conservation

Claude Gellée, otherwise known as Claude Lorrain or Le Lorrain (1604–1682), completed Mill on the Tiber around 1650 on a twill-weavetwill weave: A canvas weave in which one weft thread passes over one or more warp threads before passing under two or more warp threads, creating a pronounced diagonal pattern. canvas.¹Evidence of the twill weave is visible in x-radiography and in raking light. Little more can be inferred from the canvas, as the painting’s tacking marginstacking margins: The outer edges of canvas that wrap around and are attached to the stretcher or strainer with tacks or staples. See also tacking edge. were removed, possibly during a lininglining: A procedure used to reinforce a weakened canvas that involves adhering a second fabric support using adhesive, most often a glue-paste mixture, wax, or synthetic adhesive. at an early date in its history. The painting was resized to enlarge the picture planepicture plane: The two-dimensional surface where the artist applies paint., likely before 1837, with additions of approximately 1 to 1.5 centimeters around all four sides.²Marcel Rothlisberger notes that the dimensions of the painting were altered sometime before 1837, which is when the current dimensions were first mentioned. Marcel Rothlisberger, Claude Lorrain: The Paintings (New York: Hacker Art Books, 1979), 303. While the original dimensions for this painting are unknown, stretcher-bar cracksstretcher cracks: Linear cracks or deformations in the painting’s surface that correspond to the inner edges of the underlying stretcher or strainer members. indicate that the current width may be slightly reduced from the original size, despite the prior extension at the edges.

Fig. 7. Photomicrograph of loss in the sky revealing a gray preparatory layer, Mill on the Tiber (ca. 1650)

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Fig. 8. Photomicrograph of the water, illustrating textured brushwork and the dark preparatory layer, Mill on the Tiber (ca. 1650)

fullscreen Fig. 8. Photomicrograph of the water, illustrating textured brushwork and the dark preparatory layer, Mill on the Tiber (ca. 1650)

Fig. 9. Photomicrograph of incised horizon line, Mill on the Tiber (ca. 1650)

fullscreen Fig. 9. Photomicrograph of incised horizon line, Mill on the Tiber (ca. 1650)

Fig. 10. Perspective diagram illustrating vanishing points that extend past the picture plane of Mill on the Tiber (ca. 1650)

fullscreen Fig. 10. Perspective diagram illustrating vanishing points that extend past the picture plane of Mill on the Tiber (ca. 1650)

Fig. 11. X-radiograph of Mill on the Tiber (ca. 1650), with a blue box around a possible artist change of a tree trunk and a red arrow indicating the landscape application beneath the figures

fullscreen Fig. 11. X-radiograph of Mill on the Tiber (ca. 1650), with a blue box around a possible artist change of a tree trunk and a red arrow indicating the landscape application beneath the figures

Fig. 12. Photomicrograph illustrating wet-over-wet paint application in the large tree, Mill on the Tiber (ca. 1650)

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Fig. 13. Detail of a figure in a window, Mill on the Tiber (ca. 1650)

fullscreen Fig. 13. Detail of a figure in a window, Mill on the Tiber (ca. 1650)

Fig. 14. Photomicrograph of blanching crossing the hair of the main male figure, Mill on the Tiber (ca. 1650)

fullscreen Fig. 14. Photomicrograph of blanching crossing the hair of the main male figure, Mill on the Tiber (ca. 1650)

Both Claude paintings in the Nelson-Atkins collection were studied to determine possible causes of this blanching. Comparative samples were taken in blanched and non-blanched regions of various colors, and cross sections were prepared to study the alteration. Their various strata were examined with the optical microscope. Elemental compositions were obtained in the scanning electron microscope (SEM)scanning electron microscopy (SEM): Performed on a microsample of paint, the SEM provides a means of studying particle shapes beyond the magnification limits of the light microscope. This becomes increasingly important with the painting materials introduced in the early modern era, which are finer and more diverse than traditional artists’ materials. The SEM is routinely used in conjunction with an X-ray spectrometer, so that elemental identifications can be made selectively on the same minute scale as the electron beam producing the images. SEM methods are particularly valuable in studying unstable pigments, adverse interactions between incompatible pigments, and interactions between pigments and surrounding paint medium, all of which can have profound effects on the appearance of a painting., paying particular attention to the alteration of pigments and the formation of deterioration products atop the layers. In addition, regions of Mill on the Tiber were scanned with X-ray fluorescence elemental mapping (MA-XRF)X-ray fluorescence spectrometry elemental mapping (MA-XRF) or XRF elemental mapping: A non-destructive technique that entails collecting thousands of X-ray fluorescence spectra at regular intervals across a painting to build an alternate set of images depicting the locations and amounts of different elements. Although the information is fundamentally the same as measurements gathered from a single-point XRF, the graphical nature of the result is often a more powerful technique for understanding trends in an artist’s use of materials. The high number of spectra allows statistical manipulations of the elemental information to locate correlations between different pigments that would not be possible from a small number of tests. For example, the consistent occurrence of mercury along with chromium, and iron along with copper, could show that vermilion was used to mute the chrome green and red ocher was similarly employed in a mixture that includes emerald green. The resulting correlation maps then serve to show where the two cases occur in the composition. MA-XRF can also reveal preliminary paint applications that became covered as the composition was completed, thereby disclosing aspects of the painter’s method.. The combined results of elemental analyses in the SEM localized in individual layers, elemental distributions mapped over the painting surface, and optical microscopy of paint samples allowed a partial palette to be identified.¹⁰John Twilley, “Blanching Phenomena, Pigment Analyses, and XRF Elemental Mapping Results for Claude Gellée’s Mill on the Tiber, ca. 1650, #32-78,” unpublished scientific report, Nelson-Atkins conservation file, January 7, 2024.

The majority of pigment particles throughout the painting are small in size, sometimes causing complications in the identification of pigments. While metal soaps were not abundant on this painting or Landscape with a Piping Shepherd, reaction products of lead with chloride and sulfate were often found atop the paint layer. The combination of fine particles with high surface area and lead mobilization to form these reaction products on the surface may have been the cause of blanching. In addition, the use of pre-industrial cleaning products, such as alkaline soaps, during historical restorations may have supplied some of the reactants contributing to the whitish appearance. In the case of Mill on the Tiber, additional uneven cleaning techniques may have resulted in the localized removal of blanching or localized formation of blanching (Fig. 15).

