This is the first annotated list of Zorn’s American subjects. Dates, media, dimensions, locations of works, and accession numbers are provided, if known. Brief biographical information is also provided.
Zorn’s works are signed, unless otherwise indicated. Etchings are catalogued by Asplund (A) numbers. Karl Asplund (1890-1978), working closely with Zorn, wrote a comprehensive catalogue of Zorn’s etchings, published in Swedish and English editions in 1920. There are some artist proofs that Zorn did not sign in pencil, but generally he signed his etchings on the plate and in pencil, lower right. Billy Mason (A.159) and Self-Portrait (A.180) were printed in signed and unsigned editions.
Fanny Nelson, 1881, watercolor, 25.2 x 17.5 cm., Zorn Museum watercolor collection(ZA) no. 33. The portrait was painted in Paris on Sept. 10. Fanny Nelson was a young African-American woman who met Zorn at the Odéon Theater during the artist’s first visit to Paris.
Clarence King, 1883, watercolor, 84 x 45 cm., possibly in three versions, with at least one known to be in a private collection. One version was purchased by King, and a second version was purchased by John Hay (1858-1905), according to letters from King and Hay to Zorn in the Zorn Museum Archives. In one of the portraits, Zorn portrayed King in a velvet suit, while another portrait portrayed him in a black suit, according to a letter King wrote to Zorn. The portraits were painted in London. One version of the King portrait was sold in the U.K. in 1992. Clarence King (1841-1901) was a geologist who at the age of twenty-five was put in charge of the Geological Exploration of the 40th Parallel, from the Sierra Nevada to the Rocky Mountains. He was a member of the circle of Henry Adams (1838-1918) and John Hay known as the “Five of Hearts,” in Washington, D.C. Zorn wrote in his biographical notes that Clarence King funneled a number of portrait commissions to him in London.
Mrs. John Hay, 1883, watercolor, 75 x 55 cm., private collection. Clara Louise Stone Hay (1849-1914) was from a prominent Cleveland family and was married to journalist and diplomat John Hay. She, along with Clover Adams (1843-1885), wife of Henry Adams, were members of the “Five of Hearts.” The couples lived next to each other on Lafayette Square in a building designed by architect Henry Hobson Richardson (1838-1886). The portrait was painted in London.
Gerda Boëthius, in her groundbreaking 1949 biography, Zorn: Tecknaren, Målaren, Etsaren, Skulptören (Zorn: Drawer, Painter, Etcher, Sculptor), notes in a chronological catalogue of Zorn’s works that the artist made a watercolor portrait of John Hay in London in 1882, 75 x 55 cm. Zorn, at the time, was planning an around-the-world trip, with America on the itinerary, but with Japan as his main goal. Hay, who was based in Paris on diplomatic duties in the early 1880s, wrote at least two reference letters for Zorn to U.S. consuls in the East (letters in the Zorn Museum Archives). The trip was called-off when Zorn’s fiancée Emma Lamm (1860-1942), and her family pressured Zorn to remain in Europe.
Charles Fairchild, 1883, watercolor, 40 x 51 cm. The portrait, painted in London, was arranged by Clarence King, according to an undated letter King wrote to Zorn, Zorn Museum Archives. Charles Fairchild (1813-1910) was an American banker.
According to Gerda Boëthius, the other commissions Clarence King sent to Zorn were for Mrs. Moorwood, Mr. Jules Beerbohm-Tree, a Miss Beerbohm-Tree, and a “German-American,” all painted in 1883. Herbert Beerbohm-Tree (1853-1917), the son of Julius Beerbohm, and his half-brother, Max, a caricaturist, were active in London at this time. Sir Herbert Beerbohm-Tree was a London actor and manager.
Clarence Barker, 1885, watercolor, 35 x 46 cm., private collection. A collector, now deceased, wrote the authors that he had a “duplicate original” of the Barker painting. A self-portrait by Zorn that was exhibited at the American Art Association, Anderson Galleries, New York (1931), from the Robert Scoville collection, was dedicated to Clarence Barker. Barker’s portrait was painted in London. Clarence Barker (d. 1896) was a grandson of Cornelius Vanderbilt (1724-1877) and brother of Mrs. Walter Bacon, also a Zorn subject. He was an accomplished pianist who studied composition with Joachim Raff (1822-1882), a composer who wrote in the style of Berlioz and Liszt. Zorn depicted Barker reclining on a divan as he looks at a photograph of his fiancée. His devoted dog, who gazes admiringly at his master, is by his side. Zorn wrote that the title of the painting could well be Rivals.
Miss Marion Thayer, 1887, watercolor, 31 x 23 cm., private collection. The portrait is signed by Zorn “Lond. Dec. ‘87.”
Martin J. Wade, 1890, etching, 32 x 23 cm., A. 36. The etching was commissioned by Sir Ernest Cassel (1852-1921) in London. Martin Wade (1861-1931) was an attorney, judge, member of Congress, and professor of law in Iowa. According to Boëthius, there is a preparatory sketch for the etching in the Zorn Museum Collection.
