logo
Weekly Auctions of Exceptional Items
Log In
lots of lots

IRVING PENN, Pablo Picasso at La Californie, Cannes

Sold on LiveAuctioneers

Discover Similar Items

See All
$30

Four 1970's era vinyl records fresh from an estate. All records are inside the covers and are ready to play. This auction includes the following vinyls: (1) Inner Circle Vinyl: New Age Music (1) Inner

$200

Artist: Pablo Roiq CisaTitle: Untitled 23 from Le CirqueYear: 1911Dimensions: 19.75in. by 14.75in.Edition: From the rare and limited editionSuite: Le Cirq

$100

Spain, 1881-1973. Lithograph on paper. Signed dated 11.26.69 on the plate. Plate IV from the series. Framed, 22.5"h. 27.25"w.

1 day Left
$100
$180

ARTIST: Pablo Matania (Brazilian, Argentinian, born 1936)NAME: Beach SceneMEDIUM: oil on canvasCONDITION: Very good. No visible inpaint under UV light. SIGHT SIZE: 9 1/2 x 13 inches / 25 x 33 cmFRAME

$100

France, 1871-1958. Lithograph on paper, Plate VI from the series. Framed, 23.5"h. 28.25"w.

1 day Left
$100
$100

The poster from the exhibition , "Irving Penn: Beyond Beauty" at the Dallas Museum of Art. This poster features Penn’s portrait fo Dali from 1947.The Exhibition ran from April 15th to August 14th,

Subastas Segre

4 days Left
€1,200

PABLO SERRANO Crivillén, Teruel 1910-Madrid 1985 For man for human rights. 1982 Patinated bronze on marble base Signed and dated 1982 Inscribed: "The right to freedom, to a bread, to a book

$200

Artist: Pablo Roiq CisaTitle: Untitled 28 from Le CirqueYear: 1911Dimensions: 19.75in. by 14.75in.Edition: From the rare and limited editionSuite: Le Cirq

$200

Artist: Pablo Roiq CisaTitle: Untitled 6 from Le CirqueYear: 1911Dimensions: 19.75in. by 14.75in.Edition: From the rare and limited editionSuite: Le Cirqu

item-7948261=1
IRVING PENN, Pablo Picasso at La Californie, Cannes

Lot 0022 Details

Description
Pablo Picasso at La Californie, Cannes, 1957
Platinum-palladium print, printed 1978. 19 5/8 x 19 1/2 in. (49.8 x 49.5 cm). Signed, titled 'Picasso', dated, numbered 26/45 in pencil, copyright credit reproduction limitation and edition stamps on the reverse of the aluminum flush-mount.

PROVENANCE Hamiltons Gallery, London
LITERATURE Kearney, Irving Penn: Portraits, n.p.; Knopf, Irving Penn: Passage, p. 125; Szarkowski, Irving Penn, pl. 17; Taschen, 20th Century Photography, p. 483; Westerbeck, Irving Penn: A Career in Photography, pl. 64

Irving Penn's vision adhered to the principles and strengths in photography, especially with regards to clarity, illumination, and linearity. As early as 1947, Penn began repudiating the pictorialist modes in photography—be it fashion or portraiture—by eschewing lavish interiors and contrived narratives. Thereby, Penn permitted the clothes (in the former genre) and the individuals (in the latter) to assume the central role, prompting viewers to focus on the essence within the garment or the sitter, of which John Szarkowski has noted, "[Penn's photographs] are not stories, but simply pictures." Penn rejected the notion that portraits ought to be set within a context that readily identified the sitters—writers at their desk; singers at a hall; thespians in front of a draped velvet curtain; or artists at their studio, and layer by layer, peeled off the common traps that detracted from the point of focus. In fact, it was Penn's studio—not a lavish mansion, or a Louis XV boudoir, or a Victorian library—that became the sole space within which sitters were photographed. From the late 1940's and throughout the 1950's, Penn continuously simplified his portraits, gradually removing the corners he had used in his elegant portraits of such notables as seen in Duchess of Windsor, New York, May 27,1947 (Lot 198), or the carpeted platform used in such playful portraits as seen in Max Weber, 1950, (Lot 18). By 1957, the year the present lot, Pablo Picasso at La Californie, Cannes, was taken, Penn had stripped away not only any gratuitous props but also any bodily references or gestures that could have compromised the unique individuality of the famed Spanish artist, by then already established as one of the art world's most luminary Ÿgures.The close-up portrait is skillfully and almost perfectly centered by Picasso's cyclopean eye, paying homage to the Cubist style that he was instrumental in popularizing. References to the style, in fact, abound in the photograph: the strong tonal contrasts, the cape slicing the face at an unconventional angle, the abstraction of the ear, the different lines dissecting the plain; the portrait is far more akin to Picasso's gris-toned Buste de Femme, 1956, than any of Penn's other portraits. It becomes more of a probable self-visualization by Picasso rather than a regimented projection by the photographer of how a portrait should be. Ultimately, Pablo Picasso at La Californie, Cannes, is a carefully nuanced souvenir commemorating the legacy of not one, but two great masters, both delicately revealing themselves through different sides of the same lens.
Buyer's Premium
  • 25% up to $50,000.00
  • 20% up to $1,000,000.00
  • 12% above $1,000,000.00

