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For Collectors

Do you own a Hudson River School painting?

If you own a special work of art, you are part of a long tradition of patrons and collectors that have supported artists and derived great pleasure from their masterworks. Here at the Thomas Cole Historic Site, we receive many inquiries from collectors about a wide range of topics that relate to their paintings; therefore, this section of our website is dedicated to the collector. It attempts to answer some of the most frequently-asked questions, and in the future we plan to provide a forum for sharing information among a community of individuals that share common interests.

For the frequently-asked questions section below, our thanks to Louis Salerno at Questroyal Fine Art for providing the expert advice. We invite you to explore the information and links that are listed below, and enjoy your work of art!

1. How can I confirm that my painting is a nineteenth-century original?

The first thing to do when evaluating your work of art is to make sure it is, in fact, a painting and not a print. Paintings and prints have become so similar with technology that sometimes a professional cannot immediately tell the difference between the two. One way to see if you have a painting is to look for brushstrokes and verify that the composition does not consist of pixilated dots, which can indicate that the art is machine-made. If you believe the painting is on canvas, then you might also check the back to judge the age of the work; a nineteenth-century canvas will typically look dark and quite aged, unless it has been restored. Even with these tricks, your safest bet is to send an image to a trusted dealer or restorer to provide an initial evaluation of the work.

Fig. 1 Prints and paintings can look very similar and it is necessary to look closely. Here, the work on the right is an original painting, whereas the image on the left is a print. Both are by Hudson River School artist Albert Bierstadt. Left: Albert Bierstadt (1830–1902), Storm in the Rocky Mountains, Mt. Rosalie, 1869. Chromolithograph, 19 1/8 x 32 3/8 inches, published by Thomas McLean, London. The Collection of The Old Print Shop, New York, NY. Right: Albert Bierstadt (1830–1902), Indian Encampment. Oil on paper laid down on board, 7 1/2 x 11 1/2 inches, signed lower right. The Collection of Questroyal Fine Art, New York, NY.

Fig. 2 One way to determine if you have a print or painting is by looking at the back. This example shows what an aged, nineteenth-century canvas and stretcher (the wood support) look like. Image courtesy of Questroyal Fine Art, New York, NY.

2. How can I determine the artist who created my painting? Is it by Thomas Cole?

First, look for a signature, which can be in the form of initials, one initial, full name, first name, etc. If you find one and can identify it, then you can assume that the work was painted by the artist. Signatures can be tested for authenticity under a blacklight; if the signature fluoresces, it could be a sign of in-paint, or an addition the original artist did not make.

Many unsigned paintings can be authentic, so if you feel that a painting has the stylistic hallmarks of an artist then you should show it to a gallery. For instance, Thomas Cole did not always sign his works. However, he is known for visible brushwork and sublime features in his landscapes including broken tree branches, rocky outcroppings, and dramatic atmospheres; moreover, his developed skies have dimension and are not flat. He painted in a naturalistic style, so the pictured scenes tend to look life-like. These types of hallmarks can be used to determine whether a work of art is by Cole. You can learn more about artists’ stylistic trademarks by viewing their works in museums, looking in books, or online.

Fig. 3 An example of Thomas Cole’s well-developed skies. Thomas Cole (1801–1848), Lake Mohonk (detail), ca. 1846. Oil on canvas, 20 1/4 x 30 1/8 inches. The Collection of Questroyal Fine Art, New York, NY.

Fig. 4 Cole was known for his dramatic portrayals of nature’s darker moments. Thomas Cole (1801–1848), Imaginary Landscape with Towering Outcrop, ca. 1846–1847. Oil on canvas, 18 ½ x 15 inches. Private Collection.

3. I would like to learn more about the artist who made my painting. What resources can I use?

A good place to start for American artists is Peter Falk’s Who Was Who in American Art?—this book gives a brief overview of thousands of artists. If the artist is well-known, you can also find a lot of information on gallery and museum websites and in scholarly books found at the local library or museum libraries. Going to museums and seeing other examples of the artist’s work can be very helpful, too.

Things get tough if there is not a lot of information available about your artist. If books and online information are not available, then the best place to look is old newspapers. These can list exhibitions, ads, and general articles that discuss your artist. Newspapers from the nineteenth-century can be found on library database systems (such as Proquest Historical Newspapers) or as hardcopies in library or museum archives.

