Private Collection (acquired from the artist in October 1913; sale: Beaussant & Lefèvre, Paris, 23rd November 2005, lot 115)
Purchased at the above sale&n🏅bsp;by the previous owner

The canvas is not lined. There are two lines of retouching to the bottom left corner, a 5cm. line to the top left corner, and a triangular 2cm. area of retouching to the top right corner. There is also a 3cm. sq. spot of retouching to the bottom right corner and two 2cm. lines to the centre of the top edge, all visible under UV light. There are some spots of fluorescence under UV light to the centre above the goat and towards the centre of the bottom edge, probably inherent to the pigment. This work is in good condition. Colours: Overall brighter and more vibrant 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."

In his later years Henri Martin spent a good deal of time painting his surroundings at home in Labastide-du-Vert, in Marquarol. The pergolas, or arbors, at the end of the garden proved a popular subject as the leaf colours of the creeping vines changed through the seasons. The pergola was depicted at different times of day and year, much as the Japanese bridge at Giverny had been studied by his forebear, Claude Monet.

"The arbors were the subject of numerous paintings. Much like Monet in his Japanese paintings, Martin showed them in different seasons and at different times of the day" (Eden Close at Hand, The Paintings of Henri Martin, 1860-1943 (exhibition catalogue), Anderson Gallleries, 2005, p. 56).

In the present work Martin is experimenting with the application of paint as much as with colour; the swirls of brushstroke to t♎he centre right are a strong indication of the artist's exploration🎐 of his art at Marquayrol. The figure and goat prove a wonderful centrepiece to the scene in which Martin is also depicting the tranquility of a rural idyll.