After Claude Monet, Lady Reading, 1918, Lithograph

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A lithograph after Claude Monet from "Die Skizzenmappe - Zeichnungen französischer Meister des neunzehnten Jahrhunderts" portfolio with text by Julius … Read more A lithograph after Claude Monet from "Die Skizzenmappe - Zeichnungen französischer Meister des neunzehnten Jahrhunderts" portfolio with text by Julius Elias, published by Marees-Gesellschaft in Munich in 1911-1918, one year before the Van Gogh portfolio, in an edition of 100 only. The portfolio consisted of 70 lithographic reproductions of drawings and watercolors by Edouard Manet, Berthe Morisot, Claude Monet, Camille Pissarro, Alfred Sisley, Armand Guillaumin, Edgar Degas, Henri de Toulouse-Lautrec, George Seurat, Paul Signac, Auguste Renoir, Paul Cézanne, Pierre Bonnard, Edouard Vuillard, Vincent Van Gogh, Paul Gauguin and Auguste Rodin.
As stated in the colophon, it took the publisher 7 years to complete the series.
The artwork is accompanied by a copy of the colophon.

Claude Monet (1840-1926), after
"Lesende Damee" (Lady Reading)
Colour Lithograph
Year (conceived): 1870 ca.
Year (printed): 1918
Edition: 57/100
Size (overall): 480 x 322 mm
Size of the image: 196 x 303 mm
in the original passepartout, blind-numbered 18

Blind seal of the publisher, bottom right corner

Numbered 57 on the colophon, from an overall edition of 100

Printer: André Marty
Publisher: Marées-Gesellschaft, R. Piper & Co., München, 1918

Excellent condition (few signs of age in the passepartout)

Sold with Certificate
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Literature and references:

This drawing is a preparatory sketch for a painting of a figure in a domestic setting, a subject Monet explored early in his career. The image is a charming example of his lesser-known work with figural subjects.

This drawing likely dates to the early 1870s. During this period, Monet and other Impressionists were shifting from formal portraits to capturing intimate, everyday moments. The subject is thought to be his first wife, Camille Doncieux, who was his frequent model during their time together in Argenteuil.

The drawing, done in pencil, charcoal and pastels, is a wonderful example of Monet's draftsmanship. It shows a woman reclining on a chaise lounge, engrossed in what appears to be a book or needlework. Her pose is casual and natural, a departure from the rigid formality of academic portraiture. The artist uses a loose, gestural line to suggest the forms of the figure and the furniture, with quick dabs of color giving a sense of the light and the vibrant patterns of her clothing. The sketchiness of the drawing focuses on the overall impression of the scene rather than on minute details, a core tenet of Impressionism. The drawing is a glimpse into the private life of the artist and his family, capturing a quiet, domestic moment of contemplation. I have official proof of authenticity such as vintage catalogs,
designer records,
or other literature sources and take full responsibility for any authenticity issues arising
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