‎Picasso‎

‎Pablo Picasso‎

‎Homage to Picasso 1881-1973 fifty-two drawings watercolors and pastels 1900-1972.‎

‎Chicago : R.S. Johnson International 1973. 8vo. 63 pp. Soft cover. Very Good. Illustrated paper wraps. Minor shelf wear. Color and B&W plates throughout.Collection from San Francisco Museum of Modern Art. Chicago : R.S. Johnson International, 1973. paperback‎

Referenz des Buchhändlers : 17-2277

‎Pablo Picasso; Paul Blackburn [Translator]‎

‎Hunk of Skin The Pocket Poets Series - Number 25‎

‎City Lights Books 1968-01-01. Paperback. Very Good. 8x5x0. First American edition with very light soil to covers and gift note to the inside of the front cover. Please email for photos. City Lights Books paperback‎

Referenz des Buchhändlers : 110677

‎PABLO PICASSO‎

‎Je Suis le Cahier: The Sketchbooks of Picasso.‎

‎Hardback. Like New. hardcover‎

Referenz des Buchhändlers : GOR012146973 ISBN : 0500091730 9780500091739

‎Pablo PICASSO‎

‎L'artiste évoque sa passion : la tauromachie • The artist writes about his passion: bullfighting‎

‎Cannes 1957. Fine. ""The 7th Bull races"" Cannes 13 juin 1957 21 x 27 cm 2 pages sur un feuillet Multi-coloured autograph letter from Pablo Picasso to Max Pellequer signed and dated by the author on June 13 1957. The document includes the autograph address of his villa ‘La Californie’. 2 pages on one sheet 22 lines in green blue and red pencils on a watermarked sheet. Minor folds.    An exceptional account of Pablo Picasso's passion for bullfighting a recurring theme in his art since his very first works painted at the age of eight ""The Little Yellow Picador"" 1899.    Pablo Picasso gives Max Pellequer and his wife details regarding a trip to Arles on July 5 6 and 7 1957 to which the artist has invited them along with a handful of friends. With undisguised enthusiasm he announces that he has booked their rooms at the ""Norpinus"" Nord-Pinus and their seats for the bullfight. Only after providing this essential information does the painter mention the opening of his exhibition at the Réatu Museum and the official dinner with Douglas Cooper the great collector and the mayor of Arles Charles Privat: ""Dinner with Cooper & the mayor"". A performance of ""Aïda at the bullring"" is also scheduled during this Arlesian getaway which ends on the 7th with an intriguing ""bull run with the presence of a black king"". In the 1950s Pablo Picasso and Jacqueline Roque are regular visitors to the Arles bullrings. At that time the painter is not discovering the city. Fascinated by Van Gogh's portraits he paints his first Arlésienne in 1912 and his last featuring Jacqueline just after writing this letter in 1958. But it is his love of bullfighting that will ultimately bind the Andalusian to the bullfighting capital of Provence. From his early Barcelona works Scène de corrida and courses de Taureaux presented to Ambroise Vollard in 1901 to the famous and omnipresent theme of the Minotaur Picasso was one of the main promoters of bullfighting in France. In the late 1950s Arles becomes the painter's mecca for his passion immortalised in 1956 by David Douglas Duncan who photographed Pablo in the Arles bullring captivated by the bullfights.   This exceptional letter bears witness to the excitement of the artist who at the height of his international fame becomes for the time being a ‘groupie’ happy to accommodate his friends in the legendary ""Norpinus"" hotel known for hosting toreros after their bullfights. Bullfighting also features in the other major events presented by the artist in the 22 lines of our sheet. He announces the opening of his first exhibition at the Musée Réattu which gives pride of place to the figure of the bull in Picasso's work. Among the paintings on display from July 6 to September 2 1957 38 of the artist's artworks will be exhibited for the first time. Picasso the main lender for this event will ironically be absent from the opening too busy painting portraits of Jacqueline using pigeon feathers. The author continues his letter by proposing a dinner with British collector Douglas ""Cooper"" who along with the Barcelona Museum will also be invited to contribute to the exhibition. The ""mayor"" of Arles Charles Privat is the second personality invited to this dinner. Picasso and Privat who meet for the first time in April 1957 will maintain a fruitful relationship that will conclude in 1971 with the artist's donation of 57 artworks to the Musée Réattu. In the second part of the letter Pablo Picasso adds a performance of Verdi's opera ""Aïda"" to the schedule demonstrating the artist's continued keen interest in operatic works more than 30 years after designing sets for the Ballets Russes. Finally the only possible conclusion for Picasso's letter and stay with his friends is to attend of course one final bullfight whose announcement itself seems like the title of a painting: “bullfight with the presence of a black king"". We do not know which African dignitary attended the 1957 bullfight but the pain unknown‎

