Gentilhomme en Visite Chez La Célestine
Etching, Aquatint, 26/05/68
The etchings made for La Célestine are part of the famous '347' series. Between March 16 and October 5, 1968, Picasso worked on the plates almost daily, using various techniques (sometimes on the same plate); he was impatient to see the impression as soon as it was pulled by Aldo and Piero Crommelynck, who had installed their atelier at Mougins. This must rank as one of Picasso's most important and sought-after late suites.
Unsigned
Edition of 400
Paper size: 11.9 x 6cm
£1500 Framed
Etching, Aquatint, 26/05/68
The etchings made for La Célestine are part of the famous '347' series. Between March 16 and October 5, 1968, Picasso worked on the plates almost daily, using various techniques (sometimes on the same plate); he was impatient to see the impression as soon as it was pulled by Aldo and Piero Crommelynck, who had installed their atelier at Mougins. This must rank as one of Picasso's most important and sought-after late suites.
Unsigned
Edition of 400
Paper size: 11.9 x 6cm
£1500 Framed
Etching, Aquatint, 26/05/68
The etchings made for La Célestine are part of the famous '347' series. Between March 16 and October 5, 1968, Picasso worked on the plates almost daily, using various techniques (sometimes on the same plate); he was impatient to see the impression as soon as it was pulled by Aldo and Piero Crommelynck, who had installed their atelier at Mougins. This must rank as one of Picasso's most important and sought-after late suites.
Unsigned
Edition of 400
Paper size: 11.9 x 6cm
£1500 Framed