DescriptionTHE COLLECTION OF PAUL GREGORY AND JANET GAYNOR
After PABLO PICASSO (Spanish, 1881-1973)
Poster for Nice Carnivale, 1951
Lithograph printed in colors
19-1/4 x 15-3/8 inches (49.0 x 39.1 cm)
Signed and dated in the stone at lower right: Picasso 12.1.51
Printer's name printed in gold at lower right: IMP[rimerie]. DE LA VICTOIRE
This lithograph was a gift to Paul Gregory from Arthur Jacobs, a producer at Twentieth Century Fox. Paul recalls: "When Arthur gave me this print, I'd just met Picasso. I'd been in France and had come back so full of meeting Picasso. When Arthur Jacobs was doing publicity for Don Juan in Hell, all I could talk about was Picasso! You see, I think one of the reasons he gave me this Picasso was because he wanted to shut me up!"
"I honestly did not think that much about Picasso [before I'd met him] because of all the jokes about crazy-looking women with half-breasts and their half-noses someplace else," Paul admits.
"I met him when I was 27. Charles Boyer, Laughton, Cedric Hardwicke, Agnes Moorehead and I were in England doing a five-week tour of Don Juan in Hell. First of all, I went to Paris with Boyer--he wanted to see his mother or something--and then we went back to London to finish the run of the play. And after the run had been successful there in England, and it had been reported in France, Laughton said, 'I want to take you over and show you France.' So I went back to Paris, this time with Laughton. And about one o'clock in the morning, we were on the Left Bank at one of those little bites, sitting outside having one of those coffee drinks that taste more like shoe powder! There was a crowd of people sitting around another table that we didn't pay very much attention to. A waiter came over and handed Laughton a note, and Laughton said, 'Well, what do you think about this! Picasso's at the other table and is inviting us to come over and join him.' Charles could read French like a Frenchman, because he had appeared at the Comedie Francaise at one time. So we went over and that's how I met Picasso. Then by four o'clock in the morning we were at his studio. I saw all these pictures partially done, which was really quite interesting. I'd never been in an artist's studio in my life, and the first one was Picasso's!"
"Arthur Jacobs gave me this on my birthday. He said, 'Here is your phone conversation,' because I was always on the telephone and the shape in this Picasso print looks like a telephone receiver. You know back in those days my phone bill was often $2,000 or $3,000 a month!"
"After this," Paul recalls, "I just became much more conscious of Picasso. And that's really when I started to become more interested in prints."
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