American Paintings to 1945 : The Collections of The Nelson-Atkins Museum of Art

2007·72.8 MB·English

by  Conrads, Margaret C

THE COLLECTIONS OL
THE NELSON-ATKINS MUSEUM OF ART
AMERICAN
PAINTINGS
TO
1945
Margaret Conrads, editor
C.
VOLUME
1
THE NELSON-ATKINS MUSEUM OF ART
Kansas City, Missouri
—
The publication ofthis bookwas made possible bygrants from the R.C. Kemper
Charitable Trust, Getty Foundation, Henry Luce Foundation, National Endowment
for the Arts, a federal agency, IF O. Peet Foundation, Samuel H. Kress Foundation,
and Mellon-Frick-Rothschild Publications Fund.
©
Copyright 2007 by the Trustees ofthe Nelson Gallery Distributed by
Foundation University ofWashington Press
PO. Rox 50096
All rights reserved. No part of this book maybe reproduced Seattle, WA 98145-5096
in anyform or by any electronic or mechanical means, includ- www.washington.edu/uwpress
ing information storage and retrieval systems, without permis-
sion in writing from the Nelson-Atkins Museum ofArt, except Front cover: John Singer Sargent, Mrs. Cecil Wacle (detail),
by a reviewerwho may quote briefpassages in a review. 1886
Back cover: Marsden Plartley, Himmel, c. 1914-15
Library ofCongress Cataloging-in-Publication Data Frontispiece: Fitz Henry Lane, “Starlight” in Harbor (detail),
American paintings to 1945 : the collections ofthe c. 1855
Nelson-Atkins Museum ofArt / Margaret C. Conrads, Page 8: Frederic Edwin Church,Jerusalemfrom the Mount of
editor, Olives (detail), 1870
p. cm. Page 10: Severin Roesen, Two-Tiered Still Life with Fruit and
Includes bibliographical references and index. Sunset Landscape (detail), c. 1867
ISBN-13: 978-0-942614-37-4 (he : alk. paper) Page 14: Charles Sheeler, Conference No. 1 (detail), 1954
ISBN-10: 0-942614-37-2 (he alk. paper)
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1. Painting, American Catalogs. 2. Painting Project Director and General Editor: Margaret C. Conrads
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Missouri Kansas City Catalogs. 3. Nelson-Atkins Editor: FroniaW. Simpson
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Museum ofArt Catalogs. I. Conrads, Margaret C. Proofreaders: Christine Droll, Penelope LaRoque, and
ND205.A673 2007 Courtney Randall
—
759.1.3 dc22 2007002258 Designer: Zach Hooker
Photographers: Lou Meluso, Jamison Miller, and
Robert Neweombe
Typeset in New Caledonia
Color separations byiocolor, Seattle
Produced by Marquand Books, Inc., Seattle
www.marquand.com
Printed and bound by CS Graphics Pte., Ltd., Singapore
1
Contents
VOLUME
1
Foreword
9
Marc Wilson
F.
Acknowledgments
1
Collecting American Paintings for Kansas City 15
Margaret C. Conrads
Notes to the Catalogue 25
Selections from the Collection of American Paintings to 1945 27
Index 552
Photograph Credits 560
volume
2
Notes to the Catalogue and Abbreviated Sources 6
Catalogue of American Paintings to 1945 9
Index of Former Collections 266
Index 272
Photograph Credits 280

Dedicated with gratitude and appreciation to
Mr. and Mrs. R. Crosby Kemper

Foreword
A
dvancing knowledge of the Museums collections is a pre- ofthe manuscriptis the Museum’s own endowmentfunddedicated
requisite for furthering understanding and pleasure among to important scholarly publication: The Mellon-Friek-Rothschild
our visitors. The Collections ofThe Nelson-Atkins Museum ofArt: Publications Fund, initiated in 1986 by a generous grant from the
American Paintings to 1945is the fourth in aseries devoted to the Andrew W. Mellon Foundation, whose matching provisions were
Museum’s collections. It dramatically eclipses in scope, ambition, metbytwofaithful Museumpatrons, Grace FrickandEmilyRoths-
technical complexity, and resources its three exemplarypredeces- child, both of Kansas City. None of the Nelson-Atldnss important
sors: Burton Dunbar’s jewel, German andNetherlandish Paintings, publications of the last two decades would have appearedwithout
1450-1600 George McKenna’scomprehensivePrints, 1460-1QQ5, the exclusive funding ofthis permanent endowment.
