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A small framed oil finished lithograph after Picasso with Picasso museum label verso, frame size 19 x 23cm.

Salvador Dali (Spanish 1904-1989) A Monument to Picasso, signed pencil lower right, numbered 158/500, lithograph, measurements 63 x 46 cm (i), 76 x 56 cm (SH) together with a statement of authenticity from Hope Laboratories Ltd, Blenheim Gardens, London dated 1974

Picasso decorated silk scarf

Contemporary School. The Human Canon, mixed media, 75cm x 55cm; Marcelle Mouly (French, b. 1980), Nature Mort Bleue, coloured lithograph, signed, 75cm x 56cm; a print of a Pierrot playing a violin, and a lithograph on metal of Guernica, after Picasso. (4)

AN UNUSUAL MODERNIST / PICASSO STYLE STUDY OF A BIRD ON A PLINTH, H 13 cm, together with a painted wooden figure of a cat and a modernist hardstone figure of a crouching cat (3)

Full title: Curtis Jere (1963-2008): 'Dove of Peace', brass wall sculpture, dated 1978Description: H 108 cmCurtis Jere is the copyrighted company name for the two artists Jerry Fels and Curtis Freiler, who worked and designed together in the late 1950s, through to the late 1970s.Ê The sculpture indisputable influenced by 'La colombe bleue' (The Blue Dove) of Pablo Picasso, 1961 (link available on our website).Ê Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Pablo Picasso (1881-1973): 'Les deux femmes nues' (Two nude women), lithograph, state seven, 30 December 1945Description: Work: ca. 44 x 33 cmÊ Paper: 52,4 x 37,3 cmÊ Frame: 60,6 x 50,8 cmPrinted by Fernand Mourlot, Paris.Ê Exhibition & Provenance: 'Picasso Intime', 13 November 1975 - 19 January 1976, Galerie d'Art Claude Jongen (Chaussee de Charleroi, Brussels).Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Pablo Picasso (1881-1973, after): 'Mother and child with dancer and flute player', multiple, [1962]Description: Work: ca. 26,5 x 21,5 cmÊ Frame: 62,7 x 57,7 cmPicasso started making linoleum cuts during the late 1950's and the originals were issued by Galerie Louise Leiris (Paris) in signed editions of 50. In 1962 Picasso and the Louise Leiris Gallery cooperated for the production of a facsimile edition of the linocuts, meticulously recreated in reduced size. The printing was done in West Germany, with a French edition published by 'Editions Cercle D'Art' and an American edition published by Harry Abrams, both in 1962. In later years reprints were issued.Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

