently tamed Western frontier. Born in Ohio in 1848 and subject to little formal education, Duveneck was employed as an artist by the age of 20. He was among the first of a great wave of American artists to study in Europe, in his case Munich, during the last quarter of the nineteenth century. In 1878, at the age of thirty, he began taking students in his studio in Munich, at the time one of the two great centers of the European art world. Obscure only a few years before, he had come to prominence after the tremendous success of an 1875 exhibition in Boston, an event that led to numerous commissions and established his reputation as a leader of the new generation of American painting. Duveneck’s studio soon became a destination for significant young progressive artists, including Louis Ritter, Joseph DeCamp, J. Frank Currier, and others. He, along with frequent painting partners Chase and John Henry Twachtman, helped turn the style of American art away from the grandeur of the Hudson River School and the parochialism of the Victorian style toward a more vital and worldly realism. “Girl with Rake” is an important painting from Duveneck’s second Italian period, 1882-1888, a time during which his interest expanded from his tenebrist interior portraits of the 1870s to sunlit exteriors, without losing his fluency of paint handling. The critic and author Robert Neuhaus says of this work, “[it] could be counted as one of the artist’s finest salon-type pieces” and “holds up well against the best”.

HAMILTON, Hamilton (American, 1847 - 1928) Stroll through the Garden Painted in 1890 Watercolor on paper 17 1/2 x 29 1/2 inches (44.45 x 74.93 cm) Signed lower left: Hamilton Hamilton NA Note: This painting retains its original frame. Born in Oxford, England, Hamilton Hamilton moved with his family at a young age to Cowlesville, New York, outside of Buffalo. He studied in Paris from 1870 to 1872, and returned to France in 1878 to live and work at the artists’ colony in Pont-Aven, Brittany. During this decade, Hamilton also traveled through the American West, subsequently painting many landscapes based on his experiences. Hamilton arrived in New York City in 1881, and eventually settled into a studio in the Sherwood Building on West 57th Street, where he became friends with Thomas Moran, Robert Blum, Winslow Homer, William Merritt Chase, and Birge Harrison. During this time Hamilton began to experiment with genre painting, and also began to exhibit at the National Academy of Design annuals. He was elected an Academician in 1889. In 1895 Hamilton painted along the Cornish coast, where it is possible that he met the English art critic John Ruskin. Sometime before 1910, he and his family moved to Pasadena, California, because of his ill health. This trip lightened Hamilton’s palette and influenced his style once he returned to the East Coast and became active in the artist colony of Silvermine, which is located between Norwalk and New Canaan in Connecticut. After painting Western landscapes, Hamilton turned to Impressionist landscapes and genre paintings. The large watercolor Stroll Through the Garden is a prime example of Hamilton’s figural style executed in an attractive palette of pale blues and reds. A young woman in a white dress, which appears blue in the shadow of her parasol, touches a flower as she gazes pensively into the distance. The relatively low vantage point lends monumentality to her figure, while the scattered accents of the blooms that surround her evoke her reverie. Since the model for our picture appears in several other works by Hamilton, possibly including ones in which she appears with Hamilton’s daughters, she may be the artist’s wife. Hamilton’s signature on A Stroll Through the Garden bears the “N.A.” suffix, indicating that the painting was completed following his spring 1889 election. Hamilton exhibited at the National Academy of Design in 1881-1905, 1911-1912 and 1928; Brooklyn Art Association, 1881-84; Pennsylvania Academy of the Fine Arts, 1881-89; Boston Art Club, 1881-82; and the Art Institute of Chicago, 1889, 1891, 1896, and 1913. He was a member of the American Watercolor Society, Century Association, and a founder of the Silvermine Guild of Artists; he was elected a National Academician in 1889. His works can be found at the National Academy Museum, New York; Albright-Knox Art Gallery, Buffalo, New York; Columbus Museum of Art, Ohio; and the Kirkland Museum of Fine & Decorative Art, Denver.

HENRI, Robert (American, 1865 - 1929) Mary Patton in Rose Smock, 1926 Oil on canvas 24 1/4 x 20 inches Signed and inscribed on reverse: Robert Henri / N4 PROVENANCE: Violet Organ, Philadelphia

A.B. Closson Jr. Co., Cincinnati Hirschl & Adler Galleries, New York, 1963 John J. McDonough Collection Sotheby Parke-Bernet, New York, Collection of John J. McDonough, March 22, 1978, lot 38, illustrated Private collection Hammer Galleries, New York

EXHIBITIONS: Cleveland Museum of Art, Spring 1969, on extended loan

New Orleans Museum of Art, Louisiana, A Panorama of American Painting: The John J. McDonough Collection, catalogue by E. John Bullard, April 18 – June 8, 1975, no. 40, illustrated in color p. 98. Exhibition also traveled to the Fine Arts Gallery of San Diego, California, June 30 – August 10, 1975; Marion Koogler McNay Art Institute, San Antonio, Texas, September 12 – October 19, 1975; Arkansas Arts Center, Little Rock, November 14 – December 28, 1975; The Westmoreland County Museum of Art, Greensburg, Pennsylvania, January 26 – March 8, 1976; The North Carolina Museum of Art, Raleigh, April 6 – June 1, 1976; the Oklahoma Art Center, Oklahoma City, July 1 – August 15, 1976; and the Butler Institute of American Art, Youngstown, Ohio, October 3-31, 1976

Columbus Museum of Art, Ohio, Triumph of Color and Light: Ohio Impressionists and Post-Impressionists, February 6 – May 15, 1994, pp. 26, 148, illustrated. Exhibition also traveled to the Butler Institute of American Art, Youngstown, Ohio, March 14 – April 30, 1995

Nassau County Museum of Art, New York, Old New York and the Artists of the Period, August 19 – November 4, 2001

LITERATURE: Robert Henri, unpublished record of paintings, no. N4, painted at Corrymore (Ireland),

August 19, 1926.

