(American, 1849-1916)

The Red Kimono, c. 1908, previously signed, oil on coarse canvas, 33 x 28-1/2 in.; fine period signed Carrig Rohane carved gilt wood frame, 41-1/4 x 36-1/2 in.

Provenance: Estate of the Artist, sold at American Art Galleries, New York, NY, 1917; purchased by M. Knoedler and Co., New York, NY; Babcock Galleries, New York, NY (label verso); Private Collection, Atlanta, Georgia

Note: Literature: Pisano, Ronald G., Carolyn K. Lane, and D. Frederick Baker. William Merritt Chase: Portraits in Oil. New Haven, Conn: Yale University Press, 2007., PO.496, pg. 236, ill. pg. 237. According to the authors, this painting had originally been a signed (lower left), full length portrait of the artist's daughter Dorothy, at about age 17. It was not uncommon for full length portraits to be cut down by Chase, and also by well meaning friends after his death, in order to make them more practical in private homes. The original painting measured 78-1/2 x 36 in. Exhibited: William Merritt Chase Family Portraits, Paine Art Center and Gardens, Oshkosh, Wisconsin, June 11-October 9, 2011, cat. pg. 54, ill. pg. 55.; A Collection of Oil Paintings by William M. Chase, N.A., Albright Art Gallery, Buffalo, New York, January-February 1909; John Heron Art Institute, Indianapolis, Indiana, March 3-28, 1909; St. Louis Art Museum, St,. Louis, Missouri, April 1909; Cincinnati Museum of Art, October - November 1909; An Exhibition of Paintings by William Merritt Chase, National Arts Club, New York, NY, January 5-13, 1910, no. 142; Pennsylvania Academy of the Fine Arts, Annual Exhibition, Philadelphia, Pennsylvania, 1911, no. 564; Paintings by William Merritt Chase and William Ritchel, N.A., Detroit Museum of Art March 1916; Toledo Museum of Art April 1916; The Paintings and Other Artistic Property Left by the Late William Merritt Chase, American Art Galleries, New York, NY, May 14-17, 1917 (sold to M. Knoedler and Co., New York, NY,)

wax and linen lining; frame with wear commensurate with age.

Backing board with label stating that the painting was conserved at the Lyman Allyn Art Museum, New London, Connecticut, 1994: "cleaned, varnished with Arkon P-90, stabilized".