Mrs. Walter Bacon, 1891, oil on canvas, 71 x 59 cm., private collection. The portrait was painted in London. Virginia Purdy Barker Bacon (d. 1919) was a sister of Clarence Barker and granddaughter of Cornelius Vanderbilt. Barker commissioned the portrait. She was married to businessman Walter Bacon. John Singer Sargent (1856-1925) painted Mrs. Bacon wearing a Spanish costume in 1896. That painting in is the Biltmore Estate collection, Asheville, North Carolina.ˆ
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.ˆ
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.ˆ
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.ˆ
Grover Cleveland, 1899, oil on canvas, 121.9 x 91.4 cm., National Portrait Gallery, Smithsonian Institution, Washington, D.C., accession no. NPG 77.229. Grover Cleveland (1837-1908) was the 22nd (1885-1889) and 24th (1893-1897) president of the United States. The portrait was painted in Princeton, New Jersey, where Zorn stayed at the Clevelands’ home during some of the work.
Grover Cleveland I, 1899, etching, 22.6 x 17.8 cm., A. 143. The etching is a mirror image of the oil portrait.
Grover Cleveland II, 1899, etching, 22.7 x 17.6 cm., A. 144.
Grover Cleveland, 1899, pencil on paper study for the portrait. It sold at Christie’s, New York, Oct. 29, 1986.
Mrs. Grover Cleveland, 1899, oil on canvas, 137.2 x 92.2 cm., National Portrait Gallery, Smithsonian Institution, Washington, D.C., as of 1986. Frances Folsom Cleveland (1864-1947) was the first woman to be married in the White House. Grover Cleveland had been a law partner of Oscar Folsom, Mrs. Cleveland’s father. John H. Dryfhout wrote in 1969, “Tall and graceful and with beautiful dark eyes, she became the most charming woman in the White House since Dolly Madison.” The portrait was painted in Princeton, New Jersey.
Mrs. Grover Cleveland, oil on canvas, unknown date. This copy of Zorn’s portrait was painted by C. Gregory Stapko and is in the collection of the White House, Washington, D.C., accession no. 952.3410.1.
Mrs. Grover Cleveland, 1899, oil on canvas, 68 x 51 cm., Isabella Stewart Gardner Museum. It is inscribed by the artist, “Zorn to Mrs. J. L. Gardner 14 Apr. 1899."
Mrs. Grover Cleveland I, 1899, etching, 24.8 x 17.7 cm., A. 145. The etching is a mirror image of the oil portrait.
Mrs. Grover Cleveland II, 1899, etching, 24.7 x 18 cm., A. 146.
Mrs. Grover Cleveland, 1899, pencil on paper, 30.8 x 24.1 cm., Zorn Museum Collection.
According to Gerda Boëthius, Zorn painted a Mr. Procton, a nephew of the Gardner’s, in 1899. Perhaps it was George Proctor, not Procton, who was painted by Zorn that year. Zorn made portraits of two of Mrs. Gardner’s nephews in 1899, but Proctor had no familial relationship to her. A pianist and protégé of Isabella Stewart Gardner’s, the piano virtuoso Paderewski (1860-1941) praised Proctor’s talent after hearing him in Boston. Mrs. Gardner contributed $7,000 for the young man to study in Vienna under Paderewski’s teacher Théodore Leschetizky (1830-1915). Proctor had visited the Gardners in Venice just prior to the Zorns visit in 1894. He wrote to her, “My Venice trip was not to be compared with any pleasure I have ever had or ever expect to have in my life. It is more than I ever supposed mortal men enjoyed.” See The Art of Scandal: The Life and Times of Isabella Stewart Gardner, by Douglass Shand-Tucci (1997).
Dr. George Howard Monks, 1899, oil on canvas, 68.5 x 50.5 cm., private collection. Dr. Monks(1853-1933) was married to George Peabody Gardner’s sister Olga Eliza (b. 1869). He was a Boston surgeon who taught at the Harvard Medical School.
John Chipman Gray, 1899, 70 x 51 cm., oil on canvas, private collection. John Chipman Gray (1839-1915), a cousin to John Gardner, was a lawyer and educator. He was a trustee of John Gardner’s estate.
George Peabody Gardner, 1899, oil on canvas, 182.9 x 106.7 cm, Boston Museum of Fine Arts, accession no. 59.66. George Peabody Gardner (1855-1939) was the son of George Augustus Gardner (1829-1916) and Eliza Endicott Peabody (1834-1876). He was a nephew to John Gardner. The Harvard trained businessman married Esther Burnett. His business acumen allowed John and Isabella Gardner to take extended trips abroad starting in 1894. In John Gardner’s absence, George watched over the family interests. John Gardner chose George to be a trustee of his estate. He assisted Isabella Gardner in her business dealings after John Gardner’s death in 1898.
