The Mill, Sunset

“National Academy of Design.—Twentieth Annual Exhibition,” Anglo-American (New York) (April 26, 1845): 21, as “The Mill”—Sunset.

“Twentieth Annual Exhibition of the Academy of National Design [sic],” Broadway Journal 1 (May 3, 1845): 276.

“National Academy of Design,” New York Herald (May 3, 1845): 1, as The Mill— Sunset.

C., “The National Academy of Design,” Spirit of the Times (New York) (May 17, 1845): 140.

Twentieth Annual Exhibition of the National Academy of Design, 1845, exh. cat. (New York: National Academy of Design, 1845), 16.

Louis Legrand Noble, The Course of Empire, Voyage of Life, and Other Pictures of Thomas Cole, N.A., with Selections from His Letters and Miscellaneous Writings: Illustrative of His Life, Character, and Genius (New York: Cornish, Lamport & Company, 1853), 358–59, as Mill at Sunset.

“Thomas Cole,” National Magazine Devoted to Literature, Art and Religion 4 (April 1854): 319, as The Mill at Sunset.

“The Art Gallery,” Buffalo (N.Y.) Evening Courier & Republic (February 3, 1866): unpaginated, as Mill at Sunset.

Catalogue of Works of Art on Exhibition in the Gallery of the Buffalo Fine Arts Academy, exh. cat. (Buffalo, N.Y.: Franklin Printing House, 1866), 8, as Mill at Sunset.

Henry T. Tuckerman, Book of the Artists (New York: G. P. Putnam & Sons, 1867), 230, 626, as The Old Mill.

“The French Bazaar,” New York World (November 15, 1870): 5, as The Old Mill.

“The French Fair: The Bazaar to Be Continued Three Days Longer—Increase in Price of Admission—The Armory Crowded Last Evening,” New York Times (November 30, 1870): 5, as Old Mill.

Earl Shinn [Edward Strahan], ed., The Art Treasures of America: Being the Choicest Works of Art in the Public and Private Collections of North America (Philadelphia: George Barrie, c. 1879), 2:15, as The Old Mill at Sunset.

“Marshall O. Roberts Dead: The Life of One of New York’s Merchants Ended,” New York Times (September 12, 1880): 5, as Old Mill.

“The Marshall O. Roberts Art Collections,” New York Times (January 9,1897): BR7, as Old Mill at Sunset.

“Pictures in the Galleries,” New York Times (January 23, 1897): BR5, as Old Mill—Sunset.

Last Will and Testament with Codicil of Mark Finlay (New York: B. H. Tyrrel, 1909), 1, as The Old Mill at Sunset.

E. L. Morris, Museums of the Brooklyn Institute of Arts and Sciences Report for the Year 1911 (Brooklyn, N.Y.: Museums of the Brooklyn Institute of Arts and Sciences, 1912), 73, as The Old Mill at Sunset.

Royal Cortissoz, “The Hudson River and Barbizon Men,” New York Herald Tribune (January 31, 1932): sec. 7, p. 9, as Old Mill at Sunset.

Edward Alden Jewell, “The Hudson River School,” Creative Art 10 (March 1932): 225, as Old Mill at Sunset.

Paintings of the Hudson River School, exh. cat. (New York: Macbeth Gallery, 1932), unpaginated, as Old Mill at Sunset.

“The Genesis of American Landscape,” Bulletin of the Brooklyn Institute of Arts and Sciences 41 (October 17, 1936): 54, as Old Mill at Sunset.

Royal Cortissoz, “The Pioneers in Our Landscape Art,” New York Herald Tribune (March 10, 1940): sec. 6, p. 8, as Old Mill at Sunset.

J. W. L., “XIX Century American Genre and Landscape,” Art News 38 (March 16, 1940): 14, as Old Mill at Sunset.

Fifty Years of American Landscape and Genre Painting, 1825–1875, exh. cat. (New York: Century Association, 1940), unpaginated, as Old Mill at Sunset.

Margit Varga, “The Rise of American Art,” Studio 125 (April–May 1943): 113, as Old Mill at Sunset.

Frederick A. Sweet, The Hudson River School and the Early American Landscape Tradition, exh. cat. (Chicago: Art Institute of Chicago, 1945), 118, as The Old Mill at Sunset.

Thomas Cole, 1801–1848: One Hundred Years Later, a Loan Exhibition, exh. cat. (Hartford, Conn.: Wadsworth Atheneum, 1948), 32–33, fig. 42, as The Old Mill at Sunset.

From Plymouth Rock to the Armory, exh. cat. (Palm Beach, Fla.: Society of the Four Arts, 1950), unpaginated, as Old Mill at Sunset.

Amerika schildert, exh. cat. (Amsterdam: Stedelijk Museum, 1950), 2, 6, 31, 38, as De oude molen bij zonsondergang.

Two Hundred Years of American Painting, exh. cat. (Vancouver: Vancouver Art Gallery, 1955), unpaginated, as Old Mill at Sunset.

“Victorian Vignettes on View,” New York Herald Tribune (April 8, 1960: 20.

“Victoriana: The Brooklyn Museum Presents an Exhibition of the Arts of the Victorian Era in America When Parlors Were Promiscuous and Morals Were Straight-laced,” Interiors 119 (May 1960): 131.

“Victorian Reigns Here,” Columbus (Ohio) Dispatch (October 3, 1960): 17A.

Victoriana: An Exhibition of the Arts of the Victorian Era in America, exh. cat. (Brooklyn, N.Y.: Brooklyn Museum, 1960), unpaginated, as The Old Mill at Sunset.

