American Primitive Paintings from the Collection of Edgar William and Bernice Chrysler Garbisch, Part I, National Gallery of Art, Washington, 1954, no. 15.

American Primitive Paintings, National Gallery of Art, Washington, D.C., 1955 (replaced another painting and shown about one week).

American Folk Art. Part of American Art. Four Exhibitions, Brussels Universal and International Exhibition, Belgium, 1958, no. 47, 35, as by Unknown.

101 Masterpieces of American Primitive Painting from the Collection of E.W. and B.C. Garbisch, traveling exh. by the Amer. Federation of Arts, New York, 1961-1964, no. 7, color repro., as by Unknown. First venue: The Metropolitan Museum of Art, N.Y.

Merchants and Planters of the Upper Hudson Valley 1700-1750, Abby Aldrich Rockefeller Folk Art Center, Williamsburg; Albany Institute of History and Art; Museum of American Folk Art and New-York Historical Soc., New York, 1967, unnumbered brochure.

American Naive Painting of the 18th and 19th Centuries: 111 Masterpieces from the Collection of E.W. and B.C. Garbisch, traveling exh. by American Federation of Arts, NY, 1968-1970, no. 8, repro. First venue: Grand Palais, Paris.

American Naive Painting of the 18th and 19th Centuries: Masterpieces from the Collection of E.W. and B.C. Garbisch, organzied by the American Federation of Arts, NY, and Mainichi News., Nihobashi Mitsukoshi, Tokyo, 1970, no cat.

American Naive Painting from the National Gallery of Art, Exh. cat. Traveling exh. by the International Exhibitions Foundation, Washington, 1985-1987, no. 30, color frontispiece. First venue: Museum of American Folk Art, New York.

La Nascita di Una Nazione: Pittori americani dalla National Gallery of Art di Washington 1730-1880, Palazzo Pepoli Campogrande, Bologna; Galleria Internazionale d'Arte Moderna di Ca'Pesaro, Venice, 1988-1989, no. 30, repro.

"A fresh and large assortment": American Silver from a Private Collection, Sterling and Francine Clark Art Institute, Williamstown, 2000, no cat.

Steeped in History: The Art of Tea, Fowler Museum at UCLA, Los Angeles, 2009, no. 6.1, repro.

Belknap, Waldron Phoenix, Jr. American Colonial Painting: Materials for a History. Cambridge, Massachusetts, 1959: pl. 71, no. 4.

Heydenryk, Henry. The Art and History of Frames. New York, 1963: 98, fig. 88.

Curran, Ona. "A Study of Portraits of Schenectady Residents, 1715-1750." M.A. thesis, State University of New York College at Oneonta, Cooperstown Graduate Program, 1966: 25, 29, 86-88, 114, 136-137.

Black, Mary C. "The Gansevoort Limner." Antiques 96 (November 1969): 738, 741-742.

Black, Mary C. "Pieter Vanderlyn and Other Limners of the Upper Hudson." In American Painting to 1776: A Reappraisal. Edited by Ian M. G. Quimby. Charlottesville, Va., 1971: 239.

Brant, Sandra, and Elissa Cullman. Small Folk: A Celebration of Childhood in America. New York, 1980: 69, color pl. 108.

Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 86, repro.

Blackburn, Roderic H., and Ruth Piwonka. Rememberance of Patria: Dutch Arts and Culture in Colonial America 1609-1776. Exh. cat. Albany Institute of History and Art, Albany, 1988: no. 237, color repro. 225.

Chotner, Deborah, with contributions by Julie Aronson, Sarah D. Cash, and Laurie Weitzenkorn. American Naive Paintings. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 143-145, color repro. 144.

American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 186, repro.

Miles, Ellen G., ed. The Portrait in Eighteenth-Century America. Newark, 1993, fig. 16.