PICASSO (Pablo); SABARTES (Jaime)Livre Rare Book
5280 risultati
rif. 23482Paris, éditions du Cercle d'art, 1958. In-folio, 18 pp. 58 pl., cartonnage éditeur illustré, chemise et étui cartonnés (légère insolation et petits frottements).
rif. 15155Paris Editions d'Art Les Heures Claires 1965 in folio (38x29) 1 fort volume broché en faux-feuillets sous couverture rempliée, 220 pages et 5 faux-feuillets non chiffrés, avec 19 planches hors-texte en couleurs et un portrait de A. Warnod en frontispice (phototypie), sous boitage de l'éditeur. Préface de Pierre Brisson. Lithographies de Derain, et Van Dongen (tirées par Lucien Détruit), lithographies de Dufy, Matisse, Chagall, Dunoyer de Segonzac, Cavaillès, Terechkovitch et Carzou. Lithographies de Picasso, et Buffet (tirées par P.-J. Ballon), Lithographies de Miro (tirée par l'atelier Arte), eaux-fortes de Villon et Zadkine (tirée par Manuel Robbe), eau-forte de Braque (tirée par A. et P. Crommelynck). Original etchings by Braque, Jacques Villon, Zadkine. Original woodcuts by Vlaminck, Rouault, Pascin, Utrillo. Original lithographs by Derain, Dufy, Matisse, Van Dongen, Picasso, Chagall (engraved by Sorlier), Dunoyer de Segonzac, Cavaillès, Terechkovitch, Bernard Buffet, Carzou, Miro. Tirage limité à 250 exemplaires numérotés sur grand vélin d'Arches (limited to 250 copies), et quelques exemplaires hors-commerce. Notre exemplaire imprimé sur grand vélin d'Arches est un exemplaire d'artiste, il porte sur la justification la mention imprimée: exemplaire d'artiste. Cet exemplaire est enrichi d'une importante suite de 33 planches de divers états de la décomposition des couleurs de la lithographie de Picasso (sous chemise). Collationné complet. Très bel et rare exemplaire d'artiste ( Photographies sur demande / We can send pictures of this book on simple request )
1950rif. 48463Paris.: Bordas Editeur. 1950. Original publisher's printed paper wrappers with flaps artist's and author's names in black to front cover and publisher's and details to rear additional vellum jacket with flaps and printed titles to front cover. Small folio. 328 x 258 mm. Half-title printed title with original lithograph illumination copyright verso and the 4 sections of Tzara's text in verse and prose illustrated with 8 full-page original lithographs in black by Picasso 3 leaves with 'Table' and final leaf with justification and achevé d'imprimer verso; also included loose is the additional suite of all of the lithographs on Japon. The édition de tête of Tzara's collection with a suite of Picasso's finger-drawn lithographs on Japon and with the additional vellum jacket.From the edition limited to 350 copies with this one of 30 on Hollande Van Gelder Zonen signed by the author and artist and with the additional suite of the plates on Japon Impérial paper; the 300 copies issued on Arches and the 20 hors commerce copies on Alfa Mousse were initialled by Tzara only.For Tzara's four-section collection the sections are 'Le Temps Détruit' 'Le Déserteur' 'Le Boeuf sur la Langue' and 'Le Poids du Monde' Picasso drew the illustrations directly and spontaneously on the lithographic stone with his finger. Although Tzara had been specific in what illustration he desired the lithographs he produced for the book were ultimately Picasso's own. The illustration for the title does not feature printed text in the suite.'This great poem which is in both verse and prose and which is formed of four parts was written by Tzara between 1946 and 1949. To some degree the poem represents the sum of the poet's experiences . Although Picasso agreed to illustrate the poem he kept putting off the work. He finally got around to it when Mourlot paid him a visit at Vallauris on April 16 1950. This same day he made the cover for the second volume of Picasso Lithographe as well as the 9 lithographs for De Mémoire d'Homme using a somewhat unusual procedure; he dipped his painting finger into the lithographic ink and then drew flora and fauna designs which are at once familiar and strange; he then marked their contours with lithographic chalk.' Patrick Cramer.Cramer 59; Berggruen 35. Bordas Editeur. hardcover
rif. 1203781969 . Lithograph in colours 1969 on wove paper with the artist's printed signature as issued numbered from the American edition of 250 marked 'A' Printed by Marcel Salinas New York with his blindstamp verso Published by Harry N. Abrahams inc. New York 65 x 50 cm. 25½ x 19¾ in. 1969 unknown
1957rif. 89530Cannes 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
1996rif. 129566Kornfeld Et Klipstein & Editions Kornfeld. As New. 1996. Hardcover. 3857730269 .CORRESPONDES TO ISBN: 3857730269/ INCLUDES VOLUMES 1 - VII PLUS ADDENDUM - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - Catalogue Raisonné Catalogue Raisonne Catalog Raisonnee Complete Works One Two Three Four Five Six Seven Il Ill IV V VI VII 2 3 4 5 6 7 Kornfeld Et Klipstein & Editions Kornfeld hardcover
1929rif. 88960Documents | Paris 1929-1930 (nº 1 à 7, avril 1929 - décembre 1929 ; nº 1 à 8, [janvier] 1930- [octobre] 1930) | 22 x 27.50 cm | 15 volumes brochés sous coffret
1955rif. 1911Paris, Maeght, 1955. Un volume in-folio en feuilles, couverture illustrée d'une gravure en couleurs à l'aquatinte et carborundum, vernie par l'artiste lui-même, étui-chemise éditeur décoré de collages de papiers de couleur. - 20 EAUX-FORTES ORIGINALES DE GEORGES BRAQUE : 16 gravures hors-texte exécutées en 1932 pour Ambroise Vollard, et 4 gravures réalisées en 1953 : la couverture en 5 couleurs vernie au pinceau par l'artiste, le frontispice en 2 couleurs, la tête de chapitre et le cul-de-lampe. - Tirage à 150 exemplaires numérotés sur Auvergne et signés par l'artiste. Celui-ci le n° 23 signé par Braque. Tirage unique - Conservé en parfait état. - Note historique : En 1931, Braque illustre la Théogonie du poète grec Hésiode (VIIe siècle av. J.-C) pour le marchand, éditeur et passionné de gravure, Ambroise Vollard. Le récit, consacré à la naissance de l’univers et à l’origine des dieux, est considéré comme l’un des grands textes de la mythologie grecque. Entre 1932 et 1935, l’artiste exécute une série de seize eaux-fortes qui seront publiées par Maeght en 1955 : ligne noire imprimée sur fond blanc pour les gravures et, en négatif, ligne blanche découpée sur fond noir pour les plâtres peints et gravés que Braque crée en parallèle. Comme les figures mythologiques et les natures mortes de l’époque, ces œuvres possèdent un style curvilinéaire et propice à la métamorphose. (The Artist and the Book 38). --- ENGLISH DESCRIPTION: GEORGES BRAQUE (1882-1963). THEOGONIA - the complete set of twenty (20) etchings, title paper, text in Greek by Hesiod, justification, and index of plates on Auvergne paper, watermark Montval, 1932-1955, one of the 150 (n. 23), signed in pencil on the the justification, published by Maeght Editeur, Paris, 1955, in mint good condition, loose (as issued), with paper wrappers, within black paper-covered boards and slipcase, with collage design on front and back, title, artist's and author's name on spine. Overall: 18 x 13 7/8 in. (457 x 352 mm.) Condition : near mint, a beautiful copy with the editor decorated slipcase in near mint condition too.
