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232

Pablo PicassoFrançoise Lithograph on wove paper with watermark "Arches". 59.4 x 48.7 cm (65.6 x

In Modern Art

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Pablo PicassoFrançoise  Lithograph on wove paper with watermark "Arches". 59.4 x 48.7 cm (65.6 x
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Pablo Picasso
Françoise

Lithograph on wove paper with watermark "Arches". 59.4 x 48.7 cm (65.6 x 49.9 cm). Framed under glass. Signed and numbered. Proof 7/50. - The paper evenly slightly browned in former mat opening, to the deckle edges with narrow light-stain.

Mourlot 40; Bloch 396

Provenance
Acquired in the 1950s in the Parisian art trade; since then in family possession

Literature
Ernst-Gerhard Güse, Die Lithographien Pablo Picassos, in: Pablo Picasso. Die Lithographien, exhib.cat. Kunsthalle Bremen i.a., Stuttgart 1988, p. 11-18

In a single day, on 14 June 1946, Picasso created a series of 10 large-format lithographs that have become famous; each depicts his companion Françoise Gilot in full face (Mourlot 38-47; Bloch 396-403). He had met the young painter in 1943 and her features are present in lithographic works by Picasso from 1945 onwards. All ten portraits were created on lithographic paper and were transferred to the stone. In this process the same stone was used and was ground off anew for each lithograph (cf. Güse, op. cit.).
Françoise Gilot recalled the preceding portrait drawings: “Pablo stood two to three metres away from me with a tensed and enraptured facial expression. He did not take his eyes off me for a second. He did not touch his sketchbook and did not even have a pencil in his hand yet. Finally he said: 'Now I see what I have to do.' [...] The next day Pablo began drawing a series of drawings of me in this pose from memory. Then a series of eleven lithographs of my head appeared [the 10 lithographs of 14 June as well as the lithograph 'Françoise en soleil', which was created one day later]. He added a tiny birthmark under my left eye to each of them, and he drew my right eyebrow in the form of a circumflex.” (cited in: Françoise Gilot/Carlton Lake, Leben mit Picasso, Munich 1965, p. 113).

Pablo Picasso
Françoise

Original-Lithographie auf Velin mit Wasserzeichen "Arches". 59,4 x 48,7 cm (65,6 x 49,9 cm). Unter Glas gerahmt. Signiert und nummeriert. Exemplar 7/50. - Papier im ehemaligen Passepartout-Ausschnitt gleichmäßig leicht gebräunt, an den Büttenkanten mit schmalem Lichtrand.

Mourlot 40; Bloch 396

Provenienz
In den 1950er Jahren in Paris im Handel erworben; seitdem in Familienbesitz

Literatur
Ernst-Gerhard Güse, Die Lithographien Pablo Picassos, in: Pablo Picasso. Die Lithographien, Ausst. Kat. Kunsthalle Bremen u.a., Stuttgart 1988, S. 11-18

An einem einzigen Tag, dem 14. Juni 1946, schuf Picasso eine berühmt gewordene Folge von 10 grossformatigen Lithographien, die jeweils seine Lebensgefährtin Françoise Gilot en face wiedergeben (Mourlot 38-47; Bloch 396-403). 1943 hatte er die junge Malerin kennengelernt, seit 1945 sind ihre Gesichtszüge in lithographischen Arbeiten Picassos präsent. Alle zehn Porträts entstanden auf Lithopapier und wurden auf Stein abgeklatscht. Dabei wurde jeweils derselbe Stein verwendet, er wurde also für jede Lithographie neu abgeschliffen (siehe dazu Güse, a.a.O.).
Françoise Gilot erinnerte sich an die vorangegangenen Porträtzeichnungen: "Pablo stand mit einem gespannten und entrückten Gesichtsausdruck zwei bis drei Meter von mir entfernt. Er ließ mich nicht eine Sekunde aus den Augen. Er rührte seinen Zeichenblock nicht an und hatte noch nicht einmal einen Bleistift in der Hand. Schließlich sagte er: 'Ich sehe nun, was ich tun muß.' [...] Am nächsten Tag begann Pablo aus dem Gedächtnis eine Reihe von Zeichnungen von mir in dieser Stellung. Dann entstand eine Folge von elf Lithographien meines Kopfes [die 10 Lithographien vom 14. Juni sowie die einen Tag später geschaffene Lithographie "Françoise en soleil"]. Auf jeder brachte er ein winziges Muttermal unter meinem linken Auge an, meine rechte Augenbraue zeichnete er in Form eines Zirkumflexes." (zit. nach: Françoise Gilot/Carlton Lake, Leben mit Picasso, München
Pablo Picasso
Françoise

Lithograph on wove paper with watermark "Arches". 59.4 x 48.7 cm (65.6 x 49.9 cm). Framed under glass. Signed and numbered. Proof 7/50. - The paper evenly slightly browned in former mat opening, to the deckle edges with narrow light-stain.

