Henri Martin

Galeries Georges Petit, Paris
Marcel Pignier, Paris
Acquired by the family of the present owner circa 1960

The canvas is not lined. There is some craquelure towards the centre of the composition and a minor spot of paint loss in the lower right quadrant. There is no evidence of retouching under UV light. This work is in good condition. Colours: Overall lighter and fresher in the original.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

After searching for the ideal house for almost ten years, Henri Martin finally acquired Marquayrol in 1900, a beautiful mansion overlooking La Bastide du Vert, near Cahors. The house and the region became his main sources of inspiration and deeply influenced his style. It was here that the artist found the important southern light denied him in Paris which stimulated and fulfilled his artistic needs. As Claude Juskiewenski suggested, 'this move to the Lot at the age of 40 marks a decisive turning point in his artistic output. Muses and lyres disappear from his canvases and he dares to confront daily the light of the south' (C. Juskiewenski, Henri Martin 1860 - 1943, (exhibition catalogue), Cahors & Toulouse, 1993, p. 98).

The present work is a superb example of Martin's signature style of broken brushwork suspended within a rigorously structured composition. As Martin's son and fellow artist, Jac Martin-Ferrières, noted '[Henri Martin's] palette is an enchantment. Many different interminglings of colours make a rare and rich harmony... And it is much more difficult to find a good harmony of colours when representing nature than to assemble some nice colours representing nothing. Herein lies the gift of the Impressionists and that is why there are so few' (J. Martin-Ferrières, Henri Martin, Paris, 1967, p. 35).