This is a list of professionally authenticated paintings, drawings, and sculptures by Thomas Eakins. As there is no catalogue raisonné of Eakins' works,[1] this is an aggregation of existing published catalogs.
Contents |
During his lifetime, Thomas Eakins sold few paintings. On his death, ownership of his unsold works passed to his widow, Susan Macdowell Eakins, who kept them in their Philadelphia home. She dedicated the remaining years of her life to burnishing his legacy. In this, she was quite successful; in the period between Thomas Eakins' death and her own, she donated many of the strongest remaining pictures to museums around the world. The Philadelphia Museum of Art benefited particularly from these donations.
After Susan Macdowell Eakins' death in 1938, her executors emptied the house of anything which could be sold at auction. When former Eakins student Charles Bregler arrived at the house after it had been stripped he was horrified at what he found, describing it as the "most tragic and pitiful sight I ever saw. Every room was cluttered with debris as all the contents of the various drawers, closets etc were thrown upon the floor as they removed the furniture. All the life casts were smashed... I never want to see anything like this again."[2] The number of works lost or destroyed at this time will never be known.
Bregler carefully collected what was left. Most of what remained were drawings and other preparatory studies. He was highly secretive about the contents of his collection and rarely allowed anyone to see it. After Bregler's death, ownership of the collection passed to his second wife, Mary Louise Picozzi Bregler, who was even more guarded as to its contents. In 1986, shortly before her death, Mary Bregler agreed to sell the works to the Pennsylvania Academy of Fine Arts.[3]
In the early 1930s, Susan Macdowell Eakins invited art historian Lloyd Goodrich into her home. Goodrich inventoried the collection in the house, interviewed Eakins' surviving associates, and studied Eakins' personal notes. In 1933, Goodrich published Thomas Eakins: His Life and Works. Though it was incomplete, un-illustrated, and did not include Eakins' photographs, Goodrich's book was the first definitive study of Eakins and the first attempt to catalog his artistic output.[4]
In the 1970s, Gordon Hendricks published two Eakins catalogs. The Photographs of Thomas Eakins (1972; ISBN 0670552615) is a fully illustrated catalog of photographs by Thomas Eakins and his associates. Because Eakins did not keep detailed records of his photographs, nor did he sign, title, or date them, many of the dates and photographers listed in the catalog are educated guesses on Hendricks' part. It is difficult to know who took a particular photograph because Eakins often had his students use it. Hence, the attribution on many of these photographs is "Circle of Eakins" to indicate that a photograph was taken either by Eakins or one of his associates. The Life and Work of Thomas Eakins (1974; ISBN 0670427950) included a checklist of Eakins' works, a number of which had not been included in the 1933 Goodrich catalog.
In the 1980s, Lloyd Goodrich returned to the subject of Thomas Eakins. He began writing a three-volume book, Thomas Eakins. The first two volumes, published in 1982, were biographic in nature. Goodrich was unable to complete the third volume, a Thomas Eakins catalogue raisonné, before he died in 1987. He donated his papers to the Philadelphia Museum of Art, in the hopes that the curators there would finish the catalogue raisonné. This has not happened.
Until 1986, the Charles Bregler collection was effectively unknown to art historians. A few of the works in the Bregler collection were included in the 1933 Goodrich catalog, but after that they effectively disappeared from the scholarly community. A proper inventory became possible only after their 1986 sale to the Pennsylvania Academy of Fine Arts. In 1997, art historian Kathleen Foster published a definitive catalog of the Bregler collection, Thomas Eakins Rediscovered. (ISBN 0300061749)
Paintings, drawings, and sculptures are listed, where possible, by their Goodrich catalog number supplemented with modifications from Goodrich's notes for his never-completed Eakins catalogue raisonné.[5] The Goodrich catalog can be subdivided into three parts:
Works in the Charles Bregler collection at the Pennsylvania Academy of Fine Arts are listed according to their number in Thomas Eakins Rediscovered.
Title | Catalog # | Format | Year | Dimensions (inches) | Note | Collection | Picture |
---|---|---|---|---|---|---|---|
Map of Switzerland | J1 | Pen, ink, and watercolor on paper | circa 1856–1857 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[6][7] | |||
Map of France, Spain, Portugal, and Italy | J2 | Pen, ink, and watercolor on paper | circa 1856–1857 | 16 × 20 | Collection of Mr. and Mrs. Francis Walters[8] | ||
Spanish Scene: Peasant Crossing a Stream | J3 | Pencil and chalk on paper | March 1858 | 10 1/16 × 14 7/16 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[9][10] | ||
Spanish Scene: Peasants and Travellers Among Ruins | J4 | Pencil and ink on paper | 1858 | 11½ × 16 15/16 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[9][11] | ||
Camel and Rider | J5 | Pencil and ink on paper | 1858 | Collection of Mr. and Mrs. Daniel Dietrich II[12] | |||
Perspective of a Lathe | J6 | Pencil and ink on paper | 1860 | 16 5/16 × 22 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[13][14] | ||
Drawing of Gears | J7 | Pen, ink, and pencil on paper | Circa 1860 | 11 7/16 × 16⅞ | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[15][16] | ||
Visiting Card with Landscape | J8 | circa late 1850s | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[17] | ||||
Machinery | J9 | Circa 1860 | |||||
The Icosahedron | J10 | Circa 1860 | Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania[18] | ||||
"Freedom" | J11 | Circa 1860 | An drawing after the Statue of Freedom by Thomas Crawford | Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania[19] | |||
Nude woman, seated, wearing a mask | 1 | Charcoal on paper | circa 1863–1866 | 24¼ × 18⅝ inches | Philadelphia Museum of Art, Philadelphia, Pennsylvania[20] | ||
Nude woman, back turned | 2 | Charcoal on paper | Philadelphia Museum of Art, Philadelphia, Pennsylvania[21] | ||||
Nude boy | 3 | Charcoal on paper | Philadelphia Museum of Art, Philadelphia, Pennsylvania[22] | ||||
Nude man, seated | 4 | Charcoal on paper | Philadelphia Museum of Art, Philadelphia, Pennsylvania[23] | ||||
Nude woman reclining, back turned | 5 | Charcoal on paper | Philadelphia Museum of Art, Philadelphia, Pennsylvania[24] | ||||
Nude woman, reclining, seen from the front | 6 | Charcoal on paper | Philadelphia Museum of Art, Philadelphia, Pennsylvania[25] | ||||
Head, bust and arm of a child | 7 | Charcoal on paper | Philadelphia Museum of Art, Philadelphia, Pennsylvania[26] | ||||
Arm resting on the back of a chair | 8 | Charcoal on paper | Philadelphia Museum of Art, Philadelphia, Pennsylvania[27] | ||||
Nude man with a beard, seated on the floor | 9 | Charcoal on paper | 1869 | On the reverse is the middle section of a nude man. | Philadelphia Museum of Art, Philadelphia, Pennsylvania[28] | ||
Nude man standing | 10 | Charcoal on paper | |||||
Legs of a seated model | 11 | Charcoal on paper | Newark Museum, Newark, New Jersey[29] | ||||
Legs of a standing model | 12 | Charcoal on paper | |||||
Head and bust of an Arab man with a turban | 13 | Charcoal on paper | 1866–1867 | Fine Arts Museums of San Francisco, San Francisco[30] | |||
Torso and arm of a nude man | 14 | Charcoal on paper | |||||
Nude woman reclining on a couch | 15 | Charcoal on paper | 1863–1866 | Fogg Art Museum, Cambridge, Massachusetts[31] | |||
Nude woman reclining, wearing a mask | 16 | Charcoal on paper | |||||
Nude woman standing | 17 | Charcoal on paper | 1876 | ||||
Nude man seated | 18 | Charcoal on paper | Circa 1869 | Double sided with "Head of a warrior". Sold at auction, December 8, 2008, for $50,000[32] | |||
Illustrated letter to his Mother, Nov. 8–9, 1866 | 18A | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[33][34] | |||||
Antique study, female head | 19 | Oil on heavy paper | circa 1867–1869 | Lost[35] | |||
Antique study, male roman head | 20 | Oil on canvas | circa 1867–1869 | Lost[35] | |||
Study of a leg | 21 | Oil on heavy paper | circa 1867–1869 | Joslyn Art Museum, Omaha, Nebraska | |||
Study of a ram's head | 22 | Oil on canvas | circa 1867–1869 | Lost[35] | |||
Study of a girl's head | 23 | Oil on canvas | circa 1868–1869 | Private collection[35] | |||
Study of a girl's head | 24 | Oil on canvas | circa 1867–1874 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[36][37] | |||
Study of a girl's head | 25 | Oil on canvas | circa 1867–1869 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[38] | |||
The Strong Man | 26 | Oil on canvas | circa 1867–1869 | Study | Philadelphia Museum of Art, Philadelphia, Pennsylvania[39] | ||
Bust of a Man (Study of a Nude Man) | 27 | Oil on canvas | circa 1867–1869 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[40] | |||
Study of a student's head | 28 | Oil on canvas mounted on cardboard | circa 1867–1878 | Thought to have been lost.[35] Sold at auction in May 2001 for $46,750[41] | |||
Study of a student's head | 29 | Oil on canvas mounted on cardboard | circa 1867–1879 | Collection of William E. Stokes[42] | |||
A Negress | 30 | Oil on canvas | M. H. de Young Memorial Museum, San Francisco, California[43] | ||||
Scene in a Cathedral | 31 | Oil on canvas | Formerly in the collection of the Hirshhorn Museum and Sculpture Garden, Washington, D.C.. Sold at auction on December 1, 2010 for $18,750.[44] | ||||
Carmelita Requena | 32 | Oil on canvas | 1869 | Metropolitan Museum of Art, New York City, New York[45] | |||
A Street Scene in Seville | 33 | Oil on canvas | 1870 | Collection of Erving and Joyce Wolf[46] | |||
A Spanish Woman (Also known as "Dolores") | 34 | Oil on canvas | |||||