VALENTINE HUGO (1887-1968)Portrait d'Arthur Rimbaud signed and dated 'Valentine Hugo 12/33' (upper left); signed 'Valentine Hugo' and extensively inscribed (on the reverse)oil on panel with rhinestones and collage100 x 75cm (39 3/8 x 29 1/2in).Painted in December 1933Footnotes:ProvenancePaul & Lise Deharme Collection (acquired directly from the artist, by 1947); her collection sale, Hôtel Drouot, Paris, 6 March 1953, lot 56.Suzanne Chatelard Collection, Paris (by 1954).Maïta Desmarais Collection, Antibes (by 1984).Anon. sale, Catherine Charbonneaux, Paris, 17 December 2007, lot 143.Acquired at the above sale by the present owner.ExhibitedBrussels, Palais des Beaux-Arts, Exposition Minotaure, May – June 1934, no. 56.Avignon, Palais des Papes, Exposition de peintures et sculptures contemporaines, 27 June – 30 September 1947, no. 68.Paris, Bibliothèque Nationale, Arthur Rimbaud, 1954, no. 1104.Paris, Galerie Charpentier, Le Surréalisme, Sources, histoire, affinités, 1964, no. 175.Bayonne, Entretiens de Bayonne, April - May 1967.Vitry-sur-Seine, Galerie Municipale, La Part des femmes dans l'Art contemporain, 3 March - 13 April 1984, no. 54.New York, The Grey Art Gallery and Study Centre, Cocteau generations, Spirit of the French Avant-Garde, 15 May – 23 June 1984, no. 117 (later travelled to Miami and Austin).LiteratureH. Read, Surrealism, London, 1936, no. 40 (illustrated).A. de Margerie, Valentine Hugo 1887-1968, Paris, 1983 (illustrated pp. 78-79; incorrect dimensions).'Rimbaud', in Grands Écrivains, Choisis par l'Académie Goncourt, no. 22, 1984 (illustrated on the back cover).C. Bernheim, Valentine Hugo, Paris, 1990, p. 268.B. Seguin, De Valentine Gross à Valentine Hugo, Boulogne-sur-Mer - Paris (1887-1968), Boulogne-sur-Mer, 2000 (illustrated p. 131).'Valentine Hugo, l'égérie des surréalistes', in Le Figaro littéraire, 23 January 2003.Exh. cat., Valentine Hugo, Le Carnaval des Ombres, Boulogne-sur-Mer, 2018, fig. 113 (illustrated p. 130).Portrait d'Arthur Rimbaud by Valentine Hugo is one of the artist's rare oil paintings and arguably the most important. Transcending the border between visual arts and literature, it celebrates another definition of beauty in the unexpected. Valentine Hugo was a painter, illustrator, and costume and set designer for the opera and the theatre. After her studies at the École des Beaux-Arts in Paris, and a brief passage in Dadaism, she strayed from Dada's nihilistic, anti-rational ideas to devote herself entirely to Surrealism from 1925. Contrary to Dada, André Breton wrote in the first Surrealist Manifesto (1924) that art gives sense and meaning to life, and insisted on the influence of Freud, psychoanalysis, and the interpretive power of dreams which, according to Breton, were the paradigm of artistic inspiration. Trusting the freedom of imagination, the Surrealists did not explore nature but rather an inner, intimate world. Although Valentine Hugo's entourage already included some important artistic figures of the early 20th century such as Jean Cocteau, Marcel Proust, Erik Satie and Pablo Picasso, her circle widened with the Surrealists. She became close to André Breton, Nusch and Paul Éluard, René Crevel, René Char, Gala and Salvador Dalí, Dora Maar, Man Ray, Yves Tanguy, Tristan Tzara and Max Ernst, who painted a compelling portrait of her. Hugo joined the group as an artist in her own right and not as a muse: she was part of the Bureau of Surrealist Research and she was the first to draw 'exquisite corpses' on dark paper. She often took part in this collaborative artistic game, in which each participant took turns drawing on a sheet of paper before concealing their contribution and passing it to the next player. At the request of André Breton, she also participated in her first Surrealist exhibition at the Loeb Gallery in 1925. Afterwards, she was included in Surrealist exhibitions at the Pierre Colle Gallery in 1933, the Salon des Surindépendants in Paris in 1933, the Minotaure Exhibition at the Palais des Expositions in Brussels in 1934, the Gaceta de Arte de Tenerife exhibition in 1935, and the Fantastic Art, Dada, Surrealism exhibition at the Museum of Modern Art in New York in 1936.The present work is part of a very limited body of works, painted between 1932 and 1936, when Valentine Hugo focused on large formats in oil. Hugo reportedly told André Breton that she had dreamed about Rimbaud and he had encouraged her to complete the portrait. It was painted contemporaneously to her other great masterpiece, Les Surréalistes (1932), which was photographed by Man Ray before it was damaged at the MoMA exhibition in 1936. Her portrait of the Surrealists (including André Breton, Paul Éluard, René Crevel, and Tristan Tzara) follows the same structure as Portrait d'Arthur Rimbaud, laying the composition out from the lower left corner and focusing on the faces emerging from the dark, like an apparition. Valentine Hugo never met Arthur Rimbaud (1854-1891), but the French poet was well-known in the 1930s and celebrated for his oneiric poetry, which seemed to dissolve dream into reality. Accordingly, he was an important influence for the Surrealists and a dazzling figure who wrote all his poetry in a span of just four years. His career ended abruptly at the age of twenty, following the breakdown of his tumultuous affair with the Symbolist poet Paul Verlaine. Both men were passionate but violent, and Rimbaud left France to travel after the breakup. He became a merchant and travelled across continents, only returning to France after falling ill. He died in hospital in Marseille at age 37, in 1891, thus ending an extraordinary life worthy of myth.In the present work, the poet's face emerges from the dark in the lower centre, below two birds that seem to emanate from his mind. One is an eagle, whose feathers blend into Rimbaud's hair and end in sharp blades. These are covered in red, green, white, and black droplets, showing Valentine Hugo's masterful draughtsmanship and her eye for detail. The other bird is white, resembling a swan, but with red feathers. The two birds intertwine in a fight, in which the eagle seems to protect Rimbaud from the sharp beak of the white bird. Five crows, which are a notorious harbinger of death in Rimbaud's poetry The Crows (Les Corbeaux) (1871), are hidden in the white bird's feathers. Nevertheless, this white bird of ill omen crowns Rimbaud with a laurel wreath, a symbolic attribute given to poets. The glory of the poet comes at a price however: one of the thorns pierces Rimbaud's forehead and causes glistening blood to drip from the wound. The blood stains his lips with red, which contributes to the poet's androgynous appearance. This could be a metaphorical allusion to Rimbaud and Verlaine's violent love affair. Verlaine had been the first to recognise Rimbaud's talent for poetry and invited him to Paris in 1871, but their story ended in blood, when Verlaine shot Rimbaud in 1873. In Portrait d'Arthur Rimbaud the poet's face floats in murky, green water populated by strange sea creatures. A flat sea urchin lies on the foreground, and another spiny sea urchin hides behind the poet's right ear. The latter opens to reveal a soft, slimy, dripping interior surrounded by tentacles. This putrefying marine environment was likely inspired by Rimbaud's most famous poem, The Drunken Boat / (Le Bateau Ivre) (1871), which describes a similar settin... 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MAX ERNST (1891-1976)Méduse circonflexe signed 'Max Ernst' (lower right); signed, inscribed and dated 'Max Ernst Méduse circonflexe 1933 26 rue des Plantes Paris 14e' (on the reverse, listed in the catalogue raisonné as beneath the lining)oil on canvas38.3 x 46.2cm (15 1/16 x 18 3/16in).Painted in 1933Footnotes:ProvenanceRichard Feigen Gallery, Chicago.Leo Orenstein Collection, New York.Galerie Jan Krugier, Geneva.(Possibly) Galerie 623, Paris.Galerie Jeanne Castel, Paris.Acquired from the above by the previous owner (1990s); their sale, Sotheby's, Paris, 19 October 2017, lot 1.Private collection, Europe (acquired at the above sale).ExhibitedLondon, The Mayor Gallery, Max Ernst Exhibition, 8 June – 1 July 1933, no. 3.Zurich, Kunsthaus Zurich, Was ist Surrealismus?, 11 October – 4 November 1934, no. 47.New York, Julien Levy Gallery, Max Ernst, Exhibition Surrealist, 18 November – 9 December 1936, no. 29.LiteratureW. Spies, S. & G. Metken, Max Ernst Oeuvre-Katalog, Vol. IV, Werke 1929-1938, Cologne, 1979, no. 1892 (illustrated p. 167).The primeval figure who floats suspended at the centre of the present work marries Ernst's interest in Greek mythology and the process of metamorphosis, as well as his fondness for wordplay. Painted in 1933, Méduse circonflexe also looks outward to the seismic events of contemporary Europe whilst showcasing the artist's pioneering grattage technique.Although he resisted being identified as a full member of the Surrealist group, Max Ernst became one of the key figures associated with the movement, drawn to André Breton's 1924 siren call from the Cologne Dada group alongside Jean Arp and Man Ray. Highly experimental, Ernst would utilise techniques across the spectrum of painting, sculpture, collage and literature to create haunting dream-like compositions prompted by the teachings of Sigmund Freud, aiming to unlock the unconscious