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AFTER PABLO PICASSO, 'Danceurs et musicien', lithograph, linocut, 26cm x 31cm, framed.

PABLO PICASSO, 'Tete de femme', linogravure, 27cm x 23cm, framed.

Picasso, Pablo Ruiz (Málaga 1881 - 1973 Mougins)Runde Schale "Toros", weißer Ton gedreht, Spiegel zweifarbig (hellblau und grün) engobiert mit schwarzer Paraffinbemalung, im Boden geprägte Werkstattmarke "MADOURA PLEIN FEU", "EDITION PICASSO" und geritzt in blauem Fond "EDITION PICASSO MADOURA", Ø 20,3 cm, Entwurf 29. Juli 1952, Edition Madoura Vallauris 1952 aus einer Auflage von 500 nicht nummerierten Exemplaren, sehr guter Zustand mit typischen kleinen Glasurfehlen 4901 Lit.: Alain Ramié 1988, Catalogue of the edited ceramic works 1947 - 1971, Seite 89, Nr. 161

Worobjowa-Stebelskaja, Maria Bronislawowna, gen. "Marevna" (Tscheboksary 1892 - 1984 London)Gemälde "Mutterglück", Öl auf Leinwand, Mutter mit Kleinkind neben einem offenem Kamin, unten links signiert und datiert "MAREVNA ´39", 70 x 50 cm, unten rechts kleine Fehlstelle, sonst sehr guter, wohl unberührter Zustand, sauber modern gerahmt in geschnitzter Prunkleiste (95 x 75 cm) 6001 Maria Bronislawowna Worobjowa-Stebelskaja studierte ab 1910 an der Stroganow-Hochschule für Gewerbekunst in Moskau, schon ein Jahr später ging sie nach Italien und erhielt auf Capri Unterricht bei Maxim Gorki, ab 1912 lebte sie in Paris, wo sie schnell Anschluss an Künstler der "Ecole de Paris" wie Georges Braque, Marc Chagall, Jean Cocteau, Moise Kisling, Fernand Léger, Henri Matisse, Amedeo Modigliani, Pablo Picasso fand, mit Chaim Chaim Soutine unterhielt sie zeitweise sogar ein Verhältnis, ab 1915 entwickelte sie ihren eigenen typischen Malstil, indem sie einen teils kubistischen Bildaufbau mit einer pointillistischen Malweise vereinte, den sie "Dimensionalismus" nannte, Maxim Gorki gab ihr den Namen der russischen Märchenfee "Marevna", mit dem sie ihre Gemälde signierte

Picasso, Pablo Ruiz (Málaga 1881 - 1973 Mougins)Kanne/Objekt "Sujet poule", weiße Fayence unterglasurblau bemalt, abstrahiertes Huhn als Karaffe verwendbar, im Boden geprägte Werkstattmarke "MADOURA PLEIN FEU", "EDITION PICASSO" und Pinselmarke "EDITION PICASSO MADOURA", L 17,5 cm, Edition Madoura Vallauris 1954 aus einer Auflage von 500 nicht nummerierten Exemplaren, sehr guter Zustand mit typischen kleinen Glasurfehlen 4902 Lit.: Alain Ramié 1988, Catalogue of the edited ceramic works 1947 - 1971, Seite 133, Nr. 250

SAMMELNUMMERN - VERSCHIEDENE KÜNSTLER: Cannes Film Festival 1953-1977: Stars bei den Filmfestspielen an der Côte d'Azur, meist bei Galas und Events. Photographien, anonym, 1953-77. 15 Bll. Schwarz/Weiß-Hochglanzabzüge 2009. Die Aufnahmen zeigen (meist mit weiteren Personen): Claudia Cardinale (wohl 1961), Gary Cooper (wohl 1953), Sammy Davis jr./Kirk Douglas (1966), „Easy Rider“ (Jack Nicholson, Dennis Hopper, Peter Fonda; 1969), Fernandel (1956), Alfred Hitchcock mit Tippi Hedren (1963) bzw. Grace Kelly (1972), Curd Jürgens/Dorothy Dandridge (1958), Sophia Loren mit Carlo Ponti (2; 1958) bzw. Marcello Mastroianni (1977), Pablo Picasso (1956), Omar Sharif (wohl 1954) und Elizabeth Taylor (2, Einzelaufnahme bzw. mit Mike Todd; 1957). Auf „Fujicolor Crystal Archive Paper Supreme for Digital Premium“-Papier, verso u.a. mit typographischer Kennzeichnung „Farbglanz Imaging... 18/03/2009). 21 x 29,5 (8) bzw. 29,5 x 21 cm (7). Beeindruckende Fotoserie mit Schwerpunkt auf den 1950er Jahren. [ms]

