Picasso

Dove of Peace

1961

Important work

ARTIST:

Picasso, Pablo b. 1881, Malaga, Spain d. 1973, Moulins, France


Title:

Dove of Peace, 1961, signed and dated in the plate. Possible Artist’s proof** of Hors Commmerce


Technique:

Lithograph


Paper:

Canson 63.5 x 48 cm


Condition:

Excellent. Print was re-housed in archival materials and custom framed 2014.*


Realisation / Publication:

Created as an advertisement for an international Peace Conference in Issy-Les-Moulineaux, France, early in 1962


Reference / Literature:

Rodrigo 121,Czwiklizer 207


Provenance:

1962, Purchased by a Catholic Nun (unknown name) on vacation / sabbatical, or living in Paris. sold on approximately 1985-87 to Private Collectors, Copenhagen, Denmark, then sold to Salon in 2014.


Asking:

Contact for price


This is more likely to be from the first edition, one of the many that Picasso did not sign in addition to his signature in the plate. He did sign what was thought to be around 200-250.  At least two further editions were published after the death of Picasso; one in 1974 for the 25th Anniversary of the Peace Movement (sheet size of the 1974 edition is half the size of the present at 28 x 38), and another edition, published in 1983, with a distinctive electric blue outline of the dove suggests that the ink has had barely enough time to fade, or that the incorrect colours were used.[1] The lithograph on offer was inspected, when it was re-framed and re-housed was found to be in excellent condition save for the slight yellowing of the paper suggesting its age. Moreover, the yellowing is found throughout and not in patches, suggesting attenuation via aging rather than through artificial means. The corners of the sheet were found to be knotted-a process whereby they are dampened and pushed into the corners of the frame to ensure a snug fit. These were removed when the work was rehoused.  The frame was contemporaneous of the time-a simple, oblong shaped of thin blond hard wood.  Further ‘evidence’ to suggest a first edition attribution was the removal of the framer’s adhesive identification sticker from the back of the ‘original’ frame and pictured here.  This has been returned to the back of the new frame

[1] The chromist was likely Marcel Salinas who had worked with Picasso late in his career, was employed by Picasso’s grand-daughter to work on the editions she re-issued after the Master’s death, the latter Master having left her over 300 plates and stones.