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14357 Los(e)/Seite
Los 599
*ISABEL LAMBERT RAWSTHORNE (NÉE NICHOLAS) (1912-1992) Double portrait circa 1960s, oil on canvas, 60cm x 50cmProvenance: The picture was inherited by descent from mother to daughter. The mother was friends with both Constant Lambert and Alan Rawsthorne (two of Isabel's husbands), as part of the same music circle. She remained friends with Isabel right up her twilight years when she lived in a cottage in Essex. Indeed the daughter vividly recalls visits, and the kind donation of old canvases to her brother as a young artist.Note: Isabel has been subjected to relative obscurity, probably due to her name changes from three marriages, and from being dismissed by society as merely the striking studio model, lover or muse of artistic icons such as Alberto Giacometti, Pablo Picasso, and Francis Bacon. Despite highly acclaimed exhibitions in the 50s and 60s, she has only recently received serious renewed recognition, which is now gaining pace and several paintings have entered public collections as a result.From a humble background she studied at the Liverpool College of Art, later winning a scholarship to the Royal Academy in London. After working with Jacob Epstein she moved to Paris to study at the Academie de la Grande Chamiere and associated with Giacometti, Tristan Tzara and the Surrealist Circle. Throughout her life she was within leading artistic circles, be they composers, dancers, artists or writers. It is notable that she became a respected scenery and costume designer for ballet and opera productions at the Royal Opera House.From 1949 she and Bacon showcased their figurative brand of modern art at the Hanover Gallery and exhibited in the ICA and British Council. Indeed the critic David Sylvester ranked her alongside Bacon, Lucien Freud, John Craxton and Peter Lanyon.It was during the 1960s and 1970s, with the deaths of Giacometti and her third husband, that the ethereal double portraits emerged and where the distinctive dead and sculpted likenesses evolved. This painting is almost certainly one of a portrait series of her late husband Alan Rawsthorne and his sister Barbara. The spectral faces dissolve into a void-like background, capturing the fragility of the human body. The doubling effect suggests the mirrored ballet studios in which she drew dancers at their craft. The grainy texture, created with sand highlighted with hints of pink, yellow and white, emphasises the shafts of light and the window behind.
Los 99
Christopher Wood (1901-1930) 'á Madame Laloy amicalement' signed, inscribed with title, and dated 'Christopher Wood/1926' u.l., pencil 49 x 32cm Provenance: Sotheby’s, London, ‘Drawings and Watercolours from the Collection of the Late Sir John and Lady Witt', 19 February 1987, lot 393. This portrait depicts Madame Laloy, the wife of musicologist Louis Laloy, and most likely dates from the spring of 1926, when Christopher Wood was most friendly with them. In a letter to his mother in March 1926, Wood expressed an ambition to design a ballet with Laloy and, later that year, he met Laloy and the French composer Georges Auric in London, to discuss designing scenery for a Chinese play. Previously, Wood had been commissioned by Diaghilev to create designs for his 1926 production of 'Romeo and Juliet', however, these were later replaced with designs by Miró and Ernst. This period marks a shift in Wood's work. His view of his French connections began to change and he began to turn his attentions away from the ballet. It was at this moment that the character of Wood's work would start to develop, moving away from the modernist influences of Cocteau, Picasso and Diaghilev. By August 1926, Wood's work was influenced by his friendship with Ben and Winifred Nicholson. This new outlook would shape his work in Cornwall and Brittany over the next four years. The drawing offered for sale showcases Wood's minimalist approach to line, capturing form with just the essential details. Condition ReportFramed: 66 x 47cm Time staining. Creasing around the edges. A little dirt and discolouration along the top edge. Not viewed out of glazed frame.
