Works – Dated Web objects 1920-1959 – Collections – Terra Foundation for American Art

Edward Hopper

Date: 1921

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1995.39

Text Entries: Zigrosser, Carl. "The Etchings of Edward Hopper." In Prints: Thirteen Illustrated Essays on the Art of the Print Selected for the Print Council of America, edited by Carl Zigrosser. New York: Holt, Rinehart and Winston, 1962. No. 20, pp. 155–73. Levin, Gail. Edward Hopper: The Complete Prints. (exh. cat., Whitney Museum of American Art). New York and London: W. W. Norton & Company in association with the Whitney Museum of American Art, 1979. Pl. 80 (etching), pl. 81 (drawing for etching). Levin, Gail. Edward Hopper: The Art and the Artist. (exh. cat., Whitney Museum of American Art). New York and London, England: W. W. Norton & Company in association with the Whitney Museum of American Art, 1980. Text p. 20; fig. 21. Carey, Frances and Antony Griffiths. American Prints 1879–1979, Catalogue of an Exhibition at the Department of Prints and Drawings in the British Museum. (exh. cat., British Museum). London, England: Trustees of the British Museum, 1980. No. 62, p. 33. Jacobowitz, Ellen S. and George H. Marcus. American Graphics 1860–1940, Selected from the Collection of the Philadelphia Museum of Art. (exh. cat., Philadelphia Museum of Art). Philadelphia, Pennsylvania: Philadelphia Museum of Art, 1982. No. 52, p. 55. Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Ill. p. 139, cat. no. 38 (color).

