Waiting
Framed: 46 3/8 × 61 5/16 × 4 1/2 inches (117.81 × 155.73 × 11.43 cm)
- 126
Salon de la Société des Amis des Arts de Bordeaux, Galeries de la Société des Amis des Arts de Bordeaux, Bordeaux, March 20-May 18, 1869, no. 434, as L’attente.
An Exhibition of Contemporary Art Held Under the Direction of the Boston Art Club, the Boston Society of Architects, and the Schools of the Museum, also of the paintings shown by the Museum, Museum of Fine Arts, Boston, April 22- May 24, 1879, no. 118, as Tobit and Sara watching for the Return of Tobias.
Summer Loan Exhibition, Museum of Fine Arts, Boston, May 1882, no. 32, as Tobit and Anna looking for the Return of Tobias.
Exhibition of Oil Paintings at the Reception in Honor of the Representatives of the French Government Attending the Inauguration of the Statue of Liberty, Union League Club, New York, opened October 27, 1886, no. 64, as Waiting.
Mr. George I. Seney’s Collection of Paintings, Brooklyn Art Association, April 16-28, 1887, no. 45, as Waiting.
The works of Antoine-Louis Barye; also of Paintings by his contemporaries and Friends, The American Art Galleries, New York, November 1889, no. 573, as Waiting.
Cent Chefs-d’œuvre des Écoles Françaises et Étrangères (Deuxième Exposition), Galerie Georges Petit, Paris, June 8-July 29, 1892, no. 119, as L’Attente.
Exhibition of Nineteenth Century French Painters, Knoedler, London, June 26-July 21, 1923, no. 30, as Tobie ou L’Attente.
A Century of French Painting: Exhibition Organized for the Benefit of the French Hospital of New York, Knoedler, New York, November 12-December 8, 1928, no. 11, as Le Mendiant Aveugle.
Exhibition in conjunction with the Consumer Cooperative Association’s 30th Annual Meeting, Municipal Auditorium, Kansas City, MO, December 2-5, 1958.
Barbizon: First Anniversary Exhibition of Lakeview Center, Lakeview Center for the Arts and Sciences, Peoria, IL, April 6-May 16, 1966, unnumbered, as Waiting.
Raphael and America, National Gallery of Art, Washington, D.C., January 9-May 8, 1983, no. 15, as L’Attente (Waiting).
Jean-François Millet, The Bunkamura Museum of Art, Tokyo, August 10-September 23, 1991; Kyoto Municipal Museum of Art, October 3-27, 1991; and Yamanashi Prefectural Museum of Art, November 3-December 8, 1991, no. 35, as Waiting.
Winslow Homer and the Critics: Forging a National Art in the 1870s, The Nelson-Atkins Museum of Art, Kansas City, MO, February 18-May 6, 2001; Los Angeles County Museum of Art, June 10-September 9, 2001; High Museum of Art, Atlanta, October 6, 2001-January 6, 2002, (Kansas City only), hors cat., as Waiting.
Amitié et amour à travers l’œuvre de Millet, The Yamanasi Prefectural Museum of Art, Kofu, Japan, July 19-August 31, 2014; Fuchu Art Museum, Fuchu, Japan, September 10-October 23, 2014; The Miyagi Museum of Art, Sendai, Japan, November 1-December 14, 2014, no. 40, as L’attente (Tobie et sa femme).
Henry Sayles (1834-1918), Boston, by 1878-at least May 1882;
George Ingraham Seney (1826-1893), New York, by October 26, 1886-February 13, 1891;
Purchased at his sale, Mr. George I. Seney’s Important Collection of Modern Paintings, American Art Galleries, New York, February 13, 1891, lot 296, as Waiting, through Knoedler and Co., New York, by a private collector [2];
Jérôme Wheller, Chicago, by June 8, 1892 [3];
With Isidore Montaignac, Paris, by December 27, 1893 [4];
Purchased from Montaignac by Boussod, Valadon et Cie, New York, stock books 13 and 14, no. 23270, as L’attente, December 27, 1893-December 22, 1894;
Purchased from Boussod, Valadon by Peter Arrell Brown Widener (1834-1915), Lynnewood Hall, Elkins Park, PA, December 22, 1894-November 6, 1915;
By descent to his son, Joseph Early Widener, Lynnewood Hall, Elkins Park, PA (1871-1943), 1915-at least 1921 [5];
With Arthur Joseph Sulley, London, by January 15, 1922 [6];
Half-share purchased from Sulley by Knoedler, New York, stock books 7 and 8, no. 15309, as L’Attente, January 15, 1922-May 1930 [7];
Purchased from Knoedler and Sulley by The Nelson-Atkins Museum of Art, Kansas City, MO, 1930.
NOTES:
[1] On March 14, 1860, Millet and Stevens signed a three-year contract, which stipulated that Millet would deliver his entire production of oil paintings and drawings to Stevens, in exchange for a fixed monthly stipend of 1000 francs. Included in the list of paintings to be given to Stevens “et Cie.” was Waiting. See “Le prix des œuvres de J.-F. Millet,” Le Temps 29, no. 10296 (July 14, 1889): unpaginated; and Étienne Moreau-Nélaton, Millet, Raconte par Lui-Même, vol. 2 (Paris: Henri Laurens, 1921), 71-74. Stevens had entered into a partnership with the Parisian dealer Ennemond Blanc prior to the contract signing to reduce his risk; see T. H. Bartlett, “Barbizon and Jean-Francois Millet,” Scribner’s Magazine 7, no. 6 (June 1890): 742. It is not clear when Millet delivered Waiting to Stevens and Blanc, but it was in time for the Salon de 1861, which opened May 1.
[2] See letter from Edye Weissler, Librarian, Knoedler, to Simon Kelly and Meghan Gray, May 7, 2010, NAMA curatorial files. Weissler confirmed that Knoedler bid on behalf of a client at the Seney sale, but had no information about the identity of the client.
[3] The constituent’s name is also spelt variously as “Wheler” and “Wheeler”. We defer here to the spelling in the 1892 exhibition catalogue, Cent Chefs-d’œuvre des Écoles Françaises et Étrangères (Deuxième Exposition).
