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196974884<p>After Pablo Picasso<br />One plate from Les Portraits Imaginaires 1969<br />Lithograph in colors on Arches paper with printed signature as issued<br />Numbered F18 / 250 from the French edition with the blindstamp of the publisher/printer<br />Printed by Marcel Salinas<br />Published by Éditions Cercle D'art<br />Sheet size: 66 x 50 cm<br />Frame size: 76.5 x 61 x 2.5 cm</p>
196874908<p>PABLO PICASSO Spanish 1881-1973</p><p>Petit visage barbu A.R. 557</p><p>Verso impressed "Madoura Plein Feu" and "Empreinte Originale de Picasso"<br />Hand-numbered "J139A 9/100"<br />Size 17.2 X 17.2 cm</p><p>Partially glazed and engraved terracotta plaque <br />Conceived in December 1968 - January 1969 and executed in a numbered edition of 100</p>
195689529Cannes 1956. Fine. 'I continue my work with passion' Cannes 27 janvier 1956 21 x 27 cm un feuillet Autograph letter by Pablo Picasso to Max Pellequer vividly executed in multiple colours signed and dated by the artist 27 January 1956 addressed from his villa La Californie. Fourteen lines written in green blue pink orange red violet and turquoise pencil on a watermarked BFK Rives sheet.A few negligible transverse folds as expected from mailing. Picasso did not regularly employ colour in his correspondence. Here however he seems to have offered a gracious gesture to his friend and banker Max Pellequer as the more visually striking his letters the more sought-after they become. To speak of his work Picasso turns to red pencil: je continue mon travail avec ardeur - a telling choice that conveys the fervour he wished to bring to his art. Although Picasso maintained a substantial correspondence letters written entirely in his own hand remain exceedingly scarce. As Laurence Madeline observes in her study of this private facet of the artists life: The inertia that paralyses Picasso who prefers his activity as an artist to that of a secretary renders the letters he does choose to write all the more essential and touching Picasso épistolier LHerne no. 106. From his home overlooking Cannes Picasso was assisted by his devoted secretary and childhood companion Jaume Sabartés who penned many of the artists letters - except those destined for Pellequer. To him Picasso wrote every message himself however trivial in a generous flowing script playing with letters and words as though they were graphic elements arranged in an aesthetic dialogue across the sheet far removed from the sobriety of the text. His artistic impulse seems to have seeped into even his most routine administrative exchanges with his banker and impassioned collector. Part of the Picasso-Pellequer correspondence is held today by the Musée national Picasso in Paris. A singular recipient Max Pellequer banker and collector was introduced to Pablo Picasso in 1914 by his uncle by marriage André Level. He quickly emerged as one of the artists foremost collectors and in time became Picassos financial adviser for over three decades. Pellequers engagement with Picassos oeuvre began in the 1910s notably through a bronze jester acquired from Ambroise Vollard. During the 1930s and 1940s he became Picassos personal banker safeguarding the artists wealth and facilitating his comfortable establishment in the South of France. Their friendship was lifelong and intensely collaborative. Among other commissions Picasso executed a splendid copper ex-libris for Pellequer; Pellequer purchased paintings such as Cézannes La mer à LEstaque Musée Picasso Paris; and Picasso reciprocated with gifts of several works. A discerning and avid collector Pellequer assembled one of the finest collections of modern masterworks - Degas Dufy Gauguin Léger Matisse Miró Modigliani and Utrillo - today preserved in major international museums. The epistolary art of Picasso Picassos correspondence served as an outlet for his relentless creative energy expressed across ceramics sculpture photography illustrations collages and poetry. Every letter provided a space for the emergence of genius irrespective of the prosaic content of his exchanges with Pellequer. To counterbalance such banality Picasso took care to arrange his letters diagonally across the page enlivening them with colour from pastels felt pens or coloured pencils. Letters numerals words and sentences became visual and musical elements animated by the painters imaginative force. A striking and vividly visual illustration of Picassos imperative for total self-expression manifested through his correspondence with one of his closest friends and advisers. unknown
