Henri Martin

M Lonchambon, Paris (acquired from the artist)
Galerie Müller et Clair, Paris
Private Collection, France (acquired from the above circa 1970; sale: Christie's, New York, 7th November 2002, lot 252)
Purchased at the above sale by the present owner

The canvas is strip lined. There are two small spots of retouching to the lower centre and one small spot towards the top left corner, visible under UV light. Apart from some very light craquelure, mainly to the top right and left edges, this work is in good condition.
"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."

Painted circa 1930, the present work depicts one of the two stone fountains in Martin's summer home in Marquayrol. In 1900, Martin bought a property in Labastide-du-Vert, a small village north of Cahors near Toulouse. On the thirty acres of lands stood a large seventeenth century house, named Marquayrol, to which Martin became extremely attached and which was to instigate a turning point in the artist's career. It was at Marquayrol that the artist felt most at ease and his immediate surroundings became a constant source of inspiration so it is not surprising that most of his noteworthy landscapes stem from this region.

The gardens of Marquayrol featured two fountains set in stone basins, the present work showing the fountain in the southwest corner of the garden, surrounded by large cypress trees, which Martin planted when he acquired the property as they reminded him of Tuscany. The main focus of the painting is the shimmering effect of the vivid colours and light as the lush greenery of the surroundings is depicted through bright, swift divisionist brushstrokes. In the present work, Martin masterfully achieves the scintillating play of light on the still water and the surrounding landscape in true Impressionist style. Jacques Martin-Ferrières noted that 'Martin was without contest an Impressionist and one who had the deepest sensitiveness, certainly equal to that of Monet, whom he most admired. Their interpretation of nature is certainly, owing to their utmost sensitiveness and not through research of a technical process, a poetical evocation hued by a thousand colours which can undoubtedly be called a work of art...' (J. Martin-Ferrières, Henri Martin, Paris, 1967, p. 35)