Henri Martin

Private Collection, France (acquired by the 1940s)
Thence by descent to the present owner

The canvas is not lined and there appear to be no signs of retouching visible under UV light. This work is in good original condition. Colours: Overall brighter and stronger 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."

In 1892, Henri Martin received the first of his many mural commissions from the city of Paris. He was asked to decorate one of the official reception rooms in the newly built Hôtel de Ville which burnt down during the Commune of 1871. In the late 19th Century, most muralists painted their works on canvas rather than al fresco, which were subsequently attached to the wall. This allowed artists to exhibit their works at the Salon, and Martin's murals garnered a good deal of critical praise, the influential Gustave Geffroy declaring 'His work is undoubtedly one of the most interesting we have seen either here or elsewhere for a long time...Henri Martin...has in him the real feeling for wall decoration' (quoted in J. Martin-Ferrieres, Henri Martin 1860-1943, Paris, 1967, p. 38).

As a native of Toulouse, Martin was therefore an obvious choice for the commission of a number of decorative panels for the Capitole of his home town in the 1890s (fig. 1). His sun-drenched landscapes and portrayals of the farm workers of the region meant that he could capture the agrarian character of the Lauguedoc and create a harmonious vision of man in nature that celebrated the region. The present work reflects the ideal vision of rural life that Martin developed in these murals, and the strong romantic overtone is intentional, incorporating an important aspect of the city's culture, its troubadour tradition.

Fig. 1, Henri Martin, Polyptique de Faucheurs, 1903, fresco, Salle Henri-Martin au Capitole de Toulouse