Quarry at Bibémus
Framed: 35 1/4 x 31 1/4 x 2 3/4 inches (89.54 x 79.38 x 6.99 cm)
- 127
Origines et développement de l’art international indépendant , Musée du Jeu de Paume, Paris, July 30-October 31, 1937, no. 20, as Les Rochers de Bibémus.
La Peinture Française au XIXe Siècle / Francusko Slikarstvo u XIX Stoleću , Musée du Prince Paul, Belgrade, Serbia, 1939, no. 7, as La Carrière de Bibémus and Trkalište Bibémus.
Exposition des maîtres des XIXe et XXe siècles , Galerie Jeanne Castel, Paris, June 14-July 12, 1955, no. 3.
Paul Cézanne, 1839-1906 , Kunsthaus Zürich, August 22-October 7, 1956, no. 78, as « Carrière de Bibémus ».
Sammlung Ragnar Moltzau, Oslo , Kunsthaus Zürich, February 9-March 31, 1957, no. 17, as Carrière de Bibémus.
Collectie Ragnar Moltzau , Oslo , Gemeentemuseum, The Hague, April 19-June 11, 1957, no. 18, as Steengroeve van Bibémus.
From Cézanne to Picasso: The Moltzau Collection, Royal Scottish Academy, Edinburgh, August 13-September 20, 1958; Tate Gallery, London, October 3-November 2, 1958, no. 21, as The Bibémus Quarry.
Cézanne: The Late Work , Museum of Modern Art, New York, October 7, 1977-January 3, 1978; Museum of Fine Arts, Houston, January 26-March 19, 1978, no. 15, as Bibémus Quarry.
Cézanne: Les dernières années (1895-1906) , April 20-July 23, 1978, Grand Palais, Paris, no. 39, as La Carrière Bibémus.
Post-Impressionism: Cross-Currents in European and American Painting, 1880-1906 , National Gallery of Art, Washington, DC, May 25-September 1, 1980, no. 17, as The Bibémus Quarry / La Carrière Bibémus.
Cézanne in Provence , National Gallery of Art, Washington, DC, January 29-May 7, 2006; Musée Granet, Aix-en-Provence, June 9-September 17, 2006, no. 84, as The Bibémus Quarry (Washington only).
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. 23, as Quarry at Bibémus (Carrière de Bibémus).
Cezanne: The Rock and Quarry Paintings, Princeton University Art Museum, Princeton, March 7-October 15, 2020, no. 18, as Bibémus Quarry.
Attracted to the iconic power of an abandoned sandstone quarry in Bibémus, a French town in the southern region of Provence, Paul Cézanne depicted it multiple times between 1895 and 1900. Here, he focused on the contrast between solid rocks and undefined trees, as well as the effects of juxtaposing colors such as orange and green. Although the region was rapidly modernizing, Cézanne omitted any signs of change, creating a timeless image that embodies the rustic spirit of southern France.
Paul Cezanne (1839-1906), Aix-en-Provence, 1895/99-no later than December 1899;
Purchased from Cezanne by Ambroise
Vollard, Paris, stock book A, no. 3653, as Rochers rouges surmontés d’un arbre un peu parasol, by December
1899-no later than August 1936 [1];
Purchased from Vollard by the Galerie
Pierre, Paris, account book no. 964, on joint account with the Galerie Alfred
Daber, Paris, by August 1936-June 1937 [2];
Half-share purchased from the Galerie
Alfred Daber by the Galerie Pierre, June 1937-at least 1939 [3];
With the Galerie Beyeler, Basel,
January-November 1956 [4];
Purchased from the Galerie Beyeler, through Marlborough Fine Art, by Ragnar Egede Moltzau (1901-1982), Oslo, November 1956-October 1958 [5];
Probably purchased from Moltzau, through
Marlborough Fine Art, by the Galerie des Arts Anciens et Modernes,
Schaan, Liechtenstein, October 1958 [6];
Purchased from the Galerie des Arts Anciens et Modernes
by Sam Spiegel (1901-1985), New York, October 1958-December 31, 1985 [7];
Spiegel estate, New York, 1985-May 11,
1987;
Purchased from the latter at Impressionist
and Modern Paintings from the Collection of the Late Sam Spiegel,
Sotheby’s, New York, May 11, 1987, lot 5, as Carrière de Bibémus,
through Susan L. Brody Associates by Marion (née Helzberg, 1931-2013) and Henry
(1922-2019) Bloch, Shawnee Mission, KS, 1987-June 15, 2015;
Given by Henry and Marion Bloch to The Nelson-Atkins Museum of Art, Kansas City, MO, 2015.
