L books ND 237 . T37 P69 1919 Wffl 'M I s, : r ) y Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/exhibitionofpainOOcarn_O EXHIBITION OF PAINTINGS BY Abbott H. Thayer ¥ PITTSBURGH Carnegie Institute 1919 Copyright , 1919 , by Carnegie Institute D. B. Updike • The Merrymount Press • Boston c Acknowledgment The Department of Fine Arts makes grateful acknowledgment to those who have generously lent paintings for exhibition. The names of contributors appear in the text of the Catalogue. Abbott H. Thayer ABBOTT H. THATST^ F EW painters, who as artists of ability have a right to our consideration, have written about art. Whistler is one notable exception, since we have as a rich heritage from him, both paintings and prints of rare beauty, and in his “Ten o'clock” lecture an invaluable lesson on art. To few artists of the present day would we turn for a written expression on the sub- je6f of art with greater attention than to Abbott H. Thayer. He is recognized, with scarcely a dissenting voice, as an artist of unusual power and ability, possessing in his art, as in his character, supreme qualities. His important works are chara6ferized by great dignity and refined qualities of color. Probably the dominating note, however, is the expression of character. He seems to read the innermost and profound meaning expressed by external form, and then, by the skillful useof forceful masses, to express C 5 H ABBOTT H. THAYER this with extraordinary power. In addition he has a fine appreciation of the beautiful harmonies expressed by color; and these he renders, sometimes in great masses of lovely grey, sometimes in darker notes, with unusual tenderness. One of the earlier American painters of our present time, he, like Winslow Homer, has maintained his distinguished place in the estimation of his fellow-painters, and that without challenge. For many years he has been a dominant figure, and he continues to occupy his commanding position. George de Forest Brush, his fellow-artist and lifelong friend, says of his art: “Abbott Thayer stands alone in these times in the expression of the countenance, and his best examples rank him among the Masters. When his work shall be gathered in after years, it will be not only a satisfaction to the public, but a support to all younger ar- tists of integrity, who are moved by repose and nobility , rather than by the popular idea CO ABBOTT H. THAYER of originality. There is nobody,” he adds, “ whohaspainted such touchinglooks. "This is high praise, and the high esteem in which Thayer's art is almost universally held but reflects the judgment of Mr. Brush and other artists who are qualified to speak. Probably nothing that could be written about Mr. Thayer would be as interesting or as valuable as his own expression of opin- ion touching art. His judgment is based upon his unquestioned power as a painter, and is the result of a lifetime of earnest study and of keen observation. We hear often of this or that influence as helping or hindering the young artist: en- couragement or the lack of it in his youth; the influence of the schools or of the teach- ers; incidents of private life as they may have a bearing upon the development of the student. When Mr. Thayer sweeps all such matters aside as of secondary interest and importance, — when he expresses the belief that, if a man has it in him to be an [ 7 ] ABBOTT H. THAYER artist, if he has the vision to see beauty in na- ture, to which other men are blind, and the desire to share such beauty with others, he will succeed in expressing himself, under no matter what influences or conditions he may live, — he expresses his deep conviction. “The artist is born \* Mr. Thayer says, “as the poet is born. You cannot make an artist. To the artist is given the divine gift of vision — of seeing. To present on his canvas this vision seen — this form of beauty conceived in the mind of the artist — becomes the need of the painter. But the vision must first be seen, and the conception of a piCfure is a God-given gift. No amount of work could possibly make the vision, and no amount of work could possibly make an artist/' Rarely has a great painter expressed an opinion upon the philosophy of art with more intimate knowledge, or described with more