Mill on the Tiber
Framed: 29 x 35 3/4 inches (73.66 x 90.81 cm)
- 114
Possibly Mr. Glover’s Exhibition, 16, Old Bond Street, London, opened April 24, 1820, no cat.
Possibly Mr. Glover’s Exhibition, 16, Old Bond Street, London, May–June 1821, no cat.
Possibly Glover’s Exhibition, 16, Old Bond Street, London, 1823, no. 65 or 84, as either One of the most beautiful pictures or Landscape.
Pictures, Descriptive of the Scenery, and Customs of the Inhabitants of Van Dieman’s Land, Together with Views in England, Italy, etc. Painted by John Glover, Esq.; To Which are Added Two Genuine, and Highly Finished Landscapes, by the Celebrated Claude Lorraine [sic], 106 New Bond Street, London, June–July 1835, no. 68 or 69, as Two Landscapes by Claude Lorraine [sic].
Exhibition of Works by the Old Masters and by Deceased Masters of the British School; Including a Special Selection from the Works of Frank Holl, R. A., and a Collection of Water-Colour Drawings by Joseph M. W. Turner, R. A., Winter Exhibition, Royal Academy, London, January 7–March 16, 1889, no. 85, as Shepherd Teaching a Shepherdess to Play on the Pipe.
Exhibition of Works by the Old Masters Including a Special Collection of Paintings and Drawings by Claude, Winter Exhibition, Royal Academy, London, January 6–March 15, 1902, no. 56, as A Shepherd and Shepherdess.
Old Masters: XVII. and XVIII. Century French Art; Contemporary British Painting and Sculpture, Spring Exhibition, Whitechapel Art Gallery, London, February 8–April 3, 1907, no. 34, as The Music Lesson.
Exposition du Paysage Français de Poussin à Corot, Palais des Beaux-Arts, Paris, May–June 1925, no. 120, as Moulin sur le Tibre.
Paintings Owned by W. R. Nelson Trust, Kansas City Art Institute, by January 17–May 20, 1932, unnumbered, as The Mill on the Tiber.
Exhibition of French Painting from the Fifteenth Century to the Present Day, California Palace of the Legion of Honor, San Francisco, June 8–July 8, 1934, no. 14, as The Mill on the Tiber.
An Exhibition of Paintings and Drawings of Claude Lorrain, 1600–1682, Durlacher Brothers, New York, January 19–February 12, 1938, no. 2, as The Mill on the Tiber.
Landscapes of the European War Theatre, The Nelson-Atkins Museum of Art, Kansas City, MO, January 1–February 13, 1944, no cat.
Landscape: An Exhibition of Paintings, Brooklyn Museum of Art, NY, November 8, 1945–January 1, 1946, no. 30, as The Mill on the Tiber.
Fiftieth Exhibition of the Art of Europe during the XVIth–XVIIth Centuries, Worcester Art Museum, April 11–May 16, 1948, no. 15, as The Mill on the Tiber.
Twenty Years of Collecting, The Nelson-Atkins Museum of Art, Kansas City, MO, December 11–31, 1953, no cat., as Mill on the Tiber.
Claude Lorrain, 1600–1682: A Tercentenary Exhibition, National Gallery of Art, Washington, DC, October 17, 1982–January 2, 1983; Galeries nationales du Grand Palais, Paris, February 15–May 16, 1983, no. 40, as The Mill on the Tiber.
John Glover and the Colonial Picturesque, Tasmanian Museum and Art Gallery, Hobart, Tasmania, Australia, November 28, 2003–February 1, 2004; Art Gallery of South Australia, Adelaide, February 19–April 12, 2004; National Gallery of Australia, Canberra, April 24–July 18, 2004; National Gallery of Victoria, Melbourne, August 13–October 3, 2004, no. 1, as The Mill on the Tiber.
