The oldest of the three Davies paintings
Museum Wales describes this 1905 version as the oldest and most descriptive of the three Water Lilies purchased by Gwendoline Davies in Paris in 1913.
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Claude Monet · 1905 · Cardiff NMW A 2484 · W1680
A purple and blue light descends to the center of the pool, framed by the dark reflections of the trees. The water lilies are grouped into white, yellow and pink islets which punctuate water without a visible bank. Painted in 1905, this version is the oldest and most descriptive of the three Water Lilies purchased by Gwendoline Davies in Paris in 1913.

Look at the work
The leaves are distributed from the left foreground to the upper right edge. Their size decreases and their groups narrow with distance. A large purple gap in the center separates these groups and gives the pelvis ample breathing space.
The vertical reflections of the trees occupy the high and lateral areas. The horizontal touches of the leaves interrupt them, reminding us that everything is at stake on the surface. Rare roses and yellows prevent the cold palette from becoming monotonous.
W1680 alternates dense islets and open water: each group of flowers measures a depth that the horizon no longer shows.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
Museum Wales describes this 1905 version as the oldest and most descriptive of the three Water Lilies purchased by Gwendoline Davies in Paris in 1913.
The NMW A 2484 inventory documents a horizontal format of 81.9 × 101 cm. The catalog raisonné records it under the number Wildenstein 1680.
Monet eliminates the bank and the bridge but maintains a deep reading thanks to variations in scale. The bottom leaves seem close, those at the top recede in reflections.
Reference image
Only one image is used: the Museum Wales high definition file, converted into a real WebP of 2,383 × 1,920 px, without artificial enlargement.
This almost empty space organizes the whole picture. Groups of water lilies should surround it without invading it, in order to preserve the impression of expanse.
Cold tones dominate and overlap. White and pink flowers should remain bright but discreet; a few yellows serve as heat points.
The depth comes from crossing brush directions. The long descending marks are seen under the thicker, side touches of the leaves.
Documented benchmarks
Amgueddfa Cymru keeps this painting under the inventory NMW A 2484; it corresponds to Wildenstein number 1680.
This oil on canvas from 1905 measures 81.9 × 101 cm. It belongs to the group of water landscapes that Monet painted in Giverny between 1903 and 1908.
Gwendoline Davies purchased the painting in Paris in 1913. The work entered the Welsh national collections with her bequest in 1952.
This version is the most descriptive of the three. Bringing the paintings together makes it possible to follow the progressive reduction of landmarks and Monet's evolution towards a more abstract space.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | Water lilies W1680 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1905 |
| Original technique | Oil on canvas |
| Dimensions | 81.9 × 101 cm |
| Orientation | Horizontal |
| Conservation | Amgueddfa Cymru - National Museum Wales, Cardiff, United Kingdom |
| Inventory | NMW A 2484 · Wildenstein 1680 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
The mauve blue range of this reproduction creates a soft and meditative atmosphere. It is suitable for a living room, bedroom or relaxation area with light wood, pearl gray textile and sage green accents.
Impression d’art sur papier mat Hahnemühle German Etching 310 g, au grain fin. Un rendu précis, élégant et plus accessible, idéal pour les détails et les nuances.
Impression sur toile d’artiste 400 g. Sa texture donne davantage de relief et un aspect tableau, avec plusieurs présentations adaptées au décor.
Reproduction peinte entièrement à la main sur commande. Chaque toile est une pièce unique : ce n’est ni une impression numérique ni un poster sur toile.
Claude Monet
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