London and Venice by Monet
Except otherwise stated, all results include the premium.
See also : France Monet Cities Venice
Chronology : 1900-1909 1903 1904 1908
See also : France Monet Cities Venice
Chronology : 1900-1909 1903 1904 1908
London
Intro
In the early autumn 1899 Claude and Alice Monet are in London for family purpose. Below their windows at the Savoy Hotel, the Thames river flows eastward between the Charing Cross railway bridge and the Waterloo road bridge. The artist returns alone in the following year to the same hotel for a longer stay, in February and March. He applies every day an ambitious working plan with a schedule of the utmost rigor.
Taking advantage of the benevolent help of the Savoy, he prepares dozens of canvases to translate in parallel all the shimmers of pink fog in the morning on Waterloo Bridge and in the early afternoon on Charing Cross Bridge. He observes that some effects of light through the fog do not exceed five minutes.
In February 1900 he adds as a third theme the sunset above the neo-Gothic buildings of the Houses of Parliament and the river. This activity was requiring the outdoor installation of his easels in parallel in the garden of St. Thomas's Hospital, as he had done in Giverny in 1891 for painting the Peupliers. Already a famous artist, Monet easily gets the authorization to work in this place. Every afternoon at 4:00, he leaves the hotel to retrieve or resettle his easels at the hospital.
Monet is definitely not a tourist : the rest of the city does not interest him.
After Constable, Monet was a skilled interpreter of the English sky. He was more directly influenced by the atmosphere of London by Turner in the 1830s and by the nocturnal views of the Thames by Whistler in the 1870s. The light changes at every moment with the clouds pushed by the wind and the instability of the fog. His control is total and even his method for applying his brush varies depending on the desired effect.
The change of light in the early spring terminates the session when the sun is now higher and the light has changed. By considering the three views altogether, Monet started a hundred paintings during this 1900 stay. He returns in 1901 during the same season but snow and cold prevent a new progress.
Monet finishes his paintings at Giverny and scrupulously inscribes the year of completion beside his signature. He considers the whole as inseparable until the 1904 exhibition by Durand-Ruel that gets a considerable success.
Taking advantage of the benevolent help of the Savoy, he prepares dozens of canvases to translate in parallel all the shimmers of pink fog in the morning on Waterloo Bridge and in the early afternoon on Charing Cross Bridge. He observes that some effects of light through the fog do not exceed five minutes.
In February 1900 he adds as a third theme the sunset above the neo-Gothic buildings of the Houses of Parliament and the river. This activity was requiring the outdoor installation of his easels in parallel in the garden of St. Thomas's Hospital, as he had done in Giverny in 1891 for painting the Peupliers. Already a famous artist, Monet easily gets the authorization to work in this place. Every afternoon at 4:00, he leaves the hotel to retrieve or resettle his easels at the hospital.
Monet is definitely not a tourist : the rest of the city does not interest him.
After Constable, Monet was a skilled interpreter of the English sky. He was more directly influenced by the atmosphere of London by Turner in the 1830s and by the nocturnal views of the Thames by Whistler in the 1870s. The light changes at every moment with the clouds pushed by the wind and the instability of the fog. His control is total and even his method for applying his brush varies depending on the desired effect.
The change of light in the early spring terminates the session when the sun is now higher and the light has changed. By considering the three views altogether, Monet started a hundred paintings during this 1900 stay. He returns in 1901 during the same season but snow and cold prevent a new progress.
Monet finishes his paintings at Giverny and scrupulously inscribes the year of completion beside his signature. He considers the whole as inseparable until the 1904 exhibition by Durand-Ruel that gets a considerable success.
1
1903 Le Parlement
2022 SOLD for $ 76M by Christie's
The subgroup of the Parliament from St. Thomas's at sunset consists of 19 oil paintings in a unique format 81 x 93 cm.
Le Parlement - soleil couchant, numbered 1603 by Wildenstein, was sold for $ 40.5M by Christie's on May 11, 2015, lot 24A. Dated 1902, this painting is one of the first that was completed by the artist, perhaps because the very expressive sky is particularly successful. Despite the clouds, the sun plays behind the high tower and the soft pink shades apply to the edges of the clouds and to the reflections in the river.
The Wildenstein 1604, with the same title and subtitle, was dated 1903 by the artist. Both were included in the 1904 exhibition of Monet's Vues de la Tamise à Londres at the Galerie Durand-Ruel.
