M. Joubert, Montreal
Solomon R. Guggenheim Foundation, New York
Sale: Sotheby's, London, 20th October 1971, lot 57
Private Collection (acquired circa 1992)
Acquired from the above by the present owner

Zurich, Kunsthaus, Braque-Kandinsky-Picasso, 1946, no. 103

Artist's Handlist IV, no. 719 
Will Grohmann, Wassily Kandinsky, Life and Work, London, 1959, no. 519, illustrated p. 392
Hans K. Roethel & Jean K. Benjamin, Kandinsky, Catalogue Raisonné of the Oil Paintings, 1916-1944, London, 1984, vol. II, no. 1156, illustrated p. 1047

The board is stable. There is an 8cm. intermittent line of retouching to the top left corner, a 5cm. area of retouching to the bottom left corner and a 3cm. line of retouching to the immediate right. All retouching is visible under UV light. There are some minute specks of retouching at intervals, mainly to the right and bottom edges, also visible under UV light. This work is in fairly good condition. Colours: Overall deeper in the original. The circle in the upper right quadrant is greener than catalogue illustration suggests.
"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."

COMP: 432D07008_COMP
Kandinsky's studio in Neuilly-sur-Seine, Paris

Kandinsky considered the works created during the eleven years he spent in Paris to be a 'synthesis of his earlier experiments with the problems of abstraction' (Kandinsky: Parisian Period 1934-44, (exhibition catalogue), M. Knoedler & Co., New York, 1969). The abstracted forms of these works no longer have their origins in the natural world, but reflect the interior consciousness of the artist. The combination of geometric, biomorphic and zoomorphic forms create compositions alive with rhythmic energy, and the forms appear to float across the dark background, imbued with a primeval vitality. As this work illustrates, Kandinksy continued to experime🍎nt with the symbolic language he created in his earlier works, pushing his theories to their logical conclusion in completely abstracted canvases right up until his death in 1944.