Geoffrey Shakespeare (sale: Christie's, London, 15th July 1938, lot 39)
J. Paul Getty, New York
Gilbert Miller, New York (acquired by 1946)
Hammer Galleries, New York
Himan Brown, New York (sale: Christie's, New York, 15th May 1990, lot 23)
Private Collection, New York
Acquired from the above by the present owner in 1993

Ambroise Vollard, Tableaux, Pastels & Dessins de Pierre Auguste Renoir, Paris, 1918, vol. II, illustrated pl. 73
Ambroise Vollard, Pierre-Auguste Renoir, Paintings, Pastels and Drawings, San Francisco, 1989, no. 1078, illustrated p. 241

The canvas is lined. There is a 16cm. thin horizontal line of intermittent specks of retouching in the sky running parallel to the upper edge. There are a few scattered specks of retouching in the upper left and right corners. All retouching is visible under UV light. Otherwise, apart from some light craquelure towards the centre, this work is in good condition.
"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."

In 1907 Pierre-Auguste Renoir moved permanently to the South of France, near Cagnes-sur-Mer, where the Renoir family had been spending more and more time since 1900.  He bought a piece of land and built a farmhouse called 'Les Collettes' which provided the subject for many of his later canvases. The warmer climes and bright sunlight of Southern France eased the severe discomfort of his arthritis as well as encouraging the Impressionist to brighten his already vibrant palette. 'The immediate reason for these changes was Renoir's health...  but they reflected a more general change in his art, towards the Classicism of the Mediterranean and, more particularly, towards ideas then associated with the revival of Provençal culture...' (John House, Renoir, New York, 1985, pp. 268-269)

The present work is a glorious depiction of a perfect day in the sunshine of the port at Cagnes-sur-Mer. The palette, so typi𓆏cal of Renoir, is bright and warm with numerous examples of Renoir's virtuoso handling of paint and composition: towards the lower right we see the dappled sunshine falling on the path, specifically highlighting the bystanders leaning against the wall. Here is an artist, at nearly 70 years of age, who perfectly understands the interplay of light, colour and composition. It is no wonder his art is considered the ultimate trophy of the Impressionist collector.

Fig. 1, Renoir painting the coast at Cagnes, 1903