Picasso / Vollard, Prints from the Stock of the Artist's Publisher

Picasso / Vollard

Prints from the Stock of the Artist’s Publisher

Marc Rosen Fine Art Presents

Picasso / Vollard

Prints from the Stock of the Artist’s Publisher October 6 th through November 14 th, 2015 Adelson Galleries The Crown Building 730 Fifth Avenue, 7th Floor New York, NY 10019 212.439.6800

info@adelsongalleries.com Monday - Friday 10-6 Saturday 10-5 For further information about the works:

Marc Rosen Fine Art, Ltd. New York, NY 212.535.5283 info@marcrosenfineart.com

Picasso / Vollard

Prints from the Stock of the Artist’s Publisher Over 60 graphic works by Pablo Picasso from 1905 – 1937 Presented by Marc Rosen Fine Art at Adelson Galleries October 6th through November 7th

T

he relationship between Picasso and art dealer, Ambroise Vollard began in Paris in 1901, when Vollard gave the artist his first one-man show.

Vollard later acquired the copper plates for Picasso’s 1904-05 series of prints evoking the lives of street performers, which he published in 1913 in a large edition, known as La Suite des saltimbanques. A small number of proofs of each subject were printed in 1905, and Vollard had two or three additional proofs printed from each plate before having the plates steel-faced. The exhibition includes several proofs, including the finest impression known of a classic Blue Period image of a seated clown, Le Saltimbanque au repos.

Another exceptional early work is a unique impression of two woodcuts from 1907, L’Aigle and Le Poussin, carved on one block, and hand-printed by the artist in gouache on a single sheet. Only a small number of the separately printed images exist, and no other example is known of the two subjects printed together.

The Suite Vollard, one of the greatest print projects of the 20th century, began early in 1934, when Picasso wanted to buy a Renoir and a Cézanne from Vollard.

They agreed to exchange a body of the artist’s works on copper for the two paintings.

Eventually, the suite grew to 100 works in a wide range of etching and engraving techniques, encompassing some of Picasso’s most significant themes (artist and model, the battle of love, the minotaur). Thirty-six of the best-known subjects from the deluxe edition of 50 of the Suite Vollard will be on view.

An extremely rare, signed deluxe edition set will be shown by appointment only.

Selected catalogue references: Georges Bloch, Pablo Picasso – Catalogue de l’oeuvre gravé et lithographié 1904 – 1967, Berne, Editions Kornfeld et Klipstein, 1968, Vol. I Brigitte Baer, Picasso Peintre-Graveur (Suite aux catalogues de Bernhard Geiser), Berne, Editions Kornfeld, 1990 – 1996, Vols. I – VII Bolliger, Hans, Picasso’s Vollard Suite, New York, Thames & Hudson, 1985, and reprints. (The subjects are arranged here thematically and assigned “S.V.” numbers.)

7

TĂŠTE DE FEMME, 1905

Etching, from the Saltimbanques Suite, one of 27 or 29 impressions on Japan paper (total edition c. 279), published in 1913, the full sheet Sheet 19 1/8 x 13 1/8 in.

Plate 4 3/4 x 3 1/2 in.

References: Bloch 2; Geiser/Baer 3

8

9

LES PAUVRES, 1905

Etching, from the Saltimbanques Suite, one of two proofs before steel-facing printed by Fort, before the edition published in 1913, on fine wove paper from an old album, the full sheet Sheet 17 1/2 x 11 3/4 in.

Plate 9 1/4 x 7 in.

References: Bloch 3; Geiser/Baer 4

10

11

LES PAUVRES, 1905 Etching, from the Saltimbanques Suite, from the total edition of c. 279, published in 1913, on Van Gelder wove paper, the full sheet Plate 9 1/4 x 7 in.

Sheet 20 1/8 x 13 in.

References: Bloch 3; Geiser/Baer 4

12

13

TÊTE DE FEMME DE PROFIL, 1905

Drypoint, from the Saltimbanques Suite, from the total edition of c. 279, published in 1913, on Van Gelder wove paper, the full sheet Sheet 26 x 20 1/16 in.

Plate 11 1/2 x 9 7/8 in.

