a hes eer aia BOD Ree ee Ee ca! — 4 ¥ 5 2. Hoiuns, iS rGo th Cie ’ @ hts / f hee ie eee Atle ie a a cien DS rca LS Drees mesg Se 9d. 172) * ® = 4 \ n 4 he yet nF » Be ee ays Photograph by Mary E. Robinson DREIER DOROTHEA A 4 | [ THE DOROTHEA A. DREIER EXHIBITION FOREWORD AND CATALOGUE BY CHRISTIAN BRINTON PRIVATELY PRINTED Lie Bag, hf » ¥, * » 7 1A FR \ Woe ATs ? von { ‘ ‘ ER | 3) ‘ ‘ y VES t ; ; ; wh : x a i ‘ ; a Nias 5 P 4 t 7 ‘ : *4 1 7 » ty 7 % t : Vay x { % ‘ } 7 ‘ * ’ - 7 . 3 1 be \ » ‘ ‘ t 1 r 5 } 3 * ay ! ; " Wa ‘ ‘ ‘ +s f ¢ . Lalas nest § i ae : : ee | : ' A N j ’ ia : ’ ‘ 3 i - : : ‘es ‘ N ? ‘ Wee 5 ' ¢ +e \ 4 + et Be hey { ‘ Hy ir , +H .) nti y 5 ' L th ‘an : , "i + aa 4 eae Ae tie Tete aba pan , ih in ‘ bai & F i ¥ i ¥ a J iia i i ; ve - : t ‘ \ 1 va y; Bi r ; , i ; OME ge. ok A uy — Copyricnt 1925 ak | Me ites a _ Kartuerine S$. DREER DOROTHEA A. DREIER By Walter Shirlaw REVERIE ] [ FOREWORD Die Zeit ist eine blihende Flur, Ein grosses Lebendiges ist die Natur, Und alles ist Frucht, und alles ist Samen. T is to the enduring glory of the Renaissance that it frankly recognized the position of woman alike in life, letters, and art. As early as the thirteenth century the University of Bologna opened its doors to Betisia Gozzadini, who successfully attended its courses, albeit clad as a boy, like Plato’s pupil Axiothea. And similarly, the French Academie Royale, from 1663 onward, admitted women artists to membership, the first to be accorded such distinGion having been Catherine Duchemin, wife of the sculptor Girardon. In the Athens of Plato, Italy of the Rebirth, France of the radiant Grand Siecle— wherever in brief the spirit of genuine liberalism prevails—woman occupies her rightful place. And what is true of society is likewise true of family, that eloquent microcosm of the larger social order. It was in an atmosphere of freedom and advancement, intel- lectual and artistic, that grew to maturity the subject of the present monograph, a personality rare in singleness of purpose, in ardent Lon unity of aim. Though an individualist, yet to a significant degree was she the product of family tradition and the ideals of a pro- gressive domestic environment. Dorothea A. Dreier was born in Brooklyn, December 8, 1870. Her father had come to America from Bremen in 1849, bringing with him not a little of that spirit _of social democracy so characteristic of the thriving Freistadt on the Weser. And not only was her father in many respects typical. of his native Bremen, but equally so was the faithful family nurse “Nene,” who occupied a position of importance in the house- hold during some forty years of service. This racy individual left the Stamp of her virile, forthright personality upon each of the children in succession. It was therefore not strange that it should have been in the Holland of simple, stolid Dutch huisvrouwen — who were not unlike her old nurse « Nené”— where the art of Dorothea Dreier eventually disclosed that which was deepest and most enduring. Holland became in large measure her artistic foster home, and to the interpretation of Dutch life and character she devoted her rapidly affirming talents. | To have produced her initial series of Dutch paintings was a significant achievement. Yet its significance cannot rightly be gauged unless one knows something of the personality of the artist and of her particular point of view towards her work. Al- [10] ways in class was she the freest and broadest in vision and handling. From the outset she displayed a salutary independence of spirit that made her efforts Stand apart from those of the other Students. None of the softness and sentimentality adjudged typi- cal of the feminine temperament mark her early attempts. Rapidly noting essential elements only, she succeeded after her own fash- ion in suggesting the fundamental realities of line, colour, form, and movement. It was the possession of qualities such as these that eventually enabled Miss Dreier to translate life as she saw