[4] Montaignac was a Paris representative for the American Art Association and a representative of the “Paris connoisseurs.” Montaignac may have owned the painting earlier. According to a journal article from December 1892, Montaignac bought the painting at the Seney Sale in 1891; see Montague Marks, “My Note-Book,” The Art Amateur (December 1892). It is not clear if Montaignac had a working relationship with Knoedler or Wheller, or if he was acting separately. The Boussod, Valadon et Co. stock books indicate that Montaignac received a percentage of the bénéfice (profit) from their sale of the painting to Widener. See Getty Research Institute, Los Angeles, Goupil et Cie / Boussod, Valadon et Co. Records, Series II: Boussod, Valadon et Co. Stock Books (1875-1919), Livre no. 13 (1891-1895), p. 159, row 14, no. 23270; and Livre no. 14 (1895-1901), p. 46, row 3, no. 23270. Charles Tyson Yerkes (1837-1905), Chicago, was also credited as a possible owner of the painting after the Seney sale; see Montague Marks, “My Note-Book,” The Art Amateur 36, no. 105 (May 1897). Yerkes was a prominent Chicago art collector and much of his art collection was well documented and catalogued. The painting is not included in his 1893 Catalogue from Collection of Charles T. Yerkes. Additionally, Marks also notes that many collectors were falsely credited with ownership of this painting. See Montague Marks, “My Note Book,” The Art Amateur 4, no. 30 (March 1894): 98.
[5] Widener’s eldest son, George Dunton Widener, died aboard the Titanic on April 15, 1912, so his second son inherited his art collection; see “Widener’s Estate Intact for 70 Years,” The New York Times 65, no. 21, 222 (November 23, 1915): 1. Waiting still belonged to Joseph Early Widener as late as 1921; see Étienne Moreau-Nélaton, Millet, Raconte par Lui-Même, vol. 2 (Paris: Henri Laurens, 1921), 194.
[6] Sulley (1853-1930) was an art dealer and Widener’s London agent.
[7] On January 15, 1922, Knoedler paid Sulley £14,000 for joint ownership of fourteen paintings from the Widener collection, including Waiting. See Getty Research Institute, Los Angeles, M. Knoedler and Co. Records, Series I.A. (Painting, 1872-1970), Box 7, Painting stock book 7 (nos. 15140-17039, January 1921-December 1927), p. 27, row 9, no. 15309. It remained in their joint possession until May 1930, when it was acquired by The Nelson-Atkins Museum of Art; see Getty Research Institute, Los Angeles, M. Knoedler and Co. Records, Series I.A. (Painting, 1872-1970), Box 8, Painting stock book 8 (nos. A1-A2680, January 1928-November 1943), p. 6, row 45, no. 15309. The work was formally acquisitioned by the Nelson-Atkins on June 21, 1930.
Explication des Ouvrages de Peinture, Sculpture, Gravure, Lithographie et Architecture des Artistes Vivants, Exposés au Palais des Champs-Élysées le 1er Mai 1861, exh. cat. (Paris: Charles de Mourgues Frères, 1861), 271, as L’attente [repr. in H. W. Janson, ed., Catalogues of the Paris Salon: 1673-1881, vol. 42, Paris Salon de 1861 (New York: Garland, 1977), 271].
François Beslay, “Salon de 1861,” Revue d'économie chrétienne: consacrée à l'étude des intérêts 2 (May/June 1861): 496, as Retour de Tobie.
Anatole de la Forge, “L’Art Contemporain: Salon de 1861,” Le Siècle, no. 9514 (May 2, 1861): unpaginated, as L’Attente.
Louis Leroy, “Salon de 1861,” Le Charivari 30 (May 15, 1861): unpaginated, as L’Attente.
Théophile Thoré [William Bürger], “Salon de 1861,” Le Temps, no. 22, (May 17, 1861): unpaginated, as l’Attente.
Claudius Lavergne, “Beaux-Arts: Exposition de 1861,” Le Monde, no. 139 (May 23, 1861): unpaginated, as l’attente.
Augustin Joseph du Pays, “Salon de 1861,” L’Illustration 38, no. 952 (May 25, 1861): 330.
Alphonse de Calonne, “La Peinture contemporaine à l’exposition de 1861,” Revue Contemporaine 21, no. 56 (May 31, 1861): 342-343.
Théodore Pelloquet, “Salon de 1861,” Le Courrier du Dimanche (June 2, 1861): 5.
Edmond Jacques, “Salon de 1861,” l'univers illustré 4, no. 164 (July 4, 1861): 246.
Jean Rousseau, “Salon de 1861: Discutés,” Le Figaro, no. 658 (June 6, 1861): 6, as L’Attente.
Henri Page, “Salon de 1861,” Le Tintamarre (June 9, 1861): 3, as Tobie.
Albert de la Fizelière, “Salon de 1861,” Revue Anecdotique des Excentricités Contemporaines 3, no. 12 (June 15, 1861): 270-71, as L’Attente.
William Bürger [Théophile Thoré], “Salon de 1861,” L’independence belge (June 17, 1861): unpaginated.
“Nadar Jury au Salon de 1861,” Journal Amusant, no. 286 (June 22, 1861): 1, as La Mère de Tobie Guettant le Retour de son Fils.
Théodore Pelloquet, “Salon de 1861,” Le Monde Illustré 8, no. 219 (June 22, 1861): 391, as Tobie.
Paul de Saint-Victor, “Salon de 1861,” La Presse 26 (June 25, 1861): unpaginated, as L’Attente.
Richard Cortambert, “Promenade d’un fantaisiste à l’exposition de beaux-arts,” Revue Du Monde Colonial 5, no. 12 (June 25, 1861): 701-702.
Léon Lagrange, “Salon de 1861,” Gazette des Beaux-Arts, no. 61 (July 1, 1861): 63, as L’Attente.
Théophile Gautier, “Salon de 1861,” Le Moniteur Universel, no. 107 (July 6, 1861): unpaginated, as L’attente.