Rue du Singe qui Pêche

Charles Demuth

Date: 1921

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1999.44

Text Entries: "The Downtown Gallery Papers; Charles Demuth #35," Archives of American Art, Roll ND/30, Frames #50, 51, 54, 55, 74, 75, 77, 78–81, 183, 184. Ritchie, Andrew Carnduff. Charles Demuth. (exh. cat., The Museum of Modern Art). New York: The Museum of Modern Art, 1950. Ill. p. 72. The Classic Tradition in Contemporary Art. (exh. cat., Walker Art Center). Minneapolis, Minnesota: Walker Art Center, 1953. Ill. p. 17. Farnham, Emily. Charles Demuth: His Life, Psychology and Works. PhD dissertation, Ohio State University, 1959. Vol. I, fig. 37, p. 409, vol. II, text p. 560. The Precisionist View in American Art. (exh. cat., Walker Art Center). Minneapolis, Minnesota: Walker Art Center, 1960. Cat. p. 55. An Exhibition of Works of Art, Lent by the Alumni of Williams College. (exh. cat., Williams College Museum of Art). Williamstown, Massachusetts: Williams College Museum of Art, 1962. Text p. 18. Charles Demuth: the Mechanical Encrusted on the Living. (exh. cat., The Art Galleries, University of California, Santa Barbara). Santa Barbara, California: The Art Galleries, University of California, Santa Barbara, 1971. Text p. 20. Farnham, Emily. Charles Demuth: Behind a Laughing Mask. Norman, Oklahoma: University of Oklahoma Press, 1971. Text pp. 120, 148, 206. Hunter, Sam. American Art of the 20th Century. New York: Harry N. Abrams, 1972. Ill. no. 201, p. 118 (black & white). Eiseman, Alvord L. A Study of the Development of an Artist: Charles Demuth. PhD dissertation, New York University, 1976. Vol. I, text pp. 366–69, ill. p. 367. Second Williams College Alumni Loan Exhibition. (exh. cat., Williams College Museum of Art). Williamstown, Massachusetts: Williams College Museum of Art, 1976. Text p. 14; cat. 15, p. 38. Norton, Thomas E., ed. Homage to Charles Demuth: Still Life Painter of Lancaster. Ephrata, Pennsylvania: Science Press, 1978. Ill. p. 74. Buildings: Architecture in American Modernism. (exh. cat., Hirschl & Adler Galleries, Inc.). New York: Hirschl & Adler Galleries, Inc., 1980. Text p. 28; ill. no. 23, p. 29. "Weekend [review of "The Geometric Tradition in American Painting, 1920–80]." The New York Times (Friday, April 11, 1980). Text. "Hirschl & Adler Exhibition Review." New York Daily News (November 21, 1980). Pisano, Ronald G. An American Place. (exh. cat., The Parrish Art Museum). Southampton, New York: The Parrish Art Museum, 1981. Ill. no. 1 (black & white). "Parrish Art Museum Exhibition Review." Newsday (July 9, 1981). Eiseman, Alvord L. Charles Demuth. New York: Watson-Guptill Publications, 1982. Text pp. 16, 65; pl. 26, p. 64 (color). Fernand Léger and the Modern Spirit. (exh. cat., The Museum of Fine Arts, Houston). Houston, Texas: The Museum of Fine Arts, 1982. Text p. 181; fig. 9, p. 182. Tsujimoto, Karen. Images of America: Precisionist Painting and Modern Photography. (exh. cat., San Francisco Museum of Modern Art). Seattle, Washington: Published for the San Francisco Museum of Modern Art by University of Washington Press, 1982. Text no. 39, p. 233 (checklist). Haskell, Barbara. Charles Demuth. (exh. cat., Whitney Museum of American Art). New York: Whitney Museum of American Art in association with Harry N. Abrams, Inc., Publishers, 1987. Pl. 68, p. 156 (color) Atkinson, D. Scott et al. A Proud Heritage: Two Centuries of American Art. