Albert Marquet

Galerie Druet, Paris (acquired in 1921)
Galerie Schmit, Paris (acquired in 1971)
Private Collection, Paris (and sold: Christie's, New York, May 16, 1990, lot 379)
Acquired at the above sale

The canvas is not lined but appears to have been tightened. A close inspection revelas some minor old frame abrasion along the left edge which is barely visible when framed and a few pinhead-sized spots of paintloss, in the green pigment towards the center of the left edge and in the river. There is some minor hairline craquelure in the cream sail of the rightmost boat. Examation under UV light reveals scattered tiny spots of inpainting, mostly along the edges and to the background buildings, a spot of retouching beneath the foreground figure, two spots in the sky to the upper left, one beneath the spire of the church and in the water of the lower left quadrant. This work is in overall 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Throughout his career, Marquet repeatedly focused on scenes of ports, harbors and rivers (see fig. 1). Born near the port city of Bordeaux, he elevated the theme of water to supreme positioning in his artistic language, a commitment which encouraged him to paint in far-flung cities from Venice to Algiers. He visited Les Sables d’Olonne and La Chaume in the summer of 1921 and was inspired by the beauty of the seaside in Western France. He wrote to Élie Faure, “It’s even prettier than La Rochelle. I’m delighted to have come here and I am working a lot” (quoted in Jean-Claude Martinet & Guy Wildenstein, Marquet: L’Afrique du Nord, catalogue de l’oeuvre peint, Paris, 2001, p. 32, translated from the French).

The port of Les Sables d’Olonne was a perfect location to demonstrate Marquet’s fascination with composition. The triangular shoreline is strongly outlined in a dark blue hue in Les Pêcheurs à la ligne, La Chaume, as are the various shapes of the boats and houses, showing the linear aspects of the environs as well as the outbursts of color which so attracted the artist. The use of perspective also serves to emphasise Marquet’s great gift for conveying light; the thick, dark lines draw the viewer’s attention and create a play of contrasts. Typical of his gestural style, he conveys the brilliance of water to reflect the vibrant shades of the surroundings, contrasting pinks and oranges with cool blues. The emphasis on sunlight is no less prevalent in this piece, emphasized in the glow of the architecture throughout the port as well as the shimmering waters. Marcel Sembat writes, “No artist has the same relationship with light as Marquet. It is as if he owned it. He possesses the secret of a pure and intense light which fills all the sky with its uniform and colourless glow” (Marcel Sembat in Wildenstein, ed., Albert Marquet: 1875-1947, London, 1985, p. 6).

 

Fig. 1 Albert Marquet, Le Vieux-Port à Marseille, 1917, oil on canvas, Musée des Beaux-Arts et d’Archéologie de Besançon, Besançon