Louis Brès, “Salon de 1861,” Moniteur des Arts 4, no. 183 (July 13, 1861): unpaginated, as L’Attente.
Jean Rousseau, “Salon de 1861,” Le Voleur 34, no. 246 (July 19, 1861): 186, as L’Attente.
Comtesse de Rethel, “Exposition de peinture de 1861,” Journal des Dames et des Demoiselles 17, no. 12 (September 1861): 191.
Emile Perrin, “Salon de 1861,” Revue Européenne 16 (1861): 169, as l’Attente.
Maxime du Camp, Salon de 1861 (Paris: A. Bourdilliat, 1861), 112, as L’Attente.
A. Cantaloube, Lettre sur les expositions et le Salon de 1861 (Paris : E. Dentu, 1861), 96, as Tobie.
Jane d’Enval, Salon de 1861 (Paris, 1861), 54-55, as L’Attente.
Albert de la Fizelière, A-Z ou le Salon en miniature (Paris: Poulet-Malassis et de Broise, 1861), 39, as l’Attente.
Théophile Gautier, L’Abécédaire du Salon de 1861 (Paris: E. Dentu, 1861), 285-86, as l’Attente.
Olivier Merson, Exposition de 1861, La Peinture en France (Paris: E. Dentu, 1861), 221-22, as L’Attente.
Ednah Dow Cheney, “Jean-François Millet,” The Radical (July 1867): unpaginated.
Explication des Ouvrages de Peinture, Sculpture, Architecture, Gravure et Lithographie des Artistes Vivants, exh. cat. (Bordeaux: Imprimeur de la Société, 1869), 53, as L’attente.
T.[héophile] Thoré, Salons de W. Bürger, 1861 à 1868, vol. 1 (Paris: Jules Renouard, 1870), 35, 97-98, as Tobie et sa femme and l’Attente.
"A Great Artist Gone," Old and New 11, no. 4 (April 1875): 495, as Blind Tobias.
Alexandre Piedagnel, J.-F. Millet: Souvenirs de Barbizon (Paris: A. Cadart, 1876), 62, 69, as L’Attente.
Philippe Burty, Maitres et Petits Maitres (Paris: G. Charpentier, 1877), 293, as Famille de Tobie.
Eleventh Catalogue of the Collection of Ancient and Modern Works of Art Given or Lent to the Trustees (Boston: Alfred Mudge and Sons, 1878), 99, Tobit and Sara watching for the Return of Tobias.
Edward Strahan, Art Treasures of America, Being the Choicest Works of Art in the Public and Private Collections of North America (City: Barrie, 1879), 93-94, as Tobit.
Trustees of the Museum of Fine Arts Third Annual Report (Boston: Alfred Mudge and Son, 1879), 17.
Catalogue of an Exhibition of Contemporary Art Held Under the Direction of the Boston Art Club, the Boston Society of Architects, and the Schools of the Museum, Also of the Paintings Shown by the Museum, exh. cat. (Boston: Alfred Mudge and Sons, 1879), 9, as Tobit and Sara watching for the Return of Tobias.
Alfred Sensier and Helena De Kay, Jean-François Millet, Peasant and Painter (Boston: J. R. Osgood, 1881), 99, 119, 144, as Waiting.
Greta, “Boston Correspondence,” The Art Amateur 4, no. 3 (February 1881): 51, as Tobias and Anna.
Alfred Sensier, La Vie et l’Œuvre de J.-F. Millet (Paris: A. Quantin, 1881), 137, 161, 166, 205-06, 215-17, as l’Attente.
Catalogue of Works of Art Exhibited, exh. cat. (Boston: Alfred Mudge and Sons, 1882), 5, as Tobit and Anna watching for the Return of Tobias.
“Art Notes,” The Art Journal (1882): 317, as Tobit and Anna looking for the Return of Tobias.
Jules Claretie, Peintres and sculpteurs contemporains; portraits gravés par L. Massard (Paris: Librairie des Bibliophiles, 1882), 91n1, as L’Attente.
Trustees of the Museum of Fine Arts Sixth Annual Report (Boston: Alfred Mudge and Sons, 1882), 27.
Charles Yriarte, J.-F. Millet (Paris: Jules Rouam, 1885), 26, 28, as Tobie.
Exhibition of Oil Paintings at the Reception in Honor of the Representatives of the French Government Attending the Inauguration of the Statue of Liberty, exh. cat. (New York: Union League Club, 1886), 18, as Waiting.
“Art Notes,” The Critic 149 (November 6, 1886): 223, as Waiting.
Catalogue of Mr. George I. Seney’s Collection of Paintings, exh. cat. (New York: Rogers and Sherwood, 1887), 7, as Waiting.
“Loan of Mr. Seney’s Pictures,” The New York Times 36, no. 11,116 (April 18, 1887): 4, as Waiting.
“Art Notes,” The Critic 173 (April 23, 1887): 210, as Waiting.
Olivier Merson, “Exposition des œuvres de J.-F. Millet à l’Ecole des Beaux-Arts,” Le Monde Illustre 31, no. 1573 (May 21, 1887): 330, as l’Attente.
“The New Seney Collection,” The Art Amateur 17, no. 1 (June 1887): 10, as Waiting.
E. Durand Gréville, “La Peinture aux états-unis: Les galleries privées,” Gazette des beaux-arts 36 (July 1887): 75, as Tobie.
Julia Ady, “Jean-Francois Millet,” Littell's Living Age 179, no 2312 (October 20, 1888): 164.
C. H. Stranahan, A History of French Painting from Its Earliest to Its Latest Practice, Including an Account of the French Academy of Painting (Charles Scribner’s Sons, 1888), 375, as The Waiting and Tobit.
Montezuma, “The Note Book,” The Art Amateur 21, no. 6 (November 1889): 114, as The Blind Tobias and His Wife awaiting the Return of Their Son.
Catalogue of the works of Antoine-Louis Barye; also of paintings by his contemporaries and Friends, exh. cat. (New York: Press of J.J. Little, 1889), 81, as Waiting.
