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Delaware Water Gap
Details
GEORGE INNESS (1825-1894)
Delaware Water Gap
signed with initials in monogram and dated 'GI. 1857' (in the rock at lower right)
oil on canvas
32 x 52 in. (81.3 x 132.1 cm.)
Painted in 1857.
Delaware Water Gap
signed with initials in monogram and dated 'GI. 1857' (in the rock at lower right)
oil on canvas
32 x 52 in. (81.3 x 132.1 cm.)
Painted in 1857.
Provenance
(Possibly) George Shea, 1859.
J.W. Brown, Brooklyn, New York.
American Art Association, American Art Galleries, New York, 15-16 March 1906, lot 154, sold by the above.
C.M. Warner, Syracuse, New York, acquired from the above.
Kennedy Galleries, Inc., New York, 1965.
Ambassador J. William Middendorf II, Washington, D.C.
James H. Maroney, Jr., New York, 1984.
Sotheby's, New York, 24 May 1989, lot 49.
Alfred Taubman, Bloomfield Hills, Michigan, acquired from the above.
Sotheby's Private Sales, New York.
Acquired by the present owner from the above, 1992.
J.W. Brown, Brooklyn, New York.
American Art Association, American Art Galleries, New York, 15-16 March 1906, lot 154, sold by the above.
C.M. Warner, Syracuse, New York, acquired from the above.
Kennedy Galleries, Inc., New York, 1965.
Ambassador J. William Middendorf II, Washington, D.C.
James H. Maroney, Jr., New York, 1984.
Sotheby's, New York, 24 May 1989, lot 49.
Alfred Taubman, Bloomfield Hills, Michigan, acquired from the above.
Sotheby's Private Sales, New York.
Acquired by the present owner from the above, 1992.
Literature
(Possibly) The Home Journal, June 18, 1859, p. 2.
"More Fine Paintings at American Art Galleries," New York American, March 13, 1906.
"$2,600 for a Vibert: Art Sale's High Price," New York Times, March 17, 1906, p. 5.
L. Ireland, The Works of George Inness: An Illustrated Catalogue Raisonné, Austin, Texas, 1965, p. 37, no. 146, illustrated.
W.J. Shadwell, "Middendorf Collection at the Metropolitan," The Art Gallery Magazine, vol. XI, no. 1, October 1967, pp. 27, 31, illustrated.
J. Maroney, The Odd Picture: Distinctive and Yet Not Necessarily Predictable Efforts by Recognized Masters, All Modern in Their Several Ways, New York, 1984, pp. 11-13, 46-47, no. 7, illustrated.
Antiques, vol. CXXVI, no. 6, December 1984, p. 1357.
K. Larson, "Art: A Countryside Panorama," Architectural Digest, vol. XLIII, June 1986, pp. 146-47, illustrated.
T.W. Gaehtgens, Bilder aus der Neuen Welt: Amerikanische Malerei des 18. und 19. Jahrhunderts, Meisterwerke aus der Sammlung Thyssen-Bornemisza und Museen der Vereinigten Staaten, Munich, Germany, 1988, p. 56, no. 48, illustrated.
S. Danly, L. Marx, eds., The Railroad in American Art: Representations of Technological Change, Cambridge, Massachusetts, 1988, pp. 77, 80, 83, fig. 61, illustrated.
L. Marx, "Does Pastoralism Have a Future?," Studies in the History of Art, vol. XXXVI, 1992, pp. 218, 220, fig. 6, illustrated.
N. Cikovsky, Jr., George Inness, New York, 1993, p. 34, illustrated.
F. Kelly, N. Cikovsky, Jr., et al., American Paintings of the Nineteenth Century, Part I, 1996, pp. 352-53, illustrated.
L.G. Mazow, George Inness: Problems in Antimodernism, Ph.D. Dissertation, University of North Carolina at Chapel Hill, 1996, p. 176.
A. Neset, "Rowing in Eden: Waterscapes in 19th-Century American Art and Literature," American Studies in Scandinavia, vol. XXX, no. 1, 1998, pp. 10-11, illustrated.
K. Maddox, Intruder into Eden: The Train in Nineteenth-Century American Landscape, unpublished Ph.D. dissertation, Columbia University, 1999, pp. 360-62, fig. 147, illustrated.
M. Quick, George Inness: A Catalogue Raisonné, vol. I, New Brunswick, New Jersey, 2007, pp. 131-32, no. 106, pl. 33, illustrated.
A. Neset, Arcadian Waters and Wanton Seas: The Iconology of Waterscapes in Nineteenth-Century Transatlantic Culture, New York, 2009, p. 247n16.
