PABLO PICASSO Drawings, Prints and Ceramics. January 31st - March 29th, 2014 UNIQUE WORKS

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1 PABLO PICASSO Drawings, Prints and Ceramics January 31st - March 29th, 2014 UNIQUE WORKS

2 "Une famille Catalane"

3 Malaga Mougins "Une famille Catalane" pen and Indian ink on paper ,4 x 23,5 cm / 12 x 9 1/4 in. signed lower left verso 'Mère et enfant' Palau i Fabre 773 & 775 With a photo-certificate by Claude-Ruiz Picasso, dated June 8, 2010, and a card written by the artist himself, dated June 4, Provenance Sebastia and Carles Junyer-Vidal, Barcelona M. Knoedler & Co., Inc., New York. Joan Whitney Payson, New York (January 1960) Exhibited Colby College Museum of Art, Waterville, Maine The Joan Whitney Payson Collection. Literature J Palau i Fabre. Picasso. The Early Years, New York, 1981.No. 773 (recto) and 775 (verso). P. 309 and 539 with illustration. In 1902, Picasso had just returned to Barcelona. For some time the young artist travelled to and fro between Barcelona and Paris before finally moving to Paris in 1904, where he lived as a bohemian, living in dire conditions and often did not have money to buy painting material. The human figure is a central theme during that time of the famous Blue Period, and among these, he often depicts a mother with a child. In "Une famille Catalane" a young family clad in traditional Catalan costume is proudly presenting itself to the viewer. The woman is shown on horseback carrying her baby, while the man holds the reigns. The austere, upright pose of the mother brings to mind a gothic Madonna. The baby she is carrying in her arm holds a twig in his hand. The drawing has an archaic simplicity which evokes references to religious devotional images.

4 "Enfant et nu à la grappe"

5 Malaga Mougins "Enfant et nu à la grappe" pencil on paper ,3 x 65 cm / 19 7/8 x 25 5/8 in. signed, dated and inscribed ' II' upper left Zervos XXXI / 401 Provenance Private Collection Private collection, Great Britain since 2006 Literature Zervos, Christian. Pablo Picasso, Oeuvres de Paris 1976, vol. XXXI. No. 401, ill. In 1969, the creative energy of the 87 year old Picasso was undiminished, he sought to draw from it until the last breath, ignoring the shortcomings of his aging body. During that year, two great themes characterize his work. One is the self portrait. He created more than 300 paintings, drawings and graphics in which he depicted himself as "Homme" or "Peintre" or "Mousquetaire", alone or with nude women. But all the male figures assume a passive role. In the summer another dominating theme of these years captured his attention: a lasciviously reclining naked Jacqueline. Until autumn, he varied the motif in pencil, crayon, Indian ink, watercolour, painting and graphics.

6 "Flutiste assise et dormeuse, XXII"

7 Malaga Mougins "Flutiste assise et dormeuse, XXII" monotype on 'Arches' laid paper , 9 x 18,7 cm Darstellung / 17,4 x 25,5 cm Blatt / 5 7/8 x 7 3/8 in. image / 6 7/8 x 10 1/16 in. sheet one of only two examples Geiser 485 The work is accompanied by a letter from Claude Ruiz-Picasso confirming the authenticity and that the work was part of the Picasso Succession and is listed in the inventory as no Provenance Studio of the artist Estate of the artist (Succession Picasso, 1973) Private collection, USA Exhibited Annandale Galleries, Australia Literature Geiser, Bernhard. Picasso Peintre-Graveur, Tome II ( ). Berne, No P. 272 ill. Beginning on January 19, 1933 and completed by the end of the same month, Picasso created an extraordinary number of 47 monotypes on the same theme. Each motif, which the artist printed three times at the most, is both creatively distinct yet aesthetically related to the others. Picasso rarely used the monotype technique, which produces a certain softness, enhancing the sensuality of the image. It also provides the artist with greater freedom: painting the image in oil or greasy ink directly onto the polished plate, rather than inscribing it into the metal makes it much easier to correct the image in progress, or wipe the plate clean and start over. It was Picasso himself who pulled the monotypes. The flute and the simple lines evoke both the archaic past of ancient Greek mythology and the idylls of pastoral poetry. Both figures bear Marie-Thérèse s face. Picasso, who was married to Olga Chochlova at the time, had been having an affair with her since 1927.

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