Pablo Picasso (1881-1973)
From La Suite Vollard, 1931; Drypoint on three sided deckled Montval laid paper; Signed in pencil Picasso bottom right, dated XX-VI-MCM.XXXI in the plate upper right; From the edition of 260, full sheet, with Picasso watermark; Printed by Lacourière, Paris; Published by Vollard, Paris; Size - Plate 366 x 297 mm., Sheet 450 x 339 mm., Frame 38 x 33 1/2"; Framed with a black wood frame & fillet, two acid free linen mats, & UV plexiglass; Catalogue Raisonne: B. 138, Ba. 203 IIBd; Price On Request!
Chouette (Wood Owl) Vase, 1969; Partially glazed white earthenware vase painted in colors; Numbered 105/500; Inscribed 'EDITION PICASSO' and 'R-148 MADOURA', with the 'MADOURA PLEIN FEU' and the 'EDITION PICASSO' pottery stamps on the underside; Size - Wood Owl Vase: 11 3/4" x 5 1/2" x 8 1/2"; Catalogue Raisonne: A.R. 605; Price On Request!
Nature Morte Sur Une Table Carrée (Still Life On A Square Table), Executed December 1922; Gouache, pen and brush, and black ink on paper; Signed Picasso in ink upper left; Size - Sheet 5 1/2 x 4 1/8", Frame 16 3/4 x 16 1/2"; Framed floated on a custom wrapped linen mat, silver wood frame, and plexiglass; Catalogue Raisonne: C. Zervos, Pablo Picasso, Paris, 1973, vol. 30, no. 411 (illustrated, pl. 132); SOLD!
Chouette (Wood Owl) Vase, 1968; Partially glazed white earthenware engraved vase painted in colors; Numbered 343/500; Inscribed 'EDITION PICASSO' and 'R141 MADOURA', with the 'MADOURA PLEIN FEU' and the 'EDITION PICASSO' pottery stamps on the underside; Size - Wood Owl Vase: 11 3/4" x 6 1/2" x 9 1/2"; Catalogue Raisonne: A.R. 543; SOLD!
Mains Au Poisson (Fish In Hands) Bowl, 1953; Partially glazed terracotta earthenware engraved bowl painted in colors; Numbered 114/250; 'EMPREINTE ORIGINALE DE PICASSO' and 'MADOURA PLEIN FEU' pottery stamps on the underside; Size - Diameter: 11 3/4"; Catalogue Raisonne: A.R. 215; Unframed; SOLD!
Tete De Bouffon or Carnaval (Head of a Jester or Carnival); Linocut in black and brown, 1965, on Arches, signed in pencil, numbered 66/160; framed; Size - Image: 25 1/8" x 20 5/8", Sheet: 29 3/8" x 24¼", Frame 50 x 43 1/2"; Framed with two linen mats, a black wood fillet, a black and brown wood frame, and UV conservation clear glass; Catalog Raisonne: B. 1193, Ba. 1356, L-182; SOLD!
Chouette aux taches (Owl with spots) Vase, 1951; White earthenware ceramic vase with colored engobe and glaze; From the edition of 300; Inscribed 'Edition Picasso' and with the 'D'Après Picasso and Madoura Plein Feu pottery stamps on the underside; Size - Chouette aux taches (Owl with spots) Vase: 11 3/4" x 6" x 8 3/4"; Catalogue Raisonne: A.R. 120; SOLD!
Raphaël et la Fornarina XXIV, pl. 317, from Séries 347, 1968; Etching on wove paper; Signed in pencil Picasso bottom right, dated 8-9-68 in the plate, center; One of 17 artist's proofs aside from the numbered edition of 50; Published by Galerie Louise Leiris, Paris, 1969; Ex. Collection: Marina Picasso (Lugt 3698) with her stamp verso; Framed; Size - Plate 5 3/4 x 8 1/4", Sheet 11 x 13 5/8", Frame 17 3/4 x 19 1/2"; Catalogue Raisonne: B. 1797; Ba. 1814; SOLD!
Chouette (Wood Owl) Vase, 1969; Partially glazed white earthenware vase painted in colors; Numbered 127/500; Inscribed 'EDITION PICASSO' and 'R147 MADOURA', with the 'MADOURA PLEIN FEU' and the 'EDITION PICASSO' pottery stamps on the underside; Size - Wood Owl Vase: 11 1/2" x 5 1/2" x 8 1/2"; Catalogue Raisonne: A.R. 605; SOLD!