Esther H. Dunn, “The Art of Thomas Cole (1801–1848) or How Tastes in Art Change,” 10, as The Old Mill at Sunset, clipping, NAMA curatorial files.

Louis Legrand Noble, The Life and Works of Thomas Cole, ed. Elliot S. Vessell (1853; Cambridge, Mass.: Belknap Press, 1964), 268–69, 286, as Mill at Sunset.

Thomas Cole, Paintings of an American Romanticist, exh. cat. (Baltimore: Baltimore Museum of Art, 1965), 123, as The Old Mill at Sunset.

William H. Gerdts, “Cole’s Painting ‘After the Temptation,’” in Annual II: Studies on Thomas Cole, an American Romanticist (Baltimore: Baltimore Museum of Art, 1967), 103, as The Old Mill at Sunset.

“Thomas Cole: Paintings by an American Romanticist: Reprint of the Exhibition Handlist,” in Annual II: Studies on Thomas Cole, an American Romanticist (Baltimore: Baltimore Museum of Art, 1967), 123, as The Old Mill at Sunset.

John C. Riordan, “Thomas Cole: A Case Study of the Painter-Poet Theory of Art in American Painting from 1825–1850” (Ph.D diss., Syracuse University, 1970) 568, as The Old Mill at Sunset.

Henry H. Glassie, “Thomas Cole and Niagara Falls,” New-York Historical Society Quarterly 58 (April 1974): 109, as Mill at Sunset.

Earl Powell III, “English Influences in the Art of Thomas Cole (1801–1848)” (PhD diss., Harvard University, 1974), 149, fig. 42, as The Old Mill at Sunset.

Grace Glueck, “Brooklyn Museum Gets Huge Canvas,” New York Times (July 6, 1976): 27, as The Old Mill at Sunset.

Hirschl & Adler Galleries, The American Experience (New York: Hirschl & Adler Galleries, 1976), unpaginated, as Old Mill at Sunset.

Earl A. Powell III, “Thomas Cole’s ‘Dream of Arcadia,’”Arts Magazine 52 (November 1977): 115, as The Old Mill at Sunset.

Mahonri Sharp Young, “American Objects,” Apollo 114 (October 1981): 259–60, as Old Mill at Sunset.

Mark Stevens with Maggie Malone, “The Fine Art of Collecting,” Newsweek (November 9, 1981): 86.

Hope Ridings Miller, “Ganz Collection Reflects Astute Art Appreciation,” Antique Monthly 15 (December 1981): 10A, as The Old Mill at Sunset.

John Wilmerding, Linda Ayres, and Earl A. Powell, An American Perspective: Nineteenth-Century Art from the Collection of Jo Ann and Julian Ganz, Jr., exh. cat. (Washington, D.C.: National Gallery of Art, 1981), 14, 16, 122–23, as The Old Mill at Sunset.

Matthew Baigell, Thomas Cole (New York: Watson-Guptill Publications, 1981), 26, 68–69, 70, as The Old Mill at Sunset.

Linda Ayres, “An American Perspective: Nineteenth-Century Art from the Collection of Jo Ann and Julian Ganz Jr.,” Antiques 121 (January 1982): 258–59, as The Old Mill at Sunset.

Suzanne Muchnic, “At the Los Angeles County Museum: The Pleasures of Times Past,” Los Angeles Times (July 4, 1982): J10, as The Old Mill at Sunset.

Franklin Kelly, Frederic Edwin Church and the National Landscape (Washington, D.C.: Smithsonian Institution Press, 1988), 2, 5–6, 173, as The Old Mill at Sunset.

Ellwood C. Parry III, The Art of Thomas Cole: Ambition and Imagination (Newark: University of Delaware Press, 1988), 297, as The Old Mill at Sunset.

Earl A. Powell III, Thomas Cole (New York: Harry N. Abrams, 1990), 116–17, 129, as The Old Mill at Sunset.

Angela Miller, The Empire of the Eye: Landscape Representation and American Cultural Politics, 1825–1875 (Ithaca, N.Y.: Cornell University Press, 1993), 52, as The Old Mill at Sunset.

John Caldwell and Oswaldo Rodriguez Roque, American Paintings in the Metropolitan Museum of Art, vol. 1, A Catalogue of Works by Artists Born by 1815 (New York: Metropolitan Museum of Art, in association with Princeton University Press, 1994), 461, as The Old Mill at Sunset).

William H. Truettner and Alan Wallach, eds., Thomas Cole: Landscape into History, exh. cat. (New Haven: Yale University Press. Washington, D.C.: National Museum of American Art, Smithsonian Institution, 1994), 127–28, 174, as The Old Mill at Sunset.

William H. Gerdts, “Thomas Cole at Brooklyn,” Apollo 141 (April 1995): 57, as Old Mill at Sunset.

Arlene Katz Nichols, The American Vasari: William Dunlap and His World, exh. cat. (New York: Hirschl & Adler Galleries, 1998), 24, 29, as The Old Mill at Sunset.

Grace Glueck, “A Historian Who Wielded a Brush as Well as a Pen,” New York Times (January 8, 1999): E39, as The Old Mill at Sunset.

Alice Thorson, “Nelson Lands Thomas Cole Painting,” Kansas City Star (March 4, 2005): E1, E9, as The Old Mill at Sunset.

Margaret C. Conrads, “Thomas Cole: The Old Mill at Sunset,” American Art Review 17 (March 2005): 164–65, as The Old Mill at Sunset.

Margaret C. Conrads, “Decades-long Quest for Work by Thomas Cole Concludes with Major Acquisition,” Member Magazine (Nelson-Atkins Museum of Art), Spring 2005, 9–12, cover (as The Old Mill at Sunset).