Documentation

This documentation was compiled from the Museum’s curatorial object files. Entries for all works by Claude Monet have been augmented using information from the most recent catalogue raisonné on Monet, Wildenstein 1996. Provenance and exhibition histories listed in Wildenstein 1996 cannot in all cases be verified by the information available in the Museum’s object files.

PROVENANCE

In the provenance section, a semicolon after a name or clause designates a continuous sequence or known connection between two owners. A period denotes an unknown mode of transfer or a gap in the chain of ownership.

For many prints, the provenance can be traced back only to the dealer who sold the print or to the collector who gave it to the Museum. When a former owner is known by a mark, it is noted.

PRINT AUTHORITY SOURCES

Catalogues raisonnés used as authority sources for the prints are cited in author-catalogue number form (e.g., Breeskin 157). The standard abbreviations for these catalogues raisonnés are as follows:

Béraldi—Béraldi, Henri. 1885–92, Les graveurs du dix-neuvième siècle: Guide de l’amateur d’estampes modernes. 12 vols. Paris: Librairie L. Conquet.

Breeskin—Breeskin, Adelyn D. 1948. The Graphic Work of Mary Cassatt: A Catalogue Raisonné. New York: H. Bittner.

Curtis—Curtis, Atherton. 1939. Catalogue de l’oeuvre lithographié de Eugène Isabey. Paris: Paul Prouté.

Delteil—Delteil, Loys. 1906–30. Le peintre-graveur illustré (dix-neuvième et vingtième siècles). 32 vols. Paris: Chez l’auteur.

Guérin—Guérin, Marcel. 1927. L’oeuvre gravé de Gauguin. 2 vols. Paris: H. Floury.

Harrison—Harrison, Sharon R. 1986. The Etchings of Odilon Redon: A Catalogue Raisonné. New York: Da Capo.

Janis—Janis, Eugenia Parry. [1968]. Degas Monotypes: Essay, Catalogue, and Checklist. Exh. cat. [Cambridge, Mass.]: Fogg Art Museum, Harvard University.

Johnson—Johnson, Una E. 1944. Ambroise Vollard Editeur, 1867–1939. New York: Wittenborn.

Kornfeld—Mongan, Elizabeth, Eberhard W. Kornfeld, and Harold Joachim. 1988. Paul Gauguin: Catalogue Raisonné of His Prints. Bern: Galerie Kornfeld.

Kornfeld and Wick—Kornfeld, Eberhard W, and Peter A. Wick. 1974. Catalogue raisonné de l’oeuvre gravé et lithographié de Paul Signac. Bern: Kornfeld & Klipstein.

Mellerio—Mellerio, André. 1913. Odilon Redon. Paris: Société pour l’étude de la gravure française.

Roger-Marx—Roger-Marx, Claude. 1990. The Graphic Work of Edouard Vuillard. Trans. Susan Fargo Gilchrist. Reprint, San Francisco: A. Wofsy Fine Arts.

Salomon—Alain [pseud]. 1968. Introduction à l’oeuvre gravé de K. X. Roussel par Alain accompagnée de vingt-huit dessins en facsimile et suivie d’un essai de catalogue par Jacques Salomon. Paris: Mercure de France.

Van Gelder—Van Gelder, Dirk. 1976. Rodolphe Bresdin: Monographie et catalogue raisonné de l’oeuvre gravé. 2 vols. The Hague: Martinus Nijhoff.

SELECTED EXHIBITIONS

In the selected exhibitions section, if the object’s inclusion in a particular exhibition can not be confirmed, a question mark in parentheses follows the listing. The exhibition number for the object, if known, follows the exhibition title. The catalogue number follows the catalogue reference, if known. In either of these cases, if the number can not be confirmed, it is followed by a question mark.

The following exhibitions, drawn extensively or entirely from the collections of the Museum of Fine Arts, Boston, are cited in abbreviated form. The author-date citations listed in parentheses refer to the exhibition catalogues.

1939–40 Juliana Cheney Edwards Collection

Boston, Museum of Fine Arts, December 1, 1939–January 15, 1940, Juliana Cheney Edwards Collection (Cunningham 1939b).

1973 Impressionism: French and American

Boston, Museum of Fine Arts, June 15–October 14, Impressionism: French and American (MFA 1973a).

1977–78 Monet Unveiled

Boston, Museum of Fine Arts, November 22, 1977–February 22, 1978, Monet Unveiled: A New Look at Boston’s Paintings (Murphy and Giese 1977).

1979–80 Corot to Braque

Atlanta, High Museum of Art, April 20–June 17, 1979; Tokyo, Seibu Art Museum, July 28–September 19, 1979; Nagoya, Nagoya City Art Museum, September 29–October 31, 1979; Kyoto, National Museum of Modern Art, November 13, 1979–January 15, 1980; Denver, Denver Art Museum, February 13–April 20, 1980; Tulsa, The Philbrook Art Center, May 25–July 25, 1980; Phoenix, Phoenix Art Museum, September 19–November 23, 1980, Corot to Braque: French Paintings from the Museum of Fine Arts, Boston (Poulet and Murphy 1979).

1983–84 Masterpieces of European Painting

Tokyo, Isetan Museum of Art, October 21–December 4, 1983; Fukuoka, Fukuoka Art Museum, January 6–29, 1984; Kyoto, Kyoto Municipal Museum of Art, February 25–April 8, 1984, Bosuton Bijutsukan ten: Runessansu kara inshōha made (Masterpieces of European Painting from the Museum of Fine Arts, Boston) (Nippon Television 1983).

1984 Jean-François Millet

Boston, Museum of Fine Arts, March 28–July 1, Jean-François Millet: Seeds of Impressionism (Murphy 1984).

1984–85 Jean-François Millet Exhibition

Tokyo, Nihonbashi Takashimaya Art Gallery, August 9–September 30, 1984; Sapporo, Hokkaido Museum of Modern Art, October 9–November 11, 1984; Yamaguchi, Yamaguchi Prefectural Museum of Art, November 22–December 23, 1984; Nagoya, Matsuzakaya Museum of Art, January 4–29, 1985; Kyoto, Kyoto Municipal Museum of Art, February 28–April 14, 1985; Kofu, Yamanashi Prefectural Museum of Art, April 23–May 19, 1985, Mire ten, Bosuton Bijutsukan zō (Jean-François Millet Exhibition from the Museum of Fine Arts, Boston) (Nippon Television and MFA 1984).

1985 IBM Gallery

New York, IBM Gallery of Science and Art, June 10–July 27, Jean-François Millet.

1989 From Neoclassicism to Impressionism

Kyoto, Kyoto Municipal Museum of Art, May 30–July 2; Sapporo, Hokkaido Museum of Modern Art, July 15–August 20; Yokohama, Sogo Museum of Art, August 30–October 10, Bosuton Bijutsukan ten: Jyūkyū seiki furansu kaiga no meisaku (From Neoclassicism to Impressionism: French Paintings from the Museum of Fine Arts, Boston) (Kyoto Museum, Kyoto Shimbun, and MFA 1989).

1991–92 Claude Monet: Impressionist Masterpieces

Baltimore, The Baltimore Museum of Art, September 21, 1991–January 19, 1992, Claude Monet: Impressionist Masterpieces from the Museum of Fine Arts, Boston.

1992 Crosscurrents

Boston, Museum of Fine Arts, February 19–May 17, European and American Impressionism: Crosscurrents.

1992–93 Monet and His Contemporaries

Tokyo, Bunkamura Museum, October 17, 1992–January 17, 1993; Kobe, Hyogo Prefectural Museum of Modern Art, January 23–March 22, 1993, Mone to inshōha: Bosuton Bijutsukan ten (Monet and His Contemporaries from the Museum of Fine Arts, Boston) (Bunkamura Museum and MFA 1992).

1995 The Real World

Yokohama, Yokohama Sogo Museum of Art, April 27–July 24; Chiba, Chiba Sogo Museum of Art, August 4–September 17; Nara, Nara Sogo Museum of Art, September 27–November 5, Bosuton Bijutsukan no shihō: Jyūkyū seiki yōroppa no kyoshō (The Real World: Nineteenth-Century European Paintings from the Museum of Fine Arts, Boston) (Sogo Museum and MFA 1994).

1999 Monet, Renoir, and the Impressionist Landscape

Nagoya, Nagoya/Boston Museum of Fine Arts, April 17–September 26, Mone, Runowāru to inshōha no fūkei (Monet, Renoir, and the Impressionist Landscape) (Nagoya/Boston and MFA 1999).

2000–2 Monet, Renoir, and the Impressionist Landscape

Ottawa, National Gallery of Canada, June 2–August 27, 2000; Richmond, Virginia Museum of Fine Arts, September 19–December 10, 2000; Houston, The Museum of Fine Arts, January 21–April 15, 2001; Dublin, National Gallery of Ireland, January 22–April 14, 2002, Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000).

Théodore Caruelle d’Aligny
French, 1798–1871

3. Study of a Great Tree, near Civita Castellana, 1826
Graphite pencil on cream wove paper
Sheet: 62.1 × 46.9 cm (24 7/16 × 18 7/16 in.)
Anonymous gift 1985.874

PROVENANCE

Artist’s estate stamp (Lugt 6). By 1979, private collection, France. By 1983, with Hazlitt, Gooden & Fox, London, Nineteenth-Century French Drawings, cat. no. 14; private collection, Maine; 1985, gift of anonymous donor.

SELECTED EXHIBITIONS

1978 • Orleans, Musée des Beaux-Arts, February 28–April 20; Dunkerque, Musée des Beaux-Arts, April 25–June 20; Rennes, Musée des Beaux-Arts, June 25–September 4, Théodore Caruelle d’Aligny et ses companions, no. 37.

1994 • Boston, Museum of Fine Arts, Trees, April 7–July 2.

4. Rocky Landscape, probably about 1835
Pen lithograph on cream wove paper
Image: 22.2 × 31 cm (8¾ × 12 13/16 in.)
Lee M. Friedman Fund 1985.871

PROVENANCE

Artist’s estate stamp (Lugt 6); Alfred Beurdeley stamp (Lugt 421); by 1985, R. E. Lewis, Inc., San Rafael, Calif.; 1985, sold by Lewis to the MFA.

SELECTED EXHIBITION

1996 • Boston, Museum of Fine Arts, January 10–July 7, Lithography’s First Half Century: The Age of Goya and Delacroix, no. 66, pl. 44.

5. Italian Hills, about 1826–27
Oil on paper mounted on canvas
41.2 × 68.8 cm (16¼ × 27⅛ in.)
Seth K. Sweetser Fund 49.1730

PROVENANCE

By the early 1940s, anonymous dealer, Paris; sold by anonymous dealer to the Melander Shakespeare Society, Santa Barbara, Calif. [1]; consigned by Melander Shakespeare Society to Parke-Bernet Galleries, New York; 1949, sold by Parke-Bernet at Plaza Auction Room, New York, and bought by Julius H. Weitzner, London and New York [2]; 1949, sold by Weitzner to the MFA.

NOTES

1. According to a letter of February 25, 1950, from Rudolph Holzapfel of the Melander Shakespeare Society to W. G. Constable of the MFA in curatorial file, this work was purchased in Paris by the society “eight to ten years ago” by a dealer who did not supply any data about the painting.

2. According to a letter of January 5, 1950, from Weitzner to W G. Constable in curatorial file.

SELECTED EXHIBITIONS

1987–88 • Memphis, The Dixon Gallery and Gardens, November 22, 1987–January 3, 1988; Oberlin, Ohio, Allen Memorial Art Museum, Oberlin College, January 17–March 13, 1988; Louisville, Ky., J. B. Speed Art Museum, March 27–May 15, 1988, From Arcadia to Barbizon: A Journey in French Landscape Painting (Simpson 1987), no. 18.

1996–97 • Washington, D.C., National Gallery of Art, May 26–September 2, 1996; Brooklyn, The Brooklyn Museum, October 11, 1996–January 12, 1997; St. Louis, The St. Louis Art Museum, February 21–May 18, 1997, In the Light of Italy: Corot and Early Open-Air Painting (Conisbee et al. 1996), no. 81.

SELECTED REFERENCES

Murphy 1985, 2; Ramade 1986, 125, fig. 12; Galassi 1991, 118, pl. 144.

Charles Angrand
French, 1854–1926

135. Farmyard, 1892
Black conté crayon on cream laid paper Sheet: 47.5 × 62.4 cm (18 11/16 × 24 9/16 in.)
Gift of her children in memory of Elizabeth Paine Metcalf 1992.566

PROVENANCE

Elizabeth Paine Card Metcalf, Boston; 1992, gift of Metcalf’s children.

Eugène Atget
French, 1857–1927

149. Versailles, 1902
Photograph, gold-toned albumen print from glass-plate negative, unmounted
Sheet: 18.1 × 21.8 cm (7⅛ × 8 9/16 in.)
Helen B. Sweeney Fund 1989.322

PROVENANCE

Robert Klein Gallery, Boston; 1989, sold by Robert Klein Gallery to the MFA.

SELECTED EXHIBITION

1998–99 • Boston, Museum of Fine Arts, November 21, 1998–May 23, 1999, French Photography: Le Gray to Atget.

SELECTED REFERENCES

Szarkowski and Hambourg 1983, vol. 3; Borcoman 1984, 67, 130–31.

Edouard-Denis Baldus
French, 1813–1882

44. Bridge of Saint Bénézet, Avignon, early 1860s
Photograph, albumen print from glass-plate negative, mounted
Sheet: 21.5 × 28.1 cm (8 7/16 × 11 1/16 in.)
Gift of Mrs. George R. Rowland, Sr. 1986.767

PROVENANCE

Lee Gallery, Boston; 1986, sold by Lee Gallery to the MFA.

SELECTED EXHIBITIONS

1989 • Boston, Museum of Fine Arts, October 7–December 17, Capturing an
Image: Collecting 150 Years of Photography.

1998–99 • Boston, Museum of Fine Arts, November 21, 1998–May 23, 1999, French Photography: Le Gray to Atget.

SELECTED REFERENCES

Jammes and Janis 1983, 139–42; Daniel 1994, 80–90.

45. Mer de Glâce, Chamonix, about 1860
Photograph, albumen print from paper negative, mounted
Sheet: 30.9 × 42.5 cm (12 3/16 × 16¾ in.)
Sophie M. Friedman Fund 1989.23

PROVENANCE

William L. Schaeffer, Chester, Conn.; 1989, sold by Schaeffer to the MFA.

SELECTED EXHIBITION

1998–99 • Boston, Museum of Fine Arts, November 21, 1998–May 23, 1999, French Photography: Le Gray to Atget.

SELECTED REFERENCES

Jammes and Janis 1983, 139–42; Néagu and Heilbrun 1983; Daniel 1994, 76–77.

Antoine-Louis Barye
French, 1795–1875

39. Stag and Doe
Watercolor on paper, mounted
Sheet: 21 × 28.2 cm (8¼ × 11⅛ in.)
Bequest of David P. Kimball in memory of his wife Clara Bertram Kimball 23.526

PROVENANCE

February 7–12, 1876, Barye sale, Paris, probably no. 147; James F. Sutton, New York; April 7, 1892, American Art Association, sale, New York, no. 57; David P. Kimball, Boston; 1923, bequest of David P. Kimball.

SELECTED EXHIBITION

1992 • Boston, Museum of Fine Arts, April 8–June 29, Neoclassical and Romantic Works on Paper.

Edouard Bertin
French, 1797–1871

9. Landscape, Tivoli, mid-19th century
Black chalk heightened with white chalk on blue wove paper
Sheet: 33.6 × 27.7 cm (13¼ × 10⅞ in.)
Lucy Dalbiac Luard Fund 1987.564

PROVENANCE

Artist’s estate stamp (Lugt suppl. 238a). Eric G. Carlson, New York; 1987, sold by Carlson to the MFA.

SELECTED EXHIBITION

1992 • Boston, Museum of Fine Arts, April 8–June 29, Neoclassical and Romantic Works on Paper.

Jean-Joseph-Xavier Bidauld
French, 1758–1846

2. Monte Cavo from Lake Albano, about 1790
Oil on canvas
32.5 × 45.6 cm (12¾ × 18 in.)
Charles Edward French Fund 43.130

PROVENANCE

About 1870–80, purchased from anonymous collection or dealer in France by Seth Morton Vose, Boston; about 1870–80 until 1943, with Vose Galleries, Boston (as Achille Michallon); 1943, sold by Vose Galleries to the MFA.

SELECTED EXHIBITIONS

1950 • Detroit, The Detroit Institute of Arts, February 1–March 5, French Painting from David to Courbet (Detroit 1950), no. 68.

1978 • Boston, Museum of Fine Arts, May 2–August 27, French Paintings from the Storeroom and Some New Acquisitions.

1978 • New York, Wildenstein Galleries, October 17–November 22, Romance and Reality: Aspects of Landscape Painting (Wildenstein 1978), no. 2.

1996–97 • Washington, D.C., National Gallery of Art, May 26–September 2, 1996; Brooklyn, Brooklyn Museum of Art, October 11, 1996–January 12, 1997; St. Louis, The St. Louis Art Museum, February 21–May 18, 1997, In the Light of Italy: Corot and Early Open-Air Painting (Conisbee et al. 1996), no. 30.

SELECTED REFERENCES

Gutwirth 1977, 150, fig. 4; Murphy 1985, 19; Simpson 1987, 51; Kitson et al. 1990, 245, fig. 14; Zafran 1998, 168–69, no. 75.

Eugène Bléry
French, 1805–1887

7. A Large Patch of Coltsfoot, 1843
Etching on chine collé. Béraldi 144
Platemark: 40 × 53 cm (15¾ × 20⅞ in.)
Lee M. Friedman Fund 1986.612

Karl Bodmer
Swiss (worked in France), 1809–1893

47. Oaks and Wild Boars

Oil on canvas, about 1865

134 × 106.8 cm (52¾ × 42 in.)

Bequest of Francis Skinner 06.3

PROVENANCE

By 1872–1906, Francis Skinner, Boston; 1906, bequest of Francis Skinner.

SELECTED EXHIBITIONS

1866 • Paris, Salon, called Bande de sangliers sous la haute futaie, no. 189?

1872 • Boston, Boston Athenaeum, no. 191.

1873 • Boston, Boston Athenaeum, no. 205 (lent as The Wild Boars of the Forest).

SELECTED REFERENCE

Murphy 1984, 21.

48. Fox in the Hiding Place, 1858
Lithograph on chine collé. Delteil 90
Image: 29 × 17.7 cm (11 7/16 × 6 15/16 in.)
Gift of Clifford S. Ackley in memory of Lillian H. Stern 1984.182

Pierre Bonnard
French, 1867–1947

146. Boating, 1896–97
Color lithograph on cream Chinese paper.
Roger-Marx 44
Image: 25.7 × 47.5 cm (10⅛ × 18 11/16 in.)
Bequest of W. G. Russell Allen 60.68

SELECTED REFERENCE

Ives, Giambruni, and Newman 1989, 21–23.

Eugène Boudin
French, 1824–1898

75. River Landscape with Houses and Bridge, late 1850s
Graphite pencil on dark cream laid paper
Sheet: 28.5 × 44.5 cm (11¼ × 17½ in.)
M. and M. Karolik Fund 1972.368

PROVENANCE

Robert Light & Co., Boston; 1972, sold by Robert Light & Co. to the MFA.

SELECTED EXHIBITIONS

1990 • Boston, Museum of Fine Arts, July 13–August 19, Boudin in Boston.

1991 • Salem, Mass., Peabody Museum, May 17–September 16, Eugène Boudin: Impressionist Marine Paintings (Sutton 1991), 34–35, illus., unnumbered entries, pl. 3.

76. Harbor at Honfleur, 1865
Oil on paper mounted on panel 20.3 × 26.8 cm (8 × 10½ in.)
Anonymous Gift 1971.425

PROVENANCE

By 1929, private collection (or anonymous dealer), Paris; 1929–71, Rowland Burdon-Muller, Lausanne and Boston; 1971, gift of anonymous donor.

SELECTED EXHIBITIONS

1991 • Salem, Mass., Peabody Museum, May 17–September 16, Eugène Boudin: Impressionist Marine Paintings (Sutton 1991), 40–41, pl. 6.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), not in catalogue.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 22.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 22.

SELECTED REFERENCES

Schmit 1973, no. 339; Murphy 1985, 30.

78. Fashionable Figures on the Beach, 1865
Oil on panel
35.5 × 57.5 cm (14 × 22⅝ in.)
Gift of Mr. and Mrs. John J. Wilson 1974.565

PROVENANCE

With Cadart & Luquet, Paris. With Galerie Georges Petit, Paris; probably by 1930s, sold by Galerie Georges Petit to Dr. Francisco Llobet (d. 1959), Buenos Aires [1]; 1959, inherited by Mme Inès Llobet de Gowland (daughter); by 1961, sold by Gowland to Drs. Fritz and Peter Nathan, Zurich; by 1962, sold by Drs. Fritz and Peter Nathan to Mr. and Mrs. John J. Wilson, Boston; 1974, gift of Mr. and Mrs. John J. Wilson.

NOTE

1. According to a letter of December 3, 1962, from Peter Nathan to Perry T. Rathbone of the MFA, Llobet was a well-known collector of Impressionist painting in South America. There is some dispute as to the exact time Llobet purchased the painting. In a letter of June 22, 1962, to Perry T. Rathbone in curatorial file, Peter Nathan writes that Llobet most likely purchased the painting between 1920 and 1925 from Galerie Georges Petit in Paris (though not at an auction sale), while Rathbone in a letter to Nathan of December 14, 1962, argues that Llobet probably did not do so until after 1930.

SELECTED EXHIBITIONS

1966 • New York, Hirschl & Adler Galleries, Inc., November 2–26, Eugène Boudin, 1824–1898, no. 7.

1990 • Boston, Museum of Fine Arts, July 13–August 19, Boudin in Boston.

1991 • Salem, Mass., Peabody Museum, May 17–September 16, Eugène Boudin: Impressionist Marine Paintings (Sutton 1991), unnumbered entries, pl. 7.

1992 • Crosscurrents.

1995 • The Real World (Sogo Museum and MFA 1994), no. 37.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 2.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 23.

SELECTED REFERENCES

Schmit 1973, no. 345; Murphy 1985, 30.

Rodolphe Bresdin
French, 1822–1885

40. The Good Samaritan, 1861
Pen lithograph on chine collé
Van Gelder 100
Image: 56.4 × 44.4 cm (22 3/16 × 17½ in.)
Bequest of W G. Russell Allen 60.73

SELECTED REFERENCE

Becker 1983.

41. Mountain Landscape with Army in a Rocky Gorge, 1865
Pen and black ink on card with embossed border
Sheet: 10.3 × 14.8 cm (4 1/16 × 5 13/16 in.)
Gift of Dr. and Mrs. Irvin Taube and Sophie M. Friedman Fund 1986.128

PROVENANCE

Galerie Gosselin, Paris; 1986, sold by Galerie Gosselin to the MFA.

SELECTED EXHIBITION

1992 • Boston, Museum of Fine Arts, January 8–March 22, The Art of Drawing.

42. Mountain Stream, 1871
Etching and drypoint (roulette) on cream wove paper. Van Gelder 130
Platemark: 11.2 × 14.6 cm (4 7/16 × 5¾ in.)
Gift of David P. Becker 1998.40

SELECTED EXHIBITION

1987 • Boston, Museum of Fine Arts, April 17–July 26, Printmaking: The Evolving Image, no. 38.

SELECTED REFERENCE

Préaud 2000.

Mary Cassatt
American (worked in France), 1844–1926

117. Gathering Fruit, about 1893
Color drypoint and aquatint printed from three plates on cream laid paper. Breeskin 157
Platemark: 42 × 29.8 cm (16 9/16 × 11¾ in.)
Gift of William Emerson and The Hayden Collection, Charles Henry Hayden Fund 41.813

SELECTED REFERENCE

Mathews and Shapiro 1989, no. 15, ninth state.

Jean Charles Cazin
French, 1841–1901

109. Riverbank with Bathers, about 1882
Oil on canvas
131.2 × 147 cm (51⅝ × 57⅞ in.)
Peter Chardon Brooks Memorial Collection; Gift of Mrs. Richard M. Saltonstall 20.593

PROVENANCE

By 1889, Antonin Proust. By 1890, with Galerie Georges Petit, Paris; September 25, 1890, sold by Galerie Georges Petit and bought by J. Foxcroft Cole, Boston, for Peter Chardon Brooks, Boston; November 1890–1919, Peter Chardon Brooks, Boston; 1919–20, inherited by Mrs. Richard M. Saltonstall, Chestnut Hill, Mass. (daughter); 1920, gift of Mrs. Richard M. Saltonstall.

SELECTED EXHIBITIONS

1882 • Paris, Salon, hors catalogue.

1889 • Paris, Exposition Universelle (Exposition Universelle [1889]), no. 280, called La Marne.

1897 • Boston, Copley Hall, March 5–28, Loan Exhibition of One Hundred Masterpieces, no. 2, called Pharaoh’s Daughter Bathing in the Nile.

1997 • London, National Gallery, July 2–September 28, Seurat and the Bathers (Leighton et al. 1997), no. 66.

SELECTED REFERENCES

Album artistique 1882; Child 1890, 828; Child 1892, 50; Bénédite 1901, 32, opp. 76; Marcel [1905], 316, 318; MFA 1921, 78, no. 188; Edgell 1949, 58; MFA 1955, 11; Murphy 1985, 47.

132. Farm beside an Old Road, about 1890
Oil on canvas
65.1 × 81.6 cm (25⅝ × 32⅛ in.)
Bequest of Anna Perkins Rogers 21.1330

PROVENANCE

By 1890, Ernest May, Paris; June 4, 1890, sold at May sale (Chevallier), Paris, no. 6, and bought by Anna P. Rogers, Boston; 1890–1921, Anna P. Rogers, Boston; 1921, bequest of Anna P. Rogers.

SELECTED EXHIBITIONS

1889 • Paris, Exposition Universelle de 1889 (Exposition Universelle de 1889 [1889]), no. 280(?).

1903 • Boston, Copley Hall, A Loan Collection of Pictures by Old Masters and Other Painters (Copley Society 1903), no. A1.

2000–02 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 53.

SELECTED REFERENCES

Trumble 1890, 131; “Vente E. May” 1890, 179; Trumble 1893, 300; Murphy 1985, 47.

Paul Cézanne
French, 1839–1906

108. The Pond, about 1877–79
Oil on canvas
47 × 56.2 cm (18½ × 22⅛ in.)
Tompkins Collection 48.244

PROVENANCE

By 1894, acquired from the artist by Gustave Caillebotte (d. March 8, 1894), Paris [1]; about 1894, inherited by Martial Caillebotte, Paris (brother) [2]; inherited by G. (Albert?) Chardeau, Paris (nephew). 1948, with Matignon Art Galleries, Inc. (André Weil Gallery), Paris and New York; 1948, sold by Matignon Art Galleries to the MFA.

NOTES

1. Most or all of Caillebotte’s estate was bequeathed to the French state, which refused much of it. It is unclear whether this painting was included in the bequest. However, if it was included in the bequest, it was subsequently rejected.

2. Martial Caillebotte negotiated with the French state regarding his brother’s bequests. He received the rejected portion of the bequest.

SELECTED EXHIBITIONS

1905 • Paris, Grand Palais, Salon d’Automne, no. 319?, called Bord de riviere.

1949 • Manchester, N.H., The Currier Gallery of Art, October 8–November 6, Monet and the Beginnings of Impressionism: Twentieth Anniversary Exhibition (Currier Gallery of Art [1949]), no. 27.

1950 • Richmond, Virginia, Museum of Fine Arts, October–November, Impressionists and Post-Impressionists.

1952 • Montreal, Montreal Museum of Fine Arts, March 7–April 13, Six Centuries of Landscape (Montreal Museum 1952), no. 55.

1956 • The Hague, Gemeentemuseum, June–July, Paul Cézanne, 1839–1906 (Haags [1956]), no. 11.

1956 • Zurich, Kunsthaus Zurich, August–October, Cézanne, no. 21.

1956–57 • Cologne, Kunsthaus Lempertz, December 1, 1956–January 31, 1957, Cézanne: Ausstellung zum Gedenken an sein 50. Todesjahr (Wallraf-Richartz 1956), no. 6.

1970 • New York, The Metropolitan Museum of Art, May 29–July 26, One Hundred Paintings from the Boston Museum (MFA [1970]), no. 64.

1971 • Washington, D.C., The Phillips Collection, February 27–March 28; Chicago, The Art Institute of Chicago, April 17–May 16; Boston, Museum of Fine Arts, June 1–July 3, Cézanne: An Exhibition in Honor of the Fiftieth Anniversary of The Phillips Collection (Rewald 1971), no. 4.

1973 • Impressionism: French and American (MFA 1973a), unnumbered entry.

1978 • Boston, Museum of Fine Arts, May 2–August 27, French Paintings from the Storerooms and Some Recent Acquisitions.

1978 • St. Petersburg, Fla., Museum of Fine Arts, September 30–November 5; Montgomery, Ala., Montgomery Museum of Art, November 17–December 31, Symbolist Roots of Modern Painting.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 43.

1983–84 • Masterpieces of European Painting (Nippon Television 1983), no. 53.

1992 • Crosscurrents.

1996 • Tokyo, Tobu Museum of Art, March 30–June 30, Inshoha wa koshite umareta: Akademisumu kara Kurube, Mune, Mone, Runowaru (The Birth of Impressionism) (Tobu Bijutsukan 1996), no. 149.

1997 • Glasgow, McLellan Galleries, Burrell Collection, Glasgow Museums, May 23–September 7, The Birth of Impressionism: From Constable to Monet (Glasgow Museums 1997), 24–25, 31, unnumbered entry

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 36.

2000–02 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 34.

SELECTED REFERENCES

Bernard 1921, 21, pl. 41; Bernard 1926, opp. 64; Venturi 1936, 1:116, no. 232; 2: no. 232, pl. 63; “Enriching U.S. Museums” 1948, 31; Edgell 1949, 51; Lindsay 1969, fig. 32; MFA [1970], 93, 95, no. 63; Geist 1975, 9; Berhaut 1978, 251; Shiff 1984, 115, fig. 24; Murphy 1985, 48; Kendall 1988, 108; Lewis 1989, 109, fig. 52; Rewald 1996, 172, fig. 224.

114. Turn in the Road, about 1881
Oil on canvas
60.5 × 73.5 cm (23⅞ × 28⅞ in.)
Bequest of John T. Spaulding 48.525

PROVENANCE

Julien Tanguy, Paris (?). By 1894, Théodore Duret, Paris (critic, friend, and biographer of the artist); March 19, 1894, sold at Duret sale, Galerie Georges Petit (Chevallier), Paris, no. 3, and bought by Paul-César Helleu (painter, d. 1927), Paris; by 1926, sold by Helleu to Claude Monet, Giverny; 1926/27, inherited by Michel Monet, Giverny; 1926/27, sold at Monet estate sale and bought by Paul Rosenberg & Co., Paris, for Wildenstein & Co.; 1926/27, Wildenstein & Co., New York; 1927, sold by Wildenstein to John Taylor Spaulding (d. 1948), Boston; 1927–48, John Taylor Spaulding, Boston; 1948, bequest of John Taylor Spaulding.

SELECTED EXHIBITIONS

1928 • New York, Wildenstein Galleries, Paul Cézanne, no. 14, called Environs d’Aix-en-Provence.

1929 • Cambridge, Mass., Fogg Art Museum, Harvard University, March 6–April 6, Exhibition of French Painting of the Nineteenth and Twentieth Centuries (Fogg Art Museum [1929]), no. 5.

1931–32 • Boston, Museum of Fine Arts, May 26, 1931–October 27, 1932, Collection of Modern French Paintings, Lent by John T. Spaulding.

1934 • Chicago, The Art Institute of Chicago, June 1–November 1, A Century of Progress (AIC 1934), no. 292, called Environs d’Aix-en-Provence.

1948 • Boston, Museum of Fine Arts, May 26–November 7, The Collections of John Taylor Spaulding, 1870–1948 (MFA 1948), no. 8.

1949 • Cambridge, Mass., Fogg Art Museum, Harvard University, February 1–September 15, Student Exhibition.

1950 • Springfield, Mass., Springfield Museum of Fine Arts, January 15–February 19, In Freedom’s Search (Springfield Museum 1950), no. 4.

1952 • Chicago, The Art Institute of Chicago; New York, The Metropolitan Museum of Art, February–March, Cézanne: Paintings, Watercolors, and Drawings, a Loan Exhibition (AIC 1952), no. 42.

1954 • Edinburgh, Royal Scottish Academy, August–September; London, The Tate Gallery, September 29–October 27, An Exhibition of Paintings by Cézanne (Gowing et al. 1954), no. 26.

1959 • New York, Wildenstein Galleries, November–December, A Loan Exhibition of Paul Cézanne, no. 19.

