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Picasso, Pablo, Plakat, Original-Farblithografie, 64 x 46, 1963, ungerahmt

Picasso, Pablo, nach, "Faune aux branchages", Offset-Lithografie, 41 x 30, R.

Lucile Haefflinger Leg Study 1, 2025 Oil paint, oil pastel, and charcoal on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I grew up in the dirt and the leaves, caring for the smallest speck on the floor. And today, I still do the very same. I want to reveal the small and the unseen through my work. My paintings express the alienation of experiencing my own body in relation to my surroundings and other non-human beings.   Education 2019-2021 Postgraduate diploma - The Drawing Year, The Royal Drawing School, London, UK   2016-2019 Bachelor -Textile and Text, The Gerrit Rietveld Academy, Amsterdam, The Netherlands   Group Exhibitions 2024 I do this, I do that - Bayart - Cardiff -UK Ensor: Contemporary reflection - Studio23 - Gent - Belgium TASTE - OHSH Project / Wonzimer gallery - Los Angeles - California BREAD - OHSH Project - London - UK POTATO - OHSH Open - co-curated with Michael Chance - London - UK   2023 Picasso's late - Christie's gallery - London - UK Sun and Moon - Huang contemporary - Wuhan - China Neo-gothic - OHSH project - London - UK South open - OHSH project - London - UK   Statement about AOAP Submitted Artwork In these three small paintings, I am interested how these limbs occupy the space and interact with other elements. They are purely a play of space, shape and colour. While making them, I had the painting "Versperrter Maler" by baselitz in the back of mind. In the painting, a severed man seems to struggle and props himself against a severed tree.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

OLMEC STONE MASK MEXICO, 900 - 400 B.C. carved and polished green serpentine, the distinctive features displaying a subtly downturned mouth, broad nose and narrowed eyes framed by a frowning brow, the ears pierced, raised on a bespoke mount 20cm high Private collection, United Kingdom, acquired from the belowAcquired in Southern Mexico in the 1950's, thence by descent The Olmec civilization, which thrived in the Gulf Coast region of Mexico from approximately 1400 - 400 BC, is renowned for its remarkable artistic achievements, among which serpentine masks such as the present example are particularly noteworthy. Crafted from the distinctive deep green stone, they were characterised by intricate carvings that depicted human visages with exaggerated features, such as downturned mouths, almond-shaped eyes, and broad noses. The masks also incorporated serpentine imagery in the form of coiled snakes or serpent-like figures that surrounded the faces or extended from the top of the masks. It is believed that serpentine masks were utilised in ceremonial and ritual contexts, likely in conjunction with funerary practices or religious festivals, and were probably worn by priests or other elite members of society during these events. The masks also held symbolic value as status symbols, owing to their valuable materials and the skilled craftsmanship required to create them.The Olmec civilization has had a profound impact on the development of modern art, particularly during the early 20th century, when Western artists rediscovered the art of ancient cultures, including that of the Olmec. This renewed interest in Olmec art influenced the emergence of modernist art movements such as Cubism and Surrealism. Olmec sculptures' stylised, geometric forms, such as the iconic "colossal heads," served as sources of inspiration for artists such as Pablo Picasso and Henry Moore, while the Olmec's use of negative space and abstraction was influential in the development of modernist sculpture. In addition, the Olmec's fascination with the natural world, particularly the serpent, inspired Surrealist artists such as Salvador Dali and Max Ernst, who integrated serpent imagery into their works. The Olmec's use of jade and other precious materials also influenced modernist jewellery and decorative arts. Today, the Olmec's legacy remains a significant source of inspiration for contemporary artists who continue to draw on its bold forms and use of negative space.

AFTER PABLO PICASSO (1881-1973). 'Seated Model of a King', unsigned, coloured lithograph on paper from an edition of 1500, dated 3-2-54, framed and glazed, see authentication certificate verso, 24 x 31 cm

* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014), GULI WALL limited edition lithograph on paper, signed, dated '71 and numbered 51/200mounted, framed and under glassimage size 46cm x 61cm, overall size 62cm x 75cm Note: Davie was a Scottish painter, he as a painter at Edinburgh College of Art from 1938 to 1940, initially favouring poetic imagery and coming into contact with modernism at exhibitions held in London of works by Picasso (1945; V&A) and Paul Klee (1945; Tate). He explored a diverse range of activities, however, before returning to painting from 1949 to 1953 he earned his living by making jewellery and in 1947 he worked as a jazz musician, an activity he continued in later life. He wrote poetry during the early 1940s. From 1953 to 1956 Davie taught in London at the Central School of Arts and Crafts, where he became interested in African and Pacific art. As early as 1958 Davie emphasised the importance in his work of intuition, as expressed in the form of enigmatic signs. During the 1960s, both in paintings and in coloured lithographs, he represented such images with increasing clarity at the expense of gestural handling. In 1971 he made his first visit to the island of St Lucia, where he began to spend half of each year and which brought Caribbean influences to bear on his suggestive imagery, as in Bird Gong No. 10, Opus 730 (1973; London, Brit. Council). Taking on the role of a disinherited shaman, Davie created a synthesis of mythologies from a variety of cultures for a modern civilisation devoid of its own village myths.

* JANKEL ADLER (POLISH 1895 - 1949), FIGURE (OPUS 104) watercolour on paper, signed, titled label verso mounted, framed and under glass image size 48cm x 35cm, overall size 67cm x 53cm Labels verso: Gimpel Fils, London.Note: Polish painter. He was born at Tuszyn, near Łódź, and studied in Germany at the School of Arts and Crafts in Barmen (now part of Wuppertal), 1913–14. In about 1922 he settled in Düsseldorf, where he became a friend of Paul Klee and painted several murals, including frescos for the Planetarium. He left Germany in 1933 because of the rise of Nazism and travelled widely in the next few years, living mainly in Paris, where he worked with Hayter at Atelier 17. On the outbreak of war he joined the Polish army in France and in 1940 was evacuated to Britain, where he lived for the rest of his life, first in Scotland and then from 1943 in London. Adler was primarily a figure painter, best known for his portrayals of Jewish life in Poland (as a youth he had considered becoming a rabbi). His style in his mature work was eclectic and expressionistic, influenced by Klee and Picasso. In turn his cosmopolitanism was a stimulus against wartime isolation for several young British artists, notably Colquhoun and MacBryde (in the mid-1940s Adler shared a house with them in Bedford Gardens, London).

