Study for "The Channel of Gravelines, Petit Fort Philippe"
Framed: 18 3/4 x 15 1/4 x 2 3/8 inches (47.63 x 38.74 x 6.03 cm)
- 127
Société des Artistes Indépendants: 21me exposition , Grandes Serres de la Ville de Paris, Cours-La-Reine, Serre B, March 24–April 30, 1905, no. 43, as Étude: Gravelines.
Ausstellung Franzoesischer Kuenstler , Kunstverein München, Munich, September 1906; Frankfurter Kunstverein, Frankfurt, October 1906; Galerie Ernst Arnold, Dresden, November 1906; Badischer Kunstverein, Karlsruhe, December 1906; Württembergischer Kunstverein, Stuttgart, January 1907, no. 101, as Studie: Kanal in Gravelines.
Exposition Georges Seurat (1859 – 1891) , Galerie Bernheim Jeune, Paris, December 14, 1908–January 9, 1909, no. 78, as Étude à Gravelines.
Le Néo-Impressionnisme , Galerie d’Art Braun, Paris, February 25–March 17, 1932, no. 22, asÉtude pour “Gravelines”.
Seurat et ses amis: La suite de l’impressionnisme , Galerie des Beaux-Arts, Paris, December 1933–January 1934, no. 64, as Port.
点描の画家たち = Tembyō no gakatachi = Exposition du pointillisme , National Museum of Western Art, Tokyo, April 6–May 26, 1985; Kyoto Municipal Museum of Art, June 4–July 14, 1985, no. 20, as Étude pour “Gravelines, Petit-Fort-Philippe”.
親子で楽しむ西洋美術の名作展 = Exhibition for the Family , Tokyo Metropolitan Teien Art Museum, July 31–September 4, 1988, no. 7.
Seurat at Gravelines: The Last Landscapes , Indianapolis Museum of Art, October 14–November 25, 1990, no. 5, asStudy for “The Channel of Gravelines, Petit Fort Philippe”.
Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection , The Nelson-Atkins Museum of Art, Kansas City, MO, June 9–September 9, 2007, no. 19, asThe Channel at Gravelines, Petit-Fort-Philippe (Le chenal de Gravelines, Petit-Fort-Philippe).
Magnificent Gifts for the 75th, The Nelson-Atkins Museum of Art, Kansas City, MO, February 13–April 4, 2010, no cat.
Working outdoors on this preparatory oil sketch for a larger oil painting, Georges Seurat focused on applying the latest scientific theories about optics and color. He pioneered a technique of methodically placing individual units of pure color side by side. In addition to the dotted style, known as Pointillism, Seurat employed complementary colors (opposites on the color wheel) in pursuit of maximum vibrancy. Here, he used a vivid interplay of complementary blues and oranges to animate his otherwise tranquil harbor view.
With the artist, Paris, 1890–March 29, 1891 [1];
Probably inherited by the artist’s mother, Ernestine Seurat (née Faivre, 1828–1899), or common-law wife, Madeleine Knoblock (ca. 1868–1903), 1891 [2];
Given by Seurat or Knoblock to Maximilien Luce (1858–1941), Paris, 1891–at least January 1934 [3];
Probably by descent to his nephew, Édouard Alexandre Bouin (1897–1988), Paris and La Celle-Saint-Cloud, by February 6, 1941–no later than December 6, 1978;
By descent to his son, Jean Bouin-Luce (1920–1999), Paris and Mantes-la-Jolie, by December 6, 1978 [4];
Purchased at his sale, Important Impressionist and Modern Paintings and Sculpture, Sotheby Parke Bernet, London, December 6, 1978, no. 216, as Le Chenal de Gravelines; Petit Fort Philippe (Port), by Fujii Gallery, Tokyo, 1978–at least November 25, 1990 [5];
Purchased in a private sale from Sotheby’s, New York, through Richard L. Feigen and Co., New York, by Marion (née Helzberg, 1931–2013) and Henry (1922–2019) Bloch, Shawnee Mission, KS, July 10, 1996–June 15, 2015 [6];
Their gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 2015.
