Claude Monet

France (18401926 ) - Artworks Wikipedia® - Claude Monet
MONET Claude Le Jardin De Vétheuil

Sotheby's /Nov 4, 2014
2,967,138.94 - 3,708,923.67
5,605,782.60

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661

Some works of Claude Monet

Extracted between 661 works in the catalog of Arcadja
Claude Monet - Faisans

Claude Monet - Faisans

Original 1882
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Lot number: 315
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Claude Monet (1840-1926) Faisans suspendus signed 'Claude Monet' (lower right) oil on canvas 45 x 15 in. (114.4 x 38.2 cm.) Painted in 1882 Galerie Durand-Ruel et Cie., Paris (acquired from the artist, December 1882). Frank Thomson, Philadelphia (1896). Galerie Durand-Ruel et Cie., Paris (1897). George J. Gould, New York (1897); sale, Silo's, New York, 12 May 1927, lot 657. Galerie Durand-Ruel et Cie., Paris (acquired at the above sale). Jean d'Alayer (née Marie-Louise Durand-Ruel), Paris (by descent from the above, circa 1952). Galerie Thomas, Munich. Acquired from the above by the family of the present owner, 1981. G. Geffroy, "Cl. Monet," L'art et les artistes, no. 11, November 1920, p. 62 (illustrated). G. Grappe, "Le souvenir de Claude Monet," L'art vivant, no. 49, 1 January 1927, p. 7 (illustrated). D. Wildenstein, Claude Monet, Biographie et catalogue raisonné, Paris, 1979, vol. II, p. 98, no. 814 (illustrated, p. 99). D. Wildenstein, Monet, Catalogue raisonné, Cologne, 1996, vol. II, pp. 302-303, no. 814 (illustrated, p. 302). Paris, Galerie Durand-Ruel et Cie., Exposition des oeuvres de Cl. Monet, March 1883, no. 22. Kunstverein Hamburg, Grand Exhibition, March-April 1895, no. 24B.
Claude Monet - Port-coton: Le Lion

Claude Monet - Port-coton: Le Lion

Original 1886
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Lot number: 15
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Claude Monet (1840-1926) Port-Coton: Le Lion signed and dated 'Claude Monet 86' (lower right) oil on canvas 23 5/8 x 29 ½ in. (61 x 74 cm.) Painted in 1886 Boussod, Valadon et Cie., Paris (acquired from the artist, October 1887). Olivier Sainsère, Paris (1895). Mme Olivier Sainsère, Paris (by descent from the above, circa 1935). Wildenstein & Co., Ltd., London. Private collection, United States (1964). Acquired by the present owner, circa 2004. PROPERTY OF A PRIVATE NEW YORK COLLECTOR W.C. Seitz, Claude Monet, New York, 1960, pp. 23 and 33, no. 43 (illustrated, p. 35; titled Rocks at Belle-Ile (Le Rocher du Lion)). L.R. Bortolatto, intro., L'opera completa di Claude Monet: 1870-1889, Milan, 1966, p. 108, no. 305 (illustrated, p. 107; titled Il Rocher du Lion a Belle-Île). D. Wildenstein, Monet: Impressions, Lausanne, 1967, p. 45 (illustrated in color; titled Le Rocher du Lion à Belle-Ile). J. Rewald, "Theo van Gogh, Groupil and the Impressionists" in Gazette des Beaux-Arts, January-February 1973, appendix I, p. 98. D. Wildenstein, Claude Monet: Biographie et catalogue raisonné, Geneva, 1979, vol. II, p. 200, no. 1092 (illustrated, p. 201). R. Gordon and A. Forge, Monet, New York, 1983, p. 114 (illustrated). D. Wildenstein, Monet: Catalogue raisonné, Paris, 1996, vol. III, p. 413, no. 1092 (illustrated). Paris, Galerie Durand-Ruel et Cie., Monet de 1865 à 1888, November-December 1935, no. 43 (titled Rocher du Lion, à Belle-Ile). New York, Acquavella Galleries, Inc., Claude Monet, October-November 1976, no. 45 (illustrated; titled Le Rocher du Lion a Belle-Ile).
Claude Monet - Yport Et Falaise D’’’’aval

