George Bellows Memorial Exhibition i tyof The cost of publishing this Catalogue has been met, in the main, by friends of the Artist's. IN organizing a memorial exhibition of the works of George Bellows, the Trustees of the Museum have wished to do honor to an American artist of high distinction and unusual versatility, whose powers were just reaching their full maturity when he died, although they had already received wide recognition. That it has been possible to illustrate the remarkable variety of his interests so fully and by such notable examples is due to the generous responses of those who were asked to lend, to whom the Museum gratefully acknowledges its indebtedness, as well as to the members of the special committee in charge of the exhibition for their helpful cooperation. It is under especial obligation to iVMessrs. Robert Henri and Eugene Speicher, who, with Mrs. Bellows and our Curator of Paintings, selected the works to be exhibited, and to Mr. Frank Crowninshield for his preparation of the Catalogue and its Introduction. For the Trustees, EDWARD ROBINSON, Director New York, N. Y., September 25, 1925. ujvpyriglit Ailieu kOunl George Bellows From a photograph made in September, I924 The Metropolitan Museum of Art _ Memorial Exhibition of the Work of George Bellows New York October 12 through November 22 I925 Copyright I925 by The Metropolitan Museum of Art Committee on the Exhibition FRANCIS C. JONES, Chairman GIFFORD BEAL EDWIN H. BLASHFIELD BRYSON BURROUGHS A. STERLING CALDER JOHN JAY CHAPMAN MIss MABEL CHOATE FRANK CROWNINSHIELD RANDALL DAVEY PAUL DOUGHERTY WILLIAM J. GLACKENS MRS. MEREDITH HARE ROBERT HENRI WILLIAM M. IVINS, JR. LEON KROLL MRS. DE ACOSTA LYDIG GEORGE B. LUKS PAUL MANSHIP GARI MELCHERS CHARLES A. PLATT EDWARD ROBINSON JOHN SLOAN EUGENE SPEICHER MRS. HARRY PAYNE WHITNEY FRANCIS WILSON Lenders to the Exhibition ALBRIGHT ART GALLERY, BUFFALO ART INSTITUTE OF CHICAGO MRS. GEORGE W. BELLOWS MUSEUM OF FINE ARTS, BOSTON BROOKLYN MUSEUM CARNEGIE INSTITUTE, PITTSBURGH J. S. CARPENTER STEPHEN C. CLARK CLEVELAND MUSEUM OF ART COLUMBUS GALLERY OF FINE ARTS EDWARD COYKENDALL DETROIT INSTITUTE OF ARTS MRS. PETER GLICK MRS. CHARLES W. GOODYEAR MRS. J. J. KERRIGAN ADOLPH LEWISOHN MUSEUM OF HISTORY, SCIENCE AND ART, LOS ANGELES HOWARD B. MONETT ROBERT TREAT PAINE, 2ND MISS JULIA E. PECK RANDOLPH-MACON WOMAN'S COLLEGE RHODE ISLAND SCHOOL OF DESIGN MRS. CHARLES WETHERILL MACDUFF SMITH JOHN T. SPAULDING TOLEDO MUSEUM OF ART MRS. HARRY PAYNE WHITNEY Contents Committee on the Exhibition 7 Lenders to the Exhibition 8 Introduction I Brief Biography 22 Catalogue of Oil Paintings 23 Catalogue of Drawings 33 Catalogue of Lithographs 35 Reproductions: Paintings 39 Reproductions: Drawings I05 Reproductions: Lithographs] 19 Introduction* EORGE BELLOWS, during his nineteen years of work, painted exactly as he pleased. He paid no heed to what, at the moment, was lucrative or fashionable; sought no distinguished patrons; adopted no cliches; and flew, with singular persistency, in the face of public taste. Some of his critics, after a few years of guidance, gave him up, a little in despair. He painted, they said, "ugly" things; he had no "suavity, elegance or grace"; he was motivated by the tastes of the "average" man; he was "crude." And yet, today, nine months after his death, Europe is asking for a loan exhibition of his work; writers are preparing monographs; his lithographs are being sought out as if they bore the name of Daumier or of Delacroix; the British Museum is beginning a collection of his prints; while dealers, museums and patrons of art have begun to pay for his work what the artist himself would have deemed fantastic prices. And, finally, the Metropolitan Museum of Art bestows upon him the highest honor which can be accorded an American painter, an honor heretofore attained by nine only of our native masters, Whistler, Winslow Homer, Chase, Thomas Eakins, Ryder, Abbott Thayer, George Fuller, F. E. Church and Alden Weir. Note, however, one thing; that the men so recognized by the Metropolitan Museum were all vouchsafed from twenty-five to thirty more years in which to accomplish their labors than were allotted to Bellows. Note also that it was during the final twenty-five years of their lives that their most significant work was accomplished. The example of Winslow Homer is a pertinent one. Had Homer died, as Bellows did, at the age of forty-two, the world would know him not at all; for it was not until his forty-fourth year that he turned, whether at Gloucester, Tynemouth or Scarborough, his inspired attention to the sea. This tribute by the Metropolitan Museum to a painter who made anarchy so much of an avocation, and who paid such negligible heed to "schools" and the ratified formulae of art, should hearten every vigorous and original young painter in America. * A short biographical sketch of George Bellows will be found on page 22 of this catalogue. II Introduction "The proof of an artist," Walt Whitman has explained, "is that his country absorbs him as affectionately as he has absorbed it." On all sides there are auguries and portents to indicate that America has begunand with some little measure of affection-to absorb George Bellows. This far-reaching change in our attitude toward him as a painter, is a phenomenon that rests, not upon a single cause, but upon a diversity of reasons. It is to those reasons that this note of introduction must address itself. The Man Himself FIRST of all, there was Bellows himself, a young man coming to New York, in I904, fresh from college in Ohio. His father was a builder and architect in Columbus, Ohio. To put too much emphasis on the word Ohio, however, would be a little misleading, for the painter was not, in a true sense, a product of that state, his people having derived from the Montauk end of Long Island, where his grandfather had been a whaler of renown. When Bellows arrived in New York he was without sophistication, patrons or means. His practice in art had been limited to a few illustrations in his college paper. In appearance he was tall, shambling and a little ungainly. By nature he was of a firm and elevated character; determined, enthusiastic and honest to the point of bluntness. He liked, inordinately, baseball, music and reading. He was interested in every manifestation of the painter's art. He reacted quickly to the welter of life in New York and was soon absorbed by it. But New York never quite mastered him. Year in