Fig. 15. Uneven blanching within the large tree, Mill on the Tiber (ca. 1650)

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The painting has an elaborate restoration and conservation history, making it unclear precisely how it appeared when it was first completed. The earliest documented conservation treatment dates to 1942/1943, when the painting was cleaned and relined with wax by James Roth.¹²James Roth, September 11, 1943, treatment report, Nelson-Atkins conservation file, 32-78.^,13A document in the Nelson-Atkins curatorial file also mentions a 1933 treatment of a Claude Lorraine [sic] painting, which was cleaned by M. J. Rougeron, a paintings restorer based in New York. However, it is not specified by title which Claude Lorrain painting was treated, Mill on the Tiber (32-78) or Landscape with a Piping Shepherd (31-57). The painting was subsequently cleaned from 1980 to 1982 by Forrest Bailey.¹⁴Forrest R. Bailey, September 11, 1980, and September 2, 1982, treatment reports, Nelson-Atkins conservation file, 32-78. Photographs captured during Bailey’s treatment document that original paint had been overpaintedoverpaint: Restoration paint that covers original paint that may or may not be damaged. Historically, overpaint has often been applied too broadly, altering the intended aesthetic of the painting and sometimes introducing conceptions foreign to the original artist, thereby altering our understanding of the work and the era to which it belongs. along the edges and was revealed during his cleaning. This original paint, however, appeared to be severely fragmented and was subsequently covered again during the 1982 treatment. Retouchingretouching: Paint application by a conservator or restorer to cover losses and unify the original composition. Retouching is an aspect of conservation treatment that is aesthetic in nature and that differs from more limited procedures undertaken solely to stabilize original material. Sometimes referred to as inpainting or retouch. and overpaint dating from this treatment do not match the milky or hazy appearance found within the adjacent foliage of the composition today, suggesting that the change in surface appearance has progressed over the forty-plus years since 1982. During that conservation campaign, a synthetic varnish was applied and appears to have darkened slightly.

Notes

1. Evidence of the twill weave is visible in x-radiography and in raking light.

2. Marcel Rothlisberger notes that the dimensions of the painting were altered sometime before 1837, which is when the current dimensions were first mentioned. Marcel Rothlisberger, Claude Lorrain: The Paintings (New York: Hacker Art Books, 1979), 303.

3. Beneath this incised line is perhaps a second, less prominent incised line.

4. Sheila McTighe, “Poussin’s Practice: A New Plea for Poussin as a Painter,” Kermes 27, nos. 94–95 (April–September 2014): 14.

5. For more information on Claude’s use of perspective, see Hubert Damisch, “Claude: A Problem in Perspective,” Studies in the History of Art 14 (1984): 29–44.

6. This component is not present in the final drawing in Liber Veritatis, a compilation of drawings the artist created to record his completed paintings. However, as that series of drawings was used to chronicle completed work, Claude would not have included changed elements of the original composition.

7. There are few cracks in this area; however, it appears there is a dark layer present below the paint for the sky in this clearing.

8. Humphrey Wine, Claude: The Poetic Landscape (London: National Gallery, 1994), 12–13.

9. The signature is found in the landscape to the right of the male figure and reads “Claudio 1650” in stylized lettering appearing as “CLꜶDIO.”

10. John Twilley, “Blanching Phenomena, Pigment Analyses, and XRF Elemental Mapping Results for Claude Gellée’s Mill on the Tiber, ca. 1650, #32-78,” unpublished scientific report, Nelson-Atkins conservation file, January 7, 2024.

11. Karin Groen, “Scanning Electron-Microscopy as an Aid in the Study of Blanching,” in The Hamilton Kerr Institute Bulletin Number 1: The First Ten Years; The Examination and Conservation of Paintings 1977 to 1987, ed. Ian McClure (Cambridge: Hamilton Kerr Institute of the Fitzwilliam Museum, University of Cambridge, 1988), 49.

12. James Roth, September 11, 1943, treatment report, Nelson-Atkins conservation file, 32-78.

13. A document in the Nelson-Atkins curatorial file also mentions a 1933 treatment of a Claude Lorraine [sic] painting, which was cleaned by M. J. Rougeron, a paintings restorer based in New York. However, it is not specified by title which Claude Lorrain painting was treated, Mill on the Tiber (32-78) or Landscape with a Piping Shepherd (31-57).

14. Forrest R. Bailey, September 11, 1980, and September 2, 1982, treatment reports, Nelson-Atkins conservation file, 32-78.

provenance

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.

Possibly Claude Gellée (Claude Lorrain), The Sea of Galilee with Christ Calling Peter and Andrew, 1665, oil on canvas, possibly 19 11/16 x 25 9/16 in. (50 x 65 cm), now lost; see Claude Gellée (Claude Lorrain), The Sea of Galilee with Christ calling Peter and Andrew (Matthew, IV, 18 and Mark, I, 16f), record of painting (whereabouts unknown) from the Liber Veritatis, 1665, pen and brown ink on paper, 7 5/8 x 10 in. (19.5 x 25.4 cm), Liber Veritatis, no. 165, British Museum, London, 1957,1214.171.

Claude Gellée (Claude Lorrain), Landscape with a Piping Shepherd, 1667, oil on canvas, 20 1/2 x 27 3/8 in. (52.1 x 69.5 cm), The Nelson-Atkins Museum of Art, Kansas City, MO, 31-57.

Claude Gellée (Claude Lorrain), Figure study for a pastoral landscape; a woman seated playing a musical instrument, a herdsman beside her, 1650–1651, black chalk, brown wash; Verso: The same herdsman, holding a staff, black chalk, 6 1/8 x 9 in (15.5 x 22.9 cm), British Museum, London, Oo,7.141.

Claude Gellée (Claude Lorrain), Pastoral Landscape, Record of a Painting in Kansas City (Missouri), William Rockhill Nelson Gallery of Art, from the Liber Veritatis; two figures seated on a rock in the center foreground, goats nearby, two boats on a river with trees on the left bank, buildings and cliffs towards the right, ca. 1650, pen and brown ink, with brown and gray wash on paper, 7 5/8 x 10 in. (19.4 cm x 25.4 cm), Liber Veritatis, no. 123, British Museum, London, 1957,1214.129.

