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YALE UNIVERSITY
LIBRARY

THE METROPOLITAN OFARt L'BRARY
WINSLOW HOMER
MEMORIAL EXHIBITION

MCMXI

CATALOGUE OF A
LOAN EXHIBITION OF
PAINTINGS BY
WINSLOW HOMER

OF THIS CATALOGUE AN EDITION OF
2,500 COPIES WAS PRINTED
FEBRUARY, IQII

FISHING BOATS OFF SCARBOROUGH
BY
WINSLOW HOMER
LENT BY ALEXANDER W. DRAKE

THE METROPOLITAN MUSEUM
OF ART

CATALOGUE OF A
LOAN EXHIBITION OF
PAINTINGS BY
WINSLOW HOMER

NEW YORK
FEBRUARY THE SIXTH TO
MARCH THE NINETEENTH
MCMXI

COPYRIGHT, FEBRUARY, I<JII
BY
THE METROPOLITAN MUSEUM OF ART

LIST OF LENDERS
National Gallery of Art
Pennsylvania Academy of the Fine Arts
The Lotos Club
Edward D. Adams
Alexander W. Drake
Louis Ettlinger
Richard H. Ewart
Hamilton Field
Charles L. Freer
Charles W. Gould
George A. Hearn
Charles S. Homer
Alexander C Humphreys
John G. Johnson
Burton Mansfield
Randall Morgan
H. K. Pomroy
.Mrs. H. W. Rogers
Lewis A. Stimson
Edward T. Stotesbury
Samuel Untermyer
Mrs. Lawson Valentine
W. A. White

COMMITTEE ON
ARRANGEMENTS
John W. Alexander, Chairman
Edwin H. Blashfield
Bryson Burroughs
William M. Chase
Kenyon Cox
Thomas W. Dewing
Daniel C. French
Charles W. Gould
George A. Hearn
Charles S. Homer
Samuel Isham
Roland F. Knoedler
Will H. Low
Francis D. Millet
Edward Robinson
J. Alden Weir

TABLE OF CONTENTS
Frontispiece, Opposite Titie-Page Pagi
List of Lenders  vii
Committee on Arrangements . viii
Table of Contents  ix
Winslow Homer  xi
Paintings in Public Museums . xxi
Bibliography  xxiii
Catalogue :
Oil Paintings  3
Water Colors  27
Index  49

WINSLOW HOMER

WINSLOW HOMER
WINSLOW HOMER was born in~*
Boston, February 24, 1836. His
father, Charles Savage Homer, came of
seafaring stock and his mother, Henrietta
Benson, was a descendant of early settlers
at Hingham, Mass.
When Homer was six years old the fam
ily moved to Cambridge, where the boy
was sent to school. He early evinced a
taste for drawing, and by the time he was
twelve years old had made many sketches
which showed his interest in hunting, fish-„j
ing, and out-door life. His father did not
discourage his son's artistic efforts, but
apprenticed the young man at the age of
sixteen to a lithographer in Boston named •
BufFord. During the two years of his
apprenticeship he made numerous title-
pages for music published by Oliver Ditson
xiii

WINSLOW HOMER
and an elaborate drawing, which included
portraits of the entire Massachusetts State
Senate. In 1857, when Homer was twenty-one,
he took a small room in Ballou's Picto
rial Building, Winter Street, Boston, and
began to work independently. He made
drawings for Ballou's Monthly and other
illustrated periodicals, and about 1858 the
first of a long series of drawings for Har
per's Weekly. His earliest subjects were
Boston scenes. He went to New York in
1859 and rented a studio in Nassau Street.
Then for the first time he began to study
painting. Frederick Rondel showed him
how to set a palette and use the brushes,
and the following year, he attended an
evening class at the National Academy of
Design, then on Thirteenth Street. In
1 86 1 he moved to the old New York Uni
versity Building in Washington Square,
where many of the artists of that day had
their studios.
At the outbreak of the war, Winslow
xiv

WINSLOW HOMER
Homer accepted the post of artist-corre
spondent for Harper & Brothers. In
Washington he made sketches of Lincoln's
inauguration and then went to the front
with McClellan's Army of the Potomac.
He was with this army until the Seven
Days' Battle, when his restless nature led
him to return to Washington. Subse
quently he went back to Virginia several
times to make studies of negro life, which
he later used in his pictures, for his
earliest paintings, of consequence were of
camp life and negro scenes.
In 1863 he sent to the exhibition of
the National Academy of Design in New
York The Last Goose at Yorktown, and
Home, Sweet Home. He had, however,
once before exhibited at the Academy, in
i860, when his Sketch in Central Park
was accepted. He was elected an Asso
ciate of the Academy on May 9, 1864,
and an Academician on May 10, 1865.
During the next ten years he exhibited
regularly at the Academy, sending The
xv

WINSLOW HOMER
Bright Side (No. i in this exhibition) in
1865 and Prisoners from the Front in
1866. These pictures were widely noticed
both at home and in Paris, where they
were shown at the Exposition of 1867.
It was at this time that Homer made
his first trip to Europe, spending several
months in Paris visiting the galleries.
Returning to the United States in
1868, he remained in New York only a
short time, and during the rest of his life
came to this city only for brief visits. He
made frequent trips to Florida, Bermuda,
New England, the Adirondacks, and Can
ada, and in these localities made many
small oil paintings and water colors
which were hung in the exhibitions of the
period. He became a member of the
American Water Color Society in 1876,
and that year was represented at the
Philadelphia Centennial by The Amer
ican Type, and Snapping the Whip (No.
2). To the Paris Exposition of 1878
he sent A Country School-room, The
xvi

WINSLOW HOMER
Visit of the Mistress (No. 3), Snapping
the Whip, and Sunday Morning in Old
Virginia. He went to Gloucester, Massachusetts,
in 1878, and as a result produced a series
of water colors dealing with shore life.
From 1881 to 1883 he was in England
at Newcastle-on-Tyne. A record of
these years is contained in many drawings
and water colors produced at this time or
painted later from studies made then.
To the exhibition of the American Water
Color Society in 1883 he sent A Voice
from the Cliffs (No. 35), Inside the Bar,
The Incoming Tide, and Tynemouth.
He was represented at the Academy that
year by a large oil painting, The Coming
Away of the Gale, and in successive years
after that date by The Life Line, The Her
ring Net (No. 6), Lost on the Grand Banks,
Undertow (No. 7), and Eight Bells (No. 8).
This last painting was his contribution
in 1888, from which date no work by
Winslow Homer appeared at the Acad-
xvii

