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The Comprehensive KeithThe Hundred Year History of the Saint Mary’s College Collectionof Works by William Keith

The Comprehensive KeithThe Hundred Year Historyof the Saint Mary’s College Collectionof Works by William KeithText by:Alfred C. Harrison, Jr.Jeanne McKee Rothe and Andrea RotheJulian BillotteEditor:Carrie BrewsterHearst Art GallerySaint Mary’s College of California2011The Hearst Art Gallery is accredited by

ContentsPreface and Acknowledgments 1The Art of William Keith, Alfred C. Harrison, Jr. 3Introduction 5Chapter 1 Childhood, Schooling, Career as Wood Engraver, Early Works 8Chapter 2 Düsseldorf to Munich, Keith’s Early Maturity 22Chapter 3 Munich, Portraits, Late Period Landscapes 54William Keith Chronology, Alfred C. Harrison, Jr. 88William Keith and the Conservation of His Paintings, Andrea Rothe and Jeanne McKee Rothe 99The Art and Conservation of Gilded Frames, Julian Billotte 107Catalog of the William Keith Collection of Saint Mary’s College of California 114Abbreviations Used in the Catalog and Essays 200Biographical Information on the Contributors 201Traveling Exhibitions and Individual Loans of Works by William Keith from the 202Saint Mary’s College CollectionCross-Reference of Works by Title 207Cross-Reference of Works by Accession Number 212Index 217

IntroductionMore than twenty years have passed since William Keith: The Saint Mary’s College Collection was published, and the time has come to take a new lookat the career of one of the San Francisco Bay Area’s leading nineteenth-century artists. In the intervening years, some new paintings have come tolight and more scrutiny has been given to the artist’s relationship with two of his most influential friends, John Muir and Rev. Joseph Worcester.Muir was the cheerleader for the paintings of Keith’s early maturity that depict nature’s grandeur, and Worcester helped Keith find a new aestheticin his later, more subjective exploration of spiritual values underlying natural appearances.In 1988, disappointment was expressed at the absence of a Keith exhibition organized by a major museum, and sadly, twenty- three years later, westill await such an event. As this is written, however, several Keith paintings are on display in the American galleries of San Francisco’s de YoungMuseum, which was not the case in 1988, and appreciation for mainstream American landscapes of the late nineteenth century has gathered steamover the last twenty years. It is only a matter of time before Keith comes into his own.As was noted in the first book, Californians are sensitive to the fact that they live far from the cultural mainstream, which leads them to overprotectthemselves from the charge of provincialism. Californians think of themselves as citizens of the world, but an unfortunate byproduct of that attitudeis the neglect of significant homegrown talent, itself a form of provincialism. This question is worth raising at the beginning of an essay on Keith,because the artist himself was victimized by this provincial disdain for local culture. “When a great man is wanted,” he wrote in 1895, “Californialooks eastward for him… California has lost the faculty of seeing the wealth at her own door, even as the East long ago began to look still furthereast for its wants in arts and literature…” And yet Keith himself was constantly looking—and traveling—eastwards, not only to New York, butalso to the art centers of Europe. He was eager for his paintings to stay abreast of art fashions. The various changes seen in his work, particularlythe shift from a topographical to a subjective emphasis in landscape, were in conformity with general art trends of the period. The same transitioncan be seen in the works of Keith’s friend, George Inness, and in the changing styles of other leading artists of the period like Homer Dodge Martinand A.H. Wyant. Throughout his career, Keith was influenced by the strong art personalities of his environment—in the early days by San Francisco’s leading paintersof the 1860s, Charles Nahl and Frederick Butman and paintings in the Hudson River School style by Albert Bierstadt. After his first trip to Europe,Keith injected elements of the Barbizon aesthetic into Hudson River School subjects, like sublime mountain scenes, creating an original and distinctivehybrid style. As mountains faded from popularity along with the artists who painted them, Keith focused his attention on more humble andgeneric or “subjective” scenes—peacefully grazing cattle surrounded by California live oaks that resembled the oaks of the Forest of Fontainebleau.Both cows and oaks, seen in the gloom of early evening, were the stock-in-trade of the Barbizon painters. In the 1880s and 1890s, landscapes in theBarbizon style were at their peak of popularity in America. All through his career, both in his mountain scenes and subjective paintings, Keith hada genius for evoking an emotional response from his audience through the manipulation of light. Nineteenth-century critics often praised his worksfor being “poetic,” an adjective that meant “emotionally appealing” when applied to paintings. Many of us today, in a vastly different and moresecular cultural context, continue to be moved by his vision of nature. His paintings have passed the test of time. William Keith, “The Future of Art in California,” San Francisco Call, Dec. 25, 1895, p. 2.2 Compare Martin’s and Wyant’s early and late works in Fifty-eight Paintings by Homer D. Martin by Dana H. Carroll, New York, 1913; in Sixty Paintings by Alexander H. Wyant by EliotClark, New York, 1920.With a Wreath of Laurel, 1900-1911, oil on cardboard, 15 ¾ x 20 inches. Collection of the Hearst Art Gallery, Saint Mary’s College of California. Gift of Cochrane Browne, Jr. 0-154.

