Specific Provenance: T. Edward and Tullah Hanley Collection, NYC. " Acquired from Tullah Hanley in 1986. Note: When T. Edward Hanley died in 1969 his wife Tullah donated many important artworks to the Denver Art Museum and the Museum of Fine Arts in San Francisco. Parke-Bernet Auction. H.B. Steinberg Collection. .

Provenance:

T. Edward and Tullah Hanley collection. NYC. After T. Edward Hanley died in 1969 his wife Tullah donated many fine artworks to the Denver Art Museum and the Museum of Fine Arts in San Francisco. We acquired the painting from her in 1986.
See references below:

From Time Magazine 6/8/70:

1)  FLAMBOYANT PATRON

“She happens to be the widow and custodian of the estate of T. Edward Hanley, the distinguished art collector and industrialist, who died last year at the age of 75. But she is also the most uninhibited woman to come out of Hungary since Zsa Zsa Gabor.”

See September 6, 1987 NY TIMES:

2)ED THE COLLECTOR, JAKE THE DENTIST AND BECKETT: A TALE THAT ENDS IN TEXAS

“From almost the beginning of Jake's (Schwartz) book-dealing, one of his principal customers had been a man named T. E. Hanley, of Bradford, Pa. Ed Hanley was a brick manufacturer, also into oil and gas, who had once been bitten by a rare book and had never recovered. Dealers knew he couldn't resist anything good and during the Depression and the postwar preinflation lean years they pressed him to buy whatever they could get their hands on.”

From Amazon.com:

3)Love of Art and Art of Love: Tullah Hanley's Autobiography : An Educational Book, According to the Gospel of Tullah.

4)  DeYoung Museum collection Catalogue:

See: Book by Tullah Hanley:

5)   THE STRANGE TRIANGLE OF GBS(George Bernard Shaw) Hanley, Tullah Innes Bruce Humphries, Inc. 1959

6)  Excerpts From: Building St. Bonaventure University’s Friedsam Library:

As a book and art lover and connoisseur, Thomas Hanley accumulated an enormous collection.  His collection of D.H. Lawrence and George Bernard Shaw, is still one the greatest in the world.  His collection of art included many contemporary pieces dating from the 17th century, up through the 20th century, with a noticeable lack of anything abstract.  Hanley's art collection featured mostly the works of Renoir and Degas, but also included Gelle, Delacroix, Monet, Manet, Matisse, Cezanne, Daumier, Gericault, Gaugin, Van Gogh, Lautrec, Picasso, William Blake, and Winslow Homer. 

Art was also an important part of his philanthropic vision.  Saint Bonaventure received over two hundred pieces.  Other institutions who hold pieces of the Hanley Collection in their own collections now are: The Denver Art Museum, The M.H. de Young Museum (now part of the Fine Arts Museums of San Francisco), University of Texas, University of Arizona, Harvard University, The Albright-Knox Gallery and the University of Pittsburgh at Bradford.

7)  Harry Ransom Center

University of Texas at Austin

Edward Hanley was a Bradford, Pennsylvania collector of rare books and art who sold his massive collection of books, manuscripts, and literature-related art to the University in 1958 and 1964. This acquisition formed the foundation for the Center's collections of first editions and manuscripts of D.H. Lawrence, G.B. Shaw, Dylan Thomas, and Samuel Beckett, all of which are among the most comprehensive in the world. Hanley also collected important first editions, manuscripts, and association copies of other significant 19th- and 20th-century authors, as well as portraits of literary figures. The most important single item from the Hanley Collection is the set of corrected page proofs for James Joyce's Ulysses.

Before she died in 1992 Tullah donated funds to establish the

8)  T. EDWARD AND TULLAH HANLEY LIBRARY  University of Pittsburgh in Bradford, PA

Book and manuscript donations to University of Arizona:

9) Sorensen, Lee. Determined Donor : T. Edward Hanley & His Gift of Books to the University of Arizona Library, 1936-1964. 
     Tuscon: Friends of the University of Arizona Library, 1989

Condition: Very good original condition overall. Small 1/2 inch tear by middle right mat edge. 1/4 inch tear lower right mat edge. Slight puffing of paper middle left mat edge. Frame has chipped and dings in gilt gesso. Missing lower right corner of glass..

