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Click Thumbnails below for larger images of Teng Hiok Chiu's Paintings
(Contact Dr. Kaz for more info)

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�Teng Hiok Chiu : FIRST CHINESE MODERNIST PAINTER: BIOGRAPHY OF TENG HIOK CHIU (ZHOU TINGXU)
(Amoy 1903 - Glastonbury1972)

by Prof. Kazimierz Z. Poznanski

Note: All text and images below, and on Prof. Kaz' page, are from Prof. Kaz's research, and his book, "Path of the Sun--The World of Teng Hiok Chiu, The Kazimierz Z. Poznanski Collection."
Click Here to E-mail Dr. Poznanski
Kazimierz Z. Poznanski, Professor
Jackson School of International Studies
PO Box 353 650
University of Washington
Seattle WA 98195

Click Thumbnails (framed images) Below for larger images
Click Here for "Feeling China: Art as Jazz," by Prof. Kaz.
Click Here for "Happy Places: Landscaping by Teng Hiok Chiu" (by Prof. Kaz)
Click Here for "Chinese Beauty," (about Prof. Kaz' artistic journey, with images of his unique interpretation of Chinese art)

Click Here for "Critical Comments" Click Here for "One Man Shows"
Click Here for "Teng & Georgia O'Keefe Click Here for "Off to Europe, 1926"
Click Here for "Teng Passes, 1972" Click Here for "Group Exhibitions"
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Click Here for Other Fascinating Fujian Sites

“I am trying to get the best out of both Eastern and Western art. I am using the techniques of European art, but I try to preserve the broadness of Eastern art with its preoccupation with essentials. But in the end all real art is the same. You may start from The East or from the West, with one or the other set of conventions, but if you really develop you belong neither to the East nor the West. Art is a universal language which speaks to every human heart” Teng H.Chiu

[Note: Xiamen is now one of the planet's leading producers of original and reproduction oils! Check out this website: Amoy Paintings International!]

Teng. H. Chiu was born on April 27, 1903 on the Gulangyu Island outside of Xiamen (also Amoy) in Fukien (Fujian), South China. He was born to a once resourceful family of tea merchants. Xiamen was a very active trading center in nineteenth century China but then lost this role. The island traded mostly in tea which they were bringing from the neighboring mainland region Fukien. As a boy, Teng’s father was converted to Christianity by a Chinese pastor from the London Mission Society. Later in his life he became a pastor on the Gulangyu Island. With nine children, his family was by no means affluent, but he built on the Island a good size villa with the income he earned. The house, with a beach view and surrounded with exotic flowers and threes, was located near the church that he serviced as a pastor. Teng’s father became a person of some prominence, for a while serving as a leader of the Christian Church Association and, at one point, was elected a president of the Y.M.C.A.. He spent much of his energy raising funds to support the church. Based on his fundraising, mainly from Chinese immigrants, he established one of the first in China to start a school for girls, which attracted children of affluent Chinese families. All the buildings still exist, the recently remodeled into a multiple housing family villa, the church that got converted into a retirement house, as well as the school that serves as a multiple family housing.

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Teng’s father was politically active at the time of China’s turmoil. He closely collaborated with Sun Yat-sen, the first President of the Republic of China, and was already a close co-worker with Chiang Kai-shek during his early days as a low-rank officer. The two families, Chiu and Kai-shek, were closely related through marriage and friendship. Teng’s first wife, Rhoda, was a niece of Mejling Soong, the wife of the then General Chiang Kai-shek. They got married in China, in Shanghai, where the family of Rhoda lived in, affluent enough to give her a good education from Saint Jones University in Shanghai. Through this marriage, Teng was also connected to the influential Soong family, with one of Mejling’s sisters, with radical political ideas, marrying Sun Yat-sen.