PABLO PICASSO Malaga 1881 - 1973 Mougins: Le Repos du Minotaure: Champagne et Amante. Blatt 83 aus der „Suite Vollard“. Radierung 1933. Bloch 190. Baer 349, B, d. - Eines von 260 Expl. der Ausgabe bei Lacourière 1939. Mit dem seitenverkehrten Datum „17 Mai XXXIII“ und Ortsbezeichnung „Paris“ in der Platte. Auf kräftigem chamoisfarbenem Montval-Bütten mit dem „Vollard”-Wasserzeichen. 19,2 x 26,7 cm (Blatt: 33,5 x 44,5 cm). Mit schwachem Fleckchen am rechten Rand. An den Ecken auf Unterlage montiert. Schöner vollrandiger Abdruck. [bg]

PABLO PICASSO Malaga 1881 - 1973 Mougins: Picasso. Dessins d’un Demi-Siècle. Plaquettes Berggruen No. 17. Mit 1 Orig.-Farblithographie (Umschlag), einem Text von Maurice Jardot und zahlr. Farbabb. Paris, Berggruen & Cie., (1956). 8°. Orig.-illustr. OBrosch. nnSS. Goeppert 82. Bloch 792. Mourlot 268. - Mit dem Namenszug im Stein. Auf leichtem Karton. Leicht gebräunt und minimal bestoßen. Buchrücken mit kleiner Beschädigung. [bg]

PABLO PICASSO Malaga 1881 - 1973 Mougins: Tête d`Homme. Photolithographie nach einer 1967 entstandenen Zeichnung Picassos 1968. Vgl. Czwiklitzer (dtv) 321. - Druckerexemplar „Epreuve d'imprimeur“ außerhalb der Auflage von 50 Expl. vor der Verwendung als Ausstellungsplakat des Centre Culturel international der Université de Genève 1968. Signiert sowie mit dem Namenszug, Datum „Le 24.8.67“ und Bezeichnung in der Darstellung. Auf kräftigem chamoisfarbenem Vélin. 39,5 x 33,5 cm. Breiter linker Rand mit winzigem Fleckchen. Untere linke Ecke gering bestoßen. [bg]

Pablo Picasso (1881-1973) Offset lithograph of the linocut print entitled 'Picador goading bull with Matador' published in New York circa 70s/80s. Signed with a stamped signature. Frame size approx 18½ x 16 inches.

Pablo Picasso (1881-1973), lithograph in colours on paper, Exposition Vallauris 1956, signed in the plate, poster printed by Mourlot Freres Paris 1959, 23cm x 19cm, mounted, framed and glazed

RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Couple in a Parisian café".Pencil and crayon on paper.Signed in the lower right corner.Size: 26.5 x 21 cm; 43 x 35.5 cm (frame).Opisso was a painter, draughtsman and cartoonist. In his youth he participated in the Barcelona modernist environment, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí in the works of the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his hometown at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004, entitled "Pintura catalana, del naturalisme al noucentisme" (Catalan Painting, from Naturalism to Noucentisme), was particularly noteworthy, in which his work "Carnaval" (Carnival) was exhibited. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).

λ PABLO PICASSO (SPANISH 1881-1973)PROFIL DE TAUREAU (ALAIN RAMIE 315)Painted and glazed ceramic plaque, 1956, from the edition of 450Stamped Empreinte Originale De Picasso and Madoura Plein Feu (verso)25 x 25cm (9¾ x 9¾ in.)Literature:Alain Ramié, Picasso catalogue de l'oeuvre céramique édité 1947-1971, Vallauris, 1988, p. 161, no. 315Condition Report: Appears to be in good original condition. There are patches of glue residue to the reverse, together with a label still attached with pieces of tape. Condition Report Disclaimer

‡ Pablo Picasso (1881-1973) Mask,(Ramie 311) a Madoura Pottery Edition Picasso limited edition tile, designed 1956, framed painted inscription 19.8cm. square

Picasso (Pablo, 1881-1973). La Pique, Le Picador II, Jeu de la Cape, Les Banderilles (from Toreros, by Jaime Sabartés. Picasso: Toreros, 1st English edition, London & Monte Carlo: Anton Zwemmer & André Sauret), 1961, 4 original lithographs by Picasso, including one in colour, as issued in the published volume, bound in original pictorial red cloth, a little fading to spine, pictorial card slipcase, oblong folio (24.5 x 32 cm)QTY: (1)NOTE:Bloch 1014, 1015, 1016 and 1017.

