Picasso, nach Pablo Claude (von "Paloma et Claude"). 1950. Lithographie auf Velin. 32 x 24 cm. Punktuell auf Unterlage montiert, im Passepartout freigestellt und unter Glas gerahmt. - Kanten sehr leic…

Online - Modern and Contemporary Art Classical Modernism Picasso, after Pablo Claude (from "Paloma et Claude"). 1950. lithograph on wove paper. 32 x 24 cm. Mounted in spots on support, matted and framed under glass. - Edges very slightly bumped. Evenly trimmed in lower margin. Verso with traces of mounting and adhesive residue. Paper evenly browned due to age. Good overall. Excellent, powerful and high-contrast impression of the full-format image. Cf. Mourlot 186, Bloch 664, Cramer Livres 60 - From an edition of 2000 copies. - The lithograph originally depicted a double portrait with Picasso's two children. His son Claude is depicted here. - Without the depiction of Paloma and the date and location note in the stone below the depiction. - Published as the original book cover of the publication by Fernand Mourlot, "Picasso Lithographe II", edited by André Sauret, Monte Carlo 1950 - Printed by Mourlot, Paris. - Picasso made the composition with his fingers on transfer paper, diluting the lithographic ink as required. This was then transferred to the lithographic plate. Lithograph on wove paper. Spot-mounted to underlying mat and matted, framed under glass. - Edges very slightly bumped. Evenly trimmed in lower margin. Paper evenly browned due to age. On the verso with traces of mounting and adhesive residue. Good overall. Superb, powerful and high-contrast impression of the full-format depiction. - From an edition of 2000 copies. - Originally the lithograph depicted a double portrait with Picasso's two children. His son Claude is depicted here. - Without the depiction of Paloma and the date and location note in the print below the depiction. - Published as the original book cover of the publication by Fernand Mourlot, "Picasso Lithographe II", edited by André Sauret, Monte Carlo 1950. - Printed by Mourlot, Paris. - Picasso made the composition with his fingers on transfer paper, diluting the lithographic ink as required. This was then transferred to the lithographic plate.