Works in the Exhibition
Dimensions are given in inches followed by centimeters; height precedes width.
Each entry includes a record of the exhibitions of the work within Eakins’ lifetime, as well as in the memorial exhibitions organized after his death in 1916. The titles assigned by Eakins or by others to his works have varied considerably, even during the artist’s life. Thus, it is sometimes difficult to establish exactly which works were included in a specific exhibition. The titles given in the exhibition record retain the peculiarities of spelling and capitalization found in Eakins’ notebooks, exhibition catalogues, contemporary reviews, and Lloyd Goodrich’s papers (PMA).
The Champion Single Sculls, 1871 (fig. 4)
Oil on canvas
32 ¼ × 46 ¼ (81.9 × 117.5)
The Metropolitan Museum of Art, New York; Purchase, The Alfred N. Punnett Endowment Fund and George D. Pratt Gift, 1934
PROVENANCE: Max Schmitt (sitter), Philadelphia; Mrs. Louise S.M. Nache (sitter’s widow), until 1930; Mrs. Thomas Eakins, Philadelphia, 1930–33; (Babcock Galleries, New York, 1930–31); (Milch Galleries, New York, 1934)
EXHIBITIONS: Philadelphia, Union League of Philadelphia, 1871, as The Champion Single Sculls
Sketch of Girard Avenue Bridge, c. 1871 (fig. 14)
Verso: Sketch of an oar (fig. 15)
Pencil on paper
4 ⅛ × 6 ⅞ (10.5 × 17.5)
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; Gift of Joseph H. Hirshhorn, 1966
INSCRIPTIONS (verso): left oar looking out to the blade; letters S and P at l.l ., erased
PROVENANCE: Charles Bregler, Philadelphia; Joseph Katz, Baltimore; (M. Knoedler & Co., New York, 1961); Joseph H. Hirshhorn, New York, 1966
The Pair-Oared Shell, 1872 (fig. 19)
Oil on canvas
24 × 36 (61 × 91.4)
Signed and dated on verso, c.r.: EAKINS /1872
Philadelphia Museum of Art; Gift of Mrs. Thomas Eakins and Miss Mary Adeline Williams
PROVENANCE: Mrs. Thomas Eakins, Philadelphia; Charles Bregler, Philadelphia
EXHIBITIONS: New York, Thomas’s Saloon at the Lotos Club, 1877(?), as Biglens under the bridge (Biglens Practicing); Long Branch, New Jersey, unspecified venue, summer 1878, as Biglens under the bridge (Biglens Practicing); New York, National Academy of Design, “54th Annual Exhibition,” April 1–May 31, 1879, as A Pair-oared Shell; Chicago, Art Hall, “Inter-State Industrial Exposition of Chicago,” September 8–October 23,1880, as Biglens Practicing; Philadelphia, Pennsylvania Academy of the Fine Arts, “52nd Annual Exhibition,” April 4–May 29, 1881, as Biglen brothers practising; Denver, National Mining and Industrial Exposition, “1st Annual Exhibition,” August 1–September 30, 1882, as Biglens under the bridge (Biglens Practicing); Washington, D.C., United States Capitol, “National Exposition for the Benefit of the Garfield Monument Fund,” November 25–December 3, 1882, as Biglens under the bridge (Biglens Practicing); Boston, New England Manufacturers’ and Mechanics’ Institute, “New England Industrial Exhibition,” September 5–November 3, 1883, as The Biglens Practicing; possibly included in Philadelphia, Earle’s Galleries, one-artist exhibition, opened May 11,1896; Philadelphia, Faculty Club, University of Pennsylvania, opened February 16, 1901, as Biglin Brothers, the centennial oarsmen, rowing under Columbia Bridge; Philadelphia, Pennsylvania Academy of the Fine Arts, “111th Annual Exhibition,” February 6–March 26, 1916, perhaps