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Last Items added: 2015.4 Haberle, One Dollar Bill, and 2015.5 Peto, Old Time Letter Rack

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Fruit Piece: Apples on Tin Cups
William Sidney Mount
Date: 1864
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.100
Text Entries: <i>The Spirit of the Fair</i>. New York, New York: John F. Trow, 1864. Text p. 166 (checklist, as <i>Apples and Tin Cups</i>).<br><br> <i>Catalogue of the Art Exhibition at the Metropolitan Fair in Aid of the U.S. Sanitary Commission</i>. New York, New York: John F. Trow, 1864. Text p. 18, cat. no. 347 (checklist, as <i>Apples and Tin Cups</i>).<br><br> <i>Catalogue of Paintings and Other Works Presented to the Metropolitan Fair in Aid of the U.S. Sanitary Commission</i>. New York, New York: Geroge F. Nesbitt & Co., 1864. Text p. 10, cat. no. 136 (as <i>Apples and Tin Cups</i>).<br><br> Frankenstein, Alfred. <i>William Sidney Mount</i>. New York: Harry N. Abrams, Inc., 1975. Text pp. 367, 379, 477.<br><br> “Painting.” <i>The Bulletin of the Cleveland Museum of Art</i> 64, no. 5 (June 1977). Text p. 163.<br><br> <i>American Paintings III</i>. New York: Berry-Hill Galleries, Inc., 1985. Text p. 14; ill. p. 14 (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. Ill. p. 126, pl. T-17 (color).<br><br> Weber, Bruce. <i>The Apple of America: The Apple in 19th Century American Art</i>. (exh. cat., Berry-Hill Galleries, Inc.). New York: Berry-Hill Galleries, Inc., 1993. Text p. 48 (checklist); ill. cover (color); p. 31, no. 17 (black & white).<br><br> <i>Fruit Piece: Apples on Tin Cups, </i>William Sidney Mount. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, December 1996. Ill. (black & white).<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 with a foreword by Adam Goodheart. </i>(exh. cat., Terra Foundation for American Art and Newberry Library). Chicago: University of Chicago Press, 2013. Text pp. 129, 135-36, 146, 155, 163 (checklist); ill. p. 128, fig. 75 (color).<br><br> <i>American Encounters: The Simple Pleasures of Still Life. </i>(exh. cat., Crystal Bridges Museum of American Art, High Museum of Art, Musée du Louvre and the Terra Foundation for American Art). Atlanta, Georgia: The High Museum of Art, 2014. Text pp. 23, 48, 50; ill. p. 49, cat. no. 5 (color).<br><br> <i>New Frontiers IV: Fastes et fragments. Aux origines de la nature morte américaine</i>. (exh. cat., Crystal Bridges Museum of American Art, High Museum of Art, Musée du Louvre and the Terra Foundation for American Art). Atlanta, Georgia: The High Museum of Art, 2014. Text, pp. 24, 48, 50; ill. p. 49, cat. no. 5 (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. 86-87, 92; fig. 5, p. 87; ill. p. 92 (color).<br><br>
Metadata Embedded, 2017
Robert Spear Dunning
Date: 1866
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.48
Text Entries: <i>New York Herald</i> (March 6, 1866): 10, col. 6. <br><br> <i>New York Times</i> (March 12, 1866): 6, col.3.<br><br> <i>The Magazine Antiques</i> 126:4 (October 1984): 797. Ill. p. 797 (color).<br><br> William Doyle Galleries, New York (Sale: Important 19th and 20th Century American Painting and Sculpture, October 24, 1984): 36. Ill. no. 36. <br><br> <i>American Paintings III 1985</i>. New York: Berry-Hill Galleries, Inc., 1985. Ill. p. 40 (color). <br><br> Ferber, Linda S. and William H. Gerdts. <i>The New Path: Ruskin and the American Pre-Raphaelites</i>. (exh. cat., The Brooklyn Museum). Brooklyn, New York: The Brooklyn Museum, 1985. Text p. 252; ill. no. 97, p. 253 (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-29, p. 138 (color). <br><br> Southgate, M. Therese. "The Cover." <i>The Journal of the American Medical Association</i> 264:6 (August 8, 1990): 685. Text p. 685; ill. cover (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 p. 35 (checklist).<br><br> Barter, Judith A., ed. <i>Art and Appetite: American Painting, Culture, and Cuisine</i>. (exh. cat. Art Institute of Chicago, Chicago, Illinois). Chicago: Art Institute of Chicago, 2013. Text, pp. 98–99, 123, 170, 223; ill. pp. 70 (color) (detail), 98 (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. 93; ill. p. 93 (color).<br><br>
metadata embedded, 2021
Robert Spear Dunning
Date: 1868
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.49