Gulangyu Island, as well as Xiamen, were very special places in China at the time Teng was born and it was very much for this reason that the life of Teng went the way it did. Xiamen was a treaty port with Western concessions and Gulangyu Island enjoyed a status of an enclave where the late Qing dynasty allowed foreigners to have land. Numerous consulates were set up as so Christian churches and missions and schools run by the missionaries. Representing different dominations the missions still worked together with the purpose of spreading their word in other parts of China. Next to Westerners were rich Chinese who would build opulent mansions with lush gardens or parks. Unlike Xiamen, Gulangyu Island was a place of affluence with very limited contact with Xiamen itself for there were few reasons for the Islanders to cross the water.

It is this mixture of Western and Eastern culture that Teng was exposed to that prepared him for his eventual departure to the West. The Island also taught him that these two cultures can intermingle with a mutual benefit, for each has something unique to offer. There was no complete integration, but it was very common for Westerners to carry Chinese names and speak Chinese, while many Chinese would use English names and speak English. The life style was very leisurely, with most families having somebody who played music and/or painted, so that Teng was exposed to art, including Western art, very early. He definitely had to learn some art at a local missionary schools since, given Victorian tradition, they emphasized art education. The girl school run by his father had an art teacher, one of the ladies from within Western segment of the population. Given their major focus on sports, it is not surprising that Teng became interested in tennis and basketball as well.
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Teng’s father had planned for Teng to get an academic education and at the age of fourteen, in 1917, he sent him to the Anglo-Chinese College of the London Missionary Society in Tiensin, Northern China. Similar to many of the other children in Chiu’s family he was eventually sent for further education to the West. This was one of the major payoff of being the pastor for the London Mission Society, since Society would typically send children of their pastors to England to train them as teachers and send them back to China to stuff their schools or churches . Of the four of his sisters, at least one attended a major Western University, i.e., the London University. And one of his two brothers studied sociology and economics at Cambridge University. Upon his graduation from Tiensin college in 1920, Teng came to the United States to study history and archeology at Harvard, where he spent at least a semester. He discovered later that he was much more interested in painting, so the following year, in 1921, he joined the School of Art at the Museum of Fine Arts in Boston (to be tutored by Irwin Hoffman).

Off to Europe In 1923 , upon his father’s instruction, Teng sailed to Europe for both further studies and the opportunity to join his sister, who studied then in London. But he changed his plans and decided to go to France first. There, he enrolled at the Ecole de Baux Arts, but due to his father objections -- and the threat of losing his allowance -- Teng moved to England. He first enrolled at the University of London ,in 1924, where he took art classes and attended various lectures. Later, in February 1925, he enrolled at the Royal Academy of Arts where his studentship expired in February 1930. He passed all annual exams during 1925-1929.

He studied painting under Sir George Clausen and Sir Walter Russell, as well as Mr. Charles Sims. While at the Royal Academy School, he broke all previous records by being the only student to win all the prizes and scholarships in every competition into which he entered. In 1926, he was also the first foreigner elected as an associate member in the Royal Society of British Artists.
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The long list of Teng’s recognition at the Royal British Academy started in 1925, when he won the Royal Academy scholarship, funded by the Royal family, which allowed him free access to instruction, models, an art studio, and the costs of accommodation. He also was awarded a Landseer Scholarship in 1926, which provided him with quarterly allowance to cover his expenses. In 1926 he received Cresvick Prize (First Prize for the “Two Painted Figures” and Second Prize for the “Set of Four Figure Drawings”) and other recognitions followed, including the Armitage Prize in 1928. In 1928, Teng also won the Royal Academy silver medal, and, in 1929, he had the distinction of being the only foreign artist ever to be awarded the Royal Academy Turner Prize (Gold Medal for Landscape Painting).

