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PABLO PICASSO (1881 Málaga – 1973 Mougins) 60 years of graphic worksFarblithographie auf Arches-Velin. 1966. 76,5 x 56 cm. Mourlot 406/ Bloch 1302/ Czwiklitzer 55/ Rodrigo 159. Das lustig-strahlende Gesicht, das an jenes eines Clown erinnert, lud 1966 zur Ausstellung "60 years of Graphic works" im Los Angeles County Museum of Art ein, seinerzeit die größte Ausstellung zum graphischen Werke Picassos. Mit Schöpfrand am rechten und unteren Blattrand. Probedruck außerhalb der normalen Auflage von 2500. Zudem wurden weitere 100 Exemplare ohne Text gedruckt.

PABLO PICASSO (1881 Málaga – 1973 Mougins), nach Le Harlequin Farblithographie auf Arches-Velin. 1971. 75,6 x 53,7 cm. Czwiklitzer 390. Dieses Plakat entstand 1971 für eine Ausstellung in der Pariser Galerie Louise Leiris und wurde von Mourlot gedruckt. Es zeigt die von Picasso gemalte farbige Kreidezeichnung mit dem Titel "Tête d'arlequin“ aus dem Jahr 1970. Schöner Druck eines der bevorzugten Sujets des Künstlers. Mit Schöpfrand am rechten und unteren Rand. Auflage 2000 Exemplare.

Pablo Picasso "Balzac" etching - with signature stamp||PICASSO PABLO, DIEGO, JOSÉ (1881 - 1973) ets n° 38/50 : "Balzac" - 22,5 x 34 met stempelsignatuur

framed silk shawl with a silkscreen - plate signed Picasso||PICASSO PABLO, DIEGO, JOSÉ (1881 - 1973) silkscreen op zijde (sjaal) - 78 x 76 - ingekaderd getekend in de plaat

Leicht ins Oval gedrückte, konische Becherform. Farbloses Glas mit gleichmäßig verteilten Luftblasen, in "Sommerso"-Überfangtechnik grün und himbeerrot verlaufend, aufgelegtes, reliefiertes Gesicht aus unterschiedlich farbigem Glas. H. 29 cm.A modern face-shaped Murano multi-coloured glass vase with bubbles in the style of Pablo Picasso. Italien. Murano. Ende 20. Jh.

Picasso, Pablo (188-1973): Stierkampf II - 2 Exemplare. Kunstdruck nach dem Original-Skizzenbuch von Picasso, mit Signatur, handnummeriert. Hinter Glas, hängefertig, je 47,5 x 47,5 cm, Passepartout je 19 x 19 cm. Zustand I

After Pablo Picasso (1881-1973), Mediterranean Landscape, a coloured limited Collection Domaine edition print on paper, 300 / 500 with blind stamp. H.51 W.66cm.

George Condo (B.1957), Acrylic Painting Image Size: 55 1/8 by 39 1/2 in. (140 by 100 cm.) All measurements are approximate. Signed (reverse) George Condo (B.1957) is an American artist known for his distinctive figurative paintings and drawings. He was born in New Hampshire and studied at the University of Massachusetts and the Art Students League of New York. Condo's work is characterized by its twisted and distorted figures, often combining elements of abstraction and representation. He has been compared to artists such as Pablo Picasso and Francis Bacon, and his work has been exhibited in galleries and museums around the world, including the Whitney Museum of American Art and the Centre Pompidou. Condo is considered one of the most important contemporary artists working in the United States today. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.

Pablo Picasso (Málaga 1881 – 1973 Mougins). „Accouplement. II“. 1933Aquantinta auf Velin. 19,8 × 27,7 cm (33,6 × 44,3 cm) (7 ¾ × 10 ⅞ in. (13 ¼ × 17 ½ in.)). Geiser/Baer 379 IV B. (von C.).–Einer von 55 Abzügen. Paris, Lacourière, 1942. [3874]Zustandsbericht: Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Das Papier unregelmäßig schwach gebräunt und leicht angestaubt. Vereinzelt winzige braune Fleckchen und in der oberen rechten Ecke ein blasser brauner Fingerfleck. In den Randbereichen vereinzelt schwache Knickspuren. Rückseitig in den oberen Blattecken Papierklebebandreste einer alten Montierung. Dieses leicht nach vorne durchdrückend. Im Blattinneren an mehreren Stellen mit Papierklebeband auf den Unterkarton montiert.Wir berechnen auf den Hammerpreis 32% Aufgeld.

PABLO PICASSO, Owl, lithograph - 1959, Suite: Cincinnati, printed by Young & Klein, Montparnasse frame, 39.5cm x 31.5cm.

PABLO PICASSO, Woman on horseback, off set lithograph, suite: Toros, French vintage frame. 26cm x 37cm

PABLO PICASSO, Seated woman on cotton, vintage French frame. (Subject to ARR - see Buyers Conditions) 90cm x 67cm.