NOTES:
[1] A faint inscription preserved on the stretcher says “3653.” Stock book A is essentially an inventory of paintings that Vollard had on his premises in late 1899 and early 1900. Few of the entries are dated, but at least two entries following no. 3653 bear dates in December 1899. Thus Quarry at Bibémus was purchased by at least December 1899. See e-mail from Jayne Warman, independent art historian, to Brigid M. Boyle, NAMA, June 5, 2015, NAMA curatorial files.
[2] Sébastien Chaffour confirmed this joint purchase from Vollard, but did not specify the date of this transaction; see e-mail from Sébastien Chaffour, Institut national d’histoire de l’art, to Brigid M. Boyle, NAMA, June 10, 2015, NAMA curatorial files. The earliest publication to cite the Galerie Pierre as owner of Quarry at Bibémus is John Rewald and Léo Marschutz, “Cézanne et la Provence,” Le Point, no. 4 (August 1936): 4-34. Inscriptions preserved on the stretcher say “Galerie Pierre” and “964.”
[3] The Galerie Pierre became sole owner of Quarry at Bibémus in June 1937; see letter from Alfred Daber, Galerie Alfred Daber, to Pierre Loeb, Galerie Pierre, June 25, 1937, and Grand livre des comptes généraux, entry dated June 30, 1937, NAMA curatorial files. Quarry at Bibémus still belonged to the Galerie Pierre in 1939, when Loeb loaned the painting to the Musée du Prince Paul in Belgrade, Serbia, for the exhibition La Peinture Française au XIXe Siècle.
The Galerie Pierre was founded on October 17, 1924 by the Jewish dealer Pierre Loeb. The gallery was subject to the Vichy government’s Aryanization laws, and on May 16, 1941, Loeb was forced to cede control of his gallery to Georges Aubry, a fellow dealer, for 23,000 francs. Shortly thereafter, Loeb fled with his family to Havana, remaining there until the end of the war. Upon Loeb’s return to Paris in June 1945, Aubry proved reluctant to restitute the gallery to its founder, but conceded after Pablo Picasso intervened on Loeb’s behalf. Despite financial difficulties, Loeb resumed normal gallery operations in 1946; see “La Galerie Pierre au prisme des lois de Vichy,” accessed June 1, 2015, http://emmanuelle-polack.com/la-galerie-pierre-au-prisme-des-lois-de-vichy/.
[4] For dates of ownership, see e-mail from Simon Crameri, Fondation Beyeler, to MacKenzie Mallon, NAMA, May 12, 2015, NAMA curatorial files.
[5] Die Weltkunst reported on October 15, 1956 that Quarry at Bibémus was entering the collection of Moltzau; see Erhard Göpel, “Schweizer Reise,” Die Weltkunst 26, no. 20 (October 15, 1956): 9. However, the painting was still on view at the Kunsthaus Zürich at that time, and the Galerie Beyeler’s records indicate that the sale was not finalized until November 1956; see e-mail from Simon Crameri, Fondation Beyeler, to MacKenzie Mallon, NAMA, May 12, 2015, NAMA curatorial files.
Marlborough Fine Art acted as an agent for
this purchase. Co-founders Frank Lloyd and Harry Fischer and chairman David
Somerset helped Moltzau build his collection and later sell it at enormous profit;
see “Kunsthandel: Marlborough-Galerie; Trio mit Fifi,” Der Spiegel, no. 50 (December 11, 1963), https://www.spiegel.de/spiegel/print/d-46173079.html; and David L.
