?Final Price Realized includes Buyer’s Premium added to Hammer Price
Estimate: $ 7,000 - $ 10,000
CLAUDE MONET AND GEORGE W. THORNLEY Tempête à Belle-Île.
Lithograph printed in blue on off-white Chine appliqué on cream wove paper, circa 1908. 200x235 mm; 7⅞x9¼ inches, full margins. The deluxe edition of 25. Signed by both Monet and Thornley in pencil, lower margin. Printed by Belfond, Paris. Published by Goupil, Paris. From L'Album de 20 lithographies d'apres les tableaux de Claude Monet. A very good impression of this scarce lithograph, with strong contrasts.
At the end of the 19th century, Monet (1840-1926), Edgar Degas (1834-1917) and Camille Pissarro (1830-1903) rediscovered lithography as a medium both to recreate their artistic conceptions on paper and, simultaneously achieve widespread distribution of and acclamation for their work. These artists, who had invented new ways of transmitting impressions of light and color, engaged George William Thornley (1857-1935), an accomplished English lithographer and admirer of the Impressionists, to translate their designs into lithographs. The prints that emerged from these collaborative efforts are the only lithographs in color, save one by Pissarro, by these great Impressionist artists.
Until he met Thornley, Monet had evidenced no interest in making prints. Unlike Degas and Pissarro, who etched on copper and drew on stone or transfer paper, or Cézanne, Sisley and Renoir, who collaborated with Auguste Clot, the talented Parisian master printer, to create color lithographs, Monet either found printmaking too daunting or did not seek the public acclaim for his work that printmaking could provide. However, he was able to find a hospitable partner in Thornley. The resulting collaborative lithographs of landscapes, seascapes and portraits are informed with the elusive and shimmering light of his iconic Impressionist oil paintings.