1917rif. 60103Paris, Mai 1917. Folio. Original illustrated extra wrappers (with a picture by Picasso on the front and the décor for ""Baba Iaga"" on the back)"" original illustrated wrappers for ""Théatre du Chatelet"" (drawing by André Marty on front, and advertisements on back) in grey and red"" original illustrated coloured wrappers for ""Programme des Ballets Russes"" (front wrapper illustrated by Picasso with the Chinaman-costume from ""Parade""). A bit of soiling to the extra-wrappers and small professional restorations to upper front cover and top of spine (this barely noticeable) as well as to blank margin of back wrapper. Apart from that, an excellent and very well perserved copy with only slight browning to some leaves. Apart from the described wrappers and extra-wrappers, there are, in all, 24 leaves with -mostly photographic- illustrations (four of them with original hand-colouring on top) and 6 leaves of text.With the original errata-leaf laid in loose, stating also that the illustrations ""Femmes de bonne humeaur"" and ""Parade"" have been hand-painted by Carlos Socrate, after the designs of Bakst and Picasso, and that the front wrapper for ""Parade"" (the Chinaman) has been handpainted by Picasso himself.
1917rif. 60103Paris Mai 1917. Folio. Original illustrated extra wrappers with a picture by Picasso on the front and the décor for "Baba Iaga" on the back; original illustrated wrappers for "Théatre du Chatelet" drawing by André Marty on front and advertisements on back in grey and red; original illustrated coloured wrappers for "Programme des Ballets Russes" front wrapper illustrated by Picasso with the Chinaman-costume from "Parade". A bit of soiling to the extra-wrappers and small professional restorations to upper front cover and top of spine this barely noticeable as well as to blank margin of back wrapper. Apart from that an excellent and very well perserved copy with only slight browning to some leaves. Apart from the described wrappers and extra-wrappers there are in all 24 leaves with -mostly photographic- illustrations four of them with original hand-colouring on top and 6 leaves of text.With the original errata-leaf laid in loose stating also that the illustrations "Femmes de bonne humeaur" and "Parade" have been hand-painted by Carlos Socrate after the designs of Bakst and Picasso and that the front wrapper for "Parade" the Chinaman has been handpainted by Picasso himself. Scarce original printing of this seminal avantgarde-publication the May 1917 "Théatre du Chatelet"- publication that presents Diaghilev's "Ballets Russes" in Paris - here containing the entire separate publication mainly devoted to Jean Cocteau's groundbreaking ballet "Parade" - being one of the most important publications in the history of modern art. It is here in his presentation-article to "Parade" that Apollinaire coins the term "surrealism" and thus lays the foundation for the seminal cultural movement that Bréton came to lead. Furthermore the ballet "Parade" represents a historical collaboration between several of the leading artistic minds of the early twentieth century: Erik Satie Jean Cocteau Pablo Picasso Léonide Massine and Serge Diaghilev and is famous not only for its contents and its music but also for its magnificent costumes designed by Picasso the drawings of which are presented in the present publication for the first time - most famously the front cover for the "Parade"-programme which depicts the "Costume de Chinois du ballet "PARADE"/ Aquarelle de Picasso" an etching with original stunning pochoir-colouring hand-painted by Picasso himself!.It is the 1917 ballet "Parade" - the first of the modern ballets - originally presented for the first time in the present publication that marks Picasso's entry into the public and bourgeois institutions of ballet and theatre and presents Cubism on the stage for the first time. The present publication constitutes an outright revolution in the history of art theatre and ballet.Several variants of this spectacular publication exist but the one we have here is as original and complete as it comes containing the entire contents of the different variants. We not only have the extremely scarce and fragile dust-wrapper and the equally scarce illustrated coloured double-wrappers front: "Peinture de Picasso"; back: Décor de Larionow pour le ballet "BABA IAGA"" but also the entire 1917 "Théatre du Chatelet"-programme in original illustrated wrappers with the entire separate "parade"-issue -also entitled "Programme des Ballets Russes"- also in original illustrated wrappers with more than 20 leaves of photographic illustrations containing pictures of the actors and actresses also in their spectacular avant-garde-costumes Bakst's portrait of Leonide Massine Picasso's portrait of Stavinski Bakst's portrait of Picasso Picasso and Massine in the ruins of Pompei Picasso's drawings of a scene from "Parade" and of Massine as well as several mostly humorous advertisements. But more importantly we have apart from the above-mentioned famous Chinaman by Picasso in original pochoir-colouring the other famous etching by Picasso "Costume d'acrobate du ballet "Parade"/ Aquarelle de Picasso" also in original pochoir-colouring bright blue the seminal presentation-article by Apollinaire which coins the term "surrealism" see bottom of description for full translation of this groundbreaking preface the two "Les Femmes de Bonne Humeur"-figures by Bakst Constanza and Battista printed and heightened in gold pochoir the printed costume by Larionow "Les contes russes" which is with original bright red and blue pochoir-colouring