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THIS 
 
 ART YEAR-BOOK 
 
 WAS MADE FOR THE 
 NEW ENGLAND MANUFACTU- 
 RERS' & mechanics' institute 
 
 BY 
 
 ARTHUR B. TURNURE 
 
 PROPRIETOR OF 
 
 THE ART AGE press 
 
 132 NASSAU STREET, 
 
 NEW YORK. 
 
COPYRIGHT 1884 BY ARTHUR B. TURNURE 
 
PREFACE 
 
 He object of this publication is to present to the world a volume, in which 
 the highest American art products of the year are represented by means 
 of suitable graphic arts, and produced entirely by means of American 
 brains, labor and materials, the only exceptions being in the use of Chinese, 
 Japanese and India papers to be found in the limited Editions. The plates used have 
 been destroyed. The main edition is 2000 copies. 
 
 The success of the art publication of the Institute for 1883 was so gratifying that 
 this volume is offered with confidence in the result of the reception anticipated. It has 
 been necessary this year also, as last, to depend largely upon the interest of prominent 
 artists who, while they had no pecuniary responsibility in the undertaking, were indis- 
 pensable to the production of a representative work. In publishing the Art Year-book 
 for 1885, it is intended, however, now that the work has been fairly begun as an annual, 
 to devise some cooperative system by which contributors of drawings may share in the 
 profits. This plan especially recommends itself to the New England Institute as being in 
 consonance with a generally progressive policy, part of which is the advocacy of measures 
 tending towards cooperation of labor and capital. To all concerned and represented in 
 its pages, the Institute desires to return hearty thanks for their aid. 
 
 John Mason Little 
 Vice-President and Chairman of Committee on Exposition, 
 Frank T. Robinson New England Institute, Boston, Mass. 
 
 ART DIRECTOR, Hotel Pclham. 
 
OFFICERS OF THE INSTITUTE 
 
 EXECUTIVE COMMITTEE 
 James L. Little, President (Hotel Pelham), Boston. 
 Samuel R. PaysoN (White, Payson & Co.), Boston, 
 Wm. B. Merrill (Downer Kerosene Oil Co.), Boston, 
 John M. Little (Hotel Pelham), Boston, 
 
 Vice 
 Presidents. 
 
 John F. Wood, Treasurer, Boston. (Of Union Stone Co., 38 Haw- 
 ley Street.) 
 
 F. W. Griffin, Secretary, Boston. (Of GrifBn & Griffin, Attorneys, 
 44 Court Street.) 
 
 A. L. Coolidge, Boston. (Of Houghton, Coolidge & Co.) JAMES H. WORK, 
 Boston. (Of Providence Tool Co.) S. A. WOODS (Of S, A. Woods Machine Co.) 
 George L. Damon, Boston. (Of American Steam Safe Works.) Edward Kendall, 
 Cambridgeport, Mass. (Of Kendall & Roberts, Boiler Manufacturers.) Henry Mason, 
 Bo.=ton. (Of Mason & Hamlin Organ Co.) W. C. LOVERING, Taunton, Mass. (Of 
 Whittenton Manufacturing Co.) THEODORE C. BATES, Worcester, Mass. (Of Worce- 
 ster Corset Co.) George Crompton, Worcester, Mass. (Of Crompton Loom Works.) 
 William F. Goulding, Lewiston, Maine. (Of Androscoggin Mills.) F. C. Kennedy, 
 Burlington, Vt. (Of Burlington Woolen Co.) Frederick Grinnell, Providence, R. I. 
 (Of Providence Steam and Gas Pipe Co.) W. E. Barrows, Hartford, Conn. (Of Willi- 
 mantic Linen Co.) F. A. Pratt, Hartford, Conn. (Of F. A. Pratt & Whitney Co.) 
 P. C. Cheney, Manchester, N. H. Wm. H. Forbes, Boston. (Of Forbes Lithograph 
 Manufacturing Co.) Alex. H. Rice, Boston. (Of Rice, Kendall & Co.) W. L. BRAD- 
 LEY, Boston. (Of Bradley Fertilizer Co.) W. G. Means, Boston. (Of Manchester Loco- 
 motive Works.) 
 
 COMMITTEE ON CONDUCT OF FAIR 
 
 John Mason Little, Chairman 
 John F. Wood James L. Little 
 
 Frederick W. Griffin 
 
HISTORY AND POLICY OF 
 
 THE NEW ENGLAND MANU- 
 FACTURERS' AND MECHANICS' 
 INSTITUTE : INCORPORA TED 
 
 APRIL PITH, p8yg. 
 
 Rior to the time of incorporating the 
 
 Institute no regular system of industrial 
 exhibitions existed in New England, although 
 many agricultural shows were held annually on 
 fixed dates. The only industrial exhibitions at 
 Boston were organised under the auspices of 
 an association formed with an ulterior purpose. 
 Nor were these held in permanent structures 
 or with regular intervals. They served, how- 
 ever, to demonstrate that industrial exhibitions 
 were beneficent in many ways ; that they were 
 even more valuable to the manufacturer than 
 agricultural shows were to the farmer, and 
 they emphasised the fact that the prospective 
 wealth of New England depends mainly upon 
 the development of its manufacturing in- 
 dustries. 
 
 At the last exhibition held in a temporary 
 structure — that of 1878 — it became evident 
 that a permanent organisation and a building 
 were needed, as over three-fifths of those 
 wishing to exhibit could not be accommodated 
 'because of lack of space. Therefore, in 
 September, 1878, about thirty prominent 
 manufacturers held a meeting, at which a 
 committee on organisation was appointed to 
 report subsequently. Upon the adoption of 
 their report, February 13th, 1879, t'"**^ organi- 
 sation was effected, and the Institute incor- 
 porated on April nth, 1879, "for the purpose 
 of the general improvement of the manu- 
 facturing and mechanical interests of New 
 
England ; to provide means by which worthy 
 and adequate exhibitions of manufactures and 
 other productions can be given, and cognate 
 objects ; to obtain and distribute information 
 relative to export business ; to create and 
 regulate methods of industrial education ; to 
 improve the technical knowledge of the mem- 
 bers of the society by libraries, technical 
 lectures and discussions." 
 
 This movement was greeted with a large 
 measure of confidence and assistance — though, 
 as an organisation independent of the Asso- 
 ciation under whose auspices exhibitions had 
 been held, it naturally met with some hostile 
 criticism. It should be noted, however, that 
 overtures tending towards a combination of 
 interests had been made and uncompromis- 
 ingly rejected by the existing association. 
 
 As its first step the Institute proceeded to 
 arrange for regular annual expositions that 
 were to unite the two purposes of a fair and 
 an exhibition : that is, exhibits were to be both 
 ixposed and to be sold. Manufacturers were 
 to be encouraged to exhibit their best goods 
 and to inspect the best work of others, and the 
 pense so incurred to be defrayed by in- 
 'reased sales. Finally, as a safeguard against 
 arbitrary discrimination, it was determined 
 that no medals or awards were to be made in 
 any event, but that all exhibits were to seek 
 public recognition on their merits — utilitarian 
 .or. artistic. 
 
 ( ^efora holding the first exhibition in 1881, 
 
the original capital of $ioo,ooo was increased 
 to $200,000, and the large building erected, 
 which has been used since then. As addi- 
 tions were required they were made, espe- 
 cially two art galleries, the indissoluble 
 connection of art and utility in the exhibits 
 having become conspicuously evident to the 
 management. Toward the art exhibits, how- 
 ever, the same policy of not discriminating 
 between exhibits was to be pursued — and 
 to that policy the annual fine arts collection 
 owes its success. This year the display is 
 remarkable for its superiority over its prede- 
 cessors. 
 
 The Institute also has endeavored to 
 develope applied art, and with this in view 
 has given special encouragement to exhibits 
 of art manufactures, such as stained glass, 
 metal work, textiles and art furniture. It 
 hopes, in fact, to gather annually a collection 
 of art exhibits of all kinds that will repre- 
 .sent, as far as is possible, American art in all 
 its phases. 
 
 So far the utmost liberality has been 
 shown in this regard. In connection with 
 the exhibition of 1883, and at an expen- 
 diture of about $10,000, a sumptuous cata- 
 logue was prepared, and its success made it 
 the precursor of this Art Year-book — a 
 publication conceived upon a moi^Tcrmpre- 
 hensive plan than that of a catalogue and in 
 
 F 
 
V 
 
 pursuance of the general policy of progressive- 
 ncss that has been followed in all instances by 
 the Institute since its inception. 
 
 In conclusion a word should be said of a 
 feature of the exhibition of 1883. In 1882 the 
 P management invited the Southern railroads to 
 ^ exhibit the natural resources of the South. 
 The almost phenomenal success of this move 
 warranted the extension of an invitation to 
 the South and West to join in the exhibition 
 of 1883; ^rid the result as shown by the dis- 
 plays in that exhibition were most gratifying 
 to all concerned. 
 
 Important, however, as are the exhibitions 
 of the Institute, it has never thought that 
 these alone are sufificient to meet the require- 
 ments of those who are engaged in similar 
 kinds of employment and business, and who 
 are disposed to extend their cooperative efforts 
 toward a more comprehensive organisation. 
 Exactly how this organisation shall be com- 
 pleted must be left to time and the gradual 
 development of events. The nucleus of it is 
 formed, it becomes day by day more cohesive 
 and compact, and the Institute has shown its 
 watchfulness of events and its quick desire 
 to take advantage of them. The position 
 which it occupies renders it peculiarly well 
 adapted to assist in that development. 
 
 ■''^ * 
 I* 
 
HOWARD PYLE, PINX. 
 
 LESLIE PHOTO ENG. CO., SC. 
 
\ 
 
NOTES: DESCRIPTIVE AND BIOGRAPHIC 
 
 Introductory. — The chief difficulty encountered in making such books as this volume 
 is that of bringing heterogeneous material into cohesive form, unity of effect being a most 
 desirable quality of all well-made books. This work not only utilises designs supplied by 
 many artists of radically different characteristics, but presents examples of many graphic pro- 
 cesses and varieties of printing that require different kinds of paper. How well the combina- 
 tion of these different elements has been accomplished those who are interested in bookmak- 
 ing as an art must determine. It may be noted, however, that many parts of the book are 
 novel in arrangement and that the page of text upon which the history of the Institute 
 is given is ornamented with subjects taken from the four popular divisions of art — figures, 
 landscapes, marines and flowers — in view of the expressed object of the corporation — the 
 development of art as applied to manufactures. A. B. T. 
 
 Academy of Design Exhibition. — The fifty-ninth annual exhibition of the National 
 Academy of Design, which opened on April 7th and closed on May 17th, 1884, was no- 
 ticeable for the average excellent quality of the work shown. It contained seven hun- 
 dred and nine works, many of which were of striking merit. Painters of the younger 
 school of American art and those resident in Europe were well represented. A matter 
 for national artistic congratulation was found in the presence of a large number of vigor- 
 ous and carefully studied figure subjects. This fact well illustrated the progress made by 
 American painters in this department of art during the past year. An interesting feature 
 was the awarding for the first time of prizes established by Mr. Thomas B. Clarke and 
 the late Julius Hallgarten, both of New York. The Clarke prize of three hundred dol- 
 lars, for the best American figure composition, was awarded to Charles F. Ulrich for his 
 admirable work showing part of the interior of Castle Garden, entitled In the Land of 
 Promise. The Hallgarten prizes of three hundred, two hundred and one hundred dollars 
 annually for the best three pictures in oil colors shown in the exhibition were awarded 
 respectively to Mr. C. Y. Turner for his large and important figure subject. The Court- 
 ship of Miles Standish, to Mr. Louis Moeller for his excellently painted single figure with 
 accessories, entitled Puzzled, and to Mr. William Bliss Baker for his characteristic Amer- 
 ican landscape, A Woodland Brook. 
 
 Other remarkable figure subjects in the exhibition were An Old-time Melody by Percy 
 Moran, and A Difficult Answer by Frank C. Jones. For skill in composition and excel- 
 lence of technique, Mr. C. D. Weldon's The Wedding Dress merited special attention. 
 M. A. Woolf's How It Happened showed unusual cleverness in the pictorial expression 
 of a humorous idea. Mrs. Sarah P. Dodson distinguished herself among American women 
 figure painters with her masterly work representing the Initiation of the Descendant of 
 
Bacis into the Mysteries of Augury. The large French peasant subjects of Mrs. Emma 
 Chadwick and Edward E. Simmons offered admirable examples of work done abroad in the 
 department of figure painting. The exhibition contained many landscapes of a high order 
 of excellence, and notably of American subjects. They were, as a rule, remarkable for the 
 absence of those foreign affectations of style so dear to a certain class of American painters, 
 and showed pronounced individuality of treatment and method. A Country Home, by 
 R. Swain Gifford, was not only full of artistic interest and skilfully handled throughout, 
 but absolutely faithful in the rendering of New England landscape qualities of tone, 
 atmosphere and color. The two landscapes of Bolton Jones, one of the younger school, 
 showed marked fidelity to nature, and profound, appreciative sentiment allied to unusual 
 technical skill. A fine example of the methods and effects of the elder school of American 
 art was The Yellow Autumn Woods, by Jervis McEntee, a remarkably skilful study in 
 yellows, highly finished in detail, and a work of much beauty. Landscapes by J. B. Bristol 
 and J. R. Brevoort showed the solid technical qualities peculiar to the elder American 
 landscapists. James D. Smillie, George H. Smillie and Charles H. Miller were all repre- 
 sented by excellent landscapes in their respective manners, all strikingly personal. Robert 
 C. Minor had several works in his best vein. Landscapes by G. R. Donoho and other 
 American artists living abroad offered a valuable study to persons interested in noting the 
 differences of method to be found in works produced by American artists in America and 
 American artists in Europe. In portraiture, Daniel Huntington, B. C. Porter, Eastman 
 Johnson, Edwin H. Blashfield, William H. Lippincott and other well known artists appeared 
 to much advantage. J. W. Alexander's full length portrait of Joseph Jefferson as Bob Acres 
 in the Rivals was decidedly original in conception and general scheme, and was executed 
 with spirit. Much good work was shown in marine compositions. Harry Chase's Battery 
 Park, New York, had all the qualities of the artist's best work in that line, with an ad- 
 ditional merit of faithful rendering of local characteristics. William Bradford's Return of 
 the Labrador Fishing-boats presented a scene of unusual interest and much artistic beauty 
 in a creditable manner. A Fresh Breeze, by M. F. H. De Haas was a robust and spirited 
 piece of work, well reproducing the peculiarities of the New England coast, with the bold 
 directness of method for which this artist is noted. Another good example of the purely 
 American school of marine painting, in subject and treatment, was J. C. Nicoll's Sunlight 
 on the Sea, showing a sketch of the coast of Block Island, with an expanse of sunlit surf. 
 Charles Melville Dewey's interesting work, At the Ebb of the Tide, giving a sweep of salt 
 marshland, with a fishing sloop and a rude hut in the foreground, was excellent in quality 
 of atmosphere and handled with much subtlety. 
 
 A work of much interest, both artistically and as illustrating an American rural super- 
 stition, was Will H. Low's Telling the Bees, showing a bit of kitchen garden in full sun- 
 light, with a barelegged, ragged child of a type common to country neighborhoods fastening 
 a strip of black crape to a bee-hive, lest the bees, knowing that some one was dead in the 
 little cottage seen in the background, should wing their flight to more cheerful regions. 
 The sunlight effect in this work was admirably managed. Another work of a distinctively 
 American subject was A. C. Howland's Veterans of 1812, showing an assemblage of old 
 soldiers on a New England muster-day. The sentiment and humor of this composition were 
 of a most delicate kind, and the character of the landscape was completely in harmony with 
 the leading idea of the picture. A charming bit of decoration by William Bailey Faxon, 
 called Spring, had for its subject a gray-robed monk in a cloistered court watching the 
 
blooming of fruit trees and the mating of birds. It was as exquisite in color as poetic in 
 conception. Another excellent decorative composition was Eleanor E. Greatorex's study of 
 roses and marbles, entitled The Bath, a superb piece of color and handled with unusual force. 
 Kenyon Cox^s study of A Corner Window, with studio accessories and the figure of an 
 etcher seated with his back to his table, was a fine example of able management of cross- 
 lights, and was well painted throughout. F. D, Millet's Regina Convivie was a work of high 
 decorative aim and full of classic feeling as well as thoroughly workmanlike in execution. 
 It represented a beautiful maiden in white draperies, crowned with roses and seated against a 
 marble background under garlands of the same flowers. Among the many Venetian subjects 
 the Interior of St. Marks, by Otto H. Bacher, and The Gondolier's Shrine, by Mrs. Rhoda 
 Holmes Nicholls, were noticeable for truth, freshness and unconventional treatment of well- 
 worn themes. 
 
 Architecture. — As a branch of architecture of special interest and involving an end- 
 less problem, an example of city dwellings has been selected. For purity of style, well-con- 
 sidered effect, simplicity and breadth of design the subject taken will bear close examination. 
 It is a group of five houses in New York arranged in one block on Madison avenue at Fifty- 
 first and Fifty-second streets. The architects are McKim, Mead & White. The plans and 
 general design were mainly the work of one of their staff, Mr. J. A. Wells. Mr. Wells has 
 special professional gifts and has made a conscientious study of Italian Renaissance architect- 
 ure. He has visited Italy several times and labored with a rare devotion towards producing 
 work imbued with the noble spirit of the Renaissance. The present example will be appre- 
 ciated as a substantial realisation of high ideal. 
 
 George Fletcher Babb. — The admirably chaste and thoughtful initial head-band and 
 tail-piece used to adorn the sub-title-page to Examples of Graphic Processes is by this designer, 
 an architect by profession. Among his notable works may be mentioned the design for 
 the bound volume of the Century Magazine. To a highly original style of work Mr. Babb 
 adds the impress of a most refined imagination and skill. 
 