PABLO PICASSO; BLACK & WHITE PRINT OF GUERNICA, 1937, VARIOUS GALLERY STAMPS TO REVERSE

δ Pablo Picasso (1871-1973)Le FumeurLithograph, 1965, signed in pencil, a proof aside from the edition of 200, on BFK Rives paper, the full sheet, sheet 310 x 260mm (12 1/4 x 10 1/4in) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Pablo Picasso (1881-1973)Sculptures et Vase de Fleurs, from La Suite Vollard (Bloch 189; Baer 348)Etching, 1933, signed in pencil, from the edition of 260, printed by Roger Lacourière, Paris, published by by Ambroise Vollard, Paris, 1939, on Montval laid paper, watermarked Vollard, with full margins, sheet 445 x 340mm (17 1/2 x 13 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Pablo Picasso (1881-1973)Colombe (à L'Arc de Ciel) (Bloch 712, Mourlot 214)Lithograph printed in colours, 1952, signed in pencil, numbered from the edition of 200, printed by Mourlot, Paris, on Arches paper, with full margins, sheet 550 x 762mm (21 5/8 x 30in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Pablo Picasso (1881-1973)Modèle Contemplant un Groupe Sculpté (Bloch 175)Etching, 1933, signed in pencil, the edition was 250, printed by Lacourière, published by Ambroise Vollard, Paris, on Montval laid paper with the Vollard watermark, with full margins, sheet 297 x 367mm (11 3/4 x 14 1/2in) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Pablo Picasso (1881-1973)Drypoint, from Pierres (Bloch 864; Cramer 93)Drypoint, 1958, signed in pencil, one of six proofs, printed and published by Pierre André Benoit, Alès, on Auvergne paper, with full margins, sheet 170 x 167mm (6 5/8 x 6 1/2in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Pablo Picasso (1881-1973) after.Venus et L'Amour Voleur de Miel (d'après Lucas Crancah l'Ancien)Lithograph printed in colours, circa 1957, signed in red crayon, with the lithographed text verso, printed by Mourlot, Paris, on Arches paper, with full margins, 710 x 555mm (28 x 21 7/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Pablo Picasso (1881-1973) after.One lithograph, from Verve No 29-30Lithograph printed in colours, 1954, from the edition of 75, published by Editions de la Revue Verve, Paris, with their blindstamp, on wove paper, with full margins, sheet 265 x 352mm (10 3/8 x 13 7/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

A print of a Still Life after Pablo Picasso and another after Patrick Heron. The first titled Bust, Bowl and Palette, 1932, copyright DACS 1994, the other also a still life, each framed and glazed, 82cm x 62cm overall max

Pablo Picasso (1881-1973) five prints of animals comprising of flamingo, horse, dog penguin and bird, with facsimile signature lower right, overall measurement including external frame 39.5cm x 104cmAt present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report

After Pablo Picasso, a framed art rug, Femme Assise Dans Un Fauteuil Rouge, 90cm x 112cm, the frame 111cm x 132cmIn good condition.

AFTER PABLO PICASSO, 'War and Peace', off set lithography, 18cm x 24cm, printed signature im mage, framed and one other after Matisse.

ARMAN (FRENCH-AMERICAN 1928-2005)Violon Coupé II (Hommage à Pablo Picasso),bronze with light brown patinaheight: 62 cm (24 3/8 in.)signed, inscribed with Boquel foundry mark and edition fd. 2/100PROVENANCEPrivate Collector, Westchester

PABLO PICASSO (SPANISH 1881-1973)Visage (A.R. 288), conceived in 1955painted and partially glazed earthenwareheight: 30 cm (11 3/4 in.)Madoura Plein Feu workshop stamp, Empreinte Originale de Picasso impressed in paste and in marker undersidePROVENANCEPrivate Collection, Harrison, New York

PABLO PICASSO (SPANISH 1881-1973)Vallauris,1979partially glazed and painted earthenwarediameter: 21 cm (8 1/4 in.)Madoura Plein Feu workshop stamp, Empreinte Originale de Picasso impressed in pastePROVENANCEPrivate Collection, Harrison, New York

PABLO PICASSO (SPANISH 1881-1973)Picador,painted and partially glazed earthenwarediameter: 19.5 cm (7 5/8 in.)Madoura Plein Feu workshop stamp, Edition Picasso impressed and painted underside of basePROVENANCEPurchased in France, 1970's by present owner

PABLO PICASSO (SPANISH 1881-1973)Pour Roby,etching21 x 17 cm (8 1/4 x 6 3/4 in.) [plate mark]framed dimensions: 39 x 33 cm (15 3/8 x 13 in.)signed and titled lower center in platePROVENANCEPrivate Collection, Harrison, New York