Both sceneries were captured at about the same time at around 5 o'clock in another twilight, W1603 at a later date. W1603 displays a striking appearance of the sun amidst dramatic clouds while W1604 is foggy in violets, lilacs, blues and deep pink with a ghostly silhouette of the Parliament buildings.
W1604 was sold for $ 76M from a lower estimate of $ 40M by Christie's on May 12, 2022, lot 10C.
Le Parlement - soleil couchant, numbered 1603 by Wildenstein, was sold for $ 40.5M by Christie's on May 11, 2015, lot 24A. Dated 1902, this painting is one of the first that was completed by the artist, perhaps because the very expressive sky is particularly successful. Despite the clouds, the sun plays behind the high tower and the soft pink shades apply to the edges of the clouds and to the reflections in the river.
The Wildenstein 1604, with the same title and subtitle, was dated 1903 by the artist. Both were included in the 1904 exhibition of Monet's Vues de la Tamise à Londres at the Galerie Durand-Ruel.
Both sceneries were captured at about the same time at around 5 o'clock in another twilight, W1603 at a later date. W1603 displays a striking appearance of the sun amidst dramatic clouds while W1604 is foggy in violets, lilacs, blues and deep pink with a ghostly silhouette of the Parliament buildings.
W1604 was sold for $ 76M from a lower estimate of $ 40M by Christie's on May 12, 2022, lot 10C.
#AuctionUpdate Claude Monet’s ‘Le Parlement, soleil couchant’ realizes $75.96 million  pic.twitter.com/BpjEOoZ7nY
— Christie's (@ChristiesInc) May 12, 2022
2
1902 Le Parlement
2015 SOLD for $ 40.5M by Christie's
The subgroup of the Parliament from St. Thomas's consists of 19 oil paintings in a unique format 81 x 93 cm. One of them was sold for $ 40.5M by Christie's on May 11, 2015, lot 24A.
Dated 1902, this painting is one of the first that was completed by the artist, perhaps because the very expressive sky is particularly exciting. Despite the clouds, the sun plays behind the high tower and the same pink shades apply to the edges of the clouds and to the reflections in the river.
The image is shared by Wikimedia:
Dated 1902, this painting is one of the first that was completed by the artist, perhaps because the very expressive sky is particularly exciting. Despite the clouds, the sun plays behind the high tower and the same pink shades apply to the edges of the clouds and to the reflections in the river.
The image is shared by Wikimedia:
3
1903 Waterloo Bridge effet de brouillard
2021 SOLD for $ 48M by Christie's
During his frequent and long duration stays in London from 1899 to 1904, Monet made a unprecedented artistic move : he selected only three view points, all of them along the River Thames, two of them from the balcony of his hotel room. He loved the winter fog of London. Not for its mist but for its ever vanishing colors.
As early as 1900 he counted in his hotel room 65 canvases covered of paint with his impressions from all kinds of weather. He reworked them simultaneously in his studio at Giverny and signed them with the date of the completion. He thus painted 41 views of the elegant Waterloo bridge, 37 views of Charing Cross bridge and 19 views of the Towers of Parliament. He considered that work as a whole and did not give visibility before the last of them was finished in 1904. He also made pastels.
On May 13, 2021, Christie's sold for $ 48M Waterloo Bridge effet de Brouillard, oil on canvas 66 x 100 cm dated 1903, lot 8 B. The March 18 press release announces an estimate in the region of $ 35M. Please watch the video shared by Christie's.
The intense fog displays here an ethereal blue iridescent with soft hues of violet, pink and orange, dissolving the animation of the passing carriages and reducing the shores to mere shadows. This significant opus had been included in 1904 in the ground-breaking Durand-Ruel exhibition entitled Claude Monet : Vues de la Tamise à Londres.
As early as 1900 he counted in his hotel room 65 canvases covered of paint with his impressions from all kinds of weather. He reworked them simultaneously in his studio at Giverny and signed them with the date of the completion. He thus painted 41 views of the elegant Waterloo bridge, 37 views of Charing Cross bridge and 19 views of the Towers of Parliament. He considered that work as a whole and did not give visibility before the last of them was finished in 1904. He also made pastels.
On May 13, 2021, Christie's sold for $ 48M Waterloo Bridge effet de Brouillard, oil on canvas 66 x 100 cm dated 1903, lot 8 B. The March 18 press release announces an estimate in the region of $ 35M. Please watch the video shared by Christie's.