K. Kusserow, Picturing Power: Portraiture and Its Uses in the New York Chamber of Commerce, New York, 2013, pp. 351-52, fig. 190, illustrated.
"More Fine Paintings at American Art Galleries," New York American, March 13, 1906.
"$2,600 for a Vibert: Art Sale's High Price," New York Times, March 17, 1906, p. 5.
L. Ireland, The Works of George Inness: An Illustrated Catalogue Raisonné, Austin, Texas, 1965, p. 37, no. 146, illustrated.
W.J. Shadwell, "Middendorf Collection at the Metropolitan," The Art Gallery Magazine, vol. XI, no. 1, October 1967, pp. 27, 31, illustrated.
J. Maroney, The Odd Picture: Distinctive and Yet Not Necessarily Predictable Efforts by Recognized Masters, All Modern in Their Several Ways, New York, 1984, pp. 11-13, 46-47, no. 7, illustrated.
Antiques, vol. CXXVI, no. 6, December 1984, p. 1357.
K. Larson, "Art: A Countryside Panorama," Architectural Digest, vol. XLIII, June 1986, pp. 146-47, illustrated.
T.W. Gaehtgens, Bilder aus der Neuen Welt: Amerikanische Malerei des 18. und 19. Jahrhunderts, Meisterwerke aus der Sammlung Thyssen-Bornemisza und Museen der Vereinigten Staaten, Munich, Germany, 1988, p. 56, no. 48, illustrated.
S. Danly, L. Marx, eds., The Railroad in American Art: Representations of Technological Change, Cambridge, Massachusetts, 1988, pp. 77, 80, 83, fig. 61, illustrated.
L. Marx, "Does Pastoralism Have a Future?," Studies in the History of Art, vol. XXXVI, 1992, pp. 218, 220, fig. 6, illustrated.
N. Cikovsky, Jr., George Inness, New York, 1993, p. 34, illustrated.
F. Kelly, N. Cikovsky, Jr., et al., American Paintings of the Nineteenth Century, Part I, 1996, pp. 352-53, illustrated.
L.G. Mazow, George Inness: Problems in Antimodernism, Ph.D. Dissertation, University of North Carolina at Chapel Hill, 1996, p. 176.
A. Neset, "Rowing in Eden: Waterscapes in 19th-Century American Art and Literature," American Studies in Scandinavia, vol. XXX, no. 1, 1998, pp. 10-11, illustrated.
K. Maddox, Intruder into Eden: The Train in Nineteenth-Century American Landscape, unpublished Ph.D. dissertation, Columbia University, 1999, pp. 360-62, fig. 147, illustrated.
M. Quick, George Inness: A Catalogue Raisonné, vol. I, New Brunswick, New Jersey, 2007, pp. 131-32, no. 106, pl. 33, illustrated.
A. Neset, Arcadian Waters and Wanton Seas: The Iconology of Waterscapes in Nineteenth-Century Transatlantic Culture, New York, 2009, p. 247n16.
K. Kusserow, Picturing Power: Portraiture and Its Uses in the New York Chamber of Commerce, New York, 2013, pp. 351-52, fig. 190, illustrated.
Exhibited
(Possibly) New York, National Academy of Design, 1859, no. 335.
Baltimore, Maryland, Baltimore Museum of Art; New York, Metropolitan Museum of Art, American Paintings & Historical Prints from the Middendorf Collection, July 9-November 26, 1967, pp. 44-45, no. 30, illustrated.
Washington, D.C., National Gallery of Art, George Inness, June 22-September 7, 1986.
New York, Metropolitan Museum of Art, American Paradise: The World of the Hudson River School, October 4, 1987-January 3, 1988, pp. 41, 81, 233-35, illustrated.
Philadelphia, Pennsylvania, Pennsylvania Academy of the Fine Arts, In Private Hands: 200 Years of American Painting, October 1, 2005-January 8, 2006, pp. 58-59, pl. 7, illustrated.
Baltimore, Maryland, Baltimore Museum of Art; New York, Metropolitan Museum of Art, American Paintings & Historical Prints from the Middendorf Collection, July 9-November 26, 1967, pp. 44-45, no. 30, illustrated.
Washington, D.C., National Gallery of Art, George Inness, June 22-September 7, 1986.
New York, Metropolitan Museum of Art, American Paradise: The World of the Hudson River School, October 4, 1987-January 3, 1988, pp. 41, 81, 233-35, illustrated.
Philadelphia, Pennsylvania, Pennsylvania Academy of the Fine Arts, In Private Hands: 200 Years of American Painting, October 1, 2005-January 8, 2006, pp. 58-59, pl. 7, illustrated.
Brought to you by
Paige Kestenman
Vice President, Senior Specialist