Wuzon da Block

On a jet-lagged early morning, I’d like to spill my thoughts onto this screen so you can hurry and see these spectacular Picassos, in case you happen to be in the ‘hood.  This time I sojourned in NY with one of our kids, and I have to say that the apostate Sofie chose as the best-in-show not a Picasso at all, but rather a Warhol painting.  Well, Superman is an admittedly spectacular Warhol, but since I’m writing this and not Sofie, it’s not going to be illustrated here.

The 1000-pound gorilla in the room was the unavoidable Les Femmes d’Alger, Version O:

1955 Les Femmes d’Alger, Version O

This Christie’s blockbuster, which is predicted (and I believe also guaranteed) to break the world auction record to the tune of something like $145M USD, was one of 15 paintings and a variety of drawings and prints that Picasso created à la Delacroix, and also as an homage to Matisse, who had died five weeks before Picasso began the series.  Picasso’s friend and really his only rival had famously depicted the harem and other “orientalist” scenes, and, as usual, Picasso wanted to one-up him.  A tribute, yes, but also, shall we say, an improvement.

Past that wonderful painting, the two pieces I was tempted to sneak away with are the print at Christie’s, La Femme qui Pleur, I (the 7th and final state, est. $4-6M):

B1333 La Femme qui Pleur, I, State VII

Last time another impression was auctioned, it broke the $5M mark and thereby set a world’s record for original prints.  (And I am pleased to remind you that it was unsigned.)

The other is the lovely and hilarious ceramic of 1952, Le Hibou Noir (est. $800,000-$1,200,000) at Sotheby’s:

1952 Le Hibou Noir, Soth. NY 2015

Wuzon da Block?

BIRDBRAIN

La Chouette, 1950
La Chouette, 1950

Here’s an owl worth noting at Sotheby’s evening sale in London this week.  In my opinion, it is the one of the two nicest Picasso owls and arguably the most desirable Picasso terracotta or ceramic, period.

This ceramic was one of about a dozen that were cast from a mold, as well as six bronzes.  Picasso then painted each ceramic differently.  The bronze version is lovely and is of course sturdier than the ceramic, but I find the painted terracottas to be more expressive than the bronzes and, in a number of cases, more beautiful.

It is noteworthy that five of these ceramic variants including the current lot (but no bronze) were included in the MOMA’s 1980 Picasso retrospective, the greatest and largest Picasso retrospective that ever was and will ever be.  It is highly significant that any one of them, much less five as well as a photo showing Picasso seated next to one, was included in this show, which had at its disposal the very best of the best.

The provenance of this particular variant is also significant, as it comes from Marina Picasso’s inheritance.

Get your tickets now!

Musée Picasso photo

After five long years of abject deprivation, we can now bask in Picasso Central once again.  Following extensive renovation and a doubling of its exhibition space, Le Musée Picasso reopens tomorrow, on the maitre’s 133 birthday.  It has surely been a long, dry spell….

Wuzon da Block?

Bouffon et Jeune Acrobate  1905, gouache
Bouffon et Jeune Acrobate
1905, gouache

The most beautiful and most important piece in all the auctions is amazingly underpriced.  It’s at Sotheby’s Imp/Mod evening sale, lot 63.  The most recent  comparable sale among the oils and works on paper (WOPs) of 1905 was this one, far smaller and less beautiful:

1905 Saltimbanque assis OPP.034
Saltimbanque assis, 1905
pen + ink + watercolor

This tiny (14.4 cm), faint, unsigned watercolor just brought down 434,500 GBP (710,083 USD) at Sotheby’s London earlier this year.  Yet the Sotheby’s estimate is only $2.5-3.5M for the present 58 cm gouache.

The priciest sale of this gorgeous series of Saltimbanques on paper went for over $38M way back in around 1986, setting a record for a WOP that has not yet been broken:

Acrobate et Jeune Arlequin1905, gouache
Acrobate et Jeune Arlequin
1905, gouache

OK, I’d rather have this record sale, despite my love of The Fat Man, but the fat man and the young acrobat at Sotheby’s is stupendous and a giveaway at this estimate.

Skipping several periods ahead, here’s a WOW surrealist drawing, the most amusing I’ve seen at auction in the series:

Baigneuse au Ballon1929, pen + ink
Baigneuse au Ballon
1929, pen + ink

My third and final pick is the nicest late Picasso on cardboard I’ve ever seen, at Sotheby’s evening sale (and, in my opinion, one of the nicest late Picasso paintings of all in any medium),  a large painting (97 cm) at a very reasonable estimate of  $4-6M:

Tête d'Homme à la Pipe1969, oil on cardboard
Tête d’Homme à la Pipe
1969, oil on cardboard

Good luck at the races, people!

