Henri Le Sidaner

Galerie Georges Petit, Paris
A. Witcomb & Cie, Buenos Aires
Private Collection, Argentina (acquired from the above in 1989; sale: Sotheby's, London, 5th February 2003, lot 124)
Purchased at the above sale by the present owner

Camille Mauclair, Le Sidaner, Paris, 1928, illustrated p. 67
Yann Farinaux-Le Sidaner, Le Sidaner, L'oeuvre peint et gravé, Milan, 1989, no. 394, illustrated p. 158

The canvas is not lined. There are scattered spots of retouching at the edges, primarily in the water at the lower edge, visible under UV light. There is a small area of paint loss at upper right corner. Overall this work is in good condition. Colours: Fairly accurate in the printed catalogue, although the water is brighter with more depth of colour.
"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."

Maurice Feuillet once remarked that 'nothing is more suggestive to the mind or more eloquent to the soul than the silence of objects in the white, fine light of daybreak, when nothing yet stirs, or in the serenity of the dusk, when everything returns to rest' (quoted in Y. Farinaux-Le Sidaner, op. cit., 1989, p. 195). The present work is indeed a striking example of the artist's facility in depicting the mysterious atmosphere of the early evening, and the blanket of snow only adds to the feeling of time having been suspended.

Though the artist is primarily known for his depictions of gardens, he was equally enamoured by urban landscapes, and indeed he was particularly taken by Chartres and its cathedral, the subject of the present work. Karin Sagner has remarked that as well as the metropolises of Paris and London, he was also 'visually attracted to atmospherically quiet towns whose old buildings and stately homes [...] inspired him to daydream about their potential secrets; Le Sidaner liked to capture that peaceful small-town world in the evening light, a world that even then was slowly being threatened with extinction' (Karin Sagner, Henri Le Sidaner: A Magical Impressionist (exhibition catalogue), Munich, 2009, p. 42).

La Neige, Chartres is a charming depiction of one of the artist's best-loved towns and an amalgamation of some of his most characteristic artistic elements. The flickering brushwork perfectly captures the fragility of that most magical and transient time of day: the threshold between day and night.