Two Generations of Renoir: Pierre-Auguste and ... - Galerie Michael

Renoir
Two Generations

RENOIR-Two Generations Pierre-Auguste, 1841-1919
Enfants jouant à la balle, c. 1900
Lithograph in colors on laid Arches with Ingres watermark MBM.
From the edition of 200. Published by Ambroise Vollard, Paris. Printed by Clot.
With full margins.
Stella 32; Delteil 32. #401674
23 3/8 x 20 1/8”
Front Cover Photos: Left, Alexandre Renoir, 2005. Photo Right, Pierre-Auguste Renoir, c.1917.
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Enfants jouant à la balle, c. 1900
Lithograph on laid paper.
One of several proofs printed in black aside from the edition of 200 printed in
colors. With wide margins.
Stella 32; Delteil 32. #909601
32 7/8 x 24 3/8”

RENOIR, Pierre-Auguste, 1841-1919
Nu endormi au bras levé, c. 1885
Pastel counterproof with some of the outlines redrawn with a fine point in black on tissue-thin Japan paper, mounted on sturdy wove
paper. Counterproof monogram lower left.
Provenance: Ambroise Vollard, the artist’s dealer; the Estate of Henri M. Petiet, Paris. Vollard 1339. #401913
16 7/8 x 19 3/4”
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RENOIR-Two Generations Pierre-Auguste, 1841-1919
Venus à la Pomme, 1913
Bronze sculpture.
Signed and numbered ‘A.P. 30/30’
on the base. #700039
33 x 13”
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Dancer with a Veil (Danseuse au Voile), 1918
Bronze sculpture.
This is a posthumous work published by House of Renoir. Edition number four
of nine. This sculpture was produced from the original plaster mold. #909207
25 3/8 x 18 3/4”

A counterproof is created when a damp sheet of paper is
placed over a chalk or pastel drawing and pressure is applied
by hand-rubbing. The hazier, impressionistic appearance of
the resulting counterproof can be precisely the result that
the artist was seeking. However, the artists can retouch the
counterproof with additional lines or shading, should it need
rejuvenation, so that the counterproof—the same image in
reverse—can be made faithful to the original drawing.
This process was employed extensively in the 18th century by
such artists as François Boucher and Jean-Honoré Fragonard,
who used it to make multiples of their chalk drawings. In the
late 19th century the fresh and airy hues of pastel appealed
to Edgar Degas, Mary Cassatt and Pierre-Auguste Renoir.
These artists produced an important oeuvre in pastels and
their counterproofs. While Degas’s counterproofs have been
known and cherished for almost a century, Renoir’s, commissioned
by his dealer Ambroise Vollard, remained unsold
and virtually unknown until recent years. Some 30 of them
surfaced in the Estate of Henri M. Petiet, the legendary Paris
dealer who bought them from Vollard in 1939 and kept them
out of sight in a drawer until his death in 1980.
Baigneuse s’essuyant, c. 1900
Pastel counterproof on tissue-thin Japan
paper mounted on sturdy wove paper.
Counterproof monogram lower left.
Provenance: Ambroise Vollard, the artist’s dealer; the Estate of
Henri M. Petiet, Paris.
Vollard 1226. #401914
22 1/2 x 18 3/8”
RENOIR, Pierre-Auguste, 1841-1919
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RENOIR-Two Generations Pierre-Auguste, 1841-1919
Etude pour une baigneuse, c. 1906
Etching on blue-green laid Bassuet Verdâtre paper.
Signature stamp lower right.
A rare proof of Stella’s first state of two. Outside the editions of 55 and 1,000.
Delteil 16; Stella 16. With full margins. #909015
9 3/8 x 6 13/16”
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Etude pour une baigneuse, c. 1906
Drypoint on wove paper.
Signature stamp lower right.
Stella’s second state of two. From the edition of 1,000. With margins.
Delteil 16; Stella 16. #909016
8 3/4 x 6 1/2”

