1897
Except otherwise stated, all results include the premium.
See also : Series by Monet Pissarro Rodin Paris Orientalisn 1830-1900
See also : Series by Monet Pissarro Rodin Paris Orientalisn 1830-1900
GAUGUIN
1
masterpiece
1897-1898 D'où venons-nous Que sommes-nous Où allons-nous
Museum of Fine Arts Boston
Coming rather lately to artistic creation and originally close to the Impressionnistes, Paul Gauguin looked for innovative solutions such as using pure colors within closed forms, anticipating Fauvisme.
His life became a series of social woes. This uncompromising Christian rejects the Catholic teaching and liturgy but desires to interpret the mystery of life. At the time of the Christ Jaune, 1889, he surrounds the religious symbols with themes from modern life including his own self portrait.
His voluntary exile in Polynesia brings him a synthesis of Christianity and animism. From then Gauguin's art is no more exclusively Christian.
Paul Gauguin returned to Tahiti in 1895 after spending two years in France. Nothing goes well. He is sick and crippled with debt. His wife broke up permanently. Their only daughter Aline, whom he has not seen since 1891, dies in 1897 at the age of 20. Disgusted with European civilization, he seeks new roots. He will write a little later that he wanted to commit suicide. His Polynesian art shifts from daily life to mystic.
He is fiercely committed to the work which he considers as the most important in his career : D'où venons-nous Que sommes-nous Où allons nous, without question mark as if he wanted to persuade himself that he brings the answers. This immense masterpiece, 140 x 375 cm, to read from right to left, stages the three ages of life played by Tahitian characters
Painted in Tahiti in 1897-1898, D'où venons-nous Qui sommes-nous Où allons-nous, which is conceived by the artist as his ultimate masterpiece, does not refer to Western religions. The image is shared by Wikimedia.
His life became a series of social woes. This uncompromising Christian rejects the Catholic teaching and liturgy but desires to interpret the mystery of life. At the time of the Christ Jaune, 1889, he surrounds the religious symbols with themes from modern life including his own self portrait.
His voluntary exile in Polynesia brings him a synthesis of Christianity and animism. From then Gauguin's art is no more exclusively Christian.
Paul Gauguin returned to Tahiti in 1895 after spending two years in France. Nothing goes well. He is sick and crippled with debt. His wife broke up permanently. Their only daughter Aline, whom he has not seen since 1891, dies in 1897 at the age of 20. Disgusted with European civilization, he seeks new roots. He will write a little later that he wanted to commit suicide. His Polynesian art shifts from daily life to mystic.
He is fiercely committed to the work which he considers as the most important in his career : D'où venons-nous Que sommes-nous Où allons nous, without question mark as if he wanted to persuade himself that he brings the answers. This immense masterpiece, 140 x 375 cm, to read from right to left, stages the three ages of life played by Tahitian characters
Painted in Tahiti in 1897-1898, D'où venons-nous Qui sommes-nous Où allons-nous, which is conceived by the artist as his ultimate masterpiece, does not refer to Western religions. The image is shared by Wikimedia.
2
1897 Te Bourao
2019 SOLD for € 9.5M by Artcurial
In the same period as the mystical masterpiece narrated above, Gauguin makes eight other paintings, which are not sketches but rather a support to clarify his thinking. The complete set is sent in 1898 for a solo exhibition at the Galerie Ambroise Vollard. Success does not come. This activity is however a point of no return in Gauguin's pictorial art, replacing the picturesque exoticism by an allegorical mysticism.
On December 3, 2019, Artcurial sold the only one of the nine works still in private hands for € 9.5M from a lower estimate of € 5M, lot 15. This oil on canvas 73 x 92 cm titled Te Bourao by the artist and dated 1897 has sometimes been named Paysage bleu. Please watch the video shared by the auction house.
The bourao is the hibiscus of Tahiti, considered as the joint creation of Earth and Paradise. It provides the ornamental flower of young women, worn on the left ear if the girl is married and on the right ear if she is single.
Te Bourao is entirely painted in dark blue and Veronese green, at the limit of readability. This harmony of muted colors is unique in this corpus of nine works. The only human presence is a rider who sneaks up to the top left corner, just where Gauguin will write the title of the final work, D'où venons-nous Qui sommes-nous Où allons-nous. Blue is a symbol of the afterlife and the bird in the foreground expresses the futility of words.
On December 3, 2019, Artcurial sold the only one of the nine works still in private hands for € 9.5M from a lower estimate of € 5M, lot 15. This oil on canvas 73 x 92 cm titled Te Bourao by the artist and dated 1897 has sometimes been named Paysage bleu. Please watch the video shared by the auction house.
The bourao is the hibiscus of Tahiti, considered as the joint creation of Earth and Paradise. It provides the ornamental flower of young women, worn on the left ear if the girl is married and on the right ear if she is single.
Te Bourao is entirely painted in dark blue and Veronese green, at the limit of readability. This harmony of muted colors is unique in this corpus of nine works. The only human presence is a rider who sneaks up to the top left corner, just where Gauguin will write the title of the final work, D'où venons-nous Qui sommes-nous Où allons-nous. Blue is a symbol of the afterlife and the bird in the foreground expresses the futility of words.
Artcurial Has €5m Tahitian Gauguin for December Sale in Paris https://t.co/WzyK61XI2E pic.twitter.com/Oh7VyAGAoC
— Art Market Monitor (@artmarket) October 11, 2019
1897 Le Boulevard Montmartre by PISSARRO
Intro
Le Boulevard Montmartre by Pissarro. Compare Matinée de printemps (sold by Sotheby's on February 5, 2014, lot 43) and Fin de journée (sold by Sotheby's on June 19, 2019, lot 9). Significance in the artist's career.