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Pl. T-170, p. 279 (color). Rue du Singe qui Pêche, Charles Demuth. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, November 1988. Ill. (black & white). Clair, Jean, ed. The 1920s: Age of the Metropolis. Montreal, Canada: The Montreal Museum of Fine Arts, 1991. Text p. 357, pl. 474, p. 363 (color). Cartwright, Derrick R. The City and the Country: American Perspectives, 1870–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text pp. 14, 24 (checklist); fig. 6, p. 14 (black & white). Cartwright, Derrick R. Ville et campagne: les artistes américains, 1870–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text pp. 14, 24 (checklist); fig. 6, p. 14 (black & white). Cartwright, Derrick R. and Paul J. Karlstrom. American Moderns, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text pp. 37, 60 (checklist); pl. 10, p. 37 (color). Cartwright, Derrick R. and Paul J. Karlstrom. L'Amérique et les modernes, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text pp. 37, 60 (checklist); pl. 10, p. 37 (color). Inheriting Cubism: The Impact of Cubism on American Art, 1909–1936. (exh. cat., Hollis Taggart Galleries). New York: Hollis Taggart Galleries, 2001. Text pp. 39-40; ill. p. 40 (black and white). American Art 1908–1947: From Winslow Homer to Jackson Pollock. (exh. cat. Reunion des musées nationaux). Paris, France: Editions de la Reunion des musées nationaux, 2001. Text pp. 104–15; ill. p. 121 (color). Bourguignon, Katherine M. and Elizabeth Kennedy. An American Point of View: The Daniel J. Terra Collection. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 172. Bourguignon, Katherine M. and Elizabeth Kennedy. Un regard transatlantique. La collection d'art américain de Daniel J. Terra. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 172. Derouet, Christian et al. A Transatlantic Avant-Garde: American Artists in Paris, 1918–1939. Edited by Sophie Lévy. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Cat. no. 21, p. 51 (color). Derouet, Christian et al. "Paris, capitale de l'Amérique." L'avant-garde américaine à Paris, 1918–1939. Edited by Sophie Lévy. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Cat. no. 21, p. 51 (color). Fahlman, Betsy and Claire Barry. Chimneys and Towers: Charles Demuth's Late Paintings of Lancaster. (exh. cat., Amon Carter Museum). Fort Worth, Texas: Amon Carter Museum, 2007. Text pp. 78,80, 197; ill. fig.37, p. 79 (color). Lampe, Anne M. Demuth in the City of Lights. (exh. cat. Woodmere Art Museum, Philadelphia, Pennsylvania). Philadelphia, Pennsylvania: Woodmere Art Museum, 2011. Text p. 18; ill. fig. 28, p. 19 (color). La Ville Magique. (exh. cat., Lille Métropole Musée d'Art Moderne d'Art Contemporain et d'Art Brut). Lille, France: Lille Métropole Musée d'Art Moderne d'Art Contemporain et d'Art Brut and Editions Gaillmard, 2012. Ill. cat. no. 119, p. 151 (color). Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Text p. 45, cat. no. 23 (checklist); ill. pp. 45, 126 (color). Mazow, Leo, with Sarah G. Powers. Edward Hopper and the American Hotel. (exh. cat., Virigina Museum of Fine Arts). Richmond, VA: Virginia Museum of Fine Arts, distributed by Yale University Press, 2019. Text p. 165; ill. p. 166 (color).