Pablo Picasso (1881-1973), Girls in An Armchair, Lithograph Signed in pencil (lower right), with Barcelona Gallery COA, Made in 1948 (the original painting was made in 1937), Edition of 3/24, Purchased from the New York gallery. The model is Picasso's lover. Image size: 10 1/8 by 7 1/8 in. (25.4 by 17.78 cm.) All measurements are approximate. Pablo Ruiz Picasso born (1881-1973) was a Spanish painter and sculptor. He is considered one of the greatest artists of the 20th century.His full name is Pablo Diego Jose Francisco de Paula Juan Nepomuceno Maria de los Remedios Cipriano de la Santisima Trinidad Clito Ruiz y Picasso.He is best known as the co-founder of cubism.Cubism is when the artist breaks up objects and re-assembles them in abstract and geometric form.Pablo Picasso created over 20, 000 pictures. Picasso could draw and paint when he was very young. His first word was lapiz, the Spanish word for pencil.Perhaps his most famous painting is Guernica which shows the horrors of war after the bombing of the town of Guernica.He was 90 years old when a number of his works were shown in an exhibition at the Louvre in Paris. He was the first living artist to have an exhibition at the Louvre.Picasso had four children with three women. He died of heart failure on 1973. WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE.

Pablo Picasso (1881-1973), TODOCOLECCION S.A.C., Oil Painting Signed (upper right) Image size: 24 by 16 in. (60 by 40 cm.) All measurements are approximate. Pablo Ruiz Picasso born (1881-1973) was a Spanish painter and sculptor. He is considered one of the greatest artists of the 20th century.His full name is Pablo Diego Jose Francisco de Paula Juan Nepomuceno Maria de los Remedios Cipriano de la Santisima Trinidad Clito Ruiz y Picasso.He is best known as the co-founder of cubism.Cubism is when the artist breaks up objects and re-assembles them in abstract and geometric form.Pablo Picasso created over 20,000 pictures. Picasso could draw and paint when he was very young. His first word was lapiz, the Spanish word for pencil.Perhaps his most famous painting is Guernica which shows the horrors of war after the bombing of the town of Guernica.He was 90 years old when a number of his works were shown in an exhibition at the Louvre in Paris. He was the first living artist to have an exhibition at the Louvre.Picasso had four children with three women. He died of heart failure on 1973. WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE.

Nach PABLO PICASSO (1881 Málaga - 1973 Mougins), Farblithografie, ¨La ronde de la jeunesse (Der Reigen)¨ (1961, hier später), unten rechts im Stein signiert ¨Picasso¨ und datiert, ca. 61x47cm (in Passepartout), gerahmt (83x63,5cm), Papier leicht gebräunt

§ After Pablo Picasso (Spanish 1881-1973) for Bloomcraft Toros Y Toreros, designed 1963 printed TOROS + TOREDOR by Picasso / BLOOMCRAFT (to selvedge), screenprinted cottonDimensions:122cm x 170cm (48in x 67in)Provenance:ProvenancePrivate Collection, UK.Note: LiteratureRayner, Geoffrey, Richard Chamberlain and Annamarie Stapleton, Textile Design: Artists' Textiles 1940-1976, Antique Collectors' Club, 2012, pp. 262-3.

