Prints by Picasso
Except otherwise stated, all results below include the premium.
See also : Picasso 1907-31 Prints
Chronology : 1930
See also : Picasso 1907-31 Prints
Chronology : 1930
1904 Le Repas Frugal
2012 SOLD for £ 1.95M by Christie's
The Bateau-Lavoir in Montmartre was an experimental workshop of modern art in which the residents, whose destiny was to become famous artists, met the harsh realities of life.
In 1904, Picasso's blue period ends when he appreciates that the clowns of the circuses cannot escape poverty. Le Repas Frugal (Frugal Meal) is his first trial in his mature period to create and distribute a pathetic and empathetic image with a universal impact. Its technical and emotional success is total.
The 46 x 37 cm images were printed individually by Delâtre on request by the artist, and the exact number is unknown : about 30.
One of them was sold for £ 620K by Christie's on November 30, 2004. Another copy inscribed by Picasso to a friend in December 1904 was sold for £ 1.95M by Christie's on June 20, 2012, lot 16.
In addition to its extreme rarity, this first edition has another quality : it is also the best. When Vollard took over the plate and inserted it into the series of Saltimbanques in 1913, he strengthened it by electroplating so that it can support a large production run.
In 1904, Picasso's blue period ends when he appreciates that the clowns of the circuses cannot escape poverty. Le Repas Frugal (Frugal Meal) is his first trial in his mature period to create and distribute a pathetic and empathetic image with a universal impact. Its technical and emotional success is total.
The 46 x 37 cm images were printed individually by Delâtre on request by the artist, and the exact number is unknown : about 30.
One of them was sold for £ 620K by Christie's on November 30, 2004. Another copy inscribed by Picasso to a friend in December 1904 was sold for £ 1.95M by Christie's on June 20, 2012, lot 16.
In addition to its extreme rarity, this first edition has another quality : it is also the best. When Vollard took over the plate and inserted it into the series of Saltimbanques in 1913, he strengthened it by electroplating so that it can support a large production run.
1930-1937 La Suite Vollard
1
2019 SOLD for $ 4.8M by Christie's
When Vollard agrees with Picasso for the edition of one hundred original etchings, he defines the final quantity to print : 50 deluxe copies with wide margins 51 x 39 cm and 260 copies with small margins 44 x 34 cm. It should be consistent with Vollard's practice that the purpose of the smaller format was to publish a livre d'artiste but it has not been made for that series.
97 images were engraved by Picasso between 1930 and 1934. While admiring the gentle Marie-Thérèse, Pablo finds back the fiery impulses of his youth. Far away from Cubism, minotaurs and fauns approach with brutality or delicacy the snoozing women with appealing curves. The theme of the sculptor's studio is also abundant. The supplement up to the requested figure of 100 is assured in 1937 with three portraits of Vollard by Picasso.
Vollard died in 1939 in the same death as Aeschylus, reportedly because a jolt unbalanced a statue that fell on his neck in the back seat of a car in which he was sleeping. The series of the hundred pictures had no title and will never have one. It will be known as La Suite Vollard.
Vollard had just started dealing with the Suite. In the 1940s the dealer Henri M. Petiet acquires the stock. Picasso then signed prints for cash as and when Petiet got orders for full sets, from his first sale in 1950 until the artist withdraw from that process in 1969. These Petiet sets were not serialized. Petiet also offered single prints for sale.
A complete set with wide margins, fully signed by Picasso for Petiet, was sold for $ 4.8M from a lower estimate of $ 3M on November 11, 2019 by Christie's, lot 55 A.
Petiet was a competent dealer but also a demanding collector. Curiously the Vollard Suite he had kept for his own collection is with small margins. It has been entirely signed by Picasso. It was sold for € 1.94M by Ader-Nordmann on November 25, 2017, lot 317.
97 images were engraved by Picasso between 1930 and 1934. While admiring the gentle Marie-Thérèse, Pablo finds back the fiery impulses of his youth. Far away from Cubism, minotaurs and fauns approach with brutality or delicacy the snoozing women with appealing curves. The theme of the sculptor's studio is also abundant. The supplement up to the requested figure of 100 is assured in 1937 with three portraits of Vollard by Picasso.
