Picasso ceramic Canard pique-fleurs (Duck flower-holder), 1951 A.R. 117 attests to Picasso's fascination with the human face. This voluptuous ceramic pitcher serves as the three-dimensional canvas for the features of a stylized female face. Wide, oval eyes outlined in blue gaze back at the viewer curiously as the face is supported by a brown and green colored hand.  Indeed, the figure appears to be in deep thought, even brushing its black hair back in the act of contemplation. Picasso also adds more eye catching detail by decorating the cylindrical shapes atop the oval base in blue and black stripes. This beautiful ceramic portrait stands out in any room, showcasing Picasso’s mastery of depicting human idiosyncrasies in any medium.

Picasso often drew inspiration for the decoration and form of his ceramics from other cultures. The shape of this vase has analogues in Cypriot culture and are often decorated as birds. Picasso is a master of fitting the subject of a ceramic to the form, and in this piece he wonderfully subverts that assumption, placing a woman on a vase that one might expect a bird to be depicted on. This complex relationship between subject and form enchants.

Created in 1951, this white earthenware clay turned pitcher is decorated in oxides (black, blue, green, brown) and knife engraved on white enamel. This piece is numbered from the edition of 50 and is stamped with the 'MADOURA PLEIN FEU' and 'EDITION PICASSO' pottery stamps on verso; also inscribed ' Edition | Picasso| Madoura' in black ink on verso.

Catalogue Raisonné & COA:
Pablo Picasso ceramic Duck Flower-holder (Canard pique-fleurs), 1951 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices accompanying the final sale of the work):

1. Ramié, Alain. Picasso Catalogue of the edited ceramic works 1947-1971. Madoura: Galerie Madoura, 1988. Listed and illustrated as catalogue raisonné no. 117.
2. A Certificate of Authenticity will accompany this work.