“The Barye Monument Fund Exhibition,” The Art Amateur 22, no. 1 (December 1, 1889): 4.
Susan Hayes Ward, “Fine arts: The Barye Exhibition,” The Independent 41, no. 2141 (December 12, 1889): 9, as Waiting.
Alfred Trumble, The Painter of "The Angelus": A Study of the Life, Labors, and Vicissitudes of Jean François Millet (New York: American Art Association, 1889), 37, as Waiting.
“The Barye Monument Fund Exhibition,” The Art Amateur 22, no. 2 (January 1, 1890): 31-32, as Waiting.
“The Barye Exhibition,” The American Architect and Building News 27, no. 732 (January 4, 1890): 12, as Waiting.
“The Barye Memorial Exhibition,” The Art Amateur 22, no. 4 (March 1890): 74.
J. M. Hoppin, “Some Criticisms on French Landscape-painting, Suggested by the Recent Exhibition in New York,” New Englander and Yale Review 16, no. 241 (April 1890): 314, as Blind Tobias.
T. H. Bartlett, “Barbizon and Jean-Francois Millet,” Scribner's Magazine 7, no. 6 (June 1890): 743, as Tobit.
John W. Mollett, The Painters of Barbizon: Millet, Rousseau, Diaz, Corot, Daubigny, Dupré (London: Sampson Low, Marston, Searle and Rivington, 1890), 115-16, as Expectation (L’Attente) and Tobias.
David Croal Thomson, The Barbizon School of Painters: Corot, Rousseau, Diaz, Millet, Daubigny, Etc. (London: Chapman and Hall, 1890), x, 232, 235, as Waiting: Tobit.
“The Seney Paintings,” The Illustrated American 5, no. 50 (January 31, 1891), 452, 457, 461, 464, (repro.), as Waiting, or Blind Tobias.
Susan Hayes Ward, “Fine Arts: Mr. George I. Seney’s Collection of Modern Paintings,” The Independent 43 (February 12, 1891): 9, as Waiting (Tobias).
“The Seney Sale is Ended: Very Large Prices Realized on Yesterday’s Sales; Millet’s ‘Waiting’ Fetches the Highest Figure of the Lot after Spirited Bidding; Mr. Seney Gratified at the Results,” The New York Time 40, no. 12,315 (February 14, 1891): 5, as Waiting.
“The Fine Arts,” The Critic 15 (February 21, 1891): 101, as Waiting.
“Vente G.-I. Seney à New-York,” La Chronique des arts et de la curiosité (February 21, 1891): unpaginated, as L’Attente.
Catalogue of Mr. George I. Seney’s Important Collection of Modern Paintings (New York: American Art Association, 1891), 92, 286, as Waiting.
Frédéric Jacque, Le Livre d’or de J.-F. Millet par un ancien ami (Paris: Georges Chamerot, 1891), 79, 106, 109, 110-11, 113-14, 147, as l’Attente.
Cent Chefs-d’œuvre des Écoles Françaises et Étrangères (Deuxième Exposition), exh. cat. (Paris: Galerie Georges Petit, 1892), 125, as L’Attente.
Cousin Pons, “Les Cent Chefs-d’Œuvre,” Le Figaro 38, no. 156 (June 4, 1892): unpaginated, as L’attente.
“Les Cent Chefs-d’Oeuvre,” Le Matin 9, no. 3020 (June 6, 1892): unpaginated, as L’Attente.
“Les Cent Chefs-d’Oeuvre,” Le Matin 9, no. 3024 (June 10, 1892): 2, as L’Attente.
Raoul Sertat, “Beaux-Arts: Expositions à Paris,” Revue Encyclopédique (1892): 1110, as L’Attente.
George Lafenestre and Léon Roger-Milès, Cents Chefs-d’Œuvre des Collections Françaises et Étrangères (Paris: G. Petit, 1892), 24, 164, (repro.), as L’Attente.
Catalogue de dessins, tableaux et esquisses par J. F. Millet, exh. cat. (Paris: Hotel Drouot, 1894), 5, as L’Attente.
Montague Marks, “My Note Book,” The Art Amateur 4, no. 30 (March 1894): 98, as Waiting.
L. Roger-Milès, Le paysan dans l'ɶuvre de J. F. Millet (Paris: G. Petit, 1895), 13, (repro.), as L’attente de Tobie and l’attente.
Julia [Mary] Cartwright [Ady], Jean-François Millet: His Life and Letters (London: Swan Sonnenschein, 1896), 122, 141, 206-07, 211-13, as L’Attente and Tobit and his Wife awaiting the Return of their Son.
Montague Marks, “My Note Book,” The Art Amateur 36, no. 5 (May 1897): 105, as Waiting.
Henri Petitjean, “Le Modèle de Millet” Le Figaro 44 no. 270 (September 27, 1898): 3, as L’Attente.
“Here and There,” The New York Times- Saturday Review (November 5, 1898): 742 as L’Attente.
Henry Naegely, J. F. Millet and Rustic Art (London: Elliot Stock, 1898), 124, as Awaiting.
Netta Peacock, “Millet’s Model,” The Artist 25, no. 235 (August 1899): 132-33, as L’Attente.
Possibly “The Works of Millet: The Principal Paintings of Millet with Their Present Locations,” Masters in Art 1, pt. 8 (August 1900): 35, as Tobit or Tobias.
Catalogue of Paintings Forming the Private Collection of P. A. B. Widener, Ashbourne, Near Philadelphia: Part 1, Modern Paintings ([Paris]: [Goupil], 1900), 82, (repro.), as L’Attente.
Estelle M. Hurll, Jean François Millet: A Collection of Fifteen Pictures and a Portrait of the Painter (Cambridge: The Riverside Press, 1900), 17, as Waiting.
Romain Rolland, Millet (London: Duckworth, 1902), 24, 97, as Tobias and his Wife waiting, in the hope of their son’s return and Waiting.
N. Hudson Moore, “The United States as an Art Center,” The Chautauquan; A Weekly Newsmagazine 36, no. 4 (January 1903): 427, as Tobias.
