• Explore the MFA’s collection of sixteenth- to twentieth-century French paintings, including one of the largest and best collections of French Barbizon, as well as Impressionist and post-Impressionist paintings outside of France. This tour features works by Corot, Millet, Courbet, Manet, Degas, Cézanne, Monet, Renoir, Gauguin, and Matisse.

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  • Peasant Watering Her Cow

    about 1863
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. M.

    Provenance

    About 1863, possibly with Ennemond Blanc, Paris. Alfred Sensier, Paris; sold by Sensier at Hôtel Drouot, Paris, December 10-18, 1877, lot no. 52, and bought by A. Legrand (probably for Quincy Adams Shaw, Boston). Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 105

    Dimensions

    46 x 55.5 cm (18 1/8 x 21 7/8 in.)

    Accession Number

    17.1509

    Medium or Technique

    Oil over black conté crayon on canvas

    Not On View

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  • Two Men Turning over the Soil

    1866
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    By 1875, commissioned from the artist by Emile Gavet, Paris; sold by Gavet at Hôtel Drouot, Paris, June 11-12, 1875, no. 49, and bought by Détrimont (probably for Quincy Adams Shaw, Boston). Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    69.9 x 94 cm (27 1/2 x 37 in.)

    Accession Number

    17.1510

    Medium or Technique

    Pastel and black conté crayon on wove paper, originally cream, aged to dark cream

    Not On View

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  • Noonday Rest

    1866
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    1866, Emile Gavet (b. 1830 -d. 1904), Paris (original commission) [see note 1]; June 11-12, 1875, Gavet sale, Hôtel Drouot, Paris, lot 60, to Alexis-Eugène Détrimont (b. 1825), Paris [see note 2]. Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1917, gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr. and Mrs. Marian Shaw Haughton, to the MFA. (Accession Date: March 29, 1917) NOTES: [1] This was among the first group of pastels that Gavet, a Parisian architect, commissioned from Millet. See Alexandra R. Murphy, "Jean-François Millet" (Boston: MFA, 1984), p. 169, cat. no. 113. [2] Detrimont was a dealer, restorer, and framer. Murphy (as above, n. 1) suggests he may have purchased this for Quincy Adams Shaw.

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    29.2 x 41.9 cm (11 1/2 x 16 1/2 in.)

    Accession Number

    17.1511

    Medium or Technique

    Pastel and black conté crayon on buff wove paper

    Not On View

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  • Shepherdesses Watching a Flight of Wild Geese

    1866
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    1866, commissioned from the artist by Emile Gavet; June 11-12, 1875, sold by Gavet at Hôtel Drouot, Paris, no. 24, and bought by David. By 1917, Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    57.2 x 41.9 cm (22 1/2 x 16 1/2 in.) design

    Accession Number

    17.1512

    Medium or Technique

    Pastel and black conté crayon on beige wove paper

    Not On View

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  • End of the Hamlet of Gruchy

    1866
    Jean-François Millet (French, 1814–1875)

    Description

    Representing the hamlet in Normandy where Millet grew up, the son of prosperous peasants, this painting contributed to the artist’s image as a “peasant painter.” He presented it as a distillation of his youth, writing to his agent, “Oh you spaces that made me dream so much in my childhood, will I ever be able to give a hint of what you are like?” The landscape was based on memory and on studies done some ten years before.

    Inscription

    Lower right: J. F. Millet

    Provenance

    1866, sold by the artist to Hector Brame (b. 1831 - d. 1899) and Antoine-François Monmartel (b. 1816 - d. 1898), Paris [see note 1]; May 11-14, 1868, Monmartel sale, Hôtel Drouot, Paris, lot 55, to Hector Brame [see note 2]; probably sold by Brame and Durand-Ruel, Paris, to Jean-Baptiste Faure (b. 1830 - d. 1914), Paris [see note 3]; June 7, 1873, Faure sale, Galerie Georges Petit, Paris, lot 26, probably to Durand-Ruel, Paris [see note 4]. By 1879, Quincy Adams Shaw (b. 1825 - d. 1908), Boston [see note 5]; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917) NOTES: [1] See Etienne Moreau-Nélaton, "Millet racconté par lui-même" (Paris, 1921), vol. 3, p. 5. Monmartel lent the painting to the Salon of 1866 (no. 1376). [2] See Alfred Sensier, "La vie et l'oeuvre de J.-F. Millet" (Paris, 1881), p. 292, n. 1. [3] Hector Brame was an art dealer who worked with Durand-Ruel. It is likely that they sold this painting to Faure. For a summary of Brame's work as a dealer, see Linda Whitely, "Brame, Hector" in the Grove Dictionary of Art (New York, 1996). [4] Durand-Ruel purchased 22 of the 31 paintings included in this sale; see Anthea Callen, "Faure and Manet," Gazette des Beaux-Arts, ser. 6, vol. 83 (1974), p. 160. [5] Published as in the Shaw collection by Edward Strahan, ed., "The Art Treasures of America" (Philadelphia, 1879), vol. 3, p. 86.

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    81.6 x 100.6 cm (32 1/8 x 39 5/8 in.)

    Accession Number

    17.1508

    Medium or Technique

    Oil on canvas

    Not On View

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  • After the Day's Work

    about 1863
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    1865, possibly with Moreau, Paris. Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 107

    Dimensions

    36.8 x 45.7 cm (14 1/2 x 18 in.)

    Accession Number

    17.1507

    Medium or Technique

    Black conté crayon and pastel on brown wove paper

    Not On View

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  • Knitting Lesson

    about 1860
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    By 1860, Narcisse-Virgile Diaz de la Peña, Paris. Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 81

    Dimensions

    40.4 x 31.5 cm (15 7/8 x 12 3/8 in.)

    Accession Number

    17.1504

    Medium or Technique

    Oil on panel

    Not On View

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  • Potato Planters

    about 1861
    Jean-François Millet (French, 1814–1875)

    Description

    In Millet’s time, many people considered potatoes unfit food even for animals, but these peasants are planting potatoes for themselves to eat. “Why should the work of a potato planter,” wrote Millet, “be less interesting or less noble than any other activity?” Millet gives the harsh reality of their lives beauty and dignity, placing his solidly modelled, harmonious figures before a hazy landscape just beginning to green in the spring sun. The presence of the donkey and the sleeping child under the tree may recall another poor working family, that of Joseph, Mary, and Jesus.

    Provenance

    1862, sold by the artist to his dealers, Emile Blanc and Arthur Stevens, and exhibited at the Galerie Georges Petit [see note 1]. 1867, M. Soultzener, Paris [see note 2]. March 13, 1877, consigned anonymously to the Baron de Hauff sale, Hôtel Drouot, Paris, lot 26. By 1879, Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1917, gift of Quincy Adams Shaw, through Quincy Adams Shaw Jr., and Mrs. Marian Shaw Haughton, to the MFA. (Accession Date: March 29, 1917) NOTES: [1] "Cercle de l'Union Artistique," Georges Petit, Paris, 1862. [2] He lent the painting to the "Exposition Universelle," Paris, 1867, cat. no. 479.

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    82.5 x 101.3 cm (32 1/2 x 39 7/8 in.)

    Accession Number

    17.1505

    Medium or Technique

    Oil on canvas

    On View

    Corridor at Foot of Fenway Staircase (149)

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  • Return of the Flock

    about 1863–64
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    About 1863, with Moreau, Paris. Emile Gavet, Paris; sold by Gavet at Hôtel Drouot, Paris, June 11-12, 1875, lot no. 61. Possibly owned by P. Barbédienne, and sold at Hôtel Drouot, Paris, April 27, 1885, lot no. 76. Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 109

    Dimensions

    38.7 x 50.3 cm (15 1/4 x 19 13/16 in.)

    Accession Number

    17.1506

    Medium or Technique

    Black conté crayon and pastel on light brown laid paper

    Not On View

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  • Newborn Lamb

    1866
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    By 1866, commissioned from the artist by Emile Gavet, Paris; sold by Gavet at Hôtel Drouot, Paris, June 11-12, 1875, lot no. 66. Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 114

    Dimensions

    40.4 x 47.1 cm (15 7/8 x 18 9/16 in.)

    Accession Number

    17.1513

    Medium or Technique

    Pastel and black conté crayon on beige wove paper

    Not On View

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  • Watering Horses, Sunset

    1866
    Jean-François Millet (French, 1814–1875)

    Description

    The colorism of Japanese woodblock prints may have stimulated Millet’s inventive treatment of light, especially the unusual combinations of pink, blue, and green, in this stunning pastel.

    Inscription

    Lower center: J. F. Millet

    Provenance

    By 1875, Emile Gavet, Paris; sold by Gavet at Hôtel Drouot, Paris, June 11-12, 1875, no. 20, and bought by Détrimont (probably for Quincy Adams Shaw, Boston). Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    38.1 x 48.3 cm (15 x 19 in.)

    Accession Number

    17.1514

    Medium or Technique

    Pastel and black conté crayon on wove paper, originally cream, now aged to dark cream

    Not On View

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  • Winter Evening

    1867
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    Commissioned from the artist by Emile Gavet, Paris; sold by Gavet at Hôtel Drouot, Paris, June 11-12, 1975, lot no. 13, and bought by Détrimont (probably for Quincy Adams Shaw, Boston). Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 128

    Dimensions

    43.8 x 54 cm (17 1/4 x 21 1/4 in.)

    Accession Number

    17.1520

    Medium or Technique

    Pastel and black conté crayon on gray-brown wove paper

    Not On View

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  • Path through the Wheat

    about 1867
    Jean-François Millet (French, 1814–1875)

    Description

    Millet’s biographer Alfred Sensier quoted him as saying, “If I could do what I wanted, or at least attempt it, I would do nothing that was not the result of an impression received from nature, be it in landscapes or figures.” In many works, impressions from nature were combined with inspiration from other artistic sources. A sixteenth-century engraving of Summer provided the basis for elements of this very fine pastel.

    Inscription

    Lower right: J. F. Millet

    Provenance

    Commissioned from the artist by Emile Gavet, Paris; sold by Gavet at Hôtel Drouot, Paris, June 11-12, 1875, lot no. 86, and bought by Détrimont (probably for Quincy Adams Shaw, Boston). Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    40 x 50.8 cm (15 3/4 x 20 in.)

    Accession Number

    17.1521

    Medium or Technique

    Pastel and black conté crayon on gray wove paper

    Not On View

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  • Rabbit Warren, Dawn

    1867
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    By 1875, Emile Gavet; June 11-12, 1875, sold at Gavet Sale, Hôtel Drouot, Paris, no. 70, and bought by Durand-Ruel, Paris and New York; 1875, with Durand-Ruel, Paris and New York. By 1917, Quincy Adams Shaw, Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    49.5 x 59.7 cm (19 1/2 x 23 1/2 in.)

    Accession Number

    17.1522

    Medium or Technique

    Pastel and black conté crayon on cream wove paper

    Not On View

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  • Primroses

    1867–68
    Jean-François Millet (French, 1814–1875)

    Description

    Millet’s art was groundbreaking in its assertion that ordinary men and women and the most commonplace activities were worthy subjects for serious art. Characteristically, he found beauty in humble flowers – dandelions and primroses, or cowslips, that grew on the floor of the Forest of Fontanebleau and in the meadows surrounding it. Unlike the specimens in most flower paintings, Millet’s are growing and presented to us in an intimate, flower’s-eye view.

    Inscription

    Lower right: J. F. Millet

    Provenance

    1868-1875, acquired from the artist by Emile Gavet, Paris (commissioned in 1867); June 11-12, 1875, sold at Gavet sale, Hôtel Drouot, Paris, no. 47, and bought by Détrimont (probably for Quincy Adams Shaw). By 1917, Quincy Adams Shaw, Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    40.3 x 47.9 cm (15 7/8 x 18 7/8 in.)

    Accession Number

    17.1523

    Medium or Technique

    Pastel on gray-brown wove paper

    Not On View

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  • Pears

    about 1862–66
    Jean-François Millet (French, 1814–1875)

    Description

    The fruit and flowers included in still life paintings are often rare and expensive varieties. But Millet believed in the beauty of common things, even simple pears from a rural garden. “Who would dare to claim,” he asked, “that a potato is inferior to a pomegranate?”

    Inscription

    Lower right: J. F. Millet

    Provenance

    Madame J.-F. Millet, Barbizon. By 1917, Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    18.4 x 25.4 cm (7 1/4 x 10 in.)

    Accession Number

    17.1519

    Medium or Technique

    Oil on panel

    Not On View

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  • Twilight

    about 1859–63
    Jean-François Millet (French, 1814–1875)

    Description

    The radiant light here seems almost mystical, a feeling reinforced by the resemblance of the man and woman seated on a donkey to traditional images of Mary and Joseph with the Christ child fleeing from King Herod into Egypt.

    Inscription

    Upper right: J. F. Millet

    Provenance

    By 1875, Emile Gavet, Paris; sold by Gavet at Hôtel Drouot, Paris, June 11-12, 1875, lot. no. 27, and bought by Détrimont (probably for Quincy Adams Shaw, Boston). Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 78

    Dimensions

    50.5 x 38.9 cm (19 7/8 x 15 5/16 in.)

    Accession Number

    17.1518

    Medium or Technique

    Black conté crayon and pastel on buff wove paper

    Not On View

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  • Watering Cows

    1863
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    By 1875, Emile Gavet, Paris; sold by Gavet at Hôtel Drouot, Paris, June 11-12, 1875, no. 87, and bought by Détrimont (probably for Quincy Adams Shaw, Boston). Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    31.1 x 46.4 cm (12 1/4 x 18 1/4 in.)

    Accession Number

    17.1515

    Medium or Technique

    Black conté crayon and pastel on beige laid paper

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  • Peasant Girl with Two Cows

    1863
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    By 1875, Emile Gavet, Paris; sold by Gavet at Hôtel Drouot, Paris, June 11-12, 1875, no. 39, and bought by Détrimont (probably for Quincy Adams Shaw, Boston). Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 99

    Dimensions

    29.7 x 47 cm (11 11/16 x 18 1/2 in.)

    Accession Number

    17.1516

    Medium or Technique

    Black conté crayon and pastel on beige laid paper

    Not On View

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  • Shepherdess and Flock at Sunset

    1868–70
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    Commissioned from the artist by Emile Gavet; June 11-12, 1875, sold by Gavet at Hôtel Drouot, Paris, no. 64, and bought by Détrimont (probably for Quincy Adams Shaw). Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton (Accession Date: Mrach 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    36.8 x 44.5 cm (14 1/2 x 17 1/2 in.)

    Accession Number

    17.1517

    Medium or Technique

    Pastel and black conté crayon on wove paper, originally off-white, aged to dark cream

    Not On View

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  • In the Garden

    about 1860
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    Alfred Sensier, Paris; sold by Sensier at Hôtel Drouot, Paris, December 10-18, 1877, lot no. 192), and bought by A. Legrand (probably for Quincy Adams Shaw, Boston); Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 87

    Dimensions

    31.5 x 37.5 cm (12 3/8 x 14 3/4 in.)

    Accession Number

    17.1503

    Medium or Technique

    Pastel and watercolor over black conté crayon on beige laid paper

    Not On View

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  • Morning Toilette

    about 1860–62
    Jean-François Millet (French, 1814–1875)

    Description

    This delicately executed study in crayon and pastel of Millet’s daughter, getting dressed in the soft light shining through the window panes, brings to mind Johannes Vermeer’s views of young women in Dutch interiors. Vermeer, who was “rediscovered” in this period by a French historian, was one of a number of previously overlooked seventeenth-century painters of everyday life who in the mid nineteenth century began to attract greater attention from artists, scholars, and curators.

    Inscription

    Lower right: J. F. Millet

    Provenance

    Alfred Sensier, Paris; sold by Sensier at Hôtel Drouot, Paris, December 10-18, 1877, lot no. 192), and bought by A. Legrand (probably for Quincy Adams Shaw, Boston); Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 82

    Dimensions

    37.1 x 25.7 cm (14 5/8 x 10 1/8 in.)

    Accession Number

    17.1502

    Medium or Technique

    Black conté crayon and pastel on cream laid paper

    Not On View

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  • Man Turning over the Soil

    about 1847–50
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    About 1853, purchased from the artist by William Morris Hunt, Boston; 1874, sold by Hunt through Doll and Richards, Boston, and bought by Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 17

    Dimensions

    25.1 x 32.4 cm (9 7/8 x 12 3/4 in.)

    Accession Number

    17.1488

    Medium or Technique

    Oil on canvas

    Not On View

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  • Shearing Sheep

    1852–53
    Jean-François Millet (French, 1814–1875)

    Description

    In early 1890, while he was staying at the asylum at St-Rémy, in Provence, van Gogh embarked on a series of copies after Millet’s paintings of the “labors of the fields,” of which this is one of the originals. Although Vincent expressed his reservations about this exercise, “fearing it might be plagiarism,” his brother Theo greatly admired the results. “The copies after Millet are possibly the finest things you’ve done,” he wrote.

    Inscription

    Lower right: J. F. Millet

    Provenance

    About 1853, purchased from the artist by William Morris Hunt, Boston; 1874, sold by Hunt through Doll and Richards, Boston, to Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 43

    Dimensions

    40.7 x 24.8 cm (16 x 9 3/4 in.)

    Accession Number

    17.1489

    Medium or Technique

    Oil on canvas

    Not On View

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  • Shepherd and Flock at the Edge of the Forest, Evening

    1853
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    About 1853, purchased from the artist by William Morris Hunt, Boston; 1874, sold by Hunt through Doll and Richards, Boston, and bought by Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 40

    Dimensions

    60 x 49.5 cm (23 5/8 x 19 1/2 in.)

    Accession Number

    17.1490

    Medium or Technique

    Oil on canvas

    Not On View

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  • Entrance to the Forest at Barbizon in Winter

    about 1866–67
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    Commissioned from the artist by Emile Gavet, Paris; sold by Gavet at Hôtel Drouot, Paris, June 11-12, 1875, lot no. 18, and bought by Durand-Ruel. Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 131

    Dimensions

    51.5 x 40.6 cm (20 1/4 x 16 in.)

    Accession Number

    17.1491

    Medium or Technique

    Black conté crayon and pastel on gray-beige wove paper

    Not On View

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  • In the Vineyard

    1852–53
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    Commisioned from the artist by Alfred Feydeau, Paris. By 1877, Alfred Sensier, Paris; sold by Sensier at Hôtel Drouot, Paris, December 10-18, 1877, lot no. 45. Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 47

    Dimensions

    37.5 x 29.6 cm (14 3/4 x 11 5/8 in.)

    Accession Number

    17.1487

    Medium or Technique

    Oil on canvas

    Not On View

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  • Forest with Shepherdess and Sheep

    1849–50
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    From the artist to Alfred Sensier, Paris; December 10, 1877, Sensier sale, Hôtel Drouot, Paris, lot 53, to A. Legrand, probably for Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1917, gift of Quincy Adams Shaw, through Quincy Adams Shaw, Jr. and Mrs. Marian Shaw Haughton, to the MFA. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    27.3 x 14.9 cm (10 3/4 x 5 7/8 in.)

    Accession Number

    17.1486

    Medium or Technique

    Oil on panel

    Not On View

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  • Peasant Girl Daydreaming

    1848
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower left: J. F. Millet

    Provenance

    1880, Étienne-Edmond Martin, Baron de Beurnonville (b. 1825 - d. 1906), Paris; April 29, 1880, Beurnonville sale, Hôtel Drouot, Paris, lot 42. Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1917, gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr. and Mrs. Marian Shaw Haughton to the MFA. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    22.5 x 16.5 cm (8 7/8 x 6 1/2 in.)

    Accession Number

    17.1483

    Medium or Technique

    Oil on panel

    Not On View

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  • Shepherdess Sitting at the Edge of the Forest

    about 1848–49
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    About 1853, sold by the artist to William Morris Hunt (b. 1824 - d. 1879), Boston; 1874, sold by Hunt through Doll and Richards, Boston, to Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1917, gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr. and Mrs. Marian Shaw Haughton to the MFA. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 13

    Dimensions

    32.4 x 24.7 cm (12 3/4 x 9 3/4 in.)

    Accession Number

    17.1484

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Sower

    1850
    Jean-François Millet (French, 1814–1875)

    Description

    Jean-François Millet was the artist that van Gogh most revered. Although he never saw Millet’s famous Sower - already in a Boston collection before he was born - van Gogh admired Millet’s other treatments of the theme, and sought to emulate them. At the very beginning of his career, he wrote that “I must draw diggers, sowers, men & women at the plough, without cease… I no longer stand as helpless before nature as I used to do.”

