Portrait of Paul Haviland
Framed: 32 5/8 x 27 1/8 x 3 3/4 inches (82.87 x 68.9 x 9.53 cm)
Hommage à Berthe Morisot et à Pierre Auguste Renoir, Musée Municipal, Limoges, France, July 19–October 10, 1952, no. 43, as Portrait de Paul Haviland enfant.
Chefs-d’œuvre de Renoir dans les collections particulières françaises: Exposition organisée au profit de la Ligue contre le Taudis, Galerie Beaux-Arts, Paris, June 10–27, 1954, no. 31, erroneously as Portrait de M. Georges Haviland.
New Acquisitions of 1955, The Nelson-Atkins Museum of Art, Kansas City, MO, April 8–29, 1956, no cat., erroneously as Portrait of Georges Haviland.
Renoir: loan Exhibition for the Benefit of the Citizens’ Committee for Children of New York City, Inc., Wildenstein and Co., New York, April 8–May 10, 1958, no. 41, erroneously as Portrait of George [sic] Haviland.
Renoir: A Loan Exhibition for the Benefit of the American Association of Museums in Commemoration of the Fiftieth Anniversary of Renoir’s Death, Wildenstein and Co., New York, March 27–May 3, 1969, no. 56, as Portrait of Paul Haviland.
Paintings by Renoir, The Art Institute of Chicago, February 3–April 1, 1973, no. 48, as Paul Haviland.
Renoir 1985, Hayward Gallery, London, January 30–April 21, 1985; Grand Palais, Paris, May 15–August 2, 1985; Museum of Fine Arts, Boston, October 9, 1985–January 6, 1986, no. 73, as Paul Haviland.
Impressionism: Selections from Five American Museums, The Carnegie Museum of Art, Pittsburgh, November 4–December 31, 1989; The Minneapolis Institute of Arts, January 27–March 25, 1990; The Nelson-Atkins Museum of Art, Kansas City, MO, April 21–June 17, 1990; The Saint Louis Art Museum, July 14–September 9, 1990; The Toledo Museum of Art, September 30–November 25, 1990, no. 74, as Portrait of Paul Haviland.
Renoir: Master Impressionist, Queensland Art Gallery, Brisbane, July 30–September 11, 1994; National Gallery of Victoria, Melbourne, September 18–October 30, 1994; Art Gallery of New South Wales, Sydney, November 5, 1994–January 15, 1995, no. 24, as Portrait of Paul Haviland.
Renoir’s Portraits: Impressions of an Age, National Gallery of Canada, Ottawa, June 27–September 14, 1997; The Art Institute of Chicago, October 17, 1997–January 4, 1998; Kimbell Art Museum, Fort Worth, TX, February 8–April 26, 1998, no. 48, as Paul Haviland.
Renoir: From Outsider to Old Master 1870–1892, Bridgestone Museum of Art, Tokyo, February 10–April 15, 2001; Nagoya City Art Museum, April 21–June 24, 2001, no. 31, as Portrait of Paul Haviland.
Ritratti e figure: capolavori impressionisti, Complesso del Vittoriano, Rome, March 7–July 6, 2003, no. 32, as Ritratto di Paul Haviland.
Renoir: La maturità tra classico e moderno, Complesso del Vittoriano, Rome, March 8–June 29, 2008, no. 19, as Ritratto di Paul Haviland.
Commissioned from the artist by the sitter’s father, Charles Edouard Haviland (1839–1921), Limoges, France, and his maternal grandfather, Philippe Burty (1830–1890), Paris, 1884–1921;
By descent to Haviland’s son, the sitter, Paul Burty Haviland (1880–1950), Paris, 1921–1950;
Inherited by his widow, Suzanne Lalique-Haviland (1892–1989), Paris, 1950–no later than 1952 [1];
Given to her daughter, Nicole Marić-Haviland (formerly Blocq-Mascart, née Haviland, 1923–2024), Paris, probably by July 19, 1952–July 27, 1954 [2];
Purchased from Nicole Marić-Haviland by Wildenstein and Co., New York, by July 1954–March 22, 1955;
Purchased from Wildenstein by the Nelson-Atkins Museum of Art, Kansas City, MO, 1955.
