Lot 8
  • 8

Jean-Baptiste-Camille Corot

100,000 - 150,000 GBP
bidding is closed


  • Jean-Baptiste-Camille Corot
  • Chaville, le Matin au Printemps
  • signed COROT lower right; bears signature lower left
  • oil on canvas
  • 38 by 55cm., 15 by 21¾in.


Théophile Bascle (probably acquired from the artist. Bascle, 1824-1882, was a wine merchant and art collector, whose collection included 16 Corots and numerous works by Jongkind; his estate sale: Hôtel Drouot, Paris, 12 April 1883, lot 13 (as Effet de matin au printemps))
Galerie Sedelmeyer, Paris
Private collection, Germany (acquired from the above; by 1949)
Private collection, France
Arthur Tooth & Sons Ltd., London (by 1951)
Private collection, UK (acquired from the above on 17 April 1952)


London, Arthur Tooth & Sons Ltd., Recent Acquisitions, 1951


Paul Eudel, L'Hôtel Drouot et la curiosité en 1883, Paris, 1884, p. 224, listed with the other highlights from the sale (as Effet du matin au printemps)
Alfred Robaut, L'Oeuvre de Corot: catalogue raisonné et illustré, Paris, 1905, vol. III, p. 76, no. 1473, catalogued (as signed lower left); p. 77, illustrated
Corot 1796-1875, exh. cat., New York, Ottawa & New York, 1996-97, p. 72, cited with no. 3

Catalogue Note

Painted circa 1860-65, the present work is a particularly subtle and evocative depiction of one of Corot’s most recognisable themes. While the feathered brushwork of the foliage is typical of the artist’s lyrical work from the 1850s on, the judicious touches of pure colour and rendering of the soft light of a spring morning underline Corot’s importance as a master of plein air painting, and a key precursor of Impressionism.

Lying halfway between Paris and Versailles, along with Sèvres, Meudon, and especially his home at Ville d’Avray, Chaville is one of a number of villages situated among gently wooded scenery which inspired Corot. These areas played a fundamental role in shaping his artistic vision of nature as a gentle and tranquil subject, in contrast to the turbulent Romanticism of his contemporary Théodore Rousseau, for example, who displayed a fascination for the wild and thickly wooded forest around the village of Barbizon. Chaville itself is explicitly identified as the subject of a small number of oils, of which Le Petit-Chaville (Ashmolean, Oxford), executed much earlier circa 1823, and painted on paper is another example (fig. 1). 

Paul Eudel identified the present work as among the highlights of Théophile Bascle's collection upon the Bascle estate sale in Paris in 1883. Chaville, Le Matin au Printemps achieved one of the highest prices of the sale, second only to another landscape by Corot.