Swann Galleries /Mar 5, 2015
€11,126.77 - €14,835.69
Artworks in Arcadja702
Some works of Claude MonetExtracted between 702 works in the catalog of Arcadja
Auction: Auctionata -Jun 24, 2015 - BerlinLot number: 31
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The painting presented here depicts the portrait of a child in three-quarters profile, sitting at a table on which a cup is placed. It is a portrait of Camille Doncieux’’’’s and Claude Monet's first son Jean, who was born in August 1867. His first wife Camille and his second wife Alice often served as models in Monet's paintings, which he captured in bright colors and loose brushwork. In the early decades Claude Monet's financial situation was consistently difficult, his paintings were often rejected in the salons. In 1868 Monet spent some time in Etretat and Fécamp, where he received commissions by the shipowner and patron M. Gaudibert that allowed him a certain income. It was during this time in Etretat when our painting with the portrait of Jean Monet originated. The early works of the artist - until the mid-1860s - is characterized by a realistic style of painting. It was also during the 1860s when the figure is often present in his works. Monet uses unusually blunt, vigorous brushstrokes to capture the portrait of Jean, focusing on the lively tones of the child’’’’s head, which is therefor particularly prominent before the subtle, earthy background. Literature: Daniel Wildenstein: Monet. Catalogue Raisonné - Werkverzeichnis. Vol. II, No. I-968, Taschen, 1996, No. 131, p. 63 (fig.); Daniel Wildenstein: Claude Monet. Biographie et Catalogue Raisonné, 1974, pp. 176-177 (fig.); Cf. Claude Monet, Exhibition Catalog, Stadthalle Balingen, 18.6.-31.8.1992, p.26 ff. Condition: Overall slight craquelure. Selective retouching within the representation visible under UV-Light, otherwise overall of very good impression. The image dimensions are 46 x 33 cm, the frame dimensions 66 x 52 cm. Claude Monet (1840-1926) Monet was born in Paris in 1840. He received the first painting lessons from Eugène Boudin, who introduced him to the Plein-air painting. He further studied with the Dutch landscape painter Johan Jongkind (1819-1891). In various studios around Paris Monet made the acquaintance with the painters such as Auguste Renoir, Sisley and Bazille. He also spent some time in Fontainebleau, where he painted mostly plein-air. In the 1860s he met Courbet and Eduard Manet. Along with Edgar Degas, Manet, Camille Pissarro, Renoir, and others Monet co-organized an independent exhibition entitled ‘Impression: SunriseSeine’’’’ in 1874. His first successful and comprehensive exhibition took place at the Salle Petit in 1889. During the mid-1880s Monet rented a house in Giverny, where he created his most famous water lily paintings. The artist mostly finds his subjects in the surrounding areas, painting landscapes and portraits including friends and family. Oil on canvas, relined France, Etretat, 1868 Claude Monet (1840-1926) - Major French Impressionist painter Signed and dated lower left ‘C. Monet 68’’’’ Catalogue raisonné: Wildenstein, 1996, Vol II, No. 131 Dimensions: 46 x 33 cm Golden stucco frame: 66 x 52 cm Good Condition Provenance: Owned by a friend of Monet in Le Havre, who returned it to him in 1883; Auction Paris, Drouot, November 14 1924, No. 80 (Dauthon); Mme Colombel, Paris; Knoedler; Jaques Dubourg, Paris; Hunt Henderson, New Orleans; Auction London, Christie's, 3rd December 1974, no. 45 (withdrawn); Auction London, Christie's 29 June 1976, no. 231; Charles Henderson, New Orleans
Auction: Sotheby's -Jun 24, 2015 - LondonLot number: 10
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Claude Monet 1840 - 1926 ETRETAT, FALAISE ET PORTE D'AMONT, GROSSE MER signed Claude Monet (lower right) oil on canvas 65 by 81cm. 25 5/8 by 31 7/8 in. Painted in 1883. Provenance J. Eastman Chase, Boston Sale: American Art Association, New York, 25th February 1920, lot 147 Holland Galleries, New York (purchased at the above sale) Felix Isman, New York (acquired by 1937) Mr & Mrs William Ginsberg, Rowayton, Connecticut (sold: Parke-Bernet Galleries, New York, 20th November 1968, lot 29) Peter Findlay Gallery, New York (purchased at the above sale) Galerie Motte, Geneva Acquired from the above by the family of the present owners in 1970 Literature Daniel Wildenstein, Claude Monet. Bibliographie et catalogue raisonné, Lausanne & Paris, 1979, vol. II, no. 827, illustrated p. 103 Daniel Wildenstein, Monet, Catalogue Raisonné, Cologne, 1996, vol. II, no. 827, illustrated p. 307 Monet, I luoghi della pittura (exhibition catalogue), Casa dei Carraresi, Treviso, 2001-02, illustrated p. 328 Catalogue Note Etretat, falaise et Porte d’’Amont, grosse mer, painted in 1883, is one of Monet’’s vivid depictions of the Normandy coast. The towering cliff face and agitated sea are depicted in bright tones, energetically applied in swift, flickering brushstrokes, while the brilliant blue sky casts the unmistakable form of the Porte d’’Amont into relief. During the period in which the present work was created Monet was enraptured by the cliffs at Etretat, depicting them from numerous angles and in varying weather conditions (fig. 1). Discussing this important body of work, Paul Hayes Tucker has