THE J. PAUL GETTY MUSEUM LIBRARY jv^ 'yillj^^P: > f > ,‘'H : .7 > • «77 i V' l.‘ A 4 t i % ’ • *? L 4 . y V. ,r A t ^ 4 « » ' 4 Digitized by the Internet Archive in 2019 with funding from Getty Research Institute https://archive.org/details/georgeinnessnameOOtrum ENGRAVED BY T. JOHNSON. AFTER A PHOTOGRAPH BY BRADY. By Courtesy of The Century Company. GEORGE INNEvSS. George Inness.N.A. H /Iftemodal The Student, the Artist, and the Man. By ALFRED XRUMBLE. “THE COLLECTOR,” 454 West 24TH Street, New York City. 1895. Printed by William Green, 324 to 330 Pearl Street, New York City. THE J. PAUL CCTTY MUSEUM LIBRARY "7 S O, I OF AN EDITION Limited to One Hundred and Fifty, New York City, April. 89^. % § EXPLANATORY. T he basis of this monograph is a study of the late George Inness, published in The Collector, in October, 1894. The compilation of this study was caused by the death of the artist. Having undertaken it as a matter of duty and interest to American art, the writer had no idea of the difficulty of the task. Great an artist as George Inness was, and widely known as he was, the biographical material relating to him was meagre. The collection of the facts of his life given in the paper alluded to, and here presented with revisions and expansions, necessitated a persistent, close, and widely-distributed inquiry, which con¬ vinced the inquirer that, no other adequate record of the American Master existing, it was but just that he should be chronicled in a more worthy form, if only for the information of future and more competent chroniclers. This is the origin of the present monograph, and its only excuse. ALFRED TRUMBLE. ♦ • m - I - ’• * h'C ^ , * *'f J . > . . -.. f « ■% .ynoTA'/iA.,r!>''i n f\ # ■ « f-L I. tj *»' J' ^ rf .'♦*‘'** ’'»1lV f’' iti. .-♦i# U4fi& 4tt||o • */ j M«t'••.i «»«>f Tk • ’ «4it; K* .’ ■’ * ' •*> • ^'' »’}>.’* ^ •f*u* 4 r r» ^ n 1^ . •': A -r j||j^ ; >■ :* ' .. U J kk !. ."VS ‘V •' t<» ■ji'Mi; t*. /wwiwi jymi «rj*r-'' • ■••■^ '‘fjp t| ifeflBfit'”-'’ >. I ,<«M It-I UdT •.".•»■' it ittilW^i * M •. 'I ••■■'? M/' , .: • 'f >jn.> Tflf' ‘ " Si -Jf' « • - •• friiii^ ''■*™' :i |j * ■> ■ Vf ,. ,, •..- ^v*.... . -fit# 7^%'^ ?'^'..%^xii, 1873. Mrs. F. S. Fisher. 200 Pompton, 10x13, >'877. S. C. Van Deusen. 135 Back of the Old Barn, 12x18, 1888. Francis T. Lloyd. 300 Leeds, New York, 9>^XI3, 1864. P. H. McMahon. 200 Niagara, 16x24, 1885. Henry Hess, Jr. 320 Albano, Italy, 9J^xi3>^, 1872. H. J. Luce. no Artists’ Brook, North Conway, 16x24, 1875. Henry Sampson. 500 Leeds, New York, 12x18, 1864. M. Merriam. 230 Summer Evening, Montclair, New Jersey, 30x45, 1892. Mrs. W. R. Linn. 1,000 Light House, Nantucket, 18x26, 1879. A. H. Alker. 500 Old Oak, Lyndhurst, New Forest, England, 25x30, 1887. C. H. De Silver. 1.675 Hastings, New York, 16x18^, 1868. A. H. Alker. 120 Early Morning, Montclair, New Jersey, 30x45, 1892. E. W. Bass. 900 Lake Nemi, Italy, 18x26, 1872. D. B. Samuels. 225 v/ The Brook, 8x10, 1876. S. C. Van Deusen. no The Hermit, 12x18, 1885. C. L. Hutchinson. 