IAM B

art collection

Prints

 

 

CAVEAT EMPTOR

 Rembrandt

 Rembrandt; etching;   reference to  Rembrandt, Bartsch 49: 'Het loflied van Simeon';  ca 1639 , dry point, second state of three. 21,3 x 29 cm. This one:  paper size  23,6 x 31,3 cm; image 21 x 28,8 cm cabled paper;  in research. Withdrawn. Re-printed.


 

 

Reprint Rembrandt? 3 Crosses; in research. In research. +/- 1900?paper h 282mm × w 395mm; Bartsch 78, original size 38,5x45 cm Withdrawn. Re-printed coopy

 

Left:Rembrandt??, 3 heads of Sakia etching; in research; Withdrawn. reprinted copy

Right: Rembrandt Harmensz van Rijn?? 'artist and his modeldrawing';250x185mm; Bartsch #192 (only state); bears a signature: 'f Rembrandt 1637'; Late XVIIth cent. impression;  unfinished; in research; Withdrawn. re printed copy

 

 Alconin(?) Steven signed; Collection woodcuts , famous people; +/- 1980





Venema, Libbe ( 10.1.1937-5.61994)- Original woodcuting  plates.


Lit:

Libbe Venema, schilderijen en grafiek; 1937-1994;

Libbe Venema (Groningen, 10 januari 1937Dalerveen, 5 juni 1994) was een Nederlands beeldend kunstenaar.

Galerie Bakker:
Groninger - kunstenaar - christen met hart en ziel.
Een karakteristieke uitspraak van Libbe Venema was : "Over schilderijen moet je niet praten, naar schilderijen moet je kijken". Toch was het weinigen gegeven om zo helder het proces van het herscheppen van de werkelijkheid zoals dat in de abstracte kunst geschiedt, onder woorden te brengen.
De TV opnamen die in 1989 en 1994 over deze in Groningen geboren kunstenaar werden uitgezonden, werden bij de opening van de retrospektieve expositie bij Galerie Bakker getoond en zijn bij de galerie op verzoek te bezichtigen. Venema is onderwijzer geweest in Emmeloord, Meppel en Leusden.
In de zestiger jaren begon hij te schilderen. Hij was ontvankelijk voor de vernieuwende culturele ontwikkeling van de kunstkring "De Ploeg"en in zijn werk werkten deze verworvenheden door in linoleumsneden en schilderijen van landschappen met hoge horizon en de toepassing van de kleuren oranje, grasgroen, de okers, het helderblauw.
In de tachtiger jaren is de prachtige techniek van zilverfolie en bladgoud opmerkelijk; in de negentiger jaren ( hij overleed in 1994 in Dalerveen Dr.) werd zijn werk steeds lichter; zijn laatste schilderijen zijn oplichtend, stralend en kleurrijk.
Gedurende de lange tijd van zijn kunstenaarschap verwierf Venema - een eigenzinnige en temperamentvolle noorderling bij uitstek - mede door de talloze exposities in het hele land - grote bekendheid en waardering.

Libbe Venema volgde een opleiding aan de kweekschool, waarna hij als onderwijzer werkzaam was in achtereenvolgens Emmeloord, Meppel en Leusden. Venema had als autodidactisch kunstenaar grote belangstelling voor de werken van de kunstschilders die deel uitmaakten van de in 1918 opgerichte kunstkring "De Ploeg". De invloed van deze kunstenaars is van verstrekkende betekenis geweest voor de werken die Venema, naast zijn drukke werkzaamheden als onderwijzer, in zijn vrije tijd produceerde. Het werk van de temperamentvolle noorderling Libbe Venema ondervond op talloze exposities veel waardering.[bron?] In 1989 en 1994 was Venema te zien in speciaal aan hem gewijde tv-programma's bij de EO. Venema overleed in 1994 in het Drentse dorp Dalerveen.  Het werk van Libbe Venema werd aanvankelijk beïnvloed door De Ploeg. Later is hij een eigen weg gegaan. Venema ging uit van de werkelijkheid waarmee hij zich zeer verbonden wist en kwam uit bij het abstracte. Zo schilderde hij veelal series van eenzelfde onderwerp. Hij zocht achter de waargenomen werkelijkheid het wezen van de dingen. Een schilderij van een huis bijvoorbeeld wordt gekarakteriseerd door de mensen die erin woonden. Daarbij ging het vooral om de wijze van schilderen (verfbewerking) en het licht daarin. Licht was voor Libbe hoop. Venema heeft muurschilderingen gemaakt in het Dr. Janssen-ziekenhuis en in de kerkzaal van de Nederlands Gereformeerde Kerk beide in Emmeloord. Verder beschilderde hij een doopvont (1993) in de Gereformeerde Kerk (vrijgemaakt) te Houten. In 1990 en 1994 is zijn werk te zien geweest tijdens interviews op de Nederlandse televisie (Evangelische Omroep). Met grafisch vormgever Steven van der Gaauw werkte Venema aan een bibliofiele uitgave van een dichtbundel van Henk Knol. Exposities vanaf 1960 te Groningen, Meppel, Zwolle, Amsterdam, Utrecht, Arnhem, Kampen, Maastricht, Oudewater en Emmeloord.