* JANKEL ADLER (POLISH 1895 - 1949), STANDING FIGURE (OPUS 119) pen and ink on paper, signed and dated 1945, titled label versomounted, framed and under glass image size 50cm x 11cm, overall size 71cm x 31cm Label verso: Gimpel FIls, London.Note: Polish painter. He was born at Tuszyn, near Łódź, and studied in Germany at the School of Arts and Crafts in Barmen (now part of Wuppertal), 1913–14. In about 1922 he settled in Düsseldorf, where he became a friend of Paul Klee and painted several murals, including frescos for the Planetarium. He left Germany in 1933 because of the rise of Nazism and travelled widely in the next few years, living mainly in Paris, where he worked with Hayter at Atelier 17. On the outbreak of war he joined the Polish army in France and in 1940 was evacuated to Britain, where he lived for the rest of his life, first in Scotland and then from 1943 in London. Adler was primarily a figure painter, best known for his portrayals of Jewish life in Poland (as a youth he had considered becoming a rabbi). His style in his mature work was eclectic and expressionistic, influenced by Klee and Picasso. In turn his cosmopolitanism was a stimulus against wartime isolation for several young British artists, notably Colquhoun and MacBryde (in the mid-1940s Adler shared a house with them in Bedford Gardens, London).

* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014), UNTITLED lithograph on paper, inscribed 'P.A.', signed and dated 1974mounted, framed and under glassimage size 46cm x 58cm, overall size 62cm x 72cm Note: Davie was a Scottish painter, he as a painter at Edinburgh College of Art from 1938 to 1940, initially favouring poetic imagery and coming into contact with modernism at exhibitions held in London of works by Picasso (1945; V&A) and Paul Klee (1945; Tate). He explored a diverse range of activities, however, before returning to painting from 1949 to 1953 he earned his living by making jewellery and in 1947 he worked as a jazz musician, an activity he continued in later life. He wrote poetry during the early 1940s. From 1953 to 1956 Davie taught in London at the Central School of Arts and Crafts, where he became interested in African and Pacific art. As early as 1958 Davie emphasised the importance in his work of intuition, as expressed in the form of enigmatic signs. During the 1960s, both in paintings and in coloured lithographs, he represented such images with increasing clarity at the expense of gestural handling. In 1971 he made his first visit to the island of St Lucia, where he began to spend half of each year and which brought Caribbean influences to bear on his suggestive imagery, as in Bird Gong No. 10, Opus 730 (1973; London, Brit. Council). Taking on the role of a disinherited shaman, Davie created a synthesis of mythologies from a variety of cultures for a modern civilisation devoid of its own village myths.

Four card rectangular boxes of miniature collections of lady's fragrances, comprising First Class Perfumes Collection: Histoire d'Amour de D. Aubusson, Spectacular de Joan Collins, Dali de Salvador Dali, Ivoire de Pierre Balmain and Mille et une Nuits, Best Perfumes Collection Paris: Dalissime de Salvador Dali, Burberrys de Burberrys, Chapeau Bleu de DC Design Cosmetic and Miss de Morabito, Parfumeurs Createurs: L'eau de Kookai, Honeymoon, Authentic Maroussia and Graffiti and Premiere Collection Paris: Armani, Anais Anais, Paloma Picasso, Lou Lou by Cacharel, Fidji by Guy Laroche and Lauren (4)

A Picasso jasper polished pebble brooch, mounted in silver, 5.8 cm by 3.8 cm, 47.8g

Clarice Cliff - Orange Picasso Flower - A shape 177 salesman's miniature trade sample vase circa 1930, hand painted with abstract flowers and block lines between orange and black banding, NEWPORT POTTERY mark only, height 7cm.

Clarice Cliff - Red Picasso Flower - A shape 310 candlestick circa 1930, hand painted with stylised flowers with green angular lines with black, yellow, blue and red banding, Bizarre mark, height 7.5cm.

HOMMAGE A PICASSO: WINDOW ENGBERG/BANACH 141)Lithograph printed in black, 1973, on Arches Cover mould-made paper, signed and inscribed AP in pencil, one of 30 artist's proofs aside from the edition of 90, printed by Gemini G.E.L. and with their blindstamp, published by Propyläen Verlag, Berlin and Pantheon Press, Rome, with full margins, framed.Sheet 29 7/8 x 22 1/4 inches; 759 x 565 mm.Frame 36 3/8 x 28 3/8 inches; 924 x 721 mm.Lightstain, some handling creases and two diagonal creases at bottom right corner (one extending into the image bottom right) most discernible raking light, some discoloration at bottom left sheet corner, hinged at a few places along sheet edges verso to back mat (some associated pale offsetting showing through to recto), framed with glass.Lightstain, some handling creases and two diagonal creases at bottom right corner (one extending into the image bottom right) most discernible raking light, some discoloration at bottom left sheet corner, hinged at a few places along sheet edges verso to back mat (some associated pale offsetting showing through to recto), framed with glass.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A good illustrated A.L.S., Picasso, one page, 4to, Cannes, 17th January 1956, to Max [Pellequer], in French. Picasso writes a brief letter, in full, ´Oui mon cher Max, je les ai recues et 100,000 et plus de fois merci´ (Translation: ´Yes, my dear Max, I've received them 100,000 times over, thank you´). Above his message of three lines Picasso has added an original blue ink drawing in his hand, which dominates the page, and depicts a bottle of wine standing alongside a glass. A simple yet highly appealing illustrated letter on a theme which recurred in many of Picasso´s artworks during his career. Some light, minor creasing and a few small tears to the edges, not affecting the text or illustration. About VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.´Picasso permanently relocated to Paris in 1904. He spent the remainder of his life and artistic career living in France……Alcohol was an important facet of French artists’ social scene and of their art. Bars, cafes, and other drinking establishments often served as meeting places and hangouts for artists of the generations immediately preceding Picasso, and it is no surprise that they frequently took these places and their wares as subjects for their works……..Picasso, like other artists living in France at the time, was the inheritor of the cultural ripples of alcohol, as well as of the visual themes it inspired….[Picasso´s]…….1896 painting The First Communion, depicts a young woman about to receive her first communion……[this, and other]……works do not prominently feature alcohol per se, although they do reveal an important facet of Picasso’s relationship with wine: wine not only as a religious sacrament, but also as marker of identity……..For Catholic Picasso, wine was not simply a tool for worship, but must also have been a sort of divine vessel, which, through God, became something new and holy. The doctrine of transubstantiation, by which Eucharist wine becomes the blood of Christ, was and remains a defining feature of Catholicism. These works also lay a foundation for Picasso’s later exploration of wine in the very different context of ancient Greco-Roman religion……The Minotaur’s Repose: Champagne and Mistress depict a minotaur and a nude woman reclining on a couch; the minotaur looks over his shoulder towards the viewer, raising the glass of wine in his hand…….The Dionysiac characters of satyrs and maenads (depicted in Picasso’s Bacchanale) also embody the intoxicating effects of alcohol which distance drinkers from the rational mind and, in Greek myth, their humanity…….This is a very different relationship to wine than the Catholic imagery of Picasso’s earlier career evokes, but both imply significance and even a form of reverence. In Picasso’s works, wine can be both transformed and transformative´ (extracts from Picasso: Wine and Art at La Cité du Vin by Paige Crawley, 2022)

