1. The most comprehensive summary of Mygatt’s career to date is Peter Hastings
Falk, ed., Who Was Who in American Art, 1564–1975, vol. 3 (Madison,
Conn.: Sound View Press, 1999), p. 2380.
2. Vivien Raynor, “Celebrating a Little-Known Artist,” New York Times,
June 30, 1991.
3. Mygatt was discussed in a review of the exhibition by Hildegard Cummings,
“Art in Connecticut: The Impressionist Years,” American Art Review
5 (spring 1993), p. 126.
4. Some of the early sources, which are followed by Art in Connecticut, give
Mygatt’s birth date as 1861, but his death certificate clearly states 1862.
5. Marvin Chauncey Ross and Anna Wells Rutledge, in A Catalogue of the Work
of William Henry Rinehart, Maryland Sculptor, 1825–1874 (Baltimore: The
Peabody Institute and The Walters Art Gallery, 1948), p. 60, noted that the
now-lost marble statue of Robertson “was for many years deposited at The Metropolitan
Museum of Art, New York.” A plaster version that was formerly owned by the Peabody
Institute, Baltimore, is now in the National Museum of American Art, Washington,
6. Mygatt’s name is listed in “Departures for Europe,” New York Times,
July 7, 1881.
7. According to the Art Students’ League of New York, Season of 1889–90
Class Bulletin (New York, 1889), n.p., the “Preparatory Antique Class has
been found of great value, enabling the League to maintain a higher standard
in the other classes, and to direct from the start the method of study. No examination
is required before entering this class, and students are advanced as soon as
qualified to work in higher classes.”
8. “Estate of Robertson K. Mygatt, Deceased. Inventory, May 18, 1921,” Court
of Probate, District of Ridgefield, Connecticut, vol. 15.
9. These quotations are from unidentified and undated newspaper clippings that
Mygatt pasted in his sketchbook, Schwarz Gallery Archives.
10. For a history of the club see William Henry Shelton, The History of
the Salmagundi Club (New York: The Charles Francis Press, 1927); Mygatt’s
years of membership are documented in Centennial Roster of the Salmagundi
Club since Its Inception in 1871 to 1972 (New York: Salmagundi Club, 1972),
11. Salmagundi Club Scrapbook, Salmagundi Club Archives, New York.
12. On Rood see Falk, Who Was Who in American Art, vol. 3, p. 2819.
13. H. Wunderlich & Co., New York, Catalogue of Oil Paintings by R. K. Mygatt
and Roland Rood (March 1900).
14. See Illustrations of Selected Works in the Various National Sections
of the Department of Art with a Complete List of Awards by the International
Jury, Universal Exposition, St. Louis, 1904 (St. Louis: The Louisiana Purchase
Exposition Company, 1904), p. xxxix, for the names of the ninety artists who
were awarded silver medals.
15. Tyers was listed in Florence N. Levy, American Art Annual 1910–1910,
vol. 7, (New York: American Art Annual, 1910), p. 170. She exhibited at the
Pennsylvania Academy of the Fine Arts in Philadelphia between 1895 and 1897
and at the Boston Art Club in 1898 and 1900.
16. This quotation is taken from an article entitled “Art Critic” from an unidentified
source that Mygatt inscribed “in number of /May 1st,” Schwarz Gallery Archives.
17. Ipswich Chronicle, July 26, 1906.
18. Louis Katz Art Galleries, New York, Exhibition of Recent Paintings
by Robertson K. Mygatt (February 9–26, 1916).
19. Wanda M. Corn, The Color of Mood: American Tonalism, 1880–1910
(San Francisco: M. H. De Young Memorial Museum of Art and the California Palace
of the Legion of Honor, 1972), p. 4.
20. Louis Katz Art Galleries, New York, Catalogue of an Exhibition of Thumb
Box Sketches By American Artists (December 2, 1915–January 8, 1916), n.p.
21. William H. Gerdts, Diana Dimodica Sweet, and Robert R. Preato, Tonalism:
An American Experience (New York: The Grand Central Art Galleries Art Education
Association, 1982), pp. 25–26.
22. Undated and unidentified newspaper clipping from Mygatt’s sketchbook, Schwarz
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