    Inscription

    Lower left: J. F. Millet

    Provenance

    About 1851/1852, sold by the artist to William Morris Hunt (b. 1824 - d. 1879), Boston [see note 1]; 1874, sold by Hunt through Doll and Richards, Boston, to Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1917, gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr. and Mrs. Marian Shaw Haughton, to the MFA. (Accession Date: March 29, 1917) NOTES: [1] Alexandra R. Murphy, "Jean-François Millet" (Boston: MFA, 1984), pp. 31-34, cat. no. 18.

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 18

    Dimensions

    101.6 x 82.6 cm (40 x 32 1/2 in.)

    Accession Number

    17.1485

    Medium or Technique

    Oil on canvas

    On View

    The Beal Gallery (Gallery 251)

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  • Women Sewing by Lamplight (La Veillée)

    1853–54
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    1853/1854, probably commissioned by Paul van Cuyck, Belgium. 1878, M. Laurent-Richard, Paris; May 23-25, 1878, Laurent-Richard sale, Hôtel Drouot, Paris, lot 52, sold for 8600 fr. to Alphonse Legrand, probably for Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1917, gift of Quincy Adams Shaw through his children, Quincy Adams Shaw, Jr. and Mrs. Marian Shaw Haughton, to the MFA. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 44

    Dimensions

    35 x 26.7 cm (13 3/4 x 10 1/2 in.)

    Accession Number

    17.1492

    Medium or Technique

    Oil on panel

    Not On View

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  • Woman Sewing beside her Sleeping Child

    about 1858–62
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    1862, with Ennemond Blanc and Alfred Stevens, Paris. Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 91

    Dimensions

    34 x 27.3 cm (13 3/8 x 10 3/4 in.)

    Accession Number

    17.1493

    Medium or Technique

    Oil on panel

    Not On View

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  • Standing Spinner

    about 1850–55
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    1874, John W. Wilson; April 27-28, 1874, Wilson sale, Hôtel Drouot, Paris, lot 114. Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1917, gift of Quincy Adams Shaw, through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton, to the MFA. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 59

    Dimensions

    45.2 x 32.5 cm (17 13/16 x 12 13/16 in.)

    Accession Number

    17.1499

    Medium or Technique

    Oil on canvas

    Not On View

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  • Cooper Tightening Staves on a Barrel

    about 1848–52
    Jean-François Millet (French, 1814–1875)

    Description

    Millet’s images of workers deeply focused on their tasks look back to a long French tradition of illustrating the twelve labors of the months or the industries of distant provinces with workers surrounded by their tools. However, Millet minimized anecdotal detail or regional idiosyncrasy in order to celebrate the skilled laborer. He sought the most telling gesture of a task, in this case, the point at which the cooper is forcing down the hoops that will hold the staves of the barrel tightly against one another.

    Inscription

    Lower left: J. F. Millet

    Provenance

    Constant Troyon (b. 1810 - d. 1865), Paris; January 22 - February 1, 1866, Troyon sale, Hôtel Drouot, Paris, lot 564, to A. Legrand. Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1917, gift of Quincy Adams Shaw, through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton, to the MFA. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 24

    Dimensions

    45.1 x 33.0 cm (17 3/4 x 13 in.)

    Accession Number

    17.1500

    Medium or Technique

    Oil on canvas

    Not On View

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  • End of the Hamlet of Gruchy

    1856
    Jean-François Millet (French, 1814–1875)

    Description

    Millet grew up in Gruchy, a tiny town in Normandy whose single street ended in a sweeping vista of the sea. He painted several versions of this view in an attempt to capture the experience of a child who, knowing only the world of his quiet village, is held up for the first time to see the distant horizon.

    Inscription

    Lower right: J. F. Millet

    Provenance

    Possibly Monsieur P., Perpignon. By 1917, Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    46.4 x 55.9 cm (18 1/4 x 22 in.)

    Accession Number

    17.1501

    Medium or Technique

    Oil on canvas

    Not On View

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  • Seated Spinner (Emélie Millet)

    1854
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: [...] F. Millet

    Provenance

    Paul van Cuyck, Belgium; sold by van Cuyck at Hôtel Drouot, Paris, February 7-10, 1866, lot no. 28. Gustave Templaere, Paris. By 1880, Baron E. de Beurnonville; sold by de Beurnonville at Hôtel Drouot, Paris, April 29, 1880, lot no. 39. Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 45

    Dimensions

    35.2 x 26.7 cm (13 7/8 x 10 1/2 in.)

    Accession Number

    17.1498

    Medium or Technique

    Oil on panel

    Not On View

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  • Manor House near Gréville

    about 1863
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    By 1917, Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    34.3 x 45.7 cm (13 1/2 x 18 in.)

    Accession Number

    17.1497

    Medium or Technique

    Watercolor and pastel over black conté crayon heightened with pen and ink on wove paper, originally off-white, now aged to light brown

    Not On View

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  • Shepherdess Knitting, outside the Village of Barbizon

    about 1860–62
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    Possibly M. Atger. March 12, 1874, sold at Hôtel Drouot, Paris, no. 80. By 1917, Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quicny A. Shaw, Jr., and Mrs. Marian Shaw Haughton (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    40 x 29 cm (15 3/4 x 11 7/16 in.)

    Accession Number

    17.1494

    Medium or Technique

    Pastel over black conté crayon on laid paper, originally blue, now aged to cream

    Not On View

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  • Millet's Birthplace at Gruchy

    about 1863
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    1865, Moureau, Paris. 1878, Félix-Bienaimé Feuardent (b. 1819 - d. 1907), Paris. Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton to the MFA. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    31.2 x 45.5 cm (12 5/16 x 17 15/16 in.)

    Accession Number

    17.1495

    Medium or Technique

    Pastel over black conté crayon heightened with pen and ink on darkened cream wove paper

    Not On View

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  • House with a Well at Gruchy

    about 1863
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    1865, Moureau, Paris. 1878, Félix-Bienaimé Feuardent (b. 1819 - d. 1907), Paris. Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton to the MFA. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    31.8 x 43.2 cm (12 1/2 x 17 in.)

    Accession Number

    17.1496

    Medium or Technique

    Pastel over black conté crayon heightened with pen and ink on darkened cream wove paper

    Not On View

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  • Dandelions

    1867–68
    Jean-François Millet (French, 1814–1875)

    Description

    Millet excelled in the medium of pastel, and his skill as a draftsman and colorist are evident here in the rich variety of greens that set off the flowers and in the airy delicacy of the dandelions, which are shown in all phases from bud to seed.

    Inscription

    Lower right: J. F. Millet

    Provenance

    1868-1875, acquired from the artist by Emile Gavet, Paris (commissioned in 1867); June 11-12, 1875, sold at Gavet Sale, Hôtel Drouot, Paris, no. 94, and bought by Carlin. By 1917, Quincy Adams Shaw, Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    40.6 x 50.2 cm (16 x 19 3/4 in.)

    Accession Number

    17.1524

    Medium or Technique

    Pastel on tan wove paper

    Not On View

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  • Farmyard by Moonlight

    1868
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    1868-75, acquired from the artist by Emile Gavet, Paris (commissioned in 1868); June 11-12, 1875, sold at Gavet sale, Hôtel Drouot, Paris, no. 48, and bought by Détrimont (probably for Quincy Adams Shaw). By 1917, Quincy Adams Shaw, Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    71.1 x 87 cm (28 x 34 1/4 in.)

    Accession Number

    17.1525

    Medium or Technique

    Pastel and black conté crayon on light brown wove paper

    Not On View

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  • Rest on the Flight into Egypt

    1879
    Luc Olivier Merson (French, 1846–1920)

    Description

    Fleeing persecution at the hands of Roman authorities, the Holy Family takes refuge in Egypt. Joseph dozes beside a dying campfire while his donkey grazes on sparse desert grass. At left sleep the Virgin Mary and infant Christ, crowned with a halo of light. They lie in the arms of a sphinx, its eyes turned to the heavens, where the first stars begin to appear. A successful Academic artist, Merson never traveled to North Africa, but his use of archeological detail creates the illusion of an eyewitness account, breathing new life into a time-honored subject.

    Inscription

    Lower right: LVC OLIVIER-MERSON / MDCCCLXXIX

    Provenance

    19th century, acquired in Paris by George Golding Kennedy (b. 1841 - d. 1918), Boston [see note 1]; 1918, bequest of George Golding Kennedy to the MFA. (Accession Date: November 7, 1918) NOTES: [1] According to notes in the MFA curatorial file.

    Credit Line

    Bequest of George Golding Kennedy

    Details

    Dimensions

    71.8 x 128.3 cm (28 1/4 x 50 1/2 in.)

    Accession Number

    18.652

    Medium or Technique

    Oil on canvas

    Not On View

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  • Young Woman Watering Cattle

    Probably 1880s
    Julien Dupré (French, 1851–1910)

    Description

    Inscription

    Lower right: JULIEN DUPRÉ-

    Provenance

    1919, bequest of Abraham Shuman. (Accession Date: February 6, 1919)

    Credit Line

    Bequest of A. Shuman

    Details

    Dimensions

    38.4 x 55 cm (15 1/8 x 21 5/8 in.)

    Accession Number

    19.17

    Medium or Technique

    Oil on canvas

    Not On View

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  • Old Man Seated on a Trunk

    1826
    Jean-Baptiste-Camille Corot (French, 1796–1875)

    Description

    From 1825 to 1828, Corot lived abroad in Italy, where he produced numerous figure studies. Working with local Italian models, Corot often posed his subjects in unadorned interiors, rendering their homely features and modest costumes with tenderness and candor.

    Inscription

    Lower right: COROT; Lower left: Janvier 1826

    Provenance

    Sold by the artist and, about 1872/1873, re-acquired for about 800 fr. [see note 1]; May 26-28, 1875, posthumous Corot sale, Hôtel Drouot, Paris, lot 26, to Febvre (probably Alexis Joseph Febvre, Paris) for 750 fr. 1880, Aimé Diot (d. 1896), Paris; 1880, sold by Diot to Dr. Henry Clay Angell (b. 1829 - d. 1911), Boston; by inheritance to his widow, Martha Bartlett Angell (b. 1833 - d. 1919), Boston; gift of Martha B. Angell to the MFA. (Accession Date: March 20, 1919) NOTES: [1] According to Alfred Robaut, L'Oeuvre de Corot: Catalogue Raisonné et Illustré (Paris, 1905), vol. 2, cat. no. 89. Robaut does not specify from whom Corot re-acquired the painting at this time.

    Credit Line

    The Henry C. and Martha B. Angell Collection

    Details

    Dimensions

    32.1 x 22.9 cm (12 5/8 x 9 in.)

    Accession Number

    19.79

    Medium or Technique

    Oil on paper, mounted on board

    Not On View

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  • Old Beech Tree

    about 1828–30
    Jean-Baptiste-Camille Corot (French, 1796–1875)

    Description

    Inscription

    Lower right: COROT

    Provenance

    Thomas B. Inglis, New York; April 6, 1885, sold at Inglis sale, Leonard & Co., Boston, no. 65, and bought by Henry Clay Angell, Boston (d. 1911) [see note 1]; 1911, at Angell's death, to his widow, Martha Bartlett Angell, Boston (d. 1919); 1919, gift of Angell. (Accession date: March 20, 1919) NOTES: [1] there is some dispute over whether Angell purchased the picture from Thomas B. Inglis as listed above (through an intermediary, Green) or from James S. Inglis of Cottier and Co., London and New York. It is unknown if James and Thomas Inglis are related.

    Credit Line

    The Henry C. and Martha B. Angell Collection

    Details

    Dimensions

    55.9 x 46 cm (22 x 18 1/8 in.)

    Accession Number

    19.80

    Medium or Technique

    Oil on paper mounted on canvas

    Not On View

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  • The Quarry (La Curée)

    1856
    Gustave Courbet (French, 1819–1877)

    Description

    Courbet was the self-styled leader of the Realist movement in French art. Most of his paintings of modern life were condemned as offensively ordinary, but The Quarry was well received when it was exhibited at the Paris Salon of 1857. Probably set in the Jura Mountains along the French-Swiss border, the painting features the artist himself, posed as a huntsman. Courbet enlarged the original canvas as he worked, adding one piece across the top above the hunter’s head and others to include the horn blower and the dogs. In 1866 when he learned that The Quarry had been purchased by a group of young Boston artists, Courbet exclaimed: “What care I for the Salon, what care I for honors, when the art students of a new and great country know and appreciate and buy my works?”

    Inscription

    Lower right: G. Courbet

    Provenance

    1858, sold by the artist to van Isacker, Antwerp, for 8,000 francs; 1862, exchanged by van Isacker with the Galerie Cadart et Luquet, Paris [see note 1]; April, 1866, brought to the United States by Cadart et Luquet and sold to the Allston Club, Boston, for 25,000 francs ($5000) [see note 2]; about 1873, upon the dissolution of the Allston Club, passed to Henry Sayles (b. 1834 - d. 1918), Boston; 1918, by inheritance to his nephew, George Tappan Francis, Boston and Needham, MA; 1918, sold by George Tappan Francis to the MFA for $75,000. (Accession Date: September 12, 1918) NOTES: [1] See René Brunesoeur, Museum Contemporain: Biographies. Gustave Courbet (Paris, 1867), p. 22 and Robert Fernier, "En Voyage avec Courbet," Les Amis de Gustave Courbet 1966, p. 43. Citing Fernier, Bruce K. MacDonald suggested that the artist "probably transferred the painting" to him in 1858; see his "The Quarry by Gustave Courbet," MFA Bulletin 67, no. 348 (1969): 52. Van Isacker exhibited the painting in 1860; see "Catalogue de Tableaux Tirés de Collections d'Amateurs" (26 Boulevard des Italiens, Paris, 1860), cat. no. 125 (measuring 160 x 175 cm.). Courbet enlarged the painting in 1862 at the insistence of the dealer Luquet. [2] On the sale of the painting to the Allston Club, see "Boston Painters and Paintings," The Atlantic Monthly 62 (October, 1888): 503-504 and Martha A. S. Shannon, "Boston Days of William Morris Hunt" (Boston, 1923), pp. 87-88. The Allston Club exhibited the painting in 1866 ("First Exhibition," cat. no. 1) and 1867 ("Second Annual Exhibition," cat. no. 1), and lent it to the Boston Athenaeum between 1869 and 1872.

    Credit Line

    Henry Lillie Pierce Fund

    Details

    Dimensions

    210.2 x 183.5 cm (82 3/4 x 72 1/4 in.)

    Accession Number

    18.620

    Medium or Technique

    Oil on canvas

    On View

    The Beal Gallery (Gallery 251)

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  • Shepherd and Sheep on the Edge of a Plain

    Charles Émile Jacque (French, 1813–1894)

    Description

    Inscription

    Lower left: ch. Jacque

    Provenance

    By 1864 - Thomas R. Gould (Firenze, Italia). Isaac Fenno; - 1918 Almira B Fenno-Gendrot, by inheritance; (Boston, MA, USA) wife of Fenno; 1918 - Boston, MA, USA. Museum of Fine Arts (gift of Fenno-Gendrot) (Accession date: July 16, 1918)

    Credit Line

    Gift from the Isaac Fenno Collection

    Details

    Dimensions

    32.4 x 63.8 cm (12 3/4 x 23 17/8 in.)

    Accession Number

    18.399

    Medium or Technique

    Oil on panel

    Not On View

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  • Portrait of a Young Woman in a Red Robe

    Jean Jacques Henner (French, 1829–1905)

    Description

    Inscription

    Lower left: JJ Henner

    Provenance

    By 1917, Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession date: November 1, 1917)

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    61 x 37.1 cm (24 x 14 5/8 in.)

    Accession Number

    17.3265

    Medium or Technique

    Oil on canvas

    Not On View

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  • Sand Dunes at Sunset

    about 1880
    Jean Charles Cazin (French, 1841–1901)

    Description

    Inscription

    Lower right: J.C. CAZIN

    Provenance

    June 16, 1887, possibly sold by Boussod, Valadon et Cie., Paris, to T. J. Blakeslee and Co., New York [see note 1]. 1892, J. Abner Harper, New York; February, 24, 1892, Harper sale, Fifth Avenue Auction Galleries, New York, lot 156, to George N. Tyner, Holyoke, MA; February 1, 1901, Tyner sale, American Art Association, New York, lot 60 to Robert Dawson Evans (b. 1843 - d. 1909), Boston; 1909, by inheritance to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession Date: November 1, 1917) NOTES: [1] This may be the Cazin painting "Dans les Dunes" measuring 73 x 60 cm. See Getty Provenance Index, Goupil Records, PI number G-27709 (stock book 11, no. 18644, p. 211). www.getty.edu/research/tools/provenance.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    73.3 x 60 cm (28 7/8 x 23 5/8 in.)

    Accession Number

    17.3273

    Medium or Technique

    Oil on canvas

    Not On View

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  • Château-Gaillard at Sunset

    about 1873
    Charles François Daubigny (French, 1817–1878)

    Description

    A key member of the Barbizon group, Daubigny took a direct approach to painting nature, treating the half-ruined castle in this view as if it were a rock—not an object of historical interest but a part of nature and an excuse for observation of light and atmospheric effects. He painted four views of the castle under varying light conditions, anticipating Monet’s experiments with serial painting by some twenty years. In the 1860s, Daubigny sat on the jury for the Salon, an annual state-sponsored exhibition in Paris, and there proved a passionate advocate for the young Impressionists Pissarro, Cézanne, and Renoir.

    Provenance

    By 1907, Alice Crowninshield (Mrs. Josiah) Bradlee (b. 1839 - d. 1926), Boston; 1918, gift of Mrs. Josiah Bradlee to the MFA. (Accession Date: February 7, 1918)

    Credit Line

    Gift of Mrs. Josiah Bradlee

    Details

    Dimensions

    38.1 x 68.6 cm (15 x 27 in.)

    Accession Number

    18.18

    Medium or Technique

    Oil on canvas

    Not On View

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  • Woman with a Pink Shawl

    about 1865–70
    Jean-Baptiste-Camille Corot (French, 1796–1875)

    Description

    Although he is best remembered as a landscape painter, Corot produced numerous portraits of family, friends, and models, especially in his later years when illness confined him to his studio. His figure paintings were often left unfinished, and some—like this picture of a seated girl with a shawl over one shoulder—were not intended for public display. Most were exhibited for the first time at a posthumous sale of Corot’s studio contents in 1875.

    Inscription

    Stamped, lower left: VENTE / COROT

    Provenance

    May 26-28, 1875, posthumous Corot sale, Hôtel Drouot, Paris, lot 474, to Vérane [see note 1]. With Alexis-Eugène Detrimont (b. 1825), Paris [see note 2]. 1888, Aimé Diot (d. 1896), Paris; 1888, sold by Diot to Henry Clay Angell (b. 1829 - d. 1911), Boston [see note 3]; by inheritance to his widow, Martha Bartlett Angell (b. 1833 - d. 1919), Boston; 1919, gift of Mrs. Henry Clay Angell to the MFA. (Accession Date: March 20, 1919) NOTES: [1] An annotated copy of the auction catalogue provides the buyer's name; also see Alfred Robaut, "L'oeuvre de Corot, catalogue raisonné et illustré," vol. 3 (1905), no. 1580. [2] As suggested by a stamp on the reverse of the painting. Detrimont was a dealer, restorer and framer; it is not known what role, if any, he played in the sale of this painting. [3] According to Henry Clay Angell (written statement, 1909; in MFA curatorial file).

    Credit Line

    The Henry C. and Martha B. Angell Collection

    Details

    Dimensions

    Overall: 66.7 x 55.2 cm (26 1/4 x 21 3/4 in.)

    Accession Number

    19.81

    Medium or Technique

    Oil on canvas

    Not On View

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  • Farm at Recouvrières, Nièvre

    1831
    Jean-Baptiste-Camille Corot (French, 1796–1875)

    Description

    Inscription

    Lower right: COROT.1831 (scratched into paint) COROT

    Provenance

    Given by the artist to M. Pons (owner of the farm depicted in the painting). By 1895, with Aimé Diot, Paris (dealer, also known as MM. Diot et Tempelaere); 1895, sold by Diot to Dr. Henry Clay Angell (d. 1911), Boston, MA; 1911, inherited by Martha Bartlett Angell (widow, d. 1919), Boston; 1919, gift of Martha Bartlett Angell. (Accession Date: March 20, 1919)

    Credit Line

    The Henry C. and Martha B. Angell Collection

    Details

    Dimensions

    47.6 x 70.2 cm (18 3/4 x 27 5/8 in.)

