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Picasso, Pablo1881 Malaga - 1973 MouginsTête de Taureau, tournée à gauche. 1948. Lithograph on vellum. 65 x 50cm Signed and numbered. Number 43/50. Framed. Not examined out of the frame. Provenance:- Galerie Orangerie Reinz, Cologne- Corporate collection GermanyLiterature:- Bloch, Georges (ed.): Pablo Picasso, Catalogue de l'oeuvre gravé et lithographié, vol. 1, 1904-1967, Bern 1971, cat.rais.-no. 574, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Prints 1940s Portrait Print Lithograph ManPicasso, Pablo1881 Malaga - 1973 MouginsTête de Taureau, tournée à gauche. 1948. Lithografie auf Velin. 65 x 50cm Signiert und nummeriert. Ex. 43/50. Rahmen. Im Rahmen beschrieben. Provenienz:- Galerie Orangerie Reinz, Köln- Unternehmenssammlung DeutschlandLiteratur:- Bloch, Georges (Hrsg.): Pablo Picasso, Catalogue de l'oeuvre gravé et lithographié, Bd. 1, 1904-1967, Bern 1971, WVZ.-Nr. 574, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Grafik 1940er Porträt Druckgrafik Lithografie Mann- - -19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsFace. 1955. White earthenware clay, polychromed, glazed inside. 30 x 9.5 x 11cm. Inscribed underneath: EDITION PICASSO MADOURA. As well as stamp: MADOURA PLEIN FEU EDITION PICASSO. From an edition of 500 copies.Provenance:- Private collection North Rhine-WestphaliaLiterature:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988,cat.rais.-no. 288, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Face Object EarthenwarePicasso, Pablo1881 Malaga - 1973 MouginsFace. 1955. Weißes Steingut, farbig gefasst, innen glasiert. 30 x 9,5 x 11cm. Bezeichnet auf der Unterseite: EDITION PICASSO MADOURA. Sowie Stempel: MADOURA PLEIN FEU EDITION PICASSO. Aus einer Auflage von 500 Exemplaren.Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988,WVZ.-Nr. 288, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Gesicht Objekt Steingut- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsVase with bunch. 1956. White earthenware clay, partly oxidised, polychromed and glazed. 25 x 24.5 x 2.5cm. Numbered underneath: 28/200. As well as stamped: MADOURA PLEIN FEU, EMPREINTE ORIGINALE DE PICASSO. Number 28/200. Provenance:- Private collection HesseLiterature:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, cat.rais.-no. 304, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Flowers Ceramic Earthenware Still LifePicasso, Pablo1881 Malaga - 1973 MouginsVase with bunch. 1956. Weißes Steingut, partiell oxidiert, farbig gefasst und glasiert. 25 x 24,5 x 2,5cm. Nummeriert auf der Unterseite: 28/200. Sowie Stempel: MADOURA PLEIN FEU, EMPREINTE ORIGINALE DE PICASSO. Ex. 28/200. Provenienz: - Privatsammlung Hessen Literatur:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, WVZ.-Nr. 304, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Blumen Keramik Steingut Stillleben- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsHen subject. 1955. White earthenware clay, polychromed and glazed. 12.5 x 10 x 17.5cm. Inscribed underneath: EDITION PICASSO MADOURA. As well as stamp: MADOURA PLEIN FEU EDITION PICASSO. From an edition of 500 copies.Provenance:- Private collection North Rhine-WestphaliaLiterature:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988,cat.rais.-no. 250, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Animal Object EarthenwarePicasso, Pablo1881 Malaga - 1973 MouginsHen subject. 1955. Weißes Steingut, farbig gefasst und glasiert. 12,5 x 10 x 17,5cm. Bezeichnet auf der Unterseite: EDITION PICASSO MADOURA. Sowie Stempel: MADOURA PLEIN FEU EDITION PICASSO. Aus einer Auflage von 500 Exemplaren.Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988,WVZ.-Nr. 250, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Tier Objekt Steingut- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsPicador. 1953. White earthenware clay, partly polychromed and glazed. Ø 22.5 x 2.5cm. Inscribed and numbered underneath: K 112, 170/300. As well as stamp: MADOURA PLEIN FEU and EMPREINTE ORIGINALE PICASSO. Number 170/300. Provenance:- Private collection HesseLiterature:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, cat.rais.-no. 305, with colour ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Figure / Figures Ceramic Earthenware BullsPicasso, Pablo1881 Malaga - 1973 MouginsPicador. 1953. Weißes Steingut, partiell farbig gefasst und glasiert. Ø 22,5 x 2,5cm. Bezeichnet und nummeriert auf der Unterseite: K 112, 170/300. Sowie Stempel: MADOURA PLEIN FEU und EMPREINTE ORIGINALE PICASSO. Ex. 170/300. Provenienz: - Privatsammlung HessenLiteratur:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, WVZ-Nr. 305, mit Farbabb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Figur / Figuren Keramik Steingut Stiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsGoat's head in profile. 1950. White earthenware clay, polychromed and partly glazed. 2.5 x diameter 25.5cm. Numbered underneath: 149/200. As well as inscribed: K 113. Above this the stamps : MADOURA PLEIN FEU and EMPREINTE ORIGINALE DE PICASSO. Number 149/200. Provenance:- Private collection North Rhine-WestphaliaLiterature:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, cat.rais.-no. 112, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Animal Object PorcelainPicasso, Pablo1881 Malaga - 1973 MouginsGoat's head in profile. 1950. Weißes Steingut, farbig gefasst und partiell glasiert. 2,5 x Durchmesser 25,5cm. Nummeriert auf der Unterseite: 149/200. Sowie bezeichnet: K 113. Darüber die Stempel: MADOURA PLEIN FEU und EMPREINTE ORIGINALE DE PICASSO. Ex. 149/200. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, WVZ.-Nr. 112, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Tier Objekt Porzellan- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsBull's profile. 1956. White earthenware clay, partly oxidised and glazed. 25 x 25 x 2.5cm. Stamped underneath: MADOURA PLEIN FEU, EMPREINTE ORIGINALE DE PICASSO. From an edition of 450 copies.Provenance:- Private collection HesseLiterature:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, cat.rais.-no. 317, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Bulls Ceramic Earthenware AnimalsPicasso, Pablo1881 Malaga - 1973 MouginsBull's profile. 1956. Weißes Steingut, partiell oxidiert und glasiert. 25 x 25 x 2,5cm. Gestempelt auf der Unterseite: MADOURA PLEIN FEU, EMPREINTE ORIGINALE DE PICASSO. Aus einer Auflage von 450 Exemplaren.Provenienz: - Privatsammlung Hessen Literatur:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, WVZ.-Nr. 317, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Stiere Keramik Steingut Tiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsLittle face no. 12. 1963. White earthenware clay, partly polychromed and glazed (underneath). 2 x Ø 25cm. Inscribed and numbered underneath: No 12 EDITION PICASSO 72/150 MADOURA. Number 72/150. Provenance:- Private collection North Rhine-WestphaliaLiterature: - Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, cat.rais.-no. 460, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1960s Face Ceramic EarthenwarePicasso, Pablo1881 Malaga - 1973 MouginsLittle face no. 12. 1963. Weißes Steingut, partiell farbig gefasst und glasiert (Unterseite). 2 x Ø 25cm. Bezeichnet und nummeriert auf der Unterseite: No 12 EDITION PICASSO 72/150 MADOURA. Ex. 72/150. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur: - Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, WVZ.-Nr. 460, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1960er Gesicht Keramik Steingut- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsFace no. 46. 1963. White earthenware clay, partly polychromed and partly glazed. 2 x Ø 25.5cm. Inscribed and numbered underneath: No 46 EDITION PICASSO 114/150 MADOURA. Number 114/150. Literature: - Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, cat.rais.-no. 466, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1960s Face Ceramic EarthenwarePicasso, Pablo1881 Malaga - 1973 MouginsFace no. 46. 1963. Weißes Steingut, partiell farbig gefasst und partiell glasiert. 2 x Ø 25,5cm. Bezeichnet und nummeriert auf der Unterseite: No 46 EDITION PICASSO 114/150 MADOURA. Ex. 114/150. Literatur: - Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, WVZ.-Nr. 466, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1960er Gesicht Keramik Steingut- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsPicador. 1953. White earthenware clay, partly polychromed, partly glazed. 2.5 x Ø 22cm. Numbered underneath: 70/200. As well as stamp: MADOURA PLEIN FEU and EMPREINTE ORIGINALE DE PICASSO. Number 70/200. Literature: - Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, cat.rais.-no. 201, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Bulls Ceramic EarthenwarePicasso, Pablo1881 Malaga - 1973 MouginsPicador. 1953. Weißes Steingut, partiell farbig gefasst, partiell glasiert. 2,5 x Ø 22cm. Nummeriert auf der Unterseite: 70/200. Sowie Stempel: MADOURA PLEIN FEU und EMPREINTE ORIGINALE DE PICASSO. Ex. 70/200. Literatur: - Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, WVZ.-Nr. 201, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Stiere Keramik Steingut- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsPicador and bull. 1953. White earthenware clay, partly oxidised/enamelled. 25.5 x 25 x 2cm. Stamped underneath: MADOURA PLEIN FEU, EMPREINTE ORIGINALE DE PICASSO. From an edition of 200 copies.Literature:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, cat.rais.-no. 194, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Bulls Ceramic Earthenware Figure / FiguresPicasso, Pablo1881 Malaga - 1973 MouginsPicador and bull. 1953. Weißes Steingut, partiell oxidiert/emailliert. 25,5 x 25 x 2cm. Gestempelt auf der Unterseite: MADOURA PLEIN FEU, EMPREINTE ORIGINALE DE PICASSO. Aus einer Auflage von 200 Exemplaren.Provenienz: - Privatsammlung Hessen Literatur:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, WVZ.-Nr. 194, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Stiere Keramik Steingut Figur / Figuren- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