beautiful imagery the spirit of the artist in his indefatigable search after Truth, than did Mr. Thayer when he continued : [ 8 ] ABBOTT H. THAYER “It is as though a man were shown a crystal, a perfe6t thing, gleaming below depths of water — far down beyond reach. He would dive and dive again, driven by his great desire to secure it, until finally, all dripping, he brought it up. But that in the end he could bring it, a perfect thing, to us, was possible solely because he had first seen it gleaming there. Others might dive and dive, might work and labor with endless patience and endless pain, but unless they had first seen the crystal, — unless they had been given this divine gift of seeing — this vision — they would come up empty- handed . The occasional so-called geni us does not make the crystal, but he alone sees it, where it lies gleaming below depths of water, and by his effort brings it to us. The whole question is how absolutely, how per- fe6fly, the artist sees this vision. “After the artist has lived, for a certain period, in worship of some particular spe- cimen or type of the form of beauty dearest [ 9 H ABBOTT H. THAYER to him, this crystal-like vision forms, clearer and clearer, at the bottom of his mind, which is, so to speak, his sea of consciousness, until at lastthe vision is plainly visible tohim,and the all-strain and danger-facing time has come for putting it into the form in which, as one of the world’s treasures, it is to live on.” That the artist should ever be able to record on his canvas to his own absolute satisfaction the vision of beauty that he has seen, Mr. Thayer considers improbable. He says he may have moments of great elation, that by some most favorable circumstances — sometimes by putting a canvas away for a time, and coming suddenly upon it — an artist may be thrillable at moments by his own work ; but that in the end he has usually to be satisfied that he has come as close as he has to the vision of perfect beauty which he sought to record. When asked whether the artist has ever been granted a vision of any beauty which is not based upon the beauty of nature, he [io] ABBOTT H. THAYER exclaimed emphatically, “No, no, no! I don't see the slightest material for any such con- ception And when the question was further put, — granted that the artist has the gift of seeing beauty in nature to which others are blind, is his pidlure Art in proportion as he truth- fully records the beauty of the nature that he sees? Mr. Thayer answered/ 4 Yes. Every- thing in art, in poetry, music, sculpture, or painting, however fantastic it looks to people who are not far enough on that road, is nothing but truth-telling, true reporting of one or another of the great fa<5ts of nature —of the universe. Music has emerged from the world's noise and jangle by the same law of intuitive selection, causing the origi- nal music-discoverer to begin by perceiving in the jangle each incidental harmony. Of course in architedture shelter for mankind is the purpose, though the resultant struc- tures tell these truths." Touching upon thisquestion, Mr. Thayer C ^ H ABBOTT H. THAYER puts the query : “ Do naturalists imagine that the arts can stand as they do, illuminating beacons through the ages, without having adamantine, crystal truth at their core?” 1 Mr. Thayer is a man of slight build and of a nervous temperament, with a glance so intense and clear and penetrating; with a mind so keen and logical and which a6ts with such precision that the impression re- ceived of the man's personality is enduring. The exactness with which in writing he uses words is but an indication of his attitude toward everything he undertakes. There is never anything accidental about what he says or does. He is a man of clear vision who believes Truth, whether in art or science, to be the very heart of the matter. And his gen- tle courtesy and quiet charm of manner are qualities that are very appealing. Born in Boston, Massachusetts, on August 1 ‘‘ Concealing-Coloration,” by Abbott H. Thayer, Popular Sci- ence Monthly , July, 1911, page 34. C 12 j ABBOTT H. THAYER 12, 1849, Thayer was christened Abbott Handerson: Henderson, not Henderson, as if, Mr. Thayer says, “some ancestor failed to know how to spell. Anyway it has come down