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Pablo PicassoDeux femmes nues se tenantGraphitzeichnung, teils gewischt, auf festem Bütten mit
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Köln
Beschreibung
Pablo Picasso
Deux femmes nues se tenant
Graphitzeichnung, teils gewischt, auf festem Bütten mit Wasserzeichen "INGRES" 63,5 x 46,3 cm Unten rechts mit Bleistift signiert 'Picasso'.
The Picasso Project 06-218; Zervos Bd. 6 (Supplement Bd. 1-5) 875
Provenienz
Galerie Louise Leiris, Paris; Sammlung Augstein, Hamburg; Privatsammlung, Deutschland
Literatur
Josep Palau i Fabre, Picasso Vivent. The Early Years 1881-1907, Barcelona/Köln 1980/1981, Kat. Nr. 1351 mit Abb. S. 471 (“Sketch for ‘Two Nude Women Arm in Arm’”); John Richardson, A Life of Picasso Bd. 1, London u. a. 1991, S. 468 mit Abb. (“Two Nudes”); Alan Wofsy, Picasso's Paintings, Watercolors, Drawings and Sculpture. A Comprehensive Illustrated Catalogue 1885-1973, Volume 17: The Rose Period. The Picasso Project, Alan Wofsy Fine Arts, San Francisco 2012, Kat. Nr. 1906-218, S. 231 mit Abb. ("Nude Version of 'Two Andorran Peasant Women and Face of a Gósol Woman'"); Enrique Mallen (Hg.), Online Picasso Project, Huntsville (TX) 1997-2020, Kat. Nr. 06/317
“Two nudes”, wie diese herausragende Zeichnung des 23-jährigen Picasso in Ausstellungskatalogen auch bezeichnet wird, entstand in einer seiner fruchtbarsten Schaffensperioden zwischen Gósol in Spanien und Paris. Am Ende der Rosa Periode beginnen seine Studien zu einem seiner Hauptwerke „Les Desmoiselles d'Avignon“ (1907), welches einen Wendepunkt in seinem Schaffen darstellt. Picasso zeigte es zunächst wenigen Künstlerfreunden, die aber dessen epochale Bedeutung nicht erkannten - außer Getrude Stein. Sie war tief beeindruckt.
Unsere große Zeichnung kann man als eine der ersten Vorarbeiten dazu lesen. Sie diente direkt als Vorarbeit zu dem gleichnamigen Gemälde (Herbst 1906, 151 x 100 cm, Zervos Bd. 1 360, siehe Vergleichsabb.), heute in einer Schweizer Privatsammlung, und auch für die lavierte Tuschezeichnung „Femmes d'Andorre“ aus der Sammlung des Museum of Modern Art, New York.
Die vorliegende Zeichnung ist zudem im ersten Band von John Richardsons maßgeblicher Publikation „A life of Picasso, 1881-1906“ auf Seite 478 abgebildet, dort betitelt „Due nude, Gósol 1906“, die Provenienz damals Galerie Louise Leiris, Paris.
Eine weitere Vorzeichnung, „Bäuerinnen aus Andorra“ aus dem Sommer 1906 findet sich als Katalognummer 34 in Werner Spies' „Picasso“ (Tübingen 1986), auf Seite 21 ganzseitig abgebildet. Sie befindet sich in der Sammlung des Art Institute Chicago.
Bedeutend ist die Umwandlung der Begegnung zweier Frauen, die noch zu Zeiten der blauen Periode eine stark sozial-moralische Aussage besitzt, zu der reinen Addition zweier Frauen in Gósol. Diese gibt schließlich eine der frühesten wichtigen vorkubistischen Formvariationen ab. Das Nebeneinander der Frauen verliert dabei mehr und mehr an narrativem Gehalt - es gerät zu einer Art von Spiegelung, die die Mehransichtigkeit von Körpern auf einem Blatt festhalten muss.
Keine Arbeit ist dem Gemälde als Bozetto so nahe wie unsere sehr gut erhaltene, große Graphitzeichnung. Kurz danach entstand unter dem Einfluss von Paul Cézanne, der im selben Jahr starb und den Picasso als „unser aller Vater“ bezeichnete, die Weiterentwicklung unserer Zeichnung in dem berühmten Bild gleichen Titels (Zervos Bd. 1 366, siehe Vergleichsabb.), heute im Museum of Modern Art, New York.