Commissioned by Signor Lorette, Italy, ca. 1650 [1];
With Giuseppe de Rosis, Rome, by December 1, 1663;
Purchased from Giuseppe de Rosis, Rome, by Don Antonio Ruffo (1610–1678), 1st Principe della Scaletta, Messina, Italy, by December 1, 1663–December 26, 1673 [2];
Given to his son, Don Placido Ruffo (1646–1710), 2nd Principe della Scaletta and 1st Principe della Floresta, Messina, Italy, 1673–May 5, 1710 [3];
Probably by descent to his son, Don Antonio Ruffo e La Rocca (ca. 1680–1739), 3rd Principe della Scaletta and 2nd Principe della Floresta, Messina, Italy, 1710–1739;
Probably by descent to his son, Don Calogero Ruffo (ca. 1706–1743), 4th Principe della Scaletta and 3rd Principe della Floresta, Messina, Italy, 1739–1743;
Probably estate of Don Calogero Ruffo, ca. 1743–1750 [4];
Probably by inheritance to his uncle, Don Giovanni Ruffo e La Rocca (ca. 1684–ca. 1755/1756), 5th Principe della Scaletta, Messina, Italy, 1750–1755/1756 [5];
Probably by descent to his son, Don Antonio Ruffo (1707–1778), 6th Principe della Scaletta, Messina, Italy, 1755/1756–October 15, 1778;
Probably by descent to his son, Don Giovanni Ruffo (1751–1808), 7th Principe della Scaletta, Messina, Italy, 1778–March 11, 1808 [6];
With Philip Hill, London, by July 3, 1811 [7];
Probably Lord Charles Kinnaird (1780–1826), 8th Lord Kinnaird of Inchture, Scotland, by late 1812 [8];
Probably purchased from Lord Kinnaird by John Glover (1767–1849), London and Patterdale, UK, by January 1, 1813–1836 [9];
Jointly purchased from Glover, through John Lord and George Stanley, by John Smith and Robert Hume, London, Smith stock book A 1822–ca. 1850, no. 1071, as Compn Shepherd and Shepherdess Even, by September 6, 1836–1838 [10];
Purchased from Smith and Hume by William Hornby (1797–1869), The Hook, Hampshire, UK, April 18, 1838;
Bought back from Hornby by John Smith and Sons, London, stock book A 1822–ca. 1852, no. 1394, by 1839 [11];
Purchased from John Smith and Sons by Sir Thomas Baring (1772–1848), 2nd Baronet, London, May 10, 1839–April 3, 1848 [12];
Purchased by his son, Thomas Baring (1799–1873), London, 1848–November 18, 1873 [13];
By descent to his nephew, Thomas George Baring (1826–1904), 1st Earl of Northbrook, London, 1873–November 15, 1904 [14];
By descent to his son, Francis George Baring (1850–1929), 2nd Earl of Northbrook, London, 1904–at least 1926 [15];
With Durlacher Brothers, London, by September 9, 1930 [16];
Transferred to Durlacher Brothers, New York, by December 9, 1930–December 17, 1931 [17];
Purchased from Durlacher Brothers, through Harold Woodbury Parsons, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1931.
NOTES:
[1] An inscription on the verso of no. 123 in Claude’s Liber Veritatis, the book of drawings he used to record his painting compositions, indicates that Mill on the Tiber was undertaken for a certain “Signor Lorette.” (John Smith erroneously identifies Claude’s patron as “Signor Piretti” in his 1837 catalogue raisonné, a mistake that was repeated by later scholars. Elsewhere the patron is incorrectly referred to as Parette and Torette/i.) Nothing is known about Lorette, though Marcel Rœthlisberger believes he was a minor patron, given the small size of the picture and the one-off nature of the commission; see Marcel Rœthlisberger, Claude Lorrain: The Paintings (New Haven: Yale University Press, 1961), 302.
[2] Extant correspondence between Ruffo and his agents in Rome attests to this purchase. Vincenzo Ruffo, “Galleria Ruffo nel secolo XVII in Messina (con lettere di pittori ed altri documenti inediti),” Bollettino d’Arte 10, nos. 5–6 (May–June 1916): 192, as Paesaggio con due figure ed alcune capre.
[3] Furthermore, these pictures were part of Don Antonio’s propter nuptias (marriage gift) to his son Don Placido, principe of Floresta, which was finalized on December 26, 1673. In Vincenzo Ruffo’s compilation of his family’s inventories, he sets off the paintings given as wedding gifts with asterisks. See Vincenzo Ruffo, “Galleria Ruffo nel secolo XVII in Messina (con lettere di pittori ed altri documenti inediti),” Bollettino d’Arte 10, nos. 9–10 (September–October 1916): 314, 316, in the “Catalogo generale dei 364 quadri della galleria,” where the paintings are number 108*: “Lorenese (Claudio il), Paesaggio con due figure ed alcune capre, 2-1/2 x 3 ; La nascita del Sole, 2 1/2 x 3.”
[4] In 1743, Don Calogero (eldest son of the younger Don Antonio) died childless, causing problems of succession between his sister, Antonia Ruffo, and uncle, Don Giovanni Ruffo e La Rocca (the younger Don Antonio’s brother). Don Giovanni got the title of 5th Principe della Scaletta and the Palazzo Regio Campo in Messina, which included the Claude paintings; Donna Antonia Ruffo got the title of Principessa della Floresta. See Rosanna De Gennaro, “Aggiunta alle notizie sulla collezione di Antonio Ruffo: ‘nota di quadri vincolati in primogeniture’ scampati al terremoto del 5 febbraio 1783,” Napoli nobilissima 2, no. 5/6 (September–December 2001): 211.
[5] See note 4.
[6] See “Note of paintings bound in primogeniture, recovered by Don Giovanni Ruffo, prince della Scaletta from the ruins of the palace which fell in Messina with the horrible earthquake of 5 February 1783,” where two Claude paintings are listed as nos. 85–86 and located in the chapel: “Due paesini, di palmi 2 1/2 e 3, di monsieur Claudio Lorenese, onze 40.” These are probably Mill on the Tiber and Landscape with a Piping Shepherd. See De Gennaro, “Aggiunta alle notizie sulla collezione di Antonio Ruffo,” 213–14.