mind. The title of the present work recalls Medusa of Greek mythology, commonly depicted as a winged female with venomous snakes in place of hair, turning those who met her gaze into stone. One of the three Gorgon sisters, Perseus was challenged to behead her. Armed with divine protection from the gods, he attacked, using a polished shield to deflect the reflection of her petrifying stare. Successfully severing her head, he escaped but her power remained even in death, with Perseus using it to turn his enemies to stone. Painted in 1933, Méduse circonflexe coincided with the publication of the first issue of the Surrealist journal Minotaure which 'marked the re-emergence of a mythological theme which would assume increasing importance for Surrealist painting after that date' (W. Chadwick, Myth in Surrealist Painting, 1929-1939, Michigan, 1980, p. 40). The theme of the Minotaur and the labyrinth had already appeared in works by Breton, Ernst, Masson and Picasso; the artists being drawn to the legend by Freud's writing, in which he compared the maze to the mind, the Minotaur symbolising our darker, unpredictable impulses.Ernst had long been interested in ancient myth and legend and was described by his biographer Werner Spies as one of the best-read people, having studied German, philosophy, Romance languages and the history of art at the University of Bonn from 1910 to 1914. Castor and Pollution dates from 1923, before the inception of the Surrealist movement, and references the twin brothers of classical mythology, Castor and Pollux whilst Leda and the Swan of 1927 and Napoleon in the Wilderness of 1941 illustrate his continued interest – the latter work shows the Emperor reimagined as a Greek hero, 'a horse-faced [figure who] appears on a sea coast as a kind of Odysseus [...] The figure is received by a seductive, sirenlike woman' (R. Bouvier, 'Transformations and Re-Formations, Max Ernst's Representations of the Body', in exh. cat., Max Ernst, Retrospective, Vienna, 2013, p. 117).That Ernst embraced myth is evident not only in his art but in his literature, writing about himself in the third person in 1936 thus: 'one may discern in him two attitudes, in appearance irreconcilable: that of the god Pan and the man Papou who possesses all the mysteries and realizes the playful pleasure in his union with her ('He marries nature, he pursues the nymph 'Echo' they say') and that of a conscious and organised Prometheus, thief of fire who, guided by thought, persecutes her with an implacable hatred' (Ernst writing in 1936, quoted in W. Spies, Max Ernst, Life and Work: An autobiographical collage, London, 2006, p. 133). Photographs from 1939 show the artist dressed in white robes and holding a trident, in the image of Poseidon. Jürgen Pech believes that he identified with this god in particular through his 'metaphorical description of the artist as a diver into the unconscious' (J. Pech, 'Mythology and Mathematics. Max Ernst's Sculpture' in exh. cat., Max Ernst, sculptures, Milan, 1996, p. 87).One of Ernst's earliest explorations of Greek myth is to be found in Oedipus Rex from 1922. Rather than a straightforward portrait of the tragic hero, a surreal tableau is formed of giant fingers emerging from a brick wall, pierced through by a needle. In their grasp is a large nut, pierced by arrows, before two birds' heads. Pech explains that 'the pierced hand in his painting Oedipe Rex / Oedipus Rex makes pictorial play on Oedipus' name (= Schwellfuss or Swellfoot) and verbal play on the relationship between solving a riddle and cracking a nut' (ibid. p. 67). 'Oedipus' meant swollen foot or ankle in Greek, referring to his feet being pierced and bound together when abandoned on the mountainside. Wordplay is employed to the same effect in Méduse circonflexe where the ambiguity of the title, referring to both the Medusa of Greek myth and a jellyfish, is reflected in the figure's unclear form, whose tendril-like arms recall both the tentacles of the sea creature and the snakes of the Gorgon's hair and who appears to float beneath the horizon or sea-line. The circumflex of the title appears anomalous, referring in grammar to the chevron-shaped accent placed over a vowel, until the viewer sees the inverted 'v' shape created by the tendrils or tentacles of the 'Méduse'. These forms give a sense of languorous, floating movement, at odds with the hot, fiery orange which dominates the work, punctuated by deep red and cobalt blue elements. Ernst's interest in Surreal literature and writing is well documented, a love of typography which is further shown in the Initiales frottage series from the 1960s. In 1929 Ernst created an extensive collage novel entitled La femme 100 têtes, a similarly ambiguous title which allowed women to be 'hundred-headed', 'headless', 'stubborn', and 'bloodsucking' at the same time, becoming a paradoxical complementary being – a many-head hydra and a beheaded Medusa in one' (R. Bouvier, op. cit., p. 115). The multiple meanings of his titles are reflected in the shifting identities of his subjects, which are frequently presented in the midst of transformation or metamorphosis. In his 1936 La Nymphe Écho for example, Ernst references the myth of the mountain nymph who dissolved into thin air from unrequited love for Narcissus. Relegated as a mere side note in the painting, Ernst instead focuses on another moment of metamorphosis in the tale, as a monstrous green creature formed of vegetation sprawls in the foreground, representing Narcissus, who was transformed into a flower. 'The need to establish constantly fluid boundaries between various stages of being [...] results, in Surrealist painting of the 1930s, in a gradual mythologizi... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO SERRANO AGUILAR, (Teruel, 1908 - Madrid, 1985)."Bull (oval)", ca. 1949.Carved and polished black stone. Unique piece.Signed "Serrano" in stone.With inventory number from the Indianapolis Museum of Art, USA.Provenance:- Joseph Cantor Collection, Indianapolis, Indiana, USA.- Indianapolis Museum of Art, Indiana, USA (Inv. 1987.97).- Private collection, New York.Literature: "Pablo Serrano. Catalogue Raisonné of Sculptures". Madrid, Fundación Azcona, Gobierno de Aragón and IAACC Pablo Serrano, 2018, p.172, cat. No. 167-UE-1949-13 (black and white illustration).Size: 35.5 x 30.5 x 25.4 cm.Pablo Serrano began his series "Toros" in 1949, when he was already a well-known figurative and religious sculptor based in Montevideo. At that time he had already been awarded the Gold Medal at the Salón Nacional de Artes Plásticas in Uruguay and enjoyed an established artistic reputation. His restless personality and his eagerness to explore new paths led him to focus his production on the simplification of forms, leaving aside the realism that had prevailed in his works until then, and moving towards geometrisation and abstraction. His "Bulls" series seeks the essence of the animal by making use of minimal gestures, based on small-format sculptures that are rooted in the European imaginary of the 1930s, with representatives such as Brancusi and Hans Arp. This bullfighting series, whose sketches were made in Montevideo, although many were melted down after his arrival in Spain in 1955 and later, when he took up the theme again between 1970 and 1973, had already been worked on by other artists such as Picasso, who devoted a large part of his production to extolling the figure of the bull.Trained in sculpture, Pablo Serrano received his first lessons at the Salesian School in Sarriá. After finishing his studies he moved to Argentina, where he was taught the art of carving. After this period abroad, he decided to return to Spain in 1955 with a renewed technique in which diversity and unity prevailed. Serrano evolved through experimentation in each of his stages, as he was guided by his own will and not by the requirements of society. In 1956 he settled in Madrid, where he became a founding member of the El Paso group of Madrid's most innovative artists. Pablo Serrano works through poetry, delving into juxtaposed terms such as beginning and end, life and death, despair and hope. He also works on the figure of the human being, trying to explain and understand the human situation through his works. During his career, Serrano won the Sculpture Prize at the Hispano-American Biennial in Barcelona. In 1962 he exhibited twenty-three sculptures at the Venice Biennale to great critical acclaim. In 2003 the Ministry of Foreign Affairs dedicated a retrospective exhibition to him. Works by Pablo Serrano can be found in the museum that bears his name in Zaragoza, the Museo Reina Sofía, the Museo Nacional in Montevideo, the Museo San José in Uruguay, the Museo Nacional de Arte Moderno in Paris, the MoMA and the Guggenheim in New York, the National Galleries in Rome and Budapest, the Rio Piedras University in Puerto Rico, the Brow University in Providence, the Clear Lake Clear Lake University in Clear Lake, and the University of Puerto Rico, Brow University in Providence, Clear Lake City University in Houston and the University of Zaragoza, the Gulbenkian Foundation in Lisbon, the Hermitage in St. Petersburg, the Wadsworth Atheneum in Connecticut, the Galleria d'Arte Moderna in Venice, the Vatican Museum and the Middelheim in Antwerp, among many others.

