Pablo Picasso (Over 3,400 results)

Small folio (287 x 377 mm). (6), 134, (24) pp. With 31 leaves plates (sugar aquatints, etchings and drypoints). In unbound sheets as issued, stored in publisher's original cardboard covers, portfolio and slipcase (some slight wear to the latter). Two unique and wholly original brush drawings, adorning a signed and inscribed first edition of this famous suite by Picasso, in perfect condition. - Limited edition of 226 copies: this is number 155, one of 135 on Vidalon vélin. This copy was presented by Picasso to his friend, the painter André Marchand (1907-98), with an autograph inscription and two original drawings, each one full page. The two drawings are executed in Indian ink, pen and brush, heightened with black ink wash. They occupy the verso of the half-title bifolium and the first section title ("Le Cheval"). The first drawing shows a tomato plant in a pot, probably a reference to the still lifes for which Marchand was known. The second presents two different figures of a horse: in the upper half of the sheet, a white horse, seen in profile; in the lower half, a powerful horse's head, also in profile, against a stark dark background. Both are dated by the artist "7 August 44"; the first drawing also bears in the lower right-hand corner the signed dedication: "Pour André Marchand / Picasso". - In 1936 Ambroise Vollard commissioned illustrations by Picasso for the comte de Buffon s 18th century encyclopedia, "Histoire naturelle". The book was published in 1942 with Picasso s 31 prints. The delightful images of the animal kingdom, rendered with exquisite technique, must have surely brought joy to those who viewed it during the dark days of the war. Printed in a relatively small edition of 226, several copies went to friends with unique drawings such as these. - Includes an additional print of the "Mère poule" plate. Provenance: André Marchand; Jean A. Bonna (his bookplate to the portfolio's pastedown). With a certificate from Picasso's daughter Maya, dated 10 October 2002. S. Goeppert, Picasso (1983), p. 104-107. The Artist and the Book, 231. OCLC 78845813.

A rare etching, extensively hand-coloured in red ink by the artist, 1934, on wide margin Montval laid paper, signed, inscribed 'For Lacourière' and numbered 16/15 in the same red ink, 46 x 35.2 cm. (18.1 x 13.8 in). Bridgette Baer states that Picasso signed and numbered 15 impressions of this work in red ink, she then cites this special hand-coloured 16th impression which was given by the artist to Roger Lacourière in her catalogue raisonné of Picasso, 'Painter-Engraver Volume II'. The present impression of Pablo Picasso's Flûtiste et Jeune Fille au Tambourin is unquestionably amongst the rarest of works from the Vollard Suite. Dedicated to his friend Roger Lacourière who undertook the immense task of printing of the Vollard Suite, the work is also exquisitely hand coloured in red ink. This stunning, unique, example is one of only a very few known hand-coloured etchings by Picasso. The graceful brushstrokes deftly follow and enhance the delicate, sensual robes of the flûtiste and his muse, exemplifying great Picasso's mastery of line. Hand-coloured etchings such as this were given by Picasso to only his closest friends and collaborators, they are rarely seen outside of museums and the finest of collections. Baer 412.

Edition of 50. Signed in pencil lower right by Picasso, numbered lower left. Bloch 771; Baer 927. Aquatint and drypoint on vélin d'Arches watermarked wove paper, all edges untrimmed. Plate size: 64.6 x 49.7 cm. Sheet size: 76.5 x 57 cm. Framed size: 105 x 88 cm. Paper toned, hinging tape to upper edge and corners of verso, otherwise bright. Presented in a white gold frame with conservation acrylic glazing.

Lithograph, 1955, on Arches wove paper, signed in pencil and numbered from the edition of 50, printed by Mourlot, Paris, published by Galerie Louise Leiris, Paris, 66.4 x 50 cm. (26? by 19¾ in.) This abstract, three-quarter profile is of Picasso's second wife, Jacqueline Roque. The couple met during the summer of 1952 whilst Roque was working at Georges and Suzanne Ramié's Madoura pottery works in Vallauris, the studio where Picasso made his ceramics in the South of France. The couples love endured until the artist's death in 1973, Picasso adored Jacqueline so much so that for seventeen of the twenty years the couple spent together - the longest relationship of Picasso's life - Roque was the only female Picasso painted. When Picasso embarked on his late, great period, his biographer John Richardson succinctly defined and characterised as 'l'époque Jacqueline.' In this lithograph, Picasso bestows Roque with an elegant, sphinx-like appearance. The straight line of the nose which extends directly from the forehead to the tip is particularly evocative of these ancient Egyptian sculptures, as well as in the calm gaze in her characteristically almond-shaped eyes. Bloch 780; Mourlot 272.

