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Click here to subscribePICASSO MADOURA RAMIE TERRA COTTA PLAQUE 24/200 Picasso Madoura terra cotta pottery plaque depicting a face with impressed stamps etching. 24/200. Made in France. Holds impressed Picasso marks with black stamp mark numbered 24/200. Measures 13 7/8" length x 12 1/4" width (35.2cm x 31.1cm). Total weight of approx. 1.5 kilograms.
Watercolour Anonymous drawing "Conway Suite", original watercolour study for advertising of Everest Upholstery Limited, titles and inscribed, drawing No 327, 25 x 35cm together with "The Goodwood Suite", another drawing by the same hand, smaller and a needlework still life study, after Picasso (3)
A pair of tourmaline earrings, Paloma Picasso Signed Paloma Picasso, 1983 Tiffany & Co, 18K gold, centering an oval light green and a pear-shaped pink tourmaline, with omega clip-backs, with signed boxCondition: Overall good condition with light signs of wear. For non-pierced ears.Your bid indicates acceptance of our Conditions of Sale. AS-IS. ALL SALES FINAL
Searle (Ronald). Ronald Searle in Perspective, 1984, colour illustrations, original cloth, d.j., folio, together with Picasso.ÓArt Can Only Be EroticÓ, by Diana Widmaier Picasso, 2005, colour and b & w illustrations, original boards, 4to, plus China Diary, by Stephen Spender & David Hockney, 1982, illustrations, presentation inscription, original cloth, d.j., 4to, inscibed by Stephen Spender, with other art books including Jim Ede`s A Way of Life. Kettle`s Yard, 1984, Twelve Portraits by William Rothenstein, 1929, Ralph Steadman`s The Big I Am, 1988 and Robert Descharnes & Jean-Francois Chabrun`s Auguste Rodin`s 1967 (20)
PABLO PICASSO Pendentif "Jacqueline au Chevalet" de forme circulaire, en or jaune uni, portant en application un dessin de Picasso.Il est accompagné d`une chaîne signée Cartier. Signé Picasso. Justificatif de tirage numéroté 1/20. Édition Pierre Hugo. Dans son coffret d`origine. Poids brut du pendentif : 36,7 g Poids brut de la chaîne : 41 g Larg. du pendentif : 5 cm environ Long. de la chaîne : 81 cm environ A gold "Jacqueline au Chevalet" pendant by Pablo Picasso. Accompagné du certificat original de Pierre Hugo. Reproduit dans l`ouvrage Bijoux d`Artistes page 153
Pablo Picasso Málaga 1881 - Mougins 1973 Frontispiece from “Recordant el doctor Reventós” Etching on Japan nacré paper Signed, numbered 178/180 and dated August 23, 1951. This etching accompanied the book “Recordant el doctor Reventós (Homenatge dels seus amics)”, Barcelona, Editorial Gustavo Gili, 1969 (copy numbered 114/180). Bloch 1837, Baer 888IIB 31x23 cm
Pablo Picasso Málaga 1881 - Mougins 1973 “Buste d`homme barbu au chapeau” Aquatint on Arches paper Signed, numbered 99/182 and dated May 31, 1971. This etching accompanied the book “L`Hospital de Santa Creu i de Sant Pau. L`Hospital de Barcelona”, Editorial Gustavo Gili, 1971 (copy numbered 105/182). Bloch 2014, Bauer 1989B 30x23 cm
L’ACADÉMIE GONCOURT. Regards sur Paris. [N.p. but Monte Carlo:] André Sauret, 1962. Limited edition of 150 copies, this number 54 of 120 signed by the ten authors and ten artists, folio (390 x 300mm.) 33 full-page plates (30 colour, 11 double-page). (Light spotting, first few quires buckled.) Unsewn in original wrappers as issued, contained within original cloth box (slightly affected by damp). Note: includes illustrations by André Beaudin, Georges Braque, Maurice Brianchon, Jean Carzo, Marc Chagall, Dunoyer de Segonzac, André Masson, Pablo Picasso, Kees van Dongen and Jaques Villon, all of whom have signed a single double-page leaf along with the contributing authors.
