News Clippings - The Concord Art Association

Mary Ogden Abbott Exhibits
Superb Wood Carvings of Himalayan Subjects at Concord Art Center

[Publication?]

By Alice Lawtan

Seven years’ journeying around the world, clockwise, with two long seasons spent in Asia in the remoter regions of Baltistan and Ladakh, inspired much of the wood carving that Mary Ogden Abbott is exhibiting at the Concord Art Center, a superb and stimulating display. The craftsmanship is masterly, the visitor almost breathless with sheer delight, and in originality it is most refreshing.

During those seven years of travel Oriental art, particularly that of China and the western Himalayas, made a deep and lasting impression on this New England artist, arousing her enthusiasm to a high pitch. With her mother Miss Abbott explored the high Himalayas thanks to a license from the Game Preservation Department of Kashmir and the British joint commissioner of Ladakh permitting them to hunt in Baltistan and Ladakh. That pursuit of big game of those regions, ibex, markhor, sharpu, burrell, ammon and bear, also an acquaintance with Kiang or wild asses and yaks, with an occasional glimpse of the gigantic wolves, afforded subject material of the greatest and most unusual interest. As for the landscape itself she made but few sketches--its magnificence seeming to reduce any attempts to reproduce it to “unwarrantable cheek,” as she puts it.

Upon returning to Concord, however, Miss Abbot opened her studio and set to work, first embodying her memories in etching, later in wood carving. The results, as we see here in this gallery of the Concord Art Association, show a truly superb achievement.

Imposing Hunters’ Gate Most imposing of all is the great Hunters’ Gate of Burmese teakwood, nine feet high, each half 44 inches wide. On the front in each panel is a stylized oriental hunter, or shikari, seated cross-legged, the one at the left holding by a chain a pair of hunting cheetas, the other with Himalayan eagles for falconry. These, with decorative standards adorned by animal motifs, stand out against a background of conventionalized swirls suggestive of air currents.

Opening these gates one finds the reverse equally handsome. Here the scrolls are adorned with graceful birds, Himalayan choughs in flight. Also there’s a pair of striking and entertaining eagle latches. This hunters’ Gate is not only a superb and impressive piece of work as a whole but of interest in every detail. Note, for a few examples, the exquisite delicacy of the plumage of the birds, the decorative pattern of the hunters’ robes and then the swift sureness of the scrolls. That Miss Abbot knows her artistic anatomy well--she was a pupil of the late Philip Hale at the local Museum School--is immediately evident.

Across the gallery is the graceful “Goddess in Prima Vera,” a very lovely figure, six and a half feet in height, s uggested, we are told, by Sir Aurel Stein’s discovery in Central Asia of a quite Hebraic Kwan Yin. One visitor described this as a New England artist’s Kwan Yin--or goddess of mercy and compassion. Prima Vera, incidentally, is a Central American white mahogany. Note how at ease she stands, a stylized flamingo at either side. Again one is held spellbound by the beauty of both composition and carving, the exquisite rendering of the necklace for one detail, also the skillful handling of the grain of the wood.

Another outstanding piece of work is the cherry wood panel of racing animals, carved in high relief, both realistic and decorative in the rendering. This recently received an award from the Boston Society of Architects. Then there are smaller groups, each one a work of rare distinction. Occasionally gold leaf is applied for added adornment as, for example, to the cherry scrolls of “P [...torn...]” a group of tortured horses, which Miss Abbott calls “A memory of Pungulnala.”

Effective Background “Upper and Lower India,” a most skillfully composed group about 34 inches high, is carved in holly wood. As you study this note the effectiveness of the base, an interesting contrast in its simplicity and quietness to the lively action above. “The Black Mass,” or “Jeu d’espirt,” in Macassa ebony, is still different in technique, but again has a decorative base, crocodiles these. “Markhor,” in cherry wood, presents an active trio of sportive Asian animals, their long spiral horns a most ornamental feature, atop a mass in which crocks are cleverly simulated. Note the effectiveness of this swirling background of scrolls, again symbolic of air currents. The telling floral touches are overlaiden with gold leaf.

“Archaeologists,” the title of another an imal group, aroused our curiosity and we appealed to the sculptor for an explanation. Two snarling lions, with two other strange animals perched above them in a stylized palm tree, the whole group guided, decorative and most interesting.

