As
F39-9
36
-A473
no.58
1927

LIBRARY OF THE
ERSITY OF VIRGINIA
ITY
UNI
1819
OF
VIRGINIA
PRESENTED BY
PUBLISHER


A CATALOGUE
OF AN
EXHIBITION OF THE WORKS OF
CHILDE HASSAM
AT THE
AMERICAN ACADEMY OF
ARTS AND LETTERS
633 WEST 155TH STREET
NEW YORK CITY
CADEMY
PATION
ICHOTHER
OF ARTS
LETTERS
AMERICAN ACADEMY OF
ARTS AND LETTERS
1927
PRICE 25 CENTS
p
EXHIBITION OPEN
FROM APRIL 21 TO
OCTOBER 21, 1927
EXCEPTING AUGUST

A CATALOGUE
OF AN
EXHIBITION OF THE WORKS OF
CHILDE HASSAM
AT THE
AMERICAN ACADEMY OF
ARTS AND LETTERS
633 WEST 155TH STREET
NEW YORK CITY

ACADEMY
OPORTVNITY
INSPIRATION
ACHIEVEMENT
OF
ARTS
VU
AMERICAN ACADEMY OF
ARTS AND LETTERS
1927
[ACADEMY PUBLICATION NO. 58]

b
ч
AS
36
.A473
410.58
1927
MAR 4
G


Wilde Hanam
0


FOREWORD
The significance of Mr. Hassam's
work has been well expressed in the
following letter from Mr. John Gel-
latly:
DEAR HASSAM:
New York,
April 12, 1927
I feel that in your coming Exhibi-
tion at the American Academy of Arts
and Letters, having had the privilege.
of seeing your assembled work that is
to be shown, the words of the great
French artist "America has had a
Renaissance in Art as great as that
of the Italian Renaissance only the
American people do not know it yet,'
will be verified, and I trust that the
exhibition will open American eyes to
the truth expressed by the French
artist. To me the artist's words seem
ACADEMY NOTES
5

b
6
THE AMERICAN ACADEMY
very true, but I feel to go further
than he did, for somehow the fresh-
ness, originality, beauty and purity in
the work of the great group of our
artists in the latter half of the nine-
teenth century, and the surviving
members of that group until the pres-
ent time, would lead one back through
the centuries to the clear beauty in
Greek Art.
The Italian Renaissance was bur-
dened with decoration, the American
Renaissance portrays nature and has
more of the beautiful simplicity of
the Greek.
It seems to me that no painter's
brush has more truly met the com-
mand recorded in the Book of Genesis
"Let there be light" than yours. This
you have done with truth and charm
and poetry, and I think that you, who
are perhaps the youngest of the group,
will always be remembered as among
the great and leading men honored by
the French artist's words.
You have expressed yourself so well
in the pictures shimmering with light
ACADEMY NOTES

OF ARTS AND LETTERS
7
and poetic truth, that I realize that
your skill in handling enduring color
assures a permanence in beauty which
will endure for as long time as have
the masterpieces of the fifteenth cen-
tury.
Believe me with keen appreciation.
and true admiration,
Very sincerely yours,
John Gellatly
AND MONOGRAPHS



THE SUN ROOM

IO
THE AMERICAN ACADEMY
The following letter from the late
Joseph Pennell, himself a member of
the American Academy of Arts and
Letters, is an illuminating characteri-
zation of Mr. Hassam as a painter-
etcher:
DEAR HASSAM:
February 23, 1923
I have been looking at your new
plates, and at some of the old ones,
which Keppels tell me you are about
to show in their gallery. I think it
will be a most interesting exhibition,
for two reasons: first, because the
plates are good, and, second, because
they are your own subjects. They
are you and that is what most etchers'
work is not, though that to be your-
self, to be personal, as you and I
know, is the basis of all etching which
is worth anything, but most etching
is worth nothing! Besides your things
are not the products of a sudden com-
mission to fill a long-felt want, or to
be in the fashion of the moment, of
rapid trips with only time to make bad
ACADEMY NOTES

