American Drawings, Watercolors, Pastels, and Collages

290 Pages·2016·13.74 MB·English

American drawings
watercolors
pastels and
collages
in t he COLLECTION OF THE CORCORAN GALLERY OF ART
by LINDA CROCKER SIMMONS
Associate Curator, Prints and Drawings
With the assistance of
ADRIANNE J. HUMPHREY
MARGARET KINZER
EDWARD J. NYGREN
MARTHA PENNIGAR
MARCY SILVER
DAVID KNOWLTON TOZER
and
JAN CLARK
JOANNA DeGILIO
CAROLGEU
IRENE K. PICAR
NANI YALE
Photographed by Robert Grove
Edited by Diana Menkes
Designed by Hubert Leckie
Layout and production executed by Barbara Leckie
Composed by Fototypesetters, Inc., Baltimore
Printed by Garamond/Pridemark Press, Inc., Baltimore
Published by the Corcoran Gallery of Art, Washington, D.C.
© Corcoran Gallery of Art 1983
Library of Congress Card Number 83-070434
ISBN 0-88675-000-8
Funding provided by the National Endowment for the Arts, the Andrew W.
Mellon Foundation, and the Katherine Dulin Folger Publications Fund
Front cover: Childe Hassam, Au Grand Prix de Paris, 1887, pastel
and pencil on board
Contents
ix Content
x Acknowledgments
xi Introduction
xii Guide to the Catalogue
1 Catalogue
271 Index of Artists
277 Index of Donors
Dedicated to the Memory of
GENE BARO
Director, Corcoran Gallery of Art, 1972
Foreword
The American drawings, watercolors, pastels, and of pictures of this class is a matter to which
collages of the Corcoran Gallery of Art comprise the Gallery has heretofore given but little at
a rich collection never before published in a tention. Believing that it would add greatly
printed catalogue. Thanks to a generous grant to the interest in our collections and that it
from the National Endowment for the Arts and would broaden the scope of the Gallery, I
funding from the Andrew W. Mellon Foundation recommend that the Committee on Works of
and the Katherine Dulin Folger Publications Art be authorized to purchase for the Gal
Fund, this first edition should serve as a useful lery, from time to time, the best examples of
guide to scholars, connoisseurs, students, and the water colors which can be procured. . . .
general public. As the collection continues to That same month Winslow Homer's Hudson
grow, as more research is carried on, as we find River—Logging was purchased, a work which re
the time to take a second, closer look at individ mains a gem of the collection.
ual works of art, we hope that we can expand and This initiative was broadened to include draw
update the catalogue. ings, pastels, and collages, and for the next eighty
The Corcoran's commitment to the collection years works were purchased with funds from the
and exhibition of drawings, watercolors, pastels, operating budget, membership revenues, Wom
and collages was ill-defined in the nineteenth cen en's Committee benefits, and special endow
tury, but it began to evolve in a formal way ments. Gifts from famous collectors, from be
shortly after the Gallery moved from Pennsylva quests, from spouses and descendents of artists,
nia Avenue to its present location at 17th Street and of course from artists themselves flowed into
and New York Avenue. In June 1900 the trustees the Gallery.
invited the Society of Washington Artists and the This catalogue is intended as an index to the ef
Washington Water Color Club to hold annual forts of the trustees to follow the plan of 1903.
shows in the Corcoran's Hemicycle Gallery. A We have tried to keep production costs low with
modest number of purchases for the collection the idea of making the entire collection accessible
was made in 1900-1901, and in 1902 a portfolio of to all those interested. As part of the Corcoran's
drawings by Andrew Fisher Bunner was gratefully continuing objective to study and to publish its
accepted by the trustees. This gift seemed to permanent collection, the trustees offer this latest
serve as a stimulus, for the Director, Frederick B. endeavor in the spirit of William Wilson Cor
McGuire, in his report to the trustees of January coran: to encourage America genius.
