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an old book with writing on it sitting on top of a tablea letter written in black ink on a piece of papera close up of a piece of paper with a stamp on ita close up of an envelope with a stamp on it
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Description
MONET (Claude) Autograph letter signed ‘Claude Monet’ to Gustave Geffroy. London, 29 March 1901. 3 pp. in-8, printed letterhead of the ‘Savoy Hotel’; envelope retained. ‘My dear friend, I have been meaning to write to you for quite some time now to remind you of me, as we hardly ever see each other any more (since that evening we spent together at the racecourse [sic], when you so kindly promised to visit me in Giverny, that has all come to an end, and it seems a long time ago already). In short, were it not for my work, I would have written to you long ago; then illness struck and I had no heart for anything. YES, I’VE BEEN ILL HERE FOR THREE WEEKS WITH PLEURISY, WHICH I PICKED UP WHILE TRYING TO WORK IN THE EVENING IN A TERRIBLE DRAFT that got the better of my robust constitution. Three weeks in this hotel room unable to work, NOT EVEN HAVING THE HEART TO LOOK AT THIS BEAUTIFUL TAMISE, SEEING SO MUCH EFFORT WASTED. And on top of that, not wanting to let my illness show too much in Giverny, where my poor wife was also having to cope with her son being very ill at the same time. Anyway, I’m perfectly well now; I went out for the first time today, and in four or five days’ time, if the weather improves, I’ll be back very soon to be pampered amongst my loved ones, who have been so worried. I have heard nothing more from you, dear friend, save occasionally through newspaper cuttings where your name appears alongside mine, and then AN ARTICLE YOU WROTE ON MANET AT THE LOUVRE, WHICH I ENJOYED [Claude Monet had organised the fundraising campaign which, in 1890, enabled Édouard Manet’s *Olympia* to be acquired for the public collections; initially housed at the Musée du Luxembourg, the painting was transferred to the Louvre in 1907]. I haven’t heard anything from Mirbeau either; I feel rather like an exile. May these lines prompt you to send me a note to Giverny—it would be such a pleasure to find it on my return, especially if you were to announce your next visit in it. Best regards to Clemenceau and Mirbeau. Yours faithfully, Claude Monet. I very much hope to be in Giverny sometime next week.” Views of the Thames: Claude Monet, who had already visited England, made three consecutive stays in London to paint views of the Thames, in the autumn of 1899, in February 1900 and from January to April 1901. Working tirelessly and adapting to variations in light and changes in the weather, he painted nearly 80 canvases in London, which he completed in his studio at Giverny in 1903 and early 1904. He exhibited them at Durand-Ruel in May and June 1904, at an exhibition that cemented his fame to such an extent that it was said to rival the Salon all on its own. The London period is regarded as the pinnacle of Monet’s painting, characterised by his exploration of the dissolution of forms into swathes of colour, inspired by the hallucinatory effect of the famous London fog. A close friend of Claude Monet, the writer and art critic Gustave Geffroy (1855–1926) was one of those who, at the time, expressed the most perceptive ideas about Monet’s art, particularly regarding the novelty of his approach to painting in series. He published a biography of the painter in 1922. Gustave Geffroy replied with a regretful letter in which he apologised, acknowledging that he was leading a ‘truly wild life’, recalled his friendship with Claude Monet, and reaffirmed his intention to visit him at his estate in Giverny (letter sold at public auction on 13 December 2006 at Artcurial in Paris; catalogue no. 118). Expert: Mr Alain NICOLAS
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Auction time 11/21/2026 at 2:30 PM
Ref. : 28837 - 1
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