IRVING PENN, Pablo Picasso at La Californie, Cannes

Estimate $80,000 - $120,000
Oct 08, 2010
Starting Price $60,000
Shipping, Payment & Auction Policies
See Policy for Shipping
PHILLIPS

PHILLIPS

New York, NY, USA
398 Followers
logo
www.liveauctioneers.com
item

0022: IRVING PENN, Pablo Picasso at La Californie, Cannes

Sold for $150,000
0 Bids
Est. $80,000 - $120,000Starting Price $60,000
PHOTOGRAPHS
Fri, Oct 08, 2010 10:00 AM
Buyer's Premium 20%

Lot 0022 Details

Description
...
Pablo Picasso at La Californie, Cannes, 1957
Platinum-palladium print, printed 1978. 19 5/8 x 19 1/2 in. (49.8 x 49.5 cm). Signed, titled 'Picasso', dated, numbered 26/45 in pencil, copyright credit reproduction limitation and edition stamps on the reverse of the aluminum flush-mount.

PROVENANCE Hamiltons Gallery, London
LITERATURE Kearney, Irving Penn: Portraits, n.p.; Knopf, Irving Penn: Passage, p. 125; Szarkowski, Irving Penn, pl. 17; Taschen, 20th Century Photography, p. 483; Westerbeck, Irving Penn: A Career in Photography, pl. 64

Irving Penn's vision adhered to the principles and strengths in photography, especially with regards to clarity, illumination, and linearity. As early as 1947, Penn began repudiating the pictorialist modes in photography—be it fashion or portraiture—by eschewing lavish interiors and contrived narratives. Thereby, Penn permitted the clothes (in the former genre) and the individuals (in the latter) to assume the central role, prompting viewers to focus on the essence within the garment or the sitter, of which John Szarkowski has noted, "[Penn's photographs] are not stories, but simply pictures." Penn rejected the notion that portraits ought to be set within a context that readily identified the sitters—writers at their desk; singers at a hall; thespians in front of a draped velvet curtain; or artists at their studio, and layer by layer, peeled off the common traps that detracted from the point of focus. In fact, it was Penn's studio—not a lavish mansion, or a Louis XV boudoir, or a Victorian library—that became the sole space within which sitters were photographed. From the late 1940's and throughout the 1950's, Penn continuously simplified his portraits, gradually removing the corners he had used in his elegant portraits of such notables as seen in Duchess of Windsor, New York, May 27,1947 (Lot 198), or the carpeted platform used in such playful portraits as seen in Max Weber, 1950, (Lot 18). By 1957, the year the present lot, Pablo Picasso at La Californie, Cannes, was taken, Penn had stripped away not only any gratuitous props but also any bodily references or gestures that could have compromised the unique individuality of the famed Spanish artist, by then already established as one of the art world's most luminary Ÿgures.The close-up portrait is skillfully and almost perfectly centered by Picasso's cyclopean eye, paying homage to the Cubist style that he was instrumental in popularizing. References to the style, in fact, abound in the photograph: the strong tonal contrasts, the cape slicing the face at an unconventional angle, the abstraction of the ear, the different lines dissecting the plain; the portrait is far more akin to Picasso's gris-toned Buste de Femme, 1956, than any of Penn's other portraits. It becomes more of a probable self-visualization by Picasso rather than a regimented projection by the photographer of how a portrait should be. Ultimately, Pablo Picasso at La Californie, Cannes, is a carefully nuanced souvenir commemorating the legacy of not one, but two great masters, both delicately revealing themselves through different sides of the same lens.

Contacts

PHILLIPS
212 940 1228
450 Park Avenue
New York, NY 10022
USA
LiveAuctioneers Support
info@liveauctioneers.com
iphoneandroidPhone
As Seen On
NBC
ABC
Today
Chicago Tribune
Architectural Digest
Shop With Confidence
Since 2002, LiveAuctioneers has made exceptional items available for safe purchase in secure online auctions.
BACK TO TOP