 William Bliss Baker. — One of the prize winners in the National Academy exhibition 
 of 1884, Mr. Baker, has been selected as a worthy exponent of our best landscape art. 
 Though a young man, not yet twenty-five years of age, he has already acquired an enviable 
 reputation in the art world. Born November 27th, 1859, New York he began his course 
 of study in the National Academy Schools in 1876 and first exhibited at the Academy in 
 1879. Since then he has had work in the exhibitions of Boston, Philadelphia, Cincinnati, 
 Louisville, the Society of American Artists, the Water Color Society and the Salmagundi 
 Club. His principal pictures are Woodland Brook, In the old Pasture, Silence, Woodland 
 Study, Green Pasture — July, April Sunshine, November Gray, April Snow, Brook in Spring. 
 
 Carroll Beckwith. — Probably no young American artist is better known than Mr. 
 Beckwith. As a student, as an art instructor and as a portrait painter his career though brief 
 as yet, has been brilliant. In the principal exhibitions for the past four years he has invari- 
 ably had some work'of prominence and his style is familiar to many through the medium 
 of the art journals to which he has at all times contributed generously. His work has the 
 attraction of realism, positivism and power and his specialty is life sized portraits of grandes 
 dames. Mr. Beckwith is a native of Missouri, studied under Carolus Duran at Paris, and in 
 
L'Ecole de Beaux-Arts under Yvon. He has received many honorable mentions and is a fre- 
 quent contributor to the French Salon. 
 
 Binding. — The work of binding the Art Year-book is to be credited to W. Waters & 
 Son, of New York. 
 
 • BOOKMAKING. — As a distinct branch of art industry this has received special attention 
 during the year past. The rapid increase of very cheap books has had the natural effect of 
 almost driving out of market the moderately well-made book and of reacting to increase the 
 demand for costly works which are published in limited editions to subscribers. The prominent 
 publishing houses have made several ventures of this character with considerable success and 
 within about a year we have had limited editions of Hawthorne, Emerson, Keats, Sheridan, 
 Poe and others. Nor is there any probability that but few are to follow. The annual gift book 
 also has become a feature of bookmaking and following Abbey's Herrick of 1882, by Harper 
 & Bros., Charles Scribner's Sons published last winter a charming version of Robin Hood, 
 written and illustrated by Mr. Howard Pyle. This year we are promised from Estes & 
 Lauriat an edition of Lalla Rookh illustrated with photo-gravures of the original drawings 
 by American artists. Cassell & Co. also publish a portfolio of original American etchings in 
 continuance of the publication initiated with success last season. In a broad sense a " book" 
 means any legendary print and bookmaking includes the whole range of newspaper and 
 magazine manufacture and minor work such as circulars and cards. It is gratifying to note 
 that taken in this sense there has been a marked advance in bookmaking within a twelve- 
 month. 
 
 Brass Work. — The illustration assigned to this art industry presents a brass corona placed 
 in the Baptist Church of Hudson, New York, by Mr Elihu Gifford, in memory of Eliza R. 
 Gifford, the mother of the late Sandford R. Gifford. As indicating the possibility of treating 
 brass in an original way and as a unique production in a metal that is daily coming more 
 and more into household use it is extremely interesting. The lamp was designed and made 
 by Louis C. Tiffany & Co., the details of the design being by J. L. Du Pais. This illustration 
 gives an excellent idea of the work, and it is only necessary to add that the top dome is 
 leaded bulls eyes of dark glass, the cups of the lamp below of opalescent glass in brass 
 rings, and the supports brass tubing twisted so as to appear as chains or metal ropes. 
 
 Ceramics. — The manufacture of pottery and porcelain has assumed large propor- 
 tions of late, particularly at Cincinnati and at Trenton. At the latter place the Ott & 
 Brewer pottery has been producing some exquisite fabrics, similar but superior in texture, 
 lightness, and translucency to the Irish Belleek ware. Their designs are either originals 
 or are copied from well-known and approved shapes. The illustration given of their 
 work conveys but a slight idea of its beauty, which consists mainly in its color and its 
 quality as a fabric. The Matt Morgan Pottery Co. also has shown some excellent work 
 recently. 
 
 Harry Chase. — The marine subject given by the artotype process is by this artist 
 — very well known as a marine painter. He is a native of Vermont, and has contributed 
 often to the Salon and the National Academy, His coast marines and incidental subjects 
 taken from fisher life are particularly natural and agreeable. 
 
Clarke Exhibition. — An exhibition of works by exclusively American artists, be- 
 longing to Mr. Thomas B. Clarke, opened on December 28th and closed on January 12th. 
 It was held for the benefit of a permanent fund for a prize to be given annually hereafter 
 for the best American figure composition shown at the National Academy of Design. 
 This exhibition was of peculiar interest to American artists and buyers of American 
 pictures. Mr. Clarke had already won an enviable reputation in art circles as an appreciator 
 and able judge of good native work, and the exhibition of pictures purchased by him from 
 the artist's studios, afforded an opportunity of observing the growth of the reaction now 
 taking place among picture-buyers in favor of home productions. The excellent taste, too, 
 seen to have been shown by Mr. Clarke in the selection of his pictures undoubtedly exerted 
 great influence upon the large body of potential buyers, lacking only proper guidance to 
 become important factors in the development of American art. The collection consisted of 
 one hundred and forty works in the departments of landscapes, figure compositions, 
 marines and still-life subjects. Mr. Clarke is particularly interested in the development of 
 American figure-painting, and it was natural for this reason that the special feature of the 
 exhibition should be the large number of excellent figure-subjects. 
 
 Three of Charles Frederick Ulrich's realistic and carefully painted compositions. The 
 Glassblowers, An Amateur Etcher, Carpenter at Work, were noticeable not only for their 
 admirable technical qualities, but as examples of thoroughly American subjects. C. D. 
 Weldon's Dreamland, which represented a little girl asleep on a sofa, clasping her doll in 
 her arms, visited in her dreams by an exquisitely humorous procession of Japanese dolls, was 
 one of the gems of the exhibition, showing as it did a delicate sense of the grotesque rarely 
 found among American artists. W. T. Smedley's figure subjects, The Weekly Mail and Em- 
 barrassment, ofifered thoroughly American types of character, combined with regard to a lead- 
 ing idea and excellent in respect to technical execution. Edwin H. Blashfield's Music, a his- 
 torical genre, showed a young court dame playing a mandolin on a marble terrace, while two 
 gallants listen to her as they peer at her over the high wall. The costumes were of the Louis 
 XIII. period. Two landscapes by William Bliss Baker were in his best and most characteris- 
 tic vein. Robert Blum's Toledo Water Carriers was remarkable for its truthful local color. 
 Frank M. Boggs was represented by a spirited marine, a view off the French coast. An In- 
 dian subject by George De F. Brush as well illustrated the best manner of that artist as did A 
 Merry Air and A Sad Heart that of J. G. Brown. Mr. Clarke in this collection of pictures 
 displayed a catholicity of taste which spoke volumes in favor of his critical and appreciative 
 faculty. 
 
 Bruce Crane. — ^The illustration given by Mr. Crane is hardly a fair example of his 
 work, which has a peculiarity of its own that black and white cannot interpret. Mr. 
 Crane's pictures have a pronounced individuality, delightful freshness, and the actual sen- 
 timent of nature. Of no school, to be compared with no well-recognised class, he paints 
 boldly and well. Neither a realist, nor impressionist, nor idealist, it is difficult to describe 
 his manner, unless it be that of freshness and vigor. Unhesitatingly he uses the most 
 brilliant greens and dazzling blues, side by side in large masses, and the result is good. 
 His success as an artist is one of merit. 
 
 Julia Dillon.— At the larger art exhibitions visitors invariably have their attention 
 arrested by some strong flower paintings that are brilliant in hues, admirably drawn, and 
 composed with a fine appreciation of the effect of large masses of colors. This descrip- 
 
tion applies to the work of Mrs. Julia Dillon, a flower artist of marked ability, who is 
 distinguished as an American painter, and who very properly contributes the flower example 
 reproduced by the artotype process. 
 
 J. L. Du Fais. — The firm of Louis C. Tiffany & Co. has prospered uncommonly well. 
 Not many years ago the important work of decorating interiors with a view to the proper 
 arrangement, ornamentation and furnishing of rooms in every detail of woodwork, textiles 
 used, coloring and objects introduced, was exclusively in the hand of commercial houses 
 that made few if any pretensions to an art knowledge. When the artists began to appreciate 
 that this kind of design presented a dignified and important field for art work, Mr. Tiffany 
 was among the first to catch the idea, and acting upon it, his financial success at once 
 was assured. To his assistance, however, he called a number of artists. Among these was 
 Mr. Du Fais, who designed the memorial brass corona that is illustrated. Mr. Du Fais is 
 by profession an architect, and skilled in the practical details of house construction, besides 
 his training as colorist, draughtsman and decorator. Mr. Du Fais studied under H. H. 
 Richardson, John La Farge, and McKim, Mead & White before making an engagement 
 with Mr. Tiffany. 
 
 ROSINA Emmet. — The design for the curtain illustrated as an example of art needle- 
 work is by Miss Emmet, who began five or six years ago as an amateur painter on pottery 
 and has since then by diligent study and improving native talents become an easel artist of 
 distinction. Her work has appeared in the Academy and the Society of American Artists 
 Exhibitions and if her future is to be judged by her accomplishments today she will earn 
 enduring fame. 
 
 Etching. — As an example of etching a plate has been made by Mr. Will H. Low 
 for the Art Year-book and is submitted for criticism on its merits. Etching as an art has 
 attracted the attention of late of most of the prominent artists, and exhibitions are held 
 regularly each year in connection with the annual display of the Water Color Society. 
 The most important etching publication that is issued is the portfolio by Mess. Cassell 
 &Co. 
 
 Grolier Club. — In the spring a new club was formed at New York having for its object 
 the literary study and promotion of the arts entering into the production of books. It was 
 entitled the Grolier Club after the famous French bibliophile, bookbinder and statesman of 
 the sixteenth century, Jean Grolier, a name pregnant with significance for every book con- 
 noisseur. The influence it is expected to exert is great. Already it has a membership of 
 about seventy, both resident and non-resident, and held an initial exhibition of etchings in 
 May, at which were shown many valuable prints by Durer, Rembrandt, Meryon, Millet and 
 contemporary etchers. In the near future it proposes to publish books as models of con- 
 struction. The president is Mr. Robert Hoe, Jr., the vice-president Mr. Brayton Ives. 
 
 Frank Fowler. — Mr. Fowler's painting is as remarkable for its versatility as for its 
 seriousness and external brilliancy. He has distinguished himself in landscape, in figure sub- 
 jects, in decorative composition, and as a portrait painter he has attained a position second 
 to no artist in America. One of his earliest portraits was a full-length, lifesize figure of a 
 gentleman seated in an easy pose holding a cigar. This work was remarkable for its lifelike 
 
effect. Excellent as was the technique of the work, the individuality of the subject was so 
 strongly brought out that the artistic qualities were entirely subordinated to the sense of the 
 presence of the sitter. There are few American portrait painters to whom this highest praise 
 can be awarded, and few who have the courage joined to the ability to merge their method 
 and their style in the personality of their subject. This is especially true of the younger 
 artists as a class. They show a mastery of technique and a keen sense of pictorial effect in 
 their portrait work, but regarded purely as portraits, their productions are seldom satisfactory. 
 An admirable example of this artist's work in portraiture is At the Piano, that is presented 
 in this volume by the albertype process, a lifesize, nearly full-length figure. One fancies from 
 the ease of her pose and the vivacity of her expression that she has just finished playing and 
 has turned on the piano stool to face an impromptu audience. This charm of seizing a fleet- 
 ing attitude or expression and fixing it on canvas is peculiar to Mr. Fowler's portrait work. 
 The technique of this portrait leaves nothing to be desired. The modeling of the bare arms 
 is masterly and the arrangement of the masses of black and white which form the color scheme 
 of the figure is such as to produce a satisfying sense of artistic proportion upon the mind of the 
 spectator. In an entirely different line of portraiture was Mr. Fowler's charming half-length 
 of Madame Helena Modjeska, painted last spring. It was at once a portrait and a picture. 
 It represented the actress with her back half turned to the spectator and her face in profile 
 against a light background. The costume, which was that of Rosalind in As You Like It, 
 was of pale green silk with white sleeves painted in delicate colors, repeating the background. 
 A large white feather fan and part of a white fur rug were used as accessories. The taste of 
 this work was perfect. It was admirable as a portrait and as a picture simply exquisite. 
 
 A. B. Frost. — The sub-title page introducing Artists' Autographic Sketches was de- 
 signed by Mr. Frost, known to the public mainly by his illustrations in the periodicals. 
 His subjects are taken usually from contemporary scenes and he has the faculty of picturing 
 details in a pleasing fashion. One of the difificulties that all illustrators have to encounter 
 is in presenting facts literally without a consequent stiffness and awkwardness in their 
 drawings. This Mr. Frost avoids by his skill in composition, his free method of using pen 
 or pencil and his keen sense of humor which frequently is enlisted by him to add a touch of 
 lightness to otherwise severe subjects. In designing title pages or other book ornamentation 
 he has as yet had but little practice, but with the increasing demand for such effort it is to 
 be hoped that he, with others, will be called upon to engage in such work with a view to 
 rivaling the exquisitely dainty productions of the French bookmakers. 
 
 Furniture. — The illustration of a drawing-room cabinet is from the works of Keeler 
 & Co., Washington to Boston, Mass., and is presented as a noteworthy product of this 
 house, which makes high class work for the trade a specialty, besides reduplicated furniture. 
 It is about six feet high by four wide, and composed of solid St. Domingo mahogany 
 finished dark and highly polished. Its decoration consists of cai-vings and the ornaments 
 traced on the silvered, beveled mirror. The brass ornaments, which are used sparingly, are 
 all hand made, and add greatly to the general effect. Its simplicity and richness of work, 
 and graceful artistic lines and forms, recommend it as a worthy addition to the art furniture 
 product of 1884. 
 
 W. Hamilton Gibson. — All readers of Harper's and Century for the past few years 
 remember the series of pictures from nature in which flowers, birds, foliage, wood and pas- 
 
ture have been treated with so much sympathetic tenderness and artistic grace. Their 
 author has been Mr. Gibson, who also is the designer of the card presented in this Year- 
 book as an example of art chromo-lithography. He is a frequent contributor to the exhibi- 
 tions, his pictures as a rule being landscapes. 
 
 Geo. R. Halm. — The title page is the work of Mr. Halm, a professional designer of 
 decorations for books. To this branch of art he was one of the first to give attention and 
 in it, as a specialty in connection with other work, his reputation is growing rapidly. From 
 memoranda supplied by him — an effort was made when too late to secure similar notes from 
 all contributors to the Year-book — it is learned that he was born at Ogdensburg, September 
 1st, 1850. He studied wood engraving under A. V. S. Anthony, and went with him to 
 Boston, remaining until the end of 1873 when he came to New York to accept an engage- 
 ment with Frank Leslie, and since then has been designing for various publishing houses. 
 This year he established himself permanently in a New York studio. In illustrating Mr. 
 Halm's reputation rests on ornamental book covers or titles such as Lead Kindly Light, for 
 Roberts Bros, and covers for Sport with Rod and Gun, Century Co. and covers to Gil- 
 bert's Shakespeare, for Geo. Routledge & Co., London. He has exhibited at the Sal- 
 magundi Club, the New England Institute, the Paris Exposition of 1878, the Chilian Exhibi- 
 tion, and elsewhere, and is prominent as a member of several art clubs. 
 
 Interior Decoration. — The progress made by American artists in the department of 
 interior decoration during the year has been remarkable. Opportunities for doing good work 
 of the kind are every year becoming more abundant as public taste is being educated to ap- 
 preciate the advantages and artistic value of mural adornment. The most important work of 
 the kind executed or exhibited during the year were Francis Lathrop's decorations for 
 the Opera House at New York, A. A. Anderson's large ceilings and wall-decorations 
 executed for Mr. Osborne and Mr. Quintard, and Edwin H. Blashfield's triple ceiling, 
 painted for Mr. Twombly. These works offer examples of three different decorative manners. 
 They are alike in ideality of subject and composition, but in technique and treatment each 
 offers a distinct individuality. Mr. Lathrop's decorations show the idealisation of material 
 forces, such as the products of the earth and sea, treated in a broad, vigorous and robust 
 manner. They are solidly handled and possess a depth of color and tone which 
 is in perfect harmony with the conceptions of the different subjects. The 
 compositions show excellent sense of appropriateness on the part of the 
 artist, being perfectly in harmony with the purpose for which they are intended, 
 namely, the decoration of a large public dining-room. Mr. Anderson's large compositions are 
 graceful in subject and sentiment, and are treated with corresponding delicacy. They are 
 charming, poetic conceptions, in which young goddesses, nymphs and cherubs, with 
 bacchantes and their joyous followers, disport themselves among rosy clouds or masses of 
 verdure and in those vague, indefinite regions which are one of the conventions of decora- 
 tion, and yet are always so fresh and so dear to the imagination, with their effects of celes- 
 tial distance. Mr. Blashfield's large triple ceiling, consisting of a circular composition and 
 two oblong side panels, was a work of ideal beauty. The large group representing a youth- 
 ful, half-draped female figure reclining on clouds, upborne by a number of cherubs, was ex- 
 quisite in idea, treatment, color and execution. The side-panels left little to be desired either 
 in sentiment or technique, and as a whole this series of compositions was a credit to Ameri- 
 
can decoration. The exceptional delicacy of these works was one of their chief characteris- 
 tics, and their idea of decorative fitness was consistently carried out in detail. 
 
 Iron Work. — The industry of ornamental wrought iron work is one to which corsidcr- 
 able attention has been given recently in the manufacturing world ; still it may be fairly said, 
 that in no country does a trained school of blacksmiths exist in the present day, as at the 
 Renaissance period, or even at as late a time as the last century. The principal difficulty to 
 contend with in the recent revival in this country and in England is the tendency to mechani- 
 cal workmanship. This spirit of accurate machine building has so imbued the iron worker 
 that it is a considerable check to the development of the artistic impulses of the nintccnth 
 century blacksmith. Some modern examples of simple subjects of general domestic interest 
 are seen in andirons illustrated in this Art Year-book. Whatever excellence they may have 
 will be duly appreciated. They certainly are a successful attempt toward freedom of work- 
 manship and show a decided breaking away from the painful preciseness so generally preva- 
 lent. 
 