Edgcumbe Staley, “Jean Francois Millet, of Barbizon, as a Draughtsman,” The Printseller and Collector vol. 1, no. 10 (October 1903), 421, as L’Attente.
Edgcumbe Staley, Jean-François Millet (London: G. Bell and Sons, 1903), 21, 67, as L’attente.
Michael Bryan and George Charles Williamson, Bryan’s Dictionary of Painters, rev. ed., vol. 3 (New York: Macmillan, 1904), 344, as Waiting.
Henry Camille Marcel, J. F. Millet (Paris: Henri Laurens, 1904), 51-52, 59, as L’Attente.
Netta Peacock, Millet (New York: Dodge, 1905), 75-76, 80, 93, 95, 99-102, 169, as Expectation, The Mother of Tobias and Waiting.
Arthur Tomson, Jean-Francois Millet and the Barbizon School (London: G. Bell and Sons, 1905), 69, as L’Attente ou Tobit.
Charles Sprague Smith, Barbizon Days: Millet, Corot, Rousseau, Barye (New York: A. Wessels, 1906), 33, as L’Attente.
Jean Guiffrey, Inventaire général des dessins du Musee du Louvre et du Musee des Versailles: ecole francaise (Paris: Editions Albert Morancé, 1910), 112, as Tobie and L’Attente.
“More Old Masters Added to the Widener Collection: Besides Excellent Examples of Murillo, Velasquez, Rubens and Others, Many Specimens of Famous Modern Painters,” The New York Times 61, no. 19,685 (December 17, 1911): SM14, as L’Attente.
Hippolyte Mireur, Dictionnaire des Ventes d’Art en France et à l’Étranger pendant les XVIIIe et XIXe Siècles, 7 vols. (Paris: Maisons d’Éditions d’Œuvres Artistiques, 1911), 203, as L’Attente.
Helen W. Henderson, “The P. A. B Widener Collection,” American Art News 10, no. 21 (March 2, 1912): 7, as L’Attente.
“Mr. Widener’s Pictures,” The Literary Digest 44, no. 11 (March 16, 1912): 533, as L’Attente.
Julien Cain, Millet: 48 planches hors-texte (Paris: Librairie Centrale des Beaux-arts, 1913), 67, 71-2, as L’Attente.
John Denison Champlin, Jr., ed., Cyclopedia of Painters and Paintings (New York: Charles Scribner’s Sons, 1913), 273, as Waiting.
“The Widener Pictures,” American Art News 14, no. 6 (November 1915): unpaginated, as L’Attente.
Arthur Hoeber, The Barbizon Painters: Being the Story of the Men of Thirty (New York: Frederick A. Stokes, 1915), 51, 54, as Waiting.
Pictures in the Collection of P. A. B. Widener at Lynnewood Hall, Elkins Park, Pennsylvania: British and Modern French Schools (Philadelphia: De Vinne Press, 1915), (repro.), as L’Attente.
Illustrated Catalogue of Highly Important Old and Modern Paintings of Sterling Artistic Distinction: Belonging to Mr. Arthur B. Emmons, Newport, to the Estate of the Late Thatcher M. Adams, New York, to the Private Collector Mr. Joseph F. Flanagan, Boston; Collections of the Late Mr. Henry Sayles, Boston, and Mr. Harris B. Dick, New York, and Other Estates and Private Owners (New York: American Art Association, 1920), unpaginated.
Isabella Errera, Répertoire des Peintures Datées, vol. 2 (Brussels: Van Oest, 1921), 721, as L’attente.
Étienne Moreau-Nélaton, Millet, Raconte par Lui-Même (Paris: Henri Laurens, 1921), 2:1-2, 73, 93-96, 98, 111, 121-22, 187, 194; 3:116, 125-26, 155, (repro.), as Tobie and L’Attente.
Exhibition of Nineteenth Century French Painters, exh. cat. (London: Knoedler, 1923), 8, as Tobie ou L’Attente.
Walter Sickert, “French Pictures at Knoedler’s Gallery,” The Burlington Magazine 43, no. 244 (July 16, 1923): 40, 44, (repro.), as Tobie and The Return of the Prodigal.
“Art Exhibitions,” special issue, The London Times, no. 43377 (June 26, 1923): 15: as Tobie ou L’Attente.
“The Price in Norwich. 19th century French Painters,” special issue, The London Times, no. 43379 (June 28, 1923): 18, (repro.), as Tobie ou L’Attente.
Luis Demonts, “Les Dessins Donnés et Légués par Leon Bonnat,” Revue de L’Art 45 (1924): 204, as Tobie.
Walter Sickert, “The Great Modern,” Daily Telegraph (March 3, 1926): unpaginated.
Walter Sickert, “Constable’s Country,” The Times (January 14, 1927): 8, as Tobie.
Walter Sickert, “A Great ‘Impressionist’,” Evening News (May 30, 1927): unpaginated, as Tobie.
Leslie Thomson, Jean Francois Millet, 1814-1875 (London: Sheldon Press, 1927), 53-4.
A Century of French Painting: Exhibition Organized for the Benefit of the French Hospital of New York, exh. cat. (New York: Knoedler, 1928), (repro.), as Le Mendiant Aveugle.
Paul Gsell, Millet (Paris: Éditions Rieder, 1928), 29, as L’Attente.
Walter Sickert, “John Everett Millais,” Fortnightly Review 129 (June 1929): 756.
Walter Sickert, “Italia! Italia!,” Fortnightly Review 127 (February 1930): 150, as The Return.
“$400,000 in Art; Old Masters and Other Works Assembled for William Rockhill Nelson Gallery,” The Kansas City Times 93, no. 120 (May 20, 1930): 1, as L’Attente (Waiting).
“A Big Addition to Art: All Agree The New Nelson Group is a Notable One,” The Kansas City Star 50, no. 245 (May 20, 1930): 17, (repro.), as Waiting and L’Attente.
The Art News 28, no. 35 (May 31, 1930): 6, (repro.), as L’Attente.
