The Fisherman's Family

1. Sold by the artist to Edouard Aynard (died 1913), Lyon, March 2, 1888 with Durand-Ruel acting as agent [according to the Aynard sale catalogue]; his estate sale, Galerie Georges Petit, Paris, December 1, 1913, no. 12 for 40,000 francs to Bernheim-Jeune [price and buyer according to Gil Blas 1913]; Bernheim-Jeune, Paris; sold to Martin A. Ryerson, Chicago, February 25, 1914 [see receipt of sale, copy in curatorial file]; given to the Art Institute, 1915.

Recorded by Art Institute of Chicago.

• Paris, Durand-Ruel Galleries, Exposition de tableaux, esquisses et dessins de Puvis de Chavannes, June–July, 1899, no. 11.
• London, Grosvenor House, Bernheim-Jeune, Art français: Exposition d’art décoratif contemporain, 1800–1885, 1914, cat. 60.
• Hartford, Connecticut, Wadsworth Atheneum, An Exhibition of Literature and Poetry in Painting since 1850, January 24–February 14, 1933, cat. 55.
• Art Institute of Chicago, Century of Progress, June 1–November 1, 1933, cat. 273.
• Art Institute of Chicago, Century of Progress, June 1–November 1, 1934, cat. 199E.
• Springfield, Massachusetts, Springfield Museum of Fine Arts, From David to Cezanne: Paintings and Drawings, February 9–March 10, 1935, cat. 32.
• Arts Club of Chicago, Origins of Modern Art, April 2–30, 1940, cat. 37.
• Toledo Museum of Art, The Spirit of Modern France: An Essay on Painting in Society, 1745–1956, November–December 1946, cat. 36; travelled to Art Gallery of Toronto, January–February, 1947.
• Minneapolis Institute of Arts, The Nabis and Their Circle, November 14–December 30, 1962, no cat. no.
• Miami Art Center, The Artist and the Sea, March 21–April 18, 1969, cat. 31.
• Toronto, Art Gallery of Ontario, The Sacred and Profane in Symbolist Art, November 1–26, 1969, no cat. no.
• Paris, Grand Palais, Puvis de Chavannes: 1824–1898, November 26, 1976–February 14, 1977, cat. 108; travelled to Ottawa, National Gallery of Canada, March 25–May 8, 1977.

• “Art,” Chicago Daily Tribune (November 6, 1898), p. 33.
• “Puvis de Chavannes: Pictures in Private Possession,” in Masters in Art, vol. 3 (Boston: Bates & Build Company, 1903), p. 419.
• “Les grandes ventes: La première vacation de la collection Aynard,” Gil Blas (December 2, 1913), p. 3.
• “Paris Letter: Paris, Dec. 10, 1913,” American Art News 12, 2 (1913), p. 8.
• T. Martin Wood, “The Grosvenor House Exhibition of French Art,” The Studio 54, 213 (1914), pp. 10 (ill.), 11.
• “Notes,” Bulletin of the Art Institute of Chicago 9, 5 (1915), p. 71, cover ill.
• “Accessions to the Museum,” Bulletin of the Art Institute of Chicago 9, 6 (1915), p. 90.
• Art Institute of Chicago, Catalogue of Paintings, Drawings, Sculpture and Architecture (Chicago: Art Institute of Chicago, 1917), p. 142, no. 346.
• Art Institute of Chicago, Forty-First Annual Report (Chicago: Art Institute of Chicago, 1919), p. 50 (ill.).
• Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago: Art Institute of Chicago, 1920), p. 37, no. 346.
• Art Institute of Chicago, Handbook of Sculpture, Architecture and Paintings (Chicago: Art Institute of Chicago, 1922), p. 38, no. 346.
• Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago: Art Institute of Chicago, 1923), p. 38, no. 346.

The Sacred Grove, Beloved of the Arts and the Muses

Art Institute of Chicago

Reclining Male Nude

Art Institute of Chicago

In the Heather

Art Institute of Chicago

Study of a Sleeping Woman

Art Institute of Chicago

Fisherman's Family

Art Institute of Chicago

La Fortune [Fortune]

Art Institute of Chicago

Summer

Art Institute of Chicago

Fisherman's Family

Art Institute of Chicago

Museum holdings, not sale records. Auction results are only shown when a licensed price source is connected.