New England Scenery
Thomas Cole (American, born England, 1801–1848)
1839
View the original$18
Type
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Materials & printing
Archival matte paper, 189 g/m² (10.3 mil), sourced from Japan, printed with multicolor water-based inkjet so every brushstroke stays crisp. Framed prints arrive ready to hang in a .75″ ayous-wood frame with an acrylite front. Sized to standard frames by cropping, never stretching — at most about 3% comes off one edge, which isn’t noticeable on most pieces, and we only offer a size when it stays that small.
Shipping & returns
Made to order and delivered in 5–8 business days (2–4 to print, 3–4 in transit). US shipping only for now. Because each print is made for your order, all sales are final — but if it arrives damaged or defective, send us a photo within 14 days and we’ll replace it free. Full policy.
Why is it this affordable?
A thin, flat margin on every piece — just enough to keep the store running. Most of what you pay is the print itself. We only sell sizes that reproduce at full quality, and we don’t mark up the large sizes the way most shops do.
About this work
Although Thomas Cole is best known for his scenes of the American wilderness, he also rendered pastoral vistas of cultivated landscapes. This work depicts New Hampshire’s White Mountains, an area that Cole traveled to and painted on numerous occasions, as did other 19th-century landscape artists. The prominent church spire at middle distance emphasizes the role of religion in agrarian society and the glow of the low sun expresses a sense of optimism for a rural America. The painting conveys an ideal that was increasingly far from reality, however, as the United States was then being transformed by rapid urbanization and the Industrial Revolution.
- Medium
- Oil on canvas
- Original size
- 57.1 × 46.7 cm (22 1/2 × 18 3/8 in.)
Museum record · 4 owners · 7 exhibitions
Provenance
- Thomas Cole, from 1839.
- W.F. Ladd, New York, around 1841.
- Charles Baker, New York, by 1853.
- Samuel Nickerson, Chicago, 1876; given to the Art Institute of Chicago, 1900.
Exhibitions
- Boston Athenaeum, Fourteenth Exhibition of Paintings, Jun–?, 1840, as “Sunrise. A New England Scene.” New York City, Apollo Association, Granite Building, Eighth Exhibition, Oct. 5–Dec. ?, 1841, as “Landscape—New England Scenery.” New York City, Gallery of the American Art–Union, The Washington Exhibition in Aid of the New York Gallery of the Fine Arts, Mar–May 1, 1853.
- Chicago, Art–Hall, Exposition Building, The Inter–State Industrial Exposition, Sept. 7–Oct. 9, 1876, as “Landscape.” Chicago, Industrial Service Center, Y.W.C.A., Sept. 19, 1924–June 3, 1927, extended loan,as “Ideal Mountains.” Chicago, George Williams College (formerly Y.M.C.A. College), Nov. 19, 1931–Nov. 7, 1940, extended loan, as “Landscape.” Hudson River Exhibition, Feb. 15–Mar. 25, 1945.
- Milwaukee Art Institute, Nineteenth Century American Masters, Feb. 20–Mar. 28, 1948.
- Hartford, Conn., Wadsworth Atheneum, Thomas Cole 1801–1848: One Hundred Years Later, Nov. 12, 1948–Jan. 2, 1949, as Niagara Falls; New York City, Whitney Museum of American Art, Jan. 8–30, 1949.
- Art Institute of Chicago, Two Centuries of American Art, 1750-1950, Oct. 1, 1959–Jan. 10, 1960, no cat..
- Arts Club of Chicago, The American Landscape, Nov. 14–Dec. 29, 1973.
- Washington, DC, Corcoran Gallery of Art, Niagara: Two Centuries of Changing Attitudes, 1697–1901, Sept. 21–Nov. 24, 1985; Buffalo, Knox Art Gallery, July 13–Sept. 1, 1985, Corcoran Gallery of Art, New–York Historical Society, Jan. 22–Apr. 27, 1986.
