Lot 410
  • 410

Pablo Picasso

Estimate
100,000 - 150,000 USD
Log in to view results
bidding is closed

Description

  • Pablo Picasso
  • Homme à la besace
  • Bearing the signature Picasso (lower left)
  • Conté crayon on paper
  • 13 1/4 by 9 in.
  • 33.6 by 23 cm

Provenance

Santiago Laporta, Barcelona
Justin K. Thannhauser, New York (acquired from the above by 1932)
Solomon R. Guggenheim Foundation, New York (a gift from the above and sold: Sotheby Parke-Bernet, New York, May 22, 1981, lot 834)
Private Collection, Los Angeles (acquired at the above sale and sold: Christie's, New York, May 17, 1984, lot 124)
Private Collection, Geneva (acquired at the above sale and sold: Sotheby's, New York, May 14, 1986, lot 120)
Private Collection, Switzerland (acquired at the above sale)

Exhibited

Zurich, Kunsthaus, Picasso, 1932, no. 271 (titled Lastträger)
Buenos Aires, Galería Müller, Picasso, 1934, no. 35 (titled Cargadores)
New York, Solomon R. Guggenheim Museum, 19th and 20th Century Masterpieces, Arranged Courtesy of the Thannhauser Foundation, 1965, no. 37, illustrated in the catalogue

Literature

"La Pintura y La Escultura Allende los Pirineos," in El Liberal, no. 848, August 10, 1903, illustrated on the front page
Alejandro Cirici Pellicer, Picasso avant Picasso, Geneva, 1950, illustrated p. 165
Christian Zervos, Pablo Picasso, Oeuvres de 1895 à 1906, vol. I, Paris, 1957, no. 190, illustrated pl. 88 (with incorrect medium)
Solomon R. Guggenheim Museum, A Picture Book of 19th and 20th Century Masterpieces from the Thannhauser Foundation, New York, 1972, no. 38, illustrated p. 51
Richard J. Wattenmaker, Puvis de Chavannes and the Modern Tradition, Toronto, 1975, fig. 31, illustrated p. 170
Vivian Endicott Barnett, The Guggenheim Museum, The Justin K. Thannhauser Collection, New York, 1978, no. 38, illustrated p. 125
Josep Palau i Fabre, Picasso, The Early Years 1881-1907, New York, 1981, no. 908, illustrated p. 350
The Picasso Project, ed., Picasso's Paintings, Watercolors, Drawings and Sculpture, The Blue Period 1902-1904, Barcelona and Paris, San Francisco, 2011, no. 1903-111, illustrated p. 137

Condition

Executed on cream wove paper, not laid down. The sheet is hinged to the mount at the upper corners. Remnants of old framer's tape along the verso of the perimeter. The edges are cut and slightly uneven with small losses along the extreme perimeter, notably the upper right edge (not visible when framed). The sheet is lightly time darkened. There is a small repaired tear and another restoration in the upper left corner. There is a 4-inch area of what appears to be artist's pentimenti in the upper right quadrant. Otherwise, apart from a few faint scattered spots of foxing towards the edges, this work is in overall 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.
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

Drawn between late December 1902 and August 10, 1903, this simplified version of a Picasso drawing of December 1902 which now belongs in the collection of the Museo Picasso, Barcelona, was executed in order to facilitate reproduction in the August 10, 1903 issue of the Barcelona newspaper El Liberal. The newspaper, which was owned by the Junyer-Vidal brothers, occasionally commissioned Picasso to illustrate articles; in this instance he was requested to imitate the style of three French artists. This drawing of a man with a sack is in the style of Puvis de Chavannes and likely relates to a section of the mural Sainte Geneviève ravitaillant Paris in the Pantheon, Paris.

Vivian Endicott Barnett writes about this similarity "Picasso has retained the post of the man at the extreme left unloading the ship but he has altered slightly the position of the arms, changed the jug into a pack, transformed Puvis' clothed figure into a nude, and completed the man's face, which is cut off in the Pantheon mural" (Vivian Endicott Barnett, op. cit., p. 124).