Stills from a Life's Cinema: Colin Campbell Cooper (1856-1937)

Stills from a Life’s Cinema C OLIN CA MPBEL L COOPER (1856- 1937)

Sullivan Goss

AN AMERICAN GALLERY

Text by: Nathan Vonk Susan Bush Frank Goss Book design: Jeremy Tessmer Assistance from: Edgard Rincon Nathan Vonk Photography by: Edgard Rincon © 2010 Sullivan Goss, Ltd. Santa Barbara, California First Edition COVER:

Sunset with Rays Over the Ocean, c. 1920s 4.75 x 7 inches | gouache on board signed lower left

This book was published in conjunction with an exhibition called Stills from a Life’s Cinema: Colin Campbell Cooper (1856-1937) at Sullivan Goss - An American Gallery that ran from April 7 - July 3, 2011.

Stills from a Life’s Cinema C OLIN CA MPBEL L COOPER (1856- 1937)

Sullivan Goss AN AMERICAN GALLERY

TABLE OF CONTENTS INTRODUCTION

1

by Frank Goss COLOR PLATES Seascapes

4

Landscapes

18

Cloud Studies

64

Cities and People

88

PLATE LIST

104

BIOGRAPHY

114

CHRONOLOGY

118

EXHIBITION HISTORY

120

COLLECTIONS

122

INTRODUCTION

Colin Campbell Cooper took pencils, crayons, watercolors and oils into the field and made sketches. Some were simply memory tools. He would use them to recall a fleeting cloud formation in the Himalayas, a particular ray of light in Avignon, a horse-drawn cart on a cobbled street in Algiers, or the instant of sunrise over the Rincon in Santa Barbara. At other times, he started with a pencil drawing, converted to a more realized small watercolor and then used this study to create a small oil. Eventually, if he liked the small painting, he would work it into one of his large exhibition canvases.

Cooper was a member of the National Academy and in the midnineteenth century the Academy began showing small pieces in their “Sketch Room.” As a result, friends, collectors and fellow artists began to give real attention to the work of great artists in the small format. Often times, viewers were shocked to see the small studies next to the larger finished work, only to realize that the artist’s field sketches were fresher, more vibrant and simply better than the work done later in the studio.

Somewhere in the process, he made small sketches and kept them in his studio. When he died in 1937, these pieces went to his heir. More than a decade ago, Sullivan Goss acquired his estate from his descendents. This is the first exhibition dedicated to these tiny gems.

Cooper always kept small sketchbooks with him. Most of the time, he simply worked in pencil, but often switched to pastels or watercolors. It is also apparent that he took cardstock, artists’ paper and small canvases into the field where he painted en plein aire. But not all sketches were done outdoors. There were times

Think of them as cinema. Little tiny paintings made over a lifetime. Like 35mm stills that could be linked together into a lifelong feature film. Like travel postcards made on envelopes, backs of menus, and card stock. Quick, fresh, vibrant – small.

1

when Cooper worked in his studio creating small studies that lead to larger paintings.

For Cooper, these small works were often thought of as his “private” notes. They were the unguarded, unedited and often unfinished first thoughts about a subject. They allow us a view of his facility of hand in all subjects: his original concepts for landscapes, his first thoughts about the arrangement of a still life, and his initial strokes as he rendered the human figure. Because he did not think of these in the same way as fully realized paintings, we get a glimpse into his most naïve and spontaneous responses to life. What is evident in these pieces is that the man, Cooper, was in love with life. Each little painting is like a storage container, a sort of mason jar, filled with preserved delicacies. After being stored for over 100 years, they are finally opened and ready for sampling.

