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Jean Fautrier. Ölbilder 1925-1959, Galerie Thomas Borgmann, Cologne, October 17-November 13, 1976, cat. no. 3 (illustrated in color), and Galerie Neuendorf, Hamburg, November 15-December 31, 1976 (dimensions here: 50 x 61 cm). Josef Haubrich Kunsthalle, Cologne, February 23-April 7, 1980, cat. no. 29, illustrated in black and white on p. 81 (dimensions here: 50 x 61 cm). Jean Fautrier 1925-1935, Stedelijk Museum, Amsterdam, February 11-March 2, 1986; Kunsthaus Zurich, March 15-May 4, 1986, cat. no. 28 (incorrect dimensions: 86 x 60 cm). Jean Fautrier. Pictures 1926-56, Galerie Monika Sprüth, Cologne, March 21-April 2, 1989, illustrated in color on p. 13
Paul Guillaume Collection, Paris. Wagowski Collection, Paris (until 1971). Helge Achenbach Collection. HypoVereinsbank, Munich. Private collection, South Germany (in 2003 from the above)
The paint application alternates between thin and thick layers. In the impasto parts, the painting shows some craquelure. Under UV light, retouched spots are visible in places along the edges, extending slightly into the image in the center of the right edge.
Lot Details
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Jean Fautrier. Ölbilder 1925-1959, Galerie Thomas Borgmann, Cologne, October 17-November 13, 1976, cat. no. 3 (illustrated in color), and Galerie Neuendorf, Hamburg, November 15-December 31, 1976 (dimensions here: 50 x 61 cm). Josef Haubrich Kunsthalle, Cologne, February 23-April 7, 1980, cat. no. 29, illustrated in black and white on p. 81 (dimensions here: 50 x 61 cm). Jean Fautrier 1925-1935, Stedelijk Museum, Amsterdam, February 11-March 2, 1986; Kunsthaus Zurich, March 15-May 4, 1986, cat. no. 28 (incorrect dimensions: 86 x 60 cm). Jean Fautrier. Pictures 1926-56, Galerie Monika Sprüth, Cologne, March 21-April 2, 1989, illustrated in color on p. 13
Paul Guillaume Collection, Paris. Wagowski Collection, Paris (until 1971). Helge Achenbach Collection. HypoVereinsbank, Munich. Private collection, South Germany (in 2003 from the above)
The paint application alternates between thin and thick layers. In the impasto parts, the painting shows some craquelure. Under UV light, retouched spots are visible in places along the edges, extending slightly into the image in the center of the right edge.
Morris Louis 
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