William Amory Gardner, 1899, oil on canvas, 68 x 50.7 cm., American School of Classical Studies, Athens, Greece. Amory Gardner (1863-1937) was the son of Joseph G. Gardner and a nephew of John Gardner. John and Isabella Gardner helped raise Amory and his brothers after they were orphaned in 1875. He was a Harvard graduate who taught Greek at Groton. He was a founding master of Groton and one of the Massachusetts school’s most generous benefactors.
Martha Dana (later Mrs. William R. Mercer), 1899, oil on canvas, 68.5 x 50.9 cm., Boston Museum of Fine Arts, accession no. 28.513. Martha Dana (1872-1960) was a patron of the Boston Museum of Fine Arts, to which she gave her portrait by Zorn in 1928, and the Boston Athenaeum, the Arnold Arboretum, and the Boston Symphony. She was married to William R. Mercer, Jr., a sculptor, based in Doylestown, Bucks County, Pennsylvania. William’s brother Henry Chapman Mercer (1856-1930) was a tile marker in the Arts and Crafts tradition.
Richard Saltonstall, 1899, oil on canvas, 150.5 x 91.5 cm., Massachusetts Historical Society. The portrait is on loan to the Crane House, Ipswish, Massachusetts. Richard Saltonstall (b. ca. 1858) was a founding partner of Gaston, Snow, Saltonstall, and Hunt in Boston, formed in 1895, and was a Harvard classmate and friend of Theodore Roosevelt. It was at Saltonstall’s Chestnut Hill home where Roosevelt met his first wife Alice Hathaway Lee (d. 1882), who was Saltonstall’s first cousin and next door neighbor.
Daniel Hudson Burnham, 1899, oil on canvas, 74.5 x 61.5 cm., Commission of Fine Arts, Washington, D.C., since Sept. 11, 1958. Daniel Burnham (1846-1912) was one of America’s most prominent architects. He was head of architecture at the Chicago World’s Fair.
Edward Livingston Davis, 1899, oil on canvas, 121 x 91 cm., private collection. Edward Livingston Davis (1834-1912) was mayor of Worcester, Massachusetts. John Singer Sargent painted Mrs. Edward L. Davis and Her Son in 1890.
Joseph Randolph Coolidge, 1899, oil on canvas, 68.7 x 51 cm., Harvard University Portrait Collection, accession no. H 663. Randolph Coolidge (ca. 1828-1925) married John Gardner’s sister Julia (1841-1921) in 1860.
Henry Clay Pierce, 1899, oil on canvas, 157 x 107 cm., National Museum, Stockholm. Henry Clay Pierce (1849-1927) dealt in oil, finance, and railroads. He was believed to be the nation’s fourth wealthiest man. Zorn took Pierce to court in St. Louis when the businessman refused to pay for this portrait and the following two portraits.
Mrs. Henry Clay Pierce, 1899, oil on canvas, 152.4 x 106.7 cm., private collection. The portrait sold at Christie’s, Oct. 30, 1985.
Mrs. Eben Richards, 1899, oil on canvas, 152.5 x 107.3 cm., private collection. The portrait sold at Sotheby’s, New York, Oct. 1989. Pearl Richards was the daughter of Henry Clay Pierce.
According to Gerda Boëthius, Zorn painted a second portrait of William Deering, Charles Deering’s father, before departing for Europe in 1899.
On the Atlantic, 1899, etching, 17.7 x 12.7 cm. After a hectic trip to the United States, Zorn relaxed on the ocean on his return trip to Europe. He once wrote to Mrs. Gardner during a voyage to Europe that his only wish was that the trip was longer. The etching depicts a young woman sitting in a deck chair bundled up for the weather. According to Asplund, Zorn possessed a preparatory pencil drawing of this subject.ˆ
Mrs. J. Donald Cameron, 1900, oil on canvas, 147.5 x 113.5 cm., private collection. The portrait was previously in the collection of the Smithsonian American Art Museum. It was sold at Sotheby’s, New York, on May 21, 1987. Mrs. Elizabeth Sherman Cameron (ca. 1858-1944) was married to Senator Donald Cameron (1833-1918) of Pennsylvania. She was a close friend and confidant of Henry Adams. Mrs. Cameron was from a prominent Ohio family and a niece of General William T. Sherman. The portrait was painted in Paris.
Mrs. John Crosby Brown, ca. 1900, oil on canvas, 73.7 x 60.3 cm., Metropolitan Museum of Art, accession no. 60.85. Mary Elizabeth Adams (1842-1918) married John Crosby Brown and lived in Orange, New Jersey. She collected musical instruments and gave many of them to the Metropolitan Museum, beginning in 1889. The 4,000 instruments in the museum’s collection makes it the largest such collection outside of Europe. Zorn’s portrait of Mrs. Brown is believed to have been painted in Paris.
Mrs. Abby Deering Howe, 1900, oil on canvas, 124.5 x 91.5 cm., private collection. The portrait was sold at Sotheby’s, New York, Oct. 1989. Mrs. Robert Howe was the half-sister of Charles Deering.
