Auguste Herbin

Galerie de l'Effort Moderne (Léonce Rosenberg), Paris, (no. 9017)
Brook Street Gallery, London
Private Collection, France
Sale: Sotheby's, Paris, 6th July 2006, lot 12
Purchased at the above sale by the present owner

Geneviève Claisse, Catalogue raisonné de l'œuvre peint, Paris, 1993, no. 639, illustrated p. 391

The canvas is not lined and there is no evidence of retouching visible under UV light. There is an artist's pinhole to each of the four corners and some minor wear to parts of the extreme edges. Otherwise, this work is in overall very 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."

Nineteen paintings by Herbin are recorded for 1928 (G. Claisse, Catalogue raisonné de l’œuvre peint, Paris, 1993, p. 389-392). All but two are entitled Composition; the present work and one other, are given the name Abstraction. At a moment in his career when he was returning for a second time to a state of abstraction, this work stands as one of the earliest attempts to strike this renewed chord. These works of 1928 do still, however, exhibit the recognisable remains of the object. Be it a face, an embracing couple, or even a pianist, Herbin is clearly still grappling with the future direction of his style. Thus in the present work we can identify the slender brown figure of a woman, her face mimicked by the yellow head of a bird in a surrealist dualism that nods to the work of both Max Ernst and Joan Miró. Beyond these forms, colourful motifs and shapes are juggled together in a manner that almost defies interpretation. Herbin's mastery of colour asserts itself here as well – flat, bright tones are swirled together in a dreamlike manner, and we see too the presence of black, which according to his later theories on colour, could accompany any kind of form.

In many ways, this work is emblematic of Herbin’s place in the history of modern art during the first half of the twentieth century. His œuvre is credited with forming a bridge between Cubism and post-war geometrical abstract painting, particularly in a Parisian context. Whilst the period immediately before that of this work, 1922-26, saw Herbin revert temporarily to a more figurative style, the present work is highly significant in that it signals the artist's return to total abstraction for the first time since 1921.