to me Han,” he adds. When a young lad, he went with his fam- ily to live at Keene, New Hampshire, the town of his mother's family, the Hander- sons. There among the New Hampshire hills his boyhood was spent, and his earliest associations were with the out-of-doors. He did not grow up under the most artistic in- fluences, although his father was always very much interested in his son's wish to be a painter. The father, Dr. William Henry Thayer, had not been encouraged to de- velop his artistic tendencies. His father, Abbott's grandfather, had no artistic lean- ing, and his son was direfted toward an- other profession. But the hunger for art which Dr. Thayer had had when a boy, and which in him had been suppressed at home, made him quick to sympathize with [ 13 n ABBOTT H. THAYER Abbott in his interest in art. Throughout the boy's youth and early manhood, he had the help of his father's encouragement and approbation. During the Civil War, when Dr. Thayer was serving as Surgeon with the 14th New Hampshire Volunteers, he kept writing home about Abbott who was then twelve, thinking it time that he should have instruction in some art class. The boy had begun to paint before he was ten years old, and it would be interesting now to see some of the pictures of animals or birds which he did at that time, or some of the dog-portraits which were his first paid com- missions. Upon his return from the war in 1864, when Abbott was fifteen, Dr. Thayer, find- ing his praCtice in Keene dissipated, moved with his family first toWoodstock, Vermont, where he leCtured at the Vermont Medical School, and later to Brooklyn, where he again practiced his profession. Abbott re- ceived instruction at the Academy of De- ll 14 ] ABBOTT H. THAYER sign in Brooklyn, and at the National Acad- emy of Design in New York. In 186*9 we find that he had taken a studio in Brooklyn, and that his interest was almost entirely centred on animal painting. He was so in- terested in painting animals at that time that his objeft in going to Europe was, as Mr. Thayer himself says, “to study with lead- ing French animal-painters, such as Auguste Bonheur.” It was in 1 875, that, with his young wife, he went to Paris, where he studied at the Ecole des Beaux-Arts under Gerome. Dur- ing the four years that he stayed in Paris, his interest in portraying the human coun- tenance became greater than his interest in painting animals. We have a very beauti- ful glimpse of those early years and an im- pression of young Thayer's relations to the other students of the Ouarter, as seen through the eyes of his fellow-countryman and fello w-student, George de ForestBrush. “We all went to Paris about the same [ 15 ] ABBOTT H. THAYER time/' Mr. Brush says. “Everybody was going. And I can say that coming into that strange life of the Paris Latin Quarter, I know many of the young Americans, along with myself, were stunned by it. It seemed at first a great shock. As it was, finding ourselves in a universe that would be bad anywhere — in New York to-day — most of the young students easily gave in to the rather low point of view of the community of students of all nations that formed the Quarter. And Abbott was the influence that I know must have held many a young man up to an ideal of condu6f . It was his stand as against the drift of the Quarter, that en- deared him to many of us. It is what at- tra6fed me to him." This would seem as fine a thing as a man could say of his friend. It was not, as Mr. Brush explained, that life in the Latin Quarter of Paris and among art students differed essentially from life in other classes of society there or elsewhere, or among students of other professions. Un- C 16 ] ABBOTT H. THAYER happily there is almost everywhere the same need and the same opportunity of taking a stand for an ideal of conduct, which Mr. Thayer took when confronted with the Paris world. To the young Mrs. Thayer Mr. Brush pays the most beautiful tribute. “She was a woman of great refinement/' he tells us, “gentle and lovely. Abbott talked and talked against the drift of the day, but Mrs. Thayer was an influence by being what she was, more wonderful than anything that Abbott could say." On getting back to America, Mr. Thayer began the New York studio years, which