- Frank Goss

2

SEASCAPES

PLATE 1 5

PLATE 2 6

PLATE 3 7

PLATE 4 8

PLATE 5 9

PLATE 6 10

PLATE 7 11

PLATE 8 12

PLATE 9 13

PLATE 10 14

PLATE 11 15

PLATE 12 16

LANDSCAPES

PLATE 13 19

PLATE 14 20

PLATE 15 21

PLATE 16 22

PLATE 17 23

PLATE 18 24

PLATE 19 25

PLATE 20 26

PLATE 21 27

PLATE 22 28

PLATE 23 29

PLATE 24 30

PLATE 25 31

PLATE 26 32

PLATE 27 33

PLATE 28 34

PLATE 29 35

PLATE 30 36

PLATE 31 37

PLATE 32 38

PLATE 33 39

PLATE 34 40

PLATE 35 41

PLATE 36 42

PLATE 37 43

PLATE 38 44

PLATE 39 45

PLATE 40 46

PLATE 41 47

PLATE 42 48

PLATE 43 49

PLATE 44 50

PLATE 45 51

PLATE 46 52

PLATE 47 53

PLATE 48 54

PLATE 49 55

PLATE 50 56

PLATE 51 57

PLATE 52 56

PLATE 53 57

PLATE 54 58

PLATE 55 59

PLATE 56 60

PLATE 57 61

PLATE 58 62

PLATE 59 63

CLOUD STUDIES

PLATE 60 65

PLATE 61 66

PLATE 62 69

PLATE 63 70

PLATE 64 71

PLATE 65 72

PLATE 66 73

PLATE 67 74

PLATE 68 75

PLATE 69 76

PLATE 70 77

PLATE 71 78

PLATE 72 79

PLATE 73 80

PLATE 74 81

PLATE 75 82

PLATE 76 83

PLATE 77 84

PLATE 78 85

PLATE 79 86

CITIES AND PEOPLE

PLATE 80 89

PLATE 81 90

PLATE 82 91

PLATE 83 92

PLATE 84 93

PLATE 85 94

PLATE 86 95

PLATE 87 96

PLATE 88 97

PLATE 89 98

PLATE 90 99

PLATE 91 100

PLATE 92 101

PLATE 93 102

PLATE 94 103

PLATE LIST 1

Rincon Peak, Santa Barbara, Mesa, ND 4.75 x 7.25 inches | gouache on paper signed lower right

6

Sunset with Rays Over the Ocean, ND 4.75 x 7 inches | gouache on board signed lower left

2

Santa Rosa Island, circa 1920 4.75 x 7.25 inches | oil on board signed lower right

7

Peach Clouds with a Patch of Blue Over the Sea, ND 4.75 x 6 inches | gouache on paper signed lower left

3

Refugio at Sunset, October 6, 1925 4.75 x 7 inches | gouache on paper estate stamped lower left

8

Orange Sunset Over Lavender Sea, ND 4.75 x 5.75 inches | gouache on paper signed lower right

4

Seascape with Pink Sun, Yellow Rays, ND 3.75 x 6.5 inches | gouache on board signed lower right

9

Rain on the Ocean, ND 4.75 x 7 inches | gouache on paper signed lower left

5

Blue Sky, Blue Ocean, White Clouds, ND 4.5 x 7 inches | gouache on board signed lower left

10

Sunset Over a Green Sea, ND 4.5 x 6 inches | gouache on paper signed lower right

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11

Clearing Sky Over Dark Blue Sea, ND 4.5 x 7 inches | gouache on paper signed lower right

16

Waterfall, ND 7 x 4.75 inches | oil on board signed lower left

12

Sunset with Green Rays Over Ocean, ND 4.75 x 7 inches | gouache on paper signed lower right

17

Green Hills and Turbulent Sky, ND 4.5 x 5.75 inches | gouache on paper unsigned, from the Estate

13

Landscape with Peak, ND 4.5 x 6.75 inches | gouache on paper unsigned, from the Estate

18

Creekside, ND 4.5 x 7 inches | oil on board signed lower left

14

Yellow Sun Over Hills, ND 4.75 x 6.5 inches | watercolor on paper estate stamped lower left

19

Sunset Sky, Purple Mountains, ND 2.5 x 7.5 inches | gouache on board signed lower left

15

Nocturne: Lightning in the Foothills, Santa Barbara, ND 4.5 x 6.75 inches | oil on board estate stamped lower left