untitled [chimneys]

Pierre Daura

Date: 1921

Credit Line: Terra Foundation for American Art, Gift of Martha R. Daura

Object number: 2000.13

Text Entries: The thirty-three paintings, drawings, and prints and one sketchbook in the Pierre Daura Study Collection represent a cross-section of this versatile artist's work and span his entire career. They demonstrate his abilities as a draftsman, painter, and printmaker in a variety of media, and highlight his concern for specific themes and subjects. The earliest work, <a href="http://collection.terraamericanart.org/objects/843">untitled [Boats in Harbor] (TF 2000.37)</a>, which may date to the artist's adolescent years, evinces a precocious sense of color and form along with an awareness of the then-current expressive emphasis on tactile paint and exaggerated hues. Similar qualities are evident in the latest dated work, <a href="http://collection.terraamericanart.org/objects/840"> untitled [Daura House] (TF 2000.11)</a>, in which angular planes and vivid brushwork superimpose a modernist sensibility on the medieval irregularity of the artist's home in the southern French town of St. Cirq-Lapopie, a lifelong source of inspiration. Other works attest to Daura's attraction to streetscapes and architectural subjects in his native Spain and in Paris. <a href="http://collection.terraamericanart.org/objects/807">Untitled [chimneys] (TF 2000.13)</a> and <a href="http://collection.terraamericanart.org/objects/808"> untitled [streetlights] (TF 2000.14)</a> of 1921, his economical renderings of Paris scenes, prophesy his involvement by the decade's end in the short-lived avant-garde group Cercle et Carré (Circle and Square), dedicated to a reductivist non-representational art based on geometry. Although Daura experimented with abstraction throughout his career, his art was fundamentally grounded in the truths he found in the visible world around him. Like many other early twentieth-century modernist artists, Daura worked out problems of composition and color in still life arrangements. The figure nonetheless remained central to his art, from intimate nude studies to the numerous bust self-portraits he created in the course of his career. The artist explored his own elegant features and penetrating gaze in the media of drawing <a href="http://collection.terraamericanart.org/objects/810 "> untitled [Daura] (TF 2000.16)</a>, engraving <a href="http://collection.terraamericanart.org/objects/823"> untitled [Daura with scarf] (TF 2000.28)</a>, and oil painting <a href="http://collection.terraamericanart.org/objects/846"> untitled [Daura, winter cap] (TF 2000.40)</a>. <a href="http://collection.terraamericanart.org/objects/826"> Un Observador de la 59 Brigada Mixta, Teruel, 1937 (TF 2000.31)</a> is his self-portrait as a military observer in a brigade of anti-Fascist fighters during the Spanish Civil War in 1937. Daura devoted many other portrait heads and figural compositions to recording the experience of individual fighters, and he created a series of powerful print images to express the horrors of the conflict for soldiers and civilians alike, as in <a href="http://collection.terraamericanart.org/objects/827"> CIVILISATION 1937: Bronchales Teruel, Facist Clean-up, Spain (TF 2000.32)</a> and <a href="http://collection.terraamericanart.org/objects/828"> CIVILISATION 1937: The Innocent Victims of Valdecuenca Teruel (TF 2000.33)</a>, two examples from the group ironically titled <1>Civilisation 1937. During World War II, by which time he had settled in Virginia with his American-born wife and their daughter, Daura made poster designs promoting the war effort on the home front, of which <a href="http://collection.terraamericanart.org/objects/829">untitled [Americans at Work] (TF 2000.34)</a> and <a href="http://collection.terraamericanart.org/objects/830">untitled [Remember Pearl Harbor] (TF 2000.35)</a> are examples. In Daura's paintings, form largely takes precedence over color, an approach born out in his tireless activity as a draftsman. Daura also was a prolific printmaker who experimented in virtually every medium of intaglio technique, often combining them for a variety of effects. In an untitled view of his own house <a href="http://collection.terraamericanart.org/objects/822">untitled [Maison Daura] (TF 2000.27)</a>, a picturesque medieval structure in the southern French town of St. Cirq-Lapopie, for example, he juxtaposed the delicate lines of etching and the soft, blurry tones of aquatint. Vivid contrasts of light and dark areas infuse drama into Daura's view of a Spanish town in <a href="http://collection.terraamericanart.org/objects/820">Asco - Spain (TF 2000.25)</a>. His use of formal means to energize his compositions is a unifying feature of the wide-ranging body of work Daura created in the course of his prolific career.

