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Metadata Embedded, 2017
William Groombridge
Date: 1793
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.37
Text Entries: Comstock, Helen. "History in Houses: The Morris-Jumel Mansion in New York." <i>The Magazine Antiques</i> 109 (March 1951): 214–19. Fig. 5, p. 216 (black & white as <i>Landscape</i>).<br><br> Henke, George. “Groombridge Painting.” <i>Washington Headquarters Association Newsletter</i> 1:6 (Fall-Winter 1978): 5 (as <i>Scene on the Harlem River</i>).<br><br> <i>American Art from the Colonial and Federal Periods</i>. (exh. cat., Hirschl & Adler Galleries). New York: Hirschl & Adler Galleries, 1982. Text p. 58; ill. cover (color), ill. no. 45 (black & white).<br><br> <i>American Paintings III 1985</i>. New York: Berry-Hill Galleries, Inc., 1985. Text p. 4; ill. p. 4 (black & white).<br><br> Nygren, Edward J. and Bruce Robertson. <i>Views and Visions: American Landscape before 1830</i>. (exh. cat., Corcoran Gallery of Art). Washington, D.C.: The Corcoran Gallery of Art, 1986. Text p. 262; ill. p. 263 (black & white).<br><br> Atkinson, D. Scott et al. <i>A Proud Heritage: Two Centuries of American Art</i>. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Pl. T-3, p. 112 (color).<br><br> <i>View of a Manor House on the Harlem River, New York,</i> William Groombridge. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, January 1989. Ill. (black & white).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>The People Work: American Perspectives, 1840–1940</i>. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 16, 28 (checklist); ill. p. 31 (color). <br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>Le Travail à l'oeuvre: les artistes américains, 1840–1940</i>. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 16, 28 (checklist); ill. p. 31 (color).<br><br> Brownlee, Peter John. <i>Manifest Destiny / Manifest Responsibility: Environmentalism and the Art of the American Landscape</i>. (exh. cat., Loyola University Museum of Art, Chicago, Illinois). Chicago, Illinois: Terra Foundation for American Art and Loyola University Museum of Art, 2008. Text pp. 25, 35 (checklist); Ill. p. 22 (color).<br><br> Bourguignon, Katherine M., and Peter John Brownlee, eds. <i>Conversations with the Collection: A Terra Foundation Collection Handbook.</i> Chicago: Terra Foundation for American Art, 2018. Text pp. 16-19; fig. 1, p. 17 (color).<br><br>
metadata embedded, 2019
Thomas Doughty
Date: c. 1822–30
Credit Line: Terra Foundation for American Art, Gift of Laurence and Ronnie Robbins
Object number: 2002.1
Text Entries: Brownlee, Peter John. <i>Manifest Destiny / Manifest Responsibility: Environmentalism and the Art of the American Landscape</i>. (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. 35 (checklist).
Metadata Embedded, 2019
Thomas Cole
Date: 1826
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1993.2
Text Entries: (modified anniversary publication entry) The English-born painter Thomas Cole, a key figure of the Hudson River School, recognized the epic potential of the American landscape. On his arrival in Philadelphia at the age of seventeen, he had already been apprenticed to an engraver and soon turned his interest to painting. He later moved to New York City and, inspired by the magnificent vistas along the Hudson River, began to define landscape as a spiritual subject that could transcend its function as a mere topographical record. In this way, Cole contributed to the romantic transformation of landscape painting from documentary and picturesque views into a discourse on the human experience set against the enduring forces of nature, elevating the once modest genre of landscape painting to an expression of the heroic sublime. In Landscape with Figures: A Scene from "The Last of the Mohicans" the human figures are dwarfed by an awe-inspiring vista of towering mountains and an expansive sky. Cole portrays the denouement of James Fenimore Cooper's newly published, popular novel The Last of the Mohicans (1826). The painting visualizes the novel's climactic scene in which the hero frontiersman Hawkeye aims his shotgun at Magua, the native villain, who tries to flee down a cliff. Cora Munro, the heroine of the novel, after being kidnapped and brutalized by Magua, lies dying at Hawkeye's feet. The grandeur of Cole's autumnal wilderness of scarlet leaves and wild rushing mountain streams overwhelms the narrative, however, reminding the viewer that there are greater forces in the universe than human conflict and desire.