it into terms of true plastic representation. Her predecessors in Holland, including George Hitchcock and his talented pupils, among whom may be noted Florence Upton, chose as a rule the brighter side of Dutch life—the var- iegated bloom of a springtime tulip field, gaily tinted living- room, or gleaming kitchen. Liebermann sounded a soberer note, as did likewise Gari Melchers, but for the majority Holland was light and lyric or quaintly picturesque. Not so with Dorothea Dreier. Among the humble weavers of Laren she found material after her own heart. Here, in grey-toned interior, permeated with the insidious dust and lint from ceaselessly plying loom, she made sketch upon sketch. She studied these veritable human machines in their every aspect and attitude, recording that which to her [11] was most typical. Something of the hopeless monotony of toil, the poignant resignation one meets for example in the miners of Constantin Meunier, chara¢terize these expressive panels. Yet for the broad synthesis of Meunier we here have a restless intensity that recalls Vincent van Gogh. In spirit Dorothea Dreier was modern and subjective, whereas Meunier, despite his proletarian sympathies, harks back to the serenity of the classic age. Her first Dutch series marks for its author not alone a characteristic individual development; it forms a distinctive contribution to contemporary American painting. Modernism, as such, was virtually unknown to the general public in 1908, the year these canvases were completed. Gauguin was still accounted a barbarian, van Gogh’s work was being shown to a few amateurs in a tiny shop just off the Place de la Madeleine, and the sagacious Ambroise Vollard was having difficulty con- vincing anyone that Cézanne was worthy of serious consider- ation. Neither Fauves, Cubists, nor Futurists had thus far formed themselves into homogeneous bodies for the delectation of society in general. Whilst the programme of modernism was gathering momentum, the artist who chose to work out new problems along individual and progressive lines was forced to do so alone, unaided by any sort of sustaining group movement. It is this fac&t [12] that makes the Dutch paintings of Dorothea Dreier so consid- erable an achievement. They in a measure bridge over the period between such a canvas as Liebermann’s Cobbler Shop and the Stressful individualism of van Gogh. In point of artistic evolution they may be characterized as post-Impressionistic, and it is among the post-Impressionists where their author rightly belongs. Like Vincent van Gogh, or Paula Modersohn-Becker, Miss Dreier came from a home that had much of the truly burgerlich, though more spiritual freedom than one currently meets in such a Spacious mansion as the family residence at 6 Montague Ter- race. The house was the scene of many a congenial gathering in which there was never the least hint of class consciousness. All were on a basis of wholesome equality. Nor was the note of na- tive American simplicity in any degree lacking, for the daughters attended the Brackett School, where they came into contact with precepts and principles refreshingly Emersonian in their whole- some individuality of vision. And thus amid surroundings at once substantial and imbued with genuine cultural impulse, awakened to conscious effort the creative aspiration of Dorothea A. Dreier. Her father drew well when a young man, mainly landscape subjects in gouache, and one of the family’s prized possessions was a fine Oswald Achen- [13] bach. As a child Dorothea used to watch from the windows of her home the lights of myriad-eyed Manhattan, and, following a certain amount of preliminary training, began her artistic studies in the pseudo-Venetian palace in East Twenty-third Street, then serving as the local habitat of the National Academy of Design. Her first regular instructor was the late John H. Twachtman, who though a spirited soul, kept his pupil a year or more drawing heads, hands, and feet from casts, mostly