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Toegeschreven aan Pablo Picasso (1881-1973) Figuren en paard ets, 9 x 12,3 cm. [1] attributed to Pablo Picasso (1881-1973), etching

Toegeschreven aan Pablo Picasso (1881-1973) Figuren ets, hele blad 23 x 28 cm. [1] attributed to Pablo Picasso (1881-1973), etching, full sheet size 23 x 28 cm.

Toegeschreven aan Pablo Picasso (1881-1973) Figuren ets, hele blad 23 x 17 cm. [1] attributed to Pablo Picasso (1881-1973), etching, full sheet size 23 x 17 cm.

Picasso, Pablo (1881-1973).Druckgraphik 18/500; seitliche Skizze, Halbportrait, unten mittig bezeichnet "Picasso" und nummeriert "18/50". Rahmen vorne oben restauriert. Gerahmt unter Glas mit Passepartout; Bildmaße ca. 21 x 21 cm, Rahmenmaße 45,5 x 45,5 cm; nicht geöffnet. Gewicht ca. 2,18 kg.

AFTER PABLO PICASSO "Paysage au ciel bleu" AKA "Bacchanal with pair of lovers" lino cut bearing signature within the print bottom left, image size 38.5 cm x 46 cm

STYLE OF PABLO PICASSO, ABSTRACT HEAD ON A STAND, OIL ON BOARD, HEIGHT 97CM

After Pablo Picasso. Don Quixote, monochrome print, 49.5cm x 35cm.

Pablo Picasso (1881-1973), nach, ''Vive la Paix'', Lithographie nach der Tuschzeichnung auf Papier, u. re. im Druck sign., gebräunt, 63 x 50 cm, hinter Glas ger. 69 x 54 cm

Pablo Picasso (1881-1973), nach, ''Friedenstaube'', Farblithographie, u. re. im Druck sign. u. dat. 10. mai 1962, gebräunt u. min. fleckig, 53 x 75 cm, hinter Glas ger. 55 x 78 cm

Pablo Picasso (1881-1973), ''La Danse du Berger'', 1959, Der Tanz des Schäfers, Lithographie auf genarbtem Papier, im Stein signiert und datiert ''17.11.59'', 47 x 37 cm, hinter Glas ger. 68 x 51 cm

Pablo Picasso (1881-1973), nach, ''Pan'', Offset nach der Lithographie von 1948, u. re. im Druck sign., hinter Glas ger. 52 x 42 cm

PABLO PICASSO, 'Guapo Picador, seated Picador and three other Picasso Toros studies' lithographs, 35cm x 26cm, largest, framed. (5)

PABLO PICASSO, 'Deux Buveurs Catalans, Minotaure Buveur et Femmes and three other studies' lithographs, 19cm x 23cm x 26cm x 36cm and various, framed.

AFTER PABLO PICASSO (Spanish 1881-1073) 'Le Coq', off set lithograph, 51.5cm x 37.5cm, framed.

PABLO PICASSO (Spanish 1881-1973) 'The Flowers of Peace, 1958', lithograph in colour on wove paper, signed and dated in the plate, 65cm x 50cm, framed.

PABLO PICASSO (Spanish 1881-1973) 'Flowers, 1961', lithograph in colour on wove paper, signed and dated in the plate, 65cm x 50cm, framed. (Subject to ARR - see Buyers Conditions)

PABLO PICASSO, Mother and Child, signed in the plate, lithograph and pochoir 1946, ref 15 drawings, printed by Albert Carman French vintage Montparnasse frame, 33.5cm x 25cm. (Subject to ARR - see Buyers Conditions)

AFTER PABLO PICASSO, Rare portrait de Mme Z Jacqueline Roque on silk, ref: Spadem, 86cm x 84cm.

PABLO PICASSO, Sylvette, offset lithograph signed in the plate, vintage French frame, 67cm x 37cm. (Subject to ARR - see Buyers Conditions)

PABLO PICASSO, Il pasto, edition 200, rare pochoir suite: Venti pochoirs, 1955, French vintage frame, 21cm x 28cm. (Subject to ARR - see Buyers Conditions)

PABLO PICASSO, Bacchanal with four clouds, linocut, 1962, suite: Linogravures French vintage Montparnasse frame, 27cm x 32.5cm.