PICASSO Pablo (1881 Málaga, Spanien - 1973 Mougins, Frankreich) "Suite Vollard", 100 Faksimile-Graphiken auf handgeschöpftem Büttenpapier von Richard de Bas, Ambert, jeweils mit Drucksignatur "Picasso" und Trockenstempel "Plitt", rückseitig Copyrightvermerk der VG Bild-Kunst Bonn 1990 sowie jeweilige Bloch-Nummer, Nachdruck der Originalgraphiken Pablo Picassos aus den Jahren 1930-1937, die der Künstler auf Anregung des Kunsthändlers und Verlegers Ambroise Vollard schuf, Herausgegeben vom Städtischen Museum Mülheim an der Ruhr in Zusammenarbeit mit dem Förderkreis des Museums 1992, Auflage 300 Exemplare, je 100 lose Blätter, Vorspann und Drucknachweis, Blätter jeweils 45x32,5cm, unterschiedliche Druckmaße, in Leinenkassette, auf Drucknachweis nummeriert Exemplar 6, guter Zustand *Picasso variiert in der grafischen Folge unterschiedliche Themen, wie Künstler und Modell oder den Minotaurus-Mythos. Bis heute sind nur wenige der Serien vereint geblieben und die Einzelblätter auf private und öffentliche Sammlungen verstreut. Eine der wenigen vollständigen Serien befindet sich im Städtischen Museum Mülheim an der Ruhr und im Kunstmuseum Pablo Picasso in Münster.*

2 Kunst-Mappen "Aufbruch" und "Hamburger Jahresgabe", mit 11 und 5 Faksimile-Prints, 1955 und 1966 rote Mappe "Aufbruch" mit Motiven u.a. von Erich Heckel, Ernst Ludwig Kirchner, Emil Nolde, Max Kaus, Walter Grammatté und Paul Klee, Blattmaß je HxB 35x29cm, jeweils verso typografisch bezeichnet, Umschlag mit Linolschnitt von Hermann Volz; leichte Altersspuren; grüne Mappe "Hamburger Jahresgabe 1966" mit Motiven von Lyonel Feininger, Paul Klee, Pablo Picasso, Karl Schmidt-Rottluff und Emil Nolde, HxB je 29,5x41,8cm

After Pablo Picasso (1881-1973) Spanish"Vieil Homme et Jeune Femme"Signed in pencil and numbered 3/75, with ED VERVE blindstamp, lithograph, 27.5cm by 34cmProvenance: With Christie's stencil 906NW and 375RE versoLiterature: Wilhelm Boeck and Jaime Sabartes, Picasso, London, 1955, p.502 (illustrated) by repute and according to a label affixed versoProperty of a Lady, North West UK

Nach Pablo Picasso* (1881-1976), Faune Musicien mit Zweigen, Lithografie auf Papier, unten links bezeichnet épreuve d´artiste, rechts unten signiert, gerahmt 58 x 45,5 cm. | Nach Pablo Picasso* (1881-1976), Faune Musicien with branches, lithograph on paper, bottom left inscribed épreuve d'artiste, bottom right signed, framed 58 x 45.5 cm.

Nach Pablo Picasso* (1881-1976), Le Poete Decadent (Der dekadente Dichter), aus der Suite "Les Bleus de Barcelone". 1963. Lithographie mit Pochoir von Jacomet auf BFK Rives-Papier nach dem Original. Nummer H.C. 22/40, signiert in der Platte unten rechts. Erschienen Au vent d`Arles Paris, 58 x 45,5 cm. | Nach Pablo Picasso* (1881-1976), Le Poete Decadent (The Decadent Poet), from the suite "Les Bleus de Barcelone". 1963. lithograph with pochoir by Jacomet on BFK Rives paper after the original. Number H.C. 22/40, signed in the plate lower right. Published Au vent d`Arles Paris, 58 x 45.5 cm.

After Pablo Picasso(1881-1973)"La Lione", "La Biche", and "Le Beuier",Quintessa Art Collection photolithographs,27 x 19cms, uniformly framed. (3)

Picasso, Pablo: (1881-1973) nach. 5 (1 dplt.) tls. farb. Ausstellungsplakate, 1955-1960-er Jahre. Je ca. 59 x 42 cm. ╔Picasso Linolschnitte╗ 1958-1960. Sonderausstellung im Kestner-Museum Hannover 1961 (2x). - ╔Picasso Tauromaquia.╗ Sonderausstellung im Kestner-Museum Hannover 1961-62. - ╔Picasso Illustrationen.╗ Der Kunstkreis Hameln bei Matzow oHG ebda. 1963. Gefaltet. - ╔Picasso Braque Gris Léger Masson.╗ Zeichnungen Lithos. Von Kurt Schwarz n. Picasso bei Piller 1955. Ausstellung in der Galerie Würthle, Wien. Aus der Plakatslg. Ing. Robert Hartwig. D

