I anxa 92-B 21960 Catalogue An Historical Exhibition of Paintings to celebrate the opening of the Catskill Aqueduct BROOKLYN MUSEUM November First to November Twenty-ninth Nineteen Seventeen THE BROOKLYN INSTITUTE OF ARTS AND SCIENCES BROOKLYN MUSEUM Eastern Parkway Brooklyn, N. Y. OFFICERS OF THE BOARD OF TRUSTEES A. Augustus Healy, President George D. Pratt, First Vice-President Frank L. Babbott, Second Vice-President Walter H. Crittenden, Third Vice-President Herman Stutzer, C. E., Secretary and Acting Treasurer GOVERNING COMMITTEE OF MUSEUMS Walter H. Crittenden, Chairman George D. Pratt Herman Stutzer Luke Vincent Lockwood Samuel P. Avery Edward C. Blum George W. Brush Frank L. Babbott John Hill Morgan William A. Putnam A. Augustus Healy, Ex-officio MUSEUM STAFF William Henry Fox, Director William H. Goodyear, Curator, Stewart Culin, Curator, Department of Fine Arts Department of Ethnology Robert Cushman Murphy, Curator, Susan A. Hutchinson, Department of Natural Science Librarian, and Curator of Prints Mary B. Morris, Thomas F. Casey, Docent, and Membership Secretary Business Manager To Reach the Museum: From Manhattan, Subway Express to Atlantic Avenue; thence by St. John’s Place car to Sterling Place, or by Flatbush Avenue car to Prospect Park and Eastern Parkway. THE BROOKLYN INSTITUTE OF ARTS AND SCIENCES BROOKLYN MUSEUM A Special Historical Exhibition to celebrate the opening of the Catskill Aqueduct Works of American Painters 1860-1885 In the American Gallery of the Museum N(jvemhcr First to November rwenty-ninth 1!)17 The Mayor of New York’s Catskill Aqueduct Celebration Committee Sub-Committee on Art, Scientific and Historical Exhibitions Chairman Dr. Georgk Frederick Ketnz 1-09 Fie'tii Avexue Universities and Colleges CoLUJIHIA I'xiVERSITY Dr. Nicholas Murray Butler, President Prof. William H. Carpenter, Librarian Milton J. Davies New York Uxiversity Dr. Fjliner F.llsworth Brown, Chancel- lor Stevexs Ixstitltte oe" Techxology Dr. Alexander C. Humphreys, President College of the City of New York Dr. Sidney E. Mezes, President Eearxei) Societies ax^d Ixstitutioxs A.viericax Geographical Society John Greenough, President New York Historical Society Joliii Aheel AVeeks, President Itohert H. Kelby, Librarian New York Gexealogical axd Bio- GR.vPHicAL Society Capt. Richard Henry Greene, Repre- sentative I.ong Island Historical Society Judge Willard Bartlett, President Brooklyn Ix^stitltte of Arts and Sciences Hon. A. yVugustus Healy, President Staten Island Association of Arts and Sciences Hon. Howard R. Bayne, President American Numismatic Society Edward T. Newell, President Cooper Union for the Advancement of Science and Art Miss Sarah Cooper Hewitt, Trustee Miss Eleanor G. Hewitt, Trustee American Scenic and Historic Preser- vation Society Col. Henry W. Sackett, 1st Vice- President Engineering Societies United Engineering Society Charles F. Rand, President Calvin W. Rice, Secretary A.merican Institute of Mechanical Engineers Dr. Ira N. Hollis, President American Institute of Electrical En- gineers E. W. Rice, Jr., President American Institute of Mining Engi- neers Philip N. Moore, President American Institute of Civil Engineers E. W. H. Pegram, President Libraries New York Public Library Dr. Edwin H. Anderson, Director New York Society Library Frederic dePeyster Foster, Chairman Museums Metropolitan Museum of Art Dr. Robert W. de Forest, President Museums (continued) Brooklyn Museum William H. Fox, Director American Museum of Naturai, History Dr. Henry Fairfield Osborn, President Museum of the American Inoian George G. Heye, Founder Van Cortlanot Museum House (The Colonial Dames of the State of New York) Mrs. Hamilton R. Fairfax, President Mrs. Elihu Chauncey, Chairman JuMEL Mansion, Washington Head- quarters Association (The Daughters of the American Revolution ) Mrs. George Wilson Smith, President William H. Shelton, Curator Fraunces’ Tavern (The Sons of the Revolution) Henry Russell Drowne, Secretary Clurs National Arts Club John G. Agar, President City History Club of New York Mrs. A. Barton Hepburn, President Parks and Gardens Department of Parks, Manhattan