References: Bloch 6; Geiser/Baer 7

14

15

LE SALTIMBANQUE AU REPOS, 1905 Drypoint, from the Saltimbanques Suite, signed in pencil, a superb, early proof, before steel-facing, with strong burr and plate tone, on an irregular sheet of Arches laid paper Plate 4 3/4 x 3 3/8 in.

Sheet 12 x 9 3/4 in.

References: Bloch 10; Geiser/Baer 12 This exceptionally rich and vivid impression is evidently the earliest proof taken, before the small number printed for the artist by Delâtre in 1905.

16

17

LE SALTIMBANQUE AU REPOS, 1905

Drypoint, from the Saltimbanques Suite, from the total edition of c. 279, published in 1913, on Van Gelder wove paper, the full sheet Plate 4 3/4 x 3 3/8 in. Sheet 20 1/8 x 13 in.

References: Bloch 10; Geiser/Baer 12

18

19

LA FAMILLE DE SALTIMBANQUES AU MACAQUE, 1905

Drypoint, from the Saltimbanques Suite, signed in pencil, one of two proofs before steel-facing printed by Fort in 1913, on a sheet of fine wove paper from an old album, inscribed in pencil in the lower edge, 1er état – HP (Henri Petiet) Sheet 17 3/4 x 11 5/8 in.

Plate 9 3/8 x 7 in.

References: Bloch 11; Geiser/Baer 13

This subject was not published in the Saltimbanques Suite, because oxidation ruined the plate during steel-facing, and Vollard had most of the intended edition destroyed.

Picasso signed this impression for Henri M. Petiet for the exhibition of the artist’s graphic works, Pablo Picasso: L’Oeuvre gravé, held at the Bibliothèque Nationale, Paris, June – September, 1955. This important exhibition also marked the first public showing of prints from the Suite Vollard.

20

21

LE BAIN, 1905

Drypoint, from the Saltimbanques Suite, a fine proof with strong burr, one of two impressions before steel-facing printed by Fort, before the edition published in 1913, on heavy wove paper, the full sheet Sheet 25 5/8 x 19 3/4 in.

Plate 13 3/8 x 11 3/8 in.

References: Bloch 12; Geiser/Baer 14

22

23

LA TOILETTE DE LA MÈRE, 1905

Etching, from the Saltimbanques Suite, from the total edition of c. 279, published in 1913, on Van Gelder wove paper, the full sheet Sheet 20 1/8 x 13 1/8 in.

Plate 9 1/4 x 7 in.

References: Bloch 13; Geiser/Baer 15

24

25

SALOMÉ, 1905

Drypoint, from the Saltimbanques Suite, from the total edition of c. 279, published in 1913, on Van Gelder wove paper, the full sheet Sheet 25 7/8 x 20 1/16 in.

Plate 15 3/4 x 13 5/8 in.

References: Bloch 14; Geiser/Baer 17

26

27

LA DANSE, 1905

Drypoint, from the Saltimbanques Suite, signed in pencil, a fine proof before steel-facing, printed with strong tone, on fine wove paper from an old album Plate 7 1/4 x 9 1/8 in. Sheet 11 5/8 x 17 1/2 in.

References: Bloch 15; Geiser/Baer 18

Picasso signed this impression for Henri M. Petiet for the exhibition of the artist’s graphic works, Pablo Picasso: L’Oeuvre gravé, held at the Bibliothèque Nationale, Paris, June – September, 1955. This important exhibition also marked the first public showing of prints from the Suite Vollard.

28

29

L’ÉTREINTE, 1905

Etching, from the cancelled plate, signed in pencil, printed on fine wove paper from an old album, the full sheet Sheet 11 5/8 x 17 1/2 in.

Plate 7 x 9 1/4 in.

References: Geiser/Baer 16

Picasso signed this impression for Henri M. Petiet for the exhibition of the artist’s graphic works, Pablo Picasso: L’Oeuvre gravé, held at the Bibliothèque Nationale, Paris, June – September, 1955. This important exhibition also marked the first public showing of prints from the Suite Vollard.