Picasso, Pablo: (1881-1973) nach. Ein Mann hält eine nackte Frau über seinen Kopf. Lithographie auf Arches aus "Le gout du bonheur". Handpressendruck unter Aufsicht von Picasso bei Dietz Schünemann, Bremen 1970. Ca. 17 x 10,5, Blgr. 32,5 x 25 cm. Mit dem Datum "24.10.64" ob. li. im Stein. Cramer 148. - ╔Dabei: Ders. nach:╗ 3 Bl. Taf. aus dems. Werk. Blgr. ja ca. 28 x 21,8 cm. - 3 farb. Illustr. aus "Gavilla de Fábulas sin amor", 1962. Blgr. 35 x 24,5 cm. Verso Text. - Trois femmes nues. Offsetlithogr. aus "Ovide, Les Métamorphoses". Alle 8 Bl. hinter Passep. mont.

PABLO PICASSO (1881-1973)Exposition peintures Vallauris 1956 signed 'Picasso' (lower right)watercolour on paper39.3 x 55.9cm (15 1/2 x 22in).Executed in 1956Footnotes:The authenticity of this work has been confirmed by Claude Picasso.ProvenanceLars Rostrup Bøyesen Collection, Copenhagen; his sale, Christie's, Amsterdam, 29 November 2005, lot 238. Anon. sale, Christie's, Paris, 24 May 2006, lot 136.Private collection, Spain (acquired at the above sale).ExhibitedHumlebaek, Louisiana, Fremmed Kunst I Dansk Eje, 29 February – 5 April 1964, no. 243.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

PABLO PICASSO (1881-1973)Femme debout numbered '7/10' and stamped with the foundry mark 'Cire Valsuani Perdue' (on the rim)bronze with dark brown patina13cm (5 1/8in). highConceived in 1945, this bronze version cast by the Valsuani Foundry in 1947 in an edition of 11 numbered 1/10-10/10, plus one unnumbered cast.Footnotes:The authenticity of this work has been confirmed by Claude Picasso.ProvenanceGalerie Louise Leiris, Paris.Anon. sale, Sotheby Parke Bernet, New York, 19 May 1978, lot 371.Private collection, South Africa.Private collection, Australia (by descent from the above).LiteratureExh. cat., Picasso, Martigny, 1981 (another cast illustrated p. 150).W. Spies, Picasso, The Sculptures, Stuttgart, 2000, no. 329 (another cast illustrated p. 367).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

