Gustave Caillebotte

Agnus, Paris (acquired by 1969)
Sale: Galliera, Paris, 17th June 1970, lot 10 (titled Rue à Argenteuil)
J. Spiess, Paris (acquired by 1971)
Acquired by the present owner in 1976

Marie Berhaut, Caillebotte, sa vie et son oeuvre: catalogue raisonné des peintures et pastels, Paris 1978, no. 146, illustrated p. 131
Marie Berhaut, Gustave Caillebotte, Catalogue raisonné des peintures et pastels, Paris, 1994, no. 157, illustrated p. 135

The canvas is lined. There are four 1cm. sq. spots of retouching to the sky between the chimney and the foliage of the tree. There is a 1cm. sq. spot of retouching to the upper right corner, a 2cm. sq. area of retouching to the right of the upper edge with a smaller nailhead-sized spot of retouching to the right. There appears to be some later strengthening of the signature. All retouching is visible under UV light. Apart from a slightly uneven varnish, this work is in good condition. Colours: Fairly accurate, although the colours are slightly stronger in the original.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In the nineteenth century, the urban landscape of Paris was transformed by Baron Haussmann's elaborate system of wide streets and tree-lined boulevards, and these new thoroughfare's became a symbol of city's modernity. It is no surprise that Caillebotte, who was proclaimed as one of the principal painters of modern life in the 1870s, often chose the street as his subject. Indeed, he used this subject for two of his most important modern history paintings, Paris Street; Rainy Day and The Pont de l'Europe, which he exhibited at the Impressionist exhibition in 1877. Writing of this exhibition, the critic Jacques noted that Caillebotte had made the streets of Paris central to his œuvre; 'So four Impressionists have given themselves the mission of reproducing Paris. M. Caillebotte has chosen the street; M. Renoir, popular dance venues; M. Degas, the theatre and the café-concert, Mlle Berthe Morisot, the bedroom' (Jacques [pseud.], 'Menus propos: exposition impressioniste' in L'Homme Libre, 12th April 1877). The topographic accuracy of Caillebotte's depictions of the Parisian boulevard is indicative of the documentary aspect to his art that recalls the ideals of Realist writers such as Duranty and Zola who believed art ought to portray modern life in its entirety, without embellishment or interpretation.