1971 • Washington, D.C., The Phillips Collection, February 27–March 28; Chicago, The Art Institute of Chicago, April 17–May 16; Boston, Museum of Fine Arts, June 1–July 3, Cézanne: An Exhibition in Honor of the Fiftieth Anniversary of the Phillips Collection (Rewald 1971), no. 11.

1973 • Impressionism: French and American (MFA 1973a), unnumbered entry.

1974 • Tokyo, National Museum of Western Art; Kyoto, Municipal Museum; Fukuoka, Prefectural Culture Center Museum, March 29–August 6, Exhibition of the Work of Paul Cézanne, no. 29.

1984–85 • Los Angeles, Los Angeles County Museum of Art, June 28–September 16, 1984; Chicago, The Art Institute of Chicago, October 18, 1984–January 6, 1985; Paris, Grand Palais, February 8–April 22, 1985, A Day in the Country: Impressionism and the French Landscape (Brettell et al. 1984), no. 72.

1992 • Crosscurrents.

1993 • Tübingen, Kunsthalle, January 16–April 27, Cézanne: Gemälde (Adriani 1993), no. 27.

1995–96 • London, Hayward Gallery, May 18–August 28, 1995; Boston, Museum of Fine Arts, October 4, 1995–January 14, 1996, Impressions of France: Monet, Renoir, Pissarro, and Their Rivals (House et al. 1995), no. 96.

1995–96 • Paris, Grand Palais, September 25, 1995–January 7, 1996; London, The Tate Gallery, February 8–April 28, 1996; Philadelphia, Philadelphia Museum of Art, May 26–August 18, 1996, Cézanne (Cachin et al. 1995), no. 76 (Philadelphia venue only).

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 37.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 35.

SELECTED REFERENCES

Watson 1928, 33, 35–36; Pope 1930, 122; Venturi 1936, 1:136, no. 329, 2: pl. 90, no. 329; Novotny [1937], pl. 33; Vollard 1937, pl. 30; Goldwater 1938, 149; Cogniat 1939, pl. 36; Lhôte 1939, no. 44; Wilenski 1940, 10–11, 75, pl. 15A; Jewell 1944, 43; Dame 1948, 12; Edgell 1949, 51; Cooper 1954, 378–79; Raynal 1954, 55; Gowing 1956, 185–92; Erpel 1958, 20–21; Lhôte 1958, no. 43; Boisdeffre [1966], 198; Andersen 1967, 139, note 22; Bodelsen 1968, 345; Ikegame 1969, no. 18; MFA 1973b, no. 33; Bizardel 1974, 152, 155, fig. 11; Venturi 1978, 82; Murphy 1985, 48; MFA 1986, 78; Rewald 1996, 330, no. 490.

Antoine Chintreuil
French, 1816–1873

64. Last Rays of the Sun on a Field of Sainfoin, about 1870
Oil on canvas
95.8 × 134 cm (37¾ × 52¾ in.)
Gift of Mrs. Charles Goddard Weld 22.78

PROVENANCE

About 1870, M. Fassin, Reims. By 1889–1911, Charles G. Weld (d. 1911), Boston; 1911–22, inherited by Mrs. Charles Goddard Weld (widow, d. 1922), Boston; 1922, bequest of Mrs. Charles Goddard Weld.

SELECTED EXHIBITIONS

1870 • Paris, Salon, no. 571.

1874 • Paris, Ecole nationale des Beaux-Arts, April 25–May 15, Tableaux, etudes et dessins de Chintreuil exposés à l’Ecole des Beaux-Arts (Ecole nationale 1874), no. 208.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 14.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 11.

SELECTED REFERENCES

De la Fizelière, Champfleury, and Henriet 1874, 66, no. 408; Murphy 1985, 51.

Jean-Baptiste-Camille Corot
French, 1796–1875

11. Farm at Recouvrières, Nièvre, 1831
Oil on canvas
47.5 × 70.3 cm (18¾ × 27⅝ in.)
The Henry C. and Martha B. Angell Collection 19.82

PROVENANCE

Given by the artist to M. Pons (owner of the farm depicted in the painting). By 1895, with Aimé Diot, Paris (dealer, also known as MM. Diot et Tempelaere); 1895, sold by Diot to Dr. Henry Clay Angell (d. 1911), Boston; 1895–1911, Dr. Henry Clay Angell, Boston; 1911–19, inherited by Martha Bartlett Angell (widow, d. 1919), Boston; 1919, gift of Martha Bartlett Angell.

SELECTED EXHIBITIONS

1908 • Boston, Copley Hall, March, French School of 1830 (Copley Society 1908), no. 56.

1915 • Boston, Museum of Fine Arts, opening February 3, Robert Dawson Evans Memorial Galleries Opening Exhibition.

1962–63 • San Francisco, California Palace of the Legion of Honor, September 24–November 4, 1962; Toledo, Ohio, The Toledo Museum of Art, November 20–December 27, 1962; Cleveland, The Cleveland Museum of Art, January 15–February 24, 1963; Boston, Museum of Fine Arts, March 15–April 28, 1963, Barbizon Revisited (Herbert 1962), no. 3.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 4.

1983–84 • Masterpieces of European Painting (Nippon Television 1983), no. 34.

1987–88 • Memphis, The Dixon Gallery and Gardens, November 22, 1987–January 3, 1988; Oberlin, Ohio, Allen Memorial Art Museum, Oberlin College, January 17–March 13, 1988; Louisville, Ky., J. B. Speed Art Museum, March 27–May 15, 1988, From Arcadia to Barbizon: A Journey in French Landscape Painting (Simpson 1987), no. 35.

1989 • From Neoclassicism to Impressionism (Kyoto Museum, Kyoto Shimbun, and MFA 1989), no. 17.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 1.

1996–97 • Paris, Galeries Nationales du Grand Palais, February 27–May 27, 1996; Ottawa, National Gallery of Canada, June 21–September 22, 1996; New York, The Metropolitan Museum of Art, October 29, 1996–January 19, 1997, Corot (Tinterow, Pantazzi, and Pomarède 1996), no. 39.

SELECTED REFERENCES

Robaut and Moreau-Nélaton 1905, 2:104, no. 292; MFA 1921, no. 201; Cunningham 1936, 100; Edgell 1949, 10–11; MFA 1955, 14; Leymarie 1966, 49; Chu 1974, 21; Murphy 1985, 59.

12. Forest of Fontainebleau, 1846
Oil on canvas
90.2 × 128.8 cm (35½ × 50¾ in.)
Gift of Mrs. Samuel Dennis Warren 90.199

PROVENANCE

1846–72, with the artist; February 26, 1872, contributed by the artist to the Corot (Anastasi) sale, Boussaton, Paris, no. 26, to benefit Auguste Anastasi [1]. 1872, Alfred Robaut, Paris. 1878, with anonymous dealer. 1881, Ferdinand Barbédienne, Paris. By 1884–86, Beriah Wall, Providence, R.I.; April 4, 1886, sold at Wall sale, American Art Galleries, New York, no. 263, and bought by Vose Galleries, Providence and Boston, on behalf of Mrs. Susan Cornelia Warren, Boston; 1886–90, Mrs. Susan Cornelia Warren, Boston (d. 1901, 67 Mount Vernon St.); 1890, gift of Mrs. Warren.

NOTE

1. This was known as the Anastasi sale, but he was not the owner; various artists contributed paintings to the sale.

SELECTED EXHIBITIONS

1846 • Paris, Salon, no. 422.

1875 • Paris, Ecole des Beaux-Arts, Corot, no. 74.

1878 • Paris, Durand-Ruel, Maîtres Modernes.

1886 • Providence, R.I., Loan Exhibition in Aid of the First Light Infantry, no. 96.

1946 • Philadelphia, Philadelphia Museum of Art, Corot, 1796–1875 (PMA 1946), no. 24.

1950 • Detroit, The Detroit Institute of Arts, February 1–March 5, French Painting from David to Courbet (Detroit 1950), no. 75.

1952 • Venice, Twenty-sixth Biennale, no. 21.

1960 • Chicago, The Art Institute of Chicago, October 5–November 13, Corot, 1796–1875: An Exhibition of His Paintings and Graphic Works (AIC 1960), no. 63.

1962–63 • San Francisco, California Palace of the Legion of Honor, September 24–November 4, 1962; Toledo, Ohio, The Toledo Museum of Art, November 20–December 27, 1962; Cleveland, Cleveland Museum of Art, January 15–February 24, 1963; Boston, Museum of Fine Arts, March 15–April 28, 1963, Barbizon Revisited (Herbert 1962), no. 10.

1968–69 • Paris, Petit Palais, November 23, 1968–March 17, 1969, Baudelaire (Calvet et al. 1968), no. 181.

1969 • New York, Wildenstein Galleries, October 30–December 6, Corot (Wildenstein 1969), no. 28.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 3.

1985 • Boston, Museum of Fine Arts, February 13–June 2, The Great Boston Collectors: Paintings from the Museum of Fine Arts, Boston (Troyen and Tabbaa 1984), no. 30.

1991–92 • Manchester, N.H., The Currier Gallery of Art, January 29–April 28, 1991; New York, IBM Gallery of Science and Art, July 30–September 28, 1991; Dallas, Dallas Museum of Art, November 10, 1991–January 5, 1992; Atlanta, High Museum of Art, January 29–March 29, 1992, The Rise of Landscape Painting in France: Corot to Monet (Champa, Wissman, and Johnson 1991), no. 19.

1996–97 • Paris, Galeries Nationales du Grand Palais, February 20–May 20, 1996; Ottawa, National Gallery of Canada, June 20–September 20, 1996; New York, The Metropolitan Museum of Art, October 15, 1996–January 12, 1997, Corot (Tinterow, Pantazzi, and Pomarède 1996), no. 91.

SELECTED REFERENCES

Dumesnil 1875, 41; Robaut 1881, nos. 2, 5, and note 3; Wall 1884, 14, no. 27; American Art Assoc. 1886, 92, no. 263; Downes 1888b, 784–85; Van Rensselaer 1889a, 256; Van Rensselaer 1889b, 158, 176; Thurwanger 1892, 692; Geffroy and Alexandre 1903, cxvii; Robaut and Moreau-Nélaton 1905, 1:109–10, 2:185, no. 502, 4:168, 281, 361, no. 422; Moreau-Nélaton 1924, 1:60, fig. 97; Cunningham 1936, 100–102; Edgell 1949, 10–11; Foucart 1964, 347; Baudelaire 1965, 106, note 1; Leymarie 1966, 70; Hours [1972], 78; Murphy 1985, 58; Potterton 1991, 47–48.

13. Twilight, 1855–60
Oil on canvas
50.3 × 37 cm (19¾ × 14⅝ in.)
Bequest of Mrs. Henry Lee Higginson, Sr., in memory of her husband 35.1163

PROVENANCE

With Goupil and Co., New York. By 1903–8, collection of Major Henry Lee Higginson, Sr., Boston (d. 1919); 1919, inherited by Alexander Higginson, Boston; 1935, inherited by Mrs. Henry Lee Higginson, Sr. (widow of Major Henry Lee Higginson), Boston; 1935, bequest of Mrs. Higginson.

SELECTED EXHIBITIONS

1903 • Boston, Copley Hall, A Loan Collection of Pictures by Old Masters and Other Painters (Copley Society 1903), no. 28.

1908 • Boston, Copley Hall, March, French School of 1830 (Copley Society 1908), no. 24 or 84.

1940 • Colorado Springs, Colo., Colorado Springs Fine Arts Center, January; Boston, St. Botolph Club, March 16–April 16; New London, Conn., Lyman Allen Museum, Connecticut College, November 17–December 15.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 5.

1983–84 • Masterpieces of European Painting (Nippon Television 1983), no. 35.

SELECTED REFERENCES

Robaut and Moreau-Nélaton 1905, 2:216, no. 614; MFA 1955, 14; Murphy 1985, 60.

14. Morning near Beauvais, about 1855–65
Oil on canvas
36 × 41.5 cm (14⅛ × 16⅜ in.)
Juliana Cheney Edwards Collection 39.668

PROVENANCE

By 1886, John Saulnier, Bordeaux, France; June 5, 1886, Saulnier (posthumous) sale at Hôtel Drouot, Paris, no. 21, called Paysage: Matinée environs de Beauvais; 1886, with Boussod Valadon et Cie., Paris, no. 2717 (probably bought at Saulnier sale). June 1, 1901–July 31, 1903, with Knoedler & Co., London, no. 9546, called Prairie boisée près ruisseau. July 31, 1903–December 1906, F. Isman, Philadelphia; by December 31, 1906, purchased from Isman by Knoedler & Co., New York; December 31, 1906, sold by Knoedler to Robert J. Edwards, (d. 1924), Boston (probably for his sister Hannah Marcy Edwards), called The Brook in the Woods; 1906–29, Hannah Marcy Edwards (sister, d. 1929), Boston; 1931–38, inherited by Grace M. Edwards (sister, d. 1938), Boston; 1939, bequest of Hannah Marcy Edwards [1].

NOTE

1. Juliana Cheney Edwards (d. 1917?) was an art collector who left her objects to her three children: Robert Jacob Edwards (d. 1924), Hannah Marcy Edwards (d. 1929), and Grace M. Edwards (d. 1938). The siblings, each of whom was an independent collector of artworks, agreed that all of their mother’s paintings and the paintings that they each collected would be bequeathed to each other and ultimately to the MFA. Most likely stipulated by their wills, some objects were bequeathed to the Museum by Robert or Hannah despite the fact that their younger sister, Grace, was in final possession of the works of art. All the objects, regardless of who initially acquired them, were left to the MFA as a memorial collection honoring the mother, Juliana.

SELECTED EXHIBITIONS

1886 • Paris, May, Maîtres du siècle, no. 45.

1929 • Atlanta, High Museum of Art, April 20–June 17.

1939–40 • Juliana Cheney Edwards Collection (Cunningham 1939b), no. 4.

1972 • Providence, R.I., Museum of Art, Rhode Island School of Design, February 3–March 5, To Look on Nature: European and American Landscape, 1800–1874 (Brown University 1972), unnumbered entries, pl. 35.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 7.

1989 • From Neoclassicism to Impressionism (Kyoto Museum, Kyoto Shimbun, and MFA 1989), no. 18.

1992 • Crosscurrents.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 2.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 1.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 1.

SELECTED REFERENCES

Robaut and Moreau-Nélaton 1905, 2:310, no. 1012; MFA 1955, 14; Murphy 1985, 60.

15. Souvenir of a Meadow at Brunoy, about 1855–65
Oil on canvas
90.6 × 115.9 cm (35⅝ × 45⅝ in.)
Gift of Augustus Hemenway in memory of Louis and Amy Hemenway Cabot 16.1

PROVENANCE

By 1875, Louis Latouche, Paris, called Chemin de village. By 1882?, Seth M. Vose, Westminster Gallery, Providence, R.I. By 1887, William Hemenway, Boston; inherited by Louis and Amy Hemenway Cabot, Boston; by 1916, inherited by Augustus Hemenway, Milton, Mass.; 1916, gift of Augustus Hemenway.

SELECTED EXHIBITIONS

1875 • Paris, Ecole nationale des Beaux-Arts, Corot, no. 193 (as Chemin de village).

1878 • Paris, Durand-Ruel, Maîtres Modernes, no. 120.

1890 • Boston, Museum of Fine Arts, Loan Exhibition.

1915 • Boston, Museum of Fine Arts, opening February 3, Robert Dawson Evans Memorial Galleries Opening Exhibition.

1940 • San Francisco, Palace of Fine Arts, Golden Gate International Exposition (Golden Gate 1940), no. 245.

1953–54 • New Orleans, Isaac Delgado Museum of Art, October 17, 1953–January 10, 1954, Masterpieces of French Painting through Five Centuries, 1400–1900 (Isaac Delgado Museum of Art 1954), no. 63.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 1.

2000–02 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 1.

SELECTED REFERENCES

Durand-Gréville 1887, 67; Thurwanger 1892, 700; Robaut and Moreau-Nélaton 1905, 3:380, no. 2417, 4:276, 281; MFA 1916, 4; MFA 1921, 86–87, no. 214; Edgell 1949, 11; Murphy 1985, 58.

16. Young Woman and Death, 1854 Cliché-verre, salt print. Delteil 45
Sheet: 18.3 × 13.3 cm (7 1/16 × 5¼ in.)
Gift of Mr. and Mrs. Peter A. Wick 63.2742

SELECTED EXHIBITION

1980 • Detroit, The Detroit Institute of Arts, July 12–August 21, 1980; Houston, The Museum of Fine Arts, September 11–October 23, 1980, Cliché-verre: Hand-Drawn, Light-Printed, a Survey of the Medium from 1829 to the Present (Glassman and Symmes 1980), no. 14.

17. Mother and Child in a Wooded Landscape, 1856
Cliché-verre, salt print. Delteil 59
Sheet: 32.6 × 24.8 cm (12 13/16 × 9¾ in.)
Bequest of William P. Babcock, 1900 B1052/1

SELECTED REFERENCE

Glassman and Symmes 1980.

18. The Gardens of Horace, 1855 Cliché-verre, salt print. Delteil 58
Sheet: 34.8 × 27.1 cm (13 11/16 × 10 11/16 in.)
Bequest of William P. Babcock, 1900 B1052.2/2

SELECTED REFERENCE

Glassman and Symmes 1980.

65. Bacchanal at the Spring: Souvenir of Marly-le-Roi, 1872
Oil on canvas
82.1 × 66.3 cm (32⅜ × 26⅛ in.)
Robert Dawson Evans Collection 17.3234

PROVENANCE

1872, Emile Gavet, Paris (presumably acquired from the artist). Marquis Fressinet de Bellanger collection, Paris, no. 79. By 1875, with Galerie Georges Petit, Paris; 1875, sold by Galerie Georges Petit to Arthur Tooth & Sons, London and New York; 1875–98, with Arthur Tooth & Sons, London and New York; March 1898, sold by Arthur Tooth & Sons and bought by H. S. Henry, Philadelphia; 1898–1907, H. S. Henry, Philadelphia; January 25, 1907, sold at Henry sale, Paintings of the Men of 1830, American Art Association, New York, no. 4, and bought by Robert Dawson Evans (d. 1909), Boston; 1909, Mrs. Robert Dawson Evans (Maria Antoinette Hunt, d. 1917), Boston; 1917, inherited by Abby and Belle Hunt (daughters); 1917, bequest of Abby and Belle Hunt.

SELECTED EXHIBITIONS

1875 • Paris, Ecole nationale des Beaux-Arts, Corot, no. 12.

1895 • Paris, Palais Galliéra, Centenaire de Corot, no. 79.

1908 • Boston, Copley Hall, March, French School of 1830 (Copley Society 1908), no. 15.

1914 • New York, The Men of 1830 (Wickenden 1914), no. 4.

1915 • Boston, Museum of Fine Arts, opened February 3, Robert Dawson Evans Memorial Galleries Opening Exhibition.

1916 • Cleveland, The Cleveland Museum of Art, June 6–September 20, Inaugural Exhibition (CMA 1916), no. 9.

1940 • Colorado Springs, Colo., Colorado Springs Fine Arts Center, January; Boston, St. Botolph Club, March 16–April 16; New London, Conn., Lyman Allen Museum, Connecticut College, November 17–December 15.

1942 • New York, Wildenstein Galleries, November 11–December 12, The Serene World of Corot: An Exhibition in Aid of the Salvation Army War Fund (Wildenstein 1942), no. 68.

1946 • Philadelphia, Philadelphia Museum of Art, Corot, 1796–1875 (PMA 1946), no. 74.

1960 • Chicago, The Art Institute of Chicago, October 5–November 13, Corot, 1796–1875: An Exhibition of His Paintings and Graphic Works (AIC 1960), no. 135.

1962–63 • San Francisco, California Palace of the Legion of Honor, September 24–November 4, 1962; Toledo, Ohio, The Toledo Museum of Art, November 20–December 27, 1962; Cleveland, The Cleveland Museum of Art, January 15–February 24, 1963; Boston, Museum of Fine Arts, March 15–April 28, 1963, Barbizon Revisited (Herbert 1962), no. 18.

1972 • New York, Shepherd Gallery, April 22–June 10, The Forest of Fontainebleau: Refuge of Reality (Ittman et al. 1972), no. 18.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 3.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 3.

2001 • Madrid, Museo Thyssen-Bornemisza, June 26–October 21, Corot: El Parque de los Leones en Port-Marly, 1872 (Pickvance 2001), no. 5.

SELECTED REFERENCES

Roger-Milès 1896, no. 39; Robaut and Moreau-Nélaton 1905, 2:53–54, no. 97, 3:330, no. 2201, 4:269, 291; Moreau-Nélaton 1924, 2:53, fig. 227; Fosca 1930, no. 87; Murphy 1985, 59.

66. Bathers in a Clearing, about 1870–75
Oil on canvas
92 × 73.2 cm (36¼ × 28⅞ in.)
Gift of James Davis 76.4

PROVENANCE

Until 1875, with the artist (d. 1875); May 26–28, 1875, sold at Corot posthumous sale, Hôtel Drouot, Paris, no. 210, and bought by Rosimont (titled in sales catalogue as A Ville-d’Avray, le vallon derrière la propriété du maître, mai 1874); 1875, Rosimont. With Gustave Détrimont, Paris. By 1876, James Davis, Boston (possibly acquired from Détrimont); 1876, gift of Davis.

SELECTED EXHIBITIONS

1942 • Norfolk, Va., Norfolk Museum of Arts and Sciences.

1989 • From Neoclassicism to Impressionism (Kyoto Museum, Kyoto Shimbun, and MFA 1989), no. 19.

1994 • Tokyo, National Museum of Western Art, September 20–November 27, Paris en 1874: L’Année de l’Impressionisme (Yomiuri Shimbun 1994), no. 57.

SELECTED REFERENCES

Clement and Hutton 1883, 1:159; Mollett 1890, 106; Robaut and Moreau-Nélaton 1905, 3:228, no. 1966, 4:29, 215, no. 210; Murphy 1985, 57.

67. Sketch to Show How Six Paintings Should Be Hung, 1860s
Pen, brown ink, and brown wash on cream ruled writing paper
Sheet: 10 × 7.8 cm (3 15/16 × 3 1/16 in.)
Helen and Alice Colburn Fund 62.754

PROVENANCE

Dr. Victor Simon, Paris; Mme Cécile Simon-Roland; April 11, 1962, sold Sotheby’s London, no. 21; 1962, sold by Colnaghi’s, London, to the MFA.

68. Landscape, with Large Tree on Left, Two Figures at Right, One Holding Long Pole, 1860s
Brush and brown wash on beige wove paper
Sheet: 7 × 9.5 cm (2¾ × 3¾ in.)
Helen and Alice Colburn Fund 62.753

PROVENANCE

Dr. Victor Simon, Paris; Mme Cécile Simon-Roland; April 11, 1962, sold Sotheby’s London, no. 21; 1962, sold by Colnaghi’s, London, to the MFA.

69. Landscape, with Grove of Trees at Left, Two Men with Long Poles at Right, 1860s
Brush and brown wash on beige wove paper
Sheet: 5.9 × 10.3 cm (2 5/16 × 4 1/16 in.)
Helen and Alice Colburn Fund 62.755

PROVENANCE

Dr. Victor Simon, Paris; Mme Cécile Simon-Roland; April 11, 1962, sold Sotheby’s London, no. 21; 1962, sold by Colnaghi’s, London, to the MFA.

Gustave Courbet
French, 1819–1877

46. Stream in the Forest, about 1862
Oil on canvas
157 × 114 cm (61¾ × 44⅞ in.)
Gift of Mrs. Samuel Parkman Oliver 55.982

PROVENANCE

After 1862, Potter Dekens, Brussels. With Galerie Allard (probably Joseph Allard), Paris. Until January 4, 1923, Meyer Goodfriend (New York?); January 4, 1923, sold at Meyer Goodfriend sale, American Art Galleries, New York, no. 61, called Paysage avec biches, and bought by Wildenstein and Co., London, New York, and Paris. With Paul Rosenberg & Co., New York (?). By 1936–55, Sir A. Chester Beatty (d. 1968), London; March 1955, acquired from Beatty by Paul Rosenberg & Co., New York; 1955, sold by Paul Rosenberg & Co. to the MFA.

SELECTED EXHIBITIONS

1936 • London, Anglo-French Art and Travel Society, Masters of Nineteenth-Century Painting, no. 29.

1937 • Paris, Palais des Beaux-Arts, Chefs-d’oeuvre de l’art français, no. 280.

1939 • Belgrade, Prince Paul Museum, French Painting of the Nineteenth Century, no. 26.

1957 • New York, Paul Rosenberg & Co., February 6–March 2, Masterpieces Recalled: A Loan Exhibition of Nineteenth- and Twentieth-Century French Paintings (benefit exhibition for the League for Emotionally Disturbed Children, Inc.) (Paul Rosenberg 1957), no. 5.

1959–60 • Philadelphia, Philadelphia Museum of Art, December 16, 1959–February 14, 1960, Gustave Courbet (PMA 1959), no. 68.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 21.

1983–84 • Masterpieces of European Painting (Nippon Television 1983), no. 40.

1988–89 • Brooklyn, N.Y., The Brooklyn Museum; Minneapolis, The Minneapolis Institute of Arts, November 1988–April 1989, Courbet Reconsidered (Faunce et al., 1988), no. 37.

1992 • Crosscurrents.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 14.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 17.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 17.

SELECTED REFERENCES

Meier-Graefe 1921a, pl. 58; Léger 1929, pl. 52; MacOrlan 1951, pl. 44; Comstock 1956, 144–43; Cooper 1960, 245; Fitzwilliam Museum 1960, 157; Werner 1960, 47; Delestre 1961, 1–5, no. 27; Murphy 1985, 64; Adams 1994, 6, 154, fig. 1.

Henri Edmond Cross
French, 1856–1910

139. The Promenade, 1897
Color lithograph on cream Chinese paper.
Johnson 40
Image/sheet: 28 × 40.7 cm (11 × 16 in.)
Bequest of W. G. Russell Allen 60.98

Eugène Cuvelier
French, 1837–1900

24. Lane in Fog, Arras, early 1860s Photograph, salt print from paper negative, mounted
Sheet: 25.7 × 19.8 cm (10⅛ × 7 13/16 in.)
Lucy Dalbiac Luard Fund 1989.21

PROVENANCE

By 1988, with Harry Lunn; 1988, sold by Lunn to Charles Isaacs, Malvern, Pa.; 1989, sold by Charles Isaacs to the MFA.

SELECTED EXHIBITIONS

1989 • Boston, Museum of Fine Arts, October 7–December 17, Capturing an
Image: Collecting 150 Years of Photography.

1997 • Stuttgart, Staatsgalerie, March 8–August 31, Eugène Cuvelier (Staatsgalerie, Stuttgart 1996), 89, 148, no. II/11.

1998–99 • Boston, Museum of Fine Arts, November 21, 1998–May 23, 1999, French Photography: Le Gray to Atget.

SELECTED REFERENCE

Daniel 1996.

25. At “La Reine Blanche,” Forest of Fontainebleau, 1860s Photograph, albumen print from paper negative, mounted
Sheet: 25.3 × 34.3 cm (9 15/16 × 13½ in.)
Sophie M. Friedman Fund and Gift of Mack and Paula Lee and William and Drew Schaeffer 1990.175

PROVENANCE

1860s–1989, New England private collection; 1989, sold by the private collection to the Lee Gallery, Winchester, Mass.; 1990, partial gift, partial sale from the Lee Gallery to the MFA.

SELECTED EXHIBITION

1998–99 • Boston, Museum of Fine Arts, November 21, 1998–May 23, 1999, French Photography: Le Gray to Atget.

SELECTED REFERENCES

Daniel 1996; Staatsgalerie, Stuttgart 1996, 144, no. 343.

26. Boundary of Barbizon, 1860s
Photograph, albumen print from paper negative, mounted
Sheet: 27.3 × 34 cm (9 15/16 × 13⅜ in.)
Frederick Brown Fund 1996.38

PROVENANCE

1860s–1989, New England private collection; 1989, sold by private collection to the Lee Gallery, Winchester, Mass.; 1996, sold by the Lee Gallery to the MFA.

SELECTED EXHIBITIONS

1997 • Stuttgart, Staatsgalerie, March 8–August 31, Eugene Cuvelier (Staatsgalerie, Stuttgart 1996), 142, no. 303.

1998–99 • Boston, Museum of Fine Arts, November 21, 1998–May 23, 1999, French Photography: Le Gray to Atget.

SELECTED REFERENCE

Daniel 1996.

Charles-Francois Daubigny
French, 1817–1878

70. Château-Gaillard at Sunset, about 1873
Oil on canvas
38.1 × 68.5 cm (15 × 27 in.)
Gift of Mrs. Josiah Bradlee 18.18

PROVENANCE

By 1918, Mr. and Mrs. Josiah Bradlee, Boston; 1918, gift of Mrs. Josiah Bradlee.

SELECTED EXHIBITIONS

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 16.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 16.

SELECTED REFERENCES

Sterling and Adhémar 1958–61, no. 523, pl. 158; Fidell-Beaufort and Bailly-Herzberg 1975, 202, no. 162; Hellebranth 1976, no. 90; Murphy 1985, 71.

71. The Boat-Studio, 1861
Etching on cream laid paper. Delteil 111
Image: 10.2 × 13.4 cm (4 × 5¼ in.); platemark: 13 × 17.8 cm (5⅛ × 8 1/16 in.)
Special Print Fund, 1916 M26211

72. Tree with Crows, 1867
Etching on cream wove paper. Delteil 120, second state
Image: 18 × 27.4 cm (7 1/16 × 10 13/16 in.); platemark: 21.5 × 29.6 cm (8 7/16 × 11⅝ in.)
Frederick Keppel Memorial Bequest, 1913 M23423

73. The Ford, 1863
Cliché-verre, salt print, reverse-printed. Delteil 139
Sheet: 27.2 × 36.3 cm (10 11/16 × 14 5/16 in.)
Stephen Bullard Memorial Fund 1997.106

PROVENANCE

Alfred Beurdeley stamp (Lugt 421).

SELECTED EXHIBITIONS

1980 • Detroit, The Detroit Institute of Arts, July 12–August 21; Houston, The Museum of Fine Arts, September 11–October 23, Cliché-verre: Hand-Drawn, Light-Printed, a Survey of the Medium from 1829 to the Present (Glassman and Symmes 1980), no. 40.

Edgar Degas
French, 1834–1917

81. At the Races in the Countryside, 1869
Oil on canvas
36.5 × 55.9 cm (14⅜ × 22 in.)
1931 Purchase Fund 26.790

PROVENANCE

September 17, 1872, sold by the artist to Durand-Ruel, Paris; October 12, 1872, sent to Durand-Ruel, London; April 25, 1873, sold by Durand-Ruel to Jean-Baptiste Faure through Charles Deschamps, Paris; 1873–93, Jean-Baptiste Faure, Paris; January 2, 1893, sold by Jean-Baptiste Faure to Durand-Ruel; March 29, 1918, deposited with the Durand-Ruel family, Les Balans; December 20, 1926, sold by Durand-Ruel, New York, to the MFA.

SELECTED EXHIBITIONS

1872 • London, 168 New Bond Street, October–November, Fifth Exhibition of the Society of French Artists, no. 113, called At the Races.

1873 • London, 168 New Bond Street, Sixth Exhibition of the Society of French Artists, no. 79, called A Race Course in Normandy.

1874 • Paris, 35, boulevard des Capucines, April 15–May 15, Premiere exposition de la Société anonyme des Artistes Peintres, Sculpteurs, Graveurs, no. 63, called Aux courses en Province.

1899 • Saint Petersburg, Exhibition of Paintings Organized by “Mir Iskousstva,” no. 81.

1903–04 • Vienna, Secession.

1905 • London, Grafton Galleries, January–February, Pictures by Boudin, Cézanne, Degas, Manet, Monet (exhibited by Durand-Ruel) (Grafton Galleries 1905), no. 57.

1917 • Zurich, Kunsthaus, October 5–November 14, Französische Kunst des 19. und 20. Jahrhunderts, no. 88.

1922 • Paris, Musée des arts décoratifs, May 27–July 10, Le decor de la vie sous le second empire, no. 57.

1924 • Paris, Galerie Georges Petit, April 12–May 2, Exposition Degas (Galerie Georges Petit 1924), no. 40.

1929 • Cambridge, Mass., Fogg Art Museum, Harvard University, March 6–April 6, Exhibition of French Painting of the Nineteenth and Twentieth Centuries (Fogg Art Museum [1929]), no. 25.

1933 • Chicago, The Art Institute of Chicago, June 1–November 1, A Century of Progress (AIC 1933), no. 282.

1936 • Philadelphia, Philadelphia Museum of Art, Degas, 1834–1917 (PMA 1936), no. 21.

1937 • Paris, Musée du Louvre, l’Orangerie de Tuileries, March–April, Degas (Musée de l’Orangerie 1937), no. 14.

1937 • Paris, Palais National des Arts, Chefs-d’oeuvre de l’art français (Palais National 1937), no. 301.

