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SALVADOR DALÍ (1904-1989)Visage féminin pour l'hologramme 'Submarine Fisherman' signed 'Dalí' (lower left)oil on glass11.4 x 14cm (4 1/2 x 5 1/2in). (within the mount)Painted in 1972Footnotes:The authenticity of this work has been confirmed by Nicolas Descharnes.ProvenanceDr. Maury P. Leibovitz Collection, Connecticut (possibly acquired directly from the artist through M. Knoedler & Co., circa 1972).Private collection, US, UK and Greece (by descent from the above in 1992).Private collection, UK (by descent from the above).ExhibitedNew York, M. Knoedler & Co., Holograms Conceived by Dalí, 7 April - 13 May 1972 (as part of the hologram installation titled 'Submarine Fisherman').LiteratureS. & L. Lissack, Dalí in Holographic Space, Charleston, 2013 (illustrated p. 12; illustrated pp. 18 & 23 as part of the hologram installation titled 'Submarine Fisherman').S. Lissack, 'Dalí in Holographic Space, Salvador Dalí's contributions to art holograms', in Spie. The international society for optics and photonics, online article, January 2014 (illustrated as part of the hologram installation titled 'Submarine Fisherman').Salvador Dalí's enthusiasm for holography was proudly declared in his introduction to the catalogue for the important 1972 Knoedler Gallery exhibition dedicated to his holographic exploration: 'all artists have been concerned with three-dimensional reality since the time of Velázquez, and in modern times, the analytic cubism of Picasso tried again to capture the three dimensions of Velázquez. Now with the genius of Gabor, the possibility of a new Renaissance in art has been realized with the use of holography. The doors have been opened for me into a new house of creation' (Dalí quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 1).This interest started in the late 1940s with the discovery by British-Hungarian scientist, Dr. Dennis Gabor, that a three-dimensional image could be recorded on a two-dimensional space. It took several years and a few technical advancements before holograms finally took the shape they have today: a transparent photographic plate which has recorded a phenomenon of diffraction of light of a three-dimensional object. Then, when illuminated at a certain angle by a beam of light, the plate reproduces a relief image of the photographed object. This major discovery earned Dennis Gabor the 1971 Nobel Prize in Physics.Coincidentally, that year also marked Dalí's introduction to holography, when South African artist Selwyn Lissack approached him at the St. Regis Hotel in New York. Lissack recalls Dalí's immediate enthusiasm for the medium and what seemed like the endless possibilities it created, with laser lights now becoming the artist's brush. The hotel suite at the St. Regis became Lissack and Dalí's impromptu studio office as 'Dalí was thrilled with the notion of working with a medium which gave him the ability to create beyond the confines of linear space' (S. Lissack, 'Dalí in Holographic Space', in SPIE. The international society for optics and photonics, online article, 1 January 2014).The present work, Visage féminin pour l'hologramme 'Submarine Fisherman', is part of Dalí's second holographic work, executed under the guidance of Selwyn Lissack: Submarine Fisherman. It consisted of a holographic installation mixing different media: first, a holographic plate of a diver was isolated in a metallic box with laser. This was then incorporated within another larger box which had a separate source of lighting shining onto a transparency of Pablo Picasso's masterpiece, Les Demoiselles d'Avignon. This second box projected the image around the hologram – contained within the first box - like stained glass. Finally, Dalí painted an oil portrait of a Catalan girl on a glass plate – the present work – which he superimposed over the holographic plate. The multi-layered result showed the portrait of the Catalan girl projected over the hologram of a diver in the sea, superimposed on the reproduction of Les Demoiselles d'Avignon. The superposition of the oil portrait and the hologram was measured by Dalí so that the nose of the girl would coincide with the elbow of the diver in the holographic image projected. Dalí thus produced a three-dimensional image while mixing media and merging artistic and scientific dimensions, at the crossroads of painting, sculpture, and photography. Selwyn Lissack, who witnessed the creation of Submarine Fisherman, recalls that he 'stood mesmerized as Dalí created a perfect merging of three-dimensional space on a two-dimensional plane' (S. & L. Lissack, Dalí in Holographic Space, Charleston, 2013, p. 23).Dalí's choice of imagery for the final hologram was no coincidence and the individual images each have their own importance. Picasso's Les Demoiselles d'Avignon depicts prostitutes in a Spanish brothel on Avignon Street in Barcelona, and Dalí's Catalonian face is thought to be one of the young girls, her visage certainly reminiscent in appearance to the figures in Picasso's work, with her abstracted features and Cubist appearance. For Dalí, the underwater world, with its deep and dark waters, was the place of all buried secrets and a perfect metaphor for the human subconscious. As such, the diver is projected onto the Picasso, which we can interpret as a materialisation of the deeply buried sexual desire in the human psyche. This interpretation is further confirmed by the luscious red lips which recall Dalí's lifelong obsession with Mae West, a sex-symbol and an often recurring motif in his oeuvre. Visage féminin pour l'hologramme 'Submarine Fisherman' is an extremely rare piece, as Dalí only ever conceived of six other holograms. Thus, creating a new way of painting using light and technology and contributing to a new artistic paradigm, Dalí's process recalled the Renaissance geniuses who had been revolutionising painting with camera obscuras. The Nobel Laureate Dr. Gabor himself saw in Dalí, 'a genius [...], creating a new art of which old, great painters may have dreamed, but which could only be realized by combining art with the most modern technology' (Gabor quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 2).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

