The Comprehensive Keith
The Hundred Year History of the Saint Mary’s College Collection
of Works by William Keith
The Comprehensive Keith
The Hundred Year History
of the Saint Mary’s College Collection
of Works by William Keith
Text by:
Alfred C. Harrison, Jr.
Jeanne McKee Rothe and Andrea Rothe
Julian Billotte
Editor:
Carrie Brewster
Hearst Art Gallery
Saint Mary’s College of California
2011
The Hearst Art Gallery is accredited by
Contents
Preface and Acknowledgments 1
The Art of William Keith, Alfred C. Harrison, Jr. 3
Introduction 5
Chapter 1 Childhood, Schooling, Career as Wood Engraver, Early Works 8
Chapter 2 Düsseldorf to Munich, Keith’s Early Maturity 22
Chapter 3 Munich, Portraits, Late Period Landscapes
54
William Keith Chronology, Alfred C. Harrison, Jr.
88
William Keith and the Conservation of His Paintings, Andrea Rothe and Jeanne McKee Rothe 99
The Art and Conservation of Gilded Frames, Julian Billotte
107
Catalog of the William Keith Collection of Saint Mary’s College of California
114
Abbreviations Used in the Catalog and Essays 200
Biographical Information on the Contributors 201
Traveling Exhibitions and Individual Loans of Works by William Keith from the Saint Mary’s College Collection
202
Cross-Reference of Works by Title
207
Cross-Reference of Works by Accession Number
212
Index 217
Introduction
More than twenty years have passed since William Keith: The Saint Mary’s College Collection was published, and the time has come to take a new look
at the career of one of the San Francisco Bay Area’s leading nineteenth-century artists. In the intervening years, some new paintings have come to
light and more scrutiny has been given to the artist’s relationship with two of his most influential friends, John Muir and Rev. Joseph Worcester.
Muir was the cheerleader for the paintings of Keith’s early maturity that depict nature’s grandeur, and Worcester helped Keith find a new aesthetic
in his later, more subjective exploration of spiritual values underlying natural appearances.
In 1988, disappointment was expressed at the absence of a Keith exhibition organized by a major museum, and sadly, twenty- three years later, we
still await such an event. As this is written, however, several Keith paintings are on display in the American galleries of San Francisco’s de Young
Museum, which was not the case in 1988, and appreciation for mainstream American landscapes of the late nineteenth century has gathered steam
over the last twenty years. It is only a matter of time before Keith comes into his own.
As was noted in the first book, Californians are sensitive to the fact that they live far from the cultural mainstream, which leads them to overprotect
themselves from the charge of provincialism. Californians think of themselves as citizens of the world, but an unfortunate byproduct of that attitude
is the neglect of significant homegrown talent, itself a form of provincialism. This question is worth raising at the beginning of an essay on Keith,
because the artist himself was victimized by this provincial disdain for local culture. “When a great man is wanted,” he wrote in 1895, “California
looks eastward for him… California has lost the faculty of seeing the wealth at her own door, even as the East long ago began to look still further
east for its wants in arts and literature…” And yet Keith himself was constantly looking—and traveling—eastwards, not only to New York, but
also to the art centers of Europe. He was eager for his paintings to stay abreast of art fashions. The various changes seen in his work, particularly
the shift from a topographical to a subjective emphasis in landscape, were in conformity with general art trends of the period. The same transition
can be seen in the works of Keith’s friend, George Inness, and in the changing styles of other leading artists of the period like Homer Dodge Martin
and A.H. Wyant.
Throughout his career, Keith was influenced by the strong art personalities of his environment—in the early days by San Francisco’s leading painters
of the 1860s, Charles Nahl and Frederick Butman and paintings in the Hudson River School style by Albert Bierstadt. After his first trip to Europe,
Keith injected elements of the Barbizon aesthetic into Hudson River School subjects, like sublime mountain scenes, creating an original and distinctive hybrid style. As mountains faded from popularity along with the artists who painted them, Keith focused his attention on more humble and
generic or “subjective” scenes—peacefully grazing cattle surrounded by California live oaks that resembled the oaks of the Forest of Fontainebleau.