“Oh, that’s a joke,” replied Miss Abbott, laughing. “It symbolizes the archaeologists and the public, the latter giving the former the raspberry. The two lions--or archaeologists--are snarling at one another over the vital importance of the sculpture fragments upon which they rest their paws while the two colossal chameleons--the public--grin at them from the truncated fronds of the stylized palm tree.”

Much like the “Goddess in Prima Vera” is the smaller figure carved in dark wood with darker drapery, stylized animals and background covered with gold leaf, a gem of design and carving. Among other interesting exhibits are a pair of tall, seven-branched candlesticks in wrought iron from Miss Abbott’s design, also several garden benches and bench ends in concrete, most interestingly patterned, the graceful, stylized design in some picked out in gold. Altogether it is, we repeat, an outstandingly handsome show of gifted and masterly work, amazingly strong and skillful, unusually rich in originality as in decorative quality.

Miss Abbott lives in Concord in the house originally built by Deacon Hubbard and later owned by Judge French, father of that distinguished sculptor, Daniel Chester French. As a very small child she showed a rather precocious interest in art, although she says, modestly, that she does not understand how anyone could have taken her early efforts seriously. Later, in school, she delighted in sloyd and in the history of art. But her “smutty” charcoal studies in plaster casts she dismisses as “rather alarmingly bad.”

After finishing school and spending a year as a debutante, Mary Abbot betook herself and her inner aspirations to the Boston Museum School, where she had the good fortune to study under Leslie P. Thompson, the late Phillip Hale and Henry Hunt Clark. She gives Mr. Hale’s teaching full credit for her proficiency in drawing. The courses that she remembers with greatest pleasure were in composition, also the theory of pure design under Mr. Clark. It was then that her appreciation of the importance of design became apparent, also her interest in the abstract in art. The war interrupted her studies. After that came the seven-year trip around the world with her mother.

Adventures in India Naturally travel in those remote regions meant all sort of adventures--and probably many others that could hardly merit such description. Miss Abbott tells us that she and her mother traveled in a reasonably unconventional fashion most of the time but their experiences had little effect upon her immediate work although a great deal to do with her education.

“From the very moment that we started I began, of necessity, to develop an ability to make what we needed from the materials available, also I soon grew to feel a contempt for those who were easily discouraged by a lack of materials,” she said. “There is something very stimulating about n ecessity; nothing is more fun than making a teapot out of a tin can or removing the lining of a coat to make pockets in a new pair of pants, when one is several hundred miles from nowhere! It was annoying, though, to have almost no pins and to be obliged to withdraw every bit of basting thread in order to use it again and again.”

Although Miss Abbott and her mother were accompanied by the usual retinu of servants the young sculptor found herself obliged to shoe and saddle their ponies whenever such attention was needed. She admits that in the shoeing she undoubtedly made some slight contribution to the erosion of the neighborhood by her struggles to shape a shoe with a Rolls Royce hammer and rock.

Although she is not a frequent exhibitor Miss Abbott has shown her wood carving and etchings in various galleries. Soon after her return from India she exhibited etchings at Whistler House in Lowell. Her work has been seen also at the Currier Gallery of Art, Manchester, N.H., the Addison Gallery of American Art at Phillips Academy, Andover, at the Fitchburg Art Centre and elsewhere. Also she had a one man show not long ago at Doll and Richards in the city. At present she is secretary of the Concord Art Association.

Her exhibition at the Concord Art Centre continues through July.

May 29, 1938

Boston Sunday Globe

Mary O. Abbott’s Sculptures On Exhibition in Concord By A. J. Philpott

Concord, Mass, May 26 - This is the “Town of the Unusual” -quaint, homelike and placid as it looks. The town where all kinds of movements have been started, ever since that affair at Concord Bridge in 1775.

Its weather is always several degrees cooler than the weather in Boston. Many of its people have been out of the usual, also--Thoreau, Alcott, Emerson, Hawthorne and Sanborn among others.

Among the town’s unusual people at the present is Mary Ogden Abbott, of whom the world knows very little, but of whom it will be liable to hear considerable in the future.

She is an artist--a sculptor in wood--and she occupies the studio of that famous American sculptor, Daniel Chester French, whose first statue was that of the Minute Man, near the old bridge where the farmers blocked the British soldiers.

There is nothing in common between the sculpture of Daniel Chester French and that of Mary Ogden Abbott. They are as wide apart as the poles in their artistic outlook.

So far as her work is concerned--if one did not know who did it--it would be regarded as the work of some eminent Chinese or Hindu sculptor of 1000 years ago.

