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Pablo Picasso. (1881 Malaga - 1973 Mougins). La Danse des Faunes. 1957. Lithographie über ockerfarbener Tonplatte auf Velin. 41 x 52,5 cm (48 x 59,5 cm). Im Stein signiert und datiert. In Punkten unter Passepartout montiert sowie unter Glas gerahmt. - Durchgehend recht unscheinbar und blass braunfleckig, im Blattrand vereinzelt mit papierbedingtem Fraß. Insgesamt noch gut. Sehr guter, kreidiger Druck mit Rand. Bloch 830. - Mourlot 291. - Eines von 1000 Exemplaren. Lithograph over ochre-coloured tone plate on wove paper. Signed and dated in the stone. Mounted in dots under mat and framed under glass. - Rather inconspicuous and pale brown staining throughout, with occasional paper-related fraying in the margins. Still good overall. Very good, chalky impression with margins. - One of 1000 copies.

Klassische Moderne Pablo Picasso (1881 Malaga - 1973 Mougins)2 Linolschnitte. 1962. Je auf Velin. Blattmaße je 32 x 38 cm. - Der linke Rand je mit schmaler, vertikaler Abrisskante und leichtem Papierabrieb. In den Ecken mit wenigen, kaum merklichen Braunflecken. Teils auch verso. Insgesamt gut. Ausgezeichnete, satte und kraftvolle Drucke mit schmalem Rand. Vgl. Bloch 925 und 919 (Motiv). - Enthält: - Femme regardant par la Fenêtre - Femme couchée. - Unsere Blätter sind eine verkleinerte Variante nach den gleichnamigen Linolschnitten von 1959. - Picasso erfand die Methode der "Verkleinerung", bei der für jede neue Farbe nach und nach derselbe Linolblock ausgeschnitten wurde, so dass es unmöglich war, weitere Abzüge vom ursprünglichen Druckstock zu machen. Im Jahr 1962 wurden in Zusammenarbeit mit Picasso und der Galerie Louise Leiris neue Linolplatten mit 42 % der ursprünglichen Größe hergestellt, aus deren Edition die vorliegende Arbeit stammt. 2 linocuts. Each on wove paper. - The left margin of each with narrow, vertical tear-off edge and slight paper abrasion. With a few, barely noticeable brown stains in the corners. On the verso in part as well. Good overall. Superb, rich and powerful impressions with narrow margins. - Our sheets are a reduced version after the linocuts of the same name from 1959 - Picasso invented the method of "reduction", in which the same linocut block was gradually cut out for each new colour, so that it was impossible to make further prints from the original printing block. In 1962, in collaboration with Picasso and the Galerie Louise Leiris, new linoleum plates were produced at 42% of the original size, from whose edition the present work originates

Klassische Moderne nach Pablo Picasso (1881 Malaga - 1973 Mougins)La Colombe de la paix. 1961. Farblithographie auf Arches Velin (mit WZ). 47 x 56 cm (49 x 65 cm). Im Stein signiert und datiert. - Ecken leicht angestoßen. An den Rändern zart und wenig merklich angebräunt, verso stärker und etwas ungleichmäßiger. Dort mit Spuren der ehemaligen Montierung. Insgesamt gut. Ausgezeichneter, kreidiger Druck der formatfüllenden Darstellung. Nicht bei Bloch, Mourlot. - Vgl. Czwicklitzer, 179, 179bis. - Das Motiv wird auch als Farb-Photo-ithographie für das Plakat anlässlich des National-Kongresses der Friedensbwegeung 1962 und als Farb-Buchumdruck für das Plakat anlässlich der Ausstellung "Bardonne - Roger Chaput - Coignard - Paprt - Sahn - Spaulding - Priking - Ubeda" der Galerie de la Colombe, Vallauris 1962 verwendet. Colour lithograph on wove paper. Signed and dated in the stone. - Corners slightly bumped. Delicately and barely noticeably browned in the margins, stronger and somewhat more uneven on the verso. There with traces of former mounting. Good overall. Superb, chalky impression of the full-format depiction.

Klassiche Moderne Pablo Picasso (1881 Malaga - 1973 Mougins)Bacchanale au Taureau. 1962. Linolschnitt auf Velin. 27 x 32 cm (32 x 38 cm). - Linker Rand mit schmaler, vertikaler Abrisskante und leichtem Papierabrieb. In den Ecken mit wenig merklichen Braunflecken, ganz leicht auch verso. Insgesamt gut. Ausgezeichneter, kraftvoller Druck mit schmalem Rand. Vgl. Bloch 933 (Motiv). - Unser Blatt eine verkleinerte Variante nach dem gleichnamigen Linolschnitt von 1959. - Picasso erfand die Methode der "Verkleinerung", bei der für jede neue Farbe nach und nach derselbe Linolblock ausgeschnitten wurde, so dass es unmöglich war, weitere Abzüge vom ursprünglichen Druckstock zu machen. Im Jahr 1962 wurden in Zusammenarbeit mit Picasso und der Galerie Louise Leiris neue Linolplatten mit 42 % der ursprünglichen Größe hergestellt, aus deren Edition die vorliegende Arbeit stammt. Linocut on wove paper. - Left margin with narrow, vertical tear-off edge and slight paper abrasion. With barely noticeable brown stains in the corners, also very slightly On the verso. Good overall. Superb, powerful impression with narrow margins. - Our sheet a reduced version after the linocut of the same name from 1959 - Picasso invented the method of "reduction", in which the same linocut block was gradually cut out for each new colour, so that it was impossible to make further impressions from the original printing block. In 1962, in collaboration with Picasso and the Galerie Louise Leiris, new linoleum plates were produced at 42% of the original size, from whose edition the present work originates.