Both cows and oaks, seen in the gloom of early evening, were the stock-in-trade of the Barbizon painters. In the 1880s and 1890s, landscapes in the
Barbizon style were at their peak of popularity in America. All through his career, both in his mountain scenes and subjective paintings, Keith had
a genius for evoking an emotional response from his audience through the manipulation of light. Nineteenth-century critics often praised his works
for being “poetic,” an adjective that meant “emotionally appealing” when applied to paintings. Many of us today, in a vastly different and more
secular cultural context, continue to be moved by his vision of nature. His paintings have passed the test of time.
William Keith, “The Future of Art in California,” San Francisco Call, Dec. 25, 1895, p. 2.
2 Compare Martin’s and Wyant’s early and late works in Fifty-eight Paintings by Homer D. Martin by Dana H. Carroll, New York, 1913; in Sixty Paintings by Alexander H. Wyant by Eliot
Clark, New York, 1920.
With a Wreath of Laurel, 1900-1911, oil on cardboard, 15 ¾ x 20 inches. Collection of the Hearst Art Gallery, Saint Mary’s College of California. Gift of Cochrane Browne, Jr. 0-154.
Chapter One
Childhood, Schooling,
Career as a Wood
Engraver, Early Works
William Keith was born November 21, 1838, in the
small village of Oldmeldrum, not far from Aberdeen in northeastern Scotland. His father, who had
become prosperous as a draper and cloth merchant,
died several months before the birth, and his mother
found herself unable to cope with the new baby.
Keith was raised by his maternal grandparents,
named Bruce. His grandfather was a pillar of the
church at Craigdam where they lived and was sufficiently well off to feed elderly farmers in need of
charity after church every Sunday. Brother Cornelius
characterizes Grandfather Bruce as “gruff and really
stern and solemn—a typical old-time Presbyterian,”
while Grandmother Bruce was a soft-hearted woman who liked to spoil young William. Life with his
grandparents must have been somewhat happy for
the boy, since he ran away from his mother to rejoin
his grandparents when he was brought to live with
her at age eight.
Many sources give 1839 as Keith’s birthday, notwithstanding
the fact that he celebrated his seventieth birthday in 1908.
Brother Fidelis Cornelius, Keith: Old Master of California, New
York, 1942 (hereafter “BFC”), p. 1.
Ibid., p. 2.
7 Ibid., p. 3.
Anonymous, Portrait of William Keith (to my father’s friend Abe
Gump), n.d., photograph, 6 ¾ x 5 ⅜ inches. Collection of the Hearst
Art Gallery, Saint Mary’s College of California. Gift of Brother F.
Cornelius Braeg, F.S.C. 95.14.
Chapter Two
Düsseldorf to Munich, Keith’s
Early Maturity
Keith left San Francisco in early September of 1869 “to perfect
his knowledge of art”101 by visiting New York and Paris and
studying in Düsseldorf. In October he was in Maine “studying the beautiful autumnal effects, before offering any work in
New York or going to Europe.”102 The Keiths, with son, Charlie,
and their daughter Mary Hortense (“Tennie”), born in 1868, were
visiting with Lizzie Emerson Keith’s family in Damariscotta. The
exact date of the departure for Düsseldorf is not known, but they
were definitely settled in that city by February of 1870.103
By 1870, Düsseldorf was fading as the leading art city in Europe.
In its heyday, the 1850s, Emmanuel Leutze had presided over
the American art colony there, where such talented young painters as Albert Bierstadt, Worthington Whittredge and Sanford R.
Gifford had come to study. Keith was probably mindful of the
central role Düsseldorf had played in the training of these artists, and his friend, Charles Nahl, must have urged him to study
there. Also, the Düsseldorf Gallery had been a celebrated part
of the New York art world when Keith was growing up in that
city.
Typical Düsseldorf-style paintings feature meticulous, detailed
images with a high degree of “finish,” paint very thinly applied
101 “Local Art Items,” San Francisco Bulletin, Sept. 10, 1869, p. 3. 102 “Local Art Items,” San Francisco Bulletin, Oct. 12, 1869, p. 3.
