ud cit a. is ic Ly a # | JULIAN ALDEN WEIR A MEMORIAL EXHIBITION oF} E METROPOLITAN MUSEUM OF ART oat / MEMORIAL EXHIBITION . —S a ~ é é ~~ ma 7 S } Ps + ~ ‘ - ’ 4 r { i . > iu ae & yeas oa Ly COPYRIGHT BY THE METROPOLITAN MUSEUM =~ OF ART MARCH, 1924 COMMITTEE ON THE EXHIBITION _ Francis C. Jones, Chairman Bryson Burroughs P Emil Cattsen ee Ee Daniel Chester French _ Childe Hassam fe 7 ie _H. Bolton Jones Edward Robinson be Hatry W.Watrous oc eae A 7 pape © a) ee) eo ee oh ek A papi Aare fete ee ae ae LENDERS TO THE EXHIBITION Mrs.H.M. Adams Anonymous Frank L. Babbott Charles Lansing Baldwin John F. Braun Mrs. William E. Carlin Emil Carlsen The Carnegie Institute Edwin S.Chapin The Art Institute of Chicago The Detroit Institute of Arts Miss A.M.Dodsworth Mrs.George Page Ely Ferargil Galleries Mrs.Marshall Field, Senior Mrs.James Wall Finn Mts.Charles E.Greenough Childe Hassam The Lotos Club William Macbeth Vil LENDERS TO THE EXHIBITION Albert E. McVitty The National Academy of Design The National Gallery of Art John H. Niemeyer The Phillips Memorial Gallery F. K. M. Rehn Horatio S. Rubens Paul Schulze Edwin C. Shaw Mrs. Robert C. Vose Miss Dorothy Weir Colonel H. C. Weir Mrs. J. Alden Weir Charles V.Wheeler _ Mrs. Lloyd Williams Colonel C. E. S. Wood The Worcester Art Museum Vill PREFACE In assembling this exhibition of the works in various media of the late}. ALDEN WEIR the Trustees of the Museum continue their policy of reviewing and paying respect to the achievement of outstanding American men of art. Among the memorial exhibitions of recent years have been those of Winstow Homer, THoomas Eaxins, WiLLt1AM M. Cuasz, Asppott H. Tuayer, aud GrorGe Fuuuer. For the success of the present exhibition the Museum gratefully acknowledges its indebtedness to the lenders, to Wixti1aM A. CorrFin for his admirable introduction, and to the members of the committee in charge, particularly to Emit CARLSEN, CHILDE HassaM, and FRancisC, Jones, who with the assistance of the Curator of Paintings chose and found the works which are now displayed. EpwarbD Rosinson, Director 1x TABLE OF CONTENTS Committee on the Exhibition Vv Lenders to the Exhibition vil Preface ix Introductidn: Julian Alden Weir, P.N.A., 1852-1919 xiii Catalogue: Paintings in Oil I Water-Colors and Drawings 13 Prints 15 Index 17 Illustrations 20 xi JULIAN ALDEN WEIR 1852-1919 Ws speak of our artist friends who studied in Paris as having been of our own ‘‘generation,”’ for lack of a better word, or as of an earlier or a later one than ours. Weir belonged to the “‘generation’’ immedi- ately preceding mine and he had but recently returned to America when I went over in October, 1877. In my senior year at Yale I had spent spare time in the afternoons in the Art School, and a year after gradu- ating from the college I went back to New Haven and did some work in the Art School under the instruction of Professor Niemeyer and Professor John F. Weir, Alden Weir’s older brother. When finally it came to the point of deciding on some- thing for the future and my father had consented to my taking up seriously the dubious profession of painting, I went to New Haven before sailing and Professor Weir provided me with letters from his brother, whom I had not yet met, toVolk and Brush, who were still in Paris. Thus I might say Alden Weir was with meat the start, and when I returned 1n 1882 and settled in New York, I soon met him and I well remember dinners at his house in Twelfth Street and xUll INTRODUCTION our association somewhat later in the Society of American Attists. One time when the Society’s Exhibition was to be held in the Yandell Gallery, Fifth Avenue and Nine- teenth Street, and I was there as secretary with a couple of our members, receiving works and piling them against the walls—not having much money we couldn’t hire workmen helpers—Weir came in and I told him I had seen a still life of his and how I liked it. ‘‘Oh, just wait, Coffin,”’ he said, ‘‘I’ve two others coming and they are very different. The scales have fallen from my eyes; I don’t see things as I did when I painted that still life you speak of; glad you like it, but wait till you see the others.’’ Well, Idid sec them and they were different; painted in a high key, very high for those days, and as good as the other one was in its way. I have always thought that this little incident gave a key to Weir’s career as a painter. He was an investigator, a searcher, a never wearying student. In his earlier years, here at home, he produced some notable canvases wherein we see individuality. His portrait of his father, Robert W. Weir, N.A. (elected 1829), painted in 1879, is an excellent ex- ample; a fine old gentleman, sturdy, poised, alert, and vigorous in a well-composed depiction. Portraits of this period show a restrained scheme of color with y= JULIAN ALDEN WEIR fine blacks and firm drawing. It is not like any other painter’s work, though in general aspect it recalls some of the impressive portraits of Frank Holl. The essentials are what Weir had learned in the Atelier Gérdme, at the Ecole des Beaux-Arts; and here it may be said that it is never germane to point out, as do some art writers, that a painter’s work does not resemble that of his master. None of the famous pupils of Géréme, Bonnat, and other great French masters have in any way imitated their work, but, having been taught to draw first of all, and to see rightly—the great secret of the art of painting— they have gone their way, following their own paths, searching and maturing. And to do that is precisely what their masters inculcated. Idle Hours, the large picture in the permanent collection of the Metropolitan Museum, painted in 1888, shows a further development in the art of Weir in that we see him depicting effects of light from alarge window enveloping the figures, and there are other works of note showing individuality; but the real Weir had at that time not yet appeared. However, strong emphasis must be laid on the beauty of his still life pictures: roses, generally white, in bowls; silver, china, and glass with them; occasionally tulips, sometimes fruits. He was painting these in the eighties and no survey of his painting could be com- XV INTRODUCTION plete without giving them prominence. They are interpretations of compelling charm, technically subtle, distinguished in color, never aggressive, pos- sessing simplicity and restraint, always beautiful. A complete list of Weir’s paintings known to his family in 1921, compiled by his daughter, Miss Dorothy Weir, is included in the memorial volume published by The Century Club, Julian Alden Weir, an Appreciation of his Life and Work; and as it gives periods in which different works were painted, the list is of value for reference or critical comment. It is not necessary here to classify step by step as the painter’s onward progress manifested itself, but we may mention some of the more notable pictures, some of those that indicate especially what he was finding out for himself and what he expressed as his insight grew. He always painted landscapes and phases of country life, at Branchville and at Windsor in Connecticut. He constantly painted portraits and figure subjects, some of the best of them in the earlier years and some of the best in the later. The Christ- mas Tree is a good example of his genre painting, showing true sensibility. The Donkey Ride, with the two little girls, his daughters, riding forward on donkeys in a landscape setting, is in many fe- spects the best of his figure subjects. It is a