Significant ALS in French, signed “Claude,” four pages on two adjoining sheets (the final two pages written in perpendicular orientation to the first two), Savoy Hotel, London letterhead, Wednesday, March 7 [1900]. Monet writes to his second wife, Alice. In full (translated): “It is close to 7:00 A.M., my poor darling, and I cannot write for as long as I would like to. The weather is the same, and it bothers me that there is still no sign of sun or bright spot. It upsets me to have a lot of things that I cannot work on, because the time goes on, and the sun, too, in such a way that when it will decide to come out, it won’t be at the same spot. It is above all unfortunate for my paintings of the hospital. I can feel that it [the sun] has already traveled a long way and that it does not set in my motif anymore. Anyway, I have other paintings that I am working on, and I am not losing hope. I did not get your usual letter this morning. I hope to find one when I come back this evening, otherwise I will worry. Especially since you have been in Rouen, other letters have come faster. I am going to dress up to go to Mrs. H—’s, where the Minister of War should be, and the Countess of I don’t know what, relative to the Queen, who does sculpture and pretends to be a true artist, but charming according to [John Singer] Sargent [famed expatriate American portraitist, 1856–1925]. I will complete this tomorrow. I have to write to Durand [Paul Durand-Ruel, 1831–1922, Monet’s dealer] to ask him to send Jacques the funds that he is asking me for, and I am running out of time. I hope that these lines will find you all well and that you have better news from Mr. Remy, and good ones from America. I kiss you as I love you, the same to Germaine, regards to Miss Jeanne. Your old man....” During multiple stays in London from 1899 to 1901, Monet painted a number of his most important works, including views of the Waterloo and Charing Cross Bridges, as well as the Houses of Parliament. Monet worked both from his rooms at the Savoy Hotel, surveying the fog-shrouded Thames from his balcony, and from St. Thomas Hospital, which afforded him unobstructed views of the Parliament buildings. [His friend Sargent, in fact, had been instrumental in securing permission for Monet to work from the hospital.] Recent scholarship into Monet’s observations of the weather in relation to his finished works has shed further light on his distress about the inconstant, unpredictable sunlight in London, a condition exacerbated by heavy industrial pollution, and has even pinpointed Monet’s exact vantage point from the hospital. Intersecting mailing folds (vertical fold to signature) and later marginal ink marks, otherwise fine, bright condition. A superb letter of exceptional art-historical interest! Auction LOA John Reznikoff/PSA/DNA and RRAuction COA.
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