103 Tennie Keith was born on January 4, 1868, according to entry dated “May 11,
1934” in “Brother Fidelis Cornelius Braeg, F.S.C. Collection Detail Sample of
Correspondence Content,” Saint Mary’s College, Moraga, CA, p. 21. For
Keith’s presence in Düsseldorf, see “Art Matters,” San Francisco Chronicle,
Feb. 17, 1870, p. 3.
Anonymous, Portrait of William Keith, 1870s, printed 1945, photograph, 6 ⅛ x 4 ¼
inches. Collection of the Hearst Art Gallery, Saint Mary’s College of California.
Gift of Brother F. Cornelius Braeg, F.S.C. 95.19.
22
Chapter Three
Munich, Portraits,
Late Period Landscapes
By the end of the 1870s, art patronage in San Francisco
had shrunk, and artists were hard-pressed to make a
living. Also, as noted before, landscape art, especially
grandiose mountain scenes in the Hudson River School
style, were increasingly seen as outdated relics of the
past. William Keith was aware of these circumstances and
decided that he needed to expand his repertoire in order
to survive. There always would be a market for portraits.
San Francisco native, Theodore Wores, a young artist who
had returned from studying in Munich, rented a studio
next to Keith’s in the Mercantile Library Building, and
filled Keith’s ear full of stories of Munich. Keith decided to
go there to learn figure painting.224
In September of 1883, the Keiths traveled to New York and
then to Connecticut and the Berkshires in Massachusetts
before going to Washington, D.C. At the Corcoran Gallery,
Keith found little to admire among the American paintings
on display, dismissing Kensett as showing “a great deal of
labor thrown away,” Church as “mock heroic” and Bierstadt as “theatrical and false.”225 The Hudson River School
stars no longer commanded respect. Later on in the trip in
Paris, Keith signaled his allegiance to the Barbizon School,
praising Jules Dupré’s landscapes as “so soft and yet so
strong” and dismissing the academic style of Jean-Leon
Gérome as “cold, hard and finicky.”226
224 Letter from William Keith to Joseph Worcester dated Sept. 21, [1884],
letter 49, p. 121, in KM, “Europe Letters.” See footnote no. 12. 225 BFC, p. 116, and William Keith letter to Joseph Worcester quoted
in BFC, p. 140. 226 William Keith letter to Joseph Worcester quoted in BFC, p. 141. Photograph of William Keith. Collection of the Hearst Art Gallery, Saint
Mary’s College of California. Gift of Mrs. Mary McHenry Keith.
54
William Keith Chronology
1838 William Keith born in Oldmeldrum, Scotland. (Some twentieth-century sources erroneously give his birthdate as
1839. Although no birth certificate has survived, the artist celebrated his seventieth birthday in 1908).
1850 Moves to New York with his family. Attended school in New York City.
c. 1855 Works briefly in lawyer’s office in New York.
1856 Apprenticed to William Roberts, New York City, to learn the trade of wood engraving.
c. 1857 Employed as a wood engraver by Harper Brothers.
1858 Journeys to Scotland and England. Did wood engravings for the London Daily News.
1859 Moves to San Francisco to pursue the trade of wood engraving.
1862-63 Forms partnership with wood engraver and watercolor artist Harrison Eastman. Eastman and Keith’s offices at
Montgomery and California Street, San Francisco. Keith’s dwelling at 1123 Clay Street.
1863 Takes lessons in oil painting from Samuel Marsden Brookes.
1864
Marriage to Elizabeth Emerson. Dissolves partnership with Eastman. Dwelling at 1018 Powell Street, San Francisco.
1865 Forms partnership with wood engraver Durbin Van Vleck. Offices at 611 Clay Street, San Francisco. Dwelling at 20
Clarence Place near Townsend Street. Son Charles Van Vleck Keith born.
1866 Visits Yosemite in July. Exhibits watercolors for sale at Roos Gallery.
1867 Moves to Oakland, offices remain at 611 Clay Street, San Francisco. June trip to Donner Summit, paints near Cisco.
1868 Daughter Mary Hortense “Tennie” Keith born on January 4. Exhibits oil painting at Niles Gallery in January. Goes
to Pacific Northwest in the summer on sketching tour to fulfill railroad commission. Rents studio at Mercantile
Library Building on Bush Street between Montgomery and Sansome, San Francisco.