the work exhibited as Pair-oared Shell but cited in Thomas Eakins’ notebooks separately from other citations for this painting; St. Louis, City Art Museum, “11th Annual Exhibition of Selected Paintings by American Artists,” September 3–October 29, 1916, perhaps the work exhibited as Pair-Oared Shell but cited in Thomas Eakins’ notebooks separately from other citations for this painting; New York, The Metropolitan Museum of Art, “Loan Exhibition of the Works of Thomas Eakins,” November 5–December 3, 1917, as Pair-oared Shell; Philadelphia, Pennsylvania Academy of the Fine Arts, “Memorial Exhibition of the Works of the Late Thomas Eakins,” December 23,1917–January 13, 1918, as Pair-Oared Shell
Perspective Drawing for The Pair-Oared Shell, c. 1872 (fig. 20)
Pencil, ink, and wash on paper
31 1/16 × 47 ⅛ (78.9 × 119.7)
Philadelphia Museum of Art; Purchased with the Thomas Skelton Harrison Fund
INSCRIPTIONS: in pencil, l. and c., numbered grids; r., calculations; various dimensions on bridge pier
PROVENANCE: Mrs. Thomas Eakins, Philadelphia, until 1930; Charles Bregler, Philadelphia, until 1944
Perspective Drawing for The Pair-Oared Shell, c. 1872 (fig. 21)
Pencil, ink, and watercolor on paper
31 13/16 × 47 9/16 (80.8 × 120.8)
Philadelphia Museum of Art; Purchased with the Thomas Skelton Harrison Fund
INSCRIPTIONS: in pencil, l. of c., lines numbered 1–5; r. of c., 1–15; parallel lines numbered 16–64; black ink over pencil, l., 96 340 42/ 340 ft. reflection of trees on near side of wave/ 200 ft. offside of a man hidden by wave itself; in pencil, u.l., upside-down, top John’s head from 16 ft to 25 ft reflection/ Barney 17 ft to 25 " "/ Side of boat from 28 37 "/ centre oar at outrigger 23 32 "/ Top shirt John 19 28/ Top corner oar 25 ½ 29/ Centre of cloud 36; in black ink over pencil, l. of c., Port outrigger reflection from 34 to 44/ Starboard " 33 to 40
PROVENANCE: Mrs. Thomas Eakins, Philadelphia, until 1930; Charles Bregler, Philadelphia, until 1944
The Biglin Brothers Racing, 1872 (fig. 22)
Oil on canvas
24 ⅛ × 36 ⅛ (61.3 × 91.8)
National Gallery of Art, Washington, D.C.; Gift of Mr. and Mrs. Cornelius Vanderbilt Whitney, 1953
PROVENANCE: Mrs. Thomas Eakins, Philadelphia, 1916; (E. A. Milch & Co., New York, 1933); Whitney Museum of American Art, New York, 1933–50; (M. Knoedler & Co., New York, February 18–April 19, 1950); Mr. and Mrs. Cornelius Vanderbilt Whitney, 1950–53
EXHIBITIONS: Philadelphia, Pennsylvania Academy of the Fine Arts, “Memorial Exhibition of the Works of the Late Thomas Eakins,” December 23, 1917–January 13, 1918, as Biglen Brothers Ready to Start Race
Bridge Study,, c. 1872 (fig. 24)
Pencil on paper
8 1/16 × 5 15/16 (20.5 × 15.1)
Pennsylvania Academy of the Fine Arts, Philadelphia; Charles Bregler’s Thomas Eakins Collection, Purchased with the partial support of the Pew Memorial Trust and the John S. Phillips Fund
INSCRIPTIONS: in pencil, l.l., upside-down, W.S.W.; c., width straight/ across/ 9 yds; u.c., 87 2 89 ft/ 29 yds 2 ft
PROVENANCE: Mrs. Thomas Eakins, Philadelphia, 1917–38; Charles Bregler, Philadelphia, 1939–58; Mary Bregler, Philadelphia, 1959–85
Perspective Drawing for The Biglin Brothers Racing, 1872 (fig. 25)
Ink, colored ink, pencil, and watercolor wash on paper
31 ⅞ × 47 ⅝ (81 × 121)
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; Gift of Joseph H. Hirshhorn, 1966