4. Do I need to have my painting authenticated?

Authentications are important when you have a valuable work of art, but they can be costly. Sometimes galleries and auction houses can provide unofficial authentications to give you an idea of who may have painted your work—this can help determine whether an official authentication is worth the effort. It is important to note that museums typically cannot comment on the authenticity of a work due to company policies.

Catalogue raisonné committees also exist for select painters. These committees are comprised of either one or a number of experts who catalogue and authenticate all the known works of a particular artist. Catalogue raisonné groups can charge a fee for authentications, but some are free. You should try to determine whether there is a formal authentication committee for an artist if you believe you have one of their works. There are currently catalogue raisonné committees for Ralph A. Blakelock, Frederic E. Church, Jasper F. Cropsey, Sanford R. Gifford, John F. Kensett and Thomas Moran to name a few.

5. How can I determine the value of my painting?

One way to determine the value of your work of art is to consult a gallery or dealer. You will need to find a gallery that specializes in the type of artwork you believe you have (for instance, you would not want to take a Hudson River School painting to a gallery that specializes in European art). Dealers are conversant with the market often know the up-to-date value of paintings by certain artists.

If you want to do your own research or verify that a quoted value is fair, you can turn to online sources. Artnet.com and Askart.com are just two websites that list innumerable auction records for American art. You can purchase a day or month pass on these websites to access prices paid for works at auction. Browsing the records for a particular artist will give you an idea of what his/her paintings bring. This is a good way to assess worth, but you must remember that there are determining factors not analyzed in these listings such as size, condition, and desirability of specific subject matter.

For information about appraisals and a list of appraisers, click here.

6. Speaking of subject matter—does it affect my painting’s value?

To be concise: yes! Identifiable and common subject matter often make a painting more valueable. For example: Thomas Cole is revered for being the father of the Hudson River School and the artist who made American landscape painting popular. For this reason, Cole’s depictions of the American wilderness are oftentimes more desired than his European works. This directly affects the market value of his paintings—his American paintings are usually more costly than his European works.

Fig. 5 Paintings like Landscape, Sunrise in the Clove tend to be more valuable to Thomas Cole collectors since it shows an American subject. Thomas Cole (1801–1848), Landscape, Sunrise in the Clove. Oil on canvas, 5 ½ x 8 ½ in. Thomas Cole National Historic Site

7. What makes one painting more valuable than another when it comes to Hudson River School art?

The importance of the artist is the key factor in the valuation of Hudson River School art. Artists who played a major part in popularizing landscape painting are the most sought after, as are painters with a uniquely individual style, such as Thomas Cole, Frederic E. Church, Asher B. Durand, Albert Bierstadt, Sanford R. Gifford, George Inness, John F. Kensett, Fitz Henry Lane, Martin J. Heade and Thomas Moran. The paintings of these artists are highly sought after by dealers, collectors and museums. The difference in value of two paintings by the same artist often comes down to subject matter, date, size, and condition.

8. Will art galleries be willing to assist me with my painting or should I contact a museum?

Yes—it is actually best to go to an art gallery first and, if you get a sense that the painting is important and want a second opinion, then go to a museum. It is more likely that galleries will be able to give you an idea of value as they evaluate the commercial price of paintings on a daily basis. It is of paramount importance that you find a reputable dealer, though. If you don’t, you could end up selling a $250,000 painting for $2,500. My suggestion would be to pick up an art magazine such as Antiques & Fine Art, American Art Review, Art & Antiques, ARTnews, and The Magazine Antiques, look at gallery advertisements and search for information about some of the galleries online.

9. How do I know if I’m getting a fair price when selling through an auction house? What about selling to or through a dealer?

At auction you receive the value of a painting at one specific moment in time, which is subject to the world economy and who attends the auction. If two people who want the painting are present, then you’ll get a better price; however, if they aren’t there, you won’t. The advantage is that you are presenting your work to a broad audience and getting exactly what the market thinks of the painting at that moment. One of the disadvantages is that the successful buyer has to pay the hammer price plus a buyer’s premium, which can be up to an additional 25%. You are also at a disadvantage if you are the seller—you only receive the hammer price, not the buyer’s premium. A 6–10% auction house commission is also deducted for selling the work.

