Provenance Research

Edouard Manet (1832-1883)
Women at the Races, 1864-65
Oil on canvas
16 5/8 x 12 5/8 in. (42.2 x 32.1 cm)
Fanny Bryce Lehmer Fund, 1944.105

Signed and dated lower right: "Manet 1865 [?]"

Two women holding parasols stand behind a barrier. The woman in the center foreground wears a gray dress with a black headscarf. To her left is the other figure wearing a yellow dress and a white bonnet with a blue ribbon. She holds a flower in her left hand. Carriage wheels are visible at the far right and far left. The painting is a portion of a larger composition representing a horserace that Manet cut down himself.

Alternate Titles:
Aux courses d'Auteuil
Bij de rennen te Auteuil
Champ de Courses
Les Courses d'Auteuil
Race Courses at Auteuil


By at least 1902:   Paul Gallimard, Paris [1]
1902:   (Bernheim-Jeune, Paris [2])
By at least 1932-ca. 1939:   Max [1847-1935] and Martha [d.1943] Lieberman, Berlin and Zurich, presumably by descent to
Ca. 1939-at least October 1942:   Kurt [1882-1954] and Kathe Riezler, Berlin and New York [3]
Early 1940s:   (French Art Galleries [Morris Gutman], New York, sold to [4])
Early 1940s-1944:   (Rosenberg & Stiebel, Inc., New York [5])
By at least 1944:   (Matignon Art Galleries, Inc., New York, sold to [5])
1944-present:   Cincinnati Art Museum

[1] Early Manet scholarship believed Women at the Races to have been included in the Manet estate sale of 1884, no. 54, "Les courses [etude], 32 x 41 cm," and purchased there by the artist and collector Gustave Caillebotte. However, recent scholarship has confirmed that the painting in the sale was a study of racehorses, chevaux de courses, 32 x 41 cm (present location unknown), rather than the Women at the Races, 42 x 32 cm. See: Anne Distel, Gustave Caillebotte: Urban Impressionist, Paris: Réunion des Musées Nationaux: Musée d'Orsay, 1995, Appendix I, pp. 319-320, and Appendix III, pp. 322-340; Gustave Geffroy, "Notre Temps, Gustave Caillebotte," Le Journal, June 13, 1894; Denis Rouart and Daniel Wildenstein, Catalogue Raisonné: Tome I Peintures, Paris: La Biblioteque des Arts, pp. 98-99; and correspondence, August 30, 2001, and September 4, 2001.

[2] Rouart and Wildenstein, p. 98, no. 95.

[3] Kathe Riezler was the daughter of Max and Martha Lieberman. The Riezlers moved from Berlin to New York in 1939 to escape the Nazi regime and apparently brought the Lieberman art collection with them, even though Mrs. Lieberman remained in Berlin. The Riezlers loaned Women at the Races to the Art Institute of Chicago from June 1941 to October 1942. Correspondence, August 1, 2001.

[4] Correspondence, May 17, 2000.

[5] Matignon Art Galleries, New York, may have owned the painting jointly with and Rosenberg & Stiebel, Inc., New York. Although CAM records include a sales receipt from Matignon Galleries, Rosenberg & Stiebel, Inc. archives show that they also sold the work to the Museum. Correspondence, May 17, 2000.

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