That is why the exhibition of her wood sculptures in the gallery of the Concord Art Association is attracting so much attention at the present time--it is so unusual.

It is a remarkable exhibition. It would have been considered such if done by either a Chinese or Hindu sculptor. But when it is borne into your consciousness that this work has been done by a New England woman who is practically unknown to the art world, the thing is amazing.

Here are figures, animals, birds and foliage, wrought into designs, oriental in spirit, which seem as if done 1000 years ago--and beautifully done, in teak, mahogany, white wood and satin wood.

There is one teakwood gate here which is 10 feet high and about eight feet wide, with two doors, and intricate in its design, which looks as if it might have come from some temple garden in northern India or southwestern China--or Tibet.

Yet that whole design is original--something evolved out of Miss Abbott’s meditations and reflections--a sort of memory of many things she had seen and felt in India. It is charged with the oriental spirit in design and workmanship. The back of it is as carefully wrought as the front.

That is only one of a number of impressive wood sculptures in this exhibition by a woman who never did any wood carving until about two years ago--and without instruction in this particular brand of art.

She had studied art, and knew considerable about drawing, painting and design before she took up this wood sculpture. This was something new.

Behind this, there is a story--an unusual one--which this young woman, who is related to Charles Francis Adams, tells in a rather diffident way. She is a niece of the late Holker Abbott and of Samuel A.B.Abbott, who caused the new Boston Public Library to be built.

She is a tall, athletic-looking young woman, and one is not particularly surprised to learn that she hunted big game up around the Himalayas in Kashmere for two years. It was during those two years of travel and hunting--with her mother--that she became thoroughly imbued with the Oriental spirit--although she didn’t know it until she got home a few years later.

Briefly this is Miss Abbott’s story, although of course the full story which should deal with the psychological aspects of her artistic evolution can only be inferred.

Miss Abbott, as has been said, is one of the old New England families, and she was brought up and educated in the approved fashion of such families. First in Miss White’s Home School, and later at Westover. After coming out of the latter school she was a debutante for a year.

Then she took of the study of art in the School of the Museum of Fine Arts under such instructors as Philip Hale and Leslie Thompson. She also attended the lectures of Henry Hunt Clarke on design at Harvard.

She had become interested in t the history of art and architecture while at Westover. She always showed an interest in art. But even in the Museum school she showed no particular inclination--no burning desire--to become an artist. With her art study was more in the line of an accomplishment.

Owing to her station in life she did not care to tie herself down to a profession. There was too much else in life for such a restless, athletic young woman. She didn’t have to anyway. She just played with art as an aesthetic amusement.

Then came the World War. That changed the whole outlook on life. Something of a personal sorrow probably came to her as it did to so many other young women during that war.

After the war--her father had died--she and her mother decided to take a leisurely trip around the world. It took them seven years. They took an auto and servants and journeyed into some of the remote places of the earth--did not always keep to the beaten tourist paths. In this way they saw and experienced much that the average tourist knows nothing of.

When they got to India they just rambled around, observed the life and soaked in some of that Oriental atmosphere which is a complex of social castes, religious traditions, old ways of life and all of that curious something which gives India its distinction.

They drifted north into Kashmere, under the Himalayas, and there spent two years, in a sort of primitive dream world under a spell of elemental grandeur and ferocity in nature.

There Mary Ogden Abbott did considerable hunting--met up with tigers, jaguars, bears, wolves, ibex, deer and other animals. Also rare birds. All against a background of stupendous mountain majesty, beautiful valleys, and wonderful foliage. She saw and felt a great deal more than she was conscious of at the time. It came back to her later when she got home and began thinking over her experiences.

It came back to her in a kind of mystical way--the wild life, the mountains and valleys, the architecture, the people and their religious calm. The wonder of it all flooded into her in a sort of spiritual way, and sought expression. She tried to paint what she felt; she tried to etch some of her ideas and thoughts. No use--not satisfactory.

Then it came to her to try and express herself in terms of wood sculpture. Her thoughts and feelings seemed to flow naturally into the designs. The teakwood; the mahogany and the other woods seemed to inspire her as she proceeded with her work. The technique seemed to come naturally. A slightly different technique for every design. She became a veritable oriental while doing the work. She became an expert wood sculptor almost before she realized it.

Some of these designs are as delicately cut as if they were jewels. Others as if done with an adze. Always is character in the work. That figure of OCharity” in a white wood looks like an ivory carving. The figure is a harmony of curves; the expression is perfect; the accessories are as oriental as the figure.

