ZERVOS, Christian - PICASSO, Pablo.Livre Rare Book
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1926réf. 2112Paris : Éditions « Cahiers d’Art », 1926 In-4 (283 x 228 mm), broché, non rogné, sous couverture rempliée de papier Japon. Encartée dans l’exemplaire: 1 EAU-FORTE ORIGINALE DE PABLO PICASSO TIRÉE SUR HOLLANDE, SIGNÉE AU CRAYON PAR L' ARTISTE ET JUSTIFIÉE 13/50. Note historique: Un des premiers livres sur Picasso, publié par la galerie "Cahiers d'Art" fondée cette même année. L'ouvrage est illustré de 4 reproductions de dessins dans le texte et de 42 planches, dont 2 en couleurs, reproduisant des œuvres de Picasso des années 1920-1926. La gravure accompagnant ce tirage de luxe, "Femme au fauteuil", fait partie d'une série réalisée en 1922-1923 dans laquelle les lignes superposées donnent à voir les figures à la fois de face et de profil. Le zinc est perdu. Un des 50 exemplaires sur Hollande van Gelder, les seuls avec les 6 sur Japon à comprendre la gravure originale, celui-ci le n°13 (quelques piqûres à la gravure et à la couverture). Chemise et étui d l'époque. ENGLISH DESCRIPTION: PABLO PICASSO (1881-1973) et CHRISTIAN ZERVOS (1889-1970) Picasso. Œuvres 1920-1926. Paris : Éditions « Cahiers d’Art », 1926 Deluxe copy, with the signed original etching. 4to (283 x 228 mm). Untrimmed, Japan wrappers. 1 etching on zinc by Pablo Picasso, on van Gelder Holland wove, signed in pencil by the artist and numbered 13/50. Several black and white reproductions of works by Picasso, 2 plates in color. One of 50 copies on van Gelder Holland wove, the only copies with the first 6 on imperial Japan to contain the etching, this copy numbered 13 (some spotting on the etching and the wrappers). Jacket and slipcase of the time. Référence: Goeppert-Cramer, Picasso, n°15 - Bloch, 56 - Baer-Geiser, 99/II.
réf. PP003New York: Curt Valentin Gallery 1953 With text by Paul Eluard translated by Roland Penrose. First edition first printing. Signed and dated "8.6.54" by Picasso on the title page with an original black ink sketch of a bull's head. Publisher's stapled pictorial yellow wrappers printed in black. Near fine with some toning to wrappers a couple of small closed tears to right edge of front wrapper and Hôtel Drouot auction venue stamp "AUTHENTIQUE / Auteur: blank / Embassy / HÔTEL DROUOT / PARIS - FRANCE" to recto of leaf preceding title page. Overall a scarce original drawing by Picasso of one of his favorite subjects. Between 1950 and 1953 was a highly productive and innovative period for Picasso. During that time he lived in Vallauris in the South of France with Françoise Gilot and their two children and worked out of the perfume-factory-turned-art-studio Le Fournas and at the Madoura workshop. The Nov. 24-Dec. 19 1953 exhibition at Curt Valentin Gallery showcased the range of Picasso's work during those years featuring 28 oil paintings 18 sculptures 6 ceramics 11 lithographs and 2 aquatints. New York Times art critic Howard Devree writes of the exhibition "Here are some of the diabolical deliberately ugly profile-and-full-face-at-once portraits; landscapes semi-abstract and semi-expressionist which are powerful formal organizations; ceramics such as 'The Picador' which are primarily decorative; sculptures such as the preternaturally wise or witch-like owls in several media; at least one figure 'The Kneeling Woman' in which he seems to have extended cubism; lithographs and aquatints which make one marvel anew at his unmatched wizardry of linear expressiveness " Nov. 29 1953. The bull was a recurring and totemic motif in Picasso's work throughout his entire career. His fascination with the animal stemmed from childhood when he was often taken