PROVENANCE: Charles Bregler, Philadelphia; Joseph Katz, Baltimore; (M. Knoedler & Co., New York, 1961); Joseph H. Hirshhorn, New York, 1966
Exhibited only in Washington and New Haven
The Biglin Brothers Turning the Stake, 1873 (in Eakins’ record books as “Biglen Brothers turning Stake-boat”) (fig. 26)
Oil on canvas
40 × 59 ½ (101.6 × 151.1)
Signed and dated l.l.: EAKINS 73
The Cleveland Museum of Art; Hinman B. Hurlbut Collection
PROVENANCE: Mrs. Thomas Eakins, Philadelphia, until 1927
EXHIBITIONS: Long Branch, New Jersey, unspecified venue, summer 1878, as Biglen Brothers turning the Stake-boat; Boston, Massachusetts Charitable Mechanics’ Association, “13th Exhibition,” September 2–November 2, 1878, as Turning the Stake; Philadelphia, Philadelphia Society of Artists, “2nd Annual Exhibition,” November 1–December 6, 1880, as Turning the Stake, A pair oared Race; St. Louis, Art Hall, “21st St. Louis Fair,” October 3–8,1881, as Turning the Stake-Boat; Denver, National Mining and Industrial Exposition, “1st Annual Exhibition,” August 1–September 30,1882, as Biglen Brothers turning the Stake-boat; New York, The Metropolitan Museum of Art, “Loan Exhibition of the Works of Thomas Eakins,” November 5–December 3,1917, as The Biglen Brothers Turning the Stake-Boat
The Oarsmen, c. 1873 (fig. 28)
Oil on canvas
14 × 18 (35.6 × 45.7)
Portland Art Museum, Oregon; Mrs. Blanche Hersey Hogue Bequest
PROVENANCE: The Portland Art Association, until 1927; Mrs. Blanche Hersey Hogue, 1927–54
EXHIBITIONS: Philadelphia, Pennsylvania Academy of the Fine Arts, “Memorial Exhibition of the Works of the Late Thomas Eakins,” December 23, 1917–January 13, 1918, possibly work exhibited as Professional Oarsmen (Sketch)
Perspective Drawing for The Biglin Brothers Turning the Stake, c. 1873 (fig. 29)
Pen and colored ink, pencil, and ink wash on paper
31 ⅞ × 47 11/16 (81 × 121.1)
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; Gift of Joseph H. Hirshhorn, 1966
PROVENANCE: Mrs. Thomas Eakins, Philadelphia; Charles Bregler, Philadelphia; Joseph Katz, Baltimore; (M. Knoedler & Co., New York, 1961); Joseph H. Hirshhorn, New York, 1966
EXHIBITIONS: Cincinnati, “Seventh Cincinnati Industrial Exposition,” September 10–October 11, 1879, as A Pair-oared Race
Perspective Drawing for The Biglin Brothers Turning the Stake, c. 1873 (fig. 30)
Pencil and brown wash on paper
13 15/16 × 17 (35.4 × 43.2)
The Cleveland Museum of Art; Mr. and Mrs. William H. Marlatt Fund
PROVENANCE: Charles Bregler, Philadelphia, 1942
Perspective Studies for John Biglin in a Single Scull, c. 1873 (fig. 31)
Pencil, ink, and wash on two sheets of paper joined together
27 ⅝ × 45 3/16 (69.6 × 114.8) (sight)
Signed near center: Eakins
Museum of Fine Arts, Boston; Gift of Cornelius V. Whitney
INSCRIPTIONS: in pen and pencil, u.c. and pasted to r., in French, Limité des reflets dans les vagues/ haut de la chemise 24 . . . / . . . tête 22 / genou 28 ~ 17/ point d’appuis de Vaviron 29 18/ haut de la boute du canot 32 ½ 21
PROVENANCE: Mrs. Thomas Eakins, Philadelphia; Charles Bregler, Philadelphia; (Milch Galleries, New York); Whitney Museum of American Art, New York, 1933–c. 1950; (M. Knoedler & Co., New York); Cornelius V. Whitney
John Biglin in a Single Scull, 1873 (fig. 32)
Watercolor on paper
16 ⅞ × 23 15/16 (42.9 × 60.8) irregular
Signed and dated l.r.: EAKINS/1873