above life size. Yet it was not Twachtman, nor debonair Chase, nor the ton- alistic Charles H. Davis, who specifically influenced her develop- ment. The preceptor who contributed most to her advancement was Walter Shirlaw, with whom she studied in the classes of the Brooklyn Art League in the historic Ovington Studios. Shirlaw’s wide technical experience, his independence of thought, and breadth of taste proved a genuine help to both Dorothea Dreier and her sister Katherine. He was one of the rare men of his time who instructed his pupils in the principles of art rather than in personal or professional mannerisms. While much was absorbed in class, despite the drudgery of drawing from the customary fatigating casts, it was the successive summer visits to Europe that proved the chief source of artistic stimulus to the aspiring sisters. The mute yet eloquent lessons bia] gleaned from the master canvases in the galleries and museums of Belgium, Holland, Germany, Austria, Italy, France, Spain, and England, were at this period their veritable evangel. And grad- ually these trips, which began under the guidance of the admir- able Miss May E. Robinson, became extended sojourns mainly in Holland, where, as has been noted, Dorothea Dreier’s aesthetic nature found its predestined setting. Supplementing the early paintings executed at Laren, most of which consisted of interiors depicting the life of work-weary weaver or industrious huisvrouw, are the outdoor scenes from Noordwyk Binnen. They are free though vigorous in spirit, blos- soming garden and winding avenue of elms here assuming an appeal more interpretative than actualistic. Dating from 1912, the year the sisters attended the memorable modernist art exhi- bition at Cologne, they indicate a decided technical advance, a distinct Striving for that sense of structural form which under- lies mere outward and visible semblance. | No one in fact could have visited that unforgettable display, locally known as Der Sonderbund, without imbibing fresh cour- age and independence. The modern movement was presented upon this occasion as never before or since. The great pioneers and protagonists were seen in full strength, van Gogh leading the list [15] with no less than one hundred and eight of his most important paintings, besides twenty drawings. And what was particularly sig- nificant regarding this exhibition was the fact that it proved mod- ernism was not an exclusively French manifestation. The move- ment in reality revealed itself as a deep-rooted spiritual as well as aesthetic resurgence affecting virtually every European country— a symptomatic struggle for self-expression. Although admiring this convincing vindication of the newer tendencies in current art, Miss Dreier did not plunge into the movement to the sacrifice of her innate equipoise. Travel, study, and constantly renewed effort mark the interval, as the scene of her activities shifts many times during the ensuing years — now to Holland, now Switzerland, now the pulsing luminosity of New York, again the crisp clarity of the Adirondacks or the White Mountains. In Saranac, however, her entire outlook, both per- sonal and professional, underwent a transformation, a distin sublimation, due to a serious illness that never conquered her spirit until the final call. Previously she had painted almost exclusively in full oils, em- ploying fairly vigorous impasto. At this period of her develop- ment she turned to pastel and to water-colour, finding in the delicate suggestion of the one, and the fluid responsiveness of [ 16 ] the other, congenial media for the expression of her particular mood. Hitherto her work had based itself more upon analysis than upon synthesis, but for the time being the latter won precedence over the former. The Flamingoes, executed in pastel, are decora- tive and fanciful, whilst distinétly emotional and imaginative are the imposing views of White Mountain range in summer and autumn. The latter occupy a position of unique importance