Edward Dillon, Claude (London: Methuen, 1905), 187, alleges that Mill on the Tiber was purchased from the Colonna Palace in Rome by William Young Ottley, Esq. (1771–1836) in 1798 or 1799, who had it until at least May 16, 1801. Ottley bought Ascanius Shooting at Silvia’s Stag from the Colonna Palace but appears to have purchased a different Mill on the Tiber from the Corsini Palace, also in Rome. See A Catalogue of The Superb, Capital, and Truly Valuable Collection of Celebrated Italian Pictures, Lately Purchased from the Colonna, Borghese, and Corsini Palaces, etc. by William Young Ottley, Esq., Forming an Unrivalled Assemblage of the Genuine and Finest Works of the Italian Schools (London: Christie’s, May 16, 1801), 6, as Landscape, with Pastoral Figures, Afternoon, View on the Tiber, in his finest manner, and in the highest Preservation; a Cabinet Picture, from the Corsini Palace. A copy of the catalogue at the Metropolitan Museum of Art, New York, is annotated as “Goats & Shephds. Fine Tree & Blue Sky” and purchased by a “Lord D.” It is unlikely that this is the Nelson-Atkins painting.
[7] The dealer Philip Hill consigned Mill on the Tiber to a Christie’s sale, but it was bought in for 390 guineas; see A Choice and Highly Valuable Assemblage of Exquisite Cabinet Dutch Pictures, Christie, Manson, and Woods, London, July 3, 1811, lot 105, View on the Banks of the Tiber.
[8] On January 1, 1813, the English landscape painter Joseph Farington (1747–1821) noted in his diary that John Glover “had lately given 1700 guineas for two pictures painted by Claude.” David Hansen proposes that it’s “feasible” that Glover purchased both Mill on the Tiber and Landscape with a Piping Shepherd from Kinnaird in late 1812; see David Hansen, John Glover and the Colonial Picturesque, exh. cat. (Hobart, Tasmania: Tasmanian Museum and Art Gallery, 2003), 135. It is unclear whether Glover purchased them together or separately. Landscape with a Piping Shepherd was likely owned by Lord Charles Kinnaird (1780–1826) in 1812, but the ownership of Mill on the Tiber is less clear. Either Philip Hill still owned the picture, or he found a private buyer after it failed to sell at auction. Hansen also confirmed that the prices Glover paid for the pictures varied between sources. See email from Dr. David Hansen, Australian National University, to Glynnis Stevenson, NAMA, April 20, 2021, NAMA curatorial files.
[9] See note 8.
On September 4, 1830, John Glover emigrated with his family to Van Diemen’s Land (now Tasmania). Prior to this, Mill on the Tiber was bought in at his emigration sale of May 12, 1830, for 700 guineas; see John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters (London: Smith and Son, 1837), 8:258. According to the same source, Mill’s pendant Landscape with a Piping Shepherd was also bought in by John Glover in 1830 for 700 guineas. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters, 8:289. It seems evident that George Stanley, in his capacity as auctioneer, bought in the pictures on John Glover’s behalf, likely before giving them to the artist’s son-in-law and London agent, John Lord (1795–1854). They remained in Lord’s custody until at least July 1835, when the exhibition of Glover’s work (and his two Claudes) closed.
[10] See letter from John Smith, London, to John Mountjoy Smith, Rome, September 6, 1836, in Charles Sebag-Montefiore and Julia I. Armstrong-Totten, A Dynasty of Dealers: John Smith and Successors 1801–1924; A Study of the Art Market in Nineteenth-Century London (London: Roxburghe Club, 2013), 219–21. Smith and Hume paid £1840 for Landscape with a Piping Shepherd and Mill on the Tiber. See also “Records of John Smith and successors, 1812–1892,” daybook 3, part 1, 1837–1847, p. 93, Getty Research Institute, Los Angeles.
[11] Sebag-Montefiore and Armstrong-Totten, A Dynasty of Dealers, 220n111.
[12] Baring purchased Mill on the Tiber for £600. See Sebag-Montefiore and Armstrong-Totten, A Dynasty of Dealers, 220n111; and “Records of John Smith and successors, 1812–1892,” daybook 3, part 1, 1837–1847, p. 175, Getty Research Institute, Los Angeles.
[13] Sir Thomas Baring’s will stipulated that his collection be sold after his death. Thomas Baring purchased his father’s Italian, Spanish, and French pictures when they were put up for sale; see the introduction to A Descriptive Catalogue of the Collection of Pictures Belonging to the Earl of Northbrook (London: Griffith, Farran, Okeden, and Welsh, 1889), unpaginated.
[14] Thomas George Baring was the eldest son of Thomas Baring’s older brother, Francis Thornhill Baring (1796–1866), 1st Baron Northbrook. He succeeded his father in 1866 as the 2nd Baron Northbrook and became 1st Earl of Northbrook in 1876; see Sebag-Montefiore and Armstrong-Totten, A Dynasty of Dealers, 65.
[15] See Louis Hourticq et al., Le Paysage Français de Poussin à Corot à l’Exposition du Petit Palais, exh. cat. (Paris: Éditions de la Gazette des Beaux-Arts, 1926), 115. The painting likely remained in Francis George Baring’s collection until his death on April 12, 1929.
In the catalogue raisonné, Marcel Rœthlisberger erroneously states that the painting was in the possession of Colnaghi, London, by 1929/1930; see Marcel Rœthlisberger, Claude Lorrain: The Paintings (New Haven: Yale University Press, 1961), 304. However, researchers have not found evidence of the two Nelson-Atkins canvases in the Colnaghi archives. See email from Catherine Taylor, Head of Archives and Records, Waddesdon Manor, to Glynnis Stevenson, NAMA, April 22, 2021, NAMA curatorial files.