and the "Le Mendiant"-costume by Bakst for "Parade" and of course the texts by Bakst on choreography and décor Georges-Michel Ballets Russes after the War as well as the texts for the various ballets listing the actors and their rôles as well as a resume of the plot. " "Tact in audacity consists in knowing how far we may go too far." Jean Cocteau poet writer and arts advocate made this statement in his 1918 manifesto The Cock and Harlequin. Cocteau in collaboration with Erik Satie and Pablo Picasso discovered "how far" to "go too far" in the circus-like ballet Parade-one of the most revolutionary works of the twentieth century. Parade incorporates elements of popular entertainment and uses extra-musical sounds such as the typewriter lottery wheel and pistol combining them with the art of ballet. Cocteau wrote the scenario for the one-act ballet and contracted the other artists. Satie wrote the score to the ballet first in a piano four-hands version and then in full orchestration while Picasso designed the curtain set and costumes. Later Léonide Massine a dancer with the Ballet Russes was brought in as the choreographer. Serge Diaghilev's Ballet Russes premiered the ballet Parade on May 18 1917. The program notes for the ballet were written by the poet Apollinaire. They became a manifesto of l'esprit nouveau or "the new spirit" which was taking hold in Paris during the early twentieth-century. Apollinaire described the ballet Parade as "surrealistic" and in doing so created a term which would develop into an important artistic school." Tracy A. Doyle Erik Satie's ballet PARADE p. 1.When the French poet and army officer Guillaume Apollinaire wrote the program notes For "Parade" he created the manifesto of the "l'esprit nouveau" - "the new spirit". Cocteau had called the ballet "realistic" but Apollinaire took it an important step further and described it as "surrealistic" thus coining a term that would soon develop into an important artistic movement. With Picasso Apollinaire had established the aesthetic principals of Cubism and was considered a leader in the European avant-garde. ENGLISH TRANSLATION OF APOLLINAIRE'S PROGRAMME NOTES TO "PARADE": "Definitions of Parade are blossoming everywhere like the lilac bushes of this tardy spring.It is a scenic poem transposed by the innovative musician Erik Satie into astonishingly expressive music so clear and simple that it seems to reflect the marvelously lucid spirit of France. The cubist painter Picasso and the most daring of today's choreographers Léonide Massine have here consummately achieved for the first time that alliance between painting and dance between the plastic and mimetic arts that is a herald of the more comprehensive art to come. There is nothing paradoxical about this. The Ancients in whose lives music played such an important role were totally unaware of harmony which constitutes the very basis of modern music. This new alliance - I say new because until now scenery and costumes were linked only by factitious bonds - has given rise in Parade to a kind of surrealism which I consider to be the point of departure for a whole series of Manifestations of the New Spirit that is making itself felt today and that will certainly appeal to our best minds. We may expect it to bring about profound changes in our arts and manners through universal joyfulness for it is only natural after all that they keep pace with scientific and industrial progress. Having broken with the choreographic tradition cherished by those who used to be known in Russia under the strange name 'balletomanes' Massine has been careful not to yield to the temptation of pantomime. He has produced something totally new-a marvelously appealing kind of dance so true so lyrical so human and so joyful that it would even be capable if it were worth the trouble of illuminating the terrible black sun of Dürer's Melancholy. Jean Cocteau has called this a realistic ballet. Picasso's cubist costumes and scenery bear witness to the realism of his art. This realism - or this cubism if you will - is the influence that has most stirred the arts over the past ten years. The costumes and scenery in Parade show clearly that its chief aim has been to draw the greatest possible amount of aesthetic emotion from objects. Attempts have often been made to return painting to its barest elements. In most of the Dutch painters in Chardin in the impressionists one finds hardly anything but painting. Picasso goes further than any of them. This is clearly evident in Parade a work in which one's initial astonishment is soon replaced by admiration. Here the aim is above all to express reality. However the motif is not reproduced but represented-more precisely it is not represented but rather suggested by means of an analytic synthesis that embraces all the visible elements of an object and if possible something else as well: an integral schematization that aims to reconcile contradictions by deliberately renouncing any attempt to render the immediate appearance of an object. Massine has Adapted himself astonishingly well to the discipline of Picasso's art. He has identified himself with it and his art has become enriched with delightful inventions such as the realistic steps of the horse in Parade Formed by two dancers one of whom does the steps of the forelegs and the other those of the hind legs. The fantastic constructions representing the gigantic and surprising features of The Managers far from presenting an obstacle to Massine's imagination have one might say served to give it a liberating impetus. All in all Parade will change the ideas of a great many spectators. They will be surprised that is certain; but in a most agreeable way and charmed as well; Parade will reveal to them all the gracefulness of the Modern movements a gracefulness they never suspected. A magnificent vaudeville Chinaman will make their imaginations soar; the American Girl cranking up her imaginary car will express the magic of their daily lives whose wordless rites are celebrated with exquisite and astonishing agility by the acrobatin blue and white tights." unknown
1950rif. 11780(Paris), Bordas, (1950). 119 S., 2 Bll. mit 9 (inklusive dem Titelblatt) ganzseitigen Original-Lithograhien von Pablo Picasso auf van Gelder Zonen und einer Extrasuite dieser 9 Lithographien auf Japan. 4°. OKart. (etw. bestoßen) mit OPergamin-Umschlag (etw. fleckig und bestoßen).