Limited edition, one of 52 copies on vieux Japon from a total edition of 68 signed by Picasso and Ililazd; folio (32 x 22 cm); with 12 engravings, of which 2 are hors texte and 10 are in text; pages are folded in three with engraving in centre and text either side; in original vellum wrappers with a drypoint etching on the cover, in a folded vellum sleeve with the spine imprinted with the title, vellum wrappers slightly stained otherwise a fine copy. misc23 One of 52 copies, Chevaux de minuit is one of Picasso and Iliazd's most successful collaborations. 'Picasso's stylistic range from the animals of the 1942 Buffon to these horses is a vast one. Here he has restricted himself to an extreme simplification of outline, accented only by the drypoint burr, yet vividly descriptive of movement. The typographic layout by Iliazd carefully balances and sometimes echoes the design of the plates' (Artist and the Book) The poem Chevaux de Minuit by Roch Grey (pseudonym of Baroness Hélène Oettingen) was edited by Iliazd after her death in 1950. The two had been friends and Ilia Zdanevich felt that the writer's work had been under-appreciated in her lifetime, having not received recognition in either mainstream or avant-garde literary circles. It was his aim, especially in the later part of his career to bring to light the work of marginal writers by collaborating with famous artists, many of whom were his close companions.

Edition of 50. Signed in pencil lower right by Picasso, numbered lower left. Bloch 937; Baer 1241. Linocut on Arches wove paper. Image size 53 x 63.8cm. Sheet size 62 x 75cm. Small closed tear to extreme lower edge, not affecting the image and hidden by the mount, otherwise in excellent condition. Presented in a black gesso and gilt frame.

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(s).

4° (335x260 mm). XIV, [3], [16 pages lettered A to P], [3], 92, [14] pages. With thirteen original etchings by Picasso, pulled by Louis Fort; sixty-seven wood engravings cut by George Aubert after Picasso's drawings; and 16 pages reproducing lineblock dot and line drawings. Handsomely bound in a custom binding by René Kieffer, with his signature on the lower turn-ins of the upper cover and his stamp pasted on the verso of the second flyleaf. Linen pastedowns, linen and marble-paper flyleaves. In marbled slipcase. Small stain on plate no. V of the table of etchings and on facing page (a blank), otherwise in pristine condition.Beautiful centennial edition of Balzac's short story, Le Chef-d'oeuvre inconnu – originally published in the newspaper L'Artiste in August 1831 with the title 'Maître Frenhofer' – commissioned by Picasso's dealer, Ambroise Vollard, and illustrated with thirteen original etchings by the Spanish master, sixty-seven wood engravings cut by George Aubert after his drawings, and sixteen pages reproducing lineblock dot and line drawings. This edition was printed in 305 copies, of which 240 – including the present one, no. 230 – were printed on Rives wove paper. Admired by such artists as Paul Cézanne and Henri Matisse, Balzac's story tells the tale of an ageing seventeenth-century artist named Frenhofer who obsessively works on a canvas he keeps hidden for years. When two young painters and admirers of Frenhofer's work finally manage to see the canvas, they are shocked by what they discover to be an indistinguishable mass of tangled brushstrokes and layers of paint. Deciding that the older artist must have gone insane, the two young artists deride Frenhofer who subsequently destroys all his works and commits suicide. The story of this dramatically misunderstood yet visionary hero was well suited for the avant-garde artists pursuing careers in Balzac's wake; indeed, in 1904 Cézanne exclaimed outright 'Frenhofer, c'est moi' (J. Medina, Cézanne and Modernism: The Poetics of Painting, 1995). Arguably the most innovative and ground-breaking artist of the Modern period, Picasso was no exception and identified heavily with Balzac's tragic protagonist, so much so that he later moved his studio to the very seventeenth-century townhouse believed to have been the setting for the opening scene of Frenhofer's tale. It is perhaps hardly a coincidence that the dealer of both Cézanne and Picasso was the great avant-garde champion and mentor Ambroise Vollard, who, in addition to dealing art, was also an avid collector, biographer, and publisher. In 1927, twenty-six years after mounting Picasso's first Paris exhibition in 1901, Vollard asked the Spanish artist to illustrate a centennial edition of Balzac's text. Although Picasso – widely recognized as one of the greatest printmakers of all time – counts among the most prolific book illustrators of the twentieth century, the etchings he produced for this edition in fact bear little relation to Balzac's text; rather, the artist seems to have used the opportunity to reflect more generally on one of his favourite subjects: the artist-model relationship and the act of creation itself. It is perhaps for this reason that the final product – a true meditation on Art – is itself a work of art, ranking among one of the most beautiful artist's books of the twentieth century.Cramer, Picasso. Catalogue raisonné des livres illustrés, no. 20; Bonet, Carnets, no. 690, pl. 175; Philobiblon, One Thousand Years of Bibliophily, no. 283. Book.