Selten kommt eine so bedeutende Zeichnung des jungen Pablo Picasso auf den Markt.
Pablo Picasso
Deux femmes nues se tenant
Graphite drawing, partly wiped, on firm laid paper with watermark "INGRES" 63.5 x 46.3 cm Signed 'Picasso' in pencil lower right.
The Picasso Project 06-218; Zervos vol. 6 (Supplement vol. 1-5) 875
Provenance
Galerie Louise Leiris, Paris; Collection Augstein, Hamburg; Private collection, Germany
Literature
Josep Palau i Fabre, Picasso Vivent. The Early Years 1881-1907, Barcelona/Cologne 1980/1981, cat. no. 1351 with illus. p. 471 (“Sketch for ‘Two Nude Women Arm in Arm’”); John Richardson, A Life of Picasso vol. 1, London i. a. 1991, p. 468 with illus. (“Two Nudes”); Alan Wofsy, Picasso's Paintings, Watercolors, Drawings and Sculpture. A Comprehensive Illustrated Catalogue 1885-1973, Volume 17: The Rose Period. The Picasso Project, Alan Wofsy Fine Arts, San Francisco 2012, cat. no. 1906-218, p. 231 with illus. ("Nude Version of 'Two Andorran Peasant Women and Face of a Gósol Woman'"); Enrique Mallen (ed.), Online Picasso Project, Huntsville (TX) 1997-2020, cat. no. 06/317
This outstanding drawing by the 23-year-old Picasso, which is also referred to as “Two nudes” in exhibition catalogues, was created in one of the most fertile periods of his work, between Gósol in Spain and Paris. The end of the Rose Period is when his studies for one of his most important works begin: “Les Demoiselles d'Avignon” (1907), which represents a turning point in his oeuvre. Picasso first showed it to a few artist friends, however, they did not recognise its epochal significance - except for Gertrude Stein. She was deeply impressed.
Our large drawing can be interpreted as one of the first steps towards this masterpiece. It served directly as a preparatory work for the painting of the same name (autumn 1906, 151 x 100 cm, Zervos vol. 1 360, see comp. illus.), which is now a Swiss private collection, and also for the ink-and-wash drawing “Femmes d'Andorre”, from the collection of New York's Museum of Modern Art.
The present drawing is additionally reproduced on page 478 of volume one of John Richardson's authoritative publication “A life of Picasso, 1881-1906”, where it is titled “Due nude, Gósol 1906” - its provenance at that time was the Galerie Louise Leiris, Paris.
Another preparatory drawing, from the summer of 1906, is to be found as catalogue number 34, “Bäuerinnen aus Andorra”, in Werner Spies's “Picasso” (Tübingen 1986). It is reproduced in a full-page image on page 21 and located in the collection of the Art Institute of Chicago.
It is significant that the encounter between two women, which still possessed a strong social and moral message during the Blue Period, is transformed into the pure addition of two women in Gósol. Finally this represents one of the earliest major pre-Cubist formal variations. In this context, the juxtaposition of the women increasingly loses its narrative content - turning into a kind of mirroring which has to capture the multi-perspectivism of the bodies on one sheet.
No work is as close to the painting in the sense of a bozzetto as our very well preserved, large drawing in graphite. Shortly thereafter - under the influence of Paul Cézanne, who died that same year and whom Picasso referred to as the “father of us all” - he further developed our drawing in the famous picture of the same title (Zervos vol. 1 366, see comp. illus.), now at New York's Museum of Modern Art.
It is rare for such an important drawing by the young Pablo Picasso to enter the market.
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Pablo Picasso
Deux femmes nues se tenant
Graphitzeichnung, teils gewischt, auf festem Bütten mit Wasserzeichen "INGRES" 63,5 x 46,3 cm Unten rechts mit Bleistift signiert 'Picasso'.
