About This Artwork

Claude Monet
French, 1840-1926

The Artist's House at Argenteuil, 1873

Oil on canvas
60.2 x 73.3 cm (23 11/16 x 28 7/8 in.)
Inscribed, lower right: Claude Monet

Mr. and Mrs. Martin A. Ryerson Collection, 1933.1153

Wildenstein, Claude Monet, biographie et catalogue raisonné, 1979 284

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by Claude Monet in museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.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 and his family lived at Argenteuil, outside Paris, from 1871 to 1878. Here he depicted his five- or six-year-old son, Jean, playing with a hoop and his wife, Camille, standing in the doorway of their vine-covered house. The pleasant weather and neatly kept garden, a forerunner of the artist’s celebrated garden at Giverny, give a sense of tranquility and well-being to this painting. This was a period of financial security for Monet thanks to recent sales of his work to the Paris art dealer Paul Durand-Ruel.

— Permanent collection label

Exhibition, Publication and Ownership Histories

Exhibition History

Possibly Paris, Durand-Ruel, Exposition des oeuvres de Cl. Monet, Mar. 1–25, 1883, no cat. no.

Possibly Boston, American Exhibition of Foreign Products, Art and Manufactures, Art Department, Sept. 1–Dec. 1, 1883, cat. 11, as My Garden.

London, Dudley Gallery, Egyptian Hall, Piccadilly, Exposition de tableaux Impressionnistes appartenant à Durand-Ruel, May, 1884, no cat. no.

New York, Durand-Ruel Galleries, Exposition of Forty Paintings by Claude Monet, Jan. 12–27, 1895, cat. 32, as Maison de Monet à Argenteuil, 1872.

New York, Durand-Ruel Galleries, Exhibition of Paintings of Different Periods by Monet, Feb. 8–25, 1911, cat. 8, as Maison de Monet à Argenteuil, 1872.

Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933, cat. 298.

Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 209.

Chicago, Lakeside Press Galleries, R. R. Donnelley & Sons, Dec. 27, 1944–Jan. 24, 1945, no cat.

Art Center in La Jolla (Calif.), Great French Paintings, 1870–1910, June 15–July 26, 1956, cat. 8 (ill.).

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

Tokyo, Galeries Seibu, Claude Monet, Mar. 30–May 15, 1973, cat. 7 (ill.); Kyoto Municipal Museum, May 19–June 26, 1973; Centre Culturel de Fukuoka, July 11–29, 1973.

Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 29 (ill.).

New York, Acquavella Galleries, Claude Monet, Oct. 27–Nov. 28, 1976, cat. 13 (ill.).

Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 80 (ill.); Art Institute of Chicago, Oct. 23, 1984–Jan. 6, 1985; Paris, Galeries Nationales d’Exposition du Grand Palais, as L’impressionnisme et le paysage français, Feb. 4–Apr. 22, 1985.

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. 21 (ill.); Fukuoka Art Museum, Jan. 5–Feb. 2, 1986; Kyoto Municipal Museum of Art, Mar. 4–Apr. 13, 1986.

Leningrad (now Saint Petersburg), State Hermitage Museum, Ot Delakrua do Matissa: Shedevry frantsuzskoi zhivopisi XIX–nachala XX veka, iz Muzeia Metropoliten v N’iu-Iorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Masterpieces of French painting of the nineteenth to the beginning of the twentieth century from the Metropolitan Museum of Art, New York, and the Art Institute of Chicago], Mar. 15–May 16, 1988, cat. 28 (ill.); Moscow, Pushkin Museum of Fine Arts, May 30–July 30, 1988.

Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 28 (ill.).

Washington, D.C., National Gallery of Art, The Impressionists at Argenteuil, May 28–Aug. 20, 2000, cat. 18 (ill.); Hartford, Conn., Wadsworth Atheneum Museum of Art, Sept. 6–Dec. 3, 2000.

Kunsthaus Zürich, Monet’s Garten, Oct. 29, 2004–Mar. 13, 2005, cat. 10 (ill.).

Copenhagen, Ny Carlsberg Glyptotek, Women in Impressionism: From Mythical Feminine to Modern Woman, Oct. 6, 2006–Jan. 21, 2007, cat. 63 (ill.).

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 12 (ill.).

Edinburgh, National Gallery of Scotland, Impressionist Gardens, July 31–Oct. 17, 2010, cat. 18 (ill.); Madrid, Museo Thyssen-Bornemisza, Nov. 16, 2010–Feb. 14, 2011 (Edinburgh only).