Klassische Moderne nach Pablo Picasso (1881 Malaga - 1973 Mougins)La Danse du Berger (Tanz der Hirten). 1959. Lithographie auf festem Chiffon de Mandeure Velin (mit WZ). 44 x 35 cm (56 x 38 cm). Im Stein signiert und datiert. - Ecken teils knickspurig. Oben rechts partiell mit Papiereinriss und -verlust. Verso punktuelle, kaum merkliche Spur einer ehemaligen Montierung. Insgesamt gut. Ausgezeichneter, kraftvoller Druck mit breitem Rand. Nicht bei Bloch, Mourlot. - Vgl. Zervos XIX 81. - Die Lithographie basiert auf einer Tuschpinselzeichnung Picassos von 1959. Lithograph on firm Chiffon de Mandeure wove paper. Signed and dated in the stone. - Corners partly creased. Partial paper tear and loss upper right. On the verso, barely noticeable trace of former mounting. Overall good. Superb, powerful impression with wide margins. - The lithograph is based on an ink brush drawing by Picasso from 1959.

Klassische Moderne Pablo Picasso (1881 Malaga - 1973 Mougins)Pique (rouge et jeune). 1962. Linolschnitt auf Velin. 27 x 32 cm (32 x 38 cm). - Linker Rand mit schmaler, vertikaler Abrisskante und leichtem Papierabrieb. Insgesamt leicht braunfleckig, auch verso. Insgesamt noch gut. Ausgezeichneter, farbfrischer und satter Druck mit schmalem Rand. Vgl. Bloch 908 (Motiv). - Unser Blatt eine verkleinerte Variante nach dem gleichnamigen Linolschnitt von 1959. - Picasso erfand die Methode der "Verkleinerung", bei der für jede neue Farbe nach und nach derselbe Linolblock ausgeschnitten wurde, so dass es unmöglich war, weitere Abzüge vom ursprünglichen Druckstock zu machen. Im Jahr 1962 wurden in Zusammenarbeit mit Picasso und der Galerie Louise Leiris neue Linolplatten mit 42 % der ursprünglichen Größe hergestellt, aus deren Edition die vorliegende Arbeit stammt. Linocut on wove paper. - Left margin with narrow, vertical tear-off edge and slight paper abrasion. Overall slightly brownstained, also On the verso. Still good overall. Superb, rich impression with fresh colours and narrow margins. - Our sheet a reduced version after the linocut of the same name from 1959 - Picasso invented the method of "reduction", in which the same linocut block was gradually cut out for each new colour, so that it was impossible to make further impressions from the original printing block. In 1962, in collaboration with Picasso and the Galerie Louise Leiris, new linoleum plates were produced at 42% of the original size, from whose edition the present work comes.

Klassische Moderne Pablo Picasso (1881 Malaga - 1973 Mougins)Vive la paix. 1961. Lithographie auf Arches-Velin (mit Wz.). (55 x 44 cm) 64 x 48 cm. Im Stein signiert. Unten rechts mit dem Editions-Blindstempel. - Leicht gebräunt, vereinzelte leichte Griffspur, punktuelle Randbestoßung. Insgesamt in guter Erhaltung. Hervorragender Druck mit Rand, unten mit dem Schöpfrand. Druck mit der Lizenz von S.P.A.D.E.M., veröffentlicht durch Editions Combat de la Paix. - Ursprünglich erschien die Lithographie in "L'Humanite" am 08.01.1954. Lithograph on Arches wove paper (with watermark). Signed in the stone. With edition dry stamp in lower right. - Slightly browned, isolated slight handling trace, isolated bumped in margin. Excellent impression with margin, scooped edge at bottom. - Printed under license from S.P.A.D.E.M., published by Editions Combat de la Paix. - The lithograph was originally published in "L'Humanite" on January 8, 1954.

Klassische Moderne nach Pablo Picasso (1881 Malaga - 1973 Mougins)Don Quijote y Sancho Panza. 1955. Offsetlithographie auf Chiffon de la Dore Velin (mit WZ). 45 x 38 cm (65 x 49,5 cm). Im Stein signiert und datiert. - An den Kanten kaum merklich angestoßen und vereinzelt leicht angeschmutzt, auch verso. Insgesamt gut. Hervorragender, kräftiger Druck mit breitem Rand. Nicht bei Bloch, Mourlot. - Vgl. Czwicklitzer 160. - Plakat ohne die Schrift, das anlässlich der Ausstellung "Picasso - Lithographien, Graphiken, Reproduktionen" von der Buchhandlung Saint-Germain et L'Art et La Paix, Paris 1960/61 herausgegeben wurde. - Nach einer Gouache Picassos anlässlich des 350. Geburtstages Cervantes. Offsetlithograph on wove paper. Signed and dated in the stone. - Barely noticeable bumping to edges and occasional light soiling, also on the verso. Good overall. Excellent, strong impression with wide margins. - Poster without the text, published on the occasion of the exhibition "Picasso - Lithographien, Graphiken, Reproduktionen" by the bookshop Saint-Germain et L'Art et La Paix, Paris 1960/61. - After a gouache by Picasso on the occasion of the 350th anniversary of Cervantes' birth.

