Lot 4
  • 4

Pablo Picasso

Estimate
60,000 - 80,000 EUR
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Description

  • Pablo Picasso
  • MARIE THÉRÈSE DE PROFIL
  • signé Picasso, daté Paris 25 octobre XXXII et dédicacé Pour l'ami L. Fort (en bas à gauche)
  • aquarelle sur papier
  • 31,5 x 24,5 cm ; 12 3/8 x 9 5/8 in.

Condition

Executed on cream wove paper, not laid down. The work is fixed to the mount along all four edges. Apart from a slight discoloration visible on the right and bottom edges possibly due to a previous mount, four tiny pinhead sized spots of foxing and two small scratches in the middle of the right edge, this work is in very good overall 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."

Catalogue Note

signed 'Picasso', dated 'Paris 25 octobre XXXII' and dedicated 'Pour l'ami L. Fort' (lower left), watercolour on paper. Executed on 25th October 1932.

Page précédente : Marie-Thérèse Walter en 1930. Photo : Collection Maya Picasso

Fig. 1  Marie Thérèse à Alfortville avec Dolly, la chienne appartenant à sa mère, en 1932. Photo : Collection Maya Picasso. © Succession Picasso, 2010

Elle avait un visage très saisissant  avec un profil grec. La série entière de portraits de femmes blondes que Pablo a peint entre 1927 et 1935 sont des répliques pratiquement exactes d'elle. [...] Ses formes étaient grassement sculpturales, avec du volume et une pureté dans la ligne qui donnait à son corps et à son visage une perfection extraordinaire... Elle était un magnifique modèle.

Françoise Gilot
(cité in Gilot & Lake, 1964, p. 224 -  repris in Picasso et les femmes, Kunstsammlungen Chemnitz, 2003, p. 162)