Fernand Mourlot

The Complete Prints of Francis Bacon. Catalogue Raisonné aims to be the first comprehensive work including all prints after Bacon realized in lithography or intaglio. Of course, there is Bruno Sabatier's 2012 Francis Bacon Oeuvre Graphique. But it only contains 36 works, whereas Orozco compiles here over one hundred prints. Francis Bacon said often that he disdained prints, their multiple character leading him to conclude that they were not original works of art. He was wrong from both an artistic and legal point of view. And in fact, he participated in the making of many of his prints of interpretation (or 'after') as much as Picasso, Chagall, Matisse or Braque did in many of their original prints. For those lithographs and etchings Orozco claims the recognition as original prints. For others, but for all of them –including those deliberately excluded by Sabatier– he calls for the respect due to noble works of interpretation.

The present book constitutes Miguel Orozco's answer to numerous suggestions by readers since the publication of Picasso Litógrafo y militante by the Picasso Foundation in Málaga back in 2016. The main purpose of that book was two-fold. On one hand, to make public the result of years of research and contacts with the main actors in the prints galleries world –particularly those in Paris, most of them coming from the entourage of either Picasso of Fernand Mourlot– to reveal for the first time the true reasons and circumstances of Picasso’s lithographic career, overcoming the painter’s attempts to hide the facts, and particularly Georges Braque’s role in the introduction to Mourlot. Another discovery was a formerly unknown new aesthetic developed by Picasso for years, and his motivations to do it: to mock the Communist Party and its pressure on the painter to adopt socialist realism.
The other side of the project was to do the first commented catalogue raisonné of Picasso litographs. According to many readers, the first purpose of the project was undoubtedly achieved. The second purpose of the book, however,  remained unfulfilled, as the catalogue raisonné of Picasso's lithographs was not brought to completion. Although most lithographs were described or mentioned in Picasso Litógrafo y militante, only a small portion of them were illustrated, even in the longer English version Picasso lithographer and Activist. A catalogue raisonné implies individual entries for each lithograph, describing dates, measurements, publisher, printer, paper, print-run etc. And this was missing. This is thus the purpose of the present volume, that will be followed by a catalogue of Picasso's lithographs of interpretation.

Miguel Orozco's Catalogue Raisonné of Picasso Posters is quite different from previous compendia of his affiches. It contains 412 posters included in the Czwiklitzer dtv catalogue, which in total has 475 entries. But the Orozco catalogue gives full entries to 31 'subordinate' posters that in the German catalogue appear as letters accompanying the main entry, i.e., the first poster of the series. This means that the present compendium uses in fact only 381 'main' Czwiklitzer dtv entries and discards 94 Czwiklitzer posters, not counting the 'subordinate' posters we have not included. And it only oncludes 346 out of the total 630 posters contained in the Rodrigo catalogue, leaving out some 280 of them. None of the posters left out has any intrinsic artistic value.
The main objective, the main contribution the Orozco book makes is to put the emphasis on the main, the noble Picasso posters, providing as far as possible a description of Picasso's involvement and telling the story of the work. It also incorporates some 100 additional items, not counted in the total of 947 main entries, which seek to clarify and or support the value of the poster or to explain the origin of the illustration used.  It also unveils over one hundred posters not covered by either Czwiklitzer or Rodrigo. It uncovers many Picasso poster projects that had not been tackled by the catalogues raisonnés. They undoubtedly have an interest in the study of Picasso's poster making endeavours. And last but not least, it publicizes tens of Picasso poster projects or realisations that were designed as posters and were displayed as such, but were formally only newspaper covers. They were actually poster-sized and were posted as posters in the press-kiosks in the cities they were published.

The complete prints of Georges Braque is the only comprehensive catalogue raisonné of the graphic works of the painter. Appearing 36 years after the well known work of Dora Vallier (Braque: The Complete Graphics and Braque: L’oeuvre gravé, both of 1982), this book of over 560 pages provides innumerable improvements over that classic. If the Vallier contained 192 entries covering over 300 prints, this new catalogue has 1014 prints, including dozens of new states ignored by or unknown to Vallier and other experts. It adds categories ignored by previous reviews, like pochoirs and lithographs of interpretation, the later including the best Braque lithographs ever. And it includes color photographs of all but a few of the prints described.