[16] See letters from Harold Woodbury Parsons, art advisor for the Nelson-Atkins Museum of Art, to J. C. Nichols, Trustee for the Nelson-Atkins Museum of Art, September 9, 1930, and November 22, 1930, NAMA curatorial files.
[17] See letter from Harold Woodbury Parsons to Robert A. Holland, curator of collections, The Nelson-Atkins Museum of Art, December 9, 1930, NAMA curatorial files.
A Catalogue of a Choice and Highly Valuable Assemblage of Exquisite Cabinet Dutch Pictures, Being the Select and Remaining Part of the Collection of a Gentleman of Refined Taste Purchased from nearly all the distinguished Cabinets that have been offered for Sale for many Years past in this Country; and including several Valuable Purchases made on the Continent; Among Them Are Specimens of the First Degree of Merit, By Corregio, Garofalo, Guido, Domenichino, Albano, Poussin, Claude, Teniers, Cuyp, Potter, Berchem, Wouvermans, A. V. de Velde, Ostade, Du Jardin, Hobbema, Brekelcamp, Mignon, Wilson ([London]: Christie, July 3, 1811), 12, as An elegant Landscape, View on the Banks of the Tiber.
Liber veritatis, or, A collection of prints, after the original designs of Claude le Lorrain: in the collection of His Grace the duke of Devonshire; executed by Richard Earlom, in the manner and taste of the drawings; to which is added, a descriptive catalogue of each print; together with the names of those for whom, and the places for which, the original pictures were first painted, taken from the hand-writing of Claude le Lorrain on the back of each drawing, and of the present possessors of many of the original pictures (1819; repr., London: Boydell, [1841?]), 2:4, as A Shepherd teaching a Shepherdess to play on a pipe. The scene exhibits a woody and well watered Landscape, with a Mill and a round Tower at its base.
Possibly “Mr. Glover’s Exhibition,” Literary Chronicle and Weekly Review, no. 106 (May 26, 1821), 334.
Possibly “Mr. Glover’s Exhibition,” Repository of Arts, Literature, Fashions, Manufactures, etc. 11, no. 66 (June 1, 1821): 374.
Probably “Fine Arts: Mr. Glover’s Pictures,” New Monthly Magazine 9 (1823): 397.
“Sales by Auction: Mr. Glover’s Pictures, and Landscapes by Claude,” Times (London), no. 14,209 (April 24, 1830): 4.
“Sales by Auction: Mr. Glover’s Pictures, and Landscapes by Claude,” Times (London), no. 14,213 (April 29, 1830): 4.
A Catalogue of Sixty Pictures Painted by John Glover, Esq., and Two Landscapes by Claude, His Property ([London]: [Stanley], April 29, 1830), 6, as Landscape with a Mill.
A Catalogue of Pictures, Descriptive of the Scenery, and Customs of the Inhabitants of Van Dieman’s Land, Together with Views in England, Italy, etc. Painted by John Glover, Esq.; To Which are Added Two Genuine, and Highly Finished Landscapes, by the Celebrated Claude Lorraine [sic], exh. cat. (1835; repr. London: J. Rogers, 1868), 4, as Two Landscapes.
John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters, vol. 8, The Life and Works of Nicholas Poussin, Claude Lorraine [sic], and Jean Baptiste Greuze (London: Smith and Son, 1837), 258, 471, as A Shepherd teaching a Shepherdess to play on the Pipe.
Frederick Christian Lewis, Liber Studiorum of Claude Lorrain (London: F. C. Lewis, 1840).
John Smith, Supplement to the Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters; In which is included a short Biographical Notice of the Artists, with a Copious Description of Nearly The Whole of Their Pictures; A Statement of The Price At Which Such Pictures Have Been Sold At Public Sales On The Continent And In England; A Reference To The Galleries and Private Collections, In Which A Large Portion Are At Present; And The Names Of The Artists By Whom They Have Been Engraved To Which Is Added, A Brief Notice Of The Scholars And Imitators Of The Great Masters Of The Above Schools, pt. 9 (London: Mssrs. Smith, 1842), 808, as A Shepherd teaching a Shepherdess to play on the Pipe.
John Mitford, ed., “Obituary–Mr. John Glover,” Gentleman’s Magazine (July 1850): 97.
[Gustav Friedrich] Waagen, Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Mss., etc. (London: John Murray, 1854), 2:177.
[Emilia Francis Strong Dilke], Claude Lorrain: Sa Vie et ses Œuvres d’après des documents inédits (Paris: J. Rouam, 1884), 217, 233, as Moulin sur le Tibre.
Owen J. Dullea, Claude Gellée le Lorrain (London: S. Low, Marston, Searle, and Rivington, 1887), 112, 125, as Landscape with broad river and water-mill.
Exhibition of Works by the Old Masters and by Deceased Masters of the British School; Including a Special Selection from the Works of Frank Holl, R. A., and a Collection of Water–Colour Drawings by Joseph M. W. Turner, R. A., exh. cat. (London: William Clowes and Sons, 1889), 22, 69–70, as Shepherd Teaching a Shepherdess to Play on the Pipe.
