American Art News, “Art at Lotos Club.”, May 1, 1909, Volume 7, Number 29, Page 6, not illustrated
For its last exhibition of this season and the second in its new building in West 57th Street the Lotos Club has arranged a display of fifty-three American oils owned by members. The exhibition, while it contains few works unfamiliar to the art lovers of New York, is unusually interesting and important, in that it is not only comprehensive, but in a way retrospective. Its examples range from the dead William Morris Hunt, Geo. Fuller, Martin, Inness, Wyant and Minor, and Fitz, Twachtman and Robinson, to such younger and strong living painters as F. J. Waugh, Elliott Daingerfield and F. Ballard Williams.
The pictures come mostly from the collections of Wm. T. Evans, Geo. A. Hearn, John Harsen Rhoades, Frank R. Laurence, J. R. Andrews, Frederic Bonner, Louis A. Lehmaier, Samuel T. Untermyer and Dr. Alexander Humphreys. There are four examples of Homer Martin, including “The Mussel Gatherers,” so rich in color quality, and the splendid “Adirondacks,” loaned by Mr. Untermyer, and whose fourteen years of age have given it beautiful tone. Inness is represented unusually well by the rich colored and beautiful “Return from Pasture-Milton,” and Minor by the strong “Noonmark by Moonlight,” loaned by Mr. Evans; Wyant by his beautiful “Adirondack Woods,” “Loneyly Farmhouse” and the breezy, atmospheric “Keene Valley,” loaned by Mr. Bonner. The two Geo. Fullers are the mysterious rich-toned “Girl with Turkeys” of 1884, and the splendid figure work, “The Quadroon,” of 1880.
It is a pleasure to see again as always the beautiful nude, “The Reflection,” by the late B. R. Fitz, one of the best nudes American art has yet produced, and the always fine “Spouting Whale,” both loaned by Mr. Evans. Twachtman is represented by the rich-toned “Freight Boats on the Seine,” and Theo. Robinson by his by his well-known “Twachtman’s House” and “Daydreams.”
Of the works by the living men special mention must be made of the fine “Moonlight” of Blakelock, an exceptional example; the “Moonlight on Kattegat,” by Emil Carlsen, loaned by Mr. Hearn; Dr. Humphreys’ good example of Arthur B. Davies’ “Lake in the Sierras.” Elliott Daingerfield’s “Mountain Showers,” Henry G. Dearth’s “Boulogne Harbor.” Paul Dougherty’s “Wave and the Cloud” and “Moonlight on the Sea,” Horatio Walker’s “Canadian Pastoral,” J. Francis Murphy’s “Approach to an Old Farm,” the two unusally fine examples of Ranger, “Willows” and a “Mason’s Island Vista,” and the splendid marines, “The Roaring Forties” and “South Westerly Gale, St. Ives,” by F. J. Waugh.
The example of Winslow Homer, loaned by Dr. Humphreys, the well-known “Voice from the Cliffs,” and which is a small replica of the larger canvas, recalls the interesting story of the rivalry over the first etchings of the work. It will be remembered that Homer himself was at work on an etching of the canvas when it was found that Mr. Keppel had secured permission from the owner of the first canvas, the late E. C. Stedman, to make an etching of it. This he put on the market before Homer finished his and great was the excitement.
WORKS BY EMIL CARLSEN