Charles Viguier, Paris (and sold: Galeries Georges Petit, Paris, May 4, 1906, lot 58)
Durand-Ruel, Paris (acquired at the above sale)
Paul Cassirer, Berlin (acquired from the above in 1909)
Private Collection, New York
Wildenstein & Co., New York
Mr. & Mrs. O. Roy Chalk, New York
Acquired in 1993

Paris, Bernheim-Jeune, Renoir, 1900, no. 36
New York, Wildenstein & Co., Renoir, In Commemoration of the Fiftieth Anniversary of Renoir's Death, 1969, no. 22, illustrated in the catalogue

François Daulte, Catalogue raisonné de l'oeuvre peint de Renoir, Lausanne, 1971, no. 221, illustrated n.p.
Elda Fezzi, L'Opera completa di Renoir nel periodo impressionista 1869-1883, Milan, 1972, no. 227, illustrated p. 99
Guy-Patrice & Michel Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. I, Paris, 2007, no. 501, illustrated p. 495

This work is in overall very good condition. The canvas is lined. Some very minor old frame abrasion along extreme perimeter (not visible when framed). Under UV: there is a thin varnish which is difficult to read through but there appear to be two very small spots of retouching above the child's proper left eye. Otherwise, fine.
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.

L’Enfant à la pomme was painted at the height of Renoir's involvement with the Impressionist group in the mid-1870s, and the image exemplifies the charm and sophistication of the artist's portraiture from this period. Such works by Renoir, especially those of children, helped to establish his reputation as the premier portrait painter among the Impressionists, and they would earn him numerous commissions from the upper echelons of Parisian society in the decades to come. Portraiture was a central aspect of Renoir's oeuvre and of all the Impressionists he was perhaps the one who most excelled in the genre, infusing traditional technique with a new sense of force and vibrancy. In the present work, Renoir focuses the viewer's attention on the child's face and the refined depiction of the youth's wonderfully finished countenance underlines the delicacy of the artist's execution. It is said that Renoir was particularly keen on depicting portraits of children who had not yet received their first haircut, seeking to capture them in the full bloom and pure innocence of childhood.

The celebrated contemporary British artist Bridget Riley stated: "I love his children paintings. I think he has the same feeling as Rubens for children, that they are a source of light. They nearly always glow in his paintings. They radiate freshness and youth. They're like little butterflies or small flowers. They're so unbelievably delicate" (quoted in Nicholas Wadley, ed., Renoir, A Retrospective, New York, 1987, p. 377).