Los 2136
Folio society - Tolkien, J R R "The Lord of the Rings", 3 vols within original slip case, Folio Society 1977, green and gold patterned boards with pictorial pastedowns to each volume and other volumes to include Ingelow, Jean "Poems", illustrations engraved by the Brothers Dalziel, Longmans Green, Reader & Dyer 1867, blue full pictorial gilt cloth, Puffin Storybook, Grimms Fairytales, Pan Publications Alice in Wonderland and Through the Looking Glass, "Little Women", pictorial boards, "Poems of Childhood by Eugene Field", illustrated by Maxwell Parrish, pictorial front board, pastedown is worn and scratched, catalogue "Art of Our Time, the Saachi Collection at the Royal Scottish Academy", Beleck, Paul "Picasso" 1881-1973, published in 1976, 2nd impression, d-w and other volumes and a brass doorstop/half of a bookend (1 box)
Los 5001
Pablo Picasso (spanisch, 1881 - 1973), Don Quixote, Lithographie auf Velin (Wasserzeichen Widderkopf oben rechts), 1955, unten rechts in blau signierter Abzug ohne Text vor der Verwendung als Plakat. Werkverzeichnis Picasso et la Presse Nr. 240, Maße: 52 x 36 cm. Guter, altersbedingter Zustand.
Los 610
Picasso, Pablo, *25. Oktober 1881, Malaga, +8. April 1973 , Mougins: Erotisches Paar mit Putto und Betrachtern 19.5. 68 /1 Nr. 34 von 50Aquatinta- Radierung und Kaltnadel auf Rives Bütten, Plattengrösse 354,7x30cm mit Bleistift signiert und limitiert 34/50. Passe Partout, Museumsglas und moderne Galerieleiste. Aus der Folge von 347 Radierungen in verschiedenen Tiefdrucktechniken, die Picasso zwischen dem 16. März und dem 5. Oktober 1968 in Mougins (Südfrankreich) ausführte, jede mit Bleistift signiert und mit 50 limitiert . Es wurde bei Aldo und Piero Crommelynck gedruckt und von der Galerie Louise Leiris, Paris, herausgegeben. WV. Baer 1986-96 / Picasso Peintre-Graveur, 7 Bände und Nachtrag (1596.Bb1) Bloch 1974-9 / Pablo Picasso, Catalogue de l'oeuvre gravé et lithographié, 3 Bände (1580) In der Platte spiegelverkehrt bez: 19.5.68. I.
Los 554
Picasso, Pablo, *25. Oktober 1881, Malaga, +8. April 1973 , Mougins: "Carnet de Californie" 299/500, Skizzen von 1955Kopie des Skizzenheftes von 1955. Div. Farblithographien und Seriegraphien von Mourlot/Duval. Bei DuMont Köln - Deutsche Ausgabe Nr. 299 von limitierten 500. Mit Beiheft, Mappe und Schuber, 28 x 44cm, Z1-2.
Los 226
Picasso, Pablo (1881 Málaga - Mougins 1973) Nach "Le Faune". Aquatintaradierung auf festem Japan, re. u. mit Bleistift sign. und li. u. nummeriert Ex. 9/200, um 1958. Herausgegeben vom Atelier Crommelynk mit deren Trockenstempel unten links. Ca. 30,2 x 25,3 cm (54,8 x 42,8 cm). PP., R. Vgl. Verzeichnis Maeght 2101.
Los 1381
FERNAND MOURLOTSouvenirs et portraits d’artistes. Jacques Prévert: Le coeur á l’ouvrage. Paris/New York: Mazo/Amiel 1972. 32,3 x 25,3 cm. Mit 24 (von 25; 18 farb., 1 doppelblattgr.) OrLithographien verschiedener Künstler. 245 SS., 1 nn. S., 3 Bll. Lose Bogen in OrUmschlag und OrLn.-Kassette mit Rt.(Umschlag leicht gebrauchsfleckig. Es fehlt die OrGraphik von Miró.)Nr. 354 von 800 Ex. auf Vélin d'Arches. - Freundschaftsbuch der bedeutendsten französischen lithographischen Anstalt des 20. Jahrhunderts. - Mit OrLithographien von Maurice Brianchon (L’Arlequin), André Masson (Le départ), André Beaudin (Feuilles évadées), Apel·les Fenosa (Tramontane), Maurice Estève (Alalito), Henri Matisse (Studie für das Buch „La Religieuse Portugaise“), Paul Guiramand (Intérieur), Kostia Terechkovitch (Cavalier tunisien), Georges Braque (Profil de femme [M. 25]), André Derain (Buste de femme [1950]), Pablo Picasso (Le seigneur et la dame [M. 322]), Paul Jenkins (Composition pour Eric; doppelblattgr.), Jean Cocteau (Manuscrit), André Minaux (La femme et l’oiseau), Jacques Villon (Portrait d’une jeune fille), Marc Chagall (Bouquet pour Fernand), Giacometti (Fleurs), Bernard Buffet (Les ombelles), Paul Wunderlich (Torso sur une pierre bleue), Paul Delvaux (Confidences), Victor Vasarely (Beryll), Alfred Manessier (La tache rouge), Charles Lapicque (Le chant des oiseaux) und Graham Sutherland (Hybrid). - Es fehlt das Farblitho von Joan Miró "Jaillie du calcaire".