Richard Earlom (English, 1743–1822), after Claude Gellée (Claude Lorrain), The Mill on the Tiber, 1776, etching with mezzotint, plate: 8 1/4 x 10 1/4 in. (20.9 x 26 cm), sheet: 10 1/4 x 16 7/8 in. (26 x 42.8 cm), The Nelson-Atkins Museum of Art, Kansas City, MO, Purchase: acquired through the Print Duplicate Fund, 68–6/1.

John Glover (English, 1767–1849), after Claude Gellée (Claude Lorrain), Mill on the Tiber, ca. 1840, oil on canvas, 30 x 45 in. (76 x 114 cm), sold at Important Australian and International Art, Menzies, South Yarra, Australia March 27, 2024), lot 39, as Mill on the Tiber (after Claude), http://www.menziesartbrands.com/items/20599.

exhibitions

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.

references

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.

conservation2

In 1667, Claude Gellée, also known as Claude Lorrain or Le Lorrain (1604–1682), completed the painting Landscape with a Piping Shepherd, a work that demonstrates his skill in capturing atmospheric perspectiveatmospheric perspective: An artistic technique used to create the illusion of depth in a composition in which distant elements are cooler and more diffuse, causing them to recede.. Questions exist regarding the original size of the painting because the tacking marginstacking margins: The outer edges of canvas that wrap around and are attached to the stretcher or strainer with tacks or staples. See also tacking edge. of the twill-weavetwill weave: A canvas weave in which one weft thread passes over one or more warp threads before passing under two or more warp threads, creating a pronounced diagonal pattern. canvas are no longer extant.¹Evidence of the twill weave is visible in the film-based x-radiograph, no. X, Nelson-Atkins conservation file, 31-57. The canvas was resized to enlarge the composition at an unknown date. An attempt was made to recreate the original dimensions during a conservation campaign at the Nelson-Atkins in 1971.

Fig. 16. Photomicrograph of light green underlayer within the middle ground, Landscape with a Piping Shepherd (1667)

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Fig. 17. Claude Lorrain, drawn record of Mill on the Tiber, ca. 1650, pen with brown and gray washes on paper, 7 5/8 x 10 in. (19.4 cm x 25.4 cm), British Museum, London, 1957,1214.129

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Fig. 18. Claude Lorrain, drawn record of Landscape with Piping Shepherd, 1667, pen and brown ink with gray and gray-brown washes on paper, 7 5/8 x 10 3/16 in. (19.3 x 25.8 cm), British Museum, London, 1957,1214.178

fullscreen Fig. 18. Claude Lorrain, drawn record of Landscape with Piping Shepherd, 1667, pen and brown ink with gray and gray-brown washes on paper, 7 5/8 x 10 3/16 in. (19.3 x 25.8 cm), British Museum, London, 1957,1214.178

Fig. 19. Photomicrograph of figures and an animal on the bridge, Landscape with a Piping Shepherd (1667)

fullscreen Fig. 19. Photomicrograph of figures and an animal on the bridge, Landscape with a Piping Shepherd (1667)

Fig. 20. Detail of the buildings on the cliff, illustrating the peach highlights, Landscape with a Piping Shepherd (1667)

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Fig. 21. Detail of the large tree, Landscape with a Piping Shepherd (1667)

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Fig. 22. Photomicrograph of blanching delineation on the lower left edge, Landscape with a Piping Shepherd (1667)

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The pigments found in both Nelson-Atkins paintings are consistent with those identified in other Claude paintings as the “typical Claude mixture.”⁹Groen, “Scanning Electron-Microscopy as an Aid in the Study of Blanching,” 49. The majority of the pigments are finely ground and are utilized in complex admixtures. Throughout the foliage, green earth, smalt, and lead-tin yellow are present, with Naples yellow used within highlights. Ultramarine blue is the primary blue in the sky. Vermilion and bone black were also identified, and lead white is prevalent throughout the painting.

The painting has undergone multiple restoration and conservation campaigns throughout its history.¹⁰A brief note in the Nelson-Atkins curatorial file states that on a Claude Lorrain painting, the following treatment was completed in 1933 by M. J. Rougeron: “Dissolve varnish and repainted parts on the edge. Re-place priming, properly restore aged and damaged parts. Light glazing, varnish and encaustic finish.” It is unclear if this note is in reference to this painting or Mill on the Tiber (32-78). Marcel Jules Rougeron was a paintings restorer, art dealer, and collector in New York. The most recent conservation campaign was completed in 1971, when the painting was cleaned, a glue-paste lininglining: A procedure used to reinforce a weakened canvas that involves adhering a second fabric support using adhesive, most often a glue-paste mixture, wax, or synthetic adhesive. was removed, a new wax-resin lining was completed, and the canvas was reformatted to its current size.¹¹James Roth, September 15, 1971, treatment report, Nelson-Atkins conservation file, 31-57. This reformatting reduced the picture plane by approximately 1 1/2 inches vertically and 1 inch horizontally. During this campaign, an attempt was made to reduce the blanching; however, the haze was not successfully removed. A significant amount of retouchingretouching: Paint application by a conservator or restorer to cover losses and unify the original composition. Retouching is an aspect of conservation treatment that is aesthetic in nature and that differs from more limited procedures undertaken solely to stabilize original material. Sometimes referred to as inpainting or retouch. was completed to integrate traction cracks and create a cohesive image. Warm retouching was liberally added within the foliage, presumably to balance the overly blue appearance caused by the blanching, and a synthetic varnish was applied to the surface.

Notes

1. Evidence of the twill weave is visible in the film-based x-radiograph, no. X, NAMA conservation file, 31-57.

2. The lower gray layer in the sky may have appeared bluer when it was first applied, shifting to gray due to smalt degradation.

3. Many traction cracks contain retouching, while some allow this dark preparatory layer to remain exposed.

4. Claude Lorrain created this sketchbook as a record of his completed paintings in order to prevent forgeries and confusion of his works. Both drawings are titled Pastoral Landscape, and in reference to the corresponding drawing for Landscape with a Piping Shepherd, Michael Kitson states that “the drawing corresponds to the painting exactly.” Michael Kitson, Claude Lorrain: Liber Veritatis (London: British Museum Publications, 1978), 7, 160.

