About This Artwork

Pierre-Auguste Renoir
French, 1841-1919

Alfred Sisley, 1876

Oil on canvas
66.2 x 54.8 cm (26 x 21 9/16 in.)
Inscribed lower right: Renoir

Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1933.453

This work is featured in the online catalogue Renoir Paintings and Drawings at the Art Institute of Chicago, the second volume in the Art Institute’s scholarly digital series on the Impressionist circle. The catalogue offers in-depth curatorial and technical entries on 25 artworks by Pierre-Auguste Renoir in the museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, 6, rue Le Peletier, 3e exposition de peinture [third Impressionist exhibition], Apr. 1877, cat. 190, as Portrait de M. Sisley.

Rouen, Hôtel du Dauphin et d’Espagne, Magnifique collection d’impressionnistes dont 30 toiles du grand artiste Renoir, May 1896.

Expos. Rétrosp. 1900.

Dresden, Der Grosse Kunstausstellung Dresden 1904, Retrospekive Abteilung, May 1–end of Oct., 1904, cat. 2246, as Bildnis des Malers Sisley.

Possibly Paris, Grand Palais, Salon d’Automne, Oct. 15–Nov. 15, 1904.

Paris, Durand-Ruel, Portraits par Renoir, June 5–20, 1912, cat. 34, as Portrait de Sisley, 1876.

Barcelona, Palacio de Bellas Artes, Exposition d’arts Français, Salon d’automne, 1917, possibly exhibited, but not in cat.

Copenhagen, Ny Carlsberg Glyptotek Malerisale, August Renoir: Udstilling af hans Arbejder I Skandinavisk Eje samt Udlaan fra Franske Samlere, Mar. 17–Apr. 10, 1921, cat. 5.

Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, Apr. 6–Oct. 9, 1932, cat. 31 (ill.).

New York, Wildenstein and Company, Great Portraits from Impressionism to Modernism, Mar. 1–29, 1938, cat. 39.

Milwaukee Art Institute, Masters of Impressionism, Oct. 8–Nov. 15, 1948, cat. 39.

Art Institute of Chicago, Paintings by Renoir, Feb. 3–Apr. 1, 1973, cat. 16 (ill.).

Washington, D.C., National Gallery of Art, The New Painting: Impressionism, 1874–1886, Jan. 17–Apr. 6, 1986, cat. 63 (ill.); Fine Arts Museums of San Francisco, M. H. de Young Memorial Museum, Apr. 19–July 6, 1986.

Tokyo, National Museum of Western Art, 1874 nen—Pari: (dai ikkai inshoha ten) to sono jidai/Paris en 1874: L’année de l’impressionnisme, Sept. 20–Nov. 27, 1994, cat. 44 (ill.).

Ottawa, National Gallery of Canada, Renoir’s Portraits: Impressions of an Age, June 27–Sept. 14, 1997, cat. 26 (ill.); Art Institute of Chicago, Oct. 17, 1997–Jan. 4, 1998; Fort Worth, Tex., Kimbell Art Museum, Feb. 8–Apr. 26, 1998.

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 22 (ill.).

Publication History

Catalogue de la 3e exposition de peinture, exh. cat. (E. Capiomont et V. Renault, 1877), p. 13, cat. 190.

Georges Rivière, “L’exposition des impressionnistes,” L’impressionniste 1 (Apr. 6, 1877), p. 4.

Paul Sébillot, “Exposition des impressionnistes,” Le bien public, Apr. 7, 1877, p. 2. Reprinted in Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. 1, Reviews (Fine Arts Museums of San Francisco/University of Washington Press, 1996), p. 190.

“Exposition des impressionnistes: 6, rue Le Peletier; 6,” La petite republique française, Apr. 10, 1877, p. 2. Reprinted in Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. 1,Reviews (Fine Arts Museums of San Francisco/University of Washington Press, 1996), p. 176.

Émile Bergerat, “Revue artistique: Les impressionistes et leur exposition,” Journal officiel de la république française 105 (Apr. 17, 1877), p. 2918.

Trublot [Paul Alexis], “La collection Murer,” Le cri du peuple 43 (Oct. 21, 1887). Reprinted in Paul Gachet, Le docteur Gachet et Murer: Deux amis des impressionnistes (Musées Nationaux, 1956), p. 172.

Julien Leclercq, “Alfred Sisley,” Gazette des beaux-arts 21, 3 (Mar. 1899), pp. 227 (ill.), 534.