20

Sunset, Purple Mountains, Brown Hills, ND 4.75 x 7 inches | gouache on board signed lower right

105

21

Sunset in Village, ND 4.75 x 7 inches | gouache on board signed lower right

26

Valley Sunset with Silver Lake, ND 4.5 x 7 inches | gouache on paper estate stamped lower right

22

Bright Sky Over Desert Landscape, ND 4.5 x 7 inches | gouache on board estate stamped lower left

27

Sunset Rain Storm with Purple Mountain Range, ND 4.75 x 7 inches | gouache on board unsigned, from the Estate

23

Clouds and Sun with Golden Rays, ND 4.75 x 7 inches | gouache on board signed lower left

28

High Peaks, European Bay, ND 4.5 x 7 inches | gouache on paper signed lower left

24

Impasto Sunset, ND 4.5 x 7 inches | gouache on board signed lower right

29

Sunset over Greenery, ND 4.5 x 7 inches | gouache on paper signed lower right

25

Minimalist Landscape with Pink Mountains, ND 3.75 x 6.5 inches | gouache on paper signed lower right

30

Landscape in Brown and Blue, ND 4.5 x 7 inches | gouache on paper

106

31

Purple and White Clouds, with Patch of Blue Sky, ND 4.5 x 7 inches | gouache on paper signed lower left

36

Orange Sunset, Purple Mountains, Dark Foothills, ND 4.25 x 6.5 inches | gouache on board signed lower right

32

Desert Sunset, ND 3.75 x 7 inches | gouache on paper unsigned, from the Estate

37

Sunset with Orange, Pink, and Yellow Clouds, ND 4.75 x 7 inches | gouache on paper signed lower right

33

Smoking Volcano, ND 4.5 x 7 inches | gouache on paper signed lower left

38

Rays of Sunlight Over Purple Mountains, ND 4.5 x 7 inches | gouache on paper signed lower right

34

Rainy Day in the Green Hills, ND 4.5 x 7 inches | gouache on paper signed lower left

39

Horizontal Orange Sunset, ND 4.5 x 7 inches | gouache on paper signed lower right

35

Sun Peeking Through Cloud Over Mountains, ND 4 x 6.25 inches | gouache on board estate stamped lower left

40

Whispy Clouds, Gold Sunset, March 30, 1927 4.75 x 7 inches | gouache on paper signed lower left

107

41

Bright Sunset with Rays Over Purple Landscape, ND 4.75 x 7 inches | gouache on paper signed lower right

46

Golden Foothills and Blue Mountains, ND 4.75 x 6 inches | gouache on paper signed lower right

42

Landscape and Sky in Mauves, ND 4.75 x 7 inches | gouache on paper signed lower right

47

Snow Capped Pink Mountains, ND 4 x 7 inches | gouache on paper estate stamped lower right

43

Color Sky Study, ND 4.75 x 7 inches | gouache on paper signed lower left

48

Bright Sky Over Purple Valley, ND 3.75 x 6 inches | gouache on paper signed lower left

44

Sunset in Gold Sky, ND 4.75 x 7 inches | gouache on paper estate stamped lower right

49

Sunset Clouds of Yellow, Purple, and Pink, ND 4 x 7 inches | gouache on paper unsigned, from the Estate

45

White River Through Green Valley, ND 4.75 x 6 inches | gouache on paper signed lower left

50

Peach Sunset, ND 4.5 x 7 inches | gouache on paper

108

51

Rain on Snow and Capped Peaks, ND 4.75 x 7 inches | gouache on paper unsigned, from the Estate

56

Thunderhead and Rain, ND 4.5 x 7 inches | gouache on board signed lower left

52

Nocturne: Moon in Mauve Sky, ND 4.5 x 6.5 inches | gouache on board estate stamped lower right

57

Landscape and Sunset Seascape, Dec. 12, 1924 4.5 x 6.75 inches | Gouache on paper unsigned, from the Estate