W. J. James Weale and Jean Paul Richter, A Descriptive Catalogue of the Collection of Pictures Belonging to the Earl of Northbrook: The Dutch, Flemish, and French Schools by Mr. W.H. James Weale; The Italian and Spanish Schools By Dr. Jean Paul Richter (London: Griffith, Farran, Okeden, and Welsh, 1889), 188, 192, 216, as A Shepherd Teaching a Shepherdess to play on the Pipe and The Music Lesson.
Exhibition of Works by the Old Masters Including a Special Collection of Paintings and Drawings by Claude, exh. cat. (London: William Clowes and Sons, 1902), 17, as A Shepherd and Shepherdess.
H. C., “Correspondance d’Angleterre: Exposition de maîtres anciens à la Royal Academy (Suite),” La Chronique des arts et de la curiosité: supplément à la Gazette des beaux-arts, no. 11 (March 15, 1902): 85.
Verlags-Katalog von Franz Hanfstængl Kunstverlag München (Munich: Franz Hanfstængl, 1903), 2:56, as Ein Schäfer lehrt eine Schäferin auf einer Pfeife.
Raymond Bouyer, Les grands artistes: Leur vie—leur œuvre; Claude Lorrain (Paris: Henri Laurens, [1905]), 77, 126, (repro.), as Le Moulin sur le Tibre.
Edward Dillon, Claude (London: Methuen, 1905), 187, as Mill by the Tiber.
Masters in Art: A Series of Illustrated Monographs (Boston: Bates and Guild, 1905), 6:377, as Mill on the Tiber.
Spring Exhibition: Section I.—Old Masters: XVII. and XVIII. Century French Art; Section II. Contemporary British Painting and Sculpture, exh. cat. ([London]: Whitechapel Art Gallery, 1907), 7, as The Music Lesson.
The Masterpieces of Claude (1600–1682) (London: Gowans and Gray, 1911), 48, 67, (repro.), as Mill on the Tiber / Moulin sur le Tibre / Mühle am Tiber and Shepherd teaching shepherdess to play the flute (Mill on the Tiber).
Algernon Graves, A Century of Loan Exhibitions, 1813–1912 (New York: Burt Franklin, 1913), 1:179, as Shepherd and Shepherdess.
Probably Vincenzo Ruffo, “Galleria Ruffo nel secolo XVII in Messina (con lettere di pittori ed altri documenti inediti),” Bollettino d’Arte 10, nos. 5–6 (May–June 1916): 167n6, 175n2, 190, 192; nos. 7–8 (July–August 1916): 238; nos. 9–10 (September–October 1916): 316, as Paesaggio con due figure ed alcune capre.
Algernon Graves, Art Sales from Early in the Eighteenth Century to Early in the Twentieth Century: (mostly Old Master and Early English Pictures) (London: Algernon Graves, 1918), 1:110, as Landscape with Mill.
Basil S[omerset] Long, “John Glover: Born 1767, Died 1849,” Walker’s Quarterly, no. 15 (April 1924): 18, 47, as either One of the most beautiful pictures or Landscape.
Arthur M. Hind, The Drawings of Claude Lorrain (London: Halton and T. Smith, 1925), 13.
Henri Lapauze, Camille Gronkowski, and Adrien Fauchier-Magnan, Exposition du Paysage Français de Poussin à Corot, exh. cat. (Paris: Imprimerie Crété, 1925), 17, as Moulin sur le Tibre.
Robert De La Sizeranne, “Au Petit Palais: Le Paysage français de Poussin à Corot,” Revue Des Deux Mondes (1829–1971), Septième Période, 27, no. 3 (June 1, 1925): 670.
Arthur M. Hind, Catalogue of Drawings of Claude Lorrain preserved in the Department Preserved in the Department of Prints and Drawings with special reference to an exhibition including other masters of classical landscape, exh. cat. (London: British Museum, 1926), iv, xv, 21.
Louis Hourticq et al., Le Paysage Français de Poussin à Corot à l’Exposition du Petit Palais (Mai–Juin 1925), exh. cat. (Paris: Éditions de la Gazette des Beaux-Arts, 1926), 115, as Moulin sur le Tibre.
Possibly “Treasure in Lore of Art: ‘Read,’ says Parsons to Those Who Would Appreciate Works,” Kansas City Times 95, no. 10 (January 12, 1932): 2.
“Art News,” Kansas City Journal-Post, no. 224 (January 17, 1932): 2C.
“View New Nelson Art: Purchases for Gallery Inspected by Institute Trustees,” Kansas City Star 52, no. 122 (January 17, 1932): 8A, as Mill on the Tiber.
M[inna] K. P[owell], “In Gallery and Studio,” Kansas City Star 52, no. 128 (January 23, 1932): E, as Mill on the Tiber.
“Nelson Art Treasures Draw Admiring Throng: Thousands Flock to Temporary Exhibition of Paintings at the Kansas City Art Institute Every Day,” Weekly Kansas City Star 42, no. 48 (January 27, 1932): 4.
“Four Old Masters for Collection in Kansas City,” Art News 30, no. 18 (January 30, 1932): 12, as Mill on the Tiber.
