- 139
Pablo Picasso
Estimate
250,000 - 350,000 USD
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Description
- Pablo Picasso
- Trois personnages nus assis
- Signed Picasso and dated Domingo 11.12.66. (upper right)
- Pencil and black crayon on paper
- 14 7/8 by 21 1/4 in.
- 36.8 by 53.8 cm
Provenance
Galerie Louise Leiris, Paris
Saidenberg Gallery, New York
Private Collection, New York (acquired from the above on December 31, 1968)
Thence by descent
Saidenberg Gallery, New York
Private Collection, New York (acquired from the above on December 31, 1968)
Thence by descent
Literature
Christian Zervos, Pablo Picasso, Oeuvres de 1965 et 1967, vol. XXV, Paris, 1972, no. 231, illustrated p. 113
The Picasso Project, ed., Pablo Picasso, Paintings, Watercolors, Drawings and Sculptures, The Sixties II, 1964-1967, San Francisco, 2002, no. 66-099, illustrated p. 25
The Picasso Project, ed., Pablo Picasso, Paintings, Watercolors, Drawings and Sculptures, The Sixties II, 1964-1967, San Francisco, 2002, no. 66-099, illustrated p. 25
Condition
Executed on cream wove paper, torn from a sketchbook on the left edge, not laid down and t-hinged in two places along the upper edge and floating in the mount. The sheet is slightly time-stained. This work is in overall very good condition. There are some coloured crayon remnants on the reverse, most possibly from a previous sketch.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
"I do not believe that I have used radically different elements in my various styles. If a given subject calls for certain means of expression, I make use of those means without hesitation. I never have experimented. Every time I have something to say, I have said it in the way which I myself have felt to be best. Different motives require different methods. This implies neither evolution nor progress, but only an agreement between the idea that one wishes to express and the means of expressing that particular idea" (the artist quoted in R. Stanley Johnson, Pablo Picasso, Works on Paper, Chicago, 2004, p. 6).
In the present work, Picasso has juxtaposed fluid and heavy lines, animating the characters and articulating the boundaries between them, and in so doing he powerfully exhibits the quality and drama of his draughtsmanship. Picasso depicts the figures at right attempting to preserve their decency while the woman at left sits fully exposed, and thus he charges the composition with tension and potential energy, even as the figures themselves, anchored like statues, are seemingly unengaged with one another.
In the present work, Picasso has juxtaposed fluid and heavy lines, animating the characters and articulating the boundaries between them, and in so doing he powerfully exhibits the quality and drama of his draughtsmanship. Picasso depicts the figures at right attempting to preserve their decency while the woman at left sits fully exposed, and thus he charges the composition with tension and potential energy, even as the figures themselves, anchored like statues, are seemingly unengaged with one another.