The Picasso Project 06-218; Zervos Bd. 6 (Supplement Bd. 1-5) 875
Provenienz
Galerie Louise Leiris, Paris; Sammlung Augstein, Hamburg; Privatsammlung, Deutschland
Literatur
Josep Palau i Fabre, Picasso Vivent. The Early Years 1881-1907, Barcelona/Köln 1980/1981, Kat. Nr. 1351 mit Abb. S. 471 (“Sketch for ‘Two Nude Women Arm in Arm’”); John Richardson, A Life of Picasso Bd. 1, London u. a. 1991, S. 468 mit Abb. (“Two Nudes”); Alan Wofsy, Picasso's Paintings, Watercolors, Drawings and Sculpture. A Comprehensive Illustrated Catalogue 1885-1973, Volume 17: The Rose Period. The Picasso Project, Alan Wofsy Fine Arts, San Francisco 2012, Kat. Nr. 1906-218, S. 231 mit Abb. ("Nude Version of 'Two Andorran Peasant Women and Face of a Gósol Woman'"); Enrique Mallen (Hg.), Online Picasso Project, Huntsville (TX) 1997-2020, Kat. Nr. 06/317
“Two nudes”, wie diese herausragende Zeichnung des 23-jährigen Picasso in Ausstellungskatalogen auch bezeichnet wird, entstand in einer seiner fruchtbarsten Schaffensperioden zwischen Gósol in Spanien und Paris. Am Ende der Rosa Periode beginnen seine Studien zu einem seiner Hauptwerke „Les Desmoiselles d'Avignon“ (1907), welches einen Wendepunkt in seinem Schaffen darstellt. Picasso zeigte es zunächst wenigen Künstlerfreunden, die aber dessen epochale Bedeutung nicht erkannten - außer Getrude Stein. Sie war tief beeindruckt.
Unsere große Zeichnung kann man als eine der ersten Vorarbeiten dazu lesen. Sie diente direkt als Vorarbeit zu dem gleichnamigen Gemälde (Herbst 1906, 151 x 100 cm, Zervos Bd. 1 360, siehe Vergleichsabb.), heute in einer Schweizer Privatsammlung, und auch für die lavierte Tuschezeichnung „Femmes d'Andorre“ aus der Sammlung des Museum of Modern Art, New York.
Die vorliegende Zeichnung ist zudem im ersten Band von John Richardsons maßgeblicher Publikation „A life of Picasso, 1881-1906“ auf Seite 478 abgebildet, dort betitelt „Due nude, Gósol 1906“, die Provenienz damals Galerie Louise Leiris, Paris.
Eine weitere Vorzeichnung, „Bäuerinnen aus Andorra“ aus dem Sommer 1906 findet sich als Katalognummer 34 in Werner Spies' „Picasso“ (Tübingen 1986), auf Seite 21 ganzseitig abgebildet. Sie befindet sich in der Sammlung des Art Institute Chicago.
Bedeutend ist die Umwandlung der Begegnung zweier Frauen, die noch zu Zeiten der blauen Periode eine stark sozial-moralische Aussage besitzt, zu der reinen Addition zweier Frauen in Gósol. Diese gibt schließlich eine der frühesten wichtigen vorkubistischen Formvariationen ab. Das Nebeneinander der Frauen verliert dabei mehr und mehr an narrativem Gehalt - es gerät zu einer Art von Spiegelung, die die Mehransichtigkeit von Körpern auf einem Blatt festhalten muss.
Keine Arbeit ist dem Gemälde als Bozetto so nahe wie unsere sehr gut erhaltene, große Graphitzeichnung. Kurz danach entstand unter dem Einfluss von Paul Cézanne, der im selben Jahr starb und den Picasso als „unser aller Vater“ bezeichnete, die Weiterentwicklung unserer Zeichnung in dem berühmten Bild gleichen Titels (Zervos Bd. 1 366, siehe Vergleichsabb.), heute im Museum of Modern Art, New York.
Selten kommt eine so bedeutende Zeichnung des jungen Pablo Picasso auf den Markt.
Pablo Picasso
Deux femmes nues se tenant
Graphite drawing, partly wiped, on firm laid paper with watermark "INGRES" 63.5 x 46.3 cm Signed 'Picasso' in pencil lower right.
