Galerie de l'Effort Moderne (Léonce Roseberg), Paris
Karl Ströher, Darmstadt
Thence by descent (and sold: Sotheby's, London, December 8, 1999, lot 279)
Acquired at the above sale

Hanover, Kestner Gesellschaft, Auguste Herbin, 1967, no. 66
Dusseldorf, Kunsthalle, Auguste Herbin, Rétrospective, 1967-68, no. 63

Geneviève Claisse, Herbin, Catalogue raisonné de l'oeuvre peint, Paris, 1993, no. 667, illustrated p. 397

Work is in very good condition. The pigments are bright and fresh. Canvas is not lined. There is a slightly uneven varnish. Very minor frame abrasion along extreme perimeter (not visible when framed. Very minor stable shrinkage in black pigment at lower left. Under UV: tiny strokes of in-painting along perimeter, presumably to address frame abrasion and one small horizontal line of retouching in the dark brown pigment towards lower right corner.
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.

Originally a proponent of Impressionist and Fauve painting, Herbin moved to the Bateau-Lavoir studios in 1909 and became increasingly interested in Cubism. It was there that he met Pablo Picasso, Georges Braque and Juan Gris, artists who inspired him to explore a more abstracted means of pictorial representation. In keeping with Cézanne's call to treat nature as "the cylinder, the cone and the sphere," Herbin began reducing his subjects into a series of cylindrical shapes.

Composition is an exceptional example of Herbin's mature Cubist-inspired imagery, depicting abstracted figures and evoking a fluid sense of energy and velocity. Unlike Braque and Picasso's earlier monochromatic output, Herbin employs a broad palette of rich colors. Varying hues of pink, turquoise, black and cream are beautifully juxtaposed to create a spectrum of harmonious colors. Herbin's works from this period are further marked by the appearance of black contours swaying around the geometrical forms, guiding the viewer's eye through a more complex composition. The artist gradually embraced pure geometric abstraction, and the present painting marks one of his last major oils to retain figural references.