1947réf. 48620Paris.: Latitud Curenta y Uno. Le Degré Quarante et Un / 41º. 1947 / 1948. . Oblong folio. 396 x 620 mm. Etching grattoir and burin on copper by Picasso printed on a full sheet of parchment pierced at edges for printing and with central fold by Roger Lacourière Paris; sheet size: 396 x 310 mm folded 396 x 620 mm unfolded. A very rare signed proof of the cover for 'Pis'mo: Escrito por Iliazd / Grabado por Picasso' Picasso's 1948 collaboration with Iliazd.Picasso's etching with grattoir and burin is for the vellum cover of the 1948 book 'Pis'mo' also known as 'Escrito por Iliazd / Grabado por Picasso'. The text of the book is a love poem in Russian by Iliazd one of the very few he wrote after leaving Georgia inspired by his meeting with Olga Djordjadze - Picasso too met her later - in Cannes in 1946. Picasso's print includes the title in Russian correctly at the top and incorrectly and effaced beneath as well as at right the figure of a woman seen from behind and turned away from the viewer; Picasso has dated the print '3 mars 47' in the copperplate which is printed in reverse.The present proof is printed on a sheet of vellum as for the published book although slightly whiter and slightly thinner than the published version and while it does have a central fold it is unfolded at the head and foot and is pierced around the outer edge of the sheet with small pinholes as part of the printing process. Signed at lower right by Picasso the sheet is annotated by Iliazd verso above and beneath the visible platemark 'haut' and 'bas' and 'Plier à l'envers'; Iliazd appears too to have drawn a pencil frame it differs from the engraved area to the verso beneath the 'haut' and 'bas'. A different hand has annotated the foot of the blank area adjacent to the printed section: 'Picasso P. Eau-forte pour la couverture du livre d'Iliazd 'ESCRITO' 1er Epreuve d'essai sur parchemin / le livre a été tiré à 66 exemplaires'.Proofs of the cover are very rare and examples signed by Picasso rarer still. Baer suggests that several trials and proofs were taken from Picasso's plate noting the 'bon à tirer' example on 'vélin sans filigrane' Georges Bloch's copy on parchment inscribed 'tirage d'essai' by Iliazd and signed at a later date by Picasso 'environ 7 épreuves sur parchemin avec annotations d'Iliazd sur la préparation du parchemin et le séchage' as well as a final signed example sold by Sotheby's in the 1970s.'In his poem 'Rogelio Lacourière pêcheur de cuivres' published in 'Hommage à Roger Lacourière 1968 Iliazd recalls in poetic terms the genesis of the book's title etching. The story goes that Lacourière had given Picasso a plate which was too large and which had a white mark to indicate where it should later be cut. Picasso - tempted by this extra space and the unexpected freedom it gave him - etched a nude on it. Lacourière therefore refrained from cutting the plate and Iliazd noticed that the asymmetry thus created in the title etching echoed his conception of the folded pages: the 'magnaminous' painter had 'transfigured' the book.' Patrick Cramer.Baer 785Ba; Bloch 462; see Cramer 48. Latitud Curenta y Uno. (Le Degré Quarante et Un / 41º). unknown
1966réf. 74882Pablo Picasso Untitled from Le Cocu Magnifique 1966 Etching with aquatint Hand signed lower right Numbered 12 / 30 mage size: 22.5 × 32.5 cm Frame size: 50.5 x 58 x 2 cm Published by Crommelynck Paris Reference Bloch 1249 Baer 1437 There was also an unsigned and unnumbered edition of 200 with narrow margins
1965réf. 127727Paris: Galerie Louis Leiris 1965. Edition of 50. Signed in pencil lower right by Picasso numbered lower left. Etching and aquatint on Richard de Bas paper. Image size: 27.1 x 37.6 cm. Sheet size: 42 x 51 cm. Framed size: 63 x 56 cm. Excellent condition. Presented in a hand-made white gold leaf frame with acrylic glazing. Bloch 1218; Baer 1200 Bb1. unknown
1956réf. N - 2023 - 99Rene 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. PAB (Pierre Andre Benoit)
1965réf. 2784France: np 1965. First edition. Very Good. Cecil Beaton. INSCRIBED BY PICASSO IN RED AND BLUE CRAYON TO THE PHOTOGRAPHER CECIL BEATON: "pour Cecil Beaton. Ami Picasso 9.6.65.". Cecil Beaton British 1904 -1980 photographed virtually every prominent person in public life over the course of his career which spanned more than half a century. Everyone from the Queen to the Rolling Stones sat before his lens. As an arbiter of glamor the opportunity to sit for Beaton represented the pinnacle of success for many but in some cases it was Beaton who pursued the sitter and he had followed Pablo Picasso Spanish 1881 - 1973 long before they first met. As one of the foremost artists of the twentieth century Picasso was sought after by many who wanted to rub elbows with success. He became one of those whom Beaton photographed several times over a period of many years first at the rue de la Boetie in Paris in 1933 then at the rue Augustins in 1944 and finally at Mougin in the south of France in 1965. Vickers. In addition to taking photographs Beaton wrote about Picasso in his private diary sketched his portrait and after the 1965 sitting wrote a profile of Picasso for Vogue Magazine. Photographs from Picasso's home in the hills above Mougin reveal a close bond between the two men. Here they appear relaxed comfortable with one another and with a gleam in their eyes. By then Picasso was 84 years old and still painting late into the nights. Writing in Vogue Beaton describes Picasso's energy as he gave Beaton a tour of the sprawling studio crowded with paintings some still wet with paint and others from decades before. Beaton wrote of Picasso's welcome: "Pablo said 'It has been twenty years since I last saw you!' A golden Picasso threw open his arms. 