Part 4 of a Catalog of Tavernier Illustrations and Art

Anyone who has more information please contact the museum using:

Publication information associated with a picture's location gives a letter code representing the location in the Bibliography located after the list of pictures. Periodical publications are cited directly.

The pictures and woodcuts below are listed in approximate chronological order.

Second San Francisco Period

1879
hand colored engraving/paper
28×38 cm.

original b&w version

Off for Arctic Regions:
The “Jeannette”
[leaving the Harbor of San Francisco]
 

Harper's Weekly v.23
26 July 1879
p.588

The Bancroft Library
University of California
Berkeley, CA, US
 

1879
oil/canvas
61×127 cm

Island of Phylae
(The Nile)

1879
oil/canvas
163×74 cm

Waiting for Montezuma

The Anschutz Collection
Denver, CO, US

signed lr: JULES TAVERNIER

provenance: An award at the SF Mechanics' Fair 1879;
...

pub: I p.160

Indian Village of Acoma
[ pub: magazine, 1983]

11 May 1879
oil/canvas
30×51cm

Santa Rosa

Society of California Pioneers

from the McCarthy Collection

oil/canvas

Waiting for Montezuma

[date: about 1880]

[There was a picture with this or similar name in the California State Library. According to the provenance information the Anschutz Collection picture, above, was never in the Library, it is possible that it is the Monterey Museum one, on loan from the Betty McGlynn collection, but so far I have had no access to the provenance information.]

unknown location

n.d.
oil/canvas
69×46 cm

Frontiersman and
Indian Women

[date is a guess 1878/79]

1879

Five Oriental Pictures

[The sixth was the Moorish Interior done in 1877. Mrs. Hopkins had ordered more but they were never delivered.]

Destroyed in 1906 SF Earthquake and Fire

Provenance: Ordered and delivered to Mrs. Mark Hopkins and hung in the Great Entrance Hall of the Mark Hopkins estate on Nob Hill.

1879
oil

On San Francisco Bay

c1879

Full Length Photo of Jules Tavernier by Bradley and Rulofson, a SF photography firm.

[Photo shows him in a fringed leather jacket and tight trousers fringed up the sides; a printed shirt; wide-brimmed hunting hat; and high hunting boots, standing on a wolf-skin rug.]

location unknown

ref. K. p.92

after 1880
oil/canvas
69×81 cm

Twilight in the Wilderness

location unknown

signed

auction: Butterfields; 6/2000

1880/4
oil/canvas

Mountain Sunset

location unknown

from catalog of an exhibition at Oakland Museum

n.d.
oil/canvas
51×76 cm

Twilight on the Lake — Mt. Rainier

[date: c1880]

location unknown

signed

auction: Butterfields; 12/1997

n.d.
oil/canvas
49×75 cm

Picnic, Mount Baker

[date: c1880]

[Very like the "Mt. Rainer" painting with the mountain and skies cast with a pinkish, yellow glow. A small campfire burns on the beach of the lake before the mountain and trees decorate each side of the paintings foreground.]

Monterey Museum of Art

unsigned, undated.

On loan: Betty Hoag McGlynn and Thomas A. L. McGlynn collection

Landscape with Indians

location unknown

auction: Butterfields: 1995
seller: Stanford University Museum of Art
Palo Alto, CA

1880
oil/canvas
61×128 cm

Indian Encampment
in the Desert

The Anschutz Collection
Denver, CO, US

signed dated ll: JULES TAVERNIER 1880 CAL

auction: Sotheby's NY, 5/1991

pub: I p126

1880/4
oil

April Showers —
Napa Valley, California

San Francisco Scene

Private Collection

Exhibited in Early Artists of the Bohemian Club, St Mary's College, Moraga, CA, US

n.d.
oil/canvas

Marin Sunset in Back of Petaluma, California

Crocker Art Museum
Sacramento , CA

signed lr: JULES TAVERNIER

Crocker Art Museum (180.5), gift of Dr. Robert L. and Mrs. Sansa O'Conner Alexander

1881
oil/canvas
51×76 cm

Mount Tamalpais,
Marin County, CA

1880
charcoal/paper
21×42 cm

Hillside, Monterey

[A view of the top of a hill crowned by a few trees and shrubs. The tones are cream and the charcoal appears dark brown and gray.]

