PABLO PICASSO | Grand vase aux danseurs

Private Collection, Belgium (and sold: Sotheby's, London, March 20, 1996, lot 126)
Acquired at the above sale

Alain Ramié, Picasso, Catalogue de l'oeuvre céramique édité 1947-1971, Vallauris, 1988, no. 114, illustration of another example p. 63

The ceramic is in very good condition apart from minor surface soiling, a few pale scuffs, occasional minute chips around the outer edge of the rim, some further small chips around the base. A few inconspicuous firing cracks and minor imperfections which are inherent to production and not condition defects.
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.

Picasso’s foray into ceramics was deeply influenced by the tactile experience of working directly with his medium. He experimented with paint effects, glazes, carving and etching, exploring the diverse possibilities that the medium provided. With its combination of fleshy flowing pink-hued terracotta figures against stark white paint, Grand vase aux danseurs demonstrates the commanding and innovative way in which Picasso’s new-found creativity manifested in this ancient practice. The precision of the carved forms demonstrates a painterly agility and easy manipulation which are unique to Picasso’s work. Ceramics from Vallauris in the early 1950s are among Picasso’s most desirable, distilling the artist at his most experimental and historically engaged. Due in part to its abundant supply of distinctive pinkish-red clay, ceramic production in Vallauris dates back to the Roman Empire, when the area was a hub of amphorae production. The undulating form and contrasting colors of Grand vase aux danseurs are reminiscent of the vases of antiquity, mirroring Picasso’s fascination with archaeology at that time. The work’s two instrument players, dancing woman, and hand-standing man that flow across the curved surface of the vessel allude to Greco-Roman mythological creatures. The artist was not only influenced by ancient motifs, but also by the region’s longstanding tradition of pottery. The feeling of freedom working in the Madoura studio and living in the historical roots of the surrounding area continually inspired to inspire Picasso’s late work.