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John Henry Twachtman Catalogue Raisonné
An online catalogue by Lisa N. Peters, Ph.D., in collaboration with the Greenwich Historical Society

Catalogue Entry

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Keywords
OP.1151
Upland Pastures
Alternate titles: November Haze; October Haze
1890s
Oil on canvas
25 x 30 in. (63.5 x 76.2 cm)
Stamped lower left: Twachtman Sale [1903 estate stamp]
Location unknown
Provenance
(American Art Galleries, New York, Twachtman estate sale, March 24, 1903, no. 42);
to William Clancy;
George Frederick Munn;
possibly (Vose, by 1919);
(Robert C. Vose, Boston, by 1932);
(Babcock, by 1942);
Mr. and Mrs. Arnold Kornfeld;
to (Spanierman, 1978);
to (R. H. Love Galleries, Chicago, 1979);
private collection, Villanova, Pennsylvania, by 1994;
to (Spanierman, 2003);
to (Christie's New York, May 24, 2007, lot 42).
Exhibitions
1903–I American Art Galleries
American Art Galleries, New York, Sale of the Work of the Late John H. Twachtman, exhibition and auction, March 19–24, 1903, no. 42, as Upland Pastures.
1919–II Vose probably
R. C. & N. M. Vose, Boston, Exhibition of Paintings by J. H. Twachtman, November 10–22, 1919, no. 10, as October Haze.
1921 Rehn
Rehn Gallery, New York, Twachtman Exhibition, January 1921, as Upland Pastures.
1932 Brooklyn Museum
Brooklyn Museum, New York, Exhibition of Paintings by American Impressionists and Other Artists of the Period 1880–1900, January 18–February 28, 1932, no. 113, as November Haze, lent by Robert C. Vose.
1934 St. Botolph Club
St. Botolph Club, Boston, Exhibition of American Art, January 29–February 17, 1934, no. 15, as November Haze.
1942–I Babcock
Babcock Galleries, New York, Paintings, Water Colors, Pastels by John H. Twachtman, February 9–28, 1942, no. 17, as November Haze.
1980 Hurlbutt Gallery
William Benton Museum, University of Connecticut, Storrs, Connecticut and American Impressionism, March 20–May 31, 1980, no. 66, p. 17 ill. in color, as November Haze.
1982 Smithsonian Institution Traveling Exhibition Service
Smithsonian Institution Traveling Exhibition Service, Musée du Petit Palais, Paris, Lines of Different Character: American Art from 1727–1947, March 31, 1982–January 8, 1983, no. 72, p. 140 ill. in b/w, as November Haze.
1994 Columbus Museum of Art
Columbus Museum of Art, Ohio, Triumph of Color and Light: Ohio Impressionists and Post-Impressionists, February 6–May 15, 1994, pp. 23, 159,, as November Haze.
2002 Spanierman
Spanierman Gallery, New York, The Spirit of America: American Art from 1829 to 1970, November 1, 2002–February 15, 2003, no. 41, as November Haze.
2005 Spanierman
Spanierman Gallery, New York, The Poetic Vision: American Tonalism, November 12, 2005–January 7, 2006, no. 40, pp. 85, 172–73, as November Haze.
2006 Spanierman
Spanierman Gallery, New York, John Twachtman (1853–1902): A "Painter's Painter," May 4–June 24, 2006. (Nelson 2006); (Parkes 2006); (Peters 2006–I); (Peters 2006–II); (Peters 2006–III); (Peters 2006–IV), no. 45, pp. 168–69 ill. in color, as Upland Pastures. Traveled to: Historical Society of the Town of Greenwich, Connecticut, July 13–October 29, 2006.
Literature
New-York Tribune 1903–I
"Art Exhibitions: The Twachtman, Colman and Burritt Collections." New-York Tribune, March 21, 1903, p. 9, as Upland Pastures.
New-York Tribune 1903–II
"Twachtman Pictures, $16,610: Former Pupils Applaud Sales of Favorite Canvases." New-York Tribune, March 25, 1903, p. 9, as Upland Pastures.
New-York Tribune 1921
"Twachtman: The Last Phase of a Remarkable Painter." New-York Tribune, January 16, 1921, p. B7, as Upland Pastures.
Hale 1957
Hale, John Douglass. "Life and Creative Development of John H. Twachtman." 2 vols. Ph.D. dissertation, Ohio State University, 1957. Ann Arbor, Mich.: University Microfilms, 1958, vol. 2, pp. 455 (catalogue G, no. 250) and (catalogue G, no. 251), 480 (catalogue G, no. 457), as November Haze. (Hale concordance).
Antiques 1980–II
Antiques 118 (October 1980), p. 696 ill. in color, as November Haze.
Peters 2005–II
Peters, Lisa N. "John Henry Twachtman." In The Poetic Vision: American Tonalism, by Ralph Sessions et al. New York: Spanierman Gallery, 2005, pp. 172–73 ill. in color, as November Haze.
Peters 2006–IV
Peters, Lisa N. "Catalogue." In John Twachtman (1853–1902): A "Painter's Painter", by Lisa N. Peters. New York: Spanierman Gallery, 2006. Exhibition catalogue (2006 Spanierman), pp. 168–69 ill. in color, as Upland Pastures.
Christie's, New York 2007
American Paintings, Drawings, and Sculpture. Auction catalogue, May 24, 2007. New York: Christie's, 2007, lot 42 ill. in color, as Upland Pastures.
Butler 2019
Butler, Eliza. "John Henry Twachtman and the Materiality of Snow." American Art 33 (Fall 2019), p. 79, as November Haze.
Commentary

Based on the red estate sale stamp on this painting and its dimensions, it was the work included in Twachtman’s 1903 estate sale as Upland Pastures. As was the case for many of the paintings in the sale, its purchaser was a fellow artist: the painter George Frederick Munn (1852–1907), who was known for reductive and refined landscapes and floral imagery.[1] By 1932 the painting belonged to Robert C. Vose, who lent it to an exhibition at the Brooklyn Museum that year with the title of November Haze, but it is possible that it was in the hands of Vose Galleries as early as November 1919, when the gallery included a work with the title of October Haze in a Twachtman exhibition.

[1] On Munn, see Margaret Crosby Munn and Mary R. Cabot, eds., The Art of George Frederic Munn (New York: E.P. Dutton, 1916). Munn also purchased a watercolor, Village Inn, from the Twachtman estate sale.

Selected Literature

Peters 2006

At first glance, this painting seems composed entirely of misty undifferentiated forms. Gradually, however, the view begins to materialize, as we become aware of the hillock rising from the rocky, terrain in the right foreground, while beyond, a dip in the land may indicate the presence of a pond. Farther, the land curves upward at a gradual pitch, its upper reaches fading into the atmosphere in the distance. The general topography suggests that Twachtman might have painted it from the hill to the west of his home, looking southeast toward the pond in which his children enjoyed their small sailboats [p. 168].