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PABLO PICASSO (Spanish, 1881 - 1973) 'Sylvette', print on board, 55cm x 45cm, in a vintage French frame.

PABLO PICASSO (1881-1973) 'Couple NU, No IV, 1972', lithograph, 30cm x 40cm on arches paper, bears stamp for Mourlot Spadem, framed.

PABLO PICASSO (1881-1973) 'Painter and Model II, 1972', lithograph, 50cm x 40cm on arches paper bears stamp for Mourlot/Spadem, framed.

Quantity of reference books to include ‘Edward Bowden & His Circle’, ‘Looking at Matisse and Picasso’, and ‘The Dictionary of British Artists’ (4 boxes)

* DONALD MORRISON BUYERS RSW (SCOTTISH 1903 - 2003), FROSTY MORNING, COUNTRY VILLAGE oil on board, signed and dated '98, titled verso image size 75cm x 100cm, overall size 90cm x 115cm Framed. Note: Donald Buyers studied at Gray's School of Art, Aberdeen from 1948-51. Soon after graduating, he was employed as an art therapist with tuberculosis patients in the Aberdeen hospitals. While on honeymoon in Paris in 1955 he saw a retrospective exhibition of Picasso who, with Paul Klee became a lasting influence. Back in Aberdeen, he made a living as a successful commercial artist for some years and then concentrated increasingly on his career as a painter. With three fellow artists, Eric Auld, Bill Baxter and Bill Ord, he formed the ABBO group in 1957 which was to exhibit extensively for many years throughout Scotland as well as in Newcastle and Birmingham. From 1963 to 1985 Buyers taught at Robert Gordon's Institute of Technology as well as being a visiting lecturer at Gray's School of Art. His work is represented in the collections of the Arts Council, Aberdeen Art Gallery and HRH The Duke of Edinburgh.

GRAHAM H D MCKEAN, SLEEPING PEASANTS (HOMAGE TO PICASSO) oil on canvas, signed, titled verso image size 46cm x 61cm, overall size 65cm x 80cm Framed.

PABLO PICASSO (1881 Málaga - 1973 Mougins), Serigrafie (Atelier Baviera)/Ausstellungsplakat, ¨Picasso et la gravure contemporaine¨, Saint Paul de Vence, weiter bezeichnet ¨Mairie de Vallauris, 8 Juillet-25 Septembre 1966¨, ca. 67x42cm, im Wechselrahmen

Pablo Picasso (Spanish, 1881-1973) "Petit Visage Solaire" Madoura Terracotta J134B Plaque. Numbered (20/100) verso. Provenance: was purchased by the consignor's father from 'Madoura' Poterie - Galerie D'Art in France back in 1974 Size: 6.5 x 6 3/8 in.

Pablo Picasso (Spanish, 1881-1973) Madoura "Two Dancers" (Deux danseurs) (AR 380), 1956 Ceramic Plater. Edition of 450. The ceramic round/square plate is made of white earthenware clay, engraving accentuated with glaze, black patinated ground in ivory and brown. Provenance: was purchased by consignor's father from 'Madoura' Poterie - Galerie D'Art in France back in 1974 Diameter: 9.75 in.

Pablo Picasso (Spanish, 1881-1973) Madoura 'Pichet aux arums' (AR 189), 1953 Ceramic Pitcher. Numbered (122/350) on base. Painted and glazed white ceramic pitcher. Provenance: was purchased by consignor's father from 'Madoura' Poterie - Galerie D'Art in France back in 1994 Size: 12 x 10.25 x 6.75 in.

Pablo Picasso (Spanish, 1881-1973) Madoura, "White Ground Fish" (AR 168) Ceramic I114 Plate. Numbered (72/200) verso. Madoura Plein Feu and Empreinte Originale De Picasso stamps verso. Provenance: was purchased by consignor's father from 'Madoura' Poterie - Galerie D'Art in France back in 1974 Size:13 3/8 x 16 6/8 in.

