In pursuit of a higher truth: the landscape paintings of Charles Morris Young

Charles Teaze Clark

In the first decades of the twentieth century Charles Morris Young was considered by many to be a leading member of the Pennsylvania school of landscape painting. (1) By the end of the century, his reputation had all but vanished, owing in part to his not having lived in Bucks County, the locus and wellspring of Pennsylvania impressionism, and in part to the breadth of his subjects, which ultimately made it difficult if not impossible to categorize him as a member of any regional or stylistic school.

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Young was born on September 23, 1869, in Gettysburg, Pennsylvania, to Christopher and Anna Swisher Young. His father had left the United States Department of the Treasury in Washington, D. C., in the early 1860s for a farm near the Cemetery Ridge battlefield, where he struggled to provide for his family. (2) His four children shared the responsibilities of running the farm. Since Christopher Young also taught at a local school, Charles Morris Young's labors were mitigated by an intellectual atmosphere further enriched by his father's interest in art history. A book on the English painter John Constable (1776-1837) in his father's library sparked Young's interest in sketching the farms and countryside around Gettysburg.

In later life Young recalled the folklore and the tourist industry that arose in the area in the wake of the Civil War. As a youth he carved battle scenes on walking sticks for the tourist trade and sold watercolors and drawings of strategic sites such as the headquarters of General George Gordon Meade (1815-1872) through the gallery of a local photographer. (3)

The dual influences of farm life and the Civil War continued to affect Young. But it was his abiding love for the Gettysburg countryside and his urge to capture the fleeting effects of weather, light, and season that shaped him as an artist. Unable to afford college, Young rented a studio in Gettysburg in 1889, where he accepted students, and in his spare time continued to train himself through books and by visiting nearby museums, notably the William Walters collection (the beginnings of what is now the Walters Art Museum) in Baltimore. Income from the sale of Young's Civil War souvenirs and from his teaching proved sufficient to allow him to enroll in the Pennsylvania Academy of the Fine Arts in Philadelphia by 1891. (4)

At the academy Young followed his contemporaries Edward Willis Redfield (1869-1965) and Walter Elmer Schofield (1867-1944), who, along with Daniel Garber (1880-1958), are today recognized as among the most important landscape painters to rise from the school's ranks at this time. Young enrolled in day and night classes, receiving a conventional grounding in drawing from plaster casts and in life drawing. He studied under two influential teachers: Thomas Anshutz (1851-1912), whom Young greatly admired, and Robert William Vonnoh (1858-1933), whose academic impressionism had a transforming effect on many students at the academy, including Young. (5)

Winter Fields, the first of some fifty annual contributions by Young to the academy's annual exhibitions, starting in 1891, as well as Wet Weather and The Harvest of Death: Wheat Field at Gettysburg After the Battle, which hung at the World's Columbian Exposition in Chicago in 1893, have yet to be located. (6) However, a cache of his early paintings and drawings has recently come to light. It consists largely of rural scenes of Gettysburg in all seasons and displays a pervading interest in atmosphere and light. (7) A sketch of Wet Weather shows that the composition was a conventional Barbizon influenced grouping of cattle; this and other works of the period suggest that Young had an eye on the bucolic subjects of successful American animalier painters including Henry Singlewood Bisbing (1849-1933), who was awarded the Pennsylvania Academy's Temple Gold Medal in 1892. (8)

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Young received the academy's Charles Toppan Prize for the most promising student work in 1894. He joined the circle of artists who met regularly at the studios of Charles Grafly (1862-1929) and Robert Henri (1865-1929)--experiences he looked back upon with pleasure. On the recommendation of the academy's secretary and managing director, Harrison S. Morris (1856-1948), Young was hired as an instructor at the Philadelphia School of Design for Women (now Moore College of Art and Design) in 1896. (9) At the same time he remained a student at the academy through 1897, the year in which he, John Sloan (1871-1951), William Glackens (1870-1938), and other artists were commissioned to paint murals for the academy's lecture room. Young would later repudiate his contribution, which was entitled Concerted Music and depicted a group of classically garbed performers, because he felt it failed to rise to a level of distinction. (10)

