On the Terrace of a Hotel in Bordighera: The Painter Jean Martin Reviews His Bill (Illustration for Edmond Renoir’s “L’étiquette”)
France (Artist's nationality:)
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.
Black conté crayon over pen and brush and black ink on ivory laid paper (discolored to cream)
45.2 × 35.4 cm (17 13/16 × 13 15/16 in.)
Helen Regenstein Collection
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Edmond Renoir, “L’étiquette,” La vie moderne 50 (Dec. 15, 1883), p. 803 (ill.).
Georges Rivière, Renoir et ses amis (H. Floury, 1921), opposite p. 192 (ill.).
Charles Léger, “Renoir illustrateur,” L’art vivant 168 (Jan. 1933), p. 8 (ill.).
John Rewald, “Auguste Renoir and His Brother,” Gazette des beaux-arts 27 (Mar. 1945), pp. 172, no. 2 (ill.), 186.
John Rewald, Renoir Drawings (H. Bittner, 1946), p. 18, no. 24 (ill.).
Walter Pach, Renoir (Abrams, 1950), p. 20 (ill.).
Phoebe Pool, Impressionism (Oxford University Press, 1969), pp. 152, no. 114 (ill.), 153, 277.
Walter Pach, Auguste Renoir: Leben und Werk (M. Dumont Schauberg, 1976), pp. 72, no. 42 (ill.), 73, 173.
Harold Joachim and Sandra Haller Olsen, French Drawings and Sketchbooks of the Nineteenth Century, vol. 2 (University of Chicago Press, 1979), p. 90, no. 5D7.
Nicholas Wadley, Renoir: A Retrospective (Hugh Lauter Levin, 1987), p. 130 (ill.).
Natalia Brodskaya, Auguste Renoir: He Made Colour Sing (Parkstone, 1996), p. 33 (ill.).
Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 41, 44, 90, no. 9 (ill.), 110.
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), pp. 80–81, no. 35 (ill.).
Suzanne Folds McCullagh, “‘A Lasting Monument’: The Regenstein Collection at the Art Institute of Chicago,” special issue, Art Institute of Chicago Museum Studies 26, 1 (2000), p. 13.
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. 621, no. 672 (ill.).
Art Institute of Chicago, “Great Drawings from The Art Institute of Chicago: The Harold Joachim Years, 1958–1983,” July 24–Sept. 30, 1985, pp.156-57, cat. 71 (ill.); Saint Louis Art Museum, Mar. 10–May 16, 1986.
Art Institute of Chicago, “Masterpieces from the Helen Regenstein Collection,” Feb. 2–May 8, 1990, no cat.
Art Institute of Chicago, “Maineri to Miro: The Regenstein Collection,” Apr. 22–July 16, 2000, no cat.
Vienna, Albertina, “Impressionism: Pastels, Watercolors, Drawings,” Feb. 9–May 13, 2012, p. 238, pl. 137.
Charlotte Labille (1889–1963), Paris, by Jan. 1, 1925 [According to notes in the curatorial object file, there was an inscription on the back of the old mount, in pen and blue ink, which partially reads: Le dessin a la plume de P.A. Renoir, mon frere et me representant assis lisant au bord de la mediterranee est la propriete de Charlotte Labille/ Paris, 1 janvier 1925/ Edmond Renoir. The mount is now lost. Correspondence in the Paul Rosenberg Gallery Archive confirm that Charlotte Labille was a regular client of Rosenberg’s during the 1920s.]. Paul Rosenberg (1881–1959), Paris and Bordeaux, by Sept. 15, 1940 [See pre–World War II Paul Rosenberg Gallery, stock card number 1346 (the handwriting is nearly illegible; it could also be 8846)]; confiscated by the Einsatzstab Reichsleiter Rosenberg (ERR), Sept. 15, 1940 [ERR card PR 154]; selected by Walter Andreas Hofer (1893–c. 1971) at the Jeu de Paume, Paris, for Hermann Goering (1893–1946) and transferred from the ERR to Goering, Dec. 2, 1941 [See ERR card PR 154. Also see the Office of Strategic Services, Art Looting Investigation Unit, Consolidated Interrogation Report, no. 2: The Goering Collection (Sept. 15, 1945), pp. 133–34; attachment 1; and attachment 5, p. 11, no. 144. Notes on the back of the ERR’s photograph of the drawing confirm that it was no. 144 in the Goering inventory.]; exchanged by Hermann Goering, with Hans Wendland (born 1880) and Theodor Fischer (1878–1957), Lucerne, via Walter Andreas Hofer, early 1942 [See Office of Strategic Services, Art Looting Investigation Unit, Consolidated Interrogation Report, no. 2: The Goering Collection (Sept. 15, 1945), pp. 133–34. See also Records of the American Commission for the Protection and Salvage of Artistic and Historical Monuments in War Areas (Roberts Commission), 1943–46, letter from the Commercial Secretariat of the British Legation in Berne, dated Dec. 29, 1944.]; returned to Paul Rosenberg, New York, June 3, 1948 [In a private lawsuit against Theodor Fischer, a Lucerne tribunal ruled in Rosenberg’s favor on June 3, 1948, and ordered the picture returned. See Lynn H. Nichols, The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War (Knopf, 1994), pp. 419–20.]; probably sold by the Rosenberg family to E. V. Thaw and Company (founded 1950), New York, c. 1977 [After its restitution, the drawing was part of the Rosenberg family private collection rather than gallery stock. As a result, the Rosenberg Gallery Archives do not have a record of the sale or transfer of this drawing to E. V. Thaw and Company (founded by Eugene Victor Thaw [born 1927]). Paul Rosenberg’s daughter-in-law, Mrs. Elaine Rosenberg, confirmed that the drawing was in their collection, hanging in the hallway of the New York residence, until transferred to E. V. Thaw and Company in the 1970s (private communication with Mrs. Elaine Rosenberg, June 2, 2014).]; sold by E. V. Thaw and Company, New York, to the Art Institute of Chicago, 1977.
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