1943208661Robert-J. Godet éditeur 1943. Number 23 of 25 such copies. Paperback. Bound book is VG with expected age-toning to the solid covers. Accompanying suite is as good as can be hoped for with the thin paper printed wraps broken at the spine and the 18 prints most with acidic sheets between that are printed on low-quality acidic paper solid clean with a noted printing smudge on one about 1/10 an inch in size and undamaged but wanting some conservation or de-acidification. Again in case you have not noted otherwise THE BLACK AND WHITE SIGNED ETCHING is lacking but the limitation page is signed by both Hugnet and Picasso and there is a unique collage by Hugnet to noted collectors on the half-title. Thick wrapped cardstock glued covers with printed lettering in black and green. Unpaginated 38 pp with the 6 zincographs bound in and then containing in a separate folder a suite of 3 copies each in a different color of the 6 bound zincograph plates from the book. LACKS THE BLACK AND WHITE ETCHING but contains a custom-designed and signed presentation collage by Georges Hugnet to Nannette and Herbert Rothschild on the half-title with painted design and applied materials dated April 9 1956. First edition printed in 525 numbered copies: 25 on Arches vellum signed by the author and illustrator. This is one of the first 25 copies on Arches vellum signed by the author and the painter with the set of three engraving colors red ochre and blue-green in the separate suite and 1 original etching by Pablo Picasso SIGNED ETCHING IS NOT PRESENT IN THIS COPY. The justification indicates: "the illustrations were etched by Pablo Picasso in order to be printed in the text through common typographic means. The etching meant only for the first prints is one of six illustrations printed in intaglio on Roger Lacouriere's printing press." An additional 500 regular copies with no suite and no etching on Lafuma plus VI author's copies on arches and III nominatives on bristol. The request to insert by Paul Eluard is entitled "Pour Georges Hugnet" 1 p. and is present as called for. Also contains some other laid-in items including a dated 1956 photograph of Hugnet along with a lithographed invitation to an exhibition of graphics by Hugnet at Galerie Furstenberg dated 1954 contains a colored illustration on the right inside panel and a printed belly-band of unknown relation to the artist or publication. Robert-J. Godet éditeur paperback
1955855571955. Fine. 20 décembre 1955 26.80 x 20.90 cm un feuillet Multi-colored autograph letter to Max Pellequer Elegant multi-colored autograph letter by Pablo Picasso to Max Pellequer signed and dated 'December 20 1955'. A leaf in multi-color pencil blue green orange and red. Traces of transverse folds. This ""graphic"" letter in the most literal sense constitutes a superb polychrome and artistic link in an epistolary chain that linked Picasso and his prominent patron for decades. Despite his prolific correspondence Picasso's entirely autographed letters are extremely rare as Laurence Madeline points out in her article on the confidential activity of the great artist:The inertia paralyzing Picasso who preferred his work as an artist to that of a secretary made the letters he took pleasure in writing more essential and more touching Laurence Madeline Picasso épistolier L'Herne no. 106. Living on the hills over Cannes the painter was indeed helped by his faithful secretary and childhood friend Jaume Sabartés who was responsible for writing numerous missives save a few correspondents notably Pellequer. Picasso wrote each of Pellequer's letters even the most insignificant in an ample voluptuous script playing with letters and words as graphic objects blending aesthetically in the space of the page in perfect contrast to the prosaic nature of the letter's content. It could even be argued that his artistic soul largely invaded his daily and administrative correspondence with his banker and ardent collector of his works. Part of their correspondence is kept at the National Picasso Museum in Paris. An extraordinary recipient. Banker and collector Max Pellequer was introduced to Picasso in 1914 by his uncle by marriage André Level. He quickly became one of Picasso's most important collectors and his financial advisor for over 30 years. Pellequer's interest in his art began as early as the 1910's when he purchased a Picasso bronze from the art dealer Ambroise Vollard. During the 1930s and 1940s as Picasso's personal banker he secured and enhanced the painter's wealth and allowed him to settle comfortably in the South of France. Picasso created a superb ex-libris on copper for him bought him paintings including La mer à L'Estaque by Cézanne now in the Picasso museum and offered him a few works. Pellequer assembled a vast collection of paintings by the great masters of modern art: Degas Raoul Dufy Paul Gauguin Fernand Léger Henri Matisse Joan Miró Modigliani and Maurice Utrillo today preserved in the most important international museums. The epistolary art of Picasso. Picasso's epistolary production acted as an outlet for his incessant creative energy which was expressed in ceramics