Overview

No overview available.

Inscription

upper right: T.E.; on reverse: TO KITTY HUSSON / FROM HER FRIEND / THOMAS EAKINS

Marks and Labels

null

Provenance

The sitter's daughter, Katharine Husson Horstick [Mrs. Simon M. Horstick, d. 1956], Hatboro, Pennsylvania, c. 1905, at least by 1930; bequest 1957 to NGA.

Exhibition History
Bibliography
1930
Goodrich, Lloyd. "Thomas Eakins, Realist." Pennsylvania Museum Bulletin 25 (March 1930): 27, no. 188.
1933
Goodrich, Lloyd. Thomas Eakins: His Life and Work. New York, 1933: 202, no. 430.
1967
Schendler, Sylan. Eakins. Boston, 1967: repro. 279.
1970
American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 52, repro.
1974
Hendricks, Gordon. The Life and Work of Thomas Eakins. New York, 1974: 170, repro. 171.
1980
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 150, repro.
1980
Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 116, repro.
1981
Williams 1981, 169, repro. 171.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 553, no. 839, color repro.
1988
Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 134, repro.
1989
American Paintings from the Manoogian Collection. Exh. cat. National Gallery of Art, Washington, D.C.; The Fine Arts Museums of San Francisco; Metropolitan Museum of Art, New York; Detroit Institute of Arts. Washington, D.C., 1989: repro. 126.
1992
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 168, repro.
1996
Kelly, Franklin, with Nicolai Cikovsky, Jr., Deborah Chotner, and John Davis. American Paintings of the Nineteenth Century, Part I. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 176, color repro. 175.
Technical Summary

Painted on a medium-weight, plain-weave fabric that was commercially prepared with a thin, white ground before the fabric was stretched, the painting is unlined and secured to its original four-member, mortise-and-tenon stretcher, which has a damaged paper label identifying the colormen: "F. WEBER & CO. / Succe[ssor to JANE]N[TZKY &] WEBER / 1125 CHESTNUT [STREET,] PHILADELPHIA. / BRANCH HOU[SES:] / [ST. LOUIS, MO., 709 L]ocust St. / [BALTIMORE, MD., 5] N. [Charles] St. / ---- " The white ground is visible in places, perhaps because of abrasion from a past varnish removal. There is discolored inpainting in the face and background, and the varnish is uneven and discolored.[1]


[1] A paper label affixed to the cardboard backing reads: "cleaned and revarnished with Mastic by C[harles]. Bregler Phila. Pa June 1938." The NGA conservation report notes the 1957 varnish.