Notes
[1] Precisely how Nicole Marić-Haviland acquired the work from her mother is not clear. According to correspondence from Jean d’Albis, the last member of the Haviland family to own the work was Suzanne Lalique and “when the work was sold it was exhibited at the 1952 exhibition.” See correspondence from Jean d’Albis, Haviland Porcelain, to Ralph T. Coe, Curator of Paintings and Sculpture, January 15, 1965, NAMA curatorial files. However, d’Albis must not have known about Marić-Haviland’s ownership. It is possible that Lalique-Haviland gave or sold the painting to her daughter after the 1952 exhibition Hommage à Berthe Morisot et à Pierre-Auguste Renoir.
[2] In 1954, the painting appeared at Chefs-d’œuvre de Renoir dans les collections particulières françaises: Exposition organisée au profit de la Ligue contre le Taudis, an exhibition at the Galerie Beaux-Arts, Paris. According to the exhibition catalogue, the painting was lent by “Mme Bloch-Mascard,” which was a misspelling of Blocq-Mascart. Nicole Haviland married Maxime Blocq-Mascart (1894–1965) in 1949, and they divorced in 1952. Sometime after 1954, Haviland remarried a Yugoslav national named Sreten Marić (1903–1992) and moved to Novi Sad, now part of modern-day Serbia. Some documents may spell Nicole Marić-Haviland’s name as the Latinized “Nicole Maritch-Haviland.” The pronunciation is the same, and both versions of the name seem to have been used in official sources. Thanks to Preston Hereford, curatorial intern, for his work on the provenance of this painting in 2019.
Hommage à Berthe Morisot et à Pierre-Auguste Renoir, exh. cat. (Limoges, France: Musée municipal, 1952), 36, (repro.), as Portrait de Paul Haviland enfant.
Robert Margerit, “L’inauguration au Musée Municipal de l’exposition A. Renoir-Berthe Morisot,” Le Populaire du Centre 46, no. 169 (July 21, 1952): 4.
M. F., “Remarquable exposition Renoir et Berthe Morisot,” Écho du Centre, no. 1351 (July 21, 1952): unpaginated.
André Warnod, “Renoir et Berthe Morizot [sic] à Limoges,” Le Figaro 126, no. 2496 (September 18, 1952): 9.
Chefs-d’œuvre de Renoir dans les collections particulières françaises, exh. cat. (Paris: Galerie Beaux-Arts, 1954), 55, erroneously as Portrait de M. Georges Haviland.
Bob Sanford, “Charts for Wartime Activity A Part of Her Varied Career: Miss Jari Havlena, Whose Works Are on Exhibit Here, Draws on Training as a Draftsman and Musician for Abstract Subjects,” Kansas City Star 75, no. 224 (April 29, 1955): 14, (repro.), erroneously as Portrait of Georges Haviland.
“New Acquisition,” Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Art) 22, no. 8 (May 1955): unpaginated, (repro.), erroneously as Portrait of Georges Haviland.
“Major Acquisitions,” Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Art) 23, no. 7 (April 1956): unpaginated, erroneously as Portrait of Georges Haviland.
Winifred Shields, “An Active and Rewarding 1955 is Reported by Nelson Gallery,” Kansas City Star 76, no. 265 (June 8, 1956): 26.
Ross E. Taggart, “Kansas City Art,” Library Journal 82, no. 12 (June 15, 1957): 1596.
Renoir: Loan Exhibition for the Benefit of the Citizens’ Committee for Children of New York City, Inc., exh. cat. (New York: Wildenstein, 1958), 55, (repro.), erroneously as Portrait of George [sic] Haviland.
“Art: Renoir Exhibition,” New York Times 107, no. 36,000 (April 9, 1958): 20, (repro.), erroneously as Portrait of George [sic] Haviland.
