PICASSO Unique Proofs From His Ateliers Front and back covers, Tête de Femme au Chapeau/Paysage avec Baigneurs (Head of a Woman with a Hat/Landscape with Bathers) , 1962 Color linocut on Arches, Annotated in pencil by the printer ‘No. 3 Grande Tête au Chapeau - 2 Couleurs - Gravure inachevée de Picasso Linogravure - Imprimerie Arnéra - Vallauris’ Third state of three; described as “Tirage inachevé” by Baer. Though Baer records ninety-six such impressions (none signed by the artist), the impressions were never released for sale. Baer records one impression in the Arnéra archives. Picasso designed the subject so that it could be read either as the head of a woman (vertically) or as a landscape (horizontally). Apart from the current impression, the only other impressions on the market outside this source have been from the Picasso estate. Stamped in ink verso ‘Imprimerie Arnéra Archives / Non Signé’ Baer 1284.III.A . 911414. 25 1/4 x 20 3/4 inches Unique Proofs from Picasso’s Ateliers Picasso was a major innovator in the medium of printmaking. He altered his methods to achieve singular expressive qualities in his multiples. He worked with numerous ateliers over the decades, including Arnéra, Mourlot, Crommelynck, Frelaut, Lacourière, Desjobert, and Fort. His proofs illustrate the unique working relationship Picasso maintained with his printers and their ateliers. Their craftsmanship made Picasso’s extensive and revolutionary experimentation with the media possible. Works created in collaboration with the great printers represent the breadth of Picasso’s considerable oeuvre in linocuts, etching, and lithography and allow us to examine the working process behind it. Picasso worked in an exceptional variety of media, and even within the confines of printmaking, he became a master of the craft. Among the printers he worked with, Roger Lacouriere and Hidalgo Arnéra in particular acted as collaborators in Picasso’s maturation as a printmaker. In the end, however, Picasso often ended up astonishing the printmakers themselves with his focus and inventiveness. The proofs specifically are a unique insight into the development of Picasso’s vision, whether toward a final portrait or illustration or simply an artistic exploration of the object and theme. These are the artist’s working materials, and the products of the actual process of collaboration with the printers. Some, such as the first plate of the Portrait of Vollard from the Vollard Suite, were ultimately put aside and reworked (page 10). These offer an insight to the artist’s goal, both in the impressions that strayed from his intent for the edition, and the successive reworkings. Other proofs are pure experimentation. There are several versions of the linocut Danse Nocturne Avec une Hibou; most of the first and second state proofs were preparatory, however, five proofs of the second state in alternative colors seem to exist as experiments (page 4). The ink was rinsed under a showerhead for an unusual textural effect. Beyond simple finishes, Picasso pursued true innovation in the media. Arnéra encouraged him to work with a single plate in his linocuts, a subtractive method from the 1940s that Picasso developed to its full potential. The destructive nature of the process, in which a single plate is carved further to print each successive state and color, means that the proofs, intermediary stages and subsequently the final states, can never be revisited. As such, the proofs are unique snapshots as much as the final edition. In other media, such as lithography, the ability to revisit a state was an advantage Picasso prized. In lithographic series such as The Departure and Femme au Miroir (page 7), the preservation of the various states allowed for multiple explorations of the same image. Each of the proofs is a unique manifestation of this exploration of the medium and subjects as art objects. Many of the themes—the minotaur, the bullfight, Marie-Therese herself and the other women—are among the same that would fascinate Picasso across the years and media. The ideas and people they represented are superceded by Picasso’s vision and to the process of interpretation. The printers and ateliers who worked with Picasso likewise lent their craftsmanship and technical guidance to a collaboration that ultimately expressed Picasso’s own unique interpretation of the medium itself as well as the image. 