Carl-Henning Pedersen

Purchased by the father of the present owner

The canvas has not been lined, and the artist's signature and inscriptions are visible on the verso. There are some minor hairline lines of craquelure associated with the thicker impasto, which is well preserved. Under ultra-violet light the light green fluorescence in some of the white pigments would certainly appear to be attributable to the artist's original pigments. This work is in good original condition. Presented in a narrow modern gilt wood frame.
"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."

Self-taught, Pedersen was a driving force in the exploration of abstraction in Denmark in the 1930s and '40s, and a founder member of the avant-garde movement CoBrA. Married to fellow painter Else Alfelt, he first exhibited in 1936 and collaborated closely with Asger Jorn on the production of the art periodical Helhesten during the war years. This included contributing the article 'Abstract Art or Fantasy Art' - a discussion of all the issues that would come a few years later to occupy CoBrA. 

Discussing the evolution of Pedersen's art Willemijn Stovkis notes: '...it suddenly became clear to to him that his direction lay in fantasy, the world of fairy tales and mythology, and so children's drawings and certain forms of folk art became his sources of inspiration. From 1938-39 onwards, a mysterious world can be seen to emerge in his work, a world in which huge animals and gods make man appear a helpless creature. One is strongly reminded of the rough, direct style of painting used by the German Expressionists of Die Brücke, as also of the warm colours and poetical designs of Chagall. One cannot help thinking that paintings by artists like Carl-Henning Pedersen, and those of his friends, could only have been made in the country of that great fairy tale writer, Hans Christian Andersen' (Willemijn Stokvis, Cobra, New York, 1988, p. 9).