List of paintings by Henry Ossawa Tanner

This is an incomplete list of paintings by American painter Henry Ossawa Tanner (June 21, 1859 – May 25, 1937). Tanner is the first Black artist to have a major solo exhibition in the United States,^[1] and the first to have his work acquired for the collection of the White House.^[2]

Works

Date Tanner's approximate age	Events of Tanner's life	Description	Artwork name	Details	Picture
1870 11 years old	Drawing was part of Tanner's childhood in elementary school. However, he did not consider himself gifted.[3]		Barnyard Fowl	Attributed to Tanner online.[4] In doubt, considering Tanner decided to paint in 1872.
1875-1876 16–17 years old[5]	In 1872 he saw a painter painting a landscape in a park and was inspired to paint.[6] Tanner saw paintings at Earle's Galleries in Philadelphia.[6] He spent summers in Atlantic City.	In 1872 (age 13) he decides to become a marine painter. "Tanner's first known painting" was Harbor Scene.[7] This painting completed with no art education.[5]	Harbor Scene	Private collection. Oil on canvas board glued to Masonite. 14 x 20" (35.56 x 50.8 cm)
undated	Tanner sketches a shipwreck, impresses artist Henry Price, who takes him in to teach him for about a year.[8]	This impressionist painting is not that sketch but came later.	The Wreck	Smithsonian American Art Museum, 1983.95.205. Oil on panel, 9 1/4 x 12 1/8 in. (23.5 x 30.8 cm.)
circa 1876-1879[9] about 17–20 years old	Attending Philadelphia Academy, beginning 1879, and through 1885 (not continuously but periodically)		Seascape	Impressionism, family collection of Rae Alexander-Mintner
1876-1879[7] 17–20 years old			Seascape Jetty	Private collection. Oil on canvas. 12 x 17" (30.48 x 43.18 cm)
1879 20 years old	Tanner exposed to paintings at Earle's Galleries in Philadelphia. Spends summers in Atlantic City.	An early painting, done while learning, "probably derived from another artist's work".[7]	Ship in a Storm	Private collection. Oil on academy board 10'/16 x 6"(25.56 x 15.24 cm)
1879 20 years old		Painting likely made before he entered the Pennsylvania Academy of Fine Arts.[10]	Fauna	Hampton University Museum. Oil on canvas. 38 3/8″ x 29 3/4″
c. 1880[11] 21 years old			After the Storm[11]	Formerly in the Evans-Tibbs Collection.[11]
1880[12] 21 years old			untitled[12]	Telfair Museums, 1998.29. Oil on canvas, 15 1/8 × 25 3/16 inches (38.4 × 64 cm)[12]	Untitled landscape, circa 1880, Henry Ossawa Tanner
c. 1880[13] 21 years old		Student work made while Tanner was attending the Philadelphia Academy. The second photo is of the same lion, done at a later date.	Pomp at the zoo	Private collection. Oil on canvas, 20 x 16 in.[13]		Pomp at the Philadelphia Zoo, circa 1880-1886
c. 1880-1881[14] 21–22 years old	In a biographical article, Tanner wrote of his experience of owning and painting a sheep while at the Pennsylvania Academy of Fine Arts.[15]	Study of a sheep's head. Tanner switched his interest from marine painting to painting animals.[14]	Head of a Sheep[14]	Private collection. Oil on canvas, on board, 10 1/2x10 in. (267x254 mm)[14]
1881[16] 22 years old	In the 1880-1881 period, Tanner lived in Philadelphia with his parents, as he tried to start life as a painter.		Boy and Sheep Under a Tree[16]	Private collection. Oil on canvas, 17 3/8 x 27 in.[16]
undated			Feeding Sheep		Feeding Sheep, by Henry Ossawa Tanner
1881-1882[17] 22–23 years old		Portrait of a girl; "My Sister Sara" is written on lower right. Tanner had a sister Sarah Elizabeth Tanner who was 9 years old in 1882.[18]	Sister Sara[17] Done while Tanner was at the Philadelphia Academy.	Private collection. Oil on canvas, 16 x 13 in.[17]
c. 1882 23 years old	Tanner can be identified by his signature in these works.	Historical painting for magazine, not used. Three other paintings illustrated the article, called The Witch Hunt, by Louise Stockton, in Our Continent magazine, August 30, 1882, pages 233–235.[19]	The Witch Hunt			Man with a ruffed collar, dated "Paris, '95". Private collection.[20] Oil on canvas, 43.8 x 35.6 cm. (17.2 x 14 in.)[21]
1882[22] 23 years old	Tanner can be identified by his signature in these works.	Historical painting for magazine, illustrating the article, called The Witch Hunt, by Louise Stockton, in Our Continent magazine, August 30, 1882, pages 233–235.[19][23]	Waiting for the Lord[19]	Historical Society of Pennsylvania. Gouache on board, 13'/2 X 12”.[22]	Waiting for the Lord (magazine print)
c. 1882 23 years old	Tanner can be identified by his signature in these works.	Historical painting for magazine, illustrating the article, called The Witch Hunt, by Louise Stockton, in Our Continent magazine, August 30, 1882, pages 233–235.[19][23]	Gathering Faggots[19] and At the Well[19]		Gathering Faggots	At the Well
1884[24]		Painting of elk attacked by wolves; has been pointed out as symbolizing racist attacks on him while studying at the Philadelphia Academy of Art.[24]	Battle of Life[24]	Lost[24]
c. 1885[25] 26 years old		Shepherdess herding sheep[25]	untitled[25]	Private collection. Oil on panel, 13 x 9 1/2 in.[25]
c. 1885[26][27] 26 years old		Landscape done near the end of his time studying at the Philadelphia Academy. Installed at the Green Room, White House.[28]	Sand Dunes at Sunset, Atlantic City[26] or Back from the Beach[27]	White House Historical Association, 995.1759.1.[27] Oil on canvas, 30 3/16 x 59 7/16 in.[26]
1885-1886[29] 26–27 years old	Tanner spent time studying the nude form at the Pennsylvania Academy of Fine Art.[29]	Painting was a study for a planned painting of a mythological scene of Androcles with a lion.[29]	Study for Androcles[29]	Private collection. Oil on canvas, 31' x 18"[29]
1886[30] 27 years old		Tanner had been painting lions since at least 1880. He abandoned his project for Androcles and the lion as beyond his current abilities, but continued painting lions in works such as this.[29]	Lion Licking Its Paw or After Dinner[29]	Allentown Art Museum, 1962.5. Oil on canvas, 30 x 36" (76.2 x 91.44 cm)[29][31]
1888[32] 29 years old	Tanner grew up in Pennsylvania near the house of Nicolas Wynkoop, who built it in 1739. That house would later be owned by "abolitionist" Judge Henry Wynkoop, who freed his slaves.[33] Some of Judge Henry Wynkoop's slaves chose to remain with his family after receiving freedom on his death; a tree became their cemetery marker.[33][34][35]	Picture of a different Wynkoop house in Harlem, Manhattan, New York City dated with signature 1888. Tanner may have painted this as a symbol with civil rights in mind.[33]	Wynkoop House, Old Haarlem	New Britain Museum of American Art, 1984.86. Oil on canvas, 18 1/2 x 13 1/4 in.[32] American realism
c. 1888[36] 29 years old			untitled landscape (Female figure with basket and trail leading to houses)[36]	Hearne Fine Art. Oil on canvas, framed size: 21" x 17"[36]
1887-1888[37] 28–29 years old	Tanner made illustrations for Harper's Young People.[37]	He illustrated for Kate Upson Clark, her story "Old Win-ne-wan's Star" in Harper's Young People, printed as wood engraving January 10, 1888.[23][37]	It Must Be My Very Star, Come Down to Brooklyn, After All[37]		It Must Be My Very Star, Come Down to Brooklyn, After All, by Henry Ossawa Tanner
1882-1888[23][38]	While still living in Philadelphia, Tanner did a religious artwork.[23] This was years before The Thankful Poor and Daniel in the Lion's Den (1896).[23] His teacher may have been sending students' work in to magazines.[23]	Joachim, father of Mary, maternal grandfather of Jesus	Joachim Leaving the Temple[38]	The Baltimore Museum of Art, 2008.111. Opaque watercolor and graphite, inscribed with a stylus, on paper, 558 × 392 mm. (21 15/16 × 15 7/16 in.)[38]
c. 1889[39] 30 years old	Tanner visits Highlands, North Carolina, with the idea that he could make money with his camera and pay for the trip.[40]	Painting likely of the Cumberland Mountains.[41]	Mountain Landscape, Highlands North Carolina[39]	Doris Ulman Galleries, Berea College Art Department, Kentucky, 140.O.95. Oil on canvas. 23" x 36"[39][42]
c. 1889[43] 30 years old	visits Highlands, NC		Mountain Landscape, Highlands, North Carolina[43]	Smithsonian American Art Museum. Watercolor, pencil, and colored pencil on paper mounted on paperboard, 10 7/8 x 15 in. (27.5 x 38.1 cm)[43]		Same image, different result in digtization
c. 1889[44] 30 years old	visits Highlands, N.C.		Highlands, N.C.[44]	Smithsonian American Art Museum, 1983.95.26. Watercolor and pencil on paper, 10 7/8 x 15 in.[44]
1889 [45] 30 years old	visits Highlands, NC[45]		Waterfall, North Carolina[45]	The Charleston Renaissance Gallery. Oil on canvas 21 5/8 x 14 inches[45]
1889[46][47] 30 years old		Similarity: Tanner painted a work titled "Scrub Pine Land", exhibited in 1894 and unknown today, painted in Florida.[48]	untitled landscape[46][47]	Robert W. Woodruff Library, Atlanta University Center, Oil on canvas, 33 1/2 x 27 1/4 in.[46]
undated, c. 1889-1890[49] 30–31 years old			Georgia Landscape[49]	Morris Museum of Art, Augusta, Georgia. Oil on canvas, 17 3/4 x 32 1/4 in.[49]
undated[50]		Painting signature has "Henry" spelled out, which is unusual. African American figures?	untitled[50]	Private collection. Oil on canvas, 9 x 13 in.[50]
1891[51] 32 years old	Beginning January 1891, attending school at the Academie Julian in Paris	Painted in France while attending school. The figure between the two dogs in the background is a pentimento of a gypsy boy, a street performer.[51] Tanner painted the petit savoyard (young Gypsy street performer) into the picture, but later removed it, creating the shadowy image.[51]	A Horse and Two Dogs in a Landscape[51]	Woodrow Wilson Middle School Collection, Philadelphia.[52] American realism or French academic	, by Henry Ossawa Tanner
1891[53] 32 years old	Beginning January 1891, attending school at the Academie Julian in Paris	Painted in France while attending school. Appears to be imitating the painting Anguish by August Friedrich Schenck. Tanner's painting is retitled, and painted in a more impressionist style.	Behold! The Lamb of God[53]	Private collection. Oil on canvas, 13.12 x 18.12 in. (33.3 x 46 cm.)[53]		Anguish by August Friedrich Schenk appeared in the Paris Salon, 1878[54] under its French title Angoisses.
undated[55]	Attended Philadelphia Academy of Fine Art about 1879–1885. Struggled to make living as artist. Beginning January 1891, attended school at the Academie Julian in Paris	Place and time painted unknown. Clearly imitating Briton Riviere's Daniel's Answer to the King	untitled. Online labeled Daniel in the Lion's Den[55][56]	Private collection. Oil on canvas, 29 1/2 x 43 in.[56]		Daniel's Answer to the King by Briton Riviere, 1890.
1891 32 years old	First year in France. Summering on west coast of Brittany.	Portrait of a woman apparently from the French West Indies. Her dress marks her as not being of the peasant class. This image is a rare Tanner portrait, one of about 7 known images he painted of a colored person. Impressionist techniques being used in this image.	Woman from the West Indies, 1891, Brittany, France.[57]	Impressionism
c. 1890s[58]	Tanner arrived in France in January 1891.	Night scene of a couple standing in the rain in Paris.	Street Scene, Paris[58][59]	Colby College Museum of Art, 1972.052. Waterville, Maine.[58][59] Pastel on paper, 13 × 9 3/4 in. (33 × 24.8 cm.)[58][59]
1891[60] 32 years old	Tanner arrived in France in January 1891. Summered in Brittany at Pont-Aven and Concarneau.[60] Bois d'Amour is near Pont-Aven.[60] Concarneau is about 15 km from Pont-Aven.[60]	Woman and child walking on a path in the woods.	Bois d'Amour[60]
undated[61]	Tanner had the opportunity to paint this at any time after 1890.	Painting came up for auction in 2023 in Bordeaux, France.[61]	Brittany, mother and her child on the road Bretagne, mère et son enfant sur la route [61]	Private collection. 35 x 55.5 cm[61]
1891[60] 32 years old	Summers in Brittany, spends time at Concarneau[60]		Concarneau[60]
c. 1891-1893[62] 32–34 years old	Tanner studied at the Académie Julian from 1891 to 1893.[62]	Study at the Académie Julian, where instruction centered around making images of nude models.[62]	Half-Length Study of a Negro Man[62]	Detroit Institute of Arts. Charcoal and pastel on cream laid paper, 19 1/2 x 9 3/8 in. (24.6 x 23.9 cm).[62][63]		Smithsonian American Art Museum, 1983.95.24. Study of a Young Man, no date. Conté crayon and pencil on paper, 12 1⁄4 x 9 5⁄8 in. (31.0 x 24.3 cm).[64]
c. 1881-1893	Assuming this is part of his artist's studies in the Académie Julian, it would date from his arrival in 1891 until he left in 1893		Portrait of a Young Girl[65]	Smithsonian American Art Museum, 1983.95.46. Conte crayon, pencil and pastel on paper, 8 7⁄8 x 6 1⁄4 in. (22.5 x 16.0 cm)[65]
undated[66] possibly c. 1881-1893	Assuming this is part of his artist's studies in the Académie Julian, it would date from his arrival in 1891 until he left in 1893.	Painting in French art gallery Proantic	Etude d'Un Homme Barbu[66] or Study Of A Bearded Man[66]	Private collection. Charcoal on paper, 25.5 x 20 cm.[66]
1892 33 years old	Summer 1892 in Brittany.[67] Spring 1893, Paris.[67] Possibly, early summer 1893, Brittany.[67] Spring/Summer 1893 returned to United States.[68] Attended World's Columbian Exposition	Study begun in Brittany in 1892 for painting The Bagpipe Lesson, finished by May 1893.	Study for the Bagpipe Lesson[69]	Smithsonian American Art Museum, 1983.95.42. Oil on paperboard, 5 x 5 15/16 in.[69]
1893 34 years old	Summer 1892 in Brittany.[67] Spring 1893, Paris.[67] Possibly, early summer 1893, Brittany.[67] Spring/Summer 1893 returned to United States.[68]	First attempt to get a painting into the Paris Salon, in 1893; it was rejected but later accepted in 1895.[70] Painted with an American painter's eye, not with symbolism or impressionism.[70] Displayed at World's Columbian Exposition, in the exposition catalog.[70]	The Bagpipe Lesson[69]	Hampton University Museum. Oil on canvas, 45 x 68 3/4" (114.3 x 174.63 cm)[70][69] American Realism or French Academic
c. 1893[71] 34 years old	Summer 1892 in Brittany.[67] Spring 1893, Paris.[67] Possibly, early summer 1893, Brittany.[67] Spring/Summer 1893 returned to United States.[68]	Tanner moving toward impressionism in this work.[71]	The Edge of the Forest[71] Bois d’Amour[71]	Rosenfeld Fine Arts. Oil on wood panel, 7"/4 X 101/2" (18.42 x 26.67 cm)[71]
c. 1890s[72]		Tanner painted African Americans (women and children) in what was probably Philadelphia in the late 19th century.[72]	Feeding Chickens[72]	Private collection. Oil on canvas, 14 x 24".[72] Sold at New Orleans Auction Galleries.[73]	Feeding Chickens, by Henry Ossawa Tanner
1894[74] 35 years old	Several trips to Florida. One trip in 1878.[75] Jacksonville & Enterprise, Florida in 1889.[76] Tallahassee, Florida in 1894.[67]	Tanner exhibited at Earle's in 1894, including "Scrub-Pine Land," "Orange Grove" and "Young Orange Trees".[77]	Florida[74]	Private collection. Oil on canvas, 18 x 22 in.[74]		Florida.
1894[78] 35 years old	In 1894 Tanner exhibited paintings titled Lake Monroe and Evening on the St. Johns at Earle's Galleries.[77] The location of either painting is unknown.	The date is in the lower right corner.	untitled landscape	DuSable Museum of African American History[78]
1893-1894 34–35 years old	Summer 1892 in Brittany.[67] Spring 1893, Paris.[67] Possibly, early summer 1893, Brittany.[67] Spring/Summer 1893 returned to United States.[68] Return to Paris in fall of 1894.[79] Submitted to Paris Salon in spring 1894 as The Music Lesson[70][80]	Date on painting 1893. Early name in newspapers was The First Lesson.[81] Painted to show multiple light sources.[70] Brushwork style links to The Thankful Poor and Spinning by Firelight.[70]	The Banjo Lesson or La Lecon de Musique (The Music Lesson)[70]	Hampton University Museum. Oil on canvas, 49 x 35/2" (124.46 x 90.17 cm).[81] American Realism blended with Impressionism[82][83]		Painting in Harper's Young People, Dec 5, 1893.
