Roger Marx (1859-1913), Paris
His sale, Paris, Galerie Manzi-Joyant Paris, 11-12 May 1914, lot 72
[Purchased by Bernheim-Jeune, Paris, still in 1920] [1]
Princess Marguerite Gilbert Caetani Bassiano, Rome, by 1924 [2]
[Georges Bernheim, Paris, by 1934] [3]
[Sold to Jacques Seligmann and Co., New York, 1934, still 1941] [4]
[Cesar de Hauke, New York, by 1942] [5]
Sold to Germain Seligman (1893-1978), New York, 1942 [6] [7]
His estate, 1978
[On consignment with E.V. Thaw & Co., New York]
Sold to the Fine Arts Museum of San Francisco, 1979

[1] Paris 1920, no. 32.
[2] Paris 1924, no. 39.
[3] Per receipt of transaction between Georges Bernheim and Modern Paintings, Inc., a subsidiary of Jacques Seligmann and Co. held by Archives of American Art, Modern Paintings, Inc. records, Modern Paintings, Inc. stock no. M3469: https://www.aaa.si.edu/collections/jacques-seligmann--co-records-9936/series-10/box-417-folder-2 (p. 60). Further documentation at https://www.aaa.si.edu/collections/jacques-seligmann--co-records-9936/series-10/box-417-folder-4.
[4] Archives of American Art, Jacques Seligmann & Co. records, 1904-1978, Box 282, Folder 4: Stol Catalog, 1940-1941, no. M3469, https://www.aaa.si.edu/collections/jacques-seligmann--co-records-9936/subseries-6-1/box-282-folder-4 (p. 36).
[5] Per correspondence with E.V. Thaw & Co., curatorial file, Fine Arts Museums of San Francisco. Cesar de Hauke was an associate of Seligmann and Co., head of its subsidiary de Hauke & Co., Inc.
[6] Germain Seligman (or Seligmann) headed the New York offices of Jacques Seligmann & Cie.
[7] Richardson 1979, no. 73.

Paris, 1895. “Exposition de panneaux et dessins de Seurat,” no cat. no. [1].

Zürich, Zürcher Kunsthaus, 1917. "Französische Kunst des XIX und XX Jahrhunderts,” no. 226.

Paris, Galerie Bernheim–Jeune, January 15–31, 1920. “Exposition Georges Seurat,” no. 32.

Paris, Hôtel de la curiosité, March–April, 1924. “Exposition de collectionneurs pour Le Société des Amis du Luxembourg,” no. 39.

New York, Jacques Seligmann & Co., 1937. “De Courbet à Seurat,” no. 25.

New York, M. Knoedler and Co., January 1939. “Views of Paris,” no. 38.

Chicago, Arts Club, April 1940. “Origins of Modern Art,” no. 65.

New York, World’s Fair, May–October, 1940. “Masterpieces of Art,” no. 370.

Cambridge, Fogg Art Museum, July–August, 1942. “French Art of the 19th Century,” no cat. no.


Glens Falls (N.Y.), Crandall Library, September 21– October 12, 1942. “19th Century Paintings, Drawings, and Prints,” no cat. no.

Bloomington, Indiana University; November 15–December 8, 1942. “French 19th Century Painting,” no cat. no.

New York, Wildenstein and Co., January 28– February 27 1943. “From Paris to the Sea Down the River Seine,” no. 13.

Boston, Institute of Modern Art, 1943. “French Art of the Nineteenth Century,” no cat. no.

New York, Knoedler Galleries, April 19–May 7, 1949. “Seurat (1859–1891): Paintings and Drawings, Loan Exhibition for the Benefit of the Home for the Destitute Blind,” no. 24.

Cambridge, Massachusetts Institute of Technology, May 1950. “The Painter and the City,” no cat. no.

Dayton (Ohio), Art Institute, 1951. “The City by the River and the Sea (Five Centuries of Skylines),” no. 47.

Providence, Rhode Island School of Design Museum of Art, October 1951. “Paris: Many Happy Returns,” no. 23.

Possibly Paris, Musée des Arts décoratifs, March–April, 1952. “Cinquante ans de peinture franc̜aise dans les collections particulières, de Cezanne à Matisse,” no. 39.
New York, Wildenstein and Co., November 18–December 26, 1953. “Seurat and his Friends,” no. 15.

The Art Institute of Chicago, January 16–March 7, 1958; New York, The Museum of Modern Art, March 24–May 11, 1958. “Seurat, Paintings and Drawings,” no. 146.

New York, Solomon R. Guggenheim Museum, 1968. “Neo-Impressionism,” no. 86.

London, David Carritt Limited, November 15–December 15, 1978. “Seurat, Paintings and Drawings,” no. 24.

London, Royal Academy of Arts, 1979–1980. “Post-Impressionism: Cross-Current in European Painting,” no. 201.

Washington, D.C., The National Gallery of Art, 1980. “Impressionism: Cross Currents in European and American Painting, 1880–1906,” no. 94.

Paris, Galeries Nationales du Grand Palais, April 9–August 12, 1991. “Georges Seurat: 1859–1891,” no. 208.

