Lunch at the Restaurant Fournaise (The Rowers' Lunch)

1. The artist; sold to Durand-Ruel, Paris, July 8, 1881, for 600 francs [per John Collins to the Art Institute of Chicago, July 28, 1997, copy in curatorial object file. See also 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), p. 308, n. 8.]. Alphonse Legrand, Paris, by November 21, 1887 [this and the two following per John Rewald, “Theo van Gogh, Goupil, and the Impressionists,” Gazette des beaux-arts 81, 1248 (Jan. 1973), p. 14; and Rewald, “Theo van Gogh, Goupil, and the Impressionists—II,” Gazette des beaux-arts 81, 1249 (Feb. 1973), p. 103]; sold to Boussod, Valadon & Cie (Theo van Gogh), Paris, November 21, 1887, for 200 francs; sold to Guyotin, Paris, Nov. 22, 1887, for 350 francs; sold to Durand-Ruel, Paris, Mar. 21, 1892, for 1,300 francs [per Durand-Ruel, Paris, stock book for 1891 (no. 2064, as Déjeuner de canotiers), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, Oct. 5, 2010, curatorial object file]; transferred from Durand-Ruel, Paris, to Durand-Ruel, New York, Mar. 22, 1892. [per Anne Distel, “Oarsmen (known as Luncheon by the River),” in Hayward Gallery, Galeries Nationales du Grand Palais, Paris, and Museum of Fine Arts, Boston, Renoir, exh. cat. (Arts Council of Great Britain, 1985), p. 216. Also noted by John Collins; see John Collins to the Art Institute of Chicago, July 28, 1997, curatorial object file, Art Institute of Chicago]; sold to Potter Palmer (d. 1902), Chicago, Apr. 9, 1892, for $1,100 [per Durand-Ruel, New York, stock book for 1888–93 (no. 932, as Déjeuner de canotiers), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, Oct. 5, 2010, curatorial object file]; by descent to the Palmer family; given to the Art Institute of Chicago, 1922.

Recorded by Art Institute of Chicago.

• Paris, 11, rue Le Peletier, 2e exposition de peinture [second Impressionist exhibition], Apr. 1876, cat. 221, as Déjeûner chez Fournaise.
• Art Institute of Chicago, Paintings from the Collection of Mrs. Potter Palmer, May 10–Nov. 1910, cat. 51, as Breakfast by the river.
• Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933, cat. 350.
• Philadelphia, Pennsylvania Museum of Art, Manet and Renoir, Nov. 29, 1933–Jan. 1, 1934, no cat. no. (ill.).
• Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 239.
• Boston, Museum of Fine Arts, Independent Painters of Nineteenth Century Paris, Mar. 15–Apr. 28, 1935, cat. 45 (ill.).
• Arts Club of Chicago, Origins of Modern Art, Apr. 2–30, 1940, cat. 13.
• Birmingham (Ala.) Museum of Art, Opening Exhibition, Apr. 8–June 3, 1951, no cat. no. (ill.).
• New York, Metropolitan Museum of Art, Apr. 4–May 18, 1952, no cat.
• New York, Wildenstein, Olympia’s Progeny: French Impressionist and Post-Impressionist Paintings (1865–1905); Loan Exhibition for the Benefit of the Association for Mentally Ill Children in Manhattan, Inc., Oct. 28–Nov. 27, 1965, cat. 23 (ill.).
• Milwaukee Art Center, The Inner Circle, Sept. 15–Oct. 23, 1966, cat. 81 (ill.).
• Portland (Ore.) Art Museum, 75 Masterworks: An Exhibition of Paintings in Honor of the Seventy-Fifth Anniversary of the Portland Art Association, 1892–1967, Dec. 12, 1967–Jan. 21, 1968, cat. 13 (ill.).

• Catalogue de la 2e exposition de peinture, exh. cat. (Alcan-Lévy, 1876), p. 21, cat. 221.
• Émile Porcheron, “Promenades d’un flâneur: Les impressionnistes,” Le soleil, Apr. 4, 1876, pp. 2–3.
• Art Institute of Chicago, Paintings from the Collection of Mrs. Potter Palmer, exh. cat. (Art Institute of Chicago, 1910), cat. 51.
• Art Institute of Chicago, “Library Notes,” Bulletin of the Art Institute of Chicago 15, 5 (Sep.–Oct. 1921), p. 161 (ill.).
• Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, pt. 2, Paintings (Art Institute of Chicago, 1922), p. 69, cat. 844.
• Art Institute of Chicago, “Accessions and Loans,” Bulletin of the Art Institute of Chicago 16, 3 (May 1922), p. 47.
• Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), pp. 67 (ill.); 150, cat. 844.
• M. C., “Renoirs in the Institute,” Bulletin of the Art Institute of Chicago 19, 3 (Mar. 1925), p. 33 (ill.).
• Julius Meier-Graefe, Renoir (Klinkhardt & Biermann, 1929), p. 124, no. 102 (ill.).
• Reginald Howard Wilenski, French Painting (Hale, Cushman & Flint, 1931), p. 262.
• Daniel Catton Rich, “The Mrs. L. L. Coburn Collection,” in Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, exh. cat. (Art Institute of Chicago, 1932), p. 7.
• Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture; Lent from American Collections, ed. Daniel Catton Rich, 3rd ed., exh. cat. (Art Institute of Chicago, 1933), p. 50, cat. 350.

Two Sisters (On the Terrace)

Art Institute of Chicago

Acrobats at the Cirque Fernando (Francisca and Angelina Wartenberg)

Art Institute of Chicago

Woman at the Piano

Art Institute of Chicago

Chrysanthemums

Art Institute of Chicago

Seascape

Art Institute of Chicago

Near the Lake

Art Institute of Chicago

Alfred Sisley

Art Institute of Chicago

Young Woman Sewing

Art Institute of Chicago

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