Vollard died in 1939 in the same death as Aeschylus, reportedly because a jolt unbalanced a statue that fell on his neck in the back seat of a car in which he was sleeping. The series of the hundred pictures had no title and will never have one. It will be known as La Suite Vollard.
Vollard had just started dealing with the Suite. In the 1940s the dealer Henri M. Petiet acquires the stock. Picasso then signed prints for cash as and when Petiet got orders for full sets, from his first sale in 1950 until the artist withdraw from that process in 1969. These Petiet sets were not serialized. Petiet also offered single prints for sale.
A complete set with wide margins, fully signed by Picasso for Petiet, was sold for $ 4.8M from a lower estimate of $ 3M on November 11, 2019 by Christie's, lot 55 A.
Petiet was a competent dealer but also a demanding collector. Curiously the Vollard Suite he had kept for his own collection is with small margins. It has been entirely signed by Picasso. It was sold for € 1.94M by Ader-Nordmann on November 25, 2017, lot 317.
2
2013 SOLD for £ 2.66M by Sotheby's
A complete set with wide margins was sold for £ 2,66M by Sotheby's on June 19, 2013, lot 47. It had been acquired by Petiet and was fully signed by Picasso.
3
2012 SOLD for CHF 2.3M before fees by Kornfeld
When Vollard died in 1939, a first batch of 15 printed sets with wide margins had been assembled, and Picasso had signed and numbered 10 prints within each of them..
The set with the ten numbers 8/15 was sold for CHF 2.3M before fees on June 15, 2012 by Galerie Kornfeld from a lower estimate of CHF 1.5M. It is complete, and all prints have been signed by Picasso.
The set with the ten numbers 8/15 was sold for CHF 2.3M before fees on June 15, 2012 by Galerie Kornfeld from a lower estimate of CHF 1.5M. It is complete, and all prints have been signed by Picasso.
4
2016 SOLD for $ 2.53M by Sotheby's
At some time before 1934 the meeting of Picasso with Roger Lacourière changes the quality of graphics and printing. The drawings are getting richer. Picasso loves to experiment and he follows the instructions from his new printer who teaches to him the varied possibilities of chisel, aquatint and drypoint.
On November 14, 2016, Sotheby's sold at lot 11 for $ 2.53M the full wide margin set owned by Lacourière. The printer had retained proofs with beautiful tones executed before and during his participation. It is the rare case of a set that was not owned by Petiet but the plates are not signed.
On November 14, 2016, Sotheby's sold at lot 11 for $ 2.53M the full wide margin set owned by Lacourière. The printer had retained proofs with beautiful tones executed before and during his participation. It is the rare case of a set that was not owned by Petiet but the plates are not signed.
1935 La Minotauromachie
2016 SOLD for $ 2.63M by Christie's
Picasso said it all and did it all. In his career which lasted three quarters of a century, he was the most prolific of artists. Yet his private life is a long series of secrets. We will never know why in 1901 he suddenly plunged into the blue period, nor why Guernica drifted onto the moral torture of Dora Maar personalizing war.
His meeting with Marie-Thérèse in 1927 is a triumph for his virility. He chooses a young woman by reference to a canon of beauty that will compete with Matisse's odalisques, he invites her to follow him and she gives herself to him lastingly. He is so proud that he portrays himself as a sexual bully, the Minotaur, from the early 1930s.
In August 1934, Pablo attends bullfights. Olga who accompanies him on this trip certainly did not anticipate the lustful passions that this experience was to generate to her husband in his fifties. Conceived in December 1934, the plate 97 of the Suite Vollard is a blind Minotaur guided by a young girl at night, a confrontation between the artist's sexual brutality and the lost innocence of Marie-Thérèse.
How did he come not to manage or even foresee what will happen next ? Marie-Thérèse is pregnant and Olga leaves him. At the beginning of 1935 he is so taken aback that he nearly stops working.
His restart takes place in July 1935, by practicing copperplate engraving with Roger Lacourière. He must concentrate on mastering this technique, for which he designs an image that synthesizes his questioning on the three ages of life and on death.
