The many late nineteenth-century representations of studios reflected an increase in artists’ self-esteem and in patrons’ curiosity about their lives. American sculptors of the period collected prints, photographs, statuettes, and plaster casts for reference in making their own works. The unidentified sculptor whose studio Moeller portrayed here had gathered, among other objects, casts after the Assyrian relief of a dying lioness from Ashurbanipal’s palace (on the back wall) and a section of the north frieze of the Parthenon (above the door). His equipment, including wooden sawhorses and the crude tabletop they would have supported, is piled against the walls.
Signature: [at lower right]: Louis Moeller
Springfield, Massachusetts art market, early 1950s; with Victor D. Spark, New York, early 1950s–1967; with David David Gallery, Philadelphia, 1967; with Kennedy Galleries, New York, 1967