Metadata Embedded, 2019
Edward Hicks
Date: c. 1829-1830
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1993.7
Text Entries: (modified anniversary publication entry) Edward Hicks gained a reputation in his community for his work as an ornamental painter and his outspoken participation in the Society of Friends, popularly known as the Quakers. A lifelong resident of rural Bucks County, Pennsylvania, Hicks had a limited formal education. At the age of thirteen, he apprenticed to a coach painter. Later he married and set up shop painting signs, coaches, and other utilitarian objects. This profession was in conflict with the spare life advocated by his faith, and his increasing activity as a traveling minister kept him away from his business. Why or when Hicks turned to easel painting is unknown, but about 1820 he began to explore an allegorical subject that he found infinitely variable and satisfying. A Peaceable Kingdom with Quakers Bearing Banners portrays the tolerant coexistence among all the animals and humanity described in Isaiah 11: 6-9. Depicting wildness calmed by gentleness and worldliness tempered by innocence, the message of the Peaceable Kingdom became for Hicks a form of testament, a painted articulation of his deepest beliefs. A Peaceable Kingdom with Quakers Bearing Banners places Hicks at the center of a religious controversy that split the Quakers into factions. Hicks' elderly cousin Elias promoted an extreme form of Quaker quietism, in which the faithful were urged to discard all but the most basic elements of daily life to open themselves to divine grace and be guided by the Inward Light of Christ. Elias and his followers, known as Hicksites, withdrew from the Quaker Orthodoxy, prompting accusations of heresy. A series of one hundred Banner paintings by Hicks announce his solidarity with his cousin's beliefs, while calling for peaceful coexistence among the factions. Standing in the front row of the figures at the left and holding a handkerchief he used to mop his brow when preaching, Elias Hicks is accompanied by George Washington and William Penn. The Apostles stand behind them. The banners read "mind the LIGHT within IT IS GLAD TIDEING of Grate Joy PEACE ON EARTH GOOD WILL to ALL MEN everywhere," the words of the Apostle Luke and a basic tenet of the Quaker faith.
Metadata Embedded, 2018
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.
Metadata Embedded, 2019
Fitz Henry Lane
Date: 1856
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1993.21
Text Entries: Hemphill, Christopher. "Daniel Terra and His Collection." <i>Town & Country</i> (February 1984): 196.<br><br> Southgate, M. Therese. "The Cover." <i>The Journal of the American Medical Association</i> 272:7 (August 17, 1994). Text p. 500; ill. cover (color).<br><br> <i>The Journal of the American Medical Association Japan</i> (December 12, 1994): cover. Ill. cover (color).<br><br> <i>Gloucester Harbor, </i>Fitz Hugh Lane. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, August 1995. Ill. (black & white).<br><br> Cartwright, Derrick R. <i>Waves and Waterways: American Perspectives, 1850–1900</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text pp. 16, 27 (checklist); fig. 6, p. 16 (black & white).<br><br> Cartwright, Derrick R. <i>Rivières et rivages: les artistes américains, 1850–1900</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text pp. 16, 27 (checklist); fig. 6, p. 16 (black & white).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>The People Work: American Perspectives, 1840–1940</i>. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 17, 28 (checklist); ill. p. 34 (color).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>Le Travail à l'oeuvre: les artistes américains, 1840–1940</i>. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 17, 28 (checklist); ill. p. 34 (color).<br><br> Goldin, Marco. <i>America! Storie di pittura dal Nuovo Mondo.</i> (exh. cat., Museo di Santa Giulia, Brescia, Italy). Treviso, Italy: Linea d'ombra Libri, 2007. text p. 480 (checklist) Ill. cat. no. 34 pp. 111 (color), 480 (black & white as <i>Il porto di Gloucester</i>).<br><br> “Gloucester Harbor, 1856 (inv. 75).” Fitz Henry Lane Online. Cape Ann Museum. Accessed January 27, 2016. <a href="http://fitzhenrylaneonline.org/catalog/entry.php?id=75" target="_blank"> http://fitzhenrylaneonline.org/catalog/entry.php?id=75</a>. Cat. no. 75.<br><br>
Metadata Embedded, 2019   Photo
John Frederick Kensett
Date: c. 1857