Referenz des Buchhändlers : 89530

‎Pablo PICASSO - Georges HUGNET - Paul ELUARD‎

‎La chèvre-feuille • The Honeysuckle‎

‎Robert J. Godet 1943. Fine. Robert J. Godet 1943 23 x 28 cm broché First edition illustrated with 6 original lithographs by Pablo Picasso one of 500 numbered copies on Lafuma paper. A pleasing copy complete with its ""prière d'insérer"" written by Paul Eluard. Robert J. Godet unknown‎

Referenz des Buchhändlers : 91824

‎Pablo PICASSO‎

‎Le désir attrapé par la queue‎

‎Paris: Gallimard 1945. Fine. Gallimard Paris 1945 14 x 19.50 cm broché First edition on chestnut. A small marginal tear without gravity on the second board nice complete copy of his trailer. Gallimard unknown‎

Referenz des Buchhändlers : 16148

‎Pablo PICASSO‎

‎Lettre autographe signée multicolore adressée à Max Pellequer • Multi-colored autograph letter to Max Pellequer‎

‎1955. Fine. 20 décembre 1955 26.80 x 20.90 cm un feuillet Multi-colored autograph letter to Max Pellequer Elegant multi-colored autograph letter by Pablo Picasso to Max Pellequer signed and dated 'December 20 1955'. A leaf in multi-color pencil blue green orange and red. Traces of transverse folds. This ""graphic"" letter in the most literal sense constitutes a superb polychrome and artistic link in an epistolary chain that linked Picasso and his prominent patron for decades.   Despite his prolific correspondence Picasso's entirely autographed letters are extremely rare as Laurence Madeline points out in her article on the confidential activity of the great artist:“The inertia paralyzing Picasso who preferred his work as an artist to that of a secretary made the letters he took pleasure in writing more essential and more touching” Laurence Madeline “Picasso épistolier” L'Herne no. 106. Living on the hills over Cannes the painter was indeed helped by his faithful secretary and childhood friend Jaume Sabartés who was responsible for writing numerous missives – save a few correspondents notably Pellequer. Picasso wrote each of Pellequer's letters even the most insignificant in an ample voluptuous script playing with letters and words as graphic objects blending aesthetically in the space of the page in perfect contrast to the prosaic nature of the letter's content. It could even be argued that his artistic soul largely invaded his daily and administrative correspondence with his banker and ardent collector of his works. Part of their correspondence is kept at the National Picasso Museum in Paris. An extraordinary recipient. Banker and collector Max Pellequer was introduced to Picasso in 1914 by his uncle by marriage André Level. He quickly became one of Picasso's most important collectors and his financial advisor for over 30 years. Pellequer's interest in his art began as early as the 1910's when he purchased a Picasso bronze from the art dealer Ambroise Vollard. During the 1930s and 1940s as Picasso's personal banker he secured and enhanced the painter's wealth and allowed him to settle comfortably in the South of France. Picasso created a superb ex-libris on copper for him bought him paintings including La mer à L'Estaque by Cézanne now in the Picasso museum and offered him a few works. Pellequer assembled a vast collection of paintings by the great masters of modern art: Degas Raoul Dufy Paul Gauguin Fernand Léger Henri Matisse Joan Miró Modigliani and Maurice Utrillo today preserved in the most important international museums. The “epistolary art” of Picasso. Picasso's epistolary production acted as an outlet for his incessant creative energy which was expressed in ceramics sculptures photographs illustrations collages or poetry. Each letter was an opportunity for genius to blossom regardless of the administrative content of his exchanges with Pellequer. Perhaps to counteract the dullness of his work Picasso redoubled his efforts: an explosion of color calligraphic letters across the page. to conjure up beauty and adorn his words in shimmering hues using oil pastels black felt-tip pens or colored pencils.These alphabet letters numbers words and sentences placed on the paper like so many musical scales are literally brought to life by the creative power of the painter. The years of “La Californie” in Cannes. Living with Jacqueline Roque in the villa “La Californie” at the time of this letter the painter was producing a series of captivating lithographed portraits of his partner. Paradoxically this colorful letter corresponds to a very monochrome period of his work – a superb counterpart to the black washes on zinc. Matisse with whom Pellequer also corresponded had died a month earlier. A very beautiful and visual illustration of Picasso's need for total expression through his correspondence with one of his close advisors and friends. unknown‎