'After so long we must embrace.'" The two then made much fun about the passage of years and how they had aged. Beaton. A clear sign of affection Picasso inscribed select prints and dedicated them to Beaton. Picasso writes in red and blue crayon on this print: pour Cecil Beaton. Ami Picasso 9.6.65. The print stands as testament to the kinship between the two artists. Provenance: With stamp "From the Beaton Studio / Sotheby Parke Bernet" on verso sold Sothebys Parke Bernet 1978. Also with stamped notation "1/1" possibly indicating that this is a unique print. We have not been able to locate any others. Silver gelatin print. Signed inscribed and dated by Pablo Picasso "pour Cecil Beaton / Ami / Picasso 9.6.65" in red and blue ink recto. Image: 111â„4 x 73â„4 in. 28.5 x 19.6 cm.; sheet: 111â„2 x 91â„4 in. 29.2 x 23.4 cm. Majestically framed to an overall size of 24 x 19.5 in. Small abrasion evident to the right of Beaton's left ear; otherwise fine. References: Vickers Hugo ed. Cecil Beaton: Portraits & Profiles. London: Frances Lincoln 2017. P 152. Beaton Cecil. "Golden Picasso" Vogue Magazine volume 146 November 15 1965. np unknown
1957réf. 190907Paris: Éditions Louise Leiris 1957. Signed limited edition number 96 of 100 copies signed by Picasso. Printed by Mourlot Paris this complete set of Picasso's 8 portraits of French novelist and playwright Honoré de Balzac is accompanied by text by French surealist writer Michel Leiris. In 1927 Picasso was commissioned by publisher Ambroise Vollard to do a series of illustrations for Balzac's novella Le Chef-d'uvre inconnu The Unknown Masterpiece. First published in 1831 in the newspaper L'Artiste under the title Maître Frenhofer Master Frenhofer the story tells of an obsessive painter who has toiled over his magnum opus for ten years. When he finally unveils the finished work his fellow artists fail to be impressed and Frenhofer driven mad by his masterpiece burns the artwork and kills himself later that night. Frenhofer's plight clearly resonated with artists. Cezanne supposedly once lamented "Frenhofer c'est moi!" However Picasso's obsession with the tale went one step further. He even claimed that he was being haunted by the ghost of Balzac and in 1937 chose the address believed to have been the setting of the opening scene of Le Chef-d'uvre inconnu to be his new studio. Ironically it was there that Picasso produced what is widely regarded to be his own chef-d'uvre Guernica. These eight portraits of Balzac created in 1952 and published five years later are testimony to Picasso's enduring obsession and deep admiration for the writer. 8 transfer lithographs on Velin d'Arches. Loose as issued in original beige cloth portfolio with ties and black lettering to spine. Some gentle toning and minor foxing to a few leaves mainly confined to the edges. Overall the prints are clean and bright in a very good portfolio. hardcover
1969réf. 48574Barcelona.: Ediciones de la Cometa. 1969. Loose as issued in original publisher's printed wrappers and cloth-lined parchment-covered box. 2 vols. Folio. 470 x 370 mm or the reverse. Frontispiece engraving with burin signed in pencil by Picasso loose in paper portfolio as issued and Picasso's printed text illustrated with a further 12 original etchings by Picasso. Picasso's poetic and pictorial homage to El Greco and Velazquez.From the edition limited to 263 copies with this one of 220 examples with 12 original etchings together with an original etched frontispiece signed in pencil by Picasso.'From 1955 on the frequent visits of fellow Spaniards re-awakened Picasso's memories of Spain. In 1957 he began to write again in Spanish and he painted 'Las Meninas' after Velazquez. From January 6 1957 to August 20 1959 - the date of each text is meticulously noted - he wrote this dramatic poem and gave it the title of El Greco's masterpiece … Ten years later he suggested to Gustavo Gili a publisher in Barcelona that he should publish the piece. To illustrate it he chose 15 prints done between 1966 and 1967 … The prints depict fleshy women watched by a jealous cupid a male who is ferocious and ready for violence circus theatre and family scenes and the painter and his model. To these was added a burin engraving dated June 9 1939 in which a text in Spanish beginning 'Trozo de almíbar' 'bit of sirop' is enclosed by remarques.' Cramer.Cramer 146. Ediciones de la Cometa. hardcover
1972réf. 191744Paris: Atelier Crommelynck 1972. Printed at the Crommelynck workshop in Paris with their blind-stamp lower left. Unnumbered aside from the edition of 300. Aquatint in colours on Arches wove paper upper and lower edges deckled. Signed in pencil lower right by Picasso. Image size 49.8 x 60.4 cm. Sheet size: 64.1 x 83.8 cm. Framed size: 80 x 89.2 cm. Presented in a dark wood and gold leaf frame with conservation acrylic glazing. Soft creasing to margins hidden by the mount not affecting the image otherwise a bright impression. unknown
