Achille Laugé

Marc de Montebello Fine Art, New York
Arthur G. Altschul Collection, New York (acquired from the above in May 1995; sale: Sotheby's, New York, 6th November 2002, lot 123a)
Purchased at the above sale by the present owner

The canvas is not lined. There are pinhead-sized spots of retouching to the corners and at intermitent intervals to the extreme edges, visible under UV light. There is a nailhead-sized spot of retouching to the centre left also visible under UV light. This work is in good condition. Colours: Overall fairly accurate 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. 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."

Achille Laugé was born in 1861 in Arzens in the Domaine de Calvayrac in the south of France. After a period of study in Paris in the 1880s, where he was undoubtedly influenced by the work of Seurat, Laugé returned to his roots in the south of France, where he would remain for the rest of his life. The landscape around him formed the primary subject matter for this paintings. Although he never conformed to Seurat's scientific approach to painting, his interest in the primacy of colour resulted in works infused with a rich and translucent palette. Laugé's technique developed from using dots in the 1880s and 90s towards a freer, more expressive practice with longer brushstrokes and greater impasto in the 1900s.

Arthur G. Altschul was one of the first important American collectors of Post-Impressionist painting, and especially the Pointillist, Nabi and Pont-Aven schools, paving the way for the recognition of these artists in the United States. Part of his collection was shown at the Yale University Art Gallery in 1965 in the exhibition entitled " Neo-Impressionists and Nabis in the Collection of Arthur G. Altschul".