Details

Provenance

Galerie L'Effort Moderne (Léonce Rosenberg), Paris Galerie des Etats-Unis (Serge Stoliar), Cannes Acquired from the above by the present owner in 1969

Exhibited

Berne, Kunsthalle, Herbin, 1963, no. 19 Amsterdam, Stedelijk Museum, Herbin , 1963, no. 25

Literature

Geneviève Claisse, Herbin, Catalogue raisonné de l'œuvre peint , Paris, 1993, no. 354, illustrated in colour p. 79 Condition The canvas is lined and UV examination reveals a few, small retouchings in places, the most prominent of which are: a small area in the thin red plane towards the centre left and in the larger red plane towards the centre right, a few spots in the blue background towards the left edge and small lines of retouching to the upper and lower right corners. There are some very fine, minor lines of craquelure in the large green and triangular brown areas, some stable paint shrinkage to the black in the upper right corner, and a few tiny paint losses to the curved red spotted area in the lower left quadrant. Otherwise, this work is in overall good condition and there is a nice, varied impasto.<br><br>Colours: fairly accurate in the printed catalogue, though overall slightly softer in the original and the green pigment is a bit lighter. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE." Catalogue Note What makes Auguste Herbin so intriguing an artist was his ability to create such original and powerful imagery in such wonderfully diverse artistic styles throughout his working life. Influenced early on by the Impressionists, his works display an instinctive and sensitive handling of colour. In 1906, Herbin fully embraced Fauvism exhibiting alongside the likes of Derain and Braque in the Salon des Ind é pendants. Within a matter of years he began to gravitate towards the hypnotising forms of Cubism before discovering abstraction, the style which would completely define his later works. The present work is perhaps most captivating for its transitional status. It comes from a time when Herbin was enjoying a rich love affair with Cubism, anticipating the abstraction to come. The bold geometric areas of colour form a complex network of shapes that are just drawn together by the recognisable elements of a face. The red lips and sinuous swirls indicate a richly dressed woman as Herbin’s subject, but the pipe and suggestion of a green bow tie cast doubt upon the identity of the figure. This ambiguity is key to the spirit of the work, as Herbin mystifies the composition further and resists a simple interpretation. Its texture is another particularly striking quality. Herbin has applied thick layers of paint to the canvas, creating a sense of density that challenges the flatness of space which characterises Cubism. This pleasing surface complements the vibrant palette and forms and invigorates the composition. It is a compelling experimentation of surface, palette and space. It is a testament to Herbin’s enthusiasm for development and hints at the change that was in the air he breathed in 1917: in this work, Herbin is audaciously flirting with geometric abstraction.

Catalog summary

Auguste Herbin COMPOSITION, DECEMBRE 1917 signed Herbin and dated déc. 1917 (lower left) oil on canvas 61 by 46cm., 24 by 18 1/8 in. Provenance Galerie L'Effort Moderne (Léonce Rosenberg), Paris Galerie des Etats-Unis (Serge Stoliar), Cannes Acquired from the above by the present owner in 1969 Exhibited Berne, Kunsthalle, Herbin, 1963, no. 19 Amsterdam, Stedelijk Museum, Herbin , 1963, no. 25 Literature Geneviève Claisse, Herbin, Catalogue raisonné de l'œuvre peint , Paris, 1993, no. 354, illustrated in colour p. 79 Condition The canvas is lined and UV examination reveals a few, small retouchings in places, the most prominent of which are: a small area in the thin red plane towards the centre left and in the larger red plane towards the centre right, a few spots in the blue background towards the left edge and small lines of retouching to the upper and lower right corners. There are some very fine, minor lines of craquelure in the large green and triangular brown areas, some stable paint shrinkage to the black in the upper right corner, and a few tiny paint losses to the curved red spotted area in the lower left quadrant. Otherwise, this work is in overall good condition and there is a nice, varied impasto.<br><br>Colours: fairly accurate in the printed catalogue, though overall slightly softer in the original and the green pigment is a bit lighter. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE." Catalogue Note What makes Auguste Herbin so intriguing an artist was his ability to create such original and powerful imagery in such wonderfully diverse artistic styles throughout his working life. Influenced early on by the Impressionists, his works display an instinctive and sensitive handling of colour. In 1906, Herbin fully embraced Fauvism exhibiting alongside the likes of Derain and Braque in the Salon des Ind é pendants. Within a matter of years he began to gravitate towards the hypnotising forms of Cubism before discovering abstraction, the style which would completely define his later works. The present work is perhaps most captivating for its transitional status. It comes from a time when Herbin was enjoying a rich love affair with Cubism, anticipating the abstraction to come. The bold geometric areas of colour form a complex network of shapes that are just drawn together by the recognisable elements of a face. The red lips and sinuous swirls indicate a richly dressed woman as Herbin’s subject, but the pipe and suggestion of a green bow tie cast doubt upon the identity of the figure. This ambiguity is key to the spirit of the work, as Herbin mystifies the composition further and resists a simple interpretation. Its texture is another particularly striking quality. Herbin has applied thick layers of paint to the canvas, creating a sense of density that challenges the flatness of space which characterises Cubism. This pleasing surface complements the vibrant palette and forms and invigorates the composition. It is a compelling experimentation of surface, palette and space. It is a testament to Herbin’s enthusiasm for development and hints at the change that was in the air he breathed in 1917: in this work, Herbin is audaciously flirting with geometric abstraction.