untitled [streetlights]

Pierre Daura

Date: 1921

Credit Line: Terra Foundation for American Art, Gift of Martha R. Daura

Object number: 2000.14

Text Entries: The thirty-three paintings, drawings, and prints and one sketchbook in the Pierre Daura Study Collection represent a cross-section of this versatile artist's work and span his entire career. They demonstrate his abilities as a draftsman, painter, and printmaker in a variety of media, and highlight his concern for specific themes and subjects. The earliest work, <a href="http://collection.terraamericanart.org/objects/843">untitled [Boats in Harbor] (TF 2000.37)</a>, which may date to the artist's adolescent years, evinces a precocious sense of color and form along with an awareness of the then-current expressive emphasis on tactile paint and exaggerated hues. Similar qualities are evident in the latest dated work, <a href="http://collection.terraamericanart.org/objects/840"> untitled [Daura House] (TF 2000.11)</a>, in which angular planes and vivid brushwork superimpose a modernist sensibility on the medieval irregularity of the artist's home in the southern French town of St. Cirq-Lapopie, a lifelong source of inspiration. Other works attest to Daura's attraction to streetscapes and architectural subjects in his native Spain and in Paris. <a href="http://collection.terraamericanart.org/objects/807">Untitled [chimneys] (TF 2000.13)</a> and <a href="http://collection.terraamericanart.org/objects/808"> untitled [streetlights] (TF 2000.14)</a> of 1921, his economical renderings of Paris scenes, prophesy his involvement by the decade's end in the short-lived avant-garde group Cercle et Carré (Circle and Square), dedicated to a reductivist non-representational art based on geometry. Although Daura experimented with abstraction throughout his career, his art was fundamentally grounded in the truths he found in the visible world around him. Like many other early twentieth-century modernist artists, Daura worked out problems of composition and color in still life arrangements. The figure nonetheless remained central to his art, from intimate nude studies to the numerous bust self-portraits he created in the course of his career. The artist explored his own elegant features and penetrating gaze in the media of drawing <a href="http://collection.terraamericanart.org/objects/810 "> untitled [Daura] (TF 2000.16)</a>, engraving <a href="http://collection.terraamericanart.org/objects/823"> untitled [Daura with scarf] (TF 2000.28)</a>, and oil painting <a href="http://collection.terraamericanart.org/objects/846"> untitled [Daura, winter cap] (TF 2000.40)</a>. <a href="http://collection.terraamericanart.org/objects/826"> Un Observador de la 59 Brigada Mixta, Teruel, 1937 (TF 2000.31)</a> is his self-portrait as a military observer in a brigade of anti-Fascist fighters during the Spanish Civil War in 1937. Daura devoted many other portrait heads and figural compositions to recording the experience of individual fighters, and he created a series of powerful print images to express the horrors of the conflict for soldiers and civilians alike, as in <a href="http://collection.terraamericanart.org/objects/827"> CIVILISATION 1937: Bronchales Teruel, Facist Clean-up, Spain (TF 2000.32)</a> and <a href="http://collection.terraamericanart.org/objects/828"> CIVILISATION 1937: The Innocent Victims of Valdecuenca Teruel (TF 2000.33)</a>, two examples from the group ironically titled <1>Civilisation 1937. During World War II, by which time he had settled in Virginia with his American-born wife and their daughter, Daura made poster designs promoting the war effort on the home front, of which <a href="http://collection.terraamericanart.org/objects/829">untitled [Americans at Work] (TF 2000.34)</a> and <a href="http://collection.terraamericanart.org/objects/830">untitled [Remember Pearl Harbor] (TF 2000.35)</a> are examples. In Daura's paintings, form largely takes precedence over color, an approach born out in his tireless activity as a draftsman. Daura also was a prolific printmaker who experimented in virtually every medium of intaglio technique, often combining them for a variety of effects. In an untitled view of his own house <a href="http://collection.terraamericanart.org/objects/822">untitled [Maison Daura] (TF 2000.27)</a>, a picturesque medieval structure in the southern French town of St. Cirq-Lapopie, for example, he juxtaposed the delicate lines of etching and the soft, blurry tones of aquatint. Vivid contrasts of light and dark areas infuse drama into Daura's view of a Spanish town in <a href="http://collection.terraamericanart.org/objects/820">Asco - Spain (TF 2000.25)</a>. His use of formal means to energize his compositions is a unifying feature of the wide-ranging body of work Daura created in the course of his prolific career.

untitled [tea cup and lemons]