1894 35 years old		The final painting was exhibited in the spring of 1894.	The Thankful Poor	Art Bridges. Oil on canvas, height: 90.1 cm (35.5 in); width: 112.4 cm (44.2 in). American Realism blended with Impressionism[82][83]		Study for the Thankful Poor, DuSable Museum of African American History.[84]
1894[85] 35 years old			Spinning by Firelight[85] or The Boyhood of George Washington Gray[85]	Yale University Art Gallery, 1996.58.1. Oil on canvas, 44 1/4 x 66 1/4.[85] American Realism blended with Impressionism[82][83]
1894[86] 35 years old	Tanner returned to France from the United States in September 1894.[79]		Crossing the Atlantic or Return Home[86]	Smithsonian American Art Museum, 1983.95.28. Watercolor and pencil on paper mounted on paperboard, 9 7/8 x 13 1/2 in. (25.2 x 34.2 cm)[86]		Shore Landscape with building and Dock, undated. Private collection, oil on panel, 9 1/4" x 13 1/2".[87]
1894[88] 35 years old	Tanner returned to France from the United States in September 1894.[79]	This image in France would have been painted after his return.	Pont-Aven[88]	DuSable Museum. Oil on canvas, 23.5 x 19.75 inches[88]
1895[13] 36 years old		Tanner made at least three studies for The Young Sabot Maker before his final painting.	Study for the Young Sabot Maker[13]	Smithsonian American Art Museum, 1983.95.208. Oil on canvas, 16 1/4 x 13 in. (41.3 x 33.0 cm.)[13]		Study for the Young Sabot Maker, 1893. Metropolitan Museum of Art, 1975.27.2. Watercolor and gouache on white wove paper, height: 38.7 cm (15.2 in); width: 25.9 cm (10.1 in.)[89]
1895[90] 36 years old		Entry in Paris Salon, 1895.[90]	The Young Sabot Maker[90]	The Nelson-Atkins Museum of Art. Oil on canvas, height: 120.3 cm (47.3 in); width: 89.8 cm (35.3 in).[90] American Realism, French Academic		Study for the Young Sabot Maker, Paris 1893. Smithsonian American Art Museum, 1983.95.49. Pastel and ink on paper mounted on paperboard, 10 3/8 x 8 3/8.[91]
1895[92] 36 years old		Boy holding a binioù (Breton bagpipe).[92] Dates to visit to Pont-Aven, Brittany in 1894.[92]	The Bagpipe Player[92][93]	Private collection. Oil on canvas, 21 1/2 x 18 1/2 in.[93]
c. 1895[94] 36 years old		Early exploration of biblical subject[95]	The Annunciation to the Shepherds	The Nelson-Atkins Museum of Art. Oil on canvas, height: 120.3 cm (47.3 in); width: 89.8 cm (35.3 in). American Realism, French Academic
1895[95] 36 years old	Living in Paris	Early entry into Tanner's chosen field of Christian artwork	Adoration of the Golden Calf[96]	Hampton University Museum.[97] Oil on canvas, 33 x 41 cm. (13 x 16.1 in.)[96]
1895[98] 36 years old	Living in Paris	In the 1895 Paris Salon, he exhibited "pastel of New Jersey coast by moonlight".[99][100] Under matting, this painting had "Paris 1895."[100] Possibly depicts a buoy particular to "Quai d'Issy on the Seine River."[99]	Marshes in New Jersey[98]	Smithsonian American Art Museum, 1894.149.3.[98] pastel and pencil on paper mounted on paperboard, sheet: 9 1⁄2 x 12 1⁄2 in.[98]
undated	After Daniel in the Lion's Den, Rodman Wanamaker sponsored trips to Palestine/Egypt (January- April 1897, October 1898 - March 1899) to give Tanner the places' look.	Two paintings that are intended to be oriental, but don't have the same look as those found in the 1897, 1898–99, 1908 and 1912 trips. Question to be answered: could these predate Tanner's trips to the Middle East?			untitled painting, in oriental style. Oil on board, 27 1/4" x 21.5"[101]	Mistitled "Forest Scene" at auction. Oil on canvas board, 18" x 13 1/2".[102]
1896[103] 37 years old	Living in Paris		View of the Seine, Looking Toward Notre Dame[103]	Private collection. Formerly held by Michael Rosenfeld Gallery. Oil on canvas, 14 7/8 x 20 1/8.[103]
1896 37 years old	Living in Paris	Entered Daniel in the Lion's Den in the 1896 Paris Salon, his third year in the event. This is a photo of that version, which is now lost. Tanner repainted the picture later, in a horizontal layout.	Daniel in the Lion's Den	Location unknown.		New version, painted 1914–1917.[104]
1896 37 years old	Living in Paris	Les Invalides, a complex that includes Napoleon's tomb and the Hôtel des Invalides (a home for disabled military veterans)[105]	Les Invalides	Terra Foundation for American Art, Daniel J. Terra Collection. Oil on canvas, height: 33.3 cm (13.1 in); width: 41 cm (16.1 in)[105]
1896[106] 37 years old	Signed reverse of painting: To Mrs. Crane / Souvenir of the Sands of NJ / H.O. Tanner / 1896 (verso)[106]		Sands of New Jersey or Souvenir of the Sands of NJ[106]	Private collection. Oil on panel 4 3/4 by 6+1⁄4 inches (12 by 15.9 cm)[106]	Sands of New Jersey, by Henry Ossawa Tanner
1896[107][108] 37 years old	Living in Paris	Won a gold medal at Paris Salon 1897, bought by French Government, brought honor to Tanner that he no longer had to submit paintings to a committee before entering them in the Salon.[109]	Raising of Lazarus or Resurrection of Lazarus[107][108]	Musée d'Orsay, RF 1980 173. Oil on canvas, 37 x 48 in. (94.7 x 120.5 cm.)[107][108]	Resurrection of Lazarus, article
c. 1897[110] 38 years old	January- April 1897, trip to Palestine and Egypt		A Mosque in Cairo[110]	Private collection. Oil on canvas, 9 1/2 x 13 in.[110]
1897[111][112] 38 years old	January- April 1897, trip to Palestine and Egypt[111]	Mosque of Qaitbey[111]	Interior of a Mosque, Cairo[111]	Museum of Fine Arts, Boston, 2005.92. Oil on canvas, height: 52.1 cm (20.5 in) Edit this at Wikidata; width: 66 cm (25.9 in)[111][112]
1897 38 years old	January- April 1897, trip to Palestine and Egypt		Cairo boatman[113]	Private collection. Oil on panel, 32 x 51 cm-12.5 x 20 in.[113]
1897[114] 38 years old	January- April 1897, trip to Palestine and Egypt		Cairo boatman[114]	Private collection. Oil on panel, 8 1/2 x 13 in.[114]
1897-1899[115] 38–40 years old	January- April 1897, trip to Palestine and Egypt, second trip October 1898 - March 1899		Seated Arab[115]	Private collection. Oil on wood, 331x235 mm; 13x9 1/4 inches.[115]	Seated Arab, by Henry Ossawa Tanner
c. 1897[116] 38 years old	January- April 1897, trip to Palestine and Egypt, second trip October 1898 - March 1899		Study of an Arab[116]	Private collection. Oil on board 33 x 24 cm (13 x 9 1/2 in.)[116]
February 1897[117] 38 years old	January- April 1897, trip to Palestine and Egypt	Reverse of image had "Cairo Feb 1897". Front has Paris, Oct 1898[117]	untitled (A Water Carrier)[117]	Private collection. oil on panel, 10 by 8 inches (25.4 by 20.3 cm)[117]
undated possibly c. 1896-1899	January- April 1897, trip to Palestine and Egypt; January–April 1897, trip to Palestine and Egypt	Painting not dated; based on subject and realisim-style, the painting might be placed on his 1st or 2nd trip to the Near East.	untitled (Arab Musician)[118]	Private collection. oil on canvas board, artist's name on verso, 9" x 11", frame 13 3/4" x 15 3/4"[118]
c. 1897[119] 38 years old	In January–April 1897, Tanner went on a trip to Palestine and Egypt. He was sponsored to increase his knowledge of biblical scenery.	The final painting is lost, but this study survives.[119]	Study for the Jew's Wailing Place[119] or The Wailing Wall	Museum of Art, Rhode Island School of Design. Oil on canvas 25 1/2 x 19 1/4" (64.77 x 48.9 cm)[119]		Original painting Wailing Wall, 1897.[119]
c. 1897[120] 38 years old	In January–April 1897, Tanner went on a trip to Palestine and Egypt. He was sponsored to increase his knowledge of biblical scenery.	He had painted lions before in a zoo setting; these he placed in a desert.	Lion Drinking[120]	Private collection. Oil on cardboard, height: 23.5 cm (9.2 in); width: 37.5 cm (14.7 in)[120]
c. 1897-1898[121] 38–39 years old	In January–April 1897, Tanner went on a trip to Palestine and Egypt. He was sponsored to increase his knowledge of biblical scenery.	He had painted lions before in a zoo setting; these he placed in a desert.	Lions in the Desert[121] or Still Hunt[122]	Smithsonian American Art Museum, 1983.95.184. Oil on canvas mounted on plywood 15 1/2 x 29 3/8" (39.37 x 74.61 cm)[121]
Undated; probably c. 1897-1898[123] 38–39 years old	Likely painted during his first (January- April 1897) or second (Oct 98-March 99) trip to the Middle East.[123]		The Canyon[123]	Smithsonian American Art Museum, 1983.95.183. Oil on canvas, 16 x 13 in. (40.6 x33.0 cm.)[123]
c. 1897[124] 38 years old	Tanner stopped in Venice in the spring of 1897, after visit to Palestine and Egypt.[124]		Venice[124]	Oil on canvas on plywood, 274x228 mm; 10 7/8x9 inches.[124]
undated			Portrait of Isaac[125]	Charcoal on paper, 22" x 18".[125]	Portrait of Isaac, by Henry Ossawa Tanner
August–September 1897[126][127][128] 38 years old	In Kansas City, Kansas, seeing his family[126][128]	Tanner painted this about August–September 1897 after visiting the Near East. The subject is his father, Benjamin Tucker Tanner.[126][128][127]	Bishop Benjamin Tucker Tanner[126]	Private collection. Oil on canvas, 13 X 9 3/4" (33.02 x 23.49 cm)[126]
August–September 1897[126][127][128] 38 years old	In Kansas City, Kansas, seeing his family[126][128]	Tanner painted an image of his father that is dated.[126] The image of his mother Sarah Elizabeth Tanner without date has the same red background and is the same size.[126]	Portrait of the Artist's Mother[126]	National Museum of American Art, Smithsonian Institution. Oil on plywood, 13 X 9 3/4".[126]
August–September 1897[129][127][130] 38 years old	In Kansas City, Kansas, seeing his family in summer/fall, 1897[129][128]	Portrait of Sarah Elizabeth Tanner[129]	Portrait of the artist's mother[129][130]	Philadelphia Museum of Art, EW1993-61-1. Oil on canvas, 29 1/4 x 39 1/2" (74.29 x 100.33 cm)[129][130]
c. 1897[131] 38 years old	After his trip to the Middle East in the spring of 1897, Tanner visited his parents in Kansas City, Kansas in August/September.[127][128] Return to Paris in September.		Kansas City, Kansas[131]	Smithsonian American Art Museum, 1983.95.30. Watercolor and pencil on paper mounted on paperboard, sheet: 9 7⁄8 x 13 7⁄8 in.[131]		Smithsonian American Art Museum, 1983.95.29. Watercolor and pencil on paper mounted on paperboard, sheet: 9 7⁄8 x 13 7⁄8 in. (25.1 x 35.3 cm)[132]
1898[133][134] 39 years old	Visits U.S. in August 1897 after return to Paris from Holy Land. Returns to Paris September 1897 from US.[127] Announces, that after he returns to Paris, he will paint an Eastern type Virgin Mary dressed in clothes from the Holy Land.[127][128][135] Tanner probably did not use Jessie McCauley Olssen (his future wife) for the girl.[136] Entry in 1898 Paris Salon.[134][137]	The Virgin Mary is visited by the archangel Gabriel, who delivers the Annunciation of the Lord, the announcement that she would bear Jesus.	The Annunciation[133][134]	Philadelphia Museum of Art, W1899-1-1. 57 x 71 1/4 in (1,448.82 mm x 1,811.27 mm)[133][134]	Article for The Annunciation.	Study for The Annunciation, 1898. Smithsonian American Art Museum, 1983.95.187. Oil on wood, 8 1/2 x 10 3/4 in.[138]
c. 1898[139] 39 years old	Henry Ossawa Tanner meets Jessie Macauley Olssen in the summer of 1898.[136][139]	Portrait of Jessie Jessie Macauley Olssen, Tanner's wife[140]	Portrait of the Artist's Wife	Smithsonian American Art Museum, 1983.95.211. Oil on fiberboard, 22 3/8 x 18 7/8 in. (56.8 x 47.9 cm.)[140]
1898[141][142] 39 years old	Entry in the 1900 Paris Salon and later at Pennsylvania Academy of the Fine Arts's 70th Annual Exhibition (1901), the Minneapolis Society of Fine Arts exhibition (1902) and the Lewis and Clark Centennial Exposition in Portland, Oregon (1905).[143][144]	Mary with infant Jesus (under the blanket and halo.)	Mary[143] or La Sainte-Marie[143][141][142]	La Salle University Art Museum, 84-P-298. Oil on canvas, 34 1/8 x 42 5/8 in. (86.7 x 108.3 cm).[141]
c. 1899[11][145] 40 years old			Head of a Girl in Jerusalem[11][145] (The Artist's Wife)[11]	Formerly in Evans-Tibbs collection.[145] Oil on artists board.[11]
1899[146] Reworked 1918–1920.[147] 40 years old	Tanner took a second trip to the Holy Land, in 1898–99. Began recurring theme of Joseph and Mary fleeing for Egypt.[146]	Thought to be the study used for Nicodemus in Nicodemus Visiting Jesus. This image was reworked in 1918-1920 and may have changed the look of the subject.	Head of a Jew in Palestine.[146]	Smithsonian American Art Museum, 1983.95.189. Oil on canvas, 24 x 21 1⁄4 in. (61 x 53.9 cm).[146]
c. 1897-1899 38–40 years old	Tanner took a second trip to the Holy Land, in 1898–99.	No date;[148] this should date to one of his first two Mideast Trips.	Head of a Woman in Jerusalem[148]	Smithsonian American Art Museum, 1983.95.194. Oil on canvas mounted on cardboard, 17 7⁄8 x 13 5⁄8 in. (45.4 x 34.6 cm.)[148]
c. 1897-1899[149] 38–40 years old	Tanner took a second trip to the Holy Land, in 1898–99.	No date; this should date to one of his first two Mideast Trips.	A View of Palestine[149]	Frances Lehman Loeb Art Center, Vassar College, 1946.3.3. Oil on canvas, 22 1/2 x 37 in.[149]	A View in Palestine, by Henry Ossawa Tanner	Landscape Near Jerusalem. Published in June 1900 Brush and Pencil.[150]
c. 1898[151] 39 years old		Exhibited in May 1899 at the Pennsylvania Museum and School of Art and January 1901 at the Pennsylvania Academy of the Fine Arts.[152]	And He Vanished Out of Their Sight[151] or And He Disappeared Out of Their Sight[152]	Location unknown (possibly lost). Oil on canvas, 25 3/4 x 32 in.[151] Photo in collections of Pennsylvania Academy of the Fine Arts[151] and the Smithsonian Archives of American Art.[153]		1898 Study, And He Disappeared Out of Their Sight, Smithsonian American Art Museum, 1983.95.200. Oil on plywood, 10 5/8 x 13 3/4 in. (27.1 x 35.0 cm.)
1899[146][154] 40 years old	Tanner took a second trip to the Holy Land, in 1898–99.[146]	The painting illustrate the biblical story of Nicodemus a Pharisee who visited Jesus to talk to him. 1899 Paris Salon entry.[152]	Nicodemus Visiting Jesus.[146] or Nicodemus[154] or Nicodemus Coming to Christ[155]	Pennsylvania Academy of the Fine Arts, 1900.1. Oil on canvas, 33.11/16 × 39.5 in (85.5 × 100.3 cm).[146][154]	Nicodemus Visiting Christ, article.	Study for Nicodemus, 1899. Private collection. Oil on canvas mounted on cardboard, 7 1/4 x 9 3/8 in.[156] One of the four paintings photographed by the Harmon Foundation, exhibited by them in 1931.[157][158]
1899[159] 40 years old	Tanner took a second trip to the Holy Land, in 1898–99. Began recurring theme of Joseph and Mary fleeing for Egypt.	A very similar version (At the Gates) was painted in 1927-1927.	Flight Into Egypt.[159]	Amistad Research Center, ARC.HTANN.1900.01. Oil on panel, circa 1926–27. 610x483 mm; 24x19 in.[159] Impressionism
1899[160] 40 years old	Tanner took a second trip to the Holy Land, in 1898–99. Began recurring theme of Joseph and Mary fleeing for Egypt.	Exhibited 1899 at the Carnegie Institute, along with Judas.[152]	Flight Into Egypt.[160]	Detroit Institute of Arts, 69.452. Oil on canvas. Unframed: 19 3/4 × 25 1/2 inches (50.2 × 64.8 cm).[160] Impressionism	Article for Flight into Egypt.
c. 1899 40 years old	Published in the June 1900 issue of the Brush and Pencil journal or magazine.[161]	Scene at Czernay la Ville[161]	The Laundress	Impressionism
c. 1890/1899[162]			Still Life With Apples[163]	Georgia Museum of Art, University of Georgia, GMOA 2011.604. Oil on canvas.[163][164]
c. 1899 40 years old		Tanner displayed a work at the Carnegie Institute, now lost.[165]	Judas.	Painted over to make the 1924 painting Two Disciples at the Tomb[165]	Only one known photo of the painting, may still be in copyright.[165]
c. 1900[166] 41 years old		Displayed at the annual exhibition of the Pennsylvania Academy of Fine Arts, 1900, along with Nicodemus and Hills Near Jerusalem. Painting of the death of Judas.[166] Also exhibited 1908 at his solo exhibition.[167]	And He Went Out and Hanged Himself[166] or Death of Judas[168]	Location unknown, possibly lost.
c. 1899 Date based on that of final painting 40 years old		Study painting, used in Christ Among the Doctors	Scribes[169] or Study for Christ Among the Doctors	Private collection. Oil on [base not identified], 21 ¾" by 18"[169]	Study for Jesus among the Doctors, by Henry Ossawa Tanner
c. 1899-1900[152] 40–41 years old			Christ Among the Doctors[152] or Christ in the Temple[170]	Location unknown.[152]	Christ Among the Doctors, by Henry Ossawa Tanner	Nicodemus[171] or Study for Christ Among the Doctors or Portrait of a Bearded Man,[172] undated. Private collection. Oil on canvas, 13 3/4 x 10 5/8 in.[172] Painting was handed down in Tanner's family, through a nephew.
c. 1900[173] 40 years old		The lost painting Christ in the Temple may be glimpsed in this photo from 1900.[173]	Picture of Tanner in his studio painting Christ in the Temple[173] also called Christ Among the Doctors	Photo from the journal Brush and Pencil, volume 6, issue 3, June 1900, article titled: "Henry O. Tanner, Painter", pages 97–107.[173]	Picture of Tanner in his workshop, painting Christ In the Temple or Christ Among the Doctors
c. 1900-1905[174] 41–46 years old		"Jesus meditating as he waits for his crown of thorns and purple robe, in which he would be mocked as the 'King of the Jews.'"	The Savior.[174]	Smithsonian American Art Museum, 1983.95.191. Oil on canvas mounted to plywood. 29 1⁄8 x 21 3⁄4 in. (73.9 x 55.3 cm)[174][175]
c. 1900[176] 41 years old			The Seine, Evening.[176][177]	Norton Museum of Art[176][177] Oil on canvas, 10 1/8 x 8 in. (25.7 x 20.3 cm)[176][177]
c. 1900[178] 41 years old			untitled[178] or Parisian Street Scene[178]	Private collection. Oil on panel, 5 3/4 x 7 in.[178]
c. 1900[179] 41 years old			untitled. (View of the Seine)[179]	Private collection. Oil on plywood, 11,5 x 16,5 cm. (4.5 x 6.5 in.)[179]
c. 1900[180] 41 years old	This painting has been called a work of symbolism. Similar to symbolist painting by Franz von Stuck, Sin. Tanner has decapitated Salome with shadow. The blue, sometimes a spiritual color is unpleasant here, speaking of sin, judgement.	Painting of Salome with the head of John the Baptist at her feet. Donated to Smithsonian by Jesse Tanner (Henry O. Tanner's son).[180] Painted on the opposite side of the canvas as Moses and the Burning Bush (abandoned).[181]	Salome[180]	Smithsonian American Art Museum, 1893.95.207A. Oil on canvas, 45 7/8 x 35 1/4 in.[180]
c. 1900 41 years old		Tanner painted a portrait of his wife Jessie Macauley Olssen.[182][183]	Jessie Macauley Olssen[182]	Private collection. Oil on canvas, 13 x 9.5 in. (33 x 24.1 cm.)[182][183]
c. 1900 41 years old		John Olssen, father of Tanner's wife Jessie.[184]	John Olssen[184]	Oil on canvas, left 73 x 54 cm - 28.7 x 21.2 in.[184]
c. 1900[185] 41 years old	Tanner did nude portraits as studies at both the Academy of Fine Arts in Philadelphia and the Academie Julian in Paris. This was published in 1900; its creation date is unknown.[185]	Study around the idea, "And Mary pondered all these things in her heart."[185]	Study[185]	Location unknown. Charcoal on paper.[185]
undated, possibly c. 1901[186][187]			untitled (nocturnal landscape)[186][187]	Johnson Museum of Art, Cornell University, 79.029.002. Oil on canvas, 26 1/4 x 19 3/4 inches (66.7 x 50.2 cm).[187]
undated[188]	American artists in Paris hold separate year-end exposition, December 1901.[189]	In a 1901 exposition, Tanner entered a work, "woman's head In the firelight".[189] May have no connection to Smithsonian's "Profile of a Woman's head."	Profile of a Woman's Head.[188]	Smithsonian American Art Museum, 1983.95.201. Oil on wood, 14 1⁄8 x 11 3⁄4 in. (35.8 x 30.0 cm.)[188]
c. 1902[190][191] 43 years old	Displayed at 1902 Salon,[192] but did not get a good reception in French press.[190] Tanner painted The Pilgrims of Emmaus over it.[190]	He painted himself into the picture, with his wife's sister, Elna Olssen Charles, playing piano.[191][193]	La Musique[190] or The Cello Lesson[190] or The Duo[193] or Chamber Music[191]	Lost painting. Tanner painted over it, with the painting Pilgrims of Emmaus.[194]
c. 1902[195] 43 years old	Bishop Joseph Crane Hartzell and his wife (Jennie Culver[196]) were instrumental in Tanner's success. They bought his collection of paintings in 1891, to finance his trip to Europe.[195]		Portrait of Bishop Joseph Crane Hartzell[195]	Hampton University Museum. Oil on canvas, 47 xX 36" (119.38 x 91.44 cm).[195]
c. 1902[197] 43 years old		Paris, view from the right bank of the Seine looking west toward the twin towers of the Palais du Trocadéro.[197]	The Seine[197]	National Gallery of Art, 1971.57.1. Oil on canvas, 22.8 x 33 cm (9 x 13 in.)[197]
c. 1901-1903[198] 42–44 years old		London landscape[198]	Low Tide, Cannon Street Bridge[198]	Philadelphia Museum of Art, 2005–86–1. Oil on canvas board, 14 × 20 inches (35.6 × 50.8 cm)[198]
c. 1898	Printed September 1902 in the Ladies Home Journal, part of a series of four mothers, "Mothers of the Bible", Sarah, Hagar, Rachel, and Mary.[199]	Tanner wrote the text to accompany the painting.	Sarah from Mothers of the Bible series.[199][200]	Painting lost.		Study of Issac for Mothers of the Bible, 1898. Howard University Department of Art, HUGA052. Charcoal, 24 × 15 in. (61 × 38.1 cm)[201]
c. 1902[202] 43 years old	Printed October 1902 in the Ladies Home Journal, part of a series of four mothers, "Mothers of the Bible", Sarah, Hagar, Rachel, and Mary.[199]	"And Abraham rose up early in the morning, and took bread, and a bottle of water, and gave it unto Hagar. . . .and sent her away; and she departed and wandered in the wilderness of Beer-sheba--GENESIS XXI, 14."	Hagar from Mothers of the Bible series.[199]	Painting lost.
c. 1902-1903 43–44 years old	Printed November 1902 in the Ladies Home Journal, part of a series of four mothers, "Mothers of the Bible", Sarah, Hagar, Rachel, and Mary.[199]	Tanner wrote the text to accompany the painting. Jacob asks Rachel to marry, her father watching.	Rachel from Mothers of the Bible series.[199]	Painting lost.		Study for Rachel from Mothers of the Bible, c. 1898. Smithsonian American Art Museum, 1983.95.31. Charcoal on paper, Sheet: 23 x 13 5⁄8 in. (58.4 x 34.6 cm)[203]
c. 1902-1903 43–44 years old	Printed January 1903 in the Ladies Home Journal,[204] part of a series of four mothers, "Mothers of the Bible", Sarah, Hagar, Rachel, and Mary.[199]	Tanner used his wife Jessie as the model for "many of his studies" for the series, including Mary.[205]	Mary from Mothers of the Bible series.[204]	Painting lost.	Mary sitting with her son Jesus.[206]	Study of Mary (from Mothers of the Bible), circa 1902–1903. Howard University, 38.1.D. Charcoal on paper, 21 1/4 x 15 in.[207]
c. 1902-1903[208] 43–44 years old		The museum RMN-Grand Palais (Orsay Museum) dates this 1903–1904.[209]	Christ and His Disciples on the Road to Bethany[208]	RMN-Grand Palais, Musée d'Orsay, RF 1980 174. Oil on canvas, 373/83 X 47 '3/16" (95 x 121.5 cm)[208] or H. 66.0; L. 96.0 cm.[209]		Smithsonian Archives of American Art. Photo in Henry Tanner papers, mislabeled on back "Return From the Cross".[210]
c. 1902-1903 43–44 years old		A work of religion centering on Gospel of John (10:14—16). Also a work of racial equality in that Tanner "saw the theme of the good shepherd in terms of racial and social equality, as did his father."[211] Important to him, Tanner would paint the Good Shepherd theme at least 15 times.[212]	The Good Shephard.[211]	Zimmerli Art Museum at Rutgers University, 1988.0063. Oil on canvas, height: 770 mm (30.31 in); width: 920 mm (36.22 in)[211]
c. 1902-1908 43–49 years old	Tanner went to the Holy Land in 1898-1899 and to Granada in Dec 1902.[213]	Both places affect this image: the mount of Temptation was painted before this work. In Granada, Tanner encountered El Greco's work and it affected the way he painted people.[213] This painting study is on the back of Salome.[181]	Study for Moses and the Burning Bush.	Smithsonian American Art Museum, 1983.95.207B. Oil on canvas. 29 1⁄8 x 21 3⁄4 in. (73.9 x 55.3 cm)[214] "Moses and the Burning Bush" at exhibitions in 1908.[213]		Pastoral scene, Palestine. Private collection, formerly owned by Hampton Institute. Assessed as c. 1895, but prob 1897/1898-1899, when Tanner traveled to Palestine.
