Arbres au graphite (lAmour des Arbres t. 1) (French Edition)

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This underwired bra Eprise by Lise Charmel is supple, elegant and comfortable. The red embroidery on a the parma background brings a sensual touch. Cups C to H. This push-up bra Lise Charmel from the Baisers de Fleurs collection will highlight your chest thanks to its seductive neckline. Cups from A to D. Going up to the cup H, it wraps perfectly the breast to guarantee comfort and preservation. Sloggi midi Briefs from Chic collection. B to E cups. This Eprise underwired bra by Lise Charmel from the Instant Chic collection provides good support and is comfortable.

Cups D to F. C to H cups. This Chantal Thomass bra from the Influente collection has a comfortable bralette effect and a contoured bust. Available up to cup F. Available in up to 50m lengths, this is both the connecting pipe between Network Tanks and also an optional filler tube instead of the rigid pipe system. Flexible filler or Connecting pipe per metre. In addition to our huge selection of standard planters we offer many different ways to customize these giving you a bespoke product for a relatively small additional cost.

All our planters can, for additional cost, be manufactured using fire retardant gels and resins to produce a product that meets the British Standards Class 0 and Class 1 and the French Standard Class M1. These products are ideal for use in public areas and meet the requirements of government legislation. Each order for FR planters will be accompanied by a certificate stating the type of manufacture of the items ordered and the Standards met. The certificates can be issued in other languages than English on request. Please note that our standard products do not meet these FR standards and it is essential to order the planters as FR if this is what is required.

Most planters can be specified to include lighting options for both interior and exterior use. These will be low voltage LED units powered by transformers.

Both white and coloured or colour changing lights can be fitted and the number and their location is entirely up to you to specify. All electrics are contained within a sealed waterproof compartment within the planter which is reached via an access panel. Where the planter needs to be seen from every side the main access may be underneath but a small door will still be available to facilitate lighting unit replacement. Please contact us to discuss your requirements which we will be pleased to draw up for you.

The options available range from decorative, which include luxury metallic leaf finishes and special paint effects to purely functional, such as our castor and pallet bases. In addition, fire retardant FR construction can be specified for use in sensitive public spaces while we employ our own sign writers to ensure logos and messages can be applied to our units in the factory for an excellent price. We also offer a great range of replica plants which we will seal into units of your choice and can even deliver the completed displays to site for you to simply place into position.

Of course the ultimate option is our fully bespoke offering where we will create a unique planter to your exact specification — see pages for full details. All our tree planters can be specified with a pallet base for ease of moving once planted. Each base is engineered for the style, size and weight loading of individual units and will incorporate strengthening materials to suit. It is also possible to construct hidden pallet bases but as well as adding to the cost these are often less practical and are not recommended unless the base is to be hardly used.

We recommend textured finishes where pallet bases are fitted as this finish is less likely to be damaged by the lifting and moving process and can be more easily repaired on site. Please note, pallet bases are intended for occasional use only. As well as our dapple multi-layered effect we also undertake our own leafing, with silver, gold and coloured leaf finishes now standard.

However there are many other possibilities with leaf including a host of multi-coloured variegated finishes as well as copper and platinum. If you need something a bit more specialised we can usually help, such as when a well-known computer games company wanted a camouflage planter for their new offices, some pictures of which can be seen here. Our signwriting service is extremely popular as we carry out all this work in house for extremely competitive rates, delivering fully finished planters ready for immediate use without needing to be taken to a third party.

We work with acetates and vinyl and will also undertake traditional hand painted signwriting for the more discerning clientele as can be seen in the images opposite. Call us for prices and details of this service. All our planters can be specified to include a fully bonded in castor base, with or without brakes as required. Two main types of castor base are available 1.

Interior use base on furniture castors. These are small, black plastic dual wheel castors with or without brakes and suitable for use typically on commercial carpet or carpet tiles. The base will be recessed and the castors invisible to create the illusion of a planter floating approx 2cm off the floor. Narrow planter bases may require the base not to be recessed to assure stability — you will be informed of this at the time of ordering. These are not suitable for heavy pile carpets or real wood flooring 2.

Exterior use base on heavy duty castors. Where a unit is to be used outside and regularly moved we fit it with heavy duty castors directly onto the base with no recess. This allows the fitting and easy use of brakes which is not possible with a recessed base. These castor bases are engineered for regular use in a hostile environment. Deux types de roulettes sont disponibles: All our castor bases are built to withstand the planted weight of the unit to which they are fitted and we can vary the design to meet the needs of the situation, for example, non marking castors or rubber castors for wooden floors etc — please just let us know your requirements before ordering.

Castors can also be fitted to tree planters on request. All our planters but particularly those that are taller, typically over 60cm, can be specified with an integral false base, at any height, to create the perfect sized planting pocket. The base is made from a bonded in sheet of fibreglass sealed with a waterproof coating. Two types of base are available 1.

False base for soil plants. Typically at 35 — 45cm down from the top of the lip — a standard specification is available for all planters typically false based on request. The waterproof lining covers the base and approx 10cm up the sides. These bases are NOT suitable for use with hydroculture or any other system which requires the base to hold a pool of water.