“Three Great Paintings: The Nelson Gallery Gets Added Variety in Collection,” The Kansas City Star 50, no. 276 (June 20, 1930): 3, as Waiting.
Luigi Vaiani, “Three Paintings Added to Nelson Gallery of Art: French 19th Century Artists and Dutch School Represented,” The Kansas City Journal-Post 77, no. 13 (June 20, 1930): 12, as Waiting.
“Two More Masterpieces Purchased for the Nelson Gallery of Art,” The Kansas City Star 50, no. 285 (June 29, 1930): 3, (repro.).
M[inna] K. P[owell], “Art: Crowds Filled Art Institute Gallery Yesterday for the First of Season’s Exhibitions – Paintings for Nelson Gallery Attract Most Attention,” The Kansas City Times 93, no. 239 (October 6, 1930): 10.
“What to See in Kansas City,” The Kansas City Star 52, no. 101 (December 27, 1931): 15, as Waiting.
M[inna] K. P[owell], “In Gallery and Studio,” The Kansas City Star 52, no. 121 (January 16, 1932): E.
“Loans to Other Galleries,” The Kansas City Times 95, no. 16 (January 19, 1932): D, as Waiting.
“Art: Two Noted European Scholars Visit the William Rockhill Nelson Gallery of Art and Are Led to Comment Freely on the Comparative Value of the Paintings in the Collection,” The Kansas City Star 52, no. 185 (March 20, 1932): 11A.
“M. Claudel in Rich Land: A Desire to See Harvest Expressed by Ambassador,” The Kansas City Times 95, no. 70 (March 22, 1932): 11.
“Experts Praise Art Acquisitions of Kansas City,” The Art News 30, no. 30 (April 23, 1932): 15, as Waiting.
M[inna] K. P[owell], “In Gallery and Studio,” The Kansas City Star 53, no. 210 (April, 15, 1933): 14, as Tobit and Waiting.
Thomas Carr Howe, “Kansas City Has Fine Art Museum: Nelson Gallery Ranks with the Best,” [unknown newspaper] (ca. December 1933), clipping, scrapbook, NAMA Archives, vol. 5, p. 6.
Pierre Domène, “Le nouveau musée de Kansas City,” Beaux-Arts 72, no. 48 (December 1, 1933): 2.
“Nelson Gallery of Art Special Number,” The Art Digest 8, no. 5 (December 1, 1933): 13, 20-21, (repro.), as Waiting.
“Nelson Art Gallery Soon: Dec. 11-17 Has Been Set for Free Admittance to Public,” Liberty Tribune 88, no. 37 (December 7, 1933): 1.
“Complete Catalogue of Paintings and Drawings” The Art News, no. 10 (December 9, 1933): 28, as Waiting.
“The William Rockhill Nelson Gallery of Art, Kansas City Special Number,” The Art News 32, no. 10 (December 9, 1933): 28, 30, as Waiting.
Minna K. Powell, “The First Exhibition of the Great Art Treasures: Paintings and Sculpture, Tapestries and Panels, Period Rooms and Beautiful Galleries Are Revealed in the Collections Now Housed in the Nelson-Atkins Museum,” The Kansas City Star 54, no. 84 (December 10, 1933): 4C;
“Set Aside Day for K. C. K. at Gallery: Wednesday Selected as Special Time for This City at Nelson Museum,” The Kansas City Kansan 38, no. 159 (December 10, 1933): 5A.
“$15,000,000 Nelson Art Gallery Opens: Gift of Kansas City Star Publisher,” Boston Evening Transcript 104, no. 288 (December 11, 1933): 11.
“Art Critics View Nelson Gallery: Preview of $15,000,000 with Contents, Held at Kansas City; Filled with Treasures; Classical Structure on Landscaped Tract Provides All Comforts for Visitors,” The New York Times 83, no. 27,715 (December 11, 1933): 24L.
“Art Story to the Nation: Something New in Museums, Says the Associated Press,” The Kansas City Times 96, no. 295 (December 11, 1933): 2.
“Nelson Art Gallery Ready,” Fort Worth Star-Telegram 53, no. 314 (December 11, 1933): 3.
“Nelson Art Gallery Ready to Open, Holds Treasures,” Springfield Daily News 43, no. 345 (December 11, 1933): 3.
“Nelson Gallery is Ready to Open: Dream of Newspaperman About to be Realized with Modern Museum in Kansas City,” The Providence Journal 105, no. 295 (December 11, 1933): 7.
“Nelson Gallery of Art Opened at Kansas City: $14,000,000 Gift of ‘Star’ Publisher and His Heirs Already Fully Furnished; Has Many Innovations; Oriental, Roman, Colonial Objects World Famous,” New York Herald Tribune 93, no. 31, 802 (December 11, 1933): 12.
“Nelson’s Dream is Now an Actuality,” Blackwell Oklahoma Tribune [Oklahoma] (December 11, 1933): clipping, scrapbook, NAMA Archives, vol. 5, p. 31.
“New Art Gallery Creation will Open in Kansas,” Sun Binghamton [New York] (December 11, 1933): clipping, scrapbook, NAMA Archives, vol. 3, p. 48.
“Newspaper Man’s Dreams Becomes Reality with Art Museum Opening,” The Salt Lake Tribune 128, no. 58 (December 11, 1933): 7.
“Publisher’s Dream Comes True with Opening of Art Gallery and Museum,” The Montgomery Advertiser 105, no. 345 (December 11, 1933): 5.
“Society Gasps at Marvels of New Art Show: Each Room of Nelson Gallery Dedicated to Epoch or Mood,” The Canton Repository, no. 17,549 (December 11, 1933): 8.
“William Rockhill Nelson Art Gallery Opened at K. C.,” Joplin News Herald 61, no. 232 (December 11, 1933): 4.
“Wm. Rockhill Nelson Gallery is Opened: Kansas City Publisher’s Dream is Realized; Building is Combination of Modern and Best of Colonial Architecture,” The Topeka Daily Capital 57, no. 297 (December 11, 1933): 2.
“New Kansas Art Museum Unique in the World: ‘Full-Blown’ at Opening, It Houses Treasures Worth Millions,” The Washington Post, no. 20,998 (December 12, 1933): 13.