Docent HBS, Emmeloord,Docent Basisschool Meppel, Directeur Basisschool, Leusden,Lid Kerkenraad Gereformeerde Kerk Vrijgemaakt, Meppel

Lit.:Ander hooglied (1994); Jacobs 2000 , vol. 6, p. 116; Lexicon Nederlandse Beeldende Kunstenaars 1750-1950, Pieter Scheen; Galerie Bakker;  Bouman-Smits, M. Charlotte en Nijhof, Gerrit J. Libbe Venema, schilderijen en grafiek 1937-1994
Uitgever: Eigen beheer 1994

Kunstveiling: https://docplayer.nl/62875701-Veiling-libbe-venema-van-werken-van-23-februari-2017-vanaf-uur-hermesweg-20-3771-nd-barneveld.html

van werken van Libbe Venema 23 februari 2017vanaf 14.30 uur veiling

Hermesweg 20, 3771 ND Barneveld

Tijdens deze veiling worden werken van de in 1994 overleden kunstenaar

Libbe Venema verkocht.

In de lijst hieronder wordt alle informatie vermeld die wij hebben over de

kunstwerken. Niet in alle gevallen zijn titel, techniek en jaar van productie

bekend. Ook hadden we soms vragen over de gebruikte materialen.

In de catalogus staat een startprijs. Als u vooraf een bod wilt uitbrengen,

kunt u dat melden aan Marien Geelhoed (geelhoed@nd.nl).

U kunt tot donderdag 23 februari elke dag van 9-16 uur terecht bij het

Nederlands Dagblad om de werken te bekijken en een bod uit te brengen.

Als u een bod uitbrengt op een werk, wordt dat bod het startbedrag voor de

veiling. Als tijdens de veiling niet hoger geboden wordt, is uw bod geaccep

teerd.

Op 23 februari wordt een groot deel van de werken ter veiling aangeboden.

Om uiterlijk vijf uur wordt de veiling gesloten. Wilt u na afloop van de veiling

met ons over kunst van Libbe in gesprek, neem dan contact op met

Marien Geelhoed (geelhoed@nd.nl).

Meer informatie over Libbe Venema vindt u op www.libbevenema.n

 

 




BREGER, Udo (ed.)3. Almanach der Galerie im Centre: Udo Breger, 1969. 143/200; Provenance gallerie K276, Amsterdam, 1970