Monterey Museum of Art

Signature and date LL.

Indian Encampment

1880
oil/canvas

White Man's Weapon

1880/4
oil/canvas

Little Falls, Yosemite

n.d.
oil/canvas
98×65 cm

Sentinel Rock and
El Capitan, Yosemite

date: c1880 from the Monterey Museum.

[A view of Yosemite from a higher viewpoint—with gray clouds with light breaking through and a few birds transversing the gap between the Rock and El Capitan.]

Monterey Museum of Art

unsigned, undated.

On loan: Betty Hoag McGlynn and Thomas A. L. McGlynn collection

n.d.
oil/canvas
75×50 cm

Collection of the Hearst Art Gallery,
Saint Mary’s College of California.
Gift of Richard G. Jenevein in memory
of Jean Wanty Jenevein.

Mountain Landscape
[Sierra Nevada Mountain Landscape, possibly Mono Lake]

According to Mr. Jenevein (the donor), he writes that this may be the painting referred to in Brother Cornelius' book, page 231. "Tavernier, the artist, came to Keith one day and asked for a loan of $500 to be returned in a month. He left one of his paintings with Keith as a pledge. Keith knew that Tavernier was shiftless but loaned the money warning his friend that he would sell the painting if the money were not returned in due time. Tavernier failed on the day set and Keith sold the painting. When his friend came around again he was quite vexed that Keith had sold it." This may be how John Wooll acquired the painting.

Information from Julie Armistead, registrar, Hearst Art Gallery

Hearst Gallery
Saint Mary’s College of California
Moraga, CA, US
(2000.5)

unsigned, undated.

Provenance: It was the only Tavernier remembered to be among various Keith and other canvasses rescued from the Wooll residence on California Street before it burned during the 1906 fire. As far as Mr. Jenevein knew, it remained in the Berkeley home of John's widow, Mary L. Wooll, from 1907 until it passed to their daughter, Florence Wooll Wanty, who, in turn, gave it to her daughter, Jean Wanty Jenevein, when Mrs. Wanty and her sister, Charlotte Wooll, retired and moved to smaller quarters at the Sequoias in Portola Valley. It hung in the Jeneveins’ five successive homes until after Jean's death in 1995, when it was distributed to their daughters, Mary Wooll Jenevein and Elizabeth Jenevein Carpenter, in 1997. Mr. Jenevein purchased the painting back and donated it to the Hearst Art Gallery.

n.d.
oil/board
29 cm diameter,

Spring Song

[date: 1880]

[A very pastel toned painting of a young woman sitting in a flowering fruit tree in what appears to be an orchard. She is swinging her foot and her shoes appear to be about ready to fall.]

Monterey Museum of Art

On loan: Betty Hoag McGlynn and Thomas A. L. McGlynn collection

n.d.
oil/canvas
55×34 cm

Redwood Scene II

[date: c1881 from Monterey Museum]

[This is a fairly indistinct view of the redwood trees with a rough path. Some light reaches the forest floor behind the 3 large trees on each side of the path.]

Monterey Museum of Art

unsigned, undated

On loan: Betty Hoag McGlynn and Thomas A. L. McGlynn collection

n.d.
oil/canvas
46×79 cm

El Capitan—Yosemite

[date: c1881]

unknown location

private collection

1881
"jinks" cartoon

Ignorance

[Subject: a brute in human disquise; gross, burly, sensual, he sits in slough in which are rusty shackles, bones, idols, and the refuse of the dark ages. One fat hand rests on his knee, and the other holds an upturned and extinguished lantern. Back of him in a glory of light is the Temple of Science, Literature, and the Fine Arts, the radiance from which streams over his blind eyes and is lost in the darkness of the cess-poo. in which he stolidly sets, and from which the Bohemian Owl, with an expression of disgust, is just taking flight.]

location unknown

pub: F v1, p189 refences cartoon "Ignorance"

F v2, p33
has b+w image

1881
pastel/wood
103×62 cm

Cremation of Care

[see below: High Jinks of the Bohemian Club 1883 wood-cut from Harper's Monthly]

Bohemian Club
San Francisco, CA, US

pub: F v1, p33
reference only.

