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Blind Fiddler

John Lewis Krimmel

Date: 1812

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

Object number: 1999.81

Text Entries: "Review of the Third Annual Exhibition of The Columbian Society of Artists and Pennsylvania Academy of the Fine Arts." The Portfolio 1 (July 1813): 138–39. Dunlap, William. A History of the Rise and Progress of the Arts of Design in the United States Vol. 2. Boston, Massachusetts: C. E. Goodspeed & Company, 1918. Text pp. 392–93. Jackson, Joseph. "Krimmel: The American Hogarth." International Studio 2 (June 1929): 33–36, 86. Text p. 86. Naeve, Milo. "John Lewis Krimmel: His Life, His Art and His Critics." Master's thesis, University of Delaware, 1955. Text pp. 65–70. Keyes, Donald. "The Sources for William Sidney Mount's Earliest Genre Paintings." Art Quarterly 32 (Autumn 1969): 259–60. Hills, Patricia. The Painter’s America: Rural and Urban Life, 1810–1910. New York: Praeger Publishers, in association with the Whitney Museum of American Art, 1974. Text p. 2. Hoover, Catherine. "The Influence of David Wilkie's Prints on the Genre Paintings of William Sidney Mount." American Art Journal 13, no. 3 (Summer 1981): 5–33. Text p. 6n8–7n8, 11–12. Christie's, New York, New York (Sale 5472, December 9, 1983): lot 5. Text p. 14; ill. p. 15, lot 5 (color). American Paintings III 1985. New York: Berry-Hill Galleries, Inc., 1985. Text p. 12; ill. p. 13 (color). The Magazine Antiques 130 (September 1986): 334. Text p. 334; ill. p. 334 (color). Naeve, Milo. John Lewis Krimmel: An Artist in Federal America. Newark, Delaware: University of Delaware Press, 1987. Text pp. 57, 71–73; ill. p. 72, no. 3 (black & white). Falk, Peter Hastings, ed. The Annual Exhibition Record of the Pennsylvania Academy of the Fine Arts. Madison, Connecticut: Sound View Press, 1988. Text p. 116, no. 119. Oedel, William T. “Review: Krimmel at the Crossroads.” Winterthur Portfolio 23, no. 4 (Winter 1988): 273–281. Text p. 279. Stewart, Robert G. “Review: John Lewis Krimmel: An Artist in Federal America. By Milo N. Naeve.” The Pennsylvania Magazine of History and Biography 113, no. 3 (July 1989): 467–469. Text p. 468. Harding, Anneliese. John Lewis Krimmel: Genre Painter of the Early Republic. Winterthur, Delaware: The Henry Francis du Pont Winterthur Museum, 1994. Text pp. 67, 70. Bourguignon, Katherine M. and Elizabeth Kennedy. The People Work: American Perspectives, 1840–1940. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text p. 28 (checklist); ill. p. 32 (color). Bourguignon, Katherine M. and Elizabeth Kennedy. Le Travail à l'oeuvre: les artistes américains, 1840–1940. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text p. 28 (checklist); ill. p. 32 (color). Harding, Annelise. “British and Scottish Models for the American Genre Paintings of John Lewis Krimmel.” Winterthur Portfolio 38, no. 4 (Winter 2003): 221–244. Text p. 227–230, 232, 238; ill. p. 229 (black & white). Dasch, Rowena Houghton. “’Now Exhibiting’: Charles Bird King’s Picture Gallery, Fashioning American Taste and Nation, 1824–1861.” PhD dissertation, The University of Texas at Austin, 2012. Text pp. xx, 187n8, 188–194; ill. p. 313, fig. 84 (color). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text pp. 80–82; fig. 1, p. 81 (color).