New York, The Metropolitan Museum of Art, September 24, 1991–January 12, 1992. “Georges Seurat: 1859–1891,” no. 210.

The Saint Louis Art Museum, February 17–May 13, 2001. “Vincent Van Gogh and the Painters of the Petit Boulevard,” no cat. no.

Milan, Palazzo Reale, October 10, 2008–January 25, 2009. “Georges Seurat, Paul Signac; e i Neoimpressionisti,” no. 47.

Kunsthaus Zurich, October 2, 2009–January 17, 2010; Frankfurt, Schirn Kunsthalle, February 4–May 9, 2010. “Georges Seurat: Figures in Space,” no. 75.

Otterlo, Kröller–Müller Museum, May 23–September 7, 2014. “Seurat–Master of Pointillism,” no cat. no.

Toronto, Art Gallery of Ontario, February 16–May 5, 2019. "Impressionism in the Age of Industry: Monet, Pissarro and More."


[1] Mentioned in Signac’s diary, see Rewald 1949, pg. 117, entry of February 22, 1895.

Coquiot, G., Georges Seurat, Paris: Albin Michel, 1924, pgs. 135, 249.

Le Bulletin de la Vie Artistique, no. 14 (July 15, 1926), repr. opposite pg. 1.

Newberry, J.S., “Age of Impressionism and Realism,” Art News, May 4, 1930, 9-17. [not verified, don't publish until you have copy of source]

Schapiro, Meyer, “Seurat and La Grande Jatte,” Columbia Review 17 (November 1935): 15.

Frankfurter, A.M., “383 Masterpieces of Art––The World’s Fair Exhibition of Four Centuries Loan from American Public and Private Collections,” Art News (The 1940 Annual) 38 (May 25, 1940), pg. ?

Rewald, John, “Seurat: The Meaning of Dots,” Art News (April 1949), pg. 24.

Seurat: 1859–1891, Paintings and Drawings, exh. cat., Knoedler Galleries, New York, 1949, no. 24, unpaginated.

Rewald, John, “Extraits du journal inédit de Paul Signac,” La Gazette de Beaux Arts 36, nos. 989–991 (July–September 1949), pg. 117 (entry of February 22, 1895).

Adlow, D., “Review,” The Christian Science Monitor, May 1950, pg. 9.

Rewald, John, Post–Impressionism: From Van Gogh to Gauguin, New York: The Museum of Modern Art, 1956, pg. 278, repr. pg. 279.

Homer, W.I., The Minneapolis Institute of Arts Bulletin 46, no. 2 (Summer 1957), repr. fig. 10.

Courthion, P., Paris in our Time: From Impression to the Present Day, New York: Skira, 1957, pgs. 43, 44, repr.

Shapiro, Meyer, “New Light on Seurat,” Art News 57, no. 2 (April 1958), pg. 22, fig. 4.

Rich, Daniel Catton, ed., Seurat: Paintings and Drawings, exh. cat. Chicago: The Art Institute of Chicago, 1958, pg. 34, no. 146.

Dorra, Henri and John Rewald, Seurat, Paris: Editions d’Etudes et de Documents, 1959, pgs. 240, 241, fig. 191.

Muller, J.-E., Seurat, Paris: Fernand Hazan, 1960, no. 14, repr.

Hauke, C.M. de, Seurat et son œuvre, vol. 2, Paris: Gründ, 1961, no. 196.

Russell, J., Seurat, London: Thames and Hudson, 1965, no. 173, repr. pg. 192.

Fry, Roger, and Anthony Blunt, Seurat, London: Phaidon, 1965, no. 34

Herbert, Robert L., Neo-Impressionism, exh. cat., New York: The Solomon R. Guggenheim Foundation, 1968, pg. 123, no. 86, repr.

Kane, William M., “Neo-Impressionism in New York City,” The Burlington Magazine 110, no. 784 (1968), pg. 426, fig. 94.

Courthion, P., Georges Seurat, New York: Harry N. Abrams, 1969, repr. pg. 151.

Chastel, André, and Fiorella Minervino, L’Opera completa di Seurat, Milan: Rizzoli, 1972, no. 197.

Nishimura, T., ed., Les grands maîtres de la peinture moderne 9: Seurat et le néo-impressionnisme, Tokyo: Chūō Kōronsha, 1972, pg. 20, pl. 46.

Clay, Jean, ed., Impressionism, Secaucus, NJ: Chartwell Books Inc., 1973, repr. pg. 296.

Broude, N., “New Light on Seurat’s ‘Dot,’: Its relation to Photo–Mechanical Color Printing in France in the 1880s,” Art Bulletin, no. 56 (1974), pgs. 581–589.

Seurat: Paintings and Drawings, exh. cat., London: David Carritt Limited, 1978, pgs. 69–71, repr., no. 24 (introduction by John Richardson).

Richardson, John, ed., The Collection of Germain Seligman: Paintings, Drawings, and Works of Art, New York, Luxembourg, and London: E.V. Thaw & Co., Artemis S.A., and David Carritt Ltd., 1979, no. 73, repr., unpaginated.