in the artist’s progressive evolution. Unity of impression, the elimination of the nonessential,and genuine breadth and simplicity of vision are here in evidence. One cannot survey these sweep- ing panoramas of native scene without realizing they possess the magic of that which is created, rather than the dull fidelity of that which is merely observed and recorded. Upon her return from Europe in 1920 Miss Dreier again con- centrated her energies upon a single theme, as had been the case with the Weavers of Laren. It was not Holland; it was her own country which upon this occasion afforded the requisite stimulus. In the series of paintings devoted to New York she achieved another forward step. Painted from the windows of her suite in the Hotel Seville, these vibrant panels reflect the pictorial essence of a quarter where the new ruthlessly impinges upon the mellow and picturesque. The view looking west on Twenty-ninth Street [17 | including the Little Church Around the Corner, snugly tucked between encroaching skyscrapers, was a favourite motif, and one that in a measure dominates the series. Each appropriately local- ized, yet together forming a homogeneous ensemble, the paint- ings of New York reveal the artist singing in colour, line, and freely handled form that song of Manhattan which Whitman alone has been able to articulate — that chant which is at once the proud paean of materialism and a challenge to the human spirit. Upon settling at Riverdale, where she occupied the fine old Delafield mansion, there begins another sharply differentiated phase of Miss Dreier’s work. It proved the climax, as it did the close, of her professional activity. Into the cycle of Hudson River Studies, and the completion of certain compositions begun in | Geneva, she concentrated the essence of her artistic message. To the synthetic note which characterizes the Adirondack and White Mountain series are here added, in increased measure, the vigor- ous impasto and bold brush-work of the Dutch and New York subjects. For unity of vision and structural strength these Stark stretches of palisade and frozen river surpass anything the artist had previously attempted. As however is the case with the gen- uinely creative temperament, her mood frequently changed, and to the austerity of winter landscape was added the animation of [18] Genevan flower market and glinting sail boat dotting the surface of the lake. The bright, variegated Flower Market, reproduced upon the cover, proved in faét her last considerable canvas, her final gift of visible beauty to the world. As you sutvey in congenial perspective the offering of Doro- thea A. Dreier, you cannot fail to be impressed with its abiding earnestness of intent. Whatever defects this work may betray, however it may fall short of its author’s own definite standard, it never descends to the trite or the trivial. Miss Dreier began her career at a period when the majority of her contemporaries, especially those of her own sex, were engaged in the gentle art of making pictures. The fact that a subject was pleasing and attrac: tive was considered ample excuse for transferring it to canvas. Tonalism, upon which American taste had been nurtured since the vogue of the Barbizon and Dutch masters, had been largely succeeded by Impressionism, which, with most of our artists, merely became a species of tonalism in a lighter, higher key. Instead of remaining smooth, surfaces were broken. In place of perpetuating the popular elegiac brown, prevailing tints became mauve or violet. The appeal in each case was the same. It was still the appeal of sentiment. Apparently it did not occur either to painter or to the public that aesthetic expression might be a [19 ] matter of dynamic creative intensity, as well as a genteel stimulus to one’s feeling for the so-called beautiful. Art progresses not in uniform sequence, but through a series of sharply defined reactions. The antidote to Impressionism was shortly disclosed in the aims and activities