Embracing Scenes About Lakes Tahoe and Donner is a compilation of titles of art works by 150 artists, and the artists’ contemporary biographical descriptions.
The four major sources of information for this work are the Smithsonian Institution Inventory of American Paintings, the book Artists in California by Edan Milton Hughes, the Joseph A. Baird, Jr. Collection, Department of Special Collections, University of California Library, Davis, and the California State Library Information File.
Early on I obtained access to the M. H. de Young Memorial Museum library, where a hard copy of the California portion of the Smithsonian inventory was held. With an initial list of the names of artists and titles of Tahoe related paintings, I searched the Inventory of American Paintings on-line through a telnet connection to the Smithsonian Institution, Museum of American Art, SIRIS database. This permitted searching by artist name, title, and place name. The California State Library microfiche, California Information File, including the California Art and Artists File and the San Francisco Newspaper Index, 1904–1959 and 1950–1980, provided an almost infinite amount of information on the artists, as well as assisted in verifying references.
At a California Historical Society lecture I had the good fortune to meet Edan Milton Hughes. His presentation included wonderful stories and a number of slides of works by some of the Tahoe artists. His book Artists in California, 1786–1940 is a monumental work. Mr. Hughes kindly permitted the use of material from his book in exchange for all the names and information that I found for artists not included in the second edition. For this privilege I am sincerely grateful. In many instances, Artists in California has been the starting place for the research for Embracing Scenes.
I thank all the librarians and library assistants at the University of California, Berkeley, Bancroft Library; University of California, Davis, Special Collections; San Francisco Art Institute Library; Sonoma State University Library; Dominican University Library and Convent Archives; Mills College; California State Library, California History Section; The Sutro Library; Crocker Art Museum; Oakland Museum of California; San Francisco Public Library, Art and Music Reference Department and History Room; Marin County Free Library, California Room and Reference Department; San Rafael Public Library; Yolo County Library; Napa County Historical Society; California Historical Society, North Baker Library; Society of California Pioneers, The Alice Phelan Sullivan Library; Strybing Arboretum Society, Helen Crocker Russell Library; Oregon Historical Society; Wells Fargo History Museum; and the Nevada Historical Society, where I have received patient and helpful assistance. Via electronic services I received timely assistance from the librarians at the Huntington Library and the Smithsonian Institution, Museum of American Art and Portrait Gallery Library and Art Archives Library; the New York Public Library; Pasadena Public Library; Coronado Public Library; El Dorado County Historical Society; San Diego Historical Society Library; The Royal Botanic Gardens, Kew; Victoria and Albert Museum; City of Plymouth Museums and Art Gallery; Fine Art Society; Walker Art Gallery; Stuttgart City Archives; and A. and C. Black Publishers, London. Special thanks to Phil Kovinick and Marian Yoshiki-Kovinick, authors of An Encyclopedia of Women Artists of the American West, whose research revealed the meeting of Mary T. Menton and Marianne North in 1875; to Jane Arnold, who made a list of all the Lakes Tahoe and Donner paintings on display in the Marianne North gallery in the Royal Botanic Gardens, Kew; to Lies Gwynn and Philip Harris for the gift of a first edition of A Vision of Eden, The Life and Work of Marianne North; to the Garzoli Gallery of San Rafael for providing the Thomas Hill illustration Mt. Tallac From Lake Tahoe. Finally, to my friends and family, thank you for your encouragement and forbearance.
Dead
he is not, but departed—for the artist never dies.
Henry Wadsworth Longfellow, "Nuremberg."
One may start with a single purpose, but, as the work progresses, unexpected changes occur. The most significant developments in this project have been the encounters with relatives of a few of the one hundred and fifty artists in Embracing Scenes.
