DescriptionMARGUERITE THOMPSON ZORACH (American, 1887-1968)
Along the River--Martigues, 1910
Oil on panel
12-1/2 x 15-5/8 inches (31.8 x 39.7 cm)
Signed with monogram lower left: MT
Signed, titled and dated verso: M. Zorach / Along the River / Martigues / 1910
PROPERTY FROM THE KING COLLECTION, TEXAS
Private collection, Washington, D.C., circa 1960;
Private collection, Florida;
Hollis Taggart Galleries, New York;
Acquired by the present owner from the above, October 2002.
El Paso Museum of Art, El Paso, Texas, "Modern American Painting 1907-1936: The Maria and Barry King Collection," September 8, 2013-January 8, 2014, no. 17.
E. Thompson Calleary, "Marguerite Thompson Zorach: Some Newly Discovered Works, 1910-1913," Woman's Art Journal 23, no. 1, Spring/Summer 2002, pp. 24-28;
P.S. Cable, Modern American Painting 1907-1936: The Maria and Barry King Collection, exhibition catalogue, El Paso Museum of Art, El Paso, Texas, 2013, pp. 58-60, no. 17, illustrated.
Along the River-Martigues, one of Marguerite Thompson Zorach's first Modernist paintings, is one of the earliest-known American Fauvist works. Executed in Provence during the summer of 1910, the present work fully integrates Zorach's Fauvist technique, illustrating her openness to the innovations of the French avant-garde. She imbues the scene with a flourish of energy, using simplified, geometric forms outlined in blue, and colored with vivid, thickly painted, pinks, reds, greens, yellows, blues and whites.
According to Dr. Patrick Shaw Cable, "[Zorach] executed the work during a 1910 painting trip to Provence in the company of Jessica Dinsmoor; from May to June the artists visited Avignon, Saint Rémy, Provence, Arles, Les Baux-de-Provence, and Marseille and Martigues on the coast. While the bold outlining and unmodulated color sections might suggest the French Post-Impressionist style of Cloisonnism, Marguerite's firmly structured composition brings such features to an entirely new level. Perhaps the best analogy to her painting would be a modern work of brilliant stained glass. Even the white-shirted, blue-trousered sailors are treated as pictorial building blocks, and bold areas of white and black take on an expressively coloristic role within a dazzling display" (Modern American Painting 1907-1936: The Maria and Barry King Collection, exhibition catalogue, El Paso Museum of Art, El Paso, Texas, 2013, p. 60).
Scattered spots of light dry craquelure; stable surface; under UV exam, there appear to be several small dots and minor flecks of crack-fill inpainting in the lightest shapes, including a C-shape at lower center, as well as an approx. 5 inches horizontal line of inpainting at the upper right extreme edge. This painting is framed using Optium (museum acrylic glazing), which provides clear legibility for examination with both white light and black light. In order to maintain the integrity and airtight sealing of the housing, the painting was not viewed out of the frame for the condition report. Should you wish to have a more extensive report, we recommend firsthand inspection by a professional conservator. For assistance, please contact the department.
*Heritage Auctions strives to provide as much information as possible but encourages in-person inspection by bidders. Statements regarding the condition of objects are only for general guidance and should not be relied upon as complete statements of fact, and do not constitute a representation, warranty or assumption of liability by Heritage. Please note that we do not de-frame lots estimated at $1,000 or less and may not be able to provide additional details for lots valued under $500. All lots are sold "AS IS" under the Terms & Conditions of Auction.
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