by his father to Spanish bullfights in his hometown in Málaga Spain. Even in the Curt Valentin exhibition there were multiple works related to bulls and bullfighting including the ceramics "Blue Picador" "Picador" and "Toreador." Hôtel Drouot is a historic auction venue in Paris France that has been in operation since 1852. The venue has long been recognized as the keystone of the Paris art market and is home to about 70 independent auction firms. . Inscribed. First Edition. Original Wrappers. Near Fine. New York: Curt Valentin Gallery [1953] paperback
réf. PP003New York: Curt Valentin Gallery 1953 With text by Paul Eluard translated by Roland Penrose. First edition first printing. Signed and dated "8.6.54" by Picasso on the title page with an original black ink sketch of a bull's head. Publisher's stapled pictorial yellow wrappers printed in black. Near fine with some toning to wrappers a couple of small closed tears to right edge of front wrapper and Hôtel Drouot auction venue stamp "AUTHENTIQUE / Auteur: blank / Embassy / HÔTEL DROUOT / PARIS - FRANCE" to recto of leaf preceding title page. Overall a scarce original drawing by Picasso of one of his favorite subjects. Between 1950 and 1953 was a highly productive and innovative period for Picasso. During that time he lived in Vallauris in the South of France with Françoise Gilot and their two children and worked out of the perfume-factory-turned-art-studio Le Fournas and at the Madoura workshop. The Nov. 24-Dec. 19 1953 exhibition at Curt Valentin Gallery showcased the range of Picasso's work during those years featuring 28 oil paintings 18 sculptures 6 ceramics 11 lithographs and 2 aquatints. New York Times art critic Howard Devree writes of the exhibition "Here are some of the diabolical deliberately ugly profile-and-full-face-at-once portraits; landscapes semi-abstract and semi-expressionist which are powerful formal organizations; ceramics such as 'The Picador' which are primarily decorative; sculptures such as the preternaturally wise or witch-like owls in several media; at least one figure 'The Kneeling Woman' in which he seems to have extended cubism; lithographs and aquatints which make one marvel anew at his unmatched wizardry of linear expressiveness " Nov. 29 1953. The bull was a recurring and totemic motif in Picasso's work throughout his entire career. His fascination with the animal stemmed from childhood when he was often taken by his father to Spanish bullfights in his hometown in Málaga Spain. Even in the Curt Valentin exhibition there were multiple works related to bulls and bullfighting including the ceramics "Blue Picador" "Picador" and "Toreador." Hôtel Drouot is a historic auction venue in Paris France that has been in operation since 1852. The venue has long been recognized as the keystone of the Paris art market and is home to about 70 independent auction firms. . Inscribed. First Edition. Original Wrappers. Near Fine. New York: Curt Valentin Gallery [1953] paperback books
réf. EXE-782Paris, Editions Fragance, 1950. In-folio, en feuilles, couverture illustrée d'une eau-forte, chemise et étui de l'édition. Illustré de 32 gravures originales de Pablo Picasso, dont une eau-forte, une eau-forte et pointe sèche, 10 aquatintes et 20 gravures au burin. Tirage à 219 exemplaires, celui-ci le numéro 94 sur Vélin de Montval, signé par l'auteur et l'illustrateur. Référence: Cramer 56.
1949réf. 67462ABParis., La Bibliotheque Francoise., 1949. 34,5 x 27,4 cm. 161 (1) S., 3 Blatt. OFranzösische Interimsbrochur in marmorierter OHalbleinen-Einbandecke, in marmoriuertem OPapp-Schuber., 67462AB Tirée a 320 exemplaires. Umschlag etwas stockig, sonst sehr gutes und frisches Exemplar.