We recommend Tanker Irrigation is used in conjunction with these bases 2. False base for hydroculture or any other water based system. Hydro bases are fully double coated with our waterproofing plastic layer and are guaranteed waterproof. Deux types de faux fonds sont disponibles: Faux fonds pour plantes en terre. Faux fond pour hydroculture.

Old Master & 19th Century Paintings, Drawings & Watercolours Day

It is essential to specify which type of false base is required at the time of ordering Weights can also be added to the real planter base where stability is an issue but this must be requested at the time of ordering. Please note, castor bases should be used with care and may fail if bumped regularly over carpet joining strips, kerbs and other obstructions.

Seating Planters , , 67, 71, , , , , , , , Plus de couleurs disponibles avec plusieurs finitions: Specially selected colours that are usually held in stock and will meet most requirements. Available in highly polished gloss, satin, matt and textured matt. The closest finishes to polished metal. Also available in satin sheen. Matt metal finishes with a rippled effect. Deep, almost 3D colours. Unique multicolour finishes adding further opportunities to personalise your planters. The finishes are coated with clear lacquer giving extra shine and a more resilient finish.

Over colours available in highly polished gloss, satin, matt or textured matt finishes so you can achieve a perfect match to other furnishings. Vibrant colour with a hint of silver sparkle. Other colours on request — check availability before ordering. Please note we recommend Textured and Natural finishes if planters are to be used outdoors. However all our finishes are suitable for exterior use — please specify this at the time of ordering. Unique finishes that exactly mimic natural materials.

Please note all these finishes have not only the look but also behave like the real material, weathering naturally if outdoors. However, the surfaces will mark clothes if brushed against so use indoors only in low footfall areas. Rust can be matt lacquered to avoid this problem on request.

De plus elles les ressemblent en aspect et en comportement. Gold, Silver and Colour leaf: True luxury finishes where planters are hand gilded with genuine metal leaf, hand burnished and coated with multiple layers of clear lacquer. Other leaf finishes available on request. Picture Credits Livingreen Design is the copyright owner of all the photographs in the catalogue with the exception of those on the following pages which were kindly supplied by our Customers as detailed below: Desk top to tree planter.

Tall with optional feature hot lip and planting insert. Swan swims alone or with signets in tow. Suitable for use indoors and as patio furniture. Circle Square Triangle Oval 81 82 avant-garde range avant-garde 83 avant-garde range A collection of contemporary designs, each with a different personality to individualise and define.

Features wide, straight sided rims. Cactus brings out your inner cowboy. Call us for details and other unique 'Artscape' possibilities constructing the i.

Bayeux – Bessin – Plages du Débarquement, destination incontournable en Normandie.

Unique planting cups for stunningly presented displays. Engineered for stability when planted. Fantastic for bright colours. Fantastique dans les couleurs vives. Please see pages for product details. Elegant tall fluted squares with the Julius feature ribbing. Ask for details tree planters tree planters tree planters Suitable for both interior and exterior use in the most demanding of environments. CIR6 x mm Irrigation: TWC10 BEN06 polished dutch orange EMJU13 textured metallic graphite tree planters watertanks tree planters watertanks An unrivalled selection of period Watertanks which can also be turned into fountains on request by fitting a special backplate.

Bespoke water feature bespoke design bespoke design bespoke design bespoke design Corporate HQ Paris University breakout balcony with seating An extremely complex job involving the creation of large multilevel highly curved planters, built in sections to be joined on site. Creation of a knot garden using bespoke aged lead barriers. Fitting tanker water cell As water is ground. Councils using the system There are Tanker systems to fit almost every possible situation.

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Available in TWC6 6 x 80mm half as frequently as those planted baskets and drained planters, the sizes from 2l - 12l. Suitable for planters TWC8 8 x mm without. Councils and landscapers savings will be much greater. With up to mm diameter. TWC10 10 x mm have been able to slash maintenance water restrictions a regular feature in TWC12 12 x mm labour budgets by using special Tanker many areas, this aspect of the system is hanging baskets, pillar and railings becoming increasingly important to planters and also by retro fitting Tanker our customers.

Code Litres TMS1 0. Available in both Solo TMS3 1. The result is trough planting, window boxes and containers where planting depth is limited. Modular Network is popular for Schematic of how water cell should be filled in tall planter designs planting beds where very large links can be constructed. Network Additional modular sizes up to 4 metres long available on request. The flexible pipe is supplied in lengths up to 50m and 32mm mm RFP30 32mm mm RFP35 32mm mm RFP40 32mm mm RFP45 32mm mm fitted with a ball float indicator, can be purchased in 5cm RFP50 32mm mm incremental lengths and are simply pushed into the tanks RFP60 32mm mm for fitting, making this the best and simplest solution for RFP70 32mm mm the majority of interior planters.

