Studio Lunch, ca. 1880-83

Henry Siddons Mowbray (1858-1928)

Oil on canvas
8½ x 10¾ inches - Framed: 17⅛ x 19 inches

Signed lower right: H. Siddons Mowbray

Henry Siddons Mowbray - Studio Lunch, ca. 1880-83

Provenance

Terry DeLapp, Los Angeles, California, 1973
Jo Ann and Julian Ganz, Jr., Los Angeles, California, 1973
Hirschl & Adler Galleries, Inc., New York, New York, 1990
Private collection, Birmingham, Michigan, acquired from above
Sale, Christie’s, New York, New York, May 27, 2007, lot 128
Max N. Berry, acquired from above
Sale, Christie’s, The Max N. Berry Collections, New York, New York, January 23, 2026, lot 342
Questroyal Fine Art, New York, New York, acquired from above
Collection of J. Jeffrey and Ann Marie Fox, acquired from above

Exhibited

An American Perspective: 19th Century Art from the Collection of Jo Ann and Julian Ganz, Jr., National Gallery of Art, Washington, D.C.; Amon Carter Museum, Fort Worth, Texas; Los Angeles County Museum of Art, Los Angeles, California, October 4, 1981–September 26, 1982

Literature

H. Siddons Mowbray, Mural Painter 1858-1928, Herbert F. Sherwood, ed. (Stamford, Conn,: Privately printed by Florence Millard Mowbray, 1928), 16-44.

Gwendolyn Owens, “H. Siddons Mowbray, Easel Painter,” Art and Antiques 3 (July–August, 1980): 82-89.

John Wilmerding, Linda Ayres, Earl A. Powell, Jo Ann Ganz, Julian Ganz, and National Gallery of Art (U.S.), An American Perspective: Nineteenth–Century Art from the Collection of Jo Ann & Julian Ganz, Jr. Exhibition Catalogue, (National Gallery of Art, 1981), 69, 72, 153, fig. 63, illustrated.

Note

Note I: “Photographs of Mowbray suggest that this may be a portrait of the artist and his model in his Paris studio dating from the early 1880s, for it is a stylistically early work. The drawing on the wall appears to be of the model holding a fan and the jugs suggest a Spanish influence, the result of Mowbray’s trip to Spain in early 1880.“[1]

Note II: “Mowbray was a friend of painters such as Chase, Willard Metcalf, and John Twachtman who were associated with American Impressionism, and his painting, Studio Lunch (c. 1880-1883, fig. 63), Mowbray’s light and color, though not his structure, share an affinity with the impressionists.“[2]

[1] John Wilmerding, et al., An American Perspective: 19th Century Art from the Collection of Jo Ann and Julian Ganz, Jr., Exhibition Catalogue, (National Gallery of Art, 1981), 153.

[2] Linda Ayres, “The American Figure: Genre Paintings and Sculpture,” in An American Perspective: 19th Century Art from the Collection of Jo Ann and Julian Ganz, Jr., exhibition catalogue, (National Gallery of Art, 1981), 69.

Related Work

Idle Hours, 1895, oil on canvas, 12 x 16 inches, signed lower left; Smithsonian American Art Museum, Washington D.C.

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