Referenz des Buchhändlers : 85557

‎Pablo PICASSO‎

‎Lettre autographe signée multicolore adressée à Max Pellequer • Multi-coloured autograph letter to Max Pellequer‎

‎1958. Fine. 23 septembre 1958 20 x 17.5 cm Deux pages sur un feuillet Multi-coloured autograph letter from Pablo Picasso to Max Pellequer signed and dated by the artist on September 23  1958. The document includes the autograph address of his villa ‘La Californie’. 13 lines in a multi-coloured tip pen orange red blue and green on a sheet marked ‘VIA WESTERN UNION’.Minor folds. Tear in the lower left corner.    Colour is not systematically used in Pablo Picasso's letters. It would seem that the artist wanted to make a kind gesture towards his friend and banker Max Pellequer because the more aesthetically pleasing his letters are the more valuable they are. The use of a multicoloured pen in letter writing was a practice shared by several artists notably Paul Éluard. Despite his prolific correspondence Picasso's entirely autographed letters are extremely rare as Laurence Madeline points out in her article on the confidential activity of the great artist:“The inertia paralyzing Picasso who preferred his work as an artist to that of a secretary made the letters he took pleasure in writing more essential and more touching” Laurence Madeline “Picasso épistolier” L'Herne no. 106. Living on the hills over Cannes the painter was indeed helped by his faithful secretary and childhood friend Jaume Sabartés who was responsible for writing numerous missives – save a few correspondents notably Pellequer. Picasso wrote each of Pellequer's letters even the most insignificant in an ample voluptuous script playing with letters and words as graphic objects blending aesthetically in the space of the page in perfect contrast to the prosaic nature of the letter's content. It could even be argued that his artistic soul largely invaded his daily and administrative correspondence with his banker and ardent collector of his works. Part of their correspondence is kept at the National Picasso Museum in Paris.   An extraordinary recipient. Banker and collector Max Pellequer was introduced to Picasso in 1914 by his uncle by marriage André Level. He quickly became one of Picasso's most important collectors and his financial advisor for over 30 years. Pellequer's interest in his art began as early as the 1910's when he purchased a Picasso bronze from the art dealer Ambroise Vollard. During the 1930s and 1940s as Picasso's personal banker he secured and enhanced the painter's wealth and allowed him to settle comfortably in the South of France. Picasso created a superb ex-libris on copper for him bought him paintings including La mer à L'Estaque by Cézanne now in the Picasso museum and offered him a few works. Pellequer assembled a vast collection of paintings by the great masters of modern art: Degas Raoul Dufy Paul Gauguin Fernand Léger Henri Matisse Joan Miró Modigliani and Maurice Utrillo today preserved in the most important international museums.   The “epistolary art” of Picasso. Picasso's epistolary production acted as an outlet for his incessant creative energy which was expressed in ceramics sculptures photographs illustrations collages or poetry. Each letter was an opportunity for genius to blossom regardless of the administrative content of his exchanges with Pellequer. Perhaps to counteract the dullness of his work Picasso redoubled his efforts: an explosion of color calligraphic letters across the page. to conjure up beauty and adorn his words in shimmering hues using oil pastels black felt-tip pens or colored pencils.These alphabet letters numbers words and sentences placed on the paper like so many musical scales are literally brought to life by the creative power of the painter.   The years of “La Californie” in Cannes. Living with Jacqueline Roque in the villa “La Californie” at the time of this letter the painter was producing a series of captivating lithographed portraits of his partner. Paradoxically this colorful letter corresponds to a very monochrome period of his work – a superb cou unknown‎