The Boulevard Montmartre Series by Camille Pissarro
Camille Pissarro painted his renowned Boulevard Montmartre series in 1897 from a room in the Grand Hôtel de Russie in Paris. The series consists of 14 canvases (plus a few related views) depicting the same bustling urban vista at different times of day, weather conditions, and seasons. This systematic exploration of light, atmosphere, and movement echoes Claude Monet's series (e.g., Haystacks or Rouen Cathedral) but focuses on the modern Parisian cityscape reshaped by Baron Haussmann's renovations.
Comparison: Matinée de printemps (1897) and Fin de journée (1897)
Both paintings share the identical viewpoint looking down the Boulevard Montmartre, capturing horse-drawn carriages, pedestrians, trees, and grand buildings in Pissarro's lively Impressionist style with rapid, dappled brushstrokes conveying energy and transience.
Auction History
Though best known for rural landscapes and mentoring younger Impressionists (e.g., Cézanne, Gauguin), Pissarro shifted to urban series in the 1890s due to failing eyesight, which made plein-air work difficult. The Boulevard Montmartre series—along with later views of the Avenue de l'Opéra and Tuileries—marked a pivotal late-career triumph, establishing him as Impressionism's foremost painter of modern Paris. Critics and exhibitions (e.g., 1992–93 retrospective) hail it as his most innovative urban achievement, rivaling Monet's series in capturing fleeting effects while celebrating the vitality of fin-de-siècle city life. It reaffirmed his relevance in his final years (he died in 1903) and influenced perceptions of Impressionism's engagement with modernity.
The Boulevard Montmartre Series by Camille Pissarro
Camille Pissarro painted his renowned Boulevard Montmartre series in 1897 from a room in the Grand Hôtel de Russie in Paris. The series consists of 14 canvases (plus a few related views) depicting the same bustling urban vista at different times of day, weather conditions, and seasons. This systematic exploration of light, atmosphere, and movement echoes Claude Monet's series (e.g., Haystacks or Rouen Cathedral) but focuses on the modern Parisian cityscape reshaped by Baron Haussmann's renovations.
Comparison: Matinée de printemps (1897) and Fin de journée (1897)
Both paintings share the identical viewpoint looking down the Boulevard Montmartre, capturing horse-drawn carriages, pedestrians, trees, and grand buildings in Pissarro's lively Impressionist style with rapid, dappled brushstrokes conveying energy and transience.
- Le Boulevard Montmartre, matinée de printemps ("Spring Morning"):
This depicts a fresh spring morning with soft, diffused sunlight and emerging greenery on the trees. The palette features vibrant greens, yellows, blues, and pinks, evoking optimism and renewal. The scene feels bright and lively, with a sense of awakening urban activity. Pissarro particularly favored this work, intending it for an international exhibition. - Le Boulevard Montmartre, fin de journée ("End of Day" or "Late Afternoon/Setting Sun"):
This captures the warm glow of late afternoon or early evening sunlight, with the street and trees bathed in golden-orange hues. The light creates long shadows, a softer diffusion, and a tranquil yet winding-down atmosphere amid lingering bustle. The palette shifts to warmer tones—pinks, oranges, and pale blues in the sky—contrasting the morning's freshness with a sense of closure.
- Lighting and mood — Morning version: crisp, invigorating daylight symbolizing beginnings; End-of-day version: warmer, fading light evoking calm and transition to evening.
- Color and atmosphere — Cooler, vibrant tones in spring morning vs. warmer, glowing hues in late day.
- Activity — Both show bustling traffic, but the end-of-day feels slightly more subdued due to shadows and softening light.
Auction History
- Matinée de printemps sold at Sotheby's London (February 5, 2014, lot 43) for £19.68 million (then ~$32 million), setting a record for Pissarro. It had a poignant provenance, looted by Nazis from Jewish collector Max Silberberg and restituted in 2000.
- Fin de journée sold at Sotheby's London (June 19, 2019, lot 9) under a settlement related to another forced sale during the Nazi era.
Though best known for rural landscapes and mentoring younger Impressionists (e.g., Cézanne, Gauguin), Pissarro shifted to urban series in the 1890s due to failing eyesight, which made plein-air work difficult. The Boulevard Montmartre series—along with later views of the Avenue de l'Opéra and Tuileries—marked a pivotal late-career triumph, establishing him as Impressionism's foremost painter of modern Paris. Critics and exhibitions (e.g., 1992–93 retrospective) hail it as his most innovative urban achievement, rivaling Monet's series in capturing fleeting effects while celebrating the vitality of fin-de-siècle city life. It reaffirmed his relevance in his final years (he died in 1903) and influenced perceptions of Impressionism's engagement with modernity.
1
matinée de printemps
2014 SOLD for £ 19.7M by Sotheby's
For a new series of views of Paris, Pissarro moves in February 1897 to the Grand Hôtel de Russie. Throughout several weeks he observes through the window the whole perspective of the boulevard Montmartre, with its interminable double procession of carriages, the walkers on the sidewalk, the reappearance of the leaves in early spring, the gas burners to illuminate the night.
Pissarro painted fourteen oils on canvas in an identical topography. He indeed knows to capture the essence of a moment.
His spring morning with the gas nozzle still lit, the shy sun onto the wet street and the early leaves that do not hide the branches is one of the best views of the series. This oil on canvas 65 x 81 cm was sold for £ 19.7M from a lower estimate of £ 7M by Sotheby's on February 5, 2014, lot 43. Please watch the video shared by the auction house.
