Picasso, Signed (310 results)

Soft cover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st Edition. Gr.4° (32 x 24 cm) - B/w - 12 Original etchings in-out of text and one etching for the "table des eaux-fortes" Engraved by Pablo Picasso - A complete Suite of 12 engravings on vélin de Rives - Drawings by the artist engraved on wood by Georges Aubert and printed in-text. A "preface" of 16 pages of drawings composed of points and lines drawn by Picasso in 1924 also engraved on wood by Aubert. First edition, published in 340 copies (65 Imperial Japon + 240 on Velin de Rives & 35 H.C.) Our copy is 1 of 65 copies on Imperial Japan. Signed in brush by Picasso and monogrammed in pen by Vollard. Text in French language. Original boards. In Very good condition. Signed by Author(s).

Hardcover. Condition: Fine. Pablo Picasso (illustrator). This beautiful work with illustrations by Pablo Picasso is Honore de Balzac's Le Chef-dâ oeuvre inconnu or The Unknown Masterpiece. The work was published in Paris by Ambroise Vollard in 1931. This was one of 65 copies with the suite of etchings printed on vellum of Rives. Only 340 of the work published of which this is numbered I.The work features 20 reproduced illustrations of drawings by Pablo Picasso between 1924 and 1926, there are 67 woodcuts by Aubert after Picasso's drawings, and 13 original etchings from Picasso at the request of Ambroise Vollard to illustrate this work. The work is signed by Picasso on the receipt / justification. Balzac wrote the story exploring the conception of art, the artist, and the relationships between painter and their models.Pablo Picasso (1881-1973) is one of the most influential artists of the 20th century and co-founded the Cubist movement. He was a Spanish born painter, sculptor, printmaker, ceramicist, stage designer, poet, and playwright that worked predominantly in France. While he didn't like to work on spec or commission, he did take on illustrating literature of authors he admired. John Golding wrote of Picasso that he was â attracted to art that had a literary flavor,â and â preferred the company of writers, particularly poets, to that of other painters and sculptors.â (The Independent) His work illustrating for Balzac inspired the creation of perhaps his most famous work, the anti-war canvas Guernica.Honorà de Balzac (1799-1850) was a French novelist, playwright, literary critic, art critic, essayist, journalist and printer. He was one of the masters of the French novel. He explored the fantastic, philosophical, poetic, and realist genres. Le Chef-dâ oeuvre inconnu or The Unknown Masterpiece was written about an artist ahead of his time that destroys his secret art when two young painters discover it and think the artist has gone insane. Picasso, writes Thomas Ganzevoort, â had faced something of the same dumbfounded reaction from fellow artists upon showing them his groundbreaking proto-Cubist masterpiece Les Demoiselles dâ Avignon.â --- The work is in very good to excellent condition overall. The work is in a Jansenist binding by P. L. Martin with full brown morocco under a brown half morocco folder and slipcase. The spine is smooth with the title in gilt letters on the spine of the volume and folder. The lining and endpapers are in light beige suide with gilt edges. The cover in Montval laid paper with the title and vignette in black. There may be a few minor imperfections to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size ~ 9 1/2" by 12 3/4". Signed by Author.

Hardcover. Condition: Very Good. Renoir (illustrator). 1st Edition. Paris, Éditions de l'atelier Crommelynck, 1971. La tragicomedia de Calisto y Melibea, known as La Celestina, novel attributed to Fernando de Rojas published in 1499, illustrated by Picasso with 66 etchings with aquatints, dated in plate, between April 11 and August 19 1968, unsigned. The etchings done for la Celestine are part of the 347 series, Picasso worked to the etchings almost daily with Aldo and Pietro Crommelynck, at their atelier in Mougins, using different techniques. After the impressions were pulled, 66 etchings were chosen by Picasso to illustrate La Celestine. The character of La Celestine was first portrayed by Picasso on a painting in 1903. Limited numbered editions in 400 copies on Richard de Bas laid paper, watermarked La Celestine. Copy n 48 signed on justification page by Picasso in pencil. Bound in parchment board, protective jacket and slipcase. Ref: Cramer 149. Complete and in very good condition. Signed by Illustrator(s).

First edition of Apollinaire's first collection of poems, signed by him and Pablo Picasso. Octavo, bound in three quarter morocco with gilt titles and raised bands to the spine, patterned endpapers, frontispiece portrait of the poet by Pablo Picasso. Association copy, inscribed by both Apollinaire and Pablo Picasso on front free endpaper, "A A P.N. Roinard son admirateur Guillaume Apollinaire" and "et pour Robert Valançay Picasso Paris Janvier 1940 et I." Apollinaire has also made five corrections to the text in ink on pages 71, 77, 92, 110 and 189. The recipient of Apollinaire's inscription, Paul-Napolà on Roinard, was a French libertarian painter and poet whom Apollinaire befriended in 1903 and considered "one of the most powerful precursors of the new poetry." Apollinaire dedicated his poem Le Brasier (included in the present volume on p. 129) to Roinard. The recipient of Picasso's inscription, Robert Valançay, was a poet, translator and literary critic who worked with and admired many of the artists and poets of the surrealist group. He published two major volumes of poetry but was most appreciated and sought after for his translations. He was considered the official translator of Max Ernst and Hans Arp. In near fine condition. Original wrappers bound in. A remarkable association copy, linking four major figures of the literary and artistic avant-gardes of the 20th century. French poet, playwright, short story writer, novelist, and art critic Guillaume Apollinaire is considered one of the foremost poets of the early 20th century, as well as one of the most impassioned defenders of Cubism and a forefather of Surrealism. At the turn of the 20th century, he became one of the most popular members of the artistic community of Paris (both in Montmartre and Montparnasse). His friends and collaborators in that period included Pablo Picasso, Henri Rousseau, Gertrude Stein, Max Jacob, Andrà Salmon, Andrà Breton, Andrà Derain, Faik Konitza, Blaise Cendrars, Giuseppe Ungaretti, Pierre Reverdy, Alexandra Exter, Jean Cocteau, Erik Satie, Ossip Zadkine, Marc Chagall, Marcel Duchamp and Jean Metzinger. He is credited with coining the term "Cubism" in 1911 to describe the emerging art movement, the term Orphism in 1912, and the term "Surrealism" in 1917 to describe the works of Erik Satie.

