PICASSO, PabloBiblio.com
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1964rif. 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
rif. 1205161962 . Linocut in colours 1962 on Arches paper signed in pencil and numbered 15 from the edition of 160 there were also approximately twenty artist's proofs published by Galerie L. Leiris Paris sheet: 61.2 x 75 cm. 24 x 29.5 in. Bloch 1098; Baer 1301. 1962 unknown
1931rif. 3114Paris, Ambroise Vollard Éditeur, 1931. Un volume in-4 (32 x 24 cm). Remarquable reliure "sculptéee de Paul Bonet en plein box bleu nuit et décor polychome en relief, chemise et étui (signée et datée de 1944). - 12 EAUX-FORTES ORIGINALES EN HORS-TEXTE et 1 EAU-FORTE pour la "table des eaux-fortes" GRAVÉES PAR PABLO PICASSO. - UNE SUITE COMPLÈTE DES 12 GRAVURES HORS-TEXTE SUR VÉLIN DE RIVES. - Dessins de l'artiste gravés sur bois par Georges Aubert et tirés en in-texte. Une "préface" de 16 pages de dessins composés de points et de traits dessinés par Picasso en 1924 également gravés sur bois par Aubert. Tirage : 340 exemplaires (65 Japon + 240 vélin de Rives + 35 H.C.). Celui-ci 1 DES 65 EXEMPLAIRES SUR JAPON IMPÉRIAL, LES SEULS SIGNÉS AU PINCEAU PAR PICASSO et monogramés à la plume par Vollard, avec UNE SUITE COMPLÈTE DES 12 GRAVURES HORS-TEXTE SUR VÉLIN DE RIVES. - Dans une extraordinaire reliure "sculptée" de Paul Bonet, datée 1944 : "box bleu corbeau, un grand caisson ovale occupe presque chaque plat, encadrant un grand motif abstrait sculpté et couvert de veau de différentes couleurs vives" (Carnets, n°692), couverture conservée, chemise, étui. Bonet n'a réalisé qu'une poignée de ces fameuses reliures sculptées qui sont très recherchées. Celle-ci étant l'une des plus réussies et des plus élégantes. —— ENGLISH DESCRIPTION: Paris, Ambroise Vollard Éditeur, 1931. Illustrated with 12 original etchings by Pablo Picasso (and 1 for the plate "Table des eaux-fortes") and numerous woodcuts by G. Aubert after the drawings by Picasso. One of 65 NUMBERED ON JAPAN PAPER SIGNED BY PICASSO AND VOLLARD with an EXTRA SUITE of the 12 original etchings on Rives paper. Only the 65 numbered on japan paper are signed by Picasso and Vollard. Mint condition. Outstanding "sculptural" binding by Paul Bonet, dated 1944: "raven blue box, a large oval box occupies almost each cover, framing a large abstract motif carved and covered with calfskin in different bright colors" (Carnets, n°692), cover preserved, folder, case.
rif. 1120381949 . Lithograph 1949 on Velin Arches paper inscribed dated and signed lower left in red chalk 'Pour Geneviève Laporte épreuve unique 26.5.51 Picasso' a rare unique print dedicated to Geneviève Laporte his lover during the 1950s aside from the six artist's and printer's proofs image: 64.5 x 47.7 cm. 25.4 x 18.8 in. sheet: 70 x 50 cm. 27.5 x 19.7 in. This work is a unique proof gifted to Geneviève Laporte 1926-2012 Picasso's lover during the 1950s. In 1951 Picasso and Laporte began an affair which lasted for two years and during which time the artist presented her with a number of his works. A poet and writer herself Laporte published her book 'Sunshine at Midnight: Memories of Picasso and Cocteau' in 1973 in which she recounts Picasso giving her the current work: 'He Picasso also pulled out a lithograph to show me a David and Bethsabée after a painting by Cranach. The date on the first proofs appeared in reverse because for once said Picasso he had forgotten that it had to be written back to front on the zinc. The plate shows Bethsabée richly dressed seated in a garden and stretching out her foot to be washed by a serving woman while David peers down at her with lust in his eye from a terrace above The proof Picasso showed me was pulled on a sheet of paper which had a silken feel. 'It's Chinese paper' Picasso told me. They don't make much of it anymore. This is the only proof of this state.' He looked at me while I fascinated by the lithograph remained silent. Then Picasso said with a smile: 'Tell me as you used to do what you think of it.' I remained speechless tongue- tied by the beauty and force radiating from this black and white linear image he put it on the table took a red pencil and wrote: Pour Geneviève Laporte épreuve unique. Then he added the date and remarked: 'It's for you. Take care of it because your print is unique.' Then he disappeared into a cupboard and returned with a very simple white wooden frame. Picasso himself put the lithograph into this frame and Marcel brought it round to my apartment that evening.' Laporte Geneviève. Sunshine at Midnight: Memories of Picasso and Cocteau 1973 Weidenfeld ad Nicolson London p.89-90. In the late 1940s Picasso entered his 'old master period' spending the next decade studying and reworking masterpieces of the past to rewrite them in his own visual language. This work is based on a painting by the German Renaissance painter and printmaker Lucas Cranach the Elder and depicts the biblical King David gazing upon the beautiful Bethsabée as she bathes. Noted for the use of contour and absence of chiaroscuro in his works Cranach was a highly skilful and much revered printmaker. Picasso greatly admired the Master Printmakers who had come before him highlighting the importance of the medium in Picasso's own work. Mourlot 109 State 10a or 10 bis; Bloch 442; Hatje Cantz 214 1949 unknown