Chapter OneChildhood, Schooling,Career as a WoodEngraver, Early WorksWilliam Keith was born November 21, 1838, in thesmall village of Oldmeldrum, not far from Aberdeenin northeastern Scotland. His father, who hadbecome prosperous as a draper and cloth merchant,died several months before the birth, and his motherfound herself unable to cope with the new baby. Keith was raised by his maternal grandparents,named Bruce. His grandfather was a pillar of thechurch at Craigdam where they lived and was sufficientlywell off to feed elderly farmers in need ofcharity after church every Sunday. Brother Corneliuscharacterizes Grandfather Bruce as “gruff and reallystern and solemn—a typical old-time Presbyterian,”while Grandmother Bruce was a soft-hearted womanwho liked to spoil young William. Life with hisgrandparents must have been somewhat happy forthe boy, since he ran away from his mother to rejoinhis grandparents when he was brought to live withher at age eight. Many sources give 1839 as Keith’s birthday, notwithstandingthe fact that he celebrated his seventieth birthday in 1908. Brother Fidelis Cornelius, Keith: Old Master of California, NewYork, 1942 (hereafter “BFC”), p. 1. Ibid., p. 2.7 Ibid., p. 3.Anonymous, Portrait of William Keith (to my father’s friend AbeGump), n.d., photograph, 6 ¾ x 5 ⅜ inches. Collection of the HearstArt Gallery, Saint Mary’s College of California. Gift of Brother F.Cornelius Braeg, F.S.C. 95.14.

Chapter TwoDüsseldorf to Munich, Keith’sEarly MaturityKeith left San Francisco in early September of 1869 “to perfecthis knowledge of art” 101 by visiting New York and Paris andstudying in Düsseldorf. In October he was in Maine “studyingthe beautiful autumnal effects, before offering any work inNew York or going to Europe.” 102 The Keiths, with son, Charlie,and their daughter Mary Hortense (“Tennie”), born in 1868, werevisiting with Lizzie Emerson Keith’s family in Damariscotta. Theexact date of the departure for Düsseldorf is not known, but theywere definitely settled in that city by February of 1870. 103By 1870, Düsseldorf was fading as the leading art city in Europe.In its heyday, the 1850s, Emmanuel Leutze had presided overthe American art colony there, where such talented young paintersas Albert Bierstadt, Worthington Whittredge and Sanford R.Gifford had come to study. Keith was probably mindful of thecentral role Düsseldorf had played in the training of these artists,and his friend, Charles Nahl, must have urged him to studythere. Also, the Düsseldorf Gallery had been a celebrated partof the New York art world when Keith was growing up in thatcity.Typical Düsseldorf-style paintings feature meticulous, detailedimages with a high degree of “finish,” paint very thinly applied101 “Local Art Items,” San Francisco Bulletin, Sept. 10, 1869, p. 3.102 “Local Art Items,” San Francisco Bulletin, Oct. 12, 1869, p. 3.103 Tennie Keith was born on January 4, 1868, according to entry dated “May 11,1934” in “Brother Fidelis Cornelius Braeg, F.S.C. Collection Detail Sample ofCorrespondence Content,” Saint Mary’s College, Moraga, CA, p. 21. ForKeith’s presence in Düsseldorf, see “Art Matters,” San Francisco Chronicle,Feb. 17, 1870, p. 3.Anonymous, Portrait of William Keith, 1870s, printed 1945, photograph, 6 ⅛ x 4 ¼inches. Collection of the Hearst Art Gallery, Saint Mary’s College of California.Gift of Brother F. Cornelius Braeg, F.S.C. 95.19.22

