Pablo Picasso

Sotheby's Olympia, London, 23 March 2005, lot 179

Alain Ramié, Picasso. Catalogue de l'œuvre céramique édité 1947-1971, Vallauris, 1988, no. 527, another example illustrated p. 263

There is one small loss to the rim beneath the mouth. Apart from some stains and handling marks, this work is in good 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."

In 1946 Picasso approached the Madoura Pottery, which lay not too far from his home in Vallauris, with the intention of finding a further outlet for his prodigious talents. The artist became almost immediately familiar with the many tools of the ceramicist's art - the powdered oxides, emulsions, glazes and enamels. Initially guided by the pottery’s founder, George Ramié, and his skilled technicians, Picasso began creating a remarkable array of objects and soon developed his own innovative techniques. From zoomorphic jugs and sensuous vases, to plates and salvers emblazoned with Corrida scenes and florid faces, Picasso’s imagination was matched by the versatility of the medium. From 1946 until his death, the artist produced hundreds of pieces, both as unique works and limited editions, which were produced under his supervision at the Madoura pottery. Commenting on the work Picasso carried out in his pottery Georges Ramié wrote: ‘Picasso’s work in ceramics, with its exuberant articulations, grew after the fashion of a marvellous universe. A universe of exceptionally vast dimensions, and yet reduced, as far as means are concerned, to the rudimentary elements of the world in an Empedoclian triad. […] Picasso’s ceramic work affirms this abundantly and constantly; he desired to follow the stony paths that lead, through joy, to the summit of man’s accomplishment, and throughout this ceramic adventure he has untiringly sung the delicious peace of the spirit, the serene sweetness of those halcyon days and the fruitful joy of creation in absolute freedom' (G. Ramié, Picasso’s Ceramics, London, 1975, p. 54 & 55).