From 1925 through 1930, Chiu traveled and painted in most of the counties of the British Isles; virtually spending all his summers involved in outdoor painting. One summer he painted in Cornwall, particularly around the small fishermen village Polperro. The next he spent in East England, another in the northern counties and one in the Lake District. Next Teng decided to pack up and go for summer to Scotland in order to penetrate its coastal areas. His exhibitions -- mostly of landscapes -- were met with such popularity that many of his paintings were quickly sold. He first started exhibiting at the New England Art Club, and he even sent his early paintings to the French Salon and the Royal Academy (with the total of six acceptances to its annual exhibitions). His first one-man show was at the Claridge Gallery in 1929. Her Majesty Queen Mary honored the show with a official visit, and, apparently, all the hanging paintings sold within a few days after the royal visit. From 1926 on, Teng’s works were selling well enough for him to be financially independent.
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During this period of success, his interest in Chinese art was renewed. When he originally left China he had not been exposed to Chinese painting, except for some classes in calligraphy. He worked for most of 1930 at the British Museum in its China Division under Mr. Laurence Binyon, a famous Orientalist (among other things the curator who organized the Charles Freer Collection of Oriental Art in Washington D.C.). In the same year, to reunite with hisnparents, that he helped financially using his prize money and money from his sales, he returned to China. He continued to paint, most likely around Gulangyu Island, and there is a number of oils from this period that depict the Island and places in Xiamen. In 1931, the following year, Teng Chiu managed to assemble a group of paintings for an exhibition in Beijing. But he made almost no sales so that it became clear to him that he cannot support a family of his own living in China.

In 1932, because of the Japanese invasion of Manchuria, and the threat posed to Beijing, Teng left for Bali. He spent his Bali days with two Prix de Rome art students, John Sitton, later with the Cornell University’s Art Department, and Kenneth Johnston, later the chair of the Architecture Department at the University of Pennsylvania. They settled in the Chinese community that at the time already played there an important economic role, including in trade and textiles. Paintings from this stay were presented in Batavia, Java, where he spent the rest of 1932, and from the works preserved it is clear that during this stage of his artistic life Chiu was greatly influenced by French post-impressionist, Paul Gauguin in particular. In contrast to post-impressionist who would depict places like Bali, or in the case of Gauguin – Tahiti, as primitive and exotic, Teng would concentrate on the harmony of humanity and nature.
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Teng returned to China in 1933, and in this year, in Shanghai, he had another exhibition of his works. Growing political turmoil in China forced him to move to Indochina and Siam, where he stayed for more than a year, and he painted in Cambodia and Angkor as well. In 1935, he traveled back to China, and it was at this point when Teng and Rhoda got married. This year he gave an exhibition in Hong Kong and shortly thereafter they left Hong Kong for Europe. This was their honeymoon trip, for which Rhoda, a real party-goes and socialite, took forty four trunks of clothes. This information comes from the Jacob’s family, out of Guilford near London, with whom Teng stayed as the Academy student.

After making a number of stops, they made to Spain, where they visited, among others, Granada, Toledo, Madrid, and Barcelona. Teng eventually decided to settle in a small fishing village in Tossa de Mar, on the French border. Fearing of political turmoil -- with civil war approaching – Teng, and his wife, left Spain. They first stopped in Paris, and then boarded a ship to London. From London, he left for a painting tour of Scotland, which took him far north to the Cape Wrath. Many of his works from this trip were then presented at a one-man show organized in London, following the Great Chinese Exhibition of 1936.
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On the evening of the private viewing of his paintings in London, Teng took a boat for Marocco, passing first through Portugal and then through Tangier. It is not clear whether he was joined by his wife or not. In Marocco, he spent one of his most intense periods, leaving scores of paintings. He resided in Marrakesh, where he shared space with James McBey, a vey popular etcher, and visited many other cities, including Rabat and Fez. In 1937, he returned to England for a brief stay, and then left with his wife for continental Europe. He visited Germany, including Berlin and Dresden, and traveled to Austria, Hungary, Czechoslovakia, and Italy. He returned to England in 1938, and then packed his bags for the United States, where he stayed the rest of his life. He traveled intensely through the United States, visiting, among others, Florida, North Carolina, Arizona, and California.