Referenz des Buchhändlers : 89527

‎Pablo PICASSO‎

‎Lettre autographe adressée à Max Pellequer • Autograph letter to Max Pellequer‎

‎1956. Fine. ""Mistral et soleil"" Mistral and sunshine 7 juin 1956 26.80 x 20.90 cm un feuillet dont deux lignes sur une page Autograph letter in blue and red pencil by Pablo Picasso to Max Pellequer signed and dated by the author on June 7 1956. The document includes the autograph address of his villa ‘La Californie’.  12 lines on the front of the letter and two lines on the back on a printed notice announcing the forthcoming publication of a book by Thérèse Leroy.  Minor folds and a slight crease in the lower left corner.    We have here a rare written account of Pablo Picasso engaging in self-deprecation. In his villa ""Californie"" the painter found a printed poster announcing the forthcoming publication of the book ""La technique du classement"" The Technique of Classification. On this announcement he humorously wrote the following words: ""Je vais m'y mettre. Un peu sur le tard"" I'll get started on it with slight delay well aware that he preferred to devote his time to his art rather than to administrative tasks. Picasso refers here to the topic of his letter the discovery of a new insurance document requested by its recipient. Max Pellequer who managed his finances knew only too well the disorderly nature of his friend the artist with 50000 works to his credit. Picasso's true concerns however seem to reflect in the letter's graphic composition. He changed the colour and size of the characters to highlight what really mattered to him: beauty and friendship.   « Mistral et soleil. Allez bien et bonne poignée de main de votre Picasso » ! ""Mistral and sunshine and a proper handshake to you from Picasso""! Despite his prolific correspondence Picasso's entirely autographed letters are extremely rare as Laurence Madeline points out in her article on the confidential activity of the great artist:“The inertia paralyzing Picasso who preferred his work as an artist to that of a secretary made the letters he took pleasure in writing more essential and more touching” Laurence Madeline “Picasso épistolier” L'Herne no. 106. Living on the hills over Cannes the painter was indeed helped by his faithful secretary and childhood friend Jaume Sabartés who was responsible for writing numerous missives – save a few correspondents notably Pellequer. Picasso wrote each of Pellequer's letters even the most insignificant in an ample voluptuous script playing with letters and words as graphic objects blending aesthetically in the space of the page in perfect contrast to the prosaic nature of the letter's content. It could even be argued that his artistic soul largely invaded his daily and administrative correspondence with his banker and ardent collector of his works. Part of their correspondence is kept at the National Picasso Museum in Paris.   An extraordinary recipient. Banker and collector Max Pellequer was introduced to Picasso in 1914 by his uncle by marriage André Level. He quickly became one of Picasso's most important collectors and his financial advisor for over 30 years. Pellequer's interest in his art began as early as the 1910's when he purchased a Picasso bronze from the art dealer Ambroise Vollard. During the 1930s and 1940s as Picasso's personal banker he secured and enhanced the painter's wealth and allowed him to settle comfortably in the South of France. Picasso created a superb ex-libris on copper for him bought him paintings including La mer à L'Estaque by Cézanne now in the Picasso museum and offered him a few works. Pellequer assembled a vast collection of paintings by the great masters of modern art: Degas Raoul Dufy Paul Gauguin Fernand Léger Henri Matisse Joan Miró Modigliani and Maurice Utrillo today preserved in the most important international museums.   The “epistolary art” of Picasso. Picasso's epistolary production acted as an outlet for his incessant creative energy which was expressed in ceramics sculptures photographs illustrations collages or poetry. Each letter unknown‎

Referenz des Buchhändlers : 89524

‎Pablo Picasso; Alexander Calder; Juan Gris‎

‎Maitres Impressionistes et Modernes. November 1984. Lots 1-27.‎

‎Paris France: Daniel Malingue 1984. 12mo. Ca. 40 pp. Softcovers. Very Good with minor shelfwear on cover. Color Plates. Date stamp on cover. Text in French. Paris, France: Daniel Malingue, 1984. paperback‎