Large cardboard box (38,5 x 61 x 10) containing 4 multiples being: 1 square multiple withthree pieces of wood (7 x 7 x 1,7 cm) bolted together; a small object made of clay - signed fungi; 1 little ‘squeeze’ breadmade out of plastic and glued onto a white piece of plastic - signed otto dressler; a black molded square plastic form (29x 29 cm) with in the center a small white plastic cushion kept with a metal jar clip - signed and numbered H.S. Richter.Furthermore a closed envelope stamped “An alle Haushaltungen”; a mini BSAF sound tape; a 8 mm film documenting aperformance ‘do it now’ held on 13.3.1969; the lp ‘dances’ by Gunter Hampel; one oblong octavo size booklet (un pagi-nated), documenting the activities of the ‘GALERIE IM CENTRE’ from dec. 1966 – dec. 1969. + 40 original signed and num-bered contributions (silk screens, lithographs, etchings and photography) by Michel Badura, Thomas Bayrle, W. G. Cassel,Peter Chotjewitz, A. Dick, Otto Dressler, G. Eirich, L. Emrich, Cl. Garcia, Klaus Groh, D. Glasmacher, B. Jäger, R. Koehler, H.-B. Lindemann, K. Mätzig, J. Remé, P. Reus, H. S. Richter, G. Rokahr, Schuldt, Friedeman Singer, K. Klaus Staeck, D. Ullrich,Timm Ulrichs (2x), A. Walker, J. Wölbing and others. All objects set into a large piece of polystyrene.- First edition of this early multi-media publication. One of 130 (200) copies. This 3rd almanach is a compilation of workpresented in the gallery during the years 1966 -1969. The accompanying booklet is numbered on the title page.



Theo Beerendonk, ( 1905-`979) alluminium engraving plates; nudes; approx.35x25 cm; Lit.: 'DE liefde voor het naakt'; Theo Beerendonk 1905-1979, Marc Couwenbergh 2011.

 

Calder circus; lithographic prints; Lit,: added to Art in America magazine;  

Size              : various

Year             :1964/65

Edition         :

Literature : 5 lithographs of circus from the regular portfolio

                    as published by Art in America vol. # 5, 1965.

                   Art in America # 5, 1964, the regular portfolio;

                   Art in America, Calder’s circus, vol.52, # 5.

                   : (Calder’s) Univers: Jean Lipman, ill. # 101;

                   : Calder’s Circus; Jean Lipman; p. 62, et cetera…..p.170                                                  

A.

Pictured    :‘Juggler with dog’;

Lit                : Art in America # 6;

                     : Calder’s Circus # 158;

Size             : 32 x 43.3 cm;

Signed       : yes (could be facsimile).

 B

Pictured    :‘Man on a ladder with troupe’;

Lit.               : Art in America # 9;

                     : Calder’s circus # 62;

Size             : 32x43.5 cm;

Signed       : yes (could be facsimile).

C.

Pictured    :’tumbler on swing’;

Lit                : Art in America # 16;

                     : not in Calder’s circus;

Size             : 32x43.3 cm

Signed       : yes (could be facsimile).

D.

Pictured    : ‘Trapeze artist with animals’;

Lit.               : Art in America # 4;

                     : Calder’s circus # 157;

Size             : 43x33.5 cm;

Signed       : yes (could be facsimile).

E.

Pictured    :‘no title’ ; (lassoing cow-boy with dog);

Lit.               : Art in America # 4;

                     : not in Calder’s circus;                      : 32x43,3 cm;

Signed       : yes (could be facsimile).

Literature:

Anouncement along with the exhibition ‘Calder’s Circus’, stating there has been a limited signed edition, 100 pcs, signed and a regular one (unsigned ???). Size and edition of the regular one unknown.


 Cassandre 'Nord magazine 1930 vol.2 original lithographed cover; 31x24 cm;  Lit. Cassandre p. 40, ill 127;plate 16. Menu card, lithographed after Prunies; 19x14 cm; signed in plate; lit.: Cassandre plate 50; ill 171


corbusier 'Taureau'; 110x75 cm, sig in plate; 17,21963;

Lit.: oeuvre lithographique le corbusier, Heii Weber. (SOLD)


donahu


English, Michael  ball strikes water



Lit. Michael English ; London underground pop art 1968;  'inventor' of.



English blue truck




english bottle ref 55

english bubblegum




english coke

english fries egg


english heinz ketchup


english iced lolly



english paris wall

english philips morris



english red pack

english rose melting

english shoe strikes water


english sr ref 73


english syrup



english V8

glazer, Milton big nude

glazer, Milton


hansen 1 Nickelson


hansen 2


hansen 3



hansen 4



Leger Fernand , King of hearts, schoolprint; (Sold)


Kacere



Kacere sold


Matisse, Henri

Ref. file # 800/052015/p

Ask for full assaying detailled report

  A resumé.

The pitch of Henri Matisse and a Jazz plate:

Le cauchemar de l’eléphant blanc;

Jazz plate IV;

Size (image) 422 x 651 mm;

Stencil / pochoir

unfolded;

Edition 100 pieces;

Arche paper;

Cut/printed to the edge.