Henri Matisse "Jazz", 20 lose Doppelblätter mit den Scherenschnitten von 1947, originalgetreues, limitiertes Faksimile von 2009 Henri Matisse, 1869 Le Cateau-Cambrésis - 1954 Cimiez/Nizza, französischer Maler, Grafiker, Zeichner und Bildhauer. Er zählt mit Pablo Picasso zu den bedeutendsten Künstlern der Klassischen ModerneIm Jahre 1947 veröffentlichte Henri Matisse das Künstlerbuch „Jazz“. Es handelt sich dabei um eine Sammlung von Papierschnitten. Der Taschenverlag hat 2009 ein limitiertes Werk veröffentlicht, das aus einem Faksimile des Künstlerbuches „Jazz“ und dem Buch „Cut-outs“ besteht. Ziel des Verlags bei der Jazz-Ausgabe, die aus losen Blättern besteht, war dem Original möglichst nahe zu kommen. Um eine farbgetreue Wiedergabe zu erreichen, wurden 18 speziell angemischte Farben hergestellt. Der Druck erfolgte auf losen Bögen mit einer beeindruckenden Oberflächen - Haptik in einer italienischen Papierfabrik, hier: Die 20 losen Doppelblätter mit den berühmten Scherenschnitten; einige Blätter mit leichten, kaum störenden, rückseitigem Feuchtigskeitsrändern, 10 Blätter oben links, meist nur rückseitig oder auf den Textseiten, wasserrandig - nur eine einzige Darstellung ist vorderseitig links oben dadurch beeinträchtigtFormat: 60,0 x 38,6 cm

Pablo Picasso (nach) & Joan Miró, 25 Lithographien aus GaleriennachlassPablo Picasso, nach, 1881 - 1973, Verve Vol. 8, Nr. 28-39, 1954, Suite de 180 Dessins de Picasso, The Human Comedy, 28 November 1953 au 3 Février 1954, 15 Farblithographien, dazu Titelseite, Blattgröße 35,5 x 26 cm, dazu Einband "Carnet de la Califnornie" 1959, mit Altersspuren // Joan Miró, 1893 - 1983, Lithographe, 4 Einzelblätter und 5 Bögen aus Lithographe I, Nr. III, VI, VIII, IX, X

Georges Braque, "Verre et Journal" und Pablo Picasso „Le Goût du Bonheur“George Braque, 1882 - 1963, "Verre et Journal", Farblithographie/Velin, 39 x 28 cm, Trockenstempel Maeght Editeur Paris, nummeriert 64/300, lichtrandig, o. Rahmen sowie Pablo Picasso, 1881 - 1973, Männerporträt II aus „Le Goût du Bonheur“, Farblithographie, Blattgröße 33 x 25 cm und 32,5 x 25 cm, im Druck datiert 16.5.64 und nummeriert II

Wassily Kandinsky - Franz Marc - Pablo Picasso, 3 frühe lithographische Drucke (u.a. Piper/ München) nach Originalen, 2 x gerahmtWassily Kandinsky (1866 - 1944) " Petits Mondes" von 1922, 62 x 62 cm, Druck um 1960, zeitgenöss. gerahmt -- Franz Marc (1880 - 1916), Liegende Gazelle (1914), 40 x 46 cm, seltener, früher Piper- Druck um 1930 in schöner Erhaltung -- Pablo Picasso (1881 - 1973), "Colombe volant" von 1952, 55 x 70 cm, Druck um 1960, zeitgenöss. gerahmt

Interessantes Graphikkonvolut mit 30 Arbeiten der Moderne und einem Original, u.a. Ludwig Wilding (mit Katalog), K. G. Pfahler, Hap Grieshaber, Fritz Köthe30 moderne Graphiken und ein Original, darunter: Martin Conrath, 3 x Ludwig Wilding mit Katalog, Arcangelo, Paul Wunderlich, Michael Langer, Hap Grieshaber, Gunter Reski, 2 x Georg Karl Pfahler, Rudi Baerwind, Arnuf Wallner, Pablo Picasso, Marc Vaux, 3 x Nils Haglund, 4 x Fritz Köthe, Günther Dohr - Selbstbesichtigung empfohlen!