Referenz des Buchhändlers : 17-5174

‎Pablo PICASSO - Denis DIDEROT‎

‎Mystification ou histoire des portraits • Hoax or The Story of Portraits‎

‎Paris: Les Editeurs Français Réunis 1954. Fine. Les Editeurs Français Réunis Paris 1954 19.5 x 28.2 cm Broché Illustrated edition featuring 4 original lithographs by Picasso printed by Mourlot one of 430 numbered copies on wove paper the only issue after 5 copies on japon and 95 on Arches wove paper.A pleasing copy. Les Editeurs Français Réunis unknown‎

Referenz des Buchhändlers : 92033

‎Pablo Picasso, Rene Crevel, PAB‎

‎NUIT‎

‎<p>Rene Crevel first edition of is poem NUIT published in the "Autumn 1924 Winter 1925" issue of Little Review New York magazine illustrated with an original engraving with burin on celluloid by Picasso signed in pencil. Oblong tiny format 65 x 90mm published by PAB Alès May 1956. Limited numbered edition of 30 copies printed on fine Auvergne laid paper by Richard-de-Bas n. 29 signed in pencil by PAB Pierre Andre Benoit Ref: Cramer 74. Very Good lightly tanned.</p> PAB (Pierre Andre Benoit)‎

Referenz des Buchhändlers : N - 2023 - 99

‎Pablo PICASSO - Paul DERMEE‎

‎O solitude ! O fontaines !‎

‎Paris: GLM 1937. Fine. GLM Paris 1937 14.50 x 19.50 cm broché First edition one of 250 numbered copies on vellum only draw after 25 Holland paper. Illustrated book frontispiece a drawing by Pablo Picasso. Back and flat very slightly and marginally thinned as generally otherwise nice copy. Autograph dedication signed by Paul Dermée to the poet Hubert Dubois. GLM hardcover‎

Referenz des Buchhändlers : 66905

‎Pablo Picasso (after)‎

‎One plate from Les Portraits Imaginaires‎

‎<p>After Pablo Picasso<br />One plate from Les Portraits Imaginaires 1969<br />Lithograph in colors on Arches paper with printed signature as issued<br />Numbered F18 / 250 from the French edition with the blindstamp of the publisher/printer<br />Printed by Marcel Salinas<br />Published by Éditions Cercle D'art<br />Sheet size: 66 x 50 cm<br />Frame size: 76.5 x 61 x 2.5 cm</p>‎

Referenz des Buchhändlers : 74884

‎Pablo Picasso (subject); Kurt Blum (photographer)‎

‎Original photograph of Pablo Picasso in 1956‎

‎N.p.: N.p. 1956. Vintage borderless photograph of sculptor and painter Pablo Picasso standing outdoors with one of his sculptures in 1956. Stamp of noted Swiss photographer Kurt Blum on the verso along with two PIX agency labels. <br /> <br /> From the archive of the PIX Agency an American photo house that acted as an intermediary between emigre photographers as well as those still living in Europe and the American magazine and newspaper market between 1935-1969. <br /> <br /> From the archive of the PIX Agency an American photo house that acted as an intermediary between emigre photographers as well as those still living in Europe and the American magazine and newspaper market between 1935-1969. <br /> <br /> 8.25 x 10.25 inches. Near Fine. N.p. unknown‎

Referenz des Buchhändlers : 163145

‎Pablo Picasso (New York)‎

‎Pablo Picasso: A Retrospective 1980‎

‎NY NY: Museum of Modern Art 1980. First Edition. 8vo. Soft Covers. 16 pp. Very Good. Color and black and white plates.Catalogue accompanies an exhibition at the Museum of Modern Art May 22 to September 16 1980.Provenance: From the estate of Gerald Nordland 1927-2019. Nordland was a museum director art critic educator and author.Dean of the Chouinard Art Institute 1960-64 Director of the San Francisco Museum of Art now SFMoMA 1966-73 Milwaukee Art Museum 1977-85 and the UCLA Wight Art Gallery 1973-1977. He is the author of over 60 publications including books on Lachaise Nakian Diebenkorn and Frank Lloyd Wright. NY, NY: Museum of Modern Art, 1980. paperback‎

