Picasso

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

1955ref. 855571955. 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

Rare Books Le Feu Follet - Edition-Originale.com · França€ 7.820,00

Pablo PICASSOBiblio.com

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

1956ref. 89529Cannes 1956. Fine. 'I continue my work with passion' Cannes 27 janvier 1956 21 x 27 cm un feuillet Autograph letter by Pablo Picasso to Max Pellequer vividly executed in multiple colours signed and dated by the artist 27 January 1956 addressed from his villa La Californie. Fourteen lines written in green blue pink orange red violet and turquoise pencil on a watermarked BFK Rives sheet.A few negligible transverse folds as expected from mailing. Picasso did not regularly employ colour in his correspondence. Here however he seems to have offered a gracious gesture to his friend and banker Max Pellequer as the more visually striking his letters the more sought-after they become. To speak of his work Picasso turns to red pencil: je continue mon travail avec ardeur - a telling choice that conveys the fervour he wished to bring to his art. Although Picasso maintained a substantial correspondence letters written entirely in his own hand remain exceedingly scarce. As Laurence Madeline observes in her study of this private facet of the artists life: The inertia that paralyses Picasso who prefers his activity as an artist to that of a secretary renders the letters he does choose to write all the more essential and touching Picasso épistolier LHerne no. 106. From his home overlooking Cannes Picasso was assisted by his devoted secretary and childhood companion Jaume Sabartés who penned many of the artists letters - except those destined for Pellequer. To him Picasso wrote every message himself however trivial in a generous flowing script playing with letters and words as though they were graphic elements arranged in an aesthetic dialogue across the sheet far removed from the sobriety of the text. His artistic impulse seems to have seeped into even his most routine administrative exchanges with his banker and impassioned collector. Part of the Picasso-Pellequer correspondence is held today by the Musée national Picasso in Paris. A singular recipient Max Pellequer banker and collector was introduced to Pablo Picasso in 1914 by his uncle by marriage André Level. He quickly emerged as one of the artists foremost collectors and in time became Picassos financial adviser for over three decades. Pellequers engagement with Picassos oeuvre began in the 1910s notably through a bronze jester acquired from Ambroise Vollard. During the 1930s and 1940s he became Picassos personal banker safeguarding the artists wealth and facilitating his comfortable establishment in the South of France. Their friendship was lifelong and intensely collaborative. Among other commissions Picasso executed a splendid copper ex-libris for Pellequer; Pellequer purchased paintings such as Cézannes La mer à LEstaque Musée Picasso Paris; and Picasso reciprocated with gifts of several works. A discerning and avid collector Pellequer assembled one of the finest collections of modern masterworks - Degas Dufy Gauguin Léger Matisse Miró Modigliani and Utrillo - today preserved in major international museums. The epistolary art of Picasso Picassos correspondence served as an outlet for his relentless creative energy expressed across ceramics sculpture photography illustrations collages and poetry. Every letter provided a space for the emergence of genius irrespective of the prosaic content of his exchanges with Pellequer. To counterbalance such banality Picasso took care to arrange his letters diagonally across the page enlivening them with colour from pastels felt pens or coloured pencils. Letters numerals words and sentences became visual and musical elements animated by the painters imaginative force. A striking and vividly visual illustration of Picassos imperative for total self-expression manifested through his correspondence with one of his closest friends and advisers. unknown

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Hugnet, Georges and Picasso, PabloBiblio.com

La Chèvre-Feuille. Avec six gravures de Pablo Picasso Association copy of Rothschild

