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Artist: Various Artists (American/European, 20th Century). Title: "San Lazzaro et ses amis [15 original lithographs by Calder, Magritte, Picasso et al]". Medium: Original color lithographs. Date: Composed 20th Century. Dimensions: Overall size: 10 1/4 x 14 in. (260 x 356 mm).Pricing:   Starting Price: $2,400  Reserve Price: N.A.  Auction Sale Price Estimate: $3,500/4,000Lot Note(s): Number 389 of 575. Lithographs printed on light cream high quality Velin d' Arches paper. Full margins. Fine impressions. Printed by Fernand Mourlot. The prints are in fine condition, the clamshell box in very good to fine. Comment(s): With 15 lithographs by Max BILL, Georges BRAQUE, Alexander CALDER, Marc CHAGALL, Max ERNST, Lucio FONTANA, Hans HARTUNG, Alberto MAGNELLI, Rene MAGRITTE, Joan MIRO, Henry MOORE, Pablo PICASSO, Serge POLIAKOFF, Graham SUTHERLAND, and Zao WOU-KI. Published by XXe Siecle, Paris, 1975, as a tribute to Gualtieri di San Lazzaro, the founder of the publication XXe Siecle. In original wrappers and cloth clamshell box with the portrait of San Lazzaro mounted on the inside. Text by Gualtieri di San Lazzaro, Pierre Volboudt, Nina Kandinsky, Marc Chagall, Andre Verdet, Marino Marini et al. [30644-18-2400-NA]

Artist: Pierre-Auguste Renoir (French, 1841 - 1919). Title: "Un paysage volcanique". Medium: Pencil drawing on paper. Date: Composed n.d. Dimensions: Overall size: 9 1/16 x 11 5/8 in. (230 x 295 mm).Pricing:   Starting Price: $3,000  Reserve Price: No reserve  Auction Sale Price Estimate: $8,000/12,000Lot Note(s): Hand-signed in pencil, lower right. Drawn on cream wove medium weight paper. Very good to fine condition. Provenance: The work comes from the collection of Urbano Quinto and was acquired by him directly from Pablo Picasso at a meeting in 1953 at the Café de l'Hotel Negresco, Nice, France. A noted ltalian art historian, art dealer, and art collector, Urbano Quinto acquired works from classical artists of the 20th Century as well as Jean-Michel Basquiat, Keith Haring, Andy Warhol, and other Pop and Graffiti artists, often directly from the artists themselves during the 1950’s through the 1980’s. The original Letter of Authenticity by Urbano Quinto pertaining to this work accompanies the lot. Comment(s): Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). [30641-2-3000-NR]

Artist: Jean-Michel Basquiat (American, 1960-1988). Title: "Graft". Medium: Crayon, marker, pen, and pencil drawing on paper. Date: Composed 1984. Dimensions: Overall size: 12 x 9 3/16 in. (305 x 233 mm).Pricing:   Starting Price: $5,000  Reserve Price: No reserve  Auction Sale Price Estimate: $30,000/40,000Lot Note(s): Signed and dated in black marker, lower right. Drawn on light cream wove paper. Very good condition; several very minor tears, one very slightly into the image, right edge; some very minor fading, upper edge; else fine, and presents very well. Provenance: The work comes from the collection of Urbano Quinto (Rhodes, Greece, 1933 – Novara, Italy, 1997) and was acquired directly from Jean-Michel Basquiat in 1984 during a meeting at Basquiat's studio located at 57 Great Jones Street, New York City. The noted Italian author, art dealer, and art collector Urbano Quinto met Jean-Michel Basquiat in 1984 at the Andy Warhol ‘Factory’ at 33 Union Square West in New York City. Quinto acquired drawings from Pablo Picasso, Jean-Michel Basquiat, Keith Haring, and Andy Warhol, as well as other notable artists, directly from them beginning in the 1950's and continuing through the 1980's. A copy of the Letter of Authenticity by Mauro Urbano pertaining to this work accompanies the lot. Comment(s): Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). Basquiat image copyright © The Estate of Jean-Michel Basquiat/ADAGP, Paris; ARS, New York. [30268-2-5000-NR]

Artist: Keith Haring (American, 1958 - 1990). Title: "Angry Robot". Medium: Black marker drawing on paper. Date: Composed 1983. Dimensions: Overall size: 20 x 24 13/16 in. (508 x 630 mm).Pricing:   Starting Price: $5,000  Reserve Price: No reserve  Auction Sale Price Estimate: $25,000/30,000Lot Note(s): Signed and dated, upper right. Drawn on cream wove paper. Good condition; the work has several issues which conservation, if desired, should successfully resolve: the lower right corner is lacking, apparently with no loss to the image; the center left edge of the sheet bears discoloration and a small paper loss; the upper center edge has one small area of paper loss; a hard crease near the lower right corner, within the image but not affecting a drawn area; scattered mild foxing overall. Provenance: The work comes from the collection of Urbano Quinto (Rhodes, Greece, 1933 – Novara, Italy, 1997) and was acquired directly from Keith Haring in 1983 during the mid-October to mid-November 1983 exhibition of Haring's work at the Robert Fraser Gallery, London. The noted Italian author, art dealer, and art collector Urbano Quinto met Haring in the early 1980s at the Andy Warhol Factory at 33 Union Square West in New York City. Quinto acquired drawings from Pablo Picasso, Jean-Michel Basquiat, Keith Haring, and Andy Warhol, as well as other notable artists, directly from them beginning in the 1950's and continuing through the 1980's. A copy of the Letter of Authenticity (‘COA’) by Mauro Urbano pertaining to this work accompanies the lot. Comment(s): This exceptional and large drawing is the precursor to Haring’s finished drawing that was used as the image for the Robert Fraser Gallery’s exhibition’s poster of 1983, provided here as image #3. Also please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). Haring image copyright © The Keith Haring Foundation. [30270-5-5000-NR]

PABLO PICASSO, ‘Portrait of a Lady after Cranach the Younger’, Linocut 1962 Suite: Linogravures Distressed French vintage frame 26.5 x 22 cm. (Subject to ARR - see Buyers Conditions)

PABLO PICASSO, Toro y Torres ceramic tile plaque, 15cm x 11cm, (each tile approx 4cm) on frame, 22cm x 26cm with engraved label.

