PABLO PICASSO 1881-1973
Málaga 1881- 1973 Mougins (Spanish)
Title: Mythological Scene: Perhaps Agamemnon’s Lust for Briseis, from: Series 347| Scène mythologique: peut-être la convoitise d’Agamemnon pour Briséis, 1968
Technique: Original Hand Signed and Numbered Etching on Wove Paper
Paper size: 45 x 54.1 cm. / 17.7 x 21.3 x in.
Image size: 27.8 x 38.7 cm. / 10.9 x 15.2 in.
Additional Information: This etching is hand signed in pencil by the artist “Picasso” at the lower right margin. It is dated in the plate “27.4.68.I.”
It is also hand numbered in pencil from the edition of 50, at the lower left margin. There were also 17 artist’s proofs aside from the standard edition.
This etching was printed in 1968 by the Crommelynck Brothers in France and published by Galerie Louise Leiris, Paris the following year.
This work is the 55th composition in the 347 series.
Note: The “347 Series” was, in printmaking, the undertaking which defined late Picasso. This prodigious outpouring of work, dating from March 16th–October 5th, 1968, deals with all his old themes and fantasies, adding an obsession newly central in the late 60s, the artist as voyeur. It is in this role, rather than that of a protagonist, that the artist figures in these fantastic narrations.
In order to be able to work with full freedom and concentration, Picasso had his printers, the brothers Crommelynck, bring the etching plates and hand press to his farmhouse near Cannes.
Provenance: Estate of Henri Marie Petiet (1894-1980)
Literature: Bloch, G. (1968). Pablo Picasso: Tome II, Catalogue of the printed graphic work 1966-69. Berne: Editions Kornfeld et Klipstein.
Reference: Bloch 1535
Condition: Excellent condition.
PABLO PICASSO 1881-1973
Málaga 1881- 1973 Mougins (Spanish)
Title: At the Circus: Acrobats, Giraffe and Swimmers, from: Series 347 | Au cirque: acrobates, girafe, nageuses, 1968
Technique: Original Hand Signed and Numbered Etching on Wove Paper
Paper size: 45.2 x 57.8 cm. / 17.8 x 23 x in.
Image size: 31.3 x 41.6 cm. / 12.3 x 16.4 in.
Additional Information: This etching is hand signed in pencil by the artist “Picasso” at the lower right margin. It is dated in the plate “11.4.68.I.”
It is also hand numbered in pencil from the edition of 50, at the lower left margin. There were also 17 artist’s proofs aside from the standard edition.
This etching was printed in 1968 by the Crommelynck Brothers in France and published by Galerie Louise Leiris, Paris the following year.
This work is the 24th composition in the 347 series.
Note: The “347 Series” was, in printmaking, the undertaking which defined late Picasso. This prodigious outpouring of work, dating from March 16th–October 5th, 1968, deals with all his old themes and fantasies, adding an obsession newly central in the late 60s, the artist as voyeur. It is in this role, rather than that of a protagonist, that the artist figures in these fantastic narrations.
In order to be able to work with full freedom and concentration, Picasso had his printers, the brothers Crommelynck, bring the etching plates and hand press to his farmhouse near Cannes.
Provenance: Estate of Henri Marie Petiet (1894-1980)
Literature: Bloch, G. (1968). Pablo Picasso: Tome II, Catalogue of the printed graphic work 1966-69. Berne: Editions Kornfeld et Klipstein.
Reference: Bloch 1504
Condition: Very good condition. Very soft handling creases in the lower margin.
PABLO PICASSO 1881-1973
Málaga 1881- 1973 Mougins (Spanish)
Title: Painter, Model and Viewer, from: Series 347| Peintre, modèle et spectateur, 1968
Technique: Original Hand Signed and Numbered Aquatint on Wove Paper
Paper size: 32.5 x 25.2 cm. / 12.8 x 9.9 x in.
Image size: 12.2 x 9 cm. / 4.8 x 3.5 in.
Additional Information: This aquatint is hand signed in pencil by the artist “Picasso” at the lower right margin. It is dated in the plate “24.4.68.II.”