,
and Eliot Rowland’s masterful Italian Paintings, 1300-1800,which Throughout, this project has enjoyed the special care of
set the standard at this institution for such publications. R. CrosbyKemper,who assistedthe Museum in securingtwoveiy
TheAmericanpaintings catalogueprojectconsumedmorethan generous grants from the R.C. Kemper Charitable Trust, one for
twentyyears ofworkofvaryingintensityfrom manyNelson-Atkins research and a second ofequal amount for production. An ever-
curators, conservators, librarians, photographers, preparators, and green supporter of worthy projects in American art. The Henry
registrars as well as scores of helpful colleagues elsewhere. Henry Luce Foundation joined the Getty Foundation, National Endow-
Adams, former Samuel SoslandCuratorofAmerican Art, initiated ment for the Arts, the H.O. Peet Foundation, and the Samuel H.
theprojectin 1985in responseto amandatefrom me. Margaret C. Kress Foundationin providingverysubstantial financialsupport. I
Conrads, who arrived in Kansas City in 1990 as assistant curator value the confidence in ourwork that each ofthese grants signals,
specifically to work on the catalogue, took up the reins of the and I am beholden to each of them.
departmentin 1994andenthusiasticallykeptthe catalogue moving Habit of thought might have it that an art museum located in
forward in addition to her other duties as head of a major curato- the middle of America would concentrate its resources for art
rial department. Her unflagging dedication sustained the project. acquisition onAmerican art. Not so at the Nelson-Atkins. Ourfirst
The success ofthese volumes rests on her skillful leadership and generation ofTrustees, who charted directions for a long time to
exacting scholarship, evidenthere both as aprimaryauthor and as come, did not invest in American art as they did in European art.
general editor. Although a group ofnotable, important paintings was purchased
Continuityis critical to aproject ofsuch massive scale andlong by the Trustees in time for display at the Museum’s opening in
duration. We are indeed fortunate to have enjoyed the steadfast 1933, no concerted effort followed this promising beginning. Not
dedication of the authors and researchers who have contributed until the mid-1970s didbuildingtheAmericanpaintings collection
to this marathon effort. Lauren Lessing, Research Associate, has regain strategic prominence in the Museums view of itself. The
earned our gratitude and admiration not only for innumerable impetus for this renaissance came from R. Crosby Kemper, who
insights gleaned as a result of her superb research abilities but found an eager partner in the Museum’s Senior Curator, Ross E.
also for her manywell-crafted entries and the scholarly apparatus Taggart, at the time responsible forAmerican painting, who at his
heroically gathered with the help of Stephanie Fox Knappe and retirement passedthe mantle ofthe relationship to HenryAdams.
Helen Meyer. Randall R. Griffey, Associate Curator ofAmerican Manyofthe paintings we now cherish most reside in Kansas City
Art, completed the trio of primary authors, penning a number of thanks to Mr. Kemper’s direction and support.
finely researched entries with graceful style. We are also grateful The face of American painting in Kansas City would be veiy,
to the contributing authors, listed elsewhere in this volume, who very different had Mr. Kemper, with his wife, Bebe (an Associ-
shared their expertise. ate Trustee from 1983 to 1989), not exercised his own passion for
Examining the physical lives ofpaintings can significantly illu- Americanpaintingandactedwiththeconvictionthatthepeople of
minate our understanding of an artist’s intentions. Mary Schafer, this region should be able to enjoythe best of the art of their own
Assistant Paintings Conservator, under the guidance of Paintings land. It is, therefore, with pleasure and gratitude thatwe dedicate
Conservator Scott Heffley, carefully examined each work and this catalogue to Crosbyand Bebe Kemper.
contributed significantly to the technical notes found in volume Marc F. Wilson
two. Ms. Schafer’s detailed analyses andkeen observations offered Menefee D. and Man Louise Blackwell Director/CEO
j
manyvital keys to unlocking an artist’s aims orprocesses that may
have otherwise gone unrecognized.