and Richmond Hon. Cabot Ward, Commissioner Department of Parks, Brooklyn Hon. Raymond W. Ingersoll, Commis- sioner New York Botanical Garden Dr. Nathaniel L. Britton, Director New York Zoological Garden Madison Grant, Vice-President New York Aquarium Dr. Charles H. Townsend, Director Brooklyn Botanic Garden Dr. C. Stuart Gager, Director Church The Collegiate Church of St. Nicholas Rev. Dr. Malcolm James MacLeod, Pastor PoiiTRAiT OF Abraham Lincoln Artist Unknown Introduction T HI]i period marked by the beginning of the modern water supjjly of the city of New York in the opening of the first Croton Aqueduct in 1851 to the recent opening of the Catskill Aqueduct, is a period of uncommon activity in the art history of the country. It began with the rise and popularity of the Hudson River School of American land- scape painters. This group is strikingly represented in the current exhibition at the Metropolitan Museum of Art and as a j^endant, the Brooklyn iVIuseum offers as its contribution to the celebration of the Aqueduct opening a special exhibi- tion made up of the works of painters who might he said to succeed the Hudson River School and who were especially prominent in the quarter of a century which followed the outbreak of the Civil War. It is a difficult matter to affix rigid frontiers to the work of the various artistic coteries as the careers of their memhers over-lap one another, both in years and in the popularity of their work. There are those who painted with the Hudson River School happily still at work, and some survive who have been in touch with the contemporaries of Gilbert Stuart. Thomas Sully lived to paint portraits to within a year or so of his death in 1872. Nevertheless as seen in retrospect the work of certain artists related to each other through their common interest in the same class of subjects and to a certain extent in their resemhlance in methods of work, are to he remembered as a cohesive body and filling a fixed period to the exclusion of others not in sympathy with them. There is no doubt that with the opening of the Civil War a new group of painters distracted ])uhlic attention from the placid and poetic dreamers of the Hudson River School, ddiey were a disorganized class of rugged and free individualists who seemed to be reaching out into new fields unknown to their predecessors. They were characterized by little of the solidarity of the earlier group. Everyone for himself was their slogan. That at least is the impression produced by a survey of the v^orks of this period which lasted until the time when American artists began to feel the overpowering influence of French Impressionism under Claude Monet, about 1885. In a measure the artist reflected the kaleido- scopic changes that were taking place — the abolition of slavery, the opening of the West, the shortening of communi- cation between communities and individuals through the electric telegraph and the development of railroads, the rising tide of business, speculation and wealth, the rich rewards for enterprise and personal initiative — all this impelled these highly individualized artists, filled with the new spirit of courage and energy, to disregard tradition and the work of their neighbors and strike out for themselves. If any common influence was felt at this period it was exerted upon the comparatively few who had studied at the Diisseldorf Academy and their works are far too naturalistic and obvious to have any relation to the Hudson River School. It would seem almost that the drift was away from land- scape; it was man and his works and not inanimate nature which now seemed to appeal to the artistic imagination. But in truth it was simply that the art of the period was heterogeneous almost to the limit of chaos. The artist ex- perimented in all forms of expression. Genre in all its phases flourished. Winslow Homer began his career as a war illustrator. The tremendous conflict of the first four years immensely stirred the patriotism of the generation and caused a revival of historical painting as one sees in the works of Huntington, Buchanan Read, Leutze and