Pochoir by Edmond Vairel; gouage(paint) by Linel.

Same:

Edition 250 + 20 pieces, folded.

References: catalogue raisonné of Matisse’s illustrated books, in French with English at the end,  

and:

The original gouache marouflé  Centre Pompidou and/or Musée National d’art Moderne:

 

Le Cauchemar de l’éléphant blanc, 1943;
papiers gouachés, découpés, collés sur papier marouflé sur toile, 43,9 x 66,7 cm
dation, 1985.

 

To be discussed:

L’CAUCHEMAR DE L’ELEPHANT BLANC.

Glued reversible glued (marouflé) on linen; cleaned from foxing, (iron specs, bulls eye’s, like Lavis B paper as used by Matisse as backing) and time toning by a water solution with 2% borax.*

 

 

 SIZE (image) same as ‘250+20’ & ‘100’ edition; 1:1:  422 x 651 mm;

 

SIZE (UNCUT), (paper) 485 x738 mm; * ‘Kaki clair’ discoloration wide margin.

 

POCHOIR DE SOIE; ( with a stencil and/or  silkscreen made) of the ‘cauchemar…’;

Texture of the mesh visible pics shows with macro lens enlargement,as is the zigzag borders of the colors. Surface, overlapping layers of gouache, building up like small pyramides which will reflects

flood lighted, light/shadows giving more brilliance to the image.**

 

 Quote:

Avec une simple loupe (compte-fils) : aucune trame n'est visible, la couleur est disposée en « aplats ». Il est possible de détecter une impression réalisée en sérigraphie : si l'on observe le bord d'un trait imprimé, et que l'on peut y déceler de légères hachures en zigzag, alors on est très certainement devant une sérigraphie. Le défaut observé est la dent de scie, imperfection provoquée par les mailles du tissu pendant l'impression.

Unquote.

Quote

**I use to paint, said Bob Bonies, Dutch painter from the 1960s (zero-, minimal- and geometricalart)  the ground (canvas), 4 times: horizontal, vertical, horizontal and again vertical. The ground therefore was ‘moon’ cratered like, enhanching the light/shadow playing in ones eyes.

Unquote.

References : DUTHUIT (G.). - Les Fauves. Braque, Derain, Van Dongen, Dufy, Friesz, Manguin, Marquet, Matisse, Puy, Vlaminck. Genève, Édit. des Trois Collines, 1949, gd 4°, nombr. reprod. en noir et en coul., br. Couverture originale de Matisse tirée à la main au pochoir de soie dans les Ateliers Artecolor:     Here under couverture ( pochoir de soie) of above mentioned book. Detailed and enlarged by  macro lens;

One can cleary see the ‘foot’prints of the ‘soie’ as used to compare with above mentioned ‘ pochoir de soie’. Colophon (above): ‘..au main…Henri Matisse… au pochoir de soie… Taken a sample with a wet cotton stick of the presumeable gouache, shows the top of it, greenish. See also “Henri Matisse paper cut outs”, Jack Cowart et al, 1977 p. 160 ill plate XI.

   

 

S

Here under a Japanese  variation of a stencil WITH (metal)screen, wider mesh as.., Linel gouache used,  as an experiment on newly kind of Vergé papier.

UNFOLDED:

Image on un-cut  Vergé/Lavis B paper (not to the edge printed and unfolded), wide margin, glued/marouflé reversable on linen; is too white-ish (over lighted) photographed. True color is ‘kaki clair’.

EDITION   : unknown, see  below references;

 

References: Quotings from the enclosed Jazz lemma, catalogue raisonne: page 445, 2nd paragraph 6th line, quote: November 1943….L’éléphant Blanc…unquote. Is a discussion about the quality about   the printing/colors/papers and test to be done. As also on  page 446, 2nd line quote:…some real laboratory work to be done before doing the first proof…”, (1943) unquote.

   Presumeably  using the Vergé/Lavis B (by Canson) paper, lacking the Arche paper at the end of the war(?) as ’marouflé the papier from the cut-out itself, painted in gouache and glued to the linen/toile.    backside.

