JEAN-BAPTISTE-CAMILLE COROT (1796-1875)
JEAN-BAPTISTE-CAMILLE COROT (1796-1875)
JEAN-BAPTISTE-CAMILLE COROT (1796-1875)
JEAN-BAPTISTE-CAMILLE COROT (1796-1875)
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Property from an American Estate
JEAN-BAPTISTE-CAMILLE COROT (1796-1875)

L'île heureuse

Details
JEAN-BAPTISTE-CAMILLE COROT (1796-1875)
L'île heureuse
signed 'COROT' (lower left)
oil on canvas
28 ¾ x 21 1⁄8 in. (73 x 53.7 cm.)
Painted circa 1865-1868
Provenance
Shchukin Collection, Russia (acquired from the artist).
French and Co., New York (by 1941).
M. Knoedler & Co., Inc., New York (acquired from the above, 31 December 1941).
Mary Pouch Sears, Greenwich (acquired from the above, 27 April 1944).
Hirschl & Adler, New York (acquired from the above, 1969).
Richard Palmer Kaleioku Smart Waimea (acquired from the above, 1969); Estate sale, Christie's, New York, 22 May 1996, lot 142.
Acquired at the above sale by the present owner.
Literature
The Connoisseur, vol. 171, July 1969.
G. Tinterow, M. Pantazzi and V. Pomarède, Corot, exh. cat., The Metropolitan Museum of Art, New York, 1996, p. 306.
Exhibited
New York, Wildenstein & Co., Inc, The Serene World of Corot, November-December 1942, no. 51.

Présenté par

Emmanuelle Loulmet
Emmanuelle Loulmet Specialist, Head of the Impressionist and Modern Day Sale

Descriptif du lot

The present work is a reduction of the painting of the same title currently housed in the Montreal Museum of Fine Arts; the prime version was painted by Corot to decorate the home of his fellow plein art painter Charles-Francois Daubigny in Auvers-sur-Oise. Of the five paintings that Corot undertook for the project, L'île heureuse is considered the best example. Following the Claudian tradition of representing an ideal landscape, rather than an exact depiction, the work is a beautiful example of the kind of Italianate landscape for which Corot was celebrated during his lifetime, with the peaceful lake, distant building, and beautifully lit copse of trees which appear in different configurations in many of Corot’s late souvenir paintings.

The present work was authenticated by Martin Dieterle prior to its sale in 1996 and is accompanied by a letter of authenticity dated 25 March 1996.

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