1869 August: holds exhibition and auction sale of 33 paintings to raise money for European trip. Paintings sell for
$1517.50. September: goes to Maine and New York City. Departs for Düsseldorf, Germany.
1870
In Düsseldorf. May: visits Paris. August: outbreak of Franco-Prussian war. Leaves Düsseldorf for tour of Italian
lakes, may have visited Cologne and Munich. November: back in the U.S. at Damariscotta, Maine.
Right: Hetch Hetchy Valley, 1907-1910, oil on canvas, 16 x 24 inches. Collection of the Hearst Art Gallery, Saint Mary’s College of California. 0-177.
88
William Keith and the Conservation of His Paintings
As a master landscape artist of the 19th century, William Keith’s techniques were generally of such high standards that, in the 143 years since he
began to create his paintings, his works have survived well. However, even the most carefully executed painting can succumb to the ravages of
time and ill-handling. Regardless of how well a work is technically painted initially, the environment in which it is displayed or stored and the
care it receives all have an effect on its later condition. Over time, some paintings will inevitably require cleaning or repair to damaged areas and a
thorough understanding of the artist’s materials and techniques is required before a conservator can begin to work on a painting in need of care.
Materials and Techniques Used by Keith in Making a Painting
Supports Used
The most common support
Keith used for his oil paintings
was a piece of canvas that
was stretched onto a wooden
framework or stretcher. Stretchers have wooden “keys,” or
wedges that, when placed into
slits in each corner and hammered slightly, expand the
stretcher and keep the fabric
taut (Photo 1). If tautness is not
Photo 1: Wooden stretcher keys
Photo 2: Shattuck stretcher keys
Photo 3: Stamp of canvas maker
maintained in a canvas, many
cracks can form in the paint
film as it ages. In addition to stretchers with wooden keys, Keith also used stretchers with metal keys designed by Aaron Draper Shattuck in 1883
(Photo 2). These were in production until 1917—a useful piece of information when attempting to determine the date of a painting.
An accomplished and successful painter, Keith was able to afford to buy his canvases from
various commercial canvas makers. On the reverse of many Keith paintings you can see their
names in the form of a stamp. Canvas makers named M.D. Nile (Photo 3) and Snow and Roos
were the two most commonly used by Keith. They provided pre-stretched canvases covered
with a ground, or primer, that coated the fabric so that it would not absorb the oil paint and
created a smoother surface for the pigment. In his later paintings, Keith would paint a dark
brown or dark green layer over this ground. This established a middle tone that would allow
him to paint just the lights and darks to quickly block out a landscape.
In his studio, Keith preferred to paint on canvas but would occasionally use a wooden panel.
While working outdoors, he often painted on canvas but also made quick, small studies on the
lids and bottoms of wooden cigar boxes (Photo 4). Wanting to capture the moment quickly, Keith
100
Photo 4: Quick sketch on wooden cigar box panel
The Art and Conservation of Gilded Frames
The application of a thin layer of gold to the surface of an object is
known as the art of gilding. The earliest known examples of gilding
were Egyptian, though many texts worldwide referred to objects being
overlaid with gold. The use of gilding, until relatively modern times,
was religious and reached its height in the European altar pieces of the
Renaissance. The technique of gilding has changed little in 5,000 years.
Even today, the gilded frame is primarily crafted by hand. Gilding’s
main modern applications are on picture frames and architectural
enhancements.
The frames surrounding each of the paintings in the Keith Collection
at Saint Mary’s College exemplify the popular styles of the mid 19th
and early 20th centuries, from the opulent splendor of the Gold Rush
city of San Francisco in the 1870s to the mellow tones of the Arts and
Crafts movement in the Bay Area at the beginning of a new century.
The original frames on Keith’s earlier landscapes were generally big
and bold. The gaudy styles of the late Victorian era demanded wide
and heavily decorated frames. The gilding was as bright as possible so
Ornate frame with damaged corner that shows the build-up of gesso or compo over wood base frame
A few of the gilder’s tools: gold leaf, gilder’s knife, leather pad for cutting leaf and gilder’s tip
as to reflect the light from gas lamps and illuminate the surface of the
painting. Carved areas of the frames were accentuated with contrasts
of matte and burnished areas of gold. Design influences were drawn
from all parts of European culture; some shops produced more stylized
designs while others leaned towards the more traditional. Over time,
as craftsmen mixed styles from the Old World and combined them
with new American stylistic trends, a uniquely West Coast style slowly
emerged.