Tanker Cylinder can only RFP 32mm mm bent around corners, it is the perfect choice for larger tree planters, for most exterior applications and for unusual size planters. Rigid pipes are pre- TCN3 3 x mm be fitted with flexible pipe and cannot be fitted with a water TCN6 6 x mm level indicator — however levels can still be read using a Dip TCN8 8 x mm Stick see page For use not open and instead water is poured through a gate of specially shaped fins which are profiled to guide the water freely down the filler pipe without splash back from either company logo plus telephone number and web address.

Code WLI25 32mm mm which is viewed through the fins and must be used with and rod that provide an excellent indication WLI30 32mm mm both rigid and flexible filler pipe where a water level of the depth of water at the base of any WLI35 32mm mm indicator mechanism is fitted. Standard caps are the usual WLI40 32mm mm choice for exterior use or where a water level indicator WLI45 32mm mm is not required. Freeflow Cap add a full colour bespoke advertising message — usually a variable straight tubes fitted with a ball float also useful in large sealed tree planters Accessories bowser or watering can.

The cap also features space to in interior landscaping, the indicators are hydroculture growing systems. They are Code RFP25 can be cut to any size see page As it can also be for maximum soil aeration it is tamper proof and attaches planter — perfect for Hydroculture and half- Rigid Filler Pipe Freeflow caps also contain the water level indicator rod Standard Cap the filler pipe making a very discrete closure.

As they are manufactured tanker — research proven Accessories from a special combination of woven plastics, they will never deteriorate when left undisturbed. However where frequent replanting of planters is necessary, for example, hanging baskets and containers planted with bedding Wick plants, it may become necessary to replace the wicks after a number of years.

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Tanker Dip sticks are flexible capillary rods that to further prove the effectiveness of the can be put down the filler tube and pulled out to show the system, and in particular its potential to exact depth of water in that tank or planter. For use where dramatically cut the costs of watering water level indicators cannot be used and particularly Dip-stick seasonal exterior displays, Tanker has recently been the subject of intensive suitable for large tree planters.

Polystyrene floats suitable for use with the flexible Technology Unit. Tanker fitted window boxes - Day 56 filler pipe only. The 'emancipation' from Kahnweiler The 'lost' series of Jacqueline More militant work A los toros with Picasso However, apart from quoting and reproducing some of his most impressive lithographs, the treatises on the artist tend to leave aside this aspect of the work of the Andalusian.

It is particularly surprising that many treaties of more than pages dedicate so much attention and reproduce minor or repetitive works of the painter and omit to take care of and reproduce lithographic series to which he dedicated much more time and effort and that could be considered, from an artistic point of view, very superior works. Picasso's lithographic work also has a precursor character that leads to the glorious era of artistic lithography, which began precisely with his arrival at the Mourlot workshop.

Neither have the circumstances in which Picasso arrives at lithography been studied. And this is surprising, because the treatises focus on insignificant accessory details of other aspects of his work that the painter would have dismissed at a stroke as irrelevant. The dedication, commitment and intensity of the effort that Picasso dedicates to this lithographic artistic adventure, of which there are irreproachable testimonies, would undoubtedly justify a greater interest of the researchers.

Picasso tried to hide that it was precisely his friend Georges Braque who had recommended him to try lithography and go to Mourlot's workshop. The Spaniard was in those years irritated by the way he thought he had been treated during the German occupation of France, which contrasted with the deference with which collaborative intellectuals of the time treated Braque and other painters. For the rest, in those years there is a new political fracture of France in two antagonistic blocks, and Braque and Picasso do not opt for the same one.

Picasso's contemporary critics and scholars followed the instructions of the Spaniard to the letter, ignoring the circumstances of the beginning of his career as a lithographer, either voluntarily or after submitting his books to Picasso's prior censorship. The Picasso books and studies published after the death of the painter, when the taboo on the introduction of Braque had already been lifted, did not bother to unearth the truth, and continued to use the treatises published in the s, 50s, 60s and early 70s of last century as a basic reference on the subject.

It is therefore useful to restore the truth about an aspect of Picasso's artistic life that involved a long-term dedication to lithography, and almost full during several periods of many months. Especially during the five years that followed his first visit to the workshop of Fernand Mourlot, the painter lived often pending and surrounded by his lithographic work. Although the work on paper has always been less valued than oil canvases, both because of its multiple nature and its greater fragility to the passage of time, some lithographs by Picasso have reached prices in auctions in the last decades even higher than minor canvases.

Hence, this attempt to disclose both the reasons, the state of mind of Picasso and the conditions that led him to take the step, as well as the details of the creative process that led him to offer us all that immense and wonderful accomplishment that constitutes his lithographic work. We also refer to the political circumstances of the time when the painter made his lithographic work, because it coincides almost exactly with the most critical period of the cold war, that is, since its gestation before the end of World War II and its formalization in until the Cuban missile crisis of late And it is through the lithographic work that he manages to get some of his help to Spanish refugees and the party of the Spanish communists.

The generosity of Picasso with his compatriots in exile, with those who fought in Spain for freedom and with the weak in general all over the world is another of the little known aspects of his personality, and through these pages we will see that this ignorance is not due to the contribution being small because of the stinginess often attributed to him, but because of the discretion with which he carried these activities. He wanted to be remembered as a genius of painting, not as a generous man, a reputation that is also dangerous enough.