Pierre Daura

Date: 1921

Credit Line: Terra Foundation for American Art, Gift of Martha R. Daura

Object number: 2000.15

Text Entries: The thirty-three paintings, drawings, and prints and one sketchbook in the Pierre Daura Study Collection represent a cross-section of this versatile artist's work and span his entire career. They demonstrate his abilities as a draftsman, painter, and printmaker in a variety of media, and highlight his concern for specific themes and subjects. The earliest work, <a href="http://collection.terraamericanart.org/objects/843">untitled [Boats in Harbor] (TF 2000.37)</a>, which may date to the artist's adolescent years, evinces a precocious sense of color and form along with an awareness of the then-current expressive emphasis on tactile paint and exaggerated hues. Similar qualities are evident in the latest dated work, <a href="http://collection.terraamericanart.org/objects/840"> untitled [Daura House] (TF 2000.11)</a>, in which angular planes and vivid brushwork superimpose a modernist sensibility on the medieval irregularity of the artist's home in the southern French town of St. Cirq-Lapopie, a lifelong source of inspiration. Other works attest to Daura's attraction to streetscapes and architectural subjects in his native Spain and in Paris. <a href="http://collection.terraamericanart.org/objects/807">Untitled [chimneys] (TF 2000.13)</a> and <a href="http://collection.terraamericanart.org/objects/808"> untitled [streetlights] (TF 2000.14)</a> of 1921, his economical renderings of Paris scenes, prophesy his involvement by the decade's end in the short-lived avant-garde group Cercle et Carré (Circle and Square), dedicated to a reductivist non-representational art based on geometry. Although Daura experimented with abstraction throughout his career, his art was fundamentally grounded in the truths he found in the visible world around him. Like many other early twentieth-century modernist artists, Daura worked out problems of composition and color in still life arrangements. The figure nonetheless remained central to his art, from intimate nude studies to the numerous bust self-portraits he created in the course of his career. The artist explored his own elegant features and penetrating gaze in the media of drawing <a href="http://collection.terraamericanart.org/objects/810 "> untitled [Daura] (TF 2000.16)</a>, engraving <a href="http://collection.terraamericanart.org/objects/823"> untitled [Daura with scarf] (TF 2000.28)</a>, and oil painting <a href="http://collection.terraamericanart.org/objects/846"> untitled [Daura, winter cap] (TF 2000.40)</a>. <a href="http://collection.terraamericanart.org/objects/826"> Un Observador de la 59 Brigada Mixta, Teruel, 1937 (TF 2000.31)</a> is his self-portrait as a military observer in a brigade of anti-Fascist fighters during the Spanish Civil War in 1937. Daura devoted many other portrait heads and figural compositions to recording the experience of individual fighters, and he created a series of powerful print images to express the horrors of the conflict for soldiers and civilians alike, as in <a href="http://collection.terraamericanart.org/objects/827"> CIVILISATION 1937: Bronchales Teruel, Facist Clean-up, Spain (TF 2000.32)</a> and <a href="http://collection.terraamericanart.org/objects/828"> CIVILISATION 1937: The Innocent Victims of Valdecuenca Teruel (TF 2000.33)</a>, two examples from the group ironically titled <1>Civilisation 1937. During World War II, by which time he had settled in Virginia with his American-born wife and their daughter, Daura made poster designs promoting the war effort on the home front, of which <a href="http://collection.terraamericanart.org/objects/829">untitled [Americans at Work] (TF 2000.34)</a> and <a href="http://collection.terraamericanart.org/objects/830">untitled [Remember Pearl Harbor] (TF 2000.35)</a> are examples. In Daura's paintings, form largely takes precedence over color, an approach born out in his tireless activity as a draftsman. Daura also was a prolific printmaker who experimented in virtually every medium of intaglio technique, often combining them for a variety of effects. In an untitled view of his own house <a href="http://collection.terraamericanart.org/objects/822">untitled [Maison Daura] (TF 2000.27)</a>, a picturesque medieval structure in the southern French town of St. Cirq-Lapopie, for example, he juxtaposed the delicate lines of etching and the soft, blurry tones of aquatint. Vivid contrasts of light and dark areas infuse drama into Daura's view of a Spanish town in <a href="http://collection.terraamericanart.org/objects/820">Asco - Spain (TF 2000.25)</a>. His use of formal means to energize his compositions is a unifying feature of the wide-ranging body of work Daura created in the course of his prolific career.

The Cat Boat

Edward Hopper

Date: 1922

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1994.21

Text Entries: Zigrosser, Carl. "The Etchings of Edward Hopper." In Prints: Thirteen Illustrated Essays on the Art of the Print Selected for the Print Council of America, edited by Carl Zigrosser. New York: Holt, Rinehart and Winston, 1962. No. 4, pp. 155–73. Levin, Gail. Edward Hopper: The Complete Prints. (exh. cat., Whitney Museum of American Art). New York and London, England: W. W. Norton & Company in association with the Whitney Museum of American Art, 1979. Pl. 83, 84. Sharp, Ellen et al. Master Prints of Five Centuries, The Alan and Marianne Schwartz Collection. (exh. cat., The Detroit Institute of Arts). Detroit, Michigan: Founders Society, The Detroit Institute of Arts, 1990. No. 46, p. 74. Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Ill. p. 139, cat. no. 41 (color).

