Deux Femmes au Miroir. Two Women with a Mirror. by Pablo Picasso, 1881-1973

Pablo Picasso, 1881-1973
Scroll down for information.
Click here to return to the list.

Deux Femmes au Miroir. Two Women with a Mirror.

Original etching with aquatint, drypoint and scraper-work in black ink. 1965. (3rd March). Signed in pencil. Inscribed by Picasso as 'Bon à Tirer' - the unique 'Guide Proof'. Proof before the edition of 85 impressions (apart from the album). Printed at the studio of Crommelynck,
Paris. The edition issued by Louis Broder for the series: Sables Mouvants, 1966.
Ref: Baer - Picasso Graveur no 1154.
Provenance: Collection of P. Crommelynck, the printer. This proof specifically listed by Baer in her catalogue of Picasso.

Superb proof with absolutely brilliant inking. On pale cream wove Rives paper. Perfect condition, never previously mounted or framed. Full margins. Sheet: 19 x 14 7/8ins.
Plate: 14 7/8 x 10 7/8ins (380x276mm).

This item is sold.
Click here to enquire about this item.

The unique first proof of ?Deux Femmes au Miroir?, annotated by Picasso as the Bon à Tirer (the first guide proof for the edition). It is from the collection of the printer Crommelynck in whose studio in 1965 Picasso printed the plate, and it is individually recorded in the Baer Picasso Oeuvre catalogue.

This absolutely brilliant sparkling impression shows the inspiration of Picasso?s handling of etching media in the mid 1960?s. Negative and positive drawing are combined so that the form of the two figures stands out from the background as in negative - ?white on black? - but the surface modelling of their bodies is created through the positive linear etched line and the drypoint texture. The combination of the two not only gives a strong sense of space but also creates visual movement within the image. As an added contrast Picasso also used some textural softground suggesting a further shadowy form in the background.

The theme of the ?two women preparing their make-up? is one to which Picasso returned on a variety of occasions. He used the contrasts of the two nude figures, and of the black and white within the plate, both to define space, plane and light and to create an emotional confrontation.

This first proof has an absolutely exceptional brilliance in the impression.