The Cleveland Museum of Art

• Provenance
  1970-

  The Cleveland Museum of Art, Cleveland, Ohio

  Late 1960s-1970

  (Sloan & Roman, Inc., New York, NY, sold to the Cleveland Museum of Art)

  c.1960-late1960s

  (The Terry DeLapp Gallery, Los Angeles, CA, sold to Sloan & Roman)1

  Until c. 1960

  (T. Gilbert Brouillette [1906-1970], Staten Island, NY, sold to the Terry DeLapp Gallery) 1

  By 1880

  James M. Hartshorne [d. 1887?], New York, NY?

  By 1867

  (M. Knoedler & Co., New York, NY) 1

  Provenance Footnotes

  1 1 A hand-typed fact sheet (in CMA curatorial file) presumably produced at the time of the painting’s acquisition in 1970 lists a “John Johnson” in the provenance following the Terry DeLapp Gallery.  While it is possible that Johnson, who appears to have owned or bought/sold at least one other Gifford painting, acted as an intermediary or agent in the sale of the painting, DeLapp emphatically states that he sold the painting directly to Sloan & Roman.

  2 1 Although Brouillette was a collector as well as a dealer, Terry DeLapp, to whom Brouillette sold the painting, indicates Brouillette acted as a dealer in the sale of this painting.  Brouillette’s papers at the Archives of American Art contain no reference to the painting.

  3 1 The painting was exhibited at the Paris Universal Exposition of 1867, and the catalogue lists it as belonging to M. Knoedler, Esq.
• Citations
  Terry DeLapp, email to Victoria Sears Goldman, Jan. 7, 2014, in CMA curatorial file.

  B. Gertrude Denton, letter to William S. Talbot, April 20, 1971, in CMA curatorial file.

  Terry DeLapp, email to Victoria Sears Goldman, Jan. 7, 2014, in CMA curatorial file.

  Weiss, Ila Joyce Solomon. Sanford Robinson Gifford: (1823-1880). New York, N.Y., Columbia Univ., Diss., 1968.

  B. Gertrude Denton, letter to William S. Talbot, April 20, 1971, in CMA curatorial file.

  Terry DeLapp, email to Victoria Sears Goldman, Jan. 7, 2014, in CMA curatorial file.

  Metropolitan Museum of Art (New York, N.Y.), and John F. Weir. A Memorial Catalogue of the Paintings of Sanford Robinson Gifford, N.A. [New York]: [Press of F. Hart & Co.], 1881.

  Weiss, Ila Joyce Solomon. Sanford Robinson Gifford: (1823-1880). New York, N.Y., Columbia Univ., Diss., 1968.

  Blake, William P. Reports of the United States Commissioners to the Paris Universal Exposition, 1867: Published Under Direction of the Secretary of State by Authority of the Senate of the United States. Washington, D.C.: G.P.O., 1869.

  Weiss, Ila Joyce Solomon. Sanford Robinson Gifford: (1823-1880). New York, N.Y., Columbia Univ., Diss., 1968

  “A Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.” The Bulletin of the Cleveland Museum of Art 60, no. 1 (January 1973): 21–35. Mentioned: p. 26, no. 66 www.jstor.org

  Talbot, William S. “Landscape and Light.” The Bulletin of the Cleveland Museum of Art 60, no. 1 (January 1973): 9–20. Mentioned and reproduced: p. 9-13, figs. 3-4; Reproduced: p. 18-19 www.jstor.org

  The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978. Reproduced: p. 229 archive.org

  Adams, Henry. What's American about American art?: a gallery tour in the Cleveland Museum of Art. Cleveland: Cleveland Museum of Art, 2008. Reproduced: p. 66 - 67

  Cole, Mark, "Picture Perfect", Cleveland Museum of Art. Cleveland Art: The Cleveland Museum of Art Members Magazine. Vol. 48 no. 8, October 2008 Mentioned & reproduced: p. 7 archive.org

  Greenwald, Diana Seave. "The Big Picture: Thomas Moran’s The Grand Cañon of the Yellowstone and the Development of the American West." Winterthur Portfolio 49, no. 4 (2015): 175-210. Mentioned and reproduced: P. 196-197 www.jstor.org

  Henry Francis du Pont Winterthur Museum. Winterthur Portfolio. Chicago: University of Chicago Press, 1964. Reproduced and mentioned; pp. 196-197, fig. 15

  Provenance Footnotes

  1 1 A hand-typed fact sheet (in CMA curatorial file) presumably produced at the time of the painting’s acquisition in 1970 lists a “John Johnson” in the provenance following the Terry DeLapp Gallery.  While it is possible that Johnson, who appears to have owned or bought/sold at least one other Gifford painting, acted as an intermediary or agent in the sale of the painting, DeLapp emphatically states that he sold the painting directly to Sloan & Roman.