“Arts Calendar: Feasting the Eyes,” Avenue, June 2010, illustrated in color, p. 36.

With her sparkling eyes and rosy complexion, Mary Patton in Rose Smock exudes the vitality and spirit Henri observed in the people of Ireland, and which he found particularly compelling in the faces of children. Henri first visited Ireland in 1913, and despite his strong desire to return, he did not do so until 1924. He first rented, and then purchased a house, Corrymore, on the remote island of Achill in County Mayo, spending up to six months a year there from 1925 to 1928. Although he painted the area’s broad vistas and dramatic cliffs, Henri was particularly drawn to capturing the local residents on canvas, seeking out those who he felt conveyed the essence of the Irish people. Portraits like Mary Patton in Rose Smock remain among the most recognizable works from Henri’s time in Ireland, expressing the artist’s deep fondness for the country and its people.

INNESS, George (American, 1825 - 1894) Etretat, Normandy, France Painted circa 1874-1889 Oil on canvas 25 1/8 x 38 1/16 inches (63.82 x 96.68 cm) Signed lower right: G. Inness PROVENANCE: Estate of the Artist

F. Cromwell Schweitzer Gallery, New York The Armand Hammer Foundation, since 1970

EXHIBITED: New York, American Fine Arts Society, Exhibition of the Paintings Left by the Late George Inness, December 27, 1894, no. 59

New York, Fifth Avenue Gallery, Inness Executor’s Sale, February 12 –14, 1895, cat. no. 60

New York, George H. Ainslie Galleries, American Paintings, 1916

Tucson, Arizona, Tucson Art Center, George Inness, November 29, 1965 - January 2, 1966

Washington D.C., Smithsonian Institution, The Armand Hammer Collection: Five Centuries of Masterpieces, March 20 – May 17, 1970

Kansas City, Missouri, William Rockhill Nelson Gallery of Art, The Armand Hammer Collection: Five Centuries of Masterpieces, June 30 – August 2, 1970

New Orleans, Louisiana, Isaac Delgado Museum of Art, The Armand Hammer Collection: Five Centuries of Masterpieces, August 15 – September 20, 1970

Columbus, Ohio, Columbus Gallery of Fine Arts, The Armand Hammer Collection: Five Centuries of Masterpieces, October 9 – November 1, 197

Little Rock, Arkansas, Arkansas Art Center, The Armand Hammer Collection: Five Centuries of Masterpieces, November 21, 1970 – January 12, 1971

Los Angeles, California, Los Angeles County Museum of Art, Nineteenth Century American Art, 1973 –1990, on long-term loan

LITERATURE: Art in America 53, no. 5, October - November 1965, p.128, illustrated, for sale by Schweitzer Gallery

LeRoy Ireland, The Works of George Inness, An Illustrated Catalogue Raisonné, Austin and London, University of Texas Press, 1965, no. 683, p. 167

Christie, Manson and Woods Sale Catalogue: Impressionist, American and Modern Paintings and Watercolors, Houston, Texas, April 6, 1970, no. 10, p. 12, illustrated

The Art Quarterly 30, no. 3 - 4 (Fall-Winter 1967); x, repro., for sale by Schweitzer Gallery

Michael Quick, George Inness, A Catalogue Raisonné, New Brunswick: Rutgers University Press, 2007, vol. 1, no. 488, p. 443, illustrated

MOSES, Grandma (American, 1860 - 1961) Get Along, Painted in 1957 Oil on board 7 7/8 x 11 7/8 inches Signed lower right: MOSES

PROVENANCE: Estate of the Artist Mr. & Mrs. Jerome Speltz

Henry Fox, NY

Hammer Galleries, NY

Albert Ernest, by 1979

Hammer Galleries

LITERATURE: Otto Kallir, Grandma Moses, Harry N. Abrams, Inc., New York, 1973,

no.1317, illustrated. M# 1808

MOSES, Grandma (American, 1860 - 1961) We Have a Turkey Painted in 1944 Oil on board 14 3/4 x 19 3/4 inches Signed lower right: Moses