L’Enfant au Biscuit (Jean Renoir), 1899
Color lithograph on Ingres d’Arches laid paper.
This is a proof of the only state printed in five or six colors prior to the edition
of 100. Some impressions were printed in as many as eight colors. Printed by
Auguste Clot, Paris. Jean Renoir was the second son of the artist. This subject
was drawn for inclusion in “L’Album d’Estampes Originales de la Galerie Vollard”,
1898, which was never published. Stella 31; Delteil 31. #909238
13 x 10”
RENOIR, Pierre-Auguste, 1841-1919
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L’Enfant au Biscuit (Jean Renoir), 1899
Lithograph on Ingres d’Arches paper with MBM watermark.
This is a proof of the only state printed in black prior to the edition of 100. Printed
by Auguste Clot, Paris. Jean Renoir was the second son of the artist. This subject
was drawn for inclusion in ‘L’Album d’Estampes Originales de la Galerie Vollard’,
1898, which was never published. Stella 31; Delteil 31. #908219
12 5/8 x 10 5/8”

RENOIR-Two Generations Pierre-Auguste, 1841-1919
Une Mère et Deux Enfants, 1912
Lithograph.
A fine impression of the only state from the total edition of 50.
Delteil 54; Stella 54. #909129
19 x 25”
Le Petit Garçon au Porte-Plume (Claude Renoir Écrivant), 1910
Lithograph on wove paper.
The only state from the edition of about 50 proofs.
Delteil 55; Stella 55. #905866
11 3/4 x 15 5/8”
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Louis Valtat, c. 1904
Lithograph. Signed in the plate lower right. From the album ‘Douze Lithographies
Originales de Pierre-Auguste Renoir’, published by Ambroise Vollard, Paris, 1919.
This is the only state. 1-50 printed on Japon paper; 51-100 printed on Vellum.
Stone effaced. #908968 11 3/4 x 9 1/2”
RENOIR, Pierre-Auguste, 1841-1919
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Auguste Rodin, 1910
Original lithograph in black and white.
Stamp signature lower right.
Delteil 49; Stella 49. #907540
15 5/8 x 15 1/16”

RENOIR-Two Generations Pierre-Auguste, 1841-1919
Claude Renoir, de trois-quarts à droite, 1908
Soft-ground etching printed in black on cream laid paper.
A superb, dark impression of the second state of two.
With full margins.
Delteil 18; Stella 18. #909014
6 1/2 x 5 1/8”
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Pierre Renoir de face, c. 1893
Lithograph on Japan paper.
Signed in brown-red crayon lower right.
Printed in dark olive green apart from the partly signed
and numbered edition of 100 on China paper.
Delteil 27; Stella 27. #907556
14 x 9 3/4”

RENOIR, Pierre-Auguste, 1841-1919
La danse à la campagne, 2e planche, 1890
Soft-ground etching.
Signature stamp lower right.
Only state.
Delteil 2; Stella 2. #909395
12 3/4 x 9 3/4”
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La danse à la campagne, 2e planche
A Dance in the Country
Bougival, the place depicted in this work, was a place of resort on the
Seine, a few miles outside of Paris, where young people gathered on
Sundays for dancing, boating and country amusements. Not far away,
on a small island in the Seine opposite Croissy, between Bougival and
Chatou, was the bathing spot known as La Grenouillere where Monet
and Renoir had painted side by side in 1869. It was at Croissy, in the
riverside restaurant of Mere Fournaise, that Renoir painted his Luncheon
of the Boating Party in 1880.
A pencil drawing titled, Dancing at Bougival, served as the model for
this work. Renoir also painted his famous painting Dancing at Bougival
in 1883, which is of the same subject manner. Both of these works now
hang in the Museum of Fine Arts, Boston.