Pablo Picasso (Spanish, 1881-1973) Madoura 'Wood Owl' (AR 602), 1969 Ceramic Pitcher. Numbered (101/350) on base. With stamps and label on base. White earthenware clay, decoration in engobes engraved by boring-rod under partial brushed glaze. Size: 12 x 9 x 6 in.

Pablo Picasso (Spanish, 1881-1973) Madoura "Scene de Tauromachie" (AR 393), 1957 Terracotta K117 Plate. Numbered (291/500) verso. Provenance: was purchased by consignor's father from 'Madoura' Poterie - Galerie D'Art in France back in 1994 Diameter: 9 3/8 in.

Pablo Picasso (Spanish, 1881-1973) Madoura "Personnages et cavalier" (AR 540), 1968 Terracotta J149 Plaque. Numbered (362/500) verso. Size: 4.25 x 6.5 in.

Picasso (1881-1973), after, four prints, Toros y Toreros, 41 x 29cm, 54, x41cm, 29, x 42cm, 54 x 41cm,(2), 41 x 29cm, 56 x 44cm, each framed and glazed

Original vintage art exhibition advertising poster for Picasso Letzte Bilder / Last Pictures, that took place 17 October 1993 - 30 January 1994 at Kunsthalle Bielefeld, featuring a self-portrait of a Spanish artist Pablo Picasso (1881-1973) in green, blue, and red, with bold black lettering on red frame. Lufthansa logo in the top right corner. Excellent condition, creasing. Country of issue: Germany, designer: Picasso, size (cm): 84x59, year of printing: 1993.

Original vintage art advertising poster for an exhibition of rare Pablo Picasso engravings (from 1905 to the present day) / Gravures Rares (de 1905 a nos jours) at Galerie 65 Cannes from 9 April to 12 May 1966 featuring Picasso's 1904 etching The Frugal Meal / Le Repas Frugal printed in 1913 of a thin man with his arms around a lady sitting behind a table with a small piece of bread and bottle of wine for their meal set within a border, the exhibition information text above and below with Picasso's signature. The notable Spanish artist and sculptor Pablo Picasso (1881-1973) was one of the founders of Cubism in the early 20th century. Good condition, creasing, tears, staining, tape on bottom edge. Country of issue: France, designer: Pablo Picasso, size (cm): 76x53, year of printing: 1966.

Pablo PICASSO (1881-1973), d'aprèsHomme à la guitareLithographie couleur sur papier vélin. Non signé54,5 x 34 cm

Good large mixed collection of Ephemera to include dance cards, legal documents, antiquarian books, Festival of Britain guides, 1967 Picasso exhibition etc

A framed vintage Picasso satin scarf 37'' x 26 1/2''.

Farblithografie Pablo Picasso1881 Málaga - 1973 Mougins "Chateau de Culan" 1967 o. re. im Stein sign. Picasso Exemplar 99/200, 74,8 x 53,8 cm (Blattmaß). Am oberen Rand leicht fleckig.

Farblithografie Pablo Picasso1881 Málaga - 1973 Mougins "Buste de Femme (Dora Maar)" 1958 u. re. im Stein sign. Picasso u. Mitte typografisch bez. Wassermann S. A. Bale 77,5 x 56 cm, o. R.

2 s/w-FotografienWilly Maywald 1907 Kleve - 1985 Paris "Pablo Picasso und Georges Braque" 1947-48 je verso m. d. Stempel: "Associates Willy Maywald Einmalige Auflage für die Griffelkunst 1989" sowie "ADAGP Paris" je 30,7 x 29,5 cm, o. R.

PABLO PICASSO1881 Málaga - 1973 Mougins'LE CLOWN' (1968) Farblithografie auf Arches. DM 32 x 32,5 cm, SM 66 x 46,5 cm (R. 70,5 x 51,5 c. Unten links im Stein signiert und datiert 'Picasso 21.2.68.' sowie unten rechts mit Bleistift nummeriert '12/1000'. Verso: Mit Klebeetikett von The Mark Gallery sowie Photo-Galerie & Atelier Klöcker, Hilden/Monheim. Leicht gebräunt. Hinter Glas gerahmt (ungeöffnet). Provenienz: Rheinische Privatsammlung.