Text Entries: (modified anniversary publication entry) At the age of five, Robert Dunning moved with his family to Fall River, Massachusetts-a center for maritime activity and mercantile exchange in the nineteenth century. Leaving only briefly to pursue artistic training in New York City, Dunning launched his career as a portraitist in 1852. By 1865 he turned his attention to still-life painting, five years later helping to found the Fall River Evening Drawing School. For nearly sixty years, the Massachusetts town hosted a distinctive circle of painters. Defined by their interest in still life and a conservative approach to illusionist depiction, many of the notable artists of the Fall River School studied with Dunning, a master of still life. As a celebration of abundance, Still Life with Fruit characterizes Dunning's early style. Dark and rich in tone, it features a sumptuous display of ripe fruit filling a silver dish and spilling out of a cut-glass bowl. The assortment of fruit displays his skill at visual illusion, from the shining skin of the polished apples to the rugged rind of the muskmelon to the gleaming grapes bursting with juice. Here the bananas, a luxury item that had to be shipped over a great distance to the Fall River port, suggest an exotic treat. Typical of Dunning are the decorative objects; the patterned cloths, transparent glass, glinting silver, and highly polished wooden tabletop gave Dunning an opportunity to showcase his bravura command of light playing upon a variety of surfaces.
Metadata embedded 2017
Martin Johnson Heade
Date: 1870
Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund
Object number: 1999.7
Text Entries: “Art Notes,” <i>New York Evening Post</i>, May 16, 1870. Text, front page (as <i>Apple Blossoms in a Nautilus Shell</i>). [may refer to TFAA work]<br><br> Sotheby's, New York, New York (September 23, 1993): lot 24. Ill. lot 24 (color).<br><br> Davis, Kate and Thomas B. Parker. <i>American Art</i>. New York: Jordan-Volpe Gallery, 1994. Ill. p. 69 (color).<br><br> Novak, Barbara. <i>Martin Johnson Heade, A Survey: 1840–1900</i>. (exh. cat., Eaton Fine Art, Inc.). West Palm Beach, Florida: Eaton Fine Art, Inc., 1996. Text p. 40; ill. p. 41.<br><br> Sotheby's, New York, New York (Sale 7320, May 27, 1999): lot 122. Ill. lot 122 (color).<br><br> Stebbins, Jr., Theodore E. <i>The Life and Works of Martin Johnson Heade: A Critical Analysis and Catalogue Raisonné</i>. New Haven, Connecticut: Yale University Press, 2000. Ill. p. 131 (color); p. 299, cat. no. 397 (black & white).<br><br> Yood, James. <i>Still Life with Apple Blossoms in a Nautilus Shell</i>, Martin Johnson Heade. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, September 2001. Ill. (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 pp. 66, 197; ill. pp. 8 (color), 67 (color), 197 (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 pp. 66, 197; ill. pp. 8 (color), 67 (color), 197 (black & white).<br><br> Kennedy, Elizabeth. "The Terra Museum of American Art." <i>American Art Review</i> (December 2002): 126–41. Ill. p. 131 (color). <i>American Encounters: The Simple Pleasures of Still Life.</i> (exh. cat., Crystal Bridges Museum of American Art, High Museum of Art, Musée du Louvre and the Terra Foundation for American Art). Atlanta, Georgia: High Museum of Art, 2014. Text, pp. 22, 52, 54; ill. p. 53, cat. no. 6 (color).<br><br> <i>New Frontiers IV: Fastes et fragments. Aux origines de la nature morte américaine.</i> (exh. cat., Crystal Bridges Museum of American Art, the High Museum of Art, the Musée du Louvre and the Terra Foundation for American Art). Atlanta, Georgia: The High Museum of Art, 2014. Text pp. 23, 48, 50; ill. p. 49, cat. no. 5 (color).<br><br> Mayer Heydt, Stephanie. "American Encounters, the Simple Pleasures of Still Life." <i>Antiques and Fine Arts Magazine</i> (January–March 2015): 148–156. Text p. 153; ill. p. 151 (color).<br><br> Mayer Heydt, Stephanie. "American Encounters, the Simple Pleasures of Still Life." <i>Incollect</i> (January 22, 2015).<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. 98, 99; ill. p. 98, detail pp. 100–101 (color).<br><br>
metatdata embedded, 2020
Joseph Decker
Date: c. 1880–1889
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.32
Text Entries: <i>American Paintings III 1985</i>. New York: Berry-Hill Galleries, Inc., 1985. Text p. 49; ill. p. 49 (color).<br><br> Reynolds, Gary A. and Shelly Mehlman Dinhofer. <i>Now Reposing in the Green-Wood Cemetery...Artists, Heroes, Villains and Other Illustrious Residents</i>. (exh. cat., Museum of the Borough of Brooklyn). Brooklyn, New York: Museum of the Borough of Brooklyn, 1986. No. 23, p. 4. <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-82, p. 191 (color).<br><br> Gerdts, William H. <i>Joseph Decker: Still Lifes, Landscapes and Images of Youth</i>. (exh. cat., Coe-Kerr Gallery, Inc.). New York: Coe-Kerr Gallery, Inc., 1988. Pl. V (color).<br><br> Southgate, M. Therese. "The Cover." <i>The Journal of the American Medical Association</i> 266:16 (October 23/30 1991): cover, 2180. Text p. 2180; ill. cover (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. 60; ill. opposite p. 60 (color).