Referenz des Buchhändlers : 75-0828

‎Pablo Picasso, Maurice Jardot‎

‎Pablo Picasso Drawings‎

‎New York: Harry N. Abrams 1959. hardcover/illustrated boards in dust jacket. die-cut panel in dj caused closed tears at two corners.very shallow soiling along bottom edge of dj. faint aura of toning to outer margins of endpapers. no markings or writing. no bumps. strong binding.; xiv-159pp. four pages of 8 color lithography plus 152 full-page gravure illustrations. introduction by maurice jardot. First Edition. Hardcover. Very Good/Good Plus. Folio - over 12" - 15" tall. Harry N. Abrams Hardcover‎

Referenz des Buchhändlers : 23860

‎Pablo Picasso‎

‎Pablo Picasso: Structures of Invention‎

‎Hardback. New. hardcover‎

Referenz des Buchhändlers : B9788410024069 ISBN : 8410024063 9788410024069

‎Pablo Picasso; Kurt Leonhard‎

‎PABLO PICASSO DAS GRAPHISCHE WERK 1955-1965‎

‎Verlag Gerd Hatje. Used - Very Good. Very Good condition. Very Good dust jacket. German. pablo picasso catalogs Verlag Gerd Hatje unknown‎

Referenz des Buchhändlers : SB05O-00068

‎Pablo PICASSO - Georges HUGNET - (Marcel DUCHAMP)‎

‎Pablo Picasso - Marcel Duchamp - Non vouloir - Au dépens des mots • Pablo Picasso - Marcel Duchamp - Lack of Will - At the Expense of Words‎

‎1941. Fine. Complete collection of Surrealist poems published under the Nazi Occupation Non vouloir 1940 ; Pablo Picasso - Marcel Duchamp - Au dépens des mots 1941 19.4 x 29.6 cm Quatre feuillets Rare complete set of four pamphlets with poems by Georges Hugnet in first edition published during the Occupation illustrated by Picasso Joan Miro and Valentine Hugo. The first titled ""Non-vouloir"" was limited to only 26 copies; our copy is one of the 20 copies on vergé antique de Montval following 6 copies on japon. The three others on ordinary paper from a limited edition of 200 copies. ""Non-vouloir""  was the first resistance poem published openly and signed by its author without being subjected to censorship. Composed between March and June 1940 Hugnet's poem stands as a poetic manifesto of refusal against defeat and occupation echoing General De Gaulle's famous radio speach of June 18. Hugnet became an early member of the resistance  and joined the group ""La Main à plume"" which printed numerous clandestine tracts. He used his bookbinding workshop to forge false documents and under the pseudonym ""Malo le Bleu"" contributed notably to ""L'honneur des poètes"" a collection of resistance poetry published clandestinely in 1943 by the famous Editions de Minuit. Non vouloir 1940. Printed in red ink. Illustrated with an original frontispiece by Joan Miro. The leaf has been trimmed to form an eight-page  pamphlet a barely perceptible shadow left by a paper clip. Pablo Picasso 1941. Illustrated with 6 original zincographs by Pablo Picasso framing a poem by Georges Hugnet from January 1940. Fine copy without crease marks. Marcel Duchamp 1941. Printed in blue ink. Rare copy before the printing of the stencil by Marcel Duchamp mounted as frontispiece representing the mythical moustache he put on the Mona Lisa in 1919. Crease marks leaf cut along the fold at the top of the title page without loss of paper or text.  Au dépens des mots 1941. Printed in gold ink illustrated with an original frontispiece by Valentine Hugo. A few very slight traces of sunning. Fine copy without crease marks. unknown‎

Referenz des Buchhändlers : 91135

‎Pablo Picasso; Alex Gill; Lew Allen Modern‎

‎Pablo Picasso: Figures of PIcasso: Important Original Prints January 25 - March 16 2019. Published on the occasion of the exhibition held at LewAllen Galleries Santa Fe NM January 25 - March 16 2019.‎

