杜杭-胡埃，巴黎（1891年8月前購自畫家本人）
保羅．杜杭-胡埃，巴黎
瑪麗- 路易絲．瓦萊爾（出生時姓杜杭-胡埃），巴黎（1958年前購入）
山姆．索茲，紐約（約於1965年購自上述人士）
菲利普．萊文夫婦，紐約（1968年4月購自上述人士）
詹尼斯．莱文，紐約（2001年由上述人士餽贈；賣出：紐約佳士得，2006年11月9日，拍品編號336）
現有藏家購自上述拍賣會

「雷諾瓦展覽巴黎」，杜杭-胡埃畫廊，1892年，品號32 （稱《在普爾維爾的房子》）
「莫內和雷諾瓦的風景畫」，巴黎，杜杭-胡埃畫廊， 1908年，品號59
「莫內、畢沙羅、雷諾瓦和希斯里的風景畫」，巴黎，杜杭-胡埃畫廊，1933年，品號29
「法國藝術當中的景致」，倫敦，英國皇家藝術學院，1950年，品號265
「向雷諾瓦致敬」，巴黎，杜杭-胡埃畫廊，1958年，品號20 （稱《普爾維爾‧皮爾森的小屋》）
「紐約珍藏」，紐約，大都會美術博物館，1968年，品號181
「詹尼斯．莱文法國藝術珍藏」，紐約，大都會美術博物館，2002-3年，品號13，圖錄附彩色圖版
「印象派的觀點：菲利普和詹尼斯基金會的油畫及雕塑珍藏」，伯明翰，伯明翰藝術博物館、里諾，內華達州藝術博物館、孟菲斯，孟菲斯-布魯克斯藝術館、大瀑布城，大瀑布城藝術博物館、斯波坎，西北藝術和文化博物館、辛辛那提，塔夫脫美術館、格林內爾，佛卡納畫廊及維洛海灘，維洛海灘博物館，2004-06年，品號21
 

朱里亞斯．麥爾-蓋費，《雷諾瓦》，萊比錫，1929年，品號154，圖版頁159
埃爾達．菲斯，《雷諾瓦油畫作品， 1869-1883年印象派時期》，巴黎，1985年，品號351，圖版頁103
吉耶．帕特利斯和米歇爾．達烏貝維爾，《雷諾瓦油畫、粉彩、素描和水彩畫專題目錄》，第2冊，巴黎，2009年，圖版頁139

This work is in good condition. Canvas is lined. Under UV light scattered inpainting is visible in the sky including two feathery horizontal lines in upper right corner, measuring approximately seven inches long each. Inpainting is also visible in the upper left and right corners to address frame abrasion. One tiny spot of inpainting is visible on the roof of the house at extreme right, 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.

The early 1880s were a particularly fruitful time for Renoir, during which he began to achieve a degree of economic success. He travelled extensively at this time in North Africa, Jersey, Guernsey, and Italy, exhibited at the Salons from 1881 to 1883 and painted some of his most famous compositions including Le Déjeuner des canotiers and La Danse à Bougival. Unlike his♏ colleagues who depicted laborers in landscapes, Renoir preferred a 🌟different mode that focused on figures at leisure.

Le Châlet de Blanche Pierson à Pourville was painted during one of Renoir's stays with Paul Bérard, an embassy secretary who hosted Renꦫoir for many summers in the late 1870s and early 1880s at his home, the Château de Wargemont.

Nearby Pourville was an increasingly popular destination for Parisians during the latter part of the nineteenth century. The present composition depicts the house that the famous French actress, Blanche Pierson, had taken for the summer of 1882. Pierson came from a family of actors, taking her first role on stage at the age of 11. Reknowned for her talent as well as for her beauty, her role in the 1872 production of La Dame aux Camélias cemented her reputation. "The French actress Blanche Pierson....was already known on the Paris stage for her astonishing beauty, which added conviction to her amusing interpretations of coquette and ingénue roles in contemporary plays (Richard Shone, The Janice H. Levin Collection of French Art, New York, 2002, p. 54)" [fig🥃.1]. By 1882 when Renoir painไted her vacation home, she was an established success.

The present landscape was one of five works by Renoir in the collection of Janice H. Levin, an important New York philanthropist and art collector, who donated a portion of her collection to the Metropolitan Museum of Art in New York. Her collection, started with her husband in the late 1960s and continued by her after his death in 19♍71, focused on Impressionist works🐭 that depict figures at leisure, in both landscapes and interiors.