1903 44 years old	Tanner took his wife Jessie to Granada, where they lived from January–March 1903[215]		Interior Scene or The Stairwell, Granada[216]	Private collection. Oil on canvas, 22 3/4" (58 cm) x 21 3/4" (55 cm)[216]
undated[217]		Place of image not known. While the place might be Palestine or North Africa, it might also be Granada.	Village Scene[217]	Private collection. Oil on canvas, 12 x 15.75 in.[217]
1904[218][219] 45 years old	Entered into the 1906 Paris Salon.[220][221] Tanner encounters the paintings of El Greco in Granada and begins to paint people in an "elongated figure style".[191]	"drawn from the Gospel of John (19:25—27)..."[219] Mary, (Jesus' mother in front) and the disciple "whom he loved". The blonde woman is prob. Mary Magdalene; the woman behind the disciple prob Mary the wife of Cleophas.[219]	Return of the Holy Women[218][219] or Le Retour de la Sainte Femme[219] or Return of the Holy Woman[221]	Cedar Rapids Museum of Art, 23.1. Oil on canvas, 46 1/2 x 35 in. (116.84 x 88.9 cm).[218][219]		Study for Return of the Holy Woman
1904[222] 45 years old	Painting was covered up, placed underneath the canvas of Daniel in the Lion's Den (1907-1918 version) and rediscovered in 1976.[222] Tanner had been receiving strong criticism during this period in the press.[222]	Draws on scripture: Job 2:7—13[222] "So went Satan forth from the presence of the Lord, and smote Job with sore boils from the sole of his foot unto his crown... Now when Job's three friends heard of all this evil that was come upon him, they came every one from his own place...So they sat down with him upon the ground seven days and seven nights..." King James Version	Job and his Three Friends[222]	Private collection. Oil on canvas, 41 x 493/4" (104.14 x 126.37 cm)[222]
1905[223] 46 years old			The Virgin Mary in Meditation[223]	Private collection, Paris. Oil on board, 12 x 9+1⁄2 inches.[223]	Virgin Mary in Meditation, by Henry Ossawa Tanner
c. 1905[177] 46 years old		Luke Chapter 10. While Christ is at the home of Mary and Martha, Mary focuses on him. Martha focuses on less important things (elsewhere).[224] Mary sitting with Christ, in a possible study for Christ in the Home of Mary and Martha.	Christ at the Home of Mary.[177]	Norton Museum of Art. Pastel and watercolor on paper, 11 1/2 x 9 1/2" (29.2 x 24.1 cm)[177]
c. 1905[225] 46 years old	Displayed January 1907, Société Internationale de Peinture et Sculpture. Paris.	Christ sits at the table with Mary, while Martha serves dinner. Shadowy figure in background (pentimento) speculated to be Judas (who had criticized Mary for wasting money on perfume, spread on Christ's feet.)[226][227] Possibly deliberate mixing of biblical stories.[227]	Christ in the home of Mary and Martha[225]	Carnegie Museum of Art, 07.3. Oil on canvas, 51 ½ × 41 ½ in130.81 × 105.41 cm.[225][228]		Study for Christ at the Home of Martha and Mary
1905-1906[229] 46–47 years old	Tanner enters into the 19th Annual exhibition of American paintings at the Art Institute of Chicago.[229]	Gospel of John (20:2-6). Peter and John peering into Jesus' tomb, their faces lit by unearthly light. Highlight of Tanner's career, winning Harris Prize, top prize among top competitors.[229]	The Two Disciples at the Tomb[229]	Art Institute of Chicago, 1906.300. Oil on canvas, 51 x 41 5/8” (129.54 x 105.73 cm)[229]	(From left:) Peter, John	Study for the Disciple Peter, c. 1905. Smithsonian American Art Museum, 1983.95.38. Conte crayon and charcoal on paper, mounted on paperboard 185/16 x 143/4" (47.15 x 37.47:cm)[229][230]
1905[231] or 1906[232] 46 or 47 years old	Tanner's next major picture after The Two Disciples at the Tomb[232] One of two entries for 1906 in the Paris Salon.[220][221]	Wins silver (second place medal) at Paris Salon bought by French government[233] Tanner "designated hors concours" (top honor, his paintings are beyond competition).[233] This work is painted over the top of another Tanner painting, The Cello Lesson.[194]	The Disciples at Emmaus,[232] or The Pilgrims of Emmaus[231][234]	Musée d‘Orsay, Paris. Oil on canvas, 73 1/2 x 83 1/2".[232]	Christ (left) meets with two of his disciples, Luke and Cleopas, at Emmaus. (Luke 24:13–27).[235]
1905[236] 46 years old	Exhibited 1905 at Chicago Art Institute.[233] and his solo exhibition in 1908.[167]	Tanner's rendition of Abraham's Oak which traditionally marks the place where Abraham entertained three angels or where he pitched his tent.	Abraham's Oak[208][236] or Abraham's Oak Near Hebron	Smithsonian American Art Museum, 1983.95.185. Oil on canvas, 21 3/4 x 28 3/4" (54.4 x 72.8 cm).[208][236]
c. 1905[237] 46 years old		Entry into the 1905 Paris Salon, one of two entries[238] Displayed at the annual exhibition at the Chicago Art Institute, along with Abraham's Oak Near Hebron.[237]	The Good Samaritan[237]	Location unknown (possibly lost).
1905 46 years old	earlier version of this was 1901 Paris Salon entry.	Multiple versions. Original dates back to 1900 titled "Night," owned by Atherton Curtis.[239] This version owned by Robert C. Ogden was made in 1905.[239] A third version, Fishermen's Return dates to about 1919.[240] A fourth version Fisherman's return was made about 1926.[241] A fifth version, Fishermen returning at night was painted about 1930.[239][242]	Return of the Fisherman[239]	Herbert F. Johnson Museum of Art, Cornell University.[239]	Return of the Fisherman, 1905, a "replica of a work originally called Night." Tanner painted this and the original painting very dark, and this online version has been lightened, perhaps beyond what the artist would have preferred.	Return of the Fisherman without digital lightening.
1905 46 years old	Entered in 1905 Paris Salon, (1 of two entries) won a medal.[238][243]		Christ Washing the Feet of the Disciples.[243]	Location unknown (possibly lost)		Study for Christ Washing the Feet of the Disciples, not date. Smithsonian American Art Museum, 1983.95.186. Oil on plywood, 6 x 7 7/8 in.[244]
1905 46 years old		The Carnegie Institute announced it would purchase this work.[245]	Judas Covenanting with the High Priests.[165]	Location unknown (possibly lost).[165]
1907 48 years old	Tanner was unable to enter work in the Paris Salon, due to eye-strain injury.[246]
18 June 1907[247][248] 48 years old		Portrait of Jesse Tanner, Henry and Jessie Tanner's son.	Portrait of Jesse When He Was Four Years Old[247][248]	Oil on panel, 12.9 x 9.4 in. (33 x 24 cm.)[247][248]		Study for a portrait of Jesse when he was four years old. 1907. Oil on canvas, 13 x 9.4 in. (33 x 24 cm.)[249]
1907-1912[250] 48–53 years old	Tanner took a second trip to the Holy Land, in 1898–99. Second of two entries in 1910 Paris Salon (along with the Three Marys.[251]	Continued recurring (started 1899) theme of Joseph and Mary fleeing for Egypt.	Flight Into Egypt[250] or La fuite en Egypte[251]	Cincinnati Art Museum, 2002.47. Oil on canvas. Measurements:canvas 19 1/2 x 25 3/8 in. (49.6 x 64.4 cm).[250]
c. 1907[252] 48 years old		Tanner had a history of painting boats. He combined this with his religious art to illustrate a scene from the bible, the miracle of Jesus walking on water. Jesus is represented here as an indistinct presence on the water. The light is the dim of night, the moon reflecting on the water.	The Disciples See Christ Walking on the Water[252]	Des Moines Art Center, 1921.1. Oil on canvas, 51 1/2 x 42 in.[252]		Another version, location unknown. Christ Walking on the Waves is written on the reverse of the photo. Smithsonian Archives of American Art.[253]
c. 1907[254][255] 48 years old			Moonlight Hebron[254][255]	Milwaukee Art Museum, M1920.1. Oil on canvas, 25 11/16 × 31 7/8 in. (65.25 × 80.96 cm).[254][255]	Moonlight Hebron, by Henry Ossawa Tanner	Tangier's Walls, undated. Location unknown. Photo from Smithsonian Archives of American Art.[256]
c. 1899-1923		Painting with man and woman walking hand-in- hand.	Study for Flight to Egypt	Smithsonian American Art Museum, 1983.95.44. Pencil and pastel on paper, 8 1⁄4 x 11 1⁄8 in. (21.0 x 28.2 cm)		The Angel of Death Following Two Lovers, undated. DuSable Museum of African American History
date unknown, before 1908			Peter After the Denial[257]	Lost painting.
c. 1908[258][259] 49 years old	Painted over three years (1906–1908).[259] Entered in Paris Salon, May 1908.[258][260][261]	"Then shall the kingdom of heaven be likened unto ten virgins, which took their lamps, and went forth to meet the bridegroom. And five of them were wise, and five were foolish." Not all the wise virgins are walking...one is on the far left, her lamp on the ground, and she trying to light another's lamp.[262]	The Wise and Foolish Virgins[259] or Behold, The Bridegroom Cometh[258][259] or Les vierges sages et les vierges folles[260]	Location unknown, possibly lost. 10 ft x 15 ft. Exhibited 1908, 1909, 1921.[259]
c. 1908 [263] or c. 1909-1910[264] 49 years old		Mary sits sewing, her son Jesus sleeping under a halo (far left). If made 1908–09, this would have been part of Tanner's first American exposition of his religious artworks.[265]	Mary[263][264]	Weatherspoon Art Museum, 2002.18. Oil on canvas, 31 1/2 x 25"[263][264]
undated Possibly 1908 version	Tanner had paintings on this theme from 1908 to 1911, 1922–1924, and a version for sale in 1935.[266]	The painting's name is on the back of the photo at the Smithsonian.[267]	The Hiding of Moses[267]	Location unknown. Photo of painting in Smithsonian Archives of American Art.[267]
c. 1908[268] 49 years old			Hills of Jerusalem[268]	Private collection. Was in the Michael Rosenfeld Gallery of New York.[268]
c. 1908[219] 49 years old			Ruth and Naomi[219]	Lost painting.[219]	Ruth and Naomi, by Henry Ossawa Tanner
c. 1908 49 years old		Tanner displayed a work called Nicodemus in 1908 and 1909 at exhibitions. Photo of the artwork from a 1909 catalog for the Alaska-Yukon-Pacific Exposition of 1909, held in Seattle.[269]	Nicodemus[269]	Location unknown.
c. 1910[270] 51 years old	Tanner traveled to Morocco, in March–June 1912, to Algiers in 1908, to "the Near East" Oct 98-March 99, and to Palestine and Egypt with stops on the way home in Naples, Rome, Pisa, Florence, and Venice January–April 1897.		Gate in Tangiers[270]	Harvey B. Gantt Center for African-American Arts+Culture.[270] Formerly owned by Vivian and John Hewitt Jr.[270]	Gate in Tangiers	House (Wall) in Blue, c. 1908-1912 Private collection, location unknown.Oil on wood panel, circa 1908–12. 331x235 mm; 13x9 1/4 inches. Titled in pencil, upper right verso.[271]
undated[272] c. 1908-1912	Tanner traveled to Morocco, in March–June 1912, to Algiers in 1908, to "the Near East" Oct 98-March 99, and to Palestine and Egypt with stops on the way home in Naples, Rome, Pisa, Florence, and Venice January–April 1897.		Gate of Tangier[272]	Howard University, 65.1.P. Oil on board, 23 1/4 × 19 in. (59.1 × 48.3 cm)[272]
c. 1908 49 years old	Tanner went to the Near East for the third time in 1908.[273] The trip took him to Constantine, Algeria.[273] A different version of In Constantine.	Tanner used watercolors on this trip.	Middle Eastern City Scape[274]	Private collection. Watercolor on paper, H 15 1/2", W 11".[274]	Middle Eastern Cityscape	Street Scene in Tangiers
c. 1908 49 years old	Tanner went to the Near East for the third time in 1908.[273] The trip took him to Constantine, Algeria.[273]	Tanner used watercolors on this trip.[273] This version hung in Fernanda and Rodman Wanamaker's apartment in Philadelphia.[273] The picture includes a woman in western clothing (such as one might wear in Paris or New York).	In Constantine[273]	Private collection. Watercolor and gouache on paper, 17 3/4 X 13" (45.09 x 33.02 cm).[273]	In Constantine	Oil painting French Chateau - A Study, c. 1912[275]
c. 1908[276] 49 years old	Tanner went to the Near East for the third time in 1908.[273]		Entrance to the customs house in Tangier[276]	Michael Rosenfeld Gallery. Oil on panel, 22 1/2 x 24 inches.[276]
c. 1908[254] or c. 1912-1913[277]	Visits Algeria in February — March 1908; visits Morocco in March — June 1912	Impressionist landscape. 1908. Another version of Flight into Egypt of which Tanner painted more than 15 versions. Joseph, Mary and Jesus flee to Egypt.	Flight into Egypt: Palace of Justice, Tangier[254] or Palace of Justice, Tangier.[277]	Smithsonian American Art Museum, 1970.67.[254] Oil on canvas. 25 5/8 X 31 7/8 (65.09 x 80.96 cm)[254][277]
c. 1908-1909[278][279]			Christ and the Disciples before the Last Supper[278][279] or Christ with the Canonite woman and her daughter[280]	Spelman College Museum of Fine Art[279] Oil on canvas, 26 x 33 in.[278][279]
c. 1908 49 years old	Tanner went to the Near East for the third time in 1908.[273] The trip took him to Constantine, Algeria.[273] Tanner holds an exhibition of his religious paintings in 1908 at the American Art Gallery in New York.[281] It was his first solo exhibition after he grew famous.[282]		A Jerusalem Type[283][284]	Private collection. Oil on canvas, 18 1/8 x 15 1/8 in. (46 x 38.4 cm.)[283]
c. 1908-1912 49–53 years old	Visits Algeria in February — March 1908; visits Morocco in March — June 1912	Painting of woman in style of postcards from Tunisia, Morocco and Algeria.[upper-alpha 1] This dress-style represents European fantasy, as women were kept covered in public in North Africa as in other Muslim areas.[285][286]	unnamed image of a woman.	Private collection. Watercolor and Pencil on Paper. Measure 14"in H x 7 1/2"in W and 20 1/2"in[287]
c. 1908-1912 49–53 years old	Visits Algeria in February — March 1908; visits Morocco in March — June 1912	Impressionist landscape. Undated. "suggestions of trees, hills, and a faintly discernible human figure."[288]	Scene of Algiers	Smithsonian American Art Museum. Oil on paperboard, 8 1⁄4 x 10 5⁄8 in. (21.0 x 27.0 cm.)[288]
c. 1912[289] 53 years old	Visits Algeria in February — March 1908; visits Morocco in March — June 1912	Impressionist landscape. Undated. Has elements of Flight Into Egypt: a man, woman and donkey.	Algiers or Old Buildings Near Ka-hak[289][290]	Private collection. Oil on canvas, 31 3/4 x 25 1/2 in.[289]
undated[291]	unsigned. Attributed to Tanner at auction.[291]	Mary and Mary Magdalene with Jesus, the crosses in the background, a crown of thorns by their side.	Jesus Taken Down From the Cross[292] or Sorrow at the Crucifixion[291]	Private collection. Oil on Canvas. Size: 23 x 31 in.[291]
c. 1909[293] 50 years old		"The Return of the Holy Woman," with Calvary in the distance, is even more sensitive than the rest. It is so intensely silent.[293]	Return of the Holy Woman[293] or Return of the Holy Women[294] or Return from the Cross[294]	Location unknown.	Return from the Cross or Return of the Holy Women. Names labeled on back of photo from Henry Ossawa Tanner papers, Smithsonian Archives of American Art.[294]
c. 1910[295] 51 years old		Mary with her baby Jesus (sleeping under a halo by her feet.)	Mary[295]	Formerly in Michael Rosenfeld Gallery. Oil on canvas, 28 3/4 x 23 5/8 in.[295]
c. 1910[296] 51 years old			Self-Portrait[296]	Smithsonian American Art Museum, 1983.95.34. Pencil and conte crayon on paper, 8 1⁄2 x 8 3⁄8[296]
1910[297] 51 years old	Tanner takes photos of his wife Jessie and son Jesse in costume.[297]	makes painting from photo study. Religious work showing Jesus studying scripture with Mary.[297]	Christ and His Mother Studying the Scriptures[297]	Dallas Museum of Art, 5000380. Oil and canvas; height: 123.8 cm (48.7 in); width: 101.6 cm (40 in)[297]		Jessie and Jesse Tanner as Mary and Jesus, about 1910.
c. 1909-1910[298] 50–51 years old			The Visitation[298] or Mary Visiting Elizabeth[298]	Kalamazoo Institute of Arts, 2005.11. Oil on canvas, 37 1/2 x 42 1/2 in.[298]
c. 1909-1910[299][300] 50–51 years old		Divine light illuminates Mary and infant Jesus, Joseph looks from shadows. Jesus has halo, Marys veil glows. Light also comes through the doorway, from outside.[300]	The Holy Family[299][300]	Muskegon Museum of Art, 1911.1.[299][300] Oil on canvas,[300] height: 88.9 cm (35 in); width: 108.5 cm (42 3/4 in)[299]
c. 1910[276] 51 years old			Still life with fruit[276]	Michael Rosenfeld Gallery.[276]
c. 1910[301] 51 years old			untitled landscape (Snowcapped Mountains Above Habitat)[301]	Hearne Fine Art. Oil on Board, framed Size: 20" x 23" x 2 1/4"[301]
c. 1910[302] 51 years old	Tanner was elected president of the artists' colony Artistique de Picardie at Le Touquet in 1913. The colony centers on his summer home there.[302]	Evening scene at Le Touquet, Paris-Plage, Pas-de-Calais.[302]	Le Touquet[302]	Des Moines Art Center. Oil on canvas, 51 X 42”.[302] or 28 3/4 x 36 1/4 in. (73 x 92.1 cm.)[303] Accession Number 1941.5[303]
c. 1910[304][305] 51 years old		Religious work showing cloudlike angels appearing before the shepherds in the dim light of night. Angels in the image possibly include spokesman angel, angels in a choir, trumpeting angels and calvalry angels.[306]	Angels Appearing before the Shepherds[304][305]	Smithsonian American Art Museum, 1983.95.195. Oil and canvas; 25 3/4 x 31 7/8 in.[304][305]
c. 1910 51 years old		Religious work showing Jesus and His Disciples on the Sea of Galilee.	The Disciples on the Sea of Galilee	Private collection. Oil on artist's board, 10 x 14" (25.4 x 35.56 cm)
c. 1910[307] 51 years old		Religious work showing Jesus' Disciples on the Sea of Galilee.[307]	Christ and His Disciples on the Sea of Galilee.jpg[307]	Toledo Museum of Art, 1913.127. Oil on canvas, 21 7/8 X 26 1/2"[307]
c. 1910[308] 51 years old	One of two entries in Paris Salon, 1910.[251] The second entry is Flight to Egypt.[251]	Religious work illustrating Gospel of Mark (16:1—4), showing Mary Magdalene, Mary, mother of James, and Mary Salomé (or Mary of Clopas) as they discover that the stone has been rolled away from the entrance of Christ's tomb.[308]	Three Marys[308] or Les trois Marie approachant du tombeau[251]	Carl Van Vechten Gallery of Fine Arts, Fisk University, Nashville. Oil on canvas, 42 x 50" (106.68 x 127 cm)[308]		Study for the Three Marys
Undated. c. 1910[309] 51 years old			Mary Washing the Feet of Christ[309] or Mary Magdalene Washing the Feet of Christ[310]	Private collection. Oil on panel, 20 x 25 cm. (7.9 x 9.8 in).[310][311]
c. 1910[312] 51 years old			Head of Christ[312]	Private collection. Etching on cream laid paper, 76x44 mm; 3x1 3/4 inches[312]		Head of Christ. Private collection, undated. Conte crayon and pencil on cream laid paper, 165x165 mm; 6 1/2x6 1/4 in.[313]
undated probably 1911[314] 52 years old	Tanner has a family with a young child, living in France. Possibly from that era, early 1900s-1910s.	Impressionist landscape of life in Paris.	The Man Who Rented Boats	Smithsonian American Art Museum, 1983.95.203. Oil on canvas mounted on plywood, 9 1⁄4 x 12 3⁄8 in. (23.5 x 31.4 cm.)
