Lot n° 356
Estimation :
8000 - 10000
EUR
Result without fees
Result
: 24 000EUR
Pablo PICASSO (1881-1973) - Lot 356
Pablo PICASSO (1881-1973)
& Atelier FRANÇOIS (1899-1981)
and Pierre (Born in 1947) HUGO ORFEVRES
Wildlife face.
Round square dish.
Embossed silver print.
Marked with the PICASSO stamp and numbered 13/20, bears the Master Goldsmith and warranty hallmarks as well as numbers 1409 and 2182 on the reverse side, the countermark visible on the front.
25,1 x 24,8 cm
Weight: 800 g
Reference 1409 from the goldsmith's workshop, based on the model initially created in ceramics on [28 June 1955] and following a first silver print made in [1957], an edition initiated around [1967] and limited to 20 copies all numbered and increased by 2 artist's copies and 2 author's copies, our proof numbered 13/20.
Important: The copy of a certificate (without date) handwritten and signed by Mr Hugo will be given to the purchaser.
Exhibition :
- Picasso 19 dishes in silver by François and Pierre Hugo - Exhibition organized at the Galerie Matignon from November 7 to December 31, 1977, Paris. Another copy of our model presented during this event and reproduced in the catalogue.
Bibliography :
- Picasso 19 platters in silver by François and Pierre Hugo Catalogue of the exhibition organised at the Galerie Matignon from 7 November to 31 December 1977, Éditions de l'Imprimerie de l'Union, Paris, 1977. Another copy of our model reproduced in the catalogue.
- Claire Siaud & Pierre Hugo Bijoux d'artistes, Hommage à François Hugo - Les Cyprès Éditeur, Aix-en-Provence, 2001. Another copy in silver reproduced on page 148, a similar model but made in gold (unique piece) reproduced on page 153.
- Picasso, catalogue of the ceramic work published 1947-1971 - Alain Ramié, Madoura editions, 1988. The initial ceramic model reproduced on page 145 and referenced under numbers 282 and 283 (red clay and white clay).
The Silver Work of Pablo Picasso:
At the end of May 1956, Pablo Picasso, accompanied by his collector friend and art historian Douglas Cooper, received, in the workshop of his villa La Californie in Cannes, biscuit dishes delivered by the Atelier Madoura. The two men contemplated the work accomplished, Cooper lamenting somewhat the fragility of the earthenware and Picasso becoming enthusiastic at the idea of seeing them made of precious metals in the manner of 16th and 17th century dishes. Cooper immediately thought of the skill of the goldsmith François Hugo, Victor Hugo's great-grandson, who was particularly renowned for his mastery of repoussé silver, and suggested to Picasso that he put him in touch with the craftsman. Cooper then wrote a letter to Hugo on 4 June 1956, to which the goldsmith, very enthusiastic, replied on 7 June. Picasso and Hugo finally met on 25 September 1956. During their meeting, the Spanish artist gave the goldsmith a biscuit copy of the dish "Le Dormeur" for a first try in silver. Hugo submitted his work to Picasso for approval at the beginning of December 1956. Literally dazzled by the result, Picasso immediately ordered four other identical copies from him, which were delivered to him at the end of January 1957. This was the beginning of Picasso's "little personal treasure", for in the years that followed, the artist commissioned another eighteen dishes from Hugo, some of them in several copies, but also compote dishes and sculptures for his own collection. The importance of the commission prompted Hugo to move with his family from Haute-Savoie to Aix-en-Provence in order to be closer to the Master. Each dish "personally chosen, designed, seen, approved, and cherished by Picasso himself" (1) was jealously kept in dark corners or under a sofa in his studio and was only exceptionally revealed to the eyes of close friends. Moreover, despite the insistence of the silversmith Hugo, who had meanwhile started to make jewellery for Jean Lurçat and Max Ernst, Picasso categorically refused to allow these silver creations to be shown at exhibitions. The collaboration between the two men ended around 1961 when Picasso left for Mougins.
The objects entrusted by Picasso to Hugo were of a great diversity of design and required a great deal of technique and adaptability from the goldsmith. Picasso was aware of this and held him in high esteem. However, it was not until the autumn of 1967, when, as a sign of recognition of his work, François Hugo's jewellery for Derain, Ernst and Cocteau was exhibited in Paris, that Picasso agreed to show some of the works from their collaboration. In parallel to this agreement, he authorized a very limited edition of twenty copies plus two artist's proofs and two author's proofs of each silver dish. François Hugo will also be authorized to print a gold copy, this time unique, of each model. Among this
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