Blind Man's Buff

John Lewis Krimmel

Date: 1814

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

Object number: 1999.82

Text Entries: Dunlap, William. A History of the Rise and Progress of the Arts of Design in the United States. 3 Vol. New York: George P. Scott & Company, 1834. Vol. 2: text pp. 392–93. Jackson, Joseph. "Krimmel, 'The American Hogarth.'" International Studio (June 1929): 33–37, 86. Text p. 37. Naeve, Milo. "John Lewis Krimmel: His Life, His Art and His Critics." Master's thesis. Newark, Delaware: University of Delaware, 1955. The Magazine Antiques 124 (November 1983): 875. Ill. (color). Christie's, New York, New York (Sale 5472, December 9, 1983): lot 5. Text p. 14; ill. lot 5, p. 15 (color). Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." The Magazine Antiques 126:5 (November 1984): 1156–69. Pl. II, p. 1156 (color). Naeve, Milo. John Lewis Krimmel: An Artist in Federal America. Newark, Delaware: University of Delaware Press, 1987. Ill. no. 5, p. 75 (black & white). 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. Text p. 118; pl. T-9, p. 118 (color). Brazeau, Linda. Art of an Emergent Nation: American Painting 1775–1865. (exh. cat., University of Wisconsin-Milwaukee). Milwaukee, Wisconsin: University of Wisconsin-Milwaukee Art Museum, 1988. Text p. 15; ill. p. 24 (black & white as Blind Man's Bluff). Blind Man's Buff, John Lewis Krimmel. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, October 1988. Ill. (black and white). Harding, Anneliese. John Lewis Krimmel: Genre Artist of the Early Republic. Winterthur, Delaware: The Henry Francis du Pont Winterthur Museum, 1994. Text pp. 67, 70; ill. p. 68 (color). Cartwright, Derrick R. The Extraordinary and the Everyday: American Perspectives, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 23 (checklist); ill. p. 25 (color). Cartwright, Derrick R. L'Héroïque et le quotidian: les artistes américains, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 23 (checklist); ill. p. 25 (color). Southgate, M. Therese. The Art of JAMA III: Covers and Essays from the Journal of the American Medical Association. Chicago, Illinois: American Medical Association, 2011. Text p. 62; ill. opposite p. 62 (color). Art Across America. (exh. cat., National Museum of Korea, Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, Philadelphia Museum of Art and the Terra Foundation for American Art). Seoul, South Korea: National Museum of Korea, 2013. (English and Korean versions). Text pp. 35, 143; ill. fig. 18, p. 36 (color), p. 142 (color). America: Painting a Nation. (exh. cat., Art Gallery of New South Wales, the Los Angeles County Museum of Art, the Museum of Fine Arts, Houston, the National Museum of Korea, the Philadelphia Museum of Art and the Terra Foundation for American Art). Sydney, Australia: Art Gallery of New South Wales, 2013. Text p. 78; ill. cat. no. 13, p. 79 (color). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text p. 27; ill. p. 27 (color).

The Trap Sprung

William Sidney Mount

Date: 1844

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

Object number: 1992.52

Text Entries: (modified anniversary publication entry) Hailed by his contemporary critics as an original American artist, William Sidney Mount studied briefly at the National Academy of Design after a short apprenticeship as a sign maker. An ambitious painter, inventor, and entrepreneur who worked both in New York City and in rural Long Island Sound, Mount carefully developed his image as a homegrown talent. His paintings of everyday life rejected the high-culture demand for grand historical scenes made popular by European trends; his subsequent refusal to travel abroad for further study underscored Mount's commitment to the American scene. By the late 1830s one New York critic could rave that Mount was "a vigorous, untaught, untutored plant, who borrows from no one, imitates no one." Mount's familiar subjects of agrarian labor, childhood innocence, and Yankee ingenuity spoke directly to the American experience. Yet, despite their innocent veneer, Mount's works often deliver a deeper message. The Trap Sprung, for example, seems to celebrate the excitement of youthful anticipation, as two country boys rush to a rabbit trap to collect their prize. Painted in the years following the Panic of 1837, the informed contemporary viewer would not have failed to recognize Mount's veiled political message. In the aftermath of the economic crisis, the conservative Whig party sought to blame the populist-based Democrats for the nation's troubles, and thereby convert (or trap) the large Democratic electorate base to the Whig cause. Mount's use of a rabbit trap draws on the familiar association of "rabbit," or "hare," with the Whigs in popular joke books and suggests that the victim (the Democrat) was lured unsuspectingly by the trapper's (the Whig) unsophisticated, though effective, trapping technology. Alternatively known as The Dead Fall in reference to a type of trap that instantly kills its prey, Mount's painting would have had resonance as an image of rural life with a political message.