NOTES:
[1] On May 3, 1891, one month after Seurat’s sudden death, Madeleine Knoblock, Émile Seurat, Paul Signac, Maximilien Luce, and Félix Fénéon gathered to inventory the contents of the artist’s atelier. They annotated the verso of each artwork with a number and the initials P. S., L., or F. F. The Channel at Gravelines, Petit-Fort-Philippe bears the verso inscription “P S 138”.
[2] See email from Denise Bazetoux, independent art historian, to Meghan Gray, NAMA, May 18, 2015, NAMA curatorial files.
[3] Luce loaned The Channel at Gravelines, Petit-Fort-Philippe to a series of exhibitions, including the Société des Artistes Indépendants: 21me exposition (Paris, March 24–April 30, 1905); the Ausstellung Franzoesischer Kuenstler (Munich, Frankfurt, and Dresden, November 1906–January 1907); the Exposition Georges Seurat (1859–1891) (Paris, December 14, 1908–January 9, 1909); Le Néo-Impressionnisme (Paris, February 25–March 17, 1932); and Seurat et ses amis: La suite de l’impressionnisme (Paris, December 1933–January 1934). Luce did not leave behind a final will and testament, and his surviving papers were destroyed by a flood sometime after 1986, so it is unclear whether the painting remained in Luce’s possession at the time of his death or whether it had already passed to an heir. See email from Denise Bazetoux, independent art historian, to Meghan Gray, NAMA, May 18, 2015, NAMA curatorial files.
[4] See email from Denise Bazetoux, independent art historian, to Brigid M. Boyle, NAMA, August 27, 2021, NAMA curatorial files.
[5] For the purchaser, see email from Lucy Economakis, Sotheby’s, to Brigid M. Boyle, NAMA, August 26, 2021, NAMA curatorial files. The seller of record in Sotheby’s archives is Denise Bazetoux; however, by her own account she never owned The Channel at Gravelines, Petit-Fort-Philippe but did advise Jean Bouin-Luce to sell it via Sotheby’s if he wished to part with it. See email from Denise Bazetoux, independent art historian, to Brigid M. Boyle, NAMA, August 27, 2021, NAMA curatorial files.
Fujii Gallery still owned The Channel at Gravelines, Petit-Fort-Philippe in 1990, when they lent it to the Indianapolis Museum of Art for Seurat at Gravelines: The Last Landscapes (October 14–November 25, 1990); see email from Annette Schlagenhauff, Indianapolis Museum of Art at Newfields, to Brigid M. Boyle, NAMA, September 9, 2021, NAMA curatorial files.
[6] The Channel at Gravelines, Petit-Fort-Philippe was offered for sale at Impressionist and Modern Art, Part I, Sotheby’s, New York, May 1, 1996, no. 34, as Le Chenal de Gravelines: Petit Port Philippe, but the highest bidder could not pay for the purchase. As the underbidder, Henry Bloch was offered the painting by Sotheby’s. See email from Emelia Scheidt, Richard L. Feigen and Co., to Meghan Gray, NAMA, April 13, 2015, NAMA curatorial files; and notes from telephone conversation between Henry Bloch and Nicole Myers, NAMA, June 4, 2015, NAMA curatorial files.
Catalogue de la 21me Exposition , exh. cat. (Paris: Société des Artistes indépendants, 1905), 129, as Étude: Gravelines.
Rudolf Adelbert Meyer, Katalog der Ausstellung Franzoesischer Kuenstler, exh. cat. (Paris: E. Druets Kunstsalon, 1906), 7, 10, 15, as Studie: Kanal in Gravelines.
Exposition Georges Seurat (1859–1891) , exh. cat. (Paris: Bernheim Jeune et Cie, 1908), 2, 15, as Etude à Gravelines.
Gustave Coquiot, Les Indépendants, 1884–1920 (Paris: Librairie Ollendorff, [1921]), 23, as Étude: Gravelines.
Gustave Coquiot, Georges Seurat (Paris: Albin Michel, 1924), 120.
Le Néo-Impressionnisme , exh. cat. (Paris: Galerie d’Art Braun et Cie, 1932), 13, as Étude pour “Gravelines”.
Seurat et ses amis: La suite de l’impressionnisme , exh. cat. (Paris, 1933), unpaginated, as Port.
Paul Fierens, “Deux expositions,” Les Nouvelles littéraires, artistiques et scientifiques, no. 585 (December 30, 1933): 9.