1 Arnéra Picasso achieved some of his most innovative work materially in the medium of linocut, working closely over a decade with the printer Hidalgo Arnéra. He experimented with the printing methods, from the physical carving and inking of the plates to the chemical makeup of the inks, and created about 200 linocuts in this period. They met while Picasso was living in the south of France and was looking for a way to eliminate the time lost between working on a print and receiving the proof from the ateliers in Paris. Arnéra would run the proofs back and forth to Picasso’s studio in Cannes, printing the proofs in the morning so that Picasso could continue working when he woke. Arnéra was an involved collaborator in Picasso’s experimentation. He encouraged the artist to try a subtractive method of one-plate printing when he became frustrated with the slowness of multiple plates. While Picasso had occasionally used the linocut technique before to a limited extent, his previous efforts, like those of most artists using the method, essentially mimicked the woodcut. His posters tended to feature large, flat color fields and a strong sense of the carved line. As he worked with Arnéra, however, he developed the medium to its full expressive potential, using methods as unique as sanding the plate for texture and wetting an inked sheet under the shower to achieve particular textural effects. Left L-R: Hidalgo Arnéra, Pablo Picasso, and Roland Penrose. Portrait d’Homme à la Fraise, Variation d’aprè El Greco (Portrait of a Man in a Ruff, Variation after El Greco), 1962 Color linocut on Arches wove with watermark. Inscribed in pencil by the printer, Hidalgo Arnéra, ‘93’ ‘Epreuve d’essai’ (trial proof) of the definitive form from before the edition of 50. Baer records two to three such impressions. Published by Galerie Louise Leiris, Paris; Printed by Imprimerie Arnéra. Stamped in ink verso ‘Imprimerie Arnéra Archives/Non signé’. Bloch 1148, Baer 1320.B.a. 911411. 21 x 15 1/2 inches. Right, Tête de Histrion (Head of an Actor), 1965 Color linocut on watermarked Arches paper. Trial proof of the definitive form, before the edition of 220. Published by Musée des Augustins de Toulouse. Baer records only two to three such impressions. Stamped in ink verso ‘Imprimerie Arnéra Archives/Non signé’. Bloch 1849, Baer 1360.A. 911413. 20 7/8 x 25 1/4 inches. 2 Left, Picador et Taureau (Picador and Bull), 1959 Color linocut on paper. ‘Epreuve d’essai’ (trial proof) of the fourth and final state, from before the edition of 50. Baer records three such impressions. Printed by Arnéra. Stamped verso ‘Imprimerie Arnéra Archives/ Non signé’. Bloch 907, Baer 1229.IV.A. 911410. 20 7/8 x 25 1/4 inches. Right, Pique I, (Pike I) 1959 Color linocut on ‘offset-fort’ paper, with margins. A working proof in black and brown over a light brown background, from before the edition of 50 for Galerie Louise Leiris, 1960. Baer records two or three such impressions. Printed by Arnéra. Bloch 944, Baer 1219.II.A. 911372. 6 1/2 x 8 7/8 inches Above, Picador debout avec son Cheval et une Femme (Standing Picador with Horse and a Woman), 1959 Color linocut on paper. Trial proof of the defintive form; aside from the edition of 50. Published by Galerie Louise Leiris, Paris. Ink stamp verso “Imprimerie Arnéra Archives / Non Signé”. One of four trial proofs printed in caramel brown on a black ground. Bloch 913, Baer 1238.A. 911210. 20 7/8 x 25 1/8 inches. Left, Pique II (Pike II), 1959 Color linocut on paper. A working proof of the first state of the “Plateau Secondaire” in orange and the first state of the “Plateau principal” in brown over a light brown background. Printed from the larger of two background blocks used. Aside from the edition of 50. Baer records eight such impressions. Ink stamp verso, “Imprimerie Arnéra Archives / Non Signé.” Bloch 911, Baer 1228 (B.a). 911204. 