“Collection d’un amateur,” Gazette de l’hôtel Drouot 86–87 (Mar. 27–28, 1900), n. pag.

Camille Mauclair, “L’oeuvre d’Auguste Renoir,” L’art décoratif 41, pt. 1 (Feb. 1902), pp. 180, 182 (ill.).

Camille Mauclair, L’impressionnisme: Son histoire, son esthétique, ses maîtres, 2nd ed. (Librairie de l’Art Ancien et Moderne, 1904), pp. 112, 229. Translated by P. G. Konody as The French Impressionists (1860–1900) (Duckworth/E. P. Dutton, [1903]), p. 120.

Grossen Kunstausstellung, Offizieller Katalog der Grossen Kunstausstellung Dresden 1904, exh. cat. (Alwin Arnold & Gröschel, Apr. 30, 1904), p. 123, cat. 2246.

Henry Morrison, “Auguste Renoir, Impressionist,” Brush and Pencil 17, 5 (May 1906), p. 202.

Louis Vauxcelles, “Portraits contemporains,” L’art et les artistes 6 (Oct. 1907–Mar. 1908), p. 536 (ill.).

Durand-Ruel, Paris, Portraits par Renoir, exh. cat. (Durand-Ruel, Paris, 1912), p. 5, cat. 34.

Ambroise Vollard, La vie and l’oeuvre de Pierre-Auguste Renoir (A. Vollard, 1919), p. 48. Translated by Harold L. Van Doren and Randolph T. Weaver as Renoir: An Intimate Record (Knopf, 1925), pp. 53, 237.

Georges Lecomte, “L’oeuvre de Renoir,” L’art et les artistes 4, 14 (Jan. 1920), p. 146 (ill.).

Ny Carlsberg Glyptotek Malerisale, Copenhagen, August Renoir: Udstilling af hans Arbejder I Skandinavisk Eje samt Udlaan fra Franske Samlere, exh. cat. (Ny Carlsberg Glyptotek Malerisale, 1921), p. 7, cat. 5.

Georges Rivière, Renoir et ses amis (H. Floury, 1921), opp. p. 50 (ill.).

Théodore Duret, Renoir (Bernheim-Jeune, 1924), p. 72. Translated into English by Madeleine Boyd as Renoir (Crown, 1937), p. 54.

Gustave Geffroy, Sisley (G. Crès, 1927), p. 4 (ill.).

Julius Meier-Graefe, Renoir (Klinkhardt & Biermann, 1929), pp. 99–100, no. 1; 136, no. 106 (ill.).

Reginald Howard Wilenski, French Painting (Hale, Cushman & Flint, 1931), p. 262.

Hans Heilmaier, “Alfred Sisley,” Die Kunst 63, 5 (Feb. 1931), p. 137 (ill.).

Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, exh. cat. (Art Institute of Chicago, 1932), pp. 6; 22, no. 31; 53, no. 31 (ill.).

“Mrs. Coburn Leaves 83 Pictures, $200,000 Funds, to Chicago,” Art Digest 6, 18 (July 1, 1932), p. 5 (ill.).

Daniel Catton Rich, “The Bequest of Mrs. L. L. Coburn,” Bulletin of the Art Institute of Chicago 26, 6 (Nov. 1932), p. 68.

Ulrich Thieme and Felix Becker, “Renoir,” in Allgemeines Lexikon der Bildenden Künstler, vol. 28, Ramsden–Rosa (Seemann, 1934), p. 170.

Great Portraits from Impressionism to Modernism, with a foreword by Frank Crowninshield, exh. cat. (Wildenstein and Co./Marchbanks, 1938), p. 35, cat. 39.

Lionello Venturi, Les archives de l’impressionnisme: Lettres de Renoir, Monet, Pissarro, Sisley, et autres; Mémoires de Paul Durand-Ruel; Documents, vol. 2 (Durand-Ruel, 1939), opp. p. 52 (ill.); pp. 261, 310.

Lo Duca, “Il centenario di Alfred Sisley (1839–1939),” Emporium 90, 539 (Nov. 1939), p. 236 (ill.).

Rosamund Frost, Pierre Auguste Renoir, ed. Aimèe Crane, Hyperion Art Monographs (Hyperion/Duell, Sloan and Pearce, 1944), p. 21 (ill.).

John Rewald, The History of Impressionism (Museum of Modern Art/Simon & Schuster, 1946), pp. 296 (ill.), 313. Translated by Nancy Goldet-Bouwens as Histoire de l’impressionisme (A. Michel, 1955), p. 243.