1938 • Cambridge, Mass., Fogg Art Museum, Harvard University, April 20–May 21, The Horse: Its Significance in Art (Fogg Art Museum [1938]), no. 147.

1939 • San Francisco, Golden Gate International Exposition, Masterworks of Five Centuries (Golden Gate 1939), no. 147.

1946–47 • Toledo, Ohio, The Toledo Museum of Art, November–December, 1946; Toronto, Art Gallery of Toronto, January–February 1947, Development of French Culture for 200 Years (Toledo Museum [1946]), no. 42.

1955 • Paris, Musée de l’Orangerie, April 20–July 3, De David à Toulouse-Lautrec: Chefs-d’oeuvre des collections américaines (Musée de l’Orangerie 1955), no. 20.

1958 • Los Angeles, Los Angeles County Museum of Art, March, An Exhibition of Works by Edgar Hilaire Germain Degas, 1834–1917 (LACMA [1958]), no. 17.

1958 • Brussels, Palais International des Beaux-Arts, August 8–October 19, Man and Art.

1973 • Impressionism: French and American (MFA 1973a), no. 4.

1974–75 • New York, The Metropolitan Museum of Art, December 12, 1974–February 10, 1975, Impressionism: A Centenary Exhibition (Dayez-Distel et al. 1974), no. 13.

1983–84 • Masterpieces of European Painting (Nippon Television 1983), no. 48.

1985 • Boston, Museum of Fine Arts, February 13–June 2, The Great Boston Collectors: Paintings from the Museum of Fine Arts, Boston (Troyen and Tabbaa 1984), no. 39.

1986 • Washington, D.C., National Gallery of Art, January 17–April 6; San Francisco, The Fine Arts Museums of San Francisco, April 19–July 9, The New Painting: Impressionism, 1874–1886 (Moffett et al. 1986), no. 4.

1988–89 • Paris, Grand Palais, February 9–May 16, 1988; Ottawa, National Gallery of Canada, June 27–August 28, 1988; New York, The Metropolitan Museum of Art, September 27, 1988–January 8, 1989, Degas (Boggs et al. 1988), no. 95.

1992 • Crosscurrents.

1994–95 • Paris, Grand Palais, April 19–August 8, 1994; New York, The Metropolitan Museum of Art, September 19, 1994–January 8, 1995, Impressionnisme: Les origines, 1859–1869 (Loyrette and Tinterow 1994), no. 66.

1995 • The Real World (Sogo Museum and MFA 1994), no. 38.

1998 • Washington, D.C., National Gallery of Art, April 12–July 12, Degas at the Races (Boggs et al. 1998), no. 38.

1999 • New Orleans, New Orleans Museum of Art, May 1–August 9; Copenhagen, Ordrupgaard, September 16–November 28, Degas and New Orleans: A French Impressionist in America (Feigenbaum et al. 1999), no. 18.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 32.

SELECTED REFERENCES

Carjat 1874, 3; Chesneau 1874, 2; Mauclair 1903, 35; Sickert 1905, 101; Grappe 1911, 18; Jamot 1918, 137–38; Lafond 1918–19, 1:141, 2:42; Liebermann 1918, 6; Hertz 1920, 29, 97; Meier-Graefe 1923, 35, pl. 21; Jamot 1924, 81, 141, pl. 32; Lemoisne 1924, 27; Jenks 1927, 2–3; Manson 1927, 20, 46, pl. 18; “Carriages at the Races” 1929, 34; Degas 1931, 65, note 1; Rivière 1935, 174; Barazetti 1936, 43; Venturi 1939, 2:194; Wilenski 1940, 5, 9, 31, pl. 9A; Gammell [1946], pl. 59; Lemoisne 1946–49, 1:85, 2: no. 281; Rewald 1946, 264; Edgell 1949, 45; Rich 1951, 52; Fosca 1954, 34–39; Shinoda 1957, 57–58, pl. 93; Cabanne 1958, 23, 27, 35, 48, 97, no; Boggs 1962, 37, 46, 92–93, note 66, pl. 72; Scharf 1962, 191, fig. 7; Pickvance 1963, 257; Coke 1964, 15, 69, note 34; Wildenstein 1968, 2; MFA [1970], 80, no. 52; Russoli and Minervino 1970, no. 203; Clark 1973, 314, fig. 244; MFA 1973b, no. 7; Rewald 1973a, 311; Sutton 1975, 6, fig. 3; Hüttinger 1977 [1988], 62; Dunlop 1979, 93, no. 84; Harris 1979, 64; Kelder 1980, 129, 157, 160; Canaday 1981, 237, fig. 282; McMullen 1984, 194–96; Sutton 1984, 286, fig. 11; Murphy 1985, 75; MFA 1986, 67; Sutton 1986, 144, fig. 115; Clarke 1991b, 16, fig. 3; Bailey 1997, 70, fig. 82; Benfey 1997, 76–77; Rathbone and Shackelford 2001, 26, fig. 19.

82. Racehorses at Longchamp, 1871, possibly reworked in 1874
Oil on canvas
34.1 × 41.8 cm. (13⅜ × 16½ in.)
S. A. Denio Collection 03.1034

PROVENANCE

By 1900, Bernheim-Jeune, Paris; February 10, 1900, sold by Bernheim-Jeune to Durand-Ruel, Paris; 1900–1, with Durand-Ruel, Paris, no. 5689; February 20, 1901, sold by Durand-Ruel, Paris, to Durand-Ruel, New York; March 27, 1901, sold by Durand-Ruel, New York, to William H. Moore, New York. By 1903, with Durand-Ruel, New York, no. 2494; 1903, sold by Durand-Ruel to the MFA.

SELECTED EXHIBITIONS

1911 • Cambridge, Mass., Fogg Art Museum, Harvard University, April, Loan Exhibition of Paintings and Pastels by H. G. E. Degas, no. 10.

1929 • Cambridge, Mass., Fogg Art Museum, Harvard University, March 6–April 6, Exhibition of French Painting of the Nineteenth and Twentieth Centuries (Fogg Art Museum [1929]), no. 32.

1935 • Kansas City, Mo., William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, March 31–April 28, One Hundred Years of French Painting, 1820–1920 (William Rockhill 1935), no. 21.

1937 • Paris, Musée du Louvre, l’Orangerie de Tuileries, March–April, Degas (Musée de l’Orangerie 1937), no. 12.

1938 • Cambridge, Mass., Fogg Art Museum, Harvard University, April 20–May 21, The Horse: Its Significance in Art (Fogg Art Museum [1938]), no. 16.

1938 • Amsterdam, Stedelijk Museum, July–September, Honderd jaar Fransche kunst (Stedelijk Museum [1938]), no. 98.

1939 • New York, Knoedler & Co., January 9–28, Views of Paris: Loan Exhibition of Paintings ([Knoedler] [1939]), no. 28.

1947 • Cleveland, The Cleveland Museum of Art, February 5–March 9, Works by Edgar Degas (CMA 1947), no. 31.

1949 • New York, Wildenstein Galleries, April–May, A Loan Exhibition of Degas for the Benefit of the New York Infirmary (Wildenstein 1949), no. 29.

1957 • Fort Worth, Tex., Fort Worth Art Center, January 7–March 3, Horse and Rider (Fort Worth 1957), no. 103.

1960 • Richmond, Va., Virginia Museum of Fine Arts, April 1–May 15, Sport and the Horse (Virginia Museum [1960]), no. 59.

1968 • New York, Wildenstein Galleries, March 21–April 27, Degas’ Racing World: A Loan Exhibition of Paintings, Drawings, and Bronzes, for the Benefit of the National Museum of Racing, Saratoga (Wildenstein 1968), no. 5.

1973 • Impressionism: French and American (MFA 1973a), no. 5.

1977–78 • Boston, Museum of Fine Arts, November 8, 1977–January 15, 1978, The Second Greatest Show on Earth: The Making of a Museum (MFA [1977]), no. 25.

1978 • Richmond, Va., Virginia Museum of Fine Arts, May 23–July 9, Degas (Virginia Museum 1978), no. 8.

1978 • New York, Acquavella Galleries, November 1–December 3, Edgar Degas (Acquavella Galleries 1978), no. 10.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 35.

1982–83 • Washington, D.C., National Gallery of Art, December 5, 1982–March 6, 1983, Manet and Modern Paris (Reff 1982), no. 72.

1985 • Boston, Museum of Fine Arts, February 13–June 2, The Great Boston Collectors: Paintings from the Museum of Fine Arts, Boston (Troyen and Tabbaa 1984), no. 38.

1988–89 • Paris, Grand Palais, February 9–May 16, 1988; Ottawa, National Gallery of Canada, June 27–August 28, 1988; New York, The Metropolitan Museum of Art, September 27, 1988–January 8, 1989, Degas (Boggs et al. 1988), no. 96.

1998 • Washington, D.C., National Gallery of Art, April 12–July 12, Degas at the Races (Boggs et al. 1998), no. 49.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 32.

2001 • Atlanta, High Museum of Art, March 3–May 27; Minneapolis, The Minneapolis Institute of Arts, June 16–September 9, Degas and America: The Early Collectors (Dumas and Brenneman [2001]), no. 29.

SELECTED REFERENCES

Grappe 1911, 20–23, 48; Lemoisne [1911?], 77–79, pl. 31; Lafond 1918–19, 2:42; Thiébault-Sisson 1918, 3; Hertz 1920, 100, 108; Manson 1927, 28, 46, pl. 48; Waldman 1927, 95, 470; “Carriages at the Races” 1929, 34; Wilenski 1931, 272; Mauclair 1937, fig. 48; Wolf 1938, 117; Lemoisne 1946–49, 1:86, no. 334, 2:174, no. 334; Edgell 1949, 44; Fosca 1954, 39–40; Cabanne 1958, 28, 48, no, 126, pl. 45 (detail); Novotny 1960, pl. 168B; Bodelson 1968, 345; Russoli and Minervino 1970, no. 384; Novotny 1971, pl. 294; Dunlop 1979, 118, no. 108; Brettell and McCullagh 1984, 54; Fairley 1984, 21–22, 127; McMullen 1984, 239; Sutton 1984, fig. 6; Murphy 1985, 74; Lipton 1986, 23, fig. 12; Pyle 1986, XV, fig. 9; Sutton 1986, 144, fig. 114; Brettell et al. 1988, 489; Shackelford and Wissman 2000, 14, fig. 4.

85. Cliffs on the Edge of the Sea, 1869
Pastel on paper
44.3 × 58.5 cm (17⅜ × 23 in.)
Gift of Lydia Pope Turtle and Isabel Pope
Conant in memory of their father, Hubert Pope 1980.390

PROVENANCE

July 2–4, 1919, Degas studio sale (4th), no. 59b. Collection Nunes and Fiquet, Paris. By 1928, with Alexander Reid, Reid and Lefevre, London; 1928, bought from Reid and Lefevre by Herbert Pope, Chicago; inherited by Lydia Pope Turtle and Isabel Pope Conant (daughters); by 1980, Lydia Pope Turtle, Bedford and Brookline, Mass.; 1980, gift of Lydia Pope Turtle and Isabel Pope Conant.

SELECTED REFERENCES

Galerie Georges Petit 1918–19, 4:53, no. 59b; Lemoisne 1946–49, 2:112–13, no. 217; Murphy 1985, 77; Kendall 1993, 91, fig. 70.

94. Beside the Sea, 1876–77
Monotype on cream wove paper. Janis 264
Platemark: 11.8 × 16.2 cm (4⅝ × 6⅜ in.)
Gift of Mr. and Mrs. Peter A. Wick 1993.1015

PROVENANCE

November 22–23, 1918, Degas studio sale, Galerie Manzi-Joyant, Paris, no. 300; Gustave Pellet; Maurice Exteens; 1930, Marcel Guérin (Lugt suppl. 1872b); with Gérald Cramer, Geneva; 1952, sold by Cramer to Mr. and Mrs. Peter A. Wick, Boston; 1993, gift of the Wicks.

SELECTED EXHIBITIONS

1968 • Cambridge, Mass., Fogg Art Museum, April 25–June 14, Degas Monotypes (Janis [1968]), no. 61, checklist no. 264.

1988–89 • Paris, Grand Palais, February 9–May 16, 1988; Ottawa, National Gallery of Canada, June 27–August 28, 1988; New York, The Metropolitan Museum of Art, September 27–January 8, 1989, Degas (Boggs et al. 1988), cat. no. 152.

1994 • New York, The Metropolitan Museum of Art, January 21–April 3; Houston, The Museum of Fine Arts, April 24–July 3, Degas Landscapes.

SELECTED REFERENCE

Kendall 1993, 128, fig. 106.

95. The Path up the Hill, 1877–79
Monotype on cream wove paper. Janis 267
Platemark: 11.6 × 16.1 cm (4 9/16 × 6 5/16 in.)
Fund in memory of Horatio Greenough Curtis 24.1688

PROVENANCE

November 22–23, 1918, Degas studio sale, Galerie Manzi-Joyant, Paris, no. 308; Sagot-LeGarrec, Paris; 1924, sold by Sagot-LeGarrec to MFA.

SELECTED EXHIBITIONS

1968 • Cambridge, Mass., Fogg Art Museum, April 24–June 14, Degas Monotypes (Janis [1968]), cat. no. 64, checklist no. 267.

1985 • London, Hayward Gallery, May 15–July 7, Edgar Degas: The Painter as Printmaker (complementary exhibition of monotypes, no cat.).

1994 • New York, The Metropolitan Museum of Art, January 21–April 3; Houston, The Museum of Fine Arts, April 24–July 3, Degas Landscapes.

SELECTED REFERENCE

Kendall 1993, 131, fig. 111.

121. Autumn Effect, 1890 Color monotype on beige wove paper
Sheet: 29.8 × 40 cm (11¾ × 15¾ in.)
Gift of her children in memory of Elizabeth Paine Metcalf 1992.565

PROVENANCE

1893, Durand-Ruel, Paris; Maurice Exsteens; Paul Brame and César de Hauke, Paris; Sir Robert Abdy, London; Valentine Abdy, Paris; La Galerie de L’Oeil, Paris; E. V Thaw and Co., New York; by 1968, R. M. Light & Co., Boston; Elizabeth Paine Card Metcalf, Boston; 1992, gift of Metcalf’s children.

SELECTED EXHIBITIONS

1968 • Cambridge, Mass., Fogg Art Museum, April 24–June 14, Degas Monotypes (Janis [1968]), cat. no. 75, checklist no. 299.

1994 • Houston, Museum of Fine Arts, April 24–July 3, Degas Landscapes (not in catalogue).

122. Landscape, 1890
Pastel over color monotype on dark cream laid paper
31.1 × 41.3 cm (12¼ × 16¼ in.)
Denman Waldo Ross Collection 09.296

PROVENANCE

June 2, 1893, purchased from the artist by Durand-Ruel, Paris; 1893–94, with Durand-Ruel, Paris, no. 2771; October 25, 1894, sold by Durand-Ruel, Paris, to Durand-Ruel, New York, no. 1241; November 17, 1894, sold by Durand-Ruel, New York, to Denman Waldo Ross, Cambridge, Mass.; 1909, gift of Denman Waldo Ross.

SELECTED EXHIBITIONS

1892 • Paris, Durand-Ruel, November, Paysage de Degas.

1897 • Boston, Copley Hall, March 5–28, Loan Exhibition of One Hundred Masterpieces, no. 11.

1911 • Cambridge, Mass., Fogg Art Museum, Harvard University, April 1–15, Loan Exhibition of Paintings and Pastels by H. G. E. Degas, no. 12.

1968 • Cambridge, Mass., Fogg Art Museum, Harvard University, April 25–June 14, Degas Monotypes (Janis [1968]), no. 69, checklist no. 279 (provenance and exhibition history mistakenly interchanged with cat. no. 70).

1973 • Impressionism: French and American (MFA 1973a), no. 11 (exhibited as a pair with Degas’s Landscape [09.295]).

SELECTED REFERENCES

Manson 1927, 46; Lemoisne 1946–49, 3: no. 1055; Russoli and Minervino 1970, no. 983; Murphy 1985, 75; Kendall 1993, 170–71, fig. 151.

123. Landscape, 1892
Pastel over color monotype on cream wove paper
26.7 × 35.6 cm (10½ × 14 in.)
Denman Waldo Ross Collection 09.295

PROVENANCE

June 2, 1893, purchased from the artist by Durand-Ruel, Paris; 1893–94, with Durand-Ruel, Paris; October 25, 1894, transferred from Durand-Ruel, Paris, to Durand-Ruel, New York; November 17, 1894, sold by Durand-Ruel, New York, to Denman Waldo Ross, Cambridge, Mass.; 1909, gift of Denman Waldo Ross.

SELECTED EXHIBITIONS

1892 • Paris, Durand-Ruel, November, Paysage de Degas.

1897 • Boston, Copley Hall, March 5–28, Loan Exhibition of One Hundred Masterpieces, no. 10.

1911 • Cambridge, Mass., Fogg Art Museum, Harvard University, April 1–15, Loan Exhibition of Paintings and Pastels by H. G. E. Degas, no. 11.

1968 • Cambridge, Mass., Fogg Art Museum, Harvard University, April 25–June 14, Degas Monotypes (Janis [1968]), no. 70, checklist no. 284 (provenance and exhibition history mistakenly interchanged with cat. no. 69).

1972 • New York, The Metropolitan Museum of Art, October 12–December 15.

1973 • Impressionism: French and American (MFA 1973a), no. 11 (exhibited as a pair with Degas’s Landscape [09.296]).

1974 • Boston, Museum of Fine Arts, June 20–September 1, Edgar Degas: The Reluctant Impressionist (Shapiro [1974]), no. 106.

1980–81 • New York, The Metropolitan Museum of Art, October 16–December 7; Boston, Museum of Fine Arts, January 24–March 22, The Painterly Print: Monotypes from the Seventeenth to Twentieth Century (Metropolitan 1980b), no. 31.

SELECTED REFERENCES

Manson 1927, 46; Lemoisne 1946–49, 3: no. 1045; Russoli and Minervino 1970, no. 958; Janis 1973, [178–79]; Murphy 1985, 75; Sutton 1986, 280; Boggs et al. 1988, 504; Kendall 1993, 193–94, fig. 172.

Narcisse-Virgile Diaz de la Peña
French, 1808–1876

10. Bohemians Going to a Fete, about 1844
Oil on canvas
101 × 81.3 cm (39¾ × 32 in.)
Bequest of Susan Cornelia Warren 03.600

PROVENANCE

Until 1846, Paul Périer, Paris; December 19, 1846, sold at Périer sale, Bonnefons, Paris, no. 4, and bought by M. A. Mosselman; December 4, 1849, sold at Mosselman sale, Rolin, Paris, no. 86, and bought by Getting. Mme André Edouard, Paris. With Arnold and Tripp, Paris. 1868–73, with Laurent-Richard, Paris; April 7, 1873, sold at Laurent-Richard sale, Paris, and bought by Gustave Viot, Paris; 1886, Viot sale, Paris. By 1893, Mrs. Samuel Dennis Warren (d. 1901), Boston; 1901, inherited by Miss Susan Cornelia Warren, Boston; January 8, 1903, sold at Warren sale, American Art Association, New York, no. 113, and bought by Samuel Putnam Avery (dealer, d. 1904), New York, for the MFA; June 13, 1903, sold by Samuel Putnam Avery to the MFA.

SELECTED EXHIBITIONS

1844 • Paris, Salon, no. 553.

1877 • Paris, Ecole nationale des Beaux-Arts, Diaz de la Peña, no. 6.

1893 • Chicago, World Columbian Exposition, no. 2913.

1897 • Boston, Copley Hall, March 5–28, Loan Exhibition of One Hundred Masterpieces, no. 24.

1901 • Boston, St. Botolph Club, no. 17.

1902 • Boston, Museum of Fine Arts, Paintings from the Collection of the Late Mrs. Samuel Dennis Warren, no. 35.

1962–63 • San Francisco, California Palace of the Legion of Honor, September 24–November 4, 1962; Toledo, Ohio, The Toledo Museum of Art, November 20–December 27, 1962; Cleveland, The Cleveland Museum of Art, January 15–February 24, 1963; Boston, Museum of Fine Arts, March 15–April 28, 1963, Barbizon Revisited (Herbert 1962), no. 38.

1965 • Indianapolis, Herron Museum of Art, February 21–April 11, The Romantic Era: Birth and Flowering, 1750–1850 (Art Association of Indianapolis [1965]), no. 48.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 10.

1995 • The Real World (Sogo Museum and MFA 1994), no. 10.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 6.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 6.

SELECTED REFERENCES

Explication des ouvrages 1844, 70, no. 35; “Salon de 1844” 1844, 1–2; Silvestre 1856, 225; Claretie 1875, 17; Claretie 1876, 26–27; Ballu 1877, 294, 298; Silvestre 1878, 219; Claretie 1882–84, 1:228; Wolff 1883, no. 35; Stranahan 1888, 253; “The Descent of the Gypsies’” 1890, 176–77; Mollett 1890, 97, 124, appendix; Frapp 1903, 34; La Farge 1903, 127–29; Tomson 1903, 161–62; La Farge 1908, 119; MFA 1921, 96; MFA 1955, 19; Grate [1959], 207; Durbé and Damigella 1969, 19, no. 28; Bouret 1972, 105; Bouret 1973, 105, 122; Murphy 1985, 82.

François-Louis Français
French, 1814–1897

74. Sunset, 1878
Oil on canvas
47.1 × 56.3 cm (18½ × 22⅛ in.)
Bequest of Ernest Wadsworth Longfellow 37.598

PROVENANCE

By 1884?, Ernest Wadsworth Longfellow, Boston; 1937, bequest of Ernest Wadsworth Longfellow.

SELECTED EXHIBITIONS

1989 • From Neoclassicism to Impressionism, no. 36.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 13.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 12.

SELECTED REFERENCE

Murphy 1985, 101.

110. Morning on the Banks of the Sèvre at Clisson, 1884
Watercolor over graphite pencil on cream wove paper
Sheet: 48 × 60 cm (18⅞ × 23⅝ in.)
Bequest of Mrs. Arthur Croft 01.6233

PROVENANCE

1898, Français estate sale, no. 153/171; Gardner Brewer, Mass.; Mrs. Arthur Croft; 1901, bequest of Mrs. Arthur Croft.

SELECTED EXHIBITION

1977 • Boston, Museum of Fine Arts, June 4–September 4, 1977, Watercolor in Nineteenth-Century Europe.

Charles Paul Furne fils
French, active 1850–1870

31. Douarnenez, a Fishing Village in Brittany, 1858–59
Photograph, albumen print from glass-plate negative, corners rounded, mounted
Sheet: 20.3 × 26.7 cm (8 × 10½ in.)
Gift of Jessie H. Wilkinson. Jessie H. Wilkinson Fund 1998.74

PROVENANCE

Robert Hershkowitz, Sussex, England; 1998, sold by Robert Hershkowitz to the MFA.

SELECTED EXHIBITION

1998–99 • Boston, Museum of Fine Arts, November 21, 1998–May 23, 1999, French Photography: Le Gray to Atget.

SELECTED REFERENCE

Daniel 1992, 24–27 and notes 54, 55.

Attributed to Paul Gaillard
French, active 1850s/60s–1890

50. Farmyard, 1850s
Photograph, albumen print from glass-plate negative, mounted
Sheet: 20 × 25.5 cm (7⅞ × 10 1/16 in.)
Anonymous Loan, Promised Gift 387.1974

PROVENANCE

Gérard Lévy, Paris; sold by Levy to current anonymous lender; promised gift to MFA.

SELECTED EXHIBITION

1998–99 • Boston, Museum of Fine Arts, November 21, 1998–May 23, 1999, French Photography: Le Gray to Atget.

SELECTED REFERENCES

Trillat et al. 1979; Jammes and Janis 1983, 180–81.

Paul Gauguin
French, 1848–1903

115. Entrance to the Village of Osny, 1882–83
Oil on canvas
60 × 72.6 cm (23⅝ × 28⅝ in.)
Bequest of John T. Spaulding 48.545

PROVENANCE

July 1883, given by the artist to Camille Pissarro (painter, d. 1903), Eragny-sur-Epte; by 1903, sold by Pissarro to Jean-Baptiste Faure (d. 1914), Paris; by 1903–14, Jean-Baptiste Faure; 1914, purchased at the Faure estate sale by Durand-Ruel, Paris, no. 4520; 1914–21, with Durand-Ruel, Paris and New York; March 3, 1921, sold by Durand-Ruel to John Taylor Spaulding (d. 1948), Boston; 1921–48, John Taylor Spaulding, Boston; 1948, bequest of John Taylor Spaulding.

SELECTED EXHIBITIONS

1931–32 • Boston, Museum of Fine Arts, May 26, 1931–October 27, 1932, Collection of Modern French Paintings, Lent by John T. Spaulding.

1948 • Boston, Museum of Fine Arts, May 26–November 7, The Collections of John Taylor Spaulding 1870–1948 (MFA 1948), no. 29.

1950 • Springfield, Mass., Springfield Museum of Fine Arts, January 15–February 19, In Freedom’s Search (Springfield Museum 1950), no. 8.

1954 • Houston, The Museum of Fine Arts, March 27–April 25, Paul Gauguin: His Place in the Meeting of East and West (MFA Houston [1954]), no. 4.

1955 • Cambridge, Mass., Fogg Art Museum, Harvard University, May 2–31, From Sisley to Signac: A Museum Course Exhibition (Fogg [1955]), no. 7.

1960 • Paris, Galerie Charpentier, January 7–February 28, Gauguin, no. 13.

1960 • Munich, Haus der Kunst, April 1–May 29, Paul Gauguin (Haus der Kunst [1960]), no. 11.

1960 • Vienna, Belvedere Museum, June 1–July 31, Gauguin, no. 2.

1963 • Hamburg, Kunstverein, May 4–July 14, Wegbereiter der modernen Malerei: Cézanne, Gauguin, Van Gogh, Seurat (Kunstverein [1963]), no. 38.

1963 • Berlin, Orangerie des Schlosses Charlottenburg, September 28–November 24, IIe de France und ihre Maler: Ausstellung veranstaltet von der Nationalgalerie in der Orangerie des Schlosses Charlottenburg Berlin (Staatliche Museen [1963]), no. 27.

1973 • Impressionism: French and American (MFA 1973a), no. 13.

1979–80 • Corot to Braque (Poulet and Murphy 1979), not in catalogue.

1992 • Crosscurrents.

1995–96 • London, Hayward Gallery, May 18–August 28, 1995; Boston, Museum of Fine Arts, October 4, 1995–January 14, 1996, Impressions of France: Monet, Renoir, Pissarro, and Their Rivals (House et al. 1995), no. 104.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 56.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 62.

SELECTED REFERENCES

Malingue 1948, 76; Edgell 1949, 73; Van Dovski 1950, 338, no. 9; Estienne 1953a, 27; [Huyghe et al. 1960], in; Reidemeister 1963, 82; Wildenstein 1964, no. 121; Roskill [1970], 16, 254, note 3, under “Impressionism”; Murphy 1985, in.

124. Landscape with Two Breton Women, 1889
Oil on canvas
72.4 × 92 cm (28½ × 36¼ in.)
Gift of Harry and Mildred Remis and Robert and Ruth Remis 1976.42

PROVENANCE

1889–91, with the artist, Paris; February 23, 1891, sold at Gauguin sale, Hôtel Drouot, Paris, no. 23, and bought through Ker-Xavier Roussel, Paris (d. 1940, address: 94 rue de la Victoire); 1891–1905, jointly owned by Roussel, Paul Sérusier, Maurice Denis, Pierre Bonnard, Edouard Vuillard, Frederic Henry, and Julien Magnin [1]; 1905–40, acquired by either K.-X. Roussel or Edouard Vuillard, Paris [2]; 1940–54, inherited by Jacques Roussel, Paris (son of Roussel and nephew of Vuillard, address: 35 rue Washington); 1954, sold by Roussel and bought by Georges Maratier for Jean Davray, Paris; 1954–64, Jean Davray, Paris; 1964, sold by Davray to Alex Maguy, Paris (address: 69 rue de Faubourg Ste-Honoré); 1964, sold by Maguy to Harry and Mildred Remis, Boston; 1976, gift of Harry Remis.

NOTES

1. Based on the correspondence of Frederic Henry (an architect and intimate friend of Edouard Vuillard) from November 17 and December 24, 1905, it is possible that Pierre Hermant (a composer), Paul Percheron (a businessman and mystic), and Henri Roussel (K.-X. Roussel’s brother, a doctor) were also joint owners of this painting (letter from Juliet Bareau to Barbara Shapiro, March 11, 1985). 2. Upon the death of their close friend Julien Magnin (who was in possession of the painting at the time of his death in October 1905), the joint owners drew lots to establish sole ownership of the work of art. It is uncertain whether the painting fell to Vuillard or to Roussel. It should be noted that the family of Vuillard and Roussel claim that Sérusier, Denis, Bonnard, Vuillard, and Roussel bought this picture jointly to help Gauguin, planning to rotate the painting among themselves for specified periods of time. The family claims that this arrangement soon grew impossible and it was Vuillard who finally paid back the other four owners and kept the painting for himself. When he died, his nephew (also Roussel’s son) Jacques Roussel inherited it (letter from Daniel Wildenstein to Barbara Shapiro January 28, 1976).

SELECTED EXHIBITIONS

1964 • Paris, Galerie de l’Elysée, June 2–30, Sept Tableaux Rares, unnumbered entry in exhibition pamphlet.

1976 • Boston, February–March, From Impressionism to Symbolism—Paul Gauguin.

1987 • Tokyo, The National Museum of Modern Art, March 6–May 17; Aichi, Aichi Prefectural Art Gallery, June 12–28, Paul Gauguin [in Search of Paradise] (Tokyo Shimbun 1987), no. 35.

2001–2 • Chicago, The Art Institute of Chicago, September 22, 2001–January 13, 2002; Amsterdam, Van Gogh Museum, February 9–June 2, 2002, Van Gogh and Gauguin: The Studio of the South (Druick et al. 2001), no. 55.

SELECTED REFERENCES

Natanson 1951, 33; Rewald 1956, 475; Leymarie 1963, 225–26; Rewald 1978, 442, 444; Murphy 1985, 112.

125. Women Washing Clothes, 1889
Zincograph on yellow wove paper, hand colored. Guérin 6; Kornfeld 10 A.a
Image: 21 × 26 cm (8¼ × 10¼ in.)
Bequest of W G. Russell Allen 60.310

SELECTED EXHIBITIONS

1987 • Boston, Museum of Fine Arts, October 17–December 13, Gauguin and His Circle in Brittany: The Prints of the Pont-Aven School.

1993 • Boston, Museum of Fine Arts, June 2–October 31, The Age of Art Nouveau.

SELECTED REFERENCES

Boyle-Turner 1986, 44–45; Mongan, Kornfeld, and Joachim 1988, 11–12, 34–35.

151. Women and a White Horse, 1903
Oil on canvas
73.2 × 91.7 cm (28⅞ × 36⅛ in.)
Bequest of John T. Spaulding 48.547

PROVENANCE

Gustave Fayet, Igny, France. Moll (?). October 31, 1908, bought by Bernheim-Jeune, Paris. 1909, Ambroise Vollard, Paris. Probably by 1929, with Paul Rosenberg & Co., Paris; possibly by 1929, sold by Rosenberg to John Taylor Spaulding (d. 1948), Boston; 1929?–48, John Taylor Spaulding, Boston; 1948, bequest of John Taylor Spaulding.

SELECTED EXHIBITIONS

1927 • Berlin, Galerie Thannhauser, October, Paul Gauguin, no. 79.

1928 • Basel, Kunsthalle, July–August, Paul Gauguin, 1848–1903 (Kunsthalle 1928), no. 91.

1930 • Amsterdam, Stedelijk Museum, Van Gogh and His Contemporaries, no. 176.

1931–32 • Boston, Museum of Fine Arts, May 26, 1931–October 27, 1932, Collection of Modern French Paintings, Lent by John T. Spaulding.

1936 • New York, Wildenstein Galleries, March 20–April 18, Paul Gauguin, 1848–1903: A Retrospective Loan Exhibition (Wildenstein [1936]), no. 46.

1936 • Cambridge, Mass., Fogg Art Museum, Harvard University, May 1–21, Paul Gauguin (Fogg 1936), no. 45.

1948 • Boston, Museum of Fine Arts, May 26–November 7, The Collections of John Taylor Spaulding 1870–1948 (MFA 1948), no. 31.

1949 • Cambridge, Mass., Fogg Art Museum, Harvard University, February 1–September 15, Paul Gauguin.

1949 • Paris, Musée de l’Orangerie, July–October, Gauguin: Exposition du centenaire (Musée de l’Orangerie 1949), no. 59.

1950 • Minneapolis, The Minneapolis Institute of Arts, Gauguin in Tahiti.

1952 • Montreal, Montreal Museum of Fine Arts, March 7–April 13, Six Centuries of Landscape (Montreal 1952), no. 59.