Los 1096
ROBERT RAUSCHENBERGAus: Hommage à Picasso 1973Farbserigrafie und solvent transfer auf Velin mit Trockenstempel des Druckers. Signiert, datiert und nummeriert. Ex. XIII/XXX. Verso mit Copyright-Stempel Graphicstudio, University of South Florida, Tampa. 76,5 x 56,5 cm.(Altersspuren; gebräunt, die Kanten stärker gebräunt. Rückseitig am oberen Rand punktuell fest frei im Passepartout montiert.)
Los 1382
PABLO PICASSOPIERRE REVERDY: Le chant des Morts. Poèmes. Lithographies originales de Pablo Picasso. Paris: Text, Draeger Freres; Lithogr. Mourlot Frères 1948. 42,3 x 32,2 cm. Mit 125 (davon 2 auf den Deckeln) OrLithographien von P. Picasso. 116 SS. Lose Bögen in illustr. Papierumschlag in grauem OrLeinenumschlag mit Rt. in grauem OrLeinenschuber.(Schuber leicht berieben und minimal beschmutzt; Leinenumschlag leicht berieben; teils deutlicher Abklatsch; geringfügige Bräunung des Papiers.)Nr. 55 von 250 Exemplaren (GA 270). - Im Druckvermerk von Reverdy und Picasso signiert. - Cramer, Picasso, No. 50. - "At first, Picasso thought he would illustrate the text in the usual way - that is, with illustrations separated from the text. The artist changed his mind, however, and decided instead to illustrate Reverdy's text page by page, in the manner of the old illuminated manuscripts." (Cramer).
Los 1097
Ilya Shenker (1922-2013): On the road, oil on canvasWork: 105,5 x 76,5 cmFrame: 115 x 90,5 cm New York resident Ilya Shenker left Russia over twenty years ago; however, Russia has never left the artist's mind. As a soldier in World War II, he survived where millions perished. Upon returning to his home town of Odessa, he felt abandoned and alone. He studied Art and Architecture in Odessa but left for America when the opportunity arose when a number of Russian Jewish artists where allowed to emigrate. He settled in New York City, a choice that has forever impacted his oeuvre. Many of his pictures depict New York cityscapes and lifestyle; however, they remain typically Russian. His subject matter often comes from memory and includes the life that he left behind, family, and friends. Drawing upon his Jewish heritage for inspiration, Shenker also paints historical events, such as 'On the Eve of the Assault' in which he portrayed the last night before the destruction of Jerusalem. His use of imagination also applies to the figures in his paintings - fictional characters such as the Spanish literary character Don Quixote make appearances in his work. He has also placed figures such as Rembrandt and Picasso in modern settings: in "Rembrandt Visiting our Family," Shenker sits his most favored artist at his family table, in a tribute to someone he describes as a "peoples artist." On many levels, Shenker saw himself as a people's artist as well. In fact, he contributed to an exhibition intended to commemorate the six-month anniversary of September 11th, 2001 in New York City. Ilya Shenker has exhibited works all over the World, and held numerous shows in the United States. He also has permanent works in several Russian museums.