F v8, p162
color image

1881
oil/canvas
91×51 cm

California Landscape

1881
oil/canvas
107×183 cm

Woodland Scene

n.d.
oil/canvas
23×14 cm

Redwood Scene I

[date: c1881 from Monterey Museum]

[A very small study of light falling on the forest floor amongst redwoods.]

Monterey Museum of Art

unsigned, undated.

On loan: Betty Hoag McGlynn and Thomas A. L. McGlynn collection

1881
pastel/paper
64×120 cm

Red Cloud's Cup

unknown location

signed

auction: Southeby's Arcade: 3/93

c1882
pastel/paper
49×90 cm

[Untitled]

[A muted landscape of mostly gray, cloudy skies with light breaking through at the middle and what appears to be a wagon road with a wooden plank bridge and a troop of riders or possibly wagons coming down the middle. The grasses on either side of the road are green and the mountains on either side have a sheared tabletop look.]

Monterey Museum

Signed and dated LR: date difficult to read could be 1882, 1883, or 1885.

1882
watercolor/paper

Menu Fairwell Dinner
for Eugene Dewey

"August 5, 1882, the friends of Eugene Dewey, and they were many, for he was deservedly well beloved - gave him a farewell dinner at the club prior to his departure for New York, for which Tavernier painted an exquisite water color cartoon representing the menu. That he might carry away with him a visible token of their affection."

location unknown

pub: F, v2, p94

1882
oil/canvas
on cardboard
50×32 cm

Cathedral Spires, Yosemite

North Point Gallery
San Francisco, CA, US

signed, inscribed lr: “Jules Tavernier Yo Semite 1882”.

Auctions: Butterfields, 2003

from a private collection: Los Angeles

n.d.
pastel/paper;
107×64 cm

Yosemite Forest Fire
in a Moonlit Scene

[date is a guess c1882]

n.d.
pastel/paper
12×20 cm

Dying Day

[date c.1882 from Monterey Museum]

[A small picture done with a delicate pink to blue sky and a few shrubs and a tree or two of a mountain landscape.]

Monterey Museum of Art

signed LR.

1882
watercolor/paper;
24×31 cm

Landscape —
British Columbia

1882
pastel/paper on canvas
61×107cm

Village of Skidegate, British Columbia

The work holds closely to photos of Skidegate, a Haida village in the Queen Charlotte Islands, Tavernier travelled to B.C. in 1882 from San Francisco with Sir Thomas Hesketh. A work titled "Indian Village, British Columbia" was listed in the Report of the 18th Industrial Exhibition of the Mechanics' Institute, of San Francisco in 1883.

A similar photo is reproduced in the National Museum of Canada Anthropological Series, Number 30, page 489, in Bulletin 119.

Beaverbrook Art Gallery, Fredericton, New Brunswick, CANADA

signature ll: charcoal, INDIAN VILLAGE B.C. JULES TAVERNIER 1882. verso: Pencil frame: "3"

Provenance: The Beaverbrook Canadian Foundation; Lady Beaverbrook (1967); Lord Beaverbrook (March 20, 1958); M. Knoedler & Co., Inc., New York City (1954); John Howell, San Francisco.

pub ref: Beaverbrook Art Gallery: Paintings
University Press of New Brunswick;
1959; p.29

B&W image: Ian G. Lumsdale: Early Views of British North America; Beaverbrook Art Gallery, Fredericton, New Brunswick, Canada, 1994.p.66

1882
pastel/paper laid down on paper mounted stretcher
62×107 cm

Indian Village in British Columbia

This work probably shows the village of the Kwakiutl tribe on mid-eastern coast of Vancouver Island. Tavernier visited B.C. in 1882 with Sir Thomas Hesketh. "He is said to have visited British Columbia several times, including his 1882 trip to the Queen Charlotte Islands where he made at least two pastel drawings which have a very fine compositional quality..."