AFTER PABLO PICASSO, ‘The Bulls’, a set of six collotypes, 20 x 14cm each. (6)

PABLO PICASSO, ‘L’Homme’ lithograph numbered verso 1964 – Editions Cercle D’Art – Edition size 1000 Fernand Chenot. (Subject to ARR - see Buyers Conditions)

AFTER PABLO PICASSO (1881-1973), 'Visage', ceramic plate, 40cm D.

PABLO PICASSO, ‘Lovers in the street’ hand numbered pochoir in colours Suite: Les Bleus de Barcelona Edition:500 – Printed by Daniel Jacomet 1963 French Montparnasse frame 40cm x 60cm. (Subject to ARR - see Buyers Conditions)

PABLO PICASSO, ‘L’Enfant au Masque pour le journal I’Humanite’ numbered lithograph printed in 1953 Edition: 2000 French vintage frame 52 x 42cm. (Subject to ARR - see Buyers Conditions)

Artist: Pablo Picasso [d'après] (Spanish, 1881 - 1973). Title: "May 16, 1964 #04 [from the suite 'Le Gout du Bonheur,' image dated 16-5-64 IV, untitled as issued]". Medium: Original color silkscreen & lithograph. Date: Composed 1964. Printed 1970. Dimensions: Overall size: 12 7/8 x 9 11/16 in. (327 x 246 mm).Pricing:   Starting Price: $1,600  Reserve Price: N.A.  Auction Sale Price Estimate: $2,500/3,000Lot Note(s): Signed in pencil, lower right; annotated in pencil (presumably in the artist's hand) lower left; dated in the plate, lower right. An artist’s proof (E.A. - epreuve d’artiste) aside from the edition of 666. Cream wove handmade watermarked rag Velin d' Arches paper, deckle edges three sides. Full margins, as issued. Fine impression. Fine, fresh condition, as issued, with rich, vibrant colors. Literature/catalogue raisonne: Goeppert/Cramer (GC/CR/CBK/CB/C) 148; Bloch (BB) 150. Provenance: the Estate of Guenther Dietz (German, 1919-1995), who printed the edition. Comment(s): Although this work is often catalogued as a lithograph, or silkscreen, or pochoir, or photo-lithograph, in reality it is none of these. By 1964 Guenther Dietz, the printer, had created a unique fine printing system which involved the use of both lithographic plates and serigraphic screens. He and master printers from his company (Guenther Dietz Offizin Handpresse GmbH, Munich & Lengmoos, Germany) printed this work under the direct supervision and participation of Picasso himself. Dietz used grease crayon, lithographic tusche, lead pencil, and charcoal, among others, to create the matrixes and receive Picasso’s approval to print the edition (Cramer, ‘Livres’ 148). The plates and screens were destroyed after printing. Published by Harry N. Abrams, Inc., New York. Image copyright © Artists Rights Society (ARS), New York. [30021-2-1600-NA]

Christopher Wood (1901-1930) "Footbridge on the Seine" Signed and dated 1924, pen and ink, 19.5cm by 30cm Provenance: The Redfern Gallery, London, Purchaser R. Gathorne-Hardy Esq., January 1945 The Estate of Mrs Markova Noel Loaned to Sheffield Museums Trust Christopher Wood (1901-1903), in his short life, became held in high regard amongst artistic circles in both London and Paris, being now remembered as a youthful genius.Born near Liverpool, he began drawing whilst recovering from septicaemia aged 14. After studying architecture and medicine for just a year at university, he moved to London in 1920. Here he met an art collector, who invited him to Paris, where he studied drawing a the Académie Julien.He was drawn effortlessly into fashionable artistic circles, where he met Augustus John and the diplomat Antonio de Gandarillas, whom he moved in with and was supported by. Gandarillas also introduced him to the likes of Pablo Picasso, Jean Cocteau and George Auric, along with opium. Following the last-minute cancellation of a commission for designs for the Ballets Russe, Wood moved back to London, becoming first a member of the exhibiting collectives the London Group, and then the Seven and Five Society.Formatively, he exhibited with Ben and Winifred Nicholson in 1927, with whom he would become close friends. Wood accompanied the Nicholsons on painting trips to Cumberland and Cornwall, and in St. Ives discovered Alfred Wallis, whose ‘primitive’ expressionism helped him develop his own style.In 1929 he was given a solo show at Arthur Tooth & Sons, and a rather less successful joint exhibition with Ben Nicholson in Paris. Having had a painting expedition to Brittany, the resulting paintings were due to be exhibited at Wertheim Gallery in London. However, Wood was struck by a train whilst travelling back from meeting his mother, thought to be suicide brought on by psychosis, despite being reported as an accident at the time. Posthumously, his work was widely exhibited. The piece is on buff paper. Slight cockling to the paper. There are black lines to the outer edges in places. Slight time staining to the paper and the odd minor sporadic foxing spot in places, for example to the right corner of the top edge, to the knee of the figure left corner. Not examined out of the frame. (see images).

Henry Moore OM, CH, RBA, RBS (1898-1986) “Head” (1957/58) Signed, black crayon, 39cm by 30cmProvenance: Given to Mervyn Levy by the artist following the publication of his book "Drawing and Sculpture" in 1970 according to inscription verso Clark Art, CheshireHenry Moore is perhaps the most celebrated sculptor of the 20th century, and his monumental semi-abstract sculptures had a profound effect on the course of British Art. Achieving global recognition in his lifetime, Moore’s distinctive brand of modernism caused a British sculptural Renaissance.Moore was born in Castleford, a small mining town in West Yorkshire, in 1898. After initially training as a teacher, he served in the Army during the First World War. However, after being injured he was awarded a rehabilitation grant that afforded him the opportunity to study at Leeds School of Art before going on to the Royal College of Art in London.Whilst studying in London Moore became absorbed with so called ‘Primitive Art’ in the British Museum. Shying away from the Classical ideal, which was all-pervasive in Western Art, he instead drew inspiration from the imagery of the ancient world, and from African and Oceanic cultures which idolised the female/maternal figure.Moore began sculpting simple, powerful forms redolent of ancient objects, with a distinct focus on female figures and family groups. Close study of the natural world led Moore to create his abstracted figures, at once both alien and familiar, using organic shapes taken from a line of hills, a massive rock formation, or a sea-smoothed pebble on a beach. The abstraction of organic forms developed in parallel in the work of Barbara Hepworth, whom Moore had known since their days at Leeds School of Art.Having come under the influence of Pablo Picasso and Georges Braque in the 1930s, his work had taken on a darker edge with a greater degree of abstraction and more distorted forms. This was exacerbated by the outbreak of the Second World War, during which Moore became an official war artist and moved away from his characteristic female and maternal images as his primary focus. Moore created a powerful series of drawings of huddled figures in underground shelters, before returning to his hometown of Castleford to visit the colliery in which his father had worked to depict miners toiling at the coal face. These works were filled with a pathos and pain, which he later expressed in austere pieces such as his Helmet series. After WWII, Moore became very focussed on Helmet Head and Heads. During the 1950's he explored many varations on this subject (see lot 573). Slight time staining to the paper, especially to the outer edges. Slight cockling to the paper and handling creases to the outer edges. Brown thumb mark left of bottom edge by design? Possible pen mark diagonal from the left edge down to the right to the left of the head approximately 5cm. Small brown marks under the signature and below centre of right edge. The odd very tiny sporadic foxing spot in evidence. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.

Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "Dibujos de Picasso - Barcelona [Sala Gaspar]". Medium: Original lithograph. Date: Composed 1961. Dimensions: Overall size: 27 5/8 x 19 3/4 in. (702 x 502 mm). Image size: 23 x 18 1/4 in. (584 x 464 mm).Pricing:   Starting Price: $600  Reserve Price: N.A.  Auction Sale Price Estimate: $800/1,000Lot Note(s): Signed in pencil, lower right. Edition of 500. Light cream wove paper. The full sheet. Very fine impression. Very good condition; a few dimples and a few fox marks along left margin, else fine. Literature/catalogue raisonne: Bloch 1292; Czwiklitzer 43 (1970 ed.);Czwiklitzer 44 (1981 ed.); Rodrigo 108; Mourlot 337. Comment(s): Poster created (and exhibition held) during Picasso's lifetime, with Picasso authorizing its printing. Printed by Foto-Repro S.A., Barcelona. Image copyright © Artists Rights Society (ARS), New York. [27398-5-600-NA]

Artist: Aleksandr Yakovlevich Golovin (Russian, 1863 - 1930). Title: "Set Design". Medium: Mixed media (watercolor, gouache, pen, pencil). Date: Composed c1910-20. Dimensions: Image size: 11 x 16 in. (279 x 406 mm).Pricing:   Starting Price: $6,000  Reserve Price: N.A.  Auction Sale Price Estimate: $8,000/10,000Lot Note(s): Signed with the initials "A.G." in Cyrillic on the support mount, lower right, recto. Painted on supple wove paper. Overall condition very good to fine. The drawing is affixed to the original support mount. The drawing itself has no holes, tears, foxing, etc. The colors are very fresh. There is some minor surface soiling middle left, else just very nice. Comment(s): Works by Golovin of this caliber are rare. Aleksandr Golovin studied at the Moscow College of Painting, Sculpture and Architecture initially as a student of architecture and later as a painter. He lived and worked in Moscow as an interior painter, furniture designer and decorator tradesman, and in 1900, in collaboration with Konstantin Korovin, he designed the interior décor of the Russian Empire pavilion at the Paris World’s Fair. Golovin moved to St. Petersburg in 1901, where he worked prominently as a stage designer until the Russian Revolution of 1917. He was the leading designer for the theaters in St. Petersburg at this time, and an important contributor to the legendary Ballets Russes, which commissioned the most esteemed choreographers, dancers, musicians and stage designers of the era, including Natalia Gontcharova, Mikhail Larionov, Marc Chagall, George Braques, Joan Miró, Max Ernst, Henri Matisse, and Pablo Picasso. Please note: this work is being exhibited in an exhibition frame and is being sold unframed. [18217-4-6000-NA]

Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "Bal Olympic: Vrai bal sportif costume (Programme) [Picasso *one original lithograph*, Manet, et al] [Portfolio/Book] [program for the 1924 Ball organized by the Union des Artistes Russes in Paris]". Medium: Original lithographs. Date: Composed 1924. Dimensions: Image size: 11 1/4 x 9 3/4 in. (286 x 248 mm).Pricing:   Starting Price: $1,200  Reserve Price: N.A.  Auction Sale Price Estimate: $1,500/1,800Lot Note(s): Several lithographs signed in the plate. All lithographs with artist credit. Small edition?. Heavy wove paper. Fine impressions. Fine condition. Comment(s): Highly important and rare. The second ball of the Union of Russian Artists in Paris. 12 pages. The printed program is a typographical and artistic masterpiece. Includes Pablo Picasso's original lithograph "Mercure: Etude de Danseur" executed by Picasso after the pencil drawing of the same name, and apparently found only in this program (see: Online Picasso Project, 24:199 for the drawing). Other original lithographs by and after Manet, Vassilieff, Fotinsky, Granovsky, Barthe, and Chatzman. Contains extensive listings of events and contributors. Undoubtedly produced by Francois Bernouard, Paris, like that for the Bal Travesti/Transmental, though the program carries no credit. Picasso images copyright © Artists Rights Society (ARS), New York. [19198-2-1200-NA]

Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "Picasso: Pintura - Dibujo [Sala Gaspar]". Medium: Original color lithograph . Date: Composed 1971. Dimensions: Overall size: 39 1/2 x 20 3/8 in. (1003 x 518 mm). Image size: 38 x 18 1/2 in. (965 x 470 mm).Pricing:   Starting Price: $600  Reserve Price: N.A.  Auction Sale Price Estimate: $800/1,000Lot Note(s): Signed in purple crayon, lower right. Edition unknown, probably small. Light cream wove paper. The full sheet. Very fine impression. Very good condition; a few soft creases in the image (probably easily pressed out), else fine. Literature/catalogue raisonne: Czwiklitzer 422 (1981 ed.); Rodrigo 228. Comment(s): Apparently scarce. We could not find an example of this large poster at auction. Generally catalogued as an offset lithograph; our example appears to be a "stone" lithograph. Poster created (and exhibition held) during Picasso's lifetime, with Picasso authorizing its printing. Printed by Publicaciones Reunidas, Barcelona. Image copyright © Artists Rights Society (ARS), New York. [27396-6-600-NA]