The Promised Land - The Grayson Family

William S. Jewett

Date: 1850

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

Object number: 1999.79

Text Entries: William S. Jewett, the first artist established in California, depicted pioneer, artist, and naturalist Andrew Jackson Grayson with his family at the moment they first caught sight of the Sacramento valley. Posing the figures as a holy family, Jewett also likened the California landscape to the Promised Land, a metaphor for westward expansion.

Rail Shooting

William Tylee Ranney

Date: c. 1856–59

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

Object number: 1992.124

Text Entries: "Americans to 1875." Art Digest (April 15, 1942): 18. Text p. 18; ill. p. 18. Grubar, Francis. William Ranney: Painter of the Early West. (exh. cat., The Corcoran Gallery of Art). Washington, D.C.: The Corcoran Gallery of Art, 1962. No. 85, p. 45. 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-19, p. 128 (color). Thistlewaite, Mark. William Tylee Ranney East of the Mississippi. (exh. cat., Brandywine River Museum). Chadds Ford, Pennsylvania: Brandywine River Museum, 1991. Text pp. 35, 82 (checklist); ill. p. 34 (black & white). Luhrs, Kathleen, ed. Forging an American Identity: The Art of William Ranney with a Catalogue of his Works. (exh, cat. Buffalo Bill Historical Center). Cody, Wyoming: Buffalo Bill Historical Center, 2006. Text pp. 167–168; ill. p. 169 (color). Neset, Arne. Arcadian Waters and Wanton Seas: The Iconology of Waterscapes in Nineteenth-Century Transatlantic Culture. New York, New York: Peter Lang Publishing, Inc., 2009. Text p. 147; Ill. p. 148 (black & white).

Indian Attack

Eugene Benson

Date: 1858

Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund

Object number: 1999.6

Text Entries: The Magazine Antiques 153:5 (May 1998): 658. Ill. p. 658 (color). Brownlee, Peter John, Sarah Burns, Diane Dillon, Daniel Greene, and Scott Manning Stevens.Home Front: Daily Life in the Civil War North with a foreword by Adam Goodheart.(exh. Cat., Terra Foundation for American Art and Newberry Library). Chicago: University of Chicago Press, 2013. Text pp. 10, 48-50, 51, 159 (checklist); Fig. 26, p. 49 (color).