If you consign to a dealer, you can set a net price and not be obligated to sell the work if that price isn’t matched or bettered. This way, you have more control over what you will receive in exchange for the painting. The only disadvantages are that you may have to wait a long time before the painting sells and give a commission to the dealer. If you want to sell to a dealer then you should check their reputation and do your own homework. You can also ask the dealer what the asking price will be for the painting if you sell it to him/her and decide if you think the profit margin is fair.

10. How can I determine who owned my painting before me? Is this information important?

Sometimes the previous ownership of a painting can’t be determined, but sometimes it can. The simplest way to start is to ask the person who sold the work to you for its provenance, or history of ownership. You can also check auction records to see if the painting was ever sold at auction.

Provenance can be an indication of quality and, therefore, increase value. For example, the value of a work can be enhanced if noted collectors and/or museums previously owned it. This is due to the collectors’ or institutions’ reputation as connoisseurs, which projects a high degree of quality onto the painting.

While it is good to know a work’s provenance, it should be noted that many masterpieces and paintings of great value come with incomplete or limited information. For this reason, collectors should consider this factor, but not allow the lack of recorded history to dissuade them from acquiring a painting of remarkable visual impact and quality.

11. How can I tell if my painting is in need of restoration?

This is a hard question because it involves an individual’s own judgment. Many nineteenth-century paintings can improve with restoration. If you remove the painting from its frame and the edges under the frame are a different color, then that’s a sign that there is varnish discoloring or dirt. If you like a painting, then you should show it to a reputable restorer who can do tests to see if it can be cleaned.

One thing to note is that it is not always necessary to restore a work and, in fact, many museums and dealers prefer that a painting not be altered before viewing it. Also, if you feel it is necessary to obtain an opinion from a restorer, you should seek out the best. One way to determine if a restorer is reputable is to ask who they work with—if their clients include museums and prominent dealers, then this is a good sign. You may even wish to contact one or more of their clients for a review of the restorer’s working methods. Whatever you do, don’t be afraid to ask questions about a restorer’s techniques and why they think it is necessary to clean your painting. Never forget that you can also always get a second opinion!

Fig. 6 A before and after view of a restored Hudson River School painting. William Trost Richards (1833–1905), Coastal Scene. Oil on canvas, 28 1/8 x 48 1/8 inches, signed and dated (indistinctly) lower left. The Collection of Questroyal Fine Art, New York, NY.

Louis M. Salerno is the owner of Questroyal Fine Art in Manhattan. Questroyal Fine Art specializes in important nineteenth- and twentieth-century American paintings including works from the Hudson River School, Tonalist, Impressionist, and Modernist movements. Louis has been an avid American art collector and dealer for more than twenty years. The gallery can be reached at 212-744-3586 or via email at gallery@questroyalfineart.com.

Cedar Grove: The Home of Thomas Cole

History of Cedar Grove

by Robert M. Toole, excepted from “Quiet Harbor” Hudson River Valley Review (Marist, Vol.27, No.1, Autumn 2010)

Thomas Cole came to the village of Catskill for the first time in 1825 on a sketching trip. He returned in subsequent years, eventually boarding at Cedar Grove, a farm owned by the local merchant, John A. Thomson. Initially, Cole was at Cedar Grove in the summers only, but in 1836 he made it his permanent home when he married one of Mr. Thomson’s nieces, Maria Bartow.

From the first, Cedar Grove and the Catskill region nurtured Thomas Cole’s artistry. In his “Essay on American Scenery” (1835), Cole said the local landscape had “varied, undulating, and exceedingly beautiful outlines – [the Catskills] heave from the valley of the Hudson like the subsiding billows of the ocean after a storm.” In this setting, Thomas Cole created many of the Hudson River School masterpieces that assured his fame.

O Cedar Grove! when’er I think to part
From thine all peaceful shades my aching heart
Is like to his who leaves some blessed shore
A weeping exile ne’er to see it more.