5. Marcel Roethlisberger, “Claude Lorrain: Some New Perspectives,” in “Claude Lorrain 1600–1682: A Symposium,” ed. Pamela Askew, special issue, Studies in the History of Art 14 (1984): 59–61.

6. The signature was identified by Hal Prestwood, conservation technician, Nelson-Atkins, in 2004 as: “Claudio [or CLꜶDIO] / ROMA [or ROMӔ] 1667.” Hal Prestwood, February 17, 2004, digital documentation, Nelson-Atkins conservation file, no. 31-57.

7. David C. Ditner, “Claude and the Ideal Landscape Tradition in Great Britain,” Bulletin of the Cleveland Museum of Art 70, no. 4 (April 1983): 152.

8. Karin Groen, “Scanning Electron-Microscopy as an Aid in the Study of Blanching,” in The Hamilton Kerr Institute Bulletin Number 1: The First Ten Years; The Examination and Conservation of Paintings 1977 to 1987, ed. Ian McClure (Cambridge: Hamilton Kerr Institute of the Fitzwilliam Museum, University of Cambridge, 1988), 49.

9. Groen, “Scanning Electron-Microscopy as an Aid in the Study of Blanching,” 49.

10. A brief note in the Nelson-Atkins curatorial file states that on a Claude Lorrain painting, the following treatment was completed in 1933 by M. J. Rougeron: “Dissolve varnish and repainted parts on the edge. Re-place priming, properly restore aged and damaged parts. Light glazing, varnish and encaustic finish.” It is unclear if this note is in reference to this painting or Mill on the Tiber (32-78). Marcel Jules Rougeron was a paintings restorer, art dealer, and collector in New York.

11. James Roth, September 15, 1971, treatment report, Nelson-Atkins conservation file, 31-57.

provenance2

Probably purchased from the artist by Cornelis de Wael on behalf of Don Antonio Ruffo (1610–1678), 1st Principe della Scaletta, Messina, Italy, 1667–December 26, 1673 [1];

Probably given to his son, Don Placido Ruffo (1646–1710), 2nd Principe della Scaletta and 1st Principe della Floresta, Messina, Italy, 1673–May 5, 1710 [2];

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 [3];

Probably inherited by his uncle, Don Giovanni Ruffo e La Rocca (ca. 1684–ca. 1755/1756), 5th Principe della Scaletta, Messina, Italy, 1750–1755/1756 [4];

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 [5];

Lord Charles Kinnaird (1780–1826), 8th Lord Kinnaird of Inchture, Scotland, by late 1812;

Purchased from Lord Kinnaird by John Glover (1767–1849), London and Patterdale, UK, by January 1, 1813–1836 [6];

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. 1070, as Landscape Youth Playing on Pipe, by September 6, 1836–1838 [7];

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, by 1841 [8];

Purchased from John Smith and Sons by Sir Thomas Baring (1772–1848), 2nd Baronet, London, June 18, 1841–April 3, 1848 [9];

Purchased by his son, Thomas Baring (1799–1873), London, 1848–November 18, 1873 [10];

By descent to his nephew, Thomas George Baring (1826–1904), 1st Earl of Northbrook, London, 1873–November 15, 1904 [11];

By descent to his son, Francis George Baring (1850–1929), 2nd Earl of Northbrook, London, 1904–at least 1926 [12];

With Durlacher Brothers, London, by September 9, 1930 [13];

Transferred to Durlacher Brothers, New York, by January 27, 1931 [14];

Purchased from Durlacher Brothers, through Harold Woodbury Parsons, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1931.

Notes

[1] Cornelis de Wael (Flemish, 1592–1667) was a dealer and painter of marine subjects who lived primarily in Genoa (1631–1656) and Rome (1656–1667). He is thought to be the “Deveal” whom Claude mentions in connection with no. 152 in his Liber Veritatis, the book of drawings he used to record his painting compositions; see Marcel Rœthlisberger, Claude Lorrain: The Paintings, 2nd ed. (New York: Hacker Art Books, 1979), 1:359n1. Rœthlisberger believed that Ruffo ordered two paintings “as pendants a posteriori” to Mill on the Tiber, which Ruffo had acquired in 1663. One is Landscape with a Piping Shepherd and the other painting entitled Sunrise is now lost, but Rœthlisberger proposed The Sea of Galilee with Christ Calling Peter and Andrew, which is known only by a drawing in the Liber Veritatis, no. 165. The Mill on the Tiber and Landscape with a Piping Shepherd have similar dimensions and are both morning scenes. See Marcel Rœthlisberger, Claude Lorrain: The Paintings (New Haven: Yale University Press, 1961), pp. 303, 304n2, 356, 359n1.

[2] The painting was part of Don Antonio’s propter nuptias (marriage gift) to his son Don Placido, 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, under 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.”

[3] 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.

[4] See note 3.

[5] 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.

[6] According to John Smith, John Glover purchased Landscape with a Piping Shepherd from Lord Kinnaird for £1000 (date not specified); see John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters (London: Smith and Son, 1837), 8:289. The only painting by Claude in Lord Kinnaird’s sale, A Genuine and Highly Select Collection of Sixteen Pictures: Being Chef d’Œuvres of the Most Eminent Artists of the Different Schools, Collected by a Nobleman at Phillips, London, on May 21, 1811, was lot 11, an “elegant Italian landscape” that was offered for £640.10, but it was bought in. Therefore, it is more likely that Glover purchased Landscape with a Piping Shepherd directly from Lord Kinnaird—whom he had known since at least 1808—in a private sale. David Hansen proposes that it is “feasible” that Glover purchased both Mill on the Tiber and Landscape with a Piping Shepherd from Kinnaird in late 1812, because the English landscape painter Joseph Farington (1747–1821) noted in his diary entry for January 1, 1813, that Glover “had lately given 1700 guineas for two pictures painted by Claude”; see David Hansen, John Glover and the Colonial Picturesque, exh. cat. (Hobart, Tasmania: Tasmanian Museum and Art Gallery, 2003), 135. See also Hansen’s essay for Glover’s copy after the Nelson-Atkins picture in Important Australian and International Art: including property formerly in the collection of the Late Mr Irvin Rockman CBE (Melbourne: Smith and Singer, November 22, 2011), 36, where he asserts that Glover bought Landscape with a Piping Shepherd from Kinnaird in 1812.

