About This Artwork

Claude Monet
French, 1840-1926

Apples and Grapes, 1880

Oil on canvas
66.5 x 82.5 cm (26 3/16 x 32 1/2 in.)
Inscribed upper left: Claude Monet 1880

Mr. and Mrs. Martin A. Ryerson Collection, 1933.1152

Wildenstein, Claude Monet, cat rais. 1996 1546; Wildenstein, Claude Monet, biographie et catalogue raisonné, 1979 1546

This work is featured in the online catalogue Monet Paintings and Drawings at the Art Institute of Chicago, the first volume in the Art Institute’s scholarly digital series on the Impressionist circle. The catalogue offers in-depth curatorial and technical entries on 47 artworks by Claude Monet in museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.



Claude Monet probably painted this and other still lifes in 1879–80, knowing that they would be more readily marketable than his landscapes. In Apples and Grapes, however, he employed the complexity of color, light, and texture found in his most Impressionist landscapes. This is particularly evident in the extensive cloth surface—the play of light on the horizontal brushstrokes (indicating the folds in the tablecloth) recalls earlier canvases in which Monet used similar short horizontals of variegated colors to suggest water rippling in the sunlight.

— Permanent collection label

Exhibition, Publication and Ownership Histories

Exhibition History

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

New York, Durand-Ruel Galleries, Exhibition of Paintings by Claude Monet, Feb. 11–25, 1902, cat. 8, as Fruits.

Boston, Copley Society, Loan Collection of Paintings by Claude Monet and Eleven Sculptures by Auguste Rodin, Mar. 1905, cat. 2, as Fruits. 1880, Lent by Messrs. Durand–Ruel & Sons.

New York, Durand-Ruel Galleries, Exhibition of Paintings by Claude Monet, Jan. 26–Feb. 14, 1907, cat. 17, as Fruits, 1880.

Possibly Berlin, Paul Cassirer, XI. Jahrgang, II. Ausstellung: Kollektion Lovis Corinth, Ausstellung ‘Stilleben,’ Oct. 15–Nov. 8, 1908, cat. 51, as Stilleben, Früchte.

Washington, D.C., Corcoran Gallery of Art, Special Exhibition of Paintings by the Masters of the Modern French School, Feb. 11–Mar. 5, 1911, cat. 21, as Fruits, 1880.

New York, Durand-Ruel Galleries, Exhibition of Paintings Representing Still Life and Flowers by Manet, Monet, Pissarro, Renoir, Sisley, André d’Espagnat, Dec. 20, 1913–Jan. 8, 1914, cat. 6, as Fruits.

Chicago, Auditorium Hotel, [Tableaux Durand-Ruel], Dec. 1915.

University of Chicago, Feb. 11–23, 1918.

Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933, cat. 297.

Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 217.

Art Gallery of Toronto, An Exhibition of Great Paintings in the Aid of the Canadian Red Cross, Nov. 15–Dec. 15, 1940, cat. 102.

Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no cat. no.

City Art Museum of St. Louis, Claude Monet: A Loan Exhibition, Sept. 25–Oct. 22, 1957, cat. 44 (ill.); Minneapolis Institute of Arts, Nov. 1–Dec.1, 1957.

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

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

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

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.

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

Publication History

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

Possibly “Notre exposition, Claude Monet,” La vie moderne, June 19, 1880, p. 400.

Durand-Ruel Galleries, New York, Exhibition of Paintings by Claude Monet, exh. cat. (Durand-Ruel, 1902), cat. 8.

Copley Society, Loan Collection of Paintings by Claude Monet and Eleven Sculptures by Auguste Rodin, exh. cat. (Copley Society, 1905), p. 12, cat. 2.

Durand-Ruel Galleries, New York, Exhibition of Paintings by Claude Monet, exh. cat. (Durand-Ruel, 1907), cat. 17.

Possibly Paul Cassirer Gallery, Berlin, XI. Jahrgang, II. Ausstellung, exh. cat. (Paul Cassirer, 1908), cat. 51.

Corcoran Gallery of Art, Special Exhibition of Paintings by the Masters of the Modern French School (Corcoran Gallery of Art, 1911), cat. 21.

Durand-Ruel Galleries, New York, Exhibition of Paintings Representing Still Life and Flowers by Manet, Monet, Pissarro, Renoir, Sisley, André, d’Espagnat (Durand-Ruel, 1913), cat. 6.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 162, cat. 2141.

M. C., “Monets in the Art Institute,” Bulletin of the Art Institute of Chicago 19, 2 (Feb. 1925), p. 19 (ill.).

Anthony Bertram, Claude Monet, World’s Masters (Studio/William Edwin Rudge, 1931), pl. 24.

Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture; Lent from American Collections, ed. Daniel Catton Rich, 3rd ed., exh. cat. (Art Institute of Chicago, 1933), p. 43, cat. 297.

Daniel Catton Rich, “Französische Impressionisten im Art Institute zu Chicago,” Pantheon (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, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture, 1934, ed. Daniel Catton Rich, exh. cat. (Art Institute of Chicago, 1934), p. 37, cat. 217.

George Slocombe, “Giver of Light,” Coronet (Mar. 1938), p. 19 (ill.).

“Technique of Painting—II, a Study of Impressionism,” Coronet 6, 2 (June 1939), p. 101 (ill.) and (detail).