2014réf. 167067Paris: Cahiers d'Art 2014. Softcover. Revised Edition one of 1200 English language copies. Complete in 33 volumes. As New. Preceded in publication by the original French language editions published individually between 1932 and 1978 and the French language 33-volume set published in 1991. Catalogue raisonné published by Cahiers d'Art founder Christian Zervos in partnership with Picasso himself. Illustrated with over 16000 black-and-white images of Picasso's work. A monumental production. Fine and unread each volume in the original Near Fine glassine dust jacket. Housed in nine off-white linen slipcases as issued by the publisher. Still in publisher's shrinkwrap. Oversize set shipping billed at cost. Cahiers d'Art unknown
1969réf. 902981969. PICASSO Pablo. El Entierro del Conde de Orgaz. Three volumes. 12 XI 1 69 7 pp. Illustrated with one signed engraving and 12 etchings by Picasso and a preface by Rafael Alberti. Folio 370 x 470 mm bound loose as issued in the original wrappers and vellum-covered slipcase. The whole preserved in a cloth folding box. Barcelona: Gustavo Gili and Ediciones de la Cometa 1969. A Spanish production in every sense in this Picasso book Picasso illustrated his own poetry based upon his life and youth in Andalucia. The title bears reference to the painting by El Greco an artist very much admired by Picasso. Picasso began this poem in 1957 during a period of renewed interest in his Spanish heritage. Included in the work is a facsimile of Picasso's original manuscript of the poem written in coloured pencils. To illustrate his autobiographical poetry the artist selected one of his engravings from 1939 and etchings finished between 1966 and 1967. Printed and published by the publishing house Gustavo Gili of Barcelona with a prologue-poem by Rafael Alberti El Entierro del Conde de Orgaz includes a total of thirteen Picasso etchings of circus scenes and allegorical images infused with eroticism all echoing the artist's Spanish homeland and influences therefrom. One of an edition of 263 copies on Romani wove. It is notable that the present publication was the subject of a single exhibition at the Fundacion Picasso "Pablo Ruiz Picasso: El Entierro del Conde de Orgaz" May 2004. Goeppert 146. Bloch 1465-1477. Johnson Artists' Books in the Modern Era 1870-2000 No. 92. hardcover
réf. 51-1019Paris: Ambroise Vollard 1931. 13 original etchings unbound as issued in a sleeve inside the bound book. One of 65 deluxe copies no. 10 on Imperial Japan paper signed by Picasso and Vollard. Only the deluxe copies on Japan paper were signed on the colophon by the artist and publisher. This copy without the second suite on Rives. Housed in a custom clamshell case encased throughout in three leathers by the celebrated binder Alexandr Mosalov. References : Cramer Pablo Picasso les livres illustrés n° 20 ;Bloch: 82-94; Livre no 19. Un des précieux exemplaires sur Japon sans la suite.In-4 228 x 250 mm. En feuilles sous chemise rempliée illustrée. Quelques défauts à la couverture dos et bords inférieurs du premier plat légèrement passés accident à la coiffe supérieure quelques taches coin inférieur du premier feuillet blanc coupé bords des planches de la suite très légèrement maculées sans atteinte aux gravures.13 eaux fortes originales hors texte dont la table des gravures et 67 dessins gravés sur bois de Pablo Picasso. Paris: Ambroise Vollard, 1931. hardcover
réf. 124157Paris Le Degré quarante et un 1968. . First edition one of 65 copies on vieux japon from a total edition of 75 this copy unnumbered but probably one of the XV hors-commerce copies 'réservés aux compagnons' signed by Iliazd in red pencil on the colophon and by nine of the artists on the upper flyleaf; oblong 4to 23.2 x 29 cm; illustrated with 13 drypoint engravings of which three are in colour from the following artists: Beaudin Bryen Derain Dunoyer de Segonzac Ernst Giacometti Magnelli Marcoussis Masson Miro Pascin Picasso and Survage; loose as issued in the publisher's vellum wrappers with title printed in black brown cloth chemise and slipcase with title in black to spine a fine copy. Signed by Iliazd and nine of the artists including Picasso Miro and Ernst. Signed by Iliazd and nine of the artists including Picasso Miro and Ernst. A wonderful example of this homage to the Parisian printer and publisher Roger Lacourière containing original etchings by thirteen artists who collaborated with him in his Montmartre atelier. Picasso not only contributed an etching but also a poem titled Aux quatre coins de la pièce which he had engraved on a copper plate. The original plate was lost and there was only one known impression. Through great skill Iliazd was able give to the poem in printed form the same aesthetic as the manuscript-engraving. This collaboration between Iliazd and Picasso is notably scarce due to its small edition. Our example is in the vellum wrappers with the title printed in black as opposed to the more common marbled parchment wrappers with the title printed in red. Paris, Le Degré quarante et un, 1968. hardcover
