Albert Marquet (1875-1947)
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Albert Marquet (1875-1947)

Le gros olivier

Details
Albert Marquet (1875-1947)
Le gros olivier
signed 'Marquet' (lower right)
oil on canvas
25 5/8 x 32 1/8in. (65.1 x 81.6cm.)
Painted circa 1943
Provenance
Mme Marcelle Marquet, Paris.
Wildenstein and Co., Inc., New York.
Boyd De Brossard, New York.
Mrs Winn De Brossard, New York.
Pauline K. Cave, New York; sale, Sotheby's New York, 16 November 1984, lot 28.
Acquired at the above sale by the present owner.
Literature
J.C. Martinet & G. Wildenstein, Marquet, L'Afrique du Nord, Catalogue de l'oeuvre peint, Paris, 2001, no. I-438 (illustrated p. 325).
Exhibited
Ottawa, The National Gallery of Canada, Art français contemporain, 1947, no. 53 (illustrated in the catalogue).
Besançon, Musée des Beaux Arts, Albert Marquet, July-Sept. 1955, no. 26 (illustrated in the catalogue).
Paris, Galerie Katia Granoff, Les Marquet sans eau, May-June 1956, n.n.
Paris, Galerie Montmorency, Fenêtres et Jardins, June 1957.
Paris, Galerie Jean-Claude et Jacques Bellier, Marquet, aspects insolites, May-June 1962, no. 27.
New York, Wildenstein & Co., Inc., Albert Marquet, A loan Exhibition for the Benefit of the Hospitality Committee of the United Nations, Oct.-Dec. 1971, no. 61 (illustrated in the catalogue).
Special notice
No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis

Lot Essay

Situated a quarter of an hour's journey from Algiers, and elevated above the city to give a view of the Mediterranean, Marquet's home and garden Djenan Sidi Saïd was a constant source of inspiration during his later years. With the acquisition of Djenan Sidi Saïd in 1941, both Marquet and his wife Marcelle, herself born in Algeria, found a tranquil retreat. However, Marquet kept in regular contact with the world beyond his campagne, with Matisse chief among his correspondents.

Marquet's love affair with Algeria had begun with his first visit there in 1920. Already an established chronicler of the va et vient of Parisian life, Marquet revelled in the public face of the city of Algiers, with its bustling port and official buildings. But the private side of life in Algeria also seduced Marquet. Works such as Le gros olivier illustrate his attraction to the artistic possibilites of brilliant, white-washed buildings set amongst the rich greens and dappled light of a shady terrace.

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