No Binding. Condition: Very Good. Medium: Oil Two original oil paintings on each side of the same line canvas byCaziel (Kazimierz J??zef Zielenkiewicz, 16 June 1906 - 25 August 1988) a Polish artist who lived and worked in Paris during the inter-war period and who worked alongside a number of important figures of the School of Paris, including Pablo Picasso and the art dealer Daniel-Henry Kahnweiler,measuring approximately27 7/8 x 23 inchesin a frame measuring approximately34 3/4 x 30inches. See details and biography below. Thanks for looking at this fantastic painting.Signed CAZIEL lower rightBelgian linen canvasOriginal Stretcher with later frameLoss in sitter's hair and canvas ripplingNude has Galerie Allard exhibition stamp and with numbers 69 in ink pen on ankle another stamp upper rightFrom 1947 exhibition in Paris at Galerie AllardSitter attributed as his first wife Lutka PinkSimilar pose in the Grand Play of Light by Jenny PeryAfter a few years living in Russia, Caziel, his mother and stepfather fled Moscow, following the Russian Revolution (1917). Unable to return to their native Poland, they were forced to spend three years in Krasnoyarsk. Then a young boy, Caziel had to work for food and money, and among the many odd jobs he undertook he swept the studios of the local art school, as well as posing as a model for the life classes. Caziel was taken as a prot??g?? of the art school director and was encouraged by other students to draw and to take interest in art. By the time Caziel and his parents finally reached Poland in 1920, he had decided he would be an artist. The early development of Caziel as a painter took place in Warsaw amongst artists greatly influenced by the School of Paris. His early work, dating 1930s, carried many features characteristic of the expressive manner later so explicit in the works painted in France. In 1931 Caziel entered the Warsaw Academy of Arts and became one of the favoured students of Professor Tadeusz Pruszkowski, who ran the academy.During the Second World War, following the defeat of the Polish army, Caziel went into hiding in Aix-en-Provence, where he found himself at the centre of the milieu of C??zanne. As a tribute to the great modern master, Caziel painted a series of nudes, shaped by strong contour lines, placed in unusual compositions of depth and perspective and painted with simple colours. He also followed C??zanne in making the Mont Sainte Victoire his subject for a series of small oils. Back in Paris in 1947 Caziel developed an individual and colourful form of cubist abstraction. He had befriended Picasso who introduced him to the great modernists Le Corbusier and Br? ncu??i. In Paris Caziel first exhibited at the Galerie Allard (1947), then with Bernheim Jeune (1948) and at the Salon de Mai (1948 ??56). In 1946 he decorated the Polish pavilion at the UNESCO exhibition. During the 1950s, Caziel ??s paintings evolved into rigorous geometrical patterns, anticipating his pure abstract works of the 1960s. These abstract works were exhibited in London at the Grabowski Gallery.In 1952, while married to the painter Lutka Pink, Caziel met Catherine Sinclair, the eldest daughter of Archibald Sinclair, 1st Viscount Thurso, Secretary of State for Air during the war under Winston Churchill. His divorce from Lutka came five years later and then he married Catherine.Caziel ??s first visit to England in 1956 was celebrated by a family engagement party and in 1966 and 1968 Caziel had two successful solo exhibitions at the Grabowski Gallery in London. He also made an appearance on the British art scene, exhibiting work at the Royal Academy of Arts. In 1969 he moved to Somerset and was naturalised as British citizen in 1975. In Somerset, during the last years of his life, Caziel continue to explore Abstraction until his death in 1988. He believed in the healing power of art and therefore in its value to mankind. His remarkable legacy of paintings and drawings is a testament to his belief.Artist Chronology:1906: Born in So. Signed by Author(s).

Soft cover. Condition: Very Good. 1st Edition. Max Jacob. Illustrated with three cubist etchings by Picasso, in full page, from 1913. Max Jacob three-act play reflect the author mystic quest and his research into the cabala and astrology, Picasso completed the illustrations during the winter of 1913/14 making three etchings and dry points, one for each act, to which he gave the titles: Femme Nue (plate 1) Nature Morte au Crâne (plate 2) and Femme (plate 3). This book is second illustrated book published by Daniel-Henry Kahnweiler, created in collaboration with Picasso. Signed by the Picasso and Jacob in the justification page and marked as number "40" of 85 copies on "Holland van Gelder" (total edition 106 copies). The book is complete, in the original glassine, light offsetting is present in the text page near the first illustration. Ref Cramer #3. Very good conditions. Signed by Illustrator(s).