House, John, and Mary Anne Stevens, eds., Post–Impressionism: Cross–Currents in European Painting, exh. cat., London: Royal Academy of Arts, 1979, pg. 134, repr., no. 201.

House, John, ed., Post Impressionism: Cross–Currents in European and American Painting, 1880–1906, exh. cat., Washington, D.C.: The National Gallery of Art, 1980, pg. 83, repr., no. 94.

Blair, Sally, “A Legion of Donors,” California Living, December 23, 1979, repr. pg. 22.

Triptych 1, no. 1 (Spring 1980), repr. on cover.

Alexandrian, Sarane, Seurat, New York: Crown Publishers, 1980, repr. pg. 84.

McEwen, John, “Post-Impressionism in Perspective,” Portfolio 2 no. 3 (Summer 1980), pg. 43, repr.

“Principales Acquisitions des Musées en 1980,” La Chronique des Arts (Gazette des Beaux Arts), no. 1346 (March 1981), pg. 40, fig. 221.

Mark, Robert, “The Engineer’s Aesthetic,” The Sciences 22, no. 7 (October 1982), pg. 15, repr.

Semin, Didier, “Style, artiste et société. Meyer Schapiro," Universalia (1984), pg. 521, repr.

Thomson, Richard, Seurat, Salem, NH and Oxford: Salem House and Phaidon Press, 1985, pg. 209, pgs. 211, pl. 215, 212.

The Fine Arts Museums of San Francisco: Selected Works, San Francisco: The Fine Arts Museums of San Francisco, 1987, pg. 89, repr.

Cachin, Françoise, Gauguin, Paris: Flammarion, 1988, pg. 95, fig. 101.

Rewald, John, Seurat, New York: Harry N. Abrams, 1990, pg. 168, repr.

Cachin, Françoise, “L’Exposition Seurat au Grand Palais,” Revue du Louvre (La Revue des Musées de France) (March 1991), pg. 11, repr.

Herbert, Robert L., et. al., Georges Seurat: 1859–1891, exh. cat., Paris: Reunion des musees nationaux, 1991, pg. 372, repr. pg. 373, no. 208, entry by Robert L. Herbert.

Herbert, Robert L., et. al., Georges Seurat: 1859–1891, exh. cat., New York: The Metropolitan Museum of Art, 1991, pg. 328, repr. pg. 329, no. 210, entry by Robert L. Herbert.

Carr-Gomm, Sarah, Seurat, London: Studio Editions, 1993, pg. 122, repr. pg. 123.

Thomson, Richard, Monet to Matisse: Landscape Painting in France, 1874–1914, exh. cat., Edinburgh: National Gallery of Scotland, 1994, pgs. 47, 48, repr.

Nash, Steven A., Lynn Federle Orr, and Marion C. Stewart, European Painting in the California Palace of the Legion of Honor, San Francisco: Fine Arts Museums of San Francisco, 1999, pg. 136, repr., entry by Steven A. Nash.

Homburg, Cornelia, Vincent van Gogh and the Painters of the Petit Boulevard, exh. cat., Saint Louis: Saint Louis Art Museum, 2001, pgs. 221, 225, repr. opposite title page.

Marquardt, Janet and Stephen Eskilson, Frames of Reference: Art, History, and the World, New York: McGraw–Hill, 2005, pgs. 244, 245, fig. 8.5.

Bocquillon, Marina Ferretti, ed., Georges Seurat, Paul Signac e i neoimpressionisti, exh. cat., Milan: Skira, 2008, repr. pg. 160, pg. 229, no. 47, entry by Nicole Tamburni.

Sotheby’s, Impressionist and Modern Art Day Sale, Auction catalogue, New York: Sotheby’s, November 5, 2009, pg. 90, repr. (under lot 162).

Becker, Christoph, and Julia Burckhardt Bild, Georges Seurat: Figure in Space, exh. cat., Zurich: Kunsthaus Zurich, 2009, pgs. 138–139, repr., no. 75, entry by Christoph Becker.
Art to Hear: Georges Seurat, exh. cat., Kunsthaus Zürich and Schirn Kunsthalle Frankfurt, Ostfildern, 2009, p. 39, no. 31, repr.

L.M., “Georges Seurat. Figure dans l’espace,” La revue du Musée d’Orsay, no. 30 (Autumn 2010), pg. 82, repr. pg. 83, pg. 84.

Baker, Kenneth, “Legion is Lit up by ‘Paris,’” San Francisco Chronicle (Datebook), June 24, 2010, pg. F6, repr.

Lucent, Monique, La Seine Impressionniste: itinéraire artistique et touristique, Neuilly-sur-Seine: Jatte Livres et Culture, 2011, pg. 110, repr. pg. 111.

Eisenberg, Hélène and François Lespinasse, Peintres de la Seine, Rouen: Éditions des Falaises, 2013, pg. 32, repr., pg. 33.

Jooren, Marieke, et. al., Seurat, exh. cat., Otterlo: Kroller–Muller Museum, exh. cat., 2014, pg. 31, repr.

Kalba, Laura Anne, Color in the Age of Impressionism: Commerce, Technology, and Art. University Park, PA: The Pennsylvania State University Press, 2017, pgs. 142, 145, fig. 66.