and year out, the city, it is true, intrigued, energized and inspired him, but it failed in any essential respect to alter his nature or his simple creed of living. In the democracy of his feelings, the tangential nature of his enthusiasms and the homeliness of his character, he remained precisely what he had been when he left college. He had lived in New York but a short time before he encountered Robert Henri. That meeting, Bellows would tell you, was the most fortunate incident in his career, for, during the next twenty-one years, Henri was to lend him great aid, first as a teacher, then as a philosopher, champion and friend. It was Henri who first felt the heat of his initiative; who urged him to express his personality, net; and to trust im12 Introduction plicitly his aesthetic reactions. It was his early training under Henri that largely determined the direction of Bellows' talents. The two men continued to feel and to think about art in the happiest concord, but the depth and duration of their friendship rested not alone upon that, but upon the similarity of their views with respect to ethics, conduct and character. When Bellows, in I906, began exhibiting his canvases, the trite and the sentimental were qualities in art that seemed to be in the ascendant. The task that confronted him was to counteract the super-refinement of the day-the too great literalness and banality of it-and to impose upon it what measure of gaiety, invention and sincerity he could summon to his command. Fortunately, however, the crusade did not need to be waged single-handed, as Henri, Sloan, Glackens and Luks had been waging it valiantly before the younger man's arrival upon the scene. At the very beginning of his career the art museums of America,began correctly to appraise his stature as an artist. In I908, two years after the completion of his first canvas, a painting by him found its way into the permanent collection of the Pennsylvania Academy. Shortly after that a river landscape of his was acquired by the Metropolitan Museum of Art. At the age of twenty-seven he was elected an Associate of the National Academy of Design, the youngest painter ever to be so recognized. Even his first-year canvases (I906) had been looked upon with enough favor to be exhibited in New York. (Three of these-full of a singular maturity and authority-are included in this exhibition: the Cross-Eyed Boy (p. 41), Portrait of My Father (p. 53) and Early Standing Nude (p. 45).) Notwithstanding those early signs and intimations, however, ten years were to elapse before Bellows was to meet with anything like financial success. During all those years he was never beyond the reach of poverty. As time went on Bellows began more and more to embody the geography and democracy of our country. For one thing, he never set foot in Europe. All of his reactions, all of his emotional qualities, were derived from America; from the soil, sky, wind and water which he knew and observed so well. Many explanations have been offered for his continued refusal to leave America, the simple truth being that the call to leave was too faint, the need to stay too strong. 13 Introduction But if the continent of Europe was never to receive him, in propria persona, he none the less paid devoted pilgrimages to the works of such of its masters as were represented in American galleries. To Tintoretto, Titian, Hals, Velasquez, El Greco, Goya, Daumier and Manet he bowed the knee in particular idolatry. But from the 'work of the more modern Europeans-the contemporary painters of France, let us sayhe seemed to derive no tonic or influence. His Removal from European Influences His imperviousness to the modernistic European painters is attested by the fact that, during the nineteen years of his painting, Cezanne, Picasso, Matisse and Derain became paramount figures in the world of art. During those same years the great Independent show at the Armory in New York (so brilliantly conceived and consummated, in 1913, by Arthur B. Davies) descended like a thunder-clap upon American art. Post-Impressionism, Cubism and Futurism, became, if not triumphant, at any rate rampant in America. Further, the so-called intellectual art of Germany was everywhere being exposed to view. The air was literally charged with these men and these movements. Bellows saw them all unfolding before him and seemingly enveloping the world. He not only saw them but respected them. He never railed at, nor derided them; but, for all that, they failed to alter his personal and self-directed course. But Bellows became the most characteristically "native" of our painters, not because he avoided Cubism and the movements that came with it, nor because he lived in America, but because his emotions, tastes and personal quality remained so purely and so completely American. If we, as a people, are restive, conglomerate, incautious, humorous, intolerant of prescriptions, inclined to bravura, so, also, are the paintings of George Bellows. Indeed, the native quality in him was so intense and so immediate that he seemed able-although here we are venturing a little into the realm of insoluble theory-to imbue his method of painting itself with a character quite unmistakably un-European. In some of his later oils, particularly such as The White Horse (p. 85), Jean, Anne and Joseph (p. 97), and the Picket Fence (p. 103), (his last canvas), this theory of the American-ness of his technique seems to receive something very like confirmation. I4 Introduction Bellows was blessed with the tastes of the simple, natural man. Those tastes included such widely diversified predilections as circuses, prayer meetings, basket-ball, picnics, old ladies, band concerts, swimming pools, ball games, river excursions, prize-fights, little children. When face to face with such scenes and subjects his emotions-his aesthetic appetite, even-seemed immediately to become aroused. It should be explained, at this juncture, that, while his tastes in living remained normal and simple, his taste in matters of art, music, literature and drama had always shown itself to be fastidious and recondite. Simplicity of His Tastes AND this leads us to recall that what Roger Fry once said of Renoirboth as a painter and as a man-is so precisely applicable to Bellows that we may be forgiven for quoting it at length. Mr. Fry begins by pointing out that the few painters, or writers, who have shared the tastes of the natural or average man, have as a rule been, like