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Fillette à la corbeille fleurie
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À propos de l'objet

Pablo Picasso (1881-1973)\n\nFillette à la corbeille fleurie\n\nsigned ‘Picasso’ (upper right); signed again, dated and inscribed ‘Picasso 1905 13 Rue Ravignan’ (on the reverse)\n\noil on canvas\n\n60 7/8 x 26 in. (154.8 x 66.1 cm.)\n\nPainted in 1905
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notes

The Collection of Peggy and David Rockefeller

On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is a lot where Christie’s holds a direct financial guarantee interest.

Please note that this painting has been requested by the Musée d'Orsay for its forthcoming exhibition Picasso: Bleu et rose to be held from September 2018-January 2019.

The Collection of Peggy and David Rockefeller

title

Fillette à la corbeille fleurie

signed

signed ‘Picasso’ (upper right); signed again, dated and inscribed ‘Picasso 1905 13 Rue Ravignan’ (on the reverse)

creator

Pablo Picasso (1881-1973)

exhibited

London, Grafton Galleries, Manet and the Post-Impressionists, November 1910-January 1911, no. 30.

Paris, Galeries Georges Petit, Picasso, June-July 1932, no. 37 (illustrated; incorrectly catalogued as signed lower right).

Kunsthaus Zürich, Picasso, September-October 1932, no. 26 (with inverted dimensions).

Paris, Petit Palais, Les maîtres de l’art independant: 1893-1937, June-October 1937, no. 29.

(probably) Paris, Galerie Max Kaganovitch, Oeuvres choisies du XXe siècle, May-July 1951, no. 36 (with incorrect dimensions).

Paris, Maison de la Pensée Française, Picasso: deux periodes, 1900-1914 et 1950-1954, July-August 1954, no. 2.

Marseilles, Musée Cantini, Cinquante chefs-d’oeuvre de Picasso, May-July 1959, no. 7.

London, Tate Gallery, Picasso, July-September 1960, no. 23 (illustrated, pl. 5c).

New York, The Museum of Modern Art, Four Americans in Paris: The Collections of Gertrude Stein and Her Family, December 1970-March 1971, pp. 26 and 166-167 (illustrated, pl. 32; illustrated again in situ in the Steins' home, pp. 88 and 92).

Ottawa, National Gallery of Canada, Gertrude Stein and Picasso and Juan Gris, June-August 1971, no. 3 (illustrated; illustrated again in situ in the Stein's home at 27 Rue de Fleurus, fig. 3).

New York, The Museum of Modern Art, Pablo Picasso: A Retrospective, May-September 1980, p. 58 (illustrated in color, p. 67).

New York, The Museum of Modern Art, Masterpieces from the David and Peggy Rockefeller Collection: Manet to Picasso, June-September 1994, pp. 19, 56, 89-91 and 97 (illustrated in color, p. 57).

Dusseldorf, Kunstsammlung Nordrhein-Westfalen, Picassos Welt der Kinder, September 1995-March 1996, p. 251, no. 39 (illustrated in color).

literature

Le courrier français, 2 November 1905 (illustrated on the cover; titled Fleur de Pavé).

(probably) L. Stein letter to Mabel Foote Weeks, 29 November 1905.

C.J. Holmes, Notes on the Post-Impressionist Painters: Grafton Galleries, London, 1910, p. 23.

