Galerie van Leer, Paris (acquired by 1949)
Lichtenstein Collection (and sold: Parke-Bernet Galleries, New York, April 8, 1953, lot 59)
Leon A. Mnuchin & Harriet Gervitz-Mnuchin, New York (acquired by 1958)
Harriet Weiner Goodstein, New York (acquired by 1971 and sold: Sotheby’s, New York, May 12, 1994, lot 193)
Acquired at the above sale

Baltimore, Baltimore Museum of Art; Cincinnati, Cincinatti Art Museum; Utica, Munson-Williams-Proctor Museum of Art; San Francisco, San Francisco Museum of Art & Seattle, Seattle Art Museum, Albert Marquet, 1958, no. 12, illustrated in the San Francisco catalogue
New York, Wildenstein & Co., A Loan Exhibition For the Benefit of The Hospitality Committee of the United Nations, 1971, no. 6, illustrated in the catalogue (dated circa 1903)
Sydney, Art Gallery of New South Wales & Melbourne, National Gallery of Victoria, Fauves, 1995, no. 63, illustrated in color in the catalogue
Tel Aviv, The Tel Aviv Museum, Fauvism—Wild Beasts, 1996, no. 44, illustrated in color in the catalogue

Please contact the Impressionist & Modern Art department directly for a condition report of this lot.
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.

The present work is one of two portraits that Marquet painted of André Rouveyre. Rouveyre was well-known in Marquet’s circle as a fierce parodist of upper-crust social manners, producing both satirical writings and witty caricatures. Indeed, Marquet was not the only member of the avant-garde to memorialize Rouveyre: Modigliani painted a characteristically sculptural portrait of him in a rakish jacket and Matisse made a charcoal drawing of him in 1912, wearing the same monocle that can be seen in Marquet’s second portrait (see fig. 1).

Rouveyre owes his fame in large part to an extraordinary group of some twelve hundred letters that he and Matisse exchanged between 1941 and 1954, which provide unprecedented insight into Matisse's creative process and artistic aims at this time. Rouveyre and Matisse also collaborated throughout the 1940s on a book about the late poet Guillaume Apollinaire, another key participant in la vie bohème of Montparnasse during Modigliani's day.

The style in which Marquet has executed the present work is classically Fauve, however Marquet retained an individuality in his art that clearly delineates him from the Fauve artists. Preferring to use harmonious colors in his compositions, Marquet’s portrait of André Rouveyre is a rich conflagration of reds and greens, harmonizing the work as a Divisionist masterpiece. As David Setford states about Marquet’s style,  “preferring his own intuition, and developing a style which owed something to the compositions of Fauvism and the sensatory researches of Impressionism, but which was really and truly his own” (David F. Setford, From Fauvism to Impressionism: Albert Marquet (exhibition catalogue), Musée national d'art moderne, Centre Georges Pompidou, Paris, 2001-02, p. 6).

This work will be included in the forthcoming Marquet Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.