Pablo Picasso

L'Étreinte

Le Repas Frugal, from La Suite des Saltimbanques

Grand vase aux femmes voilées 

Deux Femmes Avec un Vase à Fleurs, by <a href="https://www.sothebys.com/en/search?query=pablo+picasso&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Pablo Picasso</a>, 1959.<ul><li>Pablo Picasso (Spanish, 1881-1973).</li><li>Linocut in colors on Arches wove paper.</li><li>Hand signed.</li><li>Part of an edition of 20 artist proofs outside the standard edition of 50.</li><li>Printed by Arnéra, Vallauris, 1960.</li><li>Published by Galerie Louise Leiris, Paris, 1960.</li><li>This work is presented unframed.</li></ul> Hand signed "Picasso" in graphite to the at the lower right of the image. This set of artist proofs, limited to an edition of 20, was printed by Arnéra in cream white on black ground, which results in its blue-grey tonality.

 Deux Femmes Avec un Vase à Fleurs

Jacqueline de Profil à Droite, by <a href="https://www.sothebys.com/en/search?query=Pablo+Picasso&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Pablo Picasso</a>, 1958.<ul><li>Pablo Picasso (Spanish, 1881-1973).</li><li>Lithograph on Arches wove paper.</li><li>Hand signed and numbered.</li><li>Part of an edition of 50, this being 20.</li><li>Printed by Mourlot, 1958-59.</li><li>Published by Galerie Louise Leiris, 1958-59.</li><li>This work is presented framed.</li></ul> Signed "Picasso" in graphite at the lower right of the image, numbered "20/50" at the lower left. Having relocated to the Côte d’Azur with Françoise Gilot, in the late 1940s, Picasso met Jacqueline in summer 1952 in the Madoura pottery workshops. By this time, the artist’s relationship with Gilot was deteriorating, and Jacqueline quickly replaced her in his affections, becoming his lover, muse and eventually his wife—the last great female presence in Picasso’s life and the subject of innumerable paintings and prints produced in the 1950s and 1960s.&nbsp; Picasso embarked on a series of portraits of Jacqueline in the summer of 1955. That December, he created the first state of six of the series of prints to which Jacqueline en profil à Droite belongs. The plates were transported to Mourlot’s workshop in Paris so that proofs could be printed and then taken back to Picasso in the south for his scrutiny. More than a year passed before the artist resumed work on the plates. On December 27, 1958, he developed them in one day, taking some through as many as three states.

Jacqueline de Profil à Droite

Winged Bull Watched by Four Children, from The Suite Vollard [Taureau ailé contemplé par quatre enfants], by <a href="https://www.sothebys.com/en/search?query=pablo+picasso&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Pablo Picasso</a>, 1934.<ul><li>Pablo Picasso (Spanish, 1881-1973).</li><li>Etching on Wove paper.</li><li>Hand signed.</li><li>Part of an edition of 250.</li><li>Printed by Lacourière.</li><li>Published by Ambroise Vollard, Paris.</li><li>This work is presented unframed.</li></ul> This is the 13th plate in La Suite Vollard, Picasso's most important series of etchings, and was realized in December 1934. The Suite Vollard, created between 1930 and 1937, was named after its publisher, the French art dealer and critic Ambroise Vollard. Picasso and Vollard shared a close working relationship up until 1910; however, after this date Vollard was no longer Picasso’s dealer though the two continued to collaborate on publishing projects. In 1930, Vollard, encouraged by the success of two earlier ventures, ambitiously commissioned 100 plates from Picasso and by 1937 the plates were completed and given to master printer Roger Lacourière to print. The entire edition comprises 3 copies on parchment, 50 copies on larger format Montval paper and 250 on smaller format Montval paper. Tragically, Ambroise Vollard died in a car crash on 22 July 1939 leaving the project temporarily suspended, until a greater part of the edition was purchased by the print dealer Henri Marie Petiet. After World War II, Petiet engaged Picasso to sign a certain number of sets, and this continued up until 1969 but ceased with the publication of the 347 Series. Hence, a large number of the prints from the edition of 250 remain unsigned.

Winged Bull Watched by Four Children, from: The Suite Vollard | Taureau ailé contemplé par quatre enfants: La Suite Vollard

B1296 Madoura, 1961, by <a href="https://www.sothebys.com/en/search?query=Pablo+Picasso&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Pablo Picasso</a>.<ul><li>Pablo Picasso (Spanish, 1881-1973).</li><li>Linocut printed in two colors on Arches wove paper.</li><li>One of 44 proofs outside the edition of 100.</li><li>Signed in pencil, lower right.</li><li>Published by Galerie Madoura, Vallauris, 1961.</li><li>Printed by Arnéra, Vallauris, 1961.</li><li>This work is presented unframed.</li></ul>

