Edward Hopper & His Contemporaries: Making a Modern Art
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1900 - 1910
At the turn of the twentieth century, artists began to confront the dominance of European academic influences within the American art sphere. In search of a new status quo, leading American artists began to challenge these systems—such as the National Academy of Design and the American Impressionists—in hopes to create and define an American artistic identity. As artists became aligned with the Ashcan School and began depicting New York in a Realist style, they found themselves not only transforming the status quo, but leading an emergent avant-garde movement.
A group of artists known as The Eight were the most definitive pushback against the traditional academic system. They included Robert Henri (the leader), as well as Everett Shinn, John Sloan, Arthur B. Davies, Ernest Lawson, Maurice Prendergast, George Luks and William J. Glackens. Together they exhibited their work at the Macbeth Galleries in 1908 in an exhibition outside the system that was meant to challenge it. They wanted to create an American aesthetic and while they painted in different styles, most — including Henri and Sloan — embraced a Realist manner showing the struggles of life for the working class in New York City.
Five of the members of The Eight became associated with The Aschan School, a loose group of artists that followed Henri’s mantra of “art for life’s sake”. They strove to depict a New York City that included working class people and immigrants. Immigration surged in the late nineteenth century and first decade of the twentieth century. A second generation consisted of Robert Henri’s New York students, of whom George Bellows was the most devoted.
Around this time, Edward Hopper was living in New York. As a student, his parents pushed him to study illustration and pursue classes at both the Correspondence School of Illustrating and at the New York School of Art. He studied with Kenneth Hayes Miller and Robert Henri (John Sloan was also an early influence). Hopper worked in illustration for about 20 years, starting in 1906 as a part-time illustrator for various advertising agencies in New York. He illustrated for magazines such as Scribner’s Magazine, Everybody’s and Country Gentleman as well as for specialty magazines, including Hotel Management, The Morse Dial and Wells Fargo Messenger. Illustration was an important way for artists to support themselves, and Henri, Sloan, Luks and other significant artists of the time worked as illustrators to provide secure earnings. Towards the end of the decade, Hopper traveled to Europe, and spent two long sojourns in Paris, where he overlapped with many of his contemporaries, and admired the work of the Old Masters as well as, Manet and Degas for their depictions of modern life.
The Ashcan artists were seen as the avant-garde in American art, but the European modernists were on the cusp of being introduced. An early supporter of European modern art in New York was Alfred Stieglitz who opened a gallery in 1905 called the 291 Gallery. He began to exhibit cutting-edge European art in 1908. Stieglitz also despised the gatekeeping incited by The National Academy of the Arts. In response, he showcased European contemporaries with drawings by Auguste Rodin, and artists less known in America, including Cézanne, Matisse and Picasso. The first exhibition of Matisse’s work ever held in the United States, which included Nude in the Forest (1906), exhibited at 291 Gallery. These exhibitions set the stage for a defining moment in art of the twentieth century: the 1913 Armory Show, which opened in its first iteration at the 69th Regiment Armory on Park Avenue and 25th Street, New York, across the street from Swann Auction Galleries’ current location.
Edward hopper
Landscape with Farm Houses.
Watercolor and pencil on tan wove paper mounted on card stock, circa 1895. 263x330 mm; 10½x13¼ inches.
Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, Pennsylvania.
Exhibited: Kennedy Galleries, Inc., New York, 2005.
Early watercolors like this work by Hopper (1882-1967), made during his mid-teens and as he aspired to become an artist, are exceedingly scarce. There are only several contemporaneous early watercolors, mostly studies of ships and figures, now in the collection of the Whitney Museum of American Art (Josephine N. Hopper Bequest), and not another landscape watercolor from this early period with as complete a composition as the current work.
Edward hopper
The Creek at Hogencamps.
Pen and ink on card stock, 1900. 265x196 mm; 10½x8 inches. Signed, titled and dated “June 1900” in ink, lower recto.
Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, Pennsylvania.
