Attributed to Jacques Germain, it does not have a COA. Medium: oil canvas. 23.5 x 20 inches. Provenance: private owner.
Biography: 1915 - 2001. An abstract painter of the post-war School of Paris, Germain developed a technique known as Abstraction Lyrique and served as one of the prominent members of it in Paris alongside Mathieu, Bryen, Riopelle, and Lanksoy. Abstraction Lyrique valued personal expression of the artist and made sure not to be limited by geometric standards.At the age of sixteen, Germain worked with cubist painter Fernand Léger at the l'Académie Moderne. A year later at the Bauhaus, Germain worked with Willem Kandinsky, whose name for many historians is synonymous for abstraction. When France declared war on Germany in 1939, Germain joined the French Army, was captured and held as prisoner of war until 1945. He had his premier exhibition at the Salon de Surindépendents in 1947. Painting with heightened personal expression, he developed the style for which he became internationally known.By 1948 Germain was becoming associated with the leading avant-garde, exhibiting with Arp, Bryen, Fautrier, Hartung, Mathieu, Picabia, Tapies and Wols in 'Blanc et Noir', at Galerie des Deux Iles, in Paris. In 1949 he held an exhibition with Soulages at Atelier de Maywald; and at the same venue in 1951 with Bauer, Sonia Delaunay, Hartung, Kandinsky, Magnelli, Soulages and da Silva. He went on to hold regular solo shows at galleries Maeght, Pierre, Michel Warren, Kriegel, André Schoeller, Jacques Massol and Dina Vierny. He also participated in many museum shows in France and abroad, notably 'Le Mouvement dans l'art Contemporain', Musée de Lausanne, 1955; 'Carnegie Prize', Pittsburgh USA, 1955; 'Exposition Internationale de l'Art Abstrait', Paris, 1957; 'Ecole de Paris', Mannheim, 1959; 'International Modern Art', Dublin, 1962; 'Ecole de Paris', Cologne, 1962. Recent retrospectives have been held at the Couvent des Cordeliers, France, 1997; and Hanina Fine Arts, London, 2005.

All authorship of items in this catalog are described according to the following terms:

Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given.

By [Artist Name] : The work is by the artist.

Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.

In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.

After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.

Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.

Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil).

American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).

Mint, based on the description