Pissarro painted fourteen oils on canvas in an identical topography. He indeed knows to capture the essence of a moment.
His spring morning with the gas nozzle still lit, the shy sun onto the wet street and the early leaves that do not hide the branches is one of the best views of the series. This oil on canvas 65 x 81 cm was sold for £ 19.7M from a lower estimate of £ 7M by Sotheby's on February 5, 2014, lot 43. Please watch the video shared by the auction house.
2
fin de journée
2019 SOLD for £ 7.1M by Sotheby's
Fin de journée, 54 x 65 cm, was sold for £ 7.1M from a lower estimate of £ 3.5M by Sotheby's on June 19, 2019, lot 9.
#AuctionUpdate Brilliantly evoking the excitement of Paris at the fin-de-siécle, Camille Pissarro’s Boulevard Montmartre, fin de journée from 1897 – bathed in the warm glow of the setting sun – brings £7.1 million, besting its £5 million high est pic.twitter.com/FDc7YCBZJv
— Sotheby's (@Sothebys) June 19, 2019
1897 MONET
1
Matinée sur la Seine
2017 SOLD for $ 23.4M by Christie's
In 1896 and 1897 the summer and the beginning of autumn are very rainy. Monet finishes only four paintings of the Matinée sur la Seine at the end of this season. One of them, 89 x 92 cm, was sold for $ 20.5M by Sotheby's on May 14, 2018, lot 15. Please watch the video shared by the auction house. The poor weather brings soft contrasts without saturating the shadows.
Monet returned to the same river bank in 1897 without changing anything in his creative process from the previous year, bringing the total of the Matinées to 22 paintings. One of them on which the sun rays are just reaching the trees in the background, also 89 x 92 cm, was sold for $ 23.4M by Christie's on November 13, 2017, lot 26A.
An example on which the sun rays are just reaching the trees in the background, also 89 x 92 cm, was sold for $ 23.4M from a lower estimate of $ 15M by Christie's on November 13, 2017, lot 26A. The image is shared by Wikimedia.
Monet returned to the same river bank in 1897 without changing anything in his creative process from the previous year, bringing the total of the Matinées to 22 paintings. One of them on which the sun rays are just reaching the trees in the background, also 89 x 92 cm, was sold for $ 23.4M by Christie's on November 13, 2017, lot 26A.
An example on which the sun rays are just reaching the trees in the background, also 89 x 92 cm, was sold for $ 23.4M from a lower estimate of $ 15M by Christie's on November 13, 2017, lot 26A. The image is shared by Wikimedia.
2
Matinée sur la Seine, temps net
2024 SOLD for £ 14.4M by Christie's
Painted in 1897, an oil on canvas 82 x 92 cm from the Matinée sur la Seine series is subtitled Temps net, meaning without mist or fog. It was sold for £ 14.4M from a lower estimate of £ 12M by Christie's on March 7, 2024, lot 15. The image is shared by Wikimedia. Please watch the video shared by the auction house.
3
Les Iles à Port Villez
2020 SOLD for $ 4.6M by Sotheby's
Les Iles à Port-Villez, oil on canvas 84 x 100 cm executed by Monet in 1897, was sold for $ 4.6M from a lower estimate of $ 2.5M by Sotheby's on October 29, 2020, lot 120.
It is apparently a remake in larger size of W 841 (sold for € 6.4M by Sotheby's on April 16, 2026, lot 8), despite the banality of the scenery. Evolution of Monet's techniques between both paintings. Purpose of the remake.
Les Îles à Port-Villez (W 1493, 1897, oil on canvas, approx. 83.5 × 100.4 cm / 32⅞ × 39½ in.) is a later, larger-scale treatment of the same motif Monet first painted in W 841 (1883, approx. 65.5 × 81.8 cm). The 1897 canvas was sold by Sotheby's New York on October 29, 2020 (lot 120, from the Brooklyn Museum, deaccessioned to support collections). It belongs to a small group of six related 1897 canvases focusing on a cluster of tidal islands at the confluence of the Seine and Epte rivers, just south of Giverny.
Evolution of Monet's Techniques (1883 vs. 1897)
Between 1883 and 1897, Monet's approach to the Seine landscape matured significantly, moving from exploratory Impressionism toward greater atmospheric dissolution and serial refinement.
Purpose of the Remake
The scenery itself—wooded islands in the Seine—could appear banal or repetitive, yet Monet returned to it deliberately. The 1897 version was not a simple copy but a refined reinterpretation enabled by his growing mastery.
W 841 was transferred by Durand-Ruel from Paris to his New York Galleries in 1897 and twice exhibited therein, in 1907 and 1911, with no further exhibition history although they owned it until 1954. W 1493 was acquired directly from Monet by Durand-Ruel in 1919 and exhibited in their New York Galleries in the same year. I guess that Monet painted the replica in 1897 and kept it while anticipating that the original would be later considered as obsolete by Durand-Ruel for the use of New York, which was the case in 1919, 22 years later !! That would mean a very close co-operation over more than two decades between Monet and Durand-Ruel for maintaining the highest quality of the New York exhibitions.
Your hypothesis captures an intriguing aspect of the long-term business and artistic relationship between Claude Monet and Paul Durand-Ruel (and later his sons), but the timeline and motivations appear more nuanced than a deliberate 22-year "anticipatory replica" strategy.
Provenance and Exhibition Facts
Was the 1897 Version a "Replica" Kept in Anticipation?