large canvas and it is unified throughout. The Green XVI JULIAN ALDEN WEIR Bodice (1898), in the permanent collection of the Metropolitan Museum, is adequate in every techni- cal sense and compares favorably with anything by anybody with a similar donnée. It is earnest and gen- uine and possesses a certain distinction that is a Weir hallmark. The Gray Bodice (4898 also) and The Black Hat are similarly distinguished. In Little Lizzie Lynch, with her black cat in her arms, and in Pussy Willows, a young woman with pussy willows in a bowl, a different sort of technical method ap- pears, pigment heavily loaded in lumps; but that was a phase not long continued. The night pictures, street subjects, are notable and belong to a comparatively late period. The motives were observed from the painter’s apartment at Park Avenue and Fifty-eighth Street, looking down on the lighted highways with their electric signs. In The Plaza—Nocturne the view is toward the west; in Queensboro Bridge—Nocturne it is eastward. The artist had by this time (1910-1919) become trained to remember his impressions, with the aid perhaps of written notes, and these pictures show that he had reached complete maturity, as is plainly evident in his latest landscapes, no longer sitting down before nature and rendering facts, whether realisti- cally or otherwise. The portraits form a long list, and whether of men XV1I1 INTRODUCTION or of women they always possess an air of distinc- tion. The Two Sisters, a large canvas, a picture of two ladies in three-quarters length, standing, is one of the best works to cite as an example, typifying all; for not only are there inherent grace and charm but there is also good style as painting. There is no need to be told that these two figures are ladies. The picture tells you that at a glance. In another por- trait, that of the artist, Ryder—one of the best can- vases in the large portrait collection of the National Academy of Design—there is a sympathetic por- trayal of character as well as an all-encompassing manner of rendering by simple means, the result of searching the way, that makes it necessary to speak of it in any review of Weir's accomplishment. When this portrait has been intelligently observed, the beholder should get an insight into the fine quality of Weir’s painting in general and understand, at least in some measure, what it means when a painter is always a student and always himself. There are so many Weir landscapes that they can not be commented on in detail, but a few may be mentioned as showing his march toward the final and best achievement. Among them are, of course, Plowing for Buckwheat, a widely known picture, and Upland Pasture, a hillside with boulders, the foreground in shadow, a line of trees on the hilltop. xVill JULIAN ALDEN WEIR The latter picture is like a sign-post directing the way to what was to come, because there are indica- tions in it, especially in its color quality, of the later phase of his work. One spring day in 1897, when the Society of American Artists had its own home and galleries in the Fine Arts Building on West Fifty-seventh Street, nine years before the merger with the Academy, there was placed on the easel before the jury The Factory Village, and the jury acclaimed it with shouts of delight and much hand-clapping. There is a great, wide-spreading oak in full foliage in this picture, a forerunner of other trees in the later series of landscapes. It still well holds its own. Now, it is always interesting to forecast, and painters are given to talking among themselves of which men’s work will last and whose will be for- gotten, and I am inclined to think not only that his later landscapes have not been placed high enough in the whole of Weir’s work of all periods, but