Françoise Gilot

Acquired directly from the artist

Pencil on watermarked ​Vidalon France ​wove paper, not framed Recto: Surface in generally good condition aside from handling creases, slight soiling and a soft and hard crease in lower right corner. One hard crease visible in upper right corner. Two minor hard creases in upper left corner. A few minor nicks at edges. Also, a paper fault in proper right forehead. Verso: Four remnants of linen tape with attendant skinning at corners.
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.
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This collection of works on paper by Françoise Gilot is the result of a long-standing friendship between Dr. John and Muriel Halick of Greenville, Michigan and the artist. A well respected medical physician and founding member of the Mid-Michigan Mental Health program, Dr. Halick and his wife were committed to the development of science, education and the arts, and sought to assist Gilot in promoting her artistic career in America. Numerous letters document the development of this friendship and detail the many times that Françoise visited the Halick’s home in Greenville. Beginning in the the late 60s through early 70s, Dr. Halick sponsored a series of gallery shows, lectures and exhibitions of Gilot’s work. The artist recalls these times fondly, writing: “I think of you both, and all the kindness that you had for me, and it is impossible to thank you enough for all that you did for me.” (Francoise Gilot, “Letter to Dr. John and Muriel Halick,” December 12, n.d.).
The following suite is an intimate and diverse exploration of Françoise’s family life and artistic ambitions. The depictions of Picasso, Gilot, and their two children, Claude and Paloma, are strong examples of her mature and confident style, derived in part from her deep understanding of the works of Matisse. There is a wonderful range of emotions conveyed in this series, from the piercing eyes of Portrait de Pablo Picasso, to the commanding sense of self in Self-portrait and her tender maternal sensibilities when drawing herself with her mother and children. Gilot’s interest in mythology and mysticism is exemplified in Deux femmes and The Nymphs, while Le Peintre àu vert and Germaine no. 1 probe the psychology of their pensive subjects. As Dr. Halick observed: “The world is now recognizing the valor, intellect and artistic capacity of this woman – who has clearly emerged from the shadow of Pablo Picasso.” (Dr. John Halick, The Saga of Françoise Gilot, IMPRESARIO: Magazine of the Arts, 1973, n.p.).