Jean Dubuffet, ‘Arbre, livre et gite’, 1969, Sotheby's: Contemporary Art Day Auction

From the Catalogue

"What I expect from any work of art is that it surprises me, that it violates my customary valuations of things and offers me other, unexpected ones." –Jean Dubuffet

Courtesy of Sotheby's

Paris, Galerie Jeanne Bucher, Jean Dubuffet, October - November 1971, n.p., illustrated

Max Loreau, Ed., Catalogue des travaux de Jean Dubuffet, Fascicule XXV: arbres, murs, architectures, Lausanne 1974, cat. no. 2, p. 13, illustrated

Galerie Beyeler, Basel
Madame Chandon de Briailles, Paris
Loudmer & Poulain, Paris, 14 May 1976
Private Collection, Paris
Drouot, Paris, 24 April 1983
Private Collection, Paris
Artcurial, Paris, 8 June 2004, Lot 226
Private Collection, Los Angeles (acquired from the above sale by the present owner)

About Jean Dubuffet

In his seminal modernist paintings, Jean Dubuffet delved deep into questions of ground and materiality. Such themes were highly charged during the post–WWII period in which he worked, shortly after the destruction of many European cities as well as the Japanese cities of Hiroshima and Nagasaki in the war. The surfaces of his canvases are thick and clotted; their aesthetic is muddy and scatological. Dubuffet coined the term “Art Brut” to describe the kind of work that he collected and aspired toward: the untrained, outsider art of alienated groups, including children and the mentally ill. His own paintings are purposefully “deskilled,” often possessing the spontaneity and crude aesthetic of finger paintings.

French, 1901-1985, Le Havre, France, based in Paris, France