Los 387
Pablo Picasso (1881-1973), lithograph in colours on paper, Toros Vallauris 1958, signed and dated in the plate, 21.5cm x 18cm, mounted, glazed and framed. Thislithograph is printed by Mourlot Freres, the original printer of the poster. It is an exact reprint of the original 3 colour linocut poster in all but size
Los 170
Picasso (Pablo).- Ovid. Les Metamorphoses, one of 95 copies on Arches laid, from an edition of 145 copies signed by the artist, signed by Picasso in pencil to half-title verso, 30 etchings by Picasso, of which 15 loose as plates and 15 within text, unsigned, initials in red throughout, a very few scattered and faint spots or a tiny amount of browning to very edges of a few ff., loose as issued, original printed wrappers and glassine jacket, edges uncut, within original chemise, scattered spots to verso, light abrasions to corners (likely due to tight slip-case), original slipcase, a few light abrasions and marks, [Cramer, Pablo Picasso The Illustrated Books: Catalogue Raisonné (1983), 19; Museum of Fine Arts Boston, The Artist and the Book 1860-1960 (1961), 224], 4to, Lausanne, Albert Skira, 1931.*** The first of Picasso's major illustrated books.
Los 31
Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Ink, gouache, and pen on paper painting titled "Study for Painting, Paris, January 1937" depicting abstracted shapes in pale blue, yellow, black, and green, 1937. Dated "1/37" along the lower right. With a label from Grace Borgenicht Gallery, New York affixed to the verso.Provenance: Estate of Charles Biederman.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by the end of 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Sight; height: 17 in x width: 14 in. Framed; height: 19 1/4 in x width: 16 1/4 in x depth: 1 1/2 in.Condition: The sheet is slightly toned. The colors are bold and bright. There is a slight undulation to the sheet. Light soiling throughout, as expected from a study. The work is floated in frame. Framed under glass; light wear to the frame. Not inspected out of frame.
Los 32
Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Ink, gouache, and pen on paper painting titled "Study for Painting, Paris, January 1937" depicting abstracted shapes in yellow, black, and white, 1937. Pencil signed and dated "P 1/37" along the lower left.Provenance: Estate of Charles Biederman.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by the end of 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Sight; height: 17 in x width: 14 in. Framed; height: 19 1/4 in x width: 16 1/4 in x depth: 1 1/2 in.Condition: The sheet is slightly toned. The colors are bold and bright. There is a slight undulation to the sheet. Light soiling throughout, as expected from a study. The work is floated in frame. Framed under glass; light wear to the frame. Not inspected out of frame.
Los 27
After Pablo Picasso (Spanish, 1881-1973). Set of two polished bronze figural sculptures titled "L'Homme et la Femme" depicting a male and female figure cast after a 1965 terracotta mold by the artist. Both with etched signature along the front of the base; editioned 169/175 along the right side of the base.Lot Essay:Pablo Picasso stands as one of the most renowned and prolific artists of the 20th century, whose innovative and groundbreaking work revolutionized the course of Western art. Born in Malaga, Spain, Picasso demonstrated exceptional artistic talent from a young age and received formal training at various art academies. His early works, influenced by Symbolism and the Blue and Rose Periods, showcased his versatility and mastery of traditional techniques.Picasso's career underwent a seismic shift with the advent of Cubism, a movement he co-founded alongside Georges Braque. Cubism shattered conventional notions of perspective and representation, presenting multiple viewpoints simultaneously and breaking objects down into geometric forms. Picasso's seminal work "Les Demoiselles d'Avignon" (1907) marked a turning point in art history, foreshadowing the radical innovations that would follow.Throughout his prolific career, he continued to push artistic boundaries, experimenting with diverse styles and mediums, including sculpture, ceramics, and collage. His involvement with Surrealism and his exploration of African and Iberian art further enriched his artistic vocabulary.Picasso's influence transcended the confines of the art world, shaping the cultural landscape of the 20th century and beyond. His legacy as a visionary artist, innovator, and provocateur continues to resonate, inspiring generations of artists and sparking dialogue about the nature of creativity and artistic expression. Through his relentless pursuit of innovation and his fearless embrace of experimentation, he left an indelible mark on art history, cementing his status as a titan of modernism and one of the most enduring figures in the pantheon of great artists.Each, height: 11 3/4 in x width: 6 in x depth: 3 3/4 in.Condition: There are no dents, losses, or repairs. Light wear along the underside. Some dust throughout.