Beaverbrook Art Gallery, Fredericton, New Brunswick, CANADA

Signature: charcoal, lower right: JULES TAVERNIER 1882 INDIAN VILLAGE verso: handwritten, backing and stretcher: "WCA 1812" handwritten paper mounted on stretcher: "4051"

Provenance: The Beaverbrook Canadian Foundation; Lady Beaverbrook (1967); Lord Beaverbrook (March 20, 1958); M. Knedler & Co., Inc., New York City (1955); John Howell, San Francisco.

pub ref: Beaverbrook Art Gallery: Paintings;
University Press of New Brunswick;
1959; p.29

B&W image: Ian G. Lumsdale: Early Views of British North America; Beaverbrook Art Gallery, Fredericton, New Brunswick, Canada, 1994,p.67

1883
watercolor+pastel/paper
29×43 cm

Block's Farmyard
in Dry Creek
near Healdsurg, CA

This painting is dated '1887' on the front, rather than '1883'. This date is extremely hard to account for, since by then Tavernier had gone to Hawaii."

Bancroft Library, University of California (Robert B Honeyman, Jr. Collection)

Inscription on back of painting:
'in the vineyard belonged to "Old Mr. Block"... Formerly chef of the old Poodle Dog. Jules Tavernier and his wife and Mr. & Mrs. E.A. Dakin had their Thanksgiving Day Dinner here in 1883.'

n.d.
oil/canvas
51×91 cm

Dry Creek

[date: 1880-85]

unknown location

signed

auction: Butterfield's 2/1989

n.d.
oil/wood
22×58 cm

Venice Scene

[date:1880-85]

Kerwin Galleries
Berlingame, CA, US

signed: LR
undated

n.d.
oil/canvas
36×61 cm

California Landscape

[date:1880-85]

location unknown

signed

sold at auction by Butterfields, 6/2002

n.d.
oil/canvas
69×102 cm

An Eventide

[date:1880-85]

location unknown

sold at auction by Butterfields, 10/1997

n.d.
oil/canvas

Small California
Waterscape

[date:1880-85]

location unknown

Discovered on PBS Antiques Roadshow,
3rd show from San Francisco in 2004.

n.d.
oil/canvas
36×112 cm

California Waterscape

[date:1880-85]

Private Collection

unsigned

Provenance:
•1958: picture given by landlord to present familiy. Passed down in the family since.
•About 1950 the picture passed as part of the house/contents to the new owner who rented the home with its contents.
•In 1890s, became part of the furnishings of the Dunn estate, corner of El Camino and Rengstorff Avenue in Mountain View, California. Mrs. Dunn lived in the house from 1892 until her death in 1949, and she or her husband probably purchased the picture.

1883
oil/canvas
59×28 cm

•Queen and Hunters
•Queen and Huntress
•Among the Giant Redwoods

[This larger painting is inset from the canvas edge with a natural feathered edge in dark, grayish tones. A stand of redwood trees is shown with a fallen log upon which sits a young woman in a hat and what appears to be buckskin clothing (a skirt). She carries a rifle in her arms. There is a poem written on the lower left corner]

Queen and Huntress, chase and faire
How the sun is laid to sleep
State in wonted manner keeps
Hesperus entreats thy light
Goddess excellently bright.
      -- Ben Jonson

Monterey Museum

signed and dated LR.

On loan: Betty Hoag McGlynn and Thomas A. L. McGlynn collection

1883
oil/canvas
20×31 cm

Forest Interior

Trotter Galleries
Carmel, CA

Signed and Dated LR

1883
oil/?

