Claude Monet, Le Pont de Vervy (The Bridge of Vervy), 1894
|Artist:||Claude Monet (1840 - 1926)|
|Title:||Le Pont de Vervy (The Bridge of Vervy), 1894|
|Medium:||Color lithograph on chine appliqué on wove paper|
|Sheet Size:||22 5/16 in x 15 3/4 in (56.7 cm x 40 cm)|
|Framed Size:||approx. 33 in x 26 in (83.8 cm x 66.04 cm)|
|Edition:||From an edition of 25 hand-signed proofs by both Claude Monet (Paris,1840 - Giverny, 1926) and G.W. Thornley.|
|Signature:||This work is hand-signed by Claude Monet (Paris, 1840 - Giverny, 1926) in pencil in the lower left margin; also hand-signed by the engraver G. W. Thornley in pencil in the lower right margin.|
|Condition:||This work is in excellent condition.|
|Have One To Sell?|
Historical Description of this artwork
Claude Monet Le Pont de Vervy (The Bridge of Vervy), 1894 is a muted and serene scene of a bridge and a few houses by the River Creuse. This work comes from a portfolio of 20 lithographs that Monet modeled after his various paintings with the collaboration of G.W. Thornley. The lithograph is composed of shades of green and gray, creating a mesmerizing visual effect-as if we are looking at this scene through light fog. This dissolution of form is what Monet was most renowned for. The landscape of this scene was found in Massif Central, a region in southern France. In describing the scene, Wildenstein writes “the colours of the River Creuse were changing all the time: green in normal weather, it became yellow when in spate (Wildenstein, 251).” The scene was constantly changing, a dynamic force of light and shadow. Wildenstein explains “whenever a little sun broke through, Monet would hasten out to paint the sunset over the village at La Roche-Blonde, not far from Fresselines. The next day, he returned to his paintings in brighter weather (Wildenstein, 251).” In viewing this print, we cannot help but imagine the master painter dedicating night and day to capture this bucolic scene perfectly.
Created in 1894 after an original painting of the same title created in 1888, this color lithograph on chine appliqué on wove paper is hand-signed by Claude Monet (Paris, 1840 – Giverny, 1926) in pencil in the lower left margin; also hand-signed by the engraver G. W. Thornley in pencil in the lower right margin; from an edition of 25 hand-signed proofs by both Claude Monet (Paris,1840 – Giverny, 1926) and G.W. Thornley; printed by Belfond & Cie and published by J. Mancini, Paris.
CATALOGUE RAISONNÉ & COA:
Claude Monet The Bridge of Vervy (Le Pont de Vervy), 1894 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices accompanying the final sale of the work):
1.Ganz, James et. al. The Unknown Monet: Pastels and Drawings. Williamstown: Sterling and Francine Clark Art Institute, 2007. Listed and illustrated as catalogue raisonné no. A16.
2. Wildenstein, Daniel, Monet Catalogue Raisonné, 1996, Vol III the original painting is documented as catalogue raisonné no. 1234.
3. A Certificate of Authenticity will accompany this work.
ABOUT THE FRAMING:
Claude Monet The Bridge of Vervy (Le Pont de Vervy), 1894 is framed to museum-grade conservation standards, this work is presented in a complementary moulding with silk mats and optical-grade Plexiglas.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
You may also like
Falaises (Cliffs), 1894 Claude Monet Hand Signed Color Lithograph for saleREQUEST PRICE/SUBMIT BEST OFFERW-5759
Vétheuil dans le brouillard (Vétheuil in the Fog), 1894 Claude Monet Hand Signed Color Lithograph for saleSOLDW-5758
Le Pont de Vervy (The Bridge of Vervy), 1894 Claude Monet Hand Signed Color Lithograph for saleSOLDW-5766
Ravin de la petite creuse (Gorge of the Petite Creuse), 1894 Claude Monet Hand Signed Color Lithograph for saleREQUEST PRICE/SUBMIT BEST OFFERW-5763
Tempête à Belle-île (Storm at Belle-île), 1894 Claude Monet Hand Signed Color Lithograph for saleREQUEST PRICE/SUBMIT BEST OFFERW-5760
We have openings for a few new members each day. Members receive exclusive offers on our entire inventory. Join Now!
Monet is regarded as the archetypal Impressionist in that his devotion to the ideals of the movement was unwavering throughout his long career. As the master of impressionism his artworks appeal to all. View our collection of Claude Monet Prints, Paintings , Drawings, Lithographs and Art.
Sell Your Monet
Sell your Monet fine art with us. We offer free evaluations.
