維克多．綽克威，巴黎（購自藝術家本人；收藏家身後售出：喬治．佩蒂特畫廊，巴黎，1899年7月1日至4日，拍品編號152）
杜蘭德-魯埃爾，巴黎和紐約（購自上述拍賣會）
馬丁．瑞爾森，芝加哥
芝加哥藝術學院（1927年購自上述人士）
杜蘭德 - 魯埃爾，紐約（1945年購自上述人士處）
山姆．薩爾茲，紐約
雷．B．波爾克夫婦，芝加哥（1949年購入）
亨利．依杜遜夫婦，紐約（1955年購入）
阿克瓦威拉畫廊，紐約
約瑟夫．羅森薩福特夫婦，紐約（1974年購自上述人士處；賣出：紐約蘇富比，1976年3月17日，拍品編號8）
私人收藏，倫敦（購自上述拍賣會）
英國鐵路局退休基金，倫敦（賣出：倫敦蘇富比，1989年4月4日，拍品編號16）
私人收藏，倫敦（賣出：紐約蘇富比，1998年11月16日，拍品編號44）
現有收藏家購自上述拍賣會

「皮埃爾-奧古斯特．雷諾阿作品展覽」，巴黎，杜蘭德-魯埃爾， 1883年，品號69
「雷諾阿人像畫」，巴黎，伯恩海姆 - 喜臻畫廊， 1908年
「雷諾阿人像畫」，杜蘭德 - 魯埃爾，巴黎， 1912年，品號54
「雷諾阿油畫、粉彩、素描」，杜蘭德 - 魯埃爾，巴黎， 1920年，品號65
「皮埃爾 - 奧古斯特．雷諾阿」，洛杉磯，洛杉磯縣博物館和三藩市，三藩市藝術博物館， 1955年，品號96，圖錄附彩色圖版
「夏借展」，紐約，大都會藝術博物館， 1966年，品號148
「雷諾逝世五十週年紀念展」，紐約，威爾頓斯坦公司， 1969年，品號39，圖錄附圖版
「雷諾阿，溫柔的叛逆者」，紐約，威爾頓斯坦公司， 1974年，品號28，圖錄附圖版
「英國鐵路養老基金藏三十五副油畫作品」，倫敦，托馬斯．阿格紐父子有限公司， 1984年，品號25，圖錄附圖版
「一個英國收藏的印象派和後印象派作品」，紐約哈密爾頓，科爾蓋特大學皮卡藝術畫廊、得克薩斯州奧斯汀，得克薩斯大學阿徹•M•亨廷頓藝術畫廊、佛羅里達州棕櫚灘，四藝術學會， 1986至87年間，品號39，圖錄附彩色圖版
倫敦，維多利亞和艾伯特博物館，暫行借展 1977-80

溫福特．杜赫斯特，《印象派繪畫：其成因和發展》，倫敦，1904年，圖版頁52
朱利葉斯．邁爾-格雷夫，《奧古斯特．雷諾阿》，巴黎，1912年，圖版102
安布魯瓦茲．伏爾拉，《皮埃爾 - 奧古斯特．雷諾阿的油畫、粉彩和素描》，第1冊，巴黎，1918年，品號336，圖版頁84
安布魯瓦茲．伏爾拉，《夏邦傑夫人的沙龍》，收錄於《藝術和藝術家》，巴黎，1920年，品號IV，圖版頁164
喬治．利飛埃，《雷諾阿與他的友人》，巴黎，1921年，圖版頁39
亞厘畢．安德烈,《奧古斯特．雷諾阿》，巴黎，1928年，圖版13
喬治．利飛埃，《塞尚和雷諾阿的藝術和生命中的兒童》，《活着的藝術》，巴黎，1928年，圖版頁675
朱利葉斯．邁爾 - 格雷夫，《雷諾阿》，萊比錫，1929年，圖版頁140
喬治．格拉普，《活着的藝術》，巴黎，1933年7月，圖版頁280
克勞德．羅傑．馬克思，《雷諾阿》，巴黎，1933年，圖版頁83
查爾斯．特拉斯，《雷諾阿人像畫五十幅》，巴黎，1941年，圖版20
約翰．利瓦德，《雷諾阿素描》，紐約，1946年，圖版12
弗朗索瓦．達奧爾特，《皮埃爾 - 奧古斯特．雷諾阿，水彩、粉彩、素描》，倫敦，1959年，圖版2
約翰．利瓦德，《印象派的歷史》，倫敦，1973年，圖版頁475
芭芭拉．埃利希．威特，《雷諾阿：他的生活、藝術和信件》，紐約，1984年，圖版頁102
弗朗索瓦．霍斯卡，《雷諾阿》，巴黎，1985年，圖版頁150
約翰．利瓦德，《印象派研究》，紐約，1985年，圖版頁173
約翰．利瓦德，《塞尚傳記》，紐約，1986年，圖版頁125
芭芭拉．埃利希．威特，《印象派作品比較》，紐約，1996年，討論頁269
約翰．利瓦德，《保羅．塞尚油畫專題目錄》，第1冊，紐約，1996年，圖版頁302
帕特里斯．蓋伊和米歇爾．杜巴爾維，《雷諾阿油畫、粉彩、素描和水彩畫專題目錄》，第1冊，巴黎，2007年，品號 617，圖版頁589
尼古拉斯．瓦德里，《回顧雷諾阿》，紐約，1987年，圖版頁340
阿爾伯特．哥斯丁尼維奇，《秘寶重現：埃爾米塔日博物館藏印象派名畫和其他重要法國繪畫》，聖彼得堡、紐約，1995年，圖版頁192

