The Sheepshearers

• Alfred Sensier, Jean-François Millet: Peasant and Painter, trans. Helena de Kay (Boston: James R. Osgood and Company, 1881), p. 139.
• D. Appleton and Company, Appletons’ Annual Cyclopaedia and Register of Important Events of the Year 1888, vol. 8 (New York: D. Appleton and Company, 1889), p. 335.
• Lucy Monroe, “Chicago Letter,” The Critic, new series, vol. 20 (1893), p. 30.
• Julia Ady, “Jean-François Millet,” Masters in Art 1, 8 (1900), no pag. no. (ill.)
• Louis Soullié, Peintures, Aquarelles, Pastels, Dessins de Jean-François Millet (Paris: L. Soullié, 1900), p. 25.
• Romain Rolland, Millet (London: Duckworth & Co., 1902), p. 85 (ill.).
• Walther Gensel, Millet und Rousseau (Bielefeld und Leipzig: Velhagen & Klasing, 1902), pp. 25 (ill.), 48, fig. 16.
• Art Institute of Chicago, “Accessions and Loans: March–April 1922,” Bulletin of the Art Institute of Chicago 16, 3 (1922), p. 47.
• Art Institute of Chicago, Handbook of Sculpture, Architecture and Paintings (Chicago: Art Institute of Chicago, 1922), p. 68, no. 829.
• Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago: Art Institute of Chicago, 1923), p. 68, no. 829.
• “Millets in the Art Institute,” Bulletin of the Art Institute of Chicago 18, 7 (1924), pp. 88, 89 (ill.).
• Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1925), pp. 50 (ill.), 51, 146, no. 829.
• Paul Gsell, Masters of Modern Art: Millet (London: John Lane the Bodley Head Limited, 1928), pl. 14.
• Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1932), pp. 46 (ill.), 47, 164.
• “The Rearrangement of the Painting Galleries,” Bulletin of the Art Institute of Chicago 27, 7 (1933), p. 114 (ill.).
• Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Chicago: Art Institute of Chicago, 1935), p. 27.
• Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), p. 313.
• Robert L. Herbert, “Millet Reconsidered,” Art Institute of Chicago Museum Studies 1 (1966), pp. 39, 59, fig. 12.
• Alexandra R. Murphy, Jean-François Millet, exh. cat. (Boston: Museum of Fine Arts, 1984), p. 71 n. 1.
• Roger Billcliffe, The Royal Glasgow Institute of the Fine Arts 1861–1989: A Dictionary of Exhibitors at the Annual Exhibitions of the Royal Glasgow Institute of the Fine Arts, vol. 3 (Glasgow: The Woodend Press, 1992), p. 231.
• Richard Thomson, “Theo van Gogh: An Honest Broker,” in Chris Stolwijk and Richard Thomson, Theo van Gogh, 1857–1891: Art Dealer, Collector and Brother of Vincent, exh. cat. (Amsterdam: Van Gogh Museum, 1999), pp. 90, 97 (ill.), 201–202 n. 112, cat. 89.
• Frances Fowle, “West of Scotland Collectors of Nineteenth-Century French Art,” in Vivien Hamilton, Millet to Matisse: Nineteenth- and Twentieth-Century French Painting from Kelvingrove Art Gallery, Glasgow, exh. cat. (New Haven and London: Yale University Press and Glasgow Museums, 2002), pp. 48–49 n. 28.
• Andrew M. Watson, James Duncan: An Enlightened Victorian (Edinburgh: Royal Botanic Garden Edinburgh, 2010), p. 54 (ill.).
• Chantal Georgel, Millet (Paris: Citadelles & Mazenod, 2014), pp. 321, 322–23, fig. 309.
• Gloria Groom, Van Gogh’s Bedrooms, Exh. Cat. (Art Institute of Chicago, Yale University Press, 2016), pp. 155.

• The Royal Glasgow Institute of the Fine Arts, The Royal Glasgow Institute of the Fine Arts 19th Annual Exhibition, 1880, cat. 31.
• Paris, l’École des Beaux-Arts, Exposition des œuvres de J. F. Millet, 1887, cat. 45.
• Paris, Galérie Georges Petit, Exposition de chefs-d’œuvre de l’école française, May 2–31, 1910, cat. 120.
• Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1–November 1, 1933, cat. 256.
• Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1–November 1, 1934, cat. 199C.
• Toledo Museum of Art, Artists Unappreciated in Their Day, November 5–December 10, 1939, cat. 6.
• Denver Art Museum, Man at Work, March 2–April 27, 1952, no cat. no.
• Carbondale, Illinois, Southern Illinois University, A Festival of Fine Arts, February 26–March 10, 1956, cat. 3.
• Amsterdam, Van Gogh Museum, Theo van Gogh, 1857–1891: Art Dealer, Collector and Brother of Vincent, May 9–August 22, 1999, cat. 89; traveled to the Paris, Musée d’Orsay, September 20, 1999–January 9, 2000.
• Chicago, Illinois, Art Institute of Chicago, Van Gogh’s Bedrooms, Feb. 14 - May 10, 2016.

The artist; his studio sale, Hôtel Drouot, Paris, May 10–11, 1875, lot 26 for 7,100 francs [price according to Soullié 1900]. James Duncan (died 1905), London, by 1880 [lent by him to Glasgow 1880]; sold to Boussod, Valadon & Cie., April 12, 1886, for 6,250 francs [according to Groupil stock book no. 17777]; sold to Henri Poidatz (died 1905), Paris, May 22, 1886, for 12,000 francs; sold back to Boussod, Valadon & Cie., December 17, 1888, for 18,000 francs [according to Goupil stock book no. 19589]; sold to Potter Palmer (died 1902), Chicago, March 30, 1889 for 38,480 francs; his widow, Bertha Honoré Palmer (died 1918); by descent to their sons Honoré and Potter Palmer; given by them to the Art Institute, 1922.