Los 26
Pablo Picasso (Spanish, 1881-1973). Graphite sketch on graph paper titled "Self Portrait with Marie-Therese Walter," depicting two portraits along the front of the artist and his lover and model, Marie-Therese Walter (French, 1909-1977). She was the mother of their daughter Maya Widmaier-Picasso (1935-2022). The verso of this piece renders several sketches of various objects including a wardrobe cabinet, a ball, a cage, a snail, a human figure, a dog, and an elegant hound voiding his bowels.Provenance: The Estate of Marie-Therese Walter, France; Private collection, Minnesota.Literature: Josep Palau I Fabre, "Pare Picasso," Barcelona: Ediciones Poligrafa, 1977.Lot Essay:A multi-faceted artist who worked as a sculptor, painter, printmaker, and theater designer, Pablo Picasso is known as the co-founder of the Cubist movement and regarded as one of the most influential artists of the 20th century.The artist was born on October 25, 1881 in Malaga, Spain to Don Jose Ruiz y Blasco (1838–1913) and Maria Picasso y Lopez. His father was a naturalist painter of birds and game as well as a professor of art at the School of Crafts and a curator of a local museum. From the early age of seven, Picasso received formal traditional artistic training from his father, copying work from old masters and rendering the human body through the use of live models and plaster casts.This training took place throughout Picasso’s childhood. In 1891, his family moved to A Coruna where they resided for four years while his father took a position at the School of Fine Arts there. Picasso’s artistic capabilities grew, and even Ruiz claimed that his son had surpassed his own talents. In 1895, his sister, Lola, died from diptheria, and the family moved once again, this time to Barcelona. As a professor at the School of Fine Arts, his father persuaded the institution to let Picasso take the entrance exam for advanced classes at the mere age of thirteen. Though this process typically took a month to complete, Picasso finished in a short week and was accepted into the advanced courses. At age sixteen, Picasso’s father and uncle sent him to the Real Academia de Bellas Artes de San Fernando in Madrid. However, soon after enrollment Picasso stopped attending classes but was instead invigorated by attractions such as the Prado with artistic works by masters Diego Velazquez, Francisco Goya, Francisco Zurbaran, and El Greco.By the time Picasso married his first wife, Olga Stepanovna Khokhlova, in 1918, he had risen to success and acquired some fame and fortune as a forerunner of the Cubist movement, though this contrasted greatly with his humble “starving artist†beginnings and continuing bohemian lifestyle. Khokhlova came from high society and introduced her new husband to formal dinner parties and life of the rich in Paris during the 1920s. This clashed with Picasso’s own world views and inevitably led to the couple’s demise.A long-standing secret affair began in 1927 between Picasso and the then 17-year-old Marie-Thérèse Walter. In 1935, Marie became pregnant and it was then that a friend told Khokhlova about Picasso’s mistress. Khokhlova and Picasso separated, never divorcing, until Khokhlova’s death in 1955. On September 5, 1935, Marie and Picasso’s child, Maria de la Concepcion, called "Maya", was born. Though Picasso financially supported Marie and Maya throughout his life, he never married her and had a number of affairs with other women.Marie was a model and muse for many of Picasso’s paintings, sculptures, and drawings including the sketch seen in this lot. She is typically portrayed as bright and blonde in contrast to the weeping woman persona of Picasso’s other lover, Dora Maar. Though the sketch on the recto of the artist and his lover is masterful and typical of Picasso’s greatest works, the verso renders drawings of dogs, a snail, and other random objects created for the amusement of his daughter, Maya. Both sides demonstrate Picasso’s virtuoso and ability to be playful yet skillful in his artistic works.Height: 5 3/4 in x width: 3 3/4 in.Condition: The drawing is in good condition overall. The drawing is executed on graph paper and has a deckled edge along the right. There is a paper loss along the lower right. A repair to a 1 inch tear that goes from the upper right edge, diagonally downward. Some areas of skinning along the upper left and right corners. Some light surface soiling. Some minor losses and one small tear along the lower edge. The drawing bears light impressions of the drawings on the verso. The drawing is not framed.
Los 1051
Ginés Parra, Spanish 1896-1960 - Composition; oil on canvas, signed, titled and inscribed on the reverse 'Parra F. 44 Registro 19', 65 x 54 cm (unframed) (ARR) Provenance:a Private Collection of French Naturalist PaintersNote:Parra was part of a group of important Spanish artists fundamental in the avant-garde formation of the École de Paris, alongside Pablo Picasso, Antoni Clavé, Francisco Bores and Joaquín Peinado. The thick impasto of his work is reminiscent of Georges Rouault and his dynamic and layered compositions show an influence of Cubism which was being explored at the time by fellow artists. He exhibited at the Société Nationale des Beaux-Arts, the Salon d’Automne and the Salon des Indépendants. In 2020, a bust of Parra was erected in his birth place of Zurgena, Spain where there are plans to open a museum dedicated to his work.