◆ Jankel Adler (Polish 1895-1949) Mädchen mit Katze (Girl with Cat), 1942 signed (lower left)oil on canvasDimensions:81cm x 91cm (32in x 35 3/4in)Provenance:ProvenancePeter Watson, London (by 1948)Private collection, LondonLiteratureStanley William Hayter, Jankel Adler, Nicholson & Watson, London, 1948, p.viii, illustrated in black & white, pl.17, as 'Girl with Cat (1942) Private collection Peter Watson, Esq. London'Annemarie Heibel, Jankel Adler (1895-1949): Band II: Werkverzeichnis der Gemälde, Westfälische Wilhelms-Universität, Munster, 2016, no. WV 217, repr. p.301.Note: Born in Poland into an Orthodox Jewish family, Jankel Adler trained in engraving in Belgrade and the applied arts in Barmen (now Wuppertal) before enrolling at the Düsseldorf Akademie der Künste. Based in Düsseldorf between 1922 and 1933, he became steeped in progressive art circles, associating with Lyonel Feininger and Wassily Kandinsky amongst others, and teaching alongside Paul Klee at his alma mater. After the Nazi’s declaration that his work was ‘degenerate’, Adler moved to Paris in 1933, where he worked with Stanley William Hayter at the experimental Atelier 17 and met Pablo Picasso - a rite of passage for any artist with serious aspirations to belong to the avant-garde. Following the outbreak of World War Two, Adler joined the Polish army, with whom he was evacuated to Scotland in 1940. Demobilisation in 1941 was followed by a move to London in 1943. He thus personified the European avant-garde in Britain whilst becoming a central figure in the art worlds of Glasgow and then London. Solo exhibitions were held at T&R Annans & Sons in the former, and at the Redfern Gallery, Lefevre Gallery and at Gimpel Fils in the latter; he was to have a tremendous impact on British artists, in particular Robert Colquhoun and Robert MacBryde, who shared a studio with John Minton two floors beneath that of Adler in Kensington.Mädchen mit Katze (Girl with Cat) is thus a major example of continental Modernism, painted in Britain. It is one of his most sophisticated and poetic images: a contemplative seated woman in the right foreground holds an enigmatic object to her chest. A companion cat lying on a table to the left directly confronts the viewer, its startling eyes penetrating our souls, whilst the distinctly modernist sculptures to the rear – an homage perhaps to fellow émigré Naum Gabo – introduce a sense of time and place to this potentially timeless domestic scene. Adler’s post-Cubist approach to form is arguably seen to best effect in the sensitively rendered facial features of the female protagonist, although his technique across the canvas surface is as varied as the range of muted and bold tones and colours used to realise volume, perspective and mass.This work exemplifies Philip Vann’s declaration that ‘finding refuge in Britain in 1941, the forty-six-year-old Jankel Adler embarked afresh on a richly distinctive journey as an artist. The powerful, often stark monumentality characterising his earlier continental period gave way to vibrant new works of most subtle intricacy and compassionate poignancy. All that he had learned and absorbed from the great Modernists he had known in the 1920s and ‘30s – notably Klee, [Max] Ernst and Picasso – was now assimilated and integrated with apparently spontaneous ease into radically original, humane pictures.’ (quoted in Richard Cork, Jankel Adler: The British Years 1941-49, Goldmark Gallery, Uppingham, 2014, unpaginated).Such is Mädchen mit Katze’s significance within Adler’s oeuvre that it was selected for reproduction in Stanley William Hayter’s 1948 monograph on the artist, by which time it had been acquired by the legendary British art collector Peter Watson. He and Adler are believed to have met for the first time in Glasgow, with their mutual acquaintance Colquhoun reporting that Watson ‘believes Adler to be quite exceptional.’ (Undated letter from Colquhoun to Ian Fleming, quoted in Patrick Elliott et al, The Two Roberts: Robert Colquhoun & Robert MacBryde, National Galleries of Scotland, Edinburgh, 2014, p.29). The millionaire Watson was without doubt the eminence grise of the London contemporary art world during the 1940s, when many artists struggled to make ends meet: Watson funded the arts journal Horizon, which was launched in 1940; was a co-founder of the Institute of Contemporary Art in 1946; lived in a Wells Coates-designed flat in London surrounded by works including by Christopher Wood, Graham Sutherland, Henry Moore, Ben Nicholson, Pierre-Auguste Renoir, Joan Miró, Chaïm Soutine and John Tunnard; and counted Sutherland, Nicholson, Augustus John, Lucian Freud and John Craxton amongst his artist friends. Mädchen mit Katze thus joined one of the most remarkable collections of modern and contemporary art in Britain at the time.The related painting, Woman with a Cat (formerly known as Girl with Cat) of 1944, was presented by the Contemporary Art Society to Aberdeen Art Gallery in 1952 (ABDAG002283).

§ Pablo Picasso (Spanish 1881-1973) Raphael et la Fornarina - Plate 309 from series 347, 1968 signed (lower right) and numbered 33/50 (lower left) in pencil; dated 3.9.68 in the plateetching on wove paperFrom the edition of 50Printed by Aldo and Piero CrommelynckPublished by Galerie Louise Leiris, ParisDimensions:15cm x 20.5cm (6in x 8in) plate; 28cm x 34.5cm.(11 x 13 3/4in) sheetProvenance:Provenance Private collection, LondonLiteratureGeorges Bloch, Pablo Picasso - Catalogue de l'oeuvre gravé et lithographié, Editions Kornfeld, Bern, 1974-79, 3 vols, no. 1789Brigitte Baer, Picasso Peintre-Graveur, Editions Kornfeld, Bern, 1986-96, 7 vols and addendum, no. 1806

After Pablo Picasso (1881 - 1973), Giclee print, Francoise with a garland, from an edition of 1000 copies, image 41cm x 34cm, unframed, with Certificate and papersGood condition

Picasso (Pablo).- Fabre (Josep Palau i) Picasso: the Early Years 1881-1907, Barcelona, 1996; Picasso. From the Ballets to Drama 1917-1926, Cologne, 1999, illustrations, original cloth, dust-jackets, fractional creasing to edges, slipcases, a little rubbed § Boeck (Wilhelm) & Jaime Sabartés. Picasso, plates, some colour, illustrations, previous owner's ink signature, original pictorial cloth, slight bumping to corners and extremities, dust-jacket, slight creasing to edges, New York, n.d. § Penrose (Roland) Picasso: His Life and Work, first edition, plates, original cloth, bumping to corners and spine extremities, dust-jacket, creasing and small tears to edges, a little rubbed, 1958; and others, Picasso, v.s. (c.50)

AFTER PABLO PICASSO (1881-1973) A woman and child reproduction print, 29cm x 35cm (unframed)

Pablo Picasso (1881 - 1973, Spanish), Standing Nude and Seated Musketeer, pencil signed lithograph on paper, with Copie D'Epreuve and Art International stamp. H.27 W.20cm

After Pablo Picasso, Portrait of a lady wearing a white dress, oil on board, bearing signature, in a gilt frame. H.56 W.46cm.

1881 Malaga - 1973 Mougins. Lithogr. Frauenporträt. Aus: 'Vingt Poems de Gongora'. 1948. Sonette von Luis de Gongora y Argote. Illustrationen von Pablo Picasso. 35 x 27,5 cm. R. Lit.: 1,2,13,14.