Dickens (to take the most obvious instance), very imperfect and very impure artists, no matter how great their genius. "But what is so very peculiar about Renoir," Mr. Fry continues, "is that he had a perfectly ordinary taste in things and yet remains so intensely, so purely an artist. He was so much an artist that he never had to go around the corner to get his inspiration; the immediate, obvious, front-view of everything was more than sufficient to start the creative impulse in him. He enjoyed, instinctively, almost animally, all the common good things of life, and yet he always kept just enough detachment to feel his delight aesthetically. He kept, as it were, just out of the reach of appetite. More than any other great modern artist, he -trusted implicitly to his own sensibility; he imposed no barrier between his own delight in certain things and the delight which he communicates. He liked, passionately, the obviously good things of life, the young human animal, sunshine, sky, trees, water, the things that everyone likes; only he liked them at just the right distance and with just enough detachment to replace appetite by emotion. But what gives his art so immediate, so universal an appeal is that his detachment went no further than was just necessary. His sensibility is kept at the exact point 15 Introduction where it is transmuted into emotion. In all his work, he could trust recklessly his instinctive reactions to life." An admirable portrait of George Bellows! The critics who have attempted to find an exact counterpart for Bellows in art, have, with singular persistence, pointed to Honore Daumier. The likeness may at first seem striking, but it remains wide of the mark in three respects. First, the greater warmth of the American; second, the absence in him of anything malicious, macabre or maladif; and, finally, his greater preoccupation with reality; for the types and visions which Daumier has noted down for us remain a good deal more exaggerated, spectral and unsubstantial than those which haunted the eyes of Bellows. But, between Bellows and the painters of America, resemblances become still more vaporous and blurred. In casting about for a counterpart to Giotto, the Italian historians were forced to find it in Dante. Similarly if we would discover the precise American prototype for Bellows-both with regard to his beauties and defects-we must select a figure, not from our art but from our literature; the figure, to be explicit, of Walt Whitman. Walt Whitman, and the Crowd A COMPLETE review of the qualities shared by these two Americans would be a long one, but of a few of them mention must certainly be made. There is, for instance: their insistent Americanism; the mysterious and dilating energy of their creations; their personal assertiveness and flourish; their zest in chanting the hymn of Democracy; their distrust of outworn forms; their hatred of fashion and all the enervating elegances; their preoccupation with commonplace objects and pleasures and their rooted attachment to "vast-darting and superb-faced Manhattan." It might be said of Bellows, as it could certainly be said of Whitman, that his defects included a too implicit belief in the value of first impressions; a robustness and gusto often stressed at the expense of grace; a tendency to overburden his canvases; and a too insistent note of bravado. But these defects in the two men will, upon examination, be discovered to be the infallible associates-the necessary complementsi6 Introduction of the very qualities in them which make them great; their boldness, candor and initiative; their passionate interest in the natural man; their hatred of the "mode"; and their absolute and entire originality. He was perhaps the first of our painters-as Whitman had been the first of our writers —to pay anything like inspired attention to the city or the crowd, though Sloan, Shinn and Luks had all been similarly attracted -but to a less intense degree. The universe, to him, was distinctly a peopled vision. Man was always the primary datum or unit. From that unit he proceeded rapidly, in human multiples, to the group or crowd. He became singularly expert in conveying the feeling of motion in the crowd. To such a scene he was able to impart an almost fluid quality, as if his aim had been to uproot the principle of growth in living forms, and translate it into design. The creative impulse in him was always tugging at his sleeve. Anything or anybody, apparently, served to energize him-a subject in his studio, out of the window, down the alley, in a book. To this generalization there was only one exception! Bellows was always suspicious of subjects that were "charming" or "graceful." He never painted "chic" women, or "pretty" girls. Portrait painting, of the current or fashionable type, interested him not at all. The word "mode" meant nothing to him and he refused to permit sitters, dealers or friends to impose it on him. His taste in subjects leaned always toward the native and authentic, as though the task of the historian were linked, in his mind, with that of the painter. In connection with this national and authentic quality in his art, it may not be amiss to recount the following anecdote. The Director of the Luxembourg Museum, in Paris-chancing to be in New Yorkwas not long ago conducted through the galleries of the Metropolitan Museum of Art where the work of two hundred and thirty of our American painters is now exposed to view. He strolled idly about among the canvases, the authors of so many of which had borrowed from Europe not only their aesthetic viewpoint but their schooling and method of painting as well. The visitor was polite, affable even, but not astonished. Suddenly, before the group of marines by Winslow Homer, he stopped, abruptly. "Ah! that," he said, with some emphasis, "is an American." The contention is here made that the visiting Director would infallibly have experienced the same reaction before a group of pictures by George Bellows. I7 Introduction An Authentic Historian INDEED, he is, among our native painters, the most authentic of American historians, so great is his sense of character, his gift for making us see, in a single group or portrait, an entire social class, a rounded social epoch. Take, for example, his portrait of Mr. and Mrs. Philip Wase (p. 94). Does not this canvas constitute a complete chapter in the history of the United States? Does it not put before us all that is left, in America, of