By chance I located a relative of Manuel Valencia, who was born in San Rafael. The artist’s grandson, Edwin J. Valencia, Jr., has kindly provided new material, and has verified the information about his grandfather. In a copy of a letter dated 1946, written in response to an inquiry from Mrs. Jeanne Van Nostrand, Edwin J. Valencia included the Longfellow quotation. I am most grateful for the assistance provided by Mr. Valencia.
Art is
long, life short; judgment difficult, opportunity transient.
Johann Wolfgang von Goethe
Art is
long and time is fleeting.
Virgil Williams
One day a few years ago I happened to be reaching for an art reference book in the stacks of the Marin County Civic Center Library. There beside me another person was reaching for a book on the same shelf. Surprised to find a fellow researcher, I asked the person about her interest in the art reference books. She revealed that she was getting started on a long-intended search for information about a California artist, S. T. Daken, her grandfather. I responded by offering to share all the material that I had located on Daken. Since that day, Bonnie Portnoy and I have traded information and copies of newspaper articles to our mutual benefit, and to the joy of S. T. Daken’s daughter, who celebrated her ninety-fifth year in 2002.
Thomas Wood, a grandson of Gittardo Piazzoni, kindly reviewed and corrected the entry for his grandfather.
When I learned that the Nevada Historical Society is in the process of compiling a list of illustrations and paintings of Nevada, I contacted the project manager, Jim McCormick. He reviewed my list of painters, sketch artists, and illustrators, and informed me that Gutzon Borglum’s daughter lives in Reno. I am most grateful to Mary Ellis Borglum Vhay for reading the Borglum entry, and relating her father’s great admiration for Abraham Lincoln. Borglum’s son, Lincoln Borglum, oversaw the completion of "the most ambitious task of his [father’s] career—the Mount Rushmore Memorial." Her father’s favorite sculpture was the larger-than-life-size seated Abraham Lincoln, located in front of the Newark, New Jersey courthouse. Mary Borglum assisted Robert J. Casey in writing the artist’s biography, Give the Man Room, The Story of Gutzon Borglum, 1952.
Whereas I began by collecting names of artists and their works about Lakes Tahoe and Donner, I realize I have derived more pleasure and meaning in discovering a few relatives and, in general, the information about the lives of the artists, and how the artists were received by critics in their day. For all the artists who have faded or been forgotten, this work declares—"the artist never dies."
Tahoe,
"the fairest picture the whole earth affords."
Mark Twain, Roughing It
While working on an earlier book, Tahoe Place Names, I recalled having read the article "An Excursion To The Lakes Tahoe and Silver," by the editor of the Sacramento Daily Union, Henry Clay Watson (1831–1867). It was published on Monday, July 27, 1863:
"Lake Tahoe. We struck the lake on the eastern side, about nine miles from its head, and encamped upon the shore.
"We cannot describe Lake Tahoe, because this paper is not canvas; and if it were, there are no colors rich and pure enough to portray that marvelous sheet of liquid sapphire—those purple peaks, the unspeakable air (which never puts off its transparency but to put on the exquisite pale blue of distance); nor is there any art by which to express that hush and stillness, unbroken but by rippling water and the crooning pines, and, above all, that ineffable sense of being lifted up in the eyries of the clouds, and where the world’s tumults cannot come."
From this piece of lush prose sprang the idea for collecting the names, brief biographies, and lists of the works of the artists who had painted at Lake Tahoe. It was a most enjoyable enterprise—reading art books.
After a fairly thorough yet fruitless search I realized that William Keith may not have painted a picture of Lake Tahoe. In order to include California’s most famous 19th-century artist, I enlarged the geographic area to include Donner Lake. This significantly enriched the collection of artist names and paintings by including Fortunato Arriola, Joseph Becker, Ralph Albert Blakelock, George Henry Burgess, and C. W. Burton, to name but a few.
