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Artist: Pablo Picasso [d'après] (Spanish, 1881 - 1973). Title: "May 16, 1964 #3 [from the suite 'Le Gout du Bonheur,' image dated 16-5-64 III, untitled as issued]". Medium: Original color silkscreen & lithograph. Date: Composed 1964. Printed 1970. Dimensions: Overall size: 12 7/8 x 9 13/16 in. (327 x 249 mm).Lot 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 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. [30020-2-1600]

Artist: Benjamin Greenstein Benno (English/Russian/American, 1901-1980). Title: "Complex Enzyme". Medium: Oil on canvas. Date: Composed c1937. Dimensions: Frame size: 28 x 22 in. (711 x 559 mm). Overall size: 24 x 18 in. (610 x 457 mm).Lot Note(s): Signed lower right. Overall very good to fine condition with no major issues noted (no holes, tears, repairs, flaking, stains, etc.); as found, unconserved, not relined; strong colors. Comment(s): Benno was considered a child prodigy and as a youth was enrolled at the Ferrer Center in NYC, a radical school started by Emma Goldman for gifted students. He was taught by Robert Henri and George Bellows, with classmates including Edward Hopper and Man Ray. Pablo Picasso sponsored an exhibition for him during Benno’s stay in Paris in the 1930s. Benno’s styles included realism, Cubism, still life biomorphic abstraction, abstract art and, eventually, Abstract Expressionism. A significant collection of his works is in the Brooklyn Museum. Image copyright © The Estate of Benjamin Greenstein Benno. [30072-10-2400]

Artist: Pablo Picasso [d'après] (Spanish, 1881 - 1973). Title: "May 16, 1964 #1 [from the suite 'Le Gout du Bonheur,' image dated 16-5-64 I, untitled as issued]". Medium: Original color silkscreen & lithograph. Date: Composed 1964. Printed 1970. Dimensions: Overall size: 12 7/8 x 9 5/8 in. (327 x 244 mm).Lot 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): 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. [30019-2-1600]

Artist: Pablo Picasso [d'après] (Spanish, 1881 - 1973). Title: "May 20, 1964 #02 [from the suite 'Le Gout du Bonheur,' image dated 20-5-64 II, untitled as issued]". Medium: Original color silkscreen & lithograph. Date: Composed 1964. Printed 1970. Dimensions: Overall size: 12 13/16 x 9 11/16 in. (325 x 246 mm).Lot 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. [30026-2-1600]

Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "Grand Bal Travesti/Transmental (Programme) [Picasso *two original lithographs*, Larionov, Gontchrova, et al] [Portfolio/Book] [program for the 1923 Ball organized by the Union des Artistes Russes in Paris]". Medium: Original color lithograph and lithographs. Date: Composed 1923. Dimensions: Image size: 13 x 10 in. (330 x 254 mm).Lot Note(s): Several lithographs signed in the plate. All lithographs with artist credit. Small edition?. Heavy wove paper. Fine impressions. Fine condition. Comment(s): Contains two original lithographs by Pablo Picasso, one hand-colored with blue and yellow pastel, "Saltimbanque Assis," apparently found only in this program (see: Online Picasso Project, 23:197); the other, "Cheval," also apparently found only in this program. Published for the first experimental ball of the Union of Russian Artists in Paris, the printed program is a typographical and artistic masterpiece. 16 pages. In addition to the Picassos, it features original lithographs and illustrations by and after Gris, Ferat, Derain, Gontcharova, and others, and poetry by Tzara, Soupault, Reverdy, and Cowely. Printed by Francois Bernouard, Paris. Highly important and rare. Picasso images copyright © Artists Rights Society (ARS), New York. [19199-2-2400]

Eduardo Paolozzi. (1924 Leith (Edinburgh) - 2005 London). Set aus 3 Arbeiten. 1975. Mit 2 Farbserigraphien und 1 Farblithographie, je auf Vélin. Blattamße von 77 x 56 cm bis 81,5 x 57,5 cm (Sichtmaß). Je signiert, teils datiert. Eine Arbeit bezeichnet "A.P.". 2 Arbeiten je unter Passepartout montiert und unter Plexiglas gerahmt (ungeöffnet). - 1 Arbeit mit leichter Knickspur. Insgesamt in gutem Zustand. Enthält: - Aeschylos und Socrates - Hommage à Picasso - Cia Picasso. - 1 Arbeit artist proof abseits der herkömmlichen Auflage. Set of 3 works. With 2 colour silkscreens and 1 colour lithograph, each on vélin. Each signed, partly dated. One work inscribed "A.P.". 2 works each mounted under passepartout and framed under plexiglass (unopened). - 1 work with a slight crease mark. All in all in good condition. - With works as listed above. - With one artist proof off the edition.

Pop Art - - Allen Jones. (1937 Southampton). French cooking. 1973. Farbserigraphie auf Papier. 60,2 × 79,5 cm ( 60,2 × 79,5 cm ). Signiert, datiert und bezeichnet "h.c.". Unter Glas gerahmt (ungeöffnet). - Mit 1 horizontalen Randeinriss, dieser das Motiv nicht betreffend. Insgesamt in gutem Zustand. Lloyd, 66. - Exemplar hors de commerce abseits der herkömmlichen Auflage. - Aus dem Portfolio "Homma à Picasso". - Hg.v. Propyläen Verlag, Berlin und Pantheon Press, Rom. - Druck bei Kelpra Studios, London. Colour silkscreen on paper. Signed, dated and inscribed "h.c.". Framed under glass (unopened). - With 1 horizontal marginal tear, not affecting the subject, otherwise in good condition. - Hors de commerce off the edition. - From the portfolio "Hommage à Picasso". - Print by Kelpra Studios, London.