19, 1903, called for action:
The collections of the Gallery contain but Director
PETER c. MARZIO,
few paintings in water colors. The purchase November 1982
ix
Acknowledgments
ous in their assistance. Edward Nygren, Curator of
fort of many collaborating individuals. As project co Collections, initiated the project and worked to obtain
ordinator and as associate curator for this portion of funding. Martha Pennigar, Curatorial Assistant, spent
the permanent collection, I want to acknowledge their more than three years examining objects and locating
contributions to this long task. much of the information about them. Fern Bleckner,
David Tozer, Museum Specialist for Works on Pa Conservation Assistant, unframed and matted many of
per, worked steadily on this project with intelligence, the works. Barbara Moore, Curator of Education, as
devotion, and endless good nature. He participated in sisted in examining works. Adrianne Humphrey of the
all parts of the catalogue, being responsible in particu curatorial staff spent many hours in research and ex
lar for coordinating the photography and production of amination of works and in preparing the manuscript
the illustrations. for publication.
Numerous interns and volunteers generously gave Judy Riley, Registrar, and Lynn Kahler Berg and
long hours. Chief among them was Margaret Kinzer, Rebecca Tiger, Assistant Registrars, willingly at
who worked on every aspect of the project and whose tempted to answer all questions. Kathy Kovacs, Archi
energy and wit made the task seem lighter. The fol vist, Ann Maginnis, Librarian, and their staff mem
lowing volunteers and interns also contributed their bers, Patricia Waters, Kathlebn Robinson, Sherry
time: Patricia Waters, Karen Luik, Pamela Chafin, Davids, and Paula De Fazio, provided prompt replies
Carol Geu, Emily Klayman, Christine Clemens, Sandy to innumerable requests for information. The special
Briscusci, Sarah Huntington, Myriam Springuel, Carol value of the Corcoran Archives proved itself through
Hollander, Meg Golodner, Liz Scott Shatto, Liz Tur- out the project.
pit, Jan Clark, Lisa Schwartz, Lynne Berggren, Celia Sarah Borrera, Supervisor, and the staff and volun
Johnson, and Katherine Greene Meyer. teers of the Work Adjustment Training Program,
Diana Menkes, editor of the catalogue, was invalua Alexandria, Virginia, contributed their impeccable
ble in her thorough and patient pursuit of accuracy services in typing the manuscript.
and clarity. Robert Grove, photographer for the cata The satisfaction of finishing the catalogue is at
logue, remained cheerful throughout the complicated tended by the realization of how many wonderful peo
and painstaking process. ple were brought together by the task.
Corcoran staff from several departments were gener LCS
x
Introduction
An inventory of the Corcoran Gallery's nearly 8,000 The greatest strength of the collection lies in the
works on paper was completed in 1982. This catalogue works executed in the years between the 1840s and the
documents and illustrates almost a quarter of that in early 1900s. Large portfolios of drawings by such art
ventory—the entire collection of American drawings, ists as John Singer Sargent, Emanuel Leutze, and
watercolors, pastels, and collages—1,784 works by 645 Elihu Vedder permit study in depth. The collection's
artists. These were acquired by the Corcoran over a sizable holdings of works by less-well-known artists—
period of 114 years, from the Gallery's founding in Seth Wells Cheney, William P. Babcock, Enoch Wood
1869 through 1982. Perry, Eugene Vail, and James Goodwyn Clonney—
The diverse nature of this collection is perhaps its provide similar opportunities. The Hudson River
most outstanding, and most interesting, characteristic. School is solidly represented and includes such beauti
Important works by major artists are enhanced by the ful renderings as Thomas Doughty's Harper's Ferry
company of fine pieces by artists whose names have from Below (22), Jasper Francis Cropsey's Mount
long been forgotten. A sketch carrying a famous signa Washington from near Bartletts (266), and John Fred
ture may be overshadowed by a brilliant drawing by an erick Kensett's Building by a Dam (227).
