WIFREDO LAM | Les Témoins

Collection Anne Tronche, Paris
Galleria Seno, Milan
Private Collection, acquired from the above in 1970
Sotheby's, Paris, Art Impressioniste & Moderne, 5 December 2012, lot 21
Acquired from the above sale by the present owner

Paris, Galerie Villand et Galanis, Wifredo Lam: peintures récentes, 1968; catalogue, no. 11 (titled Le Témoin)
Milan, Galleria Seno, I maestri stranieri, 1970, no. 7
Paris, Centre Pompidou; Madrid, Museo nacional Centro de arte Reina Sofia, Wifredo Lam, 30 September 2015 - 15 August 2016; catalogue, p. 145, illustrated in colour
London, The EY Exhibition Wifredo Lam, 14 September 2016 - 8 January 2017; catalogue, p. 146, illustrated in colour

Michel Leiris, Lam, Milan, 1970, np., no. 164, illustrated
Max-Pol Fouchet, Wifredo Lam, Barcelone & Paris, 1976, p. 132, no. 154, illustrated
Sebastià Gasch, Wifredo Lam à Paris, Barcelone, 1976, p. 133, no. 49, illustrated
Max-Pol Fouchet, Wifredo Lam, Barcelone & Paris, 1989, p. 136, no. 154, illustrated
Lou Laurin-Lam & Eskil Lam, Wifredo Lam, Catalogue raisonné of the Painted Work, vol. II : 1961-1982, Lausanne, 2002, p. 303, no. 68.11, illustrated (wrong dimensions)

The colours are richer and brighter in the original work than the printed catalogue illustration. The work is executed on its original canvas and is not relined. The edges present wear marks and abrasions, mainly visible when unframed and some of which have been repainted as visible in the lower left and right corners. There is a stretcher mark along the upper edge as visible in catalogue illustration. A former restoration is visible in the center in the right half of the canvas, close to the yellow area. This restoration is visible on the reverse of the canvas. Ultra violet light inspection reveals areas that fluoresce along the Left and right edge. Additionally there is an area that fluoresces in the center along the lower edge together with a thin diagonal scratch close to the left edge. Please note that a wooden frame with glass protection from the exhibition at the Centre Pompidou in Paris comes with his work.
"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."

There is a duality between what emerges from the conscious mind and the unconscious. What interests me above all is the idea delivered by a painting; in the face of my work I no longer exist. Wifredo Lam