Pop Art - - Andy Warhol. (1928 Pittsburgh - 1987 New York). Paloma Picasso. 1975. Farbserigraphie auf chamoisfarbenem Bütten. 104,1 x 71 cm (104,1 x 71 cm). Verso signiert sowie bezeichnet "h.c.". - Insgesamt etwas berieben. Ecken mit leichten Knickspuren, dort teils mit wenig Farbabrieb. Vereinzelt mit kleinen und schwachen Braunfleckchen, diese wenig auffällig. Die Farben pudrig-saturiert. Schellmann, II.121. - Exemplar hors de commerce abseits der herkömmlichen Auflage. - Hg. v. Propyläen-Verlag Berlin und Panthéon Presse, Rom für für das Portfolio "America's Hommage à Picasso". - Druck bei Alexander Heinrici, New York. Colour silkscreen on buff handmade paper. Signed and inscribed "h.c." on verso. - Somewhat rubbed overall. Corners with slight crease marks, there partly with little paint abrasion. Isolated with small and faint brown spots, these not very noticeable. The colours are powdery-saturated. - Copy hors de commerce off the conventional edition. - Pub. by Propyläen-Verlag Berlin and Panthéon Presse, Rome for the portfolio "America's Hommage à Picasso". - Printed by Alexander Heinrici, New York.

nach Pablo Picasso. (1881 Malaga - 1973 Mougins). o.T. (aus der Serie "European School Prints"). 1948. Farblithographie auf Papier. 46,5 x 72 cm (Sichtmaß). Im Stein signiert, datiert und ortsbezeichnet. Unter Passepartout und Glas montiert (ungeöffnet). - Wohlerhalten. Aus der Serie "European School prints", initialisiert von Brenda und Derek Rawnsley. Der Hintergedanke war es, Kindern in der Schule einen direkten Zugang zu Kunst zu ermöglichen und den Kunstunterricht zu stärken. Hierfür entwarf Picasso Druckgraphiken, die dann den Kindern in den Schulen gezeigt wurden und den Umgang an Kunst und die Fantasie befeuern sollten. - Druck bei W.S.Cowell Ltd, Großbritannien. - Abgebildet in: Wünsche, School Prints, S. 68f. Königswinter 1986. Coloured lithograph on paper. Signed, dated and inscribed in the stone. Mounted under passepartout and glass (unopened). - In good condition. - From the "European School Series".

Jorge Castillo (1933 Pontevedra - lebt in Spanien u. Berlin)Hommage à Picasso. 1973. Farbaquatinta auf Vélin. 49 x 58 cm (58,5 x 76,5 cm). In Graphit signiert, datiert und bezeichnet. Punktuell auf Unterlage und unter Passepartout montiert. - Im weißen Rand minimal fingerspurig und mit kl. Knickspur durch Montierung oben rechts. Insgesamt gut erhalten. Épreuve d'artiste abseits der herkömmlichen Auflage. - Aus der gleichnamigen Mappe des Propyläen Verlags, Berlin (mt dem Trockenstempel). Color aquatint on vélin. Signed, dated and inscribed in graphite. Spot mounted on backing and under passepartout. - In the white margin minimally finger-marked and with slight crease mark top right. Overall in good condition. - artist proof of the edition. - From the eponymous portfolio of Propyläen Verlag, Berlin (with dry stamp).

Jean Cocteau. (1892 - 1963 Paris). 12 ganzseitige Lithographien in: Sous le manteau de feu. 1955. Je auf starkem Vélin. Die Lithographien je in der Platte signiert bzw. monogrammiert. Im Druckvermerk von Jean Cocteau und Genevieve Laporte handsigniert. Zusätzlich mit der Lithographie auf dem Umschlag und 1 teils lithographierten Titel. Mit dem originalen Umschlag mit Chemise im Original-Schuber. - Wohlerhalten. 1 von 137 Exemplaren auf Vélin Johannot. - Monod 6824. - Eindrucksvoll illustriertes Werk der Dichterin Geneviève Laporte (1926-2012), welche 1951 zu Pablo Picassos Geliebte und Modell avancierte, der damals noch mit Francoise Gilot liiert war. Neben der Hommage "A Pablo Picasso" (1951) entstanden die Gedichte zwischen 1953 und 1954. With original lithograph on the cover, 1 partly lithographed title, 12 full page original lithographs by Jean Cocteau. OCover in chemise in the original slipcase. - 1 of 137 copies on Vélin Johannot. The mostly colour lithographs each signed or monogrammed in the plate. - The poet laporte became 1951 Picassos lover and model, who was in that time still together with Francoise Gilot. - Fine copy on strong handmade paper. - Well preserved.

nach Pablo Picasso (1881 Malaga - 1973 Mougins)Femme Se Coiffant aus Hommage à San Lazzaro. 1975. Farblithographie auf Arches. 31,6 x 24,3 cm (35,5 x 26,5 cm). In der Platte signiert. Auf der rechten Seite mit dem Schöpfrand. Originallithographie für das Mappenwerk "San Lazzaro et ses amis", für den Gründer der Zeitschrift XXe siècle Gualtieri di San Lazzaro. Druck bei Mourlot in Paris. Coloured lithograph on Arches. 25 x 18 cm (35,5 x 26,5 cm). Signed in the plate. Original lithograph for the portfolio "San Lazzaro et ses amis", for the founder of the magazine XXe siècle Gualtieri di San Lazzaro. Printed by Mourlot in Paris.