1955 • Edinburgh, Royal Scottish Academy, August 21–September 18; London, The Tate Gallery, September 30–October 26, Gauguin: An Exhibition of Paintings, Engravings, and Sculpture (Arts Council [1955]), no. 65.

1955 • Oslo, Kunstnerforbundet, November 11–December 1, Paul Gauguin, no. 36.

1956 • New York, Wildenstein Galleries, April 5–May 5, Loan Exhibition: Gauguin (Wildenstein [1956]), no. 53.

1959 • Chicago, The Art Institute of Chicago, February 12–March 29; New York, The Metropolitan Museum of Art, April 23–May 31, Gauguin: Paintings, Drawings, Prints, Sculpture (AIC 1959), no. 70.

1969–70 • Philadelphia, University Museum, University of Pennsylvania, October 15–December 15, 1969; Stockholm, Ethnographic Museum, January 1969–February 1970, Paul Gauguin.

1973 • San Diego, Fine Arts Gallery of San Diego, October 7–November 25, Dimensions of Polynesia (Teilhet [1973]), no. XII.12.

1998–99 • Essen, Folkwang Museum, June 17–October 18, 1998; Berlin, Neue Nationalgalerie, October 31, 1998–January 10, 1999, Paul Gauguin: Das verlorene Paradies (Költzsch 1998), no. 61.

SELECTED REFERENCES

Frankfurter 1936, 5; Gauguin [1936], 166; Wilenski 1947, 354; Edgell 1949, 6, 73; Van Dovski 1950, 355, no. 397; Wildenstein 1964, no. 636; Mandel 1972, no. 454; Murphy 1985, 112; Maurer 1998, 192, no. 386.

Jean-Léon Gérôme
French, 1824–1904

37. Black Panther Stalking a Herd of Deer, 1851
Oil on canvas
52.3 × 74 cm (20⅝ × 29⅛ in.)
Anonymous Gift 30.232

PROVENANCE

By 1873, given by the artist to Théophile Gautier (art critic); January 14–16, 1873, sold at Gautier sale, Hôtel Drouot (Escribe), Paris, no. 36, and purchased by R. W Sears, Boston. By 1930, with an anonymous collection; 1930, gift of an anonymous donor.

SELECTED EXHIBITIONS

1943 • Cambridge, Mass., Fogg Art Museum, Harvard University (?).

1962 • Cambridge, Mass., Busch-Reisinger Museum, Harvard University, April 26–June 16, Rivers and Seas: Changing Attitudes toward Landscapes, 1700–1962, no. 31.

1996 • Boston, Museum of Fine Arts, June 26–October 15, Hanging to Complement an Egyptian Object: Falcon.

SELECTED REFERENCES

Catalogue des tableaux 1873, 10, no. 36; Hering 1892, 242; Rosenthal 1982, 78, fig. 77; Murphy 1985, 116; Ackerman 1986, no. 39.

André Giroux
French, 1801–1879

49. Under the Arbor, about 1853
Photograph, salt print from paper negative, mounted
Sheet: 20 × 25.5 cm (7⅞ × 10 1/16 in.)
Anonymous Loan, Promised Gift 461.1974

PROVENANCE

Gérard Lévy, Paris; sold by Lévy to current anonymous lender; promised gift to MFA.

SELECTED EXHIBITION

1998–99 • Boston, Museum of Fine Arts, November 21, 1998–May 23, 1999, French Photography: Le Gray to Atget.

SELECTED REFERENCES

Jammes and Janis 1983, 183–85; Brettell et al. 1984.

Henri-Joseph Harpignies
French, 1819–1916

131. Evening at Saint-Privé, 1890
Oil on canvas
73.7 × 54.5 cm (29 × 21½ in.)
Bequest of Ernest Wadsworth Longfellow 23.486

PROVENANCE

By 1901, with Obach and Co., London; May 5, 1901, sold at Obach sale and bought by Knoedler & Co., London; 1901–3, with Knoedler & Co., London, no. 2689; 1903, sold by Knoedler & Co. to Morris J. Hirsch, London; 1904, sold by Morris J. Hirsch to Knoedler & Co.; March 1904, sold by Knoedler & Co. to Ernest Wadsworth Longfellow (d. 1923), Boston; 1904–23, Ernest Wadsworth Longfellow, Boston; 1923, bequest of Longfellow.

SELECTED EXHIBITIONS

n.d. • New York, Union League Club.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 19.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 19.

SELECTED REFERENCES

Murphy 1985, 129; Wilmerding 1986, 231,

Paul Huet
French, 1803–1869

6. Landscape in the South of France, about 1838–39
Oil on paper mounted on panel
35.6 × 52.4 cm (14 × 20⅝ in.)
Fanny P. Mason Fund in memory of Alice Thevin 1987.257

PROVENANCE

Until April 15, 1878, Huet collection, Paris; April 15–17, 1878, sold at Huet sale, Paris, and bought by Durand-Ruel, Paris. Private collection, Paris (?). Probably by 1986, sold by a private collector to Galerie de la Scala, Paris; 1987, sold by Galerie de la Scala to the MFA.

SELECTED EXHIBITIONS

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 4.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 4.

Eugène Isabey
French, 1803–1886

28. Harbor View, about 1850
Oil on canvas
33.3 × 47.9 cm (13⅛ × 18⅞ in.)
The Henry C. and Martha B. Angell Collection 19.101

PROVENANCE

Until 1882, with Doll and Richards, Inc., Boston; March 23–24, 1882, sold at Doll and Richards, Inc., sale, Boston, no. 35, called Entrance to a Port. Until 1904, Louis Ralston, Boston; 1904, Dr. Henry Clay Angell (d. 1911), Boston; 1911, inherited by Martha B. Angell (widow, d. 1919), Boston; 1919, gift of Martha B. Angell.

SELECTED EXHIBITIONS

1952 • Hartford, Conn., Wadsworth Atheneum, The Romantic Circle.

1962 • Cambridge, Mass., Busch-Reisinger Museum, Harvard University, April 26–June 16, Rivers and Seas: Changing Attitudes toward Landscapes, 1700–1962, no. 56.

1967 • Cambridge, Mass., Fogg Art Museum, Harvard University, November 22–December 29, Eugène Isabey: Paintings, Watercolors, Drawings, Lithographs (Fogg Art Museum [1967]), no. 14.

1989 • From Neoclassicism to Impressionism (Kyoto Museum, Kyoto Shimbun, and MFA 1989), no. 13.

1990 • Boston, Museum of Fine Arts, July 13–August 19, Boudin in Boston.

1991 • Salem, Mass., Peabody Museum, May 17–September 16, Eugène Boudin: Impressionist Marine Paintings (Sutton 1991), unnumbered entries, pl. 1.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 4.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 5.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 5.

SELECTED REFERENCES

Miquel 1980, no. 540; Murphy 1985, 136.

29. Stormy Weather, about 1836
Lithograph on cream wove paper.
Curtis 81
Image: 11.1 × 18.4 cm (4⅜ × 7¼ in.)
Samuel P. Avery Fund 21.10733

SELECTED EXHIBITION

1996 • Boston, Museum of Fine Arts, January 10–July 7, Lithography’s First Half Century: The Age of Goya and Delacroix, no. 65.

Alphonse Jeanrenaud
French, before 1835–1895

27. Cart in Forest Path, probably early 1860s
Photograph, albumen print from glass-plate negative, top corners rounded, unmounted
Sheet: 23 × 28 cm (9 1/16 × 11 in.)
Prints, Drawings, and Photographs Curator’s Discretionary Fund 2001.274

PROVENANCE

André Jammes, Paris; October 27, 1999, Sotheby’s New York, sold to Robert Klein, Boston; 2001, sold by Robert Klein to the MFA.

SELECTED REFERENCES

Jammes and Sobieszek 1969, illus. no. 115 (variant); The Art Institute of Chicago 1977, no. 71; Auer and Auer 1985; Heilbrun 1986, illus., 65.

Johan Barthold Jongkind
Dutch (worked in France), 1819–1891

77. Harbor Scene in Holland, 1868
Oil on canvas
42 × 56 cm (16½ × 22 in.)
Gift of Count Cecil Pecci-Blunt 61.1242

PROVENANCE

By 1920, Ferdinand Blumenthal. By at least 1961, Count Cecil Pecci-Blunt, Rome (address: 3 Piazza Arcoeli); 1961, given by Count Cecil Pecci-Blunt to the MFA.

SELECTED EXHIBITIONS

1910 • Paris, Galerie Georges Petit, May, Exposition de chefs-d’oeuvre de l’école française, no. 107.

1979–80 • Corot to Braque (Poulet and Murphy 1979), not in catalogue (Phoenix venue only).

1990 • Boston, Museum of Fine Arts, July 13–August 19, Boudin in Boston.

1991 • Salem, Mass., Peabody Museum, May 17–September 16, Eugène Boudin: Impressionist Marine Paintings (Sutton 1991), pl. 4.

1992 • Crosscurrents.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 20.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 20.

SELECTED REFERENCES

Roger-Milès 1920, 105, plate following 104; Hefting 1975, 198, no. 448; Murphy 1985, 153.

Gustave Le Gray
French, 1820–1882

30. Cloudy Sky—Mediterranean with Mount Agde, 1856–59
Photograph, albumen print from glass-plate negative, unmounted
Sheet: 31.1 × 39.7 cm (12¼ × 15⅝ in.)
Gift of Charles Millard in honor of Clifford S. Ackley 1997.241

PROVENANCE

André Jammes; 1971, Lucien Goldschmidt, New York; Charles W. Millard III; 1997, gift of Millard to the MFA.

SELECTED EXHIBITION

1998–99 • Boston, Museum of Fine Arts, November 21, 1998–May 23, 1999, French Photography: Le Gray to Atget.

SELECTED REFERENCES

Janis 1987, illus., 73; Jacobson 2001, 45, no. 13; Aubenas et al. 2002, 127, no. 147.

Auguste Lepère
French, 1849–1918

127. Saint-Jean-de-Monts, 1900–05 Black and red chalk and opaque watercolor on prepared artist’s board
Sheet: 23 × 37.6 cm (9 1/16 × 14 13/16 in.)
Francis Welch Fund 1988.371

PROVENANCE

Galerie Jacques Fischer/Chantal Kiener, Paris; 1988, sold by Galerie Jacques Fischer/Chantal Kiener to the MFA.

Charles Marville
French, 1816–about 1879

32. Path in the Bois de Boulogne, 1858 Photograph, albumen print from glass-plate negative, mounted
Sheet: 26.9 × 36.4 cm (10 9/16 × 14⅜ in.)
Sophie M. Friedman Fund 1984.54

PROVENANCE

Robert Hershkowitz, London; 1984, sold by Hershkowitz to the MFA.

SELECTED EXHIBITIONS

1984 • Boston, Museum of Fine Arts, April 7–July 1, Trees.

1989 • Boston, Museum of Fine Arts, October 7–December 17, Capturing an
Image: Collecting 150 Years of Photography.

1998–99 • Boston, Museum of Fine Arts, November 21, 1998–May 23, 1999, French Photography: Le Gray to Atget.

SELECTED REFERENCES

Metropolitan Museum of Art 1980a, no. 99; Jammes and Janis 1983, 214–17; Jay 1995, 329.

Jean-François Millet
French, 1814–1875

51. Faggot Gatherers Returning from the Forest, about 1854
Black conté crayon on cream wove paper
Sheet: 28.6 × 46.7 cm (11¼ × 18⅜ in.)
Gift of Martin Brimmer 76.437

PROVENANCE

May 10–11, 1875, sold at Millet studio sale, Hôtel Drouot, Paris, no. 127, and bought by Richard Hearn for Martin Brimmer (1829–1896); 1876, gift of Martin Brimmer.

SELECTED EXHIBITIONS

1956 • Washington, D.C., The Phillips Gallery, March.

1956 • Great Britain, The Arts Council of Great Britain, circulated June 15–September 15, Drawings by Jean-François Millet, no. 51.

1975–76 • Paris, Grand Palais, October 17, 1975–January 5, 1976 (Herbert 1975), no. 172; London, Hayward Gallery, January 22–March 7, 1976, Jean-François Millet (Herbert 1976), no. 96.

1984 • Jean-François Millet (Murphy 1984), no. 57.

1984–85 • Jean-François Millet Exhibition (Nippon Television and MFA 1984), no. 29 (Tokyo, Sapporo, and Yamaguchi venues only).

1999–2000 • Williamstown, Mass., Sterling and Francine Clark Art Institute, June 18–September 7, 1999; Amsterdam, Van Gogh Museum, October 26, 1999–January 5, 2000; Pittsburgh, The Frick Art Museum, February 10–April 23, 2000, Jean-François Millet: Drawn into the Light (Murphy et al. 1999), no. 21.

52. End of the Day, 1852–54
Black conté crayon heightened with white chalk on blue-gray laid paper
Sheet: 23.6 × 33.1 cm (9 5/16 × 13 1/16 in.)
Gift of Martin Brimmer 76.439

PROVENANCE

1875, Millet studio sale, Hôtel Drouot, Paris, May 10–11, no. 125, bought by Richard Hearn for Martin Brimmer (1829–1896); 1876, gift of Martin Brimmer.

SELECTED EXHIBITIONS

1984 • Jean-François Millet (Murphy 1984), no. 42.

1984–85 • Jean-François Millet Exhibition (Nippon Television and MFA 1984), no. 25 (Tokyo, Sapporo, and Yamaguchi venues only).

53. Study for Shepherdess Knitting, 1862
Black conté crayon on dark cream wove paper
Sheet: 31.4 × 24.2 cm (12⅜ × 9½ in.)
Gift of Mrs. J. Templeman Coolidge 46.594

PROVENANCE

Paul Marmontel; January 25–26, 1883, sold Hôtel Drouot, Paris, no. 187; by 1908, John Templeman Coolidge, Jr. (1856–1945), Boston; Mrs. J. Templeman Coolidge; 1946, gift of Mrs. J. Templeman Coolidge.

SELECTED EXHIBITIONS

1984 • Jean-François Millet (Murphy 1984), no. 92.

1984–85 • Jean-François Millet Exhibition (Nippon Television and MFA 1984), no. 50 (Tokyo, Sapporo, and Yamaguchi venues only).

1987 • Boston, Museum of Fine Arts, April 15–July 26, Printmaking: The Evolving Image, no. 37.

54. Shepherdess Knitting, 1862
Etching on dark cream laid paper.
Delteil 18
Platemark: 32 × 24 cm (12⅝ × 9 7/16 in.)
Gift of Gordon Abbott 21.10786

SELECTED EXHIBITION

1987 • Boston, Museum of Fine Arts, April 15–July 26, Printmaking: The Evolving Image, no. 37.

SELECTED REFERENCE

Murphy 1984, no. 93.

55. Farmstead near Vichy, 1866–67 Watercolor and pen and brown ink over graphite pencil on dark cream laid paper
Sheet: 22 × 29 cm (8 11/16 × 11 7/16 in.)
Bequest of Reverend Frederick Frothingham 94.316

PROVENANCE

May 10–11, 1875, sold at Millet studio sale, Hôtel Drouot, Paris, no. 104, and bought by Reverend Frederick Frothingham, Milton, Mass.; 1894, bequest of Reverend Frederick Frothingham.

SELECTED EXHIBITIONS

1956 • Washington, D.C., The Phillips Gallery, March.

1956 • Great Britain, The Arts Council of Great Britain, circulated June 15–September 15, Drawings by Jean-François Millet.

1984 • Jean-François Millet (Murphy 1984), no. 127.

1984–85 • Jean-François Millet Exhibition (Nippon Television and MFA 1984), no. 68 (Tokyo, Sapporo, and Yamaguchi venues only).

1999–2000 • Williamstown, Mass., Sterling and Francine Clark Art Institute, June 18–September 7, 1999; Amsterdam, Van Gogh Museum, October 26, 1999–January 5, 2000; Pittsburgh, The Frick Art Museum, February 10–April 23, 2000, Jean-François Millet: Drawn into the Light (Murphy et al. 1999), no. 68.

56. Road from Malavaux, near Cusset, 1867
Watercolor and pen and brown ink over graphite pencil on cream laid paper
Sheet: 11.2 × 16.2 cm (4 7/16 × 6⅜ in.)
Gift of Martin Brimmer 76.425

PROVENANCE

May 10–11, 1875, Millet studio sale, Hôtel Drouot, Paris, no. 91, bought by Richard Hearn for Martin Brimmer (1829–1896); 1876, gift of Martin Brimmer.

SELECTED EXHIBITIONS

1956 • Washington, D.C., The Phillips Gallery, March.

1956 • Great Britain, The Arts Council of Great Britain, circulated June 15–September 15, Drawings by Jean-François Millet, no. 64.

1977–78 • College Park, Md., University of Maryland Art Gallery, October 26–December 4, 1977; Louisville, Ky., January 9–February 19, 1978; Ann Arbor, Mich., University of Michigan Museum of Art, April 1–May 14, 1978, From Delacroix to Cézanne (De Leiris and Smith 1977), no. 120.

1984 • Jean-François Millet (Murphy 1984), no. 123.

1984–85 • Jean-François Millet Exhibition (Nippon Television and MFA 1984), no. 64 (Tokyo, Sapporo, and Yamaguchi venues only).

57. End of the Hamlet of Gruchy, 1866
Oil on canvas
81.5 × 100.5 cm (32⅛ × 39⅝ in.)
Gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton 17.1508

PROVENANCE

By 1868, Paul Monmartel; May 11–14, 1868, sold at Monmartel sale, Hôtel Drouot, Paris, no. 55. With Hector Henri Clement Brame, Paris. By 1873, with Jean-Baptiste Faure, Paris; June 7, 1873, sold at Faure sale, Galerie Georges Petit, 26 boulevard des Italiens, Paris, no. 26. By 1879, with Durand-Ruel, Paris; 1879, probably acquired from Durand-Ruel by Quincy Adams Shaw, Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton.

SELECTED EXHIBITIONS

1866 • Paris, Salon, no. 1376.

1889 • New York, American Art Association, The Works of Antoine-Louis Barye . . . His Contemporaries and Friends for the Benefit of the Barye Monument Fund (American Art Galleries 1889), no. 553.

1918 • Boston, Museum of Fine Arts, opened April 18, Quincy Adams Shaw Collection (MFA 1918a), no. 2.

1975–76 • Paris, Grand Palais, October 17, 1975–January 5, 1976 (Herbert 1975), no. 193; London, Hayward Gallery, January 22–March 7, 1976 Jean-François Millet (Herbert 1976), no. 112.

1984 • Jean-François Millet (Murphy 1984), no. 111.

1984–85 • Jean-François Millet Exhibition (Nippon Television and MFA 1984), no. 58.

1985 • IBM Gallery.

1995–96 • London, Hayward Gallery, May 18–August 28, 1995; Boston, Museum of Fine Arts, October 4, 1995–January 14, 1996, Impressions of France: Monet, Renoir, Pissarro, and Their Rivals (House et al. 1995), no. 12.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 11.

2000–02 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 13.

SELECTED REFERENCES

About 1866; Chesneau 1875, 429; Piedagnel 1876, 62, 80; Burty 1877, 280–81; Strahan 1879, 3:86; Sensier and Mantz 1881, 290–94, 311; Durand-Gréville 1887, 68; Ady 1896, 290–92, 309; Marcel 1901, 74–78; Gensel 1902, 58; Rolland 1902, 107; Peacock 1905, 116–18; MFA 1918b, 15; Moreau-Nélaton 1921, 2:182, 3:1–2, 5, 53, 91, fig. 214; Tabarant 1942, 383; Edgell 1949, 19–20; Fermigier 1977, 19; Bühler 1985, 2551–56; Murphy 1985, 197.

58. Priory at Vauville, Normandy, 1872–74
Oil on canvas
90.9 × 116.7 cm (35⅜ × 46 in.)
Gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton 17.1532

PROVENANCE

1874–1908, acquired from the artist by Quincy Adams Shaw, Boston (commissioned in 1872); 1908–17, inherited by Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton, Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton.

SELECTED EXHIBITIONS

1918 • Boston, Museum of Fine Arts, opened April 18, Quincy Adams Shaw Collection (MFA 1918a), no. 25.

1984 • Jean-François Millet (Murphy 1984), no. 149.

1984–85 • Jean-François Millet Exhibition (Nippon Television and MFA 1984), no. 80.

1985 • IBM Gallery.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 12.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 14.

SELECTED REFERENCES

Sensier and Mantz 1881, 348–49, 352, 362, 363; Durand-Gréville 1887, 68; Mantz 1887, 32; Ady 1896, 331–32, 334, 339, 344; Peacock 1905, 132; MFA 1918b, 15; Moreau-Nélaton 1921, 3:78–79, 84, 87, 102, 104, fig. 272; Murphy 1985, 201.

59. Rabbit Warren, Dawn, 1867 Pastel and black conté crayon on cream wove paper
49.5 × 59.5 cm (19½ × 23⅜ in.)
Gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton 17.1522

PROVENANCE

By 1875, Emile Gavet; June 11–12, 1875, sold at Gavet sale, Hôtel Drouot, Paris, no. 70, and bought by Durand-Ruel, Paris and New York; 1875, with Durand-Ruel, Paris and New York. By 1917, Quincy Adams Shaw, Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton.

SELECTED EXHIBITIONS

1875 • Paris, 7 rue St. Georges, Dessins de Millet provenant de la collection de M. G. [Gavet] (Catalogue des dessins de Millet 1875), no. 24.

1918 • Boston, Museum of Fine Arts, opened April 18, Quincy Adams Shaw Collection (MFA 1918a), no. 47.

1984 • Jean-François Millet (Murphy 1984), no. 130.

1984–85 • Jean-François Millet Exhibition (Nippon Television and MFA 1984), no. 69.

1985 • IBM Gallery.

SELECTED REFERENCES

Soullié 1900b, 108; Guiffrey 1913, 547; Moreau-Nélaton 1921, 3:20–21, fig. 247; Murphy 1985, 200.

60. Primroses, 1867–68
Pastel on gray-brown wove paper
40.2 × 47.8 cm (15⅞ × 18⅞ in.)
Gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton 17.1523

PROVENANCE

1868–1875, acquired from the artist by Emile Gavet, Paris (commissioned in 1867); June 11–12, 1875, sold at Gavet sale, Hôtel Drouot, Paris, no. 47, and bought by Détrimont (probably for Quincy Adams Shaw). By 1917, Quincy Adams Shaw, Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton.

SELECTED EXHIBITIONS

1918 • Boston, Museum of Fine Arts, opened April 18, Quincy Adams Shaw Collection (MFA 1918a), no. 49.

1962–63 • San Francisco, California Palace of the Legion of Honor, September 24–November 4, 1962; Toledo, Ohio, The Toledo Museum of Art, November 20–December 27, 1962; Cleveland, The Cleveland Museum of Art, January 15–February 24, 1963; Boston, Museum of Fine Arts, March 15–April 28, 1963, Barbizon Revisited (Herbert 1962), no. 75.

1975–76 • Paris, Grand Palais, October 1, 1975–January 5, 1976 (Herbert 1975), no. 197; London, Hayward Gallery, January 20–March 20, 1976, Jean-François Millet (Herbert 1976), no. 115.

1984 • Jean-François Millet (Murphy 1984), no. 135.

1999–2000 • Williamstown, Mass., Sterling and Francine Clark Art Institute, June 18–September 7, 1999; Amsterdam, Van Gogh Museum, October 22, 1999–January 5, 2000; Pittsburgh, The Frick Art Museum, February 10–April 23, 2000, Jean-François Millet: Drawn into the Light (Murphy et al. 1999), no. 77.

SELECTED REFERENCES

Burty 1877, 308; Strahan 1879, 3:87; Greta 1881, 72; Soullié 1900b, 100; Guiffrey 1913, 547; Cary 1918, 266; MFA 1918b, 18; Moreau-Nélaton 1921, 3:17–18, fig. 237; Durbé and Damigella 1969, 22, 86, pl. LX; Pollock 1977, 77, no. 54; lida 1979, 130; Murphy 1985, 200; Fermigier 1991, 104, 138.

61. Dandelions, 1867–68
Pastel on tan wove paper
40.2 × 50.2 cm (15⅞ × 19¾ in.)
Gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton 17.1524

PROVENANCE

1868–75, acquired from the artist by Emile Gavet, Paris (commissioned in 1867); June 11–12, 1875, sold at Gavet sale, Hôtel Drouot, Paris, no. 94, and bought by Carlin. By 1917, Quincy Adams Shaw, Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton.

SELECTED EXHIBITIONS

1875 • Paris, 7 rue St. Georges, Dessins de Millet provenant de la collection de M. G. [Gavet] (Catalogue des dessins de Millet 1875), no. 46.

1918 • Boston, Museum of Fine Arts, opened April 18, Quincy Adams Shaw Collection (MFA 1918a), no. 48.

1963 • Philadelphia, Philadelphia Museum of Art, May 1–June 9, A World of Flowers.

1984 • Jean-François Millet (Murphy 1984), no. 136.

1984–85 • Jean-François Millet Exhibition (Nippon Television and MFA 1984), no. 71.

1985 • IBM Gallery.

SELECTED REFERENCES

Burty 1877, 308; Strahan 1879, 3:87; Greta 1881, 72; Soullié 1900b, 120; Guiffrey 1913, 547; Cary 1918, 266; Moreau-Nélaton 1921, 3:18, fig. 239; Murphy 1985, 200; Manoeuvre 1996, 46; Murphy et al. 1999, no.

62. Farmyard in Winter, 1868
Pastel and black conté crayon on buff wove paper
68 × 88.1 cm (26¾ × 34⅝ in.)
Gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton 17.1526

PROVENANCE

1868–75, acquired from the artist by Emile Gavet, Paris (commissioned in 1868); June 11–12, 1875, sold at Gavet sale, Hôtel Drouot, Paris, no. 10, and bought by Durand-Ruel, Paris and New York; 1875, with Durand-Ruel, Paris and New York. By 1917, Quincy Adams Shaw, Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton.

SELECTED EXHIBITIONS

1918 • Boston, Museum of Fine Arts, opened April 18, Quincy Adams Shaw Collection (MFA 1918a), no. 45.

1962–63 • San Francisco, California Palace of the Legion of Honor, September 24–November 4, 1962; Toledo, Ohio, The Toledo Museum of Art, November 20–December 27, 1962; Cleveland, The Cleveland Museum of Art, January 15–February 24, 1963; Boston, Museum of Fine Arts, March 15–April 28, 1963, Barbizon Revisited (Herbert 1962), no. 74.

1975–76 • Paris, Grand Palais, October 1, 1975–January 5, 1976 (Herbert 1975), no. 199; London, Hayward Gallery, January 20–March 20, 1976, Jean-François Millet (Herbert 1976), no. 117.

1984 • Jean-François Millet (Murphy 1984), no. 138.

1999–2000 • Williamstown, Mass., Sterling and Francine Clark Art Institute, June 18–September 7, 1999; Amsterdam, Van Gogh Museum, October 22, 1999–January 5, 2000; Pittsburgh, The Frick Art Museum, February 10–April 23, 2000, Jean-François Millet: Drawn into the Light (Murphy et al. 1999), no. 78 (Williamstown venue only).

SELECTED REFERENCES

Strahan 1879, 3:87; Soullié 1900b, 121; Guiffrey 1913, 547; Moreau-Nélaton 1921, 3:39, fig. 253; Murphy 1985, 200; Manoeuvre 1996, 48–49.

63. Farmyard by Moonlight, 1868
Pastel and black conté crayon on tan wove paper
70.9 × 86.7 cm (27⅞ × 34⅛ in.)
Gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton 17.1525

PROVENANCE

1868–75, acquired from the artist by Emile Gavet, Paris (commissioned in 1868); June 11–12, 1875, sold at Gavet sale, Hôtel Drouot, Paris, no. 48, and bought by Détrimont (probably for Quincy Adams Shaw). By 1917, Quincy Adams Shaw, Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton.

SELECTED EXHIBITIONS

1875 • Paris, 7 rue St. Georges, Dessins de Millet provenant de la collection de M. G. [Gavet] (Catalogue des dessins de Millet 1875), no. 12.

1918 • Boston, Museum of Fine Arts, opened April 18, Quincy Adams Shaw Collection (MFA 1918a), no. 44.

1975 • Washington, D.C., National Collection of Fine Arts, Smithsonian Institution, January 23–April 20, American Art in the Barbizon Mood (Bermingham 1975), no. 9.

1984 • Jean-François Millet (Murphy 1984), no. 137.

SELECTED REFERENCES

Strahan 1879, 3:86; Greta 1881, 72; Yriarte 1885, 39; Murphy 1985, 200.

Claude Monet
French, 1840–1926

79. Rue de la Bavolle, Honfleur, about 1864
Oil on canvas
55.9 × 61 cm (22 × 24 in.)
Bequest of John T. Spaulding 48.580

PROVENANCE

By 1867, private collection. By 1897, Aimé Diot, Paris; March 8–9, 1897, sold at Diot sale, Hôtel Drouot, Paris, no. 102, called Une rue. About 1901, with Arthur Tooth & Sons, London (not in Tooth stock records; probably in Paris stock); November 21, 1902, bought from Tooth & Sons by Durand-Ruel, Paris; 1902–12, with Durand-Ruel, Paris; August 12, 1912, bought from Durand-Ruel by Galerie Thannhauser, Munich, called Rue de village, Normandie, 1865. 1915, Oscar Schmitz, Dresden. 1936–40, with Wildenstein and Co., Paris; 1940–48, bought from Wildenstein by John Taylor Spaulding (d. 1948), Boston; 1948, bequest of John Taylor Spaulding.

SELECTED EXHIBITIONS

1905 • Weimar, Grossherzöglisches Museum, March, Monet, Manet, Renoir, und Cézanne, no. 1.

1928 • Berlin, Galerie Thannhauser, February 15–March (day unknown), Claude Monet (Galerie Thannhauser 1928), no. 7.

1932 • Zurich, Kunsthaus, Sammlung Oscar Schmitz, no. 33.

1936 • Paris, Wildenstein Galleries, La Collection Oscar Schmitz (Schmitz 1936), no. 40.

1948 • Boston, Museum of Fine Arts, May 26–November 7, The Collections of John Taylor Spaulding, 1870–1948 (MFA 1948), no. 59.

1949 • Cambridge, Mass., Fogg Art Museum, Harvard University, February 1–September 15, Student Exhibition.

1949 • Manchester, N.H., The Currier Gallery of Art, October 8–November 6, Monet and the Beginnings of Impressionism: Twentieth Anniversary Exhibition (Currier Gallery of Art [1949]), no. 34.

1952 • Zurich, Kunsthaus, May 10–June 15 (Besson and Wehrli [1952]), no. 3; Paris, Galerie des Beaux-Arts, June 19–July 17; The Hague, Gemeentemuseum, July 24–September 22, Claude Monet (Haags [1952]), no. 2 (Zurich and The Hague venues only).

1953 • Kansas City, Mo., William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Twentieth Anniversary Exhibition.

1957 • Edinburgh, Royal Scottish Academy, August 6–September 15; London, The Tate Gallery, September 26–November 3, Claude Monet (Tate Gallery [1957]), no. 8.

1972 • Providence, R.I., Museum of Art, Rhode Island School of Design, February 3–March 5, To Look on Nature: European and American Landscape, 1800–1874 (Brown University 1972), unnumbered entries, pl. 46.

1973 • Impressionism: French and American (MFA 1973a), no. 26.

1975 • Chicago, The Art Institute of Chicago, March 15–May 11, Paintings by Monet (Masson, Seiberling, and Marandel 1975), no. 5.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 2.

1980 • Paris, Grand Palais, February 8–May 5, Hommage à Claude Monet (1840–1926) (Adhémar, Distei, and Gache-Patin 1980), no. 13.

1983–84 • Masterpieces of European Painting (Nippon Television 1983), no. 56.

1985 • Boston, Museum of Fine Arts, February 13–June 2, The Great Boston Collectors: Paintings from the Museum of Fine Arts, Boston (Troyen and Tabbaa 1984), no. 52.

1985 • Williamstown, Mass., Sterling and Francine Clark Art Institute, June 8–October 6, Monet in Massachusetts (Brooks 1985), unnumbered entry.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992 • Crosscurrents.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 21.

1994–95 • Paris, Grand Palais, April 19–August 8, 1994; New York, The Metropolitan Museum of Art, September 19, 1994–January 8, 1995, Impressionnisme: Les origines, 1859–1869 (Loyrette and Tinterow 1994), no. 124 (New York venue only).

1995–96 • London, Hayward Gallery, May 18–August 28, 1995; Boston, Museum of Fine Arts, October 4, 1995–January 14, 1996, Impressions of France: Monet, Renoir, Pissarro and Their Rivals (House et al. 1995), no. 57.

1996 • Tokyo, Tobu Museum of Art, March 30–June 30, Inshoha wa koshite umareta: Akademisumu kara Kurube, Mune, Mone, Runowaru (The Birth of Impressionism) (Tobu Bijutsukan 1996), no. 120.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 39.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 39.

