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[Picasso, Pablo. (1881–1973)]. Picasso: Linogravures. Paris: Cercle d'art Paris. 1962. First.
Collection of 45 linocuts by Pablo Picasso drawn in color on strong wove paper. Introduction of Wilhem Boeck, translated from German by Jacques Chavy.  Hardcover folio, beige cloth boards with red stamped lettering and illustration contained in hardshell beige cloth and color-illustrated paper slipcase with black lettering. Unpaginated, 14 pp plus 45 plates, mainly in color. Very minor foxing throughout book margins and to text block, moderate soiling and discoloration to slipcase, else in fine condition.

Esteemed art historian Wilhem Boeck's introduction discusses why Picasso started to make a book with linogravure techniques.  Picasso had recently become adept at cut-linoleum printing, doubtless owing to his desire to give colour pride of place within printed creations.  Taking up the gouge was less, for Picasso, about exploring a new realm of objects and forms than exposing the forms he had mastered to the rigours of as-yet untested technical possibilities.  As he did every time he embarked on a new task, be it sculpture, lithography, ceramics or aquatints, the result obtained can be compared to nothing but previous creations by Picasso himself.

[Picasso, Pablo. (1881–1973)] Picasso: Linogravures

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[Picasso, Pablo. (1881–1973)]. Picasso: Linogravures. Paris: Cercle d'art Paris. 1962. First.
Collection of 45 linocuts by Pablo Picasso drawn in color on strong wove paper. Introduction of Wilhem Boeck, translated from German by Jacques Chavy.  Hardcover folio, beige cloth boards with red stamped lettering and illustration contained in hardshell beige cloth and color-illustrated paper slipcase with black lettering. Unpaginated, 14 pp plus 45 plates, mainly in color. Very minor foxing throughout book margins and to text block, moderate soiling and discoloration to slipcase, else in fine condition.

Esteemed art historian Wilhem Boeck's introduction discusses why Picasso started to make a book with linogravure techniques.  Picasso had recently become adept at cut-linoleum printing, doubtless owing to his desire to give colour pride of place within printed creations.  Taking up the gouge was less, for Picasso, about exploring a new realm of objects and forms than exposing the forms he had mastered to the rigours of as-yet untested technical possibilities.  As he did every time he embarked on a new task, be it sculpture, lithography, ceramics or aquatints, the result obtained can be compared to nothing but previous creations by Picasso himself.