Jacques de Laprade, Georges Seurat (Monaco: Les Documents d’Art, 1945), 59, 96, (repro.), as Étude pour le Chenal de Gravelines.
Germain Seligman, The Drawings of Georges Seurat (1946; repr., New York: Curt Valentin, 1947), 40, as Étude: Gravelines.
Hermann Jedding, Seurat (Milan: Uffici Press, [1950]), 2, 20–21, (repro.), as The Canal at Gravelines.
Jacques de Laprade, Seurat (Paris: Éditions Aimery Somogy, 1951), 18, 38, 81, 90, 93, (repro.), as Étude pour le Chenal de Gravelines.
Henri Dorra and John Rewald, Seurat: L’Œuvre peint; Biographie et catalogue critique (Paris: Les Beaux-Arts, 1959), no. 204, pp. 266, 303–04, 309, (repro.), asÉtude pour “Gravelines, Petit Fort-Philippe ”.
C[ésar] M[ange] de Hauke, Seurat et son œuvre (Paris: Gründ, 1961), no. 207, pp. 1:XXX, 186–87, 235, 239, (repro.); 2:313, 323–25, 331, as Le Chenal de Gravelines: Petit Fort Philippe (Port).
John Russell, Seurat (New York: Frederick A. Praeger, 1965), 249, 251, 254.
Henri Perruchot, La vie de Seurat (Paris: Hachette, 1966), 156.
Pierre Courthion, Georges Seurat, trans. Norbert Guterman (New York: Harry N. Abrams, [1968]), 154.
Niels Luning Prak, “Seurat’s Surface Pattern and Subject Matter,” Art Bulletin 53, no. 3 (September 1971): 372.
André Chastel and Fiorella Minervino, L’opera completa di Seurat (Milan: Rizzoli Editore, 1972), no. 208, pp. 110, 116–19, (repro.), as Il Petit Fort Philippe à Gravelines.
André Chastel and Fiorella Minervino, Tout l’œuvre peint de Seurat (Paris: Flammarion 1973), no. 208, pp. 110, 116–19, (repro.), as Étude pour “Gravelines, Petit Fort-Philippe”.
Donald E. Gordon, Modern Art Exhibitions, 1900–1916: Selected Catalogue Documentation (Munich: Prestel, 1974), 2:127, 292, as Étude: Gravelines and Étude à Gravelines.
Catalogue of Important Impressionist and Modern Paintings and Sculpture (London: Sotheby Parke Bernet, December 6, 1978), unpaginated, (repro.), asLe Chenal de Gravelines; Petit Fort Philippe (Port).
Rita Reif, “Auctions: New Records in Antiquities,” New York Times 128, no. 44,067 (December 15, 1978): C27, as The Canal at Gravelines.
Art at Auction: The Year at Sotheby Parke Bernet 1978–79; Two hundred and forty-fifth season (London: Sotheby Parke Bernet, 1979), 94, as Le chenal de Gravelines; Petit Fort Philippe.
Art Price Annual 34 (1979): 634, as Le Chenal de Gravelines: Petit Fort Philippe (Port).
Ellen Wardwell Lee, The Aura of Neo-Impressionism: The W. J. Holliday Collection (Indianapolis: Indianapolis Museum of Art, 1983), 62, 64.
点描の画家たち = Tembyō no gakatachi = Exposition du pointillisme , exh. cat. (Tokyo: Asahi Shimbun, 1985), 42, (repro.), as Étude pour “Gravelines, Petit-Fort-Philippe”.
Richard Thomson, Seurat (Oxford: Phaidon, 1985), 171, 190, 232n23, (repro.), as Study for “The Gravelines Canal, Petit Fort-Philippe” .
親子で楽しむ西洋美術の名作展 = Exhibition for the Family, exh. cat. (Tokyo: Tokyo Metropolitan Teien Art Museum, 1988), 15, 58, (repro.).
Herbert Wotte, Georges Seurat: Wesen, Werk, Wirkung (Dresden: VEB Verlag der Kunst, 1988), 70.
Catherine Grenier, Seurat: Catalogo completo dei dipinti (Firenze: Cantini Editore, 1990), no. 208, pp. 145, 157, as Studio per Gravelines, piccolo Fort-Philippe.
