Balboa Inlet

Barse Miller, American, 1904 - 1973

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1942

Transparent and opaque watercolor and charcoal on very heavy wove [Arches] paper

Overall: 21 × 29 1/2 in. (53.3 × 75 cm)

Frame: 28 1/2 × 37 in. (72.4 × 94 cm)

Hood Museum of Art, Dartmouth College: Gift of Philip H. Greene, in memory of his wife and co-collector, Marjorie B. Greene

2007.6.7

Geography/Culture

North America, United States

Period

20th century

Object Name

Watercolor

Classification

Watercolor

Not on view

Inscription

Signed, lower right Barse Miller ? ; inscribed on reverse, in ink: "BALBOA INLET" 1942 / BARSE MILLER / 190 BAYVIEW ROAD / PLANDOME MANOR, L.I. N.Y. WATERMARK: embossed, in oval: VERITABLE PAPIER D'ARCHES TORCHON

Exhibition History

Visions of California, The Irvine Museum, Irvine, CA, 1994.

Regionalism: The California View, Watercolors 1929-1945, Santa Barbara Museum of Art, June 25-August 14, 1988. Catalogue by Susan M. Henderson, Robert Henning, Jr. and the Santa Barbara Museum of Art, Santa Barbara: Santa Barbara Museum of Art and Seattle: University of Washington Press, 1988, ill. in color, p. 68.

Coastline to Skyline: The Philip H. Greene Gift of California Watercolors, 1930-1960, Harrington Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, October 11, 2008-January 4, 2009.

California Style Watercolors from the Philip H. Greene Collection, Edward-Dean Museum of Decorative Arts, Benjamin J. and Mary A. Rabe Gallery, Cherry Valley, CA, June 2-July 31, 1996.

Adventures in Aquarelle: The California Style in Review, 1930's-1980s, Cunningham Art Gallery, Bakersfield, CA, Sept. 7-Oct. 26, 1989. Brochure by Philip H. Greene and the Cunningham Art Gallery, printed by Occidental Oil and Gas Corporation, 1989.

A Space for Dialogue 73, Watercolor Washes and the Lure of the Sun: The Climate and Demographics Informing the California Watercolor Movement, Hannah Jeton, Class of 2012, The Kathryn Conroy Intern, Main Lobby, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 29-October 28, 2012.

Publication History

Susan M. Anderson, "California watercolors 1929-1945," American Artist, 52 (August 1988), p. 52.

Ruth Lilly Westphal and Janet Blake Dominik, American Scene Painting: California, 1930s and 1940s, Irvine, CA: Westphal Publishing, 1991, p. 20.

Regionalism: The California View, Watercolors 1929-1945, Santa Barbara Museum of Art, June 25-August 14, 1988. Catalogue by Susan M. Henderson, Robert Henning, Jr. and the Santa Barbara Museum of Art, Santa Barbara: Santa Barbara Museum of Art and Seattle: University of Washington Press, 1988, ill. in color, p. 68.

Paul J. Karlstrom, The Philip H. Greene Gift of California Watercolors, American Art Review, Volume XX, Number 6, Leawood, Kansas: American Arts Media, Inc., November-December, 2008, ill. p. 125.

KOCE-TV, Viewer's Guide for "Visions of California-The Story of California Scene Painting," Huntington Beach, CA, 1994, p. 2.

Hannah Jetson, A Space of Dialogue 73, Watercolor Washes and the Lure of the Sun: The Climate and Demographics Informing the California Watercolor Movement, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2012, ill. p. 4.

Gordon T. McClelland and Jay T. Last, The California Style: California Watercolor Artists, 1925-1955, Beverly Hills, CA: Hillcrest Press, 1985, ill. in color p. 124. (as Corona Del Mar).

Gordon T. McClelland and Jay T. Last, California Watercolors 1850?1970: An Illustrated History & Biographical Dictionary, Santa Ana, Calif: Hillcrest Press, 2002, illustration in color p. 162.

Barbara J. MacAdam, Coastline to Skyline: The Philip H. Greene Gift of California Watercolors, 1930-1960, Hanover: Trustees of Dartmouth College, 2008, ill. p. 6, 29, fig. 6, p. 48, no. 8.

"Visions of California-The Story of Califonia Scene Painting," nationally distributed television film, produced by KOCE-TV, Huntington Beach, CA, 1994.

Provenance

Cowie Wilshire Galleries, Los Angeles, California; sold to Philip H. Greene (1925-2014), February 27, 1965; given to present collection, 2007.

This record was created from historic documentation and may not have been reviewed by a curator; it may be inaccurate or incomplete.

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