WINSLOW HOMER
emy until 1 906, when his Gulf Stream,
purchased by the Metropolitan Museum
of Art, and A Light on the Sea, were
shown. During these years he made frequent
trips to the Bermudas and Bahamas and
painted many water colors which were
occasionally seen at the Pennsylvania
Academy of the Fine Arts, Philadelphia;
Carnegie Institute, Pittsburg, and other
cities. To the Pan-American Exposition
held at Buffalo, during the summer of
1 90 1, Homer, choosing to be represented
by water colors only, sent a group of
twenty-one scenes from the Bahamas and
Bermudas. The annual exhibition of the
New York Color Club in the autumn of
1902 contained eighteen pictures by him,
covering a number of years and a variety
of subjects. At the annual exhibition of
the Carnegie Institute, Pittsburg, in 1908,
he was represented by twenty-two oil
paintings. About 1890 Winslow Homer settled at
xviii

WINSLOW HOMER
Scarboro, Maine, where the best known
of his later works were painted — the sea
and rock pictures and those of fishermen
at their tasks. He died at his home at
Prout's Neck, Scarboro, September 29,
1 910. The honors awarded to Winslow
Homer include a gold medal at the
Columbian World's Fair, Chicago, 1893;
the chronological medal and purchase
at the Carnegie Institute, Pittsburg, in
1896; the gold medal of the Pennsyl
vania Academy of the Fine Arts in the
same year; a gold medal at the Paris
Exposition in 1900; a gold medal at the
Pan-American Exposition, Buffalo, in
1 90 1 ; the Temple gold medal at the
Pennsylvania Academy of the Fine Arts
in 1902; and a gold medal at the Loui
siana Purchase Exposition, St. Louis, in
1904. Samuel Isham in his History of Amer
ican Painting in speaking of Winslow
Homer says, " Homer's experience as an
xix

WINSLOW HOMER
illustrator perhaps aided the clearness and
directness of his vision. When he began
to paint, his pictures were from the first
firmly constructed, well drawn, and with
an amazing power of striking the mind.
They were manifestly true. The con
viction of their veracity, of their absolute
reproduction of a thing seen, is over
powering."

OIL PAINTINGS IN PUBLIC
MUSEUMS
Par i s — Luxembourg.
A Summer Night.
Boston — Museum of Fine Arts.
The Fog Warning.
The Lookout— All's Well.
Cincinnati — Museum Association.
Hauling in the Anchor.
Milwaukee — Layton Art Gallery.
Hark, the Lark.
New York — Metropolitan Museum of
Art. Cannon Rock. (Gallery No. 14.)
The Gulf Stream. (Gallery No. 12.)
Harvest Scene. (Gallery No. 13.)
Northeaster. (Gallery No. 14.)
Searchlight; Harbor Entrance, Santiago
de Cuba. (Gallery No. 14.)
Water Colors (Twelve, in the exhibi
tion.) xxi

PAINTINGS IN MUSEUMS
Philadelphia — Pennsylvania Academy
of the Fine Arts.
The Fox Hunt.
Pittsburg — Carnegie Institute.
The Wreck.
Providence — Rhode Island School of
Design. On a Lee Shore.
Washington — Corcoran Art Gallery.
A Light on the Sea.
National Gallery of Art.
High Cliff, Coast of Maine.
The Visit of the Mistress.

BIBLIOGRAPHY
Brinton, Christian. Winslow Homer;
Scribner's Magazine, January, 1 9 1 1 ,
pp. 9-23.
Caffin, Charles H. American Mas
ters of Painting; pp. 71-80. New
York, 1902.
Story of American Painting; pp. 233-
236. New York, 1907.
Champlin & Perkins, Cyclopedia of
Painters and Paintings. New York,
1892.
Coburn, F. W. Winslow Homer's Fog
Warning; New England Magazine,
1908, New Series 38, pp. 616-617.
Coffin, William A. A Painter of the
Sea; Century Magazine, September
1899, pp. 651-654. xxiii

BIBLIOGRAPHY Cole, W. W. Crayon Studies by Wins
low Homer; Brush and Pencil, 1902,
Vol. XI, pp. 271-275.
Downes, William Howe. Twelve
Great Artists; pp. 105-125. Boston,
1900.
Fowler, Frank. Winslow Homer,
Exponent of Design in Painting;
Scribner's Magazine, May, 1903, pp.
638-639.
Howard, W. S. Winslow Homer's
Northeaster; Harper's Magazine,
March, 1910, pp. 514-515.
Isham, Samuel. The History of Amer
ican Painting; pp. 350-358. New
York, 1905.
McSpadden, J. W. Famous Painters
of America; pp. 167-189. New York,
1907.
Mechlin, Leila. The Art of Winslow
Homer; International Studio, June,
1908, pp. cxxv-cxxxvi. xxiv

BIBLIOGRAPHY Morton, F. W. Winslow Homer,
Artist; Brush and Pencil, Vol. X, 1 902,
pp. 40-47.
Saint Gaudens, Homer. Winslow
Homer; Critic, April, 1905, pp. 322-
323-
Sheldon, G. W. American Painters;
pp. 25-29. New York, 1879.
Van Rensselaer, Mrs. Schuyler. An
American Artist in England; Century
Magazine, November, 1883, pp. 1 3-20.
 Six Portraits; Winslow Homer, pp.
237-274. Cambridge, 1889.

CATALOGUE

CATALOGUE OIL PAINTINGS
i THE BRIGHT SIDE
Four negro teamsters are lying in the sun
against the side of a tent. The man at
the right wears a battered high hat, a
military coat, and top boots, and holds a
whip in his left hand ; beyond his raised
knee is the head of the second figure in a
peaked military cap. The next one
wears a red shirt and broad-brimmed gray
hat, and his hands are clasped back of his
head; the farthest one, with arms folded,
wears a broad-brimmed military hat. In
the opening of the tent is the head of
another negro with a broad-brimmed hat;
a corn-cob pipe is in his mouth. Beyond,
at the left, are commissariat wagons with
rounded canvas tops and near by are
unharnessed mules. In the distance is
the camp. In the immediate foreground,
3

CATALOGUE OF PAINTINGS
at the right, part of a barrel shows. Light
blue sky and sunlight.
Lent by W. H. Hamilton to the National
Academy of Design, 1865, Paris Expo
sition of 1867, and the Winter Academy
of 1867-8.
From the Thomas B. Clarke Sale, 1899.
Illustrated in Art and Artists of Our
Times by Clarence Cook, p. 256, under
the title Light and Shade.
Oil on canvas: h. 13^; w. 17^. Signed
at lower left: Winslow Homer— N.Y.— 65.
Lent by W. A. White.
2 SNAPPING THE WHIP
Children are playing in a level field in
front of a red schoolhouse. Barefooted
boys holding hands form a line across the
picture. The boy at the end of the line
at the right has his arms about his neigh
bor trying to pull him away, while at the
other end of the line two boys have
lost their balance and are falling down.
4