OR been useing the ‘papier marouflé’ itself as basis.

Matisse Cut-outs by Xavier-Gilles Néret mentions  that “l’elephant…” was executed 1943 together with the ‘le clown’ plate.

PAPER: Papier Vergé/Lavis B; (also called Laid paper);

References: chain lines = pontuseaux ( In a hand made sheet of paper there are the lines       running parallel to the long side (pontuseaux pl) and those running parallel to the short side of the sheet  so chainlines should be pontuseaux. Large papers 7x3 meter were used by Matisse for his cut outs.

Wikipedia   : Le papier vergé est un papier qui laisse apercevoir par transparence de fines lignes parallèles horizontales dans l'épaisseur du papier. Elles sont laissées par les vergeures et les fils de

                         chaîne (fils de couture qui fixent la vergeure aux pontuseaux) qui sont les fils en métal qui forment le tamis avec lequel est fabriqué le papier. Les pontuseaux sont les baguettes de                           bois qui soutiennent les vergeures et les fils de chaîne                                

See                : Here under the  Vergé/Lavis B paper as  used for our edition of the discussed  Jazz

                        plate IV.(Front and  back side)                                                     

See                 : here under two drawings made by Matisse(?)  on Vergé paper* (made more or less

                        same period of time) as offered by Swiss art databank:                                        http://www.villageantiques.ch/fineart/Matisse/MatisseNude1.                               Quote:                            Matisse Drawing 44.5 X 24 cm - on Papier Verge, similar to Lavis B paper no  watermark   Blank on Reverse



Moore, Henri; school print (sold)


Oldenburg, Claes; Double punch bag . Sold



Complete Collection mini posters by Steinlen; Lithographed, 24 pieces' Leo Lauer;  40x28; 1907; Anotated and signed by Steinlen, inside cover.




 

Rosmansky; music sheet; < 1917; 24x16 cm

 


Parti Communista Espana; NN; Litho; not signed

 

 

 

COMERCIO de TEJIDOS ULTRAMARINOS FERRETERIA (Monoplan Blériot) Papelera Industrial,

Zaragoza - 43 x 62 cm - Entoilée, assez bon état < 1910; Bleriod

 


PABLO PICASSO (1887-1973) Femme au corsage a fleurs;  1957; lithograph; 65x41 cm; signed; 'zero'proofstate from edition of 50; Lit.: Mourlot 307; Bloch 847

         Literature and references:

                                                                                                                                                                                                               Catalog Picasso Lithographs from the Mourlot collection; Sothebys New York, November 14, 1994; sale 6624, lot 226

                                                                                                                                                                                                                                                                                                                                                                                                                                                                 

*Quote:’.. lot 226-234 come from a series of six portraits which, according to Mourlot, ‘Picasso considered of great importance’. Picasso worked through several states of these different compositions, often printing editions of more than one state. Lot 226 and 227 come from the same plate, as do 228 and 229, 230 and 231 and most strikingly 232 and 233. Mourlot notes that the zincs went back and forth several times between Mourlot’s studio in Paris and Picasso’s home in Cannes. The tranformation from lot 232 and lot 233 shows the extent of Picasso’s involvement with this cycle as the artist turned one beautiful portrait into another on the same printing surface.’ Unquote.

A Survey of Picasso’s Prints
1955-1967, Jacqueline et al.

Fig. 37. Femme au Corsage a Fleurs (Bloch 847)



Another muse, another style.  Or several.  Picasso met Jacqueline Roque in 1953, and she became his main squeeze the following year, after Francoise had left him.  Jacqueline remained with Picasso for the last 20 years of his life, became his second wife, and was the subject of more of his works than any other woman.  In printmaking, Picasso applied his full panoply of tricks to his new muse, including etchings, aquatints and lithographs, and developed his mastery of linoleum cuts, finally delivering a measure of color to his color-starved audience.

Fig. 37a. Buste de Femme au
Corsage Blanc (Bloch 848)

This lithograph, one of the three best of Jacqueline, most tenderly depicts her countenance and, with a few bold brushstrokes, brings out her sensitivity and intelligence so convincingly that the viewer feels he almost knows this woman.