Anne Cathcart after Pablo Picasso painting, 20 x 25 cm. Not available for in-house P&P

▴ Pablo Picasso (Spanish, 1881-1973) Sculpteur devant sa Sculpture: Plate I from Le Chef-d'Oeuvre Inconnu (Bloch. 82; Cramer: 20)etching, 1927, signed 'Picasso' in ink l.r., numbered '78/99' l.l.plate 19 x 27.5cm Provenance: The Zwemmer Gallery, London.Condition ReportFramed 42 x 49.5cmViewed in the frame there is some timestaining and light cockling, there are two brown stains, one to the centre of the left margin and another to the extreme left corner of the margin. Examined out of the glazed frame there is a large amount of acid staining, please see images. The edges of the sheet are stuck down and taped. The middle of the work does not appear to be stuck down but it is not possible to remove the sheet and examine the reverse without damaging the work. Sheet size: 33.5 x 41cm.

▴ After Pablo Picasso'Pasage', 1979-82lithograph in colours on Arches paper, signed 'Collection Marina Picasso' in pencil l.r. and numbered '193/500' l.l., bears blind stamp73.5 x 54cm, unframedSold with a certificate of authenticity stating that this is 'A limited edition after a work by Pablo Picasso'.After Picasso's death in 1973, his granddaughter, Marina Picasso, authorised the printing of this series of lithographs. They were created from paintings by Picasso and were printed by Laurent Marcel Salinas.Condition ReportPaper has yellowed a little over time, please see images for further details.

PABLO PICASSO, extra large lithographic poster Mostra di Picasso, signed in the plate, 1953, 196cm x 139cm, framed. (Subject to ARR - see Buyers Conditions)

Original vintage advertising poster for Musee Des Arts Decoratifs / Decorative Arts Museum exhibition that took place from June to October 1955 featuring artwork by Spanish artist Pablo Picasso (1881-1973) depicting the artist's son in a yellow hat. Printed by Mourlot. Very good condition, minor creasing, small tears. Country of issue: France, designer: Picasso, size (cm): 64x46, year of printing: 1955.

PABLO PICASSO Malaga 1881 - 1973 Mougins: Plato de Toritos fritos. Stilleben mit Karaffe, Glas und einem Teller mit frittierten Stieren. Lithographie nach einer Tuschpinselzeichnung Picassos um 1957. Vgl. Zervos XVII, 322. - Mit dem handschriftlichen Widmungstext „Aquí te mando querido Paco un buen plato / de toritos fritos para que se los coma Currito / el día de su Santo con un baso de Valdepeñas / y un porron del Priorat / ya ves que me acuerdo / Tuyo Picasso / Cannes el 6.2.57“ im Stein. Auf kräftigem chamoisfarbenen Vélin d’Arches. 50 x 41 cm (Blatt: 63,5 x 50 cm). Gering gebräunt und untere linke Ecke mit schwacher Knickspur. Picasso widmete seine Zeichnung Paco Muñoz, dem Organisator der Stierkämpfe in Vallauris, und dessen Sohn Curro. [bg]

PABLO PICASSO Malaga 1881 - 1973 Mougins: Faunes et Flore. Frontispiz der Mappe „Picasso. Faunes et Flore d’Antibes“, 1960. Farblithographie von Daniel Jacomet nach der gleichnamigen Zeichnung Picassos um 1960. Eines von insges. 350 unnumerierten Expl. Mit dem Namenszug Picassos, Datum „30.9.59.“ und Titel im Stein. Auf kräftigem chamoisfarbenen Vélin. 63,2 x 45,8 cm (Blatt: 65 x 50 cm). Mit schwachen Eckknickspuren. Die Zeichnung wurde 1959 von Picasso speziell für dieses Mappenprojekt geschaffen, bei dem die 11 Gemälde seiner „La Joie de Vivre“-Reihe (Antibes 1946) von Daniel Jacomet graphisch umgesetzt wurden. [ms]

PABLO PICASSO Malaga 1881 - 1973 Mougins: Visage cubiste (Tête de Faune Chevelu). Kombinationsdruck (Phototypie mit Pochoir) von Daniel Jacomet nach Picasso aus der Mappe „Picasso. Faunes et Flore d’Antibes“ um 1960. Eines von insgesamt 350 Expl. Verso typographisch bezeichnet: „Pablo Picasso - Peintures sur Papier - Antibes 1946 - Reproduction Daniel Jacomet - Au Pont des Arts Paris - Imprimé en France“. Auf kräftigem chamoisfarbenen Vélin. 62,5 x 49,8 cm (Blatt: 65 x 50 cm). Mit vereinzelten schwachen Randknickspuren. [ms]

PABLO PICASSO Malaga 1881 - 1973 Mougins: La Famille: Françoise Gilot mit ihren Kindern Paloma und Claude im Profil. Farb. Photolithographie nach der „le 4.10.60.“ entstandenen Zeichnung Picassos um 1961. Vgl. Czwiklitzer 170 und (dtv) 197 (Ausstellungsplakat „Art et Solidarité“ der Galerie Coard, Paris 1961). - Eines von 200 unsignierten Expl. des größeren Formates (Gesamtaufl. 400) vor der Schrift auf kräftigem chamoisfarbenem Vélin d’Arches. Mit dem Namenszug und Datum in der Darstellung. 62 x 49 cm (Blatt: 66,5 x 52 cm). An den Kanten minimal gebräunt. Vollrandig. [ms]

