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Portrait de Femme (Bloch 292; Baer 611)
細節
Pablo Picasso (1881-1973)
Portrait de Femme (Bloch 292; Baer 611)
drypoint, 1936, on Auvergne Richard de Bas paper, with stamped signature, numbered in pencil 24/50 (there were also 19 artist's proofs), printed in 1961, published by Galerie Louise Leiris, Paris, the full sheet, two foxmarks in the lower right margin, apparently in good condition, unexamined out of the frame
P. 345 x 248 mm., S. 515 x 400 mm.
Portrait de Femme (Bloch 292; Baer 611)
drypoint, 1936, on Auvergne Richard de Bas paper, with stamped signature, numbered in pencil 24/50 (there were also 19 artist's proofs), printed in 1961, published by Galerie Louise Leiris, Paris, the full sheet, two foxmarks in the lower right margin, apparently in good condition, unexamined out of the frame
P. 345 x 248 mm., S. 515 x 400 mm.
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更多詳情
The present work is part of a group of prints commonly known as 'La caisse à remords' or box of regrets.
In 1960, while Picasso was moving from Cannes to Notre-Dame-de-Vie near Mougins, a cache of printing plates, some decades old, was unearthed.
The artist, intrigued by his finding, asked Jacques Frelaut, a printer at Lacourier's studio in Paris, to print a trial run to see how the printing plates had survived. From a total of 101 plates it was decided that the best 45 would, at last, be printed in an edition of 50 in 1961. Frelaut, a friend of the artist, was very aware that in order to keep Picasso fully involved until the completation of the project. It was essential that only small groups of prints were sent to Picasso for signing, as anything larger ran the risk of being put off until Picasso could 'find the time', which he never would. Regrettebly, Daniel Henry Kahnweiler, legendary dealer and owner of Gallery Louise Leiris, dismissed this advice and sent the entire edition to Picasso. As Frelaut predicted the box was put to one side and eventually forgotten under piles of new work.
It was not until twenty years later (1980), by which time it had been christened 'box of regrets', that the artist's heirs authorised Galerie Louise Leiris to issue them. Under their supervision, a stamped signature and edition number was applied to each impression.
In 1960, while Picasso was moving from Cannes to Notre-Dame-de-Vie near Mougins, a cache of printing plates, some decades old, was unearthed.
The artist, intrigued by his finding, asked Jacques Frelaut, a printer at Lacourier's studio in Paris, to print a trial run to see how the printing plates had survived. From a total of 101 plates it was decided that the best 45 would, at last, be printed in an edition of 50 in 1961. Frelaut, a friend of the artist, was very aware that in order to keep Picasso fully involved until the completation of the project. It was essential that only small groups of prints were sent to Picasso for signing, as anything larger ran the risk of being put off until Picasso could 'find the time', which he never would. Regrettebly, Daniel Henry Kahnweiler, legendary dealer and owner of Gallery Louise Leiris, dismissed this advice and sent the entire edition to Picasso. As Frelaut predicted the box was put to one side and eventually forgotten under piles of new work.
It was not until twenty years later (1980), by which time it had been christened 'box of regrets', that the artist's heirs authorised Galerie Louise Leiris to issue them. Under their supervision, a stamped signature and edition number was applied to each impression.