The ornate frames of the 19th century were primarily constructed of
wood and plaster. Sometimes, surface embellishments were created
with castings made from a composition material called “compo,” a
mixture of rabbit-skin glue, chalk and resin. When this material was
warmed, usually with steam, it became pliable and was formed easily
into detailed ornamentation that was glued to the base frame. The
ornate frame was brushed with a thinned liquid made from rabbit-skin
108
Biographical Information on the Contributors
Alfred C. Harrison, Jr.
After ten years as a private collector and researcher, Alfred Harrison assumed ownership of the North Point Gallery in 1985. He is a lecturer and author of
many articles on early California paintings as well as monographs on William Keith, L.P. Latimer, and Thaddeus and Ludmilla Welch. In 2006, he wrote an
essay and catalog entries for California Impressions: Landscapes from the Wendy Willrich Collection, published by the Fine Arts Museums of San Francisco. He
is currently at work on a history of nineteenth-century California painting and a monograph on John Ross Key. Alfred Harrison was the guest curator for
“The Golden Age of Yosemite Painting, 1859-1930, A Centennial Tribute,” at the Transamerica Pyramid Lobby, San Francisco, CA in 1991 and “Before the
Bridge: 19th Century Paintings of the Golden Gate,” Transamerica Pyramid Lobby, San Francisco, CA in 2000. He also curated the San Francisco venue of the
Gilbert Munger retrospective at The North Point Gallery in 2004 and the Bolinas Museum’s “Pastoral California: The Art of Thaddeus and Ludmilla Welch”
in 2007.
Andrea Rothe
Andrea Rothe received his training at the Uffizi Restoration Laboratories in Florence, the Bavarian State Galleries in Munich, and the Kunsthistorisches
Museum in Vienna. He became the head of the Conservation Group in Palazzo Pitti, working mainly for the Italian State in churches and museums for
the regions of Florence, Siena, Arezzo, Urbino, and Naples. During the summer months, he became teaching assistant to the painter Oskar Kokoschka as
well as instructor of painting techniques at the Summer School of Vision in Salzburg. After moving to the United States, he became head of the Paintings
Conservation Department and later was named Paintings Conservator for Special Projects at the J. Paul Getty Museum, Malibu and Los Angeles, where he
retired after twenty-one years. Presently he is self-employed, working together with his wife Jeanne McKee Rothe for various galleries, museums, and private
collectors in the Bay Area. Andrea Rothe has lectured, and is the author and co-author of various publications, on painting techniques.
Jeanne McKee Rothe
Jeanne McKee Rothe trained in art conservation at the Art Conservation Program in the Winterthur Museum, University of Wilmington, Delaware, and
received an M.S. degree in Art Conservation, majoring in painting with a minor in paper. Previously, she held the position of Associate Curator at the Norton
Simon Museum, Pasadena CA, and was responsible for the examination, condition, and conservation treatment of all works of art including all paintings,
Degas pastels, and outdoor sculptures such as those by Rodin and Maillol. Presently, Jeanne is a self-employed art conservator in San Francisco and San Mateo,
working primarily on 19th and early 20th century paintings for institutions such as Saint Mary’s College in Moraga, the Bancroft Library of the University of
California at Berkeley, the Iris and B. Gerald Cantor Arts Center for the Visual Arts at Stanford University, the Society of California Pioneers in San Francisco,
Notre Dame de Namur University in Belmont, and for many galleries and private collectors. She is currently working on 14th century gold-ground paintings
with Andrea Rothe, and doing authentication and research of important American and European paintings for various buyers and sellers.