Artist: Robert Doisneau (French, 1912-1994). Title: "Picasso a Vallauris, 1952". Medium: Original vintage photogravure. Date: Composed 1952. Printed 1952. Dimensions: Image size: 6 3/4 x 8 7/8 in. (171 x 225 mm).Pricing:   Starting Price: $300  Reserve Price: N.A.  Auction Sale Price Estimate: $500/600Lot Note(s): Stamped with the photographer's name, verso. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Image copyright © Atelier Robert Doisneau. [24914-1-300-NA]

Artist: Pablo Picasso [d'après] (Spanish, 1881 - 1973). Title: "May 20, 1964 #05 [from the suite 'Le Gout du Bonheur,' image dated 20-5-64 V, untitled as issued]". Medium: Original color silkscreen & lithograph. Date: Composed 1964. Printed 1970. Dimensions: Overall size: 12 7/8 x 9 11/16 in. (327 x 246 mm).Pricing:   Starting Price: $1,200  Reserve Price: N.A.  Auction Sale Price Estimate: $1,800/2,000Lot Note(s): Signed in pencil, lower right; annotated in pencil (presumably in the artist's hand) lower left; dated in the plate, upper left. An artist’s proof (E.A. - epreuve d’artiste) aside from the edition of 666. Cream wove handmade watermarked rag Velin d' Arches paper, deckle edges three sides. Full margins, as issued. Fine impression. Fine, fresh condition, as issued, with rich, vibrant colors. Literature/catalogue raisonne: Goeppert/Cramer (GC/CR/CBK/CB/C) 148; Bloch (BB) 150. Provenance: the Estate of Guenther Dietz (German, 1919-1995), who printed the edition. Comment(s): Although this work is often catalogued as a lithograph, or silkscreen, or pochoir, or photo-lithograph, in reality it is none of these. By 1964 Guenther Dietz, the printer, had created a unique fine printing system which involved the use of both lithographic plates and serigraphic screens. He and master printers from his company (Guenther Dietz Offizin Handpresse GmbH, Munich & Lengmoos, Germany) printed this work under the direct supervision and participation of Picasso himself. Dietz used grease crayon, lithographic tusche, lead pencil, and charcoal, among others, to create the matrixes and receive Picasso’s approval to print the edition (Cramer, ‘Livres’ 148). The plates and screens were destroyed after printing. Published by Harry N. Abrams, Inc., New York. Image copyright © Artists Rights Society (ARS), New York. [30029-2-1200-NA]

Artist: Pablo Picasso [d'après] (Spanish, 1881 - 1973). Title: "May 20, 1964 #09 [from the suite 'Le Gout du Bonheur,' image dated 20-5-64 IX, untitled as issued]". Medium: Original color silkscreen & lithograph. Date: Composed 1964. Printed 1970. Dimensions: Overall size: 12 7/8 x 9 3/4 in. (327 x 248 mm).Pricing:   Starting Price: $1,200  Reserve Price: N.A.  Auction Sale Price Estimate: $1,800/2,000Lot Note(s): Signed in pencil, lower right; annotated in pencil (presumably in the artist's hand) lower left; dated in the plate, upper right. An artist’s proof (E.A. - epreuve d’artiste) aside from the edition of 666. Cream wove handmade watermarked rag Velin d' Arches paper, deckle edges three sides. Full margins, as issued. Fine impression. Fine, fresh condition, as issued, with rich, vibrant colors. Literature/catalogue raisonne: Goeppert/Cramer (GC/CR/CBK/CB/C) 148; Bloch (BB) 150. Provenance: the Estate of Guenther Dietz (German, 1919-1995), who printed the edition. Comment(s): An unsigned impression of this print was offered at $1,395 by Pamono Inc., New York and Berlin, as of April 6, 2020. Although this work is often catalogued as a lithograph, or silkscreen, or pochoir, or photo-lithograph, in reality it is none of these. By 1964 Guenther Dietz, the printer, had created a unique fine printing system which involved the use of both lithographic plates and serigraphic screens. He and master printers from his company (Guenther Dietz Offizin Handpresse GmbH, Munich & Lengmoos, Germany) printed this work under the direct supervision and participation of Picasso himself. Dietz used grease crayon, lithographic tusche, lead pencil, and charcoal, among others, to create the matrixes and receive Picasso’s approval to print the edition (Cramer, ‘Livres’ 148). The plates and screens were destroyed after printing. Published by Harry N. Abrams, Inc., New York. Image copyright © Artists Rights Society (ARS), New York. [30032-2-1200-NA]

Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "Art Graphique du XXeme Siecle [Palais de l'Europe]". Medium: Color letterpress and offset lithograph. Date: Composed 1969. Dimensions: Overall size: 24 1/4 x 18 in. (616 x 457 mm).Pricing:   Starting Price: $600  Reserve Price: N.A.  Auction Sale Price Estimate: $800/1,000Lot Note(s): Signed in pencil, lower right. Edition unknown, presumed small. White wove paper. The full sheet. Fine impression. Good condition; some creasing; tape remains, verso; small tear middle right margin, not into image. Literature/catalogue raisonne: Czwiklitzer 292 (1970 ed.); Czwiklitzer 349 (1981 ed.). Comment(s): Another signed impression sold for €1,030 ($1,279) at Artcurial - Briest, Poulain, F. Tajan, Paris - 6/1/2012 - lot #265. Poster created (and exhibition held) during Picasso's lifetime, with Picasso authorizing its printing. Image copyright © Artists Rights Society (ARS), New York. [26977-5-600-NA]

Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "Collection S. Guggenheim New York ["Mandolin and Guitar"] [Musee des Arts Decoratifs]". Medium: Color lithograph. Date: Composed 1958. Dimensions: Overall size: 25 3/8 x 20 3/4 in. (645 x 527 mm).Pricing:   Starting Price: $1,600  Reserve Price: N.A.  Auction Sale Price Estimate: $2,200/2,500Lot Note(s): Signed in red crayon, lower right. Cream wove paper. The full sheet. Fine impression. Very good to fine condition. Literature/catalogue raisonne: Czwiklitzer 126 (1970 ed.); Czwiklitzer 141 (1981 ed.); Rodrigo 75. Comment(s): According to 'Gordon's Art Reference' the auction record of a signed impression is a sale for DM15,525 ($7,046) at Ketterer Kunst, Munich - 12/02/2000 - lot #234. Poster created (and exhibition held) during Picasso's lifetime, with Picasso authorizing its printing. Printed by Mourlot, Paris. Image copyright © Artists Rights Society (ARS), New York. [26991-5-1600-NA]

Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "L'Age de Soleil (Pour Roby)". Medium: Etching. Date: Composed 1960. Printed later. Dimensions: Overall size: 16 1/8 x 13 1/16 in. (410 x 332 mm). Image size: 9 1/8 x 7 1/8 in. (232 x 181 mm).Pricing:   Starting Price: $300  Reserve Price: N.A.  Auction Sale Price Estimate: $400/500Lot Note(s): Signed in reverse in the plate. The original edition was 114. Cream wove paper. Full margins (deckle edges four sides). Fine impression. Fine condition. Literature/catalogue raisonne: Bloch 680. Comment(s): Another impression of this work sold at an auction high of $1,880 in 2008. Image copyright © Artists Rights Society (ARS), New York. [25683-3-300-NA]

Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "Le Dejeuner sur l’Herbe [Pace Columbus]". Medium: Color lithograph. Date: Composed 1972. Dimensions: Overall size: 25 1/4 x 27 3/8 in. (641 x 695 mm).Pricing:   Starting Price: $600  Reserve Price: N.A.  Auction Sale Price Estimate: $800/1,000Lot Note(s): Signed in pencil, lower left. Edition of 1,500. Tan wove paper. The full sheet. Fine impression. Fine condition. Literature/catalogue raisonne: cf. Bloch 1023; Czwiklitzer 434 (1981 ed.); unknown to Rodrigo. Comment(s): Poster created (and exhibition held) during Picasso's lifetime, with Picasso authorizing its printing. Apparently a scarce poster; no auction records in the past 25 years located. A "black and white" version of this poster also exists. Image copyright © Artists Rights Society (ARS), New York. [26962-6-600-NA]

Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "Hommage des artistes Espagnols au poete Antonio Machado [without letters]". Medium: Offset lithograph. Date: Composed 1955. Dimensions: Overall size: 25 1/2 x 19 11/16 in. (648 x 500 mm).Pricing:   Starting Price: $1,600  Reserve Price: N.A.  Auction Sale Price Estimate: $2,200/2,500Lot Note(s): Signed in pencil, lower right. A proof before letters - the edition was 700. Cream wove paper. The full sheet. Fine impression. Very good condition. Literature/catalogue raisonne: cf. Czwiklitzer 89 (1970 ed.);cf. Czwiklitzer 102 (1981 ed.); Cf. Rodrigo 148. Comment(s): Very rare. Rodrigo states that "'avant le lettre' works were not made" by which he means that there was no regular edition without letters. There were, however, a few proofs before letters. The only auction record we could find of a proof before letters is a sale for €1,484 ($2,156) at Bloomsbury auctions, 06/30/2011, lot #162. Unrecorded by Czwiklitzer and Rodrigo. Poster created (and exhibition held) during Picasso's lifetime, with Picasso authorizing its printing. Image copyright © Artists Rights Society (ARS), New York. [26976-5-1600-NA]

Dariush Mohajer (Iran, b. 1944) and Guillaume Apollinaire (France, 1880 - 1918)"Lou tu es ma rose", a soft, romantic depiction of a bunch of roses set before a seated nude woman with gilt-adorned hair below a large blue hat, the concrete poetry of Apollinaire laid in gilt atop the roses, signed by artist in graphite, numbered 31/120, bearing blind embossed stamp for Angell, in double card mount and moulded frame under glass, 70 x 52 cm overall, together with an anthology of illustrated poems: Guilliaume Apollinaire, "Lettres à Lou (extraits). Lou, Toutou, et leur Chat", published by Dariush, printed by Bandecchi & Vivaldi Printing, 1998 [ Dariush was born in Tehran, Iran, completing a course in Decorative Arts and Interior Design there and obtaining a degree in Architecture in Florence, Italy. Today he lives and works in the province of Lucca, having exhibited internationally at The International Art Fair, Rome, The Barcelona International Art Fair and the FIAC, Paris to name but a few.Apollinaire was a poet, playwright, short story writer, novelist and art critic. He is considered one of the foremost poets of the early 20th Century, influenced by renowned artists such as Picasso and Freud. He is credited with coining the terms "cubism", "surrealism and "orphism" and wrote one of the earliest Surrealist texts "The Breasts of Tiresias" in 1917. ]

Tiffany & Co 18K yellow gold Paloma Picasso 'Graffiti' collection hammered bangle bracelet. Hammered bracelet. Part of a demi-parure. In good condition. Hallmarks: 750, signed Paloma Picasso, Tiffany & Co. , 1991. Inner dimensions: 5.6 x 5.1 cm, size S/M. Weight: 52.99 grams.

Tiffany & Co 18K yellow gold Paloma Picasso 'Graffiti' collection hammered earrings. Hammered earrings that can be worn as clips and as ear studs. The prong folds back. Part of a demi-parure. In good condition. Hallmarks: 750, signed Paloma Picasso, Tiffany & Co. 1993, Italy. 3 x 1.6 cm. Weight: 21.76 grams.

Pablo Picasso - A framed limited edition ‘Portrait of Francoise’, with certificate on the reverse, 53 x 44 cm