It is also hand numbered in pencil from the edition of 50, at the lower left margin. There were also 17 artist’s proofs aside from the standard edition.
This etching was printed in 1968 by the Crommelynck Brothers in France and published by Galerie Louise Leiris, Paris the following year.
This work is the 50th composition in the 347 series.
Note: The “347 Series” was, in printmaking, the undertaking which defined late Picasso. This prodigious outpouring of work, dating from March 16th–October 5th, 1968, deals with all his old themes and fantasies, adding an obsession newly central in the late 60s, the artist as voyeur. It is in this role, rather than that of a protagonist, that the artist figures in these fantastic narrations.
In order to be able to work with full freedom and concentration, Picasso had his printers, the brothers Crommelynck, bring the etching plates and hand press to his farmhouse near Cannes.
Provenance: Estate of Henri Marie Petiet (1894-1980)
Literature: Bloch, G. (1968). Pablo Picasso: Tome II, Catalogue of the printed graphic work 1966-69. Berne: Editions Kornfeld et Klipstein.
Reference: Bloch 1530
Condition: Excellent condition.
PABLO PICASSO 1881-1973
Málaga 1881- 1973 Mougins (Spanish)
Title: Caricature of General de Gaulle and Two Women, from: Series 347| Caricature du général de Gaulle et deux femmes, 1968
Technique: Original Hand Signed and Numbered Drypoint, Aquatint with Scraper on Wove Paper
Paper size: 47.4 x 56.5 cm. / 18.6 x 22.2 x in.
Image size: 31.5 x 39.5 cm. / 12.4 x 15.5 in.
Additional Information: This drypoint, aquatint with scraper is hand signed in pencil by the artist “Picasso” at the lower right margin. It is dated in the plate “21.4.68.I.”
It is also hand numbered in pencil from the edition of 50, at the lower left margin. There were also 17 artist’s proofs aside from the standard edition.
This etching was printed in 1968 by the Crommelynck Brothers in France and published by Galerie Louise Leiris, Paris the following year.
This work is the 45th composition in the 347 series.
Note: The “347 Series” was, in printmaking, the undertaking which defined late Picasso. This prodigious outpouring of work, dating from March 16th–October 5th, 1968, deals with all his old themes and fantasies, adding an obsession newly central in the late 60s, the artist as voyeur. It is in this role, rather than that of a protagonist, that the artist figures in these fantastic narrations.
In order to be able to work with full freedom and concentration, Picasso had his printers, the brothers Crommelynck, bring the etching plates and hand press to his farmhouse near Cannes.
Provenance: Estate of Henri Marie Petiet (1894-1980)
Literature: Bloch, G. (1968). Pablo Picasso: Tome II, Catalogue of the printed graphic work 1966-69. Berne: Editions Kornfeld et Klipstein.
Reference: Bloch 1525
Condition: Excellent condition.
PABLO PICASSO 1881-1973
Málaga 1881-1973 Mougins (Spanish)
Title: Modern Style Bust (Francoise) | Buste Style Moderne, 1949
Technique: Original Hand Signed and Numbered Lithograph on Arches Wove Paper
Paper size: 65.5 x 50 cm. / 25.8 x 19.7 in.
Additional Information: This lithograph is hand signed in black ink by the artist “Picasso” at the lower left deckle edge.
It is also hand numbered in black ink from the edition of 50, next to the signature.
It was created by Picasso on the 3rd August 1949 and it was printed by Mourlot in the same year in a limited edition of 50 impressions. There were also six artist’s proofs.
The paper bears the Arches watermark in the right image.
Other impressions of this subject are held by the Art Institute of Chicago and the National Gallery of Art, Washington.
Literature:
1. Mourlot, F. (2009). Picasso Project: Picasso. The Lithographic Work. Volume II. 1949-1969. San Francisco: Alan Wofsy.
Reference: Mourlot 164.
2. Bloch, G. (1971). Pablo Picasso: Tome I. Catalogue of the Printed Graphic Work 1904-1967. Bern: Edition Kornfeld et Klipstein.
Reference: Bloch 594.
