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Claude Monet

France (1840 -  1926 ) Wikipedia® : Claude Monet
MONET Claude Michel Monet Et Jean-pierre Hoschedé Se Tenant Par L'épaule

Sotheby's /Feb 4, 2016
46,119.39 - 59,296.35
57,120.00

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Artworks in Arcadja
745

Some works of Claude Monet

Extracted between 745 works in the catalog of Arcadja
Claude Monet - Femme À L'ombrelle

Claude Monet - Femme À L'ombrelle

Original c.1908
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Lot number: 75
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Sale 2422 Lot 75 CLAUDE MONET and GEORGE W THORNLEY Femme à l'ombrelle. Lithograph printed in blue on off-white Chine appliqué on cream wove paper, circa 1908. 275x195 mm; 10 3/4x7 5/8 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 right and the red ink stamp (Lugt supplement 225d, lower right). Published by Goupil, Paris. From L'Album de 20 lithographies d'apres les tableaux de Claude Monet. A superb, richly-inked impression of this scarce lithograph, with strong contrasts.
Claude Monet - L’’ancienne Rue De La Chaussée, Argenteuil

Claude Monet - L’’ancienne Rue De La Chaussée, Argenteuil

Original 1872
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Lot number: 20
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Description:
Lot Description Claude Monet (1840-1926) L’’Ancienne rue de la Chaussée, Argenteuil signed 'Claude Monet' (lower right) oil on canvas 18 1/4 x 25 7/8 in. (46.3 x 65.7 cm.) Painted in 1872 Special Notice On occasion, Christie's has a direct financial interest in lots consigned for sale which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. This is such a lot. This indicates both in cases where Christie's holds the financial interest on its own, and in cases where Christie's has financed all or a part of such interest through a third party. Such third parties generally benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’’’’’’’’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction. Provenance François Fayette, Argenteuil, by whom acquired from the artist in January 1877. Mme Edouard Landrin, Paris, by descent from the above, by circa 1931; estate sale, Hôtel Drouot, Paris, 25-26 November 1936, lot 22. Acquired at the above sale by another member of the Landrin family. Galerie Nathan, Zurich (no. C-1912). Private collection, Switzerland, by whom acquired from the above circa 1977, and thence by descent to the present owner. Pre-Lot Text PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION Literature D. Wildenstein, Claude Monet: Biographie et catalogue raisonné , vol. I, Paris, 1974, no. 239, p. 216 (illustrated p. 217; with incorrect dimensions). P.H. Tucker, Monet at Argenteuil , New Haven, 1982, no. 9, pp. 24, 27, 32 & 42 (illustrated p. 28; with incorrect dimensions). D. Wildenstein, Claude Monet: Catalogue raisonné , vol. II, Cologne, 1996, no. 239, p. 105 (illustrated; with incorrect dimensions). Exhibited Paris, Musée de l'Orangerie, Claude Monet: Exposition rétrospective , 1931, no. 23 (with incorrect dimensions). London, Royal Academy of Arts, From Manet to Gauguin: Masterpieces from Swiss Private Collections , June - October 1995, no. 30, p. 84 (illustrated; with incorrect dimensions). Martigny, Fondation Pierre Gianadda, Monet au Musée Marmottan et dans les collections suisses , June - November 2011, no. 5, p. 39(illustrated; with incorrect dimensions). View Lot Notes >
Claude Monet - Au Petit-gennevilliers