-Thomas Cole, 1834

The Cedar Grove property has an ancient history that began with a 1684 land grant, followed by a land subdivision in 1773. The subdivision lines largely determined Cedar Grove’s configuration. Starting small, the Thomson family developed adjoining lots beginning in 1797. In 1815, they built the Federal-style main house that remains today, and quickly compiled a substantial farm property of about 110 acres. Despite fronting on the Hudson River , the Cedar Grove house and infrastructure were built along a local turnpike road – today’s Spring Street – that crossed through the western portion of the property, where the land sloped away from the river. As such, Cedar Grove has always enjoyed an orientation towards the western prospect of the Catskill Mountains , appropriate as this was the scene of Thomas Cole’s inspiration. In addition to the main house, Cedar Grove included a cluster of outbuildings. Several of these are significant for their use as studios during distinct periods of Thomas Cole’s career. Earliest was a farmhouse, often called the cottage, used until 1839 when a separate store-house/studio was built. In 1846, Cole designed a free standing studio – called the new studio – south of the house. The new studio was demolished in modern times, but the building has now been reconstructed on its original footprint.

John A. Thomson died in the summer of 1846 and Thomas Cole wrote of “new duties and cares,” lamenting the loss of Cedar Grove’s “master’s hand.” Only two years later, early in 1848, Cole also died. He was buried at Cedar Grove in the Thomson family vault overlooking his beloved Catskills. Of the spot, Cole had mused:

To be sepulchered here – to rest upon

The spot of earth that living I have loved

Where yon far mountains steep, would constant look

Upon the grave of one who lov’d to gaze on them.

After Thomas Cole’s death, his wife and children remained at Cedar Grove. In the late 1850s, Thomas Cole’s oldest son, Theodore Cole, became active in managing the farm, a role he continued into the 20 th century. In these decades there were few alterations to the house grounds or farm. Then, beginning in 1901, numerous subdivisions reduced the estate lands. In the 1930s the construction of the Rip Van Winkle bridge approach cut diagonally through historic Cedar Grove, obliterating what was left of its farmland.

Thomas Cole’s grandchildren struggled to preserve his legacy at Cedar Grove, and eventually, in 1979, the property was sold out of family ownership. In the late 1980s, the National Park Service recognized the significance of Thomas Cole and his life at Catskill, status formalized in 1999 when Cedar Grove was declared a National Historic Site. But in the 1980s and 90s funds to acquire the site were not forthcoming until the Greene County Historical Society purchased the property in 1998. Restoration of the main house followed and in 2001, Thomas Cole’s 200 th birthday, Cedar Grove opened to the public.

Today, the picturesque residential grounds reflect Thomas Cole’s period, when the landscape was described by fellow artist, Jasper Cropsey, as “not to give off an atmosphere of luxury and wealth.” Importantly, the panoramic views to the Catskill Mountains and its great “Wall of Manitou,” experienced daily by Cole, can still be enjoyed. The entry driveway coming from Spring Street can still be traced, and the adjacent flower garden blooms each summer with renewed care. Close by is the Federal-style privy, built to complement the house, and Thomas Cole’s studio at the old store-house. These outbuildings have now been fully restored. Beyond is the grove of old trees, the woodlot mentioned in Thomas Cole’s writings. A stand of Cedar trees in the grove probably inspired the name Cedar Grove, and it is possible that Cole himself coined the term before 1830.

With its scenic attributes and authentic rural amenities, the Thomas Cole National Historic Site is a living memorial to the artistry of its famous resident and the world of romanticism in the Hudson River Valley.

Old Studio

This studio is the where Thomas Cole created many of his major works. The building was restored in 2004 and is now furnished with his original easels and other art-making equipment and tools.

Do you know that I have got into a new painting Room[?] Mr. Thomson has lately erected a sort of Storehouse and has let me have part of it for a temporary painting room; it answers pretty well, is somewhat larger than my old one and being removed from the noise and bustle of the house is really Charming – what shall I be able to produce in it heaven knows – the walls are unplastered brick with the beams and timbers seen on every hand – not a bad colour this pale brick and mortar. I am engaged upon my great Series.

Thomas Cole to Asher B. Durand, December 18, 1839. NYSL, Cole Papers, Box 1, Folder 4

When/By Whom it was Built:

Begun in early 1839, and overseen by John Alexander Thomson and Thomas Cole. Information about the team of people who built the structure is not currently known.

