About This Artwork

Paul Signac
French, 1863-1935

Les Andelys, Côte d'Aval, 1886

Oil on canvas
23 5/8 x 36 1/4 in. (60 x 92 cm)
Inscribed lower right: P. Signac. 86

Through prior gift of William Wood Prince, 1993.208

This view of the harbor of Les Andelys, a village on the Seine River near Giverny, is part of a series of 10 works that Paul Signac made in the summer and early fall of 1886. It was the first series he painted using the all-over dots and dashes of strong color that were the hallmark of the Neo-Impressionist group centered around his friend Georges Seurat.

— Permanent collection label

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, Théâtre Libre d’Antoine, September 1887, no cat.

Paris, Société des Artistes Indépendants, 3e Exposition, March 26-May 3, 1887, cat. 452

Paris, Musée national d’art moderne, P. Signac, October 25-December 2, 1951, cat. 8

Marseille, Musée Cantini, Les Impressionnistes français: De Cezanne a Renoir, July 1955, cat. 40.

Paris, Galeries nationales du Grand Palais, Signac, 1863-1935, February 27-May 28, 2001, cat. 22 (ill.); traveled to Amsterdam, Van Gogh Museum, June 15-September 9, 2001 and New York, Metropolitan Museum of Art, October 9-December 30, 2001.

Martigny, Fondation Pierre Gianadda, Paul Signac, June 18-November 23, 2003, cat. 6 (ill.).

The Art Institute of Chicago, Seurat and the Making of La Grande Jatte, June 16-September 19, 2004, cat. 118 (ill.).

Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 52 (ill.).

Publication History

[Paul Alexis] Trublot, “À minuit. Exposition des artistes indépendants,” Le Cri du peuple, (March 26, 1887), p. 3.

Marcel Fouquier, “L’Exposition des artistes indépendants,” Le XIXème siècle (28 March 1887), p. 2.

Gustave Kahn, “À l’Exposition des artistes independents,” La Vie moderne (April 9, 1887), p. 230.

Jean Le Fustec, “Exposition des artistes indépendants,” Journal des artistes (April 10, 1887), p. 108.

Jules Christophe, “Les évolutionnistes du pavillon de la Ville de Paris,” Journal des artistes (April 24, 1887), p. 123.

J.K. Huysmans, “Chronique d’art: Les Indépendants,” La Revue indépendante (April 1887), p. 55.

Van Gogh a Paris, exhib. cat. (Paris, Musée d’Orsay, 1988), p. 258, under no. 98, fig. b.

“New Acquisition,” News and Events The Art Institute of Chicago (January-February 1994), p. 2 (ill.).

Gloria Groom, “Acquisitions in focus: The Art Institute of Chicago,” Apollo 142, 406 (1995), pp. 59-61, fig. 1.

Françoise Cachin, Signac: Catalogue raisonné de l’œuvre peint (Paris, 2000), pp. 93 (ill.), 176, no. 125 (ill.).

The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 52, pp. 114-15 (ill.).

Ownership History

Given by the artist to Alexandre Charpentier (died 1909), Paris [according to Signac’s cahier d’opus no. 139 and G. Lévy and Signac’s pré-catalogue, p. 136 in Archives Signac, see Cachin 2000]. Valla, Paris, 1951 [according to Cachin 2000]. Jean Roubaud, Marseilles, 1960 [according to Cachin 2000]. Private collection, Switzerland, 1989 [according to Cachin 2000]. Sold Hôtel Drouot, Paris, June 21, 1993, lot 28 to the Art Institute.




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