SELECTED REFERENCES

Biermann 1913, 325, fig. 21; Modernen 1916, 31, pl. 16; Scheffler 1921, 178, 186; Dormoy 1926, 342; Malingue 1943, 22, 33, 145, no. 33; Rewald 1946, 119; Reuterswärd 1948, 281; Edgell 1949, 55; Seitz 1960, 19, 22, nos. 15, 16; Rewald [1961], 128; MFA [1970], 85, no. 56; Champa 1973, 60, note 5; MFA 1973b, no. 10; Rewald 1973a, 128; Wildenstein 1974–91, 1: no. 33; Weisberg et al. 1975, 117, fig. 31; Isaacson 1978, 55, 193–95, no. 7; Goldstein 1979, 224; Dufwa 1981, 119–21, 188, fig. 95; Tucker 1982, 27, 29, fig. 12; Isaacson 1984, 19–22, fig. 2; Murphy 1985, 209; Murphy and Giese 1985, 12, no. 2; Howard 1989, 35; Kendall 1989, 37; Rouart [1990], 20; Milner 1991, 27; Wildenstein 1996, 2: no. 33.

83. View of the Sea at Sunset, about 1862
Pastel on paper
15.3 × 40 cm (6 × 15¾ in.)
Bequest of William P. Blake in memory of his sister, Anne Dehon Blake 22.604

PROVENANCE

August 25, 1891, sold by the artist to Durand-Ruel, Paris; 1891–1907, with Durand-Ruel, Paris, no. 1429; September 7, 1907, sold by Durand-Ruel to William P. Blake, Boston; 1907–21, William P. Blake, Boston; 1921, bequest of William P. Blake.

SELECTED EXHIBITIONS

1874 • Paris, 35, boulevard des Capucines, April 15–May 15, Première exposition de la Société anonyme des Artistes Peintres, Sculpteurs, Graveurs.

1906 • Paris, Bernheim-Jeune, October–November, Claude Monet (?).

1927 • Boston, Museum of Fine Arts, January 11–February 6, Claude Monet: Memorial Exhibition (MFA 1927), no. 2.

1973 • Impressionism: French and American (MFA 1973a), no. 27.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 3.

SELECTED REFERENCES

Greenberg 1957, 136; Wildenstein 1974–91, 5:219 (pièces justicatives nos. 346–47), no. P34; Gordon and Forge 1983, 140, 292; Murphy 1985, 206; Murphy and Giese 1985, 13, no. 3; Bunkamura Museum and MFA 1992, 62, fig. 22.

84. Broad Landscape, about 1862
Pastel on paper
17.4 × 36 cm (6⅞ × 14⅛ in.)
Bequest of William P. Blake in memory of his sister, Anne Dehon Blake 22.605

PROVENANCE

August 25, 1891, sold by the artist to Durand-Ruel, Paris; 1891–1907, with Durand-Ruel, Paris, no. 1936; September 7, 1907, sold by Durand-Ruel to William P. Blake, Boston; 1907–21, William P. Blake, Boston; 1921, bequest of William P. Blake.

SELECTED EXHIBITIONS

1874 • Paris, 35, boulevard des Capucines, April 15–May 15, Premiere exposition de la Société anonyme des Artistes Peintres, Sculpteurs, Graveurs (?).

1906 • Paris, Bernheim-Jeune, October–November, Claude Monet (?).

1927 • Boston, Museum of Fine Arts, January 11–February 6, Claude Monet: Memorial Exhibition (MFA 1927), no. 1.

1973 • Impressionism: French and American (MFA 1973a), no. 28.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 4.

1991–92 • Claude Monet: Impressionist Masterpieces.

SELECTED REFERENCES

Wildenstein 1974–91, 5:219 (pièces justicatives nos. 346–47), no. P32; Murphy 1985, 206; Murphy and Giese 1985, 13, no. 4; Bunkamura Museum and MFA 1992, 62, fig. 23.

86. Ships in a Harbor, about 1873
Oil on canvas
50 × 61 cm (19⅝ × 24 in.)
Denman Waldo Ross Collection 06.117

PROVENANCE

1880, purchased from the artist by Durand-Ruel, Paris, no. 1234. By 1893, Erwin Davis, New York; March 16, 1893, sold by Davis to Durand-Ruel, New York; 1893–97, with Durand-Ruel, New York, no. 1032; May 28, 1897, sold by Durand-Ruel to Denman W. Ross, Cambridge, Mass.; 1897–1906, Denman W. Ross collection, Cambridge, Mass.; 1906, gift of Denman W. Ross.

SELECTED EXHIBITIONS

1895 • New York, Durand-Ruel, January 12–27, Tableaux de Claude Monet (Durand-Ruel 1895), no. 41, called Marine.

1895 • Boston, St. Botolph Club, February 4–16, Claude Monet, no. 1.

1899 • Boston, St. Botolph Club, February 6–23, Monet (St. Botolph [1899]), no. 25.

1905 • Boston, Copley Hall, March 28–April 9, Monet-Rodin (Copley Society 1905), no. 34.

1911 • Boston, Museum of Fine Arts, August, Monet (MFA 1911), no. 43.

1927 • Boston, Museum of Fine Arts, January 11–February 6, Claude Monet: Memorial Exhibition (MFA 1927), no. 8.

1973 • Impressionism: French and American (MFA 1973a), no. 29.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 5.

1991 • Salem, Mass., Peabody Museum, May 17–September 16, Eugène Boudin: Impressionist Marine Paintings (Sutton 1991), pl. 13.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992 • Crosscurrents.

SELECTED REFERENCES

MFA 1906, 11, 35; Borgmeyer [1913], 21; MFA 1921, no. 357; Fels 1929, 236; Reuterswärd 1948, 281; Wildenstein 1974–91, 1: no. 259; Murphy 1985, 204; Murphy and Giese 1985, 14, no. 5; Bunkamura Museum and MFA 1992, 55, fig. 17; Wildenstein 1996, 2: no. 259.

88. Snow at Argenteuil, about 1874
Oil on canvas
54.6 × 73.8 cm (21½ × 29 in.)
Bequest of Anna Perkins Rogers 21.1329

PROVENANCE

April 29, 1890, purchased from the artist by Durand-Ruel, Paris, no. 305; June 14, 1890, sold by Durand-Ruel to Anna Perkins Rogers, Boston; 1890–1921, Anna Perkins Rogers, Boston; 1921, bequest of Anna Perkins Rogers.

SELECTED EXHIBITIONS

1879 • Paris, 28 avenue de l’Opéra, April 10–May 11, Quatrième exposition de peinture, no. 159.

1892 • Boston, St. Botolph Club, March 28–April 9, Monet (D.F. 1892), no. 19.

1899 • Boston, St. Botolph Club, February 6–23, Monet (St. Botolph [1899]), no. 6.

1903 • Boston, Copley Hall, A Loan Collection of Pictures by Old Masters and Other Painters (Copley Society 1903), no. A8.

1905 • Boston, Copley Hall, March 28–April 9, Monet-Rodin (Copley Society 1905), no. 6.

1911 • Boston, Museum of Fine Arts, August, Monet (MFA 1911), no. 38.

1927 • Boston, Museum of Fine Arts, January 11–February 6, Claude Monet: Memorial Exhibition (MFA 1927), no. 3.

1940 • San Francisco, Palace of Fine Arts, Golden Gate International Exhibition (Golden Gate 1940) no. 286.

1947 • Wellesley, Mass., Wellesley College Art Museum, May 8–25, Loan Exhibition of Paintings and Prints since 1860, unnumbered entry.

1949 • Boston, Symphony Hall.

n.d. • Boston, Lincoln House, Loan Exhibition of Pictures.

1957 • Edinburgh, Royal Scottish Academy, August 6–September 15; London, The Tate Gallery, September 26–November 3, Claude Monet (Tate Gallery [1957]), no. 41.

1973 • Impressionism: French and American (MFA 1973a), no. 30.

1976 • New York, Acquavella Galleries, October 27–November 28, Claude Monet (Acquavella Galleries 1976), no. 22.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 6.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 46.

1985 • Williamstown, Mass., Sterling and Francine Clark Art Institute, June 8–October 6, Monet in Massachusetts (Brooks 1985), unnumbered entry.

1989 • From Neoclassicism to Impressionism (Kyoto Museum, Kyoto Shimbun, and MFA 1989), no. 68.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992 • Crosscurrents.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 22.

1995 • Chicago, The Art Institute of Chicago, July 22–November 26, Claude Monet: 1840–1926 (Stuckey 1995), no. 43.

1996 • Tokyo, Tobu Museum of Art, March 30–June 30, Inshoha wa koshite umareta: Akademisumu kara Kurube, Mune, Mone, Runowaru (The Birth of Impressionism) (Tobu Bijutsukan 1996), no. 144.

1998–99 • Washington, D.C., The Phillips Collection, September 19, 1998–January 3, 1999; San Francisco, Fine Arts Museums of San Francisco at the Center for the Arts at Yerba Buena Gardens, January 30–May 2, 1999; Brooklyn, The Brooklyn Museum, May 27–August 29, 1999, Impressionists in Winter: Effets de Neige (Moffett et al. 1998), no. 9.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 40.

SELECTED REFERENCES

Reuterswärd 1948, 282; Seitz 1960, 29, 100, 101; MFA 1973b, no. 9; Wildenstein 1974–91, 1: no. 348, 5:29; Petrie 1979, 52; Tucker 1982, 48–49; Gordon and Forge 1983, 64–65, 84; Murphy 1985, 205; Murphy and Giese 1985, 15, no. 6; Stuckey 1985, 58, 104; House 1986, 168, pl. 203; Wildenstein 1996, 2: no. 348.

89. Entrance to the Village of Vétheuil in Winter, 1879
Oil on canvas
60.6 × 81 cm (23⅞ × 31⅞ in.)
Gift of Julia C. Prendergast in memory of her brother, James Maurice Prendergast 21.7

PROVENANCE

February 1880, sold by the artist to M. Bascle, Paris; May 3, 1890, sold at Charles Bonnemaison-Bascle sale, Hôtel Drouot, Paris, no. 33. By at least May 1891, Williams and Everett, Boston [1]; July 1891, sold by Williams and Everett to James M. Prendergast (d. 1899), Boston; 1899, inherited by Julia C. Prendergast (sister), Boston; 1921, gift of Julia C. Prendergast.

NOTE

1. According to a letter of May 25, 1891, from Williams and Everett to James M. Prendergast in MFA curatorial file.

SELECTED EXHIBITIONS

1899 • Boston, St. Botolph Club, February 6–23, Monet (St. Botolph [1899]), no. 7.

1905 • Boston, Copley Hall, March 28–April 9, Monet-Rodin (Copley Society 1905), no. 91.

1941 • New London, Conn., Lyman Allen Museum, Connecticut College.

1945 • New London, Conn., Lyman Allen Museum, Connecticut College.

1949 • Boston, Symphony Hall.

1952 • Boston, Simmons College, November 3–10, Mid-Century Jubilee.

1956 • Binghamton, N.Y., Robertson Memorial Center, Impressionist Painting.

1957 • St. Louis, City Art Museum of St. Louis, September 25–October 22; Minneapolis, The Minneapolis Institute of Arts, November 1–December 1, Claude Monet: A Loan Exhibition (City Art Museum 1957), no. 36.

1960 • New York, The Museum of Modern Art, March 7–May 15; Los Angeles, Los Angeles County Museum of Art, June 14–August 7, Claude Monet: Seasons and Moments (Seitz 1960), no. 20.

1960 • Portland, Ore., Portland Art Museum, September 8–October 2, Impressionist Paintings.

1973 • Impressionism: French and American (MFA 1973a), no. 34.

1975 • Chicago, The Art Institute of Chicago, March 15–May 11, Paintings by Monet (Masson, Seiberling, and Marandel 1975), no. 50.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 10.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 26.

1995–96 • London, Hayward Gallery, May 18–August 28, 1995; Boston, Museum of Fine Arts, October 4, 1995–January 14, 1996, Impressions of France: Monet, Renoir, Pissarro, and Their Rivals (House et al. 1995), no. 94.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 41.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 42.

SELECTED REFERENCES

Reuterswärd 1948, 121, 283; Rouart [1958], 73; Wildenstein 1974–91, 1: no. 509; Isaacson 1978, 23, 109, 211, no. 61; Seiberling 1981, 52; Tucker 1982, 155, fig. 126; Murphy 1985, 205; Murphy and Giese 1985, 21, no. 11; Wildenstein 1996, 2: no. 509.

92. Camille Monet and a Child in the Artist’s Garden in Argenteuil, 1875
Oil on canvas
55.3 × 64.7 cm (21¾ × 25½ in.)
Anonymous gift in memory of Mr. and Mrs. Edwin S. Webster 1976.833

PROVENANCE

October 1875, acquired from the artist by Clément Courtois, Mulhouse. Julius Oehme, Paris. 1900, with Durand-Ruel, Paris and New York. 1905–27, Desmond Fitzgerald, Boston; April 21, 1927, sold at Fitzgerald sale, American Art Association, New York, no. 187, and bought by Edwin S. Webster, Boston. 1972–76, private collection, New York; 1976, gift of an anonymous donor.

SELECTED EXHIBITIONS

1905 • Boston, Copley Hall, March 28–April 9, Monet-Rodin (Copley Society 1905), no. 29.

1911 • Boston, Museum of Fine Arts, August, Monet (MFA 1911), no. 36.

1914 • Boston, Copley Hall, March, Portraits by Living Painters, Loan Collection (Copley Society 1914), no. 46.

1939 • Boston, Museum of Fine Arts, June 9–September 10, Art in New England: Paintings, Drawings, and Prints, from Private Collections in New England (MFA 1939), no. 82.

1945 • New York, Wildenstein Galleries, April 11–May 12, A Loan Exhibition of Paintings by Claude Monet, for the Benefit of the Children of Giverny (Wildenstein [1945]), no. 22.

1949 • Manchester, N.H., The Currier Gallery of Art, October 8–November 6, Monet and the Beginnings of Impressionism: Twentieth Anniversary Exhibition (Currier Gallery of Art [1949]), no. 46.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 8.

1978 • Tokyo, National Museum of Western Art, April 25–June 11; Kyoto, Kyoto National Museum, June 20–August 9; Nagoya, Nagoya City Museum, August 20–September 18, Human Figures in Fine Arts: Boston Museum Exhibition (Kokuritsu Seiyo Bijutsukan 1978), no. 35.

1983 • San Diego, Timken Art Gallery, May 17–June 12, Selected French Paintings.

1989 • From Neoclassicism to Impressionism (Kyoto Museum, Kyoto Shimbun, and MFA 1989), no. 69.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992 • Crosscurrents.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 23.

1994 • Tokyo, Bridgestone Museum of Art, February 11–April 7; Nagoya, Nagoya City Art Museum, April 16–June 12; Hiroshima, Hiroshima Museum of Art, June 18–July 31, Monet: A Retrospective (Tucker, Fukaya, and Miyazaki 1994), no. 25.

1995 • The Real World (Sogo Museum and MFA 1994), no. 42.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 40.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 41.

SELECTED REFERENCES

Geffroy 1920, 68; Reuterswärd 1948, 87; Seitz 1960, 102–3; Bortolatto 1972, 96–97; Wildenstein 1974–91, 1: no. 382, 5:30; Tucker 1982, 149, fig. 121; Murphy 1985, 209; Murphy and Giese 1985, 17, no. 8; Sagner-Düchting 1990, 79; Wildenstein 1996, 2: no. 382.

103. Road at La Cavée, Pourville, 1882
Oil on canvas
60.4 × 81.5 cm (23¾ × 32⅛ in.)
Bequest of Mrs. Susan Mason Loring 24.1755

PROVENANCE

October 10, 1882, probably sold by the artist to Durand-Ruel, Paris; 1883, sold by Durand-Ruel, Paris. March 9, 1888, sold by Girard, Paris (address: 8 rue d’Uzès) to Durand-Ruel, Paris, no. 1445; July 11, 1888, sold by Durand-Ruel, Paris, to Durand-Ruel, New York, nos. 408 and 346; June 6, 1888, sold by Durand-Ruel to Williams and Everett, Boston. By 1898, Charles Fairchild, New York (address: 39 Wall Street); December 3, 1898, consigned by Fairchild to Durand-Ruel, New York, no. 5765; October 22, 1900, sold by Fairchild to Durand-Ruel, New York, no. 2373; April 3, 1903, sold by Durand-Ruel, New York, to William Caleb Loring, Boston; by 1924, inherited by Mrs. Susan Mason Loring, Boston; 1924, bequest of Mrs. Susan Mason Loring [1].

NOTE

1. Susan Mason Loring’s niece, Mrs. Harriet C. Binney, maintained possession of the painting through 1955.

SELECTED EXHIBITIONS

1883 • Paris, Durand-Ruel, March 1–25, Exposition des oeuvres de Claude Monet, no. 24 (?).

1883 • London, Dowdeswell and Dowdeswell’s (organized by Durand-Ruel), April–June, La Société des impressionistes, no. 34.

1902 • New York, Durand-Ruel, February 11–25, Claude Monet (Durand-Ruel 1902), no. 13.

1905 • Boston, Copley Hall, March 28–April 9, Monet-Rodin (Copley Society 1905), no. 35.

1957 • Cambridge, Mass., Fogg Art Museum, Harvard University, French Painting.

1960 • Boston, Metropolitan Boston Arts Center, Institute of Contemporary Art, May–August, The Image Lost and Found (Messer 1960), no. 5.

1973 • Impressionism: French and American (MFA 1973a), no. 38.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 15.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992 • Crosscurrents.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 30.

1998 • Graz, Neue Galerie am Landesmuseum Joanneum, September 4–November 30, Chemins de l’impressionnisme: Normandie-Paris, 1860–1910 (Tapié 1998), no. 40.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 44.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 45.

SELECTED REFERENCES

Geffroy 1922, 107; Wildenstein 1974–91, 2: no. 762; Gordon and Forge 1983, 138; Murphy 1985, 206; Murphy and Giese 1985, 27, no. 16; Stuckey 1985, 95–97; Kendall 1989, 137; Wildenstein 1996, 2: no. 762.

104. Seacoast at Trouville, 1881
Oil on canvas
60.7 × 81.4 cm (23⅞ × 32 in.)
The John Pickering Lyman Collection.
Gift of Miss Theodora Lyman 19.1314

PROVENANCE

June 1882, probably sold by the artist to Durand-Ruel, Paris; August 1883, sold by Durand-Ruel, Paris, to Galerie Georges Petit, Paris. By 1888, Leroux, Paris; February 27–28, 1888, sold at Leroux sale, Hôtel Drouot, Paris, no. 61, and bought by Durand-Ruel, Paris; 1888, probably sold by Durand-Ruel to Mrs. Catholina Lambert, Paterson, N.J.; February 28, 1899, sold by Lambert to Durand-Ruel, New York; 1899–1907, with Durand-Ruel, New York, no. 2122; April 13, 1907, sold by Durand-Ruel, New York, to John Pickering Lyman, Portsmouth, N.H.; 1907–14, John Pickering Lyman (d. 1914), Portsmouth, N.H.; 1914–19, inherited by Miss Theodora Lyman (d. 1919), Portsmouth, N.H.; 1919, gift of Theodora Lyman.

SELECTED EXHIBITIONS

1882 • Paris, 251, rue Saint-Honoré, March, Septième Exposition des Artistes Indépendants, no. 84.

1886 • Brussels, February 6, Société des XX.

1886 • New York, American Art Galleries, April; National Academy of Design, May–June, Works in Oil and Pastel by the Impressionists of Paris (American [1886]), no. 268.

1907 • Boston, Walter Kimball Gallery, March 12–30, Monets from the Durand-Ruel Collection (Walter Kimball 1907), no. 13.

1910 • New York, Lotos Club, December, Paintings by French and American Luminists, no. 19?

1915 • Boston, Museum of Fine Arts, opened February 3, Robert Dawson Evans Memorial Galleries Opening Exhibition.

1927 • Boston, Museum of Fine Arts, January 11–February 6, Claude Monet Memorial Exhibition (MFA 1927), no. 9.

1939 • Williamstown, Mass., Lawrence Hall, Williams College.

1941 • Norfolk, Va., Norfolk Museum of Arts and Sciences, February 2–March 30; Colorado Springs, Colo., Colorado Springs Fine Arts Center, May 15–July 1, French Impressionists: Spring Exhibition (Norfolk Museum 1941), no. 6.

1963 • Wellesley, Mass., Wellesley College, Jewett Arts Center, January 1–May 1.

1965 • Albuquerque, University of New Mexico Art Gallery, February 9–March 14; San Francisco, M. H. de Young Memorial Museum, March 30–May 5, Impressionism in America (Junior League 1965), 6.

1973 • Impressionism: French and American (MFA 1973a), no. 36.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 13.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 48.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992 • Crosscurrents.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 27.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 42.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 43.

SELECTED REFERENCES

“Collection de tableaux . . .” 1888, 1; “Faits-divers” 1888, 2; Alexandre 1908, 98; MFA 1920a, 2; MFA 1921, no. 361; Bertram 1931, pl. 7; Venturi 1939, 1:220–21; Reuterswärd 1948, 289; Seitz 1960, 30; Wildenstein 1974–91, 1:443 (letter no. 222), no. 687, 5:36; Murphy 1985, 205; Murphy and Giese 1985, 23, no. 13; Berson 1996, 2:206, 223, VII–84; Wildenstein 1996, 2: no. 687.

105. Fisherman’s Cottage on the Cliffs at Varengeville, 1882
Oil on canvas
60.5 × 81.5 cm (23⅞ × 32⅛ in.)
Bequest of Anna Perkins Rogers 21.1331

PROVENANCE

October 1882, probably sold by the artist to Durand-Ruel, Paris; August 1883, sold by Durand-Ruel, Paris, to Galerie Georges Petit, Paris. By 1890, M. de Porto-Riche; May 14, 1890, sold at M. de Porto-Riche sale, Galerie Georges Petit, and bought by Durand-Ruel, Paris, no. 22; June 14, 1890, sold by Durand-Ruel to Anna Perkins Rogers, Boston; 1890–1921, Anna Perkins Rogers, Boston; 1921, bequest of Anna Perkins Rogers.

SELECTED EXHIBITIONS

1892 • Boston, St. Botolph Club, March 28–April 9, Monet (D.F. 1892), no. 1.

1899 • Boston, St. Botolph Club, February 6–23, Monet (St. Botolph [1899]), no. 24.

1903 • Boston, Copley Hall, A Loan Collection of Pictures by Old Masters and Other Painters (Copley Society 1903), no. A9.

1905 • Boston, Copley Hall, March 28–April 9, Monet-Rodin (Copley Society 1905), no. 3.

1911 • Boston, Museum of Fine Arts, August, Monet (MFA 1911), no. 33.

1927 • Boston, Museum of Fine Arts, January 11–February 6, Claude Monet: Memorial Exhibition (MFA 1927), no. 10.

1945 • New York, Wildenstein Galleries, April 11–May 12, A Loan Exhibition of Paintings by Claude Monet, for the Benefit of the Children of Giverny (Wildenstein [1945]), no. 44.

1946 • Colorado Springs, Colo., Colorado Springs Fine Arts Center, November 5–December 9, French Paintings of the Nineteenth Century, unnumbered entry in exhibition pamphlet.

1955 • Atlanta, Atlanta Art Association Galleries, September 2–October 4; Birmingham, Ala., Birmingham Museum of Art, October 16–November 5, Painting: School of France (Atlanta Art Association [1955]), no. 21.

1960 • New York, The Museum of Modern Art, March 7–May 15; Los Angeles, Los Angeles County Museum of Art, June 14–August 7, Claude Monet: Seasons and Moments (Seitz 1960), no. 29.

1960 • Portland, Ore., Portland Art Museum, September 8–October 2, Impressionist Paintings.

1971 • Hagerstown, Md., Washington County Museum of Fine Arts, September 1–30, Claude Monet (Fortieth Anniversary Exhibition) (Washington County [1971]), no. 7.

1973 • Impressionism: French and American (MFA 1973a), no. 34.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 14.

1985 • Auckland, Auckland City Art Gallery, April 29–June 9; Sydney, Art Gallery of New South Wales, June 21–August 4; Melbourne, National Gallery of Victoria, August 14–September 29, Claude Monet: Painter of Light (Auckland City 1985), no. 12.

1989 • From Neoclassicism to Impressionism (Kyoto Museum, Kyoto Shimbun, and MFA 1989), no. 70.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 29.

1995–96 • London, Hayward Gallery, May 18–August 28, 1995; Boston, Museum of Fine Arts, October 4, 1995–January 14, 1996, Impressions of France: Monet, Renoir, Pissarro, and Their Rivals (House et al. 1995), no. 100.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 43.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 44.

SELECTED REFERENCES

Venturi 1939, 1:62; Reuterswärd 1948, 284; Wildenstein 1974–91, 2: no. 805, 5:98; Herbert 1979, 108; Murphy 1985, 205; Murphy and Giese 1985, 26, no. 15; House 1986, 120, pl. 151; Herbert 1988, 300, fig. 307; Rapetti 1990, 66, pl. 44; Fourny-Dargère 1992, no. 15; Herbert 1994, 48, 54, figs, 1, 56, 57; Wildenstein 1996, 2: no. 805.

111. Poppy Field in a Hollow near Giverny, 1885
Oil on canvas
65.2 × 81.2 cm (25⅝ × 32 in.)
Juliana Cheney Edwards Collection 25.106

PROVENANCE

September 1885, purchased from the artist by Durand-Ruel, Paris. 1886, Mrs. Albert Spencer, New York; March 24, 1911, sold by Spencer to Durand-Ruel, Paris; 1911, transferred from Durand-Ruel, Paris, to Durand-Ruel, New York; August 23, 1911, sold by Durand-Ruel, New York, to Arthur B. Emmons, Newport, R.I.; January 14–15, 1920, sold by Emmons at American Art Association, Plaza Hotel, New York, no. 31, and bought by Durand-Ruel, New York, for Robert J. Edwards, Boston; 1920–24, Robert J. Edwards (d. 1924), Boston; by 1925, inherited by Hannah Marcy Edwards (sister, d. 1929), Boston, and Grace M. Edwards (sister, d. 1938), Boston; 1925, bequest of Robert J. Edwards [1].

NOTE

1. See note 1 to the provenance for Corot’s Morning near Beauvais, cat. no. 14, p. 246.

SELECTED EXHIBITIONS

1886 • New York, American Art Galleries, April; National Academy of Design, May–June, Works in Oil and Pastel by the Impressionists of Paris (American [1886]), no. 270.

1891 • New York, Union League Club, February, Monet, no. 66.

1927 • Boston, Museum of Fine Arts, January 11–February 6, Claude Monet: Memorial Exhibition (MFA 1927), no. 14.

1939–40 • Juliana Cheney Edwards Collection (Cunningham 1939b), no. 34.

1942 • Montreal, Montreal Museum of Fine Arts, February 5–March 8, Masterpieces of Painting (Montreal 1942), no. 70.

1944 • Williamstown, Mass., Lawrence Hall, Williams College.

1948 • Springfield, Mass., Springfield Museum of Fine Arts, October 7–November 7, Fifteen Fine Paintings (Springfield Museum 1948), unnumbered entry.

1961 • Phoenix, Phoenix Art Museum, February 1–26, Oakland, Oakland Art Museum, March 5–31, One Hundred Years of French Painting, 1860–1960 (Phoenix 1961), no. 64.

1973 • Impressionism: French and American (MFA 1973a), no. 41.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 18.

1978 • New York, The Metropolitan Museum of Art, April 19–July 9; St. Louis, The St. Louis Art Museum, late July–September 15, Monet’s Years at Giverny: Beyond Impressionism, 1883–1926 (Metropolitan 1978), no. 5.

1983 • Montclair, N.J., Montclair Art Museum, October 1–November 30, Evanston, Ill., Terra Museum; Seattle, Henry Art Gallery, University of Washington, Down Garden Paths: The Floral Environment in American Art (Gerdts 1983), 82, 137 (Montclair venue only).

1985 • Boston, Museum of Fine Arts, February 13–June 2, The Great Boston Collectors: Paintings from the Museum of Fine Arts, Boston (Troyen and Tabbaa 1984), no. 46.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992 • Crosscurrents.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 33.

2001–2 • Pushkin, Pushkin State Museum of Fine Arts, November 26, 2001–February 10, 2002; St. Petersburg, Hermitage, March 1–May 15, 2002, Claude Monet.

SELECTED REFERENCES

Forthuny 1920, 179; Cunningham 1939b, 105; Reuterswärd 1948, 284; Edgell 1949, 57; Seitz 1960, 124–25; Rouart et al. 1972, 54; MFA 1973b, no. 12; Wildenstein 1974–91, 2: no. 1000; Joyes et al. 1975, 54; Keller 1982, no. 61; Seitz 1982, 46; Gordon and Forge 1983, 139; Gerdts 1984, 86–87, pl. 88; Rewald and Weitzenhoffer 1984, 72; Murphy 1985, 207; Murphy and Giese 1985, 29, no 18; Stuckey 1985, 126–27, 144; House 1986, 71–72, pl. 109; Alphant 1993, 357; Gerdts 1993, 66; Orr, Tucker, and Murray 1994, 21–22, fig, 8; Wildenstein 1996, 3: no. 1000.

112. Meadow with Haystacks near Giverny, 1885
Oil on canvas
74 × 93.5 cm (29⅛ × 36¾ in.)
Bequest of Arthur Tracy Cabot 42.541

PROVENANCE

December 1885, purchased from the artist by Durand-Ruel, Paris. 1886, with Bernheim-Jeune, Paris. 1886, Durand-Ruel, Paris and New York, no. 792. 1897, Eastman Chase, Boston. 1899–1942, Dr. Arthur Tracy Cabot, Boston; 1942, bequest of Arthur Tracy Cabot.

SELECTED EXHIBITIONS

1886–87 • New York, American Art Galleries, December 1886–January 1887, Modern Paintings, no. 82.

1887 • New York, National Academy of Design, May 25–June 30, Celebrated Paintings by Great French Masters (National Academy 1887), no. 156.

1895 • New York, Durand-Ruel, January 12–27, Tableaux de Claude Monet (Durand-Ruel 1895), no. 33, called La Pré à Giverny.

1899 • Boston, St. Botolph Club, February 6–23, Monet (St. Botolph [1899]), no. 2.

1905 • Boston, Copley Hall, March 28–April 9, Monet-Rodin (Copley Society 1905), no. 95.

1911 • Boston, Museum of Fine Arts, August, Monet (MFA 1911), no. 13.

1954 • Cambridge, Mass., Busch-Reisinger Museum, Harvard University, February 12–March 20, Impressionism and Expressionism (Harvard University [1954]), no. 9.

1955 • Winnipeg, Winnipeg Art Gallery, October 11–30, Modern European Art since Manet (Winnipeg [1955]), no. 57.

1973 • Impressionism: French and American (MFA 1973a), no. 43.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 20.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 47.

1982–83 • Memphis, The Dixon Gallery and Gardens, November 21–December 23, 1982; Evanston, Ill., Terra Museum of American Art, January 8–February 13, 1983; Worcester, Mass., Worcester Art Museum, March 3–April 30, 1983, An International Episode: Millet, Monet, and Their North American Counterparts (Meixner 1982), no. 30.

1985 • Auckland, Auckland City Art Gallery, April 29–June 9; Sydney, Art Gallery of New South Wales, June 21–August 4; Melbourne, National Gallery of Victoria, August 14–September 29, Claude Monet: Painter of Light (Auckland City 1985), no. 14.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 32.

1995–96 • London, Hayward Gallery, May 18–August 28, 1995; Boston, Museum of Fine Arts, October 4, 1995–January 14, 1996, Impressions of France: Monet, Renoir, Pissarro, and Their Rivals (House et al. 1995), no. 107.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 45.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 46.

SELECTED REFERENCES

Fels 1929, 235; Reuterswärd 1948, 286; Wildenstein 1974–91, 2: no. 995; Herbert 1979, 92, 94–95, figs. 1–2; Seiberling 1981, 87; Murphy 1985, 208; Murphy and Giese 1985, 32, no. 20; Stuckey 1985, 370; Fairbrother 1986, 51, fig. 17; House 1986, 94, 96, 238, note 30, pl. 132; De Veer and Boyle 1987, 202, fig. 235; Gerdts 1993, 68, fig. 59; Herbert 1994, 97, 99, 132, fig. 106; Wildenstein 1996, 3: no. 995.