1962réf. 138061Vallauris: Unpublished 1962. No edition. One of 68 trial proofs of the first state in beige or ochre on black. Stamped Picasso signature lower right as issued marked "Gravure ineditée" in pencil lower left rubber stamp of Marina Picasso to verso. Printed by Arnéra Vallauris. Linocut in ochre over black on vélin d'Arches watermarked wove paper. Image size: 52.4 x 63.7 cm. Sheet size: 75.1 x 62.1 cm. Framed size: 84.3 x 94.3 cm. Light creasing to upper right corner light skinning to verso from previous hinging otherwise in very good condition. Presented in a handmade gold leaf frame with conservation acrylic glazing. Wofsy L-148; Baer 1327 I. unknown
1960réf. 48558Alès.: PAB. Pierre. André. Benoit. 1960. Loose as issued in original publisher's printed wrappers with flaps original drypoint engraving on celluloid 'Homme Grec Barbu' by Picasso to front cover original publisher's patterned paper-covered board chemise with title in black to spine and matching slipcase. Folio. 512 x 340 mm. Leaf with title leaf with Picasso's original drypoint engraving on celluloid as frontispiece leaf with Pindar's dedication in Greek two leaves with Pindar's verse in Greek original drypoint engraving recto leaf with translator's credit leaf with Pindar's dedication in French two leaves with Pindar's verse in French translated by Jean Beaufret leaf with original drypoint engraving and final leaf with justification and achevé d'imprimer. A superb example of this superb collaboration between Picasso and PAB.From the edition limited to 50 copies with this one of 44 signed and numbered in pencil on the justification by the publisher and artist; six copies numbered in Roman numerals as well as six hors commerce copies were also issued.Picasso's four original drypoint engravings are titled as follows: 'Homme Grec Barbu' for the front cover; 'Lutteur avec Lance et Bouclier'; 'Athlète de Face'; 'Athlète au Repos'.'Pindar's Eighth Pythian Ode was after Ovid's Metamorphoses 1931 and Aristophanes's Lysistrata 1934 the third and last text from classical antiquity which Picasso illustrated . At the request of P.A. Benoit Picasso executed four drypoints on celluloid for Pindar's text . The Eighth Pythian Ode was presented i.e. sung in 446 BC at Aegina in honour of a certain Aristomenes who had won the wrestling competition at the Pythian Games at Delphi. Pindar celebrates the youth's splendid victory but also mourns the transience of happiness and glory by evoking the sad fate of the defeated.' Patrick Cramer.Cramer 108; Baer 1077 - 1080. PAB. (P[ierre]. A[ndré]. B[enoit].). unknown
1914réf. N - 2024 - 115Max Jacob. Illustrated with three cubist etchings by Picasso in full page from 1913. Max Jacob three-act play reflect the author mystic quest and his research into the cabala and astrology Picasso completed the illustrations during the winter of 1913/14 making three etchings and dry points one for each act to which he gave the titles: Femme Nue plate 1 Nature Morte au Crâne plate 2 and Femme plate 3. This book is second illustrated book published by Daniel-Henry Kahnweiler created in collaboration with Picasso. Signed by the Picasso and Jacob in the justification page and marked as number "40" of 85 copies on "Holland van Gelder" total edition 106 copies. The book is complete in the original glassine light offsetting is present in the text page near the first illustration. Ref Cramer #3. Very good conditions. Daniel- Henry Kahnweiler, Editeur hardcover
1962réf. 192114Paris: Editions Berggruen 1962. This print was issued with the deluxe edition of the book Diurnes with text by Jacques Prévert. Printed by Arnéra Vallauris. Edition of 100. Linocut in brown and tan on Vélin d'Arches watermarked paper. Signed in pencil lower right by Picasso numbered lower left. Image size 39 x 30 cm. Sheet size 54.5 x 43 cm. Framed size: 67.4 x 56.5 cm. Presented in a handmade gold leaf frame with conservation acrylic glazing. Tape residue from previous hinging to extreme top edge of verso otherwise in excellent condition. Bloch 1062; Baer 1276; Kramer 83. unknown
2013réf. 193398Paris: Cahiers d'Art 2013. The reference work for all of Picasso's paintings and drawings Revised and first English language edition number 207 of 1200 sets. Includes corrections to the original printing made in collaboration with the Picasso Administration. The most comprehensive catalogue raisonné on the works of Picasso the original volumes were prepared in partnership with Picasso himself and took Zervos over four decades to finish; the first volume published in 1932. 33 vols in 34. Original white stiff wrappers lettering to front covers and spines in black and red. With glassine dust jackets. All housed in the publisher's 9 grey linen slipcases. Illustrated with 16000 black and white images of paintings and drawings. A tear to the glassine of the spine of volume XXV otherwise a fine set. unknown
