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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

Pablo Picasso
GUITARE, VERRE, BOUTEILLE DE VIEUX MARC
Estimate
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
5,000,0007,000,000
LOT SOLD. 5,373,000 USD
JUMP TO LOT
16

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

Pablo Picasso
GUITARE, VERRE, BOUTEILLE DE VIEUX MARC
Estimate
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
5,000,0007,000,000
LOT SOLD. 5,373,000 USD
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Evening Sale

|
New York

Pablo Picasso
1881-1973
GUITARE, VERRE, BOUTEILLE DE VIEUX MARC
Signed Picasso (upper left)
Oil on canvas
18 1/8 by 13 1/4 in.
46.2 by 33.7 cm
Painted in Summer 1912.
Read Condition Report Read Condition Report

Provenance

Galerie Kahnweiler, Paris

Arthur B. Davies, New York (sold: American Art Association, New York, April 16 and 17, 1929, lot 404)

Feragil Gallery, New York (acquired at the above sale)

Ethel King Russell (Mrs. Charles H. Russell), New York (by 1946)

Knoedler & Co., Inc., New York

Walter Buhl Ford II, Grosse Point (acquired from the above on March 20, 1961 and sold: Sotheby's, New York, November 02, 2005, lot 6)

Acquired at the above sale

Exhibited

New York, The Metropolitan Museum of Art, Retrospective Summer Exhibition, 1930, no. 75

New York, Jacques Seligmann & Co., 1910-12: The Climactic Years in Cubism, 1946, no. 15

Literature

Christian Zervos, Pablo Picasso, oeuvres de 1906 à 1907, vol. II*, Paris, 1942, no. 355, illustrated pl. 170

Pierre Daix & Joan Rosselet, Le Cubisme de Picasso, Neuchâtel, 1979, no. 491, illustrated p. 283

Catalogue Note

Guitare, verre, bouteille de Vieux Marc, executed during the summer of 1912 while Picasso was on holiday in Sorgues, is a superb example of the Cubist compositions he completed at the commencement of the war.  What is most startling here are the bright, primary colors, which were a dramatic departure from the earth-toned palette that filled the artist's Cubist still lifes of prior years.  Over the course of the 1910s, Picasso’s Cubism developed from fractured, highly abstract “analytical” depictions of form to more legible “synthetic” compositions that often incorporated elements of collage.  Guitare, verre, bouteille de Vieux Marc, along with the other works that Picasso completed in Sorgues that summer, was created on the cusp of these two phases of Cubism and incorporates the characteristics of both. 

Picasso's time away from Paris during the summer of 1912 allowed him to reassess his aesthetic goals and reflect on the principles of Cubism that he, along with Georges Braque, had created four years earlier.  The pictures that he completed while working in Céret in the beginning of the summer show that he had begun to consider the effect of color and its ability to create dimensions within his compositions.  Over the next few weeks his paintings took on a clarity and strength of form that was new to the Cubist vocabulary.  In this work, Picasso has fragmented his composition into broad, vertical planes. But unlike the highly-abstracted deconstructed still-lifes of the prior year, the objects retain much of their original shape.  Most recognizable among them are the hour-glass side panel and strings of the guitar, and the cylindrical top of the bottle.  The text also plays a structural role here and acts as a band that neatly unites all of the fragmented elements of the composition.

In his discussion about this new style, Pierre Daix has written the following:  "It is not pictorial illusion of a relief but one of many optical experiments, both graphic and colouristic, used to obtain a surface that functions, to the eye, like an expressive three-dimensional model of reality" (Daix, op. cit., p. 104).

One of the most dramatic developments in these pictures was the inclusion of text, which Picasso has superimposed over the image of the bottle and the other objects of this composition.  The inclusion of words helped to define the objects that Picasso was painting and also introduced the idea of text as a means of pictorial enhancement.  This technique, while not new to the history of painting, was one that incited a watershed of new developments in Cubist painting, ultimately leading to the use of collage when Picasso returned to Paris that autumn.  Here, Picasso's bold, stenciled letters VIEUX MARC mimic the label of a popular bottle of spirits.  But instead of limiting the placement of the letters on the bottle itself, he has enlarged and spread them across the entire composition to create an entirely new context for the words.  This redefinition of spatial boundaries and the appropriation of advertising text for an entirely different purpose was the hallmark of the papier collé compositions that Picasso, Braque and Gris would complete the following year.

Impressionist & Modern Art Evening Sale

|
New York