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983).Untitled, 1965.Watercolour on paper.Enclosed certificate of authenticity issued by Jacques Dupin.Signed and dated in the lower right-hand corner.Measurements: 39 x 36 cm; 70 x 67 (frame).The staircase was a recurring device in Miro's work, and his paintings were imbued with a personal, syncretic iconography that introduced and still introduces the viewer to a dream world, ethereal, immutable, yet unpredictable. In fact, in 2011, the Joan Miró Foundation in Barcelona together with the Tate Modern Gallery in London promoted the exhibition "The Staircase of Evasion". In the acclaimed work "Dog Barking at the Moon", which was very well received in New York, Miró presents a staircase that is supported in an indeterminate space, as in his painting "Blue II" and in the present work. It is a staircase suspended in space, which seems to be the tool needed to escape and reach another world, that of the imagination, but without forgetting its starting point, which is based on a material reality, as if the staircase were a metaphor for artistic creation. Joan Miró developed a characteristic atmosphere in his works, impregnated with primary impulses left over from his contacts with Dadaism and Surrealism. Thus, his paintings function as microcosms, symbolic models of the world that seek an understanding of the universe through the coexistence of atavistic impulses and artistic space, full of cultural reminiscences. Thus, his works should be considered as an expression of his sense of life, which is concretised plastically through the symbolism that he himself confers on the representation of certain beings and objects. By turning objects into symbols, Miró broke with the historical-narrative aspect, perspective and other traditional and realistic aspects of painting, leaving aside the description of reality. It is in this context that we can understand works as essential as this "Star and large signature", where the absolute protagonist is the message conveyed in a resounding manner, with nothing to diminish its impact. The star is a constant element throughout Miró's production; at times it is depicted as a stellar element per se, and at other times it symbolises the male presence, so that it is an ambivalent code, as a poetic expression of the vastness of the cosmos and the attraction that brings living beings together. On the other hand, his presence exemplifies the omnipresence in Miró's work of sublime forces, associated with a feeling of grandeur and cosmic mystery that has always impressed human beings.Joan Miró trained in Barcelona and made his individual debut in 1918 at the Galeries Dalmau. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective exhibition to him which was to be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale and the Guggenheim Foundation in Venice, the Carnegie Prize for Painting in Venice, the Gold Medals of the Generalitat de Catalunya and of the Fine Arts, and was awarded honorary doctorates by the universities of Harvard and Barcelona. His work can currently be seen in the most important museums in the world, such as the MoMA, the Guggenheim and the Reina Sofía.

