Alfred Sisley

1876

Pierre-Auguste Renoir (French, 1841–1919)

Status: On View, Gallery 201
Department: Painting and Sculpture of Europe

Artist: Pierre-Auguste Renoir
Title: Alfred Sisley
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1876
Medium: Oil on canvas
Inscriptions: Inscribed lower right: Renoir
Dimensions: 66.2 × 54.8 cm (26 × 21 9/16 in.); Framed: 90.2 × 79.4 × 10.8 cm (35 1/2 × 31 1/4 × 4 1/4 in.)
Credit Line: Mr. and Mrs. Lewis Larned Coburn Memorial Collection
Reference Number: 1933.453
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/14650/manifest.json

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.).
Julius Meier-Graefe, Renoir (Klinkhardt & Biermann, 1929), p. 136.
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, exh. cat., ed. MaryAnne Stevens, (Royal Academy of Arts, London/Musée d’Orsay/Walters Art Gallery/Yale University Press, 1992), 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), https://publications.artic.edu/renoir/reader/paintingsanddrawings/section/138973.

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.
Baltimore, Walters Art Gallery, Alfred Sisley, 1839-1899, March 14-June 13, 1993.
Tokyo, National Museum of Western Art, 1874 nen—Pari: (dai ikkai inshoha ten) to sono jidai/Paris en 1874: L’Année de l’Impressionnisme, September 20–November 27, 1994, cat. 44.
Tokyo, National Museum of Western Art, Paris en 1874: L’Année de l’Impressionnisme (Paris in 1874: The year of Impressionism), September 20–November 27, 1994,
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.).

The artist (d. 1919); sold to Eugène Murer, Paris, by Apr. 1883 [as part of a lot of eleven paintings sold for 500 francs per Bailey 1997]; deposited with Durand-Ruel, Paris, 1883 [this and the following per Durand-Ruel, Paris, deposit book for 1879–84 (no. 3913, as Portrait de Sisley), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Oct. 5, 2010, curatorial object file]; returned to Eugène Murer, Paris, 1883; possibly sold by Eugène Murer, Paris, to Durand-Ruel, Paris, 1896 [according to Daulte 1971; Bailey 1997 states that the painting was sold to Durand-Ruel “at the time of the dispersal of his [Murer’s] collection,” although the Durand-Ruel Archives claim that the statement is false, as they have no record of ownership at the time, Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]. Ivan Shchukin, Paris, by Mar. 1899 [Bailey 1997 states that Durand-Ruel sold the painting to the Russian collector Ivan Shchukin; the Durand-Ruel Archives disagree: “faux, pas vendu par Durand-Ruel Paris à Chtchoukine [sic].” See correspondence from Claire Durand-Ruel Snollaerts to the Art Institute of Chicago, Mar. 29, 2010, curatorial object file. See also Daulte 1971; Leclercq 1899 illustrates the painting and indicates that it is owned by Shchukin]; sold Shchukin Sale, Hôtel Drouot, Paris, March 24, 1900 to Dr. George Viau, Paris, for 6,100 francs [per Bailey 1997, although the Durand-Ruel Archives disagree: “faux, pas vendu par Durand-Ruel Paris à Chtchoukine [sic].” See correspondence from Claire Durand-Ruel Snollaerts to the Art Institute of Chicago, Mar. 29, 2010, curatorial object file. See also Daulte 1971; Leclercq 1899 illustrates the painting and indicates that it is owned by Shchukin]; Dr. George Viau, Paris, until at least June 20, 1912 [per Bailey 1997, 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]. Herman Beilbuth, by 1921 [per Ernst Jonas Bencard, Assistant Keeper, Ordrupgaardsamlingen, to the Art Institute of Chicago, Dec. 9, 1998, curatorial object file, Art Institute of Chicago]. Howard Young, New York [Daulte 1971]. Mrs. Lewis Larned (Annie Swan) Coburn (d. 1932), Chicago, by 1929 [Meier-Graefe 1929]; bequeathed to the Art Institute of Chicago, 1933.

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