Emma Zorn in New York, 1900, etching, 20.2 x 15 cm., A. 157. Zorn etched a portrait of his wife from their room at the Waldorf-Astoria. The city-scape is viewed through the window behind Mrs. Zorn.
Colonel Lamont I, 1900, etching, 22.4 x 15 cm., A. 158. Daniel Scott Lamont (1851-1905) was secretary of war during President Grover Cleveland’s second term.
Billy Mason, 1900, etching, 19.9 x 14.2 cm., A. 159. William E. Mason (1850-1921) was a Republican senator (1897-1903) from Illinois who was known for his skill as an orator. Along with forty signed copies of the etching, there were fifty unsigned prints on japon paper published in Tome IV du Peintre-Graveur illustré de luxe. There were also 350 unsigned etchings with the inscription "T. IV Senator B. Mason A. Zorn Sc.” The artist signed the etching in the plate “Zorn Chicago 1900.”
At the Piano (Anna Burnett, later Mrs. Hardin), 1900, etching, 20 x 15 cm., A. 160. Mrs. Hardin presented the etching of herself to the Norton Simon Museum in Pasadena, California, in 1953, accession number P. 1953-366. According to Asplund, Zorn possessed two pencil drawings of the subject.
Arthur Caton, 1900, oil on canvas, 220 x 115 cm., Chicago Club. The painting was originally cataloged as being painted in 1901. Count Louis Sparre (1863-1964), an artist and friend of Zorn’s, attempted to catalogue Zorn’s American works in the 1920s by traveling across the country. He noted, after visiting Chicago, that the painting was dated 1900.ˆ
Charles Deering, 1901, oil on canvas, 76.2 x 63.5 cm., Art Institute of Chicago. Charles Deering (1852-1927) was, along with Isabella Stewart Gardner, Zorn’s closest American friend and patron. He was the first chairman of the International Harvester Company (1902). Deering amassed the largest collection of Zorn etchings outside of Sweden, which Asplund described as “containing many unique etchings and states.” Only Zorn had more etchings than his American friend. Deering’s etching collection was given by his daughters to the Art Institute of Chicago. The cache of prints was large enough that a number were also given to the Boston Museum of Fine Art. Deering also collected Zorn’s paintings and drawings. He commissioned a number of portraits by Zorn of family members. He was a serious amateur artist who “studied” painting and etching under Zorn’s tutelage. John Singer Sargent painted Deering’s portrait in 1917. Sargent had earlier made a pencil sketch of Deering wearing his naval uniform. Sargent painted a portrait of Deering’s first wife, Annie Rogers Deering, ca. 1877, which is in the collection of the Rhode Island School of Design Museum of Art.
Colonel Daniel Scott Lamont, 1901, oil on canvas, 224 x 117 cm., private collection. The work drew the attention of Henry Dwight Sedgwick, whose article concerning the portrait appeared in The New American Type and Other Essays (1908). He contrasted the wisdom of the Founding Fathers with the Captains of Industry who rose to prominence during the Gilded Age. After leaving his cabinet post in the Cleveland administration, Lamont joined William C. Whitney in forming the Metropolitan Traction Company in New York City. He was a vice-president of Northern Pacific Railroad and president of the Northern Pacific Express Company. Lamont was on the board of directors of more than ten companies.
Mrs. Daniel Scott Lamont, 1901, oil on canvas, 110.5 x 87.6 cm., private collection. Julia Kinney Lamont was so pleased with Zorn’s portrait of her husband that she asked the artist to make another portrait. See the two etched portraits of Lamont from 1904.
Daniel Catlin, 1901, oil on canvas, 57.7 x 47.6 cm., St. Louis Art Museum, accession no. 85:1942. Daniel K. Catlin was a St. Louis manufacturer.
Mrs. John Cotton, 1901, oil on canvas, 61 x 51 cm., private collection. According to Count Louis Sparre (Zorn Museum Archives), the work was originally given by Zorn to Washington University in St. Louis. The painting was sold in the 1940s.
Mrs. Cotton I, 1901, etching, 22.9 x 15 cm., A. 161, a mirror image of the painted portrait.
Mrs. Cotton II, 1901, etching, 20 x 15 cm., A. 162.
Robert de Forest, 1901, oil on canvas, 69 x 56 cm., Museum of the City of New York, accession no. 58.28. Robert de Forest (1848-1931) was a corporate lawyer who dealt in railroads, insurance, and banking. He was active in many charitable causes and was instrumental in establishing the New York School of Social Work. According to Gerda Boëthius, Robert de Forest owned a painting by Zorn, Girl with a Cigarette (1892). The painting was in the collection of Legg Mason Wood Walker of Wall Street as late as 1989, according to a letter from a company representative to the authors. Zorn made two etched versions of Girl with a Cigarette, A. 61 and 62.
