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HENRI MARTIN | Cinq pécheurs et leur barque échouée sur la grève à Collioure
Estimate
300,000 - 400,000 USD
bidding is closed
Description
- Henri Martin
- Cinq pécheurs et leur barque échouée sur la grève à Collioure
- Signed Henri Martin (lower right)
- Oil on canvas
- 33 by 42 in.
- 83.8 by 106.7 cm
- Painted circa 1930.
Provenance
David Findlay Galleries, Inc., New York (and sold: Sotheby's, New York, November 12, 1987, lot 354)
Private Collection, New York (acquired at the above sale and sold: Christie's, New York, November 9, 1999, lot 279)
Private Collection, Switzerland
Galerie Fabien Boulakia, Paris
Acquired from the above on February 20, 2002
Private Collection, New York (acquired at the above sale and sold: Christie's, New York, November 9, 1999, lot 279)
Private Collection, Switzerland
Galerie Fabien Boulakia, Paris
Acquired from the above on February 20, 2002
Condition
The work is in excellent condition overall. The canvas is not lined. The canvas is slightly undulating in the upper right. Under UV inspection, no inpainting is apparent.
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.
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.
Catalogue Note
By the early twentieth century, Collioure had become the chosen resort town of the Fauves and Neo-Impressionists. Artists such as Henri Martin, Henri Matisse, André Derain and Paul Signac were drawn to the quiet charm of the port town, with many of these painters gathering around the curved harbor to depict merchant life as it unfolded in front of them. By 1923, Martin had settled in the charming Collioure, building a house with a studio overlooking the port. Collioure gave Martin a renewed sense of creativity and passion, and it was here that he was able to create some of his most richly saturated paintings.
Cinq pécheurs et leur barque échouée sur la grève à Collioure is an excellent example of the artist’s oeuvre, demonstrating Martin’s quick application of vibrant paint with the small, distinct brushstrokes of his pointillist technique. Jacques Martin-Ferrières once said that his father was, “…a lover of reality, he does not want it to impose upon him its feelings but to help him to transfigure his dream of beauty with a more accurate, a more lively eloquence. He borrowed the Impressionists' technique to reveal a quiet subjective art. Impressionism gave Henri Martin his expression, but it does not impose upon him its inspiration” (Jacques Martin-Ferrières, Henri Martin, Paris, 1967, pp. 33-34).
The authenticity of this work has been confirmed by the late Cyrille Martin.
Cinq pécheurs et leur barque échouée sur la grève à Collioure is an excellent example of the artist’s oeuvre, demonstrating Martin’s quick application of vibrant paint with the small, distinct brushstrokes of his pointillist technique. Jacques Martin-Ferrières once said that his father was, “…a lover of reality, he does not want it to impose upon him its feelings but to help him to transfigure his dream of beauty with a more accurate, a more lively eloquence. He borrowed the Impressionists' technique to reveal a quiet subjective art. Impressionism gave Henri Martin his expression, but it does not impose upon him its inspiration” (Jacques Martin-Ferrières, Henri Martin, Paris, 1967, pp. 33-34).
The authenticity of this work has been confirmed by the late Cyrille Martin.