175 Winter at Montclair, New Jersey, 22x36, 1884. E. W. Bass. 200 45 Pompton River, 10x14, 1877. P. H. McMahon. $140 Old Orchard, Milton-on-the-Hudson, 20x30, 1878. F. G. Lloyd. 275 Looking Across the Hudson, 16x20, 1883. E. M. Colic. 325 The Last Glow, Montclair, New Jersey, 30x45, 1894. Thomas B. Clarke. 510 Wood Interior, Eagle wood. New Jersey, 12X17X, 1864. A. H. Alker. 150 The Pasture, 16x24. John Notman. 310 The Pond at Sunset, Milton, 16x24, 1885. Henry Day. 410 Moonrise, 25x30, 1891. T. G. Briggs. 330 Late Summer, Hastings, 16x24, 1863. h>. Pickman. . 875 Leeds, New York, 9x13, 1864. C. S. Schultz. 125 In the Greenwood, 18x12, 1868. S. E. Buchanan. 125 Homeless, 30x45, 1889. Edward Runge. 300 Sunset, 22x36, 1889. G. H. Hobart. 825 The Old Orchard, Milton, 22x34, 1881. F. S. Fisher. 270 After the Rain, 1830, 1888. A. T. Sander. 160 Path through the Pines, 32x42, 1894. Thomas B. Clarke. 900 Siasconset, 18x26, 1887. Edward Thaw. 340 Etretat, Normandy, 18x26, 1874. F. L. Leland. 200 Sunset over the Hudson, 22x34, 1880. F. L. Leland. 470 On the Edge of the Wood, 30x45, 1894. Mrs. S. D. Warren. 675 Sacred Grove near Rome, Italy, 20x30, 1872. Edward Thaw. 575 The Afternoon Drive, 12x16, 1884. John R. Watters. 140 Moonlight, 22x27, 1893. W. T. Evans. 300 Pond at Milton-on-the-Hudson, 1434^x26, 1881. John R. Watters. 160 St. Andrew’s, New Brunswick, 32x42, 1893. D. B. Samuels. 380 Sunlit Valley, 24x36. Edward Kearney. 1.55° Durham, Conn., 18x26, 1879, F. M. Shepard... 310 Off Penzance, Cornwall, England, 20x30, 1887. Frederic Bonner. 250 The Old Apple Tree, 16x24, 1883. Henry Sampson. 550 Afterglow, 25x30, 1893, C. L. Hutchinson. 1.075 Tivoli, Italy, 21x25, 1871. J. Metcalf. 260 Breaking through the Clouds, 17x25!^, 1883. Charles S. Schultz. 210 North Conway, 12x18, 1875. Frank H. Scott. 260 Late September, Montclair, New Jersey, 30x45, 1893. L. Blair. 320 In the Orchard, 22x34, 1880. G. Lusk. 160 Nantucket. A. H. Alker. 350 Hastings, New York, 12x17, 1863. J. S. Barnes. 240 Etretat, Normandy, France, 25x30, 1874. F. Cromwell. 525 The Pasture, Milton, 22x34, 1880. W. T. Evans. 575 Viaduct at Laricha, Italy, 18x26, 1872. G. E. Tewksbury. 300 The Glowing Sun, 24x36, 1894. W. N. Peak. 710 Apple Blossoms, Springtime, Montclair, N. J., 20x30, 1885. F. H. Bosworth_ 180 A Glimpse of the Lake, 22x27, 1888. D. B. Samuels. 160 The Path of the River, Milton-on-the-Hudson, 31x37, 1884. J. O. Wright. 500 The Edge of the Meadow, 181^x24. F. H. Bosworth. 310 A View in Montclair (artist in the foreground), 22x25, 1878. Century Club. 170 The Sun’s Last Reflection, 30x45, 1893. E. W. Bass. 1,100 In the Orchard, 20x30. D. Pickman. 225 In the Gloaming, 27x22, 1893. C. S. Houghton. 675 Harvest, Montclair, New Jersey, 29x39, 1884. F. T. Leland. 400 Sunset at Etretat, Normandy, 20x30, 1874. G. W. Elkins. 1,000 46 Orange Road, Tarpon Springs, Florida, 25x30, 1893. R. K. Mygatt. $180 Moonlight on Passamaquoddy Bay, 30x45, 1893. M. A. Ryerson. 