Hardcover. Condition: Very Good. 1st Edition. La Magie Quotidienne. Picasso, Miró, Giacometti, Braque, Zao wou-ki. The complete portfolio, published by Louis Broder, Paris, 1968. The portfolio is one of the 15 copies numbered in Roman numbers, printed on Japan paper, from a total edition of 120. It includes six etchings, of which three in colors, two woodcuts, of which one in colors, and one lithograph in colors. Seven prints are signed in pencil, all nine prints are numbered VI/XV. The original prints are from the following artists: Jean Arp, Georges Braque, Alberto Giacometti (two prints), Andre Masson, Joan Miró, Pablo Picasso, Jacques Villon, Zao Wou-ki. The portfolio is complete as issued and guarded in the original linen box. Signed by Illustrator(s).

Limited edition, no.161 of a limited edition of only 226 copies printed on vélin d'Arches. EXTRA-ILLUSTRATED WITH AN ORIGINAL PRINT SIGNED IN CRAYON BY PICASSO, and with 40 monochrome collotype full-page plates. Folio, as issued in original printed stiff paper wrappers enclosed in a portfolio and slipcase of burlap textured paper-covered boards. (4 blank), (12) pp. A fine copy, the added signed print also in fine condition, the slipcase a bit shaken and with loss at the foot. WITH AN ORIGINAL SIGNED PRINT. THE WORK INCLUDES VERY FINE PICASSO COLLOTYPE PRINTS, LIMITED FIRST EDITION. This work beautifully reproduces the marginal drawings made by Picasso in 1942 in the copy of the illustrated Buffon 'Histoire Naturelle' that he had given to his mistress, Dora Maar. Prior to this edition the drawings had been unpublished. Where necessary, pages of the original Buffon text are artfully reproduced with the permission of that works publisher, Martin Fabiani. The portfolio includes a very important print, a signed impression of the original linogravure, 'Le Pigeonneau', (c. 1939) which is believed to be either Picasso's first or second effort in the technique.

Condition: sehr guter Zustand. Picasso, Pablo. Minotaure endormi contemplé par une Femme (Marie Thérèse en Vestale).1933. Radierung / Strichätzung & Kaltnadel, partiell geschliffen, in Schwarz, auf chamois Vollard-Bütten. Originale Künstlergrafik, von Pablo Picasso. Auflage 250 Exemplare. 19,1 x 26,6 cm (Darstellung / Platte), 35 x 45 cm (Blatt).Bloch 193. Geiser 352 B / d. Auch unter dem Titel Marie-Thérèse, en vestale, weillant le minotaure endormi geläufig (deutsch: Marie-Thérèse als Vestalin, den schlafenden Minotauros betrachtend; hier der Titel nach WVZ Bloch, S. 68). - Blatt Nr. 86 der Suite Vollard, entstanden und datiert am 18. Mai 1933. - Dieses Exemplar aus der 1939 bei Ambroise Vollard in Paris erschienenen Auflage. Die Auflage bei Bloch beschrieben: 250 épreuves sur petit papier vergé de Montval (44,5 x 34,0 cm) (Vgl. WVZ Bloch I, S. 56). - Provenienz: Sammlung Dr. Max Hasse, Hamburg. Vollrandiges unbeschnittenes Exemplar. Hervorragend erhalten. Sehr guter Zustand.Pablo Picasso (1881 Málaga 1973 Mougins). Spanischer Maler, Grafiker und Bildhauer, Begründer des Kubismus und zentraler Vertreter der Klassischen Moderne. Erster Unterricht beim Vater. Ab 1891 Schule für Bildende Künste in A Coruna, 1895-97 Kunstakademie in Barcelona sowie 1897 Königlichen Akademie in Madrid. Ab 1900 mehrere Reisen und schließlich Übersiedlung nach Paris, wo er durch Kunsthändler wie Ambroise Vollard und später Daniel-Henry Kahnweiler gefördert wurde sowie Anschluss an avantgardistische künstlerische Strömungen fand. Freundschaft mit Künstlern wie Gertrude Stein, Henri Matisse oder Guillaume Appolinaire. Um 1908/09 begründete er gemeinsam mit George Braque die neue Stilrichtung des Kubismus, womit er sich dauerhaft die führende Rolle bei der Geburt der Klassischen Moderne sicherte. Rechts unten in Bleistift signiert: Picasso. In der Platte links unten spiegelschriftlich datiert: Paris 18. Mai XXXIII. Wasserzeichen Vollard. 19,1 x 26,6 cm (Darstellung / Platte), 35 x 45 cm (Blatt).