Not exactly. Monet frequently revisited motifs across decades, but the 1897 canvas is better understood as part of his mature serial practice rather than a calculated backup for an "obsolete" 1883 painting:
Your point about close, long-term cooperation is accurate and well-supported. The partnership lasted over 40 years and was exceptional in the art world:
The "banality" of the scenery only underscores Monet's genius: he transformed an ordinary river bend into profound studies of perception, light, and atmosphere across decades. The 2026 Sotheby's offering of the rarely seen 1883 original (long known only in black-and-white) alongside the documented history of the 1897 variant highlights this continuity beautifully.
It is apparently a remake in larger size of W 841 (sold for € 6.4M by Sotheby's on April 16, 2026, lot 8), despite the banality of the scenery. Evolution of Monet's techniques between both paintings. Purpose of the remake.
Les Îles à Port-Villez (W 1493, 1897, oil on canvas, approx. 83.5 × 100.4 cm / 32⅞ × 39½ in.) is a later, larger-scale treatment of the same motif Monet first painted in W 841 (1883, approx. 65.5 × 81.8 cm). The 1897 canvas was sold by Sotheby's New York on October 29, 2020 (lot 120, from the Brooklyn Museum, deaccessioned to support collections). It belongs to a small group of six related 1897 canvases focusing on a cluster of tidal islands at the confluence of the Seine and Epte rivers, just south of Giverny.
Evolution of Monet's Techniques (1883 vs. 1897)
Between 1883 and 1897, Monet's approach to the Seine landscape matured significantly, moving from exploratory Impressionism toward greater atmospheric dissolution and serial refinement.
- 1883 (W 841): Painted shortly after Monet's arrival in Giverny, this work reflects his direct use of the bateau-atelier for fresh, on-the-spot observation. The technique is more vigorous and immediate: energetic, generous brushstrokes in greens and blues build the billowing islands and their reflections, with a sense of speed and discovery. The sky often appears hazier or more summary, while foliage and water show distinct, textured marks. Composition emphasizes the islands rising from languid water, with reflections as a key motif but still anchored in observable natural detail. It has an alla prima freshness, capturing the untouched quality of the scene during his initial river explorations.
- 1897 (W 1493): By the mid-1890s, Monet worked in series with multiple canvases prepared in advance, often starting early in the morning (sometimes as early as 3:30 a.m.) from his studio boat to catch fleeting light effects before the sun fully rose. The 1897 version shows a softer, more unified surface. Brushwork becomes more blended and instantaneous, with thinner layers that sometimes allow the canvas to show through, creating a uniform, misty finish. Colors shift toward subtle, vibrating harmonies—cooler blues, greens, and atmospheric hazes—dissolving forms further into light and reflection. The islands and water merge more poetically, prefiguring the near-abstraction of the later water lily series. Details of the riverbank or human elements (if any) recede in favor of overall atmospheric effect.
Purpose of the Remake
The scenery itself—wooded islands in the Seine—could appear banal or repetitive, yet Monet returned to it deliberately. The 1897 version was not a simple copy but a refined reinterpretation enabled by his growing mastery.
- Artistic refinement and serial exploration: Monet frequently revisited earlier motifs to test how his evolving technique could transform the same subject. By 1897, he had deepened his understanding of transient effects (especially morning mists and reflections). The larger format allowed for more expansive handling of atmosphere, turning a straightforward river view into a study of light dissolving matter. This aligns with his practice in the 1890s (haystacks, poplars, Rouen Cathedral), where repetition served to capture nuanced variations rather than novelty in subject.
- Market and personal motivations: Having sold the 1883 canvas early to Durand-Ruel (1883), Monet may have wanted a more mature statement of the motif for collectors. The 1897 group, including W 1493, reflects his commercial success and confidence; he produced polished works that showcased his signature shimmering surfaces. There is no strong evidence of dissatisfaction with the original—rather, it was a natural extension of his serial method and fascination with the Giverny Seine as a lifelong laboratory for light and water.
- Prefiguration of later work: These 1890s river paintings bridge his early Giverny explorations and the water lily pond series. The emphasis on blended reflections and atmospheric unity in the 1897 version directly anticipates the all-over, near-abstract surfaces of the 1900s–1920s.
W 841 was transferred by Durand-Ruel from Paris to his New York Galleries in 1897 and twice exhibited therein, in 1907 and 1911, with no further exhibition history although they owned it until 1954. W 1493 was acquired directly from Monet by Durand-Ruel in 1919 and exhibited in their New York Galleries in the same year. I guess that Monet painted the replica in 1897 and kept it while anticipating that the original would be later considered as obsolete by Durand-Ruel for the use of New York, which was the case in 1919, 22 years later !! That would mean a very close co-operation over more than two decades between Monet and Durand-Ruel for maintaining the highest quality of the New York exhibitions.
Your hypothesis captures an intriguing aspect of the long-term business and artistic relationship between Claude Monet and Paul Durand-Ruel (and later his sons), but the timeline and motivations appear more nuanced than a deliberate 22-year "anticipatory replica" strategy.
Provenance and Exhibition Facts
- W 841 (1883, Les Îles de Port-Villez): Acquired directly by Durand-Ruel Paris on 11 December 1883. Transferred to the New York branch in 1897. Exhibited there in 1907 and 1911. Remained in Durand-Ruel ownership (Paris/New York family holdings) until consigned to Galerie Charpentier in Paris on 3 June 1954. No further public exhibitions after 1911, consistent with it being held in stock or family collections.
- W 1493 (1897, Les Îles à Port-Villez): Acquired directly from Monet by Durand-Ruel Paris in 1919. Immediately sold that year to American collector Cornelius Vanderbilt Barton. Exhibited at Durand-Ruel New York in 1919 as part of "Recently Imported Works by Cl. Monet."