Pablo PICASSO (1881-1973) Corrida sur fond noir, 1953Plat rectangulaire Réplique authentique en terre de faïence blanche, décor à l`engobe et aux oxydes sous couverte vert, bleu, rouge et blanc sur fond noirInscrit "Madoura plein feu" et "Edition Picasso", et daté "25.9.53"Tirée à 500 exemplairesDiamètre : 39 cm - 15 3/8 in. Bibliographie : Céramique de Picasso, Georges Ramié, Editions Cercle d`Art, Paris, 1974. Décrit au numéro 714 page 292, un autre exemplaire reproduit page 279
Pablo PICASSO (1881-1973)Pichet à décor "hibou"Réplique authentique en terre de faïence blanche, décor à l`engobe et aux oxydes bleu, brun et noirGravée au couteauInscrit "Madoura Plein Feu" et "Editions Picasso"Hauteur : 26 cm - Height : 10 1/4 in. Bibliographie : Céramique de Picasso, Georges Ramié, Editions Cercle d`Art, Paris, 1974. Décrit sous le numéro 711 page 292, et reproduit page 278
Pablo PICASSO (1881-1973)Faune cavalierGrand plat rondRéplique authentique en terre de faïence blancheInscrit "Madoura Plein Feu" et "Empreinte originale Picasso"Numérotée "84/100"Diamètre : 42 cm - Diameter : 16 1/2 in. Bibliographie : Céramique de Picasso, Georges Ramié, Editions Cercle d`Art, Paris, 1974. Décrit sous le numéro 420 page 287, et reproduit page 176
Pablo PICASSO et José DELGADO (dit Pepe Illo) LA TAUROMAQUIA O ARTE DE TOREAR. Obra utilisima para los toreros de profesion, para los oficionados y para toda clase de sujetos que gusten de toros. Barcelona, Gustavo Gili, 1959, in-folio à l’italienne illustré de 26 aquatintes au sucre dessinées directement sur le cuivre par Pablo Picasso, imprimées dans les ateliers Lacourière à Paris, sous la direction de Jacques Frélaut. L’ensemble a été reuni sous une couverture d’un gris bleuté illustrée d’une pointe sèche gravée par Picasso dans les ateliers de Jaume Pla à Barcelone. L’ouvrage qui forme 142 pages porte le n°215, et n’a été tiré qu’à 263 exemplaires sur Papel de Hilo Guarro avec le filigrane d’une tête de taureau dessinée par Picasso lui-même. Chaque aquatinte est protégée d’une serpente qui a, comme il se doit, remplie sont rôle de protection, retenant ainsi les quelques pointes de rousseurs qui auraient pu toucher les planches. Seules une dizaine de rousseurs claires et sans gravité, apparaissent sur les premières gardes et sur le faux-titre. L’ouvrage est réuni dans un emboîtage en plein velin, au dos titré, présenté dans son étui toilé jaune qui comporte une petite auréole d’humidité en fond, mais sans gravité. L’exemplaire est bien complet de la plaquette de quatre pages présentant les 26 aquatintes et de celle de huit pages, titrée La Cometa, présentant l’ouvrage.
"Pierre REVERDY et Pablo PICASSO. SABLE MOUVANT. Paris, Louis Broder, 1966. grand in-folio, en feuilles sous chemise rempliée présenté dans un emboîtage de toile grise. Édition originale de ce dernier ouvrage de Reverdy publié après sa mort et illustré de 10 aquatintes originales, hors texte, de Picasso. L’ouvrage a été tiré à 255 exemplaires sur vélin de Rives, celui-ci porte le n°142 et est signé par l’artiste. Ce texte fut publié suite à la disparition du poète. Il était, à l’origine destiné à une anthologie de douze poèmes que René Char devait réunir et publier et qu’il ne put faire. Les aquatintes de Picasso furent choisies parmi sa série «Le peintre et son modèle», à laquelle il travailla entre 1963 et 1965, où Picasso y représente le modèle et l’artiste peignant ou sculptant en face à face. Certaines aquatintes furent retouchées à la pointe sèche et au grattoir. "
"SABARTES Jaime. A LOS TOROS AVEC PICASSO. Monte-Carlo, Sauret, 1961, in-4 oblong relié plein cartonnage toilé, illustré d’un dessin de Picasso sur le plat et sur les gardes. 153 pages illustrées de 103 lavis de Picasso. Exemplaire bien complet des quatre lithographies originales réalisées spécialement par Pablo Picasso pour cet ouvrage, dont une est en couleurs. L’ouvrage est présenté dans son emboîtage illustré, légèrement fané."