Pablo Picasso, 1881-1973, Cote d'Azur, Farblithographie, im Druck signiert, von 1962, ca. 95x65cm, PP, u.Gl., R. ca. 117x86cmPablo Picasso, 1881-1973, Cote d#'Azur, color lithograph, signed in the print, from 1962, approx. 95x65cm, PP, framed under glass, approx. 117x86cm

Pablo Picasso, 1881 Malaga-1973 Mougins, weibliche Akte und Stier über schlafender Schönheit, Offsetdruck, Reedition der Galerie Mathias Fels Paris, handsigniert und dat. 30. 12.56, Galeriestempel, Blattmaß ca. 21x28cm, leicht gebräunt, unter Glas, R. ca. 36x45cmPablo Picasso, 1881 Malaga-1973 Mougins, female nudes and bull over sleeping beauty, offset print, re-edition by Galerie Mathias Fels Paris, hand-signed and dated 30.12.56, gallery stamp, sheet size approx. 21x28cm, slightly browned, under glass, frame approx .36x45cm

Rudi Baerwind, 1910-1982 Mannheim, Studium in Berlin, München und Paris, war Schüler von Fernand Leger, hier: Paar am Strand, fast kalligraphischer Umriss der Figuren, spontanerDuktus, zeichnerischer Einfluß Picassos, Tuschfederzeichnung auf Papier, sign. und dat. 50, ca. 43x63cm, u.Gl., R. ca. 66x97cmRudi Baerwind, 1910-1982 Mannheim, studied in Berlin, Munich and Paris, was a student of Fernand Leger, here: couple on the beach, almost calligraphic outline of the figures, spontaneous style, graphic influence of Picasso, pen and ink drawing on paper, sign. and dat. 50, approx. 43x63cm, bottom left, frame approx. 66x97cm

Assorted scents and accessories including two Yves Saint Laurent hand mirrors, Dior, Elizabeth Arden, Rochas make up, Paloma Picasso powder compact and a solid perfume; Lancôme, YSL, Escada, Givenchy, Claude Montana and other brooches, atomisers, Fath de Fath scent bottle on chain (boxed),

Kunst. Konvolut mit 9 Werken von verschiedenen Autoren. Verschiedene Größen und Formate. (11) * Vorhanden sind: Die Russischen Sammler. Monet bis Picasso. 120 Meisterwerke. 1993. / Erika Hanfstaengl. Wassily Kandinsky. 1981. / G. Irmscher. Amor und Aeternitas. Das Trionfi - Lavabo Chr. Jamnitzers für Kaiser Rudolf II. 1999. / Thrakien, Region Ostmakedoniens. Dt. von W. Schürmann u. Marliese Kornoutos. 2004. / Christoph Voll. Skulptur zwischen Expressionismus und Realismus. 2007. / Zwischen Orient und Okzident. Schätze des Kreml von Iwan dem Schrecklichen bis Peter dem Großen. 2012. / Russen und Deutsche. 1000 Jahre Kunst, Geschichte und Kultur. Katalog. 2012. / Als die Royals aus Hannover kamen. Königl. Theater! - Britische Karikaturen a. d. Zeit der Personalunion der Gegenwart. 2014. / Verborgene Schätze aus Wien. Meisterwerke von Dürer bis Hundertwasser u. a. Kunsthalle Würth. 2017. Zustand: Alle Bände innen leicht fleckig, vereinzelt Notizen u. Anstreichungen, insgesamt etwas berieben und bestoßen.

Pablo Picasso, mid-20th century lithograph, bullfighter, image 37cm x 26cm, framedSlight paper discolouration and several light creases

MATISSE, Henry(1869 Le Cateau Cambrésis - 1954 Nizza) "Nu bleu"Farblithografie. In der Platte signiert. In der Platte datiert: [19]52. Passepartoutausschnitt: 91 x 62 cm. Gerahmt & hinter Glas122 x 90,5 cm. Aus einer Serie von ca. 12 abstrakten weiblichen Akten, die ursprünglich aus blau koloriertem Papier geschnitten wurden und zu den letzten Werken des Künstlers gehören. Er nannte diese Technik "mit der Schere zeichnen" Französischer Maler, Grafiker, Zeichner und Bildhauer; Wegbereiter des Fauvismus; zählt neben Pablo Picasso zu den bedeutendsten Künstlern des 20. Jh. "Wer eine Rose malen will, muß zuerst alle Rosen vergessen, die jemals gemalt geworden sind." (Zitat: HM, www.altertuemliches.at).

PICASSO, Pablo(1881 Málaga - 1973 Mougins) "Bagnante Che Gioca al Pallone"Granolithografie auf Bütten. Unsigniert. [1955]. 1 von 150 Exemplaren. Abbildung: 27,7 x 22 cm, Blatt: 39,5 x 29 cm, im Passepartout: 50 x 40 cm. Nach dem Gemälde aus dem Jahr 1932, Öl auf Leinwand,146 x 114 cm Minimal stockfleckig, Randbereich etwas knickspurig. Spanischer Maler, Grafiker und Bildhauer, zählt zu den bekanntesten Künstlern des 20. Jh.; Mitbegründer des Kubismus. "Wenn Kunstkritiker sich treffen, sprechen sie über Form, Struktur und Bedeutung. Wenn sich Künstler treffen, sprechen sie darüber, wo man preiswertes Terpentin kaufen kann." (Zitat: PP, https://beruhmte-zitate.de/autoren/pablo-picasso/).

Two Villeroy & Boch Paloma Picasso ashtrays in the Sun Moon And Stars pattern, a limited edition Coalport Summer House cottage, three thimbles and similar. Condition Report: Ashtrays in good condition, no chips, cracks, hairlines or restoration.

