Mixed media still life painting on paper John La Farge. The artwork depicts a still life with some beets and a decanter on a table. Signed lower right. Matted and framed. John La Farge, 1835 to 1910, was an American artist whose career spanned illustration, murals, interior design, painting, and popular books on his Asian travels and other art related topics. European and American Still Life Oil Paintings, Wall Art, Home Decor, and Collectibles. One of a kind artwork.
John La Farge (American, 1835-1910). This watercolor painting is signed "La Farge, 1894". The inscription reads, "Return: John La Farge / 51 West 10th Street (Tenth Street Studio Building, NY)". The finished stained glass window is on display at the Judson Memorial Church in Manhattan. The Brooklyn Museum has a more detailed commission on the same saint. The work is housed in a simple wooden frame with a white mat. There is discoloration upper left and fraying to the sheet's lower margin. The sight area measures 19 1/4" x 12", and the frame measures 27" x 19". In-house shipping is available. Please see our website regarding our in-house shipping procedures.
John La Farge (American, 1835-1910), Portraits of Young Women, double sided crayon on paper, stamped one side, signed verso of frame, sight: 4.5"h x 3"w, overall (with frame): 7.5"h x 5.5"w
Attributed to John La Farge (American, 1835-1910) Wood Block, circa 1860 Carved wood 3-7/8 x 3-1/2 x 0-7/8 inches (10.1 x 8.8 x 2.3 cm) LITERATURE: H. Adams, "John La Farge's Discovery of Japanese Art: A New Perspective on the Origins of Japonisme," The Art Bulletin, Vol. 67, No. 3 September 1985, p. 467, no. 21, illustrated. HID01801242017
Attributed to John La Farge (American, 1835-1910) Portrait of Helena de Kay Gilder Watercolor and pencil on paper 12-1/4 x 9-3/8 inches (31.1 x 23.8 cm) (sight) HID01801242017
JOHN LA FARGE (1835-1910) Water-Lilies. Red and Green Pads. Study from Nature watercolor and gouache on paper image, 8 x 12 in. (20.3 x 30.5 cm.); sheet, 9 3/4 x 12 in. (24.8 x 30.5 cm.)
JOHN LA FARGE WOOD ENGRAVING "The Seal of Silence", illustrated for Enoch Arden, special ed. of Alfred Lord Tennyson's, published by Tichnor and Fields, Boston, 1865, John La Farge (1835-1910, American), framed and glazed, Belknap collection.
John La Farge (American, 1835-1910) Boy Casting Off Hawk, study for Henry Wadsworth Longfellow's poem "The Skeleton in Armor," circa 1884-85 Watercolor, gouache, and pencil on paper 5-1/4 x 4-3/4 inches (13.3 x 12.1 cm) (sheet) Signed lower left: jho LaFarge Property from the Collection of Robert Aron, Palm Beach, Florida PROVENANCE: Sale: Moore's Art Gallery, New York, March 26-27, 1885, lot 7; Private collection, New Jersey, until 1983; Henry B. Holt, Essex Fells, New Jersey, 1983-86; Stephen M. Lovette, Washington, D.C., 1986-93; William Vareika Fine Arts, Newport, Rhode Island; Private collection, acquired from the above, 1995; By descent to the present owners. EXHIBITED: Moore's Art Gallery, New York, 1885; William Vareika Fine Arts, Newport, Rhode Island, " John La Farge (1835-1910): American Artistic Genius and Renaissance Man," August 28-November 30, 2009. LITERATURE: Moore's Art Gallery, Catalogue of a Collection of Oil and Water Color Paintings, by John La Farge, New York, 1885, pp. 26-7; J. Yarnall, "New Insights on John La Farge and Photography," The American Art Journal, Volume XIX, Number 2, 1987, p. 73, illustrated. HID01801242017
John La Farge (1835 1910) American, Painter and stained glass designer. Best known for his production of stained glass, the glass work in the Trinity Church of Boston and recognized as the primary rival to Louis Comfort Tiffany. His works put him at the forefront of the American Arts and Crafts movement, this watercolor landscape came from the Sokolovsky Collection in Illinois. Signed and dated, 1889, original watercolor on paper. In very good condition with speckled non-distracting foxing along skyline. Dimensions: framed 20x12 inches. This lot has a reserve.