Hogencamp Mountain, now within Harriman State Park, is twenty miles northwest of Hopper’s boyhood home in Nyack, New York. This is among the largest, most developed ink landscape drawing by Hopper (1882-1967) from the early decades of his career and likely drawn from nature that we have located. There is another, Study of a Forest with Stream, pen and ink, circa 1899-1906, now in the Whitney Museum of American Art (Josephine N. Hopper Bequest), New York, as well as Camp Nyack, Greenwood Lake (a location slightly southwest of Hogencamp Mountain), pen and ink, 1900, that sold at Christie’s, New York, September 28, 2010, lot 45.
In a letter he wrote to an editor in 1935, recalling his early artistic pursuit, Hopper noted, “In every artist’s development the germ of the later work is always found in the earlier. The nucleus around which the artist’s intellect builds his work is himself; the central ego, personality, or whatever it may be called, and this changes little from birth to death. What he was once, he always is, with slight modification. Changing fashions in methods or subject matter alter him little or not at all,” (Levin, Edward Hopper as Illustrator, New York, 1979, page 1).
Oscar bluemner
Landscape, Staten Island.
Watercolor, gouache and pencil on wove paper, 1902. 256x360 mm; 10x14 inches. Initialed and dated in ink, lower center recto, and indistinctly titled in pencil, lower right recto.
Provenance: Graham Gallery, New York; Athena Fine Arts Corporation, New York; Mark Borghi Fine Art, Inc., New York; private collection, Chicago.
Exhibited: Snite Museum of Art, University of Notre Dame, Indiana, 1993.
Bluemner (1867-1938), one of America’s most accomplished Modern colorists, was largely overlooked for the majority of his career. Now, however, his place alongside Georgia O’Keeffe, John Marin, Marsden Hartley and Max Weber—all fellow exhibitors at Alfred Stieglitz’s gallery, 291, in New York—is recognized, and he ranks among the group of the most modern and influential artists in America during the early 20th century.
After developing a friendship with Stieglitz around 1911, and after a drawn-out litigation to rightfully claim his recognition and compensation for designing the Bronx, New York courthouse, Bluemner decided to turn completely to painting in 1912 and embarked on a seven month European voyage. Upon his return, after exposure to works by Paul Cézanne, Vincent van Gogh, as well as the Fauves and Cubists, Bluemner’s work reflected a dramatic shift toward the bright, streamlined style that would define his work and parallel the avant-garde developments made by other American modern artists during the early 20th century. Like Edward Hopper, Bluemner traveled widely along the east coast, mostly in the countryside surrounding New York, and made numerous watercolor studies of landscapes and buildings, many of which are devoid of human presence.
Oscar bluemner
Group of 6 drawings.
Morris Hill, color crayons on cream wove paper, 1910. Signed with artist’s monogram, dated and inscribed in ink, lower recto * Mt. Vernon, pencil on cream wove paper, 1895. Signed with artist’s monogram, titled and dated in pencil, lower recto * Oak Point, pencil on cream wove paper, 1895. Signed with artist’s monogram in ink and titled and dated in pencil, lower left recto * Watchogue Road, crayon on cream wove paper, 1909. Signed with artist’s monogram, titled and dated in crayon, lower right recto * Boonton, pencil on cream wove paper, 1908. Signed with artist’s monogram, titled and dated in pencil, lower left recto * Sawmill at Fairfield, pencil on cream laid paper, 1909. Signed with artist’s monogram, dated, titled and annotated in pencil, lower recto. Various sizes and conditions.
Provenance: Private collection, New Hampshire.
Edward hopper
Fisher Boy.
Pen and ink and pencil on wove paper, circa 1900. 205x127 mm; 8¼x5¼ inches.
Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, New York; private collection, Pennsylvania.
According to Levin, “In 1899, after graduating from high school in his hometown of Nyack, New York, Hopper commuted to New York City daily to study illustration at the Correspondence School of Illustrating at 114 West Thirty-fourth Street. His parents had not objected to his becoming an artist, but they encouraged him to study commercial illustration which offered a more secure income. This must have seemed more practical to his father, who owned a drygoods store in Nyack and would have been familiar with advertising illustrations,” (Levin, Edward Hopper as Illustrator, New York, 1979, page 9).