lasted approximately from 1879 to 1890. During this period he lived with his family at one or another country-place on the Hud- son River, — at Cornwall, or Peekskill, or Yonkers, or Scarboro, — coming down to his studio in New York every day. He went to Dublin, New Hampshire, at first only for the summers; but gradually the summer c 17 ] ABBOTT H. THAYER cottage at Monadnock came to be the per- manent home, and the Thayers have now for some time lived there the year round. Mr. Thayer has many friends by whom he is admired and loved, and his influence among them is very great; but more and more as the years go by, he has lived apart, absorbed in his art and in his study of nature. At Dublin, which he seldom leaves, his life is isolated, and he spends hours at a time alone on the mountain, or in his canoe on the lake. He lives solely for his art, with the single and unvaried thought of expressing his own ideals, and without seeking public applause through the usual channels of so- cial intercourse and official relationship. Another friend of many years, his neigh- bor across the lake at Dublin, George Grey Barnard, emphasizes the influence that this habit of thought, of solitary contemplation, has had upon Mr. Thayer's art, which is as far removed as possible from the urge and restless striving of modern thought. [ 18 ] ABBOTT H. THAYER “ Abbott Thayer has always been an ideal- ist/' Mr. Barnard says, “with the noblest qualities of mind and character, and his development has been ever upward, still higher, toward more lofty thoughts and ideals. If I were to choose one word by which to describe Abbott Thayer, it would be excelsior. He has realized by his living and by his art the highest spiritual qualities." It may perhaps not be amiss to speak here of the rather unusual method of work- ing which Mr. Thayer has of late years fol- lowed. It is a method which seems soundly logical as a means of avoiding the painter's great danger — that of losing the virtues al- ready secured in an attempt to carry them further; as often the harder he tries to get back to the point at which he had secured some merit in his pifture, the farther wrong he goes. Mr. Thayer will begin a pifture, and as soon as he feels it has become a valuable thing he will get an assistant to make him C 19 n ABBOTT H. THAYER a copy of it. On this he goes forward again, lighted by the measureless comfort of the original’s safety, while it directs his hand- ling of the replica, which under his hand soon outstrips the first. He will then take up the first picture, or begin a third. The hindermost, so to speak, of the three learns from the superiorities of the others which of these virtues to appropriate, and thereby become the best of all. Thus he works with the assurance that he cannot lose anything already secured. It may be that the second picture will be the one which in the end he will feel is the best, or it may be the third, or the first. It is interesting, in view of the many pidlures which Mr. Thayer has painted of winged figures, to know of the deep love he has had for the sea gulls. His intense inter- est in preserving these birds and the help which he gave toward this end are worthy of note. He made repeated pleas that some effort be made to prevent their being ex- [ 20 ] ABBOTT H. THAYER terminated by egg and plumage hunters along our Atlantic coast, and by his eloquent appeals helped to raise funds to finance the work of saving the gulls and other birds whose existence was endangered. This is not the place to speak at length of Mr. Thayer's work as a naturalist. That is another story, and yet, that a painter should be the one best qualified to judge, and to speak as an expert of the science of concealing-coloration in the animal king- dom, does not seem strange. “ The laws of color-correlation," Mr. Thayer points out, “are of course the very axis of the art of coloring, and any intelledfual painter inev- itably is the scientist of all that is knowable in this matter ." 