Galeries Georges Petit, Paris
Mr. Kranashoov
Sale: Mercier & Thuillier, Paris, February 4, 1990
Acquired at the above sale

Paris, Galeries Georges Petit, Exposition Le Sidaner, 1911, n.n.
Paris, Salon de la Societé Nationale des Beaux Arts, 1912, no. 860

"Artisti Contemporanei: Henri Le Sidaner" in Emporium, vol. XXXV, June 1912, n.p.
Fermes et châteaux, July 1912, illustrated, n.p.
Je sais tout, Paris, April 1913, illustrated, n.p. 
Yann Farinaux-Le Sidaner, Le Sidaner, L'Oeuvre peint et gravé, Paris, 1989, no. 284, illustrated p. 129

The canvas is not lined. The surface is clean and the colors are vibrant. There are a few pinholes and pindot indentations along the extreme perimeter of the canvas, possibly from a previous tacking edge. There is a horizontal scuff extending from the lower left corner to the lower center. Under UV light: there are minor strokes of inpainting along the perimeter of the canvas and around the aforementioned pinholes. There are several minor scattered strokes of inpainting throughout the composition. The work is in overall very 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.
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.

Henri Le Sidaner first visited Gerberoy in March 1901, while searching for a suitable country home which would serve as an escape from the worldly bustle of Paris. His son Rémy remembers that Le Sidaner "longed to plan a garden of his own, in which the landscape would be designed by him personally and in which he could achieve his favorite light effects. He mentioned this project to Auguste Rodin, who directed him to the Beauvais area. A potter living in Beauvais, answering to the name of Delaherche, recommended the village of Gerberoy” (Rémy Le Sidaner, quoted in Yann Farinaux-Le Sidaner, op. cit., p. 14).

Le Sidaner rented a small cottage in the picturesque fortress town, eventually purchasing it in 1904. Situated sixty-five miles northwest of Paris on the border between Picardy and Normandy, Gerberoy is notable for its quaint blend of brick frame and timber homes and its cobblestone streets. The property he acquired was ideal for the ambitious plans he had for remodeling the space and extending it, which he did in 1910. These included an extension of the main house, a pavilion, studio barn, tower and extensive gardens. Like Monet's home and garden in Giverny, Le Sidaner’s home in Gerberoy was carefully constructed and arranged to provide endless inspiration and stimulating new subject matter. He paid particular attention to the flower garden in the courtyard, aiming to create harmony between the house and gardens, the outdoor space flowing indoors and vice-versa.

The present work was painted at the height of his artistic prowess and sets a tender and atmospheric tone. A characteristic sense of understated mystery pervades, a result of his Symbolist roots. The artist meditates on the subject of light and color, the dappled sunlight creating a magical atmosphere. The garden scene is typical of Le Sidaner's oeuvre of this time, as is the complete lack of figures: “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” (Camille Mauclair, Henri Le Sidaner, Paris, 1928, p. 12).