113. Meadow at Giverny, 1886
Oil on canvas
92 × 81.5 cm (36¼ × 32⅛ in.)
Juliana Cheney Edwards Collection 39.670

PROVENANCE

1898, purchased from the artist by Galerie Georges Petit, Bernheim-Jeune, and Montaignac, Paris (?). With Jos Hessel, Paris. By 1914, Alexandre Berthier, prince de Wagram (d. 1918), Paris; April 14, 1914, sold by Berthier and bought by Durand-Ruel, Paris, no. 10519; 1914–15, with Durand-Ruel, Paris; November 11, 1915, transferred from Durand-Ruel, Paris, to Durand-Ruel, New York, no. 3897; March 20, 1916, sold by Durand-Ruel, New York, to Hannah Marcy Edwards (d. 1929), Boston; 1916–29, Hannah Marcy Edwards, Boston; 1931–38, inherited by Grace M. Edwards (sister, d. 1938), Boston; 1939, bequest of Hannah M. Edwards [1].

NOTES

1. See note 1 to the provenance for Corot’s Morning near Beauvais, cat. no. 14, p. 246.

SELECTED EXHIBITIONS

1902 • New York, Durand-Ruel, February 11–25, Claude Monet (Durand-Ruel 1902), no. 21 (?).

1916 • Boston, Brooks Reed Gallery, March, [Tableaux Durand-Ruel].

1919–20 • Boston, Museum of Fine Arts, December 1919–January 1920, Impressionist and Barbizon Schools.

1927 • Boston, Museum of Fine Arts, January 11–February 6, Claude Monet Memorial Exhibition (MFA 1927), no. 48.

1939–40 • Juliana Cheney Edwards Collection (Cunningham 1939b), no. 37.

1945 • New York, Wildenstein Galleries, April 11–May 12, A Loan Exhibition of Paintings by Claude Monet, for the Benefit of the Children of Giverny (Wildenstein [1945]), no. 52.

1949 • Boston, Symphony Hall.

1971 • Hagerstown, Md., Washington County Museum of Fine Arts, September 1–30, Claude Monet (Fortieth Anniversary Exhibition) (Washington County [1971]), no. 5.

1973 • Impressionism: French and American (MFA 1973a), no. 42.

1974–75 • Berkeley, Calif., University Art Museum, University of California.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 19.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 50.

1984 • Miami, Center for Fine Arts, January 12–April 22, In Quest of Excellence (Van der Marck [1984]), no. 119.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 38.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 46.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 47.

SELECTED REFERENCES

Reuterswärd 1948, 285; Wildenstein 1974–91, 2: no. 1083; Murphy 1985, 208; Murphy and Giese 1985, 30–31, no. 19; Wildenstein 1996, 3: no. 1083.

119. Cap d’Antibes, Mistral, 1888
Oil on canvas
66 × 81.3 cm (26 × 32 in.)
Bequest of Arthur Tracy Cabot 42.542

PROVENANCE

1890, purchased from the artist by Durand-Ruel, Paris and New York. 1892, J. Eastman Chase, Boston. About 1903–42, Mr. and Mrs. Arthur Tracy Cabot, Boston; 1942, bequest of Arthur Tracy Cabot.

SELECTED EXHIBITIONS

1889 • Paris, Galerie Georges Petit, June–July, Monet-Rodin, no. 125, called Au cap d’Antibes, par vent de mistral, 1888.

1903 • Boston, Copley Hall, A Loan Collection of Pictures by Old Masters and Other Painters (Copley Society 1903), no. A12.

1905 • Boston, Copley Hall, March 28–April 9, Monet-Rodin (Copley Society 1905), no. 37.

1911 • Boston, Museum of Fine Arts, August, Monet (MFA 1911), no. 3.

1945 • Wellesley, Mass., Farnsworth Museum, Wellesley College.

1949 • Boston, Symphony Hall.

1957 • Edinburgh, Royal Scottish Academy, August 6–September 15; London, The Tate Gallery, September 26–November 3, Claude Monet (Tate Gallery [1957]), no. 86.

1959–60 • Cologne, Wallraf-Richartz Museum, November 1, 1959–May 1, 1960.

1973 • Impressionism: French and American (MFA 1973a), no. 46.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 24.

1979–80 • London, Royal Academy of Arts, November 17, 1979–March 16, 1980, Post-Impressionism: Cross-Currents in European Painting (Royal Academy 1979), no. 25.

1985 • Williamstown, Mass., Sterling and Francine Clark Art Institute, June 8–October 6, Monet in Massachusetts (Brooks 1985), unnumbered entry.

1989–90 • Paris, Musée Rodin, November 14, 1989–January 21, 1990, Claude Monet-Auguste Rodin: Centenaire de l’exposition de 1889 (Musée Rodin [1989]), no. 17.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 37.

1995–96 • London, Hayward Gallery, May 18–August 28, 1995; Boston, Museum of Fine Arts, October 4, 1995–January 14, 1996, Impressions of France: Monet, Renoir, Pissarro, and Their Rivals (House et al. 1995), no. 112.

1997–98 • Fort Worth, Tex., Kimbell Art Museum, June 8–September 7, 1997; Brooklyn, The Brooklyn Museum of Art, October 10, 1997–January 18, 1998, Monet and the Mediterranean (Pissarro 1997), no. 138.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 47.

2000–1 • Paris, Grand Palais, September 19, 2000–January 15, 2001, Méditerranée: De Courbet à Matisse, 1850–1925 (Cachin and Nonne 2000), no. 54.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 48 (Ottawa and Houston venues only).

SELECTED REFERENCES

Fels 1929, 235; Reuterswärd 1948, 285; Wildenstein 1974–91, 3: no. 1176; Murphy and Giese 1977, 37; Murphy 1985, 208; Murphy and Giese 1985, 36–37, no. 24; House 1986, 168–69, fig. 206; Kendall 1989, 165; Küster 1992, no. 17; Wildenstein 1996, 3: no. 1176.

120. Valley of the Creuse (Sunlight Effect), 1889
Oil on canvas
65 × 92.4 cm (25⅝ × 36⅜ in.)
Juliana Cheney Edwards Collection 25.107

PROVENANCE

June 1889, bought from the artist by Boussod, Valadon et Cie., Paris. 1891, with Williams and Everett, Boston. By 1905, James F. Sutton, New York; January 17, 1917, sold at Sutton sale, American Art Association, Plaza Hotel, New York, no. 153, and bought by Durand-Ruel, New York; 1917–24, with Durand-Ruel, New York, no. 4066; February 2, 1924, sold by Durand-Ruel, New York, to Grace M. Edwards (d. 1938), Boston (probably purchased for her brother Robert J. Edwards); 1924, Robert J. Edwards (d. 1924), Boston; by 1925, inherited by Hannah Marcy Edwards (sister, d. 1929) and Grace M. Edwards, Boston; 1925, bequest of Robert J. Edwards [1].

NOTES

1. See note 1 to the provenance for Corot’s Morning near Beauvais, cat. no. 14, p. 246.

SELECTED EXHIBITIONS

1889 • Paris, Galerie Georges Petit, June–July, Monet-Rodin, no. 128 (?).

1905 • Boston, Copley Hall, March 28–April 9, Monet-Rodin (Copley Society 1905), no. 28.

1920 • Boston, Brooks Reed Gallery, March, [Tableaux Durand-Ruel].

1922 • Baltimore, Mount Royal Avenue Building, April 1–10, French Impressionist Paintings.

1923 • Providence, R.I., Rhode Island School of Design, April.

1927 • Boston, Museum of Fine Arts, January 11–February 6, Claude Monet Memorial Exhibition (MFA 1927), no. 12.

1939–40 • Juliana Cheney Edwards Collection (Cunningham 1939b), no. 36.

1957 • St. Louis, City Art Museum of St. Louis, September 25–October 22; Minneapolis, The Minneapolis Institute of Arts, November 1–December 1, Claude Monet: A Loan Exhibition (City Art Museum 1957), no. 72.

1973 • Impressionism: French and American (MFA 1973a), no. 49.

1976 • New Haven, Conn., Yale University Art Gallery, February 1–March 15.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 25.

1985 • Boston, Museum of Fine Arts, February 13–June 2, The Great Boston Collectors: Paintings from the Museum of Fine Arts, Boston (Troyen and Tabbaa 1984), no. 47.

1990 • Boston, Museum of Fine Arts, January 27–April 30; Chicago, The Art Institute of Chicago, May 19–August 12; London, Royal Academy of Arts, July 9–December 9, Monet in the ‘90s: The Series Paintings (Tucker 1989), no. 1.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992 • Crosscurrents.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 39.

1998 • South Hadley, Mass., Mount Holyoke College Art Museum, September 1–December 13, On the Nature of Landscape.

SELECTED REFERENCES

Malingue 1943, 113; Reuterswärd 1948, 286; Rewald 1973b, [100]; Wildenstein 1974–91, 3: no. 1219, 5:47; Gordon and Forge 1983, 124; Murphy 1985, 207; Murphy and Giese 1985, 38–39, no. 25; House 1986, 98, pl. 134; Alphant 1993, 455; Levine 1994, 117, fig. 57; Tucker 1995, 135–36; Wildenstein 1996, 3: no. 1219.

142. Grainstack (Sunset), 1891
Oil on canvas
73.3 × 92.6 cm (28⅞ × 36½ in.)
Juliana Cheney Edwards Collection 25.112

PROVENANCE

September 1891, possibly purchased from the artist by Hamman for Knoedler & Co., London. By 1917, James F. Sutton, New York; January 17, 1917, sold at Sutton sale, American Art Association, New York, no. 156, and purchased by Durand-Ruel, New York and Paris; 1917, sold by Durand-Ruel, New York, to Robert J. Edwards (d. 1924), Boston; 1917–24, Robert J. Edwards, Boston; by 1925, inherited by Hannah Marcy Edwards (sister, d. 1929) and Grace M. Edwards (sister, d. 1938), Boston; 1925, bequest of Robert J. Edwards [1].

NOTE

1. See note 1 to the provenance for Corot’s Morning near Beauvais, cat. no. 14, p. 246.

SELECTED EXHIBITIONS

1891 • Paris, Durand-Ruel, May 4–16, Oeuvres récentes de Claude Monet, no. 5.

1905 • Boston, Copley Hall, March 28–April 9, Monet-Rodin (Copley Society 1905), no. 66.

1919–20 • Boston, Museum of Fine Arts, December 1919–January 1920, Impressionist and Barbizon Schools.

1927 • Boston, Museum of Fine Arts, January 11–February 6, Claude Monet Memorial Exhibition (MFA 1927), no. 16.

1939–40 • Juliana Cheney Edwards Collection (Cunningham 1939b), no. 38.

1942 • Lubbock, Tex., Texas Technological College of Art Institute.

1942 • Santa Barbara, Calif., Santa Barbara Museum of Art.

1949 • Boston, Symphony Hall.

1950–51 • Boston, School of the Museum of Fine Arts.

1954 • Cambridge, Mass., Busch-Reisinger Museum, Harvard University, February 12–March 20, Impressionism and Expressionism (Harvard University [1954]), no. 8.

1955 • Cambridge, Mass., Fogg Art Museum, Harvard University, May 2–31, From Sisley to Signac: A Museum Course Exhibition (Fogg [1955]), no. 15.

1957 • Cambridge, Mass., Fogg Art Museum, Harvard University, French Painting.

1957 • Edinburgh, Royal Scottish Academy, August 6–September 15; London, The Tate Gallery, September 26–November 3, Claude Monet (Tate Gallery [1957]), no. 93.

1960 • New York, The Museum of Modern Art, March 7–May 15; Los Angeles, Los Angeles County Museum of Art, June 14–August 7, Claude Monet: Seasons and Moments (Seitz 1960), no. 50.

1960 • Portland, Ore., Portland Art Museum, September 8–October 2, Impressionist Paintings.

1973 • Impressionism: French and American (MFA 1973a), no. 50.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 29.

1978 • New York, The Metropolitan Museum of Art, April 19–July 9; St. Louis, The St. Louis Art Museum, late July–September 15, Monet’s Years at Giverny: Beyond Impressionism 1883–1926 (Metropolitan 1978), no. 14.

1979–80 • Copenhagen, Ordrupgaard, November 16, 1979–January 1, 1980, Monet i Giverny (Ordrupgaardsamlingen 1979), no. 4.

1983 • Paris, Centre Culturel du Marais, April 8–July 17, Claude Monet au temps de Giverny (Centre Culturel [1983]), no. 43.

1984–85 • Los Angeles, Los Angeles County Museum of Art, June 28–September 16, 1984; Chicago, The Art Institute of Chicago, October 18, 1984–January 6, 1985; Paris, Grand Palais, February 8–April 22, 1985, A Day in the Country: Impressionism and the French Landscape (Brettell et al. 1984), no. 104.

1985 • Williamstown, Mass., Sterling and Francine Clark Art Institute, June 8–October 6, Monet in Massachusetts (Brooks 1985), unnumbered entry.

1986 • Madrid, Museo Español de Arte Contemporáneo, April 29–June 30, Claude Monet, no. 69.

1990 • Museum of Fine Arts, Boston, January 27–April 30; Chicago, The Art Institute of Chicago, May 19–August 12; London, Royal Academy of Arts, July 9–December 9, Monet in the ‘90s: The Series Paintings (Tucker 1989), no. 30.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992 • Crosscurrents.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 41.

1995–96 • Dallas, Dallas Museum of Art, May 18, 1995–January 14, 1996.

1997–98 • Göteborg, Göteborgs Konstmuseum, October 11, 1997–January 6, 1998, Claude Monet: Tolv mästerverk (Göteborgs 1997), no. 7.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 48.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 49.

2001 • Canberra, National Gallery of Australia, March 9–June 11; Perth, Art Gallery of Western Australia, July 6–September 16, Monet and Japan (National Gallery of Australia 2001), no. 22 (Perth venue only).

SELECTED REFERENCES

“Claude Monet Exhibit Opens” 1905, 9; Geffroy 1922, 189; Reuterswärd 1948, 286; Seitz 1956, 40; Seitz 1960, 35, 138–39; Greenberg 1961, 37–46; Wildenstein 1974–91, 3: no. 1289, 5:48, 200 (letter nos. 2833, 2835–37); Herbert 1979, 106, fig. 18; Kelder 1980, 213; Seiberling 1981, 94, 97, 360, fig. 14, no. 33; Gordon and Forge 1983, 162; Moffett 1984, 153, fig. 67; Rewald and Weitzenhoffer 1984, 139–60, fig. 67; Auckland City 1985, 22, fig. 13; Murphy 1985, 207; Murphy and Giese 1985, 44–45, no. 29; House 1986, 28, 98, 128, 176, 178, 197, 199, fig. 162; Smith [1994], 102–03, fig. 64; Tucker 1995, 141, 143; Wildenstein 1996, 3: no. 1289; Tucker et al. 1998, 5–6, fig. 5.

143. Grainstack (Snow Effect), 1891
Oil on canvas
65.4 × 92.3 cm (25¾ × 36⅜ in.)
Gift of Misses Aimée and Rosamond Lamb in memory of Mr. and Mrs. Horatio A. Lamb 1970.253

PROVENANCE

May 9, 1891, sold by the artist to Durand-Ruel, Paris; June 30, 1891, sold by Durand-Ruel to Mr. and Mrs. Horatio A. Lamb, Boston; 1891–1950, Mr. and Mrs. Horatio A. Lamb, Boston; 1950–70, inherited by Misses Aimée and Rosamond Lamb (daughters), Boston; 1970, gift of Misses Aimée and Rosamond Lamb.

SELECTED EXHIBITIONS

1891 • Paris, Durand-Ruel, May 4–16, Oeuvres récentes de Claude Monet, no. 8.

1892 • Boston, St. Botolph Club, March 28–April 9, Monet (D.F. 1892), no. 16.

1905 • Boston, Copley Hall, March 28–April 9, Monet-Rodin (Copley Society 1905), no. 39.

1911 • Boston, Museum of Fine Arts, August, Monet (MFA 1911), no. 19.

1957 • Boston, Museum of Fine Arts, January 9–February 19, A Tribute to Claude Monet (?).

1960 • New York, The Museum of Modern Art, March 7–May 15; Los Angeles, Los Angeles County Museum of Art, June 14–August 7, Claude Monet: Seasons and Moments (Seitz 1960), no. 51.

1973 • Impressionism: French and American (MFA 1973a), no. 51.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 30.

1980 • Washington, D.C., National Gallery of Art, May 25–September 1, 1980, Post-Impressionism: Cross-Currents in European and American Painting, 1880–1906 (National Gallery 1980), no. 26.

1990 • Museum of Fine Arts, Boston, January 27–April 30; Chicago, The Art Institute of Chicago, May 19–August 12; London, Royal Academy of Arts, July 9–December 9, Monet in the ‘90s: The Series Paintings (Tucker 1989), no. 24.

1992 • Crosscurrents.

1991–92 • Claude Monet: Impressionist Masterpieces.

1998–99 • Washington, D.C., The Phillips Collection, September 19, 1998–January 3, 1999; San Francisco, The Fine Arts Museums of San Francisco at the Center for the Arts at Yerba Buena Gardens, January 30–May 2, 1999; Brooklyn, The Brooklyn Museum, May 27–August 29, 1999, Impressionists in Winter: Effets de Neige (Moffett et al. 1998), not in catalogue.

2001 • Canberra, National Gallery of Australia, March 9–June 11; Perth, Art Gallery of Western Australia, July 6–September 16, Monet and Japan (National Gallery of Australia 2001), no. 24.

SELECTED REFERENCES

Denoinville 1901, 67; Vauxcelles 1922, 235; Wildenstein 1974–91, 3: no. 1280; Joyes et al. 1975, 58; Isaacson 1978, 221, no. 97; Gordon and Forge 1983, 160; Auckland City 1985, 22, fig. 12; Murphy 1985, 209; Murphy and Giese 1985, 44, 46, no. 30; House 1986, 128, fig. 161; Smith [1994], 102–03, fig. 63; Wildenstein 1996, 3: no. 1280; Heinrich 2001, 67, 184.

144. Morning on the Seine, near Giverny, 1897
Oil on canvas
81.4 × 92.7 cm (32 × 36½ in.)
Gift of Mrs. W. Scott Fitz 11.1261

PROVENANCE

1897–1909, with the artist, Giverny, France; June 18, 1909, purchased from the artist by Durand-Ruel, Paris; October 22, 1909, sold by Durand-Ruel to James Viles, Chicago; 1909–11, James Viles, Chicago; March 1, 1911, sold by Viles to Durand-Ruel, Paris and New York; March 7, 1911, sold by Durand-Ruel to Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth, d. 1927), Boston; 1911, gift of Mrs. Walter Scott Fitz.

SELECTED EXHIBITIONS

1898 • Paris, Galerie Georges Petit, June–July, Claude Monet, no. 50 (?).

1900 • New York, Durand-Ruel, April, Exhibition of Paintings: Claude Monet and Pierre Auguste Renoir (Durand-Ruel [1900]), no. 16.

1909 • New York, Durand-Ruel, November, Monet?.

1910 • Boston, Walter Kimball Gallery, March 7–26, Monets from the Durand-Ruel Collection (Walter Kimball 1910), no. 7.

1911 • Boston, Museum of Fine Arts, August, Monet (MFA 1911), no. 45.

1919 • Boston, Walter Kimball Gallery, Monet, no. 27.

1927 • Boston, Museum of Fine Arts, January 11–February 6, Claude Monet: Memorial Exhibition (MFA 1927), no. 19.

1949 • Boston, Symphony Hall.

1968 • New York, Acquavella Galleries, October 24–November 30, Four Masters of Impressionism: Monet, Pissarro, Renoir, Sisley (Acquavella Galleries 1968), no. 58.

1970 • Tokyo, Magasin Tokyu, October 2–21; Osaka, Magasin Daimaru, October 27–November 1; Fukuoka, Magasin Iwataya, November 17–29, Claude Monet (Asahi Shimbun 1970), no. 16.

1973 • Impressionism: French and American (MFA 1973a), no. 55.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 34.

1978 • New York, The Metropolitan Museum of Art, April 19–July 9; St. Louis, The St. Louis Art Museum, late July–September 15, Monet’s Years at Giverny: Beyond Impressionism, 1883–1926 (Metropolitan 1978), no. 27.

1983 • Paris, Centre Culturel du Marais, April 8–July 17, Claude Monet au temps de Giverny (Centre Culturel [1983]), no. 36.

1983–84 • Masterpieces of European Painting (Nippon Television 1983), no. 57.

1985 • Auckland, Auckland City Art Gallery, April 29–June 9; Sydney, Art Gallery of New South Wales, June 21–August 4; Melbourne, National Gallery of Victoria, August 14–September 29, Claude Monet: Painter of Light (Auckland City 1985), no. 26.

1990 • Museum of Fine Arts, Boston, January 27–April 30; Chicago, The Art Institute of Chicago, May 19–August 12; London, Royal Academy of Arts, July 9–December 9, Monet in the ‘90s: The Series Paintings (Tucker 1989), no. 83.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 43.

1998 • Ann Arbor, Mich., University of Michigan Museum of Art, January 25–March 15; Dallas, Dallas Museum of Art, March 28–May 17; Minneapolis, The Minneapolis Institute of Arts, May 30–July 26, Monet at Vétheuil, The Turning Point (Dixon, McNamara, and Stuckey 1998), not in catalogue (Dallas venue only).

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 49.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 50.

2001–2 • Hamburg, Hamburger Kunsthalle, September 28, 2001–January 6, 2002, Monet’s Legacy.

SELECTED REFERENCES

MFA 1921, no. 363; Geffroy 1922, 260; Venturi 1939, 1:424; Reuterswärd 1948, 283; Edgell 1949, 56; Seitz 1960, 144–45; Coplans [1968], 28, fig. 4b; Rouart et al. 1972, 58, 60; Wildenstein 1974–91, 3:302 (pièce justicative no. 144), no. 1481, 4:377 (letter no. 1897); Joyes et al. 1975, 59; Isaacson 1978, 156, 224, no. 111; Sutton 1978, 85; Tucker 1982, 166, fig. 148; Murphy 1985, 204; Murphy and Giese 1985, 50–51, no. 34; Stuckey 1985, 196; Alphant 1993, 578; Wildenstein 1996, 3: no. 1481; Tucker et al. 1998, 8, fig. 11.

152. The Water Lily Pond, 1900
Oil on canvas
90 × 92 cm (35⅛ × 36½ in.)
Given in memory of Governor Alvan T. Fuller by the Fuller Foundation 61.959

PROVENANCE

December 1900, purchased from the artist by Léonce Rosenberg, Paris. By 1923, Léon Orosdi, Paris [1]; May 25, 1923, sold at Orosdi posthumous sale, Hôtel Drouot, no. 41, and bought by Durand-Ruel, Paris; 1923–27, with Durand-Ruel, Paris and New York; November 27, 1927, sold by Durand-Ruel to Alvan Tufts Fuller (governor, d. 1958), Boston; 1927–58, Alvan T. Fuller, Boston; 1958–61, with the Fuller Foundation, Inc., Boston; 1961, gift of the Fuller Foundation.

NOTE

1. Orosdi purchased almost all his paintings from Bernheim-Jeune, but it cannot be said with certainty that this particular work came from that dealer.

SELECTED EXHIBITIONS

1927 • Boston, Museum of Fine Arts, January 11–February 6, Claude Monet: Memorial Exhibition (MFA 1927), no. 52.

1928 • Boston, Boston Art Club, The Fuller Collection, no. 15.

1957 • Boston, Museum of Fine Arts, January 9–February 19, A Tribute to Claude Monet.

1959 • Boston, Museum of Fine Arts, February 6–March 22, A Memorial Exhibition of the Collection of the Honorable Alvan T. Fuller (MFA 1959), no. 37.

1961 • Palm Beach, Fla., Society of the Four Arts, January 7–29, Paintings in the Collection of Alvan T. Fuller (Society of the Four Arts [1961]), no. 28.

1973 • Impressionism: French and American (MFA 1973a), no. 56.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 35.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 51.

1985 • Boston, Museum of Fine Arts, February 13–June 2, The Great Boston Collectors: Paintings from the Museum of Fine Arts, Boston (Troyen and Tabbaa 1984), no. 57.

1985 • Williamstown, Mass., Sterling and Francine Clark Art Institute, June 8–October 6, Monet in Massachusetts (Brooks 1985), unnumbered entry.

1986 • Basel, Kunstmuseum, July 19–October 19, Claude Monet: Nymphéas (Geelhaar et al. 1986), no. 11.

1990 • Museum of Fine Arts, Boston, January 27–April 30; Chicago, The Art Institute of Chicago, May 19–August 12; London, Royal Academy of Arts, July 9–December 9, Monet in the ‘90s: The Series Paintings (Tucker 1989), no. 93.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992 • Crosscurrents.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 45.

1994 • Tokyo, Bridgestone Museum of Art, February 11–April 7; Nagoya, Nagoya City Art Museum, April 16–June 12; Hiroshima, Hiroshima Museum of Art, June 18–July 31, Monet: A Retrospective (Tucker, Fukaya, and Miyazaki 1994), no. 69.

1998–99 • Boston, Museum of Fine Arts, September 20–December 27, 1998; London, Royal Academy of Arts, January 23–April 18, 1999, Monet in the Twentieth Century (Tucker et al. 1998), no. 3.

1999 • Paris, Musée de l’Orangerie, May 6–August 2, Monet: Le cycle des nymphéas (Musée de l’Orangerie 1999), no. 8.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 51.

2001 • Canberra, National Gallery of Australia, March 9–June 11; Perth, Art Gallery of Western Australia, July 6–September 16, 2001, Monet and Japan (National Gallery of Australia 2001), no. 32 (Perth venue only).

SELECTED REFERENCES

“Carnet d’un collectionneur . . .” 1923, 3; Feuillet 1923, 11; “Revue des ventes . . .” 1923, 3; T. 1923, 89; Reuterswärd 1948, 288; “La Chronique des Arts” 1962, no. 151; Rouart et al. 1972, 155; Wildenstein 1974–91, 4:349 (letter nos. 1580–81), 427 (pièces justicatives nos. 151–52), no. 1630; Murphy and Giese 1977, 52, no. 35; Kelder 1980, 219; Seiberling 1981, 240; Murphy 1985, 209; Murphy and Giese 1985, 52, no. 35; Tucker 1989, 277, 280; Wildenstein 1996, 4: no. 1630; Georgel 1999, 4–25.

153. Water Lilies, 1905
Oil on canvas
89.5 × 100.3 (35¼ × 39½ in.)
Gift of Edward Jackson Holmes 39.804

PROVENANCE

1905–9, with the artist, Giverny, France; June 1909, purchased from the artist by Durand-Ruel, Paris and New York, and Bernheim-Jeune, Paris; December 10, 1909, sold by Durand-Ruel to Alexander Cochrane, Boston; December 21, 1901, sold by Cochrane to Durand-Ruel, Paris and New York; 1901–11, with Durand-Ruel, Paris and New York; 1911, sold by Durand-Ruel to Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth, d. 1927), Boston; 1911–27, Mrs. Walter Scott Fitz, Boston; 1927–31, Estate of Mrs. Walter Scott Fitz; 1931–39, inherited (?) by Edward Jackson Holmes (d. 1950), Boston; 1939, gift of Edward Jackson Holmes.

SELECTED EXHIBITIONS

1909 • Paris, Durand-Ruel, May 6–June 5, Monet. Nymphéas, no. 8.

1909 • New York, Durand-Ruel, November, Monet?.

1910 • Boston, Walter Kimball Gallery, March 7–26, Monets from the Durand-Ruel Collection (Walter Kimball 1910), no. 5.

1911 • New York, Durand-Ruel, February 8–25, Tableaux de Claude Monet à différentes périodes, no. 17.

1927 • Boston, Museum of Fine Arts, January 11–February 6, Claude Monet: Memorial Exhibition (MFA 1927), no. 51.

1941 • Norfolk, Va., Norfolk Museum of Arts and Sciences, February 2–March 30; Colorado Springs, Colo., Colorado Springs Fine Arts Center, May 15–July 1, French Impressionists: Spring Exhibition (Norfolk Museum 1941), either this painting or Water Lilies 19.170 (cat. no. 154) was no. 8.

1960 • New York, The Museum of Modern Art, March 7–May 15; Los Angeles, Los Angeles County Museum of Art, June 14–August 7, Claude Monet: Seasons and Moments (Seitz 1960), no. 106.

1960 • Portland, Ore., Portland Art Museum, September 8–October 2, Impressionist Paintings.

1963 • Philadelphia, Philadelphia Museum of Art, May 1–June 9, A World of Flowers.

1968 • Buenos Aires, Museo Nacional de Bellas Artes, May 15–June 5; Santiago, Museo de Arte Contemporáneo de la Universidad de Chile, June 26–July 17; Caracas, Museo de Bellas Artes, August 4–25, De Cézanne a Miró (MoMA 1968), unnumbered entry, pp. 10–11.

1969 • Omaha, Joslyn Art Museum, April 10–June 1, Mary Cassatt among the Impressionists (JAM [1969]), no. 35.

1973 • Impressionism: French and American (MFA 1973a), no. 57.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 37.

1978 • New York, The Metropolitan Museum of Art, April 19–July 9; St. Louis, The St. Louis Art Museum, late July–September 15, Monet’s Years at Giverny: Beyond Impressionism 1883–1926 (Metropolitan 1978), no. 40.

1983–84 • Masterpieces of European Painting (Nippon Television 1983), no. 58.

1985 • Auckland, Auckland City Art Gallery, April 29–June 9; Sydney, Art Gallery of New South Wales, June 21–August 4; Melbourne, National Gallery of Victoria, August 14–September 29, Claude Monet: Painter of Light (Auckland City 1985), no. 35.

1991–92 • Claude Monet: Impressionist Masterpieces.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 46.

1998–99 • Boston, Museum of Fine Arts, September 20–December 27, 1998; London, Royal Academy of Arts, January 23–April 18, 1999, Monet in the Twentieth Century (Tucker et al. 1998), no. 28.

1999 • Paris, Musée de l’Orangerie, May 6–August 2, Monet: Le cycle des nymphéas (Musée de L’Orangerie 1999), no. 13.

SELECTED REFERENCES

Venturi 1939, 1:422–25; Edgell 1949, 8; Francis 1960, 195; Rouart et al. 1972, 27, 158; MFA 1973b, no. 13; Wildenstein 1974–91, 4:376–77 (letter nos. 1885, 1887–88, 1891, 1897), 429 (pièce justicatives nos. 213, 218–19, 233), no. 1671; Isaacson 1978, 175, 228, no. 130; Sutton 1978, 88; Kelder 1980, 185; Seiberling 1981, 240; Centre Culturel [1983], fig. 83; Rewald and Weitzenhoffer 1984, 227, fig. 89; Murphy 1985, 208; Murphy and Giese 1985, 54, 56, no. 37; House 1986, 106, fig. 140; MFA 1986, 74; Milner 1991, 2–3; Wildenstein 1996, 4: no. 1671.

154. Water Lilies, 1907
Oil on canvas
89.3 × 93.4 cm (35⅛ × 36¾ in.)
Bequest of Alexander Cochrane 19.170

PROVENANCE

1907–9, with the artist, Giverny, France; June 1909, purchased from the artist by Durand-Ruel, Paris and New York, and Bernheim-Jeune, Paris; December 1909, sold by Durand-Ruel to Alexander Cochrane (d. 1919), Boston; 1909–19, Alexander Cochrane, Boston; 1919, bequest of Alexander Cochrane.

SELECTED EXHIBITIONS

1909 • Paris, Durand-Ruel, May 6–June 5, Monet. Nymphéas, no. 30.

1927 • Boston, Museum of Fine Arts, January 11–February 6, Claude Monet: Memorial Exhibition (MFA 1927), no. 20.

1941 • Norfolk, Va., Norfolk Museum of Arts and Sciences, February 2–March 30; Colorado Springs, Colo., Colorado Springs Fine Arts Center, May 15–July 1, French Impressionists: Spring Exhibition (Norfolk Museum 1941), either this painting or Water Lilies 39.804 (cat. no. 153) was no. 8.

1949 • Boston, Symphony Hall.

1973 • Impressionism: French and American (MFA 1973a), no. 58.

1977–78 • Monet Unveiled (Murphy and Giese 1977), no. 38.

1998–99 • Boston, Museum of Fine Arts, September 20–December 27, 1998; London, Royal Academy of Arts, January 23–April 18, 1999, Monet in the Twentieth Century (Tucker et al. 1998), no. 33.

1992 • Crosscurrents.

1999 • Paris, Musée de L’Orangerie, May 6–August 2, Monet: Le cycle des nymphéas (Musée de l’Orangerie 1999), no. 17.

SELECTED REFERENCES

MFA 1919, 44; MFA 1921, no. 364; Venturi 1939, 1:421–26; Reuterswärd 1948, 288; Rouart et al. 1972, 160; Wildenstein 1974–91, 4:376–77 (letter nos. 1885, 1887–88, 1890–91, 1897), 429 (pièce justicative no. 213), no. 1697; Seiberling 1981, 240; Murphy 1985, 204; Murphy and Giese 1985, 55–56, no. 38; Tucker 1995, 194; Wildenstein 1996, 4: no. 1697.