“Kansas City Now Possesses Masterpieces by Poussin and Claude,” Art Digest 6, no. 10 (February 15, 1932): 32, (repro.), as The Mill on the Tiber.
“A Strong Home for Art: Father Gerrer, a Connoisseur, Visits the Nelson Gallery; That Kansas City Provides an Enduring Place for Treasures Greatly Satisfies Notre Dame and St. Gregory Director,” Kansas City Times 95, no. 47 (February 24, 1932): 6.
“M. Claudel in Rich Land: A Desire to See Harvest Expressed by Ambassador; The Visitor Goes to View the Kansas City Art Collection and Sees Some Works of His Countrymen,” Kansas City Times 95, no. 70 (March 22, 1932): 11.
“In Gallery and Studio,” Kansas City Star 53, no. 266 (June 10, 1933): 4.
F. A. Gutheim, “Claude Lorrain,” American Magazine of Art 26, no. 10 (October 1933): 460, (repro.), as Shepherd Teaching a Shepherdess the Pipes.
M[inna] K. P[owell], “Art Shows the Layman Something He is Unable to See for Himself; Masterpieces in the William Rockhill Nelson Gallery of Art Will Open New Vistas to Those With Unsatisfied Longings—Paintings Must Appeal to the Mind as Well as to the Eye—Curry Painted Courage and Loneliness and Peace Into His Picture of a Stark Little Prairie Farmhouse,” Kansas City Star 54, no. 49 (November 5, 1933): 8D.
Thomas Carr Howe, “Kansas City Has Fine Art Museum: Nelson Gallery Ranks with the Best,” [unknown newspaper] (ca. December 1933), clipping, scrapbook, NAMA Archives, vol. 5, p. 6.
“Nelson Gallery of Art Special Number,” Art Digest 8, no. 5 (December 1, 1933): 13, 21, as The Mill on the Tiber.
“American Art Notes,” Connoisseur 92, no. 388 (December 2, 1933): 419.
“The William Rockhill Nelson Gallery of Art Special Number,” Art News 32, no. 10 (December 9, 1933): 28, 30, as The Mill on the Tiber.
Minna K. Powell, “The First Exhibition of the Great Art Treasures: Paintings and Sculpture, Tapestries and Panels, Period Rooms and Beautiful Galleries are Revealed in the Collections Now Housed in the Nelson-Atkins Museum—Some of the Rare Objects and Pictures Described,” Kansas City Star 54, no. 84 (December 10, 1933): 4C, as The Mill on the Tiber.
Luigi Vaiani, “Art Dream Becomes Reality with Official Gallery Opening at Hand: Critic Views Wide Collection of Beauty as Public Prepares to Pay its First Visit to Museum,” Kansas City Journal-Post, no. 187 (December 11, 1933): 7.
“Praises the Gallery: Dr. Nelson M’Cleary, Noted Artist, a Visitor; In a Visit to Nelson Collection the Former Kansas Citian Gives Warmest Approval to the Exhibits,” Kansas City Star 54, no. 98 (December 24, 1933): 9A.
Roger Fry, Characteristics of French Art (New York: Brentano’s, 1933), unpaginated, (repro), as Landscape.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Handbook of the William Rockhill Nelson Gallery of Art (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1933), 40, as The Mill on the Tiber.
Possibly A. J. Philpott, “Kansas City Now in Art Center Class: Nelson Gallery, Just Opened, Contains Remarkable Collection of Paintings, Both Foreign and American,” Boston Sunday Globe 125, no. 14 (January 14, 1934): 16.
M[inna] K. P[owell], “In Gallery and Studio,” Kansas City Star 54, no. 125 (January 20, 1934): 5.
“A Thrill to Art Expert: M. Jamot is Generous in his Praise of Nelson Gallery,” Kansas City Times 97, no. 247 (October 15, 1934): 7, as Mill on the Tiber.
“An Art Expert Praises a Nelson Gallery Acquisition,” Kansas City Star 55, no. 34 (October 21, 1934): 6, (repro.), as Mill on the Tiber.
Exhibition of French Painting from the Fifteenth Century to the Present Day, exh. cat. (San Francisco: California Palace of the Legion of Honor, 1934), 33, as The Mill on the Tiber.
“As Others See Us,” Kansas City Times 98, no. 147 (June 20, 1935): D, as Mill on the Tiber.
An Exhibition of Paintings and Drawings by Claude Lorrain, 1600–1682, exh. cat. (New York: Durlacher Brothers, 1938), unpaginated, as The Mill on the Tiber.
M[inna] K. P[owell], “In Gallery and Studio: News and Views of the Week in Art,” Kansas City Star 58, no. 119 (January 14, 1938): 15.
Edward Alden Jewell, “Notable Claude Lorrain Show,” New York Times 87, no. 29,215 (January 19, 1938): L21.
Edward Alden Jewell, “Gallery Displays Lorraine [sic] Pictures: First Exhibition of Early French Master in America Appears at Durlacher’s; Nine Canvases Are Hung; 14 Drawings Included in Show Offering Major Portion of U.S.-Owned Material,” New York Times 87, no. 29,217 (January 21, 1938): L17, as The Mill on the Tiber.