Dorothy Adlow, exhibition review of “Renoir: Loan Exhibition for the Benefit of the Citizens’ Committee for Children of New York City, Inc.,” Christian Science Monitor (April 26, 1958): 12, erroneously as Portrait of George [sic] Haviland.
Jan Dickerson, “Rare Gifts by Kansas Citians; New Purchases and Loans in Nelson Gallery Exhibit,” Kansas City Star 79, no. 81 (December 7, 1958): 109, erroneously as portrait of George [sic] Haviland.
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 120, 261, (repro.), erroneously as Portrait of Georges Haviland.
Bill Graves, “Pissarro: Dean of Impressionist Painters,” Kansas City Times 123, no. 204 (December 8, 1960): 54.
Renoir: A Loan Exhibition for the Benefit of the American Association of Museums, in Commemoration of the Fiftieth Anniversary of Renoir’s Death, exh. cat. (New York: Wildenstein, 1969), unpaginated, (repro.), as Portrait of Paul Haviland.
François Daulte, “Vive Renoir,” Art News 68, no. 2 (April 1969): 30, (repro.), as Portrait of Paul Haviland.
François Daulte, Auguste Renoir: Catalogue Raisonné de l’œuvre peint, (Lausanne: Éditions Durand-Ruel, 1971), no. 454, pp. 1:49, 66, 414, as Portrait de Paul Haviland.
François Daulte, Renoir (Garden City, NY: Doubleday, 1973), 95.
John Maxon, Paintings by Renoir, exh. cat. (Chicago: Art Institute of Chicago, 1973), 26, (repro.), as Paul Haviland.
Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 160, (repro.), as Portrait of Paul Haviland.
J[ean] and L[aurent] d’Albis, “La céramique impressioniste: L’Atelier Haviland d’Auteuil et Son Influence,” L’Œil (February 1974): 47, (repro.), as Portrait de Paul Haviland, fils de Charles Haviland et Madeleine Burty.
François Daulte, Renoir (Secaucus, NJ: Chartwell Books, 1982), 95.
Manet, 1832–1883, exh. cat. (Paris: Editions de la Réunion des musées nationaux, 1983), 416.
Anne Distel and et al., Renoir, exh. cat. (Britain: Arts Council of Great Britain, 1985), 23, 28n47, 118, 244, (repro.), as Paul Haviland.
Georges Charensol, “Renoir au Grand Palais,” Revue des Deux Mondes (July 1985): 187, (repro.) as Paul Haviland.
Julie Manet, Journal, 1893–1899 (Paris: Editions Scala, 1987), 197.
Jean d’Albis, Haviland (Paris: Dessin et Tolra, 1988), 51, (repro.).
Marc S. Gerstein, Impressionism: Selections from Five American Museums, exh. cat. (New York: Hudson Hills, 1989), 12, 170, 202, (repro.), as Portrait of Paul Haviland.
“Art at the Nelson,” Kansas City Star 110, no. 189 (April 20, 1990): 36.
“Impressionistic Jazz,” Kansas City Star 110, no. 200 (May 1, 1990): 67.
Nathalie Valière, Un Américain à Limoges: Charles Edward Haviland (1839–1921), porcelainier (Tulle, France: Editions Lemouzi, 1992), 85.
Bernard Denvir, The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists (London: Thames and Hudson, 1993), 279.
John House, Renoir: Master Impressionist, exh. cat. (Sydney: Art Exhibitions Australia, 1994), 96–97, (repro.), as Portrait of Paul Haviland.
Toledo Treasures: Selections from the Toledo Museum of Art, exh. cat. (New York: Hudson Hills, 1995), 21, (repro.).
Margaret Schmitz Rizzo, “At the Nelson this weekend, it won’t be your garden variety garden party,” Kansas City Star (June 13, 1996): 17.
Françoise Heilbrun and Quentin Bajac, Paul Burty Haviland (1880–1950), photographe, exh. cat. (Paris: Réunion des musées nationaux, 1996), 11–12, (repro.), as Portrait de Paul Haviland enfant.