Camille Pissarro
French (born Danish West Indies), 1830–1903

87. Pontoise, the Road to Gisors in Winter, 1873
Oil on canvas
59.8 × 73.8 cm (23½ × 29 in.)
Bequest of John T Spaulding 48.587

PROVENANCE

Until 1925, with Durand-Ruel, Paris; 1925, purchased from Durand-Ruel by John Taylor Spaulding (d. 1948), Boston; 1948, bequest of John Taylor Spaulding.

SELECTED EXHIBITIONS

1939 • Boston, Museum of Fine Arts, June 9–September 10, Art in New England: Paintings, Drawings, and Prints, from Private Collections in New England (MFA 1939), no. 92.

1948 • Boston, Museum of Fine Arts, May 26–November 7, The Collections of John Taylor Spaulding, 1870–1948 (MFA 1948), no. 64.

1949 • Cambridge, Mass., Fogg Art Museum, Harvard University.

1949 • Manchester, N.H., The Currier Gallery of Art, October 8–November 6, Monet and the Beginnings of Impressionism: Twentieth Anniversary Exhibition (Currier Gallery of Art [1949]), no. 18.

1963 • Berlin, Orangerie des Schlosses Charlottenburg, September 28–November 24, Ile de France und ihre Maler: Ausstellung veranstaltet von der Nationalgalerie in der Orangerie des Schlosses Charlottenburg Berlin (Staatliche Museen [1963]), no. 15.

1973 • Impressionism: French and American (MFA 1973a), no. 62.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 32.

1980–81 • London, Hayward Gallery, October 31, 1980–January 11, 1981; Paris, Grand Palais, January 30–April 27, 1981; Boston, Museum of Fine Arts, May 19–August 9, 1981, Camille Pissarro, 1830–1903 (Brettell et al. 1980), no. 25.

1983–84 • Masterpieces of European Painting (Nippon Television 1983), no. 44.

1985 • Boston, Museum of Fine Arts, February 13–June 2, The Great Boston Collectors: Paintings from the Museum of Fine Arts, Boston (Troyen and Tabbaa 1984), no. 53.

1989 • From Neoclassicism to Impressionism (Kyoto Museum, Kyoto Shimbun, and MFA 1989), no. 44.

1992 • Crosscurrents.

1994–95 • Jerusalem, Weisbord Exhibition Pavilion, Israel Museum, October 11, 1994–January 9, 1995, Camille Pissarro: Impressionist Innovator (Pissarro and Rachum 1995), no. 41.

1997 • Glasgow, McLellan Galleries, Burrell Collection, Glasgow Museums, May 23–September 7, The Birth of Impressionism: From Constable to Monet (Glasgow Museums 1997), 26, unnumbered entry.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 27.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 27.

SELECTED REFERENCES

Watson 1925, 336, 344; Pope 1930, 98, 103; Pissarro and Venturi 1939, 1:107, no. 202, 2: pl. 41, no. 202; Edgell 1949, 35; Rewald [1954], pl. 19; MFA 1955, 52; Reidemeister 1963, 55; Rewald 1963, 88, no. 202; Preutu 1974, 39; Murphy 1985, 229.

90. Sunlight on the Road, Pontoise, 1874
Oil on canvas
52.3 × 81.5 cm (20⅝ × 32⅛ in.)
Juliana Cheney Edwards Collection 25.114

PROVENANCE

Jean-Baptiste Faure, Paris (not in the Faure sale of April 29, 1878). G. Faure (?); by 1919, sold by either Jean-Baptiste Faure or G. Faure to Durand-Ruel, New York and Paris, no. 4258 [1]. By 1924, Robert J. Edwards (d. 1924), Boston; by 1925, inherited by Hannah Marcy Edwards (sister, d. 1929) and Grace M. Edwards (sister, d. 1938), Boston; 1925, bequest of Robert J. Edwards [2].

NOTES

1. According to a note in the object file, Herbert Elfers of Durand-Ruel verbally relayed the following information to C. C. C. at the MFA: “Bought from G. Faure by Durand-Ruel.” It is not clear whether or not this was a misunderstanding for “J. Faure.”

2. See note 1 to the provenance for Corot’s Morning near Beauvais, cat. no. 14, p. 246.

SELECTED EXHIBITIONS

1904 • Paris, Durand-Ruel, Pissarro, no. 31.

1919 • New York, Durand-Ruel, Recently Imported Works by Pissarro, no. 6.

1939–40 • Juliana Cheney Edwards Collection (Cunningham 1939b), no. 43.

1944 • Williamstown, Mass., Lawrence Hall, Williams College Museum.

1951 • Milwaukee, Milwaukee Art Institute, October 8–November 15, Masters of Impressionism ([Milwaukee 1951]), no. 3.

1965 • New York, Wildenstein Galleries, March 25–May 1, C. Pissarro (Wildenstein 1965), no. 25.

1973 • Impressionism: French and American (MFA 1973a), no. 63.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 31.

1983–84 • Masterpieces of European Painting (Nippon Television 1983), no. 45.

1985 • Boston, Museum of Fine Arts, February 13–June 2, The Great Boston Collectors: Paintings from the Museum of Fine Arts, Boston (Troyen and Tabbaa 1984), no. 45.

1992 • Crosscurrents.

1995–96 • London, Hayward Gallery, May 18–August 28, 1995; Boston, Museum of Fine Arts, October 4, 1995–January 14, 1996, Impressions of France: Monet, Renoir, Pissarro, and Their Rivals (House et al. 1995), no. 75.

1996 • Tokyo, Tobu Museum of Art, March 30–June 30, Inshoha wa koshite umareta: Akademisumu kara Kurube, Mune, Mone, Runowaru (The Birth of Impressionism) (Tobu Bijutsukan 1996), no. 141.

1999–2000 • Stuttgart, Staatsgalerie Stuttgart, December 11, 1999–May 1, 2000, Camille Pissarro (Becker et al. 1999), no. 27.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 28.

SELECTED REFERENCES

Cunningham 1939a, 8; Pissarro and Venturi 1939, 1:115, no. 255, 2: no. 255, pl. 51. Edgell 1949, 33; MFA 1973b, no. 28; Murphy 1985, 229; MFA 1986, 76; Brettell 1990, 171, fig. 149.

96. The Quarry at the Hermitage, Pontoise, 1878
Black chalk on blue wove paper
Sheet: 33.7 × 20.7 cm (13¼ × 8⅛ in.)
Gift of Barbara and Burton Stern in memory of Lillian H. and Bernard E. Stern 1985.348

PROVENANCE

1959, O’Hana Gallery, London; 1961, Guido R. Rahr, Manitowoc, Wisc.; Eric G. Carlson, New York; 1985, sold by Eric G. Carlson to the MFA.

SELECTED EXHIBITION

1888 • Boston, Museum of Fine Arts, summer, Nineteenth-Century European Drawings.

97. Wooded Landscape at the Hermitage, Pontoise, 1879
Soft-ground etching and aquatint on cream wove paper, first state. Delteil 16
Platemark: 21.6 × 26.7 cm (8½ × 10½ in.)
Lee M. Friedman Fund 1971.267

SELECTED REFERENCE

Shapiro 1973, nos. 6–11.

98. Wooded Landscape at the Hermitage, Pontoise, 1879 Soft-ground etching and aquatint on beige laid paper, fifth state. Delteil 16
Platemark: 21.6 × 26.7 cm (8½ × 10½ in.)
Lee M. Friedman Fund 1971.268

SELECTED REFERENCE

Shapiro 1973, nos. 6–11.

99. Wooded Landscape at the Hermitage, Pontoise, 1879
Soft-ground etching and aquatint on cream Japanese paper, sixth state. Delteil 16
Platemark: 21.6 × 26.7 cm (8½ × 10½ in.)
Katherine E. Bullard Fund in memory of Francis Bullard, Prints, Drawings and Photographs Curator’s Discretionary Fund, Anonymous gifts, and Gift of Cornelius C. Vermeule III 1973.176

SELECTED REFERENCE

Shapiro 1973, nos. 6–11.

100. Twilight with Haystacks, 1879
Aquatint with drypoint and etching on cream wove paper. Delteil 23
Platemark: 10.5 × 18.1 cm (4⅛ × 7⅛ in.)
Lee M. Friedman Fund 1974.533

SELECTED EXHIBITION

1987 • Boston, Museum of Fine Arts, April 15–July 26, Printmaking: The Evolving Image, no. 43a.

101. Twilight with Haystacks, 1879
Aquatint with drypoint and etching in Prussian blue on beige laid paper.
Delteil 23
Platemark: 10.5 × 18.1 cm (4⅛ × 7⅛ in.)
Lee M. Friedman Fund 1983.220

SELECTED EXHIBITION

1987 • Boston, Museum of Fine Arts, April 15–July 26, Printmaking: The Evolving Image, no. 43.

116. Turkey Girl, 1884
Tempera on paper
81 × 65.5 cm (31⅞ × 25¾ in.)
Juliana Cheney Edwards Collection 39.673

PROVENANCE

By 1914, with Durand-Ruel, Paris and New York. 1914, probably sold by Durand-Ruel to Hannah Marcy Edwards (d. 1929), Boston; 1914–29, Hannah Marcy Edwards, Boston; 1931–38, inherited by Grace M. Edwards (sister, d. 1938), Boston; 1939, bequest of Hannah M. Edwards [1].

NOTE

1. See note 1 to the provenance for Corot’s Morning near Beauvais, cat. no. 14, p. 246.

SELECTED EXHIBITIONS

1903 • New York, Durand-Ruel, Pissarro, no. 29.

1919–20 • Boston, Museum of Fine Arts, December 1919–January 1920, Impressionist and Barbizon Schools.

1939–40 • Juliana Cheney Edwards Collection (Cunningham 1939b), no. 44.

1945 • New London, Conn., Lyman Allen Museum, Connecticut College.

1949 • Boston, Symphony Hall.

1973 • Impressionism: French and American (MFA 1973a), no. 64.

1980–81 • London, Hayward Gallery, October 31, 1980–January 11, 1981; Paris, Grand Palais, January 30–April 27, 1981; Boston, Museum of Fine Arts, May 19–August 9, 1981, Camille Pissarro, 1830–1903 (Brettell et al. 1980), not in catalogue.

1990 • Birmingham, England, City Museum and Art Gallery, March 8–April 22; Glasgow, The Burrell Collection, May 4–June 17, Camille Pissarro: Impressionism, Landscape, and Rural Labour (Thomson 1990), no. 38.

SELECTED REFERENCES

MFA 1920, 121; Pissarro and Venturi 1939, 1:277, no. 1414, 2: fig. 1414.

118. Church and Farm at Eragny-sur-Epte, 1894–95
Color etching on cream laid paper. Delteil 96
Platemark: 15.8 × 24.7 cm (6¼ × 9¾ in.)
Ellen Frances Mason Fund 34.583

SELECTED REFERENCE

Shapiro 1973, illus., unpaginated.

141. Morning Sunlight on the Snow, Eragny-sur-Epte, 1894
Oil on canvas
82.3 × 61.5 cm (32⅜ × 24¼ in.)
The John Pickering Lyman Collection.
Gift of Miss Theodora Lyman 19.1321

PROVENANCE

April 10, 1894, purchased from the artist by Durand-Ruel, Paris, no. 1789; 1894–1910, with Durand-Ruel, Paris; 1910, sold by Durand-Ruel to John Pickering Lyman (d. 1914), Portsmouth, N.H.; 1910–14, John Pickering Lyman, Portsmouth, N.H.; 1914–19, inherited by Miss Theodora Lyman, Portsmouth, N.H.; 1919, gift of Miss Theodora Lyman.

SELECTED EXHIBITIONS

1915 • Boston, Museum of Fine Arts, opened February 3, Robert Dawson Evans Memorial Galleries Opening Exhibition.

1945 • New London, Conn., Lyman Allen Museum, Connecticut College.

1945 • New York, Wildenstein Galleries, Camille Pissarro and His Influence, no. 32.

1946 • Chicago, Arts Club of Chicago.

1949 • Boston, Symphony Hall.

1956 • South Hadley, Mass., Mount Holyoke College, French and American Impressionism, no. 19.

1964 • Iowa City, University of Iowa, Gallery of Art, November 8–December 8, Impressionism and Its Roots (University of Iowa [1964]), no. 39.

1973 • Impressionism: French and American (MFA 1973a), no. 67.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 30.

1980–81 • London, Hayward Gallery, October 31, 1980–January 11, 1981; Paris, Grand Palais, January 30–April 27, 1981; Boston, Museum of Fine Arts, May 19–August 9, 1981, Camille Pissarro, 1830–1903 (Brettell et al. 1980), no. 74.

1984 • Tokyo, Isetan Museum of Art, March 9–April 8; Fukuoka, Fukuoka Art Museum, April 25–May 20; Kyoto, Kyoto Municipal Museum of Art, May 26–July 1, Retrospective Camille Pissarro (Isetan Museum 1984), no. 49.

1990 • Birmingham, England, City Museum and Art Gallery, March 8–April 22; Glasgow, The Burrell Collection, May 4–June 17, Camille Pissarro: Impressionism, Landscape, and Rural Labour (Thomson 1990), no. 98.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 47.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 29.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 30.

SELECTED REFERENCES

Thieme and Becker 1933, 27:109; Pissarro and Venturi 1939, 1:63, 207, no. 911, 2: no. 911, pl. 185; MFA 1973b, no. 27; Murphy 1985, 229; Moffett et al. 1998, 50, fig. 8.

Odilon Redon
French, 1840–1916

43. Fear, 1866
Etching on cream wove paper. Mellerio 6; Harrison 7, first state Image: 11 × 20 cm (4 5/16 × 7⅞ in.); platemark: 14 × 22.3 cm (5½ × 8¾ in.)
Lee M. Friedman Fund 67.741

145. Tree, 1892
Lithograph on chine collé. Mellerio 120
Image/chine collé: 47.7 × 31.9 cm (18¾ × 12 9/16 in.)
Bequest of W G. Russell Allen 60.699

150. Centaur, 1895–1900
Pastel on canvas
73 × 60.2 cm (28¾ × 23¾ in.)
Gift of Laurence K. Marshall 64.2206

PROVENANCE

Gustave Fayet, Béziers, France. Paul Bacou (?), Paris. By 1958, acquired by Jacques Dubourg, Paris; January 1959, sold by Dubourg to Laurence K. Marshall, Boston; 1959–64, Laurence K. Marshall, Boston; 1964, gift of Laurence K. Marshall.

SELECTED EXHIBITIONS

1926 • Paris, Musée des Arts Décoratifs, March, Odilon Redon: Exposition retrospective de son oeuvre, no. 110.

1938 • London, Wildenstein Galleries, January, Exhibition of Paintings by Odilon Redon, no. 33.

1948 • Paris, Galerie Jacques Dubourg, June 16–July 3, Odilon Redon: Peintures, pastels, dessins, no. 16.

1949–50 • Paris, Musée de l’Orangerie, Eugène Carrière et le Symbolisme, December 1949–January 1950 (Musée de l’Orangerie [1950]), no. 144.

1958 • Bern, Kunsthalle, August 9–October 12, Odilon Redon, 1840–1916 (Redon [1958]), no. 158.

1964 • Waltham, Mass., Brandeis University, summer, Boston Collects Modern Art.

1970 • Boston, Museum of Fine Arts, opened February 4, Centennial Acquisitions: Art Treasures for Tomorrow (MFA 1970), no. 88.

SELECTED REFERENCES

Berger [1964], no. 344; Murphy 1985, 237; Wildenstein 1992–98, 2: no. 1245.

Pierre-Auguste Renoir
French, 1841–1919

93. Woman with a Parasol and Small Child on a Sunlit Hillside, 1874–76
Oil on canvas
47 × 56.2 cm (18½ × 22⅛ in.)
Bequest of John T. Spaulding 48.593

PROVENANCE

August 25, 1891, purchased from the artist by Durand-Ruel, Paris, no. 1541; 1891–1917, with Durand-Ruel, Paris and New York, no. 1845–4935 (New York stock number); January 14, 1917, sold by Durand-Ruel, New York, to W. Josef Stansky, New York; 1917–26, W. Josef Stansky, New York; 1926, acquired from Stansky by Duncan Phillips, Washington, D.C.; April 1926, acquired from Phillips by Durand-Ruel, New York, no. 8239; April 27, 1926, sold by Durand-Ruel to John Taylor Spaulding (d. 1948), Boston; 1926–48, John Taylor Spaulding, Boston; 1948, bequest of John Taylor Spaulding.

SELECTED EXHIBITIONS

1921 • New York, The Metropolitan Museum of Art, May 3–September 15, Impressionist and Post-Impressionist Paintings, no. 104.

1929 • Cambridge, Mass., Fogg Art Museum, Harvard University, March 6–April 6, Exhibition of French Painting of the Nineteenth and Twentieth Centuries (Fogg Art Museum [1929]), no. 79.

1948 • Boston, Museum of Fine Arts, May 26–November 7, The Collections of John Taylor Spaulding, 1870–1948 (MFA 1948), no. 70.

1950 • Springfield, Mass., Springfield Museum of Fine Arts, January 15–February 19, In Freedom’s Search (Springfield Museum 1950), no. 6.

1953–54 • Edinburgh, Royal Scottish Academy, September 25–October 25; London, The Tate Gallery, Renoir (Edinburgh Festival Society 1953), no. 9.

1973 • Impressionism: French and American (MFA 1973a), no. 70.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 57.

1985–86 • London, Hayward Gallery, January 30–April 21, 1985; Paris, Grand Palais, May 14–September 2, 1985; Boston, Museum of Fine Arts, October 9, 1985–January 5, 1986, Renoir (Hayward Gallery 1985), no. 31.

1989 • From Neoclassicism to Impressionism (Kyoto Museum, Kyoto Shimbun, and MFA 1989), no. 72.

1992 • Crosscurrents.

1996 • Tokyo, Tobu Museum of Art, March 30–June 30, Inshoha wa koshite umareta: Akademisumu kara Kurube, Mune, Mone, Runowaru (The Birth of Impressionism) (Tobu Bijutsukan 1996), no. 147.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 50.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 55.

SELECTED REFERENCES

Meier-Graefe 1929, 61, no. 52; Pope 1930, 97, 121; MFA 1948, 17, 25, no. 70; Edgell 1949, 63; Kerr 1954, 14–17; MFA 1955, 54; Daulte 1971, no. 260; MFA 1973b, no. 18; Schneider 1984, 25; Murphy 1985, 240; Rabinow 2000, 12.

102. The Seine at Chatou, 1881
Oil on canvas
73.5 × 92.5 cm (28⅞ × 36⅜ in.)
Gift of Arthur Brewster Emmons 19.771

PROVENANCE

August 25, 1891, purchased from the artist by Durand-Ruel, Paris (stock no. 1326) and New York; January 26, 1900, sold by Durand-Ruel, New York, no. 1324, to Mrs. Blair, New York. By 1901, Mr. J. M. Sehley, New York; March 4, 1901, purchased from Sehley by Durand-Ruel, New York; 1901–6, with Durand-Ruel, New York, no. 2511; March 5, 1906, purchased from Durand-Ruel by Arthur Brewster Emmons, Newport, R.I., and New York; 1919, gift of Arthur Brewster Emmons.

SELECTED EXHIBITIONS

1882 • Paris, 251, rue Saint-Honoré, March, Septième Exposition des Artistes Indépendants, no. 154.

1935 • Boston, Museum of Fine Arts, March 15–April 28, French Exhibition.

1937 • New York, The Metropolitan Museum of Art, May 18–September 12, Renoir: A Special Exhibition of His Paintings (Metropolitan 1937a), no. 28.

1958 • New York, Durand-Ruel, May 30–October 15, Hommage à Renoir, no. 5.

1973 • Impressionism: French and American (MFA 1973a), no. 71.

1978 • Boston, Museum of Fine Arts, May 2–August 27, French Paintings from the Storerooms and Some Recent Acquisitions.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 54.

1985–86 • London, Hayward Gallery, January 30–April 21, 1985; Paris, Grand Palais, May 14–September 2, 1985; Boston, Museum of Fine Arts, October 9, 1985–January 5, 1986, Renoir (Hayward Gallery 1985), no. 57.

1989 • From Neoclassicism to Impressionism (Kyoto Museum, Kyoto Shimbun, and MFA 1989), no. 73.

1992 • Crosscurrents.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 55.

1995–96 • London, Hayward Gallery, May 18–August 28, 1995; Boston, Museum of Fine Arts, October 4, 1995–January 14, 1996, Impressions of France: Monet, Renoir, Pissarro, and Their Rivals (House et al. 1995), no. 98.

1996–97 • Washington, D.C., The Phillips Collection, September 21, 1996–February 23, 1997, Impressionists on the Seine: A Celebration of Renoir’s “Luncheon of the Boating Party” (Rathbone et al. 1996), no. 57.

2001 • Tokyo, Bridgestone Museum of Art, February 10–April 15; Nagoya, Nagoya City Art Museum, April 21–June 24, Renoir: From Outsider to Old Master, 1870–1892 (Bridgestone 2001), no. 21.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 56 (Richmond venue only).

SELECTED REFERENCES

Hawes 1919, 65; Allen 1937, 112–13; McBride 1937, 158; Florisoone 1938a, 120; Edgell 1949, 5; MFA 1955, 54; Fezzi 1972, no. 443; Feaver 1985, 48; Murphy 1985, 239; Bernard 1986, 179, 258; Langdon 1986, 28–29, no. 7; Moffett et al. 1986, 380, fig. 5; Wadley 1987, 226, pl. 78; Updike 1989, 83; Kapos 1991, 282, pl. 88; Berson 1996, 2:211, 231, VII–154.

106. Rocky Crags at L’Estaque, 1882
Oil on canvas
66.5 × 81 cm (26⅛ × 31⅞ in.)
Juliana Cheney Edwards Collection 39.678

PROVENANCE

By 1891, probably acquired from the artist by Durand-Ruel, Paris and New York; February 25, 1892, sold by Durand-Ruel, New York, no. 193–1191, to Caroline Lambert, Boston. By 1915, probably sold by Durand-Ruel to Robert J. Edwards (d. 1924), Boston (probably for his sister Hannah Marcy Edwards); 1915–31, Hannah Marcy Edwards (d. 1929), Boston; 1931–38, inherited by Grace M. Edwards (sister, d. 1938), Boston; 1939, bequest of Hannah Marcy Edwards [1].

NOTE

1. See note 1 to the provenance for Corot’s Morning near Beauvais, cat. no. 14, p. 246.

SELECTED EXHIBITIONS

1887 • New York, National Academy of Design, May 25–June 30, Celebrated Paintings by Great French Masters (National Academy 1887), no. 181.

1915 • Boston, Museum of Fine Arts, opening February 3, Robert Dawson Evans Memorial Galleries Opening Exhibition.

1939–40 • Juliana Cheney Edwards Collection (Cunningham 1939b), no. 48.

1942 • Montreal, Montreal Museum of Fine Arts, February 5–March 8, Masterpieces of Painting (Montreal 1942), no. 73.

1950 • New York, Wildenstein Galleries, March 23–April 29, A Loan Exhibition of Renoir, for the Benefit of the New York Infirmary (Wildenstein 1950), no. 35.

1958 • New York, Wildenstein Galleries, April 8–May 10, Renoir: Loan Exhibition for the Benefit of the Citizens’ Committee for Children of New York City, Inc. (Wildenstein 1958), no. 35.

1973 • Impressionism: French and American (MFA 1973a), no. 77.

1975 • Framingham, Mass., Danforth Museum, May 24–September 30, Inaugural Exhibition.

1979–80 • London, Royal Academy of Arts, November 17, 1979–March 16, 1980, Post-Impressionism: Cross-Currents in European Painting (Royal Academy 1979), no. 171.

1980 • Washington, D.C., National Gallery of Art, May 25–September 1, 1980, Post-Impressionism: Cross-Currents in European and American Painting, 1880–1906 (National Gallery 1980), no. 34.

1985–86 • London, Hayward Gallery, January 30–April 21, 1985; Paris, Grand Palais, May 14–September 2, 1985; Boston, Museum of Fine Arts, October 9, 1985–January 5, 1986, Renoir (Hayward Gallery 1985), no. 64.

1988–89 • Nagoya, Nagoya City Art Museum, October 15–December 11, 1988; Hiroshima, Hiroshima Museum of Art, December 17, 1988–February 12, 1989; Nara, Nara Prefectural Museum of Art, February 18–April 9, 1989, Renoir Retrospective (Nagoya City 1988), no. 25.

1990 • Cologne, Wallraf-Richartz Museum, April 6–July 1; Zurich, Kunsthaus Zurich, August 3–October 21, Landschaft im Licht: Impressionistische Malerei in Europa und Nordamerika, 1860–1910 (Czymmek 1990), no. 151.

1992 • Crosscurrents.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 56.

1994 • Glasgow, National Gallery of Scotland, August 11–October 23, Monet to Matisse: Landscape Painting in France, 1874–1917 (Thomson 1994), no. 98.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 51.

2000–1 • Paris, Grand Palais, September 19, 2000–January 15, 2001, Méditerranée: De Courbet à Matisse, 1850–1925 (Cachin and Nonne 2000), no. 69.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 57 (not in Richmond venue).

SELECTED REFERENCES

Cunningham 1939a, 8, 16; Venturi 1939, 1:61; Rewald 1946, 363; Edgell 1949, 64–65; Goldwater 1958, 60; Hoffmann 1958, 185; MFA 1973b, no. 20; Thomas 1980, 17; Callen 1982, 118–21; White 1984, 120, fig. 123; Murphy 1985, 239; Schneider 1985, 54, fig, 13; Keller 1987, 91, 165, no. 66.

107. Landscape on the Coast, near Menton, 1883
Oil on canvas
65.8 × 81.3 cm (25⅞ × 32 in.)
Bequest of John T. Spaulding 48.596

PROVENANCE

1884, acquired from the artist by Durand-Ruel, Paris and New York (in Durand-Ruel inventory of 1886, 1891, and 1897 when shipped to New York); by 1918, sold by Durand-Ruel to Prince Alexandre Berthier de Wagram (d. 1918), Paris. By 1924, possibly acquired from Wagram heirs by Durand-Ruel, Paris and New York; December 1, 1924, sold by Durand-Ruel, New York, no. 1848, to John Taylor Spaulding (d. 1948), Boston; 1924–48, John Taylor Spaulding, Boston; 1948, bequest of John Taylor Spaulding.

SELECTED EXHIBITIONS

1931–32 • Boston, Museum of Fine Arts, May 26, 1931–October 27, 1932, Collection of Modern French Paintings, Lent by John T. Spaulding.

1939 • Boston, Museum of Fine Arts, June 9–September 10, Art in New England: Paintings, Drawings, and Prints, from Private Collections in New England (MFA 1939), no. 105.

1948 • Boston, Museum of Fine Arts, May 26–November 7, The Collections of John Taylor Spaulding, 1870–1948 (MFA 1948), no. 73.

1973 • Impressionism: French and American (MFA 1973a), no. 80.

1978 • Boston, Museum of Fine Arts, May 2–August 27, French Paintings from the Storerooms and Some Recent Acquisitions.

1985 • Boston, Museum of Fine Arts, February 13–June 2, The Great Boston Collectors: Paintings from the Museum of Fine Arts, Boston (Troyen and Tabbaa 1984), no. 51.

1985–86 • London, Hayward Gallery, January 30–April 21, 1985; Paris, Grand Palais, May 14–September 2, 1985; Boston, Museum of Fine Arts, October 9, 1985–January 5, 1986, Renoir (Hayward Gallery 1985), no. 71 (Boston venue only).

1992 • Crosscurrents.

1995–96 • London, Hayward Gallery, May 18–August 28, 1995; Boston, Museum of Fine Arts, October 4, 1995–January 14, 1996, Impressions of France: Monet, Renoir, Pissarro, and Their Rivals (House et al. 1995), no. 105.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 52.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 58.

SELECTED REFERENCES

Watson 1925, 328, 338; Meier-Graefe 1929, 194, no. 162; Pope 1930, 98, 122; MFA 1931, 53; Barnes and de Mazia 1935, 82, 455, no. 140; McBride 1937, 60; MFA 1948, 18; MFA 1955, 54; Fezzi 1972, no. 591; MFA 1973b, no. 21; Guida all pittura di Renoir 1980, 83; White 1984, 135; Murphy 1985, 240; Wadley 1987, 228, pl. 80; Updike 1989, 83; Renoir 1990, 54–55; Fell 1991, 19.

140. Girls Picking Flowers in a Meadow, about 1890
Oil on canvas
65 × 81 cm (25⅝ × 31⅞ in.)
Juliana Cheney Edwards Collection 39.675

PROVENANCE

By 1894, acquired from the artist by Durand-Ruel, Paris and New York. By 1912, Palmer Potter, Chicago. 1912–31, Hannah Marcy Edwards (d. 1929), Boston; 1931–39, inherited by Grace M. Edwards (sister, d. 1938), Boston; 1939, bequest of Hannah Marcy Edwards [1].

NOTE

1. See note 1 to the provenance for Corot’s Morning near Beauvais, cat. no. 14, p. 246.

SELECTED EXHIBITIONS

1900 • New York, Durand-Ruel, April, Exhibition of Paintings: Claude Monet and Pierre Auguste Renoir (Durand-Ruel [1900]), no. 30.

1939–40 • Juliana Cheney Edwards Collection (Cunningham 1939b), no. 49.

1941 • New York, Duveen Galleries, November 8–December 6, Centennial Loan Exhibition, 1841–1941: Renoir, for the Benefit of the Free French Relief Committee (Fighting [1941]), no. 60.

1946 • Colorado Springs, Colo., Colorado Springs Fine Arts Center, November 5–December 9, French Paintings of the Nineteenth Century, unnumbered entry in exhibition pamphlet.

1948 • Springfield, Mass., Springfield Museum of Fine Arts, October 7–November 7, Fifteen Fine Paintings (Springfield Museum 1948), unnumbered entry.

1948 • New York, Paul Rosenberg & Co., November 15–December 18, Twenty-One Masterpieces by Seven Great Masters (Paul Rosenberg 1948), no. 5.

1955 • Los Angeles, Los Angeles County Museum of Art, July 14–August 21; San Francisco, M. H. de Young Museum of Art, September 1–October 2, Pierre Auguste Renoir, 1841–1919: Paintings, Drawings, Prints, and Sculpture ([LACMA] 1955), no. 38.

1964–65 • San Francisco, M. H. de Young Museum of Art, November 10, 1964–January 3, 1965, Man: Glory, Jest, and Riddle; a Survey of the Human Form through the Ages (M. H. de Young 1964), no. 214.

1973 • Impressionism: French and American (MFA 1973a), no. 81.

1983–84 • Masterpieces of European Painting (Nippon Television 1983), no. 59.

1985–86 • London, Hayward Gallery, January 30–April 21, 1985; Paris, Grand Palais, May 14–September 2, 1985; Boston, Museum of Fine Arts, October 9, 1985–January 5, 1986, Renoir (Hayward Gallery 1985), no. 86.

1988 • Springfield, Mass., Springfield Museum of Fine Arts, September 25–November 27, Lasting Impressions: French and American Impressionism from New England Museums (Harris, Kern, and Stern 1988), no. 20.

1989 • From Neoclassicism to Impressionism (Kyoto Museum, Kyoto Shimbun, and MFA 1989), no. 74.

1991 • Nagoya, Matsuzakaya Museum of Art, March 21–April 28; Nara, Nara Prefectural Museum, May 3–June 16; Hiroshima, Hiroshima Museum of Art, June 22–July 28, The World of Impressionism and Pleinairism (Matsuzukaya 1991), no. 24.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 58.

1994–95 • Brisbane, Queensland Art Gallery, July 30–September 11, 1994; Melbourne, National Gallery of Victoria, September 18–October 30, 1994; Sydney, Art Gallery of New South Wales, November 5, 1994–January 15, 1995, Renoir: Master Impressionist (House 1994), no. 23.

1995 • The Real World (Sogo Museum and MFA 1994), no. 44.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 54.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 60.

SELECTED REFERENCES

Meier-Graefe 1929, 199, no. 203; Cunningham 1939b, 96–98, 101, no; Wilenski 1940, 338; Edgell 1949, 64–65; MFA 1955, 54; Daulte 1971, no. 609; White 1984, 192, 195; Murphy 1985, 239; Stevens 1985, 317.

Henri Rivière
French, 1864–1951

128. The Chéruette Beacon at Low Tide, Saint-Briac, Brittany, 1890
Color woodcut on beige Japanese paper
Block/image: 22.7 × 35.2 cm (8 15/16 × 13⅞ in.)
Stephen Bullard Memorial Fund by sale of duplicate 1983.225

SELECTED REFERENCE

Fields 1983, 80–83.

Louis-Rémy Robert
French, 1810–1882

33. The Baths of Apollo, Versailles, 1853
Photograph, albumen print from paper negative, mounted
Sheet: 31.8 × 25.8 cm (12½ × 10⅛ in.)
Lucy Dalbiac Luard Fund 1986.138

PROVENANCE

Robert Hershkowitz, London; 1986, sold by Hershkowitz to MFA.