On September 4, 1830, John Glover emigrated with his family to Van Diemen’s Land (now Tasmania). Prior to this, Landscape with a Piping Shepherd 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, 8:289. According to the same source, its pendant Mill on the Tiber was also bought in by the auctioneer George Stanley for 700 guineas. It seems evident that George Stanley, in his capacity as auctioneer, bought in both pictures on John Glover’s behalf, likely before leaving them with Glover’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.

[7] 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.

[8] Sebag-Montefiore and Armstrong-Totten, A Dynasty of Dealers, 220n111.

[9] Baring purchased Landscape with a Piping Shepherd for £800. 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. 337, Getty Research Institute, Los Angeles.

[10] 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.

[11] 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.

[12] See Louis Dimier, Histoire de la Peinture Française: Du Retour de Vouet à la Mort de Lebrun, 1627 à 1690 (Paris: G. van Oest, 1926), 1:76, 86. 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.

[13] 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.

[14] Durlacher shipped the painting to Kansas City on January 27, 1931. See letter from R. Kirk Askew, Jr., Durlacher Bros., New York, to Robert A. Holland, curator of collections, The Nelson-Atkins Museum of Art, January 27, 1931, NAMA curatorial files.

Claude Gellée (Claude Lorrain), Landscape with a Piping Shepherd, ca. 1629–1632, oil on canvas, 25 3/4 x 37 1/2 in. (65.4 x 95.3 cm), Norton Simon Museum, Pasadena, CA, M.2007.3.P.

Claude Gellée (Claude Lorrain), A Landscape with a Shepherd Piping, 1630–1635, oil on canvas, 37 3/4 x 52 in. (96 x 132 cm), Schoellerbank, A. G., Vienna, ca. 1995.

Claude Gellée (Claude Lorrain), Pastoral Landscape, 1644, oil on canvas, 38 1/2 x 54 in. (98 x 137 cm), Musée des Beaux-Arts, Grenoble.

Claude Gellée (Claude Lorrain), Landscape with Apollo Guarding the Herds of Admetus and Mercury Stealing Them, 1645, oil on canvas, 21 5/8 x 17 11/16 in. (55 x 45 cm), Galleria Doria Pamphilj, Rome.

Claude Gellée (Claude Lorrain), Mill on the Tiber, ca. 1650, oil on canvas, 21 3/8 x 28 1/8 in. (54.3 x 71.4 cm), The Nelson-Atkins Museum of Art, Kansas City, MO, 32-78.

Claude Gellée (Claude Lorrain), Landscape with Apollo Guarding the Herds of Admetus and Mercury Stealing Them, 1660, oil on canvas, 29 5/16 x 43 7/16 in. (74.5 x 110.4 cm), Wallace Collection, London, P114.

Possibly Claude Gellée (Claude Lorrain), The Sea of Galilee with Christ Calling Peter and Andrew, 1665, oil on canvas, possibly 19 11/16 x 25 9/16 in. (50 x 65 cm), now lost; see Claude Gellée (Claude Lorrain), The Sea of Galilee with Christ calling Peter and Andrew (Matthew, IV, 18 and Mark, I, 16f), record of painting (whereabouts unknown) from the Liber Veritatis, 1665, pen and brown ink on paper, 7 5/8 x 10 in. (19.5 x 25.4 cm), Liber Veritatis, no. 165, British Museum, London, 1957,1214.171.

Claude Gellée (Claude Lorrain), Landscape with Apollo and Mercury, Record of a Painting in the Collection of Maj-Gen E H Goulburn (England), from the Liber Veritatis; A figure on a rock in the foreground, cattle, some herded by another figure, and goats nearby, a river with wooded banks moves into the right foreground, 1666, pen and brown ink, with gray and brown wash, heightened with white; on blue paper, 7 5/8 x 10 in. (19.4 x 25.6 cm), Liber Veritatis, no. 170, British Museum, London, P_1957-1214-176.

Claude Gellée (Claude Lorrain), Pastoral landscape, record of painting in William Rockhill Nelson Gallery of Art, Kansas City, Missouri from the Liber Veritatis; In foreground figure (Apollo) sitting on a rock at left, and a herd of goats, beyond herdsman (Mercury?) at right, and river meandering into background, 1667, pen and brown ink, and gray wash, with gray-brown wash on paper, 7 5/8 x 10 3/16 in. (19.3 x 25.8 cm), Liber Veritatis, no. 172, British Museum, London, 1957,1214.178.

Richard Earlom (English, 1743–1822), after Claude Gellée (Claude Lorrain), Landscape with a Piping Shepherd, 1776, etching with mezzotint, plate: 8 1/4 x 10 1/4 in. (21 x 26 cm); sheet: 10 1/4 x 16 7/8 in. (26 x 42.8 cm), The Nelson-Atkins Museum of Art, Kansas City, MO, Purchase: acquired through the Print Duplicate Fund, 68–6/2.

Matthew Dubourg (British, active 1786–1838), after Claude Gellée (Claude Lorrain), Landscape, 1809, engraving print proof on India paper, no dimensions given, Victoria and Albert Museum, London, DYCE.2927.

John Glover (English, 1767–1849), after Claude Gellée (Claude Lorrain), Landscape with a Piping Shepherd, ca. 1815, oil on canvas, 21 x 27 in. (53.3 x 68.6 cm), Queen Victoria Museum and Art Gallery, Launceston, Tasmania, QVM:2011:FP:0009.

John Glover, after Claude Gellée (Claude Lorrain), Landscape with Piping Shepherd, 1833, oil on canvas, 28 1/2 x 43 9/10 in. (72.5 x 111.5 cm), National Gallery of Australia, Canberra, 2011.1273.

exhibitions2

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 the Works of the Old Masters, Associated with Works of Deceased Masters of the British School, Winter Exhibition, Royal Academy, London, January–March 1871, no. 166, as A Landscape: Sunrise.

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. 88, as Shepherd Playing on a 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. 71, as A Shepherd Playing on a Pipe.

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. 26, as A Shepherd Playing on Pipe.