Among the
Giant Redwoods

1883
[unsigned]

High Jinks of the
Bohemian Club —
Among the Big Trees

[Woodcut after pastel: Cremation of Care, 1881, see above]

Harper's New Monthly Magizine v66
May 1883
p.821

pub: F v6, p321
says this woodcut was used for the 1979 Bohemian Club "High Jinks" program cover

1884
oil/canvas
52×36 cm
35 mm

Redwoods at
the Russian River, CA

1884
oil/canvas
91×152 cm

El Rodeo —
Santa Margarita, California

1884
color lithograph

San Francisco
in December

1884
color lithograph

Christmas in
Sunshine and Shadow

1884
color lithograph

Burning Lake
of Kilauea, Hawaii

[This image was created before Tavernier had seen the volcano, probably from a photograph. This is one of the first commercially produced color lithographs.]

n.d.
Oil on canvasboard (originally); in 1984 removed from board, relined and restretched
29×46 cm

Collection of the Hearst Art Gallery,
Saint Mary’s College of California

View of the Road Toward the Sea

Originally titled Back Street on a Rainy Day. Notation in the museum's file that Betty McGlynn came to see it on 21 May 1977 and said it looked a lot like a watercolor at the University of Hawaii – so perhaps someone decided it was a Hawaiian scene. Another notation in file says that in 1996 Rob Kral looked at it and said it doesn’t look like Hawaii, our director at the time, Ann Harlow, agreed.

Information from Julie Armistead, registrar, Hearst Art Gallery

[From the above, it is not clear if this picture belongs to the Hawaiian Period or the Northern California one. --ed]

Hearst Gallery
Saint Mary’s College of California
Moraga, CA, US
(0-16)

Signed LL: Tavernier
undated.

Provenance: In the collection in 1975 when it was first surveyed. No documentation in file as to how the picture got in the collection.

1884?
oil/canvas
29×45 cm

Hilo

[A rather somber Hilo village scene with a dramatic gray cloudy sky and various buildings with a 2 spire church in the background.]

Monterey Museum

signed, named, dated in black paint or ink in the LR: date hard to read could be 1883, 1884, 1887, or 1889.

On loan: Betty Hoag McGlynn and Thomas A. L. McGlynn collection

n.d.
oil/canvas
18×44 cm

The Little Beggar, Kilauea

[date: c1885 from Monterey Museum]

[A dramatic volcano scene with black rocks silhouetting a bubbling lava pool in brilliant oranges and red with a moon breaking through clouds.]

Monterey Museum

On loan: Betty Hoag McGlynn and Thomas A. L. McGlynn collection

Kilauea Volcano,
Hawaii

Hawaiian Landscape

1884
watercolor+pencil
heightened with white/paper
26×37 cm

Interior Volcano House,
Kilauea, Hawaii

Private Collection

Pub: A p.194

1884
oil on canvas
9 1/2" x 21"

Don Severson's Art Gallery
Honolulu, Hawaii

Signed LR

about 1885
oil on canvas
19 1/2" x 29 1/2"

Gathering Storm

Comment from the owner: ... [The picture] depicted clouds billowing up from behind with two figures, one with a child, walking along a path by a body of water. The blue sky with light clouds in one area of the background reminded me of Hawaii so I left a bid with Christie’s. ... I noticed that the light brush strokes in the background were actually islands and matched the locations of Mokoli`i (Chinaman’s Hat), Moku Manu and Mokapu point and Pyramid rock as you looked past the fishpond in Hakipu`u next to Kualoa. Further research of the area led me to Kaneohe: A History of Change originally published in 1975 by the Bishop Museum where I learned that in Hakipu`u “Stories are told of the demi-god Kaupe, the cannibal dog, who appears in the form of clouds over Hakipu`u. He would lie in wait above the narrow valley until some fisherman returned home in the early morning hours or late in the evening. He would close down in his cloud form about the fisherman, lead him into a narrow place and there attack the man.” I got chicken skin as I looked up from the book and saw Kaupe in the clouds gazing down at his victims on the path. ...

