PABLO PICASSO (After)
Composition with Glass and Fruitbowl, ca. 1965
Hand Signed and Numbered Etching and Collotype in Colours on Arches Wove Paper
Paper size: 63.7 x 83.5 cm. / 25.1 x 32.9 in.
Image size: 49.5 x 60.5 cm. / 19.5 x 23.8 in.
Image size: 49.5 x 60.5 cm. / 19.5 x 23.8 in.
This work is hand signed in pencil by the artist "Picasso" at the lower right margin.
It is also hand numbered from the edition of 300 at the lower left corner.
The work was printed in the 1965 in a limited edition of 300 impressions and published by Atelier Crommelynck, Paris.
The paper bears the blindstamp of the publisher "Atelier Crommelynck, Paris" at the lower left margin. The paper also bears the Arches watermark in the lower margin.
This etching printed by Aldo Crommelynck is based on Picasso's oil painting "Le Verre d'Absinthe" from 1924.
Note: Richard Solomon states of printmaker Aldo Crommelynck, "He [Crommelynck] formed an especially close working relationship with Picasso. In 1963, Picasso decided he need a printer close by his house, Notre-Dame-de-Vie in Mougins. Picasso would create etchings on copper plates supplied by Crommelynck in the morning and Crommelynck would return with proofs in the afternoon. When the proofing was complete, the plates went to Crommelynck's studio in Paris to be editions. Crommelynck printed for Picasso for over twenty years and collaborated on most of his intaglio projects including the series "60", and "156", and culminating in 1968 with Picasso's Suite 347”.
Condition: Very good condition. A pale band of unobtrusive time-staining around the image.
It is also hand numbered from the edition of 300 at the lower left corner.
The work was printed in the 1965 in a limited edition of 300 impressions and published by Atelier Crommelynck, Paris.
The paper bears the blindstamp of the publisher "Atelier Crommelynck, Paris" at the lower left margin. The paper also bears the Arches watermark in the lower margin.
This etching printed by Aldo Crommelynck is based on Picasso's oil painting "Le Verre d'Absinthe" from 1924.
Note: Richard Solomon states of printmaker Aldo Crommelynck, "He [Crommelynck] formed an especially close working relationship with Picasso. In 1963, Picasso decided he need a printer close by his house, Notre-Dame-de-Vie in Mougins. Picasso would create etchings on copper plates supplied by Crommelynck in the morning and Crommelynck would return with proofs in the afternoon. When the proofing was complete, the plates went to Crommelynck's studio in Paris to be editions. Crommelynck printed for Picasso for over twenty years and collaborated on most of his intaglio projects including the series "60", and "156", and culminating in 1968 with Picasso's Suite 347”.
Condition: Very good condition. A pale band of unobtrusive time-staining around the image.
$ 15,000.00 Unframed
Further images
Printed Edition
1stDibs
1stDibs
Printed Edition
1stDibs
1stDibs