RAY MAN: (1890-1976) American visual artist, a significant contributor to the Dada and Surrealist movements and a renowned pioneering fashion and portrait photographer. The original typescript manuscript of Man Ray´s autobiography Self-Portrait, with numerous manuscript corrections and substantial alternate readings, with accompanying carbon copies of many chapters (also with manuscript corrections), together with a series of autograph and typescript working notes, and further including a few pieces of correspondence between Man Ray and his publishers, The Atlantic Monthly Press. The manuscript, typed by Man Ray himself (the final page bearing the manuscript note ´Typed by Man Ray´) in Paris from 1960-62, is loosely contained in a number of paper folders, each annotated and titled by the artist (designated as a First Draft or First Copy), which include Part I New York (originally The Painter) comprising over eighty pages of typescript manuscript, in a paper folder (extensive and heavy tears to the edges) with manuscript title Self Portrait by Man Ray (first draft) and further marked Part I New York (p. 1-81) at the head. With a second copy of the same, retitled New York, and also including an additional eight pages, originally a continuation of The Painter, but later marked as the beginning of Part II: Paris; nine pages of typescript manuscript in a paper folder annotated by Man Ray 1st Chapter in Part II pp.82-89; sixteen pages of typescript manuscript for a chapter entitled Paul Poiret - The Portrait that was Never Made and marked as pp. 90-106; thirteen pages of typescript manuscript for a chapter entitled The True Story of Kiki of Montparnasse; fifteen pages of typescript manuscript for a chapter entitled Contacts with the Aristocracy and marked as pp. 120-134; and other typescript manuscripts for chapters entitled American & English Writers; Painters & Sculptors; Dada Films & Surrealism; The Depressing Thirties (later altered to The Fateful Thirties and finally retitled as Occupations & Evasions) representing the final chapter of Part II; thirty-two pages of typescript manuscript entitled I Discover Hollywood (Part III) followed by the final chapter, Paris Again (Part IV). In all the typescript manuscript and related carbon copies (some on onion skin paper) amounts to around seven hundred 4to pages, typed to the rectos only, much of the manuscript dedicated to Man Ray´s time in Paris and populated with numerous recollections relating to the Dada and Surrealist movements, as well as his friends and contemporaries including Pablo Picasso, Marcel Duchamp, Francis Picabia, Kiki de Montparnasse (Alice Prin), Lee Miller, Gertrude Stein, Salvador Dali, James Joyce, Tristan Tzara, Paul Eluard, Andre Breton and may others. Also included is an earlier folio typescript manuscript, with holograph corrections, of twenty-eight pages, entitled Paul Poiret (1922), written by Man Ray in Hollywood, California, and dated 15th February 1949 (annotated to the verso of the final page to be rewritten (done Oct. 21-61) see Self-Portait, 1963). Together with Man Ray´s manuscript working notes comprising around forty pages (mainly 8vo) and covering a wide spectrum of individuals and subjects including Pablo Picasso, Dora Maar (´Dora gives up photography for painting, contrary to a book in which a painter, upon seeing Picasso, gives up painting for photography´), Marcel Duchamp (´my oldest friend´) and others, also making more general observations, ´I must keep in mind that I am doing a self portrait, therefore all references to my contemporaries should not be taken as criticism or evaluation of them, but as a clearer portrayal of myself…..After recounting these experiences, controversies, I hope my friends will revise their opinion of me – that I have been too modest – not pushed myself forward enough. Rather it has been the hopelessness of convincing the doubtful ones of the equal value of all efforts – or their futility´, and in a passage headed Ending stating ´If I have spoken at greatest length about those the least known by the majority, it complements my self portrait. At Picasso´s one day a visitor lauded him fervently saying he was the best known living painter – and what did I do, he asked? Evidently I was the best unknown living painter´. Other miscellaneous pages of typescript include an initial summary of Man Ray´s autobiography, in part, ´Following is a table of contents for an autobiography of twenty years in Paris; with some specimen pages on my arrival from New York. Also a chapter on my meeting with Paul Poiret, the famous couturier, in which is depicted his gradual decadence, and the author´s own frustration as a photographer. Each chapter may run from fifteen to thirty pages, which would make about a four hundred page book. There are many other names of personalities that may be included, not mentioned in the table of contents, without unduly prolonging the book, unless other episodes were added, which could easily run the book to seven or eight hundred pages. The use of photographs made in this period is optional. I have all my files and they contain many portraits of the people mentioned. If about twenty were used, it would liven up considerably the book….The photographs are to be regarded as documents, not as reproductions of works of art´, a brief text entitled Originals, Graphics, Multiples, and another entitled Dadamade, dated 8th July 1958. The few pieces of correspondence include a T.L.S., Man Ray, two pages (separate leaves), 4to, Paris, 19th July 1962, to Seymour Lawrence. Man Ray states that he has taken note of his correspondent´s letter ´and modified or deleted passages (in red ink on my copy of the manuscript) enclosing the pages involved [still present]´, explaining ´I have tried to eliminate all references to extra-marital relations as regards Donna [his first wife] and myself, Clem Randolph and Mary Reynolds. The latter is dead; I have lost track of the others including Loupov – do not know whether they are still alive. The names Donna and Loupov are modifications of the actual names: Adon Lacroix and Adolf Wolff´ and further remarking ´I do not know how to treat Donna´s defection and our separation unless I eliminate the whole episode, the most dramatic in my life. If she is still alive I do not think consulting her would arrange matters – she might blow up but it would be without consequence….she is now, if alive, a woman of about 75 years´. Man Ray continues ´There is one other pre-marital episode: my meeting with wife Juliet in Hollywood, but she is signing a waver (sic) to all libel action! I have just thought again on the subject of Donna. She was not really married to Loupov (Wolff) before, had her child with him, and after our separation she lived with other men for sixteen years until on my visit to N.Y. I arranged our divorce to please her. She would not dare to make trouble if all this was brought up…..I regret only having to eliminate the sentence “That night I lost my virginity…..” OWING TO LIMITATIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED HERE. PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION. 