Christopher Wood (British, 1901-1930)Drying Sails, Mousehole, Cornwall oil on board40.6 x 50.8 cm. (16 x 20 in.)Painted in 1930Footnotes:ProvenanceMr and Mrs L.K. Elmhirst, thence by descentPrivate Collection, U.K.ExhibitedLondon, The New Burlington Galleries, Christopher Wood, Exhibition of Complete Works, 3 March-2 April 1938, cat.no.37London, The Arts Council of Great Britain, English Contemporaries, 1949, cat.no.2Copenhagen, Kunstforeninger, British Arts 1900-1955, 10-29 April 1956, cat.no.48; this exhibition travelled to Oslo, Kunstnernes Hus, 12 May-10 JuneLiteratureEric Newton, Christopher Wood, The Redfern Gallery, London, 1938, cat.no.437In 1928 Christopher Wood made the decision to join Ben and Winifred Nicholson in Cornwall, rather than return to Paris. He had first travelled to the French capital in 1921 at the age of 20 and his visits had provided invaluable opportunities to observe the finest examples of Post-Impressionism, Cubism and Fauvism. As a result he was familiar with the work of Van Gogh, Gauguin, Cezanne, Matisse and of course Picasso and Jean Cocteau, both of whom he had known and taken lessons with. This time on the continent taught Wood that simplicity and refinement were the essential characteristics of modern art, and it brought a deep understanding of and appreciation for the Primitive movement, which he strove to emulate in his work over the following years in a very English manner. It was during this initial trip to Cornwall, far from the avant-garde artists of Europe, that Christopher Wood and Ben Nicholson were to find their ultimate expression of primitive painting in the form of Alfred Wallis, an 80-year-old retired fisherman and self-taught artist who lived at Number 3 Back Road West in St Ives. Within his home were numerous pictures of ships, lighthouses and harbours painted on a variety of irregular cardboard, paper and other salvaged material with distinctive naivety. This now legendary 'discovery' was to have a profound effect and invigorated both artists who sought to absorb the lessons of the elderly mariner by leaving their lodgings in Feock to move closer to St Ives, with Wood settling at Meadow Cottage overlooking Porthmeor Beach. It was from this location and following almost daily trips to Wallis that Wood wrote to his mother, 'I feel my things are becoming really vital and the studentship has passed, my work is forming something quite personal and sure, unlike anybody else's, and I don't think anyone can paint the pictures I am doing.' (Christopher Wood quoted in Katy Norris, Christopher Wood, Lund Humphries in association with Pallant House Gallery, London, 2016, p.109). Having immersed himself in a seafaring culture which spoke to him, Wood crossed the Channel and spent several months in the fishing village of Treboul in Brittany during 1929. As well as the everyday lives of its inhabitants, many of the images he created are deeply personal and reflect on local customs of the maritime community, observing instances of religious contemplation and festive celebration with both intensity and dignity. The epiphany that had occurred upon meeting Alfred Wallis and the lessons learnt from the nautical communities of northern France were developed in the artist's final visit to Cornwall prior to his untimely death, where he based himself in the tiny village of Mousehole. During March 1930 he worked solidly here for two weeks and described himself to Ben Nicholson as being 'absolutely deliriously happy painting' amongst the narrow grey streets and fishing boats (Christopher Wood quoted in Richard Ingleby, Christopher Wood: An English Painter, Allison & Busby, London, 1995, p.231). Drying Sails, Mousehole, Cornwall belongs to the group of works painted during this busy time and shows the progression of the artist's naïve, figurative style which is entirely unique. It exudes a sense of calm as groups of figures amble along the quay past the Ship Inn, which remains to this day. There can be little doubt this is a fishing community with the large sail strewn across the wall, drying from a recent fishing trip, possibly treacherous given the time of year and in stark contrast to the current atmosphere. The carefully observed structure of the boats is a technique that had been honed on a previous visit to Dieppe, along with the scratching and incising of the painted surface. The flashes of colour both here and in other selected passages of the composition act in contrast to the black, white, grey and brown palette that pervades. This simple clarity of colour and form came from the artist's immediate instinct for his subjects and also the teachings of Wallis who conveyed the essential reduction of these components. Drying Sails, Mousehole, Cornwall is closely related to Ship Inn, Mousehole, completed at the same time and in the collection of Manchester City Galleries.For further information on this lot please visit Bonhams.com

A GOEBEL, Artis Orbis PABLO PICASSO raised dish, Buste de Femme Bleu design, can be hung, 1996 edition, makers label, 26 x 32cmGood condition, no chips cracks or restoration.

PICASSO lithograph poster for 1970 Galarie Beyeler exhibition, 94 x 64cmStored rolled, good condition

Graham F Young "The Teacup Poisoner" (1947-1990), Copy of a self portrait of Picasso, oil on canvas, signed Graham F Young lower right hand side, 29cm x 24cm

A PICASSO STYLE ABSTRACT PRINT 96CM X 57CM

JOAN MIRÓ I FERRÁ (Barcelona, 1893 - Palma de Mallorca, 1983)."Oiseau devant le soleil, 1961.Lithograph glued on cardboard, H.C. copy.Signed and justified by hand.Ed. Maeght, Paris.Size: 84 x 37 cm; 103 x 56,5 cm (frame).In Miró's iconography, birds seal the union between the sky and the earth, just as the sun and the moon form two complementary realities (light and darkness, day and night, masculine and feminine).Joan Miró trained in Barcelona, between the Escola de la Lonja and the Galí Academy. As early as 1918 he held his first exhibition at the Galerías Dalmau in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective to him which was to be his definitive international consecration. During the 1950s he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Museo Reina Sofía in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

