Claude Monet’s Waterloo Bridge, effet de brume will be a highlight of Christie’s 20/21 London to Paris sale series, offered in the 20th / 21st Century: London Evening Sale on 28 June. Depicting the Thames under an effervescent sunlit haze,
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Waterloo Bridge, effet de brume (1904, estimate: in the region of £24 million) comes from Monet’s monumental, landmark series entitled Vues du Londres (Views of London), which celebrates London’s unique character, architecture and ever-changing atmosphere. The artist focused on the play of light across the Thames through three principal subjects – Charing Cross Bridge, the Houses of Parliament, and Waterloo Bridge. In contrast to the bustling modernity of the Charing Cross paintings and the solemn grandeur of the Houses of Parliament compositions, Monet’s views of Waterloo Bridge stand as pure meditations on colour, light, and atmosphere, evocatively capturing the shifting character of the famous bridge under varying weather conditions at different times of the day.
The sale of Waterloo Bridge, effet de brume follows the exceptional price achieved for
Le Parlement, soleil couchant, from The Collection of Anne H. Bass, which sold for $75.9 million on 12 May 2022, setting a record for a painting from Monet’s Vues du Londres. Of the 41 paintings of Waterloo Bridge which Monet painted, 26 are in public institutions, including The National Museum of Western Art, Tokyo; Bührle Foundation, Zürich; Art Institute of Chicago; National Gallery of Art, Washington, D.C. and Kunstmuseum Bern. Waterloo Bridge, effet de brume comes to auction following a long-term loan to the Kunstmuseum Basel.
In Waterloo Bridge, effet de brume, Monet records an early morning view, choosing the moments in which the bright light of the rising sun breaks through the layers of haze and mist, sending rippling golden rays of sunshine into the sky, and across the surface of the water. The painting stands as a testament to Britain's significant impact on international artists, highlighting the cultural dialogue between London and Paris in the art historical canon. Depicting the bridge head-on, its rhythmic arches spanning the entire width of the canvas, Monet allows the structure to become the primary focus of the composition, giving it a solid sense of monumentality amidst the otherwise intangible elements of the scene.
The Waterloo Bridge views
Monet captured his views of Waterloo Bridge in a remarkably varied number of ways*, exploring the scene through a subtly shifting range of colours, from luminous blues to delicately-hued violets and soft greens, tracing the effects of the notoriously capricious weather conditions. For an artist whose life had been spent in the pursuit of capturing the transitory effects of weather on the landscape in painterly form, these unpredictable, often fast-moving meteorological effects by turn beguiled, thrilled, infuriated and disheartened him. Rendered in an array of deftly applied strokes and flecks of pigment, in Waterloo Bridge, effet de brume, Monet eloquently conjures the effect of the constantly changing atmosphere on the scene, heightening the feeling of the softly enveloping haze of the title through an intricate play of opacity and translucency.
An illustrious and impeccable provenance
Waterloo Bridge, effet de brume was purchased in 1905 by Paul Durand-Ruel, who had staged the highly successful inaugural exhibition of the series at his gallery in May 1904, and sold almost immediately to Mrs. A. Stern, with whom it remained until 1919. The painting subsequently passed through several important collections, including those of Adolph Lewisohn and the D.P. Allen Memorial Art Museum, at Oberlin College in Ohio, before being acquired by Arde Bulova, Chairman of the renowned Bulova Watch Company in 1951.
Originally founded by Joseph Bulova in New York in 1875, the Bulova Watch Company rapidly expanded during the early 20th century, quickly becoming America’s largest watch company. This growth was fuelled by innovative designs and creative marketing that included America’s very first radio and TV commercials as well as collaborations with celebrated aviator Charles Lindbergh and NASA. In addition to being a successful entrepreneur, Arde Bulova was a dedicated philanthropist who was at the forefront of championing equal access for people with disabilities. He founded The Joseph Bulova School of Watchmaking that provided tuition-free education to disabled WWII veterans as a means of rehabilitation, combined with master watchmaking skills and dedicated job placement.
Waterloo Bridge, effet de brume was passed down through the Bulova family to Arde’s nephew Paul Bulova Guilden, a New York entrepreneur, philanthropist, and dedicated supporter of the arts throughout his life, who held the role of Chairman at the legendary John B. Stetson Company for three decades.
Taking place on 28 June 2022, three auctions focus on the influential artistic synergies that exist between London and Paris. 20/21 London to Paris is comprised of the 20th / 21st Century: Marc Chagall, Colour of Life, 20th / 21st Century: London Evening Sale, and the 20th / 21st Century: Paris Evening Sale.
