Fernand Léger

M & Mme Francois Bret, Paris
Sale: Artcurial - Briest - Le Fur - Poulain - F. Tajan, Paris, December 7, 2004, lot 206
Private Collection (acquired at the above sale and sold: Sotheby's, New York, November 3, 2011, lot 340)
Acquired at the above sale 

Executed on cream wove paper, not laid down and taped to the overmount in 6 places along the edges of the verso. There are a few small tears, some repaired, in places to the extreme edges, not visible when mounted. A few further handling marks. The sheet is slightly undulating. This work is in overall good condition. Inscribed by the artist's wife "Oeuvre authentique de Fernand Léger, N. Léger G 140 bis projet pour une peinture murale 1952" on the reverse.
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.

The celebrated preparatory works such as Projet pour une peinture murale were essential components of Léger's art, for indeed every completed painting was the result of a long and consciously studied process. The artist acknowledged the importance of studies in his method, stating, “the more I watch myself, the more I see that I am a classic. I do long preparatory work. First I do quantity of drawings, then I do gouaches, and lastly I pass on to the canvas; but when I tackle that I have 80 percent assurance.  I know where I’m going” (quoted in Werner Schmalenbach, Fernand Léger, London, 1991, p. 126). Even in its relatively advanced state, the present work reveals the artist's creative confidence in his process, all the while demonstrating his characteristic motifs and underscoring the chief goals he sought to achieve in his art, ensuring that “the picture is made up of harmonious relationships among volumes, lines, and colors. These are the three forces that must govern works of art” (quoted in Carolyn Lanchner, Fernand Léger, New York, 1998, p. 247)