SIX BOXES OF LOOSE BOOKS, MAGAZINES ETC, relating to Art, to include titles such as 'Popova', 'Raffaello', 'Picasso', '1970-1980 Auction Prices for Impressionist and 20th Century Artists', 'German Art in the 20th Century', 'Elizabeth Frink', 'Mapplethorpe' etc, to include cased fish eaters

A large earthenware vase in the style of Picasso, graffiato technique on a painted white ground, 1950's, H41cm. 

A quantity of reference books relating to Pablo Picasso

PABLO PICASSO 'Honore de Balzac', original lithograph, dated and signed in the plate, edition 3000-1952, original justification page verso, ref Mourlot, 22cm x 17cm, framed and glazed. (Subject to ARR - please see Buyers Conditions)

PABLO PICASSO 'La Fenetre', textile, 85cm x 81cm, framed and glazed.

PABLO PICASSO, lithograph 31.1.54 VII 1954, ref Mourlot, suite La Comedie humaine, 37cm x 43cm, framed and glazed.

AFTER PABLO PICASSO, PORTRAITS IMAGINAIRES 30.3.69 I, Chelsea Green Editions blindstamp, limited edition print no. 32/50, framed. Sheet 77cm by 59cm

A Pablo Picasso print, Hands With Flowers, framed

PICASSO eleven various prints

Pablo Picasso (1881-1973) 6 prints, mainly nudes, from the Vollard suite circa 1956 (all mounted and unframed).

Pablo Picasso (1881-1973) pair of lithographic prints, Maison De La Pensee francaise 1958, published in 1959, lithography by Fernand Mourlot, France.

An eight strand pearl necklace, Paloma Picasso for Tiffany & Co. formed of eight strands of freshwater pearls, with C-shaped clasps, signed 'Paloma Picasso', stamped 'TIFFANY & CO 750' (Dimensions: Length: 44 cm)(Length: 44 cm)Condition report: Overall in good condition. The pearls are various shapes and sizes. 186.9 gr. gross.

A GANYMED FRAMED PICASSO PRINT

Pablo Picasso, after (Spanish, 1881-1973) Title: Portraits Imaginaires Cubist Gallery poster on paper Signed in print, Upper left Canvas: 28 1/2 in. x 20 in.; Frame: 36 in. x 27 1/2 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Property of a Palm Beach estate. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.

Pablo Picasso (1881-1973) for Madoura, 'Pichet Tetes', an earthenware jug with stylised head, the base inscribed EDITION PICASSO, 13cm high Cf. Lot 211, sold in these rooms, The Spring Sale 17th April 2018 for £2,400 hammer.