The title, Embracing Scenes, comes from the pen of Benjamin Parke Avery (1828–1875), an 1849 gold-seeker, state printer, founder of the Marysville Appeal, and editor of the Hydraulic Press, San Francisco Bulletin, and Overland Monthly. Reporting on developments in San Francisco in the January 1874 issue of Overland Monthly, Avery wrote these lines:
"Gilbert Munger, who has just returned East with a large number of very able and honest studies—embracing scenes about lakes Tahoe and Donner. . . ."
Benjamin P. Avery contributed greatly to San Francisco’s literary and cultural life. Among his many achievements was promoting excursions, such as with the piece, "Summering in the Sierra" (1874), and valuing the state’s heritage. In "The First People," he wrote: "All the Indian tribes of America lived in such a way as to leave the natural charms of their land unimpaired."
As editor of the Overland Monthly, Avery wrote the "Art Notes" column, encouraged art education, and helped in the founding of the San Francisco Art Association. Of significance to art research is his two-part article "Art Beginnings on the Pacific," which remains an invaluable account of the artists in then art-mad San Francisco. (Overland Monthly, July and August, 1868, v. 1, nos. 1 and 2.) Samuel Williams, who succeeded him as editor of the Overland Monthly, declared: "Perhaps no one person did so much to educate the people of the state in the right direction—to lift the thoughts of men above the sordid interests of the hour and the mean ambition of personal gain."
Benjamin Parke Avery died tragically on November 8, 1875, while serving as minister to China. He was survived by his wife, Mary A. Fuller Avery, and brother, Samuel Putnam Avery, one of the founders of The Metropolitan Museum of Art and a trustee and benefactor of the New York Public Library and the Grolier Club. (The Dictionary of American Biography, v. 1, pp. 443–44; National Cyclopedia of American Biography, v. 1, p. 319.)
A letter reporting on life and circumstances in China by Benjamin P. Avery was printed in the July 1875 issue of Overland Monthly: "Notes from the Celestial Capital, Peking, May 1st, 1875. . . . To-day, however, after one of these terrible storms, the sky is clear, the birds are full of gleeful music, and the few green leaves glisten with gladness. Walking on the wall of the Tartar city, fifty feet in the air, I found a few violets blooming in the crevices of brick, and could have kissed them for joy. Nature, left to herself, always does her best to be gay and pleasant, and in her sternest grandeur loves to surprise you with tender touches of pure beauty. . . ."
A collection of B. P. Avery’s "few word-sketches of California scenery-studies," included in the book Californian Pictures, In Prose and Verse, was published by Hurd and Houghton, New York, in 1878. When the book appeared, the book critic for the San Francisco Newsletter wrote: "What Californian does not remember with affection the kindly face, generous heart and charmingly facile pen of Benjamin Parke Avery? . . . To those who wish to send to friends abroad a worthy account of the scenery the Golden State affords, we say buy the ‘California[n] Pictures,’ for the type, paper and binding are beautiful, and above all, the illustrations are worthy of the text. And this is the highest praise we can give any artist’s work, for so admirably, with such a tender love and sure knowledge is this prose-poety (sic) mosaic achieved, that no book like it has ever done justice to our State before. There is richness of language and a profusion of word-color in every page, exceeding anything we have seen in print for a long time, and withal a truthfulness of description, which becomes as near akin to imagination as truth can come." (San Francisco News Letter, 12/1/1877.)
In 1895, Mrs. B. P. Avery donated "A collection of thirty-four Paintings and Engravings by Early California Artists and others; collected by her late husband, Benjamin P. Avery, one of the founders of the San Francisco Art Association, and to be hereafter known as ‘The Avery Collection.’" It included paintings by F. Arriola, T. A. Ayres, H. R. Bloomer, S. M. Brookes, N. Bush, G. J. Denny, W. Graham, W. Hahn, T. Hill, R. G. Holdredge, W. Keith, J. R. Key, G. Munger, C. Nahl, T. Rosenthal, P. Toft, and J. B. Wandesforde. The San Francisco School of Design memorialized Benjamin Parke Avery with an award given in his name, the Avery Gold Medal.