John La Farge (1835-1910) American painter, muralist, and writer. He was a pioneer in the study of Japanese art, the influence of which is seen in his work. During his life, La Farge maintained a studio at 51 West 10th Street in Greenwich Village, which now is part of the site of Eugene Lang College at the New School University. Offered here is a 3-3/8 x 2-1/2 in. card signed by La Farge. Ink signed. VG
Attributed to John La Farge (American, 1835-1910), Flowers, oil on canvas, no signature observed, blurred writing on verso, 6.25"h x 6.75"w (sight), 11"h x 11.25"w (frame)
John La Farge (1835-1910) American painter, muralist, and writer. He was a pioneer in the study of Japanese art, the influence of which is seen in his work. During his life, La Farge maintained a studio at 51 West 10th Street in Greenwich Village, which now is part of the site of Eugene Lang College at the New School University. Offered here is a 3-3/8 x 2-1/2 in. card signed by La Farge. Ink signed. VG
John La Farge (1835-1910) American painter, muralist, and writer. He was a pioneer in the study of Japanese art, the influence of which is seen in his work. During his life, La Farge maintained a studio at 51 West 10th Street in Greenwich Village, which now is part of the site of Eugene Lang College at the New School University. Offered here is a 3-3/8 x 2-1/2 in. card signed by La Farge. Ink signed. VG
John La Farge (1835-1910) American painter, muralist, and writer. He was a pioneer in the study of Japanese art, the influence of which is seen in his work. During his life, La Farge maintained a studio at 51 West 10th Street in Greenwich Village, which now is part of the site of Eugene Lang College at the New School University. Offered here is a 3-3/8 x 2-1/2 in. card signed by La Farge. Ink signed. VG
John La Farge (1835-1910) American painter, muralist, and writer. He was a pioneer in the study of Japanese art, the influence of which is seen in his work. During his life, La Farge maintained a studio at 51 West 10th Street in Greenwich Village, which now is part of the site of Eugene Lang College at the New School University. Offered here is a 3-3/8 x 2-1/2 in. card signed by La Farge. Ink signed. VG
John LaFarge American, 1835-1910 Swallows/Wreath, circa 1883 Stamped John La Farge / 38 East 17th St. Union Square / New York (ur) and inscribed with various composition and color notes on the support card Watercolor and pencil on paper mounted to card 3 1/4 x 1 3/4 inches each Provenance: Thomas Wright, Upper Montclair, New Jersey Private collection, Upper Montclair, New Jersey Charles Hunter, Upper Montclair, New Jersey, by descent from the above by 1918 Zecca Gallery, Montclair, New Jersey, aquired from the above 1973 C The property of Steven Leon
JOHN LA FARGE (american 1835-1910) "IN THE GARDEN OF THE GODS, PIKE'S PEAK, COLORADO" Signed and inscribed illegibly 'La Farge, N***' bottom right; also inscribed with artist and location verso, watercolor and charcoal on paper Sheet size: 10 7/8 x 15 3/8 in. (27.6 x 39.1cm) provenance: Collection of Mr. George A. Downer, Needham, Massachusetts (by 1985). Barridoff, Portland, sale of 31 May 1986, lot 97. Acquired directly from the above sale. The Collection of Victor Niederhoffer. NOTE: The present lot will be accompanied by a copy of letter from Henry A. La Farge confirming its authenticity, dated April 15, 1985.
John La Farge (American, 1835-1910), Portrait of Elisa-Rachel Felix (aka Mademoiselle Rachel) in the title role of Phedre, pencil on paper, image titled "Rachel Phaedra" in pencil, sitting information label verso, matted in cardboard and loose, 5.5"h 3.5"w (sight), 11.5"h x 8"w (mat)
JOHN LA FARGE (1835-1910) The Baptism of Christ (after Nicholas Poussin) watercolor, gouache and pencil on paperboard 10 1/4 x 7 1/2in, image; 14 3/4 x 11 1/8in, sheet Executed circa 1902.
