Eugène Blot, Paris (sale: Hôtel Drouot, Paris, 9th & 10th May 1900, lot 147)
M. Cabrol, Paris (purchased at the above sale)
Gustave Fayet, Igny (1925)
Paul Rosenberg & Co., Paris and Wildenstein & Co., Paris (jointly acquired from the above in November 1928)
Wildenstein, New York
Grace Rainey Rogers, New York (acquired from the above in March 1930. Sale: Parke-Bernet Galleries, Inc., New York, Collection of the Late Grace Rainey Rogers, 18th & 19th November 1943, lot 49)
Edgar William & Bernice Chrysler Garbisch, New York (purchased at the above sale. Sale: Sotheby Parke Bernet Inc., New York, The Garbisch Collection, 12th May 1980, lot 29)
Ebehard Igler (purchased at the above sale. Sale: Sotheby's, New York, 11th May 1987, lot 24)
Private Collection (sale: Sotheby's, New York, 6th May 2004, lot 125)
Purchased at the above sale by the previous owner

Jean-Gabriel Goulinat, 'Les Collections Gustave Fayet', in L'Amour de l'Art, Paris, April 1925, illustrated p. 140
François Daulte, Auguste Renoir, catalogue raisonné de l'œuvre peint, Lausanne, 1971, vol. I, no. 79, illustrated
Elda Fezzi, Tout l'œuvre peint de Renoir, 1869-1883, Paris, 1985, no. 73, illustrated
Guy-Patrice & Michel Dauberville, Renoir, catalogue raisonné des tableaux, pastels, dessins et aquarelles 1858-1881, Paris, 2007, no. 297, illustrated p. 340

The canvas is lined. Apart from a few small spots of retouching near all four corners, visible under ultra-violet light, this work is in good condition. Colours: Overall fairly accurate, although fresher and brighter in the original.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Jeune femme à l'ombrelle was painted in 1872, at the beginning of Renoir's involvement with the Impressionist group. During the early 1870s, the artist began experimenting with painting en plein air, preferring the freshness of natural light to the staid atmosphere of his studio. This technique presented a radical departure from the traditional, academic practice of painting from sketches and depictions of interiors, and it launched Renoir and his fellow Impressionists into the forefront of the avant-garde. With its quick, spontaneous brush-strokes depicting a young woman in nat♔ure, the present work is a fine example of the aes🍌thetic that would come to define Impressionist painting of the 1870s and 1880s.

The subject of this work is most likely Madame Claude Monet, née Camille Doncieux, who sat for a number of Renoir's paintings in 1872. A devoted companion to her husband Claude Monet, she accompanied him in many of his travels and was depicted in several of his works of this era. During the summers of 1872-74, Renoir frequently visited Monet and his family at their Maison Aubry in Argenteuil, a small suburb of Paris only fifteen minutes from the Gare Saint-Lazare. The present work was most likely completed while Renoir was on one of his sojourns to the Monet home, where he often painted portraits of his hosts and the environs of their Maison Aubry. Renoir usually depicted Madame Monet in the interior of her house, often reading or seated on a sofa. In Jeune femme à l'ombrelle, however, the artist has chosen to depict her outdoors, sitting in the sun with a parasol, enjoying the summer air. She appears to be ♋in perfect harmony with her surroundings, the quick, broad brushwork of her white dress merging with the green of the grassy field around her, while the dark colour of her hair mirrors the brown strokes of the trees in the background. Looking straight ahead and unaware of being watched, the woman creates a sense of ease and balance in the natural environment, a theme that would re𒆙cur in some of Renoir's most accomplished paintings.