  2 1 Although Brouillette was a collector as well as a dealer, Terry DeLapp, to whom Brouillette sold the painting, indicates Brouillette acted as a dealer in the sale of this painting.  Brouillette’s papers at the Archives of American Art contain no reference to the painting.

  3 1 The painting was exhibited at the Paris Universal Exposition of 1867, and the catalogue lists it as belonging to M. Knoedler, Esq.
• Exhibition History
  Hudson River School Visions: The Landscapes of Sanford R. Gifford. The Metropolitan Museum of Art, New York, NY (organizer) (October 7, 2003-February 8, 2004); Amon Carter Museum, Fort Worth, TX (March 6-May 16, 2004); National Gallery of Art, Landover, MD (June 27-September 26, 2004).

  Metropolitan Musuem of Art (10/7/2003 - 2/8/2004); Amon Carter Museum (3/6/2004 - 5/16/2004); and National Gallery of Art (6/27/2004 - 9/26/2004): "Hudson River School: The Landscapes of Sanford R. Gifford" exh. cat. no. 70, p.172-174.

  Santa Barbara, CA, Santa Barbara Museum of Art, America in Art: Fifty Great Paintings Celebrating Fifty Years (6 June - 11 August 1991), p. 40, ill. p. 41

  Year in Review: 1970. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-March 7, 1971).

  Cleveland, OH, Cleveland Museum of Art, Year in Review, 1970 (7 February - 10 March 1971), no cat (see 1971 Bulletin).

  Paris, Exposition Universelle (1867) as Un Interieur dans le desert, no. 19; as belonging to M. Knoedler

  New York, NY, Metropolitan Museum of Art, Gifford Memorial (1880-81), accompanying publication of Memorial Catalogue.

  Provenance Footnotes

  1 1 A hand-typed fact sheet (in CMA curatorial file) presumably produced at the time of the painting’s acquisition in 1970 lists a “John Johnson” in the provenance following the Terry DeLapp Gallery.  While it is possible that Johnson, who appears to have owned or bought/sold at least one other Gifford painting, acted as an intermediary or agent in the sale of the painting, DeLapp emphatically states that he sold the painting directly to Sloan & Roman.

  2 1 Although Brouillette was a collector as well as a dealer, Terry DeLapp, to whom Brouillette sold the painting, indicates Brouillette acted as a dealer in the sale of this painting.  Brouillette’s papers at the Archives of American Art contain no reference to the painting.

  3 1 The painting was exhibited at the Paris Universal Exposition of 1867, and the catalogue lists it as belonging to M. Knoedler, Esq.
• Cite this Page
  {{cite web|title=A Home in the Wilderness|url=false|author=Sanford Robinson Gifford|year=1866|access-date=13 April 2024|publisher=Cleveland Museum of Art}}

  Provenance Footnotes

  1 1 A hand-typed fact sheet (in CMA curatorial file) presumably produced at the time of the painting’s acquisition in 1970 lists a “John Johnson” in the provenance following the Terry DeLapp Gallery.  While it is possible that Johnson, who appears to have owned or bought/sold at least one other Gifford painting, acted as an intermediary or agent in the sale of the painting, DeLapp emphatically states that he sold the painting directly to Sloan & Roman.

  2 1 Although Brouillette was a collector as well as a dealer, Terry DeLapp, to whom Brouillette sold the painting, indicates Brouillette acted as a dealer in the sale of this painting.  Brouillette’s papers at the Archives of American Art contain no reference to the painting.

  3 1 The painting was exhibited at the Paris Universal Exposition of 1867, and the catalogue lists it as belonging to M. Knoedler, Esq.