Was the 1897 Version a "Replica" Kept in Anticipation?
Not exactly. Monet frequently revisited motifs across decades, but the 1897 canvas is better understood as part of his mature serial practice rather than a calculated backup for an "obsolete" 1883 painting:
- By 1896–97, Monet had shifted toward systematic series work (following haystacks, poplars, and Rouen Cathedral). The "Mornings on the Seine" emphasized atmospheric dissolution—soft mists, blended reflections, and near-abstraction—far beyond the fresher, more vigorous 1883 treatment. The larger format and refined technique reflect his evolved mastery, not a direct copy.
- He produced the 1897 group independently of the earlier sale. Durand-Ruel acquired the 1883 picture early and transferred it to New York as American interest in Impressionism grew (the gallery opened in 1887 and actively promoted Monet). The 1897 version entered Durand-Ruel stock much later, during a period when Monet was selectively selling retained studio works.
- There is no documented evidence that Monet painted or retained W 1493 specifically because he foresaw the 1883 painting becoming unsuitable for New York exhibitions. Instead, the relationship involved ongoing dialogue: Durand-Ruel provided financial stability (including loans toward Giverny purchases), while Monet supplied fresh, high-quality works. Durand-Ruel often chose what to ship to New York based on market appeal—more atmospheric, "finished" pieces tended to suit American collectors better than some earlier, bolder canvases.
Your point about close, long-term cooperation is accurate and well-supported. The partnership lasted over 40 years and was exceptional in the art world:
- Durand-Ruel was Monet's primary dealer from the 1880s onward, buying in depth, offering stipends or advances, and organizing solo exhibitions that built his reputation in Europe and especially the United States.
- The New York gallery played a crucial role in exporting Impressionism to America. Works were regularly transferred across the Atlantic, with careful selection for exhibitions. Durand-Ruel's sons (notably Joseph and Georges) continued this after Paul’s death in 1922.
- Monet retained many canvases in his studio for years, reworking or completing them later. He was known for being selective about what he released, ensuring only pieces meeting his standards reached the market. This allowed the dealer to maintain "highest quality" stock for important venues like New York.
- However, decisions about obsolescence or replacement were more practical and market-driven: tastes evolved, certain early works may have seemed less "modern" or atmospheric by the 1910s, and Monet's newer productions (with their signature shimmering surfaces) commanded stronger interest.
The "banality" of the scenery only underscores Monet's genius: he transformed an ordinary river bend into profound studies of perception, light, and atmosphere across decades. The 2026 Sotheby's offering of the rarely seen 1883 original (long known only in black-and-white) alongside the documented history of the 1897 variant highlights this continuity beautifully.
The pictorial effect is indeed different but the shapes of the foliage and of its reflection in water is incredibly similar. It means that Monet executed the 1897 picture while having in hands the 1883 that belonged to Durand-Ruel, and that he did it just before Durand-Ruel exported the 1883 to New York.
Durand-Ruel was happy with the 1883 until 1911. He knew the 1897 from its creation and acquired it in 1919 for a commercial purpose, possibly on request from the collector Cornelius Vanderbilt Barton. Did this Mr Barton acquire other artworks from Durand-Ruel before, during or just after the 1919 so-called 'Recently Imported Works by Cl. Monet' ?.
The similarity in foliage shapes and reflections between W 841 (1883) and W 1493 (1897) is striking and intentional. Monet often kept photographic records, sketches, or memory of earlier compositions when revisiting motifs, especially in his serial practice. However, there is no direct evidence that he physically had the 1883 canvas in hand while painting the 1897 version.
By 1896–97, the 1883 painting had belonged to Durand-Ruel for 13–14 years and was already in (or en route to) their New York stock following its 1897 transfer. Monet rarely borrowed back sold works for direct copying; instead, he relied on his deep familiarity with the site (painted repeatedly from the bateau-atelier) and studio aids like drawings or earlier studies. The 1897 canvas is not a literal replica but a reinterpretation within the "Mornings on the Seine" series: softer atmospheric handling, mistier light, and more unified surface typical of his mid-1890s technique. The compositional fidelity reflects his consistent viewpoint on the river rather than direct access to the earlier sold picture.
Timeline and Durand-Ruel’s Role
Cornelius Vanderbilt Barton and the 1919 Acquisition
Cornelius Vanderbilt Barton (often associated with New York and Palm Beach) acquired Les Îles à Port-Villez (W 1493) directly from Durand-Ruel in 1919 during or immediately following the “Recently Imported Works by Cl. Monet” exhibition. The painting descended to his wife, Grace Underwood Barton, and was bequeathed by her to the Brooklyn Museum in 1968 (later deaccessioned and sold at Sotheby’s in 2020).
Information on Barton’s broader collecting activity through Durand-Ruel is limited in publicly available sources. He is primarily documented in relation to this specific Monet purchase in 1919. No clear records emerge of him acquiring other artworks from Durand-Ruel before, during, or shortly after that 1919 exhibition. He does not appear as a major, frequently cited client in Durand-Ruel’s American sales circles (unlike figures such as the Havemeyers, Potters, or other Vanderbilt-branch collectors like George Washington Vanderbilt II, who bought Monets earlier through the same dealer).
The 1919 transaction seems to have been a targeted purchase of a fresh, high-quality “Mornings on the Seine” example rather than part of a sustained, multi-work buying campaign documented for Barton. Durand-Ruel may have offered it on request or as part of the exhibition’s promotional push to place recent imports with interested American buyers.
