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Albert Marquet

( 1875 - 1947 )

La femme au col de fourrure


Albert Marquet

( 1875 - 1947 )

La femme au col de fourrure

  • Medium: Ink on paper

  • Signed: Signed with monogram lower left

  • Size: 6.00" x 4.00" (15.2cm x 10.2cm)

  • Framed Size: 12.00" x 10.00" (30.5cm x 25.4cm)

  • Dated: c. 1920

Additional information

  • Condition: Very good original condition

  • Provenance: Felix Vallotton S.A. - Lausanne, Switzerland (label verso)
    Roland Browse & Delbanco - London, England (label verso)

Albert Marquet Biography

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Albert Marquet arrived in Paris in 1890, and studied at the École des Arts Décoratifs, where he met Henri Matisse, before entering the École Nationale des Beaux-Arts in the studio of Gustave Moreau. He also passed through the Académie Ranson, where Sérusier taught. In 1906 he worked with Dufy in Normandy; and in Le Havre and Trouville. The following year he stayed with Matisse and Camoin in London. He travelled throughout Europe and North Africa, but from 1920 until his death in 1947 was based in his studio on the Quai St-Michel in Paris.


Although he was chiefly a painter of landscapes and water scenes, Marquet sometimes painted portraits: a drawing entitled Self-portrait of A. Marquet; and, among his paintings, a Portrait of Madame Lani, and a portrait of the draughtsman and writer A. Rouveyre, which has often been reproduced in photoengravings. Of his figures and landscapes, the most notable include Standing Nude, Seated Nude, Nude with Crossed Legs, Two Friends, Woman in Pink Stockings, Arab Women, The Seine at the Pont Marie, Notre Dame, Balcony, Quai des Grands-Augustins, The Pont-Neuf, Quai du Louvre in Winter, Pont de Conflans, Le Havre, 14 July, Pont St-Michel, Pont de la Concorde, La Trinité, Flood, Montparnasse Station, La Varenne, Herblay, Collioure, Honfleur, La Rochelle, L'Estaque, Marseilles, Tangiers: Bou Saada and Algiers. He illustrated My Brigadier Triboulère (Mon Brigadier Triboulère) by E. Montfort, and Moussa the Young African (Moussa le Petit Noir) by M. Marty. Marquet also periodically produced paintings of nudes; and many publishers brought out either texts devoted to and illustrated by him, or portfolios of his engravings. Charles-Louis Philippe asked Marquet to illustrate a new edition of his successful novel Bubu of Montparnasse (Bubu de Montparnasse). However, Marquet's populist images were rejected by the publisher, and the commission was given to Granjouan, one of the regular draughtsmen on the review L'Assiette au Beurre. Philippe and Marquet preferred grass-roots subjects and simple themes, a preference that has provokedvery different reactions from critics. Some read in Marquet's work a tenderness for creatures that represent beauty threatened by poverty; others focus on the signs of cruelty in his scrawny forms.


He took part in collective exhibitions in France and abroad, including: from 1901, the Salon des Artistes Indépendants, Paris; from 1904, the Salon d'Automne, Paris; 1908-1909, Moscow; 1908, in Kiev and Odessa; 1912, at the Institut Français, St Petersburg; and in the USA, at the Carnegie Institute, Pittsburgh. Collective exhibitions have been held since his death: 1960, Belgrade; 1974, Hamburg and Montreal; 1975, Bordeaux; 1999, Fauvism or 'Trial by Fire': The Eruption of Modernity in Europe (Le Fauvisme ou 'l'Epreuve du Feu'. Éruption de la Modernité en Europe) at the Musée d'Art Moderne de la Ville de Paris; 2001, Fauvism in Black and White. From Gauguin to Vlaminck, Fauvist Engraving and its Setting (Le Fauvisme en Noir et Blanc. De Gauguin à Vlaminck, l'Estampe des Fauves et son Environnement) at the Musée d'Art Moderne, Villeneuve d'Ascq; and 2003, Luminous Algeria, Through the Eyes of Seascape Painters (1830-1960) (Lumineuse Algérie, sous le Regard des Peintres de Marines (1830-1960)) at the Musée National de la Marine, Toulon.