Edward hopper
Galleon in a Storm.
Pen and ink and pencil on wove paper, circa 1900-05. 153x125 mm; 6¼x5 inches.
Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, Pennsylvania.
Hopper (1882-1967) made numerous similar nautical studies as an aspiring young art student and in his early years as an illustrator. Many of these drawings are now in the collection of the Whitney Museum of American Art, New York (Josephine N. Hopper Bequest). Growing up on the Hudson River, in Nyack, New York, Hopper had a frequent glimpse of the ship building yards in and around Nyack as well as the busy shipping traffic on the river itself, in addition to what appears to have been an insatiable interest in ships and the sea from the multitude of early drawings he made of these subjects. His first signed oil painting, from 1895, depicts a Rowboat in a Rocky Cove, and among his most accomplished early oils is Ships, circa 1898, now in the collection of the Foosaner Art Museum, Melbourne, Florida, which he copied from a painting by the American artist Edward Moran (1829-1901).
Edward hopper
The Storm.
Pencil on wove paper, circa 1895-1900. 130x100 mm; 5¼x4 inches. Signed and titled in pencil, lower recto.
Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, Pennsylvania.
Exhibited: “Edward Hopper Drawings: The Poetry of Solitude,” Hunter Museum of Art, Chattanooga, September 9-October 15, 1995; “The Early Drawings of Edward Hopper,” Kennedy Galleries, Inc., New York, November 4-25, 1995, number 11.
Published: The Early Drawings of Edward Hopper, New York, 1995, catalogue number 11 (illustrated).
Hopper (1882-1967) made numerous similar ship studies, very early on as an aspiring young artist, before his training as an illustrator. Many of these early nautical drawings are now in the collection of the Whitney Museum of American Art, New York (Josephine N. Hopper Bequest). As a student (he graduated from Nyack High School in 1899), Hopper dreamed of being a naval architect, and this desire is evidenced by the numerous nautical drawings he made during these years.
Edward hopper
The Sloop.
Pen and ink on wove paper, circa 1899-1900. 137x130 mm; 5½x5¼ inches. Dated or numbered “99” in pencil, lower right recto.
Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, Pennsylvania.
Hopper (1882-1967) made numerous similar ship studies, very early on as an aspiring young artist, before his training as an illustrator. Many of these early nautical drawings are now in the collection of the Whitney Museum of American Art, New York (Josephine N. Hopper Bequest). As a student (he graduated from Nyack High School in 1899), Hopper dreamed of being a naval architect, and this desire is evidenced by the numerous nautical drawings he made during these years.
Abraham walkowitz
Two watercolors of Cape Cod.
Both circa 1900. Both approximately 397x460 mm; 15⅝x18 inches. One signed in ink, lower center recto, the other signed twice in ink, lower left recto.
Provenance: Estate of the artist; Zabriskie Gallery, New York; Estate of Virginia M. Zabriskie.
Walkowitz (1878-1965) was born in Tyumen, Siberia to Jewish parents and immigrated to the Lower East Side of New York with his mother in 1889. He was trained in the academic style at the National Academy of Design, New York, and also at the Académie Julian in Paris, though his style was most influenced by his experiences outside of the studio. Walkowitz’s studies in Paris intersected with Edward’s Hopper’s sojourns there at the same time, while Hopper was primarily studying the works of the Old Master artists. During his time in Paris from 1906-07, Walkowitz saw Isadora Duncan (1877-1927) dance at Auguste Rodin’s (1840-1917) Paris studio and made his first drawings of her. He later recalled, “She was a Muse. She had no laws. She didn’t dance according to rules. She created. Her body was music. It was a body electric, like Walt Whitman.” Like Duncan’s dancing, Walkowitz’s drawings and watercolors were created by quick and spontaneous lines and washes of color. In Paris, Walkowitz was also impressed by the landmark 1907 Paul Cézanne (1839-1906) retrospective exhibit at the Salon d’Automne and by his introduction to the work of Henri Matisse (1869-1954) and Henri Rousseau (1844-1910). By the time Walkowitz returned to New York, his style was heavily influenced by European Modernism, with emphasis on gestures, simplified forms and flat planes of bold color. His first solo exhibition was held at Haas Gallery, the back of a modest frame shop, in New York in 1908.
