Stacks of Wheat (End of Day, Autumn)

1. The artist (d. 1926); sold to Durand-Ruel, Paris, July 2, 1891, for 3,200 francs [per Durand–Ruel, Paris, stock book for 1891–1901 (no. 1063, as Meules, fin de l’été), and from Brouillard 1888–1891, as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, June 24, 2014, curatorial object file]. Durand-Ruel, New York; sold to Potter Palmer, Chicago, July 2, 1891, for $1,200 (or 6,000 francs) [Durand–Ruel, Paris, stock book for 1891–1901 (no. 1063, Meules, fin de l’été), and from Brouillard 1888–1891: “sold to Potter Palmer on the same day (2nd July 1891) for 1 200 dollars = 6 000 F,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, June 24, 2014, curatorial object file. The Durand-Archives further states that “there is a discrepancy in our books about the sale of W 1270 to Potter Palmer: we cannot explain it.”] Durand-Ruel, New York, by Mar. 7, 1892 [this and the following per Durand-Ruel, New York, stock book 1888–1893 (no. 859, Meules, fin de l’été): “Sold to Potter Palmer on 7th March 1892 for 1 500 dollars / Stock DR New York no. 859 (previous stock DR Paris no. 1063),” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, June 24, 2014, curatorial object file]; sold to Potter Palmer, Chicago, Mar. 7, 1892, for $1,500; sold back to Durand-Ruel, New York, by Apr. 19, 1892 [this and the following per Durand-Ruel, New York, stock book for 1888–93 (no. 924, as Meules, fin de l’été), as confirmed by see Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, June 24, 2014, curatorial object file]; sold to Sir William Van Horne, Montreal, Apr. 19, 1892, for $1,250. Durand-Ruel, New York, by Nov. 22, 1892 [per Durand-Ruel, New York, stock book for 1888–93 (no. 948, as Meules, fin de l’été), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, June 24, 2014, curatorial object file]; sold to Potter Palmer, Chicago, Nov. 22, 1892, for $1,200. Howard Young, New York, by 1932 [this and the following per Art Institute of Chicago, exh. cat., 1932]. Annie Swan Coburn (d. 1932), Chicago, by 1932; bequeathed to the Art Institute of Chicago, 1933.

Recorded by Art Institute of Chicago.

• Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, Apr. 6–Oct. 9, 1932, cat. 24.
• Toledo (Ohio) Museum of Art, Artists Unappreciated in Their Day, Nov. 5–Dec. 10, 1939, cat. 16 (ill.).
• Seattle Art Museum, Volunteer Park, Exhibition Monet and Pissarro, Nov. 21, 1944–Jan. 24, 1945, no cat.
• Englewood (Ill.) High School, Feb. 6–Mar. 6, 1945, no cat.
• Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no cat. no.
• New York, Museum of Modern Art, Claude Monet: Seasons and Moments, Mar. 9–May 15, 1960, cat. 48 (ill.); Los Angeles County Museum of Art, June 14–Aug. 7, 1960.
• Iowa City, University of Iowa Gallery of Art, Impressionism and Its Roots, Nov. 8–Dec. 6, 1964, cat. 35 (ill.).
• Pasadena (Calif.) Art Museum (sponsored by the Art Alliance), Serial Imagery, Sept. 17–Oct. 27, 1968, cat. 1; Seattle, Henry Art Gallery, University of Washington, Nov. 17–Dec. 22, 1968; Santa Barbara (Calif.) Museum of Art, Jan. 25–Feb. 23, 1969 (Seattle only).
• Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 85 (ill.).
• New York, Metropolitan Museum of Art, Monet’s Years at Giverny: Beyond Impressionism, Apr. 19–July 9, 1978, cat. 15 (ill.); Saint Louis Art Museum, Aug. 1–Oct. 8, 1978.
• Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 105 (ill.); Art Institute of Chicago, Oct. 23, 1984–Jan. 6, 1985; Paris, Galeries Nationales d’Exposition, Grand Palais, as L’impressionnisme et le paysage français, Feb. 4–Apr. 22, 1985.
• Art Institute of Chicago, The Art of the Edge: European Frames, 1300–1900, Oct. 17–Dec. 14, 1986, not in cat.

• Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, exh. cat. (Art Institute of Chicago, 1932), pp. 19–20, cat. 24.
• Daniel Catton Rich, “The Bequest of Mrs. L. L. Coburn,” Bulletin of the Art Institute of Chicago 26, 6 (Nov. 1932), p. 66.
• Toledo Museum of Art, Catalogue: Artists Unappreciated in their Day, exh. cat. (Toledo Museum of Art, 1939), pp. 2; 27, cat. 16 (ill.).
• Art Institute of Chicago, “Catalogue,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 33.
• William C. Seitz, Claude Monet: Seasons and Moments, exh. cat. (Museum of Modern Art, New York/Los Angeles County Museum of Art/Doubleday, 1960), pp. 25 (ill.); 61, cat. 48.
• Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 321.
• John Rewald, The History of Impressionism, rev. ed. (Museum of Modern Art, New York, 1961), p. 563 (ill.).
• Frank Seiberling, “A Guide to the Exhibition,” in University of Iowa Gallery of Art, Impressionism and Its Roots, exh. cat. (University of Iowa Gallery of Art, 1964), p. 7.
• University of Iowa Gallery of Art, Impressionism and Its Roots, exh. cat. (University of Iowa Gallery of Art, 1964), pp. 40–41, cat. 35 (ill.).
• Katharine Kuh, Break-up: The Core of Modern Art (New York Graphic Society, 1965), pp. 16–18, pl. 2; 134.
• John Coplans, Serial Imagery, exh. cat. (Pasadena Art Museum, 1968), p. 139, cat. 1.
• Grace Seiberling, “The Evolution of an Impressionist,” in Paintings by Monet, ed. Susan Wise, exh. cat. (Art Institute of Chicago, 1975), pp. 32, 33.

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