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Impressionist and Modern Art
|
- Sale 6379
Live
| New York
Oct 28 | 11:00 AM EDT
Live
| New York
Sale 6379
| New York
| New York
Estimate$20,000 – $30,000
We wish to thank Mrs. Aurélia Engel for kindly confirming the authenticity of the present lot, which can be found in Françoise Gilot's archives under number 61227.
Provenance:
Galerie Louise Leiris, Paris, France.
Montcalm Gallery, Gatineau, Quebec.
Collection of Mr. and Mrs. H.D. Rentschler.
Rentschler Gallery, New York, New York.
Acquired directly from the above in 1973 by the family of the present owner.
Lot Essay:
Claire Roy, wife of the French poet, novelist, and art critic Claude Roy, was a close friend and confidante of Françoise Gilot at the time of her relationship with Pablo Picasso, during the 1940s and early 1950s. Both couples moved within the same vibrant postwar Parisian intellectual circle that included writers, artists, and critics such as Paul Éluard, Jean-Paul Sartre, and Simone de Beauvoir. The Roys were also among Picasso and Gilot’s frequent visitors in the South of France, particularly in Vallauris and Golfe-Juan, where the couple settled in 1948.
In her celebrated autobiography My Life with Picasso (1964), Gilot refers to the Roys with warmth and affection, noting Claire’s intelligence and generosity of spirit. As reflected in the present work, Claire Roy was far more than a social acquaintance for Gilot: she served as a confidante and ally within an otherwise male-dominated milieu. Here, Gilot depicts herself portraying her friend, in a composition that recalls her contemporary double portraits with her "other" alter ego, Geneviève Alicquot, thus implying a quiet sorority between artist and model, and placing them on equal footing.
Framed: 28 x 34 x 1 in.
The drawing is in overall good condition. The paper is slightly toned and has mat and light staining. There are some areas of skinning of the paper, for instance at bottom right and top left. Some areas of lighter discoloration of the paper are present at left running vertically and in left figure's cuff. The paper has a few soft handling creases. The paper is hinged to the mat verso with white tape at two points along top edge, with residue of previous adhesive visible on all edges. Additional images available upon request.
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