Who were the recipients of the Avery Gold Medal? This was a tangent I did not pursue. There are now many projects I have set aside for future endeavor. The five most compelling concern the artists Joseph Becker, Hiram Reynolds Bloomer, Howard T. S. Campion, Harry Sutton Palmer, and H. V. A. von Beckh.—The oil painting of the Snow Sheds, thought to have been painted by Joseph Becker, is painted in a style quite unlike another of his oil paintings, The Bear and the Indian Brave. Bloomer claimed that he was the first American to sell a painting to the French government. This will take going to Paris to prove him right or wrong.—Is Howard Campion the artist who signed six of the eight illustrations in the book On the Frontier by J. S. Campion, 1878?— The publishers A. and C. Black of London commissioned Mary Austin to write a book to accompany the watercolor paintings by the acclaimed English artist Harry Sutton Palmer. In Austin’s book, California, Land of the Sun, there are reproductions of thirty-two of Palmers paintings, two of which are scenes of Lake Tahoe. Is the original art work extant?— Almost nothing is known about von Beckh. The only record of him is that he served as sketch artist with the James Hervey Simpson survey in 1859, which started from Camp Floyd, near Salt Lake City. Who was he, how did he come to join the survey, and what happened to his original sketches? The originals were redrawn in Washington by J. J. Young. Did Beckh take the survey sketches with him and return to his German-speaking homeland of Austria, Prussia, or Switzerland? Perhaps, like Preuss, he was an acquaintance of the Swiss-born Ferdinand Rudolph Hassler, superintendent of the United States Coast Survey. Or perhaps he was recommended by Simpson’s survey geologist, Henry Engelmann, who stemmed from Frankfurt-am-Main.
Whereas I have had to leave some matters unresolved, there are a few noteworthy discoveries and clarifications.—Edward Vischer’s San Francisco home stood on the block of Stockton Street where the Metropolitan Life building has been transformed into the Ritz Carlton Hotel.—James Lick, known as the generous miser, built the city’s "first great luxury hotel." The Lick House was designed by the San Francisco architect Henry Kenitzer. Built as a replica of the dining room in the Palace of Versailles, which Lick had visited, the dining room walls were lined with mirrors and landscape paintings by Thomas Hill. The patterned wood floor was "composed of mosaic, a masterpiece of parquetry, containing 87,772 pieces of fine woods, many of them cut by James Lick." Photographs of the dining room appear in the books The Generous Miser by Rosemary Lick, 1967, pages 54–58; Era of Exploration by Weston J. Naef, 1975, page 63; On the Edge of the World by Richard Longstreth, 1983, page 75; and The West As America by W. H. Truettner, 1991, page 241.—Oscar Wilde visited San Francisco and was entertained by Isobel and Joseph Dwight Strong in their artist studio-home. "Wilde entered, glanced at the guests, the bowing Chinese, the roses on the skylight, and said, ‘This is where I belong. This is my atmosphere. I didn’t know such a place existed in the whole United States.’" Was Wilde the first to say he had lost or left his heart in San Francisco?—In The American Art Journal, May 1973, the former Yale University curator of painting and sculpture, Theodore E. Stebbins, Jr., wrote: "Even more obviously unauthentic, to my eye, are No. 41, Sunset Glow. . . ." by Albert Bierstadt.—James Everett Stuart was not the grandson of the celebrated portrait painter Gilbert Stuart. The Joseph A Baird, Jr. Collection contains a copy of a letter written in 1970 to Mr. Baird by a close friend of Stuart. Arthur Thomas, whom I could not identify, had questioned the artist on this matter. Stuart replied: "I may be a distant cousin only."—William Hahn married the artist Adelaide Rising, who was the daughter of financier David B. Rising and the sister of Rev. Franklin S. Rising. Mark Twain depicted the Virginia City minister as "the fragile, gentle, new fledgling" (1862) in the humorous story, "Buck Fanshaw’s Death," in Roughing It.—Edwin J. Valencia, Jr. carefully researched the Valencia family, and found that the earliest ancestor, Joseph Manuel Valencia, had not been a general, as some family members had suggested.