A terracotta slipware pinched circular bowl, signed Picasso, painted with Hands With Flowers Bouquet Of Peace, with a signature, 24.5cm diameter

Pablo Picasso (Spanish 1881-1973)/Head of a Bull/with justification page attached to the back of the frame with pencil signature Picasso, limited edition no. 54 of 320/engraving, 22.5cm x 23cm/Note: illustration part of the Carmen Suite by Prosper Merimee 1949/Provenance: Goldmark Gallery label verso CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

An Etched Sterling Silver Limited Edition Plaque by Pablo Picasso 'Le Chasseur' Mounted on Wooden Back with Easel Support. Complete with Certificate of Authenticity

After Pablo Picasso, 'Guernica', print, in black frame, 36 x 81cm

Sonia Handford (1925-2010): 'Fruits for Africa', oil on canvas, signed lower right, H 92 x W 92 cm. Provenance: The artist's daughter. Note: Born to Russian Jewish parents who settled in England in the early 1900s, Sonia Handford was educated at Clapham County Girls' Grammar School, and later at Wimbledon School of Art (1942-1945) under Lionel Ellis (1903-1988) where she received the 'Painting with Merit' award. She travelled widely during her life, beginning with France, Spain, Italy and Greece and later to Egypt, Russia, and the U.S.A. and exhibited at Wandsworth Town Hall (1963), Moriarty's Wine Bar, West Hampstead (1989) and Shaftesbury Arts Centre (2004). She also had an extensive teaching career at Sydenham School for Girls, Whitechapel Art Gallery, Balls Park College of Education, St. Albans School for Boys and Hampstead Comprehensive. Major influences on her work include: Picasso, Robert and Sonia Delaunay, Cezanne and Van Gogh

A framed print, after Picasso, Mere Et Enfant

PABLO PICASSO 'Nature Morte', pochoir, printed by Jacomet, edition of 1000, 45cm x 33cm, framed and glazed.

Original vintage advertising poster for a Pablo Picasso exhibition - Ceramiques at the Maison de la Pensee Française in Paris - 8 March to 30 June 1958. Lithograph on paper, edition size: 750 copies. Great design by the notable Spanish artist and sculptor, Pablo Picasso (1881-1973), featuring a sketch of a ceramic plate with what looks like a smiling face inside a decorated border with text above and below in Picasso's handwriting with the name and address of the gallery and dates of the exhibition. Pablo Ruiz Picasso was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a dramatic portrayal of the bombing of Guernica by the German and Italian airforces during the Spanish Civil War. Picasso's work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso's work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles.Year of printing: 1958, country of printing: France, designer: Pablo Picasso, dimensions (cm): 64.5x47.5. Very good condition, minor tear in bottom margin.

Original vintage advertising poster for a Pablo Picasso exhibition of Ceramiques at the Madoura Gallery in Cannes, France. Lithograph printed by Imp. Arnera, Vallauris. Pablo Ruiz Picasso was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a dramatic portrayal of the bombing of Guernica by the German and Italian airforces during the Spanish Civil War. Picasso's work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso's work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles.Year of printing: 1961, country of printing: France, designer: Pablo Picasso, dimensions (cm): 67x47. Good condition, yellowing in top margin, small fold in bottom right corner.

Original vintage advertising poster for a Pablo Picasso exhibition - Ceramiques at the Maison de la Pensee Française in Paris - 8 March to 30 June 1958. Lithograph on paper printed by Mourlot, Paris in edition of 500. Great design by the notable Spanish artist and sculptor, Pablo Picasso (1881-1973), featuring a sketch of a ceramic plate with what looks like a smiling face, the text above and below in Picasso's handwriting with the name and address of the gallery and dates of the exhibition. Pablo Ruiz Picasso was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a dramatic portrayal of the bombing of Guernica by the German and Italian airforces during the Spanish Civil War. Picasso's work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso's work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles.Year of printing: 1958, country of printing: France, designer: Pablo Picasso, dimensions (cm): 65x47.5. Very good condition, faint staining in margins, backed on old linen.

Original vintage advertising poster for a Pablo Picasso exhibition titled 'Graphik' in Ludwigshafen im Rhein in Germany in March 1968. This poster features a famous artwork titled 'Buste de Femme aux Chapeau' by the notable Spanish artist and sculptor Pablo Picasso (1881-1973). Lithograph printed in Germany by Schneiderdruck KG, Hohenecken. Pablo Ruiz Picasso was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a dramatic portrayal of the bombing of Guernica by the German and Italian airforces during the Spanish Civil War. Picasso's work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso's work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles.Year of printing: 1968, country of printing: Germany, designer: Pablo Picasso, dimensions (cm): 61.5x43.5. Good condition, faint staining in and small tears in margins.

Original vintage propaganda poster by Picasso for an exhibition of paintings and sculptures by Spanish artitsts in homage to Spanish poet Antonio Machado, held at the Maison de la Pensee Francaise in Paris in February 1955: Hommage des Artistes Espagnols au Poete Antonio Machado. Great portrait of Antonio Machado by the notable Spanish artist and sculptor Pablo Picasso (1881-1973). Lithograph poster printed in Paris by Imp. Moderne du Lion. Pablo Ruiz Picasso was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a dramatic portrayal of the bombing of Guernica by the German and Italian airforces during the Spanish Civil War. Picasso's work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso's work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles.Year of printing: 1955, country of printing: France, designer: Pablo Picasso, dimensions (cm): 65x50. Very good condition, faint yellowing in margins and minor tear in right margin.

Original vintage advertising poster: T.E.C. – Travail et Culture – Picasso. Lithograph printed by Mourlot Paris, edition size: 500 copies.French poster advertising a Picasso conference at the Sorbonne in Paris on 15 March 1946 organised by the T.E.C (Travail et Culture / Work and Culture) featuring a cubic sketch and collage by the notable Spanish artist and sculptor, Pablo Picasso (1881-1973), of a glass and some fruit on a pastel background within a border above text: Picasso – Repetition de la conference avec projections par L’Abbe Morel et lecture d’un poème par Paul Eluard with the venue, date and price of tickets. The poster has French tax stamps in the bottom right corner. Pablo Ruiz Picasso was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a dramatic portrayal of the bombing of Guernica by the German and Italian airforces during the Spanish Civil War. Picasso's work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso's work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles.Year of printing: 1946, country of printing: France, designer: Pablo Picasso, dimensions (cm): 74x51.5. Good condition, central horizontal and vertical folding marks, repaired cracks, minor tears on the right margin, backed on old linen.