Eugeniusz Zak (Polish, 1884-1926)A Young Man in Profile signed 'Eug. Zak' (upper left)mixed media on paper46.0 x 37.5 cm (18 1/8 x 14 3/4 in).framed 52.5 x 43.75 x 3.5 cm (20 2/3 x 17 1/5 x 1 2/5 in).Footnotes:ProvenanceVladimir Raykis, Galerie Zak, Paris. Alfred Tarski, Berkeley, California (acquired from the previous September 17, 1958).Estate of Eva Kristina Ehrenfeucht (by family descent from the previous).N.B.Born in Belarus to Polish-Jewish parents, Eugeniusz Zak studied art in Paris at the École des Beaux-Arts under Jean-Léon Gérôme and at the Académie Colarossi with Albert Besnard. He worked on idyllic landscapes and Arcadian scenes populated by shepherds and fishermen during this time. With the outbreak of World War I, Zak moved to Poland. During the following period he painted several works depicting the same sitter in the same position. One of these is the well-known Young Acrobat, 1919 (sold at Skinner Boston in 2017 and previously exhibited at Towarzystwo Zachety Sztuk Pieknych, Warsaw), which bears many similarities to the present painting. These paintings all depict a solemn figure in a sparse interior setting and recall Pablo Picasso's Rose and Blue Period paintings, as well as the elongated figures of Amedeo Modigliani's works. Often associated with the group of early twentieth-century artists known as the École de Paris, Zak was sure to have been familiar with the works of Picasso and Modigliani. Zak's stylized and graceful figures also bear the influence of his interest in Renaissance artists like Sandro Botticelli. Returning to Paris in 1923, Zak's works maintained the nostalgic and melancholic tone he had adopted during the war.Along with his wife, Maria, Jewish-American logician and mathematician Alfred Tarski was an avid collector of Polish art and amassed an impressive collection of works from some of Poland's most influential artists. Like many artists in their collection, Mr. Tarski was born in Warsaw, Poland to Jewish parents in 1901. Mr. Tarski was educated in Poland at the University of Warsaw and became a member of the Lwów–Warsaw School, one of the most important schools of Polish logic and philosophy, and of the Warsaw School of Mathematics. In 1929 he married Maria Witkowska and they began collecting art. Maria worked as a courier for the army in the Polish–Soviet War. They had two children together, and in 1939 the family immigrated to the United States where Mr. Tarski taught and carried out research in mathematics at the University of California, Berkeley until his death in 1983.For further information on this lot please visit Bonhams.com

Eugeniusz Zak (Polish, 1884-1926)A Young Man in Profile signed 'Eug. Zak' (upper right)oil on canvas mounted on paperboard53.0 x 37.0 cm (20 7/8 x 14 9/16 in).framed 41.0 x 57.0 x 3.0 cm (16 1/8 x 22 3/8 x 1 1/5 in).Footnotes:ProvenanceVladimir Raykis, Galerie Zak, Paris. Alfred Tarski, Berkeley, California (acquired from the previous September 17, 1958).Estate of Eva Kristina Ehrenfeucht (by family descent from the previous).N.B.Born in Belarus to Polish-Jewish parents, Eugeniusz Zak studied art in Paris at the École des Beaux-Arts under Jean-Léon Gérôme and at the Académie Colarossi with Albert Besnard. He worked on idyllic landscapes and Arcadian scenes populated by shepherds and fishermen during this time. With the outbreak of World War I, Zak moved to Poland. During the following period he painted several works depicting the same sitter in the same position. One of these is the well-known Young Acrobat, 1919 (sold at Skinner Boston in 2017 and previously exhibited at Towarzystwo Zachety Sztuk Pieknych, Warsaw), which bears many similarities to the present painting. These paintings all depict a solemn figure in a sparse interior setting and recall Pablo Picasso's Rose and Blue Period paintings, as well as the elongated figures of Amedeo Modigliani's works. Often associated with the group of early twentieth-century artists known as the École de Paris, Zak was sure to have been familiar with the works of Picasso and Modigliani. Zak's stylized and graceful figures also bear the influence of his interest in Renaissance artists like Sandro Botticelli. Returning to Paris in 1923, Zak's works maintained the nostalgic and melancholic tone he had adopted during the war.Along with his wife, Maria, Jewish-American logician and mathematician Alfred Tarski was an avid collector of Polish art and amassed an impressive collection of works from some of Poland's most influential artists. Like many artists in their collection, Mr. Tarski was born in Warsaw, Poland to Jewish parents in 1901. Mr. Tarski was educated in Poland at the University of Warsaw and became a member of the Lwów–Warsaw School, one of the most important schools of Polish logic and philosophy, and of the Warsaw School of Mathematics. In 1929 he married Maria Witkowska and they began collecting art. Maria worked as a courier for the army in the Polish–Soviet War. They had two children together, and in 1939 the family immigrated to the United States where Mr. Tarski taught and carried out research in mathematics at the University of California, Berkeley until his death in 1983.For further information on this lot please visit Bonhams.com

After Pablo Picasso (1881-1973) 6 Book Plate lithographs from the Vollard Suite, 28 x 21.8 cm (SH) (6), to include: Plate 72: Nude model and sculptures Plate 73: model and large sculpture viewed from behind Plate 78: Seated woman and woman viewed from behind Plate 84: Minotaur caressing a woman Plate 86: Woman gazing at the seated Minotaur Plate 88: Wounded Minotaur VI

After Pablo Picasso (1881-1973) Home et Femme Nue, 1967, framed bookplate, 17.5 x 14.5 cm (i), frame 40 x 32 cm, together with a further bookplate print after Henri Matisse (1869-1954) Femme Endormie, 1936, 18 x 26 cm, frame 34 x 40 cm (2)

▴ Pablo Picasso (Spanish, 1881-1973),'Visage' (A.R. 290), a ceramic bowl, centred to the inside with a face, the outside with incised panels, inscribed 'Edition Picasso/Madoura',13cm diameterConceived in 1955 and executed in an edition of 500. Literature: Alain Ramié, 'Picasso: Catalogue of the Edited Ceramic Works 1947-1971', Galerie Madoura, 1988, no. 290.Condition ReportRubbing to the underside of the bowl. Minor chip to the top rim, roughness and rubbing to the top rim.Acquired by the vendor's late father during the 1980s from auction. 