655 Friedensreich HundertwasserDER ENDLOSE WEG ZU DIRTHE ENDLESS WAY TO YOULE CHEMIN SANS FIN VERS TOIParis 196751,5 x 61 cmHerausgegeben von: Galerie Karl Flinker, Paris, 1967 Lithographie in 10 Farben Gedruckt von: Fernand Mourlot, Paris, März 1967Auflage: 100, signiert und nummeriert 1-100/100, 50 Probedrucke, signiert und nummeriert hc 1-50/50/150Published by: Galerie Karl Flinker, Paris, 1967 Lithograph in 10 colours Printed by: Fernand Mourlot, Paris, March 1967Edition: 100, signed and numbered 1-100/100, 50 proofs, signed and numbered hc 1-50/50/150Koschatzky / Fürst HWG 27Nr. Hc 26/50/150Eine von zwei Lithographien, die Hundertwasser im Auftrag des Pariser Galeristen Karl Flinker gestaltete, der in seiner Galerie im März 1967 die Wanderausstellung "Hundertwasser, Peintures récentes – Recent Paintings. Gemälde von 1964 bis 1967" zeigte, die in der Hanover Gallery in London ihre Fortsetzung fand und anschließend von der Galerie Krugier & Cie in Genf und vom Kunstverein Berlin gezeigt wurde. Die Zusammenarbeit mit der Druckerei Mourlot, die Lithographien berühmter Künstler der Moderne wie Marc Chagall, Jean Dubuffet, Henri Matisse, Joan Miró und Pablo Picasso herstellte, verlief für Hundertwasser wenig zufriedenstellend. Die Drucker waren gewohnt, dass ein Künstler seine Vorlage abliefert und nach erfolgter Umsetzung seine Signatur anbringt, nicht aber dass er in den Druckprozess gestaltend eingreift. Schon in dieser frühen Phase seiner Druckgraphik war Hundertwasser klar, dass es ihm an einem Schaffensprozess gelegen war, in dem Künstler und Drucker kongenial zusammenarbeiten. One of two lithographs Hundertwasser designed on order of the Paris gallery owner Karl Flinker. Flinker started the travelling exhibition "Hundertwasser, Peintures récentes – Recent Paintings. Paintings from 1964 to 1967" in his gallery, which continued at the Hanover Gallery in London, at Galerie Krugier & Cie in Geneva and the Kunstverein Berlin.The collaboration with the Mourlot printers, which produced lithographs for famous modern artists such as Marc Chagall, Jean Dubuffet, Henri Matisse, Joan Miró and Pablo Picasso, was not very satisfactory for Hundertwasser. The printers were used to an artist handing in his template and applying his signature once the edition had been printed, but not to him interfering in the printing process in a creative way. Even in this early phase of his prints, it was clear to Hundertwasser that he wanted a creative process in which artists and printers worked together congenially.655 Friedensreich HundertwasserDER ENDLOSE WEG ZU DIRTHE ENDLESS WAY TO YOULE CHEMIN SANS FIN VERS TOIParis 196751,5 x 61 cmHerausgegeben