    Accession Number

    19.82

    Medium or Technique

    Oil on canvas

    Not On View

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  • Harbor Entrance

    1873
    Eugène Louis Boudin (French, 1824–1898)

    Description

    Inscription

    Lower left: E. Boudin / 73

    Provenance

    Allard et Noel, Paris, France [see note 1]. 1876, Unknown sale; 1876, possibly purchased by Henry Clay Angell (d. 1911), Boston, MA; 1911, after his death, by inheritance to his widow, Martha Bartlett Angell (d. 1919), Boston, MA; 1919, bequest of Martha Bartlett Angell. (Accession date: March 20, 1919) NOTES: [1] according to Schmit, "Eugene Boudin" (1973), no.868.

    Credit Line

    The Henry C. and Martha B. Angell Collection

    Details

    Dimensions

    37.2 x 59.7 cm (14 5/8 x 23 1/2 in.)

    Accession Number

    19.98

    Medium or Technique

    Oil on canvas

    Not On View

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  • Harbor View

    about 1850
    Eugène Isabey (French, 1803–1886)

    Description

    Inscription

    Lower right: E. Isabey

    Provenance

    Until 1882, with Doll and Richards, Inc., Boston; March 23-24, 1882, sold at Doll and Richards, Inc., sale, Boston, no. 35, called Entrance to a Port. Until 1904, Louis Ralston, Boston; 1904, Dr. Henry Clay Angell (d. 1911), Boston; 1911, inherited by Martha B. Angell (widow, d. 1919), Boston; 1919, gift of Martha B. Angell.(Accession date: March 20, 1919)

    Credit Line

    The Henry C. and Martha B. Angell Collection

    Details

    Dimensions

    33.3 x 47.9 cm (13 1/8 x 18 7/8 in.)

    Accession Number

    19.101

    Medium or Technique

    Oil on canvas

    Not On View

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  • Garlic Seller

    about 1880
    Jean-François Raffaëlli (French, 1850–1924)

    Description

    Inscription

    Lower right: J.F. R A F F A ELLI

    Provenance

    Albert Wolff, Paris, France. Hazelton, Philadelphia, PA. By 1885, possibly acquired from Hazelton by Henry Clay Angell (d. 1911), Boston, MA; 1911, by descent to his wife, Martha Bartlett Angell (d. 1919), Boston, MA; 1919, gift of Henry C. and Martha B. Angell to the MFA. (Accession Date: March 20, 1919)

    Credit Line

    The Henry C. and Martha B. Angell Collection

    Details

    Dimensions

    71.8 x 48.9 cm (28 1/4 x 19 1/4 in.)

    Accession Number

    19.103

    Medium or Technique

    Oil on paper mounted and extended on canvas

    Not On View

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  • Path through the Forest near Fontainebleau

    about 1875-76
    Narcisse Virgile Diaz de la Peña (French, 1807–1876)

    Description

    Inscription

    Lower right: N. Diaz.

    Provenance

    Bernheim, (Georges) (Paris, France); - 1904 Durand-Ruel (New York, NY USA; Paris, France) from Bernheim; 1904 - 1911 Angell, Henry C. and Martha Angell from Durand-Ruel; (Boston, MA, USA) d. 1911; 1911 - 1919 Martha Bartlett Angell, (Boston, MA USA) by inheritance; d. 1919; 1919 - Boston, MA, USA. Museum of Fine Arts (gift of Angell) (Accession date: March 20, 1919)

    Credit Line

    The Henry C. and Martha B. Angell Collection

    Details

    Dimensions

    49.2 x 61 cm (19 3/8 x 24 in.)

    Accession Number

    19.105

    Medium or Technique

    Oil on panel

    Not On View

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  • Seated Nude (Les Regrets)

    1847–48
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J F Millet

    Provenance

    Durand-Ruel (New York, NY, (?) USA; Paris, France). By 1875 Alfred Sensier, (Paris, France); 1875 - 1875 Joseph Foxcroft Cole, (Boston, MA, USA) from Sensier (buying for Angell, Henry Clay, Dr.); 1875 - 1911 Dr. and Mrs. Henry Clay Angell, buying through Cole; d. 1911(Boston, MA, USA); 1911 - 1919 Martha Bartlett Angell, by inheritance; d. 1919 (Boston, MA, USA); 1919 - Boston, MA, USA. Museum of Fine Arts (gift of Angell) (Accession date: March 20, 1919)

    Credit Line

    The Henry C. and Martha D. Angell Collection

    Details

    Dimensions

    25.1 x 18.4 cm (9 7/8 x 7 1/4 in.)

    Accession Number

    19.97

    Medium or Technique

    Oil on panel

    Not On View

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  • Riverbank in Spring

    1866
    Imitator of Charles François Daubigny (French, 1817–1878)

    Description

    Inscription

    Lower right: Daubigny 1866

    Provenance

    1880, possibly from Daubigny's studio to Casimir Lenfant, Auvers, France (son-in-law of Daubigny); 1880, from Lenfant to Aimé Diot, Paris; 1880, sold by Diot to Henry Clay and Martha Bartlett Angell, Boston (Henry d. 1911); 1911, by inheritance to Martha Bartlett Angell, Boston (d. 1919); 1919, gift of Angell. (Accession date: March 20, 1919)

    Credit Line

    The Henry C. and Martha B. Angell Collection

    Details

    Dimensions

    38.3 x 67 cm (15 1/16 x 26 3/8 in.)

    Accession Number

    19.91

    Medium or Technique

    Oil on panel

    Not On View

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  • Farm on the Bank of a River

    1873
    Charles François Daubigny (French, 1817–1878)

    Description

    Inscription

    Lower left: Daubigny 1873

    Provenance

    By 1889, Noyes and Blakeslee, Boston; 1889, sold by Noyes and Blakelslee to Henry Clay and Martha Bartlett Angell, Boston (Henry, d. 1911); 1911, by inheritance to Martha Bartlett Angell, Boston (d. 1919); 1919, gift of Angell. (Accession date: March 20, 1919)

    Credit Line

    The Henry C. and Martha B. Angell Collection

    Details

    Dimensions

    38.4 x 66.7 cm (15 1/8 x 26 1/4 in.)

    Accession Number

    19.87

    Medium or Technique

    Oil on panel

    Not On View

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  • Sunset by a River

    1865–1876
    Attributed to Charles François Daubigny (French, 1817–1878)

    Description

    Inscription

    Lower right: Daubigny [...] (probably later addition)

    Provenance

    Imported by Seth Morton Vose (b. 1831 - d. 1910), Providence, RI (stock no. 526); sold by Vose to Beriah Wall, Providence, who sold it back to Vose [see note 1]; by 1886, sold by Vose to Walter Richmond, Providence [see note 2]; January 27, 1899, Richmond sale, American Art Galleries, New York, lot 61, to Robert C. Vose, Providence and Boston; 1900, sold by Robert C. Vose to Dr. Henry Clay Angell (b. 1829 - d. 1911), Boston [see note 3]; 1911, by inheritance from Dr. Angell to his widow, Martha Bartlett Angell (b. 1833 - d. 1919), Boston; 1919, gift of Mrs. Henry Clay Angell to the MFA. (Accession Date: March 20, 1919) NOTES: [1] A note by Robert C. Vose, Jr. (1987) in the curatorial file states that Vose "sold it to Beriah Wall of Providence .... Vose later repurchased it and sold it to Walter Richmond." [2] According to notes in the curatorial file, Walter Richmond lent the painting to the "Loan Exhibition in Aid of the First Light Infantry" (Providence, 1886), cat. no. 24. [3] While the painting was in his possession, Dr. Angell cut it down (from about 28 x 40 inches to 19 ¼ x 35 ½ in.) and overpainted areas of the trees and sky.

    Credit Line

    The Henry C. and Martha B. Angell Collection

    Details

    Dimensions

    49.2 x 90.2 cm (19 3/8 x 35 1/2 in.)

    Accession Number

    19.89

    Medium or Technique

    Oil on canvas

    Not On View

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  • House of Mere Bazot, Valmandois

    1872
    Charles François Daubigny (French, 1817–1878)

    Description

    Provenance

    1873, sold by Goupil et Cie, Paris, to Henry Clay Angell (b. 1829 - d. 1911), Boston [see note]; to his widow, Martha Bartlett Angell (b. 1833 - d. 1919), Boston; 1919, gift of Martha B. Angell to the MFA. (Accession Date: March 20, 1919) NOTE: According to notes in the MFA curatorial file.

    Credit Line

    The Henry C. and Martha B. Angell Collection

    Details

    Dimensions

    31.5 x 59.4 cm (12 3/8 x 23 3/8 in.)

    Accession Number

    19.90

    Medium or Technique

    Oil on panel

    Not On View

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  • Portrait of a Young Woman

    (Countess Worontzoff ?)

    about 1797
    Marie Louise Elisabeth Vigée-Le Brun (French, 1755–1842)

    Description

    Vigée‑Le Brun was primarily self‑taught, as women were not allowed to attend France’s official art schools. She went on to achieve great fame for her portraits of the French aristocracy and gained admission to the Royal Academy of Painting and Sculpture through the support of her chief patron, Queen Marie Antoinette. When the French Revolution began in 1789, Vigée‑Le Brun fled France and spent thirteen years in exile, painting the nobility of Naples, Austria, Poland, Russia, and Switzerland. Some scholars think that the charming young woman in this portrait may be Countess Irina Ivanovna Worontzov, a Russian aristocrat.

    Provenance

    1913, Eugène Kraemer collection; May 5-6, 1913, 2nd posthumous Kraemer sale, Galerie Georges Petit, Paris, lot 50, sold for fr. 4,300 to Edward M. Hodgkins, London. 1917, Maria Antoinette Evans Hunt (Mrs. Robert Dawson Evans) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession Date: November 1, 1917)

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    82.2 x 70.5 cm (32 3/8 x 27 3/4 in.)

    Accession Number

    17.3256

    Medium or Technique

    Oil on canvas

    Not On View

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  • Standard Bearer

    about 1860–65
    Eugène Fromentin (French, 1820–1876)

    Description

    Inscription

    Lower right: Eug. Fromentin

    Provenance

    By 1886, Thomas Robinson, Paris and Providence, RI; November 16, 1886, Thomas Robinson sale, Moore's Art Galleries, New York, 230, possibly to Theodore Russell [see note 1]. By 1889, Elmer H. Capen, Boston; March 7-8, 1889, Capen sale, American Art Association, New York, 149, to Vose Galleries, Providence, RI and Boston [see note 2]; 1889, sold by Vose Galleries, to Oren Westcott, Providence, RI; 1907, sold by Vose Galleries for Oren Westcott to Robert Dawson Evans (b. 1843 - d. 1909), Boston [see note 3]; 1909, by inheritance to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession date: November 1, 1917) Notes: [1] Sold as 'Arab Staff Officer Calling to the Fight.' [2] Sold as 'The Charge.' [3] Evans lent the painting in 1908 to the Copley Society, Boston, French School of 1830 Exhibition, 71.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    59 x 89.2 cm (23 1/4 x 35 1/8 in.)

    Accession Number

    17.3254

    Medium or Technique

    Oil on canvas

    Not On View

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  • Peasant Watering her Cow, Evening

    1873–74
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Mill[...]

    Provenance

    1873/1874, sold by the artist to Durand-Ruel, Paris; between about 1874 and 1878, sold by Durand-Ruel to M. Laurent-Richard, Paris [see note 1]; May 23-25, 1878, Laurent-Richard sale, Hôtel Drouot, Paris, lot 47, sold for 15,500 to Petit, possibly for Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1917, gift of Quincy Adams Shaw through his children, Quincy Adams Shaw, Jr. and Mrs. Marian Shaw Haughton, to the MFA. (Accession Date: March 29, 1917) NOTES: [1] Lionello Venturi, Les Archives de L'Impressionnisme, vol. 2 (Paris: Durand-Ruel, 1939), 185.

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    81.6 x 100.3 cm (32 1/8 x 39 1/2 in.)

    Accession Number

    17.1531

    Medium or Technique

    Oil on canvas

    Not On View

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  • Priory at Vauville, Normandy

    1872–74
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    1874-1908, acquired from the artist by Quincy Adams Shaw, Boston (commissioned in 1872); 1908-1917, inherited by Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton, Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    89.9 x 116.8 cm (35 3/8 x 46 in.)

    Accession Number

    17.1532

    Medium or Technique

    Oil on canvas

    Not On View

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  • Buckwheat Harvest, Summer

    1868–74
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Stamped, lower right: J. F. Millet

    Provenance

    1868/1874, Frédéric Hartmann, Paris (original commission) [see note 1]; May 7, 1881, Hartmann sale, Paris, lot 5. By 1887, Quincy Adams Shaw (b. 1825 - d. 1908), Boston [see note 2]; 1917, gift of Quincy Adams Shaw, through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton, to the MFA. (Accession Date: March 29, 1917) NOTES: [1] This painting represents summer in a set of the Four Seasons commissioned by Hartmann in 1868. See Alexandra R. Murphy, "Jean-François Millet" (Boston: MFA, 1984), pp. 221-223, cat. no. 150. [2] E. Durand-Gréville, "La Peinture aux États-Unis," Gazette des Beaux-Arts 36 (1887): 68, mentions this painting in Shaw's collection (called "Récolte du sarrasin").

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 150

    Dimensions

    85.4 x 111.1 cm (33 5/8 x 43 3/4 in.)

    Accession Number

    17.1533

    Medium or Technique

    Oil on canvas

    On View

    Corridor at Foot of Fenway Staircase (149)

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  • Washerwomen

    Emile Charles Lambinet (French, 1815–1877)

    Description

    Inscription

    Lower left: Ele Lambinet

    Provenance

    1917, with Horatio G. Curtis (Boston, MA, USA); 1917, Boston, MA, USA. Museum of Fine Arts (gift of Curtis) (Accession date: June 7, 1917)

    Credit Line

    Bequest of John R. Hall

    Details

    Dimensions

    16.2 x 21.9 cm (6 3/8 x 8 5/8 in.)

    Accession Number

    17.1622

    Medium or Technique

    Oil on canvas

    Not On View

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  • Fishing Boat

    1871
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: [...]llet

    Provenance

    Probably with Durand-Ruel, London and Paris. Quincy Adams Shaw, Boston; 1917, gift of Quincy Adams Shaw, through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton, to the MFA. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 146

    Dimensions

    24.7 x 33 cm (9 3/4 x 13 in.)

    Accession Number

    17.1530

    Medium or Technique

    Oil on canvas

    Not On View

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  • Cliffs at Gruchy

    1870–71
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    1871, with Durand-Ruel, London and Paris. Quincy Adams Shaw, Boston; 1917, gift of Quincy Adams Shaw, through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton, to the MFA. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 145

    Dimensions

    60.0 x 73.9 cm (23 5/8 x 29 1/8 in.)

    Accession Number

    17.1529

    Medium or Technique

    Oil on canvas

    Not On View

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  • Farmyard in Winter

    1868
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    1868-75, acquired from the artist by Emile Gavet, Paris (commissioned in 1868); June 11-12, 1875, sold at Gavet sale, Hôtel Drouot, Paris, no. 10, and bought by Durand-Ruel, Paris and New York; 1875, with Durand-Ruel, Paris and New York. By 1917, Quincy Adams Shaw, Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    67.9 x 88.3 cm (26 3/4 x 34 3/4 in.)

    Accession Number

    17.1526

    Medium or Technique

    Pastel and black conté crayon on buff wove paper

    Not On View

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  • Little Goose Girl

    1868
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower left: J. F. Millet

    Provenance

    Commissioned from the artist by Emile Gavet; June 11-12, 1875, sold by Gavet at Hôtel Drouot, Paris, no. 33, and bought by Carlin. Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    41.9 x 52.1 cm (16 1/2 x 20 1/2 in.)

    Accession Number

    17.1527

    Medium or Technique

    Pastel and black conté crayon on green wove paper

    Not On View

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  • Training Grape Vines

    about 1860–64
    Jean-François Millet (French, 1814–1875)

    Description

    Provenance

    Alfred Sensier; December 10-18, 1877, sold by Sensier at Hôtel Drouot, Paris, no. 201, and bought by Legrand (probably for Quincy Adams Shaw). Quincy Adams Shaw, Boston; 1917, given to the MFA by Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Dimensions

    43.8 x 64.1 cm (17 1/4 x 25 1/4 in.)

    Accession Number

    17.1528

    Medium or Technique

    Pastel on blue-gray wove paper

    Not On View

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  • Fruit and a Wineglass

    Antoine Vollon (French, 1833–1900)

    Description

    Although his work was neglected for many years after his death, Vollon was a critical and commercial success in his lifetime and won many official honors. He painted figures, animals, and landscapes, but earned his reputation and his living from still life. Contemporary writers often cite Vollon’s work for its realism and truthfulness, which are evident here in the careful attention paid to shapes, colors, and textures.

    Inscription

    Lower right: A Vollon

    Provenance

    By 1917, Alice Crowninshield (Mrs. Josiah) Bradlee (b. 1839 - d. 1926), Boston; 1917, gift of Mrs. Josiah Bradlee to the MFA. (Accession Date: December 6, 1917)

    Credit Line

    Gift of Mrs. Josiah Bradlee

    Details

    Dimensions

    25.7 x 40.0 cm (10 1/8 x 15 3/4 in.)

    Accession Number

    17.3144

    Medium or Technique

    Oil on canvas

    Not On View

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  • At the Fountain

    about 1869
    Pierre Cécile Puvis de Chavannes (French, 1824–1898)

    Description

    Puvis de Chavannes was widely known for his large-scale murals on classical themes, which decorated public buildings throughout France. He frequently produced smaller-scale “reductions” such as “At the Fountain,” which is based on a mural at the museum in Amiens. As a result of his international fame, Puvis was commissioned in 1891 to decorate the main stairwell of the recently completed Boston Public Library in Copley Square.

    Inscription

    Lower left: P. Puvis de Chavannes

    Provenance

    By 1894, Durand-Ruel, New York; 1895, sold by Durand-Ruel to Mrs. Samuel Dennis Warren (Susan Cornelia Clarke Warren) (b. 1825 - d. 1901), Boston [see note 1]; January 8, 1903, Warren sale, American Art Galleries, New York, no. 121, to Robert Dawson Evans (b. 1843 - d. 1909), Boston; 1909, by inheritance to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Evans to the MFA. (Accession date: November 1, 1917) NOTES: [1] Lent by Mrs. Warren in 1895 to the MFA for an exhibition featuring the work of Puvis de Chavannes, no. 5.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    181.6 x 120.0 cm (71 1/2 x 47 1/4 in.)

    Accession Number

    17.3228

    Medium or Technique

    Oil on canvas

    Not On View

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  • Shepherdess Leaning on her Staff

    about 1852–53
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J F M

    Provenance

    Sold by the artist to William Morris Hunt, Boston; sold by Hunt to George Gregerson, Providence, RI; bequest of Gregerson to his sister, Miss Gregerson; by 1898, sold by Miss Gregerson to Robert C. Vose Galleries, Boston [ see note 1]; 1907, sold by Vose Galleries to Robert Dawson Evans (b. 1843 - d. 1909), Boston; 1909, by inheritance to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession date: November 1, 1917) Notes: [1] Vose Galleries lent the painting in 1898 to the Worcester Art Museum, First Loan Exhibition, no. 151.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Catalogue Raisonné

    Murphy 27

    Dimensions

    29.2 x 21.9 cm (11 1/2 x 8 5/8 in.)

    Accession Number

    17.3245

    Medium or Technique

    Oil on canvas

    Not On View

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  • Fields at Barbizon

    1867
    Narcisse Virgile Diaz de la Peña (French, 1807–1876)

    Description

    Inscription

    Lower right: N. Diaz 67.

    Provenance

    Vose Galleries, Providence, RI. General Olney Arnold (b. 1822 - d. 1900), Pawtucket, RI; November 7, 1906, Arnold sale, Leonard and Co., Boston, lot 752, to Vose Galleries, Boston (stock no. 1968); March 19, 1907, sold by Vose to Robert Dawson Evans (b. 1844 - d. 1909), Boston; by inheritance to his wife, Mrs. Robert Dawson (Maria Antoinette Hunt) Evans (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession Date: November 1, 1917)

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    32 x 43.5 cm (12 5/8 x 17 1/8 in.)

    Accession Number

    17.3246

    Medium or Technique

    Oil on panel

    Not On View

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  • Young Women Bathing

    about 1845–50
    Narcisse Virgile Diaz de la Peña (French, 1807–1876)

    Description

    Inscription

    Lower right: N. Diaz

    Provenance

    By 1886, Mary J. Morgan, New York; March 5, 1886, Morgan sale, American Art Association, New York, 210, sold for $2,400. By 1917, Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession date: November 1, 1917)

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    41 x 26 cm (16 1/8 x 10 1/4 in.)

