About This Artwork

Claude Monet
French, 1840-1926

Étretat: The Beach and the Falaise d'Amont, 1885

Oil on canvas
69.3 x 66.1 cm (27 1/4 x 26 in.)
Inscribed lower right: Claude Monet

Gift of Mrs. John H. (Anne R.) Winterbotham in memory of John H. Winterbotham; Joseph Winterbotham Collection, 1964.204


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by Claude Monet in the museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.

Exhibition, Publication and Ownership Histories

Exhibition History

Boston, Brooks Reed Gallery, Tableaux Durand-Ruel, Oct. 1916.

Cincinnati Art Museum, French Painters of the So-Called Impressionist School, Nov. 1926.

Art Institute of Chicago, Chicago Collectors: An Exhibition Sponsored by the Men’s Council of the Art Institute, Sept. 20–Oct. 27, 1963, no cat. no.

Tulsa, Okla., Philbrook Art Center, French and American Impressionism, Oct. 2–Nov. 26, 1967, cat. 7.

Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 58 (ill.).

Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 81 (ill.).

Publication History

Art Institute of Chicago, Chicago Collectors: An Exhibition Sponsored by the Men’s Council of the Art Institute, exh. cat. (Art Institute of Chicago, [1963]), p. 5.

Art Institute of Chicago, Annual Report, 1963–64 (Art Institute of Chicago, [1964]), pp. 3, 19.

Philbrook Art Center, French and American Impressionism, Sponsored by Tulsa Collectors Group, exh. cat. (Philbrook Art Center, 1967), p. 7, cat. 7.

Art Institute of Chicago, “Exhibitions,” Bulletin of the Art Institute of Chicago 69, 4 (July–Aug. 1975), p. 7.

Grace Seiberling, “The Evolution of an Impressionist,” in Paintings by Monet, ed. Susan Wise, exh. cat. (Art Institute of Chicago, 1975), p. 31.

Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 112, cat. 58 (ill.).

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 2, Peintures, 1882–1886 (Bibliothèque des Arts, 1979), pp. 168; 169, cat. 1012 (ill.).

Charles F. Stuckey, ed., Monet: A Retrospective (Hugh Lauter Levin, 1985), p. 121 (ill.).

Lyn DelliQuadri, “A Living Tradition: The Winterbothams and Their Legacy,” in Art Institute of Chicago, The Joseph Winterbotham Collection: A Living Tradition (Art Institute of Chicago, 1986), p. 13.

Art Institute of Chicago, The Joseph Winterbotham Collection: A Living Tradition (Art Institute of Chicago, 1986), pp. 56 (ill.), 60.

Art Institute of Chicago, “Selected References and Index,” in “The Joseph Winterbotham Collection at the Art Institute of Chicago,” special issue, Art Institute of Chicago Museum Studies 20, 2 (1994), p. 192.

Lyn DelliQuadri, “A Living Tradition: The Winterbothams and Their Legacy,” in “The Joseph Winterbotham Collection at the Art Institute of Chicago,” special issue, Art Institute of Chicago Museum Studies 20, 2 (1994), p. 109.

Margherita Andreotti, “The Joseph Winterbotham Collection,” in “The Joseph Winterbotham Collection at the Art Institute of Chicago,” special issue, Art Institute of Chicago Museum Studies 20, 2 (1994), pp. 118–19 (ill.).

Robert L. Herbert, Monet on the Normandy Coast: Tourism and Painting, 1867–1886 (Yale University Press, 1994), pp. 101; 102–03, fig. 109; 104–05, fig. 114 (detail).

Sophia Shaw Pettus, “Checklist of the Joseph Winterbotham Collection, 1921–1994,” in “The Joseph Winterbotham Collection at the Art Institute of Chicago,” special issue, Art Institute of Chicago Museum Studies20, 2 (1994), p. 188 (ill.).

Charles F. Stuckey, Claude Monet, 1840–1926, with the assistance of Sophia Shaw, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), p. 102, cat. 81 (ill.).