unknown. In general, the artists are professionals, aca The mediums of watercolor and pastel are equally
demically trained. A small number, however, are ob well represented for these years. The watercolors The
viously amateurs or Sunday painters. Waterfall by John William Hill (80) and Hudson
While the mediums of watercolor, gouache, pastel, River—Logging by Winslow Homer (74) are among
acrylic on paper, and collage are well represented, the these artists' finest works. Lovely examples of the pas
collection is especially rich in drawings in pencil, ink, tel medium can be found in works by William Merritt
charcoal, and crayon. Many are sketches or prepara Chase, Childe Hassam, Everett Shinn, and Thomas
tory studies for oils or murals, for bas-reliefs or sculp Dewing.
tures, mediums in which the artists may be more easily From recent times important works include Robert
recognized. Sculptors such as Reuben Nakian, Gaston Motherwell's Gesture Paper Painting #2 (1430), Lee
Lachaise, and Robert Morris further exhibit in their Bontecou's multiple images of slats and masks (JJnti-
drawings the unmistakable style of their three-dimen titled, 1609), and Richard Diebenkorn's abstraction
sional work. (Untitled, 1511). Masterpieces are to be discovered
The catalogue is organized chronologically by the throughout the collection.
date of birth of the artists, from Benjamin West, born The works on paper at the Corcoran have only be
in 1738, to Jason Harvey, born in 1955. Multiple gun to be explored and studied. It is hoped that the
works by the same artist are listed in sequence by the publication of this catalogue will advance the apprecia
date of execution. This organization suggests stylistic tion of these resources and further their use.
trends and innovations in American art as well as the
development of individual artists. LCS
xi
Guide to the Catalogue
General arrangement: The catalogue is organized chronologi Dimensions: Measurements are given in inches and centime
cally by artists' birthdates. Within each year, entries are ar ters, height preceding width, with the recto image being de
ranged alphabetically by the artist's name. If an artist is rep scribed, not the verso. It should be noted that the reader
resented by more than one work, these are arranged by date must refer to these dimensions when comparing sizes of
of execution, or if this is not known, by style, subject matter, works of art; the photographs are not proportionately sized.
or accession number, whichever is the most pertinent. Throughout the catalogue the verso images are oriented with
All the American drawings, watercolors, pastels, and col the viewer's perspective in mind.
lages in the collection, both recto (front) and verso (back) Medium: A precise listing of materials and methods is given.
sides, are illustrated by a photograph in this catalogue, ex If a work (other than a collage) has been completely adhered
cept for a handful of accessioned sheets which contain only in some manner to a mount, it is described as "laid down."
lists of words, jottings, or unidentifiable marks. The latter
Inscriptions: All of the artists' inscriptions are included, en
unillustrated items are designated by the symbol •!• .
closed in quotation marks. In all cases the original capitaliza
Recto and verso images are presented side by side through
tion, spelling, punctuation, and spacing have been preserved.
out the catalogue. In some cases the verso images are very
(Sic is used only to indicate a word that might appear to be a
sketchy, in others they are not.
typographical error.) Slashes with space before and after are
Artist's name and dates: The first line of each entry gives the
used to indicate lineation—the demarcation from one line to
artist's name and dates. This line is not repeated for multiple
the next. In the rare cases when slashes are used without
works by the same artist. If the birthdate is not known, the
space before and after, this signifies that the artist himself
chronological placement has been determined by the general
has written a slash, almost always with dates (e.g., 6/72).
date of the style or by the date the artist was known to be
The locations of the inscriptions on either the recto or
active. A few artists are simply designated "19th century" for
verso side of the work of art are given as follows:
lack of information. A larger number of 20th-century artists
u.l. = upper left u.c = upper center u.r. = upper right
have unknown birthdates and are located as appropriately as
c.l. = center left ctr. = center c.r. = center right
possible. If the birthdate is withheld at the artist's request,
1.1. = lower left I.e. = lower center l.r. = lower right
this is signified by the symbol • .