Jerome Klein, “Landscapes by Claude and Americans Shown: Durlacher Displays Art of Lorrain and Whitney Offers Native Work,” New York Post 137, no. 56 (January 22, 1938): 19, (repro.), as Mill on the Tiber.
Edward Alden Jewell, “A Century of Landscape: Whitney Exhibition Reveals Development in American Painting from 1800 to 1900; Claude Lorraine [sic],” New York Times 87, no. 29,219 (January 23, 1938): 9X, as The Mill on the Tiber.
M[inna] K. P[owell], “In Gallery and Studio: News and Views of the Week in Art,” Kansas City Star 58, no. 133 (January 28, 1938): 22, as The Mill on the Tiber.
Margaret Breuning, “Art in New York,” Parnassus 10, no. 2 (February 1938): 22, (repro.), as The Mill on the Tiber.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 40, 168, as The Mill on the Tiber.
“Temporary Exhibitions: Landscapes of the European War Theatre,” Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) 10, no. 5 (January 1944): 2, as Mill on the Tiber.
W. G. Constable, “The Early Work of Claude Lorrain,” Gazette des Beaux-Arts 26 (July-December 1944): 309.
Landscape: An Exhibition of Paintings, exh. cat. (Brooklyn, NY: Brooklyn Museum of Art, 1945), 29–30, as The Mill on the Tiber.
“Masterpiece of the Month,” Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) 13, no. 7 (April 1947): unpaginated.
Fiftieth Exhibition of the Art of Europe during the XVIth–XVIIth Centuries, exh. cat. (Worcester: Worcester Art Museum, 1948), 22, as The Mill on the Tiber.
Winifred Shields, “The Twenty Best, a Special Exhibition at Nelson Gallery: Anniversary Will Be Observed by Showing of Paintings. Some Acquired Recently, Others Even Before the Institution Opened Two Decades Ago—Begins Next Friday,” Kansas City Star 74, no. 78 (December 4, 1953): 36, as Mill on the Tiber.
Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) (1953).
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 106, (repro.), as The Mill on the Tiber.
“Treasures of Kansas City,” Connoisseur 145, no. 584 (April 1960): 123.
Probably André Chastel, Nicolas Poussin: Paris, 19–21 Septembre 1958 (Paris: Éditions du CNRS, 1960), 48.
Marcel Rœthlisberger, “Les dessins à figures de Claude Lorrain,” Critica d’arte 8, no. 47 (September–October 1961): 21.
Marcel Rœthlisberger, Claude Lorrain: The Paintings (New Haven: Yale University Press, 1961), no. 123; pp. 1:302–04, 391, 402, 405, 541; 2:unpaginated, (repro.), as Pastoral Landscape.
Anthony Blunt et al., Latin American Art, and the Baroque Period in Europe: Studies in Western Art; Acts of the Twentieth International Congress of the History of Art (Princeton, NJ: Princeton University Press, 1963), 3:107, (repro.), as Pastoral Landscape.
Marcel Rœthlisberger, “Additions to Claude,” Burlington Magazine 110, no. 780 (March 1968): 119.
Marcel Rœthlisberger, Claude Lorrain: The Drawings (Berkeley: University of California Press, 1968), no. 123, p. 1:267; 2:unpaginated, as Pastoral Landscape.
Ralph T. Coe, “The Baroque and Rococo in France and Italy,” Apollo 96, no. 130 (December 1972): 534–35 [repr., in Denys Sutton, ed., William Rockhill Nelson Gallery, Atkins Museum of Fine Arts, Kansas City (London: Apollo Magazine, 1972), 66–67], (repro.), as The Mill on the Tiber.
Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 127, (repro.), as The Mill on the Tiber.
Marcel Rœthlisberger and Doretta Cecchi, L’Opera Completá di Claude Lorrain (Milan: Rizzoli, 1975), 111, 127, (repro.), as Paesaggio con Pastori.
Possibly John McPhee, John Glover, exh. cat. (Launceston, Tasmania, Australia: Queen Victoria Museum and Art Gallery, 1977), 10.
Marcel Rœthlisberger, Tout l’œuvre peint de Claude Lorrain, trans. Claude Lauriol (Paris: Flammarion, 1977), 111, 119, as Paysage avec bergers.
Michael Kitson, Claude Lorrain: Liber Veritatis (London: British Museum Publications, 1978), 129–30, as Pastoral Landscape.
John D. Morse, Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists (New York: Abbeville Press, 1979), 52, as The Mill on the Tiber.
Marcel Rœthlisberger, Claude Lorrain: The Paintings, 2nd ed. (New York: Hacker Art Books, 1979), no. 123; pp. 1:11n17, 196, 302–04, 310, 351, 359n1, 379, 391, 402, 405, 417, 541; 2:unpaginated, (repro.), as Pastoral Landscape.
Possibly John McPhee, The Art of John Glover (South Melbourne: Macmillan Company of Australia, 1980), 16.
Kathleen Spindler-Cruden, “Saving grace: Much of the art at the Nelson bears the touch of Forrest Bailey,” Kansas City Star 102, no. 307 (September 12, 1982): 31, as Mill on the Tiber.
Pierre Rosenberg, France in the Golden Age: Seventeenth-Century French Paintings in American Collections, exh. cat. (New York: Metropolitan Museum of Art, 1982), 359, 378, (repro.), as Landscape with Shepherds and a Mill.