Puritan austerity and rigour? How completely we are made to feel the discipline and self-denial, not only in the two people before us, but in thousands like unto them. How simply the patience and dignity of Mrs. Wase is suggested! In other portraits of his, such as Aunt Fanny (p. 80), Mrs. T. in Wine Silk (p. 76), Elinor, Jean and Anna (p. 88), and in the impressive series of Emma portraits, the artist has particularly stressed this note of dignity and compassion in the American woman. The paintings by him which achieved the most immediate and widespread popularity were the six fine oils devoted to the sport of prizefighting-Sharkey's, Introducing John L. Sullivan, Dempsey-Firpo, Club Night, Ringside Seats, and Both Members of This Club. Some of these canvases are to be seen in this exhibition. Of the six mentioned, Dempsey-Firpo (p. 102) was the last to be completed. Much has been written concerning his alternating, almost dual sense of color. In his earliest period-and this we may attribute to the influence of Henri-he was painting a good deal in black and white and the earth reds and yellows. Later he strove for more brilliance of color, but only if it could be achieved with some semblance of sobriety; as if he were working with El Greco and Daumier in mind. For many years he continued to confine himself-however resonant the results accomplished-to a comparatively low tonal scale, a scale in which rich blacks, subtle blues, warm grays and dull greens played conspicuous parts. But as the years went by he pitched his color harmonies in an increasingly high key. Particularly at the end of his life did his palette become more crowded, his color more completely orchestrated. This almost chronological intensification of his color was demonstrated at the small exhibition of his works, held, a month after his death, at Durand-Ruel's. The canvases there shown included only his most recent I8 Introduction works. A single glance at them sufficed to show us how radically he had departed from the muted palette of his earlier periods. Witness, in proof of this contention, the unbelievably "singing" quality of The Picnic (p. 99). Lithography A CONSIDERABLE group of Bellows' lithographs and drawings will be found, as a part of this exhibition, in the Print Gallery. As a lithographer, Bellows had no equal in this country. Curiously enough, during the first ten years of his career, lithography attracted him not at all; but it was destined, during the last nine years of his life, to absorb an immense amount of his attention. His first lithograph was entitled Village Prayer Meeting (p. 120). It was drawn on the stone in 1916, in New York, and was frankly inspired by a sketch which he had previously made on Monhegan Island, Maine. As he continued to work in the medium he found it more and more suited to his nature. He seemed always to derive a pleasurable thrill from the feeling of the crayon on the stone. He achieved, in lithography, a gallery of one hundred and seventy prints, covering such a wide variety of subjects as satirical portraits, street scenes, nudes, disasters, family groups, prize-fights, shipwrecks, electrocutions, allegories, and many of the turbulences and agitations of city life. He seemed to feel, in selecting his subjects for lithography, -just as he had felt in painting,-that it was the duty of the competent artist to attempt any subject that came along, to explore any and every field of emotion; to attack it boldly and not be afraid of it, even if, at the bitter end, the problem refused to be quite mastered. He believed, with Fenelon, that nothing is more difficult to attain than facility. When he began his experiments with the stone, lithography had come into such disfavor that our graphic artists, dealers and collectors alike had deserted it in order to concentrate their attention on etching; more particularly on the etchings of Rembrandt and Whistler. But Bellows felt that a medium which had so satisfied Daumier, Corot, Gavarni and Delacroix was certainly worthy of his reverent attention. He did a great deal to bring the stone back into popular favor, and was aided in the task by his friend Bolton Brown, who printed, for the painter, a great many of his lithographs. 19 Introduction His Drawings His drawings considerably outnumber his lithographs, but only a small proportion of them could be included in this show. He did very few out-and-out illustrations; among them a series of drawings for The Wind Bloweth, a novel by Donn Byrne, and another series for Men Like Gods, a romance by H. G. Wells. The Wells drawings only appeared in connection with the serial publication of the story and not in its final form as a book. However, half a dozen of them were later redrawn and published as lithographs. (It might be explained here that this was a not unusual practice with Bellows. When he found himself particularly attracted by a subject he liked to render it in two, sometimes even in three, mediums. A journey through the two galleries which house this exhibit will reveal several of these "counterfeit presentments" of his.) With etching and water-color he felt no kinship at all. He made one essay only in etching; enough, apparently, to convince him that it was unsuited to his nature and needs. One of his very few water-color drawings, it may be explained, is to be seen in this exhibition (p. IO6). Pastel he was leaving-as Manet did-for a later period in his career. With regard to the volume and variety of his work, it must be explained that-astonishing as it may seem-the paintings, lithographs and drawings in this exhibition, though they might seem to constitute a full life's labor, do, as a matter of fact, represent only half of his completed creations. Another exhibition of precisely the same size could, save for lack of wall-space, have been assembled. The amazing variety of his canvases is shown, not only in their subjects but in the range of their emotional contents. Note how some of them are tragic, how others are gay, haunting, tumultuous, humorous or tender. And that is not all. What is even more baffling is the way in which two, sometimes three emotions, emanate from a single canvas; how a perturbed and agitated scene becomes, of a sudden, abstract and indirect; how satire and pathos are mingled; how horror and naYvete are sometimes juxtaposed, and how, most of all, energy and tenderness are welded and made one. 20 Introduction Notwithstanding the fact that Bellows, at the