von: Galerie Karl Flinker, Paris, 1967 Lithographie in 10 Farben Gedruckt von: Fernand Mourlot, Paris, März 1967Auflage: 100, signiert und nummeriert 1-100/100, 50 Probedrucke, signiert und nummeriert hc 1-50/50/150Published by: Galerie Karl Flinker, Paris, 1967 Lithograph in 10 colours Printed by: Fernand Mourlot, Paris, March 1967Edition: 100, signed and numbered 1-100/100, 50 proofs, signed and numbered hc 1-50/50/150Koschatzky / Fürst HWG 27Nr. Hc 26/50/150Bezeichnet…., signiert und nummeriert…..mit der Werknummer versehen, mit den roten Inkan-Stempeln Friedensreich Hundertwasser sowie den Stempeln….Inscribed…, signed and numbered…..With the work number, with the red inkan stamp Friedensreich Hundertwasser and the stamps...Eine von zwei Lithographien, die Hundertwasser im Auftrag des Pariser Galeristen Karl Flinker gestaltete, der in seiner Galerie im März 1967 die Wanderausstellung "Hundertwasser, Peintures récentes – Recent Paintings. Gemälde von 1964 bis 1967" zeigte, die in der Hanover Gallery in London ihre Fortsetzung fand und anschließend von der Galerie Krugier & Cie in Genf und vom Kunstverein Berlin gezeigt wurde. Die Zusammenarbeit mit der Druckerei Mourlot, die Lithographien berühmter Künstler der Moderne wie Marc Chagall, Jean Dubuffet, Henri Matisse, Joan Miró und Pablo Picasso herstellte, verlief für Hundertwasser wenig zufriedenstellend. Die Drucker waren gewohnt, dass ein Künstler seine Vorlage abliefert und nach erfolgter Umsetzung seine Signatur anbringt, nicht aber dass er in den Druckprozess gestaltend eingreift. Schon in dieser frühen Phase seiner Druckgraphik war Hundertwasser klar, dass es ihm an einem Schaffensprozess gelegen war, in dem Künstler und Drucker kongenial zusammenarbeiten. One of two lithographs Hundertwasser designed on order of the Paris gallery owner Karl Flinker. Flinker started the travelling exhibition "Hundertwasser, Peintures récentes – Recent Paintings. Paintings from 1964 to 1967" in his gallery, which continued at the Hanover Gallery in London, at Galerie Krugier & Cie in Geneva and the Kunstverein Berlin. The collaboration with the Mourlot printers, which produced lithographs for famous modern artists such as Marc Chagall, Jean Dubuffet, Henri Matisse, Joan Miró and Pablo Picasso, was not very satisfactory for Hundertwasser. The printers were used to an artist handing in his template and applying his signature once the edition had been printed, but not to him interfering in the printing process in a creative way. Even in this early phase of his prints, it was clear to Hundertwasser that he wanted a creative process in which artists and printers worked together congenially.