800 The Side of the Hill, i8|^x24>^, 1884. F. S. Babbitt. 230 Autumn, Montclair, New Jersey, 12x28, 1890. F. M. Shepard. 375 Rosy Morning, 30x45, 1894. M. A. Ryerson. 1,500 Tarpon Springs, Florida, 30x45, 1893. J. M. Martin. 850 Sundown, 42x70, 1894. G. E. Tewksbury. 2,100 Pompton, New Jersey, i 8 xi 2 } 4 , 1877. R. W. Carson. 220 Summer, Milton, 14^x20, 1883. F. G. Lloyd. 180 Sunset, 16x24, 1883. L. F. Roos. 450 Durham, Connecticut, 1870. Josephs. Wood. 100 Medfield, Massachusetts, 10x12,%, 1861. M. A. Ryerson. 200 Monte Lucia, Perugia, Italy, i3>^xi9>^, 1873. P- H. McMahon. 190 Montclair, New Jersey, 10x18, 1883. W. A. White. icx5 Pompton on the edge of the Woods, 9>^xi3, 1877. R. W. Carson. 170 Niagara Falls, 16x24, 18S5. A. C. Rand. 510 Porto d’Asio, Italy, 9^x13, 1872. Peter V. Burnett. 300 Home of the Heron, Tarpon Springs, Florida, 22x27, ^893. G. H. Hobart. 550 Moonlight. 16x24, 1890. W. T. Evans. 240 Sunset, 22x36. Peter V. Burnett. 320 Catskill Creek, 9J^xi3, 1866. F. S. Wells. no Etretat, Normandy, 14x26, 1874. Joseph S. Woods. 190 Albano, Italy, g%xi 2 ,%, 1872. J, Smith. 180 Autumn, Montclair, New Jersey, 25x30, 1883. A. W. Drake. 375 Old Elm at Medfield, Mass., 16x24, 1890. M. A. Ryerson. 825 From the Swangunk Mountains, 20x30, 1885. R. F. Luckey. 225 Clear Evening, 12x18, 1876. W. S. Thurber. 260 Midsummer, Montclair, New Jersey, 35x45, 1886. John R. Watters. 400 The Road to the Village, Milton, 22x34, 1880. F. G. Lloyd. 525 Pool in the Woods, 22x27, 1892. John E. Falk. 175 The Pasture, Durham, Conn., 18x26, 1879. P. H. McMahon. 200 Etretat, Normandy, France, 30x45, 1892. Louis Ettlinger. 1,050 From the Hillside, 20x29, 1890. John E. Falk. 200 Scene on the Pennsylvania Railroad, 27^x41 Yt., 1883. W. A. White. 775 Hastings, i5X23>^, 1867. R. N. Carson. 360 An Old Veteran, 27x27. L. C. Earl. 280 No. no. No Title, ijYxiiY. C. M. Kurtz. no An Autumn Day, 24x36, 1892. A. W. Drake. 440 No. 112, No Title, 12x18. Geo. G. Riggs. 100 Sunset over the Hill, 30x45, 1894. J. Ross. b55o The Meeting at the Brook, Milton-on-the-Hudson, 20x30, 1888. J. O’Connor_ 260 In the Meadows, i2j^xi8, 1877. D. C. G. Watkins. 300 A Glimpse of the Hudson, Milton, 25x30, 1883. S. P. Avery, Jr. 700 Early Autumn, Montclair, New Jersey, 30x45, 1894. E. M. Colie. 300 The Old Stone Wall, 10x14, 1878. G. E. Tewksbury. 125 View from the Hill, 26x36, 1887. J. Hamden Dougherty. 190 Early Morning, 22^x29, 1891. Geo. N. Miller. 220 Spring Blossoms, Montclair, New Jersey, 30x45, 1891. Frederic Bonner. 1,200 In the Woods, 16x24, 1890. F. S. Wells. 210 Hillside at Milton, 22x27, 1878. S. R. Metcalf. 310 The Pequonic River, Pompton, New Jersey, 18x26, 1877. Rudolph E. Schirmer. 425 47 ♦ A Montclair Winter, 22x36, 1889. A. W. Drake. S500 Glimpse of the Hudson, near Tarrytown, 25x30, 1891. R. F, Luckey. 500 Sunset, Montclair, New Jersey, 22x36, 1889. A. T. Sander. 230 Catskill Cove, 16x24, 1886. Edward Thaw. 475 Etretat, Normandy, 10X13X, 1873. George R. Green. 