1950réf. 194331Nice and New York: L'Image Littéraire and R. Finelli-Feugère 1950. Dinner with Picasso One of 12 prints by various artists from the Estampes portfolio by Robert Rey. Edition of 150. Wood engraving in colours on Van Gelder Zonen paper. Signed in pencil lower right by Picasso. Image size: 23.3 x 29.7 cm. Sheet size: 29 x 37.5 cm. Framed size: 48 x 53 cm. Presented in a handmade gold leaf frame with conservation acrylic glazing. All edges have been trimmed from the original sheet size: 36.2 x 46.5 cm. otherwise a bright impression. unknown
1939réf. 34506Paris: From the Press of Robert Blanchet ca. 1939. No. 161 of a Limited Edition of only 226 copies printed on vélin d'Arches. AN ORIGINAL GRAVURE A LA GOUGE PRINT SIGNED IN CRAYON BY PICASSO. Folio single sheet. A fine copy of the signed engraving. A very important print a signed impression of the original linogravure 'Le Pigeonneau' c. 1939 which is believed to be either Picasso's first or second effort in the technique. From the Press of Robert Blanchet unknown
1967réf. 126012Paris: Galerie Louis Leiris 1967. Edition of 50. Signed in pencil lower right by Picasso numbered lower left. The plate was originally etched in 1963 of which one image was printed the edition was printed and released in 1967. Aquatint on Vélin de Rives paper. Image size: 31.2 x 41.2 cm. Sheet size: 45.1 x 55.2 cm. Framed size: 57 x 65.7 cm. Excellent condition. Presented in a handmade white gold leaf frame with conservation acrylic glazing. Bloch 1115; Baer 1108 IIIBb. unknown
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
1939réf. 1435Paris, NRF, Gallimard, 1939. in-4 (260 x 200 mm) broché, toutes marges, 70 pages, couverture imprimée rempliée. ÉDITION ORIGINALE TRÈS RARE de ce recueil contenant : "Trois chevaux aigus. Nous sommes. Nulle rupture. À l'ombre de ma porte. Poème perpétuel. L'or et l'eau froide. Trois poèmes inachevés. Les vainqueurs d'hier périront". Tirage : 5 Japon nacré + 15 vergé d'Arches. Celui-ci l' un des 15 ex. numérotés sur vergé d'Arches (n°12), SIGNÉ PAR PAUL ÉLUARD ET MAX ERNST, ACCOMPAGNÉ DE 4 SUPERBES LITHOGRAPHIES ORIGINALES À PLEINE PAGE TIRÉES EN NOIR SUR VERGÉ DE HOLLANDE DE MAX ERNST (seuls les 20 premiers exemplaires en grand papier contiennent ces lithographies). - Note bibliographique et historique : Max Ernst avait prévu une série de douze lithographies, mais seules quatre d’entre elles furent publiées dans l’édition de luxe à petit nombre. Un an plus tôt, en 1938, désapprouvant ses positions trotskystes, Éluard avait rompu avec Breton : À sa suite Max Ernst quitte le groupe surréaliste outré d’avoir à subir l’exigence de « saboter la poésie de Paul Éluard par tous les moyens » (in Centre Georges Pompidou, Paul Éluard et ses amis peintres, 1982, p.109).
réf. 937995Fernand Mourlot Paris 1957 In-folio ( 444 x 334 mm ), en feuilles, sous couverture rempliée illustrée en lithographie couleurs sur les 2 plat, coffret-boite de toile bis imprimé sur le dos. 6 lithographies originales dont 4 en couleurs ( dont couverture ) de Pablo PICASSO et 30 reproductions de dessins, tableaux, collages datant des années 1914 à 1948. EDITION ORIGINALE au tirage limité à 275 exemplaires sur Arches, celui-ci, 1 des 50 exemplaires du tirage de tête sur papier vélin d'Arches ( N°41 ), signé par Pablo PICASSO au crayon rouge et accompagné d'une suite à part de 13 lithographies originales chacune justifiée ( 41/50 ) tirée sur Japon à la forme Hodomura. Très bel exemplaire, en parfait état. Cramer 88. The Artist and the book, 1972, Cat. 240.