What Orozco did with his Picasso Lithographer and Activist was to comment and explain the lithographic work of the Málaga painter, which had been properly catalogued by Bernd Rau in 1988 and Felix Reuße in 2000, improving Fernand Mourlot’s catalog and bringing the number of lithographs and states from 407 to 777 (Rau) and 861 (Reuße). In the case of Braque, however, Orozco is doing what Rau and Reuße did with Picasso, i.e., to build a complete repertory of all Braque prints, including those already known and those he has unearthed in world galleries and auction sales in his 25 years experience as a collector and amateur.

This is volume 6 of the Catalogue raisonné of the Orozco collection of artist and illustrated books as well as prints, dedicated to Henri Matisse, Edouard Pignon and Fernand Léger. It describes the pieces of the collection, the circumstances under which they were produced, references to the museums throughout the world that keep a copy of the piece described, the appropriate catalogue references, their passage through auction houses, etc. and photographs of the pieces.

Picasso. 70 years of book illustration  is a new compendium of all the books illustrated by the painter. It does not aim to replace the prestigious 1983 Cramer catalogue raisonné Pablo Picasso The Illustrated Books. The purpose is rather to complement it by catering for needs that were not in the mind of Patrick Cramer. In this connection, Orozco’s catalog contains 265 entries, versus the 156 of the 1983 compilation, the main characteristic of the 109 added books being that the illustrations they contain are not registered in Georges Bloch’s Pablo Picasso. Catalogue of the printed graphic work, the requirement for a book to make its way to the Cramer. Orozco includes for instance books illustrated with pochoirs after Picasso, both because they constitute an important part of the artist’s graphic production and in view of the fact that Picasso gave the bon à tirer for many or most of the hundreds of pochoirs realized after his works. This was particularly the case with the prints made in the Paris workshop of Daniel Jacomet, his preferred pochoir printer from 1920 (Le Tricorne) to 1972 (Carnet de Paris). Other criteria used by Orozco in deciding what to include are that Picasso knew about the book and approved the inclusion of his illustrations or selected them or that Picasso participated in the production, gave the bon à tirer or designed the cover or interior. By including all these new books, the author hopes to bring a wider perspective on Picasso’s book illustration work.

Another purpose of the present book is to provide color visual information on how the books look like, including the covers and slip cases and boxes that house them; the page layout; the interaction between text and prints; and of illustrations other than original prints. It should be recalled that the Cramer catalog only includes photos –mostly black & white–of the original graphics the book contains, neglecting the rest.

Picasso lithographer and activist is a revised English language version of the book Picasso litógrafo y militante, (WorldCat No. 952991448), published by the Picasso Foundation, Málaga, in 2016. It  is the first commented catalogue raisonné of Picasso litographs. The book enumerates practically all Picasso lithographs, illustrating most of them and explaining why or how they were made. It also reveals for the first time the reasons and circumstances of Picasso’s lithographic career, overcoming the painter’s attempts to hide the facts, and particularly Georges Braque’s role in the introduction. It also uncovers a formerly unknown new aesthetics developed by Picasso for years, and his motivations to do it: to mock the Communist Party and its pressure on the painter to adopt socialist realism. The aesthetic starts with the catalog of arbitrary signs contained in the 125 lithographs of the book Le Chant des Morts, and its best known oil painting examples are the two versions of La Cuisine.

This is volume 7 of the Catalogue raisonné of the Orozco collection of artist and illustrated books as well as prints, dedicated to Marc Chagall and Raoul Dufy. It describes the pieces of the collection, the circumstances under which they were produced, references to the museums throughout the world that keep a copy of the piece described, the appropriate catalogue references, their passage through auction houses, etc. and photographs of the pieces.

After completing the first volume of The prints of Jacques Villon, devoted to the prints of interpretation that the painter did in the 1920s, Miguel Orozco tackles here a more substantial part of Villon's graphic œuvre: the lithographs. As in the first volume, his aim, apart from providing for the first time color visions of the work of the painter, is to overcome the limits of previous attemps to catalogue Villon's prints. In fact,  Jacqueline Auberty & Charles Perussaux's "Jacques Villon. Catalogue de son oeuvre gravé" and Colette de Ginestet & Catherine Pouillon's "Jacques Villon. Les estampes et les illustrations" both lack precise dates for many prints, miss others, provide very limited information on each print… and contain not a single color illustration, a serious handicap when dealing with one of the masters of color of the 20th century. Orozco's new catalogue contains a total of 312 entries, many of them uncatalogued so far.