The intense fog displays here an ethereal blue iridescent with soft hues of violet, pink and orange, dissolving the animation of the passing carriages and reducing the shores to mere shadows. This significant opus had been included in 1904 in the ground-breaking Durand-Ruel exhibition entitled Claude Monet : Vues de la Tamise à Londres.
#AuctionUpdate Claude Monet's 'Waterloo Bridge, effet de brouillard' from the artist's landmark series of London views achieves $48,450,000 pic.twitter.com/xdEgAyxatl
— Christie's (@ChristiesInc) May 13, 2021
4
1904 Waterloo Bridge effet de brume
2022 SOLD for £ 30M by Christie's
Monet used to observe the Waterloo bridge in the morning when the sun was rising behind it. He considered Charing Cross bridge when the sun light had turned and Westminster from Saint Thomas's later in the afternoon.
Waterloo Bridge temps couvert, oil of canvas 65 x 100 cm dated 1904, was sold for £ 18M by Christie's on June 18, 2007, lot 14. The image is shared by Wikimedia. This view displays three areas of bright yellow sun light, in the sky revealing the shore, under the arches of the bridge, and on the rippling surface of the river in front of the shadow of the bridge.
On June 28, 2022, Christie's sold for £ 30M Waterloo Bridge, effet de brume, lot 34.
This oil on canvas 65 x 100 cm dated 1904 displays a moment in the early morning on the scenery of the bridge viewed from the East. The yellow bursts of the sunlit break through a misty haze in a radiant glow promising a brighter weather, rarely found in the Waterloo Bridge paintings. Golden reflections appear in the river. The far bank is nearly canceled by the mist.
Belonging since 1851 to the Bulova family of watchmakers, this painting had been recently on long term loan to the Basel Kunstmuseum.
Waterloo Bridge temps couvert, oil of canvas 65 x 100 cm dated 1904, was sold for £ 18M by Christie's on June 18, 2007, lot 14. The image is shared by Wikimedia. This view displays three areas of bright yellow sun light, in the sky revealing the shore, under the arches of the bridge, and on the rippling surface of the river in front of the shadow of the bridge.
On June 28, 2022, Christie's sold for £ 30M Waterloo Bridge, effet de brume, lot 34.
This oil on canvas 65 x 100 cm dated 1904 displays a moment in the early morning on the scenery of the bridge viewed from the East. The yellow bursts of the sunlit break through a misty haze in a radiant glow promising a brighter weather, rarely found in the Waterloo Bridge paintings. Golden reflections appear in the river. The far bank is nearly canceled by the mist.
Belonging since 1851 to the Bulova family of watchmakers, this painting had been recently on long term loan to the Basel Kunstmuseum.
#AuctionUpdate #ClaudeMonet’s ‘Waterloo Bridge, effet de brume’ achieves £30,059,500. The work is a key painting from Monet’s landmark series, ‘Vues du Londres (Views of London)’, in which he evocatively captures the shifting character of the famous bridge. pic.twitter.com/EKPl0vOA9E
— Christie's (@ChristiesInc) June 28, 2022
5
1903 Charing Cross Bridge
2019 SOLD for $ 27.6M by Sotheby's
On November 12, 2019, Sotheby's sold for $ 27.6M one of the 37 oil paintings on canvas of Charing Cross Bridge, 65 x 100 cm, dated 1903, lot 8. This example displays a thick fog made even more abstract by the lack of perspective of the unsightly bridge. The almost imperceptible steam of two trains is dissolved in the mist. A faint light illuminates the center of the image.
This set of nearly one hundred paintings executed in parallel on only three themes was a project without equivalent in the history of art. The Thames in London in the winter fog of was perhaps the only condition in the world worthy to manage such a feat. The mists of Venice are less fugitive, probably explaining the dismay of Monet at the beginning of his stay in the City of the Doges in 1908.
This set of nearly one hundred paintings executed in parallel on only three themes was a project without equivalent in the history of art. The Thames in London in the winter fog of was perhaps the only condition in the world worthy to manage such a feat. The mists of Venice are less fugitive, probably explaining the dismay of Monet at the beginning of his stay in the City of the Doges in 1908.
One of the many works in the #London series by Claude #Monet, will be sold in November – with an estimate of £15-23 million
— Barnebys.co.uk (@Barnebysuk) November 1, 2019
1908 Venice
Intro
Monet's long stay in Venice in the fall of 1908 was a continuous working session during which the artist realized 37 oil paintings divided into several themes. Upon his return to Paris, Bernheim-Jeune acquired 28 of these pieces that remained in the artist's studio for the finishing touches.