PROVENANCE: Estate of the Artist Hammer Galleries, New York

Private Collection, Connecticut (acquired from the above), circa 1977

By descent in the family to Private Collection

Hammer Galleries, New York

LITERATURE: Otto Kallir, Grandma Moses, Harry N. Abrams, Inc., New York, 1973,

no.445, M# 1039, Nov. 20 RB p. 33

OGILVIE, John Clinton American, 1838-1900 Morris Plains, New Jersey Painted in 1870 Oil on canvas 45 1/4 x 72 inches (115 x 183 cm) Signed and dated lower right Titled and dated enverso: Morris Plains, New Jersey 1870 PROVENANCE: Anonymous Collection, CT Hammer Galleries, New York EXHIBITED: Hammer Galleries, New York, 19th and 20th Century American Collection, April 1-May 3, 2003, pg. 6-7, illustrated The painter John Clinton Ogilvie was born into a wealthy family that had lived in New York since 1745, when his ancestor William Ogilvie arrived from Scotland. He studied under James Hart, a painter in the Dusseldorf tradition, before devoting himself to landscape painting. He began exhibiting at the National Academy of Design in New York in 1861 and in 1864 he was elected an Associate. Ogilvie was considered a member of the White Mountain School as well as the Hudson River School. The careful observation and minute detail of Ogilvie's early paintings undoubtedly derived from Hart and John F. Kensett, whose studio Ogilvie often visited. During the 1860s, his landscapes of New York, New Jersey and Connecticut were also exhibited at the Pennsylvania Academy of Fine Arts and the Boston Athenaeum, while he continued to exhibit at the National Academy almost yearly throughout his life. In 1866 Ogilvie made the first of several long trips to Paris, where he painted and continued his studies. He returned to the United States following his marriage in 1872. His work, In the Woods, was shown at the Centennial Exhibition at Philadelphia in 1876. In 1879, he and his wife and daughter left for four years in Europe, where he spent his winters in Nice and Mentone; during the rest of the year, they would travel throughout the continent, including to Italy, Switzerland, France and Ireland. Many of the landscapes done in these varying locations were later shown at the National Academy. He returned to New York in about 1883 and remained there until his death in 1900. His wife, Helen Slade Ogilvie, who was a painter and a well-known collector of oriental rugs, and his daughter, Ida Helen Ogilvie, who became a prominent geologist and teacher, survived him. The deanery of Saint John the Divine in New York was built in his memory. Ogilvie's painting, Near Jackson, White Mountains, is in the collection of the Metropolitan Museum of Art, illustrated and discussed in American Paintings in the Metropolitan Museum of Art: Volume II, pp. 527-528. Portrait busts of Clinton Ogilvie by Paul Wayland Bartlett are in the collections of the Metropolitan Museum and the Smithsonian American Art Museum.

PAXTON, William McGregor (American, 1869 – 1941) Portrait of Louise Converse (Mrs. Junius S. Morgan) Painted in 1915 Oil on canvas 52 1/2 x 42 3/8 inches (133.35 x 107.63 cm) Signed and dated lower right: Paxton 1915 The sitter was the mother of John Pierpont Morgan, II PROVENANCE: Louise Converse (Mrs. Junius S. Morgan) New York Collection of John Pierpont Morgan, II Hammer Galleries, New York EXHIBITED: Boston, Guild of Boston Artists, Exhibition of Paintings by William M.

Paxton, 1916, no. 7

Boston, Museum of Fine Arts, William MacGregor Paxton, N.A., 1941, no. 41 (As Mrs. Junius S. Morgan)

Indianapolis Museum of Art; El Paso Museum of Art; Omaha, Nebraska, Joslyn Art Museum; Springfield, Massachusetts, Museum of Fine Arts; William McGregor Paxton, August 15, 1978- May 6, 1979; no. 38

Roslyn, New York, Nassau County Museum of Art, The Subject is Women: Impressionism and Post-Impressionism, January 10 - February 28, 2010, illustrated p. 9

LITERATURE: Boston Transcript, January 25, 1916

Boston Daily Globe, November 19, 1941

Boston Sunday Post, November 23, 1941

Ellen Wardwell Lee, William McGregor Paxton 1869-1941, Exhibition catalog, Indianapolis Museum of Art, 1978, no.38, p.134

Just prior to her marriage to Junius S. Morgan of New York, Louise Converse went to Paxton's studio to pose for this portrait. Paxton once wrote that he preferred that sitters come to his studio, but that he would and did travel to them if his expenses were met, adding substantially to an already substantial portrait fee. In 1912, a three-quarter length portrait such as this would have cost $1750. Paxton had long been acquainted with the subject's father, Boston composer Frederick Converse, having painted his portrait in 1899 and a full family portrait in 1903.

STUART, Gilbert American, 1755 – 1828 Portrait of George Washington Painted in 1822 Oil on canvas 44 1/8 x 34 1/2 inches (112.1 x 87.6 cm) PROVENANCE: William D. Lewis, Philadelphia, 1822

Estate of William D. Lewis (on loan to Pennsylvania Academy of Fine Arts, 1881-1928) Howard Young Galleries, New York Mr. and Mrs. Alfred G. Wilson, Detroit, 1928 The Armand Hammer Foundation since 1970

