|Zorn's American Subjects...|
|1881-1891, 1893, 1894 -1895, 1896-1897, 1899, 1900, 1901, 1903-1904, 1905-1910, 1911-1917|
1894 - 1895
George H. Bend, 1894, oil on canvas, 80 x 60 cm., private collection. George Bend (ca, 1842- 1900) was a director of the New York Stock Exchange.
Frieda Fanny Schiff (later Mrs. Felix M. Warburg), 1894, oil on canvas, 101 x 76.2 cm., Metropolitan Museum of Art, accession no. 1988.72. Frieda Schiff (1875-1958) was the daughter of New York businessman Jacob Schiff (1847-1920). She married Felix Warburg (1871-1937). Their New York City mansion at 92nd Street and Fifth Avenue is now the Jewish Museum. The building was a gift from Mrs. Warburg.
Charles Martin Loeffler, 1894, pencil on paper, 22.5 x 26.7 cm., Isabella Stewart Gardner Museum. A French-born musician, Charles Loeffler (1861-1935) was principal violinist of the Boston Symphony Orchestra. This sketch of Loeffler was made at Mrs. Gardner’s Beacon St. home. Mrs. Garner hosted a soirée for Zorn’s birthday, Feb. 18. Loeffler and Ferruccio Busoni (1864-1924), the pianist and composer, performed for the guests. Zorn also made a little sketch of Busoni that evening, which is in the collection of the Gardner Museum. John Singer Sargent painted a portrait of Loeffler in 1903, which is in the collection of the Isabella Stewart Gardner Museum.
Isabella Stewart Gardner, 1894, etching, 25.2 x 20.2 cm., A. 84. Isabella Gardner (1840-1924) was born into a successful business family in New York City. She moved to Boston when she married businessman John Lowell Gardner, Jr. (1837-1898). One of the foremost art patrons of her time, she also amassed a huge collection of art that has, since 1903, been housed in the Venetian-style villa she had built in Boston, the Isabella Stewart Gardner Museum. Mrs. Gardner detested this etching and was furious with Zorn when some of the prints entered collections.
An Irish Girl (Annie), 1894, etching, 28.7 x 19.8 cm., A. 85. “Annie” worked for Candace Wheeler as a maid. In Yesterdays in a Busy Life, Wheeler referred to the etching and wrote that her employee’s name was Maggie.
Naked (Naket), 1894 oil on canvas, 80 x 60 cm., Zorn Museum Collection. Zorn painted the red haired woman in a storage room at the Waldorf Astoria Hotel in New York City. The art committee of the Art Institute of Chicago refused to allow this painting to hang in an exhibition of Swedish art in 1896. The committee took issue with Zorn’s bold depiction of nudity. Charles Deering resigned as a governing member of the museum in protest. Deering, a close friend of Zorn’s, helped organize the exhibition. He would ultimately be one of the Art Institute of Chicago’s most generous benefactors.
Mrs. Allison Armour, 1894, etching, 23.9 x 16 cm., A. 92. Mrs. Armour was married to Allison V. Amour, of the meat processing company. The etching was more than likely done in Paris. According to Loys Delteil (1869-1927), who was an early cataloguer of Zorn’s engraved works (1909), only ten etchings were printed.
Isabella Stewart Gardner in Venice, 1894, oil on canvas, 91 x 66 cm., Isabella Stewart Gardner Museum, Boston. This is Zorn’s most famous portrait of an American. Despite the problem with the etching of the previous year, Mrs. Gardner was pleased with this portrait and remained a devoted friend. Anders and Emma Zorn were guests of the Gardners in Venice for the month of October 1894. After Zorn’s death in 1920, Mrs. Gardner continued to correspond with Emma Zorn.
Head of Isabella Stewart Gardner, 1894, pencil and red chalk on paper, dia. 25 cm., Isabella Stewart Gardner Museum. Morris Carter (1877-1965), the first curator of the Isabella Stewart Gardner Museum, noted that Zorn, while preparing his portrait of Mrs. Gardner, made rapid sketches of his subject. He would finish one after the other, flinging the drawings to the floor. Mrs. Gardner made sure that a few were preserved. While in Venice, Zorn, as with so many artists before and after him, made a number of studies of the Italian city. As Gerda Boëthius noted, it was in Venice that Zorn painted his last important watercolors.
Halsey C. Ives, 1894, oil on canvas, 81 x 66 cm., St. Louis Art Museum, accession no. 1973:246. Halsey Ives (1847-1911) was head of the art sections at the Chicago World’s Fair (1893) and the Louisiana Purchase Exposition, held in St. Louis (1904). He was instrumental in establishing the St. Louis Art Museum. The portrait was painted in Paris.
William B. Ogden, 1895, oil on canvas, 78.7 x 57.2 cm., private collection. The painting was sold at Sotheby’s, New York, Oct. 1989. As of 1994, the portrait was in the possession of Åmells Konsthandel, Stockholm, Sweden, and it is believed to currently be in a private collection. William Ogden was the grandson of Chicago’s first mayor, who had the same name. The portrait was painted in Paris.
Maria Sheldon Scammon, 1895, oil on canvas, 81.3 x 65.5 cm., Art Institute of Chicago, accession no. 1902.39. Mrs. Scammon (d. 1901) helped in founding the Art Institute of Chicago and established the Scammon Lecture Series at the museum. The portrait was painted in Paris.
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