also that they will more fully meet in the future the severest tests of those qualified to pass judgment than any others; they are in themselves so beautiful and so satisfying. Such landscapes as The Spreading Oak, Pan and the Wolf, or The Return of the Fish- ing Party, these and others of like motive and treat- ment, with high-reaching, full-foliaged trees and X1x INTRODUCTION blue skies with a cloud or two, seem to me the flowering of a fine talent in its fullest expression. There is a distinctive scheme of color in them all and an equally distinctive sort of rendering. The foliage is a sober green, qualified as it appears in sunlight or in shadow, a parti-pris of restrained tints; and the skies are a tempered blue, never daz- zling, always somewhat grayed, harmonizing per- fectly with the equally tempered greens, and when a white cloud is seen it is of sufficient brilliancy but it is not a note that sings too high. The composition is stately and well-balanced, the technique is frank and sure. These landscapes are pictures, as are those of Corot and of Rousseau. They are not mere tran- scriptions, and they have been painted after a long life of study, observation, and reflection. No land- scape painter worthy of the name in its best sense has worked differently, nor could any have done what they have in any other way. How good it is to reflect that the last phase of a painter’s achievement is a blossoming of beauty at the end of years devoted to finding by constant endeavor that which is best worth while! -* * *£ * Weir was an accomplished painter in the water- color medium. Two Dogs (1885) and Fireside Dreams (1887), a series of English subjects in 1913, other xX JULIAN ALDEN WEIR sheets in Holland and Venice, all testify not only to his skill in the handling but to his individual qual- ity as well. He was an etcher also, as are a good many painters, and the impressions from his plates are notable in numerous cases for fine blacks of vary- ing intensity in contrast to half-tones and discreet high lights. Christmas Greens and The Little Student will exemplify these qualities, while Coon Alley, for instance, shows his simple, effective use of line. In the spring of 1921 a memorial exhibition of his etchings was given at the Metropolitan Museum and there is a catalogue of one hundred and twenty- three numbers entitled An Essay towards a Cata- logue Raisonné of the Etchings,.Dry-Points, and Lithographs of Julian Alden Weir, by Agnes Zim- mermann of the Print Room Staff. There is a com- prehensive permanent collection in the Museum. Julian Alden Weir, who, born at West Point, New York, August 30, 1852, died in the City of NewYork, December 8, 1919, was a member of the Society of American Artists and one of the ‘‘Ten American Painters’’ who seceded from it in the nineties. Elected an Academician in 1886, he was president of the National Academy of Design for the three years, 1915-1917, and was a member of the American XXxi INTRODUCTION Water-Color Society and of the American Academy of Arts and Letters. His medals and other honors received for his works form a long and important list. His presidency of the National Academy may well serve as an example of his conscientious and unselfish devotion to the interests of American art; for, though his health at the time was failing, his sense of responsibility was so genuine that he often shouldered duties that another might have shifted to other officers. I am glad that I have the oppor- tunity in writing this foreword to record my tribute, in which I feel sure that I speak for all of us who knew him, to his high achievement as an artist and his virile and endearing qualities as a man. Wi1LLiIAM A. CoFFIN XXil CATALOGUE PAINTINGS IN OIL Arranged in chronological order with dates approximate or exad. t JEUNE FILLE 1875 Oil on panel: h. 14; w. 1034 inches. Signed and dated: J Alden Weir 75. UWlustrated. Lent by Mrs. J. Alden Weir. 2 PORTRAIT OF ROBERT W. WEIR 1879 Oil on canvas: h. 4578; w.36%%4 inches. Illustrated. Lent by Mrs. J. Alden Weir. 3 ROSES 1882 Oil on panel: h. 14; w.934 inches. Signed and dated: J Alden Weir 1882. Lent by Miss A. M. Dodsworth. 