Julian Billotte
Julian Billotte has been a gilder and conservator of gilded objects for twenty years. Since l994 he has owned and operated Capricho Studios. He trained with
Joel Hoyer at the Louvre Frame Shop in San Francisco and studied wood carving with Agrell and Thorpe in Sausalito. In 1997, he traveled to Mt. Athos in
Greece to study Icon Restoration with Fr. Paul Politis at the Skiti of Saint Andreas. In 2000, he was invited back to gild an altarpiece for the monastery of
Dionysou. Since then, Capricho Studio has completed many large jobs, including gilding the dome of the Church of All Russian Saints in Burlingame, the
Governors’ Ballroom at the Academy Award Complex in Hollywood, and most recently, the restoration of 40,000 sq. ft. of the ceiling at the historic Anza
Branch of the San Francisco Public Library. Since 2004, Julian has worked to maintain the frames for the Keith Collection at Saint Mary’s College and, in 2006,
he was guest curator for an exhibit highlighting the frames and frame conservation of the Keith Collection. Other clients have included the City and County
of San Francisco, SFMOMA and San Jose State University, as well as galleries and private collectors.
201
Traveling Exhibitions and Individual Loans
of Works by William Keith from the Saint Mary’s College Collection
1907
Exhibition
Macbeth’s Gallery (New York, NY)
1940
Exhibition
World’s Fair, Treasure Island (San Francisco, CA)
0-34
0-147
Golden Evening
Polemics
1958-74Extended Loan Oakland Museum of California (Oakland, CA)
0-165
Moonlight Near San Rafael
0-166
1961
William Keith’s 50th Anniversary
Oakland Museum of California (Oakland, CA)
de Young Museum (San Francisco, CA)
0-12 0-18
0-32 0-34
0-63
0-71 0-80 0-90
0-91
0-98
0-112
0-116
0-131 0-147
0-165
0-177
0-268
0-282
0-528
1962
Stinson Beach
Mount Lyell, California Sierra
Klamath Lake
Memories
Golden Evening
End of Day
Napa Valley, Springtime
Misty Morning Near Sitka
Sierra Forest Stream and Sunny Peaks
High Sierra Canyon
Klamath Lake
Dazzling Clouds
Sunrise, Columbia River
Moonrise Among the Oaks
Polemics
Moonlight Near San Rafael
Hetch Hetchy Valley
Shasta All in Snow
Silver Gray Sky Near Munich
After the Storm: Nature Refreshed and Revived
Exhibition
Santa Barbara Museum of Art (Santa Barbara, CA)
0-4
0-12 0-19
In the Santa Cruz Mountains
Mount Lyell, California Sierra
Glacial Meadow and Lake, High Sierra (Tuolumne Meadows)
0-80
0-157
0-166
Misty Morning Near Sitka
Alaska: Inland Passage
Stinson Beach
1968-83Extended Loan
LaSalle College Art Gallery (Philadelphia, PA)
0-528
After the Storm: Nature Refreshed and Revived
1972
The Color of Mood, American Tonalism, 1880-1910
California Palace of The Legion of Honor (San Francisco, CA)
0-165
Moonlight Near San Rafael
1976
Exhibition
Sonoma County Museum (Santa Rosa, CA)
1976
A Selection of American Paintings
Mission San Francisco Solano (Sonoma, CA)
1978
George Inness Landscapes: His Signature Years, 1884-1894
Oakland Museum of California (Oakland, CA)
1979
Exhibition
Fine Arts Museums of San Francisco Downtown Center (San Francisco, CA)
0-44
0-19 0-99
0-147
0-178
0-111
0-47
0-101
0-178 0-477
Mount Tamalpais, Golden Morning
