Abbott Fuller Graves 1859-1936

Mr. John Shepard, Boston, Massachusetts, by 1888
Sale: Christie's, New York, May 24, 1995, lot 32, illustrated in color
Acquired by the present owner from the above, 1995

Boston, Massachusetts, Boston Art Club, Thirty-fifth Exhibition of the Boston Art Club, January-February 1887, no. 75 (installed and then removed)
Boston, Massachusetts, Cowles Art School, January, 1887
Boston, Massachusetts, Leonard & Co., Catalogue of Paintings by Abbott Graves, March-April 1899
Tulsa, Oklahoma, The Philbrook Art Center, Painters of the Humble Truth, September-July 1982

The Boston Post, January 12, 1887
Boston Morning Journal, January 15, 1887
The Boston Post, January 21, 1887, p. 5
The Boston Sunday Herald, January 30, 1887, p. 7
The Boston Sunday Globe, May 15, 1887, p. 13
Frank T. Robinson, Living New England Artists, Boston, Massachusetts, 1888, pp. 87-88
The Boston Evening Transcript, March 29, 1899, p. 16
The Boston Daily Advertiser, March 31, 1899, p. 4
The Boston Evening Transcript, April 1, 1899, p. 7
The Boston Evening Transcript, April 3, 1899, p. 9
William H. Gerdts, Painters of the Humble Truth: Masterpieces of American Still-Life, 1801-1939, Columbia, Missouri, 1981, p. 224, illustrated in color p. 167
Trevor J. Fairbrother, The Bostonians: Painters of an Elegant Age, 1870-1930, Boston, Massachusetts, 1986, p. 48, illustrated
Erica E. Hirshler, Dennis Miller Bunker: American Impressionist, Boston, Massachusetts, 1994, p. 61, illustrated

Generally good condition; lined; 5 inch curved thin line of inpainting in lower center, a quarter size spot of retouch in lower center, two spots of retouches in woman's shoulder, other minor retouches, thick varnish makes the surface difficult to read.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Because it successfully integrated aspects of both genre and still life, The Chrysanthemum Show was an innovative image for its time.  The painting depicts the annual exhibition of chrysanthemums that was held in November 1886 in Boston's Horticutural Hall, which was then located on Tremont Street. In January of 1887 Graves brought the painting to the Boston Art Club for the organization's thirty-fifth annual exhibition. During a preview of the show, Graves realized that his work had been "skied" or placed in the inconsequential area at the top of the wall. Furious, Graves procured a ladder and removed his painting, leaving the empty frame hanging on the wall. He resigned from the club before being expelled for violating the rules about the removal of artwork. Afterward, Graves exhibited his painting at the Cowles Art School where he taught classes. Due to the controversy, the empty frame was one of the most popular attractions at the Boston Art Club's exhibition. The painting itself drew considerable interest and widespread critical praise.