Milwaukee Art Institute, Masters of Impressionism (Milwaukee Art Institute, 1948), cat. 39.

Marcelle Berr de Turique, Renoir (Phaidon, [1953]), pl. 34.

Paul Gachet, Le docteur Gachet et Murer: Deux amis des impressionnistes (Musées Nationaux, 1956), opp. p. 28, fig. 19; pp. 172; 176.

Paul Gachet, Lettres impressionnistes: Pissarro, Cézanne, Guillaumin, Renoir, Monet, Sisley, Vignon, Van Gogh, et autres . . . (Grasset, 1957), opp. p. 120 (ill.); p. 92.

François Daulte, Alfred Sisley: Catalogue raisonné de l’oeuvre peint (Durand-Ruel, 1959), p. 33, fig. 3.

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 395.

François Fosca, Renoir: L’homme et son oeuvre (A. Somogy, 1961), p. 114. Translated by Mary I. Martin as Renoir: His Life and Work (Prentice-Hall, 1962), p. 114.

Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84, 55 (Sept. 1966), p. 203.

Charles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), p. 163 (ill.).

François Daulte, Auguste Renoir: Catalogue raisonné de l’oeuvre peint, vol. 1, Figures, 1860–1890 (Durand-Ruel, 1971), pp. 136–37, cat. 117 (ill.).

Elda Fezzi, L’opera completa di Renoir: Nel periodo impressionista, 1869–1883, Classici dell’arte 59 (Rizzoli, 1972), p. 95, cat. 138 (ill.).

Art Institute of Chicago, Paintings by Renoir, exh. cat. (Art Institute of Chicago, 1973), pp. 26; 60–61, cat. 16 (ill.); 66; 210; 211; 214.

Raymond Cogniat, Sisley, trans. Alice Sachs (Crown, 1978), pp. 3–4 (ill.).

J. Patrice Marandel, The Art Institute of Chicago: Favorite Impressionist Paintings (Cross River, 1979), pp. 66–67 (ill.).

Diane Kelder, The Great Book of French Impressionism (Abbeville, 1980), pp. 255 (ill.), 438.

Diane Kelder, The Great Book of French Impressionism, Tiny Folios (Abbeville, 1980), p. 152, pl. 12.

Sylvie Gache-Patin and Jacques Lassaigne, Sisley (Nouvelles Éd. Françaises, 1983), pp. 51; 52, ill. 57.

Barbara Ehrlich White, Renoir: His Life, Art, and Letters (Abrams, 1984), pp. 51, 54 (ill.), 74.

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 4, Peintures, 1899–1926 (Bibliothèque des Arts, 1985), p. 421, letter 2623.

Richard R. Brettell, “The ‘First’ Exhibition of Impressionist Painters,” in The New Painting: Impressionism, 1874–1886, ed. Charles S. Moffett, with the assistance of Ruth Berson, Barbara Lee Williams, and Fronia E. Wissman, exh. cat. (Fine Arts Museums of San Francisco, 1986), p. 194.

Melissa McQuillan, Impressionist Portraits (Thames & Hudson, 1986), pp. 110–11 (ill.), 197.

Charles S. Moffett, ed., with the assistance of Ruth Berson, Barbara Lee Williams, and Fronia E. Wissman, The New Painting: Impressionism, 1874–1886, exh. cat. (Fine Arts Museums of San Francisco, 1986), pp. 206; 237, cat. 63 (ill.).

Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 36 (ill.), 37, 119.

Nicholas Wadley, ed., Renoir: A Retrospective (Hugh Lauter Levin/Macmillan, 1987), p. 211 (ill.).

Sophie Monneret, Renoir, Profils de l’art (Chêne, 1989), p. 150, cat. 17 (ill.).

David Bomford, Jo Kirby, John Leighton, and Ashok Roy, Art in the Making: Impressionism, exh. cat. (National Gallery, London/Yale University Press, 1990), p. 203, fig. 94.

Isabelle Cahn, “Documentary Chronology,” in Alfred Sisley, ed. MaryAnne Stevens, exh. cat. (Royal Academy of Arts, London/Musée d’Orsay/Walters Art Gallery/Yale University Press, 1992), p. 264, fig. 140.

Vivienne Couldrey, Alfred Sisley: The English Impressionist (David & Charles, 1992), p. 47.