PABLO PICASSO (1881-1973)Femme assise et gentilhomme dated '10.11.70.' (lower right)brush, pen, India ink and wash on paper23.7 x 31.8cm (9 5/16 x 12 1/2in).Executed on 10 November 1970Footnotes:The authenticity of this work has been confirmed by Claude Picasso.ProvenancePrivate collection, France (a gift from the artist circa 1970-1973).Heinz Berggruen Collection, Paris and Berlin (acquired from the above). Anon. sale, Sotheby's, London, 9 February 2005, lot 214. Private collection, UK (acquired at the above sale).ExhibitedSan Francisco, John Berggruen Gallery, Picasso, The Berggruen Album, 4 March – 10 April 2004, no. 19 (later travelled to New York).'Every painter takes himself for Rembrandt' – Pablo PicassoFemme assise et gentilhomme is an exquisite work on paper by Pablo Picasso. Representing two of the most defining subjects of his oeuvre, the artist's model and the musketeer, this work is an iconic example from Picasso's mature period and stands testament to the artist's desire to confirm his place alongside the greatest painters of the Western art historical canon. In the final years of Picasso's life, swashbuckling seventeenth century mousquetaires occupied the artist's output. Immediately identifiable by the long pipe, broad brimmed hat and imperial moustache, the musketeer in the present work is highly evocative of Golden Age portraiture, most notably that of Rembrandt - an artist whom Picasso deeply revered. The musketeer would come to operate both as a signifier of the great Old Masters and as a psychological substitute for the artist himself.In the mid-1960s, Picasso, whilst recovering from surgery, devoured literary classics such as Shakespeare, and Alexandre Dumas' The Three Musketeers. Simultaneously, Picasso studied Otto Benesch's landmark publication of Rembrandt's drawings, as there was a revived interest in the great master on the occasion of the three hundredth anniversary of his death. Picasso grew fonder of Rembrandt's work and saw an opportunity to dive into the mind of his mighty predecessor. A projection of the Night Watch appeared on the walls of his studio, through which Picasso was able to transport himself into the adventurous world of chivalrous noblemen. Like Rembrandt, Picasso was also keen on inserting himself into his works, taking on various guises and approaching his output with a brilliant sense of wit and skill. He increasingly started to relate to the Dutch master, and throughout the final chapter of his life, Rembrandt's artistic universe remained an important source of inspiration for Picasso, as if Rembrandt was 'an all-powerful God-figure whom Picasso had to internalize before he died' (J. Richardson quoted in Late Picasso, exh. cat., Tate, London, 1988, p. 34).In Femme assise et gentilhomme, Picasso subtly disrupts the traditional power dynamics between artist and subject. The musketeer and model behold each other with an uncompromising gaze, but the imposing and elevated position of the female subject lends her a regal air, while the musketeer archetype adopts a more submissive, courtly persona. It is a subtle homage to some of Picasso's earliest works from his artist and models series, which are known to represent Rembrandt and his wife Saskia. The present work was originally part of a sketchbook containing twenty-six drawings which were executed over a period of eight days in November 1970. Completed wholly in India ink, Picasso underscores his mastery of the medium in the present work and thereby affirms his position as one of the greatest draughtsmen of the twentieth century. Alongside its art historical significance, the present work is also distinguished by an exceptional pedigree. Femme assise et gentilhomme was once owned by Heinz Berggruen, an art dealer but - most of all – a close friend to the artist and a passionate collector. He acquired Femme assise et gentilhomme from a private French collection and kept it in his personal collection until his death. Berggruen made a name for himself as a gallery owner in Paris in the post-war era. Originally born into a German-Jewish family, Berggruen lived in Berlin until his early adulthood before fleeing to the US in 1936 where he would spend nearly a decade, holding various artistic positions at public institutions and art journals. After Europe's liberation, he decided to return to the continent and settled in the French capital in 1947. He started a gallery and found his true calling as a dealer. Berggruen quickly ranked as one of the most prominent figures within Parisian artistic circles, with artists like Van Gogh, Cézanne, Matisse, Klee, Arp and Giacometti included in his stable. Picasso, however, would have more impact on Berggruen than any other and would become of great significance to the art dealer, both personally and professionally. The artist entered Berggruen's world in 1951, having already enjoyed a sixty-year long career and celebrated as one of the most famous artists alive. Introduced through their mutual friend Tristan Tzara, Berggruen met Picasso in his studio on the rue des Grands-Augustins. Berggruen recalled that 'in physical terms alone, Picasso was an impressive sight. His wonderful, clear-cut face, his magnificent, large, magnetic eyes, his stocky, athletic body – it was as if every part of him had been cast from the same mould, as if he were his own, self-created masterpiece. During our very first encounter I already found myself enchanted by this man' (H. Berggruen, Highways and Byways, Guildford, 1996, p. 184).After their first encounter, a lifelong friendship was born, and Picasso was added to Berggruen's roster of artists. It marked the beginning of a collecting journey for Berggruen, during which he found some of the finest works and collections from the artist's all-embracing oeuvre. One of the most notable collections that passed through Berggruen's hands was Gertrude Stein's collection of Blue and Rose Period works. To this day, Stein is widely regarded as the first collector to champion Picasso's work. Berggruen's gallery became a hub for American collectors and was frequently visited by influential figures such as Alfred J. Barr and Nelson Rockefeller. For Berggruen, collecting and selling often went hand in hand: 'In my days as an art dealer I was always looking for ways to perfect, enrich and consolidate my Picasso collection. Or, to put it differently, over some thirty years some of the most significant Picassos passed through my hand, and I was all too often confronted with the decision as to whether I should see or keep a drawing, a watercolour of a painting' (H. Berggruen, op. cit., p. 179).On his frequent visits to Picasso in the South of France, Berggruen would bring Picasso news 'from the big world outside' and show Picasso his latest trouvailles. Their last encounter took place in 1969, but Berggruen would remain under the great artist's spell well after that. In the span of thirty years, Berggruen amassed a profound and carefully selected body of works, spanning from the Blue Period all the way through to 1973, the year of Picasso's death: 'by consistently and persistently collecting Picasso's works, I attempted to create an impression of the cosmos of this man, who, like no other, carried within him the lebensgefühl (life-feeling) of an entire century' (H. Berggruen, op. cit., p. 184).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

