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Drawing of a six-petaled anemone flower in color right, with an unfinished graphite sketch of its stem on the left.

An anemone flower stands upright with six wide dark pink petals fully open revealing its dark purple center, facing toward upper left. It has a section of fringe-like light green leaves surrounding the center of the brown stem, an inch down from the bloom, with more leaves, uncolored, at the bottom. To its left is another upright stem leaning to left. It has only one petal still attached from the center as it reaches left, it’s an older bloom that’s dropped its petals, rendered in graphite only, without color. There are a few undefined graphite marks along the bottom.

Identification and Creation

Object Number
Henry Roderick Newman, American (Easton NY 1843 - 1917 Florence Italy)
Other Titles
Former Title: Study of an Anemone
Work Type
Persistent Link

Physical Descriptions

Watercolor over graphite on heavy cream wove paper
38.5 x 28 cm (15 3/16 x 11 in.)
Inscriptions and Marks
  • Signed: graphite, l.r.: H. R. Newman / Florence 1884


Recorded Ownership History
Acquired from the artist by Denman Ross, Cambridge, MA; his gift to the Fogg Art Museum, 1923.

Acquisition and Rights

Credit Line
Harvard Art Museums/Fogg Museum, Gift of Dr. Denman W. Ross
Accession Year
Object Number
European and American Art

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Publication History

  • Lauren S. Weingarden, "Naturalized Nationalism: A Ruskinian Discourse on the Search for an American Style of Architecture", Winterthur Portfolio (Spring 1989), vol. 24, no. 1, pp. 43-68, reproduced in b/w p. 45, fig. 3
  • Kent Ahrens, "Pioneer Abroad: Henry R. Newman (1843-1917), Watercolorist and Friend of Ruskin.", The American Art Journal (New York, NY, November 1976), pp. 85-98., pp. 92, 94, fig. 8
  • Linda S. Ferber and William H. Gerdts, The New Path: Ruskin and the American Pre-Raphaelites, exh. cat., Brooklyn Museum (Brooklyn, NY, 1985), catalogue no. 59, reproduced in b/w p. 74, fig. 22, and on p. 206
  • Nathan Goldstein, A Drawing Book: Themes, Tools and Techniques, Prentice Hall (Englewood Cliffs, NJ, 1986), fig. 5.53, p. 152
  • Royal W. Leith, Ruskin and his American Followers in Tuscany: A Historical Study, Brentham Press (St. Albans,UK, 1994), note 34
  • Royal W. Leith, A Quiet Devotion: The Life and Work of Henry Roderick Newman, exh. cat., Jordan-Volpe Gallery, Inc. (New York, NY, 1996), pg. 60, no. 139
  • Theodore E. Stebbins, Jr. and Susan C. Ricci, "The Last Ruskinians", American Art Review (March -April 2007), XIX, no. 2, pp. 80-89, repr. p. 89
  • Theodore E. Stebbins, Jr., Virginia Anderson, Melissa Renn, and Susan C. Ricci, The Last Ruskinians: Charles Eliot Norton, Charles Herbert Moore, and Their Circle, exh. cat., Harvard University Art Museums (Cambridge, MA, 2007), pp. 76, 95, pl. 33
  • Theodore E. Stebbins, Jr., Virginia Anderson, and Kimberly Orcutt, ed., American Paintings at Harvard, Volume Two, Paintings, Drawings, Pastels and Stained Glass by Artists Born 1826-1856, Harvard Art Museums and Yale University Press (U.S.) (Cambridge, MA and New Haven, CT, 2008), p. 259, cat. 272, ill.

Exhibition History

  • The New Path: Ruskin and the American Pre-Raphaelites, Brooklyn Museum of Art, Brooklyn, 03/29/1985 - 06/10/1985; Museum of Fine Arts, Boston, Boston, 07/03/1985 - 09/08/1985
  • The Last Ruskinians: Charles Eliot Norton, Charles Herbert Moore, and Their Circle, Harvard University Art Museums, Fogg Art Museum, Cambridge, 04/07/2007 - 07/08/2007

Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of European and American Art at