EXHIBITED: Detroit, Michigan, The Detroit Institute of Arts, The Eleventh Loan Exhibition, American Colonial and Early Federalist Art, February 4 – March 2, 1930 Detroit, Michigan, The Detroit Institute of Arts, Masterpieces of Painting from Detroit Private Collections, April 23 – May 22, 1949 The Armand Hammer Collection: Five Centuries of Masterpieces, November 21, 1970 - January 3, 1988, traveled to over 50 locations around the world (for a complete list of the exhibition locations and dates, please see John Walker, ed. The Armand Hammer Collection: Five Centuries of Masterpieces. New York: Abrams, 1980) Los Angeles, California, Los Angeles County Museum of Art, 10th Anniversary, April 8 – June 29, 1975 Bonn, Germany, Rheinisches Landesmuseum; Belgrade, Yugoslavia, Museum of Modern Art; Rome, Italy, Galleria Nazionale D’arte Moderna Valle Guilia and Warsaw, Poland, National Museum of Poland, 200 Yeast of American Painting, June 30, 1976 – November 17 – December 15, 1976 Los Angeles, California, Los Angeles County Museum of Art, American Nineteenth Century, January 31 – February 7, 1977 Los Angeles, California, Los Angeles County Museum of Art, Selections from The Armand Hammer Collection, March 23, 1983 - May 22, 1983 and May 22, 1984 – August 26, 1984 Los Angeles, California, The Armand Hammer Museum of Art and Cultural Center (UCLA Hammer Museum), 1990 – March 2007 San Francisco, California, Fine Arts Museums of San Francisco, The de Young Museum, March 2008 - April 2009 LITERATURE: Henry T. Tuckerman, Book of Artists, New York: G.P. Putnam & Son, 1867, p. 120 George C. Mason, Life and Works of Gilbert Stuart, New York: Charles Schribner’s Sons, 1879, p. 113 Elizabeth Bryant Johnston, Original Portraits of Washington, Boston: James R. Osgood & Co., 1882, p. 8, 82 Mantle Fielding, Gilbert Stuart's Portraits of George Washington, Private Printing, Philadelphia, 1923, p. 143, no. 30 Lawrence Park, Gilbert Stuart - An Illustrated Descriptive List of His Works, New York: William Edwin Rudge, 1926, Vol. II, p. 862, no. 31 John Hill Morgan and Mantle Fielding, Life Portraits of Washington and Their Replicas, Philadelphia, 1931, p. 271, no. 31 Gustavus A. Eisen, Portraits of Washington, Vol. I, New York: Robert Hamilton & Associates, 1932, p. 126, repr. p. 255 Parke-Bernet Galleries, Inc., Important American Paintings, Sculpture and Drawings, New York, December 10, 1970, p. 14, no. 12, illustrated in color The Armand Hammer Collection, Los Angeles: Los Angeles County Museum of Art, 1971, no. 51 Mercury, July 1976, cover illustration Galleria Nazionale D’arte Moderna Valle Guilia, 200 Years of American Painting, Rome, Italy: De Luca Editore, October 1 – 26, 1976, exhibition catalogue, p. 9 -10, illustrated John Walker, ed. The Armand Hammer Collection, New York: Harry N. Abrams, 1980, cat. 58, p. 161, illustrated The Armand Hammer Collection, Los Angeles, California, 1985, p. 68, no. 35, illustrated in color National Gallery of Art, Washington, D.C. American Paintings from the Armand Hammer Collection: An Inaugural Celebration, 1985, illustrated on cover and p. 6

WALTER, Martha (American, 1875 - 1976) By the Water's Edge Painted circa 1925 Oil on canvas 40 x 32 inches (101.6 x 81.28 cm) Signed lower left: Martha Walter PROVENANCE: Estate of the artist

Mr. & Mrs. Carl David, Philadelphia, Pennsylvania

Anonymous Collection, New Jersey

Anonymous Collection, Pennsylvania

Hammer Galleries, New York

EXHIBITED: Memphis, Tennessee, The Dixon Gallery and Gardens, Martha Walter,

1875-1976 American Impressionist, June 20 – September 5, 1982, no. 14

New York, Hammer Galleries, 19th and 20th Century European and American Collection, 80th Anniversary, 2008, p. 62-63

New York, Hammer Galleries, Artist, Model and Muse: Women in 19th and 20th Century Art, March 3 - April 30, 2009, illustrated in brochure

Roslyn, New York, Nassau County Museum of Art, The Subject is Women: Impressionism and Post-Impressionism, January 10 - February 28, 2010, illustrated p. 16

LITERATURE: The Dixon Gallery and Gardens, Martha Walter, 1875-1976 American

Impressionist, Memphis, Tennessee, 1982, p. 3, no. 14

WALTER, Martha (American, 1875 - 1976) Yellow Chairs Painted in 1914 Oil on board 14 x 18 inches (35.56 x 45.72 cm) Signed lower right: Martha Walter PROVENANCE: Estate of the Artist

Private collection, Philadelphia, 1968

Martha Walter was best known as a painter of colorful beach scenes and landscapes. Influenced by the French impressionists during her travels abroad, these canvases were spontaneously executed with a palette of vivid colors. Walter was born in Philadelphia in 1875. She enrolled at the Pennsylvania Academy of the Fine Arts, where she studied under William Merritt Chase, who became her primary mentor. She continued her art education at the Grande Julien in Paris. At the outbreak of World War I, she returned to the United States and took up painting at various East coast beach resorts such as Coney Island and Gloucester. In her beach scenes of this period, colorful bathing suits, gowns and umbrellas punctuate a tranquil, pastel surface. Her expertise in the treatment of light and shadow is evident in her depictions of these settings at various times of day. Walter worked well into her nineties, continuing to paint portraits of women and children, beach scenes, gardens and marketplaces. Before her death in 1976, she had exhibited widely, and her works are included in major national and international private and public collections. Hammer Galleries had several exhibitions of her work during her lifetime, the last taking place in 1975 when the artist was one hundred years old.