East Side Interior

Edward Hopper

Date: 1922

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1994.22

Text Entries: Reese, Alfred. American Prize Prints of the 20th Century. New York: American Artists Group, Inc., 1949. Text and ill. p. 90. Zigrosser, Carl. "The Etchings of Edward Hopper." In Prints: Thirteen Illustrated Essays on the Art of the Print Selected for the Print Council of America, edited by Carl Zigrosser. New York: Holt, Rinehart and Winston, 1962. No. 8, pp. 155–73. Levin, Gail. Edward Hopper: The Complete Prints. (exh. cat., Whitney Museum of American Art). New York and London, England: W. W. Norton & Company in association with the Whitney Museum of American Art, 1979. Text pp. 7, 20; fig. 16, pl. 85 (etching), 86 (preparatory drawing). Levin, Gail. Edward Hopper: The Art and the Artist. (exh. cat., Whitney Museum of American Art). New York and London, England: W. W. Norton & Company in association with the Whitney Museum of American Art, 1980. Text p. 35; fig. 39. Carey, Frances and Antony Griffiths. American Prints 1879–1979, Catalogue of an Exhibition at the Department of Prints and Drawings in the British Museum. (exh. cat., British Museum). London, England: Trustees of the British Museum, 1980. No. 63, p. 33. Jacobowitz, Ellen S. and George H. Marcus. American Graphics 1860–1940, Selected from the Collection of the Philadelphia Museum of Art. (exh. cat., Philadelphia Museum of Art). Philadelphia, Pennsylvania: Philadelphia Museum of Art, 1982. No. 54, p. 57. Master Prints of Five Centuries: The Alan and Marianne Schwartz Collection. (exh. cat., The Detroit Institute of Arts). Detroit, Michigan: Founders Society, The Detroit Institute of Arts, 1990. Cat. no. 47, p. 75. Levin, Gail. Edward Hopper: A Catalog Raisonné. 4 vols. New York: W. W. Norton & Company in association with the Whitney Museum of American Art, 1995. Vol. 1: text pp. 5, 82; fig. 9, p. 5.

West Forty-Second Street, Night

John Taylor Arms

Date: 1922

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1996.2

Text Entries: Arms, Dorothy Noyes, Marie Probstfield, May Bradshaw Hayes. Descriptive Catalogue of the Work of John Taylor Arms, Manuscript, New York Public Library, no. 124. Bassham, Ben L., ed. John Taylor Arms: American Etcher. (exh. cat., Elvehjem Art Center). Madison, Wisconsin: Elvehjem Art Center, 1975. No. 124, p. 61. [reprints the Arms/NYPL catalogue] Fletcher, William Dolan. John Taylor Arms: A Man for All Time; The Artist and his Work. New Haven, Connecticut: Eastern Press, 1982. No. 122, pp. 90–91.

The Gates of the City

John Taylor Arms

Date: 1922

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1996.3

Text Entries: Arms, Dorothy Noyes, Marie Probstfield and May Bradshaw Hayes. Descriptive Catalogue of the Work of John Taylor Arms, manuscript. New York Public Library. No. 128. Bassham, Ben L., ed. John Taylor Arms: American Etcher. (exh. cat., Elvehjem Art Center). Madison, Wisconsin: Elvehjem Art Center, 1975. No. 128, p. 61. [reprints the Arms/NYPL catalogue] Fletcher, William Dolan. John Taylor Arms: A Man for All Time; The Artist and his Work. New Haven, Connecticut: Eastern Press, 1982. No. 126, pp. 92–93. Watrous, James. American Printmaking: A Century of American Printmaking, 1880–1980. Madison, Wisconsin: University of Wisconsin Press, 1984. Text p. 80; fig. 3.43, p. 86. Acton, David. A Spectrum of Innovation, Color in American Printmaking 1890–1960. (exh. cat., Worcester Art Museum). New York and London, England: W. W. Norton & Company with Worcester Art Museum, 1990. No. 21, pp. 88–89. Creation & Craft: Three Centuries of American Prints. (exh. cat., Hirschl & Adler Galleries, Inc.). New York: Hirschl & Adler Galleries, Inc., 1990. No. 93, p. 89. Pelletier, S. William and Patricia Phagan. "John Taylor Arms: His World and Work." Georgia Museum of Art Bulletin 17 (1993): 1–124. Text p. 9; pl. 12, p. 52 (color). The Old Print Shop Portfolio 54:1 (October 1994): cover. Ill. cover. Hults, Linda C. The Print in the Western World: An Introductory History. Madison, Wisconsin: University of Wisconsin Press, 1996. Text p. 740; fig. 12.45, p. 741. Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Ill. p. 111, cat. no. 3 (color).