PABLO PICASSO1881 Málaga - 1973 Mougins'LE GRAND VERRE' (1957) Zinkografie auf Arches, auf Karton montiert. DM 32,5 x 25 cm, BM 44,2 x 33 cm (R. 53 x 43 cm). Unten links mit Bleistift nummeriert '130/250'. Verso: Mit Vermerken in Bleistift von fremder Hand. Gebräunt, part. min. fleckig. Im Passepartout und hinter Glas gerahmt. Literatur: Cramer 88. Provenienz: Rheinische Privatsammlung.

PABLO PICASSO (NACH)1881 Málaga - 1973 MouginsGRANDE MATERNITÉ Farboffset auf festem Karton. SM 54 x 43 cm, DM 50 x 38,5 cm (R. 105 x 85,5 cm). Links oben im Stein signiert und datiert 'le 29.4.63'. Im Passepartout und hinter Glas gerahmt (ungeöffnet).

PABLO PICASSO1881 Málaga - 1973 Mougins'GENTILHOMME EN VISITE CHEZ LA CÉLESTINE' (1968) aus: 347 Gravures Aquatintaradierung auf Velin, auf Karton montiert. DM 5,8 x 11,6 cm, BM 20,8 x 16,5 cm (R. 28 x 23 cm. Unten links nummeriert '197/350' sowie im Stein datiert '26.5.(19)68.I'. Mit altem Klebeetikett auf der Scheibe bez. Leicht gebräunt, min. stockfleckig. Hinter Glas gerahmt (unge. Literatur: Bloch 1592.

PABLO PICASSO1881 Málaga - 1973 MouginsFEMME ET JEUNE GARCONS NUS (1969) Farblithografie auf Velin. 40 x 49,5 cm (R. 67,5 x 76,5 cm). Unten rechts im Stein signiert und datiert 'Picasso 3.6.(19)69'. Gebräunt. Mit Passepartout hinter Glas gerahmt (ungeöffnet).

Pablo Ruiz Picasso (Malaga, 1881 - Mougins, 1973) "Portrait d'une bourgeoise Hollandaise coiffée d'un bégun" (Portrait of a bourgois Dutch woman wearing a bonnet) Suite 347. Drypoint etching. Signed in pencil and numbered 49/50. Facsimile signature on the back: '10.8.68.III'. Sheet measurements: 32,6 x 25 cm. Print measurements: 12 x 9,2 cm. Printed by Aldo and Piero Crommelynck and published by Galerie Louise Leiris, Paris. Bibliographic references: Baer 1986-96 / "Picasso Peintre-Graveur". Bloch 1974-9 / "Pablo Picasso, Catalogue de l'oeuvre gravé et lithographié"

