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upper right: Childe Hassam / 1912

Provenance

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.

Exhibition History
1929
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.
1937
An Exhibition of American Paintings from the Chester Dale Collection, The Union League Club, New York, 1937, no. 41.
1943
Paintings from the Chester Dale Collection, Philadelphia Museum of Art, 1943-1951, unnumbered, repro.
1961
The Nude in American Painting, The Brooklyn Museum, 1961, no. 28.
1965
The Chester Dale Bequest, National Gallery of Art, Washington, D.C., 1965, unnumbered checklist.
Bibliography
1943
Paintings from the Chester Dale Collection. Philadelphia, 1943:, unpaginated, repro.
1961
The Nude in American Painting. Exh. cat. The Brooklyn Museum, 1961: no. 28.
1965
Paintings other than French in the Chester Dale Collection. National Gallery of Art, Washington, 1965: 43, repro.
1970
American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 66, repro.
1974
Gerdts, William H. The Great American Nude: A History in Art. New York, 1974: 146.
1980
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 172, repro.
1981
Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: 192, repro. 193.
1992
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 196, 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: 283, repro. 282.
2000
Kirsh, Andrea, and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. Materials and Meaning in the Fine Arts 1. New Haven, 2000: 264.
Technical Summary

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.