Georges Mathieu

Collection Solange Auzias de Turenne
Collection Alain & Candice Fraiberger (acquired from the above in 1990)

Paris, Galerie Nina Dausset, Véhémences confrontées, 8 March 1951
Paris, Galerie Rive Droite, Les Capétiens partout !, 5 - 30 November 1954; catalogue, n.p., no. 14
Paris, Musée d'Art Moderne de la Ville de Paris, Mathieu, 29 March - 20 May 1963; catalogue, n.p. no. 36
Paris, Centre Pompidou, Paris-Paris 1937-1957, 1981; catalogue, p. 225, illustrated in colour
Tokyo, Saporo, Osaka, Hiroshima, Ooita, Hamamatsu, Niigata; Vizcaya, Madrid, Barcelona, Bilbao; Seoul; Premiers Chefs d'Oeuvres des Grands Maîtres Européens, 23 April - 23 September 1991; catalogue, p. 93, no. 68, illustrated in colour£
Paris, Galerie Nationale du Jeu de Paume; Liège, Salle Saint-Georges; Milan, Galleria Gruppo Credito Valtellinese, Refettorio delle Stelline; Mathieu Rétrospective; catalogue, 17 June 2002 – 15 November 2003, pp. 118, 119, illustrated in colour

Spazio, 1951, n.p., illustrated
Art d'Ajourd'hui, April - May 1951, n.p. illustrated
François Mathey, Mathieu oeuvres 1944-1968, Milan, no. 22, illustrated
Paris Match, June 2002, p. 28, illustrated in colour
Madame Figaro, Laetitia Cénac, Mathieu, "batailles" rangées, 22 June 2002, p. 28, illustrated in colour
Figaroscope, Georges Mathieu, 3 July 2002, n.p., illustrated
Le medecin generaliste, 4 July 2002, n.p., illustrated
La Gazette Drouot, 5 July 2002, no. 27, p. 114, illustrated in colour
Le Figaro, Georges Mathieu, pour la beauté du geste, 5 July 2002, p. 24, illustrated
Le Point, Mathieu, 12 July 2002, n.p., illustrated
Valeurs Actuelles, Bruno de Cessole, Les Véhémences de Georges Mathieu, 2 - 11 juillet 2002, pp.60 - 61
Al-Mustaqbal, 13 juillet 2002, n.p., illustrated
Paris Dayori, September 2002, n.p., illustrated
Mathieu, 50 Ans de Création, 2003, p. 802, illustrated, pp. 800 et 806, illustrated in colour
AD-Architectural, Artista della frenesia, September 2003, n.p., illustrated
Soprattutto, Mostre, la pittura 'tachiste',  19 - 25 September 2003, n.p., illustrated
Arte, Mathieu, per liberarsi, da ogni estetica e da ogni progetto, n.p., illustrated
Artecultura, Georges Mathieu retrospettiva, October 2003, n.p., illustrated
Dentro Casa, octobre 2003, n.p., illustrated
Arte Cornice, Georges Mathieu retrospettiva, October - November 2003, n.p., illustrated
IO Donna, Georges Mathieu Più astratto di così, 11 October 2003, n.p., illustrated

The colours are fairly accurate in the catalogue illustration, although the overall tonality is brighter and warmer in the original. The work is executed on its original canvas and is not relined. Upon very close inspection only one small area of restoration is visible in the upper left quadrant that does not fluoresce under Ultra Violet light inspection. Upon very close inspection, a carefully restored small tear (approx. 2 cm) is visible on the upper right quadrant and from the reverse. There are some superficial hairline cracks visible upon close inspection, mainly located on the right side of the work. Under Ultra Violet light inspection one small area of restoration fluoresce on one thick impasto (approx. 2 mm) in the centre of the painting. The work is in overall 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."

"This quest for autonomy happened during the years 1949, 1950 and 1951 in a climate of violence and furor: the affirmation of a still shaky power, uncertain of its means, and in need of a constant calling into question. (...) If Georges Mathieu chooses painting (...) it is because it is the most radical manifestation of his way of being in the world, beyond all sentimentalism and aestheticism: a pure scream."
Dominique Quignon-Fleuret