Klassiche Moderne Pablo Picasso (1881 Malaga - 1973 Mougins)Buste de Femme d'apres Cranach le Jeune. 1962. Linolschnitt auf Velin. 27 x 32 cm (32 x 38 cm). - Linker Rand mit schmaler, vertikaler Abrisskante und leichtem Papierabrieb. In den Ecken mit wenig merklichen Braunflecken, ganz leicht auch verso. Insgesamt gut. Ausgezeichneter, farbsatter und kraftvoller Druck mit schmalem Rand. Vgl. Bloch 859 (Motiv). - Unser Blatt eine verkleinerte Variante nach dem gleichnamigen Linolschnitt von 1959. - Picasso erfand die Methode der "Verkleinerung", bei der für jede neue Farbe nach und nach derselbe Linolblock ausgeschnitten wurde, so dass es unmöglich war, weitere Abzüge vom ursprünglichen Druckstock zu machen. Im Jahr 1962 wurden in Zusammenarbeit mit Picasso und der Galerie Louise Leiris neue Linolplatten mit 42 % der ursprünglichen Größe hergestellt, aus deren Edition die vorliegende Arbeit stammt. Buste de Femme d'apres Cranach le Jeune. 1962. linocut on wove paper. 27 x 32 cm (32 x 38 cm). - Left margin with narrow, vertical tear-off edge and slight paper abrasion. With barely noticeable brown stains in the corners, also very slightly On the verso. Good overall. Superb, colourful and powerful impression with narrow margins.

Picasso (Pablo), Toros y Toreros, texte de Luis Miguel Dominguin, Thames and Hudson, 1961, colour illustrations, slipcase

Bibliographie. Graphik. Picasso. Bloch, G. (Hrsg.) Pablo Picasso. Catalogue de l oeuvre gravé et lithographié. 1904-1967 ... Bern, Kornfeld und Klipstein, ca. 1968. 4°. Mit vielen, teils ganzseitigen Textabbildungen. 310 Seiten. Originaler Leinenband. (77) * Zustand: Innen etwas gebräunt, an den Rändern stärker. Einband etwas angestaubt, am Rücken bestoßen. Beiliegen: Picasso. Mourlot, F. Picasso Lithographe. Paris, Sauret - Weber, ca. 1970. 4°. Mit vielen Textabbildungen. 4 Bll., 299 Seiten, 5 Bll. Originaler Leinenband mit Schutzumschlag. Zustand: Innen etwas gebräunt. / Pablo Picasso, die Lithographien. Einleitung von Ernst-Gerhard Güse. Werkverzeichnis von Bernd Rau. Stuttgart, Hatje, ca. 1988. 4°. Mit vielen Textabbildungen. 317 S., 1 Bl. weiß. Orig. Leinenband mit Schutzumschlag.

Picasso, Pablo (1881 Malaga - Mougins 1973) "Petit Nu". Farblithographie, im Stein sign. und dat. "le 14.3.(19)63". Gedruckt bei Mourlot 1963. 10,5x 17,5 cm. PP., R. Wvz.: Cramer 127.

Picasso, Pablo (1881-1973) "Pierrot et Arlequin". Farblithographie, im Stein li. o. sign. und dat., verso Stempel des Herausgebers Werkstatt Mourlot, limitierte Auflage von 300 nicht num. Ex., 1972 von Le Vent d'Arles veröffentlicht und Teil der Serie "Au Baiser d'Avignon". Ca. 40x 50 cm. PP., R.

* PABLO PICASSO (SPANISH 1881 - 1973), CARNET DE LA CALIFORNIE limited edition lithograph on paper, signed and numbered 37/100mounted, framed and under glassimage size 29cm x 44cm, overall size 51cm x 66cm Condition of the picture is good overall, with no visible or known issues.

Pablo Picasso (1881-1973) 'Le Chardonneret (The Goldfinch)' aquatint, pub. for Buffon's Histoire Naturelle, by M. Martin Fabiani, Paris 1942 13¼ x 10¼in (33.6 x 26cm), painted frame, text sheet pasted verso (50 x 41cm) * Provenance: With W. Heffer & Sons, Ltd., The Heffer Gallery, Cambridge

Raoul Liboj around 1950, original photo black and white of Pablo Picasso (1881-1973) and Maurice Thorez (1900-1964) with description, stamp on the reverse. 24 x 18 cm.

