FRANCIS PICABIA | L'Accordéoniste

oil on card laid down on boardExecuted circa 1940-41.This work will be included in the forthcoming catalogue raisonné being prepared by the Comité Picabia.

Olga Picabia, Paris
Sale: Christie's, London, December 2, 1986, lot 397
Sale: Paris, Piasa, December 19, 2012, lot 29
Acquired at the above sale

La Rochelle, Galerie Lhote, Francis Picabia, October 1947, no. 14
Paris, Galerie Thaddaeus Ropac, David Salle, Francis Picabia, 23 January-23 February 2013

There is a thick uneven varnish, preventing UV light from fully penetrating. However examination under UV light appears to reveal a spot of retouching (approx. 10 cm wide), with an associated smaller dot of retouching (approx. 1 cm wide), to the woman's elbow. There are lines of retouching along the extreme edges, most predominately below the signature. There are a few dots of paper skinning in areas, notably to the model's arm. There are dots of foxing in places, predominately in the clearest areas, to the upper left quadrant and to the sitter's hair. There is some frame rubbing along the extreme 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. 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."

Picabia demonstrated time and again his great artistic skill. He gave free rein to his talents and took pleasure in painting, which is evident in everything from his enticing nudes to his couples and bullfights. [...] “These surprising, technically-skilled paintings sometimes possess a mysterious aura, which was admired by Léonce Rosenberg, [...] whatever he creates, it is always Picabia.” In fact, despite their realism, many of these paintings undoubtedly have symbolic meanings. The compositions often seem to be inspired by photographic or cinematographic techniques.” (in Francis Picabia, Paris, Galeries Nationales du Grand Palais, 1976, p. 170).