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A wonderful and vibrantly illustrated A.L.S., Picasso, two pages, slim 4to (approximately 10.5 x 27.5 cm), Mas Notre-Dame-de-Vie, Mougins, Alpes-Maritimes, 23rd October 1962, to Max [Pellequer] (´Mon cher Max´), in French. The artist sends his correspondent more papers, with his thanks, and continues to provide a snapshot of his relaxed life with his second wife and muse, Jacquelibe Roque, on the Cote d´Azur ´Il fait l´été nous nous sommes baignez au port hier encore et nous aurions pu aller encore aujourd´hui hier ce matin encore sur la plage et dejeuner sur le sable comme jusques à présent´ (Translation: ´It's summer, we went swimming at the port again yesterday and we could have gone again today yesterday or this morning again on the beach and had lunch on the sand as we have been doing until now´), further profusely expressing his gratitude to Pellequer, ´Merci et merci encore pour toute du travail que je vous donne avec tant d´histoire de contributions et maisons. Merci. Merci. Merci. Vous etes très bon pour moi´ (Translation: ´Thank you and thank you again for all the work I give you with so much history of contributions and houses. Thank you. Thank you. Thank you. You are very good to me´) and concluding by sending best wishes from himself and Jacqueline. To further reinforce the joy Picasso has found on his recent visit to the beach, the artist has added a delightful original drawing at the foot of his letter, executed in blue ink and various coloured crayons, depicting a magnificent, bright yellow sun in a clear blue sky, shining upon the deep blue Mediterranean sea, in which two bathers can be seen, and with a beach in the foreground upon which appear a number of other figures, some happily relaxing beneath bright orange parasols. To further illuminate his letter Picasso has underlined each Merci in orange crayon (a total of six times) and also underlined the name of his villa and the date in blue crayon at the head of the first page. A magnificent and rare illustrated letter by Picasso. A few very light, extremely minor creases, VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.In 1961, Picasso, who had discovered Mougins in 1936, bought Mas Notre-Dame-de-Vie from the Guinness family as a wedding present for his future wife Jacqueline. Referred to by Picasso as the ´house of my dreams´, the large villa (set in three hectares and with views over the Bay of Cannes) would be the artist´s final residence.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A printed small 4to exhibition catalogue for Picasso at the Durand-Ruel Galleries in New York, 3rd - 29th May 1948, featuring various paintings created by Picasso between 1939 and 1945, ten of them portraits of women and five still lifes, each reproduced in monochrome to a single page opposite a description of the work. To the front cover Picasso has executed an attractive original pencil, black and blue crayon drawing, the image showing a flute player seated serenely on the ground in a full-length profile pose, facing right and with his knees bent, playing a long flute which he holds to his lips with both hands. Around the fluid, simplistic and stylised figure (in black crayon) Picasso has added (in pencil and blue crayon) a horizon and arabesques which serve to illuminate the composition. Signed (´Picasso´) by the artist in pencil, above the printed title of the catalogue, and dated 5th September 1950 in his hand. A wonderful and highly desirable original drawing signed by Picasso. Some very light, extremely minor age wear, VGThe theme of the flautist recurred many times in Picasso´s works during his career, and the present drawing is somewhat reminiscent of The Flute Player (1962) in which Picasso also depicts the musician seated on the ground, in a full-length pose and with his knees bent, holding his flute to his mouth with both hands.

GILOT FRANCOISE: (1921-2023) French painter, the romantic partner and artistic muse of Pablo Picasso from 1943-53 and the mother of two of his children. Signed 8 x 10 photograph, the celebrated image originally captured by Robert Capa at Golfe-Juan on the Cote D´Azur in the summer of 1948 and depicting Gilot walking on the beach in a full-length pose, with Picasso in close attendance behind her as he dutifully carries a sunshade over Gilot´s head. Signed by the painter, in later years and with a slightly infirm signature, with her name alone in black ink at the base of the image. VG

BARDOT BRIGITTE: (1934- ) French actress and sex symbol. Signed 10 x 8 photograph of the young Bardot seated in a three-quarter length pose engaged in conversation with Pablo Picasso, who is seen seated opposite at a table, in a room of the Spanish artist´s villa at Vallauris on the French Riviera in 1956. Signed by Bardot in black ink with her name alone to the image. EX

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A.L.S., Picasso, one page, 4to, Vallauris (Cote d´Azur), 5th May 1950, to Max [Pellequer] (´Mon cher Max´), in French. Picasso writes regarding a financial matter and the Banque Nationale pour le Commerce et l´Industrie and states, in part, ´La B.N.C.I. m´envoi des feuilles a remplir pour l´argent envoye de Suisse. Je vous l´envoie.....et vous les remplirez sachant mieux que moi comment il faut le faire´ (Translation: ´The B.N.C.I. sends me forms to fill in for money sent from Switzerland. I'll send them to you ..... and you can fill them in knowing better than I do how to do it´). In a postscript the artist also adds that he hopes the bank will send him a receipt for the payments. VGMax Pellequer - French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.Picasso had come to live in Vallauris in 1948 and stayed in the seaside commune until 1955. During this time he created a great number of sculptures and paintings, including his mural War and Peace, and also developed a fascination for the techniques of ceramics and linocuts.

Howard Carter, Borrowed Image Series No. XIII, a three dimensional study, 'Pablo's Violin', Transposition of Part of a Picasso Sketch - 'Violin, Glass & Bottle', 58cm high.

After Picasso The Sower mixed media, 19cm x 28cm.

* Picasso (Pablo, 1881-1973). Toros y Toreros, 3 lithographs on cream Arches wove paper, printed by Mourlot Frères, dated in the plate, sheet size 32 x 45 cm (12 5/8 x 17 3/4 ins), all individually mounted in matching modern frames, glazed (45.5 x 56 cm)QTY: (3)NOTE:Cramer 112.Three lithographs from Toros y Toreros by Luis Miguel Dominquez, 1961.

A 2015 Citroen C4 Picasso 1.6 diesel. MOT 31/10/2025. Mileage TBC, 7151 at last MOTAutomatic with paddle shifters. 1 Owner, runs & drives. Folder of Pentagon Service Centre booklets with receipts. Current mileage 7169, from deceased estate. First registered 9/10/2015, Current registered owner acquired 5/2/2016. Bodywork needs tidying in places (See pics, viewing recommended.) V5 is included. No evidence or receipts of cambelt change.