The three animal panels, which were awarded a prize at a recent architectural exhibition in the Jordan Marsh Gallery are carved roughly, vigorously and very artistically. In fact there is a fine artistry in every one of the items in the exhibition.

Her treatment of wild animals in action is very impressive; also her birds. Through here designs run the curves and angles suggested by the animals and especially by the beautiful horns of the male ibex. Then there is that sweeping, carving ornamental background which is suggested by air movement. The tropical foliage plays an important part.

In some of them she uses gold very effectively and in others a color stain.

One gets a great thrill out of this exhibition. It ranks Mary Ogden Abbott as one of our great artists.

REVIEW

July 13, 1938

The Christian Science Monitor

What’s Going On in the Arts - The Arts in Massachusetts

Concord, Mass: The exhibiting gallery of the Concord Art Center is considerably altered in appearances by the current exhibition, which consists of wood carvings by Mary Ogden Abbott.

Miss Abbott carves in the Oriental mode. Many of her themes are done after the manner of the Indian and Tibetan carvers. She displays an extraordinary versatility in handling various woods, such as teak, cherry, holly, satinwood and white mahogany. Her carving is without stint, lavish in ornamental details and decorative flourishes. Those who delight in the textural qualities of wood will enjoy the manner in which she handles it. For in general she is preoccupied with the flat surface and its possibilities in cut design. Her sculpture does not lean to three-dimensional design; for the most part the carvings are in low relief. Her interest in intricacies of line and a complex interplay of decorative motives has not, however, caused her to ignore the larger pattern.

Her subjects favor native legendary and animal themes. The figures resemble in posture, attitude, and costume Oriental prototypes. Some visitors may fail to apprehend the full significance of symbol and gesture, for they are remote indeed. One might add that in Concord, considering its literary tradition, there is some room for such symbolical implications. Bostonians, too, are not unfamiliar with such idiom, if they are acquainted with the collection of Hindu objects of art in the Museum of Fine Arts.

The most prominent pieces shown at Concord are “Hunter’s Gate’ and “Goddess in Primavera.” But it is in smaller compositions of animal subject matter that Miss Abbott shows the full range of her fancy. Animals of the Orient are seen in violent action, at play, and in decorative or conventionalized attitudes. Miss Abbott has probably been inspired by the extraordinary imagination with which real and legendary animals have been treated in Oriental bronzes and stone carvings and she has succeeded in conveying their dynamic character and the peculiar strength or ferocity or keenness which they reveal in action. Her hand seems more versatile with the animals and the treatment is more original. We are reminded of Assyrian carvings of the lion hunt, and of the representations of the Tree of Life with confronting animals. The animals often appear in pairs, facing or addressed.

Included are other carvings which are more frankly decorative, such as “Grape Candlestick”; a bench incised with a peacock in gold leaf; a wall font in teak, and a padlock.

Miss Abbott’s carvings contrast markedly with wood carving as it is practiced today. The tendency is to leave surfaces smooth and to adhere strictly to the plastic rather than the surface pattern. Nevertheless, with increased enlightenment upon the subject of Near and Far Eastern art we look with more understanding upon things done in this idiom. D.A.

REVIEW

May 28, 1938

The Boston Evening Transcript

Wood Carvings Open Concord Annual Exhibit Mary Ogden Abbott’s Work in Asia Shown; Prints from Nutter Bequest

Wood carvings after Indian and Tibetan natives by Mary Ogden Abbott, etchings and engravings presented by the estate of George R. Nutter are being shown at the twenty-second annual opening of the Concord Art Center, 15 Lexington road. Visitors will find that the colossus of Miss Abbott’s exhibition at the east end of the main gallery is a Hunters’ Gate, of Burmese teakwood, nine feet high, each gate 44 inches wide. On either door is a stylized Oriental hunter with long hair and elongated earrings. One hunter has straining on his leash a cheetah used in North Indian hunting. The other displays his Himalayan eagles, used in falconry as hawks are in Europe. The doors on the reverse side show flights of choughs, graceful Himalayan birds.

Opposite the Hunters’ Gate on the west wall is a Goddess in Primavera, carved in a Central American white wood, the figure 6 1/2 feet high. The halo is of stylized leaves. The earrings and necklace show the familiar Tree of Life design.