time he died, was turning out work of the first importance and with the greatest enthusiasm, he was making all manner of plans for the future. He had arranged for new work and fresh experiments in many directions, even for a series of heroic mural decorations, a task on which his heart had long been set. For Bellows was that rare product-a painter who was always studying, always experimenting, always wanting to assail new eminences. His death was nothing short of a tragedy. But it may console his friends to remember that, during his entire career, he worked with enthusiasm and heart; that the lyrical quality which we detect as an undertone in so much of his work was born directly of the happiness which he had felt in creating it; and that success came to him, at last, on his own terms, without his yielding to the demands of public taste and with no thought of monetary gain. We believe that the work of this painter-when the full panorama of it has been unrolled and estimated-will take its place beside the poetry of Whitman and the marines of Homer, and that the three will then be seen to constitute the most inspiriting, the most native and the most deeply flavored performances in American art. FRANK CROWNINSHIELD 21 A Brief Biography of George Bellows G EORGE WESLEY BELLOWS was born in Columbus, Ohio, August 12, 1882, the son of George and Anna (Smith) Bellows. He was a descendant of the Benjamin Bellows who migrated from England in I632 and founded Bellows Falls, Vermont. His father was an architect and builder in Columbus. The son attended the Ohio State University, leaving there in I904 to come to New York and study drawing and painting under Robert Henri. In I906 he opened a studio in New York and began by exhibiting three portraits in that year. In I908 he exhibited his first landscape in the National Academy of Design. It was awarded the second Hallgarten prize. He became an Associate of the National Academy of Design the next year, at the age of twenty-seven, the youngest man ever to be elected an Associate. When twenty-seven, he became an instructor in life and composition classes at the Art Students' League-in I910. In 19I3 he was elected a National Academician. Meantime the Museums had begun to buy his works. One of his pictures went to the Metropolitan, another to the Pennsylvania Academy. Prizes and medals were awarded to him with increasing frequency, the list of them being a long one. On September 23, I9I0, he married Emma Louise, the daughter of William. E. Story of Upper Montclair, New Jersey. He had two daughters, Anne and Jean. His family life inspired many of his best canvases, whether of his mother, father, aunt, wife or children. His works were frequently exhibited abroad; in London, Paris, Berlin, Venice and Munich. He is represented in dozens of Museums and many private galleries. He lived, after his marriage in I9I0, at 146 East I9th Street in New York. His summers were spent at Monhegan, Maine, Ogunquit, Maine, Newport, Rhode Island, Camden, Maine, Carmel, California, Santa Fe, New Mexico, and Woodstock, New York. He was a member of many Art societies and clubs and had taken a particularly active part in the formation and welfare of the New Society of Painters. He died in New York City on January 8, I925. 22 Catalogue of Oil Paintings IT HE paintings in this exhibition are numbered-as they are likewise numbered in the following list-in their chronological order. Unless otherwise indicated they are on canvas, except a few which are on three-ply wooden panels. The paintings are signed "Geo. Bellows," or "Geo. Bellows-E.S.B." The dates of their composition are indicated after their titles. The sizes are indicated in inches, the height preceding the width. The names of the lenders, except that of Mrs. George Bellows, are noted with the titles of the exhibits. It has been possible to reproduce, in half-tone, all of the paintings in the exhibition and approximately a third of the drawings and lithographs. Separate lists of the exhibited drawings and lithographs will be found in this catalogue, on pages 33 and 35. I. Cross-Eyed Boy. I906 This is the artist's first portrait. The model was JIMMY FLANNIGAN, a newsboy and brother of "Paddy," whose portrait (No. 5) Mr. Bellows subsequently painted. It was in 1906 (the year in which the artist achieved the paintings numbered I, 2, and 3) that Mr. Bellows opened in New York his first studio and exhibited his first canvas. This was nearly three years after he had left Ohio State University and arrived in New York to study under Robert Henri. "Cross-Eyed Boy" was painted in New York during the summer of I906. H. 20; w. I6 inches. Reproduced on page 41. 2. Early Standing Nude. I906 The artist's first nude. Painted in New York; autumn. H. 72; w. 36 inches. Reproduced on page 45. 3. Portrait of My Father. I906 Mr. Bellows' father was an architect and builder in Columbus, Ohio. The portrait was painted in Columbus, during the Christmas holidays. H. 28; w. 22 inches. Reproduced on page 53. Lent by Howard B. Monett. 23 Catalogue of Paintings 4. Forty-Two Kids. I90o7 The first painting to be sold by the artist, four years after he began the study of art. Painted in New York, the East River; summer. H. 42; w. 60 inches. Reproduced on page 42. Lent by Mrs. Peter Glick. 5. Paddy Flannigan. I908 A New York urchin, brother of No. I-"Cross-Eyed Boy." Painted in New York; winter. H. 30; w. 25 inches. Reproduced on page 43. Lent by Miss Julia Peck. 6. Rain on the River. 1908 Painted in New York, Riverside Drive; winter. Honorable Mention, International Exposition, Buenos Aires, South America, I910. H. 32; w. 38 inches. Reproduced on page 44. Lent by Rhode Island School of Design. 7. Sharkey's. I909 This was the second of the artist's prize-fight paintings, of which there are six in all; it shows the interior of Tom Sharkey's club, where the ex-sailor and prize fighter presided over professional bouts. The artist subsequently made a lithograph of this subject, which is now the rarest of all his lithographic prints. Painted in New York; summer. H. 36; w. 48 inches. Reproduced on page 48. Lent by Cleveland Museum of Art. 8. Warships on the Hudson. I909 Painted in New York, Riverside Drive; autumn. First Prize, Newport Art Association, I918. H. 30; w. 38 inches. Reproduced on page 47. 9. The Bridge, Blackwell's Island. 1909 Painted in New York, East River; winter. H. 34; w. 44 inches. Reproduced on page 49. Lent by Toledo Museum of Art. io. Both Members of This Club. I909 Painted in New York; autumn, two months after "Sharkey's." H. 45; w. 63 inches. Reproduced on page 55. 