Original vintage propaganda poster for a Picasso exhibition of drawings at the Sala Gaspar - Dibujos de Picasso - in Barcelona in April 1961, an official representative of the artist in Spain. Lithograph poster, edition size: 500 copies. Fantastic colour sketch by the notable Spanish artist and sculptor Pablo Picasso (1881-1973) showing what could look like a face, with the text above and below in Picasso's handwriting. Pablo Ruiz Picasso was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a dramatic portrayal of the bombing of Guernica by the German and Italian airforces during the Spanish Civil War. Picasso's work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso's work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles.Year of printing: 1961, country of printing: Spain, designer: Pablo Picasso, dimensions (cm): 70x50. Very good condition, writing in pencil on bottom left corner.

Original vintage advertising poster for a Picasso exhibition Un demi-siècle de Livres Illustres / 50 Years of Illustrated Books at the Galerie H. Matarasso in Nice France from 21 December 1956 to 31 January 1957. Fantastic pencil sketch by the notable Spanish artist and sculptor Pablo Picasso (1881-1973) featuring a profile of a woman with the text below on a white background. Printed by Devaye Imprimeurs Cannes. Pablo Ruiz Picasso was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a dramatic portrayal of the bombing of Guernica by the German and Italian airforces during the Spanish Civil War. Picasso's work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso's work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles.Year of printing: 1956, country of printing: France, designer: Pablo Picasso, dimensions (cm): 70x50. Very good condition, fold line at the bottom under the title and fold line on the left side, with a minor tear in bottom margin

Original vintage wrapping paper featuring an advertising poster for the French retail store Jamet promoting sport cap model: La Casquette Grand-Sport - Adoptee par tous les Champions (Adopted by all the Champions). Great design by Adolphe Mouron Cassandre. Cassandre, pseudonym of Adolphe Jean-Marie Mouron (24 January 1901 – 17 June 1968) was a French painter, commercial poster artist, and typeface designer. He was born Adolphe Jean-Marie Mouron in Kharkiv, Ukraine, to French parents. As a young man, Cassandre moved to Paris, where he studied at the École des Beaux-Arts and at the Académie Julian. The popularity of posters as advertising afforded him an opportunity to work for a Parisian printing house. Inspired by cubism as well as surrealism, he earned a reputation with works such as Bûcheron (Woodcutter), a poster created for a cabinetmaker that won first prize at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes. Cassandre became successful enough that with the help of partners he was able to set up his own advertising agency called Alliance Graphique, serving a wide variety of clients during the 1930s. He is perhaps best known for his posters advertising travel, for clients such as the Compagnie Internationale des Wagons-Lits. His creations for the Dubonnet wine company were among the first posters designed in a manner that allowed them to be seen by occupants in moving vehicles. His posters are memorable for their innovative graphic solutions and their frequent denotations to such painters as Max Ernst and Pablo Picasso. In addition, he taught graphic design at the École des Arts Décoratifs and then at the École d'Art Graphique. With typography an important part of poster design, the company created several new typeface styles. Cassandre developed Bifur in 1929, the sans serif Acier Noir in 1935, and in 1937 an all-purpose font called Peignot. In 1936, his works were exhibited at the Museum of Modern Art in New York City which led to commissions from Harper's Bazaar to do cover designs.Year of printing: 1920s, country of printing: France, designer: Unknown, dimensions (cm): 44.5x34.5 (Unframed) / 51.5x41.5 (Framed). Very good condition, backed on linen, framed.

Poster for Nord Express. Dynamic Art Deco design by the notable poster artist A.M. Cassandre (1901-1968), featuring a steam train locomotive advancing past the viewer. Nord Express, Londres, Bruxelles, Paris, Liege, Berlin, Riga, Varsovie. Official lithograph re-issue from 1927 by the grandson of the artist, Henri Mouron, Studio Editions. Printed in France by Bedos, Paris. Excellent condition, minor creases on margins. Cassandre, pseudonym of Adolphe Jean-Marie Mouron (24 January 1901 – 17 June 1968) was a French painter, commercial poster artist, and typeface designer. Inspired by cubism as well as surrealism, he earned a reputation with works such as Bûcheron (Woodcutter), a poster created for a cabinetmaker that won first prize at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes. Cassandre became successful enough that with the help of partners he was able to set up his own advertising agency called Alliance Graphique, serving a wide variety of clients during the 1930s. He is perhaps best known for his posters advertising travel, for clients such as the Compagnie Internationale des Wagons-Lits. His creations for the Dubonnet wine company were among the first posters designed in a manner that allowed them to be seen by occupants in moving vehicles. His posters are memorable for their innovative graphic solutions and their frequent denotations to such painters as Max Ernst and Pablo Picasso. In addition, he taught graphic design at the École des Arts Décoratifs and then at the École d'Art Graphique. With typography an important part of poster design, the company created several new typeface styles. Cassandre developed Bifur in 1929, the sans serif Acier Noir in 1935, and in 1937 an all-purpose font called Peignot. In 1936, his works were exhibited at the Museum of Modern Art in New York City which led to commissions from Harper's Bazaar to do cover designs.Year of printing: 1980, country of printing: France, designer: Adolphe Mouron Cassandre, dimensions (cm): 102x70.

Original vintage propaganda poster for a Picasso exhibition of paintings, drawings and engravings at the Sala Gaspar in Barcelona in March 1968, an official representative of the artist in Spain. Lithograph poster printed in edition of 1,000 copies. Whimsical sketch by the notable Spanish artist and sculptor Pablo Picasso (1881-1973) showing what looks like a lion face, with the text above and below in Picasso's handwriting. Printed in Barcelona. Pablo Ruiz Picasso was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a dramatic portrayal of the bombing of Guernica by the German and Italian airforces during the Spanish Civil War. Picasso's work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso's work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles.Year of printing: 1968, country of printing: Spain, designer: Pablo Picasso, dimensions (cm): 70.5x51. Very good condition, faint staining in left margin and minor tear in bottom margin.

