Galerie Bourdon, Paris
Acquired from the above by the family of the present owner circa 1960-65

The canvas is not lined and there are no signs of retouching visible under UV light. Apart from some very light surface dirt, this work is in good original condition. Colours: The colours are overall deeper, richer and brighter in the original, particularily the green, yellow and blue pigment. The background is also much warmer.
"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."

During the 1940s and 50s, Fernand Léger moved away from the austere geometric abstraction of his early years towards a new approach to the representation of colour and line. Based on his observation of light and form as it appeared within the frenetic metropolis, he began to detach contours from colours, superimposing heavily outlined forms against broad patches of bright colour. His use of everyday objects and deceptively simple shapes is complicated by the inclusion of vibrant monochromatic bands. His paintings from this period do not exhibit depth or the use of traditional perspective. Rather, they are characterised by shifting planes, which reinforce the existence of the canvas support. The strong, bold contours of Léger's subjects are constantly at play with the rich colours that penetrate their forms. Léger explains: 'I do not paint subjects, I paint contrasts. What I do is painting, not descriptive writing' (the artist in Yvonne Brunhammer, Fernand Léger: The Monumental Art, Milan, 2005, p. 96).

Le Coq jaune et noir is an outstanding example of Léger's pictorial fascination with the play of contrasts. Léger spent the years during World War II in New York, where he became fascinated by the dramatic juxtaposition of the city against nature. Possibly inspired by such contrasts, Le Coq jaune et noir exhibits an interesting contrast between the mechanical, systematic use of colour, and the organic forms. The rigid, rectangular bands are perfectly complemented by the loose, fluid outlines of the abstract and figurative shapes, which weave through the bands of colour in a simultaneously fragmented, yet harmonious composit💝ion.