On the Terrace of a Hotel in Bordighera: The Painter Jean Martin Reviews His Bill (Illustration for Edmond Renoir’s “L’étiquette”)

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.]

it could also be 8846)]

“Cat. 12: On the Terrace of a Hotel in Bordighera: The Painter Jean Martin Reviews His Bill (Illustration for Edmond Renoir’s “L’étiquette”),” 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.

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).]

Vienna, Albertina, "Impressionism: Pastels, Watercolors, Drawings," Feb. 9–May 13, 2012, p. 238, pl. 137.

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, "Maineri to Miro: The Regenstein Collection," Apr. 22–July 16, 2000, no cat.

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.

Walter Pach, Renoir (Abrams, 1950), p. 20 (ill.).

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.]

John Rewald, Renoir Drawings (H. Bittner, 1946), p. 18, no. 24 (ill.).

John Rewald, “Auguste Renoir and His Brother,” Gazette des beaux-arts 27 (Mar. 1945), pp. 172, no. 2 (ill.), 186.

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.]

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

confiscated by the Einsatzstab Reichsleiter Rosenberg (ERR), Sept. 15, 1940 [ERR card PR 154]

Charles Léger, “Renoir illustrateur,” L’art vivant 168 (Jan. 1933), p. 8 (ill.).

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

Georges Rivière, Renoir et ses amis (H. Floury, 1921), opposite p. 192 (ill.).

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 41, 44, 90, no. 9 (ill.), 110.

Natalia Brodskaya, Auguste Renoir: He Made Colour Sing (Parkstone, 1996), p. 33 (ill.).

Art Institute of Chicago, "Masterpieces from the Helen Regenstein Collection," Feb. 2–May 8, 1990, no cat.

Nicholas Wadley, Renoir: A Retrospective (Hugh Lauter Levin, 1987), p. 130 (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.

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.

sold by E. V. Thaw and Company, New York, to the Art Institute of Chicago, 1977.

Walter Pach, Auguste Renoir: Leben und Werk (M. Dumont Schauberg, 1976), pp. 72, no. 42 (ill.), 73, 173.

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.).

Phoebe Pool, Impressionism (Oxford University Press, 1969), pp. 152, no. 114 (ill.), 153, 277.