Poster designed by the notable poster artist, A. M. Cassandre (1901-1968), for the Davis Cup - 29, 30, 31 Juillet challenge round de la Coupe Davis. Fantastic Art Deco design featuring a tennis player behind the net with a huge tennis ball in the air. Official lithograph re-issue by the grandson of the artist, Henri Mouron, from the 1932 original - Studio Editions printed in France by Bedos, Paris. Very good condition, restored thin cut on top corner. Cassandre, pseudonym of Adolphe Jean-Marie Mouron (24 January 1901 – 17 June 1968) was a French painter, commercial poster artist, and typeface designer. Inspired by cubism as well as surrealism, he earned a reputation with works such as Bûcheron (Woodcutter), a poster created for a cabinetmaker that won first prize at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes. Cassandre became successful enough that with the help of partners he was able to set up his own advertising agency called Alliance Graphique, serving a wide variety of clients during the 1930s. He is perhaps best known for his posters advertising travel, for clients such as the Compagnie Internationale des Wagons-Lits. His creations for the Dubonnet wine company were among the first posters designed in a manner that allowed them to be seen by occupants in moving vehicles. His posters are memorable for their innovative graphic solutions and their frequent denotations to such painters as Max Ernst and Pablo Picasso. In addition, he taught graphic design at the École des Arts Décoratifs and then at the École d'Art Graphique. With typography an important part of poster design, the company created several new typeface styles. Cassandre developed Bifur in 1929, the sans serif Acier Noir in 1935, and in 1937 an all-purpose font called Peignot. In 1936, his works were exhibited at the Museum of Modern Art in New York City which led to commissions from Harper's Bazaar to do cover designs. The Davis Cup is the premier international team event in men's tennis. It is run by the International Tennis Federation (ITF) and is contested annually between teams from competing countries in a knock-out format. It is described by the organisers as the "World Cup of Tennis", and the winners are referred to as the World Champion team. The competition began in 1900 as a challenge between Great Britain and the United States. By 2016, 135 nations entered teams into the competition. The most successful countries over the history of the tournament are the United States (winning 32 tournaments and finishing as runners-up 29 times) and Australia (winning 28 times, including four occasions with New Zealand as Australasia, and finishing as runners-up 19 times). The present champions are Croatia, who beat France to win their second title in 2018.Year of printing: 1980, country of printing: France, designer: Adolphe Mouron Cassandre, dimensions (cm): 91x69.

Original vintage propaganda poster designed by the notable Spanish artist and sculptor, Pablo Picasso (1881-1973) in 1959, asking for the amnesty of political prisoners by the Franco regime. Poster published by the French National Committee of Support to the victimes of the Franco Regime (Comite National d'Aide aux Victimes du Franquisme). Symbolic artwork showing a dove flying in front of a prisoner behind bars. Pablo Ruiz Picasso was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a dramatic portrayal of the bombing of Guernica by the German and Italian airforces during the Spanish Civil War. Picasso's work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso's work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles.Year of printing: 1959, country of printing: France, designer: Pablo Picasso, dimensions (cm): 75x52. Very good condition, creases in margins.

A 2005 Citroen Picasso 5 door hatchback - diesel

A pair of Tiffany & Co 18ct gold and diamond stud earrings of Olive Leaf design by Paloma Picasso, with diamond inset to the olive, complete with Tiffany & Co butterflies, 2.2g.

Tête au masque (A.R. 362). 1956. Ceramic. Cm 31,00 x 31,00. 31/200. Editin in marker and "Madoura Plein Feu / Empreinte Originale de Picasso / B100 " marks. Thank to Alain Ramié to confirmed the originality of the artwork

Homme et femme. 1966. Etching and aquatint. Cm 48,00 x 38,00. 34/50. Edition and signature lower in pencil.Publication: Picasso, catalogo delle opere grafiche 1904 -1967, Volume I by Georges Bloch, Editions Kornfeld et Cie, Berne, p.301, tav. 1385. Frame present

After Pablo Picasso (Spanish 1881-1973): 'Seated Portrait of Dora Maar, 1939', limited edition gouttelette on bamboo No.3/50, pub. Chelsea Green Editions, with certificate 86.5cm x 71cm Condition Report & Further Details Click here for further images, condition, auction times & delivery costs

Signed 'Bryan Ingham' (on the backboard), collage on board (Dimensions: 14.5cm x 3cm (5.75in x 1.2in))(14.5cm x 3cm (5.75in x 1.2in))Footnote: Provenance: Estate of the artist. Note: FROM THE ESTATE OF BRYAN INGHAM Bryan Ingham was an independent and dedicated artist, who furrowed his own artistic path throughout a long and productive career, attributing his successful endeavours to ‘sheer, bloody hard work.’ Born and raised in Yorkshire, he was introduced to poetry and music by his bachelor uncle, who also forged in him a deep love of reading, despite his struggles at school. His first encounter with visual art and painting was through attendance at Scouts, where one evening a lady artist shared her watercolours; Ingham fell in love and was inspired to start painting himself. Later called up to the RAF, an ‘artistic sort of airman,’ he was fortunate enough to be paired in accommodation with a designer who had attended the Royal College of Art, whom further encouraged Ingham’s creative instincts and set him up still-life studies to work from. Ingham returned to Britain following his service armed with the ambition to be an artist. His ensuing formal artistic training took place at Central St. Martins and then the Royal College of Art, as the young Ingham felt a move to London entirely necessary to both his personal and artistic development. He gained attention from senior staff for his talent, and on the strength of his work generated numerous job offers at graduation and a grant allowing him to spend a year in Italy, travelling and then studying at the British Academy in Rome. At this stage, Ingham seemed poised to become an establishment artist, with works already receiving prime positions and sales at the Royal Academy. Yet, eternally independent, he instead made the decision to purchase a remote cottage on the Lizard peninsula in West Cornwall, following in the footsteps of Ben Nicholson and Barbara Hepworth. He maintained this for the rest of his life, and worked there for long periods every year, interspersed with trips abroad, particularly to northern Germany, and times where he lived elsewhere in Cornwall, most notably at St. Ives. This commitment to Cornwall drew him into both the inspiration and social network of the St. Ives school, of which he became an important figure. Throughout his career, Ingham worked in a variety of mediums, creating a large body of works that drew on the rich artistic legacy of Britain, and artists such as Nicholson and Peter Lanyon, alongside the wider continental influences of Mondrian, Braque and Picasso. Towards the end of his life he reflected on his career as a 45-year ‘apprenticeship,’ acknowledging ‘there is the argument that by going down many false paths one has enriched one’s vocabulary, if only minimally, but positively enriched it…because nobody else has gone up and down those various pathways . . . I’ve been up and down a hell of a lot of pathways.’ Lyon & Turnbull are delighted to be offering a carefully curated selection of work from the artist’s estate, showing the fundamental role that Ingham played in the interdisciplinary nature of British art during the 20th Century.Condition report: The board appears sound, glued to backboard/mount. Overall it appears in good condition.

