Christian Zervos, Paris
Galerie Louise Leiris, Paris
Iolas Jackson Gallery, New York
Sale: Sotheby's, London, June 27, 1977, lot 41
Private Collection (acquired at the above sale)
Peter Carbonaro, Chicago (and sold: Sotheby's, New York, May 12, 1994, lot 317)
Galerie Tamenaga, Tokyo (acquired at the above sale and sold: Sotheby's, London, June 28, 1995, lot 227)
Acquired at the above sale by the present owner

London, Helly Nahmad Gallery, Braque, Gris, Léger and Picasso: Cubism and Beyond, 2001, no. 34, illustrated in color in the catalogue

Georges Bauquier, Fernand Léger, Catalogue raisonné de l'oeuvre peint 1944-1948, vol. VII, Paris, 2000, no. 1238, illustrated in color p. 137

Canvas is not lined, though the edges are reinforced with tape. Under UV light there are several strokes of inpainting in the white background at the top of the painting, most notably a thin 12-inch horizontal stroke at upper right. There are also scattered strokes throughout the off-white background color throughout the middle register of the picture and one larger spot of retouching at the center of the bottom edge. There are a few other scattered strokes of retouching throughout, all of which are limited to the white background color. All of these retouches have been sensitively applied and the surface appears uniform. Overall this work is in generally 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Aroused by political feeling and a recognition of the social potential of art, Léger's compositions of the 1940s adopted a universal approach and elemental iconography. Seeking to appeal to the masses, Léger's aesthetic rejected the need for any narrative, subverting conventional means of pictorial representation. This new style sought to break down the divides between high and low culture by celebrating the beauty of everyday objects.

The sculptural boldness of form, line and color, the latter of which Léger proclaimed in 1938 as "a vital necessity... [a] raw material indispensable to life, like water and fire" (Carolyn Lanchner, Fernand Léger (exhibition catalogue), New York, 1998, p. 227), reflect the concepts of American sculptor Alexander Calder whom Léger had met in 1930, following which Léger wrote the introduction to an exhibition of Calder's sculptures in Paris. The shared principles are evident in each of the artist's work (see fig. 1). By eliminating any sense of perspective, the flat forms in Léger's Composition murale float in space, layered claustrophobically, neither shape permitted to be the primary focus of the composition. Léger's꧟ compositions demanded a revised set of laws to read a work of art, laws governed by instinct and visualization in place of education and class.