In 1912, Walkowitz met Albert Stieglitz (1864-1946) through Marsden Hartley (1877-1943) and became involved with 291, Steiglitz’s New York gallery, which served as a hub of American modernism. Stieglitz was so impressed by the young artist, that he sent him to study art in Greece, Italy and North Africa in 1914. His style became more abstract; its reduced linear forms lent themselves to the city’s rush skyward, prematurely anticipating the New York School and the Abstract Expressionists.
In 1913, Walkowitz was represented at the Armory Show and in the 1916 Forum exhibition. Walkowitz was concerned with politics and artists’ rights and was active in various artist’s groups, founding the People’s Art Guild and the Society of Independent Artists (he became director of the latter from 1918 to 1938). In 1920, he exhibited at the Société Anonyme alongside Hartley and Joseph Stella (1877-1946). Despite local and international recognition, Walkowitz was not nearly as well-known as his contemporaries. Walkowitz painted into the 1940s, when his eyesight began to fail.
Abraham walkowitz
Two watercolors of Cape Cod.
Both circa 1900. One 390x565 mm; 15¾x22¼ inches, the other 360x565 mm; 14¼x22¼ inches. One signed and dated in ink, lower right recto, the other signed in ink, lower left recto.
Provenance: Estate of the artist; Zabriskie Gallery, New York; Estate of Virginia M. Zabriskie.
Walkowitz (1878-1965) was born in Tyumen, Siberia to Jewish parents and immigrated to the Lower East Side of New York with his mother in 1889. He was trained in the academic style at the National Academy of Design, New York, and also at the Académie Julian in Paris, though his style was most influenced by his experiences outside of the studio. Walkowitz’s studies in Paris intersected with Edward’s Hopper’s sojourns there at the same time, while Hopper was primarily studying the works of the Old Master artists. During his time in Paris from 1906-07, Walkowitz saw Isadora Duncan (1877-1927) dance at Auguste Rodin’s (1840-1917) Paris studio and made his first drawings of her. He later recalled, “She was a Muse. She had no laws. She didn’t dance according to rules. She created. Her body was music. It was a body electric, like Walt Whitman.” Like Duncan’s dancing, Walkowitz’s drawings and watercolors were created by quick and spontaneous lines and washes of color. In Paris, Walkowitz was also impressed by the landmark 1907 Paul Cézanne (1839-1906) retrospective exhibit at the Salon d’Automne and by his introduction to the work of Henri Matisse (1869-1954) and Henri Rousseau (1844-1910). By the time Walkowitz returned to New York, his style was heavily influenced by European Modernism, with emphasis on gestures, simplified forms and flat planes of bold color. His first solo exhibition was held at Haas Gallery, the back of a modest frame shop, in New York in 1908.
In 1912, Walkowitz met Albert Stieglitz (1864-1946) through Marsden Hartley (1877-1943) and became involved with 291, Steiglitz’s New York gallery, which served as a hub of American modernism. Stieglitz was so impressed by the young artist, that he sent him to study art in Greece, Italy and North Africa in 1914. His style became more abstract; its reduced linear forms lent themselves to the city’s rush skyward, prematurely anticipating the New York School and the Abstract Expressionists.
In 1913, Walkowitz was represented at the Armory Show and in the 1916 Forum exhibition. Walkowitz was concerned with politics and artists’ rights and was active in various artist’s groups, founding the People’s Art Guild and the Society of Independent Artists (he became director of the latter from 1918 to 1938). In 1920, he exhibited at the Société Anonyme alongside Hartley and Joseph Stella (1877-1946). Despite local and international recognition, Walkowitz was not nearly as well-known as his contemporaries. Walkowitz painted into the 1940s, when his eyesight began to fail.