Chapter ThreeMunich, Portraits,Late Period LandscapesBy the end of the 1870s, art patronage in San Franciscohad shrunk, and artists were hard-pressed to make aliving. Also, as noted before, landscape art, especiallygrandiose mountain scenes in the Hudson River Schoolstyle, were increasingly seen as outdated relics of thepast. William Keith was aware of these circumstances anddecided that he needed to expand his repertoire in orderto survive. There always would be a market for portraits.San Francisco native, Theodore Wores, a young artist whohad returned from studying in Munich, rented a studionext to Keith’s in the Mercantile Library Building, andfilled Keith’s ear full of stories of Munich. Keith decided togo there to learn figure painting. 224In September of 1883, the Keiths traveled to New York andthen to Connecticut and the Berkshires in Massachusettsbefore going to Washington, D.C. At the Corcoran Gallery,Keith found little to admire among the American paintingson display, dismissing Kensett as showing “a great deal oflabor thrown away,” Church as “mock heroic” and Bierstadtas “theatrical and false.” 225 The Hudson River Schoolstars no longer commanded respect. Later on in the trip inParis, Keith signaled his allegiance to the Barbizon School,praising Jules Dupré’s landscapes as “so soft and yet sostrong” and dismissing the academic style of Jean-LeonGérome as “cold, hard and finicky.” 226224 Letter from William Keith to Joseph Worcester dated Sept. 21, [1884],letter 49, p. 121, in KM, “Europe Letters.” See footnote no. 12.225 BFC, p. 116, and William Keith letter to Joseph Worcester quotedin BFC, p. 140.226 William Keith letter to Joseph Worcester quoted in BFC, p. 141.Photograph of William Keith. Collection of the Hearst Art Gallery, SaintMary’s College of California. Gift of Mrs. Mary McHenry Keith.54

William Keith Chronology1838 William Keith born in Oldmeldrum, Scotland. (Some twentieth-century sources erroneously give his birthdate as1839. Although no birth certificate has survived, the artist celebrated his seventieth birthday in 1908).1850 Moves to New York with his family. Attended school in New York City.c. 1855 Works briefly in lawyer’s office in New York.1856 Apprenticed to William Roberts, New York City, to learn the trade of wood engraving.c. 1857 Employed as a wood engraver by Harper Brothers.1858 Journeys to Scotland and England. Did wood engravings for the London Daily News.1859 Moves to San Francisco to pursue the trade of wood engraving.1862-63 Forms partnership with wood engraver and watercolor artist Harrison Eastman. Eastman and Keith’s offices atMontgomery and California Street, San Francisco. Keith’s dwelling at 1123 Clay Street.1863 Takes lessons in oil painting from Samuel Marsden Brookes.1864 Marriage to Elizabeth Emerson. Dissolves partnership with Eastman. Dwelling at 1018 Powell Street, San Francisco.1865 Forms partnership with wood engraver Durbin Van Vleck. Offices at 611 Clay Street, San Francisco. Dwelling at 20Clarence Place near Townsend Street. Son Charles Van Vleck Keith born.1866 Visits Yosemite in July. Exhibits watercolors for sale at Roos Gallery.1867 Moves to Oakland, offices remain at 611 Clay Street, San Francisco. June trip to Donner Summit, paints near Cisco.1868 Daughter Mary Hortense “Tennie” Keith born on January 4. Exhibits oil painting at Niles Gallery in January. Goesto Pacific Northwest in the summer on sketching tour to fulfill railroad commission. Rents studio at MercantileLibrary Building on Bush Street between Montgomery and Sansome, San Francisco.1869 August: holds exhibition and auction sale of 33 paintings to raise money for European trip. Paintings sell for$1517.50. September: goes to Maine and New York City. Departs for Düsseldorf, Germany.1870 In Düsseldorf. May: visits Paris. August: outbreak of Franco-Prussian war. Leaves Düsseldorf for tour of Italianlakes, may have visited Cologne and Munich. November: back in the U.S. at Damariscotta, Maine.Right: Hetch Hetchy Valley, 1907-1910, oil on canvas, 16 x 24 inches. Collection of the Hearst Art Gallery, Saint Mary’s College of California. 0-177.88