TIFFANY & CO.: A GROUP OF ‘LOVING HEART’ AND ‘GRAFFITI’ SILVER JEWELLERYComprising: an ‘loving heart’ openwork bangle, ring and a pair of earrings, each designed as openwork heart motifs; and a ‘Grafitti’ pendant of crossover design, all in silver, all signed Paloma Picasso, additionally stamped or with maker’s mark for Tiffany & Co., one maker's box, three maker's outer boxes, three maker’s pouches by Tiffany & Co., inner circumference of bangle 17.5cm, ring size M, length of earring 1.5cm, length of necklace 42cm Condition Report: Bangle stamped 925, signed Paloma Picasso, maker’s mark T&Co.Ring stamped 925, signed Paloma Picasso and Tiffany & Co.Earring stamped 925, signed Paloma Picasso, maker’s mark T&Co.Necklace stamped 925, signed Paloma Picasso and Tiffany & Co., with maker’s mark T&Co.Earrings for pierced earsNormal signs of wear, overall in good conditionsTotal gross weight approx. 19.3 gramsFor the retail price of €590.00 for the earrings please see below linkhttps://www.tiffany.it/jewelry/earrings/sterling-silver-earrings-60022027.html?queryID=ed4357798389a2dd2af3cf8a5f2c60cf&objectID=60022027&indexName=ecommerce_it_products__it_IT&searchQuery=loving%20heart&variantId=1911171203For the retail price of €440.00 for the necklace please see below linkhttps://www.tiffany.ie/jewelry/necklaces-pendants/picasso-graffiti-sterling-silver-necklaces-pendants-1914122383.htmlFor the retail price of a similar model please see below linkhttps://www.tiffany.ie/jewelry/bracelets/picasso-loving-heart-sterling-silver-round-brilliant-diamonds-bracelets-1916346345.htmlFor the retail price of a similar model please see below linkhttps://www.tiffany.co.uk/jewelry/rings/paloma-picasso-double-loving-heart-ring-GRP11314/

Art Reference Books - Pablo Picasso 'from the ballets to drama' 1917, 1927 published by Könemann hardback in original sleeve; Picasso 'The Works' part 1 1890-1936 hardback published by Taschen; Henri Matisse 'painter as sculptor', Yale University Press; David Hockney 'Hockney's pictures' published by Thames & Hudson (4)

Perfumes - Jean Paul Gaultier Summer Moistening Veil, full;  Jean Paul Gaultier Fragile, full;   empty perfume bottles, Chanel No.5,   Estee Lauder Beautiful; Nina Ricci, Picasso,  others

Art. D'Ors (Eugenio) & Wells (Warre B., translator), Pablo Picasso, copy no. 1192/1250, Paris: Éditions des Chroniques du Jour, 1930, half-title with limitation colophon to verso, illustrated with 3 colour plates, 48 monochrome plates, 6 b/w full-page illustrations, and further b/w in-text illustrations, letterpress lacking pp. 25-26, 29-30, & 45-46, original pictorial wrappers over limp card, uncut, conforming pictorial papered boards folio, worn in places, contemporary ownership inscription, 4to Sold as a collection of prints.

Villeroy & Boch, two art glass vases, one of mid-century design, engraved linear design 31.5cm; the second of opaqaue glass with bubbles, 33cm; and a ceramic bowl by Paloma Picasso, 'Novello' design, 27cm.

A striking Murano glass bust sculpture by renowned Venetian glass artist Walter Furlan, inspired by the Cubist works of Pablo Picasso. This vibrant and dynamic piece showcases Furlan’s exceptional craftsmanship, blending bold colors—including yellow, red, blue, and clear glass—into a stylized abstract female portrait. The exaggerated facial features and expressive composition capture Picasso's artistic influence, while the wide yellow hat adds a unique sculptural element. Furlan, known for his masterful Murano glass interpretations of iconic artistic styles, has signed the piece, making it a highly collectible work of contemporary Venetian glass art. Artist: Walter Furlan (1931 - 2018)Issued: 20th centuryDimensions: 18"HCountry of Origin: ItalyCondition: Age related wear.

David Douglas Duncan, Goodbye Picasso.

Pablo Picasso, nach, 4 Lithographien der 1950/60er Jahre, 3 x gerahmtPablo Ruiz Picasso, nach, 1881 Málaga - 1973 Mougins, hier: 4 Farblithographien: "Pan" von 1956, 55x42 cm, im Stein sign. // "La danse des Faunes" von 1959, 55 x 37 cm, im Stein sign.u.dat., gerahmt // 2 Farblithographien aus "Le gout du bonheur" von 1964, je ca. 27 x 22cm, im Stein dat., je unter P.partouts gerahmt

Pablo Picasso, nach, „Deux femmes courant sur la plage” (“La Course”), Radierung, ansprechend gerahmtPablo Picasso, nach, 1881 Malaga - 1973 Mougins, Zwei Frauen laufen ausgelassen am Strand entlang, Kaltnadelradierung, 12,5 x 16 cm, nach einer Gouache von 1922, bez. E/A, bezeichnet Picasso, unter P.p. u. Glas goldgerahmt

Lucas Suppin, Abstrakte Kompositionen, 2 signierte FarblithographienLucas Suppin, 1911 Untertauern - 1998 Salzburg, österreichischer Maler der École de Paris, Abstrakte Kompositionen, 2 Farblithographien, 35 x 48 cm und 31 x 38 cm, je signiert und nummeriert 32/70 und 5/70, o. RahmenZum Künstler: 1933-37 Studium an der Wiener Kunstakademie bei Wilhelm Dachauer; 1948 Aufnahme in die Wiener Secession; 1950 geht Suppin nach Frankreich, wo er in den Künstlerkreisen um Picasso verkehrte. Er pflegte außerdem engen Kontakt zu den Vertretern der école de Paris, u.a. mit Poliakoff, Manessier, Hartung, Soulages. Ab 1953 wendete er sich zunehmen dem Informel zu. Erste Begegnungen, teils enge Freundschaften und gemeinsame Ausstellungen mit Picasso, Léger, Atlan, Prévert, Chagall, Fautrier, Tzara führten ihn zur französischen Maltradition und zur abstrakten Kunst.

Bernard Buffet, Küstenlandschaft mit Häusern, signierte FarblithographieBernard Buffet, 1928 Paris - 1999 Tourtour, Landschaft mit Ufer und Häuser eines kleinen Ortes, Farblithographie, 51 x 67 cm, signiert, nummeriert 26/125, o. RahmenZum Künstler: Bernard Buffet studierte Kunstgeschichte am Lycée Carnot und von 1943 bis 1945 an der École des Beaux-Arts in Paris. Buffet schloss sich mit anderen Malern zur Gruppe «L’homme-témoin» zusammen und gehörte zur Szene der künstlerischen Avantgarde. Ende der 1940er Jahre stellten die Maler Maurice Utrillo und Georges Rouault ihren Freund Buffet dem Kunsthändler Maurice Girandin vor, und der nahm ihn unter Vertrag. In den folgenden Jahren entwickelte Buffet einen unverwechselbaren und realistischen Stil, dessen Vorbilder Rembrandt van Rijn, Théodore Géricault, Gustave Courbet, Henri Edmond Cross und Vincent van Gogh waren. Er wurde als Maler des Existenzialismus gefeiert, galt zeitweise als legitimer Nachfolger von Pablo Picasso und erzielte Preise wie dieser.