1963réf. 3909Les Heures Claires, Paris 1959-1963. 12 volumes in-folio en feuilles (34 x 26 cm) sous couvertures imprimées rempliées, chemises et étuis décorés de l'éditeur. - 100 AQUARELLES ORIGINALES HORS-TEXTE DE SALVADOR DALI GRAVÉES SUR BOIS EN COULEURS par Raymond Jacquet. Exemplaire de grand luxe : 1 des 150 ex. numérotés sur pur chiffon de Rives filigrané comprenant : Les 6 volumes du texte illustré des 100 aquarelles gravées sur bois en couleurs en hors-texte + LA SUITE COMPLÈTE DES 100 BOIS EN COULEURS.+ LA SUITE COMPLÈTE DU TRAIT GRAVÉ SUR CUIVRE TIRÉ EN BLEU + UNE SUITE DE LA DÉCOMPOSITION DES COULEURS D'UNE PLANCHE POUR CHAQUE VOLUME. Les 6 ouvrages sont en parfait état et bien complets des 100 gravures et des 3 doubles-feuillets de justification numérotés. Les 6 volumes de suites sont collationnés et bien complets en parfaite condition. Les planches belles aux couleurs lumineuses. Les 12 emboîtages sont en parfait état de conservation. Très bel exemplaire du tirage de luxe de cette monumentale et célèbre édition. ÉTAT DE NEUF. (Références : Michler & Lopsinger, 1039 à 1138 ; Field pages 189 à 200). Provenance : acquise en 1963 directement auprès de Joseph Foret et conservée dans la même famille jusqu'à aujourd'hui. Photographies supplémentaires sur demande. - ENGLISH DESCRIPTION: Dante : LA DIVINE COMÉDIE. 100 wood-engraved plates in color. Les Heures Claires, Paris 1959-1963. 12 folio volumes in loose sheets (34 x 26 cm), under folded printed covers, original decorated slipcases of the publisher. Including THE 100 WATERCOLORS OUT OF TEXT BY SALVADOR DALI ENGRAVED ON WOOD IN COLORS by Raymond Jacquet. This one is 1 of 150 deluxe copies numbered on Rives with watermark : The 6 volumes with the Dante's text illustrated with 100 color wood engravings + THE COMPLETE SUITE OF THE 100 COLOR WOOD ENGRAVINGS + THE COMPLETE SUITE OF THE COPPER ENGRAVED LINE ART PRINTED IN BLUE + A SUITE OF THE COLOR "DECOMPOSITIONS" OF ONE PLATE FOR EACH VOLUME. The 6 volumes are in perfect condition and complete with all 100 engravings and the 3 numbered double-page justifications. The 6 volumes of suites have been collated and are complete and in perfect condition. The plates are beautiful with luminous colors. The 12 slipcases are in perfect condition. A very fine and scarce deluxe copy of this monumental and celebrated edition. MINT CONDITION. (References: Michler & Lopsinger, 1039 to 1138; Field pages 189 to 200). More pictures on request.
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) books
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 books
1966réf. 1567-BParis, Tériade Éditeur, 1966. In-plano (750 x 550 mm) en feuilles. Feuillet de titre, table des planches. LA SUITE COMPLÈTE DES 13 LITHOGRAPHIES ORIGINALES EN COULEURS ET NOIR DE JOAN MIRÓ POUR UBU ROI + LA SUITE COMPLÈTE DES 13 LITHOGRAPHIES EN NOIR retravaillées par l'artiste . (feuilles: 750 x 550 mm environ, sujets: 630 x 410 mm environ), chaque épreuve titrée au crayon au verso de la feuille. Tirage: 75 exemplaires sur grand vélin d'Arches, celle-ci hors-commerce non signée (Mourlot 392-430 ; Cramer 108) Chaque composition en noir a été intensément retravaillée par Miró qui y a ajouté estompes et ombres, épaissi les traits de certains sujets. La vision grotesque et surréaliste de l'artiste, impliqué corps et âme dans ce cycle sur Franco et contre tous les fascismes, y apparait encore avec plus de force et d' évidence. Très rare. Excellent état de conservation.
