Galerie Amsten, Paris (acquired in 1962)
Sale: Christie's, London, December 10, 1997, lot 264
Acquired at the above sale by the present owner

Original canvas. The impasto on the surface is intact. Under UV light there are minor areas of retouching along the periphery of the canvas, possibly due to frame abrasion. Also on the extreme right edge towards the bottom the canvas appears to be buckling slightly. Otherwise, this work is in excellent condition. The whites are creamier in the original than in the catalogue illustration.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Jacques Martin-Ferrières, the artist's son, writes, "Henri Martin was without contest an Impressionist and one who had the deepest sensitivity, certainly equal to that of Monet, whom he most admired.  Their interpretation of nature is certainly owing to their utmost sensitivity and not through research of a technical process, a poetical evocation hued by a thousand colors which can undoubtedly be called a work of art" (Jacques Martin-Ferrières, Henri Martin, Paris, 1967, p. 35).  Ferrières continues, "If I look at a fragment of Henri Martin's canvas, especially one with soft hues, I immediately recognize it.  I see a great number of dots of different colors, as precious and rare as precious stones.  His palette is an enchantment.  Many different interminglings of colors make a rare and rich harmony.  The real colorist does not not use vivid colors as many laymen might think.  And it is much more difficult to find a good harmony of colors when representing nature than to assemble some nice colors, representing nothing.  In here lies the gift of Impressionists and that is why there are so few" (op. cit. p. 42).