He initially lived in New York on Park Avenue with his wife, and both quickly became socialites frequenting the most prestigious parties and gatherings in New York. In 1942, Chiu held his first American one-man exhibition of paintings at the Knoedlers, one of the most important galleries at the time, and, in fact, still in existence in New York. The show was very well received /with one of the paintings from this show was subsequently included/ at the 1947 Carnegy Institute Annual Exhibition of American paintings. There was also a few-page article -- with four color reproductions of paintings from the Knoedler Gallery show -- about Chiu’s work that was published in the March 1943 issue of “Esquire” by a well-know art critic Harry Salpeter.

Teng & Georgia O'Keefe While in New York, Chiu befriended Georgia O’Keeffe, who took a great liking of his work. After leaving for New Mexico (Abiquiu), she still remained in close contact with Chiu. Chiu paid at least one visit to her house in New Mexico, in 1944. He stayed about two weeks and he painted there with his host. He also held a show of his work in Santa Fe. Their correspondence and photographs from these visits have been preserved, with the last letter -- inviting Chiu to Abiquiu -- dated 1955. The friendship had a lot to do with the artistic affinity of the two artists. Importantly, O’Keeffe was under strong influence of oriental, particularly Chinese, art. Her teacher Arthur W. Dow was a student of Asian art, himself trained by Ernest Fenollosa who spent much of his life in East Asia. While O’Keefffe was drawn away from a more traditional style of Dow to an abstract painting she retained strong attachment to the artistic philosophy of her teacher. In her words “Of course my favorite is Chinese painting. I’d still say it’s the best that’s been done” (see: S.R.Udall, O’Keeffe and Texas, San Antonio, 1998). Among few paintings hanging in her adobe house in Abiquiu most were from the Far East.
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Many of the qualities that Dow considered to essential in painting can be found in Chiu’s works, and this is what attracted O’Keeffe to the work of Chiu. Dow argued that painting should not be like sculpture, three-dimensional, but rather that it should be two-dimensional, seeking a harmony of beautiful spaces. Chiu’s painting definitely display this quality with their remarkable flatness and their interplay of carefully designed spaces, usually divided with horizontal demarcations. Similarly, one can find in Chiu’s paintings such qualities cherished by Dow as an effort to create pure pictorial synthesis, a clear reverence for landscape (particularly marine scene -- ports, beaches, archipelagos -- which reminded him of his native Amoy island), retreat into unpeopled spaces, as well as a powerful commune with nature, seen as peaceful and serene (Ibid).

Chiu eventually left New York for Connecticut, where he established his studio and began commercial work for local printing shops and textile design studios. This move from New York was in great part related to Chiu’s divorce, having a lot to do with the politics of the Chang Kai-Shek clan in the United States. Chiu remained married at least through 1945 as indicated in some correspondence directed to both of them. Chiu was active in the artistic community and established close contacts with other Chinese painters living in the United States. In 1956 he was invited to Yaddo, Saratoga Springs, N.Y. and he also participated in a summer colony in Bennington in late 1957-early 1958 as a guest of The Edward Macdowell Association, Inc.. After leaving New York, his work was not shown as frequently as before, though he continued to receive awards for his work.
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Teng Passes Teng Chiu was paralyzed and confined to bed for a number of years before his death and during this period he was relatively inactive as a painter. In 1957, under bizarre circumstances he was severely bitten by two youngsters in Hancock, N.H., with the incident being covered by the local press. During the last years of his life he was taken care by a nurse, who eventually became his second wife, Ann Baret. When brought to the New Britain Museum of American Art for his 1971 exhibition, his mental state had deteriorated to such a degree that he was not even aware of the event. Chiu died at the age of 68 in Glastonburry, Connecticut in 1972. With the help of his wife, the works of Chiu were shown in 1976 by a local gallery. She died shortly thereafter and Chiu’s left no children.
There is very little left behind in terms of personal documents: photographs, writings, etc.