Publication History

Foreign Exhibition, Boston, Catalogue of the Art Department, Illustrated, exh. cat. (Mills, Knight & Co., 1883), cat. 11. Simultaneously published in Foreign Exhibition Association, Official Catalogue, Foreign Exhibition, compiled by C. B. Norton (George Coolidge, 1883), p. 214, no. 164.

Durand-Ruel Galleries, New York, Exposition of Forty Paintings by Claude Monet, exh. cat. (Durand-Ruel Galleries, 1895), cat. 32.

Durand-Ruel Galleries, New York, Exhibition of Paintings of Different Periods by Monet, exh. cat. (Durand-Ruel Galleries, 1911), cat. 8.

Art Institute of Chicago, “Accessions and Loans,” Bulletin of the Art Institute of Chicago 16, 3 (May 1922), p. 47.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 162, cat. 2136.

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

Daniel Catton Rich, “The Paintings of Martin A. Ryerson,” Bulletin of the Art Institute of Chicago 27, 1 (Jan. 1933), p. 9.

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. 298.

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. 36, cat. 209.

Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Art Institute of Chicago, 1935), p. 28.

George Slocombe, “Giver of Light,” Coronet (Mar. 1938), p. 22 (ill.).

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

Art Institute of Chicago, “Department of Reproductions,” Bulletin of the Art Institute of Chicago 38, 6 (Nov. 1944), p. 100.

Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Art Institute of Chicago, 1945), p. 37.

Art Institute of Chicago, “Department of Reproductions,” Bulletin of the Art Institute of Chicago 39, 1 (Jan. 1945), p. 14.

Art Institute of Chicago, “Christmas Cards at the Institute,” Bulleting of the Art Institute of Chicago 39, 6 (Nov. 1945), p. 93.

Hans Huth, “Impressionism Comes to America,” Gazette des beaux-arts 29 (1946), pp. 228, fig. 2; 229, n. 6; 230.

Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), p. 282.

Charles Fabens Kelley, “Chicago: Record Years,” Art News 51, 4 (June–Aug. 1952), p. 54 (ill.).

Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Art Institute of Chicago, 1956), p. 34.

Art Center in La Jolla, Great French Paintings, 1870–1910, exh. cat. (Art Center in La Jolla, 1956), p. 11, cat. 8 (ill.).

[Art Institute of Chicago], “Homage to Claude Monet,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 26 (ill.).

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

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 318.

Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (Sept. 1966), p. 202.

Rodolphe Walter, “Les maisons de Claude Monet à Argenteuil,” Gazette des beaux-arts (Dec. 1966), front cover (detail); pp. 335; 336, fig. 2.

Charles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), p. 56, cat. 42, (ill.); 161.

Gerald Needham, “The Paintings of Claude Monet, 1859–1878” (Ph.D. diss., New York University, 1971), pp. 226, 240.

François Daulte, Exposition Claude Monet, exh. cat. (Yomiuri Shimbun Sha, 1973), cat. 7 (ill.).

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 1, Peintures, 1840–1881 (Bibliothèque des Arts, 1974), pp. 65; 236; 237, cat. 284 (ill.).

Grace Seiberling, “The Evolution of an Impressionist,” in Paintings by Monet, ed. Susan Wise, exh. cat. (Art Institute of Chicago, 1975), p. 28.

Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 83, cat. 29 (ill.).

Andrew Forge, Claude Monet, exh. cat. (Acquavella Galleries, 1976), cat. 13 (ill.).

Alice Bellony-Rewald, The Lost World of the Impressionists (Weidenfeld & Nicolson, 1976), pp. 124 (ill.), 125.

Joel Isaacson, Claude Monet: Observation and Reflection (Phaidon/Dutton, 1978), p. 205.

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

Paul Hayes Tucker, Monet at Argenteuil (Yale University Press, 1982), pp. xi; 136; 137; 139; 140, fig. 112; 163.

Sylvie Gache-Patin, “Private and Public Gardens,” in A Day in the Country: Impressionism and the French Landscape, ed. Andrea P. A. Belloli, exh. cat. (Los Angeles County Museum of Art, 1984), pp. 220; 221, no. 80 (ill.).

Sylvie Gache-Patin, “Jardins privés et jardins publics,” in Réunion des Musées Nationaux, L’impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 226–27, no. 80 (ill.); 228.

Charles F. Stuckey, ed., Monet: A Retrospective (Hugh Lauter Levin, 1985), p. 344 (ill.).