Claude Monet - Yport Et Falaise D’’’’aval

Original 1861
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Lot number: 392
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Claude Monet 1840 - 1926 YPORT ET FALAISE D’’’’AVAL Stamped Claude Monet (on the verso) Pastel heightened with gouache on paper 7 3/4 by 15 7/8 in. 19.5 by 40.5 cm Executed in 1861. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Sale: Hôtel Drouot, Paris, February 17, 1884, lot 78 Durand-Ruel, Paris (acquired at the above sale) Marcel Bernheim, Paris Camille Mauclair, Paris (a gift from the above in 1924) Wildenstein & Co., New York Acquired from the above Exhibited Paris, Bernheim-Jeune, Claude Monet, 1906 Berlin, Paul Cassirer, VI Ausstellung, XI. Jahrgang, 1909 Dusseldorf, loan of works from Durand-Ruel, late 1911 Leipzig, Verein Lia, Leipziger Jahrausstellung, 1912, no. 496 Paris, Marcel Bernheim, Exposition de pastels et dessin, 1923-24 Rome, Complesso del Vittoriano, Monet il maestro della luce, 2000, no. 36, illustrated in color in the catalogue London, Royal Academy of Arts & Williamstown, Sterling and Francine Clark Art Institute, The Unknown Monet: Pastels and Drawings, 2007, n.n., illustrated in color in the catalogue Literature Daniel Wildenstein, Claude Monet, Biographie et catalogue raisonné, vol. V, Lausanne, 1991, no. P4, illustrated in color pp. 20 & 156 Joseph Baillio & Cora Michael “Chronological and Pictorial Survey of the Life and Career of Claude Monet,” in Monet (1840-1926): Tribute to Daniel Wildenstein and Katia Granoff, New York, 2007, cited p. 154, illustrated in color fig. 5 Situated between Étretat and Fécamp on the Normandy coast, the little fishing town of Yport was visited by the artist in 1861 when he executed (and dated) another pastel showing the dramatic cliffs of this hamlet (see Daniel Wildenstein, op. cit., p. 156, no. P5). "'Learn to draw, that's what most of you lack today.' In a letter written at the age of eighteen, Monet explained how he received this advice from Constant Troyen, the successful landscape painter...Monet wrote with obvious approval, 'as for quality the Troyons are superb and the Daubignys are to my eyes at least really beautiful....' His mood persisted after he arrived in Troyon's studio: 'Troyon seems a really good man and he doesn't mince words'" (The Unknown Monet, Pastels and Drawings (exhibition catalogue), op. cit., p. 55). Monet first developed and honed his talent as an artist in Normandy. His efforts with drawings and pastels was certainly spurred on by his 1859 trip to Paris where he was exposed to a number of the Barbizon artists as well to the annual Salon. Monet's skill as a draughtsman has been largely undocumented in the narrative of his career and the use of pastels are especially rare in his oeuvre. The majority of his pastels illustrate the landscape of his cherished Normandy, the region where the artist spent much of his adolescence. Interestingly, these pastels were not used as preparatory studies for oil paintings but rather are independent works in their own right. The intimate and informal nature of Yport et falaise d’’ Aval makes it a flawless example of a true plein air work and this medium proves ideal for capturing the artist’’s impression of the scene before him. The vivid green foreground lures the viewer into the snug seaside cottages filling the middle ground. This sparkling view is marked by a variety of depth and texture, conveying the powerful immediacy of the artist’’s hand. Scholar Richard Brettell observes, “There is little doubt that the Impressionist painter Claude Monet was the greatest visual poet of Normandy” (Heather Lemonedes, Lynn Federle Orr & David Steel, Monet in Normandy, New York, 2006, p. 15). Fig. 1 A vintage postcard of Yport, “a bird’’’’s eye view” Executed on cream laid paper, laid down on canvas. The extreme edges of the sheet are taped over and there is a minor spot of paper abrasion with some associated paper loss towards the right of the lower edge. The colours are fresh and this work is in overall good condition. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
Claude Monet - Le Jardin De Vétheuil