Mourlot 40; Bloch 396

Provenance
Acquired in the 1950s in the Parisian art trade; since then in family possession

Literature
Ernst-Gerhard Güse, Die Lithographien Pablo Picassos, in: Pablo Picasso. Die Lithographien, exhib.cat. Kunsthalle Bremen i.a., Stuttgart 1988, p. 11-18

In a single day, on 14 June 1946, Picasso created a series of 10 large-format lithographs that have become famous; each depicts his companion Françoise Gilot in full face (Mourlot 38-47; Bloch 396-403). He had met the young painter in 1943 and her features are present in lithographic works by Picasso from 1945 onwards. All ten portraits were created on lithographic paper and were transferred to the stone. In this process the same stone was used and was ground off anew for each lithograph (cf. Güse, op. cit.).
Françoise Gilot recalled the preceding portrait drawings: “Pablo stood two to three metres away from me with a tensed and enraptured facial expression. He did not take his eyes off me for a second. He did not touch his sketchbook and did not even have a pencil in his hand yet. Finally he said: 'Now I see what I have to do.' [...] The next day Pablo began drawing a series of drawings of me in this pose from memory. Then a series of eleven lithographs of my head appeared [the 10 lithographs of 14 June as well as the lithograph 'Françoise en soleil', which was created one day later]. He added a tiny birthmark under my left eye to each of them, and he drew my right eyebrow in the form of a circumflex.” (cited in: Françoise Gilot/Carlton Lake, Leben mit Picasso, Munich 1965, p. 113).

Pablo Picasso
Françoise

Original-Lithographie auf Velin mit Wasserzeichen "Arches". 59,4 x 48,7 cm (65,6 x 49,9 cm). Unter Glas gerahmt. Signiert und nummeriert. Exemplar 7/50. - Papier im ehemaligen Passepartout-Ausschnitt gleichmäßig leicht gebräunt, an den Büttenkanten mit schmalem Lichtrand.

Mourlot 40; Bloch 396

Provenienz
In den 1950er Jahren in Paris im Handel erworben; seitdem in Familienbesitz

Literatur
Ernst-Gerhard Güse, Die Lithographien Pablo Picassos, in: Pablo Picasso. Die Lithographien, Ausst. Kat. Kunsthalle Bremen u.a., Stuttgart 1988, S. 11-18

An einem einzigen Tag, dem 14. Juni 1946, schuf Picasso eine berühmt gewordene Folge von 10 grossformatigen Lithographien, die jeweils seine Lebensgefährtin Françoise Gilot en face wiedergeben (Mourlot 38-47; Bloch 396-403). 1943 hatte er die junge Malerin kennengelernt, seit 1945 sind ihre Gesichtszüge in lithographischen Arbeiten Picassos präsent. Alle zehn Porträts entstanden auf Lithopapier und wurden auf Stein abgeklatscht. Dabei wurde jeweils derselbe Stein verwendet, er wurde also für jede Lithographie neu abgeschliffen (siehe dazu Güse, a.a.O.).
Françoise Gilot erinnerte sich an die vorangegangenen Porträtzeichnungen: "Pablo stand mit einem gespannten und entrückten Gesichtsausdruck zwei bis drei Meter von mir entfernt. Er ließ mich nicht eine Sekunde aus den Augen. Er rührte seinen Zeichenblock nicht an und hatte noch nicht einmal einen Bleistift in der Hand. Schließlich sagte er: 'Ich sehe nun, was ich tun muß.' [...] Am nächsten Tag begann Pablo aus dem Gedächtnis eine Reihe von Zeichnungen von mir in dieser Stellung. Dann entstand eine Folge von elf Lithographien meines Kopfes [die 10 Lithographien vom 14. Juni sowie die einen Tag später geschaffene Lithographie "Françoise en soleil"]. Auf jeder brachte er ein winziges Muttermal unter meinem linken Auge an, meine rechte Augenbraue zeichnete er in Form eines Zirkumflexes." (zit. nach: Françoise Gilot/Carlton Lake, Leben mit Picasso, München

Modern Art

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.

Wichtige Informationen

Up to a hammer price of € 400.000.- a premium of 24 % calculated on the hammer price plus 19 % value added tax calculated (VAT) on the surcharge 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 ** an additional 7 % for import tax will be added. On lots which are characterised by an *, the buyer shall pay a premium of 24 % on a 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 author died after 31.12.1943, a charge of 1,9 % 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. 

AGB

Conditions of Sale

1. The art auction house, Kunsthaus Lempertz (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.

The gold content of objects without fineness stamps are ascertained using an acid test. The size and quality of gemstones are ascertained within the settings, unless mentioned otherwise. Assessments of the clarity and colour of gemstones are subject to the subjective perception. Minor divergences from the values provided do not represent deficiencies. References to gemmological certifications are used purely for informational purposes, and do not provide a guarantee. The watches listed have been opened to be catalogued, but we cannot guarantee for their accuracy and function.
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 two 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 ticket number and item description. In the event of ambiguities, the listed ticket 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. Telephonic 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. 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 calculated (VAT) on the surcharge 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 ** an additional 7 % for import tax will be added. On lots which are characterised by an *, the buyer shall pay a premium of 24 % on a 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 author died after 31.12.1943, a charge of 1,9 % 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 also reserves the right to refuse such a request if it is deemed appropriate.
11. In the case of payment default, Lempertz will charge interest on the outstanding amount at a rate of 1 % of the gross price per month or part 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 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, Auctioneer

 

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