271 x 208 mm. Blue ballpoint on laid paper. Portrait of the Swiss publisher Albert Skira (1904-76), dated and inscribed with the dedication: "Pour ces 25 ans d'éditions et 30 Ans d'Amitié. Picasso". The expressive profile of Skira, including parts of his shoulders and one arm, is representative of Picasso's sketchy and graphic art oriented late style. It is the last of seven numbered portraits of the publisher that Picasso drew on the evening of 16 September 1953 in the booth of a restaurant in Golfe-Juan. - Skira "played an important role in Picasso's life in that in the fall of 1930 he commissioned him to illustrate Ovid's Metamorphoses. Picasso achieved surrealist transformations in an admirably classical graphic style [.]. This was one of the reasons that led Vollard to commission him to produce what was to become the Vollard Suite. Skira subsequently offered him another opportunity by creating, in 1933, the splendid magazine 'Minotaure': for the cover of the first issue, Picasso created a virtuoso collage" (cf. Pierre Daix, Dictionnaire Picasso). - With original fold mark and insignificant tears in the fold. An unrelated note in ink on the verso reads: "Vauthier baryton".

Hardcover. Condition: Very Good. 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).

Edition of 50. Signed in pencil lower right by Picasso, numbered lower left. Printed by Arnéra, Vallauris, this linocut is one of a series of radical reinterpretations of Manet's famous painting, begun by Picasso in June 1954 and continued over the next decade. By this late stage, the "conversationalist" has lost his hair, has clearly aged, and now resembles Picasso himself, in conversation with a Victorine who could be said to resemble his wife, Jacqueline. Bloch 1096; Baer 1328; Kramer 88. Linocut from one block printed in black, brown and beige on Arches watermarked paper, lower edge untrimmed. Image size 35 x 27 cm. Sheet size 62.5 x 44.1 cm. Frame size: 73 x 60.5cm Light creasing to upper margin, lower margin folded and then expertly reinforced with Japanese paper, not affecting the image. Presented in a black gesso and gold leaf frame with conservation acrylic glazing.

First edition, first printing, number 29 of 150 copies signed by all the contributors, with each print numbered and signed by the respective artist and Robert Rey. This copy with an additional suite of 46 sheets with colour separations of Picasso's print housed in separate wrappers, lettered in black. The print titles included are: Braque, "Nature morte au huitres"; Brianchon, La neige a auteuil; Chagall, La sirène; Desnoyer, Liseuses au bord de mer; Dufy, Le casino de la jetée a Nice; Laurencin, Portrait de femme en rouge; Matisse, Nature morte au magnolia; Picasso, La cassarole Émaillée; Utrillo, Le jardin de Montmagny; Van Dongen, Tête de femme; Vlaminck, Les blés dans la perche; and Waroquier, Dolori sacrum. Folio. Unbound sheets printed on Van Gelder Zonen wove paper in white wrappers, titles to front cover in red. With glassine dust jacket. Housed in the publisher's blue morocco clamshell box, titles to front cover and spine gilt. All contained in the original card packing box. 12 colour woodcuts after each of the artists printed on Van Gelder Zonen wove paper with one edge untrimmed. Sheet sizes: 46.5 x 36 cm. Closed tear to front wrapper and glassine, hinge of clamshell box split, minor foxing in places otherwise a bright unfaded set.