Francis Eakins | 35 | Oil on canvas | Late 1870/Early 1871 | Nelson-Atkins Museum of Art, Kansas City, Missouri[47] | |||
At the Piano | 36 | Oil on canvas | Late 1870/Early 1871 | Blanton Museum of Art, Austin, Texas[48] | |||
Home Scene | 37 | Oil on canvas | Late 1870/Early 1871 | Brooklyn Museum of Art, New York City, New York[49] | |||
Benjamin Eakins | 38 | Watercolor on paper | Circa 1870 | Private collection | |||
Margaret in Skating Costume | 39 | Oil on canvas | 1871 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[50] | |||
Margaret (study) | 40 | Oil on canvas | Circa 1871 | Deaccessioned from Hirshhorn Museum and Sculpture Garden. For auction at Sotheby's NYC, 19 May 2010, Lot 109.[51][52] | |||
Margaret (sketch) | 41 | Oil on canvas | Circa 1871 | Mitchell Museum at Cedarhurst, Mount Vernon, Illinois[53] | |||
Hiawatha | 42 | Watercolor on paper | No longer exists.[54] | ||||
Hiawatha | 43 | Oil on canvas | Study for Hiawatha watercolor. Described erroneously as unfinished.[54] | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[54][55] | |||
Max Schmitt in a Single Scull | 44 | Oil on canvas | 1871 | Metropolitan Museum of Art, New York City, New York[56] | |||
Drawing of the Girard Avenue Bridge | 44A | Drawing | Double sided: reverse side depicts the sketch for an oar. | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[57][58] | |||
Portrait of M.H. Messchert | 44B | Painting | |||||
Katherin (Girl with a cat) | 45 | Oil on canvas | 1872 | Yale University Art Gallery, New Haven, Connecticut[59] | |||
Study for Kathrine | 45A | Drawing | |||||
Elizabeth Crowell and her Dog | 46 | Oil on canvas | Early 1870s | San Diego Museum of Art, San Diego, California[60] | |||
Mrs. James W. Crowell | 47 | Oil on canvas | Early 1870s | ||||
Grouse | 48 | Oil on canvas | 1872 | Mint Museum of Art, Charlotte, North Carolina[61] | |||
The Pair-Oared Shell | 49 | Oil on canvas | 1872 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[62] | |||
Perspective Drawing for The Pair-Oared Shell | 50 | Pencil and ink on paper mounted on cardboard | Philadelphia Museum of Art, Philadelphia, Pennsylvania[63][64] | ||||
Perspective Drawing for The Pair-Oared Shell | 51 | Pencil, ink, and watercolor on paper mounted on cardboard | 1872 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[65] | |||
The Biglin Brothers Turning the Stake | 52 | Oil on canvas | 1873 | Cleveland Museum of Art, Cleveland, Ohio[66] | |||
Perspective Drawing for the Biglin Brothers Turning the Stake | 52A | Drawing | Cleveland Museum of Art, Cleveland, Ohio[67][68] | ||||
Perspective Drawing for the Biglin Brothers Turning the Stake | 53 | Pencil and ink on paper mounted on cardboard | 1873 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[69][70] | |||
The Pair-Oared Race – John and Barney Biglin Turning the Stake | 54 | Watercolor | 1874 | Lost[71] | |||
A Rower | 55 | Watercolor | Given to Jean-Léon Gérôme by Thomas Eakins. "Present location unknown"[5] | ||||
John Biglin (also known as "The Sculler") | 56 | Watercolor | 1874 | 16⅞ × 23 15/16 | Yale University Art Gallery, New Haven, Connecticut[72][73] | ||
John Biglin in a Single Scull | 57 | Watercolor on paper | 1873 or early 1874 | 19 5/16 × 24⅞ | Metropolitan Museum of Art, New York City, New York[74][75] | ||
Perspective Drawing for John Biglin in a Single Scull | 58 | Pencil and ink on paper mounted on cardboard | Circa 1874 | 27⅜ × 45¼ | Museum of Fine Arts, Boston, Boston, Massachusetts[76][77] | ||
John Biglin in a Single Scull | 59 | Oil on canvas | 1873–1874 | 24⅜ × 16 | Yale University Art Gallery, New Haven, Connecticut[78] | ||
John Biglin in a Single Scull | 60 | Watercolor | 1873–1874 | Given to Jean-Léon Gérôme by Thomas Eakins. | |||
The Biglin Brothers Racing | 61 | Oil on canvas | Probably 1873 | National Gallery of Art, Washington, D.C.[79] | |||
Perspective Drawing for the Biglin Brothers Racing | 62 | Pencil and ink on paper mounted on cardboard | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[80][81][82] | ||||
Oarsmen on the Schuylkill | 63 | Oil on canvas | Circa 1873 | Brooklyn Museum of Art, New York City, New York | |||
Oarsman in a Single Scull (also known as "Sketch of Max Schmitt in a Single Scull") | 64 | Oil on canvas | Philadelphia Museum of Art, Philadelphia, Pennsylvania[83] | ||||
Oarsmen | 65 | Oil on canvas | Probably circa 1873 | Portland Art Museum, Portland, Oregon[84] | |||
The Schreiber Brothers | 66 | Oil on canvas | 1874 | Yale University Art Gallery, New Haven, Connecticut[85][86] | |||
Perspective Drawing | 67 | Pencil and ink on paper mounted on cardboard | Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania[87] | ||||
The Artist and His Father Hunting Reed Birds | 68 | Oil on canvas | Circa 1874 | Virginia Museum of Fine Arts, Richmond, Virginia[88] | |||
Perspective Drawing for the Artist and His Father Hunting Reed Birds | 69 | Pencil and ink on paper mounted on cardboard | |||||
Pushing for the Rail | 70 | Oil on canvas | 1874 | Metropolitan Museum of Art, New York City, New York[89] | |||
Whistling for Plover | 71 | Watercolor on paper | 1874 | Brooklyn Museum of Art, New York City, New York[90] | |||
Whistling for Plover | 72 | Oil | |||||
Sketch for Hunting | 73 | Oil on canvas mounted on cardboard | Circa 1874 | Collection of Jamie Wyeth | |||
Studies of Game-Birds (Also known as "Plover") | 74 | Oil on canvas mounted on cardboard | Virginia Museum of Fine Arts, Richmond, Virginia | ||||
Landscape with a Dog | 75 | Oil on canvas | Philadelphia Museum of Art, Philadelphia, Pennsylvania[91] | ||||
Sailboats Racing on the Delaware | 76 | Oil on canvas | 1874 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[92] | |||
Sailing | 77 | Oil on canvas | Circa 1874 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[93] | |||
Starting Out After Rail | 78 | Oil on canvas | 1874 | Museum of Fine Arts, Boston, Boston, Massachusetts[94] | |||
Starting Out After Rail | 79 | Watercolor | 1874 | Wichita Art Museum, Wichita, Kansas[95] | |||
Ships and Sailboats on the Delaware (also known as "Becalmed") | 80 | Oil on canvas | 1874 | Wadsworth Atheneum, Hartford, Connecticut[60] | |||
Study for Ships and Sailboats on the Delaware | 81 | Oil on canvas mounted on cardboard | Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania[96] | ||||
Ships and Sailboats on the Delaware | 82 | Oil on canvas | 1874 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[97] | |||
Drifting | 83 | Watercolor | Circa 1874 | National Gallery of Art, Washington, D.C.[98] | |||
Mrs. Benjamin Eakins | 84 | Oil on canvas | Circa 1874 | Collection of Mr. and Mrs. Daniel Dietrich II[99][100] | |||
Portrait of Professor Benjamin H. Rand | 85 | Oil on canvas | 1874 | Ex Collection: Thomas Jefferson University, Philadelphia, PA; deaccessioned April 2007 (after 130 years in the collection).[101] | Crystal Bridges Museum of American Art, Bentonville, Arkansas | ||
Baseball Players Practicing | 86 | Watercolor on paper | 1875 | Rhode Island School of Design Museum, Providence, Rhode Island[102] | |||
Perspective drawing for Baseball Players practicing | 86A | Drawing | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[103][104][105] | ||||
Elizabeth at the Piano | 87 | Oil on canvas | 1875 | Addison Gallery of American Art, Andover, Massachusetts[60] | |||
The Gross Clinic | 88 | Oil on canvas | 1875 | Philadelphia Museum of Art[106] and the Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania[107] | |||
Sketch for the Gross Clinic | 89 | Oil on canvas | 1875 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[108] | |||
Dr. Gross (Study for "The Gross Clinic) | 90 | Oil on canvas | 1875 | Worcester Art Museum, Worcester, Massachusetts[109] | |||
Black and White version | 91 | India ink on cardboard | 1875 | Drawn after the painting. Was photographed and reproduced as a collotype | Metropolitan Museum of Art, New York City, New York[110] | ||
Drawing of Two Heads | 92 | "India ink on paper, with pen and brush" | 1876 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[111] | |||
Robert C.V. Meyers | 93 | Oil on brown paper | 1875 | Collection of Mr. and Mrs. Daniel Dietrich II[112][113] | |||
The Zither Player | 94 | Watercolor on paper | 1876 | Art Institute of Chicago, Chicago, Illinois[114] | |||
J. Harry Lewis | 95 | Oil on canvas | 1876 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[115] | |||
The Chess Players | 96 | Wood | 1876 | Metropolitan Museum of Art, New York City, New York[116] | |||
Perspective Drawing for the Chess Players | 97 | Pencil and ink on paper | 1875–1876 | Metropolitan Museum of Art, New York City, New York[117] | |||
M. Gardel | 98 | Oil on paper mounted on cardboard | Philadelphia Museum of Art, Philadelphia, Pennsylvania[118] | ||||
Baby at Play | 99 | Oil on canvas | 1876 | National Gallery of Art, Washington, DC.[119] | |||
Studies of a Baby | 100 | Oil on canvas | Double sided. | Duke-Semans Fine Arts Foundation (in the care of the Nasher Museum of Art, Durham, North Carolina) | |||
Dr. John H. Brinton | 101 | Oil on canvas | 1876 | The National Museum of Health and Medicine of the Armed Forces Institute of Pathology, Washington, D.C. On long-term loan to the National Gallery of Art[120] | |||
Mrs. Samuel Hall Williams (Portrait of Abbie Williams) | 102 | Wood | Circa 1876 | Previously in the collection of the Art Institute of Chicago. Sold at auction on September 27, 2011 for $134,500.[121] | |||
Columbus in Prison | 103 | Oil on canvas | Circa 1876 | Kennedy Galleries, New York City, New York | |||
Sketch for the Surrender of General Lee to General Grant at Appomatox | 103A | Oil on canvas | Previously in the collection of the Hirshhorn Museum and Sculpture Garden. Sold at auction, September 27, 2011 for $32,500.[122] | ||||
Sketch for the Surrender of General Lee to General Grant at Appomatox | 103B | Oil on canvas | Museum of Fine Arts, Boston, Boston, Massachusetts[123] | ||||