Condition: Very Good. Cecil Beaton (illustrator). First edition. INSCRIBED BY PICASSO IN RED AND BLUE CRAYON TO THE PHOTOGRAPHER, CECIL BEATON: "pour Cecil Beaton. Ami Picasso 9.6.65.". Cecil Beaton (British, 1904 -1980) photographed virtually every prominent person in public life over the course of his career, which spanned more than half a century. Everyone from the Queen to the Rolling Stones sat before his lens. As an arbiter of glamor, the opportunity to sit for Beaton represented the pinnacle of success for many, but in some cases it was Beaton who pursued the sitter, and he had followed Pablo Picasso (Spanish, 1881 - 1973) long before they first met. As one of the foremost artists of the twentieth century, Picasso was sought after by many who wanted to rub elbows with success. He became one of those whom Beaton photographed several times over a period of many years, first at the rue de la Boetie in Paris in 1933, then at the rue Augustins in 1944, and finally at Mougin in the south of France in 1965. (Vickers). In addition to taking photographs, Beaton wrote about Picasso in his private diary, sketched his portrait, and after the 1965 sitting wrote a profile of Picasso for Vogue Magazine. Photographs from Picasso's home in the hills above Mougin reveal a close bond between the two men. Here they appear relaxed, comfortable with one another, and with a gleam in their eyes. By then Picasso was 84 years old and still painting late into the nights. Writing in Vogue, Beaton describes Picasso's energy as he gave Beaton a tour of the sprawling studio crowded with paintings, some still wet with paint and others from decades before. Beaton wrote of Picasso's welcome: "Pablo said 'It has been twenty years since I last saw you!' A golden Picasso threw open his arms. 'After so long we must embrace.'" The two then made much fun about the passage of years and how they had aged. (Beaton). A clear sign of affection, Picasso inscribed select prints and dedicated them to Beaton. Picasso writes in red and blue crayon on this print: pour Cecil Beaton. Ami Picasso 9.6.65. The print stands as testament to the kinship between the two artists. Provenance: With stamp "From the Beaton Studio / Sotheby Parke Bernet" on verso (sold, Sothebys Parke Bernet, 1978). Also with stamped notation "1/1" possibly indicating that this is a unique print. We have not been able to locate any others. Silver gelatin print. Signed, inscribed and dated by Pablo Picasso "pour Cecil Beaton / Ami / Picasso 9.6.65" in red and blue ink (recto). Image: 111â 4 x 73â 4 in. (28.5 x 19.6 cm.); sheet: 111â 2 x 91â 4 in. (29.2 x 23.4 cm.). Majestically framed to an overall size of 24 x 19.5 in. Small abrasion evident to the right of Beaton's left ear; otherwise fine. References: Vickers, Hugo, ed. Cecil Beaton: Portraits & Profiles. London: Frances Lincoln, 2017. P 152. Beaton, Cecil. "Golden Picasso" Vogue Magazine, volume 146, November 15, 1965.

Edition of 40. Signed in pencil lower right by Hughes, numbered lower left. Hughes' visually deceptive take on a gallery with paintings by Pablo Picasso. Patrick Hughes made his first three dimensional relief painting in 1964 - his intention to do the opposite of what was done. Fifty years on, he is still doing so. Archival inkjet with handpainting on card. Framed size : 52.5 x 117.5 x 20 cm Excellent condition. Presented in the artist's clear acrylic box frame.

In-folio ( 444 x 334 mm ), en feuilles, sous couverture rempliée illustrée en lithographie couleurs sur les 2 plat, coffret-boite de toile bis imprimé sur le dos. 6 lithographies originales dont 4 en couleurs ( dont couverture ) de Pablo PICASSO et 30 reproductions de dessins, tableaux, collages datant des années 1914 à 1948. EDITION ORIGINALE au tirage limité à 275 exemplaires sur Arches, celui-ci, 1 des 50 exemplaires du tirage de tête sur papier vélin d'Arches ( N°41 ), signé par Pablo PICASSO au crayon rouge et accompagné d'une suite à part de 13 lithographies originales chacune justifiée ( 41/50 ) tirée sur Japon à la forme Hodomura. Très bel exemplaire, en parfait état. Cramer 88. The Artist and the book, 1972, Cat. 240. Beaux-Arts Peinture Gravure Lithographie Lithographe Autographe.

8vo. 2 pp. Double sheet. With autograph envelope. Autograph letter signed by Pablo Picasso to Henri Hamm, sculptor and specialist in industrial molded art bottles, whose model forms anticipate Cubism. J'ai écri de nouveau à Monsieur Juner de Barcelona et encore j'attends sa réponse. Je ne comprends rien à son silence mais de toutes ces façons je me désintéresse complètement de cette afaire ce sera sa faute si cette fois son afaire rat [ ]" - The spelling from Picasso's time has been preserved. Translation: I wrote again to Mr. Juner in Barcelona, and I am still awaiting his response. I don't understand anything about his silence, but in any case, I am completely disinterested in this matter. It will be his fault if this time his business fails."A rare letter from Pablo Picasso sent from the legendary Bateau-Lavoir at 13 Rue Ravignan.

4°. [7] Bl. (Text) u. 103 Heliogravuren nach Photographien, davon 19 "Rayographien" von M. Ray. Farbig illustr. OKart. mit Kunstoff-Spiral-Bindung. Auer 210. Bouqueret, Paris 148 ff. Roth, The Book of 101 Books 80 f ("deuxième édition"). - Sehr seltene erste Ausgabe ("Copies with the original title page are exceedingly rare" (D. Levy Srauss). - Mit eigenhändiger Widmung von Man Ray "for Rosalind my next subject! Man Ray Paris 1955". - Texte in Englisch, Französisch und Deutsch (P. Sélavy). - "[T]his was Man Ray s first monograph, and his friends pulled out all the stops to herald it . attempted to generate demand where none existed by suggesting the edition had sold out. After replacing the title pages of these copies with one stating second edition, he returned them for sale. . It begins with a portrait drawing of Man Ray by Pablo Picasso and consists of 104 photographs divided into five sections. . Man Ray made several different studies for the cover; until finally settling on this image of his own bust looking down on a blue-eyed blonde contemplating a plaster hand cradling, a fragile lithtbulb that mirrors a catching toy (a ball an a peg)" (D. Levy Srauss in Roth). - "Man Ray s work introduced a particular note [to Surrealism], since he used photography and recognized early on that this medium could reproduce the effects of object-based art in two-dimensional form. Photography was in a position to preserve the ordinary and to unleash surreal effects" (P. Stepan, Icons of Photography 26). - Bei der Widmungsempfängerin handelt es sich um die amerik. Kunstsammlerin Rosalind Gersten Jacobs (1925-2019), die mit allen wichtigen Künstlern der Dada- und Surrealistenbewegung befreundet war. Sie und ihr Mann Melvin Jacobs lernten Man Ray und seine Frau Juliet 1954 auf einer Geschäftsreise in Paris kennen und waren lebenslang mit dem Paar eng befreundet. Zwischen 1956 und 1958 porträtierte Man Ray R. Gersten Jacobs mehrfach. 1955 freundete sich Gersten auch mit Lee Miller und Roland Penrose an und die beiden Paare besuchten sich häufig in Chiddingly (GB) und New York. Einen signierten Abzug von Lee Millers Portrait von Charlie Chaplin (1930) erwarb Gersten für ihre Sammlung. Das Herzstück der Sammlung war Man Rays wohl bekanntestes Foto "Le Violon d'Ingres" von 1924. Der signierte Abzug wurde im Frühjahr 2022 bei Christies in New York für den Rekordpreis von 12.500.000 $ versteigert. R. Gersten war am 18. November 1976 an Man Rays Bett in seinem Pariser Studio und las ihm vor, kurz bevor er starb. - Sehr gutes Exemplar eines der wichtigsten Fotobücher des 20. Jahrhunderts. - Rare first edition, inscribed by Man Ray for Rosalind Gersten Jacobs. Sprache: englisch.