BY WINSLOW HOMER
Beyond, at the left, are two little girls with
a hoop and other children playing. Wild
flowers are in the immediate foreground;
back of the schoolhouse is a wooded hill
with the foliage tinged with red, and at
the left is a distant blue hill. Light sky
with clouds.
Lent to the Philadelphia Centennial,
1876, and to the Paris Exposition, 1878,
by John H. Sherwood. From the Sher
wood Sale, 1879. Illustrated in line
in the Sherwood catalogue.
Oil on canvas: h. 22^; w. 36. Signed
at lower right: homer 1872.
Lent by Richard H. Ewart.
3 THE VISIT OF THE MISTRESS
The interior of a cabin. At the right
stands a lady with profile toward the left
facing three negro women and a baby.
The mistress has white hair and wears a
black dress with a white lace kerchief;
from her left hand hangs a red fan. The
5

CATALOGUE OF PAINTINGS
negress in the center of the picture stands
against a closed door, with hands hanging
at her sides. She wears a white ban
dana, a brownish torn and patched dress,
and a white apron. The next woman,
who stands with a child in her arms,
has a pink apron over a dark skirt, a gray
waist with a red patch, and a white ban
dana; the baby wears a white sunbonnet.
At the extreme left, seated on a stool in
front of the fireplace, is a younger woman
with her elbows in her lap and her cheek
resting in her left hand; she wears a light
bandana, blue waist, and brownish skirt
and apron. Back of her on the hob is a
tin coffee-pot.
Shown at the Paris Exposition, 1878;
National Academy of Design, 1880. Pur
chased at the Thomas B. Clarke Sale,
1899, by M, H. Lehman; presented to
the National Gallery, Washington, by
William T. Evans. Illustrated in Inter
national Studio, June, 1908.
6

BY WINSLOW HOMER
Oil on canvas: h. 18^; w. 24%. Signa
ture scratched at lower right: homer '76,
and on the edge of the stool the letters ho
are painted.
Lent by the National Gallery of Art.
4 CAMP FIRE
A night scene with a man lying on a bed
of pine needles in a hut built of saplings
and walled with bark. Another man is
seated on the ground outside with his
back against the hut. His face, in profile
to the right, is lit by the glow of the fire
in the foreground, which sends forth bright
red sparks. The background consists of a
thick forest and at the right is a partly
uprooted cedar.
Exhibited at the National Academy of
Design, 1880 and 1910; Columbian Ex
position, Chicago, 1893. From the
Thomas B. Clarke Sale, 1899.
Oil on canvas: h. 24^; w. 38. Signed
at lower right: homer '80.
Lent by H. K. Pomroy. 7

CATALOGUE OF PAINTINGS
5 EARLY EVENING
The figures of two women standing on
the top of a rock are silhouetted against
the sunset sky. Slightly below them, at
the left, with the lower part of his figure
hidden by the rocks, is a bearded sailor,
who faces in profile towards the sea at
the right; he is dressed in oilskins and
holds a long telescope in his right hand.
The women wear dark skirts, and their
white aprons are blown in the wind; the
one at the left, who is bareheaded and
has a red and black shawl crossed over
her breast, is knitting with red yarn; the
other one, with a black and white shawl
over her head and shoulders, holds her
knitting in the left hand, which hangs at
her side, and her right arm is about her
companion. Low bushes are in the fore
ground at the left. The sky is yellow,
reddening at the horizon on the right ;
there are purple clouds and a crescent
moon is at the top of the picture near
the center. 8

BY WINSLOW HOMER
Exhibited at the Corcoran Gallery, Wash
ington, 1908; Carnegie Institute, Pitts
burg, 1908. Illustrated in International
Studio, June, 1908.
Oil on canvas: h. 33; w. 38^. Signed
at lower left of centre: homer 1907.
Inscribed on the back: Painted in 1 88 1 —
Cut down from large picture and put
in present shape Dec. 1907.
Lent by Charles L. Freer.
6 BANKS FISHERMEN
A dory seen from the stern with two men
pulling in a net filled with small fish.
One of the fishermen stands in the center
of the dory and leans over, emptying the
herring from the net into the bottom of
the boat; his companion, seated at the
left on the gunwale, with his back toward
the spectator, plays out the empty net.
Back of the figures, at the right, the
crossed oar blades rest against the bow of
the dory. In the foreground the water
is greenish and near the center is a red
9

CATALOGUE OF PAINTINGS
buoy. Through the hazy distance three
sail-boats appear on the horizon at the
right and one at the left.
Exhibited at the National Academy of
Design, Autumn, 1885, with the title,
The Herring Net; at the Columbian
Exposition, Chicago, 1893, as Herring
Fishing, receiving a medal; at Carnegie
Institute, Pittsburg, 1908.
Oil on canvas: h. 30; w. 48^ . Signed
at lower right: homer '85.
Lent by Charles W. Gould.
7 UNDERTOW
Two exhausted women, clinging to each
other, are being drawn toward the shore
by two men. The man at the right,
with bare chest and wearing an oilskin
hat, lifts one of the women by her blue
bathing suit; at the left a man in purple
bathing trunks is struggling against the
current, his right hand raised to shield
his eyes from the glare and the left one
dragging a rope, which is fastened about
10

BY WINSLOW HOMER
the waist of a woman whose face is up
turned. Immediately back of the figures
is a dark blue-green wave which breaks
at the left; the foamy water in the fore
ground is pale green. Violet-gray sky.
Shown at the National Academy of De
sign, 1887; Carnegie Institute, Pittsburg,
1908. Illustrated in Van Dyke's History
of Painting, p. 269.
Oil on canvas: h. 30; w. 47^. Signed
at lower right: Winslow Homer 1886.
Lent by Edward D. Adams.
8 EIGHT BELLS
The deck of a fishing schooner with two
men, seen to the knees, taking mid-day
observations. They are dressed in oil
skins. The one at the left, with his
back toward the spectator, holds the tele
scope of a sextant to his eye. His mate,
seen in profile to the left, looks down at
an instrument that he holds with both
hands. The edge of the taffrail shows at
11