Art Institute of Chicago, Seibu Museum of Art, Kyoto Municipal Museum of Art, and Fukuoka Art Museum, eds., Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], trans. Akihiko Inoue, Hideo Namba, Heisaku Harada, and Yoko Maeda, exh. cat. (Nihon Nippon Television Network, 1985), pp. 58, cat. 21 (ill.); 140, cat. 21 (ill.).

John House, Monet: Nature into Art (Yale University Press, 1986), pp. 5; 6, pl. 3; 18; 30; 34; 80; 115.

Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 16 (ill.), 17, 118.

Leningrad (now Saint Petersburg), State Hermitage Museum, Ot Delakrua do Matissa: Shedevry frantsuzskoi zhivopisi XIX–nachala XX veka, iz Muzeia Metropoliten v N’iu-Iorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Masterpieces of French painting of the nineteenth to the beginning of the twentieth century from the Metropolitan Museum of Art, New York, and the Art Institute of Chicago] exh. cat. (Avrora, 1988), pp. 78–79, cat. 28 (ill.).

Mary Mathews Gedo, “The Grande Jatte as the Icon of a New Religion: A Psycho–Iconographic Interpretation,” "The Grande Jatte at 100," special issue, Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 235, fig 10; 237.

Michael Howard, Monet (Brompton, 1989), pp. 82–83 (ill.).

Richard R. Brettell, with the assistance from Joachim Pissarro, Pissarro and Pontoise: The Painter in a Landscape (Yale University Press, 1990), p. 175, fig. 153.

Rodolphe Rapetti, Monet (Anaya/Giorgio Mondadori, 1990), p. 29, pl. 9. Translated by Richard Crevier as Monet, Masters’ Gallery (Arch Cape/Outlet, 1990), p. 29, pl. 9.

Karin Sagner-Düchting, Claude Monet, 1840–1926: Ein Fest für die Augen (Benedikt Taschen, 1990), p. 73 (ill.). Translated by Karen Williams as Claude Monet, 1840–1926: A Feast for the Eyes (Taschen, 2004), p. 73 (ill.).

Bernard Denvir, Impressionism: The Painters and the Paintings (Studio Editions, 1991), pp. 179; 180, pl. 175; 418.

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 5, Supplément aux peintures: Dessins; Pastels; Index (Wildenstein Institute, 1991), p. 28, no. 284.

Sylvie Patin, Monet: “Un oeil . . . mais, bon Dieu, quel oeil!” (Gallimard/Réunion des Musées Nationaux, 1991), pp. 45; 46–47 (ill., details); 170. Translated by Anthony Roberts as Monet: The Ultimate Impressionist (Abrams, 1993), pp. 45; 46–47 (ill., details); 170.

Sophie Fourny-Dargère, Monet, Profils de l’art (Chêne, 1992), pp. 60; 61, fig. 6.

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. 57 (ill.).

Derek Fell, The Impressionist Garden (Frances Lincoln, 1994), pp. 68 (ill.), 69, 72.

Nancy Nunhead, Claude Monet (Barnes & Noble/Brompton, 1994), pp. 66–67 (ill.).

Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 17; 19 (detail); 21; 22; 69; 75, pl. 4.

Charles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), pp. 51, cat. 28 (ill.); 210; 243.

Ra Myuzu Henshubu, Mone: Yureru hikari [Monet] (Kodansha, 1995), pp. 48–49, pl. 17; 123.

Daniel Wildenstein, Claude Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), pp. 96 (ill.), 103.

Daniel Wildenstein, Claude Monet: Catalogue raisonné/Werkverzeichnis, vol. 2, Nos. 1–968 (Taschen/Wildenstein Institute, 1996), pp. 120–21, cat. 284 (ill.).

Carla Rachman, Monet (Phaidon, 1997), pp. 101; 102–03, fig. 72.

Lisa N. Peters, Visions of Home: American Impressionist Images of Suburban Leisure and Country Comfort, ed. Lisa N. Peters and Peter M. Lukehart, exh. cat. (Trout Gallery, Dickinson College/University Press of New England, 1997), p. 25, fig. 8.

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), pp. 9, 39 (ill.).

Art Institute of Chicago, Treasures from the Art Institute of Chicago, selected by James N. Wood, commentaries by Debra N. Mancoff (Art Institute of Chicago/Hudson Hills, 2000), p. 202 (ill.).

Paul Hayes Tucker, The Impressionists at Argenteuil, exh. cat. (National Gallery of Art, Washington, D.C./Wadsworth Atheneum Museum of Art/Yale University Press, 2000), pp. 32; 88–89, cat. 18 (ill.).