1910rif. 33635Montrouge Paris: 1910 1910. Original Litho. Original Litho. PICASSO. MAX JACOB. Double Signed Litho. Montrouge Paris Seine. 1910. 14" 7/8 X 10" 3/4 on plain paper stock with the lithograph printed in two tones: Greenish grey for Picasso's drawing and handwriting and black for Max Jacob. Number 17 of only 30 copies. A rare early illustration of Picasso's close friend Max Jacob done in celebration of Jacob's conversion to Christianity. Jacob who had Jewish origins claimed to have had a vision of Christ in 1909 causing his conversion. The illustration of Jacob the first of Picasso's drawings of Max Jacob seated comfortably in a fine armchair dressed in his three piece suit. The printed text: Top A mon ami Max Jacob / Picasso .10 / 22 R. Victor Hugo / Montrouge Seine - Middle L'archange foudroyé n'eut que le temps / de desserrer sa cravate . On aurait sit qu'il / priait encore./ C. Max Jacob. Signed in pencil with his new Christian name: "C. Max Jacob" and by "Picasso" at the bottom. A very good or better example of this rare piece - Max Jacob is regarded as an important link between the symbolists and the surrealists as can be seen in his prose poems Le cornet à dés The Dice Box 1917. Throughout the year of 1901 Picasso traveled to Barcelona & Paris for art exhibitions. During an exhibition in Paris Picasso met Max Jacob. Max Jacob was a poet painter & art critic with connections in the Parisian cultural scene. The two artists developed a friendship after Jacob left an admiring note for Picasso at the art gallery displaying Picasso's work Richardson Vol. I 203. Jacob introduced Picasso to the French language and to French theatre; Jacob was also an actor. Jacob took Picasso to see operas which possibly included I Pagliacci & La Bohème Richardson Vol. I 338. "At night there were frequent visits to the cabarets of Montmartre such as the Chat Noir and when tickets could be found to the Moulin Rouge" Penrose Picasso 76. Picasso & his friends also enjoyed the artistic atmosphere of Le Lapin Agile. Artists & writers would congregate at the small café to listen to recitals exchange ideas & celebrate special occasions such as the opening of an exhibition Penrose Picasso 117. The walls of the café were lined with work by artists that were used as payment for debts. Theatrical entertainment was a prominent part of Picasso's social life in Paris. By 1904 Picasso had established a foothold in Paris and would remain in the cultural center of Europe for the rest of his life. Picasso & Max Jacob cultivated their talents in a dwelling known as the Bateau Lavoir. According to Penrose this place was ". . . composed it seemed of nothing but lofts & cellars all in such a sad state of repair. . . " Picasso 96. Artists of all endeavors were attracted to this bohemian style of living. Picasso's neighbors included painters sculptors writers & actors Penrose Picasso 102. One of Picasso's most influential friends entered his life in 1905: Guillaume Apollinaire. "From the first encounter Pablo Picasso and Guillaume Apollinaire established a creative dialogue that fostered and inspired some of their finest art & poetry". Apollinaire was a poet & playwright identified as a Surrealist who kept close connections with literary & artistic figures in Paris including Max Jacob & André Salmon. He was a great source for Picasso to meet writers & theatre artists. Many of Picasso's friends encouraged him to frequent the theatre with artists & poets from Paris Picasso Penrose 177. Even though Picasso was not in Paris he managed to find groups of artistic individuals to stay abreast of cultural gossip & happenings. Picasso's connections with writers led him to create several illustrations for books of poetry for friends. For example during summer 1910 in Cadaques Catalonia painting with Derain Picasso was commissioned to illustrate a poetic novel written by Max Jacob titled Saint Matorel issued by Daniel-Henry Kahnweiler in 1911. Penrose Picasso 179. This was only the first of a collections of poetry they collaborated on. 1910 unknown
rif. 16-4178Paris: Éditions Paul Rosenberg 1920. 4to. 28 x 21 cm. Sheets loose as issued in original board chemise with cloth ties. One tie torn but torn part is present. One of 50 copies of the deluxe edition with the plates both colored and black and white. Collotype printing and handcoloring in the ateliers of André Marty and Daniel Jacomet. Some copies have a black and white reproduction of the rideau curtain which is not present here nor is the etching Bloch 34. There are a total of 31 colored collotypes and 31 uncolored for a total of 62 prints. Each print has a blindstamp in the lower right corner with the initials of the publisher for authenticity.References: Goeppert/Cramer 8; The Picasso Project From Cubism to Neoclassicism pp 206-227; Parmenia Migel Pablo Picasso Designs for the "Three Cornered Hat;" Picasso Le Tricorne: Musée des Beaux-Arts de Lyon 1992.Here is a list of the plates. We can also provide concordances of each print to the references cited.Décor definitif.Le Meunier.La Meunière.Le Corrregidor.Costume pour un groupe de voisines.Le Dandy.Costume pour un groupe de voisines.Costume pour des deux serviteurs.La Majorique.Costume des Aragonaises.Costume de la femme du Corrregidor.Costume des Aragonaises.Le Corregidor dans le manteau du Meunier.Costume du Picador.Costume des