Claude Monet

Georges de Bellio, Paris (acquired from the artist either July 1876 or June 1877)

Erwin Davis, New York

Durand Ruel, New York (March 16, 1893)

Sale: Galerie Charpentier, Paris, December 7 & 8, 1954, lot 36

Estate of Daniel Carasso

Acquired from the above

 

Daniel Wildenstein, Claude Monet, vie et oeuvre, biographie et catalogue raisonné, vol. I, Lausanne, 1979, no. 430, illustrated p. 301

Daniel Wildenstein, Claude Monet. Biographie et catalogue raisonné, vol. V, Lausanne & Paris, 1991, p. 31

Daniel Wildenstein, Claude Monet, Catalogue raisonné, vol II, Cologne, 1996, no. 430, illustrated p. 174

Very good condition. The canvas is lined. Under ultra-violet light, the surface appears untouched and with no abrasions. The paint layer is stable and slightly dirty, but overall the work is in very 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

An overgrowth of reeds along the banks of the Seine is the subject of Monet's canvas from 1876.  As was characteristic of his Impressionist landscapes, Monet painted this composition on location, setting up his easel along the banks of the river in order to capture the fleeting effects of light as it reflected through the entanglement of branches.  While many of his compositions from Argenteuil depicted the boats on the river, here Monet has devoted his focus to nature itself, untouched by the hand of man.

It is presumed that Monet painted this composition not far from the busy boat rental basin, but he has excluded any reference to the boats or any nautical activity.  What we see here is one of the few instances of nature untamed, not yet overrun by industry and the activity of modern France.   Discussing a related work from 1874 Paul Hayes Tucker has made the following observations, which could also be applied to the present work.  "Standing behind a screen of weeds, alone and meditative, Monet looks out across the empty Seine as if pondering his choices....It could be seen, therefore, as a statement of compromise:  city and country, in tempered forms, could continue to coexist harmoniously and be the basis for Monet's art.  One the other hand, the picture could be seen as a statement of direction:  the emphasis is clearly on the weeds, river, and sky, with the town  decidedly subordinate.  'Modern' Argenteuil could perhaps be relegated to the background and the 'country' side of town could become the focus of attention" (P.H. Tucker, Monet at Argenteuil, Milan, 1982, pp. 116-118).