Los 1052
Ginés Parra, Spanish 1896-1960 - Tête égyptienne; painted plaster, H24 x W16.5 x D16.7 cm (ARR) Provenance:a Private Collection of French Naturalist PaintersNote:Parra was part of a group of important Spanish artists fundamental in the avant-garde formation of the École de Paris, alongside Pablo Picasso, Antoni Clavé, Francisco Bores and Joaquín Peinado. The thick impasto of his work is reminiscent of Georges Rouault and his dynamic and layered compositions show an influence of Cubism which was being explored at the time by fellow artists. He exhibited at the Société Nationale des Beaux-Arts, the Salon d’Automne and the Salon des Indépendants. In 2020, a bust of Parra was erected in his birth place of Zurgena, Spain where there are plans to open a museum dedicated to his work.
Los 1049
Ginés Parra, Spanish 1896-1960 - Tête riante; painted plaster, H24 x W28.2 x D19.5 cm (ARR) Provenance:a Private Collection of French Naturalist PaintersNote:Parra was part of a group of important Spanish artists fundamental in the avant-garde formation of the École de Paris, alongside Pablo Picasso, Antoni Clavé, Francisco Bores and Joaquín Peinado. The thick impasto of his work is reminiscent of Georges Rouault and his dynamic and layered compositions show an influence of Cubism which was being explored at the time by fellow artists. He exhibited at the Société Nationale des Beaux-Arts, the Salon d’Automne and the Salon des Indépendants. In 2020, a bust of Parra was erected in his birth place of Zurgena, Spain where there are plans to open a museum dedicated to his work.
Los 1050
Ginés Parra, Spanish 1896-1960 - Deux femmes assises sur un rocher face à un lac et une forteresse; oil on canvas, signed lower right 'Parra', 54 x 65.4 cm (unframed) (ARR) Provenance:a Private Collection of French Naturalist PaintersNote:Parra was part of a group of important Spanish artists fundamental in the avant-garde formation of the École de Paris, alongside Pablo Picasso, Antoni Clavé, Francisco Bores and Joaquín Peinado. The thick impasto of his work is reminiscent of Georges Rouault and his dynamic and layered compositions show an influence of Cubism which was being explored at the time by fellow artists. He exhibited at the Société Nationale des Beaux-Arts, the Salon d’Automne and the Salon des Indépendants. In 2020, a bust of Parra was erected in his birth place of Zurgena, Spain where there are plans to open a museum dedicated to his work.
Los 136
An 18ct gold and diamond ‘Paloma’s Graffiti’ necklace by Paloma Picasso for Tiffany & Co., the word ‘love’ in the designer’s own handwriting and set throughout with brilliant-cut diamonds, suspended by a trace-link chain, signed ‘Paloma Picasso’, stamped ‘T&CO.’, London hallmark, length 41cm. £200-£300 --- Condition Report General light surface wear commensuarte with use. The diamonds bright and lively. Gross weight 3.1gm.
Los 33
PABLO PICASSO (SPANISH 1881-1973) MÈRE ET ENFANTS (B.737) - 1961 Etching with aquatint on Arches laid paper, un-numbered impression aside from the edition of 50, signed in pencil to margin, published by Galerie Louise Leiris the plate 25.4cm x 30.5cm (10in x 12in) Sotheby's, London, Old Master, 19th and 20th Century and Contemporary Prints, 12 December 1991, lot 535; Private Collection, U.K.
Los 60
PABLO PICASSO (SPANISH 1881-1973), AFTER BOUQUET DE FLEURS (CZWIKLITZER 130) - 1958 Colour lithograph on Chiffon de la Dore wove paper, 43/200, signed and numbered in pencil, signed and dated in plate, published by Éditions Combat pour la Paix, Paris the sheet 66cm x 51cm (26in x 20in), unframed
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14357 Los(e)/Seite