Georges de Bellio. Letter to Claude Monet. [about 1884] [published in Ref. Niculuscu, 1964, pp. 257–58], lists a work titled "Le Parc Monceau" among pictures that will never leave his collection, possibly this picture.
Gustave Geffroy. Claude Monet: Sa vie, son temps, son œuvre. Paris, 1922, p. 98, lists a "Parc Monceau," possibly this picture, as having been included in the fourth Impressionist exhibition of 1879, but adds no further identification.
Maurice Malingue. Claude Monet. Monaco, 1943, pl. 89, as in the collection of M. Lindon.
Oscar Reuterswärd. Monet. Stockholm, 1948, pp. 115, 281, pl. 53, states that it was included in the fourth Impressionist exhibition of 1879, and was purchased there by Georges de Bellio.
Remus Niculescu. "Georges de Bellio, l'ami des impressionnistes." Revue Roumaine d'Histoire de l'Art 1, no. 2 (1964), pp. 217, 220, 241, 258 [see also Ref. Niculescu 1970].
Luigina Rossi Bortolatto. L'opera completa di Claude Monet, 1870–1889. Milan, 1966, p. 99, no. 157, ill.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, p. 129, ill.
Douglas Cooper. "The Monets in the Metropolitan Museum." Metropolitan Museum Journal 3 (1970), pp. 288–90, 305, fig. 9, calls it "richer and more striking" than the earlier painting of the Parc Monceau also in the MMA (59.206; W398); compares the composition with Renoir's outdoor scenes of the same period; believes that it was the other MMA version of the subject that was included in the fourth Impressionist exhibition in 1879.
Remus Niculescu. "Georges de Bellio, l'ami des impressionnistes (I)." Paragone 21 (September 1970), pp. 37, 53, pl. 33, states that Georges de Bellio owned it (along with two other versions of the subject, including MMA 59.206) and that he lent it to the fourth Impressionist exhibition in 1879 at the request of Gustave Caillebotte.
Remus Niculescu. "Georges de Bellio, l'ami des impressionnistes (II)." Paragone 21 (November 1970), pp. 53, 64–65, 84, no. II75c, identifies it as the picture lent by de Bellio to the Monet-Rodin show in 1889.
Charles S. Moffett in Impressionism: A Centenary Exhibition. Exh. cat., The Metropolitan Museum of Art. New York, 1974, pp. 164–66, no. 31, ill. (color) [French ed., "Centenaire de l'impressionnisme," Paris, 1974], states that this work was included in the fourth Impressionist exhibition in 1879.
Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 1, 1840–1881: Peintures. Lausanne, 1974, pp. 90, 316–17, no. 466, ill., does not list Georges de Bellio as a former owner, but does tentatively connect it with one bought from Monet by Collot in 1878; identifies a different version of the subject as the work lent by de Bellio to the fourth Impressionist exhibition in 1879 and to the Monet-Rodin exhibition in 1889 (W468; formerly private collection, Switzerland).
Alice Bellony-Rewald. The Lost World of the Impressionists. London, 1976, p. 186, refers to one of Monet's versions of this subject, possibly this picture.
Tetsuro Miura and Chuji Ikegami. Mone [Monet]. Tokyo, 1977, unpaginated, fig. 1 (color).
Rodolphe Walter. "Le parc de Monsieur Zola." L'Oeil no. 272 (March 1978), pp. 18–19, fig. 2 (color).
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 120–21, 252, ill. (color).
Claire Joyes. Claude Monet: Life at Giverny. New York, 1985, ill. opp. p. 5 (color).
Gary Tinterow et al. The Metropolitan Museum of Art. Vol. 8, Modern Europe. New York, 1987, p. 32, colorpl. 16.
Robert L. Herbert. Impressionism: Art, Leisure, and Parisian Society. New Haven, 1988, p. 142, colorpl. 141.
Karin Sagner-Düchting. Claude Monet, 1840–1926: Ein Fest für die Augen. Cologne, 1990, p. 98, ill. p. 99 (color).
Michael F. Zimmermann. Seurat and the Art Theory of His Time. Antwerp, 1991, p. 145, colorpl. 278.
Robert L. Herbert et al. Georges Seurat, 1859–1891. Exh. cat., The Metropolitan Museum of Art. New York, 1991, p. 179 n. 24 [French ed., "Seurat," Paris, 1991, p. 217 n. 24].
Roger Hurlburt. "Free Spirits." Sun-Sentinel (Fort Lauderdale) (December 20, 1992), p. 4D, ill. p. 1D.
Helen Kohen. "Lasting Impressions." Miami Herald (December 20, 1992), p. 6I.
Albert Boime. Art and the French Commune: Imagining Paris after War and Revolution. Princeton, 1995, p. 96, fig. 66.
Daniel Wildenstein. Monet. Vol. 2, Catalogue raisonné–Werkverzeichnis: Nos. 1–968. 2nd ed. Cologne, 1996, p. 187, no. 466, ill. (color).
Daniel Wildenstein. Monet or the Triumph of Impressionism. Vol. 1, 2nd ed. Cologne, 1996, p. 135.
Albert Schug in Pointillismus: Auf den Spuren von Georges Seurat. Exh. cat., Wallraf-Richartz-Museum, Cologne. Munich, 1997, ill. p. 21 (color) [French ed., "Pointillisme sur les traces de Seurat," Lausanne, 1998].
Carla Rachman. Monet. London, 1997, p. 117, fig. 81 (color).
Impressionist & Modern Art: Part One. Sotheby's, London. June 26, 2001, p. 26, fig. 2 (color), illustrates it in an entry for another "Parc Monceau" painting from 1878 (W467).
Christoph Becker et al. Monet's Garden. Exh. cat., Kunsthaus Zürich. Ostfildern-Ruit, Germany, 2004, pp. 31–32, 196, no. 15, ill. (color).
Catherine Hug Monika Leonhardt in Monet's Garden. Exh. cat., Kunsthaus Zürich. Ostfildern-Ruit, Germany, 2004, p. 120.
Clare A. P. Willsdon. In the Gardens of Impressionism. New York, 2004, p. 118, colorpl. 120.
Eric M. Zafran in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 133.
Impressionist and Modern Art: Evening Sale. Christie's, New York. May 9, 2007, p. 67, under no. 18, fig. 1 (color).
Clare A. P. Willsdon. Impressionist Gardens. Exh. cat., National Gallery of Scotland, Edinburgh. London, 2010, pp. 41, 79, 157, no. 50, ill. (color), suggests that the male figure on the far right may be a subconscious surrogate for the artist.