One sort ofcontinuityis essential at eveiy moment ofaproject
like this: ongoing, reliable funding. Shoulderingbyfar most ofthe
burdenoflong-term costs associatedwithresearch andpreparation
9

The research for this catalogue began just over twenty years Chadbourne and Evelyn Lannon, Boston Public Library; Patricia
ago. Throughout the projects long duration, it has had the Hills, Boston University;James Boyles; Phyllis Braff; David Shields,
continuingencouragementof Marc F.Wilson,the Museum’s direc- Brandywine Conservancy; Christine Podmaniczky, Brandywine
tor. Flis understandingoftheimportanceofcollection researchhas River Museum; MaryWitkowski, Bridgeport Public Library; Pam
enabled the publication to reach completion. I would also like to Smith, British Museum; Teresa Carbone, Linda Ferber, Deirdre
thank HenryAdams, former Samuel SoslandCuratorof American Lawrence, Terri O’Hara, Laura Peimer, and Margaret Stenz,
Art, underwhose direction the project was launched. Brooklyn Museum; Jeffrey R. Brown, Brown-Corbin Fine Arts;
A grant from the Henry Luce Foundation provided initial sup- Laura Schiefer, Buffalo and Erie County Historical Society; Maiy
port. The Luce Foundation’s key role in furthering the research Robinson and Julie Coleman, Buffalo Bill Historical Center;
and publication of American art collections cannot be overesti- Mrs. John Cadwalader; Peggy Zeigler, California Historical Soci-
mated, and we, like so many other institutions, are beholden to it ety; Stephanie Buck, Cape Ann Historical Association; Elizabeth
and its program officer Ellen Holtzman. We are most grateful to Hansenand HeatherWahl, Carnegie Museum ofArt; Russell Flin-
the R.C. Kemper Charitable Trust for its generous and longtime chum. CenturyAssociation, NewYork; Bill Clark, Corinne Dean,
commitment to the project. We also thank the Getty Foundation, KristenL. Spangenberg, andJohnWilson, CincinnatiArt Museum;
National Endowment for the Arts, H.O. Peet Foundation, and Sarah Dunlap, City of Gloucester, Massachusetts; Glenn Clarke;
Samuel H. Kress Foundation for their significant contributions to Leslie Cade, Faye Grinage, and Richard Lingner, Cleveland
thepublication. I am additionallyobligedto the Museum’s Mellon- Museum of Art; Luke Giles, Coastal Conservation Association,
Frick-Rothschild Publications Fund for its sustained support. Texas; Carl Peterson, Colgate University; Amy McGee, Columbus
It is a pleasure to thank the many art historians, museum col- Museum ofArt; RichardC. Malley, ConnecticutHistoricalSociety;
leagues, art dealers, collectors, and other scholars andfriendswho Marisa Bourgoin and Sarah Cash, Corcoran Gallery of Art; Pat-
have contributedtheirexpertise, researchassistance, andgoodwill. rick J. Stevens, Cornell University; Aileen Ribeiro, Courtauld
Amongthese are BarbaraLuck, AbbyAldrich RockefellerFolkArt Institute ofArt; Colleen O’Sullivan, Crawford Municipal Art Gal-
Center; Carol Gillham, Ackland Art Museum, UniversityofNorth lery, Cork, Ireland; Diana Daniels, Crocker Art Museum; Mary
