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19
Pablo Picasso
FEMME ENDORMIE
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.
Double Dagger
Indicates that the lot is being sold whilst subject to Temporary Importation, and that VAT is due at the reduced rate
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.
2,000,0003,000,000
LOT SOLD. 1,928,750 GBP
JUMP TO LOT
19
Pablo Picasso
FEMME ENDORMIE
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.
Double Dagger
Indicates that the lot is being sold whilst subject to Temporary Importation, and that VAT is due at the reduced rate
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.
2,000,0003,000,000
LOT SOLD. 1,928,750 GBP
JUMP TO LOT

Details & Cataloguing

Actual Size: A Curated Evening Sale

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London

Pablo Picasso
1881 - 1973
FEMME ENDORMIE
dated Boisgeloup 28 juin XXXIII (lower edge)
oil on canvas
15.8 by 23.7cm.
6 1/4 by 9 3/8 in.
Painted at Boisgeloup on 28th June 1933.
Read Condition Report Read Condition Report

The authenticity of this work has been confirmed by Claude Picasso.

Provenance

Estate of the artist

Marina Picasso, Paris (the artist's granddaughter; by descent from the above and until at least 1982)

Galerie Thomas, Munich

Private Collection, Europe (acquired from the above in the 1980s. Sold: Sotheby's, London, 22nd June 2010, lot 15)

Purchased at the above sale by the present owner

Exhibited

Munich, Haus der Kunst; Cologne, Josef-Haubrich-Kunsthalle; Frankfurt, Städtische Galerie im Städelschen Kunstinstitut & Zurich, Kunsthaus, Pablo Picasso. Eine Ausstellung zum hundertsten Geburtstag. Werke aus der Sammlung Marina Picasso, 1981-82, no. 157, illustrated in colour in the catalogue

Tokyo, The National Museum of Modern Art & Kyoto, Municipal Museum, Picasso: Masterpieces from Marina Picasso Collection and from Museums in U.S.A. and U.S.S.R., 1983, no. 132, illustrated in colour in the catalogue

Catalogue Note

Picasso first saw Marie-Thérèse on the streets of Paris in 1927, when she was only seventeen years old and while he was still entangled in an unhappy marriage to Olga Khokhlova. ‘I was an innocent girl,’ Walter remembered years later. ‘I knew nothing - either of life or of Picasso... I had gone to do some shopping at the Galeries Lafayette, and Picasso saw me leaving the Metro. He simply took me by the arm and said, “I am Picasso! You and I are going to do great things together”’ (quoted in Picasso and the Weeping Women (exhibition catalogue), Los Angeles County Museum of Art, Los Angeles & The Metropolitan Museum of Art, New York, 1994, p. 143). Although their relationship remained a secret for many years, her presence permeates his work of this period. Captivated by her youthful, unpredictable spirit as well as by her voluptuous physique, Picasso's renderings of Marie-Thérèse are erotically charged, often showing her in the state of sleep and carefree abandon, as in the present work. William Rubin observed: 'None of Picasso's earlier relationships had provoked such sustained, lyrical power, such a sense of psychological awareness and erotic completeness... Picasso proceeds from his intense feeling for [Marie-Thérèse]... he paints the body contemplated, loved and self-contemplating' (W. Rubin, Picasso in the Collection of the Museum of Modern Art, New York, 1971, p. 138).

This contemplative quality is beautifully presented in Femme endormie, showing Marie-Thérèse in her sleep, open to the viewer's gaze. The sensuous lines that form her body and easy abandon of her posture emphasise both this sense of tranquillity and a physical acquiescence that made her such a compelling subject for the artist. Picasso shows her reclining on a bed that resembles a pedestal in its simplicity, elevating the nude to a work of art in her own right in a stylistic move that anticipates his later series of works on the subject of the artist and his model/muse. The painting also reveals Picasso thinking about his art in another way; the framed aperture with its checked curtains or drapes is reminiscent of Matisse’s paintings of women in windows of the previous decade and indicative of the long-term rivalry between these two masters of modern art. In making this allusion, Picasso deftly transforms this work from a seductive depiction of his young lover into a wider statement of artistic intent.  

Actual Size: A Curated Evening Sale

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London