sculptures photographs illustrations collages or poetry. Each letter was an opportunity for genius to blossom regardless of the administrative content of his exchanges with Pellequer. Perhaps to counteract the dullness of his work Picasso redoubled his efforts: an explosion of color calligraphic letters across the page. to conjure up beauty and adorn his words in shimmering hues using oil pastels black felt-tip pens or colored pencils.These alphabet letters numbers words and sentences placed on the paper like so many musical scales are literally brought to life by the creative power of the painter. The years of La Californie in Cannes. Living with Jacqueline Roque in the villa La Californie at the time of this letter the painter was producing a series of captivating lithographed portraits of his partner. Paradoxically this colorful letter corresponds to a very monochrome period of his work a superb counterpart to the black washes on zinc. Matisse with whom Pellequer also corresponded had died a month earlier. A very beautiful and visual illustration of Picasso's need for total expression through his correspondence with one of his close advisors and friends. unknown
195148786Paris.: Cercle d'art. 1951. Original publisher's printed wrappers with titles to front cover in black. 4to. 285 x 228 mm. With original lithograph by Picasso and 29 lithographs after Picasso drawings printed by Mourlot. The édition de tête with Picasso's original lithograph.From the edition limited to 150 copies with the original lithograph; this copy exceptionally signed by Picasso in pencil and with the collector's mark WDB.The book published the 29 drawing Picasso made of variations on the theme of peace for the 30th Anniversary of the French Communist Party.Mourlot 203; Cramer 62. Cercle d'art. unknown
1996C129566Kornfeld 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 -- with a bonus offer-- - May be EITHER: out of print OOP and extremely rare in this pristine condition; signed by author or contributor; or a first or special edition; inquire for details . Kornfeld Et Klipstein & Editions Kornfeld hardcover
19342502007The Limited Editions Club 1934. signed limited. hardcover. fine. SIGNED Limited edition 1/1500. This being #316. Signed by Picasso. Book fine stiff cover near fine with two small teats to bottom of spine. In very good slipcase partial tears to bottom part. The Limited Editions Club unknown
195689526Cannes 1956. Fine. A polychrome and artistic link in an epistolary chain that linked Picasso to his prominent patron for decades Cannes 5 juin 1956 13.5 x 21 cm un feuillet Multi-coloured autograph letter from Pablo Picasso to Max Pellequer signed and dated by the artist on June 5 1956. The document includes the autograph address of his villa La Californie. Twelve lines in orange pink blue yellow and purple pencil on one sheet. Minor folds. A very elegant letter written in pastel colours by Pablo Picasso. Despite his prolific correspondence Picasso's entirely autographed letters are extremely rare as Laurence Madeline points out in her article on the confidential activity of the great artist:The inertia paralyzing Picasso who preferred his work as an artist to that of a secretary made the letters he took pleasure in writing more essential and more touching Laurence Madeline Picasso épistolier L'Herne no. 106. Living on the hills over Cannes the painter was indeed helped by his faithful secretary and childhood friend Jaume Sabartés who was responsible for writing numerous missives save a few correspondents notably Pellequer. Picasso wrote each of Pellequer's letters even the most insignificant in an ample voluptuous script playing with letters and words as graphic objects blending aesthetically in the space of the page in perfect contrast to the prosaic nature of the letter's content. It could even be argued that his artistic soul largely invaded his daily and administrative correspondence with his banker and ardent collector of his works. Part of their correspondence is kept at the National Picasso Museum in Paris. An extraordinary recipient. Banker and collector Max Pellequer was introduced to Picasso in 1914 by his uncle by marriage André Level. He quickly became one of Picasso's most important collectors and his financial advisor for over 30 years. Pellequer's interest in his art began as early as the 1910's when he purchased a Picasso bronze from the art dealer Ambroise Vollard. During the 1930s and 1940s as Picasso's personal banker he secured and enhanced the painter's wealth and allowed him to settle comfortably in the South of France. Picasso created a superb ex-libris on copper for him bought him paintings including La mer à L'Estaque by Cézanne now in the Picasso museum and offered him a few works. Pellequer assembled a vast collection of paintings by the great masters of modern art: Degas Raoul Dufy Paul Gauguin