The Vintage at Château Lagrange
Jules Breton (French, 1827–1906)

Commissioned from the artist by Charles Marie Tanneguy (1803–1867), the comte Duchâtel, Paris and Château Lagrange, 1862–1867;
By descent to his heirs, 1867–1888;
Purchased at the Duchâtel sale, Hôtel Drouot, Paris, May 14, 1888, lot 15, by R. N. Brooke;
Purchased from R. N. Brooke by Thomas E. Waggaman, Washington, DC, by February 1893–March 1898 [1].
Acosta Nichols, New York, by 1910.
With M. Knoelder & Co., by October 18, 1910–July 10, 1916;
Purchased from M. Knoelder & Co. by the Friends of Art, Omaha, July 10, 1916–1932;
Gift of the Friends of Art to Joslyn Art Museum, Omaha, Nebraska, 1932.

[1] According to a letter from M. Knoedler to Jules Breton, March 13, 1896, the painting was offered at public sale by Thomas E. Waggaman, but failed to sell. It was then consigned by Waggaman to M. Knoedler & Co., New York, by March 1896–March 1898, but failed to sell.

Salon, Paris, 1864, no. 256.

Omaha Centennial Exhibit, 1954.

VIV exposition de la société des amis des arts de Bordeaux, 1866, no. 75, as Les vendages au Médoc.

Angels and Urchins: Images of Children at the Joslyn, Joslyn Art Museum, Omaha, November 15, 1980–January 4, 1981, no. 32.

Jules Breton and the French Rural Tradition, Joslyn Art Museum, Omaha, November 6–January 2, 1983; Dixon Gallery and Gardens, Memphis, January 16–March 6, 1983; Sterling and Francine Clark Art Institute, Williamstown, April 2–June 5, 1983, no. 15.

In Quest of Excellence: Civic Pride, Patronage, Connoisseurship, Center for the Fine Arts, Miami, January 14–April 22, 1984.

Redefining Genre: French and American Painting, 1850–1900, Dixon Gallery and Gardens, Memphis, September 24–December 17; Society of the Four Arts, Palm Beach, Florida, January 5–February 4, 1996; Santa Barbara Museum of Art, California, February 24–April 21, 1996; Meridian International Center, Washington, DC, May 15–July 1, 1996, no. 9.

Stories of a Collection, Joslyn Art Museum, Omaha, August 28–October 3, 1999.

Jules Breton, La chanson des blés, Musée des beaux-arts, Arras, March 16–June 2, 2002; Musée des beaux-arts, Quimper, June 15–September 8, 2002; National Gallery of Ireland, Dublin, September 23–December 15, 2002, no. 41.

Impressionist France: Visions of Nation from Le Gray to Monet, Nelson-Atkins Museum of Art, Kansas City, Missouri, October 19, 2013–February 9, 2014; Saint Louis Art Museum, March 16–July 6, 2014.

Titian to Monet: European Paintings from Joslyn Art Museum, Taubman Museum of Art, Roanoke, VA, October 14, 2022–January 8, 2023; Rembrandt to Monet: 500 Years of European Painting from Joslyn Art Museum, Philbrook Museum of Art, Tulsa, OK, February 22–May 28, 2023.

“Le Salon de 1864, Lettresd’un peintre de l’ancienne école sur l’école nouvelle,” La Gazette de France, June 2, 1864, n.p.

Edmond François Valentin About, Le Salon de 1864 (Paris: 1864), 254–55.

Charles Asselineau, “Le Salon de 1864,” Gazette des beaux-arts 17 (July 17, 1864): 287–88

Amédée Cantaloube, “Salon de 1864,” Nouvelle Revue de Paris 3 (1864): 619–20.

Paul Challemal-Lacour, “Le Salon de 1864,” Revue germanique et française 29 (1864): 542

Théophile Gautier, “Salon de 1864,” Le Moniteur universelle, July 16, 1864.

Léon Lagrange, “Le Salon de 1864,” Gazette des beaux-arts 17, July 1, 1864, 7.

Charles de Mouÿ, “LeSalon de 1864,” Revue Française 8, no. 44 (June 1864): 235.

Théophile Thoré, “Salon de 1864,” in Salons de W. Bürger: 1861 à 1868, 2 vols. (Paris: Renouard, 1870), 2: 91, 93.

A. Hustin, “Jules Breton,” L’Estafette, September 9, 1880.

A. Hustin, “Salon de 1859,” L’Estafette, November 1, 1880.

Marius Chaumelin, Portraits d’artistes, Ernest Meissonier, Jules Breton (Paris: Flammiron, 1887), 80–81, 82, 92.