53

Treeline at Sunset, ND 4.5 x 7 inches | gouache on board unsigned, from the Estate

58

Two Green Trees, ND 4.5 x 7 inches | gouache on paper signed lower left

54

Santa Barbara Sunset, ND 7.5 x 11.75 inches | oil on board signed lower left

59

Clouds amd Hills Study, ND 2.75 x 4.75 inches | gouache on paper signed lower right

55

Quiet Woods, ND 5.5 x 8.25 inches | oil on board estate stamped lower right

60

Grey Cumulus Clouds Over Purple Horizon 4.5 x 7 inches | gouache on board signed lover left

109

61

Autumn Clouds Over Landscape, ND 4.5 x 7 inches | gouache on board signed lower left

66

Rolling White Clouds Over Dark Landscape, ND 4.75 x 7 inches | gouache on paper

62

Big Clouds, Green Landscape, ND 5.75 x 6 inches | gouache on paper signed lower right

67

Bright White Clouds, Bright Blue Sky, ND 4.75 x 7 inches | gouache on paper signed lower left

63

Bright White Cumulus Cloud, ND 4.75 x 7 inches | gouache on paper signed lower left

68

Cloud Study with Grey and Mauve Clouds, ND 4.75 x 7 inches | gouache on paper signed lower left

64

Big Clouds Little Villa, ND 4.75 x 7 inches | gouache on paper signed lower left

69

Pink Clouds and a Patch of Blue Sky, ND 4.75 x 7 inches | gouache on paper signed lower right

65

Cumulus Clouds and Yellow Hill, ND 4.75 x 7 inches | gouache on paper signed lower right

70

Clouds Study with Bright Patch of Blue Sky, ND 3.5 x 6.75 inches | gouache on paper estate stamped lower right

110

71

Cumulus Cloud Study with Pink Orange and Blue, ND 4.75 x 6.75 inches | gouache on paper signed lower left

76

Peach Colored Cloud, ND 4.75 x 7 inches | gouache on paper signed lower right

72

Cloud Study with Greys and Blues, ND 4.75 x 6.75 inches | gouache on paper signed lower left

77

Cloud Study in Peach and Blue, ND 4.75 x 5.75 inches | gouache on paper signed lower right

73

Cloud Study - “5p.m. Looking N. W.”, ND 4.5 x 7 inches | gouache on paper signed lower right

78

Small Cloud Study, ND 4.5 x 5 inches | oil on board signed lower left

74

Bright White Clouds with Blues and Greys, ND 4.5 x 7 inches | gouache on paper signed lower right

79

Cloud Study II, ND 7.25 x 11.75 inches | gouache on board signed lower right

75

Cloud Study - “Looking E. 6p.m., April, ND 4.75 x 7 inches | gouache on paper signed lower left

80

White Ship in European Bay, August 8th, 1914 4.5 x 7 inches | oil on board signed lower left

111

81

View to a Village Church, ND 4.75 x 7 inches | gouache on board signed lower right

86

Tree Lined Lane, Build with Four Arches, ND 7 x 4.75 inches | gouache on paper signed lower left

82

Tunis Street Scene with Figures, ND 4.75 x 6.75 inches | gouache on paper signed lower right

87

Italian Church Interior, ND 4.75 x 6.75 inches | mixed media on paper signed lower right

83

View to a Dome, ND 4.5 x 7 inches | gouache on paper signed lower left

88

Eight Figures, ND 4.75 x 7.25 inches | gouache on board signed lower right

84

View with Smoke Stacks and Cloudy Sky, ND 4.5 x 7 inches | gouache on paper signed lower left

89

Old House with Water Well, ND 6 x 8 inches | oil on board signed lower right

85

Village in the Hills on a Cloudy Day, ND 4.75 x 6.75 inches | gouache on paper signed lower right

90

Barn Interior, ND 7 x 11.5 inches | oil on board signed lower left

112

91

Baby Basket, ND 6.875 x 11 inches | oil on board signed lower right

92

Study for Figures with Flower Basket, ND 4.75 x 10 inches | oil on board signed lower right

93

Study for Eleven Oriental Personages, ND 7 x 11.5 inches | oil on board signed lower right

94

Music by the Window, ND 7.875 x 9.875 inches | oil on canvas signed lower right

Essay

Study of Three Swans, ND 4.5 x 5.75 inches | gouache on paper signed lower left

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BIOGRAPHY and unique vision of the modern American city. These paintings beam with an optimistic appreciation of the wonders of human invention.This series would earn Cooper a national reputation and the most critical acclaim he would achieve during his lifetime.