Framed Pablo Picasso print "Face with Dove", 73 cm x 54 cm

⊕Edmond Xavier Kapp (lots 83-94) Oh to be silent! Oh to be a painter! Oh (in short) to be Mr. Kapp (Virginia Woolf) Introduction Widely remembered for his portraiture, in particular his distinctive form of character types (he did not like his work to be describe as caricature), Kapp was a highly versatile artist with an enquiring mind and a love of music. Appreciated in his lifetime also for his poetry and his evolving interest in abstraction, he aspired to write, mixed with the leading artists of the day and attracted the attention of critics and the cognoscenti. The following eight lots from his estate capture the singularity of his artistic vision and his constant thirst for innovation. Born in Islington, London, the son of Jewish-German parents, Kapp studied in Berlin, Paris and Cambridge, where he had his first exhibition, wrote for Granta and the Cambridge Magazine and attracted the attention of Max Beerbohm. While a 2nd Lieutenant with the Royal Sussex Regiment in the First World War, he sketched portraits of his fellow soldiers to amuse them in the trenches, including the young poet Edmund Blunden, and crossed paths with William Rothenstein at Amiens, a meeting Rothenstein recalls in his autobiography Men and Memories. After the Armistice Kapp held his first one man exhibition at the Little Art Rooms, Adelphi, London, the catalogue introduction written by Beerbohm. Commissions followed, together with the publication of his first book: Personalities published in 1919 and reviewed by Virgina Woolf in her essay Pictures and Portraits. Prominent figures who featured in his early work included Edwin Elgar, Percy Wyndham Lewis and Richard Strauss. Later, after the War, subjects ranged from Albert Einstein (1923) to the Duke of Windsor, the future King Edward VIII (1932); of leading personalities in the arts he captured the characters of Aldous Huxley and Noël Coward. Kapp typically rejected supplying caricatures to newspapers, preferring to choose his own subjects. But he did take on commissions, such as his series Ten Great Lawyers published in 1924 in the Law Society Journal. And his work appeared in a wide variety of periodicals, most notably Time and Tide, output that resulted in the publication of further volumes of his collected portraits, and an exhibition of his work at The Leicester Galleries, the leading contemporary gallery in London of the day. In 1922 Kapp married Yvonne Meyer, journalist, photographer, translator and writer, now best known for her biography of Eleanor Marx. On their honeymoon the young couple visited Beerbohm in Rapallo and settled the following year in Rome where Kapp studied at Sigmund Lipinsky’s art school and under Antonio Sciortino at the British Academy. There too he met the American painter Maurice Sterne who encouraged him to paint in oil. Kapp also developed his interest in lithography as a means to sell limited editions of his more well-known sitters. It led in 1935 to a commission for portraits of twenty-five delegates to the League of Nations in Geneva. Publication of the series brought him to the attention of Pablo Picasso, and the beginning of a close friendship between the two artists. Kapp captured Picasso’s profile in a sketch of him in his studio at 23 Rue La Boetie, Paris in 1938, purportedly the only likeness for which Picasso agreed to sit (collection of the Victoria & Albert Museum). And there are relaxed and informal photos of Picasso in bathing trunks snapped by Kapp in 1948 outside the restaurant Chez Nounou and the Hotel de la Mer in Golfe Juan when holidaying with Picasso in the South of France. During the Second World War Kapp was an Official War Artist; after the War he worked as an Official Artist to UNESCO. He kept a studio at 2 Steeles Studios, Haverstock Hill in Hampstead, North London and in Beausoleil, near Monaco in the Alpes Maritimes, and explored abstraction (lots 91-94). STILL-LIFE OF FLOWERS IN A BLUE AND WHITE JUGoil on canvas59.5 x 49.5cm; 23 1/2 x 19.5in67 x 57cm; 26 1/2 x 22 1/2in (framed)

Francis TinsleyTwo suns, ClevedonA sketchTogether with Kardina Lamsdottir, Smart hats, A limited edition print, Picasso prints, poster, map etc

FRANK MCFADDEN AFTER PABLO PICASSO (SCOTTISH b.1972)  SEATED WOMAN  Acrylic on canvas, signed lower left, 80 x 60 cm Condition Report:Available upon request

FROM THE LIBRARY OF WILLI SOUKOP RA A collection of volumes on art history and decorative artistic practice, to include Memoirs of the Colombo Museum: Bronzes From Ceylon by Amanda Coomaraswamy (inscribed to Soucop); titles on Goya, Michelangelo and Picasso etc.; together with The Philosophy of Astrology by Manly Palmer Hall (first edition pub. 1943) etc. Provenance: Willi Soucop RA (1907-1995), Austrian sculptor and early teacher of Dame Elizabeth Frink. Condition Report:Available upon request

AFTER PABLO PICASSO (SPANISH 1881-1973)  FEMME ENDORMIE  Lithograph in colours, 56 x 76cm  Comes with certificate of authenticity Condition Report:Available upon request

A collection of ladies perfumes some testers including DKNY, Britney Spears, Givenchy, Paloma Picasso, YSL Black Opium etc Condition Report:Most are used, some are lacking atomiser button, some bottles empty. Viewing recommended. Condition report not availableNo in house postage

FRANK MCFADDEN AFTER PABLO PICASSO (SCOTTISH b.1972)  WOMAN SITTING WITH A RED COSTUME ON A BLUE  BACKGROUND   Acrylic on canvas, signed lower left, 80 x 60 cm Condition Report:Available upon request

Collection of various books on famous Artists including: Picasso, Bosch, Gauguin, each one with sixteen full colour prints. (B.P. 21% + VAT)

