los Toros avec Picasso (also known as Toreros or A los Toros mit Picasso) is a work published in 1961, with text by Jaime Sabartès, issued by the publisher André Sauret in Monte-Carlo. Typography, layout, and binding were carried out by Draeger Frères in Paris, and the illustrations were printed by the Mourlot studio on vélin paper, in a landscape format of 25.2 x 32.5 cm. The volume contains four original transfer lithographs, one in color and three in black and white, ranging in size from 19.5 x 23 cm to 21 x 26 cm. The print run is unknown. The work is referenced in the catalogues raisonnés: Cramer 113, Reuße 786–795, Mourlot 346–350, and Bloch 1014–1017. Picasso did not end his engagement with bullfighting after Toros y Toreros, since his next lithographic work was done on Monday, March 6, 1961, again for a book—the text by Sabartès, A los Toros avec Picasso (Cramer 113). The publisher, André Sauret, encouraged by the success of the bullfighting theme already proven by Neruda’s book, did not want to waste the vein of inspiration that Picasso and the arena could still provide. The idea likely arose on the occasion of the exhibition of bullfighting drawings held at the Louise Gallery in December 1960, for which Picasso had created the poster (R. 770, M. 334). The 103 wash drawings shown in that exhibition are reproduced in this book, accompanied by a vivid text by Sabartès about the passion of the fans and the atmosphere in the arena. To enrich the volume, Picasso created on March 4 four original lithographs, drawn with lithographic pencil on report paper, depicting the following themes: La Pique (R. 786, M. 346), Le Picador (R. 787, M. 347), Jeu de la Cape (R. 790–791, M. 348), and Les Banderilles (R. 794–795, M. 349). These are simple drawings in lithographic pencil, typical of Picasso’s graphic output during that period, and stylistically close to the work done for Neruda’s book in December 1960. These four lithographs are the only ones Picasso would ever make in the Château de Vauvenargues, located in the Bouches-du-Rhône department, which he had acquired in 1958 in memory of Cézanne, whom he deeply admired, and who had painted in those forests and died there after being caught in a violent storm. As soon as Picasso purchased the castle, he telephoned Kahnweiler to say, “I bought Cézanne’s Montagne Sainte-Victoire.” The dealer, not understanding what painting he referred to, asked for clarification, and the painter replied, “The original.” The following month, on Friday, April 21, 1961, Mourlot arrived at the castle with his wife to bring the artist the proofs of the lithographs, along with a request from Sauret. The printer, accustomed to Picasso’s usual refusals of publishers' requests, conveyed his best client’s wish—some color in the book—without much hope, suggesting perhaps a few touches on one of the proofs. Picasso, in a visibly cheerful mood that day, paused briefly and replied, “Ah, so Mr. Mourrrlot wants color...!” He immediately called for Jacqueline, whom he had married on March 2, and asked her to give the guests a tour of the estate. After they had finished the visit, Picasso invited them down into his studio and told the printer that, since he wanted color, he would be satisfied. He then showed them the proof of Le Picador, heavily colored with wax pencils. Picasso knew full well that what he had done would create a major problem for Mourlot, since a separate lithographic stone would be needed for each color—meaning 24 extra stones in total. Laughing like a child, and seeing the look on Mourlot’s face, he explained, “I used all the colors because it looks better. It’s a pity there aren’t boxes with 36! I hope you have fun!” This anecdote marks the origin of one of Picasso’s most iconic color lithographs. Mourlot’s chromists were forced to recreate each color precisely as Picasso had applied it in wax, transferring each tone individually onto its own stone. The process took ten days, but eventually Picasso approved the bon à tirer. This new lithograph, bearing two dates written by Picasso—6.3.61 (for the black plate) and 21.4.61 (for the 24 color layers)—is listed in Reuße as no. 788 and in Mourlot as no. 350. At the time of printing, Picasso posed a new challenge for his Parisian publisher: Sauret not only printed the book but also released a separate edition of each lithograph, in 50 numbered and signed copies—just as Kahnweiler had done. However, the exact dimensions and identities of these separate lithographs are still subject to confusion. Mourlot’s catalogue mentions 50 numbered and signed impressions with margins, but it lists only the size of the lithographic stone, not the paper. Reuße offers limited help: out of the five lithographs, he catalogs and illustrates only one—Le Picador (R. 787, M. 347)—on paper measuring 37.9 x 51.4 cm, unsigned (like most entries in Reuße, which are often artist proofs). Regarding La Pique (R. 786, M. 346), he merely states that it was printed with large margins, but gives paper dimensions as 24.4 x 31.8 cm—identical to the size of the book. Through our own research, we have found several proofs of Le Picador confirming the existence of a signed edition on Arches paper measuring 38 x 51 cm. As for the book itself, which measures 25.2 x 32.5 cm, it was printed in landscape format, bound in gray cloth with a printed wash drawing of a picador and bull, and housed in a red case featuring a reproduction of a black lithograph (R. 127, M. 25, dated January 7, 1946). No deluxe editions were issued, but although undocumented, the print run must have been large—likely numbering in the thousands, as was the publisher’s custom. The book was released in three language editions with different titles: in French, A los Toros avec Picasso; in English, Toreros; and in German, A los Toros mit Picasso.
1700 Euro, best price on market for the set in prestim condition