Hijinks in Hong Kong

Hi, Kobi!   Just some comments on the Art Basel Hong Kong show.  Hmmm…where to start?  I met several top art dealers from NY, London, Milan, Paris, etc. who deal in Picasso.  I saw some nice Picassos (and some very disturbing Contemporary Art).  My overall impression is that the people who regularly buy from these dealers must be incredibly naive.  I won’t bore you with all the conversations, just a sampling.

“Provenance? It’s in Zervos, which is a catalogue raisonné (spoken slowly apparently so my slow mind can grasp the French words)…that’s all the proof you need.  If it’s in there it’s genuine.  Here, let me show you a copy of the page.”

“But what if it’s a fake?”  (Apparently few have inquired beyond “Zervos…maybe because there is no letter after Z.)
“We’ve been in business for 20 years.”

I’m thinking, OK, let’s try this another way:  “How about a Certificate of Authenticity?”
From the look on his face, I think few have gone this far as it means an implied question of his integrity.

“I wouldn’t do that…people could attach it to a fake.”

But couldn’t they do the same with your invoice, so what’s the problem?

He’s ready for me:  “Besides it’s the law in the U.S. – I have to guarantee the goods are as sold.”

Before I can respond to his circular logic, he’s looking for a more pliable buyer:  “Ahh, excuse me but I see the Sultan of Brunei, one of my closest BFFs.”

Then I ran into an art dealer whom I had met before who was pushing his expert from Paris and advising me not to ask too many questions or the Parisian would withhold the opportunity to buy his Picassos.  When I asked why that was, he pointed to a man. “See that guy, that’s  one of the richest dudes in HK. He has 3 yachts and he buys from my guy to get the best deals.”

So I have two quick flashes: 1. Not only can’t he possible use 3 yachts but the minute after he bought them, they depreciated more than the national budget of Kenya.  2. If he has that much stupid money, what the hell does he care if he saved a few quid-–isn’t he into the aesthetics of the artwork?  Dr. Watson…something seems out of his kilt here.

Then I encountered another HK dealer whom I had also previously met on my last trip who just said flatly that I wasn’t their kind of client…apparently I knew too much about Picasso….

Moving on…I met with a good framer.  I’ll scan and send you their brochure.

So that’s about it…the Good (Picassos), the Bad (contemporary art) and the Ugly (Ovid’s Metamorphosed Used-Car Salesmen, aka High Art Dealers)…

Regards,

HaoZi

Sell Out

Picasso + Zervos

The Christian Zervos 33-volume catalogue raisonné of Picasso paintings, drawings and sculptures has just been newly reprinted, a collaborative marketing effort between the original publisher, Cahiers d’Art, and Sotheby’s.  The set will soon be available for $20,000 (gulp!).  In a promotional video distributed by Sotheby’s, Staffan Ahrenberg of Cahiers d’Art states, “It contains over 16,000 images, and it has become the most important reference work on Picasso.”

Well, yes and no.  For those antiquarians among us who are still stuck on the original catalogue raisonné, it lends a bit of cache if your Picasso is illustrated in Zervos, though it does not really add value and is by no means necessary to establish authenticity.  But Picasso made many more artworks than those in Zervos, with estimates running as high as 50,000.  Not counting his approximately 3000 prints editioned on paper and in ceramic, that still leaves the majority of his works that escaped Zervos’ attention.

Nonetheless, Sotheby’s Philip Hook proclaims, “The appearance of a new edition of Zervos is incredibly exciting because it gives such a unique insight into how Picasso worked.  Picasso’s work is recorded in such detail in these volumes, and there is absolutely no substitute for them.”

Really?  What about Alan Wofsy’s Picasso Project?  This 23-volume series published over the last few years in San Francisco (the final 3 volumes are expected soon) may have been unauthorized by the Picasso family and Cahiers d’Art, but it has added over a third more artworks than Zervos.  Plus, Wofsy continues to actively update his archives and has already published several 2nd editions.  Not to mention that the collection is available for a small fraction of the price of either the original or the reprinted Zervos.

John Richardson also weighed in on the new edition: “We’ve all been waiting desperately for someone to pick up on it.  And the fact that there is no color in Zervos, I think, is an enormous asset, because I’d much rather have a very accurate black-and-white image of a painting or a drawing than have some sort of garish reproductions.”

Like every Picasso collector I know, I’d love to see a catalogue raisonné in color.  I don’t know about you, but if I were ready to blow 20 grand on a bunch of illustrations of artworks, I’d insist they be in color.  Sure, I’d rather the colors be as accurate as possible–the colors in books often diverge from the actual colors significantly.  But take a look at any contemporary Sotheby’s catalogue–the colors are pretty darn good.  You’d think that Sotheby’s would hold its book-publishing standards as high as those of its catalogues….