COPLEY, WILLIAM NELSON1919 New York - 1996 Key WestTitel: Lady Be Good. Datierung: 1953. Technik: Öl auf Leinwand. Maße: 114 x 162cm. Bezeichnung: Signiert und datiert innerhalb der Darstellung in der Kette: CPLY. Bezeichnet verso am Keilrahmen: LADY BE GOOD. Rahmen/Sockel: Rahmen. Wir danken Herrn Anthony Atlas, William N. Copley Estate, New York, für die freundliche, wissenschaftliche Unterstützung.Die Arbeit wurde später unter dem Titel "Reclining Nude" ausgestellt.Provenienz:- Sammlung Kasper König, Berlin (direkt vom Künstler)Ausstellungen:- Galleria Montenapoleone, Mailand 1954- Kunsthalle Bern 1980 (Etikett verso)- Centre Pompidou, Paris 1980/1981 (Etikett verso)- Stedelijk Van Abbemuseum, Eindhoven 1981- Badischer Kunstverein Karlsruhe, 1981- Kestner Gesellschaft, Hannover 1995- Aargauer Kunsthaus, Aarau 2000 (Etikett verso)- Bonnefantenmuseum, Maastricht 2009- Museum Frieder Burda, Baden-Baden 2012- Max Ernst Museum, Brühl 2012/2013- The Menil Collection, Houston 2016- Fondazione Prada, Mailand 2016/17- Paula Modersohn-Becker Museum, Bremen 2017/18Literatur: - Ausst.-Kat. William N. Copley, Musée national d'art moderne Centre Georges Pompidou Paris/Kunsthalle Bern, Bern/Stedelijk Van Abbemuseum, Eindhoven 1980, Kat.-Nr. 14, Abb.- Ausst.-Kat. William N. Copley: Heed Greed Trust Lust, Kestner-Gesellschaft, Hannover 1995, Abb.- Ausst.-Kat. Exile on Main St., Bonnefantenmuseum, Maastricht 2009, Abb.- Ausst.-Kat. Copley, Museum Frieder Burda, Baden-Baden 2012, Abb.- Ausst.-Kat. William N. Copley, Fondazione Prada, Milan and The Menil Collection, Houston 2016, Abb.- Ausst.-Kat. Schlaf: Eine Produktive Zeitverschwendung, Paula Modersohn-Becker Museum 2017, Abb.- Ausst.-Kat. William N. Copley: The Coffin They Carry You Off In, ICA Miami, Miami 2019, Abb.- Omlin, Sibylle (Hrsg.): Das Gedächtnis der Malerei, ein Lesebuch zur Malerei im 20. Jahrhundert, Köln 2000, S. 392, Abb.Nach einer kurzweiligen Phase als Galerist widmet sich der Amerikaner William N. Copley (1919-1996) in den 1950er Jahren ganz seiner Tätigkeit als Künstler. Als Autodidakt verschreibt er sich hauptsächlich der figurativen Malerei und arbeitet gänzlich autonom, unabhängig jeglicher kunsthistorischen Kategorien, wie dem zu seinen Lebzeiten aufstrebenden abstrakten Expressionismus. In seiner Arbeit verflechten sich Humor, Erotik, Sozialkritik sowie Motive der Kunstgeschichte und Literatur zu einer exzeptionellen Bildsprache. Sein Stil lässt sich durch Themen der Popkultur wie der Darstellung von Frauen, Sex, Patriotismus und Automobile als auch durch seinen prägnanten Malstil, nämlich klare Konturen und einen leuchtenden flächigen Farbauftrag, definieren. Durch die Verwendung aktueller Themen verleiht Copley seinen Werken einen hohen Grad an Aktualität und stellt schon früh erste Tendenzen in Richtung Pop Art her. Die Reduktion auf die wesentlichen Konturen und der daraus resultierenden stark an den Comicstil angelehnten Bildsprache erhöht für Copley die Aussagekraft seiner Bilder.Surrealistische BezügeBeeinflusst von der surrealistischen Kunst sind auch Copleys Werke darauf angelegt bestehende Erwartungshaltungen der Betrachter auf die Probe zu stellen. Schon zu Beginn seiner Karriere erhält er für seine Malerei zahlreiche positive Resonanzen aus den Reihen seiner Vorbilder wie Max Ernst, Man Ray und Marcel Duchamp, zu denen er in Zeiten seiner Arbeit als Galerist Kontakt knüpft. Kurz nach Aufgabe seiner Galerie in Beverly Hills zieht es Copley daher Anfang der 1950er Jahre nach Paris, wo er unter dem Einfluss der surrealistischen Avantgarde seine sogenannte "private mythology" entwicklet. Ein Formenrepertoire aus dem er für seine gesamte Karriere schöpfen wird. Hier etabliert er vor allem Motive wie die männliche Figur mit Melone, in Anlehnung an Magritte, weibliche Aktdarstellungen, wie der Prostituierten, sowie Polizisten und Automobile. Neben seiner Tätigkeit als Maler ist Copley auch Sammler und trägt im Verlauf der Jahre eine der beeindruckendsten internationalen surrealistischen Kunstsammlungen zusammen.Lady Be Good, oder: Reclining NudeIn dieser Zeit entsteht auch sein Werk "Lady Be Good" von 1953, das unter anderem 2016 auf der größten Copley-Retrospektive ausgestellt wird. Organisiert wird sie von der Fondazione Prada in Mailand in Kooperation mit The Menil Collection in Houston. Das Werk kommt als Geschenk des Künstlers in den Besitz Kasper Königs: "Copley gave me a painting as a present once, a nude that is strongly reminiscent of Henri Matisse [Reclining Nude, 1953]. There's something charming and awkward about it, but it is also a true masterpiece. It is a nude on a mattress without sheets. The buttons of the mattress are like spiders. The woman's armpit hair is painted in the same way as this mattress decor. In the top left corner there's a bidet shimmering through-he had overpainted it, but it came through again ... it is now covered, but for this reason maybe more visible than before. Somebody said to me that Copley was told to overpaint the bidet in the picture because it was regarded as indecent in America- which is indeed possible in the face of its puritan culture-which is an interesting, speculative assertion. The picture possesses a certain innocence and naiveté. It is about a male gaze, but it by no means excludes the female gaze." Mit der Darstellung einer Prostituierten bezieht sich Copley auf die kunsthistorische Tradition der Kurtisanendarstellungen wie sie bei Manet oder Pablo Picasso vorzufinden sind und die die weibliche Figur stets zwischen Lustobjekt und Sündenbock einordnen. Auch lassen sich in "Lady Be Good" gestalterische und kompositorische Parallelen zu Vertretern wie Pierre Klossowski herstellen. Make Love not WarDie "unknown Whore" ist ein wiederkehrendes Motiv in Copleys Ouvre. Der Künstler der den sexuellen Hedonismus von pornografischen Stigmata befreien will, nimmt sich häufig das Motiv der Sexarbeiterin zum Thema, dem er 1966 eine ganze Ausstellung "Projects for Monuments to the Unknown Whore" widmet. Die Herabwürdigung und das gleichzeitige Fetischisieren der Prostituierten lehnt Copley in seinem Werk ab und fügt dem stigmatisierten Motiv einen ironischen Unterton zu: "Here the reclining nude is not the object of a disinterested aesthetic sensibility, and there is the suggestion of laughter at the idea that a reclining nude ever was". Der Gesellschaft ihre primitivsten unterdrückten Triebe vorzuhalten und sie aus erstarrten Denkmustern zu befreien bleibt ein permanentes Anliegen des Künstlers. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog William Nelson Copley USA Surrealismus Pop Art Nachkriegskunst Unikate 1950er Rahmen Akt Gemälde Öl Frau

A group of gallery prints including Picasso, Rembrandt, Rodin, Norman Parkinson, largest 80 cm x 60 cm.

After a drawing from 1961 by Pablo Picasso, polychrome print 'The Dance of the Youth', on handmade paper. 60cm x 48cm, mounted and glazed

▲ Pablo Picasso (Spanish, 1881-1973) 'Le Modèle étendu'lithograph, signed in pencil l.l., numbered '23/50'image 22 x 32cmCondition ReportFramed: 58 x 65.5cmThere is a faint spot of foxing to the subject's left arm but overall the printed area presents well. Slight time staining. There is acid discolouration to the margins at the edges of the mount. On very close inspection there is a small crescent shaped crease mark visible to the centre of the upper margin. Not viewed out of glazed frame.

