Georges Bergaud
Sale: Hôtel Drouot, Paris, 3rd June 1968, lot 11
Galerie Jean Dufresne, Paris
Acquired from the above by the present owner

Strasbourg, Galerie Aktuaryus, H. Martin - H. Le Sidaner, 1930, no. 14, illustrated in the catalogue
Brussels, Galerie des Artistes Français, Le Sidaner, 1931, no. 7

Le Soir Illustré, 21st November 1931
Yann Farinaux-Le Sidaner, Le Sidaner, L'Œuvre peint et gravé, Paris, 1989, no. 477, illustrated p. 187

The canvas is not lined and examination under UV light reveals no apparent signs of retouching. The canvas is gently undulating in the upper right corner. This work is in overall very good original 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."

Glowing with a luminous crepuscular light, La Maison du canal, Verneuil (1922) is a tender symphony of quiet colours and gentle tonalities, displaying Henri Le Sidaner’s masterful ability to distil the effects of light and atmosphere to beautifully capture the time of day. Through a nostalgic and somewhat melancholic pictorial language, Le Sidaner’s shimmering waters and warm sunlight suggest an atmosphere of meditative and tranquil calm. As his great grandson, Yann Farinaux-Le Sidaner writes, ‘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' (Yann Farinaux-Le Sidaner, Le Sidaner, L’Œuvre peint et gravé, Paris, 1989, p. 31). Le Sidaner’s landscapes are intimate manifestations of the artist’s imaginative psyche, which possess an astonishing luminosity through its subtle harmonies and painterly application of pigment. Delighting in the effect of light, the artist draws out his architectural and domestic environments in an intimate and atmospheric musicality. The artist plays with an earthy muted palette coupled by crisp and controlled brushstrokes, which capture a delicately ethereal moment that is as lively as it is serene. Through a distinct visual language that expresses an understated mystery, Le Sidaner pays tribute to his Symbolist roots, which as Camille Mauclair observes, is intensified by the absence 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).