Sale: Briest Scp., Paris, 20th November 1989, lot 8
Acquired by the present owner circa 1990

The canvas is not lined and there are no signs of retouching visible under UV light. Apart from some faint craquelure towards the centre right of the upper edge, this work is in very good condition. Colours: The colours are much bolder, brighter and stronger in the original.
"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."

Painted circa 1905-1910, the present work depicts a washerwoman at dusk by a creek of Le Vert river in Marquayrol, only a few metres downstream from the bridge of Labastide du Vert where Martin acquired a home in 1900. After searching for almost ten years, Martin finally acquired a beautiful house overlooking Ladastide-du-Vert, near Cahors in southwest France. The house and the region became his main source 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 suggests that this move 'at the age of forty marks a decisive turning point in his artistic output. Muses and lyres disappear from his canvases and he dares to confirm daily the light of the south' (C. Juskiewenski, Henri Martin 1860-1943 (exhibition catalogue), Cahors & Toulouse, 1993, p. 98).

In this work, Martin's attachment and sensitivity to the region is clear as he very endearingly presents the scintillating play of light and shadow at twilight with its  subdued and yet rich and vibrant hues, most typical of the area.  Jacques Martin-Ferrières notes that 'Martin was without a doubt an Impressionist and one who had the deepest sensitivity, certainly equal to that of Monet, whom he admired. Owing to their utmost sensitivity and not though research of a technical process, their interpretation of nature is certainly is certainly a poetical evocation hued by a thousand colours which can undoubtedly be called a work of art...' (Jacques Martin-Ferrières, Henri Martin, Paris, 1967, pp. 35-42).