MANNER OF PABLO PICASSO: A PEDESTAL VASE DECORATED WITH BIRDS AND FOLIAGE, 22cm x 18cm

PABLO PICASSO, 'Painter and Model II, 1969', lithograph, 50cm x 40cm, bears stamp verso for Mourlot Spadem, framed.

PABLO PICASSO, extra large lithographic poster, Mostra Di Picasso, 1953, signed in the plate, printed by Mourlot, 196cm x 139cm. (Subject to ARR - see Buyers Conditions)

A TIFFANY ‘PALOMA PICASSO’ 18CT YELLOW GOLD DRESS RING, inset with an amber coloured cabochon, with an overlaid geometric gold surround, signed to shank, ring size P½, 13 grams approx., complete with box

Villeroy & Boch Paloma Picasso La Rotonda Teller Ø 32 cm 6 St.

After Scarlett Raven, Portrait of Picasso, print on canvas board, 34.5 x 34.5cm.

Collection of ceramics to include Paloma Picasso, Villeroy & Boch, Sun, moon and stars set with six cups and saucers and serving plate, along with Villeroy & Boch,'Heinrich' Russian Fairy Tales 'Snow Maiden' limited edition trinket box, a Royal Crown Derby 'Derby Posies' tea strainer set, Wanduhren Von Ole Winther 'Poetic porcelain' clock 'Centaurus', blue Morrocan serving dish, hanging plate, Anita Civilta Artigiana handmade chicken bowl, Kaiser German handled dish and a Rye Pottery 'The manciple' handpainted figure, etc

Georges Braque (Argenteuil 1882 - Paris 1963). Le Bouquet. 1962. Farblithographie. 33,5 x 25,5 cm. R. u. mit Bleistift sign. G. Braque, l. u. num. 23/125, unter Glas gerahmt. - Literatur: WVZ: Vallier 188. - Braque ist einer der Hauptmeister der klassischen Moderne. Nach Anfängen im Fauvismus wurde er zusammen mit Picasso zum Gründer des Kubismus, den er nach dem Ersten Weltkrieg zu seinem eigenen unverkennbaren Stil weiterentwickelte. Mus.: In zahlreichen bedeutenden Sammlungen weltweit. Lit.: Vollmer, Bénézit u.a.

Henri Matisse (Le Cateau 1869 - Nizza 1954). Odalisque au Magnolia. 1923. Lithographie. 29 x 39,5 cm. R. u. mit Bleistift sign. Henri Matisse, l. u. num. 5/10 ép. d'artiste, unter Passepartout und Glas gerahmt. - Literatur: WVZ: Duthuit 432 - Provenienz: Auktionshaus Grisebach Berlin, 01.12.2006, Kat.-Nr. 68; seitdem Privatsammlung Schleswig-Holstein. - Französischer Maler, Graphiker und Bildhauer, neben Picasso der bedeutendste Künstler der Klassischen Moderne. M. schrieb sich zunächst für Jura ein, studierte aber ab 1891 in Paris an der Académie Julian, anschließend an der École des Beaux-Arts. Zusammen mit A. Derain und M. Vlaminck schuf M. den bald als Fauvismus bezeichneten Stil, der ihm mit der Salon-Ausstellung 1905 den Durchbruch brachte. Die 1908 gegründete Académie Matisse hatte enormen Einfluss auf die künstlerische Entwicklung von Studenten aus ganz Europa. Die Farbe hat bei M. mehr als bei anderen Künstlern seiner Generationen einen überragenden Rang. Er befreit sie von der Lokalfarbigkeit von Gegenständen oder deren Volumen. In Verbindung mit einem genialen Gespür für Fläche und Ornament leistete M. Bahnbrechendes für die Entwicklung der Kunst des 20. Jhs. Er war der einzige Künstler, den Picasso als ebenbürtig anerkannte. Mus.: New York (MoMA), Paris (Mus. National d'Art Moderne), London (Tate), St. Petersburg (Eremitage) u.a. Lit.: Thieme-Becker, Bénézit u.a.

Georges Braque (Argenteuil 1882 - Paris 1963). Nature Morte aux Fruits. Farblichtdruck. 28,5 x 72,5 cm. Originaler Rahmen. R. u. handsign. G. Braque, l. u. num. 123/250 sowie Blindstempel der Édition Guy Spitzer, unter Glas gerahmt, ungeöffnet. Schmaler Lichtrand. - Braque ist einer der Hauptmeister der klassischen Moderne. Nach Anfängen im Fauvismus wurde er zusammen mit Picasso zum Gründer des Kubismus, den er nach dem Ersten Weltkrieg zu seinem eigenen unverkennbaren Stil weiterentwickelte. Mus.: In zahlreichen bedeutenden Sammlungen weltweit. Lit.: Vollmer, Bénézit u.a.

Clarice Cliff - a Red Picasso Flower pattern Fantasque conical cream jug, signed Clarice Cliff by handle, Wilkinsons England Fantasque printed marks, 6cm high, c.1930

Pablo Picasso, Dix Ans De Ceramique, lithographic poster, published by Vallauris, 1958, 52cm x 31.5cm

After Pablo Picasso (Spanish, 1881-1973) - The Pigeons, Cannes, 1957 - a vintage late 20th century circa 1995 museum / exhibition poster. Stamped Grafisk production to right bottom corner. Unframed.Measures approx. 120cm x 90cm.

Pablo Picasso(Spanish, 1881-1973)"Musical Faun": for Bloomcraft (1963),screen print on cotton,68 x 43cms, in frame.

Pablo Picasso(Spanish, 1881-1973)"La Colombe Bleue" [Blue Dove] (1961),colour lithograph on Arches paper,indistinct hand-numbering to the lower right-hand corner,47.5 x 63cms, in frame.

A Clarice Cliff Bizarre ‘Picasso Flowers’ side plate, circa 1930s, decorated with abstract flowers in red, black, blue, and green, maker’s mark to base, 17.5cms.

After Pablo Picasso (Spanish, 1881-1973)"Dove of Peace" silk scarf,43 x 43cms, in frame.