PABLO PICASSO Malaga 1881 - 1973 Mougins: Hommage à René Char. Farblithographie von H. Deschamps nach einer 1964 entstandenen Arbeit Picassos bei Mourlot um 1969. Czwiklitzer (dtv) 348. - Eines von 100 Expl. vor der Verwendung als Ausstellungsplakat des Musée d’Art Moderne, Ceret 1969. Mit den Namenszug und Datum „19.5.64 III“ im Stein, typographischem Namenszug von Deschamps und Druckeradresse von Mourlot in der Darstellung. Auf kräftigem Vélin d’Arches 64 x 45,4 cm. Ränder mit vereinzelten schwachen Knickspuren. [bg]

PABLO PICASSO Malaga 1881 - 1973 Mougins: Figure au Corsage rayé. Farblithographie von H. Deschamps nach der gleichnamigen größeren, 1949 entstandenen Farblithographie Picassos 1978. Nicht mehr bei Czwiklitzer. Vgl. Bloch 604 und Mourlot 179. - Abdruck vor dem Text und der Verwendung als Ausstellungsplakat anläßlich des XXXIIe Festival d’Avignon im Palais des Papes, Avignon, 1978. Mit dem Datum „3.4.49.“ im Stein sowie dem typographischem Namenszug von Deschamps, Druckeradresse von Mourlot und dem Copyright von S.P.A.D.E.M in der Darstellung. Auf kräftigem chamoisfarbenen Vélin d’Arches. 52,7 x 40,2 cm. Breite Ränder mit wenigen Griffspuren. [bg]

SALVADOR DALÍ (1904-1989)Visage féminin pour l'hologramme 'Submarine Fisherman' signed 'Dalí' (lower left)oil on glass11.4 x 14cm (4 1/2 x 5 1/2in). (within the mount)Painted in 1972Footnotes:The authenticity of this work has been confirmed by Nicolas Descharnes.ProvenanceDr. Maury P. Leibovitz Collection, Connecticut (possibly acquired directly from the artist through M. Knoedler & Co., circa 1972).Private collection, US, UK and Greece (by descent from the above in 1992).Private collection, UK (by descent from the above).ExhibitedNew York, M. Knoedler & Co., Holograms Conceived by Dalí, 7 April - 13 May 1972 (as part of the hologram installation titled 'Submarine Fisherman').LiteratureS. & L. Lissack, Dalí in Holographic Space, Charleston, 2013 (illustrated p. 12; illustrated pp. 18 & 23 as part of the hologram installation titled 'Submarine Fisherman').S. Lissack, 'Dalí in Holographic Space, Salvador Dalí's contributions to art holograms', in Spie. The international society for optics and photonics, online article, January 2014 (illustrated as part of the hologram installation titled 'Submarine Fisherman').Salvador Dalí's enthusiasm for holography was proudly declared in his introduction to the catalogue for the important 1972 Knoedler Gallery exhibition dedicated to his holographic exploration: 'all artists have been concerned with three-dimensional reality since the time of Velázquez, and in modern times, the analytic cubism of Picasso tried again to capture the three dimensions of Velázquez. Now with the genius of Gabor, the possibility of a new Renaissance in art has been realized with the use of holography. The doors have been opened for me into a new house of creation' (Dalí quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 1).This interest started in the late 1940s with the discovery by British-Hungarian scientist, Dr. Dennis Gabor, that a three-dimensional image could be recorded on a two-dimensional space. It took several years and a few technical advancements before holograms finally took the shape they have today: a transparent photographic plate which has recorded a phenomenon of diffraction of light of a three-dimensional object. Then, when illuminated at a certain angle by a beam of light, the plate reproduces a relief image of the photographed object. This major discovery earned Dennis Gabor the 1971 Nobel Prize in Physics.Coincidentally, that year also marked Dalí's introduction to holography, when South African artist Selwyn Lissack approached him at the St. Regis Hotel in New York. Lissack recalls Dalí's immediate enthusiasm for the medium and what seemed like the endless possibilities it created, with laser lights now becoming the artist's brush. The hotel suite at the St. Regis became Lissack and Dalí's impromptu studio office as 'Dalí was thrilled with the notion of working with a medium which gave him the ability to create beyond the confines of linear space' (S. Lissack, 'Dalí in Holographic Space', in SPIE. The international society for optics and photonics, online article, 1 January 2014).The present work, Visage féminin pour l'hologramme 'Submarine Fisherman', is part of Dalí's second holographic work, executed under the guidance of Selwyn Lissack: Submarine Fisherman. It consisted of a holographic installation mixing different media: first, a holographic plate of a diver was isolated in a metallic box with laser. This was then incorporated within another larger box which had a separate source of lighting shining onto a transparency of Pablo Picasso's masterpiece, Les Demoiselles d'Avignon. This second box projected the image around the hologram – contained within the first box - like stained glass. Finally, Dalí painted an oil portrait of a Catalan girl on a glass plate – the present work – which he superimposed over the holographic plate. The multi-layered result showed the portrait of the Catalan girl projected over the hologram of a diver in the sea, superimposed on the reproduction of Les Demoiselles d'Avignon. The superposition of the oil portrait and the hologram was measured by Dalí so that the nose of the girl would coincide with the elbow of the diver in the holographic image projected. Dalí thus produced a three-dimensional image while mixing media and merging artistic and scientific dimensions, at the crossroads of painting, sculpture, and photography. Selwyn Lissack, who witnessed the creation of Submarine Fisherman, recalls that he 'stood mesmerized as Dalí created a perfect merging of three-dimensional space on a two-dimensional plane' (S. & L. Lissack, Dalí in Holographic Space, Charleston, 2013, p. 23).Dalí's choice of imagery for the final hologram was no coincidence and the individual images each have their own importance. Picasso's Les Demoiselles d'Avignon depicts prostitutes in a Spanish brothel on Avignon Street in Barcelona, and Dalí's Catalonian face is thought to be one of the young girls, her visage certainly reminiscent in appearance to the figures in Picasso's work, with her abstracted features and Cubist appearance. For Dalí, the underwater world, with its deep and dark waters, was the place of all buried secrets and a perfect metaphor for the human subconscious. As such, the diver is projected onto the Picasso, which we can interpret as a materialisation of the deeply buried sexual desire in the human psyche. This interpretation is further confirmed by the luscious red lips which recall Dalí's lifelong obsession with Mae West, a sex-symbol and an often recurring motif in his oeuvre. Visage féminin pour l'hologramme 'Submarine Fisherman' is an extremely rare piece, as Dalí only ever conceived of six other holograms. Thus, creating a new way of painting using light and technology and contributing to a new artistic paradigm, Dalí's process recalled the Renaissance geniuses who had been revolutionising painting with camera obscuras. The Nobel Laureate Dr. Gabor himself saw in Dalí, 'a genius [...], creating a new art of which old, great painters may have dreamed, but which could only be realized by combining art with the most modern technology' (Gabor quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 2).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

