Bidspirit auction | [MONET CLAUDE]: (1840-1926) (x11)

[MONET CLAUDE]: (1840-1926) (x11) - [MONET CLAUDE] : (1840-1926) French Impressionist painter. A small collection of photographic reference prints of varying sizes (the largest 12 x 9.5 and the smallest 5 x 7) relating to Claude Monet and apparently assembled for the preparation of The Lost World of the Impressionists by Alice Bellony-Rewald, published by Weidenfeld & Nicolson, 1976. Six of the images feature Monet himself, standing in his studio alongside his monumental water-lilies painting, working outdoors on a painting, and standing in his garden at Giverny alongside his famous water-lily pond and Japanese bridge (in one accompanied by Gustave Geffroy, and another depicting him alongside Georges Clemenceau). Three other images show different views of Monet's garden, and the final photograph depicts Monet's painting Bassin aux Nymphéas, le pont (1905; Wildenstein no. 1668). Each of the photographs bear various ink annotations, including manuscript pagination and chapter references, and wet stamps to the verso, most bearing the stamps of the Roger-Viollet photographic agency, Paris, one from the Durand-Ruel archives, Paris, and others bearing the stamps of the Library & Archives of Weidenfeld & Nicolson, London. Also including a modern colour 4 x 6 postcard of one of Monet's water-lily pond paintings held in the National Gallery, London. Loosely contained in the original printed envelope of the Roger-Viollet photographic agency. Some light age wear and minor creasing, and the largest photograph with several small tears to the edges, G (1) to VG, 11 Alice Bellony-Rewald's The Lost World of the Impressionists, published by Weidenfeld & Nicolson in 1976, was an extensively illustrated study which sought to recreate the social and physical world inhabited by Monet and his fellow Impressionists through their paintings, contemporary documents and a particularly rich selection of historical photographs. Robert Gordon served as photographic consultant and documentator for the volume. The book's ninth and final chapter, appropriately entitled Fruition and Solitude , deals with the later years of the Impressionists and includes substantial coverage of Monet at Giverny. Several of the present photographs bear manuscript references to Chapter 9 together with the corresponding pagination, as well as Weidenfeld & Nicolson Library & Archives stamps, strongly indicating that they formed part of the photographic material assembled during the preparation of the book.