Claude Monet - Au Petit-gennevilliers

Original 1874
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Gross Price
Lot number: 16C
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Claude Monet (1840-1926) Au Petit-Gennevilliers signed ‘Claude Monet’’’’’’’’ (lower right) oil on canvas 21 ½ x 28 7/8 in. (54.6 x 73.3 cm.) Painted in 1874 Provenance Victor Chocquet, Paris. Marie Chocquet, Paris (by descent from the above); Estate sale, Galerie Georges Petit, Paris, 1-4 July 1899, lot 77. Dumas d’’’’’’’’Hauterive, France (acquired at the above sale). Lorenzo Crist Delmonico, New York (until 1901). Boussod, Valadon et Cie., Paris (acquired from the above, 3 April 1901). Henry Osborne Havemeyer, New York (acquired from the above, 19 April 1901). Louisine Waldron Elder Havemeyer, New York (by descent from the above, 1907). Adaline Havemeyer Frelinghuysen, Morristown, New Jersey (by descent from the above, 1929). By descent from the above to the present owner. Pre-Lot Text PROPERTY FROM THE H.O. HAVEMEYER COLLECTION From its creation in 1874, Au Petit-Gennevilliers has assumed a place not only within Claude Monet’’’’’’’’s exceptional oeuvre , but also in association with two of the most storied names in American connoisseurship and public service. A magnificent inheritance from the collecting legacy of Henry Osborne Havemeyer and his wife, Louisine Waldron Elder Havemeyer, the canvas is similarly connected with New Jersey’’’’’’’’s illustrious Frelinghuysen family. Au Petit-Gennevilliers reflects the heart and hand of one of art history’’’’’’’’s greatest masters, and a tradition of cultural and civic patronage that continues to this day. THE GIFT OF ART In the annals of nineteenth- and early-twentieth-century American industry, the Havemeyers sit alongside the Morgans, Carnegies, Astors, Rockefellers, and Vanderbilts in achievement and renown. Even today, these same families are recognized as some of the United States’’’’’’’’ earliest and most prolific cultural benefactors. In the case of H.O. Havemeyer and his wife, Louisine, it was a passion for fine art—one that encompassed leading figures of the art historical canon—that forever changed the country’’’’’’’’s philanthropic and artistic landscape. A third-generation sugar refiner and businessman, H.O. Havemeyer expanded his family’’’’’’’’s American Sugar Refining Company into one of the nineteenth century’’’’’’’’s largest and most prosperous industrial operations. From testing sugar on the docks at the age of fifteen, Havemeyer rose to become president of the firm and founder of what was known as the Sugar Trust. The collector’’’’’’’’s tremendous success, a colorful and oftentimes turbulent tale within a nation’’’’’’’’s wider growth, provided the foundation for one of the finest assemblages of art in the history of collecting. Havemeyer first saw the possibilities in art at the 1876 Centennial Exhibition in Philadelphia, where he acquired several works of ivory, armor, and Asian art. Yet it was through his wife, the fiercely intelligent and independent Louisine Havemeyer, that he fully embraced a decades-long journey in collecting. Mrs. Havemeyer, for her part, was enthralled by the dynamic art and architecture of contemporary France, instilled during her time at boarding school in Paris. “The people love art,” she said of the French, “the people know art, the people buy art, the people live with their art.” When a fellow student introduced her to Mary Cassatt—an artist just ten years older than Louisine Havemeyer—a lifelong friendship was born. Cassatt would go on to produce several works depicting Mrs. Havemeyer and her children, and advised the collectors in some of their most important commissions and acquisitions. Married in 1883, H.O. and Louisine Havemeyer were fervent, groundbreaking collectors. Assembled with careful scholarship and