Rothermel. This period also has the honor of having produced the poetic yet virile school of nature lovers and interpreters of which George Inness was the dean and which is the great glory of American art. It is the real golden age of landscape paint- ing in this country. The collection will be found to eontain characteristic examples of the works of its leading men. It is speeially gratifying too that the revival in Ameri- can historical painting is represented in the exhibition by the great work of Huntington — -“Lady Washington’s Recep- tion” — known to the past generation by the engraving by A. H. Ritehie which was a common possession of many Ameri- can households. This painting, the property of the Hamilton Club of Brooklyn, has been out of publie view for many years. To the officers and members of the Club, therefore, who have recognized the appropriateness of this oecasion to per- mit the painting again to he placed before the eyes of the pub- lic and to the possessors of other paintings exhibited, the Governing Committee of the Museum and the Cooperating Committee in charge of the Aqueduct Celebration offer their sincere thanks. The attention of the visitors is directed to the arrange- ment of the collection. At the west of the gallery will be found paintings of the early and older American school, including works of the Hudson River painters, while to balance them, at the eastern end hang a selection of the IMuseum’s paintings of the present day. Between the two are placed the “ACorks of American Painters 1860-188.5.” Thus the opportunity is afforded to study, side by side, the characteristics of the main American art periods. W. H. F. Madonna and Child Robert L. Newman Catalogue BABCOCK, W. A. (1826-1899) An intimate friend of Jean Francois Millet. “W. A. Bab- cock spent nearly all his life at Barbizon, and was a sym- pathetic and poetic painter of nudes and costumed figures.” (From Sadakichi Hartmann’s History of American Art) 1. The Opek Book. Property of the Brooklyn Museum. BELLOWS, ALBERT F. (1829-1883) Born at Milford, Mass. At sixteen he entered the office of an architect of Boston, but finally turned his attention to paint- ing. Studied in Paris and Antwerj), A. X. A., 1859; N. A., 1861. He painted landscapes and genre scenes. 2. Springtime. Loaned by Mr. William J. Smith. 3. Village Scene. Property of the Brooklyn Museum. BIERSTADT, ALBERT (1830-1902) Born in Germany, he was brought to Amcric.a when an in- fant. He went to Diisseldorf in 1853 to study in the Academy and also went to Rome. Ho became member of the Xational Academy of Design in 1860. “The same careful finish of details, skillful management of light, and eye for ])ictures(juc possibilities which made Bierstadt’s Old-lVorld subjects so im])ressivc and suggestive, have rendered his studies of Amer- ican scenery full of bold and true magnificence.” (From Tuck- erman’s Book of the Artists) 4. The Mokteratsche Glacier, Upper Engaihne, Pontresina. I’roperty of the Brooklyn Museum. BOITIIFI’OX, GEORGE II. (1834-1905) Born in England. He was brought to Albany, X. V., by Ids iiarents in 1837. He went to London in 1853 to improve his knowledge of art which he had already studied in America and after a few years returned to Xew York where he opened a studio. He was made Xational Academician in 1871. He was also a member of the Royal Academy of London. Pro[)erty of the Brooklyn Museum. 5. Olivia. BRADFORD, WILLIAM (1830-1892) Born in New Bedford, Mass. Toward the middle of his life he began painting ships in the harbor of Lynn, Mass., and along the coast as far north as Nova Scotia and Labrador. He made several trips to the ice regions of the North Amer- ican coast with Dr. Hayes and other Arctic explorers. 6. A Whaler Off the Coast of Greenland. Property of the Brooklyn Museum. CHASE, WILLIAM MERRIT (1849-1916) Born in Franklin Township, Indiana, he began his art studies in 1868 under B. F. Hayes, the portrait painter. He came to New York in 1869 where he spent a year in the schools of the National Academy. In 1872 he went to Munich, studied in the Royal Academy there and gained three medals. He re- turned to the United States in 1878 and was elected National Academician in 1890. 