Claude Monet (1840-1926) Attributed/manner of: Poplars, tempera on paper, with pencil indications, signed, verso marked with stamp of Simon Galerie, Paris, and reference numbers. With certificate of authenticity from Art Collections Group Luxembourg. Provenance: Domenico Junyer, Rome, Carlos Zervres, London. Good condition with paper toning verso.

Claude Monet spent much of the summer and autumn of 1891 painting the poplar trees near his house in Giverny. Monet painted from his rowboat with multiple slots, which allowed him to simultaneously paint multiple canvases from a floating studio. His Poplar Series, which documented the poplars throughout the day and seasons, was exhibited to critical acclaim in 1892, where he was praised for his exactness and dedication.

NOTE: From The Metropolitan Museum of Art, Leonard A. Lauder Research Center for Modern Art, website: After Daniel-Henry Kahnweiler returned to Paris from his Swiss exile during World War I, he opened the Galerie Simon, which was named after his partner and financial backer André Cahen, known as André Simon. The business existed from September 1920 until 1940, when it was closed due to World War II.

Daniel-Henry Kahnweiler ran the Galerie Kahnweiler until World War I. After the war, his stock was seized by the French state and liquidated at a series of four sequestration sales held at the Hôtel Drouot between 1921 and 1923. Kahnweiler was prohibited by French law from purchasing any works of his former collection in the four sales, so he formed what is known as the “Kahnweiler syndicate,” with the German dealer Alfred Flechtheim, Swiss collector Hermann Rupf, his brother Gustav Kahnweiler, Louise Leiris, and Hans Forchheimer. The syndicate bid under the pseudonym “Grassat”and the works it purchased were for Kahnweiler's new gallery. Among their purchases was Braque’s Still Life with Clarinet (Bottle and Clarinet), which they acquired at the second sale for 380 francs.

In contrast to his modest prewar gallery, Kahnweiler’s Galerie Simon, located at 29 bis, rue d’Astorg, was comprised of four light-filled large exhibition halls. The location had been secured with the help of the artist Amédée Ozenfant, with whom Kahnweiler had become acquainted in Switzerland during the war, and Charles-Édouard Jeanneret, the painter and architect who would change his name to Le Corbusier that year, who rented a neighboring space from the same landlord.

Dimensions: 11.4 x 7.75 in. image.

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