Marino Marini, "Aquarius", monogrammierte Farblithographie von 1978Marino Marini, 1901 Pistoia - 1980 Viareggio, italienischer Bildhauer und Grafiker, hier: "Aquarius"- 3 Pferde auf violettem Grund, Farblithographie, 53 x 42 cm (78 x 54 cm), 7/100, r. u. monogr.Zum Künstler: Marino Marini studierte ab 1917 Malerei und Bildhauerei an der Akademie der Künste in Florenz, 1929 übernahm er eine Dozentur an der Kunstschule der Villa Reale in Monza bei Mailand, die er bis 1940 innehatte. In den folgenden Jahren reiste er häufig nach Paris, wo er unter anderem die Bekanntschaft mit Giorgio de Chirico, Wassily Kandinsky und Aristide Maillol machte und wo er später auch Pablo Picasso, Georges Braque und Henri Laurens traf. 1940 wechselte Marini an die Accademia di Brera in Mailand; die Jahre 1941 bis 1946 verbrachte er im Tessin in der Schweiz, wo er Alberto Giacometti, Fritz Wotruba und Germaine Richier kennenlernte. 1946 kehrte er nach Mailand zurück. 1950 reiste er anlässlich seiner ersten Einzelausstellung in New York erstmals in die Vereinigten Staaten. Marino Marini war Teilnehmer der documenta I (1955), der documenta II (1959), und auch der documenta III im Jahr 1964 in Kassel. Große Retrospektiven seines Werks waren 1962 in Zürich und 1966 in Rom zu sehen. Ein erheblicher Teil seiner Werke setzt sich mit dem Thema „Pferd und Mensch“ auseinander.

Pablo Picasso, fünf Werkkataloge u. George Braque, Das graphische GesamtwerkGeorges Bloch: Pablo Picasso, Catalogue de l'œvre gravé et lithographié 1904-1967, Edition Kornfeld et Klipstein, Berne 1968; Band II, 1966-1969, 3. ed, Kornfeld et Cie, 1986; Band III, Catalogue de l'œvre gravé céramique, 1949-1971, Kornfeld et Klipstein, 1972; Band IV, Catalogue de l'œvre gravé et lithographié 1971-1972, Suppléments Tome I+II, Kornfeld et Klipstein, 1979; alle vier Bände in fr, en u. de, Leinengeb. mit Schutzumschlag; Picasso Keramik von Georges Ramié, Benteli Verlag, Bern, 1980, Leinengeb. im Schutzumschlag; Dora Vallier, Braque. Das graphische Gesamtwerk, Klett-Cotta, 1982, Leinengeb. mit Schutzumschlag

Pablo Picasso/ Henri - Dante Alberti, "Poèmes" mit einem originalen Farblinolschnitt von Picasso und einer Widmungszeichnung von Henri-Dante Alberti, Vallauris 1957, dazu Werkverz. der Picasso-Plakate von Christoph Czwiklitzer mit Abb. des WerkesHenri-Dante Alberti: "Dans l'Argile de Picasso. Poèmes" mit dem Original-Farblinolschnitt "Jeu de ballon sur une plage"(auf dem Umschlag) von Pablo Picasso sowie einer originalen Widmungszeichnung des Dichters, Größe: 23,5 x 15,5 cm (Heft). Auflage: 200 nummerierte, jedoch nicht signierte Exemplare. Druck: Imprimerie Arnéra, Vallauris, 1957. Picasso - WVZ: Baer IV, 1046, Cramer N° 89, Bloch 1273, dazu Christoph Czwiklitzer - Picasso-Plakate mit Abb. des Werkes Taf. 25ADieses Bändchen mit 25 Gedichten widmete Henri-Dante Alberti, ein junger Dichter aus Vallauris, dem Maler und Töpfer Picasso aus Anlass des zehnten Jahrestages seiner Ankunft in der Töpferstadt. Picasso hat eigens für den Umschlag dieser Publikation den Linolschnitt "Jeu de ballon sur une plage" (Ballspiel am Strand) geschaffen.

Umfangreiches Graphikkonvolut mit 80 interessanten Arbeiten verschiedener Künstler, u.a. Arp, Bellmer, Grützke, Kolata, Boon, Culmann, Trökes, Vogeler uvm.Interessante Graphiksammlung mit 80 Arbeiten unterschiedlicher Techniken und Künstler, u.a. Hans Arp Lithographie / Oskar Kokoschka, "Flötespielender Pan", Kreidelithographie, edition de Beauclair / Jan Boon, Sonnenblumen und Wintermotive, 3 Radierungen / Theodor Scholl, Strandleben, 6 Radierung/Holzschnitte / Hans Fronius, Holzschnitt / Oskar Schlemmer, Nachdruck mit Textteil / Rainer Gröschl, Landschaften, 2 Radierungen / Albert Vigoleis Thelen, Holzschnitt / Christoph Voll, Figurengruppe, Lithographie / Wilhelm Morgner, Bäuerin, Holzschnitt / Johannes Grützke, Gefäßchirurg, Radierung / Rolf Diener, Im Cafe, Radierung / Heinrich Vogeler, Mauseloch, Lithographie / Otto Speckter, Katze auf der Lauer, Radierung / Gisela Röhn, Figurenszenen, 3 Radierungen / Inge Hergenhahn-Dinand, Am Meer, Farbholzschnitt / Ursula Lefkes, Circe, Radierung / Andreas Paul Weber, 8 Nachdrucke, einmal mit Nachlassstempel signiert Christian Weber / Dennis Oppenheim, Film, Lithographie / Ivo Hauptmann, Landschaft, Lithographie / Gisèle Celan-Lestrange, Struktur, Radierung / Hanno Edelmann, Vier Männer, Radierung / Hans Achenbach, 2 Linolschnitt-Monotypien / Otfried H. Culmann, Frau, Radierung / Thomas Schütte, Kirschen, Farblithographie / Helmut Diedrich, Figuren, 2 Lithographien / Arno Waldschmidt, Prägedruck / Paloma Pipi, Für Picasso, Radierung / Kurt Mühlenhaupt, Hühner, Farbradierung / Kenneth Armitage, Figur, Farblithographie / Johann Georg Geyger, Kubismus, Farblithographie / Hanna Nagel, Porträt, Lithographie / Hans Bellmer, Figur, Radierung / Fathwinter, Kalligraphische Novelle, Farblithographie / Heinz Trökes, Farbserigraphie / Eberhard Schlotter, Hauswand u. Fischreusen, 2 Radierungen / Arndt Maibaum, Bei den Terrassen, Farbradierung / Heinrich Wilthelm, Capriccio, Farbholzschnitt / Franz Erhard Walther, Wortwerk, Offset / Robert Pudlich, 3 Farblithographie / Camille Bryen, Bellatrix, Farbradierung / Max Uhlig, Figur, Lithographie / Jens Meyer, kleine Einladungskarte mit Original / Jörg Miszewski, Uhuru, Monotypie / Kurt Felkl, Torrero mit Stier, Aquarell, Jan Kolata, Stillleben, Pastell / dazu 11 x unleserliche Künstler, dabei 3 Tuschezeichnungen

