Sale: Hôtel Drouot, Paris, February 8, 1875, lot 6
Dr. Charles Abadie, Paris
Boussod-Valadon & Co., Paris
Arnold & Tripp, Paris
Jos Hessel, Paris
Arthur Tooth & Sons, London
Piaggi Collection, Paris
Private Collection
Sale: Calmels, Chambre & Cohen, Paris, August 1, 2000, lot 24

Paris, École Nationale des Beaux-Arts, Exposition des oeuvres d'Eugène Boudin, no. 325

Robert Schmit, Eugène Boudin, vol. I, Paris, 1973, no. 779, illustrated p. 278

This work is in very good condition. Canvas is lined. Surface is clean. Under UV light a bit of old retouching is visible along right edge to address frame abrasion. A few scattered spots at top edge and top left corner and a few hairline strokes to the left of the rightmost mast as well as three one-inch long strokes near this mast. A few tiny strokes near center of bottom edge, otherwise fine.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Born in Honfleur as the son of a sailor, Boudin was long surrounded by coastal scenes and harbor views of northern France. The nearby port of Le Havre became a favorite site for Boudin, providing him with endless material for depictions of merchant ships and bustling wharfs. Unlike Honfleur and other smaller ports that Boudin often painted, Le Havre was a major harbor. Second in trade only to Marseilles, it functioned as the seaport for Paris and was home to more than 110,000 inhabitants during Boudin’s lifetime.

As one of the first artists to paint en plein air prior to the Impressionist movement, Boudin received accolades for his impressive depictions of the sky and his ability to capture the atmospheric qualities of the surrounding light. His talent was recognized by critics of the time, prompting one reviewer for the Boston Post to state, “in representation of harbor views [Boudin] has no rival. His skies are a joy to see and his vessels always painted with inimitable skill and perfect knowledge. In his pictures there is a [good] deal of movement. One feels the bustle of hurrying out of port, or into it. The vessels sway with wind and tide, and their rigging is drawn with fascinating truth and naiveté” (Peter C. Sutton, Boudin: Impressionist Marine Paintings(exhibition catalogue), Peabody Museum of Salem, Massachusetts, 1991, p.16).

Among the generation of artists who preceded the Impressionists, Boudin was undoubtedly a source of inspiration for many great artists to follow. He was both a friend and mentor of Claude Monet, and he is credited for having first shown Monet the importance of painting in the open air. After observing Boudin paint for the first time, Monet reported, “Suddenly it was as if a veil had been torn from my eyes. I understood what painting could be. Boudin’s absorption in his work, and his independence, were enough to decide the entire future and development of my painting” (quoted in Sutton, ibid., p. 54).