Paul Cézanne
French, 1839-1906

The Plate of Apples, c.1877

Oil on canvas
18 1/8 x 21 1/2 in. (45.8 x 54.7 cm)
Inscribed lower right: P.Cezanne
Gift of Kate L. Brewster, 1949.512

Rewald 328

Exhibition, Publication and Ownership Histories

Exhibition History

Berlin, Galerie Thannhauser, Erste Sonderausstellung, January 9-mid-February, 1927, cat. 14 (ill.).

Chicago, Mr. and Mrs. S. Brewster residence, The Walter S. Brewster Collection, January 20-22, 1933, cat. 6.

New York, Museum of Modern Art, Fruit and the Flower Paintings, May 13-31, 1933.

New York, Marie Harriman Gallery, Chardin and the Modern Still Life, November 1936, cat. 12.

Cedar Rapids, Iowa, Coe College, Centennial Exhibition, May 15-June 9, 1952, cat. 14.

New York, Fine Arts Associates, Cézanne: Rarely Shown Works, November 10-29, 1952, cat. 4 (ill.).

Aix-en-Provence, Musée Granet, Cézanne: Peintures, Aquarelles, Dessins, July 5-August 5, 1953, cat. 21, traveled to Nice, Musée Massena, August 8-Spetember 10, 1953 and Grenoble, Musée des Beaux-Arts, September 15-October 6.

Worcester Museum of Art, The Dial and the Dial Collection, April 30-September 8, 1959, cat. 10.

Memphis, Tenn., Dixon Gallery and Gardens, Impressionists in 1877: A Loan Exhibition, December 4, 1977-January 8, 1978, cat. 8 (ill.).

Albi, Musée Toulouse-Lautrec, Trésors impressionnistes du Musée de Chicago, June 27-August 31, 1980, cat. 33 (ill.).

Art Gallery of New South Wales, Classic Cézanne, November 28, 1998-February 28, 1999, cat. 9 (ill.).

Publication History

Trublot [Paul Alexis], “La Collection Murer,” Le Cri du people (October 21, 1887), no. 7.

Katalog der Modernen Galerie Heinrich Thannhauser (Munich 1916), p. 30 (ill.).

The Dial 81 (1926), p. 359.

Kurt Pfister, Cézanne: Gestalt, Werk, Mythos (Potsdam, 1927), pl. 76.

Eugenio d’Ors, Paul Cézanne (Paris, 1930), pl. 23.

Lionello Venturi, Cézanne, son art, son oeuvre (Paris, 1936), no. 210.

R. Goldwater in Art News Annual (March 1938), p. 158 (ill.).

Daniel Catton Rich, “The Kate L. Brewster Bequest,” Bulletin of the Art Institute of Chicago 44, 3 (1950), p. 51

The Art Institute of Chicago, A Brief Guide to the Collections (Chicago, 1956), p. 36.

Kurt Badt, Die Kunst Cézannes (Munich 1956), p. 123.

P. Gachet, Deux Amis des impressionistes–Le Dr. Gachet et Murer (Paris, 1956), p. 171.

L. Gowing in Burlington Magazine (June 1956), p. 188.

The Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 71.

Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (September 1966), p. 203.

Richard Shiff in Critical Inquiry (Summer 1978), fig. 12.

Richard Shiff, Cézanne and the End of Impressionism (Chicago, 1984), p. 209, fig. 48.

Michael Howard, Cézanne (London, 1990), p. 73 (ill.)

John Rewald, The Paintings of Paul Cézanne: A Catalogue Raisonné (New York, 1996), vol. 1, p. 223, no. 328, vol. 2, p. 105.

Ownership History

Eugène Murer, Pontoise [see Trublot 1887 and Rewald 1996]. Galerie Heinrich Thannhauser, Munich by 1916 [see Katalog der Modernen Galerie H. Thannhauser 1916]. F. Schoen, Berlin [based on information provided by P. Rosenberg and Co. in a letter to W. Brewster, dated February 25, 1930, copy in curatorial file]. Paul Cassirer, Berlin [according to Rewald 1996]. J. K. Thannhauser, Lucerne [according to Rewald 1996]. Paul Rosenberg and Co., New York by 1930 [see letter cited above]; sold to Walter S. Brewster, Chicago on February 15, 1930 [see letter citied above]; Mrs. Walter S. (Kate L.) Brewster; given to the Art Institute, 1949.