7. The Antiquary’s Shop. 8. In the Studio. 9. Stilt. Life. Property of the Brooklyn Museum. COLEMAN, CHARLES CARYL (born 1840) “His most characteristic works are studies of blossoming branches of apple or plum, and where the flowers, studied directly from nature, are yet arranged with such a balancing of mass, such a delicate choice of color in the background and accessories, and so firm an accentuation of their outline, that the canvas has a charm of decorative unity. Coleman has not made his permanent quarters at Rome, but has lived elsewhere, and even at one time had a studio in London ; but of late years his home has been in a villa at Capri, never to be forgotten by its guests, with its orange trees, its vine-clad terraces, and its white walls leaning against the steep hill.” (From Samuel Isham’s “History of American Painting”) 10. Twenty-two Studies in Pastel of Vesuvius, Capri and Vicinity, Venice and Mont Blanc. Loaned by the artist. DE HAAS, MAURICE FREDERICK HENDRICK (1832-1895). Born in Holland. He studied in the Academy of Fine Arts of Rotterdam, and Jater went to London. In 1859 he settled in New York and was elected National Academician in 1867. He was essentially a marine painter. 11. Marine. Property of the Brooklyn Museum. BURAND, ASHER B. (1796-1886) Born in New Jersey, he studied engraving with his father who was a watchmaker. Later he was apprenticed to the en- graver Peter Maverick, whose partner he became in 1817. He was one of the original members of the National Academy of Design, organized in 1826, of which he became president at the resignation of S. F. B. Morse in 1845. 12. Landscape. 13. The First Harvest. Property of the Brooklyn Museum. DUVENECK, FRANK (born 1848) Studied in Munich for a number of years wliere he was a pupil of Dietz and one of his best followers. He obtained an Honorable Mention in Paris in 1895 and a special gold medal for his services to American art at the Panama-Pacific Exposi- tion in 1915. 14. Head of a Man. Property of the Brooklyn Museum. ELLIOTT, CHARLES LORING (1812-1868) Also spelled Elliot; he was born in Scipio, New York; the son of an arcliitect, and died in Albany, New York. Starting as a clerk in Syracuse, he went to New York in 1834, where he became a pupil of Trumbull. Eminently a portrait painter (he is said to have painted more than seven hundred of his contem])oraries) he was made A. N. A. in 1845, and N. A. in 1846. His portrait of Fletcher Harper was shown in Paris at the exhibition in 1867. 15. Portrait of General John C. Fremont (The “Path- finder”) Jjoaned by Mr. William S. Hughes. GIFFORD, R. SWAIN (1840-1905) Spent the early part of his life in New Bedford and in 1864 he opened a studio in Boston. Settled permanently in New York in 1866. He was a pu])il of Albert van Bcest, the Dutch marine ])ainter. He became National Academician in 1878. 16. Near the Marsh. 17. Trees and Meadow. T’roperty of +he Brooklyn Museum. GIFFORD, SANDFORI) ROBINSON (1823-1880) Born in Saratoga (’ounty, N. Y., he studied painting with John R. Smith in New York City. In 1850 he went abroad visiting London and Paris, and in 1 8(50 he made a more ex- tensive trip on the continent and m b^igypt. He was elected Na- tional Academician in 1854. 18. SrNSE'i' IN 'I'HK SiiAWAXorNK Mofxt.mns. lioaned by Mi'. H. H. Knox. "mil SAPIENZArEtNS|ERP_*AN-lttA-llT^tJM/iTV|&iiAR/AQNtA*A/n6RE*CQU5RF.-FQB/T^^^^ Rome, Representative of the Arts Elihu Vedder GIGNOUX, REGIS (1816-1882) Born in Lyons, France. He was a pupil of Paul Delaroche and of the Ecole des Beaux-Arts in Paris. He came to Amer- ica in 1841 and was elected a member of the Academy of Design in 1851. He was the first president of the Brooklyn Art Academy. 19. The Hudson River in Autumn. 20. Winter Scene. Property of the Brooklyn Museum. HART, JAAIES M. (1828-1901) Brother of William Hart; he was born in Scotland, and was brought to America as a child by his parents. In 1851 he went to Diisseldorf where he studied under Schirmer. In 1856 he opened a studio in New York and was elected National Academician in 1859. 