Studio stamp (on backboard), pencil and oil on board (Dimensions: 36.5cm x 30.5cm (14.37in x 12in))(36.5cm x 30.5cm (14.37in x 12in))Footnote: Provenance: Estate of the artist. Note: FROM THE ESTATE OF BRYAN INGHAM Bryan Ingham was an independent and dedicated artist, who furrowed his own artistic path throughout a long and productive career, attributing his successful endeavours to ‘sheer, bloody hard work.’ Born and raised in Yorkshire, he was introduced to poetry and music by his bachelor uncle, who also forged in him a deep love of reading, despite his struggles at school. His first encounter with visual art and painting was through attendance at Scouts, where one evening a lady artist shared her watercolours; Ingham fell in love and was inspired to start painting himself. Later called up to the RAF, an ‘artistic sort of airman,’ he was fortunate enough to be paired in accommodation with a designer who had attended the Royal College of Art, whom further encouraged Ingham’s creative instincts and set him up still-life studies to work from. Ingham returned to Britain following his service armed with the ambition to be an artist. His ensuing formal artistic training took place at Central St. Martins and then the Royal College of Art, as the young Ingham felt a move to London entirely necessary to both his personal and artistic development. He gained attention from senior staff for his talent, and on the strength of his work generated numerous job offers at graduation and a grant allowing him to spend a year in Italy, travelling and then studying at the British Academy in Rome. At this stage, Ingham seemed poised to become an establishment artist, with works already receiving prime positions and sales at the Royal Academy. Yet, eternally independent, he instead made the decision to purchase a remote cottage on the Lizard peninsula in West Cornwall, following in the footsteps of Ben Nicholson and Barbara Hepworth. He maintained this for the rest of his life, and worked there for long periods every year, interspersed with trips abroad, particularly to northern Germany, and times where he lived elsewhere in Cornwall, most notably at St. Ives. This commitment to Cornwall drew him into both the inspiration and social network of the St. Ives school, of which he became an important figure. Throughout his career, Ingham worked in a variety of mediums, creating a large body of works that drew on the rich artistic legacy of Britain, and artists such as Nicholson and Peter Lanyon, alongside the wider continental influences of Mondrian, Braque and Picasso. Towards the end of his life he reflected on his career as a 45-year ‘apprenticeship,’ acknowledging ‘there is the argument that by going down many false paths one has enriched one’s vocabulary, if only minimally, but positively enriched it…because nobody else has gone up and down those various pathways . . . I’ve been up and down a hell of a lot of pathways.’ Lyon & Turnbull are delighted to be offering a carefully curated selection of work from the artist’s estate, showing the fundamental role that Ingham played in the interdisciplinary nature of British art during the 20th Century.Condition report: The board appears sound. Overall it appears in good condition.

Numbered 197/300 and inscribed 'Edition Picasso', impressed Edition Picasso and Madoura Plein Feu pottery stamps, ceramic painted in black (Dimensions: 26.5cm high (10.5in high))(26.5cm high (10.5in high))

Inscribed with initials, date and studio stamp (on the backboard), pencil and oil on board (Dimensions: 21cm x 26.5cm (8.25in x 10.37in))(21cm x 26.5cm (8.25in x 10.37in))Footnote: Provenance: Estate of the artist. Note: FROM THE ESTATE OF BRYAN INGHAM Bryan Ingham was an independent and dedicated artist, who furrowed his own artistic path throughout a long and productive career, attributing his successful endeavours to ‘sheer, bloody hard work.’ Born and raised in Yorkshire, he was introduced to poetry and music by his bachelor uncle, who also forged in him a deep love of reading, despite his struggles at school. His first encounter with visual art and painting was through attendance at Scouts, where one evening a lady artist shared her watercolours; Ingham fell in love and was inspired to start painting himself. Later called up to the RAF, an ‘artistic sort of airman,’ he was fortunate enough to be paired in accommodation with a designer who had attended the Royal College of Art, whom further encouraged Ingham’s creative instincts and set him up still-life studies to work from. Ingham returned to Britain following his service armed with the ambition to be an artist. His ensuing formal artistic training took place at Central St. Martins and then the Royal College of Art, as the young Ingham felt a move to London entirely necessary to both his personal and artistic development. He gained attention from senior staff for his talent, and on the strength of his work generated numerous job offers at graduation and a grant allowing him to spend a year in Italy, travelling and then studying at the British Academy in Rome. At this stage, Ingham seemed poised to become an establishment artist, with works already receiving prime positions and sales at the Royal Academy. Yet, eternally independent, he instead made the decision to purchase a remote cottage on the Lizard peninsula in West Cornwall, following in the footsteps of Ben Nicholson and Barbara Hepworth. He maintained this for the rest of his life, and worked there for long periods every year, interspersed with trips abroad, particularly to northern Germany, and times where he lived elsewhere in Cornwall, most notably at St. Ives. This commitment to Cornwall drew him into both the inspiration and social network of the St. Ives school, of which he became an important figure. Throughout his career, Ingham worked in a variety of mediums, creating a large body of works that drew on the rich artistic legacy of Britain, and artists such as Nicholson and Peter Lanyon, alongside the wider continental influences of Mondrian, Braque and Picasso. Towards the end of his life he reflected on his career as a 45-year ‘apprenticeship,’ acknowledging ‘there is the argument that by going down many false paths one has enriched one’s vocabulary, if only minimally, but positively enriched it…because nobody else has gone up and down those various pathways . . . I’ve been up and down a hell of a lot of pathways.’ Lyon & Turnbull are delighted to be offering a carefully curated selection of work from the artist’s estate, showing the fundamental role that Ingham played in the interdisciplinary nature of British art during the 20th Century.Condition report: The board appears sound. Overall it appears in good condition, presume as artist intended.

