Pierre-Auguste Renoir

Mr. & Mrs. Robert E. Ricksen, New York (and sold: Parke-Bernet Galleries, Inc., New York, April 14, 1965, lot 86)
Private Collection, California (and sold: Sotheby's, New York, November 12, 1988, lot 316)
Acquired at the above sale 

Ambroise Vollard, Tableaux, pastels et dessins de Pierre-Auguste Renoir, vol. II, Paris, 1918,  illustrated p. 137
Guy-Patrice & Michel Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. V, Paris, 2014, no. 4198, illustrated p. 332

Canvas is relined and the edges are reinforced with tape. Under UV light some fine lines of inpainting are visible around the figure's mouth and in one or two pindots on the figure's neck and near the edge of her right shoulder. Two small areas in the hair fluoresce and appear to correspond with pooling varnish, otherwise fine. This work is in good condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

As the critic Théodore Duret aptly wrote, “Renoir excels at portraits. Not only does he catch the external features, but through them he pinpoints the model's character and inner self. I doubt whether any painter has ever interpreted women in a more seductive manner. The deft and lively touches of Renoir's brush are charming, supple and unrestrained, making flesh transparent and tinting the cheeks and lips with a perfect living hue. Renoir's women are enchantresses" (Théodore Duret, Histoire des peintres impressionnistes, Paris, 1922, p. 27).

Renoir received overwhelming praise from his contemporaries, and his portraits were admired for both their leisurely charm and sensual allure. In contrast to Renoir’s formal portraits of Parisian socialites, his pictures of anonymous young women allowed him to take liberties in his manner of execution. As he had no obligation to portray his sitters with a refined demeanor or in the fashionable clothes of the time, the artist was able to concentrate on their natural beauty, freely experimenting with his brushwork.