Picasso LA CELESTINE Bloch 1587 Framed ETCHING 1968

 

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PICASSO

LA CELESTINE Bloch 1587 FRAMED ETCHING 1968

 

We are very pleased to offer this Picasso LA CELESTINE Bloch 1587 FRAMED ETCHING. It was purchased from Martin Lawrence Galleries. The etchings done for La Celestine are part of the famous "347" series. There was a total of 66 intaglios. Our offering is beautifully and professionally framed by the Martin Lawrence Galleries. The frame itself measures 18 1/2 inches by 17 1/4 inches. It is in excellent condition ready to hang in a special place in your home.

 

Editions of La Célestine

The 66 intaglios, which include etching, aquatint, dry-point, burin, engraving and combinations of techniques done for La Célestine are also a part of the famous “347 Series” and were produced in the following editions:

• 400 illustrated books were published in 1968. Each book with 66 unsigned intaglios on Richard-de-Bas laid paper, watermarked “La Celestine,” accompanied with text of the novel.
  • 350 copies, numbered from 1 to 350 and signed in pencil by Picasso on the Justification page
  • 30 hors commerce copies, numbered from I to XXX
  • 18 copies printed with the names of specific persons
  • 2 deposit copies, marked 0 and 00
• The intaglios were also printed as an edition of 50 on wide-margined Rives, with each impression being hand-signed by Picasso in pencil and numbered from 1/50 to 50/50. These were a part of the “347 Series” published in 1968.
• Nine impressions of all 66 plates appearing on one sheet, signed in red pencil and numbered from 1/9 to 9/9
• Seventeen “epreuve d’artiste” (artist proof) impressions on wide-margined Rives, each impression hand-signed in pencil by Picasso, annotated “epreuve d’artist.” These were a part of the “347 Series” published in 1968.

Between March 16 and October 5, 1968 Picasso worked on the plates for the “347 Series,” including the 66 images chosen for “La Celestine” almost daily, using various techniques (sometimes on the same plate); he was anxious to see the proof impressions pulled by Aldo and Piero Crommelynck, who had installed their atelier at Mougins in 1963 to work for him. The relationship between the artist and the brothers Crommelynck who were familiar with the demands and the working process of Picasso, was responsible for the extraordinary output of intaglio prints he created at the end of his life, a creative output which has yet to matched by any artist in history. Picasso said in his later years that if he only made one impression of the intaglios upon which he worked at this time, he would have still continued to make them as the continuing process of engraving and proofing the plates was so appealing, engrossing and challenging to him.

The cancelled plates for “La Celestine” were deposited by the Crommelynck brothers to the Musee Picasso, Paris, where they still remain.

 

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