1943ref. 208661Robert-J. Godet éditeur 1943. Number 23 of 25 such copies. Paperback. Bound book is VG with expected age-toning to the solid covers. Accompanying suite is as good as can be hoped for with the thin paper printed wraps broken at the spine and the 18 prints most with acidic sheets between that are printed on low-quality acidic paper solid clean with a noted printing smudge on one about 1/10 an inch in size and undamaged but wanting some conservation or de-acidification. Again in case you have not noted otherwise THE BLACK AND WHITE SIGNED ETCHING is lacking but the limitation page is signed by both Hugnet and Picasso and there is a unique collage by Hugnet to noted collectors on the half-title. Thick wrapped cardstock glued covers with printed lettering in black and green. Unpaginated 38 pp with the 6 zincographs bound in and then containing in a separate folder a suite of 3 copies each in a different color of the 6 bound zincograph plates from the book. LACKS THE BLACK AND WHITE ETCHING but contains a custom-designed and signed presentation collage by Georges Hugnet to Nannette and Herbert Rothschild on the half-title with painted design and applied materials dated April 9 1956. First edition printed in 525 numbered copies: 25 on Arches vellum signed by the author and illustrator. This is one of the first 25 copies on Arches vellum signed by the author and the painter with the set of three engraving colors red ochre and blue-green in the separate suite and 1 original etching by Pablo Picasso SIGNED ETCHING IS NOT PRESENT IN THIS COPY. The justification indicates: "the illustrations were etched by Pablo Picasso in order to be printed in the text through common typographic means. The etching meant only for the first prints is one of six illustrations printed in intaglio on Roger Lacouriere's printing press." An additional 500 regular copies with no suite and no etching on Lafuma plus VI author's copies on arches and III nominatives on bristol. The request to insert by Paul Eluard is entitled "Pour Georges Hugnet" 1 p. and is present as called for. Also contains some other laid-in items including a dated 1956 photograph of Hugnet along with a lithographed invitation to an exhibition of graphics by Hugnet at Galerie Furstenberg dated 1954 contains a colored illustration on the right inside panel and a printed belly-band of unknown relation to the artist or publication. Robert-J. Godet éditeur paperback

Mullen Books, Inc. ABAA / ILAB · Estados UnidosUS$ 9.500,00≈ € 8.470,80

Hugnet, Georges and Picasso, PabloABAA

La Chèvre-Feuille. Avec six gravures de Pablo Picasso Association copy of Rothschild

Mullen Books, Inc. ABAA / ILAB · Estados UnidosUS$ 9.500,00≈ € 8.470,80

Guillaume APOLLINAIRE - Pablo PICASSOBiblio.com

Calligrammes

1918ref. 78956Paris: Mercure de France 1918. Fine. Mercure de France Paris 1918 14.50 x 23 cm relié First edition a first impression copy numbered in the press. Binding in half brown morocco spine in five compartments gilt date at the foot geometric pattern paper boards and endpapers in the same paper top edge gilt wrappers and spine preserved in perfect condition binding signed by T. Boichot. Apollinaire's second major poetic work with bold graphic innovations and a portrait of Guillaume Apollinaire by Pablo Picasso as frontispiece. Some of the best war poems all languages combined are brought together in this collection alongside experimental works such as Les Fenêtres close to Cubism and La Jolie Rousse which were far ahead of their time Cyril Connolly Cent livres-clés de la littérature moderne n° 32. A beautiful copy on non-brittle paper which is unusual and a rare and surprising handwritten inscription signed by Guillaume Apollinaire: à monsieur le critique littéraire de La Libre Parole hommage de Guill. Apollinaire."" To the literary critic of La Libre Parole tribute by Guill. Apollinaire. Who could be the recipient of this inscription unnamed but addressed to a collaborator of the famous anti-Semitic newspaper founded by Édouard Drumont The ostensibly philo-Semitic position of Guillaume Apollinaire is well-known. In an 1899 letter he boasts to Toussaint Luca that he tried to provoke Henri Rochefort who was reading La Libre Parole by deploying L'Aurore in front of him but as the young Dreyfusard regrets without daring to engage the controversy. In 1902 he publicly marked his fraternity with the Jewish people with a new publication in La Revue blanche Le Passant de Prague"": I love Jews because all Jews suffer everywhere. Then in Alcools he will dedicate a poem to the Hebrew religion: ""La Synagogue"". But it is undoubtedly through his poem Le Juif latin published in L'Hérésiarque et Cie that Apollinaire poetically reveals the essence of his particular link with Judaism: that he shares the condition of eternal stranger the feeling of uprooting and the search for identity. It may therefore seem very surprising that this poet whose only trace of political commitment was in favor of Dreyfus dedicated his work to a La Libre Parole journalist even if he is a literary critic. And in fact La Libre Parole does not contain literary columns! A few months before the poet's death this laconic inscription thus proves to be a formidable and final scoff of poetic impertinence to political intolerance. Mercure de France hardcover

Rare Books Le Feu Follet - Edition-Originale.com · França€ 8.625,00

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