20 7/8 x 25 1/4 inches 3 Arnéra Picasso often returned to and developed extensively the themes that interested him in all his art forms, from the weeping women to the bullfight. However, even with specific compositions he often returned and experimented with various effects. Danse Nocturne avec un Hibou (Nocturnal Dance with an Owl) is one such composition, in which Picasso varied the colors and effects of his proofs as experimentation. The first state, printed in yellow on a black ground (formed by an uncarved plate), is possibly one of a kind, while the impressions printed in white on a black ground were rinsed after printing, giving each a unique final surface. Similar authentications and annotations by Arnéra appear on many of the linocuts in the Musée National Picasso, “La Guerre et la Paix”, Vallauris. Several of the Arnéra inscriptions from this collection are illustrated in the exhibition catalogue “Picasso à Vallauris / Linogravures”, Musée National Picasso, “La Guerre et la Paix”, Vallauris, 16 June-19 November 2001, ill. 2, 3, 4, 8. Danse Nocturne avec un Hibou, 1959 Color linocut on Arches paper. First state of two. A proof printed in yellow on a black background, giving a mottled greenish cast. Inscribed by the printer “Linogravure de Picasso - 305 - Les danseurs au Hibou/ 1959/ Premier Etat/ 19.11.59”. Apart from the unannotated proof noted by Baer. Ink stamp verso “Imprimerie Arnéra Archives / Non signé”. Bloch 936, Baer 1256. 911207. 21 x 25 1/4 inches. Danse Nocturne avec un Hibou, 1959 Color linocut on Arches watermarked paper. Trial proof of the second and final state. Apart from the edition of 50. Signed and anotated by the printer “Les Danseurs au Hibou / Lingravure Originale de Picasso / H Arnéra”. Ink stamp verso “Imprimerie Arnéra Archives/ Non Signé”. Printed Imprimerie Arnéra; Published Galerie L. Leiris, Paris. Bloch 936, Baer 1256.II.A. 911201. 21 x 25 1/4 inches. Left, Danse nocturne avec un Hibou, 1959 Color linocut on Arches. ‘Epreuve d’essai’ of the final state but printed in a different color combination than the definitive edition. This impression is in ‘blanc crème’ over black. Bloch 936, Baer 1256.II.C. 911208. 21 x 25 1/4 inches. 4 Jacqueline au Chapeau Noir (Jacqueline in a Black Hat), 1962 Color linocut on Arches cream wove paper with Arches watermark Pencil signed ‘Picasso’ lower right, Inscribed ‘épreuve d’artiste’ lower left One of approximately 35 artist’s proofs, aside from the numbered edition of 50. The third and final state. A superb impression with vibrant colors. Printed by Arnéra, published by Galerie Louise Leiris, 1963. Bloch 1028, Baer 1311.III.B.b. 912041. 25 x 20 3/4 inches. 5 Mourlot Fernand Mourlot was an important collaborator in Picasso’s post-war work. His atelier had a long heritage of printmaking beginning with a commercial print shop in the mid-1850s. It was Fernand who would move the atelier towards fine art, eventually working with the most important artists in Paris, from Manet to Miró. While he began with fine art posters for artists such as Daumier, he was also pivotal in fostering the development of the editioned print. This, in turn, led to a greater emphasis on the expressive artistic focus of a print, rather than the communicative focus inherent in a poster. Mourlot’s catalog of Picasso’s lithographs from all ateliers includes 407 images, spanning a period of fifty years from 1919 to 1969. Fernand Mourlot, Picasso, in typical fashion, concentrated a majority of this work into an intense period of regular collaboration, in the mid-to-late 1940s. He began working with Mourlot in November of 1945, with a portrait of Françoise Gilot as the first of over 300 lithographs he would create with the atelier. Picasso would spend entire days in the studio, obsessively reworking his images. His approach was unusual for the medium. He treated the stone much as he had his earlier engraving plates and linoleum blocks, in that he preferred to rework a single stone. Le Modèle et deux Personnages (Model and Two People), 1954 Color lithograph on Arches paper. One of five artist’s proofs aside from the signed and numbered edition of 50. A very rare, early lithographic work, with beautiful painterly colors. The order of the colors printed indicated in the margin. Dated in plate. Provenance: From the collection of Mourlot. Bloch 759, Mourlot 258. 911268. 