Zorn's American Subjects...
1881-1891, 1893, 1894 -1895, 1896-1897, 1899, 1900, 1901, 1903-1904, 1905-1910, 1911-1917
1893

Henry Marquand, 1893, etching, 27.8 x 19.8 cm., A. 81. Henry Marquand (1819-1902) was a prominent businessman and president of the Metropolitan Museum. He left the museum works by Vermeer, Frans Hals, and Van Dyck. The preparatory sketch for the portrait was made at Marquand’s home in New York City. The etching was made in the New York studio of architect and artist Charles Platt (1861-1933), who taught at the Art Students League and was a mainstay of the art colony founded by Augustus Saint- Gaudens (1848-1907) in Cornish, New Hampshire.

Henry Marquand, 1893, pencil on paper, study for the etching, Zorn Museum drawing collection (ZT) no. 964.

• American subjects listed below were portrayed by Zorn in America unless otherwise noted.

John White Alexander, 1893, etching, 13.8 x 9.7 cm., A. 83. John White Alexander (1856-1915) was an American artist who studied with Frank Duveneck (1848-1919). He painted portraits of Walt Whitman, John Hay, Browning, and Stevenson, among others. Alexander was the son-in-law of James W. Alexander (1839-1916), a founder of the Equitable Insurance Company. James Alexander and his wife introduced the Zorns to New York society during their first visit to the United States.

Sara Tyson Hallowell, 1893, pen and ink on paper, published in Art Amateur, vol. 29, no. 1, June 1893. Sara Hallowell (1846-1924) was an assistant to Halsey C. Ives, head of the art department at the Chicago World’s Fair. According to a letter Emma Zorn wrote to her mother Henriette Lamm (1830-1911), Zorn Museum Archives, Hallowell, was largely responsible for Anders Zorn’s success at the fair. The fall 1893 issue of Art Amateur stated, “We believe that if a vote were taken, Mr. Zorn would turn out to be the most popular artist with artists at the World’s Fair.”

Frederick MacMonnies, 1893, pen and ink on paper, published in Art Amateur, vol. 29, no. 1, June 1893. Frederick MacMonnies (1863-1937) was a protégé of sculptor Augustus Saint-Gaudens. He executed a number of important public and private commissions during his career. MacMonnies’s lavish Columbian Fountain at the Chicago fair was described by Burke Wilkinson, a Saint-Gaudens biographer, as “saved from being just plain ridiculous by its exuberance.”

Mrs. Hallowell, 1893, oil on canvas, 63 x 46 cm., private collection. This is a portrait of Sara Hallowell’s mother, which is believed to have been painted at Barron’s Suburban Hotel in the spring of 1893. Anders and Emma Zorn, Frederick and Mary Fairchild MacMonnies, later Mrs. Will Low, (1858-1946), Thomas and Candace Wheeler, and Gari Melchers (1860-1932) lived at the hotel as they prepared for the opening of the Chicago World’s Fair. The portrait was owned by Sara Hallowell when it was exhibited at Durand-Ruel Gallery, catalogue no. 23, in 1906, a large retrospective exhibition of Zorn’s work held in
Paris. Mrs. Hallowell was a member of a prominent Philadelphia family who later moved to Chicago. The portrait sold at Bukowski’s, Stockholm, Sweden, in 1954. It was offered for sale at Christie’s, London in March 1990.

Mrs. Marion Deering (1857-1943), 1893, oil on canvas, private collection. Charles Deering married Marion Denison Whipple in 1883, five years after the death of his first wife Annie Rogers Deering.

Marion Deering (later Mrs. Chauncey McCormick), 1893, oil on canvas, private collection. Marion Deering (1886-1965) was the oldest daughter of Charles and Marion Deering. Mrs. McCormick was a benefactor to a number of museums.
There is an undated portrait of a Miss Deering, pencil on paper, signed, 37.6 x 28.3 cm., that is in the collection of Augustana College, Rock Island, Illinois. The sitter is either Marion or Barbara Deering, the daughters of Charles and Marion Deering. Charles Deering’s collector’s stamp appears on the verso of the drawing.

