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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
Page 1 and 2: The Comprehensive KeithThe Hundred
Page 3 and 4: ContentsPreface and Acknowledgments
Page 5 and 6: Chapter OneChildhood, Schooling,Car
Page 7: Chapter ThreeMunich, Portraits,Late
Page 11 and 12: Biographical Information on the Con
Page 13: AIndex“A Broadside of Mount Tamal

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