Explanatory notes
Because many of the titles of paintings have been taken from old newspapers and catalogues, the actual work of art may no longer exist. All items held by museums have been verified. All privately owned paintings are identified as "Private Collection." The name of a private collector is not revealed unless the name has already appeared printed in a book. Where possible, dates, names, and historical facts have been verified.
A few newspapers have had their titles abbreviated, e. g., San Francisco Newsletter. All variant titles for the San Francisco Daily Alta California newspaper have been compressed into Alta California.
Only titles of books are included in the bibliography. There is no separate listing of the newspapers, catalogues, and pamphlets cited. A large number of the artists and their paintings appear in the Reports published by the Mechanics’ Institute. For the Mechanics’ Institute Reports that were published in the same year as their corresponding Industrial Exhibitions, the year is omitted. Reports issued in the following year include the year of publication.
In the biographical text, both the birth and death dates are noted for artists for whom there is no entry in the main list of artists. Where available, dates for other individuals are included.
The See references at the end of the biographical sketches of the artists indicates that the artists named appear within the alphabetically arranged list of one hundred and fifty artists.
In the listings of the artists’ works, the word "In" may mean merely a mention of the painting, but in some instances means that a reproduction may be found in the book.
Abbey, Edward Austin, 6, 7 1
Andrews, Lucy Emma, no entries 3
Armstrong, Thomas, 1, 2, 3, 7 3
Armstrong, William Weaver, 1, 3, 7 4
Arriola, Fortunato, 1, 2, 3, 5, 7 4
Babbitt, Abbie Maria Stevens, 7 5
Baker, George Holbrook, 1, 2, 3, 5, 7 6
Ball, Martha S., 3 8
Bartholomew, William Newton, 1, 2, 3, 5, 7 8
Becker, Joseph A., 2, 3, 5, 6, 7 8
Benton, Mary Park Seavy, 1, 2, 3, 4, 7 13
Bierstadt, Albert, 1, 2, 3, 5, 6, 7 15
Blakelock, Ralph Albert, 1, 2, 3, 5, 7 18
Bloomer, Hiram Reynolds, 1, 2, 3, 7 20
Boillot, Leon, no entries 25
Borglum, John Gutzon de la Mothe, 1, 2, 3, 5, 7 26
Breuer, Henry Joseph, 1, 2, 3, 5, 7 27
Britton, Joseph, 1, 2, 3, 7 29
Broad, Alphonso Herman, 3, 7 29
Brodt, Helen Tanner, 1, 2, 3, 4, 7 30
Brown, Benjamin Chambers, 1, 2, 3, 5, 7 30
Browne, John Ross, 1, 2, 3, 5, 6, 7 31
Bruff, Joseph Goldsborough, 1, 2, 3, 6, 7 33