SELECTED EXHIBITIONS

1987 • Boston, Museum of Fine Arts, February 22–May 3, Photographic Highlights.

1998–99 • Boston, Museum of Fine Arts, November 21, 1998–May 23, 1999, French Photography: Le Gray to Atget.

SELECTED REFERENCES

Jammes 1981, illus., 283; Jammes and Janis 1983, 242–45; Lebon 1999.

Théodore Rousseau
French, 1812–1867

19. Pool in the Forest, early 1850s
Oil on canvas
39.5 × 57.4 cm (15½ × 22⅝ in.)
Robert Dawson Evans Collection 17.3241

PROVENANCE

M. Gamier, Paris. By 1909, Robert Dawson Evans, Boston; 1909–17, inherited by Mrs. Robert Dawson Evans (Maria Antoinette Hunt, d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans.

SELECTED EXHIBITIONS

1938–39 • Springfield, Mass., Springfield Museum of Fine Arts, December 6, 1938–January 2, 1939.

1953–54 • New Orleans, Isaac Delgado Museum of Art, October 17, 1953–January 10, 1954, Masterpieces of French Painting through Five Centuries, 1400–1900 (Isaac Delgado Museum of Art 1954), no. 66.

1967 • Wellesley, Mass., Wellesley College Art Museum, for use in study, November 1–December 4.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 14.

1983–84 • Masterpieces of European Painting (Nippon Television 1983), no. 39.

1989 • From Neoclassicism to Impressionism (Kyoto Museum, Kyoto Shimbun, and MFA 1989), no. 22.

1992–93 • Monet and His Contemporaries (Bunkamura Museum and MFA 1992), no. 7.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 9.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 9.

SELECTED REFERENCE

Murphy 1985, 251.

20. Gathering Wood in the Forest of Fontainebleau, about 1850–60
Oil on canvas
54.7 × 65.3 cm (21½ × 25¾ in.)
Bequest of Mrs. David P. Kimball 23.399

PROVENANCE

Until 1921, Samuel Putnam Avery collection, New York; 1921, acquired by David P. Kimball, Boston; by 1923, Mrs. David P. Kimball, Boston; 1923, bequest of Mrs. David P. Kimball.

SELECTED EXHIBITIONS

1940 • Colorado Springs, Colo., Colorado Springs Fine Arts Center, January; Boston, St. Botolph Club, March 16–April 16; New London, Conn., Lyman Allen Museum, Connecticut College, November 17–December 15.

1942 • Norfolk, Va., Norfolk Museum of Arts and Sciences.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 10.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 10.

SELECTED REFERENCES

Murphy 1985, 251; Thomas 2000, 163, fig. 71.

21. Wooded Stream, 1859
Oil on panel
53.2 × 74.5 cm (21 × 29⅜ in.)
Gift of Mrs. Henry S. Grew 17.1461

PROVENANCE

By 1907, Thomas Wigglesworth Collection (d. 1906), Boston. By 1917, with Mrs. Henry S. Grew, Boston; 1917, gift of Mrs. Henry S. Grew.

SELECTED EXHIBITIONS

1879? • Boston, Boston Art Club.

1915 • Boston, Museum of Fine Arts, opened February 3, Robert Dawson Evans Memorial Galleries Opening Exhibition.

1938 • Utica, N.Y., Munson Williams Proctor Institute, December 4–19.

1942 • Norfolk, Va., Norfolk Museum of Arts and Sciences.

1958–59 • Boston, First National Bank of Boston.

1961 • Dallas, Dallas Museum for Contemporary Arts, March 8–April 2, Impressionists and Their Forebears from Barbizon (Dallas [1961]), no. 32.

1968 • Boston, Copley Hall, May 24–June 14, Barbizon School.

1972 • Providence, R.I., Museum of Art, Rhode Island School of Design, February 3–March 5, To Look on Nature: European and American Landscape, 1800–1874 (Brown University 1972), unnumbered entries, pl. 40.

SELECTED REFERENCE

Murphy 1985, 251.

22. The Oak Tree of the Rock, Forest of Fontainebleau, 1861
Etching in brown ink on cream laid paper.
Delteil 4
Image: 12.3 × 16.9 cm (4 13/16 × 6⅝ in.); platemark: 13.3 × 21 cm (5¼ × 8¼ in.)
Bequest of William P. Babcock, 1900 B3950

23. Cherry Tree at La Plante-à-Biau, 1862
Cliché-verre, salt print.
Delteil 5
Borderline: 21.7 × 27.6 cm (8 9/16 × 10⅞ in.)
Bequest of William P. Babcock, 1900 B3956.5/7

SELECTED REFERENCE

Glassman and Symmes 1980.

Ker-Xavier Roussel
French, 1867–1944

147. Woman in Red in a Landscape, 1898
Color lithograph on cream Chinese paper. Salomon 15
Image: 23.5 × 35.4 cm (9¼ × 13 15/16 in.)
Gift of Mrs. Frederick B. Deknatel 1985.858

Paul Sérusíer
French, 1864–1927

126. Breton Landscape, 1893
Color lithograph on yellow wove paper
Image: 23.2 × 30.1 cm (9⅛ × 11⅞ in.)
Bequest of W G. Russell Allen 60.742

SELECTED REFERENCE

Boyle-Turner 1986, 70–75.

Paul Signac
French, 1863–1935

133. View of the Seine at Herblay, Opus 203, 1889
Oil on canvas
33.2 × 46.4 cm (13⅛ × 18¼ in.)
Gift of Julia Appleton Bird 1980.367

PROVENANCE

By the late 1880s, given by the artist to Edmond and Lucie Cousturier, Paris [1]. Hugo Moser, New York. Until March 1960, Hammer Galleries, New York; March 1960, sold by Hammer Galleries to Mrs. Charles Sumner Bird (Julia Appleton Bird), East Walpole, Mass.; 1980, gift of Mrs. Charles Sumner Bird.

NOTE

1. According to a letter of August 20, 1997, from Marina Ferretti to George Shackelford in curatorial file.

SELECTED EXHIBITIONS

1893 • Brussels, February, Dixième Exposition des XX, mistakenly called Op. 227, Vert et Violet (?).

1989 • From Neoclassicism to Impressionism (Kyoto Museum, Kyoto Shimbun, and MFA 1989), no. 79.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 62.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 69.

2002 • Portland, Maine, Portland Museum of Art, June 27–October 20, Neo-Impressionism: Artists on the Edge.

SELECTED REFERENCES

“Principales acquisitions” 1981, 69; Murphy 1985, 263; Cachin 2000, 193, no. 188.

134. Port of Saint-Cast, Opus 209, 1890
Oil on canvas
66 × 82.5 cm (26 × 32½ in.)
Gift of William A. Coolidge 1991.584

PROVENANCE

1890, sold by the artist to Victor Boch, Brussels. Léon Marseille, Paris. A. Zwemmer (dealer), London. A. Ehrman, London. By 1958, Marlborough Fine Arts, Ltd., London; June 16, 1958, sold by Marlborough to William A. Coolidge, Topsfield and Cambridge, Mass.; 1958–91, William A. Coolidge, Topsfield and Cambridge, Mass.; 1991, gift of William A. Coolidge.

SELECTED EXHIBITIONS

1891 • Brussels, February, Huitième Exposition des XX, unnumbered entry, as Op. 209, Saint-Cast (Côtes-du-Nord), Mai, 1890 under the general title La Mer.

1891 • Paris, pavillon de la Ville de Paris, Champs-Elysées, March 20–April 27, Septième Exposition de la Société des Artistes Indépendants, no. 1112, as Op. 209, Saint-Cast (Côtes-du-Nord), Mai, 1890 under the general title La Mer.

1930 • Paris, Bernheim-Jeune, May 19–30, Paul Signac, no. 11.

1932 • Paris, Galerie Braun et Cie., February 25–March 17, Le Néo-impressionnisme, no. 25.

1934 • Paris, Grand Palais, February 2–March 11, Quarante-quatrième Exposition de la Société des Artistes Indépendants, Exposition du Cinquantenaire, no. 4106.

1936 • Paris, Grand Palais, February 7–March 8, Quarante-sixième Exposition de la Société des Artistes Indépendants, Exposition posthume de Paul Signac, no. 3067.

1951 • Ostende, Belgium, Galeries Royales, August 5–September 4, La peinture sous le signe de la mer, no. 85.

1958 • London, Marlborough Fine Arts, Ltd., April–May, La creation de l’oeuvre chez Paul Signac (Marlborough [1958a]), no. 217.

1958 • London, Marlborough Fine Arts, Ltd., June, Nineteenth and Twentieth Century European Masters (Marlborough [1958b]), no. 64.

1963–64 • Paris, Musée du Louvre, December 1963–February 1964, Signac (Musée du Louvre [1964]), no. 35.

1992 • Crosscurrents.

2001 • Paris, Galeries Nationales du Grand Palais, February 27–May 28; Amsterdam, Van Gogh Museum, June 15–September 9; New York, The Metropolitan Museum of Art, October 9–December 30, Signac, 1863–1935 (Ferretti-Bocquillon et al. 2001), no. 49.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 70 (Ottawa and Richmond venues only).

2002 • Portland, Maine, Portland Museum of Art, June 27–October 20, Neo-Impressionism: Artists on the Edge.

SELECTED REFERENCES

Antoine 1891, 157; Christophe 1891, 100; Ernst 1891, 2; Germain 1891, 535; Krexpel 1891, 381; Leclercq 1891, 298; [Lecomte] 1891, 324; [Maus] 1891, 216; Rette 1891, 295; Geffroy 1892, 308; Roger-Marx 1933, 36; Champigneulle 1934, 407; Guenne 1934, 126; Hermant 1934, 87; Turpin 1934, 2, no. 2; Sarradin 1936, 3; Roger-Marx [1947], 51; Besson 1954, pl. 44; Rewald 1956, 135; Russel 1958, 39; Rewald [1961], fig. 25; Roger-Marx 1963, 20; Charensol 1964, 134; Lerrant 1964, 13; Jalard 1966, 23; Chartrain-Hebbelinck 1969, 67–68, no. 1–2; Sutton 1995, 96–101, no. 21, Cachin 2000, 199, no. 205.

136. Les Andelys, 1897–98
Color lithograph on cream wove paper. Kornfeld and Wick 10
Image: 30 × 45 cm (11 13/16 × 18 in.)
Anonymous gift 1971.709

137. Boats, 1897–98
Color lithograph on cream wove paper. Kornfeld and Wick 13
Image: 23.5 × 39.8 cm (9¼ × 15 11/16 in.)
Anonymous gift 54.721

138. Boats, 1897–98
Color lithograph on cream wove paper, trial proof, annotated by the artist. Kornfeld and Wick 13
Image: 23.5 × 39.8 cm (9¼ × 15 11/16 in.); sheet: 39 × 53.5 cm (15⅜ × 21 1/16 in.)
Gift of Peter A. Wick 55.576

Alfred Sisley
British (worked in France), 1839–1899

80. Early Snow at Louveciennes, about 1870–71
Oil on canvas
54.9 × 73.7 cm (21⅝ × 29 in.)
Bequest of John T. Spaulding 48.600

PROVENANCE

By 1892, M. Picq-Véron of Ermont-Eaubonne, France; June 25, 1892, sold by Picq-Véron to Durand-Ruel, Paris; October 25, 1897, sold by Durand-Ruel to the National Gallery, Berlin; 1936, sold by the National Gallery, Berlin, to the Galerie Nathan, St. Gallen, Switzerland, in exchange for Caspar David Friedrich’s Man and Woman Looking at the Moon [1]. By 1937, Raphael Gerard, Paris; 1939, sold by Gerard to Arthur Tooth & Sons, London; May 19, 1939, sold by Arthur Tooth & Sons to John Taylor Spaulding (d. 1948), Boston; 1948, bequest of John Taylor Spaulding.

NOTES

1. See Hohenzollern and Schuster 1996, 106, no. 32.

SELECTED EXHIBITIONS

1937 • London, Alex Reid & Lefevre Ltd., January, Pissarro and Sisley, no. 15.

1939 • Boston, Museum of Fine Arts, June 9–September 10, Art in New England: Paintings, Drawings, and Prints, from Private Collections in New England (MFA 1939), no. 126.

1948 • Boston, Museum of Fine Arts, May 26–November 7, The Collections of John Taylor Spaulding, 1870–1948 (MFA 1948), no. 76.

1949 • Manchester, N.H., The Currier Gallery of Art, October 8–November 6, Monet and the Beginnings of Impressionism: Twentieth Anniversary Exhibition (Currier Gallery of Art [1949]), no. 29.

1950 • New York, Paul Rosenberg & Co., March 7–April 1, The Nineteenth Century Heritage (Paul Rosenberg 1950), no. 25.

1961 • New York, Paul Rosenberg & Co., October 30–November 25, Alfred Sisley, no. 2.

1973 • Impressionism: French and American (MFA 1973a), no. 85.

1984–85 • Los Angeles, Los Angeles County Museum of Art, June 28–September 16, 1984; Chicago, The Art Institute of Chicago, October 18, 1984–January 6, 1985; Paris, Grand Palais, February 8–April 22, 1985, A Day in the Country: Impressionism and the French Landscape (Brettell et al. 1984), no. 19.

1992 • Crosscurrents.

1992–93 • London, Royal Academy of Arts, July 3–October 18, 1992; Paris, Musée d’Orsay, October 28, 1992–January 31, 1993; Baltimore, Walters Art Gallery, March 14–June 13, 1993, Alfred Sisley (Stevens and Cahn 1992), no. 10.

1996–97 • Berlin, Neue Nationalgalerie, September 20, 1996–January 6, 1997; Munich, Neue Pinakothek, January 24–May 11, 1997, Manet bis van Gogh: Hugo von Tschudi und der Kampf um die Moderne (Hohenzollern and Schuster 1996), no. 32.

SELECTED REFERENCES

Bibb 1899, 151; Ortwin-Rave 1945, pl. 196; Rewald 1946, 181; Edgell 1949, 3; Daulte 1959, no. 18; Constable 1964, fig. 11; MFA [1970], 88, no. 58; Brown University 1972, 139–40, pl. 48; MFA 1973b, no. 25; Rewald 1973a, 211, fig. 7; Rewald 1973–74, 52, fig. 10; Shone 1979, 84, pl. 7; Southgate 1979, 2375, repr. cover; Kelder 1980, 151; Murphy 1985 264; Bernard 1986, 210, 261; MFA 1986, 77.

91. Waterworks at Marly, 1876
Oil on canvas
46.5 × 61.8 cm (18¼ × 24⅜ in.)
Gift of Miss Olive Simes 45.662

PROVENANCE

By about 1910–15, with Durand-Ruel, New York and Paris; about 1910–15, bought from Durand-Ruel by William Simes [1]; by 1945, inherited by Miss Olive Simes (daughter), Boston; 1945, gift of Miss Olive Simes.

NOTE

1. According to Miss Simes, her father purchased the painting sometime about 1910–15. Letter in object file from Lucretia H. Giese in the Paintings Department at the MFA to Ronald Pickvance dated January 21, 1971.

SELECTED EXHIBITIONS

1973 • Impressionism: French and American (MFA 1973a), no. 86.

1983–84 • Masterpieces of European Painting (Nippon Television), no. 51.

1992 • Crosscurrents.

1992–93 • London, Royal Academy of Arts, July 3–October 18, 1992; Paris, Musée d’Orsay, October 28, 1992–January 31, 1993; Baltimore, Walters Art Gallery, March 14–June 13, 1993, Alfred Sisley (Stevens and Cahn 1992), no. 20.

1995–96 • London, Hayward Gallery, May 18–August 28, 1995; Boston, Museum of Fine Arts, October 4, 1995–January 14, 1996, Impressions of France: Monet, Renoir, Pissarro, and Their Rivals (House et al. 1995), no. 83.

1996–97 • Washington, D.C., The Phillips Collection, September 21, 1996–February 23, 1997, Impressionists on the Seine: A Celebration of Renoir’s “Luncheon of the Boating Party” (Rathbone et al. 1996), no. 46.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 33.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 36.

2002–3 • Ferrara, Palazzo dei Diamanti, February 17–May 19, 2002; Madrid, Museo Thyssen-Bornemisza, June 6–September 15, 2002; Lyon, Musée des Beaux-Arts, October 9, 2002–January 6, 2003, Alfred Sisley: Poet of Impressionism (Madrid venue only).

SELECTED REFERENCES

MFA 1946a, 30; MFA 1946b, 43; MFA 1955, 61; Daulte 1959, no. 216; Murphy 1985, 264.

Constant Troyon
French, 1810–1865

34. Field outside Paris, 1845–51
Oil on paperboard
27 × 45.5 cm (10⅝ × 17⅞ in.)
The Henry C. and Martha B. Angell Collection 19.117

PROVENANCE

Until 1886, Thomas Robinson, Providence, R.I.; November 16, 1886, sold at Robinson sale, Moore’s Art Galleries, New York, no. 117, and bought by Vose Galleries, Providence, R.I., and Boston; 1886–1911, probably acquired through Vose Galleries by Dr. Henry Clay Angell (d. 1911), Boston; 1911–19, inherited by Martha Bartlett Angell (widow, d. 1919), Boston; 1919, gift of Martha B. Angell.

SELECTED EXHIBITIONS

1946–47 • Cambridge, Mass., Fogg Art Museum, Harvard University, September 1946–September 1947.

1959 • Deerfield, Mass., Hilson Gallery, Landscape through Time.

1962–63 • San Francisco, California Palace of the Legion of Honor, September 24–November 4, 1962; Toledo, Ohio, The Toledo Museum of Art, November 20–December 27, 1962; Cleveland, The Cleveland Museum of Art, January 15–February 24, 1963; Boston, Museum of Fine Arts, March 15–April 28, 1963, Barbizon Revisited (Herbert 1962), no. 104.

1978 • Chapel Hill, N.C., William Hayes Ackland Memorial Art Center, University of North Carolina, March 5–April 30, French Nineteenth Century Oil Sketches, David to Degas: An Exhibition in Honor of the Retirement of Joseph Curtis Sloane (Wisdom et al. 1978), no. 60.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 7.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 7.

SELECTED REFERENCES

Durbé and Damigella 1969, 41; Bouret 1972, in; Goldstein 1979, 223, fig. 6.26; Murphy 1985, 283; Cormack 1986, 164–65, fig. 160.

35. Windswept Meadow with Shepherd and Flock, about 1850
Black chalk on beige paper
Sheet: 25.4 × 35.4 cm (10 × 13 15/16 in.)
Gift of L. Aaron Lebowich and Harvey D. Parker Collection, by exchange 63.263

PROVENANCE

Nathan Chaikin, New York; 1963, sold by Chaikin to MFA.

SELECTED EXHIBITION

1967 • Wellesley, Mass., Wellesley College Art Museum, November 1–30, Nineteenth-Century Art.

38. Hound Pointing, 1860
Oil on canvas
163.8 × 130.5 cm (64½ × 51⅜ in.)
Gift of Mrs. Louis A. Frothingham 24.345

PROVENANCE

1861, Senator Prosper Crabbe, Brussels. By 1885, A. Dreyfus. By 1889, E. Secretan; July 1, 1889, sold by E. Secretan at Chevallier, Aulard, Paris. Frederick Lothrop Ames (d. 1893), Boston; by 1924, probably inherited by Mrs. Louis A. (Mary S. Ames) Frothingham; 1924, gift of Mary S. Ames Frothingham to the MFA.

SELECTED EXHIBITIONS

1883 • Paris, Galerie Georges Petit, Cent chefs-d’oeuvres des collections parisiennes (Wolf 1883), no. 91 (?).

1889 • New York, Union League Club, December, no. 28.

1898 • Boston, Copley Hall, Modern Painters, no. 84.

1904 • New York, American Fine Arts Society, Comparative Exhibition of Native and Foreign Art, no. 160.

1908 • Boston, Copley Hall, March, French School of 1830 (Copley Society 1908), no. 68.

1962–63 • San Francisco, California Palace of the Legion of Honor, September 24–November 4, 1962; Toledo, Ohio, The Toledo Museum of Art, November 20–December 27, 1962; Cleveland, The Cleveland Museum of Art, January 15–February 24, 1963; Boston, Museum of Fine Arts, March 15–April 28, 1963, Barbizon Revisited (Herbert 1962), no. 106.

1968 • New York, Knoedler’s Gallery, May 7–24, The Artist and the Animal.

1978–79 • Philadelphia, Philadelphia Museum of Art, October 1–November 26, 1978; Detroit, The Detroit Institute of Arts, January 15–March 18, 1979; Paris, Grand Palais, April 24–July 2, 1979, The Second Empire, 1852–1870: Art in France under Napoleon III (PMA 1978), no. VI–107.

1983–84 • Masterpieces of European Painting (Nippon Television 1983), no. 38.

1991–92 • Indianapolis, The National Art Museum of Sport, January 14–April (day unknown) 1991; Washington, D.C., The Corcoran Gallery of Art, September 1991–January 1992; Phoenix, Phoenix Art Museum, May–August 1991; New York, IBM Gallery of Science and Art, January 14–March 28, 1992, Sport in Art from American Museums.

SELECTED REFERENCES

Secretan 1889, 79; Soullié 1900a, 158; MFA 1924, 36; Baudelaire 1966, 1200; Rodee 1974, 16–17; Didier Aaron 1990, fig. a (accompanying entry no. 26).

Lancelot-Théodore, comte du Turpin de Crissé
French, 1782–1859

8. The Bay of Naples, 1840
Oil on canvas
97 × 146 cm (38⅛ × 57½ in.)
Charles H. Bayley Picture and Painting Fund 1980.3

PROVENANCE

July 10, 1974, sold at Galerie des Chevau-Légers, Versailles, no. 235. By 1980, Hazlitt, Gooden & Fox, Ltd., London; 1980, sold by Hazlitt, Gooden & Fox to the MFA.

SELECTED EXHIBITIONS

1979 • London, Hazlitt, Gooden & Fox, October 31–November 27, The Lure of Rome: Some Northern Artists in Italy in the Nineteenth Century, Paintings and Drawings (Hazlitt, Gooden & Fox 1979), no. 18, pl. 40.

1983–84 • Masterpieces of European Painting (Nippon Television 1983), no. 33.

1989 • From Neoclassicism to Impressionism (Kyoto Museum, Kyoto Shimbun, and MFA 1989), no. 5.

1991–92 • Boston, Museum of Fine Arts, July 13, 1991–July 5, 1992, Romantic and Fantastic Landscapes.

SELECTED REFERENCES

MFA 1980, 28–29; Murphy 1985, 285; Zafran 1998, 198–99, no. 90.

Pierre-Henri de Valenciennes
French, 1750–1819

1. Italian Landscape with Bathers, 1790
Oil on canvas
54 × 81.6 cm (21¼ × 32⅛ in.)
Gift of John Goelet 1980.658

PROVENANCE

By 1975, Palais Galliéra, Paris. H. Shickman Gallery, New York. By 1978, John Goelet, New York; 1988, gift of John Goelet.

SELECTED EXHIBITIONS

1791 • Paris, Salon, no. 11? or 132?

1983–84 • Masterpieces of European Painting (Nippon Television 1983), no. 27.

1991–92 • Boston, Museum of Fine Arts, July 13, 1991–July 5, 1992, Romantic and Fantastic Landscapes.

1992–93 • Boston, Museum of Fine Arts, July 24, 1992–January 17, 1993, The Grand Tour: European and American Views of Italy.

SELECTED REFERENCES

Dézallier d’Argenville 1791, 4, no. 11 (?); Explication des peintures 1791, 26, no. 132 (?); Béquille de Voltaire 1791, 4, no. 11; Liepmannssohn 1870, 11, no. 11; Murphy 1985, 288; Zafran 1998, 156–57, no. 70.

Vincent van Gogh
Dutch (worked in France), 1853–1890

129. Ravine, 1889
Oil on canvas
73 × 91.7 cm (28¾ × 36⅛ in.)
Bequest of Keith McLeod 52.1524

PROVENANCE

1890, from the artist to Theo van Gogh (brother), Paris [1]. By 1908, Prince Alexandre Berthier de Wagram (d. 1918), Paris. Barbazanges Art Gallery, Paris [2]. By 1918, J. B. Stang, Oslo. By 1926, with Leicester Galleries, London. By 1928, with Galerie Thannhauser, Berlin, Lucerne, and New York; by 1929, sold by Galerie Thannhauser to Keith McLeod, Boston; 1952, bequest of McLeod.

NOTES

1. According to documentation from the 1960s in curatorial file, there is some evidence that the picture may have passed from Theo van Gogh to Paul Gauguin as part of an exchange and placed on deposit with Chaudet and later Amadée Schuffenecker, Paris, when Gauguin sailed for Tahiti.

2. Letter of January 25, 1930, from a representative of Galerie Thannhauser to Keith McLeod, in curatorial file.

SELECTED EXHIBITIONS

1890 • Paris, pavillon de la Ville de Paris, Champs-Elysées, March 20–April 27, Sixième Exposition de la Société des Artistes Indépendants, no. 833(?).

1901 • Paris, Bernheim-Jeune, March 15–31, Vincent van Gogh, no. 58. 1914 • Berlin, Paul Cassirer [Art Gallery], May–June, Vincent van Gogh, no. 117.

1926 • London, Leicester Galleries, November–December, Vincent van Gogh, no. 24.

1929 • New York, The Museum of Modern Art, November, First Loan Exhibition: Cézanne, Gauguin, Seurat, Van Gogh (MoMA [1929]), no. 84.

1935–36 • New York, The Museum of Modern Art, December 1935–January 1936; Chicago, The Art Institute of Chicago; Boston, Museum of Fine Arts, February 19–March 15, 1936; Cleveland, The Cleveland Museum of Art, March 25–April 19, 1936; Detroit, The Detroit Institute of Arts, October 6–28, 1936; Kansas City, Mo., William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts; Minneapolis, The Minneapolis Institute of Arts; Philadelphia, Philadelphia Museum of Art; San Francisco, California Palace of the Legion of Honor, Vincent van Gogh (MoMA 1935), addendum 55a, not in catalogue (Boston venue only).

1939 • Boston, Museum of Fine Arts, June 9–September 10, Art in New England: Paintings, Drawings, and Prints, from Private Collections in New England (MFA 1939), no. 56.

1992 • Crosscurrents.

Note: Although catalogued and reproduced in the exhibition catalogue for the following exhibition, the painting was withdrawn at the last moment and did not appear: New York, Wildenstein Galleries, October–November 1943, The Art and Life of Vincent van Gogh: Loan Exhibition in Aid of the American and Dutch War Relief (DeBatz 1943), no. 55.

SELECTED REFERENCES

Meier-Graefe 1912, 41; Van Gogh 1927, nos. 610, 619, 621, 622, 629, 630, B20; De la Faille 1928, 1: no. 662; Scherjon 1932, no. 60; Scherjon and De Gruyter 1937, 256–57, no. 60; De la Faille 1939, 462, no. 671; De Batz 1943, no. 55; Constable 1946, 8; Derkert, Eklund, and Reuterswärd 1946, 128–29; Meyerson 1946, 141–42; Buchmann 1948, 36–39, 51; Clark [1949], 121; Weisbach [1949–51], 2:177–78, no. 69; Leymarie 1951, 126; Rewald 1956, 362, 378; Van Gogh 1958, 3:223, 240, 243, 244, 260, 263, 521, 561 (T24), 565 (T29); Van Gogh 1966, nos. 610, 619, 621, 622, B20, T24; De la Faille 1970, 261, no. 662; MFA [1970], 97, no. 65; Roskill [1970], fig. 2; Cavallo et al. 1971, no. 143; Lecaldano 1977, no. 712; Murphy 1985, 120; Van Gogh 1985, 325, no. 287; Stein 1986, 277, pl. 101; Hulsker 1996, H1804.

130. Houses at Auvers, 1890
Oil on canvas
75.5 × 61.8 cm (29¾ × 24⅜ in.)
Bequest of John T. Spaulding 48.549

PROVENANCE

After 1890, Mrs. Johanna van Gogh-Bonger, Amsterdam. Tilla Durvieux-Cassirer, Berlin; Paul Cassirer Gallery, Berlin. Galerie Thannhauser, Lucerne. Voss Collection, Berlin. By 1926, with Wildenstein and Co., New York; October 18, 1926, sold by Wildenstein to John Taylor Spaulding (d. 1948), Boston; 1926–48, John Taylor Spaulding, Boston; 1948, bequest of John Taylor Spaulding.

SELECTED EXHIBITIONS

1905 • Amsterdam, Stedelijk Museum, July–August, Vincent van Gogh, no. 210.

1908 • Paris, Bernheim-Jeune, January, Cent tableaux de Vincent van Gogh.

1912 • Cologne, Kunsthalle, May–September, International Exposition, no. 105.

1929 • Cambridge, Mass., Fogg Art Museum, Harvard University, March 6–April 6, Exhibition of French Painting of the Nineteenth and Twentieth Centuries (Fogg Art Museum [1929]), no. 95.

1929 • New York, The Museum of Modern Art, November, First Loan Exhibition: Cézanne, Gauguin, Seurat, Van Gogh (MoMA [1929]), no. 90.

1931–32 • Boston, Museum of Fine Arts, May 26, 1931–October 27, 1932, Collection of Modern French Paintings, Lent by John T. Spaulding.

1935–36 • New York, The Museum of Modern Art, December 1935–January 1936; Chicago, The Art Institute of Chicago; Boston, Museum of Fine Arts, February 19–March 15, 1936; Cleveland, The Cleveland Museum of Art, March 25–April 19, 1936; Detroit, The Detroit Institute of Arts, October 6–28, 1936; Kansas City, Mo., William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts; Minneapolis, The Minneapolis Institute of Arts; Philadelphia, Philadelphia Museum of Art; San Francisco, California Palace of the Legion of Honor, Vincent van Gogh (MoMA 1935), no. 64.

1939 • Boston, Museum of Fine Arts, June 9–September 10, Art in New England: Paintings, Drawings, and Prints, from Private Collections in New England (MFA 1939), no. 58.

1948 • Boston, Museum of Fine Arts, May 26–November 7, The Collections of John Taylor Spaulding, 1870–1948 (MFA 1948), no. 33.

1949 • Cambridge, Mass., Fogg Art Museum, Harvard University.

1951 • Cambridge, Mass., Busch-Reisinger Museum, Harvard University, Van Gogh.

1956 • Raleigh, N.C., North Carolina Museum of Art, June 15–July 29, French Painting of the Last Half of the Nineteenth Century (NCMA 1956), unnumbered entry.

1975 • Auckland, Auckland City Art Gallery, August 18–October 5, Van Gogh in Auckland (Auckland City 1975), no. 8.

1979–80 • Corot to Braque (Poulet and Murphy 1979), no. 63.

1983–84 • Masterpieces of European Painting (Nippon Television 1983), no. 63.

1985 • Boston, Museum of Fine Arts, February 13–June 2, The Great Boston Collectors: Paintings from the Museum of Fine Arts, Boston (Troyen and Tabbaa 1984), no. 54.

1990–91 • Essen, Museum Folkwang, August 10–November 4, 1990 (Dorn et al. 1990), no. 54; Amsterdam, Van Gogh Museum, November 16, 1990–February 18, 1991, Vincent van Gogh and Early Modern Art, 1890–1914 (Költzsch and de Leeuw 1990), no. 43.

1992 • Crosscurrents.

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 59.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 66.

SELECTED REFERENCES

Meier-Graefe 1921b, 2:98, no. 100; De la Faille 1928, 1:228, no. 805; Scherjon and De Gruyter 1937, 363, no. 198; De la Faille 1939, 539, no. 789; Edgell 1949, 84; Malraux 1952, 15; Estienne 1953b, 73; MFA 1955, 29; Reidemeister 1963, 164; De la Faille 1970, 306, no. 805; Lecaldano 1977, 853; Hulsker 1980, no. 1989; Nemeczek 1981, 33; Naeling 1984, 4; Murphy 1985, 120; MFA 1986, 81; Mothe 1987, 160; Hulsker 1996, H1989.

Antoine Vollon
French, 1833–1900

36. Meadows and Low Hills
Oil on panel
28 × 46.2 cm (11 × 18⅛ in.)
Bequest of Ernest Wadsworth Longfellow 37.602

PROVENANCE

With Goupil and Co., London. By 1937, Ernest Wadsworth Longfellow, Boston; 1937, bequest of Ernest Wadsworth Longfellow.

SELECTED EXHIBITIONS

1999 • Monet, Renoir, and the Impressionist Landscape (Nagoya/Boston and MFA 1999), no. 30.

2000–2 • Monet, Renoir, and the Impressionist Landscape (Shackelford and Wissman 2000), no. 31.

SELECTED REFERENCE

Murphy 1985, 297.

Edouard Vuillard
French, 1868–1940

148. Crossing the Field, 1899
Color lithograph on cream Chinese paper.
Roger-Marx 34
Image: 25.3 × 34.3 cm (9 15/16 × 13½ in.)
Bequest of W. G. Russell Allen 60.108

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