OF ARTS AND LETTERS
II
sketches, often only to buy picture
postcards, and then rush back to try
to accomplish the impossible, though
the manufacture of such machines
may fill the manufacturer's pockets
and fool his public-but the subjects
of your plates are the subjects you
know, the motives about you that
you always have known, and now in
your ripe years are able to put on
copper when you want and because
you know they can only be done by
that fascinating, entangling, madden-
ing method-etching!
But, my dear Hassam, why am I
writing this poppy-cock and drivel?
You know and I know, and mighty
few other of the people who have
rushed into art in this country know,
that America, our country, is full of
subjects, and that our New York is
the most marvellous and endless sub-
ject on the face of the earth. We have
been trying to show this, and teach
this, and put our preaching before the
blind, the halt, and the thieves we
have been the prey of for years, and
your show is another proof that New
AND MONOGRAPHS

12
THE AMERICAN ACADEMY
England is also worth doing, that
there are American women still left
who do not look like flappers, that
there are other methods besides trac-
ing photographs, of drawing nudes,
and that there are other ways and
other motives than even yours and
mine for etching New York.
These are the reasons why I like
your work, built up "on the knowl-
edge of a lifetime," and not upon ex-
pressions, cubism, incompetence and
conceit, the backbone of the rot and
rubbish foisted by strange sharpers
and incompetents-there are lots of
blatant Americans, as they call them-
selves, among them-fooling the most
gullible and ignorant public in the
world, crying they know not why,
save as an investment, for art and
getting artlessness, but cocksure in the
valor of their ignorance.
We also know that James McNeill
Whistler is the greatest of etchers, be-
cause his aims and his accomplish-
ments were the highest in his practice
of "the science of the beautiful" in
the science of etching the most perfect
ACADEMY NOTES

OF ARTS AND LETTERS
13
at
ft
at
C-
nd
ad
Ke
1-
d
d
st
e
1
1
and not the easy, empty products of a
misspent day. And sure in our con-
victions and in our beliefs we will go
on, my dear Hassam, till the end of
the chapter, to the best of our ability,
founded
the traditions of the
upon
ages in art, and not upon the latest
fake and cut to escape beauty and
avoid work; for we know that with-
out the highest aims and the hardest
work, nothing decent can be done.
Most people in art don't know enough
to come in when it rains, or dare to
go out for fear they will get their
feet wet. And we are also, though
that is not our aim, showing the peo-
ple that they can collect good work
without being millionaires, and that if
if they collect-these collectors-the
works of their contemporaries rather
than confining themselves to the works
of their predecessors, they will be
doing something for art, something
for artists and something of them-
selves. We, you and I, in our prints.
are giving them the chance and are
going to go on doing so. Because
we love art, and because we love
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14
THE AMERICAN ACADEMY
this undiscovered country-our coun-
try-which is full of art-though near
swamped by artless artfulness.
So let us go on together. We
started together, we have worked to-
gether as friendly rivals, each in his
own way, and we will go on together
to the end.
Joseph Pennell
ACADEMY NOTES


7-
e
S
Er
11
POMONA


CHILDE HASSAM
MR. HASSAM WAS BORN IN DOR-
CHESTER (NOW A PART OF THE
CITY OF BOSTON), OCTOBER 17, 1859,
AND STUDIED IN BOSTON AND
PARIS.
MEMBER: ASSOCIATE NATIONAL
ACADEMY OF DESIGN, 1902, NA-
TIONAL ACADEMY OF DESIGN, NEW
YORK, 1906, AMERICAN WATER COL-
OR SOCIETY, NEW YORK WATER
COLOR CLUB, BOSTON ART CLUB,
TEN AMERICAN PAINTERS, MUN-
ICH SECESSION, SOCIETE NATION-
AL DES BEAUX ARTS, NATIONAL
INSTITUTE OF ARTS AND LETTERS,
AMERICAN ACADEMY OF ARTS
AND LETTERS.
AWARDS: BRONZE MEDAL, PARIS
EXPOSITION, 1892; GOLD MEDAL
FOR WATER COLOR, ART CLUB OF
PHILADELPHIA, 1892; GOLD MEDAL,
ACADEMY NOTES
17