His first solo exhibition took place in 1907 at the Galerie Druet in Paris. Among his ensemble and retrospective exhibitions, the following are most significant: 1948, Kunsthaus, Zurich; 1949, Musée National des Beaux-Arts, Algiers; 1950, Statens Museum for Kunst, Copenhagen; 1953, Musée Jenisch, Vevey; 1958, Pushkin Museum, Moscow; 1959, Musée de Metz; 1955, Musée des Beaux-Arts, Besançon; 1966, Homage to Marquet (Hommage à Marquet), Salon de Montrouge; 1960, Narodni Muzej, Belgrade; 1966, Albert Marquet: from Paris to Honfleur (Albert Marquet: de Paris à Honfleur), Honfleur; 1964, Albert Marquet, French Painter (Albert Marquet, Peintre Français), Musée des Beaux-Arts, Québec, then Montréal; 1970, a travelling exhibition in Great Britain; 1975, Galerie de l'Orangerie, Paris; 1981, Rétrospective Albert Marquet, Palais des Beaux-Arts, Charleroi; 1988, Albert Marquet, Fondation de l'Hermitage, Lausanne; 2001, Albert Marquet: Ship's Log in the Mediterranean (Albert Marquet: Journal de Bord en Méditerranée), St-Tropez; and 2002, Albert Marquet: Works from the Musée des Beaux-Arts Collection (Albert Marquet: Œuvres de la Collection du Musée des Beaux-Arts), Musée des Beaux-Arts, Bordeaux.


Museum and Gallery Holdings


Bagnols-sur-Cèze: 14 July in Le Havre

Besançon: Sète Harbour

Bordeaux (MBA): Portrait of the Artist's Father and Mother (1898); Nude known as 'Fauve' (1898); Trees in Billancourt (c. 1900); The Luxembourg Basin (1902); Funfair in Le Havre (1906); Bordeaux Harbour (1924)

Carcassonne (MBA): Quai de Conti: Autumn

Épinal (Mus. départemental d'Art ancien et contemporain): Harbour in the Rain

Grenoble (Mus. de Grenoble): Pont St-Michel

Lausanne (Cantonal MFA): Notre Dame in Snowy Weather; Samois Island

Lyons (MBA): Rouen Harbour (1912)

Marseilles (Mus. Cantini): Marseilles Harbour

Moscow (Pushkin MFA): Honfleur Harbour

Nantes: The Seine in Paris; Terrace

Paris (MNAM-CCI): Coffeepot (1902); Landscape in the South of France (1903); Portrait of André Rouveyre (1904); Matisse Painting in Manguin's Studio (1904-1905); View of Agay (1905); Paris: Quai des Grands-Augustins (1905); Le Havre Basin (1906); Fécamp Beach (1906); Quai de Paris, Rouen (1912); Nude on the Couch (1912); Riverbank; Rotterdam (1914); Blonde Woman (c. 1920); Summer, Les Sables-d'Olonne Beach (1933); Venice: the Lagoon (1936); Mist in Stockholm (1938); The Pont-Neuf and the Vert Galant in the Snow (1947); Women of Laghouat

Pau (MBA): Notre Dame: Sun (1904)

Quimper (MBA): Fécamp Harbour (1906)

Rheims (MBA): Quai des Grands Augustins (1905)

Rotterdam (Mus. Boijmans Van Beuningen): Pont Neuf in the Sun (1906)

St Petersburg (Hermitage): Milliners; St-Jean-de-Luz

Washington DC (NGA): Posters at Trouville (1906, oil on canvas); The Pont Neuf (1906, oil on canvas)

Winterthur (Kunstmus.): Pont de Honfleur (1911)

Zurich (Kunsthaus): Quay in Paris (1904-1905); Quay with Boats and Fishermen

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