Details

Provenance

The Pace Gallery, New York Private Collection, Belgium Acquired from the above by the present owner in the 1990s

Exhibited

New York, James Goodman Gallery, Inc., Paintings, Watercolors & Drawings by Dubuffet, Léger & Picasso , 1988, no. 8

Literature

Christian Zervos, Pablo Picasso , Paris, 1974, vol. XXVIII, no. 94, illustrated p. 48 Condition Executed on cream wove paper, not laid down. The sheet is fixed to the mount along the edges. The upper and left edges are irregular. A close inspection reveals three flattened creases towards the lower left corner with associated minor restored tears. Apart from a few spots of foxing and some light time-staining, mostly along the edges, this work is in very good 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 "In his sketchbooks Picasso would always generate more ideas than he could work out on canvas. This was very much the case in 1912, when the increasing complexity of cubism obliged him to paint with unaccustomed slowness. Only pen and pencil could keep pace with the outpourings of his imagination. [...] What draftsman since Leonardo (incidentally, one of the very few Italian masters for whom Picasso had a good word) has brought off such a feat? These drawings also reveal Picasso to be a sculptor, albeit a conceptual one, of infinite imagination and ingenuity." John Richardson, A Life of Picasso , London, 1996, vol. II : 1907-1917, p. 248

Catalog summary

Pablo Picasso Homme assis graphite on paper 31.7 by 25.6 cm ; 12 1/2 by 10 1/8 in. Provenance The Pace Gallery, New York Private Collection, Belgium Acquired from the above by the present owner in the 1990s Exhibited New York, James Goodman Gallery, Inc., Paintings, Watercolors & Drawings by Dubuffet, Léger & Picasso , 1988, no. 8 Literature Christian Zervos, Pablo Picasso , Paris, 1974, vol. XXVIII, no. 94, illustrated p. 48 Condition Executed on cream wove paper, not laid down. The sheet is fixed to the mount along the edges. The upper and left edges are irregular. A close inspection reveals three flattened creases towards the lower left corner with associated minor restored tears. Apart from a few spots of foxing and some light time-staining, mostly along the edges, this work is in very good 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 "In his sketchbooks Picasso would always generate more ideas than he could work out on canvas. This was very much the case in 1912, when the increasing complexity of cubism obliged him to paint with unaccustomed slowness. Only pen and pencil could keep pace with the outpourings of his imagination. [...] What draftsman since Leonardo (incidentally, one of the very few Italian masters for whom Picasso had a good word) has brought off such a feat? These drawings also reveal Picasso to be a sculptor, albeit a conceptual one, of infinite imagination and ingenuity." John Richardson, A Life of Picasso , London, 1996, vol. II : 1907-1917, p. 248