ENRIQUE BRINKMANN (Malaga, 1938)."Subject".Oil on plywood.Solo exhibition at Galería Alicante, Spain.Sizes: 68 x 75 cm; 70 x 76,5 cm (frame).A self-taught painter and engraver, Brinkmann began painting in the fifties and soon became a member of the Picasso Group in Malaga, collaborating in the Mediterranean Art Movement. In 1961 he travelled to Germany, where he spent three years living in the cities of Berlin and Cologne, while maintaining contact with the "Fluxus" group, illustrating musical scores for Cornelius Cardew. He later settled in Rome before returning to Malaga in 1966 and settling in his native city, although since 1992 he has been working and living for long periods in Madrid. He continues with an intense and extensive work, with involvement in workshops and other activities related to the plastic arts. Throughout his prolific career, Enrique Brinkmann has gone through six formative stages, always respecting the essence that characterises him. Brinkmann has held exhibitions in Spain, the United States, Italy, Germany, Belgium and Switzerland, and has won prizes such as the drawing prize at the Autumn Salon of the Haus der Kunst in Munich, the International Painting Festival Cagnes-sur-Mer in France and the National Engraving Prize in Madrid, among others. He is currently represented at the MOMA in New York, the Reina Sofía in Madrid, the Albertina in Vienna, the Wallraf-Richartz in Cologne, the Museum of Abstract Art in Cuenca and the Juan March Foundation, among many other public and private institutions.

ISMAEL GONZÁLEZ DE LA SERNA (Guadix, Granada, 1898 - Paris, 1968).Untitled, 1937.Mixed media on panel.With stamps from private collections: E. James and Daniel-Henry Kahnweiler.Presents label of the Clovis Gallery, Paris.Measurements: 39 x 46,5 cm; 57 x 64 cm (frame).In the year this piece was made, 1937, Ismael González took part in the Spanish Pavilion at the International Exhibition in Paris, thus proving his worth as a painter and establishing his career in the eyes of the critics and the public. However, although this was a good professional period, the ravages of the war had left a strong impression on the artist that is reflected in his painting. This work is an example of this, as we can see how he gradually eliminated his Cubist influence and introduced a much more expressive and tragic chromatic range. In this still life, the main motif, the fruit bowl, still retains this cubist heritage both in form and in the artist's treatment of shadow. However, the space with the background open to the outside, the score and the presence of the letters show us a compositional conception with a classical heritage. Ismael González de la Serna began his art studies in Granada and completed them in Madrid, at the San Fernando School of Fine Arts. In his early years he developed an eclectic pictorial style, drawing on Impressionist, Symbolist and Modernist sources. One of the first examples of his youthful language can be found in the illustrations he made for his childhood friend Federico García Lorca, in what was to be his first book, "Impresiones y paisajes" (1918). That same year, Ismael de la Serna held his first exhibition in Granada, and shortly afterwards he presented his works at the Ateneo in Madrid. In 1921 he moved to Paris in order to broaden his artistic horizons, joining the circles of the School of Paris. Among his Parisian friends was Pablo Picasso, who influenced his work but was, above all, the Granada painter's protector. During this period De la Serna's style was permeable to the influences of the avant-garde, particularly Cubism and Expressionism, which he worked in a highly personal manner. Likewise, the initial influence of Impressionism was always evident in his work. The year 1927 marked the beginning of a period of strong influence on his work, which began with the painter's solo exhibition at the influential Paris gallery of Paul Guillaume. This exhibition was followed by many others, both in Paris and in Berlin, Brussels, Copenhagen, Granada and Mexico. In 1928 he was commissioned by the director of "Cahiers d'Art", Christian Zervos, to illustrate a special edition of twenty sonnets by Góngora. The key to his recognition lies in his sensual interpretation of the forms of Cubism, based on the relevance of a drawing with a sinuous and highly decorative line, combined with strong chromatic contrasts. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly depicted still lifes, in which he emphasised the sensory aspect of his painting with metaphorical sensory references such as music, fruit or open windows. He also worked on landscapes and portraits. After inaugurating the activities of the Asociación de Artistas Ibéricos in Madrid with a solo exhibition in 1932, the painter embarked on new avenues of artistic experimentation which, after the Second World War, led to a more schematic and simplified style of painting, close to contemporary abstract solutions. Ismael de la Serna is represented in the Patio Herreriano Museum in Valladolid, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Granada and Seville, the ARTIUM in Vitoria, the Popular Museum of Contemporary Art in Vilafamés and the Museum of Modern Art in Paris, among many others.

PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973)."Colombe volant à l'Arc-en-ciel", 1952.Colour lithograph, copy 129/200.Signed and justified by hand. Signed and dated on plate.Size: 54 x 77 cm; 68 x 96,5 cm (frame).Original lithograph, signed by Picasso. It represents a dove flying in front of the rainbow, a motif from 1952 that would be used as a symbol of peace against the Franco regime. The dove of peace motif appeared in Picasso's work after the Second World War. Just as in another well-known Picasso image from 1961, the biblical symbol of the dove with an olive branch in its beak appears here flying over a rainbow sky. In Genesis we are told of the appearance of the dove with an olive branch to Noah to symbolise the return of universal peace, the end of the floods. Picasso took up this symbol in a series of drawings of doves. One of them was used for the poster announcing the World Congress of Partisans for Peace. In February 1949, Louis Aragon went to Picasso's Paris studio to select a drawing for the congress, which was to be held in Paris in April of the same year. "La colombe", a blue pencil drawing on paper, was the chosen motif and the image quickly became known as "The Dove of Peace". On 19 April 1949 his second daughter was born, on the opening day of the Peace Congress, and he decided to name her Dove after the symbol he created for the posters that appeared all over the streets of Paris.The creator of Cubism together with Braque, Picasso's painting was a turning point in the history of art. He began his studies in 1895 at the Provincial School of Fine Arts in Barcelona, and only two years later he held his first solo exhibition at the café "Els Quatre Gats". After several short stays in Paris, Picasso settled permanently in the French capital in 1904. After his blue and pink periods in the early years of the century, the painter began his geometrical experiments in 1906, during a stay in Lérida. A year later he began to paint "Les Demoiselles de la Rue Avinyó", and in 1909 he came into contact with Braque and his Cubist period began. During the second decade he developed his classical period, and produced his famous sets for Diaghilev's Russian ballets. In 1936 he was appointed director of the Prado Museum by the Government of the Spanish Republic, and a year later he painted "Guernica". His definitive international recognition came in 1939, when he was given a retrospective at the MOMA in New York. During the following decades he was the subject of anthological exhibitions all over the world, in Rome, Milan, Paris, Cologne and New York, among many other cities. He is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofía in Madrid.