1913réf. 128083Paris: Mercure de France 1913. First edition of Apollinaire's first collection of poems signed by him and Pablo Picasso. Octavo bound in three quarter morocco with gilt titles and raised bands to the spine patterned endpapers frontispiece portrait of the poet by Pablo Picasso. Association copy inscribed by both Apollinaire and Pablo Picasso on front free endpaper "A A P.N. Roinard son admirateur Guillaume Apollinaire" and "et pour Robert Valançay Picasso Paris Janvier 1940 et I." Apollinaire has also made five corrections to the text in ink on pages 71 77 92 110 and 189. The recipient of Apollinaire's inscription Paul-Napoléon Roinard was a French libertarian painter and poet whom Apollinaire befriended in 1903 and considered "one of the most powerful precursors of the new poetry." Apollinaire dedicated his poem Le Brasier included in the present volume on p. 129 to Roinard. The recipient of Picasso's inscription Robert Valançay was a poet translator and literary critic who worked with and admired many of the artists and poets of the surrealist group. He published two major volumes of poetry but was most appreciated and sought after for his translations. He was considered the official translator of Max Ernst and Hans Arp. In near fine condition. Original wrappers bound in. A remarkable association copy linking four major figures of the literary and artistic avant-gardes of the 20th century. French poet playwright short story writer novelist and art critic Guillaume Apollinaire is considered one of the foremost poets of the early 20th century as well as one of the most impassioned defenders of Cubism and a forefather of Surrealism. At the turn of the 20th century he became one of the most popular members of the artistic community of Paris both in Montmartre and Montparnasse. His friends and collaborators in that period included Pablo Picasso Henri Rousseau Gertrude Stein Max Jacob André Salmon André Breton André Derain Faik Konitza Blaise Cendrars Giuseppe Ungaretti Pierre Reverdy Alexandra Exter Jean Cocteau Erik Satie Ossip Zadkine Marc Chagall Marcel Duchamp and Jean Metzinger. He is credited with coining the term "Cubism" in 1911 to describe the emerging art movement the term Orphism in 1912 and the term "Surrealism" in 1917 to describe the works of Erik Satie. Mercure de France hardcover
1932réf. 2650Paris: np 1932. Fine. MAN RAY CAPTURES PICASSO'S ESSENCE IN LEGENDARY PORTRAIT. AN ICONIC PHOTOGRAPH WITH IMPORTANT PROVENANCE: From the famous Sotheby's sale of 1995 of items from the "Estate of Juliet Man Ray The Man Ray Trust and the Family of Juliet Man Ray". The son of Russian-Jewish immigrants Emmanuel "Manny" Radnitzky 1890-1976 grew up in Brooklyn New York. He displayed creative abilities from a young age and studied to be a painter. He adopted "Man Ray" as his pseudonym and in 1915 formed the New York group of Dada artists with Marcel Duchamp. In the 1920s and 1930s Paris was the destination for the international avant-garde offering an exceptional number of galleries art dealers and wealthy patrons who promised artistic freedom. Man Ray sailed to the "City of Light" in 1921 joined Parisian Dada and Surrealist circles and became intimate associates with Pablo Picasso Max Ernst and other leading artists. He pursued fashion and portrait photography creating a pantheon of the city's cultural life. "As a photographer I was in demand" Ray explained to John Bainbridge a writer at The New Yorker. "I was like a doctor. Everybody needed me." Bolz To be photographed by Man Ray meant you had made it in the Parisian art world. Ray often said that Old Masters especially Hans Holbein the Younger Rembrandt and Vermeer inspired his portraits. "I. admired the respect with which they treated the proportions of human features" he wrote in an article published in Modern Photography magazine in November 1957. He also made considerable technological advancements in the field by creating "rayographs" photographic images composed of ordinary objects placed on photo sensitive paper exposed to light and developing solarization the process of tone reversal observed in cases of extreme overexposure. "I photograph the things that I do not wish to paint the things which already have an existence" Ray said. Schwarz 10 Ray sought to create a sense of drama and mystery believing that his photography could transcend the mechanical nature of a camera. When photographing his friends and colleagues Ray's emotional and psychological insights allowed him to expose the soul of each subject. One such subject and friend was Pablo Picasso. Man Ray and Picasso met in 1921 in Paris. They became friends through their connection to Surrealism spending holidays together and collaborating on creative pursuits. In his autobiography Man Ray described Picasso: "He gave me the impression of a man who was aware of all that was going on about him and in the world in general a man who reacted violently to all impacts but had only one outlet to express his feelings: painting." Man Ray 177 The intensity and awareness that Man Ray described is masterfully captured in his portraits of the painter. This photo we have on offer is from Man Ray's renowned series of Picasso portraits and coincided with the publication of the first volume of Picasso's catalogue raisonné reflecting the critical position Picasso's work occupied in the French artistic establishment. In this almost sculptural photograph from 1932 Man Ray unusually presented Picasso in an open trench coat over his jacket and tie. Picasso's dark hair is slicked down and his smooth face looks directly into the camera. Ray used light on the outlines of Picasso's face to create a contemplative image that showed him as a dark and shadowy figure juxtaposed against the light background. Picasso's riveting gaze also conveys a reflective and sober mood. This print has the Man Ray stamps M28 and M30 on the reverse and was lot 348 from the sale of the "Estate of Juliet Man Ray The Man Ray Trust and the Family of Juliet Man Ray" Sotheby's March 22 and 23 1995. Man Ray and Picasso