Iain Gale, Sisley (Studio, 1992), p. 28 (ill.).

Richard Shone, Sisley, Impressionists/Post-Impressionists (Phaidon, 1992), pp. 108–09, pl. 80; 110; 112; 122–23. Translated into French by Atelier d’Édition Européen as Richard Shone, Sisley (Phaidon, 2004), pp. 108–09, pl. 80; 110; 112; 122.

Art Institute of Chicago, Treasures of 19th- and 20th-Century Painting: The Art Institute of Chicago, with an introduction by James N. Wood (Art Institute of Chicago/Abbeville, 1993), p. 66 (ill.).

Anne Distel, Renoir: “Il faut embellir,” Découvertes Gallimard: Peinture 177 (Gallimard/Réunion des Musées Nationaux, 1993), pp. 38 (ill.), 168. Translated by Lory Frankel as Renoir: A Sensuous Vision (Thames & Hudson, 1995), pp. 38 (ill.), 168.

Akiya Takahashi and Ruth Berson, 1874 nen—Pari: (dai ikkai inshoha ten) to sono jidai/Paris en 1874: L’année de l’impressionnisme, exh. cat. (Kokuritsu Seiyo Bijutsukan/Yomiuri Shimbunsha, 1994), pp. 113, cat. 44 (ill.); 206.

Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. 1, Reviews (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 120, 129, 176, 180, 190.

Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. 2, Exhibited Works (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 82, 101 (ill.).

Natalia Brodskaïa, Auguste Renoir: He Made Colour Sing, trans. Paul Williams, Great Painters (Parkstone/Aurora Art, 1996), p. 28 (ill.).

Eliza E. Rathbone, “Renoir’s Luncheon of the Boating Party: Tradition and the New,” in Eliza E. Rathbone, Katherine Rothkopf, Richard R. Brettell, and Charles S. Moffett, Impressionists on the Seine: A Celebration of Renoir’s “Luncheon of the Boating Party,” exh. cat. (Phillips Collection/Counterpoint, 1996), p. 31.

Colin B. Bailey, “Portrait of the Artist as a Portrait Painter,” in Colin B. Bailey, with the assistance of John B. Collins, Renoir’s Portraits: Impressions of an Age, exh. cat. (National Gallery of Canada/Yale University Press, 1997), pp. 21; 51, n. 224. Translated as Colin B. Bailey, “Portrait de l’artiste en portraitiste,” in Colin B. Bailey, with the assistance of John B. Collins, Les portraits de Renoir: Impressions d’une époque, trans. Danielle Chaput and Julie Desgagné, exh. cat. (Gallimard/Musée des Beaux-Arts du Canada, 1997), p. 21.

Colin B. Bailey, with the assistance of John B. Collins, Renoir’s Portraits: Impressions of an Age, exh. cat. (National Gallery of Canada/Yale University Press, 1997), pp. 149–51, cat. 26 (ill.); 290, cat. 26. Translated by Danielle Chaput and Julie Desgagné, with support from Nada Kerpan for the texts by Linda Nochlin, as Les portraits de Renoir: Impressions d’une époque, exh. cat. (Gallimard/Musée des Beaux-Arts du Canada, 1997), pp. 50, n. 224; 149–51, cat. 26 (ill.); 290, cat. 26.

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 10–11; 30; 82, pl. 1; 109.

Art Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 2000), pp. 51 (ill.), 65.

John B. Collins, “Seeking l’Esprit Gaulois: Renoir’s Bal du Moulin de la Galette and Aspects of French Social History and Popular Culture” (Ph.D. diss., McGill University, 2001), p. 143.

Gilles Néret, Renoir: Painter of Happiness, 1841–1919, trans. Josephine Bacon (Taschen, 2001), pp. 188 (ill.), 202.

Sylvie Patin, L’impressionisme (Bibliothèque des Arts, 2002), pp. 164; 168, no. 128 (ill.); 299.

Norio Shimada, Inshoha bijutsukan [The history of impressionism] (Shogakukan, 2004), p. 91 (ill.).

Sylvie Patry, “L’invention du modèle,” in Serge Lemoine and Serge Toubiana, Renoir Renoir, exh. cat. (Martinière, 2005), p. 29, n. 8.

Susan Roe, The Private Lives of the Impressionists (Chatto & Windus, 2006), p. 211 (ill.).

Nathalia Brodskaïa, Impressionism, trans. Rebecca Brimacombe and Richard Swanson (Parkstone, 2007), pp. 170–71 (ill.).