Grant B. Schley, 1901, oil on canvas. The painting was destroyed. Grant B. Schley (1845-1917) was a founder of Moore and Schley (1885). It became the largest brokerage firm on Wall Street and handled the money of such men as John D. Rockefeller. The painting is believed to have been painted at Schley’s Far Hills, New Jersey, estate. Zorn’s fee was $4,000 for the portrait, but against the artist’s protests, Schley did not pay for the portrait. Instead, he invested the money in Zorn’s name. Six weeks later, a very pleased Zorn received a check for $5,600, according to his autobiographical notes and a letter from Schley to Zorn in the Zorn Museum Archives.
Dr. Ira de Ver Warner, 1901, oil on canvas, 101.5 x 86.5 cm., Yale University Art Gallery, New Haven, Connecticut. Dr. de Ver Warner, using his medical knowledge, designed a widely used corset. His Bridgeport, Connecticut, factory employed 8,000 people and was the world’s largest producer of the undergarment. Dr. de Ver Warner also had dealings in railroads and banking. His summer home in Augusta, Georgia, was next to John D. Rockefeller’s. Zorn met Dr. de Ver Warner through Colonel Daniel Lamont.
Mrs. Eva de Ver Warner, 1901, oil on canvas, 101.5 x 86.5 cm., private collection. The portrait sold at Sotheby Parke Bernet, Jan. 26, 1979. Eva Follet was Dr. de Ver Warner’s second wife.
Charles Nagel, 1901, oil on canvas, 61 x 50.8 cm., Smithsonian Institution, National Portrait Gallery, accession no. NPG 69.1. The portrait served as a partial payment for legal expenses stemming from Zorn’s lawsuit against St. Louis businessman Henry Clay Pierce. See Pierce portrait, 1899. Charles Nagel (1849-1940) was a lawyer and politician who served as secretary of commerce and labor under President Taft. The portrait was painted in Isabella Stewart Gardner’s New York City hotel room.
Samuel Untermeyer, 1901, oil on canvas, 102 x 77 cm. New-York Historical Society, accession no. 1949.68. Samuel Untermeyer (1858-1940) was a New York attorney who was known for taking on big business and organized labor in questions of corruption. Untermeyer represented Zorn’s nemesis, Henry Clay Pierce, in litigation involving the breakup of John D. Rockefeller’s Standard Oil Company. Untermeyer also took on J. Pierpont Morgan as counsel for the Lockwood Congressional Committee, which investigated interlocking directorships.
Dreams, 1901, oil on canvas, 56 x 76 cm., Thielska Galleriet, Stockholm, Sweden. The painting, which depicts a nude woman asleep on a bed, was painted in the New York City studio of Samuel Roosevelt (1863-1920), a champagne merchant, skilled amateur artist, and cousin to Theodore Roosevelt. The model for the painting was, according to Zorn’s autobiographical notes, the wife of a prominent New York doctor. The painting was first exhibited under the title Doktorinnan. In Zorn’s notes, he wrote that the woman, unashamed to pose in the nude, did not mind that she was identified as a doctor’s wife.
Freja, 1901, oil on canvas, 59 x 44 cm., private collection. This is one of the few Zorn works based on a mythological subject. He depicts the goddess Freja nude, holding a chalice, while slumped in an old Norse chair of honor. As in the saga, the goddess is accompanied by a black cat. The painting is signed “To my friend Roosevelt Zorn” and was painted in Roosevelt’s studio. The work was featured on a poster for “Zorn’s Women,” an exhibition held in Lund, Sweden, in 1976. To the exhibition’s organizers, the painting symbolized Zorn’s crass exploitation of women. His 1913 painting Renaissance has a similar composition, as does the 1908 portrait of Hilma Eriksson.
The Watchman, (John Smith), 1901 (or 1904), oil on canvas, 61 x 40 cm. The painting sold at Sotheby’s, London, March 23, 1988. John Smith was a security guard employed by Charles Deering.
Sitting Woman, 1901, etching, 20 x 15 cm., A. 163. The etching was done in New York City, perhaps at Zorn’s hotel, which often served as his studio. The subject was an African- American. Elizabeth Broun wrote in her 1979 exhibition catalogue of Zorn’s prints held at the Spencer Museum of Art, Lawrence, Kansas, that the Swede may have been influenced by Rembrandt, especially the Dutch Master’s 1658 etching Woman Bathing Her Feet. Zorn was highly influenced by Rembrandt and collected only two etchers, himself and the Dutch artist. There are approximately 200 Rembrandt etchings in the Zorn Museum Collection.
Standing Woman, 1901, etching, 22.5 x 15 cm., A. 164. This is the same woman who posed for A. 163. Zorn’s sketchbook has two drawings of the same nude woman in different poses.
Miss Henlop, 1901, etching, 22.6 x 15 cm., A. 165. In 1903 Miss Henlop married Robb de Peyster Tytus (d. 1923), an artist and explorer who served in the Massachusetts House of Representatives.