JOHN LA FARGE American (1835-1910) "The Sphinx" gouache and watercolor on paper, initialed and dated "1865" lower right. 4 5/8 x 6 1/2 inches Provenance: Private Collection, Vermont. Other Notes: Tags: Impressionist / Impressionism
John La Farge (1835-1910) The Baptism of Christ (after Nicholas Poussin) watercolor, gouache and pencil on paperboard image, 10 1/4 x 7 1/2in; sheet, 14 3/4 x 11 1/8in Executed circa 1902. Provenance The artist. Estate of the above. (probably) Mr. Moritz Bernard Philipp, New York, acquired from the above. Jane Peterson, New York, the artist, by descent from the above, 1929. Donald Witherstein, Boston, Massachusetts, 1947. Victor D. Spark, New York, acquired from the above, 1952. Wilbur Family Collection, Hillsborough, California, probably acquired from the above, after 1968. Gift to the present owner from the above.
JOHN LA FARGE (American, 1835-1910) GIRL WITH THE RING 1890, watercolor on paper signed La Farge and dated July 1890, l.l. sight: 11 1/4 x 12 1/2 in., sheet: 12 5/8 x 19 3/4 in. (23 3/4 x 36 in.) Provenance: Property of a Gloucester, Massachusetts Lady. Other Notes: Bears Doll & Richards, Boston, Massachusetts label no. 26045, verso; bears Montross Gallery, New York, New York, label, verso; bears label marked 99. Girl With the Ring, verso.
Artist: John La Farge, American (1835 - 1910) || Title: Metropolitan Museum of Art - Nocturne || Year: 1937 || Medium: Poster || Size: 31.5 in. x 25 in. (80.01 cm x 63.5 cm)
JOHN LA FARGE (1835-1910): CHRIST AND NICODEMUS Pencil and watercolor on wove paper, 1882, indistinctly inscribed and dated at bottom, with a red inkstamp lower left, with label from William Vareika Fine Arts, Newport, Rhode Island. 11 1/2 x 5 3/4 in. (sheet), 19 1/2 x 13 1/2 in. (frame). Note: This work was a study for Nicodemus Coming to Jesus by Night, the Reverend John Cotton Smith Memorial Window, in the Church of Ascension, New York, 1882. Salander-O'Reilly Galleries Consigned by Trustees
John La Farge (1835-1910) >"The Last Arrow of Will of Cloudeslie" <br>signed with conjoined initials and dated 'LF 67' (upper right) >watercolor and pencil on paper <br>9¾ x 8 in. (24.8 x 20.3 cm.), image; 13½ x 10¼ in. (34.3 x 26 cm.), sheet
John La Farge American, 1835-1910 Study of Apple Tree, Spring, circa 1861 Inscribed John La Farge/200.00/Sold large one to/Met Museum/.0032/John la Farge (1870)/from his sale Otto Heinigke in pencil on the reverse Oil on panel 6 x 9 inches Provenance: Sale: Ortgies and Co., New York, Apr. 17, 1884, lot 3 (Important Collection of Oil and Water Color Paintings, by John La Farge of This City, as Study of Appletree) Otto Weir Heinigke Sr., New York (purchased at the above sale) Otto Weir Heinigke Jr., New York (son of the above) Fred Leuchs, New York (acquired from the above, 1957) At the time of its sale at Ortgies and Co., in 1884, the present painting was described as the painting signed and dated 1861. The site depicted is probably Newport. C