Christopher Wood (British, 1901-1930)At Marseilles signed and dated 'C Wood 27' (lower right)oil on canvas54.2 x 65.1 cm. (21 1/4 x 25 5/8 in.)Footnotes:ProvenanceMax Ede, 1951, thence by family descent to the present ownerPrivate Collection, U.K.ExhibitedCardiff, National Museum of Wales, British Romantic Paintings in the 20th Century, organised by the Arts Council of Great Britain, 27 July-22 August 1953, cat.no.70; this exhibition travelled to Aberystwyth, Gregynog Gallery of the National Library of Wales, Swansea, Glynn Vivian Art GalleryLiteratureEric Newton, Christopher Wood 1901-1930, The Redfern Gallery, London, 1938, p.70, cat.no.251The present, exceptional example by Christopher Wood has remained in the same family collection since it was acquired over seventy years ago by Max Ede (brother of Jim, the esteemed founder of Kettles Yard Gallery in Cambridge). Painted in 1927, it dates from a pivotal period for the artist, a year after meeting Ben and Winifred Nicholson and a year prior to his 'discovery' of Alfred Wallis in St Ives.Wood was blessed with a number of natural attributes that served him well in his pursuit of success - good looks, charm, talent, a supportive mother and endless ambition – but he also, by his own admission, enjoyed a certain amount of chance in the social connections he made, that contributed in no small part to his budding career and professional recognition. This good fortune began in London in 1920 when a nineteen year old Wood received an invitation to Paris from Alphonse Kahn, one of the most prominent collectors of the day who moved in all the right circles. Just six months after his arrival in Paris in March 1921 as a relative unknown, Wood declared in a letter to his mother that he had 'decided to try and be the greatest painter that has ever lived' (Richard Ingleby, Christopher Wood, An English Painter, Allison and Busby, London, 1995, p.13). This determination was borne not just from self-belief but from an admiration for the lives of the high-brow artistic community he found himself in, mingling with the likes of Jean Cocteau, Pablo Picasso and, crucially, a Chilean diplomat named Antonio (Tony) de Gandarillas. Tony was well connected, bisexual and glamourous all of which piqued Wood's interest and they remained close companions for years to come, with Gandarillas assuming the role of the young painter's greatest advocate.In 1926, Wood returned to England, spending time in both St Ives and London, and it was the latter where another pivotal meeting took place, with Ben and Winifred Nicholson. Cedric Morris had taken Wood along as a guest to the Nicholson's flat in Chelsea and having formed an instant connection they visited him the very next day at Tony's house in Cheyne Walk to view his recent paintings. Winifred recorded these in her memoir as 'masterpiece upon masterpiece....Here was England's first painter. His vision is true, his grasp is real, his power is life itself' (Op.Cit., p.142). The Nicholsons became lifelong friends, personally and artistically, and Wood was elected to the Seven & Five Society on their proposal. With Ben as Chairman and the driving force behind the Society, Wood exhibited four paintings in January 1927 to critical acclaim from the Sunday Times. It was also this year that Nicholson introduced Wood to art collector, Jim Ede, who became a great friend and supporter of his work. Ede famously went on to house his great collection of Wood's work and that of other St Ives artists, at his Kettle's Yard Gallery and it is believed he had a hand in helping his brother, Max, acquire the present work as a 50th birthday gift for his wife Kathleen in 1951. However, having started the year on a positive note and feeling his star was rising, a disappointing exhibition at Beaux Arts alongside the Nicholsons in April put his feet firmly on the ground again. Affected by the less than favourable reviews, he abandoned plans of a summer in London and retreated to France. There, he licked his wounds, first on a Mediterranean cruise followed by a trip to Cannes. And it was there, under the blazing skies of the French Riviera, whilst Tony was in rehab in Vichy for his 'debauchery', that Wood re-met Meraud Guinness, having initially made her acquaintance in London two years prior. Wood idealised the Nicholson's relationship and decided that he needed a Winifred to his Ben. Meraud fulfilled the criteria being beautiful, influential and an artist herself. They fell in love over the summer of 1927 and planned to marry but (both) sensing the disapproval of Meraud's parents, it was over before it really started. Her father, in particular, was unimpressed by the young painter's lack of money together with a clear opium addiction. At this time, Tony became unwell again, now in a nursing home in Nice and Wood visited him daily to offer support, grateful for an opportunity to repay the elder man's long kindness. And more bad news followed with the report of a dear friend, Rene Crevel, on his deathbed in a Marseilles hotel. In a letter to the Nicholson's from Marseille, he described the effect of the place and recent events on his work saying 'that the atmosphere of the place, coloured by his friends' serious illness, and the unavoidable introduction to the concept of mortality that went with it, was having a strange effect on his work. His painting was once again the only thing that really mattered. He was, he told them, simplifying his forms and giving '...a good firm edge to everything'' (Op.Cit., p.169). And so it was that, after a difficult personal period, Wood threw himself into painting in the South of France.Having been brought up close to the Liverpool docks, he had a natural affinity with the sea, and particularly with boats and harbours, which he would explore further in Cornwall and Brittany in the following years. At Marseilles was painted towards the end of a tumultuous 1927, and depicts the autumnal French quayside with boats and townscape sandwiched between two bands of brooding Prussian blue sky and water. His treatment of the large canvas is thoroughly modernist, as he utilises his usual broad and fluid handling. The evening scene is flattened and abstracted with the forms of the buildings reduced to tonal planes and the windows a patterned grid work. Eric Newton comments that Wood's 'best paintings are at the same time radiant and faintly sinister. Fra Angelico and El Greco, for once, seem to have met on common ground' (Christopher Wood 1901-1930, London, 1938, p.16). In the present work, offered at auction here for the first time, a muted palette and serene composition (for what must usually have been a bright, jostling location) lend the mood of contemplation so essential to Wood's mature style. And a poignant stillness reveals an artist surely deep in thought, reflecting on what had passed that year but also looking forward with confidence to what was yet to come, tragically unaware there would be just three short years left to realise his dreams.For further information on this lot please visit Bonhams.com

After Pablo Picasso, a limited edition gouttelette "Seated Portrait of Dora Maar, 1939", No 1/50, plate 86 cm x 70 cm, well framed . With certificate of authenticity from October 2016. ARR

After Pablo Picasso, a limited edition numbered gouttelette "Flower of Hands", plate 87 cm x 76 cm, well framed. With certificate of authenticity from October 2016. ARR

New York: Christie's, 1997. Hardcover book with its original dust jacket that features Les Femmes d'Alger by Pablo Picasso. A 227-page art catalogue for Christie's on November 10, 1997. Issued: 1997Dimensions: 8.5"W x 12"H x 1.25"DManufacturer: Christie'sCountry of Origin: United StatesCondition: Good.

