Francis Picabia

Sale: Sotheby's, London, July 1, 1987, lot 161
Hilde Gerst Fine Art, New York
Acquired from the above by the present owner circa 1988

Canvas is lined. Spot of brown accretion in upper center near tree. Under UV light, a variety of dots and dashes fluoresce throughout upper left quadrant. A few minor dashes in fence at left. Spot in lower right corner and a few possible small dots in tree. Good impasto overall but area in upper left quadrant is somewhat flattened.
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.

The current work dates from Picabia's early years - a period marked by eager exploration and indicative of a wide range of talent. Picabia consistently defied categorization throughout his career, at first aligning himself with an artistic movement and subsequently separating himself from its edicts. Although much of the work from his Dada and Surrealist years is well known, the current work dates from the first decade of the twentieth century when he explored the possibilities of Neo-Impressionism and the stylistic potentials of Divisionism. As William Camfield highlights: "Picabia's image has been so dominated by his Dada activities that even some friends have found it difficult to believe that he once was an impressionist. Their surprise notwithstanding, virtually every artist who contributed to 'modern' art during the first decade of the twentieth century passed through an impressionist or neo-impressionist phase early in his career; Picabia is exceptional only in the fact that for him Impressionism was not merely a passing phase but a major period" (William Camfield, Francis Picabia: his Art, Life and Times, New York, 1979, p. 8).  Although Picabia employs a Divisionist technique in his depiction of the meandering river and its banks, he uses a freer hand than the specific requirements the style might dictate. The result is an exceptional example of Picabia's ability to master the elements of a style while maintaining a freedom of expression in his work.