An original hand-signed Pablo Picasso linocut print.
Original linocut printed in black ink from two blocks on wove paper bearing a portion of the BFK Rives watermark.
Hand-signed in pencil in the margin lower right Picasso.
A superb impression of Bloch’s definitive state (Baer’s third and final state of the first block superimposed over the only state of the second block), from the edition of 50, numbered in pencil in the margin lower left. Published by Galerie Louise Leiris, Paris; printed by Arnéra, Vallauris.
Catalog: Bloch 1181; Baer 1292 B.b.2; McVinney 80.
25 1/8 x 20 3/4 inches
Sheet Size: 29 1/2 x 24 1/2 inches
Early in his career, Picasso had mastered the traditional printmaking techniques of intaglio and lithography, integrating these techniques into his artistic output. While he remained based in Paris, the workshops of Fernand Mourlot and Roger Lacourière were close at hand for the proofing of lithographs and etchings respectively. However, in 1955, he moved with Jacqueline Roque to Cannes and in 1958 to Notre-Dame-de-Vie in Mougins. The distance from his Paris printers obviously detracted from the immediacy of his printmaking, and so Picasso returned to linocut. In this endeavor he was assisted by the master printer Hidalgo Arnéra who was living nearby in Vallauris. Until the Crommelynck brothers opened their intaglio press in Mougins in 1964, Picasso’s printmaking concentrated on linocut.