18
THE AMERICAN ACADEMY
COLUMBIAN
EXPOSITION, CHI-
CAGO, 1893; PRIZE, CLEVELAND ART
ASSOCIATION, 1893, WEBB PRIZE,
SOCIETY OF AMERICAN ARTISTS,
NEW YORK, 1895; PRIZE BOSTON
ART CLUB, 1896; SECOND CLASS
MEDAL, CARNEGIE INSTITUTE,
PITTSBURGH, 1898; TEMPLE GOLD
MEDAL, PENNSYLVANIA ACADEMY
OF FINE ARTS, 1899; SILVER MEDAL,
PARIS EXPOSITION, 1901; GOLD
MEDAL, PAN AMERICAN EXPOSI-
TION, BUFFALO, 1901; GOLD MEDAL,
ST. LOUIS EXPOSITION, 1904;
THOMAS B. CLARK PRIZE ($300),
SOCIETY OF AMERICAN ARTISTS,
1905; THIRD CLASS MEDAL, CAR-
NEGIE INSTITUTE, 1905; LIPPIN-
COTT PRIZE, PENNSYLVANIA ACAD-
EMY OF FINE ARTS, 1906; CAR-
NEGIE PRIZE, SOCIETY OF AMERI-
CAN ARTISTS, 1906; THIRD PRIZE,
WORCESTER, 1906; SESNAN GOLD
MEDAL, PENNSYLVANIA ACADEMY
OF FINE ARTS, 1910; EVANS PRIZE
($300) AMERICAN WATER COLOR
SOCIETY, 1912; THIRD PRIZE W. A.
CLARK, CORCORAN ART GALLERY,
ACADEMY NOTES

OF ARTS AND LETTERS
19
T
1910; FIRST W. A. CLARK PRIZE
($2,000) AND CORCORAN GOLD MED-
AL, WASHINGTON, 1912; ALTMAN
PRIZE ($500) NATIONAL ACADEMY
OF DESIGN, 1918; HUDNUT PRIZE
($300) AMERICAN WATER COLOR
SOCIETY, 1919; PHILADELPHIA
WATER COLOR CLUB PRIZE, ($300)
1919; GOLD MEDAL OF HONOR,
PENNSYLVANIA ACADEMY OF FINE
ARTS, 1920; GOLD MEDAL FOR
PAINTING, PHILADELPHIA ART
CLUB, 1915; ALTMAN PRIZE ($500)
NATIONAL ACADEMY OF DESIGN,
1922; ALTMAN PRIZE, ($1,000) NA-
TIONAL ACADEMY OF DESIGN, 1924;
ALTMAN PRIZE ($1,000) NATIONAL
ACADEMY OF DESIGN, 1926; GOLD
MEDAL FOR PAINTING, SESQUI-
CENTENNIAL EXPOSITION, PHILA-
DELPHIA, 1926.
REPRESENTED: METROPOLITAN
MUSEUM; CORCORAN ART GAL-
LERY, WASHINGTON; CINCINNATI
MUSEUM; CARNEGIE INSTITUTE,
PITTSBURGH; MUSEUM OF ART,
TOLEDO; FINE ARTS ACADEMY,
BUFFALO; RHODE ISLAND SCHOOL
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20
THE AMERICAN ACADEMY
ART
OF DESIGN, PROVIDENCE; WOR-
CESTER ART MUSEUM; EVANS COL-
LECTION, FREER GALLERY, WASH-
INGTON; NATIONAL GALLERY,
WASHINGTON; PENNSYLVANIA
ACADEMY, PHILADELPHIA;
ASSOCIATION, INDIANAPOLIS; IN-
STITUTE OF ARTS, DETROIT; ART
INSTITUTE, CHICAGO; MINNE-
APOLIS INSTITUTE OF ARTS;
BROOKLYN INSTITUTE MUSEUM;
CITY ART MUSEUM, ST. LOUIS;
HARRISON GALLERY, LOS ANGELES.
ACADEMY NOTES


