Sale: Palais Galliera, Paris, 18th June 1969, lot 104
Wally Findlay Galleries, Inc., Palm Beach (purchased at the above sale)
Acquired from the above by the family of the present owner in March 1973

The canvas is not lined. There are no signs of retouching under UV light. This work is in 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."

After searching for the ideal house for almost ten years, Henri Martin finally acquired Marquayrol in 1900, a beautiful mansion overlooking Labastide-du-Vert, near Cahors, southwest France. The house and the region became his main sources of inspiration and deeply influenced his style. It was here that the artist found the important southern light denied him in Paris which stimulated and fulfilled his artistic needs. Claude Juskiewenski has suggested that 'this move to the Lot at the age of 40 marks a decisive turning point in his artistic output. Muses and lyres disappear from his canvases and he dares to confront daily the light of the south' (C. Juskiewenski, Henri Martin 1860-1943 (exhibition catalogue), Cahors & Toulouse, 1993, p. 98).

'Henri Martin was without doubt an Impressionist and one who had the deepest sensitivity, certainly equal to that of Monet, whom he most admired. Owing to their utmost sensitivity and not through research of a technical process, their interpretation of nature is certainly a poetical evocation hued by a thousand colours which can undoubtedly be called a work of art. ... [His] palette is an enchantment. Many different interminglings of colours make a rare and rich harmony... And it is much more difficult to find a good harmony of colours when representing nature than to assemble some nice colours representing nothing. Herein lies the gift of the Impressionists and that is why there are so few' (Jac Martin-Ferrières, Henri Martin, Paris, 1967, pp. 35-42).

The present work, painted circa 1915, is a particularly fine example of Martin's mature style. The scene of two women feeding a goat takes place next to Marquayrol, its southern wall visible to the left of the composition. The famous pergola, with its abundant foliage, provides the focus of the composition. The house is set high on the hill above the village of Labastide-du-Vert, situated here to the right. The rich colours in this painting betray all the intensity of the southern light that Martin so longed for in his work. Judging by the direction of the long shadows, and the colour of the vegetation, this scene no doubt takes place in the late afternoon at the end of the summer. The subject of this painting is related to an important work, L'Automne,💫 exhi♐bited at the Salon des Artistes Français, Paris in 1912 (fig. 1).

Comp ID: 3J648_comp
FIG. I, Henri Martin, L'Automne, circa 1911 (location unknown)