Art/ Collection/ Collection/ Art Object

The Banks of the Oise

Artist:
Charles-François Daubigny (French, Paris 1817–1878 Paris)
Date:
1863
Medium:
Oil on wood
Dimensions:
14 3/4 x 26 3/8 in. (37.5 x 67 cm)
Classification:
Paintings
Credit Line:
Bequest of Benjamin Altman, 1913
Accession Number:
14.40.815
Not on view
In 1860, Daubigny purchased property in Auvers, a town near Paris. His frequent boating expeditions on the nearby Oise exposed him to a wide variety of river scenes and atmospheric effects.
Inscription: Signed and dated (lower left): Daubigny. 1863.
James Duncan, Benmore House, Dunoon, Argyll, Scotland (by 1878–86; sold on April 12, 1886 to Boussod, Valadon); [Boussod, Valadon & Cie, Paris, 1886; stock no. 17767, sold on April 18 to Vever]; Henri Vever, Paris (1886–97; sale, Galerie Georges Petit, Paris, February 1–2, 1897, no. 34, as "Les bords de l'Oise," for Fr 7,800 to Knoedler); [Knoedler, New York, 1897; stock no. 8266; sold on February 23, for $15,568 to Altman]; Benjamin Altman, New York (1897–d. 1913)
Glasgow. Corporation Galleries. "Fine Art Loan Exhibition," May–July 1878, no. 3 (as "River Scene," lent by J. Duncan, Esq.).

Munich. Königlichen Glaspalaste. "Internationalen Kunstausstellung," July 18–?, 1883, no. 424 (as "Landschaft," lent by James Duncan Esq., London).

Paris. Exposition Internationale Universelle. "Exposition centennale de l'art français (1789–1889)," May–November 1889, no. 224 (as "Bords de l'Oise").

Paris. Galerie Georges Petit. "Cent chefs-d'œuvre des écoles françaises et étrangères," June 8–?, 1892, no. 69 (lent by M. H. Vever).

New York. The Metropolitan Museum of Art. "The Taste of the Seventies," April 2–September 10, 1946, no. 83.

Winnipeg Art Gallery. "French Pre-Impressionist Painters of the Nineteenth Century," April 10–May 9, 1954, no. 59 (as "Banks of the Oise").

Palm Beach. Society of the Four Arts. "Paintings of the Barbizon School," January 6–29, 1962, no. 17.

New York. The Metropolitan Museum of Art. "Van Gogh as Critic and Self-Critic," October 30, 1973–January 6, 1974, no. 24.

New York. The Metropolitan Museum of Art. "Barbizon: French Landscapes of the Nineteenth Century," February 4–May 10, 1992, no catalogue.

John W. Mollett. The Painters of Barbizon: Millet, Rousseau, Diaz, Corot, Daubigny, Dupré. London, 1895, p. 113, includes it in a list of Daubigny's principal paintings, places it in the collection of M. H. Vever, Paris, and erroneously notes that it was in the Salon of 1861.

B[ryson]. B[urroughs]. "Modern Paintings in the Altman Bequest." Metropolitan Museum of Art Bulletin 9 (December 1914), p. 253.

Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2, XIX Century. New York, 1966, pp. 96–97, ill., call this one of Daubigny's best works.

Madeleine Fidell-Beaufort and Janine Bailly-Herzberg. Daubigny. Paris, 1975, pp. 148–49, no. 77, ill.

Robert Hellebranth. Charles-François Daubigny, 1817–1878. Morges, Switzerland, 1976, p. 94, no. 264, ill., calls it "Les Bords de l'Oise".

Andrew McDonald Watson. "James Duncan of Benmore, the First Owner of Renoir's 'Bay of Naples (Morning)'." Metropolitan Museum Journal 43 (2008), pp. 195, 198–99 n. 9, fig. 4, notes that Ref. Hellebranth 1976 lists this painting as nos. 264 and 285.

Andrew Watson. "James Duncan of Benmore: A Remarkable Victorian Collector." Journal of the Scottish Society for Art History 14 (2009–10), pp. 42, 47, 49 n. 35, fig. 3, identifies it as one of eleven works lent by Duncan to Exh. Glasgow 1878.

Andrew M. Watson. James Duncan: An Enlightened Victorian. Edinburgh, 2010, pp. 50, 66, 77, ill. p. 48.



This picture is one of several versions commissioned after the enormously popular "Les bords de l'Oise" appeared as no. 767 in the Salon of 1859.
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