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a painting of a room with green doors and pictures on the wallpainting of an open door in a green room with a table and chairsan image of a painting of an open door in a rooman old piece of cardboard with writing on it on a white backgrounda painting of a brown wooden frame with writing on ita sculpture of a man standing in a room with a painting on the wall
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Estimate €150,000 - €250,000
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Description
Henri MARTIN Interior at Marquayrol, view from the sitting room towards the front door opening onto the sunshine – 1941 Oil on hardboard Signed and dated lower centre: “Henri Martin 1941.” 81 x 65 cm Provenance: The artist’s heirs Galerie Alexis Pentcheff, Marseille Acquired from the gallery by the current owner on 21 November 2024 Louis Grandchamp des Raux Collection Exhibitions: Cahors, Musée Henri Martin; Toulouse, Capitole, Henri Martin, September–October 1993, no. 25, reproduced on p. 31 Paris, Grand Palais, Galerie Pentcheff, FAB 2024, November 2024 Bibliography: This work will be included in the catalogue raisonné of Henri Martin’s works, currently being prepared by Mrs Marie-Anne Destrebecq-Martin. A notice of inclusion from Mrs Marie-Anne Destrebecq-Martin will be provided to the purchaser. Oil on hardboard; signed and dated lower centre; 31 7/8 x 25 5/8 in. As Symbolism began to wane towards the end of the 19th century, Henri Martin moved away from his mystical subjects to embrace a new aesthetic. Around the age of forty, he discovered the midday light of the Quercy countryside, where he would henceforth spend his summers – a true turning point in his career. For several summers, he settled in Saint-Paul-Cap-de-Joux in the Tarn; then, in 1899, he purchased Marquayrol, an old farmhouse overlooking the village of Labastide-du-Vert, near Cahors. He stayed there from May to November and built a studio that would become the heart of his creative work, spending long hours painting the landscapes of Quercy. At Marquayrol, he worked much more prolifically, depicting in turn the large pergola he had built, the cypress-lined avenue, the terrace and the ponds (fig. 1). It was truly by setting up his easel in the heart of nature that Martin found his new style and perfected his brushwork. He himself recounted having been compelled to focus on the decomposition of tone in order to capture the dazzling light, thereby aligning himself with the Pointillist experiments of Aman-Jean, his close friend, who was himself close to Seurat. The Marquayrol gardens, now open to the public, form a unique estate covering some thirty hectares where Henri Martin found an inexhaustible source of inspiration. In this place imbued with calm and contemplation, he produced several hundred paintings. His fascination with oleanders, already evident in *Clémence Isaure with a Lyre* (lot no. 45), is also reflected in the garden’s plantings. As in *La Porte ouverte sur le jardin* (fig. 2), this painting offers a view from the sitting room of the house at Marquayrol: the double swing doors, thrown wide open, let in a dazzling light that floods the entrance hall. The sun’s rays are reflected on the floor, whilst the walls, painted in a divided brushstroke blending greens and yellows, echo the garden’s hues in a subtle interplay of inverted balance. This intimate view of the home he loved so dearly conveys a moment of serenity and fulfilment. More than just an interior, the work celebrates above all the light – the true subject of the painting – a symbol of life and harmony. Painted in 1941 during the final years of his life, it bears witness to the long evolution of Martin’s work, which always retains a beauty conducive to meditation. Fig. 1: Henri Martin, Grand bassin du Parc de Marquayrol, circa 1905, oil on canvas Fig. 2: Henri Martin, La porte ouverte sur le jardin, oil on canvas Henri MARTIN 81 x 65 cm As Symbolism began to wane towards the end of the 19th century, Henri Martin moved away from his mystical subjects, turning towards a new aesthetic. Around the age of forty, he discovered the midday light of the Quercy countryside, where he would henceforth spend time in fine weather – a true turning point in his oeuvre. For several summers, he settled in Saint-Paul-Cap-de-Joux in the Tarn; then, in 1899, he purchased Marquayrol, an old building overlooking the village of Labastide-du-Vert, near Cahors. He stayed there from May to November and built a studio that would become the centre of his artistic creation, spending long hours painting the landscapes of Quercy. At Marquayrol, he was far more prolific, depicting in turn the large pergola he had had built, the cypress-lined avenue, the terrace and the ponds (ill. 1). It was by setting up his easel in the heart of nature that Martin found a new style and a new direction in his brushwork. He himself spoke of having been compelled to focus on breaking down tones in order to capture the intense light, following the pointillist approach of his good friend Aman-Jean, who was himself close to Seurat. The Marquayrol gardens, now open to the public, form a unique estate of some thirty hectares where Henri Martin found endless inspiration. In this place of calm and contemplation, he produced several hundred paintings. His interest in oleanders, already evident in *Clémence Isaure à la Lyre* (lot no. 45), is also reflected in the garden’s plantings. As in *La Porte Ouverte sur le Jardin* (ill. 2), this painting offers a view from the living room of the house at Marquayrol: the double doors, thrown wide open, let in a stream of light that floods the entrance hall. The sun’s rays reflect off the floor, whilst the walls, painted with a Divisionist brushstroke blending greens and yellows, echo the colours of the garden in a subtle interplay of inverted balance. This intimate view of the home he loved so dearly conveys a moment of serenity and fulfilment. More than just an interior scene, the work celebrates above all the light – the true subject of the painting – a symbol of life and harmony. Painted in 1941 during the final years of his life, it bears witness to the long evolution of Martin’s work, which retains a beauty that lends itself to meditation. Fig. 1: Henri Martin, Grand bassin du Parc de Marquayrol, circa 1905, oil on canvas Fig. 2: Henri Martin, La porte ouverte sur le jardin, oil on canvas
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About the sale The Louis Grandchamp des Raux Collection
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Auction time 10/24/2026 at 4:00 PM
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