Jean-Baptiste-Camille Corot

Acquired by the family of the present owner by circa 1900; thence by descent

Glasgow, International Exhibition, 1901, no. 438

Alfred Robaut, L'Œuvre de Corot: catalogue raisonné et illustré, Paris, 1905, vol. III, pp. 72-73, no. 1466, catalogued & illustrated

The canvas has not been lined. There are traces of an old wax seal on the reverse, possibly from a previous owner. There are some fine lines of scattered craquelure. Ultra-violet light reveals a layer of even opaquely fluorescing old varnish, making the surface difficult to read. There are some minor scattered spots which may relate to retouching. The surface is dirty and the painting would benefit from a professional surface clean. Otherwise, the work presents well and is in good condition. Presented in a loaner frame, the work will be sold with its former modern frame. The colours are less brown and more verdant.
"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."

Painted circa 1860-65.

On occasion Corot rendered a dense sous-bois (underbrush) scene as a foil to the open landscapes that dominated his output, whether actual views or souvenirs. Here, Corot carves out a deep, tunnel-like space that stands in contrast to the recession of his open views in which a distant vista is framed by trees or buildings. In this painting, foliage literally fills the canvas, suffusing it with an intense green, but the leafy screen does not inhibit Corot from indulging in characteristically elaborate surface patterning, with the trees' branches elegantly interweaving across the canvas.

Despite the enclosed space, giving little clue as to what lies beyond the trees, the setting was in fact one dear and familiar to Corot. The view here is one of the wooded paths alongside Ville d'Avray's Étang Neuf, on whose north-east side the home of Corot's family was situated. Another of the lakeside buildings is just visible here to the left, possibly one of the Cabassud houses which appear in many of Corot's more open views across the water. Here, by contrast, the water is screened off by the trees, immersing the viewer in a scene of verdant tranquillity.