Picasso, PabloBiblio.com
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02-0647Milwaukee Wis.: David Barnett Gallery 1984. Poster. Milwaukee, Wis.: David Barnett Gallery, 1984. unknown
003014Bievres Essonne: Pierre de Tartas 1976. Book. Fine. Hardcover. Loose sheets in wrappers with Picasso's design printed in relief. This copy with an extra relief printed wrapper. In publishers black cloth clamshell box with gilt and red lettering. Poems by Federico Garcia Lorca in French and Portuguese. Illustrated by Picasso with 4 original full-page color lithographs 10 monochrome woodcut illustrations in the text and 5 6 original embossed prints including the one on the double wrapper all executed after Pablo Picasso. The 4 color lithographs are protected by tissue guards. The lithographs and the embossed prints are plate signed by Picasso. The woodcuts were engraved by Guy Descouens and printed by Pierre Jean Mathan. Inevitable light offsetting from the woodcuts. The original prints were printed on the presses of the Ateliers Desclais. This is number 152 of 220 copies printed on grand velin d'Arches signed by the publisher. The total edition was 306 copies. Sheets measure 37 x 28 cm. the box measures 405 x 305 cm. Very fine copy. . Pierre de Tartas Hardcover
109080Cannes & Paris Degré Quarante et Un 1956. . Limited edition one of 52 copies on vieux Japon from a total edition of 68 signed by Picasso and Ililazd; folio 32 x 22 cm; with 12 engravings of which 2 are hors texte and 10 are in text; pages are folded in three with engraving in centre and text either side; in original vellum wrappers with a drypoint etching on the cover in a folded vellum sleeve with the spine imprinted with the title vellum wrappers slightly stained otherwise a fine copy.<br /> One of 52 copies Chevaux de minuit is one of Picasso and Iliazd's most successful collaborations. 'Picasso's stylistic range from the animals of the 1942 Buffon to these horses is a vast one. Here he has restricted himself to an extreme simplification of outline accented only by the drypoint burr yet vividly descriptive of movement. The typographic layout by Iliazd carefully balances and sometimes echoes the design of the plates' Artist and the Book<br /><br />The poem Chevaux de Minuit by Roch Grey pseudonym of Baroness Hélène Oettingen was edited by Iliazd after her death in 1950. The two had been friends and Ilia Zdanevich felt that the writer's work had been under-appreciated in her lifetime having not received recognition in either mainstream or avant-garde literary circles. It was his aim especially in the later part of his career to bring to light the work of marginal writers by collaborating with famous artists many of whom were his close companions.<br /> Cannes & Paris, Degré Quarante et Un, 1956. hardcover
0847801659New. hardcover. New. Satisfaction Guaranteed or your money back. hardcover
ANAIS-0810903970Harry N Abrams Inc. hardcover. Good. 1.8x09x2.1. Buy with confidence. Excellent Customer Service & Return policy. Harry N Abrams Inc hardcover
1970G0810903970I3N00Abrams Inc. 1970. Hardcover. Good. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More Spend Less.Dust jacket quality is not guaranteed. Abrams, Inc. hardcover
19704029New York : Harry N. Abrams 1970. 1970. Hardcover. Very Good. 26 p. 80 p. of illus. part col. 29 cm. ; ISBN: 0810903970; 9780810903975 LCCN: 74-160122 ; OCLC: 448021 ; LC: NC248.P5; Dewey: 741.9/44 ; presents 100 drawings and paintings of bullfight scenes illustrated by Picasso and the children of Vallauris France ; color pictorial cloth illustrated endpapers brown lettering ; some foxing ; VG <br/> <br/> New York : Harry N. Abrams, 1970. hardcover
1989335274New York: Abbeville 1989. First. hardcover. very good. Picasso. Preface by Michel Leiris. Edited with Introductions by Marie-Laure Bernadac and Christine Potter. Illustrated with 184 facsimile reproductions of his manuscript pages. Small folio maroon cloth with pictorial label binding a bit shaken; spine evenly sunned. New York: Abbeville Press 1989. First American Edition. A very good copy lacking the dust wrapper.<br/> <br/> Abbeville unknown