Until very recently, the 1976 show was the last retrospective of Chiu’s paintings and his name was forgotten for almost two decades. Only recently some of Chiu’s works have appeared in major auction houses, both in Great Britain and in Taiwan, i.e., through Taipei Sotheby’s auction of modern Chinese oil paintings, drawings and watercolors. There were no sales from 1996 onward until the auction of the Madame Chiang Kai-shek estate in Long Island, New York in January 1999. During the sales a single painting by Chiu titled “Lake Lure, North Carolina” was auctioned. It is one of the two similar paintings included in the 1942 exhibition at Knoedler’s, New York. Presumably, this painting was a gift from Chiu to his aunt.

In 2003, the Frye Art Museum in Seattle put together the first in almost thirty years show of Chiu’s paintings from a private collection of Kazimierz Z. Poznanski, professor at the University of Washington, Seattle. Fifty five oil paintings were included in this show, which attracted about forty thousand visitors. A bilingual catalog “The Path of the Sun. The World of Teng Chiu” was published and number of reviews and articles in followed in.

This way Chiu’s art was reintroduced into United States, and eventually it was brought to the attention of artists and art critics in China as well. In January 2005, the official monthly magazine of the China Artists Association “Art” published a lengthy feature about Chiu.

The next major exhibition, at Robert V. Fullerton Art Museum California State University – San Bernardino, California is scheduled for 2007.
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Fascinated with its musical traditions, by discovering Teng Hiok Chiu, Gulangyu Island has rediscovered also its incredible contribution to the art life. Apparently, Teng was not the only talented painter who would come from the Island, with most of them, like himself, eventually leaving Gulangyu for some foreign places. Editor of “Xiamen Evening News”, Zhu Jialang, organized a seminar about Chiu and initiated the printing of a series of articles about Chiu, while Vivian Wang wrote a piece for “Xiamen News”. Bill Brown, professor at Xiamen University devoted to Chiu a few pages of his 2005 guidebook on Gulangyu Island. Local artists, including Xu Li and Tang Shao Yun, would quickly recognize the genius of Chiu and the fact that he probably was the best of his generation. They also started circulating an idea of establishing a separate museum to house the works of Chiu and other painters of his generation who lived on the Island.

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CRITICAL COMMENTS
“His sensitive eye is not satisfied with seeing, and his hand is quick to suggest the subtle nuances in nature that give spiritual significance to art”, “Morning Post”, London, 1930

“Refinement of eye, sensitiveness of hand-these are Mr. Chiu’s special gifts in a high degree. What he has learned of European methods, he has learned thoroughly; he has not, like many Oriental painters before him, half learned his lessons and produce a straggling hybrid. He uses oils with the fluency that his countrymen practice in ink and water color. You might perhaps infer his personality from his work, hardly his nationality” Lawrence Binyon, 1930 (introduction to the exhibition catalogue, Fine Arts Society, November, 1936)

“One cannot look at a roomful of Teng Chiu’s paintings without realizing how pervasive is his gift of presenting us with the smiling aspects of Nature. He hands us the world-sunny side up. His view of Northern Scotland for example, is hardly less tropical than that of Tangier or Java. Only occasionally, in his sense of design, does one feel the presence in his work of a man of the Orient. Otherwise his work belongs in the tradition of Western art. He is an Oriental also in the lightness and deftness of touch with which he has subdued, to quote Mr. Binyon, the Western style of painting. whose media most other artists of Oriental origin find so heavy and cumbersome. Chiu gives to the oil medium something of the graciousness of water color without losing the substantiality of oil. The views of the world which he gives us, although all bear the signature of one individual, are sufficiently various to add to the attraction which his work must have for those who are content to leave social significance to the sociologists” Harry Salpeter, Esquire”, 1942 (February)