danseuses de la sevillana.Project de costume pour le torero.Project de costume pour le torero.Costume de l'un des fous.Costume d'un voisin.Costume des Aragonais.Costume d'un voisin.Project de costume pour une vieille femme.Costume de l'un des fous.Costume du béquillard.Costume d'un vieux nègre.Costume pour un alguazil.Costume des alguazils porteurs de lanternes.La Chale de la La Menuère.La chaise a porteurs de la femme de Corrregidor.La cape du béquillard .Pièces des costumes du torero de l'Aragonais es des Aragonaises.Le Tricorne.Paris Éditions Paul Rosenberg 1920. In-4 chemise à rabats et rubans de l'éditeur.Portfolio contenant 31 pochoirs sur 32 de Pablo Picasso reproduisant les maquettes en couleurs des costumes et décors du ballet éponyme.Tirage limité à 250 exemplaires numérotés celui-ci un des 50 exemplaires accompagnés d'une eau-forte originale inédite de Picasso et d'une EPREUVE DE L'ETAT EN NOIR DE CHACUNE DES PLANCHES.Le Tricorne créée en 1919 fut produite par les Ballets Russes et marqua le début de la collaboration entre Picasso et la Compagnie. Le ballet fut donné à Londres en 1919 et à Paris en 1920.Manque une planche et l'eau-forte inédite lacets fatigués.Expertise by : Jean Lequoy Librairie Giraud-Badin 22 rue Guynemer 75006 Paris Paris: Éditions Paul Rosenberg, 1920. hardcover
rif. 4667Picasso dedicated this charming sketch of a palm like tree and sun to his friend dated June 6 1958. In Spanish Picasso writes "For my friend.Picasso 12.6.58. " The signed drawing measures 4.75 x 6 inches on brown card stock of 6.75 x 9 inches and floats on a dark gray mat overlaid with a white mat matted and framed in museum quality materials with 5/8/inch black satin finished wood. Frame measures 12 ¼ x 13 3/4. Additional images on request. unknown
rif. 4667Picasso dedicated this charming sketch of a palm like tree and sun to his friend dated June 6 1958. In Spanish Picasso writes "For my friend.Picasso 12.6.58. " The signed drawing measures 4.75 x 6 inches on brown card stock of 6.75 x 9 inches and floats on a dark gray mat overlaid with a white mat matted and framed in museum quality materials with 5/8/inch black satin finished wood. Frame measures 12 ¼ x 13 3/4. Additional images on request. unknown books
1937rif. 48609Paris.: G. L. M. Guy Lévis Mano. 1937. Loose as issued poster and invitation original publisher's orange glazed paper wrappers stitched as issued with illustration by Picasso printed titles and advertisments in black to covers. Folio. 502 x 325 mm. 12mo. 184 x 138 mm. 16mo. 138 x 104 mm. Poster of cream paper glazed red / orange recto and with Picasso's illustration from 'Grand Air' and printed text in black the title above and conference details beneath the invitation a bifolium of thick cream wove paper Picasso's illustration at left with printed details of the conference at right in black the catalogue on cream wove paper leaf with definition of 'Surréalisme' from the 1924 manifesto and list of conferences recto verso with advertisement for works by Eluard leaves with quotations by Eluard regarding poetry quotations from various Surrealist-approved poets 'Signe ce que tu approuves' inserted leaves of grey paper with advertisements for publications by GLM central spread with 'Programme' and final leaf with advertisments. The very rare poster by Picasso together with the catalogue and the invitation - also with the same image by Picasso - for Paul Eluard's 1937 conference 'Avenir de la Poésie'.Paul Eluard's conference 'Avenir de la Poésie' Future of Poetry was held on October 2nd 1937 at the Comédie des Champs-Elysées 15 Avenue Montaigne the 'Salon Dada' in 1921 had been held at number 13 at 16.15 p.m. as part of the Exposition Internationale 1937. It seems surprising at least with hindsight to imagine that a Surrealist conference might occur under such an umbrella but the Surrealists were nothing if not serious and Eluard's devotion to poetry cannot be questioned or underestimated.'Avenir de la Poésie' saw Eluard as well as a number of actors close to the Surrealists Michèle Alfa Marcel Herrand who had participated at the dada evening 'Le Coeur à Barbe' in 1921 Jean Marchat Jean-Louis Barrault and Sylvain Itkine whose group 'Le Diable Ecarlate' featured extensively in the Exposition reading poems. The list of poets is comprehensive and included Petrus Borel Charles Baudelaire Gérard de Nerval Germain Nouveau the Comte de Lautréamont Isidore Ducasse Rimbaud Charles Cros Jarry Apollinaire Reverdy Breton Henri Michaux Tzara Péret René Char Eluard himself and Picasso.The poster invitation and catalogue all feature to the front cover a reproduction of the engraved collaboration between Picasso and Eluard 'Grand Air'. The very rare print 'Grand Air' was issued - a few proofs aside - only with the ten copies of the édition de tête of Eluard's verse collection 'Les Yeux Fertiles'. Eluard and Picasso had each contributed to 'Grand Air' Eluard a poem of eighteen lines and Picasso the pictorial frame: at right a nude female minotaur a mask opposite at left out of which the minotaur seems to have snatched the left eye above a rocky landscape with a reclining smoking figure with cat beneath; that the cat appears to be suckling three small black fish underlines the essential Surrealism of the whole.'Le pain est plus utile que la poésie. Mais l'amour au sens complet humain du mot