Will Schuster and Blackman Going Shooting | 104 | Oil on canvas | 1876 | Yale University Art Gallery, New Haven, Connecticut[124] | |||
Perspective Drawing for Will Schuster and Blackman Going Shooting | 104A | Drawing | Collection of Mr. and Mrs. Daniel Dietrich II[125] | ||||
Rail Shooting | 105 | Oil on canvas | "Present whereabouts or existence unknown"[5] | ||||
In Grandmother's Time | 106 | Oil on canvas | 1876 | Smith College Museum of Art, Northampton, Massachusetts[126] | |||
In Grandmother's Time | 106A | Oil on wood | Originally double sided with G106B until the two images were split[5] | ||||
Landscape | 106B | Oil on wood | Originally double sided with G106A until the two images were split[5] | ||||
Archbishop James Frederick Wood | 107 | Oil on canvas | 1877 | St. Charles Borromeo Seminary, Wynnewood, Pennsylvania[127] | |||
Study for the portrait of James Frederick Wood | 108 | Oil on canvas | 1876 | Yale University Art Gallery, New Haven, Connecticut[128] | |||
Scenes in a Cathedral | 108A, 108B, 108C, 108D, 108E, 108F, 108G, 108H, 108I | Drawings | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[129][130] | ||||
William Rush and His Model | 109 | Oil on canvas | 1876–1877 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[131] | |||
Studies for "William Rush" | 109A, 109B, 109C, 109D, 109E, 109F, 109G, 109H, | Drawings | Hirshhorn Museum and Sculpture Garden, Washington, D.C. | ||||
Study for William Rush and His Model | 110 | Oil on cardboard, | circa 1877 | 8¼ × 10½ | Farnsworth Art Museum, Rockland, Maine[132] | ||
Study for William Rush and His Model | 111 | Oil on canvas | 1876 | Yale University Art Gallery, New Haven, Connecticut[133][134] | |||
Interior of Rush's Shop | 112 | Oil on canvas | 1876–1877 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[135] | |||
The Model (Nude: Study for William Rush) | 113 | Oil on canvas | 1876 | Art Institute of Chicago, Chicago, Illinois[136] | |||
Seventy Years Ago | 114 | Watercolor on paper | 1877 | Princeton University Art Museum, Princeton, New Jersey[137] | |||
Sketch for Seventy Years Ago | 115 | Oil on canvas | Seattle Art Museum, Seattle, Washington[138] | ||||
Young Girl Meditating | 116 | Watercolor on paper | 1877 | Metropolitan Museum of Art, New York City, New York[139] | |||
Sketch for Young Girl Meditating | 117 | Oil on canvas | Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania[140] | ||||
Study for Young Girl Meditating | 117A | Oil on canvas | 1877 | Collection of Martin Perez.[141] | |||
In Washington (Lafayette Park, Washington, D.C.) | 118 | Wood | 1877 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[142] | |||
The Courtship | 119 | Oil on canvas | Circa 1878 | M. H. de Young Memorial Museum, San Francisco, California[143] | |||
Sketch for the Courtship | 120 | Oil on canvas | 14 × 17 | Sold at auction in 1983 for $80,000[144] | Gulf States Paper Corporation Collection, Tuscaloosa, Alabama.[145] | ||
The Spinner (sketch) | 121 | Oil on canvas | Circa 1878 | Worcester Art Museum, Worcester, Massachusetts[60] | |||
The Spinner (sketches) | 122 | Wood | Has a sketch of Dr. Andrews on the reverse side. | Private collection.[5] | |||
The Young Man (sketch) | 123 | Oil on canvas | |||||
Anna Williams | 123A | ||||||
Study for Anna Williams | 123B | ||||||
Negro Boy Dancing (also known as "The Dancing Lesson") | 124 | Watercolor on paper | 1878 | Metropolitan Museum of Art, New York City, New York[146] | |||
Drawing for the Negro Boy dancing | 124A | Drawing | 1878 | Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania[147][148] | |||
Study for Negro Boy Dancing | 125 | Oil on canvas | National Gallery of Art, Washington, D.C.[149] | ||||
Study for Negro Boy Dancing | 125A | National Gallery of Art, Washington, D.C.[150] | |||||
Mrs. John H. Brinton | 126 | Oil on canvas | 1878 | Depicts Sarah (Ward) Brinton, wife of John H. Brinton.[151] | Collection of Mrs. Rodolphe Meyer de Schauensee[152] | ||
The Spelling Bee at Angel's | 127 | 1878 | Published in Scribner's Magazine, November 1878 | N/A | |||
Thar's a New Game Down in Frisco | 127A | Oil on canvas | Study for the central standing figure in the Spelling Bee at Angel's. Study for The Spelling Bee at Angel's. | Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania[153] | |||
The Spelling Bee at Angel's | 128 | 1878 | Published in Scribner's Magazine, November 1878 | N/A | |||
Mr. Neelus Peeler's Conditions | 129 | Black ink and Chinese white on paper | 1879 | Published in Scribner's Magazine, June 1879 | Brooklyn Museum of Art, New York City, New York[154] | ||
Perspective drawing for Mr. Neelus Peeler's Conditions | 129A | Drawing | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[155] | ||||
Sketch for Mr. Neelus Peeler's Conditions | 130 | Wood | Double sided. Often incorrectly referred to as "The Timer"[156] | New Britain Museum of American Art, New Britain, Connecticut[157][158] | |||
Four anatomical drawings | 130A, 130B, 130C, 130D | Drawings | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[159][160] | ||||
A Quiet Moment | 131 | Oil on canvas | 1879 | Lost[161] | |||
Sewing | 132 | Oil on wood | circa 1879 | Reverse side contains the sketch of an interior. | New Britain Museum of American Art, New Britain, Connecticut[162] | ||
Study of a Woman Knitting | 132A | Oil | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[163] | ||||
The Fairman Rogers Four-in-Hand | 133 | Oil on canvas | 1879–1880 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[164] | |||
Sketches for the Fairman Rogers Four-in-Hand | 134 | Oil on wood | 1879 | Double sided: one side depicts the coach being driven across the picture; the other side is a study of Mrs. Rogers. | Philadelphia Museum of Art, Philadelphia, Pennsylvania[165][166] | ||
Landscape sketch for the Fairman Rogers Four-in-Hand | 135 | Oil on wood | Originally composed of five or six sketches, which were later split.[167] | Reverse of G135 as it appeared in 1933. |
|||
Study of the Delaware River | 135A | Oil | Originally part of G135 until they were split.[167] | ||||
Study of a Man's Head for Mending the Net | 135B | Oil | Originally part of G135 until they were split.[167] | ||||
Study of a Woman's Head for Mending the Net | 135C | Oil | Originally part of G135 until they were split.[167] | ||||
Landscape sketch for the Fairman Rogers Four-in-Hand | 136 | Oil on wood | Double sided: one side is a study in Fairmount park. The other is a color note. | Philadelphia Museum of Art, Philadelphia, Pennsylvania | |||
Study of Horse for The Fairman Rogers Four-in-Hand | 137 | Oil on wood | 1879 | Originally double sided with 137A until the two images were split[5] Ex collection: Hirshhorn Museum and Sculpture Garden. Sold at auction in the same lot with other Eakins works in 2009 for $119,500[168] | |||
Study of Horses for The Fairman Rogers Four-in-Hand | 137A | Oil on canvas | 1879 | Originally double sided with 137 until the two images were split[5] Ex collection: Hirshhorn Museum and Sculpture Garden. Sold at auction in the same lot with other Eakins works in 2009 for $119,500[168] | |||
Fan | 137B | Sold at auction, January 24, 1994, for $160,000. | |||||
General George Cadwalader | 138 | Oil on canvas | 1880 | Butler Institute of American Art, Youngstown, Ohio[169] | |||
General George Cadwalader | 139 | Oil on canvas | 1880 | Collection of the Mutual Assurance Company of Philadelphia.[170] | |||
Retrospection | 140 | Oil on wood | 1880 | Yale University Art Gallery, New Haven, Connecticut[171] | |||
Retrospection (Watercolor) | 141 | Watercolor on paper | Philadelphia Museum of Art, Philadelphia, Pennsylvania[172] | ||||
Walter MacDowell | 141A | Oil | Private collection[5] | ||||
The Crucifixion | 142 | Oil on canvas | 1880 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[173] | |||
Sketch for the Crucifixion | 143 | Oil on canvas | 1880 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[174][175] | |||
J. Laurie Wallace posing | 143A | Oil | Sold at auction in 1987 for $160,000[176] | Private collection[177] | |||
Spinning | 144 | Watercolor on paper | 1881 | Collection of Mrs. John Randolph Garrett Sr.[178] | |||
Drawing for Spinning | 144A | Drawing | |||||
Sketch for Spinning | 145 | Oil on wood | Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania[179] | ||||
Spinning (also called "Homespun") | 146 | Watercolor on paper | 1881 | Metropolitan Museum of Art, New York City, New York[180] | |||
Sketch for Spinning | 147 | Oil on wood | Double sided – the reverse side also contains a sketch for Spinning | Yale University Art Gallery, New Haven, Connecticut[181] | |||
The Pathetic Song | 148 | Oil on canvas | 1881 | Corcoran Museum of Art, Washington, DC.[60] | |||
Sketch for the Pathetic Song | 149 | Oil on wood | 1881 | Hirshhorn Museum and Sculpture Garden, Washington, DC.[182] | |||
The Pathetic Song | 149A | Watercolor | Metropolitan Museum of Art, New York City, New York[183] | ||||
Rail Shooting | 150 | Drawing | 1881 | Published in Scribner's Magazine, July 1881 | Yale University Art Gallery, New Haven, Connecticut[184] | ||
A Pusher (also known as "Poleman in the Ma'sh) | 151 | Drawing | 1881 | 11 × 5⅞ | National Gallery of Art, Washington, D.C.[185] | ||
Drawing for William Rush Carving The Allegorical Figure Of The Schuylkill | 151A | Drawing | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[186] | ||||
Shad-Fishing at Gloucester on the Delaware River (also called "Taking up the Net") | 152 | Oil on canvas | 1881 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[187] | |||
Shad-Fishing at Gloucester on the Delaware River (also called "Taking up the Net") | 153 | Watercolor on paper | 1881 | Metropolitan Museum of Art, New York City, New York[188] | |||
Shad-Fishing at Gloucester on the Delaware River | 154 | Oil | 1881 | Ball State University Art Museum, Muncie, Indiana[189] | |||
Mending the Net | 155 | Oil on canvas | 1881 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[190] | |||
Drawing for Mending the Net | 155A | Drawing | |||||
