Black chalk (recto and verso) on ivory laid paper (discolored to tan)
492 × 319 mm
Gift of Mr. and Mrs. B. E. Bensinger
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Ambroise Vollard, Tableaux, pastels et dessins de Pierre-Auguste Renoir, vol. 1 (A. Vollard, 1918), p. 10, no. 38 (ill.).
Ambroise Vollard, La vie et l’oeuvre de Pierre-Auguste Renoir (A. Vollard, 1919), p. 180 (ill.).
Walter Pach, Renoir (Abrams, 1950), p. 12 (ill.).
Walter Pach, Auguste Renoir: Leben und Werk (M. Dumont Schauberg, 1976), pp. 26–27, no. 18 (ill.).
Harold Joachim and Sandra Haller Olsen, French Drawings and Sketchbooks of the Nineteenth Century, vol. 2 (University of Chicago Press, 1979), p. 90, no. 5D6.
Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 91, no. 10 (ill.), 110.
John House, Pierre-Auguste Renoir: La Promenade (J. Paul Getty Museum, 1997), pp 78–79, fig. 51.
Martha Tedeschi, “Pierre Auguste Renoir, Workers’ Daughters on the Outer Boulevard (Illustration for Emile Zola’s ‘L’Assommoir’), 1877/78,” in “Maineri to Miró: The Regenstein Collection since 1975,” special issue, Art Institute of Chicago Museum Studies 26, 1 (2000), p. 80 (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. 612, no. 658 (ill.).
“Cat. 13: The Descent from the Summit: Jean Martin Steadies Hélène, the Banker’s Daughter (Illustration for Edmond Renoir’s “L’étiquette”) (recto); Half-Length Sketch of a Woman (verso),” in Renoir Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https://publications.artic.edu/renoir/reader/paintingsanddrawings/section/138973.
Philadelphia Museum of Art, “T. Edward Hanley Collection,” 1957.
Buffalo, N.Y., Fine Arts Academy, Albright Art Gallery, “The T. Edward Hanley Collection,” Jan. 6–Feb. 14, 1960, cat. 110.
New York, Wildenstein and Company, “Loan Exhibition of Paintings and Drawings from the Hanley Collection,” Nov. 22–Dec. 30, 1961, p. 13, cat. 102.
Cambridge, Mass., Fogg Art Museum, “T. Edward Hanley Exhibition,” Jan. 24–Apr. 15, 1962, cat. 104.
Possibly Ambroise Vollard (1867–1939), Paris [Art Dealers’ Association of America to B. E. Bensinger, Dec. 30, 1969 and Dauberville and Dauberville, 2007]. Purchased jointly by M. Knoedler and Company, New York, and French Art Galleries, New York, Mar. 7, 1949 [M. Knoedler and Company, stock card WCA1119 and stock book p. 122. M. M. Knoedler and Company Records, circa 1848–1971, Getty Research Institute, Los Angeles, acc. no. 2012.M.54, box 17]; sold by M. Knoedler and Company, New York, to T. Edward Hanley (1894–1969), Bradford, Pa., May 10, 1949 [M. Knoedler and Company, stock card WCA1119, and stock book p. 122. M. M. Knoedler and Company Records, circa 1848–1971, Getty Research Institute, Los Angeles, acc. no. 2012.M.54, box 17]; T. Edward Hanley to E. V. Thaw and Company, New York [According to Patti Tang of E. V. Thaw and Company, the drawing passed directly from T. Edward Hanley to E. V. Thaw and Company]; sold to Benjamin E. Bensinger (1905–1976), Chicago, Mar. 9, 1967; given to the Art Institute of Chicago, 1969.
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