4 THE MOTHER 1884 Oiloncanvas: h.4414; w.34%4 inches. Monogrammed and dated: JAW ’84. Illustrated. Lent by Mrs. Lloyd Williams. 5 THE MUSE OF MUSIC 1882-1884 Oiloncanvas: h. 44; w.3 44 inches. Signed and dated: J Alden Weir 82-84. Lent by the Lotos Club. IO If I2 THE METROPOLITAN MUSEUM OF ART AGAINST THE WINDOW 1884 Oil on canvas: h.3574; w.287% inches. Signed and dated: J Alden Weir 84. Illustrated. Lent by Mrs. George Page Ely. PORTRAIT OF A CHILD 1887 Oil on canvas: h. 4918; w.36 inches. Signed and dated: J Alden Weir 1887. Illustrated. Lent by Mrs. J. Alden Weir. CHRYSANTHEMUMS - 1888 Oil on canvas: h.1274; w. 18% inches. Signed and dated: J Alden Weir 1888. Lent by Miss A. M. Dodsworth. PHEASANTS 1889 Oil on panel: h. 1734; w.30 inches. Initialed and dated: JAW 8 @) Lent by Childe Hassam. ROSES 1880-1889 Oil on canvas: h.2434; w.1554 inches. Signed and dated: J Alden Weir 80 (2) Lent by Edwin C. Shaw. ROSES 1880-1889 With Donatello relief in background. Oil on canvas: h.3514; w.2434 inches. Illustrated. Lent by the Phillips Memorial Gallery. CHILDREN BURYING A BIRD 1880-1889 Oil on canvas: h.22; w. 18 inches. Signed: J] Alden Weir. Illustrated. Lent by F.K.M.Rehn. a3 14 z} 16 iF 18 - 20 THE WORKS OF JULIAN ALDEN WEIR THE HUNTER 1880-1889 Oil on canvas: h.70; w. 40 inches. Illustrated. Lent by Mrs. J. Alden Weir. ROSES 1880-1889 Oil on canvas: h. 84; w. 10 inches. Lent by Emil Carlsen. A CONNECTICUT FARM 1880-1889 Oil on canvas: h.35; w.45 inches. Signed: J Alden Weir. Ulustrated. Lent by Albert E. McVitty. THE CHRISTMAS TREE 1880-1889 Oil on canvas:h. 3634; w. 3534 inches. Signed: J Alden Weir. Ulustrated. Lent by Mrs. J. Alden Weir. GRAY JAR WITH FLOWERS 1880-1889 Oil on panel: h. 1914; w. 1156 inches. Lent by Mrs. George Page Ely. FRUIT 1880-1889 Oil on canvas: h.21%; w.171% inches. Illustrated. Lent anonymously. A MISTY DAY—AUTUMN Late eighties Oil oncanvas:h.2178; w. 3234 inches.Signed: J Alden Weir. Lent by Mrs. J. Alden Weir. PORTRAIT OF A LADY WITH A VENETIAN VASE 1891 Oil on canvas: h.36; w.29 inches. Signed and dated: J Alden Weir 1891. Ulustrated. Lent by Mrs. J. Alden Weir. 3 wD i yey 2 24 +5 26 2%] THE METROPOLITAN MUSEUM OF ART BRANCHVILLE BARNYARD 1893 Oil on canvas : h. 3376; w.24% inches. Signed and dated: J Alden Weir 93 (?) Illustrated. Lent by Mrs. Charles E.Greenough. FARM IN WINTER 1894 Oil on canvas: h.20; w.24 inches. Signed and dated: J Alden Weir 94. Lent by Charles V. Wheeler. BABY CORA 1894 Oil on canvas: h.70; w. 40 inches. Signed and dated: J Alden Weir 1894. Inscribed: pasy cora. Illustrated. Lent by Mrs. J. Alden Weir. AN AUTUMN STROLL 1894 Oil on canvas: h.70; w. 40 inches. Illustrated. Lent by Mrs. J. Alden Weir. THE FACTORY VILLAGE 1897 Oil on canvas: h.29; w.38 inches. Signed and dated: J Alden Weir 1897. Illustrated. Lent by Mrs. J. Alden Weir. THE GRAY BODICE 1898 Oil on canvas: h.30; w.25 inches. Signed and dated: Alden Weir. 1898. Illustrated. Lent by The Art Institute of Chicago. THE BLACK HAT 1898 Oil on panel: h. 30; w. 1734 inches. Signed and dated: J Alden Weir 1898. Illustrated. Lent by Miss Dorothy Weir. 4 28 Sa 30 31 32 Be 34 35 THE WORKS OF JULIAN ALDEN WEIR THE DONKEY RIDE 1899 Oil on canvas: h.501; w. 40% inches. Illustrated. Lent by Mrs. J. Alden Weir. IN THE SUN 1899 Oil oncanvas:h.34;w.267£ inches. Signed and dated: J Alden Weir 1899. Illustrated. Lent by Mrs. J. Alden Weir. THE