1 The beginning of his especial interest in the problem of concealing-coloration in the animal kingdom was the sudden realization that there was in the inconspicuousness of 1 “ Concealing-Coloration,” by Abbott H. Thayer, Pofiular Sci- ence Monthly , July, 1911, page 34. C 21 H ABBOTT H. THAYER nearly all creatures in nature, a set of cer- tain underlying principles of which no hint was to be found in any books. What Mr. Thayer has tried to show is why animals and birds are invisible when they are. He has never claimed that they are invisible under all circumstances. Mod- els demonstrating his theory have been per- manently placed in the Natural History Museums of London, Oxford, and Cam- bridge. The researches to which Mr. Thayer has devoted so much time and thought have come into sudden popular favor in the “camouflage” of the World War. For cam- ouflage, in so far as it departs from the trickery of ambushing and disguise which is as old as warfare, is for the most part the dire6t outgrowth of Mr. Thayer’s elaborate and minute researches in the fi eld of natural protedlive coloration. In a large measure, it is based very definitely upon the laws of concealment and disguise as set forth in the t 22 n ABBOTT H. THAYER book, “ Concealing-Coloration in the Ani- mal Kingdom/' written by Mr. Thayer's son, Gerald H. Thayer, on the basis of his father's work, and first published in 1909. This book was well known, and on the whole accepted, by the scientists of the old world at the outset of the war, and it be- came the basis for certain radically new departures in the visual trickery of the battlefield, which the French have named “ camouflage." Ample and precise testi- mony on these points has been vouchsafed Mr. Thayer by eminent European scientists. Mr. Thayer himself went to England in the autumn of 1915 in order to explain certain points concerning war-concealment more efiedtively. The American Army camou- flage, initiated by the artist, Barry Faulkner, a cousin of Mr. Thayer's, was at first based wholly upon Abbott and Gerald Thayer's data and suggestions. H. M. B. C 23 J No. 1 Caritas CATALOgUS 1 Caritas Lent by the Boston Museum of Fine Arts 2 Winged Figure Dated 1889 Lent by Smith College 3 Stevenson Memorial Lent by Mr. John J. Albright 4 Bowl of Roses Lent by Worcester Art Museum 5 Portrait of .a Young Girl Dated June 20, 1917 Lent by Worcester Art Museum 6 The Virgin Lent by Smithsonian Institution ( Freer Collec- tion) 7 Diana Lent by Smithsonian Institution ( Freer Collec- tion) C 25 ] ABBOTT H. THAYER 8 Winged Figure seated on a Rock Inscription: Mater filiae meae tibi hoc monu- mentum. Notation: This pi&ure is never to be retouched — not one Pin-Point. Abbott H. Thayer. Monadnock , April , 1916 Lent by Smithsonian Institution ( Freer Collec- tion ) 9 Winged Figure Dated 1911 Lent by Smithsonian Institution (. Freer Collec- tion ) i o Portrait of the Artist’s Daughter Lent by Smithsonian Institution ( Freer Collec- tion) 1 1 Portrait of the Artist’s Son Dated Aug., 1892 Inscription: Gerald Handerson Thayer Lent by Smithsonian Institution ( Freer Collec- tion ) 12 Capri Dated 1901 Lent by Smithsonian Institution ( Freer Collec- tion) [ 26 ] No. 6 The Virgin CATALOGUE 13 Sketch of Cornish Headlands Lent by Smithsonian Institution ( Freer Collec- tion ) 14 Winter Dawn on Monadnock Dated 1918 Lent by Smithsonian Institution ( Freer Collec- tion) 15 The Angel Dated 1918 Lent by Smithsonian Institution ( Freer Collec- tion ') 16 Portrait of Alice Freeman Palmer Lent by Wellesley College 17 Portrait of a Girl in White Lent by Miss Mary A. Greene 18 Portrait of Miss Anne Palmer Dated Paris, 1878 Lent by Mr. Charles Lansing Baldwin 19 Ideal Head Dated 1917 Lent by Mr. Charles Lansing Baldwin C 2 7 ] ABBOTT H. THAYER 20 Winged Figure Dated 1912 Lent by Mr. John F. Braun 21 Boy and Angel Lent by Mr. Abbott H. Thayer 22 Vineyard Sound, Nantucket Lent by Mr. Abbott H. Thayer u My temptation to show all I have achieved up to date has made me send this 4 Boy and Angel ’ and 4 Vineyard Sound ’ while I am still working on them.” ( Signed ) Abbott H. Thayer 23 My Children Notation: Painted by me, Abbott H. Thayer, about 1900. Finished, Dec. 1, 1910, or rather touched again Owned by Carnegie Institute 24 Portrait of a Young Girl Dated 1891 Lent by Mr. Walter Hunnewell 2 5 Portrait of Young Woman Lent by Mr. J. Alden Weir [ 28 J No. 17 Portrait of a Girl in White I CATALOGUE 2 6 Study in White Dated 1906 Lent by the American Committee for Devastated France 27 Sketch