Exposition du Paysage Français de Poussin à Corot, Palais des Beaux-Arts, Paris, May–June 1925, no. 119, as Paysage avec un pâtre jouant du fifre.

Exhibition, Kansas City Art Institute, MO, December–January 1931, no cat., as Landscape with a Piping Shepherd.

Landscape Paintings from the Sixteenth to the Twentieth Century, Berkshire Museum, Pittsfield, MA, June 25–July 20, 1937, no. 9, as Landscape with a Piping Shepherd.

An Exhibition of Paintings and Drawings of Claude Lorrain, 1600–1682, Durlacher Brothers, New York, January 19–February 12, 1938, no. 3, as Landscape with a Piping Shepherd.

Temporary Exhibition, The Nelson-Atkins Museum of Art, Kansas City, MO, December 1941–January 1942, no cat., as Landscape with a Piping Shepherd.

Renaissance and Baroque Art, Seattle Art Museum, February 8–March 5, 1950, no. 82, as Landscape with Piping Shepherd.

Claude Lorrain, 1600–1682: Paintings, Drawings, Prints, Smith College Museum of Art, Northampton, MA, May 1–June 23, 1952, no. 4, as Landscape with a Piping Shepherd.

Opening Exhibition, George Thames Hunter Gallery of Art, Chattanooga, TN, July 12–August 3, 1952, as Landscape with a Piping Shepherd.

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. 2, as Landscape with Piping Shepherd.

#references2

A Genuine and Highly Select Collection of Sixteen Pictures: Being Chef d’Œuvres of the Most Eminent Artists of the Different Schools, Collected by a Nobleman ([London]: [Phillips], May 21, 1811), 4, as An elegant Italian Landscape.

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, 8, as A Shepherd playing on a pipe, five Goats repose near him, and seven others are browsing in the surrounding meadows of a rich and well wooded landscape.

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.

Possibly “Fine Arts: Mr. Glover’s Pictures,” New Monthly Magazine and Literary Journal 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, Morning.

Peregrine Langton Massingberd, “Journal of Peregrine Langton Massingberd (as filmed by AJCP),” 1832–1833, originals in Massingberd Family Archives, Lincolnshire Archives, Lincoln, UK; microfilm of the records as part of the Australian Joint Copying Project, National Library of Australia, M M719, https://nla.gov.au/nla.obj-893508024/view.

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), 288–89, 472, as A Shepherd playing on a Pipe.

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 (The Companion.) Shepherd playing on a 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, as A landscape, with trees and water; in front a shepherd piping. A charming picture, of his middle time.

Exhibition of the Works of the Old Masters, Associated with Works of Deceased Masters of the British School, exh. cat. (London: William Clowes and Sons, 1871), 16, 38–39, as A Landscape: Sunrise.

[Emilia Francis Strong Dilke], Claude Lorrain: Sa Vie et ses Œuvres d’après des documents inédits (Paris: J. Rouam, 1884), 94, 96, 191, 233, as Effet de soleil couchant.

Owen J. Dullea, Claude Gellée le Lorrain (London: S. Low, Marston, Searle, and Rivington, 1887), 116, 125, as Landscape: Shepherd Piping and goats.

George Redford, Art Sales: A History of Sales of Pictures and Other Works of Art (London: Bradbury, Agnew, 1888), 2:275, as Italian landscape. Cabinet size.

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), 23, 69–70, as Shepherd Playing on a 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), 189, 192, 216, as A Shepherd Playing on a Pipe and Shepherd Playing the Flute.

George Grahame, Claude Lorrain: Painter and Etcher (London: Seeley, 1895), 51.

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), 20, 65–66, as A Shepherd Playing on a Pipe.

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 Schäfer auf einer Pfeife spielend.

Raymond Bouyer, Les grands artistes: Leur vie. — leur œuvre; Claude Lorrain (Paris: Henri Laurens, [1905]), 97, 126, (repro.), as Le Chevrier au soleil couchant.

Edward Dillon, Claude (London: Methuen, 1905), 187.

Masters in Art: A series of Illustrated Monographs (Boston: Bates and Guild, 1905), 6:377, as Two Landscapes.

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), 6, as A Shepherd Playing on Pipe.

The Masterpieces of Claude (1600–1682) (London: Gowans and Gray, 1911), 7, 67, (repro.), as Shepherd Playing the Pipe / Berger jouant sur le pipeau / Schäfer auf einer Pfeife spielend and Shepherd playing a flute.

Algernon Graves, A Century of Loan Exhibitions, 1813–1912 (New York: Burt Franklin, 1913), 1:179, as Shepherd playing on Pipe.

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 Nascita del Sole.

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–Morning.

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.

Henri Lapauze, Camille Gronkowski, and Adrien Fauchier-Magnan, Exposition du Paysage Français de Poussin à Corot, exh. cat. (Paris: Imprimerie Crété, 1925), 17, as Paysage avec un pâtre jouant au fifre.

Léon Plée, “Exposition du Paysage Français de Poussin à Corot,” Les Annales politiques et littéraires, no. 2185 (May 10, 1925): unpaginated, as Le Paysage au Pâtre.

Edouard Sarradin, “Au Petit Palais: L’Exposition du Paysage français de Poussin à Corot,” Journal des débats politiques et littéraires, no. 129 (May 10, 1925): 3, as le Paysage avec un pâtre jouant au fifre.

Louis Hourticq, “L’Exposition du paysage français de Poussin à Corot,” La Revue de l’Art Ancient et Moderne 48, no. 267 (June 1925): 11, (repro.), as Paysage avec un pâtre jouant du fifre.

Robert De La Sizeranne, “Au Petit Palais: Le Paysage français de Poussin à Corot,” Revue Des Deux Mondes (1829–1971), 27, no. 3 (June 1, 1925): 670.

Robert Rey, “Les Arts: L’exposition du ‘paysage français de Poussin à Corot’ au Petit-Palais,” L’Europe nouvelle, no. 381 (June 6, 1925): 747, Paysage avec un pâtre jouant au fifre.

Louis Dimier, Histoire de la Peinture Française: Du Retour de Vouet à la Mort de Lebrun, 1627 à 1690 (Paris: G. van Oest, 1926), 1:76, 86, (repro.), as Berger jouant de la flûte au soleil couchant.

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, 25.

