PABLO PICASSO | PICHET À GLACE (A. R. 142)

Terre de faïence pitcher, 1952, numbered 21/100, inscribed 'Edition Picasso' and 'Madoura', glazed and painted, with the Edition Picasso and Madoura stamps

Dimensions: 11.5" Tall x 11" x 7",

Artist: Pablo Picasso

Notes: Although care is taken to photograph and describe the item, absence of a condition report does not imply perfect condition. It is the responsibility of the buyer to verify the condition of the item, either in person during our viewing hours prior to auction or through requested condition reports. All bids are final and are subject to our terms and conditions

Appeal and Historical Essay:
Pablo Picasso's venture into ceramics represents a significant and vibrant chapter in his expansive artistic career, primarily spanning from 1947 until his death in 1973. While he was already a globally renowned figure for his groundbreaking work in painting, sculpture, and printmaking, his engagement with clay marked a new avenue for his boundless creativity and a surprising late-career development.

The genesis of Picasso's ceramic period occurred in 1946 when he visited an annual pottery exhibition in Vallauris, a town in the South of France known for its long history of ceramic production. He was particularly captivated by the work displayed at the Madoura Pottery studio, owned by Suzanne and Georges Ramié. Impressed by their craftsmanship, Picasso was invited to work in their studio.

What began as an experimental diversion quickly blossomed into a profound and prolific artistic endeavor. The Ramiés provided Picasso with access to their tools, materials, and expertise, allowing him to explore the medium with intense curiosity and dedication. Suzanne Ramié, in particular, became an important mentor, teaching him the technical nuances of working with clay, glazes, and kilns.

Picasso embraced ceramics with the same innovative spirit he applied to other mediums. He was drawn to the tactile nature of clay, the unpredictability of the firing process, and the potential for creating three-dimensional forms that could also serve as canvases for his painting. He also appreciated the reproducibility of ceramics, recognizing that these works, often produced in editions, could be more accessible to a broader audience than his unique paintings and sculptures, especially in the post-World War II era.

Over his 25-year collaboration with Madoura, Picasso created an astonishing body of ceramic work. He designed 633 different ceramic editions, producing thousands of individual pieces within these series (ranging from 25 to 500 pieces per edition). He also created an estimated 3,500 unique ceramic pieces that were not part of editions.

His ceramic output encompassed a wide array of forms, including:

• Plates and dishes: Often adorned with faces, animals (especially owls, fish, and goats), bullfighting scenes, and mythological figures.
• Pitchers and vases: Frequently transformed into anthropomorphic or zoomorphic forms, with handles becoming noses, ears, or animal limbs.
• Bowls, platters, and plaques: Exhibiting a similar range of decorative themes and stylistic experimentation.
• Sculptural forms: Pushing the boundaries of what a ceramic object could be, often abstracting traditional pottery shapes into more sculptural works.

Picasso experimented with various ceramic techniques, including:

• Engraving: Carving into the surface of the clay.
• Engobes: Applying colored clay slips before firing.
• Glazes: Utilizing different glazes to achieve varied textures and finishes, often with a bold and vibrant color palette.
• Dry clay molds: Creating designs in molds and then transferring them to fresh clay, leading to pieces often stamped "Empreinte Originale de Picasso" (Original Impression of Picasso).

The themes in his ceramics often mirrored those found in his paintings and drawings: faces, women (including portraits of his muses like Jacqueline Roque), animals, bullfighting, and mythological creatures like fauns and minotaurs, reflecting his Spanish heritage and Mediterranean surroundings.

Picasso's ceramic period was not just a side project; it profoundly influenced his overall artistic practice. The tactile nature of working with clay and the exploration of three-dimensional forms often informed his later paintings and sculptures. Today, Picasso's ceramics are highly sought after by collectors, valued for their artistic merit, historical significance, and the unique insight they offer into the innovative mind of one of the 20th century's most influential artists.

Condition Report Picasso Pitcher, lot 50 July 5 Auction. Cornell Auctions provides this condition reports as a courtesy to potential buyers. This report offers an opinion on the condition of this lot, but it's crucial to understand this is not an exhaustive guarantee nor does it substitute for a personal inspection or professional advice. General Condition: Good, due to age of item, it is not perfect and is being sold “as is”Notes:• Pock mark chip to upper half as noted in photo• Firing imperfections noted in surface• Some crazing to glazing noted• Wear and tear consistent with age is present• Chips to base as noted in photosRestoration Disclosure: Cornell explicitly states that their staff are not professional restorers or conservators. Therefore, this condition reports may not refer to all faults, inherent defects, restoration, alteration, or adaptation. We advise buyers to examine the lot in person or seek professional advice.