Ellen Wardwell Lee, Seurat at Gravelines: The Last Landscapes, exh. cat. (Indianapolis: Indianapolis Museum of Art, 1990), 7, 9, 27, 33–34, 40, 74, (repro.), as Study for “The Channel of Gravelines, Petit Fort Philippe”.
John Russell, “Small Exhibits: Like Jefferson Dining Alone,” New York Times 140, no. 48,444 (December 9, 1990): H36.
Hilton Kramer, “Seurat’s Last Landscapes,” Art and Antiques 8, no. 1 (January 1991): 84.
Alain Madeleine-Perdrillat, Seurat (New York: Rizzoli, 1990), 179, 182.
Françoise Cachin and Robert L. Herbert, Seurat, exh. cat. (Paris: Éditions de la Réunion des musées nationaux, 1991), 398, 400.
Anne Distel, Seurat ([Paris]: Chêne, 1991), 23, 136, 155, (repro.), as Étude pour Gravelines, Petit Fort-Philippe.
Catherine Grenier, Seurat: Catalogue complet des peintures (Paris: Bordas, 1991), no. 212, pp. 145, 157, as Étude pour Gravelines, Petit-Fort-Philippe.
Robert L. Herbert, Georges Seurat, 1859–1891, exh. cat. (New York: Metropolitan Museum of Art, 1991), 349–50, 415, 417, 421.
Possibly Hélène Seyrès, Seurat: Correspondances, témoignages, notes inédites, critiques (Paris: Acropole, 1991), 288.
Michael F. Zimmermann, Seurat and the Art Theory of his Time (Antwerp: Fonds Mercator, 1991), 431–32, (repro.), asStudy for “Le Chenal de Gravelines, Petit-Fort-Philippe”.
Sarah Carr-Gomm, Seurat (London: Studio Editions, 1993), 132.
Ellen W. Lee, “Beyond the Blockbuster: Good Exhibitions in Small Packages,” Curator: The Museum Journal 37, no. 3 (September 1994): 176, 178, 183.
Impressionist and Modern Art, Part I (New York: Sotheby’s, May 1, 1996), unpaginated, (repro.), as Le Chenal de Gravelines: Petit Port Philippe.
Kunstpreis Jahrbuch 1996: Deutsche und Internationale Auktionsergebnisse (Munich: Weltkunst Verlag, 1996), 2:357, (repro.), as Le Chenal de Gravelines, Petit Fort Philippe.
Sotheby’s Art at Auction (1996): 79, (repro.), as Le Chenal de Gravelines; Petit Port Philippe.
Rebecca Dimling Cochran and Bobbie Leigh, “100 Top Collectors who have made a difference,” Art and Antiques 28, no. 3 (March 2006): 90.
Bobbie Leigh, “Magnificent Obsession,” Art and Antiques 28, no. 6 (June 2006): 61.
Alice Thorson, “A Tiny Renoir Began Impressive Obsession,” Kansas City Star 127, no. 269 (June 3, 2007): E4.
“Lasting Impressions: A Tribute to Marion and Henry Bloch,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2007): 11–12.
Steve Paul, “Pretty Pictures: Marion and Henry Bloch’s collection of superb Impressionist masters,” Panache 4, no. 3 (Fall 2007): 20.
Richard R. Brettell and Joachim Pissarro. Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection , exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 11–12, 16, 104–07, 159, (repro.), asThe Channel at Gravelines, Petit-Fort-Philippe (Le chenal de Gravelines, Petit-Fort-Philippe).
“A 75th Anniversary Celebrated with Gifts of 400 Works of Art,” Art Tattler International (February 2010): http://arttattl.ipower.com/archivemagnificentgifts.html , (repro.), as The Channel at Gravelines, Petit Fort-Philippe.
Alice Thorson, “Blochs add to Nelson treasures,” Kansas City Star 130, no. 141 (February 5, 2010): A1, A8, (repro.), as Channel at Gravelines, Petit-Fort-Philippe.
Carol Vogel, “O! Say, You Can Bid on a Johns,” New York Times 159, no. 54,942 (February 5, 2010): C26.
Alice Thorson, “Gift will leave lasting impression,”Kansas City Star 130, no. 143 (February 7, 2010): G1–G2, as Channel at Gravelines.