Soft cover. Condition: Very Good. 1st Edition. A sketchbook of bull-fighting marker drawings by Bernard Kay done at Nîmes May 1955, in plain brown wrappers, stapled, 175x225mm with six full-page drawings by Kay. Signed by Cocteau (in biro) and Picasso (with Kay's marker pen). A copy of André Verdet's 'L'Homme au Mouton de Pablo Picasso, inscribed by Kay. A card with an illustration of Picasso painting of Sylvette David . A folding greetings card with a self-portrait by Sylvette David, inscribed to Bernard Kay. Two envelopes with Picasso design for 'Exposition Vallauris'. Two colour postcards of designs by Picasso also for 'Exposition de Vallauris A.M.France'. \a sheet of paper with the inscription 'To Bernard Kay avec mes meilleurs amitiés. Tobias'. A copy of the postcard from Bernard Kay detailing how he obtained the signatures of Picasso and Cocteau and three further contemporary postcards to Bernard Kay. A fine souvenir of the short-lived pagan arcadia of Vallauris where Picasso lived from 1948-1955. After that time he gradually retreated to his various houses in order to work undisturbed. Signed by Author(s).

Hardcover. Condition: Very Good. 1st Edition. Editions Andre Sauret, Paris, 1962-1963. Limited edition in 180 copies, of which this copy is one of 150, signed by the artists and authors. Collective portfolio with contributions of artists and authors to the Parisian life. Complete of 33 original lithographs by: Chagall, Van Dongen, Braque, Picasso, Dunoyer de Segonzac, Brianchon, Beaudain, Heriot, Carzou, Masson, Villon; and texts by: Arnoux, Bauer, Bazin, Billy, Dorgeles, Giono, Heriot, Mac Orlan, Salacrou, Queneau. All copies are signed by the authors and the artists. Loose as issued in the original case in cloth. Inscribed by Illustrator(s).

Condition: guter Zustand. Picasso, Pablo. Le Repos du Sculpteur devant un Centaure et une Femme.1933. Radierung / Strichätzung, in Schwarz, auf hellchamois Montval-Bütten. Originale Künstlergrafik, von Pablo Picasso. Auflage 250 Exemplare. 19,0 x 26,2 cm (Darstellung / Platte), 34,5 x 44,5 cm (Blatt).Bloch 167. Geiser G 320 II c (von c). Blatt Nr. 58 der Suite Vollard, entstanden und datiert am 31. März 1933. - Dieses Exemplar aus der 1939 bei Ambroise Vollard in Paris erschienenen Auflage. Die Auflage bei Bloch beschrieben: 250 épreuves sur petit papier vergé de Montval (44,5 x 34,0 cm) (Vgl. WVZ Bloch I, S. 56). Originalrandiges Exemplar, nicht beschnitten. Im Rand unscheinbar knickspurig. Insgesamt doch recht schön erhalten. Mäßig guter bis guter Zustand.Pablo Picasso (1881 Málaga 1973 Mougins). Spanischer Maler, Grafiker und Bildhauer, Begründer des Kubismus und zentraler Vertreter der Klassischen Moderne. Erster Unterricht beim Vater. Ab 1891 Schule für Bildende Künste in A Coruna, 1895-97 Kunstakademie in Barcelona sowie 1897 Königlichen Akademie in Madrid. Ab 1900 mehrere Reisen und schließlich Übersiedlung nach Paris, wo er durch Kunsthändler wie Ambroise Vollard und später Daniel-Henry Kahnweiler gefördert wurde sowie Anschluss an avantgardistische künstlerische Strömungen fand. Freundschaft mit Künstlern wie Gertrude Stein, Henri Matisse oder Guillaume Appolinaire. Um 1908/09 begründete er gemeinsam mit George Braque die neue Stilrichtung des Kubismus, womit er sich dauerhaft die führende Rolle bei der Geburt der Klassischen Moderne sicherte. Rechts unten in Bleistift signiert: Picasso. In der Platte rechts oben spiegelschriftlich datiert: Paris 31. March XXXIII. Wasserzeichen Montval Picasso und Galatea. 19,0 x 26,2 cm (Darstellung / Platte), 34,5 x 44,5 cm (Blatt).