Glacial Meadow and Lake, High Sierra (Tuolumne Meadows)
Sketch: San Francisco Bay
Polemics
Yosemite Valley with Bridal Veil Falls
Twilight Hour
Dr. Charles Blake
High Sierra, Yosemite
Yosemite Valley with Bridal Veil Falls
The Sweep of Tuolumne Meadows with Lembert Dome and Mounts Dana and Gibbs
1981
Exhibition
Hastings College of the Law (San Francisco, CA)
0-17
0-47
202
Woodland Scene with Cows and Pond
Dr. Charles Blake
Index
A
“A Broadside of Mount Tamalpais” 23
“After the Storm: Nature Refreshed and Revived” 74, 75, 158, 202,
203, 204, 206, 207, 215
“A Gray Day: Grand Oak Dell” 183, 207, 212
“Alaska: Inland Passage” 60, 145, 202, 204, 205, 207, 214
“A Romance” 78, 194, 207, 215
“Autumn-Colored Trees, New Hampshire” 6, 7, 129, 204, 207,
214
“Autumn Reverie” 182, 207, 213
Aberdeen 8
Adams, Ansel and Virginia 39, 121
Adams, Charles 195
Alaska 59, 60, 92, 93, 145, 161
Alexander, Mary B. 6, 47, 50, 95, 129, 130, 131, 132, 134, 135
Alioto, Angelina Genaro 189
Alta California 12, 20, 25, 29, 34, 37, 45, 46, 49, 64, 122, 126, 128,
134
American Landscapes: Selections from the Permanent Collection
(HAG exhibition) 117, 122, 124, 125, 133, 148, 173, 179
An Infinite Storm of Beauty: The Life and Achievements of John
Muir, a Scottish Voice for the Millennium (City Art Centre, Edinburgh, Scotland exhibition) 124, 125, 127, 128,
198, 205
Antwerp, Belgium 55, 67, 92, 93
Argonaut 49, 50, 81
Arkelian, Marjorie Dakin 16, 25, 71
Art in California 5, 14, 19, 85
Art Journal (London) 28
A Selection of American Paintings (Mission San Francisco Solano
exhibition) 127, 128, 139, 202
Asphaltum 101
A Tale of Two Scots: North to Alaska (HAG exhibition) 117, 145,
146, 148, 161, 175
A Tale of Two Scots: The Mountains of California (HAG exhibition) 118, 121, 122, 123, 124, 158, 167, 171
Auction 20, 23, 37, 49, 61, 81, 86, 88, 90, 92, 94, 96, 117, 129, 196
Avery, Benjamin 14, 16, 17, 19, 20, 23, 28, 33
Avery, Samuel P. 14, 25
Bancroft Library 9, 12, 85, 200, 201
Barbizon School 5, 16, 25, 27, 29, 33, 37, 39, 42, 46, 47, 49, 54, 58, 63,
66, 67, 68, 69, 70, 72, 76, 78, 82
Barker, Timothy L. 129, 132, 134, 135
Bedford, Peter B. 135
Beede, Ruby 197
Bell, Mary 9, 66
Berkeley Gazette 78, 81
Berkshires, Massachusetts 54
Best, Judge J.T. 35
Bicoastal Artists of the 1870s (HAG exhibition) 117, 118, 121, 122,
123, 124, 125, 129, 130
Bierstadt, Albert 5, 19, 22, 23, 25, 28, 30, 32, 33, 34, 37, 54, 70
Big Sandy River 17
Billotte, Julian 1, 107, 112, 201
Bitumen 67, 101, 102, 103
Blake, Reuben Lloyd 154
Blanchard Gallery, Los Angeles 82
Bohemian Club 35, 60, 93, 177
Borglum, Gutzon 149
Boston Advertiser 28, 30, 37
Boston Courier 12
Boston Evening Transcript 11, 12, 26, 27, 28, 29
Boston Sunday Budget 46
Boston Sunday Times 25, 26, 27
Brackenbury, Ina 69, 78, 156
Brady, Mr. and Mrs. William J. 60, 145
Braeg, Herman Emanuel - see Brother Cornelius
Brauer Museum of Art 47
British War Relief Shop, San Francisco 161
Brookes, Samuel Marsden 12, 88
Brooklyn Museum 34
Brother Cornelius, F.S.C. 1, 6, 8, 9, 11, 12, 13, 17, 22, 32, 33, 37, 42, 50,
61, 85, 96, 174, 189, 190, 200
Brown, Arthur 16
Brown, George Loring 11
Browne, Jr., Cochrane 5, 47, 126, 136, 147, 148, 188