noted that: ‘Without doubt his favourite site during the 1880s was the Normandy coast; it obviously was in his blood from his childhood in Le Havre and Sainte-Adresse and was easily accessible from Vétheuil and later from Giverny where he moved in 1883. Of all the places he visited on the coast, several became his most frequented - Pourville, Varengeville, Etretat, and Dieppe. Their appeal lay primarily in their dramatic cliffs and stretches of beach, their simplicity, starkness, and past history’’ (P. H. Tucker, Claude Monet: Life and Art, New Haven & London, 1995, p. 107). This part of the Normandy coast, with its stunning natural features such as the cliffs the Porte d'Amont, the Porte d’’Aval and its companion the Aiguille, had been popular with writers and painters of the preceding generation, including Delacroix, Corot, Boudin and Courbet, the latter of whom exerted a strong influence of Monet's work. These pioneering painters, whose compositions eschewed the staid classicism of the Italianate style which predominated at the beginning of the nineteenth century, found Normandy to hold numerous advantages. Whilst near enough to Paris for convenient travel and trade, the cost of living remained low, and it was endowed with an idyllic countryside encircled by a coastline of majestic beauty. The novelist Guy de Maupassant, who was a native of the region and was well acquainted with his generation’’s leading artists, described the quality of light as the crucial advantage of the Norman coastline: ‘I have seen so many other painters pass through this little valley, doubtless drawn to the quality of light, so unlike anywhere else! The daylight is as different to places just a few leagues away as the wines of the Bordelais. For here it is dazzling without being harsh; everything is bright but not startling and all imbued with a remarkable subtlety’’ (G. de Maupassant, ‘La Vie d’’un paysagiste’’, in Gil Blas, 28th September 1886, translated from French). Monet’’s first visit to Etretat was during the winter of 1868-69, when he completed a few canvases, mostly of the fishing boats out at sea. In 1883 he returned to the Norman coast, initially to Le Havre and then to Etretat where he stayed for three weeks. The views of the spectacular cliff formations of chalk arches and flying buttresses between Dieppe and Le Havre inspired at least eighteen canvases. In the late 1860s Courbet had painted a number of works with marine subjects, the composition of one of these (fig. 2) established the perspective employed in many paintings subsequently produced by Monet. As Richard R. Brettell states, in these works of Normandy there is a ‘clear debt to Courbet and their concomitant fascination with the almost mythic natural landscape of the north coast. [...] The viewer, like Monet himself, is most often alone - walking on the beaches, clinging to the cliffs, staring at the waves that crash against the coast of France itself’’ (R. R. Brettell, Monet in Normandy (exhibition catalogue), Fine Arts Museums of San Francisco, 2006, p. 46). During the 1880s Monet's main pictorial emphasis grew to encompass more natural themes than the social ones which concerned his earlier works. Previously, Monet’’s depictions of the Normandy coastline were populated by the bourgeoisie at leisure or bucolically presented peasants, elements of which still lingered in a few canvases painted in 1883, but by and large Monet had removed these humdrum elements, preferring to paint uninhabited views of the magnificent coastline. The scholar Robert L. Herbert has written: ‘In these pictures we are brought extremely close to the cliffs in unusual compositions intended to make us feel small and powerless in front of awesome nature. [The paintings] could suit the words of Jacob Venedey, when he climbed the Aval in 1837: "yawning gulphs open at our feet, out of which the agitated sea sends up tones like the voice of a bard singing the destruction of his race." Monet's rocks have an overpowering presence by virtue of their writhing mass, and by a stronger contrast of colour: his dark blues and purples stand out against the yellowish sunset. If we stare at his picture for a few moments, its rhythms force our eye upward, and then we sense the fragility of these delicately curved masses that seem almost to tremble against the evening sky, threatening us with their potential of collapse’’ (R. L. Herbert, Monet on the Normandy Coast: Tourism and Painting, 1867-1886, New Haven & London, 1994, pp. 108-110 & 127).
Auction: Sotheby's -May 6, 2015 - New YorkLot number: 129
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Claude Monet 1840 - 1926 NYMPHÉAS Oil on canvas 18 1/8 by 22 1/8 in. 46 by 56.2 cm Painted circa 1917-19. Provenance Private Collection, United States (acquired by 1989) Wildenstein & Co., New York Acquired from the above in June 1994 Literature Daniel Wildenstein, Monet Catalogue Raisonné, vol. V, Cologne, 1991, no. 2041, illustrated pp. 18-19 Daniel Wildenstein, Monet Catalogue Raisonné, vol. IV, Cologne, 1996, no. 1901a, illustrated pp. 904-05
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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.
Auction: Christie's -Nov 6, 2014 - New YorkLot 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.