Three large panels of cherry, bearing a gently humorous procession of ibex and shikar, are on the south wall. The north wall, broken by the staircase, has several smaller pieces. “Upper and Lower India,” surmounted by a stylistic glacier, has for principal fauna at the top the sure-footed ibex; further down the slopes, lions and sloth bear; at bottom, in the Ganges Valley, fighting elephants. “Dust” discloses fleeting wild asses who raise conventionalized swirls from the floor of the dustbowl. “The Archaeologists” are seen quarreling over an Assyrian bull’s head. Other animals, birds and flora of southern Asia have been executed in woods whose qualities and capacities Miss Abbott likes to explore.

Artist and Explorer

She is perhaps the first woman artist from the Occident to penetrate Tibet, long the Forbidden Land. A collection of her etchings from Himalayan motives, made soon after her return, was shown in September, 1934, at the Whistler house, Lowell, at which time she gave a talk describing the experiences which she and her mother had in surmounting 17,000-foot passes through the Himalayas on a license from the British Government, permitting them to hunt in certain areas of North India and Tibet. Since then impressions and data from this unusual exploration have been wrought at the artist’s Concord Studio into large and permanent forms of wood sculpture.

An alumna of the Museum of Fine Arts School Miss Abbott looks back upon the conventional training of the art academy, to which she had added expert facility in using the implements and media of the wood carver and cement worker. Her garden seats and other works in sculptured concrete have been shown at Doll & Richards, her etchings, portrait drawings and wood carvings at the Addison Gallery of American Art, Andover; the Currier Gallery, Manchester; Fitchburg Art Center and elsewhere. She is a regional director of the Merrimack Valley Art Association.

The print room at the Art Center has been rehung with an important collection of etchings and other prints received from the Nutter estate, amongst these several fine impressions of Whistler and Seymour Haden etchings.

The show will continue through June 15. F.W.C.

Handwritten note: Attendance 761

REVIEW

1938

Boston Herald

Final Exhibition of the Season

by Irma Whitney

Concord assembles its final exhibition of the season in the upper and lower galleries of the Art Association’s building just off the town’s main square and within handy reach of the Concord Antiquarian Society, the Alcott and Thoreau shrines and other spots of interest to the historically minded summer trade.

Downstairs a small collection of water colors falls in readily with the medium’s high standards in excellent papers by A. Lassell Ripley, Frank Benson, Charles Woodbury, Carroll and Sally Cross Bill, the Murphys, Sears Gallagher and Charles Curtis Allen . In the upper gallery hangs a carefully spaced melange of portraits, landscape and still life. Most of it is thoughtful, dignified painting, typically of the Boston school.

A portrait of Mrs. Tarbell by the late Edmund C. Tarbell is a focal point dominating through monumental qualities in its handling. “Bloom” is the only word that suitably describes the peculiar quality in paint these artists of the Boston school produced, and “Bloom” was the virtue so many of them achieved. One may guess at the methods through a careful checking of passages in this Tarbell portrait to see how consistently he knew just what to leave out, and to discover by the same process that miracle of choice by which he swooped down like an eagle on some relevant detail and brought it significantly to the fore.

Feeling his way for design in texture, for variety in brush work as well as in form, one notes how he selected the white graceful lines of a chair for clean painting in the very heart of his dark canvas. To the left this sharpness is repeated in the orange edge of fruit sparkling above the shadowed lip of a silver dish. To the right, in the middle ground, he uses this edginess again only glancingly in the brisk shadow just where the wrist disappears under the cuff line.

Others have followed Tarbell’s lead in mingling the broken color of the impressionists with the appreciation found in paintings of the Dutch school for cool, interior light and tranquil color. These influences are clearly at work in Leslie P . Thompson’s still life with its white porcelain monkey and blue and white jar half submerged by a shower of flowers from the left of the picture. Here there is good painting in the understatement of the flower forms, in the infinite variety of shapes and textures, in the play of light crisply outlining form only to lose it again just at the point where edges slide off into the warm shadow.

If Tarbell dominates the long side wall, Lillian Westcott Hale, another painter of the Boston school, holds the key position at the end with her remarkable study of a boy in blue jeans lounging dreamily in a Victorian armchair. The easy lines in the child’s body are repeated in the curves of the old chair, a handsome piece of plum colored furniture, as tenderly painted as the figure of the little boy.

This is one of Mrs. Hale’s recent canvases. It has not been widely exhibited hereabouts since it was first shown in Boston early this spring at the Artist’s Guild. Again the Boston formula is caught in full swing, in the elegance of the dark reds and pale blues, the gleam of mahogany whose forms are never completely indicated, only hinted at, in highlights that suggest carvings, and the mouldings on a fine chest of drawers.

