Galerie Bernheim-Jeune, Paris
L'Art Moderne S.A., Lucerne
(Possibly) Sale: Hôtel Drouot, Paris, 20th June 1935, lot 27
Private Collection (purchased at the above sale; sale: Christie's, London, 27th June 2000, lot 218)
Purchased at the above sale by the present owner

(Possibly) Paris, Galerie Bernheim-Jeune, Nus, 1910, no. 18
Paris, Galerie Bernheim-Jeune, H. E. Cross, 1910, no. 24
Paris, Galerie Bernheim-Jeune, H. E. Cross, 1913, no. 35
(Possibly) Paris, Ligue navale française, Exposition des peintres de la mer, 1917, no. 17
Munster, Westfälisches Landesmuseum für Kunst und Kulturgeschichte; Grenoble, Musée de Grenoble & Weimar, Kunstsammlungen zu Weimar, Signac und die Befreiung der Farbe, 1996-97, no. 51, illustrated in colour in the catalogue

Isabelle Compin, H. E. Cross, Paris, 1964, no. 205, illustrated p. 306

The canvas is lined. There are no signs of retouching visible under UV light. This work is in very good condition. Colours: Overall richer and less yellow in the original.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Henri-Edmond Cross was a co-founder of the Societé des Artistes Indépendants in 1884, and through this establishment became friends with many of the Neo-Impressionists.  This relationship with the Neo-Impressionists accounts for the visible change in style in Cross's work as he adopted their techniques and methods, concentrating specifically on landscapes and seascapes.  Cross was influenced by Paul Signac and pointillism, however he abandoned the small dots in favor of the large blocky strokes as evidenced in Avant l'Orage.  This revised technique added a mosaic-like feel to the world of c💜olour Cross explored in his landscapes.