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.42
Text Entries: <i>Executor’s Sale: The Collection of Over Five Hundred Paintings and Studies by the Late John F. Kensett…</i> (exh. cat, National Academy of Design, New York, New York). New York, New York: National Academy of Design, 1873. Possibly text p. 33 (cat. no. 559).<br><br> “Picture and Book Sales: The Kensett Art Sale.” <i>The New-York Tribune</i>, March 29, 1873, p. 7. Text p. 7.<br><br> Atkinson, D. Scott et al. <i>A Proud Heritage: Two Centuries of American Art</i>. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Pl. T-21, p. 130 (color).<br><br> Collection Cameo, Terra Museum of American Art, Chicago, Illinois, February 1998. Ill. (black & white). <br><br> Little, Carl. <i>Paintings of New England</i>. Camden, Maine: Down East Books, 1996. Ill. p. 46 (color).<br><br> <i>Almy Pond, Newport</i>, John Frederick Kensett. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, February 1998. Ill. (black & white). <br><br> Cartwright, Derrick R. <i>Waves and Waterways: American Perspectives, 1850–1900</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 27 (checklist); ill. p. 29 (color).<br><br> Cartwright, Derrick R. <i>Rivières et rivages: les artistes américains, 1850–1900</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 27 (checklist); ill. p. 29 (color).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>An American Point of View: The Daniel J. Terra Collection</i>. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 64; ill. p. 64 (black & white).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>Un regard transatlantique. La collection d'art américain de Daniel J. Terra</i>. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 64; ill. p. 64 (black & white).<br><br> Hauptman, William. <i>Peindre l’Amérique. Le artistes du Nouveau Monde 1830-1900 [Painting America, artists of the New World (1830–1900)].</i> trans. Jeanne Bouniort. (exh. cat., Fondation de l’Hermitage, Lausanne, Switzerland). Lausanne: La Bibliothèque des Arts, 2014. Cat. 9, ill. p. 41 (color); Text pp. 40, 41, 178 (checklist).<br><br> Bourguignon, Katherine M., and Peter John Brownlee, eds. <i>Conversations with the Collection: A Terra Foundation Collection Handbook.</i> Chicago: Terra Foundation for American Art, 2018. Text p. 60; ill. p. 60 (color).<br><br>
2019 Photography Metadata Embedded
William Stanley Haseltine
Date: 1860s
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.62
Text Entries: <i>William Stanley Haseltine,</i> Davis & Langdale Company, Inc., New York, New York and Ben Ali Haggin, Inc., New York, New York, March 5–April 2, 1983. [exh. cat.]<br><br> <i>Rivières et rivages: les artistes américains, 1850–1900</i> (<i>Waves and Waterways: American Perspectives, 1850–1900</i>), Musée d'Art Américain Giverny, France (organizer). Venues: Musée d'Art Américain Giverny, France, April 1–October 31, 2000. [exh. cat.]
2019 Photography Metadata Embedded
William Stanley Haseltine
Date: 1860s
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.64
Text Entries: Wilmerding, John. <i>William Stanley Haseltine (1835–1900): Drawings of a Painter</i>. (exh. cat., Davis & Langdale Company, Inc.). New York: Davis & Langdale Company, Inc. in association with Ben Ali Haggin, Inc., 1983. Ill. no. 10 (black & white as <i>Rocky Shore with Distant Clouds</i>).<br><br> Workman, Robert G., Lloyd Goodrich and John Wilmerding. <i>The Eden of America: Rhode Island Landscapes, 1820–1920</i>. (exh. cat., Museum of Art, Rhode Island School of Design). Providence, Rhode Island: Museum of Art, Rhode Island School of Design, 1986. Text pp. 46–47; ill. p. 47 (color).<br><br> Simpson, Marc, Andrea Henderson, and Sally Mills. <i>Expressions of Place: The Art of William Stanley Haseltine</i>. (exh. cat., The Fine Arts Museums of San Francisco). San Francisco, California: The Fine Arts Museums of San Francisco, 1992. Text pp. 20–21; fig. 6, p. 21 (black & white).
metadata embedded, 2021
George Curtis
Date: 1860s
Credit Line: Terra Foundation for American Art, Gift of Mr. and Mrs. John Estabrook
Object number: C1983.2
Text Entries: "George Curtis: Coming to Light." <i>Peabody Essex Museum Collections</i> 129:4 (October 1993). Text pp. 387, 389; pl. 24 (color).<br><br> Cash, Sarah. <i>Ominous Hush: The Thunderstorm Paintings of Martin Johnson Heade</i>. (exh. cat., Amon Carter Museum). Fort Worth, Texas: Amon Carter Museum, 1994. Text p. 48; fig. 25, p. 49 (black & white).