The most visible character in La Minotauromachie is the enormous mythological brute with the head of a bull on a human body, the Pablo of today. It has just defeated the pregnant woman, a dying torera on a gutted horse. In a theater box, two young women watch this weird corrida, with a remaining hope symbolized by two doves. The innocent little girl stops the bull with a candle of peace and a bouquet. The old man, Picasso tomorrow, flees on a ladder that leads to nowhere.
The final state of the Minotauromachie is the seventh, 50 x 69 cm on a 57 x 77 cm sheet. It is printed by Lacourière in 50 copies. Picasso intended these images to be presented sparingly to his best friends, away from the trade. The copy 2/50 was sold for $ 2.63M by Christie's on May 12, 2016, lot 18 C.
Some artist's proofs had also bee printed. Picasso did not dare to part with them, certainly because for once he had revealed his most intimate feelings. About 25 of them remained in his deceased estate. Here are some results on prints from that provenance :
$ 2.1M by Christie's on November 16, 2016, lot 42 B. It was withdrawn by Sotheby's before the sale of October 22, 2020, lot 33.
£ 1.02M by Sotheby's on June 23, 2014,
$ 1.33M by Christie's on May 13, 2019.
£ 975K by Phillips in London on January 23, 2020, lot 1.
The tragic characters of the Minotauromachie precede by fourteen months the beginning of the Spanish civil war. In 1937 with Guernica, Picasso's anti-war message suddenly appears as an equal to Goya's. Nevertheless Guernica's Minotaur and horse have the same roles as in the Minotauromachie, and the weeping woman is the sister of the slaughtered women of the former artwork.
His meeting with Marie-Thérèse in 1927 is a triumph for his virility. He chooses a young woman by reference to a canon of beauty that will compete with Matisse's odalisques, he invites her to follow him and she gives herself to him lastingly. He is so proud that he portrays himself as a sexual bully, the Minotaur, from the early 1930s.
In August 1934, Pablo attends bullfights. Olga who accompanies him on this trip certainly did not anticipate the lustful passions that this experience was to generate to her husband in his fifties. Conceived in December 1934, the plate 97 of the Suite Vollard is a blind Minotaur guided by a young girl at night, a confrontation between the artist's sexual brutality and the lost innocence of Marie-Thérèse.
How did he come not to manage or even foresee what will happen next ? Marie-Thérèse is pregnant and Olga leaves him. At the beginning of 1935 he is so taken aback that he nearly stops working.
His restart takes place in July 1935, by practicing copperplate engraving with Roger Lacourière. He must concentrate on mastering this technique, for which he designs an image that synthesizes his questioning on the three ages of life and on death.
The most visible character in La Minotauromachie is the enormous mythological brute with the head of a bull on a human body, the Pablo of today. It has just defeated the pregnant woman, a dying torera on a gutted horse. In a theater box, two young women watch this weird corrida, with a remaining hope symbolized by two doves. The innocent little girl stops the bull with a candle of peace and a bouquet. The old man, Picasso tomorrow, flees on a ladder that leads to nowhere.
The final state of the Minotauromachie is the seventh, 50 x 69 cm on a 57 x 77 cm sheet. It is printed by Lacourière in 50 copies. Picasso intended these images to be presented sparingly to his best friends, away from the trade. The copy 2/50 was sold for $ 2.63M by Christie's on May 12, 2016, lot 18 C.
Some artist's proofs had also bee printed. Picasso did not dare to part with them, certainly because for once he had revealed his most intimate feelings. About 25 of them remained in his deceased estate. Here are some results on prints from that provenance :
$ 2.1M by Christie's on November 16, 2016, lot 42 B. It was withdrawn by Sotheby's before the sale of October 22, 2020, lot 33.
£ 1.02M by Sotheby's on June 23, 2014,
$ 1.33M by Christie's on May 13, 2019.
£ 975K by Phillips in London on January 23, 2020, lot 1.
The tragic characters of the Minotauromachie precede by fourteen months the beginning of the Spanish civil war. In 1937 with Guernica, Picasso's anti-war message suddenly appears as an equal to Goya's. Nevertheless Guernica's Minotaur and horse have the same roles as in the Minotauromachie, and the weeping woman is the sister of the slaughtered women of the former artwork.
