Pablo Picasso Exposition Vallauris - Maison de la Pensee Francaise, 1952

Picasso's Vallauris posters are a fascinating part of his artistic legacy, tied to his time in Vallauris, France, where he lived from 1948 to 1955. During this period, he became deeply involved in ceramics and created a series of linocut posters to promote the annual Vallauris Festival of Pottery (Fête de Vallauris) and local exhibitions.

History of Picasso’s Vallauris Posters

1. Picasso in Vallauris (1948-1955)

   • After World War II, Picasso moved to Vallauris, a small town known for its pottery tradition. He embraced ceramic art and developed close ties with the local community.
   • As part of his engagement with Vallauris, Picasso designed linocut posters for exhibitions and pottery festivals.

2. The Vallauris Festival Posters (1951-1958)

   • The first and most famous Vallauris poster, created in 1951, featured a stylized face with the words “Vallauris Exposition” in Picasso’s bold, hand-drawn lettering.
   • These posters were printed using linocut techniques, a medium Picasso explored extensively in Vallauris.
   • Each year, he created new designs, often featuring his signature bulls, doves, and abstract human faces.

Mourlot’s 1959 Reproductions

1. Fernand Mourlot & Picasso’s Lithographic Posters

   • Fernand Mourlot was a master printer in Paris, renowned for collaborating with artists like Matisse, Chagall, and Picasso to create high-quality lithographic reproductions of their work.
   • In 1959, Mourlot produced reproductions of Picasso’s Vallauris linocut posters using traditional lithography, making them more widely available to collectors and art lovers.

2. Significance of the Mourlot Reproductions

   • Mourlot’s editions helped preserve and popularize Picasso’s Vallauris designs beyond their original context.
   • They are considered valuable prints, though distinct from the original linocuts.
   • Some editions were printed in limited runs, making them collectible.

Conclusion

Picasso’s Vallauris posters represent his deep connection to local craftsmanship and his innovative use of linocut printing. Mourlot’s 1959 lithographic reproductions helped extend their reach, ensuring these designs remained an essential part of Picasso’s graphic legacy. Both the original linocuts and Mourlot lithographs remain highly collectible today.

Identifying an original Picasso Vallauris linocut versus a Mourlot 1959 lithographic reproduction requires looking at printing techniques, paper quality, and edition markings. Here’s how to tell the difference:

1. Printing Technique

✅ Original Linocuts (1951-1958)

• Created using a linocut relief process—where the design was carved into a linoleum block, inked, and pressed onto paper.
• The ink often appears thicker, with slight embossing or texture where the ink was pressed.
• Colors (typically black on cream or ochre paper) may vary slightly due to the hand-printing process.

✅ Mourlot Lithographic Reproductions (1959)

• Produced using lithography, a completely different method involving flat printing plates rather than carved blocks.
• The ink appears flatter and more even, without the embossed effect of linocut printing.
• Often printed in larger numbers for wide distribution.

2. Paper Quality & Size

✅ Original Linocuts

• Printed on thicker, textured paper, sometimes handmade or slightly irregular.
• Often larger in size compared to reproductions.

✅ Mourlot Lithographs

• Printed on smoother, thinner paper.
• More uniform in size, usually around 65 x 50 cm (25.5 x 19.5 inches).

3. Edition Markings & Signatures

✅ Original Linocuts

• Originals are sometimes hand-signed by Picasso in pencil, though not always.
• If numbered, they will be in limited editions (e.g., "X/200").
• Some bear gallery or printer stamps from the time of production.

✅ Mourlot Lithographs

• Typically unsigned (unless Picasso signed a rare copy).
• Some bear the "Mourlot" printer's name in small text at the bottom.
• Sometimes include "Affiche Mourlot" or other small notations in the margins.

4. Value & Collectibility

• Original linocuts are rare and highly valuable, often selling for tens of thousands of dollars.
• Mourlot reproductions are collectible but more affordable, ranging from a few hundred to several thousand dollars, depending on condition and provenance.