Katharine Arnold, Head of Post-War and Contemporary Art, Europe and Keith Gill, Head of Impressionist and Modern Art, London: “The cultural dialogue that exists between London and Paris has been a creative driving force over the course of the last two centuries. Christie’s is therefore honoured to present a selection of artworks that embody this with works formerly in Marc Chagall’s estate, Yves Klein’s pioneering Anthropométrie de l’epoque bleue, (ANT 124), Monet’s representation of London’s Waterloo Bridge, effet de brume and his painting Nymphéas, temps gris – a work that arguably anticipated abstraction. Jeff Koons’ iconic Balloon Monkey sculpture will form a significant charitable donation and highlights the urgent need to support those affected by the ongoing war against Ukraine. These works are the backdrop against which contemporary painters and sculptors, ranging from Rachel Jones to Simone Leigh, are presented. We look forward to celebrating London and Paris with our collectors, both in person in our salerooms and via livestream globally."
YVES KLEIN’S ANTHROMPOMÉTRIE DE L’EPOQUE BLEUE, (ANT 124)
Offered at auction for the first time, Yves Klein’s Anthropométrie de l’epoque bleue, (ANT 124)’s combination of eight solid blue imprints against a shimmering, dappled azure backdrop, which anticipates the Cosmogonies series, occupies a unique position within the artist’s oeuvre (1960, estimate on request, illustrated page one, top). Representing the culmination of performance art and action painting, the work stands as a historic record of one of the twentieth century’s most daring and unique artistic projects: to seal in paint the passage from the material to the immaterial realms, using ‘living brushes’.
CLAUDE MONET’S NYMPHÉAS, TEMPS GRIS AND WATERLOO BRIDGE, EFFET DE BRUME
Following the outstanding prices achieved by Christie’s in New York in May for two works from Monet’s highly influential Vues de Londres and Nymphéas series from the Collection of Anne H. Bass, two further works from these iconic series will now be offered in 20/21 London to Paris. Claude Monet’s depictions of the horticultural paradise that he designed and cultivated in Giverny stand among the greatest works of his career. Nymphéas, temps gris (estimate: £20,000,000-30,000,000, illustrated page one, lower left) is one of a rare series of Nymphéas that Monet painted in 1907 in a vertical format to capture the spectacular effects of late afternoon light upon his water lily pond. Others from the series grace museum collections including the Museum of Fine Arts, Houston and the Artizon Museum, Tokyo.
In Waterloo Bridge, effet de brume (1904, estimate: £22,000,000-32,000,000, illustrated page one, lower right), Monet records an early morning view of the London landmark, choosing the moments in which the bright light of the rising sun breaks through the layers of haze and mist, sending rippling golden rays of sunshine into the sky, and across the surface of the water. Monet painted 40 views of Waterloo Bridge at different times of the day and with different atmospheric effects. Their importance has led to 26 of these views residing in museum collections including The National Museum of Western Art, Tokyo; Bührle Foundation, Zürich; Art Institute of Chicago; National Gallery of Art, Washington, D.C. and Kunstmuseum Bern. The painting was acquired in 1951 by the entrepreneur and philanthropist Arde Bulova and has remained in his family ever since. This London view by the leading Impressionist artist stands as a testament to Britain’s significant impact on international artists, highlighting the cultural dialogue between London and Paris in the art historical canon.
JEFF KOONS BALLOON MONKEY (MAGENTA) – CHARITABLE COLLABORATION
Representing childhood innocence and joy for both children and adults alike, Balloon Monkey (Magenta) (2006-13, estimate: £6,000,000-10,000,000, illustrated page two) stands as a monumental symbol of hope and solidarity with those men, women and children living in war-torn Ukraine who have suffered terrible loss. A significant highlight of Christie’s 20th / 21st Century: London Evening Sale, Jeff Koons’ Balloon Monkey (Magenta) demonstrates the power of art to unify and rally support for the defence of freedom and life in urgent times. Balloon Monkey (Magenta) is the highly sought-after artist’s proof and one of five unique versions (Red, Magenta, Blue, Yellow, Orange). The sculpture is on view in St James’ Square, adjacent to Christie’s Headquarters in London, until 1 July.
SUSTAINABILITY COLLABORATION – ARTISTS FOR CLIENTEARTH
The upcoming sale of Beatriz Milhazes’ Cebola Roxa (2020, estimate: £600,000-800,000, illustrated below, left) for Artists for ClientEarth follows works by Antony Gormley, Cecily Brown, Rashid Johnson and Xie Nanxing, which were auctioned at Christie’s London, New York and Hong Kong throughout 2021 and earlier this year. This collaborative initiative is designed to propel the art world in the fight against climate change and has raised more than £4.9 million, hammer, to date.