remained close confidantes after this collaboration and during the summer of 1937 Man Ray filmed his friends including Pablo Picasso during a trip to the French Riviera. The result was On the French Riviera with Man Ray and Picasso a documentary film which portrayed the friendship of Picasso and Ray at the center of a close-knit community of artists. German occupation led Ray to leave Paris for the United States in 1940. He lived and worked in New York and Los Angeles returning to Paris in 1951 and resuming his friendship with Picasso and other artists. Ray died in Paris in 1976 yet his creativity and innovative techniques which demonstrate the distinctive cultural landscape of Paris during the interwar period had a substantial influence on contemporary art. Contributing to magazines like Vogue Vanity Fair and Harper's Bazaar he paved the way for Richard Avedon Annie Leibovitz and other artistic photographers. Ray achieved international recognition for his photography which he elevated to an art form. On May 14 2022 Man Ray's Le Violon d'Ingres 1924 sold for $12.4 million setting a new world record as the most expensive photograph ever sold at auction. He was a masterful portraitist renowned for capturing the essence of his subject's personality and mood. This collaboration between two of the most prolific creative and eclectic artists of the twentieth century had truly spectacular results. Provenance: Sotheby's London 22nd and 23rd March 1995 Lot 348: "Property of the Estate of Juliet Man Ray The Man Ray Trust and the Family of Juliet Man Ray." Image/Print Size: 9 x 11 3/4 in. Elegantly framed with wooden frame under UV-protecting museum glass to an overall size of 20 ½ x 24 ½ inches. Paris: 1932; printed later. Silver print. With Man Ray stamps on reverse: M28 and M30 - 'Man Ray 31 bis Rue Campagne Première Paris XIVe' and the copyright stamp ADAGP. Fine condition. References: Diane M. Bolz. "Visual Moment: Man Ray in Paris." Moment Magazine. Winter Issue 2022. The Editors of Encyclopaedia Britannica. "Man Ray." Encyclopedia Britannica. 14 Nov. 2022. Arthur Lubow. Man Ray: The Artist and His Shadows. New Haven: Yale University Press 2021. Man Ray. Photographs by Man Ray: 1920 Paris 1934. Hartford: James Thrall Soby 1934. Man Ray. Self Portrait. London: Bloomsbury 1988. Man Ray and Jean-Hubert Martin. Man Ray Photographs. London: Thames and Hudson 1982. Arturo Schwarz. Man Ray: The Rigour of Imagination. London: Thames and Hudson 1977. Slate Photo. "Man Ray's Portraits." Slate Magazine. February 6 2013. Alden Whitman. "Man Ray is Dead in Paris at 86; Dadaist Painter and Photographer." The New York Times. November 19 1976. np unknown
1932réf. 2651Paris: np 1932. Fine. MAN RAY CAPTURES PICASSO'S ESSENCE IN LEGENDARY PORTRAIT. AN ICONIC PHOTOGRAPH WITH IMPORTANT PROVENANCE: From the famous Sotheby's sale of 1995 of items from the "Estate of Juliet Man Ray The Man Ray Trust and the Family of Juliet Man Ray". The son of Russian-Jewish immigrants Emmanuel "Manny" Radnitzky 1890-1976 grew up in Brooklyn New York. He displayed creative abilities from a young age and studied to be a painter. He adopted "Man Ray" as his pseudonym and in 1915 formed the New York group of Dada artists with Marcel Duchamp. In the 1920s and 1930s Paris was the destination for the international avant-garde offering an exceptional number of galleries art dealers and wealthy patrons who promised artistic freedom. Man Ray sailed to the "City of Light" in 1921 joined Parisian Dada and Surrealist circles and became intimate associates with Pablo Picasso Max Ernst and other leading artists. He pursued fashion and portrait photography creating a pantheon of the city's cultural life. "As a photographer I was in demand" Ray explained to John Bainbridge a writer at The New Yorker. "I was like a doctor. Everybody needed me." Bolz To be photographed by Man Ray meant you had made it in the Parisian art world. Ray often said that Old Masters especially Hans Holbein the Younger Rembrandt and Vermeer inspired his portraits. "I. admired the respect with which they treated the proportions of human features" he wrote in an article published in Modern Photography magazine in November 1957. He also made considerable technological advancements in the field by creating "rayographs" photographic images composed of ordinary objects placed on photo sensitive paper exposed to light and developing solarization the process of tone reversal observed in cases of extreme overexposure. "I photograph the things that I do not wish to paint the things which already have an existence" Ray said. Schwarz 10 Ray sought to create a sense of drama and mystery believing that his photography could transcend the mechanical nature of a camera. When photographing his friends and colleagues Ray's emotional and psychological insights allowed him to expose the soul of each subject. One such subject and friend was Pablo Picasso. Man Ray and Picasso met in 1921 in Paris. They became friends through their connection to Surrealism spending holidays together and collaborating on creative pursuits. In his autobiography Man Ray described Picasso: "He gave me the impression of a man who was aware of all that was going on about him and in the world in general a man who reacted violently to all impacts but had only one outlet to express his feelings: painting." Man Ray 177 The intensity and awareness that Man Ray described is masterfully captured in his portraits of the painter. This photo we have on offer is from Man Ray's renowned series of Picasso portraits and coincided with the publication of the first volume of Picasso's catalogue raisonné reflecting the critical position Picasso's work occupied in the French artistic establishment. In this monumental photograph from 1932 Man Ray unusually presented Picasso in an open trench coat over his jacket and tie. Choosing to shoot this portrait in profile he captured Picasso's pensive expression. Ray used a bold lighting effect and an unadorned background so as not to detract from the subject. Picasso is slightly out-of-focus creating a subtle softness. The print is also on thin tissue-like paper creating texture and depth. Man Ray was famous for experimenting with different types of paper for his prints. This 1932 Portrait of Picasso was selected for Man Ray's seminal 1934 album which included his most important photographs. This print has the Man Ray stamps M28 and M30 on the reverse and was lot 487 from the sale of the "Estate of Juliet Man Ray The Man Ray Trust and the Family of Juliet Man Ray" Sotheby's March 22 and 23 1995. Man Ray and Picasso remained close confidantes after this collaboration and during the summer of 1937 Man Ray filmed his friends including Pablo Picasso during a trip to the French Riviera. The result was On the French Riviera with Man Ray and Picasso a documentary film which portrayed the friendship of Picasso and Ray at the center of a close-knit community of artists. German occupation led Ray to leave Paris for the United States in 1940. He lived and worked in New York and Los Angeles returning to Paris in 1951 and resuming his friendship with Picasso and other artists. Ray died in Paris in 1976 yet his creativity and innovative techniques which demonstrate the distinctive cultural landscape of Paris during the interwar period had a substantial influence on contemporary art. Contributing to magazines like Vogue Vanity Fair and Harper's Bazaar he paved the way for Richard Avedon Annie Leibovitz and other artistic photographers. Ray achieved international recognition for his photography which he elevated to an art form. On May 14 2022 Man Ray's Le Violon d'Ingres 1924 sold for $12.4 million setting a new world record as the most expensive photograph ever sold at auction. He was a masterful portraitist renowned for capturing the essence of his subject's personality and mood. This collaboration between two of the most prolific creative and eclectic artists of the twentieth century had truly spectacular results. Provenance: Sotheby's London 22nd and 23rd March 1995 Lot 487: "Property of the Estate of Juliet Man Ray The Man Ray Trust and the Family of Juliet Man Ray." Image/Print Size: 6 3/4 x 9 3/8 in. Elegantly framed with wooden frame under UV-protecting museum glass to an overall size of 20 ½ x 24 ½ inches. Paris: 1932; printed later. Silver print on thin paper. With Man Ray stamps on reverse: M28 and M30 - 'Man Ray 31 bis Rue Campagne Première Paris XIVe' and with the copyright stamp ADAGP. Fine condition. References: Diane M. Bolz. "Visual Moment: Man Ray in Paris." Moment Magazine. Winter Issue 2022. The Editors of Encyclopaedia Britannica. "Man Ray." Encyclopedia Britannica. 14 Nov. 2022. Arthur Lubow. Man Ray: The Artist and His Shadows. New Haven: Yale University Press 2021. Man Ray. Photographs by Man Ray: 1920 Paris 1934. Hartford: James Thrall Soby 1934. Man Ray. Self Portrait. London: Bloomsbury 1988. Man Ray and Jean-Hubert Martin. Man Ray Photographs. London: Thames and Hudson 1982. Arturo Schwarz. Man Ray: The Rigour of Imagination. London: Thames and Hudson 1977. Slate Photo. "Man Ray's Portraits." Slate Magazine. February 6 2013. Alden Whitman. "Man Ray is Dead in Paris at 86; Dadaist Painter and Photographer." The New York Times. November 19 1976. np unknown
1940réf. 48600Paris.: Le Degré Quarante et Un. 1940. Loose as issued in original publisher's printed parchment wrappers over card boards with title in black to upper cover original tan patterned paper board chemise and matching slipcase with label with 'ILIAZD / PICASSO' in blue ink to edge. Oblong 4to. 215 x 320 mm. Half-title original aquatint with 'arabesque' title leaf with justification in Russian verso leaf with justification in French leaf with title in French verso leaf with title in Russian leaf with original aquatint with second 'arabesque' and Iliazd's verse in Russian in double columns illustrated with 4 engravings with burin by Picasso final leaf with achevé d'imprimer in Russian. The first of Iliazd's beautiful and typographically inventive illustrated books and the first he produced with Picasso.From the edition limited to 64 copies on 'Montval à la cuve' signed by Picasso and Iliazd in pencil. 