Sunset on the Normandy Coast

Inscription: Signed (lower left): EI [monogram]; stamped (lower right): VENTE / E. ISABEY

the artist (until d. 1886; his estate sale, Georges Petit, Paris, March 30–31, 1887, no. 82, as "Coucher de soleil sur mer," Étude, 22 x 30 cm, for Fr 125 to Foinard); [Désiré-Achille-Alexandre Foinard, Paris, 1887–1918 or earlier]; private collection, England; [Andrew Clayton-Payne Ltd., London]; Eugene V. Thaw, New York (until 2009)

New York. Morgan Library & Museum. "Studying Nature: Oil Sketches from the Thaw Collection," January 23–August 30, 2009, unnum. checklist (as "Sunset on the Normandy Coast").

New York. Morgan Library & Museum. "Sky Studies: Oil Sketches from the Thaw Collection," April 15–December 28, 2014, no catalogue.

New York. Morgan Library & Museum. "Exploring France: Oil Sketches from the Thaw Collection," January 13–November 15, 2015, no catalogue.

New York. Morgan Library & Museum. "Dawn till Dusk: Studies of Light in Marine Sketches," February 11–October 23, 2022, no catalogue.

Pierre Miquel. Eugène Isabey, 1803–1886: La Marine au XIXe siècle. Vol. 2, Maurs-la-Jolie, 1980, pp. 72, 94, no. 145, ill., calls it "Coucher de la soleil sur la baie" and identifies it as no. 82 in the artist's estate sale, where it was bought by Foinard.

R[ichard]. S[hone]. "Supplement: Acquisitions (2000–10) of nineteenth- and early twentieth-century French art at The Metropolitan Museum of Art, New York." Burlington Magazine 152 (December 2010), p. 839, fig. II (color).

John House. "Impressionism and the Open-Air Oil Sketch." Studying Nature: Oil Sketches from the Thaw Collection. Ed. Jennifer Tonkovich. New York, 2011, p. 94, fig. 79 (color), contrasting it to 2007.164.5, states that it "seems very likely to have been an open-air étude".

Esther Bell. "Catalogue Raisonné of the Thaw Collection." Studying Nature: Oil Sketches from the Thaw Collection. Ed. Jennifer Tonkovich. New York, 2011, p. 131, no. 88, ill. (color), calls it "Sunset on the Normandy Coast".

Anthea Callen. The Work of Art: Plein-Air Painting and Artistic Identity in Nineteenth-Century France. London, 2015, p. 84, fig. 62 (color), states that it may date from the 1850s; notes that the unpainted surface is visible at top right.