Information
Provenance
Estate of the artist
Sale, Fifth Avenue Art Galleries, New York, February 12–14, 1895, as Monte Lucia, Perugia, Italy
P. H. McMahon, Brooklyn, New York
William H. Cummings, Brooklyn, New York
Sale, Anderson Galleries, New York, “William H. Cummings Estate Sale,” April 29, 1921, as Monte Lucia, Perugia
Albert R. Jones, Kansas City, Missouri
Virginia Jones Mullin, daughter of the above
Ralph E. Mullin, husband of the above
The Estate of Ralph E. Mullin
Thomas Colville Fine Art, New Haven, Connecticut, 2002
Exhibited
American Fine Arts Society, New York, Exhibition of the Paintings Left by the Late George Inness, December 27, 1894
The Nelson Gallery and Atkins Museum, George Inness (1825–1894): An Exhibition of Paintings from the Collection and in Memory of Mr. and Mrs. Albert R. Jones, 1958
Literature
Montezuma, “The Inness Paintings,” The Art Amateur 32, no. 3 (February 1895): 77.
Ross E. Taggart, “George Inness,” The Nelson Gallery and Atkins Museum Bulletin 1, no. 2 (December 1958): 20, as Perugia and the Valley.
LeRoy Ireland, The Works of George Inness: An Illustrated Catalogue Raisonné (Austin: University of Texas Press, 1965), pp. 155–156, no. 636.
Michael Quick, George Inness: A Catalogue Raisonné, (New Brunswick, N. J.: Rutgers University Press, 2007), vol. I, pp. 17–18, 446–447, no. 492.
Related Works
The Olive Orchard, ca. 1870–1871, watercolor and possibly some gouache, over graphite, 8 x 10 5/8 inches (approximate), signed lower left: G. Inness. Whereabouts unknown.
Scene from Monte Lucia, Perugia (Perugia and the Valley), 1874, oil on canvas, 30 1/8 x 44 ¼ inches, signed and dated lower left: G. Inness 1874. Maier Museum of Art, Randolph-Macon Woman’s College, Lynchburg, Virginia Fine Arts Fund.
Note: In his 1895 article printed in The Art Amateur, Montezuma (an anonymous contributor) wrote of the paintings featured at Inness’s estate sale. In reference to Monte Lucia, Perugia, Italy, 1873, the author wrote:
To gain an idea of Inness’s life-work, it will be best to take the display at The Fine Arts Building first. It contains a number of small and carefully but freely painted early pictures, mostly of Italian subjects, none of which should be passed over by the visitor, though we are compelled to speak of but a few . . .Another Italian picture, “Monte Lucia, Perugia, Italy,” is even more picturesquely composed [than “Viaduct at Laricha, Italy”], slightly warmer in color, and more boldly painted. The foreground here rises to the left, with a number of old olive and cypress-trees, in the shade of which figures are scattered about. Cloud shadows fall on the immediate foreground and on a dark mass of trees in the middle distance. The remainder of the picture is in light, running off to a broken distance, dotted with white houses.