for Angel Lent by Mr. William James 28 Portrait of Joe Evans Inscription : For Joe Evans from A. H. Thayer Lent by Mr. Charles C. Burlingham 29 Crossing the Ferry Dated 1875 Lent by Mr. Charles C. Burlingham 30 The Donkey Dated Paris, 1876 Lent by Mrs. W. W. Fenn 31 Portrait of Susan Linn Sage Lent by Mr. James Fenimore Cooper 32 Portrait of Raphael Pumpelly Lent by Mr. H. A. Hammond Smith i 29 : ABBOTT H. THAYER 33 Cloudy Afternoon on the Marsh Dated 1878 Lent by Miss Ellen J. Stone 3 4 Portrait of Miss Adeline Cheney Lent by Mrs. Adeline Olcott 35 Roses Lent by Miss Louise L. Kane 36 Woman’s Head. Sketch Lent by Miss Mary A. Greene 37 Little Girl in White. Sketch Lent by Miss Mary A. Greene 38 Sketch of Monadnock Mountain Dated 1897 Lent by Miss Mary A. Greene 39 Sketch for Lunette in the Walker Art Building, Bowdoin College, Maine: “Florence Protecting the Arts” Lent by Miss Mary A. Greene 40 Portrait Lent by Mrs. E. M. Whiting C so n No. 2 Winged Figure CATALOGUE 41 Portrait of a Child Inscription: Begun 1903. Abbott H. Thayer. Monadnock , 1905 Lent by Mrs. E. M. Whiting 42 Autumn Afternoon in the Berkshires Dated 1879 Lent by Mrs. E. M. Whiting 4 3 Study of a Tiger’s Head Lent by Mr. Vidor G. Bloede 44 Water Lilies Lent by Dr. Henry Taber 45 Sketch for Angel Lent by Mr. Abbott H. Thayer 4 6 Winged Figure Dated 1918 Lent by Mr. Abbott H. Thayer 47 Lion at Rest Lent by Mrs. Samuel Bancroft , Jr. 48 Portrait of Beatrice Lent by Mrs. Hendrick S. Holden C 31 ] ABBOTT H. THAYER 49 Head Lent by Mrs. Hendrick S. Holden 50 Head of a Man Lent by Mr. Abbott H. Thayer C 32 3 No. 3 Stevenson Memorial .) \ 51 A Qroup of Pictures Illustrating PROTECTIVE COLORATION IN NATURE And concerned with the Origination of Camouflage in War In an article entitled “The Law which underlies Protective Coloration,” Mr. Abbott H. Thayer says, “It is the law of gradation in the coloring of animals, and is responsible for most of the phe- nomena of protective coloration except those prop- erly called mimicry.” “Naturalists have long recognized the fact that the coloring of many animals makes them difficult to distinguish, and have called the whole phenomenon protective coloration, little guess- ing how wonderful a fact lay hidden under the name.” Mimicry makes an animal appear to be some other thing, whereas this newly discovered law makes him cease to appear to exist at all. “The newly discovered law may be stated thus : Animals are painted by nature darkest on those parts which tend to be most lighted by the sky’s light, and vice versa” (lightest on those C 33 D ABBOTT H. THAYER parts which are in shadow), with the result that the 4 4 two effects cancel each other ’ ’ when the ani- mals are seen under the light of the sky, so that they approach something like invisibility. To quote from a New York Tribune review, 4 4 The point is extremely difficult to set forth without the aid of diagrams and other examples, but we may, perhaps, clarify it a little by adding that while the model of a bird painted green all over and placed against a green background, would be unqualifiedly conspicuous, the countershading of the same model according to nature would cause it to melt into the background.” Articles and Books by Abbott H . Thayer Concealing- Coloration in the Animal Kingdom, an Exposition of the Laws of Disguise through Color and Pattern; Being a Summary of Abbott H. Thayer’s Dis- closures, by Gerald H. Thayer, with an introductory essay by A. H. Thayer The Law which underlies Protective Coloration, by Abbott H. Thayer, in The Auk , April, 1896 Further Remarks on the Law which underlies Pro- tective Coloration, by Abbott H. Thayer, in The Auk , October, 1896 Protective Coloration in its Relation to Mimicry, Common Warning Colours, and Sexual Selection, by C 34 3 CATALOGUE Abbott H. Thayer. Communicated by Prof. Edward B. Poulton, M.A.,D.Sc., F.R.S.