Waterloo Bridge, Gray Weather

1. The artist (d. 1926); sold to Durand-Ruel, Paris, May 11, 1904, for 9,000 francs [this and the following per Durand-Ruel, Paris, stock book for 1901–13 (no. 7643, as La Tamise, Waterloo Bridge, temps couvert, 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 Paul Cassirer, Berlin, Nov. 28, 1904, for 11,500 francs. Albrecht Guttmann, Berlin, by May 18, 1917 [this and the following per Cassirer and Helbing 1917]; sold at the Albrecht Guttmann, Berlin, sale, Paul Cassirer (Berlin) and Hugo Helbing (Munich), Berlin, May 18, 1917, lot 69. Howard Young, New York [this and the two following per Art Dealers Association of America, report, Mar. 8, 1995, curatorial object file]. Berthe Honoré Palmer, Chicago. Anderson Gallery, Chicago, c. 1927 [see previous and further corroborated by a telephone conversation between Courtney Donnell, Art Institute of Chicago, and Jeanne Hansell (daughter of Mrs. Mortimer B. Harris), March 1999, see provenance worksheet, dated June 17, 1999, curatorial object file]; sold to William Redfield, Chicago, c. 1927 [this and the following per Jeanne Hansell (daughter of Mrs. Mortimer B. Harris), relayed to Courtney Donnell, Art Institute of Chicago, March 1999 telephone conversation; see conversation summary in provenance worksheet, June 17, 1999, curatorial object file]; given to his sister, Ethel R. Harris, Chicago, c. 1930; given to the Art Institute of Chicago, beginning in 1984 [The painting was given to the Art Institute of Chicago in undivided fractional interests beginning in 1984. The Art Institute received the final fractional interest for one hundred percent ownership in 2000].

Recorded by Art Institute of Chicago.

• Probably Paris, Galeries Durand-Ruel, Claude Monet: Vues de la Tamise à Londres, May 9–June 4, 1904, cat. 9, as Temps gris. 1900, under the heading Waterloo Bridge.
• Berlin, Paul Cassirer, Neue Ausstellung, Werke von: Claude Monet, Louis Corinth, Hans Thoma, Manet, Degas. Skulpturen von Rodin u.A., Oct. 9–Nov. 20, 1904, cat. 5, as Waterloo Bridge, temps gris.
• Art Institute of Chicago, Treasures of Chicago Collectors, Apr. 15–May 7, 1961, no cat. no.
• Art Institute of Chicago, Masterpieces from Private Collections in Chicago, July 12–Aug. 31, 1969, no cat. no.
• Tokyo, Bridgestone Museum of Art, Mone ten [Monet, a retrospective], Feb. 11–Apr. 7, 1994, cat. 66 (ill.); Nagoya City Art Museum, Apr. 16–June 12, 1994; Hiroshima Museum of Art, June 18–July 31, 1994.
• Shelburne (Vt.) Museum, Apr. 19–Nov. 3, 1995, no cat.
• Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 86 (ill.).
• Rochester, New York, Memorial Art Gallery of the University of Rochester, Monet's Waterloo Bridge: Vision and Process, October 6, 2018 - January 6, 2019, cat. 1; Worcester, Massachusetts, Worcester Art Museum, January 26, 2019 - April 28, 2019.
• Art Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 70.
• London, Courtauld Institute of Art, Monet and London: Views of the Thames, Sep. 27, 2024–Jan. 19, 2025, cat. 6.
• São Paulo, Museu de Arte de São Paulo Assis Chateaubriand, Monet's Ecology, May 16–Sep. 7, 2025, no cat. no., fig. 92.

• Probably Galeries Durand-Ruel, Claude Monet: Vues de la Tamise à Londres, exh. cat. (Galeries Durand-Ruel, 1904), p. 10, cat. 9.
• R. de Bettex, “Échos de partout. Claude Monet,” La république française, May 10, 1904, p. 1.
• Paul Cassirer and Hugo Helbing, Moderne gemälde: Die sammlung Albrecht Guttmann und nachlass eines Berliner sammlers, sale cat. (Paul Cassirer and Hugo Helbing, May 18, 1917), lot. 69 (ill.), as Waterloo – Brücke in London.
• 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, Treasures of Chicago Collectors, exh. cat. (Art Institute of Chicago, 1961), n. pag.
• Art Institute of Chicago, Masterpieces from Private Collections in Chicago, exh. cat. (Art Institute of Chicago, [1969]), n. pag.
• Art Institute of Chicago, Art Institute of Chicago Annual Report, 1984-85 (Art Institute of Chicago, 1985), pl. 12.
• Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 4, Peintures, 1899–1926 (Bibliothèque des Arts, 1985), pp. 170; 171, cat. 1557 (ill.); 365, letters 1723, 1724; 427, pièces justificatives 169, 170.
• Richard R. Brettell, Post-Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 91; 94 (ill.); 118.
• Daniel Wildenstein, Claude Monet: Catalogue raisonné, vol. 5, Supplément aux peintures: Dessins; Pastels; Index (Wildenstein Institute, 1991), p. 52, cat. 1557.
• Bridgestone Museum of Art, Ishibashi Foundation; and Nagoya City Art Museum, eds., Mone ten [Monet, a retrospective], exh. cat. (Chunichi Shimbun, 1994), p. 188, cat. 66 (ill.).
• Paul Hayes Tucker, “Of Sites and Subjects and Meaning in Monet’s Art,” in Bridgestone Museum of Art, Ishibashi Foundation; and Nagoya City Art Museum, eds., Mone ten [Monet, a retrospective], exh. cat. (Chunichi Shimbun, 1994), pp. 37, 72.

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

Cliff Walk at Pourville

Art Institute of Chicago

Water Lily Pond

Art Institute of Chicago

The Beach at Sainte-Adresse

Art Institute of Chicago

Bordighera

Art Institute of Chicago

Stacks of Wheat (End of Day, Autumn)

Art Institute of Chicago

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