Fernand Léger

Nadia Khodasevich-Léger (the artist's wife)
Galerie Louise Leiris, Paris (acquired from the above by 1965)
Konstsalong Samlaren, Stockholm (acquired in 1965)
Sven Bergman, Jönköping (acquired from the above in 1967)
Acquired from the above by the late owner in 1972

Paris, Galerie Louise Leiris, Léger, 1965
Stockholm, Konstsalongen Samlaren, L'Éspace pictural de Léger et l'éspace cubiste, 1967, no. 2, illustrated in the catalogue
Lund, Skånska Konstmuseum, Fernand Léger, Den Vandrande blomman, 1967, no. 2, illustrated in the catalogue
Bordeaux, Galerie des Beaux-Arts, La Peinture française en Suède: Hommage à Roslin et à Wertmüller, 1967, no. 79, illustrated in the catalogue

Georges Bauquier, Fernand Léger, Catalogue raisonné 1929-1931, Paris, 1995, no. 734, illustrated in colour p. 215

The canvas is not lined. UV examination reveals a few small spots of retouching in places. There are scattered fine lines of stable craquelure throughout, most notably to the black pigments in the lower part of the composition. The colours are fresh and this work is in overall good 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."

This dynamic painting is a striking example of Fernand Léger’s work from the 1930s that reflects his interest in pure colour, composition, and mechanical objects. In this period, Léger’s focus shifted away from industrialism toward more natural and biomorphic forms as evident in the present work. Reminiscent of a human body, the dark organic form in the background strongly contrasts with the sharp, geometrical objects that are suspended throughout the composition. Léger explained: ‘We must master the subject in painting. The painting must emerge, not the subject… Painting must not be neglected; painting first, then the subject’ (quoted in Carolyn Lanchner, Kristen Erickson, Matthew Affron, Jodi Hauptman & Beth Handler, Fernand Léger, New York, 1998, p. 225). Devoid of a clear narrative, the present work demonstrates this very idea: the work is aesthetically stimulating and inspires one to reflect on the bold colours, the varying plasticity of the objects, and the compelling arrangement. 

Within the present work the interplay and placement of the forms creates a strong sense of movement, emphasised by the bright plane of red in the background that adds vibrancy to the work. As Léger describes, ‘I placed objects in space so that I could not place an object on a table without diminishing its value. I selected an object, chucked the table away. I put the object in space, minus the perspective. Minus anything to hold it there. I then had to liberate colour to an even greater extent’ (quoted in Dora Vallier, ‘La Vie Fait l’œuvre de Fernand Léger' in Cahiers d’Arts, no. 2, Paris, 1954, pp. 152 – 53). In the present work, the forms appear to be floating, orbiting around each other free from any natural setting. Lines, planes and volumes coexist harmoniously in Composition sur fond rouge and are presented to the viewer from multiple perspectives, creating a lively and engaging composition.