By Whom it was Designed:

Thomas Cole and John Alexander Thomson. Click here for the 2022 exhibition catalog, in which scholar Annette Blaugrund discusses a letter revealing Thomas’s role in designing the building.

The Other Half of the Building: Storehouse

During Thomas’s residency here, the property consisted of 110 acres of farm fields and orchards. The east half of this building was the storehouse, a crucial part of the farm operation. It was likely in this building that harvested and saleable crops (hay, oats, corn, barley) were stored. Today, this east half of the building is the Site’s Visitor Center and Gift Shop.

Enter Thomas Cole:

Immediately after his marriage to Maria Bartow Cole (1813-1884) in 1836, Thomas Cole worked in the Main House itself, Maria’s family home. But in 1839, he was able to move to this building, a larger and more private space. He considered this new building to be “a temporary arrangement,” for he hoped to build a new house with a studio inside. The house was never realized, and instead he painted here for seven years. Thomas painted many of his most important works here, including the Voyage of Life for his patron Samuel Ward, as the ceiling was high enough to accommodate large canvasses. A fireplace permitted Thomas to work in any season, and he added a large skylight-like window to admit northern light, the preferred light for painting. Thomas welcomed visits from his family to the studio: as he worked, Maria, who married Thomas, read to him and offered advice, and the Cole children often visited. The Old Studio also afforded space for grinding pigments into paint, constructing stretchers, stretching canvasses, and fitting pictures into frames. Painting at this time involved a lot of hard physical labor—active, smelly, and frequently messy.

Painted Here: “My Great Series”

Among other works, Thomas pained The Voyage of Life series in this space. Click here for more about the series.

About Contemporary Artwork On Site:

This property has long been an inspiration for artists. In addition to Thomas Cole, family members Sarah Cole (1805-57) and Emily Cole (1843-1913) were both practicing artists; and many others visited here to see the place where Thomas lived and worked. We seek to continue this tradition of living artists actively working in and being inspired by this site, by working with artists through OPEN HOUSE: Contemporary Art in Conversation with Cole. This annual series of curated contemporary artist installations is located within, and in response to, the historic home and studios of artist Thomas Cole. Operating from the concept that all art is contemporary, the program activates conversations between artists across centuries. Exhibitions and artworks have ranged from those that literally reference Thomas’s iconic works to those that expand on issues and themes relevant to Thomas, including art, landscape, history, and balancing the built and natural worlds. OPEN HOUSE projects shed light on the connections between nineteenth-century American art and our contemporary moment. Click here to see the current or upcoming exhibition in the series.

How to Explore:

In the warmer months, the Site has regular open hours, and you can purchase a ticket to explore the historic interiors. In the colder months, the Old Studio (and Main House) are open for private tours by appointment. Click here to find out more. Also, check out 360 Explore, a virtual walkthrough of the historic interiors.

I am still a Youth in imagination + build Castles still.

Thomas Cole to Asher B. Durand about the “Voyage of Life” series, March 8, 1842, New York State Library, Thomas Cole Papers, Box 1, Folder 5

Image: Charles Herbert Moore, Old Studio, c. 1860s. Oil on canvas, Thomas Cole National Historic Site.

Main House

In 1815, siblings Thomas, John Alexander, and Catherine Thomson had this house built for themselves and their extended family. It has stood here since that time. Cole-family descendants lived here through the 1970s, after which time the house was neglected. It passed through several hands before the Greene County Historical Society assumed ownership in 1998. The house/site is now owned/operated privately by the Thomas Cole National Historic Site.

I arrived here in February last after an absence of nearly 12 years [in South America] in good health and flourishing circumstances having realized my full expectations as far as regards the accumulation of wealth […] Alexander has […] commenced building a very comfortable House on the Hill for the Family which I trust will be ready by next Dec.

Thomas T. Thomson in Catskill to his sister Maria Thomson Bartow in Canada, May 17, 1815. Albany Institute of History and Art, Thomas Cole Collection, CV553, Box 1, Folder 11.

When/By Whom the House was Built:

Begun in 1814, and overseen by siblings Thomas, John Alexander, and Catherine Thomson. This house was built by a group that likely included enslaved persons. We know that the Thomsons enslaved people from at least 1790 up until at least 1820.

