PAUL SIGNAC | Collioure (étude)

Ginette Signac, Paris
Henri Cachin, Paris (gift from the above circa 1968, by descent and sold: Hôtel Dassault, Paris, June 22, 2001, lot 16)
Acquired at the above sale by Dr. Arthur Brandt

Martigny, Fondation Pierre Gianadda, P. Signac, 2003, no. 10, illustrated in the catalogue p. 41

The panel is sound. There is no evidence of retouching under UV light. There are some minor scuffs along the extreme edges (not visible when framed). There are a few small pigment losses in the sky, predominately towards the centre of the upper edge. There is a tiny dent to the right of the tower. This work is in overall 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."

During the summer of 1887, Paul Signac set up his easel in Collioure, a small port in the Pyrénées-Orientales. Here he painted several studies, including the present work, which then inspired four major canvases, neo-impressionist masterpieces form the Opus series presented at the Salon des XX in Brussels the following year. This accomplished composition prepared the way for the famous painting Collioure. Le Clocher (Opus 164) currently in the collection of the Kröller-Muller museum in Otterlo (Fig; 1).  It is a fascinating example of Signac's technique. The artist prepared his subject by painting from life; he divided the composition without employing the pointillist method and structured the different elements in a way that would later serve his work in the studio, and the elaboration of his definitive painting. These studies are extremely rare and testify to the artist's preparatory technique of working on small wooden panels that he would later develop with his friend Georges Seurat.

The authenticity of this work has been confirmed by Marina Ferretti.