Biography Birth place: Augusta, NJ, 1887. Death place: NYC Addresses: Sparta, Hoboken, NJ; NYC Profession: Block printer, illustrator, lithographer, painter, sculptor, teacher Studied: Henri. Exhibited: PAFA, 1910-13, 1946; Armory Show, 1913; AIC, 1913; S. Indp. A., 1924, 1926; Salons of Am., 1926, 1927; WMAA, 1926-28, 1933. Member: Am. Artists Congress. Work: NYPL; MMA; NYU; Brooklyn Pub. Lib.; BMA; Syracuse MFA; Albany Inst. Hist. & Art; New Jersey State Mus., Trenton; Newark Pub. Lib.; Montclair Pub. Lib.; Speed Mem. Mus., Louisville; North Carolina State Art College, Raleigh; Mus. Fine Art, State College, PA; Easton School Mus., PA; Norwalk, CT; Manchester (NH) Pub. Lib.; Victoria & Albert Mus., London; Biro-Bijan Mus., USSR; six bookplates, MMA; New Rochelle Pub. Lib.; Bridgeport (CT) Pub. Lib.; Hartford (CT) Pub. Lib.; Hall of Records, NYC; Richmond (IN) AA; Fifty Prints of the Year, 1929, 1930, 1931. Comments: Illustrator: Machine Made Man, by Silas Bent (in woodblock), The White Gods, by Edward Stucken, A Wanderer in Woodcuts, by H. Glintenkamp, Gold Rush Days with Mark Twain, by W.R. Gillis, Saints of Chaos, by P. Oliver. Sources: WW40; Falk, Exh. Record Series; Brown, The Story of the Armory Show. The painter and illustrator Henry Glintenkamp (1887-1946) is known mainly for his anti-war illustrations that appeared in The Masses and other publications in the early twentieth century. H. J. Glintenkamp was a cartoonist who regularly contributed to the radical journal, The Masses. Glintenkamp believed that the First World War had been caused by the imperialist competitive system. After the USA declared war on the Central Powers in 1917, The Masses came under government pressure to change its policy. When it refused to do this, the journal lost its mailing privileges. In July, 1917, it was claimed by the authorities that articles by Floyd Dell and Max Eastman and cartoons by Glintenkamp, Art Young and Boardman Robinson had violated the Espionage Act. Under this act it was an offence to publish material that undermined the war effort. The legal action that followed forced The Masses to cease publication. Glintenkamp fled the country but the others stood trial in April, 1918. After three days of deliberation, the jury failed to agree on the guilt of the men. The second trial was held in January 1919. John Reed, who had recently returned from Russia, was also arrested and charged with the original defendants. This time eight of the twelve jurors voted for acquittal. As the war was now over, it was decided not to take them to court for a third time As a painter, he was additionally successful, particularly in his landscape and urban scenes. Born in Augusta, New Jersey, the son of Hendrik and Sophie Dietz Glintenkamp, Henry received his elementary art training at the National Academy of Design (1903-06) Glintenkamp was a student of Robert Henri from 1906 to 1908, which places him at the very heart of the New York scene of those days.The painter and illustrator Henry Glintenkamp (1887-1946) is known mainly for his anti-war illustrations that appeared in The Masses and other publications in the early twentieth century. As a painter, he was additionally successful, particularly in his landscape and urban scenes. Born in Augusta, New Jersey, the son of Hendrik and Sophie Dietz Glintenkamp, Henry received his elementary art training at the National Academy of Design (1903-06) The Henri School, as one of its most distinguished alumni, Stuart Davis, remarked, was ''radical and revolutionary.'' Commenting that the lectures of the school's head ''constituted a liberal education,'' Davis noted ''enthusiasm for running around and drawing things in the raw ran high.'' And, like today's models in soft-drink commercials, the early 20th-century realists played as hard as they worked. Davis mentions frequent visits, with Glintenkamp and Glenn Coleman, to the saloons of Newark and Harlem, where, ''for the cost of a 5-cent beer,'' black pianists could be heard turning ''the blues or Tin Pan Alley tunes into real music.'' The Whitmanism of the time certainly left its mark on Glintenkamp, who, unlike Davis, remained a representational painter. His 1911 portrait of a newsboy is very much in the Henri style, with the head and shoulders emerging from glossy blackness and the lips, nose and protruding ears heightened theatrically with red. City-scapes of roughly the same time, like those depicting the waterfront in winter and on a wet night, are also pretty robust. Even so, Glintenkamp managed to develop a personal style with a palette knife, particularly in his views of snowy fields. The technique makes him seem more advanced than he was, as Sandra Leff indicates in her catalogue to the1981 show at the Graham Gallery. Not that the artist, a participant in the Armory Show, was immune to modernism; there is evidence of his having glanced at Matisse and, in the faceted, overlife-size head of Muriel Hope Eddy (1925), he is experimenting with Cubism. But this is an atypical and embarrassing picture with a background filled with vignettes of a man and a woman at home and out on the town. Much better - probably the best work in the show - is the study of a woman in a black hat and coat that is classically simple but at the same time quite expressionistic. Glintenkamp produced many prints - woodcuts and etchings. The artist was a newspaper cartoonist for a while, and like Davis and others contributed drawings to The Masses. Once recovered from the effect of Henri, Glintenkamp produced several bold canvases such as the study of dark poplars on a snowcovered hill and the view of mountains and a red sky reflected in foreground water. He doesn't resemble Marsden Hartley technically, but there is a kind of clumsiness in the best of his pictures that evokes the older master. p>

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