William Keith and the Conservation of His PaintingsAs a master landscape artist of the 19th century, William Keith’s techniques were generally of such high standards that, in the 143 years since hebegan to create his paintings, his works have survived well. However, even the most carefully executed painting can succumb to the ravages oftime and ill-handling. Regardless of how well a work is technically painted initially, the environment in which it is displayed or stored and thecare it receives all have an effect on its later condition. Over time, some paintings will inevitably require cleaning or repair to damaged areas and athorough understanding of the artist’s materials and techniques is required before a conservator can begin to work on a painting in need of care.Materials and Techniques Used by Keith in Making a PaintingSupports UsedThe most common supportKeith used for his oil paintingswas a piece of canvas thatwas stretched onto a woodenframework or stretcher. Stretchershave wooden “keys,” orwedges that, when placed intoslits in each corner and hammeredslightly, expand thePhoto 1: Wooden stretcher keysPhoto 2: Shattuck stretcher keysPhoto 3: Stamp of canvas makerstretcher and keep the fabrictaut (Photo 1). If tautness is notmaintained in a canvas, manycracks can form in the paintfilm as it ages. In addition to stretchers with wooden keys, Keith also used stretchers with metal keys designed by Aaron Draper Shattuck in 1883(Photo 2). These were in production until 1917—a useful piece of information when attempting to determine the date of a painting.An accomplished and successful painter, Keith was able to afford to buy his canvases fromvarious commercial canvas makers. On the reverse of many Keith paintings you can see theirnames in the form of a stamp. Canvas makers named M.D. Nile (Photo 3) and Snow and Rooswere the two most commonly used by Keith. They provided pre-stretched canvases coveredwith a ground, or primer, that coated the fabric so that it would not absorb the oil paint andcreated a smoother surface for the pigment. In his later paintings, Keith would paint a darkbrown or dark green layer over this ground. This established a middle tone that would allowhim to paint just the lights and darks to quickly block out a landscape.Photo 4: Quick sketch on wooden cigar box panelIn his studio, Keith preferred to paint on canvas but would occasionally use a wooden panel.While working outdoors, he often painted on canvas but also made quick, small studies on thelids and bottoms of wooden cigar boxes (Photo 4). Wanting to capture the moment quickly, Keith100

The Art and Conservation of Gilded FramesThe application of a thin layer of gold to the surface of an object isknown as the art of gilding. The earliest known examples of gildingwere Egyptian, though many texts worldwide referred to objects beingoverlaid with gold. The use of gilding, until relatively modern times,was religious and reached its height in the European altar pieces of theRenaissance. The technique of gilding has changed little in 5,000 years.Even today, the gilded frame is primarily crafted by hand. Gilding’smain modern applications are on picture frames and architecturalenhancements.The frames