Pen and brown ink, over black chalk, on ivory laid paper
Signed recto, bottom left: "Renoir"
27.5 × 39.9 cm (10 7/8 × 15 3/4 in.)
The Regenstein Collection
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.
Théodore Duret, Histoire des peintres impressionistes (H. Floury, 1906), p. 102 (ill.).
Ambroise Vollard, La vie et l’oeuvre de Pierre-Auguste Renoir (A. Vollard, 1919), p. 161 (ill.).
Joachim Gasquet, “Le paradis de Renoir,” L’amour de l’art 2 (Feb. 1921) (ill.).
Kimon Nicolaides, The Natural Way to Draw (Houghton Mifflin, 1941), p. 98 (ill.).316
John Rewald, Renoir Drawings (H. Bittner, 1946), p. 15–16, no. 4 (ill.).
H. J. Wechsler, French Impressionists and Their Circle (Abrams, 1953), fig. 4, (ill.).
Ira Moskowitz, Great Drawings of All Time, vol. 3 (Shorewood, 1962), no. 798 (ill.).
Barbara Ehrlich White, Renoir: His Life, Art, and Letters (Abrams, 1984) pp. 83–84 (ill.).
Sophie Monneret, Renoir, Profils de l’art (Chêne, 1989) n.p., fig. 2 (ill.).
Hollis Clayson, Painted Love: Prostitution in French Art of the Impressionist Era (Yale University Press, 1991) p. 73–75, fig. 39 (ill.).
Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997) p. 31–37, 83, no. 5, 109 (ill.).
Art Institute of Chicago, Treasures from The Art Institute of Chicago, selected by James N. Wood, commentaries by Debra N. Mancoff (Art Institute of Chicago/Hudson Hills, 2000), p. 206 (ill.).
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. 78–79, no. 34 (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.
Paul Hayes Tucker, “Renoir in the 1870s and ’80s: Modernity, Tradition, and Individuality,” in Renoir: From Outsider to Old Master, 1870–1892, exh. cat. (Chūnichi Shinbunsha, 2001), p. 220, fig. 11.
Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins, et aquarelles, vol. 3, 1858–1881 (Bernheim-Jeune, 2007), p. 619, no. 664 (ill.).
Sold by Maurice Sachs (1906–1945), Paris, to De Hauke and Company, Inc., New York, July 1, 1929 [De Hauke and Company purchase book, p. 54, stock no. 1462, in Jacques Seligmann & Co. records, 1904–1978, bulk 1913–1974. Archives of American Art, Smithsonian Institution, box 408, folder 4.]; sold to John Nicholas Brown II (1900–1979), Newport, R.I., Oct. 16, 1929 [De Hauke and Company sale book, p. 59, in Jacques Seligmann & Co. records, 1904–1978, bulk 1913–1974. Archives of American Art, Smithsonian Institution, box 408, folder 5.]; estate of John Nicholas Brown II, Newport, R.I., from 1979.; sold to David Tunick, Inc., New York, c. 1986; sold to the Art Institute of Chicago, 1986.
Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email . Information about image downloads and licensing is available here.