Enslavement:

At least 30 individuals individuals were enslaved by the Thomson family in Demerara and Catskill. Abigail, Bill, Chloe, Josephus Thomson, and Cesar were individuals enslaved here in Catskill. M, Joe, Chloe, Polly, Timon, Toney, Cuffy, Jem, Figaroe, Jack, Sam, August, Jan, Tom, Sancho, Prince, William, Priscilla Mary Thomson, George Washington, Thomas Jefferson, James Madison, John Adams, and Helen were individuals enslaved in Demerara. Two men, a stone-sawyer and a domestic servant whose names were not recorded, were listed for sale at Thomas Thomson’s Demerara storefront. Countless others were likely enslaved by Thomson in his inherent participation of the triangular market.

Click here for more about the site’s history of enslavement.

Architectural Style:

Federal (of the period after the American Revolution when a federal system of government was being developed). It is characterized by symmetry, high ceilings, the bald eagle visible in the window over the front door, and features inspired by ancient Greek architecture.

Enter Thomas Cole:

Thomas Cole moved into the house after he married into the Thomson family: Maria Bartow (1813-1884) married Thomas in 1836. Thomas himself never owned the house.

Who Lived Here During Thomas Cole’s Residency (1836-48):

Maria and Thomas lived here along with many other family members and hired laborers. During Thomas’s time here, the number of residents at the property ranged from 11-14, and this included a free Black woman recorded on the 1840 census. This household of people acted as a support system to Thomas, enabling him to produce his artwork and support the household with his earnings. Click here for the in-progress list of people who resided here at the same time as Thomas Cole.

Title Holders:

After John A. Thomson passed away in 1846, ownership of the property passed to a succession of Bartow and Cole women, who were both titleholders and stewards of the property. We are ever in debt to their remarkable efforts to preserve it. For a glimpse into their stories, check out A Feminist’s Guide to the Thomas Cole Site.

Reinterpretation Efforts:

We believe that the stories of those who lived here are key to telling the histories of this property. In 2017, we installed the first phase of these efforts with The Parlors, combining scholarship, restoration of the interiors, and technology-driven storytelling to immerse visitors in Cole’s world and thoughts. As we move forward, we seek to shine a spotlight on those who lived here with Thomas, and who made his pursuit of a career in the arts possible.

Restoration of the Interiors:

Click here to view the 2019 Historic Structures report.

About Contemporary Artwork On Site:

This property has long been an inspiration for artists. In addition to Thomas Cole, family members Sarah Cole (1805-57) and Emily Cole (1843-1913) were both practicing artists; and many others visited here to see the place where Thomas lived and worked. We seek to continue this tradition of living artists actively working in and being inspired by this site by working with artists and curating contemporary artist installations that are located within, and in response to, the historic home and studios of artist Thomas Cole. Exhibitions and artworks have ranged from those that literally reference Thomas’s iconic works to those that expand on issues and themes relevant to Thomas, including art, landscape, history, and balancing the built and natural worlds. Through these projects we aim to shed light on the connections between nineteenth-century American art and our contemporary moment. Click here to see the current or upcoming exhibition.

Artworks by Thomas Cole Made Inside the Main House:

Upon Thomas’ marriage to Maria Bartow, he used a small room on the second floor as a studio space. It later became the children’s bedroom. In that room, Thomas painted:

View on the Catskill—Early Autumn, Metropolitan Museum of Art
The Departure, National Gallery of Art, Washington, DC
The Return, Corcoran Gallery of Art, Washington, DC
View of Florence, The Cleveland Museum of Art
View of the Arno, Near Florence, Worcester Art Museum, Worcester, MA
Dream of Arcadia, Denver Art Museum Collection
Elevation of State House, Columbus, Ohio, (architectural drawing), Detroit Institute of Arts
Italian Coast Scene with Ruined Tower, National Gallery of Art (NGA)
Past, Mead Art Museum, Amherst College, Amherst, MA
Present, Mead Art Museum, Amherst College, Amherst, MA
Tower by Moonlight, Thomas Cole National Historic Site
View of Schroon Mountain, Essex County, New York, After a Storm, The Cleveland Museum of Art
A View of the Mountain Pass Called the Notch of the White Mountains (Crawford Notch), National Gallery of Art, Washington, DC
Landscape with Tower in Ruin, Currier Museum of Art, Manchester, NH
Multiple studies for The Voyage of Life series, National Gallery of Art, DC; Munson-Williams-Proctor Arts Institute

How to Explore:

In the warmer months, the Site has regular open hours, and you can purchase a ticket to explore the historic interiors. In the colder months, the Main House (and Old Studio) are open for visits by appointment. Click here to find out more. Also, check out 360 Explore, a virtual walkthrough of the historic interiors.