Karel Appel, Dutch 1921-2006- "Regard vers l`enfin"; lithograph printed in colours, signed, dated `63 and numbered 66/95 in pencil, blindstamp to paper, 55x69.5cm, (may be subject to Droit de Suite) Provenance: with The Savage Gallery, Old Brompton Road, according to the label attached to the reverse Note: Karel Appel was a painter, printmaker, sculptor and ceramist and was one of the founders of the avant garde Cobra movement in 1948. He was influenced by Matisse and Picasso. His art uses bright colourful imagery, thickly painted with swirling forms of grotesque animals, monsters and human figures. His work is in numerous museums and national galleries including the Tate.
PABLO PICASSO [SPANISH 1881-1973], ETCHING, 4 9/16" X 3 1/2" PLATE, PLATE 265 FROM "SERIES 347": no.21/50; pencil signed; print executed by the workshop of the Crommelynck Brothers, Mougins, France; 1968; 8 3/8" x 6 1/2" paper sight; framed. Ref. Bloch 1745. Provenance: purchased from Bowles/Hopkins, San Francisco, CA, 9-18-1984, certificate of authenticity in customer file.
PABLO PICASSO [SPANISH 1881-1973], COLOR LITHOGRAPH, "LE PICADOR II", 1961, 8" X 10 3/8" IMAGE: Plate II from J. Sabartés: "A los Toros avec Picasso". Executed at Vauvenargues between 6 Mars 1961 - 21 Avril 1961. Listed in Mourlot Catalogue IV, no.350. 9 1/4" x 11 3/4" paper sight; unsigned; framed.
Pablo Picasso (1881-1973) Alex Maguy Galerie de l’Élysée.../Expose 7 Tableaux Majeurs/30 Mai 30 Juin 1962. 1962. Affiche. Lithographie. [480 x 655]. Bl. 1298 ; M. 382. Impression en couleurs. Très belle épreuve sur vélin crème. Infime trace d’oxydation aux bords du feuillet et courtes déchirures en tête. Toutes marges.
Estampes des années 1950 à nos jours Pablo Picasso (d’après) Femme au chapeau (Dora Maar). 1955. Lithographie par Mourlot. 623 x 955. Impression en couleurs. Belle épreuve sur vélin blanc fort, soigneusement lavée, avec petite restauration en tête du feuillet au verso, numérotée et signée par Picasso à la mine de plomb. Traces d’oxydation et petits restes de colle au verso. Marges étroites. Tirage à 100 épreuves.
Estampes des années 1950 à nos jours Pablo Picasso (d’après) Hélène chez Archimède. Texte d’André Suarès. Ed. Nouveau Cercle parisien du livre, Paris, 1955. Suite de 20 pl. (sur 21) sous chemise imprimée. Bois gravé par Georges Aubert. Chaque[325 x 450]. Très belles épreuves sur vélin crème fort. Légères traces d’oxydation. Toutes marges.