250 The Beeches, 32x42, 1894. Alfred Corning Clarke. 1,150 A View in the Adirondacks, 22x27, 1888. F. L. Fisher. 250 A Cloudy Day, 25x30, 1890. Joseph H. Spafford. 550 Twilight, 30x45, 1889. S. P. Avery, Jr. 475 Glimpse of the Campagna, from Albano, Italy, 18x26, 1872. John D. Crimmins. 500 Gossip, Milton, 20x30, 1884. Marks Arnheim. 210 Eagleswood, New Jersey, 16x24, 1866. C. L. Hutchinson. 600 November, Montclair, New Jersey, 30x45, 1894. S. P. Avery, Jr. 500 The Road, Tarpon Springs, Florida, 25x30, 1893. C. Baker. 240 Pompton Junction, New Jersey, 12x18, 1877. W. A. White. 200 On the Road to the River, Milton, 22x34, 1880. Joseph Hartley. 175 Looking over the Valley, 30x45, 1892. Century Club. 500 Etretat, Normandy, 18x26, 1874. F. L. Fisher. 250 Yosemite Valley, California, 25x30, 1890. Allan Marquand. 225 Winter, Montclair, 16x24, 1882. F. L. Fisher. 225 Springtime, 30x45, 1886. W. T. Carrington. 290 Back of my Studio, Milton-on-the-Hudson, 20x30, 1878. Marks Arnheim. 420 Milton, 16x24, 1880. F. G. Lloyd. 450 Going for the Cows, 22x27, 1892. P. H. McMahon. 425 Off the Coast of Cornwall, England, 25x30, 1887. J. D. Crimmins... 1,900 Florence, Italy, 18x26, 1872. L. G. Bloomingdale. 300 Keene Valley, 18x24, 1887. D. McCosker. 145 In the Woods, Montclair, New Jersey, 30x40, 1888. Mrs. Lawrence. 480 The Gleaners, 26x36, 1894. D. L. Pickman. 650 The Lane, Milton, i 8 } 4 x^o, 1880. W. Sherburne. 190 Early Moonrise, Florida, 32x42, 1893. James Ross. 1,700 Afternoon, 24x36, 1891. C. C. Ruthrauff. 310 The Brook, 22x27, 1890. E. H. Bourne. 320 The Lonely Pine, 30x45, 1894. Cyrus J. McCormick. 1,700 California, 47x50, 1894. Union League Club of New York. 1,200 Niagara Falls, 44x69, 1891. L. C. Earl. 800 Under the Trees, 14x16. Wm. E. Thorn. 200 Alexandria Bay, 16x24, 1880. R. Ingalls. 200 Keene Valley, Adirondacks, iij^xiij^. Wm. Macbeth. 120 Tivoli, Italy, 12x16, 1870. Theodore Seligman. 385 Milton, 16x24, 1883. Geo. R. Green. 175 Barbarini Villa, Italy, 9x13^, 1872. M. A. Ryerson. 225 In the Morning, 9^x14, 1877. G. E. Tewksbury. 280 Leeds, New York, 9x13, 1864. Robert Orr. 140 Niagara, 16x24, 1885. W. N. Peak. 500 Etretat, Normandy, France, 18x26, 1874. S. C. G. Watkins. 250 Pool in the Woods, 20x30, 1890. W. N. Peak. 610 Cascade, Tivoli, Italy, iiXxi8, 1870. Peter N. Burnett. 140 Leeds, New York, 12x18, 1864. W. T. Evans. 325 My Orchard, Montclair, 16x24, 1888. S. G. Perry. 175 The Pond, 10x14, 1877. S. M. Roosevelt. 180 48 Old Aqueduct, Campagna, Italy, 17x24, 1871. Geo. R. Green. $625 Picnic in the Woods, Montclair, New Jersey, 30x45, 1894. W. S. Thurber. 625 The Coming Storm, 25x30, 1893. J. E. Ferdinand. 600 Pompton, New Jersey, 18x26, 1877. Ira Davenport. 650 The Brook, Montclair, New Jersey, 20x30, 1882. L. G. Bloomingdale. 290 The Shower, Montclair, New Jersey, 32x42, 1891. G. E. Tewksbury. 250 In the Woods, Milton, 20x30, 1881. P. Griswold. 190 The Old Oak, Montclair, New Jersey, 1892. R. W. De Forest. 