- 311
Pablo Picasso
Estimate
250,000 - 350,000 USD
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Description
- Pablo Picasso
- Le Transformateur
- Signed Picasso (lower right) and dated 10 juin 53 (upper left)
- Oil on canvas
- 8 5/8 by 10 3/8 in.
- 22 by 27 cm
Provenance
Galerie Louise Leiris, Paris
Herman C. Goldsmith, New York
Aquired from the above by in 1983
Herman C. Goldsmith, New York
Aquired from the above by in 1983
Literature
Christian Zervos, Pablo Picasso, Oeuvres de 1946-1953 vol. XV, Paris, 1965, no. 273, illustrated p. 150
The Picasso Project, Picasso's Paintings, Watercolors, Drawings and Sculpture, The Fifties I, 1959-1955, San Francisco, 2002, no. 53-035, illustrated p. 118
The Picasso Project, Picasso's Paintings, Watercolors, Drawings and Sculpture, The Fifties I, 1959-1955, San Francisco, 2002, no. 53-035, illustrated p. 118
Condition
Canvas is unlined. Surface retains a rich impasto. Lighter pigments in upper portion are slightly dirty. Under UV light no inpainting is apparent, excellent 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 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.
Catalogue Note
At the end of the 1940s, Picasso moved to the villa La Galloise at Vallauris. Here he continued painting portraits and landscapes, while also experimenting with pottery, which became a significant new preoccupation. Most of the works from the summer of 1953 depict Picasso's wife, Françoise Gilot, and their two young children Claude and Paloma, and views of Vallauris, in which Picasso concentrated on capturing the distinctive light of the south of France.
On June 10, 1953, Picasso painted two versions of Le Transformateur, as well as Paysage de Vallauris, all on canvases of similar sizes, with the present work very slightly larger than the other two. Painted at different times throughout the day, this series of landscapes depicts a view of three building surrounded by trees and greenery, all bathed in brilliant sunlight. Picasso has used the end of his brush to scrape into the paint in the foreground and trees, imbuing the surface of the picture with dimension and texture.
Fig. 1 Pablo Picasso, Françoise Gilot and their children in the garden of La Galloise, circa 1953. Photo by Edward Quinn.
On June 10, 1953, Picasso painted two versions of Le Transformateur, as well as Paysage de Vallauris, all on canvases of similar sizes, with the present work very slightly larger than the other two. Painted at different times throughout the day, this series of landscapes depicts a view of three building surrounded by trees and greenery, all bathed in brilliant sunlight. Picasso has used the end of his brush to scrape into the paint in the foreground and trees, imbuing the surface of the picture with dimension and texture.
Fig. 1 Pablo Picasso, Françoise Gilot and their children in the garden of La Galloise, circa 1953. Photo by Edward Quinn.