Apples and Grapes

possibly sold to Cahuzac, Paris, Nov. 1880, in addition to two other paintings (Fleurs, pommes

Possibly Paris, office of La Vie Moderne, Le peintre Claude Monet, June 1880, cat. 2, as Corbeille de fruits.

and Les Saules), for 1,000 francs [ per Monet’s livre de comptes, ventes octobre–décembre 1880, as “M. Cahuzac / Vendre trois toiles / fleurs pommes – fruits / Les Saules – ensemble 1000.” The livre de comptes is located at the Musée Marmottan Monet, Paris

Possibly Théodore Duret, Le peintre Claude Monet, exh. cat. (G. Charpentier, 1880), p. 14, cat. 2.

photocopy of this page in curatorial object file]

Art Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 26.

Gloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Art Institute, 2020), 28-30, 61 cat. 26, 132.

“Cat. 17: Apples and Grapes, 1880” 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.

Richard Kendall, “Apples and Grapes in a Basket,” Nineteenth-Century European Paintings at the Sterling and Francine Clark Art Institute, ed. Sarah Lees (Sterling and Francine Clark Art Institute/Yale University Press, 2012), p. 737, fig. 305.1.

Mary Mathews Gedo, Monet and His Muse: Camille Monet in the Artist’s Life (University of Chicago Press, 2010), pp. 209–10, fig. 14.3.

possibly Durand-Ruel, Paris, c. 1883 [per Wildenstein 1996. The Durand-Ruel Archives could not verify this information, as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]. Catholina Lambert, Paterson, N.J., by May 16, 1895 [per Durand-Ruel Archives, “Acheté par Durand-Ruel NY (stock 1421, as Fruits) à Catholina Lambert le 16 mai 1895,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 33 (ill.).

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. 80 (detail); 81, cat. 33 (ill.). 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. 80 (detail); 81, cat. 33 (ill.).

Doris Kutschback, Monet: Seine Gärten, seine kunst, seine leben (Prestel, 2006), pp. 119 (detail). Translated as Living Monet: The Artist’s Gardens (Prestel, 2006), pp. 118–19 (detail).

Anne L. Cowe, “Claude Monet: A Chronology, 1878–1883,” in Monet: The Seine and the Sea, 1878–1883, ed. Michael Clarke and Richard Thomson, exh. cat. (National Galleries of Scotland, 2003), p. 169.

Petra ten-Doesschate Chu, Nineteenth-Century European Art (Prentice Hall/Abrams, 2003), pp. 416; 417, fig. 17–22.

Washington, D.C., Phillips Collection, Impressionist Still Life, Sept. 22, 2001–Jan. 13, 2002, cat. 41 (ill.); Boston, Museum of Fine Arts, Feb. 17–June 9, 2002.

David Joel, Monet at Vétheuil and on the Norman Coast, 1878–1883 (Antique Collectors’ Club, 2002), pp. 83 (ill.), 106.

Belinda Thomson, Van Gogh, Artists in Focus(Art Institute of Chicago, 2001), pp. 47; 49, fig. 17.

Alexandra Ames Lawrence, “Sisley/Monet,” in Eliza E. Rathbone and George T. M. Shackelford, Impressionist Still Life, exh. cat. (Phillips Collection/Abrams, 2001), pp. 106; 109, pl. 41; 230, n. 94.

Eliza E. Rathbone and George T. M. Shackelford, Impressionist Still Life, exh. cat. (Phillips Collection/Abrams, 2001), p. 213.

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. 64 (ill.).

Claude Monet: A Loan Exhibition, exh. cat. (Minneapolis Society of the Fine Arts, 1957), p. 60, cat. 44 (ill.).

Matthias Arnold, Claude Monet, Rowohlts Monographien (Rowohlt, 1998), p. 82 (ill.).

Annette Dixon, “The Marketing of Monet: The Exhibition at La Vie Moderne,” in Annette Dixon, Carole McNamara, and Charles Stuckey, Monet at Vétheuil: The Turning Point, exh. cat. (University of Michigan, 1998), pp. 104, fig. 3; 109.

Meyer Schapiro, Impressionism: Reflections and Perceptions, ed. Adrienne M. Baxter (Braziller, 1997), pp. 202, fig. 100; 204.

Daniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), pp. 147 (ill.), 149.

Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 2, Nos. 1–968 (Taschen/Wildenstein Institute, 1996), pp. 213, cat. 546 (ill.); 214.

Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 55 (ill.).

Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 24–25; 27 (detail); 77, pl. 6; 106.

Art Institute of Chicago, Treasures of 19th- and 20th-Century Painting: The Art Institute of Chicago, with an introduction by James N. Wood (Art Institute of Chicago/Abbeville, 1993), p. 80 (ill.).

Sophie Fourny-Dargère, Monet, Profils de l’art (Chêne, 1992), p. 152, fig. 7.

James Yood, Feasting: A Celebration of Food in Art: Paintings from the Art Institute of Chicago (Art Institute of Chicago/Universe, 1992), pp. 54–55, pl. 18.

Christopher Lloyd, “Still-Life: Apples and Grapes,” in Alfred Sisley, ed. Mary Anne Stevens, exh. cat. (Royal Academy of Arts, London/Musée d’Orsay/Walters Art Gallery/Yale University Press, 1992), p. 174.

Daniel Wildenstein, Claude Monet: Catalogue raisonné, vol. 5, Supplément aux peintures: Dessins; Pastels; Index (Wildenstein Institute, 1991), p. 34, cat. 546.

Michael Howard, ed., The Impressionists by Themselves: A Selection of Their Paintings, Drawings and Sketches with Extracts from Their Writings (Conran Octopus, 1991), pp. 225 (ill.), 320.

Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 67, 68 (ill.), 118.

Art Institute of Chicago, Seibu Museum of Art, Kyoto Municipal Museum of Art, and Fukuoka Art Museum, Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], exh. cat. (Nippon Television Network, 1985), pp. 86, cat. 39 (ill.); 87 (detail); 149 (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. 39 (ill.); Fukuoka Art Museum, Jan. 5–Feb. 2, 1986; Kyoto Municipal Museum of Art, Mar. 4–Apr. 13, 1986.

Albi, Musée Toulouse-Lautrec, Trésors impressionnistes du Musée de Chicago, June 27–Aug. 31, 1980, cat. 11 (ill.).

Musée Toulouse-Lautrec and Art Institute of Chicago, Trésors impressionnistes du Musée de Chicago, exh. cat. (Musée Toulouse-Lautrec, 1980), pp. 13, no. 11 (ill.); 67.

Art Institute of Chicago, “New Installation of Earlier Paintings,” Bulletin of the Art Institute of Chicago 73, 1 (Jan.–Feb. 1979), p. 15.

Joel Isaacson, Claude Monet, Observation and Reflection (Phaidon/Dutton, 1978), pp. 23; 110, pl. 62; 211, no. 62; 213.

Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 100, cat. 46 (ill.).

Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 46 (ill.).

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 1, Peintures, 1840–1881 (Bibliothèque des Arts, 1974), pp. 350; 351, cat. 546 (ill.); 446, pièce justificative 37.

Luigina Rossi Bortolatto, L’opera completa di Claude Monet: 1870–1889, Classici dell’arte 63 (Rizzoli, 1972), pp. 100; 101, cat. 186 (ill.).

Charles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 58, cat. 44 (ill.); 161–62.

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 319.