Y.
A
T
T
EASTER MORNING


1. JUNE
CATALOGUE
OIL PAINTINGS
Painted at Old Lyme, Conn. from a
classic point of view. Received the
Carnegie prize at the last Exhibition
of the Society of American Artists and
the Carnegie prize from the Carnegie
Institute, Pittsburgh.
Lent by Mrs. Hassam
2. BAY OF NAPLES
Morning
3. THE OPAL
Called so from the color scheme.
4. BEACON STREET, BOSTON
The artist painted this picture Septem-
ber 17, 1919, quite unaware that it was
an historical moment in American His-
tory. It was the time of the Boston
Police strike. The traffic officer in the
foreground is a member of one of
Boston's most prominent families. Note
armed soldiers with fixed bayonets at
the crossing. Little, Brown & Co.
hoisted the American flag, which is
seen in the picture.
5. THE OPEN WINDOW
A window in Celia Thaxter's cottage
on the Isles of Shoals.
6. PORTRAIT IN THE PARK
ACADEMY NOTES
23

24
THE AMERICAN ACADEMY
7. THE EVENING HOUR
Called by the late Frank Duveneck
"Hassam's Angelus." It typifies the
evening hour in Brittany when the
Angelus is ringing.
8. SELF PORTRAIT
Painted in the artist's studio in the old
Rembrandt on 57th Street, New York
City, 1898.
Lent by Mrs. Hassam
9. STILL LIFE
The whole window frame incorporated
in the frame itself came out of an old
Church built by the early English set-
tlers at Easthampton. The entire
church was hewn out of swamp cedar.
The sash was given to Mr. Hassam by
his carpenter, who had some sentiment
for the old building, when the select-
men of Easthampton decided to tear
down the old church in spite of the
efforts of Mrs. Tyler's mother, who
was of the Lion Gardiner family, who
offered to endow and support it if it
was left standing. The selectmen of
Easthampton refused her offer as they
wanted no old buildings. There were
enough of them in the town. Henry
Ford had not been born.
10. AGAINST THE LIGHT
Portrait of a young girl.
Lent by Miss R. B. Moore
ACADEMY NOTES

OF ARTS AND LETTERS
25
11. LOOKING INTO THE LITTLE
SOUTH ROOM
Painted at Easthampton. One of the old
houses built by the early English set-
tlers.
Lent by Mrs. Hassam
12. PORTRAIT OF MISS INGRAM
A model whom Mr. Hassam painted a
many times.
13. POSILIPPO
Looking toward Posilippo from Naples.
Lent by Miss R. B. Moore
14. THE NEW YORK WINTER
WINDOW
Showing the lower parts of skyscrapers
looming in the distance and the snow
on the tops of the houses.
15. SERVICE FLAGS, PHILADELPHIA
Showing a silhouette of the City Hall.
16. MALHEUR BUTTE
Oregon
Lent by Mrs. Hassam
17. PHRYNE
Study of a nude in an interior.
18. OUTDOOR PORTRAIT
Painted at the Isles of Shoals.
19. THE TOP OF THE CLIFFS
Montauk, L. I. Outdoor study of the
nude.
AND MONOGRAPHS