Five unframed Pablo Picasso exhibtion posters comprising Affiche Exposition de Céramiques (Ceramic Exhibit), 1958; Arles Musée Réattu published by Mourlot circa 1971, two sketchbooks of Picasso at The Royal Academy of Arts 1986 & one other H.80 W.55 Largest

Pablo Picasso,Spanish 1881-1973-Sala Gaspar poster, 1970; Sala Gaspar poster, 1961; Sala Gaspar poster, 1960;(i) offset lithograph in black on wove, image: 69.5 x 49.5 cm, (framed),(ii) lithograph in colours on wove, sheet: 70.2 x 49.9 cm, (framed),(iii) lithograph in black on wove, sheet: 70.2 x 50 cm, (unframed)(ARR)(3)Condition Report: The unframed work has minor marks and creases consistent with handling. Possible minor discolouration and spots of foxing in areas. The two framed works are glazed, and unexamined out of the frames. Minor marks and scuffs to the frames generally. One of the works is slightly loose within the frame. Minor creases and marks to the sheets generally, consistent with handling. Some more noticeable creases in areas. Possible light discolouration and minor spots of foxing in areas. Otherwise all the works are in fair condition overall.  

Full title: Pablo Picasso (1881-1973, after): 'Nude with a mirror', multiple, [1967]Description: Work: 73,5 x 55 cm Paper: 80 x 60 cm Frame: 105,7 x 85,7 cm

nach Pablo PicassoGrande Maternité1963Farblithografie auf Papier; gerahmt89 x 62 cmDatiert und signiert links oben in der Platte: 29.4.63. / PicassoHandsigniert rechts unten: PicassoNummeriert links unten: 149/200Lithografie nach einer Zeichnung von Picasso, gedruckt von Mourlotösterreichische Privatsammlung

Pablo Picasso"Minotaure caressant une Femme" aus "La Suite Vollard"1933Radierung auf Papier Vergé de Montval mit Wasserzeichen "Picasso"; gerahmt29,2 x 36,2 cm (Plattengröße), 34,4 x 44,3 cm (Blattmaß)Handsigniert rechts unten: PicassoBezeichnet und datiert rechts unten in der Platte (spiegelverkehrt): Paris 18 Mai XXXIIIWasserzeichen Picasso am linken BlattrandEdition von 260 Stück, herausgegeben von Ambroise Vollard, Paris, 1939Privatbesitz, England;Auktionshaus im Kinsky, 17.12.2020, Nr. 1317;Privatbesitz, DeutschlandGeorges Bloch, Pablo Picasso. Band I, Katalog des graphischen Werkes 1904-1967, Bern 1984, Nr. 191, S. 68 (mit Abb.)

Pablo Picasso offset lithograph of the linocut print entitled 'Picador & Fleeing Bull' approx. 54.5cm x 57cm 

After Pablo Picasso - 'Fillette Au Chien', collotype print, copyright by Soho Gallery Ltd., London, 'Reproduction réservée S.P.A.D.E.M. Paris, 1975' 45 x 66 cm, unframed

Pablo Picasso (Spanish, 1881-1973) 'Faumes et Flore' lithograph, 1959 Lithograph printed in colours Hand signed edition on paper From a numbered edition 26 of 40 on arch paper. Measures 77.5 by 55.4cm Unframed and flat Is in fair condition with light staining and colour fading across the print, and wear to edging with slight tear to lower margin and fold to lower right corner. ARR charges may be applicable.

PABLO PICASSO, 'Le Grand Maternite', lithograph on Arches paper, 63cm x 49cm, published by Spadem, Paris, printed by Mourlot, Paris signed and dated 29-4-63, in stone, framed. (Subject to ARR - see Buyers Conditions)

PABLO PICASSO, 'Femme Assise', lithograph in colours on Arches paper, 74cm x 53cm, signed 'Collection Marina Picasso' and numbered 91/50, with blind stamp, framed (with certificate of authenticity). (Subject to ARR - see Buyers Conditions)

AFTER PABLO PICASSO, Nude with tambourine, Suite: Les Dessins D’Antibes De Pablo Picasso, Lithograph on arches printed by Daniel Jacomet printed in France 1958, 51cm x 66cm.

PABLO PICASSO, pair of distressed Antique Burnt Orange velvet frames, x 2 quadrichrome prints of Picasso ceramic plates, 37.5cm x 37.5 cm.

AFTER PABLO PICASSO, Study of an Owl, Suite: Les Dessins D’Antibes De Pablo Picasso, Lithograph on arches Printed by Daniel Jacomet printed in France 1958, 51cm x 66 cm.

