A Regular Print By Picasso

Collectors often ask about “a regular print by Picasso,” usually meaning a framed image with a signature or numbering that looks official. In the print market, “regular” is not a technical term. What matters is whether the work is an original print created by Picasso in a traditional printmaking medium, a posthumous impression, a poster, or a photomechanical reproduction. The category determines authenticity, rarity, and value.

This guide clarifies the types of Picasso prints, how to identify them, and what factors appraisers weigh. Use it as a structured approach before seeking a formal opinion.

What “Regular Print” Means in the Picasso Market

Picasso created a vast body of prints across multiple techniques between the early 1900s and 1972. Broad categories you are likely to encounter include:

• Original prints (lifetime): Etchings, drypoints, aquatints (intaglio); lithographs; and linocuts. These were conceived by Picasso for print, executed on metal plates, stones, or linoleum, and pulled in numbered editions during his lifetime.
• Posthumous impressions: Prints pulled after Picasso’s death from existing plates or stones, typically documented as posthumous in the standard references. These may carry an estate stamp rather than a hand signature and are valued lower than lifetime impressions.
• Posters: Exhibition or advertising posters, many printed by Mourlot in Paris. Most were not hand-numbered or hand-signed, though a small subset exists as deluxe editions. Posters are collectibles but sit in a different market tier from original prints.
• Photomechanical reproductions: Offset lithographs, giclées, and similar processes made after paintings or drawings. These are reproductions, not original prints, even if pencil-numbered by a publisher or bearing a stamped or printed signature.

Within original prints, you’ll encounter familiar names and shops: Mourlot (lithography), Arnéra (linocuts in Vallauris), Lacourière & Frélaut and Crommelynck (intaglio), and publishers such as Ambroise Vollard and Galerie Louise Leiris. These contextual clues support, but do not alone prove, authenticity.

First-Pass Identification: Media, Surface, and Tells

Start with physical evidence. A 10× loupe, a flashlight, and careful measurements reveal more than any label.

• Intaglio (etching/drypoint/aquatint):

  • Look for a plate mark, a rectangular indentation around the image caused by the copper or zinc plate. Genuine intaglio impressions carry this beveled outline unless margins were trimmed.
  • Under raking light, ink sits within the fibers; you may see tone from plate wiping and, in drypoint, a soft, fuzzy burr line.
  • Typical papers: Arches, Rives, Montval, and others; watermarks may be present in the margin.

• Lithograph:

  • No intaglio plate mark. Surface is planar; you may see granular crayon textures or tusche washes.
  • Colors often built in layers; edges of color can reveal slight mis-registrations in lifetime impressions.
  • Many Picasso lithographs were printed on quality wove papers, sometimes with Arches or other watermarks.

• Linocut:

  • Relief process. Ink transfers from raised areas; edges can show characteristic cut marks and slight embossing in the paper.
  • Often strong, flat colors printed in sequence (Picasso famously used the “reduction” method). Registration is precise but small overlaps can occur.

• Photomechanical reproduction (offset):

  • Under a loupe, you’ll see a regular dot/rosette pattern (halftone screen). Solid color fields resolve into dots; fine lines break into tiny cyan/magenta/yellow/black components.
  • Paper is often thinner, margins narrow or trimmed, and there is no plate mark or tactile ink relief.

• Margins and sheet:

  • Measure both image and sheet sizes accurately (to the millimeter). Compare with documented sizes in catalogues raisonnés. Trimming is common in decorative framing and reduces value.
  • Deckle edges on one or more sides can indicate original full sheets.

Record everything precisely: media clues, paper, watermark, image and sheet dimensions, and any visible blindstamps or chops.

Edition Markings, Signatures, and Stamps

Original Picasso prints generally follow art-market conventions, but there are important nuances.

• Hand signature:

  • For lifetime original prints, a graphite (pencil) signature “Picasso” at lower right is typical. The hand signature is distinct from a plate-signed or printed signature in the image.
  • Dates may appear near the signature or within the matrix (e.g., etched dates) but date placement varies by period and series.

• Edition notation:

  • Lower left pencil fraction (e.g., 34/50) indicates the individual impression over the total edition. Smaller editions often command higher prices, all else equal.
  • Notations you may see: EA or Epreuve d’Artiste; AP (Artist’s Proof); HC (Hors Commerce); TP (Trial Proof); BAT (Bon à Tirer, the printer’s standard). These are typically fewer in number and can be more sought-after than standard edition impressions, depending on the work.

• Stamps and chops:

  • Some printers used blindstamps; the presence and style depend on the workshop and period. A printer’s or publisher’s stamp can support an attribution when consistent with the catalogue entry.
  • Estate or stamped signatures: Posthumous impressions may carry an estate stamp rather than a hand signature. Confirm how a particular work was issued in the standard references.

• Posters and reproductions:

  • Posters usually carry printed text, dates, and sometimes a “signed in stone” Picasso signature as part of the image. A genuine poster can be collectible, but without a hand signature or edition it is not an original print in the fine art sense.
  • Be cautious with modern “estate” or “collection” releases bearing gold-foil or facsimile signatures; many are authorized reproductions after paintings and are not original prints.

• Forgery red flags:

  • Pencil signatures on obvious offset reproductions or mass-market posters.
  • Incongruous edition sizes (e.g., 1/500 on a work documented as 50).
  • COAs from non-specialist sources. Documentation must align with physical evidence and the catalogues raisonnés.

Always corroborate signature and notations with the published record. Authentic signatures are consistent in line confidence and pencil handling; hesitant or shaky scripts can be suspect.