Shirey, “Frank Lloyd and the Marlborough: Art and Success,” New York Times 122, no. 42,121 (May 21,
1973): 40. A backing board exhibition label from the Kunsthaus Zürich lists the
owner as “Galerie Beyeler, Basel Marlborough Fine Art Ltd.”
In the two most recent catalogue raisonnés of Cezanne’s oeuvre, Moltzau erroneously appears before the Galerie Beyeler in the provenance for Quarry at Bibémus. See John Rewald, The Paintings of Paul Cézanne: A Catalogue Raisonné (New York: Harry N. Abrams, 1996), 503; and Walter Feilchenfeldt, Jayne Warman, and David Nash, “La Carrière de Bibémus, 1898-1900 (FWN 318),” The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné, https://www.cezannecatalogue.com/catalogue/entry.php?id=814 (last updated on July 24, 2020, accessed on August 5, 2020).
[6] Moltzau
still owned Quarry at Bibémus in
August 1958, when he loaned the painting to the Royal Scottish Academy,
Edinburgh (August 13-September 20, 1958), for an exhibition of his collection
that traveled subsequently to the Tate Gallery, London (October 3-November 2,
1958). Quarry at Bibémus was on view
at both venues. Moltzau probably sold Quarry
at Bibémus to the Galerie des Arts Anciens and Modernes during the course
of this exhibition, again through Marlborough Fine Art, whose business
operations are based in Liechtenstein. The painting may have remained on view
even after the Galerie purchased it.
[7] Quarry at Bibémus was one of eight paintings that Spiegel purchased from the Galerie des Arts Anciens et Modernes in September and October 1958. See the Preface in Impressionist and Modern Paintings from the Collection of the Late Sam Spiegel (New York: Sotheby’s, 1987). It remained in Spiegel’s possession until his death.
John Rewald and Léo Marschutz, “Cézanne et la Provence,” Le Point, no. 4 (August 1936): 21, (repro.), as La Carrière de Bibémus près du Château Noir.
Lionello Venturi, “Sur les dernières années de Cézanne,” Minotaure , no. 9 (1936): 35-36, (repro.), as Bibémus.
Lionello Venturi, Cézanne: Son art, son œuvre (Paris: Paul Rosenberg, 1936), no. 778, pp. 1:64, 232, 402; 2:(repro.), as Carrière de Bibémus.
John Rewald, “A propos du catalogue raisonné de l’œuvre de Paul Cézanne et de la chronologie de cette œuvre,” La Renaissance 20, nos. 3-4 (March–April 1937): 55-56, as Carrière Bibémus.
Fritz Novotny, Cézanne ([1937]; repr. London: Phaidon Press, 1948), (repro.), as View of the “Bibémus” Quarry.
Origines et développement de l’art international indépendant , exh. cat. (Paris: Musée du Jeu de Paume, 1937), as Les Rochers de Bibémus.
“Les Expositions,” Les Cahiers d’Art 12, nos. 4-5 (1937): 163.
Fritz Novotny, Cézanne und das Ende der wissenschaftlichen Perspektive (Vienna: Anton Schroll, 1938), 85.
Christian Zervos, Histoire de l’Art Contemporain (Paris: Cahiers d’art, 1938), 43, (repro.), as Carrière de Bibémus.
La Peinture Française au XIXe Siècle / Francusko Slikarstvo u XIX Stoleću , exh. cat. (Belgrade: Musée du Prince Paul, 1939), 28, 58, as La Carrière de Bibémus and Trkalište Bibémus.
Göran Schildt, Cézanne (Stockholm: Wahlström och Widstrand, 1946), 222, 227, (repro.), as Bibemus stenbrott.
Exposition des maîtres des XIXe et XXe siècles , exh. cat. (Paris: Galerie Jeanne Castel, 1955), (repro.).
Advertisement, Die Weltkunst 26, no. 22 (November 15, 1956): (repro.), as Steinbruch von Bibémus.
Kurt Badt, The Art of Cézanne, trans. Sheila Ann Ogilvie (1956; Berkeley: University of California Press, 1965), 310, 314, as Quarry of Bibémus.