655 Friedensreich HundertwasserDER ENDLOSE WEG ZU DIRTHE ENDLESS WAY TO YOULE CHEMIN SANS FIN VERS TOIParis 196751,5 x 61 cmHerausgegeben von: Galerie Karl Flinker, Paris, 1967 Lithographie in 10 Farben Gedruckt von: Fernand Mourlot, Paris, März 1967Auflage: 100, signiert und nummeriert 1-100/100, 50 Probedrucke, signiert und nummeriert hc 1-50/50/150Published by: Galerie Karl Flinker, Paris, 1967 Lithograph in 10 colours Printed by: Fernand Mourlot, Paris, March 1967Edition: 100, signed and numbered 1-100/100, 50 proofs, signed and numbered hc 1-50/50/150Koschatzky / Fürst HWG 27Nr. Hc 26/50/150Eine von zwei Lithographien, die Hundertwasser im Auftrag des Pariser Galeristen Karl Flinker gestaltete, der in seiner Galerie im März 1967 die Wanderausstellung "Hundertwasser, Peintures récentes – Recent Paintings. Gemälde von 1964 bis 1967" zeigte, die in der Hanover Gallery in London ihre Fortsetzung fand und anschließend von der Galerie Krugier & Cie in Genf und vom Kunstverein Berlin gezeigt wurde. Die Zusammenarbeit mit der Druckerei Mourlot, die Lithographien berühmter Künstler der Moderne wie Marc Chagall, Jean Dubuffet, Henri Matisse, Joan Miró und Pablo Picasso herstellte, verlief für Hundertwasser wenig zufriedenstellend. Die Drucker waren gewohnt, dass ein Künstler seine Vorlage abliefert und nach erfolgter Umsetzung seine Signatur anbringt, nicht aber dass er in den Druckprozess gestaltend eingreift. Schon in dieser frühen Phase seiner Druckgraphik war Hundertwasser klar, dass es ihm an einem Schaffensprozess gelegen war, in dem Künstler und Drucker kongenial zusammenarbeiten. One of two lithographs Hundertwasser designed on order of the Paris gallery owner Karl Flinker. Flinker started the travelling exhibition "Hundertwasser, Peintures récentes – Recent Paintings. Paintings from 1964 to 1967" in his gallery, which continued at the Hanover Gallery in London, at Galerie Krugier & Cie in Geneva and the Kunstverein Berlin.The collaboration with the Mourlot printers, which produced lithographs for famous modern artists such as Marc Chagall, Jean Dubuffet, Henri Matisse, Joan Miró and Pablo Picasso, was not very satisfactory for Hundertwasser. The printers were used to an artist handing in his template and applying his signature once the edition had been printed, but not to him interfering in the printing process in a creative way. Even in this early phase of his prints, it was clear to Hundertwasser that he wanted a creative process in which artists and printers worked together congenially.655 Friedensreich HundertwasserDER ENDLOSE WEG ZU DIRTHE ENDLESS WAY TO YOULE CHEMIN SANS FIN VERS TOIParis 196751,5 x 61 cmHerausgegeben von: Galerie Karl Flinker, Paris, 1967 Lithographie in 10 Farben Gedruckt von: Fernand Mourlot, Paris, März 1967Auflage: 100, signiert und nummeriert 1-100/100, 50 Probedrucke, signiert und nummeriert hc 1-50/50/150Published by: Galerie Karl Flinker, Paris, 1967 Lithograph in 10 colours Printed by: Fernand Mourlot, Paris, March 1967Edition: 100, signed and numbered 1-100/100, 50 proofs, signed and numbered hc 1-50/50/150Koschatzky / Fürst HWG 27Nr. Hc 26/50/150Bezeichnet…., signiert und nummeriert…..mit der Werknummer versehen, mit den roten Inkan-Stempeln Friedensreich Hundertwasser sowie den Stempeln….Inscribed…, signed and numbered…..With the work number, with the red inkan stamp Friedensreich Hundertwasser and the stamps...Eine von zwei Lithographien, die Hundertwasser im Auftrag des Pariser Galeristen Karl Flinker gestaltete, der in seiner Galerie im März 1967 die Wanderausstellung "Hundertwasser, Peintures récentes – Recent Paintings. Gemälde von 1964 bis 1967" zeigte, die in der Hanover Gallery in London ihre Fortsetzung fand und anschließend von der Galerie Krugier & Cie in Genf und vom Kunstverein Berlin gezeigt wurde. Die Zusammenarbeit mit der Druckerei Mourlot, die Lithographien berühmter Künstler der Moderne wie Marc Chagall, Jean Dubuffet, Henri Matisse, Joan Miró und Pablo Picasso herstellte, verlief für Hundertwasser wenig zufriedenstellend. Die Drucker waren gewohnt, dass ein Künstler seine Vorlage abliefert und nach erfolgter Umsetzung seine Signatur anbringt, nicht aber dass er in den Druckprozess gestaltend eingreift. Schon in dieser frühen Phase seiner Druckgraphik war Hundertwasser klar, dass es ihm an einem Schaffensprozess gelegen war, in dem Künstler und Drucker kongenial zusammenarbeiten. One of two lithographs Hundertwasser designed on order of the Paris gallery owner Karl Flinker. Flinker started the travelling exhibition "Hundertwasser, Peintures récentes – Recent Paintings. Paintings from 1964 to 1967" in his gallery, which continued at the Hanover Gallery in London, at Galerie Krugier & Cie in Geneva and the Kunstverein Berlin. The collaboration with the Mourlot printers, which produced lithographs for famous modern artists such as Marc Chagall, Jean Dubuffet, Henri Matisse, Joan Miró and Pablo Picasso, was not very satisfactory for Hundertwasser. The printers were used to an artist handing in his template and applying his signature once the edition had been printed, but not to him interfering in the printing process in a creative way. Even in this early phase of his prints, it was clear to Hundertwasser that he wanted a creative process in which artists and printers worked together congenially.

