Galerie B💮ernheim-Jeune, Paris (acqui🎶red from the artist)

L'Art Moderne, Lucern (by 1935)

Count Thor Furnholmen, Oslo

W. Semcesen, Oslo (until 1943)

Svensk-Franska Konstgalleriet, Stockholm

Gustaf Soderland, Stockholm

Hans Soderland, Malmo

Wally Findlay Galleries, New York

Milton Holland, Los Angeles

T. Gilbert Brouillette (by 1965)

Private Collect✱ion (sold: Sotheby's, New York, May 20, 1982, 🍌lot 203)

Private Collection (sold: Sotheby's, New York, May 9, 2001, lot🌜 335)

Acquired at the above sale

Oklahoma City, Oklahoma Art Center, 7th Annual 8 state exhibition of painting and sculpture, 1965, no. 14

Hiroshima, Prefectural Art Museum & Tokyo, The Bunkamura Museum of Art, Monet and Renoir: Two Great Impressionist Trends, 2003-04, no. 71, illustrated i𝕴n color in the catalogue

This work is in very good condition. The canvas is strip lined.  Under ultra-violet light, there is one hairline of horizontal retouching in the center and a few, miniscule lines in the foliage in the background. 
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.

In the last years of his life, Renoir devoted himself to the recreation of an idyllic world largely undisturbed by references to modernity.  The female nude had figured prominently in his work from his earliest years, and it proved to be a subject for which his attention never waned.  In treatment, it had ranged from the high Impressionism of the Torse de femme au soleil, 1876 to the icy classical perfection of the Grandes baigneuses of 1887. After 1900, the nude became his most important theme,💜 one that enabled him to unite responsiveness to the physical presence of his models, while demonstrating his awareness of historical continuity.

Always interested in questions of technique, Renoir showed dazzling mastery of a broad range of painterly effects in his late works.  John House has noted that he was able to "combine breadth with extreme delicacy of effect [...]  At times he painted very thinly and with much medium over a white priming, particularly in his backgrounds, allowing the tone and texture of the canvas to show through, and creating effects almost like watercolour. His figures tend to be more thickly painted, but not with single layers of opaque colour; instead fine streaks of varied hue are built up, which create a varied, almost vibrating surface" (J. House in Renoir (exhibition catalogue), Hayward Gallery, London; Galeries Nationales du Grand Palais, Paris & Museum of Fine Arts, Bos🅰ton, 1985-86, p. 278).