Metadata Embedded, 2019
Richard La Barre Goodwin
Date: c. 1880–1902
Credit Line: Terra Foundation for American Art, Gift of Mr. and Mrs. John Estabrook
Object number: C1982.2
Text Entries: Sharp, Kevin, ed. <i>Wild Spaces, Open Seasons: Hunting and Fishing in American Art</i>. (exh. cat., Dixon Gallery and Gardens, Joslyn Art Museum, Shelburne Museum, and Amon Carter Museum of Art). Norman, Oklahoma: University of Oklahoma Press, 2016. Text pp. 14, 76, 175, cat. no. 24 (checklist); ill. p. 79, fig. 2.17 (color).<br><br>
metadata embedded, 2021
Louis Ritter
Date: 1887
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1987.29
Text Entries: A bouquet composed of peonies and branches of flowers called snowballs sits on a table. The flowers are in full bloom with their blossoms weighing down their stems, except for a few wilted peonies that lie at the foot of the ceramic vase. Like many American artists, Louis Ritter received academic training in his country, which he complemented with a sojourn in Europe. He entered the Royal Academy of Munich, then a few years later, the Académie Julian. In 1887 he discovered Giverny, but spent little time there. His painting, however, was forever changed by this visit, as his touch became more nimble, his colors lighter. Still life had long been considered a secondary genre in the art world. But in the 1860s, a younger generation of artists rehabilitated it. Thus Fantin-Latour, and even Manet and Monet, took a fresh approach to this theme. The subject itself was of little importance, for it served as a pretext for experiments with color. In this painting, the dominant tone is a rather dark reddish-brown. The dazzling white of the snowballs makes us aware of a pattern of light hues that comes to a climax at the very top of the canvas and energizes the composition. If Ritter's choice of flowers reminds us of the bouquets of peonies painted by Manet, his style nevertheless remained quite traditional. The artist reveals his talent through the rendering of textures: the rough clay of the vase brings out the fluffiness of the white flowers and the velvety elegance of the red peonies.
metatdata embedded, 2020
William J. McCloskey
Date: 1889
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.47
Text Entries: <i>American Paintings III</i>. New York: Berry-Hill Galleries, Inc., 1985. Text p. 47; ill. p. 47 (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. Pl. T-129, p. 238 (color).<br><br> Gustafson, Donna et al. <i>Art What Thou Eat: Images of Food in American Art</i>. (exh. cat., The Edith Blum Art Institute). New York: The Edith Blum Art Institute, Annandale-on-Hudson, 1990. Text p. 82; ill. p. 80 (color).<br><br> Southgate, M. Therese. "The Cover." <i>The Journal of the American Medical Association</i> 265:21 (June 5, 1991): 2764. Text p. 2764; ill. cover (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 p. 37 (checklist).<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 p42; ill. opposite p. 42 (color).