surrounding each of the paintings in the Keith Collectionat Saint Mary’s College exemplify the popular styles of the mid 19thand early 20th centuries, from the opulent splendor of the Gold Rushcity of San Francisco in the 1870s to the mellow tones of the Arts andCrafts movement in the Bay Area at the beginning of a new century.The original frames on Keith’s earlier landscapes were generally bigand bold. The gaudy styles of the late Victorian era demanded wideand heavily decorated frames. The gilding was as bright as possible soOrnate frame with damaged corner that shows the build-up of gesso or compo over wood base frameA few of the gilder’s tools: gold leaf, gilder’s knife, leather pad for cutting leaf and gilder’s tipas to reflect the light from gas lamps and illuminate the surface of thepainting. Carved areas of the frames were accentuated with contrastsof matte and burnished areas of gold. Design influences were drawnfrom all parts of European culture; some shops produced more stylizeddesigns while others leaned towards the more traditional. Over time,as craftsmen mixed styles from the Old World and combined themwith new American stylistic trends, a uniquely West Coast style slowlyemerged.The ornate frames of the 19th century were primarily constructed ofwood and plaster. Sometimes, surface embellishments were createdwith castings made from a composition material called “compo,” amixture of rabbit-skin glue, chalk and resin. When this material waswarmed, usually with steam, it became pliable and was formed easilyinto detailed ornamentation that was glued to the base frame. Theornate frame was brushed with a thinned liquid made from rabbit-skin108

Biographical Information on the ContributorsAlfred C. Harrison, Jr.After ten years as a private collector and researcher, Alfred Harrison assumed ownership of the North Point Gallery in 1985. He is a lecturer and author ofmany articles on early California paintings as well as monographs on William Keith, L.P. Latimer, and Thaddeus and Ludmilla Welch. In 2006, he wrote anessay and catalog entries for California Impressions: Landscapes from the Wendy Willrich Collection, published by the Fine Arts Museums of San Francisco. Heis currently at work on a history of nineteenth-century California painting and a monograph on John Ross Key. Alfred Harrison was the guest curator for“The Golden Age of Yosemite Painting, 1859-1930, A Centennial Tribute,” at the Transamerica Pyramid Lobby, San Francisco, CA in 1991 and “Before theBridge: 19th Century Paintings of the Golden Gate,” Transamerica Pyramid Lobby, San Francisco, CA in 2000. He also curated the San Francisco venue of theGilbert Munger retrospective at The North Point Gallery in 2004 and the Bolinas Museum’s “Pastoral California: The Art of Thaddeus and Ludmilla Welch”in 2007.Andrea RotheAndrea Rothe received his training at the Uffizi Restoration Laboratories in Florence, the Bavarian State Galleries in Munich, and the KunsthistorischesMuseum in Vienna. He became the head of the Conservation Group in Palazzo Pitti, working mainly for the Italian State in churches and museums forthe regions of Florence, Siena, Arezzo, Urbino, and Naples. During the summer months, he became teaching assistant to the painter Oskar Kokoschka aswell as instructor of painting techniques at the Summer School of Vision in Salzburg. After moving to the United States, he became head of the PaintingsConservation Department and later was named Paintings Conservator for Special Projects at the J. Paul Getty Museum, Malibu and Los Angeles, where heretired after twenty-one