In 1912, everything is ready. The exhibition of the views of Venice by Monet at the Galerie Bernheim-Jeune enchants the most demanding visitors.
Monet is not the first artist to express the ethereal light of Venice. The contribution of his art compared to Turner's views is the fact that Monet, only interested in the atmosphere, removes any anecdotal animation. The gondola that slides in front of the Piazza serves only to underline a strong point of the composition.
In 1912, everything is ready. The exhibition of the views of Venice by Monet at the Galerie Bernheim-Jeune enchants the most demanding visitors.
Monet is not the first artist to express the ethereal light of Venice. The contribution of his art compared to Turner's views is the fact that Monet, only interested in the atmosphere, removes any anecdotal animation. The gondola that slides in front of the Piazza serves only to underline a strong point of the composition.
1
Palazzo Contarini
2013 SOLD for £ 19.7M by Sotheby's
In 1908, Monet does not enjoy traveling any more. He wants to devote as much as possible to the ever changing expression of his pool at Giverny. However, a wealthy American woman who was a friend of Sargent manages to invite him to Venice.
Monet was a painter of nature and water. He must completely soak in the atmosphere of a place for performing his art. The old palaces of Venice are a symbiosis of stone and water. After a week of reluctance, the artist is finally charmed and begins to work.
On June 19, 2013, Sotheby's sold for £ 19.7M a view of the Palazzo Contarini, lot 42. Please watch the video shared by the auction house. The image is shared by Wikimedia..
This palace is very close to the residence of his American hostess where Monet is housed at the beginning of his stay, and this oil on canvas 73 x 92 cm certainly expresses his first favorable impressions of Venice.
Monet is not a tourist. The palace is shown in front view and the horizon is reduced to almost nothing. The color shades of the old walls and of their reflections in the waters of the canal are sumptuous. The vibrant impressionist style offers a symphony of rare colors in a single density: amethyst, lilac, cobalt blue.
Monet was a painter of nature and water. He must completely soak in the atmosphere of a place for performing his art. The old palaces of Venice are a symbiosis of stone and water. After a week of reluctance, the artist is finally charmed and begins to work.
On June 19, 2013, Sotheby's sold for £ 19.7M a view of the Palazzo Contarini, lot 42. Please watch the video shared by the auction house. The image is shared by Wikimedia..
This palace is very close to the residence of his American hostess where Monet is housed at the beginning of his stay, and this oil on canvas 73 x 92 cm certainly expresses his first favorable impressions of Venice.
Monet is not a tourist. The palace is shown in front view and the horizon is reduced to almost nothing. The color shades of the old walls and of their reflections in the waters of the canal are sumptuous. The vibrant impressionist style offers a symphony of rare colors in a single density: amethyst, lilac, cobalt blue.
2
Palazzo Ducale
2019 SOLD for £ 27.5M by Sotheby's
A photo shows an elderly couple surrounded by the famous doves of the Piazza San Marco. Claude and Alice are resolutely unaware of the facade of the basilica behind them : Monet really did not come to Venice for tourism.
Monet arrives in Venice on October 1, 1908. He stays there for two and a half months, with his canvases, palettes and colors. The challenge is immense : all artists have loved Venice. The interpretation of the sun through the mist has already been made, by Turner in 1841. Monet will focus on the reflections of sky and stones in the lapping of the canals and of the lagoon.
The view of the Palazzo Contarini, sold for £ 19.7M by Sotheby's in 2013, painted at the beginning of his session, is interesting by its false awkwardness. The composition strictly divided into two equal areas for monument and canal, and without horizon, would repel a buyer of postcards. The attention is all the more stirred to the beauty of the textures and to the multicolored reflections.
Now sure of the quality of his art, Monet emboldens himself to compose topographical views of the greatest classicism. Two almost identical close views of the Palazzo Ducale confirm that the artist is more interested in the special atmosphere of Venice, which he calls the "enveloppe", than in the variations over the hours. These views were his first work in the morning, starting at 8 o'clock.
One of them, 81 x 99 cm, is kept at the Brooklyn Museum. The other one, 81 x 93 cm, was sold for £ 27.5M by Sotheby's on February 26, 2019, lot 6.
When Monet returns home, he sells to Bernheim-Jeune most of his views of Venice. He continues to finish them until their triumphal exhibition in 1912. After the exhibition he further modifies one of the views of the Ducal Palace, in search of the perfect rendering of his artistic conceptions.
