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<Provenance: <The archives of Jfiaa[go.Jlrnera

The world’s favourite artist is also the most collected. Themarket for works by Picasso is highly liquid, buoyant and canbe extremely rewarding. His desire to push the boundariesof printmaking produced many of the worlds mosthistorically important and technically accomplished works.

Picasso’s graphic oeuvre spans more than seven decades,from 1899 to 1972. His published prints total approximately2000 different images pulled from metal, stone, wood,linoleum and celluloid. His unpublished prints, perhaps 200more, have yet to be exactly counted.

Picasso’s prints demonstrate his intuitive and characteristicability to recognize and exploit the possibilities inherent inany medium in which he chose to work. Once he hadmastered the traditional methods of a print medium, likeetching on metal, Picasso usually experimented further,pursuing, for example, scarcely known intaglio techniquessuch as sugar-lift aquatint. The printed graphic work ofPicasso shows a clearly defined succession of periods inwhich certain techniques predominated.

Pablo Picasso. 1881 -1973

Picasso has astonished the ablest printmakers again and again. It is not only that he mastered the difficulties of new techniques with playful ease; he soon went on to obtain results that had hitherto been deemed impossible. A virtuoso craftsman in engraving, etching, lithography and linocut, he explored their secrets with patience and love and elicits from each medium the very subtlest effects the medium allows. It is hardly surprising that five, ten or even thirty states were sometimes necessary before a masterpiece emerged from his hands.

We specialise in supplying only the finest works from Pablo Picasso’s graphic oeuvre; and offer the discerning investor works of the utmost rarity and investment potential.

Picasso first started experimenting with Linocuts during the early 1950s. At this time, he lived mostly in the town of Vallauris in the South of France, but the distance fromParis, where the typographers he was used to working with were located, made his work difficult. So he began to experiment with cutting linoleum, which was a much simpler method, using a knife, gouge or chisel. Famed for his mastery of technique, Picasso found perfect expression through Linogravure becoming completely absorbed by the process; he worked with his printer, Hidalgo Arnéra on a daily basis.

Because he found the traditional technique he used to create The Portrait of a Girl after Cranach (1958), his first colour linocut, rather time-consuming, he decided to invent a simpler way to apply the method. Instead of using a different linoleum surface for each colour, he would cut into the same surface. He cut and printed according to the number of colours he wanted to use in each work. From 1959 to 1962, Picasso made about 100 linoleum engravings using his new method.

Rental available

Serenade for the woman in an armchair. 1959

A set of both working states for this subject, including the finished state.

Rental available

Extract from the Printworld Directory 2015(Page 953)

Recent auction data (Christies 2007)

In January of this year The British Museum acquired 13 Picasso linocuts for GBP 500,000. These linocuts are considered as the most important within their works on paper collection. They are progressive proofs showing the creative genius of the world’s greatest artist as he worked his way towards a finished image.

http://www.artfund.org/news/2014/01/07/unique-picasso-linocuts-bought-for-british-museum

This further link is to the British daily Newspaper The Guardian, one of many newspapers to run the story this year.

http://www.theguardian.com/artanddesign/2014/jan/06/british-museum-buys-picasso-still-life-linocuts

To watch a 3 minute film showing the British Museums Picasso progressive proof

Collection. Please click the link below

Linocut printed in colours, 1959

Bloch 0917; Baer 1232

A set of both working states for this subject, including the finished state.

Two impressions:

1. Baer's first state of two, I.A (of II B.b) Printed in brown over a light brown background. Baer records only one or two such impressions. Exceptionally rare in this form.

2. Baer's second state of two, II.A (of II B.b) 'Epreuve d'essai' of the definitive form before the edition of 50, printed byImprimerie Arnéra and published by Galerie Louise Leiris. Baer records three such impressions.

Both impressions stamped in ink on the verso, "Imprimerie Arnéra Archives / Non Signé".

Image Size : 53 x 64cm (20.9 x 25.2in) Sheet Size : 60 x 75cm (23.6 x 29.5in)

The impeccable provenance of the preceding works underlines its historical importance as a record of Picasso’s creative process. Its excellent condition is in line with its archived storage history.

Provenance: The archives of Hidalgo Arnera