Signed lower right, 'H. Dearth' for Henry Golden Dearth (American, 1864-1918) and dated 1892. Provenance: George Hearn Collection Exhibited: Metropolitan Museum of Art (1905-13) Displayed in the original and period, hand-carved gilt-wood frame. (Frame: 22.5 H x 1.75 D x 36 W inches.) George A. Hearn, the original owner of this work, was a notable collector of American paintings who loaned it to New York's Metropolitan Museum where it was exhibited from 1905-1913. We are grateful to the art-historian Jim Wooten for his exhaustive research into the history of this painting. A copy of his five-page report will accompany the work. Scion of a distinguished military family, Henry Golden Dearth first studied in New York with the academic painter, Horace Johnson. In 1884, Dearth moved to Paris where he spent four years furthering his studies at the L'Ecole des Beaux Arts and, subsequently, in the atelier of Aime Morot. In 1887, he returned to New York where he opened his first American studio and was invited to become a member of the Society of American Artists. In 1888, he began to exhibit regularly at the National Academy of Design to which he was elected full Academician in 1906. In 1889, he exhibited, for the first of many times, with the more progressive Society of American Artists. In 1893, Dearth was awarded the prestigious Webb prize for the best work by an American artist under the age of 40. 1902, the artist moved his studio to 18 E. 40th Street in New York and began to spend his summers in Normandy, the region that had first drawn him to landscape painting. For many years, he maintained both home and studio at Montreuil-sur-Mer, in the Pas-de-Calais, where he would work for several months during each season. Over the course of a distinguished career, Henry Golden Dearth exhibited internationally with success and was the recipient of numerous prizes, medals and juried awards including a bronze medal at the Exposition Universal in Paris (1900) and silver medals at two Pan-American Expositions, in Buffalo (1901) and Buenos Aires (1907). The artist's works are held in private and public collections world-wide including the permanent collections of the Detroit Institute of Arts (In the Gloaming), the National Gallery of Art, Washington. DC (Flecks of Foam), the Smithsonian American Art Museum (An Old Church at Montreuil) and New York's Metropolitan Museum of Art (Boulogne, Cornelia), among others. Henry Golden Dearth is well-listed in all art reference works including Benezit, Thieme Becker and Who Was Who in American Art which also provides a signature sample. We are pleased to offer a luminous and atmospheric work from Dearth's Barbizon period, painted when the artist was twenty-eight years old. Partial List of Exhibitions: 1888 American Academy in New York 1889 National Academy of Design 1901 Exhibition of the Fine Arts, Buffalo, NY 1902 Union League Club 1903 International Exhibition, Berlin, Germany 1904 Lotos Club, New York 1907 Oehme Gallery 1907 Lotos Club, New York 1909 Pennsylvania Academy of the Fine Arts, Philadelphia 1910 Detroit Museum of Art 1911 Buffalo Fine Arts Academy 1912 Albright Art Gallery, Buffalo 1912 Pennsylvania Academy of the Fine Arts, Philadelphia 1912 Knoedler Galleries, New York 1913 Pennsylvania Academy of the Fine Arts, Philadelphia 1913 Montross Gallery, New York 1916 Milwaukee Art Institute 1916 Arts Club of Chicago, Chicago 1918 Milch Galleries, New York Reference: Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 1, p. 856; E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 4, p. 314; Thieme-Becker Allgemeines Lexikon der Bildenden Künstler von der Antike bis zu Gengenwart, Ulrich Thieme and Felix Becker, Deutscher Taschenbuch Verlag 1992, Vol. 7/8, p. 500; Mallett’s Index of Artists, Daniel Trowbridge Mallett, Peter Smith: New York 1948 Edition, R.R. Bowker Company 1935, p. 104; Biographical Encyclopedia of American Painters, Sculptors & Engravers of the U.S.: Colonial to 2002, Bob Creps, Dealer’s Choice Books, Inc. 2002, Vol. 1, p. 353; Mantle Fielding’s Dictionary of American Painters, Sculptors and Engravers, Glen B. Opitz, Apollo Press 1983, p. 223; The Annual Exhibition Record of the National Academy of Design 1901-1950, Peter Hastings Falk, Sound View Press 1990, p. 164; 300 Years of American Art, Zellman, Vol. 2, p. 576; et al.