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Pablo Picasso
FEMME AU GRAND CHAPEAU. BUSTE
估價
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Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
8,000,00012,000,000
拍品已售 9,322,500 美元 成交價 (含買家佣金)
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19
Pablo Picasso
FEMME AU GRAND CHAPEAU. BUSTE
估價
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
8,000,00012,000,000
拍品已售 9,322,500 美元 成交價 (含買家佣金)
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拍品詳情

Impressionist & Modern Art Evening Sale

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Pablo Picasso
1881 - 1973年
FEMME AU GRAND CHAPEAU. BUSTE
Signed Picasso (upper right); dated 31.5.65 II on the reverse
Oil on canvas
36 ¼ by 28 ¾ in.
92 by 73 cm
Painted on May 31, 1965.
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來源

Galerie Louise Leiris, Paris (acquired from the artist)

Kootz Gallery, New York (probably on consignment from the above)

Patricia Kennedy Lawford, New York (acquired from the above)

出版

Christian Zervos, Pablo Picasso, vol. 25, Paris, 1972, no. 143, illustrated pl. 81

The Picasso Project, ed., Picasso's Paintings, Watercolors, Drawing and Sculpture, The Sixties II, 1964-1967, San Francisco, 2002, no. 65-250, illustrated

Lucien Clergue, The Intimate Picasso, Louis Stern Fine Arts, Los Angeles, 2009, photograph of the artist posing with this picture pl. 17

相關資料

Picasso's art was closely related to his personal life, and the women depicted in his paintings were always influenced by Picasso's female companions at the time.  In Femme au grand chapeau. Buste, the female figure is inspired by Jacqueline, the last love of his life, whom Picasso married in 1961.  Although it is not a direct likeness of Jacqueline, with its large eyes and sharp profile, the seated figure bears the features with which Picasso usually portrayed his wife.  The essence of Jacqueline, who never posed as his model, is always present in his portraits of the period.  As evidenced by vitality of the present picture, Picasso's waning sexual potency is countered by his power of vision and creativity, by the swift, confident application of paint, and the remarkably bold free-flowing treatment of color. The love that Picasso felt for his wife is reflected in the passionate vitality and excitement radiating from the present work.

The relationship and synergy between the artist and model was one of profound complexity, 'the more Picasso painted this theme, the more he pushed the artist-model relationship towards its ultimate conclusion: the artist embraces his model, cancelling out the barrier of the canvas and transforming the artist-model relationship into a man-woman relationship. Painting is an act of love, according to Gert Schiff, and John Richardson speaks of 'sex as metaphor for art, and art as a metaphor for sex' (Marie-Laure Bernadac, 'Picasso 1953-1972: Painting as Model', in Late Picasso (exhibition catalogue), Tate Gallery, London, 1988, p. 77).

In his discussion of Picasso's late works, David Sylvester links them to his early masterpiece, Demoiselles d'Avignon, both distinguished by the 'raw vitality' which they have as their central underlying theme:  "The resemblance of figures in the Demoiselles and in late Picasso to masked tribal dancers is as crucial as their scale in giving them a threatening force.  It is irrelevant whether or not particular faces or bodies are based on particular tribal models: what matters is the air these personages have of coming from a world more primitive, possibly more cannibalistic and certainly more elemental than ours.  Despite the rich assortment of allusions to paintings in the Renaissance tradition, the treatment of space rejects that tradition in favour of an earlier one, the flat unperspectival space of, say, medieval Catalan frescoes...  At twenty five, Picasso's raw vitality was already being enriched by the beginnings of an encyclopaedic awareness of art; at ninety, his encyclopaedic awareness of art was still being enlivened by a raw vitality" (David Sylvester, ibid., p. 144).

The present work belonged to the collector Patricia Kennedy Lawford (1924-2006), the sixth of nine children of Joseph and Rose Kennedy and sister to the 35th president of the United States.  Once married to the actor Peter Lawford, she was known for her love of international travel and for her sophistication, which led her to acquiring this impressive picture.  According to her son Christopher, Mrs. Lawford visited Picasso at his studio in the late 1960s, where she first saw the present work among all of his paintings on view.  She immediately fell in love with the picture and arranged to purchase it through his dealer Kahnweiler at the Galerie Louise Leiris.  Given the Kootz label on the reverse of the painting, it is most likely that Leiris shipped the picture to Kootz in New York for delivery to Mrs. Lawford, who kept it in her private collection for the rest of her life.

Impressionist & Modern Art Evening Sale

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