WIGGINS, Guy (American, 1883 - 1962) Winter's Day, Fifth Avenue Painted circa 1950 Oil on canvas 25 x 30 inches (63.5 x 76.2 cm) Signed lower left: Guy Wiggins NA PROVENANCE: Private Collection, New York

Hammer Galleries, New York

The son of artist John Carleton Wiggins and father to artist Guy A. Wiggins, Guy C. Wiggins was born and grew up in Lyme where his parents had purchased a country house and studio. Beginning in 1917, both the elder Wiggins and his son gave their addresses as Old Lyme, which by then was an unofficial artist colony, dating from 1903 when Childe Hassam began painting there. Guy C. Wiggins received early training as an architectural draftsman at the Polytechnic Institute in Brooklyn, New York and eventually studied art at the National Academy of Design under William Merritt Chase and Robert Henri. Wiggins was a painterly Realist who worked on a wide variety of subjects, particularly the well-loved scenes of New York City in the snow as well as scenes of the Old Lyme area. At the age of 20, Wiggins became the youngest artist to have his work accepted into the permanent collection of the Metropolitan Museum of Art. His work can be found in public collections around the country, including the Brooklyn Museum of Art, NY; Metropolitan Museum of Art, NY, the White House, the National Gallery of Art, Washington, DC, the Museum of Fine Arts, Houston, and many others.

WILES, Irving Ramsey (American, 1861 - 1948) Lady in Black: The Red Room Painted in 1890 Oil on panel 16 x 10 inches (40.64 x 25.4 cm) Signed & dated lower left: to my friend Chase/Irving R Wiles 1890 This painting retains its original frame. PROVENANCE: William Merritt Chase

Jordan-Volpe Gallery, New York Sandra Werther, Ltd., New York Vivian and Bernard Manekin, Baltimore, Maryland, c. 1985-2005

EXHIBITED: Art Institute of Chicago, 1890, no. 183, as Girl in Black

World’s Columbian Exposition, Chicago, Illinois, 1893, no. 912

LITERATURE: Carolyn Kinder Carr et al., Revisiting the White City: American Art at the

1893 World’s Fair (Washington, D. C.: National Museum of American Art and National Portrait Gallery, 1993), 350, illustrated

A preeminent portrait and figure painter of the late nineteenth century, Irving Ramsey Wiles enjoyed a distinguished career during which his work was often associated with that of contemporary masters such as his teacher, William Merritt Chase, and John Singer Sargent. Wiles painted many different subjects, ranging from still lifes to seascapes. But he is best known for his portraits of socially prominent women and for interiors occupied by beguiling female models, which earned him the epithet “painter of youth and beauty.” Wiles shared a studio in the Tenth Street Studio Building with Alban Jasper Conant during the winter of 1881-82. While there he became a close friend of Chase, who maintained a lavish studio in the same building. Chase considered Wiles to be one of the most talented students he ever had and cultivated a lifelong relationship with him. Lady in Black: The Red Room is a fine example of Wiles’ mastery of the bravura brushstroke with which he builds volume through the energetic application of paint. A young woman, dressed in black, sits reading on an elegant wicker chair. She is engulfed in a rich interior of vibrant red drapery. Her delicate features stand out against the bold background, and her frontal pose gives the scene a sense of immediacy. Despite its small size, this painting is a striking and technically sophisticated effort. Wiles himself must have been pleased with the picture, for he dedicated it to his mentor, William Merritt Chase.