'Afat was the first of nine books Iliazd and Picasso collaborated on. All of them were published under the imprint of 'Degré Quarante et Un' a name Iliazd chose in memory of a school of futurist poetry called the 'University of the 41º' which he had founded in Tiflis in 1917 . Afat is a collection of 76 sonnets in Russian by Iliazd the majority of which were written between January and June 1938. In his poems Iliazd writes of love of feminine beauty of the poet's difficult métier and the hidden meaning of words. Three sonnets are about the poet's relationship to 'Pablo' Picasso.' Patrick Cramer.'Afat . contained features that would become signature elements of his work. The book was structured as a whole . The sequencing and number of pages were ordered by a mathematical scheme. The image was not linked to directly to the text thematically or physically and the interaction produced a dialogue rather than subordinating one to the other as illustration and / or caption. The sequence of blank sheets title half title and justification of the edition were laid out symmetrically so that the closing of the book echoed the opening . The typographic style was restrained and the pages produce subtle equilibrium instead of dynamic activity - no confusion no clamor no crowding no elaborate display faces. The sole decoration on the cover was the stamped title Afat a term that invokes unhappiness / and / or beauty that causes it rendered in kufic . With this work Iliazd's architectural approach to book structure with strong emphasis on symmetry and balance made its appearance.' Johanna Drucker.Cramer 33; see Johanna Drucker's 'Iliazd - A Meta-Biography of a Modernist' 2020 pp. 146 - 147. Le Degré Quarante et Un. hardcover
1960réf. 180667Paris: Atelier Crommelynck 1960. Printed and published by Atelier Crommelynck with their blind stamp lower right. Edition of 300. Signed in pencil lower right by Picasso. Etching and aquatint printed in colours on Arches wove paper all edges deckled. Plate size 32.5 x 43.7 cm. Sheet size: 50 x 66 cm. Framed size: 698 x 792 mm. Presented in a handmade black gesso and white gold frame with conservation acrylic glazing. Excellent condition. unknown
1950réf. 154025Paris & New York: L'Image Littéraire & R. Finelli-Feugère 1950. With an additional suite of Braque colour separations First edition first printing number 29 of 150 copies signed by all the artists and authors with each print numbered and signed by the respective artist and Robert Rey. This copy with an additional suite of 46 sheets with colour separations of Braque's print housed in separate wrappers lettered in black. The print titles included are: Braque "Nature morte au huitres"; Brianchon La neige a auteuil; Chagall La sirène; Desnoyer Liseuses au bord de mer; Dufy Le casino de la jetée a Nice; Laurencin Portrait de femme en rouge; Matisse Nature morte au magnolia; Picasso La cassarole Émaillée; Utrillo Le jardin de Montmagny; Van Dongen Tête de femme; Vlaminck Les blés dans la perche; and Waroquier Dolori sacrum. Folio. 12 colour woodcuts after each of the artists printed on Van Gelder Zonen wove paper with one edge untrimmed. Sheet sizes: 46.5 x 36 cm. Unbound sheets printed on Van Gelder Zonen wove paper in white wrappers titles to front cover in red. With glassine dust jacket. Housed in the publisher's blue morocco clamshell box titles to front cover and spine gilt. All contained in the original card packing box. Closed tear to front wrapper and glassine hinge of clamshell box split minor foxing in places otherwise a bright unfaded set. unknown
1962réf. 193616Teufen: Verlag Arthur Niggli 1962. Signed with two original crayon drawings by Picasso First German edition enhanced with two original drawings by Picasso to the front cover and title page. The copy is inscribed "pour Anne Lise" and signed and dated "15.10.63". Annelise Dierdorf was an art collector and patron along with her husband Gottfried. Their collection included original paintings prints and rare books many dedicated to the couple by their creators. Already a leading proponent of printmaking under the guidance of printer Hildalgo Arnéra in Vallauris Picasso mastered linocutting in the late 1950s and early 1960s elevating a technique formerly associated with commercial printing and advertising to a sophisticated and collectable artform. He is often credited with pioneering the reductive one-block printing process printing and recutting a single block to produce complex images rather than using separate blocks. Most of these early linocuts were printed exclusively for Gallerie Louise Leiris in editions of 50. Reductive linocuts have a finite edition determined by the print run from the initial state of the block as each state is destroyed by the next. The linocuts reproduced in this book could not therefore be printed from the original blocks however have been reproduced with a printing process that closely mimics the originals with thick distinct layers of paint. Quarto. 45 full-page facsimile linocuts. Text in German. Original beige cloth debossed illustration in black to front cover hand-coloured and enhanced by Picasso spine lettered in black. Cloth slipcase with illustrated paper labels. Some toning to slipcase labels; a fine copy in near-fine slipcase. hardcover
1964réf. 181688Paris: Galerie Louise Leiris 1964. Printed by Pennequin for Atelier Crommelynck. Edition of 50. Soft ground etching and aquatint in colours on Auverne Richard de Bas watermarked wove paper all edges untrimmed. Signed in pencil lower right by Picasso numbered lower left. Plate size 59.7 x 42.6 cm. Sheet size: 57.6 x 78.6 cm. Framed size: 98 x 78.5 cm. Presented in a black gesso and white gold frame with conservation acrylic glazing. Very minor spotting to margins otherwise a bright clean image. Baer 1168. Bloch 1168B. unknown