discernment, the Havemeyer Collection included not only superb nineteenth-century French painting, sculpture, and works on paper, but also Old Master pictures, decorative art, Asian art, and antiquities. It was, in the words of collector Albert C. Barnes, “the best and wisest collection in America.” The couple’’’’’’’’s affinity for Impressionism proved to be especially prescient, and they were encouraged by Cassatt to consider work by artists such as Degas and Monet—two figures in which the Havemeyers’’’’’’’’ collection was particularly strong. At their stately residences in Greenwich, Connecticut, and at 1 East 66th Street—both designed by Samuel Colman and Louis Comfort Tiffany—the Havemeyers’’’’’’’’ zeal for fine art was fully evident. In rooms both grand and intimate, masterpieces by artists such as Corot, Courbet, Cézanne, and Manet hung alongside pictures by Rembrandt and El Greco, elegant examples of Islamic pottery, and resplendent Tiffany glass. When H.O. Havemeyer died in 1907, Louisine Havemeyer devoted her boundless energies to the promotion of women’’’’’’’’s rights. The collector provided significant financial backing and leadership to the efforts of suffragette Alice Paul, and even organized exhibitions of her collection to raise funds for the movement. At the time of her death in 1929, Mrs. Havemeyer bequeathed some 142 important works to the Metropolitan Museum of Art in honor of her husband, joining gifts that had already been made during the couple’’’’’’’’s lifetime. “One of the most magnificent gifts of works of art ever made to a museum,” it was reflective of the abundant generosity of spirit that had always informed H.O. and Louisine Havemeyer’’’’’’’’s commitment to the public sphere. For the Met, the bequest was truly transformative, raising the institution to unparalleled international prominence. The couple’’’’’’’’s three children soon donated over 300 additional inherited works to the museum, with other pieces gifted in the ensuing decades. PROPERTY FROM THE H.O. HAVEMEYER COLLECTION Literature “Vente Chocquet” in New York Herald: Édition de Paris , 29 June 1899. W. Dewhurst, Impressionist Painting: Its Genesis and Development , London, 1904, p. III (titled La seine à Argenteuil ). T. Duret, Histoire des peintres impressionnistes , Paris, 1906, p. 79 (illustrated). G. Geffroy, Claude Monet: Sa vie, son temps, son oeuvre , Paris, 1922, p. 219 (titled Argenteuil ). H.O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art , Portland, 1931, p. 411 (titled Landscape–Argenteuil and dated 1873). M. Rostand, Quelques amateurs de l’’’’’’’’époque impressionniste , Paris, 1955, p. 154. D. Wildenstein, Claude Monet: Biographie at catalogue raisonné , Geneva, 1974, vol. I, p. 258, no. 337 (illustrated). D. Wildenstein, Claude Monet: Catalogue raisonné , Cologne, 1996, vol. II, p. 140, no. 337 (illustrated). P.H. Tucker, The Impressionists at Argenteuil , exh. cat., National Gallery of Art, Washington, D.C., 2000, p. 32, fig. 25 (illustrated; titled Boats Along the Banks of the Seine at Petit Gennevilliers ). A. Distel, "Inventar des Hauses von Victor Choquet an der Rue Monsigny 7, Paris" in Victor Choquet: Freund und Sammler der Impressionisten, Renoir, Cezanne, Monet, Manet , 2015, p. 199, fig. 84 (illustrated). Exhibited Palm Beach, The Society of the Four Arts, Claude Monet , January-February 1958, no. 10 (dated 1873 and titled The Barges at Argenteuil ). New York, The Metropolitan Museum of Art, Splendid Legacy: The Havemeyer Collection , March-June 1993, p. 363, no. 396 (illustrated, p. 362). Washington, D.C., The Phillips Collection, Impressionists on the Seine: A Celebration of Renoir's "Luncheon of the Boating Party," September 1996-February 1997, p. 256, no. 24 (illustrated in color). View Lot Notes >
Claude Monet - Michel Monet Et Jean-pierre Hoschedé Se Tenant Par L'épaule

