Christopher Clark Fine Art
GalleryUSA
About Artist:
Picasso’s prints demonstrate his intuitive and characteristic ability to recognize and exploit the possibilities inherent in any medium in which he chose to work. Between 1919 and 1930 he occasionally turned his hand to lithography. Then, in the etchings of the Vollard series, his creative powers reached a first culminating point. Most of the compositions that followed during the war years were intended for book illustrations. In 1939, on the eve of the Second World War, Picasso carved his first linoleum cut
After World War II, Picasso’s production as a printmaker substantially increased and the etching and engraving continued to be his favorite medium for graphic expression. During several concentrated spans of time, however, he was profoundly involved with two other techniques: first lithography on stone, (and its surrogate, zinc) and subsequently, linocut, a relief method of carving and printing similar to woodcut but utilizing a linoleum instead of a wood surface. Picasso adapted the processes of both lithography and linocut to his own language and to his individual methods as a peintre-graveur. His continual inventiveness sometimes challenged his collaborators, the printers, to the limits of their own skills as craftsmen.
Pablo Picasso
Tete de Femme
- 1945
- 9 x 12 inches
- Fine Art Category: prints
- Medium: Lithograph
- Published: 1945
- Origin: France
- Certificate of Authenticity: yes
- Issued by: Christopher Clark Fine Art
- Signed: Signed lower left
- No / Edition: 50
- Comments:
12 ¼ x 9 5/8 inches
Sheet Size: 17 ¼ x 12 7/8 inches
Original lithograph printed in black ink on wove paper bearing a portion of the “Arches” script watermark.
Hand-signed in red crayon lower left Picasso, dated on the stone lower left 2.11.45 (the date of completion of the first state).
Comes framed with museum-standard archival plexiglass.
A superb impression of Mourlot and the Picasso Project’s second and final state, from the numbered edition of 50, numbered in pencil lower right. Published by Galerie Louise Leiris, Paris; printed at Atelier Fernand Mourlot, Paris.
Catalog: Bloch 384; Mourlot 4 ii/ii; Güse/Rau 35; Reusse 38; Picasso Project 4 State 2.
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- Price: $42,000.00 USD
- Seller: Christopher Clark Fine Art, USA
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- Artplode ID: 2856
- Artplode Seller ID: 4118
About Artist:
Picasso’s prints demonstrate his intuitive and characteristic ability to recognize and exploit the possibilities inherent in any medium in which he chose to work. Between 1919 and 1930 he occasionally turned his hand to lithography. Then, in the etchings of the Vollard series, his creative powers reached a first culminating point. Most of the compositions that followed during the war years were intended for book illustrations. In 1939, on the eve of the Second World War, Picasso carved his first linoleum cut
After World War II, Picasso’s production as a printmaker substantially increased and the etching and engraving continued to be his favorite medium for graphic expression. During several concentrated spans of time, however, he was profoundly involved with two other techniques: first lithography on stone, (and its surrogate, zinc) and subsequently, linocut, a relief method of carving and printing similar to woodcut but utilizing a linoleum instead of a wood surface. Picasso adapted the processes of both lithography and linocut to his own language and to his individual methods as a peintre-graveur. His continual inventiveness sometimes challenged his collaborators, the printers, to the limits of their own skills as craftsmen.