2021T217085Tajan Paris 2021. 1st Edition. SOFTCOVER. Large 4to. in photo illustrated stiff glossy card covers 77pp on glossy art paper 57 lots all illustrated in colour more than half works including ceramics by Picasso __CONDITION : NEW copy. . __To see more of our Art Monographs etc type DbbARTIST in the Keywords search box __We always ship in PROTECTIVE CARD PARCELS Tajan, Paris paperback
254271paperback. very good. Five Catalogs all illustrated primarily in black & white. The Catalogs are: Picasso: Oeuvres Cubistes de la Collection Marina Picasso; Picasso 15 Juillet -27 Aout 1950 Grande Salle Des Exposition de " La Reserve"; Picasso 63 Drawings 1953-54 and 10 Bronzes 1945-1953 The Marlborough Gallery; Picasso Gemalde 1950-60 Galerie Rosengart; A Selection of 55 Drawings by Pablo Picasso 1953-54 First Showing in America December 5 1955- January 23 1956 Saidenberg Gallery<br/> <br/> unknown
193748609Paris.: 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
1944224891Milano: All'insegna del pesce d'oro Garotto Serie illustrata 1944. Brossura sovracoperta wrappers dust jacket. Molto buono Very Good. <strong>Poesie popolari spagnole scelte da Giacomo Prampolini </strong>/ Las coplas reunidas en este tomoto han sido escogidas por Giacomo Prampolini. Con XX tavole in bianco e nero e una a colori. 32mo. pp. 32. Molto buono Very Good. Legatura lievemente allentata Loose binding. Edizione di 400 XX es. numerati. Scheiwiller Novati 2013 NOVATI Laura. Giovanni e Vanni Scheiwiller editori. Edizioni Unicopli 2013. All'insegna del pesce d'oro (Garotto), Serie illustrata unknown
0857425854.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
2070770702.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
02-0274Paris ca. 1960. Distributed graphics by Dow & Frosini. Serigraph after Picasso. Signed in the plate. Black and white. 9 x 12. Paris, ca. 1960. Distributed graphics by Dow & Frosini. unknown
2008201009Paris: Flammarion; Reunion des Musees Nationaux 2008. Cloth 367 pages illustrations some colour; 28 cm. English Edition. Catalogue of an exhibition held at the Musee National Picasso Paris September 19 2007 to January 7 2008. BRAND NEW. A fine copy. Still in publisher's shrinkwrap. OVERSIZE! Additional shipping charges may be requested for international & priority orders. A large-format coffee-table book. Richly illustrated with colour plates. "In the world of art Cubism was nothing less than revolutionary representing a paradigm shift in the way artists perceived the world and incontestably one of the most influential movements in art history. To celebrate the one-hundredth anniversary of Picassos seminal work Les Demoiselles dAvigon leading Picasso scholars and art historians assess its legacy and the extraordinary influence of Picassos Cubism on the development of twentieth-century art." - Publisher. CONTENTS: "You have to see the work" by Anne Baldassari; The stages of Picasso's discovery of Cubism: late 1905-early 1909 by Pierre Daix; Periods: Cubism in its day by Jean-Claude Lebensztejn; The odore Aubanel's Les filles d'Avignon and Picasso's "sum of destructions" by Irving Lavin; Resisting Cezanne: Picasso's Three women by Leo Steinberg; The Prague Self-portrait and Picasso's intelligence by Leo Steinberg; Horta de Ebro 1909: genetics of Cubism by Anne Baldassari; Le laboratoire central: Cubist drawings in the Musee Picasso by Pepe Karmel; Touring the Stockholm collage by Leo Steinberg; Chronology of Cubism by Anne Baldassari and Paule Mazouet ; with Anais Bonnel Jeanne-Yvette Sudour and Nadege Raymond-Clergue; Bibliography by Jeanne-Yvette Sudour. 1st. Hardcover. NEW. 4to. Collectible. Flammarion; Reunion des Musees Nationaux Hardcover
200773042Flammarion. New. 2007. Hardcover. 2080300482 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Corresponds to ISBN: 9782080300485. Text in English. 368 pp. With 305 ills. 271 col. . 28 x 26 cm. -- with a bonus offer-- . Flammarion hardcover
