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an image of a handwritten note from a man who is writing on a piece of paperan old postcard with a drawing of a lobster on ita postcard with a handwritten message on ita postcard with a handwritten message on ita postcard with a handwritten message on ithandwriting on a piece of paper with a handwritten messagean image of a close up of a handwriting on a piece of paper
Ader

239 - Jacqueline PICASSO, née Roque (1926–1986).
See original version (French)

Estimate €5,000 - €6,000
Sale commission
Description
Jacqueline PICASSO, née Roque (1926–1986). 32 letters ‘ Jacqueline’ or postcards, 1955–1982, to Lucien Clergue; including 4 autographs by PICASSO; and 44 letters (including 9 handwritten notes, most of which are carbon copies) from Lucien CLERGUE to Pablo or Jacqueline Picasso; 35 pages in various formats, including 11 postcards (mainly of works by Picasso) with addresses, several envelopes; plus 82 pages, mostly in-4, for L. Clergue. Friendly correspondence between the Picassos and the young photographer from Arles. Jacqueline often replied on behalf of her husband, who shared with Clergue a passion for bullfighting and a taste for gypsy guitar music, notably that of Manitas de Plata; after Pablo’s death (1973), Jacqueline’s friendly relations continued with ‘the children’, Yolande and Lucien Clergue. It was in October 1955 that Lucien Clergue wrote to Picasso to express his admiration and present his work as a photographer; and in January 1956 he recommended himself on the basis of their mutual friend Jean Cocteau. Jacqueline thanked him for his photographs: ‘They are becoming more realistic without losing any of their poetry. Picasso is working at the moment, and I need to rest’… – California, 11 August 1956: ‘You know that Pablo Picasso is extremely sensitive to the beauty of your photographs. – So am I”… She invited Clergue to visit: “We shall await you in the spirit of friendship”… – [Cannes, 14 January 1957]: “Jean Cocteau, who came to La Californie yesterday, listened to the Gypsy record”… – La Californie, 13 June 1957, giving her measurements for a black dress: “I’m absolutely delighted at the thought of this fiesta. It now seems certain that the Black Kings will take part in these festivities. Isn’t that lovely? We’ve thoroughly enjoyed these last few days spent in Nîmes and everyone’s warm friendship, and Chicuelo’s art, and the rain, and the Spanish brass band”… – Cannes, 9 May 1957. She finds some photographs by Clergue from ‘l’Atelier Picasso’; they are going to entrust them to Douglas Cooper, who will bring them back to her. – California, 13 June 1958. She finds Clergue’s letter amongst some posters. ‘I hope you are in good shape – physically and photographically – and to ensure that this form does not falter, Picasso is sending you some film-nourishing food’. Picasso adds: ‘Hello Clergue Picasso’. – She was confined to bed when Clergue arrived, with Picasso by her side; and the caretaker followed the instructions. “Picasso says you may place the drawings as they are, on either side of the second edition cover; once this has been done, you must request the drawings from the publisher”… – [Cannes 10 February 1959], on the back of an envelope written by Jacqueline, Picasso drew a scorpion in black felt-tip pen and wrote: ‘Sent by PICASSO – Cannes A.M. ” – [May 1959] (photograph of the Château de Vauvenargues): “P.P. and I are delighted with the good news. We’ll be returning to Cannes next week”… – [Cannes 9 January 1961]. “Glad to hear you’re back – sorry we can’t see you soon [Picasso] as I must observe the utmost tranquillity after the festivities, which were marvellous”… – [21 March 1962], to Yolande and Lucien (in green felt-tip pen): “It’s lovely, lovely, lovely. So warm, and yet so lovely. We’re delighted for your happiness”… – [30 March 1962]. “I love it – we love the photographs. What a marvellous baby you’ve given us”… – [10 March 1967]: “No hope for bullfighting in Arles. That’s life”. – [Mougins 25 April 1969], explaining that “when Pablo put us in quarantine, we all – the whole household – went along with it without a murmur! As you may have realised, he’s allergic to the camera and the tape recorder, so he makes promises and then declares a blockade”… – 12 October 1969, Picasso’s signature and date at the end of an authorisation drafted by Jacqueline: “ I authorise Lucien Clergue to use the photographs and films he has taken of me and my works’: ‘Picasso, 12 October 1969’; another authorisation from Picasso: ‘Agreed, Picasso, 12 October 1969 ”. – Jacqueline expresses her thanks for “my ‘youlie’ dress”; she adds: “Picasso’s silence at the time of and surrounding the film must not, I think, have come as a surprise to you. Pablo is like a fish that fears the hook-lens. He put Cathy and me in quarantine at the time, but I think that when you have love and respect for him, you understand”… In her final letters, Jacqueline mentions her health problems and hospitalisations; for instance, “5 clinics & 16 exhibitions in 1981! ’; she adds: ‘You know, I’m very proud of you; you’re hugely appreciated everywhere, and I feel a maternal affection for all four of you. I haven’t really been able to show it because I’ve had a hard time myself—why? Pablo and I had so much joy to give. I’m going to Paris next week to launch the Vauvenargues era. That way, I’ll have fulfilled my mission”… Lucien Clergue’s letters to Pablo and Jacqueline, often lengthy, are of great interest; in them he discusses his work as a photographer, Picasso’s influence on his artistic and formal vision, their collaborations (book and film projects), their friend Jean Cocteau, Clouzot’s film *Le Mystère Picasso*, his exchanges with Michel Leiris, the Gypsies, the bull runs in Arles, his exhibitions, etc. Enclosed is a photograph of a cheque from Picasso with an envelope from Jacqueline; and four telegrams.
See original version (French)
Auto-translation. Refer to original language for legal validity.
About the sale Letters and Autograph Manuscripts – Part II
Auction location
Auction time 10/14/2026 at 2:00 PM
Pictures credits: Contact the Auction House
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