W. Sickert, "Post-Impressionists" in Fortnightly Review, January 1911, p. 82.

M. Raynal, Picasso, Paris, 1922 (illustrated, pl. 20; titled Le panier fleuri).

A. Salmon, “Dessins inédits de Cézanne” in Cahiers d’art, vol. I, 1926, p. 264.

C. Zervos, Pablo Picasso, Paris, 1932, vol. 1, p. XLVI, no. 256 (illustrated, pl. 113; with incorrect dimensions).

G. Stein, The Autobiography of Alice B. Toklas, New York, 1933, p. 52.

G. Stein, Picasso, Paris, 1938, pp. 26-31 (illustrated in color; titled Petite fille au panier de fleurs).

J. Cassou, Picasso, Paris, 1940, p. 57 (illustrated in color).

L. Stein, Appreciation: Painting, Poetry and Prose, New York, 1947, p. 173.

D. Sutton, Picasso: peintures, époques bleue et rose, Paris, 1948 (illustrated in color, pl. XV).

E. Fuller, ed., Journey into the Self: Being the Letters, Papers and Journals of Leo Stein, New York, 1950, p. 148.

R. Cogniat, Histoire de la peinture, Paris, 1955, vol. II, pp. 157-158 (illustrated in color, p. 157; incorrectly dated 1906).

F. Elgar and R. Maillard, Picasso, Paris, 1955 (illustrated).

D.-H. Kahnweiler and H. Parmelin, Picasso: oeuvres des musées de Léningrad et de Moscou et de quelques collections parisiennes, Paris, 1955, p. 24 (illustrated in color, p. 25).

J.C. Aznar, Picasso y el Cubismo, Madrid, 1956, pp. 374 and 379 (illustrated, fig. 264; titled Muchacha con canastillo).

G. Diehl, Picasso, New York, 1960, p. 15 (illustrated).

A. Blunt and P. Pool, Picasso: The Formative Years, London, 1962, p. 26.

P. Daix, Picasso, New York, 1965, p. 44 (illustrated in color, p. 43).

P. Pool, “Picasso’s Neo-Classicism: First Period 1905-1906” in Apollo, vol. LXXXI, February 1965, p. 125.

P. Daix and G. Boudaille, Picasso: The Blue and Rose Periods, A Catalogue Raisonné, 1900-1906, London, 1967, pp. 78 and 80, no. XIII.8 (illustrated, p. 276).

D. Sutton and P. Lecaldano, The Complete Paintings of Picasso: Blue and Rose Periods, New York, 1968, pp. 86 and 105, no. 219 (illustrated, p. 104).

J.P. Crespelle, Picasso and His Women, New York, 1969, p. 68.

E. Burns, ed., Gertrude Stein on Picasso, New York, 1970, pp. 13 and 110 (illustrated, p. 126; illustrated again in color, p. 9 and in situ in the Steins' home at 27 Rue de Fleurus, p. 111).

T. Prideaux, "Four Patron Saints" in Life Magazine, 23 April 1971 (illustrated in color in situ in the Steins' home).

F. Elgar and R. Maillard, Picasso, New York, 1972, p. 190 (illustrated, p. 187).

J. Leymarie, Picasso: The Artist of the Century, New York, 1972, p. 212 (illustrated).

E. Wilson, They Named Me Gertrude Stein, New York, 1973, pp. 72-73 and 77.

J. Hobhouse, Everybody Who Was Anybody: A Biography of Gertrude Stein, New York, 1975 (illustrated in situ in the Steins' home at 27 Rue de Fleurus; titled Jeune fille aux fleurs).

G. Laporte, Sunshine at Midnight: Memories of Picasso and Cocteau, London, 1975, pp. 94-95 and 120.

R. Johnson, “Picasso’s Parisian Family and the ‘Saltimbanques’” in Arts Magazine, vol. LI, January 1977, pp. 94-95.

E.A. Carmean, Jr., Picasso: The Saltimbanques, exh.cat, National Gallery of Art, Washington, D.C., 1980, pp. 52 and 91, no. 84 (illustrated, p. 52, fig. 68).

Kodansha, pb., Pablo Picasso: The Rose Period, Tokyo, 1981, no. 23 (illustrated in color).

J. Palau i Fabre, Picasso: The Early Years, 1881-1907, Barcelona, 1981, pp. 422 and 424-426, no. 1155 (illustrated in color, p. 425, figs. 1155-1156).

M. Potter et al., The David and Peggy Rockefeller Collection: European Works of Art, New York, 1984, vol. I, pp. 10, 50, 258-260 and 271-272, no. 96 (illustrated in color, p. 259; illustrated again in situ at the Rockefellers' 65th street home, p. 34).

