From June 12-October 31, 2021, a special new exhibition is presented jointly at the Thomas Cole National Historic Site in Catskill and Frederic Church’s Olana (State Historic Site) in Hudson in New York’s Hudson River Skywalk Region. The Olana Partnership, Olana State Historic Site, and the Thomas Cole National Historic Site will jointly present “Cross Pollination: Heade, Cole, Church, and Our Contemporary Moment,” opening on June 12 at the two historic sites – with a unique presentation of .
.@DarienLibrary is excited to offer the chance to tour a local mansion from home on June 9. #Olana, located in Hudson, NY, is one of the most widely recognized artist’s homes and studios in the world
Sale of Museum Paintings Helps Conclude Strong Auction Season
The deaccessioning of 15 works by museums, including an important Thomas Cole painting, helped raise Sotheby’s total art sales over the last week to more than $715 million.
Thomas Cole’s “The Arch of Nero” (1846) was auctioned at Sotheby’s for the Newark Museum of Art on Wednesday. Historians had campaigned against the museum’s deaccessioning.Credit.via Sotheby s
By Zachary Small
May 19, 2021, 2:37 p.m. ET
Fifteen objects from cultural institutions passed through Sotheby’s at auction on Wednesday, showing that the debate among museum and industry leaders over deaccessioning hasn’t stopped these sales from occurring.
Thomas Cole,
Arch of Nero (1846). The painting, owned by the Newark Museum of Art, will hit the auction block at Sotheby s.
When the Newark Museum of Art announced a plan to sell 17 objects in March, it provided few details as to which artworks might appear on the auction block. But a gradual release of the specifics has enraged some historians, including previous employees of the museum, who described the sale as a misguided attempt to monetize some of the collection’s best examples of American art, including a painting by the landscape artist Thomas Cole.
On Friday, opponents of the auction released a letter addressed to the museum’s director, Linda Harrison, demanding that she “cancel the self-diminishment and monetization of Newark’s art” because it was “inflicting irreparable damage” on the institution.