^ kM FINE ND 237 .R254 A4 1919 CORNELL UNIVERSITY LIBRARY FINE ARTS LIBRARY Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924100356439 THE MEMORIAL ART GALLERY IS OfftN EVERY DAY FROM 10:00 A. M. TO ^:do P. M., EXCEPTING ON SUNDAYS AND MONDAYS, WHEN IT IS OPEN FROM liSO TO 5:00 P. M. FBEE DATS: "WEDNESDAYS, SATUR- DAYS, AND SUNDAYS. OTHER DAYS ADMISSION IS, TWENTY-FIVE CENTS. MANY OF THESE PAINTINGS ARE FOR SALE: FOR- PRICES APPLY AT THE DESK OR AT THE OFFICE OF THE GALLERY. 3 1924 100 356 439 THE MEMORIAL ART GALLERY ROCHESTER NEW YORK CATALOGUE OF AN EXHIBITION OF OIL PAINTINGS BY EDWARD W. REDFIELD AND PAINTINGS AND DRAWINGS MADE AT THE FRONT BY S. J. WOOLF APRIL Nineteen Hundred Nineteen Foreword THESE first hand pictures of the Great War by Mr. S. J. Woolf are vivid portrayals of modern warfare. They are actual glimpses of the front and show the machine and explosive warfare of to-day in all its horror. They are very different from the studio painted pictures, made from properties, of former wars, which glorified some particular general, or war- fare itself. In these paintings, as in most of the pictures which record incidents in the Great War, war has been completely stripped of its glamour. A few of these paintings were shown in the Allied War Salon, where they attracted considerable attention, partly from the fact that they were painted from sketches made on the spot. Drawings made in France by the official artists of the United States Army were shown in the salon, but the majority of these were drawn many miles back from the front; Mr. Woolf 's pictures are the only paintings by an American made from data gathered at the front, that I am familiar with. Mr. Woolf's paintings possess a great sense of actuality and are documents of real and undisputed value. They also claim our attention as straightforward and vigorously painted pictures, the technique employed being eminently adapted to the painting of such pictures as these. The artist went to France as the correspondent of a magazine. He also carried letters from the War Department and the Secre- tary of the Navy. Accordingly, he not only secured permission to visit the training camps, but also the various sectors held by the American troops. He lived with our men, eating and sleeping with them ; at one time he drove an ambulance, at another acted as cook. Once he was wounded by a piece of stray shrapnel and another time he was gassed. Not that these experiences helped to develop his artistic talents, but they did saturate him with his subject and enabled him to produce this most interesting series of drawings and paintings. A. E. Gallatin. Chairman, Committee on Exhibitions, Committee on Public Information, Division of Pictorial Publicity. SAMUEL JOHNSON WOOLF Born in New York City, February 12, 1880. He studied at the Art Students' League and in the schools of the National Academy of Design, New York, under Kenyon Cox and George de Forest Brush. He received the Third Hallgarten Prize at the National Academy of Design, in 1904, and since then has been a regular contributor to important exhibitions. Among his best known por- traits are "Dr. Finley," painted for the College of the City of New York and "Mark Twain," painted for the Brook Club. Paintings 1. Birds of Prey. 2. Carry On. 3. Through the Wall. 4. His Soul Goes Marching On, 5. One of the Marines. 6. The Road to Rambucourt. 7. An Intelligence Section. 8. O. P. Near Verdun. 9. First Aid Station at Seicheprey. 10. A Trench Ambulance. 11. Courtyard of an Evacuation Hospital. 12. The Long Trail. 13. A Machine-gun Nest. 14. A Night Attack. 15. Proteoting the First Aid Station. 16. Behind the Barrage. 17. By the Dawn's Early Light. 18. A Grave on the Marne. 19. A Night March. 20. General Pershing. 3 Sketches 21. First Aid Station at Seichepre] 22. Near Chateau Thierry. 23. Bois Reaumur. 24. Dead Man's Curve. 25. In Full Equipment. 26. Near Rambucourt. 27. A Good German. 28. Church in Rambucourt. 29. Gironville. 30. A Night Raid. 31. On the Wire. 32. Dressing Station at Gironville. 33. Seioheprey. 34. A Sentry. 35. In the Vosges. 36. Star Shells. 37. Springtime. 38. Beaumont. 39. The Ambulance Driver. 40. The Relief. 41. An Artillery Observer. 42. A Trench. 43. Sanctuary. 44. Over the Top. 45. A Camouflaged "75." 46. The Zero Hour. 47. A Jaeger. 48. An O. P. 4 49. Grenades. 50. Ansauville. 51. The Wire Cutter. 52. Near St. Mihiel. 53. Coming Out of the Trenches. 54. A French Heavy. 55. A Communicating Trench. 56. A "320" Railway Gun. 57. Fair at St. Aignan Noyer. 58. Gun Practice at Mailly. 59. On Guard. 60. The Mess Hut. 61. Chateau at Beaumont. 62. An Officer's Billet. 63. Boucq. 64. Church at Mailly. 65. The Ghost of a Home. 66. The Morning Wash. 67. A "Y. M. C. A." Hut. Drawings 68. Marechal Joffre. 69. General Hunter Liggett. Commander of First Army. 70. General Robert Lee Bullard. Commander of Second Army. 71. General Frank W. Coe. Chief of Coast Artillery. 72. General Clarence Edwards. Commander of 26th Division. 73. General Robert Alexander. Commander of 77th Division. 