PABLO PICASSO, L’Atelier de Cannes – Suite: Ces Peintres Nos Amis, colour lithograph on Arches paper, dated in the plate 1960, printed by Mourlot of Paris, vintage Montparnasse French frame. H 42 x W 31cm (Subject to ARR - see Buyers Conditions)

Picasso, Pablo (Malaga 1881 - 1973 Mougins)"Clown et écuyère"; Farblithographie; Verve 29-30, 1954; sign. und num. 2/75; links unten mit Prägestempel ED. VERVE; in der Platte oben rechts dat. 30.1.54.III; gedruckt bei Mourlot, Paris; guter Zustand; am oberen Rand mit alten Montierungsabdrücken; 28 x 37 cm; unter PP hinter Glas gerahmt (46 x 55,5 x 3,5 cm); Litho nach einer Buntstift-Zeichnung für Verve-Magazin

A Pablo Picasso print, framed

‡ AFTER PABLO PICASSO (Spanish, 1881-1973) colour lithograph - Two Figures, from Au Basier d'Avignon, publ. by Edition le Vent d'Arles 1972, printed by Mourlot, 40 x 50cmsProvenance: Estate of Prof. Ritchie Ovendale, Aberystwyth.

Pablo Picasso (1881 - 1973), a printers proof copy, signed Picasso, front has proof copy stamp, print number and signature, no III, 'Buste de Homme', 1969, top in pencil, stamped 'Copie D'epreuve' and signed pencil at bottom, reverse has reference number, the name of print 'Buste de Homme' and the stamp of 'Art International, Nice, France'.H.29.5 W.19.5cm

Pablo Picasso (1881 - 1973), a printers proof copy, signed Picasso, front has proof copy stamp, print number and signature, no XI, 'Jacqueline with Paloma and Catherine, top in pencil, stamped 'Copie D'epreuve' and signed pencil at bottom, reverse has reference number, the name of print 'Nue à la Chaise à Bascule-Cannes - 1960' and the stamp of 'Art International, Nice, France'. H.29.5 W19.5cm

Pablo Picasso, 'Clown 1951' off set Lithograph, plate signed Picasso 12 -1- 51, plate 9, 22cm x 28cm, framed, mounted and glazed.

Pablo Picasso, Etching 'Seated Nude, The Vollard Suite' dedicated to Ambrose Vollard who gave Picasso his first exhibition in Paris in 1901 aged 19 This ‘etching’ is plate signed and numbered copy 479/1200 with a distinctive extra etching of a woman’s fac

After Pablo Picasso. Still life, saucepan, jug and candle, print, 44cm x 54cm

§ PABLO PICASSO (SPANISH 1881-1973) PICASSO LES POTIERS - CERAMICS EXHIBITION POSTER - 1963 LithographDimensions:48cm x 25.5cm (19in x 10in)

§ PABLO PICASSO (SPANISH 1881-1973) LE REPOS DU SCULPTEUR II - 1933 Etching on Montval paper with Picasso watermark, ed. 260, signed in pencil to margin, published by Vollard, ParisDimensions:plate size 19cm x 26.5cm (7.5in x 10.5in)

§ PABLO PICASSO (SPANISH 1881-1973) RÉFLEXION DU VIEUX PEINTRE SUR LA FEMME Drypoint, 40/50, with the artist's inkstamp signature and numbered in pencil to margin, published by Galerie Louise Leiris, Paris, printed by Crommelynck, MouginsDimensions:the sheet 54cm x 45cm (21.25in x 17.75in)

PABLO PICASSO, Nature Morte, pochoir after the watercolour, 1924 published by Albert Morance, Montparnasse frame, 16cm x 22cm. (Subject to ARR - see Buyers Conditions)

PABLO PICASSO, Woman on Horseback, off set lithograph, dated in the plate, suite Toros, vintage French frame, 36.5cm x 26cm.