21. On the Way Home. Property of the Brooklyn Museum. HART, IVILLIAM (1822-1894) Brother of James M. Hart; he was born in Scotland and was brought to the United States in childhood. Self-taught. He became National Academician in 1858. 22. Landscape — Lake George. Loaned by Mrs. George Silas Coleman.. 23. Near Hureey, Ulster Co., N. Y. Property of the Brooklyn Museum^ HOMER, WINSLOW (1836-1910) Born in Boston; pupil of National Academy of Design and F. Rondel, but mainly self-taught. At nineteen he was a lithog- rapher in Boston; settled in New York in 1859. During the Civil War he contributed a number of war pictures to “Har- per’s Weekly.” He was elected National Academician in 1865. 24'. The Uxkuey Calf. 25. Childrex Ox the Beach. Property of the Brooklyn Museum. (In addition there are thirty-eight water colors by this ar- tist on exhibition in the galleries.) HUNTINGTON, DANIEL (1816-1906) Born in New York. He was a pupil of S. F. B. Morse and Henry Inman. In 1839 and in 1844 he went to Italy. In 1850 an exhibition of his works in New York attracted con- siderable attention. He was the third president of the Na- tional Academy of Design (1862). 26. Lady Washixgtox’s Receptiox. Origixal Sketch. Engraving of the subject by A. H. Ritchie. Key to above. imaned by the Hamilton Club, Brooklyn. INNESS, GEORGE (1825-1894.) Born in Nowburg, N. Y. Studied art in Newark, N. J., and engraving in New York, which by reason of ill-health he was forced to abandon. In 1846 he began the practice of his profession as a landscape painter, passing a few months in the studio of Regis Gignoux. He made several visits to Europe for tlie purpose of observation and study, remaining in Italy from 1871 to 1875. He was made National Acad- emician in 1868. 27. The Glow. 28. Indian Summer. 29. June. 30. Sunrise. 31. The Roman Campagna. Loaned by Mr. Herbert H. Knox. 32. The Old Roadway. Loaned by the L. I. Historical Society. 33. On the Delaware River. 34. Royal Beech in Lyndhurst Forest. 35. A Summer Morning. 36. The Old Farm. Property of the Brooklyn Museum. JEFFERSON, JOSEPH (1829-1905) Born in Philadelphia. He was an eminent actor w'ho de- voted much of his leisure to the study of landscape painting. 37. In the Birch Woods. Property of the Brooklyn Museum. JOHNSON, EASTMAN (1824-1906) Born in Lovell, Maine. He studied in Diisseldorf, Rome, Paris and The Hague. He had a studio in New York. He was made a member of the National Academy in 1860. 38. The Savoyard Boy. Property of the Brooklyn Museum. KENSETT, JOHN FREDERICK (1818-1872) Born in Connecticut. After studying engraving under Dag- get, he went abroad where he studied painting for seven years. He first exhibited at the Royal Academy, London, in 1845. Elected National Academician in 1849. 39. An Island Pond, Near Newport, R. I. Loaned by Mr. John Hill Morgan. 40. Mount Lafayette, N. H. Loaned by Mr. Herbert L. Pratt. LA LARGE, JOHN (1835-1910) Figure, flower and landscape painter, eminent also as a mural painter and as a designer of stained glass windows. He occu- pied a studio in New York for some years and was elected a member of the National Academy in 1869. 41. Adoration. 42. Adoration. 43. Angel of the Sun. 44. Female Centaur. 45. Head of the Angel of the Annunciation. Property of the Brooklyn Museum. MARTIN, HOMER D. (1836-1897) Native of Albany, N. Y. With the exception of a few weeks study under William Hart, early in his career, he was entirely self-taught as an artist. For many years he had a studio in New York City. He became a National Academician in 1875. 46. Ontario Sand Dunes. 47. Normandy Coast. Property of the Brooklyn Museum. 48. Sunset. Loaned by Mrs. Henry L. Quick. MIGNOT, LOUIS R. (1831-1871) Born in Soutli Carolina. He spent some years in study in Holland; upon his return lived in New York, and ivas made a member of the National Academy in 1859. Ltpon the secession of his native state from the Federal Union in 1861 lie removed to London, where he spent the rest of his life. 49. Niagara. Loaned by Mr. Arthur S. Fairchild. MILLER, CHARLES H. (born 1842) Born in New York. Studied medicine, and graduated in 1863. During his medical course he painted occasional pic- tures, and first exhibited at the National Academy in I860, “The Challenge Accepted.” In 1864 he went to Europe, and again in 1867, visiting the art centers, and finally settling in Munich, where he remained three years, and became a student of Professor Lier and of the Bavarian Royal Academy. He made frequent excursions to Dresden, Vienna and Berlin. He became National Academician in 1875. 