74. Colonel L. M. Dowell. Chief of Staff, sdih Division. 75. Colonel Edward L. Logan. loist Regiment. 76. Sketch for Birds of Prey. 77. The Sniper. 78. A Poilu. 79. A Song of the Trenches. 80. Ready to Go In. 81. New Friends. 82. Mess in the Trenches. 83. A Quick Lunch. 84. In the Shadow of Joan of Arc. 85. A "75." 86. First Aid. 87. Slum Carriers. 88. Dodging Shrapnel. 89. Wovnded. 90. In His Tin Hat. 91. St. Aignan Noyer. 92. A Britisher. 93. Swapping Stories. 94. The Cootie Hunt. 95 to 108. Notes from Sketch Books. 109. Home Again. CATALOGUE OF PAINTINGS BY EDWARD W. REDFIELD Born Bridgeville, Del., Dec. 19, 1868. Pupil of Pennsylvania Academy of Fine Arts, Bouguereau and Robert-Fleury in Paris. Member: Society of American Artists, 1903; National Institute of Arts and Letters; Art Club of Philadelphia; Fellowship, Pennsyl- vania Academy of Fine Arts. Awards: Medal, Art Club of Phila- delphia, 1896; bronze medal, Paris Exposition, 190O; bronze medal, Pan-American Exposition, Buffalo, 1901 ; Temple Medal, Pennsyl- vania Academy of Fine Arts, 1903 ; second Hallgarten Prize, Na- tional Academy of Design, 1904; Shaw Fund Prize, Society of American Artists, 1904; silver medal, St. Louis Exposition, 1904 J Sesnan gold medal, Pennsylvania Academy of Fine Arts, 1905 ; second medal, Carnegie Institute, Pittsburgh, 1905 ; Webb Prize, Society of American Artists, 1906 ; gold medal of honor, Pennsyl- vania Academy of Fine Arts, 1907; Fischer Prize and bronze medal, Corcoran Art Gallery, 1907; first W. A. Clark prize and gold medal, Corcoran Art Gallery, 1908 ; honorable mention, Paris Salon, 1908; third class medal, Paris Salon, 1909; second Harris medal. Art Institute of Chicago, 1909 ; gold medal, Buenos Aires Exposition, 1910; Lippincott Prize, Pennsylvania Academy of Fine Arts, 1912; gold medal, Washington Society of Artists, 1913; Palmer gold medal. Art Institute of Chicago, 1913 ; gold medal, Carnegie Institute, Pittsburgh, 1914; hors concours (jury of awards), Panama-Pacific Exposition, San Francisco, 1915; Altman Prize, National Academy of Design, 1919. Represented in Luxem- bourg Museum, Paris, Corcoran Gallery, Washington, Cincinnati Museum, Carnegie Institute, Pittsburgh, Boston Museum, Pennsyl- vania Academy, Brooklyn Museum, Herron Art Institute, Indian- apolis, Detroit Museum, Art Institute of Chicago, Albright Art Gallery, Minneapolis Institute of Arts, Rhode Island School of Design, and Metropolitan Museum. 110. In the Valley. 111. Pittsburgh. 112. Grey Day, Pittsburgh. 113. Blossoms. 114. At the Foot of the Mountain. 115. Soho, Pittsburgh. 7 116. The Road to Center Hill. 117. Overlooking Pittsburgh. 118. Aetna Valley. 119. May, Delaware Valley. 120. The River in Winter. 121. March. 122. Winter Afternoon. 123. The Orchard in the Valley. 124. The Old Homestead. 125. The River Road. 126. Afternoon — Winter. 127. Grey Day. 128. Brook in Sunlight. 129. In the Garden. 130. A Road in New Jersey. GENERAL ANNOUNCEMENTS THE object of th^ Memorial Art Gallery is to further the interests of fine art in the city of Rochester by maintaining exhibitions of pictures and statuary, an art library, and a collection of photographs and prints, which shall be a means both of pleasure and of education^orall the citizens of Rochester. In order that a large number of lovers of art may share in making the Gallery useful and enjoyable for all the citizens, provision has been made in the By-Laws for membership in vari- ous classes. CLASSES OF MEMBERSHIP 1. Si;ppoRTERS. Persons who shall coptribute two hundred and fifty dollars a year toward the maintenance of the Art Gallery. 2. Sustaining Members. Persons who shall contribute one hundred dollars a year, or more, but less thian two hundred and fifty dollars. 3. Contributing Members. Persons who shall contribute twenty-five dollars a year, or more, but less than one hundred dollars. i^,, 4. Annual Members. Persons who shall contribute ten dol- lirs a year, or more, but less than twenty-five dollars. '^' 5. Associate Members. Any artist, school teacher, or art craftsman actively practicing his profession, may |>ecome an As- sociate Member of the Art Gallery upon payment of five dollars a year. PRIVILEGES dF MEMBERS All ihembers are eiititled to free admission to the Gallerjr at all tifties that it is open to the public,' and to all lectures, recep- tions and private views that may be conducted by the Directors. They are entitled also', io the privilege of drawing books from the library of the Art Gallery. * Supporters and Sustaining Members have the privilege of free admission for members of their families and for visiting friends. Each Contributing Member shall have the (Privilege of free admissions for himself ^nd one other member of his family. CLUBS, AND SOCIETIES Societies, study clubs,, and similar organizations are cordially invited to make full use of the Gallery at all tinjes. No charge will be made for admission to organizations visiting the Gallery in a body. Appointments for such visits should be made in advance.