In summary, the close compositional parallels stem more from Monet’s methodical serial approach and intimate knowledge of the Port-Villez islands than from direct consultation of the sold 1883 canvas. Durand-Ruel’s handling of both works reflects pragmatic market adaptation over decades, not a premeditated obsolescence plan. Barton’s documented engagement with the gallery centers on this one notable Monet in 1919, without strong evidence of additional purchases around that time. This episode still illustrates the symbiotic dealer-artist dynamic that sustained Monet’s international success well into the 20th century.
Durand-Ruel was happy with the 1883 until 1911. He knew the 1897 from its creation and acquired it in 1919 for a commercial purpose, possibly on request from the collector Cornelius Vanderbilt Barton. Did this Mr Barton acquire other artworks from Durand-Ruel before, during or just after the 1919 so-called 'Recently Imported Works by Cl. Monet' ?.
The similarity in foliage shapes and reflections between W 841 (1883) and W 1493 (1897) is striking and intentional. Monet often kept photographic records, sketches, or memory of earlier compositions when revisiting motifs, especially in his serial practice. However, there is no direct evidence that he physically had the 1883 canvas in hand while painting the 1897 version.
By 1896–97, the 1883 painting had belonged to Durand-Ruel for 13–14 years and was already in (or en route to) their New York stock following its 1897 transfer. Monet rarely borrowed back sold works for direct copying; instead, he relied on his deep familiarity with the site (painted repeatedly from the bateau-atelier) and studio aids like drawings or earlier studies. The 1897 canvas is not a literal replica but a reinterpretation within the "Mornings on the Seine" series: softer atmospheric handling, mistier light, and more unified surface typical of his mid-1890s technique. The compositional fidelity reflects his consistent viewpoint on the river rather than direct access to the earlier sold picture.
Timeline and Durand-Ruel’s Role
- 1883 painting (W 841): Acquired by Durand-Ruel Paris in December 1883; transferred to New York in 1897; exhibited there in 1907 and 1911. It remained in their inventory/stock until 1954, suggesting it was considered viable for the American market through at least the 1911 exhibition. There is no indication Durand-Ruel viewed it as “obsolete” immediately after 1911.
- 1897 painting (W 1493): Part of the fresh “Mornings on the Seine” campaign. Durand-Ruel acquired it directly from Monet in 1919—22 years after the original series—and promptly exhibited and sold it that same year in New York as part of “Recently Imported Works by Cl. Monet” (no. 11 in the show).
Cornelius Vanderbilt Barton and the 1919 Acquisition
Cornelius Vanderbilt Barton (often associated with New York and Palm Beach) acquired Les Îles à Port-Villez (W 1493) directly from Durand-Ruel in 1919 during or immediately following the “Recently Imported Works by Cl. Monet” exhibition. The painting descended to his wife, Grace Underwood Barton, and was bequeathed by her to the Brooklyn Museum in 1968 (later deaccessioned and sold at Sotheby’s in 2020).
Information on Barton’s broader collecting activity through Durand-Ruel is limited in publicly available sources. He is primarily documented in relation to this specific Monet purchase in 1919. No clear records emerge of him acquiring other artworks from Durand-Ruel before, during, or shortly after that 1919 exhibition. He does not appear as a major, frequently cited client in Durand-Ruel’s American sales circles (unlike figures such as the Havemeyers, Potters, or other Vanderbilt-branch collectors like George Washington Vanderbilt II, who bought Monets earlier through the same dealer).
The 1919 transaction seems to have been a targeted purchase of a fresh, high-quality “Mornings on the Seine” example rather than part of a sustained, multi-work buying campaign documented for Barton. Durand-Ruel may have offered it on request or as part of the exhibition’s promotional push to place recent imports with interested American buyers.
In summary, the close compositional parallels stem more from Monet’s methodical serial approach and intimate knowledge of the Port-Villez islands than from direct consultation of the sold 1883 canvas. Durand-Ruel’s handling of both works reflects pragmatic market adaptation over decades, not a premeditated obsolescence plan. Barton’s documented engagement with the gallery centers on this one notable Monet in 1919, without strong evidence of additional purchases around that time. This episode still illustrates the symbiotic dealer-artist dynamic that sustained Monet’s international success well into the 20th century.
4
Massif de Chrysanthèmes
2022 SOLD for £ 8.3M by Sotheby's
Monet is an amateur but careful and skilled gardener.
As for painting, the small series of four Massif de chrysanthèmes is a breakthrough, in 1897. The top down view in close up eliminates the horizon for a full vertical filling of the flower bed in brilliant colors without peripheral details or perspective effect. An oil on canvas 130 x 89 cm was sold for £ 8.3M by Sotheby's on March 2, 2022, lot 118.
Note that the image available in Wikimedia with the W1498 reference is inverted.
As for painting, the small series of four Massif de chrysanthèmes is a breakthrough, in 1897. The top down view in close up eliminates the horizon for a full vertical filling of the flower bed in brilliant colors without peripheral details or perspective effect. An oil on canvas 130 x 89 cm was sold for £ 8.3M by Sotheby's on March 2, 2022, lot 118.
Note that the image available in Wikimedia with the W1498 reference is inverted.
#AuctionUpdate: Claude Monet's 'Massif de chrysanthèmes' sells for £8.3 million to the Sotheby's Asia desk. #SothebysModern pic.twitter.com/RNpsDFlyPx
— Sotheby's (@Sothebys) March 2, 2022
1897 Eve by Rodin
2008 SOLD for $ 19M by Christie's
In 1880, when Rodin received the commission for the Porte de l'Enfer, he was already working on his Creation of Man which he exhibited at the 1881 Salon. This Adam after sin expresses supreme repentance, standing with his head down and dangling arms. Expecting a complement to the order, he proposes to adjoin the Gate with Adam and Eve in life size.