Eduardo García Benito (Valladolid, 1881 - 1981)"Pareja elegante, nocturno" (Elegant couple by night)Watercolour y gouache on paper. Signed. Circa 1920 - 25.25,8 x 52,3 cm.The painter Eduardo García Benito (1891-1981) was one of the most renowned and polished artists of the Art Deco movement. Born in Valladolid, he trained at its School of Fine Arts and Crafts and, later, at the Academy of San Fernando in Madrid. He was given a grant by the City Council of Valladolid to go to Paris in 1912, a city where he socialised with the great masters of the time (Pablo Gargallo, Julio González, Pablo Picasso, Juan Gris, Raoul Dufy and Amedeo Modigliani). His knowledge of the various avant-garde movements that were being developed at the time (Fauvism, Cubism, Futurism, Expressionism) led him to develop an eclectic style to which he added personal elements. The interwar period, the Roaring Twenties, was the period in which he reached the peak of his career, largely due to his discovery by the famous French couturier Paul Poiret (1879-1944) -whom he painted together with his wife in 1921- who attracted the best stylistic illutrators of the time to his company. Poiret, who had introduced revolutionary changes in women's clothing to suit the needs of the moment, took him under his wing and introduced him to the sophisticated and elegant world of the international fashion publications and magazines of Paris and New York: "Fémina" and the "Gazette du Bon Ton" in Paris and "Vanity Fair" and "Vogue" in New York.When Condè Nast (1873-1942) took over the Gazette du Bon Ton, he hired a number of illustrators, among whom was Benito -which is how our artist liked to sign his work- whom Nast himself came to describe as the most talented of all. Nast also owned Vanity Fair and Vogue, undoubtedly the most influential fashion publications, and required reading for the elite for almost a century, for which Benito made more than 100 covers between 1921-1940, in addition to exquisite illustrations and figurines. For "Vogue" he created striking covers in which he impressively combined geometry with colour contrasts. His style was defined by 1925. From that time his illustrations for these magazines stood out for the perfection of the drawing and their straight lines, the balance of proportions and the harmony of the whole. His characters are austere, stylized, geometric and elegant, with a crystalline structure and sculptural and cubist faces, all characteristics that contributed decisively to the forming and dissemination of Art Deco. In the clothing of the moment there was a trend towards internal freedom and comfort, and that is precisely what we can observe in Benito's drawings and sketches: light images capturing woman in the process of liberation -the old corsets and whale sashes were discarded- which created that languid and stylized image that fitted perfectly with the atmosphere of sophistication and frivolity of the time. The article dedicated to Benito by the writer Francisco de Cossío in the newspaper El Norte de Castilla in its issue of August 30, 1929 on the contribution of Benito to the world of fashion of the twenties is very significant. It reads: "To what extent is fashion a superficial art? García Benito finds the greatest inspiration for his creations in the grace of the elegant woman. Being, in a way, an auxiliary to the great couturiers, he knows how to raise the standard of his art by conquering the covers of the most elegant magazines in the world. The modern mannequin, stylized, shiny gold and silver, which brings us the memory of oriental idols, is his work. Creating for women, not only fabrics and colours, but attitudes, smiles, postures, rhythms … Elegant women come to García Benito's drawings to learn the secret of suggestion in modern elegance… ". From 1923 he lived alternately in Paris and New York, and in 1958 he returned to his hometown, bringing his most original artistic cycle to a close, although he continued to paint and work. The fact that the Congress of the United States, in the session of February 8, 1974, voted a motion of congratulations to Benito for his cultural work in that country is another proof of the level of importance that our artist attained. We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.