John La Farge American, 1835-1910 Woman in White Reading Signed with artist's initials JLF (lr); inscribed as titled under the matting (ll) Watercolor on paper Sheet 14 x 6 1/4 inches, image 7 1/8 x 3 3/8 inches Provenance: Mrs. M. Bernard Philip, New York, 1934 Michael M. Engel, New York (before 1969) Exhibited: New York, Moore's Art Gallery, 1887, cat. no. 5 (under the title Woman in white dress, Reading, --Lark background.--Watercolor study. Signed) The present work is discussed in correspondence in 1985 and 1986 between Mr. and Mrs. Henry A. La Farge and Michael Engel, Jr. Woman in White Reading is documented in the draft for a catalogue raisonné of the work of John La Farge that was in preparation by Henry A. La Farge, and that remained unpublished at the time of his death. It is described in the catalogue page as "Possibly a study for the allegorical figure of Sight in the watercolor room of the Cornelius Vanderbilt House," which suggested a potential date to Mr. La Farge of circa 1881. The Henry Adams La Farge papers, which contain research and documentation pertaining to the unpublished catalogue, are included in the collection of the Beinecke Library, Yale University. C Property from the Estate of a Long Island Collector
Artist: John La Farge, American (1835 - 1910) | Title: Metropolitan Museum of Art - Nocturne | Year: 1937 | Medium: Poster | Size: 31.5 in. x 25 in. (80.01 cm x 63.5 cm)
John La Farge (1835-1910) On a Park Terrace signed with conjoined initials 'LF' (lower right) watercolor and pencil on paper 10½ x 18¾ in. (26.7 x 47.6 cm.) Executed circa 1865.
Although signed lower right John La Farge (1835 - 1910), the signature is unlike any i have seen, thus the attribution. Oil on board. Approx. 7 1/2" x 11".
John La Farge (American, 1835-1910) The Virgin and St. John the Evangelist at the Foot of the Cross oil on panel, shaped top 95½ x 29½ in. (243 x 75 cm.) Painted in 1862-3 a pair (2)
John La Farge (1835-1910) Sleep (Study of Female Figure Asleep) signed 'Jno La Farge' (lower left)--signed and inscribed 'Study of a woman asleep./Dressed in Japanese Robe/of green crepe & white satin undergown./John La Farge N.A./51 W-10 st' (on a label affixed to the backing board) watercolor on paper 8 x 6½ in. (20.3 x 16.5 cm.), image; 12¼ x 10¼ in. (31.1 x 26 cm.), sheet Executed circa 1884-85.
Japanese Ceramic Vessel, signed and dated lower right: La Farge 1871, watercolor on paper laid to board under glass. Provenance: Private Collection, Oregon; by descent in the family to the present owner
John La Farge (American, 1835-1910) Study for Side Lancets of Facade Windows, Trinity Church, Boston, c. 1880 Unsigned, stamped with La Farge's personal seal in red l.c., inscribed "Trinity Church/ side windows of W. Side" l.c., numbered "G 2218" on the mount l.c., numbered "116" on a label affixed to the mount. Watercolor and graphite, sheet size 6 11/16 x 2 in., framed. Provenance: Estate of John La Farge, New York, 1910-1911; [sale, American Art Association, New York, 29-31 Mar. 1911 (864)]; purchase, Otto Weir Heinigke Sr., New York, 1911-d. 1915; his son, Otto Weir Heinigke Jr., New York, 1915-1957; purchase, Frederick L. Leuchs, Monterey, MA, 1957-1984; Sean M. McNally, Ridgewood, N.J., private collection, New Jersey. Exhibitions: William Vareika Fine Arts, Newport, John La Farge: An American Master (1835-1910), 14 Jul.-30 Sept. 1989, no. 38 N.B. We wish to thank Dr. James L. Yarnall for his assistance with cataloguing the lot. Between 1880 and 1883, La Farge executed a tall, three-lancet facade window for Trinity Church, Boston. The window consists of a figure of Christ Preaching in the central lancet, with two flanking lancets of architectonic shapes in a Byzantine style. According to Dr. James L. Yarnall, the present work is a study for the side lancets, corresponding closely to the final design of the two side lancets. It was the first folio in a portfolio of drawings purchased by Otto Weir Heinigke Sr. at La Farge's estate sale in 1911.
