克勞德·莫內

Castagna, New York (sold: Parke-Bernet Galleries, New York, April 29, 1943, lot 44)

Millicent H. Rogers, New York (sold: Parke-Bernet Galleries, New York, May 8, 1947, lot 40)

Dr. Alfred Blum, Switzerland (acquired at the above sale)

Private Collection, Switzerland

Acquired from the above by the present owner

Rome, Complesso Vittoriano, Monet, Il maestro della luce, 2000, no. 24, illustrated in color in the catalogue

Daniel Wildenstein, Claude Monet, Biographie et catalogue raisonné, vol. V, Lausanne, 1991, no. 2023-1030bis, illustrated p. 13

Daniel Wildenstein, Monet, Catalogue raisonné, vol. III, Cologne, 1996,  no. 1130a, illustrated p. 427

Excellent condition. Original canvas. Under UV, there is one small retouching to the extreme top and bottom edges due to frame abrasion. The pigment is stable and the colors are fresh.
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.

A well-trodden path that cuts through the mist is the subject of Monet's highly atmospheric composition. Given Monet's preference for depicting the effects of weather in his paintings, the present scene probably presented him with an irresistible challenge.  Daniel Wildenstein has tentatively dated the work to 1887 in his catalogue raisonné, but the inscription on the canvas appears to read 1879.  With the defining, hazy appearance of the composition, the precise location of the scene remains unknown.  Painting under these inclement weather conditions with limited visibility was not unusual for Monet, who delighted in setting up his easel outdoors to capture the shifts in light and shadow as the day progressed.  The highly atmospheric compositions that resulted from these endeavors would ultimately define the objective of Monet's Impressionist agenda.   The present work, with its scene-altering fog, can be considered a precursor of Monet's continued interest in this theme several years later, when he painted the legendary series of gothic façades of Rouen Cathedral, cloaked in a thick blue-gray fog. 

Among the first owners of the present work was Millicent Rogers (1902-1953), the American trend-setter and art collector. Rogers inherited her wealth from the Standard Oil tycoon Henry H. Rogers and maintained a constant presence in the society pages throughout the mid-20th century through her romances with Clark Gable, Roald Dahl, Ian Fleming and the Prince of Wales as well as three husbands.  She is perhaps best remembered for her advocacy of the rights of American Indians and promotion of Native American art.  When Rogers sold this painting in 1947, she was living in New Mexico and amassing an extensive collection of South-Western Art, which is now housed in an eponymous museum in Taos.