 Jewelry. — Great advances in artistic design and execution have been made during the year. 
 Our jewelry may now be said to equal any in the world for purity of style, originality of ideas 
 and quality of workmanship, and no better work is produced than that of Theodore B. Starr. 
 The examples that are published of recently executed designs are convincing proofs of the 
 right of American jewelry to claim equality with, if not superiority over, European work of 
 the same kind. Nothing could be more charming in effect and at the same time more ad- 
 mirably simple in composition than the large pearl pendant. The design of star and crescent 
 shows excellent arrangement of line and masses of color, qualities as valuable in the jeweler's 
 as in the painter's art. The three crescents show artistic treatment of forms difficult to com- 
 pose symmetrically. The dragon-fly so appropriately formed of small brilliant stones is a 
 delicate and graceful piece of work, and in the spray at the foot of the page, the designer has 
 made excellent use of natural vegetable forms. 
 
 Elbridge Kingsley. — One of the wood engravers who have given a distinct character to 
 American cutting, and who have made it famous throughout the world, is Mr. Kingsley whose 
 block The Tragedy of the Nest, originally printed in the Century, is given in the Art Year- 
 book as work that is as original in most respects, as any wood-cut print that has appeared of 
 late. Mr. Kingsley works both as artist and as engraver, and furthermore, frequently en- 
 graves on the block from nature. That is, he sketches on the block in the presence of his sub- 
 ject, and does some of his cutting also. This, however, is to be regarded only as an incident of 
 his work, his reputation resting upon its qualities of freedom, vigor, and positiveness, together 
 with an individual style of interpreting textures and effects of light— particularly the play of 
 sunshine and shadow on clouds. Mr. Kingsley this year began to cut large blocks of 12x18 
 inches, selling them in limited editions to subscribers. The first one of these is entitled. In 
 the Harbor, and is published by C. Klackner. 
 
 Francis Lathrop. — Mr. Francis Lathrop is one of the few American painters who 
 have won a deserved reputation in the higher departments of decoration. As a decorative 
 artist he stands at the head of his profession and his achievements in other branches of 
 art have been altogether creditable. Many public and private buildings of Boston and New 
 York owe their admirable decorative schemes to Mr. Francis Lathrop and are adorned with 
 
figure work from his brush. The Bijou theatre at Boston, the Metropolitan Opera House 
 and the Hoffman House at New York, all have excellent examples of Mr. Lathrop's skill 
 in the conception and execution of decorative composition. He possesses, primarily, the 
 decorative instinct in a high degree of development, added to an excellent technique, a 
 complete comprehension of the conditions of classic form, idea and sentiment, and a style 
 characterised by strength, vigor and delicacy. All of these elements of success in decora- 
 tion he subordinates to a fine sense of the exigencies of the modern American idea in art 
 as distinguished from the purely traditional and conventional. His work possesses a solidity 
 of effect such as particularly fits it for the decoration of American public buildings. His 
 designs are always broad, noble and dignified, with something of the antique serenity in 
 their fine proportions. The example of interior decoration in the Art Year-book is by him 
 and presents the chief work in the Metropolitan Opera House. 
 
 Lithography. — It is difficult to determine precisely how the art of lithography pro- 
 gresses each year, so much depending for pleasing results by its agency upon the subjects of re- 
 production and the artist's work on the original. In the United States, however, we have 
 two distinct varieties of lithography with regard to the ultimate purpose of the prints — the fine 
 art and the commercial. In the former, L. Prang & Co.'s productions easily surpass all com- 
 petitors, and the card presented in this volume may be taken as an excellent fac-simile work 
 in about twenty printings. Besides this and other gift cards, L. Prang & Co. have issued a 
 number of satin prints reproducing both figure and flower subjects. Chief among them are 
 those after originals by F. S. Church and by Jean Robie. In commercial lithography great 
 advances have been made by the Forbes Company of Boston, and the Strobridge Company of 
 Cincinnati, in making theatrical bills for advertising on street boardings. Some of these are 
 excellent in drawing, coloring, action, and composition. In smaller work, Donaldson Bros., 
 of New York, have made a success of some dodgers that take for their subject, young women 
 with attractive faces, pretty feet, ankles, arms, and hands. 
 
 Will H. Low. — The admirable etching published as an example of the art is by Mr. 
 Low after his painting Narcissa that hung in the Society of American Artists' Exhibition, and 
 which is now owned by Mr. Fletcher Harper. Though this is but the second etching by Mr. 
 Low, it has many excellent qualities, particularly that of careful modeling, the difificulty of ob- 
 taining which, particularly in such subjects as the one he has taken, is well known to every 
 etcher. As an etcher of great promise — and of high achivement in this instance — Mr. Low 
 may be regarded. His work heretofore has been painting, in which, by comparatively few 
 works, he is distinguished already. Arcades is his contribution to the New England 
 Institute exhibition this year. Narcissa was painted for this year's exhibition of the Society 
 of American Artists and to the National Academy he sent Telling the Bees. 
 
 Metal Castings. — In these days of deception in the production of real antiques, 
 bric-h-brac and curios, it is refreshing to know there is an artistic feeling among our 
 large metal workers to reproduce from originals those things that are of known value. One 
 of the leading houses in America, The Magee Art Casting Co., of Chelsea, Mass., has 
 during the past year devoted considerable money and time in reproducing the best available 
 pieces of old German, Japanese and French objects in armor and odd bits, and always with 
 remarkable success, not only in smoothness of finish, but in tone and color as well. The 
 
work is under the persona supervision of one of the oldest platers in this country, Mr. C. 
 G. Pendleton, who has had such facilities afforded him that he is enabled not only to 
 reproduce, but to originate and design new and important works. Outside talent has 
 been secured, and such artists as St. Gaudens and Vedder have contributed designs for 
 decorative fire backs and hanging portraits, dados, friezes, centre pieces, mantels, andirons 
 and other household fixtures in copper, old and new brass and iron finish, all having 
 been treated in a very effective manner as regards the high lights and general relief. Mr. 
 Pendleton has succeeded in imitating the Japanesque by introducing the various metals 
 on one surface. 
 
 J. A. Mitchell. — In England and continental Europe, there has existed for many years 
 a marked fancy for pen and ink sketches of a comic cast. Punch, the Sporting and Dramatic 
 Times, Journal pour Rire, Journal Amusant, La Vie Parisienne, and Fliegende Blatter have 
 for many years had a strong constituency of subscribers, and their artists — Du Maurier, Lin- 
 ley Sanbourne, Tenniel, Mars, Grevin and others — have a world wide reputation. A little less 
 than two years ago, the same kind of publication was for the first time successfully attempted in 
 this country by Mr. J. A. Mitchell who brought Life into existence. As an interesting ex- 
 ample of his work, an original drawing by him is given in the Art Year-book. And though Mr. 
 Mitchell is an artist of ability in this special field, his attainments reach farther in his having 
 achieved a name as an etcher and easel artist long before he began Life. To that publication 
 however, most of his time is given now, and it is doing more than any other periodical to train 
 and develop a number of really excellent artists in the difficult work of black and white pen 
 drawing. The daily papers that have begun of late to illustrate lavishly, have cause in this 
 regard to be grateful to Mr. Mitchell, for when the time comes for them to abandon the prac- 
 tice of extracting all their witty drawings from foreign papers, the artists who contribute to 
 Life will be ready to give them a supply of good drawings which before they might have sought 
 in vain. 
 
 Edward Moran. — One of the most striking works in the National Academy exhi- 
 bition was the pure marine entitled the Sea, by Edward Moran. Easily it was the best 
 marine in the collection, and possibly the best of the year, for which reasons it is selected 
 for reproduction by the heliotype process. Mr. Moran is one of a family of artists, all of 
 whom have attained distinction. His career, however, has been one of serious endeavor 
 and continuous work. Born at Bolton, England, 1829, he came to America in 1844, and 
 began to study under James Hamilton and Paul Weber at Philadelphia. First exhibited 
 at Pennsylvania Academy in 1852. Elected Academian, 1862. Went to Europe same 
 year. Studied at National Gallery, London. Returned to America in 1863. Painted several 
 large pictures bought by Philadelphians. His first important picture was, What are the 
 Wild Waves Saying. 
 
 Leon Moran. — This clever young painter, who has attained a distinct individuality at 
 an age when American artists generally are just beginning to study drawing, may be classed 
 as one of the strongest men of the new art generation. With the exception of one year's 
 study in France Mr. Moran has worked exclusively in America and under American influ- 
 ences. His pictures show a happy assimilatiou of French and American qualities. He 
 has the brilliancy, sparkle, audacity and chic of a Frenchman. His skill of technique and 
 artistic conscientiousness are also Gallic, but mingled with these qualities is a strain of 
 
American originality, self-reliance and independence. While that year of French study 
 has been a strong influence in the development of this young artist's personality, it has not 
 made him in a full sense, imitative. A sense of original individuality is the impression 
 given by his brilliant, dashing little works. Whether the subject be a French peasant girl, 
 an American rural scene, a charming Directoire maiden or a last century cavalier, the same 
 qualities of fresh, youthful 61an and buoyant joyousness are found in all. It is work done in 
 a holiday mood that belongs to youth alone but none the less is it serious, earnest work 
 which, while giving unusual satisfaction in itself, is still more valuable as promising magnifi- 
 cent results for the artist's maturity. 
 
 Percy Moran. — This young painter, whose works are seen in most of the important 
 exhibitions, offers a singular instance of rapid and symmetrical artistic development. Mr. 
 Moran studied for three years in France, and this experience, joined to a remarkable in- 
 tuitive faculty, has given his work that peculiarly artistic quality which forms one of its 
 salient characteristics. In looking at one of Mr. Moran's admirable productions, the spec- 
 tator is first of all impressed by the feeling that he is an artist, as distinguished from a 
 mere painter, and an artist to his finger-tips. He is, moreover, an excellent workman. The 
 charming bits of historical genre of foreign peasant-life, of American character, the innu- 
 merable heads and figures of pretty women, are as carefully studied and conscientiously 
 painted as if they were other than the gay and sparkling utterances of a healthy, youthful, 
 artistic nature. There is something French in this union of solid workmanship with the 
 brilliant scintillations of a young, self-confident talent. Mr. Moran's work has in it the 
 promise of indefinite progression. One would not be surprised if in the course of a few 
 years the reputation which he has won already as a painter of exceptional cleverness 
 within a certain range should be replaced by one of national artistic importance. 
 
 J. Francis Murphy. — A representative personality in American landscape art is that of 
 J. Francis Murphy. His subjects, his education and development, his feeling and sentiment, 
 are all purely American. Few landscape painters unite so much personal style, so much 
 individuality of expression, with so keen an insight into the subtler phases of nature, and 
 so truthful a rendering of her most airy and evanescent moods. Mr. Murphy's works are 
 not only pictures, but poems and modern poems, in which a dainty embroidery of fantasy 
 and conceit is woven upon a simple theme. A bit of sere grass, a patch of hillside, a 
 space of low undergrowth, is the only motive required by this artist for the production of 
 an exquisite creation of form, color and tone which epitomises the natural experiences of 
 an entire autumn or spring day. The pathetic side of nature, the joyous sadness of the 
 minor key in art are by him translated into tangible appearances. 
 
 Artistic Needlework. — The past year has seen progress in the line of artistic 
 needlework, a branch of art-expression which, in its revived form, has taken upon itself a 
 purely American character. American artistic needlework is, in its higher phases, now recog- 
 nised as the equal of that produced by any European country, and in some respects supe- 
 rior. In the pictorial quality, as distinguished from the technical or mechanical, it has few 
 equals. It subordinates the vehicle of expression to the idea to be expressed, thus consist- 
 ently justifying the employment of the word artistic to describe its ulterior ends. For 
 beauty of execution, for delicacy and harmony of color and form, for originality and grace 
 
of design, for exquisite discretion and choice as regards the combination of materials, 
 American artistic needlework is unsurpassed even at its present stage of development. 
 What results it may eventually achieve, keeping pace in its progress with the art-develop- 
 ment of the country, can be readily imagined. Another peculiarity of American work 
 in this department is its freedom from conventionality. It prescribes no laws, lays down 
 no rules, establishes no arbitrary system of technique. Its only condition is the 
 adaptation of technical means to artistic ends. It aims at presenting pictures in 
 needlework instead of in oil or water-color and handles the materials as a painter 
 handles his brush. Admirable examples of recently executed work, well illustrating the 
 principles of the art as practiced in America, were seen in the loan collection, held last 
 winter. They reflected much credit upon the Associated Artists of New York of whom 
 Mrs. Wheeler is the head. Especially noticeable was the set of wall-hangings eleven in 
 number, executed for Mr. Vanderbilt. They were exquisite in design, representing cupids. 
 Undine, Psyche, creatures of sea and air, garlands of flowers, clouds, vapors, and waves. Other 
 needlework pictures, produced by the Associated Artists were shown in the same exhibition, 
 which as a whole, well epitomised the present results of the practice of the art in America, and 
 by the appreciation it received, and the opportunity it afforded of studying advanced technical 
 methods did much to stimulate the zeal of other workers in the same direction. Admirable 
 results in artistic needlework were produced during the year by Miss Jennie Brush and Miss 
 Tillinghast. Mrs. Oliver Wendell Holmes, Jr., added to her already enviable reputation with 
 several pictorial compositions, beautifully designed and executed, and scarcely distinguishable 
 from the work of the brush. The example illustrated is by the Associated Artists. 
 
 Rhoda Holmes Nicholls. — Mrs. Nicholls is one of the few distinguished women- 
 artists of New York, having made a reputation for herself by the local truth, freshness of 
 color and atmospheric subtlety of her Venetian subjects. On the Zattere, Venice, shown 
 in the last exhibition of the Society of American Artists and illustrated in this Year-book, 
 united all these qualities in a remarkable degree, combined with a certain spontaneity of 
 impression rarely met with in the work of any artist. The serene and sunny moods of the 
 sea-city have seldom found a more appreciative interpreter. The peculiar quality of sunlight 
 associated with Venice, the singular transparency of atmosphere, and the striking contrasts 
 of color harmonised by the softness of the lagune mists have probably never been transferred 
 to canvas with more skill. 
 
 Walter L. Palmer. — As one of the most notable works in the New York Water- 
 Color exhibition, The Student, by Mr. Palmer, is reproduced for the Art Year-book by the 
 phototype process. Mr. Palmer was born at Albany, N. Y., August 1st, 1854, and is the 
 son of E. D. Palmer, sculptor. He studied under Frederick E. Church in 1870 and 1871, 
 and exhibited first at National Academy of Design in 1871. Studied abroad mostly in 
 Paris under Carolus Duran, 1873-74, and worked in Paris, in 1876-7. Was elected member 
 of Society of American Artists in 1881, at whose exhibition that year his picture Sunlight 
 received the highest vote of all pictures submitted to jury. At the Society of American 
 Artists' exhibition his picture An Oatfield received the third highest vote of the 600 pictures 
 submitted. His largest and most important picture is Venice, owned by Rev. F. L. Norton, 
 of Albany. 
 
Paper. — It will be noticed that several varieties of paper have been used in the Art Year- 
 book as required by the different kinds of printing. Most noteworthy is the rough edged 
 paper that begins the volume. This is a hand-made fabric from the L. L. Brown Paper Co., 
 who are said to be the only makers in this country of hand-made papers. Their mill has 
 been manufacturing this paper for about a year, stimulus being given by the introduction 
 of limited editions, the supply for which has come heretofore from Holland, France and 
 England. The calendered paper is from S. D, Warren & Co. The laid book paper — 
 exquisite in feel and texture — is a recent manufacture of W. C. Hamilton & Sons and 
 invites the attention of all makers of fine books. The cover is Crane parchment bond 
 and the etching paper from Tileston, Hollingsworth, & Co. 
 
 Pastel Exhibition. — The society of painters in pastel held its first exhibition in 
 the Spring at New York. It originated in a desire felt by some of the best-known 
 American painters to apply modern artistic methods to the valuable medium of pastel and 
 to make of it a recognised expression of the higher pictorial impulse. This progressive 
 movement received deserved recognition from the art-world and the first exhibition of the 
 society met with unqualified success. Members of the society, at the time of the exhibi- 
 tion, were Mess. Beckwith, Blashfield, Blum, Jones, Miller and Ulrich. The productions 
 of these gentlemen with a few works from artists invited to contribute formed the exhi- 
 bition which opened on March 17th. With few exceptions, the painters represented 
 showed that they had a mastery over the medium and displayed tact in adapting it to 
 the exigencies of the modern artistic idea. In some cases it was observed that the artist 
 had equalled or surpassed all of his previous efforts in oil or water color. This was notably 
 true as regards Robert Blum who had never appeared to better advantage at any exhibition. 
 It was a noticeable fact that none of these painters in pastel employed the timid and con- 
 ventional methods commonly associated with the medium. Each artist remained true to him- 
 self and his individual bias, and sought to express his own ideas as simply and directly as if 
 he were working in oil or water-color, and the result was a brilliant exposition of the great 
 artistic value of the modern form of pastel-painting. 
 
 Charles Sprague Pearce. — Mr. Pearce belongs to the class of American artists who 
 have attained a high position both in America and in France, The works of this painter are 
 seen as often in the Paris Salon as in the exhibitions of New York and Boston. A man of 
 serious aims and lofty ambition, Mr. Pearce has produced numerous works in a vein of art too 
 often neglected by Americans. His profoundly-studied historical and Biblical compositions, 
 with their earnestness of purpose, their conscientious workmanship and their thoroughly 
 artistic treatment, have given him a high rank among American painters both abroad and at 
 home. His lighter subjects, such as scenes and figures from French peasant life, are treated 
 with due appreciation of and fidelity to their individual characteristics, and leave nothing to 
 be desired in point of technique. One of his recent works, the Water-Carrier, is an admirable 
 example of one phase of the artist's versatile talent. 
 
