How Much Is The Train in the Snow (The Locomotive) Worth?

Painted in 1875 at Argenteuil, this canvas captures two highly prized aspects of Monet’s oeuvre: the poetic effects of snow and the emblematic modernity of the locomotive. As a precursor to the celebrated 1877 Gare Saint-Lazare series, it bridges Monet’s interest in contemporary life with his atmospheric investigation of light and weather. The subject is historically resonant, anticipating key themes of industrialization and perception that define Impressionism’s break with tradition. Its date, period, and subject align with the middle-to-upper tier of Monet’s production, elevating it above many later or repetitive works. The painting’s museum ownership and well-documented early provenance further underscore its scholarly and cultural significance.

Snow scenes from the mid-1870s are actively sought after, and the addition of a locomotive—a motif central to Monet’s modern-life vocabulary—is comparatively scarce. This dual appeal attracts both traditional Impressionist collectors (for the winter light and atmosphere) and connoisseurs of industrial modernity, expanding the competitive buyer pool. Direct comparables in the 1870s train category (Saint-Lazare) have proven resilient around the low–mid eight figures, while snow-only Argenteuil works transact meaningfully lower. By combining snow and train, this canvas likely commands a premium to pure winter landscapes and sits logically alongside the Saint-Lazare works, strengthening its market position relative to more generic landscapes of the decade.

At roughly 59 × 78 cm, the work falls within Monet’s highly liquid, wall-friendly format frequently seen in evening sales. Market sensitivity to surface condition, varnish, lining, and retouching is acute in the current climate; excellent, original surfaces can add millions to outcomes, while visible condition issues may depress bidding. While the Musée Marmottan’s stewardship suggests appropriate care, the absence of a recent, public condition report introduces some uncertainty. In a sale scenario, a pristine condition report, strong color saturation, and fresh presentation could push the work toward the top of the range; any structural compromises or uneven restoration would argue for the mid-to-low end.

Early ownership by Dr. Georges de Bellio—a noted supporter of the Impressionists—confers distinguished provenance. The 1940 gift to the Musée Marmottan Monet and continuous museum ownership for over eight decades add scholarly pedigree and exhibition credibility. These factors enhance desirability and reduce transactional risk. However, institutional ownership also signals that the picture is not a natural market candidate; any valuation is therefore hypothetical. If deaccessioned with standard due diligence, the prestigious chain of title and museum literature/exhibition history would be powerful marketing assets. Absent such a scenario, these factors primarily inform insurance and comparative analyses rather than immediate liquidity.