克勞德·莫內

Durand-Ruel, Paris (acquired from the artist in October 31, 1882)

Mme. Lafon (acquired on September 3, 1883)

Paul Durand-Ruel, Paris (acquired from the above on August 25, 1891)

Jean d'Alayer, Paris (acquired from the above in 1949)

Baron Louis de Chollet, Switzerland (acquired from the above)

The Estate of the late Baron de Chollet, Fribourg (sold: Christies, New York, November 14, 1990, lot 2)

Private Collection

Acquired from the above in 1993

Paris, Durand-Ruel, Monet, 1883, no. 26

Paris, Durand-Ruel, Paysages par Claude Monet et Renoir, 1908, no. 3

P. Labarrère, "Exposition de Claude Monet", Journal des artistes, Paris, March 16, 1883, p. 1

Georges Lecomte, L'Art impressionniste, Paris, 1892, discussed pp. 119-120

Daniel Wildenstein, Claude Monet, Biographie et catalogue raisonné, vol. II, Lausanne-Paris, 1974, no. 771, illustrated p. 81

Daniel Wildenstein, Monet, Catalogue raisonné, vol. II, Cologne, 1996, no. 771, illustrated p. 288

David Joel, Monet at Vétheuil 1878-1883, Woodbridge, England, 2002, no. W771, illustrated in color p. 171

Very good condition. The canvas is lined, and the paint layer is stable. There is a slight vertical crack in the paint layer in the upper left, towards the edge. Under UV, there is some minor retouching in the upper left.
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.

The brilliant sunset over the Channel as seen from Pourville inspired this radically modern composition of 1882.  Monet has captured the moment when the sun has just fallen below the horizon and the sky is diffused with hazy tones of pink and purple that reflect off the surface of the sea.   The sight must have been irresistible for this painter of light, and the resulting composition evidences Monet's mastery of this genre. 

When Monet discovered the village of Pourville, he wrote to Alice Hoschedé that it was set in a beautiful region where he "couldn't be closer to the sea […] I only regret not coming here sooner" (quoted in Paul Tucker, Claude Monet: Life and Art, New Haven and London, 1995, p. 109).  Tranquility prevails in this richly colorful painting, where no sign of human presence is evident as we look onto the infinite expanse of the Atlantic ocean.  The vistas of the Normandy coast, including the town of Pourville, were among Monet's favorite subjects in the 1880s, and the unobstructed views of sea and sky and the simplicity and starkness of nature appealed to the artist's desire to experiment with his representations of space and the relationship among the elements.