Artistic Styles of Monet
Claude Monet Complete Biography
News About Monet
Masterworks Fine Art strives to be the best source of fine art for our clients and collectors all over the world. We also want to be an educational resource to the art community. We have educational fine art material for students and researchers, and we will continue to donate fine art to charities. You can see some of our donations made by Masterworks Fine Art. We believe the most direct way to accomplish this is by establishing a lifetime of personal and professional relationships with our clients. More About Us »
Claude Monet Biography
Claude Monet was a French Impressionist painter. He is regarded as the archetypal Impressionist in that his devotion to the ideals of the movement was unwavering throughout his long career, and it is fitting that one of his pictures-Impression: Sunrise (Musee Marmottan, Paris, 1872) gave the group its name. His youth was spent in Le Havre, where he first excelled as a caricaturist but was then converted to landscape painting by his early mentor Boudin, from whom he derived his firm predilection for painting out of doors: ‘By the single example of this painter devoted to his art with such independence, my destiny as a painter opened out to me.’
In 1859 he studied in Paris at the Atelier Suisse and formed a friendship with Pissarro. After two years’ military service in Algiers, he returned to Le Havre and met Jongkind, to whom he said he owed ‘the definitive education of my eye’. He then, in 1862, entered the studio of Gleyre in Paris and there met Renoir, Sisley, and Bazille, with whom he was to form the nucleus of the Impressionist group. Monet’s devotion to painting out of doors is illustrated by the famous story concerning one of his most ambitious early works, Women in the Garden (Musee d’ Orsay, Paris, 1866-7). The picture is about 2.5 in. high and to enable him to paint all of it outside he had a trench dug in the garden so the canvas could be raised or lowered by pulleys to the height he required. Courbet visited him when he was working on it and said Monet would not paint even the leaves in the background unless the lighting conditions were exactly right.
During the Franco-Prussian War (1870-1) Claude Monet took refuge in England with Pissarro: he studied the work of Constable and Turner, painted the Thames and London parks, and met the dealer Durand-Ruel, who was to become one of the great champions of the Impressionists. From 1871 to 1878 he lived at Argenteuil, a village on the Seine near Paris, and here were painted some of the most joyous and famous works of the Impressionist movement, not only by Monet, but by his visitors Edouard Manet, Pierre-Auguste Renoir, and Sisley. In 1878 he moved to Vetheuil and in 1883 he settled at Giverny, also on the Seine, but about 40 miles from Paris.
After having experienced extreme poverty, Monet began to prosper. By 1890 he was successful enough to buy the house at Giverny he had previously rented and in 1892 he married his mistress, with whom he had begun an affair in 1876, three Years before the death of his first wife. From 1890 he concentrated on a series of pictures in which he painted the same subject at different times of the day in different lights – Haystacks or Grainstacks (1890-1) and Rouen Cathedral (1891-5) are the best known. He continued to travel widely, visiting London and Venice several times (and also Norway as a guest of Queen Christiana), but increasingly his attention was focused on the celebrated water-garden he created at Giverny, which served as the theme for the series of paintings on Waterlilies that began in 1899 and grew to dominate his work completely (in 1914 he had a special studio built in the grounds of his house so he could work on the huge canvases). In his final years he was troubled by failing eyesight, but he painted until the end, completing a great decorative scheme of water-lily paintings that he donated to the nation in the year of his death. They were installed in the Orangerie, Paris, in 1927. Monet was enormously prolific. Claude Monet lithographs, paintings and drawings are in many major galleries around the world.
Almost all of Monet’s lithographic works mirror the imagery in his paintings. His interest in the medium is not surprising given that Monet was an avid collector of Japanese prints. The majority of the lithographs were created with the collaboration of William Thornley, a well-known printmaker. Thornley was introduced to Monet by Degas, another artist he collaborated with in a similar manner. Monet created rather limited editions of his lithographs and only a few printed works are actually hand-signed by him and Thornley.
When Monet visited the Louvre, he would often paint the outdoor scene rather than copy the old masters as everyone else did. Starting in the late 1860s, he began to meet regularly with other artists who had also been rejected from the traditional Academie des Beaux-Arts. Together, they formed the independent group Société anonyme des artistes peintres, sculpteurs et graveurs (Anonymous Society of Painters, Sculptors, and Engravers). Their first exhibition together in 1874 is credited with giving rise to the term “Impressionism”. Together, they championed “plein air” painting, which meant that they painted the effects of light with rapid brush strokes whilst outdoors. Monet’s paintings are visually distinct for their liberal use of color and dissolution of form. Monet was interested in a wide array of subject matters. He is as likely to paint his wife Camille as he is to paint haystacks, boats and waterlilies. In 1883 he moved to Giverny and began his famous water-lily paintings. He created a total of 250 paintings of water littlies in his garden. Eight of these paintings known as the Nympheas are permanently displayed at the Musée de l’Orangerie. The museum specifically built a gallery to fit all eight paintings, placing them in direct light as originally intended by Monet. Other well recognized paintings include Monet’s Haystacks Series, 1890-91 and his Rouen Cathedral Series, 1894. In both instances, the artist repeatedly painted the same image diffused in different levels of light. In 2008, Monet’s painting Le Bassin aux Nymphéas sold for a record $88.6 million at auction.