Colin B. Bailey, Renoir’s Portraits: Impressions of an Age, exh. cat. (New Haven: Yale University Press, 1997), 206–08, 318–19, (repro.), as Paul Haviland.
Geoffrey Bent, “Charm’s Tenuous Truths,” North American Review 283, no. 3/4 (May/August 1998): 79–80.
“Behind the Scenes: Museum’s European Paintings in Demand,” Newsletter (The Nelson-Atkins Museum of Art) (October 2000): 4, as Portrait of Paul Haviland.
Tim Janicke, “Wet and wonderful: The best place to spend part of a scorching Kansas City summer? A fountain,” Kansas City Star (July 29, 2001): 6.
Paul Hayes Tucker et al., Renoir: From Outsider to Old Master 1870–1892, exh. cat. (Nagoya: Chunichi Shimbun, 2001), 119–20, 252 (repro.), as Portrait of Paul Haviland.
Maria Teresa Benedetti, Ritratti e figure: Capolavori impressionisti, exh. cat. (Milan: Skira, 2003), 35, 156–57, (repro.), as Ritratto di Paul Haviland.
Kathleen Adler, Renoir: la maturità tra classico e moderno, exh. cat. (Milan: Skira, 2008), 160–61, (repro.), as Ritratto di Paul Haviland.
Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 123, (repro.), as Portrait of Paul Haviland.
Adrien Goetz, Comment regarder Renoir (Paris: Hazan, 2009), 204–05, (repro.), as Paul Haviland.
Nicole Maritch-Haviland and Catherine de Léobardy, Lalique-Haviland-Burty: portraits de famille (Limoges: Ardents, 2009), 232, 245.
Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue Raisonné des Tableaux, Pastels, Dessins et Aquarelles (Paris: Éditions Bernheim-Jeune, 2009), no. 1261, p. 2:359, (repro.), as Paul Haviland.
Anne Distel, Renoir, trans. John Goodman et al., (New York: Abbeville, 2010), 254, (repro.), as Paul Haviland.
Kenneth Chang, “How This Renoir Used to Look,” New York Times (April 20, 2014): https://www.nytimes.com/2014/04/22/science/renoir-shows-his-true-colors.html, as Portrait of Paul Haviland.
Kenneth Chang, “Renoir Shows His True Colors,” New York Times (April 21, 2014): D2, as Portrait of Paul Haviland.
Emmanuelle Jardonnet, “Un mystère élucidé et une cure de jouvence virtuelle pour un tableau de Renoir,” Le Monde.fr (April 21, 2014): https://www.lemonde.fr/culture/article/2014/04/21/un-mystere-elucide-et-une-cure-de-jouvence-virtuelle-pour-un-tableau-de-renoir_4404906_3246.html, as Portrait de Paul Haviland.
Kenneth Chang, “How a Renoir used to look,” Bulletin (April 23, 2014): https://www.bendbulletin.com/nation/2011286-151/how-a-renoir-used-to-look, as Portrait of Paul Haviland.
Kenneth Chang, “Science unveils how a Renoir used to look,” Seattle Times (April 26, 2014): https://www.seattletimes.com/nation-world/science-unveils-how-a-renoir-used-to-look/, as Portrait of Paul Haviland.
Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 64, (repro.), as Paul Haviland.
Barbara Ehrlich White, Renoir: An Intimate Biography (New York: Thames and Hudson, 2017), 130, 374n299, as Paul Haviland.
Sylvie Patry, Renoir Father and Son: Painting and Cinema, exh. cat. (Philadelphia: The Barnes Foundation, 2018), 244, (repro.).
Brigid M. Boyle, “Pierre-Auguste Renoir, Portrait of Paul Haviland, 1884,” catalogue entry in French Paintings and Pastels, 1600–1945: The Collections of the Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2025), https://doi.org/10.37764/78973.5.654.5407.
Patrick Modiano and Christian Mazzalai, 70 bis (Paris: Éditions Gallimard, forthcoming).
