Waterloo Bridge, Gray Weather

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. Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 56; 57; 59 (detail); 98, pl. 27; 109. Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 3, Nos. 969–1595 (Taschen/Wildenstein Institute, 1996), pp. 676–77, cat. 1557 (ill.). Simonella Condemi and Andrew Forge, Claude Monet: La poesia della luce; Sette capolavori dell’ Art Institute di Chicago a Palazzo Pitti, exh. cat. (Giunti Gruppo, 1999), pp. 44 (ill.), 46. Art Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 2000), p. 156 (ill.). Norio Shimada and Keiko Sakagami, Kurōdo Mone meigashū: Hikari to kaze no kiseki [Claude Monet, 1881–1926], vol. 2 (Nihon Bijutsu Kyōiku Sentā, 2001), pp. 112, no. 239 (ill.); 113 (detail); 190. John E. Thornes and Gemma Metherell, “The Art and Science of London’s Atmosphere around 1900,” in London’s Environment: Prospects for a Sustainable City, ed. Julian Hunt (Imperial College Press, 2005), p. 119. Jay A. Clarke, “Adrienne Farb and the Anti-Hip of Abstraction,” in The Spiritual Landscapes of Adrienne Farb, 1980–2006, ed. Jay A. Clarke and Joanna E. Ziegler, exh. cat. (Iris and B. Gerald Cantor Art Gallery, College of the Holy Cross, 2006), pp. 48–49, fig. 4. Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Impressionists: Master Paintings from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2008), pp. 168, cat. 86 (ill.); 169. Simultaneously published as Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of Impressionism at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2008), pp. 168, cat. 86 (ill.); 169. Cheryl Hill, “Useful Publications: Catalogues Raisonnés,” in “Art through the Pages: Library Collections at the Art institute of Chicago,” special issue, Art Institute of Chicago Museum Studies 34, 2 (2008), pp. 63, figs. 1–2; 64. “Cat. 38: Waterloo Bridge, Gray Weather, 1900,” in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https://publications.artic.edu/monet/reader/paintingsanddrawings/section/135470. Nancy Norwood, ed.s, Monet's Waterloo Bridge: Vision and Process (Rochester, NY: RIT Press, 2018), 69–69 cat. 1. Gloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Art Institute, 2020), 28, 114 cat. 70, 140. Karen Serres, ed., Monet and London: Views of the Thames, exh. cat. (London; Courtauld, 2024), 74–75, 116 cat. 6, 117 (ill.), 155 no. 9 as Temps gris (Grey Weather). Adriano Pedrosa and Fernando Oliva, eds., Monet's Ecology, exh. cat. (São Paulo: Museu de Arte de São Paulo Assis Chateaubriand, 2005), 154 fig. 92, 155 (ill), 301.