Original Litho. Original Litho. PICASSO. MAX JACOB. Double Signed Litho. Montrouge [Paris] (Seine). 1910. 14" 7/8 X 10" 3/4 on plain paper stock with the lithograph printed in two tones: Greenish grey for Picasso's drawing and handwriting and black for Max Jacob. Number 17 of only 30 copies. A rare early illustration of Picasso's close friend, Max Jacob, done in celebration of Jacob's conversion to Christianity. Jacob, who had Jewish origins, claimed to have had a vision of Christ in 1909, causing his conversion. The illustration of Jacob [the first of Picasso's drawings of Max Jacob] seated comfortably in a fine armchair, dressed in his three piece suit. The printed text: [Top] A mon ami Max Jacob / Picasso .10 / 22 R. Victor Hugo / Montrouge (Seine) - [Middle] L'archange foudroyé n'eut que le temps / de desserrer sa cravate . On aurait sit qu'il / priait encore./ C. Max Jacob. Signed in pencil with his new Christian name: "C. Max Jacob" and by "Picasso" at the bottom. A very good or better example of this rare piece - Max Jacob is regarded as an important link between the symbolists and the surrealists, as can be seen in his prose poems Le cornet à dés (The Dice Box, 1917. Throughout the year of 1901, Picasso traveled to Barcelona & Paris for art exhibitions. During an exhibition in Paris, Picasso met Max Jacob. Max Jacob was a poet, painter, & art critic with connections in the Parisian cultural scene. The two artists developed a friendship after Jacob left an admiring note for Picasso at the art gallery displaying Picasso's work (Richardson Vol. I, 203). Jacob introduced Picasso to the French language and to French theatre; Jacob was also an actor. Jacob took Picasso to see operas which possibly included I Pagliacci & La Bohème (Richardson Vol. I, 338). "At night there were frequent visits to the cabarets of Montmartre such as the Chat Noir, and, when tickets could be found, to the Moulin Rouge" (Penrose Picasso 76). Picasso & his friends also enjoyed the artistic atmosphere of Le Lapin Agile. Artists & writers would congregate at the small café to listen to recitals, exchange ideas & celebrate special occasions such as the opening of an exhibition (Penrose Picasso 117). The walls of the café were lined with work by artists that were used as payment for debts. Theatrical entertainment was a prominent part of Picasso's social life in Paris. By 1904, Picasso had established a foothold in Paris and would remain in the cultural center of Europe for the rest of his life. Picasso & Max Jacob cultivated their talents in a dwelling known as the Bateau Lavoir. According to Penrose, this place was ". . . composed it seemed of nothing but lofts & cellars, all in such a sad state of repair. . . " (Picasso 96). Artists of all endeavors were attracted to this bohemian style of living. Picasso's neighbors included painters, sculptors, writers & actors (Penrose Picasso 102). One of Picasso's most influential friends entered his life in 1905: Guillaume Apollinaire. "From the first encounter, Pablo Picasso and Guillaume Apollinaire established a creative dialogue that fostered and inspired some of their finest art & poetry". Apollinaire was a poet & playwright, identified as a Surrealist, who kept close connections with literary & artistic figures in Paris including Max Jacob & André Salmon. He was a great source for Picasso to meet writers & theatre artists. Many of Picasso's friends encouraged him to frequent the theatre with artists & poets from Paris (Picasso Penrose 177). Even though Picasso was not in Paris, he managed to find groups of artistic individuals to stay abreast of cultural gossip & happenings. Picasso's connections with writers led him to create several illustrations for books of poetry for friends. For example, during summer 1910 in Cadaques, Catalonia, painting with Derain, Picasso was commissioned to illustrate a poetic novel written by Max Jacob titled Saint Matorel issued by Daniel-Henry Kahnweiler in 1911. (Penrose Picasso 179). This was only the first of a collections of poetry they collaborated on.

First edition, second issue with the title page citing the publisher's fictitious claim of "second edition". Inscribed in green pen on the title page by the artist "For Sam Haskins, cordially - Man Ray". The title pages - presumably a healthy percentage of the run, whose sales had, in fact, been slow to none - were replaced with "second edition" / "deuxième édition" to suggest the first edition had sold out to create further demand. Roth 101 p. 80 Quarto. Photographic illustrated wrappers with white plastic ringbound strip to spine, titles to front cover in white. Housed in a black quarter morocco solander box by the Chelsea Bindery. 104 heliogravures of Ray's photographs and Rayographs. Small crease to lower corner of front cover, one break to the ringbound strip without any loss, otherwise a very acceptable copy of this fragile production.

Kein Einband. Condition: Gut bis sehr gut. Pablo Picasso. Modèle avec peintre au second plan. Technik: Aquatinta Radierung. Entstehungsjahr: 1966. Platte Motivgröße: 27, 4 x 38,5 cm (10,7 x 15,1 in), Papiergröße: 42,2 x 50,1 cm (16,6 x 19,7 in). Papier: Velin vin Rives. Auflage: 50 Exemplare, hier Nr. 8/50. Nummerierung: Links unter der Darstellung mit Bleistift nummeriert. Signatur: Rechts unter der Darstellung mit Bleistift signiert. Datierung: Rechts oben in der Platte "5.9.66 VI". Herausgegeben von der Galerie Louise Leiris, Paris 1968. Werkverzeichnis: Bloch 1376. Zustand: In guter Erhaltung. Mit leichter Bräunung im Passepartoutausschnitt. Verso umlaufend Reste vormaliger Montierung nach Recto überlappend. Rahmung: In säurefreiem Passepartout hinter Glas in breiter vergoldeter Holzleiste gerahmt. Rahmengröße: 56,6 x 66,6 cm. Fragen beantworten wir gerne. Gerne senden wir Ihnen auch größere Bilddateien zu. Signatur des Verfassers.