1948461951Genève : Éditions Albert Skira 1948. First Edition. Softcover. Good paperback copy only retaining the rare glassine wrapper over a dust-wrapper designed by Picasso himself. Glassine wrapper now somewhat torn at the edges; dust-wrapper slightly dust-toned. Text block loose in its covers with several earlier signatures loose. The first signature has a very minor scuff to the outer edge. Leaves otherwise strong and well-preserved; plates and leaves remain remarkably clean. Further scans images and additional bibliographical material available on request. Physical description; 2 leaves 11 pages 18 leaves of colour plates : illustrations ; 37 cm. Notes; Texte de Suzanne et Georges Ramié. Date of publication from colophon. Subjects; Picasso Pablo b. 1881. Ceramic sculpture France 20th century. Pottery French 20th century. Artists as potters France. Ramié Suzanne. Ramié Georges. Éditions Albert Skira. Genève : Éditions Albert Skira paperback
50-0017Paris 1961. Distributed graphics by Dow & Frosini. Serigraph after Picasso. Four colors. 67 x 51 cm. 20 x 26 inches. Signed and dated 25.7.61 in the image. Paris, 1961. Distributed graphics by Dow & Frosini. unknown
1998Q-345819102XInsel Frankfurt 1998-01-01. Hardcover. New. New. In shrink wrap. Looks like an interesting title! Insel, Frankfurt hardcover
3962Stuttgart G. Hatje 1984. 4° 424 S. zahlr. teilw. farb. Abb. OLwd. m. OU. Grossflkächige Widmung auf Vors. min. gebrauchsspurig. Werkverzeichnis! 010 Stuttgart, G. Hatje, 1984 unknown
1120381949 . Lithograph 1949 on Velin Arches paper inscribed dated and signed lower left in red chalk 'Pour Geneviève Laporte épreuve unique 26.5.51 Picasso' a rare unique print dedicated to Geneviève Laporte his lover during the 1950s aside from the six artist's and printer's proofs image: 64.5 x 47.7 cm. 25.4 x 18.8 in. sheet: 70 x 50 cm. 27.5 x 19.7 in.<br /> This work is a unique proof gifted to Geneviève Laporte 1926-2012 Picasso's lover during the 1950s. In 1951 Picasso and Laporte began an affair which lasted for two years and during which time the artist presented her with a number of his works. A poet and writer herself Laporte published her book 'Sunshine at Midnight: Memories of Picasso and Cocteau' in 1973 in which she recounts Picasso giving her the current work: <br />'He Picasso also pulled out a lithograph to show me a David and Bethsabée after a painting by Cranach. The date on the first proofs appeared in reverse because for once said Picasso he had forgotten that it had to be written back to front on the zinc. The plate shows Bethsabée richly dressed seated in a garden and stretching out her foot to be washed by a serving woman while David peers down at her with lust in his eye from a terrace above The proof Picasso showed me was pulled on a sheet of paper which had a silken feel. 'It's Chinese paper' Picasso told me. They don't make much of it anymore. This is the only proof of this state.' He looked at me while I fascinated by the lithograph remained silent. Then Picasso said with a smile: 'Tell me as you used to do what you think of it.' I remained speechless tongue- tied by the beauty and force radiating from this black and white linear image he put it on the table took a red pencil and wrote: Pour Geneviève Laporte épreuve unique. Then he added the date and remarked: 'It's for you. Take care of it because your print is unique.' Then he disappeared into a cupboard and returned with a very simple white wooden frame. Picasso himself put the lithograph into this frame and Marcel brought it round to my apartment that evening.' Laporte Geneviève. Sunshine at Midnight: Memories of Picasso and Cocteau 1973 Weidenfeld ad Nicolson London p.89-90. <br /><br />In the late 1940s Picasso entered his 'old master period' spending the next decade studying and reworking masterpieces of the past to rewrite them in his own visual language. This work is based on a painting by the German Renaissance painter and printmaker Lucas Cranach the Elder and depicts the biblical King David gazing upon the beautiful Bethsabée as she bathes. Noted for the use of contour and absence of chiaroscuro in his works Cranach was a highly skilful and much revered printmaker. Picasso greatly admired the Master Printmakers who had come before him highlighting the importance of the medium in Picasso's own work.<br /> Mourlot 109 State 10a or 10 bis; Bloch 442; Hatje Cantz 214 1949 unknown
195048463Paris.: 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
00-0450Paris: Musée Picasso 1988. 2 vols. Wraps. 712 pp. Paris: Musée Picasso, 1988. paperback
20909234-nnew. unknown
