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Pablo PicassoBiblio.com

Graphik und Bucher von Pablo Picasso : Auction 133 : Kornfeld und Klipstein Bern 1969.

Pablo Picasso, Marie-Laure Bernadac (Booklet); Jean Marie Clarke (Translator)Biblio.com

Guernica : The 42 Preliminary Studies on Paper the Prado Museum Cason del Buen Retiro Reproduced in Facsimile

073928New York: Harry N. Abrams Inc. Publishers 1990. Facsimile Mounted Prints in Clamshell Case. Near Fine. Very Large Folio: . Pablo Picasso. This edition which reunites for the first time the preliminary studies on paper that Picasso made for Guernica was printed on April 18 1990 by Akademische Druck-u Verlagsanstalt in Graz Austria. Forty-two color reproductions of select art from Pablo Picasso's work mounted in thirty-one carton mats all present. Housed in a large clamshell case in black with white lettering and color illustration of another facsimile of Picasso's works on paper affixed. Title is from enclosed booklet cover which contains forty-five numbered detailed studies of each piece of art along with the story of the Genesis of Guernica with artistic analysis. Booklet contains many smaller reproductive images of Picasso's works as well. Booklet is 20 pp. Artwork included is mounted as two-pieces per mount and as one piece per mount. Mounts with art measure 23.75" tall x almost 15.75" wide respectively as does the accompanying booklet. Large clamshell case measures 24.75" tall x 16.25" wide x 3" thick. CONDITION: All mounted plates are fine. Facsimile art is vivid and striking. Laid in text booklet and clamshell case are VG. Booklet shows moderate wrinkling and some leaves have split along the side of the spine fold at the foot about a third of the way up yet does not badly compromise the booklet's integrity. Case shows indentation along the front spine indicating a heavy book had once been placed on top. Light fading and some soiling on case with a 1/2 inch chip at the head of the back of the clamshell box. Even so this collection is stunning and the art pieces are magnificent. At over 18 lbs. due to this item's size and weight an additional shipping charge will apply and will be delivered with signature required. Full refund if not satisfied. EXCERPTS FROM THE BOOKLET: "Few names are as evocative as that of Guernica. The ruthless bombardment of this small Basque town a regional capital and ancient pilgrimage site became one of the blackest and bloodiest spots in the history of the twentieth century. Today it no longer represents only the massacre of a civilian population and a point of no return in the rise of Fascism: Picasso's painting gave to the name of Guernica the scope of a universal symbol that expresses the barbarism of modern warfare. After its militant exhibitions in 1937 Paris and 1939 New York its long exile and its final arrival in Madrid this 'living legend' is displayed behind bulletproof glass in the Cason del Buen Retiro of the Prado Museum. . Picasso executed forty-five sketches between May 1 and June 4 1937 some of which stand on their own as complete drawings. They included six compositional studies four studies of the horse one of the bull one of the horse and bull alone ten of heads of the horse and bull ten studies of female heads six of the woman with a dead child one of the horse and the woman with the child three heads of dead warriors a study of a man with raised arms and two studies of hands. He used a variety of mediums: pencil india ink gouache and oils; and supports: white blue and brown paper plywood and canvas. These studies are not only extraordinary drawings in their own right but they also show the different states of mind through with Picasso passed as he was working on the painting. They are like a seismograph of his thoughts and feelings and so they permit us to understand what he really wanted to paint in Guernica. A study of these sketches reveals the progress of the artist at work - his hesitations his searching the choices he made. They show the slow formation of the images the maturation of the initial idea the successive contributions the departures; in short Picasso's way of working and as such they constitute the laboratory of Guernica. Harry N. Abrams, Inc., Publishers unknown

Shelley and Son Books · États-Unis4 500,00 $US≈ 3 807,45 €

Pablo PICASSOBiblio.com

L'artiste évoque sa passion : la tauromachie The artist writes about his passion: bullfighting

195789530Cannes 1957. Fine. ""The 7th Bull races"" Cannes 13 juin 1957 21 x 27 cm 2 pages sur un feuillet Multi-coloured autograph letter from Pablo Picasso to Max Pellequer signed and dated by the author on June 13 1957. The document includes the autograph address of his villa La Californie. 2 pages on one sheet 22 lines in green blue and red pencils on a watermarked sheet. Minor folds. An exceptional account of Pablo Picasso's passion for bullfighting a recurring theme in his art since his very first works painted at the age of eight ""The Little Yellow Picador"" 1899. Pablo Picasso gives Max Pellequer and his wife details regarding a trip to Arles on July 5 6 and 7 1957 to which the artist has invited them along with a handful of friends. With undisguised enthusiasm he announces that he has booked their rooms at the ""Norpinus"" Nord-Pinus and their seats for the bullfight. Only after providing this essential information does the painter mention the opening of his exhibition at the Réatu Museum and the official dinner with Douglas Cooper the great collector and the mayor of Arles Charles Privat: ""Dinner with Cooper & the mayor"". A performance of ""Aïda at the bullring"" is also scheduled during this Arlesian getaway which ends on the 7th with an intriguing ""bull run with the presence of a black king"". In the 1950s Pablo Picasso and Jacqueline Roque are regular visitors to the Arles bullrings. At that time the painter is not discovering the city. Fascinated by Van Gogh's portraits he paints his first Arlésienne in 1912 and his last featuring Jacqueline just after writing this letter in 1958. But it is his love of bullfighting that will ultimately bind the Andalusian to the bullfighting capital of Provence. From his early Barcelona works Scène de corrida and courses de Taureaux presented to Ambroise Vollard in 1901 to the famous and omnipresent theme of the Minotaur Picasso was one of the main promoters of bullfighting in France. In the late 1950s Arles becomes the painter's mecca for his passion immortalised in 1956 by David Douglas Duncan who photographed Pablo in the Arles bullring captivated by the bullfights. This exceptional letter bears witness to the excitement of the artist who at the height of his international fame becomes for the time being a groupie happy to accommodate his friends in the legendary ""Norpinus"" hotel known for hosting toreros after their bullfights. Bullfighting also features in the other major events presented by the artist in the 22 lines of our sheet. He announces the opening of his first exhibition at the Musée Réattu which gives pride of place to the figure of the bull in Picasso's work. Among the paintings on display from July 6 to September 2 1957 38 of the artist's artworks will be exhibited for the first time. Picasso the main lender for this event will ironically be absent from the opening too busy painting portraits of Jacqueline using pigeon feathers. The author continues his letter by proposing a dinner with British collector Douglas ""Cooper"" who along with the Barcelona Museum will also be invited to contribute to the exhibition. The ""mayor"" of Arles Charles Privat is the second personality invited to this dinner. Picasso and Privat who meet for the first time in April 1957 will maintain a fruitful relationship that will conclude in 1971 with the artist's donation of 57 artworks to the Musée Réattu. In the second part of the letter Pablo Picasso adds a performance of Verdi's opera ""Aïda"" to the schedule demonstrating the artist's continued keen interest in operatic works more than 30 years after designing sets for the Ballets Russes. Finally the only possible conclusion for Picasso's letter and stay with his friends is to attend of course one final bullfight whose announcement itself seems like the title of a painting: bullfight with the presence of a black king"". We do not know which African dignitary attended the 1957 bullfight but the pain unknown

