Lot 77
  • 77

LOUIS SOUTTER | Mutilés par les Saints

Estimate
200,000 - 300,000 CHF
bidding is closed

Description

  • Louis Soutter
  • Mutilés par les Saints
  • Titled upper left
  • Ink on paper 
  • 60 x 49 cm

Provenance

Galerie Jacques Benador, Geneva
Private collection, Switzerland (acquired at the above by the present owner in circa 1985)

Exhibited

Galerie Benador, Geneva, 1962
Walcherturm, Zurich, 1963
Basel, Kunstmuseum/Musée cantonal des Beaux-Arts, Lausanne /Collection de l'Art brut, Lausanne, Louis Soutter et les modernes, 2002- 2003, no. 150, p. 196, ill.

Literature

Volksrecht, Zurich 3.5. 1963
Michel Thévoz, Louis Soutter, catalogue de l'oeuvre, Lausanne, 1976, no. 2560

Condition

One framed work, inspected framed. Edges are slightly whiter than the rest of the sheet, probably caused by a former frame Potential minor glue drops scattered on the surface. One minor tear on the lower right edge Folding marks on the upper left corner and 2 semi-circular marks on the upper right corner. In 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."

Catalogue Note

Executed between 1937 and 1942, “Mutilés par les saints” is undeniably one of the most representative works of Louis Soutter's so-called “finger” period which is characterized by a great creative richness despite the simplicity of the technical means. The composition and title evoking a biblical scene are emblematic of Soutter’s work marked by revolt, deep anxiety, violence and obsessions. The figures are gesticulating black silhouettes reduced to the outline of the finger, without facial features with disproportionate hands, inspired by the artist's inner world.