GEORGES FERRATO (France, 1949)."Untitled.Oil on canvas.Signed and dated on the back.Size: 114 x 146 cm.French painter, born in Aix en Provence. He has participated in collective exhibitions all over the world, and among the individual ones we can mention: 2012 Paris - Exposition Cabinet Falala - Gabard - Drain, 2011 Italie, Alba- La Madernassa. Paris -Exposition Cabinet Falala - Gabard - Drain, 2010 Paris -Exposition Cabinet Delecroix-Gublin.Italie - Cherasco, Galerie Evvivanoé 2009 Paris -Exposition Cabinet Delecroix-Gublin New York -Exposition Galerie RVS Fine Art 2008 Paris -Exposition Cabinet Delecroix-Gublin New York -Exposition Galerie RVS Fine Art. Work in public collections: Musée d'Art Moderne, Dunkerque;Musée Picasso, Antibes;Musée, Orléans; Musée, Grenoble; Mécénat : Paris - Le Bon Marché, Deux mosaïques monumentales, L'Art des Voeux 2001, UNESCO

ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012)."Als Mestres de Catanlunya".Lithography. Copy H.C.Signed and justified in pencil.Size: 100 x 70 cm.This work belongs to the album "Als mestres de Catalunya", made up of eight lithographs and a silkscreen, including the one on the cover, published by Sala Gaspar in Barcelona and printed by Damià Caus (Barcelona, lithographs) and Alexandre Tornabell (Girona, silkscreen).Co-founder of "Dau al Set" in 1948, Tàpies begins to exhibit at the Salones de Octubre in Barcelona, as well as at the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Galerías Layetanas, he travels to Paris in 1950, with a grant from the Institut Français. In 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, he exhibited his work, both in group and solo shows, all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the 1970s, anthologies have been devoted to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style full of symbolism, giving great importance to the material substratum of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous prizes and distinctions, including the Praemium Imperiale of Japan, the National Prize for Culture, the Grand Prix for Painting in France, the Wolf Foundation for the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Prize for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums all over the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973)."Declinatoria de Picasso a Luis Felipe Vivanco", 1960.Drawing with crayons on paper.Signed, dated and dedicated.Size: 19,5 x 14 cm.Dedication from Pablo Ruiz Picasso to the architect Luis Felipe Vivanco, who wrote the Poem Goat (Picasso), published in issue IX of "Papeles de Son Armadans", December 1956.The creator of Cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "ElsQuatreGats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a brief period. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had met or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. Painting in these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange forms. Picasso is represented in major museums around the world, including the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.

GAYLORD SOLI (Dakota, USA, 1939)."Mariam, 2017.Oil on canvas.Signed, dated and titled on the back.Certificate of authenticity enclosed.Size: 67 x 61 cm; 97 x 81 cm (frame).Gaylord Soli's artistic production is imbued with a feeling of freedom and spontaneity in both image and technique. Thematically, an idea is allowed to metamorphose, expand and grow as the work is executed. The works he creates are based on his years of travels in Mongolia, Pakistan, Iran and the Amazon basin, and his lifelong fascination with primitive cultures. As the present work exemplifies, with a rich palate, he layers, sketches and textures his canvases in a unique kinship with early artistic and organic processes. His paintings show the influence of Picasso, Tamayo, Auerbach and Hans Hoffman, and are informed by a deep love of music and the spiritual.Gaylord Soli was born in 1939 on a farm in North Dakota, shortly after his parents emigrated from Oslo, Norway. At the age of three, Gaylord's family moved to Los Angeles, California. He has made Southern California his home ever since, and currently works daily in his studio in Orang County. Much of Gaylord's early years were spent on adventures around the world. These missions ranged from camera safaris to the Kalahari Desert in Africa, anthropological research on the native tribes of the Amazon River, studies of the Mayan ruins of Chitchen Itza on the Yukatan Peninsula, and the ancient world of Alexander the Great from Syria to Mongolia. All of these places and experiences have had a causal effect leading to the exotic overtones, the romantic spirit and, at times, a primitive quintessence found in Gaylord's paintings. Gaylord himself is quoted as acknowledging the profound influence these early experiences have on his art: "I have been fortunate to have travelled extensively around the world. This has allowed me to explore and experience primitive cultures. I think my art reflects these experiences. Having built a series of successful businesses around his passion for art and design, Gaylord Soli founded Clearwater Publishing in the 1980s and began producing high quality screen prints for fine artists such as Ivan Earl, Richard Diebenkorn, Mel Ramos and Peter Max.