John La Farge (American, 1835-1910) Lot of Two Cliché-verre Glass Drawings for Robert Browning's Men and Women, 1860. Unsigned, one dated "1860" l.r. Graphite on frosted glass set between two plates of clear glass within a stained glass composition, sizes to 9 3/4 x 8 in., framed. Condition: Both with cracked frosted glass, one loose in frame. Provenance: Henry Lee Higginson, Boston, until d. 1919; by descent in the Higginson family. Literature: Passing references to both drawings are in three reviews of the 1879 exhibition/auction: "John La Farge's Sale," Boston Evening Transcript, 15 Dec. 1879, p. 4; "The La Farge Paintings," Boston Post, 17 Dec. 1879, p. 3; and "The Fine Arts: Mr. La Farge's Pictures," Boston Daily Advertiser, 18 Dec. 1879, p. 2. Exhibitions: Leonard's Gallery, Boston, The Drawings, Water-Colors, and Oil-Paintings by John La Farge. To be Sold at Auction, 18-19 Dec. [1879], exhibited under the heading "Drawings" as lots 33-3 and 33-6. N.B. The works were included in the late Henry A. La Farge's Catalogue Raisonne of the Works of John La Farge, and we wish to thank Dr. James L. Yarnall for updating and supplementing the information for inclusion in this catalogue entry. See online lot entry for extensive commentary by Dr. Yarnall on the works. There are several different techniques classified as cliché-verre, a French term usually applied to etching on a ground-coated transparent material. In this case, the term applies to drawing on a transparent glass surface and printing the resulting image on light-sensitive paper. La Farge prepared six cliché-verre illustration designs between 1859 to 1861 for a proposed Boston edition of Robert Browning's compilation of poems entitled Men and Women, first published in 1855. The intended publisher of the new edition was Henry Houghton, who late in the process asked La Farge to help underwrite publication costs. La Farge balked at this, discontinuing the plans, but he still produced proofs using six cliché-verre glass drawings that he had prepared before the project faltered. Of the original glass drawings, only one now in the collection of the Smithsonian American Art Museum (acc. no. 1966.1.1) had surfaced prior to 2010. La Farge originally sold six cliché-verre glass drawings as lot 33 in his one-man exhibition and auction held in Boston at Leonard's Gallery on December 18-19, 1879. That is where Henry Lee Higginson evidently purchased these two glass drawings, possibly along with others, and also with a number of oil paintings. In the 1879 auction catalogue, La Farge introduced the glass drawings with the note: "These drawings are on glass, and have been framed to hang in windows or against the light. They are the originals of a set of photographs already known to the public. They are all illustrations of Robert Browning's poems and are in several cases designed in the form of decorations." Lot 33 in the auction was in six parts. Part 3 was an illustration for Browning's poem Childe Roland to the Dark Tower Came. The poem, inspired by a line in Shakespeare's King Lear, recounts the nightmarish journey of Roland to the Dark Tower, a destination never reached in the poem. The journey takes Roland through a gloomy, evocative landscape filled with obstacles and threats. La Farge's glass drawing illustrated these lines from the poem: "A sudden little river crossed my path/ As unexpected as a serpent comes." Part 6 of lot 33 was an illustration for Browning's poem Fra Lippo Lippi. This dramatic monologue visualized an episode in the life of an actual historical figure: the Florentine monk, Fra Lippo Lippi (1406-1469), who was also a renowned painter. As depicted in the poem, Lippi had a taste for carousing, had been out all night, and was caught by some watchmen for Cosimo de Medici, the artist's patron. While being interrogated, Lippi recounted to the watchmen that his monastic life was one of hardship, forcing him to carry on secret liaisons with women. He also rambled about the relationship between art and religion. La Farge's glass drawing illustrates the lines from the poem that depict the moment of Fra Lippo Lippi's discovery by the watchmen: "I am poor brother Lippo, by your leave!/ You need not clap your torches to my face."