Interestingly, Picasso returned to this same zinc twice over the next twelve months.  He presumably was dissatisfied with the appearance of these last two states, because they were not editioned.  (Mourlot and Cantz say that the second state was not printed at all, though somehow a photo of it is shown in Cantz. The third state is illustrated in Mourlot.) One must be thankful, therefore, that Picasso saw fit to print the edition of this lithograph before he irrevocably altered it and became dissatisfied with his results.  How often one wishes that he had done so with earlier states of other prints, when one or more of those earlier states seem superior to the final, editioned state.  In this rare instance, we are grateful that Picasso perceived the beauty of the first outpouring of his vision onto the zinc and memorialized it on paper. Just as this is one of Picasso's loveliest prints, at almost 70 cm it is one of his largest.

Lit:

Mourlot 307;

Bloch 847;

Bloch several states: 846, 847,848

Pablo Picasso , Portrait lithographs. Catalog  Alan Cristea Gallery, April 2011 , # 16 ill.

Picasso: 85 gravures, présentées á l’occassion de son 85 e anniversaire, octobre 1966. Plaquette Berggruen Paris 1966 ; # 54 ‘ buste de femme au corsage Blanc’ (Mourlot # 311, not in Bloch); ill.






Pablo Picasso: le petit  correador;Bloch  830; Mourlot restrike 1982

                                                                                                             

Pablo Picasso-Tauromachie-1982 Mourlot offset ; avant la lettre

About this Item: 1982. Condition: Very Good. "Tauromachie" by Pablo Picasso, Unsigned Lithograph printed in 1982 from an edition size of 1000. The overall size of the Lithograph is 35 x 23.5 inches. The condition of this piece has been graded as B: Very Good Condition, with signs of handling or age. Here is some supplemental information about the Lithograph: Color lithograph after (d'apres) Picasso, recreated by Henri Deschamps on the presses of Mourlot in Paris for the benefit of the Musee D'Art Moderne in Ceret France in 1982. The title of the exhibition was Picasso et la Tauromachie. Not Signed.

References:

 Pablo Picasso La Petite Corrida 1957

€3,125.

AboutThis piece is an original lithograph in colors by Pablo Picasso, done in 1957. Picasso created this piece for the special issue of the art publication XXe Sicle Review No. 10, entitled "Homage to Pablo Picasso", which was published by Tudor Publishing Co. in New York, 1958. This piece is signed and dated in the plate only and is from an unnumbered edition of 2,000. In addition, there are 50 impressions with wide margins that are hand signed and numbered. It is unframed and measures 11.42 x 7.87 inches. This piece is referenced as number 839 in "Picasso: Catalogue of the Printed Graphic Work 1904-1967 Volume I" by Georges Bloch. Note: offered  one is smaller as the Bloch 839, signature and name is not mirrored: photolitho.





Picasso

 Picasso/Benoit; 'cartalégraphies'(cardboard-cuts);Front and backside; 34x26cm Bloch 1237 ; 23x19cm 1966 les tranparents; celluloid; horizontal fold.

Ref./Lit:






 Procede Daniel Jacomet
  Jacomet developed an ingenious, but time consuming and difficult method that   had stunning results.
  But before him the first commercial collotypes were produced in 1868 in   Germany by Josef Albert and in 1869 in England by Ernst Edwards. Until the   development of the half-tone screen it was the only photomechanical process,   besides hand photogravure, capable of reproducing tone.
  Collotype is the most accurate and beautiful method of photomechanical   reproduction yet invented. It has the advantage that it can render continuous   graduations of tone without the intervention of a screen. But the making and   printing of collotype plates is skilled and expensive work and can easily go   wrong. Variations in humidity are likely to upset the balance of moisture in   the gelatin causing it to swell or shrink. The surface is too delicate to   produce more than two thousand impressions. For these reasons, collotype has   been used for luxury publications and, since World War II, has been largely   abandoned for other commercial purposes. Collotype is a photographic process   in which a film of gelatin provides the printing surface. The technique is   dependent on the fact that light sensitized gelatin hardens in proportion to   the amount of light to which it is exposed.
  A solution of gelatin is poured over a sheet of plate glass. When dry the   plate is placed in contact with a reverse negative and exposed to light. In   proportion to the strength of the transmitted light the gelatin dries and   hardens, while the unexposed areas remain capable of absorbing moisture. The   surface can then be printed as a lithograph. The gelatin accepts the ink in   an inverse proportion to the amount of moisture the surface retains, the   driest areas accepting the most and therefore printing darkest.
  Before starting the process of facsimile reproductions, two vital decisions   needed to be made. First, how many base colors were to be printed in   collotype to supply the framework for the facsimile. Second, how many   stenciled colors would be required to reproduce an accurate watercolor copy   of the original.
  Then the original plate was photographed and a reverse negative was made for   each base collotype color. Each negative was reworked by hand so that all the   colors other than the base color for that negative were eliminated and the   values of that base color were attenuated. Each negative required work, up to   sixteen hours involving retouching and masking. The negative was then   developed onto a previously prepared gelatin plate, which was baked in order   to harden it sufficiently to take up to five hundred good impressions.
  The success of the process depended on the Colorist analysis of colors for   the base print, the subsequent layering of colors by the pochoir process   (hand stenciling process) and on continuous comparison with the original   plate. The layering of the base colors provided the skeleton of the work to   be reproduced. Often up to three weeks' work by a skilled craftsman was   required to prepare and make trials with the negatives before any actual   printing was started. It was important for the stencil work to follow that   these collotype printings be as perfectly 'modeled' as possible, and that the   same craftsman who would later cut the stencils be in charge of preparing and   printing the collotype negatives.
  After the plate was put on the press, at least half a day was needed to 'work   up' the color values. The printer could modify values by the application of   chemicals onto the plate. If there were no accidents from the action of the   chemicals that were used in the course of 'working up' the plate or from   other hazards in the shop, and the correct temperature and humidity were   maintained, the printer could expect to print about 350 sheets per day.
  The hand stenciling process began after the base collotype was printed. In   determining the base colors for the collotype printing, the Colorist also   chose the amount and order for the application of colors by the pochoir   process. The zinc stencils were cut by hand for each shade of color in the   original, using a sheet of the collotype printing as a guide. A watercolor   wash was then applied by hand for each color, using large beaver stencil   brushes. A certain amount of direct hand work was needed to soften the edges.   For this the stencil was lifted and a smaller brush was used.
  Pochoir proofs were obtained by the superimposition of all the stenciled   colors required for each plate over the base collotype. These proofs were   corrected from the original and alterations in color and improvements in   color order were made. The time required for obtaining a satisfactory first   proof was about a month for a highly skilled craftsman. It then took   approximately 7 - 9 weeks to apply the colors by hand through stencils for an   edition of 400 copies, one plate only. Finally when the proofs were   considered satisfactory, they served as models for the coloring of the   collotype plates
  The stencil was a zinc sheet cut in conjunction with the guide sheet, one for   each layer of color to be washed onto the base print. Notice the corrections   made to the stencils, areas covered up or more cut out than on the original   guide sheet. These corrections were made after the proofs were colored and   compared with the original.
  Guide sheets were made from the base collotype print. One guide sheet was cut   for each layer of color used in the stenciling process. The zinc stencils   were placed under the base collotype print and were cut at the same time the   guide sheet was cut.
  Stenciler information sheets were the proof sheets used to correct colors and   the order in which they were laid down. Stencil corrections were made from   these sheets. These sheets were compared continuously with the original print   and corrected until the colors matched. They were then used in lieu of the   original as comparisons for the coloring of the rest of the edition.
  Color decompositions were a record of the color applications . These sheets   show step by step the subtle layering of the watercolors in the pochoir   process. Each sheet is one color layer different from the one before. The   final result is a finished print with great depth of color.

 

Qu'est ce que LE PROCEDE JACOMET ??

Le « procédé JACOMET » est essentiellement la combinaison des deux techniques,

auxquelles viennent s’ajouter des savoir-faire spécifiques de finitions et de vieillissement des papiers.

Mais il consiste surtout à évaluer les possibilités de la phototypie et du pochoir, en fonction d’un document donné :

aquarelle, gouache, pastel, lavis ou dessin rehaussé.

Quelquefois, la phototypie sera en un seul ton, noir ou couleur,

mais dans la plupart des cas on imprimera deux ou trois couleurs choisies pour être en harmonie avec le pochoir.