 Personal Exhibitions. — The most important personal exhibition of the year was 
 that of works by George Inness, which opened at New York on April 4th. Among the 
 fifty-seven works shown were examples of all the different manners of the artist from the 
 earliest to the latest. A fine opportunity was thus afforded for studying the development 
 of this remarkable artistic personality which is peculiarly /\merican in its versatility, elasticity 
 
and power. The unusually large work, Mount Washington from Prospect Hill, and a 
 recently-painted view of Niagara Falls, well illustrated the different phases of the painter's 
 talent. The first, particularly, was remarkable for the consistent strength and delicacy 
 shown in the handling of so large a canvas. For beauty of color and atmospheric effect 
 it was surpassed by nothing in the exhibition. The other works were landscapes, with or 
 without figures, sunset and sunrise effects of sky, and some Italian views. Mr. Inness 
 showed himself a master in the art of rendering the higher significance of American land- 
 scape, and fixing upon canvas not only its external forms, but the ideal qualities of color and 
 tone, which are everywhere revealed in nature to the poetic eye, as distinguished from mere 
 objective vision. 
 
 Another interesting personal exhibition was that of the works of A. A. Anderson. It 
 was held at New York, and included portraits, figure-subjects, interiors, landscapes and 
 several large decorative compositions. A portrait of a lady in blue velvet seated among 
 rich accessories, showed cleverness in the management of a difficult color-scheme. Another 
 female portrait representing a lady standing, dressed in walking-costume was light in key 
 and graceful and pleasing in general effect. Several male portraits showed good appreciation 
 of character and considerable technical skill. A large figure -subject entitled Judith, repre- 
 senting a beautiful woman in the costume and character of the Jewish heroine, was brilliant 
 in color and well-handled throughout. Some female heads of a French type were gracefully 
 treated, and offered agreeable effects of color, atmosphere and light. 
 
 The exhibition of forty-four works by Birge and Alexander Harrison was of much 
 interest to artists and the public generally. It consisted of landscapes, figure subjects, 
 marines and peasant interiors. As a whole, the work was remarkable for originality, care- 
 ful study, excellent drawing and color and a combination of artistic individuality and fidelity 
 to nature. Alexander Harrison's large picture of a boy entitled A Little Slave, was one 
 of the features of the collection. Birge Harrison's Return from the First Communion, 
 showing a sunny meadow with a little girl in a white veil gathering flowers, was extremely 
 artistic in conception and treatment, with fine effect of sunlight. Most of the subjects 
 represented were French, but the work of these young artists was in no sense imitative. 
 One felt in looking at their productions that they had placed themselves face to face with 
 French nature or human life and had worked without reference to what others had done 
 before them. The gray dreariness of the French coast was as truthfully depicted as the 
 smiling gaiety of the French summer meadows, and the peasant types which seem to 
 have had peculiar attractions for both painters could not demand worthier or more appre- 
 ciative interpretations. 
 
 Phototypic Processes. — Of the methods of reproducing in print photographic views 
 of drawings, paintings, or nature — four different varieties are represented in addition to the 
 photo-engraving processes. The Albertype process is worked in connection with the extensive 
 establishment of the Forbes Lithographic Company at Boston. The Artotype is a New 
 York manufacture and is to be credited to Mr. E. Bierstadt, a gentleman at the head of his 
 business and with the decided advantage of having marked sympathy with art. Heliotypes 
 come from the firm of James R. Osgood & Co., Boston, which makes their manufacture a 
 distinct branch of work. Phototypes are made also as a specialty by Mr. F. Gutekunst, the 
 well-known Philadelphia photographer. These and kindred processes are coming into 
 general use for art illustration and for commercial catalogues. They are photographically 
 exact and admit of charming effects. 
 
Photo-Engraving and Zinc-Etching. — By referring to titles at the bottom of the 
 illustrations it will be seen by what company each one of the relief plates used in this book 
 were made. Nearly all the companies in active operation are represented, some having 
 several plates. The Moss, the Photo-Engraving, the American, the Leslie and the Kurtz 
 companies, all are capable of producing plates rapidly and well, at prices much cheaper than 
 wood-engraving. The Photo-electrotype differs somewhat from the others in giving a cop- 
 per face plate instead of stereotype, is higher priced and apt to be slow. Still its patronage 
 though limited is good. The Ives process is practised by the Crosscup and West Engraving 
 Company, at Philadelphia. By this means a relief plate can be obtained from any photo- 
 graph negative. The four examples given show architecture, a tapestry and silverware — 
 all from the objects themselves. Besides these is a plate from a wash drawing. This process 
 has great possibilities. 
 
 Piano Work. — Among the piano manufacturers there has been little if any advance- 
 ment during the past year in general artistic construction. The instance noticeable is that 
 of Mess. Guild, Church & Co., of Boston, Mass., who have introduced already a solid 
 mahogany upright piano, with elaborate carved griffin legs, the front upper portions being 
 rich in design and well balanced with musical emblems in full relief, the other parts 
 being in perfect harmony. There is no excess of adornment, all being simple, rich and 
 effective. 
 
 Portraiture. — The past season brought much good work in portraiture before the 
 art world. The younger artists particularly greatly distinguished themselves in this depart- 
 ment. One of the best examples exhibited during the winter was Frank Fowler's At the 
 Piano, reproduced for the Year-book by the albertype process, a three-quarter length, life- 
 size, of a lady in a black dress with bare arms seated with her back to a piano. Admirable 
 modeling both of flesh and drapery was shown in this work, and the painting left little 
 to be desired. Proof of the artist's versatility was found in his charming portrait of Madame 
 Moujeska, which was treated in an entirely different manner. It was painted in a very light 
 key, forming a harmony of delicate colors and subtle tones, besides being extremely poetic 
 in conception. Singularly striking and original was J. W. Alexander's large portrait of a 
 little girl in a dark green frock half reclining against a superb tiger-skin. In idea, treat- 
 ment and execution it was at once audacious and supremely artistic. Mr. Alexander's 
 portrait of Mr. Joseph Jefferson as Bob Acres was a Work of much individuality and full 
 of artistic surprises. C. Y. Turner's life-size, seated portrait of an elderly lady richly dressed 
 in velvet and laces, was remarkable for its realistic treatment, and the consistent vigor of 
 the handling. The head and hands were strongly painted. A life-size full length portrait 
 by Frank Richards of a Canadian legal dignitary in his robes of ofifice showed skilful man- 
 agement of blacks in different textures and good rendering of facial expression. Abbott 
 Thayer's portrait of Two Ladies was in many respects an exceptionally fine piece of work. 
 Apart from its technical merits, the refinement of feeling shown in it gave it unusual 
 interest. Edwin H. Blashfield's portrait of Mr. G. Hilton Scribner showed careful study 
 and thought, and was conscientiously and evenly painted. Daniel Huntington exhibited 
 during the season several portraits executed in the highly finished manner which is identified 
 with his name. T. W. Wood's large portrait of Prof. Torrey was a conscientious study 
 of external and mental characteristics and presented an admirable type of the American 
 scholar. Thomas Millie Dow's half-length portrait of a man in a blue yachting shirt, with 
 
a semi-conventional background of a floral design, was an excellent example of a kind of 
 portraiture which combines ideal treatment with fidelity to nature and sound artistic 
 principles. B. C. Porter's Portrait of a Lady in the Society of American Artists well 
 illustrated a class of American portraiture which, while it does not neglect the artistic and 
 technical qualities, unites with them an appreciation of the subject from the personal and 
 individual standpoint. 
 
 Press Work. — All the letterpress and relief plate printing on the Art Year-book 
 including the color work on the cover was done by Gilliss Brothers, New York. Of the dif- 
 ferent kinds involved in the work and the skill and care required throughout an examina- 
 tion will show. There are very few printers in the United States who do first class 
 work. The etching proofs were printed by Kimmel & Voigt and main edition of the etching 
 by G. W. H. Ritchie. The steel plate translucent card prints are from the establish- 
 ment of John A. Lowell & Co., Boston. 
 
 Private Collections. — The most important two private collections thrown open to the 
 public during the year were the Vanderbilt and the Walters, the first at New York, the second 
 at Baltimore. The Vanderbilt consisted of over two hundred oils and water-colors, including 
 many pictures of world-wide celebrity. One of these was The Sower, by J. F, Millet. Alma 
 Tadema's Sculpture Gallery and Picture Gallery were fine examples of the master. A Por- 
 trait, General Desaix and the Captured Peasant, Artist at Work, An Artist and his Wife, The 
 Ordinance and some other works well represented Meissonier. The Sword Dance and several 
 other important pictures by J. L. G^rome, were in this collection. Going to the Bath, by W. 
 A. Bouguereau, The Sculpture Gallery and the Picture Gallery, by Alma Tadema, Rosa 
 Bonheur's Noonday Repose, Jules Lefebvre's Mignon, Fortuny's Arab Fantasia at Tangiers, 
 The Portrait, by Louis Leloir, and many other celebrated pictures were seen here. Among 
 other well-known European artists represented by examples of their best work were Rossi, 
 Boldini, Loustaneau, Sir Frederick Leighton, Corot, Dor6, Sir John Gilbert, Turner, Troyon, 
 Knaus, Baron Leys, Escosura, Van Marcke, Millais, Dupre, Jules Breton, Rosseau, Madrazo 
 Detaille, Stevens, Israels and Munkacsy. 
 
 The Walters collection at Baltimore, thrown open to the public in February, contained 
 more than two hundred pictures by modern European masters. Mr. Walters's taste appeared 
 to run in the direction of French landscape art, and many fine examples of the great French 
 names identified with this kind of work were to be seen in the collection. Rousseau, Diaz, 
 Dupr6, Daubigny and Troyon were represented by important productions. Rousseau's well- 
 known Frost was one of the gems of the exhibition. Several cattle subjects, by Van Marcke, 
 were in the painter's best vein. Three fine Millets, The Flax-Beater, Potato Harvest and 
 Wheat-field were among the most noticeable works. There were seven examples of Alma 
 Tadema, Sappho and Claudius being the most important. The other pictures were all of the 
 very best quality, and fully sustained the enviable reputation won by Mr. Walters as a con- 
 noisseur in art. This collection is undoubtedly one of the best in the country, and the ex- 
 ample set by Mr. Walters in opening it to the public is one that should be followed by all the 
 picture-owners of America. New York can dispense with the exhibition of private collec- 
 tions because so much good work is seen in public displays of various kinds, but in other 
 cities such opportunities of studying the higher phases of art are among the few accorded to 
 the public at large. 
 
Howard Pyle. — This artist has made for himself so thoroughly national a reputation 
 that he may be justly called one of the principal figures of the modern American school of art. 
 Few artists have devoted themselves so closely and conscientiously to the study of common- 
 place or eccentric types of American character, or rendered them with greater fidelity. Early 
 colonial times, the first quarter of the present century, contemporary rural characters brought to 
 light in the heart of Pennsylvania or Virginia, all these have been embodied by him in delicate, 
 truthful, pathetic and humorous compositions which haunt one's imagination and memory 
 with an indefinable charm of poetic suggestion. Realist as Mr. Pyle is, he is also a poet and 
 an artist in rhe ideal sense. He is particularly successful in restoring the past of American 
 life, in its more poetic aspect. In technique, his work is exact, certain, precise. The sub- 
 title-page to these notes is by Mr. Pyle. 
 
 Augustus St. Gaudens. — Mr. St. Gaudens, who stands in the foremost rank of Ameri- 
 can sculptors, has during the past year added greatly to his already wide reputation with his 
 statue of Robert Richard Randall, the founder of the Sailors' Snug Harbor on Staten Island. 
 This work is remarkable, not only for its masterly technique, but for the admirable manner 
 in which the sculptor has realised and set before us the spirit of a past generation in all its 
 living, breathing humanity. The easy grace of the pose, the admirable composition of line, 
 are as striking as is the rendering of personal and national characteristics in this typical Ameri- 
 can subject. Another work which has done much to substantiate Mr. Gaudens's claims to be 
 regarded as the strongest of the younger American sculptors is his lifesize full length statue 
 of Admiral Farragut, a robust and manly piece of work and an admirable embodiment of the 
 American national idea. As a portrait-sculptor Mr. St. Gaudens ranks second to none. The 
 illustration given first appeared in the Century. 
 
 Sculpture. — Much creditable work in this department came before the art-public dur- 
 ing the year, particularly Augustus St. Gaudens's lifesize full-length of Randall, as already no- 
 ticed. The statue of Lafayette, by J. Q. A. Ward, a work of heroic size, representing the 
 subject in the court-dress of his time, was a fine work, worthy of the reputation of the sculp- 
 tor, and as a contribution to the artistic illustration of American history of more than ordi- 
 nary interest to the art-world and the general public. Edward Kemeys came prominently 
 before the public during the year as a sculptor of animals, having made a reputation in that 
 direction abroad with his figures of buffaloes, panthers, wolves and other wild creatures. Mr. 
 Kemeys chooses American subjects for treatment, and his work is not only valuable artistic- 
 ally, but as presenting types of the American forest-life. Olin L. Warner's statue of Gov- 
 ernor Buckingham was a representative American work, full of nervous force and elasticity, 
 handled with unusual technical skill and well reproducing the characteristics of the subject, 
 mental, moral and physical. J. S. Hartley's large bust of Lawrence Barrett was a 
 work of much merit, rendering the best side of the actor's personality and tal- 
 ent with skill and a sense of artistic effect. Launt Thompson's model for a statue 
 of Admiral Dupont was a conception at once vigorous and refined and en- 
 tirely desirable technically. The observations of the past year all point to the fact 
 that American sculpture is gaining ground rapidly as an artistic expression of the idea of 
 American nationality. The most important works have been those which have combined 
 portraiture or personality with historical significance. The drawing-room prettiness, the so- 
 called ideal conceptions which have been the conventional attributes of American sculpture 
 arc fast disappearing or becoming absorbed into the purely decorative expression of the art. 
 
Silver Work. — The praises of our work in precious metals have been sung for years 
 and except to refer to the illustration of selected objects, there is but little to add in these 
 notes. It is gratifying to see, however, that within the year attention more marked than ever 
 has been given to the utilisation of the natural motives of design found in American flora. 
 In many instances these have been highly wrought into most exquisite and intricate pat- 
 terns by skilful chasing, effects being hightened by contrasting various metals on the surface. 
 A general idea of the work and of the forms of some objects can be had from the illustration 
 in this book. 
 
 Society of American Artists' Exhibition.— The Seventh Annual Exhibition of 
 the Society of American, Artists opened on May 26th, and closed on June 21st. In ac- 
 cordance with the declared principles of the Society, the works were by members of the 
 younger school of American Art, whether resident in Europe or in America. As a whole 
 the exhibition did not compare favorably with those previously held, and the spirit of 
 clique and personal aggrandisement was seen, unfortunately, to have influenced the opinions 
 of the selection and hanging committees. A number of excellent individual pictures, how- 
 ever, served to redeem the shortcomings of the collection, regarded in its entirety. Three 
 works of similar subject and treatment were Will H. Low's Narcissa, G. W. Maynard's The 
 Bride, and F. D. Millet's A Spring Offering. All represented beautiful girls in classical 
 garments, were light in key, and showed admirable painting of flesh and drapery. Mr. 
 Low's Narcissa, a young girl in white, seated, holding a few narcissi loosely in her hand, 
 was particularly remarkable for its charm of classic sentiment and graceful composition of 
 line. A most artistic bit of work was Abbott Thayer's Child and Cats, in which some mas- 
 terly flesh modeling was to be seen, as well as striking effects of light and tone. In flower 
 painting, the best exhibit was made by J. Alden Weir with his two compositions of roses and 
 antique silver and wood-carvings. Exquisite contrasts of color, great subtlety of tone and 
 effects of light, besides excellent modeling and painting, characterised these admirable works. 
 
 Steel-engraving. — No great work in steel-engraving has been completed within the year. 
 Mr. Marshall exhibited his head of Christ, of extraordinary size and not yet fully finished. As 
 a conscientious and religious work, together with its high art qualities, it caused much com- 
 ment. The selection made for the Art Year-book represents another style of steel-engraving 
 — one that has acquired a reputation as being distinctively American. Mess. John A. Lowell 
 & Co., of Boston, introduced cards printed from steel plates as an advertising method. These 
 cards are now known far and wide, the best artists being engaged in making original designs 
 for reproduction. The original of the one that is given is by George W. Edwards, a young 
 artist resident at Paris, whose work abounds in happy conceits and dainty fancies as well as 
 serious thought. 
 
 Tiles. — During the past year the Low Art Tile Co., of Chelsea, Mass., has been 
 studiously engaged in perfecting its productions, not only in respect to finish and solidity, 
 but in the matter of design as well. Since the day that this company secured its first 
 medal at Crewe, England (September, 1880), in competition with tile makers of the world 
 it has steadily advanced, until it is now beyond competition and stands alone. Mr. 
 J. G. Low, the inventor of these tiles and head of this great house, possesses natural talents in 
 the arts, and his years of training under Couture and Troyon are evidenced in his productions 
 today. Beauty of finish, quality of color, and brilliancy in glase effect constitute the chief 
 charms in an artistic sense of these important objects of household decoration and usefulness. 
 
C. Y. Turner. — Among the younger artists who have distinguished themselves by 
 the careful and conscientious treatment of purely American themes, is C. Y. Turner. 
 Equipped with an excellent technique, gained by long study under the best foreign mas- 
 ters, Mr. Turner returned from abroad several years ago with the distinct end in view of 
 devoting himself to the painting of American subjects from the American standpoint. 
 This was a determination as praiseworthy as unusual in an American artist who had been 
 absorbing foreign influences for several years. His first important American picture, hav- 
 ing for its subject a widow and child crossing a stile at East Hampton coming from the 
 graveyard, struck the keynote of his future line of work and won a reputation for the 
 artist as soon as exhibited. Since that time Mr. Turner has been making rapid strides 
 as a painter of American subjects. The head-band etching on the preface page is by him — 
 etching having recently come within his practice. 
 