    Accession Number

    17.3253

    Medium or Technique

    Oil on panel

    Not On View

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  • Village Road

    1861
    Charles François Daubigny (French, 1817–1878)

    Description

    Inscription

    Lower left: Daubigny 1861

    Provenance

    Possibly with George Petit, Paris [see note 1]. By 1905, Edward Brandus, New York and Paris; February 3, 1905, Brandus sale, Leonard and Co., Boston, 67 [see note 2]. By 1909, Robert Dawson Evans (b. 1843 - d. 1909), Boston; 1909, by inheritance to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession date: November 1, 1917) Notes: [1] According to information in the curatorial file, the Evans acquired a painting by Daubigny, which was from Gallerie Georges Petit in Paris. 2] The painting was sold as 'The Country Road.'

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    29.6 x 44.8 cm (11 5/8 x 17 5/8 in.)

    Accession Number

    17.3242

    Medium or Technique

    Oil on panel

    Not On View

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  • Pool in the Forest

    early 1850s
    Théodore Rousseau (French, 1812–1867)

    Description

    Inscription

    Lower right: T H Rousseau

    Provenance

    Possibly with M. Garnier, Paris. By 1909, Robert Dawson Evans (b. 1843 - d. 1909), Boston; 1909, by inheritance to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession Date: November 1, 1917)

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    Overall: 39.4 x 57.4cm (15 1/2 x 22 5/8in.)

    Accession Number

    17.3241

    Medium or Technique

    Oil on canvas

    Not On View

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  • Bacchanal at the Spring: Souvenir of Marly-le-Roi

    1872
    Jean-Baptiste-Camille Corot (French, 1796–1875)

    Description

    Signed

    Lower left: COROT

    Provenance

    Possibly with Emile Gavet, Paris. By 1875, M. Brun Collection, Paris [see note 1]. By 1895, Marquis Fressinet de Bellanger Collection, Paris [see note 2]. Galerie Georges Petit, Paris; sold by Galerie Georges Petit to Arthur Tooth & Sons, London and New York; March 1898, sold by Arthur Tooth & Sons to H. S. Henry, Philadelphia; January 25, 1907, Henry sale, American Art Association, New York, lot 4, to Robert Dawson Evans (b. 1843 - d. 1909), Boston; by inheritance to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1846 - d. 1917), Boston; bequest of Mrs. Evans to the MFA. (Accession Date: November 1, 1917) Notes: [1] M. Brun lent the painting in 1875 to the Ecole Nationale des Beaux-Arts, Corot Exhibition, Paris, no. 12. [2] The Marquis Fressinet de Bellanger lent the painting in 1895 to the Palais Galliera, Centenaire de Corot Exhibition, Paris, no. 79.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Catalogue Raisonné

    MRIL NoAm 3

    Dimensions

    82.2 x 66.3 cm (32 3/8 x 26 1/8 in.)

    Accession Number

    17.3234

    Medium or Technique

    Oil on canvas

    Not On View

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  • Shepherdess Seated in the Shade

    1872
    Jean-François Millet (French, 1814–1875)

    Description

    Young shepherdesses at work and at rest were one of Millet’s favorite subjects. This tightly cropped example from late in his career features a girl kneeling in the woods, her spindle in her lap, her thoughts apparently elsewhere. The dappled sun on her face indicates Millet’s new approach to light and foreshadows the Impressionists’ more radical experiments of just a few years later.

    Inscription

    Lower left: J. F. Millet

    Provenance

    1872, sent by the artist to Galerie Durand-Ruel, Paris; sold or exchanged by Durand-Ruel to Alfred Sensier (b. 1815 - d. 1877), Paris [see note 1]; December 10, 1877, posthumous Sensier sale, Hôtel Drouot, Paris, lot 49, to Sensier, probably Marguerite Sensier. By 1888, Alexander Young, London [see note 2]; July 14, 1896, sold by Young to Boussod, Valadon et Cie., Paris (stock no. 24507); July 29, 1898, one-half share sold by Boussod, Valadon et Cie. to Isidore Montaignac (b. 1851 - d. 1924), Paris; October 17, 1900, remaining half-share sold to Montaignac [see note 3]. 1905, Edward Brandus (b. 1857 - d. 1937), New York; March 29-30, 1905, Brandus sale, Fifth Avenue Galleries, New York, lot 189, to Eugène Fischoff, Paris for $24,100. By 1908, Robert Dawson Evans (b. 1843 - d. 1909) and Marie Antoinette Hunt Evans (b. 1845 - d. 1917), Boston [see note 4]; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession Date: November 1, 1917) NOTES: [1] On the early history, see Jean François-Millet (exh. cat. Hayward Gallery, London, January 22-March 7, 1976), cat. no. 142. [2] Young lent the painting to the Royal Academy, Glasgow, in 1888 (probably no. 729, "La Bergère") and in 1896 (no. 55, "La Rêverie"). [3] Getty Provenance Index, Goupil et Cie. records, PI record nos. G-35932 (stock book 14, no. 24507, p. 106) and G-36978 (stock book 14, no. 25553, p. 175). [4] Robert Dawson Evans lent the painting in to "Exhibition of Pictures of the French School of 1830" (Copley Society, Boston, 1908), cat. no. 39.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Catalogue Raisonné

    Murphy 147

    Dimensions

    65.4 x 54.9 cm (25 3/4 x 21 5/8 in.)

    Accession Number

    17.3235

    Medium or Technique

    Oil on canvas

    Out on Loan

    On display at Bellagio Gallery of Fine Art, Las Vegas, September 23, 2016 – February 20, 2017

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  • Rising Ground Near Villeneuve-St. Georges

    1875
    Charles François Daubigny (French, 1817–1878)

    Description

    Inscription

    Lower left: C Daubigny 1875

    Provenance

    Possibly with George Petit, Paris [see note 1]. By 1899, Edward Holbrook, New York; April 13-14, 1899, Holbrook sale, American Art Association, New York, lot 124. By 1908, Robert Dawson Evans (b. 1843 - d. 1909), Boston [see note 2]; 1909, by inheritance to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA. (Accession date: November 1, 1917) Notes: [1] According to information in the curatorial file, the Evans acquired a painting by Daubigny, which was from Gallerie Georges Petit in Paris. [2] Robert Dawson Evans lent the painting in 1908 to the Copley Society, French School of 1830 Exhibition, Boston, no. 16.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    39.4 x 66.4 cm (15 1/2 x 26 1/8 in.)

    Accession Number

    17.3237

    Medium or Technique

    Oil on panel

    Not On View

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  • Two Reclining Figures

    about 1848
    Jean-François Millet (French, 1814–1875)

    Description

    Provenance

    About 1853, sold by the artist to William Morris Hunt (b. 1824 - d. 1879), Boston; 1874, sold by Hunt through Doll and Richards, Boston, to Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton to the MFA. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 11

    Dimensions

    72.7 x 100.3 cm (28 5/8 x 39 1/2 in.)

    Accession Number

    17.1482

    Medium or Technique

    Oil on canvas

    Not On View

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  • Woman Reclining in a Landscape

    about 1846–47
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower left: J. F. Millet

    Provenance

    Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr. and Mrs. Marian Shaw Haughton, to the MFA. (Accession Date: March 29, 1917)

    Credit Line

    Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton

    Details

    Catalogue Raisonné

    Murphy 6

    Dimensions

    18.8 x 33.3 cm (7 3/8 x 13 1/8 in.)

    Accession Number

    17.1481

    Medium or Technique

    Oil on canvas

    Not On View

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  • Valentin Valleron de Perrochel

    1647
    Attributed to Philippe de Champaigne (French, 1602–1674)

    Description

    Inscription

    On ledge, lower right: A 1647

    Provenance

    Until 1850, Lieutenant Général Comte Despinoy (Comte Hyacinthe François Joseph d'Espinoy); January 14-February 9, 1850, Despinoy sale, at his home, Versailles, lot 327 [see note 1]. Until 1901, Marquis de Biencourt, Château Azay-le-Rideau, France; May 13-14, 1901, Azay-le-Rideau sale, Galerie Georges Petit, Paris, lot 92 [see note 2], to Montagnac, possibly buying for Alfred de Chaignon des Lans [see note 3]; Alfred de Chaignon des Lans, Paris; sold by Alfred de Chaignon des Lans to Pierre de Chaignon la Rose (b. 1871 - d. 1942), Cambridge, MA; February 23, 1905, sold by Pierre de Chaignon la Rose to Denman Waldo Ross, Cambridge, MA; 1906, gift of Denman Waldo Ross. (Accession date: March 8, 1906) NOTES: [1] Sold as a portrait of Arnauld-Robert d'Andilly. [2] Sold as a portrait of Arnauld d'Andilly. [3] In a letter of January 31, 1924 in the MFA curatorial files, Pierre de Chaignon la Rose wrote that the painting "belonged for at least three quarters of the 19th century to the Biencourt family and was part of the collection of the late Marquis de Biencourt at Azay le Rideau. At the death of a M. du Biencourt ... the collection was dispersed and the portrait was bought, through a dealer, by a cousin of mine in Paris and later, came into my own possession."

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    73.7 x 60 cm (29 x 23 5/8 in.)

    Accession Number

    06.119

    Medium or Technique

    Oil on canvas

    Not On View

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  • Ships in a Harbor

    about 1873
    Claude Monet (French, 1840–1926)

    Description

    Most likely painted in 1873 at the port of Monet’s native Le Havre on theNormandy coast, this picture conjures an overcast day not with the expected palette of grays but with a range of blues, purples, greens, and muted pinks. These unblended pigments are laid down in parallel strokes to create the illusion of ripples in the water and the effect of masts backlit against the cloudy sky. Unblended strokes of color like these would become one of the hallmarks of Monet’s mature Impressionist style.

    Inscription

    Lower right: Claude Monet

    Provenance

    1880, purchased from the artist by Durand-Ruel, Paris, no. 1234. By 1893, Erwin Davis, New York; March 16, 1893, sold by Davis to Durand-Ruel, New York; 1893-97, with Durand-Ruel, New York, no. 1032; May 28, 1897, sold by Durand-Ruel to Denman W. Ross, Cambridge, Mass.; 1897-1906, Denman W. Ross collection, Cambridge, Mass.; 1906, gift of Denman W. Ross. (Accession Date: March 8, 1906)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    49.8 x 61 cm (19 5/8 x 24 in.)

    Accession Number

    06.117

    Medium or Technique

    Oil on canvas

    On View

    Lorna and Robert Rosenberg Gallery (Gallery 252)

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  • Cliffs of the Petites Dalles

    1880
    Claude Monet (French, 1840–1926)

    Description

    Inscription

    Lower left: Claude Monet 1880

    Provenance

    By 1894 with Durand-Ruel (New York, NY, USA; Paris, France); 1894 - 1906 Denman W. Ross (Cambridge, MA, USA) from Durand-Ruel; 1906 - Boston, MA, USA. Museum of Fine Arts (gift of Ross) (Accession date: March 8, 1906)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    60.6 x 80.3 cm (23 7/8 x 31 5/8 in.)

    Accession Number

    06.116

    Medium or Technique

    Oil on canvas

    Not On View

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  • Castle in Ruins

    Attributed to Georges Michel (French, 1763–1843)

    Description

    Provenance

    Doll and Richards, Boston. 1872, E. W. Rollins, Boston, MA. By 1890, Martin Brimmer, Boston, MA (d. 1896); 1896, bequeathed to his wife, Mrs. Martin Brimmer (Mary Ann Timmins) (d. 1906); 1906, bequest of Mrs. Martin Brimmer. (Accession date: November 8, 1906)

    Credit Line

    Bequest of Mrs. Martin Brimmer

    Details

    Dimensions

    54 x 75.9 cm (21 1/4 x 29 7/8 in.)

    Accession Number

    06.2420

    Medium or Technique

    Oil on paper mounted on canvas

    Not On View

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  • Harvesters Resting (Ruth and Boaz)

    1850–53
    Jean-François Millet (French, 1814–1875)

    Description

    Millet conceived this painting as a depiction of the biblical story of Ruth, a poor widow who supported herself by gathering grain left behind by the harvesters. When the artist exhibited this work at the Salon of 1853, however, he changed the title to underscore its contemporary significance. Millet has painted peasants of his own time, and the setting is the fertile plain of Chailly, breadbasket for much of France. In the 1850s rural France was increasingly owned by absentee landlords more interested in personal gain than in the welfare of the people who worked their fields. The gleaner’s meager bundle contrasts poignantly with the stacks of grain behind her, and Millet’s Boaz is not the landowner of the biblical story, but a sharecropper hired to work a rich man’s land. In this, as in so many of his works, Millet urges respect for the hardship and dignity of humble lives.

    Provenance

    1853, sold by the artist to Martin Brimmer (b. 1829 - d. 1896), Boston [see note 1]; by descent to his wife, Marianne Timmins Brimmer (b. 1827 - d. 1906), Boston; 1906, bequest of Mrs. Martin Brimmer to the MFA. (Accession Date: November 11, 1906) NOTES: [1] Millet exhibited this painting at the Salon of 1853 (as "Le repos des Moissonneurs"), where Mr. Brimmer purchased it. See E. Durand-Gréville, "La Peinture aux États-Unis," Gazette des Beaux-Arts 36 (1887): 67.

    Credit Line

    Bequest of Mrs. Martin Brimmer

    Details

    Catalogue Raisonné

    Murphy 39

    Dimensions

    67.3 x 119.7 cm (26 1/2 x 47 1/8 in.)

    Accession Number

    06.2421

    Medium or Technique

    Oil on canvas

    Not On View

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  • Knitting Lesson

    about 1854
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    1854 or 1855, Martin Brimmer, Boston; 1898, inherited by Mrs. Martin Brimmer (wife); 1906, bequeathed to the MFA by Mrs. Martin Brimmer. (Accession Date: November 8, 1906)

    Credit Line

    Bequest of Mrs. Martin Brimmer

    Details

    Catalogue Raisonné

    Murphy 58

    Dimensions

    47 x 38.1 cm (18 1/2 x 15 in.)

    Accession Number

    06.2423

    Medium or Technique

    Oil on canvas

    Not On View

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  • Washerwomen

    about 1855
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    May 10-11, 1875, Millet studio sale, Hôtel Drouot, Paris, lot 127 verso, to Richard Hearn for Martin Brimmer, Boston; by inheritance to Mrs. Martin Brimmer, Boston; 1906, bequest of Mrs. Martin Brimmer to the MFA. (Accession Date: November 8, 1906)

    Credit Line

    Gift of Mrs. Martin Brimmer

    Details

    Catalogue Raisonné

    Murphy 62

    Dimensions

    43.5 x 53.7 cm (17 1/8 x 21 1/8 in.)

    Accession Number

    06.2422

    Medium or Technique

    Oil on canvas

    Not On View

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  • Valley of the Creuse (Gray Day)

    1889
    Claude Monet (French, 1840–1926)

    Description

    One of the first Monets to join the MFA collection, this view into the valley of the River Creuse in France’s Massif Central region demonstrates the artist’s revolutionary use of color—deep purples, reds, and blues—to evoke three-dimensional shape and shadow. Monet’s fascination with instantaneity and the changing effects of light and weather led him to return again and again to paint the same location under varying conditions.

    Inscription

    Lower left: Claude Monet 89

    Provenance

    1891, from the artist to Durand-Ruel, New York, NY and Paris, France; 1891, Denman Waldo Ross, Cambridge, MA, from Durand-Ruel; 1906, gift of Ross. (Accession Date: March 8, 1906)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    65.5 x 81.2 cm (25 13/16 x 31 15/16 in.)

    Accession Number

    06.115

    Medium or Technique

    Oil on canvas

    Not On View

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  • Oaks and Wild Boars

    about 1865
    Karl Bodmer (Swiss (active in France), 1809–1893)

    Description

    Signed

    Lower left: K Bodner

    Provenance

    By 1872, Francis Skinner, Boston [see note 1]; 1906, bequest of Francis Skinner to the MFA. (Accession Date: February 6, 1906) NOTES: [1] Lent by Mrs. Francis Skinner to the Boston Athenaeum in that year, according to notes in the MFA curatorial file.

    Credit Line

    Bequest of Francis Skinner

    Details

    Catalogue Raisonné

    Murphy 1984, 21

    Dimensions

    134.0 x 106.7 cm (52 3/4 x 42 in.)

    Accession Number

    06.3

    Medium or Technique

    Oil on canvas

    Not On View

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  • Venus and Cupid (II)

    1847
    Narcisse Virgile Diaz de la Peña (French, 1807–1876)

    Description

    Inscription

    Lower left: N. Diaz 47

    Provenance

    Petit, Georges Petit Galerie (Paris, France). By 1888 Albert Spencer (New York, NY, USA); 1888/02/28 (0022) Spencer sale (American Art Association) New York. J. Eastman Chase, (Boston, MA, USA); by 1903 Josiah Bradlee, (Boston, MA, USA) from Chase; 1903 - Boston, MA, USA. Museum of Fine Arts (bequest of Bradlee) (Accession date: August 16, 1903)

    Credit Line

    Bequest of Josiah Bradlee

    Details

    Dimensions

    32.4 x 20.0 cm (12 3/4 x 7 7/8 in.)

    Accession Number

    03.739

    Medium or Technique

    Oil on paperboard mounted on panel

    Not On View

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  • Don Quixote Charging the Sheep

    Alexandre Gabriel Decamps (French, 1803–1860)

    Description

    Inscription

    Lower right: D C

    Provenance

    1903, bequeathed to the MFA by Josiah Bradlee (Accession Date: August 16, 1903)

    Credit Line

    Bequest of Josiah Bradlee

    Details

    Dimensions

    40.6 x 32.4 cm (16 x 12 3/4 in.)

    Accession Number

    03.738

    Medium or Technique

    Oil on canvas

    Not On View

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  • Christ on the Lake of Gennesaret

    Attributed to Pierre Andrieu (French, 1821–1892), After Eugène Delacroix (French, 1798–1863)

    Description

    After an original, one of several versions

    Provenance

    Detrimont, Paris. 1889, Cottier and Co., New York [see note 1]. 1893, Durand-Ruel, New York (stock no. 808); March 23, 1893, sold by Durand-Ruel to Josiah Bradlee (b. 1837), Boston; 1903, bequest of Josiah Bradlee to the MFA. (Accession Date: August 16, 1903) NOTES: [1] It was lent by Cottier and Co. to the Barye Monument Fund exhibition (American Art Association, New York, 1889), no. 598.

    Credit Line

    Bequest of Josiah Bradlee

    Details

    Dimensions

    25.1 x 31.4 cm (9 7/8 x 12 3/8 in.)

    Accession Number

    03.741

    Medium or Technique

    Oil on paper mounted on Masonite

    Not On View

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  • The Descent from the Cross

    1860–1870
    Follower of Eugène Delacroix (French, 1798–1863)

    Description

    Provenance

    February 17, 1864, sold at Delacroix sale at Pillet, Lainné, Paris, lot 221. By 1897, with Charles Sedelmeyer, Paris; 1897, sold by Charles Sedelmeyer to Josiah Bradlee, Boston, MA; 1903, bequest of Josiah Bardlee. (Accession date: August 16, 1903)

    Credit Line

    Bequest of Josiah Bradlee

    Details

    Dimensions

    32.3 x 47 cm (12 11/16 x 18 1/2 in.)

    Accession Number

    03.742

    Medium or Technique

    Oil over pen and ink on paper mounted on panel

    Not On View

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  • Farm by a River

    Charles François Daubigny (French, 1817–1878)

    Description

    Inscription

    Lower right: Daubigny 18 [...]

    Provenance

    Beugniet, Paris. By 1904, Sarah Wyman Whitman, Boston; 1904, bequest of Whitman. (Accession date: November 3, 1904)

    Credit Line

    Bequest of Sarah Wyman Whitman

    Details

    Dimensions

    23.8 x 43.5 cm (9 3/8 x 17 1/8 in.)

    Accession Number

    04.1615

    Medium or Technique

    Oil on panel

    Not On View

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  • Racehorses at Longchamp

    1871, possibly reworked in 1874
    Edgar Degas (French, 1834–1917)

    Description

    Horse racing, a luxury sport imported from England, enjoyed a vogue in 19th-century Paris. Built on the Western edge of the city in 1857, the Longchamp racetrack drew fashionable spectators, including Degas, whose love for horses was matched only by his attachment to the ballet. This scene of jockeys and their mounts milling beside the track at the end of a race was the first Degas painting purchased by an American museum.

