More than one hundred works are catalogued in the second of two volumes devoted to the National Gallery of Art's holdings of nineteenth-century American paintings, including virtually all of the important portraits in the collection. Distinguished in part by the concentration of works by three preeminent artists, Thomas Sully, John Singer Sargent, and James McNeill Whistler, this collection also includes John Quidor's The Return of Rip van Winkle, Albert Pinkham Ryder's Siegfried and the Rhine Maidens, and Rembrandt Peale's Rubens Peale with a Geranium. The author has skillfully untangled the misattributions, misidentifications, and inaccurate provenances surrounding many of the paintings.

More than one hundred works are catalogued in the second of two volumes devoted to the National Gallery of Art's holdings of nineteenth-century American paintings, including virtually all of the important portraits in the collection. Distinguished in part by the concentration of works by three preeminent artists, Thomas Sully, John Singer Sargent, and James McNeill Whistler, this collection also includes John Quidor's The Return of Rip van Winkle, Albert Pinkham Ryder's Siegfried and the Rhine Maidens, and Rembrandt Peale's Rubens Peale with a Geranium. The author has skillfully untangled the misattributions, misidentifications, and inaccurate provenances surrounding many of the paintings.

More than one hundred works are catalogued in the second of two volumes devoted to the National Gallery of Art's holdings of nineteenth-century American paintings, including virtually all of the important portraits in the collection. Distinguished in part by the concentration of works by three preeminent artists, Thomas Sully, John Singer Sargent, and James McNeill Whistler, this collection also includes John Quidor's The Return of Rip van Winkle, Albert Pinkham Ryder's Siegfried and the Rhine Maidens, and Rembrandt Peale's Rubens Peale with a Geranium. The author has skillfully untangled the misattributions, misidentifications, and inaccurate provenances surrounding many of the paintings.