825 A Wood Interior, 19x14, 1887. J. W. Leigh. 260 Moonrise, Alexandria Bay, 30x45, 1891. Wm. Barbour. 775 Olives, Albano, Italy, 18x26, 1872. A. A. Anderson. 430 Hazy Morning, Montclair, New Jersey, 30x50, 1893. L. G. Bloomingdale. 390 Goochland, West Virginia, 18x24, 1884. Thomas B. Clarke. 260 The Village, 30x40, 1886. H. E. Hayes. 270 Leeds, New York, 13X17J4, 1864. John R. Watters. 200 In the Woods, 21x29, 1891. Geo. R. Riggs. 220 The Return to the Farm, Milton-on-the-Hudson, 26x38, 1882. D. McCosker_ 185 View from my Studio, Tarpon Springs, Florida, 25x30, 1892. L. Stern. 825 Etretat, Normandy, 26x18, 1874. J. I. Bulkley. 280 The Lonely Farm, Nantucket, 30x45, 1892. G. E. Tewksbury. 875 Sunburst, 16x24, 1883. F, G. Lloyd. 360 Across the Meadows, Montclair, New Jersey, 32x42, 1893. C. H. Russell. 200 A Glimpse Through the Woods, I2xi7>^, 1883. Robert Orr. 150 A Snowy Haystack, 24x38, 1889. K. Haas. 320 Medfield, Mass., 14x20, 1861. E. Grant. 330 A Windy Day, 25XX38X, 1885. Edward D. Page. 300 Moonlight, Tarpon Springs, Florida, 30x45, 1894. H. E. Hayes. 400 Goochland, West Virginia, 20x30, 1884. A. W. Drake. 290 Sundown, i8>^x24>^, 1889. A. Lewisohn. 310 Autumn Afternoon (The last picture painted in Montclair, New Jersey), 30x45, ^ 1894. S. P. Avery, Jr. 810 Albano, Italy, 18x26, 1872. S. P. Avery, Jr.. 900 The Pequonic River, Pompton, New Jersey, 18x26, 1877. R. K. Mygatt. 400 Wood Interior, Keene Valley, 18x24, 1887. Louis Ettlinger. 260 The Old Farm, 30^x501893. W. T. Evans. 475 In the Orchard, Milton, 20x30, 1881. G. E. Tewksbury. 425 Sunset, Milking Time, Montclair, New Jersey, 22x36, 1889. W. H. Sheehy. 950 A Cloudy Day, 18x24, 1877. S. P. Avery, Jr. 675 Gulf of Mexico, Florida, 24x36, 1894. R. N. Carson. 500 Albano, Italy, 18x26, 1872. A. C. Rand. 180 Pompton, 12x18, 1877. John S. Barnes. 49 ° The Valley on a Gloomy Day, 30x45, 189-. A. W. Drake. 450 Gathering Wood, Montclair, New Jersey, 20x30, 1889. S. D. Coykendall. 450 Early Moonrise, 24x36, 1893. William Littauer. 550 Autumn, 34x44. E. Blumenstiel. 875 Alexandria Bay, 16x20, 1880. J. T. Shields. 200 Moonlight, 22x27, 1890. Thomas B. Clarke. 300 -j After Sundown, Montclair, New Jersey, 30x45, 1888. W. V. Lawrence. 1,225 ' The Hudson at Milton, 20x30, 1878. G. H. Hobart. 480 Storm Clouds, i4J^xi7>^, 1892. Miss Willard. 350 Old Mill, Marlborough-on-the-Hudson, 22>^X28>^, 1882. E. Thaw. 575 49 Looking over the Hudson at Milton, 27x22, 1888. A. S. Lascell. $475 The Pond, 29X37X- Louis Ettlinger. 460 A Stormy Day, 22x28. Win. Macbeth. 475 Eventide, Tarpon Springs, Florida, 30x45, 1893. H. E. Hayes. 750 Near my Studio, Milton, 20x30, 1882. W. A. White. 390 Autumn, 20x30, 1892. G. E. Tewksbury. 300 Sunrise, 30x45, 1891. W. A. White. 1,200 After the Shower, 20x30, 1886. W. V. Lawrence. 210 Hillside, 20x30. M. A. Ryerson. 575 A Breezy Day, 22x27, 1893. S. P. Avery, Jr. 950 Autumn, 25x30, 1892. S. P. Avery, Jr. 775 St. Andrews, New Brunswick, 1893. J. C. Wells. 