Limited edition, one of 50 deluxe copies, this being number 40, from a total edition of 250, 4to (28 x 20.5 cm); 63 reproductions (31 with pochoir colouring) and an etching on Arches, signed and numbered in pencil by the artist, with full margins, loose as issued, each plate blindstamped P.R. on the lower right corner; folder with title and justification on japon, illegible dedication to title, unsophisticated tape repairs to folder, slight age-toning to plates; in the original cloth backed marbled chemise, label pasted to upper cover, black ties, an excellent example. MP22 Picasso's 'supreme theatrical achievement' (John Richardson). Le Tricorne was commissioned by Diaghilev after a trip to Spain with the Ballets Russes in 1916 inspired him to create a new work which incorporated traditional Spanish folk dances. Through Stravinsky he met the young Spanish composer Manuel de Falla and also enlisted legendary flamenco dancer Felix Fernandez Garcia to assist Leonid Massine with the choreography. In 1917 Diaghilev and Massine went on a grand tour of Spain where de Falla and Felix introduced them to dancers and performances in Zaragoza, Toledo, Salamanca, Burgos, Sevilla, Córdoba, and Granada. With the music and choreography in place and a successful London season giving him the financial means, Diaghilev instructed his favourite Spanish artist to produce the set and costume designs. Picasso moved to London in May 1919 to work on the project and produced some twenty different studies for stage sets, at least four for the drop curtain and approximately 30 for costumes and decor. The drawings which were finally chosen for the ballet are reproduced in this album. Picasso's designs reflect his Spanish heritage and Cubist style, combining classical forms with the bold, bright colours distinctive to the experimental Ballets Russes. He relished the opportunity to weave the visual arts with performance, and what was initially an ephemeral set of sketches has become a significant part of his oeuvre. Cramer books 8.

No binding. Condition: Fine. Gilt paper crown, a traditional "galette des rois" crown, signed and inscribed by Picasso to Serge Lifar and dated 6.1.60, in thick red pencil, signed also by Lifar in blue pencil and with the stamp of the Lifar Collection. 6.5 x 51 cm. In fine condition, housed in a custom gilt-wood two-sided full view tabletop frame. One of the most celebrated male dancers of the 20th century along with Nijinsky and Nureyev, Serge Lifar was an important choreographer and dancer in Diaghilev's Ballets Russes. He later became director of the Paris Opera Ballet (1929) and there created over 50 ballets, including the path-breaking "Icare" (1935), which was written to be danced without music. "Picasso's last two theatrical dà cors were both designed at the request of his old friend and 'godson' Serge Lifar for productions at the Paris Opà ra. During a meeting between them at Cannes in September 1960 [shortly after the date on our crown], Picasso drew Lifar's portrait and made a small drawing in coloured chalks representing Icarus, the hero of one of Lifar's own ballets, flying upwards towards the sun." (Douglas Cooper, "Picasso Theatre," p. 71)In France, it is customary to eat "galette des Rois" to mark the Christian day of the Epiphany, January 6th. The "king cake" generally has a trinket (usually a porcelain figurine) or a bean hidden inside. The person who gets the piece of cake with the trinket becomes "king" for a day.

Linocut in colours, 1959, on watermarked Arches paper, signed in pencil, an artist's proof aside from the standard edition of 50, printed by Imprimerie Arnéra, published by Galerie Louise Leiris, 75.1 x 62.1 cm. (29½ x 24½ in.) When Picasso moved to the Côte d'Azur in the 1950s he found it harder to produce etchings and lithographs as both required specialist equipment, however it was not long before he met the local printmaker Hidalgo Arnéra who introduced him to the linocut process. Together the artist-printmaker duo created the groundbreaking 'reduction method' of linocutting, where only a single piece of linoleum was required to print each colour one wanted to use. During this decade, Picasso's linocuts are characterised by their wonderfully rich colours and bold patterning as shown here in 'Bouquet dans un Vase'. The classical motif of a still-life is simplified to suit the sweeping, fluid lines of Picasso's modernist linocut. Inspired by his surroundings in Vallauris, Picasso limited his palette to terracotta colours to emulate the sun-baked villages of the South of France and the hues of his clay ceramics which he was producing at the same time. Bloch 0914; Baer 1242 third state of three, III.b (of C).

Edition of 100. Signed in pencil lower right by Picasso, numbered lower left. Printed by Arnéra, Vallauris. Bloch 1062; Baer 1276; Kramer 83. Linocut in brown and tan on Vélin d'Arches watermarked paper. Image size 39 x 30 cm. Sheet size 54.5 x 43 cm. Framed size: 66.7 x 55.6 cm. Paper toned to extreme edges and verso, not affecting the image: very good condition. Presented in a gold wooden frame with conservation acrylic glazing.