Condition: Very good condition. The sheet evenly and lightly toned. A band of foxing along the lower sheet edge, verso. Remnants of hinging tape in the upper corners, verso.
PABLO PICASSO 1881 –1973
Málaga 1881-1973 Mougins (Spanish)
Title: Man and Woman | Homme et femme, 1967
Technique: Signed and Dated Pen, Brush and India Ink Drawing on Wove Paper
Paper size: 31.5 x 24.3 cm. / 12.4 x 9.6 in.
Additional Information: This ink drawing is hand signed in black ink by the artist “Picasso” in the upper left corner.
It is also dated 15.3.67.II in ink above the signature.
Picasso created this work on 15th March 1967.
Provenance:
Galerie Berggruen et Cie., Paris.
Hokin Gallery, Inc., Palm Beach
Private Collection, Florida since 1969
Literature:
C. Zervos, Pablo Picasso, Paris, 1973, vol. 27, no. 496 (illustrated, pl. 186).
Condition: Excellent condition.
PABLO PICASSO 1881-1973
Málaga 1881-1973 Mougins (Spanish)
Title: Dove Mat | Colombe mate, 1948
Technique: Original Stamped White Earthenware and Painted Plate with Partial Glaze
Size: 31 x 38 cm. / 12.2x 14.9 in.
Additional Information: This original ceramic plaque was realised by the artist, Pablo Picasso.
This work was conceived in 1948 and executed in an edition of 450.
With the ‘Empreinte Originale de Picasso’ and ‘Madoura Plein Feu’ pottery stamps on the underside.
Note: While in Golfe Juan in In 1946 Picasso decided, with his friend Louis Fort, to visit the pottery exhibition in Vallauris. He took a particular interest in the Madoura stand and asked to be introduced to the owners – Suzanne and Georges Ramié. They invited him to their Madoura Pottery workshop in Vallauris. There he made three pieces which he left to dry and bake.
A year later Picasso returned to see how the pieces had turned out. He was delighted with the quality of the work and asked if he could make more. They agreed and an area of the workshop was arranged especially for him. Immediately, he began to work, inspired by his portfolio of sketches. So began a long and very productive partnership between Picasso and Madoura. The whole Madoura team became part of the creative process. They made sure Picasso had all the materials he needed and assisted in producing perfectly finished works of art. Suzanne Ramié shared her vast experience, teaching him all the secrets of ceramics.
The ceramics ranged from vases, sculptures, plaques to even a complete dinner service. The familiar themes included bullfighting scenes, portraits and nature – goats, birds, and fish. In 24 years over 633 pieces were created in limited editions all engraved with the Madoura stamp.
Literature: Ramié, A. (1988). Picasso, Catalogue of the Edited Ceramic Works 1947-1971, Vallauris: Madoura.
Reference: Ramié 77
Condition: Very good condition.
PABLO PICASSO 1881-1973
Málaga 1881-1973 Mougins (Spanish)
Title: Geometric Face, 1956
Technique: Original Stamped, Numbered Unglazed White Earthenware Plate
Size (Diameter): 36 x 5 cm. / 14 x 1.9 in.
Additional Information: This original ceramic plaque was realised by the artist, Pablo Picasso.
This work was conceived in 1956 and executed in an edition of 100.
It is inscribed ‘A. 102’ and with the ‘Empreinte Originale de Picasso’ and ‘Madoura Plein Feu’ pottery stamps on the underside.
In 1946 Picasso in Golfe Juan with his friend Louis Fort, decided to visit the pottery exhibition in Vallauris. He took a particular interest in the Madoura stand and asked to be introduced to the owners – Suzanne and Georges Ramié. They invited him to their Madoura Pottery workshop in Vallauris. There he made three pieces which he left to dry and bake.
A year later Picasso returned to see how the pieces had turned out. He was delighted with the quality of the work and asked if he could make more. They agreed and an area of the workshop was arranged especially for him. Immediately, he began to work, inspired by his portfolio of sketches. So began a long and very productive partnership between Picasso and Madoura. The whole Madoura team became part of the creative process. They made sure Picasso had all the materials he needed and assisted in producing perfectly finished works of art. Suzanne Ramié shared her vast experience, teaching him all the secrets of ceramics.