24 Catalogue of Paintings I. Polo Game. 190o Painted in New York; spring; from drawings made at Lakewood. H. 45; w. 63 inches. Reproduced on page 46. Lent by Columbus Gallery of Fine Arts. I 2. Blue Snow the Battery. 9 10 Painted in New York, Battery Park; winter. H. 34; w. 44 inches. Reproduced on page 50. 13. New York. 191 Painted in New York, Fifth Avenue, Broadway and 23rd Street; winter. H. 42; w. 6o inches. Reproduced on page 57. I4. Evening Swell. 19 I Painted in New York from a smaller painting made during the previous summer on the Island of Monhegan, Maine. H. 30; w. 38 inches. Reproduced on page 5. I5. Men of the Docks. 1912 Painted in New York; winter. Sesnan Medal, Pennsylvania Academy, Philadelphia, 19I3. H. 45; w. 63 inches. Reproduced on page 59. Lent by Randolph-Macon Woman's College, Lynchburg, Va. 16. The Circus. 1912 Painted in New York; summer; from sketches made at a "Society" Circus at Montclair, New Jersey. Received Honorable Mention, Carnegie Institute, I9I3. H. 34; w. 44 inches. Reproduced on page 56. Lent by Robert Treat Paine, 2nd. I 7. Dr. William Oxley Thompson. 1913 Dr. Thompson was President of Ohio State University when Bellows left Columbus, Ohio, at the beginning of his senior year, in order to study art in New York. Maynard Portrait Prize, National Academy of Design, I9I4. Painted in Columbus, Ohio; winter. H. 80; w. 41 inches. Reproduced on page 62. 18. Cliff Dwellers. 1913 Painted in New York, lower East Side; spring. Third Prize, Carnegie Institute of Art, 1914. H. 40; w. 42 inches. Reproduced on page 54. Lent by Museum of History, Science and Art, Los Angeles. 25 Catalogue of Paintings 19. A Day in June. 1913 Painted in New York, Central Park; summer. Temple Medal, Pennsylvania Academy, Philadelphia, I917. H. 36; w. 48 inches. Reproduced on page 5 2. Lent by Detroit Institute of Arts. 20. Approach to the Bridge at Night. I913 Painted in New York; summer. Sketched from the Third Avenue Elevated Station at Canal Street late at night while the Manhattan Bridge was still under construction. H. 34; w. 44 inches. Reproduced on page 60. 2 I. Easter Snow. 1915 Painted in New York, Riverside Drive; Easter Sunday. H. 34; w. 44 inches. Reproduced on page 63. Lent by Mrs. Charles W. Goodyear. 22. Nude with Parrot. 1915 Painted at Ogunquit, Maine; summer. H. 40; w. 32 inches. Reproduced on page 66. Lent by Mrs. Harry Payne Whitney. 23. Granny Ames's House. 1916 Painted on the Island of Mattinucus, Maine; summer. H. I8; w. 22 inches. Reproduced on page 6 1. Lent by Mrs. J. J. Kerrigan. 24. Susan Comfort. i916 Painted in Camden, Maine; autumn. H. 22; w. i8 inches. Reproduced on page 65. 25. Crehaven. 1917 Painted in New York; winter; from a small painting previously made on the Island of Crehaven, Maine. H. 30; w. 44 inches. Reproduced on page 67. Lent by Mrs. Charles Wetherill MacDuff Smith. 26. The Sand Team. 1917 Painted in Carmel, California; summer. H. 30; w. 44 inches. Reproduced on page 64. Lent by Brooklyn Museum. 26 Catalogue of Paintings 27. Jean. I917 The younger of the artist's two daughters. Painted in Carmel, California; summer. H. 24; W. 20 inches. Reproduced on page 69. Lent by Adolph Lewisohn. 28. Padre. I917 Painted in Carmel, California; summer. Panel. H. 40; w. 32 inches. Reproduced on page 73. 29. Edith Cavell. 1918 Painted in Newport, Rhode Island; autumn. H. 45; w. 63 inches. Reproduced on page 71. 30. Fishermen's Huts. 1918 Painted in Newport, Rhode Island; autumn. Panel. H. 20; w. 24 inches. Reproduced on page 72. 31. Return of the Useless. 1918 French peasants returned by Germany as unfit for work. Painted in New York; autumn, just before the Armistice. H. 59; w. 66 inches. Reproduced on page 74. 32. The Studio. 1919 The artist's studio at 146 East i9th Street, New York. A portrait of the artist himself, his wife, posing; his daughters (Anne and Jean) playing on the floor; his mother-in-law and the maid at the telephone; the printer printing lithographs on the floor above. Painted in New York; winter. H. 48; w. 38 inches. Reproduced on page 68. 33. On the Porch. 1919 Painted in Newport, Rhode Island; summer. H. 30; w. 44 inches. Reproduced on page 70. 34. Emma, in the Black Print. 1919 The artist's wife. Painted in Newport, Rhode Island; summer. H. 40; w. 32 inches. Reproduced on page 75. Lent by John T. Spaulding. 35. Mrs. T. in Wine Silk. 1919 Painted in Chicago; winter. The artist spent two months in Chicago as an instructor at the Chicago Art Institute. H. 48; w. 38 inches. Reproduced on page 76. 27 Catalogue of Paintings 36. Waldo Pierce. I920 Painted in New York; winter. H. 53; w. 43 inches. Reproduced on page 79 -37. Cat and Pheasant. I920 Painted in Woodstock; spring. H. 16; w. 24 inches. Reproduced on page 77. 38. Spring, Gramercy Park. 1920 Painted in New York, from a drawing. H. 34; w. 44 inches. Reproduced on page 78. 39. Anne in White. I920 The artist's elder daughter. Painted in Woodstock, New York; summer. H. 53; w. 43 inches. Reproduced on page 93. Lent by Carnegie Institute of Art. 40. Aunt Fanny. I920 The artist's aunt, Mrs. Henry Daggett. Painted in Woodstock; summer. The National Arts Club Gold Medal, 192I. First Harris Prize, Chicago Art Institute, 1921. H. 44; w. 34 inches. Reproduced on page 80. Lent by J. S. Carpenter. 4I. Elinor, Jean and Anna. I920 Elinor is another name for the artist's Aunt Fanny; Jean is his younger daughter; Anna is the artist's mother. Painted in Woodstock; summer. Beck Medal, Pennsylvania Academy, Philadelphia, I922. First Prize, International Exhibition, Carnegie Institute of Art, I922. H. 59; w. 66 inches. Reproduced on page 88. Lent by Albright Art Gallery. 42. Pigs and Donkey. I920 Painted in Woodstock; autumn. H. I8; w. 22 inches. Reproduced on page 81. 43. The Hudson at Saugerties. I920 Painted in Woodstock; autumn. H. I612; w. 24 inches. Reproduced on page 82. 28 Catalogue of Paintings 44. Portrait of My Mother. 192I Painted in New York; spring; from another portrait of "My Mother" painted the previous summer in Woodstock. The room in this picture is the artist's childhood home in Columbus, as he remembered it. Logan Purchase Prize, Chicago Art Institute, I923. H. 38; W. 49 inches. Reproduced on page 86. Lent by Chicago Art Institute. 45. Portrait of Katherine Rosen. 192I The older daughter of Charles Rosen, the artist. Painted in Woodstock; summer. H. 53; w. 43 inches. Reproduced on page 83. Lent by Stephen C. Clark. 