1930réf. 3884Paris, Éditions Surréalistes, Corti, 1930. Un volume petit-in-4 (235 x 185 mm), broché, couverture de papier rose imprimée. Édition originale tirée à 215 exemplaires. CELUI-CI L'UN DES 15 SUR INGRES VERT, ROSE ET BLEU AVEC UNE EAU-FORTE ORIGINALE DE SALVADOR DALI EN FRONTISPICE (N° 18). Seuls ces exemplaires et les 15 ex. de tête sur japon la contiennent. Le volume est signé au colopon par René Char. Bien complet du "Prière d'insérer" imprimé sur papier couché rouge. Artine est le second ouvrage comportant une gravure de Dali entré dans le groupe surréaliste en 1929. - ENGLISH DESCRIPTION: René CHAR. ARTINE. Paris, Éditions Surréalistes, Corti, 1930. A small quarto volume (235 x 185 mm), paperback, printed pink paper cover. First edition, limited to 215 copies. THIS IS ONE OF 15 COPIES ON GREEN, PINK, AND BLUE INGRES PAPER WITH AN ORIGINAL ETCHING BY SALVADOR DALI AS A FRONTISPIECE (No. 18). Only these copies and the 15 deluxe copies on Japanese paper contain it. The volume is signed in the colophon by René Char. Complete with the "Please Insert" printed on red coated paper. Artine is the second book to include an engraving by Dalí, who joined the Surrealist group in 1929. A perfectly preserved copy. References: Michler-Löpsinger, 3 - Cahiers de l'Herne, 20 - Monod, I-2603 - PAB, René Char, 4. Additional photographs available on request.
1477In-folio (300 x 200mm). 320 carte, grande iniziale in rosso di 26 linee, interamente rubricato. Legatura in pelle di scrofa coeva tedesca su assi di legno (Heilbronn), anticamente legato al pluteo, angoli e fermagli in metallo, borchie mancanti.
1900réf. 3912Un volume in-4°, broché, couverture imprimée illustrée d'une vignette de l'artiste . - 109 lithographies originales de Pierre Bonnard (1867-1947). Toutes les lithographies sont tirées en rose sanguine et disposées librement, transcrivant avec sensualité la poésie de Verlaine en forme et en couleurs ; il s’en dégage une profonde harmonie entre le texte et l’illustration. Élégamment imprimé en Garamond, comme le seront plus tard Les Fêtes galantes illustrées par Laprade, l’ouvrage marque le début de la grande aventure éditoriale d’Ambroise Vollard. Édition : 230 exemplaires numérotés sur Chine ou Hollande. - "Ceci n’est pas un traité de géométrie !" Il existe deux états de la couverture de Parallèlement : Vollard dut en effet remplacer la vignette de l'Imprimerie nationale à l’effigie de la République française par un dessin de Bonnard (ainsi notre exemplaire). Ce remaniement était intervenu à la suite d’une interpellation à la Chambre au sujet de la présence de l'effigie de la République sur un livre jugé « licencieux ». Une fois l’ouvrage imprimé, on s’était avisé que Parallèlement n'était pas un traité de géométrie… (Pierre Berès). Exemplaire numéroté sur vélin de Hollande, conservé broché, tel que paru et en excellent état de conservation.
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 its 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
Im Jahr 1932 veröffentlichte Cahiers d'Art den ersten Band des Picasso-Katalogs, ein Projekt, das Christian Zervos gemeinsam mit Picasso erarbeitet hat. Die Neuausgabe des Werkverzeichnisses der Gemälde, Aquarelle und Zeichnungen wurde wissenschaftlich von der Picasso Administration auf den neuesten Stand der Forschung gebracht. Die Ausgabe ist in Englisch und Französisch lieferbar. - This new, revised editon includes corrections to the original catalogue prepared together with the Picasso Administration. With over 16000 black- and white illustrations. The new edition is available in French, and in English translation for the first time in its history.
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
