In the winter of 1901, Twachtman stayed frequently at the Holley House in Cos Cob (see Glossary of Names) after having vacated his home in Greenwich. His vantage point in this painting was from the Holley House, looking toward the Brush House, at the right, and the country store that stood to its left (see October, OP.1507, fig. 1).[1] Twachtman portrayed this scene at different times of year, and here he brought out the clarity with which the buildings stood out in the winter, when they were unshielded by foliage. His vantage point was nearer to the buildings than in the similar Country House in Winter (OP.1504), and he framed the buildings at the center of his square composition, accentuating their closeness.
This painting was lent by Martha Twachtman either directly or through the estate for the artist's agent, Silas S. Dustin, to exhibitions in 1909 and 1913 with titles including The Country Store and Village Store, Winter. The work was shown for the first time as Brush House, Cos Cob in the Panama-Pacific Exposition in San Francisco, to which it was probably lent by Martha Twachtman. In 1926 the painting was acquired by the Jacob Stern Family. From that year until 2007, when it was sold at Sotheby’s, the painting was on loan to the Fine Arts Museums of San Francisco.
[1] Built between 1751 and 1784, the Brush House descended in the family of colonial settlers in Greenwich involved in the shipping trade and was occupied during Twachtman’s years in Greenwich by Joseph E. B. Brush (1833–1914), an eccentric, retired individual who lived alone. See Larkin 2001–I, pp. 119–25.
From Larkin 1996
A second view of the Brush House is less successful than “Country House in Winter” primarily because the dwelling seems so isolated. Robbed of its context, it loses its human appeal [p. 173].