CATALOGUE OF PAINTINGS
the left; a fragment of rigging is at the
right, and in the right lower corner there
is a red post with rope wound about the
top. Beyond, at the left, is the greenish
sea with white-capped waves. Cloudy
sky with occasional breaks through which
the sun shines.
Lent to the National Academy of Design
in 1888 by Thomas B. Clarke, who also
lent it to the Columbian Exposition,
Chicago, 1893. From the Clarke sale,
1899. Illustrated in Brush and Pencil,
Vol. X, 1902, p. 41.
Oil on canvas: h. 30% ; w. 25% . Signed
in center of lower edge : Winslow homer
1886.
Lent by Edward T. Stotesbury.
9 COAST IN WINTER
A rough, rocky shore, partly covered
with snow, through which the rocks
show dark brown in places, with dried
grass and weeds growing in the crevices.
The cliff slopes down to the right in the
12

BY WINSLOW HOMER
middle distance; beyond, green waves
dash against the rocks, throwing high
their mist against a gray sky. In the
foreground stands the small figure of a
man wearing a blue coat and carrying on
his back a dead wild duck which he
holds over his left shoulder; under his
right arm is a gun.
Lent to the Columbian Exposition, Chi
cago, 1893, by John G. Johnson.
Oil on canvas: h. 30; w. 48. Signed in
lower left corner: Winslow Homer 1890.
Lent by John G. Johnson.
10 SUNLIGHT ON THE COAST
A heavy green wave is breaking over the
brown rocks in the lower left corner of
the picture. Two masses of rock rise
out of the foam, and at the extreme left
spray is thrown up. Dull gray sea be
yond, with a steamship on the horizon
at the right. Gray sky and fog, through
which the sunlight falls on the crest of
13

CATALOGUE OF PAINTINGS
the wave, the spray, and the foam in the
foreground. Lent to the Columbian Exposition, Chi
cago, 1893, by John G. Johnson.
Oil on canvas: h. 31^ ; w. 36. Signed '
in lower left corner: Winslow Homer.
1890.
Lent by John G. Johnson.
11 WEST WIND
Sand dunes near the sea with a woman
standing on the shore and looking toward
the ocean at the right. Her right hand is
raised to hold her cap and her brownish
cape and dress are blown in the wind.
The surf beyond is brilliant with white
breakers and pale green waves; violet-
gray sky.
Lent to the Munich Exposition, 1882, and
Columbian Exposition, Chicago, 1 893, by
Thomas B. Clarke; National Academy of
Design, 1908 and 19 10 by Mr. Unter-
myer. From the Clarke sale, 1899.

BY WINSLOW HOMER
Illustrated in The Story of American
Painting by Caffin, p. 235, and his Amer
ican Masters of Painting, p. 74.
Oil on canvas : h. 30^ ; w. 44% . Signed
at lower left corner : Winslow Homer 1 8 9 1 .
Lent by Samuel Untermyer.
12 HOUND AND HUNTER
In the center of the picture is a rowboat
with a hunter lying at full length in the
stern and grasping with his right hand the
antlers of a deer that is in the water. In
the foreground, at the left, a hound is
swimming toward the boat ; bright ripples
are on the water. A nearby shore with
dense autumn foliage forms the back
ground. Exhibited at the Columbian Exposition,
Chicago, 1893, when it received a gold
medal ; National Academy of Design,
1908; Carnegie Institute, Pittsburg, 1900
and 1908. Illustrated in McSpadden's
Famous Painters of America, p. 186.
*5

CATALOGUE OF PAINTINGS
Oil on canvas : h. 28 ; w. 47^2 . Signed at
lower right : Winslow Homer 1892.
Lent by Louis Ettlinger.
13 THE FOX HUNT
A snow-covered hillside near the sea. In
the immediate foreground to the left of
the center of the picture, a red fox is run
ning, his hind legs deep in the snow and
his left foreleg raised. His head, with
its black ears, is turned away from the
spectator and toward two black crows
which fly above him at the right. Other
crows come from the green sea at the
extreme right, flying near a clump of
russet bushes. Dry twigs show through
the snow and at the extreme left is a branch
with bright red berries. Beyond, at the
left, are brown rocks against which waves
are dashing and throwing up green spray ;
above flies a white gull. In the distance
the sea is gray, with a brilliant light at the
left from a break in the heavy gray
clouds. 16

BY WINSLOW HOMER
Exhibited at the Pennsylvania Academy
of the Fine Arts, 1893-4; Paris Exposi
tion, 1900; Carnegie Institute, Pittsburg,
1908; Berlin and Munich, 19 10. Illus
trated in History of American Painting by
Isham, p. 356, under the title of Winter;
engraved by Henry Wolf for The Century,
August, 1893, with the title Fox and
Crows; illustrated in Brush and Pencil,
Vol. X, p. 43 ; International Studio, June,
1908 ; fully described by Frank Fowler,
Scribner's, May, 1903.
Oil on canvas : h. 68 %. ; w. 38 % . Signa
ture at lower left, half hidden in the
snow: homer 1893.
Lent by The Pennsylvania Academy of
the Fine Arts, Temple Collection.
14 WORLD'S COLUMBIAN EX
POSITION—THE FOUN
TAIN AT NIGHT
MacMonnies' fountain at the Columbian
Exposition at Chicago in 1893, is shown
under electric light. A pair of sea-horses
17

CATALOGUE OF PAINTINGS
and their driver face to the left with the
water playing about them. In the band
of light that falls on the canal in the fore
ground, there is a gondola with two gon
doliers rowing and two women seated in
the center.
Monochrome in oil on canvas : h. 1 6 ;
w. 25. Marked on the back : Copyrighted,
W. Homer, 1893.
Lent by Charles S. Homer.
15 MOONLIGHT— WOOD IS
LAND LIGHT
The light from an unseen moon is on the
water at the left of the picture. A blue
wave breaks against the rocks in the fore
ground at the left and beyond the sea is
blue-gray. On the horizon at the right
there are lights on a line of shore, and on
the point of land, near the center of the
picture, is the brilliant red glow of the
lighthouse lamp. Gray sky with a few
clouds edged with moonlight.
From the Thomas B. Clarke sale, 1899.
18

