No overview available.
upper right: Childe Hassam / 1912
Marks and Labels
Our Lady of Elms [location unspecified], probably a gift of the artist; (M. Knoedler & Co., New York); sold 1926 to Edward Ward McMahon, Brooklyn, New York; (his sale, American Art Association, New York, 1929, no. 88); Chester Dale [1883-1962], New York; bequest 1963 to NGA.
- Loan Exhibition of Contemporary Paintings from the Collections of Mr. and Mrs. Chester Dale, Mr. James Rosenberg and others, Fifty-Seventh Street Galleries, New York, 1929, no. 5.
- An Exhibition of American Paintings from the Chester Dale Collection, The Union League Club, New York, 1937, no. 41.
- Paintings from the Chester Dale Collection, Philadelphia Museum of Art, 1943-1951, unnumbered, repro.
- The Nude in American Painting, The Brooklyn Museum, 1961, no. 28.
- The Chester Dale Bequest, National Gallery of Art, Washington, D.C., 1965, unnumbered checklist.
- Dale 1943, unpaginated, repro.
- The Nude in American Painting. Exh. cat. The Brooklyn Museum, 1961: no. 28.
- Paintings other than French in the Chester Dale Collection. National Gallery of Art, Washington, 1965: 43, repro.
- American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 66, repro.
- Gerdts, William H. The Great American Nude: A History in Art. New York, 1974: 146.
- American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 172, repro.
- Williams 1981, 192, repro. 193.
- American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 196, repro.
- 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: 283, repro. 282.
- Kirsh, Andrea, and Levenson, Rustin S. Seeing Through Paintings: Physical Examination in Art Historical Studies. New Haven, 2000: 264.
The medium-weight, plain-weave fabric support is unlined and remains on its original four-member, mortise-and-tenon stretcher. Over the off-white commercially prepared ground, paint was applied rapidly, wet-into-wet, and in consistencies from smooth to impasto. Most brushstrokes exhibit several unmixed colors. The paint was built up primarily with multiple opaque layers and scumbles, allowing several differently colored layers to be visible simultaneously. The painting is unvarnished and is free of damage and inpaint, except along the edges where the rabbet of the frame has abraded the paint.