2017 Metadata embedded
John Haberle
Date: 1890
Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund
Object number: 2015.4
Text Entries: Sill, Gertrude Grace. “John Haberle, Master of Illusion.” <i>Magazine Antiques</i> 126:5 (November 1984): 1229–41.<br><br> Hayes, Gaylen. “Entirely with a Brush and the Naked Eye.” <i>The Numismatist</i> 102 (August 1989): 1239. <br><br> Sill, Gertrude Grace. <i>John Haberle: American Master of Illusion.</i> (exh. cat., New Britain Museum of Art). New Britain, Connecticut: New Britain Museum of Art, 2009. Text pp. 34–35; fig. 10, p.35 (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. 105; ill. p. 105 (color).<br><br> Schaefer, Barbara and Anita Hachmann, eds. <i>Es War Einmal in Amerika: 300 Jahre US-Amerikanische Kunst.</i> (exh. cat. Wallraf-Richartz Museum). Köln: Wallraf-Richartz-Museum & Fondation Corboud. Text pp. 416; ill. p. 417 (color). <br><br>
2017 Metadata embedded
John Frederick Peto
Date: 1894
Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund
Object number: 2015.5
Text Entries: John Moran Auctioneers, Altadena, California (California and American Paintings Sale, October 17, 2006): lot 53. Text pp. 5–6; ill. lot 53 (color).<br><br> <i>Nature’s Banquet: American Paintings from the Manoogian Collection and Small Treasures of 19th-Century American Art</i>, (exh. cat., Savannah College of Art and Design). Savannah, Georgia: Savannah College of Art and Design, 2010. Text, checklist, cat. no. 19; ill. cat. no. 19 (color).<br><br> Sotheby’s, New York, New York (Sale N09350, May 20, 2015): lot 24. Text p. 46, lot 24; ill. p. 47 (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. 110; ill. p. 110 (color).<br><br>
metadata embedded, 2020
Maurice Brazil Prendergast
Date: c. 1910–1913
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.122
Text Entries: 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-119, p. 228 (color).<br><br> Clark, Carol, Nancy Mowll Mathews and Gwendolyn Owens. <i>Maurice Brazil Prendergast; Charles Prendergast: A Catalogue Raisonné</i>. Munich, Germany and Williamstown, Massachusetts: Prestel-Verlag and The President and Trustees of Williams College, 1990. No. 313, p. 274; ill. no. 313, p. 274 (black & white).<br><br> Gerdts, William H. et al. <i>Lasting Impressions: American Painters in France, 1865–1915</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text p. 96; fig. 97, p. 96 (black & white).<br><br> Gerdts, William H. et al. <i>Impressions de toujours: les peintres américains en France, 1865–1915</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text p. 96; fig. 97, p. 96 (black & white).<br><br> Southgate, M. Therese. "The Cover." <i>The Journal of the American Medical Association</i> 267:2 (January 8, 1992): 197. Text p. 197; ill. cover (color). <br><br> Southgate, M. Therese. "The Cover." <i>The Journal of the American Medical Association Pakistan</i> 4:5 (July 1992): 270. Text p. 270; ill. cover (color).<br><br> Wells, James M. <i>The Arts Club of Chicago: Seventy-Fifth Anniversary, 1916–1991</i>. (exh. cat., The Arts Club of Chicago). Chicago, Illinois: The Arts Club of Chicago, 1992. Text p. 16, 103; ill. (color).<br><br> Cartwright, Derrick R. and Paul J. Karlstrom. <i>American Moderns, 1900–1950</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Pl. 26, p. 54 (color).<br><br> Cartwright, Derrick R. and Paul J. Karlstrom. <i>L'Amérique et les modernes, 1900–1950</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Pl. 26, p. 54 (color).<br><br> Kennedy, Elizabeth et al. <i>The Eight and American Modernisms</i>. (exh. cat., New Britain Museum of American Art, New Britain, Connecticut and Milwaukee Art Museum, Milwaukee, Wisconsin). Chicago, Illinois: Terra Foundation for American Art, 2009. Text p. 175 (checklist); Ill. p. 119 (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 pp. 74, 204; ill. opposite p. 74 (color).
Flower Forms
Charles Sheeler
Date: 1917
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1987.33
Text Entries: Flower Forms is a rhythmic and simplified semi-abstraction of a still life that in many respects seems atypical of the Precisionist paintings-such as Bucks County Barn-commonly associated with Charles Sheeler. In the painting, however, Sheeler still achieves a high degree of realism, his intense representation evoking the flowers' internal physiology. In fact, the almost anatomical treatment of the flower theme strongly suggests Georgia O'Keeffe's later botanical paintings. Developments in such modern sciences as biochemistry may partially account for the efforts of the early modernist artists to search out underlying forms. Certainly it is consistent with Sheeler's desire to probe beneath the surface of forms and to use art to increase our capacity for perception.