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The Pond at the Entrance of the Woods
The Cleveland Museum of Art · Bequest of William G. Mather
Museum

The Pond at the Entrance of the Woods

c. 1860–75
Jean Baptiste Camille Corot (French, 1796–1875) visual detail
ArtistJean Baptiste Camille Corot (French, 1796–1875)
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Market Intelligence

Observed sale facts, comparable evidence, artist index history and modeled research remain separate.

Public evidence
Last known price—0 matched observed sales
Observed median—
Observed sales0
Artist index—
No rights-cleared normalized observed sale is attached to this artwork. No synthetic price history is shown.
Artist index unavailableNo completed public artist-index build exists.Artist-level context is not an artwork valuation.

Comparable Sales

Same-artist public sales ranked by medium, creation year, dimensions and sale recency.

Evidence ranked
No public-rights comparable sales meet the current evidence criteria. RELICT does not fill the table with research-only or licensed-only facts.

Provenance

Public
Provenance event

Dowager Duchess of Newcastle, widow of the sixth duke. Arnold & Tripp, Paris. Henry Reinhardt, deale...

Source provenance text

Dowager Duchess of Newcastle, widow of the sixth duke. Arnold & Tripp, Paris. Henry Reinhardt, dealer, Chicago. Purchased from him in December 1910 by William G. Mather, Cleveland. Bequeathed to the CMA in 1951.

The Cleveland Museum of Artconfidence 100%

Exhibitions

Public
Source exhibition text

Cleveland, Kinney and Levan Building. Illustrated Catalogue of the Cleveland Art Loan Exposition Under the Auspices of the Cleveland School of Art (1913), no. 30c, L'étang à l'entrée du bois, lent by William G. Mather. CMA. (2 March-19 May 1920), no cat.

The Cleveland Museum of Artconfidence 100%

Sourced Overview Evidence

This scene of a pond bordered by large, leafy trees echoes Corot's well-known views of Ville-d'Avray, while the vaporous light and atmospheric effects within a restricted palette resemble those of the artist's late style of the 1860s and 1870s. The small forms of the peasant and white goat are also typical of Corot's late imagery. This is one of many views of a large pond at Ville-d'Avray, a small commune on the western suburbs of Paris, where Corot inherited a rural property from his parents.

The Cleveland Museum of Artconfidence 100%

Evidence state

0 observed sales · 0 comparable sales · 1 structured provenance events · 0 structured exhibitions.

Place Of OriginShort DescriptionProvenance TextExhibition HistoryCredit Line