26
THE AMERICAN ACADEMY
20. OSCAR LEIGHTON
Mr. Leighton lived at Appledore on the
Isles of Shoals all his life and was a
brother of Celia Thaxter-Mr. Hassam
painted this portrait in two hours.
21. WINTER
One of the New York Winter Series.
22. THE BERYL GORGE
23. THE BOWL OF NASTURTIUMS
One of the Window series. Painted at
Old Lyme, Conn. (The late Richard
Watson Gilder said that he thought
this would be one of Mr. Hassam's
most famous pictures.)
24. THE PRETTY POOL
A pool at Bass Rocks on Cape Anne,
so named by the children who played
in it.
25. TANAGRA
A New York subject. The model is
holding a Tanagra figurine. Through
the window can be seen the erection of
a skyscraper. This picture is symbolic
of the growth of New York, trying to
come up in a beautiful way.
Lent by John Gellatly, Esquire
26. THE ROOM OF FLOWERS
Celia Thaxter's salon at Appledore,
Isles of Shoals. A room filled with
flowers and most everything else, from
ACADEMY NOTES


TANAGRA

28
THE AMERICAN ACADEMY
a Grand Rapids rocking chair to the
most exquisite Venetian glass vases and
period pieces of Colonial furniture. Mr.
Hassam was elected to the Champs de
Mars Salon on this picture. A Paris
journalist remarked that the title
should be "Cherchez la femme."
Lent by Mrs. Hassam
27. EASTER MORNING, 1921
Portrait of a New York girl. New
York Window series.
28. ARCADY
The trees are the Giant Ailanthus.
Painted at Easthampton,_showing the
three different Lilacs. This painting
I was in the artist's exhibit at the Cen-
tennial Exhibition of the National
Academy of Design.
29. VENETIAN BROCADE
Portrait of Sylvia Jewell in Mr. Gel-
latly's ball room.
30. JULY NIGHT
Painted at Easthampton in Ruger
Donoho's garden. Mr. Alexander Har-
rison and Mr. Donoho arranged these
lanterns for a Fourth of July celebra-
tion in 1898. Portrait of Mrs. Hassam.
Lent by Mrs. Hassam
31. POMONA
A classic subject and an attempt to
carry out the classic spirit.
Lent by John Gellatly, Esquire
ACADEMY NOTES

OF ARTS AND LETTERS
29
I.
N
32. THE DOGWOOD TREE
The
Painted at Easthampton, L. I.
artist used the little amours to carry
out the decorative intent.
33. THE SUN ROOM
Portrait of Mr. Hassam's niece painted
at Easthampton. The flower in the
glass dish is the American Tree Tulip.
Winner of the Altman prize ($500) in
the Winter Exhibition, 1922 of the Na-
tional Academy of Design.
34. STILL LIFE
Against the light.
35. THE PLAY OF LIGHT
A mantle in the summer home of the
artist at Easthampton, now nearing 300
years of age and built by early English
settlers.
36. COLONIAL CROCKS
These jars are probably of oriental
origin and brought back by the Whal-
ers to Sag Harbor and found there in
the old houses.
37. OCTOBER, 1918
Old cottage in Easthampton.
Lent by Miss R. B. Moore
38. AGAINST THE LIGHT
Portrait of a Model.
39. VESUVIUS
Naples.
AND MONOGRAPHS

30
THE AMERICAN ACADEMY
The following small Oils are in the cases:
40. APPLEDORE, ISLES OF SHOALS
41. RHONDA
Spain.
42. NUDE ON THE BANK
43. WHITE ISLAND LIGHT
Isles of Shoals in Moonlight.
WATER COLORS
44. AFTERNOON, PROMISED LAND
45. OLD DELMONICOS, 1892
46. COURT STREET, PORTSMOUTH,
N. H.
47. THE BROWNSTONE STOOP,
NEW YORK
18. THE ISLAND GARDEN
49. THUNDERSTORM ON THE
OREGON TRAIL
50. AUDITORIUM, CHICAGO, 1890
WATER COLORS IN CASES
51. HIRAM SHERRILL'S FIELD
Easthampton.
52. SAMMIE'S BEACH
Easthampton.
ACADEMY NOTES