 Water-Color Society Exhibition. — The seventeenth annual exhibition of the 
 American Water-Color Society opened on February 3d, and closed on March 1st. It 
 contained six hundred and sixty-three works, a large proportion of which were of excellent 
 quality. As a whole, the exhibition was sufificiently satisfactory. It was characterised by 
 the preponderance of works in pure aquarelle over those in opaque color or a combination 
 of the two media, showing that a decided reaction had taken place among American artists 
 in favor of water-color proper. Another feature was the arrangement of the large south 
 gallery according to the tones of the pictures, the darks being hung at one end of the room, 
 and the lights at the other. F. S. Church's Pandora struck the keynote of tone at the light 
 end of the gallery. This was one of the artist's best works, being skilfully painted as well as 
 fresh and charming in sentiment. It showed Pandora as a very young girl kneeling on a 
 coffer and struggling to force back the many imps representing human woes escaping from it. 
 On either side hung Flirtation and The Elopement, by C. D. Weldon, companion uprights, 
 excellent in color and handling and delicately humorous in sentiment. They represented the 
 courtship of a Parisian and a Japanese doll. Notable works are too numerous to refer to 
 here. A number of the more important have been etched since the exhibition closed. 
 
 Wood-Engraving. — So much has been written about American wood-engraving that it 
 seems hardly possible to summarise or to do more than advert briefly to the apparent ten- 
 dency of the art as manifested within the year. For tl^e most beautiful, costly and excellent 
 wood-engraving we are accustomed to look to the magazines. The Century certainly led in 
 departing from time honored conventions and is responsible mainly for the development of the 
 school known as that of the modern interpretive engraver — a school that delegates to the en- 
 graver extraordinary discretion as to the best method of rendering an artist's original and 
 which may reproduce that original in two radically different forms if given to different engrav- 
 ers of equal ability. This school, however, seems to have reached its climax and to have 
 occasioned a reaction of popular fancy. Indications at present are that the days of over- 
 wrought, excessively fine cut, indeterminate wood-engraving are numbered and that we have 
 entered upon a more vigorous, bolder, certain era that soon will relegate the Century wood- 
 cuts of the past three or four years to the position of curiosities. And no stronger evidence 
 of the tendency is to be found than in the pages of Harper's Magazine, where some marvel- 
 lously strong, clear and brilliant cutting has been appearing for some months past. The 
 illustration of wood-engraving selected for this Art Year- book is Mr. Kingsley's Tragedy of 
 the Nest. 
 
* 
 
 ELEVEN 
 
 XAMPLES OF 
 
 VARIOUS GRAPHIC PROCESSES. ETCHING, BY WILL H. LOW ; 
 WOOD-ENGRAVING, BY ELBRIDGE KINGSLEY ; LITHOGRA- 
 PHY, BY L. PRANG & CO., FROM A PAINTING BY W. HAMILTON 
 GIBSON ; STEEL-ENGRAVING, BY JOHN A. LOWELL & CO., 
 FROM A DRAWING BY GEORGE W. EDWARDS ; ALBERTYPE, FROM A PAINTING 
 BY FRANK FOWLER; HELIOTYPE, FROM A PAINTING BY EDWARD MORAN ; 
 PHOTOTYPE, FROM A PAINTING BY WALTER L. PALMER. ARTOTYPE IS 
 REPRESENTED BY FOUR COLOR PRINTS ON PRECEDING PAGES, FROM DRAWINGS 
 BY LEON MORAN, WILLIAM BLISS BAKER, HARRY CHASE, AND JULIA DILLON. 
 
 LAT€AT» 5ClNTiLLVLA 
 
 GEO. 
 
 FLETCHEU DABB, DEL, 
 
 HI.KC, LIGHT ENG. CO., SC, 
 
ELBRIDGE KINGSLEY 
 
 PINX. ET SC. 
 
4 
 
Frank Fowler, Pikx. 
 
 FoRuiis LiTH. Mfg. Co., Sc. 
 
* 
 
RTISTS' AUTOGRAPHIC DRAW- 
 INGS: EXAMPLES BY CAR- 
 V ' ROLL BECKWITH, BRUCE CRANE, ERANK 
 ity^ ■ ■ FOWLER, J. A. MITCHELL, PERCY MORAN, 
 
 V 'iW^S^^ I. FRANCIS MURPHY, RHODA HOLMES NICHOLLS 
 (' AND CHARLES SPRAGUE PEARCE. SEE ALSO 
 THE PRECEDING NOTES DESCRIPTIVE AND 
 BIOGRAPHIC. 
 
 A. B. FROST, DEL. 
 
 MOSS ENO. CO., SC. 
 
CARROLL BECKWITH, I'INX. 
 
 MOSS F.NC;. CO., sc. 
 
I 
 
FRANK FOWLER, PINX. 
 
 PHOTO ELKC. CO., SC. 
 
* 
 
MOSS ENG. CO., St. 
 
 PEECV MORAN, PINX. 
 
J. FRANCIS MURPHY, PINX. 
 
 PHOTO ENC. CO., SC. 
 
EHODA HOLMES NICHOLLS, HNX. 
 
 MOSS ENG. CO., SC. 
 
CHARLES SPRAGUE PEARCE, PINX. 
 
 PHOTO ENG. CO., SC. 
 
AUGUSTUS ST. GAUDENS. INV. 
 
 J. II. E. WHITNEY, SC. 
 
APPLIED ART 
 
 EXAMPLES OF INTERIOR DECORATION, 
 IRON- WORK, BRASS-WORK, JEWELRY, 
 SILVER-WARE, NEEDLE-WORK, ARCHI- 
 TECTURE, FURNITURE, AND CERAMICS. 
 
* 
 
* 
 
 J. I,. DUFAIS, INV. 
 
 PHOTO ENC. CO., SC. 
 
AMER. I'HOrO ENG. CO. SC. 
 
ASSOCIATED ARTISTS, mVs 
 
 CROSSCL'P'* WEST ENG. CO., SC. 
 
KEELER & COMPANY, m'f's 
 
 MOSS KNG. CO., DEL. ET SC. 
 
" There is none made so great, but he may both need the hf-lp and service, and stand in fear 
 OF the power and unkindness, even of the meanest of mortals."— SENECA. 
 
 CATALOGUE OF EXHIBITS 
 
 ABBATT, Agnes D. 
 
 1. Sweet Peas. 
 
 2. Dandelions. 
 
 3. The 5 P. M. Train. 
 
 ALBEE, Byron. 
 
 4. After the Storm. 
 
 ALEXANDER, S. B. 
 
 5. My Little Neighbor. 
 
 ANNELLI, F. 
 
 6. Penitence. 
 
 337 4th avenue, N. Y. 
 
 14 Winter street, Boston. 
 Studio Building, Boston, Mass. 
 T. A. Wilmarth, N. Y- 
 1802 Mt. Vernon street, Philadelphia, Pa. 
 
 ANSHUTZ, Thos. P. 
 7. The Courtin'. 
 
 Born in Newport, Ky., 1851. Studied in N. A., N. Y. Pupil of Thos. Eakins. Now teacher in the Academy. 
 
 9- 
 
 10. 
 
 II. 
 12. 
 
 ATTWILL, L. B. 
 
 Crayon Portrait. 
 
 Ideal Head. 
 
 BARRY, E. S. Marz. 
 Clover Blossoms. 
 Thistles. 
 
 1499a Tremont street, Boston. 
 
 33 Barr street, Boston, Mass. 
 
 Evans House, Boston, Mass. 
 
 BARSE, Jr., Geo. Randolph. 
 13. In Arms. 
 
 Bom Detroit, Mich., 1862. Pupil of Jules Lefebre and Gustave Bouianger. Second Academical prize, Paris. 
 
 BARSTOW. Susie M. 
 
 14. Jung Frau, Switzerland. 
 
 15. Old Mill, Gilead, Me. 
 
 16. Autumn, Catskills. 
 
 182 Washington street, Brooklyn, N. Y. 
 
BEAMAN, W. G. 
 
 17. Lake George, N. Y. 
 
 18. " Evening, Westminster, Mass. 
 
 5 Tremont street, Boston, Mass. 
 
 19. 
 20. 
 
 21. 
 22. 
 
 23- 
 24. 
 25. 
 26. 
 27. 
 28. 
 
 N, 
 
 BECKET, Maria J. C. 
 Planter's Glen, Va. 
 Virginia Landscape. 
 
 Hotel Vendome, Boston, Mass. 
 
 58 W. Fifty-seventh street. New York. 
 
 BECKWITH, J. Carroll. 
 -The Country Cousin. 
 Child with Doll. 
 In the Park. 
 Head. 
 
 Peasant Against Hay. 
 Sphinx. 
 
 Girl Before Mirror. 
 On the River. 
 
 Y. Pastel Club. Born in Missouri, 1852. Studied under Carolus Duran and Yvon 
 Mention. Member Society of Am. Artists. 
 
 Received Honorable 
 
 29. 
 30. 
 
 31- 
 
 32. 
 
 33- 
 
 34. 
 35- 
 
 36. 
 37- 
 
 38. 
 
 39- 
 40. 
 
 BEECHER, A. D. 
 
 The Village Cobbler. 
 
 BENNETT, S. 
 
 Calla Lillies. 
 Fern Leaves. 
 
 BENTLEY, W. E. 
 A Cloudy Day. 
 
 BERGEN, Angelique R. 
 Roses. 
 
 BERTIER, F. E. 
 Izigane. 
 Chauseuss. 
 
 BIGELOW, D. F. 
 Riverside. 
 
 BISSELL, Edgar J. 
 Anticipation. 
 
 Born in St. Louis, Mo. Studied in Julian's Studio, Paris. 
 
 Chicago, 111. 
 
 1565 Washington street, Boston, Mass. 
 
 14 Winter street, Boston. 
 104 Oak street, Brooklyn, N. Y. 
 
 Paris, France. 
 
 Chicago, 111. 
 Paris, France. 
 
 BLACKMAN, Walter. 
 
 Nasturtiums. 
 Kitchen Interior. 
 The Letter. 
 
 (Am. Art Asso'n, N. Y.) 
 
BOARDMAN, VVm. G. Boston. 
 
 41. View on the Mohawk River. 
 
 BOARDMAN, Mrs. Mary M. Boston. 
 
 42. On the Hudson. 
 
 43. White Mountains. 
 
 BOGGS, F. M. Paris, France. 
 
 (Am. Art Asso'n.) 
 
 44. Old Houses on the Canal, Dordrecht. 
 
 Received favorable mention Salon, exhibits in all important collections in Europe and America. 
 
 BOLMER, M. D'FOREST. 51 W. Tenth street. New York. 
 
 45. Looking Seaward. 
 
 46. Early Morning. 
 
 BOOTT, Elizabeth. 47 Mt. Vernon street, Boston, Mass. 
 
 47. Hannah. 
 
 48. Richmond Meadows. 
 
 49. Branch of Apples. 
 
 Pupil of Couture. 
 
 BORRIS, Albert. 161 Tremont street, Boston, Mass. 
 
 50. Woods in North Germany. 
 50A. Lake View. 
 
 BOUGUEREAU, William Adolphe. 
 
 51. Nymphs Bathing. 
 
 From the collection of Dr. B. F. Dawson, Fifth Avenue, New York City. 
 Born at La Rochelle, 1825. Member of the Institute and officer of the Legion of Honor. When very young, he was 
 sent to the college at Pons, and even then showed his aptness for drawing. When the proper time arrived, he 
 was sent to Bordeaux and placed in a business house. He obtained permission to attend, for two hours a day, the 
 drawing-school of M. Alaux. His fellow-pupils, almost without exception, intended to be artists, and felt a 
 contempt for Bouguereau on account of his business occupations ; thus, when at the end of the year he took the 
 prize for which all had striven, the excitement was so great that a riot occurred, and ihe pupils made a formal 
 protest against his receiving it, but without effect. He then announced to his family his decision to become a 
 painter. He had no money, and went first to Saintouge, where his uncle was a priest. No painter had ever been 
 there, and Bouguereau was soon busy in making portraits of dwellers in that region. He was able to save 900 
 francs, with which he went to Paris, and entered the studio of Picot, and, later, I'Ecole des Beaux-Arts, where his 
 progress was rapid. He gained the grand prize in 1850, and went to Rome. The works he sent from there were 
 worthy of attention, but his real fame dates from 1854, when he exhibited " The Body of St. Cecilia borne to the 
 Catacombs." It is now in Luxembourg, together with the " Philomela and Procre " (i86i)and the " Mater Affcc- 
 torum," or " Vrerge Consolatrice " (1876). For this last the artist received 12,000 francs from the government, 
 and refused double that sum from a private individual ; it will doubtless find a home in the Louvre. Just when Bou- 
 guereau began to be famous M. Bartolony employed him to decorate his drawing-room, by which work he proved 
 himself a good decorative painter ; soon after he received a more important commission in the Hotel Percrce ; 
 later, he executed the paintings on the ceiling of the concert room of the Bordeaux Theatre, and other decorative 
 virorks in the churches of St. Clothilda and St. Augustin. At the Salon of 1877 he exhibited the " Vierge Conso- 
 latrice " and " Youth and Love;" in 1876, " Preta," belonging to Prince Demidoff, and a portrait ; in 1875, " The 
 Virgin, the Infant Jesus, and St. John the Baptist," belonging to M. Boucicaut, " Flora and Zephyrus," and "A 
 Bather :" in 1874, " Charity," belonging to Mr. Avery, " Homer and his Guide," and " Italians at a Fountain ;" 
 in 1873, "Nymphs and Satyrs," and "The Little Marauders;" 1872, " Harvest Time," and " The Mower;" 1870, 
 " The Bather," and the " Vow at St. Anne," etc. At the Johnston sale, "Blowing Bubbles" (10x8) sold for 
 
$1,225, and " On the Way to the Bath " (39 x 30) for $6,000. At the Latham sale. New York, in 1878, " Rest 
 during Harvest, Italy " (45 x 58) sold for $4,000. At the Salon of 187S Bouguereau exhibited a portrait of a lady. 
 This was the year in which the " Nymphs Bathing" was painted or finished, and which received the highest praise 
 from all the best known critics when at a later date it was shown in the Salon. It embodies the best characteris- 
 tics of the artist's ability ; indeed, several of the strongest figures are types he has used previously and with great 
 effect. There is much that is ideal in his creations, but never the sensual. The two male figures on the right 
 express wonder and astonishment in much the same sense that one would who was being charmed by an emotional 
 narrative being told in a captivating manner. The figures are marvelously graceful, and the Sylvan Nymph in the 
 foreground seems to be interested in the movements of her charge. The play of .sunlight, strong modeling, and 
 purity of atmosphere are things to be greatly admired in the picture. 
 
 BRAYLEY, C. Albert. 125 Tremont street, Boston. 
 
 52. ■ Halt. 
 
 53. Tired. 
 
 BREUL, Hugo. Butler Exchange, Providence, R. I. 
 
 54. Recollections. 
 
 55. Portrait. 
 
 BRIDGMAN, Charles. 16 Court street, Brooklyn, N. Y. 
 
 56. Trumpery. 
 
 57. Queen of the Play. 
 
 58. The Dress Rehearsal. 
 
 59. Among the Nineties. 
 
 60. Promise not to Tell. 
 
 BRICHER, A. T. A. N. A. N. Y. 
 
 61. Pulpit Rock, Nahant. 
 
 BROWN, Geo. L. Maiden, Mass. 
 
 62. Autumnal Sunset, New Hampshire. 
 
 (From the collection of E. Moody Merrill.) 
 Born in Boston. Lived in Paris and Florence. His works hang in the richest art collections in Europe and America. 
 The Prince of Wales possesses two of his works. One of the best-known American painters. 
 
 BROWN, Paul. Chicago, 111. 
 
 63. The Falls of Minnehaha. 
 
 BUNCE, William Gedney. 80 East Washington square, N. Y. 
 
 64. Bessie Watt's Meadow. 
 
 65. Fishing Boats, Venice. 
 
 66. Near Chioggia. 
 
 Student in Munich and Paris. Exhibited in Paris Salons of '76 and '78. Born at Hartford, Ct. 
 
 BUNNER, A. F. Venice. 
 
 67. Canale San Antonin and Campainle of San Giorgio, Venice. 
 
 (Collection of J. Eastman Chase, 7 Hamilton Place, Boston, Mass.) 
 
 BURDICK, Horace R. 433 Washington street, Boston, Mass. 
 
 68. Portrait Study. 
 
 Born at East Killingsly, Ct., 1844. Studied at Lowell Institute and Museum of Fin e. Arts. 
 
BURLEIGH, Sidney R. 
 
 69. Waiting for the Fishermen. 
 
 70. " Over the Garden Wall." 
 
 71. Rainy Day on the Marsh. 
 
 BURR, Louis H. 
 
 72. , " Dinner, Papa!" 
 
 CADY, G. E., Miss. 
 
 73. Basket of Roses. 
 
 CALIGA (STIEFIL), J. H. 
 
 74. Fond of his beer. 
 
 Boin in Indiana, visited Paris, and studied in Munich for several years 
 
 CARLSEN, Emil. 
 
 75. " Under the Hay cock fast asleep." 
 
 F. T. Robinson, owner. 
 
 Providence, R L 
 
 139 W. 55th street, N. Y. 
 224 W, 38th street. 
 3 Houston Place, Boston. 
 
 Europe. 
 
 CARR, G. Lyall. 
 
 76. His First Summer. 
 
 CASTELLO, Eugene. 
 
 77. Solid Comfort. 
 
 78. Ready for Business. 
 
 CATLIN, Mary Louise. 
 
 79. Between Meals. 
 
 80. Hung on Line. 
 
 CHAMPNEY, J. Wells. 
 80A. The Coquette. 
 
 CHAPMAN, Carlton T. 
 
 81. Staten Island Shore. 
 
 82. " Spanish Gypsy." 
 
 CHASE, A. V. 
 
 83. A New Country Road. 
 
 CHURCH, F. S. A. N. A. 
 
 84. The Awkward Squad. 
 
 COLMAN, C. C. 
 
 85. Study of Figures. 
 
 COX, Kenyon. 
 
 86. Portrait, L. E. O. 
 
 87. Portrait, H. L. F. 
 
 Member Society Am. Artists. Studied mostly in Europe 
 
 L. R. Menger, 35 Dey street, N. Y. 
 408 Greenwich street, Philadelphia, Pa. 
 
 208 Main street, Hartford, Ct. 
 
 N. Y. City. 
 52 E. 23d street, N. Y. 
 
 Newport, Mass. 
 58 W. 13th street. New York City. 
 
 145 W. 55th street, N. Y. 
 
CROPSEY, J. F. N. A. 58 W. 57th street, N. Y. 
 