WIMAR, Charles (American, 1828 - 1862) Jolly Flatboatmen by Moonlight (Flatboatmen on the Mississippi) Painted in 1854 Oil on canvas 19 1/8 x 23 5/8 inches (48.58 x 60.01 cm) Signed lower right: 1854 C Wimar, Dü PROVENANCE: John A. Brownlee Henry Overstolz Mr. & Mrs. James P. Whiteside, Foristell, Missouri Amon Carter Museum, Fort Worth, Texas, 1969 Private Collection, since 2001 EXHIBITED: St. Louis, Missouri, "Fourth Annual St. Louis Fair," 1859, no. 131 "Mississippi Valley Sanitary Fair", 1864, no. 34, listed as Moonlight on the Missouri St. Louis, Missouri, “Seventh Annual Exhibition of the St. Louis Exposition and Music Hall Assoc.”, 1890, no. 299 St. Louis, Missouri, City Art Museum of Saint Louis, Charles Wimar, 1828 – 1862: Painter of the Indian Frontier, October 13 – November 18, 1946 Warsaw, Poland, National Museum in Warsaw, Bucharest, Romania, Sala Dallas, Lasi, Romania, Palace of Culture, Timisoara, Romania, Banatul Museum, Zagreb, Yugoslavia, Ethnographic Museum of Zagreb, Skopje, Yugoslavia, Fine Arts Gallery of the Lety of Skopje, Daut Pasha’s Bath, Belgrade, Yugoslavia, Belgrade Cultural Center, Sarajevo, Yugoslavia, Cultural Information Center, Prague, Czechoslovakia, National Gallery of Prague, Waldstein Palace, Krakow, Poland, American Consulate, and Bratislava, Czechoslovakia, Slovakian National Museum, Bratislava Castle, The American West, Exhibition organized by the Amon Carter Museum for the United States Information Agency, January 8, 1974 – February 2, 1975 Minneapolis, Minnesota, Walker Art Center, The River: Images of the Mississippi, October 3, 1976 - January 9, 1977 Huntsville, Alabama, Huntsville Museum of Art, Art of the American West, September 8 - November 26, 1978 Worchester, Massachusetts, Worcester Art Museum, West Comes East: Frontier Painting and Sculpture from the Amon Carter Museum, April 25 - June 24, 1979 Evanston, Illinois, Terra Museum of American Art, Life in 19th Century America, September 11 - November 15, 1981 Los Angeles, California African-American Museum, The Portrayal of the Black Musician in American Art, March 6 - August 14, 1987 St. Louis, Missouri, Washington University Gallery of Art, Carl Wimar: Chronicler of the Missouri River Frontier, January 26 – March 24, 1991 Fort Worth, Texas, Amon Carter Museum, Carl Wimar: Chronicler of the Missouri River Frontier, May 4 - August 4, 1991 Berlin, Germany, Deutsches Historisches Museum, Vice-Versa, September 19 - December 1, 1996 LITERATURE: City Art Museum of Saint Louis, Charles Wimar: Painter of the Indian Frontier, 1946, exhibition catalogue, p. 36, no. 9. The Art Quarterly, vol. 33, no. 1, 1970, "Accessions of American and Canadian Museums," illustrated p. 94. Brown, Gaye L, Ed., West Comes East: Frontier Painting and Sculpture from the Amon Carter Museum, Worcester Art Museum, exhibition catalogue, April 25 - June 24, 1979, illustrated p. 82. Sokol, David, Life in 19th Century America, Terra Museum of American Art, exhibition catalogue, September 11 - November 15, 1981, illustrated p. 8, no. 15. Zellman, Michael, American Art Analog, Volumes I-III, 1985, illustrated p. 224, vol. 1. California Afro-American Museum, The Portrayal of the Black Musician in American Art, Los Angeles, California, exhibition catalogue, March 7 – August 14, 1987, illustrated p. 13, fig. 8. Stewart, Rick, Joseph D. Ketner II and Angela L. Miller, Carl Wimar: Chronicler of the Missouri River Frontier, Amon Carter Museum, Fort Worth, Texas, exhibition catalogue May 4 - August 4, 1991, illustrated p. 3 in color and p. 59, fig. 42. Bott, Katharina and Gerhard, "Vice Versa: Deutsche Maler in America, Amerikanische Maler in Deutschland, 1813-1913, Berlin: Deutsches Historisches Museum, 1996, p. 240-241.

WYETH, Andrew (American, 1917 – 2009) Deserted Light Painted in 1977 Watercolor and pencil on paper 30 1/2 x 22 inches (77.47 x 55.88 cm) Signed lower right: Andrew Wyeth The watercolor will be included in Betsy James Wyeth's forthcoming catalogue raisonné of the artist's work.

PROVENANCE: Coe Kerr Gallery, Inc., New York Private Collection, 1979

Hammer Galleries, New York

EXHIBITED: Toyko, Japan, Andrew Wyeth, Mitsukoshi Main Store, October 24 -

November 5, 1978; Sapporro, Japan, Mitsukoshi Branch Store, November 14 - November 19, 1978; Kobe, Japan, Mitsukoshi Branch Store, November 21 - December 3, 1978

LITERATURE: Andrew Wyeth, Mitsukoshi Main Store, Tokyo, Japan, Exhibition catalogue,

1978, p. 73, illustrated Deserted Light was painted on Southern Island, Maine in 1977. The lighthouse and surrounding property were owned and restored by Betsy James Wyeth and later given to her son, Jamie Wyeth.

WYETH, Andrew (American, 1917 - 2009) On Her Knees Painted in 1975 Watercolor on paper 24 3/8 x 19 7/8 inches (61.91 x 50.48 cm) Signed lower right: Andrew Wyeth PROVENANCE: Leonard E.B. Andrews, Pennsylvania

Private Collection, Japan EXHIBITIONS: National Gallery of Art, Washington, D.C., Andrew Wyeth: The Helga Pictures,

May 24 - September 27, 1987, catalogue by John Wilmerding, no. 136 (dated 1977), pp. 197, 119, illus. in color, pl. 136. Exhibition also traveled to the Museum of Fine Arts, Boston, October 28, 1987 - January 3, 1988; The Museum of Fine Arts, Houston, January 31 - April 10, 1988; Los Angeles County Museum of Art, April 28 - July 10, 1988; Fine Arts Museum of San Francisco, August 13 - October 16, 1988; Detroit Institute of Arts, Michigan, November 13, 1988 - January 22, 1989; The Brooklyn Museum, June 19 - September 18, 1989; Seibu Pisa Ltd., Tokyo, Japan, January 2 - February 1, 1990; Tsukashin Hall, Amagasaki, Japan, February 1 - March 1, 1990; Fukushima Prefectural Museum of Art, Fukushima City, Japan, April 1 - May 6, 1990; Fukuoka Art Museum, Fukuoka, Japan, May 12 - June 17, 1990; Ishikawa Prefectural Museum of Art, Kanazawa, Japan, June 23 - July 22, 1990; Museum of Modern Art, Seibu Takanawa, Karuizawa, Japan, July 27 - September 4, 1990; Hokkaido Museum of Modern Art, Sapporo, Japan, September 11 – October 21, 1990; and Saitama Museum of Modern Art, Urawa, Japan, October 27 - December 16, 1990.