BY WINSLOW HOMER
Oil on canvas: h. 30^; w. 40. Signed
at lower left: W. H. 1894. Inscribed
on the back of the stretcher: Wood Island
Light, Winslow Homer.
Lent by George A. Hearn.
16 THE FISHER GIRL
The full-length figure of a woman stand
ing half-way up a rocky bank. Her head
is in profile and her right hand is raised
to shield her eyes as she looks toward
the sea at the left. A net with cork floats
hangs over her left shoulder and is held
by her raised left hand. Her hair is brown,
and she wears a light brown dress and a
small plaid shawl. Through the fog
which hangs over the whole scene there is
a glimpse of rough waves at the left;
above, at the right, is a white gull.
Exhibited at Carnegie Institute, Pitts
burg, 1908.
Oil on canvas: h. 28^ ; w. 28^ . Signed
at lower right: homer '94.
Lent by Burton Mansfield. 19

CATALOGUE OF PAINTINGS
17 WATCHING THE BREAKERS;
A HIGH SEA
Two men and a woman, with their backs
toward the spectator, stand close together
in the snow in the foreground of the pic
ture. The woman wears a dark dress and
a red hood and the men are in oilskins.
In front of them a mass of white spray rises
above dark brown rocks, and the sea be
yond is greenish-gray with waves and float
ing foam. The sky is violet-gray.
Exhibited at the Boston Art Club and at
the Worcester Museum. Illustrated in
Painters Since Leonardo, by J. W. Pattison,
p. 212; Brush and Pencil, Vol. X, 1902,
p. 50.
Oil on canvas: h. 24^; w. 38. Signed
at lower left: Winslow Homer 1896.
Lent by Mrs. H. W. Rogers.
18 SACO BAY — THE COMING
STORM
In the foreground is a rounded mass of
dark gray rock, on which stand two women
20

BY WINSLOW HOMER
with their backs toward the ocean, the
figures silhouetted against the sea and sky.
The one at the right, standing on the
crest of the rocks with her head in profile
to the right, has a fish-net with cork floats
over her shoulder ; the other woman, who
has not quite reached the summit of the
cliff, looks toward the left ; with her right
hand she holds a lobster-pot against her
hip and her left arm is akimbo. A pink
glow is on the sea and there are rollers
near the shore at the left. The rim of
the setting sun shows above blue clouds
at the horizon and near the top of the
picture are heavy clouds edged with light.
Against the horizon there is a small sail
boat at the left and a line of shore at the
right. Exhibited at the Pennsylvania Academy of
the Fine Arts, 1 896-7 ; Society of Amer
ican Artists, 1897, when it was selected
for the Lotos Club Purchase Fund ; Car
negie Institute, Pittsburg, 1908.
21

CATALOGUE OF PAINTINGS
Oil on canvas: h. 24^; w. 38. Signed
at lower right: homer 1896.
Lent by The Lotos Club.
19 MAINE COAST
Foaming water from a receding wave
rushes between the dark rocks in the fore
ground. An approaching gray-green wave
breaks at the left, throwing up spray;
beyond, other waves emerge from the mist.
Dull gray sky.
From the Thomas B. Clarke Sale, 1899;
collection of F. A. Bell. Shown at the
Paris Exposition, 1 900. Illustrated in The
Century, September, 1 899, p. 652 ; Amer
ican Masters of Painting, by Caffin, p. 78.
Oil on canvas: h. 30%; w. 44. Signed
at lower right: homer 1896.
Lent by George A. Hearn.
20 SUNSET AND MOONRISE—
(Kissing the Moon)
Three men are in a dory, which is in the
trough of the waves and almost hidden by
22

BY WINSLOW HOMER
a dark blue wave in the immediate fore
ground at the right. The man at the
left, seated in the stern of the boat, steering
with an oar, is seen in profile facing toward
the right; he wears an oilskin coat and
a close-fitting cap. The other two sailors,
with their backs toward the spectator, wear
oilskins, the center one having a black sou'
wester and yellow coat and the man to the
right a yellowish sou'wester and a black
coat. The bow of the boat appears at the
extreme right. Beyond are gray-green
waves with white-capped crests, which,
toward the right, cut off the lower part of
the full moon rising silvery-gray against a
violet-gray sky. The glow of the setting
sun is over all.
Exhibited at the Pennsylvania Academy
of the Fine Arts, 1905. Illustrated in the
Critic, April, 1 905, p. 3 22 ; Arts and Dec
oration, November, 1910.
Oil on canvas: h. 30^ ; w. 40^ . Signed
at lower right: homer 1904. Inscribed
23

CATALOGUE OF PAINTINGS
on the back of the center stretcher: Wins
low Homer Picture finished Nov. 15,1 904.
Lent by Lewis A. Stimson.
21 CAPE TRINITY, SAGUENAY
RIVER— MOONLIGHT
An enormous promontory with numer
ous rounded ledges juts out from the right
and occupies a large part of the picture.
At its base is the river, which reflects the
dark mass and winds around the point of
the cape at the left. On the distant shore
at the left there are ranges of hills against
the low horizon. The sky is cloudy. A
quarter moon just above the headland is
reflected in the dark water in the immedi
ate foreground.
Exhibited at the Union League Club.
Oil on canvas : h. 29 ; w. 48^ . Inscribed
on the back of stretcher: This is to certify
that I painted this picture of Cape Trinity.
Winslow Homer, June 1909.
Lent by Burton Mansfield. 24

BY WINSLOW HOMER
22 RIGHT AND LEFT
Just above the dull gray sea are two wild
ducks which have been shot from the
right and left barrels of a gun in the hands
of a hunter, who is in a row-boat beyond.
The duck at the right is falling head fore
most into the water; the drake, with its
dark green head extended, has just received
the second shot, the flash of which is still
visible. The sea is dull gray with light
green foam in the foreground ; the cloudy
gray sky is brilliantly lit across the top o'f
the picture.
Exhibited at the Century Association, 1 909;
Pennsylvania Academy of the Fine Arts,
19 10. Last completed Picture.
Oil on canvas : h. 28% ; w. 48^ . Signed
at lower right : homer 1909.
Lent by Randall Morgan.
23 SHOOTING THE RAPIDS,
SAGUENAY RIVER (Unfinished)
Three men in a birch-bark canoe. In the
center a sportsman, seated in the bottom
25

CATALOGUE OF PAINTINGS
of the boat, grasps the gunwales with both
hands; back of him at the right a Canadian
guide holds a paddle; in the front of the
canoe is another guide, with his hands in
position for paddling, although the paddle
has not been painted. The wave on the
crest of which the boat rests is slate-gray,
and yellowish spray from the rapids rises
beyond. A steep hill on the farther shore
of the river slopes down at the right, show
ing a second hill and a bit of gray sky.
This picture was in the artist's studio at
Prout's Neck, at the time of his death.
Proposed changes are indicated in white
chalk and the bare stained canvas shows in
places. Oil on canvas: h. 30; w. 48^.
Lent by Charles S. Homer.