Colin Campbell Cooper was born in Philadelphia, Pennsylvania on March 8, 1856. His father, the surgeon Dr. Colin Campbell Cooper, and mother, Emily William Cooper, encouraged their son’s artistic endeavors from the start. By the age of 23, he was enrolled in the Pennsylvania Academy of Fine Arts and studied under the great American artist Thomas Eakins. In 1886, Cooper looked to Europe to continue his training and to satisfy a wanderlust that stayed with him throughout his life. After completing a series of sketches and studies while traveling through Belgium and Holland, Cooper headed to France and attended the Académies Julian, Viti, and Delécluse. Cooper stayed in Europe for nearly a decade, traveling widely and making small plein air sketches of the sublime scenery as he went.

Growing artistic success in the States did not stop Cooper from feeding his wanderlust with travel abroad. During the first decade of the 20th century he made repeated visits to Europe and continued to paint many of the continent’s architectural monuments, focusing particularly on Gothic cathedrals, but also creating many picturesque views of the countryside. While en route to Europe in 1912, Cooper was aboard the Carpathia when it received a distress call from the Titanic. The Carpathia raced towards the Titanic’s last known position and eventually took on 705 survivors. After assisting with the rescue, Cooper quickly recorded the tragic event in the early morning light while still aboard a Carpathia lifeboat. The two paintings he created are the only artworks known to be painted at the site of one of the world’s most infamous maritime disasters. These historic documents now reside in the collection of the Minnesota Marine Art Museum in Winona, Minnesota.

Cooper returned to Philadelphia in 1895 and began teaching watercolor classes at the Drexel Institute. Two years later he married the painter Emma Lampert. In 1898 Cooper left his position at Drexel and moved to New York City. Beginning in 1902 Cooper began a series of paintings focusing on the new modern American icon, the skyscraper. Cooper gave these new urban landscapes a poetry and natural grandeur that was a new

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In the fall of 1913, the Coopers made their most exotic trip, sailing past Europe, through the Suez Canal, Ceylon, Burma, and landing in India. Over the next six months they traveled extensively throughout the country. Cooper kept a diary to record their trip and made sketches to record what he saw. After leaving the subcontinent, the Coopers spent the summer of 1914 in France where he worked on a collection of at least 10 large canvases based upon these Indian sketches. However, in November of that year the effects of First World War forced the Coopers to return to the United States. Upon his return Cooper organized a large exhibition of his Indian paintings at the pre In 1915 the massive Panama-Pacific International Exposition was held in San Francisco to celebrate the completion of the Panama Canal and four hundredth anniversary of the discovery of the Pacific Ocean by western explorers. The arts pavilion of the expo, the Palace of Fine Arts held 113 gallery spaces with works by renowned international artists and many of the most important American painters of the day, including James McNeil Whistler, John Singer Sargent, William Merritt Chase, and Childe Hassam.

Cooper was included in this prestigious company, exhibiting six

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works, receiving a gold medal for oil painting and a silver medal for watercolor.

The exhibition of his work in the exposition lured the Coopers to the West Coast for the first time and they decided to spend the winter of 1915 - 1916 in Los Angeles. This may have also been Cooper’s first trip to Santa Barbara as he traveled from San Francisco to San Diego that winter. As with much of Cooper’s life, the details of his life and travels was not well documented other than in his paintings. However, we can be fairly certain that he enjoyed his time in Southern California since it is where he chose to relocate upon the tragic death of his wife from tuberculosis in 1920. Cooper remained active in New York, however, and kept a studio there for a decade after his move to Santa Barbara.