Debra N. Mancoff, Monet’s Garden in Art (Viking Studio, 2001), pp. 18 (ill.), 19, 21, 22.

Sylvie Patin, L’impressionisme (Bibliothèque des Arts, 2002), pp. 66; 70, no. 47 (ill.); 296.

Richard Shone, The Janice H. Levin Collection of French Art (Metropolitan Museum of Art, New York/Yale University Press, 2002), p. 22, fig. 8.

Debra N. Mancoff, Monet: Nature into Art (Publications International, 2003), pp. 8 (ill.), 28–29 (ill.).

Christoph Becker, “Monet’s Garten,” Monet’s Garten, ed. Christoph Becker, exh. cat. (Kunsthaus Zürich/Hatje Cantz, 2004), pp. 24; 26, cat. 10 (ill.). Translated by Fiona Elliot as “Monet’s Garden,” in Monet’s Garden, ed. Christoph Becker, exh. cat. (Kunsthaus Zürich/Hatje Cantz, 2004), pp. 23; 26, cat. 10 (ill.).

Catherine Hug and Monika Leonhardt, “Der Gärtner Claude Monet,” Monet’s Garten, ed. Christoph Becker, exh. cat. (Kunsthaus Zürich/Hatje Cantz, 2004), p. 116. Translated by Will Furth as “Claude Monet the Gardener,” in Monet’s Garden, ed. Christoph Becker, exh. cat. (Kunsthaus Zürich/Hatje Cantz, 2004), p. 115.

Paul Soderberg, “Masters and Mentors: Art’s Endless Golden Line,” Plein air (July 2005), p. 60 (ill.).

Dorothee Hansen and Wulf Herzogenrath, eds., Monet und Camille: Frauenportraits im Impressionismus, exh. cat. (Kunsthalle Bremen/Hirmer, 2005), pp. 32, 33 (ill.).

Doris Kutschback, Monet: Seine Gärten, seine kunst, seine leben (Prestel, 2006), pp. 16–17 (ill.). Translated as Living Monet: The Artist’s Gardens (Prestel, 2006), pp. 16–17 (ill.).

Sidel Maria Søndergaard, “Women in Impressionism: An Introduction,” in Women in Impressionism: From Mythical Feminine to Modern Woman, ed. Sidsel Maria Søndergaard, exh. cat. (Ny Carlsberg Glyptotek/Skira, 2006), p. 32.

John House, “Women Out of Doors,” in Women in Impressionism: From Mythical Feminine to Modern Woman, ed. Sidsel Maria Søndergaard, exh. cat. (Ny Carlsberg Glyptotek/Skira, 2006), p. 158.

Norio Shimada, Claude Monet, Great Masters of Western Art 1 (Shogakukan, 2006), p. 61 (ill.).

Ruth E. Iskin, “Was There a New Woman in Impressionist Painting?,” in Women in Impressionism: From Mythical Feminine to Modern Woman, ed. Sidsel Maria Søndergaard, exh. cat. (Ny Carlsberg Glyptotek/Skira, 2006), p. 217, fig. 192/cat. 63; 311.

Katja Matauschek, “‘Field’ Studies: Observations on the Painting Technique and Condition of Monet’s Fields in Spring,” in Christian von Holst and Christofer Conrad, with contributions by Roman Zieglgänsberger and Katja Matauschek, Claude Monet: Fields in Spring, exh. cat. (Staatsgalerie Stuttgart/Hatje Cantz, 2006), p. 146.

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), pp. 85–86; 87, fig. 10.

Denis Rouart, “Appearances and Reflections,” in Denis Rouart and Jean-Dominique Rey, with a cat. rais. by Julie Rouart, Monet, Water Lilies: The Complete Series, trans. David Radzinowicz (Flammarion/Rizzoli, 2008), pp. 22, 25. Simultaneously revised and published in French as Denis Rouart and Jean-Dominique Rey, with a cat. rais. by Julie Rouart, Monet, les nymphéas (Flammarion, 2008).

George T. M. Shackelford, Monet and the Impressionists, exh. cat. (Art Gallery of New South Wales/Yale University Press, 2008), pp. 27; 31, n. 17.

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. 46 (detail); 47, cat. 12 (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. 46 (detail); 47, cat. 12 (ill.).

Ruth Butler, Hidden in the Shadow of the Master: The Model-Wives of Cézanne, Monet, and Rodin (Yale University Press, 2008), pp. 159 (ill.), 175.

Claudia Beltramo Ceppi, Monet: Il tempo delle ninfee, exh. cat. (Palazzo Reale/Giunti, 2009), p. 44.