19 3/4 x 25 1/2 inches. Portrait de Famille II (Family Portait II), 1962 Lithograph on Arches wove paper, with full margins. One of only a few, rare artist’s proofs, aside from the signed and numbered edition of 50. Provenance: Mourlot collection. Bloch 1030, Mourlot 384. 130046. 24 5/8 x 19 1/8 inches. 6 Femme au Miroir (Woman at the Mirror), 1950 Color Lithograph, Inscribed in pencil verso. First state. From a set of only 5 impressions. There was no edition. Provenance: Private Collection, US; Mourlot Collection, France. Mourlot 197. 402668. 15 1/8 x 22 3/8 inches Femme au Miroir (Woman at the Mirror), 1950 Lithograph, Inscribed in pencil verso. Proof of the black stone of the third state. From a set of only 5 impressions. There was no edition. Provenance: Private Collection, US; Mourlot Collection, France. Mourlot 197. 402670. 15 1/8 x 22 3/8 inches Left and below The Departure, 1951 Lithograph on Rives paper This set (two pictured) includes Mourlot’s first, second and second intermediate states (in sanguine over light grey background), third, forth and fifth states (with additional ochre stone), sixth and seventh states (with additional ochre stone), eighth state (black stone only), ninth state (new black plate made with ink on zinc), and the final state (a proof from two earlier plates, zinc with ochre and black on zinc). Mourlot notes five proofs of each state except the eighth, aside from the edition of 50. Provenance: Fernand Mourlot. Baer 686; Mourlot 201. 13 3/4 x 17 1/4 inches. Above, The Departure, 1951 Lithograph The seventh state of eleven. Baer 686; Mourlot 201. 908473. 13 3/4 x 17 1/4 inches. Right, The Departure, 1951 Color Lithograph on Rives paper The forth state of eleven. Baer 686; Mourlot 201. 908470. 13 3/4 x 17 1/4 inches. 7 Mourlot Tête de jeune fille (Head of a Young Girl), 1945. A set of the 10 states of this early image (three pictured). There are two trial proofs of the first state, 18 artist reserved proofs of each state, and 50 signed and numbered works of the tenth and final state. Created November 22, 1945. Verso inscriptions: 46389/M. 9 V - 30A/63 lower right; Marina Picasso Collection blue oval stamp lower right. Bloch 393; Mourlot 9. 12 1/2 x 10 inches. Tête de jeune fille The fifth state. Scraper and crayon on stone was used to print this state. 908778. Tête de jeune fille The second state. Brush and scraper on stone was used to print this state. 908779. Head of a Young Girl, 1949 Lithograph on Arches paper. Inscribed in pencil lower right ‘M 147’. First and only state. Mourlot notes only 5 proofs; there was no edition. Provenance: Mourlot personal collection, a rare reserved proof. Mourlot 147, Not in Bloch. 403027. 15 5/8 x 11 11/16 inches 8 Tête de jeune fille The ninth state. Brush and scraper on stone was used to print this state. 908783. Jeune Femme (Young Girl), 1949 Wash drawing on zinc on Arches. Inscribed ‘M 153 Avant le texte en rouge’ lower right margin. One of five or six trial proofs; before the edition of 100 with red text for the “Centenary Album of Mourlot Printing Works”, 1952. Extremely rare in this form. Bloch 1836, Mourlot 153. 911409. 15 1/2 x 11 3/4 inches Tête de Jeune Fille (Head of a Young Girl), 1947 Lithograph on Arches paper Third of seven states. Sixth of six copies for the printer. Initials of printer, Fernand Mourlot, state name and numbering verso. Bloch 423, Mourlot 68. 911933. 25 3/4 x 19 1/2 inches 9 Vollard/Lacourière Ambroise Vollard was one of the most influential figures in modern art in Paris. A publisher, gallerist and collector, he worked with many of the greatest artists of the late 19th and 20th century, Renoir, Cézanne and Gaugin, and later, Picasso. He helped shape his promotion and establishing of the avant-garde artists of his day and of the previous generation. Beyond his work as a gallerist, he wrote artist biographies and encouraged many to take on new and extended projects. His first exhibition of Picasso’s work took place in 1901, and continued through the 1930s. In 1930, Picasso began work on The Vollard Suite, 100 etchings created over seven years exploring themes of classicism that enthralled Picasso throughout his career. The suite ends with three portraits of Vollard. The printer Roger Lacouriere pulled the impressions. Ambroise Vollard Portrait of Vollard IV, 1937 Etching and aquatint on Montval laid paper. Inscribed lower left in pencil, likely by Lacourière, “A Vollard par Picasso”, lower right “planche refusé”. One of a few proof impressions of the first state of two. No edition of this plate. Bloch 1322, Baer 620. 