A collection of posters, including: Tate Gallery David Hockney: A Retrospective Exhibition poster, October 1988- January 1989; Francis Kyle Gallery Philip Hughes Exhibition poster, May- June 1989; 'Bust and Palette, 1925 - Pablo Picasso' poster, DACS 1994; and others, each unframed.

Pen and ink sketch, ‘Portrait de Maria Dalbaicin’, indistinctly signed and dated ‘94, Details verso regarding Pablo Picasso, 37 x 54cm; Barry Ebner (Contemporary) etching, Nude female, embossed blind stamp for B.a.D. San Diego, limited edition 3/7 signed in pencil, whole leaf 19.5cm x 11cm and Tessa Christie (b.1941) abstract oil on board, ‘Conflict’, 57 x 58cm

A print by Pablo Picasso

Pablo Picasso (Málaga 1881 – 1973 Mougins). „Peintre et demi-figure et modèle au chignon“. 1966/68Aquatinta auf Velin. 24,6 × 38 cm (39,2 × 49,7 cm) (9 ⅝ × 15 in. (15 ⅜ × 19 ⅝ in.)). Signiert.Baer 1407 B/b/2 (von C).–Einer von 50 nummerierten Abzügen. Paris, Galerie Louise Leiris, 1968. [3195]Zustandsbericht: Ex. 8/50. Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Im Passepartoutausschnitt schwach gebräunt. Stellenweise schwache Schmutzflecken. Rückseitig in der linken Blatthälfte ein schwacher Fleck. Rückseitig entlang des Blattrands umlaufend Klebebandrest einer ehemaligen Montierung.Wir berechnen auf den Hammerpreis 32% Aufgeld.

PABLO PICASSO, 'Still life with guitar', giclee, signed 'collection domaine Picasso', numbered 115/500, framed. (Subject to ARR - see Buyers Conditions)

PABLO PICASSO, 'Bust de femme avec auto portrait', gicleé lithograph, 58cm x 49cm, signed, framed. (Subject to ARR - see Buyers Conditions)

PABLO PICASSO, L'Atelier De Cannes, rare lithograph printed in colours on wove paper, signed and dated in the plate 1958, Mourlot, 44cm x 31cm, French Montparnasse frame. (Subject to ARR - see Buyers Conditions)

 Pablo Picasso (1881-1973) A limited edition print 145/200 on Fabriano paper published by 'The Picasso Foundation' Spain with the official Picasso blind stamp and publisher's information on the back of the artwork. Frame size approx  31 x 21 inches

Pablo Picasso (1881-1973) collection of 6 x prints from The Vollard Suite mainly nudes published in 1956. All mounted but unframed. Approx sizes 16 x 12 inches

Pablo Picasso (1881-1973) Plate signed lithographic print 'Exposition Vallauris' 1955 published in 1959 lithography by Fernand Mourlot France. Frame size approx 18 x 15.5 inches.