S

JUNE

32
THE AMERICAN ACADEMY
53. GEORGICA
54. YOUNG PAN
55. THALASSA
56. YOUNG PAN
57. COURT STREET CORNER,
PORTSMOUTH, N. H.
58. SURESNES
59. STRATHAM HILL
60. THE MARE'S TAIL SKY
61. COURTYARD, TOLEDO
62. CHURCH TOWER, BROAD-
STAIRS, ENGLAND
63. LANNION, BRITTANY
64. CANTERBURY CATHEDRAL
65. WINTER, 1918, COLUMBUS
CIRCLE
66. BROADSTAIRS
67. BROADSTAIRS, BLEAK HOUSE
PASTELS
68. OLD HOUSE, COS COB
69. OLD HOUSE, COS COB
ACADEMY NOTES

OF ARTS AND LETTERS
33
PASTELS IN CASES
70. OLD DUTCH CHURCH, FISHKILL
71. THE TIDAL DAM AND BRIDGES
Cos Cob.
72. MOONRISE AT SUNSET, COS
COB
73. BOSTON POST ROAD, GREEN-
WICH
74. CEDRIC'S GARDEN
Isles of Shoals.
75. THE SALT HAY MAKERS
76. THE OLD BRUSH HOUSE,
COS COB
77. WOOD CHOPPER, COS COB
78. THE SHRIMPERS, COS COB
DRAWINGS IN CASES
79. JULIA
Drawing for a portrait
80. HARRIETTE
Drawing for a portrait
81. THE OLD MULFORD HOUSE
82. THE FLOOR OF THE STOCK
EXCHANGE
AND MONOGRAPHS

34
THE AMERICAN ACADEMY
83. ST. PHILIP'S, CHARLESTON
84. SPRING IN CHARLESTON
85. RICHMOND, VIRGINIA
86. YOUNG SAPPHO
87. WASHINGTON MONUMENT, 1st
88. THE WASHINGTON ELMS
89. THE DUET
(Drawing in Sanguine)
90. ST. JOHN'S, WASHINGTON
91. WASHINGTON MONUMENT, 3rd
92. ST. MICHAEL'S, CHARLESTON
93. WASHINGTON MONUMENT, 2nd
94. THE VIADUCT AT 138th STREET
95. EASTHAMPTON ELMS IN MAY
96. MT. VERNON
97. THE WHITE HOUSE
98. THE OLD FORT, ST. AUGUSTINE
99. A LIVE OAK GROWING IN THE
SOUTH
LITHOGRAPHS AND LITHOTINTS
100. AVENUE OF THE ALLIES
ACADEMY NOTES


ww
THE NEW YORK WINTER WINDOW


LOOKING INTO THE LITTLE SOUTH ROOM

OF ARTS AND LETTERS
37
101. LAFAYETTE STREET, NEW
YORK
(Lithotint)
LITHOGRAPHS AND LITHOTINTS
IN CASES
102. LA GLOIRE
French Cruiser in the Hudson during
the War. (Lithotint)
103. THE LITHOGRAPHER
(Lithotint)
104. STORM KING
(Lithotint)
105. NEW YORK BOUQUET
106. THE NORTH RIVER
ETCHINGS IN CASES
107. THE FLOOR OF THE STOCK
EXCHANGE
108. THE OLD MULFORD HOUSE
109. WINNICUT POND
Near Exeter, N. H.
110. UPPER MANHATTAN
Hell Gate Bridge.
111. INDEPENDENCE HALL
AND MONOGRAPHS