On Guard

Winslow Homer

Date: 1864

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

Object number: 1994.11

Text Entries: Goodrich, Lloyd. Winslow Homer. New York: Published for the Whitney Museum of American Art by Macmillan, 1944. Ill. frontispiece. Goodrich, Lloyd. Winslow Homer. New York: George Braziller, 1959. Ill. no. 3. Christie's New York, New York (Sale ANNABELLE-7894, May 26, 1994): lot 31. Text p. 44; ill. lot 31, p. 45 (color). Wilson, Claire. "Winslow Homer at Giverny." France Magazine 35 (Summer 1995). Ill. p. 9. On Guard, Winslow Homer. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, January 1996. Ill. (black & white). Regard sur cinq années d'expositions (Five Years of Exhibitions at a Glance). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text p. 93; ill. p. 88 (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 pp. 88, 198; ill. pp. 9 (color), 89 (color), 198 (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 pp. 88, 198; ill. pp. 9 (color), 89 (color), 198 (black & white). Side by Side: Works from the Terra Foundation for the Arts and the Detroit Institute of Arts. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text p. 11; ill. p. 10 (color). Deux collections en regard: oeuvres de la Terra Foundation for the Arts et du Detroit Institute of Arts. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text p. 11; ill. p. 10 (color). Tedeschi, Martha with Kristi Dahm. Watercolors by Winslow Homer: The Color of Light. (exh. cat., The Art Institute of Chicago, Chicago, Illinois). Chicago, Illinois: The Art Institute of Chicago, 2008. Text p. 37; ill. p. 39 fig. 3 (color). Brownlee, Peter John, Sarah Burns, Diane Dillon, Daniel Greene, and Scott Manning Stevens.Home Front: Daily Life in the Civil War North with a foreword by Adam Goodheart.(exh. Cat., Terra Foundation for American Art and Newberry Library). Chicago: University of Chicago Press, 2013. Text pp. 70, 121, 162 (checklist), 178n31; Fig. 72, p. 120 (color). Byrd, Dana E. and Frank H. Goodyear. Winslow Homer and the Camera: Photography and the Art of Painting. (exh. cat., Bowdoin College Museum of Art). New Haven: Yale University Press, 2018. Pl. 12, p. 80 (color). Pathways to Modernism: American Art, 1865–1945. (exh. cat. Shanghai Museum with Art Institute of Chicago and Terra Foundation for American Art). Shanghai: Shanghai Museum, 2018. Text p. 18; ill. p. 19 (color).

Children under a Red Umbrella

Henry Mosler

Date: 1865

Credit Line: Terra Foundation for American Art, Gift of Mrs. W.C. Baker

Object number: C1994.6

Text Entries: Gilbert, Barbara C. Henry Mosler Rediscovered: A Nineteenth-Century American-Jewish Artist. Los Angeles, California: Skirball Museum/Skirball Cultural Center, 1995. Text pp. 32, 34, 132; fig. 13, p. 35 (black & white). Baumgärtel, Bettina, ed. Die Düsseldorfer Malerschule und ihre internationale Ausstrahlung 1819–1918, Vol. I–II. (exh. cat., Museum Kunstpalast, Düsseldorf, Germany). Düsseldorf: Museum Kunstpalast, 2011. (German version). Text Vol. II, p. 437; ill. cat. no. 371, p. 437 (color). Baumgärtel, Bettina, ed. The Düsseldorf School of Painting and its International Influence 1819–1918. (exh. cat. Museum Kunstpalast, Düsseldorf, Germany). Düsseldorf: Museum Kunstpalast, 2011. (English version). Ill. cat. no. 184, p. 319, (color).

Fiddling His Way

Date: c. 1866

Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund

Object number: 1999.8

Text Entries: "Eastman Johnson's Paintings Shown." The New York Times (February 11, 1907). Text. Hills, Patricia. "The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes." PhD dissertation, New York University, 1973. Text pp. 63–64. Carbone, Teresa A. and Patricia Hills. Eastman Johnson: Painting America. (exh. cat., Brooklyn Museum of Art). New York: Brooklyn Museum of Art, 1999. Text p. 150; ill. p. 151, fig. 60 (black & white). Cartwright, Derrick R. The Extraordinary and the Everyday: American Perspectives, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 23 (checklist); ill. p. 14 (color). Cartwright, Derrick R. L'Héroïque et le quotidian: les artistes américains, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 23 (checklist); ill. p. 14 (color). Pinder, Kym. Fiddling His Way, Eastman Johnson. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, February 2001. Ill. (color). Side by Side: Works from the Terra Foundation for the Arts and the Detroit Institute of Arts. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text (checklist). Deux collections en regard: oeuvres de la Terra Foundation for the Arts et du Detroit Institute of Arts. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text (checklist). Art Across America. (exh. cat., National Museum of Korea, Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, Philadelphia Museum of Art and the Terra Foundation for American Art). Seoul, South Korea: National Museum of Korea, 2013. Text p. 161; ill. p. 160 (color). Slater, Amanda Melanie. “Conscience and Context in Eastman Johnson's The Lord Is My Shepherd.” Master’s Thesis, Bringham Young University, 2014. Text pp. vii, 17n43, 28; ill. p. 39, fig. 16. Pathways to Modernism: American Art, 1865–1945. (exh. cat. Shanghai Museum with Art Institute of Chicago and Terra Foundation for American Art). Shanghai: Shanghai Museum, 2018. Text p. 26; ill. p. 27 (color). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text pp. 82–84, 94; fig. 2, p. 83; ill. p. 94 (color).