Claude Monet - Le Jardin De Vétheuil

Original 1881
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Lot number: 20
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Claude Monet 1840 - 1926 LE JARDIN DE VÉTHEUIL Signed Claude Monet and dated 1881 (lower left) Oil on canvas 23 1/2 by 29 1/4 in. 59.5 by 74.5 cm Painted in 1881. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Galerie Durand-Ruel, Paris (probably acquired from the artist in April 1881) Galerie Paul Cassirer, Berlin (acquired from the above in February 1901) Hugo Stahl, Berlin Steinreich Collection, New York Wildenstein & Co., Inc., New York (acquired by April 1945) Mrs Robert Winthrop, New York (acquired from the above in March 1946) Sale: Christie's, New York, 15th May 1990, lot 10 Private Collection, Japan (by 1994) Sale: Christie's, New York, 12th May 1999, lot 11 Private Collection (acquired at the above sale) Connaught Brown, London Acquired from the above in 2009 by the present owner Exhibited Paris, Galerie Durand-Ruel, Monet, Pissarro, Renoir et Sisley, 1899, no. 13 Tokyo, Bridgestone Museum of Art; Nagoya, City Art Museum & Hiroshima, Museum of Art, Monet: A Retrospective, 1994, no. 32, illustrated in color in the catalogue Treviso, Casa dei Carraresi, Monet: I luoghi della pittura, 2001-02, illustrated in color in the catalogue Edinburgh, National Gallery & Madrid, Museo Thyssen-Bornemisza, Impressionist Gardens, 2010-11, no. 30, illustrated in color in the catalogue Martigny, Fondation Pierre Gianadda, Claude Monet, 2011, no. 23, illustrated in color in the catalogue Literature Daniel Wildenstein, Claude Monet. Biographie et catalogue raisonné, Lausanne, 1974, vol. I, no. 666, illustrated p. 401 Daniel Wildenstein, Claude Monet. Catalogue raisonné, Lausanne, 1991, vol. V, mentioned p. 36 Daniel Wildenstein, Monet. Catalogue raisonné, Cologne, 1996, vol. II, no. 666, illustrated in color p. 251 David Joel, Monet at Vétheuil and on the Norman Coast 1878-1883, Woodbridge, 2002, illustrated in color p. 126 Le Jardin de Vétheuil depicts Monet's house and garden at Vétheuil, a small village situated beside the Seine, where the artist and his family lived from September 1878 until December 1881. This picturesque location had been the site of some of Monet's most successful Impressionist landscapes of the late 1870s, and continued to fascinate him well into his later career. The natural beauty of the region was of great appeal, as was the impressive Medieval architecture that could be seen from many points in the surrounding area. Of particular interest to him were the rigid shapes of buildings, most noticeably that of the imposing 10 th century church of Notre Dame de Vétheuil, juxtaposed against the patchwork of the landscape. In 1878, and again in 1901, Monet executed a number of iconic views of Vétheuil, showing the village as seen from across the river, with the fragmented reflection of the church and its environs appearing in the ripples of water. Le Jardin de Vétheuil was followed by a series of six oils Monet executed in 1881 on this subject (D. Wildenstein, nos. 680-685). The present work, however, is the only horizontal composition from this group. In some of the other versions, Monet depicted Alice Hoschedé reading in the garden, or children scattered on the stairs leading up to the house. Discussing this group of works, Virginia Spate wrote: "This was the first time he had painted the Vétheuil garden, although Taboureux who visited him in 1880 found it sufficiently remarkable to comment on his use of masses of 'natural flowers' [...] There is no hint of the world beyond the garden; no indication that the family house is separated from the garden by the main road into Vétheuil, and despite the sensuous profusion of the flowers, every form is locked into place by the vertical axes of the house, the steps and the path which leads to the space in which the painter must have stood" (V. Spate, The Colour of Time: Claude Monet, London, 1992, pp. 144 & 148). The present work was probably executed during the spring of 1881 and its bright, lively palette of yellow, blue and green tones beautifully renders the atmosphere of a bright sunny day. The composition is dominated by the lavishly painted lawns and flowerbeds, framed by the large tree to the left. The path leads the viewer's eye from the bottom right corner towards the center of the canvas, and up the steep steps towards Monet's house. In his landscapes painted at this time, Monet often experimented with the high horizon line, executing a number of paintings dominated by wild vegetation, with only a small portion of the canvas opening up to the landscape in the distance. In the present work, he eliminated the sky altogether, choosing instead to focus on the lushness of nature, and compositionally this represented a drastic shift from the open expanses of water and sky of the landscapes painted from his bateau atelier. Christoph Becker wrote about Monet's garden paintings of 1881: "That year Monet's garden also flourished magnificently. Anyone going to the garden had to cross the road and go through a gate at the top of a flight of stone steps leading down to a grassy area. On either side of the steps there were several rows of sunflowers which had shot up in June. On the lower steps and on the grass were the already familiar six large, blue-patterned plant-pots, densely planted with red gladioli [...] The advantage of having one's own garden was that a motif could be arranged for the purpose of painting, in a carefully planned natural setting, and right by where the artist lived. When a journalist asked if he might enter Monet's studio in Vétheuil, Monet was immediately indignant: 'My studio! But I've never had one, and I don't understand how anyone could shut themselves into a room"' (C. Becker, Monet's Garden (exhibition catalogue), Kunsthaus, Zurich, 2004-05, p. 39). Indeed, the present work is a superb example of Monet's paintings executed en plein air, showing his delight at depicting nature in all its splendor. Fig. 1 Monet’’’’s house and garden steps, 2002. Photograph by Dr. Tabernet Fig. 2 Claude Monet, Monet’’’’s Garden at Vétheuil , 1880, National Gallery of Art, Washington, DC Fig. 3 Claude Monet, Giverny, 1910
Claude Monet - Femme Au Chevalet

Claude Monet - Femme Au Chevalet

Original 1892
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Lot number: 290
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CLAUDE MONET and GEORGE W. THORNLEY Femme au Chevalet. Color lithograph on Chine appliqué on cream wove paper, circa 1892. 160x200 mm; 6 1/4x8 inches, full margins. Edition of 25. Signed by both Monet and Thornley in pencil, lower margin. Printed by Belfond, Paris, with the blind stamp lower left (see Lugt supplement 225d, lower right). Published by Goupil, Paris, with the red ink stamp lower center recto. From L'Album de 20 lithographies d'apres les tableaux de Claude Monet. A very good, well-inked impression of this extremely scarce lithograph, with strong colors.
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