“It is obvious that these places served only as points of departure for the artist into the realm of personal expression in which forms are simplified to the last degree and values differentiated with a sensitiveness and subtlety that seem to leave the work hovering between reality and the abstract” “New York Sun,” 1942

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“Teng Chiu has fluency of touch, rare purity of color and keenly sensitive eye for the synthesis of landscape” Mellvile Upton, “New York Sun”, 1942

“Teng Chiu ... is endowed with a clarity of vision that washed any nonessential detail. It produces a pristine, cleansed world which the artist records with the aestetic discipline of his race” Frank Caspers, “Art Digest”, 1942

“The best of the work is crisply and briskly and decoratively delightful. Teng Chiu likes clear, fresh, high-keyed color, and he likes to lay it on, thick and juicy, in a pattern of patches that tends -- sometimes more, sometimes less -- toward the abstract side”.
Edward Alden Jewell, “New York Times, 1942

“...shows the color patches so frequently used by Matisse and Marquet -- a phase of painting that falls between realism and functional abstraction plus a distinct imaginative approach to the subject matter”. Alfred Morang,”El Palacio”, Santa Fe, 1994 (August)

”His paintings remind us how beautiful nature can be when it is viewed by a quiet eye and a poetic imagination and by an artist whose technique is strong and yet does not intrude upon the sensitivity of the execution”. Florence Berkman, Hartford Time, 1971

London, Claridge Gallery, 1929 (Queen Mary attended)
Paris, 1929
London, Joseph Duveen Exhibition, 1929
London (under auspices of China Society), 1930
Liverpool, Walker Gallery, 1930
Peking, Institute of Fine Arts, 1931
Shanghai, 1933
Batavia, Bandoeng, and Samarang, Java, 1933
Saigon, Continental Gallery, 1934
Hong Kong, 1935
London, Fine Art Society, 1936
New York, Knoedler Gallery, 1942
Dayton, Art Institute
Indianapolis, John Herron Art Institute
New London, Conn., Layman Allyn Museum
New Britain, New Britain Museum of American Art,1971

Royal Academy Exhibiton, London (summer shows) entries:
1927 “A Summer Day in Essex” ... 1928 “Near Deadham, Essex”
1930 “Wensleydale, Yorkshire” ... .1931 “Waterside, Polperro”
1937 “Moulay Irdis, Marocco” ... ..1938 “After Rain, Ullapool, Scotland”

Salon d’Automne, Paris
Salon de Independents, Paris
Museum of Fine Arts, “Art in Transition”, Boston (March 23-May 30), 1977
Metropolitan Museum of Art, New York
National Academy of Design, New York
Alliance of Artists of America, New York, 1946
Carnegie Institute, “Painting in the United States”, Pittsburgh, 1947
Yale Museum Gallery, New Haven, Conn.
City Art Museum, Cincinnati
City Art Museum, St. Louis
Museum of New Mexico, Santa Fe, 1944

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MAJOR AWARDS
Olympic Bronze Medal, Paris, 1924 (basketball)
Landseer Award for Best Work, London, 1925
Royal Academy Silver Medal, London, 1926
Creswick Prize (Landscape), London, 1926
Royal Academy Silver Medal, London, 1926
Royal Academy Silver Medal for Figure Painting, London, 1928
Salon Medal for Oil Painting, Paris, 1928
Second Armitage Prize (Composition), London, 1928
Turner Prize (Royal Academy Gold Medal for Landscape Painting), 1929
Oil Painting Prize, Alliied Artists of America, N.Y., 1944

WORKS EXHIBITED

Royal Society of British Artists

1931 Bradford Grassington, Yorks Silver Moor, Whorfdale

1931 (winter) Grassington, Yorks Kilnsey ...Village Street in Cornwall
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1932 Silver Moor Wharfedale, Yorks North Wales

