Pierre-Auguste Renoir

Ambroise Vollard, Paris
Private Collection, New York (acquired from the family of the above and sold: Parke-Bernet Galleries, Inc., New York, March 31, 1949, lot 192)
Kurt F. Pantzer, Indianapolis (and sold by the estate: Christie's, New York, May 19, 1982, lot 16)
Paul Mellon, New York (acquired at the above sale)
Acquired from the above in 1985

Philadelphia, Philadelphia Museum of Art, Renoir: The Great Bathers, 1990, n.n.

Ambroise Vollard, Tableaux, pastels et dessins de Pierre-Auguste Renoir, vol. I, Paris, 1918, no. 4, illustrated p. 1
Guy-Patrice & Michel Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, 1895-1902, vol. III, Paris, 2010, no. 2355, illustrated p. 381

The canvas has been relined. When examined under UV light, there is no evidence of repainting or retouching. There is some thinning to the pigment all along the canvas periphery. There is minor surface dirt. The painting is in very good condition and presents well.
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.

Portraiture was a central component within Renoir’s varied and often experimental practice. Of all the Impressionists, he was perhaps the most consummate within the genre. Infusing the traditional process of recording the likeness of a sitter with new force and vibrancy, Renoir's success as a portraitist gave him the financial security that enabled him to be selective with his commissions and focus on themes of his own choosing.

The subject of the present work is the important French composer Claude Terrasse. As Pierre Bonnard’s brother-in-law, Terrasse gained introduction to the Parisian avant-garde community, becoming a creative companion and great friend to Renoir among many others. Choosing to depict Terrasse in three-quarter view with his spectacles gently floating above his sharp nose and a furrowed brow, Renoir effectively communicates his subject’s psychological intensity and commitment to his craft. Employing delicate brushwork, Renoir creates balance using both color and structure. He delineates Terrasse within the space using a rich green backdrop against which he emphasizes the dark brown and grey hues of the subject’s hair. Giving the viewer a rare glimpse into the working life of a composer, Renoir studies the effect of interior light upon his subject’s face as he focuses on creating music. 

Celebrated portraits of Terrasse and intimate scenes of his familial life by Bonnard, Louis Sue and Henri Manuel are held in the collections of the Museé d’Orsay, The Metropolitan Museum of Art and the Museé Bonnard.