Maîtres de l’art moderne , exh. cat. (Basel: Galerie Beyeler, 1956), (repro.), as Carrière de Bibémus.
Paul Cézanne, 1839-1906 , exh. cat. (Zurich: Kunsthaus Zürich, 1956), 30, as « Carrière de Bibémus ».
Heinrich W. Petzet, “Altmeister der Moderne: Galerie Beyeler in Basel stellt aus,” Die Weltkunst 26, no. 19 (October 1, 1956): 8, as Steinbruch von Bibémus.
Erhard Göpel, “Schweizer Reise,” Die Weltkunst 26, no. 20 (October 15, 1956): 9.
Collectie Ragnar Moltzau , Oslo , exh. cat. (The Hague: Gemeentemuseum, 1957), as Steengroeve van Bibémus.
Sammlung Ragnar Moltzau, Oslo , exh. cat. (Zurich: Kunsthaus Zürich, 1957), 13, as Carrière de Bibémus.
Heinrich Rumpel, “Die Sammlung Ragnar Moltzau: Zur Ausstellung in Zürcher Kunsthaus,” Schweizer Monatshefte 36, no. 12 (March 1957): 989.
Erhard Göpel, “Ein großer norwegischer Sammler: Die Sammlung Ragnar Moltzau im Zürcher Kunsthaus ausgestellt,” Die Weltkunst 27, no. 5 (March 1, 1957): 5, as Steinbruch Bibémus.
H. C., “Zürich: Sammlung Ragnar Moltzau, Oslo,” Werk Chronik, supplement to Werk 44, no. 4 (April 1957): 71, as Carrière de Bibémus.
From Cézanne to Picasso: The Moltzau Collection , exh. cat. (London: Tate Gallery, 1958), (repro.), as The Bibémus Quarry.
“From Cézanne to Picasso: The Moltzau Collection,” Times (London), no. 54,248 (September 5, 1958): 5, as The Bibémus Quarry.
“Moltzau Collection in London: Awkward Arrangement at Tate Gallery,”Times (London), no. 54,272 (October 3, 1958): 14, as Bibémus Quarry.
D. L. A. Farr, “London,” Burlington Magazine 100, no. 668 (November 1958): 403, as Bibémus Quarry.
Robert William Ratcliffe, “Cézanne’s Working Methods and their Theoretical Background” (PhD diss., University of London, Courtauld Institute of Art, 1960), 22, 26.
Cézanne Watercolors: An Exhibition at M. Knoedler and Company , exh. cat. (New York: Wittenborn, 1963), 43.
Werner Hofmann, Grundlagen der Modernen Kunst: Eine Einführung in ihre symbolischen Formen (Stuttgart: Alfred Kröner Verlag, 1966), 223, 228, 503, (repro.), as Partie im Steinbruch “Bibémus.”
Sandra Orienti, L’opera completa di Cézanne (Milan: Rizzoli, 1970), no. 708, pp. 118-19, 125-27, (repro.), as Cava di pietra a Bibémus.
Sandra Orienti, The Complete Paintings of Cézanne (London: Weidenfeld and Nicolson, 1972), no. 708, pp. 118-19, 125-26, (repro.), as Rock Cave at Bibémus.
Adrien Chappuis,The Drawings of Paul Cézanne: A Catalogue Raisonné, vol. 1, Introduction and Catalogue (Greenwich: New York Graphic Society, 1973), 191.
Sandra Orienti, Tout l’œuvre peint de Cézanne (Paris: Flammarion, 1975), no. 708, pp. 118-19, 125-26, (repro.), as Carrière de Bibémus.
William Rubin, ed., Cézanne: The Late Work, exh. cat. (New York: Museum of Modern Art, 1977), 204, 242, 390-91, (repro.), as Bibémus Quarry.
Cézanne: Les dernières années (1895-1906) , exh. cat. (Paris: Réunion des musées nationaux, 1978), 130-32, 241, (repro.), as La Carrière Bibémus.
Post-Impressionism: Cross-Currents in European and American Painting, 1880-1906 , exh. cat. (Washington, DC: National Gallery of Art, 1980), 30, (repro.), as The Bibémus Quarry / La Carrière Bibémus.