910824. 13 5/8 x 9 5/8 inches. Left, Portrait of Vollard, II, 1937 Aquatint on Montval laid paper with the Vollard watermark. Plate 98 from the Vollard Suite. A rare proof aside from the total edition of 310. Bloch 231. 908769. 13 1/2 x 9 1/2 inches. Right, Portrait of Vollard, III, 1937 Etching on Montval laid paper with the Vollard watermark. Plate 100 from the Vollard Suite. A rare and early proof aside from the total edition of 310. Bloch 233. 908770. 13 1/2 x 9 1/2 inches. 10 Minotaure Aveugle Guidé par une Petite Fille aux Fleurs (Blind Minotaur Guided by a Little Girl with Flowers), 1934 Drypoint etching on Montval laid paper with ‘Picasso’ watermark. Pencil signed ‘Picasso’ lower right. Twelfth and final state. From the edition of 260, after steelfacing and cancelling of “La Mort de Marat.” Printed in 1939 for the Edition Vollard. There was also an edition of 50, as well as proofs of this and the preceding eleven states. Etching created on the large plate used for “La Mort de Marat” (The Death of Marat), upside down upper left of the current composition. The first of several etchings of the subject and concurrent with a series of similar drawings, the minotaur was one of Picasso’s favorite themes, and one of the themes of the Vollard Suite. Provenance: Laure Wyss, Zurich. Bloch 222, Baer 434.B.d. 911610. 9 7/8 x 13 5/8 inches. 11 Trois Femmes Nues et une Coupe d’Anémones (Three Women and a Bowl of Anemones), 1933 Etching on Montval paper with Picasso watermark. Pencil signed ‘Picasso’ lower right. Dated in the plate, lower right, ‘Paris, 6 Avril XXXIII’ (pulled in reverse). From the watermarked edition of 260, Plate 67 from the Vollard Suite, printed after steelfacing by Lacourière in 1939. There was also an additional edition of 50, as well as 7 proofs after steelfacing and 1 proof before steelfacing. Bloch 176, Baer 329.B.d. 911564. 14 1/4 x 11 5/8 inches. Bacchus et Femme Nue Entendue (Bacchus and Reclining Female Nude), 1934 Engraving and drypoint on Montval laid paper with Vollard watermark. Third and final state. From the unnumbered edition of 55 printed by Lacouriere in 1942 without steelfacing. Total tirage 55 plus proofs. Published by Vollard, Paris. Brigitte Baer identifies the woman as Marie-Therese, and titles this “Bacchus et Marie-Thérèse (en Ariane?).” Bloch 284; Baer 432. III.c. 911652. 11 1/4 x 8 3/4 inches. 12 Lacourière Picasso began working with Roger Lacouriere in 1934, a major step in his development as a printmaker. Lacouriere introduced him more thoroughly to the aquatint technique and a deeper use of intaglio. Picasso would work on major projects with him, most famously the Minotauromachy, as well as the Vollard Suite. Many of the themes he explored in this period were influenced by the chaos in Picasso’s personal life as well as an anxiety about the onset of civil war in his homeland. Minotaurs, Spanish motifs and a look at the past are ever-present. Lacouriere was the first printer to truly act as a collaborator with Picasso, in the sense of working in-depth with Picasso to gain the technical means of expression equal to what he could already achieve in painting. Roger Lacouriere Femmes d’Algers, D’Aprés Delacroix. VIII (Algerian Women, After Delacroix), 1955 Sugarlift aquatint on Rives wove paper. Annotated ‘2e etat’, the second state of five. Extremely rare, it is one of three proofs of this state. A total of 28 images exist for all 5 states: 3 images in the first state, 3 images in the 2nd state, 7 images in 3rd state, 8 images in 4th state, 7 images in 5th and final state. Dated ‘31-1-55’ in plate. This work by Picasso was never editioned. Baer 917.II. 911316. 11 x 13 5/8 inches. En la Taberna (In the Tavern), 1934 Etching on Richard de bas Auvergne paper. Stamped signature lower right. Numbered ‘38/50’ lower left. From the edition of 50 published by Galerie Louise Leiris. One of 69 impressions, plus proofs, printed by Atelier Lacouriere et Frélaut in 1961 before steelfacing; aside from the earlier proofs printed by Lacouriere. Bloch 286, Baer 439.C.b. 911666. 