Dove Subject, 1959; Glazed white earthenware pitcher painted in blue and black with white enamel; Numbered 173/500; Inscribed 'EDITION PICASSO' and 'MADOURA', with the 'MADOURA PLEIN FEU' and the 'EDITION PICASSO' pottery stamps on the underside; Size - Dove Pitcher: 6" x 8 3/4" x 4 1/2"; Catalogue Raisonne: A.R. 435; SOLD!
Paysan et Maja, pl. 74, from Series 156, 1971; Etching on wove paper; Signed in pencil Picasso lower right, numbered 19/50 in pencil lower left; dated 11-3-71 in the plate lower center; Published by Edition Galerie Louise Leiris, Paris; Size - Plate 8 1/8 x 5 7/8", Sheet 12 7/8 x 10", Frame 19 x 16"; Framed sheet floated and matted, black wood exterior frame, and plexiglass; Catalogue Raisonne: B. 1929; Ba. 1938; SOLD!
Quatre Visages (Four Faces), 1959; White earthenware ceramic pitcher with colored engobe and glaze; Numbered 183/300, Inscribed 'EDITION PICASSO MADOURA', with the 'MADOURA PLEIN FEU' and the 'EDITION PICASSO' pottery stamps on the underside; Size - Quatre Visages (Four Faces): 9" x 7 1/2" x 7 1/2"; Catalogue Raisonne: A.R. 436; SOLD!
Diaulos Player and Faun, 1956; Unglazed white earthenware plate; From the edition of 100; Incised 'R=B101', with the 'EMPREINTE ORIGINALE DE PICASSO' and 'MADOURA PLEIN FEU' pottery stamps on the verso; Size - Plate: Diameter 12 1/2", Frame 23 1/2 x 23 1/2"; Catalogue Raisonne: A.R. 342; Framed floated on a linen mat with a gold wood frame; SOLD!
Hibou (Owl), 1954; White earthenware ceramic pitcher partially engraved with colored engobe and glaze; From the edition of 500; Inscribed 'EDITION PICASSO MADOURA', with the 'MADOURA PLEIN FEU' and the 'EDITION PICASSO' pottery stamps on the underside; Size - Hibou (Owl): 9 1/2" x 7 1/4" x 7 1/4"; Catalogue Raisonne: A.R. 253; SOLD!
Pichet têtes, 1953; White earthenware ceramic pitcher with black oxide and white glaze; From the edition of 500; Inscribed 'EDITION PICASSO' and 'MADOURA', with the 'MADOURA PLEIN FEU' and the 'EDITION PICASSO' pottery stamps on the underside; Size - Pichet têtes: 5 1/2" x 6" x 6"; Catalogue Raisonne: A.R. 221; SOLD!
Three Figures On A Trampoline, 1956; Partially glazed white earthenware convex wall plaque, painted in ivory and brown, from the edition of 500, with the 'Madoura Plein Feu' and 'Empreinte Originale de Picasso' stamps verso; Size - Plaque 7 1/2 x 7 1/2"; Catalogue Raisonne: A.R. 375; Unframed; SOLD!
Etude de profils (Study of Profiles); 1948, Lithograph on wove paper; Signed in pencil Picasso bottom right and numbered 47/50 in pencil bottom left; Dated 6.12.48 in the plate lower left; The full sheet, with margins; Framed floated using acid free hinges; and framed using a black wood frame, two linen mats, a black wood fillet, and UV conservation clear glass; Catalogue Raisonne: Bloch 581; Mourlot 132; Cantz 432; Rau 404; SOLD!
Three figures on a trampoline, 1956; Partially glazed white earthenware convex wall plaque, painted in ivory and brown, from the edition of 500, with the 'Madoura Plein Feu' and 'Empreinte Originale de Picasso' stamps verso; Size - Plaque 7 1/2 x 7 1/2"; Catalogue Raisonne: A.R. 374; Unframed; SOLD!
Picador Pitcher, 1952; Terracotta pitcher with black glaze; From the edition of 500; Inscribed 'EDITION PICASSO MADOURA' underside; Size - Picador Pitcher: 5 1/4" x 3 3/4" x 4 1/2"; Catalogue Raisonne: A.R. 162; SOLD!