Metadata Embedded, 2017
Frederic Edwin Church
Date: 1861
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.27
Text Entries: Christie, Manson & Woods International Inc., New York, New York (Sale Jo Ann, December 8, 1978): lot 24. Text p. 16; ill. lot 24 (color).<br><br> Burke, Doreen Bolger. “Frederic Edwin Church and ‘The Banner of Dawn.” <i>The American Art Journal</i> 14, no. 2 (Spring 1982): 39–46. Text p. 40, n. 1.<br><br> Hemphill, Christopher. "Daniel Terra and His Museum." <i>Town & Country</i> (February 1984): 193–206. Text p. 196; ill. p. 193 (color).<br><br> Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." <i>The Magazine Antiques</i> 126, no. 5 (November 1984): 1156–69. Text p. 1158; ill. p. 1158, Pl. VI (color).<br><br> Atkinson, D. Scott et al. <i>A Proud Heritage: Two Centuries of American Art</i>. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Text p. 137; ill. p. 137, pl. T-28 (color).<br><br> Ragans, Rosalind. <i>Art Talk</i>. Mission Hills, California: Glencoe Publishing Company, 1988. Ill. p. 267.<br><br> <i>Our Banner in the Sky, </i>Frederic Edwin Church. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, January 1991. Ill. (black & white). <br><br> Kloss, William et al. <i>America in Art: Fifty Great Paintings Celebrating Fifty Years</i>. (exh. cat., Santa Barbara Museum of Art). Santa Barbara, California: Santa Barbara Museum of Art, 1991. Text p. 26; ill. cover (color detail), p. 27 (black & white). <br><br> Southgate, M. Therese. "The Cover." <i>The Journal of the American Medical Association</i> 266:1 (July 3, 1991): 27. Text p. 27; ill. cover (color). <br><br> Southgate, M. Therese. "The Cover." <i>The Journal of the American Medical Association Czechoslovakia</i> (1992): 15. Text p. 15; ill. cover (color). <br><br> Rawson, Cynthia. "Frederic Edwin Church." <i>Art Education</i> (September 1992): 27–28. Text p. 27; ill. p. 28 (color).<br><br> Purves, Alan C. et al. <i>ScottForesman Literature and Integrated Studies: American Literature</i>. Glenview, Illinois: ScottForesman, 1997. Ill. p. 377. <br><br> Walker, Andrew. "American Art & the Civil War." <i>American Art Review</i> 11, no. 5 (1999): 126–31, 207. Text pp. 127, 131, 207 n. 4; ill. p. 126 (color).<br><br> Cartwright, Derrick R. <i>The Extraordinary and the Everyday: American Perspectives, 1820–1920</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 22 (checklist); ill. p. 31 (color).<br><br> Cartwright, Derrick R. <i>L'Héroïque et le quotidian: les artistes américains, 1820–1920</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 22 (checklist); ill. p. 31 (color).<br><br> Conn, Steven and Andrew Walker. "The History in the Art: Painting the Civil War," in "Terrain of Freedom: American Art and the Civil War." Special issue, <i>Museum Studies</i> 27, no. 1 (2001): 60–81. Text p. 74; ill. cover, p. 73 (color).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>An American Point of View: The Daniel J. Terra Collection</i>. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 76; ill. p. 76 (black & white).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>Un regard transatlantique. La collection d'art américain de Daniel J. Terra</i>. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 76; ill. p. 76 (black & white).<br><br> Kennedy, Elizabeth. "The Terra Museum of American Art." <i>American Art Review</i> (December 2002): 126–41. Text p. 131.<br><br> Novak, Barbara. <i>Voyages of the Self: Pairs, Parallels, and Patterns in American Art and Literature</i>. New York: Oxford University Press, 2007. Text pp. 68-69; ill. p. 69, fig. 4.7 (black and white).<br><br> Davidson, Susan, ed. <i>Art in America: 300 Years of Innovation</i>. (exh. cat., National Museum of China, Beijing; Shanghai Museum). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. Text p. 104; ill. p. 96, fig. 46 (color).<br><br> <i>Art In America: 300 years of Innovation.