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HomeFemme Assise Près D'une Fenêtre (Marie-thérèse)
「15B」Pablo Picasso
Femme Assise Près D'une Fenêtre (Marie-thérèse)
1932 | Oil Canvas
146×114 cm | 1.66 m²
Estimate on request
Description
Detail
Details Pablo Picasso (1881-1973) Femme assise près d'une fenêtre (Marie-Thérèse) dated and inscribed 'Boisgeloup 30 Octobre XXXII' (on a piece of the original stretcher affixed to the stretcher) oil on canvas 57 ½ x 44 7/8 in. (146 x 114 cm.) Painted in Boisgeloup on 30 October 1932. Provenance Estate of the artist. Marina Picasso, Paris (by descent from the above). Galerie Jan Krugier, New York (acquired from the above). Stephen Hahn, New York (acquired from the above,1985). Anon. sale, Christie’s, New York, 14 May 1997, lot 50. Private collection (acquired at the above sale). Private collection, Europe (acquired from the above); sale, Sotheby’s, London, 5 February 2013, lot 12. Acquired at the above sale by the present owner. Literature J. Harrison, "The Story Behind a Legend: Picasso Comes to Australia" in Arts National, September 1984, pp. 80-86 (illustrated in color, p. 81). J. Palau i Fabre, Picasso: From the Minotaur to Guernica, 1927-1939, Barcelona, 2011, p. 433, no. 302 (illustrated in color, p. 108). Exhibited Munich, Haus der Kunst; Cologne, Josef-Haubrich-Kunsthalle; Frankfurt, Städtische Galerie im Städelschen Kunstinstitut and Kunsthaus Zürich, Pablo Picasso, Sammlung Marina Picasso, February 1981-March 1982, p. 328, no. 164 (illustrated in color, p. 106, pl. 35; illustrated again, p. 328). Venice, Centro di Cultura di Palazzo Grassi, Picasso, Opere dal 1895 al 1971 dalla Collezione Marina Picasso, May-July 1981, p. 319, no. 210 (illustrated in color, p. 117, pl. 45; illustrated again, p. 319). Tokyo, The National Museum of Modern Art and Kyoto Municipal Museum, Picasso, Masterpieces from Marina Picasso Collection and Museums in U.S.A. and U.S.S.R., April-July 1983, p. 111, no. 128 (illustrated in color). Melbourne, National Gallery of Victoria and Sydney, Art Gallery of New South Wales, Picasso, July-December 1984, pp. 109 and 211, no. 100 (illustrated in color, p. 109; illustrated again in color on the back cover). New York, William Beadleston, Inc., Through the Eye of Picasso, 1928-1934: The Dinard Sketchbook and Related Paintings and Sculpture, October-December 1985, no. 72 (illustrated in color; detail illustrated on the frontispiece). New York, Acquavella Galleries, Inc., Picasso’s Marie-Thérèse, October-November 2008, pp. 55 and 77 (illustrated in color, p. 54, pl. 5). New York, Gagosian Gallery, L’Amour fou: Picasso and Marie-Thérèse, April-June 2011, p. 164 (illustrated in color, p. 165). Hamburg, Bucerius Kunst Forum, Fenster zur Welt, February-May 2016, p. 102, no. 19 (illustrated in color, p. 103; detail illustrated in color, p. 105). Paris, Musée national Picasso, Picasso 1932, année érotique, October 2017-February 2018, pp. 190 and 232, no. 143 (illustrated in color, p. 191). London, Tate Modern, The EY Exhibition: Picasso 1932, Love Fame Tragedy, March-September 2018, pp. 25 and 259 (illustrated in color, p. 215). Special Notice On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. Where Christie's has provided a Minimum Price Guarantee it is at risk of making a loss, which can be significant, if the lot fails to sell. Christie's therefore sometimes chooses to share that risk with a third party. In such cases the third party agrees prior to the auction to place an irrevocable written bid on the lot. The third party is therefore committed to bidding on the lot and, even if there are no other bids, buying the lot at the level of the written bid unless there are any higher bids. In doing so, the third party takes on all or part of the risk of the lot not being sold. If the lot is not sold, the third party may incur a loss. The third party will be remunerated in exchange for accepting this risk based on a fixed fee if the third party is the successful bidder or on the final hammer price in the event that the third party is not the successful bidder. The third party may also bid for the lot above the written bid. Where it does so, and is the successful bidder, the fixed fee for taking on the guarantee risk may be netted against the final purchase price. Third party guarantors are required by us to disclose to anyone they are advising their financial interest in any lots they are guaranteeing. However, for the avoidance of any doubt, if you are advised by or bidding through an agent on a lot identified as being subject to a third party guarantee you should always ask your agent to confirm whether or not he or she has a financial interest in relation to the lot. Post Lot Text Claude Picasso has confirmed the authenticity of this work. Maya Widmaier-Picasso has confirmed the authenticity of this work.
Auction date:
13 May 2021
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