A Fisherman | 156 | Oil on cardboard | Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania[191] | ||||
The Tree | 157 | Oil on wood | Originally double sided with G157A until the two images were split.[5] | ||||
Mending the Net: Study of the Tree | 157A | Oil on wood | Originally double sided with G157 until the two images were split.[5] | ||||
Mending the Net | 158 | Watercolor on paper | 1882 | Sold at auction in 1997 for $1,400,000[192] | |||
Drawing the Seine | 159 | Watercolor on paper | 1882 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[193] | |||
Hauling the Seine | 160 | Oil on canvas | 1882 | Princeton University Art Museum, Princeton, New Jersey[194] | |||
"The Meadows, Gloucester, New Jersey" | 161 | Oil on canvas | Circa 1882 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[195] | |||
"Sketch for The Meadows, Gloucester, New Jersey" | 162 | Oil on wood | Originally double sided with G162A until the two images were split.[5] | ||||
Study | 162A | Oil | Originally double sided with G162 until the two images were split.[5] | ||||
In the Country | 163 | Oil on canvas | circa 1882 | 10¼ × 14 | Sold at auction, November 29, 1990.[196] | Private collection[5] | |
Near the Sea (Also known as "Landscape study") | 164 | Oil on canvas | Collection of Mr. and Mrs. Daniel Dietrich II[5] | ||||
Untitled landscape sketch | 165 | Oil on wood | Originally double sided with G165A until the two images were split.[5] | ||||
Study of a horse | 165A | Oil | Originally double sided with G165 until the two images were split.[5] | ||||
Untitled landscape sketch | 166 | Oil on canvas | Philadelphia Museum of Art, Philadelphia, Pennsylvania[197] | ||||
Delaware River Scene | 167 | Oil on canvas | Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania[198] | ||||
Untitled landscape sketch | 168 | Oil on canvas | |||||
Untitled landscape sketch | 169 | Oil on cardboard | Philadelphia Museum of Art, Philadelphia, Pennsylvania[199] | ||||
Untitled landscape sketch | 170 | Oil on paper | Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania[200] | ||||
Untitled landscape sketch | 171 | Oil on paper | |||||
Untitled landscape sketch | 172 | Oil on canvas | Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania[201] | ||||
Untitled landscape sketch | 173 | Oil on canvas | Collection of Mr. and Mrs. Daniel Dietrich II[202] | ||||
Untitled landscape sketch | 174 | Oil on canvas | University at Buffalo, The State University of New York art gallery, Buffalo, New York[5] | ||||
Untitled landscape sketch | 175 | Oil on cardboard | Collection of Mr. and Mrs. Daniel Dietrich II[203] | ||||
Untitled landscape sketch | 176 | Oil on canvas | |||||
Untitled landscape sketch | 177 | Oil on cardboard | |||||
The Brinton House | 177A | Oil | 1878 | Subject is the William Brinton 1704 House in Birmingham Township, Chester County, Pennsylvania, painted for his friend Dr. John Hill Brinton.[204] | |||
Study for Old Man in Taking The Count | 178 | Oil on canvas | circa 1898 | 13¼ × 10 | Sold at auction in 2007 for $78,000[205] | David Dufour. On loan to Mount Holyoke College Art Museum | |
Untitled sketch | 179 | Oil on canvas mounted on cardboard | |||||
Untitled sketch ("Girl in Shade") | 180 | Oil on cardboard | Joslyn Art Museum, Omaha, Nebraska | ||||
Untitled sketch | 181 | Oil on wood | |||||
Boatman | 182 | Oil on wood | Circa 1879 | Double sided: one side is a study for the left leader horse in The Fairman Rogers Four-In-Hand. The reverse side is the Study of a Groom. | Philadelphia Museum of Art, Philadelphia, Pennsylvania[206][207] | ||
Untitled sketch | 183 | Oil on cardboard | Collection of Mr. and Mrs. Daniel Dietrich II[208] | ||||
Untitled sketch | 184 | Oil on heavy paper mounted on cardboard | La Salle University art gallery, Philadelphia, Pennsylvania | ||||
Study of Three Balls of Wool and a Rosebush | 185 | Oil on canvas | Joslyn Art Museum, Omaha, Nebraska | ||||
Two Cylinders and a Ball | 185A | Oil | Joslyn Art Museum, Omaha, Nebraska | ||||
Untitled sketch | 186 | Oil on heavy paper | |||||
Study of a woman seated | 187 | Oil on canvas mounted on cardboard | Put up for auction in 2007 but not sold.[209] | ||||
Street Scene | 187A | Oil | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[210] | ||||
The Writing Master | 188 | Canvas | 1882 | Metropolitan Museum of Art, New York City, New York[211] | |||
Sketch for the Writing Master | 189 | Oil on wood | Double sided – one side is a sketch for The Writing Master. The other side is Sketch of a Man and Study of Drapery | Philadelphia Museum of Art, Philadelphia, Pennsylvania[212][213] | |||
The Swimming Hole | 190 | Oil on canvas | 1884–1885 | Amon Carter Museum, Fort Worth, Texas[214] | |||
Sketch for the Swimming Hole | 191 | Oil on wood | 1884 | Study for the Swimming Hole | Hirshhorn Museum and Sculpture Garden, Washington, DC.[215] | ||
Sketch of the landscape for the Swimming Hole | 192 | Oil on wood | Study for the Swimming Hole | Collection of Mr. I David Orr[216] | |||
Sketches for the Swimming Hole | 193 | Oil on cardboard | "Double-sided, both sides are studies for The Swimming Hole" | Collection of Mr. and Mrs. Daniel Dietrich II[217][218] | |||
Sketches for the Swimming Hole | 194 | Oil on cardboard | "Double-sided, both sides are studies for The Swimming Hole" | Amon Carter Museum, Fort Worth, Texas[219] | |||
Sketch for the Swimming Hole | 195 | Oil on cardboard | "Double-sided, obverse side contains study of the fisherman's hand from Mending the Net" | Collection of Mr. and Mrs. Daniel Dietrich II[220][221] | |||
Arcadia | 196 | Oil on canvas | 1883 | Metropolitan Museum of Art, New York City, New York[222] | |||
Sketch for Arcadia | 197 | Oil on wood | Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania[223][224] | ||||
Youth Playing Pipes | 198 | Oil on wood | Carnegie Museum of Art, Pittsburgh, Pennsylvania[225] | ||||
Boy Reclining | 199 | Oil on wood | Originally double sided with G199A until the two images were split.[5] | Hirshhorn Museum and Sculpture Garden, Washington, DC.[226] | |||
Study of a Horse | 199A | Drawing | Originally double sided with G199 until the two images were split.[5] Ex Collection: Hirshhorn Museum and Sculpture Garden. Sold at auction in the same lot with other Eakins works in 2009 for $119,500[227] | ||||
An Arcadian | 200 | Oil on canvas | Circa 1883 | ||||
Study for An Arcadian | 201 | Oil on wood | Originally double sided with G201A until the two images were split.[5] | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[60] | |||
Studies of a horse | 201A | Drawing | Originally double sided with G201 until the two images were split.[5] Ex Collection: Hirshhorn Museum and Sculpture Garden. Sold at auction in the same lot with other Eakins works in 2009 for $119,500[228] | ||||
Weda Cook and Statue | 201B | Oil | |||||
A Woman's Back: Study | 202 | Oil on wood | 1879 | Collection of Mr. and Mrs. Daniel Dietrich II[229][230] | |||
Female Nude | 203 | Oil on canvas | Probably early 1880s | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[231][232] | |||
Female Nude | 204 | Oil on canvas | Probably early 1880s | Nelson-Atkins Museum of Art, Kansas City, Missouri[233] | |||
Female Nude | 205 | Watercolor on paper | Philadelphia Museum of Art, Philadelphia, Pennsylvania[5] | ||||
Study for female nude | 205A | Oil | Previously in the collection of the Hirshhorn Museum and Sculpture Garden. Sold at auction on September 29, 2010 for $50,000.[234] | ||||
J. Laurie Wallace | 206 | Oil on canvas | Circa 1883 | Joslyn Art Museum, Omaha, Nebraska[235] | |||
Drawing for J. Laurie Wallace | 206A | Drawing | Joslyn Art Museum, Omaha, Nebraska[5] | ||||
Professionals at Rehearsal | 207 | Oil on canvas | Circa 1883 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[236] | |||
Perspective Study Of Boy Viewing an Object | 207A | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[237] | |||||
Perspective drawing of a table | 207B | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[238] | |||||
Perspective drawing of two tables | 207C | ||||||
In the Studio | 208 | Oil on canvas | 1884 | The Hyde Collection, Glens Falls, New York[239] | |||
In the Studio | 209 | Watercolor on paper | Unfinished | Philadelphia Museum of Art, Philadelphia, Pennsylvania[240] | |||
A.B. Frost | 210 | Oil on canvas | Circa 1884 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[241] | |||
Study for A.B. Frost | 210A | Oil on cardboard | Detroit Institute of Arts, Detroit, Michigan[5] | ||||
The Veteran | 211 | Oil on canvas | Circa 1886 | Yale University Art Gallery, New Haven, Connecticut[242] | |||
Mrs. William Shaw Ward | 212 | Oil on canvas | Sold at auction at Sothebys, December 2, 2010, for $242,500[243] | ||||
The Artist's Wife and His Setter Dog | 213 | Oil on canvas | 1885 | Metropolitan Museum of Art, New York City, New York[244] | |||
Professor George F. Barker[245] | 214 | Oil on canvas | 1886 | Originally 3/4-length and 60×40 inches, cut down to head-and-bust and 24×20 inches. | Mitchell Museum at Cedarhurst, Mount Vernon, Illinois[246] | Barker's portrait as it appeared originally. |
|
Sketch for Professor George F. Barker | 215 | Oil on cardboard | 1886 | Doubled sided – one side is a sketch for Professor George F. Barker. The other side depicts seated figures. | Philadelphia Museum of Art, Philadelphia, Pennsylvania[247][248] | ||
Professor William D. Marks | 216 | Oil on canvas | 1886 | Washington University Gallery of Art, St. Louis, Missouri[249] | |||
Professor William D. Marks (unfinished) | 217 | Oil on canvas | circa 1886 | 76 × 54 | Iris & B. Gerald Cantor Center for Visual Arts, Stanford, California | ||
Miss Sophie Brooks | 217A | Oil | |||||
Frank McDowell | 218 | Oil on canvas | Circa 1886 | Sold at auction in 1983 for $80,000[250] | |||
Frank MacDowell (unfinished) | 219 | Oil on canvas | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[251] | ||||
Portrait of Walt Whitman | 220 | Oil on canvas | 1887–1888 | Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania[252] | |||