26

WATER COLORS
24 BERRY PICKERS
A rocky field with a number of children
carrying tin cans and picking berries. At
the left a girl is leaning against a gray
boulder, holding her pail in her right
hand ; she wears a dark skirt, a yellowish
apron and blouse trimmed with red, and a
straw hat with brown ribbon. The head
and shoulders of another girl appear above
the boulder at the extreme left. Two
boys and a girl are seated in the grass.
The little girl in the immediate foreground
in the center of the picture, with her back
toward the spectator, wears a yellow dress;
facing her at the right is a boy in brown
trousers and vest, white shirt-sleeves, and a
brimmed straw hat; while the other boy,
seen from the back, has dark trousers and
a white shirt. Beyond, at the right, two
27

CATALOGUE OF PAINTINGS
other figures are suggested. The ground
is covered with low bushes and wild flow
ers, and there are large boulders in the
middle distance at the left. In the dis
tance is a line of blue water and sail-boats
are on the horizon at the right.
Painted in New England.
Water color on paper: h. <)}£ ; w. 13^.
Signed at lower right: homer July 1 873.
Lent by Mrs. Lawson Valentine.
25 BOYS WADING
In the foreground is a sandy beach; in
the shallow water two boys stand knee
deep, bending over and rolling up their
trousers. The one at the right, with his
back toward the spectator, wears gray
trousers, a white shirt, and a brown hat;
the one at the left, seen in profile facing
his companion, wears a straw hat, light
brown trousers and vest, with white shirt
sleeves showing. In the background a
dock with sheds stretches across the pic-
28

BY WINSLOW HOMER
ture, and a two-masted green schooner
with sails down is moored with its side
along the dock. High horizon and light
gray sky.
Painted at Gloucester, Mass.
Water color on paper: h. 9^, w. 13^.
Signed at lower right: w. homer 1873.
Lent by Mrs. Lawson Valentine.
26 SHEPHERDESS
In the foreground, on a grassy knoll in
shadow, a young girl wearing a red dress
and a sun bonnet lies at full length with
her head propped on her right arm ; near
her at the left are two sheep. Beyond, at
the extreme left, a large tree throws its
shadow across the field ; a stone wall back
of the tree follows the rise of a hill toward
a clump of trees at its top. Sheep are
grazing on the hillside, which is in bright
sunlight. Distant blue hills are at the
horizon ; the sky is light blue with thin
white clouds. 29

CATALOGUE OF PAINTINGS
Painted at Houghton Farm, Mountain-
ville, N. Y.
Water color on paper: h. 6^; w. 8 1-16.
Signed at lower left: homer 1878.
Lent by Mrs. Lawson Valentine.
27 HILLSIDE
In the foreground a young girl is seated
with her figure in profile looking to the
right. Her hands are clasped back of her
head and her brown hair hangs in a braid
down her back; she wears a brownish
dress. Immediately back of her is a green
hillside, and on its crest at the left are
trees and red buildings ; other trees are on
the ridge of the hill which slopes down
at the right. Blue distance beyond ; light
cloudy sky.
Painted at Houghton Farm, Mountain-
ville, N. Y.
Water color on paper : h. 6^ ; w. 8 j/{
Signed at lower right : homer 1878.
Lent by Mrs. Lawson Valentine.
30

'/a

BY WINSLOW HOMER

28 ON THE BEACH, TYNE
MOUTH
A wet, sandy beach, with two young
women standing in front of a dark fishing-
boat, which is drawn up with its side to
ward the shore and the stern at the right.
Both figures are in profile toward the
right. The front one, carrying a child
on her back, wears a red plaid shawl about
her head; the skirt of her brownish dress
is tucked up, showing a white underskirt
trimmed with a band of red, and red
stockings. The woman at the left, with
a large brown fish-basket on her back, is
bareheaded aiid wears a light blue blouse
with sleeves rolled up, a dark kerchief, a
dark brown skirt, and lighter underskirt.
At the left, beyond the boat, are silhouettes
of two figures with baskets. Quiet light
blue sea ; light cloudy sky.
Water color on paper: h. 13%; w. 19.
Signed at lower left : Winslow Homer 1 8 8 1 .
Lent by Charles S. Homer. 31

CATALOGUE OF PAINTINGS
29 PERIL OF THE SEA •
In the foreground two women stand on a
plank walk at the top of a bluff and look
to the right toward the sea. They are
dressed in dull blue and their aprons blow
in the wind ; the one in front holds a
jacket about her head with both hands, and
her companion has a shawl over her head
and shoulders. On the beach below are
a number of men in oilskins, one of whom
extends his left arm toward the right, point
ing to the foamy sea. At the left is part
of a cottage with a sloping roof and a porch
upheld by columns. Dull gray sky.
From the Thomas B. Clarke Sale, 1899.
Water color on paper: h. 14; w. 20^ .
Signed at lower right : homer 1881.
Lent by Alexander C. Humphreys.
30 WATCHING THE TEMPEST
A boat on the beach with a line of men
standing behind it watching the tempest
and ready to push off. They wear
brown, blue, or red coats with sou'-
32

BY WINSLOW HOMER
westers to match, and several have life-
preservers about their bodies. Two fig
ures in the foreground at the right are
peering around the prow of the boat.
Beyond, at the left, are other figures, and
numerous boats are drawn up an incline
at the head of which is a building. Along
the bluff at the top of the sandy em
bankment, at the left, groups of people are
indicated, and red roofs appear beyond.
At the right is a mass of white spray.
Gray sky.
Exhibited at the Art Institute of Chicago,
1889. From the Thomas B. Clarke Sale,
1899.
Water color on paper : h. 13^; w. 19^.
Signed at lower left: Winslow Homer 1 8 8 1 .
Lent by Burton Mansfield.
31 FISHWIVES
Three women on a rocky beach with
white surf and gray sky beyond. The
figure at the right stands in profile toward
the left and, with arms akimbo, holds a
33

CATALOGUE OF PAINTINGS
fish-basket on her back ; she wears a blue
skirt; and over her head and crossed about
her is a gray kerchief. The other two
women, walking toward the left, are seen
from the back, their blue skirts and brown
scarfs blowing in the wind; one wears a
blue hood and the other a red one. A
sail-boat and a steamer are on the horizon
at the extreme left. There are pools of
water in the foreground.
Water color on paper : h. 1 8 ; w. 29^ .
Signed at lower right: homer 1882.
Lent by Charles S. Homer.
32 FISHING BOATS OFF SCAR
BOROUGH
In the center of the picture is a fishing-
boat with a square sail. There are two
men and two women in the boat. The
women are seated near the gunwale; the
one at the left rests her hands on the
shoulders of her companion, who has
both hands on a large fish-basket. Partly
hidden by the basket is a man in oilskins,
34