Guy-Patrice Dauberville and Michel Dauberville, with the collaboration of Camille Frémontier-Murphy, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 1, 1858–1881 (Bernheim-Jeune, 2007), p. 532, cat. 543 (ill.).

Frances Suzman Jowell, “Impressionism and the Golden Age of Dutch Art,” in Inspiring Impressionism: The Impressionists and the Art of the Past, ed. Ann Dumas, exh. cat. (Denver Art Museum/Yale University Press, 2007), pp. 93; 104, fig. 40.
Robert McDonald Parker, “Topographical Chronology 1860–1883,” in Renoir Landscapes, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, exh. cat. (National Gallery, London, 2007), p. 275. Translated as Robert McDonald Parker, “Chronologie,” in Les paysages de Renoir, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, trans. Marie-Françoise Dispa, Lise-Éliane Pomier, and Laura Meijer, exh. cat. (National Gallery, London/5 Continents, 2007), p. 275.

Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Impressionists: Master Paintings from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2008), pp. 62 (detail); 63, cat. 22 (ill.). Simultaneously published as Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of Impressionism at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2008), pp. 62 (detail); 63, cat. 22 (ill.).

Adrien Goetz, Comment Regarder . . . Renoir (Hazan, 2009), p. 28 (ill.).

Peter Kropmanns, “Renoir’s Friendships with Fellow Artists,” in Renoir: Between Bohemia and Bourgeoisie; The Early Years, ed. Nina Zimmer, exh. cat. (Kunstmuseum Basel/Hatje Cantz, 2012), pp. 247 (ill.); 253, fig. 58; 254.

David Pullins, “Renoir and the Arts of Eighteenth-Century France,” in Renoir: Between Bohemia and Bourgeoisie; The Early Years, ed. Nina Zimmer, exh. cat. (Kunstmuseum Basel/Hatje Cantz, 2012), p. 264.

“Cat. 4: Alfred Sisley, 1876,” in Renoir Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014).

Ownership History

Sold by the artist to Eugène Murer, Paris, by Apr. 1883, as part of a lot of eleven paintings sold for 500 francs. [1]

Deposited by Eugène Murer, Paris, at Durand-Ruel, Paris, 1883. [2]

Returned by Durand-Ruel, Paris, to Eugène Murer, Paris, 1883. [3]

Possibly sold by Eugène Murer, Paris, to Durand-Ruel, Paris, 1896. [4]

Acquired by Ivan Shchukin, Paris, by Mar. 1899. [5]

Sold at the Shchukin Sale, Hôtel Drouot, Paris, Mar. 24, 1900, lot 17, to Dr. George Viau, Paris, for 6,100 francs. [6]

Dr. George Viau, Paris, to at least June 20, 1912. [7]

Acquired by Herman Heilbuth, by 1921. [8]

Acquired by Howard Young, New York. [9]

Acquired by Mrs. Lewis Larned (Annie Swan) Coburn, Chicago, by 1929. [10]

Bequeathed by Mrs. Lewis Larned (Annie Swan) Coburn (died 1932), Chicago, to the Art Institute of Chicago, 1933.

NOTES

[1] According to Colin Bailey, with the assistance of John B. Collins, Renoir’s Portraits: Impressions of an Age, exh. cat. (National Gallery of Canada/Yale University Press, 1997), pp. 51, n. 224; 290, cat. 26. See also Trublot [Paul Alexis], “La collection Murer,” Le cri du peuple 43 (Oct. 21, 1887), reprinted in Paul Gachet, Le docteur Gachet et Murer: Deux amis des impressionnistes (Musées Nationaux, 1956), pp. 170–73.

[2] This transaction is recorded in the Durand-Ruel, Paris, deposit book for 1879–84 (no. 3913, as Portrait de Sisley): “déposé par Murer chez Durand-Ruel Paris en 1883. Rendu en 1883,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago.

[3] This transaction is recorded in Durand-Ruel, Paris, deposit book for 1879–84 (no. 3913, as Portrait de Sisley): “déposé par Murer chez Durand-Ruel Paris en 1883. Rendu en 1883,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago.