Bull, William Howell, 1, 2, 3, 7 35
Burgess, George Henry, 1, 2, 3, 5, 7 36
Burr, William Henry, 7 37
Burton, Charles W., 7 37
Bush, Norton, 1, 2, 3, 5, 7 37
Butman, Frederick A., 1, 2, 3, 5, 7 40
Campion, Howard T. S., 1, 3, 7 42
Chappel, Alonzo, 5, 7 44
Chittenden, Alice Brown, 1, 2, 3, 4, 7 45
Currier, Edward Wilson, 1, 2, 3, 5, 7 47
Currier & Ives Prints, 1, 7 47
Curtis, Herbert Pelham, no entries 48
Dahlgren, Carl Christian, 1, 2, 3, 5, 7 48
Daken/Dakin, Samuel (Sidney) Tilden, 1, 2, 3, 7 49
Davies, Arthur Bowen, 1, 2, 3, 5, 7 50
Davis, H. A., no entries 53
Davis, Willis E., 1, 2, 3, 7 53
Day, Benjamin Henry, Jr., 5, 7 53
Deakin, Edwin, 1, 2, 3, 5, 7 54
del Mué, Maurice Auguste, 1, 2, 3, 5, 7 57
D’Estrella, Theophilus Hope, 1, 3, 7 59
De Treville, Richard P., 1, 2, 3, 7 61
Dickman, Charles John, 1, 2, 3, 5, 7 62
Doughty, C. M., 3 63
Dunlap, Mary Stewart, 1, 2, 3, 7 63
Englehart, Joseph J., 1, 2, 3, 7 65
Fasel, George Wilhelm, 7 65
Fenn, Harry, 1, 2, 3, 6, 7 65
Fisher, Hugo Anton, 1, 2, 3, 5, 7 66
Frost, George Albert, 1, 2, 3, 7 68
Fulton, Mary Leeds, 4 68
Gaul, William Gilbert, 2, 3, 5, 6, 7 69
Gifford, Sanford Robinson, 2, 5, 6, 7 69
Gihon, Lydia Elizabeth Finney/Mrs. Thomas Gihon, 3 71
Goddard, George Henry, 1, 2, 3, 5, 7 71
Goeller, Emily Shotwell/Mrs. Fred B. Wood, 1, 2, 3, 4, 7 75
Groll, Albert Lorey, 2, 5, 7 76
Hahn, William/Karl Wilhelm, 1, 2, 3, 5, 7 76
Hall, Cyrenius, 2, 5, 7 80
Hall, George E./George Levi Patrick, no entries 81
Hansen, Herman Wendelborg, 1, 2, 3, 5, 6, 7 81
Harmon, Charles Henry, 1, 2, 3, 5, 7 82
Hart, William M., 6, 7 82
Hayes, George H., 7 83
Heath, Frank L., 1, 2, 3, 5, 7 83
Herzog, Herman, 1, 2, 3, 5, 7 84
Hill, Andrew Putnam, 1, 2, 3, 7 84
Hill, Edward Rufus, 1, 2, 3, 5, 7 85
Hill, Thomas, 1, 2, 3, 5, 6, 7 85
Hilton, William Hayes, 1, 2, 3, 7 90
Hittell, Charles Joseph, 1, 2, 3, 5, 7 91
Hobart, Clark, 1, 2, 3, 5, 7 91
Hogan, Thomas, 5, 7 93
Holdredge, Ransom Gillet, 1, 2, 3, 5, 7 93
Hopps, Ella “Nellie” C./Mrs. B. Chandler Howard, 1, 2, 3, 4, 5, 7 94
Hughes, Addie L., 3 95
Ivey, John Joseph, 1, 2, 3, 7 96
Jackson, William Franklin, 1, 2, 3, 7 96
Jackson, William Henry, 1, 2, 3, 5, 6, 7 97
Jonnevold, Carl Henrik, 1, 2, 3, 5, 7 98
Juengling, Frederick, 7 99
Kappes, Alfred, 7 100
Keith, William, 1, 2, 3, 5, 6, 7 100
Keller, George Frederick, 1, 2, 3, 7 106
Key, John Ross, 1, 2, 3, 5, 7 106
Kingsley, Elbridge, 1, 2, 7 108
Kuchel, Charles Conrad, 1, 2, 3, 5, 7 109
L., M. possibly Lauden, Margaret, 3, 7 110
La Croix, William Michael J., 3 110