Carolina, Chapel Hill; Warren Adelson and Pamela A. Ivinski, LeonardandWilliam Rudolph, Dallas MuseumofArt; Sarah Hart-
Adelson Galleries; Ruth Green-McNally,Jon Lathey, and Rebecca well, Dartmouth College; Susan Davey; Dennis Morgan, Dennis
Rich-Wulfmeyer, AlbanyInstitute ofHistory andArt; Ann Tootle, Morgan Gallery; Mindy Besaw, Denver Art Museum; Nancy Barr
Albrecht-Kemper Museum ofArt; Susana Tejada, Albright-Knox and Kenneth Myers, Detroit Institute of Arts; Stuart P Embury;
Art Gallery; Phil Alexandre, Alexandre Fine Art, Inc.; Maura DorindaEvans, EmoryUniversity; Rod MacKenzie, Fairfield His-
Jortner, AlleghenyCollege; KathyKienholz,AmericanAcademyof torical Society, Connecticut; Serge Fauchereau; Alice Knapp and
Arts and LettersArchives; BarbaraManning,American Federation Bill Miller, Ferguson Library, Stamford, Connecticut; MarinaFer-
of Arts; John Lancaster and Barbara Trippel Simmons, Amherst retti; LindaFredette and Rev. Dan Harper, First UnitarianChurch,
College; Judy Throm and Richard Wattenmaker, Archives of New Bedford, Massachusetts; S. Gail Gainey, Florida Fish and
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American Art, Smithsonian Institution; Maiy Ash and Edward Wildlife ConservationCommission Division of Marine Fisheries
Taylor, Art Gallery of Ontario Research Library and Archives; Management; Brad Jackson, The Fly Shop; Ron Fossum; Jack
Judith A. Barter, Hannah Bennett, Peter Blank, Jack Brown, Eckert and Richard J. Wolfe, Francis A. Countway Library of
Maureen Lasko, Susan Perry, Bart Ryckbosch, and AmyTrendler, Medicine; Laura S. Kline, Frederic E. Church Papers; Karen
ArtInstitute ofChicago;William P Aspinwall; SonaJohnston, Bal- Schwartz, Free LibraryofPhiladelphia; Ted Barrow, Susan Chore,
timore Museum ofArt; David Kessler, Bancroft Library, University and Lydia Dufour, Frick Art Reference Library; Ellen Todd,
ofCalifornia, Berkeley; Deborah M. Dyer, Bar Harbor Historical George Mason University; Abigail Booth Gerdts; William H.
Society; Tony Crawford, Bill North, and Elisabeth Seaton, Beach Gerdts; Tracy Gill, Gill & Lagodich Fine Period Frames; Fiona
MuseumofArt,Kansas StateUniversity; BruceWeberandJennifer Cairns, Glasgow University; Katherine W. Baumgartner, Godel &
Wingate,Berry-HillGalleries;RonMichael, BirgerSandzen Memo- Co., Inc.; Sarah Holian, Grand Rapids Art Museum; Cheryl Neu-
rial Gallery; SuzanneVoce Stephens, Birmingham Museum ofArt; bert and KayWilson, Grinnell College; Glenn Peck, H.V. Allison
William H. Livingston Black Archives of Mid-America; Steve Gallery; Christopher T. Baer, Hagley Museum of Art; Robert
Jr.,
Hoare, BlackDome Press; Mrs. Albert Bloch; LauraCrane, Boone GrassiandCaroline de Marrais, Hanford Mills Museum; LisaGar-
CountyHistorical Society; Mrs. Earl M. Booth; John Curuby, Bos- cia and Harry Halff, Harry Halff Fine Art, San Antonio; Kathy
ton Art Club; David Dearinger, HinaHirayama, MaryWarnement, Harris;Anne Cohen DiPietro andKathryn R. Newman, Heckscher
and the late Michael Wentworth, Boston Athenaeum; Janice Musemn of Art; NancyHeugh, Heugh-Edmondson Conservation;