H[elen] Diane Russell, Claude Lorrain, 1600–1682, exh. cat. (New York: George Braziller, 1982), 166–67, 463, (repro.), as The Mill on the Tiber.
Antoine Terrasse, “Claude Gellée, dit le Lorrain: le chant de la lumière,” L’Œil, no. 334 (May 1983): 26–27, (repro.), as Le Moulin sur le Tibre.
Kathryn Cave, ed, The Diary of Joseph Farington (New Haven: Yale University Press, 1983), 12:4276.
Tom L. Freudenheim, ed., American Museum Guides: Fine Arts; A Critical Handbook to the Finest Collections in the United States (New York: Collier, 1983), 112.
Christopher Wright, The French Painters of the Seventeenth Century (Boston: Little, Brown, 1985), 161, as Landscape with Shepherds.
Marcel Rœthlisberger, Tout l’œuvre peint de Claude Lorrain, new ed. (Paris: Flammarion, 1986), no. 191, pp. 111, 119–20, (repro.), as Paysage avec bergers.
Manfred Koch-Hillebrecht, Museen in den USA: Gemälde (Munich: Hirmer Verlag, 1992), 246, (repro.), as Die Mühle am Tiber.
Michael Churchman and Scott Erbes, High Ideals and Aspirations: The Nelson-Atkins Museum of Art, 1933–1993 (Kansas City, MO: Nelson-Atkins Museum of Art, 1993), 76, 80n15.
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, 1993), 166, (repro.), as Mill on the Tiber.
Michael Kelly, ed., Encyclopedia of Aesthetics (Oxford: Oxford University Press, 1998), 3:92, (repro.), as Mill on the Tiber.
Probably Jeroen Giltaij, Ruffo En Rembrandt: Over Een Siciliaanse Verzamelaar in de Zeventiende Eeuw Die Drie Schilderijen by Rembrandt Bestelde (Zutphen, The Netherlands: Walburg Pers, 1999), 35, 101, 144, 155–57, as Landschap met twee figuurtjes en veel dieren, Paesaggio con due figurine ed alcune capri, and Landschap met twee figuren en enkele geiten.
Michael Kitson, Studies on Claude and Poussin (London: Pindar Press, 2000), 69, (repro.), as Pastoral Landscape.
Probably Rosanna De Gennaro, “Aggiunta alle notizie sulla collezione di Antonio Ruffo: ‘nota di quadri vincolati in primogeniture’ scampati al terremoto del 5 febbraio 1783,” Napoli nobilissima 2, no. 5/6 (September–December 2001): 214, as “Due paesini, di palmi 2 1/2 e 3, di monsieur Claudio Lorenese, onze 40.”
David Hansen, John Glover and the Colonial Picturesque, exh. cat. (Hobart, Tasmania: Tasmanian Museum and Art Gallery, 2003), 18, 27, 40, 60, 72, 74, 135–137, 163, 176, 248, 282n73, (repro.), as The Mill on the Tiber.
Michael Rosenthal, “Exhibition Reviews; John Glover: Hobart and Adelaide,” Burlington Magazine 146, no. 1213 (April 2004): 289, as The Mill on the Tiber.
Perrin Stein, French Drawings from the British Museum: Clouet to Seurat, exh. cat. (London: British Museum Press, 2005), 74, 220n3, (repro.), as Pastoral Landscape.
“Decades-long Quest for Work by Thomas Cole Concludes with Major Acquisition,” Member Magazine (The Nelson-Atkins Museum of Art) (Spring 2005): 11, (repro.), as Mill on the Tiber.
Australian, International, and Aboriginal art (Double Bay, Australia: Bonhams and Goodman, December 5 and 11, 2006), as The Mill on the Tiber.
Andrew Morris, “The Man in a Blue Jacket. John Glover’s Van Diemen’s Land paintings: a clue, or just coincidence?,” Australiana 29, no. 3 (August 2007): 14.
Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 34, 76, (repro.), as Mill on the Tiber.
Probably Domenico Gioffrè, “Antonio Ruffo di Bagnara e la galleria d’arte di Messina nel secolo XVII,” Calabria sconosciuta 35, no. 134–35 (April–September 2012): 37.
Charles Sebag-Montefiore and Julia Armstrong-Totten, A Dynasty of Dealers: John Smith and Successors 1801–1924; A Study of the Art Market in Nineteenth-Century London (London: Roxburghe Club, 2013), 22, 26, 31n52, 70n36, 220, 224, 276, 297n3, as Landscape with a Shepherd and Shepherdess, Compn Shepherd and Shepherdess Even, and Mill on the Tiber.
Possibly Harry Bellet, “Don du ciel pour le Musée Nelson-Atkins: Henry Bloch cède une trentaine de tableaux impressionnistes à l’établissement de Kansas City,” Le Monde (March 13, 2017): http://www.lemonde.fr/arts/article/2017/03/13/don–du–ciel–pour–le–musee–Nelson-Atkins_5093543_1655012.html.
Important Australian and International Art (South Yarra, Australia: Menzies, March 27, 2024), http://www.menziesartbrands.com/items/20599.