years. Presently he is self-employed, working together with his wife Jeanne McKee Rothe for various galleries, museums, and privatecollectors in the Bay Area. Andrea Rothe has lectured, and is the author and co-author of various publications, on painting techniques.Jeanne McKee RotheJeanne McKee Rothe trained in art conservation at the Art Conservation Program in the Winterthur Museum, University of Wilmington, Delaware, andreceived an M.S. degree in Art Conservation, majoring in painting with a minor in paper. Previously, she held the position of Associate Curator at the NortonSimon Museum, Pasadena CA, and was responsible for the examination, condition, and conservation treatment of all works of art including all paintings,Degas pastels, and outdoor sculptures such as those by Rodin and Maillol. Presently, Jeanne is a self-employed art conservator in San Francisco and San Mateo,working primarily on 19th and early 20th century paintings for institutions such as Saint Mary’s College in Moraga, the Bancroft Library of the University ofCalifornia at Berkeley, the Iris and B. Gerald Cantor Arts Center for the Visual Arts at Stanford University, the Society of California Pioneers in San Francisco,Notre Dame de Namur University in Belmont, and for many galleries and private collectors. She is currently working on 14th century gold-ground paintingswith Andrea Rothe, and doing authentication and research of important American and European paintings for various buyers and sellers.Julian BillotteJulian Billotte has been a gilder and conservator of gilded objects for twenty years. Since l994 he has owned and operated Capricho Studios. He trained withJoel Hoyer at the Louvre Frame Shop in San Francisco and studied wood carving with Agrell and Thorpe in Sausalito. In 1997, he traveled to Mt. Athos inGreece to study Icon Restoration with Fr. Paul Politis at the Skiti of Saint Andreas. In 2000, he was invited back to gild an altarpiece for the monastery ofDionysou. Since then, Capricho Studio has completed many large jobs, including gilding the dome of the Church of All Russian Saints in Burlingame, theGovernors’ Ballroom at the Academy Award Complex in Hollywood, and most recently, the restoration of 40,000 sq. ft. of the ceiling at the historic AnzaBranch of the San Francisco Public Library. Since 2004, Julian has worked to maintain the frames for the Keith Collection at Saint Mary’s College and, in 2006,he was guest curator for an exhibit highlighting the frames and frame conservation of the Keith Collection. Other clients have included the City and Countyof San Francisco, SFMOMA and San Jose State University, as well as galleries and private collectors.201

Traveling Exhibitions and Individual Loansof Works by William Keith from the Saint Mary’s College Collection1907 ExhibitionMacbeth’s Gallery (New York, NY)0-34 Golden Evening1940 ExhibitionWorld’s Fair, Treasure Island (San Francisco, CA)0-147 Polemics1958-74 Extended LoanOakland Museum of California (Oakland, CA)0-165 Moonlight Near San Rafael0-166 Stinson Beach1961 William Keith’s 50th AnniversaryOakland Museum of California (Oakland, CA)de Young Museum (San Francisco, CA)0-12 Mount Lyell, California Sierra0-18 Klamath Lake0-32 Memories0-34 Golden Evening0-63 End of Day0-71 Napa Valley, Springtime0-80 Misty Morning Near Sitka0-90 Sierra Forest Stream and Sunny Peaks0-91 High Sierra Canyon0-98 Klamath Lake0-112 Dazzling Clouds0-116 Sunrise, Columbia River0-131 Moonrise Among the Oaks0-147 Polemics0-165 Moonlight Near San Rafael0-177 Hetch Hetchy Valley0-268 Shasta All in Snow0-282 