Kein Einband. Condition: Sehr gut. Pablo Picasso. Titel: Modèle et peintre Chauve. Technik: Kaltnadelradierung. Entstehungsjahr: 1966. Platte Motivgröße: 27,4 x 38,5 cm (10,7 x 15,1 in), Papiergröße: 42,2 x 50,1 cm (16,6 x 19,7 in). Papier: Velin von Rives. Auflage: 50 Exemplare, hier Nr. 21/50. Nummerierung: Links unter der Darstellung mit Bleistift nummeriert. Signatur: Rechts unter der Darstellung mit Bleistift signiert. Datierung: Rechts oben in der Platte "5.9.66. IV". Herausgegeben von der Galerie Louise Leiris, Paris 1968. Drucker: Crommelynck, Paris. Werkverzeichnis: Bloch 1374. Zustand: In sehr guter Erhaltung. Rahmung: In säurefreiem Passepartout hinter Glas in breiter, goldener Holzleiste gerahmt. Rahmengröße: 56,6 x 66,6 cm. Fragen beantworten wir gerne. Gerne senden wir Ihnen auch größere Bilddateien zu. Signatur des Verfassers.

Soft cover. Condition: Very Good. 1st Edition. Paul Eluard. Louis Broder Paris, 1956. In Octavo (8x73/8 in.) Loose as issued in original wrappers, in Montval laid paper, chemise and slipcase in blue satin. One of 100 numbered copies on Rive wove paper. Signed on the justification page by all the artists with exception of Léger, Laurens and Tanguy. The book is a tribute to Paul Eluard, who died in 1952, and includes a collection of 12 poems printed with Eluard s handwriting in facsimile, and 16 prints that accompany the poems by: Picasso (2 etchings), Braque (etching), Leger (lithograph), Ernst (etching), Beaudin (drypoint), Chagall (etching), Masson (etching), Arp (woodcut), Dominguez (drypoint), Miro (etching), Giacometti (etching), Villon (etching), Laurens (woodcut), Hugo (drypoint), Tanguy (etching). Beautiful rare edition. Complete and in very good conditions: Slipcase and Hard chemise in blue satins with some discolorations and light wears. Inside in excellent conditions except for a small and pale stain on the poem Les yeux fertiles, and one on the poem Defense de savoir, two very small and pale stains on Chagall lithograph, and light offprint on the poem Exemples Imbécile habitant. Signed by Illustrator(s).

Soft cover. Condition: Very Good. 1st Edition. Tériade, Paris, 1948. Printed by Mourlot, Paris. Loose as issued, cover. folder and case. This edition was published in 1948 by Tériade and is printed from the poet's autograph copy. It is illustrated with 125 lithographs by Picasso (including 2 for the cover). Edition of 270 copies on Arches vellum, signed by Pierre Reverdy and Pablo Picaso: one of 20 out of commerce. Despite their long relationship, "Les Chants des Morts" is the only illustrated book Picasso and renown art reviewer and publisher Tériade ever collaborated on. Pierre Reverdy finished a series of 43 poems titled Le Chant des Morts and Picasso illustrated his handwritten manuscript page by page in the manner of old illuminated manuscripts, adding another layer of artistic expression to Reverdy's somber poems. The poems were written during the later years of World War II and explore themes of love, death, and the human condition often in a fragmented and surreal manner. Picasso's artwork in this book complements Reverdy's poetry by visually capturing the essence of the text and is often characterized by distorted and fragmented figures, bold lines, and vibrant colors. The illustrations serve as visual interpretations and extensions of Reverdy's words, deepening the reader's understanding and appreciation of the emotional intensity and existential themes present in Reverdy's poems. Ref: Cramer 50. Signed by Illustrator(s).

Pas de couverture. Condition: Très bon. Pas de jaquette. Picasso, Pablo (illustrator). Edition originale. Gravure / Galerie Bordas / Estampe de Pablo Picasso / Categorie : Estampe, Lithographie / Titre : Le Chant des Morts / Année : 1948 / Tirage : 250 épreuves pour le livre / Exemplaire, épreuve : Bon à tirer signé au crayon / Il est possible que la numérotation ou la justification soit différente de celle mentionnée dans la présente annonce. - It is possible that the proof number doesn't corresponds to the one mentionned here. / Papier : Arches / Dimensions du papier : 43x32,2 cm / Imprimeur : Mourlot, Paris / Éditeur : Tériade, Paris / Etat : Très bon état / Ref : 13382 / 43x32,2 cm. Signé par l'illustrateur. Gravure.

Edition of 75. Signed in pencil by Picasso lower left, numbered lower right. Verve blind stamp lower left. One of 15 prints published as a portfolio of loose plates for Verve No. 29-30, titled Suite de 15 dessins de Picasso. Printed by Mourlot, Paris. Lithograph in colours on Arches watermarked wove paper, all edges untrimmed. Image size: 23.8 x 31.7 cm. Sheet size: 28.5 x 37.5 cm. Framed size: 43.7 x 50.2 cm. Excellent condition. Presented in a handmade gold leaf frame with conservation acrylic glazing.