46. A Roumanian Girl. 192I Painted in Woodstock; summer. H. 44; w. 34 inches. Reproduced on page 58. Lent by Mr. Edward Coykendall. 47. A Boy. I92I Painted in Tuxedo Park; summer. H. 34; w. 30 inches. Reproduced on page 84. 48. The White Horse. I922 Painted in Woodstock; autumn. H. 44; w. 34 inches. Reproduced on page 85. 49. Introducing John L. Sullivan. I923 Painted in Woodstock; summer; from a lithograph of the same subject. Painted on a special paper and mounted scientifically.. 20; w. 20 inches. Reproduced on page 87. 50. Emma and Her Children. I923 The artist's wife and two daughters. Painted in Woodstock; autumn. Clark Gold Medal, Corcoran Gallery, Washington, 1923. H. 59; w. 65 inches. Reproduced on page o00. Lent by Boston Museum of Fine Arts. 5 I. The Crucifixion. 1923 Of this subject the artist first made a drawing, then a lithograph, and finally this painting. Painted in Woodstock; autumn. H. 59; w. 65 inches. Reproduced on page 96. 29 Catalogue of Paintings 52. Fisherman's Family. I923 The artist, his wife and daughter on Monhegan Island, Maine. Painted in Woodstock; autumn; from a smaller canvas. H. 38; w. 48 inches. Reproduced on page 92. 53. Emma, in Purple Dress. I923 Painted in Woodstock at intervals during a period of three years. H. 63; w. 51 inches. Reproduced on page 9I. 54. River Front, No. 2. I924 Another rendering of an earlier canvas. Painted in New York; spring. H. 45; w. 63 inches. Reproduced on page 90. 55. The Picnic. 1924 The artist, his family and Eugene Speicher at Cooper's Lake, Woodstock, New York. Painted in New York; spring; from a smaller canvas. H. 30; w. 44 inches. Reproduced on page 99. Lent by Adolph Lewisohn. 56. Ringside Seats. 1924 The artist first made a drawing of this subject, then a lithograph, finally this painting. Painted in Woodstock; summer. H. 59; w. 65 inches. Reproduced on page 89. 57. Dempsey-Firpo. I924 This subject was first treated as a drawing, then as a lithograph, and finally as a painting. It was the last of the artist's six prize-fight pictures. Painted in Woodstock; summer. H. 51; w. 63 inches. Reproduced on page o02. 58. Lady Jean. I924 The artist's younger daughter, Jean. Painted in Woodstock; summer. H. 72; w. 36 inches. Reproduced on page 95. 59. Venus. I924 Painted in Woodstock; summer. H. 51; w. 63 inches. Reproduced on page 101. 30 Catalogue of Paintings 60. Mr. and Mrs. Philip Wase. I924 Neighbors of the artist. Painted in Woodstock; autumn. H. 51; w. 63 inches. Reproduced on page 94. 6i. Two Women. 1924 A new treatment of Titian's theme: "Sacred and Profane Love." This is the last large canvas achieved by Mr. Bellows. It was first exhibited at the New Society of Artists on January 5, I925, three days before the artist's death. Painted in Woodstock; autumn. H. 59; w. 65 inches. Reproduced on page 98. 62. Jean, Anne and Joseph. 1924 The artist's two daughters, and Joseph Carr. Inspired by an earlier painting made at Newport, R. I., in I9I9. H. 32; W. 40 inches. Reproduced on page 97. 63. The Picket Fence. 1924 The last picture painted by George Bellows. Painted in New York, December, from a smaller and earlier picture called "The White Fence." H. 26; W. 38 inches. Reproduced on page I03. 3I Catalogue of Drawings Arranged in chronological order M R. BELLOWS was a prolific draughtsman. Of his drawings approximately a fifth have been selected for this exhibition. Only half of these have been reproduced in this catalogue-due solely to a lack of space. All of the drawings, with the exception of several anonymous loans, are the property of Mrs. George Bellows. TITLE DATE SIZE I. Polo at Lakewood 1910 H. 5s4" W. 19i3/ Reproduced on -page o6. 2. Drawing for the Cliff Dwellers 1913 19%2 18 Reproduced on page 107. 3. Drawing for lithograph, "The Model" 1917 I I 8 4. Sketch of Jean 1919 6 9 Reproduced on page og9. 5. Young Horse I919 2 8 3 8 6. Sketch for Portrait of My Mother 192I I162 I 02 7. Sketch for the Roumanian Girl 1921 II 4 8 8. Summer Landscape I92I 714 9 Reproduced on page Iio. 9. Victorian Lovers 1922 I9I/2 17 Reproduced on page i I i. o1. The Bouquet I922 934 934 33 Catalogue of Drawings TITLE I I.An 860 Lady I 2. Sketch for Portrait of Samuel Knopf I3. Donkey Cart Reproduced on page 113. I4. An Irish Lady Reproduced on page ro8. 5. Strange Visitors Reproduced on page zI7. 16. Portrait of Mrs. A. Reproduced on page I6. I7. Sketch of a Woman DATE 1922 I922 I922 I922 I922 1I922 SIZE 8 8Y2 7 I0 I8. Sketch for "The Violinist" 19. Ice Cream Store, Woodstock Reproduced on page 114. 20. Nude No. 15 21. Nude No. i 22. Head of a Woman 23. Nude Study (seated, seen from back) Reproduced on page I 2. 24. Nude Study (seated, in chair) Reproduced on page IS5. I923 I924 I924 I924 I924 1924 I924 I924 22 8 834 12 88A 6%4 5/2 434 12'4 7/2 634 1012 8 184 6 9 914 I08 II I0 434 8 9 34 Catalogue of Lithographs Arranged in chronological order G EORGE BELLOWS did not take up lithography until the year I916-ten years after he had begun exhibiting paintings in oil. Although he had less than nine years in which to work at lithography, he yet managed to achieve a total of 170 subjects in this medium. Of these, approximately a fifth were selected for this exhibition. Because of lack of space, only a negligible number (thirteen) of the exhibited prints have been reproduced in the catalogue. All of the lithographs in the exhibit are the property of Mrs. George Bellows. Bellows was fortunate in meeting Mr. Bolton Brown, an artist who had long given attention to lithography, and who knew everything there was to know about the technical side of the medium. In the year I921, five years after he began lithography, the artist induced Brown to assist him and to take charge of the actual printing of the lithographs which he had drawn on the stone. For four years this partnership continued. Shortly after Mr. Bellows' death, a show of 158 of his lithographs was held at the galleries of Frederick Keppel & Co., in New York. NO. OF TITLE DATE PROOFS SIZE I. Village Prayer Meeting 1916 77 H. I84" W. 22'4" The first of George Bellows' lithographs. Reproduced on page 120. 2. Artists' Evening 1916 65 834 12 The scene is Pettitpas' restaurant. It was managed by three French women and was the constant habitat of John B. Yeats, the father of W. B. Yeats. In the lithograph we see Mr. Yeats, pire, Robert Henri, the artist's wife and the artist himself. Reproduced on page 123. 