Rare Books Le Feu Follet - Edition-Originale.com · France9 775,00 €

Pablo PICASSOBiblio.com

Lettre autographe signée multicolore adressée à Max Pellequer Multi-colored autograph letter to Max Pellequer

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

Rare Books Le Feu Follet - Edition-Originale.com · France7 820,00 €

Pablo PICASSOBiblio.com

Lettre autographe multicolore signée adressée à Max Pellequer Multi-coloured autograph letter to Max Pellequer

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

Rare Books Le Feu Follet - Edition-Originale.com · France5 175,00 €

Pablo PICASSOBiblio.com

Lettre autographe signée multicolore adressée à Max Pellequer Multi-coloured autograph letter to Max Pellequer

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

Rare Books Le Feu Follet - Edition-Originale.com · France5 750,00 €

Pablo PICASSOBiblio.com

Lettre autographe multicolore signée adressée à Max Pellequer Multi-coloured autograph letter to Max Pellequer

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

Rare Books Le Feu Follet - Edition-Originale.com · France6 900,00 €

Pablo PICASSOBiblio.com

Lettre autographe adressée à Max Pellequer Autograph letter to Max Pellequer

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

Rare Books Le Feu Follet - Edition-Originale.com · France5 175,00 €

Pablo PICASSOBiblio.com

Lettre autographe multicolore signée adressée à Max Pellequer Multi-coloured autograph letter to Max Pellequer

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

Rare Books Le Feu Follet - Edition-Originale.com · France8 050,00 €

Pablo PICASSOBiblio.com

Newspaper clipping inscribed and signed by Picasso on the occasion of his 78th birthday

195987544Cannes 1959. Fine. Cannes 25 octobre 1959 17 x 32 cm un feuillet remplié Signed and inscribed newspaper clipping with Picasso's portrait. Newspaper clipping from 'Le Patriote de Nice et du Sud-Est' 25 October 1959 signed and inscribed by Pablo Picasso. A folded leaf inscribed with a large red felt-tip pen. A pictorial and unusual inscription signed by Picasso on the front page of a Nice newspaper celebrating his 78th birthday: For Max Pellequer / his friend / Picasso. A beautiful testimony of friendship in an important political newspaper which featured many of the artist's original creations. 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 art dealer Ambroise Vollard. During the 1930s and 1940s as Picasso's personal banker he made the painter exceptionally wealthy and allowed him to settle comfortably in the South of France. Picasso created a superb ex-libris 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 in the most important international museums. The choice of this newspaper of the Nice Communist Party is particularly significant for Picasso. He had joined the Party in 1944 and advocated for peace in the post-war period with the communists. In 1946 he met the paper's future editor-in-chief Georges Tabaraud then a young journalist who had fought in the Resistance. They remained very close until Picasso's death: Le Patriote became in a way 'Picasso's newspaper' especially during the Nice Carnival: in 1951 as a gesture of friendship Picasso created a jester king for the front page of the daily newspaper for that particular day of popular jubilation and then every year from 1958 to 1967. He knew that the press was the main source of information for the French. His direct style is combined with a fraternal feeling a desire to act and work together. Georges Tabaraud and Pablo Picasso joined forces for better but also for worse when the news required serious action"" Picasso Foundation. Picasso had given the Patriote an exclusive portrait in his villa in Cannes for his 78th birthday. Highlighting the date he signs here around his photograph on the front page of the newspaper. The artist is seen sitting next to his Picador a striking linocut depicting a bullfighting scene - a theme dear to the artist throughout his long and versatile career: The painter has in fact just devoted his last weeks to linocut. He created an extraordinary collection of some thirty engravings . The entire team of our newspaper wishes good health for many years to come to the illustrious painter comrade and collaborator who make us the envy of the press all around the world is printed in the insert next to Picasso's red felt-tip pen. unknown

Rare Books Le Feu Follet - Edition-Originale.com · France3 220,00 €

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