 88. Hudson River Scenery. 
 
 Born in Staten Island, 1823. Studied in Europe. Has exhibited in the Royal Academy and International Exhibi- 
 tion, 1862. Made a full member National Academy Design, 1851. 
 
 89. 
 
 90. 
 91. 
 92. 
 
 94. 
 
 95- 
 
 96. 
 97. 
 
 98. 
 99. 
 
 100. 
 
 lOl. 
 
 102. 
 103. 
 
 104. 
 
 105. 
 
 106. 
 107. 
 108. 
 
 CUMMINGS, Edward C. 
 Fleur de lis. 
 
 DARBY, Frances. 
 Pysche. 
 Pocatta. 
 Panee. 
 
 DAVIS, S. C, Miss. 
 
 Roses and Still Life. 
 
 2 Farnum PI. Roxbury. 
 413 N. 32d street, Philadelphia, Pa. 
 
 Cypress Place, Brookline, Mass. 
 149a Tremont street, Boston. 
 
 (Williams and Everett, Boston, Mass.) 
 
 1 1 East 14th street, N, Y. 
 
 DAY, Henry. 
 
 Rodick's Island, Bar Harbor. 
 Pond near Hebron, N. H. 
 
 DEAN, Walter. 
 
 French Fishing Boats. 
 Court Yard, Point Aven. 
 
 DE THULSTRUP, T. 
 
 Sunday in Delcavid. 
 
 Collection of W. H. Forbes, Esq. 
 
 " The Priest-like Father turns the Sacred page." 
 
 Descriptive. — An interior of a Swedish peasant's home; the father reads the Bible to his family 
 
 DEWEY, Chas. Melville. 
 Early Spring. 
 
 DIETERICH, Ferdinand. 
 In Memoriam. 
 Landscape. 
 A Sketch. 
 
 788 Broadway, N. Y. 
 309 E. 25th street. 
 
 109. 
 1 10. 
 
 Di GIORDANO, Luca. 
 The Magdalen. 
 
 DILLON, H. 
 
 Study for Decoration. 
 
 DIXWELL, Anna P. 
 
 Old Reservoir, Boston, 1883-84. 
 Red Flowers. 
 Looking up Broadway. 
 
 DOLPH, J. H. A. N. A. 
 
 The rat retired from the World. 
 Market Place, Antwerp. 
 
 N. Y. City. 
 Jamaica Plains, Mass. 
 
 58 W. 57th street, N. Y. 
 
 Pupil of Van Kuyck, Antwerp, 1870 ; Paris,i88o-8i-82. Exhibited in Paris Salon, 1882. Born at Fort Ann 
 N. Y., 1835. 
 
Paris, France, or 1007 G street N. W., Washington, D. C. 
 
 DONOHO, C. RUGER. 
 
 111. Primroses. 
 
 112. Mauvais Herbs. Salon, '83. 
 
 DRAPER, Jr., Francis. 
 
 113. Labrador Fishing Grounds. 
 
 114. Coffin's Beach, Annisquam. 
 
 DURANT, E. Leon. 
 
 115. Reading Robinson Crusoe. 
 
 116. Down on Cape Cod. 
 
 EDWARDS, George W. 
 117. Frog Land, The Reproof. 
 
 (John A. Lowell & Co., owner.) 
 Studied for a number of years in Paris, where he now resides. 
 
 163 Warren Ave., Boston, Mass. 
 
 788 Broadway, N. Y. 
 
 Paris, France. 
 
 118. 
 
 119. 
 
 120. 
 
 120A, 
 120B. 
 1 20c. 
 
 121. 
 122. 
 123. 
 124. 
 
 125. 
 126. 
 127. 
 
 128. 
 129. 
 130. 
 
 EKSERGIAN, T. 
 Rug. 
 
 B. Armenia. Studied Ecole des Beaux-Arts under Gerome and Boulanger 
 
 Evans House, Boston, Mass. 
 
 EKSERGIAN, C. 
 
 Portrait, "Zadie." 
 
 (Collection Lyman H. Weeks, Esq.) 
 B. Armenia. Studied in Ecole des Beaux-Arts under Gerome and Boulanger 
 
 Evans House, Boston, Mass. 
 
 EMMET, RosiNA. 
 Autumn. 
 
 Few American Artists have made such rapid progress within a year. 
 
 ENNEKING, J. J. 
 Old York. 
 Foggy Morning. 
 York River. 
 
 East Rockaway, L. L 
 
 Hyde Park. 
 
 FALCONER, J. M. 
 May Blossoms. 
 Where Boneset Grows. 
 Pickles. 
 
 At E. Hampton, L. L 
 Vermont Road, 1864. 
 Architectural. 
 
 Cole's First Studio, Catskills. 
 
 FARR, Elen B. 
 Roses. 
 Lilacs. 
 Flowers. 
 
 no St. Felix street, Brooklyn, N. Y. 
 
 Music Hall Building, Boston, Mass. 
 
FALKNER, J. (William Everetts, Boston, Mass.) 
 
 131. Among the Hills. 
 
 FENNER, E. K. 18 Claremont Park, Boston. 
 
 132. Plums. 
 
 133. Pond Lilies. 
 
 FLAGG, Charles Noel. 140 W. 55th street, N. Y. 
 
 134. An Arab. 
 
 FOWLER, Frank. University Building, N. Y. 
 
 135. In the Springtime. 
 
 Native of New York. Studied under E. White, Florence, and Carolus Duran, Paris. Assisted the latter in painting 
 frescos for the museum of the Luxembourg exhibition in Salon, 1878. 
 
 GARDNER, Elizabeth B. Salem, Mass. 
 
 1 36. Catalpha Boughs. 
 
 137. Roses. 
 
 GARRATT, J. H. 28 Winter street, Boston. 
 
 138. Stone Bridge, W. Roxbury. 
 
 GAUGENGIGL, L M. Boston, Mass. 
 
 139. The Favored Choice. 
 
 (Owned by John A. Lowell & Co., Boston, Mass.) 
 Born in Passau, Bavaria, 1855. Pupil of Prof. Raab, and W. Dicz. Studied in Italy and Paris. Received import- 
 ant commission from the King of Bavaria. 
 
 GAY, Edward. A. N. A. Holbein Studios (Am. Art Asso'n), W. 57th street, N. Y. 
 
 140. Salt Meadows, East Chester. 
 
 141. Fjollan Fjord, Norway. 
 
 B. Ireland 1837. Studied under Schrimer in Carlsruhe, Germany ; afterward with Lessing. 
 
 GEROME, Jean Leon. Paris, France. 
 
 142. Averse to Smoke. 
 
 (From the Collection of T. Jefferson Cooledge, Esq., Boston, Mass.) 
 Member of the Institute, and officer of the Legion of Honor. 
 
 GEYER, F. S. East Cambridge, Mass. 
 
 143. Crayon Head. 
 
 GIBSON. Wm. Hamilton. 30 E. 14th street, N. Y. City. 
 
 144. Autumn Study. 
 
 145. Spring Sketch. 
 
 146. Indian Summer Afternoon. 
 
 GIFFORD, S. R., (dec'd). Am. Art Association, N. Y. 
 
 147. Chamouni. 
 
* 
 
 GRAHAM, Wm. Venice. Care of Williams & Everett, Boston, Mass. 
 
 148. Street View, Cairo. 
 
 149. Outskirts of Cairo. 
 
 150. Mosque near Cairo. 
 
 151. Tombs of the Mamelukes. 
 
 Bom in America. Spent most of his years in Rome. Exhibits in Salon, Paris, and American exhibitions of im- 
 portance. His pictures are owned by some of our best collectors. 
 
 GRANT, C. R. 
 151A. Spring Time. 
 
 GREATOREX, K. H. 58 W. 57th street, N. Y. City. 
 
 152. Study. 
 
 HAMILTON, Hamilton. 58 W. 57th street, N. Y. 
 
 153. Portrait. 
 
 154. " Peek-a-Boo." 
 
 HAMMOND, D. W. Somerville. Mass. 
 
 155. Cradock Mansion, Wexford, Mass. 
 
 HAMMOND, Nellie C. Worcester, Mass. 
 
 156. Portrait. Two Hour Sketch. 
 
 157. A Worn Path. 
 
 158. A Luscious Mouthful. 
 
 HASBROUCK, D. F. 
 
 159. Springtime in Catskills. 
 
 HENDRY, Frank. 
 
 160. E. Shore, Bar Harbor. 
 
 HILLIARD, W. H. 
 
 161. Barges on the Seine. 
 
 HIRSCHBERG, Carl. 
 
 162. Behind the Inn. 
 
 HITCHCOCK, George. 
 
 163. Fishermen's Wives. Scheveningen, Holland. 
 
 HOWLAND, Alfred C. A. N. A. 52 E. 23d street, N. Y. 
 
 164. Rendezvous of the Veterans. 
 
 Studied at Diisseldorf ; pupil of Prof. Flamen and Emile Lambinet. Exhibited in Salon, 1878. 
 
 INGHAM, Chas. C. N. A. 
 
 Bom in Dublin (1796-1863). 
 
 165. Portrait of Gov. De Witt Clinton. 
 
 Painted for Mr. Boyer, an old friend of the Governor. 
 
 54 E. 13th street, N. Y. 
 3 Oscar street, Roxbury, Mass. 
 
 Paris, France. 
 35 W. 14th street, N. Y. 
 
 Europe. 
 
INNESS, Geo. N. A. (American Art Association, N. Y.) 
 
 166. The Morning Sun. 
 
 167. Study from Nature. 
 
 168. Corner of Old Orchard. 
 
 169. The Old Homestead. 
 
 From the collection of T. Wigglesworth, Esq., Boston, Mass. 
 
 170. After the Combat. A marine effect. 
 
 (From Mess. Williams & Everett.) 
 Born New York, 1825. Studied in Italy and France, and is one of the best known American painters. 
 
 IRWIN, Benoni. 140 W. 55th Street (American Art Association). 
 
 171. St. Valentine's Day. 
 
 » 
 
 JACQUE, Charles Emile. Paris. 
 
 172. Noonday. 
 
 (From the collection of T. Wigglesworth, Esq.) 
 Born Paris, 1813. Chevalier of the Legion of Honor. 
 
 JOHNSON, Mary E. 135 Warren street, Boston Highlands. 
 
 173. Study of Roses, 
 
 JOHNSON, Mary H., Miss. Florence, Italy. 
 
 174. Young America. 
 
 JOHNSTON, John B. 154 Tremont street, Boston. 
 
 175. Sketch of Cow. 
 
 From collection of W. H. Downes, Esq. 
 
 JONES, Allister Sumner. 305 Columbus avenue, Boston, Mass. 
 
 176. Nook in the Woods. 
 
 JONES, H. Bolton. 58 W. 57th street, N. Y. City. 
 
 177. Evening on Back River. 
 
 178. November. 
 
 179. On the Landes in Brittany. 
 
 180. Spring. 
 
 Born Baltimore. Studied and sketched in Brittany, France and Spain. Contributed to Salon, 1878. 
 
 JONES, Marshall. 25 Main street, Charlestown, Mass. 
 
 181. Peonies. 
 
 182. River Meadow, Wayland, Me. 
 
 KEITH, Wm. 
 
 183. Headwaters American River. 
 
 KILBOURNE, S. A. (Deceased.) 
 1 84. Grayling. 
 
 (American Art Association, N. Y.) 
 
KNOWLTON, Helen M. 169 Trcmont street, Boston. 
 
 185. Glen Woods, N. H. 
 
 186. Bass Rocks. 
 
 187. Norman Lane. 
 
 188. Twilight, Pinckney, Vt. 
 
 LANDERYOU, R. 
 
 189. Driving Home the Cows. 
 
 190. Riding out a Gale. 
 
 LANSIL, Walter F. Dorchester, Mass. 
 
 191. Fishing Village. 
 
 From the collection of Chas. De W. Sawyer, Esq. 
 
 LEAVITT, E. C. Providence. 
 191A. Roses. 
 
 LEGANGER, N. T. 149a Tremont street, Boston, Mass. 
 
 192. Near Caldwall, Lake George. 
 
 193. Ideal Head. 
 
 LEIGHTON, Scott. , Boston, Mass. 
 
 193A. Fowl. 
 
 LEVIN, Katherine. 558 N. Sixteenth street, Philadelphia, Pa. 
 
 194. Chrysanthemums. 
 
 195. Apricot Blossoms. 
 
 196. Pansies. 
 
 LITTLE, Philip. 44 Boylston street, Boston, Mass. 
 
 197. Morning on the Coast of Swampscott, Mass. 
 
 LOOMIS, Chas. Russell. 223 Asylum street, Hartford, Ct. 
 
 198. Girl with Tambourine. 
 
 199. Magnolias. 
 
 LOVEWELL, R. 39 Walnut street, Chelsea, Mass. 
 
 200. Stranded. 
 
 LOW, Will. H. 
 201A. Arcades. 
 
 LYMAN, Joseph. 51 West Tenth street. New York. 
 
 201. Star Island, Island of Shoals. 
 
 MADRAZO, R. Spain. 
 
 202. Anticipated. 
 
 From the collection of T. Jefferson Cooledge, Esq., Boston, Mass. 
 
MAINE, W. S. 
 
 (Williams & Everett's, Boston, Mass.) 
 
 203. Mountain Brook. 
 
 204. Path Through Woods. 
 
 MATTACK, Eleanor. 3310 Woodland avenue, Philadelphia. 
 
 205. Beechwood in Winter. 
 
 206. Pigeons in Hayfield. 
 
 207. Woodlands, University in Distance. 
 
 McAULIFF. Everett, Mass. 
 
 208. Moonlight in the Bay. 
 
 McCORD, Geo. H. 52 E. Twenty-third street, New York City, N. Y. 
 
 (Am. Art Asso'n.) 
 
 209. November. 
 
 210. Pasture Meadow. 
 
 211. Summer Afternoon, Biddeford, Me. 
 
 Born in New York, 1849. First instructions from Col. James Fairman. Member Artists' Fund Society. 
 
 McENTEE, Jerves. N. A. 
 
 212. November Gloom. 
 
 Born in New York, 1828. Has exhibited in the great Exhibitions in Europe and America, and been awarded 
 diplomas of excellence. Made a full Academician, 1861. 
 
 McLEAN, N. Wallace. 15 Pemberton square, Boston. 
 
 213. An Appeal in Despair. 
 
 214. Financially Embarrassed. 
 
 215. Composition. 
 
 216. Portrait. 
 
 217. A Gray Day. 
 
 MILLER, Chas. H. N. A. 108 West Twenty-third street, New York. 
 
 218. Old Mill and Fallen Willow. 
 
 Born in New York, 1846. Studied with Lier, and in the Bavarian Royal Academy. Elected Academician, 1875. 
 
 MILLER, F. Sandwich, Mass. 
 
 219. The Old Bible. 
 
 220. Gents' Comfort. 
 
 MILLET, F. D. 578 Fifth avenue, New York. 
 
 221. A Spring Offering. 
 
 222. A Cottage Garden. 
 
 Born in Massachusetts, 1846. Studied at R. A. of Arts, Antwerp, under Van Lerius and De Keyser. Silver and 
 gold medals, 1872-73. Am. Art Juror Paris Exposition, 1878. Member Society Am. Artists. 
 
 MILLS, Charles E. Music Hall Building, Boston, Mass. 
 
 223. Morning. 
 
 224. Evening. 
 
 (Pastel drawings.) 
 
MOODY, W. K., Mrs. 33 Woodbine street, Boston. 
 
 224A, Brook Trout. 
 
 MORAN, Thomas. 9 E. Seventeenth street, New York City. 
 
 225. Ponce de Leon in Florida. 
 
 (The scene represents Ponce de Leon addressing his followers, and in the name of Spain, under whose patronage he 
 was, claiming the territory. It happened that the day was Easter Sunday, 1512, called by the Spaniards Pascua 
 Florida, and Ponce de Leon conceived the idea of giving the name of Florida to the vicinity, and so it is to this 
 day. St. Augustine now stands where he first landed. Ponce de Leon was wounded by an arrow received some 
 time after in contest with the Florida Lidians, and ultimately died from its effects.) 
 
 Mr. Moran was bom in Lancashire, Eng., 1837. At the age of seven he came to America. Studied in London, 
 Paris and Italy. His " The Charm of the Colorado " and " The Grand Canon of the Yellowstone," are owned 
 by the United States, and are in the Capitol at Washington. Mr. Moran is a member of the principal academics 
 in America, and his medal picture, " The Mountain of the Holy Cross," as well as his landscape works, entitles 
 him to the highest consideration. 
 
 MORSE, Ed. R. 34 W. Fourteenth street, New York. 
 
 226. Papier Mach6 Exhibit. 
 
 MOULTON, Annie M. Cor. Minot and Sheridan streets, Dorchester, Mass. 
 
 227. Iris. 
 
 228. On the Kennebec. 
 
 229. Near Bethel, Me. 
 
 230. " Nasturtion." 
 
 MULLER, Carl Dusseldorf. 
 
 231. Virgin and Child. 
 
 Prof. Academy. His most important frescoes are in the Church of Saint Appollinarius, at Remagen. The above 
 picture was in the Paris Salon of 1855. 
 
 MUNSELL, Albert H. 45 Quincey street, Roxbury, Mass. 
 
 232. Shortening Sail at Sundown. 
 
 MURPHY, J. Francis. 222 W. Twenty-third street, New York. 
 
 233. Edge of a Pond. 
 
 Member Society of Am. Artists. 
 
 NICHOLLS, Burr H. 58 West Fifty-seventh street, New York. 
 
 234. Greek Palace, Venice. 
 
 NICHOLLS, Rhoda Holmes. 58 W, Fifty-seventh street, New York City. 
 
 235. " Waiting to be Plucked." 
 
 A scene on a South African ostrich farm. 
 
 236. Quiet Corner in St. Marks, Venice. 
 
 237. Away from the World. 
 
 NORTON, W. E. 23 Camden Road, London, N. W., England. 
 
 238. Moonlight. 
 
 Born in Chestertown, Mass. Painted for several years with fair success until 1877, when he had a grand sale of his 
 works, and was thus enabled to visit Europe for study, wl.ere he has been up to date. 
 
NOWELL, Annie C. 
 