30

31

L’AIGLE and LE POUSSIN, 1907

Two woodcuts, carved by the artist on a single block of fruitwood, and hand-printed by him in black and blue gouache on a sheet of lightweight wove paper, signed in pencil Sheet 9 1/2 x 6 1/8 in.

References: Geiser/Baer 213 and 214

This appears to be the only known example in which Picasso printed the two subjects together. Only a small number of the separate images (in varying colors) were printed: four of L’Aigle and seven of Le Poussin.

32

33

L’ITALIĂˆNNE, 1919

Etching, signed in pencil and numbered from the edition of 50, on Arches laid paper, the full sheet Plate 5 7/8 x 3 7/8 in. Sheet 10 5/8 x 7 5/8 in.

References: Block 34; Geiser/Baer 56; Cramer 8

34

35

LA SOURCE, 1921

Drypoint with burin, a fine proof, signed in pencil and inscribed ‘epreuve d’artiste’ (one of 15 artist’s proofs of which 10 were signed; aside from the edition of 100), published by Marcel Guiot, on Montval fine laid paper, the full sheet Plate 7 x 9 3/8 in. Sheet 13 1/4 x 17 3/4 in.

References: Bloch 45; Geiser/Baer 61

36

37

GROUPE DE TROIS FEMMES, 1923

Drypoint with etching, a fine proof, signed in pencil and inscribed ‘epreuve d’artiste’ (one of 15 artist’s proofs of which 10 were signed; aside from the edition of 100), published by Marcel Guiot, on Montval laid paper, the full sheet Sheet 15 5/8 x 11 7/8 in.

Plate 7 x 5 1/8 in.

References: Bloch 57; Geiser/Baer 102

38

39

LES TROIS AMIES, 1927

Etching, signed in red brush and numbered 76/100 (total edition 150), published by Vollard, on Arches wove paper, the full sheet Sheet 22 3/8 x 17 1/2 in.

Plate 16 1/4 x 11 5/8 in.

References: Bloch 76; Geiser/Baer 117

40

41

HOMME ET FEMME, 1927

Etching, signed in grey brush and numbered 149/250, published by Vollard, on sturdy wove paper, the full sheet Plate 7 5/8 x 11 in. Sheet 17 7/8 x 22 7/8 in.

References: Bloch 77; Geiser/Baer 118

42

43

L’ATELIER, 1927

Etching, signed in red brush and numbered 72/150, published by Vollard, on japon ancien, the full sheet Sheet 19 1/8 x 22 1/4 in.

Plate 13 ž x 15 5/8 in.

References: Bloch 80; Geiser/Baer 121

44

45

FIGURE, 1929

Lithograph, an unsigned proof, from the separate edition of unrecorded number on Japan nacrÊ (300 impressions were printed on lightweight wove paper to accompany the periodical, Le Manuscrit autographe, May – June, 1929), the full sheet Sheet 16 1/2 x 11 1/2 in.

Image 9 5/16 x 5 7/16 in.

References: Bloch 96; Geiser/Baer 246 c/c

46

47

LE PEINTRE ET SON MODELE, 1930

Lithograph, signed in pencil, a proof on Japan paper, aside from the total edition of 60 on chine appliquĂŠ, the full sheet Sheet 12 3/4 x 19 5/8 in.

Image 9 1/4 x 11 1/2 in.

References: Bloch 98; Geiser/Baer 247 a/c

Baer did not know of proofs on this paper, which is much smoother than Arches and therefore takes a stronger though still clear impression. Picasso chose chine appliquĂŠ for the edition, possibly because it comes closer to the visual effect of printing on Japan.

48

49

DEUX FEMMES NUES, 1930

Etching, signed in yellow brush and numbered 63/125, on wove paper, the full sheet Sheet 22 7/8 x 18 in.

Plate 12 1/4 x 8 7/8 in.

References: Bloch 132; Geiser/Baer 199

50

51

DEUX NUS ASSIS, 1930

Etching, a fine impression of the second state of three, signed in pencil and numbered 6/10, on Rives wove paper, the full sheet Sheet 19 5/8 x 12 3/4 in.

Plate 12 1/4 x 8 7/8 in.