Upon settling in his new home, Cooper quickly became a fixture in the local art community. In 1921, he joined the faculty of the newly formed Santa Babara School of the Arts. Cooper’s inclusion on the faculty helped to raise its reputation. Instructors at the school included some of the most important California painters of the early 20th century, including John Gamble, Carl

Oscar Borg, DeWitt Parshall, Douglas Parshall, Edward Borein, and school founder Fernand Lungren.

Cooper married Marie Frehsee in 1927. He became a contributing and active member of the Santa Barbara community and campaigned for an art museum to be placed in the old U.S. Post Office on State Street. Seduced by the Southern California light and temperate climate, like so many artists before and after him, Cooper maintained a home in Santa Barbara until his death in 1937. Thanks to his efforts, and the efforts of others, the Santa Barbara Museum of Art opened in 1941 in the “old� Post Office, where it remains to this day.

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CHRONOLOGY 1856 1879 1886 1889 1895-1898 1896 1897 1902 1903 1904 1906 (c.)

1908 (c.)

1908 1912 1912 1913 1915 1916 1920 1921 1921 (c.)

Born in Philadelphia, Pennsylvania to Colin Campbell Cooper [Sr.] and Emily William Cooper Enrolled in Pennsylvania Academy of Fine Arts, Philadelphia; studied under Thomas Eakins Sketching trip to Holland & Belgium Studied at Academie Julian, France Instructor in watercolor, Drexel Institute, Philadelphia Fire at Hazeltine Galleries, Philadelphia destroyed much of his work Married Emma E. Lampert (b. 1855) Began skyscraper paintings Painted Cliffs of Manhattan; studio in Gainsborough Studio Bldg at 222 Central Park South Louisiana Purchase Exposition juror, St. Louis Painted Fifth Avenue, N.Y.C Painted Flat Iron Building, casein Elected Associate, National Academy of Design Cooper is on the Carpathia when it rescues the Titanic survivors; he paints the rescue Elected Member, National Academy of Design First trip to India Wintered in California In San Diego at the Panama-California International Exposition Wife Emma died Moved to Santa Barbara Became dean of painting at the Santa Barbara Community School of Arts

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1926 1927 1927-1931 1929 1937

Cooper’s comedy spoof “Head Acres” produced at Pasadena Playhouse Married Miss Marie Frehsee Painted Central Park oil Painted at Kimberly Crest, home of J.A. Kimberly (of Kimberly-Clark Paper) Redlands, CA Died in Santa Barbara, CA

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EXHIBITION HISTORY 1895 1897 1899 1901

1902

1903

1904 1905 1906 1907

1908

1909

1910

1911

1912

1913

1914 1915

1916

Art Institute of Chicago Art Institute of Chicago Art Institute of Chicago Art Institute of Chicago Carnegie Institute Museum of Art, Pittsburgh, PA Art Institute of Chicago Carnegie Institute Museum of Art, Pittsburgh, PA Galleries of the ART Club , New York, NY Art Institute of Chicago Carnegie Institute Museum of Art, Pittsburgh, PA Klackner Galleries, New York, NY Art Institute of Chicago Art Institute of Chicago Art Institute of Chicago Art Institute of Chicago Carnegie Institute Museum of Art, Pittsburgh, PA Corcoran Gallery, Washington, D.C. City Art Museum of St. Louis, St. Louis, MO Art Institute of Chicago Carnegie Institute Museum of Art, Pittsburgh, PA City Art Museum of St. Louis, St. Louis, MO