Gerard Dillon (1916-1971) The Wonderful Farm Machine Mixed media, 56 x 76.5cm (22 x 30") Signed Exhibited: "Gerard Dillon, New Collages", The Dawson Gallery, 1-17th May 1969, Cat No. 5; where purchased by the current owner An admirer of Marc Chagall, the artist's work from 1967 depicts complex multi-layered images often from the artist's subconscious, which are open to interpretation. Anxiety of his mortality following the death of his three brothers may have caused the artist's interest into Jungian psychology which led him to a deep psychological preoccupation to search for answers. The artist commented about these images "I have been able to use my subconscious and yet control it. It's poetic, and yet more colourful…"(Belfast Newsletter, 21/4/67) "The Wonderful Farm Machine" exhibited at the artist's solo show at the Dawson Gallery in 1969 is similar to another work sold in these salerooms "Clowns on a Bog" (lot 123, 2/6/10, see image) where the appearance of two masked Pierrot appear in a mountainous landscape with a farm machine. At first glance, the figures appear as farm labourers chasing birds from a wheat field, but the fantastical farm machine causes us to revisit the scene. The image may depict two worlds, the artist in an imagined or dream world, and living in his present one. The striped bird, Pierrot and machine may belong to the "poetic colourful world". The seated Pierrot with mannequin-like features resembles the artist's work from the 1950's, when the local people in the West of Ireland were captured resting against haystacks. To the left the jumping Pierrot draws the viewer to the shapes in the sky. The shapes may be clouds that represent his three brothers, Joe, John and Patrick. The Pierrot appears excited by the clouds, but may also be agitated by their proximity. Could the unadorned Pierrot, bird and clouds reflect the artist's conscious fear of his mortality? Perhaps in endeavouring to deal with his anxieties, the artist wished to depict a supernatural place, a landscape drawn from his memories of summers in Connemara, where a wonderful farm machine appears to be harvesting in a vivid yellow landscape. Influenced by the avant-garde artist Pablo Picasso, the artist loved to experiment with techniques and different approaches to image making. The landscape appears momentarily to be naturalistic, but by combing the paint while still wet, the lines accentuate rhythms, and the various cuts outs add texture and intensity to an otherwise flat image. Karen Reihill, who is currently researching the life and work of Gerard Dillon
Gerard Dillon (1916-1971) Ego Mixed media, 39.5 x 29cm (15.5 x 11.5") Signed Dawson Gallery label verso; where purchased by the current owner Dillon's adoption of the masked pierrot as his alter ego was in homage to the Harlequin and Pierrot in works by Picasso, Braque and Miró, but the artist developed this disguise in a time of grief, social conservatism and as a way to express his inner world without religious or social indignation. The artist's interest in the personality behind the mask also relates to the psychology of Carl Jung. (see lot …'Clown with Red Canvas"). Due to the artist's Catholic Nationalist background, he had grown accustomed in a period of illegality, to keeping his personal and public personae completely separate. The masked Pierrot in oversized coat and fur collar may display the "masquerade" of his ego, and the other faceless figure may manifest the concealment of his private life. The image of horse and bareback rider is a subject that features in the artist's work including in his last series of etchings. Passionate about prehistoric history, the circular lines may be linked to the megalithic art of spiral designs on the kerbstones at the eastern and western entrances at the great passages graves of Knowth in the Boyne Valley, which were discovered in the late 1960's. The artist had a habit of finding old frames similar to this one, which he sometimes hand painted or embellished with small objects to enhance the finished work. Karen Reihill
*§ VASSILIEFF, MARIE (1884-1957) Petite fille au chat , signed. Oil on canvas, 81 by 65 cm. Authenticity certificate from the expert Claude Bernès.Exhibited: Exposition Marie Vassilieff, poupées, sculpture, et peinture, chez Martine, Paris, 15 December 1922-15 January 1923, No. 45.Literature: Exhibition catalogue, Exposition Marie Vassilieff, poupées, sculpture, et peinture, Paris, 1923, p. 14, No. 45, listed.The celebrated Russian Parisian, Marie Vassilieff, is represented here by a splendid early work, Petite fille au chat. Vassilieff was in Paris from 1908, being one of the few artists who had emigrated before the Revolution, for cultural and aesthetic reasons unrelated to politics and the imminent horrors of both the February and October revolutions. Prior to 1922 when she exhibited Petite fille au chat, Vassilieff had acquired a rich exhibition history; while still in Russia she had shown her work alongside such masters as Jean Pougny, Nadezhda Udaltzova, Olga Rozanova and Lyubov Popova, and even exhibited with Natalia Goncharova and Mikhail Larionov in London in 1921. Marie Vassilieff of course owed her popularity to Henri Matisse, who took the Russian artist under his wing and followed her creative development with great interest. Matisse was especially captivated by her originality and her attraction to archaic forms couched in Cubist stylisation. The world-famous maître also introduced her to his distinguished colleagues Picasso, Braque, Léger, Gris, Delaunay and many others.At the very end of the 1910s and beginning of the 1920s radically new tendencies manifested themselves in her work, which were linked with her passion for the art of Central and South Africa. Vassilieff did not restrict her activity to painting and graphics but was also interested in dolls, creating a great number, cut from wood and paper or sewn from fabric or leather, to give to friends and colleagues. This is clearly reflected in the change in her painting technique and the plasticity of her forms in this period. Images of childhood are interwoven with a world of toys and dolls, defenceless in its touching and primitive elaboration.We know for certain that Petite fille au chat was shown with other works from her childhood cycle, at a 1922 exhibition organised by the Paris fashion designer Paul Poiret. The exhibition was an avowed success, illustrating the achievements of a fundamentally “new” Vassilieff, constantly on the look out for her individuality. The new genre scenes of children and toys were less dissected by aggressive planes (as were her rather mannered, imitative works of the 1910s) but had a distinctive and stylised “sub-Cubisation”.We would like to thank Claude Bernès for providing additional catalogue information.