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Young went abroad in the fall of 1897. (11) His ultimate destination was Paris, where he enrolled at the Academie Colarossi, but he found his courses unrewarding and took greater pleasure sharing a studio with a group of students who sought informal advice from established painters. The esteemed landscape and figure painter Jean Charles Cazin (1841-1901) visited one day and upon investigating Young's efforts, commented, "Continuez, monsieur, vous avez l'oeil de paysage" (Continue, sir, you have an eye for landscape). (12) L'Hiver a Moret of 1898 (private collection) is a seminal work from this period. It depicts the snow-covered village of Moret-sur-Loing at the edge of the icy river in a tonal palette of pale gray-blues and earth tones, reflecting the influences of Cazin and James McNeill Whistler (1834-1903). It was accepted for the 1898 exhibition at the Salon and was later purchased by William Merritt Chase (1849-1916). (13)

While in Paris Young met the American painter Frederick Carl Frieseke (1874-1939), who became a close friend. In 1898 the two of them--with Frieseke serving as interpreter--visited Katwijk in the Netherlands, where Young found ready-made subjects in the picturesque village situated along a canal, and coached Frieseke in the techniques of watercolor. (14) The paintings Young completed during the trip to Katwijk represent his first sustained effort at recording related themes using varying approaches under differing atmospheric conditions. Canal in Winter (Pl. VIII), which was exhibited widely in 1901 and 1902, (15) repeats the seasonal theme established in L'Hiver a Moret but with a richer palette and a greater emphasis on traditional perspective. The somber subject and luminous twilit sky betray Young's admiration of tonalist painters, including Birge Harrison (1854-1929), a frequent contributor to annual exhibitions at the Pennsylvania Academy. (16)

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A related painting, Winter Morning After Snow, was bought for the academy's permanent collection in 1901, and another; The Frozen Mill Race (whereabouts unknown), won a silver medal at the Louisiana Purchase Exposition in Saint Louis in 1904. Young received a series of awards at this time, including an honorable mention at the Pan American Exposition in Buffalo, New York, in 1901, and a silver medal at the InterState and West Indian Exposition in Charleston, South Carolina, the following year.

In the early 1900s Young met Eliza Middleton Coxe (1875-1950), a fellow student at the Pennsylvania Academy and a member of one of Pennsylvania's most influential families. (17) They married in 1903 and left Philadelphia for Europe. Arriving in Paris, they rented Cazin's apartment at 56 rue Notre Dame des Champs (Cazin had died in 1901), and Eliza enrolled at the Academie Colarossi while Young prepared entries for the 1904 exposition in Saint Louis. Fellow Philadelphian Mary Cassatt (1844-1926) suggested they visit Giverny, where an artists' colony had formed around Claude Monet (1840-1926) and where they spent the summer of 1905. Giverny (Pl. II) is one of only two known paintings from this period--a small-scale but richly varied landscape within the context of its wintry tonality.

The Youngs returned to Giverny in 1906 after a winter stay in Paris, lodging first at the Hotel Baudy, and then at a private house. Young renewed his friendship with Frieseke, who had settled in France and spent summers in Giverny, and it was no doubt the influence of such a large contingent of Americans painting in an impressionist vein that encouraged him to adopt the impressionist stylistic traits that would receive their greatest expression in his work of a decade later. Within a year of the birth of their first child, Arthur, in 1905, the Youngs returned to Philadelphia and soon after settled at Meadowbank, an old stone house on Eliza's grandparents' estate in Jenkintown. (18)

Young had a one-man show at Philadelphia's McClees Gallery in 1906, displaying paintings of Giverny and the first of the landscapes of the rural counties near Philadelphia that secured his reputation. (19) Only one of Young's works is known to have been painted near New Hope, where Redfield and his followers settled. (20) In Farmhouse in Winter of 1909 (private collection), which won an honorable mention at the Carnegie International Exhibition in Pittsburgh in 1910, Young adopted a sun-drenched impressionist palette and light, quick brushwork to capture an old stone farmhouse surrounded by an array of barnyard implements. The influential critic Leila Mechlin (1874-1949) had recognized Young's skill with such themes in 1909, stating that, along with Redfield, "Mr. [Walter] Schofield and Mr. Young are preeminently painters of winter scenes, of snow, and sunshine and frosty crystalline air." (21)

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And yet, Young was too ambitious and too versatile to be pigeonholed. Just as he was receiving awards and praise for his snow scenes, he was seeking fresh material. He visited Florence Griswold's boardinghouse in Old Lyme, Connecticut (where, in 1907, he was among the few artists asked to contribute a painted panel to the famous dining room), and the artists' colony at Cos Cob. A few years later he was in Falls Village, Connecticut, where he came across Willard Metcalf (1858-1925) and Robert Reid (1862-1929). (22) After An April Shower (Pl. VII) may be a result of this trip. The serene composition--a gently sloping valley with trees touched by the pale greens, golds, and russets of emerging vegetation--is brought to life by the geometric patterns created by the stone walls. Metcalf had mastered this theme prior to 1910, and Young may have recalled any number of Metcalf's spring paintings when he chose this particular motif. (23)

