Henri Le Sidaner

Galerie Georges Petit, Paris
Mr Rigaudias, Paris
Mr Mahé
Sale: Christie's, London, 30th November 1971, lot 12
Sale: Sotheby's, London, 1st July 1982, lot 452
Richard Green, London
Acquired from the above by the present owner on 5th December 1984

Paris, Galerie Georges Petit, Henri Le Sidaner, 1925, no. 9

Camille Mauclair (ed.), Le Sidaner, Paris, 1928, illustrated p. 217 (titled Le Pavillon aux roses)
Bulletin de l'Académie des Beaux-Arts, Paris, January 1930
Rémy Le Sidaner, Gerberoy, Boulevard du Beauvaisis, Rouen, 1985, pl. Q, illustrated p. 105 (titled La roseraie au crépuscule)
Yann Farinaux-Le Sidaner, Le Sidaner, L'œuvre peint et gravé, Paris, 1989, no. 256, illustrated p. 119

The canvas is not lined. There are a few nailhead-sized areas of retouching, one in the upper left quadrant and two towards the lower centre. There are a few scattered specks of retouching in areas, mainly to the right of the house. These retouchings are visible under UV light. This work is in overall good condition. Colours: Fairly accurate, although the colours are more subtle and the overall appearance is more harmonious 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."

Le Sidaner first visited Gerberoy in the Beauvais area in March 1901 after the picturesque qualities of the region were recommended to him by Auguste Rodin. At first he moved into rented accommodation but in 1904 the artist purchased a property of his own where he could create a unique garden which would provide him with an endless source of inspiration and a wealth of new subject matter for his work.

The desire to create such a garden was in part also motivated by Le Sidaner's visits to Claude Monet's famous garden at Giverny, located seventy kilometres from Gerberoy. Monet's influence on the work of the younger artist is unmistakable as Karin Sagner discusses: 'Parallels to the Impressionism of Claude Monet can actually be found not only in Le Sidaner's style of painting, but also in his choice of motifs, such as close-up views of peaceful garden corners, facades of buildings and reflections in still waters. Moreover, his repeated depictions of the same motif at different times of day or year - like Monet's series - engendered ever new variations of form and light... both artists deliberately used light to effect  a dissolution of solid form and of precise figurative representation' (Karin Sagner, Henri Le Sidaner, Ein magischer Impressionist: A Magical Impressionist, Chemnitz, 2009, p. 34)

The white stone house, the pavilion and gardens Le Sidaner created at Gerberoy provided his most enduring and distinctive motif, becoming a magnificent retreat and endless source of inspiration. During the artist's lifetime, the garden was considered to be one of the prettiest  in France as evidenced by the present work. Here the rose garden is depicted at dusk evoking a sense of quiet intimacy and peaceful joy.