9 1/4 x 11 3/4 inches. 13 Crommelynck Aldo Crommelynck first met Picasso as a rising printmaker in the Atelier Lacouriere. As with Lacouriere previously, Picasso would create extensive series in close collaboration with Crommelynck. The 347 Series, named for the number of etchings created for it, was completed in 1968 and caused some stir in Paris with its often erotic themes. The 156 Series, created between 1970 and 1972, was the last major print series Picasso created. Aldo Crommelynck Crommelynck began his relationships with many of the preeminent modern artists there, such as Miró, Léger and Matisse. He left the atelier in 1955, having already established himself as a creative and technically meticulous printer. Along with his brothers, he opened his atelier in Paris, and continued to work with Picasso. In fact, when the artist moved to Mougins, Aldo and Piero set up a printing workshop nearby to accomodate his work, and would print all of Picasso’s etchings until the end of the artist’s life in 1973. Untitled (From 347 Suite), 1968 Sugar-lift aquatint on Rives BFK wove paper. Plate 123 from the ‘347 Suite’ with full margins. One of five proofs before steelfacing, prior to the edition of 50. There were also 17 artist’s proofs after steelfacing. Listed in the Picasso Archives, Paris, as inventory number 29050. Provenance: Pablo Picasso; Picasso Family Collection with oval stamp verso. Bloch 1604, Baer 1619.A. 905332. 19 1/2 x 13 1/4 inches. 14 Below, Sable Mouvant: Deux Femmes au Miroir (Quicksand: Two Women at the Mirror), 1965 Aquatint, etching and drypoint on Japon ancien. Third and final state on paper-thin ‘Japon ancien’ paper. The lower left corner is cut, indicating that this was probably a “mise en place” proof (preparatory proof), per notes in Baer. Aside from the editions of 60 and 20, illustrating the suite ‘Sable Mouvant’ by Pierre Reverdy; Published by Louis Broder Éditeur. Bloch 1185, Baer 1154.III.B.d (Note 2). 911455. 15 1/8 x 10 7/8 inches Sable Mouvant: Peintre et Modèle Accoudé (Quicksand: Painter and Leaning Model), 1964 Aquatint and drypoint on Japon paper. The only state printed on extremely thin Japon paper. A proof aside from the edition and the proofs noted by Baer. Numbered and dated in plate “III 8.2.64” upper right. Bloch 1187, Baer 1157.B. 911457. 15 1/8 x 10 7/8 inches. Sable Mouvant: Peintre Debout à son Chevalet, avec un Modèle (Quicksand: Standing Painter at his Easel, with a Model), 1964 Aquatint on Japon paper. The only state on extremely thin laid Japon paper. A proof aside from the edition and the proofs noted by Baer. Numbered and dated in plate “II 8.2.64” lower right. Bloch 1186, Baer 1155.B. 911456. 15 1/8 x 10 7/8 inches 15 Belle jeune femme à sa toilette (Beautiful Young Girl at Her Vanity), 1971 Etching on wove paper. Plate 144 from Series 156. One of 15 proofs aside from the numbered edition of 50. Bloch 1998, Baer 2008.B.b. 911106. 14 3/8 x 19 1/4 inches. Sur le Scene: Viellard Barbu S’Appretant a Poignarder une Femme Dans Son Lit, 1966 Etching and aquatint on Rives. Signed with atelier stamp lower right. Annotated in pencil lower left. Plate from the 60 Series. One of three proofs before the steelfacing and beveling of the plate; apart from the regular edition of 50 plus 15 artist proofs. Bloch 1421; Baer 1449.A. 911741. 8 3/4 x 12 3/4 inches. 16 Le Peintre et son Modèle (from Dans l’Atelier), (The Painter and His Model, from In the Atelier), 1963 Etching on Japon Nacre paper. Signed in pencil lower right and inscribed ‘e.a.’ lower left. A proof from after the edition of 150 plus proofs printed as a frontispiece to Le Peintre et son Mòdele, 1965. Aside from the 10 proofs on Japon noted by Baer. Provenance: London Arts Group, Detroit; Acquired from a private collection in Dallas, 1970. Bloch 1139; Baer 1136.C. 911935. 