Adelson Galleries, New York, Andrew Wyeth: Helga on Paper, November 3 – December 22, 2006, illus. in color plate 51, p. 79

The Hyde Collection, Glens Falls, New York, Andrew Wyeth: An American Legend, June 12 -September 5, 2010

Part of the extraordinary body of work that created a stir in the art world when its existence was revealed in 1986, the Helga pictures depict Andrew Wyeth’s Chadds Ford neighbor, Helga Testorf, whom he had met while she was working for his friend Karl Kuerner. After first sketching Helga in 1971, Wyeth created some 240 drawings, watercolors, and temperas of her (including many nudes), working in near secrecy for 15 years. These works capture Helga in varying poses and moods, indoors and out, over the course of many years. In their close – and emotionally involved – observation of one individual over time, they are almost unprecedented in the history of American art. This watercolor will be included in Betsy James Wyeth's forthcoming catalogue raisonné of the artist's work.

WYETH, Andrew (American, 1917 - 2009) On Her Knees Study Executed in 1977 Pencil on paper 18 x 23 5/8 inches (45.72 x 60.01 cm) Signed lower center: Andrew Wyeth PROVENANCE: Leonard E.B. Andrews, Pennsylvania

Private collection, Japan EXHIBITIONS: National Gallery of Art, Washington, D.C., Andrew Wyeth: The Helga

Pictures, May 24 - September 27, 1987, catalogue by John Wilmerding, no. 139, pp. 197, 121, illus. in color, pl. 139. Exhibition also traveled to the Museum of Fine Arts, Boston, October 28, 1987 - January 3, 1988; The Museum of Fine Arts, Houston, January 31 - April 10, 1988; Los Angeles County Museum of Art, April 28 - July 10, 1988; Fine Arts Museum of San Francisco, August 13 - October 16, 1988; Detroit Institute of Arts, Michigan, November 13, 1988 - January 22, 1989; The Brooklyn Museum, June 19 - September 18, 1989; Seibu Pisa Ltd., Tokyo, Japan, January 2 - February 1, 1990; Tsukashin Hall, Amagasaki, Japan, February 1 - March 1, 1990; Fukushima Prefectural Museum of Art, Fukushima City, Japan, April 1 - May 6, 1990; Fukuoka Art Museum, Fukuoka, Japan, May 12 - June 17, 1990; Ishikawa Prefectural Museum of Art, Kanazawa, Japan, June 23 - July 22, 1990; Museum of Modern Art, Seibu Takanawa, Karuizawa, Japan, July 27 – September 4, 1990; Hokkaido Museum of Modern Art, Sapporo, Japan, September 11 - October 21, 1990; and Saitama Museum of Modern Art, Urawa, Japan, October 27 - December 16, 1990.

Adelson Galleries, New York, Andrew Wyeth: Helga on Paper, November 3 – December 22, 2006, no. 46, illustrated p. 74

This drawing will be included in Betsy James Wyeth's forthcoming catalogue raisonné of the artist's work.

WYETH, Andrew (American, 1917 - 2009) Overflow Study Executed in 1984 Pencil on paper 13 7/8 x 16 5/8 inches (35.24 x 42.23 cm) Signed lower right: Andrew Wyeth PROVENANCE: Leonard E.B. Andrews, Pennsylvania

Private collection, Japan EXHIBITIONS: National Gallery of Art, Washington, D.C., Andrew Wyeth: The Helga

Pictures, May 24 - September 27, 1987, catalogue by John Wilmerding, no. 94, pp. 196, 96, illus. in color, pl. 94 (as Asleep). Exhibition also traveled to the Museum of Fine Arts, Boston, October 28, 1987 – January 3, 1988; The Museum of Fine Arts, Houston, January 31 - April 10, 1988; Los Angeles County Museum of Art, April 28 - July 10, 1988; Fine Arts Museum of San Francisco, August 13 - October 16, 1988; Detroit Institute of Arts, Michigan, November 13, 1988 - January 22, 1989; The Brooklyn Museum, June 19 - September 18, 1989; Seibu Pisa Ltd., Tokyo, Japan, January 2 - February 1, 1990; Tsukashin Hall, Amagasaki, Japan, February 1 - March 1, 1990; Fukushima Prefectural Museum of Art, Fukushima City, Japan, April 1 - May 6, 1990; Fukuoka Art Museum, Fukuoka, Japan, May 12 - June 17, 1990; Ishikawa Prefectural Museum of Art, Kanazawa, Japan, June 23 - July 22, 1990; Museum of Modern Art, Seibu Takanawa, Karuizawa, Japan, July 27 - September 4, 1990; Hokkaido Museum of Modern Art, Sapporo, Japan, September 11 – October 21, 1990; and Saitama Museum of Modern Art, Urawa, Japan, October 27 - December 16, 1990.

This drawing will be included in Betsy James Wyeth's forthcoming catalogue raisonné of the artist’s work.

