Pablo Picasso (1881-1973) - Toros Vallauris 1958 - hand signed

PABLO PICASSO
Toros Vallauris 1958
Linocut in black and orange on Arches paper ( with watermark)
Sheet: 80. 3 x 61. 6 cm, with full margins
Hand signed in blue crayon lower right and numbered 124/195 lower left

Printed by Arnera, Vallauris and published by Association des Potiers de Vallauris

Provenance: Galleria d'Arte S. Giorgio, Ferrara-Italy (provenance label will be shipped together with the work)

To remark the importance of this artwork it is published as front cover of Czwiklitzer Catalogue Raisonnée and Joseph K. Foster discussed this work in his book 'The Poster's of Picasso' "This work is generally regarded as his finest linoleum gravure in the Affiche field"

Publications / Catalogue Raisonnée :
This print is fully documented and referenced in the official Catalogue Raisonnée :
1) Rodrigo, Luis Carlos, Picasso in His Posters, Vol I, 1992, listed as cat no 071
on pgs 170 and 171.
2) Rodrigo, Luis Carlos, Picasso in His Posters, Vol III, 1992, listed as cat no 071
on pg 1,651.
3) Bloch, Georges, Pablo Picasso, Tome I, Catalogue de l'oeuvre grave et
lithographié, 1904-1967, 1984, listed as cat no 1282 on pgs 274 and 275.
4) Baer, Brigitte, Picasso Peintre-Graveur, Tome IV, 1986, listed as cat no 1049
on pg 387.
5) Foster, Joseph K. , The Posters of Picasso, 1964, listed as plate 47 with a
discussion on pg 34.
6) Lieberman, William S. , Picasso Linoleum Cuts, 1985, listed as cat no 133 on
pg 132.
7) Czwiklitzer, Christopher, Picasso's Posters, 1981, listed as cat no 29

Historical Notes:
Joseph K. Foster says of this work, “(it) is generally regarded as his finest linoleum gravure…, and suggests his growing preoccupation with this print form. It is full of bold and intricate design, and covers wide areas of subject matter, with hitherto unmatched skill…Upon looking closely, one observes two aspects of the same face, front and profile, constructed on the same plane. In the profile the queue and the bun of the torero’s wig are patent, as are his ear, eye, nose, mouth, and chin. The epaulet of his costume in profile is also plain, above the lettering ‘1958. ’ By Picasso’s magic, the same eye, nose, and mouth are now used to complete the structure of the front view, and the epaulet of this construction, in different design, is equally plain. Thus by a brilliant blending of elements Picasso creates an illusion of movement, a three-dimensional impression on a flat surface. It is as though the spectator were walking around the figure. The ever-present humor is again evidenced by putting Vallauris in lights. ” (Foster 34)

The large scale of the piece allows us to examine the finer details, analyze the style, and truly appreciate the genius of the Artist

Condition Report:
Very light traces along the edges from a previous framing, easily removable by a restorer

Shipping:
Given the importance, the work will be shipped flat inside a protective box (with no additional cost for the buyer)