PICASSO, Pablo - ROJAS, Fernando deBiblio.com
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1971ref. 166837Paris: Éditions de l'Atelier Crommelynck 1971. 66 original Picasso etchings First edition first printing number 36 of 350 copies signed by the artist. La Celestina a major work of Spanish literature first printed in 1499 here translated by Pierre Heugas was illustrated by Picasso as part of the famous 347 series for which Picasso etched 347 plates between March to October 1968 all printed by the Crommelynck brothers. Octavo. With 66 full page original etchings and aquatints of varying sizes dated between 11 April and 18 August 1968 printed on Richard-de-Bas laid paper with La Célestine watermark. Original full parchment boards lettering to front cover in black. Parchment and paper dust jacket lettering to spine in black. Housed in a parchment covered slipcase. Housed in a black cloth flat-back box by the Chelsea Bindery. A fine copy in a fine slipcase. Cramer Illustrated Books No. 140; Bloch 1602. hardcover
ref. 1244431964 . Aquatint in colours 1964 on Auvergne Richard de Bas laid paper signed in pencil numbered 48 from the edition of 50 there were also 15 artist's proofs printed by Pennequin for Atelier Crommelynck published in 1965 by Galerie L. Leiris Paris plate: 41.5 x 31.7 cm. 16 3/8 x 12 1/2 in. sheet: 56.3 x 41 cm. 22 1/4 x 16 1/8 in. Bloch 1170; Baer 1170 B.b. 1964 unknown
ref. 1237971918 . Etching on zinc 1918 on Imperial Japan paper a particularly fine and rare impression signed and dedicated "Pour Galanis ses amis bien reconnaissants Max Jacob et Picasso" by the artist in pencil also signed by author Max Jacob in pencil inscribed '1er Epreuve' a fine impression of the rare unrecorded first state before the edition of 20 impressions as included as the frontispiece for Max Jacob's 'Le Phanérogame' printed by Les Presses Eugène Delâtre Paris with full margins sheet 25.5 x 16.8 cm. 10 x 6 5/8 in. One of only two copies mentioned in Baer outside of the numbered edition. The subscription announcement called for sixteen impressions on Imperial Japan paper including two signed impressions marked '0' and '00' and a further 30 impressions on Hollande paper. The print was ultimately issued mainly on Arches paper. Fourteen signed and numbered impressions are recorded together with the two author's copies on Japan of which this is one. Dedicated to Demetrios Galanis 1879-1966 a Greek artist and engraver who was a close friend of Picasso and Jacob. To help fund the printing of Max Jacob's Le Phanérogame Pablo Picasso contributed an etching of a Pierrot for the book's deluxe edition. Jacob dedicated the text to the poet André Salmon invoking memories of the Rue Ravignanthe site of the famed Bateau-Lavoir where Jacob Picasso Salmon and Guillaume Apollinaire forged their early artistic community. For Jacob the text distilled "the gaiety of that first youth which is the golden age of art". Though Picasso was deeply engaged with theatrical motifs and the Commedia dell'Arte in the spring of 1918 such iconography was hardly new to his practice. Harlequins acrobats and performers dominated his output during the years recalled by Jacoba period often categorized as his Circus or Rose Period when the group frequented the circus and identified closely with its marginalized itinerant performers. While the dancer Léonide Massine likely served as the immediate model for the pensive Pierrot the figure echoes Picasso's earlier saltimbanques and their intimate ties to his inner circle. Bloch 33; Baer 55; Cramer 5 1918 unknown
1931ref. 3114Paris, Ambroise Vollard Éditeur, 1931. Un volume in-4 (32 x 24 cm). Remarquable reliure "sculptéee de Paul Bonet en plein box bleu nuit et décor polychome en relief, chemise et étui (signée et datée de 1944). - 12 EAUX-FORTES ORIGINALES EN HORS-TEXTE et 1 EAU-FORTE pour la "table des eaux-fortes" GRAVÉES PAR PABLO PICASSO. - UNE SUITE COMPLÈTE DES 12 GRAVURES HORS-TEXTE SUR VÉLIN DE RIVES. - Dessins de l'artiste gravés sur bois par Georges Aubert et tirés en in-texte. Une "préface" de 16 pages de dessins composés de points et de traits dessinés par Picasso en 1924 également gravés sur bois par Aubert. Tirage : 340 exemplaires (65 Japon + 240 vélin de Rives + 35 H.C.). Celui-ci 1 DES 65 EXEMPLAIRES SUR JAPON IMPÉRIAL, LES SEULS SIGNÉS AU PINCEAU PAR PICASSO et monogramés à la plume par Vollard, avec UNE SUITE COMPLÈTE DES 12 GRAVURES HORS-TEXTE SUR VÉLIN DE RIVES. - Dans une extraordinaire reliure "sculptée" de Paul Bonet, datée 1944 : "box bleu corbeau, un grand caisson ovale occupe presque chaque plat, encadrant un grand motif abstrait sculpté et couvert de veau de différentes couleurs vives" (Carnets, n°692), couverture conservée, chemise, étui. Bonet n'a réalisé qu'une poignée de ces fameuses reliures sculptées qui sont très recherchées. Celle-ci étant l'une des plus réussies et des plus élégantes. —— ENGLISH DESCRIPTION: Paris, Ambroise Vollard Éditeur, 1931. Illustrated with 12 original etchings by Pablo Picasso (and 1 for the plate "Table des eaux-fortes") and numerous woodcuts by G. Aubert after the drawings by Picasso. One of 65 NUMBERED ON JAPAN PAPER SIGNED BY PICASSO AND VOLLARD with an EXTRA SUITE of the 12 original etchings on Rives paper. Only the 65 numbered on japan paper are signed by Picasso and Vollard. Mint condition. Outstanding "sculptural" binding by Paul Bonet, dated 1944: "raven blue box, a large oval box occupies almost each cover, framing a large abstract motif carved and covered with calfskin in different bright colors" (Carnets, n°692), cover preserved, folder, case.