(Read October 21, 1903.) Published: Transactions of the Entomological Society of London, December 24, 1903 An Arraignment of the Theories of Mimicry and Warning Colors, by Abbott H.Tha)^er,in Popular Sci- ence Monthly , December, 1909 Concealing- Coloration, by A. H. Thayer, a letter to The Auk , printed January, 1911 Concealing- Coloration, by Abbott H. Thayer, in Pop- ular Science Monthly , July, 1911 Concealing- Coloration: A Demand for Investigation of my Tests of the Effacive Power of Patterns, by Abbott H. Thayer, in The Auk , 06tober, 1911 Camouflage, by Abbott H. Thayer, in The Scientific Monthly , December, 1918 C 35 ] %£CORD OF r PAINT IT(GS By Abbott H. Thayer YOUNG WOMAN. Owned by Metropolitan Museum of Art WINTER SUNRISE ON MONADNOCK. Owned by Met- ropolitan Museum of Art DUBLIN POND, NEW HAMPSHIRE. Owned by Smith- sonian Institution ( Evans Collection) HEAD. Owned by Smithsonian Institution {Freer Collection) PORTRAIT OF A LADY. Owned by Smithsonian Institu- tion {Freer Collection) MONADNOCK NO. 2. Owned by Smithsonian Institution {Freer Collection) MONADNOCK MOUNTAIN (Water-Color). Owned by Smithsonian Institution {Freer Collection) HEBE. Painted about 1885. Owned by Cleveland Museum of Art LUNETTE IN THE WALKER ART BUILDING, BOW- DOIN COLLEGE, MAINE, “FLORENCE PROTECT- ING THE ARTS.” Dated 1894. Owned by Bowdoin College PORTRAIT OF MISS BESSIE STILLMAN. Owned by Miss Clara F. Stillman SISTERS. Owned by Miss Clara F. Stillman PORTRAIT OF HER CHILD. Owned by Mrs. J. Montgom- ery Sears PORTRAIT. Painted in 1902. Owned by Mr. John J. Albright C 37 J ABBOTT H. THAYER PORTRAIT OF MISS ANNE PALMER. Painted about 1883. Owned by Mr. E. Nelson Fell A BRIDE. Painted about 1895. Owned by M. Knoedler and Company YOUNG WOMAN IN OLIVE PLUSH. Owned by Mr. Abbott H. Thayer HEAD (Drawing) . Owned by Mr. Abbott H. Thayer LANDSCAPE (Water-Color). Owned by Mr. Abbott H. Thayer SCENE IN FOREST OF FONTAINEBLEAU. Owned by Mrs. Abbott H. Thayer WINTER LANDSCAPE. Owned by Mrs. Abbott H. Thayer SKETCH FOR AN ANGEL. Owned by Mr. Alexander R. James PORTRAIT HEAD. Owned by Mrs. Grenville Clark LANDSCAPE (Water-Color). Owned by Mr. Augustus Hem en way WINTER LANDSCAPE. Owned by Dr. Joel E. Gold- thwait PORTRAIT OF MRS. ATWATER. Painted in 1888. Owned by Mrs. Louis Lombard PORTRAIT OF A LADY. Dated 1890. Owned by Cincin- nati Art Museum VIEW ON THE SEINE. Painted about 1877. Owned by Mrs. Laurence Grose DONKEY. Painted about 1880. Owned by Mrs. Laurence Grose C 38 J RECORD OF PAINTINGS HEAD OF A GIRL. Painted about 1880. Owned by Mrs. Laurence Grose PLAYING SICK. Painted before 1875. Owned by Miss Alice L. Sand WHO SAYS RATS? Painted before 1875. Owned by. Miss Alice L. Sand BOY AND DOG. Painted before 1875. Owned by Mrs. James Kingsley Blake PORTRAIT OF MARY DOW. Owned by Mr. Thomas Millie Dow PORTRAIT OF ELSIE PILCHER. Owned by Mr. Thomas Millie Dow PORTRAIT OF MRS. WILLIAM F. MILTON. Painted in 1880. Owned by Mrs. William F. Milton PORTRAIT OF DR. WILLIAM HENRY THAYER. Painted about 1880. Owned by Mr. Richard T. Fisher COWS COMING FROM PASTURE. Dated 1875. Owned by Mrs. H. R. Kunhardt COWS COMING THROUGH THE WOODS. Dated 1879. Owned by Mrs. H. R. Kunhardt HUNTER WAITING FOR GAME. Owned by Mr. F. A. Faulkner VIRGIN ENTHRONED. Owned by Mr. John Gellatly WINGED FIGURE. Owned by Mr. John Gellatly MY CHILDREN. Owned by Mr. John Gellatly MOTHER AND CHILD. Dated 1885. Owned by Mr. John Gellatly C 39 ] ABBOTT H. THAYER BROTHER AND SISTER. Dated 1889. Owned by Mr. John Gellatly PORTRAIT OF A LADY. Owned by Mr. John Gellatly PORTRAIT OF A YOUNG GIRL. Owned by Mr. John Gellatly PORTRAIT OF A MAN. Dated 1915. Owned by Mr. John Gellatly PORTRAIT SKETCH OF A YOUNG BOY. Owned by Mr. John Gellatly ST. IVES. Dated 1898. Owned by Mr. John Gellatly PORTRAIT OF “SHANDY.” Dated Dublin, N. H., 1901. Owned by Dr. E. Channing Stow ell YOUNG WOMAN. Painted in 1881 or 1882. Owned by the Misses Beach CATTLE. Painted before 1875. Owned by Miss Ellen J. Stone. HEAD OF A GIRL. Owned by Miss Ellen J. Stone CROSSING THE FERRY. Dated 1875. Owned by Miss Mary A. Brackett CROSSING THE FERRY. Painted about 1878. Owned by Mrs. E. M. Whiting YOUNG LION IN CENTRAL PARK. Painted in 1870. Owned by Mrs. E. M. Whiting PORTRAIT OF A PET COLLIE. Painted in 1868. Owned by Mrs. E. M. Whiting FAMILY CAT (Drawing). Painted in 1874. Owned by Mrs. E. M. Whiting DUCK. Painted in 1866. Owned by Mrs. E. M. Whiting [ 40 ] RECORD OF PAINTINGS LANDSCAPE WITH COWS. Painted about 1885. Owned by Mrs. F. G. Ireland PORTRAIT OF MISS ELIZABETH FRENCH. Painted about 1882. Owned by Lady Cheylesmore ■ ’f~rs~s IH~J9 GETTY CENTER LIBRARY 3 3 25 00120 8376 ... %k