Umfangreiche Sammlung von 89 Ausstellungsplakaten, vorwiegend Kestner-Gesellschaft Hannover2 x Olympia-Plakat 1972; R. Wittenborn; Eduardo Paolozzi; Alfred Hrdlicka; André Thomkins; Christo; Picasso, Nicholas Krushenick, Asger Jorn; Alfred Jensen, Eva Hesse; Wols; Hans-Georg Rauch; August Macke, Claes Oldenburg; Pol Bury; Saul Steinberg; Alfred Ho; Peter Ackermann; H.-J. Breuste; Walter Dexel; Joseph Beuys; Arnulf Reiner; Günther Uecker; Walter Pichler; Bernhard Luginbühl; Bernhard Lüthi; Dada-Foto; Howard Kanovitz; Pierre Alechinsky; Jochen Gerz; Mataré; Rebecca Horn; Vostell; Nikolaus Lang; Jorge Castillo; Gisela Andersch; Morandini; Henri Michaux; George Rickey; Dieter Roth; Cy Twombly; Tomi Ungerer; Almir Mavignier; Jiri Kolar; Richard Lindner; Alan Davie; Roy Lichtenstein; Fruhtrunk - Girke - Pfahler; Jim Dine; Soto; Lucio Fontana; Wotruba; Kalinowski; Werner Heldt; Domenico Gnoli; Gotthard Graubner; Max Bill; Giorgio de Chirico; R. B. Kitaj; Max Ernst; Magritte; Miguel Berrocal; Alex Colville; David Hockney; Mára; Jürgen Brodwolf; Boljka - Zelenko; vorwiegend Edition Kestner-Gesellschaft Hannover, teils Original-Farbserigraphien: u.a. Krushenick, Paolozzi, Lindner, Bill u. Kitaj; unterschiedliche Zustände, Selbstbesichtigung empfohlen!

Wolf Hildebrandt, (HIL), Abstrakte Figuren, Bleistiftzeichnung, Holzschnitt und Collage, 2 x gerahmtHIL/Wolf Hildebrandt, 1906 Stettin -1999 Deidesheim, deutscher Maler, hier: Abstrakte Figuration, Bleistiftzeichnung mit Weißhöhung, 42 x 29 cm, signiert, datiert (19)50, unter Glas gerahmt / "Erwartung", Holzschnitt (Handabzug), 23 x 20 cm, signiert, betitelt, bezeichnet Probedruck, datiert 1979, unter Glas gerahmt / "Das Meer als Symbol im Werk von Hil", Farboffset mit Collage, 62 x 43,5 cm, drucksigniert, datiert (19)85Zum Künstler: HIL beginnt als Bühnenbildner in Rudolstadt. 20jährig erhält er ein Stipendium für das Bauhaus in Dessau, wo er zwei Jahre studiert. Seine erste Ausstellung hat er in der Galerie F. Möller in Berlin 1935. Werke befinden sich in der Nationalgalerie Berlin und im Museum Breslau. 1941 trifft ihn dann das Arbeitsverbot der Nationalsozialisten; er zieht an den Chiemsee, wo er als freischaffender Künstler lebt und arbeitet. Sein Umzug nach Deidesheim 1977 bringt einen neuen Schaffensschub, bald erhält er den Beinamen "Pfälzer Picasso"

Large Picasso Female after Scottish Surrealist Frank McFadden's original Homage to Picasso series. The bulbous figure is made of colorful shapes delineated by deep grooves carved in the metal base resulting a low relief visual effect. Artist: After Frank McFadden (Scottish, b. 1972)Issued: c. 2000Dimensions: 25.50"L x 33.50"H x 1"WCountry of Origin: ScotlandCondition: Age related wear. Sporadic color loss.

Cahiers d'Art, 8 vol. only, mixed issues, illustrations original wrappers, light browning to margins, a little stained and soiled, a little rubbed, one original slipcase, folio, Paris, 1938-55 (8)*** Cahiers d'Art, founded in 1926, is renowned French artistic and literary journal, commenting on modern and contemporary art. Included are: "Piccasso-Le Greco" (1938), "Oeuvres de Picasso" 1946-48 (1948) "un demi-siecle d'art italien" (1950)

Picasso.- Verve: An Artistic and Literary Quarterly, vol. 8, no. 29/30: Suite de Dessins de Picasso, 16 colour lithographs including frontispiece and title, monochrome heliographic prints, hinges broken (text-block detached but intact), original pictorial boards, joints torn thus spine a little worn, [not in Cramer], Paris, Editions de la revue Verve, 1954 § Quinn (Edward, photographer) Picasso at Work, signed presentation inscription from Quinn to Paul Gallico on half-title, black and white photographic illustrations, original cloth-backed pictorial boards, a few very tiny marks, Garden City (NY), [1964] § Léal (Brigitte) and others. Picasso: La Monographie 1881-1973, original cloth, dust-jacket, slipcase, still sealed within publisher's original cellophane, one small tear at corner, Editions de La Martiniere, [2000], folio, (3)

Pablo Picasso (1881-1973: Spanish painter, sculptor, printmaker, ceramicist, and theatre designer, a signed first edition copy of A. Manteau's Picasso 72 Lithographies (Lithographs), Bruxelles 1956, singed and inscribed in charcoal 'pour Madame Qués, Picasso', book 19.5 x 26cms.Provenance: The Collection of the late Franz-Peter Bach - Part Two. A German autograph collector of many years, he began collecting in the 1980s. He would follow music tours in Germany, as well as attending swap meets in Hanover, where as well as exchanging autographs, he was given addresses of celebrities, who he would then write to directly for signatures. His collection was meticulously collated, mostly in albums, and added to over many years.

Picasso, La Chevre Et Le Berge (The Shepherd And The Goat), lithograph, annotated version in French, aeply reproduction 253/600, chatenay, signed in the plate, image 46cm x 59cm, 63cm x 76cm overall, framed

A collection of Tiffany jewellery with boxes, a pair of silver ‘Picasso’ earrings. Two necklaces, together with a pair of Faux pearl ear clips (one stamped Chanel verso). (The silver crossed heart Tiffany earrings are from Paloma Picasso's range for Tiffany)

1993-2000 A.D. The George Ortiz Collection: Antiquities from Ur to Byzantium - Moscow, 1993, card covers, 280 pp, colour and monochrome; Metropolitan Museum of Art Bulletin, Fall 1998 - New York, 1998, card covers, 79 pp; Ancient Art from the Shumei Family Collection - New York, 1997, hardback with dustwrapper, 210 pp, colour; Robin Symes - Bull Leapers to Picasso / Hardstones from the Ancient World - New York, 2000, card covers in slip case, colour. 4.47 kg total, 21 x 27.5 - 23.5 x 31.5 cm (8 1/4 x 10 7/8 - 9 1/4 x 12 3/8 in.). [4, No Reserve] Property of a North West London gentleman.

