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Robertson Kirtland Mygatt; Philadelphia Collection 74; March 2005
 
 
NOTES

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, D.C.

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), p. 87.

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 Gallery Archives.




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