BENJAMÍN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980)."Castle", 1958.Oil on canvas.Attached certificate issued by Don Ramón Palencia del Burgo, legal heir of the artist.Signed, dated, and dedicated to Don José María Moro, in the lower right corner.Measurements: 33 x 46 cm; 51 x 64 cm (frame).During this period Palencia isolated himself in the village of Villafranca, dedicating himself completely to painting, without any distractions that could disturb his pictorial exercise. It was then that he turned to the themes of views that reflected the lands of Avila, thus capturing the deepest Spain, but charged with a lively colouring that he recovered after a period of cold and arid tones caused by the consequences of the civil war.Founder of the Vallecas School together with sculptor Alberto Sánchez, Benjamín Palencia was one of the most important heirs of the poetics of the Castilian landscape characteristic of the Generation of '98. At the age of only fifteen Palencia left his native town and settled in Madrid to develop his training through his frequent visits to the Prado Museum, as he always rejected the official teachings of the San Fernando Royal Academy of Fine Arts. In 1925 he took part in the Exhibition of Iberian Artists held at the Retiro Palace in Madrid, and in 1926 he travelled to Paris for the first time. There he met Picasso, Gargallo and Miró and came into contact with the collage technique, which he later applied to his work, incorporating new materials such as sand and ashes. It was during this Parisian stay that Palencia's work took on a surrealist tone, evidenced by an increasingly greater expressive freedom that reached its peak in his mature period. On his return to Madrid he founded the Vallecas School (1927) and made his individual debut at the Museum of Modern Art (1928). Palencia gradually abandoned still lifes to return to the Castilian landscape, capturing it through a magnificent synthesis of tradition and the avant-garde. This personal aesthetic of landscape painting reached its culmination in the Vallecas School and, after a brilliant surrealist incursion in the early 1930s, when the Civil War broke out Palencia remained in Madrid and, like his fellow artists of his generation, suffered a period of profound crisis. When the war ended, between 1939 and 1940 his painting took a radical turn; he abandoned cubist and abstract influences and even aspects of a surrealist nature in search of an art with a strong chromatic impact, linked to Fauvism. Focusing on his work as a landscape painter, in 1942 Palencia took up again the experience of the Vallecas School together with the young painters Álvar Delgado, Carlos Pascual de Lara, Gregorio del Olmo, Enrique Núñez Casteló and Francisco San José. His work would include images of the Castilian countryside and its peasants and animals; his painting became a testimony to the rough, the coarse and the rural, to the subtle expressiveness of Castilian sobriety. Already fully consolidated, in 1943 he won the first medal at the National Exhibition of Fine Arts and in 1944 he was selected to take part in the Salón de los Once de Eugenio D'Ors in Madrid. The following year he was awarded the medal of honour at the National Exhibition, although he renounced it in order to facilitate its award to José Gutiérrez Solana.

ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005)."La folle au chapeau. Paris, 1948.Oil on canvas.Signed in the lower right corner.Titled on the back.Attached is a photograph of the artist's Parisian studio, in which this painting appears together with Pedro Flores (Paris, January 1948).Measurements: 61 x 50 cm; 75 x 64 cm (frame).Clavé's work developed along two lines, one of which was more conceptual and experimental, while the other remained within the limits of figuration, although it was a completely avant-garde figuration. This portrait belongs to the second line, endowed with an inner strength that subjugates us: through the voluntary roughness of the brushstroke and the boldness of the colours, Clavé conveys the fragile and vulnerable psychology of "the madwoman". Large eyes that seem to have wept, the curled hand on her lip, the grotesque headdress... all contribute to silently moving the viewer.Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop an oeuvre marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He already enjoyed great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In the 1960s he paid homage to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. The theme of the knight with his hand on his chest takes on special relevance, a reference that will be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage and inventing new ones such as papier froissé. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to Clavé that made him one of the most prestigious artists of his generation. His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennale in 1954 and at the Tokyo International Biennale in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.

After PABLO PICASSO (Spanish, 1881 ? 1973) 'La Chouette et Oiseau', a pair of quadrichromes, study for ceramic plates, suite: ceramiques, 28cm x 38cm each, framed. (2)

Two Hermes scarves, including a Jacques Eudel, together with an exhibition Picasso scarf (3)

AFTER PABLO PICASSO, RECLINING FIGURE lithograph on paper, signed in the plate image size 40cm x 55cm, overall size 58cm x 78cm Mounted, framed and under glass.

