Albert Herter

E. C. Converse, Esq., New York (acquired by 1900)

Private Collection, Los Angeles (acquired from the above circa 1900)

Private Collection, Encino (acquired by descent from the above)

Thence by descent to the present owners

New York, National Academy of Design, Thirty-Second Annual Exhibition of the American Water Color Society, February - March 1899, no. 277, p. 15, illustrated

The Art Institute of Chicago, Special Exhibition of the Works of Albert Herter, January 1900, no. 18, p. 13

The Copley Prints, Boston, 1903, p. 54

Albert Herter’s dexterous use of watercolor in The Gift of Roses reflects the artist's deep understanding of the medium, as he convincingly constructs three-dimensional forms within the richly colored portrait. Posed in a luxurious interior beside a delicate branch of cherry blossoms, the subject stands elegantly in an ornate gown. Herter expertly executes the facial expression and body language of the young woman, demonstrating the technical prowess that earned him awards in several international expositions throughout his career. 

The present work spotlights Herter’s astonishing attention to detail. The artist perfectly conveys the embroidery, beadwork, and iridescent fabric of the dress, in addition to capturing the texture of the wooden bureau and wallpaper in the background. The figure presents a bouquet of white roses to an unknown recipient, the petals of which exhibit the same softness in color and texture as the figure’s gown. Herter’s masterful use of watercolor in the present work is a testament to his ceaseless precision, awarding equal attention to all aspects of the composition. Coming from a lineage of tapestry designers and manufacturers, Herter’s background in the intricate craft is reflected in The Gift of Roses by the way in which the artist uses his pigments, treating his brushstrokes as small strands of color that come together to create the final masterpiece.