Fernand Léger Henri Matisse Joan Miró Modigliani and Maurice Utrillo today preserved in the most important international museums. The epistolary art of Picasso. Picasso's epistolary production acted as an outlet for his incessant creative energy which was expressed in ceramics sculptures photographs illustrations collages or poetry. Each letter was an opportunity for genius to blossom regardless of the administrative content of his exchanges with Pellequer. Perhaps to counteract the dullness of his work Picasso redoubled his efforts: an explosion of color calligraphic letters across the page. to conjure up beauty and adorn his words in shimmering hues using oil pastels black felt-tip pens or colored pencils.These alphabet letters numbers words and sentences placed on the paper like so many musical scales are literally brought to life by the creative power of the painter. The years of La Californie in Cannes. Living with Jacqueline Roque in the villa La Californie at the time of this letter the painter was producing a series of captivating lithographed portraits of his partner. Paradoxically this colorful letter corresponds to a very monochrome period of his work a superb counterpart to the black washes on zinc. Matisse with whom Pellequer also corresponded had died a month earlier. A very beautiful and visual illustration of Picasso's need for total expression through his correspondence with one of his close advisors and friends. unknown
1996C129565Kornfeld Et Klipstein & Editions Kornfeld. As New. 1996. Hardcover. 3857730269 . - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - Complete seven 7 volume set - Catalogue Raisonné Catalogue Raisonne Catalog Raisonnee Complete Works -- with a bonus offer-- - May be EITHER: out of print OOP and extremely rare in this pristine condition; signed by author or contributor; or a first or special edition; inquire for details . Kornfeld Et Klipstein & Editions Kornfeld hardcover
1958895271958. Fine. 23 septembre 1958 20 x 17.5 cm Deux pages sur un feuillet Multi-coloured autograph letter from Pablo Picasso to Max Pellequer signed and dated by the artist on September 23 1958. The document includes the autograph address of his villa La Californie. 13 lines in a multi-coloured tip pen orange red blue and green on a sheet marked VIA WESTERN UNION.Minor folds. Tear in the lower left corner. Colour is not systematically used in Pablo Picasso's letters. It would seem that the artist wanted to make a kind gesture towards his friend and banker Max Pellequer because the more aesthetically pleasing his letters are the more valuable they are. The use of a multicoloured pen in letter writing was a practice shared by several artists notably Paul Éluard. Despite his prolific correspondence Picasso's entirely autographed letters are extremely rare as Laurence Madeline points out in her article on the confidential activity of the great artist:The inertia paralyzing Picasso who preferred his work as an artist to that of a secretary made the letters he took pleasure in writing more essential and more touching Laurence Madeline Picasso épistolier L'Herne no. 106. Living on the hills over Cannes the painter was indeed helped by his faithful secretary and childhood friend Jaume Sabartés who was responsible for writing numerous missives save a few correspondents notably Pellequer. Picasso wrote each of Pellequer's letters even the most insignificant in an ample voluptuous script playing with letters and words as graphic objects blending aesthetically in the space of the page in perfect contrast to the prosaic nature of the letter's content. It could even be argued that his artistic soul largely invaded his daily and administrative correspondence with his banker and ardent collector of his works. Part of their correspondence is kept at the National Picasso Museum in Paris. An extraordinary recipient. Banker and collector Max Pellequer was introduced to Picasso in 1914 by his uncle by marriage André Level. He quickly became one of Picasso's most important collectors and his financial advisor for over 30 years. Pellequer's interest in his art began as early as the 1910's when he purchased a Picasso bronze from the art dealer Ambroise Vollard. During the 1930s and 1940s as Picasso's personal banker he secured and enhanced the painter's wealth and allowed him to settle comfortably in the South of France. Picasso created a superb ex-libris on copper for him bought him paintings including La mer à L'Estaque by Cézanne now in the Picasso museum and offered him a few works. Pellequer assembled a vast collection of paintings by the great masters of modern art: Degas Raoul Dufy Paul Gauguin Fernand Léger Henri Matisse Joan Miró Modigliani and Maurice Utrillo today preserved in the most important international museums. The epistolary art of Picasso. Picasso's epistolary production acted as an