Christie's /Nov 5, 2014
€2,225,354.20 - €3,708,923.67
Artworks in Arcadja690
Some works of Claude MonetExtracted between 690 works in the catalog of Arcadja
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. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice 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.
Auction: Christie's -Nov 5, 2014 - New YorkLot 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).
Auction: Sotheby's -Nov 5, 2014 - New YorkLot 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.