Galerie Georges Petit, Paris
Private Collection (acquired from the above in the 1920s)
Private Collection (by descent from the above; sale: Sotheby's, London, 9th February 2005, lot 446)
Private Collection, Europe (purchased at the above sale; sale: Sotheby's, London, 20th June 2013, lot 339)
Purchased at the above sale by the present owner

Venice, 13a Esposizione Internazionale d'Arte della Città di Venezia, 1922, no. 230

The canvas is not lined. UV examination reveals some minor scattered spots of retouching, mainly to the sky. There are some extremely fine lines of stable paint shrinkage to some of the thicker pigments. This work is in good overall 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."

Suffused with the warm light of a summer’s day, La grande maison de la Combe à Labastide-du-Vert en été depicts an ancient house set atop a verdant hill in the picturesque village of the same name. In 1900 Henri Martin bought a home in Labastide-du-Vert, which was situated north of Cahors near Toulouse. On the thirty acres of land stood a large seventeenth century house and Martin became extremely attached to this property. Labastide-du-Vert and its surroundings became the primary subject for his art from this time onwards, resulting in the creation of some of his most important and assured paintings.

Much in the Impressionist tradition, Martin found inspiration in the changing light and seasons, and his ability to distil the sensations of sunshine and heat is revealed to particular effect through the application of dappled points of paint within the present work. Jacques Martin-Ferrières, the artist's son, wrote of the importance of this technique within Martin’s art: ‘If I look at a fragment of Henri Martin's canvas... I immediately recognize it. I see a great number of dots of different colours, as precious and rare as precious stones. 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…’ (Jacques Martin-Ferrières, Henri Martin, Paris, 1967, p. 42).