If Picasso's loyalty to the PCF, and especially to his comrades, does not deteriorate over the years, political relations with the party are shaken by the Budapest repression of and practically disappear from the invasion of Czechoslovakia in But the tension with the PCF is even greater in the aesthetic field. As soon as one year since joining the party, Picasso's art started to be criticized by party ideologues.

This struggle will be all-out war and will lead to an open revolt of the painter, who to make it explicit even develops, with the book Le Chant des Morts, a new aesthetic in the antipodes of what is prescribed by the bosses of art in Moscow, aesthetics that he applies to hundreds of works, both in lithography and in painting and ceramics. This aspect, in our opinion relevant in the trajectory of Picasso, has also been ignored by the treaties.

The reason may be that the first works on the painter were always published in the editorial environment of the party, which evidently did not want to air the controversy, and also that what Picasso wanted at that time was not to break with communism, but rather than the PCF will let him create in peace, so even though he struggled in the bosom of the party to enforce his thesis, he had no interest in airing too much outside the communist environment his hard battle for creative freedom.

We wanted therefore to explore this episode and bring to light both the ideological battle and its plastic expression. Another object of the present work is to contribute to placing Picasso's lithographic work in the context of his general work, be it in drawing, engraving, painting or sculpture. For this, it is important to be precise in terms of cataloging and dating. Note that we have chosen to preserve the original title in French that Fernand Mourlot gave in his catalog of lithographs by Picasso, without translating it into English. Often, the use of a title in other languages —in translations made on each occasion— makes it difficult to identify the work, since in all the studies, in the auctions, in the galleries, etc.

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In fact, these original, unsigned lithographs can enjoy a greater guarantee of authenticity than much work signed by Picasso, but in which the participation of the Spaniard was limited to give the go-ahead to the work done by the engraver or chromist and the stamper in the printing press and sign it. The characteristic that unites them is that they are all made in color, so demanded by collectors.

Some of them, like the etchings executed by the painter Jacques Villon, brother of Marcel Duchamp and probably the best engraver and lithographer of the 20th century, are authentic masterpieces and are worth tens of thousands of euros, but the author was not Picasso did, but the "modest" Villon. Not to mention the lithographs printed since from the paintings in the collection of Marina Picasso, who had the audacity to sign them personally. They were made by a certain Marcel Stanislas, described by the painter's granddaughter as "Picasso's former chromist. For the rest, Picasso never signed his oil paintings until the time of selling them, which often took years.

The signature was, then, a way to say goodbye to the work. In terms of cataloging, and in an effort to facilitate the identification of the works, we have decided to use one of several existing methods that we explain below. Fernand Mourlot himself wrote a reasoned catalog of the painter's lithographs, which, as part of Picasso's graphic work, had already been classified since by Bernhard Geiser. Each of the illustrations of Mourlot's work was re-painted by Picasso's chromist Henri Deschamps in smaller lithographic stones, and printed on high quality wove paper.

Each volume also included three original lithographs, including the highly valued portraits of the sons of Picasso, Paloma and Claude, always in limited editions. The main problem of Mourlot's reasoned catalog, apart from its rarity, is that in some cases he attributes a single number to each series of lithographs, such as the in the book Le Chant des Morts.

He also attributes the same number to the different states of the same lithograph, which are often completely different works, regardless of whether they were commercialized or not. This constitutes a major obstacle when it comes to identifying works. Finally, at least in the editions of , lithographs that were commercially published do not appear as having reached the market.

In addition, as it has been seen later, some proofs of state escape the printer. They were however picked up by Bernd Rau in his catalog. Before Mourlot and Rau, already in had appeared the catalog of Bernhard Geiser Picasso peintre-graveur , and in , a year after his death, Picasso peintre-graveur II Geiser had been introduced to Picasso by Swiss collector Hermann Rupf —the friend who had hosted dealer Kahnweiler in Switzerland in — and he had been working in contact with Picasso, but at a very slow pace, in the cataloging of his graphic work.

In those first two volumes he gives importance to the lithographic work of the painter.

In he published an anthology of graphic work, including lithographs, which appeared in simultaneous editions in German Picasso: This last book carried a chronology of Hans Bolliger. The continuation of this reasoned catalog was no longer made by Geiser, always short of time, but by Hans Bollliger and Kurt Leonhard, who in produced in simultaneous edition in German Picasso: The death of Picasso gives a great impulse to the cataloging of his graphic work, since more than 20, prints of his personal collection appear in his residences, from what remained of the artist's copies that the printers gave him.

The French State and the heirs of Picasso designate Brigitte Baer to repertoriate the whole of the graphic work, thus completing the work of Geiser. The work takes its time, and the first volume third in the series is not published until It is Picasso peintre-graveur. Unfortunately, Baeris choked by lithographs and does not cover them or does it insufficiently in his five volumes. Covering, this time yes, the whole of Picasso's graphic work appears in , also edited by Kornfeld and Klipstein in Bern, the reasoned catalog by collector Georges Bloch Pablo Picasso: The publication was made after an exhibition at the Museum of Fine Arts in Zurich.