Miss Henlop, 1901, blue crayon on paper, 36.4 x 22.5 cm., a study for the etching, Zorn Museum, ZT 1022.
Miss Lurman, 1901, etching, 22.5 x 15 cm., A. 166. Zorn wrote in his autobiographical notes that he met Miss Lurman ten years earlier on a trip to the North Cape of Norway. According to Asplund, Zorn possessed a pencil drawing of the subject.
Grace Thompson Seton, 1901, oil on canvas, 109 x 69 cm., private collection. Grace Thompson Seton (1872-1959) was the author of seven widely read travel books, including A Woman Tenderfoot (1900). She married Ernest T. Seton (1860-1946), who helped found the Boy Scouts of America. Mrs. Seton was instrumental in creating the organization that is known today as the Camp Fire Girls. She was active in the women’s suffrage movement and was president for many years of the Pen and Brush Club (1898-1939) in New York City. This is perhaps the most “American” of all of Zorn’s portraits. Mrs. Seton, standing and facing the viewer, wears a western riding outfit. She “sports” a wide-brimmed hat tilted to the side. In her extended right hand she holds a rifle, while in her left hand she grips a riding crop at her waist.
Grace Thompson Seton, 1901, etching, 22.5 x 15 cm., A. 167. The etching is a mirror image of the painting. In the lower left corner of the plate, Zorn placed a foot with a nail through it and the ♀ sign, a visual pun associated with Mrs. Seton’s recently published A Woman Tenderfoot.
Grace Thompson Seton, 1901, pencil on paper, 27.5 x 21.1 cm., Zorn Museum Collection, ZT 49. This is a study for the painting and etching.ˆ
James Deering, 1903, oil on canvas, private collection. James Deering (1859-1925) was a brother of Charles Deering and a vice-president of International Harvester Company. As was the case with his brother, James, who never married, had many interests beyond business. He is known for building Vizcaya in southern Florida, a palazzo in the Italian Renaissance style. The Vizcaya Museum and Gardens is owned by Dade County. It was sold to the county in 1957 by Charles Deering’s daughters for a nominal fee. Vizcaya is listed as a U.S. National Historic Landmark. John Singer Sargent painted a watercolor portrait of James Deering in 1917 (private collection), the same year the artist painted Charles Deering’s portrait.
A Dark Corner, 1903, etching, 20 x 15 cm., A. 175, also known as Models Near a Bed, according to Karl Asplund. The etching was made in New York City. There is a drawing in the Zorn Museum Collection that is a preparatory sketch in pencil for the etching, in mirror image, ZT 1033.
Mrs. Richard Howe, 1904, oil on canvas, private collection. See Mrs. Abby Deering Howe, 1900.
Charles Tracy Barney, 1904, oil on canvas, 228 x 121 cm., New-York Historical Society, accession no. 1947.112. Charles T. Barney (1850-1907) was president of the Knickerbocker Trust Company and a director of numerous insurance companies. He was also a patron of the arts and a supporter of the Metropolitan Opera. During the Panic of 1907, which triggered a run on the Knickerbocker Trust Company, Barney committed suicide.
Charles Gates Dawes, 1904, oil on canvas, 122 x 82 cm., U.S. Treasury Building. Charles G. Dawes (1865-1951) was a financier, diplomat, and a vice-president under Calvin Coolidge (1872-1933). He is known for Dawes’ plan, implemented after Word War I (1924) to solve the problem of German war reparations. He won the Nobel Peace Prize in 1925 for his efforts. The plan eventually failed and Adolph Hitler came to power in German in 1933.
Charles Deering (Traveling Companion), 1904, etching, 19.8 x 14.9 cm., A. 182. Deering is depicted reading in a train compartment during a trip he and Zorn took from Chicago to California.
Richard Teller Crane, 1904, oil on canvas, private collection. Richard T. Crane (1832-1912) was founder of the Crane plumbing fixture empire. The portrait was painted in Pasadena, California.
Mrs. Emily Hutchinson Crane (after 1913, Mrs. Junkin), 1904, oil on canvas, 85 x 113.5 cm., Seabury-Western Theological Seminary, Evanston, Illinois. Mrs. Crane (b. 1869) was painted by Zorn in Pasadena, California.
On March 28, 1955, Dagens Nyheter, Stockholm’s leading newspaper, published a story concerning two previously unknown paintings discovered in the United States. During a two month cross-country trip to America, Gerda Boëthius found a portrait in San Francisco of Smith Wild. The painting had remained with the family. Dagens Nyheter published a picture of the painting. Zorn was in San Francisco in 1904, and may have painted the portrait at that time. A notation for the entry on the portrait in the Zorn Museum Archives indicates that the portrait was dated 1907. The other painting was in another San Francisco private collection and depicted a woman painted in one of Zorn’s Swedish studios, according to the newspaper. In Washington, D.C., Boëthius found, according to the report, that Zorn’s portrait of President William Howard Taft was hung in President Dwight Eisenhower’s workroom (arbetsrum), which may translate as the Oval Office.
