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PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

Pablo Picasso
LE RÉSERVOIR
Estimate
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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.
Artist's Resale Right
Purchase of lots marked with this symbol will be subject to the payment of the artist's resale right.
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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.
2,500,0003,500,000
LOT SOLD. 2,781,000 GBP
JUMP TO LOT
13

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

Pablo Picasso
LE RÉSERVOIR
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.
Artist's Resale Right
Purchase of lots marked with this symbol will be subject to the payment of the artist's resale right.
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.
2,500,0003,500,000
LOT SOLD. 2,781,000 GBP
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Evening Sale

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London

Pablo Picasso
1881 - 1973
LE RÉSERVOIR
signed Picasso (lower left)
ripolin on board
80.5 by 126cm.
31 5/8 by 49 5/8 in.
Painted in Vallauris on 6th September 1952.
Read Condition Report Read Condition Report

Provenance

Galerie Louise Leiris, Paris

Baronne Alix de Rothschild, Paris

Galerie Berggruen, Paris

Private Collection, Switzerland

Galerie Gmurzynska, Cologne

Acquired from the above by the present owner in 1983

Exhibited

New York, Acquavella Gallery, Masters of the 20th Century, 1974, no. 17

Tokyo, Museum of the City of Tokyo; Nagoya, Prefectural Museum of Aichi; Fukuoka; Fukuoka Cultural Centre & Kyoto, National Museum of Modern Art, Exposition Picasso, 1977-78, no. 57, illustrated in the catalogue

Winnipeg, Winnipeg Art Gallery; Calgary, Glenbow-Alberta Institute; Vancouver, Vancouver Art Gallery; Edmonton, The Edmonton Art Gallery & Toronto, Mira Godard Gallery, Picasso – A Selection of Paintings, Watercolours and Drawings (1902-1972), 1978-79, no. 13, illustrated in the catalogue (with incorrect medium and measurements)

Basel, Galerie Beyeler, Picasso: A Centennial Selection, 1981, no. 44, illustrated in colour in the catalogue (with incorrect medium)

Vienna, Rathaus Wien, Pablo Picasso. Bilder. Zeichnungen. Plastiken, 1981-82, no. 57, illustrated in colour in the catalogue (with incorrect medium)

Literature

Wilhelm Boeck & Jaime Sabartés, Picasso, London, 1952, no. 222, illustrated p. 479

Christian Zervos, Pablo Picasso, œuvres de 1946 à 1953, Paris, 1965, vol. 15, no. 227, illustrated pl. 130 (with incorrect medium)

The Picasso Project (ed.), Picasso’s Paintings, Watercolors, Drawings and Sculpture. The Fifties I, 1950-1955, San Francisco, 2000, no. 52-051, illustrated p. 92

Catalogue Note

Le Réservoir is one of a small group of landscapes that Picasso painted over a two week period in September 1952. Depicting the grounds of his distinctive pink villa ‘La Galloise’ (fig. 2) and the surrounding area, these works illustrate the artist’s ongoing love affair with the South of France, rendering in paint the vivid colours and languid atmosphere of the region.

Picasso had visited the small town of Vallauris in the summer of 1946 whilst staying at the nearby Golfe-Juan on the Côte d’Azur. A chance meeting with Suzanne and Georges Ramié and a visit to their Madoura pottery studio ignited a spark that was to prove deeply compelling to Picasso. He returned to Vallauris the following year making the town his permanent home. In 1948, accompanied by Françoise Gilot and their one year old son Claude, the artist moved into ‘La Galloise’ and their daughter Paloma was born there the following year. During his time in Vallauris Picasso continued painting portraits as well as working on the ceramics that had initially drawn him to the region, but the landscape seems to have inspired a new interest in his surroundings, with the artist also increasingly depicting his home and its garden.

Writing about Picasso's landscapes from an earlier date, John Richardson noted: ‘Since he could never depict anything without to some degree identifying with it, Picasso assumes the role of genius loci in landscapes that constitute his first sustained confrontation with nature. He invests the trees with his own life force, as if he were God reinventing the universe in his image. "I want to see my branches grow [...]. That's why I started to paint trees; yet I never paint them from nature. My trees are myself"' (J. Richardson, A Life of Picasso. 1907-1917: The Painter of Modern Life, New York, 1996, vol. II, p. 93). In these later landscapes the same energy is apparent. The deliberately distorted perspective of Le Réservoir presents the distinct elements of the painting simultaneously enveloping the viewer in the landscape. Whereas his landscapes from the early 1940s employed subdued greys and browns to capture the oppressive atmosphere of occupied Paris, in the landscapes of the early 1950s Picasso exalts in the depth and strength of colour (fig. 1). In Le Réservoir this is enhanced by his choice of medium; ever the innovator, Picasso began working using new commercially produced enamels - including ripolin - which provided a lustrous, smooth texture and an unparalleled richness. In the present work he juxtaposes the rosy pink of the villa’s walls with the brilliant blue of sky and water but this wonderful intensity is tempered by the simplicity of his design. Matching large swathes of colour with bold black detail he conjures the peaceful environs of the place that was his home for eight years and perfectly captures the light and heat of this Mediterranean idyll.

 

Impressionist & Modern Art Evening Sale

|
London