of the post-Impression- ist group. Impressionism is analytical. Post-Impressionism and its allied manifestations are synthetic. Satiated with mere outward appearance and cheap pictorial illusionism, the newer men went below the surface. From beneath the gossamer shimmer spread over the face of nature by the master of Giverny, they revived with almost ruthless zest the eternal verities of form, structure, and actual substance. Vibration gave place to volume. Yet the approach to this rediscovered objectivity was distinétly subjective and indi- vidualistic. Therein lay its strength—and its potency. It is midway between the delicacy of Impressionism and the more rigorous achievements of the modernists that Dorothea A. Dreier finds her place in contemporary art. Whilst remaining in frank sympathy with light, colour, and atmosphere, she is not unmindful of the increasing prominence the study of abstract form assumes in the work of the later men. Her course as a cre- ative artist moves along lines at once normal and independent. And not only does her work display independence of technique, [ 20 ] it evinces that same valued asset in choice of theme. Sentiment for its own sake she frankly abjured, nor could anything be farther from her intention than the perpetuation of the pretty or the popular. Portraiture, and the emphasis upon physiognomy and character as such, lay outside her sphere of interest. So also did the traditional studio still-life with its unsteady tables decked with portentous pears and significant sausages. If the ablest of Miss Dreier’s Holland series, the Weavers of Laren, recall in subject-matter Liebermann’s Cobbler Shop, now in the Berlin National Gallery, they nevertheless reveal a deeper psychological understanding of the Dutch temperment. They por- tray these men and women as they actually are, bowed down by the burden of toil and the conditions under which it is performed. They never strike that note of comfortable studio convention which one encounters in so many presentations of Netherland life and scene. It is equally true that certain of the Hudson River views likewise suggest that sobriety of mood which the American Abbott Thayer imprisoned in his Mount Monadnock landscape recently added to the collection of the Metropolitan Museum. In brief, a consistently maintained integrity of aim is the most typi- cal feature of Miss Dreier’s contribution taken as a whole. The [ 21] deeper essence of nature and humanity alone attracted her, and these simple, eternal elements she strove to express with all the plastic and colouristic conviction at her command. Among her American contemporaries one looks in vain for a parallel, though in Europe one instantly recalls Paula Modersohn- Becker, the gifted German pre-modernist who died just as she was producing her finest things. Virtually the same age, they shared many points in common. A Bremerin, as was Dorothea Dreier by heritage, Paula Becker joined the artist colony of Worpswede, where she married one of its leading figures, the painter Otto Modersohn, and where she managed to work out her own salvation much after the manner of her colleague overseas. Both developed intensively, impelled by a similar spiritual as well as aesthetic necessity. And both at the same fruitful phase of activity were fated to relinquish a task, in each case, in so for as it went, a complete personal expression. Their problem was in a measure the same, and was solved with kindred courage and surety. In a period of artistic transition they achieved that which was not transitory. CHRISTIAN BRINTON. [ 22 ] CATALOGUE fans rove. oy a hae. —_ N We OIL PAINTINGS WEAVERS I | Painted in Laren, Holland, 1908. Exhibited at the Société Anonyme, 1921, and the Worcester Art Museum, November-December, 1921. Oil on canvas. Height 19% inches; width 29 inches. Unsigned. WEAVERS II Painted in Laren, Holland, 1908. Exhibited at the Societe Anonyme, 1921. Oil on canvas. Height 18 inches; width 25 inches. Unsigned. WEAVER— MALE I Painted in Laren, Holland, 1908. Exhibited at the Sociéte Anonyme, 1921. Oil on canvas. Height 18 inches; width 22 inches. Unsigned. 