† Piero Fornasetti (Italian 1913-1988) 'Adam' and 'Eve' Coaster Sets, circa 1965 comprising 16 coasters, printed manufacturer's marks (to reverse of each coaster), porcelain, in original boxes Dimensions:Adam Coasters: 10.5cm diameter (4 1/8in diameter); Eve Coasters: 9.8cm diameter (3 7/8in diameter) Note: Piero Fornasetti: Designer of Dreams Our work is without limits, full time. There is no schedule, day or night. I translate my dreams into reality, whatever I do. Piero FornasettiPiero Fornasetti’s oeuvre stands as a testament to his lifetime obsession with art and design. Unrelenting in his pursuit of ornate decoration, irony and illusion, Fornasetti created a unique dream-like world blending classical and exotic imagery to create a globally recognised style that has withstood the test of time.From the very beginning of his career, Fornasetti’s purpose and direction was always clear to him, as he recalled in 1987: ‘I was born a painter. I began at the age of ten. Nobody in the workshops where I went could teach me. I learned from books, lithography and etching, all this before the founding of specialised schools.’The roots of Fornasetti’s designs are firmly placed in the past. Over his lifetime he collected an extensive library of engravings which fuelled his imagination with Classical and Renaissance imagery. These images became the basis of all Fornasetti’s work and whilst his designs were never taken from any particular print, he recreated their likeness through the meticulous use of lines and dots. Fornasetti was an excellent draughtsman and printer and evolved the concept of the engraving aesthetic through playful use of scale and composition. Within the sale this is demonstrated with the Adam and Eve coasters (Lot 218) where Fornasetti portrays this well-known story across 16 different coasters. By taking the image away from a more traditional context, Fornasetti introduces his style to a whole new audience and by breaking down the image into individual parts he encourages the viewer to use their imagination to complete the picture.Further influences came from Surrealist Metaphysical paintings by Alberto Savinio and Giorgio de Chirico, as well as artists like Pablo Picasso and Jean Cocteau. Fornasetti embraced the playful ideas of Surrealism, injecting a sense of humour and irony into his work. He was also fascinated by the correlation between architecture and furniture in that both have façades and doors which open to reveal interior spaces.In the 1950s Fornasetti embarked on a collaboration with Gio Ponti which was to bring the two men international recognition. Both were devoted to ideas of over-decoration and set about designing pieces which conjured illusions to hide the functionality of the object. By adapting 17th- and 18th-century prints to the exact dimensions of bureau desks Fornasetti transformed each one into a piece of monumental Italian architecture completely disguising their original purpose. Perhaps it is not surprising that Ponti’s belief in his long-time collaborator’s ability was so great that he proclaimed he had the ability to ‘make an object speak’.Fornasetti’s chair backs of Ionic and Corinthian capitals are perhaps the most well-known examples of his use of classical architecture. Two original examples from 1950s, together with a Renaissance inspired ‘Boomerang’ chair, are presented in this sale (lots 219, 220, and 221). Musical instruments were a favourite motif for Renaissance artists and Fornasetti immersed himself in this tradition. He was especially intrigued by their shape and the sound images that they evoked.Around this time the principles of Modernist design were starting to gain popularity. Ornamentation and representation of historical and natural references had fallen out of fashion in favour of a simplistic function- led approach. Unfortunately for Fornasetti these were the very things that he had dedicated his life to creating and subsequently with time his designs started to lose their appeal. However, he was resolute in his approach, arguing that an artist who compromised their beliefs in order to be successful was no longer an artist. He stated:‘He is a person who wants to have success. If he conforms to fashion, he will arrive late because by now everyone has already conformed. Therefore, perhaps the idea is not to conform but to be original. For example, I am suggesting the idea of creating fashion items that never go out of fashion.’England was central to the rediscovery of Fornasetti in the 1980s when two designers Guiliana Medda and Lilianne Fawcett opened their shop Themes and Variations in London. Selling a wide selection of Fornasetti objects they encouraged a revival of 1950s fashions. In 1991 the Victoria & Albert Museum held a comprehensive retrospective of Fornasetti’s work supported by his son Barnabus. This led to a resurgence of interest in and the popularity of the artist which has lasted ever since. It is thus fitting that when he died in 1988, the card announcing Fornasetti’s death simply said: ‘My fantasy is always with you’.

§ After Pablo Picasso (1881-1973) A portfolio of five unframed lithographic prints to include: Notre Dame, 206/500; Femme Assise, 5/500; Fillette Couronee au Bateau, 477/500; Paysage de Dinard, 43/500; and Paysage, 176/500each signed 'Collection of Marina Picasso' by his granddaughter (lower right), bearing blindstamps and accompanied by certificates of authenticity73.5 x 54cm

§ Pablo Picasso (1881-1973) exhibition poster for Galerie Lucie Weill, 1967-1968offset lithograph, published by Mourlot, unframed67.5 x 49cm

§ After Pablo Picasso (1881-1973) a framed poster for Museo Picasso, 196672 x 48cm

§ Pablo Picasso (1881-1973) exhibition poster for Vallauris, Biennale Internationale, 1974offset lithograph, unframed65 x 46cm

MATISSE, Henry (nach / after)(1869 Le Cateau Cambrésis - 1954 Nizza) "Nu"Siebdruck. [1948]. Edition Sabam, 2003. Blatt: 59 x 50 cm. Französischer Maler, Grafiker, Zeichner und Bildhauer; Wegbereiter des Fauvismus; zählt neben Pablo Picasso zu den bedeutendsten Künstlern des 20. Jh. "Wer eine Rose malen will, muß zuerst alle Rosen vergessen, die jemals gemalt geworden sind." (Zitat: HM, www.altertuemliches.at). Aufrufzeit 26. | Okt 2023 | voraussichtlich 18:13 Uhr (CET) MATISSE, Henry (after / after)(1869 Le Cateau Cambrésis - 1954 Nice) "Nu"Silkscreen. [1948]. Edition Sabam, 2003. Sheet: 59 x 50 cm. French painter, graphic artist, draftsman and sculptor; pioneer of Fauvism; counts, along with Pablo Picasso, among the most important artists of the 20th century. "Whoever wants to paint a rose must first forget all the roses that have ever been painted." (Quote: HM, www.altertuemliches.at). Call time 26 | Oct 2023 | expected 18:13 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

