Albert Marquet

Galerie Lucien Lefebvre-Foinet, Paris
Private Collection (acquired from the above) 
Private Collection (by descent from the above; sale: Sotheby's, London, 1st July 1998, lot 127)
Purchased at the above sale by the present owner


To be included in the forthcoming Marquet Catalogue raisonné being prepared by Jean-Claude Martinet & Guy Wildenstein under the sponsorship of the Wildenstein Institute.

The canvas is not lined. Apart from some two 1.5cm. sq. areas of retouching to the upper right quadrant in the sky and some further spots of retouching within the sky, all visible under UV light, this work is in very 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."

A soft, misty haze is here uniquely captured by Marquet as the Seine gently runs into the heart of Paris. Marquet began painting the bridges of Paris as early as 1900 and returned to this subject frequently. François Daulte wrote of Marquet's views of Paris:

'Here are Paris and its bridges freeing themselves from the light of the river; here is the Paris of trees sheltering the book-sellers; here are the popular quarters with their fences covered with multi-coloured posters and their decaying houses... Nearby, installed on the Saint-Michel quay, Marquet represents the areas around Notre-Dame. He drapes them in the sun of springtime or bathes them in the sad atmosphere of a winter's day, when the snow dribbles down the quays and a fog, light and damp, hangs over the entire city' (F. Daulte, Albert Marquet, Lausanne, 1988, p. 24).

Daulte's final description offers a fine reading of the present work, in which the towers of Notre-Dame peek through the fog at the top of the painting. Marquet presents Paris through a winter light of mist and snow with a subtle palette of blues, greens and lavenders. The curves of the trees, like the curve of the river and the curves of the road and buildings reflect the liquid atmosphere of the day, as if the damp light softens all of Paris's edges and brings the city a quiet peace.