Buehler, Dr. William O. 71, 171
Burk, Mr. and Mrs. Jack 153
Burnham, Daniel 58, 61, 62, 78, 93, 94, 172
Burnham, Mrs. Daniel H. 78, 155
Burnishing 108, 109, 110, 112
Bush, Norton 20, 61, 72
Butman, Frederick 5, 12, 13, 14, 17, 19
Butterfield and Butterfield 17, 81
Byrne, Rt. Rev. J.M. 155
B
“Barn Interior” 131, 203, 204, 206, 207, 215
“Bathers” (Inness) 69
“Bay Area Landscape” 36, 37, 39, 118, 207, 216
“Beethoven: Edge of Wood” 185, 207, 212
“Black Oak Study, Lake County, California” 132, 205, 207, 212
“Bright Sky Beyond Dark Brown Landscape” 179, 207, 214
“Brilliant Yellow Clouds Against Deep Blue Sky and Dark Woods”
181, 207, 213
“Brown Hillside, Cloudy Sky” 153, 204, 207, 214
“Bullfrog Lake In Sierra” 172, 203, 204, 206, 207, 215
“Burst of Light in Sky” 160, 204, 205, 207, 214
Baldwin, Annette 179
C
“California Alps” 33, 35, 36, 90, 91
“California Landscape - Meadow with Sheep and House” 160, 204,
206, 207, 215
“California Pastoral Landscape” 198, 207, 216
“Canal at Dachau” (Currier) 63
“Cattle at Edge of Meadow” 92, 153, 203, 207, 214
“Coast Range, Early Evening Glow” 86, 87, 118, 207, 214
“Crossing the Plains” (Bierstadt) 19
“Crystal Springs” 17
Cairns, Helen M. 149
Calden, Mary 116, 126
217
California’s Native Grandeur: Preserving Vanishing Landscapes
(Nature Conservancy traveling exhibition) 132, 167, 205
California missions 51, 52, 53, 91, 92, 137
Callow, James T. 16
Canvas on board 182
Carlson, Mr. and Mrs. David 156, 171
Carr, Ezra and Jeanne 29
Casilear, John W. 11
Central Pacific Railroad 17
Chiaroscuro 56
Chicago, Illinois 58, 61, 62, 66, 72, 92, 93, 96
Church, Frederic Edwin 11, 13, 33, 54
Cigar box panel 100, 153, 164, 189, 190, 197
Cisco, California 16, 17, 115
Clark, Celia Tobin 68, 152
Clay Street, San Francisco 35, 88, 91, 116
Cline, I.M. 62
Cohen, Herman 148
Colby, William E. 81, 172, 180, 182, 191
Cole, Joseph Foxcroft 27
College purchase 14, 30, 53, 74, 115, 116, 122, 137, 149, 158, 161, 172,
186, 195, 199
Columbia River 17, 19, 64
Compo 108, 109, 112
Connecticut 54
Conservation 1, 99, 100, 103, 107, 108, 111, 112, 201
Conservation treatment 117, 118, 124, 125, 127, 128, 132, 134, 135,
137, 149, 155, 156, 158, 162, 167, 171, 173, 184, 201
Constable, John 72, 77, 78
Contra Costa Times 116, 126, 135, 173
Cook, Clarence 43, 45, 64
Corcoran Gallery 54
Corot, Jean-Baptiste-Camille 27, 39, 40, 58, 64, 69, 182
Courbet, Gustav 56
Coyle, James J. 164, 176
Craigdam, Scotland 8
Crawford, Helen 168
Crocker, Charles 16, 24
Crocker, Judge E.B. 24, 25, 33
Crocker Art Museum, Sacramento 24, 26, 86, 206
Currier, J. Frank 55, 57, 58, 61, 62, 63
D
“Dazzling Clouds” 69, 156, 202, 203, 204, 205, 207, 213
“Deep Forest Interior” 165, 203, 204, 207, 213
“Discovery of San Francisco Bay” 76, 93
“Discovery of San Francisco Bay” (Arthur Mathews) 76, 93
“Donner Lake” 42, 43, 93, 124, 204, 205, 206, 207, 215
“Donner Lake from the Summit” (Bierstadt) 33
“Dr. Charles Blake” 57, 154, 202, 203, 204, 207, 212, 215
“Dreamy Russet Trees and Meadow with Bright Evening Sky” 183,
207, 213
Damariscotta, Maine 22, 25, 88
Daubigny, Charles-François 63
Day, Henry L. 162
Day, John C. 163
Del Monte Gallery 128
Del Monte Hotel 66, 68, 93
De Ponte, Durant 62