Claude Monet - Michel Monet Et Jean-pierre Hoschedé Se Tenant Par L'épaule

Original 1886
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Gross Price
Lot number: 195
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Claude Monet 1840 - 1926 MICHEL MONET ET JEAN-PIERRE HOSCHEDÉ SE TENANT PAR L'ÉPAULE charcoal on canvas 73.3 by 60cm., 28 3/4 by 24in. Drawn circa 1886. Provenance Michel Monet, Giverny Private Collection (by descent from the above) Acquired by the present owner in 1996 Literature William C. Seitz, Claude Monet, New York, 1960, no. 80, illustrated n.p. Yvon Taillandier, Claude Monet, Paris, 1963, illustrated p. 21 Mitsuhiko Kuroe, L'Art moderne du monde: Claude Monet, Tokyo, 1970, ilustrated p. 91 M. Shuji Takashina, Claude Monet, Tokyo, 1981, illustrated p. 107 Daniel Wildenstein, Claude Monet, Catalogue raisonné, Supplément aux peintures, dessins, pastels, Lausanne, 1991, vol. V, no. D440, illustrated p. 129
Claude Monet - Un Moulin À Zaandam

Claude Monet - Un Moulin À Zaandam

Original 1871
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Lot number: 16
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Description:
Claude Monet 1840 - 1926 UN MOULIN À ZAANDAM signed Claude Monet (lower left) oil on canvas 50 by 75cm. 19 3/4 by 29 1/2 in. Painted in 1871. Provenance Galerie Durand-Ruel, Paris (acquired from the artist in March 1872) François Depeaux, Rouen (acquired from the above on 26th June 1894. Sold: Georges Petit, Paris, 1st June 1906, lot 25) Paul Rosenberg, Galerie Bernheim-Jeune & Galerie Durand-Ruel, Paris (jointly purchased at the above sale) Durand-Ruel Gallery, New York (acquired in 1913) M. Knoedler & Co., New York (acquired from the above on 17th January 1930) Paul Cassirer, Berlin Alex. Reid & Lefevre, London (acquired from the above in 1930) The 1st Viscount Radcliffe, Hampton Lucy, Warwickshire (acquired from the above on 29th November 1937) Alex. Reid & Lefevre, London The 9th Earl of Jersey, Jersey (acquired from the above on 12th May 1943) Private Collection, United Kingdom (by descent from the above. Sold: Sotheby's, London, 5th February 2013, lot 15) Purchased at the above sale by the present owner Exhibited The Hague, Haagsche Kunstring, Cercle Artistique, 1893 Berlin, Paul Cassirer, XI. Jahrgang VI. Ausstellung, 1909, no. 7 Frankfurt, Frankfurter Kunstverein, Die klassische Malerei Frankreichs im 19. Jahrhundert, 1912, no. 77 Chicago, Auditorium Hotel, Tableaux Durand-Ruel, 1915 Saint-Louis, Noonan-Kocian Art Gallery, Tableaux Durand-Ruel, 1925 New York, Durand-Ruel Gallery, Rétrospective Cl. Monet, 1927, no. 2 Philadelphia, The Art Club, Memorial Exhibition of the Works of Cl. Monet, 1927, no. 2 Amsterdam, Stedelijk Museum, Vincent van Gogh en Zijn Tijdgenooten, 1930, no. 219 Glasgow, Royal Glasgow Institute, 1933, no. 383 London, Alex. Reid & Lefevre, French Painting of the 19th Century: Ingres to Cézanne, 1933, no. 26 (as dating from 1870) Ottawa, National Gallery of Canada; Toronto, Art Gallery & Montreal, Montreal Art Association, French Painting in the 19th Century, 1934, no. 77 Glasgow, Alex. Reid & Lefevre, French Art of the 19th and 20th Centuries, 1937, no. 38 (as dating from 1870) London, Alex. Reid & Lefevre, French Masters of the 19th Century, 1937, no. 24 (as dating from 1870) London, National Gallery, Nineteenth Century French Painting, 1942-43, no. 13 (as dating from circa 1870) Venice, Gli Impressionisti alla XXIV Biennale di Venezia, 1948, no. 3, illustrated in the catalogue Cardiff, National Museum of Wales, How Impressionism Began, 1960, no. 39, illustrated in the catalogue St. Helier, La Société Jersiaise, Centenary Art Exhibition, 1973, no. 7 Amsterdam, Rijksmuseum, Vincent van Gogh Museum, Monet in Holland, 1986-87, no. 22, illustrated in colour in the catalogue (titled The Mill) Treviso, Casa dei Carraresi, Monet. I luoghi della pittura, 2001-02, no. 6, illustrated in colour in the catalogue Literature Georges Grappe, Claude Monet, Paris, 1909, illustrated p. 30 Erich Hancke, ‘Die klassische Malerei Frankreichs im 19. Jahrhundert’’’’, in Kunst und Künstler, vol. XI, no. 7, 1912, illustrated p. 64 Gustave Geffroy, ‘C. Monet’’’’, in L’’’’Art et les artistes, vol. II, no. 11, 1920, illustrated p. 58 Arsène Alexandre, Claude Monet, Paris, 1921, illustrated p. 58 Camille Mauclair, Claude Monet, Paris, 1927, illustrated pl. XII Léon Werth, Claude Monet, Paris, 1928, illustrated pl. 10 Glasgow Evening Citizen, 14th April 1937, illustrated Illustrated London News, 10th July 1937, illustrated John Rewald, The History of Impressionism, New York, 