Open Content Program
The Birmingham Museum of art makes available digital images of works in the Museum’s collection believed to be in the public domain. Images are available free of charge for any use, commercial or non-commercial. Users do not need to contact the Museum for authorization to use these images. They are available through the Online Collection at artsbma.org/collection. See detailed instructions for specific work types below.
Identifying Open Content Images
The mission of the Birmingham Museum of Art is to spark the creativity, imagination, and liveliness of Birmingham by connecting all its citizens to the experience, meaning, and joy of art. The Museum understands that by sharing images of works online without restrictions, the BMA collection becomes more accessible to a larger audience.
For objects with images the rights status is displayed in the “credit line” section of the object information. The rights status or rights holder will be indicated. If the work is in the public domain and/or the image may be downloaded, the download icon will appear in the bottom right corner of the image area. To search the collection click here.
Works With Restrictions
For copyright-protected images that have been approved by copyright holders, a presentation-sized image is available, but can not be downloaded. A copyright statement clearly listing the name of the copyright holder is visible in the credit line area when the image is displayed. Thumbnail-sized images of copyrighted works are displayed under fair use.
When the owner of a work is impossible to determine or contact, the work is deemed an orphan work. The Museum will make thumbnails of orphan works available. If you are the representative or rights holder of an orphan work, please contact Rights and Reproductions.
Please use the following source credit when reproducing an Open Content image: Courtesy Birmingham Museum of Art, followed by the credit line provided in the object description.
Although there are no restrictions or conditions of the use of an Open Content image, the BMA would appreciate a gratis copy of any scholarly publication(s) in which the images are reproduced in order to maintain collection bibliography. Copies may be sent to the attention of:
Open Content Program
Digital Media Department
The Birmingham Museum of Art
2000 Rev. Abraham Woods Jr. Blvd
Birmingham, AL 35203
- If an image is not available under Open Content it may be because the work is still under copyright, the work is not owned by the museum, or the work has not yet been photographed to BMA standards.
- Request Images: If an image of a work is not available online or is under copyright, you may submit a request through our online request form. You may also request files in additional sizes or formats. A fee will be charged for this service.
- Our determination of public domain is made in good faith.
- Electronic records are based on historical information and may not be the Museum’s complete or current knowledge about an object. Research is ongoing.
- The ‘On View’ status may be delayed on the website by 24 hours. Please check with our Rights and Registration Office to confirm that a work of art will be on view before traveling to the Museum.
- Titles Le Matin, temps brumeux, Pourville (Foggy Morning at Pourville) (Proper)
- Artist Claude Monet, French, 1840 - 1926
- Medium oil on canvas
- Dimensions 24 x 29 1/8 in. (61 x 74 cm) frame: 31 3/4 × 37 1/8 × 2 1/2 in. (80.6 × 94.3 × 6.4 cm)
- Credit Line Museum purchase with funds provided by 1977 and 1980-1983 Museum Dinner and Balls, 1981.40
- Work Type painting
- Classification Paintings
- On View
- Provenance Claude Monet (1840-1926), 1882; purchased by dealer Paul Durand-Ruel (1831-1922), Paris, April 22 or April 25, 1882 [see note 1]; purchased in New York by Albert Spencer, New York, 1886, until at least January 1899 [see note 2]; Mme A. Holtz, Paris; dealer Durand-Ruel [see note 3]; Arthur B. Emmons, Newport, Rhode Island, 1911 [see note 4]; auctioned at Valuable Paintings of Sterling Artistic Excellence, American Art Association, New York, January 14-15, 1920, lot 29; purchased by dealer Knoedler & Co., New York on joint account with Durand-Ruel, New York [see note 5]; purchased by Henry Thompson Sloane (1845-1937), New York, December 12, 1923 [see note 6]; inherited by his daughter Jessie Sloane (1883-1968), New York [see note 7]; purchased by Knoedler & Co., New York, December 27, 1946, as “La Mer à Pourville” [see note 8]; purchased by William H. Taylor, Westchester, Pennsylvania, February 1947 [see note 9]; inherited by his niece, Diane T. Walker, Victoria, Australia; purchased by the Birmingham Museum of Art, Alabama, 1981
1. Sale to Paul Durand-Ruel according to Charles F. Stuckey. Claude Monet: 1840-1926. London: Thames and Hudson; Chicago; The Art Institute of Chicago, 1995, p. 208 and note 39 and Daniel Wildenstein. Monet. Vol. II. Wildenstein. Paris: Bibliotheque des Arts, 1979, no. 711. Charles F. Stuckey’s chronology of Monet’s life reports that on April 22, 1882, Durand-Ruel purchased sixteen paintings from Monet. On April 25, 1882, Durand-Ruel purchased another seven works from Monet. These are the only works purchased by Durand-Ruel from Monet in April 1822.
2. “Spencer” is recorded as the buyer in an annotated copy of the exhibition catalogue for Works in Oil and Pastel of the Impressionists of Paris, American Art Galleries, New York, April 1886; National Academy of Design, New York, May, 1886 - June 1886, no. 216 (NGA, Washington, D.C.). Albert Spencer listed as the lender for the exhibition Pictures by Claude Monet. New York: Lotos Club, January 1899, no. 2.
3. The Holtz purchase from Spencer and following sale to Durand-Ruel according to Wildenstein, 1979, no. 711.
4. Emmons acquisition of 1981.40 in 1911 is according to Wildenstein, 1979, no. 711.
5. Getty Research Institute, Knoedler stockbook 6, page 219, row 5, no. 14967.
6. Getty Research Institute, Knoedler stockbook 7, page 11, row 21, no. 14967.
7. Jessie Sloane is listed as Mrs. George D. Widener in Knoedler book 9, page 141, row 41, no. A3605.
8. Getty Research Institute, Knoedler stockbook 9, page 141, row 41, no. A3605.
9. See note 8.