Paul Signac

Estate of the artist
Sale: Hôtel Drouot, Paris, 4th July 1949, lot 65
Robert Behar
Myriam Sacher, London (sale: Sotheby's, London, 16th April 1975, lot 7)
Sir Leon & Lady Trout, Brisbane (purchased at the above sale; sale: Christie's, London, 3rd April 1989, lot 13)
Private Collection (sale: Christie's, New York, 9th November 1999, lot 244)
Sale: Marc Arthur Kohn, Paris, 16th August 2000, lot 2

Paris, Societé des artistes indépendants, 1884
Brisbane, Queensland Art Gallery, Master Works from the Collection of Sir Leon and Lady Trout, 1977, no. 54, illustrated in the catalogue
Treviso, Casa dei Carraresi, L'Impressionismo e l'età di Van Gogh, 2002-03

Cahier d'opus (the artist's handlist, produced 1872-1902), no. 21, listed as Tableau d'après 2 études de Port-en-Bessin toile de 30 basse / Janvier-Mars
Cahier manuscrit (the artist's handlist, produced 1902-09), listed as Port-en-Bessin (30)
G. Levy, in collaboration with the artist, Pré-Catalogue, produced circa 1929-32, p. 21 (incorrectly illustrated p. 71)
Françoise Cachin, Signac, Catalogue raisonné de l'œuvre peint, Paris, 2000, no. 25, illustrated p. 150 and in colour p. 87

The canvas has been lined. However the impasto in the foreground remains in good condition. There are several scattered areas of retouching in the sky and two small spots of retouching towards the centre of the foreground, all visible under UV light. Otherwise this work is in good condition.
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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."

Painted in 1883, the current work is a brilliant example of the artist's proficiency in Impressionist techniques and the basis upon which he would build his Neo-Impressionist undertakings in the years that followed. Depicted here is the Port-en-Bessin, a fishing port in Brittany nestled between what would prove to be the historically significant beaches of Omaha and Pointe du Hoc. The rich atmosphere and brilliant light of this port town drew many artists at the time and Signac visited for the first time in July and August of 1882. Following his passion for the sea and sailing, the artist spent the following two summers there, painting the town's pier, its beach, cemetery and the quays. Port-en-Bessin reveals the strong influence of Monet and Sisley on the artist, but Signac specifically avoided the popular beaches of Trouville and Deauville and found fresh inspiration at Port-en-Bessin.

The artist's relationship with this port town grew into a lifelong love of sailing. As Floyd Ratliff writes, '... he executed his first seascapes at Port-en-Bessin, in Brittany. Ever after Signac was drawn to the sea. He loved sailing and by the time he was grown he was a proficient sailor. He was proud of this accomplishment, and at one time he even went so far as to have the title 'Captain in the Merchant Marine' printed under his name on his calling cards. In 1883 he bought his first sailboat (He was to own a total of thirty-two during his lifetime!). On that first boat he painted the names of three innovators in art, literature, and music whom he greatly admired: Manet, Zola, and Wagner' (Floyd Ratliff, Paul Signac and Color in Neo-Impressionism, New York, 1992, p. 6).