1961, illustrated p. 262 Daniel Wildenstein, Claude Monet, biographie et catalogue raisonné, Paris & Lausanne, 1974, vol. I, no. 171, illustrated p. 195 Hans Edvard Nørregård-Nielsen, 'Monet i Holland', in Meddelelser fra Ny Carlsberg Glyptotek, 1987, illustrated p. 13 Daniel Wildenstein, Monet, Catalogue raisonné, Cologne, 1996, vol. II, no. 171, illustrated in colour p. 80 Marc-Henri Tellier, François Depeaux – Le charbonnier et les impressionnistes, Rouen, 2010, no. 293, listed p. 265 Catalogue Note In the present work Monet depicts a windmill known as ‘Het Oosterkattegat’’’’ which stood on the outskirts of the Zuiddijk in Zaandam (fig. 1). Looking north toward the town, the bell tower of the Oosterzijderkerk can be seen in the distance. The Monet family lived in Zaandam for four months over the summer of 1871. Zaandam was famous for its many mills which performed myriad functions: crushing, pumping, sawing and turning every conceivable material. Appropriately ‘Het Oosterkattegat’’’’ was used to grind pigments. Whilst Monet's wife Camille gave French conversation lessons to the wealthy Van der Stadt family, her husband concentrated on his art. Relatively free of financial worries because of a small inheritance from his late father, Monet produced a number of pictures of the town and its environs in a boldly inventive style. Monet wrote to his friend Camille Pissarro on 2nd June: ‘Zaandam is particularly remarkable and there is enough to paint there for a lifetime’’’’, and again on the 17th: ‘It is marvellous for painting here; there is everything you can find de plus amusant. Houses of all colours, hundreds of windmills and ravishing boats […] and with all this very fine weather, so that already I have several canvases on the go’’’’ (quoted in Monet in Holland (exhibition catalogue), op. cit., p. 99). Monet worked systematically through a series of twenty-five pictures that explored several areas surrounding Zaandam. The artist focused his attention upon the archetypical motifs of the Dutch landscape, canals, mills, and boats (fig. 2). Ronald Pickvance discusses Un Moulin à Zaandam in the context of the other works: ‘There is, however, one painting that is more finished than the others, and also much more deliberately composed. In The Mill ‘Het Oosterkattegat’’’’ [the present work], Monet has carefully plotted his composition, so that the planes succeed each other clearly and recession is marked out for the viewer […]. Monet captures the Dutchness, not merely externally – of fishing boat and windmill, town house and luchthuis, river and canal – but also the delicate enveloping light and atmosphere, subtly different from the Ile de France. The superb manner in which he registers the immense and often changing Dutch skies is sufficient proof of this’’’’ (R. Pickvance in ibid., p. 101). During the early years of the 1870s Monet’’’’s style underwent a transformation. The Franco-Prussian war forced the artist and his young family to seek safety in England where he found the companionship of other artists, such as Pissarro and Daubigny. Whilst in London Monet spent a great deal of time exploring the galleries, especially those containing works by the great English landscape painters Constable and Turner. However, whilst traditional landscape painting held a certain allure for Monet at this time, other more exotic influences occupied his attention. The artist and his contemporaries were fascinated by contemporary Japanese art and this had a profound effect on their own work. The inventive perspectives and clarity found in the works of Japanese artists, such as Hiroshige, provided French painters with new impetus to challenge the Salon-led style of the elder generation. The present work possesses a strong compositional rhythm and panoramic depth which parallels that of the complex asymmetry evident in Japanese woodcuts. However, the evolution of Impressionism is also manifest in Un Moulin à Zaandam. The artist’’’’ s use of colour and the areas of lively brushwork represent his gradual development of ideas and attempts to evoke the atmosphere of the landscape. Monet includes subtle, but evocative, signifiers of the weather in the deftly applied pennants flying in the wind, and the striking red sails of the mill and rooftops provide relief against the backdrop of greys that make up the shifting skies. Fig. 1 The mill ‘Het Oosterkattegat’’’’ in Zaandam, circa 1880 Fig. 2 Claude Monet, Moulins près de Zaandam , 1871, oil on canvas, Van Gogh Museum, Amsterdam See More See Less
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