Actually, there was an online catalogue raisonné, mostly in color, of Picassos in all mediums, that was endeavoring to post all of his works.  It was replete with descriptions and discussions of the artworks, extensive day-by-day biographical information, and many scholarly articles.  The Online Picasso Project was begun by Professor Enrique Mallen and had already assembled over 20,000 Picassos.  And it was free!

Red hot!  Red hot!  Get them before they sell out!  And hurry!  25% off for pre-ordering in 2013!

A Desperate Thought (for Desperate Times)


1920 Guéridon (title?)

 

Recently I enjoyed a discussion concerning Picasso’s draftsmanship with an art historian (on the way to Jerry Day, of all things!).  Afterwards,  once my thoughts had coalesced, I jotted them down and sent them off to him as well as to another art historian.  Having not heard back from either of them in over a month, I started feeling ignored.  Is it just me, or don’t you just hate it when no one pays you attention?  So in utter desperation, I thought I might run this by you, on the outside chance that you might want to weigh in.

My conversant, Tom, had held that the measure of an artist’s draftsmanship is how accurately and precisely he mimics the physical world in his art.  In his opinion, Picasso was pretty good, but the greats were da Vinci, Michelangelo, and some other Italian I had never heard of.  (Now that I’ve looked up Italian draftstmen, I think he said Correggio.)  Despite his professorial credentials and my lack thereof, I nonetheless brazenly floated the following trial balloon.  I offered, why not add a second parameter to evaluate the draftsmanship of the modern/contemporary artist, not in lieu of his accuracy and precision, but in addition to it? To introduce this concept, I first have to trot out the hackneyed 1934 Picasso quote (but my reason for invoking it is atypical, as you shall see):  “Formerly pictures used to move towards completion in progressive stages. Each day would bring something new. A picture was a sum of additions. With me, picture is a sum of destructions. I do a picture, then I destroy it.”

Without belaboring the quote, no doubt fodder for another lively discussion, I’ll get right to my point.  Many, and probably most, modern and contemporary artists simplify their representations of the physical world, at least in the sense that they strip away detail.  But what often results is not only a simplified but also a misshapen representation.  Of course the misshapen forms can be intentional, certainly in Picasso’s hand.  But all too often the result seems imperfect and weak, born perhaps of an admirable creative impulse yet marred by poor execution.  Picasso on the other hand could pare away detail wholesale, yet what was left not only retained the essence of the object, but often even brought its essence into stark relief.  And when he succeeded–which was most of the time–the form that emerged from the scrap heap was perfect, wondrous, bristling with creativity.  I need not illustrate this point, since innumerable examples spring to mind, no doubt in your mind as well as mine.

Not so with most of the other so-called modern masters.  Take Chagall.  He gets many points for whimsy and creativity, and of course for his use of color, but his figures seem all wrong.  They leave the impression that he couldn’t draw if his life depended on it.

Fine, you say.  But, you ask, what does any of this have to do with draftsmanship?  In so doing, you have brought me full circle to my original point: It is only the master draftsman who can strip away detail and invent new form without damaging the subject.  In Picasso’s hand, the line of the artwork–and therefore the essence of the object–remain intact, enhanced even.  In this sense, Picasso’s draftsmanship is unparalleled.

 

 

Steal of the Season

Christie’s just completed its first Shanghai auction.  It included but one Picasso, a late oil on panel, but it was a doozie:

 


1969 Homme assis 56.6 x 28.7cm $1,906,245 Shanghai 2013
Homme assis, 1969

This musketeer brought in 1,906,245 USD on an estimate of 742,693 to 1,023,266 USD. Although many late Picasso paintings are oversized, about as large as a door, the better ones typically fetch 5 to 10 times this amount.  But I’m not one to overweight size relative to quality when determining value.  As for the quality of the painting, assuming late Picasso appeals to you, you may find yourself agreeing with me that it is wonderful.  I could rhapsodize at length about the style and artistic accomplishments of this hilarious musketeer, but I’ll spare you–for now.  Suffice it to say, despite the fact that the art market is on fire, yet another wonderful Picasso has slipped through the cracks.  Perhaps the take-home is to keep an eye on uncustomary venues.

I trust the new owners will enjoy the company of their charming new houseguest.   Although the auction season has just begun, I’m climbing way out on a limb by awarding the lucky buyers the coveted Steal of the Season award.  (That and 3 bucks might buy you a pot of green tea.)

 

In Memoriam

1971 Harlequin Head, destroyed 1971 Tête d'Arlequin, destroyed 2013

Tête d’arlequin

1971 – 2013

R.I.P.

See the sad NY Times article reporting the theft from a museum in Rotterdam, The Netherlands, and the subsequent cremation of 7 artworks, including this wonderful, late Picasso drawing.