Galerie Georges Petit, Paris
Senat꧑or Edwards, Canada (great-great-uncle of the present owner; acquired in London and thence by descent)

Yann Farinaux-Le Sidaner, Le Sidaner, L'œuvre peint et gravé, Milan, 1989, no. 301, illustrated p. 132

The canvas is not lined and there appear to be no signs of retouching visible under UV light. There is a 1.5cm. tear in the canvas toward the upper left corner and a 1cm. tear towards the lower right corner. Apart from a small area of paint loss towards the lower left corner, this work is in 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."

Jacques Baschet wrote of Henri Le Sidaner's working style in a 1924 article in L'Illustration: 'He is a pointillist, but not the kind who decomposes tones and applies them unmixed, thereby letting our eyes reconstitute the colours on our retina. His palette is extremely varied and subtle. The oils bind and melt together in highly delicate harmonies. Nor is he the kind to enclose forms within a heavy brushstroke, as is the practice among the younger school of painters. With him, contours seem to emerge from the interplay of light, and in this respect, he is similar to Claude Monet' (quoted in Yann Farinaux-Le Sidaner, op. cit., p. 37).

In the present work, Le Sidaner uses an earthy, muted palette in combination with crisp, dappled brushstrokes to capture an ethereal moment as lively as it is serene. Sunlight dances off the water and building surfaces, defining the spatial relationships of the composition as it recedes along the river. Though the scene is inhabited by only a single figure standing on the bridge, it retains a welcoming familiarity. 'His œuvre displays a taste for tender, soft and silent atmospheres. Gradually, he even went so far as to eliminate all human presence from his pictures, as if he feared that the slightest human form might disturb their muffled silence' (Y. Farinaux-Le Sidaner, op. cit., p. 31). Instead of figures, Le Sidaner focused on the architectural and domestic environments as well as the accoutrements man creates for himself. As Camille Mauclair noted: 'He considered that the silent harmony of things is enough to evoke the presence of those who live among them. Indeed, such presences are felt throughout his works. Deserted they may be but never empty' (C. Mauclair, Henri Le Sidaner, Paris, 1928, p. 12).