Bloch, who had only spoken with Picasso on a couple of occasions, completed his work with three other volumes covering the years to Volume II, , to Volume IV, and one dedicated to ceramics Volume III, In terms of lithography, Blochis essentially based on the work of Mourlot, without incorporating new prints or unknown proofs. The Bloch has become the most widely used reference in galleries and museums. This title must correspond to the work of Bernd Rau, who had published in Pablo Picasso, Das graphische Werk, but who realizes that the main failure are the lithographs.

The page work contained illustrations, and gave a separate number to each state proofs, thus moving from the Mourlot catalog entries to different records, of which only 10 appear in color. In , the publishing house released a second edition of the catalog, on the occasion of an exhibition at the Graphische Sammlung Staatsgalerie in Stuttgart, and in which eleven new states not included until then were added.

Fortunately, the Hatje Cantz publishing house of Ostfildern published at the same time an edition in English with the prosaic title Pablo Picasso Lithographs. Unfortunately, the book has been out of print for years, both in its English and German versions. But since all work can be completed or improved, two initiatives have recently been launched in the United States.

The first is an ambitious project of digitization and cataloging of all the work of Pablo Picasso, launched in at the initiative of a Sevillian, Dr. Until the end of January , Dr. From here we have taken a small part of the references to sales of lithographs in the art market, some cataloged and others not, which we quote in the book.

Most of the rest we have found in our own archive or by our own means, typical of collectors. The project aimed to make a chronological and photographic catalog of all Picasso's works paintings, watercolors, drawings and sculptures , publishing the first volumes in In Wofsy incorporated the graphic work into the project, publishing an English edition of the Bloch catalog in two volumes, with the title Picasso, the Printed Graphic Work.

Both use Mourlot as a base and incorporate some corrections from previous works, but they do not include many states. In , the project incorporated linoleum prints, with The Complete Linoleum Cuts. In total Wofsy has published 28 volumes and there are still a couple of them, Analytic Cubism and Synthetic Cubism, scheduled for and Sam Houston State University. Restricted access in https: It should be noted that the Mourlot numeration followed is the original of the first edition of its reasoned catalogs, and not the slightly modified edition of its edition.

Regarding the dates of completion of the works, it must be borne in mind that there may be a discrepancy between the dates cited in this book and the actual realization of the work by Picasso, although we have tried to limit to the maximum the cases in which this occurs. The reason for the divergence is that the essential basis of dating must be the printer Mourlot, who, when the painter has inscribed a date on the stone, zinc plate or report paper, uses this dating. These are the only ones in which we can be absolutely sure of when the painter made the work, or at least its first version, because sometimes he reworks the plate without deleting the initial date or adding another one for the modification.

For those that do not contain a date inscribed, Mourlot uses his own files or the annotations in the printer copy, which indicate the time when the proofs were printed, but that is not necessarily the realization of the plate, stone or report paper by the painter. The dating of lithographs is a particularly critical issue when it comes to determining whether or not a graphic work precedes an oil painting, drawing or linoleum cut, since frequently the date indicated for the lithograph not dated by Picasso on the plate is at least a day after the act when Picasso was in Paris and several days or weeks when the painter was on the French Riviera.

In the development of the book, and particularly in the detailed description of the lithographs that Picasso did, we have tried in general to follow a chronological order, but sometimes we have been forced to alter it to group some lithographs with thematic criteria. This is especially evident in the long chapter devoted to his production linked to political causes.

But we have tried to leave a reference to these works in other parts of the book, in order to maintain coherence over time. And in any case we have not transferred to the chapters of Militant Work all the lithographs he made for publishers, galleries and other institutions owned or intimately linked to the Communist Party in which he militated, because if we did so we would have emptied other parts of the book. Let us note finally that, since Picasso made the great majority of his lithographs in black, we have refrained from citing that fact in each of the works, limiting ourselves to indicate when the lithograph is in colors.

In a similar way we only indicate the identity of the printer when, exceptionally, this is not Mourlot. All the others were made by the magician of Rue Chabrol. And as for the commercial editions, we only expressly indicate the publisher in those that were not commercialized by the gallery Louise Leiris, this is by his dealer Daniel-Henry Kahnweiler, with whom he had an exclusive distribution contract for his graphic work.

As we will see throughout the book, Picasso often violated that contract, especially to favor his preferred causes. We have chosen to include in the book references to auctions and the price of adjudication for several reasons: Also, in many cases, the proofs that we have found in auctions have allowed us to correct cataloging errors.

And given that we are providing new data, it is essential to document them with the corresponding reference to the sale in which they were disclosed. We also found it useful to record the market value that Picasso's lithographs have acquired to serve as a guide for collectors, often confused by the excessive prices practiced by some galleries, which are not very specialized in the painter's graphic work.