B1296 Madoura, 1961

Ba1347 Peintre et modèle au fauteuil, 1963, by <a href="https://www.sothebys.com/en/search?query=Pablo+Picasso&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Pablo Picasso</a>.<ul><li>Pablo Picasso (Spanish, 1881-1973).</li><li>Linocut rincé printed in cream with China Ink on Arches paper.</li><li>Baer's first state (of two).</li><li>One of approximately five impressions (there were also five impressions printed in brown and black).</li><li>Printed by Arnéra, 1963.</li><li>Signed, dedicated and dated 'pour Norman Granz/ son ami Picasso/le. 18.5.69' upper right, in felt-tip pen.</li><li>This work is presented unframed.</li></ul>

Ba1347 Peintre et modèle au fauteuil, 1963

B1101 Nature Morte au Verre sous La Lampe, 1962 (March 19, Mougins), by <a href="https://www.sothebys.com/en/search?query=Pablo+Picasso&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Pablo Picasso</a>.<ul><li>Pablo Picasso (Spanish, 1881-1973).</li><li>Linocut printed in yellow, red, green, and black on Arches paper.</li><li>One of twenty proofs reserved for the publisher and the artist.</li><li>Published by Galerie Louis Leiris, 1963.</li><li>Printed by Arnéra.</li><li>This work is presented unframed.</li></ul>

B1101 Nature Morte au Verre sous La Lampe, 1962 (March 19, Mougins)

The Workshop (L’atelier), by <a href="https://www.sothebys.com/en/search?query=Pablo+Picasso&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Pablo Picasso</a>, 1927.<ul><li>Pablo Picasso (Spanish, 1881-1973).</li><li>Etching and aquatint on Wove paper.</li><li>Hand-signed and numbered.</li><li>This work is presented unframed.</li></ul> This etching is hand signed in red ink by the artist "Picasso" at the lower left margin. It is also hand numbered in red ink from the edition of 150, above the signature. It was published by Ambroise Vollard, Paris in an edition of 150 signed and numbered impressions in the 1927. Other impressions of this subject can be found in the collections of The McNay, San Antonio, Texas; The Portland Art Museum, Oregon; The Museum of Modern Art (MoMA), New York and the Brooklyn Museum, New York.

The Workshop | L’atelier

David and Bathsheba (After Lucas Cranach) II [David et Bethsabée (d'après Lucas Cranach) II], by <a href="https://www.sothebys.com/en/search?query=Pablo+Picasso&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Pablo Picasso</a>, 1947.<ul><li>Pablo Picasso (Spanish, 1881-1973).</li><li>Lithograph on Arches Wove paper.</li><li>Hand-signed and numbered.</li><li>This work is presented unframed.</li></ul> This lithograph is hand signed in pencil by the artist "Picasso" at the lower right margin. It is also hand numbered in pencil, from the edition of 50 at the lower left margin. It is dated in the plate "Dimanche 30 Mars 1947" [Sunday 30th March 1947]. It was created by Picasso on the 30th March 1947 by applying pen and ink wash to zinc plate and using a scraper. It was printed by Mourlot in the same year in a limited edition of 50 impressions. There were also six artist’s proofs. This impression is the second state of ten. Only the second and fourth states were published as editions of 50. The work progressively becomes darker and more abstracted through the creative process. The paper bears the Arches watermark. Other impressions of this subject are held by the Art Institute of Chicago and Jordan Schnitzer Museum of Art, University of Oregon, United States of America. Lucas Cranach was one of the main Old Master artist’s to have provided inspiration for Picasso. The artist was first introduced to the magnificent paintings by Cranach through his dealer Daniel-Henry Kahnweiler, who would sporadically send postcards and exhibition catalogues of Cranach’s masterpieces from across Europe. On this occasion Picasso received a black and white exhibition catalogue from an exhibition in Berlin, which had included a photograph of Lucas Cranach’s David and Bathsheba painted in 1534.

David and Bathsheba (After Lucas Cranach) II | David et Bethsabée (d'après Lucas Cranach) II

Two Women by the Window (Deux Femmes Près de la Fenêtre), by <a href="https://www.sothebys.com/en/search?query=Pablo+Picasso&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Pablo Picasso</a>, 1959.<ul><li>Pablo Picasso (Spanish, 1881-1973).</li><li>Linocut in colors on Arches Wove paper.</li><li>Hand-signed.</li><li>Printed by Hidalgo Arnéra, Vallauris in 1959.</li><li>Published by Galerie L. Leiris, Paris in 1960.</li><li>This work is presented unframed.</li></ul> This original linocut in colours is hand signed in pencil by the artist "Picasso" at the lower right margin. It is hand numbered in pencil from the edition of 50, at the lower left margin. There were approximately 20 artist’s proofs aside from the standard edition. The paper bears the Arches watermark in the upper margin. The title of this work is as recorded in the catalogue raisonné by Georges Bloch; it is also known as Le matin - Deux femmes au réveil [The Morning - Two Women Awakening].

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