Francis Picabia

Sale: Briest, Paris, December 13, 1997, lot 36
Sale: Artcurial, Paris, December 11, 2002, lot 534
Acquired at the above sale by the present owner

The canvas has been lined. The surface is richly textured. As inherent to the artist's process, a number of fine lines of stable craquelure are scattered throughout. Under UV light: certain original pigments fluoresce and a thick layer of varnish is difficult to read through, through tere are a few small areas of possible inpainting, for example at top right of the female's figure forehead. Overall the work is in very good condition and largely original 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.
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.

In Maternité bleue, a mother and child are displayed with a delicate maternal adoration and timelessness evocative of the Virgin Mary with Jesus. In discussing Picabia’s re-interpretation of the art of the old masters, critics have compared his paintings to those of Pablo Picasso, often incorrectly characterizing Picabia as Picasso’s follower. Maria-Lluïsa Borràs, however, argues that it was Picabia who pioneered this style, stating “Picabia was in fact anticipating by over fifteen years the Picasso who was to take as his theme works by Cranach, Altdorfer, Poussin and Courbet—or the Picasso of the fifties who, before the adoring eyes of the specialists, was to transform the works of El Greco, Delacroix, Velázquez and even Manet in ways not fundamentally different from that used by Picabia in the twenties” (Maria-Lluïsa Borràs, Picabia, New York, 1985, p. 292).