PICASSO, Pablo (nach / after)(1881 Málaga - 1973 Mougins) "Femme au Chapeau Fleuri"Farbsiebdruck auf Bütten nach dem Original von 1962. Edition Henri Segers, 1999. Blatt: 74 x 60 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/). Aufrufzeit 26. | Okt 2023 | voraussichtlich 18:15 Uhr (CET) PICASSO, Pablo (after / after)(1881 Málaga - 1973 Mougins) "Femme au Chapeau Fleuri"Color silkscreen on laid paper after the original of 1962. Edition Henri Segers, 1999. Sheet: 74 x 60 cm. Spanish painter, graphic artist and sculptor, is one of the most famous artists of the 20th century; co-founder of Cubism. "When art critics meet, they talk about form, structure and meaning. When artists meet, they talk about where to buy cheap turpentine." (Quote: PP, https://beruhmte-zitate.de/autoren/pablo-picasso/). Call time 26 | Oct 2023 | expected 18:15 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

After Pablo PICASSO (1881-1973) 'Les Demoiselles D'Avignon' a framed print.Manneret Graveur, Belinni imprimeurDimensions: (W:30 x H:40 cm)

Pablo Picasso, Lâ age de Soleil, framed and glazed etching. 47cm x 38.5cm

AFTER PABLO PICASSO, Seated woman, off set lithograph, French vintage frame, 33cm x 25cm.

PABLO PICASSO Malaga 1881 - 1973 Mougins: Violon et Bouteille. Farbige Reproduktion nach Picasso aus J. Cassou, „Papiers Collés 1910-1914“ um 1966. Vgl. Goeppert 137. - Eines von 300 Expl. Mit dem Namenszug in der Darstellung. Auf chamoisfarbenem BFK Rives. 44,5 x 57,8 cm. Ränder minimal gebräunt. Obere Ecken mit durchscheinenden Klebespuren. [bg]

PABLO PICASSO Malaga 1881 - 1973 Mougins: Buste au Corsage à Carreaux. Jacqueline im Profil nach rechts. Offsetlitho (stark verkleinert) nach Picassos gleichnamiger, 1957 entstandener Lithographie (1er état). Vgl. Bloch 849 und Mourlot 308 (Lithographie 1957). - Mit dem seitenverkehrten Datum „18.12.57.“ in der Darstellung und dem Namenszug unterhalb der Darstellung. 34,5 x 28 cm (Darst.). Auf chamoisfarbenem Vélin. Mit winzigem Randeinriss und schwachen -knickspuren. [ms]

Picasso, Pablo, *25. Oktober 1881, Malaga, +8. April 1973 , Mougins: "Visage" No 202 Ex. 193 von 500 von 1963 in MadouraDurchmesser 25cm Teller. Keramik mit Bemalung in Schwarz, Gelb, Rot, Blau und Grün. Mit Engoben dekoriert, sowie teilweise gebürsteter Glasur. Rücks. Von Hand bezeichnet "No 202 Edition Picasso 193-500 Madoura" . Chip im unteren Rand (1cm) keine Risse oder Farbverluste etc. z2.

Pablo Picasso Medaillen 1973 2xSilber 1xGold Nr 67/500Medaillen mit Portrait frontal , Rückseitig Auflagenstempel und Blindmarken, Datiert 1881 Nummeriert 067 sowie Editionsstempel und Legierungsziffer 999. zus 50 Gr. Goldmünze ebensolche Marken 3,3 G. Beschau "585" GG. Herg. V. "Münz Prägstatt München" selten. In Box mit Zertifikat.

Picasso, Pablo, *25. Oktober 1881, Malaga, +8. April 1973 , Mougins: Femme et Chien Jouant, 1953Pochoir -Grano- Lithographie auf Bütten, Edition Daco - gedruckt bei Matthieu Zürich. Nach dem Gemälde v. 1953 - Bildgröße 50x61,5cm, Papierformat 60x70cm ohne Rahmen, im oberen Randbereich min. Fingerspuren.