Signed, dated and with studio stamp (on the backboard), ceramic (Dimensions: 27cm x 28cm (10.67in x 11in))(27cm x 28cm (10.67in x 11in))Footnote: Provenance: Estate of the artist. Note: FROM THE ESTATE OF BRYAN INGHAM Bryan Ingham was an independent and dedicated artist, who furrowed his own artistic path throughout a long and productive career, attributing his successful endeavours to ‘sheer, bloody hard work.’ Born and raised in Yorkshire, he was introduced to poetry and music by his bachelor uncle, who also forged in him a deep love of reading, despite his struggles at school. His first encounter with visual art and painting was through attendance at Scouts, where one evening a lady artist shared her watercolours; Ingham fell in love and was inspired to start painting himself. Later called up to the RAF, an ‘artistic sort of airman,’ he was fortunate enough to be paired in accommodation with a designer who had attended the Royal College of Art, whom further encouraged Ingham’s creative instincts and set him up still-life studies to work from. Ingham returned to Britain following his service armed with the ambition to be an artist. His ensuing formal artistic training took place at Central St. Martins and then the Royal College of Art, as the young Ingham felt a move to London entirely necessary to both his personal and artistic development. He gained attention from senior staff for his talent, and on the strength of his work generated numerous job offers at graduation and a grant allowing him to spend a year in Italy, travelling and then studying at the British Academy in Rome. At this stage, Ingham seemed poised to become an establishment artist, with works already receiving prime positions and sales at the Royal Academy. Yet, eternally independent, he instead made the decision to purchase a remote cottage on the Lizard peninsula in West Cornwall, following in the footsteps of Ben Nicholson and Barbara Hepworth. He maintained this for the rest of his life, and worked there for long periods every year, interspersed with trips abroad, particularly to northern Germany, and times where he lived elsewhere in Cornwall, most notably at St. Ives. This commitment to Cornwall drew him into both the inspiration and social network of the St. Ives school, of which he became an important figure. Throughout his career, Ingham worked in a variety of mediums, creating a large body of works that drew on the rich artistic legacy of Britain, and artists such as Nicholson and Peter Lanyon, alongside the wider continental influences of Mondrian, Braque and Picasso. Towards the end of his life he reflected on his career as a 45-year ‘apprenticeship,’ acknowledging ‘there is the argument that by going down many false paths one has enriched one’s vocabulary, if only minimally, but positively enriched it…because nobody else has gone up and down those various pathways . . . I’ve been up and down a hell of a lot of pathways.’ Lyon & Turnbull are delighted to be offering a carefully curated selection of work from the artist’s estate, showing the fundamental role that Ingham played in the interdisciplinary nature of British art during the 20th Century.Condition report: The ceramic appears sound and in good condition, with possible slight wear/small chip to the tip of the nose, difficult to tell precisely. Unexamined out of frame.

Signed with initials 'B.I.' in pencil, studio stamp (to reverse) and further inscribed 'Bryan/Amsterdam/1992', pencil, gouache and collage on board (Dimensions: 29cm x 9.5 cm (11.37in x 3.75in))(29cm x 9.5 cm (11.37in x 3.75in))Footnote: Provenance: Estate of the artist. Note: FROM THE ESTATE OF BRYAN INGHAM Bryan Ingham was an independent and dedicated artist, who furrowed his own artistic path throughout a long and productive career, attributing his successful endeavours to ‘sheer, bloody hard work.’ Born and raised in Yorkshire, he was introduced to poetry and music by his bachelor uncle, who also forged in him a deep love of reading, despite his struggles at school. His first encounter with visual art and painting was through attendance at Scouts, where one evening a lady artist shared her watercolours; Ingham fell in love and was inspired to start painting himself. Later called up to the RAF, an ‘artistic sort of airman,’ he was fortunate enough to be paired in accommodation with a designer who had attended the Royal College of Art, whom further encouraged Ingham’s creative instincts and set him up still-life studies to work from. Ingham returned to Britain following his service armed with the ambition to be an artist. His ensuing formal artistic training took place at Central St. Martins and then the Royal College of Art, as the young Ingham felt a move to London entirely necessary to both his personal and artistic development. He gained attention from senior staff for his talent, and on the strength of his work generated numerous job offers at graduation and a grant allowing him to spend a year in Italy, travelling and then studying at the British Academy in Rome. At this stage, Ingham seemed poised to become an establishment artist, with works already receiving prime positions and sales at the Royal Academy. Yet, eternally independent, he instead made the decision to purchase a remote cottage on the Lizard peninsula in West Cornwall, following in the footsteps of Ben Nicholson and Barbara Hepworth. He maintained this for the rest of his life, and worked there for long periods every year, interspersed with trips abroad, particularly to northern Germany, and times where he lived elsewhere in Cornwall, most notably at St. Ives. This commitment to Cornwall drew him into both the inspiration and social network of the St. Ives school, of which he became an important figure. Throughout his career, Ingham worked in a variety of mediums, creating a large body of works that drew on the rich artistic legacy of Britain, and artists such as Nicholson and Peter Lanyon, alongside the wider continental influences of Mondrian, Braque and Picasso. Towards the end of his life he reflected on his career as a 45-year ‘apprenticeship,’ acknowledging ‘there is the argument that by going down many false paths one has enriched one’s vocabulary, if only minimally, but positively enriched it…because nobody else has gone up and down those various pathways . . . I’ve been up and down a hell of a lot of pathways.’ Lyon & Turnbull are delighted to be offering a carefully curated selection of work from the artist’s estate, showing the fundamental role that Ingham played in the interdisciplinary nature of British art during the 20th Century.Condition report: The board appears sound. Possibly some faint marks. Subject to the above, the work appears to be in good overall condition.

signed 'Bryan' within the collage, Collage on board (Dimensions: 18cm x 9.7cm (7.12in x 3.87in))(18cm x 9.7cm (7.12in x 3.87in))Footnote: Provenance: Estate of the artist. Note: FROM THE ESTATE OF BRYAN INGHAM Bryan Ingham was an independent and dedicated artist, who furrowed his own artistic path throughout a long and productive career, attributing his successful endeavours to ‘sheer, bloody hard work.’ Born and raised in Yorkshire, he was introduced to poetry and music by his bachelor uncle, who also forged in him a deep love of reading, despite his struggles at school. His first encounter with visual art and painting was through attendance at Scouts, where one evening a lady artist shared her watercolours; Ingham fell in love and was inspired to start painting himself. Later called up to the RAF, an ‘artistic sort of airman,’ he was fortunate enough to be paired in accommodation with a designer who had attended the Royal College of Art, whom further encouraged Ingham’s creative instincts and set him up still-life studies to work from. Ingham returned to Britain following his service armed with the ambition to be an artist. His ensuing formal artistic training took place at Central St. Martins and then the Royal College of Art, as the young Ingham felt a move to London entirely necessary to both his personal and artistic development. He gained attention from senior staff for his talent, and on the strength of his work generated numerous job offers at graduation and a grant allowing him to spend a year in Italy, travelling and then studying at the British Academy in Rome. At this stage, Ingham seemed poised to become an establishment artist, with works already receiving prime positions and sales at the Royal Academy. Yet, eternally independent, he instead made the decision to purchase a remote cottage on the Lizard peninsula in West Cornwall, following in the footsteps of Ben Nicholson and Barbara Hepworth. He maintained this for the rest of his life, and worked there for long periods every year, interspersed with trips abroad, particularly to northern Germany, and times where he lived elsewhere in Cornwall, most notably at St. Ives. This commitment to Cornwall drew him into both the inspiration and social network of the St. Ives school, of which he became an important figure. Throughout his career, Ingham worked in a variety of mediums, creating a large body of works that drew on the rich artistic legacy of Britain, and artists such as Nicholson and Peter Lanyon, alongside the wider continental influences of Mondrian, Braque and Picasso. Towards the end of his life he reflected on his career as a 45-year ‘apprenticeship,’ acknowledging ‘there is the argument that by going down many false paths one has enriched one’s vocabulary, if only minimally, but positively enriched it…because nobody else has gone up and down those various pathways . . . I’ve been up and down a hell of a lot of pathways.’ Lyon & Turnbull are delighted to be offering a carefully curated selection of work from the artist’s estate, showing the fundamental role that Ingham played in the interdisciplinary nature of British art during the 20th Century.Condition report: The board appears sound, laid down to card. Generally, good condition - presume as the artist intended from studio.