HENRI LAURENS (1885-1954)Le torse 1935 monogrammé, numéroté 0/6 et avec le cachet du fondeur Valsuani cire perdue bronzewith the artist's initials, numbered 0/6 and stamped with the foundry mark Valsuani cire perdue bronze 67 x 54 x 43 cm. 26 3/8 x 21 1/4 x 16 15/16 in. Réalisé en 1935, cette œuvre est l'exemplaire n° 0 d'une édition de 6 plus 7 épreuves d'artiste numérotées de 1 à 6+.Footnotes:ProvenanceGalerie Louise Leiris, ParisCollection particulière, Paris (acquise en 1987 auprès de celle-ci)Puis par descendance au propriétaire actuelBibliographieWerner Hofmann, Henri Laurens. Sculptures, Teufen 1970, p. 154 et 155, un autre exemple illustré en noir et blancHenri Laurens nait en 1885 dans le milieu ouvrier parisien. Tailleur de pierre travaillant dans des chantiers de construction, il étudie parallèlement le dessin. Influencé par Auguste Rodin, il s'intéresse aussi à la sculpture romane et gothique. En 1908, il intègre La Ruche, rencontre Fernand Léger et découvre le cubisme. Ce n'est pourtant que tardivement au contact des artistes de Montparnasse qu'il s'illustre dans le cubisme à partir de 1915 aux côtés de Georges Braque, Juan Gris ou encore Pablo Picasso. En 1930 s'opère une transformation dans son Œuvre. Henri Laurens travaille des volumes massifs auxquels il donne des courbes vibrantes et énergiques. La recherche, de cette dimension « organique » se retrouve dans ses nombreuses représentations de nus féminins dont se dégage une poésie caractéristique de l'artiste. En 1936, Laurens fait partie de la grande exposition Cubism and Abstract Art au Museum of Modern Art de New York. Cette exposition est une consécration pour l'artiste qui s'installe comme l'une des figures de tête de la sculpture moderne. L'année suivante, l'artiste participe à l'Exposition universelle de Paris. En 1951, fait assez rare à l'époque, une exposition rétrospective au Musée National d'Art Moderne de Paris est organisée de son vivant. L'année 1953 marque le dernier point culminant de sa carrière en remportant le grand prix de la Biennale de São Paulo en 1953. Henri Laurens meurt l'année suivante et laisse derrière lui une Œuvre qui a joué un rôle majeur dans l'histoire de l'art moderne et qui a suscité l'admiration de ses contemporains comme le démontre le témoignage à son égard d'Alberto Giacometti : « Sa manière même de respirer, de toucher, de sentir, de penser devient objet, devient sculpture. (...) La dimension, la proportion, le mouvement de la sculpture s'établissent, se précisent et se déterminent enfin selon cette même sensibilité profonde et complexe. »Ce bronze est un exemple indiscutable de l'Œuvre sculpturale d'Henri Laurens. La virtuosité de l'artiste est de jouer avec les torsions et l'expression de ce torse accroupi pour lui donner une puissance et une dimension organique. Les traits plus abstraits que cubistes en l'espèce, démontre cette sensibilité propre au génie de l'artiste.Henri Laurens was born in 1885 to the Parisian working class. A stonemason working in construction sites, he studied drawing at the same time. Influenced by Auguste Rodin, he was also interested in Romanesque and Gothic sculpture. In 1908, he joined La Ruche, met Fernand Léger and discovered Cubism. However, it was only later, through contact with the artists of Montparnasse, that he distinguished himself in Cubism from 1915, alongside Georges Braque, Juan Gris and Pablo Picasso. In 1930 a transformation took place in his Work. Henri Laurens worked with massive volumes to which he gives vibrant and energetic curves. Research of this 'organic' dimension is reflected in his numerous representations of female nudes from which emerges a poetry typical of the artist. In 1936, Laurens was part of the renowned exhibition Cubism and Abstract Art at the Museum of Modern Art in New York. This exhibition was foundational for the artist, establishing himself as one of the leading figures of modern sculpture. The following year, the artist participated in the Universal Exhibition in Paris. In 1951, a rare occurrence at the time, a retrospective exhibition at the Musée National d'Art Moderne in Paris was organised during his lifetime. The year 1953 marked the final highlight of his career by winning the Grand Prize at the São Paulo Biennale in 1953. Henri Laurens passed away the following year, leaving behind a Work that played a significant role in the history of modern art and that aroused the admiration of his contemporaries as demonstrated by Alberto Giacometti's testimony to him : 'His very way of breathing, touching, feeling, thinking becomes object, becomes sculpture. (...) The dimension, the proportion, the movement of the sculpture are established, precised and determined according to this same deep and complex sensitivity'.This bronze is an indisputable example of the sculptural work of Henri Laurens. The artist's virtuoso hand balances the sculptural body with the tension of the bent figure, giving it an intrinsic power and organic presence. The abstract rather than cubist features in this case demonstrate the sensitivity of the artist's genius.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Day at the beach, Barcelona".Ink, watercolour and gouache on paper.Signed in the lower right corner.Size: 28 x 18 cm; 48 x 39 cm (frame).In this work Opisso offers us a lively popular scene, brimming with narrative. The family gathered next to the beach hut is getting ready to leave: a mother tries to put the little shoe on her little girl's shoe, another woman is fixing the ribbon tied around the little dog's neck? Each character appears individualised in attitudes, physiognomies and gestures. It is an image rich in detail and characterised by the vivacity of an author who was above all a great draughtsman and cartoonist.In his youth he took part in Barcelona's modernist environment, and in 1894 he began to work as an apprentice with Antoni Gaudí on the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his hometown at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).