    Inscription

    Lower left: E Degas

    Provenance

    1894, possibly Théodore Duret (b. 1838 - d. 1927), Paris; March 19, 1894, possibly Duret sale, Galerie Georges Petit, Paris, lot 14, bought in [see note 1]. 1900, Bernheim-Jeune, Paris [see note 2]; February 10, 1900, sold by Bernheim-Jeune to Durand-Ruel, Paris (stock no. 5689); deposited with Cassirer, Berlin; June 10, 1900, returned from Cassirer to Durand-Ruel, Paris; December 19, 1900, deposited with M. Whitaker, Montreal; February 18 or 20, 1901 [see note 3], sold by Durand-Ruel, Paris, to Durand-Ruel, New York (stock no. 2464); March 27, 1901, sold by Durand-Ruel, New York, to Mrs. William H. Moore, New York; April 1, 1901, sold by Mrs. Moore to Durand-Ruel, New York; 1903, sold by Durand-Ruel, New York, to the MFA for $12,000. (Accession Date: April 28, 1903) NOTES: [1] This painting may be the "Chevaux de courses" by Degas, measuring 32 x 40 cm, bought in Duret's name for 1400 francs. See Merete Bodelson, "Early Impressionist Sales 1874 - 94 in the light of some unpublished 'procès-verbaux,'" Burlington Magazine, June, 1968, p. 346. [2] The following provenance (between 1900 and 1903) comes from a letter from Charles Durand-Ruel to Angelica Rudenstine of the MFA (February 13, 1964; in MFA curatorial file) and Jean Sutherland Boggs et al., "Degas at the Races" (exh. cat., National Gallery of Art, Washington, D.C., 1998), p. 250, cat. no. 49. [3] Boggs et al. (as above, n. 2) give the date of the sale as February 18; Charles Durand-Ruel gives the date as February 20.

    Credit Line

    S. A. Denio Collection—Sylvanus Adams Denio Fund and General Income

    Details

    Dimensions

    34.0 x 41.9 cm (13 3/8 x 16 1/2 in.)

    Accession Number

    03.1034

    Medium or Technique

    Oil on canvas

    On View

    Sidney and Esther Rabb Gallery (Gallery 255)

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  • Coming Storm

    1867–68
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower left: J. F. Millet

    Provenance

    Commissioned from the artist by Emile Gavet, Paris; sold by Gavet at Hôtel Drouot, Paris, June 11-12, 1875, lot no. 17, and bought by Martin Brimmer, Boston; 1896, inherited by Mrs. Martin Brimmer (wife); 1906, bequeathed to the MFA by Mrs. Martin Brimmer. (Accession Date: November 8, 1906)

    Credit Line

    Bequest of Mrs. Martin Brimmer

    Details

    Catalogue Raisonné

    Murphy 132

    Dimensions

    42.0 x 53.7 cm (16 9/16 x 21 1/8 in.)

    Accession Number

    06.2426

    Medium or Technique

    Black conté crayon and pastel on green-brown wove paper

    Not On View

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  • Buckwheat Harvest

    1868–70
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J. F. Millet

    Provenance

    Commissioned from the artist by Emile Gavet; June 11-12, 1875, sold by Gavet at Hôtel Drouot, Paris, no. 52, and bought by Martin Brimmer, Boston; 1875-1896, Mr. Martin Brimmer, Boston; 1896, inherited by Mrs. Martin Brimmer (wife); 1906, bequeathed to the MFA by Mrs. Martin Brimmer (Accession Date: November 8, 1906)

    Credit Line

    Bequest of Mrs. Martin Brimmer

    Details

    Dimensions

    75.9 x 97.8 cm (29 7/8 x 38 1/2 in.) 74 x 95.8 cm (29 1/8 x 37 3/4 in.) design

    Accession Number

    06.2425

    Medium or Technique

    Pastel and black conté crayon on light brown wove paper

    Not On View

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  • On the Loing River

    1852
    Eugène Cicéri (French, 1813–1890)

    Description

    Inscription

    Lower right: Eug Ciceri 52

    Provenance

    By 1852 - Edward Wheelwright, (Boston, MA, USA) from the artist; 1913, Mrs. Edward Wheelwright, (Boston, MA, USA); 1913 - Boston, MA, USA. Boston Museum of Fine Arts (bequest of Wheelwright) (Accession date: April 3, 1913)

    Credit Line

    Bequest of Mrs. Edward Wheelwright

    Details

    Dimensions

    31.8 x 45.7 cm (12 1/2 x 18 in.)

    Accession Number

    13.464

    Medium or Technique

    Oil on panel

    Not On View

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  • Artist in the Gorge aux Loups, Forest of Fontainebleau

    1852
    Eugène Cicéri (French, 1813–1890)

    Description

    Inscription

    Lower left: Eug Ciceri / 52

    Provenance

    With Edward Wheelwright, Boston, MA; By 1913, by inheritance to Mrs. Edward Wheelwright, Boston, MA; 1913, bequest of Mrs. Edward Wheelwright. (Accession date: April 3, 1913)

    Credit Line

    Bequest of Mrs. Edward Wheelwright

    Details

    Dimensions

    47.3 x 37.1 cm (18 5/8 x 14 5/8 in.)

    Accession Number

    13.460

    Medium or Technique

    Oil on panel

    Not On View

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  • Village of Bouron

    1852
    Eugène Cicéri (French, 1813–1890)

    Description

    Inscription

    Lower right: Eug Ciceri / 52

    Provenance

    As early as 1852 - Edward Wheelwright, Edward (Boston, MA, USA) probably directly from the artist; 1913, Mrs. Edward Wheelwright, by inheritance (Boston, MA, USA); 1913 - Boston, MA, USA. Boston Museum of Fine Arts (bequest of Wheelwright) (Accession date: April 3, 1913)

    Credit Line

    Bequest of Mrs. Edward Wheelwright

    Details

    Dimensions

    31.8 x 46.1 cm (12 1/2 x 18 1/8 in.)

    Accession Number

    13.456

    Medium or Technique

    Oil on panel

    Not On View

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  • Cottage in the Dunes

    Jean Charles Cazin (French, 1841–1901)

    Description

    Inscription

    Lower right: J C. CAZIN

    Provenance

    1894, Galerie Georges Petit, Paris, France [see note 1]; September, 1894, sold by Georges Petit to M. Knoedler and Co., London and Paris (stock no. 987) [see note 2]; September 21, 1894, sold by Knoedler, Paris to Knoedler, New York (stock no. 7634); October 1, 1894, sold by Knoedler to William R. Wilson, Boston; 1915, gift of William R. Wilson to the MFA. (Accession Date: June 3, 1915) NOTES: [1] George Petit was probably an agent for Cazin so it is likely that the gallery acquired this directly from the artist (information supplied by Getty Provenance Index). [2] Information on the Knoedler transactions is taken from a letter from Lelia Wittler, Knoedler, New York, to the MFA (February 3, 1940). Online, see the Getty Provenance Index, M. Knoedler and Co. records, PI record number K-14822 (Stock book 4, no. 7634, p. 191). http://www.getty.edu/research/tools/provenance/

    Credit Line

    William R. Wilson Donation

    Details

    Dimensions

    46 x 55.5 cm (18 1/8 x 21 7/8 in.)

    Accession Number

    15.882

    Medium or Technique

    Oil on canvas

    Not On View

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  • Going to Market

    Marie Dieterle Van Marcke De Lummen (French, 1856–1935)

    Description

    Inscription

    Lower left: Marie Dieterle

    Provenance

    1892, E. LeRoy and Co., Paris; June 14, 1892, sold by LeRoy to M. Knoedler and Co., New York (stock no. 7141); February 1, 1893, sold by Knoedler to William R. Wilson, Boston [see note 1]; 1915, gift of William R. Wilson to the MFA. (Accession Date: June 3, 1915) NOTES: [1] This information comes from a letter from Lelia Whittier of Knoedler to Charles C. Cunningham of the MFA (March 6, 1941; in MFA curatorial file) and the Getty Provenance Index, M. Knoedler and Co. Records, PI record number K-7569 (stock book 4, no. 7141, p. 163). http://www.getty.edu/research/tools/provenance/

    Credit Line

    William R. Wilson Donation

    Details

    Dimensions

    58.8 x 48.6 cm (23 1/8 x 19 1/8 in.)

    Accession Number

    15.883

    Medium or Technique

    Oil on canvas

    Not On View

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  • Banks of the Sèvre (Vendée)

    1859
    Théodore Rousseau (French, 1812–1867)

    Description

    Rousseau was the central figure of the so-called Barbizon School of painters, named for a village on the edge of the Forest of Fontainebleau, near Paris, where these artists often worked. United by a love for their native landscape, they determined to paint the world around them as they observed it, instead of restructuring it according to the idealizing conventions established by centuries of tradition. In their commitment to direct visual response to nature and their interest in the effects of changing seasons and times of day, the Barbizon artists were important precursors of the Impressionists.

    Inscription

    Lower left: Paris 185[...]Lower right: T H. Rousseau

    Provenance

    Possibly by 1879, Thomas Wigglesworth (b. 1814 - d. 1906 or 1907), Boston [see note 1]; by descent to his niece, Jane Norton (Mrs. Henry S.) Grew, Boston; 1917, gift of Mrs. Henry S. Grew to the MFA. (Accession Date: March 29, 1917) NOTES: [1] According to notes in the MFA curatorial file, Wigglesworth may have lent this painting to the Boston Art Club in 1879.

    Credit Line

    Gift of Mrs. Henry Sturgis Grew

    Details

    Dimensions

    53.3 x 74.6 cm (21 x 29 3/8 in.)

    Accession Number

    17.1461

    Medium or Technique

    Oil on panel

    Not On View

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  • Souvenir of a Meadow at Brunoy

    about 1855–65
    Jean-Baptiste-Camille Corot (French, 1796–1875)

    Description

    Signed

    Lower right: COROT

    Provenance

    By 1875 until at least 1878, Louis Latouche, Paris [see note 1]. Early 1880s, acquired in France by Thomas Robinson for Seth Morton Vose (b. 1831 - d. 1910), Vose Gallery, Providence, R.I.; by 1887, sold by Vose to Mary Tileston (Mrs. Augustus) Hemenway (b. 1820 - d. 1894) [see note 2]; by descent to her daughter, Amy Hemenway Cabot (b. 1849 - d. 1911), Boston; 1911, by inheritance to her husband, Louis Cabot (b. 1837 - d. 1914), Boston; 1915, by inheritance to Amy Cabot's brother, Augustus Hemenway, Jr. (b. 1853 - d. 1931), Milton, MA; 1916, gift of Augustus Hemenway to the MFA. (Accession Date: January 6, 1916) NOTES: [1] He lent the painting to the exhibitions "Corot," École Nationale des Beaux-Arts, Paris, 1875 (cat. no. 193) and "Maîtres Modernes," Durand-Ruel, Paris, 1878 (cat. no. 120), according to Alfred Robaut, "L'oeuvre de Corot: catalogue raisonné et illustré" (1905), vol. 3, cat. no. 2417 and notes in the MFA curatorial file. [2] According to information provided by Robert C. Vose, Vose Galleries (July 7, 1988). In 1915, Mrs. Hemenway's son, Augustus Hemenway, recalled that his mother had purchased the Corot painting for $10,000 about twenty years earlier. See: "Corot Picture to Art Museum," Boston Evening Globe, March 18, 1915. In the nineteenth century, the painting was called "Ville d'Avray" and was published in Mrs. Hemenway's collection by E. Durand-Greville, "La Peinture aux États-Unis," Gazette des Beaux-Arts 1887, p. 67 and Camille Thurwanger, "Corot," The New England Magazine, 5, no. 6 (February, 1892), p. 700.

    Credit Line

    Gift of Augustus Hemenway in memory of Louis and Amy Hemenway Cabot

    Details

    Catalogue Raisonné

    MRIL NoAm 2

    Dimensions

    90.5 x 115.9 cm (35 5/8 x 45 5/8 in.)

    Accession Number

    16.1

    Medium or Technique

    Oil on canvas

    Not On View

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  • Farmyard

    Alexandre Gabriel Decamps (French, 1803–1860)

    Description

    Inscription

    Lower right: D E C A M PS

    Provenance

    1907, Williams and Everett (dealer), Boston; February 15, 1907, Williams and Everett sale, Leonard and Co., Boston, lot 109, to the MFA for $310. (Accession Date: February 19, 1907)

    Credit Line

    Otis Norcross Fund

    Details

    Dimensions

    21.6 x 40.7 cm (8 1/2 x 16 in.)

    Accession Number

    07.87

    Medium or Technique

    Oil on panel

    Not On View

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  • Abundance

    about 1812–20
    Pierre-Paul Prud'hon (French, 1758–1823)

    Description

    Inspired by the Italian Renaissance artist Correggio, Prud’hon developed a distinctive style of graceful, dreamlike beauty. A favorite of Napoleon and his wife Josephine, he became the French Empire’s official designer of parades and other state functions, and painted numerous decorations for government buildings and private homes. This unfinished painting shows the allegorical figure of Abundance offering a cornucopia, or horn of plenty, to a woman in contemporary, Empire-style dress.

    Provenance

    Boisfremont collection; by inheritance to his daughter, Madame Power; by 1874, gift of Madame Power to Laurent Laperlier [see note 1]; February 17, 1879, sold at posthumous Laperlier sale, at Delestre, Paris, lot 37. By 1912, Henri Rouart; December 11, 1912, sold at Rouart sale, at Lair-Dubreuil, Baudoin, Paris, lot 62, and bought by the MFA. (Accession date: February 6, 1913) NOTES: [1] see S. Laveissière, "Prud'hon ou le rêve du bonheur," 1997, no.105

    Credit Line

    Special Fund for the Purchase of Pictures

    Details

    Dimensions

    116.5 x 88.9 cm (45 7/8 x 35 in.)

    Accession Number

    13.391

    Medium or Technique

    Oil on canvas

    Not On View

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  • Apollo and the Muses on Mount Helicon

    1680
    Claude Lorrain (Claude Gellée) (French (active in Rome), 1600–1682)

    Description

    Born in the Lorraine region of France, Claude settled early in Italy and spent most of his life painting the countryside around Rome, with its many associations to the ancient world. This painting, done when he was eighty-two years old, represents Apollo, god of poetry and music, surrounded by the nine Muses, goddesses of the creative arts. At the upper right is the winged horse Pegasus, who has kicked a rock to release the spring that is the source of artistic inspiration. Although most of Claude’s paintings included biblical or classical themes, their true subject was the light, atmosphere, and poetic mood of the natural world.

    Inscription

    Lower center: PARNASS[...]PARN[...]SS [...] CL[...]D[...] (indistinct)

    Provenance

    1680, Prince Lorenzo Onofrio Colonna (b. 1637- d. 1689), Rome (original commission); probably until 1789, by descent within the family; 1789, probably sold by the Colonna family, Rome [see note 1]. Acquired in Rome by Robert Sloane (d. 1802); 1803/1804, imported to England by Sloane's widow; 1804, Sloane sale, Mr. Bryan's Picture Gallery, London, bought in; sold privately to William Buchanan (b. 1777 - d. 1864), London; May 24, 1808, Buchanan sale, Oxenden Street, London, lot 7, bought in [see note 2]. Rev. William Holwell Carr (b. 1758 - d. 1830), London (?) [see note 3]. Walsh Porter (d. 1809), Bath (?); sold or passed by descent to Porter's brother-in-law, William Scrope (b. 1772 - d. 1852), Castle Coombe, Wiltshire; June 10, 1815, Scrope sale, Christie, Manson, and Woods, London, lot 10, withdrawn; April 6, 1816, Scrope sale, Christie, Manson and Woods, lot A92, to Bernard Pinney (for Scrope?) [see note 4]. By 1824, possibly Aynard collection, Paris (?) [see note 5]. May 10, 1827, possibly anonymous sale, George Stanley, London, lot 92 (?) [see note 6]. Edward Gray; by 1854, sold by Gray to Wynn Ellis (b. 1790 - d. 1875), London [see note 7]; June 17, 1876, Ellis estate sale, Christie, Manson and Woods, London, lot 6, to Waters; probably acquired from Waters by William Graham (b. 1817 - d. 1885), Oakdene, near Guildford, Surrey; April 8, 1886, Graham estate sale, Christie, Manson and Woods, London, lot 376, to William Grindlay (d. by 1887), London; April 23, 1887, posthumous Grindlay sale, Christie, Manson, and Woods, London, lot 99. 1889, Thomas Humphry Ward (b. 1845 - d. 1926), London [see note 8]. June 28, 1890, anonymous sale, Christie, Manson, and Woods, lot 95, to Sir William James Farrer (b. 1845 - d. 1906), London; March 23, 1912, posthumous Farrer sale, Christie, Manson and Woods, London, lot 5, to Agnew, London (stock no. 3915); April 29, 1912, sold by Agnew to Trotti et Cie., Paris; 1912, sold by Trotti to the MFA for 180 pounds (British sterling). (Accession Date: October 3, 1912) NOTES: [1] See Marcel Röthlisberger, "Claude Lorrain, The Paintings." (New Haven: Yale University Press, 1961), vol. 1, no. LV 193, pp. 451-454. Röthlisberger identifies the painting in Filippo III Colonna's 1783 inventory (no. 152) and in a Colonna inventory of 1787 (no. 78). [2] Information on the sales was first provided in a letter to the MFA from Burton Fredericksen (September 6, 1988) and can also be accessed online at the Getty Provenance Index (http://piweb.getty.edu): Description of Sale Catalog Br-273; Description of Sale Catalog Br-587. [3] According to Röthlisberger (as above, n. 1), Carr is recorded as the owner in the inscription found on an aquatint of 1812 and he "probably put up [the painting at auction] under the more famous name of Porter" in 1815 and 1816. Curiously, in discussing the history of the Colonna Parnassus imported by Sloane, Buchanan does not mention it among the paintings he sold in 1808, nor those owned by Porter or Carr, who had been his business partner. See his "Memoirs of Painting" (London, 1824), vol. 2, pp. 112-117. [4] The auction catalogue of 1816 includes it among the paintings that had belonged to Walsh Porter, although unlike the others from his collection, it did not appear in his posthumous sales (April 14, 1810, June 21, 1811). There can be no doubt that this is the MFA painting, however, as its description in the Scrope sales of 1815 and 1816 matches that of the MFA work. According to information provided by the Getty Provenance Index (Description of Sale Catalog Br-1376) this painting was bought in and remained with Scrope until his after his death in 1852. This would make its ownership by Aynard by 1824 impossible. [5] Buchanan (as above, n. 3), pp. 117, 389. [6] It is unclear whether this is the painting now at the MFA. The sale catalogue does not describe the painting, except to say that it is known as the 'Colonna Claude' and it 'is too well known to need description'. It can be assumed that this refers to the MFA composition, although several paintings by Claude Lorrain were in the Colonna collection. The catalogue gives the provenance as Rev. Holwell Carr, Mr. Walsh Porter, and Lord Kinnaird. It has not been indicated elsewhere that the MFA painting was owned by Kinnaird. [7] Gustav Friedrich Waagen, "Treasures of Art of Great Britain," vol. 2 (London, 1854), p. 294, no. 3. [8] According to Rothlisberger (as above, n. 1) he lent the painting to an exhibition at Whitechapel, St. Jude's, 1889, no. 97.

    Credit Line

    Picture Fund

    Details

    Dimensions

    99.7 x 136.5 cm (39 1/4 x 53 3/4 in.)

    Accession Number

    12.1050

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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  • Pool in the Forest

    1858
    Narcisse Virgile Diaz de la Peña (French, 1807–1876)

    Description

    Inscription

    Lower left: N. Diaz. 58-

    Provenance

    J. Eastman Chase, Boston, MA. By 1907, with Miss Elizabeth Howes, Boston, MA; 1907, gift of Miss Elizabeth Howes. (Accession date: April 20, 1907)

    Credit Line

    Gift of the Estate of Elizabeth Howes

    Details

    Dimensions

    56.2 x 75.3 cm (22 1/8 x 29 5/8 in.)

    Accession Number

    07.137

    Medium or Technique

    Oil on canvas

    Not On View

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  • Landscape

    1892
    Edgar Degas (French, 1834–1917)

    Description

    Inscription

    Lower left: degas

    Provenance

    June 2, 1893, purchased from the artist by Durand-Ruel, Paris; 1893-94, with Durand-Ruel, Paris; October 25, 1894, transferred from Durand-Ruel, Paris, to Durand-Ruel, New York; November 17, 1894, sold by Durand-Ruel, New York to Denman Waldo Ross, Cambridge, Mass.; 1909, gift of Denman Waldo Ross. (Accession Date: August 5, 1909)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    26.7 x 35.6 cm (10 1/2 x 14 in.)