The Railroad

Edward Hopper

Date: 1922

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1996.23

Text Entries: Zigrosser, Carl. "The Etchings of Edward Hopper." In Prints: Thirteen Illustrated Essays on the Art of the Print Selected for the Print Council of America, edited by Carl Zigrosser. New York: Holt, Rinehart and Winston, 1962. No. 24, pp. 155–73. Levin, Gail. Edward Hopper: The Complete Prints. (exh. cat., Whitney Museum of American Art). New York and London, England: W. W. Norton & Company in association with the Whitney Museum of American Art, 1979. Pl. 87 (etching), pl. 88 (drawing for etching). Jacobowitz, Ellen S. and George H. Marcus. American Graphics 1860–1940, Selected from the Collection of the Philadelphia Museum of Art. (exh. cat., Philadelphia Museum of Art). Philadelphia, Pennsylvania: Philadelphia Museum of Art, 1982. No. 55, p. 58. Creation & Craft: Three Centuries of American Prints. (exh. cat., Hirschl & Adler Galleries). New York: Hirschl & Adler Galleries, 1990. No. 87, p. 85. Levin, Gail. Edward Hopper: A Catalog Raisonné. 4 vols. New York: W. W. Norton & Company in association with the Whitney Museum of American Art, 1995. Vol. III: fig. 231.1, p. 156. Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Ill. p. 139, cat. no. 40 (color).

Long Bay, Keewatin

Walter J. Phillips

Date: 1922

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1996.54

Text Entries: Le Japonisme en Amérique: oeuvres sur papier, 1880–1930 (Japonisme in America: Works on Paper, 1880–1930), Musée d'Art Américain Giverny, France (organizer). Venues: Musée d'Art Américain Giverny, France, September 15–November 30, 2002.

Seven Plums in a Chinese Bowl

Charles Demuth

Date: 1923

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.4

Text Entries: Farnham, Emily. Charles Demuth: His Life, Psychology and Works. PhD dissertation, Ohio State University, 1959. Vol. 2, no. 697, p. 679. Sotheby's, New York, New York (Sale 6247, December 5, 1991): lot 90. Text and ill. (color), lot 90. Seven Plums in a Chinese Bowl, Charles Demuth. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, July 1998. Ill. (black & white). Cartwright, Derrick R. and Paul J. Karlstrom. American Moderns, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 18; fig. 4, p. 19 (black & white). Cartwright, Derrick R. and Paul J. Karlstrom. L'Amérique et les modernes, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 18; fig. 4, p. 19 (black & white). Bourguignon, Katherine M. and Elizabeth Kennedy. An American Point of View: The Daniel J. Terra Collection. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 172; ill. p. 172 (black & white). Bourguignon, Katherine M. and Elizabeth Kennedy. Un regard transatlantique. La collection d'art américain de Daniel J. Terra. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 172; ill. p. 172 (black & white). Brownlee, Peter John. Manifest Destiny / Manifest Responsibility: Environmentalism and the Art of the American Landscape. (exh. cat., Loyola University Museum of Art, Chicago, Illinois). Chicago, Illinois: Terra Foundation for American Art and Loyola University Museum of Art, 2008. Text p. 34 (checklist).