Sketch for Walt Whitman | 221 | Oil on wood | Probably 1887 | Museum of Fine Arts, Boston, Boston, Massachusetts[253] | |||
Mrs. Letitia Wilson Jordan | 222 | Oil on canvas | 1888 | Brooklyn Museum of Art, New York City, New York[254] | |||
Sketch for Mrs. Letitia Wilson Jordan Bacon | 223 | Oil on cardboard | Philadelphia Museum of Art, Philadelphia, Pennsylvania[255] | ||||
Cowboys in the Badlands | 224 | Oil on canvas | 1888 | Sold for US$5,383,500 at a 22 May 2003 auction at Christie's New York, setting a record for an Eakins painting. | Anschutz collection, Denver, Colorado | ||
Sketches for Cowboys in the Badlands | 225 | Oil on cardboard | Originally part of the same work with G-225A and G-225B.[256] | Albright-Knox Art Gallery, Buffalo, New York[257] | |||
Sketch of a saddle | 225A | Oil on canvas on cardboard | 1887 | Originally part of the same work with G-225 and G-225B.[256] | Philadelphia Museum of Art, Philadelphia, Pennsylvania[258] | ||
Study of a stirrup | 225B | Originally part of the same work with G-225 and G-225A.[256] | |||||
Sketch for Cowboys in the Badlands | 226 | Oil on canvas | Ex Collection: Philadelphia Museum of Art; deaccessioned April 2008, to fund the 2007 purchase of The Gross Clinic. | Denver Art Museum, Denver, Colorado[259][260] | |||
The Bad Lands | 227 | Oil on canvas mounted on cardboard | Philadelphia Museum of Art, Philadelphia, Pennsylvania[261] | ||||
Study for Cowboys in the Badlands | 227A | Oil on canvas | 10⅜ × 13½ | Sold by Sothebys, October 17, 1980[256] | |||
Landscape sketch for Cowboys in the Badlands | 228 | Oil on canvas mounted on cardboard | Originally double sided with G-228A. | Philadelphia Museum of Art, Philadelphia, Pennsylvania[262] | |||
Landscape sketch for Cowboys in the Badlands | 228A | Oil on canvas mounted on cardboard | Originally double sided with G-228. | Philadelphia Museum of Art, Philadelphia, Pennsylvania[263] | |||
Cowboy Riding | 229 | Oil on canvas mounted on cardboard | Ex Collection: Philadelphia Museum of Art; deaccessioned April 2008, to fund the 2007 purchase of The Gross Clinic. | Denver Art Museum, Denver, Colorado[259][260] | |||
Cowboy (sketches) | 230 | Oil on canvas mounted on cardboard | |||||
Cowboy Riding | 230A | Oil on canvas | 10¼ × 14¼ | Sold at auction on June 22, 2003 for $12,000[264] | |||
Cowboy (sketch) | 231 | Oil on canvas mounted on cardboard | |||||
Edward W. Boulton | 232 | Circa 1888 | Damaged in an accident – "The portrait of Boulton (Edward W.) by Eakins was lent to the University Club for an exhibit, and a waiter ran amuck and slashed it up."[265] | ||||
Douglass M. Hall | 233 | Oil on canvas | Circa 1888 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[266] | |||
Girl in a Big Hat (Portrait of Lillian Hammit) | 234 | Oil on canvas | Circa 1888 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[267] | |||
The Agnew Clinic | 235 | Oil on canvas | 1889 | University of Pennsylvania School of Medicine, Philadelphia, Pennsylvania[268] | |||
Drawing of David Hayes Agnew | 235A | ||||||
Sketch for the Agnew Clinic | 236 | Oil on canvas mounted on cardboard | Private collection[5] | ||||
Dr. D. Hayes Agnew: Study | 237 | Oil on canvas | 1889 | Yale University Art Gallery, New Haven, Connecticut[269] | |||
Samuel Murray | 238 | Oil on canvas | 1889 | Mitchell Museum at Cedarhurst, Mount Vernon, Illinois[270] | |||
Dr. Horatio C. Wood | 239 | Oil on canvas | Circa 1889 | Detroit Institute of Arts, Detroit, Michigan[60] | |||
Professor George W. Fetter | 240 | Oil on canvas | 1890 | Rediscovered in 2004 by janitors in the boiler room a Philadelphia school[271] Currently in an undisclosed location | Collection of the School District of Philadelphia, Philadelphia, Pennsylvania | ||
Drawing for Professor George W. Fetter | 241 | Black ink on white tile | |||||
Portrait of Talcott Williams | 242 | Oil on canvas | Circa 1890 | National Portrait Gallery, Washington, D.C.[272] | |||
The Bohemian: Portrait of Franklin Louis Schenk | 243 | Oil on canvas | Circa 1890 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[273] | |||
F.L. Schenk | 244 | Oil on canvas | Circa 1890 | Delaware Art Museum, Wilmington, Delaware | |||
F.L. Schenk | 245 | Oil on cardboard | Circa 1890 | Private collection[5] | |||
The Father of F.L. Schenk | 246 | Oil on canvas | Circa 1890 | Collection of Nelson C. White[274] | |||
Head of a Cowboy | 247 | Oil on canvas | Circa 1890 | Mead Art Museum, Amherst, Massachusetts[275] | |||
Home Ranch | 248 | Oil on canvas | Circa 1890 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[276] | |||
Cowboy Singing | 249 | Watercolor on paper | Circa 1890 | Metropolitan Museum of Art, New York City, New York[277] | |||
Cowboy Singing | 250 | Oil on canvas | Circa 1890 | Ex Collection: Philadelphia Museum of Art; deaccessioned April 2008, to fund the 2007 purchase of The Gross Clinic. | Jointly owned by Anschutz collection and Denver Art Museum, Denver, Colorado[259][260] | ||
Thomas B. Harned | 251 | Oil on canvas | Circa 1890 | 24 x 20 | Collection of Dr. and Mrs. Herbert S. Harned, Jr. On long-term loan to the Ackland Art Museum, Chapel Hill, North Carolina[278] | ||
Dr. Joseph Leidy II (also known as "Portrait of Man with Red Necktie") | 252 | Oil on canvas | 1890 | Newark Museum, Newark, New Jersey[279] | |||
Dr. Joseph Leidy II (unfinished) | 253 | Oil on canvas | |||||
William H. Macdowell | 254 | Oil on canvas | Circa 1890 | Yale University Art Gallery, New Haven, Connecticut[280] | |||
Phidias Studying for the Frieze of the Parthenon | 255 | Oil on wood | Circa 1890 | Originally double sided with G255A until the two images were split.[5] | Collection of the Eakins Press Foundation[281] | ||
Two Nude Youths on Prancing Horses | 255A | Oil on wood | Circa 1890 | Originally double sided with G255 until the two images were split.[5] | |||
The Red Shawl | 256 | Oil on canvas | Circa 1890 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[282] | |||
Francis J. Ziegler (also known as "The Critic") | 257 | Oil on canvas | Circa 1890 | Fogg Art Museum, Cambridge, Massachusetts[283] | |||
The Art Student: Portrait of James Wright | 258 | Oil on canvas | Circa 1890 | Ex collection: Maloogian Collection, Detroit Institute of Arts, Detroit, Michigan | Crystal Bridges Museum of American Art, Bentonville, Arkansas | ||
The Black Fan | 259 | Oil on canvas | Circa 1891 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[284] | |||
William H. Macdowell | 260 | Oil on canvas | Circa 1891 | Taubman Museum of Art, Roanoke, Virginia | |||
William H. Macdowell (study) | 261 | Oil on canvas | Circa 1891 | Randolph-Macon Woman's College Art Gallery, Lynchburg, Virginia[60] | |||
Portrait of William H. MacDowell | 262 | Paper on a stretcher | Unfinished | Baltimore Museum of Art, Baltimore, Maryland | |||
Study for William H. MacDowell | 262A | Oil on canvas | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[285] | ||||
Miss Amelia Van Buren | 263 | Oil on canvas | Circa 1891 | The Phillips Collection, Washington, D.C.[60] | |||
Professor Henry A. Rowland | 264 | Oil on canvas | 1897 | Addison Gallery of American Art, Andover, Massachusetts[60] | |||
Sketch for Professor Henry A. Rowland | 265 | Oil on canvas | Addison Gallery of American Art, Andover, Massachusetts[286] | ||||
The Concert Singer | 266 | Oil on canvas | 1890–1892 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[287] | |||
Sketch for the Concert Singer | 267 | Oil on canvas mounted on wood | Philadelphia Museum of Art, Philadelphia, Pennsylvania[288] | ||||
Study for Weda Cook and Statue | 267A | Oil on canvas | Also known as "The Opera Singer." On the reverse is "Woman on balcony waving white handkerchief." | Blanton Museum of Art, Austin, Texas | |||
Joshua Ballinger Lippincott | 268 | Oil on canvas | 1892 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[289] | |||
Study for Joshua Ballinger Lippincott | 268A | Oil | 1892 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[290] | |||
Miss Blanche Hurlburt | 269 | Oil on canvas | Circa 1892 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[291] | |||
Dr. Jacob M. Da Costa | 270 | Oil on canvas | 1893 | Pennsylvania Hospital[127][292] | |||
Jacob M. Da Costa | 270A | Oil on canvas | Destroyed by Thomas Eakins after DaCosta rejected it.[293] | ||||
Sketch for Dr. Jacob M. Da Costa | 271 | Oil on canvas mounted on cardboard | Philadelphia Museum of Art, Philadelphia, Pennsylvania[294] | ||||
Girl with Puff Sleeves | 272 | Oil on canvas | Previously in the collection of the Hirshhorn Museum and Sculpture Garden. Sold at auction on September 29, 2010 for $18,750[295] | ||||
Frank Hamilton Cushing | 273 | Oil on canvas | Late 1894 or 1895 | Gilcrease Museum, Tulsa, Oklahoma[296] | |||
Sketch for Frank Hamilton Cushing | 274 | Oil on canvas | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[297] | ||||
Mrs. Frank Hamilton Cushing | 275 | Oil on canvas | Circa 1894 or 1895 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[298] | |||
James MacAlister (also known as "Man in the Ned Necktie") | 276 | Oil on canvas mounted on cardboard | ca. 1895 | Sketch. Originally double sided with G276A until the two images were split.[5] | Metropolitan Museum of Art, New York City, New York[299] | ||
Study for William L. MacLean | 276A | Oil on canvas mounted on cardboard | ca. 1895 | Originally double sided with G276 until the two images were split.[5] | |||
Weda Cook | 277 | Oil on canvas | Circa 1895 | Columbus Museum of Art, Columbus, Ohio[300] | |||
The Pianist (Stanley Addicks) | 278 | Oil on canvas | Circa 1895 | Indianapolis Museum of Art, Indianapolis, Indiana[301] | |||
Katherine Maud Cook | 279 | Oil on canvas | 1895 | Yale University Art Gallery, New Haven, Connecticut[302] | |||
Riter Fitzgerald | 280 | Oil on canvas | 1895 | Art Institute of Chicago, Chicago, Illinois[303] | |||
Sketch for Riter Fitzgerald | 281 | Oil on canvas mounted on cardboard | The Huntington Library, San Marino, California[304] | ||||
Sketch for Riter Fitzgerald | 282 | Oil on canvas | |||||
