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Albert Marquet (France 1857‑1947)

Nuages sur Stockholm”

To be sold at Uppsala Auktionskammare’s Important Sale: Modern & Contemporary 9 – 12 November 2021

Lot 111 Albert Marquet (France 1857‑1947). “Nuages sur Stockholm”. Signed Marquet lower left and dated Stockholm 38 nuages on the reverse. Oil on canvas, 50 x 61 cm.

Executed in 1938.


600.000 – 800.000 SEK
€ 60.000 – 80.000


Alex Maguy Gallery, Paris, no. 1343.
Mr Ogawa, Yayoi Gallery, Tokyo, acquired from the above.
The collection of art dealer Tore Gerschman (1913‑1992), Stockholm, acquired from the above in 1970.


Liljevalchs konsthall, Stockholm, ”Från Cézanne till Picasso – utställning av modern fransk konst i svensk ägo”, September 1954, cat. no. 224 (titled ”Vue de Strand Hotel, Stockholm”).
Sven-Harrys konstmuseum, Stockholm, ”Konstnärernas Stockholm”, 15 June-18 October 2016.

In context

“Nuages sur Stockholm” – Albert Marquet’s home away from home

”From the east to the west, from the north to the south, Marquet portrayed the little changes of light above the hulls of the boats, the subtle play of the sky and of the sea. With incomparable self-assuredness he reduced the landscape to its essential elements”.

The French painter Albert Marquet discovered his passion for art and drawing at an early age. Contrary to his father’s wishes, Marquet moved together with his mother to Paris to further explore his artistic talent, where he enrolled at the École Nationale des Arts Decoratifs and was introduced to fellow artist Henri Matisse who became a lifelong friend of his. While studying in Paris he often visited the many great museums and practised drawing by making copies of masters such as Claude Lorrain, Jean-Baptiste-Siméon Chardin and Jean-Baptiste-Camille Corot. Outside the walls of the classroom and museums, Paris was a city bustling of life and Marquet enjoyed walking along the river portraying the city and its citizens. The young artist enjoyed painting the spectacular view from his studio in Paris, situated by the river Seine, and depicted the ever-changing appearance of his beloved city through various seasons. 

Even though Paris was Marquet’s home and the city he always returned to, he found great inspiration during his many trips abroad. In 1938 Marquet visited Stockholm for two months together with his wife Marcelle. This historical city surrounded by water on every side and its stunning archipelago allowed the artist to paint his favourite subject over and over again: river, sea views, ports and ships. Immediately struck by the famous Nordic light, Marquet painted with an everlasting energy resulting in the execution of several paintings, depicting various parts of the city. The months spent in the Swedish capital offered the artist an opportunity to spend his days observing the boats populating the sea, but also the everyday life of the people. His wife Marcelle was quoted in the catalogue for an exhibition with Albert Marquet in Lausanne in 1988: ”He found again a city made for him with water in all of its quarters and a variety of motifs.”

The present painting “Nuages sur Stockholm” or “Vue de Strand Hotel, Stockholm”, as it has been titled in an exhibition catalogue, was executed during Marquet’s stay in Stockholm. Since the stay lasted for several weeks, the artist had the time to carefully depict different parts of the city. Sometimes the sun was shining and the trees were blossoming, other days clouds and rain provided a dramatic scenery. Strandvägen, the majestic street stretching along the waterline between Nybroplan and Oxenstiernsgatan on Östermalm, consists of architect-designed buildings mostly dating from the late 1800s. The spectacular view of the city from Strandvägen inspired Marquet to create several paintings before his return to Paris. The present work was sold through Alex Maguy Gallery in Paris to Mr Ogawa, owner of the Yayoi Gallery in Tokyo. The Swedish art dealer and collector Tore Gerschman discovered the painting hanging at the gallery during a business trip to Tokyo, and immediately recognised the view of Strandvägen where his own apartment was situated. He acquired the painting from the Yayoi Gallery, which marked the beginning of many successful art affairs with the Ogawa family.

Some of Albert Marquet’s Stockholm paintings were exhibited by Gösta Olson at Svensk-Franska Konstgalleriet in Stockholm from April to May in 1938. Legendary art dealer Gösta Olson became a close friend of Marquet’s and in his book “From Ling to Picasso”, he described their first meeting: “I ended up forming a firm friendship with Marquet since that summer of 1919. At that time he was still a bachelor, but a few years later he married Marcelle, a beautiful, moneyed French woman from Algeria. When she came into his life, his paintings suddenly became very expensive. I had the pleasure of introducing Marquet to Sweden. He was fascinated by the snow and came here to paint it.”

Albert Marquet was one of the first artists to use thick brushstrokes of unmixed colour deftly used in order to capture light effects and the contrasting shades to enhance the brightness. Together with fellow artists Maurice de Vlaminck, André Derain, Othon Friesz, Georges Rouault and Georges Braque among others he exhibited his colourful fauvist works in 1905 at the Salon d’Automne in Paris. Although Marquet painted with the fauvist painters for years, he used less bright colours and instead emphasised the less intense tones. By maintaining a strong interest in colour and form throughout his life he created vivid compositions filled with reflections of light and different shades of colour even in his later years. His friend and contemporary Marcel Sembat remarked: “No artist has the same relationship with light as Marquet. It is as if he owned it. He possesses the secret of a pure and intense light, which fills all the sky with its uniform and colorless glow. Above the mud, the stagnant waters, the glistening stones, the smoke of railroad stations, an immense sky stretches with no blue, no azure, but how luminous! Luminous as daylight itself and so transparent that a painting by Marquet gives the impression of a large window being opened onto the outside”.

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