Claude Monet

E. Lefebvre (sold: Hôtel Drouot, Paris, June 7, 1899, lot 16)

M Foinard, Paris (acquired at the above sale and until before 1919)

Franz Resch, Gauting-bei-Munich

Georg Schäfer, Schweinfurt (acquired from the above in 1954 and sold: Christie's, New York, May 4, 2005, lot 25)

Acquired at the above sale

Washington, D.C., National Gallery of Art & Hartford, Wadsworth Atheneum, The Impressionists at Argenteuil, 2000, no. 50, illustrated in color in the catalogue

Daniel Wildenstein, Claude Monet, vie et oeuvre, vol. I, Lausanne, 1974, no. 426, illustrated p. 299

Daniel Wildenstein, Monet, catalogue raisonné, vol. II, Cologne, 1996, no. 426, illustrated p. 173

Stable condition. Under ultra-violet light, there are significant restorations, reinforced on the back of the canvas, to address expertly repaired tears.
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.

Monet's early Impressionist landscapes often depict the scenery along the banks of the Seine near Argenteuil, where the interplay of light, shadow and reflection presented a visual feast of colors and tonal nuances.  As was characteristic of this period, Monet painted the present composition on location, working directly from his bâteau-atelier to capture the fleeting effects of light and the majesterial autumn foliage reflected on the surface of the water.  While many of his compositions from Argenteuil depicted the boats on the river, here Monet has devoted his focus to nature itself, untouched by  industrial development.

The scene depicted here is just west of Argenteuil, looking towards Bezons village along the Petit Bras of the Seine.  Discussing a related work from 1874 Paul Hayes Tucker has made the following observations: "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.  On 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).