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This June, Christie’s will offer a rarely seen work from one of Picasso’s most celebrated series depicting his lover, Marie-Thérèse Walter. The painting, which has not been seen publicly since its inclusion in a 1939 MoMA exhibition, will be on the auction block due to the generosity of an anonymous donor who gifted it to the University of Sydney with the understanding that it would be sold to benefit scientific research at the school.

We sat down with three individuals who have been actively involved in this consignment from the beginning: Olivier Camu, Giovanna Bertazzoni and David Ellis. Their responses illuminate the journey of this extraordinary work, from vault to auction block.

How did you first hear that the university was interested in working with Christie’s?
Giovanna Bertazzoni, Christie’s Director and Head of Impressionist & Modern Art, London: I received an email from David Ellis stating that the university had this painting and was interested in discussing its consignment. The email had an attachment with photos of the work, and we realised right away that this was a serious and very exciting matter. We consulted the catalogue raisonné and ascertained that the image we received matched the image listed there (C. Zervos, Picasso, 1930-1935, Cahiers d'Art, Paris, 1935, pp. 101 & 237), and I replied right away that we would be interested in talking with him. He mentioned that he would be coming to London within a few weeks, and I immediately involved Olivier Camu so we could work together on this project. It’s been a real partnership between the two of us.

Olivier Camu, Christie’s International Director of Impressionist & Modern Art: It was a little unexpected for this work to turn up in Sydney, but then again, its location was unknown so we decided to investigate further. Gio and I embarked on a great adventure together, and through tremendous teamwork, were able to position Christie’s to offer this beautiful work.

What was it like working with Christie’s?
David Ellis, Director, Museums and Cultural Engagement, the University of Sydney: Working with Christie’s has been an absolute pleasure, and I have been impressed by their professionalism and responsiveness to my questions, from my very first email to the London office through the rest of the consignment process. I feel, as consignors, that we have been kept involved and engaged. It’s been a wonderful experience.

And your work with the university?
GB: It’s been a real pleasure to work with the university. They’ve been incredibly passionate about the work and the final result – raising funds for scientific research. We had a great connection from the first meeting.

OC: When we heard David was coming to London, we quickly put together a full proposal and met with him over the course of several days. The rapport was very good. I felt something clicked, but David was very professional and impartial in his approach. After he flew back to consult with his colleagues, we decided that I should travel to Sydney to see the work in person so I could assess its quality and finalise the estimate. After seeing the painting and meeting with the Vice Chancellor and his team, I felt we had reached a mutual understanding and exchanged a vision of how the project would be structured. There was great enthusiasm.

Describe the moment when you first saw the painting.
DE: I first saw the painting wrapped and when it was slowly unpacked, I was in disbelief that I was viewing such a vibrant and rare work. It was sent to us unframed, with a lot of provenance information on the back of the stretcher, and even more information was attached to the back of the frame, which arrived a few months later. It’s definitely a work that rewards repeated viewing and is in remarkably good condition.

OC: On the university campus David brought me to a huge, solid safe in a secure basement. The wheel turned, the locks opened, the door swung ajar and there, at the back of the top shelf, I saw Marie-Thérèse sleeping peacefully, resting on her two arms. It was a very exciting moment because the painting had not been seen in public since its exhibition at the MoMA in 1939. We unwrapped the cellophane paper in front of the Vice Chancellor. I was mesmerised by the richly textured surface, the variety of colours and the pristine condition of the painting.

GB: Once the painting arrived at Christie’s in London, I received a call from the warehouse. As soon as I arrived, I saw it waiting there, unframed and ready to be photographed. I was immediately taken by the sumptuous impasto and the beautiful colours – they are especially hypnotising, to an even greater degree than in the portraits of Marie-Térèse that we have sold in the past.

Can you discuss the painting’s journey from Sydney to London?
OC: I flew back to London and shortly thereafter, we were told that Christie’s would have the honour of offering this work at auction. The transport of the piece was organised with the help of Ronan Sulich, our representative in Australia, who had brilliantly prepared everything in advance of the official green light.

DE: Getting the painting from Sydney to London was easy.  Christie’s did all the work!

Can you talk about giving to the university through the acquisition of this work?
DE: We often receive works gifted to the University Art Collection through the Commonwealth’s Cultural Gifts Program, and they form part of our collection. However, in this instance, the gift was made with the intention that the work would be sold to benefit scientific research.  This was an unusual circumstance, but we certainly welcomed this unique approach.

GB: I think people should become familiar with what the university is doing because it’s quite exciting. The University of Sydney is one of the most prestigious educational institutions in the country and is not only creating leaders in that part of the world, but is also exporting great creative minds across the globe. It’s a fantastic opportunity to give, because by buying this picture one not only supports the university, but also comes away with a fantastic Picasso. It is the definition of a win-win situation.

OC: It was a brilliant idea on the part of the donor and a very generous way to give anonymously. Christie’s regularly sells works of art to benefit charities and causes, so we were thrilled to be able to partner with the university in the sale of this work. Now we have orchestrated the best possible campaign so that all potential buyers may be aware of this great double opportunity to acquire one of the most exciting rediscovered Marie-Thérèse portraits by Picasso whilst financing transformative health research that will benefit the world.

Enquiries:
Giovanna Bertazzoni
gbertazzoni@christies.com
Tel: +44 20 7389 2542