The Wildenstein 1304 version
The catalog raisonné identifies this oil on canvas from 1891 measuring 92 × 73 cm. The group of three close trunks and the light spring cast distinguish it from the autumnal or more pink variants of the series.
Canvas reproduction
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Oil painting on rolled canvas, unframed. Custom size available on request.
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Artwork description
Claude Monet · 1891 · Private collection · W1304
Three poplars stand their trunks in front of a row of trees that curves along the Epte. Spring mixes tender greens, pinks and mauves in the foliage as well as in the reflections. This oil on canvas measuring 92 × 73 cm, today in private collection, is Wildenstein 1304.

Look at the work
The three main trees occupy the foreground and extend beyond the upper edge. Behind them, the poplars of the bank move away in a sinuous line. The reflection at the bottom of the canvas doubles some verticals, but the water remains interrupted by touches of bank and vegetation.
Spring light does not rest on a single green. Monet contrasts light yellows, bluish greens, salmon pinks and cold mauves. The trunks themselves change color with each pass and connect the bright foreground to the denser background.
In W1304, the three trees do not close the view: they give a vertical measurement to the curve of the poplars and the depth of the Epte.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
The catalog raisonné identifies this oil on canvas from 1891 measuring 92 × 73 cm. The group of three close trunks and the light spring cast distinguish it from the autumnal or more pink variants of the series.
Monet worked at Les Peupliers during the summer and fall of 1891, then took up the paintings in the workshop. Each version combines the observation of a specific moment with a long work of adjusting color ratios.
The row behind the three trees creates an undulation which recedes to the right. This movement compensates for the frontality of the trunks and brings the eye into the landscape without resorting to a road or architecture.
Reference image
Only one image is used: the documented reproduction of W1304, converted into a true WebP of 803 × 1054 px at its native resolution, without any artificial enlargement.
The main trunks tilt and change thickness slightly. Making them straight and identical would remove the natural tension that animates the foreground.
Warm colors are not just decorative flowers: they circulate in the bark, foliage and reflections. They balance greens and give the feeling of light.
Water does not form a smooth mirror. The verticals reflected are fragmented by horizontal keys and by variations in current, essential to the vibration of the lower part.
Documented benchmarks
The catalog reference Les Trois Arbres, spring like an oil on canvas from 1891, 92 × 73 cm, kept in private collection under the number Wildenstein 1304.
The current location is not made public. The stable data in the sheet is therefore based on the format, date and number of the catalog raisonné.
Trees lined the river near Limetz, a few kilometers from Monet's house. The painter observes them from the shore and from his workshop boat.
The composition with three close trunks, the curved line of the background and the spring palette make it possible to recognize this precise version.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | The Three Trees, spring W1304 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1891 |
| Original technique | Oil on canvas |
| Dimensions | 92 × 73 cm |
| Orientation | Vertical |
| Conservation | Private collection, Non-public location |
| Inventory | Private collection · Wildenstein 1304 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
Its bright greens, soft pinks and mauves bring a fresh presence to a living room, bedroom or dining room. Blonde wood, cream ceramic and some sage green textiles accompany spring without overloading the whole.
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