TWO SISTERS 1890-1899 Oil oncanvas:h. 4938; w. 3934 inches. Signed: J Alden Weir. Ulustrated. Lent by Mrs. Marshall Field, Sr. AN ALSATIAN GIRL 1890-1899 Oil on canvas: h. 24; w. 18 inches. Signed: J Alden Weir. Ulustrated. Lent by the Phillips Memorial Gallery. PLOWING FOR BUCKWHEAT 1890-1899 Oil on canvas: h. 47; w. 323% inches. Signed: J Alden Weir Branchville Conn. Lent by the Carnegie Institute. THE RED BRIDGE 1890-1899 Oil on canvas: h.243°5; w. 3334 inches. Signed: J Alden Wear. Property of The Metropolitan Museum of Art. THE GREEN BODICE 1890-1899 Oil on canvas: h. 3334; w.24% inches. Property of The Metropolitan Museum of Art. A BASKET OF LAUREL 1890-1899 Oil oncanvas:h.3358;w.24) inches. Signed: J Alden Weir. Lent by Mrs. J. Alden Weir. 5 36 37 38 39 40 AI 42 THE METROPOLITAN MUSEUM OF ART PORTRAIT OF ALBERT P. RYDER 1903 Oil on canvas: h.24; w.20 inches. Ilustrated. Lent by the National Academy of Design. UPLAND PASTURE 1905 Oil oncanvas:h. 4058;w.50/4 inches. Signed: J Alden Weir Branchville. Ulustrated. Lent by The National Gallery of Art. THE GENTLEWOMAN 1906 Oil on canvas: h.30; w.25)% inches. Signed: J Alden Wear. Lent by The National Gallery of Art. THE BUILDING OF THE DAM 1908 Oil on canvas: h.30; w.4o inches. Signed: J Alden Weir. Illustrated. Lent by the Phillips Memorial Gallery. THE HUNTER’S MOON 1909 Oil on canvas: h. 51; w. 40 inches. Lent by Colonel C.E.S. Wood. THE ROSE PINK BODICE 1909 Oil on canvas: h.30; w.25 inches. Signed: J Alden Weer. Lent by Mrs. J. Alden Weir. AUTUMN DAYS 1900-1909 Oil on canvas: h.29; w.3936 inches. Signed: J Alden Weir. Lent by Horatio S. Rubens. 6 THE WORKS OF JULIAN ALDEN WEIR 43 BLACK BIRCH ROCK 1900-1909 Oil on canvas: h.23; w.27 inches. Signed: J Alden Weir. Lent by Charles Lansing Baldwin. 44 THE ORCHID 1900-1909 Oil oncanvas:h.2414;w.2o0l4 inches. Signed: J Alden Weir. Illustrated. Lent by Frank L. Babbott. 45 A REVERIE 1900-1909 Oil on canvas: h.34; w.27 inches. Signed: J Alden Weir. : Lent by Charles V. Wheeler. 46 JUNE 1900-1909 Oil on canvas: h.24; w.3234 inches. Signed: J Alden Wear. . Lent by Paul Schulze. 47 RETURN OF THE FISHING PARTY 1900-1909 Oil on canvas: h.23; w..28 inches. Inscribed: J Alden Weir by E. B. Weir. Illustrated. Lent by William Macbeth. 48 VISITING NEIGHBORS 1900-1909 Oil on canvas: h.2434; w.34 inches. Signed: J Alden Weir. Ulustrated. Lent by the Phillips Memorial Gallery. 49 EARLY SPRING 1900-1909 (?) Oil on canvas: h.24; w.20 inches. Signed: J Alden Weir. Lent by Edwin C. Shaw. 7 50 5i 52 53 4 55 56 THE METROPOLITAN MUSEUM OF ART THE HIGH PASTURE 1900-1909 Oil on canvas: h.24; w.3334 inches. Signed: J Alden Weir. Inscription illegible. Lent by the Phillips Memorial Gallery. A CONNECTICUT GRAINFIELD 1900-1909 Oil on canvas: h.29; w.36 inches. Illustrated. Lent by Mrs. J. Alden Weir. PEACOCK FEATHERS 1900-1909 Oil on canvas: h.25; w.30 inches. Signed: J Alden Weer. Lent by William Macbeth. GIRL IN PROFILE 1912 Oiloncanvas:h.3314;w.24 inches. Signed: J Alden Weir. Lent by Mrs. J. Alden Weir. NASSAU—BAHAMAS 1914 Oil oncanvas:h.32;w.357% inches. Signed and dated: J Alden Weir ror4. Ulustrated. Lent by Horatio S. Rubens. THE OLD SENTINEL ON THE FARM I9I5 Oil on canvas: h.3734; w.29 inches. Signed: J Alden Weir. : Lent by John F. Braun. A HARMONY IN YELLOW AND PINK 1016 Oil on canvas: h.30; w.25 inches. Signed: J Alden Weir. Lent by John F. Braun. 57 58 59 60 61 62. 