 239. Chrysanthemums. 
 
 240. Portrait Wendell Phillips. 
 
 NUTTING, B. F. 
 
 241. A Windfall. 
 
 242. Roses. 
 
 243. After Sunset. 
 
 244. Wood Gatherers. 
 
 245. Lake Scene. 
 
 246. Moon and Evening Star. 
 
 247. On the Charles. 
 
 248. Pittsfield Mill Pond. 
 
 149a Tremont street, Boston. 
 
 12 West street, Boston, Mass. 
 
 Tottenville, L. I. 
 
 PAGE, Wm. N. a. 
 
 249. Portrait of Charles Sumner. 
 
 250. " 
 
 251. Portrait of James Russell Lowell. 
 
 (These portraits are unfinished. That of Mr. Lowell was made in 1847. The Sumner portraits are careful studies 
 
 from Mr. Sumner, made during his last hasty visit to New York, a few months before his death.) 
 Mr. Page was born in Albany, 1811, and is one of the most noted of American historical and portrait painters. 
 
 PAIRPOINT, N. M. 
 
 252. Still Life. 
 
 253. Study of a Head. 
 
 PALMER, Laura E., Miss. 
 
 254. Margherita. \ 
 
 255. Life Study. > Terra cotta relief in silhouette. 
 
 256. Baby's Head. ) 
 
 PALMER, Walter L. 
 
 257. The Student. 
 
 258. The Venetian Lagoon. 
 
 Born in Albany, N. Y. Studied several years in Paris. 
 
 PEARCE, Charles Sprague. 
 
 259. " Toiler of the Sea." 
 
 (John A. Lowell & Co., owners.) 
 
 N ew Bedford, Mass. 
 
 Florence, Italy. 
 
 5 Lafayette street, Albany, N. Y. 
 
 Paris, France. 
 
 Born in Boston, Mass. Painted under Bonnat in Paris. Has made tours in Africa and Algiers. Received his first 
 prize medal in Paris Salon, 1883. Mr. John A. Lowell, of Boston, is his principal patron and agent in America. 
 
 260. 
 
 261. 
 262. 
 263. 
 
 PEARSON, HiRAM S. 
 
 English Landscape. 
 
 PETERSON, George D. 
 
 Pearl Diver, after Flanderin. ) „ , . 
 
 ^. y Terra Cott£ 
 
 East Boston, Mass. 
 2 Park street, Boston. 
 
 Tigress. 
 Lion. Plaster. 
 
* 
 
 PHELPS, W. P. 
 
 264. On the Coast. 
 
 PLATT, C. A. 90 Lexington Ave. N. Y. 
 
 265. Canal at Chartres. 
 
 266. Fisherman's House. 
 
 POORE, Henry R. 403 S. 41st street, Philadelphia. 
 
 267. Baying Hounds. (The lost Scent.) 
 
 (From the collection of Thomas B. Clarke, Esq., New York City.) 
 Born in Newark, N. J., 1858. Studied in the National Academy of Design, New York, in 1876. In 1877 he went 
 to Philadelphia and entered the Life Class of Pennsylvania Academy of Fine Arts, also the studio of Peter 
 Moran, receiving instruction for two years. First exhibited in Philadelphia Academy in 1878. Left home for 
 study abroad in 1883 and is now under Luminals, in Paris. 
 
 POPE, John. (Deceased.) 
 
 268. Portrait Daniel Webster. 
 
 This was the last portrait ever made of the illustrious statesman and was painted by Pope, in Boston. 
 
 POWERS, Preston. Florence, Italy. 
 
 269. Cameo Medalions. ) Fisherman's Children. 
 
 270. " ) 
 
 271. Terra cotta relief in Silhouette. Portrait Baroness D. Hogguer. 
 
 Second son of Hiram Powers. One of his most important busts is that of the late President Garfield ordered by 
 Mrs. Garfield. He has executed busts of Sumner, Grant, Whittier and Swedenborg and several important 
 ideals. 
 
 QUARTLEY, Arthur. A. N. A. 58 W. 57th street, N. Y. City. 
 
 272. From a North River Pier Head, N. Y. 
 
 Born Paris, 1839. Self-taught. Exhibits in the Royal Academy and Salon and all important American Exhibits. 
 
 REHN, F. K. M. 28 E. 14th street, N. Y. 
 
 273. Surf at Atlantic City. 
 
 REINHART, Benj. F. A. N. A. 52 E. 23d street, N. Y. 
 
 274. After the Crucifixion. 
 
 " And he brought pure linen, and took h'.m down and wrapped him in the linen and laid him in a sepulchre which 
 was hewn out of a rock." 
 
 Bom Pennsylvania, 1829. Studied in Dusseldorf and Paris. His Cleopatra is owned in England. Has painted 
 portraits for Prince of Wales and other of England's notables as well as several Presidents of the United States. 
 
 276 
 277 
 278 
 279 
 280 
 
 RICHARDS, F. De B. 1520 Chestnut street, Philadelphia, Pa. 
 
 Pine Creek Valley, Pa. 
 Lycoming Valley. 
 Salt Marshes, New Jersey. 
 Near Phoenixville, Pa. 
 In the Dell. 
 
 Salt Marshes, New Jersey. 
 
23d street and Fourth Ave, N. Y. 
 
 RICHARDS, T. Addison. N. A. 
 281. The Delaware Valley. 
 
 Bom London, 1820. Studied in N. A. D., New York, 1843-1847. First ex., N. A. D., 1846. Elected A. N A., 
 1848 ; N. A., 1851. Secretary of N. A. D. from 1852 to the present time. First Director of Cooper Union 
 School of Art for Women, 1858-1860. Professor of Art in the University of New York since 1867. Author of a 
 number of Art works. 
 
 ROBINSON, Edward A. 
 282. Sunset Castine, Me. 
 
 39 Buckingham street, Boston. 
 
 283. 
 284. 
 
 285. 
 286. 
 
 287. 
 288. 
 289. 
 290. 
 291. 
 292. 
 293- 
 
 294. 
 
 295. 
 
 296. 
 297. 
 298. 
 
 ROBINSON, Theo. 
 
 In the Daisy Field. 
 
 ROBINSON, W. T. 
 Apple Girl. 
 
 ROGERS, F. W. 
 
 After Dinner. 
 Cats at Home. 
 
 (L. R. Menger, 35 Dey street, New York.) 
 
 Maiden, Mass. 
 
 429 Washington street, Boston, Mass. 
 
 (Owned by J. Eastman Chase, Esq., Boston.) 
 (From the Collection of T. Wigglesworth, Esq.) 
 
 RYDER, John S. 
 Riding it out. 
 A Collision. 
 Seining on the Seine. 
 A Perilous Ride. 
 Giving the babies a ride. 
 Crossing the run. 
 Sea Urchins. 
 
 RYDER, P. P. A. N. A. 
 Industry. 
 
 SAMSON, Jeanne. 
 
 The Young Milliner, 
 
 SANDERSON, Charles Wesley. 
 Near Dorchester. 
 Liana Cascade, Salisbury, Vt. 
 Sugar Maples — Adirondacks. 
 
 33 Windsor street, Boston, Mass. 
 
 335 E. Ii8th street, New York. 
 
 Paris. 
 
 20 Beacon street, Boston. 
 
 Salisbury, Vt. 
 
 Born Brandon, Vt. Studied in Paris. Admitted to I'Ecole des Beaux-Arts for excellence in drawing from the 
 nude. 
 
 SANDHAM, Henry. 
 299. The Late George Fuller. 
 
 Boston, Mass. 
 
* 
 
 SARTAIN, Wm. a. N. a. 152 W. S7th street, New York City. 
 
 300. N. E. Landscape. 
 
 301. Rosalie. 
 
 Born in Philadelphia, Pa. Pupil of Pennsylvania Academy of Fine Arts, Philadelphia, Leon Bonnal, and I'Kcolc 
 des Beaux Arts, Paris. First ex.. Royal Academy, London, 1875 ; N. A. D., 1876 ; A. N. A., 1880. Professor 
 in Art Students' League. Silver Medal, 1881, Massachusetts Charitable Association ; Ex., London, Vienna, and 
 Munich. 
 
 SATTERLEE, Walter. A. N. A. 52 E. 23d street, N. Y. 
 
 302. One of the Followers of El Mahdi. 
 
 Born Brooklyn, N. Y., 1844. Pupil of Bonnat. Lived and studied in Paris and Rome. 
 
 SAVINI, A. Rome. 
 
 303. Lalla Rookh. 
 
 SCHLJINGER. 
 
 304. Star of the Orient. 
 
 SHAW, Annie C. 210 Wabash avenue, Chicago, 111. 
 
 305. By the River. 
 
 306. A Quiet Day. 
 
 SHEARER, C. H. (Williams & Everett), Boston, Mass. 
 
 307. A Gray Day. 
 
 SHURTLEFF, R. M, A. N. A. 969 5th avenue, N. Y. (American Art Association.) 
 
 308. The Brook. 
 
 309. A Shady Nook. 
 
 310. Under the Birches. 
 
 311. Adirondack Forest. 
 
 Born New Hampshire. First ex., N. A. D., 1872 ; A. N. A., i88t. 
 
 SONNTAG, Wm. L. N. A. 
 
 312. Landscape. 
 
 Born Pennsylvania, 1822. Studied in Italy and has contributed to many of the important collections in America. 
 
 SPOONER, Chas. H. 1520 Chestnut street, Philadelphia, Pa. 
 
 313. Sunset in Florida. 
 
 314. On the River. 
 
 STEWART, Edw. B. 31 Holyoke House, Cambridge, Ma.ss. 
 
 315. August Afternoon. 
 
 316. Dusk. 
 
 317. Along the Road. 
 
 St. JOHN, Mrs. S. H. 58 W. 57th street, N. Y. (American Art Association.) 
 
 318. St. Bernard Puppies. 
 
STORY, Geo. H. A. N. A. 52 E. 23d street, N. Y. 
 
 319. Portrait Mrs. Thomas Moran. 
 
 Born in New Haven, Conn., 1835. Studied in Europe. State Medal of Maine. 
 
 STRATTON, Howard Fremont. 1520 Chestnut street, Philadelphia. 
 
 320. The Shepherd. 
 
 321. Lion's Head, 
 
 322. Night. 
 
 323. Spring. 
 
 324. Water Lilies. 
 
 STUART, Gilbert. 
 
 325. Portrait of Thomas Jefferson, 3d President of the United States. 
 
 Painted in 1806 at sittings given Stuart and once the property of President Jefferson. It comes to the present 
 owner, T. Jeiferson Cooledge, Esq., of Boston, Mass., by inheritance. 
 
 STUART, F. T. 42 Court street, Boston. 
 
 326. Sketch at Beechmont. 
 
 327. " " " 
 
 STUBBS, Wm. p. 3 Mt. Vernon Place, Boston, Mass. 
 
 328. Yacht. 
 
 329. Homeward Bound. 
 
 SWEENY, Mrs. D. W. 413 N. 32d street, Philadelphia, Pa. 
 
 330. Brass Portrait — Plaque. 
 
 331. Tiles. 
 
 TECHNOLOGY, Massachusetts Institute of. 
 
 332. Drawings and Designs and General Exhibition of Shopwork made by Students 
 
 during the Two Years' Course. The Exhibit is outside and near the East 
 Art Gallery. 
 
 TEWKESBURY, Fanny W. Newtonville, Mass. 
 
 333- White Birches. 
 
 334. Golden Rod. 
 
 335. In Full Bloom. 
 
 THOMPSON, Launt. N. A. Florence, Italy. 
 
 336. Indian Girl. 
 
 From collection of E. B. Haskell, Esq. 
 Born Ireland, 1S33. Studied in Medical College, New York. Became a pupil of Palmer in 1855. 1858 moved to 
 New York, and in 1875 took a studio in Florence. His ideal and portrait work is well known both sides of the Atlantic. 
 
 TROTTER, Newbold H. 
 
 337. On the Scent. 
 
 338. Drowsy. 
 
 1 1520 Chestnut street, Philadelphia, Pa. 
 
* 
 
 TROUILLEBERT. Paris, France. 
 
 339. French Landscape. 
 
 TRYON, C. (Deceased.) Paris, France. 
 
 340. Left Behind. 
 
 (From the collection of T. Jefferson Cooledge, Esq., Boston, Mass.) 
 Chevalier of the Legion of Honor. 
 
 TRYON, D. W. 152 W 57th street, N. Y. 
 
 341. Springtime — Cornay la Ville. 
 
 TUCKERMAN, S. S. The Hague, Holland— c. of J. Eastman Chase, 7 Hamilton 
 
 Place, Boston, Mass. 
 
 342. Dutch Fishing Boats at Katwigk. 
 
 Student with Hunt in Boston, also in Paris studios. Has lived abroad for the past ten years. 
 
 TURNER, Ross. 30 Music Hall Building, Boston, Mass. 
 
 343. Fissole. Pastel Club, N. Y. 
 
 Studied in Europe several years, and taken important part in the many grand exhibitions there and in America. 
 
 ULLMAN, Nathan. 239 E. 50th street, N. Y. 
 
 344. Fruit. 
 
 UNKNOWN. 
 
 345. Taken from an old Spanish Convent during the French invasion under the first 
 
 346. Napoleon. 
 
 (From O. F. Boomer collection.) 
 
 VAN ELTEN, KRUSEMAN. A. N. A. 15 W. loth street, N. Y. 
 
 347. Meadows in Connecticut. 
 
 348. Cloudy Day. 
 
 Born in Holland, 1829. Chevalier Order of the Lion, of the Netherlands. Member Academies of Amsterdam and 
 Rotterdam, and of the Belgian Water Color Society. Medals, Amsterdam and Philadelphia. 
 
 VEDDER, Elihu. N. A. Rome, Italy. 
 
 349. Central Italy. 
 
 (From Messrs. Williams & Everett.) 
 
 350. Figure. 
 
 (From the collection of E. B. Haskell, Esq.) 
 Bom in N. Y., 1836. Has been a resident of Rome for a number of years. Made full member of National Academy 
 1865. Some of his best pictures are owned in Boston. 
 
 VERNIER, Emil. Paris, France. 
 
 351. Early Morning — Port of Havre. 
 
 VERTUNIE, A. (Williams & Everett, Boston, Mass.) 
 
 352. Near Rome, 
 
VINTON, F. P. Park square, Boston, Mass. 
 
 353. Portrait. 
 
 Born in Bangor, Me., 1846. Studied with Bonnat, also in Munich with Duveneck, and at the Academy under Prof. 
 Wagner and Diez. After his return to Paris, studied with J. P. Laurens. 
 
 VOLK, Douglas. 146 W. 55th street, New York City. 
 
 354. Accused of Witchcraft. 
 
 (From the collection of Thomas B. Clarke, N. Y. City.) 
 
 Born at Pittsfield. Mass., 1856. Pupil of J. L. Gerome, Exhibited in Paris Salon, 1875 ; National Academy of De- 
 sign, 1880. Member of Society of American Artists, New York. 
 
 (This picture illustrates no real incident of the cruel days of witchcraft. It is a creation of the artist's, yet depicts the 
 horrors of the great superstition as practised in New England two hundred years ago. The scene is being enacted 
 in a colonial house. An invalid father, whose only comfort and support is his innocent child, stretches forth his 
 weak arm in appeal to the hard-hearted jailor, the sanctimonious divine, and the cursed hag. He seems to say : 
 " What, my child bewitched ? My God, what do you mean ! !" The look of horror on the face of the child, who 
 clutches her father's arm, gives evidence of abandoned hope, and she seems to see herself being burned at the 
 stake, her father dead, and her happy home destroyed. The accessories show that everything in the house was of 
 the most peaceful nature. The Bible on the floor, the cheerful fire on the hearth, even the fatal black cat seated 
 in the chair indicates quiet and contentment. The artist has given us the right in his portrayal to say we hate 
 rather than pity the men who lived and condemned the poor innocent.) 
 
 VON HILLERN, Bertha. Hotel Vendome, Boston, Mass. 
 
 355. Old Homestead, N. Mountain, Va. 
 
 356. Remnant of the Battle of Fisher's Hill, Va. 
 357- Old Sycamore, Mossy River, Va. 
 
 VON HOESSLEN. 
 357A. Roman Winter. 
 
 WAGNER, Jacob. 
 
 358. Twilight. 
 
 359. Portrait. 
 
 360. Showery Day. 
 
 361. Early Morning. 
 
 WALKER, James. 
 
 362. Lookout Mountain or, The Battle Above the Clouds. 
 
 The sight as descibed, is the sight of the spectator facing the painting. 
 
 On the extreme right the spectator can see in the distance portions of the Raccoon Range. In front of these Lookout 
 Valley, through which the Nashville and Chattanooga roads run. In this valley are a line of sand-hills, the largest 
 named Tyndall's, the one beyond Smith's Hill ; these, and lesser elevations in front, were taken from the enemy 
 about the time of the arrival of the nth and 12th corps. That engagement was called the battle of Wauhatchie, 
 and it opened communication with Chattanooga by wagon road, and enabled the government to provision the 
 troops there. It will be observed the trees were cleared from the tops and sides of these hills, and rifle-pits con- 
 structed running across them. This was the advance line of the national forces in this direction up to the morning 
 of the battle. Lookout Creek winds in front of these hills and was crossed by a railroad bridge, destroyed by the 
 enemy, where the gap in the embankment is seen. The creek makes a sharp turn at the clump of trees in front 
 of Tyndall's Hill, and sweeps across the picture, emptying into the Tennessee River near the tall pine on the left. 
 It can be traced by a line of brush and small trees, and is occupiid by a Union skirmish line. The valley of the 
 creek in their front is wide and deep, and the spectator will see from this fact that the action of the reserve in the 
 foreground was confined to a demonstration to keep the enemy in their front, occupy and disturb their attention 
 
 Phillips Building, Hamilton Place, Boston. 
 