In general the inscriptions start with lower right (where the
Title and date: If the artist's original title is known or if a majority of artists' names appear) and proceed to the center
previously published or historically relevant one has been de and left. As usual, brackets are used to enclose explications,
termined, this is the title entered. If none of these could be guesses, or simply question marks to indicate illegibility. Art
established, the work is given a title derived from an inscrip ists' names which are recognizable as such but are not pre
tion on the work (in quotation marks) or the subject is sim
cisely written are spelled out in full, without brackets.
ply described. Many abstract works of the 20th century are
Pointed brackets ( ) enclose material which has been crossed
labeled "Untitled" either (1) at the artist's suggestion or (2)
out or erased.
when no title is known; these labels are followed by brief de
Annotations (anything written by anyone other than the
scriptions in brackets.
artist) are not recorded unless they provide vital information,
The date of execution is given as precisely as possible. In
and then they are distinguished from inscriptions.
general, a time span of several years—e.g., 1930-1935—
Source and accession number: The source and manner of ac
means that the work was probably completed during one of
quisition for each object are given with the Corcoran Gallery
those years, not over that five-year period.
accession number. The familial relationship of the donor to
Corcoran School of Art: An occasional entry line designates
the artist is given when it is known. Groups of ten or more
those artists who were known to be students or faculty of the
gifts by one donor are so indicated instead of having the
Corcoran School of Art. "CSA" is the abbreviation used.
name repeated.
xii
Catalogue
1 Benjamin West 1738-1820 2 John Singleton Copley 1738-1815
Recto: Jephthah's Daughter Verso 50.7 Three Men [study for Siege and Relief of
Verso: Study of Two Figures for Jeph Gibraltar, 1787-1791, oil on canvas, Na
thah's Daughter tional Gallery, London] 1785-1786
53/i6 x IV2 in. (13.2 x 19.1 cm) 137/s x 223/s in. (35.3 x 56.9 cm)
Black ink and pen and wash heightened Pencil heightened with white chalk on
with Chinese white on blue paper blue-gray paper scored for transfer
Museum Purchase, Membership Associ Museum Purchase 48.10
ation Fund 50.7
John Abbot 1751-1839 William Russell Birch 1755-1834
Figures Clinging to Wreckage [study for Roan Duck ca. 1790 Sweet Briar ca. 1808
Siege and Relief of Gibraltar, 1787- IP/16 x 8^16 in. (28.5 x 22.1 cm) 63/4 x 97/s in. (17.2 x 25.1 cm)
1791, oil on canvas, National Gallery, Watercolor over pencil on white paper Watercolor and pencil on white paper
London] 1785-1786 laid down Verso, u.r.: "Mr. Breck Place"
715/i6 x 127/s in. (20.2 x 32.7 cm) Museum Acquisition through a gift of Museum Purchase through a gift of
Brown ink on beige paper Mrs. H. S. Black 1981.60 Philip Alexius de Laszlo 1980.81
Gift of Josephine Boardman Crane
56.11
Archibald Robertson 1765-1835
The View from the Springhouse at Echo 'Tails of Potomac" ca. 1800-1810 New York—Hudson River, Mending
ca. 1808 6 x 8Vs in. (15.2 x 20.6 cm) Nets March 1804
IV2 x 95/s in. (19 x 24.4 cm) Pencil and watercolor on cream paper ll15/i6 x 1713/i6 in. (30.3 x 45.2 cm)
Watercolor, ink, and pencil on cream Recto, l.r.: "Falls of Potomac" written Watercolor and pencil on cream paper
paper over faint "Falls of Patomack" Recto, 1.1.: "New York March 1804"
Museum Purchase through a gift of C. Museum Purchase through a bequest of Museum Purchase, through a gift of
Thomas Claggett, Jr. 1980.82 Mr. and Mrs. Frank B. Kellogg Florence Tucker Spaulding 1981.65
1980.80
1