Zorn's American Subjects...
1881-1891, 1893, 1894 -1895, 1896-1897, 1899, 1900, 1901, 1903-1904, 1905-1910, 1911-1917
1896 - 1898

Emily Bartlett, 1896, oil on canvas. The painting, which was painted in Paris, was destroyed. Emily Bartlett (b. ca. 1871) was married to sculptor Paul W. Bartlett (1865-1925). Zorn’s intimate relationship with Mrs. Bartlett played a prominent role in Gunnar Hellström’s largely fictional movie of Zorn’s life, Zorn (1994), that featured Hellström as Zorn, Liv Ullmann as Emma Zorn, and Linda Kozlowski as Emily Bartlett.


Mrs. Daniel Nugent, 1896, oil on canvas, private collection. Carrie Casey Nugent was married to Daniel Cline Nugent (1855-1926), a prominent businessman and president of the St. Louis Club.

Mrs. Potter Palmer, 1896, etching, 23.7 x 16 cm., A. 107. This is Zorn’s second portrait of Mrs. Palmer.

Mrs. Potter Palmer, 1896, pencil on paper, Zorn Museum Collection, ZT 973. This is a study for the etching.

Barbara Deering, later Mrs. Richard Ely Danielson (1888-1982), 1897, oil on canvas, private collection. The sitter was the younger daughter of Charles and Marion Deering. Mrs. Danielson, who was married to Richard Ely Danielson (1885-1957), publisher of The Atlantic magazine, was a benefactor to a number of museums.

William Deering, 1897, oil on canvas, 91.4 x 121.8 cm., Northwestern University Library, Evanston, Illinois. William Deering (1826-1913) was the father of Charles Deering. His company, Deering Harvester, merged with McCormick Harvester to form the International Harvester Company in 1902, with Charles Deering as its chairman.

Portrait of a Man (William Deering), undated, watercolor with touches of gouache over traces of pencil, 8 x 11.8 cm., provenance, Charles Deering. The small work sold at Christie’s, New York, Oct. 30, 1985. The sitter is in the same pose as the oil portrait by Zorn of William Deering in the collection of Northwestern University Library and is likely a study for the work.

Mrs. Lucy Turner Joy, 1897, oil on canvas, 59.7 x 76.2 cm., St. Louis Art Museum, accession no. 97:1917. Lucy Joy was the wife of cotton broker Duncan Joy.

Adolphus Busch, 1897, oil on canvas, 127 x 93.3 cm., Washington University Collection, accession no. WU 2163. A copy of Zorn’s painting by William V. Schevill is in the Harvard University Portrait Collection, accession no. H 367. Adolphus Busch (1839- 1913) was one of the founders of the Anheuser Busch Brewing Company (1864) in St. Louis.

Mrs. Adolphus Busch, 1897, oil on canvas, 127 x 93.3 cm., Washington University Collection, accession no. WU 2164. Lilly Busch was the daughter of Eberhard Anheuser.

Mrs. Charles Nagel, 1897, etching, 23.8 x 15.9 cm., A. 112. After the death of his first wife in 1890, Charles Nagel, a St. Louis lawyer and politician, married Ann Skepley in 1895.
See: Charles Nagel portrait, 1900.

Dr. William Taussig, 1897, oil on canvas, 81.2 x 66 cm., J. B. Speed Art Museum, Louisville, accession no. 75.13. Dr. Taussig (1826-1913) studied medicine in his native city of Prague and was a prominent civic leader in St. Louis.

Augustus Saint-Gaudens and Model (Hettie Anderson), 1897, etching, 13.5 x 20 cm., A. 114. Saint-Gaudens (1848-1907) was the preeminent American sculptor of his time. Harriette Eugenia Anderson (b. 1873) was a New York City model who posed for Victory of the Sherman Monument, Fifth Avenue and Central Park South, New York City. She also posed for the First Head of Victory (1897), used as a study for Sherman’s equestrian monument. Victory was Saint-Gaudens’s inspiration for the Liberty on the $20 double eagle gold coin, first minted on the insistence of President Theodore Roosevelt in 1907.
See William E. Hagans, Smithsonian American Art Journal, summer 2002, “Saint- Gaudens, Zorn, and the Goddess-like Miss Anderson.” The article recounts the friendship between Zorn and Saint-Gaudens and their many common subjects.

Augustus Saint-Gaudens and Model (Hettie Anderson), study for etching, 1897, red chalk on paper, 22.9 x 29.4 cm., Zorn Museum Collection, ZT 1233. There is another version of this image in the collection of the Smithsonian National Portrait Gallery.

Solomon Loeb, 1897, etching, 23.7 x 15.7 cm., A. 115. Solomon Loeb (1828-1903) was a founder of Kuhn, Loeb and Company in New York City. Zorn’s portrayal of the financier was attacked by Loeb’s son-in-law Jacob Schiff as representing an ethnic stereotype . He demanded the return of the copper plate and the prints, according to Zorn’s memoirs and a letter Schiff wrote to Zorn that is in the Zorn Museum Archives. Only four examples of the etching are in the Zorn Museum Collection.

Solomon Loeb, 1897, red crayon on paper, 29.4 x 22.8 cm., Zorn Museum Collection, ZT 1232. This is a study for the etching.

Mrs. Walter Bacon, 1897, 170.8 x 108 cm., oil on canvas, Metropolitan Museum of Art, accession no. 17.204. This is the second portrait of Mrs. Bacon by Zorn. The portrait was commissioned by Edward R. Bacon.

Edward Rathbone Bacon, 1897, oil on canvas, 122.6 x 89.5 cm., Metropolitan Museum of Art, accession no. 19.112. Edward R. Bacon (1847-1915) was chairman of the Baltimore and Ohio Railroad Company and brother-in-law of Mrs. Walter Bacon.

Edward Rathbone Bacon, 1897, etching, 23.9 x 15.7 cm., A. 116. The etching is a mirror image of the oil portrait.

Augustus Saint-Gaudens, 1898, etching, 19.9 x 13.8 cm., A. 113. This etching was made in Paris, according to research by John H. Dryfhout, former director of the Saint-Gaudens Historical Site. The American sculptor James Earle Fraser (1876-1953) was working in Saint-Gaudens’s Paris studio when Zorn made this etching and left an account of the session in his unpublished memoirs. See The Papers of Augustus Saint-Gaudens, Dartmouth College Library, Hanover, New Hampshire. Asplund mistakenly notes that “a colossal statue of General Logan (1894-97) by Saint-Gaudens is viewed in the background.” The actual work is Puritan (1883-86).

Billiards (Emily Bartlett), 1898, etching, 17.9 x 12.9 cm., A. 137. See Bartlett portrait, 1896. Emily Bartlett came to Mora in 1898. The visit strained the Zorns’ marriage. See the Bartlett portrait of 1896.

Frederick Keppel I, 1898, etching, 12.9 x 8.6 cm., A. 141. Frederick Keppel (1846-1912) handled Zorn’s etching transactions in America through his New York City art gallery. Asplund noted that Zorn possessed a pencil study for the etching.

Frederick Keppel II, 1898, etching, 13.8 x 8.8 cm., A. 142.

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