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19 January 2025
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Pablo Picasso
Chez la Pythie-Harpye : Personnages masqués et femme oiseau
, 1934
34.3 x 44.8 cm. (13.5 x 17.6 in.)
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Pablo Picasso
Spanish, 1881–1973
Chez la Pythie-Harpye : Personnages masqués et femme oiseau
,
1934
Pablo Picasso
Chez la Pythie-Harpye : Personnages masqués et femme oiseau
, 1934
34.3 x 44.8 cm. (13.5 x 17.6 in.)
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for more images
View to Scale
Zoom
Medium
Prints and multiples, Aquatint and etching on copper-plate
Size
34.3 x 44.8 cm. (13.5 x 17.6 in.)
Markings
Collection label of Henri-Marie Petiet on the reverse.
Price
Price on Request
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Galerie Jean-François Cazeau
Paris
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About this Artwork
Edition
260
Size Notes
Image: 24.5 x 34.3 cm
Sheet: 34.3 x 44.8 cm
Movement
Modern Art
Catalogue Raisonné
Bloch n°227
Baer n°441
Provenance
Atelier de l’artiste
Ambroise Vollard, Paris
Collection Henri-Marie Petiet, Paris (acquired from the former)
Exhibitions
Picasso et la Grèce : Andros (Grèce), Museum of Modern Art of the Basil and Elise Goulandris Foundation, 26 juin 2004-26 septembre 2004.
La Suite Vollard (Picasso-Méditerranée) : Cannes (France), Centre d'art La Malmaison, 17 novembre 2017-29 avril 2018.
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Description
Henri Marie Petiet (1894-1980), Parisian print dealer, bibliophile, publisher of fine books and collector. Nicknamed " the Baron Petiet", he took over Ambroise Vollard's print collection and became "one of the greatest print dealers of his time". (L'art et son marchand. Henri Marie Petiet by C. Oddo). His first acquisitions were prints by Maurice Denis, Odilon Redon and Pablo Picasso, which he bought from Ambroise Vollard.
His reputation for exacting standards soon preceded him in France, and made him a force to be reckoned with abroad. America became his main field of choice, where in a short space of time he built up university and museum collections of 19th and 20th century prints of the utmost importance, notably the MoMA collection in New York. In this, he followed the example of the great painting dealers who, from the fin XIXth century onwards, formed the great American collections, such as Paul Durand-Ruel, Bernheim, Rosenberg, Gimpel and Paul Guillaume.
During the negotiations following the death of his predecessor Ambroise Vollard, he asserted himself as an arbitrator, and, with an absolute eye, determinedly bought back all the available prints from the Suite Vollard - one hundred opuses - with the success that we know today.
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