- 126
PABLO PICASSO | Les Déjeuners
估價
100,000 - 150,000 GBP
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招標截止
描述
- 巴布羅·畢加索
- Les Déjeuners
- signed Picasso, dated 9.7.61. and numbered IX (upper right)
- pencil on paper
- 27 by 42cm., 10 5/8 by 16 1/2 in.
- Drawn on 9th July 1961.
來源
Galleria Il Millione, Milan
Private Collection (acquired from the above in 1963)
Waterhouse & Dodd Fine Art, London
Acquired from the above by the present owner in 2013
Private Collection (acquired from the above in 1963)
Waterhouse & Dodd Fine Art, London
Acquired from the above by the present owner in 2013
出版
Douglas Cooper, Pablo Picasso: Les Déjeuners, Paris, 1962, no. 99, illustrated
Christian Zervos, Pablo Picasso, Œuvres de 1961 à 1962, Paris, 1968, vol. XX, no. 77, illustrated pl. 40
Christian Zervos, Pablo Picasso, Œuvres de 1961 à 1962, Paris, 1968, vol. XX, no. 77, illustrated pl. 40
Condition
Executed on cream wove paper, not laid down, hinged to the mount on the verso of the upper corners and floating in the overmount. The sheet has been extracted from a sketchbook and the upper edge is perforated. There is a light blue studio stain towards the centre of the left edge, as visible in the catalogue illustration. There is a watermark running along the left edge. There are a few scattered spots of foxing, predominantly visible in the leftmost figure and around the background figure in the upper centre. There are two fine flattened creases running vertically through the composition just to the right of centre and a further smaller crease running from the left lower edge. This work is in overall very 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."
"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."
拍品資料及來源
‘When I see Manet’s Dejeuner sur l’herbe I tell myself there is pain ahead’
(Pablo Picasso's reaction to Edouard Manet’s Dejeuner sur l’herbe in 1932) This intriguing statement reveals the fascination that Manet’s celebrated painting held for Pablo Picasso. Picasso was to re-visit the work of many great masters for his “variations,” such as Cranach, Velásquez, Rembrandt, and Delacroix, but his experiments with the composition of Manet’s Déjeuner sur l’herbe was to be the most profound and complex of them all. Drawn to this particular composition’s almost mythical status as a painting of upmost Modernity and bourgeois subversion, where oddly paired nude and clothed figures inhabit a strange theatrical scene, Picasso began to work on a series of his own versions beginning in 1954 with highly developed drawings such as the present work and soon progressing to a series of paintings, of which he executed twenty-seven between the years of 1959 and 1961.
(Pablo Picasso's reaction to Edouard Manet’s Dejeuner sur l’herbe in 1932) This intriguing statement reveals the fascination that Manet’s celebrated painting held for Pablo Picasso. Picasso was to re-visit the work of many great masters for his “variations,” such as Cranach, Velásquez, Rembrandt, and Delacroix, but his experiments with the composition of Manet’s Déjeuner sur l’herbe was to be the most profound and complex of them all. Drawn to this particular composition’s almost mythical status as a painting of upmost Modernity and bourgeois subversion, where oddly paired nude and clothed figures inhabit a strange theatrical scene, Picasso began to work on a series of his own versions beginning in 1954 with highly developed drawings such as the present work and soon progressing to a series of paintings, of which he executed twenty-seven between the years of 1959 and 1961.