Paul Mellon Collection, Upperville, Virginia
PROVENANCE: Jean-Léon Gérôme, Cannes la Bocca; Dr. Picot; Mr. Teissier; Mme. DuFrene, Cannes la Bocea; Hedouard Perrier; Claire Perrier, his daughter; by descent through the family; (Christie’s, May 23, 1990)
EXHIBITIONS: New York, American Society of Painters in Water Color, “7th Annual Exhibition,” February 1874, as John Biglin, of N.Y, the Sculler Exhibited only in Washington and New Haven
John Biglin in a Single Scull, c. 1873 (fig. 33)
Watercolor on paper
19 15/16 × 24 ⅞ (50.6 × 63.2)
The Metropolitan Museum of Art, New York; Fletcher Fund, 1924
PROVENANCE: Mrs. Thomas Eakins, Philadelphia, 1916–24
EXHIBITIONS: Philadelphia, Pennsylvania Academy of the Fine Arts, “A Collection of Water-Color Drawings, Loaned to the Pennsylvania Academy of the Fine Arts,” December 3,1877–January 12,1878, probably watercolor exhibited as John Biglen; Cincinnati, “7th Cincinnati Industrial Exposition,” September 10–October 11,1879, possibly work exhibited as The Single Sculler, New York, The Metropolitan Museum of Art, “Loan Exhibition of the Works of Thomas Eakins,” November 5–December 3, 1917, as John Biglen in a Single Scull;, Philadelphia, Pennsylvania Academy of the Fine Arts, “Memorial Exhibition of the Works of the Late Thomas Eakins,” December 23,1917–January 13, 1918, probably work exhibited as John Biglen in a Single Scull (Water Color)
Exhibited only in Cleveland
John Biglin in a Single Scull, 1874 (fig. 34)
Oil on canvas
24 ⅜ × 16 (61.9 × 40.6)
Signed and dated on verso: Eakins 1874
Yale University Art Gallery, New Haven; Whitney Collections of Sporting Art, given in memory of Harry Payne Whitney, B.A. 1894, and Payne Whitney, B.A. 1898, by Francis P. Garvan, B.A. 1897, M.A. (Hon.) 1922
PROVENANCE: Mrs. Thomas Eakins, Philadelphia; (Babcock Galleries, New York); Col. Henry Penn Burke, Philadelphia, c. 1928; (Macbeth Galleries, New York); Francis P. Garvan, New York, 1932
EXHIBITIONS: New York, American Art Association, “2nd Annual Exhibition of Sketches and Studies,” opened October 19, 1883, possibly work exhibited as Study of a Man Rowing, Philadelphia, Pennsylvania Academy of the Fine Arts, “Memorial Exhibition of the Works of the Late Thomas Eakins,” December 23,1917–January 13,1918, as John Biglen, Single Scull
The Schreiber Brothers (The Oarsmen)], 1874 (fig. 35)
Oil on canvas
15 × 22 (38.1 × 55.9)
Signed r.c.: EAKINS 1874
Yale University Art Gallery, New Haven; John Hay Whitney, B.A. 1926, M.A. (Hon.) 1956, Collection
PROVENANCE: Ernest L. Parker; (New York art market); John Hay Whitney
Perspective Study of Rowers for The Schreiber Brothers, c. 1874 (fig. 37)
Pencil on paper
14 1/16 × 17 1/16 (35.7 × 43.3)
Pennsylvania Academy of the Fine Arts, Philadelphia; Charles Bregler’s Thomas Eakins Collection, Purchased with the partial support of the Pew Memorial Trust and the John S. Phillips Fund
INSCRIPTIONS: in pencil, u.l., Picture 5 ft 72 figures/Horizon 6[?] ft/ 60.5:72 in./ 90.5/ [?]"/ 120"; l.l. to l.r., numbered grids, 1–8, 60–113
PROVENANCE: Mrs. Thomas Eakins, Philadelphia, 1917–38; Charles Bregler, Philadelphia, 1939–58; Mary Bregler, Philadelphia, 1959–85
Perspective Study of Bridge Pier and Water for The Schreiber Brothers, c. 1874 (fig. 38)
Pencil on paper
13 15/16 × 17 (35.4 × 43.2)