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.

Condition: Fine. MAN RAY CAPTURES PICASSO'S ESSENCE IN LEGENDARY PORTRAIT. AN ICONIC PHOTOGRAPH WITH IMPORTANT PROVENANCE: From the famous Sotheby's sale of 1995 of items from the "Estate of Juliet Man Ray, The Man Ray Trust and the Family of Juliet Man Ray". The son of Russian-Jewish immigrants, Emmanuel "Manny" Radnitzky (1890-1976) grew up in Brooklyn, New York. He displayed creative abilities from a young age and studied to be a painter. He adopted "Man Ray" as his pseudonym and in 1915 formed the New York group of Dada artists with Marcel Duchamp. In the 1920s and 1930s, Paris was the destination for the international avant-garde, offering an exceptional number of galleries, art dealers, and wealthy patrons who promised artistic freedom. Man Ray sailed to the "City of Light" in 1921, joined Parisian Dada and Surrealist circles and became intimate associates with Pablo Picasso, Max Ernst and other leading artists. He pursued fashion and portrait photography creating a pantheon of the city's cultural life. "As a photographer, I was in demand," Ray explained to John Bainbridge, a writer at The New Yorker. "I was like a doctor. Everybody needed me." (Bolz) To be photographed by Man Ray meant you had made it in the Parisian art world. Ray often said that Old Masters, especially Hans Holbein the Younger, Rembrandt, and Vermeer inspired his portraits. "I. admired the respect with which they treated the proportions of human features," he wrote in an article published in Modern Photography magazine in November 1957. He also made considerable technological advancements in the field by creating "rayographs" (photographic images composed of ordinary objects placed on photo sensitive paper exposed to light) and developing solarization (the process of tone reversal observed in cases of extreme overexposure). "I photograph the things that I do not wish to paint, the things which already have an existence," Ray said. (Schwarz, 10) Ray sought to create a sense of drama and mystery, believing that his photography could transcend the mechanical nature of a camera. When photographing his friends and colleagues Ray's emotional and psychological insights allowed him to expose the soul of each subject. One such subject and friend was Pablo Picasso. Man Ray and Picasso met in 1921 in Paris. They became friends through their connection to Surrealism, spending holidays together and collaborating on creative pursuits. In his autobiography, Man Ray described Picasso: "[He] gave me the impression of a man who was aware of all that was going on about him and in the world in general, a man who reacted violently to all impacts, but had only one outlet to express his feelings: painting." (Man Ray, 177) The intensity and awareness that Man Ray described is masterfully captured in his portraits of the painter. This photo we have on offer is from Man Ray's renowned series of Picasso portraits and coincided with the publication of the first volume of Picasso's catalogue raisonné, reflecting the critical position Picasso's work occupied in the French artistic establishment. In this monumental photograph from 1932, Man Ray unusually presented Picasso in an open trench coat over his jacket and tie. Choosing to shoot this portrait in profile, he captured Picasso's pensive expression. Ray used a bold lighting effect and an unadorned background so as not to detract from the subject. Picasso is slightly out-of-focus creating a subtle softness. The print is also on thin, tissue-like paper, creating texture and depth. (Man Ray was famous for experimenting with different types of paper for his prints.) This 1932 Portrait of Picasso was selected for Man Ray's seminal 1934 album which included his most important photographs. This print has the Man Ray stamps (M28 and M30) on the reverse and was lot 487 from the sale of the "Estate of Juliet Man Ray, The Man Ray Trust and the Family of Juliet Man Ray" (Sotheby's March 22 and 23, 1995). Man Ray and Picasso remained close confidantes after.