With The Red Mill (Pl. IV) of 1910, Young embraced an entirely different set of challenges. From a high vantage point in Cornwall Bridge, Connecticut, he looked down onto a picturesque group of farm and mill buildings flanking a bridge over a stream. This dynamic theme is enhanced by receding and intersecting diagonals and a rich color scheme evoking a brisk autumn day in the Connecticut hills. A New York Times critic called it "A quiet and delightful version of deep country peace." (24)

On a return trip to Old Lyme in 1911 Young painted The River Dock (Pl. V). Unlike Metcalf, who had painted a version of this scene in 1905, Young overlooked the busy site to capture the mise-en-scene. (25) He lightly sketched in details, sustaining a sense of vigorous spontaneity entirely different from the muted effect sought by Metcalf.

Young had a series of solo exhibitions at prominent museums between 1906 and 1947. An exhibition at the Copley Gallery in Boston in the fall of 1911 was followed that December by a major retrospective of sixty-three canvases held at the Pennsylvania Academy. In the catalogue essay, Helen W. Henderson observed,

Of that variety of landscape painter known to the French as "paysage
intime," we have no more apt exponent than Charles Morris Young. His
work has essentially that touch which brings the beholder at once under
the atmospheric spell of its locality. (26)

The River Dock was one of two images illustrated in a prominent review of the retrospective in the Philadelphia Inquirer. The author, quite probably Henderson, expanded on themes introduced in the catalogue, stating:

The painter never searches for a bizarre effect of light nor an
eccentric arrangement, and his work, which above all is personal, is
very little mannered. He gives again and in a way very much his own all
the deep feeling with which the varying moods of nature have inspired
and touched him. (27)

The reviewer went on to claim that of the generation of artists trained at the academy in the early 1890s, "Young was among the first, if not the first, to adopt landscape painting, and especially snow painting as a metier."

To some, the high point for Pennsylvania landscape painting was the Panama-Pacific International Exposition in San Francisco in 1915, where many artists from Bucks County won prominent awards and honors. (28) Young served on a jury and contributed six canvases to the exposition, including The Red Mill and Farmhouse in Winter. He received a gold medal for My House in Winter of about 1911 (Pl. III), a portrait of Meadowbank on a brisk and clear winter day. In his review of the exposition, Eugen Neuhaus (1879-1963) singled out Young for arresting praise:

Charles Morris Young's art is so refreshing, so spontaneous in every
way, that it catches one's eye immediately on passing into this room
[Gallery 45]. His handling of paint is fresh and clear and a direct
aiming for a final expression of what he wants to convey ... his own
"House in Winter" and the "Red Mill" reach the high water mark of
landscape painting in the exhibition. (29)

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One is inclined to link the two architectural subjects highlighted by Neuhaus and Redfield's contemporaneous paintings of New Hope to the colonial revival movement, then in full flower. Their depictions of eighteenth-century vernacular stone houses in particular represent a Mid-Atlantic variant of the New England wooden houses painted and etched by Childe Hassam, Willard Metcalf, and others. (30)

In 1914, following in the footsteps of countless Philadelphians, the Youngs went to Maine, where they would spend part of nearly every summer for the next several decades. Redfield had painted in Boothbay Harbor since the early 1900s, and the site the Youngs chose in Southwest Harbor was very near where another Philadelphia artist, Xanthus Smith (1839-1929), worked prior to 1900. (31)

In characterizing his lifelong goal, Young once said, "my aim is to get at the truth in nature--not the literal truth but the abstract truth of what is going on ... nature is always busy, always alive." (32) To arrive at the "truth" Young had to apprehend the subtlest qualities of color, light, and atmosphere, and the Maine coast confronted him with a new range of visual phenomena: "It was some time before I could get in touch with painting the region, as the prevailing note was visibility--everything standing out clear and distinct, until I found it had a quality and charm of its own." (33) The pursuit of truth in nature was a common motivating principle for landscape painters of the era, but Young was unusual in subordinating a self-conscious display of technique to the expression of a poetic and harmonious finished product.