References: Bloch 133; Geiser/Baer 200 II/III

52

53

DEUX NUS ASSIS, 1930

Etching, final state, signed in pencil and numbered 89/100, printed with delicate tone, with the blindstamp of the publisher, Jacquart: Editions le Nouvel Essor, on Rives wove paper, the full sheet Sheet 21 7/8 x 15 1/4 in.

Plate 10 1/8 x 7 1/4 in.

References: Bloch 133; Geiser/Baer 200 III/III

54

55

The Suite Vollard

P

icasso executed 97 plates of the Suite Vollard between September 1930 and June 1936. He added three portraits of Vollard in 1937 to complete the series, which was printed before Vollard’s death in 1939. The deluxe edition of 50 sets was printed first, on large format Montval laid paper. (The regular edition of 260 sets was printed on smaller format Montval.)

Vollard’s death and the onset of World War II prevented the publication of the suite, which was acquired in its entirety by the connoisseur and art dealer, Henri M. Petiet.

In the mid-1950s, Petiet coaxed Picasso to begin signing a few complete suites, and selected subjects. By 1969, Picasso had stopped signing prints from the Suite, and a large part of the edition remained unsigned.

Henri Petiet used his own numbering system for the plates of the Suite Vollard.

He or an assistant frequently inscribed these numbers in pencil in the lower left edge of each sheet.

56

57

HOMME DÉVOILANT UNE FEMME, 1931

Drypoint, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 19 7/8 x 15 1/4 in.

Plate 14 3/8 x 11 3/4 in.

References: Bloch 138; Geiser/Baer 203; S.V. 5; HP 203

58

59

FEMME NUE DEVANT UNE STATUE, 1931

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 19 7/8 x 15 1/4 in.

Plate 12 1/4 x 8 3/4 in.

References: Bloch 139; Geiser/Baer 205; S.V. 6; HP 205

60

61

FEMMES SE REPOSANT, 1931

Drypoint, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 11 7/8 x 14 3/8 in.

References: Bloch 143; Geiser/Baer 210; S.V. 10; HP 210

62

63

SCULPTEUR, MODÈLE ACCROUPI ET TÊTE SCULPTÉE, 1933

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 19 7/8 x 15 1/4 in.

Plate 14 1/2 x 7 5/8 in.

References: Bloch 155; Geiser/Baer 308; S.V. 39; HP 340

64

65

LE REPOS DU SCULPTEUR DEVANT UN NU À LA DRAPERIE, 1933

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 19 7/8 x 15 1/4 in.

Plate 10 1/2 x 7 5/8 in.

References: Bloch 160; Geiser/Baer 313; S.V. 51; HP 312

66

67

LE REPOS DU SCULPTEUR DEVANT LE PETIT TORSE, 1933

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 7 5/8 x 10 1/2 in.

References: Bloch 162; Geiser/Baer 315; S.V. 53; HP 314

68

69

SCULPTEUR ET SON MODÈLE DEVANT UNE FENÊTRE, 1933

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 7 5/8 x 10 1/2 in.

References: Bloch 168; Geiser/Baer 321; S.V. 59; HP 321

70

71

LE REPOS DU SCULPTEUR, II, 1933

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 7 5/8 x 10 1/2 in.

References: Bloch 172; Geiser/Baer 325; S.V. 63; HP 324

72

73

LE REPOS DU SCULPTEUR, IV, 1933

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 7 5/8 x 10 1/2 in.

References: Bloch 174; Geiser/Baer 327; S.V. 65; HP 326

74

75

MODÈLE CONTEMPLANT UN GROUPE SCULPTÉ, 1933 Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 19 7/8 x 15 1/4 in.

Plate 14 1/2 x 11 3/4 in.

References: Bloch 175; Geiser/Baer 328; S.V. 66; HP 327

76

77

TROIS FEMMES NUES PRÈS D’UNE FENÊTRE, 1933

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 19 7/8 x 15 1/4 in.

Plate 14 1/2 x 11 3/4 in.

References: Bloch 176; Geiser/Baer 329; S.V. 67; HP 328

78

79

SCULPTEUR ET MODÈLE DEBOUT, 1933

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 19 7/8 x 15 1/4 in.