l'amour-passion n'est pas plus utile que la poésie.' Paul Eluard. For the material presented here Eluard's central verse has been replaced with the title of the conference 'Avenir de la Poésie' with his retained signature beneath while the entirety of Picasso's framing is present and the image is attributed to him for the catalogue and invitation at lower left. Details of the conference are printed above and beneath for the catalogue and poster and facing the illustration on the invitation.The poster is not described by Christophe Czwiklitzer in his 1968 'Catalogue Raisonné des Affiches de Pablo Picasso'. The first 'original' poster listed an original lithograph is from 1948 while the first 'exécutées par différents procédés de reproduction' is from 1939.While the catalogue 'Avenir de la Poésie' is rare and the invitation rarer still we trace no other examples of the poster in any collection public or private. G. L. M. (Guy Lévis Mano). unknown
1966rif. 172734Paris: Galerie Louise Leiris 1966. Edition of 50. Signed in pencil lower right by Picasso numbered lower left. Printed by Piero and Aldo Crommelynck. Etching and aquatint on Rives watermarked wove paper all edges deckled. Image size: 31.8 x 47.1 cm. Sheet size: 45.6 x 62 cm. Framed size: 59.6 x 76.8 cm. Excellent condition. Presented in a black and gold leaf wooden frame with conservation acrylic glazing. Bloch 1387; Baer 1409. unknown
1917rif. 78126Paris 1917. Fine. Paris 1917 6.30 x 8.60 cm une photographie Original photograph likely unique and unpublished of Pablo Picasso at the Casa di Marco Lucrezio Pompeii spring 1917 Paris 1917 63 x 86 cm one photograph Original photograph depicting Pablo Picasso in the spring of 1917 at the Casa di Marco Lucrezio in Pompeii holding a twig in front of a wall on which there is a Pompeian fresco. Contemporary silver print perhaps unique from Jean Cocteau's personal archives then the Maurice Sachs collection. Exceptional almost undiscovered and probably unpublished photograph taken by Jean Cocteau during the stay. On 16 April 1917 Picasso visits Pompeii accompanied by Jean Cocteau and Léonide Massine to prepare the ballet Parade the first work described as surrealist by Guillaume Apollinaire for the new season of Serge de Diaghilev's Ballets Russes. On his return this initiatory journey inspired his monumental painting: the Parade stage curtain a real visual signature of the ballet marking the beginnings of Picasso's neo-classical period and today preserved at the Musée national d'Art Moderne Georges Pompidou. Pierre Daix in his bibliography dedicated to the painter recounts the aesthetic shock caused by the discovery of the Pompeian frescoes: Giovanni Carandente to whom we owe the best studies on this trip highlights that Picasso was strongly struck by the animation and the sensuality that the cataclysm of the year 79 AD had brutally destroyed. If it is true as he wrote to Gertrude Stein that he immediately drew many Pompeian fantasies which are a little daring attracted as he was by the erotic elation that emerges from these licentious paintings . these memories settled in him to emerge with force thereafter. . Everything that had made up the Pompeian universe was preserved on the site as well as in the National Archaeological Museum of Naples . In its singularity this universe contributed to enriching Picasso's cultural heritage with something more alive more trembling than he had gained from his museum visits until then. He particularly loved the conciseness of the paintings: two or three years later the impressions felt in Pompeii were to translate into a real creative explosion a series of paintings which all bore traces of these never buried memories. This source was to remain alive until La Danse of 1925. Pierre Daix Picasso. Unique and early original photograph of Picasso taken and printed by his friend Jean Cocteau in a mythical place that will influence his aesthetic for the long-term. Provenance: Jean Cocteau's personal archives then the Maurice Sachs collection and Max-Philippe Delatte. unknown
1916rif. 78127Paris 1916. Fine. Paris 12 août 1916 6.30 x 8.60 cm une feuille Original photograph likely unique taken by Jean Cocteau showing Pablo Picasso and Co in Montparnasse in front of the café La Rotonde the 12 August 1916 Paris 12 august 1916 63 x 86 cm one photograph Original photograph by Jean Cocteau taken on 12 August 1916 showing Manuel Ortiz de Zárate Moïse Kisling Max Jacob Pablo Picasso and the model Pâquerette his girlfriend at the time posing in front of the famous café La Rotonde on Boulevard du Montparnasse in Paris. Contemporary silver print probably unique from Jean Cocteau's personal archives then the Maurice Sachs collection. This image was published in Billy Klüver's book entitled A day with Picasso: twenty-four photographs by Jean Cocteau 1997. However Klüver states that he didn't know the original photograph and used a modern reprint from the negative in the Cocteau archives for his work. We have not found any other copy of our original photograph in international public collections. Billy Klüver has assembled and commented on the twenty-one photographs taken by Jean Cocteau on 12 August 1916 in Montparnasse close to this intersection of the Boulevard Raspail and the Boulevard du Montparnasse which was named Place Pablo-Picasso in 1994. They take us to the café La Rotonde before