Chouette (Wood Owl) Vase by Pablo Picasso, 1969
- Untitled Art Gallery
- Oct 20, 2019
- 3 min read
Updated: Nov 16
Chouette (Wood Owl) Vase, 1969; Partially glazed white earthenware vase painted in colors; Numbered 105/500; Inscribed 'EDITION PICASSO' and 'R-148 MADOURA', with the 'MADOURA PLEIN FEU' and the 'EDITION PICASSO' pottery stamps on the underside; Size - Wood Owl Vase: 11 3/4" x 5 1/2" x 8 1/2"; Catalogue Raisonne: A.R. 605.
During the late 1940s, Pablo Picasso spent his summers along the sun-drenched Côte d’Azur in the South of France, a period of intense experimentation and innovation in his artistic career. In 1946, he visited Vallauris for the annual pottery exhibition, where he was immediately struck by the exceptional quality of the ceramics produced by the Madoura workshop. Introduced to the owners, Suzanne and Georges Ramié, Picasso was warmly welcomed into their studio and granted full access to the tools, kilns, and resources he needed to explore the medium of ceramics. This collaboration proved immensely fruitful: the Ramiés produced and marketed his limited edition ceramic works, and the relationship endured for over twenty-five years. The Madoura factory also holds personal significance, as it was here in 1953 that Picasso met Jacqueline Roque, who would become his second wife in 1961.
Picasso’s ceramic work represents a fascinating intersection of technical mastery and whimsical creativity. As Georges Bloch observed,
"…in approach, material, and technique, [Picasso’s ceramics] are as novel as they are interesting. Pottery, gleaming white discs with relief designs, monochrome or brightly colored ovals, dishes, and even jugs and vases serve as bearers of compositions whose themes express the joyous, life-loving side of Picasso’s work. They are printed from blocks and stamps fashioned by the master over a period of more than twenty years in the Madoura pottery workshop in Vallauris."
The market for Picasso ceramics has steadily risen in recent decades, reflecting both the rarity and enduring appeal of these works. As Fanny Lakoubay and Conner Williams note in The Story Behind Picasso Ceramics (2013):
"Over the past ten years, the market for Picasso ceramics has grown consistently, with seasoned collectors and new buyers alike competing for his editioned and unique pieces at auction. This market is stable, with a consistently high sell-through rate around 89% (87% in 2004, 89% in 2005, 87% in 2011, and 90% in 2012). Prices remain lower than for his paintings and prints, making them attractive to collectors, though average sales prices are skewed by a few exceptional works. In the preceding two years alone, more than 60 exceptional ceramics sold for over US$100,000—34 in 2011 and 29 in 2012—compared with just six in 2004 and 2005."
The inspiration behind many of Picasso’s ceramics often sprang from his life and surroundings. During his stay near Antibes in 1946, Picasso adopted an injured owl that had been found nearby, as recounted by his lover Françoise Gilot in Life With Picasso. The owl, a cantankerous and ill-tempered creature, became a favorite subject of Picasso’s:
"The owl was ill-tempered, smelled foul, and ate only mice. It would snort at Picasso and bite his fingers, to which he would reply with a string of obscenities just to assert dominance. Clearly, bad manners were the way to Picasso’s heart, for he created numerous paintings, drawings, prints, and ceramics inspired by this bird."
The owl motif became a recurring theme in Picasso’s work, appearing across multiple media for the remainder of his life. Surviving drawings indicate that the forms used for his owl ceramics originated during his initial encounter with the bird in 1946.
The ceramic owl vase presented here, created in 1969, exemplifies Picasso’s mastery of the medium. Rendered in natural browns, black, and cream, the vessel showcases lively, free-form brushstrokes that suggest the feathers, wings, head, and feet of the owl. The combination of dynamic brushwork and sculptural form captures the spirit of the creature while demonstrating Picasso’s technical and imaginative prowess. This is not only a spectacular example of original Picasso artwork but also a highly desirable addition to any serious art collection, offering a tangible connection to the artist’s vibrant and playful engagement with the medium of ceramics.
