Francis Picabia

Galleria Bussoli, Turin
Luciano Anselmino, Turin
Andy Warhol, New York (The Andy Warhol Collection, Sotheby's New York, 29 et 30 avril 1988, lot 2861)
Acquis lors de cette vente par le propriétaire actuel

Turin, Galleria Civica d'Arte Moderna, Francis Picabia, 1974-75, no. 72

Maria Lluïsa Borràs, Picabia, New York, 1985, no. 847, fig. 1033, reproduit p. 473

The board is sound. There are small areas of paint shrinkage in the blue-dark pigments in the upper left quadrant. Apart from a nailhead-sized paint loss in the figure's ear, possibly intrinsic to the artistic process, this work is very good original condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

signed 'Francis Picabia' and dated '1946' (lower left), oil on board. Painted in 1946. 

Fig. 1  Francis Picabia photographié par Michel Sima vers 1950

Fig. 2  Andy Warhol, 3 autoportraits (détail), 1986, acrylique et encre sérigraphique sur toile

"Autre forme de substituts, les masques abondent dans l'œuvre tardif de Picabia. Leur présentation souvent frontale et en plein cadre, comme des emblèmes, incite à y chercher les traces de la violente expulsion psychologique dont Picabia disait vouloir investir ses œuvres. Fortement présents déjà dans les "tableaux de poche" du début des années quarante, ces masques mêlent énigmatiquement l'angoisse, le morbide et le grotesque, un monstrueux propre à effrayer ou à faire sourire (Monstre, 1946). Ils incarnent bien, à ce titre, la confusion des sentiments qui habite l'artiste vieillissant" (Arnauld Pierre, in Francis Picabia, Classique et merveilleux (catalogue d'exposition), Galerie Beaubourg, Vence, 1998, p. 192).  

"Another kind of substitute, the masks, abounds in Picabia's late works. They are often shown front-on and in the middle of the canvas, like emblems, inviting us to find traces of the violent psychological evacuation with which Picabia said he wished to fill his works. Already frequently present in the "pocket pictures" of the early 1940s, these masks combine the anguished, the morbid and the grotesque in an enigmatic monster that frightens us or makes us laugh (Monstre, [Monster] 1946). In this way they successfully convey the confusion  of feelings in the breast of the ageing artist" ( Arnauld Pierre, in Francis Picabia, The Late Works 1933-1953 (catalogue d'exposition), Hambourg & Roterdam, 1998, p. 26).