WYETH, Andrew (American, 1917 - 2009) Pageboy Painted in 1979 Watercolor and pencil on paper 13 5/8 x 11 inches (34.61 x 27.94 cm) Signed lower left: Andrew Wyeth PROVENANCE: Leonard E.B. Andrews, Pennsylvania

Private collection, Japan EXHIBITIONS: National Gallery of Art, Washington, D.C., Andrew Wyeth: The Helga Pictures, May 24 -

September 27, 1987, catalogue by John Wilmerding, illus. in color, pl. 193 (verso: pl. 190). Exhibition also traveled to Museum of Fine Arts, Boston, October 28, 1987 - January 3, 1988; The Museum of Fine Arts, Houston, January 31 - April 10, 1988; Los Angeles County Museum of Art, April 28 - July 10, 1988; Fine Arts Museum of San Francisco, August 13 - October 16, 1988; Detroit Institute of Arts, Michigan, November 13, 1988 - January 22, 1989; The Brooklyn Museum, June 19 - September 18, 1989; Seibu Pisa Ltd., Tokyo, Japan, January 2 – February 1, 1990; Tsukashin Hall, Amagasaki, Japan, February 1 - March 1, 1990; Fukushima Prefectural Museum of Art, Fukushima City, Japan, April 1 - May 6, 1990; Fukuoka Art Museum, Fukuoka, Japan, May 12 - June 17, 1990; Ishikawa Prefectural Museum of Art, Kanazawa, Japan, June 23 - July 22, 1990; Museum of Modern Art, Seibu Takanawa, Karuizawa, Japan, July 27 – September 4, 1990; Hokkaido Museum of Modern Art, Sapporo, Japan, September 11 - October 21, 1990; and Saitama Museum of Modern Art, Urawa, Japan, October 27 - December 16, 1990. Brandywine River Museum, Chadds Ford, Pennsylvania, The Helga Pictures: Then and Now, September 24 - November 22, 1992. Exhibition also traveled to Portland Museum of Art, Maine, July 1 - October 17, 1993. Norton Museum of Art, West Palm Beach, Florida, Andrew Wyeth: The Helga Pictures, January 13 - March 24, 1996. Exhibition also traveled to San Diego Museum of Art, California, June 29 - September 2, 1996; Portland Museum of Art, Oregon, October 6, 1996 - January 31, 1997; and New Orleans Museum of Art, Louisiana, April 25 - June 29, 1997. The Speed Art Museum, Louisville, Kentucky, Wyeth: Three Generations, June 2 - August 16, 1998. Joslyn Art Museum, Omaha, Nebraska, Andrew Wyeth's Helga Pictures: An Intimate Study, May 4 - August 4, 2002. Exhibition also traveled to Cheekwood Museum of Art, Nashville, Tennessee, October 27, 2002 - January 5, 2003. University Art Museum, Lafayette, Louisiana, Andrew Wyeth: The Helga Pictures, April 21 – July 21, 2004. Exhibition also traveled to the Canton Museum of Art, Ohio, August 8 - September 19, 2004; Mint Museum of Art, Charlotte, North Carolina, October 16, 2004 - January 9, 2005. Adelson Galleries, New York, Helga on Paper, November 3 – December 22, 2006, no. 65, illus. in color p. 97 Bunkamura Museum of Art, Tokyo, Japan, Andrew Wyeth: Emotion and Creation, November 8 - December 23, 2008, no. 124, illus. in color, p. 131. Exhibition also traveled to the Aichi Prefectural Museum of Art, Nagoya, Japan, January 4 - March 8, 2009, and the Fukushima Prefectural Museum of Art, Fukushima, Japan, March 17 - May 10, 2009.

LITERATURE: Donald B. Kuspit, Andrew Wyeth's Helga Pictures (Washington DC: International Arts & Artists,

2004), illustrated in color no. 58, p. 81, as Pageboy. This watercolor will be included in Betsy James Wyeth's forthcoming catalogue raisonné on the artist.

WYETH, Andrew (American, 1917 - 2009) With Nell Executed in 1973 Pencil on paper 14 x 22 inches (35.56 x 55.88 cm) Signed lower right: Andrew Wyeth PROVENANCE: Leonard E.B. Andrews, Pennsylvania

Private collection, Japan EXHIBITIONS: National Gallery of Art, Washington, D.C., Andrew Wyeth: The Helga

Pictures, May 24 - September 27, 1987, catalogue by John Wilmerding, no. 188, pp. 198, 155, illus. in color, pl. 188 (dated 1979). Exhibition also traveled to the Museum of Fine Arts, Boston, October 28, 1987 - January 3, 1988; The Museum of Fine Arts, Houston, January 31 - April 10, 1988; Los Angeles County Museum of Art, April 28 - July 10, 1988; Fine Arts Museum of San Francisco, August 13 - October 16, 1988; Detroit Institute of Arts, Michigan, November 13, 1988 - January 22, 1989; The Brooklyn Museum, June 19 - September 18, 1989; Seibu Pisa Ltd., Tokyo, Japan, January 2 - February 1, 1990; Tsukashin Hall, Amagasaki, Japan, February 1 - March 1, 1990; Fukushima Prefectural Museum of Art, Fukushima City, Japan, April 1 - May 6, 1990; Fukuoka Art Museum, Fukuoka, Japan, May 12 - June 17, 1990; Ishikawa Prefectural Museum of Art, Kanazawa, Japan, June 23 - July 22, 1990; Museum of Modern Art, Seibu Takanawa, Karuizawa, Japan, July 27 - September 4, 1990; Hokkaido Museum of Modern Art, Sapporo, Japan, September 11 – October 21, 1990; and Saitama Museum of Modern Art, Urawa, Japan, October 27 - December 16, 1990.

Adelson Galleries, New York, Helga on Paper, November 3 – December 22, 2006, no. 61, illus. in color p. 93

This drawing, depicting Helga with the Wyeth's dog, Nell, will be included in Betsy James Wyeth's forthcoming catalogue raisonné of the artist’s work.