347 of 153 lots
347
Fernand Léger (French, 1881-1955) & Roland Brice (French, 1911-1989) Composition Rouge, Jaune et Orange
Estimate: $3,000-$5,000
Sold
$7,000
Live Auction
What Do You See? The Collection of Sidney Rothberg, Part IV
Location
Philadelphia
Size
height: 11 in. (27.9cm) / width: 13 1/4 in. (33.7cm) / depth: 1 3/8 in. (3.5cm)
Description
Fernand Léger (French, 1881-1955) & Roland Brice (French, 1911-1989)

Composition Rouge, Jaune et Orange

earthenware glazed ceramic painted in colors

illegibly signed F. LEGER and stamped F. LEGER/Biot (AM) (verso)

height: 11 in. (27.9cm) / width: 13 1/4 in. (33.7cm) / depth: 1 3/8 in. (3.5cm)


The Collection of Sidney Rothberg, Philadelphia, Pennsylvania


This lot is located in Philadelphia.

Condition
height: 11 in. (27.9cm)width: 13 1/4 in. (33.7cm)depth: 1 3/8 in. (3.5cm)The sculpture is in fair to poor condition and has been broken and repaired, as is evident verso. On recto, the pigment is flaking in several areas and there are losses to the surface throughout. Repairs and inpainted are visible under UV light. Additional images available upon request.
Signature
illegibly signed F. LEGER and stamped F. LEGER/Biot (AM) (verso)
Provenance
Lot Essay:Fernand Léger began working in ceramics in 1949 at the workshop of Roland Brice in Biot, quickly mastering the medium with his signature command of structure and color—hallmarks of his Cubist vocabulary. The enameled surface of ceramic offered Léger a unique opportunity to unite volume and color, which he regarded as essential forces, akin to fire and water. This new material also allowed him to bring his art into the realm of architecture, integrating visual creativity directly into urban space.The present work is emblematic of Léger’s early experiments in ceramics: an enameled terracotta low-relief, directly adapted from one of his earlier paintings. The sharp contours, contrasting hues, and recessed gaps transform the ceramic into both object and image. It resists easy interpretation: is it a door? An archway? A purely abstract form? The ambiguity is deliberate, inviting the viewer to question their assumptions and reengage with form itself.In embracing ceramics, Léger aligned himself with a lineage of 19th-century artists who turned to enameled pottery as a means of breaking from convention and expanding their expressive vocabulary. The presence of this piece in the Sidney Rothberg Collection speaks volumes about the collector’s insight into Léger’s creative evolution. It reflects Rothberg’s appreciation for artists willing to challenge boundaries and explore new terrain, both materially and conceptually.