Condition: Fine. MAN RAY CAPTURES PICASSO'S ESSENCE IN LEGENDARY PORTRAIT. AN ICONIC PHOTOGRAPH WITH IMPORTANT PROVENANCE: From the famous Sotheby's sale of 1995 of items from the "Estate of Juliet Man Ray, The Man Ray Trust and the Family of Juliet Man Ray". The son of Russian-Jewish immigrants, Emmanuel "Manny" Radnitzky (1890-1976) grew up in Brooklyn, New York. He displayed creative abilities from a young age and studied to be a painter. He adopted "Man Ray" as his pseudonym and in 1915 formed the New York group of Dada artists with Marcel Duchamp. In the 1920s and 1930s, Paris was the destination for the international avant-garde, offering an exceptional number of galleries, art dealers, and wealthy patrons who promised artistic freedom. Man Ray sailed to the "City of Light" in 1921, joined Parisian Dada and Surrealist circles and became intimate associates with Pablo Picasso, Max Ernst and other leading artists. He pursued fashion and portrait photography creating a pantheon of the city's cultural life. "As a photographer, I was in demand," Ray explained to John Bainbridge, a writer at The New Yorker. "I was like a doctor. Everybody needed me." (Bolz) To be photographed by Man Ray meant you had made it in the Parisian art world. Ray often said that Old Masters, especially Hans Holbein the Younger, Rembrandt, and Vermeer inspired his portraits. "I. admired the respect with which they treated the proportions of human features," he wrote in an article published in Modern Photography magazine in November 1957. He also made considerable technological advancements in the field by creating "rayographs" (photographic images composed of ordinary objects placed on photo sensitive paper exposed to light) and developing solarization (the process of tone reversal observed in cases of extreme overexposure). "I photograph the things that I do not wish to paint, the things which already have an existence," Ray said. (Schwarz, 10) Ray sought to create a sense of drama and mystery, believing that his photography could transcend the mechanical nature of a camera. When photographing his friends and colleagues Ray's emotional and psychological insights allowed him to expose the soul of each subject. One such subject and friend was Pablo Picasso. Man Ray and Picasso met in 1921 in Paris. They became friends through their connection to Surrealism, spending holidays together and collaborating on creative pursuits. In his autobiography, Man Ray described Picasso: "[He] gave me the impression of a man who was aware of all that was going on about him and in the world in general, a man who reacted violently to all impacts, but had only one outlet to express his feelings: painting." (Man Ray, 177) The intensity and awareness that Man Ray described is masterfully captured in his portraits of the painter. This photo we have on offer is from Man Ray's renowned series of Picasso portraits and coincided with the publication of the first volume of Picasso's catalogue raisonné, reflecting the critical position Picasso's work occupied in the French artistic establishment. In this almost sculptural photograph from 1932, Man Ray unusually presented Picasso in an open trench coat over his jacket and tie. Picasso's dark hair is slicked down and his smooth face looks directly into the camera. Ray used light on the outlines of Picasso's face to create a contemplative image that showed him as a dark and shadowy figure juxtaposed against the light background. Picasso's riveting gaze also conveys a reflective and sober mood. This print has the Man Ray stamps M28 and M30 on the reverse and was lot 348 from the sale of the "Estate of Juliet Man Ray, The Man Ray Trust and the Family of Juliet Man Ray" (Sotheby's March 22 and 23, 1995). Man Ray and Picasso remained close confidantes after this collaboration and during the summer of 1937, Man Ray filmed his friends, including Pablo Picasso, during a trip to the French Riviera. The result was On the French Riviera with Man Ray and Picasso.

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).

Folio. 1 page. Pencil. Expected folding. In Spanish on the verso of a printed menu to an unidentified friend: Aqui estamos todos juntos con Minuni" (the toreroFrancisco Reina called El Minuni"). Picasso is thanking the recipient for sending the michons" (socks in Catalan) and is drawing a sock.

Condition: Good. 13 original etchings unbound as issued in a sleeve inside the bound book. One of 65 deluxe copies (no. 10) on Imperial Japan paper, signed by Picasso and Vollard. (Only the deluxe copies on Japan paper were signed on the colophon by the artist and publisher.) This copy without the second suite on Rives. Housed in a custom clamshell case encased throughout in three leathers by the celebrated binder Alexandr Mosalov. References : Cramer, Pablo Picasso, les livres illustrés, n° 20 ;Bloch: 82-94; Livre no, 19. Un des précieux exemplaires sur Japon sans la suite.In-4 (228 x 250 mm). En feuilles, sous chemise rempliée illustrée. Quelques défauts à la couverture (dos et bords inférieurs du premier plat légèrement passés, accident à la coiffe supérieure, quelques taches), coin inférieur du premier feuillet blanc coupé, bords des planches de la suite très légèrement maculées, sans atteinte aux gravures.13 eaux fortes originales hors texte (dont la table des gravures) et 67 dessins gravés sur bois de Pablo Picasso.

