Les Andelys, Côte d'Aval

Paris, Théâtre Libre d’Antoine, Sep. 1887, no cat. Paris, Société des Artistes Indépendants, 3e Exposition, Mar. 26-May 3, 1887, cat. 452 Paris, Musée national d’art moderne, P. Signac, Oct. 25-Dec. 2, 1951, cat. 8 Marseille, Musée Cantini, Les Impressionnistes français: De Cézanne à Renoir, July 1955, cat. 40. Paris, Galeries nationales du Grand Palais, Signac, 1863-1935, Feb. 27-May 28, 2001, cat. 22 as Hillside from Downstream, Andeleys; Amsterdam, Van Gogh Museum, June 15-Sep. 9, 2001; New York, Metropolitan Museum of Art, Oct. 9-Dec. 30, 2001. Martigny, Fondation Pierre Gianadda, Paul Signac, June 18-Nov. 23, 2003, cat. 6. Art Institute of Chicago, Seurat and the Making of ‘La Grande Jatte,’ June 16-Sep. 19, 2004, cat. 118 as Hillside from Downstream, Andeleys. Fort Worth, TX, Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 52.

Société des Artistes Indépendants, Catalogue des œuvres exposées, exh. cat. (1887), 23 cat. 452. [Paul Alexis] Trublot, “À minuit. Exposition des artistes indépendants,” Le Cri du peuple, Mar. 26, 1887, 3. Marcel Fouquier, “L’Exposition des artistes indépendants,” Le XIXème siècle, Mar. 28, 1887, 2. Félix Fenéon, “L’Impressionisme,” L'Émancipation sociale, Apr. 3, 1887; reproduced in Joan Halperin, ed., Félix Fénéon: Oeuvres plus que complètes vol. 1-2 (Geneve: Droz, 1970), 67. Félix Fenéon, “Le Neo-Impressionisme,” L' Art Moderne, Brussels, May 1, 1887, 140; reproduced in Joan Halperin, ed., Félix Fénéon: Oeuvres plus que complètes vol. 1-2 (Geneve: Droz, 1970), 75-76. Gustave Kahn, “La Vie Artistique,” La Vie moderne, Apr. 9, 1887, 230. Jean Le Fustec, “Exposition des artistes indépendants,” Journal des artistes, Apr. 10, 1887, 108. Jules Christophe, “Les évolutionnistes du pavillon de la Ville de Paris,” Journal des artistes, Apr. 24, 1887, 123. J.K. Huysmans, “Chronique d’art: Les Indépendants,” La Revue indépendante (April 1887): 55. Gabrielle Vienne, P. Signac, exh. cat. (Paris : Editions des musees nationaux), 12 cat. 8. Les impressionnistes français de Cézanne à Renoir, exh. cat. (Marseille: Musée Cantini, 1955), 25 cat. 40. Van Gogh a Paris, exh. cat. (Paris: Musée d’Orsay, 1988), 258 under no. 98, fig. b. Hôtel Drouot, Paris, Importants Tableaux et Sculptures Modernes, June 21, 1993, cover ill., lot 28. “New Acquisition,” News and Events The Art Institute of Chicago (Jan.-Feb. 1994): 2 (ill.). Gloria Groom, “Acquisitions in focus: The Art Institute of Chicago,” Apollo 142, no. 406 (1995): 59-61, fig. 1. Françoise Cachin, Signac: Catalogue raisonné de l’œuvre peint (Paris: Gallimard, 2000), 93 (ill.), 176, no. 125 (ill.). Impressionism and Post-Impressionism in the Art Institute of Chicago (New York: Hudson Hills Press, 2000), 122 (ill.). Marina Ferreti-Bocquillon, et. al., Signac, 1863-1935, exh. cat. (London and New Haven: Yale University Press, 2001), 122-23 cat. 22 as Hillside from Downstream, Andeleys [French ed. (Paris: Cercle d'art, 2001), 162-163 cat. 22 (ill.)]. Francoise Cachin and Marina Ferreti-Bocquillon, P. Signac, exh. cat. (Martigny, Switzerland: Fondation Pierre Gianadda, 2003), 32-33 cat. 6 (ill.). Robert L. Herbert, Seurat and the Making of ‘La Grande Jatte,’ exh. cat., (), 134, 140 cat. 118 as Hillside from Downstream, Andeleys, 277. Richard R. Brettell and Stephen F. Eisenman, Nineteenth-Century Art in the Norton Simon Museum vol. 1 (New Haven: Yale University Press, 2006), 449-50 fig. 119a. The Age of Impressionism at the Art Institute of Chicago, exh. cat. (New Haven and London: Yale University Press, 2008), 114-15 (ill.), cat. 52.