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Pablo Picasso, La Bouteille de Rhum (Bottle of Rum), c. 1965
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Signed Pablo Picasso, Lithograph, La Bouteille de Rhum (Bottle of Rum), c. 1965  |
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| Artist: | Picasso, Pablo (1881 - 1973) |
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| Title: | La Bouteille de Rhum (Bottle of Rum), c. 1965 |
| Reference: | OPP.65:071; Daix-Rosselet 414 |
| Medium: | Lithograph |
| Image Size: | 24 in x 19 5/8 in (61 cm x 49.9 cm) |
| Sheet Size: | 32 1/8 in x 26 3/4 in (81.6 cm x 67.9 cm) |
| Framed Size: | 44 1/2 in x 39 1/4 in (113 cm x 99.7 cm) |
| Signed: | Hand signed by Pablo Picasso (1881 - 1973) |
| Edition: | After an original oil on canvas by Pablo Picasso by Guy Spitzer with his embossed blindstamp in the lower left and ink stamp on the verso; notes unique piece number, 70/250. |
| Condition: | A bold impression in very good condition. |
Price :Item# 2373 | $40,000 
No reasonable offer will be refused! (Sales not combinable and not available on prior sales or trade ups) To speak directly with the Director, Alex Adelman, please call (510) 777-9970 / 1-800-805-7060. |
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| Historical Description: | |
Created in c. 1965, this original color lithograph is hand signed by Pablo Picasso (1881 – 1973) in pencil in the lower right margin and numbered 70/250 in pencil in the lower left margin. Published by Guy Spitzer, Paris after an original oil on canvas of the same title by Picasso created in 1911. Both of Guy Spitzer’s embossed blindstamp and ink stamp appears in the lower left recto and lower left verso, respectively. Capturing the essence of Picasso’s prolific and revolutionary cubist period in the early 1900s, La bouteille de rhum is evidence of his fragmented and abstracted take on the still life genre. This work is captivating in every sense as it seeks to represent this cylindrical bottle from every angle against a two-dimensional space – as is the goal of most cubist works. It blends into a series of brown, yellow, and black tones that appear to be arranged in a chaotic geometry that continues to make perfect sense to his audience. This is a truly groundbreaking and magnificent piece, whose large scale and grandeur makes this a quintessential Picasso for any art collection. Illustrated In: 3. Texas A&M University. The Online Picasso Project. http://picasso.tamu.edu/picasso/. Listed and illustrated as catalogue raisonné no. OPP.65:071. About The Framing: Conservation framed with archival materials, this work is set in a beautifully carved, Spanish-inspired gold and black frame. The immense texture of this work is highlighted with the simple organic and curved elements within the moulding. Contrasting hues of the etched work against the gold moulding enhance and accentuate the rich tones within this piece. Completed with white, linen-wrapped mats and a matching gold inner fillet, this work is set behind an archival Plexiglas® cover. | |
| Style: | Cubism, Blue Period, Rose Period, 20th Century Spanish Modern Master, Madoura ceramics of Vallauris |
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Biography of Pablo Picasso
Pablo Picasso (1881 - 1973)
"Yet Cubism and Modern art weren't either scientific or intellectual; they were visual and came from the eye and mind of one of the greatest geniuses in art history. Pablo Picasso, born in Spain, was a child prodigy who was recognized as such by his art-teacher father, who ably led him along. The small Museo de Picasso in Barcelona is devoted primarily to his early works, which include strikingly realistic renderings of casts of ancient sculpture.
"He was a rebel from the start and, as a teenager, began to frequent the Barcelona cafes where intellectuals gathered. He soon went to Paris, the capital of art, and soaked up the works of Manet, Gustave Courbet, and Toulouse-Lautrec, whose sketchy style impressed him greatly. Then it was back to Spain, a return to France, and again back to Spain - all in the years 1899 to 1904.
"Before he struck upon Cubism, Picasso went through a prodigious number of styles - realism, caricature, the Blue Period, and the Rose Period. The Blue Period dates from 1901 to 1904 and is characterized by a predominantly blue palette and subjects focusing on outcasts, beggars, and prostitutes. This was when he also produced his first sculptures. The most poignant work of the style is in Cleveland's Museum of Art, La Vie (1903), which was created in memory of a great childhood friend, the Spanish poet Casagemas, who had committed suicide. The painting started as a self-portrait, but Picasso's features became those of his lost friend. The composition is stilted, the space compressed, the gestures stiff, and the tones predominantly blue. Another outstanding Blue Period work, of 1903, is in the Metropolitan, The Blind Man's Meal. Yet another example, perhaps the most lyrical and mysterious ever, is in the Toledo Museum of Art, the haunting Woman with a Crow (1903).
"The Rose Period began around 1904 when Picasso's palette brightened, the paintings dominated by pinks and beiges, light blues, and roses. His subjects are saltimbanques (circus people), harlequins, and clowns, all of whom seem to be mute and strangely inactive. One of the premier works of this period is in Washington, D.C., the National Gallery's large and extremely beautiful Family of Saltimbanques dating to 1905, which portrays a group of circus workers who appear alienated and incapable of communicating with each other, set in a one-dimensional space.
"In 1905, Picasso went briefly to Holland, and on his return to Paris, his works took on a classical aura with large male and fernale figures seen frontally or in distinct profile, almost like early Greek art. One of the best of these of 1906 is in the Albright-Knox Gallery in Buffalo, NY, La Toilette. Several pieces in this new style were purchased by Gertrude (the art patron and writer) and her brother, Leo Stein.
Picasso enjoyed creating his art on many media. From paintings to etchings to ceramics, all of his works are a testament to his skills. There are even Picasso prints that are worth more than unique original works.