Pablo Picasso (after) from 347 Suite, lithograph print, limited edition of 200, sheet size 50 x 70 cm, plate signed bottom right, numbered with pencil bottom left 79/200, wove paper with Pablo Picasso Museum embossing, without additional documentation, sold unframed

Pablo Picasso (after) 'Bacchanal With Minotaur' lithograph print, limited edition of 200, sheet size 50 x 70 cm, plate signed bottom right, numbered with pencil bottom left 161/200, wove paper with Pablo Picasso Museum embossing, without additional documentation, sold unframed

Pablo Picasso (after) 'The Bull' lithograph print, limited edition of 200, sheet size 50 x 70 cm, plate signed bottom right, numbered with pencil bottom left 150/200, wove paper with Pablo Picasso Museum embossing, without additional documentation, sold unframed

Pablo Picasso: Vol. 4 oeuvres de 1920 a 1922. Par Christian Zervos Printed in France, 1983. Softcover. Written in french.

Pablo Picasso (1877-1983)Composition (1948)S.P 28 / colour lithograph, signed on the stone, 49.5cm x 76cm, unframed - from the Schools Prints European Series, printed by W S Cowell Ltd, published by Schools Prints Ltd, London Further details: tear and loss at left lower corner, tack holes to each corner, ink stain lower right corner, tears to margin, creases and ripples to margins (af)Artist's Resale Right may apply to this lot

After Pablo Picasso (1881 - 1973) 'Notre Dame', Picasso Estate Collection limited edition colour lithograph, signed and numbered in pencil 'Collection Marina Picasso, 233/500', with blind stamps 'A Limited Edition After A Work By Pablo Picasso' & a motif, printed verso in English & French 'Limited edition re-creation of an oil on canvas entitled "Notre Dame" by Pablo Picasso created October 25, 1954, Approved by the Heirs of Pablo Picasso' and '© Beatrice Dwork 1979', on Arches paper, with certificate of authenticity, Image approximately 60cm x 50cm, Overall 75.5cm x 55.5cm

After Pablo Picasso (1881 - 1973) 'Paysage de Dinard', Picasso Estate Collection limited edition colour lithograph, signed and numbered in pencil 'Collection Marina Picasso, 41/500', with blind stamps 'A Limited Edition After A Work By Pablo Picasso' & 'Dtamerin' printed verso in English & French 'Limited edition re-creation of an oil on canvas entitled "Paysage de Dinard" by Pablo Picasso created 1922, Approved by the heirs of Pablo Picasso' and '© Mrs. Marilyn K Nathan, 1982', on Arches paper, with certificate of authenticity, Image approximately 43cm x 52.3cm, Overall 55.4cm x 75cmA private estate.

After Pablo Picasso (1881 - 1973) 'Paysage', Picasso Estate Collection limited edition colour lithograph, signed and numbered in pencil 'Collection Marina Picasso, 155/500', with blind stamps 'A Limited Edition After A Work By Pablo Picasso' & 'Dtamerin', printed verso in English & French 'Limited edition re-creation of an oil on canvas entitled "Paysage" by Pablo Picasso created in 1937, Approved by the Heirs of Pablo Picasso' & '© Stirling Silliphant 1980', on Arches paper, with certificate of authenticity, 73.5cm x 54cm

After Pablo Picasso (1881 - 1973) 'Femme Assise', Picasso Estate Collection limited edition colour lithograph, signed and numbered in pencil 'Collection Marina Picasso, 26/500', with blind stamps 'A Limited Edition After A Work By Pablo Picasso' & 'Circular Grid'', printed verso in English & French 'Limited edition re-creation of an oil on canvas entitled "Femme Assise" by Pablo Picasso created on February 19, 1947, Approved by the Heirs of Pablo Picasso' and '© Aaron Keiter, Betty J Hughes & Dale R Ruckman, 1980', on Arches paper, with certificate of authenticity, Image approximately 58.5cm x 39.5cm, Overall 74.5cm x 53.5cm

After Pablo Picasso (1881 - 1973) 'Femme au Fauteuil Canne', Picasso Estate Collection limited edition colour lithograph, signed and numbered in pencil 'Collection Marina Picasso, 24/500', with blind stamps 'A Limited Edition After A Work By Pablo Picasso' & 'A Bull', printed verso in English & French 'Limited edition re-creation of an oil on canvas entitled "Femme au fauteuil Canne" by Pablo Picasso created on May 21, 1939, Approved by the Heirs of Pablo Picasso' and '©James E Brown D/B/AJ & J Master Art Works, 1982', on Arches paper, with certificate of authenticity, Image 50cm x 41.5cm, Overall 75.8cm x 55.7cmA private estate.