J. S. B., “The Nelson Gallery of Art Seen Thru [sic] Eyes of a Novice,” The Clay Center Dispatch, no. 2 (December 13, 1933): 2.
“A New Day in Art for the Middle West,” The Milwaukee Journal 52 (December 15, 1933): 16.
“Kansas City’s $15,000,000 Art Museum Amazes Visitors: Startling Innovations in New Nelson Gallery Make Kansans Wonder,” Youngstown Vindicator 45, no. 164 (December 15, 1933): 28.
“Nelson Gallery of Art Opens,” Editor and Publisher 66, no. 31 (December 16, 1933): 10.
Paul V. Beckley, “Art News,” Kansas City Journal Post 80, no. 193 (December 17, 1933): 2C.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Handbook of the William Rockhill Nelson Gallery of Art (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1933), 48, (repro.), as Waiting.
Ellen Josephine Green, “Among the Fine Arts,” The Musical Bulletin 22, no. 4 (January 1934): 9.
A. J. Philpott, “Kansas City Now in Art Center Class: Nelson Gallery, Just Opened, Contains Remarkable Collection of Paintings, Both Foreign and American,” The Boston Sunday Globe 125, no. 14 (January 14, 1934): 16.
Walter Sickert, “Black and White Illustration,” Lecture (November 30, 1934): unpaginated, as Return of Tobit.
Ellen Josephine Green, “The Fine Arts,” The Musical Bulletin 23, no. 2 (November 1934): 8.
“Museums, Art Associations and Other Organizations,” in “For the Year 1933,” American Art Annual 30 (1934): 175, as Waiting.
News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 1, no. 6 (January 15-31, 1935): 1, as Waiting.
“Art: ‘Waiting’ by Jean Francois [sic] Millet, Will be Featured Today as the Masterpiece-of-the-Week at the Nelson Gallery,” The Kansas City Star 55, no. 125 (January 20, 1935): 10A, as Waiting.
“Millet Painting ‘Waiting’ is the Masterpiece for This Week,” Kansas City Journal-Post 81, no. 120 (January 20, 1935): 8B, as Waiting.
“As Cameraman Sees Persons and Places Figuring in News of World: Practicing Puppet Play,” Kansas City Journal-Post 81, no. 314 (August 2, 1935): 20, as Waiting.
“A Play Concludes Classes: Children at Gallery Session Present ‘Waiting’ Tomorrow,” The Kansas City Star 55, no. 326 (August 9, 1935): 10, as Waiting.
“Visitors as Well as the Art Interest a Gallery Observer,” The Kansas City Star 56, no. 119 (January 14, 1936): 9.
Gabriel Rouchès and René Huyghe, Cabinet des Dessins du Musée du Louvre, cat. rais. (Paris: Musée de Louvre, 1938), 15, as Tobie ou l’attente. The catalogue raisonne also references a number of prepatory works for our NAMA painting; see Prepatory Works. –DH 9/11/17
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 41, 168, as Waiting.
Kenneth Clark, Drawings by Jean-Francois Millet, exh. cat. (London: The Arts Council of Great Britain, 1956), 30, as Tobie and L’Attente.
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 261, as Waiting.
Gerard Reitlinger, The Economics of Taste: The Rise and Fall of the Picture Market, vol. 1 (New York: Holt, Rinehart and Winston, 1961), 392, as L’Attente.
Robert L. Herbert, “Millet Reconsidered,” Museum Studies 1 (1966): 53n6, as The Parents of Tobit Awaiting his Return.
Barbizon: First Anniversary Exhibition of Lakeview Center, exh. cat. (Peoria, IL: Lakeview Center for the Arts and Sciences, 1966), (repro.), as Waiting.
Robert L. Herbert, “City vs. Country: The Rural Image in French Painting from Millet to Gauguin,” Artforum 8, no. 6 (February 1970): 50, as The Parents of Tobit Awaiting his Return [repr. Robert L. Herbert, From Millet to Léger: Essays in Social Art History (New Haven, CT: Yale University Press, 2002), 38, 40].
Donald Hoffmann, “The Nelson Gallery 40 Years (and More) Seeking Beauty,” The Kansas City Star 94, no. 83 (December 9, 1973): 4E.
“Gallery Growing Always,” The Kansas City Star 94, no. 97 (December 23, 1973): 85, as Waiting.
Lucien Lepoittevin, Jean-François Millet ou l’ambiguïté de l’image, essai (Paris: Léonce Laget, 1973), II: 134, 218, as Tobie ou l’Attente.
Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 157, 258, (repro.), as L’Attente (Waiting).
Jean-François Millet, exh. cat. (Paris: Éditions des Musées Nationaux, 1975), 16, 27, 176, 190, 195, as Tobie ou l’attente and Les parents de Tobie attendant son retour.
Pierre Granville, “Notre-Dame-de-Lorette et l’effusion spirituelle chez Jean-François Millet,” La Revue du Louvre, nos. 5-6 (1975): 350-51, 353n17, as Tobie ou l’Attente.
Pierre Miquel, Le Paysage français au XIXe siècle, 1824-1874: L’École de la Nature, vol. 3 (Maurs-la-Jolie, France: Éditions de la Martinelle, 1975), 592-93, as Tobie and L’Attente.
Alfred Moir, ed., European Drawings in the Collection of the Santa Barbara Museum of Art (Santa Barbara: Santa Barbara Museum of Art, 1976), 70, as L’Attente.
Jean-Claude Chamboredon, “Peinture des rapports sociaux et invention de l’éternel paysan: Les deux manières de Jean-François Millet,” Actes de la recherché en sciences sociales, no. 13 (February 1977): 20, as Tobie ou l’attente.
André Fermigier, Jean-François Millet (Lausanne: Éditions d’Art Albert Skira, 1977), 87, 89, 135, 141, (repro.), as Tobie ou L’attente.
Robert H. Terte, “The Phenomenal Nelson Gallery,” Antiques World 1, no. 3 (January 1979): 49.