Art Gallery of Toronto, An Exhibition of Great Paintings in the Aid of the Canadian Red Cross, exh. cat. (Art Gallery of Toronto, 1940), p. 23, cat. 102.

Charles Fabens Kelley, “Fruit: Apples and Grapes: A Painting by Claude Monet,” Christian Science Monitor, Aug. 19, 1941, (ill.).

Art Institute of Chicago, “Department of Reproductions,” Bulletin of the Art Institute of Chicago 38, 4 (Apr.–May 1944), p. 70.

Art Institute of Chicago, “Department of Reproductions,” Bulletin of the Art Institute of Chicago 38, 5 (Sept.–Oct. 1944), p. 85.

Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Art Institute of Chicago, 1948), p. 37.

Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), p. 280.

Heinz School Service Library, “Familiar Foods in Famous Paintings,” Carnegie Magazine 24, 2 (Feb. 1950), p. 250 (ill.).

Art Institute of Chicago, “Catalogue,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 33.

Art Institute of Chicago, “Chronology,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 30 (ill.).

Edith Weigle, “The Wonderful World of Art,” Chicago Daily Tribune, May 26, 1957, p. E2 (ill.).

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

William C. Seitz, “Claude Monet’s View of Nature,” in Claude Monet: A Loan Exhibition, exh. cat. (Minneapolis Society of the Fine Arts, 1957), pp. 20, 27.

William C. Seitz, Claude Monet, Library of Great Painters (Abrams, 1960), pp. 30, fig. 34; 114.

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

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.

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.

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

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

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

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

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, 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.).

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 4, Peintures, 1899–1926 (Bibliothèque des Arts, 1985), pp. 31, n. 274; 44, n. 412.

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

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.

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.

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.

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.).

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

Charles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), pp. 77, cat. 55 (ill.); 206; 235; 237; 238.

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.

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

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

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.

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.).

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.

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

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

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.

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).

Eric M. Zafran, “Monet in America,” in Wildenstein and Co., Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), p. 96.

Kathryn Calley Galitz, “Apples and Grapes,” in Kathryn Calley Galitz, Asher Ethan Miller, Rebecca A. Rabinow, Sabine Rewald, Susan Alyson Stein, and Gary Tinterow, Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art (Metropolitan Museum of Art/Yale University Press, 2007), p. 140, cat. 129 (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.).

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.

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.

Bernhard Echte and Walter Feilchenfeldt, eds., with assistance by Petra Cordioli, Kunstsalon Paul Cassirer: Die Ausstellungen 1908–1910 (Nimbus, Kunst und Bücher, 2013), pp. 53 (ill.), 61, 493.

“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).

Ownership History

Possibly sold by the artist to Cahuzac, Paris, Nov. 1880, in addition to two other paintings (Fleurs, pommes; and Les Saules), for 1,000 francs. [1]

Possibly acquired by Durand-Ruel, Paris, c. 1883. [2]

Acquired by Catholina Lambert, Paterson, N.J., by May 16, 1895. [3]

Sold by Catholina Lambert, Paterson, New Jersey, to Durand-Ruel, New York, May 16, 1895. [4]

Sold by Durand-Ruel, New York, to Martin A. Ryerson, Chicago, Dec. 18, 1915, for $8,100. [5]

Bequeathed by Martin A. Ryerson, Chicago (died 1932), to the Art Institute of Chicago, 1933.

NOTES

[1] This transaction is recorded in 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. Photocopy of this page in curatorial object file, Art Institute of Chicago. According to Wildenstein Fleurs pommesis Fleurs de topinambours (W629), and suggests that Les saules may be Les saules à Vétheuil (W612), and Fruits may be the Art Institute’s painting (W546). See Daniel Wildenstein,Monet: Catalogue raisonné/Werkverzeichnis, vol. 2, Nos. 1–968 (Taschen/Wildenstein Institute, 1996), pp. 213, cat. 546 (ill.); 214; 234–35, cat. 612 (ill.); 240, cat. 629 (ill.). The number preceded by a W refers to the Monet catalogue raisonné; see Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vols. 1–4 (Taschen/Wildenstein Institute, 1996).


[2] According to Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 2, Nos. 1–968 (Taschen/Wildenstein Institute, 1996), pp. 213, cat. 546 (ill.); 214. The Durand-Ruel Archives could not verify this information. According to the Durand-Ruel Archives, “Nous n’avons aucune documentation à ce sujet.” See Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago.

[3] According to the 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, Art Institute of Chicago.

[4] The transaction is recorded in the Durand-Ruel, New York, stock book for 1904–24 (no. 1421, as Fruits): “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, Art Institute of Chicago.

[5] The transaction is recorded in the Durand-Ruel, New York, stock book for 1904–24 (no. 1421, as Fruits): “Vendu par Durand-Ruel NY (stock 1421) à Martin A. Ryerson le 18 décembre 1915 pour $8100, Fruits,” 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, Art Institute of Chicago. A purchase receipt on Durand-Ruel letterhead, dated Dec. 21, 1915, includes this painting as one of a number sold by Durand-Ruel, New York, to M. A. Ryerson. Photocopy in curatorial object file, Art Institute of Chicago. This painting was on loan from Martin A. Ryerson to the Art Institute of Chicago, intermittently, by 1921, according to Museum Registration department artists sheets, on file in Museum Registration, Art Institute of Chicago.




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