He is preparing his Eve au Rocher with a small plaster model. The modest position of the arms voluntarily annihilates the eroticism of nudity, which suits academic and religious traditions. The shape of the body carefully takes into account the anatomy of the muscles under the skin.
Rodin does not get the additional order. He drives out the primordial couple from his Hell and abandons his Eve. He takes up this theme in the mid-1890s for a life-size sculpture, with the same attitude and another woman. He wants perfection and does not understand why he has to rework the lines of the body with each new session. He did not know that his role model for the sinful woman had started a pregnancy.
On May 6, 2008, Christie's sold an Eve in the version without the rock for $ 19M from a lower estimate of $ 9M, lot 15. This bronze 1.73 m high with brown patina was cast by François Rudier in 1897 with the inscription Première Epreuve.
In the following year the Balzac is refused by the Société des Gens de Lettres. The collector Auguste Pellerin wants to help Rodin and offers to buy the object of the scandal. Rodin prefers to wait. He keeps his Balzac and sells his Eve Première Epreuve to Pellerin.
He is preparing his Eve au Rocher with a small plaster model. The modest position of the arms voluntarily annihilates the eroticism of nudity, which suits academic and religious traditions. The shape of the body carefully takes into account the anatomy of the muscles under the skin.
Rodin does not get the additional order. He drives out the primordial couple from his Hell and abandons his Eve. He takes up this theme in the mid-1890s for a life-size sculpture, with the same attitude and another woman. He wants perfection and does not understand why he has to rework the lines of the body with each new session. He did not know that his role model for the sinful woman had started a pregnancy.
On May 6, 2008, Christie's sold an Eve in the version without the rock for $ 19M from a lower estimate of $ 9M, lot 15. This bronze 1.73 m high with brown patina was cast by François Rudier in 1897 with the inscription Première Epreuve.
In the following year the Balzac is refused by the Société des Gens de Lettres. The collector Auguste Pellerin wants to help Rodin and offers to buy the object of the scandal. Rodin prefers to wait. He keeps his Balzac and sells his Eve Première Epreuve to Pellerin.
1897 The Tribute by Deutsch
2019 SOLD for £ 4.3M by Sotheby's
At the end of the 1870s, Rudolf Ernst and Ludwig Deutsch leave Vienna for a career in Paris. They specialize in Orientalist painting, characterized by a photographic realism and by a painstaking pictorial technique. Ernst will be mostly inspired by Morocco and Turkey and Deutsch by Egypt.
Deutsch paints types of picturesque characters, based on the photos from his travels. He uses the oil on polished panels for his sharpest compositions.
On October 22, 2019, Sotheby's sold for £ 4.3M from a lower estimate of £ 1.5M a panel 70 x 100 cm painted by Ludwig Deutsch, lot 15.
An elderly dignitary walks towards the steps of a palace with sumptuous walls. He carries a closed scroll that defines his tribute to an invisible lord. He is followed at a distance by a nobleman, a soldier, and a slave bringing a big box which can only contain some offerings.
Other characters complete this scene which is unusually complex for this artist. A towering, heavily armed Nubian soldier blocks the entrance to the palace. The dramatic effect is obtained by the uncertainty about the reception that will be made to the delegation. Unrelated to the action, the group of a dealer and two customers increase this exotic fancy.
A 62 x 80 cm panel similar up to its tiny details was sold by Sotheby's for £ 2.15M on April 23, 2013. This painting is dated 1897. It seems likely that this example was made by Deutsch for the Paris Salon before he painted for a customer the other copy. Curiously, these two artworks do not seem to be identified by titles in French.
Deutsch paints types of picturesque characters, based on the photos from his travels. He uses the oil on polished panels for his sharpest compositions.
On October 22, 2019, Sotheby's sold for £ 4.3M from a lower estimate of £ 1.5M a panel 70 x 100 cm painted by Ludwig Deutsch, lot 15.
An elderly dignitary walks towards the steps of a palace with sumptuous walls. He carries a closed scroll that defines his tribute to an invisible lord. He is followed at a distance by a nobleman, a soldier, and a slave bringing a big box which can only contain some offerings.
Other characters complete this scene which is unusually complex for this artist. A towering, heavily armed Nubian soldier blocks the entrance to the palace. The dramatic effect is obtained by the uncertainty about the reception that will be made to the delegation. Unrelated to the action, the group of a dealer and two customers increase this exotic fancy.
A 62 x 80 cm panel similar up to its tiny details was sold by Sotheby's for £ 2.15M on April 23, 2013. This painting is dated 1897. It seems likely that this example was made by Deutsch for the Paris Salon before he painted for a customer the other copy. Curiously, these two artworks do not seem to be identified by titles in French.
#AuctionUpdate Bidders pay tribute to Ludwig Deutsch, as this exquisite painting doubles his previous auction record to bring £4,298,400 pic.twitter.com/3kCtiIRQ17
— Sotheby's (@Sothebys) October 22, 2019
1897 Trois Danseuses by Degas
2025 SOLD for $ 5.8M by Sotheby's
Trois Danseuses, pastel on tracing paper mounted on card 67 x 51 cm executed by Degas ca 1897, was sold for $ 5.8M from a lower estimate of $ 3.5M by Sotheby's on November 20, 2025, lot 126.
Asking Grok to compare with a later Trois Danseuses (ca 1900) sold by Christie's on May 14, 2015, lot 16C.