ANTONIN ARTAUD (FRENCH 1896-1948) EMPLOI DU TEMPS (ENTRE NOV. 1946 ET FEVRIER 1947) Pencil 62 x 47cm (24¼ x 18½ in.) Provenance: Luciane Abiet, Paris Sotheby's, Paris, 24 May 2018, lot 70 Artaud was a key figure in the European avant-garde best known for his writings and work in the theatre and on screen. The present sheet dates from the period when Luciane Abiet served as secretary to Artaud, where the latter mentions his appointments: 'Picasso / Montmartre Picasso / Montmartre Picasso / Saturday noon. Sunday Henri Thomas 7 a.m. Montmartre Tuesday 10 a.m. / Picasso Monday Mme Abiet/ Diane/Arthur/ Adamov Tuesday Picasso Wednesday Africa.'  Picasso, Adamov, and Thomas, whose names appear in this list, had joined the Association des amis de l'œuvre d'Antonin Artaud, created in the spring of 1946 for the maintenance and accommodation of Artaud in a private clinic in Ivry. At this time, Bordas wanted to publish an edition illustrated by Picasso of texts by Artaud. In August 1946, Artaud tried in vain to see Picasso, who was in Antibes. When he collects Luciane Abiet's testimony on Artaud, G. Mordillat mentions this sheet: 'Lucienne Abiet keeps a schedule of Artaud with the appointments cancelled by Picasso' (The Veiled Mirror: And other writings on the image, Calmann-Levy, 2014). Condition Report: Old repair tear running down the top panel. Bottom right old tear approximately 4 inches. Bottom left tear to corner. Some losses to edges. Stains and foxing mainly to the left hand edge. Folds and flaws in paper. Unexamined out of frame.Condition Report Disclaimer

MIKHAIL LARIONOV (FRENCH/RUSSIAN 1881-1964) PORTRAIT DE GUILLAUME APOLLINAIRE Ink and watercolour Signed (upper right), dated 6 Juillet 1917 (lower right) and variously inscribed 27 x 21cm (10½ x 8¼ in.) UnframedProvenance: Private Collection, Guillaume Apollinaire, Paris Christie's, Geneva, 14 May 2001, lot 129 Born in Tiraspol in the former Russian Empire (now Moldova), Larionov studied at the Moscow School of Painting where he met his lifelong partner, Natalia Goncharova. He was known for his radical views and was inspired firstly by the international avant-garde and artists such as Matisse and Van Gogh and then by the Cubo-Futurist movement. In 1913, alongside Goncharova, he founded Rayonism, one of the first abstract art movements in Russia. However, he was inexorably was drawn to intellectual and creative hub of Paris and in 1914 he and Natalia left Russia to work for Sergei Diaghilev and Ballets Russes. Upon arrival, they were welcomed by poet Guillaume Apollinaire who organised an exhibition of their work and threw a party attended by many of the notable names of the day, including Picasso, Brancusi, Duchamp and the Delaunays. Condition Report: Mounted under perspex, the work is executed on a sheet which has then been stuck down to the larger sheet with the writing. The base sheet is thin and has fine creasing throughout. The sheet is also slightly discoloured in places, but other in overall good condition.Condition Report Disclaimer

PABLO PICASSO (1991-1973) UNTITLED, FROM AFAT (BLOCH 315; CRAMER BOOKS 33) Engraving, 1940, the edition was 64, printed by Roger Lacourière, Paris, published by Le Degré Quarante et Un, Paris, on Montval wove paper, with full margins, Sheet: 21 x 31cm (8¼ x 12¼ in) Provenance: Collection Henri M. Petiet, Saint-Prix (with his ink stamp verso) Condition Report: In good condition, apart from pale paper discolouration recto and verso.Condition Report Disclaimer

PAIR OF PICASSO PRINTS

Picasso, PabloMálaga/Spanien 1881 - 1973 Mougins/Frankreich. "Scènes de corrida", Stierkampfszenen aus Carnet de la Californie, Lithographie auf Papier, unten rechts mit Bleistift von Hand sign., 2x in der Platte datiert, 1x spiegelverkehrt, HxB: ca. 40/28,5 cm (Plattenmaße). Gebräunt und stockfleckig. Im Passepartout hinter Glas gerahmt. Lit.: Güse/Rau, Pablo Picasso, Die Lithographien, Hatje 1994, S. 302 u. 303 WVZ-Nr. 693 (mit Abb.).

PABLO PICASSO. RARE YOUTH FESTIVAL. (d) Scarf on cotton 1951, 89cm x 83cm.

PABLO PICASSO, SEATED WOMAN IN BLUE. (d) framed textile, signed in the plate, 76cm x 75cm, (subject to ARR - see buyers conditions).

PABLO PICASSO. After. PAUL AS HALEQUIN. on silk, printed by Spadem, 92cm x 93cm, framed.

Pablo Picasso signed proof etching ref : Galerie Louise Leiris, ed. Bloch 1693, Baar 1709PICASSO PABLO (1881 - 1973) proefets n° 35/50 : "Peintre et modèle en guêtres de danse, avec spectateur" - 11,5 x 8,7 getekend ref : Galerie Louise Leiris, uitg. Bloch 1693, Baar 1709

20th Cent. lithograph printed in colors after a drawing for the cover page of "Les dames de mougins" - signed Picasso and dated14-4-(19)63 in the plate with justificationPICASSO PABLO (1881 - 1973) kleurlitho naar een tekening voor het voorblad van het boek "Les dames de Mougins" : "Le petit nu" - 11 x 17 getekend en gedateerd 14-4-(19)63 in de plaat - met justificatie

Hélène de Beauvoir (Paris 1910 - Paris 2001). Paradies. Aquarell über Federzeichnung. 56 x 76 cm. R. u. sign. H. de Beauvoir, unter Passepartout und Glas gerahmt. - Französische Malerin, Schwester von Simone de Beauvoir. B. erlernte die Malerei an unterschiedlichen Pariser Malschulen, u. a. an der Académie de la Grande Chaumiere und an der Académie Colarossi. Sie lernte den Kreis um Jean-Paul Sartre kennen, bald auch Picasso, Dalí und Cocteau. Nicht zuletzt aufgrund der diplomatischen Tätigkeit ihres Mannes wirkte sie an vielen Orten in Europa. Nach figürlichen Anfängen entwickelte sie in den 50er Jahren einen farbig-kristallinen Flächenstil. Mus.: Florenz (Uffizien), Paris (Centre Pompidou), Regensburg u.a. Lit.: AKL, Bénézit, K. Sagner (Hrsg.): Die Malerin H. d. B., Ausst.-Kat. 2014.