1937 La Femme qui Pleure
Intro
In May 1937 Picasso designed his large mural commissioned by the Spanish Republican government for the pavilion of the Universal Exhibition of Paris. He chose the unsustainable horror of the bombing of Guernica that had happened on April 26, 1937.
Picasso's sensitivity is exacerbated in 1937. The softness of Marie-Thérèse is no more sufficient to provide him the ideal vision of the woman. He refuses the divorce requested by Olga. His new muse met in the previous year, Dora, active, aggressive, politically engaged, has another behavior.
Pablo said later that Dora always symbolized for him the weeping woman, basically meaning the suffering woman. She thus became a model for the mater dolorosa, understood by the artist as an attitude ranging from a passive sentimentality to an activist rage against oppression.
Dora accompanies the gradual creation of Guernica and produces a photographic report of the preparation of the artwork. A crying woman could be a candidate to enter this terrible scene. He sketched and painted various figures of La Femme qui pleure.
He gave up featuring the weeping woman within Guernica, probably after appreciating that the image of victimized women based on Marie-Thérèse will better reinforce his political message on the horror of war.
He was nevertheless still haunted by that image. During a single day, July 1, he executed seven consecutive printed states of La Femme qui pleure, 69 x 49 cm on 77 x 57 cm sheet size. Satisfied by the third and by the last state, he printed and numbered fifteen copies each from both of them. He completed Guernica three days later.
The difference is significant between the third and seventh state. The lines become darker and stronger, especially in the hair. In the final state, the rage expressed by Dora matches in intensity the message of Guernica.
This work is designated as La Femme qui pleure I to differentiate it from a later image.
Picasso's sensitivity is exacerbated in 1937. The softness of Marie-Thérèse is no more sufficient to provide him the ideal vision of the woman. He refuses the divorce requested by Olga. His new muse met in the previous year, Dora, active, aggressive, politically engaged, has another behavior.
Pablo said later that Dora always symbolized for him the weeping woman, basically meaning the suffering woman. She thus became a model for the mater dolorosa, understood by the artist as an attitude ranging from a passive sentimentality to an activist rage against oppression.
Dora accompanies the gradual creation of Guernica and produces a photographic report of the preparation of the artwork. A crying woman could be a candidate to enter this terrible scene. He sketched and painted various figures of La Femme qui pleure.
He gave up featuring the weeping woman within Guernica, probably after appreciating that the image of victimized women based on Marie-Thérèse will better reinforce his political message on the horror of war.
He was nevertheless still haunted by that image. During a single day, July 1, he executed seven consecutive printed states of La Femme qui pleure, 69 x 49 cm on 77 x 57 cm sheet size. Satisfied by the third and by the last state, he printed and numbered fifteen copies each from both of them. He completed Guernica three days later.
The difference is significant between the third and seventh state. The lines become darker and stronger, especially in the hair. In the final state, the rage expressed by Dora matches in intensity the message of Guernica.
This work is designated as La Femme qui pleure I to differentiate it from a later image.
1
State 3
2013 SOLD for $ 2.63M by Christie's
The number 8/15 from the third state was sold for $ 2.63M by Christie's on November 5, 2013, lot 8.
Another copy from the same state was sold for £ 1.1M from a lower estimate of £ 500K by Sotheby's on September 16, 2010.
Another copy from the same state was sold for £ 1.1M from a lower estimate of £ 500K by Sotheby's on September 16, 2010.
2
State 7 3/15
2011 SOLD for $ 5.1M by Christie's
The number 3/15 of the seventh and final state was sold for $ 5.1M by Christie's on November 1, 2011 from a lower estimate of $ 1.5M, lot 2.
This print had been presented in 1938 by Picasso to Juan Larrea who had been instrumental in managing the British tour of Guernica.
This print had been presented in 1938 by Picasso to Juan Larrea who had been instrumental in managing the British tour of Guernica.
3
State 7 8/15
2014 SOLD for £ 3.2M by Sotheby's
The number 8/15 of the seventh state was sold for £ 3.2M from a lower estimate of £ 1.2M by Sotheby's on February 5, 2014, lot 19.
4
State 7 11/15
2015 SOLD for $ 4.6M by Christie's
The number 11/15 of the seventh state was sold for $ 4.6M by Christie's on May 14, 2015, lot 5C.