63 THE WORKS OF JULIAN ALDEN WEIR A FOLLOWER OF GROLIER 1916 Oil on canvas: h.393;w.32)4 inches. Signed: J Alden Weir. Ulustrated. Lent by The Detroit Institute of Arts. IMPROVISING BRAY hy Oil on canvas: h.34; w.29 inches. Signed: J Alden Weir. Illustrated. Lent by Mrs. J. Alden Weir. APPLE-TREE IN BLOSSOM I9IO-1919 Oil on canvas: h.25; w.30 inches. Signed: J Alden Weer. Lent by Mrs. J. Alden Weir. QUEENSBORO BRIDGE—NOCTURNE I9IO-1919 Oil on canvas: h. 2878; w. 3934 inches. Signed: Alden Wer. Ulustrated. Lent by Horatio S. Rubens. THE PLAZA—NOCTURNE IQIO-1919 Oil oncanvas:h.2874; w. 3934 inches. Signed: J Alden Weir. Ulustrated. Lent by Horatio S. Rubens. ON THE SHORE _ I9IO-1919 Oil on canvas: h.25; w.30 inches. Signed: J Alden Weir. Illustrated. Lent by Horatio S. Rubens. PUSSY WILLOWS 1910-1919 Oiloncanvas:h.3376;w.257éinches. Signed: J Alden Weir. Ulustrated. Lent by Mrs. James Wall Finn. 9 64 65 66 67 68 69 7O THE METROPOLITAN MUSEUM OF ART THE BACK LOTS I9IO-1919 Oil oncanvas:h.2334;w.3334 inches. Signed: J Alden Weir. Lent by Mrs. J. Alden Weir. THE: LETIER I9QIO-1919 Oil on canvas: h.30; w.25 inches. Signed: J Alden Wezr. Illustrated. Lent by Horatio S. Rubens. THE LACE MAKER 1910-1919 Oil on canvas: h.3014; w.25 inches. Signed: J Alden Weir. | 7 Lent by Paul Schulze. KNITTING FOR SOLDIERS I9IO-1919 Oil on canvas: h.30; w.25 inches. Signed: J Alden Weir. Lent by the Phillips Memorial Gallery. PAN AND THE WOLF 1910-1919 Oil on canvas: h.35; w.24%4 inches. Signed: J Alden Werr. Lent by the Phillips Memorial Gallery. THE BORDER OF THE FARM I9IO-1919 Oil on canvas: h.50; w.39% inches. Signed: J Alden Weir. Lent by Mrs. Robert C. Vose. THE SPREADING OAK I9IO-1919 Oil on canvas: h.39; w. 50 inches. Lent by Colonel C.E.S. Wood. IO 71 72 73 74 75 76 77 THE WORKS OF JULIAN ALDEN WEIR PORTRAIT OF COLONEL H.C.WEIR 1910-1919 Oil on canvas: h.30; w.25 inches. Signed: J Alden Weir. Ulustrated. Lent by Colonel H.C. Weir. THE FISHING PARTY IQIO-1919 Oil on canvas: h.28; w.23 inches. Signed: J Alden ~ Weir. Illustrated. Lent by the Phillips Memorial Gallery. WHITE OAKS 1910-1919 Oil on canvas: h.30; w.25 inches. Signed: J Alden Weir. Lent by Edwin C. Shaw. WOODLAND ROCKS 1910-1919 Oil on canvas: h.28; w.36inches. Signed: J Alden Weir. Lent by the Phillips Memorial Gallery. THE PEACOCK FEATHER I9IO-1919 Oil on canvas: h.30;w.25 inches. Signed: J Alden Weir. Lent by Edwin C. Shaw. AN AMERICAN GIRL I9IO-1919 Oil on canvas: h.36; w.28 inches. Illustrated. Lent by the Worcester Art Museum. PILE LIZZIE LYNCH 1910-1919 Oiloncanvas:h.29/8;w.247 inches. Signed: [Alden Weir. Lent by Mrs.H.M. Adams. Il KOS OOS S)h ON MAS eR Pe OH HOH ey * Leal rp e Lia ft Ww Lal Lal ON & a SJ 18 19 WATER-COLORS AND DRAWINGS SHEEP, lent by Mrs.J. Alden Weir Kirty, lent by Mrs. J. Alden Weir On THE Avon, lent by Mrs. J. Alden Weir Winpy Day, lent by Charles Lansing Baldwin THE Frower, lent by Mrs. George Page Ely In THE Liprary, lent by Mrs. William E. Carlin Two Dogs, lent by Mrs. J. Alden Weir Woman Sewine, lent by Mrs. William E. Carlin Passinc Sorrow, lent by Mrs. J. Alden Weir FirESIDE Dreams, lent by Mrs. J. Alden Weir PortraiTor ALapy, lent by the Ferargil Galleries On THE THames, New Lonpov, lent by the Ferargil Galleries Tue Letter, lent by the Ferargil Galleries THE LANDING, New Lonpon, lent by the Ferargil Galleries Cioups, lent by Mrs. William E. Carlin BeLtow Twyrorp Bripcez, lent by Mrs. George Page Ely On THE Banks oF THE ItcHEN, lent by Mrs. J. Alden Weir Giri In Pink Dress, lent by John H. Niemeyer. Oxp SENTINELS ON THE ITcHEN, lent by Miss Dorothy Weir a3 THE METROPOLITAN MUSEUM OF ART 20 Enouish Lanpscapz, lent by Mrs. William E. Carlin 21 Trers AND Barn, lent by Charles Lansing Baldwin 22 Snore Scene, lent by Edwin S. Chapin 14 Oo On ow f Ww PP =S Ss + SH + FS HF SF SHS S&S oy SY ON A, BR 'S) O 219 § 2:2. 