Susie Hodge, Monet: His Life and Works in 500 Images (Lorenz, 2009), p. 128 (ill.).

Gabrielle van Zuylen, “L’oeil du jardinière . . . Claude Monet,” in Le jardin de Monet à Giverny: L’invention d’un paysage, exh. cat. (Musée des Impressionnismes, Giverny/Five Continents, 2009), pp. 40; 41, ill. 2. Translated by Gabrielle van Zuylen as “The Eye of a Gardener . . . Claude Monet,” in Monet’s Garden in Giverny: Inventing the Landscape, trans. Simon Pleasance and Fronza Woods, exh. cat. (Musée des Impressionnismes, Giverny/Five Continents, 2009), pp. 40; 41, fig. 2; 43.

Greg M. Thomas, Impressionist Children: Childhood, Family, and Modern Identity in French Art (Yale University Press, 2010), pp. 31; 115; 116, fig. 105; 184.

Mary Mathews Gedo, Monet and His Muse: Camille Monet in the Artist’s Life (University of Chicago Press, 2010), pp. 127, fig. 8.10; 128.

Clare A. P. Willsdon, Impressionist Gardens, exh. cat. (National Galleries of Scotland, 2010), pp. 2–3 (ill.); 4; 48, cat. 18 (ill.); 146–47, cat. 18.

Caroline Holmes, Impressionists in their Garden (Antique Collectors’ Club, 2012), pp. 170–71 (ill.).

“Cat. 15: The Artist’s House at Argenteuil, 1873” 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 Alexandre Dubourg, Paris, 1873. [1]

Possibly sold by Alexandre Dubourg, Paris, to Durand-Ruel, Paris, Jan. 9, 1882. [2]

Sold to Durand-Ruel, Paris, Apr. 29, 1890, for 1,500 francs. [3]

Sold by Durand-Ruel, Paris, to Potter Palmer, Chicago, July 8, 1891, for 5,000 francs. [4]

Sold by Potter Palmer, Chicago, to Durand-Ruel, New York, Nov. 23, 1894, for $2,500. [5]

Sold by Durand-Ruel, New York, to Martin A. Ryerson, Chicago, Apr. 24, 1912, for $6,200. [6]

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

NOTES

[1] According to Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 2, Nos. 1–968 (Taschen/Wildenstein Institute, 1996), pp. 120–21, cat. 284 (ill.). See also Daniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), p. 101, which states that Dubourg, an art dealer, bought three pictures from Monet for a total of 1,500 francs in 1873. 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.

[2] According to Daniel Wildenstein, Claude Monet: Catalogue raisonné/Werkverzeichnis, vol. 2, Nos. 1–968 (Taschen/Wildenstein Institute, 1996), pp. 120–21, cat. 284 (ill.). The Durand-Ruel Archives could not verify this information. According to the Durand-Ruel Archives: “Durand-Ruel Paris (stock 2147) achète à Dubourg un tableau de Monet intitulé Son jardin le 9 janvier 1882 mais nous n’avons aucune preuve qu’il s’agisse du tableau du AIC,” Durand-Ruel, Paris, stock book for 1880–82 and stock book for 1880–84; 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] The transaction is recorded in the Durand-Ruel, Paris, stock book May 1, 1890 (no. 277, as Maison de l’artiste): “Acheté par Durand-Ruel Paris (stock 277) le 29 avril 1890 pour 1500 francs, Maison de l’artiste,” 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. In the same letter, the Durand-Ruel Archives state that they do not know from whom the painting was purchased.

[4] The transaction is recorded in the Durand-Ruel, Paris, stock book May 1, 1890 (no. 277, as Maison de l’artiste): “Vendu par Durand-Ruel Paris (stock 277) à Potter Palmer le 8 juillet 1891 pour 5000 francs, Maison de l’artiste,” 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 1894–1905 (no. 1279, as Sa Maison à Argenteuil): “Acheté par Durand-Ruel New York (stock 1279) à Potter Palmer le 23 novembre 1894 pour $2500, Sa Maison à Argenteuil,” 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.

[6] The transaction is recorded in the Durand-Ruel, New York, stock book for 1904–24 (no. 1279, as Sa Maison et jardin à Argenteuil, 1872): “Vendu par Durand-Ruel New York (stock 1279) à M. A. Ryerson le 24 avril 1912 pour $6200, Sa Maison et jardin à Argenteuil, 1872,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010. A purchase receipt on Durand-Ruel letterhead, dated May 23, 1912, includes this painting as one of several 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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