Study for Mrs. Hubbard | 283 | Oil on canvas mounted on cardboard | Circa 1895 | Study for now-destroyed Mrs. Hubbard. Sold at auction in 1999 for $34,500.[305] | Sewell C. Biggs Museum of American Art, Dover, Delaware[306] | ||
John McLure Hamilton | 284 | Oil on canvas | 1895 | Wadsworth Atheneum, Hartford, Connecticut[60] | |||
Sketch for John McLure Hamilton | 285 | Oil on canvas mounted on cardboard | 14⅝ × 10⅝ | Georgia Museum of Art, Athens, Georgia | |||
Mrs. Charles L. Leonard | 286 | Oil on cardboard | 1895 | Put up for auction in 2009 but not sold.[307] | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[307] | ||
Miss Gertrude Murray | 287 | Oil on canvas | 1895 | Dallas Museum of Art, Dallas, Texas[60] | |||
Charles Linford | 288 | Oil on canvas | Circa 1895 | Previously in the IBM collection. Sold at auction in 1995 for $80,000[308] | |||
Captain Joseph Lapsley Wilson | 289 | Oil on canvas | Circa 1895 | 30 × 22 | Collection of the First Troop Philadelphia City Cavalry | ||
Sketch for Captain Joseph Lapsley Wilson | 290 | Oil on canvas mounted on cardboard | 7¾ × 5¼ | Sold at auction in 1983 for $9000[309] | |||
The Cello Player | 291 | Oil on canvas | 1896 | Ex collection: Pennsylvania Academy of the Fine Arts, Philadelphia, PA; deaccessioned 2007, to fund 2007 purchase of The Gross Clinic. | |||
Sketch for the Cello Player | 292 | Oil on canvas | 1896 | Heckscher Museum of Art, Huntington, New York[310] | |||
Mrs. James Mapes Dodge | 293 | Oil on canvas | 1896 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[311] | |||
Harrison S. Morris | 294 | Oil on canvas | 1896 | Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania[312] | |||
Sketch for Harrison S. Morris | 295 | Oil on canvas mounted on cardboard | Newark Museum, Newark, New Jersey[313] | ||||
Professor William Woosley Johnson | 295A | Oil on canvas | Circa 1896 | M. H. de Young Memorial Museum, San Francisco, California[314] | |||
Dr. Charles Lester Leonard | 296 | Oil on canvas | 1897 | Collection of the University of Pennsylvania School of Medicine, Philadelphia, Pennsylvania | |||
Jennie Dean Kershaw (Mrs. Samuel Murray) | 297 | Oil on canvas | Circa 1897 | Sheldon Museum of Art, Lincoln, Nebraska[315] | |||
Mrs. Samuel Murray (unfinished) | 298 | Oil on canvas | Baltimore Museum of Art, Baltimore, Maryland | ||||
Miss Lucy Lewis | 299 | Oil on canvas | circa 1897 | Philadelphia Museum of Art, Philadelphia, Pennsylvania [316] | |||
Miss Anna Lewis | 300 | Oil on canvas | Circa 1898 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[317] | |||
William H. MacDowell with a Hat | 301 | Oil on canvas | Circa 1898 | Taubman Museum of Art, Roanoke, Virginia | |||
General E. Burd Grubb | 302 | Oil on canvas | Probably 1898 | Yale University Art Gallery, New Haven, Connecticut[318] | |||
Taking the Count | 303 | Oil on canvas | 1898 | Yale University Art Gallery, New Haven, Connecticut[319] | |||
Sketch for Taking the Count | 304 | Oil on canvas mounted on cardboard | 1898 | Yale University Art Gallery, New Haven, Connecticut[320] | |||
Sketch for Taking the Count | 305 | Oil on canvas | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[321] | ||||
The Referee, H. Walter Schlichter | 306 | Oil on canvas | 1898 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[322] | |||
Maybelle | 307 | Oil on canvas | 1898 | Frye Art Museum, Seattle, Washington[323] | |||
Sketch for Maybelle | 308 | Oil on canvas mounted on cardboard | |||||
John N. Fort | 309 | Oil on canvas | 1898 | Williams College Museum of Art, Williamstown, Massachusetts[324] | |||
Salutat | 310 | Oil on canvas | 1898 | Addison Gallery of American Art, Phillips Academy[60] | |||
Study for Salutat | 311 | Oil on canvas | 1898 | Carnegie Museum of Art, Pittsburgh, Pennsylvania[325] | |||
Between Rounds | 312 | Oil on canvas | 1898–1899 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[326] | |||
Sketch for Between Rounds | 313 | Oil on cardboard | Double sided – one side is a study for Between Rounds. The other side is a landscape sketch. | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[327] | |||
Billy Smith (sketch) | 314 | Oil on canvas | circa 1898 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[328] | |||
Billy Smith (study) | 315 | Oil on canvas | 1898 | Wichita Art Museum, Wichita, Kansas[329] | |||
The Timer | 316 | Oil on canvas | 1898 | New Britain Museum of American Art, New Britain, Connecticut[60] | |||
Wrestlers | 317 | Oil on canvas | 1899 | Los Angeles County Museum of Art, Los Angeles County, California[330] | |||
Study for Wrestlers | 318 | Oil on canvas | Los Angeles County Museum of Art, Los Angeles County, California[331] | ||||
Wrestlers (unfinished) | 319 | Oil on canvas | 1899 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[332] | |||
The Fairman Rogers Four-in-Hand (black & white) | 320 | Oil on canvas | 1899 | Black & white version of 1879–80 original. Painted as an illustration for Fairman Rogers, A Manual of Coaching (Philadelphia, 1900). | St. Louis Art Museum, St. Louis, Missouri[333] | ||
T. Ellwood Potts | 321 | 1890–1900 | |||||
Mrs. T Ellwood Potts | 322 | Circa 1890–1900 | |||||
Addie: A Woman in Black (Portrait of Miss Mary Adeline Williams) | 323 | Oil on canvas | Circa 1899 | In his book Eakins Revealed pp. 369–371, Henry Adams claims Eakins' friend Mary Adeline Williams was the nude model for #451 William Rush and his Model in the collection of the Honolulu Academy of Arts, Honolulu, Hawaii, and related studies #'s 445,446, 447,452,453 and 454. | Art Institute of Chicago, Chicago, Illinois[334] | ||
Benjamin Eakins | 324 | Oil on canvas | Circa 1899 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[335] | |||
Mrs. Thomas Eakins | 325 | Oil on canvas | Circa 1899 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[336] | |||
Mrs. William H. Green | 326 | Oil on canvas | 1899 | Previously in the collection of the Hirshhorn Museum and Sculpture Garden. Sold at auction on September 29, 2010 for $31,250.[337] | |||
The Dean's Roll Call | 327 | Oil on canvas | 1899 | Museum of Fine Arts, Boston, Boston, Massachusetts[338] | |||
Louis Husson | 328 | Oil on canvas | 1899 | National Gallery of Art, Washington, D.C.[339] | |||
David Wilson Jordan | 329 | Oil on canvas | 1899 | The Huntington Library, San Marino, California[340] | |||
Study for David Wilson Jordan | 329A | Oil | |||||
William Merritt Chase | 330 | Oil on canvas | Circa 1899 | Hirshhorn Museum and Sculpture Garden, Washington, DC.[341][342] | |||
The Thinker: Portrait of Louis N. Kenton | 331 | Oil on canvas | 1900 | Metropolitan Museum of Art, New York City, New York[343] | |||
Sketch for The Thinker | 332 | Oil on cardboard mounted on wood | Originally double sided with 365A until the two images were split.[5] | Farnsworth Art Museum, Rockland, Maine[344] | |||
Addie (also known as "Portrait of Mary Adeline Williams") | 333 | Oil on canvas | 1900 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[345] | |||
Mrs. Mary Arthur | 334 | Oil on canvas | 1900 | Metropolitan Museum of Art, New York City, New York[346] | |||
Robert M. Lindsay | 335 | Oil on canvas | 1900 | Detroit Institute of Arts, Detroit, Michigan[347] | |||
Sketch for Robert M. Lindsay | 336 | Oil on wood | Detroit Institute of Arts, Detroit, Michigan[348] | ||||
Frank Jay St. John | 337 | Oil on canvas | 1900 | M. H. de Young Memorial Museum, San Francisco, California[349] | |||
Antiquated Music: Portrait of Sarah Sagehorn Frishmuth | 338 | Oil on canvas | 1900 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[350] | |||
Mrs. Joseph H. Drexel | 339 | Oil on canvas unstretched | 1900 | Previously in the collection of the Hirshhorn Museum and Sculpture Garden. Sold at auction May 18, 2011 for $68,500.[351] | |||
Sketch for Mrs. Joseph H. Drexel | 340 | Oil on cardboard | Circa 1900 | ||||
Dr. Daniel Garrison Brinton | 340A | Oil | Collection of the American Philosophical Society.[352] | ||||
Clara J. Mather | 341 | Oil on canvas | Circa 1900 | Musée d'Orsay, Paris, France[353] | |||
A Woman in Black (Portrait of Clara J. Mather) | 342 | Oil on wood | |||||
Elizabeth R. Coffin | 343 | Oil on canvas | Circa 1900 | Coffin School collection, Egan Institute of Maritime Studies, Nantucket, Massachusetts[354] | |||
Dr. Edward J. Nolan | 344 | Oil on canvas | Circa 1900 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[355] | |||
Henry O. Tanner | 345 | Oil on canvas | Circa 1900 | The Hyde Collection, Glens Falls, New York[60] | |||
Honorable John A. Thorton | 346 | Oil on canvas | Schwarz Gallery, Philadelphia, Pennsylvania | ||||
Monsignor James P. Turner | 347 | Oil on canvas | circa 1900 | St. Charles Borromeo Seminary, Wynnewood, Pennsylvania[127] | |||
Portrait of Leslie W. Miller | 348 | Oil on canvas | 1901 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[356] | |||
Sketch for Professor Leslie W. Miller | 349 | Oil on cardboard | circa 1892–1894 | Double sided: one side depicts Leslie W. Miller. The reverse depicts Thomas Eakins' dog, Harry. | Philadelphia Museum of Art, Philadelphia, Pennsylvania[357][358] | ||
Signature for 'Leslie W. Miller' | 349A | Drawing | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[359] | ||||
Mrs. Leslie W. Miller | 350 | Oil on canvas | 1901 | ||||
Mrs. Elizabeth Duane Gillespie | 351 | Oil on canvas | 1901 | Collection of the Women's Committee of the Philadelphia Museum of Art[360] | |||
Sketch for Mrs. Elizabeth Duane Gillespie | 352 | Oil on canvas | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[361] | ||||
George Morris | 353 | Oil on canvas | 1901 | ||||
Reverend Philip R. McDevitt | 354 | Oil on canvas | 1901 | Snite Museum of Art, Notre Dame, Indiana[362] | |||
Charles F. Haseltine | 355 | Oil on canvas | Circa 1901 | Montclair Art Museum, Montclair, New Jersey[60] | |||
Elbridge Ayer Burbank | 356 | Circa 1901 | |||||
Alfred F. Watch | 357 | Circa 1901 | |||||
Self-Portrait | 358 | Oil on canvas | 1902 | National Academy of Design, New York City, New York[60] | |||
