Jointly acquired by The Art Institute of Chicago, through the Searle Freedom Trust
Extended information about this artwork
Claudette Roseline Mainzer, “Paul Camille Guigou (1834-71),” Master’s Thesis, University of Southern California, January 1975, p. 66, no.19.
Richard R. Brettell, French Salon Artists 1800-1900 (Chicago, 1987), pp. 49, 51 (ill.), 118.
Claude-Jeanne Bonnici, Paul Guigou 1834 - 1871 vol. 1 (Aix-en-Provence, 1989), pp. 42, 153, no. 91 bis, ill.
Sylvie Lamort de Gail, Paul Guigou: Catalogue Raisonné vol. I (Paris, 1989), p. 91, no. 52, ill. and pl. 14.
Charles and Mario Garibaldi, Monticelli (Geneva, 1991), p. 200, ill.
Jean Roger-Soubiran, La paysage provençal et l’école de Marseille avant l’Impressionisme, 1845–1874, exh. cat. Musée de Toulon, 1992.
Simon Kelly and April M. Watson, Impressionist France: Visions of Nation from Le Gray to Monet exh. cat. (Saint Louis: Saint Louis Art Museum, 2013), 180-181, cat. 58 (ill.).
Paris, Salon 1864, cat. 887, as Les Bords de la Durance, à Saint-Paul (Bouches-du-Rhône).
Kansas City, MO, Nelson-Atkins Museum of Art, Impressionist France: Visions of Nation from Le Gray to Monet, October 19, 2013–January 19, 2014; Saint Louis Art Museum, February 22–May 25, 2014, cat. 58 (ill.).
Mrs. W.H. Miller [letter of August 17, 1998 from Gloria Williams in curatorial file]; sold, Sotheby’s, London, July 1, 1964, lot 157 to Arthur Tooth; acquired by the Norton Simon Museum, Los Angeles; sold, Sotheby’s Parke-Bernet, New York, May 12, 1978, lot 179. William Beadleston Inc., together with Artemis, London; acquired by the Art Institute as partial gift of the Searle Family Trust in 1986.
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