1932 (winter) Blue Summer,.. Polperro Harbor,...In North Wales,. Landscape

1933 Polperro Harbor, Polperro Harbor, The Narrow Street

1933 (winter) Yorkshire, Waterside Polperro, Farm in Wiltshire

1934 Street in Cornwall, Yorkshire, ..Bardon Moor, Yorks

1936 Near Norfolk Coast, Landscape, Silver Morning

1936 Bridge of Longevity, Peiping (Beijing), Great Wall, Near Peiping (Beijing),
Frontier of Spain
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Knoedler, New York, 1942
(November 2 - 21)

1. Approach to Drum 2. Great Wall, Near Peiping 3. The Lake District, England
4. Ullapool, Scotland 5. Loch Broom and Summer Isles 6. By the Blue Mediterrenian
7. Street in Tossar, Spain 8. Landscape Near Balcelona 9. Dancer, Bali
10. Market-Place in Java 11. Tangier 12. Street in Tangier 13. Azrou, Marocco
14. Outskirt of Marrakesh 15.The Holly City, Marocco 16. Lower Manhattan
17. Central Park, Late Summer 20. Central Park, Winter 21. East River, New York
22. Snow in North Conway 23. Whitefield Village 24. Storm Near Mount Washington
25. San Francisco Bay 26. Grand Canyon 27. Road to Taos 28. Lake Lure, North Carolina
29. Lake Lure, North Carolina 30. Palm Beach North 31. Palm Beach South
32. Miami Beach I, 33. Miami Beach II

New Britain Museum of American Art, 1971
(February 13 - Marcg 14)

1. China, 1931, 20 x 26
2. Balinese Dancer, 1932, 29 x 21 1/2
3. Market Place in Java, 1932, 16 x 12
4. Summer Isles, 1936, 20 x 24
5. Ullapool, Scotland, 1936, 17 1/2 x 21 1/2
6. Summer Isles, Scotland, 1936, 20 x 30
7. Loch Broom, Scotland, 1936, 30 x 38
8. Loch Broom and Summer Isles, 1936, 24 x 30
9. North Wales, c. 1936, 16 x 20
10. Red Tree by the Mediterrenian, 1937, 28 x 36
11. Street in Tangier, Marocco, 1937, 24 x 30
12. Tangier, Marocco, 1937, 16 x 20
13. Street in Tossar, Spain, 1937, 24 x 36
14. Tangier, 1936, 8 x 9 1/2
15. Two Boats, c. 1936, 20 x 25 1/2
16. Boats on Shore, 1936, 14 x 18
17. Landscape near Barcelona, 1937, 16 x 22 1/2
18. Spanish Lanscape, c. 1937, 12 1/2 x 15 1/2
19. Venice, Italy, c. 1937, 24 x 30
20. Winter, Central Park, New York, 1939, 20 x 24
21. Lower Manhattan, c. 1940, 25 x 30
22. Winter in the Park, c. 1940, 30 x 25
23. Maine Coast, c. 1940, 25 x 30
24. Miami Beach, Florida, 1941, 18 x 32
25. Storm Near Mount Washington, 1941, 25 1/2 x 30
26. Taos, New Mexico, c. 1939, 24 x 30
27. Snow in North Conway, N.H., c. 1945, 25 x 30
28. Landscape, New Mexico, c. 1939 ,16 x 20
29. Farm, Pownal Valley, Vt., c. 1948, 16 x 20
30. Pownal Center, c. 1949, 16 1/2 x 20 1/2
31. Church at Pownal Center, c. 1948, 16 x 20
32. Pownal Valley, c. 1948, 21 x 25
33. Old Route 7, Pownal Center, c. 1948, 15 x 18
34. Road to Bennington, 1949, 14 x 16
35. Buildings, Pownal Center I, c. 1945, 20 x 25
36. Buildings, Pownal Center II, c. 1945, 12 x 16
37. Pownal Center, 1945, 14 x 18
38. Blue Tree, c. 1937, 20 x 24
39. Horses, c. 1940, 36 x 28
41. Picnic, c. 1937 10 1/2 x 7 1/2