Still Life with Eggs and a Leg of Mutton

CC0 Public Domain Designation

Painting and Sculpture of Europe

1780/90

French School

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: French School
Title: Still Life with Eggs and a Leg of Mutton
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1775–1795
Medium: Oil on canvas
Dimensions: 79.9 × 92.2 cm (31 7/8 × 36 5/16 in.)
Credit Line: The Stickney Fund
Reference Number: 1924.1042
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/111041/manifest.json

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), pp. 44, ill., 130, no. 56.
R[ose] M[ary] F[ischkin, “A Still Life by Chardin,” Art Institute of Chicago Bulletin 19, 3 (1925), pp. 33–34, ill.
Ella S. Siple, “Art in America: The Art Institute of Chicago – The Ryerson Collection,” Burlington Magazine 51 (1927), p. 240, pl. II.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), pp. 40, ill., 146.
Alfred M. Frankfurter, “Art in the Century of Progress,” Fine Arts 20, 2 (1933), p. 61.
Georges Wildenstein, Chardin (Paris, 1933), p. 228, no. 953, fig. 225.
Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Chicago, 1935), p. 26–27.
Margaret Breuning, “Current Exhibitions,” Parnassus 8, 7 (1937), p. 31.
R[eginald] H[oward] Wilenski, French Painting, rev. ed. (Boston, 1949), p. 124.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p.164.
Daniel Wildenstein and Gabriele Mandel, L’opera completa di Honoré Fragonard, Classici dell’arte 62 (Milan, 1972), p. 112, no. 580, ill.
Pierre Rosenberg, L’opera completa di Chardin, Classici dell’arte 109 (Milan, 1983), p. 115, no. R10, ill.
Christopher Wright, The World’s Master Paintings from the Early Renaissance to the Present Day: A Comprehensive Listing of Works by 1,300 Painters and a Complete Guide to Their Locations Worldwide (New York, 1991), vol. 1, p. 440, vol. 2, pp. 62, 664.
Susan Wise in Susan Wise and Malcolm Warner, French and British Paintings from 1600 to 1800 in The Art Institute of Chicago (Chicago, 1996), pp. 61–63, ill.
Jean-Pierre Cuzin and Dimitri Salmon, Fragonard : regards croisés (Paris, 2007), pp. 12, 226 n. 31, fig. 7.

Paris, Galeries Georges Petit, Exposition Chardin et Fragonard, June-July, 1907, no. 69
Art Institute of Chicago, A Century of Progress, 1933, no. 212, as Chardin.
New York, Marie Harriman Gallery, Chardin and the Modern Still Life, 1936, no. 5, as Chardin
Poughkeepsie, New York, Vassar College Art Gallery, Problem Pictures: Paintings without Authors, 1965, no. 19, as attributed to Fragonard.
Art Institute of Chicago, Selected Works of Eighteenth-Century French Art in the Collections of The Art Institute of Chicago, 1976, no. 21.

Camille Groult (d. 1908), Paris; sold Galerie Georges Petit, Paris, June 21–22, 1920, no. 49, as attributed to Chardin, to Delaborderie for Fr 15,000 [seller, price and buyer are recorded in an annotated sale catalogue in the Rijksbureau voor Kunsthistorisch Documentatie, The Hague]. Ehrich Galleries, New York, by 1923, to 1924; sold Anderson Galleries, New York, November 12, 1924, no. 56, ill. as Chardin, to William Macbeth, Inc., New York, for $2,200 [according to annotated sale catalogue in Frick Art Reference Library, New York]; purchased from Macbeth, 1924.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.