Micheal Farrell 1940-2000 JOYCE AND PICASSO AT CAFE FLORE, PARIS Oil on canvas, 49" x 45" (124.5 x 114cm), signed and dated 91 & 92 verso. Provenance Galerie Origrafica, Malmo, Sweden Michael Farrell held a particularly close affection for James Joyce. Not only was he a great admirer of his work but he felt a close affinity with him and their shared status as exiled Irishmen. In 1982 Farrell produced La Fete, a large canvas depicting an alleged gathering in Paris of Picasso, Stravinsky, Nijinsky, Joyce and others in May 1922. He was subsequently told that Joyce and Picasso had met regularly at the Café de Flore in Paris. `They never spoke. Picasso made pieces of sculpture and objects from cardboard matchsticks, then passed them to Joyce. These strange meetings intrigued Michael and, in the early 1990`s, formed the basis of a series, Le Rencontre, which spanned several years.` David Farrell, Michael Farrell, The Life and Work of an Irish Artist, The Liffey Press, Dublin, 2006. In many instance`s in this series the focus is on the interplay between the usually seated Picasso and Joyce, with the latter sometimes standing, sometimes crouching and at other times sitting at an adjoining table observing Picasso creating his matchstick sculptures. In our painting Farrell brings Picasso`s creations to the fore and studies the erotic charge Picasso has invested in them under the studious, detached gaze of a truncated Joyce.
M. Saint Olive: A bronze relief plaque of a water sprite from the ship T/N Michelangelo signed M Saint Olive, and with foundry lozenge mark Valsuani 51cm.; 20ins high by 108cm.; 42½ins wide The T/N Michelangelo was launched on September 16, 1962 in Sestri shipyards. She sailed from Genoa to New York, the Caribbean and Rio de Janeiro. With the increasing costs of oil and Union demands the Italian government announced that subsidies would be withdrawn in 1975. Michelangelo and her sister ship the Rafaello wre sold to the Shah of Iran as barracks for army personnel. The were finally scrapped in Pakistan in 1991. the Valsuani foundry was started in the 1899 by the brothers Claude and Attilio Valsuani. Casting mostly small works for various artists using the lost wax technique (cire perdue) they worked for Renoir, Picasso Despiau, Paul Troubetzkoy, Matisse and Gaugin amongst others. Claude Valsuani died in 1923, but his son Marcele continued to produce fine quality bronzes until the 1970’s.