Edition of 75. Signed in pencil by Picasso lower left, numbered lower right. Verve blind stamp lower left. One of 15 prints published as a portfolio of loose plates for Verve No. 29-30, titled Suite de 15 dessins de Picasso. Printed by Mourlot, Paris. Lithograph in colours on Arches wove paper, all edges untrimmed. Image size: 23.9 x 31.8 cm. Sheet size: 26.7 x 37.1 cm. Framed size: 43.8 x 50.2 cm. Toning to margins, hidden by the mount. Presented in a handmade gold leaf frame with conservation acrylic glazing.

Hardcover. Condition: gut. Paris, Le Degré Quarante et Un 1968. - Wunderschönes Pariser Künstlerbuch - Seltene Luxusedition - Sehr persönliche Hommage an Rogelio Lacourière - Mit zahlreichen Künstlersignaturen Originalausgabe des seltenen künstlerischen Gemeinschaftsprojektes, das zu Ehren des Druckers Rogelio Lacourière erschien. Dieser war zwei Jahre zuvor verstorben; in seinem Pariser Atelier entstanden 30 Jahre lang die wichtigsten Malerbücher und modernen Graphikeditionen dieser Zeit. Die vorliegende Luxuspublikation wurde von Iliazd initiiert, sie enthält Beiträge von André Beaudin, Camille Bryen, Andre Derain, Andre Dunoyer de Segonzac, Max Ernst, Alberto Giacometti, Alberto Magnelli, Louis Marcoussis, André Masson, Joan Miró, Pascin, Pablo Picasso und Leopold Survage. Signiert wurde das Buch von sämtlichen 9 Künstlern, die zum Zeitpunkt der Veröffentlichung dieses ungewöhnlichen Projektes noch lebten, also von André Beaudin, Camille Bryen, Andre Dunoyer de Segonzac, Max Ernst, Alberto Magnelli, Andre Masson, Joan Miro, Pablo Picasso und Leopold Survage. -Picasso steuerte neben seines eigens verfaßten Gedichts auch eine ungewöhnliche Radierung bei. "Picasso's surprising drypoint is a brilliant and brutal image, uncharacteristic in its violent sexualitiy and rough expressionistic line." (Robert F. Johnson in der Logan Coll.) - EINBAND: Lose Lagen und Tafeln in blau-weißem Orig.-Pergamentumschlag mit typographischem Deckeltitel in Rotbraun, in Orig.-Leinendecke und -schuber. 26 : 32 cm. - ILLUSTRATION: Mit 13 Orig.-Radierungen von P. Picasso, J. Miró, M. Ernst, A. Giacometti u. a. - ZUSTAND: Schönes Exemplar. - Provenienz: Privatsammlung Baden-Württemberg. - LITERATUR: Logan Coll. 89. - Splendid Pages (Bareiss Coll.) S. 75f. und 205. - Monod 6251. - Drucker (Iliazd) S. 224ff. - Goeppert/Cramer (Picasso) 141. - Cramer (Miro) 120. - Saphire/Cramer (Masson) 77. - Beautiful Parisian artist book, a very personal tribute to Rogelio Lacourière. - This rare luxury edition is signed by most of the artists. First edition. 1 of 50 numb. copies. 13 orig. etchings by A. Giacometti, P. Picasso, J. Miro, M. Ernst and others. - Loose quires and plates in light blue orig. vellum cover with typographic cover title in red-brown, in orig. cloth cover and slipcase. Fine copy from a private collection.

4to. 1 page. Red ink. Autograph letter signed Picasso" addressed to the National Bank for Commerce and Industry, Paris. Sirs, Following my previous letter, it s done that as mandatory of Miss Marie Thérèse Walter, I see no difficulty that she also be able to acces to her safety box if she would like to. Picasso".

Signed limited folio edition of original lithographs by Pablo Picasso reproducing his major works between 1916 and 1961, and produced by Jean Cocteau upon the occasion of Picasso's 80th birthday. One of only 199 copies signed by both Picasso and Cocteau, this is number 46. Folio, loose leaves as issued in the original pictorial wrappers, lithographic frontispiece and 22 original lithographs by Picasso, 6 of which are full page and 2 of which are double-page. In fine condition. Housed in the original vellum-backed portfolio with gilt titles to the spine and original slipcase. Rare and desirable linking two great artists of the 20th century. Picasso and Cocteau met in 1916 towards the end of World War I at the height of Picasso's synthetic cubism period. The period marked the first use of collage in the history of fine art and the series depicted highly geometric and minimalist Cubist objects, mainly pipes, guitars and glasses. Picasso and Cocteau would later collaborate on several projects, including the present volume which offers an overarching collection of Picasso's diverse periods from Cubism to Picasso's late years.

Condition: Fine. This is a collection of 24 original lithographs by Pablo Picasso that reproduced his major works between 1916 and 1961. The work was produced by Jean Cocteau and entitled "Picasso de 1916 Ã 1961". It was published in Monaco by Editions Rocher in 1962. It is a signed, limited folio edition presented for the occasion of Picasso's 80th birthday. Only 199 copies were signed by both Picasso and Cocteau (on the justification page) of which this is number 151 and it was printed on Rives rag paper. --- Pablo Picasso (1881-1973) is one of the most influential artists of the 20th century and co-founded the Cubist movement. He was a Spanish born painter, sculptor, printmaker, ceramicist, stage designer, poet, and playwright that worked predominantly in France. --- The work is in very good to excellent condition overall. The work has a gray paper cover with a nice slip case. There may be a few minor imperfections to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size ~ 10 3/4" by 14 3/4".