Pablo Picasso (Spanish 1881-1973) for Madoura pottery, a Corrida aux Personnages charger (A.R.104), designed 1950, the rare reverse painted with a faun holding a branch, signed and inscribed ‘Picasso, 1st Septembre 1951’,from an edition of 50, stamped 'Madoura Plein Feu / Empreinte Originale de Picasso' to the reverse, with letter of Authentication from Alain Ramié of the Madoura pottery, dated 25th November 1996.38.7cm diameterTypical Fine crazing to the glaze. On the front and back there are a few small remants of sticky labels which will remove fairly easily. Slight wear to the glaze on small patches on the reverse where a metal hanger (now removed) has rubbed. Small unglazed patch to the reverse above the head of the faun which appears to be in manufacture.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 38.7cm diameter

Pablo Picasso (Spanish 1881-1973) for Madoura pottery, Danseurs [A.R. 388] plaque, 1956,white earthenware plaque with black and white glaze, from an edition of 500, stamped 'Madoura Plein Feu / Empreinte Originale de Picasso' to the reverse,18.5cm wideA little grubbiness to the cream slip decoration on the front. Fine incised line to the black ground between the arms of the left-hand dancer which is definitely in manufacture and does not show on the reverse of the plaque, the reverse with some very fine crazing to the glaze. In good condition with no restoration chips or cracks detected.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 18.5cm wide

PABLO PICASSO 'Sylvette', offset lithograph, 58cm x 45cm, in a vintage French frame.

PABLO PICASSO 'Mother and Child', 1946, rare pochoir, signed in the plate, edition of 500, ref.: Carman, 35cm x 25cm, framed and glazed. (Subject to ARR - see Buyers Conditions)

THREE BOOKS RELATING TO PICASSO

BLACK AND WHITE PRINT AFTER PICASSO, F/G, 53CM HIGH

After Picasso, three lithographs, Reclining nudes, published by Mourlot 1972, 40 x 50cm, unframed

* DONALD MORRISON BUYERS RSW (SCOTTISH 1903 - 2003),FRAGMENTS OF WINDoil on board, signed and dated '84image size 88cm x 103cm, overall size 94cm x 109cm Framed.Note: Donald Buyers studied at Gray's School of Art, Aberdeen from 1948-51. Soon after graduating he was employed as an art therapist with tuberculosis patients in the Aberdeen hospitals. While on honeymoon in Paris in 1955 he saw a retrospective exhibition of Picasso who, with Paul Klee became a lasting influence. Back in Aberdeen he made a living as a successful commercial artist for some years and then concentrated increasingly on his career as a painter. With three fellow artists, Eric Auld, Bill Baxter and Bill Ord, he formed the ABBO group in 1957 which was to exhibit extensively for many years throughout Scotland as well as in Newcastle and Birmingham. From 1963 to 1985 Buyers taught at Robert Gordon's Institute of Technology as well as being a visiting lecturer at Gray's School of Art. His work is represented in the collections of the Arts Council, Aberdeen Art Gallery and HRH The Duke of Edinburgh.

Picasso Giclée print portrait of Sylvette 109 of 595 signed by Sylvette David

A collection of pencil and pen and ink sketches with a number signed and in the style of L S Lowry (Laurence Stephen Lowry 1887-1976), another signed and in the style of Pablo Picasso with the inscription "Pour Pablo Cassalls 1959" in addition a sketch of a young woman signed and in the style of Harold Riley.

Paloma Picasso Signed postcard, Framed 23x28cm, with certificate of authenticity.

PICASSO, Pablo(1881 Málaga - 1973 Mougins) "Tanzende Satyrn und Flötenspieler"Farblinolschnitt nach dem Original. Unsigniert. Edition: Cercle d'Art, Paris 1962, Spadem & Cosmopress 1962. Blatt: 29 x 35 cm. Spanischer Maler, Grafiker und Bildhauer, zählt zu den bekanntesten Künstlern des 20. Jh.; Mitbegründer des Kubismus. "Wenn Kunstkritiker sich treffen, sprechen sie über Form, Struktur und Bedeutung. Wenn sich Künstler treffen, sprechen sie darüber, wo man preiswertes Terpentin kaufen kann." (Zitat: PP, https://beruhmte-zitate.de/autoren/pablo-picasso/. Literatur : WVZ Bloch Nr. 939.

PICASSO, Pablo(1881 Malaga - 1973 Mougins) "Suite Vollard"Verlag Arthur Niggli. Teufen Ar. 1956. 28,5 x 22 cm. Hundert Graphiken, die Picasso auf Anregung des Kunsthändlers und Verlegers Ambroise Vollard 1930-1937 geschaffen hat. XXIV Textseiten mit einer Einleitung von Hans Bolliger. 100 Abbildungen auf Tafeln. Illustrierter Leinen-Einband Buchdeckel verzogen, Schnitt verschmutzt. * Partnerauktion Bergmann. Provenienz : Ehemals Sammlung Joseph Eduard Drexel, 1896 München - 1976 Nürnberg, Verleger. 1945 Gründer der Tageszeitung: Nürnberger Nachrichten.

PICASSO, Pablo((1881 Malaga - 1973 Mougins)) "La Guerre et la Paix"Editions Cercle d'Art. Paris. 1954. 37,5 x 27 cm. Texte de Claude Roy. 153 Seiten mit zahlreichen Abbildungen. Französischer Text. Bleistift-Widmung im Vorsatz. Im hinteren Vorsatz zwei faltbare lose Tafeln. Leinen-Einband, Klarsicht-Umschlag Klarsichthülle an oberer Ecke defekt. * Partnerauktion Bergmann. Provenienz : Ehemals Sammlung Joseph Eduard Drexel, 1896 München - 1976 Nürnberg, Verleger. 1945 Gründer der Tageszeitung: Nürnberger Nachrichten.