BY WINSLOW HOMER

who steers with the tiller under his left
arm; at the left the other man, also in
oilskins, stands near the mast in the prow
of the boat. The name, — Armouth,
is inscribed on the side of the boat near
the stern; the first letter is illegible.
Drawing in pencil and Chinese white on
gray paper: h. 17^; w. 23%. Signed
at lower left: Winslow Homer 1882.
Lent by Alexander W. Drake.
33 A VOICE FROM THE CLIFFS
Three young fisherwomen, seen three-
quarter length, stand close together facing
toward the right. A high white chalk
cliff rises in the background. The women
are bareheaded. The one in the fore
ground wears a black skirt, a white
blouse and apron, and a black shawl is
crossed over her breast; with both hands
she holds a basket with a handle. The
woman at the right holds a similar basket
in which are two balls of blue knitting
yarn; a light flowered scarf is crossed over
35

CATALOGUE OF PAINTINGS
her red blouse, and her apron is faded
dark blue. The woman behind these two
carries over her right shoulder a heavy
fish-net with cork floats, which she sup
ports with her arm akimbo, while the
ends of the ropes are held with her left
hand; she wears a dark plaid skirt, a
white apron, and a white blouse over
which is a red shawl. The smooth sea
is light green. A square-sailed boat,
with three men in it, lies at the foot of
the cliff at the right, and at the left an
empty fishing boat is drawn up on the
shore of the cove. Above the cliffs in
the upper right-hand corner there is a
glimpse of blue sky with white clouds.
Shown at the American Water Color
Society, 1883, when a line drawing of the
figures was used on the title-page of the
catalogue. Water color on paper: h. 20^ ; w. 29^ .
Signed at lower right: Winslow Homer,
1883.
Lent by Alexander C. Humphreys.
36

BY WINSLOW HOMER
34 TROUT
In the center is a speckled trout that
has jumped out of the water to catch a red
fly. The fly and hook float on the water
beneath him, and the line to which they
are attached stretches across the foreground
in a ripple of light. The background is
dark green.
Water color on paper, h. \zy2 ; w. 19^ .
Signed at upper left: homer '89.
Lent by Charles S. Homer.
35 SALT KETTLE
An inlet with a curved shore. In the
foreground at the right is a road with sun
light and shadow ; beyond are trees and a
grassy bank. Farther on, at the water's
edge, are two white buildings in brilliant
sunlight, which are reflected in the water.
In front of the right-hand building, row-
boats are drawn up or fastened to a wharf,
and on the point of land at the left is a
dilapidated old boat. A line of deep blue
water is in the middle distance, and there
37

CATALOGUE OF PAINTINGS
are white buildings on the farther shore
at the left. Deep blue sky with clouds.
Water color on paper: 13^; w. 20 j{ .
Inscribed at lower right : Salt Kettle 1 890;
Bermuda erased from inscription.
Lent by Charles S. Homer.
36 ST. JOHNS RIVER, FLORIDA
The river in the foreground reflects the
farther shore where there are live oaks
with hanging moss and other trees. In
the center is a white rowboat with two
men : the one in the stern at the right is
casting his fishing line and the hook makes
a bright ripple in the water back of him;
his companion wears a yellow coat and is
seated in the boat facing the fisherman.
Water color on paper : h. 1 3^ ; w. 1 9^ .
Signed at lower right: homer 1890.
Lent by Charles S. Homer.
37 SKETCH FOR HOUND AND
HUNTER
The sketch varies from the painting (No.
1 2 in this exhibition) in that the point of
38 •

BY WINSLOW HOMER
view is lower, the body of the deer shows
more distinctly through the water, the dog
is more deeply immersed, and there is no
foam in the immediate foreground.
Water color on paper: h. 13^ ; w. 19^ .
Signed at lower right: homer '92. In
scribed at lower center : Presented to
C. S. Homer, Jr. 1892.
Lent by Charles S. Homer.
38 TURTLE POUND
In the foreground a nude negro with ruddy
skin, stands up to his waist in the water,
holding with both hands the fore flappers
of a large turtle and showing the white
under side. He turns to the right toward
another negro. Only the head and hands
of this man show above the planks of the
pound. There is dark blue-green water
in the foreground and at the left ; a sail
boat is at the horizon. Deep blue sky
with heavy white clouds.
Water color on paper: h. 14^; w. 21.
39

CATALOGUE OF PAINTINGS
The signature on the planks at the right
is half hidden by water : homer 1898.
Lent by Hamilton Field.
39 NATURAL BRIDGE, NASSAU
A ledge of white shale stretches across the
picture with the blue sea beyond, and in
the foreground at the left the water shows
beneath a natural arch in the rock. In
the immediate foreground at the right a
soldier, wearing a red uniform, lies prone on
the ground looking over a precipice ; near
by are shrubbery and rocks. High horizon
and light gray sky streaked with blue.
Water color on paper: h. 14; w. 20^.
Property of the Museum.
40 PALM TREE, NASSAU
In the foreground is a tall palm tree
blown in the wind and beyond are several
smaller palms. Deep blue sea with a
low horizon, against which is a narrow
strip of land with a white lighthouse.
40

BY WINSLOW HOMER
Purchased from the estate of the artist.
Water color on paper: h. 21 % ; w. 14^ .
Signed at lower right: homer.
Property of the Museum.
41 TORNADO, BAHAMAS
In the foreground is a group of house
tops and above them rise palm trees
blown in the wind. At the left is a
glimpse of dull green sea. Light sky
with heavy storm clouds.
Purchased from the estate of the artist.
Water color on paper: h. 14,; w. 20%.
Property of the Museum.
42 A WALL, NASSAU
Across the picture stretches a white plas
tered wall with a gateway at the left.
Bushes and red flowers that grow on the
farther side of the wall show above it, as
does also the blue sea with a sail-boat in
the distance.
Purchased from the estate of the artist.
41

CATALOGUE OF PAINTINGS
Water color on paper: h. 14^; w. 21.
Signed at lower right: homer — Dec.
31st 1898.
Property of the Museum.
43 BERMUDA
On the white beach in the immediate
foreground are three rusty cannon; deep
blue sea beyond. A sail-boat, manned by
two negroes, is near the shore, and several
other vessels are farther out. In the dis
tance is a line of brown shore.
Purchased from the estate of the artist.
Water color on paper: h. 14^ ; w. 21 yi .
Signed at the lower right: homer. In
scribed at lower left: Jan. ist 1899.
Property of the Museum.
44 FLOWER GARDEN AND
BUNGALOW
In the immediate foreground are red and
yellow flowers and at the left, palms. A
yellow bungalow, with white roof and
42

BY WINSLOW HOMER
chimney, is beyond at the edge of a blue
bay. In the distance the shore is dotted
at the right with white buildings and at
the left there is a wooded point.
Purchased from the estate of the artist.
Water color on paper: h. 1 3^ ; w. 20^ .
Signed at lower right: Winslow Homer,
Bermuda 1899.
Property of the Museum.