which a beaming Picasso in a cap speaks with Max Jacob whose baldness shines in the sun behind them Henri-Pierre Roché in uniform and Manuel Ortiz de Zarate sit at a table on the terrace of the same café where Pablo is next to the glowing Pâquerette and the young Polish painter Moïse Kisling. Pâquerette with her hair in a headband a chic dress is the queen of the encounter. . It's the relaxed life at the back. Pâquerette or rather Émilienne Pâquerette Geslot was then a star model of the fashion designer Poiret who was all the rage at the time. A real one-day film of Picasso outside of his studio. Pierre Daix Picasso In his book Klüver questions the presence of all these artistic authorities in the making in a Paris that is deserted by war. The answer is according to him to search in the direction of the Salon d'Antin an exhibition organized by André Salmon in July 1916 in which all the protagonists of our photograph took part with the exception of Pâquerette. It is also on this occasion that Picasso reveals his Demoiselles d'Avignon to the public. This extremely rare image taken by Jean Cocteau with his mother's Kodak camera immortalizes a moment of joy that depicts the artistic all-Montparnasse of the early 20th century. Provenance: Jean Cocteau's personal archives then the Maurice Sachs collection and Max-Philippe Delatte. unknown
1929rif. 88960Paris: Documents 1929. Fine. ""Documents . was made into a laboratory a genesis a crucible a rebellion a madness in short an avant-garde."" Jean Jamin Documents Paris 1929-1930 nº 1 à 7 avril 1929 - décembre 1929 ; nº 1 à 8 janvier 1930- octobre 1930 22 x 27.50 cm 15 volumes brochés sous coffret First edition 15 issues in 15 separate instalments abundantly illustrated with black and white photographs. Complete with the special issue Hommage à Picasso #3 1930 and the index for the year 1929 published as a separate 8-page stapled booklet. Some spines slightly faded not affecting the text occasional minor foxing along the margins of certain covers Presented in a custom slipcase with a flat spine in blue morocco title stamped in palladium and spine framed in palladium decorative blue paper boards sky-blue suede doublures; a handsome ensemble signed Boichot. Complete series of this legendary and non-conformist magazine founded by Georges Bataille which gave voice to fields of art and knowledge unrecognised by official culture or considered controversial: popular literature jazz cabaret advertising everyday life Annie Pirabot along with so-called primitive art and objects. Texts by Jean Babelon Jacques Baron Georges Bataille Alejo Carpentier Arnaud Dandieu Robert Desnos Carl Einstein Roger Gilbert-Lecomte Marcel Griaule Juan Gris Eugene Jolas Marcel Jouhandeau Michel Leiris Georges Limbour Marcel Mauss Léon Pierre-Quint Jacques Prévert Raymond Queneau Zdenko Reich Paul Rivet Georges Ribemont-Dessaignes Georges-Henri Rivière André Schaeffner Roger Vitrac among others. Numerous full-page artistic contributions by Hans Arp Constantin Brancusi Giorgio De Chirico Alberto Giacometti Juan Gris Henri Laurens Fernand Léger André Masson Joan Miró Pablo Picasso Joseph Sima etc. The journals pioneering and interdisciplinary approach established it as one of the most important publications of the century: a dissident voice against the doctrinaire surrealism of André Breton Documents was conceived as a war machine against received ideas in Batailles own words and gathered an eclectic array of contributorsacademics ex-Dadaist and Surrealist painters and poets philosophers. It remains renowned for its striking juxtapositions: Rather than assemble documents from separate fields rather than uphold the usual subordination of image to text the journal gives photography drawing and image the privilege of being the most primal substance or the most original trace of human expression Georges Sebbag. Ethnography Documents is remembered above all for Batailles radical ethnographic stance focused on the material and detached from aesthetic criteria and the usual fascination with exoticism. These groundbreaking views foreshadow the Collège de sociologie that Bataille would later found with Michel Leiris Roger Caillois and Jules Moncrot. They are also reflected in the journal through numerous photographs of masks stones and other non-Western artistic creations Siberian Chinese. set alongside modern artworks including drawings by Klee and paintings by Picasso. Bataille also collaborated with the notorious Hans Bellmer who would go on to illustrate the famous second edition of Histoire de lil to create a terrifying portrait of the Hindu goddess of destruction Kali. photography The journal places particular emphasis on photography. Among its most celebrated contributions are the close-up photographs of toes by Jacques-André Boiffard accompanying Batailles essay on the foot in issue no. 6: The point of this article lies in an insistence on directly and explicitly challenging what seduces without relying on poetic contrivances which ultimately amount to little more than diversion Bataille concludes. His fascination with the abnormal and the destructive is also evident in Boiffards fetishistic and sadomasochistic photograph of a woman wearing a Documents hardcover
