Auguste Renoir (French, Limoges 1841–1919 Cagnes-sur-Mer)
Oil on canvas
21 1/4 x 25 5/8 in. (54 x 65.1 cm)
The Mr. and Mrs. Henry Ittleson Jr. Purchase Fund, 1956
On view at The Met Fifth Avenue in Gallery 824
Renoir spent part of the summer of 1881 at the country home of his patron Paul Berard in the small Normandy village of Wargemont. During his stay, Renoir painted two similar still lifes in contrasting color harmonies, showing the family’s faïence jardinière piled high with peaches. Berard purchased the present work for himself; the other version (61.101.12) was featured in the seventh Impressionist exhibition the following year.
Inscription: Signed and dated (lower left): Renoir. 81.
[Durand-Ruel, Paris, 1881; bought from the artist on February 7; sold on October 10 to Bérard]; Paul Berard, Paris and Wargemont (1881–1905; his estate sale, Galerie Georges Petit, Paris, May 8–9, 1905, no. 27, as "Les pêches," for Fr 6,000 to Lucien Guérin for Pra); Albert Pra, Paris (1905–38; his estate sale, Galerie Charpentier, Paris, June 17, 1938, no. 51, as "Les fruits," for Fr 465,000 to Rosenberg); [Paul Rosenberg, Paris, from 1938; inv. 3993; sold to Bignou]; [Étienne Bignou, Paris, until 1939; sold to Cargill]; William A. Cargill, Carruth, Bridge of Weir, Scotland (1939–52; stored at Reid & Lefevre, New York, during the war and sold in October 1952 to Bignou); [Étienne Bignou, Paris, 1952; sold to Salz]; [Sam Salz, New York, 1952–53; sold to Vogel]; Edwin C. Vogel, New York (1953–56; sold to MMA)
Paris. Galeries Durand-Ruel. "Exposition A. Renoir," May 1892, no. 60 (as "Peches et raisins, lent by Paul Bérard [sic]).
Paris. Galeries Bernheim Jeune et Fils. "Exposition A. Renoir," January 25–February 10, 1900, no. 7 (as "Pêches et raisins," lent by M. Bérard [sic]).
Paris. Musée de l'Orangerie. "Exposition Renoir, 1841–1919," 1933, no. 63 (as "Peches [sic] et Raisins," lent by Albert Pra, Paris).
Detroit Institute of Arts. "The Age of Impressionism and Objective Realism," May 3–June 2, 1940, no. 36 (as "Still-Life," lent anonymously by Bignou Gallery, New York).
New York. Bignou Gallery. "A Selection of 19th Century French Paintings," October 22–November 17, 1945, no. 9 (as "Peaches," lent anonymously).
London. Lefevre Fine Art Ltd. "Renoir," 1948, no. 8 (lent anonymously).
New York. Wildenstein. "Renoir: In Commemoration of the Fiftieth Anniversary of Renoir's Death," March 27–May 3, 1969, no. 38.
Naples. Museo di Capodimonte. "Capolavori Impressionisti dei Musei Americani," December 3, 1986–February 1, 1987, no. 42 (as "Natura morta con pesche e uva").
Milan. Pinacoteca di Brera. "Capolavori Impressionisti dei Musei Americani," March 4–May 10, 1987, no. 42.
Fort Lauderdale. Museum of Art. "Corot to Cézanne: 19th Century French Paintings from The Metropolitan Museum of Art," December 22, 1992–April 11, 1993, no catalogue.
Museum of Fine Arts, Houston. "The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920," February 4–May 6, 2007, no. 101.
Berlin. Neue Nationalgalerie. "Französische Meisterwerke des 19. Jahrhunderts aus dem Metropolitan Museum of Art," June 1–October 7, 2007, unnumbered cat.
Atlanta. High Museum of Art. "Inspiring Impressionism: The Impressionists and the Art of the Past," October 16, 2007–January 13, 2008, no. 82.
Denver Art Museum. "Inspiring Impressionism: The Impressionists and the Art of the Past," February 23–May 25, 2008, no. 82.
Seattle Art Museum. "Inspiring Impressionism: The Impressionists and the Art of the Past," June 19–September 21, 2008, no. 82.
Exposition Renoir, 1841–1919. Exh. cat., Musée de l'Orangerie. Paris, 1933, p. 29, no. 63, remarks that it was painted at Wargemont and appears as pl. XXXVIII in his "Album".
Musée de l'Orangerie. Exposition Renoir, 1841–1919; Album de soixante-quatre reproductions. [Paris], 1933, unpaginated, no. 63, pl. XXXVIII.
Maurice Berard. Maitres du XIXe siècle: Renoir à Wargemont. Paris, 1938, pp. 12–13, unpaginated ill.
"Vom Pariser Markt." Weltkunst 12, no. 26/27 (July 3, 1938), p. 4, ill.
Charles Sterling. La Nature morte de l'antiquité à nos jours. Paris, 1952, p. 90, pl. 89 [2nd French ed., rev. 1981, p. 124, pl. 89].
François Daulte. Letter to Theodore Rousseau. April 4, 1963, gives information about its provenance, including a reference to the "Inventaire des tableaux de Renoir vendus avant 1891," which lists this painting as sold to Durand-Ruel on October 10, 1881.
François Daulte. Letter to Theodore Rousseau. April 30, 1963, corrects his previously given provenance information, stating that Durand-Ruel purchased this picture from the artist on February 7, 1881.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp. 153–54, ill.
, catalogues the painting.
Elda Fezzi. L'opera completa di Renoir. [reprint ed., 1981]. Milan, 1972, pp. 109–10, ill.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, p. 166, ill. (color).
Richard Rand inThe Clark Brothers Collect: Impressionist and Early Modern Paintings. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., 2006, p. 262, fig. 194, notes that when Sterling Clark purchased this picture, he claimed it was superior to his brother's similar "Still Life with Peaches" (MMA 61.101.12); states that Stephen Clark was a member of the purchasing committee of the board of trustees when this work was acquired by the MMA and four years later bequeathed his version to the Museum, remarking "one can easily imagine Stephen's pleasure in voting for the acquisition with the knowledge that his own painting would in time hang alongside it, as Renoir had intended".
Ann Dumas inInspiring Impressionism: The Impressionists and the Art of the Past. Ed. Ann Dumas. Exh. cat., High Museum of Art, Atlanta. Denver, 2007, pp. 40, 261, no. 82, ill. p. 45 (color).
Susan Alyson Stein inThe Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 138–39, 253, no. 101, ill. (color and black and white).
Susan Alyson Stein inMasterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, p. 155.
Guy-Patrice Dauberville, and Michel Dauberville, with Camille Fremontier-Murphy. Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles. Vol. 1, 1858–1881. Paris, 2007, pp. 138–39, no. 46, ill.
The jardinière depicted was also the subject of a similar still life by Renoir in the Museum's collection (MMA 61.101.12). Both paintings were executed in 1881 at the summer home of Renoir's friend Paul Bérard in Wargemont, near Dieppe, where the compote often decorated the dining room table [see Ref. Bérard 1938].
A replica or fake was sold at Hôtel Drouot, Paris, December 10, 1943, no. 63.