After Pablo Picasso, Spanish 1881-1973, Succession Picasso Silk Scarf, 2007; made in France by Brochier, overall: 68 x 60 cm, (unframed) 

After Pablo Picasso, Spanish 1881-1973, 3 exhibition posters from 'Affiches de Picasso, Collection Czwiklitzer', (Red, Yellow, Blue), 1964; three screeprinted poster in colours on paper, each sheet: 76.5 x 54cm, (framed)(3)

Pablo Picasso,  Spanish, 1881-1973,  Etude de Profils, 1948; Lithograph on Arches wove paper,  signed in pencil and dated 6.12.48 in the plate,  numbered 18/50 in pencil,  printed by Mourlot,  sheet: 76 x 56.5 cm,  (framed)  (ARR) Catalogue Raisonne references: Georges Bloch 581. Mourlot 132. Cantz 432. Rau 404.Provenance: Christie's New York, 6.11.2014, lot 245Literature:  G. Bloch, Pablo Picasso: Catalogue of the printed graphic work 1904-1967, Editions Kornfeld et Klipstein, Berne, 1968, vol. 1, p. 140, no. 581 (another example from the edition illustrated in black and white). F. Mourlot, Picasso Lithographs, André Sauret, Paris, 1970, p. 100, no. 132 (another example from the edition illustrated in black and white)

After Pablo Picasso, Spanish 1881-1973,  Don Quixote, 1955 (posthumous edition) ;  lithograph on wove, signed and dated 11.3.55 within the plate,  issued by Editions Combat for La Paix, with embossed stamp Editions Combat pour la Paix/Copyright S. P. A. D. E. M. Paris, sheet: 53 x 37 cm,  (framed) (ARR)

Pablo Picasso, Spanish, 1881-1973Table des Eaux Fortes from Le Chef d'Oeuvre Inconnu, 1968Etching on wove paper, image 27.3 x 19.4 cm (framed) (ARR)  Note: Bloch, 94

Pablo Picasso,  Spanish 1881-1973,  Tete d'Homme, 1948;  pochoir print on wove,  signed in pencil and signed in the plate, numbered 6/175,  printed by Editions du Livre, Paris,  image: 60.5 x 44.5 cm,  (framed)  (ARR) Provenance: Private collection, The Scottish Gallery, Edinburgh, Georgetown Frame Shoppe, Washington, USA,  Note: together with a certificate of authenticity from the Georgetown Frame Shoppe.   

Pablo Picasso, Spanish, 1881-1973La Famille, a study of Francoise with children Paloma and Claude, 1953;Original lithograph from the drawing in crayon, scraper and black ink, signed in pencil and numbered 5 from the edition of 50 (and 5 proofs). Dated 17.1.53 in the plate, printed at the Atelier Mourlot, Paris Jan 1953, sheet: 60 x 50.5 cm (unframed) (ARR)Catalogue raisonne : Bloch, 738, Mourlot, 235

Keramikteller, Pablo Picasso, (1881 Málaga - Mougins bei Cannes 1973), aus dem Service ,Visage Noir' (Schwarzes Gesicht) , 1945 von Picasso entworfen. 1949 heiraten Rita Hayworth und Prinz Aly Khan im französischen Vallauris. Die Stadt Vallauris schenkte dem glücklichen Paar zu diesem Anlass ein komplettes Service der Visage noir. Ritzdekor als Gesicht, bemalt in Schwarz, Rot und Grün, Auf der Unterseite mit den Stempeln ''Madoura Plein Feu'' und ''d'apres Picasso'' sowie handschriftlich bezeichnet ''Madoura'', lim. Edition von 100 Examplaren, rest., Ø 24 cm, Lit.: Ramie, Alain, Picasso, Catalogue of the edited caramic works 1947-1971, Madoura, S. 30, Nr. 45

Pablo Picasso (1881-1973), ''Le Dormeur'', Lithographie, u. re. im Druck sign. u. dat. 13.D.42., darunter die Stempelsignatur im Rot, u. li. Trockenstempel ''Euro Art'', 37 x 45 cm, hinter Glas u. Pp. ger. 52 x 67 cm

Hubertus Hierl (*1940), ''Pablo Picasso und seine Ehefrau Jacqueline beim Stierkampf in Fréjus (7. August 1966)'', Schwarzweißabzug, verso handsigniert und auf Etikett bez., 20 x 26 cm

Pablo PicassoVisage Nr. 1301963Runder Madoura-Teller aus weißer Steingutkeramik mit farbiger Engobe und GlasurDurchmesser 25,5 cmAuf der Unterseite bezeichnet und nummeriert: No 130 / Edition Picasso / 176/500 / MadouraIn einer nummerierten Auflage von 500 Stück ausgeführt.Minimale Absplitterung auf der Unterseite des Tellerrandesösterreichischer PrivatbesitzAlain Ramié, Catalogue of the Edited Ceramic Works, 1947-71 Paris, Nr. 479, S. 247 mit Abbildung