After Pablo Picasso (1881 - 1973) 'Femme au Beret', Picasso Estate Collection limited edition colour lithograph, signed and numbered in pencil 'Collection Marina Picasso, 167/500', with blind stamps 'A Limited Edition After A Work By Pablo Picasso' & 'G', printed verso in English & French 'Limited edition re-creation of an oil on canvas entitled "Femme au Beret" by Pablo Picasso created in 1939, Approved by the Heirs of Pablo Picasso' and 'Artvestors', on Arches paper, with certificate of authenticity, Image approximately 55cm x 37.4cm, Overall 73.4cm x 52.7cmA private estate.

After Pablo Picasso (1881 - 1973) 'Femme au Fauteuil Canne', Picasso Estate Collection limited edition colour lithograph, signed and numbered in pencil 'Collection Marina Picasso, 34/500', with blind stamps 'A Limited Edition After A Work By Pablo Picasso' & 'A Bull', printed verso in English & French 'Limited edition re-creation of an oil on canvas entitled "Femme au fauteuil Canne" by Pablo Picasso created on May 21, 1939, Approved by the Heirs of Pablo Picasso' and '©James E Brown D/B/AJ & J Master Art Works, 1982', on Arches paper, with certificate of authenticity, Image 50cm x 41.5cm, Overall 75.8cm x 55.7cm

After Pablo Picasso (1881 - 1973) 'Fillette Couronee au Bateau', Picasso Estate Collection limited edition colour lithograph, signed and numbered in pencil 'Collection Marina Picasso, 474/500', with blind stamps 'A Limited Edition After A Work By Pablo Picasso' & a motif, printed verso in English & French 'Limited edition re-creation of an oil on canvas entitled "Fillette Couronee au Bateau" by Pablo Picasso created on June 12, 1939, Approved by the Heirs of Pablo Picasso' and '© National Machine Systems, Inc, 1982', on Arches paper, with certificate of authenticity, Image approximately 57.5cm x 46cm, Overall 75cm x 54.3cmA private estate.

Pablo Picasso, 1881 Málaga – 1973 Mougins, nachPESCE A TERRA BIANCAKeramik, glasiert und bemalt.Durchmesser: 42 cm.Bodenseitig gestempelt „MADOURA PLEIN FEU e EMPREINTE ORIGINALE DE PICASSO. I. 114“, nummeriert „157 / 200“.Jüngere Aufhängung.Literatur:Vgl. Alain Ramié, Picasso. Catalogue of the Edited Ceramic Works 1947-1971, Lyon 1988, Werkverzeichnis Nr. 168. (1350181) (13))

Pablo Picasso, 1881 Málaga – 1973 Mougins, nachCORRIDA AUX PERSONNAGES, 1950Keramik, glasiert und bemalt.Durchmesser: 38,5 cm.Bodenseitiger Stempel Madoura, H. 110, Nummerierung 74/150, Fahne datiert.Mit jüngerer Aufhängung.Leicht erhabener Spiegel mit reliefierter und blau gefasster Darstellung eines Torreros mit Stier, Fahne mit Streifendekor, Bord mit reliefierten Figuren als Zuschauer. (1350182) (13))

After Pablo Picasso, Candle, palette, head of red bull (Bougie, palette, tete de taureau rouge),1938, Giclée print on archival paper, edition 103/500.H.50 W.53cm

Pablo Picasso (1881 - 1973), a printers proof copy, signed Picasso, front has proof copy stamp, print number and signature, no XIV 'Portrait de Femme' top in pencil, stamped Gallery de la Tour and signed pencil at bottom, reverse has reference number, the name of print 'Portrait de Femme - 1930 and the stamp of the Gallery Pont St Germain, Paris. H.30 W.19cm