Thomas M. Bloch, Many Happy Returns: The Story of Henry Bloch, America’s Tax Man (Hoboken: John Wiley and Sons, 2011), 174–75.
Diane Stafford, “Bloch Gift to Go for Nelson Upgrade,” Kansas City Star 135, no. 203 (April 8, 2015): A8.
“Nelson-Atkins Museum of Art officially accessions Bloch Impressionist masterpieces,” Artdaily.org (July 25, 2015): http://artdaily.com/news/80246/Nelson-Atkins-Museum-of-Art-officially-accessions-Bloch-Impressionist-masterpieces .
Julie Paulais, “Le Nelson-Atkins Museum of Art reçoit des tableaux impressionnistes en échange de leurs répliques,” Le Journal des arts (July 30, 2015): https://www.lejournaldesarts.fr/patrimoine/le-nelson-atkins-museum-art-recoit-des-tableaux-impressionnistes-en-echange-de-leurs .
Josh Niland, “The Nelson-Atkins Museum of Art Acquires a Renowned Collection of Impressionist and Postimpressionist Art,” architecturaldigest.com (July 31, 2015): https://www.architecturaldigest.com/story/nelson-atkins-museum-accessions-bloch-art-collection .
Nancy Staab, “Van Gogh is a Go!” 435: Kansas City’s Magazine (September 2015): 76.
Seurat, Van Gogh, Mondrian: Il post- impressionismo in Europa , exh. cat. (Milan: 24 ORE Cultura, 2015), 30.
“Nelson-Atkins to unveil renovated Bloch Galleries of European Art in winter 2017,” Artdaily.org (July 20, 2016): http://artdaily.com/news/88852/Nelson-Atkins-to-unveil-renovated-Bloch-Galleries-of-European-Art-in-winter-2017- .
“Nelson-Atkins Museum of Art celebrates generosity of Henry Bloch with new acquisition,” Artdaily.org (October 18, 2016): https://artdaily.cc/news/90923/Nelson-Atkins-Museum-of-Art-celebrates-generosity-of-Henry-Bloch-with-new-acquisition#.XnKATqhKiUk .
Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 98, (repro.), as The Channel at Gravelines, Petit-Fort-Philippe.
Kelly Crow, “Museum Rewards Donor with Fake Art to Hang at Home,” Wall Street Journal (January 25, 2017): https://www.wsj.com/articles/museum-rewards-donor-with-fake-art-to-hang-at-home-1485370768 .
David Frese, “Bloch savors paintings in redone galleries,” Kansas City Star 137, no. 161 (February 25, 2017): 1A.
Albert Hecht, “Henry Bloch’s Masterpieces Collection to Go On Display at Nelson-Atkins Museum,” Jewish Business News (February 26, 2017):
http://jewishbusinessnews.com/2017/02/26/henry-bloch-masterpieces-collection/ .
David Frese, “Inside the Bloch Galleries: An interactive experience,” Kansas City Star 137, no. 169 (March 5, 2017): 4D, (repro.), as The Channel at Gravelines, Petit-Fort-Philippe.
“Editorial: Thank you, Henry and Marion Bloch,” Kansas City Star (March 7, 2017), http://www.kansascity.com/opinion/editorials/article137040948.html [repr., in “Thank you, Henry and Marion Bloch,” Kansas City Star 137, no. 172 (March 8, 2017): 16A].
Hampton Stevens, “(Not Actually) 12 Things To Do During The Big 12 Tournament,” Flatland: KCPT’s Digital Magazine (March 9, 2017):
http://www.flatlandkc.org/arts-culture/sports/not-actually-12-big-12-tournament/ .
Laura Spencer, “The Nelson-Atkins’ Bloch Galleries Feature Old Masterworks and New Technology,” KCUR (March 10, 2017):
Victoria Stapley-Brown, “Nelson-Atkins Museum’s new European art galleries come with a ‘love story,’” Art Newspaper (March 10, 2017):
Harry Bellet, “Don du ciel pour le Musée Nelson-Atkins,” Le Monde (March 13, 2017): http://www.lemonde.fr/arts/article/2017/03/13/don-du-ciel-pour-le-musee-nelson-atkins_5093543_1655012.html .