We must not forget either that the graphic work of Picasso was not intended in principle for museums, although many of these have made the effort recently to acquire it, but for private citizens to enjoy. The book is, therefore, the result of that hobby, of the research that —as a political scientist and journalist— he has been able to carry out, and of what he has been able to learn during almost twenty years of collecting in his conversations with the main dealers, some experts and other collectors like him.

Picasso the precursor Since Picasso discovered this technique, the painter made no less than original lithographs cataloged in only nineteen years from until his death he only made five lithographs. If the official Picasso lithographs catalog by Fernand Mourlot 2 only includes four hundred and seven lithographs, and the catalog of the printed graphic work by Bloch 3 has a similar number, this is because many different works appear grouped in a single number.

For example, the series of one hundred and twenty-five lithographs made for Pierre Reverdy's book 'Le chant des Morts', from , is referenced in the Mourlot as a single entry, number Bloch also gives them a single number, Much later, the specialists have introduced a greater precision in the classification, attributing a separate number to each different work.

In any case, Picasso's lithographic work is a set of exceptional quality and only surpassed in volume among the great painters of the twentieth 2 Mourlot , Fernand Picasso Lithographe, Andre Sauret, Montecarlo 3 Bloch, Georges Pablo Picasso. The importance that Picasso gives to his lithographic work is not sufficiently reflected in the main works of a general nature that reflect the work of the Andalusian.

Many of his masterpieces in this technique do not even appear in the general treaties. The reason must be found in that most of the critics are specialists in painting, and the graphic work takes them a little aside. Undoubtedly, the Vollard Suite of etchings from appears in the books, along with other high-impact prints and some lithographs. Lithographs play a much more important role in the life and artistic endeavor of the painter than the books reflect.

And in them we observe that lithography occupies an unusually large space. Lithography had been invented by an ingenious German actor and playwright, Aloys Senefelder, who in , in search of a cheap method of reproducing the scores of his songs and plays, develops a printing technique using a Polished limestone painted with a fatty material. The stone is then treated with a mixture of nitric acid and gum arabic, which attacks the stone but not the fatty parts.

The stone is then humidified and a hydrophobic ink is passed on, which is only fixed on the greasy parts. It suffices to place a paper on top and press so that the image of the drawing is reflected on the paper. The procedure is applied already in the nineteenth century to printing in colors, needing of course a stone for each color.

The same paper is then passed through the successive stones of each color. To match the color prints, the stones are marked with registration crosses that ensure the centering on the paper. Editions in French, English, Spanish and German. The development of gravure at the end of the century, however, leads to the gradual abandonment of lithography, although the quality provided by the photomechanical procedure until the second half of the twentieth century was clearly lower than could be achieved with manual procedures.

The advantage of the gravure was its mechanization and the possibility of making massive print runs at a much lower cost than manual procedures such as lithography. Another reason is that in the nineteenth century the cost of the extraordinarily skilled labor required by the lithographic technique was ridiculously low, while the struggles of the workers of the early twentieth century greatly increased this cost. The same equation can be applied to explain the decline of artist's lithography at the end of the century.

If Mourlot paid his workers decent wages for the time, they were still only a fraction of what it would cost today to hire and pay the social contributions of a craftsman of great skill and decades of training. Although the lithographic technique had already been the object of interest of great painters of the 19th century, including Goya himself in his series Los Toros de Burdeos of , in the 20th century the great masters had not yet exploited it. It is only after Picasso's lithographic work begins to circulate that the great names of the so-called School of Paris, and after them the best painters in the whole world, start producing lithographs.

And all do it, following the steps of the Andalusian, in the workshop of Mourlot. It is precisely the arrival of Picasso to the technique that launches the lithographic frenzy of the 40s and 50s of the last century, always linked to the activity of the printer Fernand Mourlot. Another of Picasso's precursor elements, and perhaps not the least important one, is the fact that, despite making most of his works in black, it was his work that launched color lithography that all the great painters exploit in the second half of the 20th century.

If the first biennial of color lithography, organized by the collector Albert P. Prietman in , constitutes a resounding failure, in the biennial is inaugurated by the director of the Museum of Modern Art in New York and brings together artists of thirty-four countries. The following year a similar biennial is opened in Tokyo 8. Matisse had also had, like Picasso, some lithographic experience at the beginning of the 20th century. In he made twelve fairly simple lithographs. In he makes eight or nine somehow more complex.

In more than twenty of a great quality and that include at the end of the series several odalisques. Between and , Matisse accelerated the production of lithographs, making a series of sixty female nudes, as well as the Ten Dancers series After , the painter concentrates on etchings and illustrates, perhaps in rivalry with Picasso, two books for publishers who had already requested one from the Spaniard. He also made some lithographs in this period, but never with Mourlot. Matisse and the printer have known each other personally since , when Mourlot went to his residence to take care of the edition of a lithographic poster for an exhibition.

Matisse is fully involved in the realization of the poster, which makes Mourlot visit him daily with proofs, which Matisse corrects tirelessly until achieving the desired result. The haughty Matisse controlled even the smallest detail of the mere reproduction of his works in artistic publications, even when they were by photomechanical procedures. The publication contains, in addition to the magnificent lithograph The fall of Icarus, some color reproductions, that is, simple photos, of Matisse's paintings.

