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signed G. Courbet (lower left) oil on canvas 21 1/4 by 25 1/8 in. 54 by 63.8cm. PROVENANCE Ernest Girard Samois-sur Seine, 1920s-1950s (Recorded by Girard as having been purchased at the Galerie Royale, Brussels, 1920) By descent to Henri Girard, Ernest Girard's nephew, late 1950s Galerie Raymonde Cazenave (purchased from the above in 1958) Rolf and Margit Weinberg, Zurich (purchased from Mme. Cazenave in 1983) EXHIBITED Brooklyn, The Brooklyn Museum, Courbet Reconsidered, 1988-89, No. 55 Aarau, Aargauer Kunsthaus; Wuppertal, Von der Heydt-Museum; Dresden, Gemaldegalierie Neue Meister and Lausanne, Fondation de l'Hermitage El Greco bis Mondrian, 1996 Vienna, Kunstforum, Degas-Cezanne-Picasso, 1996-1997 LITERATURE From Realism to Symbolism: Whistler and his World, exh. cat., New York, Columbia University, 1971, p. 69 Helene Toussaint, Gustave Courbet (1819-1877), exh. cat., Paris, 1977, p. 179 (mentioned in Royal Academy of Arts edition of catalogue, 1978, p. 164) Sarah Faunce and Linda Nochlin, Courbet Reconsidered, exh. cat., New Haven, 1988, pp. 163-65, No. 55, illustrated Petra ten-Doesschate Chu, ed., Letters of Gustave Courbet, Chicago, 1992, p. 602 "Courbet und die zwei Freudinnen," Berner Kunstmitteilungen 222/223, June/July 1993 Richard Dorment and Margaret F. MacDonald, James McNeill Whistler, exh. cat., New York, 1995, p. 74 Juerg Albrecht El Greco bis Mondrian, Aarau, 1996, pp. 62-67, illustrated Anne Midgette, "The Good, the Bad...and the Fake," in Artnews, May 2000, p. 214 One of the most popular destinations for European vacationers in the 1860s was the Normandy coast. The small fishing villages of this coastal region, which had previously represented a simple and modest way of life for the working class, was replaced by a newly created world of seaside resorts filled with grand hotels, casinos and private villas. Scenic villages such as Trouville, Deauville and Sainte Addresse became necessary summer destinations for an ever-growing number of wealthy