c. 1912[315] 53 years old			Return at night from the market[315]	Clark Atlanta University Art Collection, GA, X.041. Oil on canvas, 25 3/4 x 20 5/8[315]
c. 1912[316] 53 years old	Work that was in private collection, sold in October 2000 at auction for $560,000. At the time, it was a record for Tanner's paintings.[316][317]	Unidentified painting attributed at auction to Henry Ossawa Tanner.[318] Jesus sits at an "altar table", surrounded by "shrouded women", a chalice in his hand, a crown of thorns on his head.[316]	untitled[316]	Private collection. Oil on canvas, 54 x 79 in.[316]
c. 1912[319] 53 years old	Tanner painted himself into the painting (far right beside the sitting woman.)[320] Both of the women in the painting were also portraits of people Tanner knew.[321]	Newspaper photo of painting, Boston Evening Transcript, Jun 24, 1914[322] The painting was exhibited in 1913 in Chicago and New York, was a Paris Salon entry for 1914, and in 1915 won a gold medal at the Panama-Pacific Exposition in San Francisco.[323] Later displayed at the Carnegie Institute (1921), a solo exhibition at the Des Moines, Association of Fine Arts (1921), a solo exhibition at Grand Central Art Galleries, New York (1924), and at the Chicago Art Institute in 1928.[323]	Christ in the Home of Lazarus[320]	Location unknown (possibly lost).[227]	The painting in a 1914 news clipping. Henry Ossawa Tanner is painted into this version.	Study for Christ in the Home of Lazarus, Metropolitan Museum of Art. Oil on canvas, 26 x 29 in. (66 x 73.7 cm).
undated	Tanner painted Atherton Curtis and his wife into this version.[227][324]	Photo of painting from page 190 of Henry Ossawa Tanner, edited by Dewey F. Mosby.	Christ in the Home of Lazarus[227]	Location unknown (possibly lost).[227] The painting Portrait of Mr. Atherton Curtis and his Wife was rumored to be the remains of this painting, cut down to just the portrait.[325]	Another version of Christ in the home of Lazarus by Henry Ossawa Tanner.[324]	Portrait of Mr. Atherton Curtis and his wife.[326] Smithsonian American Art Museum, 1983.95.192. Oil on plywood, 26 5⁄8 x 28 7⁄8 in. (67.6 x 73.3cm.)[326][324]
undated[326]	Tanner meets Atherton and Louise Curtis in 1897; Tanner and Jessie go to live in the Curtis' artist colony in 1902. Lifelong friendship.[215]				Study for Portrait of Mrs. Atherton Curtis. Smithsonian American Art Museum, 1983.95.33. Charcoal and pastel on paper mounted on paperboard, 18 3⁄4 x 20 in. (47.6 x 50.8 cm).[327]
c. 1912[328] 53 years old			Coastal Landscape, France	Michael Rosenfeld Gallery. Oil on gessoed panel, 9.25" x 13"[328]
1912[329]			A View of Fez[329]	High Museum of Art, 2003.91. Oil on panel, 9 in (22.8 cm); width: 12.5 in (31.7 cm)[329]
c. 1912[330] 53 years old	Visits Morocco in March–June 1912		Moonrise by Casbah[330] or Morocco[331]	Private collection. Oil on linen canvas, 1912. 540x724 mm; 21 1/2x28 1/2 inches.[330]		City Walls, Tangier, undated. Location unknown. Photo in the collection of the Smithsonian Archives of American Art.[332]
c. 1912[333] 53 years old	Visits Morocco in March–June 1912		Moonrise, Tangier[333]	Ruth and Elmer Wellin Museum of Art, Hamilton College. Oil on plywood, 19½ x 23½ in. (49.5 x 59.7 cm)[333]
c. 1910[334] 50 years old	Visits Morocco in March–June 1912		Street Scene, Tangier (Crenelated Architecture)[334]	Smithsonian American Art Museum, 1983.95.196B. Oil on paperboard, 10 5⁄8 x 13 3⁄4 in. (27.0 x 34.9 cm.)[334]
c. 1912[335] 53 years old	Visits Morocco in March–June 1912		Near East Scene or Mosque in Tangier[335]	Des Moines Art Center. Oil and casein on canvas, 28 3/4 X 23 '/2" (73.03 x 59.69 cm).[335]
c. 1912[336] 53 years old	Visits Morocco in March–June 1912		Moroccan Man [337]	Private collection. Oil on panel, 13 x 9 1/4 in.[337]
Undated.	Tanner traveled to Morocco, in March–June 1912, to Algiers in 1908.	Image with horseshoe arch or keyhole arch. Light from low sun; light bounces from building-top to make line of light on ground; building-reflected light casts man's shadow.	untitled[338]	Private collection. Oil on wood panel, 6 x 9 in.[338]
c. 1912-1914[335] 53–55 years old	Visits Morocco in March–June 1912		Sunlight, Tangier[335]	Milwaukee Art Museum. Oil on cardboard panel, 10 3/4 X 13 3/4" (27.31 x 34.93 cm).[335]
c. 1912 53 years old	Visits Morocco in March — June 1912	Paints the entrance to the Casbah or the historic city area and fortress many times.[339]	Gateway, Tangier	St. Louis Museum of Art, 33:2005. Oil on canvas, 18 7/16 × 15 5/16 in. (46.8 × 38.9 cm).[339]		Another version, Gate to the Casbah, 1914, private collection, oil on canvas, 30 x 26" (76.2 x 66.04 cm)[335]
c. 1912[340] 53 years old	Visits Morocco in March — June 1912	"[Tanner] made numerous small oil sketches that he brought back to his studio in France, where he developed them into larger paintings on canvas..."[340]	Doorway in Tangier[340]	Philadelphia Museum of Art, 2004–117–1. Oil on canvas 14 × 10 3/4 inches (35.6 × 27.3 cm)[340]	Doorway in Tangier, by Henry Ossawa Tanner, collection of Philadelphia Art Museum
c. 1910[341] or c. 1912 51 or 53 years old	Visits Morocco in March — June 1912	Entrance to the Casbah[342]	Gateway, Tangier[341][342]	Smithsonian American Art Museum, 1983.95.190. oil on plywood, 22 1⁄2 x 19 in. (57.2 x 48.3 cm.)[341][342]
c. 1912 53 years old	Visits Morocco in March — June 1912		Street Scene, Tangier or Man Leading a Donkey in Front of the Palaise de Justice, Tangier or Man Leading a Calf[343]	Smithsonian American Art Museum, 1983.95.196A. Oil on paperboard, 10 5⁄8 x 13 3⁄4 in. (27.0 x 34.9 cm.)[344]
c. 1910[345] 51 years old	Visits Morocco		Street in Tangier[345]	Smithsonian American Art Museum, 1983.95.209. Oil on fiberboard, 13 5⁄8 x 10 1⁄2 in. (34.5 x 26.7 cm)[345]
c. 1912[346][347] 53 years old	Spends time in Morocco, in the city of Tangiers in March–June.		Street Scene, Tangiers[346][347]	Museum of Fine Arts, Boston, 2011.1840. Oil on panel, 19 1/4 x 23 1/2 in. (48.9 x 59.7 cm).[346][347]		Moroccan Scene, c. 1912. Birmingham Museum of Art, 1971.30. Oil on canvas, 18 1/4 x 15 1/4 in. (46.4 x 38.7 cm).[348]
1912[349] 53 years old	Spends time in Morocco, in the city of Tangiers in March–June.		Entrance to the Casbah[349]	Art Museum of Greater Lafayette. Oil on paper mounted on canvas,32 x 26 in. (81.2 cm x 67.3 cm.)[349]
c. 1912[350] 53 years old	Spends time in Morocco, in the city of Tangiers in March–June 1912.		Midday, Tangiers	Cummer Museum. Oil on canvas, 24 ⅛ x 20 in.[350]
c. 1912 53 years old	Spends time in Morocco, in the city of Tangiers in March–June 1912.	Woman in traditional clothing, carrying water pitcher, in front of entrance to Casbah, Tangiers.	Untitled.[351]	Private collection. Gouache on paper, H 13 1/2" W 10 1/2"[351]
c. 1913-1914[352] 54 years old	Spends time in Morocco, in the city of Tangiers in March–June 1912.		Moonlight: Walls of Tangiers[352]	Los Angeles County Museum of Art (LACMA), 48.32.46. Oil on canvas 25 7/8 x 21 1/4 in. (65.72 x 54.1 cm)[352]
undated Possibly c. 1913 54 years old		Attributed to Tanner online.[353]	untitled, Muslim man with horse. Possibly the work exhibited in 1913 under the title The Sultan's Stables.[354]	Private collection.	untitled, Muslim man with horse, by Henry Ossawa Tanner
c. 1913-1914[355][356] 54–55 years old		Tanner painted the Miraculous catch of fish, in which Jesus tells the disciples to try one more cast of the net, at which they are rewarded with a great catch.	The Miraculous Haul of Fishes[355][356]	National Academy of Design. Oil on canvas, 38 × 47 1/2 in.[355][356]
c. 1913[357][358] 54 years old			Fishermen at Sea[357][358]	Given by Jesse O. Tanner (Henry's son) to Smithsonian American Art Museum, 1983.95.215. Oil on canvas, 46 x 35 1/4 in. (116.9 cm x 89.5 cm.)[357][358]
c. 1913 54 years old			Landscape in Moonlight	Hampton University Museum.[97]
c. 1914[359] 55 years old	1914 was the year his mother died, World War I broke out, and it wasn't safe for his family in France. They left for England.[359]	Mary was one of two Salon entries for 1914, along with Christ in the Home of Lazarus.[360]	Mary[359]	Smithsonian American Art Museum, 1991.102. Oil on canvas, 45 1⁄2 x 34 3⁄4 in. (115.5 x 88.2 cm.)[359]
c. 1914[361] 55 years old	"Probably made just before the war..."[361]World War I	Tanner began using a "new pallet of colors and a freer technique."[361] In Impressionist tradition, a study of light on a still scene.[361]	Landscape[361]	Sheldon Ross Gallery, Birmingham, Michigan. Oil on artist's board, 10 x 13" (25.4 x 33.2 cm.)[361]	Landscape, 1914, by Henry Ossawa Tanner
1914[362] 55 years old			Moonlight Path[362]	Private collection. Oil on board, 6 1/4 by 6 3/4 in (16 by 17.2 cm.)[362]
1910-1914[297] 51–54 years old	About 1910 Tanner takes photo study of wife Jessie and son Jesse[297]	by about 1914 has made paintings from photo study[297]	Christ Learning to Read[297]	Des Moines Art Center. Oil on canvas, 52 x 41” (132.08 x 104.14 cm)[297]		Jessie and Jesse Tanner as Mary and Jesus, about 1910.
1914[363] 55 years old	World War I breaks out. Henry takes his wife Jessie and son Jesse to England to escape the violence. They enroll Jesse in school there.	Portrait of Jesse Tanner, son of Henry Ossawa Tanner and Jessie M. Tanner. Dated March 1914, bottom left corner.	Portrait of Jesse Tanner	Private collection. Oil on canvas, 46 x 38 cm.[363]
c. 1914[364] 55 years old	World War I broke out. Tanner's mother died in August 1914. He had difficulty painting.[364]	"Tanner painted very few works between late 1914 and the latter part of 1918"[364] This is one of very few paintings made in the "early years of the war."[364]	War Scene, Etaples, France,[364] a study	Clark Atlanta University Collection of Afro-American Art. Oil on cardboard, 143/4 x 18"(37.47 x 45.72 cm)[364]
c. 1916-1922[365] 57–63 years old		After Tanner took a second trip to the Holy Land in 1898-99 he began using a recurring theme of Joseph and Mary fleeing for Egypt. Tanner might have thought of Christian metaphor for the painting: even in darkness, the path [to God] is visible.[366]	Flight Into Egypt[365]	Smithsonian American Art Museum, 1983.95.202. Oil on wood, 16 7/8 x 16 7/8 in. (43.0 x 43.0 cm)[365]
c. 1917[367][368][369] 58 years old		One of several paintings titled The Good Shepherd, "based generally on the Gospel of John (10:14—16)" and the 23rd Psalm.[368] "I am the good shepherd, and know my sheep, and am known of mine. As the Father knoweth me, even so know I the Father: and I lay down my life for the sheep. And other sheep I have, which are not of this fold: them also I must bring, and they shall hear my voice; and there shall be one fold, and one shepherd." — Gospel of John (10:14—16) "The Lord is my Shepherd; I shall not want." — 23rd Psalm	The Good Shepherd[367][368]	New Orleans Museum of Art, 30.3. Oil on canvas, 29/4 X 33 1/4" (74.3 x 84.46 cm)[367][368]
date unknown, before 1931		One of the four paintings photographed by the Harmon Foundation, exhibited by them in 1931.[157][370]	The Good Shepherd
1916[371] or c. 1910-1920[372] 57 years old			Fisherman's Devotions, Étaples[371][372]	Private collection. Oil on panel, height: 33 cm (12.9 in); width: 22.9 cm (9 in).[371][372]
c. 1916[373] 57 years old		One of the four paintings photographed by the Harmon Foundation, exhibited by them in 1931.[157][374]	Flight Into Egypt[373]	Smithsonian National Museum of African American History and Culture, 2015.2.3. Oil on wood panel, H x W: 16 5/8 × 22 in. (42.2 × 55.9 cm).[373]
1917[375] 58 years old			The Good Shepherd[375]	Crystal Bridges Museum of American Art, 2019.5. Oil on canvas, height: 64.8 cm (25.5 in) Edit this at Wikidata; width: 81.3 cm (32 in)[375]
1917 58 years old		The Study for Shepherd With Herd was estimated as made in 1917.[376] The final painting is undated.[377]	Study for Shepherd With Herd[376] or The Good Shepherd[376]	Private collection. Oil on wood panel, circa 1917. 210x273 mm; 8 1/4x10 3/4 inches.[376]	Study for Shepherd with herd	Shepherd with Herd
undated[378]			Landscape[378]	North Carolina Museum of Art, G.77.4.1. Oil on cardboard, 13 5/16 x 10 1/8 in. (33.8 x 25.7 cm)[378]
1917[379] 58 years old	probably from photo and personal memory, painted after death[379]	Portrait commissioned by the Iowa Federation of Colored Women's Clubs, through J. S. Carpenter.[379]	Portrait of Booker T. Washington[379]	State Historical Society of Iowa. Oil on canvas, 313/4 X 25 5/8” (80.65 x 65.09 cm).[379]
c. 1917-1918[380] 57–58 years old			Study of an American Soldier[380]	Telfair Museums, 1979.20.4. Hard charcoal and lead pencil on paper, 16 7/8 × 13 5/8 inches (42.9 × 34.6 cm)[380]
1918[381] 59 years old	Tanner served with the Red Cross during part of World War I.	Domremy, birthplace of Joan of Arc. Soldiers visible, identifiable by their helmets.	House of Joan of Arc[381] or Domrémy[381]	Private collection. Oil on wood panel, height: 20 x 24 in. (50.8 x 60.9 cm.)[381]		Birthplace of Joan of Arc at Domremy-la-Puccelle, 1918. Huntington Museum of Art. Oil on wood, 9 1/4 x 13 in.[382]
1918 59 years old	Tanner served with the Red Cross during part of World War I.[364]		"American Red Cross Canteen, Toul, France, World War I" [364]	American Red Cross, Washington D.C. Oil on canvas, 143/16 X 16 5/16" (36.04 x 41.43 cm).[364]		A.R.C. Canteen, World War I, 1918. Smithsonian American Art Museum, 1983.95.36. Charcoal on paper mounted on paperboard, sheet: 17 1⁄2 x 22 in. (44.4 x 55.9 cm).[383][384]
1918 59 years old	Tanner served with the Red Cross during part of World War I.[364]		"American Red Cross Canteen at the Front" [364]	American Red Cross, Washington D.C. Oil on canvas, 48 X 61”.[364]		American Red Cross Canteen, by Henry Ossawa Tanner
1918 59 years old	Tanner served with the Red Cross during part of World War I.[364]		"Intersection of Roads at Neufchateau, World War I" [364]	American Red Cross, Washington D.C. Oil on canvas, 25 5/8 X 31 7/8" (65.09 x 80.96 cm).[364]
1918[364] 58 years old	Tanner painted this at about the time he did the Red Cross paintings.[364]		Neufchateau or Old House, Neufchateau, Vosges[364]	Private collection. Displayed by Museum of Fine Arts, Houston, EX.2008.HC.010. Oil on canvas, 28 x 32 in.[385]		Study for Neufchateau. Has also been called "Street Scene in Tangier #135, ca. 1910".[386]
c. 1918[387][388] 59 years old			Étaples and the Canche River at Dusk[387] or untitled (Dusk Scene of a Flooded River and Nearby Town)[388]	Hood Museum of Art, Dartmouth.[387] Oil on paperboard, 10 3/4 × 13 7/8 in. (27.3 × 35.2 cm)[387][388] formerly Michael Rosenfeld Gallery[388]
c. 1918[11][389] 59 years old			The good shepherd[11][389]	National Gallery of Art, 2014.136.159. Oil on canvas on particle board, 60.33 × 48.26 cm (23 3/4 × 19 in.)[389] Formerly in the Evans-Tibbs collection.[11]	The good shepherd, 1918, by Henry Ossawa Tanner
1919[390] 60 years old	Tanner's son Jesse was about 16 years old in 1919.		Portrait of Jesse Ossawa Tanner[390]	Private collection. Charcoal on paper, 48 x 30 cm - 18.8 x 11.8 in.[390]	Portrait of Jesse Ossawa Tanner, son of the artist, by Henry Ossawa Tanner
undated[391] possibly c. 1917-1920	Tanner's son Jesse was about 16 years old in 1919.		Portrait of Jesse Tanner in profile, the artist's son[391]	Private collection. Oil on paper, 9 3/8 x 11 in.[391]
1919[392][393] 60 years old	World War I ended November 11, 1918.	The painting has a date which looks like July 13, 1914. However, it is for the "Celebration of the Dead, held on July 13, 1919, in Paris to honor those who died defending France during World War I."[393] With the war over, Tanner could return to his chosen work.	The Arch[392][393] or The Arch of Triumph	Brooklyn Museum, 32.10. Oil on canvas, 39 1/4 x 38 3/16 in. (99.7 x 97 cm)[392][393]
undated per museum 1919 per note[240] 60 years old	Tanner wrote a note in painting's crossbar, executing work in 1917, retouching and completing it in July 1919.[240]	Multiple versions. Original dates back to 1900 titled "Night," (lost) owned by Atherton Curtis.[239] A second version owned by Robert C. Ogden Return of the Fisherman was made in 1905.[239] This third version dates to about 1919.[240] A fourth version Fisherman's return was made about 1926.[241] A fifth version, Fishermen returning at night was painted about 1930.[239][242]	The Fisherman's Return[240][394]	Smithsonian American Art Museum, 1983.95.212. Oil on canvas, 25 1⁄2 x 19 1⁄4 in. (64.8 x 49.0 cm.)[394]	Fisherman's Return, Smithsonian American Art Museum (SAAM-1983.95.212), undated.
c. 1920s[395]		Landscape of the countryside near Nice, France	Countryside Around Nice, France[395]	Private collection. Oil on plywood, 165x189 mm; 6 1/2x7 3/4 inches[395]		Country Road in France, undated. Smithsonian American Art Museum, 1983.95.206. Oil on canvas mounted on wood,8 1/2 x 11 5/8 in. (21.6 x 29.5cm.)