JAVIER VILATÓ (1921-2000)Paysage signed 'Javier Vilató' (lower left); dated 'VIII58' (on the reverse)oil on canvas73 x 60cm (28 3/4 x 23 5/8in).Painted in August 1958Footnotes:ProvenanceAlexander Xydis Collection, Athens.Thence by descent to the present owner.Javier Vilató was born in Barcelona in 1921 and was the nephew of Pablo Picasso. His work gained international acclaim during the 1970s and 1980s as he exhibited in museums, foundations and galleries in Switzerland, Mexico, France, Spain, Italy and the UK. His works can be found in prestigious global institutions such as The Museum of Modern Art, New York; Centre Georges Pompidou, Paris; and the Museo Nacional Centro de Arte Reina Sofía, Madrid.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

Antoni Clave, Spanish 1913-2005 - Stage design for Roland Petit's 'Carmen', c.1949; gouache, coloured chalks, pen and black ink on paper, 38.5 x 60 cm (ARR) Note: This dynamic work by Antoni Clave is an original stage design for Roland Petit's ballet from Georges Bizet's opera 'Carmen', first performed in London at the Prince's Theatre in 1949. This celebrated production was renowned for its Spanish style and blend of the classical and modern, and remains one of Petit's most performed productions. Clave had produced numerous set designs in the 1940s and 50s, and was eventually nominated for two Academy Awards for his designs for Charles Vidor's 1952 film 'Hans Christian Anderson'. Like other works from this series of designs, Clave offsets bold strokes of pure colour against the black of the sheet, creating a dramatic and energetic scene. The simplified, yet direct, drawing of the figures is highly characteristic of the artist and shows the influence of his friend and fellow Spaniard Pablo Picasso and the forms of Cubism on his work. Clave has works in major public collections across the world, including Museo Nacional de Arte Reina Sofia Museo, Madrid, British Museum, London and Musee d'Art Moderne de Paris. During his lifetime he exhibited with important galleries including Arthur Tooth & Sons, London in 1955 and the Picasso Museum, Antibes in 1958 and won a prize at the Venice Biennale in 1956. In 2022, the Palazzo Franchetti held the exhibition 'The Spirit of the Warrior' devoted to the artist's work to coincide with the Venice Biennale. Please refer to department for condition report

Emile Bernard, French 1868–1941 -Odalisques, c.1920;oil on canvas, 173 x 163 cm (unframed)Literature: J. Luthi and A. Israel, 'Émile Bernard Sa Vie, Son Oeuvre Catalogue Raisonné', Paris, 2014, p.289 no.1039 (illus. in colour)Note: This sensual late masterpiece by Émile Bernard shows the artist exploring Ingres’ Turkish Bath scenes in a Modern idiom. During the 1920s and following the First World War, like his contemporaries Pablo Picasso and Henri Matisse, Bernard reasserted a Neo-Classical language into his work, exploring the history of 19th century painting. Like Matisse’s odalisques of the 1920s, the work also shows the influence of Orientalism, but Bernard imbues his subjects with a sense of power as they confront the viewer with their gaze.Émile Bernard was one of the most important French artists of the late 19th century, developing a modern Symbolist style alongside his friend Paul Gauguin in Britanny in the 1880s, based on an expressive use of colour and religious, pastoral imagery. 

Pablo Picasso lithographic print 'Suite de 180 Dessins' 'Comedie Humaine' approx. 50.5cm x 43.5cm

Eluard, Paul. Corps mémorable. Couverture par Pablo Picasso. 35 S., 2 Bl. Mit 12 photographischen Tafeln von Lucien Clergue. 27 x 18 cm. OPappband mit OSchutzumschlag von Pablo Picasso (schwach berieben, mit kleinem Randeinriss). Paris, Pierre Seghers, 1957.Parr-Badger I, 192f. - Erste Ausgabe, zahlreiche spätere Auflagen folgten. - Titel im unteren Bug leicht gelöst, Vortitel mit privater Widmung.

Picasso, Pablo. - Villers, André. Diurnes. Décupages et photographies. Texte de Jacques Prévert. 18 S., 1 Bl. und 30 Tafeln nach Fotomontagen von Picasso und Villers. 40 x 30 cm. Lose Bogen in OArchespapierumschlag (etwas unfrisch) mit farbigem Deckeltitel in illustrierter OLeinen-Kassette (mit deutlichen Gebrauchsspuren, fleckig, feuchtrandig, unfrisch, an den Kanten teils lädiert). Paris, Berggruen, (1962).Goeppert-Cramer 115. Kat. Basel 115. Bloch, Livres 112. Kibbey 1466. - Eines von 900 Exemplaren der Normalausgabe (Gesamtauflage: 1000). "Diurnes (Tagfalter) ist das Ergebnis einer Zusammenarbeit von Picasso, dem Photographen André Villers und dem Schriftsteller Jacques Prévert. Picasso hatte 1961 zahlreiche Köpfe und Figuren von Menschen und Tieren aus Papier ausgeschnitten, wobei er eine schon 1943 verwendete Technik weiterentwickelte. Villers montierte diese zerschnittenen Figuren auf dreißig verschiedene Fotografien und stellte sie so in realistische Kontexte und Situationen. Prévert schließlich erzählte die vergnügliche Geschichte dieser kurzlebigen Wesen vom Sonnenaufgang bis zum Sonnenuntergang. Picasso entwarf das Titelblatt und den Einband der Kassette" (Goeppert-Cramer). - Innen wohlerhalten.

