Pasture in Normandy

• “Drift of the Dog Days,” The Collector 4, 16 (1893), p. 247.
• Art Institute of Chicago, Catalogue of Paintings, Sculpture, and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1894), p. 57, no. 37.
• “The Henry Field Memorial Collection,” Art Amateur 31, 6 (1894), p. 115.
• “Art Institute of Chicago: II – Modern Paintings: The Henry Field Collection,” Art Amateur 32, 1 (1894), p. 19.
• Art Institute of Chicago, Annual Report of The Trustees for the Year Ending June 4, 1895 (Chicago: Art Institute of Chicago, 1895), p. 37, no. 37.
• Art Institute of Chicago, Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1895), p. 68, no. 37.
• Art Institute of Chicago, Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1896), p. 74, no. 37.
• Art Institute of Chicago, Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1898), p. 95, no. 37.
• “Chicago, ILL.: The Art Institute of Chicago,” in American Art Annual 1898 (London: Macmillan & Co., 1899), p. 140, no. 37.
• Louis Souillé, Peintures, pastels, aquarelles, dessins de Constant Troyon (Paris: Louis Souillé, 1900), p. 58.
• Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1901), p. 163, no. 137.
• Frederick Clifton Pierce, Field Genealogy, vol. 2 (Chicago: Hammond Press, 1901), p. 713, no. 37.
• N. Hudson Moore, “The Barbizon School II,” The Chautauquan 36 (1903), p. 505.
• Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1904), pp. 168–9, no. 137.
• Walther Gensel, Corot und Troyon (Bielefeld and Leipzig: Velhagen & Klasing, 1906), pp. 83 (ill), 97, no. 15.
• Art Institute of Chicago, General Catalogue of Sculpture, Paintings and Other Objects (Chicago: Art Institute of Chicago, 1907), p. 180, no. 137.
• Richard Muther, The History of Modern Painting, vol. 2, revised ed. (London: J. M. Dent & Co., 1907), p. 346 (ill.).
• Art Institute of Chicago, General Catalogue of Sculpture, Paintings and Other Objects (Chicago: Art Institute of Chicago, 1910), p. 171, no. 137.
• Art Institute of Chicago, General Catalogue of Paintings, Sculpture and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1913), p. 115, no. 137.
• Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1914), p. 119, no. 137.
• Art Institute of Chicago, Catalogue of Paintings, Drawings, Sculpture and Architecture (Chicago: Art Institute of Chicago, 1917), p. 119, no. 137.
• The New International Encyclopædia, vol. 22 (New York: Dodd, Mead and Company, 1918), p. 503.
• Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago: Art Institute of Chicago, 1920), p. 25, no. 137.
• Art Institute of Chicago, Handbook of Sculpture, Architecture and Paintings (Chicago: Art Institute of Chicago, 1922), p. 25, no. 137.
• Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago: Art Institute of Chicago, 1923), p. 25, no. 137.
• Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1925), p. 155, no. 137.
• Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1932), p. 174.
• Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), p. 455.
• Robert L. Herbert, “French Landscape before 1830,” in Robert L. Herbert, Barbizon Revisited, exh. cat. (Boston: Museum of Fine Arts, Boston, 1962), p. 53.
• Peter Bermingham, “Hunt, Inness, and a Few Friends: The Early Years,” in Peter Bermingham, American Art in the Barbizon Mood, exh. cat. (Washington, D.C.: National Collection of Fine Arts, 1975), pp. 40, 41 (ill), fig. 28.
• Lois Marie Fink, “French Art in the United States, 1850–1870: Three Dealers and Collectors,” Extrait de la Gazette des Beaux-Arts (September 1978), p. 98.
• Stefan Germer, “Pictures at an Exhibition,” Chicago History: Magazine of the Chicago Historical Society 16, 1 (1987), pp. 20 (ill.), 21.
• Doreen Bolger Burke and Catherine Hoover Voorsanger, “The Hudson River School in Eclipse,” in John K. Howat, American Paradise: The World of the Hudson River School, exh. cat. (New York: The Metropolitan Museum of Art, 1987), p. 78 (ill.), fig. 40.
• William Innes Homer and Lloyd Goodrich, Albert Pinkham Ryder: Painter of Dreams (New York: Harry N. Abrams, 1989), pp. 59, 60 (ill.), fig. 5-14.

• San Francisco, California Palace of the Legion of Honor, Barbizon Revisited, September 27–November 4, 1962, cat. 105; travelled to Toledo Museum of Art, November 20–December 7, 1962; Cleveland Museum of Art, January 15–February 24, 1963; Museum of Fine Arts, Boston, March 14–April 28, 1963.
• Washington, D.C., National Collection of Fine Arts, American Art in the Barbizon Mood, January 23–April 20, 1975, cat. 14.
• Toyko, The Seibu Museum, Millet, Corot and the School of Barbizon, March 15–April 14, 1980, cat. T61; travelled to Hyogo, Japan, The Museum of Modern Art, April 19–May 18, 1980; Sapporo, Japan, The Hokkaido Museum of Modern Art, May 24–June 15, 1980; The Hiroshima Prefectural Museum, June 21–July 13, 1980; The Kitakyushu Municipal Museum, July 19–August 10, 1980.

Laurent-Richard, by 1886; his sale Galerie Georges Petit, Paris, May 28–29, 1886, lot 67 for 20,000 francs, sold to Galerie Georges Petit [price and buyer according to an annotated sale catalogue in the Rijksbureau voor Kunsthistorische Documentatie, The Hague]. Eugène Secrétan, by 1889; his sale Boussod, Valadon & Co., Paris and Charles Sedelmeyer, Paris, July 1, 1889, lot 79 for 31,500 francs to Durand-Ruel [price and buyer according to an annotated sale catalogue in the Rijksbureau voor Kunsthistorische Documentatie, The Hague]; Durand-Ruel. Henry Field (died 1890), Chicago; his widow Mrs. Florence Lathrop Field; given to the Art Institute, 1894.