Marianne R. Bourges, Itinéraires de Cézanne ([Aix-en-Provence]: Ville d’Aix-en-Provence, 1982), (repro.), as Carrière de Bibemus [ sic].
Impressionist and Modern Paintings from the Collection of the Late Sam Spiegel (New York: Sotheby’s, 1987), (repro.), as Carrière de Bibémus.
Kunstpreis-Jahrbuch 1987: Deutsche und Internationale Auktionsergebnisse , vol. 42, pt. 1 (Munich: Weltkunst Verlag GmbH, 1987), 141, as Der Steinbruch von Bibémus.
Andrew Sinclair, Spiegel: The Man Behind the Pictures (Boston: Little, Brown, 1987), 93.
Sotheby’s: Art at Auction 1986-87 (London: Sotheby’s, 1987), 105, (repro.), as Carrière de Bibémus.
“Sale room: $2.3m buy goes to a chill room,” Times (London), no. 62,767 (May 13, 1987): 14, as Carrière de Bibémus.
Lionello Venturi, Cézanne: Son art, son oeuvre (San Francisco: Alan Wofsy Fine Arts, 1989), no. 563, pp. 1:64, 232, 402; 2:(repro.), as Carrière de Bibémus.
Denis Coutagne, “Les Paysages,” Dossier de l’art, no. 25 (September-October 1995): 25, (repro.), as Les Carrières de Bibémus.
Françoise Cachin et al., Cézanne, exh. cat. (1995; repr. New York: Harry N. Abrams, 1996), 451n2.
Charles de Lartigue, Les paysages de Paul Cézanne (Lyon: Les Créations du Pélican, 1995), 134, 173, (repro.), as La Carrière Bibémus.
Les Sites Cézanniens du Pays d’Aix: Hommage à John Rewald (Paris: Réunion des musées nationaux, 1996), 145, (repro.), as La Carrière de Bibémus.
John Rewald, The Paintings of Paul Cézanne: A Catalogue Raisonné (New York: Harry N. Abrams, 1996), no. 839, pp. 1:502-03, 561, 571, 574, 577-79; 2:293, (repro.), as La Carrière de Bibémus.
Laura M. Giles and Carol Armstrong, eds., Cézanne in Focus: Watercolors from the Henry and Rose Pearlman Collection , exh. cat. (Princeton: Princeton University Art Museum, 2002), 52n3.
Natasha Fraser-Cavassoni, Sam Spiegel (New York: Simon and Schuster, 2003), 204, 337.
Pavel Machotka, ed., On Site with P. Cézanne in Provence (2005; Marseille: Editions Crès, 2006), 90-92, 143, (repro.), as La carrière de Bibémus.
Rebecca Dimling Cochran and Bobbie Leigh, “100 Top Collectors who have made a difference,” Art and Antiques 28, no. 3 (March 2006): 90, as Bibemus [sic] Quarry.
Bobbie Leigh, “Magnificent Obsession,” Art and Antiques 28, no. 6 (June 2006): 62, 65, as Quarry at Bibémus.
“Inaugural Exhibitions Celebrate Kansas City,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2006): 3.
Philip Conisbee and Denis Coutagne, Cézanne in Provence, exh. cat. (Washington, DC: National Gallery of Art, 2006), 189, 191, 193-95, 203, 284, 320, (repro.), as The Bibémus Quarry.
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), 12, 15-16, 122-27, 160-61, (repro.), as Quarry at Bibémus (Carrière de Bibémus).
Alice Thorson, “First Public Exhibition: Marion and Henry Bloch’s Art Collection,” Kansas City Star (June 3, 2007): E4, as Quarry at Bibémus.
Steve Paul, “Pretty Pictures: Marion and Henry Bloch’s collection of superb Impressionist masters,” Panache 4, no. 3 (Fall 2007): 20, as Quarry at Bibémus.
“Lasting Impressions: A Tribute to Marion and Henry Bloch,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2007): 11, (repro.).