1955ref. 147884Paris: Galerie Louise Leires 1955. Signed by Picasso Edition of 50. Signed in pencil lower right by Picasso numbered lower left. Aquatint and drypoint on vélin d'Arches watermarked wove paper all edges untrimmed. Plate size: 64.6 x 49.7 cm. Sheet size: 76.5 x 57 cm. Framed size: 105 x 88 cm. Paper toned hinging tape to upper edge and corners of verso otherwise bright. Presented in a white gold frame with conservation acrylic glazing. Bloch 771; Baer 927. unknown
1978ref. 167436Paris: Cahiers d'Art 1978. First Edition. First Edition in 34 volumes. Text in French. The definitive catalogue raisonné of the work of the 20th century's most renowned artist published individually over four decades by "Cahiers d'Art" founder Christian Zervos in partnership with Picasso himself. Volume I of "Zervos" as it is commonly known was first published by Cahiers in 1932 and the last volume was printed in 1978 following the deaths of both its author and its subject. With over 16000 reproductions in black-and-white in accordance with the artist's wishes. Picasso felt that black-and-white plates were more faithful to his work than an inaccurate color photograph. Near Fine to Fine each volume bound in custom red quarter leather with raised bands gilt titles and rule. Original wrappers for each volume included separately. Oversize set shipping billed at cost. Cahiers d'Art unknown
1978ref. 167436Paris: Cahiers d'Art 1978. First Edition. First Edition in 34 volumes. Text in French. The definitive catalogue raisonné of the work of the 20th century's most renowned artist published individually over four decades by "Cahiers d'Art" founder Christian Zervos in partnership with Picasso himself. Volume I of "Zervos" as it is commonly known was first published by Cahiers in 1932 and the last volume was printed in 1978 following the deaths of both its author and its subject. With over 16000 reproductions in black-and-white in accordance with the artist's wishes. Picasso felt that black-and-white plates were more faithful to his work than an inaccurate color photograph. Near Fine to Fine each volume bound in custom red quarter leather with raised bands gilt titles and rule. Original wrappers for each volume included separately. Oversize set shipping billed at cost. Cahiers d'Art unknown books
1967ref. 3152Paris, Tériade Éditeur, 1967. Un volume in-folio (450 x 345 mm) en feuilles sous couverture imprimée rempliée, chemise titrée or et étui de l'éditeur recouverts de toile écrue. - 38 LITHOGRAPHIES ORIGINALES DE MARC CHAGALL : 15 EN COULEURS DONT 3 À DOUBLE PAGE (450 x 687 mm) ET 18 EN NOIR. Toutes les lithographies sont en hors-texte et ont été tirées sur les presses de Fernand Mourlot. Tirage : 250 exemplaires + 20 exemplaires HC. Celui-ci est un exemplaire de collaborateur, il n'est donc ni numéroté ni signé. - Note historique et bibliophilique : Le sujet du cirque est l’un des thèmes les plus importants dans l’œuvre de Marc Chagall. Cette fascination remonte à l'enfance, quand il vit à Vitebsk une petite troupe itinérante exécuter quelques acrobaties maladroites devant un public indifférent : cette triste performance était-elle le destin de toute vie d’artiste ? C’est Ambroise Vollard, lui-même très amateur de cirque, qui incita Chagall à développer ce thème, mais c’est Tériade, qui après la mort de Vollard, le convainquit de travailler à un livre illustré de lithographies. Accompagné de textes de l’artiste, CIRQUE est certainement la meilleure réalisation lithographique de Chagall avec Daphnis & Chloé paru en 1961 chez le même éditeur, "sans aucun doute le plus personnel de tous ses livres, le plus exceptionnel aussi par l'intensité du trait et des couleurs, mais aussi par l'harmonie qu'il crée entre texte et peinture, enfin par le caractère même et la qualité de l'écriture" (Hommage à Tériade, Grand Palais, 1973). - ENGLISH DESCRIPTION: MARC CHAGALL (1887-1985) : CIRQUE, Tériade Editeur, Paris, 1967 (book/ portfolio). The complete set of 38 lithographs (23 lithographs in colors and 15 lithographs in black), on Arches paper, all hors-texte, title page, text in French and justification. This copy on Arches paper, from a collaborateur, it is not numbered and not signed, of the 270. The colors fresh, the full sheets, loose (as issued), in mint condition, within original paper wrapper, beige cloth-covered boards with title stamped in gilt on spine and matching slipcase 17 3/4 x 13 1/2 in. (450 x 345 mm.) References: Mourlot 490-527; Cramer books 68.