[4] According to François Daulte, Auguste Renoir: Catalogue raisonné de l’oeuvre peint, vol. 1, Figures, 1860–1890 (Durand-Ruel, 1971), pp. 136–37, cat. 117 (ill.). See also Colin B. Bailey, with the assistance of John B. Collins, Renoir’s Portraits: Impressions of an Age, exh. cat. (National Gallery of Canada/Yale University Press, 1997), p. 290, cat. 26, which says that the painting was sold to Durand-Ruel “at the time of the dispersal of his [Murer’s] collection.” The Durand-Ruel Archives claim that the statement in Renoir’s Portraits is false, as they have no record of ownership at the time. See Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago.

[5] According to Colin B. Bailey, with the assistance of John B. Collins, Renoir’s Portraits: Impressions of an Age, exh. cat. (National Gallery of Canada/Yale University Press, 1997), p. 290, cat. 26, which says that Durand-Ruel sold the painting to the Russian collector Ivan Shchukin; however, the Durand-Ruel Archives do not agree. According to the Durand-Ruel Archives, “faux, pas vendu par Durand-Ruel Paris à Chtchoukine [sic].” See Claire Durand-Ruel Snollaerts to the Art Institute of Chicago, Mar. 29, 2010, curatorial object file, Art Institute of Chicago. See also François Daulte, Auguste Renoir: Catalogue raisonné de l’oeuvre peint, vol. 1, Figures, 1860–1890 (Durand-Ruel, 1971), pp. 136–37, cat. 117 (ill.); Julien Leclercq, “Alfred Sisley,” Gazette des beaux-arts 21, 3 (Mar. 1899), pp. 227 (ill.), 534, which illustrates the painting and indicates that it is owned by Shchukin.

[6] According to Colin B. Bailey, with the assistance of John B. Collins, Renoir’s Portraits: Impressions of an Age, exh. cat. (National Gallery of Canada/Yale University Press, 1997), p. 290, cat. 26, which says that Durand-Ruel sold the painting to the Russian collector Ivan Shchukin; however, the Durand-Ruel Archives do not agree. According to the Durand-Ruel Archives, “faux, pas vendu par Durand-Ruel Paris à Chtchoukine [sic].” See Claire Durand-Ruel Snollaerts to the Art Institute of Chicago, Mar. 29, 2010, curatorial object file, Art Institute of Chicago. See also François Daulte, Auguste Renoir: Catalogue raisonné de l’oeuvre peint, vol. 1, Figures, 1860–1890 (Durand-Ruel, 1971), pp. 136–37, cat. 117 (ill.); Julien Leclercq, “Alfred Sisley,” Gazette des beaux-arts 21, 3 (Mar. 1899), pp. 227 (ill.), 534, which illustrates the painting and indicates that it is owned by Shchukin.

[7] According to Colin B. Bailey, with the assistance of John B. Collins, Renoir’s Portraits: Impressions of an Age, exh. cat. (National Gallery of Canada/Yale University Press, 1997), p. 149, the painting was still in the Viau collection as of 1912, when it was exhibited by Durand-Ruel in Portraits par Renoir, June 5–20, 1912 (although the catalogue does not indicate this). See an archived verso label from the Collection George Viau, which includes a notation “Expo. Durand-Ru[el] 191[. . .]”; conservation file, Art Institute of Chicago.

[8] According to Ernst Jonas Bencard, Assistant Keeper, Ordrupgaardsamlingen, to the Art Institute of Chicago, Dec. 9, 1998, curatorial object file, Art Institute of Chicago. In this same letter, Bencard states that Herman Heilbuth, together with Wilhelm Hansen and the Danish art dealers and auctioneers Winkel & Magnussen, formed an art-buying consortium, purchasing the Viau collection, “en block the 14th of February 1918 most certainly including your Renoir portrait,” and further that “Hansen in February 1923, on behalf of his friend Heilbuth tried to sell some paintings from the Heilbuth collection . . . Hansen did not succeed in this transaction, but among the paintings he tried to sell was your Sisley portrait by Renoir.” See also Ny Carlsberg Glyptotek Malerisale, Copenhagen, August Renoir: Udstilling af hans Arbejder I Skandinavisk Eje samt Udlaan fra Franske Samlere, exh. cat. (Ny Carlsberg Glyptotek Malerisale, 1921), p. 7.

[9] According to François Daulte, Auguste Renoir: Catalogue raisonné de l’oeuvre peint, vol. 1, Figures, 1860–1890 (Durand-Ruel, 1971), pp. 136–37, cat. 117 (ill.).

[10] Julius Meier-Graefe, Renoir (Klinkhardt & Biermann, 1929), p. 136, records the Sisley portrait as being in the Coburn collection.




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