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This lot has been imported from outside of the UK … Read more PROPERTY FROM AN IMPORTANT JAPANESE PRIVATE COLLECTION

Pêcheur amarré sur la rive verte

Pêcheur amarré sur la rive verte
indistinctly signed 'COROT' (lower right)
oil on canvas
16 1/8 x 21 5/8 in. (41 x 55 cm.)
Painted circa 1860-1865.
A gift from the artist to Théodore Scribe.
By inheritance to his wife.
Her sale; Hôtel Drouot, Paris, 17 December 1894, lot 6 (17,100 Ffr).
Purchased at the above sale by Mr. Le Roy.
Sir John Reid, Glasgow, by 1901.
By descent to Mrs. E.M. Salvesen, Glassel.
Anonymous sale; Christie's, London, 7 July 2010, lot 255, where purchased by the present owner.
D.S. MacColl, Nineteenth Century Art, Glasgow, 1901, illustrated.
A. Robaut, L'oeuvre de Corot, catalogue raisonné et illustré, Paris, 1905, vol. III, pp. 218-219, no. 1909, illustrated.
J.L. Caw, The collection of pictures of the British, French and Dutch Schools belonging to John Reid, Glasgow, 1913, p. 87, illustrated, as L'Etang.
Glasgow, Kelvingrove Art Gallery and Museum, Glasgow International Exhibition, 1901, no. 1345, as L'Etang, lent by Sir John Reid.
Wolverhampton, Wolverhampton Art Gallery, Art and Industrial Exhibition, 1902, no. 94, as L'Etang.
Kirkcaldy, Kirkcaldy Art Gallery, Inaugural Loan Exhibition, 27 June - 12 September 1925, no. 12, as L'Etang, lent by Sir John Reid.
Aberdeen, Aberdeen Art Gallery, Paintings from North East Homes: Festival of Britain, 1951, no. 18, as L'Etang.
Special notice
This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

Brought to you by

Alastair Plumb
Alastair Plumb Specialist, Head of Sale, European Art

Lot Essay

'This is not a landscape painter, this is the very poet of the landscape, who breathes the sadnesses and joys of nature. The bond, the great bond that makes us the brothers of rooks and trees, he sees it; his figures, as poetic as his forests, are not strangers to the woodland that surrounds them. He knows more than anyone, he has discovered all the customs of boughs and leaves; and now that he is sure he will not distort their inner life, he can dispense with all servile imitation.' (Théodore de Banville, 'Le Salon de 1861', Revue fantaisiste 2, 1 July 1861, pp. 235-6.)
Recognition of Corot’s abilities as a leading landscape painter came not only from his patrons but also from his peers; Gauguin wrote 'Corot loved to dream, and in front of his paintings, I dream as well; and Van Gogh praised the 'quietness, mystery and peace’ of Corot’s landscapes (quoted in J. Leighton, 'After Corot' in Corot, exh. cat., The South Bank Centre, London, 1991, p. 30).
Corot also had a profound impact on a number of younger artists who eventually became members of the Impressionist movement; Berthe Morisot was his student for a period and Camille Pissarro described himself as a pupil in the Salon brochures. Corot's paintings were in great demand from collectors and dealers alike, and his studio was often crowded with critics, collectors, dealers and students who all clamoured to see him at work.
Pêcheur amarré sur la rive verte presents a harmonized blend of invented leitmotifs such as the boatman with his signature red cap to animate the composition and the overall composition being dominated by a mass of trees in the foreground. The composition is united by the gentle silvery glow of sun and like so many of Corot's poetic landscapes, can be viewed as a nostalgic homage to the artist's trips to Italy, and the time he spent around Lake Nemi in the Roman campagna. The present work is an exquisite example, not only of his innate ability to capture his local environs, but also of his ability to translate onto his canvas the atmospheric effects of any given time of day.

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