ALBERTO GIACOMETTI (1901-1966)Intérieur chez Tériade lithographic pencil on transfer paper41.9 x 31.9cm (16 1/2 x 12 9/16in).Executed circa 1961Footnotes:The authenticity of this work has been confirmed by the Comité Giacometti.ProvenanceTériade Collection, Paris and Greece (probably acquired directly from the artist).Private collection, Greece (a gift from the above).LiteratureFondation Giacometti, Giacometti's Artworks, Alberto Giacometti Database (AGD), online catalogue, no. AGD 4547 (illustrated).The following three drawings stand as a testament to the lifelong friendship between Alberto Giacometti and Tériade, the nomme de plume for Stratis Eleftheriades. A major figure in the history of Modern art, Tériade's reputation as a groundbreaking critic, aesthete and philosopher led him to sustain close friendships with the foremost artists and writers of the twentieth century. Tériade was a key supporter of Giacometti's work, publishing reviews and articles in his popular journal Verve as well as editing Giacometti's book Paris sans fin in 1969 after the latter's passing. Like Giacometti, Tériade was initially involved with the Surrealists in Paris but then sought to distance himself from the movement. Giacometti completed a series of painted and drawn portraits of Tériade between the 1920s and the 1960s, as well as numerous sketches of Tériade's home and studio. These interior scenes conjure a tender sense of intimacy and mutual support between the two friends.Tériade was born in 1897 on the Isle of Lesbos. He initially moved to Paris to study law, but found his true passion for art criticism under the wing of Christian Zervos, the editor of the famous journal Cahiers d'art. The present Greek private collection enjoyed a close and enduring relationship with Tériade on the Isle of Lesbos. Tériade gifted to the family a series of beautiful drawings and prints by Giacometti as well as other artists such as Pablo Picasso, Henri Matisse, Georges Braque and Marc Chagall (see lot 1).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

ARMAND GUILLAUMIN (1841-1927)Portrait d'André, fils de l'artiste signed 'Guillaumin' (upper right)pastel and pencil on paper42.5 x 33.9cm (16 3/4 x 13 3/8in).Executed circa 1903Footnotes:The authenticity of this work has been confirmed by the Comité Guillaumin. This work will be included in the forthcoming Vol. II of the Armand Guillaumin catalogue raisonné, currently being prepared by Stéphanie Chardeau-Botteri, Dominique Fabiani and Jacques de la Béraudière.ProvenanceGalerie Kleinmann, Paris, no. 745.Anon. sale, Sotheby & Co., London, 11 April 1962, lot 177.Edward Sackville-West Collection, 5th Baron Sackville, UK, no. 503 (acquired at the above sale).Eardley Knollys Collection, UK (by descent from the above in 1965).Mattei Radev Collection, UK (by descent from the above in 1991).Private collection, London (by descent from the above in 2009).The present work previously formed part of the Radev Collection, a prolific UK collection of more than 800 works of Impressionist & Modern Art. The collection was fostered by individuals associated with the Bloomsbury Group, a loose collective of artists, writers and philosophers who from the beginning of the twentieth century generated progressive and influential discourse on aesthetics, criticism, politics and sexuality. An offshoot of London's intellectual aristocracy, the group's shared ideals were in opposition to the bourgeois habits of Victorian life. Artists such as Duncan Grant and Vanessa Bell and writers such as Virginia Woolfe and E.M. Forster were among this cohort. A social group as well as a movement in thinking, the Bloomsbury Group's participants engaged in varied and complicated relationships which often transgressed British society's expectations of monogamy and heteronormativity. The Radev Collection was begun by the novelist and music critic Edward Sackville-West, 5th Baron Sackville, in the late 1930s. His friend and sometimes lover Eardley Knollys then inherited the collection upon Sackville-West's sudden death from an asthma attack in 1965. Knollys was an artist and art dealer who collected and traded in works by artists such as Amedeo Modigliani, Paul Gauguin, Pablo Picasso and Chaïm Soutine, whilst promoting and supporting his fellow emerging Modern British artists. Knollys was also a lover of Mattei Radev, an émigré who had escaped communist Bulgaria in 1950 by swimming to Turkey and stowing away in a cargo ship travelling from Istanbul to Glasgow. Radev became a fixture of London's artistic milieu, setting up a fashionable picture framing workshop in Fitzrovia with a loan from Knollys and becoming a keen collector of European and British Modern Art. Radev inherited the wider collection upon Knollys' passing in 1991.For further information on this lot please visit Bonhams.com

