Charing Cross Bridge, London

1. The artist (d. 1926); sold to Durand-Ruel, Paris, Oct. 30, 1905, for 8,000 francs [this and the following per Durand-Ruel, Paris, stock book for 1901–13 (no. 8018, as Londres, Charing Cross Bridge, soleil couchant, 1901), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; sold to Adrien Hébrard, as agent for the Prince de Wagram (Alexandre Berthier, 4th Prince de Wagram), Paris, Dec. 20, 1905, for 15,000 francs; sold back to Durand-Ruel, Paris, Apr. 4, 1914, for 15,000 francs [this and the following per Durand-Ruel, Paris, stock book for 1913–21 (no. 10528, as Londres, Charing Cross Bridge, soleil couchant, 1901), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; sold to Durand-Ruel, New York, Nov. 11 or Dec. 9, 1915; sold to Martin A. Ryerson (d. 1932), Chicago, Feb. 23, 1916, for a painting by Pierre-Auguste Renoir [Pivoines, no. 3094], plus $1,000 [per purchase receipt on Durand-Ruel letterhead, dated February 23, 1916, details that this painting (no. 3898, Claude Monet, Charing Cross Bridge, 1901, Soleil couchant) was acquired by M. A. Ryerson, in exchange for a painting by Renoir (no. 3094, Pierre-Auguste Renoir, Pivoines) in addition to a cash payment of $1,000, photocopy in curatorial object file; see also Durand-Ruel, New York, stock book for 1904–24 (no. 3898, as Londres, Charing Cross Bridge, soleil couchant, 1901), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; bequeathed to the Art Institute of Chicago, 1933.

Recorded by Art Institute of Chicago.

• University of Chicago, Classics Building, The Quarter-Centennial Celebration of the University of Chicago, Paintings of the French Impressionist School, June 21–Sept. 1, 1916, no cat.
• Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933, cat. 294.
• Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 212.
• Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no cat. no.
• Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 102 (ill.).
• Tokyo, Seibu Museum of Art, Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], Oct. 18–Dec. 17, 1985, cat. 63 (ill.); Fukuoka Art Museum, Jan. 5–Feb. 2, 1986; Kyoto Municipal Museum of Art, Mar. 4–Apr. 13, 1986.
• Nagaoka, Niigata Prefectural Museum of Modern Art, Shikago bijutsukan ten: Kindai kaiga no 100-nen [Masterworks of modern art from the Art Institute of Chicago], Apr. 20–May 29, 1994, cat. 19 (ill.); Nagoya, Aichi Prefectural Museum of Art, June 10–July 24, 1994; Yokohama Museum of Art, Aug. 6–Sept. 25, 1994.
• Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 85 (ill.).
• Art Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 68.

• M. C., “Monets in the Art Institute,” Bulletin of the Art Institute of Chicago 19, 2 (Feb. 1925), pp. 20 (ill.), 21.
• Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture; Lent from American Collections, ed. Daniel Catton Rich, 3rd ed., exh. cat. (Art Institute of Chicago, 1933), p. 43, cat. 294.
• Daniel Catton Rich, “Französische Impressionisten im Art Institute zu Chicago,” Pantheon: Monatsschrift für freunde und sammler der kunst 11, 3 (Mar. 1933), p. 77. Translated by C. C. H. Drechsel as “French Impressionists in the Art Institute of Chicago,” Pantheon/Cicerone (Mar. 1933), p. 18.
• Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture, 1934, ed. Daniel Catton Rich, exh. cat. (Art Institute of Chicago, 1934), p. 37, cat. 212.
• Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), p. 287.
• Art Institute of Chicago, “Catalogue,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 34.
• William C. Seitz, Claude Monet, Library of Great Painters (Abrams, 1960), p. 40, fig. 52.
• Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 321.
• Grace Seiberling, “The Evolution of an Impressionist,” in Paintings by Monet, ed. Susan Wise, exh. cat. (Art Institute of Chicago, 1975), p. 36.
• Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p.159, cat. 102 (ill.).
• A. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (University of Chicago Press, 1980), p. 58, cat. 3A9; microfiche 3, no. 3A9 (ill.).
• Grace Seiberling, Monet’s Series (Garland, 1981), p. 370, no. 3.

Garden at Sainte-Adresse

The Metropolitan Museum of Art

Houses on the Achterzaan

The Metropolitan Museum of Art

Spring (Fruit Trees in Bloom)

The Metropolitan Museum of Art

The Manneporte (Etretat)

The Metropolitan Museum of Art

Poppy Fields near Argenteuil

The Metropolitan Museum of Art

Water Lilies

Art Institute of Chicago

Arrival of the Normandy Train, Gare Saint-Lazare

Art Institute of Chicago

Stacks of Wheat (End of Summer)

Art Institute of Chicago

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