Henri Martin

Private Collection, United States
Hammer Galleries, New York
Waterhouse and Dodd, London
Acquired from the above on January 31, 2005

This work is in very good condition. The canvas is unlined and the surface retains excellent and textured impasto. A pin-hole at upper right edge. Under UV: several strokes of inpainting fluoresce along the upper right side edge, in the sky, otherwise fine.
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 Martin was a master with paint and brush, his canvases are joyous expressions of light, color and texture. His depictions of landscapes and architecture allow viewers of his paintings to open a window to turn-of-the-century France. Jac Martin-Ferrières, the artist's son, writes, "Henri Martin was without contest an Impressionist and one who had the deepest sensitiveness, certainly equal to that of Monet, whom he most admired. Their interpretation of nature is certainly, owing to their utmost sensitiveness and not through research of a technical process, a poetical evocation hued by a thousand colors which can undoubtedly be called a work of art" (J. Martin-Ferrières, Henri Martin, Paris, 1967, p. 35)

Ferrières continues, "If I look at a fragment of Henri Martin's canvas, especially one with soft hues, I immediately recognize it. I see a great number of dots of different colors, as precious and rare as precious stones. His palette is an enchantment. Many different interminglings of colors make a rare and rich harmony. The real colorist does not not use vivid colors as many laymen might think. And it is much more difficult to find a good harmony of colors when representing nature than to assemble some nice colors, representing nothing. In here lies the gift of Impressionists and that is why there are so few" (J. Martin-Ferrières, op. cit. p. 42)

Fig. 1, Henri Martin, Autoportrait, circa 1912, Paris, Musée d'Orsay