1031
1031

PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION

Pablo Picasso
BUSTE D'HOMME LAURÉ
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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.
50,000,00070,000,000
LOT SOLD. 61,029,000 HKD
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1031

PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION

Pablo Picasso
BUSTE D'HOMME LAURÉ
Estimate
Premium Lots
In order to bid on "Premium Lots" you must complete the required Premium Lot preregistration application and deliver to Sotheby's such necessary financial references, guarantees, deposits and/ or such other security as Sotheby's may in its absolute discretion require, as security for your bid. Sotheby's decision whether to accept any pre-registration application shall be final. We recommend you contact Sotheby's at least 3 working days prior to the relevant sale in order to process the pre-registration, and please bear in mind that we are unable to obtain financial references over weekends or public holidays. If all lots in the catalogue are "Premium Lots", a Special Notice will be included to this effect and the paddle symbol will not be used.
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.
50,000,00070,000,000
LOT SOLD. 61,029,000 HKD
JUMP TO LOT

Details & Cataloguing

Modern Art Evening Sale

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Hong Kong

Pablo Picasso
1881 - 1973
BUSTE D'HOMME LAURÉ
dated 11.5.69 on the reverse
oil on canvas
116 by 89 cm; 45 ⅝ by 35 in.
painted in 1969



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Provenance

Estate of the artist
Collection of Bernard Ruiz Picasso, Paris
Collection Heinz Berggruen
Acquired from the above by the present important private European collector 

Exhibited

Avignon, Palais des Papes, Pablo Picasso: 1969-1970, 1970, no. 32, illustrated in the catalogue
New York, The Pace Gallery, Picasso: The Avignon Paintings, 1981, illustrated in the catalogue
Kunstmuseum Basel, Pablo Picasso, Das Spätwerk, 1981, no. 38, illustrated in colour in the catalogue
Gisors, Mairie de Gisors, Picasso, 1983
Vienna, Kunstforum & Tubingen, Kunsthalle, Picasso: Figur und Portrait, Hauptwerke aud der Sammlung Bernard Picasso, 2002, no. 88, illustrated in the catalogue
Nantes, Musée des Beaux Arts de Nantes & Padua, Palazzo Zabarella, Picasso: 1961-1972, 2001-2003, no. 30 in Nantes & no. 31 in Padua, illustrated in the catalogue
Copenhagen, Arken Museum for Moderne Kunst, Picasso: For All Times, 2004, no. 35, illustrated in the catalogue
Malaga, Museo Picasso, Picasso: Anthology 1895-1971, 2004-05, no. 124, illustrated in the catalogue
Istanbul, Sakıp Sabancı Museum, Sabancı Üniversitesi, Picasso in Istanbul, 2005-06, no. 128, illustrated in colour in the catalogue

Literature

Rafael Alberti, A Year of Picasso Paintings: 1969, H.N. Abrams, New York, 1971, no. 180, illustrated in colour n.p.
Christian Zervos, Pablo Picasso, oeuvres de 1969, Cahiers d'art, Paris, 1976, vol. 31, no. 194, illustrated p. 63
The Picasso Project, ed., Picasso's Paintings, Watercolours, Drawings and Sculpture, The Sixties III, 1968-1969, Alan Wofsy Fine Art, San Francisco, 2003, no. 69-197, illustrated p. 161

Catalogue Note

The vibrant Buste d’homme lauré (Lot 1031)is a powerful example of a theme that was central to Picasso in the last years of his life. The work was painted during Picasso’s most prolific year, 1969, during which he seemed to not at all be affected by his advanced age but rather invigorated by his vast experience. These works were exhibited in a dedicated show the following year in 1970, organized by Christian Zervos, which opened at the Palais des Papes in Avignon. The large canvases were displayed one on top of another in the hall of Clement IV, taking full advantage of the high-vaulted ceilings in the Gothic venue.

For Picasso, the musketeer signified the golden age of painting, and allowed him to escape the limitations of contemporary subject matter and explore the spirit of a past age. Picasso’s inspiration for this figure and other masculine warriors of his late paintings can be traced to his Spanish childhood and his familiarity with Cervantes’ Don Quixote. The musketeer was a character that embodied the courtly mannerisms of the Renaissance gentleman, and Picasso now resurrected him for a twentieth-century audience. The artist’s rendering of this image was also his tribute to the work of two painters he had adored throughout his life: Diego Velázquez, whose portraits of seventeenth-century Spanish nobility and monarchs were clear sources of inspiration for the present picture, and the Dutch master, Rembrandt van Rijn, whom Jacqueline Roque credited as being a key influence on Picasso’s art of this period. It was through these reinterpretations and investigations of the Old Masters that Picasso reaffirmed his connection to some of the greatest painters in the history of art.

Brigitte Léal has considered what it meant for Picasso to be painting these historical characters in the late 20th century. She considers the cultural significance of the musketeer: "It was not without humor that Picasso created these characters, whose amorous adventures he chronicled in his etchings. Imagine painting musketeers in 1970! They were ornamental figures whose clothes were a pretext both for the blaze of blood red and golden yellow and for the resurgence of a newly found Spanishness" (Brigitte Léal, Christine Piot, Marie-Laure Bernadac, The Ultimate Picasso, New York, 2000, p. 458). The present work is differentiated from other portraits of 1969 by the addition of a laurel wreath to the musketeer. Seldom used within his œuvre, the laurel wreath  traditionally denotes a personal triumph.

Modern Art Evening Sale

|
Hong Kong