1,125 Coast of Cornwall. W. Barbour. 750 Late Sunset, 39x53. G. E. Tewksbury. 950 The Red Oaks, 36x54, 1894. Chas. E. Clark. 1,025 The Coming Storm, 60x120, 1892.Withdrawn Among the purchasers at the sale may be noted Messrs. Charles L. Hutchinson, Cyrus J. McCormick and Martin A. Ryerson, of Chicago; Mrs. S. D. Warren, of Boston; Messrs. John D. Crimmins, Edward Kearney, G. E. Tewksbury, Frederic Bonner, A. W. Drake, Joseph Hartley, M. Arnheim, Thomas B. Clarke, L. G. Bloom- ingdale, C. C. Ruthrauff, David McCosker, Louis Ellinger, J. S. Wood, P. H. McMahon, G. A. Hobart, F. S. Wells, F. J. Smith, B, F. Luckey, J. Falk, L. C. Earl, Charles M. Kurtz, G. C. Riggs, J. O’Connor, S. L. G. Watkins, E. M. Collis, J. H. Dougherty, G. N. Miller, F. S. Weeks, S. R. Metcalf, R. E. Shirmer, W. T. Sander, Edward Thaw, W. C. Clark, F. L. Fisher, Allan Marquand, W. T. Covington, W. Sherburne, F. M. Shepherd, F. S. Fisher, Henry Hess, Jr., H. J. Luce, A. H. Alker, D. B. Samuels, Carl H. De Silver, John Notman, F. L. Leland, F. J. Briggs, C. S. Schultz, S. E. Buchanan, John R. Watters, F. H. Scott, Graham Lusk, John T. Barnes, W. N. Peak, Mrs. F. H. Bosworth, C. H. Houghton, R. K. Mygatt, F. L. Babbitt, J. M. Martin and James A. Ross, the latter of Montreal. Purchases were also made for the Century Assoeiation and the Union League Club, of New York. There is, in connection with this sale, a point to be noted of much interest to collectors. A month before Messrs. Ortgies & Co. made the executors’ sale, at Chickering Hall, the American Art Association sold the Inness collection of Mr. Richard H. Halsted, in their galleries on Madison Square. The Halsted collection numbered twenty pictures, all of a high and many of the first order. The sale had, apparently, been decided on by Mr. Halsted in consequence of the very extensive advertising which the executors’ collection had received from its exhibition at the Fine Arts Building, previous to its transfer to the galleries of Ortgies & Co. The general opinion at the time was that it would suffer from antedating the executors, sale, which, being final, and disposing of everything of the artist’s in his possession at his death, would, in its way, afford a scale of prices which would be authoritative. It was argued that, valuable as the Halsted pictures were, people would wait to see whether those belonging to the estate were not more valuable, and to ascertain what prices they would reach; that, in short, the Halsted sale would not create an enthusiasm among collectors or bring out the buyers, because it was premature. At the executors’ sale the smaller pictures—say, on an average, from 14x20 to 20x30 inches—brought more than they would have done at private sale, and many of them were studies rather than pictures in the conventional acceptance of the terms. The Halsted pictures, all of a market standard, and purchased by Mr. Halsted at full 50 prices, were at the most moderate estimate of experts appraised at $40,000—which