Daniel O`Neill (1920-1974) FLORENCE oil on board signed lower left 24.50 by 18.50in. (62.23 by 46.99cm) Dan O`Neill was born in Belfast in 1920. He was one of a small group of talented Ulster painters which included Colin Middleton, George Campbell and Gerard Dillon who were largely self-taught and who absorbed in differing ways and to varying degrees aspects of European mainstream modernism. His first exhibition was a joint show with Gerard Dillon in 1946 and his first one man exhibition was at the Waddington Galleries, Dublin in 1946. Around that time he gave up his job as an electrician to devote his time to painting. He visited Paris in 1949 and one can detect influences from Vlaminck and other French artists in his work. He lived in London from 1958 to1971. O`Neill painted still lives, landscapes, religious pictures and many figure studies. Whether in the guise of the bride, the actress or the muse - portraits of women remained a constant theme. His women, brooding and often taken out of time, could be hauntingly archetypal and melancholic; at other times dressed theatrically in historical costume. In some works his figures register correspondences with the sky or the moon. In his painting Florence, however the background is neutralised so as to focus on the subject. The face is stylised and her `Picasso` eyes seem to stare into the distance. O`Neill`s love of depicting pattern can be seen in his simplified treatment of the necklace; while the swirling brush stokes of the cuffs and collar of her dress underline the importance of texture for him. Blue, a favourite choice, is the unifying dominant colour, linking backdrop and figure and recalling the decorative aspects of Renoir. Collections: He is represented in private collections in Ireland, England ,France, Holland, Sweden, USA, Canada and Israel. His work is also included in the following public collections; Hugh Lane Municipal Gallery, Dublin, The Arts Councils of Ireland, The Municipal Gallery, Cork, The National Gallery, Melbourne and The Herbert Gallery, Coventry. Prof, Liam Kelly April, 2012 (£20,250-£28,350 approx)
Michael Cullen RHA (1946) STUDY IN BLUE WITH THREE FIGURES, 2001 oil on linen signed, titled and dated on reverse 56 by 35.50in. (142.24 by 90.17cm) Provenance: deVere`s, Dublin, 12 April 2005, lot 151; Whence purchased by the present owner Michael Cullen was born in Kilcoole, Co. Wicklow in 1946. He studied art at the Central School of Art and Design, London in 1969 and the National College of Art and Design, Dublin from 1970 to 1973 before moving abroad for several years. Cullen`s work has an underlying autobiographical aspect that sees him referring both himself and his work to such masters as Velasquez and Picasso. With his multicoloured carnival palette, Cullen`s paintings and prints reveal the influence of time spent in Mexico, Spain and Morocco that adds a festive air to proceedings. The profusion of bright, clean colour is emphasised by accents of brilliant white, and Cullen`s work often includes imagery of cowboys, still lives, bullfighters and infantas. Michael Cullen was awarded the Independent Artists` Major Painting Award in 1984 and the National Portrait Award in 1989. He has been the recipient of several Arts Council bursaries is also an elected member of Aosdána. Cullen has shown his work extensively throughout Ireland, with solo exhibitions at the Fenderesky Gallery, Belfast; Cavanacor Gallery, Donegal; Vangard Gallery, Cork; and Triskel Arts Centre, Cork; as well as Temple Bar Gallery, the Graphic Gallery and Project Arts Centre, Dublin. Cullen`s work is included in private collections throughout the country and is also represented in the public collections of the National Gallery of Ireland, Dublin City Gallery The Hugh Lane, the Arts Council of Northern Ireland and Dundee Contemporary Arts Society, Scotland, amongst others. (from www.taylorgalleries.com) (£2,430-£4,050 approx)
PABLO PICASSO ETCHING TITLED "BLOCH #1489" 1968Pablo Picasso (SPANISH, 1881-1973) etching titled "Bloch #1489" and dated 26-3-68. Pencil signed lower right and numbered 35/50 lower left. Measures 24" height x 19" width + 8 1/2" mat & frame (60.9cm x 48.2cm + 21.6cm). Includes certificate of authenticity and appraisal documentation. Reference: Picasso Volume II Catalogue of the Printed Graphic Work 1966 - 1969 by Georges Bloch.
PABLO PICASSO ETCHING TITLED "BLOCH #1911" 1970Pablo Picasso (SPANISH, 1881-1973) etching titled "Bloch #1911" and dated 23-5-70. Pencil signed lower right and numbered 11/50 lower left. Measures 15" height x 18" width + 9 1/2" mat & frame (38.1cm x 45.7cm + 24.1cm). Includes Certificate of Authenticity and Appraisal documents. Reference: Volume IV Catalogue of the Printed Graphic Works 1970 - 1972 page 88.
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![L’ACADÉMIE GONCOURT. Regards sur Paris. [N.p. but Monte Carlo:] André Sauret, 1962. Limited edition of 150 copies, this](http://lot-images.atgmedia.com/SR/10123/2857428/3264-201274105126_468x382.jpg)
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