Undated[396]		Stamped in the lower right corner with the contact information of Henry's son Jesse. Likely French countryside as Tanner had painted other French countryside scenes in this manner.	untitled[396]	Smithsonian American Art Museum, 1983.95.188B. Oil on wood panel, 9 1/2 x 13 in. (24.0 x 33.0 cm.)[396]
c. 1920-1924[397] 61–65 years old		Fleeing Sodom and Gomorrha; the woman who looks back (Lot's wife) turns into a pillar of salt.	Sodom and Gomorrha[397]	Formerly in the Michael Rosenfeld Gallery, New York City. Oil on canvas, 41 1/2 x 36 1/2 in. (104.4 x 92 cm.)[397]		The Destruction of Sodom and Gomorrah. Private collection. Gouache on Paper, approximately 14.5 x 18.5 inches.[398]
Undated.		One of the four paintings photographed by the Harmon Foundation, exhibited by them in 1931.[157][399]	Sodom and Gomorrah[400]	Private collection.[400]
1920s[401]		Tanner painted Jesus' appearance his dispicles on the Road to Emmaus. The disciples met Christ on the road and invited him to eat with them. Tanner painted a moment before the disciples recognized him.[402]	Invitation to Christ to Enter by his Disciples at Emmaus[401]	Private collection. Oil on canvas, 19 ½ x 23 1/8 in. (49.5 x 58.7 cm.)[401]
1920-1925[403] 61–66 years old		Recurring theme of Joseph and Mary fleeing for Egypt (started theme about 1899).	Flight Into Egypt[403]	Private collection. Was held by Michael Rose Fine Art; oil on linen canvas, circa 1920-25 23 1/4 x 37 inches, 590 x 952 mm.[403]
1921 62 years old		After Tanner took a second trip to the Holy Land in 1898-99 he began using a recurring theme of Joseph and Mary fleeing for Egypt	Flight Into Egypt	Museum of Fine Arts Houston, 50.10. Oil on panel, 20 × 24 in. (50.8 × 61.0 cm)
1921[404] 62 years old		At least 2 versions were made around the theme of Moses' mother hiding him in the bullrushes. The first made galleries from 1908 to 1911, the latter from 1922 to 1924.[167]	Moses in the Bullrushes[404] or The Hiding of Moses[167]	Smithsonian American Art Museum, 1983.95.197. Oil on wood panel, 22 3⁄8 x 15 1⁄8 in. (56.8 x 38.5 cm)[404]		Moses in the Bullrushes (Moise Dans Les Joncs), 1921. Private collection, oil on panel, 20 x 15 ¾ in (50.8 x 40 cm.)[405]
1922[406][368] 63 years old		The version at the Newark museum shows a shepard caring for his lost sheep, "a theme based on Matthew's account (18:12—14)."[368] "How think ye? if a man have an hundred sheep, and one of them be gone astray, doth he not leave the ninety and nine, and goeth into the mountains, and seeketh that which is gone astray? And if so be that he find it, verily I say unto you, he rejoiceth more of that sheep, than of the ninety and nine which went not astray. Even so it is not the will of your Father which is in heaven, that one of these little ones should perish. —Matthew (18:12—14)	The Good Shepherd[406][368] or The Lost Sheep[368]	The Newark Museum. Oil on canvas, 32 x 24” (81.28 x 60.96 cm)[406][368]		Shepherd and Flock. Undated, sold at auction.
c. 1922[407] 63 years old			Virgin and Child[407]	Wadsworth Atheneum Museum of Art, Hartford. Oil on canvas 32 x 25" (81.28 x 63.5 cm)[407]	Virgin and Child, by Henry Ossawa Tanner
undated[408]	Tanner took a second trip to the Holy Land, in 1898–99. Began recurring theme of Joseph and Mary fleeing for Egypt.	Recurring theme of Joseph and Mary fleeing for Egypt. Study dated 1916–1922.	Flight into Egypt[408]	Oil on artist board, 17 1/2 x 20 1/2[408]	Flight into Egypt, by Henry Ossawa Tanner	Flight into Egypt, c. 1916-1922. Private collection. Oil on woodpanel, 28 x 22.2 cm. (11 x 8.7 in.)[409]
1923 64 years old		Recurring theme of Joseph and Mary fleeing for Egypt. Here, Mary (carrying Jesus) and Joseph quietly follow the guard (carrying the light).[410]	Flight Into Egypt or The Futile Guard[410]	Metropolitan Museum of Art, 2001.402a.[411] Oil on canvas, 29 x 26 in. (73.7 x 66 cm)[410]
1923[410][412] 64 years old			The Sleeping Disciples[410][412] or Christ in the Garden of Gethsemane[412]	Private collection. Oil on canvas, 28 x 23" (71.12 x 58.42)[410][412]
1923[413][414] 64 years old	Tanner receives the Walter Leighton Clark prize for this painting in 1930.[5]	Painting has 1923 date in lower right corner. Formerly owned by J. J. Haverty.[413]	Etaples Fisher Folk[413][414]	High Museum of Art, 36.16. Tempera and oil on canvas, 47 5/16 x 38 5/16 inches.[413][414]
1923[415] 64 years old		Tanner began reinterpreting the story of Jesus and Nicodemus, which he painted in 1899. This is a study for Nicodemus Visiting Jesus (1927)	Christ and Nicodemus (early study)[415]	Private collection. Oil on thick cardstock, circa 1923. 267x345 mm; 10 1/2x13 5/8 inches.[415]
1927[416][415] 68 years old	Commissioned 1924, finished 1927.[417]	Tanner began reinterpreting the story of Jesus and Nicodemus, which he painted in 1899. The latter is Nicodemus Visiting Jesus (1927)[415]	Nicodemus Visiting Jesus[416][415] or Nicodemus Coming to Christ[417] or Nicodemus Before Christ[417]	Private collection. Oil on canvas laid down on board, 61 1/4 x 71 in. (155.6 x 180.3 mm)[416][417]		Study for Christ and Nicodemus, c. 1923. Smithsonian American Art Museum, 1983.95.188A. Oil on wood panel, 9 1/2 x 13 in.[418]
1924[419] 65 years old		(John 20:4—6): John kneels at Jesus' tomb, Peter in the background.[419] Tanner painted this over the circa 1899 painting Judas.[165] Displayed October 1925 at 24th Carnegie Institute International Exhibition.[420] This work was painted over the top of the 1899 painting Judas.[165]	Two disciples at the tomb[419]	Michael Rosenfeld Gallery. Oil on board 51 1/2 X 43 1/4" (130.81 x 109.86 cm)[419]		Study for Disciple Kneeling at the Tomb, undated. Smithsonian American Art Museum, 1983.95.32. Charcoal and vine charcoal on paper, 13 1⁄2 x 9 3⁄4 in. (34.4 x 24.8 cm)[421]
1925[422] 66 years old		Three wise men on their camels, traveling to see Jesus at Christmas.[423]	The Three Wise Men[423][422]	Private collection. Oil on canvas, 25 x 35 in. (63.5 X 88.9 cm)[423][422]
1926-1927[424] 67–68 years old	Tanner took a second trip to the Holy Land, in 1898–99. Began recurring theme of Joseph and Mary fleeing for Egypt.	Bought originally by James Joseph Haverty, along with The Road to Emmaus[424]	At the Gates or Flight Into Egypt. See: 1899 version.	Oil on panel, circa 1926–27. 610x483 mm; 24x19 inches[424]
undated[425]	Recurring theme of Joseph and Mary fleeing for Egypt (began about 1899).		Departure Into Egypt[425] or At the Inn	Smithsonian American Art Museum. Oil on wood, 21 3⁄8 x 18 1⁄4 in. (54.4 x 46.4 cm)[425]
1926[241] 67 years old		Multiple versions. Original dates back to 1900 titled "Night," (lost) owned by Atherton Curtis.[239] A second version owned by Robert C. Ogden Return of the Fisherman was made in 1905.[239] A third version The Fishermen's Return was painted about 1919.[240] This fourth version was made about 1926.[241] A fifth version, Fishermen returning at night was painted about 1930.[239][242]	Fishermen's Return[241]	Harmon and Harriet Kelley Foundation for the Arts. Oil on canvas, 25 3/16 x 19 5/8 in.[241]	Fishermen's Return, by Henry Ossawa Tanner	Fishermen Returning at Night, c. 1930. Merton Simpson collection, oil and tempera on academy board, 9 3/8 x 7+1⁄2 inches.[239][242]
c. 1927[426] 68 years old	Exhibited Art Institute of Chicago, 1927.		The Poor Ye Have With You Always[426]	Private collection. Oil on canvas.[426]
c. 1928/1936[427]			untitled (Moonlight Landscape)[427]	DuSable Museum of African American History, Chicago.[427]	untitled (Moonlight Landscape), undated
1929-1930[428][429] 70–71 years old	The two cities of Sodom and Gomorrah are engulfed in God's wrath. "The painting's abstraction and simplicity of form evoke a sense of interaction between the physical and spiritual worlds."[428] In this version, Lot and his daughters are nearly invisible, at the lower right.[428]	Formerly owned by J. J. Haverty.[429]	Destruction of Sodom and Gomorrah[429]	High Museum of Art, 49.32. Tempera and varnish on cardboard, 20 3/8 x 36 in.[428][429]
c. 1930[430] 71 years old			Hand of Henry O. Tanner[430]	Smithsonian American Art Museum, 1983.95.35. Conte crayon on paper, 10 5⁄8 x 14 in. (27.0 x 35.5 cm)[430]		Study of Two Hands, undated. Smithsonian American Art Museum, 1983.95.45. Charcoal on paper, charcoal on paper, sheet: 7 x 11 3⁄4 in. (17.9 x 30.0 cm).[431]
c. 1930[432] 71 years old			The Lost Sheep or The Good Shepherd[432]	Menil Collection, Houston. Oil and tempera on paperboard. 10 5/8 x 8 1/8" (26.99 x 20.64 cm)[432]
1930 71 years old		Tanner painted the theme of The Good Shepherd more than 15 times.[212]	The Good Shephard[433]	Private collection. Tempera and oil glazes on canvas, 91,4 x 76,2 cm (36 x 30 in)[434]
undated[435]			Countryside Landscape or Paysage de Campagne	Private collection.	Countryside Landscape, by Henry Ossawa Tanner
undated[436]		Landscape of a Middle-Eastern/North African city, with domes and minarets. Could date from 1897 to 1912 if from the period he visited Middle East, or later if painting from memory.	Distant View of a City[436]	Private collection. Oil on canvas laid on masonite, 21 x 16 1/2 in (53.3 x 41.9 cm)[436]	Distant view of a city, by Henry Ossawa Tanner
c. 1930[437][438] or c. 1936[432] 71 or 77 years old		Tanner painted the theme of The Good Shepherd more than 15 times.[212] He painted this at Etaples, Paris, 43 Rue de Fleurus, 6.[432]	The Good Shephard (Atlas Mountains, Morocco)[437][432][438]	Smithsonian American Art Museum, 1983.95.198. Oil on canvas (or fiberboard), 29 7⁄8 x 36 in. (75.8 x 91.3 cm)[437][438]		The Good Shepherd in the Atlas Mountains or The Good Shepherd, c. 1936. Private collection, Oil and tempera on board, 9 1/4 x 13 in. (23.5 x 33.02 cm.)[432]
c. 1930[439] 71 years old			He Healed the Sick[439]	Smithsonian American Art Museum, 1983.95.199. Oil on panel, 16 1/4 x 21 1/2 in. (41.3 x 54.5 cm).[439]		Disciples Healing the Sick, c. 1930. Clark Atlanta University Art Galleries.Height: 91.44 cm (36 in.), Width: 121.92 cm (48 in.)
c. 1930[440] 71 years old			He Healed the Sick[440]	Private collection. Oil on board 9 1/4 by 13 inches (23.5 by 33 cm)[440]	He Healed the Sick, number 11, by Henry Ossawa Tanner	Study for Disciples Healing the Sick, c. 1930. Private collection. Oil on thin plywood panel, 10 1/2x13 3/4 in.[441]
c. 1930[442] 71 years old		Landscape of French countryside[442]	Haystacks[442]	Smithsonian American Art Museum, 1983.95.214. Oil on canvas, 26 1/4 x 21 in. (66.7 x 53.3 cm.)[442]
undated[443]		Landscape of trees bending in the wind. French name at gallery, probably painted in France.	Arbres Sous Le Vent[443]	Bill Hodges Gallery. Oil on Panel 10 ⅜ x 13 ¾ in. (26.35 x 34.9 cm)[443]
by 1935[444]		Tanner painted the theme of Flight into Egypt more than 15 times.[212]	Flight into Egypt[444]	Private collection. Oil on panel, 24 x 28 in. (60.96 x 71.12 cm.)[444]	Flight into Egypt, 1935, by Henry Ossawa Tanner
c. 1930s(?)[445]			Study for Mary, Return from the Crucifixion[445]	Private collection.[445]
c. 1934-1935[446] 75–76 years old		Mary and Joseph, after Jesus is crucified.	Return from the Cross[446]	Colby College Museum of Art.[447] Oil and tempura on board, 39 7/8 x 29 7/8 in. (101.3 x 75.9 cm)[446]		Study for Return from Crucifixion, signed 1933. Smithsonian American Art Museum, 1983.95.37. Pencil and conté crayon on paper mounted on paperboard, 15 1/8 x 14 1/8 in.[448]
1936[449] 77 years old		Mary and Joseph, fleeing with Jesus for Egypt	Flight into Egypt[449]	Howard University, 50.5.P. Oil on board, 19 × 23 1/2 in. (48.3 × 59.7 cm)[449]
1936[450] 77 years old	Tanner's final completed and signed painting.[5] He passes away on 25 May 1936.[5]	Mary and Joseph in foreground, after Jesus is crucified.	Return from the Crucifixion[450]	Howard University Gallery of Art. Oil and tempura on plywood, 20 x 23 1/2 in.[450]

Footnotes

1. European photographers such as Lehnert & Landrock or Nuredin & Levin made images in North Africa. They created postcards, including images in which local women and girls were posed topless and fully-nude. The photographers had to resort to hiring models, because most women that they encountered would have nothing to do with men outside of their families.^[285]

Further reading

• Bearden, Romare; Henderson, Harry (Harry Brinton) (1993). A history of African-American artists : from 1792 to the present. New York: Pantheon Books. pp. 78–109. ISBN 9780394570167.
• Cole, Helen (June 1900). "Henry O. Tanner, Painter". Brush and Pencil an Illustrated Magazine of the Arts of Today. 6 (3): 97–107.
• Baker, Kelly Jeannette (10 September 2003). Henry Ossawa Tanner: Race, Religion, and Visual Mysticism (Thesis). Florida State University.
• Leininger-Miller, Theresa (2013). "Henry Ossawa Tanner: Modern Spirit". Nineteenth-Century Art Worldwide. 12 (1).
• Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press.
• Mathews, Marcia M (1969). Henry Ossawa Tanner, American artist. Chicago: University of Chicago Press. pp. 69–74.
• McElroy, Guy C (1989). "1: The Foundations for Change 1880-1920". African-American artists, 1880-1987: selections from the Evans-Tibbs Collection. Seattle: University of Washington Press. pp. 22–31.<
• Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. ISBN 978-0-8478-1346-9.
• Romeyn, Carlyn G. Crannell (Winter 1983–1984). "Henry O. Tanner: Atlanta Interlude". The Atlanta Historical Journal. 27 (4): 3.
• Skeel, Sharon Kay (February–March 1991). "A Black American In The Paris Salon". American Heritage. 42 (1).
• South, Will (2006). "Henry Ossawa Tanner: Painter of the Spirit" (PDF). Greensboro North Carolina: Weatherspoon Art Museum, University of North Carolina. Archived from the original (PDF) on 2007-01-26.
• Tanner, Henry Ossawa (July 1909). "Story of an artist's life I." The World's Work. 18 (3): 11661–11666.
• Tanner, Henry Ossawa (July 1909). "Story of an artist's life II. Recognition". The World's Work. 18 (3): 11769–11775.
• Woods, Naurice Frank Jr. (2017). Henry Ossawa Tanner: Art, Faith, Race, and Legacy. Taylor & Francis. ISBN 9781315279480.
• "Henry Ossawa Tanner 1859/1937". Detroit Free Press. 14 July 1991. pp. 284–285.
• "The Art of Henry O. Tanner". Ebony. 24 (12). Johnson Publishing Company: 60–65. October 1969. ISSN 0012-9011.

References

1. Artist: Henry Ossawa Tanner. Smithsonian American Art Museum. https://americanart.si.edu/artist/henry-ossawa-tanner-4742
2. Block, Fang. Bonhams to Offer Henry Ossawa Tanner's ‘Return from the Cross.’ Barrons. May 18, 2021. https://www.barrons.com/articles/bonhams-to-offer-henry-ossawa-tanners-return-from-the-cross-01621372938
3. Mathews, Marcia M (1969). Henry Ossawa Tanner, American artist. Chicago: University of Chicago Press. p. 12.
4. ""Barnyard Fowl, (painting)"". wahooart.com.
5. "Henry Ossawa Tanner 1859/1937". Detroit Free Press. 14 July 1991. pp. 284–285.
6. Mathews, Marcia M (1969). Henry Ossawa Tanner, American artist. Chicago: University of Chicago Press. pp. 13–14.
7. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 64–67. ISBN 978-0-8478-1346-9.
8. Mathews, Marcia M (1969). Henry Ossawa Tanner, American artist. Chicago: University of Chicago Press. p. 15.
9. Kriston Capps (19 June 2022). "Some art has a story to tell". Philadelphia Tribune. Rae Alexander-Minter, grandniece of the great 19th-century realist painter Henry Ossawa Tanner...An original oil painting, "Seascape — Jetty" (circa 1876-79), hangs in Alexander-Minter's living room, an example of Tanner's idyllic landscapes
10. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 68–69. ISBN 978-0-8478-1346-9.
11. McElroy, Guy C (1989). "1: The Foundations for Change 1880-1920". African-American artists, 1880-1987: selections from the Evans-Tibbs Collection. Seattle: University of Washington Press. pp. 22–31.
12. "Untitled ARTISTHenry Ossawa Tanner (American, 1859 - 1937)". Telfair Museums.
13. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 169.
14. "Sale 2581 - Lot 1 Henry Ossawa Tanner (1859–1937) Head of a Sheep". Swann Auction Galleries.
15. Tanner, Henry Ossawa (July 1909). "Story of an artist's life I." The World's Work. 18 (3): 11665. While a flock of sheep is the personification of peace, docility, and all that is quietude, from my (unscientific) study, I have come to the conclusion that one sheep has none of the qualities of a flock of sheep, no, not one, except, it may be, their stupidity. One sheep is not "sheepish"; no, he is the most stubborn, balky, run-away, befuddled animal you can imagine. I have had other animals to serve as models, but never an animal that furnished so many alarms by day and night as that "peaceful" sheep. He was escaping from his stable (stable, by courtesy), breaking his tether, trespassing in neighbors' gardens, and eating down the very things they prized the most; or he was the very contradiction of all activity, refusing to be led to pasture and causing a giggling crowd to collect as if by magic. To the question of those on the outside who could not see what was going on, it was: "Oh! it's Henry Tanner's sheep."
16. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 170.
17. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 171.
18. "Sarah Elizabeth Tanner". Family Search. Sarah Elizabeth Tanner 24 June 1873 – 29 October 1901
19. Louise Stockton (30 August 1882). Albion W. Tourgée (ed.). "In the Days of Witchcraft". Continent; an illustrated weekly magazine. Philadelphia: Our Continent Publishing Company. pp. 233–235. [note:]The magazine story was written by the "author of Dorothea," which it doesn't name. That person was Louise Stockton.
20. "Henry Ossawa Tanner Lot 18: Henry Ossawa Tanner 1859–1937". Invaluable.com. signed H.O. Tanner and dated Paris '95, l.l. oil on canvas
21. "Past auctions". artnet.com. Artist:Henry Ossawa Tanner (American, 1859–1937) Title: A man with a ruff , 1895–1895 Medium: Oil on Canvas Size: 43.8 x 35.6 cm. (17.2 x 14 in.)
22. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 76–79. ISBN 978-0-8478-1346-9.
23. Naurice Frank Woods Jr. (2017). Henry Ossawa Tanner: Art, Faith, Race, and Legacy. Taylor & Francis. ISBN 9781315279480.
24. Bearden, Romare; Henderson, Harry (Harry Brinton) (1993). A history of African-American artists : from 1792 to the present. New York: Pantheon Books. p. 84. ISBN 9780394570167.
25. "Henry Ossawa Tanner American, 1859-1937 Untitled (Shepherdess), c. 1885". Dolan Maxwell.
26. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 172.
27. "Treasures of the White House: Sand Dunes at Sunset, Atlantic City 995.1759.1". White House Historical Association.
28. Russ, Valerie (17 November 2022). "A Landmark's Future". Philaladelphia Inquirer. The painting of wind-whipped dunes under a hazy sunset hangs today in the Green Room at the White House. It was the first painting by a Black artist to be part of the White House's permanent collection.
29. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 80–82. ISBN 978-0-8478-1346-9.
30. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 71–73. ISBN 978-0-8478-1346-9. he began a historical scene of Androcles and the lion (see cat. no. 12). Tanner abandoned it as beyond his talent, and apparently returned to simpler presentations such as Lion Licking Its Paw
31. "Lion Licking Paw". Allentown Art Museum.
32. "Wynkoop House, Old Haarlem". New Britain Museum of American Art.
33. "Basic Detail Report: Wynkoop House, Old Haarlem". New Britain Museum of American Art. Recent research, however, has demonstrated that subjects such as "Wynkoop House" were important to the core of Tanner's symbolic civil-rights messages...Tanner emphasized the tree in the foreground of "Wynkoop House"...
34. Geyer, Virginia B (Fall 1976). "Further Notes on Henry Wynkoop". Buck's County Historical Society Journal. Buck's County Historical Society. With the help of several slaves, Wynkoop produced the finest champagne and cider in his cellars, the cider finding a ready market in Philadelphia. Without the help of slaves during Wynkoop's many absences, a farm as large as Vredens Berg would have been difficult to operate. He treated his slaves so well that although he gave them their freedom, most of them remained on the farm, and according to legend were buried under a tree near the Vredens Berg mansion.
35. LaVO, Carl (15 February 2021). "LaVO: The story of Bucks County Judge Henry Wynkoop, the 'good tall judge' and key figure in American Revolution". Phillyburbs.com. Wynkoop freed his nine slaves at his death on March 25, 1816. That was 36 years after Pennsylvania abolished slavery by freezing the slave population and giving slave holders a grace period to free captives — a process called manumission. Wynkoop's thoughts on the matter are unknown. His freed slaves remained with the family.
36. "Henry Ossawa Tanner". Hearne Fine Art.
37. "Sale 2359 - Lot 1 Henry Ossawa Tanner (1859–1937) It Must Be My Very Star, Come Down to Brooklyn, After All". Swann Auction Galleries.
38. "Joachim Leaving the Temple". Baltimore Museum of Art.
39. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 176.
40. Tanner, Henry Ossawa (July 1909). "Story of an artist's life I." The World's Work. 18 (3): 11666. I at last secured an order to photograph a small cottage, and in twenty-four hours I had the money in my "inside pocket." I made photos of the whole immediate region, a most lovely country, and, as no photographer had ever visited it before, they were a success, and my hard times — very hard times — vanished as the mountain mists before the sun.
41. Will South (Autumn 2009). "A Missing Question Mark, The Unknown Henry Ossawa Tanner". Nineteenth-Century Art Worldwide. 8 (2). Fig. 3. Henry Ossawa Tanner, Mountain Landscape, Highlands, North Carolina (Cumberland Foothills)
42. "Mountain Landscape, Highlands, North Carolina". Doris Ulman Galleries. 30 June 2014.
43. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 178.
44. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 179.
45. "Waterfall, North Carolina, c. 1889". Charleston Renaissance Gallery.
46. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 177.
47. "Untitled Landscape". WikiArt.
48. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 39, 126. ISBN 978-0-8478-1346-9.
49. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 180.
50. "Henry Ossawa Tanner Lot 297: Henry Ossawa Tanner, American, 1859-1937, Landscape with Figures, 9" x 13", oil on canvas". invaluable.com.
51. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 102–103. ISBN 978-0-8478-1346-9.
52. "Art Collection Found in Schools". The Island Packet. Hilton Head Island, South Carolina. 8 July 2004. p. 6.
53. "Past Auctin". Artnet.com. Behold! The Lamb of God (1891)
54. "Base Salons". salons.musee-orsay.fr. Retrieved 8 April 2022.
55. "Henry Ossawa Tanner DANIEL IN THE LIONS' DEN BY HENRY OSSAWA TANNER after Briton Riviere". 1stDibs.com.
56. "Henry Ossawa Tanner Daniel in the Lions' Den". Mutual Art.
57. "Henry Ossawa Tanner Lot 41: Henry Ossawa Tanner, (American, 1859-1937), Woman from the French West Indies, c. 1891". The artist arrived in Paris, France at this time and spent the summers on the west coast in Brittany. There, he adopted a predominately green palette with an emphasis on vertical brushstrokes as can be seen in the Woman from the French West Indies...we are looking at an image of a light-skinned woman from one of the islands of the French West Indies-Martinique, Guadeloupe or Dominica. This claim is supported by her costume and headdress.
58. "Henry Ossawa Tanner Street Scene, Paris, c. 1890s". Colby College Museum of Art.
59. "Henry Ossawa Tanner Street Scene, Paris, ca. 1890". artsy.net.
60. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 104–105. ISBN 978-0-8478-1346-9.
61. Legrand, Caroline (24 May 2023). "Henry Tanner, un Américain en Bretagne". La Gazette Drouot.
62. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 98–101. ISBN 978-0-8478-1346-9. students learned to analyze and observe form and light by working from professional models.
63. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 182.
64. "Study of a young man". Smithsonian American Art Museum.
65. "Portrait of a Young Girl". Smithsonian American Art Museum.
66. "Henry Ossawa Tanner (Pittsburgh 1859 - 1937) - Etude d'Un Homme Barbu" [Henry Ossawa Tanner (Pittsburgh 1859 - 1937) - Study Of A Bearded Man]. Proantic.com (in French).
67. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 38. ISBN 978-0-8478-1346-9.
68. Mosby, Dewey F. (1991). Henry Ossawa Tanner. pp. 38, 90. Tanner began studies in 1893 for another picture of Breton life, The Young Sabot Maker... in the first part of 1893, Henry came down with typhoid fever... [quoting Tanner:] 'When I was well enough to travel, I returned to Philadelphia for a convalescence'...
69. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 183.
70. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 39, 90, 110–113. ISBN 978-0-8478-1346-9.
71. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 106–107. ISBN 978-0-8478-1346-9.
72. "Henry O. Tanner, N.A. (US/French, 1859-1937)". Live Auctions. Feeding Chickens, African-American Township, Philadelphia Pennsylvania" is an historically significant and rare African American scene by Tanner to be offered at auction.
73. "Winter Estates Auction: December 4-6, 2015". 19 November 2015. Published on Nov 19, 2015, page 279, [Item] 1187 Henry Ossawa Tanner, N.A. (American French, 1859-1937), "Feeding Chickens, African-American Township-Philadelphia, Pennsylvania", ca. 1890s, oil on canvas, abraded signature and date lower left, 14" x 24".
74. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 184.
75. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 35. ISBN 978-0-8478-1346-9.
76. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 36. ISBN 978-0-8478-1346-9.
77. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 39. ISBN 978-0-8478-1346-9.
78. "Untitled Henry Ossawa Tanner 1894". artsandculture.google.com.
79. "Art Notes". The Philadelphia Inquirer. Philadelphia, Pennsylvania. 23 September 1894. p. 12. H. O. Tanner, the colored artist of this city, whose picture, "The Bagpipe Lesson," was exhibited at the Academy during the last exhibition, sailed for Paris yesterday. He expects to remain abroad about three years.
80. "Art Notes". The Philadelphia Inquirer. Philadelphia, Pennsylvania. 29 April 1894. p. 11. Mr. Tanner has just sent his "Banjo Lesson" which was exhibited at Earles' some time ago, to the Paris Salon. He will go to Paris himself some time in the fall, and will remain there two or three years.
81. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 116–120. ISBN 978-0-8478-1346-9.
82. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 116–120. ISBN 978-0-8478-1346-9. Especially in the background, the brushwork of The Banjo Lesson is much looser, and strokes of color are more assertive ... Tanner used this technique in two other large figure pieces (cat. nos. 28 [The Thankful Poor], 29 [Spinning by Firelight]) painted during his Philadelphia stay, but he abandoned it after his return to France; the effect is distinctive enough to suggest the definitive changes both in Tanner's location and in his artistic direction
83. "ARTISTSARTISTS HENRY OSSAWA TANNER AMERICAN PAINTER". [about the Thankful Poor]:Here the influence of Impressionism is evident in both the softening and loosening of the brushstrokes used to render certain items including the wall and tablecloth as well as the importance of light which streams through the window casting a glow on the figures and their meal
84. "Study for The Thankful Poor". Google Arts and Culture. DuSable Museum of African American History, Chicago, United States
85. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 189.
86. "Crossing the Atlantic (Return Home)". Smithsonian American Art Museum.
87. "Henry Ossawa Tanner Lot 12923: Henry Ossawa Tanner, African-American, 1859-1937, oil on panel, Shore Landscape with Building and Dock, 9 1/4" x 13 1/2", signed H". Invaluable.com.
88. Chris Miller (19 May 2016). "Revealing the Deep Legacy of Black American Painters: A Review of "Masterworks Collection Series I: Paintings" at the DuSable Museum". art.newcity.com.
89. "The Young Sabot Maker". Metropolitan Museum of Art.
90. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia, Pennsylvania: Philadelphia Museum of Art. pp. 128–131.
91. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 190.
92. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia, Pennsylvania: Philadelphia Museum of Art. pp. 114–115.
93. Anna O. Marley. "Introduction Henry Ossawa Tanner: Modern Spirit". In Anna O. Marley (ed.). Henry Ossawa Tanner: Modern Spirit. University of California Press. p. 193.
94. "Sale 2169 - Lot 1". Mutual Art. Henry Ossawa Tanner (1859–1937) The Annunciation to the Shepherds. Oil on canvas, circa 1895. 325x400 mm; 12 3/4x15 7/8 inches. Signed in oil on the verso. Provenance: private collection, Chevy Chase, MD.
95. "American Art at Auction". Asbury Park Press. Asbury Park, New Jersey. 14 February 2009. p. 29. Other notables include a pair of oils on canvas by Henry Ossawa Tanner, the father of modern African- American art. These works, "The Annunciation to the Shepherds" ($60,000 to $90,000 estimate) and "Adoration of the Golden Calf' ($40,000 to $60,000), both circa 1895, reflect the artist's early exploration of Biblical subjects.
96. "Past Auction". artnet.com.
97. "Collection History". Hampton University Museum. Retrieved 25 July 2023. [Note: A photo on the page referenced shows The Banjo Lesson displayed between Landscape in Moonlight and Adoration of the Golden Calf.]
98. "Marshes in New Jersey". Smithsonian American Art Museum.
99. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 39. ISBN 978-0-8478-1346-9. 1895 May. Paris, Salon. Intérieur Bretagne [Brittany Interior], Le Jeune Sabotier [The Young Sabot Maker], pastel of New Jersey coast by moonlight.
100. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 93. ISBN 978-0-8478-1346-9. His efforts were rewarded again by the Salon jury - The Young Sabot Maker, Brittany Interior, and a pastel called New Jersey Coast by Moonlight were exhibited, but did not attract the attention of the critics. The latter work is probably the picture now titled Marshes in New Jersey and inscribed "Paris 1895" (Washington, D.C., National Museum of Art).
101. "Lot 1: Henry Ossawa Tanner 1859 -1937 Orientalist painting".
102. "Henry Ossawa Tanner (1859–1937) PA/Kansas Artist Oil". Live Auctioneers. Originates from estate in upstate New York
103. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 197.
104. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 258–259. ISBN 978-0-8478-1346-9.
105. "Henry Ossawa Tanner (1859–1937) Les Invalides, Paris, 1896". Terra Foundation for American Art.
106. "56 Henry Ossawa Tanner". Sotheby's.
107. "La Résurrection de Lazare". Musée d'Orsay.
108. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 195.
109. "How Two Negro Boys Won Victories For Harvard". St. Louis Post-Dispatch. St. Louis, Missouri. 13 July 1902. p. 5.
110. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 200.
111. "Interior of a Mosque, Cairo". Museum of Fine Arts, Boston. ...in Cairo, Tanner visited numerous mosques, many as yet unidentified: as Tanner put it, "the number of mosques is so great that to remember the names in one day or so is next to impossible." Despite Tanner's uncertainty, the location of Interior of a Mosque, Cairo has been identified as the madrasa of Sultan Qaitbey, a Mamluk-dynasty complex originally containing a mosque, a school, and a mausoleum, built between 1472 and 1475.
112. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 201. Interior of a Mosque, Cairo, 1897. Oil on canvas, 20 1/2 x 26 in.
113. "Henry Ossawa Tanner – Les Bords du Nil (Caire),, 1890". Mutual Art.
114. "Henry Ossawa Tanner Cairo, 1897". Mutual Art.
115. "Sale 2122 - Lot 1 Henry Ossawa Tanner (1859–1937) Seated Arab". Swann Auction Galleries.
116. "Conversations Considered". Smithsonian. Henry Ossawa Tanner 1859–1937, United States Study of an Arab 1897 Oil on board 33 x 24 cm (13 x 9 1/2 in.) Collection of Camille O. and William H. Cosby Jr. Photograph by Frank Stewart
117. "Henry Ossawa Tanner Untitled (A Water Carrier)". Sotheby's.
118. "LOT #557: Henry Ossawa Tanner, Arab Musician". Kaminsky Fine Art, Auctions, Appraisals. [note pasted to back of frame:] Purchased by my mother while in France while on the "Grand Tour" Painted by Henry Ossawa Tanner
119. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 158–159. ISBN 978-0-8478-1346-9.
120. "Henry Ossawa Tanner (1859-1937) Lion Drinking". Christies.
121. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 160–161. ISBN 978-0-8478-1346-9.
122. Helen Cole (June 1900). "Henry O. Tanner, Painter". Brush and Pencil. Vol. 6, no. 3. Chicago: Brush and Pencil Publishing Companey. pp. 99, 106. [Discusses artwork illustrated in the article; process of elimination and context pairs this quote with the picture:] The picture reproduced is the "Still Hunt," which was seen in Chicago last year [1899]...Even those who did not grasp the significance of his "Annunciation," shown at the same time, admired the vigor and strength of handling in this.
123. "The Canyon". Smithsonian American Art Museum.
124. "Venice". Swann Auction Galleries.
125. "Henry Ossawa Tanner portrait of Isaac". Mutual Art.
126. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 140–141. ISBN 978-0-8478-1346-9. Perhaps to celebrate his recent Salon triumph, in the summer of 1897 Tanner visited his parents in Kansas City...During this stay he painted the two small, bust-length portraits of his parents, showing them against dark red backgrounds.
127. "H. O. Tanner's Paintings". The Inter Ocean. Chicago, Illinois. 15 August 1897. p. 30. Henry O. Tanner...reached this country from Paris about two weeks ago and is now in Philadelphia, visiting his family...Tanner's next Salon picture will be "The Annunciation." His plan is to make the Virgin Mary very Eastern in type, or not unlike some of the women one might see in Jerusalem today. He brought back from his trip to the Holy Land materials for costumes that will doubtless be useful...He will commence a large painting for the Paris exposition of 1900 after finishing "The Annunciation." Mr. Tanner will return to the French capital, where he has lived for the last three years, about the middle of September.
128. "No Color Line in Paris". The Inter Ocean. Chicago, Illinois. 20 August 1897. p. 1. No Color Line in Paris.
     Henry O. Tanner, the Famous Colored Painter Will Return to That City.
     
     Kansas City, Mo., August 19—Special Telegram—Henry O. Tanner, the negro artist, a son of Bishop Benjamin T. Tanner, who is spending his vacation in Kansas City, Kan., with his parents, is making preparation for his return to Paris early in September, to resume his work with his brush. Mr. Tanner likes Paris, because of the companionship of artists, and he will probably spend the rest of his lifetime there; still, he glories in the fact that he is an American citizen, and he will retain that title as long as he lives. During his stay at home he has been painting portraits of his parents. When be returns to Paris he will begin working on another biblical painting, "The Annunciation," which he hopes will surpass his "Raising of Lazarus," which made him famous as an artist.
129. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 142–143. ISBN 978-0-8478-1346-9. While visiting his parents in Kansas City, Kansas, in 1897, Tanner painted a large portrait of his mother, Sarah Elizabeth Miller Tanner...seated in an armchair, in profile against a background of carefully balanced geometric shapes...
130. "Portrait of the Artist's Mother". Philadelphia Museum of Art.
131. "Kansas City, Kansas". Smithsonian American Art Museum.
132. "Kansas City, Kansas". Smithsonian American Art Museum.
133. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 205.
134. "The Annunciation". Philadelphia Museum of Art.
135. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 162. ISBN 978-0-8478-1346-9. The young Jewish peasant sit[s] on the edge of a couch, wearing the common striped cotton of the Eastern women of the poorer class, a costume which they have kept to the present day, no halo or celestial attributes about her, and only the flood of golden light to herald the approach of the angel.
136. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 162–165. ISBN 978-0-8478-1346-9.
137. Société des artistes français. Salon (1879). Catalogue illustré du Salon de 1898. Paris: L. Baschet. 1918 TANNER (H.-O.), boulevard Saint-Jacques, 51. — L'Annonciation
138. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 204.
139. Bearden, Romare; Henderson, Harry (Harry Brinton) (1993). A history of African-American artists : from 1792 to the present. New York: Pantheon Books. p. 96. ISBN 9780394570167. During the summer of 1898, just after the success of The Annunciation, Tanner met a young opera singer of Swedish-Scottish descent from San Francisco, Jessie MacCauley Olssen, who had been studying music in Germany with her sister.
140. "Portrait of the Artist's Wife". Smithsonian American Art Museum.
141. "Mary (La Sainte-Marie)". La Salle University Art Museum.
142. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 174–175. ISBN 978-0-8478-1346-9.
143. Daniel Burke (Spring 1988). "Henry Ossawa Tanner's "La Sainte-Marie"". Smithsonian Studies in American Art. 2 (2). The University of Chicago Press on behalf of the Smithsonian American Art Museum: 65–73. doi:10.1086/smitstudamerart.2.2.3108951. JSTOR 3108951. S2CID 194080163. The large tabernacle frame in which the painting was first exhibited at the spring Salon of 1900 still bears a label with its entry number (1252), and another label indicating Tanner's previous Salon medal
144. Catalogue illustré de Salon de 1900. Paris: L. Baschet. 1879. 1252 Tanner (H.-O.), boulevard Saint-Jacques, 51. — La Sainte-Marie [note 1252 is the painting's entry numner or identity within the Salon]
145. "Camden Show Celebrates Century of Black Art". Courier-Post. Camden, New Jersey. 22 March 1992. p. 81. The most interesting is Tanner's portrait of his wife, Head of a Girl in Jerusalem. The gold-orange coloring and characterful expression point to Tanner's mature work.
146. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 168–171. ISBN 978-0-8478-1346-9.
147. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 212.
148. "Head of a woman in Jerusalem". Smithsonian American Art Museum.
149. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 209.
150. Helen Cole (June 1900). "Henry O. Tanner, Painter". Brush and Pencil. Vol. 6, no. 3. Chicago: Brush and Pencil Publishing Companey. p. 105.
151. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. pp. 130–131.
152. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 41. ISBN 978-0-8478-1346-9.
153. "Henry Ossawa Tanner papers, 1860s-1978, bulk 1890-1937 311: Photographs of Artwork, circa 1920s". Smithsonian Archives of American Art. [note: image downloads numbers 38, 39, 40, 41]
154. "Nicodemus". Pennsylvania Academy of Fine Art. 28 December 2014.
155. "An Afro-American Artist". Times Union. Brooklyn, New York. 13 September 1902. p. 15.
156. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 210.
157. "Fisk to Display Negro Artworks". Nashville Banner. Nashville, Tennessee. 19 April 1931. p. 4.
158. "Christ and Nicodemus". National Archives. Collection H: Harmon Foundation CollectionSeries: Artworks by Negro Artists NAID: 559136 Local ID: H-HN-TAN-22 Photographs and other Graphic Materials 3 Images... Subjects and References People Tanner, Henry Ossawa, 1859-1937
159. "Flight from Jerusalem". Amistad Research Center.
160. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 32.
161. Helen Cole (June 1900). "Henry O. Tanner, Painter". Brush and Pencil. Vol. 6, no. 3. Chicago: Brush and Pencil Publishing Companey. p. 104. The landscape reproduced is some of Mr. Tanner's summer's work at Czernay la Ville, an hour's ride from Paris, and proves that if he had chosen to remain simply a landscape painter, as he began, he would have achieved more than ordinary success. This spot, famous as the home of Voltaire in his later years, and from which he addressed so many of his charming letters to women, seems to have inspired Mr. Tanner to do some extremely good work, both in landscapes and biblical compositions.
162. "Still Life with Apples Henry Ossawa Tanner1890/1899". Google Arts and Culture.
163. "Art at Home: Apple Collage". Georgia Museum of Art. Henry O. Tanner (American, 1859 – 1937), "Still Life with Apples," 1890s. Oil on canvas. Georgia Museum of Art, University of Georgia; The Larry D. and Brenda A. Thompson Collection of African American Art. GMOA 2011.604
164. "Georgia Museum of Art receives collection by African-American artists". UGA Today, University of Georgia. 11 January 2012. Larry D. and Brenda A. Thompson donated an extensive collection of African American artwork to the Georgia Museum of Art. It includes Henry O. Tanner's "Still Life with Apples
165. "Henry Tanner's Judas: The Lost Disciple". Smithsonian. 7 November 2018.