When he did "get at the truth," the results were outstanding: Between 1914 and about 1940 he produced dozens of beautiful scenes of Somes Sound, Southwest Harbor, and the Atlantic Ocean. The change of locale inevitably had an effect on Young's palette, in which richly saturated blues, warm earth tones, and clean whites came to predominate. Somes Sound of 1915 (Pl. VI) is one of Young's most captivating paintings. It depicts a sloop leaving a dock after having discharged a group of passengers, yet the true subject is a summer day on Somes Sound. Young effortlessly conveys the feathery clouds and the shimmering effect of the summer light on the water. His technical virtuosity is evident in the varied types of brushwork employed to describe various surfaces. A related painting of a single sloop on a breezy day, Wind on the Sound (whereabouts unknown), was awarded the Jennie Sesnan Medal for best landscape at the Pennsylvania Academy in 1921.

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By contrast, Low Tide (Pl. I) depicts a peaceful moment that, from the clues of the schooner returning to port and the fisherman stowing his oars, may represent the end of the day.

After 1917 the Youngs moved to a large shingle style house in Radnor, on Philadelphia's Main Line. A neighbor suggested Young join him on a fox hunt with the Radnor Hunt, an idea not immediately appealing because Young felt, "I had never much been interested in the general run of sporting pictures, as the figures seemed stilted." He added, "but here were new possibilities ... I could paint the landscape, the season, and the weather and use the horses and hounds as accessories." (34) Winter Hunting (Pl. IX) illustrates this point of view, and Meet at White Horse (Pl. X) captures a group of hunters in various poses at the White Horse Tavern, near Willistown, a landmark Young painted on numerous occasions and upon which he lavished as much attention as he did on the members of the Radnor Hunt. (35) It should be noted that while humans figure prominently in his hunt pictures, Young was also known for a number of portraits of friends and family members, several of which were exhibited at the Pennsylvania Academy over the years.

It may have been during an outing with fox hunters that he came across the subject for The Red Barn of 1927 (Pl. XI). By bringing a massive barn close to the foreground and eliminating all but a bit of sky, Young created a simple, powerful, and compelling image of farm life. The foreground is painted with long and sinuous brushstrokes. In contrast, by rubbing dry red pigment into the canvas, Young brought to life the rough and faded texture of the barn.

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The Pennsylvania Academy of the Fine Arts recognized Young's achievement and awarded him the Stotesbury Prize for the best group of pictures at their annual exhibition in 1926. Whatever pleasure he took in the award was short-lived, however. In 1927 he was devastated by the death of his third son, Alexander. He slowly returned to his work and took up etching, which evidence suggests he had first practiced in the 1890s. (36) He formed the habit of retouching older canvases and added the figure of a child to My House in Winter. (37) Although he continued to paint in Maine and Pennsylvania during the 1930s, he gradually withdrew from the art world. He ceased contributing to the annual exhibitions of the Pennsylvania Academy in 1944 and those of the National Academy of Design in 1950. (38)

Despite Young's initial resistance to the genre of sporting pictures, he dedicated much of his late career to two new sporting themes: fishing on Brodhead Creek in northeastern Pennsylvania and golf at Saint David's Golf Course in Radnor. While neither series exhibits the range of the hunt pictures, several of the Brodhead paintings in particular suggest that Young was painting in an increasingly free and expressive manner.

A series of blows threatened to overtake the artist in his final years. Eliza Young died in 1950. Young remained in their Radnor house and continued to paint its environs until he suffered a devastating setback when a fire destroyed the house, his possessions, and as many as three hundred of his paintings (39) in November 1962. "I am crushed" Young told a Philadelphia reporter. "They were the cream of the crop, they were true records of the past." (40) Ironically, many of the paintings had been brought to the house to be recorded in Nature Is My Mistress, Christopher Young's film biography of his father, which now serves as the sole visual record of many of Young's most important paintings. Indomitable, Young moved to the carriage house, where he lived three more years, attempting to replicate three paintings destroyed in the fire. Christopher Young recorded his father's technique, from the initial application of charcoal on primed canvas through the finishing strokes. In a triumph of determination, Charles Morris Young completed the paintings a few months before his death on November 14, 1964. He was ninety-five.

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(1) The presence of a loosely defined Pennsylvania school of landscape painting was recognized early in the century, and the phrase was revived in Thomas Folk, The Pennsylvania School of Landscape Painting: An Original American Impressionism (Allentown Art Museum, Allentown, Pennsylvania, 1984). It and subsequent publications narrowed what was viewed as a phenomenon of plein-air realism to one of American impressionism.