PERE PRUNA OCERANS (Barcelona, 1904 - 1977)."Eva", 1940.Oil on panel.Signed and dated in the lower right corner.Work reproduced in "Pere Pruna. Pintor mediterrani: 1904-1977", pg.130. Published by Sitges Town Council, 2004.Measurements: 199 x 70 cm; 203 x 74 cm (frame).The biblical Eve is transfigured by the work and art of Pere Pruna into a modern woman, a nymph proud of having tasted the forbidden fruit. In this imposing painting, the naked body of the "first woman" is unashamedly displayed, overturning the long tradition of repentant, wealthy Eves covering themselves and their nakedness. But, curiously enough, that tradition is also present in this painting, because the author probably wanted to dialogue with them: Dürer, Cranach.... The slender waist and beautifully turned limbs culminate in a defiant face with raised eyebrows and closed eyelids. The lips are set alight with lipstick, and long hair flows over the smooth bust.A mainly self-taught artist, Pere Pruna completed his training at the School of Fine Arts in Barcelona. After beginning to exhibit in Barcelona when he was still very young, he travelled to Paris in 1921, where he was helped and guided by Picasso. In the French capital he held a successful one-man show at the Galerie Percier, and came into contact with intellectuals such as Cocteau, Drieu la Rochelle, Max Jacob and others, with whom he founded the magazine "Philosophie" in 1924. Serge Diaghilev, who visited one of his exhibitions, also asked him to create the sets and costumes for the ballet "Les matelots" in 1925. From then on, he also worked on other musical works, such as "La vie de Polichinele" (1934) and "Oriane" (1938), among others. In 1928 he won second prize in the Carnegie Institute exhibition in Pittsburg and later, on his return to Barcelona, he won other awards such as the "Montserrat seen by Catalan artists" competition (1931) and the Nonell Prize (1936). The latter was surrounded by controversy, because Pruna won it for his oil painting "El vi de Chios", for which he used a photograph published in a Parisian pornographic magazine as a model. In response to the uproar, Pruna withdrew the prize, but the jury upheld its decision. Following the outbreak of the Civil War, Pruna settled in Paris and continued his international exhibition activity, most notably the exhibition organised in London in 1937. At the same time he worked for Ridruejo's propaganda services, with works such as the poster commemorating the promulgation of the Labour Force, and Eugenio d'Ors, National Head of Fine Arts, introduced him to the Spanish representation at the Venice Biennale in 1938. After the war he combined easel painting exhibitions with mural painting, a genre in which his work in the Monastery of Montserrat was particularly celebrated. In 1965 he won the City of Barcelona Prize, and three years later he was appointed academician of the Far de Sant Cristòfor. Pere Pruna is currently represented in the Museum of Montserrat, where there is a space named after him, the MACBA in Barcelona and the Maricel Museum in Sitges, among others.

RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Market, Barcelona".Ink, watercolour and gouache on paper.Signed in the lower right corner.Size: 28 x 18 cm; 48 x 39 cm (frame).In this agitated urban scene, some children try to feed a sheep under the amused gaze of their parents. They are in a Barcelona market, and part of the flock entertains other groups of passers-by at the back, next to a gallery of arcades. As was usual in this artist's compositions, the scene is brimming with narrative. Each character is individualised in attitudes, physiognomies and gestures.Opisso was a painter, draughtsman and cartoonist. In his youth he participated in Barcelona's modernist environment, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí on the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his hometown at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).