C.A. Nathanson, “The American Reaction to London’s First Grafton Show” in Archives of American Art Journal, vol. 25, no. 3, 1985, pp. 3-4 (illustrated, p. 4).

F. Olivier, Souvenirs Intimes: écrits pour Picasso, Paris, 1988, pp. 208-209.

S. Oshima, Picasso, Tokyo, 1990, vol. II, no. 90 (illustrated in color).

J. Richardson, A Life of Picasso: 1881-1906, New York, 1991, vol. I, pp. 340, 354, 397-398, 403 and 514, no. 36 (illustrated, p. 342; illustrated again in situ in the Steins' home at 27 Rue de Fleurus, p. 399).

A. Schneider, Picasso and His Time, exh. cat., Museum Berggruen, Berlin, 1991, p. 198 (illustrated in color).

P. Daix, Picasso: Life and Art, New York, 1993, p. 55.

C. Geelhaar, Picasso: Wegbereiter und Förderer seines Aufsteigs, 1899-1939, Zürich, 1993, p. 200 (illustrated, fig. 222; installation photograph of the 1932 exhibition at Galeries Georges Petit, p. 185).

G. Stein, The Autobiography of Alice B. Toklas, New York, 1993, p. 57.

P. Daix, Picasso and Portraiture: Representation and Transformation, exh. cat., The Museum of Modern Art, New York, 1996, p. 258 (illustrated).

M. McCully, Picasso: The Early Years, 1892-1906, exh. cat., National Gallery of Art, Washington, D.C., 1997, p. 259, no. 139 (illustrated in color).

B. Léal, C. Piot and M.-L. Bernadac, The Ultimate Picasso, New York, 2000, pp. 87 and 505, no. 177 (illustrated in color, p. 86).

D. Rockefeller, Memoirs, New York, 2002, p. 454.

J. Stourton, Great Collectors of Our Time: Art Collecting Since 1945, London, 2007, p. 116 (illustrated in color, p. 115).

L. Madeline, ed., Pablo Picasso—Gertrude Stein: Correspondence, New York, 2008, p. 6 (illustrated, fig. 3).

T. Bezzola, Picasso by Picasso: His First Museum Exhibition 1932, exh. cat., Kunsthaus Zürich, 2010, pp. 197 and 214, no. 26 (illustrated in color, p. 214; installation photograph of the 1932 exhibition at Galeries Georges Petit, p. 87).

J. Bishop, C. Debray and R. Rabinow, eds., The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde, exh. cat., The Metropolitan Museum of Art, New York, 2011, pp. 429, no. 232 (illustrated in color, p. 29, pl. 9; illustrated in situ in the Steins' home, pp. 3, 362, 364, 367-369, 373 and 376, figs. 346, 349, 352-354, 358 and 361).

M. McCully, Picasso in Paris: 1900-1907, exh. cat., Van Gogh Museum, Amsterdam, 2011, p. 186 (illustrated in color, fig. 55).

S. Roe, In Montmartre: Picasso, Matisse and Modernism in Paris, 1900-1910, New York, 2015, pp. 121-122.

lot_number

15

provenance

Galerie du Vingtième Siècle (Galerie Clovis Sagot), Paris (acquired from the artist).

Gertrude and Leo Stein, Paris (acquired from the above, 1905).

Gertrude Stein, Paris (acquired from Leo Stein, 1913 or 1914).

Estate of Gertrude Stein, Paris (1946).

Syndicate of The Museum of Modern Art, New York (acquired from the above, 1968).

Acquired from the above by the late owners, December 1968.


*Merci de noter que le prix n'est pas recalculé à la valeur actuelle, mais se rapporte au prix final réel au moment où l'objet a été vendu.

*Merci de noter que le prix n'est pas recalculé à la valeur actuelle, mais se rapporte au prix final réel au moment où l'objet a été vendu.


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