50. Sunset at East Hampton. lioaned hv the artist. Female Centaur John La Farge MINOR, ROBERT C. (1840-1904) Born in New York; studied art in Paris under Diaz, and in Antwerp under Van Luppen, Boulanger and others, travel- ing through Germany and Italy for some time. His studio was in New York, and he exhibited at the National Academy, in Brooklyn, Chicago, and elsewhere in America. 51. On the Upper Thames, Conn. 52. The Creel. Property of the Brooklyn Museum. NEWMAN, ROBERT L. (1827-1911) “ ... is a colourist in tlie sense of the old masters. He ex- cels in ricliness and satiety of separate tones, and is clever in bringing them into proper relationship. His Madonnas, Red Riding-Hoods, reading girls, classical figures with animals, ‘Christ walking on the Sea,’ etc., are colour dreams pure and simple.” (From Sadakichi Hartmann’s History of American Art) 53. Madonna and Child. Property of the Brooklyn Museum. 54. Landscape avith Woman and Child. 55. Christ Saving Peter. 56. Two Girls with Dolls. 57. Mother and Child and Two Children Presenting a Lily. 58. Head of a Girl. 59. Girls Reading. 60. Children Playing. 61. The Fortune Teller. Loaned by Mr. Nestor Sanborn. PARTON, ARTHUR (1842-1914) Born at Hudson, N. Y. ; studied under William T. Richards of Philadelphia, spending his professional life in the City of New York. He went to Europe in 1869, and returned to America the next year; he was elected an Associate of the Na- tional Academy in 1872. 62. Misty Morning. Coast of Maine. Property of the Brooklyn Museum. RICHARDS, WILLIAM T. (1833-1905) Born in Philadelphia; in 1835 he went to Europe, spending a vear in study and observation in Florence, Rome and Paris. In 1856 he opened a studio in Philadelphia, and in 1866 re- turned to Europe for a sliort visit. He was an Honorary Member of the National Academy of Design and an Associate Member of the Water-Color Society. 63. On the Coast of New England. Property of the Brooklyn Museum. ROTHERMEL, PETER F. (1817-1895) “He was brought up as a surve 3 ^or, and did not devote him- self to the study of art until he was twenty-one years of age. In 1840 he began the active practice of his profession by the painting of portraits. In 1856 he went to Europe, spending some time in the art centers of the Continent, painting his first historical picture, and later making that class of subjects a specialty. He was commended for excellence in historical painting.” (From Clement and Hutton’s “Artists of the Nine- teenth Century,” Vol. II.) His “Battle of Gettysburg” is now in the Pennsylvania State Capital. 64. The Martyrdom of St. Agnes. Loaned by Mrs. William H. Fox. RYDER, ALBERT P. (1847-1917) “ . . . This effect is heightened in Ryder’s works by his execution, by his manipulations of paint and varnish as sub- stances capable of being made beautiful in themselves, as well as in pattern and color. Some of them suggest the lacquer work of Korin, as when a red stag flees through dark depths of varnish beneath a streak of yellow sky, or patches of silvery, moon-lit cloud spot against the deep blue behind a brown tree.” (From Samuel Isham’s History of American Painting) 65. Autumn’s Goeden Pathway. 66. Evening Glow, The Old Red Cow. 67. The Grazing Horse. 68. Moonrise. 69. The Sheepfold. 70. The Shepherdess. 71. Summer’s Fruiteul Pasture. 72. The Waste oe Waters is Their Field. Property of the Brooklyn Museum. 73. Horse in Stall. Loaned by Mr. A. Augustus Healy. SHIELDS, THOMAS W. (born 1849) A Canadian painter in the United States. Born at St. John’s, New Brunswick, of English parents ; resident of Brook- lyn; devoted to historical and classical subjects; pupil for three years of the N. A. D. under Prof. Wilmarth. He studied ten years abroad under Gerome, Carolus-Duran, Jukes Lefebvre and others. 