4 WEAVER—MALE II Painted in Laren, Holland, 1908. Exhibited at the Societe Anonyme, 1921. Oil on canvas. Height 18 inches; width 22 inches. Unsigned. Lent by the Worcester Art Museum. WEAVER—FEMALE I Painted in Laren, Holland, 1908. Exhibited at the Societé Anonyme, 1921. Oil on canvas. Height 174 inches; width 19 inches. Unsigned. 255) 6 WEAVER—FEMALE II 10 11 Painted in Laren, Holland, 1908. Exhibited at the Société Anonyme, 1921. Oil on canvas. Height 15% inches; width 19% inches. Unsigned. Lent by the Museum of Fine Arts, Houston, Texas. WEAVER —FEMALE III Painted in Laren, Holland, 1908. Exhibited at the Societé Anonyme, 1921. Oil on canvas. Height 18 inches; width 22 inches. Unsigned. DUTCH KITCHEN Painted in Laren, Holland, 1908. Not hitherto exhibited. Oil on Canvas. Height 22 inches; width 18 inches. Unsigned. ROADWAY, NOORDWYK BINNEN Painted in Noordwyk Binnen, Holland, 1912. Not hitherto exhibited. Oil on canvas. Height 39% inches; width 27% inches. Unsigned. ROSENHOEF, NOORDWYK BINNEN Painted in Noordwyk Binnen, Holland, 1912. Not hitherto exhib- ited. Oil on canvas. Height 39% inches; width 27% inches. Unsigned. + THE GARDEN, ROSENHOEF Painted in Noordwyk Binnen, Holland, 1912. Not hitherto exhib- ited. Oil on canvas. Height 3134 inches; width 23 34 inches. Unsigned. [ 26 ] EZ 13 14 15 16 17 NEW YORK I Painted in New York, 1920. Exhibited at the Société Anonyme, 1921. Oil on canvas. Height 26 inches; width 20 inches. Unsigned. NEW YORK II Painted in New York, 1920. Exhibited at the Societé Anonyme, 1921. Oil on canvas. Height 28 inches; width 20 inches. Unsigned. NEW YORK III Painted in New York, 1920. Not hitherto exhibited. Oil on canvas. Height 24 inches; width 16 inches. Unsigned. NEW YORK IV Painted in New York, 1920. Not hitherto exhibited. Oil on canvas. Height 32 inches; width 24 inches. Unsigned. NEW YORK V Painted in New York, 1920. Not hitherto exhibited. Oil on canvas. Height 30% inches; width 18 inches. Unsigned. NEW YORK VI Painted in New York, 1920. Not hitherto exhibited. Oil on canvas. Height 30 inches; width 24 inches. Unsigned. 2 74] 18 19 20 21 22 SNOWBOUND | Painted in Riverdale, New York, 1920. Exhibited at the Yonkers Art Association, 1921. Oil on board. Height 3134 inches; width 33% inches. Signed, lower left. RIVERDALE—WINTER Painted in Riverdale, New York, 1920. Not hitherto exhibited. Oil on board. Height 3134 inches; width 3334 inches. Signed, lower right. THE HUDSON—WINTER Painted in Riverdale, New York, 1920. Not hitherto exhibited. Oil on board. Height 32 inches; width 41 inches. Signed, lower left. HUDSON RIVER—PANEL I Painted in Riverdale, New York, 1920. Not hitherto exhibited. Oil on board. Height 4734 inches; width 21% inches. Unsigned. HUDSON RIVER—PANEL II Painted in Riverdale, New York, 1920. Not hitherto exhibited. Oil on board. Height 47% inches; width 26%. inches. Unsigned. [ 28 ] 23 24 a> 26 rg) WINTER SUNSET—HUDSON RIVER Painted in Riverdale, New York, 1920. Not hitherto exhibited. Oil on board. Height 32 inches; width 40% inches. Signed, lower right. THE CROSS 3 Painted in Riverdale, New York, 1920. Exhibited at the Société Anonyme, 1921. Oil on board. Height 32 inches; width 40 inches. Unsigned. SAILBOATS—LAKE GENEVA Painted from the sketch, in Riverdale, New York, 1921. Exhibited at the Society of Independent Artists, New York, 1921. Oil on board. Height 36 inches; width 47 inches. Unsigned. ON THE QUAY—GENEVA Painted from the sketch, in Riverdale, New York, 1922. Exhibited at the Society of Independent Artists, New York, 1922. Oil on board. Height 403 inches; width 32 inches. Unsigned. MOUNTAIN SCENE—SWITZERLAND Painted from the sketch, in Riverdale, New York, 1922. Oil on board. Height 31 inches; width 40 inches. Unsigned. [ 29 ] 28 FLOWER MARKET—GENEVA I Painted from the sketch, in Riverdale, New York, 1922. Not hitherto exhibited. Oil on board. Height 32 inches; width 40% inches. Un- signed. 