Menachem Wecker, “Jewish Philanthropist Establishes Kansas City as Cultural Mecca,” Forward (March 14, 2017): http://forward.com/culture/365264/jewish-philanthropist-establishes-kansas-city-as-cultural-mecca/ [repr., in Menachem Wecker, “Kansas City Collection Is A Chip Off the Old Bloch,” Forward (March 17, 2017): 20–22].
Juliet Helmke, “The Bloch Collection Takes up Residence in Kansas City’s Nelson Atkins Museum,” Blouin ArtInfo International (March 15, 2017):
Louise Nicholson, “How Kansas City got its magnificent museum,” Apollo: The International Art Magazine (April 7, 2017): https://www.apollo-magazine.com/how-kansas-city-got-its-magnificent-museum/ .
Lilly Wei, “Julián Zugazagoitia: ‘Museums should generate interest and open a door that leads to further learning,’” Studio International (August 21, 2017):
Robert D. Hershey Jr., “Henry Bloch, H&R Block’s cofounder, dies at 96,” Boston Globe (April 23, 2019): https://www3.bostonglobe.com/metro/obituaries/2019/04/23/henry-bloch-block-cofounder/?arc404=true .
Robert D. Hershey Jr., “Henry W. Bloch, Tax-Preparation Pioneer (and Pitchman), Is Dead at 96,” New York Times (April 23, 2019): https://www.nytimes.com/2019/04/23/obituaries/henry-w-bloch-dead.html .
Megan McDonough, “Henry Bloch, whose H&R Block became world’s largest tax-services provider, dies at 96,” Washington Post (April 23, 2019): https://www.washingtonpost.com/local/obituaries/henry-bloch-whose-handr-block-became-worlds-largest-tax-services-provider-dies-at-96/2019/04/23/19e95a90-65f8-11e9-a1b6-b29b90efa879_story.html .
Claire Selvin, “Henry Wollman Bloch, Collector and Prominent Benefactor of Nelson-Atkins Museum of Art, Is Dead at 96,” ArtNews (April 23, 2019): http://www.artnews.com/2019/04/23/henry-bloch-dead-96/ .
Eric Adler and Joyce Smith, “Henry Bloch, co-founder of H&R Block, dies at 96,” Kansas City Star 139, no. 219 (April 24, 2019): 1A.
“Henry Wollman Bloch (1922–2019),” Artforum (April 24, 2019): https://www.artforum.com/news/henry-wollman-bloch-1922-2019-79547 .
Frank Morris, “Henry Bloch, Co-Founder Of H&R Block, Dies At 96,” NPR (April 24, 2019): https://www.npr.org/2019/04/24/716641448/henry-bloch-co-founder-of-h-r-block-dies-at-96 .
Ignacio Villarreal, “Nelson-Atkins mourns loss of Henry Bloch,” ArtDaily.org (April 24, 2019): http://artdaily.com/news/113035/Nelson-Atkins-mourns-loss-of-Henry-Bloch#.XMB76qR7laQ .
Eric Adler and Joyce Smith, “H&R Block co-founder, philanthropist Bloch dies,” Cass County Democrat Missourian 140, no. 29 (April 26, 2019): 1A.
Eric Adler and Joyce Smith, “KC businessman and philanthropist Henry Bloch dies,” Lee’s Summit Journal 132, no. 79 (April 26, 2019): 1A.
Luke Nozicka, “Family and friends remember Henry Bloch of H&R Block,” Kansas City Star 139, no. 225 (April 30, 2019): 4A [repr., in Luke Nozicka, “Family and friends remember Henry Bloch of H&R Block,” Kansas City Star 139, no. 228 (May 3, 2019): 3A].
Eric Adler, “Sold for $3.25 million, Bloch’s home in Mission Hills may be torn down,” Kansas City Star 141, no. 90 ( December 16, 2020): 2A.
Kristie C. Wolferman, The Nelson-Atkins Museum of Art: A History (Columbia: University of Missouri Press, 2020), 345.
Ellen W. Lee, “Georges Seurat, Study for “The Channel of Gravelines, Petit Fort Philippe,” 1890,” catalogue entry, and Diana M. Jaskierny, “Georges Seurat, Study for “The Channel of Gravelines, Petit Fort Philippe,” 1890,” in French Paintings, 1600–1945: The Collections of the Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2023), https://doi.org/10.37764/78973.5.726.
