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An original etching printed in black ink on thin white laid paper. Signed with the artist’s estate stamp signature in the margin lower right.
This is a richly printed impression of Geiser/Baer’s only state, with consistent plate tone throughout. From the edition of 50, numbered in pencil in the margin lower left (there were 19 additional artist’s proofs numbered in Roman numerals, and three unsigned and unnumbered proofs in this edition). One of 45 plates from the Caisse a Remourds suite. Published by Galerie Louise Leiris, Paris, 1981; printed by Freaut, Paris, 1961. Excellent, printed on a sheet with full margins.
Picasso made no prints during the summer of 1932, but at the end of November and the beginning of December in Paris he revisited the theme of bathing women that he had explored in a series of paintings during that summer, this time on zinc and copper plates. The result was some twenty small images. Here there is a difference with the woman of the canvases: surrounded by curious, even monstrous shapes, Marie-Therese is always there, always beautiful. Although some of the women at the beach remind us of those individuals obsessed by the sea in summer, these beach scenes could also be a response to the austerity of winter, to Picasso’s renewed conjugal existence, to a desire for freedom, nature and fresh air. Catalogue reference: Bloch 242; Geiser 270.B.b.1
This work is part of a carefully curated selection by noted fine art expert Jennifer McCloskey, who was formerly affiliated with Doyle Gallery in New York and is now based in San Francisco. If you have questions about any of the works in this selection, please send an email to firstname.lastname@example.org.