74. Mozart’s Requiem. Loaned by the artist. TILTON, JOHN ROLLIN (born 1883) Born in London, N. II. He has been a close student of the Venetian school of painting, especially of Titian, but is a gradu- ate of no art acadeniy, and has studied under no master. His professional life has been spent in Italy, chiefly in R omc. 75. Paestum. Property of the Brooklyn Museum. ULRICH, CHARLES FREDERIC (1858-1908) “ ... is known for his conscientious studies of the labour- ing class of our manufacturing era, like his ‘Glass Blowers,’ and his ambitious ‘Promised laind,’ representing immigrants arriy- ing at Castle Garden, treated with all the strength and skill of the best German art of this kind, though rather restless in colour.” (From Sadakichi Hartmann’s “History of American Art,” Vol. II) 76. Head of an Old IMan. Property of the Brooklyn Museum. VAN ELTEN, KRUSEMAN (1829-1904) Born in Alkmar, Holland ; Associate of the National Acad- emy, New York; and member of the American Society of Painters in Water-Colors. Medals at Amsterdam in 1860, and at Philadelphia in 1876. He was instructed in drawing in his natiye town, and in 1 844 went to Haarlem and studied painting under C. Lieste and other masters. His professional life has been spent in Haarlem, Amsterdam, Brussels, and New York, and he has made sketches in Germany, Austria, Switzerland, France, and England. 77. Landscape. Property of the Brooklyn Museum. VEDDER, ELIHU (horn 1836) Born in New York; hccamc a pupil of T. II. Matteson at Sherbourne, N. Y. After some years spend in Italy iu‘ ojicncd a studio in New York for a short time, hut has remained in Italy the greater part of his life, where he still resides. 78. An Enigma of the Sea. Loaned by Mr. S. S. ( umniins 79. Rome, REPRESENTATiyp. of the .\ins. (Design for Imncttc in Boydooi ( ollege) I’roperty of the Brooklyn .Museum. WYANT, ALEXANDf:R H. (1836-1892) Born in Ohio ; began his professional career as a landscape painter in Cincinnati. He spent some years in Diisseldorf, wliere he studied under Hans Gude ;subsequently he studied in London, and rturned to America, settling in New York in 1864 or ’65. His first picture, exhibited in New York, “A View of the Valiev of the Ohio River,” was at the National Academy in 1865. ' 80. A Grky Day. Loaned by Mr. William A. Putnam. 81. Kkexe Vaiu.ey. 82. Mooniught and Frost. Property of the Brooklyn Museum. UNKNOWN ARTIST. 83. Portrait of Abraham Lincoln. This portrait is supposed to have been painted by a French artist visiting the United States during the Civil War. The original owner was a French resident of Washington, D. C. Property of the Brooklyn Museum. Children on the Beach Winslow Homer THE BROOKLYN INSTITUTE OF ARTS AND SCIENCES BROOKLYN MUSEUM Eastern Parkway Brooklyn, N. Y. The Museum is open from 9 a. m. to 6 p. m., Monday to Saturday (inclusive). Thursday evening, from 7:30 to 9:45. Sunday after- noon, from 2 to 6. The Museum is free to the public, except on Monday and Tuesday, when the admission is 25 cents for adults and 10 cents for children under 16 years. Free on all Holidays even when these fall on Monday or Tuesday; free to teachers with their classes at all times, including pay days. The collections of the Museum comprise Exhibits in the Fine Arts, in Natural Science and in Ethnology. The services of the Docent are available by appointment to per- sons desiring guidance in visiting the Museum. Address the Docent also for information relating to special privileges extended to teach- ers, pupils, and art students; for the use of classrooms, and of the Museum’s collection of lantern slides. The Museum Library containing more than 22,000 volumes is open for reference daily from 9 a. m. to 5 p. m., on Sunday from 2 to 6 p. M., and Thursday evening from 7 :30 to 9 'AS. The publications of the Museum comprise the Museum Quar- terly Review, the Annual Report, Memoirs of Art and Archasology, Memoirs of Natural Science, Science Bulletins, and Catalogues and Guides relating to the collections on exhibition.