Alfred Sisley

Catalogue de la 3e exposition de peinture, exh. cat. (E. Capiomont et V. Renault, 1877), p. 13, cat. 190.

Leclercq 1899 illustrates the painting and indicates that it is owned by Shchukin]

Paris, 6, rue Le Peletier, 3e exposition de peinture [third Impressionist exhibition], Apr. 1877, cat. 190, as Portrait de M. Sisley.

Julien Leclercq, “Alfred Sisley,” Gazette des beaux-arts 21, 3 (Mar. 1899), pp. 227 (ill.), 534.

Leclercq 1899 illustrates the painting and indicates that it is owned by Shchukin]

Rouen, Hôtel du Dauphin et d’Espagne, Magnifique collection d’impressionnistes dont 30 toiles du grand artiste Renoir, May 1896.

returned to Eugène Murer, Paris, 1883

“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.

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.

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]

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

Adrien Goetz, Comment Regarder . . . Renoir (Hazan, 2009), p. 28 (ill.).

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.).

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 22 (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.

Nathalia Brodskaïa, Impressionism, trans. Rebecca Brimacombe and Richard Swanson (Parkstone, 2007), pp. 170–71 (ill.).

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.

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.).

Susan Roe, The Private Lives of the Impressionists (Chatto & Windus, 2006), p. 211 (ill.).

Sylvie Patry, “L’invention du modèle,” in Serge Lemoine and Serge Toubiana, Renoir Renoir, exh. cat. (Martinière, 2005), p. 29, n. 8.

Norio Shimada, Inshoha bijutsukan [The history of impressionism] (Shogakukan, 2004), p. 91 (ill.).

Sylvie Patin, L’impressionisme (Bibliothèque des Arts, 2002), pp. 164; 168, no. 128 (ill.); 299.

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.

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.

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]

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 10–11; 30; 82, pl. 1; 109.

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.

sold to Eugène Murer, Paris, by Apr. 1883 [as part of a lot of eleven paintings sold for 500 francs per Bailey 1997]

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.

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.

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.

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.

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.).

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.

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,

Baltimore, Walters Art Gallery, Alfred Sisley, 1839-1899, March 14-June 13, 1993.

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.

Vivienne Couldrey, Alfred Sisley: The English Impressionist (David & Charles, 1992), p. 47.

Iain Gale, Sisley (Studio, 1992), p. 28 (ill.).

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.

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.

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.

Sophie Monneret, Renoir, Profils de l’art (Chêne, 1989), p. 150, cat. 17 (ill.).

Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 36 (ill.), 37, 119.