    Accession Number

    09.295

    Medium or Technique

    Pastel over monotype on paper

    Not On View

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  • Fraternal Love

    1851
    William Adolphe Bouguereau (French, 1825–1905)

    Description

    Bouguereau enjoyed a lifetime of official favor and commercial success and carried the tradition of French academic painting to the turn of the twentieth century. As a young man, he was awarded the prestigious Prix de Rome, which enabled him to study in Italy for four years. Fraternal Love, painted in Rome, was modelled after the Renaissance artist Raphael’s paintings of the Virgin and Child with Saint John, with their harmonious grouping of idealized, serene figures.

    Inscription

    Lower right: W. BOVGVEREAV. 1851.

    Provenance

    1864, possibly with the Artists' Fund Society, New York [see note 1]. By 1869, Thomas Wigglesworth (b. 1814 - d. 1906 or 1907), Boston [see note 2]; 1908, gift of the estate of Thomas Wigglesworth to the MFA. (Accession Date: April 9, 1908) NOTES: [1] This painting was once identified as the Holy Family. It might be the "Holy Family" by Bouguereau for sale at the Fifth Annual sale of Paintings, Artists' Fund Society, New York, 1864 (no. 174), although this has not been verified. It has also been suggested that the New York dealer Samuel Putnam Avery acquired this, possibly from Durand-Ruel, and sold it in New York in 1868 (as "Fraternal Love"). This too has not been verified. [2] He lent this painting to the "Forty-Fifth Exhibition" (Boston Atheneaum, 1869), cat. no. 258.

    Credit Line

    Gift of the Estate of Thomas Wigglesworth

    Details

    Dimensions

    147 x 113.7 cm (57 7/8 x 44 3/4 in.)

    Accession Number

    08.186

    Medium or Technique

    Oil on canvas

    On View

    The Beal Gallery (Gallery 251)

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  • Marquis de Pastoret

    1829
    Hippolyte Delaroche (French, 1797–1856)

    Description

    Claude-Emmanuel-Joseph-Pierre Pastoret is depicted in the year he became Chancellor of France, the culmination of a brilliant forty-year career in public life. The sitter’s pose is relaxed and his face thoughtful and unidealized, but his prestige and power are emphasized by the billowing, opulent robes of his office. Pastoret wears the insignia of a Grand Officer of the Order of Saint-Esprit around his neck and the Saint Andrew Cross and Legion of Honor medal on his lapel. Pastoret’s son commissioned this portrait from his friend Delaroche, who was primarily a painter of highly detailed historical scenes.

    Inscription

    Lower left: P. DelaRoche; Upper right (now barely visible): CLAUDE EMMANUEL JOSEPH PIERRE / MARQUIS DE PASTORET / CHANCELIER DE FRANCE / TUTEUR DES ENFANTS DE FRANCE

    Provenance

    By 1829, commissioned from the artist by Amédée-David de Pastoret (b. 1791 - 1857) son of the sitter, Claude-Emmanuel Joseph Pierre, Marquis de Pastoret (b. 1755/6 - d. 1840), Marseilles; 1857, by descent to the granddaughter of the sitter, the Marquise du Plessis Bellière (formerly de Pastoret) [see note 1]; May 10-11, 1897, sold by the estate of the Marquise de Plessis Bellière, Hotel Drouot, Paris, lot 25, possibly purchased by Edgar Degas, (b. 1834 - d. 1917), Paris [see note 2]. By 1900, Pierre Decourcelle (b. 1856 - d. 1926), Paris [see note 3]; May 29-30, 1911, Decourcelle sale, Galerie Georges Petit, Paris, lot 11, to the MFA for $6377. (Accession Date: July 6, 1911) NOTES: [1] According to Jean Guiffrey, "Recent Acquisitions of the Department of Painting" in the MFA Bulletin IX.53 (February 1911), pg. 47, upon her death, the Marquise de Plessis Belliere bequeathed all her property to the Pope. A legal decision overruled her will, leading to the public sale of her possessions in 1897. [2] According to Guiffrey, Pg. 47, also "The Private Collection of Edgar Degas," Metropolitan Museum of Art (1997), Cat. no. 442, Pg. 50. [3] P. Decourcelle lent the painting to the Paris Exposition in 1900, no. 230.

    Credit Line

    Susan Cornelia Warren Fund and the Picture Fund

    Details

    Dimensions

    155.3 x 122.6 cm (61 1/8 x 48 1/4 in.)

    Accession Number

    11.1449

    Medium or Technique

    Oil on canvas

    On View

    The Beal Gallery (Gallery 251)

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  • Morning on the Seine, near Giverny

    1897
    Claude Monet (French, 1840–1926)

    Description

    Monet traveled as far north as Norway and as far south as Venice to look for different motifs, but he always returned to the places he knew best. He painted the river Seine in Paris, Argenteuil, Vétheuil, and where it emptied into the English Channel. He turned to it again in 1896 and 1897 for his series of canvases showing how it looked at dawn. This version is notable for its softness. Its colors of pinkish mauve, cool blues, and greens are matched with large, simple, and rounded shapes. With the point of view suspended over the water, we are made to feel weightless, perhaps even bodiless. Almost symmetrical reflections threaten to disorient us, but Monet has left enough clues to let us know which way is up.

    Inscription

    Lower left: Claude Monet 97

    Provenance

    June 18, 1909, sold by the artist to Durand-Ruel, Paris (stock no. 9102) [see note 1]; 1909, from Durand-Ruel, Paris to Durand-Ruel, New York (stock no. 3328); October 22, 1909, sold by Durand-Ruel, New York to James Viles, Chicago; March 1, 1911, sold by Viles to Durand-Ruel, New York (stock no. 3418); March 7, 1911, sold by Durand-Ruel to Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1927), Boston; 1911, gift of Mrs. Walter Scott Fitz to the MFA. (Accession Date: April 6, 1911) NOTES: [1] The provenance information was provided in a letter from Durand-Ruel et Cie., Paris, to the MFA (April 18, 1962; in MFA curatorial file).

    Credit Line

    Gift of Mrs. W. Scott Fitz

    Details

    Dimensions

    81.3 x 92.7 cm (32 x 36 1/2 in.)

    Accession Number

    11.1261

    Medium or Technique

    Oil on canvas

    On View

    Lorna and Robert Rosenberg Gallery (Gallery 252)

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  • Landscape

    1890
    Edgar Degas (French, 1834–1917)

    Description

    Inscription

    Lower right: degas

    Provenance

    June 2, 1893, purchased from the artist by Durand-Ruel, Paris; 1893-94, with Durand-Ruel, Paris, no. 2771; October 25, 1894, sold by Durand-Ruel, Paris, to Durand-Ruel, New York, no. 1241; November 17, 1894, sold by Durand-Ruel, New York, to Denman Waldo Ross, Cambridge, Mass., Mass.; 1909, gift of Denman Waldo Ross. (Accession Date: August 5, 1909)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    31.1 x 41.3 cm (12 1/4 x 16 1/4 in.)

    Accession Number

    09.296

    Medium or Technique

    Pastel over monotype on paper

    Not On View

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  • Return from Market

    1767
    François Boucher (French, 1703–1770)

    Description

    Return from Market was probably commissioned as a companion piece to Halt at the Spring [MFA Object No. 71.2]. Boucher, who objected to the natural world because it was “too green and badly lit,” created in these works a decorative fiction of billowing clouds and draperies, with abundant, rhythmically interwoven figures and animals. Dashing brushwork, delicate colors, and lighthearted sensuousness are hallmarks of Boucher’s work and embody the high style of his period.

    Signed

    Lower left, on stone: F. Boucher / 1767

    Provenance

    By 1769, Pierre-Jacques-Onésyme Bergeret de Grancourt (b. 1715 - d. 1785), Paris [see note 1]; April 24, 1786, posthumous Bergeret de Grancourt sale, Hôtel de Bergeret, Paris, lot 46, not sold. December 21-22, 1846, anonymous sale, Beurdley, Paris, lot 2. 1846/1848, probably acquired in Paris by Edward Preble Deacon (b. 1813 - d. 1851) and his wife, Sarahann Parker Deacon (b. 1821 - d. 1900), Boston [see note 2]; 1861, to Mrs. Deacon's father, Peter Parker (b. 1785 - d. 1870), Boston [see note 3]; February 1-3, 1871, Deacon House sale, Leonard and Co., Boston (unnumbered catalogue), sold to Franklin for the heirs of Peter Parker; 1871, gift of the heirs of Peter Parker to the MFA. (Accession Date: March 10, 1871) NOTES: [1] This painting and its pendant (MFA no. 71.2) were exhibited at the Salon of 1769, when Bergeret de Grancourt was recorded as their owner. See Eric M. Zafran, "French Paintings in the Museum of Fine Arts, Boston," vol. 1 (Boston, 1998), cat. nos. 42-43, pp. 107-112. [2] It is possible that the Deacons purchased the two Boucher paintings at the December 21 auction in Paris. They are known to have made two trips to Paris, in 1846-47 and in 1848, to acquire furnishings for their home. See Zafran (as above, n. 1), p. 112. [3] Mr. Deacon died in 1851 and his widow and children went abroad in 1861, at which time the ownership of their home, known as Deacon House, passed to her father. See Zafran (as above, n. 2).

    Credit Line

    Gift of the heirs of Peter Parker

    Details

    Dimensions

    209.6 x 290.5 cm (82 1/2 x 114 3/8 in.)

    Accession Number

    71.3

    Medium or Technique

    Oil on canvas

    Not On View

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  • Summer

    about 1860–70
    Gustave Doré (French, 1832–1883)

    Description

    Doré, best known for illustrations of the Bible and Dante’s Divine Comedy, painted many landscapes of Switzerland, Scotland, and France, but this work is unique. A slice of nature from a bug’s-eye view, it seems to be an allegory of rejuvenation and the transience of life. Hollyhocks, morning-glories, dandelions, daisies, thistles, and other weeds battle for survival, and butterflies and dragonflies feed on them. The scythe, a traditional symbol of death, lies rusting in the foreground, and in contrast to the luxuriance of nature, a ruined building is moldering in the background.

    Inscription

    Lower left: Gve Dore

    Provenance

    De Vries; by 1871, sold by De Vries to Richard Baker [see note 1]; 1873, gift of Richard Baker to the MFA. (Accession Date: January 24, 1873) NOTES: [1] According to notes in the curatorial file, Baker lent the painting to the Boston Atheneum as early as 1871. The location of "De Vries" is unclear; notes suggest it was in either Paris or Boston. A letter from George W. Wales to Henry P. Kidder (September 21, 1876), indicates that "Mrs. Baker says her husband purchased this said Painting of Mr. de Vries and gave it to the Museum -- she said she thought the purchase was made at your suggestion." Kidder was among the founding trustees of the MFA and served as treasurer from 1870 until his death in 1886.

    Credit Line

    Gift of Richard Baker

    Details

    Dimensions

    266.4 x 200.1 cm (104 7/8 x 78 3/4 in.)

    Accession Number

    73.8

    Medium or Technique

    Oil on canvas

    Not On View

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  • Landscape with a Mill

    1860
    Eugène Deshayes (French, 1828–1890)

    Description

    Inscription

    Lower left: Eug. Deshayes 60

    Provenance

    Charles Sumner (b. 1811 - d. 1874), Boston and Washington, DC; 1874, bequeathed by Sumner to the MFA. (Accession Date: November 17, 1874)

    Credit Line

    Bequest of Charles Sumner

    Details

    Dimensions

    32.7 x 24.5 cm (12 7/8 x 9 5/8 in.)

    Accession Number

    74.5

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of an Artist

    After Hyacinthe François Rigau y Ros, called Hyacinthe Rigaud (French, 1659–1743)

    Description

    Copy of a lost self-portrait by Rigaud (?)

    Provenance

    By 1874, with Charles Sumner, Boston, MA, USA; 1874 - Boston, MA, USA. Museum of Fine Arts (bequest of Sumner) (Accession date: April 27, 1874)

    Credit Line

    Bequest of Charles Sumner

    Details

    Dimensions

    27.9 x 22.9 cm (11 x 9 in.)

    Accession Number

    74.16

    Medium or Technique

    Oil on canvas

    Not On View

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  • Dante and Virgil

    1859
    Jean-Baptiste-Camille Corot (French, 1796–1875)

    Description

    Corot took his subject from the first canto of Dante’s Inferno, when the Italian poet encounters three savage beasts deep in a forest. Dante then meets the ancient poet Virgil, who offers to be his guide through Purgatory and Hell. Corot presented this painting at the Salon of 1859. Rediscovering it in his studio many years later, he wrote to a friend, “Why, it’s superb; I can hardly imagine that I myself did that!” He unsuccessfully offered to sell it to the French state in 1874. The Boston collector Quincy Adams Shaw purchased it in 1875, after Corot’s death, and donated it to the Museum of Fine Arts.

    Inscription

    Lower right: C. COROT

    Provenance

    May 26-28, 1875, posthumous Corot sale, Hôtel Drouot, Paris, lot 149, to Alexis-Eugène Détrimont (b. 1825), Paris, for 15,000 fr., for Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1875, gift of Quincy Adams Shaw to the MFA. (Accession Date: January 10, 1875)

    Credit Line

    Gift of Quincy Adams Shaw

    Details

    Dimensions

    260.4 x 170.5 cm (102 1/2 x 67 1/8 in.)

    Accession Number

    75.2

    Medium or Technique

    Oil on canvas

    On View

    The Beal Gallery (Gallery 251)

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  • Sewing Lesson

    1874
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Stamped, lower right: J. F. Millet

    Provenance

    Sold at the Millet studio sale at Hôtel Drouot, Paris, May 10-11, 1875, lot no. 55, and bought by Richard Hearn, Boston, for Martin Brimmer, Boston; 1876, given to the MFA by Martin Brimmer. (Accession Date: January 7, 1876)

    Credit Line

    Gift of Martin Brimmer

    Details

    Catalogue Raisonné

    Murphy 151

    Dimensions

    81.6 x 65.4 cm (32 1/8 x 25 3/4 in.)

    Accession Number

    76.1

    Medium or Technique

    Oil on canvas

    Not On View

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  • Bathers in a Clearing

    about 1870–75
    Jean-Baptiste-Camille Corot (French, 1796–1875)

    Description

    Inscription

    Stamped, lower right: VENTE / COROT

    Provenance

    May 26-28, 1875, posthumous Corot sale, Hôtel Drouot, Paris, lot 210, to Rosimont [see note 1]. With Alexis-Eugène Detrimont (b. 1825), Paris [see note 2]. By 1876, James Davis, Boston; 1876, gift of James Davis to the MFA. (Accession Date: January 7, 1876) NOTES: [1] An annotated copy of the auction catalogue provides the buyer's name; also see Alfred Robaut, "L'oeuvre de Corot, catalogue raisonné et illustré" vol. 4 (Paris, 1905). [2] As suggested by a stamp on the reverse of the painting. Dètrimont was a dealer, restorer and framer; it is not known what role, if any, he played in the sale of this painting around 1875-1876.

    Credit Line

    Gift of James Davis

    Details

    Dimensions

    92 x 73.2 cm (36 1/4 x 28 13/16 in.)

    Accession Number

    76.4

    Medium or Technique

    Oil on canvas

    Not On View

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  • Path in the Forest

    about 1835
    Narcisse Virgile Diaz de la Peña (French, 1807–1876)

    Description

    Inscription

    Lower left: N. Diaz

    Provenance

    1877, Doll and Richards, Boston; 1877, sold by Doll and Richards to the MFA. (Accession Date: January 1, 1877)

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Dimensions

    26 x 35.2 cm (10 1/4 x 13 7/8 in.)

    Accession Number

    77.138

    Medium or Technique

    Oil on panel

    Not On View

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  • Achilles Displaying the Body of Hector before Priam and the Body of Patroclus

    early 19th century
    Unidentified artist, French, 19th century (French)

    Description

    Provenance

    By 1856, Seth Wells Cheney (b. 1810 - d. 1856), Boston; by inheritance to his wife, Ednah Dow Cheney (b. 1824 - d. 1904), Boston; 1877, gift of Mrs. Ednah Dow Cheney to the MFA. (Accession Date: May 3, 1877)

    Credit Line

    Gift of Mrs. Ednah Dow Cheney

    Details

    Dimensions

    33.6 x 46.7 cm (13 1/4 x 18 3/8 in.)

    Accession Number

    77.151

    Medium or Technique

    Oil on paper mounted on canvas

    Not On View

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  • Two Soldiers

    about 1848
    Thomas Couture (French, 1815–1879)

    Description

    (study for The Enrollment of the Volunteers of 1792)

    Inscription

    Lower left: T.C. / Etude faite pour / des enrolements volontaires / de 1792

    Provenance

    1877, Doll and Richards, Boston; 1877, sold by Doll and Richards to the MFA. (Accession Date: October 1, 1877)

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Dimensions

    81.9 x 65.4 cm (32 1/4 x 25 3/4 in.)

    Accession Number

    77.236

    Medium or Technique

    Oil on canvas

    Not On View

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  • Young Shepherdess

    about 1870–73
    Jean-François Millet (French, 1814–1875)

    Description

    Working in his native village of Gruchy in Normandy during the Franco-Prussian war (1870-1871), Millet found art supplies difficult to obtain. To create this grand depiction of a French peasant, Millet reused a canvas from an earlier painting—a multi-figure biblical scene, oriented horizontally—that he had exhibited at the Salon in 1848. That work never found a buyer and, by 1850, Millet had turned his attention to contemporary rural life, which would remain his focus for the rest of his career. Young Shepherdess, painted two decades later, is one of his largest works and one of his last. Its low viewpoint and monumental scale bestow on the “lowly” peasant the status of a saint or goddess.

    Inscription

    Stamped, lower right: J. F. Millet

    Provenance

    1877, gift of Samuel Dennis Warren (b. 1817 - d. 1888), Boston, to the MFA. (Accession Date: November 1, 1877)

    Credit Line

    Gift of Samuel Dennis Warren

    Details

    Dimensions

    162 x 113 cm (63 3/4 x 44 1/2 in.)

    Accession Number

    77.249

    Medium or Technique

    Oil on canvas

    On View

    The Beal Gallery (Gallery 251)

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  • Stream in the Forest near Plombières

    1870s
    François Louis Français (French, 1814–1897)

    Description

    Inscription

    Lower right: Francais

    Provenance

    By 1879 Paris, France. Anonymous collection (or anonymous dealer). 1879, acquired in Paris by Edward D. Boit, Paris, France; 1879, gift of Edward D. Boit. (Accession date: August 22, 1879)

    Credit Line

    Gift of Edward D. Boit

    Details

    Dimensions

    101.3 x 76.2 cm (39 7/8 x 30 in.)

    Accession Number

    79.323

    Medium or Technique

    Oil on canvas

    Not On View

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  • Head of a Young Woman

    Thomas Couture (French, 1815–1879)

    Description

    Inscription

    Lower right: T.C.

    Provenance

    1858, possibly with Gustave Arosa (b. 1818 - d. 1883), Saint-Cloud, France; May 24, 1858, possibly in the Arosa sale, Boussaton, Paris, lot 10. 1880, Doll and Richards, Boston; 1880, sold by Doll and Richards to the MFA. (Accession Date: March 1, 1880)

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Dimensions

    49.8 x 43.2 cm (19 5/8 x 17 in.)

    Accession Number

    80.484

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Kitchen Table

    17[55?]
    Jean Siméon Chardin (French, 1699–1779)

    Description

    This still life of humble kitchen wares, and another depicting elegant serving utensils, were exhibited as a pair at the Salon of 1757. Close examination reveals that Chardin changed the position of many objects as he painted, evidence of his painstaking craftsmanship and determination to create harmonious balance in what appear to be casual groupings. The reworking of the mortar and pestle at the right is most apparent to the naked eye.

    Signed

    Lower right: Chardin / 17[55?]