* 
 
 from the real attack on their left rather than attempt to carry the railroad embankment and ndc-pils hy front as- 
 sault. The real Union line of battle can be traced by their bUie uniforms, national and Slate flags, and line of 
 white powder smoke from where their left rests on Lookout Creek, near the tall dead tree, over the open and 
 broken ground beyond the ravine up into the clouds, and above we can see where its advance has been retarded by 
 the enemy's heavy earthworks : and then again we can trace them in continuous lino to the front of the ])alisadcs 
 that crown Lookout. These troops crossed Lookout Valley in the forest above the enemy's picket line at 4 a. m., 
 marching right up the mountain side until their right reached the impassable barriers of rocks. They then swept 
 down the valley, taking the rebel position in flank, and at 12 o'clock, noon, reached the position shown in the pic- 
 ture. 
 
 The Confederate line can be traced from where their right is formed in rear of the embankment of the Nashville and 
 Chattanooga Railroad, at the cut near the Tennessee River, on the left of the picture, to where it falls back, near 
 the exploding mine, into the rifle-pits in the edge of the woods, holding them as far as the ravine in the Union 
 front. Up this ravine, as far as it extends, they still hold the left bank, leaving a gap, occasioned by the los;-. of a 
 part of a brigade, between them and the redoubt above. The summit was occupied by three brigades with four 
 guns. 
 
 To the left, in the background. Mission Ridge can be seen ; in front of it, Chattanooga Valley, through which you can 
 trace the creek of the same name. The Tennessee River here makes a bend forming Moccasin Point, which hides 
 Chattanooga from view. 
 
 The troops in the foreground of the picture occupy Bald Hill, which slopes towards the spectator. The central figures 
 are Major-Gen'l Joseph Hooker and Major Reynolds, chief of artillery, who has just saluted and is reporting for 
 orders with a battery of the reserve, of which we see the right gun. The mounted officers in rear of the (General 
 are: Gen. Butterfield, Col. W. G. La Due, Col. J. D. Fessenden, Captain H. W. Perkins, Major W. II. Law- 
 rence, Captain R. H. Hall, Lieut. P. A. Oliver, Lieut. S. W. Taylor, and Lieut. H. C. Wharton, of his staff. 
 The cavalry company beyond is his escort ; the blue flag with star in wreath, the flag of the 12th Army Corps. 
 The infantry in the foreground is part of Osterhaus' ist Division, 15th Army CoqDS. The line of battle on the 
 mountain side was composed of the balance of the above named division, Geary's 2d Division, 12th Army Corps 
 and Cruft's 1st Division, 4th Army Corps. 
 
 The enemy's force? engaged were four brigades of Walker's Division, Hardee's Corps, a portion of Stuart's Division of 
 Breckendrige's Corps, and on the top of the mountain were three brigades of Stevenson's Division. 
 
 A body of the enemy, captured on the spur of the mountain, can be seen running to the rear in front of the tall green 
 pine on the right. 
 
 Federal Troops Engaged at the Battle of Lookout Mountain. 
 
 infantry. 
 
 Ohio Regiments. — 2d, 5th, 7th, 24th, 29th, 33d, 40th, 51st, 66th, 90th, 99th, and loist. 
 
 Illinois Regiments. — 13th, 31st, 38th, 59th, 75th, 80th, 84th, 96th, and 115th. 
 
 Indiana Regiments. — gth, 29th, 30th, 31st, 35th, 36th, 38th, 8ist, and 84th. 
 
 Missouri Regiments. — 3d, 12th, 17th, 27th, 29th, 31st, and 33d. 
 
 Iowa Regiments. — 4th, 9th, 25th, 26th, 30th, and 31st. 
 
 Kentucky Regiments. — ist, 2d, 8th, and 21st. 
 
 New York Regiments. — 60th, 78th, i02d, 137th, and 149th. 
 
 Wisconsin Regiments. — loth. 
 
 Pennsylvania Regiments. — 28th, 29th, 77th, 109th, iiith, and 147th. 
 
 artillery. 
 
 Independent Battery E, Pennsylvania ; Light Battery, Battery K, 1st Ohio Artillery ; Battery K, ist New York Light 
 Artillery ; and Batteries ist Iowa, 1st Missouri and 4th Ohio ; 5th Indiana, and H. & M. 4th U. S. Artillery. 
 
 CAVALRY. 
 
 Second Kentucky and Co. K of the 15th Illinois. 
 
 (The picture belongs to the estate of Gen. Hooker, and was a commission from him to the artist.) 
 
WALTON, William. 
 
 363. Tannhauser. 
 
 364. Penelope Sleeper. 
 
 365. Waiting. 
 
 WATTEAU. 
 
 366. The Picnic. 
 
 WEBBER, C. T. 
 
 367. Portrait. 
 
 368. Portrait. 
 
 369. Portrait Study. 
 
 WEBBER, Wesley. 
 
 370. Moonlight, Nahant. 
 
 371. View at Booth Bay, Me. 
 
 WHEELER, A. A. 
 
 372. In the Garden. 
 
 373. Mignonette. 
 
 WHITTEMORE, C. E. 
 
 374. March Morning, Babylon, N. Y. 
 
 375. Noon on the Canal, Ulster Co., N. Y. 
 
 376. Twilight, New Bedford Docks. 
 
 377. Brattleboro, Vt. 
 
 WHITTEMORE, Wm. G. 
 
 378. A Country Lass. 
 
 WIGHT, Moses. 
 
 379. An Agreeable Present. 
 
 WILLIAMS, F. D. 
 379A. On the Borders of Fontainbleau. 
 
 WOODBURY, Chas. H. 
 
 380. Sketch. 
 
 WRIGHT, Geo. 
 
 381. July Calm on the Atlantic. 
 
 WYDERVELD, A. 
 
 382. Fruit and Wine. 
 
 YOUNG, Fred. Grant. 
 
 383. Roses. 
 384. 
 
 123 Fifth Avenue, N. Y. 
 
 Paris. 
 
 231 W. 4th street, Cincinnati, Ohio. 
 
 I Pemberton Square, Boston, Mass. 
 
 Wellesley Hills. 
 
 579 Broadway, New York City. 
 
 246 W. 5 2d street, N. Y. 
 
 Paris, France. 
 
 44 Franklin street, Lynn, Mass. 
 
 1520 Chestnut street, Philadelphia, Pa. 
 
 54 E. 13th street, N. Y. 
 
 12 West street. 
 
MEXICAN MODERN AND RETROSPECTIVE ART 
 
 1. A coming storm. Deer in the foreground. Painted on the cover of a cigar-box, by 
 
 Islas, a living Mexican painter, 81x4^ inches. 
 
 2. Joachim, father of the Virgin Mary, On jointed boards, supposed to be at least two 
 
 hundred years old. Probably by Baltazar de Echave, of Mexico, first distinguished 
 Mexican painter, lived 1612. 21 x 12 inches. 
 
 3. Mother of the Virgin Mary. Companion to No. 2, on jointed boards. Same date, artist 
 
 and size. 
 
 4. Saint Apolonia, having teeth pulled, her hands being tied to the trunk of a tree. Over one 
 
 hundred year old. An oval, on canvas. 22 x 16 inches. 
 
 5. The Virgin of Snows, with a child in her arms, by Manuel Caro, of Puebla, 17th century, 
 
 13 X I2|- inches. 
 
 6. Convent Interior. Two friars in the foreground. Light-blue sky. Painted on the 
 
 cover of a cigar-box by Islas. 8|- x 5 inches. 
 
 7. The Serenade. A Spanish Troubador, a girl at the window, and a " Caballero." The 
 
 lover with a guitar. Painted on the cover of a cigar-box. 7x5 inches. 
 
 8. Virgin Mary. A blue mantle covers her head and falls around her shoulders. Probably 
 
 by Jos6 Ibarra (17th century). 26x19 inches. 
 
 9. St. Francis de Sales. By Miguel Zendejas, Puebla, born 1524, and died 1616. A 
 
 distinguished painter. 33 x 24^^ inches. 
 
 0. Head of St. Paul. Artist unknown. Date 1722. 22|- x i6|- inches wide. 
 
 1. The Crucifixion of Christ. Date 1738, by Nicholas Enriquez. 31x23 inches. 
 
 2. "The Cross or the Sword," that is, Faith or Death. An oval, over 200 years old. It 
 
 hung over the principal door of the Inquisition at the City of Mexico. The letters 
 M on one side and I on the other of the cross. Artist unknown. 24^ x I7|- inches. 
 
 3. Christ's Descent from the Cross. Painted on copper. A copy of Ruben's. 18^x13^ 
 
 inches. 
 
 4. True copy of the principal altar of a church in the jurisdiction of Laredo, Mexico, with 
 
 thirteen small pictures, thirteen angel heads, four angels near the bottom, and the 
 inscription, " Quasi Cipresus in Monte Sion." Painted on copper. 33x25 inches. 
 
 5. Bacchus and his Court. A composition of twenty-two human figures and three large 
 
 sea monsters. Painted on copper, by Jos6 Maria Labastida, in 1783. I4| xi9^ 
 inches. 
 
16. St. Raphael and St. Tobias. Painted on copper. Artist unknown. i8th century. 
 
 21 X 1 8^ inches. 
 
 17. The Father, the Son, and the Holy Ghost. Seventeen figures, and painted by Miguel 
 
 Cabrera. Date 1758. 7 feet by 5 feet 3 inches. 
 
 18. The marriage of St. Joseph to the Virgin Mary. Four figures. The middle figure is 
 
 the priest, at whose right stands Joseph, and on the left Mary. By Juan Correa 
 6 feet 5 inches by 4 feet 7^ inches. 
 
 19. St. Francis. ■ Skull and cross. His feet and hands are pierced by nails. Date i8th 
 
 century. By Alonzo. 8x6 inches. 
 
 20. Mother and child. Artist unknown. Of the i8th century. 18 x 15 inches. 
 
 21. The Game of Dominoes. By Juan Ortega, student of the San Carlos Academy, City of 
 
 Mexico. 
 
 22. Ariadna Abandoned by Tasus is consoled by Bachus' Love Offerings. 
 
 23. A Love Proof. By Alberto Bribiesca. 
 
 24. The Viga Canal. By Agustin Ramirez. A view in the suburbs of the City of Mexico. 
 
 25. The Plaza of San Angel. By Augustin Ocampo. Situated about twelve miles south- 
 
 east of the City of Mexico. 
 
 26. San Antonio Chimalistaco. Copy from original of Sefior Landicio de Torino, by Miguel 
 
 Portillo. 
 
 A View in the town of San Angel. 
 
 27. The Bather. By Juan Ortega, Student of the San Carlos Academy, City of Mexico. 
 
 28. Native Fisherman. By Juan Ortega, Student of the San Carlos Academy, City of 
 
 Mexico. 
 
 28 A. Native Fisherman. By Juan Ortega, Student of the San Carlos Academy, City of 
 Mexico. 
 
 29. The Daucus. By Juan Ortega, Student of the San Carlos Academy, City of Mexico. 
 Taken from an antique model in clay. The figure of Ephigemia is from a model by the 
 
 same artist. 
 
 30. Saint Peter at the moment of the Cock Crowing. 
 
 Attributed by some to Echave, but more generally believed to be the work of ]os6 
 Ibarra, seventeenth century. 
 
 31. The Victims of the Inquisition. By Juan Correa, seventeenth century. 
 
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 or a visitor it will interest you to know that this Fair promises to be the 
 most attractive ever held in New England. Many new features will be 
 presented ; and the policy of the Institute — to educate and instruct as well 
 as amuse — will be more strikingly exemplified than ever before. 
 
 The building of the Institute is known throughout the country as 
 the "Institute Fair Building," and is three times larger than any other 
 exhibition building in New FIngland. Here is a comparative statement 
 which is worth keeping for reference: 
 
 Ground Area, 
 
 Building;. Sq. Ft. 
 
 Old State House 4, 511 
 
 Faneuil Hall 8,400 
 
 Tremont Temple Hall 8,820 
 
 Music Hall 12,600 
 
 Public Library Building 23,415 
 
 City Hall 25.915 
 
 Quincy Market 27,400 
 
 Fitchburg Depot 49,987 
 
 Boston & Providence Depot 55,742 
 
 Boston & Lowell Depot 59,760 
 
 Old Colony Depot 64,780 
 
 Boston & Albany Depot 76,682 
 
 Mass. Charitable Mechanic Association, whole building 90,000 
 
 Mass. Charitable Mechanic Association, Grand Hall 29,350 
 
 New England Manufacturers' and Mechanics' Institute, whole 
 
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 New England Manufacturers' and Mechanics' Institute, grand hali 150,696 
 
 The great Coliseum, specially erected at Boston for the World's Peace Jubilee, was generally supposed 
 
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 feet, or 20,500 feet less than the New England Institute building in this city. 
 
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 The First Apartment House 
 
 EVER BUILT IN AMERICA. 
 
 Applications for tenancy are received and placed on file awaiting vacancies. This House is 
 the most favorably situated in Boston. Only First Class Tenants are admitted. For particulars 
 apply to 
 
 JOHN M. LITTLE, 
 
 'HOTEL PELHAM, 
 
 Corner Boylston and Tremont Streets, BOSTON, Mass., U. S. A. 
 
1883. 
 
 THE 
 
 1883. 
 
 CATALOGUE 
 
 OF THE 
 
 ART DEPARTMENT 
 
 ISSUED IN CONNECTION WITH THE THIRD ANNUAL FAIR OF 
 
 The new ENGLAND MANUFACTUR- 
 ERS' AND MECHANICS' INSTITUTE 
 
 WAS PRONOUNCED 
 
 By the New York " Sun to be " as excellent a job of pyinting as has been 
 done in New York;'' and by the " A'ew York Herald'' "the handsomest 
 thing of its kind, as far as scope and general make-up go, that has been 
 published in this country'' It is a large octavo, containing seventeen 
 APPROPRIATE ETCHINGS, twelve ALB ERTYPES, and over one 
 hundred and fifty pages of letter-press PHO TO-ENGRA ICINGS, WOOD 
 CUTS, INITIALS, HEAD-BANDS, and TAIL-PIECES, with an 
 illuminated cover in five colors. 
 
 OPINIONS OF THE PRESS. 
 
 "A triumph." — New York Sun. 
 • "A unique book." — Boston Herald. 
 
 " A delight to the eye." — Boston Globe. 
 
 " No library ought to be without it." — Boston Courier. 
 
 "A desirable acquisition to American collectors." — 
 New York Mail. 
 
 "A credit to all concerned in its composition." — Boston 
 Advertiser. 
 
 "From titlepage to close it is a magnificent achieve- 
 ment. ' ' — PhiladAphia Progress. 
 
 J' The best thing of its kind ever issued in this or per- 
 .liaps in any country." — New York Critic. 
 
 " Finest work of the kind ever published in this country, 
 or perhaps even in Europe." — Boston Post. 
 
 "A production of singular beauty, the like of which is 
 seldom met with." — Scotsman, Ei/inburgh, Scotlajid. 
 
 " One does not need to be told that this work is the re- 
 sult of great enterprise and persistent labor." — Boston 
 yournal. 
 
 " The handsomest thing of its kind, so far as scope and 
 general make-up go, that has ever been published in this 
 country." — Neza York Herald. 
 
 " The book itself is a monument to the success which 
 has been attained in the cultivation of tlie many arts in 
 this country." — Ne7i> York Observer. 
 
 " It is an exquisite volume, and the most successful ef- 
 fort ever made in the United States to place before the 
 public the results of American art." — Galignani's Messen- 
 ger, Paris, France. 
 
 " Much has been said of the great illustrated catalogue 
 of the American Exhiljition, but those who once handle 
 this superb piece of bookmaking will admit that the half 
 had not been told." — Boston Transcript. 
 
 " It is certainly one of the finest things in its kind ever 
 issued in this country, and so unexpectedly excellent in 
 every respect that only hypercriticism could have the heart 
 to pick flaws in it." — Saturday Evening Gazette, Boston. 
 
 This elegant art publication of the Institute can be obtained (upon written application) at the office of 
 
 JOHN MASON LITTLE, Hotel Pelham. 
 
 Price ^5.00 at Retail. 
 
EVANS HOUSE, 
 
 175 TREMONT STREET. 
 
 Stores, Offices, Studios and Rooms 
 
 TO LET FOR LIGHT BUSINESS PURPOSES. 
 
 This House is situated in the centre of the city and has 100 rooms arranged with every 
 modern convenience. No expense has been spared to make it the most desirable place for the above 
 purposes in the city. Only First Class Tenants are admitted. For particulars apply to 
 
 JOHN M. LITTLE, 
 
 HOTEL PELHAM, 
 
 Corner Boylston and Tremont Sts., BOSTON, MASS., U. S. 
 
 ART PRINTING IN PHOTOTYPE. 
 
 F. GUTEKUNST, 
 
 phototype j^epartment, 
 
 832 & 834 ARCH STREET, 
 PHILADELPHIA. 
 
 CORRESPONDENCE SOLICITED. 
 
" The Art Age is a complete guide to artistic publishing and 
 printing, which should be studied by all interested in the making of 
 books, magazines or newspapers." — Spirit of the Times, New York. 
 
 THE 
 
 ART AGE 
 
 is an illustrated journal of interest and practical value to editors, publishers, printers, book- 
 collectors, lithographers, stationers and all firms that require information with regard to 
 
 FINE PRINTING 
 
 particularly Banks, Insurance Companies, Jewelers, and houses that deal in high class 
 goods that use well-made circulars. Its contents gives notes of all new and fine editions of 
 books, bookmaking gossip, practical questions and answers, specimens of book ornamcntion, 
 book-cover designs, processes for illustrating books, book sales, library notes and the like. 
 It is now in its second volume and is beautifully printed in two colors, red and black. 
 
 TWO DOLLAR.S A YEAR 
 
 in advance to any address. Issued monthly by 
 
 ARTHUR B. TURNURE, 
 
 [after November first by Turnure & Gilliss Brothers.] 
 
 132 Nassau Street, 
 
 New Yokk. 
 
L. PRANG & CO., 
 
 FINE ART PUBLICATIONS. < 
 
 Christmas and New Year Cards, Birthday and Con- 
 gratulation Cards, Satin Prints, Artistic Painting Copies, 
 Floral Studies, Reproductions of Oil and Water Color 
 Paintings after Old and Modern Masters. 
 
GETTY RESEARCH INSTITUTE 
 
 iili Mill N liil \\,\ liiilll li il 
 
 3 3125 00987 2744 
 
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