George Inness 1825-1894

Mrs. Helen Inness Hartley, New York (sold: American Art Association, [Hartley Sale], New York, March 24, 1927, no. 58 (as The Roman Campagna))
Thomas Cochran, New York, 1927
Macbeth Gallery, New York, 1933 (probably)
R.I. Skofield, New York, 1933
Macbeth Gallery, New York, 1933 (sold: Parke-Bernet Galleries, New York, February 1, 1940, no. 27, illustrated as The Roman Campagna)
Louis van Vorhees Keeler, Montclair, New Jersey (acquired at the above auction)
Harry H. Kuck, Jr., Jupiter, Florida, 1978 (by descent in the family)
By descent in the family to the present owner, 1991

New York, Richard Dudensing & Son, The Entire Works of George Inness, N.A., in Watercolor and Important Paintings, 1917, no. 44 (as Albano, Italy)

Royal Cortissoz, "The Late George Inness and American Landscape," New-York Daily Tribune, January 21, 1917
Royal Cortissoz, "Field of Art," Scribner's Magazine 77, no. 4, April 1925
LeRoy Ireland, The Works of George Inness: An Illustrated Catalogue Raisonné, Austin, Texas, 1965, no. 648, p. 159, illustrated
Timken Art Gallery: European and American Works of Art in the Putnam Foundation Collection, San Diego, California, 1983, p. 102
Hal Fischer, Timken Museum of Art: European Works of Art, American Paintings and Russian Icons in the Putnam Foundation Collection, San Diego, California, 1996, p. 190, illustrated p. 191 (as Ariccia)
Michael Quick, George Inness: A Catalogue Raisonné, New Brunswick, New Jersey, 2007, vol. I, no. 414, pp. 392-393, illustrated

Michael Quick writes: "The long, crossing diagonals and the energetic painting of the foreground brush and trees make this one of Inness's most dynamic Italian compositions, utterly unlike the stately repose of his other treatment of this view, L'Ariccia, Italy, 1874 (Timken Museum of Art, San Diego, California). The very oblong format, which Elihu Vedder often used for his forceful, serpentine compositions, argues for a date of 1873 or 1874, as do both Inness's massing of light passages into shapes and his searching for linear rhythms, as in the rounded, dark shapes of the trees in front of the town. The feature that most strongly indicates a later date of about 1874 is the self-consciousness of the forceful brush strokes, which contribute so much to the painting's considerable impact (George Inness: Catalogue Raisonné, 2007, p. 392-393)."