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 Paysage avec un pâtre jouant du fifre.

“A Big Gallery Addition: Rembrandt and Hals Paintings to Nelson Group,” Kansas City Star 51, no. 148 (February 12, 1931): 3.

“Kansas City Gets $1,000,000 Art Here: William Rockhill Nelson Trust Buys Paintings by Rubens, Rembrandt and Others; Guelph Objects Included; Treasures to be Placed in New Structure Being Built by Publisher’s Endowment,” New York Times 80, no. 26,690 (February 20, 1931): 16.

“Nelson’s Museum Gets Scores of Old Masters,” Jefferson City Post-Tribune 65, no. 350 (February 20, 1931): 2.

“Nelson Trust Pays Million for Art,” [Jackson, Mississippi newspaper] (February 20, 1931): 49, clipping, scrapbook, NAMA archives, vol. 1.

“Add Seven Art Works: Group for Nelson Gallery on View at Institute; Outstanding Are Paintings by Paul Veronese, Jacques Louis David, Claude Lorrain, and Thomas Gainsborough,” Kansas City Star 51, no. 182 (March 18, 1931): 15, as Landscape with a Piping Shepherd.

“Art,” Kansas City Times 94, no. 67 (March 19, 1931): 7.

“More Works of Art Purchased for the Nelson Gallery of Art,”Kansas City Star 51, no. 186 (March 22, 1931): [1], (repro.), as Landscape with a Piping Shepherd.

J. L. G., “Varia: Art,” Romanic Review 22, no. 2 (April–June 1931): 184.

“With the Spirit of Art: Two Hundred Kansas Citians Discuss Cultural Needs,” Kansas City Star 51, no. 200 (April 5, 1931): 2A.

“Feel the Value of Art: Pictures to Be in the Nelson Gallery Attract Visitors,” Kansas City Times 94, no. 152 (June 26, 1931): 2.

Paul Jamot, “French Painting–I,” Burlington Magazine 59, no. 345 (December 1931): 279, (repro.), as Shepherd playing a pipe.

“What to See In Kansas City: A Guide to Principal Points of Interest Presented in the Style of A Baedeker,” Kansas City Star 52, no. 101 (December 27, 1931): 3C, as Landscape.

Paul Jamot, “French Painting–II,” Burlington Magazine 60, no. 346 (January 1932): 10, as Shepherd playing the flute.

Possibly “Treasure in Lore of Art: ‘Read,’ says Parsons to Those Who Would Appreciate Works; Kansas City Has the Finest Museum in the Country, Adviser for the William Rockhill Nelson Gallery Asserts,” 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; Poussin’s ‘Triumph of Bacchus’ is Discussed by H. W. Parsons at Dinner in Honor of Exhibit Judges,” Kansas City Star 52, no. 122 (January 17, 1932): 8A, as Piping Shepherd.

M[inna] K. P[owell], “In Gallery and Studio,” Kansas City Star 52, no. 128 (January 23, 1932): E, as Piping Shepherd.

“Nelson Art Treasures Draw Admiring Throng: Thousands Flock to Temporary Exhibition of Paintings at 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 Landscape with Piping Shepherd.

“Kansas City Now Possesses Masterpieces by Poussin and Claude,” Art Digest 6, no. 10 (February 15, 1932): 32, as Landscape with Piping Shepherd.

“A Strong Home for Art: Father Gerrer, a Connoisseur, Visits the Nelson Gallery,” 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.

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,” 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): 6, clipping, scrapbook, NAMA Archives, vol. 5.

“Nelson Gallery of Art Special Number,” Art Digest 8, no. 5 (December 1, 1933): 13, 21, (repro.), as Landscape with a Piping Shepherd.

“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 Landscape with a Piping Shepherd.

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 Landscape with a Piping Shepherd.

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.

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, 43, (repro.), as Landscape with a Piping Shepherd.

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.

“Masterpiece of the Week,” News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 1, no. 5 (January 1–15, 1935): 2, as The Piping Shepherd.

“Claude Gellee [sic] Landscape is This Week’s Masterpiece at Gallery,” Kansas City Journal-Post, no. 113 (January 13, 1935): 8B, (repro.), as The Landscape With a Piping Shepherd.

“Visitors,” News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 3, no. 7 (May 1–31, 1937): 3, as Landscape with a Piping Shepherd.

Sheldon Cheney, A New World History of Art, 2nd ed. (1937; New York: Viking Press, 1939), 503, 731, (repro.), as Landscape with a Piping Shepherd.

C. H. T., “Public’s Interest in the Arts Spurred by Studies of Experts,”Kansas City Star 58, no. 64 (November 20, 1937): D, as Landscape with Piping Shepherd.

Landscape Paintings from the Sixteenth to the Twentieth Century, exh. cat. (Pittsfield, MA: Berkshire Museum, 1937), unpaginated, as Landscape with a Piping Shepherd.

“Pittsfield Is Host At Museum Fete: Critics and Guests Attend the Reopening of Memorial Room and the Auditorium; Landscapes Are Shown; Loan Collection Is Exhibited as Program Marks Modernization of Berkshire Institution,” New York Times 87, no. 29,008 (June 26, 1937): L18.

“Field Notes: Berkshire Reopening,” Magazine of Art 30, no. 7 (July 1937): 446, (repro.), as Landscape with a Piping Shepherd.

An Exhibition of Paintings and Drawings by Claude Lorrain, 1600–1682, exh. cat. (New York: Durlacher Brothers, 1938), unpaginated, as Landscape with a Piping Shepherd.

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 Landscape with a Piping Shepherd.

M. U., “Claude in a Double Role: Durlacher Galleries Make a Surprising Display of his Paintings and Drawings,” New York Sun 105, no. 120 (January 22, 1938): 10, (repro.), as Landscape with a Piping Shepherd.

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.

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 Piping Shepherd.

Margaret Breuning, “Art in New York,” Parnassus 10, no. 2 (February 1938): 22, as Landscape with a Piping Shepherd.

H. C. H., “Art and Artists: Gallery’s New Credi Shows Greatness of Florentine Art,” Kansas City Star 59, no. 167 (March 3, 1939): 15, as Landscape With a Piping Shepherd.

Frank Jewett Mather, Jr., Western European Painting of the Renaissance (New York: Henry Holt, 1939), 707, 722, (repro.), as Landscape with a Piping Shepherd.