166. Fannie G. Thompson (11 February 1900). "The Opera and the Academy of Fine Arts Exhibition in Philadelphia". The Topeka Daily Capital. Topeka, Kansas. p. 13.
167. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 45–51. ISBN 978-0-8478-1346-9.
168. "An Afro-American Artist". Times Union. Brooklyn, New York. 13 September 1902. p. 15. The Death of Judas" is a weird and uncanny subject and is quaintly original in its conception. The first impression is that of smiling landscape with a sweep of the grey-green foliage of olive trees. Suddenly one becomes conscious of the figure of the traitorous disciple hanging to a tree in the dim gray wood, while a couple of peasants with horrified expressions gaze upon the ghastly object.
169. "Henry Ossawa Tanner Lot 510: Henry Ossawa Tanner, American, 1859-1937, 4 Scribes, 21 ¾" by 18" o/c, signed upper left, blacklights very nicely, no repairs made o..." invaluable.com.
170. Helen Cole (June 1900). "Henry O. Tanner, Painter". Brush and Pencil. Vol. 6, no. 3. Chicago: Brush and Pencil Publishing Companey. pp. 102–103. The picture upon which Mr. Tanner is now working will be the largest one he has yet painted, and is perhaps the most ambitious in many respects. The subject is "Christ in the Temple."
171. "Portrait of a bearded man". artnet.de.
172. "Nicodemus". Petrucci Family Foundation.
173. Helen Cole (June 1900). "Henry O. Tanner, Painter". Brush and Pencil. Vol. 6, no. 3. Chicago: Brush and Pencil Publishing Companey. p. 103.
174. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 214.
175. "The Savior". Smithsonian American Art Museum.
176. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 213.
177. "Christ at the Home of Mary". Norton Museum of Art.
178. "Henry Ossawa Tanner American, 1859-1937 Parisian Street Scene, c. 1900". Dolan Maxwell.
179. "Enchère passée". artnet.fr.
180. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 216.
181. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 158.
182. "Portrait of Tanner's Wife, Jessie Macauley Olssen". Hodges Gallery. Henry Ossawa Tanner (1859–1937) Portrait of Tanner's Wife, Jessie Macauley Olssen Oil on Canvas 13 x 9 1/2 in. (33 x 24.1 cm)
183. "Portrait of Tanner's Wife, Jessie Macauley Olssen". artnet.com.
184. "Henry Ossawa Tanner Two works: PORTRAIT OF JOHN OLSSON, FATHER OF HIS WIFE JESSIE". Mutual Art.
185. Helen Cole (June 1900). "Henry O. Tanner, Painter". Brush and Pencil. Vol. 6, no. 3. Chicago: Brush and Pencil Publishing Companey. p. 106. [Note: Near this picture is the following text, which could possibly be about the picture, from its inclusion nearby to it. However, the picture is titled Study.]

     One picture, which I hope will be exhibited in Chicago some time, is an illustration of this passage in Scripture, "And Mary pondered all these things in her heart." It is a very simple composition, less dramatic than most of his biblical subjects, but full of deep significance and spirituality. His charcoal studies were admired, even before it was known that he had such skill as a painter. In the schools he carried away many honors, and was considered a "strong man" at Julien's before his first salon picture. Even now what gives his work its solidity and character is the absolutely good drawing in it.

186. "Untitled (Nocturnal Landscape) 1901". useum.org.
187. "Untitled (Nocturnal Landscape)". Cornell University.
188. "Profile of a Woman's Head". Smithsonian American Art Museum.
189. "Gossip of Paris: American Artists Open Exposition at Which Well-Known PaintersAve Sculptors Show their work". Chicago Tribune. Chicago, Illinois. 1 December 1901. p. 34. Henry O. Tanner, whose Daniel in the Lions' Den will be remembered, exhibits a woman's head In the firelight, a strong study.
190. Anna O. Marley. "Introduction Henry Ossawa Tanner: Modern Spirit". In Anna O. Marley (ed.). Henry Ossawa Tanner: Modern Spirit. University of California Press. pp. 34–35. Although this painting was long thought to be lost, Tanner in fact painted over La Musique, a portrait of his wife playing the cello, with his Emmaus (1905). The later painting was so well received that it was purchased by the French government.
191. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 152–153. ISBN 978-0-8478-1346-9.
192. Société des artistes français. Salon (1902). Ludovic Basket (ed.). Catalogue illustré du Salon de 1902. Paris: L. Baschet. p. 147. 1545 TANNER (H.-O.), boulevard Saint-Jacques, 51. — La musique
193. "An Afro-American Artist". Times Union. Brooklyn, New York. 13 September 1902. p. 15. He is now busy on his picture intended for the coming Salon. In this he has made quite a new departure. The canvas is called "The Duo." There are two feminine figures, both portraits from life. The principal one is represented as performing on the violoncello. The model was a handsome young woman, the artist's wife, and the one seated at the piano is his sister-in-law, Miss Olsson, a pretty young girl. The painting is a very attractive one, the salon with its elegant appointments and the two musicians in their sombre black gowns. Nor must the violoncello, with its rich coloring be forgotten; it is a treasure over two hundred year old.
194. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 35.
195. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 63, 144–145. ISBN 978-0-8478-1346-9. To raise funds for his trip, Mrs. Hartzell suggested an exhibition of Tanner's work in her hometown of Cincinnati...When, despite this critical interest, nothing sold from the exhibition, Bishop and Mrs. Hartzell bought the entire collection for a sum sufficient to permit Tanner to travel to Europe.
196. "Joseph Crane Hartzell". familysearch.org.
197. "The Seine, c.1902". National Gallery of Art. December 2023.
198. "Low Tide, Cannon Street Bridge". Philadelphia Museum of Art.
199. Leja, Michael (2012). "11: Reproduction Troubles, Tanner's "Mothers of the Bible" for the Ladies' Home Journal". In Marley, Anna O. (ed.). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. pp. 147–156.
200. "Mothers of the Bible: I. Sarah". Ladies' Home Journal: 9. September 1902.
201. "Study of Isaac (From Mothers of the Bible)". Howard University.
202. "Mothers of the Bible: II. Hagar". Ladies' Home Journal: 13. October 1902.
203. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 203.
204. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 202.
205. Bearden, Romare; Henderson, Harry (Harry Brinton) (1993). A history of African-American artists : from 1792 to the present. New York: Pantheon Books. p. 97. ISBN 9780394570167.
206. Henry Ossawa Tanner (January 1903). "Mothers of the Bible: Mary". The Ladies' Home Journal. The Mothers of the Bible—By H. O. Tanner
     THE LAST OF A SERIES OF FOUR GREAT BIBLICAL PAINTINGS: MARY
     "-but his mother kept all these sayings in her heart." —St. Luke II, 19
     THIS is the second time that these or words of similar purport are recorded of Mary, thus giving us a hint of what must have been the condition of her mind after two remarkable events in the youthful days of her son Jesus: First, after the visit of the shepherds; and second, after the return from Jerusalem, when Jesus was twelve years old, which is the subject of this picture. We can imagine what her feelings must have been after she had found her young son in the Temple asking and answering questions of the learned men of the day and remembered that of Him it had been said," He shall be great, and shall be called the Son of the Highest: and the Lord God shall give unto Him the throne of His father David: and He shall reign over the house of Jacob forever; and of His kingdom there shall be no end."
     Did the thought ever pass through Mary's mind that her son Jesus was the promised Messiah? Did she ever in a small way realize the position of all coming ages to her, Mary, the mother of Jesus? I think not; with true motherly character she had forgotten "blessed art thou, among women" and remembered only "He shall be great." To all the family she rendered loyal motherly conduct, but to Him-Jesus-was her life bound by unutterable hopes, hopes so sacred that they could not be lisped, not even to Joseph-"but His mother kept all these sayings in her heart."
     The physical characteristics of the child Jesus will always remain a point of discussion. No artist has ever produced a type, nor ever will, that has in it all that the varying minds of all time will acknowledge as complete. It was my chance in Jerusalem to run across a little Yeminite Jew. Where could a better type be found than this swarthy child of Arabia, of purest Jewish blood-nurtured in the same land, under the same sun, and never, neither he nor his ancestors, having quitted its (at times) inhospitable shores?
207. "Study of Mary (From Mothers of the Bible)". Howard University.
208. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 182–183. ISBN 978-0-8478-1346-9.
209. "Le Christ et ses disciples sur la route de Béthanie".
210. "Henry Ossawa Tanner papers, 1860s-1978, bulk 1890-1937 311: Photographs of Artwork, circa 1920s". Smithsonian Archives of American Art. [note: image downloads numbers 21 and 22]
211. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 180–181. ISBN 978-0-8478-1346-9.
212. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 172. ISBN 978-0-8478-1346-9.
213. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 45, 56, 166. ISBN 978-0-8478-1346-9. December 31, 1902,...resided in Granada for several months... Tanner seems to have adopted the elongated figure style of El Greco...can be seen in Salomé (fig. 48) and in an unfinished work on its verso, Moses and the Burning Bush...We spent six months painting around Jerusalem and the Dead Sea...Here it was that I made a study of the Mount of Temptation from which I afterward painted 'Moses and the Burning Bush.'
214. "Study for Moses and the Burning Bush". Smithsonian American Art Museum.
215. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 19, 42, 97. ISBN 978-0-8478-1346-9. Around this time [end of 1897] he met Atherton Curtis, a wealthy expatriate with a fortune derived from patent medicine who would become a lifelong friend and financial benefactor, ...1902 August—November. Henry and Jessie reside with patrons and friends Atherton and Louise Curtis at Mount Kisco, New York, in small community planned by Curtises...Tanner's good friend Atherton Curtis, who helped with educational expenses for his son, Jesse
216. "Lot 104: HENRY O TANNER 'THE STAIRWELL, GRANADA' OIL CANVAS". Invaluable.com.
217. "Henry Ossawa Tanner Lot 77: Henry Ossawa Tanner Village Scene O/C". invaluable.com.
218. "125 Masteworks From the Collection". Cedar Rapids Museum of Art.
219. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 184–186. ISBN 978-0-8478-1346-9.
220. Société des artistes français. Salon (1906). Ludovic Basket (ed.). Catalogue illustré du Salon de 1906. Paris: L. Baschet. 1573 Tanner (H.-O.). — Le pèlerin d'Emmaus.
     1574 — Le retour de la Sainte Femme
221. "An American Negro Who Leads France in Art". The Buffalo Times. Buffalo, New York. 10 June 1906. p. 19. Tanner has had paintings on the Salon line for a number of years. This season he is represented by two — The Pilgrim of Emmaus and The Return of the Holy Woman.
222. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 187–189. ISBN 978-0-8478-1346-9.
223. "Lot 121: Henry Ossawa Tanner, 1859–1937, Virgin Mary in Meditation, Oil on board, 12 x 9-1/2 inches". Invaluable.com.
224. "Mary and Marth - Bible Story". www.biblestudytools.com. 9 September 2021. The Bible Story of Mary and Martha comes from Chapter 10 of the Gospel of Luke...Mary and Martha are two sisters with incredibly different focuses. While Mary soaks in the moments with Jesus, Martha can't think past the cooking and cleaning.
225. "Christ at the Home of Mary and Martha". Carnegie Museum of Art.
226. Bearden, Romare; Henderson, Harry (Harry Brinton) (1993). A history of African-American artists : from 1792 to the present. New York: Pantheon Books. p. 98. ISBN 9780394570167.
227. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 190. ISBN 978-0-8478-1346-9.
228. "To Turn Institute Into University". Pittsburgh Post-Gazette. Pittsburgh, Pennsylvania. 17 June 1907. p. 5.
229. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 192–194. ISBN 978-0-8478-1346-9. The painting, "The Two Disciples at the Tomb," has carried off honors from an exhibition of unusual merit. The 350 pictures hung are all from artists of acknowledged ability. Quite a number have won prizes at other shows, while still a larger number had previously appeared at the walls of the exacting salons of Paris.
230. "Study for the Disciple Peter". Smithsonian American Art Museum.
231. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 219.
232. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 192–194. ISBN 978-0-8478-1346-9. Fig. 71 Henry O. Tanner, The Disciples at Emmaus, 1906, oil on canvas, 73'/2 X 83'/2", Musée d'Orsay, Paris
233. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 43. ISBN 978-0-8478-1346-9. 1906 May. Paris, Salon. Les Pélerins d'Emmaus [The Disciples at Emmaus], Le Retour de la Sainte Femme [Return of the Holy Women]; former awarded second-class medal and purchased by French government. Tanner designated hors concours.
234. "An American Negro Who Leads France In Art". The Buffalo Times. Buffalo, New York. 10 June 1906. p. 19.
235. jonathan5485 (30 June 2020). "Henry Ossawa Tanner. Part 2".{{cite web}}: CS1 maint: numeric names: authors list (link)
236. "Abraham's Oak". Smithsonian American Art Museum.
237. "Mr. Stone Reviews Paintings". The Topeka Daily Capital. Topeka, Kansas. 6 November 1905. p. 4. Henry O. Tanner...whose painting of 'David in the Lion's Den', was exhibited at the St. Louis exposition, is represented by two excellent canvases, 'The good Samaritan' and 'Abraham's Oak Near Hebron'...
238. Société des artistes français. Salon (1905). Ludovic Basket (ed.). Catalogue illustré du Salon de 1905. Paris: L. Baschet. 1782 TANNER (H.-O.), rue Notre-Dame-des-Champs, 70 bis. — Le bon Samaritain
     1783 — Le Christ lavant les pieds de ses disciples
239. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 195–197. ISBN 978-0-8478-1346-9.
240. Baade, Brian; Kerr-Allison, Amber; Giaccai, Jennifer (2012). "12 Pursuit of the Ideal Effect: The Materials and Techniques of Henry Ossawa Tanner". In Marley, Anna O. (ed.). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. pp. 159–160.
241. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 267.
242. Bearden, Romare; Henderson, Harry (1993). A history of African-American artists: from 1792 to the present. New York: Pantheon Books. ISBN 9780394570167. [plate] VIII
243. "Jury is judging Academy pictures". The Philadelphia Inquirer. Philadelphia, Pennsylvania. 19 Nov 1905. p. 31. This year he forwards to Philadelphia the canvas already on exhibition at Carnegie Institute, and another, "Christ Washing the Feet of the Disciples," which received a medal in the spring salon in Paris. The picture shows six of the disciples seated with more or less regularity and one, standing by a door to the right, while at the left Christ kneels before the basin of water and holds the wet cloth in his hand.
244. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 221.
245. "Items from the art museums". The Brush and Pencil. 17 (1): 23. January 1906. Announcement has been made of the purchase of five paintings by the Fine Arts Committee of the Carnegie Institute, which will form part of the permanent exhibit...and Henry O. Tanner, formerly of Pittsburg, and now of Paris...'Judas Covenanting With the High Priests'...
246. "Bishop Tanner Here". Pittsburgh Post-Gazette. Pittsburgh, Pennsylvania. 8 June 1907. p. 3.
247. "Portrait of Jessie when he was four years old". Mutual Art.
248. "Henry Ossawa Tanner (1859-1937) Selected Works". Michael Rosenfeld Gallery. Portrait of Jesse When He was Four Years Old, June 18, 1907, oil on panel 13 x 9 1/4 inches / 33.0 x 23.5 cm signed
249. "Henry Ossawa Tanner Lot 63: Henry Ossawa Tanner (1859–1937) - Étude Pour Un Portrait de Jesse a 4 Ans". invaluable.com. Henry Ossawa Tanner (1859-1937) Study for a Portrait of Jesse at 4 Year Old Oil on canvas 33 x 24 cm - 12.9 x 9.4 in. oil on canvas Provenance - Estate of Henry Ossawa Tanner. By descent.
250. "Flight into Egypt". Cincinnati Art Museum.
251. Ludovic Basket (ed.). Catalogue illustré du salon de 1910. Paris. pp. Entries 1747 and 1748. [note: Catalog by the Société des Artistes Français, not the Société nationale des beaux-arts] 1747 TANNER (H.-O.), H. C., rue Notre-Dame-des-Champs, 70 bis. — Les trois Marie approchant du tombeau. 1748 — La fuite en Egypte.
252. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 222.
253. "Henry Ossawa Tanner papers, 1860s-1978, bulk 1890-1937 311: Photographs of Artwork, circa 1920s". Smithsonian Archives of American Art. [note: image downloads numbers 29 and 30]
254. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 210–211. ISBN 978-0-8478-1346-9.
255. "Moonlight Hebron". Google Arts & Culture.
256. "Henry Ossawa Tanner papers, 1860s-1978, bulk 1890-1937 311: Photographs of Artwork, circa 1920s". Smithsonian Archives of American Art. [note: image downloads numbers 27 and 28]
257. "Son of Colored Bishop Wins Honors in France". The Tacoma Daily Ledger. Tacoma, Washington. 13 September 1908. p. 32. He has painted among other important works "Peter After the Denial"...
258. "Tanner Paintings Here". The New York Times. New York, New York. 6 December 1908. p. 49. At last year's Salon Mr. Tanner was represented by his "Behold, the Bridegroom Cometh," a canvas on which he has worked during the better part of three years...a large-sized canvas...15 feet long by 10 feet high, and containing twelve life-size figures. 'In this picture," said Mr. Tanner, I have endeavored to give a new interpretation of the parable of the wise and foolish virgins. I have tried to put in a more modern touch, to be less literal in my interpretation than the old masters who handled the same subject. Another result which I have also sought is to have the clothes of each one of the wise virgins represent, in a way, different religious beliefs, in spite of the fact that they all wear the conventional garments usually seen in such pictures.'
259. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 18–19, 155–157. ISBN 978-0-8478-1346-9. Tanner set the price of his enormous picture The Wise and Foolish Virgins (see fig. 50) at $15,000 because it was "the result of three years work... during part of 1906 and all of 1907, Tanner tackled the most ambitious undertaking of his career — The Wise and Foolish Virgins (fig. 50), also known as Behold! The Bridegroom Cometh.
260. Société des Artistes Français. Ludovic Basket (ed.). Catalogue illustré du salon de 1908. Paris. pp. Entry 1745 and page 147. [note: There are two different Paris Salon Catalogs in 1908; on the title pages, one is by the Société nationale des beaux-arts and the other by the Société des Artistes Français. Tanner is found in the latter catalog.] 1745 Tanner (H.), H. C., rue Notre-Dame-Des-Champs, 70 bis. — Les vierges sages et les vierges folles.
261. Société des artistes français. Salon (1879). Ludovic Basket (ed.). Catalogue illustré du Salon de 1898. Paris: L. Baschet. p. 147. [image of painting:] Tanner (H.). H. C. "Les vierges sages et les vierges folles" Wise and foolish virgins
262. Tanner, Henry Ossawa (July 1909). "Story of an artist's life II. Recognition". The World's Work. 18 (3): 11774. in "Behold! the Bridegroom Cometh' I hoped to take off the hard edge too often given to that parable; how generally the wise virgins are made good but cold and unlovable; how I attempted to show that they were sympathetic for their sisters in distress, and that this sympathy was one of their beauties, in a marked degree, by the figure on the left on her knees — with her own lamp "bright burning" at her side — trying to bring to life the smoking lamp of her friend — in fact, interpreting the whole parable in keeping with our knowledge of the goodness of God and what He considers goodness in us.
263. "Mary". Weatherspoon Art Museum.
264. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 203. ISBN 978-0-8478-1346-9.
265. "Henry O. Tanner's Great Success in Religious Painting". The Winnipeg Tribune. Winnipeg, Manitoba, Canada. 13 February 1909. p. 18.
266. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 19, 45, 47, 49, 51, 284. ISBN 978-0-8478-1346-9.
267. "Henry Ossawa Tanner papers, 1860s-1978, bulk 1890-1937 Box 3, Folder 11: Photographs of Artwork, circa 1920s". Smithsonian Archives of American Art. [note: images 36 and 37. Image 36 is the front of the photo. Image 37 is the back of the photo. The title is on back of photo.] The Hiding of Moses
268. "At ADAA Art Show, Amid Scattered Sales and Rare Henry Ossawa Tanner Presentation". juddtully.net. A pair of Corot-like beauties, Edge of the Forest (Bois d'Amour), circa 1893 and just 7 ½ by 10 ½ inches in scale, and Hills of Jerusalem (circa 1908), executed in oil on board, sold for approximately $125,000 each.
269. "Seattle Public Library, Catalogue of Fine Arts Gallery and Exhibit of Arts and Crafts, California Building, 1909 Page 41". Catalogue of Fine Arts Gallery and Exhibit of Arts and Crafts, California Building, 1909...Creator Alaska-Yukon-Pacific Exposition (1909 : Seattle, Wash.)...Date 1909
270. Risen, Clay (22 June 2022). "Vivian Hewitt, Who Amassed a Major Collection of Black Art, Dies at 102". New York Times. Henry Ossawa Tanner's "Gate in Tangiers" (circa 1910) is among the acknowledged masterworks in the Hewitts' collection.Credit...The Harvey B. Gantt Center for African-American Arts + Culture
271. "African-American Fine Art Feb 14, 2013 - Sale 2303 Sale 2303 - Lot 3". Swann Auction Galleries.
272. "Gate of Tangier". Howard University.
273. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 208–209. ISBN 978-0-8478-1346-9.
