Étretat: The Beach and the Falaise d'Amont

• Art Institute of Chicago, Chicago Collectors: An Exhibition Sponsored by the Men’s Council of the Art Institute, exh. cat. (Art Institute of Chicago, [1963]), p. 5.
• Art Institute of Chicago, Annual Report, 1963–64 (Art Institute of Chicago, [1964]), pp. 3, 19.
• Philbrook Art Center, French and American Impressionism, Sponsored by Tulsa Collectors Group, exh. cat. (Philbrook Art Center, 1967), p. 7, cat. 7.
• Art Institute of Chicago, “Exhibitions,” Bulletin of the Art Institute of Chicago 69, 4 (July–Aug. 1975), p. 7.
• Grace Seiberling, “The Evolution of an Impressionist,” in Paintings by Monet, ed. Susan Wise, exh. cat. (Art Institute of Chicago, 1975), p. 31.
• Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 112, cat. 58 (ill.).
• Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 2, Peintures, 1882–1886 (Bibliothèque des Arts, 1979), pp. 168; 169, cat. 1012 (ill.).
• Charles F. Stuckey, ed., Monet: A Retrospective (Hugh Lauter Levin, 1985), p. 121 (ill.).
• Lyn DelliQuadri, “A Living Tradition: The Winterbothams and Their Legacy,” in Art Institute of Chicago, The Joseph Winterbotham Collection: A Living Tradition (Art Institute of Chicago, 1986), p. 13.
• Art Institute of Chicago, The Joseph Winterbotham Collection: A Living Tradition (Art Institute of Chicago, 1986), pp. 56 (ill.), 60.
• Art Institute of Chicago, “Selected References and Index,” in “The Joseph Winterbotham Collection at the Art Institute of Chicago,” special issue, Art Institute of Chicago Museum Studies 20, 2 (1994), p. 192.
• Lyn DelliQuadri, “A Living Tradition: The Winterbothams and Their Legacy,” in “The Joseph Winterbotham Collection at the Art Institute of Chicago,” special issue, Art Institute of Chicago Museum Studies 20, 2 (1994), p. 109.
• Margherita Andreotti, “The Joseph Winterbotham Collection,” in “The Joseph Winterbotham Collection at the Art Institute of Chicago,” special issue, Art Institute of Chicago Museum Studies 20, 2 (1994), pp. 118–19 (ill.).
• Robert L. Herbert, Monet on the Normandy Coast: Tourism and Painting, 1867–1886 (Yale University Press, 1994), pp. 101; 102–03, fig. 109; 104–05, fig. 114 (detail).
• Sophia Shaw Pettus, “Checklist of the Joseph Winterbotham Collection, 1921–1994,” in “The Joseph Winterbotham Collection at the Art Institute of Chicago,” special issue, Art Institute of Chicago Museum Studies20, 2 (1994), p. 188 (ill.).
• Charles F. Stuckey, Claude Monet, 1840–1926, with the assistance of Sophia Shaw, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), p. 102, cat. 81 (ill.).
• Peter Neill, On a Painted Ocean: Art of the Seven Seas, in collaboration with James A. Randall and Suzanne Demisch, ed. Gareth L. Steen (New York University Press, 1995), pp. 2, 3 (ill.).
• Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 3, Nos. 969–1595 (Taschen/Wildenstein Institute, 1996), p. 381, cat. 1012 (ill.).
• “Cat. 21: Étretat: The Beach and the Falaise d’Amont, 1885” in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https://publications.artic.edu/monet/reader/paintingsanddrawings/section/135470.
• Gloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Art Institute, 2020), 20, 32, 69 cat. 33, 133.

• Boston, Brooks Reed Gallery, Tableaux Durand-Ruel, Oct. 1916.
• Cincinnati Art Museum, French Painters of the So-Called Impressionist School, Nov. 1926.
• Art Institute of Chicago, Chicago Collectors: An Exhibition Sponsored by the Men’s Council of the Art Institute, Sept. 20–Oct. 27, 1963, no cat. no.
• Tulsa, Okla., Philbrook Art Center, French and American Impressionism, Oct. 2–Nov. 26, 1967, cat. 7.
• Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 58 (ill.).
• Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 81 (ill.).
• Art Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 33.

Bongniat et Cie [per Wildenstein 1996]. Bernheim-Jeune, Paris, by Aug. 1, 1912 [this and the three following per Durand-Ruel, Paris, stock book for 1913 (no. 10089, as Falaises à Etretat, 1876), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]; half-share to Durand-Ruel, Paris, Aug. 1, 1912, for 3,500 francs; remaining half-share sold to Durand-Ruel, Paris, Jan. 13, 1916; sent to Durand-Ruel, New York, Feb. 1916; sold to Chester Johnson, Chicago, June 29, 1929 [per Durand-Ruel, New York, stock book for 1929 (no. 3926, as Falaises à Etretat), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]. Mrs. Anne R. Winterbotham, Chicago, by 1964; given to the Art Institute of Chicago, 1964 (died 1970), who retained a life interest in the painting. In 1973, it became a part of the Art Institute’s Joseph Winterbotham Collection; see Lyn DelliQuadri, “A Living Tradition: The Winterbothams and Their Legacy,” in “The Joseph Winterbotham Collection at the Art Institute of Chicago,” special issue, Art Institute of Chicago Museum Studies 20, 2 (1994), p. 109.

Wildenstein, Claude Monet, biographie et catalogue raisonné, 1979 1012

• Cat. 21  Étretat: The Beach and the Falaise d’Amont, 1885