A. M. de Bélina, Nos peintres dessinés par eux-mêmes: notes humoristiques et esquisses biographiques (Paris, 1888), 406.

Jules Breton, La vie d’un artitse: art et nature (Paris: Alphonse Lemerre, 1890), 233, 244–45.

Jules Breton, trans. Mary J. Serrano, The Life of Art Artist: An Autobiography (New York: D. Appleton, 1890), 241, 252.

Jules-Antoine Castagnary, “Salon de 1864,” in Salons de 1857–1870, 2 vols. (Paris: G. Charpentier and E. Fasquelle, 1892), 1: 93–95.

H. Sugio, ed., Catalogue of a collection of oil paintings and water-color drawings by American and European artists, and of Oriental art objects, belonging for T. E. Waggaman (New York: De Vinne Press, 1893), 4, no. 17.

Jules Breton, Un peintre paysan: souvenirs et impressions (Paris: Alphonse Lemerre, 1896), 122–23.

Marius Vachon, Jules Breton (Paris: A. Lahure, 1898), 86, 106–8.

Jérome Doucet, Les peintres français (Paris: Félix Juven, 1899), 195–213, (repro.).

H. Mireur, Dictionnaire des ventes d’art faites en France et à l’étranger pendant les XVIIIe et XIX siècles, vol. 1, (Paris: L. Soullié, 1901), 457.

“Friends of Art Present Pictures for Omaha,” Omaha World-Herald, July 13, 1916, 13.

“The Vintage Bought for Omaha,” Omaha World-Herald, July 20, 1916, 3.

Philip Gurney, “People Overruled Harsh Critics of Breton Work,” Dundee and West Omaha Sun, June 9, 1960, 48, (repo.).

Madeleine Fidell-Beaufort “Fire in a Haystack by Jules Breton,” Bulletin of the Detroit Institute of Arts, vol. 57, no. 2 (1979): 61, (repro.).

Linda Nochlin, “New York, Brooklyn Museum, The Realist Tradition,” Burlington Magazine 123 (April 1981): 267.

Hollister Sturges, Angels and Urchins: Images of Children at the Joslyn, exh. cat. (Omaha: Joslyn Art Museum, 1980), 43, 51, (repro.).

Gabriel P. Weisberg and Annette Bourrut-Lacouture, “Jules Breton’s ‘The Grape Harvest at Château Lagrange,’” Arts Magazine 55 (January 1981): 98–103, (repro.).

Hollister Sturges, “Breton Exhibit Examines French Rural Tradition,” Omaha, November 1982, 28, (repro.).

Hollister Sturges, Jules Breton and the French Rural Tradition, exh. cat. (Omaha: Joslyn Art Museum, 1983), 25, 76, 76, (repro.).

“The Americans Have Landed,” Apollo 117, no. 254, April 1983, 324, (repro.).

Jan van der Marck, In Quest of Excellence: Civic Pride, Patronage, Connoisseurship, exh. cat. (Miami: Center for the Fine Arts, 1984), 166, 176, (repro.).

Hollister Sturges, ed., The Rural Vision: France and America in the Late Nineteenth Century (Omaha: Joslyn Art Museum, 1987), 24, (repro.).

Holliday T. Day and Hollister Sturges, eds., Joslyn Art Museum: Paintings & Sculpture from the European & American Collections (Omaha: Joslyn Art Museum, 1987), 82–85, (repro.).

Graham W. J. Beal et. al., Fifty Favorites from Joslyn Art Museum (Omaha: Joslyn Art Museum, 1994), 50–51, (repro.).

Alain Daguerre de Hureaux, Actualité des arta plastiques, no. 90, L réalisme au XIXe siècle (1994): 23, (repro.).

Gabriel P. Weisberg, Redefining Genre: French and American Painting, 1850–1900, exh. cat. (Washington, DC: Trust for Museum Exhibition, 1995), 49, (repro.).

Annette Bourrut-Lacouture, Jules Breton: Painter of Peasant Life, exh. cat. (New Haven: Yale University Press, 2002), 106, 118–20, 122, (repro.).

Therese Bhattacharya-Stettler, Alber Anker und Paris; Zwischen Ideal und Wirklichkeit (Bern: Kunstmusuem, 2003), 34, (repro.).

Simon Kelly and April M. Watson, Impressionist France: Visions of Nation from Le Gray to Monet, exh. cat. (Saint Louis: Saint Louis Art Museum, 2013), ?.

Taylor J. Acosta, European Paintings and Sculpture from Joslyn Art Museum (Omaha: Joslyn Art Museum, 2020), 17, 24, 26, 148–51, (repro.).

This painting will be included in the forthcoming Jules Breton catalogue raisonné as no. P1864-3.