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“Under the Sign of Art: The Lange Family Between Darmstadt and New York,” in The Art of Edward Lange, eds. Peter Fedoryk and Lauren Brincat (Cold Spring Harbor, New York: Preservation Long Island, 2024), forthcoming.
Karl Christian Köhler (1827-1890), Gustav Georg Lange (1812-1873), and Friedrich Foltz (1811-1879), Log Cabin of a Lumberjack on the Illinois River, 1852, steel engraving, dimensions unknown, in Briefe aus Amerika, 184 (New York-Darmstadt-London: Lange & Kronfeld, 1852).
“At Home the Wild: Race, Power, and Domesticity in the Transatlantic Wallpapers of Zuber & Co.,” react/review 3 (2023): forthcoming.
Jean Zuber (1773-1852) and Jean-Julien Deltil (1791-1863), Views of North America [detail], 1834, woodblock-printed wallpaper, 12 ft 9 ½ in. x 49 ft 4 1/8 in. (3.9 x 15.04 m), Musée du Papier Peint, Rixheim, France.
“Behold the White Storm: Sublime Weather, Body, and Fictions of Race in Thomas Cole’s Gelyna (1829),” Antennae: The Journal of Nature in Visual Culture 60 (March 2023): 50-72.
Thomas Cole (1801-1840), Gelyna, View Near Ticonderoga, 1826-29, oil on canvas, 24 x 34 ½ in. (61 x 87.6 cm), Fort Ticonderoga Museum, Ticonderoga (NY).
“The Émigré and the General: Denis Volozan’s Portrait of George Washington in an Atlantic Context,” Early American Studies 21, no. 1 (Winter 2023): 87-121.
Denis Alexandre Volozan (1765-1820), George Washington, 1802, oil on canvas, 84 x 60 in. (213.4 x 152.4 cm), Delaware Division of Historical and Cultural Affairs, State Portrait Collection, Dover.
“Pastorale américaine: trois artistes états-uniens face à Rosa Bonheur,” in Rosa Bonheur (1822-1889), eds. Sandra Buratti-Hasan and Leïla Jarbouai (Paris: RMN-Musée d’Orsay, 2022), 230-236.
Rosa Bonheur (1822-1899), Migration de bisons (Amérique), 1897, tempera and pastel on canvas, 44 x 74 in. (111.8 x 188 cm), private collection.
“The Most Perfect Manner: Paul Weber and the Transnationalism of U.S. Landscapes,” Panorama: Journal of the Association of Historians of American Art 7, no. 1 (June 2021).
Gottlieb Daniel Paul Weber (1823-1916), Landscape: Evening, 1856, oil on canvas, 60 1/4 x 86 in. (153 x 218.4 cm), Pennsylvania Academy of the Fine Arts, Philadelphia.
“’Covetable Pictures.’ John Taylor Johnston (1820-1893), Collecting Art between New York and Europe,” Oxford Journal of the History of Collections 32, no. 1 (March 2020): 73-90.
Edward Lamson Henry (1841-1919), The 9:45 Accommodation, 1867, oil on canvas, 16 x 30 5/8 in. (40.6 x 77.8 cm), Metropolitan Museum of Art, New York.
“Paris-on-Hudson: Artistic Authorship in Victor de Grailly’s American Landscapes,” Athanor 39 (October 2019).
Victor de Grailly (1804-1887), The Valley of the Connecticut from Mount Holyoke, c.1845, oil on canvas, 17 ½ x 23 ½ in. (44.4 x 59.7 cm), Mead Art Museum at Amherst College, Amherst, Massachusetts.
“They Have Built Themselves a Fine House. La galerie d’art de la Société historique de New York (1850-1873),” Revue de l’Art 203 (March 2019): 57-63.
Interior Art Gallery at Second Avenue and 11th Street [vers 1900], Manuscript Collection, Pictorial Archive (NYHS RG 5), Box 1, Folder 2, New York, New-York Historical Society.