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Henri Le Sidaner (1862-1939)
Henri Le Sidaner (1862-1939)

L'horloge de la place Saint Marc

Henri Le Sidaner (1862-1939)
L'horloge de la place Saint Marc
signed 'Le Sidaner' (lower left)
oil over pencil on canvas
29 ¼ x 32 3/8 in. (74.1 x 82.1 cm.)
Painted in Venice in 1906
Galerie Georges Petit, Paris.
Anon. sale, Hôtel Drouot, Paris, 14 December 1927, lot 111.
Private collection, England (by 1928).
The British Printing Corporation, Ltd, London; sale, Christie's, London, 24 June 1966, lot 19.
Walter Klinkhoff Gallery, Montreal.
William Allan Manford, Toronto.
By descent from the above to the present owner, circa 1985.
C. Mauclair, Henri Le Sidaner, Paris, 1928, p. 258 (illustrated, p. 45).
E. Joseph, Dictionnaire biographique des artistes contemporains, 1910-1930, Paris, 1931, p. 383 (illustrated).
Y. Farinaux-Le Sidaner, Le Sidaner, L'oeuvre peint et gravé, Milan, 1989, p. 107, no. 212 (illustrated).
Paris, Salon de la S.N.B.A., 1906, no. 780.
London, Goupil Gallery, Henri Le Sidaner, Venise du crépuscule à la nuit, March 1906, no. 4.

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Vanessa Fusco
Vanessa Fusco

Lot Essay

Denoted by planar, fragmented brushwork, the colored light in Le Sidaner’s L'horloge de la place Saint Marc seamlessly hops across the canvas under the hazy dusk of day’s end. The stillness and dreamy silence of what Camille Mauclair coined as “Le Sidaner’s time” elicits a sense of dream-like nostalgia and sentimental realism over the dissolving forms.
Often compared to Claude Monet for his portrayal of light through the manipulation of color, Le Sidaner differed from the older generation of Impressionists in that he rarely painted outdoors. He would quickly sketch the scenes he observed as he walked through the town, later crafting the compositions from his imagination. Le Sidaner breached a new realm of symbolist rhetoric through his “musical quality of colour” (I. Mössinger and K. Sagner, Henri Le Sidaner, Chemnitz, 2009, p. 66) and “taste for tender, soft and silent atmospheres” (Y. Farinaux-Le Sidaner, op. cit., p. 31).

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