‎Santa Fe NM : LewAllenModern 2019. 4to. 20 pp. Soft cover. Brand New. In publisher’s original shrink wrap. Illustrated paper wraps. Staple binding. Color and B&W plates throughout. Scarce. Santa Fe, NM : LewAllenModern, 2019. paperback‎

Referenz des Buchhändlers : 18-9181

‎Pablo Picasso; Gunnar Orn‎

‎Pablo Ruiz Picasso : Gunnar Orn Recent Monotypes. Pamphlet published on the occasion of an exhibition held at the Achim Moeller Fine Art July-August 1986.‎

‎New York : Achim Moeller Fine Art 1986. Single Sheet 21 x 8.5 inches folded into 10 pages. Very Good. Minor shelf wear. Small crease on one corner. B&W plates throughout. Extremely Scarce.From the Collection of the Art Historian Peter Selz 1919-2019. New York : Achim Moeller Fine Art, 1986. unknown‎

Referenz des Buchhändlers : 17-2952

‎Pablo Picasso‎

‎Path to Sculpture: The Paris and Dinard Sketchbooks of 1928 - From the Marina Picasso Collection Art & Design‎

‎Prestel Verlag 1995-10-23. Hardcover. New. 1st 1995 HB Prestel; new mint copy in stock for immediate dispatch from the UK Prestel Verlag hardcover‎

Referenz des Buchhändlers : mon0000270863 ISBN : 3791316117 9783791316116

‎Pablo Picasso‎

‎Picasso‎

‎<p>Interesting little publication in which on the last page is shown for the first time the famous bull's head "Tête de taureau" from 1942 assembled from bicycle saddle and handlebars. We were not able to fully clarify the authorship of the text. Our copy names Picasso himself as the author of the text on the inside title. Other sources refer to Pierre-André Benoit and Bernard Loliée or Jean-François Chabrun and Robert Rius. Limited edition of 265 copies in total including 5 "sur Chine" 10 "sur Auvergne" and 250 like the present copy "sur couché".</p><p>Petite publication tres intéressante dans laquelle la dernière page montre pour la première fois la célèbre "Tête de taureau" de 1942 assemblée à partir d'une selle et d'un guidon de vélo. Nous n'avons pas pu élucider complètement la paternité du texte. Notre exemplaire mentionne Picasso lui-même comme auteur du texte sur le titre intérieur. D'autres sources font référence à Pierre-André Benoit et Bernard Loliée ou à Jean-François Chabrun et Robert Rius. Tirage limité à 265 exemplaires au total dont 5 "sur Chine" 10 "sur Auvergne" et 250 comme le présent exemplaire "sur couché".</p><p>Sehr interessante kleine Publikation in der auf der letzten Seite zum ersten Mal der berühmte aus Fahrradsattel und -lenker assemblierte Stierkopf "Tête de taureau" von 1942 auftaucht. Die Urheberschaft des Textes vermochten wir nicht restlos aufzuklären. Unser Exemplar nennt auf dem Innentitel Picasso selbst als Verfasser des Textes. Andere Quellen spekulieren über Pierre-AndreÌ Benoit und Bernard LolieÌe bzw. Jean-François Chabrun und Robert Rius. Limitierte Auflage von insgesamt 265 Exemplaren darunter 5 "sur Chine" 10 "sur Auvergne" und 250 wie auch das vorliegende Exemplar "sur couché".</p> La Main à plume paperback‎

Referenz des Buchhändlers : 0462758376

‎Pablo Picasso - Kaarina Katiskoski (ed) et al‎

‎Picasso : Nuoruus ja vanhuus = Ungdom och ålderdom = Young and Old‎

‎Wäinö Aaltonen Museum of Art 2000. 1st Edition. Soft cover. Near Fine. Stylish exhibition catalogue. Released alongside an exhibition of the same name held in Wäinö Aaltonen Museum of Art in Finland in 2000. Text in Finnish Swedish and English. 150 pp. Small wear to the covers. Wäinö Aaltonen Museum of Art paperback‎

Referenz des Buchhändlers : 953 ISBN : 9529565291 9789529565290