In very good condition. Pastel colors are exceptionally lively, fresh and undisturbed. Pastel on paper tambourine mounted to a wooden stretcher. There are artist pinholes visible; three in the upper left corner, two in the upper right corner, and one in the lower left corner. Minor chips and flakes missing along all edges due to prior frame abrasion and handling. Sheet is faintly time-darkened. Glue stains and remnants visible along extreme edges, especially visible along top margin. Minute flecks of gold at all corners. Tape remnants along the extreme edges, verso. 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.

Renoir executed this magnificent portrait of fellow artist Paul Cézanne in 1880, about two decades after the two had met while studying at the Académie Suisse in Paris. This portrait marks the beginning of a period of close friendship between the two artists. As John Rewald explains, "Cézanne's relations with Renoir were particularly close throughout the 1880s. Early in 1882, the two friends met in L'Estaque and worked there together. At the end of the following year, Renoir and Monet, having gone to Genoa, stopped on their return in L'Estaque for a short visit with Cézanne. During the summer of 1885, Cézanne, Hortense Fiquet, and their son spent a month with Renoir and his family at La Roche-Guyon. Four years later, the Renoirs came to Aix, renting a property owned by Cézanne's brother-in-law, where the two worked once more together" (Rewald, The Paintings of Paul Cézanne, op. cit., p. 302).

Renoir himself wrote about their comraderie in a letter to Victor Chocquet, an early patron for the artist and the first owner of the current work: "I've just been sick and I'm convalescing. I can't tell you how kind Cézanne has been to me. He wanted to bring me his whole house. With his mother, we are having a big dinner party at his place for our separation because he is going back to Paris while I have to stay somewhere in the South: strict Doctor's orders" (quoted in Barbara Ehrlich White, Renoir; His Life, Art, and Letters, op. cit., p. 121).

Choquet played a vital role in championing the careers of both artists. Renoir had first introduced Chocquet to Cézanne's works during a visit to the atrists' shop of Père Tanguy in 1875, where the collector immediately bought a canvas and went on to become one of the most devoted collectors of Cézanne's work. Both Renoir and Cézanne painted Chocquet's portrait at various times in the late 1870s (fig. 2). Portrait de Cézanne remained in Chocquet's collection until his death; after the death of his wife in 1899, his collection was sold at the Hôtel Drouot at which time it contꦡained thirty-two works by Cézanne and eleven by Renoir.

At some point shortly following its execution, this work became the basis for a self-portrait by Cézanne that followed the composition of the pastel quite faithfully (fig. 1). John Rewald posits three possibilites for the execution of Cézanne's self-portrait. "It appears most likely that Cézanne obtained the pastel directly from Renoir... Cézanne could have taken the pastel to Pontoise, where he may have made the copy. This would explain why the copy first belonged to Camille Pissarro... Yet it is conceivable that Renoir drew the likeness specifically for Victor Chocquet, of whose collection it was part. Strangely enough, Chocquet did not own a single self-portrait by Cézanne; he may well have commissioned this pastel as he commissioned other works. In that case Cézanne may have copied it in 1882 at Hattenville.... It seems more logical to presume that after trading the pastel with Renoir, copying it in Pontoise, and offering the copy to Pissarro, Cézanne presented Renoir's orginal to Chocquet precisely because the latter was anxious to obtain one of his self-portraits" (Rewald, The Paintings of Paul Cézanne, op. cit., p. 302).

Renoir also continued to draw inspiration from his portrait. He used Portrait de Cézanne in t🧔wo later works, a lithograph in 1902 and a portrait medallion surroundജed by a garland of flowers and fruit executed with the assistance of Richard Guino between 1915 and 1917, which now adorns a small fountain in Aix-en-Provence.