Mrs. Charles Deering, undated, monotype, 31.5 x 25.5 cm., Art Institute of Chicago.


Reading, Charles and Marion Deering, 1893, etching, 23.7 x 15.8 cm., A. 78. The etching depicts Mrs. Deering reading to her husband, whose eye is bandaged due to an accident.

Reading, Charles and Marion Deering, a study for the etching, 1893, ink on paper, 21 x 27.4 cm., Zorn Museum Collection, ZT 1224.

In Evanston, ca. 1893, oil on canvas, 39 x 60 cm. This is an oil sketch Zorn made of Marion Deering and Emma Zorn sitting out-of-doors on the shore of Lake Michigan. It was reproduced in an article on Zorn in the Oct. 1964 issue of The Swedish Pioneer Historical Quarterly, vol. XV, no. 4. The painting is in the Zorn Museum Collection.

In the Woods, 1893, oil on composition board, 56.2 x 37.8 cm., private collection. The painting depicts a woman from the rear, out-of-doors, sitting on the ground adjusting her corset. The painting was purchased by James Viles of Chicago in 1893. It was sold at Sotheby’s, New York, in May 1989.

Mrs. Potter Palmer, 1893, oil on canvas, 258 x 141.2 cm., Art Institute of Chicago, accession no. 1922.450. Bertha Honoré Palmer (1849-1918) married Potter Palmer (1826-1902) in 1871. He was a prominent Chicago businessman and owner of the Palmer House Hotel. Mrs. Palmer was head of the Women’s Section at the Chicago World’s Fair.

Mrs. Potter Palmer, 1893, oil on canvas, 47 x 30 cm., sketch for the portrait, Zorn Museum oil painting collection, (ZO) no. 97.

Svenska i Chicago (Swedish Woman in Chicago), 1893, oil on canvas, 68 x 47 cm., private collection. The painting was sold at Bukowski’s, Stockholm, Sweden, in 1942 and again in 1977. According to Asplund, the painting was done in Chicago and is the same composition, in mirror image, of a series of three etchings, Nude Study, of 1896. On the plate of Nude Study II, A. 103, is etched “18Zorn96 Chicago.”

Thomas Wheeler, 1893, oil on canvas, 79 x 58.5 cm., private collection. Thomas Wheeler (1818- 1895) owned a storage company in New York City and was married to Candace Thurber Wheeler (1827-1923), an important interior designer. Unusual for the time, Thomas Wheeler was supportive of his wife’s creative and business endeavors. She formed a business known as the Associated Artists (1883-1907) with Louis C. Tiffany (1848-1933), Samuel Colman (1832-1920), and Lockwood de Forest (1850-1932) and maintained control of the name when she branched out on her own. See Candace Wheeler: The Art and Enterprise of American Design, 1875-1900, an exhibition held at the Metropolitan Museum in 2001-2002. A story handed down in the Wheeler family has it that Zorn painted the portrait of Wheeler in less than two hours (letter in the Zorn Museum Archives). Candace Wheeler devoted a chapter in her memoirs, Yesterdays in a Busy Life (1918), to Anders and Emma Zorn.

Mrs. Dora Wheeler Keith (later Mrs. Boudinot), ca. 1893, pencil on paper, private collection. Dora Wheeler Keith (1856-1940) was the daughter of Thomas and Candace Wheeler. She studied painting in Paris and in New York City with William Merritt Chase (1849-1916). Mrs. Keith painted portraits of authors Brander Matthews (1852-1929) and Samuel Clemens (1835-1910). Along with artists such as Sargent, she contributed to the decorative artwork at the Boston Public Library. Zorn’s drawing of Mrs. Keith is a rapidly performed sketch, which he signed.

Miss Susan White Hildreth, 1893, oil on canvas, 101.9 x 76.35 cm., Smith College Museum of Art, Northampton, Massachusetts, accession no. 1981.1. Miss Hildreth (d. ca. 1938) was an artist who lived in Cambridge, Massachusetts.

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