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| Image | Last Sale Date | Title | Edition No. | Last Sale | Last Sale Auction House | Last Sale Location | |
|---|---|---|---|---|---|---|---|
| Sep 12, 2013 | Le Bain | Swann Auctions | New York | ||||
Prints & Multiples
34.4 x 28.5 cm (13.54 x 11.22 in)
Drypoint
PABLO PICASSO
Le Bain .
Drypoint, 1905. 344x285 mm; 13 1/2x11 1/4 inches, full margins. Edition of 250. Printed by Louis Fort, Paris. Published by Vollard, Paris. From Saltimbanques . A very good impression of this early drypoint.
Picasso's graphic work is delineated by a clear succession in which he explored and then mastered specific printmaking techniques. He began his career with a focus on etching, and gained expertise in collaboration with such Parisian master printers as Eugène Delâtre, Louis Fort and Roger Lacourière. In the 1940s, he redirected his attention to lithography, working with Fernand Mourlot and his burgeoning Paris atelier, finally changing his direction once again in the late 1950s/1960s to the technique of linoleum cut.
Coinciding with his Rose Period (or Circus Period) of painting, Picasso's first series of etchings in 1905, generally known as La Suite des Saltimbanques , and created at the outset of his career at only 24 years old, are mostly candid representations of the lives and private moments of acrobats and gypsies. Picasso frequently attended the Cirque Médrano in Montmartre, Paris, at the time and empathized with the circus folk, just as he himself had chosen to follow the bohemian life of an artist, on the fringe and as a performer--needing to create works which would dazzle the art buying public--rather than pursue a career as a young bourgeois professional. Among the 15 prints that comprise this series is one of Picasso's greatest graphic works, and one of the most recognizable prints ever created, the melancholic portrayal of a gypsy couple at a sparsely set table, Le Repas Frugal . (Bloch 1).
The first impressions from the 15 plates in the series were pulled by Delâtre in Paris in 1904-05 and only a small number of proofs were made, which are exceedingly scarce today (some of these impressions were also hand-signed by the artist). Subsequently, in 1913, the publisher Ambroise Vollard commissioned Fort to print an edition from the then steel-faced plates which consisted of 250 impressions on wove paper and 50 impressions on Japan paper (these were all unsigned impressions). Bloch 12; Geiser 14 b.