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Art Institute of Chicago Corcoran Gallery, Washington, D.C. City Art Museum of St. Louis, St. Louis, MO Art Institute of Chicago City Art Museum of St. Louis, St. Louis, MO Art Institute of Chicago Corcoran Gallery, Washington, D.C. Art Institute of Chicago Carnegie Institute Museum of Art, Pittsburgh, PA City Art Museum of St. Louis, St. Louis, MO The Macdowell Club of New York, New York, NY Art Institute of Chicago Corcoran Gallery, Washington, D.C. City Art Museum of St. Louis, St. Louis, MO Art Institute of Chicago Art Institute of Chicago Corcoran Gallery, Washington, D.C. Panama Pacific International Exposition, San Francisco, CA Arlington Art Galleries, New York, NY Macbeth Gallery, New York, NY Art Institute of Chicago

1917 1919

1920 1920 1922 1924

1925 1927

1929 1930

1931

1932

1933 Ebell Salon of Art, Los Angeles, CA 1934 Faulkner Memorial Art Gallery, Santa Barbara, CA 1938 Memorial Exhibition at the Faulkner Memorial Art

Gallery, Santa Barbara, CA 1939 Santa Barbara Museum of Art, Santa Barbara, CA 1941 Santa Barbara Museum of Art, Santa Barbara, CA

County National Bank and Trust, Santa Barbara, CA 1944 Santa Barbara Museum of Art, Santa Barbara, CA 1951 Santa Barbara Museum of Art, Santa Barbara, CA 2003 Studies, Drawings, and Small Works, Sullivan Goss An American Gallery, Santa Barbara, CA 2004 Colin Campbell Cooper: An Extraordinary Life, Sullivan

Goss - An American Gallery, Santa Barbara, CA 2006 East Coast / West Coast and Beyond, Laguna Art

Museum, Laguna, CA 2007 Colin Campbell Cooper: Selections from the Back Room, Sullivan Goss - An American Gallery, Santa

Barbara, CA 2009 Colin Campbell Cooper: Paper Sketches, Sullivan Goss - An

American Gallery, Santa Barbara, CA 2010 Lasting Impressions: Colin Campbell Cooper, Santa Barbara

Historical Museum, Santa Barbara, CA

O’Brien Gallery, Chicago, IL Cleveland Museum of Art Corcoran Gallery, Washington, D.C. Art Institute of Chicago City Art Museum of St. Louis, St. Louis, MO Art Institute of Chicago Corcoran Gallery, Washington, D.C. City Art Museum of St. Louis, St. Louis, MO Fine Arts Gallery, San Diego Museum of Art Casa de la Guerra, Santa Barbara, CA Stendahl Art Galleries, Los Angeles, CA Ainslie Galleries, Los Angeles, CA Friday Morning Club, Los Angeles, CA Biltmore Galleries, Santa Barbara, CA Jules Kievits Fine Art, Pasadena, CA Art Club of Philadelphia, Philadelphia, PA County National Bank and Trust, Santa Barbara, CA New York Society of Painters, New York, NY County National Bank and Trust, Santa Barbara, CA National Arts Club, New York, NY

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COLLECTIONS BROOKLYN MUSEUM OF ART, Brooklyn, NY CINCINNATI MUSEUM OF ART, Cincinnati, OH CITY OF SANTA BARBARA, Santa Barbara, CA CROCKER MUSEUM, Sacramento, CA DALLAS MUSEUM OF ART, Dallas, TX IRVINE MUSEUM, Irvine, CA LUXEMBOURG COLLECTION, Paris, France METROPOLITAN MUSEUM OF ART, New York, NY NATIONAL ARTS CLUB, New York, NY NEW YORK HISTORICAL SOCIETY, New York, NY OAKLAND MUSEUM OF CALIFORNIA, Oakland, CA PENNSYLVANIA ACADEMY OF FINE ARTS, Philadelphia, PA PHILADELPHIA SKETCH CLUB, Philadelphia, PA READING PUBLIC MUSEUM, Reading, PA ST. LOUIS MUSEUM OF ART, St. Louis, MO SAN DIEGO MUSEUM OF ART, San Diego, CA SANTA BARBARA MUSEUM OF ART, Santa Barbara, CA UNIVERSITY OF MICHIGAN MUSEUM OF ART, Ann Arbor, MI THE WHITE HOUSE, Washington, D.C. 122