PABLO PICASSO 1881-1973
Málaga 1881- 1973 Mougins (Spanish)
Title: Portrait of Jacqueline in the Armchair | Portrait de Jacqueline au Fauteuil, 1966
Technique: Original Hand Signed and Numbered Etching and Aquatint on BFK Wove Paper
Paper size: 62.5 x 45 cm. / 24.6 x 17.7 in.
Image size: 47 x 32 cm. / 18.5 x 12.6 in.
Additional Information: This etching 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 twice in the plate 27.4 and 26.10.66.
It was printed in 1968 by the Crommelynck Brothers in France and published by Galerie Louise Leiris, Paris in an edition of 50 signed and numbered impressions.
Literature:
1. Bloch, G. (1968), Pablo Picasso: Tome II, Catalogue of the Printed Graphic Work 1966-69, Bern: Editions Kornfeld et Klipstein.
Reference: Bloch 1394
2. Baer, B. (1992). Picasso: Peintre-Graveur, Tome II, Catalogue Raisonne de l’OEuvre Grave. Bern: Editions Kornfeld.
Reference: Baer 1416
PABLO PICASSO 1881-1973
Málaga 1881-1973 Mougins (Spanish)
Title: The Toad | Le Crapaud, 1949
Technique: Original Hand Signed and Numbered Lithograph on Arches Wove Paper
Paper size: 49.5 x 64 cm. / 19.5 x 25.2 in.
Additional Information: This lithograph is hand signed in red pencil by the artist “Picasso” at the lower right image.
It is also hand numbered in pencil from the edition of 50, at the lower left corner.
It is dated in the plate “13.1.49” [13th January 1949].
It was created by Picasso on 13th January 1949 by applying pen and ink wash to zinc plate. 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 lower image.
Other impressions of this subject are held by the Museum of Fine Arts, Boston and the Museum of Modern Art [MoMA], New York.
Provenance: Private Collection, Bergamo, Italy.
Literature:
1. Mourlot, F. (2009). Picasso Project: Picasso. The Lithographic Work. Volume I. 1919-1949. San Francisco: Alan Wofsy.
Reference: Mourlot 144.
2. Bloch, G. (1971). Pablo Picasso: Tome I. Catalogue of the Printed Graphic Work 1904-1967. Bern: Edition Kornfeld et Klipstein.
Reference: Bloch 585
PABLO PICASSO 1881-1973
Málaga 1881- 1973 Mougins (Spanish)
Title: Seated Man and Nude, from: La Suite 347, 1968
Technique: Original Hand Signed and Numbered Aquatint on Wove Paper
Paper size: 16.2 x 22.5 cm. / 6.4 x 8.9 in.
Image size: 6 x 8.5 cm. / 2.4 x 3.3 in.
Additional Information: This aquatint 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 20.7.68.II.
It was printed in 1968 by the Crommelynck Brothers in France and published by Galerie Louise Leiris, Paris in an edition of 50 signed and numbered impressions.
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 of 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:
Tokyo Elementary Salon, Japan
Literature:
1. Bloch, G. (1968), Pablo Picasso: Tome II, Catalogue of the Printed Graphic Work 1966-69, Bern: Editions Kornfeld et Klipstein.
Reference: Bloch 1691
2. Baer, B. (1992). Picasso: Peintre-Graveur, Tome II, Catalogue Raisonne de l’OEuvre Grave. Bern: Editions Kornfeld.
Reference: Baer 1706
Condition: Good condition. The sheet reduced on all sides.
PABLO PICASSO 1881-1973
Málaga 1881-1973 Mougins (Spanish)
Title: Picador and Bull, 1953
Technique: Original Stamped, Glazed White Earthenware Plate
size (Diameter): 24.2 cm / 9.5 in
Additional Information: This original ceramic plate was realised by the artist, Pablo Picasso.
It bears the ‘MADOURA EMPREINTE ORIGINALE DE PICASSO’ pottery stamps on the underside.
This work was conceived in 1953 and executed in an edition of 200 in different colour variations.
Note: 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.
Literature:
1. Bloch, G. (1972). Pablo Picasso, Catalogue de l’oeuvre grave céramique 1949-1971. Tome III.
Reference: Bloch 44
2. Ramié, A. (1988). Picasso, Catalogue of the Edited Ceramic Works 1947-1971. Madoura.
Reference: Ramie 97
Condition: Good Condition. Light surface dirt present. Minor loses of glaze in the verso. Hanging hook attached with glue and other glue remains in verso.
PABLO PICASSO 1881-1973
Málaga 1881-1973 Mougins (Spanish)
Title: Picador, 1952 [Bowl]
Technique: Original Stamped Black Oxide Glazed White Earthenware Plate
Size (Diameter): 14.5 cm. / 5.7 in.
Additional Information: This original ceramic plaque was realised by the artist, Pablo Picasso.
This work was conceived in 1952 and executed in an edition of 500.
With the “Edition Picasso” inscription and ‘Madoura Plein Feu’ pottery stamp 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 176
Condition: Excellent condition.
PABLO PICASSO 1881-1973
Málaga 1881-1973 Mougins (Spanish)
Title: Picador, 1952
Technique: Original Stamped Black Oxide Glazed White Earthenware Plate
Size (Diameter): 19.5 cm. / 7.7 in.
Additional Information: This original ceramic plaque was realised by the artist, Pablo Picasso.
This work was conceived in 1952 and executed in an edition of 500.
With the “Edition Picasso” inscription and ‘Madoura Plein Feu’ pottery stamp 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 160
Condition: Excellent condition.
PABLO PICASSO 1881-1973
Málaga 1881-1973 Mougins (Spanish)
Title: Divers | Plongeurs, 1956
Technique: Original Stamped Black Oxide Glazed White Earthenware Plate
Size (Diameter): 18.4 cm. / 7.2 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 500.
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:
1. Bloch, G. (1972). Pablo Picasso, Catalogue de l’oeuvre gravé céramique 1949-1971. Volume III. Bern: Kornfeld & Klipstein
Reference: Bloch 74
2. Ramié, A. (1988). Picasso, Catalogue of the Edited Ceramic Works 1947-1971, Vallauris: Madoura.
Reference: Ramié 377
Condition: Excellent condition. A very minor area of glaze removed on the inner rim of the plate, verso.
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: Smiling Faun | Faun Souriant, 1948
Technique: Original Hand Signed and Hand Numbered Lithograph on Arches Wove Paper
Paper size: 76.4 x 56 cm. / 30 x 22 in.
Additional Information: This original lithograph is hand signed in pencil “Picasso” at the lower right margin.
It is also hand numbered in pencil, from the edition of 50 at the lower left margin.
The work was printed in a limited edition of 50 signed and numbered impressions with six unsigned proofs for the artist and the printer.
It was printed and published by Atelier Mourlot in 1948.
Note: This lithograph is one of the seven works that Picasso made on 10th March at Mourlot’s Atelier in Paris, five of those portray a flute-playing faun.
Literature:
1. Mourlot, F. (2009). Picasso Project: Picasso. The Lithographic Work. Volume I. 1919-1949. San Francisco: Alan Wofsy.
Reference: Mourlot 112.
2. Bloch, G. (1971). Pablo Picasso: Tome I, Catalogue of the printed graphic work 1904-1967. Bern: Edition Kornfeld and Klipstein.
Reference: Bloch 519
Condition: Very good condition. Some very minor areas of pale yellow staining at upper sheet corners.
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