Grok thought :
Comparison of Two Notable "Trois Danseuses" Pastels by Edgar Degas
Edgar Degas (1834–1917) created numerous works titled or subtitled Trois danseuses (Three Dancers) throughout his career, particularly in pastel, his preferred medium for ballet subjects in his later years. These often depict ballerinas in rehearsal, preparation, or performance poses, with variations in composition, color, pose, and costume. Degas frequently revisited motifs serially, refining poses and experimenting with vibrant hues and layered application.Here are the two specific works referenced, based on auction records:
1. Trois danseuses – Sotheby's New York, Modern Evening Auction, November 20, 2025, Lot 126
AspectSotheby's 2025 (Lot 126)Christie's 2015 (Lot 16C)
Composition
Earlier : three dancers; typically rehearsal/prep, asymmetrical grouping
Later : Three dancers in tutus; frieze-like, with arms raised or adjusted poses; focus on harmony and color contrast
Color Palette
Earlier : Vibrant, luminous (Degas's signature late intensity)
Later : Bold primaries/contrasts (e.g., yellow/blue/red skirts, green bodices common in series)
Technique
Earlier : Heavy pastel layering, hatching for volume and light
Later : Similar layered/opaque pastel; experimental, almost sculptural texture
Theme
Earlier : Backstage ballet life, movement frozen in time
Later : Same – emphasis on grace, effort, and artificiality of dance
Differences
Earlier : Unique pose variation
Later : More horizontal emphasis in some related series works; known for classical inspiration (e.g., echoes of The Three Graces)
Similarities
Both quintessential late Degas: obsession with ballet, serial exploration, radiant color, and psychological depth in "everyday" dancer moments
Degas produced dozens of "three dancers" variations, often without fixed titles – many share motifs but differ in orientation (e.g., dancers facing left/right), costume details, and background abstraction. The two works considered here are distinct pieces from this rich late oeuvre, where Degas's vision grew bolder, more abstract, and color-saturated as his eyesight declined. Both exemplify why his dancer pastels remain among the most sought-after Impressionist works: they capture fleeting grace with monumental presence.
Asking Grok to compare with a later Trois Danseuses (ca 1900) sold by Christie's on May 14, 2015, lot 16C.
Grok thought :
Comparison of Two Notable "Trois Danseuses" Pastels by Edgar Degas
Edgar Degas (1834–1917) created numerous works titled or subtitled Trois danseuses (Three Dancers) throughout his career, particularly in pastel, his preferred medium for ballet subjects in his later years. These often depict ballerinas in rehearsal, preparation, or performance poses, with variations in composition, color, pose, and costume. Degas frequently revisited motifs serially, refining poses and experimenting with vibrant hues and layered application.Here are the two specific works referenced, based on auction records:
1. Trois danseuses – Sotheby's New York, Modern Evening Auction, November 20, 2025, Lot 126
- Date of execution: Degas's late dancer pastels typically date from c. 1895–1910.
- Medium: Pastel (likely on paper or joined paper, mounted as was common for Degas).
- Description/Provenance highlights: aligns with Degas's iconic late-style ballerina groups – bold colors, dynamic poses, and luminous effects. Provenance traces back through private collections; many such works originated from Degas's atelier sales (1918–1919).
- Style notes: vibrant, expressive application typical of Degas's mature pastels, emphasizing movement, tutus in contrasting colors (e.g., yellow skirts, green/red bodices), and off-center framing.
- Date of execution: c. 1900–1905 (late period).
- Medium: Pastel on joined paper laid down on board.
- Dimensions: Approximately 25–26 inches in height/width (similar scale to many late Degas dancer pastels).
- Description: Depicts three ballerinas in tutus, often in preparatory or resting poses, with rich, saturated colors (e.g., variations in skirt hues like yellow, blue, or red; bodices in contrasting tones). This work belongs to Degas's series exploring frieze-like arrangements of dancers, with bold hatching, layered pastel for texture, and a sense of intimacy/backstage atmosphere.
- Provenance highlights: From Degas's estate/atelier sales; passed through notable collectors. Comparable to works like Trois danseuses (jupes bleues, corsages rouges) (c. 1903, Fondation Beyeler) or other late serial variations.
AspectSotheby's 2025 (Lot 126)Christie's 2015 (Lot 16C)
Composition
Earlier : three dancers; typically rehearsal/prep, asymmetrical grouping
Later : Three dancers in tutus; frieze-like, with arms raised or adjusted poses; focus on harmony and color contrast
Color Palette
Earlier : Vibrant, luminous (Degas's signature late intensity)
Later : Bold primaries/contrasts (e.g., yellow/blue/red skirts, green bodices common in series)
Technique
Earlier : Heavy pastel layering, hatching for volume and light
Later : Similar layered/opaque pastel; experimental, almost sculptural texture
Theme
Earlier : Backstage ballet life, movement frozen in time
Later : Same – emphasis on grace, effort, and artificiality of dance
Differences
Earlier : Unique pose variation
Later : More horizontal emphasis in some related series works; known for classical inspiration (e.g., echoes of The Three Graces)
Similarities
Both quintessential late Degas: obsession with ballet, serial exploration, radiant color, and psychological depth in "everyday" dancer moments
Degas produced dozens of "three dancers" variations, often without fixed titles – many share motifs but differ in orientation (e.g., dancers facing left/right), costume details, and background abstraction. The two works considered here are distinct pieces from this rich late oeuvre, where Degas's vision grew bolder, more abstract, and color-saturated as his eyesight declined. Both exemplify why his dancer pastels remain among the most sought-after Impressionist works: they capture fleeting grace with monumental presence.