45 SHORE AND SURF, NASSAU
In the foreground is a stony beach;
beyond .are green waves and surf and
floating brown seaweed. At the extreme
left is a white lighthouse, and on the
horizon, where the water is deep blue, is
a large steamer. Gray sky.
Purchased from the estate of the artist.
Water color on paper: h. 143^ ; w. 21 % .
Signed at lower right: homer. In
scribed at lower left: Nassau 99—.
Property of the Museum. 43

CATALOGUE OF PAINTINGS
46 THE BATHER
A negro stands waist deep in the blue
water and at the left, farther back, is
another negro with only head and shoul
ders showing above the water. On the
shore in the distance, at the right, is a
pavilion decorated with flags.
Purchased from the estate of the artist.
Water color on paper: h. 14; w. 2of£ .
Signed at lower left: homer 99. In
scribed at lower right: Nassau.
Property of the Museum.
47 SLOOP, BERMUDA
Green and blue water with a white sloop
seen from the stern, where a reddish row-
boat is tied; two negroes are in the sloop;
the sails hang in wind-blown swirls;
clothes are hung out to dry on the boom.
There is a small boat at the right and a
strip of brown shore at the horizon.
Stormy sky.
Purchased from the estate of the artist.
44

BY WINSLOW HOMER
Water color on paper: h. 14^ ; w. 21^ .
Property of the Museum.
48 THE PIONEER
A partly cleared hilltop with several tree
trunks and numerous stumps. A wood
man with an axe over his right shoulder,
stands in the shadow of the largest tree.
Blue mountains beyond; luminous, sunlit
sky. Exhibited at the Pennsylvania Academy
of the Fine Arts in 1903 and at the Bos
ton Art Club.
Water color on paper: h. 1 33^ ; w. 20% .
Signed at lower right: homer 1900.
Property of the Museum.
49 TAKING ON WET PROVI
SIONS
A small boat is tied near the prow of a
schooner and a keg is being put on board
by means of a block and tackle worked
by a red-shirted man near the foremast;
45

CATALOGUE OF PAINTINGS
a man in the small boat steadies the keg.
Another sailor, wearing a red shirt, is on
the farther side. The schooner's sails are
down. On the stern, which is in sun
light, the name Newport, K. W., is
painted on a black ground. The water
is light blue-green and in the distance at
the left is a small sail-boat.
Purchased from the estate of the artist.
Water color on paper: h. i 3^ ; w. 21 fa .
Signed at lower right: W. H. Inscribed
at lower right: Key West 1903.
Property of the Museum.
50 FISHING BOATS, KEY WEST
A white sloop, in bright sunlight, with
the name Lizzie painted on the side near
the prow, which is in the foreground of
the picture at the right; a man wearing
a red shirt is on the deck. At the left is
part of another boat, which casts a dark
green shadow on the light blue-green
water. Cumulous clouds. 46

BY WINSLOW HOMER
Purchased from the estate of the artist.
Water color on paper: h. 13^; w.2ij4.
Signed at lower left: homer 1903 and at
right: W. H.
Property of the Museum.
51 HOMOSASSA, FLORIDA
The river is in the foreground, and on its
bank are palm trees. At the left is a gray
flat-bottomed boat in which are two men;
the one in front, wearing a yellow coat
and a felt hat, is casting his line ; the other,
back of him in the bottom of the boat,
has a slouch hat drawn partly over his
face. Clear quiet water with reflections ;
gray sky and brilliant sunlight.
Water color on paper : h. 13^; w. 21^.
Signed at lower left: homer 1904.
Lent by Charles S. Homer.

47

INDEX

INDEX

PAGE
Banks Fishermen  9
Bather (water color)  44
Bermuda (water color) . . . . 42
Berry Pickers (water color) ... 27
Boys Wading (water color) . . . 28
Bright Side  3
Cape Trinity, Saguenay River —
Moonlight  24
Camp Fire  7
Coast in Winter  12
Early Evening  8
Eight Bells  11
Fisher Girl  19
Fishing Boats, Key West (water color) 46
Fishing Boats off Scarborough (draw
ing)  34
Fishwives (water color) .... 33
Flower Garden and Bungalow (water
color)  42
51

 INDEX  PAGE
Fountain at Night — World's Co
lumbian Exposition . . . . 17
Fox Hunt  . 16
High Sea, A — Watching the Breakers 2 o
Hillside (water color) .... 30
Homosassa, Florida (water color) . 47
Hound and Hunter  15
Hound and Hunter (water color
sketch)  38
Kissing the Moon (Sunset and Moon-
rise)  22
Maine Coast  22
Moonlight ; Wood Island Light . 1 8
Natural Bridge, Nassau (water color) 40
On the Beach, Tynemouth ...31
Palm Tree, Nassau (water color) . 40
Peril of the Sea (water color) . . 32
Pioneer (water color) .... 45
Right and Left  25
Saco Bay; the Coming Storm . 20
Salt Kettle (water color) . . . . 37
Shepherdess (water color) ... 29
Shooting the Rapids; Saguenay River 25
52

INDEX

PAGE

Shore and Surf, Nassau (water color) 43
Sloop, Bermuda (water color) . . 44
Snapping the Whip  4
St. Johns River, Florida (water color) 3 8
Sunlight on the Coast .... 13
Sunset and Moonrise  22
Taking on Wet Provisions (water
color)  45
Tornado, Bahamas (water color) . 41
Trout (water color)  37
Turtle Pound (water color) ... 39
Tynemouth; On the Beach (water
color)  31
Undertow  IO
Visit of the Mistress, The ... 5
Voice from the Cliffs, A (water color) 3 5
Wall, Nassau (water color) ... 41
Watching the Breakers ; A High Sea 20
Watching the Tempest (water color) 32
West Wind  H
Wood Island Light — Moonlight . 1 8
World's Columbian Exposition— The
Fountain at Night .... 17
S3

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