</i> Hong Kong: Wen Wei Publishing Co. Ltd, 2007. (in Chinese) Ill. pp. 44–45 (color). Davidson, Susan, ed. <i>Art in America: 300 Years of Innovation</i>. (exh. cat., National Museum of China, Beijing; Shanghai Museum). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Chinese edition). Ill. p. 98 (color).<br><br> Davidson, Susan, ed. <i>Art in America: 300 Years of Innovation</i>. (exh. cat., The Pushkin Museum of Fine Arts, Moscow, Russia). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Russian edition). Ill. p. 77 (color).<br><br> Davidson, Susan, ed. <i>Art in the USA: 300 años de innovación</i>. (exh. cat., Guggenheim Museum Bilbao). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Spanish edition). Ill. p. 90 (color).<br><br> Harrison, Alfred C., Jr. “Frederic Edwin Church’s <i>Our Banner in the Sky</i>: An Update on an American Icon.” <i>The Magazine Antiques</i> 184, no. 5 (November 2008): 150–151. Text pp. 150, 151 n. 9.<br><br> Sharp, Kevin. <i>Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era</i>. Memphis, TN: The Dixon Gallery and Gardens, 2009. Ill. p. 133 (color).<br><br> Southgate, M. Therese. <i>The Art of JAMA III: Covers and Essays from the Journal of the American Medical Association</i>. Chicago, Illinois: American Medical Association, 2011. Text p. 48; ill. p. 49 (color).<br><br> Bercovitch, Sacvan. <i>The American Jeremiad</i>. Madison, Wisconsin: University of Wisconsin Press, 1978, 2012. Ill. 2012 edition, front cover (color detail), back cover (color). <br><br> Wilton, Andrew. <i>Frederic Church and the Landscape Oil Sketch</i>, (exh. cat. National Gallery, London). London, UK: National Gallery Company, 2013. Text pp. 19, 46; ill. p. 46, cat. no. 10 (color).<br><br> Brownlee, Peter John, Sarah Burns, Diane Dillon, Daniel Greene, and Scott Manning Stevens. <i>Home Front: Daily Life in the Civil War North.</i> (exh. cat., Terra Foundation for American Art and Newberry Library). Chicago: University of Chicago Press, 2013. Text pp. 4–5, 6, 7, 129, 160 (checklist), 169n4 ; ill. cover, p. 6, fig. 6 (color).<br><br> <i>Pathways to Modernism: American Art, 1865-1945</i>. (exh. cat. Shanghai Museum with Art Institute of Chicago and Terra Foundation for American Art). Shanghai: Shanghai Museum, 2018. Text p. 14; ill. p. 15 (color).<br><br> Bourguignon, Katherine M., and Peter John Brownlee, eds. <i>Conversations with the Collection: A Terra Foundation Collection Handbook.</i> Chicago: Terra Foundation for American Art, 2018. Text p. 61; ill. p. 61 (color).<br><br>
metadata embedded, 2021
Fitz Henry Lane
Date: 1862
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.84
Text Entries: Wilmerding, John. <i>Fitz Hugh Lane, 1804–1865: American Marine Painter</i>. Salem, Massachusetts: Essex Institute, 1964. No. 317, pp. 31-32.<br><br> Wilmerding, John. <i>Fitz Hugh Lane</i>. New York: Praeger Publishers, 1971. Text p. 79; ill. no. 86 (black & white).<br><br> Hemphill, Christopher. "Daniel Terra and His Collection." <i>Town & Country</i> (February 1984): 196.<br><br> <i>American Paintings III 1985</i>. New York: Berry-Hill Galleries, Inc., 1985. Text p. 28; ill. p. 29 (color).<br><br> Christie's, New York, New York (Sale 6838, May 25, 1989): lot 41. Text p. 52; ill. lot 41, p. 53.<br><br> Miller, David C. "The Iconology of Wrecked or Stranded Boats in Mid to Late Nineteenth-Century American Culture." <i> American Iconology: New Approaches to Nineteenth-Century Art and Literature.</i> New Haven: Yale University Press, 1993. Text p. 196; ill. fig. 9.7 (black & white).<br><br> Sikkema, Scott. <i>Dream Painting, </i>Fitz Hugh Lane. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, September 2000. Ill. (color).<br><br> Kennedy, Elizabeth. "The Terra Museum of American Art." <i>American Art Review</i> (December 2002): 126–41. Text pp. 131–32.<br><br> Craig, James A. <i>Fitz H. Lane: An Artist's Voyage through Nineteenth-Century America</i>. Charleston, South Carolina: The History Press, 2006. Text p. 158.