David Young
Kailua-Kona, Hawaii, Hawaii

Signed LL: JULES TAVERNIER

Purchased 2005 Christie's New York

Waikiki, Hawaii

Farm Scene, Hawaii

1886
Oil/canvas, 71×145 cm

Kilauea Caldera, Sandwich Islands

San Diego Museum of Art

signed lr: oil, "JULES TAVERNIER, 1886, S.I."

provenance:
With Douglas Frazer, Ltd., Bellevue, Washington;
Purchased from above by San Diego Museum of Art: October 15, 2002.

pub: San Diego Museum of Art, Selected Works.
San Diego: San Diego Museum of Art, 2003.

D. Scott Atkinson. "Art of North America," p. 167 ill.

1886
Oil on canvas
20×61 cm

Hilo Volcano, Hawaii

The Leicester Galleries, London, England (2005)

Signed and dated Hilo 1886

about 1886
oil/canvas
36×52 cm

The Pali

Contemporary Museum
Honolulu, HI, US

Pub: A p.197

about 1886
pastel/paper
61×91 cm 

Wailuku Falls and
Mauna Kea
— Hilo, Hawaii

Honolulu Academy of Art, Honolulu, Hawaii

Pub: A, p.195

Wailuku River and
Mauna Kea

[similar to the above pastel]

c1887
oil/canvas
50×930 cm

The Volcano at Night,
Hawaii

[The Academy lists the date as ca 1880's which is certainly correct but probably far to broad. The date to the left is probably correct within a year, one way or the other.]

Honolulu Academy of Art, Honolulu, Hawaii (2562.1)

1959—Gift of Mrs. E. Faxon Bishop

about 1887
oil/canvas
12" x 18"

Halemaumau Fire Pit of Kilauea Volcano Erupting at Night

Label on the back says: Wortsman Stewart Galleries, Inc/San Francisco/California. Presented in a giltwood frame. Reference: David Forbes and Thomas Kunichika, Hilo 1825-1925, A Century of Paintings and Drawings. Exhibited: Hawaiian Hotel, Honolulu, 1885; Honolulu Art Society, 1920; Hilo 1825-1925, A Century of Paintings and Drawings, Dec. 1983-Feb. 1984.

New Orleans Auction Galleries, Inc (2005)

Not signed nor dated.

about 1887
oil/paper covered cardboard
27×45 cm

Kilauea at Night

Private Collection
Hilo, HI, US

Pub: A p.190

n.d.
oil/canvas
48×94 cm

Crater of Halemaumau, Kilauea, Sandwich Is.

Monterey Museum of Art (2003.44)

unsigned, undated.

2003 Gift of Dr. Oscar and Trudy Lemer

1887
oil

Kalauea Volcano,
Hawaii

1887
pastel/canvas
91×51 cm 

Kilauea
(Hilo)

[The auction listing has Hilo as the title of the picture.]

unknown location

signed lr: JULES TAVERNIER 1887

auction: Christie's LA, 6/2003

about 1887
oil/canvas
36×91 cm 

Kilauea at Dusk,
Hawaii

Private Collection
Honolulu, HI, US

Pub: A pp.192-3

1888
Oil on canvas
15×30 cm

Volcano in Hawaii

The Leicester Galleries, London, England (2005)

Signed and dated 1888

1888
Oil on canvas
15×30 cm

Volcano Hawaii

The Leicester Galleries, London, England (2005)

Signed and dated 1888

1888
oil/canvas
30×45 cm

Sunrise over
Diamondhead, Hawaii

Private Collection

Pub: A p.198;
B p.82

1889
oil/canvas
20" x 36"

A Sunset in Wyoming

Owner Unknown

Signed and dated LR: 'Jules Tavernier 1889' Titled on an old label affixed to the frame 'A Sunset in Waioming' [sic]

Provenance:
2005: Sold Bonhams Auction
19xx: Private Collection, Jackson, California

Exhibition:
'Works for the Spring Exhibition 1894', San Francisco Art Association, San Francisco, California (from an old label affixed to the frame)