Jean Dubuffet

Galerie Daniel Cordier, Paris
Prince Guy de Broglie, Paris
Collection particulière, Paris

Londres, Arthur Tooth & Sons Gallery, Eléments botaniques, Mai-Juin 1960, n.p., no.6, illustré

Max Loreau, Catalogue des travaux de Jean Dubuffet, Fasc. XVII: Matériologies, Lausanne, 1969, p.24, no.16, illustré

The colours are fairly accurate in the catalogue illustration, although the overall tonality is lighter in the original. The work is in its original frame. Due to the artist's process, it is very delicate to take out of its proper frame. As mentionned on the back of the frame, a process of fumigation has to be followed in order not to damage the work. The work is executed on a sheet of paper, apparently flotting in the mount. Due to the artist's technique, the sheet is slightly wavy. Are only visible under very close inspection, a few artist's pinholes : - 2 located along the left edge - 2 located along the right edge - 2 located at the extremity of the lower left corner - 2 located at the extremity of the lower right corner This work is in excellent condition
"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."

Voir ici s'impose, et l'oeil ne saurait être suppléé par des mots. 

"Les tableaux où la nature se plie à la ressemblance de l'homme (paysages anthropomorphes) sont des masques (...) mais le jeu de glaces se fait plus subtil et plus mystérieux quand l'artiste emploie de petites pièces détachées du grand corps de la nature et construit des masques qui sont le reflet (presque toujours caricatural, comme dans un miroir déformant) de l'homme, de la bête, du végétal ou du paysage. Alors, par de lestes échanges entre le petit et le grand, un monde simulé prend forme, qui ressemble aux images que la mémoire a conservées du spectacle de l'univers (...)."
(André Pieyre de Mandiargues, 'Des barbes et des feuilles', in XXème siècle, no. 14, juin 1960, pp. 9-12)
Giuseppe Arcimboldo, L'Hiver, 1953, huile sur bois © Vienne, Kunsthistorisches Museum