Studio stamp (to reverse), collage and mixed media on board (Dimensions: 11.5cm x 17.5cm (4.5in x 6.8in))(11.5cm x 17.5cm (4.5in x 6.8in))Footnote: Provenance: Estate of the artist. Note: FROM THE ESTATE OF BRYAN INGHAM Bryan Ingham was an independent and dedicated artist, who furrowed his own artistic path throughout a long and productive career, attributing his successful endeavours to ‘sheer, bloody hard work.’ Born and raised in Yorkshire, he was introduced to poetry and music by his bachelor uncle, who also forged in him a deep love of reading, despite his struggles at school. His first encounter with visual art and painting was through attendance at Scouts, where one evening a lady artist shared her watercolours; Ingham fell in love and was inspired to start painting himself. Later called up to the RAF, an ‘artistic sort of airman,’ he was fortunate enough to be paired in accommodation with a designer who had attended the Royal College of Art, whom further encouraged Ingham’s creative instincts and set him up still-life studies to work from. Ingham returned to Britain following his service armed with the ambition to be an artist. His ensuing formal artistic training took place at Central St. Martins and then the Royal College of Art, as the young Ingham felt a move to London entirely necessary to both his personal and artistic development. He gained attention from senior staff for his talent, and on the strength of his work generated numerous job offers at graduation and a grant allowing him to spend a year in Italy, travelling and then studying at the British Academy in Rome. At this stage, Ingham seemed poised to become an establishment artist, with works already receiving prime positions and sales at the Royal Academy. Yet, eternally independent, he instead made the decision to purchase a remote cottage on the Lizard peninsula in West Cornwall, following in the footsteps of Ben Nicholson and Barbara Hepworth. He maintained this for the rest of his life, and worked there for long periods every year, interspersed with trips abroad, particularly to northern Germany, and times where he lived elsewhere in Cornwall, most notably at St. Ives. This commitment to Cornwall drew him into both the inspiration and social network of the St. Ives school, of which he became an important figure. Throughout his career, Ingham worked in a variety of mediums, creating a large body of works that drew on the rich artistic legacy of Britain, and artists such as Nicholson and Peter Lanyon, alongside the wider continental influences of Mondrian, Braque and Picasso. Towards the end of his life he reflected on his career as a 45-year ‘apprenticeship,’ acknowledging ‘there is the argument that by going down many false paths one has enriched one’s vocabulary, if only minimally, but positively enriched it…because nobody else has gone up and down those various pathways . . . I’ve been up and down a hell of a lot of pathways.’ Lyon & Turnbull are delighted to be offering a carefully curated selection of work from the artist’s estate, showing the fundamental role that Ingham played in the interdisciplinary nature of British art during the 20th Century.Condition report: The work appears sound. Possibly some faint slight surface dirt. Subject to the above the work appears in good condition. Set in a modern black recessed wooden frame.

Signed and inscribed (to reverse), pencil, oil and collage on board (Dimensions: 14.5cm x 19.5cm (5.75in x 7.67in))(14.5cm x 19.5cm (5.75in x 7.67in))Footnote: Provenance: Estate of the artist. Note: FROM THE ESTATE OF BRYAN INGHAM Bryan Ingham was an independent and dedicated artist, who furrowed his own artistic path throughout a long and productive career, attributing his successful endeavours to ‘sheer, bloody hard work.’ Born and raised in Yorkshire, he was introduced to poetry and music by his bachelor uncle, who also forged in him a deep love of reading, despite his struggles at school. His first encounter with visual art and painting was through attendance at Scouts, where one evening a lady artist shared her watercolours; Ingham fell in love and was inspired to start painting himself. Later called up to the RAF, an ‘artistic sort of airman,’ he was fortunate enough to be paired in accommodation with a designer who had attended the Royal College of Art, whom further encouraged Ingham’s creative instincts and set him up still-life studies to work from. Ingham returned to Britain following his service armed with the ambition to be an artist. His ensuing formal artistic training took place at Central St. Martins and then the Royal College of Art, as the young Ingham felt a move to London entirely necessary to both his personal and artistic development. He gained attention from senior staff for his talent, and on the strength of his work generated numerous job offers at graduation and a grant allowing him to spend a year in Italy, travelling and then studying at the British Academy in Rome. At this stage, Ingham seemed poised to become an establishment artist, with works already receiving prime positions and sales at the Royal Academy. Yet, eternally independent, he instead made the decision to purchase a remote cottage on the Lizard peninsula in West Cornwall, following in the footsteps of Ben Nicholson and Barbara Hepworth. He maintained this for the rest of his life, and worked there for long periods every year, interspersed with trips abroad, particularly to northern Germany, and times where he lived elsewhere in Cornwall, most notably at St. Ives. This commitment to Cornwall drew him into both the inspiration and social network of the St. Ives school, of which he became an important figure. Throughout his career, Ingham worked in a variety of mediums, creating a large body of works that drew on the rich artistic legacy of Britain, and artists such as Nicholson and Peter Lanyon, alongside the wider continental influences of Mondrian, Braque and Picasso. Towards the end of his life he reflected on his career as a 45-year ‘apprenticeship,’ acknowledging ‘there is the argument that by going down many false paths one has enriched one’s vocabulary, if only minimally, but positively enriched it…because nobody else has gone up and down those various pathways . . . I’ve been up and down a hell of a lot of pathways.’ Lyon & Turnbull are delighted to be offering a carefully curated selection of work from the artist’s estate, showing the fundamental role that Ingham played in the interdisciplinary nature of British art during the 20th Century.Condition report: The board appears sound, and appears to have been professionally mounted onto card. The work appears to be in good condition.