38
THE AMERICAN ACADEMY
112. BATTERY PARK
113. THE WHITE HOUSE, 1st
114. HELEN BURKE
115. THE SWIMMER, BASS ROCKS
116. ST. JOHN'S, WASHINGTON
117. THE WASHINGTON ELMS
118. NEW YORK PUBLIC LIBRARY
119. THE FLAG
120. CHURCH TOWER, PORTS-
MOUTH, N. H.
121. RAIN DROPS IN SURF
122. WASHINGTON MONUMENT, 1st
Baltimore.
123. WATER MILL
124. CLAIRE MARTEL
125. SPRING IN CHARLESTON
126. OLD DUTCH CHURCH,
FISHKILL
127. INCOMING TIDE
128. ST. PHILIPS, CHARLESTON
129. WASHINGTON MONUMENT, 3rd
Baltimore.
ACADEMY NOTES

OF ARTS AND LETTERS
39
130. EASTHAMPTON IDYLL
131. ST. MICHAEL'S, CHARLESTON
132. WASHINGTON MONUMENT, 2nd
Baltimore.
133. WASHINGTON, APRIL
134. TREES OF HEAVEN
135. THE PAGEANT DANCE
136. COS COB DOCKS
137. CHURCH AT OLD LYME
138. MRS. K. VAN R.
139. MIDSUMMER
140. GIRL IN A MODERN GOWN
141. MARIE AT THE WINDOW
142. THE VIADUCT AT 138th ST.
143. ALONG THE SHORE
144. THE VERMONT VILLAGE
145. EASTHAMPTON ELMS IN MAY
146. MT. VERNON
147. THE WHITE HOUSE, 3rd
148. THE SUN ROOM
149. THE UNIVERSITY OF VIRGINIA
AND MONOGRAPHS

40
THE AMERICAN ACADEMY
150. THE HAY BARN
151. EASTHAMPTON
152. THE BEACH, EASTHAMPTON
153. THE LITTLE CHURCH AROUND
THE CORNER
Winter.
154. NYSSA SYLVATICA
155. THE "HOME SWEET HOME"
COTTAGE, EASTHAMPTON
156. RICHMOND, VIRGINIA
157. TIDE WATER POOLS,
NAPEAGUE BEACH
158. THE WRITING DESK
159. COLONIAL CHURCH,
GLOUCESTER
160. WASHINGTON'S BIRTHDAY
23rd Street, New York.
161. YOUNG SAPPHO
162. CHURCH ACROSS THE WAY
163. OLD CHINATOWN
San Francisco.
164. OLD LACE
165. CALVARY CHURCH IN SNOW
ACADEMY NOTES

▪་
Y

ND
OUT DOOR PORTRAIT

42
THE AMERICAN ACADEMY
166. OLD FORT, ST. AUGUSTINE
167. A LIVE OAK GROWING IN THE
SOUTH
The following etchings just published will
be shown in a portfolio by appointment
upon request:
168. OLD HOUSES ON RAMPART
STREET, NEW ORLEANS
169. THE NEW CABILDO
170. NEW ORLEANS
171. COURT IN THE VIEUX CARRE,
NEW ORLEANS
172. GEN. JACKSON'S HOUSE AND
THE OLD SPANISH ARMORY
New Orleans.
173. PATIO IN THE VIEUX CARRE
174. PORTRAIT OF EDWARD BOREIN
The Cowboy Etcher, Santa Barbara.
175. TIJUANA
176. THE PLAZA DE LA GUERRA,
Santa Barbara.
177. CONTOURS OF LOS ANGELES
178. DESERT GARDEN, ARIZONA
179. EUCALYPTUS TREES, CORON-
ADO
ACADEMY NOTES

Y
43
OF ARTS AND LETTERS
2
RE
RE
D
I
THE
W
me
180 CORONADO BEACH, CALIFORNIA
181. POINT LOMO, CALIFORNIA
182. A CALIFORNIA OIL FIELD
NOTE: All these works with the exception
of those described as owned by col-
lectors or private persons are for sale.
Apply to the Librarian.
AND MONOGRAPHS



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