Well, the preparation of this issue will take two years because of the meticulousness of the painter, who corrects again and again the printing tests of the four-color prints made by the industrial printer Draeger from these paintings. Finally, Matisse makes a sketch of each painting that had to be reproduced, indicating in each point the color and tone that should be used. The magazine publishes the outlines, but does not explain the meaning they have, limiting itself to indicating in the publication that the artist has given them "all the elements of his palette".

The printer thenb takes care of passing it to lithography. He also makes original works for number 4, dated January-March , for which he does two original linocuts and nothing less than a new gouache version of his painting La danse the two oil canvas versions are in the MoMA of New York and in the Hermitage of St. Again, Mourlot is in charge of passing this new work to lithography for the magazine, submitting again to the meticulous correction of proofs by the artist. The number of Verve, dated in the spring of , includes a magnificent portrait of Matisse, also reproduced in a fine lithograph by Mourlot.

Matisse again repeated cover in number 8, dated in the summer of , making another collage based on cut out papers of different colors, reproduced equally in lithography by Mourlot. In addition to the original works, Mourlot also prints for Verve numerous drawings in lithography, discussing every detail with Matisse until achieving in each tiny aspect the approval of the artist. But this time, perhaps not as it should, as Matisse will later recognize. The "book" will be made not in lithography by Mourlot, but in pochoir template executed by book illustration specialist of the first half of the 20th century, Edmond Vairel.

Mourlot makes here one of his most celebrated works, also reproducing lithographically black drawings, made in charcoal or brush with Indian ink. The huge work takes several years to complete here, too, and this issue of Verve does not come on the market until , that is, almost four years after the painter's death. As we have seen then, in Matisse and Mourlot had been working together intensively and with excellent results for years. But the painter had never agreed to return to original lithographs like those he had executed at the beginning of the century and especially in the twenties.

However, as happened in the 30s of last century with his first illustrated books, as soon as he knew that Picasso, whom he saw often in the Cote d'Azur, is working in the workshop of Rue Chabrol, Matisse runs to Mourlot. Matisse knows, treats and appreciates Mourlot for many years, but he does not decide to trust him with original lithographs and work with him Of the sixteen artist's books illustrated by Matisse, five contain lithographs, all of them made by Mourlot.

And the first one does not see the light until , when they have been working together for nine years. The following year he illustrated another book, Repli, with lithographs printed by Mourlot. And another year later, in —when Picasso publishes his Chant des Morts— Matisse brings out his magnificent Florilege des Amours de Ronsard. In , before the advance of the German troops, he left for Spain, settling discreetly in Palma de Mallorca. In he moved to Barcelona, and hardly moved from there until his trip to New York, in Actually, Cahiers d'Art did not include lithographs, but pochoirs.

Mourlot also forgot that he had already made with the painter a beautiful interpretation lithograph from a gouache L'Air for Verve's first issue, dated in the winter of In , at the request of Tristan Tzara, he made four lithograph compositions in black to illustrate 'L'arbre des Voyageurs'. But the results did not seem to convince the painter. Mourlot points out that, as with Picasso, a time of indifference followed the trials.

His neighbor was none other than his friend Georges Braque, who encouraged him to make lithographs and, offering him as an example proofs of the painter Marie Laurencin, advised him to draw as she did on report paper. The Barcelona series of 50 lithographs had been printed in the small workshop of Miralles, but only in an edition of five copies. In his first memoir, Souvenirs et Portraits d'artistes, published in , Mourlot says that the Catalan painter returned to Paris in and began to make lithographs in his workshop in Rue de Chabrol In fact, both the first contact with Mourlot in and his visit to the workshop are dubious.

Mazo , Paris The edition with original lithographs had appeared one year earlier 17 Mourlot, , p. Yes it is true that the book published by Maeght on the occasion of the exhibition —on the cover of the luxury edition was a female breast designed by Marcel Duchamp with the inscription: Chromist Charles Sorlier confirms in his memoirs that the painter visits the workshop for the first time in to execute a poster Actually, he went first to prepare the lithographs of Album 13 and those of his book Parler Seul, and then on the occasion of the preparation of the catalog of his first exhibition at the Maeght Gallery, inaugurated on November 19th.

We are facing a revolutionary novelty introduced by Maeght, who had a greater commercial and media sense than the other gallerists: By having original graphic work, these catalogs are sold by the publisher at a good price to collectors who could not afford to buy the exposed paintings, and will reach years later in auctions prices of tens of thousands of euros. In fact, only in , he made more than one hundred lithographs in the Rue Chabrol workshop, all edited by Maeght. The reaction of Deschamps was immediate, dismissing Maeght without any consideration Of Chagall's immense lithographic work, one thousand fifty lithographs, only thirty-five —all black and white—were made before starting work with Mourlot in In fact, out of thirty-five, ten were printed for the first time by Mourlot, in His late arrival at Mourlot's workshop was also due to the fact that, fearful of persecutions of Jews in occupied France, he had left the country in and did not return from the United States until seven years later, settling in Saint Paul de Vence, on the Cote d'Azur.