Utilisé depuis son origine comme technique d’imprimerie d’art, le « procédé » JACOMET apporte toute son originalité dans la reproduction en FAC-SIMILE

de documents anciens : gravures, dessins rehaussés, aquarelles, pastels, sanguines et plus particulièrement encore pour les fac-similés de manuscrit.

Dans ce domaine, la combinaison d’un travail de recherches et de vieillissement des papiers, associé à la phototypie et au pochoir,

tend vers une fidélité de reproduction reconnue comme unique au monde

(plus d’une centaine de réalisations parmi lesquelles on pourra citer le manuscrit B de Léonard de VINCI, le manuscrit de CHAMPOLLION,

des carnets de dessins de PICASSO, LAUTREC, MATISSE, SUTHERLAND, MOORE, SIGNAC, GAUGUIN…).



Pablo Picasso / André Villers;

Le carrigan a la dentelle; Pochoir; from Diurnes ; #

Decoupages/photographs; Cramer 115;

printer: D. Jacomet. Berggruen, Paris 1962



Picasso / Villers; Midas; pochoir. Lit.: Cramer 115; Jacomet imprime 1962



 

Picasso/andre Villers; pochoir: un general; Lit. Cramer 115; Jacomet imprime 1962

Pablo Picasso and André Villers

Title     : Diurnes, Découpages et Photographies (portfolio of 30 w/text by Jacques Prévert)

Medium: collotypes

Size      : 40 x 30 cm. (15.7 x 11.8 in.

Phototype and pochoir. Number of the edition  1000 published in 1962. Size: 40x30 cm . Numbered on the reverse 2, 9, and 14. 

In 1953, Pablo Picasso went to live in the French city of Vallauris, near the Côte d’Azur, in order to experiment at its ceramics workshops. During his stay there he came across the photographer André Villers. A close relationship then began between the 72-year old artist and the young 23-year old photographer..

Picasso and Villers, fascinated by the richness of their place of residence, Provence, embarked on an intense creative process which would lead to the suite Diurnes – from the Latin “diurnus”, of the day – made in 1962 and published with texts by the poet Jacques Prévert.

The portfolio, which brings together photographic and lithographic techniques, is one of the few works in which Picasso used photography as a means of expression. Through superimposing and applying découpages – paper cuts – of figures, the artist recreates his mythical imaginary over the evocative black and white landscapes captured by Villers’ camer



Pablo Picasso Faune Blanc Peintures sur Papier Antibes 1946 Jacomet print. edition 75/175
                         Lit.: An original/vintage Pablo Picasso lithograph title Faune Blanc. was later re-striked (1960) This is a print taken from a portfolio of 16 prints: Peintures sur Papier Antibes 1946 [Reproduction] Daniel Jacomet - Au Pont des Arts Paris - Imprim en France. Paper measures 19 3/4 x 25 3/4". In good condition,. Print executed in 1960, taken from Faunes et Flores d'Antibes,  Re-strike published in an edition of 350 by Au Pont  des Arts


Pablo Picasso; Au pont des arts; Paris 1956; #31/200 49x64 cm; imp. Jacomet print.  SOLD



Pablo Picasso; petit nu assis au miroir; Celluoid 30x40 cm, .

    lit/ref: < petit nu assis au miroir? ; lithography 31x48 cm; 1947; tiree 50.Bloch 451.

Pablo Picasso; Tete de femme; celluliod ; 40x30 cm 1945;                                                                Lit/ref.: lithograph: Tete de femme; 34x26 cm =Bloch 377

Pablo Picasso; <tete de femme stylisée fond noir>; cellulioid; 1945 31x23 cm Lit/ref: Bloch 375; Mourlot Bd 1, # 37; Affiche: DTV #216; Czwicklitzer # 186







Numbo Jumbo; engraving nn; 16 x1 cm







Marilyn Monroe; 13 original  photo negatifs, celluliods


MAD banners; approx 1960 supplements of said  magazine


Japanese watercolor; birds, seal.




Herzig; music sheet; lithographed. Signed? p. 1





Eich Wichmann 1890-1929



Warhol; Shoe's; Lucretias/ Warhol??signed Lucretias; Reference pictures, the book 'reading Andy Warhol'