RICHARD PETTIBONE (1938-2024)
(i) Picasso, Etching from the '347 Series,' #296
(ii) Picasso, Etching from the '347 Series,' #313
(iii) Picasso, Etching from the '347 Series,' #314
(iv) Picasso, Etching from the '347 Series,' #315
(v) Picasso, Etching from the '347 Series,' #317
(i) (iii) (iv) (v): signed, titled and dated 'Richard Pettibone 1984 'Picasso, Etching from the "347 Series."' (lower edge)
(ii): signed and dated 'Richard Pettibone 1984' (lower edge), titled 'Picasso, Etching from the "347 Series."' (upper edge)
each: oil on canvas
each: 10 x 10in. (25.5 x 25.5cm.)
each: Painted in 1984

each: Leo Castelli Gallery, New York.
Francis Naumann Gallery, New York.
Private Collection.
Acquired from the above by the present owner in 2011-2012.

Philadelphia, Institute of Contemporary Art, Richard Pettibone: A Retrospective, 2005-2006, pp. 176 (ii) (iii) (v), nos. 151 (ii), 152 (iii) and 154 (v) (illustrated in colour, p. 127 (ii) (iii) (v)). This exhibition later travelled to Saratoga Springs, The Frances Young Tang Teaching Museum and Art Gallery and Laguna Beach, The Laguna Art Museum.
Paris, Galerie Mitterand, Richard Pettibone, 1964-2009, 2014 (illustrated in colour, pp. 58 (i) (iii) (iv) (v) and 86 (i) (ii) (iii) (iv) (v)).
Hong Kong, Ticolat Tamura, Richard Pettibone, Retrospective from 1963 to 2007, 2016, nos. 51 (iv), 52 (i), 59 (ii), 61 (v) and 63 (iii) (illustrated in colour, pp. 46 (iv), 47 (i), 48 (ii), p. 49 (iii) (v)).
Brussels, Vedovi Gallery, Richard Pettibone: Icons revisited, 2021 (i) (ii) (iii) (iv) (v).

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The condition of lots can vary widely and the nature of the lots sold means that they are unlikely to be in a perfect condition. Lots are sold in the condition they are in at the time of sale.

(i): The canvas, stretcher and attachments appear to be in generally good condition. There is minute rubbing in places to the extreme edges. There is a pinpoint accretion to the lower horizontal edge, only visible on close inspection. When examined under ultraviolet light, there appears to be no evidence of retouching. Subject to the foregoing, it is our view that the work appears to be in generally very good condition.

(ii): The canvas, stretcher and attachments appear to be in generally good condition. There is faint rubbing to the upper left corner and lower left horizontal extreme edge. There is one pinpoint abrasion with an associated paint loss to the left vertical extreme edge. There is one pinpoint accretion to the lower right quadrant, only visible on close inspection. When examined under ultraviolet light, there appears to be no evidence of retouching. Subject to the foregoing, it is our view that the work appears to be in generally very good condition.

(iii): The canvas, stretcher and attachments appear to be in generally good condition. There is faint rubbing in places to the extreme edges, with some associated pinpoint paint losses to the upper left and lower right corners. There are a few pinpoint accretions in places, most notably to the lower right corner. When examined under ultraviolet light, there appears to be no evidence of retouching. Subject to the foregoing, it is our view that the work appears to be in generally very good condition.

(iv) (v): The canvas, stretcher and attachments appear to be in generally good condition. There is faint rubbing in places to the extreme edges, with one associated pinpoint paint loss to the lower left corner. There are a few pinpoint accretions in places, only visible on close inspection. When examined under ultraviolet light, there appears to be no evidence of retouching. Subject to the foregoing, it is our view that the work appears to be in generally very good condition.

Print Report