JOAQUÍN SUNYER DE MIRÓ (Sitges, Barcelona, 1874 - 1956)"Sailor boy".Oil on canvas.Signed in the lower left area.Measurements: 84,5 x 71 cm.During the 19th century, beginning of the 20th century, the child portrait began to gain more prominence, extending from the nobility to the bourgeoisie. This fact was largely due to a change in education, and in the way in which the relevance of children in the family environment was conceived. For this reason it is not surprising to see a play like this one, in which the boy is the sole protagonist of the scene, unaccompanied by his parents.After studying at the Escuela de La Lonja in Barcelona, Sunyer began his career as an illustrator of popular scenes in "La Vanguardia" in 1896. Shortly afterwards he settled in Paris, where he specialised in street scenes and intimate interiors, which he treated in a style influenced by prostimpressionism. In Paris he became friends with Picasso and Hugué, and exhibited at the Salons. Between 1905 and 1906 he travelled around Castile, on the initiative of the art dealer Henri Barbazanges, who wanted Spanish themes. He returned to Paris in 1907 and held several exhibitions in the French capital and Liège. He went to Sitges in 1910, at a time when his style had gradually lost its post-impressionist influences and was moving towards Mediterranean themes and the simplified canon figures of Cézanne. The following year, Sunyer organised a personal exhibition at the Faianç Catalá which placed him, after Nonell's death, at the forefront of Catalan painting at the time. During the following years he travelled and exhibited in Europe, but returned to Catalonia at the outbreak of the First World War. Settled in Sitges, he nevertheless took part in the Paris and Barcelona Salons. After fleeing Spain because of the Civil War, he returned to Spain and settled in Barcelona in 1942. In 1949 he was awarded the Legion of Honour, and subsequently special galleries were dedicated to him at the Hispano-American Art Biennials in Barcelona. At the Havana Biennial in 1954, he was awarded the Grand Prize for a lifetime's work. An anthological exhibition was also held in Madrid in 1974 to commemorate the centenary of his birth. As an easel painter he was the most representative of "noucentisme". His landscapes and female nudes were particularly outstanding, as were his portraits, which were far removed from traditional painting. Joaquín Sunyer is currently represented at the MACBA, the Bilbao Fine Arts Museum, the Centre Georges Pompidou in Paris and the Reina Sofía National Art Centre in Madrid.

NO RESERVE Williams (Tennessee).- Women: A Collaboration of Artists and Writers, first edition, signed presentation inscription "For Jordan [Massee] and Paul [Bigelow] with love at Xmas, Tenn[essee Williams] and Frank [Merlo] to endpaper, 11 mounted plates, loose as issued, some very light marginal toning, small patches or browning to endpapers, photograph of Williams and Merlo loosely inserted, cloth-backed stiff wrappers, dust-jacket designed by Paul Rand, some light chipping and creasing to head and foot with neat tape repairs to verso, [Crandell B15], 4to, New York, Samuel M. Kootz, [1948].⁂ A lovely association copy of this rare publication.Samuel Kootz held the exhibition "Women" at his gallery in 1947 featuring works by Picasso, Braque and other gallery artists. The present work joined 11 of the works exhibited to original essays by 11 writers including Williams, Jean-Paul Sartre and William Carlos Williams. Inscribed to Paul Bigelow (1905-88), playwright and one of Williams' closest friends, and Jordan Massee, cousin and close friend of Carson McCullers. Williams visited Massee at his family home at Macon, Georgia and there was introduced both to the larger-than-life William Jordan Massee senior, who formed the basis of Cat on a Hot Tin Roof's Big Daddy, and to the clandestine world of young gay men in Georgia who's secretive and at times tortured lives would provide a theme that ran through much of Williams' work. For more on Jordan Massee see lots 57, 59 and 320. Frank Merlo (1922-1963) was Williams' partner of 15 years, representing by far the most stable relationship Williams experienced. Merlo's death in 1963 was a crisis for Williams and marked the start of steady and tragic decline.