Pablo Picasso. Linoleum Cuts. Bacchanals, Women, Bulls & Bullfighters. Introduction by Wilhelm Boeck. New York, Abrams 1963. Mit 45 Farbtafeln. Originalleinenband im illustrierten Originalschuber.Erste amerikanische Ausgabe. - Nach den Originalen aus dem Besitz der Galerie Louise Leiris, Paris. - Durch die zahlreichen Druckgänge mit sattem Farbauftrag erreichen die Tafeln fast die Anmutung von Originalen. - Kibbey: »The volume consists chiefly of exceptional full-page color reproductions«. - Schönes Exemplar.32 : 39 cm. XIII, [1] Seiten, 45 Farbtafeln, [2] Seiten. - Der Schuber etwas verfärbt.Kibbey 237

Pablo Picasso - Pour Daniel-Henry Kahnweiler. Ouvrage établi sous la direction de Werner Spies. Stuttgart, Gerd Hatje 1965. Mit neun Lithographien, davon eine auf dem Schutzumschlag, zahlreichen Porträts und teils farbigen Tafeln, montierten Abbildungen und Faksimiles. Originalleinenband mit beiden -schutzumschlägen und Originalleinenmappe im Schuber.Exemplar 49 von 100 der Vorzugsausgabe mit einer signierte Suite aller Lithographien (Gesamtauflage 1000). - Buch und Suite enthalten zwei Lithographien von Pablo Picasso (davon eine auf dem Umschlag) und Farblithographien von Ellie Lascaux, André Beaudin, André Masson, Suzanne Roger, Eugène de Kermadec, Yves Rouvre und Sebastien Hadengue. - Mit Textbeiträgen, teils nach den Handschriften faksimiliert, von Guillaume Apollinaire, Theodor W. Adorno, Max Bense, Georges Braque, André Chastel, Will Grohmann, Juan Gris, Alfred Hentzen, Michel Leiris, André Malraux, Pierre Reverdy, Gertrude Stein, Jaimes Sabartes.29,8 : 22,3 cm. 311, [3| Seiten, 8 Lithographien.Picasso: Goeppert/Cramer 133. - Bloch 1179 und 1180

Leon Bakst - The Designs of Leon Bakst for »The Sleeping Princess«. A Ballet in five Acts after Perrault. Music by Tchaikovsky. Preface by André Levinson. London, Benn Brothers 1923. Mit einer Tafel nach einer Zeichnung von Pablo Picasso, 54 Farbtafeln und zwei farbigen Textabbildungen. Originalhalbpergamentband mit vergoldetem Rückentitel.Erste Ausgabe. - Exemplar 173 von 500 der englischen Ausgabe, zeitgleich erschienen 500 Exemplare bei Scribner, New York. - Auf Bütten. - Leon Bakst (eigentl. Rosenberg), Mitbegründer des Organs der russischen Moderne »Mir Isskusstwa (Weltkunst)«, wurde vor allem durch seine phantasievollen, schillernden Kostümentwürfe für das russische Ballett bekannt. - Die farbigen Kostüm- und Bühnenbildentwürfe, gezeichnet und signiert von Bakst, wurden auf Kunstdruckpapier reproduziert und auf starke Büttenblätter aufgezogen.39,7 : 30,0 cm. [4], 18, [2] Seiten, 54 Tafeln. - Ecken etwas berieben. - Äußerste Ränder gebräunt, manche fleckig. Vorsatzpapier - besonders am Rand - leicht stockfleckig.

Halcyon Press - [Johann Wolfgang von] Goethe. Die Leiden des jungen Werthers. Kupferstiche von J. Buckland Wright. Maastricht 1931. Mit zehn signierten Radierungen. Blauer Originalsaffianlederband mit vergoldeten Vignetten, Rückentitel und Kantenfileten (signiert: L. Malcorps). Im Schuber.Vierter deutscher Druck der Halcyon-Presse. - Exemplar 17 von 125 der Ausgabe C auf Pannekoek-Bütten (Gesamtauflage 140). - Alle zehn Kupferstiche signiert. - Im Druckvermerk vom Drucker A. A. M. Stols signiert. - Handsatz aus der Romanée von J. van Krimpen. - Der auf Neuseeland geborene John Buckland Wright gründete mit William Hayter in Paris dessen »Atelier 17« und wurde dort mit Matisse, Chagall, Picasso, Miró und Dali bekannt. Ende der 1920er Jahre begann er als Buchillustrator tätig zu werden. Wegen seiner perfekten Kupferstiche wurde es als »Master of Burin« bezeichnet. - In der Verbindung von perfekter Typographie und den frühen Illustrationen von »JBW« schuf die Halcyon Press eine der schönsten Werther-Ausgaben des 20. Jahrhunderts. - In so unberührter, makelloser Erhaltung sicher nahezu unauffindbar.23,2 : 15,2 cm. 254, [6] Seiten, 10 Radierungen. - Rücken minimal verfärbt. - Exlibris.Van Dijck 241

PABLO PICASSO (1881-1973)Portraits imaginaires, 1969Offset print in colors on paper dated and numbered numbered lower left, signed in the plateEdition of 250 copies68.5 × 52.3 cm

Ausstellungsplakat "Picasso 1982", Museo del Prado, Cason del buen retiro, Plakatgröße ca.89 x 66 cm, hinter Glas gerahmt.

Picasso, Pablo (1881-1973), Der Flötenspieler (1959), Lithografie, in d. Pl. sign. u.dat., Blattgröße ca. 50 x 41 cm, hinter Glas gerahmt. Leicht vergilbt.

PABLO PICASSO (SPANISH 1881-1973) BUSTE DE FEMME  Limited Edition Lithograph on Papier des Arches from the "Marina Picasso Collection", with original investors name on print, 56 x 46cm (22 x 18") To be sold with Certificate of Authentication and Certificate of Guarantee and Authenticity Condition Report:Available upon request

After Pablo Picasso (Spanish, 1881-1973). Etching on paper titled "Femme vue de Dos" depicting a nude woman facing away from the viewer. Signed in plate along the lower right.Sight; height: 19 in x width: 14 1/4 in. Framed; height: 26 1/4 in x width: 21 1/2 in.