Handwritten note: Attendance 761

REVIEW

August 11, 1938

Concord Journal

Art Center to Show 40 Paintings
Exhibition Includes Wide Variety in Various Media

The Summer Exhibition has opened with an unusually interesting collection of forty paintings [oils and water colours] comprising portraits, landscapes, marines, still life and genre, works of members of the Guild of Boston Artists.

The Association is particularly fortunate in being able to show at this time the remarkable portrait of Mrs. Tarbell, wife of Edmund C. Tarbell, that master of painting and great teacher whose recent death is so poignantly felt by countless disciples and admirers. It is considered a very fine example of Mr. Tarbell’s later period. Other portraits include works of such well-known painters as Harry Sutton, Elmer Greene, Jr., Richard Briggs, Ruth Anderson and Lilian Westcott Hale. Mrs. Hale’s “Mark” is undoubtedly outstanding. Two figures, “The Medicine Man” by Gertrude Fiske and “The End of the tether,” by Bernard Keyes, make a strong appeal.

Among the landscapes we find examples of Charles Curtis Allen, William Kaula, Henry Brooks, Marian Sloane, John Enser and Margaret Fuller Tyng. There are charming flower studies by H. Dudley Murphy and Ernest L. Major, and marines by Woodbury, Stanley Woodward and Frank and John Benson, interiors by Marguerite Pearson and Marie Danforth Page; a winter scene by that incomparable painter of snow, Aldro Hibbard, and an impressionistic note in George Noyes’s OPonta Scopete” adds variety.

`Characteristic examples of the work of Mr. and Mrs. Paxton in “Chinese Lady” and “Mode,” Leslie Thompson’s “Still Life-blue vase” and R. H. Ives Gammell’s “Jael” are seen.

A delightful group of a dozen water colours in the “Print Room” below, are shown and include works by Charles Curtis Allen, William Kaula, Nellie Littlehale Murphy, Sally Cross Bill and Carroll Bill, Sears Gallagher, Ralph W. Gray, Lovering Hathaway, Charles H. Woodbury, A. Lassell Ripley, Frank W. Benson and Margaret Patterson.

Everyone interested in painting should avail himself of the opportunity to see this exceedingly fine exhibition.

Concord Art Association Summer Exhibition 1938

List of participants

Arthur P. Spear	[Diana of the Dawn]
Ernest L. Major	[Mixed Flowers]
Elizabeth O. Paxton	[Mode]
Aldro T. Hibbard	[Snow-laden Spruces]
Gertrude Fiske	[Medicine Man]
George L. Noyes	[Pona Scopete]
Lilian Westcott Hale	[Mark]
Henry H. Brooks	[The Road over the Hill]
Elmer H. Greene	[Portrait of Mr. Endicott]
Frank W. Benson	[Gunner’s Shanty]
Marion P. Sloane	[Cape Cod Shore]
Bernard M. Keyes	[The End of the Tether]
William J. Kaula	[Cloud Shadows]
Edmund C. Tarbell	[Portrait of Mrs. Tarbell]
Charles C. Allen	[Spring Hillside]
Ruth Anderson	[Little Lady in Lavender]
Charles H. Woodbury	[Under the Cliff]
Marie Danforth Page	[Childrens’ Art Centre]
Standey W. Woodward	[The Sea Between]
Marguerite S. Pearson	[New England Parlor]
Harry Sutton, Jr.	[The Two Dianas]
H. Dudley Murphy	[Zinnias and Brocade]
Leslie P. Thompson	[Still Life - Blue Vase]
Alice Ruggles Sohier	[Trumpets]
R. H. Ives Gammell	[Jael]
John F. Enser	[Blossom Time]
John P. Benson	[The Fair Wind]
Margaret Fuller Tyng	[Mill Pond - Orleans]
William M. Paxton	[Chinese Lady]
Water Colours:
A. Lassell Ripley	[Steam Shovel]
Sally Cross Bill	[Spring Bouquet]
Frank W. Benson	[Ruffed Grouse]
Lovering Hathaway	[Big Farm]
Nellie Littlehale Murphy	[Poppies]
Charles Curtis Allen	[The Ridge - Mr. Washington]
Margaret Patterson	[Roses & Petunias]
Charles H. Woodbury	[Heavy Blow]
Ralph W. Gray	[The Falls]
William J. Kaula	[Winter Landscape]
Sears Gallagher	[Maine Coast]
Carroll Bill	[Coast of Jamaica]