Pablo Picasso, the Master of Vallauris

Pablo Picasso, the Master of Vallauris

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  © Succession Picasso/DACS 2018

  Pablo Picasso, Taureau dans l'arène (A. R. 80), 1948. Estimate £6,000-8,000.

  Picasso evoked picadors and bulls throughout his artistic output, reminiscing on the popular Spanish pastime and perhaps indicating that he missed his homeland. In this ceramic , rather than depicting the aggression and energy of a bullfight, Picasso chose to depict the bull proud and docile within a halo of vibrant colours.
  

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  © Succession Picasso/DACS 2018

  Pablo Picasso, Vase deux anses hautes (A. R. 213), 1953. Estimate £20,000-30,000.

  For Picasso, the ceramic’s form often dictated the subject matter with which he would decorate it. In this piece , we see Picasso’s decision to turn a modern style amphora into a woman. The neck of the vase has been transformed into a woman’s face, the handles, her arms.
  

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  © Succession Picasso/DACS 2018

  Pablo Picasso, Scène de tauromachie (A. R. 241), 1954. Estimate £3,000-5,000.

  The bull is one of Picasso’s most prolific subjects. Here , Picasso masterfully uses the shape of the bowl to depict the bullfighting arena. The bull is clearly defined while the central picador is only hinted at. The central figures are surrounded by the encroaching crowd and the blazing Spanish sun.
  

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  © Succession Picasso/DACS 2018

  Pablo Picasso, Tête de femme couronnée de fleurs (A. R. 236), 1954. Estimate £15,000-20,000.

  The only ceramics edition signed by the artist’s hand, this vase was originally thrown and then modelled and carved by Picasso. The original pot was then cast to create the empreinte edition. The shape of the face emphasises the heavy eyebrows and eyes of the woman.
  

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  © Succession Picasso/DACS 2018

  Pablo Picasso, Profil de Jacqueline (A. R. 385), 1956. Estimate £4,000-6,000.

  It was at Madoura that Picasso met the subject of this ceramic, his last wife Jacqueline Roque who worked there. Picasso was married to Jacqueline from 1961 until his death, and she became the chief muse of his later years.
  

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  © Succession Picasso/DACS 2018

  Pablo Picasso, Chouette (A. R. 607), 1969. Estimate £7,000-9,000.

  In 1946, Picasso encountered an injured owl hiding in the ramparts of the Musée d’Antibes. Taking the owl home, he and Françoise Gilot cared for the bird, bringing it back to full health. This was the beginning of an unlikely companionship between Picasso and his feathered friend. Here , he inventively morphs the ceramic into the lifelike figure of an owl.
  

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