This is the original 2016 Picasso Foundation edition of the book Picasso Litógrafo y Militante (WorldCat No. 952991448), the first commented catalogue raisonné of Picasso litographs . The book reveals for the first time the reasons and circumstances of Picasso’s lithographic career, overcoming the painter’s attempts to hide the facts, and particularly Georges Braque’s role in the introduction. It also uncovers a formerly unknown new aesthetics developed by Picasso for years, and his motivations to do it: to mock the Communist Party and its pressure on the painter to adopt socialist realism. The aesthetic starts with the catalog of arbitrary signs contained in the 125 lithographs of the book Le Chant des Morts, and its best known oil painting examples are the two versions of La Cuisine.

Volume 9 of the Catalogue raisonné of the Orozco collection of artist and illustrated books as well as prints, dedicated to Jean Arp, Jean Cocteau, André Masson, Max Ernst, Wilfredo Lam, Roger Van de Wouwer, Magritte, Paul Delvaux, Salvador Dalí &,  Jorge Castillo

Volume 10 of the Catalogue raisonné of the Orozco collection of artist and illustrated books as well as prints, dedicated to Francis Bacon, Giacometti, Henry Moore, Kandinsky, Marino Marini, Frans Masereel. It describes the pieces of the collection, the circumstances under which they were produced, references to the museums throughout the world that keep a copy of the piece described, the appropriate catalogue references, their passage through auction houses, etc. and photographs of the pieces.

Volume 8 of the Catalogue raisonné of the Orozco collection of artist and illustrated books as well as prints, dedicated to JacquesVillon, André Beaudin, Georges Rouault, André Marchand, André Derain, Dunoyer de Segonzac, André Dignimont, Philippe Bonnet, Jules Pascin, Maurice Brianchon, Robert Delaunay, Maurice Estève, Bazaine, Charles Lapicque, Garache. It describes the pieces of the collection, the circumstances under which they were produced, references to the museums throughout the world that keep a copy of the piece described, the appropriate catalogue references, their passage through auction houses, etc. and photographs of the pieces.

Volume 11 of the Catalogue raisonné of the Orozco collection of artist and illustrated books as well as prints, dedicated to Antoni Tàpies, François Fiedler, Eduardo Chillida and Antonio Saura. It describes the pieces of the collection, the circumstances under which they were produced, references to the museums throughout the world that keep a copy of the piece described, the appropriate catalogue references, their passage through auction houses, etc. and photographs of the pieces.

Volume 11 of the Catalogue raisonné of the Orozco collection of artist and illustrated books as well as prints, dedicated to Pablo Palazuelo, Alexander Calder, Victor Vasarely, Eduardo Arroyo, Equipo Crónica, Manolo Valdés, Valerio Adami and Joan Gardy Artigas. It describes the pieces of the collection, the circumstances under which they were produced, references to the museums throughout the world that keep a copy of the piece described, the appropriate catalogue references, their passage through auction houses, etc. and photographs of the pieces.

Picasso: 70 years of book illustration  is a new compendium of all the books illustrated by the painter. It does not aim to replace the prestigious 1983 Cramer catalogue raisonné Pablo Picasso The Illustrated Books. The purpose is rather to complement it by catering for needs that were not in the mind of Patrick Cramer. In this connection, Orozco’s catalog contains 265 entries, versus the 156 of the 1983 compilation, the main characteristic of the 109 added books being that the illustrations they contain are not registered in Georges Bloch’s Pablo Picasso. Catalogue of the printed graphic work, the requirement for a book to make its way to the Cramer. Orozco includes for instance books illustrated with pochoirs after Picasso, both because they constitute an important part of the artist’s graphic production and in view of the fact that Picasso gave the bon à tirer for many or most of the hundreds of pochoirs realized after his works. This was particularly the case with the prints made in the Paris workshop of Daniel Jacomet, his preferred pochoir printer from 1920 (Le Tricorne) to 1972 (Carnet de Paris). Other criteria used by Orozco in deciding what to include are that Picasso knew about the book and approved the inclusion of his illustrations or selected them or that Picasso participated in the production, gave the bon à tirer or designed the cover or interior. By including all these new books, the author hopes to bring a wider perspective on Picasso’s book illustration work.

Another purpose of the present book is to provide color visual information on how the books look like, including the covers and slip cases and boxes that house them; the page layout; the interaction between text and prints; and of illustrations other than original prints. It should be recalled that the Cramer catalog only includes photos –mostly black & white–of the original graphics the book contains, neglecting the rest.