The painting that goes on sale is probably the artwork that was improved in 1912 or 1913. The balance of shades is very successful, without a dominant color although the details of the palette are bright. The texture of the surface of the water is of a great regularity. The majestic palace appears blurry, as de-focused : it was not the major theme of the image.
Please watch the videos shared by Sotheby's.
Monet arrives in Venice on October 1, 1908. He stays there for two and a half months, with his canvases, palettes and colors. The challenge is immense : all artists have loved Venice. The interpretation of the sun through the mist has already been made, by Turner in 1841. Monet will focus on the reflections of sky and stones in the lapping of the canals and of the lagoon.
The view of the Palazzo Contarini, sold for £ 19.7M by Sotheby's in 2013, painted at the beginning of his session, is interesting by its false awkwardness. The composition strictly divided into two equal areas for monument and canal, and without horizon, would repel a buyer of postcards. The attention is all the more stirred to the beauty of the textures and to the multicolored reflections.
Now sure of the quality of his art, Monet emboldens himself to compose topographical views of the greatest classicism. Two almost identical close views of the Palazzo Ducale confirm that the artist is more interested in the special atmosphere of Venice, which he calls the "enveloppe", than in the variations over the hours. These views were his first work in the morning, starting at 8 o'clock.
One of them, 81 x 99 cm, is kept at the Brooklyn Museum. The other one, 81 x 93 cm, was sold for £ 27.5M by Sotheby's on February 26, 2019, lot 6.
When Monet returns home, he sells to Bernheim-Jeune most of his views of Venice. He continues to finish them until their triumphal exhibition in 1912. After the exhibition he further modifies one of the views of the Ducal Palace, in search of the perfect rendering of his artistic conceptions.
The painting that goes on sale is probably the artwork that was improved in 1912 or 1913. The balance of shades is very successful, without a dominant color although the details of the palette are bright. The texture of the surface of the water is of a great regularity. The majestic palace appears blurry, as de-focused : it was not the major theme of the image.
Please watch the videos shared by Sotheby's.
3
Grand Canal
2015 SOLD for £ 23.7M by Sotheby's
Claude Monet stays in Venice from October 1 to December 7, 1908. At first reluctant to interrupt his studies of nymphéas, he immerses himself into the atmosphere of the city.
Venice succeeded in seducing Monet. Before the end of the first month, he starts one of these series of paintings that are his passion and the culmination of his art, following the cathedrals of Rouen, the haystacks and, more recently, Waterloo bridge.
In his previous series, Monet interpreted the light in various times of the day. Venice is the most subtle of his themes because the artist appreciates that the city offers every day a different harmony. He executes six times in the same format the same view of the Grand Canal in the direction of Santa Maria della Salute.
The real theme of this series is the light of Venice sifted through the haze. The famous dome and an almost imperceptible gondola confirm that such an atmosphere can only occur in Venice. Monet managed the tour de force to bring a new style in the immeasurable iconography of the city of the Doges.
One of the six views, oil on canvas 73 x 92 cm, was sold for £ 23.7M by Sotheby's on February 3, 2015, lot 15. Please watch the video shared by the auction house :
Venice succeeded in seducing Monet. Before the end of the first month, he starts one of these series of paintings that are his passion and the culmination of his art, following the cathedrals of Rouen, the haystacks and, more recently, Waterloo bridge.
In his previous series, Monet interpreted the light in various times of the day. Venice is the most subtle of his themes because the artist appreciates that the city offers every day a different harmony. He executes six times in the same format the same view of the Grand Canal in the direction of Santa Maria della Salute.
The real theme of this series is the light of Venice sifted through the haze. The famous dome and an almost imperceptible gondola confirm that such an atmosphere can only occur in Venice. Monet managed the tour de force to bring a new style in the immeasurable iconography of the city of the Doges.
One of the six views, oil on canvas 73 x 92 cm, was sold for £ 23.7M by Sotheby's on February 3, 2015, lot 15. Please watch the video shared by the auction house :
4
Grand Canal
2022 SOLD for $ 57M by Sotheby's
The next Wildenstein number from the example above is a very similar view of the Grand Canal with Santa Maria della Salute in the opposite bank, in the same 73 x 92 cm format. It is taken from farther away from the first pole, and the lower step corner of the Palazzo Barbaro over the canal has been added.
These after lunch pictures ended at 3 o'clock Claude's working day. He would then relax until twilight in a gondola tour with Alice.
