Haymaking at Éragny

• 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), https://publications.artic.edu/pissarro/reader/paintingsandpaper/section/8.

• 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.

The artist (d. 1903); sold to Durand-Ruel, Paris, December 3, 1892 [per Durand-Ruel Archives to the Art Institute of Chicago, Mar. 30, 2000, curatorial object file]; sold to Mrs. Harriet Borland (née Blair), Chicago, October 19, 1899 [per Durand-Ruel New York (stock 1119), Durand-Ruel Archives to the Art Institute of Chicago, Mar. 30, 2000, curatorial object file]; by descent to Bruce Borland (son), Chicago; given to the Art Institute of Chicago, beginning in 1961 [undivided fractional interests, receiving the final fractional interested for one hundred percent ownership in 1963].

• Cat. 12  Haymaking at Éragny, 1892