Pierre-Auguste RenoirLa conversation (Studie)um 1890Öl auf Leinwand; gerahmt25 x 28 cmSammlung Ambroise Vollard;Palais Galliéra, Paris, 19.06.1974, Nr. R (unverkauft);Galerie Marcel Bernheim, Paris (vgl. Fotoexpertise François Daulte, 25. November 1974);Galerie La Cave, Paris (vgl. Expertise von Claude Grandclaudon, 12. Dezember 1977);Kunsthaus im Welserhof, Augsburg (vgl. Brief von François Daulte, 4. Juli 1988, Lausanne);Gottfried Layr, Kunsthandel, Gars/K., Österreich (1989);seit 1989 österreichischer Privatbesitz Ambroise Vollard, Tableaux, pastels et dessins de Pierre Auguste Renoir, Band 2, Paris 1918, Abb. S. 120 (rechter Teil der Abbildung);Guy-Patrice und Michel Dauberville, Catalogue Raisonné des tableaux, pastels, dessins et aquarelles, 1882-1894, Band 2, Paris 2009, Nr. 1029, s/w-Abb. S. 217In den Jahren nach 1880 befindet sich Pierre-Auguste Renoir an einem Wendepunkt in seinem künstlerischen Schaffen. Nach der impressionistischen Phase, die ungefähr von 1870 bis 1880 andauert, orientiert er sich neu und stellt das bisher Erreichte in Frage. "Um 1883", so schreibt der Künstler an seinen Händler Ambroise Vollard, "trat so etwas wie ein Bruch in meinem Werk ein. Ich war dem Impressionismus bis an die äußere Grenze gefolgt und musste feststellen, dass ich weder malen noch zeichnen konnte. Mit einem Wort, ich war in einer Sackgasse" (Karin Sagner-Düchting, Renoir. Augenblicke des Glücks, München 1996, S. 81). Orientiert er sich zunächst, inspiriert durch eine Italienreise 1881, an den glatten, scharf gezeichneten Formen von Jean-Auguste-Dominique Ingres, beginnen sich um 1890 die Formen wieder aufzulockern und expressiver zu werden. Es folgt ein außerordentliches Spätwerk, das trotz der sich ab 1892 manifestierenden rheumatoiden Arthritis von großer Schaffensfreude geprägt ist. Selbst als ihn die Krankheit an den Rollstuhl fesselt und jede Bewegung schwierig wird, lässt er sich den Pinsel an die Hand binden und malt unverdrossen weiter.Das Leitmotiv dieser späten Jahre ist die Frauendarstellung, viele seiner Szenen platziert Renoir in die freie Natur. Auch das Thema der "Conversation", das sich durch sein Oeuvre zieht, bietet ihm einmal mehr die Gelegenheit, verschiedene räumliche Situationen und Positionen der Bildakteure zu erproben und deren Relationen zueinander malerisch zu erfassen. Dabei sind seine Darstellungen stets von großer Intimität und Empathie geprägt (Guillermo Solana (Hg.), Renoir. Intimacy, Ausstellungskatalog, Museo Thyssen-Bornemisza, Madrid 2016. o.S.).In vorliegender Studie sieht man genau zu welch freier, expressionistischer Malweise der Künstler bereits fähig ist und wie sehr er den Impressionismus in einer ganz eigenständigen Art und Weise weiterentwickelt hat. Er kombiniert weiche, konturlose Formen mit einem kräftigen Farbauftrag und erfasst seine Figuren kühn mit dickem, sicherem Pinselstrich. Gerade dieses radikale Spätwerk begeistert die nachfolgenden Generationen. Künstler, wie Pablo Picasso, der sieben Bilder Renoirs in seiner persönlichen Sammlung hatte, Henri Matisse und René Magritte verehrten den großen Franzosen und bewunderten die unglaubliche Lebensfreude und Sinneslust, die seine Malerei auszeichnet.(Sophie Cieslar)

PABLO PICASSO, Mother and child, numbered pochoir in an edition of 500, 1963 suite: Rare Les Bleus de Barcelona, French vintage frame, 47cm x 39cm. (Subject to ARR - see Buyers Conditions)

PABLO PICASSO, Ma Jolie, hand coloured pochoir, edition: 200, rare suite; Venti Pochoirs, 22cm x 27cm, vintage French frame. (Subject to ARR - see Buyers Conditions)

Pablo Picasso, 'Buste de Femme au Foulard Mauve', Picasso estate Lithograph. 68cm x 42cm.

Pablo Picasso, Lithograph 'Bull and Bull fighter' 1979 33cm x 28cm.

Pablo PICASSO (1881-1973), ink drawing with mad figures designed for a friend who was to open a café (1969), drawn in pencil and dated 29.4.69Pablo PICASSO (1881-1973), inkttekening met gekke figuren ontworpen voor een vriend die een café zou openen (1969), getekend met potlood en gedateerd 29.4.69Zervos, Pablo Picasso, oeuvres de 1969 vol 31 no 161Provenance: private collection, purchase Galerie Automne Avenue Louise BrusselsZervos, Pablo Picasso, oeuvres de 1969 vol 31 no 161Provenance: privé collectie, Aankoop Galerie Automne Louizalaan brussel

Picasso, Pablo (1881 - 1973), "Femme et chat" (1954), Radierung, in Platte re. oben sign.u. dat. (4.1.54) u. li. u. bez., Gr. ca. 14,5 x 10 cm, hinter Glas gerahmt (ca. 38 x 28,5 cm).

Goebel Porzellanfabrik, Limited Edition: Picasso Hommage und Büste'Hommage to Pablo Picasso', porzellan polychrom Aufglasur bemalt, 28cm, auf Holzsockel, lim. 240/999 und Büste Bisquitporzellan 19cm, auf Holzsockel frontseitge Plakette, Z1-2.

Deschamps, Henri, 1898 - 1990: Pablo Picasso: Cannes A.M.Farblithografie auf Velin, hinter Glas gerahmt, links unten bez. "Henri Deschamps Lith.", rechts unten bez. "Picasso" & dat. 24.3.1962. Der französ. Grafiker Deschamps wurde der v.a. durch seine Zusammenarbeit mit bedeutenden Künstlern der Moderne wie Picasso, Georges Braque u. René Magritte bekannt. Er verwandelte ihre Gemälde in Lithografien u. liess im Atelier Mourlot, einer berühmten Druckerei in Paris, Originaldrucke herstellen. Exemplar hier ist am Unterrand beschnitten, ca. 78x63cm, Z1-2.