1978rif. 167436Paris: Cahiers d'Art 1978. First Edition. First Edition in 34 volumes. Text in French. The definitive catalogue raisonné of the work of the 20th century's most renowned artist published individually over four decades by "Cahiers d'Art" founder Christian Zervos in partnership with Picasso himself. Volume I of "Zervos" as it is commonly known was first published by Cahiers in 1932 and the last volume was printed in 1978 following the deaths of both its author and its subject. With over 16000 reproductions in black-and-white in accordance with the artist's wishes. Picasso felt that black-and-white plates were more faithful to his work than an inaccurate color photograph. Near Fine to Fine each volume bound in custom red quarter leather with raised bands gilt titles and rule. Original wrappers for each volume included separately. Oversize set shipping billed at cost. Cahiers d'Art unknown
1978rif. 167436Paris: Cahiers d'Art 1978. First Edition. First Edition in 34 volumes. Text in French. The definitive catalogue raisonné of the work of the 20th century's most renowned artist published individually over four decades by "Cahiers d'Art" founder Christian Zervos in partnership with Picasso himself. Volume I of "Zervos" as it is commonly known was first published by Cahiers in 1932 and the last volume was printed in 1978 following the deaths of both its author and its subject. With over 16000 reproductions in black-and-white in accordance with the artist's wishes. Picasso felt that black-and-white plates were more faithful to his work than an inaccurate color photograph. Near Fine to Fine each volume bound in custom red quarter leather with raised bands gilt titles and rule. Original wrappers for each volume included separately. Oversize set shipping billed at cost. Cahiers d'Art unknown books
1967rif. 3152Paris, Tériade Éditeur, 1967. Un volume in-folio (450 x 345 mm) en feuilles sous couverture imprimée rempliée, chemise titrée or et étui de l'éditeur recouverts de toile écrue. - 38 LITHOGRAPHIES ORIGINALES DE MARC CHAGALL : 15 EN COULEURS DONT 3 À DOUBLE PAGE (450 x 687 mm) ET 18 EN NOIR. Toutes les lithographies sont en hors-texte et ont été tirées sur les presses de Fernand Mourlot. Tirage : 250 exemplaires + 20 exemplaires HC. Celui-ci est un exemplaire de collaborateur, il n'est donc ni numéroté ni signé. - Note historique et bibliophilique : Le sujet du cirque est l’un des thèmes les plus importants dans l’œuvre de Marc Chagall. Cette fascination remonte à l'enfance, quand il vit à Vitebsk une petite troupe itinérante exécuter quelques acrobaties maladroites devant un public indifférent : cette triste performance était-elle le destin de toute vie d’artiste ? C’est Ambroise Vollard, lui-même très amateur de cirque, qui incita Chagall à développer ce thème, mais c’est Tériade, qui après la mort de Vollard, le convainquit de travailler à un livre illustré de lithographies. Accompagné de textes de l’artiste, CIRQUE est certainement la meilleure réalisation lithographique de Chagall avec Daphnis & Chloé paru en 1961 chez le même éditeur, "sans aucun doute le plus personnel de tous ses livres, le plus exceptionnel aussi par l'intensité du trait et des couleurs, mais aussi par l'harmonie qu'il crée entre texte et peinture, enfin par le caractère même et la qualité de l'écriture" (Hommage à Tériade, Grand Palais, 1973). - ENGLISH DESCRIPTION: MARC CHAGALL (1887-1985) : CIRQUE, Tériade Editeur, Paris, 1967 (book/ portfolio). The complete set of 38 lithographs (23 lithographs in colors and 15 lithographs in black), on Arches paper, all hors-texte, title page, text in French and justification. This copy on Arches paper, from a collaborateur, it is not numbered and not signed, of the 270. The colors fresh, the full sheets, loose (as issued), in mint condition, within original paper wrapper, beige cloth-covered boards with title stamped in gilt on spine and matching slipcase 17 3/4 x 13 1/2 in. (450 x 345 mm.) References: Mourlot 490-527; Cramer books 68.