    Provenance

    1757, Ange-Laurent de La Live de Jully (b. 1725 - d. 1770), Paris (probably original commission) [see note 1]. By 1779, Johann Anton de Peters (b. 1725 - d. 1795), Cologne and Paris; March 9, 1779, Peters sale, Remy and Basan, Paris, lot 104 (bought in for 130.1 livres) [see note 2]; by descent to Mme. Johann Anton (Elisabeth Marie Gouel de Villebrune) de Peters (b. 1738 - d. 1785), Paris; November 9, 1787, Mme. de Peters estate sale, Le Brun, Paris, lot 165 (bought in for 98 livres). May 2, 1791, du Charteaux estate and others sale, Le Brun, Paris, lot 146, to Sollier for Pierre Remy (b. 1715 - d. 1797), Paris, for 100 livres. Cesar-Louis-Marie Villeminot (b. 1749 - d. 1807), Paris; May 25, 1807, posthumous Villeminot sale, Paillet, Paris, lot 13, to Pierre-Joseph Renoult (b. 1760), Paris, for 23.95 francs. Peter Chardon Brooks (b. 1798 - d. 1880), Boston; by inheritance to Mrs. Peter Chardon (Susan Oliver Heard) Brooks (b. 1806 - 1884), Boston; 1880, gift of Mrs. Peter Chardon Brooks to the MFA. (Accession date: October 16, 1880) NOTES: [1] La Live de Jully owned the painting at the time of the 1757 Salon, where it was exhibited (no. 33). The 1791 Le Brun auction catalogue indicates that the painting and its companion piece "were made with care for Juli de La Live." See Pierre Rosenberg, "Chardin 1699-1779" (Cleveland, 1979), p. 305. [2] From 1779 to 1807, the painting was sold in the same lot as its companion piece, "Butler's Pantry Table" by Chardin, with the exception of the 1787 de Peters estate sale, when it was sold alone. See Eric M. Zafran, "French Paintings in the Museum of Fine Arts, Boston" (Boston, 1998), pp. 94-97.

    Credit Line

    Gift of Mrs. Peter Chardon Brooks

    Details

    Dimensions

    39.7 x 47.6 cm (15 5/8 x 18 3/4 in.)

    Accession Number

    80.512

    Medium or Technique

    Oil on canvas

    Not On View

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  • Still Life with Teapot, Grapes, Chestnuts, and a Pear

    17[64?]
    Jean Siméon Chardin (French, 1699–1779)

    Description

    Chardin celebrated the commonplace. His still lifes feature an air of informality and intimacy, as if he were working in his kitchen rather than his studio. In fact, inventories reveal that he owned most of the objects that he painted so meticulously, balancing form and texture. He also loved the pure, sensuous quality of paint, as the patch of brilliant orange brushed on the pear attests. The critic Denis Diderot enthused: “O Chardin! It’s not white, red, or black pigment that you crush on your palette: it’s the very substance of the objects, it’s air and light that you take up with the tip of your brush and fix onto the canvas.”

    Inscription

    Lower left: Chardin / 17 [64?]

    Provenance

    By 1878, M. Signol collection; April 1-3, 1878, Signol sale, Hotel Drouot, Paris, lot 45. Étienne-Edmond-Martin, Baron de Beurnonville (b. 1825 - d. 1906), Paris; May 21-22, 1883, Beurnonville sale, Hotel Drouot, Paris, lot 7, to Martin Brimmer (b. 1829 - d. 1896) and Marianne Timmins Brimmer (b. 1827 - d. 1906), Boston, for 1250 ff; 1883, gift of Martin Brimmer to the MFA. (Accession Date: October 9, 1883)

    Credit Line

    Gift of Martin Brimmer

    Details

    Dimensions

    32.1 x 40 cm (12 5/8 x 15 3/4 in.)

    Accession Number

    83.177

    Medium or Technique

    Oil on canvas

    Not On View

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  • By the Riverside

    Henry Lerolle (French, 1848–1929)

    Description

    Provenance

    By 1881 with Henry Lerolle. Blakeslee Galleries. New York, NY, USA. By 1884, with Francis C Foster, Cambridge, MA, USA; 1884 - Boston, MA, USA. Museum of Fine Arts (gift of Foster) (Accession date: March 17, 1884)

    Credit Line

    Gift of Francis C. Foster

    Details

    Dimensions

    470.9 x 300 cm (185 3/8 x 118 1/8 in.)

    Accession Number

    84.248

    Medium or Technique

    Oil on canvas

    Not On View

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  • Landscape near Dieppe

    Constant Troyon (French, 1810–1865)

    Description

    Inscription

    Lower left: C. T R O Y O N

    Provenance

    By 1884 with Thomas Gold Appleton. Boston, MA, USA (from the artist?); 1884, Boston, MA, USA. Museum of Fine Arts (bequest of Appleton) (Accession date: June 2, 1884)

    Credit Line

    Bequest of Thomas Gold Appleton

    Details

    Dimensions

    52.4 x 81.9 cm (20 5/8 x 32 1/4 in.)

    Accession Number

    84.275

    Medium or Technique

    Oil on canvas

    Not On View

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  • Sheep and Shepherd in a Landscape

    about 1854
    Constant Troyon (French, 1810–1865)

    Description

    Inscription

    Lower right: C. T R O Y O N

    Provenance

    By 1864, with Auguste de Charliere. 1884, Thomas Gold Appleton, Boston; 1884, bequest of Thomas Gold Appleton to the MFA. (Accession Date: June 2, 1884)

    Credit Line

    Bequest of Thomas Gold Appleton

    Details

    Dimensions

    34.9 x 45.1 cm (13 3/4 x 17 3/4 in.)

    Accession Number

    84.276

    Medium or Technique

    Oil on canvas

    Not On View

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  • Landscape with a Peasant Watering her Cows

    Théodore Rousseau (French, 1812–1867)

    Description

    Inscription

    Lower left: T H. Rousseau

    Provenance

    1884, Thomas Gold Appleton (b. 1812 - d. 1884), Boston; 1884, bequest of Thomas Gold Appleton to the MFA. (Accession Date: June 2, 1884)

    Credit Line

    Bequest of Thomas Gold Appleton

    Details

    Dimensions

    26.4 x 38.1 cm (10 3/8 x 15 in.)

    Accession Number

    84.277

    Medium or Technique

    Oil on panel

    Not On View

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  • Turkish Café

    Narcisse Virgile Diaz de la Peña (French, 1807–1876)

    Description

    Provenance

    By 1852, Paris, France. Anonymous collection (or anonymous dealer). By 1852 - 1884, with Thomas Gold Appleton, Boston, MA, USA (acquired in Paris); 1884 - Museum of Fine Arts (bequest of Appleton) (Accession date:June 2, 1884)

    Credit Line

    Bequest of Thomas Gold Appleton

    Details

    Dimensions

    14.0 x 21.9 cm (5 1/2 x 8 5/8 in.)

    Accession Number

    84.278

    Medium or Technique

    Oil on paperboard

    Not On View

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  • Oxen Ploughing

    Constant Troyon (French, 1810–1865)

    Description

    Inscription

    Lower left: C. T R O Y ON

    Provenance

    By 1884, Thomas Gold Appleton, Boston, MA, USA; 1884 - Boston, MA, USA. Museum of Fine Arts (bequest of Appleton) (Accession date: June 1, 1884)

    Credit Line

    Bequest of Thomas Gold Appleton

    Details

    Dimensions

    96.5 x 129.9 cm (38 x 51 1/8 in.)

    Accession Number

    84.284

    Medium or Technique

    Pastel on paper mounted on canvas

    Not On View

    Collections

    Europe, Prints and Drawings

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  • Greek Slave

    1870
    Jean-Léon Gérôme (French, 1824–1904)

    Description

    Provenance

    October, 1870, stolen from the artist's studio in Bougival by an American journalist and taken to Chicago [see note 1]. Acquired at an antique shop, Chicago, by M.P. Kennard, Boston; sold by Kennard to George A. Bethune, Boston; May 27, 1886, Bethune sale, Leonard and Co., Boston, lot 50, to George A. Goddard, Boston; 1887, gift of Goddard to the MFA. (Accession Date: December 6, 1887) NOTES: [1] During the Franco-Prussian war, an English journalist and an American journalist visited Gérôme's studio in Bougival. The American took away this unfinished painting, supposedly to deliver it to a lawyer, but instead apparently returning to Chicago with it. Later, Charles Gilman of Chicago recalled seeing the painting in an antique shop, where his friend M. P. Kennard of Boston had purchased it. When the MFA acquired it in 1887, Gérôme was flattered that the painting had been acquired by a museum and offered to sign it. See Ingres & Delacroix through Degas & Puvis de Chavannes: The Figure in French Art, 1800-1870 (exh. cat. Shepherd Gallery, May-June, 1975), pp. 257-258, cat. no. 107.

    Credit Line

    Gift of George A. Goddard

    Details

    Dimensions

    54 x 37.1 cm (21 1/4 x 14 5/8 in.)

    Accession Number

    87.410

    Medium or Technique

    Oil on canvas

    Not On View

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  • Study for Wounded Cuirassier

    After Jean Louis André Théodore Géricault (French, 1791–1824)

    Description

    After an oil sketch in the Brooklyn Museum

    Provenance

    Purchased in Paris by Thomas Robinson, Providence, RI [see note 1]; November 16-18, 1886, Robinson sale, Moore's Art Gallery, New York, lot 201, to Seth Morton Vose (b. 1831 - d. 1910), Providence and Boston [see note 2]; 1886, sold by Vose to Samuel Dennis Warren (b. 1817 - d. 1888), Boston; 1888, gift of Warren to the MFA. (Accession date: January 18, 1888) NOTES: [1] Between the 1850s and 1880s, Robinson traveled to France and purchased paintings as Seth Morton Vose's agent. [2] Vose lent this to the "Loan Exhibition of Paintings in aid of the First Light Infantry" (Providence, RI, 1886), cat. no. 10, as "Study."

    Credit Line

    Gift of Samuel Dennis Warren

    Details

    Dimensions

    38.2 x 32.1 cm (15 1/16 x 12 5/8 in.)

    Accession Number

    88.724

    Medium or Technique

    Oil on panel

    Not On View

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  • Study of Olympe Pelissier as Judith

    1830
    Emile-Jean-Horace Vernet (called Horace Vernet) (French, 1789–1863)

    Description

    Provenance

    By 1889, with James H. Stebbins; Febuary 12, 1889, sold at Stebbins sale, American Art Association, New York, lot 66 and bought by Mrs. Samuel Dennis Warren (Susan Cornelia), Boston, MA; 1889, gift of Mrs. Samuel Dennis Warren. (Accession date: February 16, 1889)

    Credit Line

    Gift of Mrs. Samuel Dennis Warren

    Details

    Dimensions

    65.1 x 55.2 cm (25 5/8 x 21 3/4 in.)

    Accession Number

    89.157

    Medium or Technique

    Oil on canvas

    Not On View

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  • Automedon with the Horses of Achilles

    1868
    Henri Regnault (French, 1843–1871)

    Description

    Regnault’s painting illustrates a story from Homer’s Iliad. Automedon, chariot driver for the Greek warrior Achilles, restrains the horses Xanthos (behind) and Balios, two beasts who could predict the future. As Regnault wrote, “the horses, aware that their master [Achilles] is taking them into combat, and that this combat will be the last and will cost him his life, struggle and wrest with the groom who has come to take them from their pasture. One of them, chestnut brown, rises like a great dark phantom, outlining himself against the sky. I wanted to give the picture a foretaste of disaster.”

    Inscription

    Lower left: H. Regnault / Rome. / 1868

    Provenance

    By 1872, acquired in France by Levi Parsons Morton (b. 1824 - d. 1920), New York [see note 1]; March 1, 1882, Morton sale, George A. Leavitt and Co., New York, lot 157, to Samuel A. Coale, St. Louis, MO [see note 2]; 1890, sold by Coale to the MFA for $1000. (Accession Date: June 17, 1890) NOTES: [1] The painting was executed in Rome in 1867/1868 and sent by the artist to Paris. Notes in the curatorial file indicate that Morton acquired it in France, where he served as U.S. Minister, though how and when is not known. It was first published as being in his possession by Henri Cazalès, "Henri Regnault: sa vie et son oeuvre" (Paris, 1872), p. 141. [2] In 1883, Coale exhibited the painting at William and Everett Gallery, Boston. It was on loan to the MFA from 1884 until 1890, during which time funds were raised for its purchase. See Walter Muir Whitehill, "Museum of Fine Arts Boston: A Centennial History" (Cambridge, MA, 1970), vol. 1, pp. 78–81.

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Dimensions

    315 x 329 cm (124 x 129 1/2 in.)

    Accession Number

    90.152

    Medium or Technique

    Oil on canvas

    On View

    The Beal Gallery (Gallery 251)

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  • Forest of Fontainebleau

    1846
    Jean-Baptiste-Camille Corot (French, 1796–1875)

    Description

    Corot based this painting on sketches made in the Forest of Fontainebleau, just south of Paris, where he had worked since the 1820s. The artist reworked his sketches into a carefully structured composition, with the horizontals of foreground and background balanced by the verticals of trees, and the cows positioned to mark recession into space. Nevertheless, the acceptance of this work for the Salon of 1846 was a landmark event in the history of French landscape painting, for it depicts an ordinary, easily recognized local site without the “justification” of a noble human subject.

    Inscription

    Lower left: COROT

    Provenance

    February 5-6, 1872, contributed by the artist to the Auguste Anastasi sale, Hôtel Drouot, Paris [see note 1], lot 26, sold to Alfred Robaut (b. 1830 - d. 1909), Paris [see note 2]; 1878, still with Robaut [see note 3]; possibly sold by Robaut to Louis Latouche; sold by Latouche to Ferdinand Barbédienne (b. 1810 - d. 1892), Paris [see note 4]; 1881, sold by Barbédienne to Thomas Robinson for Seth Morton Vose (b. 1831 - d. 1910) [see note 5]; by 1884, sold by Vose to Beriah Wall, Providence, RI [see note 6]; March 30 - April 1, 1886, Wall sale, American Art Galleries, New York, lot 263, to Seth Morton Vose for Susan Cornelia Clarke (Mrs. Samuel Dennis) Warren (b. 1825 - d. 1901), Boston; 1890, gift of Mrs. Samuel Dennis Warren to the MFA. (Accession Date: December 2, 1890) NOTES: [1] Several artists contributed works of art to this auction to raise money for the painter Auguste Anastasi (b. 1820 - d. 1889), who had become blind. [2] Alfred Robaut, "L'oeuvre de Corot, catalogue raisonné et illustré" (Paris, 1905), cat. no. 502. [3] He lent the painting to Durand-Ruel in 1878; see Robaut (as above, n. 2). [4] Louis Latouche's part in these transactions was suggested by Robert Vose in a letter to Charles Cunningham of the MFA (November 9, 1937; in MFA curatorial file); also see Achille Oudinot's comments in the "Catalogue of the Private Collections of Modern Paintings belonging to Mr. Beriah Wall and John A. Brown," American Art Galleries, March 30 - April 1, 1886, p. 93. [5] See "Catalogue of the Private Collections of ... Beriah Wall and John A. Brown" (as above, n. 4), p. 93 and the letter from Robert Vose (as above, n. 4). Vose had the painting imported to the United States. The date of the sale is recorded in notes in the MFA curatorial file. [6] It was in his possession by 1884; see the "Illustrated Catalogue of the Art Collection of Beriah Wall, Providence, R. I." (Providence, 1884), cat. no. 27.

    Credit Line

    Gift of Mrs. Samuel Dennis Warren

    Details

    Dimensions

    90.2 x 128.8 cm (35 1/2 x 50 3/4 in.)

    Accession Number

    90.199

    Medium or Technique

    Oil on canvas

    Not On View

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  • Road through the Forest

    about 1865-70
    Charles François Daubigny (French, 1817–1878)

    Description

    Inscription

    Lower right: Daubigny

    Provenance

    Vose Galleries, Providence and Boston. By 1886, Beriah Wall, Providence; March 30-April 1, 1886, sold at Wall sale, American Art Association, New York, lot 208 [see note 1]. By 1890, Samuel Dennis Warren, Boston; 1890, gift of Warren. (Accession date: December 2, 1890) NOTES: [1] sold as "After the Storm" in Wall sale.

    Credit Line

    Gift of Mrs. Samuel Dennis Warren

    Details

    Dimensions

    64.5 x 92.4 cm (25 3/8 x 36 3/8 in.)

    Accession Number

    90.200

    Medium or Technique

    Oil on canvas

    Not On View

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  • Study of a Male Nude

    1810–1820
    Unidentified artist, French, first quarter 19th century (French), Circle Of Jacques Louis David (French, 1748–1825), Formerly attributed to Jean Louis André Théodore Géricault (French, 1791–1824)

    Description

    Provenance

    About 1875-1886 Thomas Robinson, Providence (as Géricault; probably brought painting to US About 1875; painting was cut in two by 1886; Robinson was a painter active in the RI area, and also sometimes acted as a purchasing agent for Vose); November 16, 1886 Robinson sale (Moore's Art Galleries) New York, Lot 126; 1886-1890 Vose Galleries, Providence and Boston (as Géricault; bought at Robinson sale); 1890-1891 Mr. and Mrs. Samuel Dennis Warren, Boston (as Géricault; at time of donation, painting measured 13 1/2 x 16 1/2; from Vose); 1891 MFA (gift of Warren; formerly as Géricault; rejoined to lower half 1935) (Accession date: February 3, 1891)

    Credit Line

    Gift of Mrs. Samuel Dennis Warren

    Details

    Dimensions

    80.7 x 61.9 cm (31 3/4 x 24 3/8 in.)

    Accession Number

    91.26

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Man

    Jean-Baptiste-Camille Corot (French, 1796–1875)

    Description

    Corot was one of the Impressionists’ great heroes and forebears. A founder of the Barbizon school, he was a staunch advocate for the younger generation of avant-garde painters and a sensitive portraitist of fellow artists and other members of his intimate circle. The subject of this portrait may have been one such sitter: he has traditionally been identified as the sculptor François Rude, although documentary evidence for this identification is unresolved. Best known as the sculptor for the Arc de Triomphe in Paris, Rude was inducted in 1833 into the French Legion of Honor, whose rosette this sitter wears in his lapel.

    Inscription

    Lower left: COROT

    Provenance

    Aimé Diot, Paris. By 1883 Samuel Putnam Avery (Sr. or Jr.), New York; 1883 Vose Galleries, Providence and Boston (from Avery). By 1886 Thomas Robinson, Providence (Robinson was a painter active in the RI area, and also sometimes acted as a purchasing agent for Vose); November 16, 1886 Robinson sale (Moore's Art Galleries) New York (or Providence?), Lot 202; 1886-1890 Vose Galleries, Providence and Boston (bought at Robinson sale); 1890-1891 Mrs. Susan Cornelia Warren, Boston (from Vose); 1891 MFA (gift of Warren) (Accession date: February 3, 1891)

    Credit Line

    Gift of Mrs. Samuel Dennis Warren

    Details

    Dimensions

    34 x 23.8 cm (13 3/8 x 9 3/8 in.)

    Accession Number

    91.27

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Woman

    early 1850s
    Thomas Couture (French, 1815–1879)

    Description

    Inscription

    Lower left: T C

    Provenance

    1886, Thomas Robinson, Providence; November 16, 1886, Robinson sale, Moore's Art Galleries, New York, lot 98, probably sold to Vose Galleries, Providence and Boston; 1890, sold by Vose to Mrs. Susan Cornelia Clarke (Mrs. Samuel Dennis) Warren (b. 1825 - d. 1901), Boston; 1891, gift of Mrs. Warren to the MFA. (Accession Date: February 3, 1890)

    Credit Line

    Gift of Mrs. Samuel Dennis Warren

    Details

    Dimensions

    46.3 x 37.5 cm (18 1/4 x 14 3/4 in.)

    Accession Number

    91.28

    Medium or Technique

    Oil on canvas

    Not On View

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  • Killing the Hog

    about 1867–70
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Stamped, lower right: J. F. M.

    Provenance

    By 1885, P. Barbédienne; sold by Barbédienne at Hôtel Drouot, Paris, April 27, 1885, lot no. 79. By 1892, R. Austin Robertson (partner in A. A. A.); sold by Robertson at American Art Association, New York, April 7-8, 1892, lot no. 41, and bought by Mrs. Samuel Dennis Warren, Boston; 1892, given to the MFA by Mrs. Samuel Dennis Warren. (Accession Date: June 7, 1892)

    Credit Line

    Gift of Mrs. Samuel Dennis Warren

    Details

    Catalogue Raisonné

    Murphy 143

    Dimensions

    68.0 x 88.4 cm (26 3/4 x 34 13/16 in.)