was about what he had paid for them, with the legal interest which is supposed to accrue upon an investment. These facts being held in mind, the following correct report of the Halsted sale is not only interesting in itself, but valuable as showing the close business discrimination which collectors, and even casual buyers of pictures, make in their purchases of works under the hammer. The Halsted sale is given as catalogued, with the names of the buyers, and shows, as will be noted, a deficiency of nearly $9,000 on the expert’s appraisals of its value and on its actual cost to its owner. “Autumn Gold,” J. R. Watters. $1,650 “The Edge of the Forest,” C. W. Gould. 1.450 “Sunset on the Passaic,” J. R. Watters. i.i75 “The Coming Shower,” E. Thaw. 1,050 “Twilight in Florida,” J. H. Schiff. 1,100 “Tenafly Oaks,” E. Thaw. 2,100 “Valley of the Olive Oaks,” W. M. Laffan. 1,600 “A Breezy Autumn,” Mrs. C. F. Butterfield. 1,450 “Summer Foliage,” T. B. Clarke. 1,050 “ A Woodland Path," J. R. Watters. 750 “The Clearing,” E. Thaw. 1,750 “ Midsummer,” A. T. White. 1,450 “An Autumn Sunset,” Louis Ettlinger. 1,200 “ Sunrise,” W. A. Putnam. 1,300 “Passing Storm,” Mrs. Butterfield. 2,150 “ Near the Village—October,” Franklin Murphy. 1,400 “ Moonrise,” A. H. Alker. 875 “September Noon,” A. H. Alker.. i,55o “ A Silver Morning,” W. H. Granberry. 2,750 “ Storm on the Delaware,” W. H. Granberry. 3,550 Total.$31,350 51 • ^ "'■'Hr ^ 4 * ■ 1**' . J ■ \f .- -< ‘ .V»l» * * • v».4r ’ *•«! V •■vs PI -' * ■♦ v“ <♦11 ■* ' • .:, ‘1 '•t^f -v; . y^i f- .1 . : . --tiinfUk- f’ A. It •..v-l '««♦'#*■■' ■■ ‘' Ji'fc--* * sn • f dI) •■*. . n I* I , »IT 1 •Vi 1 If' . / ‘ nlp^i •,'vn I 4 f ‘ •shLl M'V iJ • ^vt' * ♦ # J • S'A ♦ j >■ tf > * •■ •* 1 ■ V )> -•( ' >) nli •Xt.xv K}?! 3 k .■BB nKSi^^B^i jiMIB 1 j 1 I ■I-' 1 S^VfejYL*. > ^R|^^B|S|^H j^. -^‘ B^^'- ilWig % £.LLICTT DAimthflkLD GAIN^BCJCUGH STUDIOS 222 West 59th St. 8ew York. lia^y 21st, 1917. M, Knoedler & Sons, Fifth Avenue. Dear i^r. Knoedlert I have aany surprises and pleasures in my study of the work of 6ur great painter, George Inness — but rarely, rarely have I had greater Joy than was aine this aorning in seeing the great work you now have. Long ago I watched this picture grow under the fibster’s hand, and when he had brought it to its present perfect state, I felt, and he, the painter felt it v?as the peer of any and second to none in all his long list of master works!. The perfect assemblage of tones, the exquisite wealth of the 7 and the treason - its subtle technique which Is George Inness at his height - all combine to aak© this woik a jewel indeed. I used formerly to say to myself, "Some day I am going to buy that picture". Well, you have it and I have seen it again, and my joy is full. The man idio owns it will have the fullness and ripeness of all landscape art. It is quite triumphantly beautiful. Sincerely, iiLLICTT DAihGLRFILLD, BH jKrm L Il^HL - raiH W 1 ,. ' w '^Hfl lOKml ■^Hh^ #u ;:'..7 mn^ BB|||^B^|f