Peter Neill, On a Painted Ocean: Art of the Seven Seas, in collaboration with James A. Randall and Suzanne Demisch, ed. Gareth L. Steen (New York University Press, 1995), pp. 2, 3 (ill.).

Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 3, Nos. 969–1595 (Taschen/Wildenstein Institute, 1996), p. 381, cat. 1012 (ill.).

“Cat. 21: Étretat: The Beach and the Falaise d’Amont, 1885” in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014).

Ownership History

Acquired from [unknown] by Bongniat et Cie. [1]

Acquired by Bernheim-Jeune, Paris, by Aug. 1, 1912. [2]

Half-share sold by Bernheim-Jeune, Paris, to Durand-Ruel, Paris, Aug. 1, 1912, for 3,500 francs. [3]

Remaining half-share sold by Bernheim-Jeune, Paris, to Durand-Ruel, Paris, Jan. 13, 1916. [4]

Sent by Durand-Ruel, Paris, to Durand-Ruel, New York, Feb. 1916. [5]

Sold by Durand-Ruel, New York, to Chester Johnson, Chicago, June 29, 1929. [6]

Acquired by Mrs. John H. (Anne R.) Winterbotham, Chicago, by 1964.

Given by Mrs. John H. (Anne R.) Winterbotham, Chicago, in memory of her husband, to the Art Institute of Chicago, 1964. [7]

NOTES

[1] According to Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 3, Nos. 969–1595 (Taschen/Wildenstein Institute, 1996), p. 381, cat. 1012 (ill.).

[2] According to the Durand-Ruel, Paris, stock book for 1913 (no. 10089, as Falaises à Etretat, 1876): “Acheté par Durand-Ruel Paris une moitié à Bernheim-Jeune le 1 août 1912, 3.500 francs, Falaises à Etretat, 1876,” 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.

[3] The transaction is recorded in the Durand-Ruel, Paris, stock book for 1913 (no. 10089, as Falaises à Etretat, 1876): “Acheté par Durand-Ruel Paris une moitié à Bernheim-Jeune le 1 août 1912, 3.500 francs, Falaises à Etretat, 1876,” 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, Paris, stock book for 1913 (no. 10089, as Falaises à Etretat, 1876): “Durand-Ruel Paris rachète la seconde moitié à Bernheim-Jeune le 13 janvier 1916 et l’envoie en février chez Durand-Ruel New York,” 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. Durand-Ruel does not know the price Durand-Ruel paid for the second half-share.

[5] The transaction is recorded in the Durand-Ruel, Paris, stock book for 1913 (no. 10089, as Falaises à Etretat, 1876): “Durand-Ruel Paris rachète la seconde moitié à Bernheim-Jeune le 13 janvier 1916 et l’envoie en février chez Durand-Ruel New York,” 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 1929 (no. 3926, as Falaises à Etretat): “Vendu par Durand-Ruel NY à Chester Johnson le 29 juin 1929,” 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. Durand-Ruel does not know the price Chester Johnson paid for the painting.

[7] The painting was given to the Art Institute of Chicago in 1964 by Mrs. John H. (Anne R.) Winterbotham (died 1970), who retained a life interest in the painting. In 1973, it became a part of the Art Institute’s Joseph Winterbotham Collection; see Lyn DelliQuadri, “A Living Tradition: The Winterbothams and Their Legacy,” in “The Joseph Winterbotham Collection at the Art Institute of Chicago,” special issue, Art Institute of Chicago Museum Studies 20, 2 (1994), p. 109. For the Joseph Winterbotham gift, see Gloria Groom and Douglas Druick, The Age of Impressionism at the Art Institute of Chicago, with the assistance of Dorota Chudzicka and Jill Shaw, (Art Institute of Chicago/Yale University Press, 2008), p. 14; and Art Institute of Chicago, “The Joseph Winterbotham Collection at the Art Institute of Chicago,” special issue, Art Institute of Chicago Museum Studies 20, 2 (1994).




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