Five unframed Pablo Picasso exhibtion posters comprising Affiche Exposition de Céramiques (Ceramic Exhibit), 1958; Arles Musée Réattu published by Mourlot circa 1971, two sketchbooks of Picasso at The Royal Academy of Arts 1986 & one other H.80 W.55 Largest

Pablo Picasso,Spanish 1881-1973-Sala Gaspar poster, 1970; Sala Gaspar poster, 1961; Sala Gaspar poster, 1960;(i) offset lithograph in black on wove, image: 69.5 x 49.5 cm, (framed),(ii) lithograph in colours on wove, sheet: 70.2 x 49.9 cm, (framed),(iii) lithograph in black on wove, sheet: 70.2 x 50 cm, (unframed)(ARR)(3)Condition Report: The unframed work has minor marks and creases consistent with handling. Possible minor discolouration and spots of foxing in areas. The two framed works are glazed, and unexamined out of the frames. Minor marks and scuffs to the frames generally. One of the works is slightly loose within the frame. Minor creases and marks to the sheets generally, consistent with handling. Some more noticeable creases in areas. Possible light discolouration and minor spots of foxing in areas. Otherwise all the works are in fair condition overall.  

Full title: Pablo Picasso (1881-1973, after): 'Nude with a mirror', multiple, [1967]Description: Work: 73,5 x 55 cm Paper: 80 x 60 cm Frame: 105,7 x 85,7 cm

nach Pablo PicassoGrande Maternité1963Farblithografie auf Papier; gerahmt89 x 62 cmDatiert und signiert links oben in der Platte: 29.4.63. / PicassoHandsigniert rechts unten: PicassoNummeriert links unten: 149/200Lithografie nach einer Zeichnung von Picasso, gedruckt von Mourlotösterreichische Privatsammlung

Pablo Picasso"Minotaure caressant une Femme" aus "La Suite Vollard"1933Radierung auf Papier Vergé de Montval mit Wasserzeichen "Picasso"; gerahmt29,2 x 36,2 cm (Plattengröße), 34,4 x 44,3 cm (Blattmaß)Handsigniert rechts unten: PicassoBezeichnet und datiert rechts unten in der Platte (spiegelverkehrt): Paris 18 Mai XXXIIIWasserzeichen Picasso am linken BlattrandEdition von 260 Stück, herausgegeben von Ambroise Vollard, Paris, 1939Privatbesitz, England;Auktionshaus im Kinsky, 17.12.2020, Nr. 1317;Privatbesitz, DeutschlandGeorges Bloch, Pablo Picasso. Band I, Katalog des graphischen Werkes 1904-1967, Bern 1984, Nr. 191, S. 68 (mit Abb.)

