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355

Albert Marquet

Portrait de la mère de l'artiste au bouquet

Property from an Important Estate

Albert Marquet

Albert Marquet

Portrait de la mère de l'artiste au bouquet

Portrait de la mère de l'artiste au bouquet

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Property from an Important Estate

Albert Marquet

1875 - 1947

Portrait de la mère de l'artiste au bouquet


signed Marquet (lower right) 

oil on canvas

25⅝ by 21¼ in.

65 by 54 cm.

Executed circa 1898.


This work is accompanied by an Attestation of Inclusion from the Wildenstein Institute, and it will be included in the forthcoming Marquet Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

This work is in very good condition. The canvas is unlined and slightly bowed. The surface retains a very textured, rich impasto. There are some hairlines instances of craquelure primarily on the lighter pigments. Under UV light: thin, vertical hairlines of retouching are visible in the lower right quadrant. There is a small restoration in the upper center near the edge. Otherwise, fine. Framed dimensions: 34 1/2 by 28 1/2 in. (87.6 by 72.4 cm)


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Marcelle Marquet, France
Jean-Claude Martinet, France (by descent from the above)
Galerie Hopkins Custot, Paris
Acquired from the above in 2005 by the present owner
Paris, Galerie Bernheim-Jeune, L'Art et la mode, 1965, no. 10
Paris, Grand Palais, Les Indépendants à la belle époque 1895-1901, 1966
Paris, Galerie Schmit, Marquet, 1875-1947, 1967, no. 3, illustrated 
Bordeaux, Galerie des Beaux Arts, Albert Marquet1875-1974, 1975
Paris, L'Orangerie des Tuileries, Albert Marquet, 1975, no. 4, illustrated

Very little is known about Marquet’s early life, however much can be inferred from this portrait of his mother, painted eight years after he moved to Paris to study at the École des arts decoratifs. Far from a sentimental rendering, the distant composition implies a cold upbringing. The sitter’s impassive expression is hard to read, yet there is a palpable poignancy in her gaze. Marquet was clearly fascinated with his mother as subject and would return to her many times throughout his career. The strong Fauvist hues are characteristic of Marquet’s early works and hearken to the artist’s close friendship with Henri Matisse and the influence of peers such as André Derain, Maurice de Vlaminck and Raoul Dufy. However, Marquet worked in a style uniquely his own, “preferring his own intuition, and developing a style which owed something to the compositions of Fauvism and the sensatory researches of Impressionism, but which was really and truly his own. Cubism and abstract art seem to have totally passed him by” (David F. Setford, From Fauvism to Impressionism: Albert Marquet (exhibition catalogue), Centre Georges Pompidou, Paris, 2001-02, p. 6)