23 24 PRINTS Unless otherwise stated the prints are the property of the Museum. Tue GuiTarR Prayer Zimmermann, 31 Cam) Rzertections No. 1 LL Gyp AND THE Gipsy Z. 48 Lrrrtze Portrait No.1—Younc Woman Z. 44 By CANDLELIGHT wig Tue Lirrie STUDENT Z. 54 1) Dutcu ScHnapps Z. 99 Portrait oF Dr. R. F. WEIR Z. 58 Cv) Portrait oF JoHN F. Weir Z. 60 (a1) ARCTURUS Zoe Vv) WasHINGTON ArcH No. 2 Z. 75 (a) THe STONE BRIDGE Z. 85 WILLows Zit THe Wess FarM Z. 88 1) RoscorE’s Barn Z. 89 NEIGHBORING Farm Oia My Bacx Yarp No. 1 LZ. 76 Tue STATuE or Liperty Z. 73 BLACKSMITH’s SHOP Z.. 8% GY) Coon ALLEY Z. 82 Can) STANDING Ficure No. 1 AAS Bas Meupon No. 1 Z. 100 Bas Meupon No. 2 Z. 101 LivEervoot Docks Z. 103 a, THE METROPOLITAN MUSEUM OF ART 25 26 27 28 29 30 31 32 Tuer EveninGc Lamp PBS ES, GLEBE FarmM—Isiz or MAn FisHERMAN’s Hut oN THE Hitt—Isie or Man Boats AT Port ErR1N—IsLE or MAN CurIsTMAS GREENS Lent by Mrs. J. Alden Weir Caste Rusnen—Istz or Man Lent by Mrs. J. Alden Weir Docs on THE HEartu No. I Lent by Mrs. J. Alden Weir MoTHER AND INFANT Lent by Mrs. J. Alden Weir 16 PORE Fe Lin EEF Z. 110 Lind Zul Z. 96 Lam I JEUNE FILLE 2s PORTRAIT OF ROBERT W. WEIR 4 THE MOTHER — AGAINST THE WINDOW PORTRAIT OF A CHILD Il ROSES 12 CHILDREN BURYING A BIRD 13 THE HUNTER t) A CONNECTICUT FARM 16 THE CHRISTMAS TREE 8 FRUIT J Zo) PORTRAIT OF A LADY WITH A VENETIAN VASE 21 BRANCHVILLE BARNYARD oe BABY CORA 24 AN AUTUMN STROLL 735 THE FACTORY VILLAGE Copyright by the Art Institute of Chicago 26 THE GRAY BODICE i THE BLACK HAT 28 THE DONKEY RIDE a) IN THE SUN O 3 THE TWO SISTER S E 3 N ALSATIAN GIRL A RYDER PORTRAIT OF ALBERT P. a7 UPLAND PASTURE ww THE BUILDING OF THE DAM 44 THE ORCHID an) RETURN OF THE FISHING PARTY VISITING NEIGHBORS 4,2 A CONNECTICUT GRAINFIELD 54 NASSAU——-BAHAMAS dis A FOLLOWER OF GROLIER V ap {PROVISING IN 60 QUEENSBORO BRIDGE—NOCTURNE THE PLAZA—NOCTURNE 62 ON THE SHORE PUSSY WILLOWS THE LETTER va! PORTRAIT OF COLONEL H.C. WEIR T= THE FISHING PARTY AN AMERICAN GIRL INDEX Only the paintings in oil are lifted. NUMBER Against the Window Alsatian Girl, An American Girl, An Apple-tree in Blossom Autumn—A Misty Day Autumn Days Autumn Stroll, An Baby Cora Back Lots, The Bahamas—Nassau Basket of Laurel, A Black Birch Rock Black Hat, The Border of the Farm, The Branchville Barnyard 6 Donkey Ride, The 31 . Early Spring 76 Factory Village, The 59 Farmin Winter 19 Fishing Party, The 42 Follower of Grolier, A 24 Fruit 23 Gentlewoman, The 64 Girlin Profile 54 Gray Bodice, The 35 Gray Jar with Flowers 43 Green Bodice, The 27 Harmony in Yellow 69 and Pink, A 21 High Pasture, The Building of the Dam,The 39 Hunter, The Child, Portrait of a 7 Hunter's Moon, The Children Buryinga Bird 12 Improvising Christmas Tree, The Chrysanthemums Connecticut Farm, A Connecticut Grain- field, A 16 IntheSun 8 Jeune Fille th. ac. Knitting for Soldiers 51 Lace Maker, The ad INDEX Lady with a Venetian Vase, Portraitofa 20 Letter, The 65 Little Lizzie Lynch 77 Misty Day, A—Autumn 19 Mother, The 4 Muse of Music, The 5 Nassau—Bahamas 54 Nocturne—The Plaza 61 Nocturne—Queensboro Bridge 6o OldSentinel ontheFarm 55 On the Shore 62 Orchid, The 44 Pan and the Wolf 68 Peacock Feather,The 75 Peacock Feathers 52 Pheasants 9 Plaza, The—Nocturne 61 Plowing for Buckwheat 32 Portrait of Albert P. Ryder 36 Portrait of a Child 7 Portrait of Colonel H.C. Weir 7% NUMBER Portrait of a Lady with a Venetian Vase 20 Portrait of Robert W. Weir 1 Pussy Willows 63 Queensboro Bridge— Nocturne 60 Red Bridge, The 33 Return of the Fishing Party 47 Reverie, A 45 Rose Pink Bodice, The 41 Roses 3,10, 11,14 Ryder, Albert P., Por- trait of 36 Spreading Oak, The 70 Two Sisters, The 30 Upland Pasture 37 Visiting Neighbors 48 Weir, Colonel H.C., Portrait of wis Weir, Robert W., Por- trait of 2 White Oaks 73 Woodland Rocks 74 ' & “ ee s ' ; : > ri ¥ ’ . ' : ; * F a ; ~ \ ° . ios j ‘ ot’ s « . } = ed . = > ; : . = 5 7 . — 4 ¢ : 4 +2 + . s ‘ " r SL “ we . , i 4 = . ‘ u : P. 2 r 7 \ i pte : 4 t " ~ , ‘2 ‘ : : at the Printing House of William E, one thousand copies have been Mount Vernon, New York