3. Business Men's Class, Y.M.C.A. I916 64 I 2 174 4. Splinter Beach 19I6 70 15 2o 35 Catalogue of Lithographs.. TITLE 5. Benediction in Georgia 6. In an Elevator 7. The Old Rascal 8. In the Park (second state) 9. Electrocution o. A Stag at Sharkey's The rarest of the artist's lithot New York which was run b' Reproduced on page 121. DATE I916 I9I6 I9I6 NO. OF PROOFS 80 54 53 or 164 IO to4 I916 59 I64 1917 5I 8'8 I917 98 I834 graphs. The scene is the old r Tom Sharkey. I. Initiation in the Frat 1917 12. The Shower Bath I9I7 Reproduced on page 122. 13. Dance in a Mad-House I9I7 Reproduced on page 124. 14. Solitude I9I7 I5. Murder of Edith Cavell 1918 I6. Introducing the Champion I92I 17. Study of My Mother, No. 2 I92I 18. The Parlor Critic 192I I9. The Hold-up (first state) 192I 20. Sunday, I897 I92I 21. Portrait Arrangement -Emma 192I 22. MyFamily (2nd Stone) 192I Reproduced on page 25. 36 i6 I 04 36 16 69 i83 20% 8 9 21 712 24 boxing club in 1234 2334 24'2 1512 243/ 7 8 7 82 144 814 8 60 I7 uncertain 183 57 8 2 8'/2 23 38 42 1II54 12 63 56 11o I ~Y8 Catalogue of Lithographs TITLE 23. Jean 24. Legs of the Sea 25. The Black Hat 26. Old Billiard Player 27. A Knockout 28. Three Girls 29. Anne 30. Irish Grandmother 31. Study, Mrs. R. 32. Irish Town 33. The Crowd Reproduced on page 27. 34. The Law is too Slow 35. Billy Sunday Made when Billy Sunday was exhorter. Reproduced on page 126. 36. Portrait of John Carroll 37. The Return'to Life 38. The Irish Fair 39. Portrait of Julian Bowes 40. Amour Reproduced on page 128. 41. Jean NO. OF DATE PROOFS I92I 30 192I 53 514 8'2 I92I I92I I92I u I92I I92I I923 I923 I923 1923 55 I3 43 9.ncertain I514 64 II4 43 834 90 9 4 30 I32 23 I0o4 I8 I434 1923 26 I923 60 at the height of 18 9 his fame as LI%4 I8 19 SIZE 414 10 4 9 712 21 4 I378 8 4 8%4 10%4 8'8 II34 I6%4 a revivalist and 8'2 I4~ 20 4 8 I4 7 ight. 8,4 I923 I923 I923 I923 1923 42 40 84 45 8 52 1734 1923 58 9%4 A portrait of the artist's younger daughter at the age of ei Reproduced on page 130. 42. Anne 1923 56 934 37 Catalogue of Lithographs NO. OF DATE PROOFS TITLE 43. Punchinello in the House of Death 44. Allan Donn Puts to Sea Reproduced -on Page 129. 45. The Christ of the Wheel 4.6. Nude Study (woman Ilying on pillow) Reproduced on page I132. 47. Sketch of Anne 48. Auntie Mason and Her Husband 49. Sixteen East Gay Street 50. Nude Study (woman lying prone) 5i. Nude Study (girl standing Iwith hand raised to mouth) 52. Nude Study (woman stretched on bed) 53. Dempsey and Firpo 54. Old Irish Woman 55. The Journey of Youth 56. The Actress 57. Anne in her Black Hat 58. The Drunk 59.. Portrait of Eugene Speicher Reproduced on page 131. SIZE 1923 I923 6o '7 6 Y4 1 53/4 I'94 I 9 4 1923 6o i8 1924 2 53 1924 42 510 143Y4 91Y2 8 1924 I924 5'I 72 Io 91Y2 1924 38 43Y4 1924 40 12 1924 1 92 4 I924 1I92.4 1 924 I924 I924 32 103 67 49 43 40 35 I0 4 91Y2 1312 14' 2 9 9 113 4 123- 4 43Y4 91Y4 7/2 1I7 Y8 I I I12 ' 3 814 I924 50 38, Paintings All the paintings in this Exhibition have been reproduced in half-tone and will be found in this catalogue. These reproductions are followed by reproductions of twelve of the drawings and thirteen of the lithographs-a total of eighty-eight plates in all. I Cross-Eyed Boy IP o64 PAGE 41 4 Forty-Two Kids 1907 PAGE 42 5 Paddy Flannigan PAGE 43 6 Rain on the River 1908 PAGE 44 2 Early Standing Nude I906 PAGE 4Z I I Polo Game 1910 PAGE 46 8 Warships on the Hudson I1909 PAGE 47 7 Sharkey's 1909 PAGE 48 9 The Bridge, Blackwell's Island 1909 PAGE 49 1 2 Blue Snow; -the Ba'ttery 1910 PAGE 50 '4 Evening Swell 1911 PAGE 51 '9 A Day in June 1913 PAGE 52 3 Portrait of My Father 1906 PAGE 53 Cliff Dwellers 1913 PAGE 54 IO Both Members of This Club 1909 PAGE 55 i6 The Circus 1912 PAGE ~6 '3 New York 1911 PAGE 57 46 A Roumanian Girl I921 PAGE 58 15 Men of the Docks 1912 PAGE 59 20 Approach to the Bridge at Night 1913 PAGE 60 23 Granny Ames's House 1916 PAGE 6I 17 Dr. William Oxley Thompson 1913 PAGE 62 21 Easter Snow 1915 PAGE 63 26 The Sand Team 1917 I..... I PAGE 64 24 Susan Comfort I916 PAGE 65 22 Nude with Parrot 1915 PAGE 66 25 Crehaven 1917 PAGE 67 32 The Studio 1919 PAGE 68 27 Jean.19,17 PAGE 69 33 On the Porch 1919 PAGE 70 29 Edith Cavell I918 PAGE 71 30 Fishermen's Huts 1918 PAGE 72 28 Padre 1917 PAGE 73 3I Return of the Useless 1918 PAGE 74 34 Emma, in the Black Print 1919 PAGE 75 35 Mrs. T. in Wine Silk PAGE 76 37 Cat and Pheasant I920 PAGE 77 38 Spring, Gramercy Park I920 PAGE 78 36 Waldo Pierce I1920 PAGE 79 Copyright J. S. Carpenter 40 Aunt Fanny I1920 PAGE 8o 42 Pigs and Donkey I 920 PAGE 81 43 The Hudson at Saugerties I920 PAGE 82 45 Portrait of Katherine Rosen I921 PAGE 83 47 A Boy I1921 PAGE 84 48 The White Horse I922 PAGE 85 Copyright by Chicago Art Institute 44 Portrait of My Mother 1921 InA ' f- Qg 49 Introducing John L. Sullivan I923 PAGE 87 4I Elinor, Jean and Anna 1920 PAGE 88 56 Ringside Seats 1924 PAGE 89 54 River Front, No. 2 1924 PAGE 90 53 Emma, in Purple Dress 1923 PAGE 91 : 52 Fisherman's Family I923 PAGE 92 39 Anne in White I 920 PAGE 93 60 Mr. and Mrs. Philip Wase I924 PAGE 94 58 Lady Jean 1924 PAGE 95 5I The Crucifixion 1923 PAGE 96 Misin IPageR Mis IPageR 55 The Picnic 1 924 -PAGE 99 50 Emma and Her Children I924 PAGE I00 59 Venus I 924 - PAGE 101 57 Dempsey-Firpo I 9~24 PAGE I02 63 The Picket Fence (The Artist's Last Canvas) I924 PAGE 103 I Drawings I Polo at Lakewood 1910 PAGE io6 2 Drawing for the Cliff Dwellers I913 PAGE 107 I4 An Irish Lady I922 PAGE I08 4 Sketch of Jean 1919 PAGE o109 8 Summer Landscape 1921 PAGE I I0 9 Victorian Lovers 1922 PAGE I II 23 Nude Study; Seated. Seen from Back 1924 PAGE I I2 I3 Donkey Cart I922 PAGE II13 '9 Ice Cream Store, Woodstock 924 PAGE I 14 24 Nude Study. Seated in Chair I924 PAGE 115 i6 Portrait of Mrs. A. 1922 PAGE ii6 15 Strange Visitors I922 PAGE 117 Lithographs gli 'iii::::~i:s I Village Prayer Meeting I9I6 PAGE 120 IO0 A Stag at Sharkey's 1917 PAGE 121 12 The Shower Bath I917 PAGE 122 2 Artists' Evening I916 PAGE 123 I3 Dance in a Mad-House 1917 PAGE 124 22 My Family (Second Stone) I1921I PAGE I25 35 Billy Sunday I923 PAGE 126 33 The Crowd I 923 PAGE 127 40 Am'our 1923 PAGE I28 44 Allan Donn Puts to Sea I923 PAGE 129 0 I a3Vd fz6i uIf it 59 Portrait of Eugene Speicher I 924 PAGE I31 46 Nude Study, Woman Lying on Pillow 1924 PAGE 132 Of this Catalogue Two Thousand Copies were Printed by the Yale University Press under direction of Carl Purington Rollins in October, I925. Second Printing of Twenty-five Hundred Copies Printed in October, I925.