Catalogues Raisonnés and Getting a Match

Your goal is to match the work to a specific, documented entry. For Picasso prints, the canonical references include:

• Bloch, Pablo Picasso: Catalogue of the Printed Graphic Work (etchings, aquatints, drypoints and related intaglio).
• Baer/Geiser, Picasso: Peintre-Graveur (comprehensive intaglio catalogue with variant states).
• Mourlot, Picasso Lithographs (multi-volume catalogue with M numbers).
• Geiser/Baer for linocuts (often cataloged within Peintre-Graveur as well).
• Cramer, Picasso: The Illustrated Books (for book plates and suites).
• Czwiklitzer (for posters).

Matching criteria:

• Image and sheet dimensions (allow for minor paper shrinkage).
• Paper type and watermark.
• Edition size and type (standard, AP, HC, BAT).
• Signature placement and presence/absence of numbering.
• Printer/publisher and date.
• State of the plate. Some intaglio prints exist in multiple states; later states can include additional lines or aquatint.

If you cannot match your piece to a specific, credible entry, reassess the medium under magnification. Many attractive images are reproductions “after” a documented print or painting rather than the catalogued original.

Condition and Its Impact on Appraisal

Condition can move a print up or down in value by large percentages. Appraisers look for:

• Light staining and mat burn: Brown/cream banding at former window mat edges is common. Reversible with conservation in many cases, but always involves risk and cost.
• Foxing: Rust-colored spots from mold/impurities. Treatable, but extensive foxing is a negative.
• Toning and fading: Overexposure can dull inks and paper. Fugitive inks (especially some reds) are sensitive to light.
• Creases, tears, and losses: Handling creases, corner folds, and edge tears matter; losses that intrude into the image are most damaging.
• Trimming: Loss of margins or plate mark is a material condition issue.
• Hinges and adhesives: Pressure-sensitive tapes can stain; old hinges can tear if not professionally removed.
• Restorations: Washes, infills, and paper additions should be disclosed in any sale; quality conservation can stabilize a print but doesn’t erase the condition history.

Full, untrimmed margins, fresh paper tone, and intact, legible signatures/notations are strong positives.

Value Drivers and Market Realities

• Category matters most: Lifetime original prints sit at the top; posthumous impressions rank lower; deluxe posters can be mid-tier; ordinary posters and reproductions carry mainly decorative value.
• Subject and period: Iconic subjects (e.g., the Vollard Suite, Jacqueline portraits, bullfight scenes) and pivotal periods tend to be stronger.
• Edition size: Smaller editions generally command premiums. Artist’s proofs and BATs can be more desirable.
• Provenance: Clear ownership history, invoices from reputable dealers, and old labels add confidence. Align provenance with catalogue entries and known edition structures.
• Comparables: Recent auction results for the exact catalogue number and comparable state/condition are the best market indicators. Beware of asking prices for reproductions masquerading as originals.
• Documentation quality: A reliable match to the catalogue raisonné, consistent physical evidence, and professional condition reporting carry weight. Generic COAs do not.

In today’s market, genuine Picasso original prints regularly achieve strong prices; reproductions—even attractively framed—do not. When in doubt, prioritize physical analysis and authoritative references.

A Practical Checklist

• Identify the medium:
  • Plate mark and intaglio characteristics (etching/aquatint)?
  • Planar surface with crayon textures (lithograph)?
  • Relief ink and cut marks (linocut)?
  • Halftone dots (photomechanical)?
• Measure precisely:
  • Image size and full sheet size to the millimeter.
  • Note margins and any trimming.
• Inspect paper:
  • Watermarks (Arches, Rives, etc.).
  • Overall tone; signs of foxing, mat burn, or stains.
• Verify inscriptions:
  • Pencil signature at lower right? Compare to known authentic examples.
  • Edition or proof notation at lower left. Does it make sense for the work?
  • Any dates or inscriptions consistent with the catalogue entry?
• Look for stamps:
  • Printer/publisher blindstamps or estate stamps appropriate to the work and period.
• Match the catalogue:
  • Find the exact entry (Bloch, Baer, Mourlot, Cramer, etc.). Confirm medium, size, edition, and printer.
• Evaluate condition:
  • Record issues: fading, creases, tears, losses, restorations, hinges.
• Document provenance:
  • Retain old labels, invoices, and correspondence. Photograph recto/verso before any unframing.
• Decide next steps:
  • If it matches a catalogued original print, consider a specialist appraisal.
  • If likely a poster or reproduction, value primarily as decorative unless deluxe, signed, or rare.

FAQ

Q: My Picasso shows a pencil signature but the image is made of dots under a loupe. What is it? A: That indicates a photomechanical reproduction (offset). A pencil signature on such a piece is often spurious or added to enhance value. Original prints will not resolve into a regular halftone dot pattern.

Q: Are Picasso posters valuable? A: Many are collectible, especially early exhibition posters printed by renowned workshops, but most were not hand-signed or numbered. Deluxe, hand-signed poster editions exist and are more desirable. Posters occupy a different market tier than original prints.

Q: How can I tell if my print is posthumous? A: Check the catalogue raisonné entry for issuance notes. Posthumous impressions are typically documented as such, may carry estate stamps instead of hand signatures, and can show characteristics like cancelled intaglio plates. Edition annotations and printer details must match the record.

Q: Does a certificate of authenticity guarantee value? A: Only if it comes from a recognized authority and aligns with the physical evidence and catalogue entry. Generic COAs are frequently issued for reproductions and are not decisive. The print’s medium, edition, and match to the catalogue matter more.

Q: Should I unframe the work to check the margins and paper? A: If the piece appears significant, have a qualified paper conservator or specialist unframe it. Improper unframing can cause damage. Seeing the full sheet, watermarks, and verso can be critical for identification and appraisal.

A “regular print by Picasso” can mean very different things. With careful observation, catalog matching, and condition assessment, you can place your work in the correct category and set realistic expectations before pursuing a formal appraisal.