Pablo PICASSO (1881-1973) Faunkopf - Faun's head 1948,ovale Schale aus weißem Steingut, farbig gefasst und glasiert, Faun's head aus dem Jahre 1948, limitiert auf 300 Exemplare, rückseitig bezeichnet mit Stempel MADOURA PLEIN FEU EDITION PICASSO und 19/300, L 39 cm x B 31,5 cm x H 4,5 cm, Provenienz: Privatsammlung Niederrhein

Picasso, Pablo (Malaga 1881 - 1973 Mougins, Studium an der KA Madrid, Maler, Grafiker und Bildhauer) nach"Les Dames de Mougins", Lithografie auf Papier, 9 x 17.5 cm

ARR AFTER PABLO PICASSO (1881-1972) *ARRFlying Dove, print No. 79 of a limited edition of 200, signed, unframed,42 x 67cm.

Pablo Picasso1881 Malaga - 1973 Mougins nach - "Picasso. Galerie Beyeler - Bale. Janvier - Mars 1967" - Farblithografisches Plakat/Papier. 73 x 44,8 cm, 78 x 48,4 cm (Blattmaß). Sign. im Druck in typografischer Schrift: Henri Deschamps lith. Das Blatt liegt lose.

Picasso (Pablo).- George (Waldemar) Picasso Dessins, one of 100 copies (unnumbered), without original signed lithograph, 64 lithographed plates, a few small stains and finger soiling, repair to upper hinge, original cloth-backed wrappers, spotted, 4to, Paris, Éditions des Quatre chemins, 1926*** One of the first books focussing solely on Picasso's drawings. 

Pablo Picasso poster for the Peace Stockholm Conference, 16-22 July 1958, the centre depicting 'Hands with Flowers, Bouquet of Peace', 77cm x 49cm, framed under glass

Pablo Picasso (1821-1973) Resting Woman (9.8.52 xxii) Print on paper Measures 90cm x 115cm Framed and glazed Pablo Picasso was born in Malaga, Spain. He was a successful painter, sculptor, ceramicist, and printmaker, being regarded as one of the most influential artists of the 20th century. Working in various mediums and styles throughout his career, Picasso was well known as on of the co-founders of the Cubism movement. 

After Pablo Picasso (Spanish, 1881-1973)Four Plates, from Les Portraits Imaginaires Four offset lithographs in colours, 1969, on wove paper, numbered 'F92/250' in pencil, from the French edition (there was also an American numbered edition of 250 marked 'A'), printed by Marcel Salinas, published by Editions Cercle d'art, Paris, with their blindstamp, the full sheets, framed Sheets 655 x 502mm (25 3/4 x 19 3/4 in)(4)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Pablo Picasso (Spanish, 1881-1973)Femme nue assise devant un Rideau, from La Suite Vollard (Bloch 137; Baer 202) Etching, 1931, on Montval laid paper watermarked Picasso, signed in pencil from the edition of 260 (there was also an edition of 50 with wider margins), printed by Roger Lacourière, published by Ambrose Vollard, Paris, 1939, the full sheet, framedPlate 313 x 222mm (12 3/8 x 8 3/4in)Sheet 450 x 340mm (17 3/4 x 13 3/8in)Footnotes:ProvenanceCaroline Wiseman Modern and Contemporary, London.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Pablo Picasso (Spanish, 1881-1973)Tete d'homme aux cheveux longs (Ramié 596) Stamped, marked and numbered Madoura Plein Feu/Empreinte Oringiale de Picasso/ J 111/ 37/100 (on the reverse) partially glazed terracotta plaqueConceived in 1968 and executed in an edition of 100, framedOverall 310 x 310mm (12 1/8 x 12 x 1/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Pablo Picasso (Spanish, 1881-1973)Visage de faune (Ramié 282) stamped, marked and numbered Madoura Plein Feu/Empreinte Originale de Picasso/ Z 123/ 117/150 (underneath)terracotta plateConceived on 28 June 1955 and executed in a numbered edition of 150Diameter 242mm (9 1/2in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Pablo Picasso (Spanish, 1881-1973)Sculpteur et modèle debout, from La Suite Vollard (Bloch 177; Baer 330) Etching, 1933, on Montval paper with watermark Montgolfier, signed in pencil, from the edition of 50 (there was also an edition of 260 with smaller margins), published by Ambroise Vollard, Paris, 1939, the full sheet, framedPlate 367 x 299mm (14 1/2 x 11 3/4in)Sheet 504 x 390mm (19 3/4 x 15 3/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Pablo Picasso (Spanish, 1881-1973)Picador (Ramié 160) stamped and marked Madoura Plein Feu/Edition Picasso/Edition Picasso (underneath)partially glazed white earthenware ceramic plate with black oxideConceived in 1952 and executed in an edition of 500Diameter 205mm (8 1/4in)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

After Pablo Picasso (Spanish, 1881-1973)Four Plates, from Les Portraits Imaginaires Four offset lithographs in colours, 1969, on wove paper, numbered 'F92/250' in pencil, from the French edition (there was also an American numbered edition of 250 marked 'A'), printed by Marcel Salinas, published by Editions Cercle d'art, Paris, with their blindstamp, the full sheets, framed Sheets 655 x 502mm (25 3/4 x 19 3/4 in)(4)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Pablo Picasso (Spanish, 1881-1973)Portrait de famille, homme aux bras croisé (Bloch 1029; Mourlot 383) Lithograph, 1962, on Arches wove paper, signed in red crayon and numbered 22/50 in pencil, printed by Mourlot, Paris, the full sheetSheet 560 x 760mm (22 x 29 7/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Pablo Picasso (Spanish, 1881-1973)Faune aux branchages (Mourlot 113; Bloch 520) Lithograph, 1948, on Arches wove paper, signed and numbered 10?/50 in pencil, the full sheet, framedSheet 765 x 564mm (30 1/8 x 22 1/4in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Pablo Picasso (Spanish, 1881-1973)Deux Danseurs (Ramié 380) stamped Madoura Plein Feu/Empreinte Originale de Picasso (underneath)white earthenware ceramic plate with black engobe and glazeConceived in 1956 and executed in an edition of 450 Diameter 250mm (9 7/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

