ALBERT MARQUET (1875-1947)
ALBERT MARQUET (1875-1947)
ALBERT MARQUET (1875-1947)
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Cancellation under the EU Consumer Rights Directiv… Read more
ALBERT MARQUET (1875-1947)

Paris, Quai du Louvre, Soleil d'hiver

Details
ALBERT MARQUET (1875-1947)
Paris, Quai du Louvre, Soleil d'hiver
signed 'Marquet' (lower right)
oil on canvas
25 ¾ x 32 in. (65.1 x 81 cm.)
Painted circa 1906
Provenance
Galerie Druet, Paris (no. 3631), by whom acquired directly from the artist (titled 'Vue de Paris').
Pieter Van der Velde, Le Havre, by whom acquired from the above on 21 October 1908.
(Probably) Edouard Jean Le Général Réquin, Paris, by descent from the above; sale, Hôtel Drouot, Paris, 14 October 1942, lot 61 (titled 'Pont des arts').
Private collection, Paris, by whom acquired at the above sale.
Galerie Schmit, Paris, by 1967.
Private Collection, Switzerland, by whom acquired from the above on 30 January 1974; sale, Sotheby's, New York, 13 November 2018, lot 179.
Acquired at the above sale by the present owner.
Literature
R. Walter, 'Pieter van der Velde, un amateur éclairé' in Gazette des Beaux-Arts, October 1968, p. 205.
J. Freeman, Nineteenth and Twentieth-Century Modern Masterworks: The Fridart Foundation Collection, London, 1998, pp. 45 & 299 (illustrated p. 44).
Exhibited
Paris, Galerie Schmit, Exposition Marquet 1875-1947, May - June 1967, no. 19, p. 33 (illustrated; dated '1905').
Paris, Galerie Schmit, Tableaux de Maîtres Français 1900-1955, May - June 1973, no. 30, p. 46 (illustrated; dated '1905').
Toronto, Art Gallery of Ontario, The Fauves, April - May 1975, no. 6, p. 20 (illustrated; dated '1905').
Los Angeles, County Museum of Art, The Fauve Landscape: Matisse, Derain, Braque, and Their Circle, 1904-1908, October - December 1990, pp. 306 & 308 (illustrated pl. 324; dated '1905'); this exhibition later travelled to New York, The Metropolitan Museum of Art, February - May 1991; and London, The Royal Academy of Arts, June - September 1991.
Nagoya, Aichi Prefectural Museum of Art, Fauvism and Modern Japanese Painting, October - December 1992; this exhibition later travelled to Kyoto, The National Museum of Modern Art, January - February 1993; and Tokyo, The National Museum of Modern Art, February - March 1993.
Sydney, The Art Gallery of New South Wales, Fauves, December 1995 - February 1996, no. 64, p. 178 (illustrated pp. 174 & 179; dated 'circa 1905'); this exhibition later travelled to Melbourne, National Gallery of Victoria, February - May 1996.
Tel Aviv, Museum of Art, Fauvism "Wild Beasts", June - August 1996, no. 45, p. 110 (illustrated p. 109; dated 'circa 1905').
Paris, Musée d'Art moderne de la Ville de Paris, Le Fauvism ou "l'épreuve du feu". Éruption de la modernité en Europe, October 1999 - February 2000, no. 85, p. 467 (illustrated p. 209; dated '1905').
London, Courtauld Institute Gallery, The 20th Century at the Courtauld Institute Gallery, October 2002, p. 35 (dated '1905').
Paris, Musée d'Art moderne de la Ville de Paris, Albert Marquet. Peintre du temps suspendu, March - August 2016, no. 9, p. 223 (illustrated p. 91; dated '1905').
Special notice
Cancellation under the EU Consumer Rights Directive may apply to this lot. Please see here for further information. This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Further details
This work is accompanied by an original Attestation of Inclusion from the Wildenstein Institute, and it will be included in the forthcoming Albert Marquet Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Brought to you by

Tessa Lord
Tessa Lord Director, Senior Specialist

Lot Essay


Painted in 1906, the year after the Fauve group’s notorious eruption onto the Paris art scene with their famed exposition at the Salon d’Automne, Albert Marquet’s Paris, Quai du Louvre, Soleil dhiver belongs to the artist’s great series of cityscapes in which he captured panoramic vistas of the French capital. In 1905, Marquet rented an apartment on the Quai du Louvre, a stretch of road along the Right Bank of the Seine, between the Pont Neuf and the Louvre. From his rooms on the seventh floor, Marquet had a sweeping view of the river, the tip of the Île de la Cité, the Left Bank and the Eiffel Tower beyond, providing him an endlessly changing subject to which he continued to return over the course of his career.

Capturing the glistening rain-soaked boulevard filled with people and traffic, the bare trees, and the silvery stretch of the Seine disappearing into the distance, this painting sees Marquet marry his distinct Fauve colour palette with his abiding interest in compositional structure. As the vivid orange rimmed disc of the sun sets, illuminating the Paris skyline, particularly the dome of the Invalides, into a kaleidoscopic assortment of pinks, orange, lilacs and turquoise, the city’s topography is likewise thrown into spectacular relief.

The plunging perspective and elevated viewpoint that Marquet has utilised in the present composition was an abiding characteristic of his work. Whilst artists such as André Derain and Maurice de Vlaminck painted views with colours based little in reality, Marquet's palette allowed for intermittent explosions of colour but retained a firmer grounding in the view before him thanks to his interest in compositional structure. In the present work, Marquet has used his signature strokes – bold, instinctive lines and daring ‘slabs’ of unmixed pigment that create a strong sense of perspective and the panoramic sweep of the city that so defines this series.

Marquet’s Paris series clearly follows in the footsteps of his Impressionist predecessors, particularly Claude Monet and Camille Pissarro, who had similarly painted Paris, and also London, with a dedicated, serial approach, seeking to capture the temporal effects of light and weather on a fixed vista. As the Impressionists had done before him, Marquet returned to the same motifs at different times of day and at different times of year, charting the changes in light and atmosphere upon the city. At the same time that Marquet painted the present work in 1906, his Fauvist colleague Derain was in London, painting views of the Thames, similarly testing their newly forged pictorial idiom, experimenting with colour as they captured the world around them.

Although the city was a subject which would occupy Marquet throughout his life, it was of particular importance in his early career between 1900 and 1910, when he spent little time outside the capital. He found his inspiration in the river Seine, its quais, bridges and crowds, whether in sunshine, rain, summer or winter, and it was against this paradoxically familiar and traditional background that he executed the most innovative works in his oeuvre. In addition, the harbours of Normandy would likewise provide endless inspiration.

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