After Pablo Picasso, Portrait de Dora Maar (Portrait of Dora Maar) (1937), giclée print on archival paper, edition 480/500. H.50 W.40cm

Pablo Picasso (1881 - 1973), a printers proof copy, signed Picasso, front has proof copy stamp, print number and signature, no V, 'Nue à la Chaise à Bascule-Cannes', 1956, top in pencil, stamped 'Copie D'epreuve' and signed pencil at bottom, reverse has reference number, the name of print 'Nue à la Chaise à Bascule-Cannes - 1956' and the stamp of 'Art International, Nice, France'. H.30 W.17cm

Mixed pictures to include a signed limited edition print of a woodland scene, a Pablo Picasso print and others Location:LWB

After Pablo Picasso - Schools Prints compostion lithograph, 1948, signed in the print. Unframed. Missing bottom left corner and tear to top right hand side, surface dirt, a/f. Overall size 50cm x 76.5cm

Pablo Picasso (1881-1973), 'Pour Robie', etching, signed in the plate, 24 x 19 cm

A SMALL GROUP OF DECORATIVE PRINTS ETC, comprising a Laurence Coulson limited edition print 'Vivid Darkness', depicting a landscape, with certificate, approximate size 37cm x 106cm - surface of the print has a scuff mark to the left side, four prints after Pablo Picasso published by Quintessa Art Collection, a photographic print depicting Maradona holding the 1986 world cup trophy, bears a signature, with certificate of authenticity and two still life floral prints (8)

PABLO PICASSO, Woman on horseback, pink lithograph Toros suite, vintage French frame, 37cm x 26.5cm.

Pablo Picasso (Spanish 1881-1973) "Portrait of Francoise" Unsigned, numbered 665/1000 on certificate of endorsement by the Picasso Estate on verso, limited edition giclee print.42.5cm x 35.5cm (16.75in x 14in)The print is in very good, original condition with no obvious faults to report. The print is framed and glazed. The original metal frame has some minor scuffs and knocks commensurate with age.

A photographic print of Pablo Picasso "Sur La Plage" 1961, framed, overall size 77 x 53cmGood condition, some marks to frame.

Picasso, Pablo (1881 Malaga - Mougins 1973) "L'Atelier de Cannes". Farblithographie/Velin (Randmängel, gebräunt), im Stein sign. und dat. 7.4.56. 1956/1958. Verso typographischer Text. Aus einer Auflage von 250 Ex. Erschienen als Frontispiz für das Buch "Dans L'Atelier de Picasso", 1956, später auf dem Umschlag von "Ces Peintres Nos Amis", Mourlot, Paris 1960. 44,5x 32 cm. PP., R. Wvz. Moulrlot 279, Bloch 794.

Picasso, Pablo (1881 Malaga - Mougins 1973), nach "Joueur de Flûte et Femme couchée". Lithographie/Velin d'Arches (l. gebräunt bzw. l. Altersspuren) re. o. im Stein sign. und dat. (19)23 (entstandenen nach einer Zeichnung Picassos zu Jaime Sabartés, "Dans l'Atelier de Picasso"), um 1957. Bildmaß ca. 22,5x 30,5 cm, Blattmaß ca. 43,5x 32,5 cm. R.

After Pablo Picasso, Fenetre, fleur et tete de taureau (Window,Flower and Bull's Head), (1958), Giclée print on archival paper, edition 10/500.H.56 W.48cm

After Pablo Picasso, The Artist, giclée print on archival paper, edition 142/500. H.70 W.50cm.

ARR PABLO PICASSO (1881-1973)LES SALTIMBANQUESlithographimage: 26.5 x 19.5cm; 10 1/2 x 7 3/4inframed: 43 x 33cm; 17 x 13inProvenance: Redfern Gallery, London, 1960Literature: Printed as the frontispiece of the book Souvenirs D'un Collectionneur, 1958, in an edition of 2,200.