outlet for his incessant creative energy which was expressed in ceramics sculptures photographs illustrations collages or poetry. Each letter was an opportunity for genius to blossom regardless of the administrative content of his exchanges with Pellequer. Perhaps to counteract the dullness of his work Picasso redoubled his efforts: an explosion of color calligraphic letters across the page. to conjure up beauty and adorn his words in shimmering hues using oil pastels black felt-tip pens or colored pencils.These alphabet letters numbers words and sentences placed on the paper like so many musical scales are literally brought to life by the creative power of the painter. The years of La Californie in Cannes. Living with Jacqueline Roque in the villa La Californie at the time of this letter the painter was producing a series of captivating lithographed portraits of his partner. Paradoxically this colorful letter corresponds to a very monochrome period of his work a superb cou unknown
193272296Paris: Editions TotemJosé Corti 1932. Fine. Editions Totem José Corti Paris 1932 17.50 x 22.50 cm relié sous chemise et étui First edition of which there were no deluxe copies. Work illustrated with a portrait of the author by Pablo Picasso and two drawings by Joseph Sima. Half black calf binding with bands smooth spine title and author's name in red boards enhanced with red varnish panels evoking snakeskin red edges covers and spine preserved chemise and slipcase in half black calf black cloth boards black felt lining elegant and spectacular binding signed Georges Leroux. Handsome copy perfectly established in a superb bloody binding by Leroux recalling the sanguinary turpitudes of Gilles de Raiz. Very rare autograph inscription signed by Vicente Huidobro to Lady Rothermere: "". esprit haut et fin."" ""high and refined spirit."" Editions TotemJosé Corti hardcover
195989523Cannes 1959. Fine. A polychrome and artistic link in an epistolary chain that linked Picasso to his prominent patron for decades Cannes 23 septembre 1959 21 x 27 cm un feuillet Multi-coloured autograph letter from Pablo Picasso to Max Pellequer signed and dated by the artist on September 23 1959. The document includes the autograph address of his villa La Californie. Ten lines in blue and green pencils on a watermarked BFK Rives sheet.Minor folds and marks. A very elegant letter written in pastel colours by Pablo Picasso. Despite his prolific correspondence Picasso's entirely autographed letters are extremely rare as Laurence Madeline points out in her article on the confidential activity of the great artist:The inertia paralyzing Picasso who preferred his work as an artist to that of a secretary made the letters he took pleasure in writing more essential and more touching Laurence Madeline Picasso épistolier L'Herne no. 106. Living on the hills over Cannes the painter was indeed helped by his faithful secretary and childhood friend Jaume Sabartés who was responsible for writing numerous missives save a few correspondents notably Pellequer. Picasso wrote each of Pellequer's letters even the most insignificant in an ample voluptuous script playing with letters and words as graphic objects blending aesthetically in the space of the page in perfect contrast to the prosaic nature of the letter's content. It could even be argued that his artistic soul largely invaded his daily and administrative correspondence with his banker and ardent collector of his works. Part of their correspondence is kept at the National Picasso Museum in Paris. An extraordinary recipient. Banker and collector Max Pellequer was introduced to Picasso in 1914 by his uncle by marriage André Level. He quickly became one of Picasso's most important collectors and his financial advisor for over 30 years. Pellequer's interest in his art began as early as the 1910's when he purchased a Picasso bronze from the art dealer Ambroise Vollard. During the 1930s and 1940s as Picasso's personal banker he secured and enhanced the painter's wealth and allowed him to settle comfortably in the South of France. Picasso created a superb ex-libris on copper for him bought him paintings including La mer à L'Estaque by Cézanne now in the Picasso museum and offered him a few works. Pellequer assembled a vast collection of paintings by the great masters of modern art: Degas Raoul Dufy Paul Gauguin Fernand Léger Henri Matisse Joan Miró Modigliani and Maurice Utrillo today preserved in the most important international museums. The epistolary art of Picasso. Picasso's epistolary production acted as an outlet for his incessant creative energy which was expressed in ceramics sculptures photographs illustrations collages or poetry. Each letter was an opportunity for genius to blossom regardless of the administrative content of his exchanges with Pellequer. Perhaps to counteract the dullness of his work Picasso