Eugène Lamy, Paris (a gift from the artist)
Mme Drouilly, Paris
Sale: Palais Galliera, Paris, 10th June 1963, lot 16
Sale: Christie's, London, 26th June 1990, lot 235
Purchased at the above sale by the present owner

Paris, Galerie Beaux-Arts, Rétrospective Gustave Caillebotte, 1951, no. 64

Marie Berhaut, Catalogue raisonné de l'œuvre de Gustave Caillebotte, Paris, 1978, no. 338, catalogued p. 195
Marc Lucas, Gustave Caillebotte, Un Yerrois célèbre de 1860 à 1879, Paris, 1994, illustrated in colour p. 51
Marie-Amélie Anquetil, "Caillebotte", in Dossier de L'Art, September 1994, illustrated in colour p. 68
Marie Berhaut, Gustave Caillebotte, Catalogue raisonné des peintures et pastels, Paris, 1994, no. 394, illustrated p. 218

The canvas is lined. There are specks of retouching to all four corners and at intervals to the left and bottom edges. There is a 5cm. line of retouching to the figure's left cheek and a small spot to the centre of the figure's forehead. All retouching is visible under UV light. Apart from two small lines of retouching to the left of centre, this work is in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

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Gustave Caillebotte, Portrait d'Eugène Lamy, oil on canvas, 1889

This fresh and vibrant work depicts Eugène Lamy who was a close friend and sailing partner of Caillebotte and became the artist's subject on more than one occasion. They met at the Bassin d'Argenteuil, which was one of the principal venues for sailing regattas close to Paris, and was opposite Petit Gennevilliers, where Caillebotte owned a house. This property became an increasingly important retreat for the artist who eventually moved to Petit Gennevilliers full time. The house was also home to his extensive private collection of Impressionist works, and the influence of Renoir, whose œuvre was particularly well represented, 🌟is very apparent in the loose brushwork of the present painting.