“Temporary Exhibitions,” Gallery News (William Rockhill Nelson Gallery of Art; Mary Atkins Museum of Fine Arts) 8, no. 3 (December 1941): 2, as Landscape With a Piping Shepherd.

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, 45, 168, (repro.), as Landscape With a Piping Shepherd.

“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.

The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 3rd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1949), 59, (repro.), as Landscape with a Piping Shepherd.

Renaissance and Baroque Art, exh. cat. (Seattle: Seattle Art Museum, 1950), 13, as Landscape with Piping Shepherd.

Claude Lorrain, 1600–1682: Paintings, Drawings, Prints, exh. cat. (Northampton, MA: Smith College Museum of Art, 1952), 2, 4–5, as Landscape with a Piping Shepherd.

Opening Exhibition, exh. cat. (Chattanooga, TN: Chattanooga Art Association, 1952), unpaginated, as Landscape with a Piping Shepherd.

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 Landscape With Piping Goatherd.

“Treasures of Kansas City,” Connoisseur 145, no. 584 (April 1960): 123.

Possibly André Chastel, Nicolas Poussin: Paris, 19–21 Septembre 1958 (Paris: Éditions du CNRS, 1960), 48.

Marcel Rœthlisberger, Claude Lorrain: The Paintings (New Haven: Yale University Press, 1961), no. 172, 1:226, 303–04, 391, 402, 405–06, 408, 417, 499, 541; 2:unpaginated, (repro.), as Pastoral Landscape.

Marcel Rœthlisberger, Claude Lorrain: The Wildenstein Album (Paris: Beaux-Arts, 1962), 31.

Marcel Rœthlisberger, “Additions to Claude,” Burlington Magazine 110, no. 780 (March 1968): 119.

Rudolf Bachleitner, “Antologia di Artisti,” Paragone 21, no. 247 (September 1970): 71–73, (repro.), as Paesaggio con pastore che suona lo zufolo.

Frederick G. Schab, ed., Woodner Collection: A Selection of Old Master Drawings Before 1700, exh. cat. (New York: William H. Schab Gallery, 1971), unpaginated.

Ralph T. Coe, “The Baroque and Rococo in France and Italy,” Apollo 96, no. 130 (December 1972): 535–36 [repr., in Denys Sutton, ed., William Rockhill Nelson Gallery, Atkins Museum of Fine Arts, Kansas City (London: Apollo Magazine, 1972), 67–68].

Important Old Master Paintings (London: Sotheby’s, July 11, 1973), 64.

Michael Kitson, “Claude’s Earliest ‘Coast Scene with the Rape of Europa,’” Burlington Magazine 115, no. 849 (December 1973): 776n7.

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 Landscape with A Piping Goatherd.

Marcel Rœthlisberger and Doretta Cecchi, L’opera completa de Claude Lorrain (Milan: Rizzoli, 1975), 119–20, 127, (repro.), as Paesaggio con Pastori (Paesaggio con Apollo che Custodisce gli Armenti di Admeto e Mercurio che lo Deruba).

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, 119–20, as Paysage avec bergers (Paysage avec Apollon gardant les troupeaux d’Admète et Mercure les dérobant).

Michael Kitson, Claude Lorrain: Liber Veritatis (London: British Museum Publications, 1978), 159–60, 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 Landscape with a Piping Shepherd.

Marcel Rœthlisberger, Claude Lorrain: The Paintings, 2nd ed. (New York: Hacker Art Books, 1979), no. 172, pp. 1:226, 303–04, 391, 402, 405–06, 408, 417, 499, 541; 2:unpaginated, (repro.), as Pastoral Landscape.

Possibly John McPhee, The Art of John Glover (South Melbourne: Macmillan Company of Australia, 1980), 16.

Claude Lorrain (1600–1682): An Exhibition of Paintings and Drawings, partly from Private Collections, to mark the Artist’s Tercentenary, exh. cat. (London: Thomas Agnew, 1982), 25.

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 Shepherd Playing Flute.

H[elen] Diane Russell, Claude Lorrain, 1600–1682, exh. cat. (New York: George Braziller, 1982), 166–67, 463, as Landscape with a Piping Shepherd.

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. 245, pp. 111, 119–20, (repro.), as Paysage avec bergers (Paysage avec Apollon gardant les troupeaux d’Admète et Mercure les derobent).

Carlo Del Bravo, “Letture di Poussin e Claude,” Artibus et historiae 9, no. 18 (1988): 169n175.

Manfred Koch-Hillebrecht, Museen in den USA: Gemälde (Munich: Hirmer Verlag, 1992), 246, as Landschaft mit flötendem Schäfer.

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), 26.

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, 155–57, as La Nascita del Sole and De opkomst van de zon.

Michael Kitson, Studies on Claude and Poussin (London: Pindar Press, 2000), 139, 140n7.

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.

Seymour Slive, Jacob van Ruisdael: A Complete Catalogue of His Paintings, Drawings and Etchings (New Haven: Yale University Press, 2001), 73, as Landscape with a Piping Shepherd.

David Hansen, John Glover and the Colonial Picturesque, exh. cat. (Hobart, Tasmania: Tasmanian Museum and Art Gallery, 2003), 18, 40–41, 60, 72, 74, 135–37, 163, 176, 208, 248, 282n73, (repro.), as Landscape with Piping Shepherd.

Michael Rosenthal, “Exhibition Reviews; John Glover: Hobart and Adelaide,” Burlington Magazine 146, no. 1213 (April 2004): 289, as Landscape with piping shepherd.

Australian, International, and Aboriginal art (Double Bay, Australia: Bonhams and Goodman, December 5 and 11, 2006), as Landscape with Piping Shepherd.

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.

David H. Solkin, ed., Turner and the Masters, exh. cat. (London: Tate, 2009), 58–61, (repro.), as Landscape with a Piping Shepherd.

Important Australian and International Art: including property formerly in the collection of the Late Mr Irvin Rockman CBE (Melbourne: Smith and Singer, November 22, 2011), 36.

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), 22, 26–27, 31n52, 70, 220, 224, 276n29, 297, as Landscape with a Youth Playing a Pipe and Landscape with a Piping Shepherd.

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.