About This Artwork

Camille Pissarro
French, 1830-1903

Haymaking at Éragny, 1892

Oil on canvas
65.5 x 81.3 cm (25 3/4 x 32 in.)
Inscribed lower left: C. Pissarro 1892

Gift of Bruce Borland, 1961.791

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, Galerie Durand-Ruel, Exposition d’oeuvres récentes de Camille Pissarro, Mar. 15–30, 1893, cat. 38, as Fenaison à Eragny, 1892.

New York, Durand-Ruel Galleries, Paintings by Camille Pissarro, Views of Rouen, Mar.–Apr., 1897, cat. 33, as Fenaison à Eragny, 1892.

Art Institute of Chicago, Treasures of Chicago Collectors, Apr. 15–May 7, 1961, no cat. no.

Tokyo, Isetan Museum of Art, Retrospective Camille Pissarro, Mar. 9¬–Apr. 9, 1984, cat. 43 (ill.); Fukuoka Art Museum, Apr. 25–May 20, 1984; Kyoto Municipal Museum of Art, May 26–July 1, 1984.

Art Institute of Chicago, Art Inside Out: Exploring Art and Culture through Time, Sept. 19, 1992–June 16, 1996, no cat.

Publication History

Galeries Durand-Ruel, Exposition d’oeuvres récentes de Camille Pissarro, exh. cat. (Durand-Ruel, 1893), cat. 38.

Durand-Ruel Galleries, New York, Paintings by Camille Pissarro: Views of Rouen, exh. cat. (Durand-Ruel, 1897), cat. 33.

Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 1, Texte (P. Rosenberg, 1939), p. 192, no. 789.

Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 2, Planche (P. Rosenberg, 1939), pl. 162, no. 789 (ill.).

Art Institute of Chicago, Treasures of Chicago Collectors, exh. cat. (Art Institute of Chicago, 1961), n.p.

Ralph E. Shikes and Paula Harper, Pissarro: His Life and Work (Horizon, 1980), p. 299.

Isetan Museum of Art, Fukuoka Art Museum, Kyoto Municipal Museum of Art, Retrospective Camille Pissarro, international ed., exh. cat. (Art Life, 1984), pp. 67, cat. 43 (ill.); 135.

Ralph E. Shikes, “Pissarro’s Political Philosophy and His Art,” in Christopher Lloyd, ed., Studies on Camille Pissarro (Routledge & Kegan Paul, 1986), p. 50.

Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 111, 114 (ill.), 118.

Janine Bailly-Herzberg, Correspondance de Camille Pissarro, vol. 3, 1891–1894 (Valhermeil, 1988), p. 270, letter 828.

Charles Harrison, “Art & Language Paints a Landscape,” Critical Inquiry 21, 3 (Spring 1995), pp. 632, fig. 21; 634.

Alan G. Artner, “Provenance: The ‘Secret Life’ of Art,” Chicago Tribune, Apr. 23, 2000, p. 7.1 (ill.).

Joachim Pissarro and Claire Durand-Ruel Snollaerts, with the collaboration of Alexia de Buffévent and Annie Champié, Pissarro: Critical Catalogue of Paintings, vol. 1, trans. Mark Hutchinson and Michael Taylor (Skira/Wildenstein Institute, 2005), pp. 363, 364, 394, 408.

Joachim Pissarro and Claire Durand-Ruel Snollaerts, with the collaboration of Alexia de Buffévent and Annie Champié, Pissarro: Catalogue critique des peintures/Critical Catalogue of Paintings, vol. 3, trans. Mark Hutchinson and Michael Taylor (Skira/Wildenstein Institute, 2005), p. 623, cat. 951 (ill.).

Christian von Holst and Christofer Conrad, with contributions by Roman Zieglgänsberger and Katja Matauschek, Claude Monet: Effet de soleil–Felder im Frühling, exh. cat. (Staatsgalerie Stuttgart/Hatje Cantz), p. 158. Translated as Christian von Holst and Christofer Conrad with contributions by Roman Zieglgänsberger and Katja Matauschek, Claude Monet: Fields in Spring, trans. John S. Southard, exh. cat. (Staatsgalerie Stuttgart/Hatje Cantz, 2006), p. 158.

Christofer Conrad, “Von der Impression zur Ordnung des Bildes,” in Christian von Holst and Christofer Conrad, with contributions by Roman Zieglgänsberger and Katja Matauschek, Claude Monet: Effet de soleil–Felder im Frühling, exh. cat. (Staatsgalerie Stuttgart/Hatje Cantz), pp. 94–95, fig. 65 (cat. 44). Translated as Christofer Conrad, “From Impression to Organization of the Picture,” in Christian von Holst and Christofer Conrad, with contributions by Roman Zieglgänsberger and Katja Matauschek, Claude Monet: Fields in Spring, trans. John S. Southard, exh. cat. (Staatsgalerie Stuttgart/Hatje Cantz, 2006), pp. 94–95, fig. 65 (cat. 44).

“Cat. 12: Haymaking at Éragny, 1892,” in Pissarro Paintings and Works on Paper at the Art Institute of Chicago, eds. Gloria Groom and Genevieve Westerby (Art Institute of Chicago, 2015).

Ownership History

Sold by the artist to Durand-Ruel, Paris, Dec. 3, 1892. [According to the Durand-Ruel Archives, “Nous avons acheté ce tableau (Durand-Ruel Paris stock 2509) à l’artiste le 3 Décembre 1892.” See Durand-Ruel Archives to the Art Institute of Chicago, Mar. 30, 2000, curatorial object file, Art Institute of Chicago.]

Sold by Durand-Ruel, Paris, to Durand-Ruel, New York, Jan. 15, 1894. [According to the Durand-Ruel Archives, “Nous avons acheté ce tableau (Durand-Ruel Paris stock 2509) à l’artiste le 3 Décembre 1892 et l’avons vendu à notre maison de New York (Durand-Ruel New York stock 1119) le 15 Janvier 1894.” See Durand-Ruel Archives to the Art Institute of Chicago, Mar. 30, 2000, curatorial object file, Art Institute of Chicago. The stock number 1119 is inscribed on the stretcher.]

Sold by Durand-Ruel, New York, to Mrs. John Jay (Harriet Blair) Borland, Chicago, Oct. 19, 1899. [According to the Durand-Ruel Archives, “Durand-Ruel New York (stock 1119) l’a à son tour vendu le 19 Octobre 1899 à Mrs. J. J. Borland.” See Durand-Ruel Archives to the Art Institute of Chicago, Mar. 30, 2000, curatorial object file, Art Institute of Chicago. The stock number 1119 is inscribed on the stretcher.]

By descent from Mrs. John Jay (Harriet Blair) Borland (died 1933), Chicago, to her son, Bruce Borland, Chicago.
Given by Bruce Borland, Chicago, to the Art Institute, beginning in 1961. [The painting was given to the Art Institute of Chicago in undivided fractional interests beginning in 1961. The Art Institute received the final fractional interested for one hundred percent ownership in 1963.]




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