The Home of the Red, White, and Blue

Lilly Martin Spencer

Date: c. 1867–68

Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund

Object number: 2007.1

Text Entries: Orange, Judd, and Company. “A Beautiful Gift. A Picture for the Home Circle. ‘Dandelion Time.’ by Mrs. Lilly M. Spencer.” Hearth and Home (January 14, 1871): 36. Text p. 36. Orange, Judd, and Company. “A Beautiful Gift. A Picture for the Home Circle. ‘Dandelion Time.’ by Mrs. Lilly M. Spencer.” Hearth and Home (February 25, 1871): 156. Text p. 156. Orange, Judd, and Company. “A Beautiful Gift. A Picture for the Home Circle. ‘Dandelion Time.’ by Mrs. Lilly M. Spencer.” Hearth and Home (April 8, 1871): 276. Text p. 276. Orange, Judd, and Company. “A Beautiful Gift. A Picture for the Home Circle. ‘Dandelion Time.’ by Mrs. Lilly M. Spencer.” Hearth and Home (July 8, 1871): 535. Text p. 535. Bolton-Smith, Robin and William Truettner. Lilly Martin Spencer, 1822–1902: The Joys of Sentiment. (exh. cat., National Collection of Fine Arts, Washington, D.C.) Washington, D.C.: Smithsonian Institution Press, 1973. Text, p. 189. American Paintings, 1850–1965. (exh. cat., Spanierman Gallery, New York, New York). New York, New York: Spanierman Gallery. Text, p. 6; ill. no. 6, p. 6 (color). Conner, Holly Pyne. Angels and Tomboys: Girlhood in Nineteenth-century American Art. (exh. cat., Newark Museum). Newark, New Jersey: Newark Museum, 2012. Text pp. 21, 23–24, 174 (checklist); ill. fig. 1, opposite p. 11(color). Leggio, Gail. “Angels and Tomboys: Picturing the American Girl.” American Arts Quarterly 30 (Winter 2013): 23–31. Text p. 24. Brownlee, Peter John, Sarah Burns, Diane Dillon, Daniel Greene, and Scott Manning Stevens. Home Front: Daily Life in the Civil War North.(exh. cat., Terra Foundation for American Art and Newberry Library). Chicago: University of Chicago Press, 2013. Text pp. 11, 102–103, 114, 116, 117–118, 121–122, 123, 125, 164 (checklist), 178n33, 178n34, 1789n43; ill. p. 100, fig. 58 (color), p. 201, fig. 59 (color detail). Pathways to Modernism: American Art, 1865–1945. (exh. cat. Shanghai Museum with Art Institute of Chicago and Terra Foundation for American Art). Shanghai: Shanghai Museum, 2018. Text p. 20; ill. p. 21 (color). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text pp. 84-86, 95; fig. 4, p. 85; ill. p. 95 (color).