Group of modern prints. Includes one Norman Rockwell (American, 1894-1978) print depicting a boy with his dog and a medicine bottle; one Bertrand Dorny (French, b. 1931) abstract print; two Salvador Dali (Spanish, 1904-1989) prints, "Portrait of Picasso," and "The Virgin of Guadalupe"; and a portfolio of four abstract prints by Lebandang (Vietnamese/French, 1921-2015).Prints; height ranges from 24 1/2 in to 30 in; width ranges from 18 1/2 in to 22 in. Portfolio; height: 32 in x width: 22 1/2 in x depth: 1 1/2 in.

NO RESERVE Collectables.- Salamon (Ferdinando) A Collector's Guide to Prints and Printmakers from Dürer to Picasso, frontispiece, illustrations, many full-page, original cloth, slight bumping to spine extremities, price-clipped dust-jacket, slight creasing to edges, 1972 § The Royal Philatelic Society London 1869-1969, frontispiece, plates, original morocco, gilt, slipcase, rubbed and faded, 1969 § Wolfe (ffrida) and A. T. Wolfe, How to Identify Oriental Rugs, plates, original cloth, bumping to corners and extremities, [1927] § Pinto (Edward & Eva) Tunbridge and Scottish Souvenir Woodware, frontispiece, plates and illustrations, bookplate, original cloth, slight bumping to corners and extremities, price-clipped dust-jacket, tears, loss to top edge, rubbed, 1970 § Jourdain (Margaret) and R. Soame Jenyns. Chinese Export Art in the Eighteenth Century, illustrations, original cloth, slight bumping to spine extremities, dust-jacket, a little rubbed, 1950; and others collectables, v.s. (75)

A Clarice Cliff Bizarre Picasso Flower (orange) pattern sabot or clog, circa 1930, printed marks in black for Newport pottery, 11cms long.

A pair of Jimmy Choo Nappa black leather sandals, size 37; together with a pair of Emporio Armani Rosso Picasso sandals, size 38, and a pair of Dolce & Gabbana silver fabric sandals, size 38 1/2 (3)

Tiffany & Co. a hallmarked silver fully signed pendant modelled as a key upon a silver neck chain (boxed and also marked Tiffany & Co.), together with one other silver pendant modelled as co-joined pierced hearts into a circle, the pendant designed by Paloma Picasso, and suspended from a silver neck chain signed T & Co. 925 Paloma Picasso, with green Tiffany & Co. carry pouch (2)

Gadebusch, Dedo (geb. 1936 Berlin) "Hommage à Picasso II" von 1983. Dunkelgrau gefasstes, zweiseitiges Gipsrelief. Unsign. H. 21 cm.

Picasso, Pablo (1881 Malaga - Mougins 1973) Abstrakte Komposition mit menschlichem Gesicht. Farblithographie (gebräunt) aus ''Le Goût du Bonheur (Der Geschmack des Glücks): A Suite of Happy, Playful, and Erotic Drawings'', erschienen 1970 bei Harry N. Abrams, Inc., New York. Im Stein dat. 6. 10. 64 re. o. Ca. 17x 10,5 cm, breitrandig. PP., R.

Picasso, Pablo (1881 Malaga - Mougins 1973), nach "Carnet de la Californie 1". Fototypie/Papier (l. gebräunt, verso l. Montagespuren), li. u. im Druck dat. 15.11.(19)55 sowie von fremder Hand mit Bleistift Ex. 28/1500. PP.-Ausschnitt ca. 26x 41 cm. PP., R. Lit.: Cramer, 101 - Faksimiledruck aus dem Jahr 1959 von den Druckereien Duval und Mourlot.

Pablo PICASSO (1881-1973) 'Head Of A Woman' a framed print. 11-04-1040. Dimensions: (W:26 x H:37 cm)

TIFFANY AND DAVID YURMAN: COLLECTION OF SILVER JEWELLERYComprising: two pairs of earrings and bangle by Paloma Picasso for Tiffany, one pair of earclips by Elsa Perretti for Tiffany, one pair of earclips by Tiffany, two pairs of red and blue enamel earclips by Tiffany, one Tiffany tag, two pairs of peridot and amethyst earrings by David Yurman, various sizes, accompanied by four Tiffany pouches (10)For further information on this lot please visit Bonhams.com

Three Tiffany & Co silver rings, one set with aqua enamel, one of faceted design by Paloma Picasso and one engraved 'Tiffany & Co 727 Fifth Avenue New York New York 10022' , size K/L

A collection of silver jewellery including ring, earrings, brooches, silver bracelet by Paloma Picasso for Tiffany & Co, pendants, etc 

After Pablo Picasso, The Two Saltimbanques, large oleograph on canvas, housed in a gilt frame, 75cm high, 60cm wide

Pablo Picasso, drei frühe und seltene Bücher: ''Pablo Picasso par Christian Zervos, Vol 6, Supplement aux Volumes1 a 5'', 1954, Supplementband des Werkverzeichnisses in zwei Exemplaren, leichte Gebrauchsspuren, sowie ein Katalog ''Pablo Picasso 1951, Le Journay Yomiuri Tokio'' für eine Ausstellung in Tokio mit reicher Bebilderung (unvollständig) sowie weiteren beigelegten Bildtafeln, stärkere Gebrauchsspuren, bis 34,5 x 27 cm

PABLO PICASSO (Spanish, 1881 - 1973) 'Cannes AM', original lithographic poster by Mourlot for the French Government tourist board, 100cm x 70cm, framed.

PABLO PICASSO (1881-1973) 'Sylvette, verse 1954', lithograph, 35cm x 25cm, framed.