Femme Echevelee (Dishevelled Woman), 1963; Unglazed white earthenware plate; Numbered 4/100 and marked T.103 in ink, with the 'EMPREINTE ORIGINALE DE PICASSO' and 'MADOURA PLEIN FEU' pottery stamps on the verso; Catalogue Raisonne: A.R. 510; Size - Plate: Diameter 10 1/2"; Unframed; SOLD!
Contrée Femme Assise (Seated Woman/Dora Maar), 1943; Etching on Lafuma pur fil wove; Signed and dated in the plate upper right; Size - Plate 9 1/2 x 5 1/4", Sheet 11 x 7 1/2"; Catalogue Raisonne: Bloch 362; Baer 689Bb; Cramer 39; Unframed; SOLD!
Chouette (Wood Owl) Vase, 1968; Partially glazed white earthenware engraved vase painted in colors; Numbered 343/500; Inscribed 'EDITION PICASSO' and 'R141 MADOURA', with the 'MADOURA PLEIN FEU' and the 'EDITION PICASSO' pottery stamps on the underside; Size - Wood Owl Vase: 11 3/4" x 6 1/2" x 9 1/2"; Catalogue Raisonne: A.R. 543.
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During the late 1940s, Pablo Picasso spent the summers on the Cote d'Azur in the South of France. There the artist visited Vallauris for the annual pottery exhibition in 1946. He was impressed by the quality of the Madoura works and was introduced to the owners, Suzanne and Georges Ramié. The Ramiés welcomed the famous artist into their workshop and gave him access to all the tools and resources the he needed in order to work in the medium of ceramics. In exchange, the Ramié family would produce and sell his limited edition ceramic works and this relationship spanned 25 years. It was also at the Madoura factory in 1953 that Picasso met Jacqueline Roque, who would become his second wife in 1961.
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The Market for Picasso ceramics has been steadily rising as outlined by a recent article:
"Over the past 10 years, the market for Picasso ceramics has steadily grown, with seasoned collectors and new buyers alike vying for Picasso's editioned and unique ceramics at auction. This market is stable, with a steady high sell-through rate around 89% (87% in 2004, 89% in 2005, 87% in 2011, and 90% in 2012), and prices that are still lower than the rest of Picasso's work. The broad range of estimates
and sales prices help make this market attractive to many collectors, but also explain the high average sales prices, which are skewed by a few exceptional pieces. In the previous two years, more than 60 exceptional ceramic works sold for over US$100,000: 34 in 2011 and 29 in 2012 (vs. six in 2004 and 2005)." - The Story Behind Picasso Ceramics, by Fanny Lakoubay and Conner Williams, 2013
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The famed artist Georges Bloch stated of Picasso’s ceramic works:
"…in approach, material and technique is as novel as it is interesting. Pottery, gleaming white discs with relief designs, monochrome or brightly coloured ovals, dishes and even jugs and vases here serve as bearers of compositions whose themes express the joyous, life-loving side of Picasso’s work. They are printed from blocks and stamps fashioned by the master over a period of more than twenty years in the Madoura pottery workshop in Vallauris.”
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From Charles Mathes's site valuethoughts.com:
"In 1946 Picasso was staying near Antibes in the South of France and decorating the walls of what would become the Musée Picasso. A small owl with an injured claw that had been found in a corner ended up living with him and his lover, Francois Gilot. According to Gilot in her book “Life With Picasso” the owl was an ill-tempered creature who smelled awful and ate only mice. The owl would snort at Picasso and bite his fingers; Picasso would reply with a string of obscenities just to show the bird who was the most ill-tempered. Clearly bad manners were the way to Picasso’s heart for not only did he do a number of paintings, drawings and prints of owls, he created numerous ceramics."
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Picasso would use the owl in paintings, prints, drawings, sculptures, and ceramics for the rest of his life. After Picasso's death, drawings were found that illustrate that the form used for the owl ceramics had been made during the time in 1946 when the wood owl first appeared in Picasso's atelier. This is a wonderful owl vase ceramic created in 1968, and the painting of the vessel is beautifully rendered in browns, green, black, and cream colors. The brushstrokes are consistent with free form feathers making up the wings, head, and feet. This is a spectacular piece of original Picasso artwork and a great addition for any art collection!
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