rif. 174163New York: Harry N. Abrams Inc. 1987. With an original drawing by Hockney Second edition first printing inscribed in pencil by Hockney on the front free endpaper "For Jonathan 'Love' David H Dec 23rd 1993" with a sketch of Salts Mill below the inscription. The recipient was Hockney's good friend Jonathan Silver 1949 - 1997 who in 1987 purchased the derelict former cloth factory building Salts Mill in Saltaire West Yorkshire and transformed it into a space for art and culture which now houses the largest and only permanent collection of Hockney art in the world. The book first published in 1968 with the co-operation of Picasso covers Picasso's passion for the theatre. It includes his paintings drawings watercolours lithographs photographs including some from Picasso himself and correspondence. Quarto. Includes 447 plates with 68 in full colour. Original beige cloth lettering to front cover and spine in gilt. With dust jacket designed by Picasso. Fine in fine unclipped dust jacket. hardcover
1924rif. 177844Paris: Galerie Simon 1924. Edition of 50. Signed in pencil lower right by Picasso numbered lower left. Printed by Charlot Freres. Provenance The Redfern Gallery Ltd.1973. Original lithograph from drawing in crayon and scraper on stone printed in black ink on Vélin Van Gelder watermarked wove paper all edges deckled. Image size: 29.5 x 21 cm. Sheet size: 37.8 x 29 cm. Framed size: 59.5 x 49.6 cm. Light horizontal creasing throughout otherwise in very good condition. Presented in a gold leaf frame with conservation acrylic glazing. Bloch 69; Baer 239; Mourlot XIX. unknown
1965rif. 176514Stuttgart: Verlag Gerd Hatje 1965. With two signed Picasso lithographs First edition first printing number 98 of 100 copies with a suite of 9 original lithographs printed by Mourlot Paris on BFK Rives paper and signed by the artists: 2 by Picasso and 1 each by Elie Lascaux André Beaudin André Masson Suzanne Roger Eugène de Kermadec Yves Rouvre and Sebastian Hadengue The picasso lithographs are titled Visage and Le femeur. Kahnweiler was a German-French art dealer who was a great supporter of burgeoning artists without dealers from the Montparnasse and Montmartre area. His initial purchases included works by Kees van Dongen André Derain André Masson Fernand Léger Georges Braque Juan Gris and Maurice de Vlaminck. He also represented all of the artists participating in this book. Quarto. Nine full-page lithographs including dust jacket tipped-in illustrations throughout. Original blue cloth boards lettering and design to front cover gilt. With dust jacket. Together with a blue cloth folder housing 9 original lithographs sheet sizes: 29.5 x 25 cm. All contained in publisher's cardboard slipcase. All in fine condition jacket unclipped. Bloch 1179 & 1180; Mourlot 403 & 404 Cramer 133. hardcover
rif. 28434Alès PAB mars 1967. 1 vol. 260 x 335 mm de 34 p. et 2 f. En feuilles sous emboîtage signé de Julie Nadot. . Première édition illustrée par Picasso : 4 cartalégraphies originales à pleine page 1966 représentant des masques telluriques. Un des 60 exemplaires sur Rives signés par Picasso et PAB n° 12. Exemplaire enrichi de 2 tirages supplémentaires de 2 des gravures l'un comportant un envoi signé : « Pour Char Picasso » l'autre signé par l'artiste. . L'édition PAB est la dernière qui sera donnée des Transparents qui ont fait l'objet de nombreuses rééditions depuis leur première parution en 1949 au Mercure de France. Avant Picasso Louis Fernandez Vieira da Silva Nicolas de Staël s'y étaient risqués. Les Transparents aux yeux de Char étaient les personnages de son enfance peu à peu disparus du paysage rural : jusqu'à dix-sept - tous des hommes - se trouveront décrits dans les différentes éditions que donnera le poète : Toquebiol Joseph Puissantseigneur Laurent de Venasque Crillon le brave Odin le Roc Raymond de Ridet entre autres formeront cette curieuse et respectée cohorte de figures d'errants. Picasso en donnera ici quatre saisissants portraits par un procédé nouveau pour lui mais qu'il avait vu utiliser par Georges Braque avec PAB : « Un carton plan ou ondulé souple ou plus rigide est découpé déchiré incisé ou gratté par l'artiste puis fixé par l'imprimeur sur un support à la hauteur typographique finalement encré et tiré » Coron Le Fruit donné p. 39. La cartalégraphie constitue un développement de la gravure sur celluloïd déjà pratiquée par Picasso avec PAB. Grâce à procédé PAB imprima huit livres de Braque dont le premier en 1959 Dans vos jardins. Après Picasso ce fut au tour de Joan Miró d'être conquis en 1975 ; il réalisa cinq découpes : trois furent employées dans Pour 1971. Exemplaire exceptionnellement enrichi conservé dans un délicat emboîtage de Julie Nadot. De la bibliothèque R. & B. Loliée ex-libris et Didier Pineau-Valencienne ex-libris. Bloch 1236. Alès, PAB, (mars) 1967. 1 vol. (260 x 335 mm) de 34 p. et [2] f. En feuilles, sous emboîtage signé de Julie Nadot. unknown
1967rif. 28434Cartalégraphies supplémentaires, l'une offerte et signée par Picasso à René Char Alès, PAB, (mars) 1967. 1 vol. (260 x 335 mm) de 34 p. et [2] f. En feuilles, sous emboîtage signé de Julie Nadot. Première édition illustrée par Picasso : 4 cartalégraphies originales à pleine page [1966], représentant des masques telluriques. Un des 60 exemplaires sur Rives, signés par Picasso et PAB (n° 12). Exemplaire enrichi de 2 tirages supplémentaires de 2 des gravures, l'un comportant un envoi signé : « Pour Char, Picasso », l'autre signé par l'artiste.