274. "Henry Ossawa Tanner – Middle Eastern City Scape – Watercolor On Paper". Mutual Art.
275. "Henry Ossawa Tanner French Chateau - A Study, ca. 1912". artsy.net.
276. "The Art Show: Henry Ossawa Tanner Takes the Spotlight at Michael Rosenfeld Gallery". culturetype.com. 2 March 2019.
277. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 244.
278. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 224.
279. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 224.
280. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 212–213. ISBN 978-0-8478-1346-9.
281. "Two American Painters". The Sun. New York, New York. 18 December 1908. p. 6. We admired much more the vigorous presentment of the old bearded Jew in turban entitled "A Jerusalem Type"
282. "Henry O. Tanner's Great Success in Religious Painting". The Winnipeg Tribune. Winnipeg, Manitoba, Canada. 13 February 1909. When, after seventeen years of self-exile and continually increasing fame, he decided to give to the land of his birth an exhibition of the works he has produced it was with comparative difficulty that Mr, Tanner, like other artists whose works had passed from their ownership, was able to assemble a coherent and adequate collection. His was not one of those "one-man" exhibitions designed to dispose of the unsold pictures of the exhibitor, with scores of canvases exhumable from the studio dust for any emergency that shows the possibility of a dollar. None of his paintings that have been acquired by the French government could be made available, and he was compelled to depend upon the good will of his patrons in America, owners who, in the years past, have enhanced their galleries with his works and have treasured them with a careful guardianship, which the appeal of the artist alone could suffice to relax.
283. "Henry Ossawa Tanner Lot 51: Henry Ossawa Tanner (1859-1937) A Jerusalem Type 18 1/8 x 15 1/8 in. (46 x 38.4 cm.) (Painted circa 1908.)". invaluable.com.
284. "Henry O. Tanner's Great Success in Religious Painting". The Winnipeg Tribune. Winnipeg, Manitoba, Canada. 13 February 1909.
285. Sarah Sentilles (5 October 2017). "Colonial Postcards and Women as Props for War-Making". Washington Post. these photographers wanted to take pictures of Algerian women as they'd imagined them... But when they reached the country, they encountered women whose bodies could not be seen. Veiled from head to toe, with only their eyes visible...Though the photographs...were staged, they were captioned as if they documented life in Algeria...The images reveal not Algerian women but the colonial photographer's fantasies about them.
286. "Photography and the Politics of Representing Algerian Women". binghamton.edu. Archived from the original on January 28, 2013. Retrieved June 18, 2012. the scholar Malek Alloula analyzed photographic postcards of Algerian women, which staged erotic images of the "off-limits" harem of the early twentieth century. In Alloula's collection The Colonial Harem, the author points out that the postcards no longer represent Algeria or the Algerian women, but the "Frenchman's phantasm of the Oriental female and her inaccessibility behind the veil in the forbidden harem".
287. "Henry Ossawa Tanner Lot 261: Henry Ossawa Tanner (1859–1937) American". invaluable.com.
288. "Scene of Algiers". Smithsonian American Art Museum. Retrieved 22 June 2023.
289. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 241.
290. Theresa Leininger-Miller (Spring 2013). "Henry Ossawa Tanner: Modern Spirit". Nineteenth-Century Art Worlwidwide. 12 (1).
291. "LOT 1005 School Of Tanner". lot-art.com.
292. "Christ Taken Down from the Cross (Date unknown) by Henry Ossawa Tanner - The Athenaeum - Image id 142146". gonzalez-art-foundation.org/.
293. "Tanner's Exhibition". The Colorado Statesman. Denver, Colorado. 23 January 1909. p. 1. "The Return of the Holy Woman," with Calvary in the distance, is even more sensitive than the rest. It is so intensely silent.
294. "Henry Ossawa Tanner papers, 1860s-1978, bulk 1890-1937 311: Photographs of Artwork, circa 1920s". Smithsonian Archives of American Art. [note: image downloads numbers 13 and 14]
295. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 230.
296. "Self-Portrait". Smithsonian American Art Museum.
297. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 220–223. ISBN 978-0-8478-1346-9.
298. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 227.
299. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 226.
300. "MMA Permanent Collections". Muskegon Museum of Art. Henry Ossawa Tanner American, 1859 –1937 The Holy Family, ca. 1910 Oil on canvas Muskegon Museum of Art. Hackley Picture Fund Purchase, 1911.1
301. "Henry Ossawa Tanner". Hearne Fine Art.
302. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 21, 42, 204. ISBN 978-0-8478-1346-9.
303. "Henry Ossawa Tanner (American, 1859–1937) Le Touquet, ca. 1910". Des Moines Art Center.
304. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 229.
305. "Angels Appearing before the Shepherds". Smithsonian American Art Museum.
306. Paul Vincent Tillman. "Angels Appearing Before the Shepherds and The Life of Moses. Luke 2:8-14".
307. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 218–219. ISBN 978-0-8478-1346-9.
308. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 216–217. ISBN 978-0-8478-1346-9.
309. "Mary Washing The Feet Of Christ". museumsyndicate.com. Archived from the original on 7 February 2010.
310. "Past Auction". artnet.com.
311. "Henry Ossawa Tanner (1859-1937) Selected Works". Michael Rosenfeld Gallery. Archived from the original on 18 January 2019.
312. "Henry Ossawa TannerHead of Christ, Circa 1910". Mutual Art.
313. "Sale 2290 - Lot 11 Henry Ossawa Tanner (1859–1937) Head of Christ". Swann Auction Galleries.
314. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 46. ISBN 978-0-8478-1346-9. [note: photo of Tanner's son Jesse in sailor costume holding boat in 1911]
315. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 245.
316. "Tanner Painting Comes to Market". The Philadelphia Inquirer. Philadelphia, Pennsylvania. 14 October 2000. p. 11. But Tanner also painted religious themes. The work to be sold Tuesday falls into that category. The 54-by-79-inch oil on canvas depicts Jesus seated at an altar table with 16 shrouded women behind him; he holds a chalice and wears a crown of thorns. It is signed and dated "H.O. Tanner, Paris 12."
317. "African American Art Soars". National Post. Toronto, Ontario, Canada. 13 March 2004. p. 42. In October, 2000, a recently discovered painting by Henry Ossawa Tanner, one of the first African-American artists to make a name in both the United States and Europe, sold for $560,000.
318. "Lot 100: Henry O. Tanner, American, 1859-1937, oil on canvas, 54" x 79", signed and dated "H. O. Tanner/Paris/12" verso, with letter of authentication by Dr. David Driskell. Estimate-". invaluable.com.
319. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 207. ISBN 978-0-8478-1346-9.
320. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 140. ISBN 978-0-8478-1346-9. Apparently Tanner painted only two self-portraits, once depicting himself as an onlooker in Chamber Music...shown at the Salon in 1902, and later as Lazarus in the large painting Christ at the Home of Lazarus..., his Salon entry of 1914.
321. "Pittsburgh's Painter Takes Paris". Boston Evening Transcript. Boston, Massachusetts. 24 June 1914. p. 20. The Lazarus...is a freely conceived and executed portrait of the artist himself; and those who should know confidently affirm that thet Mary and the Martha...are likewise portraits.
322. "Pittsburgh's Painter Takes Paris". Boston Evening Transcript. Boston, Massachusetts. 24 June 1914. p. 20.
323. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 47, 49, 51, 53. ISBN 978-0-8478-1346-9.
324. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 140. ISBN 978-0-8478-1346-9. Tanner...painted a modest, possibly unfinished double portrait of his patrons Mr. and Mrs. Atherton Curtis... He later used this image in a curious painting in which he placed the Curtises with the figure of Christ in another version of Christ at the Home of Lazarus
325. Barbara Gold (31 August 1969). "Tanner: 'Nearly Forgotten'". The Baltimore Sun. Baltimore, Maryland. p. section d page 3. For a while his painting of "Mr. and Mrs. Atherton Curtis At Dinner" was a popular topic for Paris gossip. Tanner, so the rumors went, had included Jesus Christ eating at the table with the couple. They, or so the stories said anyway, considered sitting at the table with the Saviour sacrilegious and ordered the picture cut-down..
326. "Portrait of Mr. and Mrs. Atherton Curtis with Still Life". Smithsonian American Art Museum.
327. "Study for Portrait of Mrs. Atherton Curtis". Smithsonian American Art Museum.
328. "Selected Works". Michael Rosenfeld Art. 21 May 1915. Archived from the original on 2015-05-21. [Image 3]
329. "A View of Fez". High Museum of Art.
330. "Sale 2528 - Lot 1". Swann Galleries.
331. "Henry Ossawa Tanner papers, 1860s-1978, bulk 1890-1937 311: Photographs of Artwork, circa 1920s". Smithsonian Archives of American Art. [note: image downloads numbers 11, 12. 11 is the photo front and 12 is the back of the photo and has annotation written:] Morocco by H. O. Tanner, Paris. In private collection, Chicago.
332. "Henry Ossawa Tanner papers, 1860s-1978, bulk 1890-1937 311: Photographs of Artwork, circa 1920s". Smithsonian Archives of American Art. [note: image downloads numbers 17, 18, 19, 20]
333. "Innovative Approaches, Honored Traditions The Ruth and Elmer Wellin Museum of Art at Five Years Highlights from the Permanent Collection September 9 – December 10, 2017 curated by Katherine D. Alcauskas, Collection and Exhibitions Specialist" (PDF).
334. "Street Scene, Tangier (Crenelated Architecture)". Smithsonian American Art Museum.
335. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 231–234. ISBN 978-0-8478-1346-9.
336. "Henry Ossawa Tanner Moroccan Man". Mutual Art.
337. "Henry Ossawa Tanner Moroccan Man". Mutual Art.
338. "Henry Ossawa Tanner Lot 40: Henry Ossawa Tanner (1859–1937) American". Invaluable.com.
339. "Gateway, Tangier". St. Louis Museum of Art. Retrieved 22 June 2023.
340. "Doorway in Tangier". Philadelphia Museum of Art.
341. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 238.
342. "Gateway, Tangier". Smithsonian American Art Museum.
343. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 228–230. ISBN 978-0-8478-1346-9.
344. "Street Scene, Tangier (Man Leading Calf)". Smithsonian American Art Museum.
345. "Street in Tangier". Smithsonian American Art Museum.
346. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 242.
347. "Street Scene, Tangiers". Museum of Fine Arts, Boston.
348. "Moroccan Scene". Birmingham Museum of Art. 13 November 2023.
349. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 243.
350. "PERMANENT COLLECTION>Midday, Tangiers". Cummer Museum.
351. "Henry Ossawa Tanner Lot 122032: H.O. TANNER GOUACHE ON PAPER". invaluable.com. H.O. TANNER, GOUACHE ON PAPER, MIDDLE EASTERN CITYSCAPE, H 13 1/2" W 10 1/2":Henry Ossawa Tanner American 1859-1930; signed lower right; framed. Artist or Maker
352. "Moonlight: Walls of Tangiers". Los Angeles County Museum of Art. Retrieved 23 June 2023.
353. Shya Beth (4 July 2017). "Meet The First Internationally Known African-American Painter & See His Equine Art". artofthehorse.net.
354. "News and Notes of the Art World: Paintings by Henry O. Tanner". The New York Times. New York, New York. 13 Apr 1913. p. section 5, page 14.
355. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 247.
356. "The Miraculous Haul of Fishes". National Academy of Design.
357. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 246.
358. "Fishermen at Sea". Smithsonian American Art Museum.
359. "Mary". Smithsonian American Art Museum.
360. "Pittsburgh's Painter Takes Paris". Boston Evening Transcript. Boston, Massachusetts. 24 June 1914. p. 20. The "Mary" represents a woman with a Jewish—or is it an Indian?—cast of countenance, holding a tiny Oriental lamp, which serves dimly to light the canvas.
361. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 240–241. ISBN 978-0-8478-1346-9.
362. "189 Henry Ossawa Tanner 1859-1937". Sotheby's.
363. "Henry Ossawa Tanner – Portrait of Jesse Ossawa Tanner, 1914". Mutual Art.
364. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 242, 252–255. ISBN 978-0-8478-1346-9.
365. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 250.
366. "Flight to Egypt and The Life of Moses, Matthew 2:13-14".
367. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 251.
368. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 260–263. ISBN 978-0-8478-1346-9.
369. "Celestial Wonders: 10 Works of Art to Reflect Upon the Solar Eclipse". New Orleans Museum of Art (NOMA). 18 August 2017. Henry Ossawa Tanner, The Good Shepherd, c. 1914, Oil on canvas, Museum Purchase, 30.3
370. ""The Good Shepherd"". National Archives. Collection H: Harmon Foundation CollectionSeries: Artworks by Negro Artists NAID: 559134 Local ID: H-HN-TAN-13 Photographs and other Graphic Materials 3 Images... Subjects and References People Tanner, Henry Ossawa, 1859-1937
371. "Henry Ossawa Tanner (1859-1937) mar Devotions, Étaples". Christie's.
372. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 233.
373. "Flight Into Egypt". Smithsonian National Museum of African American History and Culture.
374. ""Flight into Egypt"". National Archives. Collection H: Harmon Foundation CollectionSeries: Artworks by Negro Artists NAID: 559133 Local ID: H-HN-TAN-7 Photographs and other Graphic Materials 3 Images... Subjects and References People Tanner, Henry Ossawa, 1859-1937
375. "The Good Shepherd". Crystal Bridges Museum of American Art.
376. "Sale 2424 - Lot 6". circa 1917
377. "Henry Ossawa Tanner (1859-1937) Shepherd with herd".
378. "Landscape". North Carolina Museum of Art. 11 March 2021.
379. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 256–257. ISBN 978-0-8478-1346-9.
380. "Study of an American Soldier". Telfair Museums.
381. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 255.
382. Maureen Mullarkey. "Making the Whole World Kin" (PDF). Michael Rosenfeld Galleries.
383. "A.R.C. Canteen, World War I". Smithsonian American Art Museum.
384. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 256.
385. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 254.
386. "Henry Ossawa Tanner Street Scene in Tangier #135, ca. 1910". Artsy.net.
387. "Étaples and the Canche River at Dusk". Hood Museum of Art, Dartmouth.
388. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 253.
389. "The Good Shepherd, c.1918". National Gallery of Art. 13 September 2023.
390. "Henry Ossawa Tanner Lot 64: Henry OSSAWA TANNER (1859-1937) - PORTRAIT DE JESSE, FILS DE L'ARTISTE, 1919". invaluable.com.
391. "Sold Portrait of artist's son, Henry Ossawa Tanner". 1st Dibs.com.
392. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 258.
393. "The Arch Henry Ossawa Tanner". Brooklyn Museum.
394. "Fisherman's Return". Smithsonian American Art Museum.
395. "Henry Ossawa Tanner Countryside Around Nice, France, circa 1920". Mutual Art.
396. "Untitled". Smithsonian American Art Museum.
397. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 261.
398. "Henry Ossawa Tanner Lot 94: Attr. Henry Ossawa Tanner, Gouache on Paper". Invaluable.com. Attributed to Henry Ossawa Tanner (American, 1859-1937), Gouache on Paper, The Destruction of Sodom and Gomorrah on one side, landscape on obverse behind glass. Double sided paper board panel. Signed lower right, HO Tanner. Approximately 14.5 x 18.5 inches. Provenance: John O'Brien, Janesville, Wisconsin. Currently from a private collection in Westmount, Quebec.
399. ""Destruction of Sodom and Gomorrah"". National Archives. Collection H: Harmon Foundation CollectionSeries: Artworks by Negro Artists NAID: 559135 Local ID: H-HN-TAN-16 Photographs and other Graphic Materials 3 Images... Subjects and References People Tanner, Henry Ossawa, 1859-1937
400. Mathews, Marcia M (1969). Henry Ossawa Tanner, American artist. Chicago: University of Chicago Press. pp. vii, xvii, 2.
401. "Henry Ossawa Tanner (1859-1937) Invitation to Christ to Enter by his Disciples at Emmaus". Christies.
402. Alice M. Rudy Price (3 June 2020). "Emmaus". Tanner has chosen the moment before recognition.
403. "September 9, 2017 Swann to Offer Important Ossawa Tanner Painting in October Sale". Michael Rose Fine Art. 9 September 2017.
404. "Moses in the Bullrushes". Smithsonian American Art Museum.
405. "Moses in the Bullrushes (Moise Dans Les Joncs)". Bill Hodges Gallery. Moise Dans Les Joncs Henry Ossawa Tanner (1859–1937) Moise Dans Les Joncs, 1921 Oil on Panel 20 x 15 ¾ in. (50.8 x 40 cm)
406. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 262.
407. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 266–267. ISBN 978-0-8478-1346-9.
408. "Lot 150: Henry Ossawa Tanner 1859-1937 Flight into Egypt oil on artist board signed lower right: H.O. Tanner 17 1/2 x 20 1/2 Written …". Nadeaus Auction Gallery.
409. "Past auction". artnet.com.
410. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 268–270. ISBN 978-0-8478-1346-9.
411. "Flight into Egypt". Metropolitan Museum of Art.
412. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 263.
413. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 264.
414. "Etaples Fisher Folk". High Museum of Art.
415. "Sale 2290 - Lot 9". Swann Galleries.
416. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 269.
417. "Henry Ossawa Tanner (1853-1936) Nicodemus Coming to Christ". Christies.
418. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 268.
419. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 271–273. ISBN 978-0-8478-1346-9.
420. "Carnegie Galleries Set For Great International". The Pittsburgh Press. Pittsburgh, Pennsylvania. 11 October 1925. p. 69. Henry O. Tanner, "The Two Disciples at the Tomb"
421. "Study for Disciple Kneeling at the Tomb". Smithsonian American Art Museum.
422. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 266.
423. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 274–275. ISBN 978-0-8478-1346-9.
424. "Henry Ossawa Tanner (1859–1937) At the Gates (Flight into Egypt)". Swann Galleries. Henry Ossawa Tanner (1859–1937) At the Gates (Flight into Egypt). Oil on panel, circa 1926-27. 610x483 mm; 24x19 inches. Signed in oil, lower left. Provenance: Grand Central Art Galleries, New York; J. J. Haverty, Atlanta (1929)... He purchased At the Gates and The Road to Emmaus from the Grand Central Art Galleries, New York, NY in July 1929 for $1,250. Haverty was an important patron of Tanner's - he owned five paintings by Tanner.
425. "Departure into Egypt". Smithsonian American Art Museum.
426. Naurice Frank Woods Jr. (6 July 2017). Henry Ossawa Tanner: Art, Faith, Race, and Legacy. Taylor & Francis. ISBN 9781315279480. Tanner replaced the inherent message of peasant piety in Thankful with a universal message of concern for the less fortunate through the lens of the faithful believer....Tanner painted a scene in The Poor Ye Have with You Always in which a man, likely a beggar, stands in front of the home of a woman with an outstretched hand...The woman, from her doorway, gazes at him as if contemplating her response to someone in obvious need...
427. "Untitled (Moonlight Landscape) Henry Ossawa Tanner1928/1936". artsandculture.google.com/.
428. "Destruction of Sodom and Gomorrah". High Museum of Art.
429. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 270.
430. "Hand of Henry O. Tanner". Smithsonian American Art Museum.
431. "Study of Two Hands". Smithsonian American Art Museum.
432. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 280–283. ISBN 978-0-8478-1346-9.
433. "Art in the Christian Tradition". Title: Good Shepherd Date: 1930 Artist: Tanner, Henry Ossawa, 1859-1937
434. "Henry Ossawa Tanner The Good Shepherd, 1930". mutualart.com.
435. "Lot 70: Henry Ossawa Tanner (1859–1937) - Paysage de Campagne". invaluable.com.
436. "Lot 104: Henry O. (Ossawa) Tanner American/French 1859–1937". invaluable.com.
437. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 271.
438. "The Good Shephard (Atlas Mountains, Morocco)". Smithsonian.
439. "He Healed the Sick". Smithsonian American Art Museum.
440. "88 Henry Ossawa Tanner – He Healed the Sick #11". Sotheby's.
441. "Study of the Disciples Healing the Sick". Mutual Art.
442. "Haystacks". Smithsonian American Art Museum.
443. "Arbres Sous Le Vent". Bill Hodges Galleries.
444. Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 284–286. ISBN 978-0-8478-1346-9.
445. "Study for Mary, Return from the Crucifixion". Bill Hodges Gallery. Study for Mary, Return from the Crucifixion HHenry Ossawa Tanner (1859–1937) Study for Mary, Return from the Crucifixion Oil on Artist Board 13 ¾ x 10 ½ in. (34.9 x 26.7 cm (Sold)
446. "Lot 15 Henry Ossawa Tanner (1859-1937) Return from the Cross 39 7/8 x 29 7/8in (101.3 x 75.9cm)". Bonham's. Henry Ossawa Tanner (1859-1937) Return from the Cross signed 'H.O. Tanner.' (lower right) oil and tempera on board 39 7/8 x 29 7/8 in Painted circa 1934-35. Footnotes Provenance The artist, Paris, France. Private collection, cousin-in-law of the above, by descent. By descent to the present owner, son of the above, January 1999.
447. "Henry Ossawa Tanner Return from the Cross, 1934-1935". Colby Museum of Art.
448. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 273.
449. "Flight Into Egypt". Howard University.
450. Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 274.