Haymakers

Winslow Homer

Date: 1867

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

Object number: 1989.9

Text Entries: Gerdts, William H. et al. Lasting Impressions: American Painters in France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text pp. 10, 26, 234; fig. 64, p. 235 (color). Gerdts, William H. et al. Impressions de toujours: les peintres américains en France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text pp. 10, 26, 234; fig. 64, p. 235 (color). Haymakers, Winslow Homer. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, January 1992. Ill. (black & white). Wilson, Claire. "Winslow Homer at Giverny." France Magazine 35 (Summer 1995). Ill. p. 7. Tedeschi, Martha with Dahm, Kristi. Watercolors by Winslow Homer: The Color of Light. (exh. cat., The Art Institute of Chicago, Chicago, Illinois). Chicago, Illinois: The Art Institute of Chicago, 2008. Text p. 30; ill p. 30 fig. 17 (color). Regard sur cinq années d'expositions (Five Years of Exhibitions at a Glance). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text p. 89; ill. p. 92 (color). Haltman, Kenneth. "Antipastoralism in Early Winslow Homer." Art Bulletin 80:1 (March 1998): 93–112. Text p. 99; fig. 11, p. 98 (black and white). Bourguignon, Katherine M. and Elizabeth Kennedy. The People Work: American Perspectives, 1840–1940. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 13, 28 (checklist); ill. p. 2 (color), fig. 6, p. 13 (black & white). Bourguignon, Katherine M. and Elizabeth Kennedy. Le Travail à l'oeuvre: les artistes américains, 1840–1940. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 13, 28 (checklist); ill. p. 2 (color), fig. 6, p. 13 (black & white). Griffith, Bronwyn A. E. Passing Through Paris: Americans in France, 1860–1930. (exh. brochure, Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for American Art, 2005. Text n.p.; fig. 5, n.p. (color). Griffith, Bronwyn A. E. Le Passage à Paris: les artistes américains en France, 1860–1930. (exh. brochure, Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for American Art, 2005. Text n.p.; fig. 5, n.p. (color). Tedeschi, Martha with Kristi Dahm. Watercolors by Winslow Homer: The Color of Light.(exh. cat., The Art Institute of Chicago, Chicago, Illinois). Chicago, Illinois: The Art Institute of Chicago, 2008. Text p. 30; ill. fig 17, p. 30 (color). Barter, Judith A., ed. The Age of Impressionism: Masterpieces from The Art Institute of Chicago. Chicago, Illinois: The Art Institute of Chicago, 2011. Text, p. 20; ill. fig. 5 (color). Tsinghua University Art Museum. Americans Abroad: Landscape and Artistic Exchange, 1800-1920. (exh. cat. Tsinghua University Art Museum) Beijing: Tsinghua University, 2018. Text p. 114; ill. p. 115 (color).

Ships Unloading, New York

Samuel Colman, Jr.

Date: 1868

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

Object number: 1984.4

Text Entries: The Magazine Antiques 126:4 (October 1984): 658. Ill. p. 658 (color). Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." The Magazine Antiques 126:5 (November 1984): 1156–69. Pl. XI, p. 1160 (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-32, p. 141 (color). Ships Unloading, New York, Samuel Colman, Jr. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, June 1989. Ill. (black & white). Cartwright, Derrick R. Waves and Waterways: American Perspectives, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text pp. 17, 26 (checklist); fig. 10, p. 17 (black & white). Cartwright, Derrick R. Rivières et rivages: les artistes américains, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text pp. 17, 26 (checklist); fig. 10, p. 17 (black & white). Bourguignon, Katherine M. and Elizabeth Kennedy. The People Work: American Perspectives, 1840–1940. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text p. 27 (checklist); ill. p. 35 (color). Bourguignon, Katherine M. and Elizabeth Kennedy. Le Travail à l'oeuvre: les artistes américains, 1840–1940. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text p. 27; ill. p. 35 (color). Brownlee, Peter John, Sarah Burns, Diane Dillon, Daniel Greene, and Scott Manning Stevens.Home Front: Daily Life in the Civil War North with a foreword by Adam Goodheart. (exh. cat., Terra Foundation for American Art and Newberry Library). Chicago: University of Chicago Press, 2013. Text pp. 10, 15-16, 42-43, 160 (checklist); Fig. 11 p. 14 (color), fig. 24, p. 43 (color detail). Jaffe, Stephen H. and Jessica Lautin,Capital of capital: money, banking, and power in New York City. (exh. cat. Museum of the City of New York). New York: Columbia University Press, 2014.Ill. pp. 67-68 (detail) (black & white), p. 74 (color), Text p. 69, p. 74. Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text p. 96; ill. p. 96 (color).