Mess Downstream, the Auteuil Quai

Max Weber, Acquisition of his collection of paintings by Henri Rousseau, typed manuscript, p. 3.

given to the Art Institute of Chicago, 2013.

Percy North, “Bringing Cubism to America: Max Weber and Pablo Picasso,” American Art 14:3 (Autumn 2000), pp. 68 and 76.

Max Weber, Memoirs of Max Weber, Oral History Collection of Columbia University (New York, 1958), 6 vols., p. 233.

Henri Perruchot, Le Douanier Rousseau (Paris, 1957), p. 89.

Douglas Cooper, Henri Rousseau (Paris, 1951), p. 25.

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.

“The Henri Rousseau Exhibition,” Bulletin of The Art Institute of Chicago XXXVI:2 (Feb. 1942), p. 19.

Boston Institute of Modern Art, "Henri Rousseau," Oct.–Nov. 1942, cat. 20.

John O’Connor Jr., “Henri Rousseau,” Carnegie Magazine 16: 7 (Dec. 1942), p. 210.

Pittsburgh, Museum of Art, Carnegie Institute, "Henri Rousseau," Dec. 4–27, 1942, cat. 13, as River Scene, Quai d’Auteuil.

Museum of Modern Art, Masters of Popular Painting: Modern Primitives of Europe and America (New York, 1938), p. 44, no. 72d.

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.

Munson-Williams-Proctor Institute, 1913 Armory Show: 50th Anniversary Exhibition, exh. cat. (Utica, NY, 1963), p. 203, no. 984.

“Photo-Secession Notes,” Camera Work 33 (Jan. 1911), p. 49.

Elizabeth Luther Carey, “News and Notes of the Art World,” New York Times (Nov. 27, 1910), p. SM15.

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.

Given by the artist to Max Weber (1881–1961), Great Neck, NY, Dec. 20, 1908 [according to Leonard 1970]

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.

Henry Certigny, Le Douanier Rousseau en Son Temps, vol. I (Tokyo, 1984), pp. 26–27, no. 12 (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.

Dora Vallier, Henri Rousseau (New York, 1979), pp. 12–13 (ill.).

Charles Eldredge, “The Arrival of European Modernism,” Art in America (July-Aug. 1973), p. 40.

Atsushi Miyagawa, Redon/Rousseau (Tokyo, 1971), p. 97 (ill.).

by descent to his wife [according to Leonard 1970]. Sold, Sotheby’s, London, Dec. 3, 1970, lot 33, to Dorothy Braude Edinburg, Brookline, MA

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.).

Giovanni Artieri and Dora Vallier, L’opera completa di Rousseau il Doganiere (Milan, 1969), p. 90 (ill.).

New York, Albert Loeb and Krugier Gallery, "Douanier Rousseau," May 1968, cat. 13, as Quai d’Auteuil.

Vratislav Effenberger, Henri Rousseau (Praque, 1963), p. 21 (ill.).

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.