Edward hopper
A Work Horse * Studies of Kneeling Figures.
Pen and ink on card stock, double-sided, 1900. 113x146 mm; 4½x5½ inches. Initialed and dated “Sept. 1900” in ink, lower right recto.
Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, Pennsylvania.
According to Levin, “In 1899, after graduating from high school in his hometown of Nyack, New York, Hopper commuted to New York City daily to study illustration at the Correspondence School of Illustrating at 114 West Thirty-fourth Street. His parents had not objected to his becoming an artist, but they encouraged him to study commercial illustration which offered a more secure income. This must have seemed more practical to his father, who owned a drygoods store in Nyack and would have been familiar with advertising illustrations,” (Levin, Edward Hopper as Illustrator, New York, 1979, page 9).
Edward hopper
Study of a Horse (An Old Favorite).
Pencil on stiff wove paper, circa 1895-1900. 55x76 mm; 2¼x3¼ inches. Signed and inscribed “An Old Favorite” in pencil, lower recto.
Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, Pennsylvania.
Exhibited: “The Early Drawings of Edward Hopper,” Kennedy Galleries, Inc., New York, November 4-25, 1995, number 20.
Published: The Early Drawings of Edward Hopper, New York, 1995, catalogue number 20 (illustrated).
There is a similar, early study of a horse by Hopper (1882-1967), Bronco, pencil, 1892-95, now in the collection of the Whitney Museum of American Art (Josephine N. Hopper Bequest).
Edward hopper
The Eagle or The Eagle and Dead Red Deer (after Sir Edwin Landseer).
Pen and ink on wove paper, circa 1900. 135x180 mm; 5¼x7 inches. Initialed and inscribed “Sir Edwin Landseer” in ink, lower recto.
Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, Pennsylvania.
Exhibited: “Edward Hopper Drawings: The Poetry of Solitude,” Hunter Museum of Art, Chattanooga, September 9-October 15, 1995; “The Early Drawings of Edward Hopper,” Kennedy Galleries, Inc., New York, November 4-25, 1995, number 4.
Published: The Early Drawings of Edward Hopper, New York, 1995, catalogue number 4 (illustrated).
As a young artist, Hopper (1882-1967) frequently made drawings based on illustrations he found in books, magazines, newspapers and elsewhere, practicing and perfecting his technique through the study of works by Renaissance and Victorian masters alike. He copied the current drawing from an etching made by the Victorian painter and sculptor Sir Edwin Landseer (1802-1873), who was especially renowned during the 19th century for his depictions of animals. Landseer’s etching, The Eagle (or The Eagle and Dead Red Deer), 1825, was issued in the series Etchings by Edwin Landseer published by E. Gambart & Co., London in 1848.
Edward hopper
Alone.
Pen and ink on wove paper, 1898. 204x153 mm; 8¼x6¼ inches. Signed, titled and dated in ink, lower right recto.
Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; private collection, New York; private collection, Pennsylvania.
Exhibited: “Edward Hopper: The Early Years,” September 6, 1982-August 31, 1983, various institutions, organized by the Brevard Art Center and Museum for the Southern Arts Federation Visual Arts Touring Program; “Edward Hopper (1882-1967): Early Impressions,” Provincetown Art Association and Museum, Provincetown, Massachusetts, May 21-July 4, 2010, and Berta Walker Gallery, Provincetown, Massachusetts, July 30-September 5, 2010; “A Window into Edward Hopper,” Fenimore Art Museum, Cooperstown, New York, May 28-September 11, 2011.
Published: Edward Hopper: The Early Years, Melbourne, Florida, 1982, catalogue number 15c; Edward Hopper (1882-1967): Early Impressions, Provincetown, 2010, catalogue number 24 (illustrated); Troyen, A Window into Edward Hopper, Cooperstown, 2011, page 20, figure 7 (illustrated).
