Wassily Kandinsky

Galerie Maeght, Paris
Adrien Maeght, Paris (acquis avant 1984)
Collection particulière, Paris
Vente : Sotheby's, Londres, 30 juin 1987, lot 66
Acquis lors de cette vente par le propriétaire actuel

Zurich, Kunsthaus, Braque-Kandinsky-Picasso, 1946, no. 55
Amsterdam, Stedelijk Museum ; The Hague, Gemeente Museum, Kandinsky, 1947-48, no. 40
Berne, Kunsthalle, Gesamtausstellung Wassily Kandinsky, 1955, no. 48
Baden-Baden, Staatliche Kunsthalle, Wassily Kandinsky: Gemälde 1900-1944,  1970, no. 49
Zurich, Galerie Maeght, Kandinsky, ölbilder, gouachen, zeichnungen, 1972, no. 11
Madrid, Fundacion Juan March, Kandinsky 1923-1944, 1978, no. 6

 

 

 

 

Will Grohmann, Wassily Kandinsky, Life and Work (English edition), New York, 1958, p. 336, no. 235, reproduit p. 369
Hans K. Roethel & Jean K. Benjamin, Kandinsky, Catalogue raisonné of the Oil Paintings, vol. II, 1916-1944, Londres, 1984, no. 803, reproduit p. 747 (dimensions incorrectes)

The board is sound. There are some very minor retouchings along the edges, a 1 cm line of retouching towards the centre of the ledt edge and a horizontal pencil line along the lower edge. This work is in very good original 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."

signed 'K.' and dated '26' (lower left), oil on cardboard. Painted in 1926.

Si dans ces dernières années j'utilise si souvent et si passionnément le cercle, la raison (ou la cause) n'en tient pas à la forme géométrique du cercle ou au fait que je ressens très profondément la force interne du cercle et de ses innombrables variations ; j'aime aujourd'hui le cercle comme autrefois j'ai par exemple aimé le cheval - peut-être davantage encore, car je trouve dans le cercle plus de possibilités intérieures, et c'est pourquoi aussi il a pris la place du cheval... Picturalement j'ai, dans mes tableaux, raconté beaucoup de "neuf" sur le cercle, mais théoriquement, en dépit de tous mes efforts, je ne puis en dire que fort peu de chose encore.

Wassily Kandinsky (cité in Will Grohmann, Wassily Kandinsky, sa vie, son œuvre, Paris, 1958, p. 190)

 

If during the past few years I have used circles so often and with such passion, the reason (or the cause) is not to do with the geometrical form of the circle nor the fact that I feel very deeply the internal power of the circle and its innumerable variations: today I love the circle as for example I once loved the horse – perhaps more so, for I find in the circle more internal possibilities, and that is also why it has replaced the horse... Pictorially I have, in my paintings, said many "new" things regarding the circle, but theoretically, in spite all my efforts, I can still only say very little about it.

Wassily Kandinsky (cited in Will Grohmann, Wassily Kandinsky, sa vie, son œuvre, Paris, 1958, p. 190)