Picasso, La Petite Colombe (Mourlot 174; Cramer 55) (after)

1949

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vol. VII, N° 27-28, 1952. P...

This exquisite lithograph and pochoir after Marc Chagall (1887–1985), titled Femme a l'oiseau (Woman with Bird), from the album Douze Contemporains (Twelve Contemporaries), originate...

This exquisite lithograph after Jean Cocteau (1889–1963), titled L’Ange (The Angel), from the album Les Cavaliers d'Ombre; Sous le Manteau de Feu (The Horsemen of Shadow; Under the C...

This exquisite collotype after Max Ernst (1891–1976), titled L'Origine de la pendule (The Origin of the Clock), from the album Max Ernst, Histoire Naturelle (Natural History), origin...

Artist: Pablo Picasso Title: Claude Medium: Lithograph Date: 1950 Edition: 2000 Frame Size: 20 3/4" x 18" Sheet Size: 12 3/4" x 9 3/4" Reference: Cramer 60

The White Eagle is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.5 x 8.15 inches, unsigned as issued, and framed in a contemporary silver and gray moulding. One of about 36 prints that exist with Picasso's remarqued title in French, from the edition of 262 (there were 226 portfolios, some with additional sets on varying papers). Catalogue - Cramer #37 The exceptional etchings from Picasso’s Histoire Naturelle – Textes de Buffon are a masterful combination of sugar-lift aquatint and drypoint, showcasing a full range of gray tonalities. The etchings of animals, birds and insects are considered some of the most beautiful and most unusual examples of Picasso’s graphic work. Roger Lacourière, Picasso’s master printer, pulled the prints for each etching between 1939-1942. It was Lacourière who taught Picasso the sugar-lift aquatint technique which allowed him to mimic the effect of brushstrokes in these etched images. Picasso first explored the technique in his plates for the Vollard Suite, but it was in the creation of the Buffon images that he fully realized its stunning, painterly potential. For the edition, 226 portfolios were produced with the first thirty-six counting as deluxe compilations. These rare deluxe sets were on diverse papers (chine, japon or vergé ancien) and each included a complete additional suite showing Picasso’s title remarques along the bottom. As such, the remarqued versions of the prints are quite rare with just thirty-six of each produced for the edition (with the exception of The Wolf which is never remarqued – the image always fills the entire etching plate). These prints are based on the writings of French naturalist Georges-Louis Leclerc, Comte de Buffon, who extensively documented the natural world in his monumental work Histoire Naturelle. Picasso’s association with the project to illustrate parts of the Buffon came during a tumultuous time in European history – the prelude to, and early years of, World War II. As the continent was ravaged, Picasso lived through the disaster in Paris, which the Germans occupied in 1940. These prints could be seen as a political statement – Picasso channeling his artistic expression into a form of resistance art...

This original lithograph is hand signed in pencil by the artist "Picasso" at the lower right margin. It is one of five artist’s proofs aside from the standard edition of 50. It was p...

after Georges Braque Oiseaux Color Pochoir on Paper Published in the deluxe art review, XXe Siecle (issue number 11 "Les nouveaux rapports de l'art et de la nature") 1958 Dimensions:...