Pierre-Auguste Renoir’s “Dance at Bougival” stands as a cornerstone of Impressionist painting, capturing a vibrant scene of Parisian life. The journey of this masterpiece from Renoir’s easel to its place in a museum collection is a fascinating tale in itself, revealing layers of art market history and shifts in ownership across decades. Delving into the provenance of “Dance at Bougival” offers art enthusiasts and historians a unique perspective on its enduring legacy.
Initially, on April 16, 1883, Renoir entrusted “Dance at Bougival” to Durand-Ruel, his primary art dealer in Paris. This marked the beginning of a series of transactions that highlight the close relationship between Impressionist artists and their dealers in the late 19th century. Durand-Ruel played a pivotal role in promoting and circulating Impressionist works, and “Dance at Bougival” was no exception. However, on November 12, 1884, the painting was returned to Renoir, indicating perhaps a change of plans or market strategy.
By February 19, 1886, “Dance at Bougival” was once again deposited with Durand-Ruel, this time shipped to their New York gallery. This transatlantic movement underscores the growing international appeal of Impressionism. Later in 1886, on November 22nd, Renoir sold the painting to Durand-Ruel, who, on the very same day, sold it to Mme. Hiltbrunner. This rapid transaction within the same day suggests an active market and pre-arranged sale, common practices in the art trade.
Mme. Hiltbrunner’s ownership continued for several years, though on June 15, 1889, she deposited the artwork back with Durand-Ruel, possibly for consignment or valuation. On August 25, 1891, Durand-Ruel reacquired “Dance at Bougival” from Mme. Hiltbrunner and, in September of the same year, transferred it back to their Paris gallery. This back-and-forth movement between owners and galleries was not unusual, reflecting the fluctuating dynamics of art collecting and dealing.
The painting then entered the collection of Félix-François Depeaux, a collector based in Rouen, on January 2, 1894, purchased from Durand-Ruel in Paris. Depeaux’s acquisition marks a shift into private hands outside the immediate circle of dealers. “Dance at Bougival” remained within the Depeaux family for over a decade until the Depeaux sale at Galerie Georges Petit in Paris on May 31 – June 1, 1906. Lot 38 of this sale saw “Dance at Bougival” bought by Edmond Décap, Depeaux’s brother-in-law, ensuring the painting stayed within the family’s extended circle.
Subsequently, “Dance at Bougival” was passed down to Maurice Barret-Décap in Biarritz, France, indicating its continued presence in French private collections through the early 20th century. In 1937, a significant shift occurred when Barret-Décap sold the painting, possibly through Anthony H. Manley in Paris. The dealers Paul Brame and César de Hauke, representing Jacques Seligmann et Fils, Paris, acquired it next. This transaction highlights the role of art dealers in facilitating the movement of artworks between private collections and eventually to public institutions.
On March 19, 1937, “Dance at Bougival” was transferred from Seligmann’s Paris gallery to Jacques Seligmann and Co. in New York. This swift transatlantic move preceded its final acquisition. In April 1937, the Museum of Fine Arts, Boston (MFA) purchased “Dance at Bougival” from Seligmann, New York, for $150,000. This acquisition on May 5, 1937, marked a pivotal moment, bringing Renoir’s masterpiece into a public collection, ensuring its preservation and accessibility for generations to come.
The detailed provenance of Renoir’s “Dance at Bougival” not only traces its ownership history but also illuminates the complex networks of artists, dealers, collectors, and institutions that shaped the art world during the late 19th and early 20th centuries. From Renoir’s studio to the Museum of Fine Arts, Boston, the journey of this iconic painting is a testament to its enduring appeal and artistic significance.