Pennsylvania Academy of the Fine Arts, Philadelphia; Charles Bregler’s Thomas Eakins Collection, Purchased with the partial support of the Pew Memorial Trust and the John S. Phillips Fund
INSCRIPTIONS: in pencil, u.l., Tableau 5 pieds 60: 5: 48/ Lhorizon 4 pieds/ Le bord lointain 700 pieds/ 700: 5: 48/ [arithmetical notations]; l.c. numbered grids, 1–8, 40–60; l.r. on pier, pier; c.l. on pier, numbering of courses of stone; pinholes throughout design
Verso: perspective grid with arithmetical notations throughout
PROVENANCE: Mrs. Thomas Eakins, Philadelphia, 1917–38; Charles Bregler, Philadelphia, 1939–58; Mary Bregler, Philadelphia, 1959–85
Perspective and Plan for The Schreiber Brothers, 1874 (fig. 39)
Pen, black, red and blue ink and pencil on paper
28 ¼ × 47 ⅝ (71.8 × 121)
Pennsylvania Academy of the Fine Arts, Philadelphia; Gift of Charles Bregler
INSCRIPTIONS: in pencil, l.r., EAKINS 1874; u.l., horizon 4 ft/ Tableau 5 ft/ reflection angle of bridge 54–45/ [Dog?] head 58–46/ Trees 40–60/ Billy’s head 62 I/2 + 85/ Wave 4 [ft?] x 1/16 in/ slope of wave [?] 102 [?]., u.r. on plan numbered grid, 10–0–10; 59–92
PROVENANCE: Mrs. Thomas Eakins, Philadelphia, 1917–38; Charles Bregler, Philadelphia, 1939–49
Oarsmen on the Schuylkill (formerly Pennsylvania Barge Four), c. 1874 (fig. 40)
Oil on canvas
27 ⅝ × 48 ¼ (70.2 × 122.6)
Private collection; courtesy Hirschl and Adler Galleries, New York
PROVENANCE: Pennsylvania Barge Club, Philadelphia; (Griscom Galleries, 1930); The Brooklyn Museum, New York
Sketch of Max Schmitt in a Single Scull (formerly Oarsman in a Single Scull, Sketch), c. 1874 (fig. 42)
Oil on canvas
10 × 14 ½ (25.4 × 36.8)
Philadelphia Museum of Art; Gift of Mrs. Thomas Eakins and Miss Mary Adeline Williams
PROVENANCE: Mrs. Thomas Eakins and Mary Adeline Williams, Philadelphia
Plan and Cross-Section for Oarsmen on the Schuylkill, c. 1874 (fig. 43)
Pencil and ink on paper
47 ⅝ × 31 ⅝ (121 × 80.3) irregular
Pennsylvania Academy of the Fine Arts, Philadelphia; Charles Bregler’s Thomas Eakins Collection, Purchased with the partial support of the Pew Memorial Trust and the John S. Phillips Fund
INSCRIPTIONS: in pencil, u.l., The Biglin Shell/ length 35 ft./ cockpit/ amidships 15 in./ flare 19 in./ centre of boat to centre of outrigger 27 in./ outrigger 6 1/4 inches high above seat,/ oars 12 ft long./ 3ft 6 oar from end to the button., numbered grids, 27–68,11–0–16 and arithmetical notations throughout
Verso: l.r., 4 oared shell Schmitt [illegible]/ & pair oared the Biglons [crossed out]
PROVENANCE: Mrs. Thomas Eakins, Philadelphia, 1917–38; Charles Bregler, Philadelphia, 1939–58; Mary Bregler, Philadelphia, 1959–85
Perspective Study for Oarsmen on the Schuylkill, c. 1874 (fig. 44)
Pencil, ink, and watercolor on paper
26 ¾ × 47 9/16 (67.9 × 120.8)
Pennsylvania Academy of the Fine Arts, Philadelphia; Charles Bregler’s Thomas Eakins Collection, Purchased with the partial support of the Pew Memorial Trust and the John S. Phillips Fund
INSCRIPTIONS: in ink over pencil, u.r., distance of picture 6 ft./ 7 becomes 1/ at the stroke./ eye 36 inches above water., in pencil, stroke 42 ft off/ Seat 3 in high/44; numbered grid, 23–3000 throughout; pinholes throughout
Verso: in pencil, l.l., 4 oared shell/ perspective of; c.r., Biglin/ Brothers
PROVENANCE: Mrs. Thomas Eakins, Philadelphia, 1917–38; Charles Bregler, Philadelphia, 1939–58; Mary Bregler, Philadelphia, 1959–85
Works in the Exhibition