Lamson, Joseph, 1, 2, 3, 5, 7 110
Latimer, Lorenzo Palmer, 1, 2, 3, 5, 7 112
Law, Maitland, no entries 113
McComas, Francis John, 1, 2, 3, 5, 7 113
McDonald, M. L., no entries 116
Maher, Kate Heath, 2, 3, 4, 5, 7 116
Marple, William Lewis, 1, 2, 3, 5, 7 117
Martin, Fannie Rowland, no entries 119
Menton, Mary Theresa Murphy/Mrs. William H. Menton,
1, 2, 3, 4, 7 121
Moran, Thomas, 1, 2, 3, 5, 6, 7 122
Munger, Gilbert Davis, 1, 2, 3, 5, 7 124
Nagel, Louis, 1, 3, 7 126
Nahl, Charles Christian Heinrich, 1, 2, 3, 5, 7 126
Neuhaus, Karl Eugen/Eugene, 1, 2, 3, 5, 6, 7 128
Nicholl, Mary “Mazie” E./Mrs. Jan Kruger, 3, 7 129
Nicholson, Lillie May, 1, 2, 3, 4, 7 130
North, Marianne, 3, 4 130
Nystrom, Charles W., 1 134
Ogilby, Robert E., 1, 2, 3, 7 135
Oliver, Henry, 7 136
Ottinger, George Martin, 1, 2, 5, 6, 7 136
Palmer, Sutton/Harry Sutton, no entries 137
Patterson, Martha, 1, 2, 3, 4, 7 139
Peixotto, Ernest Clifford, 1, 2, 3, 5, 7 139
Perkins, Granville, 5, 7 142
Pettis, Mary Fancher, 1, 3, 4, 7 142
Piazzoni, Gottardo, 1, 2, 3, 7 143
Prang, Louis, 1, 2, 3, 6, 7 145
Preuss, Charles/Georg Carl Ludwig, 2, 5, 6, 7 146
Redfield, Edward Willis, 1, 7 148
Rix, Julian Walbridge, 1, 2, 3, 5, 6, 7 149
Robinson, Charles Dormon, 1, 2, 3, 5, 7 152
Rogers, C. H., 2, 3, 5, 7 154
Rohde, Peter H., 3, 7 154
Ruppricht, Minnie/Mrs. Thomas C. Diete, no entries 154
Schafer, Frederick Ferdinand, 1, 2, 3, 5, 7 155
Sears, Benjamin Willard, 1, 2, 3, 5, 7 155
Seawell, Harry Washington, 2, 3, 7 155
Shourds, George Washington, 3, 7 156
Simmons, Mary, no entries 156
Skov, Christian Petersen, 3 157
Sroufe, Susan “Susie” E./Mrs. John Loosley, 2, 3, 4, 7 157
Straus, Meyer 1, 2, 3, 7 158
Strong, Joseph Dwight, Jr., 1, 2, 3, 5, 6, 7 159
Stuart, James Everett, 1, 2, 3, 5, 7 162
Taylor, Mrs. Stanley, no entries 164
Tilden, George Smith, 3 164
Unidentified Artists 164
Valencia, Manuel, 1, 2, 3, 5, 7 166
Vanderhoof, Charles A., 1, 2, 5, 7 169
Varley, Robert, no entries 169
Vischer, Edward, 1, 2, 3, 5, 7 169
von Beckh, H. V. A., 5, 6, 7 172
von Perbandt, Carl C., 1, 2, 3, 5, 7 173
Wandesforde, James Buckingham, 1, 2, 3, 5, 7 175
Warren, Asa Coolidge, 7 178
Waud, Alfred Rudolph, 2, 5, 6, 7 178
Weyss/Weiss, John E., 2, 5, 6, 7 180
White, Orrin Augustine, 2, 3, 5, 7 181
Wilson, Jeremy/Jeremiah, 2, 3, 5, 7 181
Wisby, Jack, 1, 2, 3, 7 181
Wix, Henry Otto, 1, 2, 3, 7 182
Wood, Fremont, 3 182
Wyttenbach/Wittenbach, Emanuel, 1, 2, 3, 5 183
Yelland, Raymond Dabb, 1, 2, 3, 5, 7 184
Young, Harvey Otis, 1, 2, 3, 5, 6, 7 185
Young, John J., 2, 3, 5, 6, 7