There is another study of this subject by Hopper (1882-1967), though more loosely drawn and less finished than the current work, in the collection of the Whitney Museum of American Art (Josephine N. Hopper Bequest). From this very early treatment of the subject, at just 16 years old, only a year before he began art studies with a correspondence course in 1899 and soon after transferred to the New York School of Art and Design (the forerunner of Parsons The New School for Design), Hopper frequently returned to the theme of aloneness (and loneliness) in many of his most iconic works, including the oil paintings Automat, 1927, Morning Sun, 1952, and Office in a Small City, 1953, as well as the etching Night Shadows, 1921.
According to Levin, “Hopper brought to his art and to illustration a cool detachment reflecting the reserve with which he dealt with the world around him. His personality, especially his shyness, did not lend itself to illustrating fiction that was either overly sentimental or involved with fantasy. Hopper preferred to depict what he observed in the most matter-of-fact manner. When he had to illustrate to earn a living, he found greater freedom in the illustration of nonfiction topics, particularly for trade publications,” (Levin, Edward Hopper as Illustrator, New York, 1979, page 5).
Edward hopper
A Russian Lancer.
Pen and ink on wove paper, circa 1900. 187x110 mm; 7½x4½ inches. Titled in ink, lower recto.
Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Hirschl & Adler Galleries, Inc., New York, with the label; private collection, New York; private collection, Pennsylvania.
Exhibited: “Edward Hopper: The Early Years,” September 6, 1982-August 31, 1983, various institutions, organized by the Brevard Art Center and Museum for the Southern Arts Federation Visual Arts Touring Program; “Edward Hopper (1882-1967): Early Impressions,” Provincetown Art Association and Museum, Provincetown, Massachusetts, May 21-July 4, 2010, and Berta Walker Gallery, Provincetown, Massachusetts, July 30-September 5, 2010; “A Window into Edward Hopper,” Fenimore Art Museum, Cooperstown, New York, May 28-September 11, 2011.
Published: Edward Hopper: The Early Years, Melbourne, Florida, 1982, catalogue number 15e; Edward Hopper (1882-1967): Early Impressions, Provincetown, 2010, catalogue number 40 (illustrated); Troyen, A Window into Edward Hopper, Cooperstown, 2011, page 22, figure 11 (illustrated).
Edward hopper
One of the Preobrajenski Regiment.
Pen and ink on wove paper, circa 1900. 189x113 mm; 7¼x4 inches. Titled in ink, lower recto.
Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Hirschl & Adler Galleries, Inc., New York, with the label; private collection, New York; private collection, Pennsylvania.
Exhibited: “Edward Hopper: The Early Years,” September 6, 1982-August 31, 1983, various institutions, organized by the Brevard Art Center and Museum for the Southern Arts Federation Visual Arts Touring Program; “Edward Hopper (1882-1967): Early Impressions,” Provincetown Art Association and Museum, Provincetown, Massachusetts, May 21-July 4, 2010, and Berta Walker Gallery, Provincetown, Massachusetts, July 30-September 5, 2010; “A Window into Edward Hopper,” Fenimore Art Museum, Cooperstown, New York, May 28-September 11, 2011.
Published: Edward Hopper: The Early Years, Melbourne, Florida, 1982, catalogue number 15d; Edward Hopper (1882-1967): Early Impressions, Provincetown, 2010, catalogue number 42 (illustrated); Troyen, A Window into Edward Hopper, Cooperstown, 2011, page 22, figure 12 (illustrated).
The Preobrazhensky (or Preobrajenski) Life-Guards Regiment was one of the oldest and most elite guard units of the Imperial Russian Army.
Edward hopper
Even the Worm Will Turn.
Pen and ink on card stock, circa 1900-05. 137x82 mm; 5½x3¼ inches. Titled in ink, lower recto.
Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, New York; private collection, Pennsylvania.
“Even a worm will turn” is an expression used to convey the message that even the meekest or most docile of creatures will retaliate or seek revenge if pushed too far.
Edward hopper
A Cossack.
Pen and ink on wove paper, circa 1900. 148x98 mm; 5¾x3¾ inches. Titled in ink, lower recto.
Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Kennedy Galleries, Inc., New York, with the label; private collection, New York; private collection, Pennsylvania.