PICASSO, Pablo(1881 Málaga - 1973 Mougins) 2 Werke aus "La Guerre et la Paix"2 Granolithografien auf BFK Rives-Bütten. Je 444/2000, Editeur: Musée National/Maquelli, 1993. Blatt 33 x 25 cm, bzw. 25 x 33 cm, im Passepartout: 40 x 30 cm, bzw. 30 x 40 cm. Nach den Skizzen vom 19.8.52 aus "La Guerre et la Paix" Spanischer Maler, Grafiker und Bildhauer, zählt zu den bekanntesten Künstlern des 20. Jh.; Mitbegründer des Kubismus. "Wenn Kunstkritiker sich treffen, sprechen sie über Form, Struktur und Bedeutung. Wenn sich Künstler treffen, sprechen sie darüber, wo man preiswertes Terpentin kaufen kann." (Zitat: PP, https://beruhmte-zitate.de/autoren/pablo-picasso/).

PICASSO, Pablo(1881 Málaga - 1973 Mougins) Liegender Akt und Gitarre spielender PicadorGranolithografie auf Bütten. Blindstempel "Picasso". [Nach einem Linolschnitt von 1962]. Exemplar: 190/333, Blindstempel "Pablo Picasso Spadem Edition of 333". Passepartoutausschnitt: 36 x 26 cm, im Passepartout: 50 x 40 cm. Spanischer Maler, Grafiker und Bildhauer, zählt zu den bekanntesten Künstlern des 20. Jh.; Mitbegründer des Kubismus. "Wenn Kunstkritiker sich treffen, sprechen sie über Form, Struktur und Bedeutung. Wenn sich Künstler treffen, sprechen sie darüber, wo man preiswertes Terpentin kaufen kann." (Zitat: PP, https://beruhmte-zitate.de/autoren/pablo-picasso/).

PICASSO, Pablo(1881 Malaga - 1973 Mougins) Suite de 180 Dessins de Picasso36 x 27 cm. Mit farbig lithographiertem Titel und 12 Farblithographien. 167 Tafeln nach Zeichnungen von Picasso. Druck der Farblithographien bei Mourlot. Editions de la Verve, Paris 1954. Illustrierter Papp-Einband Rücken defekt. Picasso, eigentlich Pablo Ruiz y Picasso, Maler, Grafiker und Bildhauer. Studierte in Barcelona und Madrid. Seit 1904 in Paris ansässig. Einer der bedeutendsten Künstler des 20. Jahrhunderts * Partnerauktion Bergmann. Provenienz : Ehemals Sammlung Joseph Eduard Drexel, 1896 München - 1976 Nürnberg, Verleger. 1945 Gründer der Tageszeitung: Nürnberger Nachrichten.

Designer-Anhänger mit Opalen und Mondstein an Kette Silber 925 gestempelt, geprüft. Anhänger Ø 5,5 cm. Kette L 62 cm. 58,2 g. Picasso-Stein mit montierten, zargengefassten Opalcabochons und Mondsteincabochon an Erbskette mit Karabinerschließe

Make & Model: Citroen C3 Picasso VTR+ HDIDate of Reg: YT60 NRLColour: Silvercc: 1560MoT: 11-09-2022Fuel Type: DIESELMileage: 151kTransmission: MANUALSummary:

Make & Model: Citroen C4 G Picasso VTR+HDIDate of Reg: VA11 TMZColour: Blackcc: 1560MoT: 07-12-2022Fuel Type: DIESELMileage: 104kTransmission: MANUALSummary: Being offered due to impending retirement.

Make & Model: Citroen C3 Picasso ExclusiveDate of Reg: AP10 FVGColour: Beigecc: 1560MoT: 14-10-2022Fuel Type: DIESELMileage: 109kTransmission: MANUALSummary: Two registered keepers with the last registered keepers since April 2017. Five service stamps and a selection of receipts. Two keys (not tested)

BAKST (LEON)The Designs of Léon Bakst for the Sleeping Princess. A Ballet in Five Acts after Perrault, Music by Tchaikovsky, Preface by André Levinson, NUMBER 88 OF 1,000 COPIES, portrait after Picasso and 56 mounted colour plates by Bakst (54 full-page), light toning, untrimmed in publisher's vellum-backed cloth, soiled, small chip to one joint, folio, Benn Brothers, 1923This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

A large quantity of maps, posters etc including Picasso, Glamorgan, the West Country etc

PALOMA PICASSO; a leather shoulder bag with zip compartment to interior and Paloma Picasso logo fabric with gilt shoulder chain, a Jane Shilton burgundy leather handbag with central compartment with clasp and open compartment to either side, gilded metal design to the handles, a Loni black leather clutch bag and a Jane Shilton burnt orange leather clutch bag with red and gilt clasp (4).

Pablo Ruiz Picasso (1881-1973)-graphic, Three lithographs on paper, hand numbered and dated 1964. 33x25cm

Framed Picasso style picture of flamingo, dog, penguin, 10 x 105 cm. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

A crate and box of hardback and soft back books, Painters, Picasso, Monet, Lowry etc

PABLO PICASSO 'Sur la Plage', scarce pochoir (after the watercolour), published in 1924 by Alfred Morance for L'Art D'Aujourd'hui, 20cm x 25cm, in a gilt vintage frame. (Subject to ARR - see Buyers Conditions)

PABLO PICASSO, cubist pochoir, 1929, signed in the plate, 'L'Art Cubiste' portfolio, ref: Moreau, 18cm x 25cm, in a reclined frame.

PABLO PICASSO 'Study for a Blue Ceramic Plate', quadrichrome, suite: Ceramiques, 28cm x 35cm, in a vintage French frame.

