Created in 1955, this ceramic turned pitcher was created from white earthenware clay with decoration in engobes with red and black, and glaze inside. From the edition of 500, this work contains the inscribed ‘Edition Picasso’ and ‘Madoura Plein Feu’ stamps on the bottom of the base.  The delicate surface retains remarkable freshness with clear markings, this work is in wonderful condition!

Characterized by beautiful decoration with engobes, a delicate textural surface, and well balanced tradition shape, this is a marvelous ceramic pitcher.  Decoration with engobes is the placement of liquid clay slips that can be used for more deeply saturated color and/or precise detailing.  Engobes can be applied during the wet or dry period of the ceramic process. This is an especially difficult decorative process because the engobe clay compound must be precisely mixed in order to resist shriveling or cracking. The engobe decoration in this piece, most visible in the face, is exquisitely executed with flawless application. Engobes also attribute to the interesting texture of the surface, which has a raw and natural appearance. Presented on a traditional pitcher, the style from the southern Vallauris region of France, this work also reflects is geographical creative origins—combining to make this an extremely well designed and beautifully executed ceramic piece.

Catalogue Raisonné & COA:
Pablo Picasso ceramic Visage (Face), 1955 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, A. Picasso Catalogue of the edited ceramic works 1947-1971. Madoura: Galerie Madoura, 1988. Listed and illustrated as catalogue raisonné no. 288 on pg. 150.
2. A Certificate of Authenticity will accompany this work.

Freestanding Vase Treatment:
A freestanding ceramic vase is best enjoyed in an environment where it is accessible from all sides. Pedestals are often an appropriate way to showcase larger ceramic pieces. In some instances collectors have chosen to encase the freestanding ceramic under traditional museum bonnets. Museum bonnets are transparent acrylic cubes constructed with one open side that can be placed over the ceramic as an added layer of protection from an unpredictable environment. If you are placing the ceramic in an area where it might be touched or disturbed, the museum bonnet is an excellent conservation solution that can be custom made to fit over your ceramic. If you would like more information please contact info@masterworksfineart.com.