Silver Gray Sky Near Munich0-528 After the Storm: Nature Refreshed and Revived1962 ExhibitionSanta Barbara Museum of Art (Santa Barbara, CA)0-4 In the Santa Cruz Mountains0-12 Mount Lyell, California Sierra0-19 Glacial Meadow and Lake, High Sierra (Tuolumne Meadows)0-80 Misty Morning Near Sitka0-157 Alaska: Inland Passage0-166 Stinson Beach1968-83 Extended LoanLaSalle College Art Gallery (Philadelphia, PA)0-528 After the Storm: Nature Refreshed and Revived1972 The Color of Mood, American Tonalism, 1880-1910California Palace of The Legion of Honor (San Francisco, CA)0-165 Moonlight Near San Rafael1976 ExhibitionSonoma County Museum (Santa Rosa, CA)0-44 Mount Tamalpais, Golden Morning1976 A Selection of American PaintingsMission San Francisco Solano (Sonoma, CA)0-19 Glacial Meadow and Lake, High Sierra (Tuolumne Meadows)0-99 Sketch: San Francisco Bay0-147 Polemics0-178 Yosemite Valley with Bridal Veil Falls1978 George Inness Landscapes: His Signature Years, 1884-1894Oakland Museum of California (Oakland, CA)0-111 Twilight Hour1979 ExhibitionFine Arts Museums of San Francisco Downtown Center(San Francisco, CA)0-47 Dr. Charles Blake0-101 High Sierra, Yosemite0-178 Yosemite Valley with Bridal Veil Falls0-477 The Sweep of Tuolumne Meadows with Lembert Dome and Mounts Danaand Gibbs1981 ExhibitionHastings College of the Law (San Francisco, CA)0-17 Woodland Scene with Cows and Pond0-47 Dr. Charles Blake202

AIndex“A Broadside of Mount Tamalpais” 23“After the Storm: Nature Refreshed and Revived” 74, 75, 158, 202,203, 204, 206, 207, 215“A Gray Day: Grand Oak Dell” 183, 207, 212“Alaska: Inland Passage” 60, 145, 202, 204, 205, 207, 214“A Romance” 78, 194, 207, 215“Autumn-Colored Trees, New Hampshire” 6, 7, 129, 204, 207,214“Autumn Reverie” 182, 207, 213Aberdeen 8Adams, Ansel and Virginia 39, 121Adams, Charles 195Alaska 59, 60, 92, 93, 145, 161Alexander, Mary B. 6, 47, 50, 95, 129, 130, 131, 132, 134, 135Alioto, Angelina Genaro 189Alta California 12, 20, 25, 29, 34, 37, 45, 46, 49, 64, 122, 126, 128,134American Landscapes: Selections from the Permanent Collection(HAG exhibition) 117, 122, 124, 125, 133, 148, 173, 179An Infinite Storm of Beauty: The Life and Achievements of JohnMuir, a Scottish Voice for the Millennium (City Art Centre,Edinburgh, Scotland exhibition) 124, 125, 127, 128,198, 205Antwerp, Belgium 55, 67, 92, 93Argonaut 49, 50, 81Arkelian, Marjorie Dakin 16, 25, 71Art in California 5, 14, 19, 85Art Journal (London) 28A Selection of American Paintings (Mission San Francisco Solanoexhibition) 127, 128, 139, 202Asphaltum 101A Tale of Two Scots: North to Alaska (HAG exhibition) 117, 145,146, 148, 161, 175A Tale of Two Scots: The Mountains of California (HAG exhibition)118, 121, 122, 123, 124, 158, 167, 171Auction 20, 23, 37, 49, 61, 81, 86, 88, 90, 92, 94, 96, 117, 129, 196Avery, Benjamin 14, 16, 17, 19, 20, 23, 28, 33Avery, Samuel P. 14, 25B“Barn Interior” 131, 203, 204, 206, 207, 215“Bathers” (Inness) 69“Bay Area Landscape” 36, 37, 39, 118, 207, 216“Beethoven: Edge of Wood” 185, 207, 212“Black Oak Study, Lake County, California” 132, 205, 207, 212“Bright Sky Beyond Dark Brown Landscape” 179, 207, 214“Brilliant Yellow Clouds Against Deep Blue Sky and Dark Woods”181, 207, 213“Brown Hillside, Cloudy Sky” 153, 204, 207, 214“Bullfrog Lake In Sierra” 172, 203, 204, 206, 207, 215“Burst of Light in Sky” 160, 204, 205, 207, 214Baldwin, Annette 179Bancroft Library 9, 12, 85, 200, 201Barbizon School 5, 16, 25, 27, 29, 33, 37, 39, 42, 46, 47, 49, 54, 58, 63,66, 67, 68, 69, 70, 72, 76, 78, 82Barker, Timothy L. 129, 132, 134, 135Bedford, Peter B. 