    Accession Number

    92.2640

    Medium or Technique

    Charcoal and pastel on beige prepared canvas

    Not On View

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  • Friend of the Humble (Supper at Emmaus)

    1892
    Léon-Augustin Lhermitte (French, 1844–1925)

    Description

    Inscription

    Lower left: L. Lhermitte / 1892

    Provenance

    May 5, 1892, purchased at the Paris Salon by Boussod, Valadon et Cie., Paris (stock no. 22247); June 3, 1892, sold by Boussod, Valadon et Cie., through Ch. Rafard (dealer), Paris, to Joseph Randolph Coolidge (b. 1828 - d. 1925), Boston [see note 1]; 1892, gift of J. Randolph Coolidge to the MFA. (Accession Date: September 1, 1892) NOTES: [1] See Getty Provenance Index, Goupil et Cie. Records, PI record G-32516 (stock book 13, no. 22247, p. 91). A letter from Fernand Robert of Ch. Rafard to J. Randolph Coolidge (June 4, 1892; MFA Archives) states that the Lhermitte painting would be payable after the close of the Salon, and that all of the packing, shipping, and transport would be arranged by Boussod, Valadon, et Cie.

    Credit Line

    Gift of J. Randolph Coolidge

    Details

    Dimensions

    155.5 x 222.9 cm (61 1/4 x 87 3/4 in.)

    Accession Number

    92.2657

    Medium or Technique

    Oil on canvas

    Not On View

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  • Self-Portrait

    about 1840–41
    Jean-François Millet (French, 1814–1875)

    Description

    Millet’s self-portrait at the age of about twenty-six connects him to advanced art circles in Paris, where he had arrived just three years before from his provincial home. His curled hair and velvet trimmed jacket were practically the uniform of the Romantic circle of French painters, who also favored the intensity of emotion conveyed by Millet’s dark gaze. With a confident hand, the young artist announces his serious intentions, as well as his burgeoning talent.

    Millet was born in 1814 in the small farming community of Gruchy, in the Northeastern French region of Normandy. After studying Latin, literature, and other subjects with two village priests, he continued his education as an artist in the nearest city, Cherbourg. At the age of twenty-three, he received a stipend from the city of Cherbourg to move to Paris, where he studied at the prestigious Ecole des Beaux-Arts. His time in Paris was invaluable, but Millet missed the country, and when his scholarship ended he returned to Cherbourg to become a portrait painter. For some time he moved between Normandy and Paris, and eventually he decided to settle in Barbizon, a rural area not far from the capital. The village of Barbizon abuts the Forest of Fontainebleau and the flat agricultural Plain of Chailly. This is where Millet and his family remained for the rest of his life, with the exception of a year spent in Normandy during the Franco-Prussian War (1870-71) and summer trips with his wife to the spa town of Vichy. Nonetheless, Millet visited Paris frequently and remained closely involved with the city’s artistic culture.

    Inscription

    Lower left: J. F. Millet

    Provenance

    By inheritance from the artist to his brother, Pierre Millet; 1893, sold by Pierre Millet to the MFA for $3000. (Accession Date: June 1, 1893)

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Catalogue Raisonné

    Murphy 1

    Dimensions

    63.5 x 47 cm (25 x 18 1/2 in.)

    Accession Number

    93.154

    Medium or Technique

    Oil on canvas

    Not On View

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  • Millet's Family Home at Gruchy

    1854
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Stamped lower right: J. F. Millet

    Provenance

    Sold at the Millet studio sale at Hôtel Drouot, Paris, May 10-11, 1875, lot no. 14, and bought by Reverend Frederick Frothingham, Milton, Massachusetts; 1893, given to the MFA by the Reverend and Mrs. Frederick A. Frothingham. (Accession Date: December 1, 1893)

    Credit Line

    Gift of the Reverend and Mrs. Frederick A. Frothingham

    Details

    Catalogue Raisonné

    Murphy 53

    Dimensions

    59.7 x 73.7 cm (23 1/2 x 29 in.)

    Accession Number

    93.1461

    Medium or Technique

    Oil on canvas

    Not On View

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  • Forest Interior

    1840 or 1846
    Narcisse Virgile Diaz de la Peña (French, 1807–1876)

    Description

    Inscription

    Lower left: N. DIAZ. 1840. [Part of the last numeral is missing on the inscription. It cannot be determined whether the date should be 1840 or 1846. Martha Clawson May 2013]

    Provenance

    By 1877, James William Paige, Boston; 1894, bequest of Paige to the MFA. (Accession Date: October 1, 1894)

    Credit Line

    Bequest of James William Paige

    Details

    Dimensions

    37.1 x 60 cm (14 5/8 x 23 5/8 in.)

    Accession Number

    94.137

    Medium or Technique

    Oil on panel

    Not On View

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  • Khan in Algiers

    Eugène Fromentin (French, 1820–1876)

    Description

    Inscription

    Lower right: Eug. Fromentin

    Provenance

    By 1876 William Tilden Blodgett, New York; April 27, 1876 Blodgett sale (Somerville) New York, Lot 83. By 1877-1894 James William Paige, Boston; 1894 MFA (bequest of Paige) (Accession date: November 1, 1894)

    Credit Line

    Bequest of James William Paige

    Details

    Dimensions

    34.0 x 54 cm (13 3/8 x 21 1/4 in.)

    Accession Number

    94.138

    Medium or Technique

    Oil on panel

    Not On View

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  • Young Man Fishing beneath Willow Trees

    1856
    Emile Charles Lambinet (French, 1815–1877)

    Description

    Inscription

    Lower left: 1856 Emile Lambinet

    Provenance

    By 1894 James William Paige, Boston; 1894 MFA (bequest of Paige) (Accession date: November 1, 1894)

    Credit Line

    Bequest of James William Paige

    Details

    Dimensions

    75 x 92.7 cm (29 1/2 x 36 1/2 in.)

    Accession Number

    94.311

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Piazzetta, Venice

    1828
    Jean-Baptiste-Camille Corot (French, 1796–1875)

    Description

    Corot stopped in Venice on a return journey from Rome during the summer of 1828. The column of Saint Mark, crowned with a winged lion at left, and the column of Saint Theodore, at right, punctuate the open square, their early morning shadows stretching across the pavement. This extraordinarily free, spontaneous sketch is typical of Corot’s studies from his first Italian sojourn.

    Inscription

    Stamped, lower left: VENTE / COROT

    Provenance

    May 26-28, 1875, posthumous Corot sale, Hôtel Drouot, Paris, lot 47, to Frederick Frothingham (b. 1825 - d. 1891), Milton, MA, for 320 fr. [see note 1]; 1894, bequest of Frederick Frothingham to the MFA. (Accession Date: April 16, 1894) NOTES: [1] The buyer's name is erroneously annotated in a copy of the auction catalogue as Ischingham.

    Credit Line

    Bequest of Frederick Frothingham

    Details

    Dimensions

    15.9 x 25.1 cm (6 1/4 x 9 7/8 in.)

    Accession Number

    94.318

    Medium or Technique

    Oil on paper, mounted on paperboard

    Not On View

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  • Lion Hunt

    1858
    Eugène Delacroix (French, 1798–1863)

    Description

    Beginning in the fifteenth century, Western artists were fascinated by the mystery and exoticism of the Middle East. In 1832, Delacroix made a lengthy trip to Morocco, Algeria, and Spain that provided lasting inspiration for his work. Lion Hunt, painted almost thirty years later, reflects this experience, but it is also influenced by the hunt pictures of the seventeenth-century master Peter Paul Rubens. Swirling around the central figure of the embattled lioness, the composition draws its dynamism from the passionate color and expressive turbulence of Delacroix’s innovative style.

    Inscription

    Lower right: Eug. Delacroix 1858

    Provenance

    March 30, 1863, anonymous sale, Hotel Drouot, Paris, lot 9, sold to Durand-Ruel, Paris, for 4,700 francs; 1867, sold by Durand-Ruel to Mr. Adolph Edward Borie (b. 1809-d. 1880), Philadelphia; 1880, by descent to his wife, Mrs. Adolph Edward Borie (née Elizabeth Dundas McKean; b. 1816-d. 1886), Philadelphia; probably sold from the Borie collection to Erwin Davis, New York; March 19, 1889, Erwin Davis sale, Fifth Avenue Art Galleries, New York, lot 143. 1895, Durand-Ruel, New York; sold by Durand-Ruel to the MFA for $21,000. (Accession Date: March 1, 1895)

    Credit Line

    S. A. Denio Collection—Sylvanus Adams Denio Fund and General Income

    Details

    Dimensions

    91.7 x 117.5 cm (36 1/8 x 46 1/4 in.)

    Accession Number

    95.179

    Medium or Technique

    Oil on canvas

    On View

    The Beal Gallery (Gallery 251)

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  • The Lamentation (Christ at the Tomb)

    1848
    Eugène Delacroix (French, 1798–1863)

    Description

    The desolation of the mourners gathered around the body of Christ is intensified by the somber landscape, with three crosses dimly visible in the background. Christ’s stark white burial shroud and Saint John’s scarlet cloak glow against the dark background, lending force and focus to the scene. The emotional intensity, expressive brushwork, and resonant color of Delacroix’s work had a profound influence on later painters. Some years after this picture was painted, the artist observed: “The details are, generally speaking, mediocre and scarcely bear close inspection. On the other hand, the whole arouses an emotion that astonishes even me.”

    Inscription

    Signed and dated: Eug. Delacroix 1848

    Provenance

    By April 28, 1847, sold by the artist to Comte Théodore de Geloës, Château d'Osen, Limburg, Holland; 1870, sold by de Geloës to Jean-Baptiste Faure, Paris; June 7, 1873, sold by Jean-Baptiste Faure at Hotel Druout, Paris [no. 7], and purchased by Durand-Ruel, Paris. By 1878, Hector Brame, Paris. April 29, 1880, sold by Baron Étienne Martin de Beurnonville at Hotel Drouot, Paris [no. 11], and purchased by M. Tavernier; June 11, 1894, sold by M. Tavernier at Galerie Georges Petit, Paris [no. 5], and purchased by Durand-Ruel, New York; 1896, sold by Durand-Ruel to the MFA for 1400Fr. (Accession Date: March 3,1896)

    Credit Line

    Gift by contribution in memory of Martin Brimmer

    Details

    Dimensions

    162.6 x 132.1 cm (64 x 52 in.)

    Accession Number

    96.21

    Medium or Technique

    Oil on canvas

    On View

    The Beal Gallery (Gallery 251)

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  • Sketch for Automedon with the Horses of Achilles

    Henri Regnault (French, 1843–1871)

    Description

    Provenance

    Until 1872 Henri Alexandre Georges Regnault (the artist; d. 1871); April 5, 1872 Regnault sale (Escribe) Paris, Lot 150 (?). Father of Edward Brandus, Paris (?). By 1896 Edward Brandus, New York and Paris (possibly by inheritance); March 6, 1896 Brandus sale (Leonard and Co.) Boston, Lot 117 (withdrawn before sale and given to MFA); 1896 MFA (gift of Brandus) (Accession date: March 1, 1896)

    Credit Line

    Gift of Edward Brandus

    Details

    Dimensions

    19 x 24.5 cm (7 1/2 x 9 5/8 in.)

    Accession Number

    96.25

    Medium or Technique

    Oil on panel

    Not On View

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  • Henry Lillie Pierce

    1895
    Joseph Florentin Léon Bonnat (French, 1833–1922)

    Description

    Inscription

    Upper left: Ln. Bonnat / 1895

    Provenance

    1895 Henry Lillie Pierce (original commission; the sitter). By 1898 Charles Frost and Talbot Aldrich, Boston; 1898 MFA (gift of Aldrich) (Accession date: February 5, 1898)

    Credit Line

    Gift of Charles Frost Aldrich and Talbot Aldrich

    Details

    Dimensions

    131.5 x 101.6 cm (51 3/4 x 40 in.)

    Accession Number

    98.1005

    Medium or Technique

    Oil on canvas

    Not On View

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  • Family Group

    1866
    Thomas Couture (French, 1815–1879)

    Description

    Provenance

    Doll and Richards, Boston. Possibly by 1867, Thomas Gold Appleton (b. 1812 - d. 1884), Boston [see note 1]; to his half-brother, Nathan Appleton (b. 1843 - d. 1906), Boston; 1899, sold by Nathan Appleton to the MFA for $300. (Accession Date: May 8, 1899) NOTES: [1] This may be the "sketch" by Couture that Appleton lent to an exhibition at the Allston Club, Boston, in 1867 (cat. no. 3).

    Credit Line

    Julia Bradford Huntington James Fund

    Details

    Dimensions

    40.6 x 32 cm (16 x 12 5/8 in.)

    Accession Number

    99.4

    Medium or Technique

    Oil on canvas

    Not On View

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  • Young Man in Medieval Costume

    Ferdinand Roybet (French, 1840–1920)

    Description

    Inscription

    Upper left: f. Roybet

    Provenance

    1902, bequest of Miss Ellen Frothingham. (Accession date: May 20, 1902)

    Credit Line

    Bequest of Miss Ellen Frothingham

    Details

    Dimensions

    46.2 x 38.3 cm (18 3/16 x 15 1/16 in.)

    Accession Number

    02.85

    Medium or Technique

    Oil on canvas

    Not On View

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  • Bohemians Going to a Fête

    about 1844
    Narcisse Virgile Diaz de la Peña (French, 1807–1876)

    Description

    Inscription

    Lower left: N. DIAZ

    Provenance

    1846, Paul Périer, Paris; December 19, 1846, Périer sale, Hôtel des Ventes, Paris, lot 4. 1849, possibly M. A. Mosselman; December 4, 1849, possibly Mosselman sale, Hôtel des Ventes, Paris, lot 86, to Getting [see note 1]. With Arnold et Tripp, Paris [see note 2]. By 1893, Susan Cornelia Clarke (Mrs. Samuel Dennis) Warren (b. 1825 - d. 1901), Boston [see note 3]; January 8, 1903, Mrs. S. D. Warren sale, American Art Association, New York, lot 113, to Samuel Putnam Avery, New York, for the MFA for $12,700. (Accession Date: January 13, 1903) NOTES: [1] Diaz de la Peña painted several versions of this subject. This may be the "Descente des bohémiens" included in the 1849 Mosselman catalogue (dimensions not given). [2] Notes in the MFA curatorial file identify a label on the reverse of the painting as coming from Arnold et Tripp. [3] She lent the painting to the World's Columbian Exposition, Chicago, 1893, Department K, Fine Arts, cat. no. 2913.

    Credit Line

    Bequest of Susan Cornelia Warren

    Details

    Dimensions

    101 x 81.3 cm (39 3/4 x 32 in.)

    Accession Number

    03.600

    Medium or Technique

    Oil on canvas

    Not On View

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  • Turkish Sentinel

    1877
    Charles Bargue (French, about 1825–1883)

    Description

    Bargue and Jean-Léon Gérôme collaborated on a three-volume course on drawing the human figure, intended to guide the novice student preparing to enter a professional workshop. Bargue flaunted his skill as a draughtsman in this jewel-like picture of a Turkish guard. The tiny composition boasts a remarkable range of textures and surfaces, from the gleaming hookah, to the cobbled street, to the soft pleated folds of the figure’s skirt.

    Inscription

    Lower right, on wall: BARGVE / 77

    Provenance

    A. Donatis [see note 1]. 1898, Arnold and Tripp, Paris; 1898, sold by Arnold and Tripp to to Susan Cornelia Clarke (Mrs. Samuel Dennis) Warren (b. 1825 - d. 1901), Boston; January 8, 1903, Mrs. S. D. Warren sale, American Art Association, New York, lot 19, to the MFA for $5,300. (Accession Date: January 13, 1903) NOTES: [1] A label on the reverse of the panel reads: "Collection A. Donatis, No. 1".

    Credit Line

    Bequest of Susan Cornelia Warren

    Details

    Dimensions

    28 x 21 cm (11 x 8 1/4 in.)

    Accession Number

    03.601

    Medium or Technique

    Oil on panel

    Not On View

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  • Cattle on the Dunes

    Jules Dupré (French, 1811–1889)

    Description

    Inscription

    Lower left: Jules Dupré

    Provenance

    Susan Cornelia Clarke (Mrs. Samuel D.) Warren (b. 1825 - d. 1901), Boston; January 8, 1903, Mrs. S. D. Warren sale, American Art Association, New York, lot 56, to F.V. Whitney for the MFA for $7,600. (Accession Date: January 15, 1903)

    Credit Line

    Bequest of Susan Cornelia Warren

    Details

    Dimensions

    81 x 100 cm (31 7/8 x 39 3/8 in.)

    Accession Number

    03.602

    Medium or Technique

    Oil on canvas

    Not On View

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  • L'Eminence Grise

    1873
    Jean-Léon Gérôme (French, 1824–1904)

    Description

    Gérôme’s art epitomized the officially sanctioned, academic style against which the Impressionists rebelled. His paintings, with their imperceptible brushwork, meticulous detail, and brilliant effects of color and light, commanded huge prices in both France and America. L’Eminence Grise recreates the palace of Cardinal Richelieu, the “Red Cardinal,” virtual ruler of France during the childhood of Louis XIII. Descending the staircase is Richelieu’s chief adviser, François Le Clerc du Trembly, a Capuchin friar known as L’Eminence grise (the Gray Cardinal), a term that has come to mean “the power behind the throne.”

    Inscription

    Lower right: J.L. GEROME

    Provenance

    May, 1873, sold by the artist to Goupil et Cie., Paris (stock no. 8120); June 4, 1873, sold by Goupil to James H. Stebbins, New York [see note 1]; February 12, 1889, Stebbins sale, American Art Association, New York, lot 76, to M. B. Mason, Boston for Susan Cornelia Clarke (Mrs. Samuel Dennis) Warren (b. 1825 - d. 1901), Boston [see note 2]; January 8, 1903, Mrs. S. D. Warren sale, American Art Association, New York, lot 113, to Samuel Putnam Avery, New York, for the MFA for $16,000. (Accession Date: January 13, 1903) NOTES: [1] Almost certainly sold by the artist, who was the son-in-law of dealer Adolphe Goupil. As "Le Père Joseph," Getty Provenance Index, Goupil et Cie. records, PI record no. G-10411 (stock book 6, no. 8120, p. 208). Also see PI record no. G-5867 (stock book 7, no. 8824, p. 125), March, 1874, where it is listed as "L'eminence grise." [2] As annoted in a copy of the auction catalogue (reproduction in curatorial file). The buyer may have been Mortimer Blake Mason (b. 1850 - d. 1909), the nephew, friend, and business partner of S. D. Warren. See Martin Green, "The Mount Vernon Street Warrens" (New York, 1989). Mrs. Warren lent the painting to the World's Columbian Exposition, Chicago, 1893, Department K - Fine Arts, cat. no. 2924.

    Credit Line

    Bequest of Susan Cornelia Warren

    Details

    Dimensions

    68.6 x 101 cm (27 x 39 3/4 in.)

    Accession Number

    03.605

    Medium or Technique

    Oil on canvas

    Not On View

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  • Officer

    Jean Louis Ernest Meissonier (French, 1815–1891)

    Description

    Inscription

    Once signed lower right: E M (monogram)

    Provenance

    1893, with Jean Louis Ernest Meissonier, the artist (d. 1891); 1893/05/12 (0221or 0240) Meissonier sale (Duchesne, Chevallier) Paris. By 1903 Anonymous collection [Unknown]. January 17, 1903, (0092) Anonymous sale (Beacon Art Galleries) Boston; 1903, purchased by the MFA at anonymous sale for $755 [see note 1]. (Accession Date: February 16, 1903) NOTES: [1] MFA accession numbers 03.623 and 03.624 were acquired together for $755.

    Credit Line

    Abbott Lawrence Fund

    Details

    Dimensions

    10.5 x 8.3 cm (4 1/8 x 3 1/4 in.)

    Accession Number

    03.623

    Medium or Technique

    Oil on panel

    Not On View

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  • Horseman

    Jean Louis Ernest Meissonier (French, 1815–1891)

    Description

    Inscription

    Lower right: E M (monogram)

    Provenance

    1893, Jean Louis Ernest Meissonier, the artist (d. 1891); 1893/05/12 (0233) Meissonier sale (Duchesne, Chevallier) Paris. By 1903 Anonymous collection [Unknown]. 1903/01/17 (0112) Anonymous sale (Beacon Art Galleries) Boston; 1903, purchased by the MFA at anonymous sale for $755 [see note 1]. (Accession Date: February 16, 1903) NOTES: [1] MFA accession numbers 03.623 and 03.624 were acquired together for $755.

    Credit Line

    Abbott Lawrence Fund

    Details

    Dimensions

    15.6 x 11.5 cm (6 1/8 x 4 1/2 in.)

    Accession Number

    03.624

    Medium or Technique

    Oil on panel

    Not On View

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