redoubled his efforts: an explosion of color calligraphic letters across the page. to conjure up beauty and adorn his words in shimmering hues using oil pastels black felt-tip pens or colored pencils.These alphabet letters numbers words and sentences placed on the paper like so many musical scales are literally brought to life by the creative power of the painter. The years of La Californie in Cannes. Living with Jacqueline Roque in the villa La Californie at the time of this letter the painter was producing a series of captivating lithographed portraits of his partner. Paradoxically this colorful letter corresponds to a very monochrome period of his work a superb counterpart to the black washes on zinc. Matisse with whom Pellequer also corresponded had died a month earlier. A very beautiful and visual illustration of Picasso's need for total expression through his correspondence with one of his close advisors an unknown
1956895241956. Fine. ""Mistral et soleil"" Mistral and sunshine 7 juin 1956 26.80 x 20.90 cm un feuillet dont deux lignes sur une page Autograph letter in blue and red pencil by Pablo Picasso to Max Pellequer signed and dated by the author on June 7 1956. The document includes the autograph address of his villa La Californie. 12 lines on the front of the letter and two lines on the back on a printed notice announcing the forthcoming publication of a book by Thérèse Leroy. Minor folds and a slight crease in the lower left corner. We have here a rare written account of Pablo Picasso engaging in self-deprecation. In his villa ""Californie"" the painter found a printed poster announcing the forthcoming publication of the book ""La technique du classement"" The Technique of Classification. On this announcement he humorously wrote the following words: ""Je vais m'y mettre. Un peu sur le tard"" I'll get started on it with slight delay well aware that he preferred to devote his time to his art rather than to administrative tasks. Picasso refers here to the topic of his letter the discovery of a new insurance document requested by its recipient. Max Pellequer who managed his finances knew only too well the disorderly nature of his friend the artist with 50000 works to his credit. Picasso's true concerns however seem to reflect in the letter's graphic composition. He changed the colour and size of the characters to highlight what really mattered to him: beauty and friendship. « Mistral et soleil. Allez bien et bonne poignée de main de votre Picasso » ! ""Mistral and sunshine and a proper handshake to you from Picasso""! Despite his prolific correspondence Picasso's entirely autographed letters are extremely rare as Laurence Madeline points out in her article on the confidential activity of the great artist:The inertia paralyzing Picasso who preferred his work as an artist to that of a secretary made the letters he took pleasure in writing more essential and more touching Laurence Madeline Picasso épistolier L'Herne no. 106. Living on the hills over Cannes the painter was indeed helped by his faithful secretary and childhood friend Jaume Sabartés who was responsible for writing numerous missives save a few correspondents notably Pellequer. Picasso wrote each of Pellequer's letters even the most insignificant in an ample voluptuous script playing with letters and words as graphic objects blending aesthetically in the space of the page in perfect contrast to the prosaic nature of the letter's content. It could even be argued that his artistic soul largely invaded his daily and administrative correspondence with his banker and ardent collector of his works. Part of their correspondence is kept at the National Picasso Museum in Paris. An extraordinary recipient. Banker and collector Max Pellequer was introduced to Picasso in 1914 by his uncle by marriage André Level. He quickly became one of Picasso's most important collectors and his financial advisor for over 30 years. Pellequer's interest in his art began as early as the 1910's when he purchased a Picasso bronze from the art dealer Ambroise Vollard. During the 1930s and 1940s as Picasso's personal banker he secured and enhanced the painter's wealth and allowed him to settle comfortably in the South of France. Picasso created a superb ex-libris on copper for him bought him paintings including La mer à L'Estaque by Cézanne now in the Picasso museum and offered him a few works. Pellequer assembled a vast collection of paintings by the great masters of modern art: Degas Raoul Dufy Paul Gauguin Fernand Léger Henri Matisse Joan Miró Modigliani and Maurice Utrillo today preserved in the most important international museums. The epistolary art of Picasso. Picasso's epistolary production acted as an outlet for his incessant creative energy which was expressed in ceramics sculptures photographs illustrations collages or poetry. Each letter unknown