135Beede, Ruby 197Bell, Mary 9, 66Berkeley Gazette 78, 81Berkshires, Massachusetts 54Best, Judge J.T. 35Bicoastal Artists of the 1870s (HAG exhibition) 117, 118, 121, 122,123, 124, 125, 129, 130Bierstadt, Albert 5, 19, 22, 23, 25, 28, 30, 32, 33, 34, 37, 54, 70Big Sandy River 17Billotte, Julian 1, 107, 112, 201Bitumen 67, 101, 102, 103Blake, Reuben Lloyd 154Blanchard Gallery, Los Angeles 82Bohemian Club 35, 60, 93, 177Borglum, Gutzon 149Boston Advertiser 28, 30, 37Boston Courier 12Boston Evening Transcript 11, 12, 26, 27, 28, 29Boston Sunday Budget 46Boston Sunday Times 25, 26, 27Brackenbury, Ina 69, 78, 156Brady, Mr. and Mrs. William J. 60, 145Braeg, Herman Emanuel - see Brother CorneliusBrauer Museum of Art 47British War Relief Shop, San Francisco 161Brookes, Samuel Marsden 12, 88Brooklyn Museum 34Brother Cornelius, F.S.C. 1, 6, 8, 9, 11, 12, 13, 17, 22, 32, 33, 37, 42, 50,61, 85, 96, 174, 189, 190, 200Brown, Arthur 16Brown, George Loring 11Browne, Jr., Cochrane 5, 47, 126, 136, 147, 148, 188Buehler, Dr. William O. 71, 171Burk, Mr. and Mrs. Jack 153Burnham, Daniel 58, 61, 62, 78, 93, 94, 172Burnham, Mrs. Daniel H. 78, 155Burnishing 108, 109, 110, 112Bush, Norton 20, 61, 72Butman, Frederick 5, 12, 13, 14, 17, 19Butterfield and Butterfield 17, 81Byrne, Rt. Rev. J.M. 155C“California Alps” 33, 35, 36, 90, 91“California Landscape - Meadow with Sheep and House” 160, 204,206, 207, 215“California Pastoral Landscape” 198, 207, 216“Canal at Dachau” (Currier) 63“Cattle at Edge of Meadow” 92, 153, 203, 207, 214“Coast Range, Early Evening Glow” 86, 87, 118, 207, 214“Crossing the Plains” (Bierstadt) 19“Crystal Springs” 17Cairns, Helen M. 149Calden, Mary 116, 126California’s Native Grandeur: Preserving Vanishing Landscapes(Nature Conservancy traveling exhibition) 132, 167, 205California missions 51, 52, 53, 91, 92, 137Callow, James T. 16Canvas on board 182Carlson, Mr. and Mrs. David 156, 171Carr, Ezra and Jeanne 29Casilear, John W. 11Central Pacific Railroad 17Chiaroscuro 56Chicago, Illinois 58, 61, 62, 66, 72, 92, 93, 96Church, Frederic Edwin 11, 13, 33, 54Cigar box panel 100, 153, 164, 189, 190, 197Cisco, California 16, 17, 115Clark, Celia Tobin 68, 152Clay Street, San Francisco 35, 88, 91, 116Cline, I.M. 62Cohen, Herman 148Colby, William E. 81, 172, 180, 182, 191Cole, Joseph Foxcroft 27College purchase 14, 30, 53, 74, 115, 116, 122, 137, 149, 158, 161, 172,186, 195, 199Columbia River 17, 19, 64Compo 108, 109, 112Connecticut 54Conservation 1, 99, 100, 103, 107, 108, 111, 112, 201Conservation treatment 117, 118, 124, 125, 127, 128, 132, 134, 135,137, 149, 155, 156, 158, 162, 167, 171, 173, 184, 201Constable, John 72, 77, 78Contra Costa Times 116, 126, 135, 173Cook, Clarence 43, 45, 64Corcoran Gallery 54Corot, Jean-Baptiste-Camille 27, 39, 40, 58, 64, 69, 182Courbet, Gustav 56Coyle, James J. 164, 176Craigdam, Scotland 8Crawford, Helen 168Crocker, Charles 16, 24Crocker, Judge E.B. 24, 25, 33Crocker Art Museum, Sacramento 24, 26, 86, 206Currier, J. Frank 55, 57, 58, 61, 62, 63D“Dazzling Clouds” 69, 156, 202, 203, 204, 205, 207, 213“Deep Forest Interior” 165, 203, 204, 207, 213“Discovery of San Francisco Bay” 76, 93“Discovery of San Francisco Bay” (Arthur Mathews) 76, 93“Donner Lake” 42, 43, 93, 124, 204, 205, 206, 207, 215“Donner Lake from the Summit” (Bierstadt) 33“Dr. Charles Blake” 57, 154, 202, 203, 204, 207, 212, 215“Dreamy Russet Trees and Meadow with Bright Evening Sky” 183,207, 213Damariscotta, Maine 22, 25, 88Daubigny, Charles-François 63Day, Henry L. 162Day, John C. 163Del Monte Gallery 128Del Monte Hotel 66, 68, 93De Ponte, Durant 62217