Marcus A. Hanna, 1904, oil on canvas, 130 x 85 cm., Western Reserve Historical Society, accession no. WRHS 48.147. Senator Marcus Hanna (1837-1904) was a businessman and a leading member of the Senate. Zorn’s work is a posthumous portrait. Hanna had recently died, and his friends commissioned Zorn to paint his portrait.
Mr. Richard Howe, 1904, 121.9 x 89.2 cm., oil on canvas, private collection. Richard Howe was a brother-in-law of Charles Deering. Mrs. Howe commissioned the portrait. It was auctioned at Sotheby’s, New York, in April 2002.
Robert S. Brookings, 1904, oil on canvas, 124 x 91.4 cm., Washington University Collection, accession no. WU 3192. Robert S. Brookings (1850-1932) was a successful businessman who used his considerable wealth for philanthropic causes. He also established the Brookings Institution in Washington, D.C.
Charles Deering, 1904, oil on canvas, private collection. This is Zorn’s second portrait of his patron and friend.
Robert R. Hitt, 1904, oil on canvas, 110 x 60 cm., private collection. Robert Hitt (1834-1906) was an influential congressional leader during the presidency of Theodore Roosevelt.
Colonel Daniel Lamont II, 1904, etching, 20 x 15 cm., A. 177. See the Lamont portrait, 1900.
Colonel Daniel Lamont III, 1904, etching, 20 x 15 cm., A. 178.
Colonel Daniel Lamont, 1904, drawing, Zorn Museum Collection, a preparatory sketch for Lamont III.
John Milton Hay, 1904, etching, 20.2 x 15.1 cm., A. 179. John Hay was a private secretary to President Abraham Lincoln during Lincoln’s presidency and coauthored a book on the assassinated president. He was a journalist in Cleveland and had an extensive diplomatic career. Hay served as secretary of state under Theodore Roosevelt and died while in that position. See Mrs. John Hay, 1883.
Emma Rasmussen, 1904, etching, 20 x 15 cm., A. 183. Miss Rasmussen was a Danish-born singer who, according to Zorn, married a German nobleman. The portrait was etched in Washington, D.C.
Emma Rasmussen, 1904, pencil on paper, 20.2 x 13.3 cm., Zorn Museum Collection, ZT 1041.
Zorn etched a self-portrait in New York City, 1904, 17.5 x 12.5 cm., A 180, and another version, A. 181. The self-portrait, A. 180, was published in Die Graphischen Künste in 1905.
Mrs. Kip, etching, 1904, 20 x 15 cm., A. 184. The etching was made in New York City. According to Asplund, Zorn’s sketch book contains a pencil drawing of the subject.ˆ
President Theodore Roosevelt, 1905, etching, 12.9 x 8.9 cm., A. 189. Theodore Roosevelt (1858- 1919) was the 26th president of the United States. John Hay arranged for Zorn to visit the White House in order for the artist to sketch the president.
Theodore Roosevelt, 1905, pencil on paper, study for the etching, 20.4 x 13.2 cm., Zorn Museum Collection, ZT 1047. There are at least three other sketches of Roosevelt by Zorn, which he made in preparation for the etched portrait, in the Zorn Museum Collection. See Erik Forssman, Tecknaren Anders Zorn (1959), a collection of Zorn drawing from his sketch book. Forssman was a director of the Zorn Museum.
Mr. and Mrs. Atherton Curtis, 1906, etching, 24 x 18.4 cm., A. 203. Atherton Curtis (1863-1944), a patron of several artists, principally American artist Henry Ossawa Tanner (1859-1937), left a number of Zorn etchings to the Bibliothèque Nationale, Paris. He was on the committee for Zorn’s large Durand-Ruel Gallery exhibition held in Paris in 1906. This etching was made at the time. His second wife, Ingeborg, portrayed in the etching, was Danish. Curtis’s fortune stemmed from the patent medicine, “Mrs. Winslow’s Soothing Syrup.” He showed little interest in the family business and lived in Europe for most of his life. Curtis died in Paris during World War II. He was a connoisseur of graphic art and wrote at least two books on the subject. At the time of Zorn’s 1906 exhibition at Durand-Ruel, Zorn etched several portraits: art dealer and collector Alfred Beurdeley, A. 209, whose corresponding oil portrait is in the collection of the Musée d’Orsay, Paris; author Anatole France, A. 204; diplomat D’Estournelles de Constant, A. 205; chemist and politician Mercellin Berthelot A. 206. He also etched a portrait of his friend, sculptor Auguste Rodin, A. 207.
Mrs. Tietgens, 1907, pencil on paper. Zorn made the drawing in Evanston, Illinois. In a letter written by Charles Deering to Mrs. Augusta Saint-Gaudens, February 11, 1908, a year after the death of Mrs. Saint-Gaudens’s husband, he mentioned Paul Tietgens, who like Deering, had purchased Augustus Saint-Gaudens’s Diana. See the Papers of Augustus Saint-Gaudens, Dartmouth College Library.
