I met your father some (3-4) years ago. A gentleman and an erudit.
I learn a lot about pochoir because of him and am now a feverished collector.
Thanks to you father.
Please, give him my best salutations,
Saint-augustin de Desmaures,
Thank you very much for your comment. I will give Paul your salutations 🙂
Dear Mr. Zwartkruis,
I can’t thank you enough for this site I only recently discovered. I’m an art dealer, appraiser, and auctioneer, and have been dealing in the works of Pablo Picasso for almost 35 years. As you so vividly point out, the only body of work that hasn’t ever been catalogued properly for Picasso is his Pochoir. The fact that you’ve reproduced them here is a Godsend. Many appraisers and dealers aren’t even aware of their existence. I happen to own a copy of the 200 edition of Picasso’s Venti Pochoir Originali, and was delighted to see them here well-represented. I bought it over 30 years ago and have been intrigued with the medium ever since.
I’m an Accredited Senior Appraiser with the American Society of Appraisers, and the International Society of Appraisers. The reason I’m writing is to ask your permission to mention your site in an article I’m writing for the Journal of Advanced Appraisal Studies (which will be published in March of 2016), and I’d also like to discuss it at a seminar I’m conducting in the San Francisco Bay Area on January 21, 2016.
The article addresses the various limited edition mediums that Picasso pursued; etchings, lithographs, ceramics, linocuts, and pochoirs. The intention is to better inform them in all areas of these mediums and to pass out literature as to the best sources (catalogues, books, databases, etc.) where they might be able to identify a subject work and better understand the medium and the significance it plays in the artists history. As you well know, Picasso’s Pochoir was a medium he enjoyed enough to continually revisit and incorporate it, unlike some of his other mediums where he’d spend a period of time with them, then move on to something else, often to never go back. He did it with Ceramics, Linocuts and Lithography. Only the etching intaglio medium, along with Pochoir intrigued him enough to immerse himself in it throughout his life. (In fact he couldn’t pursue etching once World War Two Started, and didn’t return until the mid 1960’s). Anyway, I could go on forever.
Tony Pernicone, ASA, ISA AM
Dear mr. Pernicone,
Thank you very much for your interest. I sent you an email.
I have owned a Picasso pochoir of the “Three Musicians” for many years. It has hand drawn registration working lines that appear through the pigments when you hold it up to the light. The main difference between your image and my pochoir is the Picasso signature lower right. I’ve read that the first 50 copies had his signature. I would like to sell it and any information you could send me would be greatly appreciated.
Sorry I cannot help you.
Dear Mr. Zwartkruis –
I am working as archivist for a collector in California, USA. He owns what we believe to be a pochoir print c.1900 of Henri Rousseau’s “Landscape with Watermill”, 1879, oil on canvas which is in the collection of the Göteborgs konstmuseum. The print was purchased by a reputable art dealer from Laguna Beach, California named Carl Yeakel in Europe in the 1950’s and has belonged to the current owner since that time.
I hope you can offer some helpful information. He would like to sell it but I am having difficulty pricing it. Do you know of other such prints that have been on the market? Can you offer some help to us to try to value it?
If you will respond to my email address I can send you a photograph of the pochoir. I appreciate any direction or help you can offer. Thank you.
No I am sorry.
Dear Mr Zwartkruis,
What a joy to have found by chance your site. I am dedicated my working life since 26 years to the art of pochoir or what I call also ” Stencil illumination” .I have been initiated to this art by Mr Petit in 1991. His family used to run one of the only studio left in France.
I received the First Price and Grand Price from the ” Ecole Francaise d’Enluminure” in 1992 and 1994 with a speciality in “stencil illumination”.
I opened my studio-gallery in 1994 in Fontevraud l’abbaye, Loire valley, in France.
I multiplied illuminations, more recent documents and my own creations known as “Visual Poetry” or ” Concrete Poetry ” with the art of Stencil. It takes me from 10 up to 60 stencils per picture and from 3 months ut to 2 years and a half per subject for an average of 70 copies.
Since then, through my studio open to the public, my exibitions and lectures in France, and abroad, particulary in the USA, I try to promote this art of multiplication.
My clients are all around the world.
I concentrate actually my researches about this popular art during its first centuries, from the 14een century, particulary in France. The technique is known then as la ” Technique des Imagiers “.
My master was shouting if someone would have call a stencil a ” pochoir “. This word “pochoir” is invented in 19een century with the mechanisation and the simplification of this art known as
” Imagerie d’Epinal”, although Epinal in east France was not the only place of production.
He used to call the pochoir ” cache”, which mean ” hidding”, or eventually “imprimatur”. That is how I also call my pochoirs. We both know that is the treaty de Jean saudé who definitly settle the name of “pochoir”.
But as said your precedent writer, I could go on, and on and on….
My letter have differents purposes, the main one is to share our commun passion.
The other ones can be various and discussed as we share a commun interest to promote this art so dear to us.
My site dedicated to my work as a stencil illumator: http://www.atelier-festinalente.com
My sire dedicated to my work as concrete poeter: http://www.richard-leray.com
Hoping to hear from, thank you for all your work.
Dear mr. Leray,
Sorry for my very late reply, I will look at your sites and will contact you asap.
Je parle francais.
Hi, I have two extremely well done, hand-embellished pochoirs of cubist watercolor/drawings by Braque. (Even a well-educated art collector would have trouble determining that these are pochoirs vs. original works of art.) I’m fairly certain that these are pochoirs because I found one of the original works of art in the Phillips Gallery here in DC. There is a label on one of the works with what is presumably Paul Rosenberg’s name and some inventory numbers. (It seems that Rosenberg, who was one of Braque’s early dealers, published pochoirs by Picasso but I can’t find any evidence that he published prints or pochoirs by Braque.) Can you please give me some ideas about how to find collectors who might be interested in these? I also have a Cezanne bathers pochoir. Thanks
Thank you for this very informative website! I want to ask you two questions:
1. Any idea of where I can obtain a full list of Picasso’s pochoirs published by Guy Spitzer?
2. Do you know of any early Picasso paintings that he later made pochoir prints of? I have Le Deux Saltimbanques (L’Arlequin et Sa Compagne) in mind, but am curious to know if there are others like that.
Many thanks for your time!
Rosenberg made the first series 14 Picasso pochoirs of fashion designs. Page 50/51 of my book. I will update site asap.