Henri Martin

Private Collection, New York
Sale: Maître Marc-Arthur Kohn, Deauville, 19th August 1998
Private Collection, Israel (sale: Sotheby's, London, 23rd October 2001, lot 123)
Purchased at the above sale by the present owner

The canvas is not lined and there do not appear to be any signs of retouching visible under UV light. There are a few very minor flecks of paint loss in places to the more thickly applied pigments, including to the upper part of the right edge. Otherwise, the colours are bright and fresh and this work is in overall very good 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."

Henri Martin’s Port de Marseille - le clocher des Accoules is a delightfully atmospheric depiction of the old port of Marseille with the bell tower of the medieval church Notre-Dame des Accoules visible beyond the sail boats. The bell tower and clock that still chimes today are all that remains of this historic church, which was demolished by Revolutionaries in 1789. Unsurprisingly, Martin’s port scenes are among his most desirable works; the artist transforms bustling centres of commerce into tranquil, balanced compositions rendered through a modulated palette of primarily blue, yellow and red hues to wonderful effect, a testament to his mastery of the pointillist technique.

When describing Martin's personal interpretation of Impressionist techniques, Jules Laforgue remarked, “The shapes are given not by a outline drawing, but only by vibrations and contrasts in colours. The painting whatever it represents, the light of the studio is replaced by natural light and work indoors, by work in the open air… A lover of reality, he does not want it to impose upon him its feelings but to help him to transfigure his dream of beauty with a more accurate, a more lively eloquence. He borrowed the Impressionists' technique to reveal a quite subjective art. Impressionism gave Henri Martin his expression, but it does not impose upon him its inspiration” (Jacques Martin-Ferrières, Henri Martin, Paris, 1967, pp. 33-34).