I often look at our house and think, how wonderful that so much of happiness should be comprised in that little spot.

Thomas Cole to Maria Cole, undated letter from the Mountain House, New York State Library, Manuscripts and Special Collections, Thomas Cole Papers 1821-1863, SC10635, Cole Family Letters, Box 4 Folder 4.

Image: Charles Herbert Moore, Untitled (Cedar Grove), 1868. Oil on canvas, 5 7/8 x 9 1/4 in., Thomas Cole National Historic Site, Gift of Edith Cole Silberstein.

Finishing Touches

November 25, 2015At last the beautiful, hand-made, bright green shutters have arrived. The architect John Mesick designed them to be exactly like the originals, with smaller louvers on the top half of each shutter and larger louvers on the bottom half. The color was taken from two sources: one is a pencil drawing by Frederic Church from 1848 in which he indicates the colors in his hand-written notes on the drawing. The second is from a recently discovered painting of the building by Charles Herbert Moore, which will be on view inside the New Studio as part of the 2016 exhibition that will open on May 1, 2016.

Preview for Supporters Coming Up

On Saturday September 19th we will open the doors of the New Studio for the first time for a special preview for everyone who has donated to the campaign. This is a truly thrilling moment for all of us. Please donate now and join this incredible celebration. Cocktails will begin at 5 pm, followed by remarks by the building’s renowned architect John I Mesick at 5:30. The event is free for anyone who has donated to the campaign at any level. Become a part of this historic moment.

Photo by Peter Aaron/OTTO

Thomas Cole’s New Studio

This studio is where Thomas Cole painted for the last fourteen months of his life. He designed the structure in 1846. The building was demolished in 1973, and reconstructed in 2015.

I am now sitting in my New Studio which is about completed though the walls are not quite dry. I have promised myself much enjoyment in it and great success in the prosecution of my Art, but I ought ever to bear in mind that ‘the day cometh when no man can work.’

Thomas Cole, Thoughts & Occurrences entry, December 25, 1846

When/By Whom it was Built:

Built in 1846 under the direction of Thomas Cole. Information about the team of people who built the structure is not currently known. The 2.2-acre plot on which this was built was the only land on the property that Thomas owned, having purchased it from his uncle-in-law, John A. Thomson.

By Whom it was Designed:

Thomas Cole designed the structure, and his architectural drawings still survive. Click here for the 2022 exhibition catalog in which scholar William L. Coleman discusses Thomas’s design, process, and goals for this structure.

Other Buildings Designed by Thomas Cole:

Saint Luke’s Church, Catskill (demolished 2001). It stood at the current site of the County Building on Church and Water Streets
Contributed designs for the Ohio State Capitol building. While he was not the official architect, the designs he submitted in a contest ended up being heavily used.

For more about Thomas’s architectural pursuits, check out the 2016 exhibition catalog, Thomas Cole: Artist as Architect.

Architectural Style:

Designs for this building changed over time from an Italianate villa (or in Thomas’s words, “a sort of Italian looking thing”) to what became a studio. For the latest scholarly research about this building, see the exhibition catalogs Thomas Cole: Artist as Architect and Thomas Cole’s Studio: Memory and Inspiration.

Reconstruction:

The original building was torn down in 1973 after falling into disrepair. After many years of research the building was reconstructed in 2015. For a behind-the-scenes look into at the process, click here. Also check out this publication.

Modern Building

Contractor: Dimensions North, Richard Rappleyea, located in Catskill, NY
Fire Suppression System uses water mist
Archaeology was done to find the original footprint of the building
Landscape was designed by Robert Toole
Architectural drawing by John Mesick of Mesick Cohen Wilson Baker Architects
Materials: Cedar shake roof, clapboard siding, interior maple floors, acrylic storm windows

Today:

The interior of the New Studio features a state-of-the-art exhibition space for displaying changing exhibitions, and its open floor plan provides a flexible space for lectures and educational programing. The building enables the Thomas Cole National Historic Site to effectively serve as a catalyst for the burgeoning national and international interest in 19th century American landscape painting, an outstanding destination for visitors to and residents of the Hudson Valley, and a resource and inspiration for future generations of scholars, collectors and artists.