After Picasso, mixed media, Seated female nude, 22 x 16cm

Limited edition Picasso print with blindstamp, a giclee print of Turner and two modern mirrors (4)

Pablo Picasso (after). “Portrait of Madame Zâ€. Circa 1980. Embossed copper plate installed on a wooden panel. Marked "Picasso" at the bottom center. - Sizes: H: 160 mm L: 160 mm - Weight (K): 0,4kg - Condition: at first sight - good condition - no restoration - no repair - Author / artist: PABLO PICASSO (d’apres)

A framed poster advertising the Pablo Picasso: A Retrospective exhibit held at MoMa in 1980, a comprehensive exhibit of Picasso's works. H:37in(94cm) W:23in(58.4cm)

Farblithografie, ¨La colombe de la paix¨, unten rechts im Druck signiert ¨Picasso¨, ca. 64x46,5cm (in Passepartout), gerahmt (78x59cm)

Fritz Kronenberg (Köln 1901 - Hamburg 1960). Watt vor Sylt. 1946. Aquarell über Federzeichnung, 39,5 x 53,5 cm, l. u. sign. und dat. Fr. Kronenberg 46, unter Passepartout und Glas gerahmt, ungeöffnet. - Maler und Graphiker. Gemeinsam mit K. Kluth studierte K. an der Kunstschule Köln und der Karlsruher Akademie. In Paris unterhielt er 1925 ein Atelier. In Hamburg wurde er 1932 Mitglied der Sezession und schloß Freundschaft mit E. Maetzel und I. Hauptmann. Entscheidend für seine Kunst waren aber die Begegnungen mit Braque, Picasso und Juan Gris in Paris 1925. Einige seiner Arbeiten wurden von den Machthabern 1937 als 'entartet' beschlagnahmt. K. zog sich in die innere Emigration zurück und malte auf Hiddensee. Nach dem Krieg kehrte K. nach Hamburg zurück und wurde Mitglied des Deutschen Künstlerbundes und der Freien Akademie. 1958 erhielt er den Edwin-Scharff-Preis. Mus.: Hamburg, (Kunsthalle, Altonaer Mus., MK&G u.a.), Schleswig (SHLM), Flensburg. Lit.: Vollmer, Der Neue Rump, Bruhns u.a. Kronenberg, Fritz (Köln 1901 - Hamburg 1960). Mudlands off Sylt. 1946. Watercolour over pen an ink drawing, 39,5 x 53,5 cm, lo. le. sign. and dat. Fr. Kronenberg 46, matted and framed under glass, uninspected out of frame. - Painter and graphic artist. K. studied at the Cologne and Karlsruhe Academies. In 1925 he had a studio in Paris. He became member of the Hamburg secession and friends with E. Maetzel adn I. Hauptmann. Encounters with Braque, Picasso and Gris in Paris were crucial for his art. Mus.: Hamburg, (Kunsthalle, Altonaer Museum, Museum für Kunst u. Gewerbe a. others), Schleswig (SHLM), Flensburg. Lit.: Vollmer, Der Neue Rump, Bruhns a. others.

Vase en verre de Murano, Vase Picasso smile Vase en verre de Murano, Vaas Picasso smile H 37.5 cm

Pablo PICASSO (1881-1973) Print/Lithograph, signed in the plate and numbered 12/50. Print/Lithografie, getekend in de plaat en genummerd 12/50 30 x 23 cm

Pablo PICASSO (1881-1973) Lithography numbered 38/50, signed in the plate and with stamp. Lithografie genummerd 38/50, getekend in de plaat en met stempel 22 x 16.5 cm

A selection of 11 books to include : 'Catalogue du Musée Rodin' 1927, 'L'Art' Auguste Rodin 1919, 'Poets Corner' 1943, 'She-Shantic' 1930, 'The Oxford & Cambridge History of England', 'The German New Order in Poland'1942, 'British Critic' 1822, 'Picasso Early Years', 'The Art- Revival in Austria' 1904 and others.Condition ReportAll used condition. Scuffs and rips to spines, yellowing. Sellotape repair to the German new order.

Zdenek Furbacher (Czechoslovakian): after a design by Pablo Picasso: A Crystalex Glass Carafe and Six Matching Glasses, circa 1985, black enamel decoration, unmarked, carafe 23cm high largest glass 17cm high (7)

PICASSO, Pablo, NACH (1881-1973), "Torrero", Stierkampf, Serigraphie/Papier, im Druck signiert 'Picasso', HxB: Darstellung ca. 47x55 cm, Blatt ca. 58x78 cm, Außenmaße Rahmen ca. 88x108 cm. Mit Passepartout hinter Glas gerahmt. Minim. Altersspuren.| PICASSO, Pablo, NACH (1881-1973), "Torrero", Bullfight, serigraph/paper, signed 'Picasso' in the print, HxW: image approx. 47x55 cm, sheet approx. 58x78 cm, outer dimensions of frame approx. 88x108 cm. Framed with passe-partout behind glass. minimum signs of age.| BEI EINEM ZUSCHLAG ÜBER € 400 MÜSSEN 4% URHEBERRECHT AN DIE VG BILDKUNST ABGEFÜHRT WERDEN.

Pablo Picasso (1881-1973) Offset lithograph of the linocut print entitled 'Before the goading of the bull' published in New York circa 70s/80s. Signed with a stamped signature. Frame size approx 21 ½ x 18 ¾ inches (Glazed)

 Collection of 7 x prints,  Georges Braque lithograph Galerie Maeght Exposition Circa 1950's (Mourlot), Marc Chagall lithograph Salon De La Lumiere Circa 1950's (Mourlot), Henri Matisse lithograph Galerie Maeght Circa 1950's (Mourlot), Pablo Picasso print Vollard suite Circa 1956, Henry Moore Shelter sketch print circa 1940's, Eric Gill engraving from 25 Nudes Circa 1938, Elisabeth Frink lithograph Circa 1975. All mounted but unframed, approx overall sizes 16 x 12 inches. Cellophane wrapped.