1934419893New York: Limited Editions Club 1934. Hardcover. Near Fine/Near Fine. First edition of this translation. Illustrated by Pablo Picasso with six original etchings in black and 30 lithographs. Tall quarto. Illustrated paper over boards. Light chipping at the spine ends wear at the corners and bottom of the front joint mild offsetting on front endpapers from clippings an about very good copy lacking the original glassine chemise and slipcase. One of 1500 numbered copies Signed by Picasso this is the translator Gilbert Seldes' own copy hand noted as copy number "G.S." Provenance on request. The Artist and The Book 226. Limited Editions Club hardcover
19340101403New York: The Limited Editions Club 1934. Limited edition. Hardcover. 4to. In decorated paper over boards retaining the original glassine jacket blue chemise lined with decorated paper and blue slipcase. With six original etchings in black and illustrations throughout. Very good condition; glassine is age-toned and shows a long tear to the rear panel from the top center across to the rear flap. Chemise shows age-toning to the spine; slipcase is age-toned scuffed with loss to corners and upper seams splitting. Limited edition this copy numbered 612 of 1500; SIGNED by Picasso. The Limited Editions Club hardcover
19542091202133212845Editions Cervle D'Art 1954. Soft Cover. Fine. Volume: 1 Editions Cervle D'Art paperback
199556467San Francisco CA: AW Fine Arts. New. 1995. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED -- - 17 volumes published 1995 - 2004 covering the years 1916-1973 have been published. 5 new volumes are in preparation. Approximately 5500 pp. with 21000 illustrations. Includes many works unknown to Zervos. Titles in French and English. Chronology and concordances to Zervos. Two of the volumes catalogue the printed graphic work and are revisions of the Bloch catalogues II & IV. -- with a bonus offer-- . AW Fine Arts hardcover
1962189240Paris: Berggruen 1962. Picasso experiments with Cut-Outs and photography First edition number 775 of 1000 copies. This Picasso's only foray into the world of photography began as a way to entertain his grandchildren making simple cut-outs of paper masks and animal faces in the style of Matisse. Years later Villers and Picasso met when the young photographer came to take the artist's portrait. The two experimented with photographic printing techniques by exposing cutouts on bromide paper which Villers then re-photographed. Folio. With 30 black and white photographs by Picasso and Villers. Original paper chemise with title to front cover designed by Picasso text and photographs in paper sleeves with printed caption loose as issued. All housed in publisher's cloth portfolio with title and illustration by Picasso. Slipcase rubbed spine toned a few creases to paper sleeves: a near-fine copy. hardcover
1960185257London: Thames and Hudson 1960. First UK edition one of 250 copies issued. This is a faithful reproduction down to the bindings of a sketchbook kept by Pablo Picasso from 1 November 1955 to 14 January 1956. During this period of time he was working on "Les Femmes d'Alger" and "Jacqueline in Turkish Costume." The influence of Henri Matisse can be seen in these variations which were completed in the year following his death. This copy retains the publisher's supplement featuring a foreword by the art critic Georges Boudaille. The book was first published in 1959 in France under the title Carnet de la Californie. Folio. With 39 lithographs after sketches by Picasso. Original illustrated card wrappers ring-bound as issued and loose in illustrated green cloth boards. With original printed acetate jacket. Together with publisher's supplement. Bumps to extremities of cloth boards; acetate jacket rubbed and lightly chipped 80mm tear to front panel: a near-fine copy. hardcover
19471909200005Paris- Barcelona Editorial Albor 1947. First Edition. Hardcover. Very Good. Fine printing of Picasso Limited edition no. 104 of 250. Four dry point plates by Picasso with tissue guards. Title engraved in upper cover in red. 28 leaves. Folio 34 cm. Loose as issued. Housed in original wooden boards with cloth ties. Title-page half-titles l 10b initials etc. reproduced from Picasso's lettering. Mornand: Vingt artistes du livre 306. Cramer Picasso livres illustres 44; Bloch 468 471. Catalan. <br> Ramon Reventos was a Catalan writer and with his brother Conti long-time friend of Picasso who wrote one of the first articles published on Picasso's work. When Reventos passed away in 1923 his writings fell into obscurity. Many years later Picasso would write to Conti's son: "I loved your uncle so much that when it occurred to me to make him acknowledged here in Paris because this boy did not enjoy the success that he deserved it was during the war 1939-1945. I often went to the National Library on foot with all of the dangers that this entailed in order to copy these two stories and I copied them all by hand. Someday I will show you in my own handwriting" Reventos i Conti Picasso i els Reventos Barcelona 1972 p 20. <br> This is an oversized or heavy book which requires additional postage for international delivery outside the US. <br> Capvespre d'un faune. Paris- Barcelona, Editorial Albor hardcover