Plate 14 1/2 x 11 3/4 in.

References: Bloch 177; Geiser/Baer 330; S.V. 68; HP 329

80

81

SCULPTEUR ET MODÈLE AGENOUILLÉ, 1933

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 19 7/8 x 15 1/4 in.

Plate 14 1/2 x 11 3/4 in.

References: Bloch 178; Geiser/Baer 331; S.V. 69; HP 330

82

83

SCULPTURE D’UN JEUNE HOMME À LA COUPE, 1933

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 19 7/8 x 15 1/4 in.

Plate 10 1/2 x 7 5/8 in.

References: Bloch 179; Geiser/Baer 332; S.V. 70; HP 331

84

85

LE VIOL, V, 1933

Drypoint, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 11 3/4 x 14 1/2 in.

References: Bloch 182; Geiser/Baer 341; S.V. 31; HP 349

86

87

FEMME ACCOUDÉE, SCULPTURE DE DOS ET TÊTE BARBUE, 1933

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 19 7/8 x 15 1/4 in.

Plate 14 3/4 x 11 3/4 in.

References: Bloch 184; Geiser/Baer 343; S.V. 71; HP 332

88

89

MODÈLE NU ET SCUPTURES, 1933

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 19 7/8 x 15 1/4 in.

Plate 14 7/8 x 11 3/4 in.

References: Bloch 185; Geiser/Baer 344; S.V. 72; HP 333

90

91

MODÈLE ET GRANDE SCUPTURE DE DOS, 1933

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 19 7/8 x 15 1/4 in.

Plate 10 1/2 x 7 1/2 in.

References: Bloch 186; Geiser/Baer 345; S.V. 73; HP 334

92

93

MINOTAURE, UNE COUPE À LA MAIN, ET JEUNE FEMME, 1933 Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 7 5/8 x 10 1/2 in.

References: Bloch 190; Geiser/Baer 349; S.V. 83; HP 353

94

95

MINOTAURE CARESSANT UNE FEMME, 1933

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 11 3/4 x 14 1/2 in.

References: Bloch 191; Geiser/Baer 350; S.V. 84; HP 354

96

97

SCÈNE BACCHIQUE AU MINOTAURE, 1933

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 11 3/4 x 14 1/2 in.

References: Bloch 192; Geiser/Baer 351; S.V. 85; HP 355

98

99

MINOTAURE VAINCU, 1933

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 7 5/8 x 10 5/8 in.

References: Bloch 197; Geiser/Baer 365; S.V. 89; HP 359

100

101

MINOTAURE, BUVEUR ET FEMMES, 1933

Drypoint, etching, scraper and burin, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 11 3/4 x 14 3/8 in.

References: Bloch 200; Geiser/Baer 368; S.V. 92; HP 362

102

103

MINOTAURE CARESSANT UNE DORMEUSE, 1933 Drypoint, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 11 3/4 x 14 1/2 in.

References: Bloch 201; Geiser/Baer 369; S.V. 93; HP 363

104

105

SCULPTEUR ET TROIS DANSEUSES SCULPTÉES, 1934 Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 8 3/4 x 12 3/8 in.

References: Bloch 217; Geiser/Baer 421; S.V. 81; HP 346

106

107

QUATRE FEMMES NUES ET TÊTE SCULPTÉE, 1934 Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 8 3/4 x 12 3/8 in.

References: Bloch 219; Geiser/Baer 424; S.V. 82; HP 347

108

109

FEMME TORERO, II, 1934

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 19 7/8 x 15 1/4 in.

Plate 11 3/4 x 9 1/4 in.

References: Bloch 220; Geiser/Baer 426; S.V. 22; HP 378

110

111

MINOTAURE AVEUGLE GUIDÉ PAR UNE PETITE FILLE AUX FLEURS, 1934 Drypoint, scraper and burin, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 9 7/8 x 9 3/4 in.

References: Bloch 222; Geiser/Baer 434; S.V. 94; HP 380

112

113

MINOTAURE AVEUGLE GUIDÉ PAR UNE FILETTE, III, 1934 Etching, burin and scraper, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310)

Plate 8 7/8 x 12 1/4 in.