Picasso, Pablo. - Boeck, Wilhelm. Pablo Picasso. Linolschnitte. XII S., 1 Bl. Bl. Mit 45 Farbtafeln. 32,5 x 39 cm. Illustrierter OLeinenband (Vorderdeckel stärker fleckig). Stuttgart, Gerd Hatje, 1962.Erste Ausgabe. Nach den Originalen aus dem Besitz der Galerie Louise Leiris, Paris. Die Farbproduktionen erreichen fast die Anmutung der Originale, da in mehreren Druckgängen mit sattem Farbauftrag gedruckt wurde. - Im Rand leicht stockfleckig, vorderes Innengelenk angeplatzt, die erste Farbtafel lose. Sonst wohlerhalten. Ohne den Schuber.

Picasso, Pablo. - Hommage à Pablo Picasso. 136 S. Mit farbiger Original-Lithographie von Picasso und zahlreichen farbigen Tafeln und Abbildungen. 32 x 25 cm. OLeinenband mit farbig illustriertem OUmschlag (dieser etwas unfrisch). Wiesbaden, Ebeling, (1976).Mourlot 302. - Deutsche Ausgabe. - Fl. Vorsatz mit Widmung; nur etwas angestaubtes, insgesamt sehr gutes Exemplar.

Picasso, Pablo. - Sabartès, Jaime. "A los toros" mit Picasso. 153 S. Mit 103 Abbildungen und 4 (1 farbigen) Original-Lithographien von Pablo Picasso. 25,5 x 32,5 cm. Illustrierter OLeinenband (Rücken leicht verblichen in illustriertem OPappschuber (leicht lichtrandig, gering berieben). (Monte Carlo), André Sauret, (1961).Bloch livres 108. Goeppert-Cramer 113. Mourlot 346 und 348-350. - Erste deutsche Ausgabe. Die 4 Original-Lithographien wurden von Picasso eigens für dieses Werk geschaffen und von Mourlot gedruckt: "La Pique" (Bl. 1014), "Jeu de la Cape" (Bl. 1015), "Les Banderilles" (Bl. 1016) und die Farblithographie "Le Picador" (Bl. 1017). - Nahezu verlagsfrisch.Provenienz: Einfügung aus 106.0104.02 (Los 3326), 07.08.2019 [Ex: Einfügung aus 104.0501.01 (Los 3576) , 09.06.2015 18:07:42. [Ex: Einfügung aus 103.0270.03 (Los 3700) , 22.08.2014 15:19:21.]

A QUANTITY OF PAINTINGS AND PRINTS ETC, to include a limited edition Pablo Picasso print 'Taureau' 62/1000 with certificate, authorised by the Picasso Estate, approximate size 30cm x 53cm including margins, Michael Blacker dry point etching of boats on a river, Joan Miro poster print 'The Gold of the Azure', Beverley Fry prints, amateur watercolours signed Milburn, Sue Roots limited edition etching, together with other assorted prints etc

PABLO PICASSO, six quadrichromes Study of Plates, suite: Ceramiques 1948, 26.5cm x 36.5cm, hand coloured bobbin frames. (6)

PABLO PICASSO, six vintage fabric/textile print of posters, ref. Spadem, 24cm x 31cm, bobbin frames. (6)

PABLO PICASSO, Les Trois Musicians, print on silk, signed in the plate, ref. Spadem, 81cm x 84cm. (Subject to ARR - see Buyers Conditions)

Framed Pablo Picasso print Toros y toreros frame measures approx 21 inches tall 16 inches wide

PABLO PICASSO, Sugarlift etching, The Cat (Buffon Series), 1936/1942 print issue, on Ambroise watermarked paper, mounted only. 28 x 36.5 cm.

PABLO PICASSO, Sugarlift etching, The Ram (Buffon Series), 1936/1942 print issue, on Ambroise watermarked paper, mounted only. 28 x 36 cm.

PABLO PICASSO, Sugarlift etching, The Turkey, 1936/1942 print issue, on Ambroise watermarked paper, mounted only. 28 x 36.5 cm.