Fernand Léger

M. Leclerc, France (acquired directly from the artist)
Galerie Bourdon, Paris
Private Collection, Paris (acquired from the above in the 1960s)
Thence by descent

Georges Bauquier, Fernand Léger, Catalogue raisonné de l'oeuvre peint 1952-1953, Paris, 2013, no. 1503, illustrated p. 78

The painting is in excellent original unlined condition. The painting would benefit from a light clean. There is no evidence of restoration when the work is examined under UV light.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Un sac polychrome et des fleurs, painted in 1952, is a wonderful example of Fernand Léger’s mature oeuvre, which exemplifies his firm commitment to figuration and his fascination with the expressive potential of color. Throughout the post-war years, Léger developed a recognizable style at the heart of which were black contours and pure, intense color, that gave his works a fresh and strongly graphic effect. 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’oeuvre de Fernand Léger" in Cahiers d’Arts, no. 2, Paris, 1954, pp. 152-53).

The present work is aesthetically stimulating and inspires reflection on the bold colors, the varying plasticity of the objects, and their compelling arrangement. It does not represent a likeness of the world that surrounds us, but renders the pictorial elements with sharp clarity, using a vivid plane of red for the background, and articulating the pictorial elements' contours with bold, black lines. The colors are fully saturated, voluminous and substantial, creating a work of magnificent visual presence.

The artist explained the essence of his aesthetic as follows: "I apply the law of contrasts... I organize the opposition of contrasting values, lines, and curves. I oppose curves to straight lines, flat surfaces to molded forms, pure local colors to nuances of grey. These initial plastic forms are either superimposed on objective elements or not, it makes no difference to me. There is only a question of variety" (quoted in Edward F. Fry, ed., Fernand Léger: The Functions of Painting, New York, 1973, pp. 24-25).