Pablo Picasso offset lithograph of the linocut print entitled 'Picador & Fleeing Bull' approx. 54.5cm x 57cm 

After Pablo Picasso - 'Fillette Au Chien', collotype print, copyright by Soho Gallery Ltd., London, 'Reproduction réservée S.P.A.D.E.M. Paris, 1975' 45 x 66 cm, unframed

Pablo Picasso (Spanish, 1881-1973) 'Faumes et Flore' lithograph, 1959 Lithograph printed in colours Hand signed edition on paper From a numbered edition 26 of 40 on arch paper. Measures 77.5 by 55.4cm Unframed and flat Is in fair condition with light staining and colour fading across the print, and wear to edging with slight tear to lower margin and fold to lower right corner. ARR charges may be applicable.

PABLO PICASSO, 'Le Grand Maternite', lithograph on Arches paper, 63cm x 49cm, published by Spadem, Paris, printed by Mourlot, Paris signed and dated 29-4-63, in stone, framed. (Subject to ARR - see Buyers Conditions)

PABLO PICASSO, 'Femme Assise', lithograph in colours on Arches paper, 74cm x 53cm, signed 'Collection Marina Picasso' and numbered 91/50, with blind stamp, framed (with certificate of authenticity). (Subject to ARR - see Buyers Conditions)

AFTER PABLO PICASSO, Nude with tambourine, Suite: Les Dessins D’Antibes De Pablo Picasso, Lithograph on arches printed by Daniel Jacomet printed in France 1958, 51cm x 66cm.

PABLO PICASSO, pair of distressed Antique Burnt Orange velvet frames, x 2 quadrichrome prints of Picasso ceramic plates, 37.5cm x 37.5 cm.

AFTER PABLO PICASSO, Study of an Owl, Suite: Les Dessins D’Antibes De Pablo Picasso, Lithograph on arches Printed by Daniel Jacomet printed in France 1958, 51cm x 66 cm.

PABLO PICASSO, L’Atelier de Cannes – Suite: Ces Peintres Nos Amis, colour lithograph on Arches paper, dated in the plate 1960, printed by Mourlot of Paris, vintage Montparnasse French frame. H 42 x W 31cm (Subject to ARR - see Buyers Conditions)

Picasso, Pablo (Malaga 1881 - 1973 Mougins)"Clown et écuyère"; Farblithographie; Verve 29-30, 1954; sign. und num. 2/75; links unten mit Prägestempel ED. VERVE; in der Platte oben rechts dat. 30.1.54.III; gedruckt bei Mourlot, Paris; guter Zustand; am oberen Rand mit alten Montierungsabdrücken; 28 x 37 cm; unter PP hinter Glas gerahmt (46 x 55,5 x 3,5 cm); Litho nach einer Buntstift-Zeichnung für Verve-Magazin

A Pablo Picasso print, framed

‡ AFTER PABLO PICASSO (Spanish, 1881-1973) colour lithograph - Two Figures, from Au Basier d'Avignon, publ. by Edition le Vent d'Arles 1972, printed by Mourlot, 40 x 50cmsProvenance: Estate of Prof. Ritchie Ovendale, Aberystwyth.

Pablo Picasso (1881 - 1973), a printers proof copy, signed Picasso, front has proof copy stamp, print number and signature, no III, 'Buste de Homme', 1969, top in pencil, stamped 'Copie D'epreuve' and signed pencil at bottom, reverse has reference number, the name of print 'Buste de Homme' and the stamp of 'Art International, Nice, France'.H.29.5 W.19.5cm

Pablo Picasso (1881 - 1973), a printers proof copy, signed Picasso, front has proof copy stamp, print number and signature, no XI, 'Jacqueline with Paloma and Catherine, top in pencil, stamped 'Copie D'epreuve' and signed pencil at bottom, reverse has reference number, the name of print 'Nue à la Chaise à Bascule-Cannes - 1960' and the stamp of 'Art International, Nice, France'. H.29.5 W19.5cm

Pablo Picasso, 'Clown 1951' off set Lithograph, plate signed Picasso 12 -1- 51, plate 9, 22cm x 28cm, framed, mounted and glazed.

Pablo Picasso, Etching 'Seated Nude, The Vollard Suite' dedicated to Ambrose Vollard who gave Picasso his first exhibition in Paris in 1901 aged 19 This ‘etching’ is plate signed and numbered copy 479/1200 with a distinctive extra etching of a woman’s fac

After Pablo Picasso. Still life, saucepan, jug and candle, print, 44cm x 54cm

§ PABLO PICASSO (SPANISH 1881-1973) PICASSO LES POTIERS - CERAMICS EXHIBITION POSTER - 1963 LithographDimensions:48cm x 25.5cm (19in x 10in)