But at least the painter makes a visit to the workshop of Mourlot, where he meets young chromist Charles Sorlier, who will make all his lithographs until his death, becoming over the years the true 'factotum' of Chagall. And from there he launches his immense production of over a thousand original lithographs until his death in In all of them the chromist is Sorlier, who will never leave his job in the Mourlot workshop, even when Maeght breaks with him and creates his own lithographic printing.

Sorlier knew that working with Mourlot provided him with numerous contacts and benefits that he knew how to take advantage of better than all his colleagues in the workshop. In his only lithograph for Maeght, Picasso also demanded the same treatment. According to his secretary, the painter returned to lithography simply because he had to return, because he had not exploited the technique sufficiently, because despite having managed to 20 Mourlot , p. In fact, his lithographic experience prior to was limited.

His first foray into the medium was made by Picasso in when he made a small invitation card and the cover of the catalog Mourlot I and II, Cramer No. He makes it on report paper and prints it in B. In he made, also on report paper, a portrait of the poet Raymond Radiguet, lover of his friend Jean Cocteau, which is used as frontispiece Mourlot III of the book Les joues en feu, published by Grasset in Cramer That same year Picasso also makes, always on report paper, another small drawing entitled Trois chevaux au bord de la mer, and printed at only three copies M.

This is the Quatre lithographies folder M. Apparently, the painter did not receive the promised money and in gave the copies that were left to the Galerie Simon, that is his dealer since the beginning of the century, Daniel-Henry Kahnweiler, who put them on sale with a simple sticker that covers the name of Zayas and correcting the date by hand. These are the first lithographs that Picasso executed directly on the stone. He would not return to the report paper until many years later, with Mourlot. In that same year and the next, with the same printer, but already under the patronage of Kahnweiler, he made a series of lithographs with classic drawings of the style of the etchings of the Vollard Series or the illustrations for Ovid's Metamorphoses.

Picasso fills the stone with black and obtains white by scraping the surface. He prints it at of copies — of which 25 are numbered and signed— by the Engelmann printing company, founded by Godefroy Engelmann, the inventor of the chromolithography. It is marketed by Galerie Simon to numbered and signed copies. In he made one of the most beautiful lithographs of his career: But the work is so beautiful that, apart from the book Cramer 16 , it is also decided to commercialize an edition with large margins of numbered and signed copies, shot by the printer Marchizet.

Also in he made a daring but failed attempt: Figure et profil Mourlot XXV , which is shot only three times. It is a work with pen and wash on stone. In he makes another beautiful lithograph, with pencil on stone of abstract nature, Figure R. The magazine was sold at 20 francs a copy, and the beautiful lithograph is quoted today at thousands of euros for each copy. From this lithograph some copies with large margins on imperial Japan paper were also printed. From this print with margins the Berggruen Gallery sold a copy on the occasion of its exhibition Picasso 85 gravures, in October Its price was 2, Francs or dollars.

The main illustrations of the book are several beautiful pochoirs in colors and 37 reproductions of drawings of the 20s on a theme recurrent in the artist: Here Picasso changed again of printer: In short, the two main characteristics of those first 11 years of lithography are probably the experimentation and constant change of printer, not by choice of the artist, but surely because each publisher or gallerist had one and this simply brought to Picasso the stones or the lithographic paper needed to execute the work.

There is no evidence either that during the whole period he visited any of the printers of these lithographs. Among the twenty-seven lithographs made in this period, it can only be said that seven are of high quality, the rest are simple drawings on report paper or stone. His great leap to lithography is undoubtedly based on concentrating on a single printer — Mourlot— and on working in his workshops until he manages to master all the stages and procedures of the technique, and also on identifying the collaborators that best adapt to his technique and personality.

In his case, it was the chromist Henri Deschamps and the stamper Gaston Tutin. Mourlot the magnificent But let's see what is the trajectory in art lithography of the workshop chosen by Picasso to return to the technique. Fernand Mourlot came from a family linked to the graphic arts since the mid-nineteenth century. If his grandfather was devoted to wallpaper, very fashionable among the bourgeoisie of the time, his father Jules Mourlot started as a representative of a printing press, to immediately create his own workshop in the Temple neighborhood in Paris.

Father of a large family, every time he had a son Jules bought a new machine to facilitate business growth. As he had nine children, the business soon reached a certain volume. At the end of the 19th century, the Mourlot printing company on Saint-Maur Street in Paris already has a certain prestige.

The young Fernand, born in , is sent to the School of Decorative Arts, while he is enrolled as an apprentice in another lithography printing press, where he works on preparing the stones, controlling the printing press and managing the colors. But Fernand is not a school man, and his father ends up incorporating him as an apprentice in his own printing house, where he is entrusted to a worker who teaches him the secrets of the profession. When the First World War broke out, just when his father had just bought a new printing press on Chabrol Street —which would later become the company's legendary headquarters— Fernand joined the army and went to the front, where he was wounded in combat in losing an eye.

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