1957N - 2023 - 60<p>Louis Broder 1957 Artaud Antonin. Illustrated with a drypoint engraving in color by Picasso. Third volume of the Collection Miroir du poète. One of the 20 copies on Japon ancien paper signed in pencil by Picasso numbered in Roman numbers from X to XX. Total edition 120 copies. Complete of title text justification and one etching loose as issued in japan wrappers guarded in the original chemise and slipcase. For the engraving Cramer indicates that this is "the only color engraving that Picasso made for a book". Provenance: Collection of the publisher Pierre Cailler 1901-1971 Very good condition. Ref : Cramer 87</p> Louis Broder hardcover
192237572Paris: Maurice de Brunoff 1922. Limited First edition. Paperback. g to g. 1/500. Folio. 8 21 3pp text 54 leaves plates. Uncut. Original glassine on decorative and printed dust-jacket over blind wrappers. Book housed in its original decorative green paper covered slipcase with gold lettering and decoration on spine and along joints. Raised bands. Limitation page signed by both Léon Bakst and Editor Maurice de Brunhoff. Color illustration pasted on title page. Stunning lithographic frontispiece portrait of Bakst after a drawing by Picasso. Decorative head- tailpiece and initial. <br /> <br /> In 1921 the opportunity arose for Sergei Diaghilev the renown Russian ballet impresario and founder of the Ballets Russes to present Tchaikovski's "La Belle au Bois Dormant" at the Alhambra Theatre in London using the notes that the Ballet Master Nicholas Sergeyev had kept from pre-Revolutionary Russia. It was to be a production of great magnificence designed by Léon Bakst and the first time the typically Russian full-length ballet in five scenes would be performed in England. Petipa’s choreography preserved through the use of Stepanov notation was restaged by Nicolas Sergueev stage manager for the Maryinski Theatre. Bronislava Nijinska younger sister to Nijinski and also a dancer and choreographer adjusted several enchaînements and supervised the whole show. Olga Spessivtseva was Aurora Pierre Vladimirov the Prince and Lydia Lopokova alternated with Bronislava Nijinska in the role of the Lilac Fairy. Stanislav Idzikowski proved to be a brilliant Blue Bird. Carlotta Brianza who had created the title role of Sleeping Beauty in 1890 in Saint Petersburg played Carabosse this time. The superb scenery and costumes were designed by Léon Bakst. <br /> <br /> This stunning signed limited first edition contains the complete 54 mounted color plates depicting the exotic sumptuous and richly colored costumes and sets designed by Bakst for this memorable London performance. His ingenious designs in conjunction with Diaghilev’s radical and provocative choreography helped revitalize ballet and lay the framework for modern interpretive dance. Each of the mounted color plates measures 15 1/4 x 11" image appr. 10 1/2 x 6 3/4" and is protected with a captioned tissue guard. One of 500 copies of which this is No.358. <br /> <br /> Gold lettering and decoration partly faded on slipcase. Water staining on boards. Glassine age-toned and chipped at tail of spine. Creasing along dust-jacket's spine. Wrappers intact. Book block separating. 11 plates loose. Moderate and sporadic creasing on tissue-guards. Text in French. Slipcase and glassine in overall fair to good dust-jacket in good wrappers and interior in good plates in very good condition. Maurice de Brunoff paperback
193447317New York:: Random House 1934. Second edition. original spiral-bound stiff wrappers illustrated in color. The white spiral binding is slightly sunned; a few little creases to the front wrapper. . Folio. With a Portrait by Picasso. Texts by Andre Breton Paul Eluard Rrose Selavy Tristan Tzara. Preface by Man Ray. Illustrated from photographs throughout. Random House, unknown
194739474Paris-Barcelone Barcelona: Editions Albor 1947. Picasso. WITH FOUR ORIGINAL DRYPOINTS BY PICASSO IN A MASTER BINDING BY LUCIE WEILL. An outstanding livre d'artiste with four original full-page hors-texte drypoints by Pablo Picasso. Edition limited to 250 numbered copies all printed on fine Lana wove paper. Folio. ELEGANLY BOUND IN FULL BLACK MOROCCO BY LUCIE WEILL signed. Top edge gilt other edges uncut. Original wraps and backstrip preserved. Housed in custom-made slipcase also by Weill preserving the engraved front board of the original wooden chemise. FINE AND BRIGHT WITH NO DEFECTS. Goeppert 45. BEAUTIFUL AND IMPORTANT. <br/><br/> Editions Albor paperback