The ceramics ranged from vases, sculptures, plaques to even a complete dinner service. The familiar themes included bullfighting scenes, portraits and nature – goats, birds, and fish. In 24 years over 633 pieces were created in limited editions all engraved with the Madoura stamp.
Provenance: Purchased by the grandfather of the previous owner in Madoura over 30 years ago.
Literature:
1. Bloch, G. (1972). Pablo Picasso, Catalogue de l’oeuvre gravé céramique 1949-1971. Volume III. Bern: Kornfeld & Klipstein
Reference: Bloch 104
2. Ramié, A. (1988). Picasso, Catalogue of the Edited Ceramic Works 1947-1971, Vallauris: Madoura.
Reference: Ramié 344
Condition: Very good condition. A tiny broken piece on the nose.
PABLO PICASSO 1881-1973
Málaga 1881-1973 Mougins (Spanish)
Title: David and Bathsheba (After Lucas Cranach) II | David et Bethsabée (d’après Lucas Cranach) II, 1947
Technique: Original Hand Signed and Numbered Lithograph on Arches Wove Paper
Paper size: 66 x 50 cm. / 26 x 19.7 in.
Additional Information: This lithograph is hand signed in pencil by the artist “Picasso” at the lower right margin.
It is also hand numbered in pencil, from the edition of 50 at the lower left margin.
It is dated in the plate “Dimanche 30 Mars 1947” [Sunday 30th March 1947].
It was created by Picasso on the 30th March 1947 by applying pen and ink wash to zinc plate and using a scraper. It was printed by Mourlot in the same year in a limited edition of 50 impressions. There were also six artist’s proofs.
This impression is the second state of ten. Only the second and fourth states were published as editions of 50. The work progressively becomes darker and more abstracted through the creative process.
The paper bears the Arches watermark.
Other impressions of this subject are held by the Art Institute of Chicago and Jordan Schnitzer Museum of Art, University of Oregon, United States of America.
Note:
Lucas Cranach was one of the main Old Master artist’s to have provided inspiration for Picasso. The artist was first introduced to the magnificent paintings by Cranach through his dealer Daniel-Henry Kahnweiler, who would sporadically send postcards and exhibition catalogues of Cranach’s masterpieces from across Europe. On this occasion Picasso received a black and white exhibition catalogue from an exhibition in Berlin, which had included a photograph of Lucas Cranach’s David and Bathsheba painted in 1534.
Literature:
1. Mourlot, F. (2009). Picasso Project: Picasso. The Lithographic Work. Volume II. 1949-1969. San Francisco: Alan Wofsy.
Reference: Mourlot 109 (Second State).
2. Bloch, G. (1971). Pablo Picasso: Tome I. Catalogue of the Printed Graphic Work 1904-1967. Bern: Edition Kornfeld et Klipstein.
Reference: Bloch 440
Picasso (1881- 1973) was introduced to art in his early childhood by his father who was an art professor at the Academy in Barcelona. Picasso´s early paintings from Paris are influenced by Toulouse-Lautrec, Honoré Daumier and Paul Gauguin. An interest in Art Nouveau and Symbolism culminated in Picasso´s ´blue period´ in which he concentrated on the depiction of suffering, haggard, slightly anaemic people, reflecting the fin-de-siècle mood of pessimism. In Paris Picasso´s contact with innovative art circles led to a new and different style: the ´pink period´, which lasted from 1904 to 1906. The ´Demoiselles d´Avignon´ of 1907 mark the beginning of his Cubist period in which he exceeded the classical form. The works produced between 1909 and 1912 are considered analytically Cubist: The picture surface is divid
The ´Demoiselles d´Avignon´ of 1907 mark the beginning of his Cubist period in which he exceeded the classical form. The works produced between 1909 and 1912 are considered analytically Cubist: The picture surface is divid. The ´Demoiselles d´Avignon´ of 1907 mark the beginning of his Cubist period in which he exceeded the classical form. The works produced between 1909 and 1912 are considered analytically Cubist: The picture surface is divid
