PABLO PICASSO (1881-1973) (AFTER) & MARIE CUTTOLI (1879-1973) - MYRBOR ÉDITEUR - FORMER COLLECTION THÉRÈSE BONNEY (1894-1978) After Verre et pipe, oil and sand on canvas, 1917, work always remained the property of Pablo Picasso, today held by the Succession Picasso, our carpet made between 1927 and 1929, very probably unique Knotted stitch carpet. Colored wools. Condition and restorations of use. Marked MYRBOR, in stitches on the reverse. 144 x 200 cm Provenance: - Thérèse Bonney (1894-1978) Collection (Mabel Bonney, known as). Photographer (often called Photographer of modernity) of American origin. Arrived in Paris in 1918, her name is associated by her photographs, in the 1920s and 1930s, with the works of avant-garde artists. During the Second World War, she was a very famous war photographer-correspondent. - Important 20th Century Decorative Art & Design, including Property from the Thérèse Bonney Bequest University of California, Berkeley Art Museum - Christie's sale, New York, December 8, 2004. Our work presented under the number 50 of the catalog (without the author of the cardboard being identified). - Private collection, Paris. Work acquired from the previous one. Exhibition: Aren't they lovely? An exhibition of the Bequest of Thérèse Bonney, class 1916 - Berkeley Art Museum, Berkeley University of California, from June 27 to September 13, 1992. Our carpet presented at this event. Archives : The carpet after Pipe, 1918, by Pablo Picasso, published concomitantly to our carpet by Marie Cuttoli (Myrbor), appearing on a photograph of Thérèse Bonney dated around 1929 and kept at the Médiathèque du patrimoine et de la photographie in Charenton-le-Pont under the inventory number BNN02115. Bibliography and related works : - Christian Zervos - Pablo Picasso, volume 3, works from 1917 to 1919 - Éditions Cahiers d'Art, Paris, 1949. The work Verre et pipe, 1917, oil and sand on canvas, reproduced on page 41 and referenced under number 120; described (under the same reference) at the end of the book. - Presentation of Maurice Matet - Modern Carpets - Editions Ernst, Paris, 1929. The carpet after Pipe, 1918, by Pablo Picasso, published concomitantly to our carpet by Marie Cuttoli (Myrbor), reproduced on plate 23 with a color stencil. - Dominique Paulvé - Marie Cuttoli - Myrbor and the invention of modern tapestry - Norma Editions, Paris, 201. The carpet after Pipe, 1918, by Pablo Picasso, published at the same time as our carpet by Marie Cuttoli (Myrbor), shown in an archive photograph on page 39. PABLO PICASSO AND MARIE CUTTOLI : A long friendship and a possibly unique carpet Marie Cuttoli, a fervent supporter of the avant-garde and collector of Pablo Picasso's works, met the artist in the 1920s. This was the starting point of an unwavering friendship that would continue until their death in 1973. Between 1927 and 1929, Pablo Picasso, very interested in Marie Cuttoli's project to publish carpets based on works or cartoons by modern artists, entrusted her with two of his paintings, Verre et pipe, an oil and sand on canvas from 1917, and Pipe, an oil on canvas from 1918, so that she could transcribe them into a woolen carpet. This choice by the painter demonstrates his artistic confidence in his friend since the 1917 painting Verre et pipe will always remain with her and is still in the Picasso Estate today. Following this first collaboration, some fifteen works followed from the 1930s to the 1960s, mainly tapestries, Minotaure, Confidences, La Fermière, etc.; Verre et pipe and Pipe remaining the only two examples properly called cubist. The carpet after Verre et pipe of 1917 was apparently never photographed at the time; only the carpet after Pipe of 1918 appears at the foot of the platform of the exhibition room at Myrbor's in a photograph taken by Thérèse Bonney around 1929, also visible in another photograph at the foot of one of the staircases (probably after being moved). At the same time, the 1918 Pipe carpet was illustrated as a color stencil in a collection entitled Tapis Modernes published by Ernst in Paris in 1929. It is impossible for us to know the number of copies woven for each of these two carpets; Marie Cuttoli planned, for her editions in general, a maximum of three prints. However, we are obliged to note that neither model has appeared on the art market, except for our carpet, which was presented at a public sale in 2004 without the author of the cardboard being identified and which was acquired on this occasion by the current owner. We also note that this work was the property of Therese Bonney, famous for her proximity to the avant-garde of the 1920s and 1930s, including Marie Cuttoli and Pablo Picasso. Also, it is a possibility that each of