Mess Downstream, the Auteuil Quai

New York, Gallery 291 (Little Galleries of the Photo-Secession), "A loaned collection of some lithographs by Manet, Cézanne, Renoir and Toulouse-Lautrec; a few drawings by Rodin; and smaller paintings and drawings by Henri Rousseau," Nov. 18–Dec. 8, 1910. New York, 69th Regiment Armory, Association of American Painters and Sculptors, "International Exhibition of Modern Art," Feb. 17–Mar. 15, 1913, p. 64, cat. 984. Art Institute of Chicago, "Henri Rousseau," Jan. 22–Febr. 23, 1942, p. 13 (ill.), as River Scene, Quai d’Auteuil; also New York, Museum of Modern Art, Mar. 17–May 3, 1942. Boston Institute of Modern Art, "Henri Rousseau," Oct.–Nov. 1942, cat. 20. Pittsburgh, Museum of Art, Carnegie Institute, "Henri Rousseau," Dec. 4–27, 1942, cat. 13, as River Scene, Quai d’Auteuil. New York, Albert Loeb and Krugier Gallery, "Douanier Rousseau," May 1968, cat. 13, as Quai d’Auteuil.

Elizabeth Luther Carey, “News and Notes of the Art World,” New York Times (Nov. 27, 1910), p. SM15. “Photo-Secession Notes,” Camera Work 33 (Jan. 1911), p. 49. Museum of Modern Art, Masters of Popular Painting: Modern Primitives of Europe and America (New York, 1938), p. 44, no. 72d. “The Henri Rousseau Exhibition,” Bulletin of The Art Institute of Chicago XXXVI:2 (Feb. 1942), p. 19. John O’Connor Jr., “Henri Rousseau,” Carnegie Magazine 16: 7 (Dec. 1942), p. 210. Douglas Cooper, Henri Rousseau (Paris, 1951), p. 25. Henri Perruchot, Le Douanier Rousseau (Paris, 1957), p. 89. Max Weber, Memoirs of Max Weber, Oral History Collection of Columbia University (New York, 1958), 6 vols., p. 233. Max Weber, Acquisition of his collection of paintings by Henri Rousseau, typed manuscript, p. 3. Dora Vallier, Henri Rousseau (Cologne, 1961), p. 306, pl. 27. Munson-Williams-Proctor Institute, 1913 Armory Show: 50th Anniversary Exhibition, exh. cat. (Utica, NY, 1963), p. 203, no. 984. Milton W. Brown, The Story of the Armory Show (Greenwich, Conn., 1963), p. 286, no. 984. I Maestri del Colore: Rousseau (Milan, 1963), fig. 2. Vratislav Effenberger, Henri Rousseau (Praque, 1963), p. 21 (ill.). Giovanni Artieri and Dora Vallier, L’opera completa di Rousseau il Doganiere (Milan, 1969), p. 90 (ill.). Sandra E. Leonard, Henri Rousseau and Max Weber (New York, 1970), pp. 26, 40–41, 49, 52, 60–61, and 75, no. 1 (ill.). The Burlington Magazine CXII:811 (Oct. 1970), p. xvii (ill.). Atsushi Miyagawa, Redon/Rousseau (Tokyo, 1971), p. 97 (ill.). Charles Eldredge, “The Arrival of European Modernism,” Art in America (July-Aug. 1973), p. 40. Dora Vallier, Henri Rousseau (New York, 1979), pp. 12–13 (ill.). Marius de Zayas and Francis M. Naumann, “How, When, and Why Modern Art Came to New York, Arts Magazine 54:8 (Apr. 1980), p. 101, fig. 22. Henry Certigny, Le Douanier Rousseau en Son Temps, vol. I (Tokyo, 1984), pp. 26–27, no. 12 (ill.). Marius de Zayas, edited by Francis M. Naumann, How, When, and Why Modern Art Came to New York (Cambridge, Mass., 1996), pp. 19 and 246, fig. 22. Percy North, “Bringing Cubism to America: Max Weber and Pablo Picasso,” American Art 14:3 (Autumn 2000), pp. 68 and 76.