Pablo Picasso, Woman In Yellow Chair, Hand Signed Lithograph

Pablo Picasso, Woman in Yellow Chair, Hand Signed Lithograph

The lithograph will be without a frame

LITHOGRAPHY is a printing process that uses a flat stone or metal plate on which the image areas are worked using a greasy substance so that the ink will adhere to them by, while the non-image areas are made ink-repellent.

A printing process based on the fact that grease and water do not mix. The image is applied to a grained surface (traditionally stone but now usually aluminium) using a greasy medium: such as a special greasy ink – called tusche, crayon, pencils, lacquer, or synthetic materials. Photochemical or transfer processes can also be used. A solution of gum arabic and nitric acid is then applied over the surface, producing water-receptive non-printing areas and grease-receptive image areas. The printing surface is kept wet so that a roller charged with oil-based ink can be rolled over the surface, and ink will only stick to the grease-receptive image area. Paper is then placed against the surface, and the plate is run through a press.

Lithography was invented in the late eighteenth century, initially using Bavarian limestone as the printing surface. Its invention made it possible to print a much wider range of marks and areas of tone than possible with earlier printmaking relief intaglio methods. It also made colour printing easier: areas of different colours can be applied to separate stones and overprinted onto the same sheet.

Offset lithography involves printing the image onto an intermediate surface before the final sheet. The process is ‘offset’ because the plate does not come in direct contact with the paper, which preserves the quality of the plate. With offset lithography, the image is reversed twice and appears on the final sheet the same way round as on the stone or plate.

ETCHING is a printmaking technique that uses chemical action to produce incised lines in a metal printing plate which then hold the applied ink and form the image

The plate, traditionally copper but now usually zinc, is prepared with an acid-resistant ground. Lines are drawn through the ground, exposing the metal. The plate is then immersed in acid, and the exposed metal is ‘bitten’, producing incised lines. Stronger acid and longer exposure produce more deeply bitten lines. The resist is removed, and ink applied to the sunken lines but wiped from the surface. The plate is then placed against the paper and passed through a printing press with great pressure to transfer the ink from the recessed lines. Sometimes ink may be left on the plate surface to provide a background tone.

Etching was used for decorating metal from the fourteenth century but was probably not used for printmaking much before the early sixteenth century. Since then many etching techniques have been developed, which are often used in conjunction with each other: soft-ground etching uses a non-drying resist or ground, to produce softer lines; spit bite involves painting or splashing acid onto the plate; open bite in which areas of the plate are exposed to acid with no resistance; photo-etching (also called photogravure or heliogravure) is produced by coating the printing plate with a light-sensitive acid-resist ground and then exposing this to light to reproduce a photographic image. Foul biting results from accidental or unintentional erosion of the acid resist.

Like engraving, etching is an intaglio technique. Intaglio refers to all printing and printmaking techniques that involve making indents or incisions into a plate or print surface which hold the ink when ink is applied to the surface and then wiped clean.

Pablo Picasso 1881-1973

School of Paris, painter, sculptor, etcher, lithographer, ceramist and designer, who has had enormous influence on 20th-century art and worked in an unprecedented variety of styles. Born at Malaga, Spain, son of an art teacher. His family moved to Barcelona, where he entered the School of Fine Arts 1895; then entered Madrid Academy 1897. Early showed great precocity. First visited Paris in autumn 1900, returned in 1901 when he had his first Paris one-man exhibition at the Galerie Vollard. Blue Period paintings of beggars and sad-faced women. Settled in Paris in 1904. In 1905 painted some pictures of circus folk and embarked on his Rose Period. 'Les Demoiselles d'Avignon' 1906-7 marked the beginning of a more revolutionary manner, influenced by Cezanne and Negro art. Met Braque in 1907 and with his collaboration created Cubism. Designed sets and costumes for Parade and other Diaghilev ballets 1917-24. Made some neo-classic figure paintings 1920-4, parallel to later Cubism. Started to make more violently expressive and metamorphic works in 1925, and in the following years frequently exhibited with the Surrealists. Important series of wrought-iron constructions and modelled sculptures 1928-34, illustrations for Ovid's Les Métamorphoses, Buffon's Histoire Naturelle etc. Awarded First Prize at the 1930 Pittsburgh International. His painting 'Guernica' 1937 was inspired by the destruction by bombing of the Spanish town of that name. Continued to live in Paris throughout the Occupation. From 1946 lived mainly in the South of France at Antibes, Vallauris, Cannes, and from 1958 near Aix-en-Provence, where he maintained a prolific output of paintings, sculptures, etchings, lithographs and ceramics. Died at Mougins, near Cannes.

Condition report:

Used

The piece is in overall good condition. Minimal wear was visible upon close examination: no tears, foxing, or notable damage. Please view photos for further reference.