29 FLOWER MARKET—GENEVA II Painted from the sketch, in Riverdale, New York, 1922. Not hitherto exhibited. Oil on board. Height 35% inches; width 47 4 inches. Un- signed. Lent by the Société Anonyme, Incorporated, Museum of Modern Art. WATER-COLOURS 30 DUTCH WOMAN READING Painted in Laren, Holland, 1907. Not hitherto exhibited. Water- colour. Height 20 inches; width 15 inches. Signed, lower right. 31 LONE PINE I Painted in Saranac, New York, 1915. Not exhibited. Water-colour. Height 1334 inches; width 18% inches. Signed, lower right. 32 LONE PINE I Painted in Saranac, New York, 1915. Not exhibited. Water-colour. Height 13% inches; width 18% inches. Signed, lower right. [ 30] 33 ADIRONDACK MOUNTAIN ROADWAY Painted in Elizabethtown, New York, 1915. Not hitherto exhibited. Water-colour. Height 13 % inches; width 19 inches. Signed, lower left. Lent by the Brooklyn Museum. 34 MOUNT WASHINGTON Painted in Sugar Hill, NewHampshire, 1917. Not hitherto exhibited. Water-colour. Height 24 inches; width 32 inches. Signed, lower right. Lent by the Brooklyn Museum. 35 WHITE MOUNTAIN RANGE Painted in Sugar Hill, New Hampshire, 1917. Not hitherto exhibited. Water-colour. Height 24 inches; width 32 inches. Signed, lower right. 36 WHITE MOUNTAIN RANGE—SUMMER Painted in Sugar Hill, New Hampshire, 1917. Not hitherto exhibited. Water-colour. Height 29 inches; width 4734 inches. Signed, lower right. 37 WHITE MOUNTAIN RANGE—AUTUMN Painted in Sugar Hill, New Hampshire, 1917. Not hitherto exhibited. Water-colour. Height 3114 inches; width 49 inches. Signed, lower right. (517) 38 39 40 41 42 PASTELS REVERIE Painted in Brooklyn, 1905. Not hitherto exhibited. Pastel on board. Height 26 inches; width 18 inches. Initials, lower right. FLAMINGOES I Painted in Saranac, New York, 1914. Exhibited at the Societe Anonyme, 1921. Pastel on board. Height 10% inches; width 4% inches. Unsigned. FLAMINGOES II Painted in Saranac, New York, 1914. Exhibited at the Societe Anonyme, 1921. Pastel on board. Height 12 inches; width 9 inches. Unsigned. FLAMINGOES III Painted in Saranac, New York, 1914. Exhibited at the Societe Anonyme, 1921. Pastel on board. Height 10% inches, width 6% inches. Signed, lower right. FLAMINGOES IV Painted in Saranac, New York, 1914. Exhibited at the Societe Anonyme, 1921. Pastel on board. Height 10% inches; width 634 inches. Unsigned. [32] ILLUSTRATIONS T Mga af Mey Ss : DUTCH KITCHEN e354! WEAVER—MALE—I [ 37] [39] WEAVERS NOORDWYK BINNEN ? ROADWAY ete Pah eh Se Pik eee ee Pate ig tee ae MOUNT WASHINGTON 43 -FLAMINGOES I EEoy NEW YORK (47) NEW YORK [ 49 J NEW YORK | oe! ve earth cs) eh aa Py sD : ie ‘ M MOUNTAIN SCENE—SWITZERLAND 537) FLOWER MARKET— GENEVA hebyi - ON THE QUAY—GENEVA [S72] Ed j ; 2 4 ! ‘ THE HUDSON— WINTER [ 59 ] THE CROSS [ 61 ] Bets carat Maa tty Aas ven “Ss > 1 48 r h: ‘hh: 2 iI ‘ * (ve " j , , A i ' ’ \ A , : ) i ‘ i ae INDEX TO ILLUSTRATIONS Dorothea A. Dreier - - ape Frontispiece From a photograph by Mary E. Robinson Portrait of Dorothea A. Dreier ~ - Page 7 By Walter Shirlaw Reverie— Pastel - - - - 8 Dutch Kitchen—O/7/ - ~ - - 35 Weaver—MaleI—Oi/ - - ~ - 37 Weavers I—Oz/ - - - - - 39 Roadway, Noordwyk Binnen—O7 - ~ mon AT Mount Washington—Water-colour — - - - 43 Flamingoes I— Pastel — - - : - 45 New York I—Oi/ - “ _ - Sacre New York II—Oz/ - - = - 49 New York IIJ—0Oz/ - - - fe vt) B Mountain Scene— Switzerland — Oz/ = iy ~ 53 Flower Market— Geneva I— O7/ - - 55 On the Quay— Geneva— Oz/ - - - oy The Hudson—Winter—Oz/ - - - “ihe The Cross— Oz/ - - - - 61 [ 63 ] DESIGNEDBY a FREDERICK P. HUDSON _ | PRODUCED BY CURRIER & HARFORD LIMITED _ “Sh NEweY ORK Crny- Ul saan ane 1925: NG a ahaa ‘ C by ‘ ees ih ‘ wks ie a ; ; &, ‘ Rae a : ’ . 3 : pe 4 : 5 F ? > Li ‘ \ Bias oe a fee F eg 2 ome ee as gr eee feng wie tay atone ay sic nt - ag eile Ahan PORES ee oe ee as ee ee = a es ce Ji 3? fe 3 ‘ F Fo om “ s A ’ a ‘ ; - " . + ’ sd rr y “ ‘ é- + > ” ~ oe “ ; f * ra / re - y eee ; wait: _ é 4 a i tae i ‘ :