Self-portrait | 358A | Oil on canvas | Circa 1902 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[60][363] | |||
Colonel Alfred Reynolds | 359 | Oil on canvas | 1902 | Taubman Museum of Art, Roanoke, Virginia[364] | |||
Signora Gomez D'Arza | 360 | Oil on canvas | 1902 | Metropolitan Museum of Art, New York City, New York[365] | |||
His Eminence Sebastiano Cardinal Martinelli | 361 | Oil on canvas | 1901–02 | Hammer Museum, Los Angeles[60] | |||
Perspective drawing for his Eminence Sebastiano Cardinal Martinelli | 361A | Drawing | Joslyn Art Museum, Omaha, Nebraska[5] | ||||
Perspective drawing for his Eminence Sebastiano Cardinal Martinelli | 361B | Drawing | Joslyn Art Museum, Omaha, Nebraska[5] | ||||
Very Reverend John J. Fedigan | 362 | Oil on canvas | 1902 | In the collection of the Augstinian Province of St. Thomas of Villanova.[366] On permanent loan to Villanova University, Villanova, Pennsylvania[367] | |||
Sketch for the Very Reverend John J. Fedigan | 363 | Oil on canvas | Previously in the collection of the Hirshhorn Museum and Sculpture Garden. Sold at auction, September 27, 2011 for $10,625.[368] | ||||
The Translator | 364 | Oil on canvas | 1902 | St. Charles Borromeo Seminary, Wynnewood, Pennsylvania | |||
Monsignor James F. Loughlin | 365 | Oil on canvas | 1902 | St. Charles Borromeo Seminary, Wynnewood, Pennsylvania[127] | |||
Study for Monsignor James F. Loughlin | 365A | Oil on cardboard mounted on wood | Originally double sided with 332 until the two images were split.[5][5] Sold at auction for $15,000 in 2005.[369] | ||||
John Seely Hart | 366 | Oil on canvas | 1902 | Rediscovered in 2004 by janitors in the boiler room a Philadelphia school[271] Currently in an undisclosed location. | Collection of the School District of Philadelphia, Philadelphia, Pennsylvania | ||
Charles E. Dana | 367 | Oil on canvas | Circa 1902 | Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania[370] | |||
The Young Man (Kern Dodge) | 368 | Oil on canvas | Circa 1902 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[371] | |||
Miss Mary Perkins (unfinished) | 369 | Oil on canvas | Circa 1902 | ||||
Girl with a Fan | 370 | Oil on canvas | Circa 1902 | Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania[372] | |||
Adam S. Bare | 371 | Oil on canvas | 1903 | ||||
Walter Copeland Bryant | 372 | Oil on canvas | 1903 | Collection of the Brockton public library, Brockton, Massachusetts | |||
Dr. Matthew H. Cryer | 373 | Oil on canvas | 1903 | Private collection | |||
Archbishop William Henry Elder | 374 | Oil on canvas | 1903 | 66 3/16 × 45 3/16 | Cincinnati Art Museum, Cincinnati, Ohio[373] | ||
Mother Patricia Waldron | 375 | Sketch. Oil on canvas mounted on cardboard | 1903 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[374] | |||
Bishop Edmond F. Prendergast | 376 | Oil on canvas | Lost, possibly destroyed: "Murray told Eakins biographer Lloyd Goodrich that he had it 'from a reliable source' that the painting, which Murray considered 'superb' was somehow disposed of."[375] | ||||
James A. Flaherty | 377 | Oil on canvas | 1903 | St. Charles Borromeo Seminary, Wynnewood, Pennsylvania[127] | |||
William B. Kurtz | 378 | Oil on canvas | 1903 | Collection of Mr. and Mrs. Daniel W. Dietrich II[376][377] | |||
Miss Alice Kurtz | 379 | Oil on canvas | 1903 | Fogg Art Museum, Cambridge, Massachusetts[378] | |||
Mrs. Mary Hallock Greenewalt | 380 | Oil on canvas | 1903 | Wichita Art Museum, Wichita, Kansas[379] | |||
Dr. Frank Lindsay Greenewalt | 381 | Oil on canvas | 1903 | Private collection, Delaware | |||
Dr. Frank Lindsay Greenewalt | 381A | Oil | |||||
Mrs. Anna A. Kershaw | 382 | Oil on canvas | 1903 | Sheldon Museum of Art, Lincoln, Nebraska | |||
Ruth (Portrait of Ruth Harding) | 383 | Oil on canvas | 1903 | White House Art Collection, Washington, D.C. | |||
An Actress: Portrait of Suzanne Santje | 384 | Oil on canvas | 1903 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[380] | |||
Sketch for an Actress | 385 | Oil on canvas mounted on cardboard | Formerly in the collection of the Hirshhorn Museum and Sculpture Garden, Washington, D.C.. Sold at auction on December 1, 2010 for $100,900.[381] | ||||
Miss Betty Reynolds | 386 | Oil on canvas | Circa 1903 | Hirshhorn Museum and Sculpture Garden, Washington, D.C. | |||
The Oboe Player | 387 | Oil on canvas | 1903 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[382] | |||
Rear-Admiral Charles D. Sigsbee | 388 | Oil on canvas | 1903 | Sold at auction in 2008 for $1,945,000[383] | |||
Mrs. M.S. Stokes | 389 | Oil on canvas | 1903 | Arkell Museum, Canajoharie, New York[384] | |||
Mrs. Richard Day | 390 | Oil on canvas | Circa 1903 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[385] | |||
Mother (Portrait of Annie Williams Gandy) | 391 | Oil on canvas | Circa 1903 | Donated to the Smithsonian by Annie Gandy's daughters, Lucy Rodman and Helen Gandy. | Smithsonian American Art Museum[386] | ||
Mrs. Helen MacKnight (also known as "The Lady in Grey" and "Portrait of a Mother") | 392 | Oil on canvas | Circa 1903 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[387] | |||
Francesco Romano | 393 | Circa 1903 | Sold at auction in 1994 for $80,000[388] | ||||
Robert C. Ogden | 394 | Oil on canvas | 1904 | Deaccessioned from Hirshhorn Museum and Sculpture Garden. Auctioned at Christie's New York, 20 May 2009, Sale #2171, Lot 128, sold for $338,500.[389][390] | |||
Study for Robert C. Ogden | 394A | Oil | Deaccessioned from Hirshhorn Museum and Sculpture Garden. Auctioned at Christie's New York, 3 March 2011, Sale #2419, Lot 107, sold for $32,500.[391] | ||||
J. Carroll Beckwith | 395 | Oil on canvas | 1904 | San Diego Museum of Art, San Diego, California[60] | |||
Charles Percival Buck | 396 | Oil on canvas | 1904 | Princeton University Art Museum, Princeton, New Jersey[392] | |||
Mrs. James G. Carville (Portrait of Harriet Husson Carville) | 397 | Oil on canvas | 1904 | National Gallery of Art, Washington, D.C.[393] | |||
Mrs. Kern Dodge | 398 | Oil on canvas | 1904 | ||||
Mrs. Kern Dodge | 399 | Oil on canvas | |||||
Miss Beatrice Fenton (also known as "The Coral Necklace") | 400 | Oil on canvas | 1904 | Butler Institute of American Art, Youngstown, Ohio[169] | |||
William R. Hallowell | 401 | Oil on canvas | 1904 | ||||
Music | 402 | Oil on canvas | 1904 | Albright-Knox Art Gallery, Buffalo, New York[394] | |||
Sketch for Music | 403 | Oil on canvas mounted on cardboard | Philadelphia Museum of Art, Philadelphia, Pennsylvania[395] | ||||
The Violinist | 404 | Oil on canvas | 1904 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[396] | |||
Samuel Myers | 405 | Oil on canvas | 1904 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[397] | |||
Frank B.A. Linton | 406 | Oil on canvas | 1904 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[398] | |||
Mrs. Edith Mahon | 407 | Oil on canvas | 1904 | Smith College Museum of Art, Northampton, Massachusetts[399] | |||
Rear-Admiral George W. Melville | 408 | Oil on canvas | 1904 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[400] | |||
William Murray | 409 | Oil on canvas | Circa 1904 | ||||
Mrs. Matilda Searight | 410 | Oil on canvas | 1904 | La Salle University art gallery, Philadelphia, Pennsylvania | |||
Edward Taylor Snow | 411 | Oil on canvas | 1904 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[401] | |||
B.J. Blommers | 412 | 1904 | Toledo Museum of Art, Toledo, Ohio[60] | ||||
Mrs. B.J. Blommers | 413 | 1904 | |||||
Charles P. Gruppe | 414 | Oil on canvas | 1904 | 22" × 18" | David Dufour, New York | ||
A. Bryan Wall | 414A | Oil | Bowdoin College Museum of Art, Brunswick, Maine[402] | ||||
Joseph R. Woodwell | 415 | Oil on canvas | 1904 | Carnegie Museum of Art, Pittsburgh, Pennsylvania[403] | |||
William H. MacDowell | 416 | Oil on canvas | Circa 1904 | Memorial Art Gallery, University of Rochester, New York[404] | |||
Walter MacDowell | 417 | Oil on canvas | Circa 1904 | Taubman Museum of Art, Roanoke, Virginia[364] | |||
William H. Lippincott | 418 | Late 1904 or early 1905 | |||||
Edward W. Redfield | 419 | Oil on canvas | 1905 | National Academy of Design, New York City, New York | |||
Rear-Admiral George W. Melville | 420 | Oil on canvas | 1905 | National Gallery of Art, Washington, D.C.[405] | |||
Mrs. George Morris | 421 | Oil on canvas | 1905 | ||||
Professor William Smith Forbes | 422 | Oil on canvas | 1905 | Thomas Jefferson University, Philadelphia, Pennsylvania[406] | |||
Charles L. Fussell | 423 | Oil on canvas | Circa 1905 | Montclair Art Museum, Montclair, New Jersey[407] | |||
Study for Charles L. Fussell | 423A | Oil | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[5] | ||||
Miss Florence Einstein | 424 | Oil on canvas | 1905 | Currier Museum of Art, Manchester, New Hampshire[408] | |||
Monsignor Diomede Falconio | 425 | Oil on canvas | 1905 | National Gallery of Art, Washington, D.C.[409] | |||
John B. Gest | 426 | Oil on canvas | 1905 | Museum of Fine Arts, Houston, Houston, Texas[410] | |||
Asbury.W. Lee | 427 | Oil on canvas | 1905 | Reynolda House Museum of American Art, Winston-Salem, North Carolina[411] | |||
Miss Elizabeth L. Burton | 428 | Oil on canvas | Circa 1905 | Minneapolis Institute of Arts, Minneapolis, Minnesota[60] | |||
Dr. Thomas H. Fenton | 429 | Oil on canvas | Circa 1905 | Delaware Art Museum, Wilmington, Delaware | |||
Mrs. Louis Husson (Annie C. Lochrey) | 430 | Oil on canvas | Circa 1905 | National Gallery of Art, Washington, D.C.[412] | |||
Maurice Feeley | 431 | Oil on canvas | Circa 1905 | Formerly in the collection of the Hirshhorn Museum and Sculpture Garden, Washington, D.C.. Sold at auction on March 3, 2011 for $27,500[413] | |||
Genjiro Yeto | 432 | 1906 | |||||
A Singer: Portrait of Mrs. W.H. Bowden | 433 | Oil on canvas | 1906 | Princeton University Art Museum, Princeton, New Jersey[414] | |||
A Singer: Portrait of Mrs. Leigo | 434 | Oil on canvas | Circa 1906 | Berry-Hill Galleries, New York City, New York | |||
Richard Wood | 435 | Oil on canvas | 1906 | ||||
