By Kristin Nord
Alfred Atmore Pope, 1902-05.
Theodate Pope with her father, Alfred Atmore Pope, circa 1905.
Alfred Atmore Pope, circa 1890.
Receipt issued to Alfred Pope by Boussod, Valadon et Cie, Paris, August 27, 1889, for the purchase of “Rock Points at Belle-Ile” (1886) and “Grainstacks, White Frost Effect” (1889) by Claude Monet; “Farm Scene” (n.d.), by Anton Mauve; and “Panther with Slain Gazelle” (circa 1850), by Antoine-Louis Barye. Hill-Stead Museum Archives.
“Adoration” by Gertrude Käsebier, 1897. Hill-Stead Museum.
“Night View of Saruwaka Street” from “100 Famous Views of Edo” by Utagawa Hiroshige, 1856, woodblock print. Hill-Stead Museum.
“Honfleur, Fishing Boats” by Claude Monet, circa 1864-66. Private collection, France.
“The Serpentine in London” by Alfred Sisley, 1874. Private collection, United Kingdom.
“Little Rose of Lyme Regis” by James McNeill Whistler, 1895. Museum of Fine Arts, Boston.
“Étretat: Upper Cliff, Stormy Weather” by Claude Monet, circa 1884-86. Collection Tom and Nan Riley, United States.
Dining room, 1910. (Left to right) “Grainstacks in Bright Sunlight” by Claude Monet (1890); “View of Dordrecht with Cathedral and Harbor” by Jacob Maris (1903); and “Oat and Poppy Field” by Claude Monet (1890). Photo courtesy American Homes and Gardens.
Drawing room, circa 1902-05. Left of the archway: “La Salle des pas-perdus au Palais de Justice” by Honoré Daumier (circa 1860). Right of the archway, left to right: “Jockeys” by Edgar Degas (circa 1886); “Fishing Boats at Sea” by Claude Monet (1868). Fireplace wall, left to right: “Rock Points at Belle-Ile” by Claude Monet (1886) “Grainstacks, White Frost Effect” (1889), both by Claude Monet; and “Girl with a Cat” by Pierre-Auguste Renoir (1882). Photo courtesy The Architectural Record.
“Antoinette Holding Her Child by Both Hands” by Mary Cassatt, circa 1899. Private collection, United States.
“Study of Legs and Arm Movements for a Dancer with a Tambourine,” from “Degas: vingt dessins, 1861-1896” by Edgar Degas, 1882, published 1897-98.