Pavel Machotka, Cézanne: La sensation à l’œuvre; The eye and the mind (Marseille: Éditions Crès, 2008), 1:(repro.); 2:217, (repro.), as La Carrière de Bibémus.
Anne Byrd, “The Brush Stroke as Catastrophe: Gasquet’s ‘Cézanne’ and the Paintings of Bibémus Quarry,” RACAR: Revue d’art canadienne / Canadian Art Review 34, no. 1 (2009): 41, (repro.), as La Carrière de Bibémus.
Carol Vogel, “O! Say, You Can Bid on a Johns,” New York Times 159, no. 54,942 (February 5, 2010): C26.
Alice Thorson, “Museum to get 29 Impressionist works from Bloch,” Kansas City Star (February 5, 2010): A1, as Quarry at Bibémus.
Thomas M. Bloch, Many Happy Returns: The Story of Henry Bloch, America’s Tax Man (Hoboken, NJ: John Wiley and Sons, 2011), 174, as Bibemus [ sic] Quarry.
Pavel Machotka, Cézanne: Landscape into Art, rev. ed. (Prague: Arbor Vitae, 2014), 173, 175, 210, (repro.), as La Carrière de Bibémus.
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 , as Quarry at Bibémus.
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 .
“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), 105, (repro.), as Quarry at Bibémus.
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 (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): 1D, 5D, (repro.), as Quarry at Bibémus.
“Editorial: Thank you, Henry and Marion Bloch,” Kansas City Star (March 7, 2017): http://www.kansascity.com/opinion/editorials/article137040948.html [repr. “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/ , (repro.), as Quarry at Bibémus.
Lilly Wei, “Julián Zugazagoitia: ‘Museums should generate interest and open a door that leads to further learning,’” Studio International (August 21, 2017):
http://studiointernational.com/index.php/julian-zugazagoitia-director-nelson-atkins-museum-of-art-kansas-city-interview , (repro.), as Quarry at Bibémus.
Robert D. Hershey Jr., “Henry Bloch, H&R Block’s cofounder, dies at 96,” Boston Globe (April 23, 2019): https://www.bostonglobe.com/metro/obituaries/2019/04/23/henry-bloch-block-cofounder/Vj42N3pMidFGni38EUajyO/story.html .
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 .
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. Luke Nozicka, “Family and friends remember Henry Bloch of H&R Block,” Kansas City Star 139, no. 228 (May 3, 2019): 3A].
John Elderfield, ed., Cezanne: The Rock and Quarry Paintings, exh. cat. (Princeton: Princeton University Art Museum, 2020), 106, 119, 122-25, 126n17, 127n14, 160, (repro.), as Bibémus Quarry.
Walter Feilchenfeldt, Jayne Warman, and David Nash, “La Carrière de Bibémus, 1898-1900 (FWN 318),” The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné , https://www.cezannecatalogue.com/catalogue/entry.php?id=814 (last updated on March 16, 2020, accessed on April 8, 2020), (repro.), as La Carrière de Bibémus.
Megan McDonough, “Henry Bloch, whose
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Adler, “Sold for $3.25 million, Bloch’s home in Mission Hills may be torn
down,” Kansas
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Brigid M. Boyle, “Paul Cezanne, Quarry at Bibémus, 1895-1900,” catalogue entry, and Diana M. Jaskierny, “Paul Cezanne, Quarry at Bibémus, 1895-1900,” technical entry in Aimee Marcereau DeGalan, ed., French Paintings, 1600–1945: The Collections of the Nelson-Atkins Museum of Art (Kansas City: The Nelson-Atkins Museum of Art, 2021), doi: 10.37764/78973.7.710.
“Nelson-Atkins begins serial release of French paintings catalogue,” ArtDaily (February 27, 2021): https://artdaily.cc/news/133409/Nelson-Atkins-begins-serial-release-of-French-paintings-catalogue#.YD0gmXlMGUk, as Quarry at Bibémus.
Dana Self, “Arts News: Nelson-Atkins Digital French Paintings Catalogue,” KC Studio (June 1, 2021): http://kcstudio.org/nelson-atkins-digital-french-paintings-catalogue/ .