FERNAND LÉGER (1881-1955)Sculptures polychromes (Étude pour une affiche d'exposition) signed and inscribed 'F. Léger Galerie Louis Carré' (lower centre), inscribed 'Sculptures Polychromes' (upper centre and centre right) and further inscribed '16 janvier 53' (upper centre)gouache and pencil on paper68 x 51.4cm (26 3/4 x 20 1/4in).Executed in Paris in 1953Footnotes:ProvenanceAteliers Mourlot Collection, Paris (acquired directly from the artist).Mourlot Collection, Paris (by descent from the above).Acquired from the above by the present owner in 1993.Please note that the present work is accompanied by the lithographic poster, printed by the Ateliers Mourlot, for which it is a preparatory study.By the middle of the twentieth century, the Ateliers Mourlot in Paris had become the epicentre of innovation in French printmaking. Its director Fernand Mourlot had greatly expanded the activities of his grandfather Francois Mourlot's studio – founded in 1852 as a producer of fine wallpaper – by collaborating with leading Modern artists on traditional limestone lithography. Pablo Picasso, Alexander Calder, Marc Chagall, Henri Matisse and Fernand Léger were among this coterie, who sought exciting new forms of expression from the medium. Mourlot encouraged them to apply their designs directly to the limestone matrices in order to create raw and striking lithographic editions.The artist poster rose out of this zeitgeist as a critical new artform. With his eclectic artistic experience, including as an illustrator, designer, ceramicist, filmmaker and painter, Léger relished the wide audience his lithographic designs could reach on the bustling city streets of Paris. He created exuberant, vibrant posters featuring his iconic motifs – with birds being a favourite among them. By imbuing fine art with the ubiquity of popular culture, Léger succeeded in energising and reinforcing both his artistic persona and his brand. The present gouache offers a privileged glimpse into Léger's working method and evidences the significant time and effort he poured into his poster designs, which are now valued as precursors to Pop Art. Léger has harnessed the smooth tones and rapid fluidity of gouache to execute a playful composition that speaks with his trademark lyricism and dynamism – one that will be served greatly by its eventual reproducibility. The simplified forms, grounded in Cubism and Futurism, are rendered in bold and primary colours – a practical choice for Mourlot's printmaking method, and a fitting advertisement for his exhibition of new sculptures at the fashionable Galerie Louis Carré. This work has remained in the collection of the Ateliers Mourlot since its genesis, thence passing to the Mourlot family heirs, from whom the present owner acquired it in 1993.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

RAOUL DUFY (1877-1953)Portrait de Madame Raoul Dufy signed 'Raoul Dufy' (lower centre)brush and India ink on paper63.9 x 48.4cm (25 3/16 x 19 1/16in).Executed circa 1916Footnotes:ProvenanceGalerie Berthe Weill, Paris (probably acquired directly from the artist, circa 1917-1919).Theo Waddington Fine Art, London, no. 5559.Annandale Galleries, Sydney, no. RD 10.Private collection, Sydney (acquired from the above on 7 September 1997).ExhibitedLondon, Theo Waddington Fine Art in association with Annandale Galleries, Sydney, Raoul Dufy, 18 June – 12 July 1997 (later travelled to Sydney).LiteratureF. Guillon-Laffaille, Raoul Dufy, Catalogue raisonné des aquarelles, gouaches et pastels, Vol. II, Paris, 1982, no. 1747 (illustrated p. 249).A multitalented artist and designer, Raoul Dufy designed the floral-patterned fabric of the dress here worn by Madame Dufy. Clearly a favourite garment, Madame Dufy is depicted wearing it in several further portraits by her husband. The playfully stylised, swirling designs of the dress are rendered here in sensuous strokes of deep-black ink, evoking a tender and loving dialogue between artist and sitter.Shortly after its execution, this work was with the Galerie Berthe Weill at 50 rue Taitbout, Paris, where it was located from 1917 to 1919. Although lesser known than her male contemporaries such as Ambroise Vollard and Daniel-Henry Kahnweiler, Berthe Weill is now understood to have been a key figure in the twentieth-century Parisian avant-garde. She was a dealer of Dufy's in addition to other major Modern artists such as Pablo Picasso, Henri Matisse and Suzanne Valadon, holding a number of ground-breaking exhibitions. In 1917 she mounted the only solo show of Amedeo Modigliani's work held during his lifetime. That exhibition was quickly shut down by the commissaire of the nearby police station, who reviled the fact that Modigliani's odalisques – which have sold for over £100m – had visible pubic hair. A middle-class woman of Jewish heritage, Weill remained destitute for much of her life and fell into obscurity after her death in 1951, following her hiding from persecution during World War II. But there has recently been a great influx of interest into this enigmatic historical figure, culminating in the translation and republishing of her memoir in 2009 and the 2011 release of the first comprehensive study of her life and work by Marianne Le Morvan. A sweeping exhibition titled Berthe Weill, Art Dealer of the Parisian Avant-Garde will commence at the Grey Art Gallery, New York and the Montreal Museum of Fine Arts, Montreal, in the autumn of 2024.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com