(2) Charles Morris Young, "Nature Was My Mistress: My Life And Some Comments," manuscript (private collection), p. 24. Unless otherwise noted, all biographical information in this article is contained within this source. I am indebted to the late Arthur Young and Hilda Osterhout Young for generously allowing me access to this material.

(3) Ibid., p, 22. An albumen photograph of Young's drawing of Meade's headquarters, copyrighted 1891, and no doubt intended for the tourist trade, recently came to light on the Web site of a dealer in Civil War artifacts. See www.horsesoldier.com (accessed April 16, 2005).

(4) Young's somewhat unreliable memory suggests 1890; the academy records indicate he studied there intermittently between 1891 and 1897. My thanks to Cheryl Leibold, archivist of the Pennsylvania Academy, for this information.

(5) Young, "Nature Was My Mistress," p. 54. For a thorough analysis of Vonnoh's role at the academy, see Susan Danly, Light, Air, and Color: American Impressionist Paintings from the Collection of the Pennsylvania Academy of the Fine Arts (Pennsylvania Academy of the Fine Arts, Philadelphia, 1990), pp. 13-14. Several authors have written about instructors at the academy, most recently Sylvia Yount, "In Education, Comradeship, and Common Aims: The Bucks County Painters and the Pennsylvania Academy of the Fine Arts," in Pennsylvania Impressionism, ed. Brian H. Peterson (James A. Michener Art Museum, Bucks County, Pennsylvania, and University of Pennsylvania Press, Philadelphia, 2002), pp. 57-69.

(6) A sketch of Wet Weather is reproduced along with descriptions of both of Young's World's Columbian Exposition entries in Revisiting the White City: American Art at the 1893 World's Fair (National Museum of American Art and National Portrait Gallery, Washington, D. C., 1993), p. 353.

(7) See Annual Fine Arts Auction, William H. Bunch Auctioneers, West Chester, Pennsylvania, October 27, 1999, Lots 120-164, 173-175.

(8) Danly, Light, Air, and Color, p. 17. See also n. 6; and Revisiting the White City, p. 207, for reproductions of Henry Bisbing's bovine subjects.

(9) Young to Harrison S. Morris, March 25, 1896 (archives of the Pennsylvania Academy of the Fine Arts, Philadelphia [hereafter PAFA archives]).

(10) I am grateful to William H. Gerdts for providing a list of the twenty-two murals, including artists and titles (letter to the author, July 14, 1994). A black-and-white photograph of Concerted Music is in the artist files at the academy, and shows Young to have been influenced by neoclassical mural painters such as Pierre Puvis de Chavannes (1824-1898).

(11) Young to Morris, November 16, 1897 (PAFA archives).

(12) Young, "Nature Was My Mistress," p. 76.

(13) I am grateful to the late Ronald Pisano for providing this information in a letter dated August 9, 1984, along with a copy of Chase's estate sale catalogue entry for L'Hiver a Moret.

(14) Young, "Nature Was My Mistress," p. 88. For specific details on Frieseke's travels in Europe during the 1890s, see also Nicholas Kilmer, "Frederick Carl Frieseke: A Biography," in Frederick Carl Frieseke: The Evolution of an American Impressionist (Telfair Museum of Art, Savannah, and Princeton University Press, Princeton, New Jersey, 2001), p. 15.

(15) Canal in Winter was exhibited at the Carnegie International (1901) in Pittsburgh, the Pennsylvania Academy of the Fine Arts (1902), and the Cincinnati Art Association (1902).

(16) Danly, Light, Air, and Color, p. 46.

(17) For a brief description of the accomplishments of the Coxe family, see E. Digby Baltzell, Puritan Boston and Quaker Philadelphia (1979; Transaction Publishers, New Brunswick, New Jersey, 1996), pp. 228-229.

(18) The Youngs had five sons; Arthur, Christopher; Alexander, Philip, and Brinton. Arthur Young became a philosopher and inventor, his most notable achievement being the invention of the Bell Helicopter, one of which is displayed at the Museum of Modern Art in New York City. Christopher Young was an artist and filmmaker.

(19) This information comes from lists of the titles exhibited at the academy between 1906 and 1910 in the PAFA archives.

(20) Young's Canal near Lumberville, Pennsylvania is with Godel and Company Fine Art, New York City, and can be seen at www.godelfineart.com (accessed February 7, 2005).