John La Farge (American, 1835-1910) Stable of the Sacred Horses in the Temple Grounds of Iyeyasu, Nikko, c. 1888 Unsigned. Ink wash on paper, sheet size 8 3/16 x 9 7/8 in. (20.8 x 25.1 cm), unframed. Condition: Glue and cloth tape hinge residue to the reverse, subtle toning, minor foxing. Provenance: Henry Lee Higginson, Boston, until d. 1919; by descent in the Higginson family. Literature: Cook, Clarence, "Paintings, Sketches, and Studies by John La Farge," Studio n.s. 5, April 26, 1890, pp. 205-206; La Farge, Bancel, "[List of Lenders, Durand-Ruel Exhibition]," New Haven, Connecticut, unpublished manuscript, La Farge Family Papers, 1895; La Farge, Henry A., "Catalogue Raisonne of the Works of John La Farge," New Haven, Connecticut: Unpublished card file, La Farge Family Papers, c. 1934-74. Exhibitions: Reichard and Co., New York, Catalogue of Drawings, Water Colors, and Paintings by Mr. John La Farge, N.A., 15 Apr.-1 May 1890, no. 12 (under heading "Japanese"); Durand-Ruel Galleries, New York, Paintings, Studies, Sketches and Drawings, Mostly Records of Travel 1886 and 1890-91 by John La Farge, 25 Feb.-25 Mar. 1895, no. 5; Societe Nationale des Beaux-Arts, Paris, France, Études, esquisses, dessins: Souvenirs et notes de voyage (1886 et 1890-91) par John La Farge, 24 Apr.-May 1895, [no. 5]. N.B. The work was included in the late Henry A. La Farge's Catalogue Raisonne of the Works of John La Farge, and we wish to thank Dr. James L. Yarnall for updating and supplementing the information for inclusion in this catalogue entry. Like many of La Farge's Japanese sketches, this evidently was based upon an as-yet unlocated photograph and was executed around 1888 in preparation for the publication of his travel journals as a series of travel articles in Century Magazine. A wood engraving after this drawing appeared in La Farge's article "Shrines of Iyeyasu and Iyemitsu in the Holy Mountain of Nikko. An Artist's Letters from Japan," Century Magazine, vol. 39 (Apr. 1890), p. 862. It was republished in book form in John La Farge, An Artist's Letters from Japan (New York: Century Association, 1897), p. 61, and was exhibited at Durand-Ruel in New York in 1895 as Stable of the Sacred Horses in the Temple grounds of Iyeyasu, Nikko.
JOHN LA FARGE (american 1835-1910) "A BOY AND HIS DOG (DICKEY HUNT)" Oil on paperboard laid on canvas 40 x 34 in. (101.6 x 86.4cm) provenance: Albert Stickney, New York, 1884(?)-1908. Mrs. Albert Stickney, New York, 1908-1911. J.G. Butler, Jr., Youngstown, Ohio, 1912(?)-1923. Edwin C. Shaw, Akron, Ohio, 1923-1941. Caroline Shaw, Akron, Ohio, 1941-1955. The Estates of James A. & Dorothy C. Vaughn, Sea Island, Georgia, 1955-present. exhibited: National Academy of Design, New York, 1874, cat. no. 72. Inter-State Industrial Exposition, Probably, Chicago, 1875, cat. no. 23. Centennial Exposition, Philadelphia, 1876, cat. no. 417. Pierce & Co., Boston, 1878, 2nd day, cat. no. 12. Society of American Artists, New York, 1880, cat. no. 58. Konigliche Glaspalaste, Munich, 1883, cat. no. 1130. Ortgies & Co., New York, 1884, cat. no. 24. Vose Gallery, Boston, 1911, cat. no. 97. Panama-Pacific Exposition, San Francisco, 1915, cat. no. 2674. Akron Art Museum, Akron, Ohio, 'The Edwin C. Shaw Collection of American Impressionist and Tonalist Painting', April 19-June 29, 1986. Museum of Art, Science & Industry, Bridgeport, Connecticut, 'American Artists Abroad: Painting In The European Style', September, 27-November 9, 1986. literature: The Edwin C. Shaw Collection of American Impressionist and Tonalist Paintings by William Robinson, Akron Art Museum, 1986, pp. 80-81, illustrated. A Beautiful Child and a Portrait Commission Gone Awry: The Richard Morris Hunts and John La Farge by James L. Yarnall, American Art Journal, Vol. 29, 1998, pp. 86-97. Art News, March 31, 1923, p.1. note: "A Boy and His Dog is a little known but highly important work executed at the end of La Farge's Newport period, around 1868-1869. The sitter is "Dickey" or Richard Morris Hunt, Jr., son of the famous architect. La Farge was at this time closely involved