Sheet c. 15 1/4 x 19 7/8 in.

References: Bloch 224; Geiser/Baer 436; S.V. 95; HP 382

114

115

MINOTAURE AVEUGLE GUIDÉ PAR UNE FILETTE DANS LA NUIT, 1934

Aquatint, scraper, drypoint and burin, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 9 3/4 x 13 3/4 in.

References: Bloch 225 Geiser/Baer 437; S.V. 97; HP 383

116

117

GARÇON ET DORMEUSE À LA CHANDELLE, 1934

Etching, scraper, burin and aquatint, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 9 3/8 x 11 3/4 in.

References: Bloch 226; Geiser/Baer 440; S.V. 26; HP 385

118

119

PERSONNAGES MASQUÉS ET FEMME OISEAU, 1934 Etching and aquatint, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 9 3/4 x 13 3/4 in.

References: Bloch 227; Geiser/Baer 441; S.V. 24; HP 386

120

121

DEUX BUVEURS CATALANS, 1934

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 9 3/8 x 11 3/4 in.

References: Bloch 228; Geiser/Baer 442; S.V. 12; HP 376

122

123

TAUREAU AILÉ CONTEMPLÉ PAR QUATRE ENFANTS, 1934

Etching, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310) Sheet c. 15 1/4 x 19 7/8 in.

Plate 9 3/8 x 11 3/4 in.

References: Bloch 229; Geiser/Baer 444; S.V. 13; HP 377

124

125

FAUNE DÉVOILANT UNE FEMME, 1934

Aquatint, scraper and burin, from the Suite Vollard, signed in pencil, from the deluxe edition of 50 (total edition 310)

Plate 12 1/2 x 16 3/8 in.

Sheet c. 15 1/4 x 19 7/8 in.

References: Bloch 230; Baer 609; S.V. 27; HP 387

126

127

PORTRAIT DE VOLLARD. IV, 1937

Etching, from the Suite Vollard, signed, from the regular edition of 260 (total edition 310) Sheet c. 17 1/2 x 13 3/8 in.

Plate 13 5/8 x 9 5/8 in.

References: Bloch 233; Baer 619; S.V. 100

128

129

DEUX FEMMES NUES DANS UN ARBRE, 1931

Etching, signed in blue pen and ink and numbered 96/100, on Arches wove paper, the full sheet Sheet 25 3/8 x 19 1/4 in.

Plate 14 3/4 x 11 3/4 in.

References: Bloch 234; Geiser/Baer 204

130

131

LE SAUVETAGE II, 1932

Etching, signed in pencil and numbered 35/50 (total edition 65), with strong plate tone, printed and published 1961, on Arches laid paper, the full sheet Sheet 12 3/4 x 14 5/8 in.

Plate 6 1/4 x 7 7/8 in.

References: Bloch 245; Geiser/Baer 273

132

133

SUEĂ‘O Y MENTIRA DE FRANCO (Cover), 1937

The complete portfolio, with text, two etchings, printed on chine collĂŠ on Japan paper, signed in pencil and numbered 61/150, in original wrappers Sheets 15 x 22 1/2 in.

Plates 12 1/2 x 16 5/8 in.

References: Bloch 297 and 298; Geiser/Baer 615 and 616

134

135

SUEÑO Y MENTIRA DE FRANCO, 1937 References: Bloch 297; Geiser/Baer 615

SUEÑO Y MENTIRA DE FRANCO, 1937 References: Bloch 298; Geiser/Baer 616

136

137

Published on the occasion of the exhibition

Picasso / Vollard

Prints from the Stock of the Artist’s Publisher Marc Rosen Fine Art presents an exhibition of over 60 graphic works from 1905 – 1937

by Pablo Picasso at Adelson Galleries, New York.

October 6th through November 14th, 2015 © 2015 Adelson Galleries, Inc. Adelson Galleries The Crown Building 730 Fifth Avenue, 7th Floor New York, New York, 10019 212.439.6800 info@adelsongalleries.com Monday - Friday 10-6 Saturday 10-5 Photography: Hubbard Toombs Design: Alexander Stevovich Fonts: Aparajita, Times New Roman

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