An Inspiration For Generations:

Maria Bartow Cole (1813-1884), aimed to honor her departed husband’s artistic legacy. She kept the New Studio as Thomas left it for many years, allowed other artists to visit, and rented his studio to other artists. Maria helped to spread his legacy by helping others to experience his work and this place. For decades little changed at the property, which was maintained consistently by the family into the twentieth century, as one reporter in 1871 described it, “like a shrine.” After Cole’s passing, artists Frederic Church, Jasper Cropsey, and Charles Herbert Moore sketched Cedar Grove, including glimpses of the “new studio,” the only such images that survive before photographs from the turn of the century. After his visit, Cropsey wrote this moving description of the space:

After breakfast we were invited to the studio. It is a new building about 1000 yards from the house, large and commodious, with a neat little porch and a wide open hall before entering the painting department. It is built in the modern florid style. We Entered; it seemed as if Mr. Cole would be in in a few minutes for every thing remains as when he last left painting. The picture he last painted on yet stands on the Easel, The brushes he painted with that last day are there; his paint table looks as when he was there – There too is the sketches upon the floor, and standing by the Easel as he left them – There are his books, his writing table, portfolios, and in short I felt like asking, “when will Mr. C be in,” Though the man has departed, yet he has left a spell behind him that is not broken, as you may sit there upon the sofa, and look upon his works, we will feel more than ever the devotion, genius and spirit of the man. Every thing breaths so much candor of will, truth of purpose, and love of the refined and beautiful, that we feel a kind of reverence there, we instinctively feel like taking off our hats, when we enter although He is not there.

Jasper Cropsey to Maria Cropsey, July 7, 1850, Newington Cropsey Foundation

The artwork that Thomas Cole left behind in his studio when he died suddenly at the age of 47 in 1848 shaped the course of American art. The exhibition, Thomas Cole’s Studio: Memory and Inspiration, reassembled many of those significant works, and explored how Thomas’s example so powerfully affected the evolution of art in America.

Emily Cole:

This studio was also used by Emily Cole (1843-1913), daughter of Maria and Thomas. Emily was a professional artist known for her botanicals and hand-painted china. She was just five years old when her father passed away and grew to share her father’s focus on nature in her artistic practice. Emily lived here her whole life and made a living selling her art. Emily was the focus of the 2019 exhibition, The Art of Emily Cole. Also check out the recently published The Art of Emily Cole (2024).

Art Made Here:

Check out the exhibition catalog, Thomas Cole’s Studio: Memory and Inspiration for research regarding what Thomas created in this space, and what was left here at the time of his sudden death in 1848. His daughter, Emily Cole, also used this space as her studio. See The Art of Emily Cole (2024).

How to Explore:

In the warmer months, the Site has regular open hours, and you can purchase a ticket to explore the special exhibition inside the New Studio (and historic interiors). In the colder months, we host our annual lecture series. Check our schedule here.

[…] my earnest desire is to see [Art] presented in such a form that none shall be deprived of its pleasures and benefits. That Art shall be exposed, free as air, to every citizen, high or low, rich or poor.

Thomas Cole, Lecture on Art, c. 1845

The New Studio Hits The New York Times

The lovely reporter, Eve Kahn, visited us a few weeks ago and just fell in love with the New Studio. As luck would have it, the exterior scaffolding had just been taken down, and the exterior painting just completed, revealing the beautiful little building in its full glory at last. She exclaimed, “It combines grandeur with adorableness!”, which I had to agree with. Here is her wonderful article that appeared in print today:

http://nyti.ms/1VCHCdk

Siding, trim!

The construction crew of Dimensions North continued work through the weekend to get up the siding and trim along the roofline. Every day the building looks more and more like the photograph. The 2015 photo is taken from the south-east corner, while the 1900 photo is taken from the north-west.

The Windows Are In

This is the view of Thomas Cole’s house from the brand-new window on the north side.