Lot 3
  • 3

Pablo Picasso

Estimate
70,000 - 100,000 GBP
Sold
338,500 GBP
bidding is closed

Description

  • Pablo Picasso
  • Dessin, Carnet Dinard, Page 29 (Baigneuse au ballon)
  • dated 14 Aout 1928 (lower left)
  • pen and brush and ink on paper

Provenance

Estate of the artist

Marina Picasso (the artist's granddaughter; by descent from the above)

Acquired from the above by the late owner

Exhibited

Munich, Haus der Kunst; Cologne, Josef-Haubrich-Kunsthalle, Cologne; Frankfurt, Städtische Galerie im Städelschen Kunstinstitut; Zurich, Kunsthaus, Collection Marina Picasso, 1981-82, no. 149, illustrated in the catalogue

Venice, Centro di Cultura di Palazzo Grassi, Picasso, Opere dal 1895 al 1971 dalla Collezione Marina Picasso, 1981, no. 188-198, illustrated in the catalogue

Japan, The National Gallery of Modern Art, Tokyo; Kyoto, Kyoto Municipal Museum, Picasso, Masterpieces from Marina Picasso Collection and from Museums in USA and USSR1983, no. 117, illustrated in the catalogue

Melbourne, National Gallery of Victoria & Sydney, Art Gallery of New South Wales, Picasso, 1984, no. 172, illustrated in the catalogue

Tübingen, Kunsthalle & Düsseldorf, Kunstsammlung Nordrhein-Westfalen, Picasso, Pastelle, Zeichnungen, Aquarelle, 1986, no. 125, illustrated in the catalogue

Bielefeld, Kunsthalle Bielefeld, Picassos Surrealismus, Werke 1925-1937, 1991, no. 16

London, Tate Gallery, Picasso: Sculptor / Painter, 1994, no. 64, illustrated in the catalogue

Duisburg, Wilhelm Lehmbruck Museum; Hamburg, Hamburger Kunsthalle, Pablo Picasso - Wege zur Skulptur, Die Carnets Paris und Dinard aus der Sammlung Marina Picasso, 1995, illustrated in the catalogue

Geneva, Galerie Jan Krugier, Ditesheim et Cie. & New York, Jan Krugier Gallery, Pablo Picasso, Metamorphoses, Œuvres de 1898 à 1973 de la collection Marina Picasso, 2001-2002, no. 46, illustrated in the catalogue

Stuttgart, Staatsgalerie Stuttgart, Picasso Badende, 2005, no. 46, illustrated in the catalogue

Literature

Christian Zervos, Projets de Picasso pour un monument, Les Cahiers d'Art, 1929, nos. 8-9, pp. 342-353 (listed under Carnet 1044)

Je suis le Cahier. The Sketchbooks of Picasso (exhibition catalogue), Pace Gallery, 1986, no. 96, listed p. 327 (listed under Carnet 1044)

The Picasso Project (ed.), Picasso's Paintings, Watercolors, Drawings and Sculpture. Toward Surrealism 1925-1929, San Francisco, 1996, no. 28-181, illustrated p. 164

Catalogue Note

Picasso spent the summer of 1928 at Dinard on the coast of Brittany. Although ostensibly on a family holiday accompanied by his wife Olga, Picasso had installed his young lover Marie-Thérèse in a nearby pension de jeunes filles and she proved a compelling source of inspiration for the drawings he produced during his stay. John Richardson describes how, 'Whenever possible, Picasso would escape from his wife’s sulks and the stifling atmosphere of their ugly rented house [...] and make for the Plage de l’Ecluse in another part of the town. Marie-Thérèse would be playing ball with some of the children from her holiday home – a scene Picasso would repeatedly portray on the spot over the next few weeks, and from memory laced with fantasy over the next few years' (J. Richardson, 'Picasso and Marie-Thérèse Walter', Through the Eye of Picasso 1928-1934 (exhibition catalogue), William Beadleston Gallery, New York, 1985, n.p.).

The drawings from the Carnet Dinard, which span the period between 27th July and 17th November 1928, also provide a fascinating insight into the emotional turmoil Picasso experienced in the wake of his deteriorating marriage. The present composition is one of the more psychologically demonstrative drawings of the carnet, and the vividly expressive lines of the figure perfectly capture these tumultuous emotions. At the same time, the disarticulated bodies of these drawings also reflect Picasso’s continued experimentation – particularly under the influence of his Surrealist friends – with fantastic human forms that moved constantly towards new limits of visual representation. John Richardson commented: 'No question about it, the sketchbook casts a shadow ahead of it out of all proportion to its format. Apart from the wire constructions, the so-called 'Bone' paintings of 1929 emanate from it. And four years later Picasso was still executing variations on the ball-playing bathers who originated in its pages' (ibid., n.p.).

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