MARC CHAGALL, COLOUR OF LIFE: WORKS FORMERLY FROM THE ARTIST’S ESTATE
Marc Chagall, Colour of Life: Works Formerly from the Artist’s Estate will launch Christie’s June 20/21 London to Paris sale series. Originating from the artist’s estate, the 20 works presented in the sale will be offered for the first time, and the auction on 28 June is the first in a series of global sales, offering the artist’s work in dedicated platforms at Christie’s international salerooms as well as online-only auctions. The group is led by Le peintre et les mariés aux trois couleurs (1984, estimate: £1,000,000-1,500,000, illustrated above, right). An online sale of Chagall Prints and Artist’s Books, highlighting the artist’s life-long love of the art of printmaking will run concurrently out of London, open for bidding from 14 June to 1 July.
THE EYE OF A SCULPTOR: WORKS FROM THE DAVID AND LAURA FINN COLLECTION
David Finn was a pioneer in public relations, a celebrated photographer, author, and collector. In 1948, he co-founded the PR firm Ruder Finn, seen to have revolutionised the industry at the time. Finn and his wife, Laura, began collecting in the late 1950s with a focus on sculpture. They acquired work by artists including Henry Moore, Lynn Chadwick, Alexander Calder, Germaine Richier, and Henri Laurens. Examples by each of these artists are presented across the 20th / 21st Century: London Evening Sale and the Impressionist and Modern Art Day and Works on Paper Sale. Finn first bought a sculpture by Henry Moore in 1958 and later that year was introduced to the artist with whom he formed a very close friendship across decades and several collaborative photography projects. The group is led by Alexander Calder’s Red, White, and Blacks (1957, estimate: £1,000,000-2,500,000, illustrated below, centre) and Henry Moore’s Interior Form (1952, estimate: £1,800,000-2,500,000). Related to the artist’s Upright Internal/External Form sculpture, Interior Form exhibits a lyrical sinuosity, its form delineated using smooth, fluid lines, that curve and flow with an amorphous quality.
THE VENICE BIENNALE
Steeped in questions of racial and cultural identity, Untitled V (Anatomy of Architecture Series) (2016, estimate: £300,000-500,000, illustrated below, left) is a powerful sculpture from Simone Leigh’s celebrated Anatomy of Architecture series. Leigh draws upon her Jamaican heritage to explore the subjective experience of Black women. At the 59th International Art Exhibition, La Biennale di Venezia, Simone Leigh, who represented America, won the Golden Lion for the best participation in the central exhibition. She was honoured alongside Sonia Boyce, representing the UK, who won the Golden Lion for best national participation. Christie’s partnered with the British Council as a Silver Sponsor of the British Pavilion, proudly supporting Sonia Boyce’s award-winning installation.
CONTEMPORARY ARTISTS
Caroline Walker’s Preening (2018, estimate: £100,000-150,000, illustrated above, centre) depicts the gleaming interior of a beauty store, a lone figure captured off guard within. The work belongs to Walker’s Service series, in which she depicts women in a variety of professional settings. Created in 2019, and included that year in the artist’s graduate exhibition at the Royal Academy of Arts, London, Spliced Structure (estimate: £100,000-150,000, illustrated above, right) exemplifies Rachel Jones’ vividly expressive language of colour, texture and abstract form. Anna Weyant’s Untitled (2020, estimate: £150,000-250,000) is a compelling example of her uncanny, virtuoso figurative paintings. The artist has cited the influence of painters including John Currin and Lisa Yuskavage, while her works also seem to draw upon the compositions of Balthus, and Edward Gorey’s illustrated children’s books.
THE ART OF THE SURREAL
Last seen at auction over 20 years ago, Ferret Race (Stoat Race) (1952, estimate: £800,000-1,200,000, illustrated page five, centre) offers a portal into the intimate and hermetic universe of Leonora Carrington’s haunting imagination. An ingenious fabulist with a hunger for autonomy and authority as an artist, Carrington plumbed the mysteries of her reality to create coded narratives documenting her quest for the self. The protagonist of René Magritte’s Souvenir de voyage (circa 1962-63, estimate: £5,000,000-7,000,000, illustrated below, left) is one of the artist’s most iconic and memorable motifs, the apple. Seen here, it stands alone and petrified on a beach directly under the light of a crescent moon that shines over the sea in the middle of a daylight sky. The semi-clothed female character central to Paul Delvaux’s Femme assise (La lampe) (1945, estimate: £500,000-800,000, illustrated below, right) is caught in a moment of quiet thought that seems at odds with the intense drama imparted by the exaggerated perspective and bold tones of both the room and the view that stretches beyond the open door.
The works will all be exhibited at Christie’s King Street from 22 to 28 June 2022, while Jeff Koons’ Balloon Monkey (Magenta) will be on view in St James’ Square until 1 July 2022.