(21) Leila Mechlin, "Contemporary American Landscape Painting," International Studio, vol. 39, no. 153 (November 1909), pp. 12-14.

(22) Young, "Nature Was My Mistress," p. 143.

(23) See Metcalf's The Trout Brook of 1907 (Currier Museum of Art, Manchester, New Hampshire), which was exhibited at the Pennsylvania Academy in 1908 and is illustrated in Bruce W. Chambers, May Night: Willard Metcalf at Old Lyme (Florence Griswold Museum, Old Lyme, Connecticut, 2005), pp. 134-135.

(24) New York Times, February 4, 1912, p. 12.

(25) Metcalf's painting, entitled The Log House, is illustrated in Elizabeth de Veer and Richard J. Boyle, Sunlight and Shadow: The Life and Art of Willard L. Metcalf (Abbeville Press, New York, for Boston University, 1987), p. 223.

(26) Helen W. Henderson, preface to Pennsylvania Academy of the Fine Arts, Catalogue of an Exhibition of Landscape Paintings by Charles Morris Young, December 30, 1911 to January 17, 1912 (J. B. Lippincott, Philadelphia, 1911). (A copy is in PAFA archives.) Henderson's role as a critic and historian of Pennsylvania artists is mentioned in Yount, "In Education, Comradeship, and Common Aims," p. 64.

(27) Philadelphia Sunday Inquirer, December 31, 1911, second section, p. 1.

(28) For a list of recognized New Hope artists who received awards at the Panama-Pacific International Exposition, see Birgitta H. Bond, "Pennsylvania Impressionists at the Panama-Pacific International Exposition, 1915," in Pennsylvania Impressionism, pp. 327-329.

(29) Eugen Neuhaus, The Galleries of the Exposition: A Critical Review of the Paintings ... (Paul Elder and Company, San Francisco, 1915), p. 33, available online through the Project Gutenberg Literary Archive (www.gutenberg.org).

(30) Edward Redfield's contributions to the field, which were spurred by the work of Wallace Nutting, are discussed in Constance Kimmerle, Edward W. Redfield: Just Values and Fine Seeing (James A. Michener Art Museum, Doylestown, Pennsylvania and University of Pennsylvania Press, Philadelphia, 2004), pp. 43-44.

(31) Robert W. Torchia, Xanthus Smith in Mount Desert Island, Maine (Clark Point Gallery, Southwest Harbor, Maine, 2003).

(32) Quoted in Christopher Young, director, Nature Is My Mistress, script by Hilda Osterhout Young.

(33) Young, "Nature Was My Mistress," p. 213.

(34) Ibid.

(35) Young received commissions to paint country houses, horses, and hounds from prominent members of the hunt including Walter Jeffords, whose collection of hunt paintings by Young appeared at auction in October 28, 2004 (The Collection of Mr. and Mrs. Walter M. Jeffords, Sotheby's, New York). Another patron was the author and hunter J. Stanley Reeve, whose Fox Hunting Recollections: A Journal of the Radnor Hounds and Other Packs (J. B. Lippincott Company, Philadelphia, 1928) includes a tribute to Young and illustrations of five of his paintings.

(36) From February 24 to April 2, 1929, Young exhibited watercolors, drypoints, and etchings at the Corcoran Gallery in Washington, D.C. See www.corcoran.org. Young made prints for many years: An etching entitled Holland '92 (the date is an error in transcription; it was probably created in 1898) was included with four additional etchings in the 1999 catalogue Annual Fine Arts Auction, William H. Bunch Auctioneers, p. 53.

(37) A reproduction of My House in Winter in its original state can be found in Catalogue de luxe of the Department of Fine Arts, Panama-Pacific International Exposition, Vol. II, ed. John E. D. Trask and Nilsen Laurvik (Paul Elder and Company, San Francisco, 1915), p. 403.

(38) Young had exhibited frequently at the National Academy of Design in New York City from 1891, and was voted an associate academician in 1914. His self-portrait is in the National Academy Museum's permanent collection.

(39) Newspaper accounts vary between seventy-five and three hundred; the latter number is cited in Young's obituary in the New York Times, November 16, 1964, p. 31.

(40) Quoted in George R. Staab, "Artist, 93, Says He's Crushed--Lost 75 Paintings in Blaze," Philadelphia Evening and Sunday Bulletin, November 25, 1962, section 1, p. 32.

CHARLES TEAZE CLARK is a freelance writer and arts consultant who lives in Connecticut.

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