Master Alfred Douty | 436 | Oil on canvas | 1906 | Santa Barbara Museum of Art, Santa Barbara, California[415] | |||
A Little Girl | 437 | Oil on canvas | Circa 1906 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[416] | |||
Monsignor James P. Turner | 438 | Oil on canvas | Circa 1906 | Nelson-Atkins Museum of Art, Kansas City, Missouri[417] | |||
Sketches | 439 | Oil on cardboard | Double sided: one side is a sketch for Monsignor James P. Turner. The reverse is a sketch for William Rush and His Model | Philadelphia Museum of Art, Philadelphia, Pennsylvania[418][419] | |||
Thomas J. Eagan | 440 | Oil on canvas | 1907 | Terra Museum, Chicago, Illinois[420] | |||
Dr. Albert C. Getchell | 441 | Oil on canvas | 1907 | North Carolina Museum of Art, Raleigh, North Carolina[60] | |||
Dr. William Thomson | 442 | Oil on canvas | 1907 | Mütter Museum, College of Physicians of Philadelphia, Philadelphia, Pennsylvania | |||
Dr. William Thomson (unfinished) | 443 | Oil on canvas | National Gallery of Art, Washington, D.C.[421][422] | ||||
Major Manuel Waldteufel | 444 | Oil on canvas | 1907 | Ex Collection: French Benevolent Society of Philadelphia, Philadelphia, Pennsylvania.[423] Deaccessioned 2003 | Hirschl and Adler Galleries, New York | ||
William Rush and His Model | 445 | Oil on canvas | 1908 | Brooklyn Museum of Art, New York City, New York[424] | |||
Sketch for William Rush and His Model | 446 | Oil on wood | 1908 | 8¾ × 10 | |||
Sketch for William Rush and His Model | 447 | Oil on wood | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[425] | ||||
Studies of Rush | 448 | Oil on wood | Originally a collage with 448A and 448B until the images were split.[5] | ||||
Study of Rush | 448A | Oil on wood | Originally a collage with 448 and 448B until the images were split.[5] | ||||
Study of Rush | 448B | Oil on wood | Originally a collage with 448 and 448A until the images were split.[5] | ||||
Study of Rush | 449 | Oil on canvas | Sold at auction in November 2009[426] | ||||
Study of the Negress (The Chaperone) | 450 | Oil on canvas | Circa 1908 | National Gallery of Art, Washington, DC[427] | |||
William Rush and His Model | 451 | Oil on canvas | 1907–1908 | In his book Eakins Revealed pp. 369–371, Henry Adams claims Eakins' friend #323, Miss Mary Adeline Williams was the nude model for William Rush and his Model in the collection of the Honolulu Academy of Arts, Honolulu, Hawaii, and related studies #'s 445,446, 447,452,453 and 454. | Honolulu Academy of Arts, Honolulu, Hawaii[428] | ||
The Model | 452 | Oil on canvas | Auctioned at Sotheby's New York, 22 May 2008, sold for US$1,273,000.[429] | ||||
William Rush and His Model | 453 | Oil on canvas | 1908 | Smithsonian American Art Museum, Washington, D.C.[430] | |||
Study for "William Rush's Model" | 454 | Oil on canvas | Circa 1908 | Deaccessioned from Hirshhorn Museum and Sculpture Garden. Auctioned at Christie's New York, 20 May 2009, Sale #2171, Lot 72, sold for $122,500.[431] | |||
Miss Eleanor S.F. Pue | 455 | Oil on canvas | 1907 | Virginia Museum of Fine Arts, Richmond, Virginia[60] | |||
Miss Rebecca MacDowell | 456 | Oil on canvas | Circa 1908 | ||||
The Old-Fashioned Dress: Portrait of Miss Helen Parker | 457 | Oil on canvas | Circa 1908 | Philadelphia Museum of Art, Philadelphia, Pennsylvania[432] | |||
Sketch for the Old-Fashioned Dress | 458 | Oil on cardboard | Collection of Mr. and Mrs. Daniel Dietrich II[433] | ||||
Study for the Old-Fashioned Dress | 459 | Oil on canvas | 1908 | Collection of Mr. and Mrs. Daniel Dietrich II[434][435] | |||
Mrs. Lucy Langdon W. Wilson | 460 | Oil on canvas | 1908 | Sold at auction in 1998 for $65,000[436] | |||
Mrs. Lucy Langdon W. Wilson | 461 | Oil on canvas | Early 1909 | ||||
Dr. William P. Wilson | 462 | Oil on canvas | 1909 | ||||
Dr. Henry Beates Jr. | 463 | Oil on canvas | 1909 | ||||
Henry Beates | 464 | Oil on canvas | Circa 1909 | ||||
Edward A. Schmidt | 465 | Oil on canvas | Circa 1909 | ||||
Reverend Cornelius J. O'Neill | 466 | Oil on canvas | Circa 1909 | ||||
John J. Borie | 467 | Oil on canvas | Hood Museum of Art, Hanover, New Hampshire[437] | ||||
Mrs. Nicholas Douty | 468 | Oil on canvas | 1910 | Cummer Gallery of Art, Jacksonville, Florida[60] | |||
Dr. Gilbert Lafayette Parker | 469 | Oil on canvas | 1910 | Sold at auction in 1986 for $125,000[438] | |||
Mrs. Gilbert Parker | 470 | Oil on canvas | 1910 | Museum of Fine Arts, Boston, Boston, Massachusetts[439] | |||
Gilbert Sunderland Parker | 471 | Oil on canvas | 1910 | ||||
Ernest Lee Parker | 472 | Oil on canvas | 1910 | Ex-collection of the Westmoreland Museum of American Art. Sold in 2002 for $101,575[440] | |||
President Rutherford B. Hayes | 473 | Oil on canvas | 1912 or 1913 | Philipse Manor Hall, Yonkers, New York | |||
Dr. Edward Anthony Spitzka | 474 | Oil on canvas | Circa 1913 | Eakins' last painting. This originally showed a full length Dr. Spitzka holding the cast of a brain. Sometime after it was cataloged in the 1933 Goodrich catalog (measuring 84×43½ inches), someone cut away the rest of the painting, leaving only the head and bust (30½×25? inches).[441] | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[442] | ||
President Rutherford B. Hayes | 475 | 1877 | "Probably no longer in existence" | ||||
James L. Wood | 476 | Circa 1890 | "Probably no longer in existence" | ||||
William Rudolf O'Donovan | 477 | 1891 or early 1892 | "Probably no longer in existence" | ||||
Miss Emily Sartain | 478 | Sometime in the 1890s | Thought to have been lost ("Probably no longer in existence".) Later rediscovered. Passed on through the Sartain family to the Babcock Galleries, and was sold to Rita and Daniel Fraad in 1957. Sold at auction in 2004 for $198,400.[443] | ||||
Miss Emily Sartain | 479 | Sometime in the 1890s | "Probably no longer in existence" | ||||
Dr. Hugh A. Clarke | 480 | Circa 1893 | "Probably no longer in existence" | ||||
James MacAlister | 481 | Circa 1893 | "Probably no longer in existence" | ||||
Circus People | 482 | Before 1876 | Sketch. "Probably no longer in existence" | ||||
Stewart Culin | 483 | Circa 1899 | "Probably no longer in existence" | ||||
Dr. George B. Wood | 484 | Circa 1900 | "Probably no longer in existence" | ||||
Dr. Patrick J. Garvey | 485 | Oil on canvas | 1902 | Thought to have been destroyed, rediscovered in 1959 | St. Charles Borromeo Seminary, Wynnewood, Pennsylvania[127] | ||
Right Reverend Denis J. Dougherty | 486 | 1903 | Private Collection[444] | ||||
Mother Patricia Waldron | 487 | 1903 | "Probably no longer in existence" – loaned by the Sisters of Mercy to William Antrim, who had been commissioned to paint a new portrait of Waldron. Antrim stored the portrait in the attic of his studio. The portrait was lost when the building was demolished.[445] | ||||
Mrs. Margaret Jane Gish | 488 | Circa 1903 | "Probably no longer in existence" | ||||
Robert C. Ogden | 489 | "Probably no longer in existence" | |||||
Dr. J. William White | 490 | 1904 | "Probably no longer in existence" | ||||
Adolphie Borie | 491 | Circa 1910 | "Probably no longer in existence" | ||||
Mrs. Charles Lester Leonard | 492 | 1895 | No longer in existence | ||||
Mrs. Hubbard | 493 | Circa 1895 | No longer in existence | ||||
Mrs. McKeever | 494 | 1898 | No longer in existence | ||||
Bishop Edmond F. Prendergast | 495 | Oil on canvas | Circa 1903 | No longer in existence | |||
Frank W. Stokes | 496 | 1903 | No longer in existence | ||||
Edward S. Buckley | 497 | 1906 | No longer in existence. According to Buckley's daughter: "It was so unsatisfactory that we destroyed it, not wishing his descendants to think of their grandfather as resembling the portrait."[446] | ||||
Studies for William Rush and His Model | 498 | Sculpture, pigmented wax | 1876–1877 | Five studies | Philadelphia Museum of Art, Philadelphia, Pennsylvania [447] | ||
The Mare 'Josephine' | 499 | Sculpture, bronze | 1878 | Philadelphia Museum of Art, Philadelphia, Pennsylvania | |||
The Mare 'Josephine': Skeleton | 500 | Sculpture, bronze | 1878 | Butler Institute of American Art, Youngstown, Ohio[448] | |||
Ecorche | 501 | Sculpture | National Gallery of Art, Washington, D.C.[449] | ||||
Ecorche | 502 | Sculpture | 1882 | Philadelphia Museum of Art, Philadelphia, Pennsylvania [448] | |||
Studies for The Fairman Rogers Four-in-Hand | 503 | Sculpture, bronze with marble bases | 1897 | Philadelphia Museum of Art, Philadelphia, Pennsylvania | |||
Spinning | 504 | Sculpture | Late 1882/early 1883 | Philadelphia Museum of Art, Philadelphia, Pennsylvania | |||
Knitting | 505 | Sculpture | 1881 | Philadelphia Museum of Art, Philadelphia, Pennsylvania [178] | |||
Arcadia | 506 | Sculpture, bronze | 1883 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[450] | |||
An Arcadian | 507 | Sculpture | |||||
The Youth Playing the Pipes | 508 | Sculpture | 1883 | ||||
Abraham Lincoln's horse | 509 | Sculpture | 1893–1894 | Originally paired with G509A in the 1933 Goodrich catalog.[5] | Soldiers' and Sailors' Memorial Arch, Prospect Park, New York City, New York | ||
General Grant's Horse | 509A | Sculpture, bronze | 1892 | Originally listed as G509 in the 1933 Goodrich catalog.[5] | Soldiers' and Sailors' Memorial Arch, Prospect Park, New York City, New York | Clinker as it originally appeared. |
|
Clinker | 510 | Sculpture | 1892 | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[451] | |||
Clinker | 511 | Sculpture, bronze | 1892 | Philadelphia Museum of Art, Philadelphia, Pennsylvania [448] | |||
Billy | 512 | Sculpture, plaster | Circa 1892–1893 | ||||
The American Army Crossing the Delaware | 513 | Sculpture, bronze relief | Circa 1893 | New Jersey State Museum, Trenton, New Jersey[452] | |||
The Opening of the Fight, The Battle of Trenton | 514 | Sculpture, bronze relief | Circa 1893 | New Jersey State Museum, Trenton, New Jersey[453] | |||
Man on Horseback: Relief | 514A | Hirshhorn Museum and Sculpture Garden, Washington, D.C.[5] | |||||
Mrs. Mary Hallock Greenewalt | 515 | Sculpture | 1905 |