Hugo Reisinger, 1907, oil on canvas, 135.6 x 100.3 cm., accession no. 1957.4.3, National Gallery of Art, Washington, D.C. The portrait is on extended loan to the Birmingham Museum of Art. Hugo Reisinger (1856-1914) was a German-born businessman and art collector who owned a successful importing business. He had a comprehensive collection of American contemporary art and French Impressionists. Harvard’s Busch-Reisinger Museum was named for Adolphus Busch and Hugo Reisinger. This portrait was painted in Stockholm, Sweden.
Miss Emily Grigsby, 1907, oil on canvas, 68 x 55 cm., private collection. The painting is signed “Zorn 1907.” Zorn may have painted two pictures of Miss Grigsby, in 1904 and 1907. The 1907 painting depicts Miss Grigsby partially nude in her bed. Emily Grigsby (d. 1964) was the mistress of Charles Tyson Yerkes (1837-1905), a businessman so infamous for nefarious dealings that he served as the model for the main characters in Theodore Dreiser’s novels The Financier and The Titan. Through Yerkes’s largess, Miss Grigsby owned several Zorn paintings that Yerkes had purchased at the Chicago World’s Fair. They were sold at auction in New York City in the first decade of the 20th century.
Ambassador David Jayne Hill, 1910, oil on canvas, 123 x 90 cm., private collection. The painting was in the Corcoran Museum of Art collection until it was sold at Sotheby Parke Bernet, May 3, 1979. The portrait was painted in Stockholm. David Jayne Hill (1850-1932) was U.S. ambassador to Germany at the time the portrait was painted.ˆ
Andrew Carnegie, 1911, oil on canvas, 127 x 101.6 cm., Carnegie Museum of Art, accession no. 12.1. Andrew Carnegie (1835-1919) was an industrialist and the foremost philanthropist of his time.
Ambassador David Jayne Hill, 1911, oil on canvas, 95.5 x 76.2 cm., private collection. This second portrait of Hill by Zorn was in the Corcoran Museum of Art collection until it was sold at Sotheby Parke Bernet, May 3, 1979. The portrait was painted in Berlin.
President William Howard Taft, 1911, oil on canvas, 117.8 x 89.2 cm., the White House Collection, Washington. D.C., accession no. 912.1415.1. William Howard Taft (1857- 1930) was the 27th president of the United States (1909-1913) and chief justice of the Supreme Court (1921-1930). The portrait, which was painted in the White House, was arranged by Zorn’s St. Louis friend Charles Nagel, who was in Taft’s cabinet (see Nagel portrait, 1901).
President William Howard Taft, 1911, etching, 24.8 x 19.8 cm., A. 239. The etching is a mirror image of the oil portrait.
Vice-President James Schoolcraft Sherman, 1911, oil on canvas, 76 x 64 cm., Munson-Williams- Proctor Art Institute, Utica, New York, accession no. 45.4. James S. Sherman (1855- 1912), a native of Utica, was a lawyer and politician. Sherman died while serving as Taft’s vice-president the year after Zorn painted his portrait. Charles Deering commissioned the portrait.
A. Piatt Andrew, oil on canvas, 1911, 60 x 44 cm., Isabella Stewart Gardner Museum. A. Piatt Andrew (1873-1936) taught at Harvard and was a director of the United States Mint. When Zorn painted his portrait, Andrew was assistant secretary of the Treasury. When he predicted the Panic of 1907, Senator Aldrich named him to the National Monetary Commission. Andrew worked with Aldrich and others to form the Federal Reserve System. He was a close friend of Mrs. Gardner’s, who was a frequent visitor to his cottage, “Red Roof,” at Eastern Point, Gloucester Harbor.
Nelson Aldrich, 1913, oil on canvas, 128.3 x 97.8 cm., Smithsonian Institution, National Portrait Gallery, accession no. NPG 69.85. Senator Nelson Aldrich (1841-1915) was one of the most powerful politicians of his time and was instrumental in establishing the Federal Reserve System. This portrait was painted in Paris. Zorn painted a portrait of Senator Nelson Aldrich in 1911 that was rejected by his family as not a true likeness. Zorn wrote that Aldrich was difficult to capture on canvas, particularly his eyes.
Miss Constance Morris, 1915, oil on canvas, 150.6 x 100.2 cm., Zorn Museum Collection, ZO 190. Miss Morris was the daughter of Ira and Constance Morris.
Minister Ira Nelson Morris, 1916, oil on canvas, 151 x 100.5 cm., Chicago Historical Society, accession no. 1954.352. Ira N. Morris (1875-1942) was the United States ambassador to Sweden from 1913 to 1923.
Mrs. Constance Lily Rothschild Morris, 1917, oil on canvas, 151 x 100.5 cm., Chicago Historical Society, accession no. 1954.353.ˆ