David Alan Brown, Raphael and America, exh. cat. (Washington: National Gallery of Art, 1983), 30-31, 80, 99n76, 203, (repro.), as L’Attente (Waiting).
Tom L. Freudenheim, ed., American Museum Guides: Fine Arts; A Critical Handbook to the Finest Collections in the United States (New York: Collier, 1983), 112, as L’Attente.
Alexandra Murphy, Jean-François Millet, exh. cat. (Boston: Museum of Fine Arts, 1984), xiii-xiv, xx, 234, 234n1, (repro.), as Tobit Waiting.
Elisabeth Foucart-Walter, The Painted Cat: The cat in Western painting from the fifteenth to the twentieth century (New York: Rizzoi, 1988), 180-81, (repro.), as Waiting.
Roger Karampournis, Si Barbizon m'était conte: Jean François Millet, essai bibliographie (Paris: Editions Amatteis, 1990), 37, 41, 45, as L’Attente (Tobie).
Lucien Lepoittevin, Jean-Francois Millet: Images et Symbols (Cherbourg: Editions Isoete, 1990), 31, 115, 142, 153, as Tobie, ou l’attente.
Yoichiro Ide et al., Jean-François Millet, exh. cat. (Tokyo: Nippon Terebi Hōsomō, 1991), 22, 32, 99, 185, 218, 230, (repro.), as Waiting for Tobias.
Bruce Laughton, The Drawings of Daumier and Millet (New Haven: Yale University Press, 1991), 125, 151, as Tobit’s Parents (L’Attente).
Alice Thorson, “The Nelson celebrates its 60th; Museum built its reputation, collection virtually ‘from scratch’,” Kansas City Star (July 18, 1993): J1.
Roger B. Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 13, 204, (repro.), as Waiting.
Michael Churchman and Scott Erbes, High Ideals and Aspirations: The Nelson-Atkins Museum of Art 1933-1993 (Kansas City, MO: Nelson-Atkins Museum of Art, 1993), 25, as Waiting or Tobit and His Wife.
Dominique Dussol, Art et Bourgeoisie: La Société des Amis des Arts de Bordeaux (1851-1939) (Bordeaux: Festin, 1997), 227, (repro.), as Tobie ou L’Attente.
Michael Fried, Manet's Modernism, or, The Face of Painting in the 1860s (Chicago: University of Chicago Press, 1998), 257, as L’attente.
Stéphane Guégan, Millet peintre paysan (Paris: Flammarion, 1998), 37, as Le Retour de Tobie.
Jean Christophe Bailly, Sketch Book: The Hand / Dei Hand: Skizzenheft / Carnet de Dessins: La Main (Paris: Bibliothèque de l’Image, 2000), 79, (repro.), as Tobias, or Waiting / Tobias odor die Erwartung / Tobie ou l’attente.
Anna Gruetzner Robins, Walter Sickert: The Complete Writings (Oxford: University Press, 2000), 465, 465n8, 537, 538n2, 550, 556, 557n2, 583, 587n12, 601, 668, 671n4 as Tobie, The Return and Return of Tobit.
David Steel, “The Return of the Prodigal Son: Gide, Millet and ‘les marches du perron’,” Word and Image 17, no. 4 (October-December 2001): 380-83, 385-87, 387n6, 387n8, 387n10, 388n19, (repro.), as Waiting (L’Attente) and Tobit and his Wife.
Lucien Lepoittevin, Jean-François Millet (Au-delà de l’Angélus) (Paris: Éditions de Monza, 2002), 46, 144, 210, 227, 260, 291, 294, 311, (repro.), as L’Attente (ou Tobie et sa femme).
Millet, exh. cat. (Nagoya, Japan: Nagoya Bosuton Bijutsukan, 2002), 18-9, 107, (repro.).
Margaret C. Conrads, ed., American Paintings to 1945: The Collections of the Nelson-Atkins Museum of Art, vol. 1 (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 475, (repro.), as Waiting.
Susan Waller, “Rustic Poseurs: Peasant Models in the Practice of Jean-François Millet and Jules Breton,” Art History 31, no. 2 (April 2008): 197-98, as L’Attente.
Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 35, 114, (repro.), as Waiting.
Simon Kelly, “Jean-François Millet’s ‘Waiting’: A ‘Realist’ Religious Painting,” The Burlington Magazine 151, no. 1274 (May 2009): 298-305, (repro.), as Waiting.
Elizabeth Philpot, Old Testament Apocryphal Images in European Art (Gothenburg, Sweden: University of Gothenburg, 2009), 42, 160, 384, (repro.), as Waiting.
Shuji Takashina, 誰も知らない「名画の見方」(Tokyo: Shogakukan, 2010), 44, (repro.).
Johanna Ruth Epstein, “Incapable of That Sort of Thing: Millet's Dutch Sources,” Journal of Historians of Netherlandish Art 5, no. 3 (Summer 2013): 4, as Waiting.
Amitié et Amour à travers l’Œuvre de Millet, exh. cat. (Tokyo: Howaito intanashonaru, 2014), 10, 13, 87, 108-09, 121, 162, 196, 201, (repro.), as L’attente (Tobie et sa femme).
Paul-Louis Durand-Ruel and Flavie Durand-Ruel, eds., Paul Durand-Ruel: Memoirs of the First Impressionist Art Dealer (1831-1922) (Paris: Flammarion, 2014), 27, as Le Tobie (Tobias).
Chantal Georgel, Millet (Paris: Citadelles et Mezenod, 2014), 24, 158, 159, 349, (repro.), as L’Attente.
Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 35, (repro.), as Waiting.
Simon Kelly, “Jean-François Millet, Waiting, ca. 1853–1861,” catalogue entry, and Mary Schafer, “Jean-François Millet, Waiting, ca. 1853–1861,” technical entry in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.528.5407.
Julian Zugazagoitia and Laura Spencer. Director's Highlights: The Nelson-Atkins Museum of Art Celebrating 90 Years, ed. Kaitlyn Bunch (The Nelson-Atkins Museum of Art, 2024), 19, (repro.).