No edition. One of 68 trial proofs of the first state in beige or ochre on black. Stamped Picasso signature lower right as issued, marked "Gravure ineditée" in pencil lower left, rubber stamp of Marina Picasso to verso. Printed by Arnéra, Vallauris. Wofsy L-148; Baer 1327 I. Linocut in ochre over black on vélin d'Arches watermarked wove paper. Image size: 52.4 x 63.7 cm. Sheet size: 75.1 x 62.1 cm. Framed size: 84.3 x 94.3 cm. Light creasing to upper right corner, light skinning to verso from previous hinging, otherwise in very good condition. Presented in a handmade gold leaf frame with conservation acrylic glazing.

Picasso, Pablo (illustrator). One of forty regular copies, signed by Picasso, and the author/publisher Pierre André Benoit. Thematically similar to plate 22 in La Tauromaquia (1959), which depicts the instant of death of a bull in a bullfight, this single drypoint etching accompanies a brief poem by Benoit. This is the first of two miniature books illustrated by Picasso. This copy specially bound by Georges Leroux in full brown calf, with upper cover bearing a design of three concentric circles of inlaid tan leather spotted and outlined with gilt, at the center of whch is an overlaid bull's head spotted with metallic red. Lower cover shows the same design, but with the colors reversed. Spine titling in gilt and metallic red; binder's stamps to foot of doublures; suede endpapers. A remarkable copy, very fine. Housed in chemise and slipcase. (Cramer 102). (1 1/4 by 1 3/4; 33x46mm).

Couverture souple. Condition: Comme neuf. 2ème Édition. Paris 2014 . 33 Volumes/33. -- Brochés cousus. Couvertures à rabats . Format in-4°( 32,8 x 25 cm ). ------- Plus de 6 000 pages avec 16 000 peintures et dessins réunis . C est le résultat du travail d une vie mené par Christian Zervos en collaboration avec Picasso lui-même. ************************ "" Le livre « Pablo Picasso par Christian Zervos », souvent connu sous la simple appellation « le Zervos », est l ouvrage le plus important et le plus influent publié par cet éditeur. Cette réédition est une version revue et corrigée en collaboration avec l'Administration Picasso, qui donne un point d'orgue à la vision de Zervos. "" ****************************.

Couverture souple. Condition: Comme neuf. 2ème Édition. Paris 2014 . -- 33 Volumes/33. -- Softbound . Original flexible binding, with glacine wrapping - Quarto size ( 32,8 x 25 cm ). ------- 6 000 pages with 16 000 black-and-white images ******************************** "" Pablo Picasso par Christian Zervos, known by many simply as the Zervos, remains the most trusted reference to the works of Picasso. This new, revised edition, published by Cahiers d Art, includes corrections to the original catalogue prepared together with the Picasso Administration. "" ***********************************.

Proof copy aside from the edition of 50. Inscribed in pencil for the printer lower right by the artist "Pour Armera ??? Picasso". Hidalgo Arnéra printed Picasso's linocuts in the reduction manner from 1959; the fame that these gave him led to many commissions from other artists in the 1960s and 1970s. Bloch 1099; Kramer 77; Baer 1315 IV B.b. Linocut from one block printed in black on Arches watermarked wove paper. Image size: 64.1 x 53 cm. Sheet size: 74.3 x 62.2 cm. Framed size: 106.5 x 90.7 cm. Excellent condition. Presented in a black and gilt ornate frame with acrylic glazing.

Soft cover. Condition: Very Good. 1st Edition. Editions Nord-Sud printed by Paul Birault, Paris 1922. Soft cover guarded in chemise and slipcase by Atelier Devauchelle. Limited numbered edition of 132 copies, of which this is n. 30 of the 15 copies on Hollande van Gelder paper, that together with 15 copies in Japan imperial, is illustrated with three etchings by Picasso: Portrait of Reverdy on frontispiece, present in all 132 editions, "Trois femmes à la Fontaine"- "Les baigneuses" only in the first 30 copies. In very good conditions with occasional spots.

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.

Limited edition, one of 273 copies, signed by Picasso on the justification and on the engraved plate, 3 vols; illustrated with 12 full-page etchings and one signed engraving, preface by Raefael Alberti, text and plates loose as issued in original printed wrappers, three volumes housed in the original folding box, slight creasing to wrappers of one volume otherwise a very good copy. In El Entierro de Conde de Orgaz, Picasso illustrates his 1957 series of poems (present here in a fine facsimile of the original text, originally written in coloured crayon), which reference his Andalusian childhood and heritage. The title of the work refers to El Greco's 1586 painting of the interment of the Count of Orgaz.