RENOIR-Two Generations Alexandre, b. 1974
W
hen I was
young, I
used to
rebel against
the shadow
of my greatgrandfather
and I didn’t know a great deal
about him. It seemed to me that no matter
what I did, he had done it first, and better.
Now I understand. Having grown up with
a 500 book library about him (something I
thought everyone had on their own ancestry),
I began to learn what kind of man he
was. He inspired me to better myself and my
art. The stories I learned, the philosophies
he believed, and the work that came from
them made me want to know more. Stories
about his playful nature, like when a friend
asked to be painted opposite a beautiful
girl (somehow I suspect the friend had a
crush on her). He asked my great-grandfather
to make them more compatible, and
my great-grandfather agreed—he painted
his friend 20 years younger to immortalize
them in the same age group (Impressionist
cosmetic surgery I call it). He believed there
were enough dark things in the world and
he did not want to add to them. He wanted
his paintings to inspire peace and enliven
someone’s life. These are some of the ideals
that I have taken to heart and adopted
from my great-grandfather. I no longer rebel
against Pierre-Auguste Renoir, I listen to
what he can teach me.
Alexandre Renoir, October, 2008
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Portrait of Pierre-Auguste
Renoir
Oil on canvas.
Signed lower right. #401901
40 x 30”

Le pont japonais
Oil on canvas.
Signed lower right. #401919
40 x 60”
RENOIR, Alexandre, b. 1974
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RENOIR-Two Generations Alexandre, b. 1974
Boca Day
Oil on canvas.
Signed and dated lower right. #401311
24 x 30”
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An Intimate View of Lily Pads and Cattails
Oil on canvas.
Signed lower right. #401680
20 x 24”

Water Lillies with Cattails
Oil on canvas.
Signed lower right. #401921
40 x 60”
RENOIR, Alexandre, b. 1974
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RENOIR-Two Generations Alexandre, b. 1974
Flower Vase with Oranges
Oil on canvas.
Signed lower right. #401784
24 x 20”
Mixed Bouquet
Oil on canvas.
Signed lower right. #401907
24 x 30”
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White Vase with Lilacs and Tulips
Oil on canvas.
Signed lower right. #401882
20 x 16”
Bouquet de fleurs
Oil on canvas.
Signed lower right. #401880
24 x 20”

Blue Vase with Lilacs
Oil on canvas.
Signed lower right. #401881
24 x 20”
RENOIR, Alexandre, b. 1974
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The Rose Vase
Oil on canvas.
Signed lower right. #401902
40 x 30”

RENOIR-Two Generations Alexandre, b. 1974
La Conversation, 2005
Hand-colored lithograph on
grey wove paper.
Signed in pencil and
numbered. Printed in black,
with extensive hand-coloring
by the artist. From the Roman
Numeral edition of 200.
19 x 16 1/2”
Trois Amis, 2005
Hand-colored lithograph on
grey wove paper.
Signed in pencil and numbered.
Printed in black, with
extensive hand-coloring by
the artist. From the Roman
Numeral edition of 200.
19 1/2 x 15 1/4”
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L’Homme au Canotier,
2005
Hand-colored lithograph on
grey wove paper.
Signed in pencil and numbered.
Printed in black, with
extensive hand-coloring by
the artist. From the Roman
Numeral edition of 200.
16 x 18 7/8”
Aline et son Chien, 2005
Hand-colored lithograph on
grey wove paper.
Signed in pencil and numbered.
Printed in black with
extensive hand-coloring by
the artist. From the Roman
Numeral edition of 200.
18 1/2 x 15 1/4”

Back Cover:
The Boating Party, 2005
Hand-colored lithograph with watercolor and
gouache on white Rives BFK paper.
Signed lower right. From the signed and unnumbered
edition of 195. There are 20 trial-artist’s proofs.
24 x 33”
Right:
Les Jeunes Filles au Chapeau, 2005
Hand-colored lithograph on wove paper.
Pencil signed and dated lower right
20 x 16”
RENOIR, Alexandre, b. 1974
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