The weather is sunny. The difference between both pieces is the attempt by the artist to catch subtle changes in the mirage-like atmosphere and haze of the water scenery caught in another early afternoon.
The surface of the canal is iridescent of a wide range of reflected colors providing the effect of a splashing water. Far away gondolas have been added.
This oil on canvas was sold for $ 57M by Sotheby's on May 18, 2022, lot 8. Please watch the video shared by the auction house.
These after lunch pictures ended at 3 o'clock Claude's working day. He would then relax until twilight in a gondola tour with Alice.
The weather is sunny. The difference between both pieces is the attempt by the artist to catch subtle changes in the mirage-like atmosphere and haze of the water scenery caught in another early afternoon.
The surface of the canal is iridescent of a wide range of reflected colors providing the effect of a splashing water. Far away gondolas have been added.
This oil on canvas was sold for $ 57M by Sotheby's on May 18, 2022, lot 8. Please watch the video shared by the auction house.
The Monet market has been raging. Now Sotheby's is pulling out a Venetian painting with a $50m asking price. They may be shooting too low: https://t.co/wmtcwaJhA4 pic.twitter.com/Hj59nApK2e
— LiveArt (@artmarket) March 25, 2022
5
Palazzo Ducale from San Giorgio Maggiore
2015 SOLD for $ 23M by Sotheby's
Claude Monet had not imagined the beauty of light on the Canal Grande, particularly admirable when a strong sun is piercing a thick salt mist. Arriving in Venice in early October 1908, he was first intimidated by that new challenge before executing his personal method of observation at different times of the day.
Monet also admires the monuments but he does not feel like a tourist. His view of the Palazzo Ducale taken from north through the Canal Grande is commonplace, with its classic far row of monuments. Yet it is one of the finest achievements from his Venetian stay.
From morning to twilight, Monet had observed all the color variations introduced by the play of the sunlight through the fog. His views of the Palazzo Ducale taken from San Giorgio Maggiore are topographically correct but the details are embedded in a beautiful diffused light that encompasses the monuments and their reflections. The foreground of a pontoon is similarly stripped of details to only serve for opening the perspective.
The monuments gilded by the sun are treated with an exact proportion and a great attention to detail with an impressionistic touch that hosts a great range of colors. The meeting of this palette with water brings an even greater variety in the beautiful and sweet shimmering of the reflections.
The surface of water becomes concrete, like on the lily pond but without the use of floating objects. In the distance, a single small gondola provides a contrast at a strong point of the composition.
This oil on canvas 57 x 92 cm was sold for $ 23M from a lower estimate of $ 15M by Sotheby's on May 5, 2015, lot 40. Please watch the video shared by the auction house.
On February 3, 2016, Sotheby's sold for £ 11.6M another view from San Giorgio Maggiore, lot 23. This oil on canvas 65 x 100 cm is arguably the closest to the original style of the Impressionistes and had been included in the exhibition of 1912.
Monet also admires the monuments but he does not feel like a tourist. His view of the Palazzo Ducale taken from north through the Canal Grande is commonplace, with its classic far row of monuments. Yet it is one of the finest achievements from his Venetian stay.
From morning to twilight, Monet had observed all the color variations introduced by the play of the sunlight through the fog. His views of the Palazzo Ducale taken from San Giorgio Maggiore are topographically correct but the details are embedded in a beautiful diffused light that encompasses the monuments and their reflections. The foreground of a pontoon is similarly stripped of details to only serve for opening the perspective.
The monuments gilded by the sun are treated with an exact proportion and a great attention to detail with an impressionistic touch that hosts a great range of colors. The meeting of this palette with water brings an even greater variety in the beautiful and sweet shimmering of the reflections.
The surface of water becomes concrete, like on the lily pond but without the use of floating objects. In the distance, a single small gondola provides a contrast at a strong point of the composition.
This oil on canvas 57 x 92 cm was sold for $ 23M from a lower estimate of $ 15M by Sotheby's on May 5, 2015, lot 40. Please watch the video shared by the auction house.
On February 3, 2016, Sotheby's sold for £ 11.6M another view from San Giorgio Maggiore, lot 23. This oil on canvas 65 x 100 cm is arguably the closest to the original style of the Impressionistes and had been included in the exhibition of 1912.
#AuctionUpdate: Restituted to the family of Anthony Goldschmidt in 1960, Monet's ‘Le Palais Ducal’ brings $23.1m pic.twitter.com/eIsBL75QAj
— Sotheby's (@Sothebys) May 6, 2015
