巴布羅·畢加索

Estate of the artist

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

Acquired from the above by the late owner

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 USSR, 1983, 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

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

Executed on cream wove paper taken from a sketchbook, not laid down, and t-hinged to the mount at the top two corners. The original perforated left edge appears uncut. Apart from some old hinges and remnant adhesive from previous mountings on the reverse of the sheet, and some light discolouration to all four edges, this work is in very good original condition. Colours: Overall fairly accurate in the printed catalogue illustration, although the paper tone is slightly less red in the original.
"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."

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.).