12 x 11 inches 17 Frelaut Jacques Frelaut revived the Atelier Lacouriere in 1957. The son of Jean Frelaut, a French printmaker and friend of Lacouriere who had studied at the Ecole des Beaux-Arts at the turn of the century. Jacques directed the atelier beside his brother, Roger. Artists such as Chagall and Miro worked with the atelier known for its technical precision. Picasso worked with Jacques on some of his most evocative etched portraits of women, the energy of the precise but gestural line rendered among soft aquatint resembling ink washes. Jacques Frelaut in studio Sabartes avec deux femmes, (Sabartes with Two Women) c.1959 Drypoint on Rives wove paper. Signature stamp lower right. Annotated in pencil, “Gravure inedite ler Etat” lower left. One of two known proofs of the first state of eight. There was no edition of the image in any state. Provenance: Pablo Picasso; by descent to Marina Picasso; Picasso Family Collection. Bearing an oval stamp verso, Inv. 25949, recorded in the Picasso Archives in Paris. Baer 1060.I. 912044. 9 3/4 x 7 3/4 inches. Right, Centaure et homme barbu (Centaur with Bearded Man), 1961 Sugar-lift aquatint in color on Arches wove paper. Signature stamp lower right. Annotated in pencil “Gravure inedite,” lower left. An extraordinarily rare and important proof, one of only two printed by Frelaut with brown background, from a total of six impressions. No edition. Provenance: Frelaut; Pablo Picasso, by descent through the Picasso Family Collection, bearing the oval stamp verso, Inv. 25973 recorded in the Picasso Archives in Paris. Baer 1084B . 910117. 10 1/2 x 14 inches 18 Sculpture. Tête de Marie-Therese, (Sculpture. Head of Marie-Therese) 1934 Etching and drypoint on Richard de Bas laid paper. Stamped signature lower right. Numbered ‘12/50’ lower left. The second and final state, from the edition of 50 published by Galerie Louise Leiris in 1981, printed by Frelaut after steelfacing. After the proofs and edition of 55 printed by Lacouriere in 1942. Total tirage 137. Bloch 276, Baer 417.II.C.b.1. 912045. 12 3/8 x 9 inches. 19 Desjobert The Atelier Desjobert in Paris was founded by lithographer Edmond Desjobert and eventually passed on to his son, Jacques. Edmond worked with Picasso on some of his earliest lithographs. He would later print for Dali, Chagall and Matisse, as well as many emerging artists. As a result his workshop became a meeting place for many artists in Paris, particularly foreigners and those new to the medium. He was open to experimentation in the lithography process, including the chine collé method and working with washes on the stone. Edmond Desjobert Le peintre et son modèle (The Painter and His Model),1929-1930 Lithograph on BFK Rives velin with full margins. An artist’s proof outside the numbered edition of 50 for the book by Eugenio d’Ors, “Pablo Picasso.” Bloch 98, Baer 247.b, Mourlot XXVII. 910859. 9 1/2 x 11 1/2 inches Fort Picasso would come to work with several printmakers through Vollard. Along with Lacouriere, Picasso met Louis Fort, with whom he became close friends. Fort worked with Vollard on many of his large editions of prints, facilitated by his use of the technique of steelfacing. It likewise allowed Picasso to print larger editions while working with Vollard. Aside from increasing his already considerable exposure as an artist, this appealed to Picasso’s aspired-to populist tendencies. Picasso bought Fort’s printing press when the printmaker retired, a testament to their friendship as well as Picasso’s enjoyment of the process in the printmaker’s atelier. Deux Femmes Nues II (Two Female Nudes II), 1930 Etching on strong wove paper with margins. Signed lower margin and numbered “123 - 125”. A unique impression, signed and numbered by Picasso in yellow crayon or ink. Superb early proof after the steel-facing of the plate which allows for extraordinary contrast. Aside from the total edition of 125. Published by Albert Skira in 1931. Bloch 132, Baer 199.b.2. 908332. 12 1/2 x 9 inches 20 Tête de Femme au Chapeau/Paysage avec Baigneurs (Head of a Woman with a Hat/Landscape with Bathers) Color linocut on Arches, Annotated in pencil by the printer. 25 1/4 x 20 3/4 inches. 911414. GALERIE MICHAEL Building Museum Quality Collections One Work at a Time 224 North Rodeo Drive, Via Rodeo, Beverly Hills, CA 90210 Tel: 310.273.3377 | Fax: 310.273.0879 www.galeriemichael.com © 2012 Galerie Michael. All rights reserved.