305
305

THE GERALD L. LENNARD FOUNDATION COLLECTION

Pablo Picasso
JEUNE HOMME AU MIROIR, NU, JOUEUR DE FLÛTE DE PAN, ENFANT
Estimate
150,000250,000
LOT SOLD. 275,000 USD
JUMP TO LOT
305

THE GERALD L. LENNARD FOUNDATION COLLECTION

Pablo Picasso
JEUNE HOMME AU MIROIR, NU, JOUEUR DE FLÛTE DE PAN, ENFANT
Estimate
150,000250,000
LOT SOLD. 275,000 USD
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Day Sale

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New York

Pablo Picasso
1881 - 1973
JEUNE HOMME AU MIROIR, NU, JOUEUR DE FLÛTE DE PAN, ENFANT
Signed Picasso (lower right); dated 8-2-23 X (on the verso)
Pen and ink on paper
9 3/4  by 12 1/2  in.
24.8 by 31.8 cm
Executed on February 8, 1923. 
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Provenance

Sale: Christie's, London, December 2, 1986, lot 228
Stanley J. Seeger, United States & United Kingdom (and sold: Sotheby's, New York, November 4, 1993, lot 440)
Galerie Perrau-Saussine, Paris (acquired at the above sale)
Acquavella Galleries, New York
Richard Gray Gallery, Chicago (acquired from the above in June 1997)
Galerie Pels-Leusden, Berlin (acquired from the above in 1999)
Acquired after 2003

Exhibited

Arles, Musée Réattu, Picasso: Dessins, gouaches, aquarelles, 1898-1957, 1957, n.n.
Bielefeld, Kunsthalle Bielefeld, Picasso Klassizismus, Werke 1914-1934, 1988, no. 56E, illustrated in the catalogue
New York, Richard Gray Gallery, Thirty-Five Drawings, 2001, n.n., illustrated in color in the catalogue

Literature

Christian Zervos, Pablo Picasso: Oeuvres de 1923 à 1925, vol. V, Paris, 1952, no. 118, illustrated pl. 60

Catalogue Note

The figure of Pan appears in several ink drawings by Picasso in early 1923. We find him in many iterations, both on his own and attending female bathers on the beach, as well as center-stage in the large-scale oil painting La Flûte de Pan (see fig. 1). The series of drawings gradually moves into an interior setting and develops into the multi-figure composition of the present lot. The dynamic between the male and female figures on the left alternates in the various studies though their classical contrapposto position does not change. Her reflection in the mirror draws the gaze of all except that of the male, who looks uncertainly at her face instead and that of the viewer from whom the mirror is hidden. The interaction between these figures grounds the focal point toward the center and balances the composition. The emergence of Picasso’s Neoclassical style marked a dramatic shift from the uncompromising abstraction of his Cubist works executed not long before. The present drawing is a particularly elegant example of his draftsmanship.

Impressionist & Modern Art Day Sale

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New York