11

After Pablo Picasso

(1881-1973)

"Bacchanale," circa 1959-63

Aquatint in colors on BFK Rives paper
Edition: 123/300
Signed and numbered in pencil in the lower margin: Picasso; Atelier Crommelynck, Paris, pub. and with their blindstamp in the lower left margin corner
Plate: 18.75" H x 22.25" W; Sheet: 22.125" H x 30.125" W

  • Notes:
    "Bacchanal" is an original, limited edition work on paper that was created using the aquatint form of intaglio printing to meticulously reproduce this image as it was first painted in ink and gouache on board by Pablo Picasso on June 22, 1956. It is one example from a print edition of 300 signed and numbered aquatint impressions created at Picasso's request, and under his direct supervision, between 1959 and 1963. Lacking the highly technical skills required to accomplish his goal, Picasso enlisted the Paris-based master printers Aldo and Piero Crommelynck to etch the elaborate matrix based on his preexisting gouache onto a large copper plate and then, after receiving his approval for the visual accuracy of the design and colors, print 300 examples of this aquatint onto paper for him to sign and number by hand.

    Aldo (1931-2008) and Piero (1934-2001) Crommelynck were two of four sons born into an extended family of playwrights, painters, set designers, and classical musicians that encouraged one another to begin mastering a professional craft from a young age. For Aldo and Piero (and to a lesser extent their youngest brother Milan), this exploration began during the 1940s with teenage apprenticeships in the Paris workshop of a family friend, Roger Lacouriere, who had already developed a lasting reputation as one of France's most highly regarded master printers. He taught them the intricacies of intaglio printing and first introduced them to artists such as Joan Miro and Pablo Picasso. The Crommelyncks continued to train with and work for Lacouriere until 1955, at which point they decided to start their own printing workshop, initially in partnership with another aspiring young master printer, at a cramped location behind Paris's Montparnasse station. They began to establish their own reputation as a respected printing workshop when artists such as family friend Georges Braque came to them to explore intaglio printmaking for the first time. In 1959, their partner left to work for printer/ publisher Amie Maeght, and Aldo and Piero were able to move their printing workshop to a better location, still strategically within the creative Montparnasse neighborhood, and named it "Atelier Crommelynck."

    It was at this Paris location, on rue de Gergovie, that Aldo and Piero Crommelynck helped additional artists such as Alberto Giacometti and Andre Mason try their hands at intaglio printmaking for the first time. It was also where, as was an established artistic practice stretching back for several hundred centuries in Europe, the Crommelyncks embarked on highly specialized, multi-year collaborations with Picasso, Miro, and Jacques Villon, to create limited edition "gravures d'interpretations" (i.e. etched color reproductions) based on those artists' unique works in other mediums. The impression of Picasso's "Bacchanale" offered here, as already mentioned, is a technical marvel resulting from one of these four-year artistic collaborations.

    Picasso was clearly very fond of this image. Bacchanale themes appear numerous times throughout his career. In this case, there is also the thought that this version could simultaneously represent the three ages of man at a time when the aging artist would have been reflecting on his own life. Whatever the case, we know that in addition to his interest in working with the Crommelyncks to produce the aquatint edition, Picasso chose to retain the unique gouache as part of his personal collection until his death in 1973. In February of 2019, Sotheby's London sold that painting to a private collector. Thanks to Atelier Crommelynck, there are still opportunities such as our auction when the rest of can try to acquire Picasso-approved impressions of the aquatint.
  • Condition: Overall good condition. Full margins with deckled edges and the colors good. Pale light-staining showing in the margins. A band of very slight surface skinning along the verso of both the upper and lower margin edges, attendant with prior removal of old tape. The work is now hinged to the back mat from the verso of the upper margin corners.

    Framed under glass: 29" H x 32" W x 1.5" D


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June 17, 2025 12:00 PM PDT
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