MATISSE, Henri (nach / after)(1869 Le Cateau Cambrésis - 1954 Nizza) "Nu"Lithografie auf Bütten. In der Platte signiert. [1918]/1994. Galerie Maeght, Mourlot, Paris. Blatt: 40 x 26 cm, im Passepartout: 40 x 30 cm. Verso Copyright-Stempel "Henri Matisse - Nu, 1918 - Succession Henri Matisse 1994". Französischer Maler, Grafiker, Zeichner und Bildhauer; Wegbereiter des Fauvismus; zählt neben Pablo Picasso zu den bedeutendsten Künstlern des 20. Jh. "Wer eine Rose malen will, muß zuerst alle Rosen vergessen, die jemals gemalt geworden sind." (Zitat: HM, www.altertuemliches.at). Aufrufzeit 15. | Juni 2024 | voraussichtlich 11:26 Uhr (CET) MATISSE, Henri (nach / after)(1869 Le Cateau Cambrésis - 1954 Nice) "Nu"Lithograph on laid paper. Signed in the plate. [1918]/1994. gallery Maeght, Mourlot, Paris. Sheet: 40 x 26 cm, in passepartout: 40 x 30 cm. Copyright stamp on verso "Henri Matisse - Nu, 1918 - Succession Henri Matisse 1994". French painter, graphic artist, draughtsman and sculptor; pioneer of Fauvism; one of the most important artists of the 20th century alongside Pablo Picasso. "Whoever wants to paint a rose must first forget all the roses that have ever been painted." (Quote: HM, www.altertuemliches.at). Call time 15 | June 2024 | probably 11:26 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

PICASSO, Pablo (nach / after)(1881 Málaga - 1973 Mougins) Blatt 53 aus "Suite Vollard"Lithografie nach Radierung. In der Platte signiert. [1933]/1992. Blanc Narcisse, Museum Mülheim, 1992, Prägestempel "Plitt". Blatt: 32 x 45,5 cm, im Passepartout: 40 x 50 cm. Ruhender Bildhauer und Model beim Ansehen eines Torsos, verso Copyright-Stempel "Pablo Picasso - Suite Vollard, Bloch Nr. 162, VG Bild-Kunst, Bonn 1990". Spanischer Maler, Grafiker und Bildhauer, zählt zu den bekanntesten Künstlern des 20. Jh.; Mitbegründer des Kubismus. "Wenn Kunstkritiker sich treffen, sprechen sie über Form, Struktur und Bedeutung. Wenn sich Künstler treffen, sprechen sie darüber, wo man preiswertes Terpentin kaufen kann." (Zitat: PP, https://beruhmte-zitate.de/autoren/pablo-picasso/). Aufrufzeit 15. | Juni 2024 | voraussichtlich 11:23 Uhr (CET) PICASSO, Pablo (nach / after)(1881 Málaga - 1973 Mougins) Sheet 53 from "Suite Vollard"Lithograph after etching. Signed in the plate. [1933]/1992. Blanc Narcisse, Museum Mülheim, 1992, embossed stamp "Plitt". Sheet: 32 x 45.5 cm, in passepartout: 40 x 50 cm. Resting sculptor and model looking at a torso, copyright stamp on verso "Pablo Picasso - Suite Vollard, Bloch Nr. 162, VG Bild-Kunst, Bonn 1990". Spanish painter, graphic artist and sculptor, one of the most famous artists of the 20th century; co-founder of Cubism. "When art critics meet, they talk about form, structure and meaning. When artists meet, they talk about where to buy cheap turpentine." (Quote: PP, https://beruhmte-zitate.de/autoren/pablo-picasso/). Call time 15 | June 2024 | probably 11:23 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

PICASSO, Pablo (nach / after)(1881 Málaga - 1973 Mougins) Maler und ModelFarblithografie. Im Druck signiert. Im Druck datiert: "4.2.69". Verso Stempel "Mourlot Paris". Passepartoutausschnitt: 50 x 35 cm. Gerahmt & hinter Glas : 74,5 x 59 cm. Blatt lichtgebräunt. Spanischer Maler, Grafiker und Bildhauer, zählt zu den bekanntesten Künstlern des 20. Jh.; Mitbegründer des Kubismus. "Wenn Kunstkritiker sich treffen, sprechen sie über Form, Struktur und Bedeutung. Wenn sich Künstler treffen, sprechen sie darüber, wo man preiswertes Terpentin kaufen kann." (Zitat: PP, https://beruhmte-zitate.de/autoren/pablo-picasso/). Aufrufzeit 15. | Juni 2024 | voraussichtlich 11:23 Uhr (CET) PICASSO, Pablo (nach / after)(1881 Málaga - 1973 Mougins) Painter and modelColor lithograph. Signed in the print. Dated in the print: "4.2.69". Stamp "Mourlot Paris" on verso. Passepartout cut-out: 50 x 35 cm. Framed & behind glass : 74.5 x 59 cm. Sheet light browned. Spanish painter, graphic artist and sculptor, one of the most famous artists of the 20th century; co-founder of Cubism. "When art critics meet, they talk about form, structure and meaning. When artists meet, they talk about where to buy cheap turpentine." (Quote: PP, https://beruhmte-zitate.de/autoren/pablo-picasso/). Call time 15 | June 2024 | probably 11:23 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.