The Picasso Project 06-218; Zervos vol. 6 (Supplement vol. 1-5) 875
Provenance
Galerie Louise Leiris, Paris; Collection Augstein, Hamburg; Private collection, Germany
Literature
Josep Palau i Fabre, Picasso Vivent. The Early Years 1881-1907, Barcelona/Cologne 1980/1981, cat. no. 1351 with illus. p. 471 (“Sketch for ‘Two Nude Women Arm in Arm’”); John Richardson, A Life of Picasso vol. 1, London i. a. 1991, p. 468 with illus. (“Two Nudes”); Alan Wofsy, Picasso's Paintings, Watercolors, Drawings and Sculpture. A Comprehensive Illustrated Catalogue 1885-1973, Volume 17: The Rose Period. The Picasso Project, Alan Wofsy Fine Arts, San Francisco 2012, cat. no. 1906-218, p. 231 with illus. ("Nude Version of 'Two Andorran Peasant Women and Face of a Gósol Woman'"); Enrique Mallen (ed.), Online Picasso Project, Huntsville (TX) 1997-2020, cat. no. 06/317
This outstanding drawing by the 23-year-old Picasso, which is also referred to as “Two nudes” in exhibition catalogues, was created in one of the most fertile periods of his work, between Gósol in Spain and Paris. The end of the Rose Period is when his studies for one of his most important works begin: “Les Demoiselles d'Avignon” (1907), which represents a turning point in his oeuvre. Picasso first showed it to a few artist friends, however, they did not recognise its epochal significance - except for Gertrude Stein. She was deeply impressed.
Our large drawing can be interpreted as one of the first steps towards this masterpiece. It served directly as a preparatory work for the painting of the same name (autumn 1906, 151 x 100 cm, Zervos vol. 1 360, see comp. illus.), which is now a Swiss private collection, and also for the ink-and-wash drawing “Femmes d'Andorre”, from the collection of New York's Museum of Modern Art.
The present drawing is additionally reproduced on page 478 of volume one of John Richardson's authoritative publication “A life of Picasso, 1881-1906”, where it is titled “Due nude, Gósol 1906” - its provenance at that time was the Galerie Louise Leiris, Paris.
Another preparatory drawing, from the summer of 1906, is to be found as catalogue number 34, “Bäuerinnen aus Andorra”, in Werner Spies's “Picasso” (Tübingen 1986). It is reproduced in a full-page image on page 21 and located in the collection of the Art Institute of Chicago.
It is significant that the encounter between two women, which still possessed a strong social and moral message during the Blue Period, is transformed into the pure addition of two women in Gósol. Finally this represents one of the earliest major pre-Cubist formal variations. In this context, the juxtaposition of the women increasingly loses its narrative content - turning into a kind of mirroring which has to capture the multi-perspectivism of the bodies on one sheet.
No work is as close to the painting in the sense of a bozzetto as our very well preserved, large drawing in graphite. Shortly thereafter - under the influence of Paul Cézanne, who died that same year and whom Picasso referred to as the “father of us all” - he further developed our drawing in the famous picture of the same title (Zervos vol. 1 366, see comp. illus.), now at New York's Museum of Modern Art.
It is rare for such an important drawing by the young Pablo Picasso to enter the market.
Moderne und Zeitgenössische Kunst - Evening Sale
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Köln
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Germany
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Conditions of Sale
1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.
4. Warranty claims are excluded. In the event of variances from the catalogue descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of three years after the date of the sale if the object in question proves not to be authentic.
5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere are excluded unless Lempertz acted with wilful intent or gross negligence; the liability for bodily injury or damages caused to health or life remains unaffected. In other regards, point 4 applies.
6. Submission of bids. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. Lempertz reserves the right to grant entry to the auction. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, telephonically or via the internet. The placing of bids in absentia must reach Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with the lot number and item description. In the event of ambiguities, the listed lot number becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of long distance agreements (§ 312b-d of the Civil Code) do not apply. Telephone bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.
7. Carrying out the auction: The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Written bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid
another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence.
8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.
9. Up to a hammer price of € 400,000 a premium of 24 % calculated on the hammer price plus 19 % value added tax (VAT) calculated on the premium only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400,000 (margin scheme). On lots which are characterized by N, an additional 7 % for import tax will be charged. On lots which are characterized by an D, 35% is calculated on the hammer price (24% buyer´s premium + 19% VAT on the premium only + import tax). 31% is calculated on the amount surpassing € 400.000. The D objects contain all taxes, and tehy can not be carried away immediately. On lots which are characterized by an R, the buyer shall pay a premium of 24 % on the hammer price up to € 400,000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose authors are either still alive or died after 31.12.1948, a charge of 1.8 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12,500. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.
10. Successful bidders attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however reserves the right to refuse such a request if it is deemed appropriate.
11. In the case of payment default, Lempertz will charge 1% interest on the outstanding amount of the gross price per month.. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.
12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.
13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the German law for the protection of cultural goods applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods (CISG) are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer
Takuro Ito, Kilian Jay von Seldeneck, auctioneers