with the circle of William Morris Hunt. Historian James L. Yarnell has said of this work: "This is a singular work in La Farge's career, his only large scale, semi-formal portrait." Art historian Henry Adams has observed that during 1868-1869 La Farge concentrated his efforts on two ambitious figure paintings, this one and The Sleeping Girl (destroyed by fire). Since La Farge would soon turn his attention to decorative works and stained glass, "in many ways these two paintings mark the end of his career as an easel painter." The precise genesis of this work is not known. Historian Henry A. La Farge believes it was originally a commissioned portrait which was later turned into an exhibition piece. It is known that La Farge worked this painting for a long period of time, requiring that the dog be tied, which greatly displeased the boy. The artist eventually asked his own son, Bancel, to pose for the figure. Bancel later reported to Sargent Kendall: It was painted at a moment when he was working gradually alone and has very distinctly the qualities of that epoch...I was a little boy at the time and remember posing for the picture, perhaps for a hand of the feet or what is more likely, to hold the dog. Although this painting may have begun as a commissioned portrait, it was never in the Hunt family collection. The artist exhibited it in 1876 simply as Portrait-Boy and Dog . La Farge seems to have become more interested in it as a study of natural, outdoor light than as a portrait; it was even subtitled Study in Sunlight in the catalogue of an exhibition in New York in 1884. The painting's sharp contrasts and fresh, strong colors are the result of natural light, which is quite unlike the soft, gentle shading of studio light. The artist has attempted to translate concerns of his plein air landscapes to genre of figure painting. While the subject and interest in natural detail may reflect the influence of the Pre-Raphaelites and Ruskin's "truth to nature" aesthetic, the broad handling is closer in spirit to the paintings of Gustave Courbet and the French Realists. Henry Adams has speculated about the possible meaning of the subject, which he regards as depicting "the interaction fo the two minds, the one animal and the other human," noting that the "deep psychic communion between the boy and the dog" reflects the existence of a "harmony between the bestial and the human mind." There are no specific symbols or narrative meanings to this painting. In that sense, it is similar to the artist's flower pieces: behind the veneer of a sensuous, beautifully painted, naturalist image exist implications of more complex meanings. A Boy and His Dog is thus representative of La Farge's best work. It is both beautifully painted and replete with the mysterious aura of personal associations and unexplained meanings." Text by William Robinson from the catalogue for The Edwin C. Shaw Collection of American Impressionist and Tonalist Painting, Akron Art Museum, 19 April-29 June, 1986, pp. 80-81, illustrated. With regards to the genesis of the work, the noted La Farge scholar, James Yarnall was subsequently able to shed some light on the paintings origins in an article published in the American Art Journal, Vol. 29, 1998. According to Catherine Hunt's memoirs, the portrait was intended to commemorate the sitters appearance prior to his childhood locks being shorn. The Hunt's only ever envisaged a sketch being done and it was La Farge who took it upon himself to create the full length and more ambitious depiction much to the displeasure of his patrons. The acrimony between the two parties was further exacerbated by La Farge's failure to deliver the portrait on time - Richard Hunt intended it to be a seventh wedding anniversary gift to his wife on April 2, 1868. The painting remained unfinished six months later and on the Hunts return to Newport from New York in the spring of 1869 they refused to take the portrait leaving it in the artists hands. In 1885 the painting was finally sold to a collector of La Farge's work, the New York lawyer, Albert Stickney.