PABLO PICASSO (1881-1973)Quatre Visages (A.R. 436)Ceramic pitcher Numbered 82/300, inscribed 'Edition Picasso' and 'Madoura', glazed and painted, with the Edition Picasso and Madoura stamps (to base)Height 23.5cm Conceived in 1959 As can be seen in the photographs, there are various knocks to the lip and foot of the jug. These have caused loss of glaze but are not deep enough to have damaged the pottery significantly. There are also very minor firing flaws to the glaze, notably on the handle and where the handle joins the jug. The jug has been used and has water staining to the interior. No cracks, significant damage or repairs.

A large guilt Picasso print together with a water colour portrait. Portrait Signed "Lamb" to lower left, depicting a man with driving helmet and goggles. Largest approx. 80cm x 64cm.

SHIAVAX CHAVDA, TÄNZERIN I Indien, 1964 Öl auf Leinwand, gerahmt. 50x38.5 cm (58.5x46 cm mit Rahmen). Unten rechts signiert und datiert 'S. Chavda 1964'. Shiavax Chavda war in Navsari, Gujarat, geboren. Er studierte an der Slade School und der Academie de la Grande Chamiere in Paris, wo er neben Leon Bakst und Picasso an der Gestaltung der Bühnenbilder für das Diaghelev-Ballett arbeitete. Chavda hatte eine tiefe Verbindung zum Tanz. Er nutzte das Thema eines Tänzers in Bewegung, um die rhythmischen Aspekte seiner eigenen Kompositionen zu erforschen.

FELDMANN, HANS-PETER1941 DüsseldorfTitel: Briefmarken von Gemälden. Rauminstallation von 180 Briefmarken. Datierung: 2005. Technik: Jeweils: Briefmarke auf Rückkarton in Passepartout. Maße: Briefmarken: div. Maße; Passepartout: jeweils: 15 x 10cm. In den 1960er Jahren als Maler ausgebildet, gibt der 1941 geborene Düsseldorfer Künstler Hans-Peter Feldmann die Malerei in den späten 1960er Jahren ganz auf und richtet seinen Fokus auf die konzeptuell ausgerichtete Arbeit mit Fotografie. Sein Bestreben, das reale Leben mit allen seinen Banalitäten in den Mittepunkt zu rücken, macht ihn zum Sammler alltäglicher Gegenstände sowie unspektakulärer Handlungen. So finden Postkarten, Privatalben, Zeitungsfotos, Plakate oder Fotografien von beispielsweise unterschiedlichen Beinhaltungen Eingang in ein großes Bildreservoir aus dem der Künstler schöpft. Dabei verfolgt er in seinen Fotografien und Installationen einen bewusst unkünstlerischen Ansatz, der auf den Prinzipien der Serialität und des Sammelns sowohl vorgefundener Bilder als auch eigener Fotos beruht. Meist wird Alltagskultur abbildet.Angelehnt an diese Prozesse nimmt Hans-Peter Feldmann, entgegen den Prinzipien des Kunstmarkts, seine Autorenschaft zurück. Er signiert, datiert und limitiert seine Arbeiten nicht, verweigert sich so den gängigen Regeln des Kunstbetriebs und sucht auch auf dieser Ebene nicht das Unikat oder das Elitäre. Die Installation "Stamps with Paintings" präsentiert Feldmanns private Sammlung von internationalen Briefmarken, die aus der Kunstgeschichte bekannte Gemälde, meist weibliche Akte zeigen. Bilder von Tintoretto, Rubens, Ingres, Delacroix, Renoir, Gauguin, Modigliani oder Picasso haben Einzug in Feldmanns kleines Briefmarkenmuseum gefunden und werden hier in Reihung wie kleine Kunstwerke präsentiert. Hans-Peter Feldmann Deutschland Konzeptkunst Nachkriegskunst Objekte 2000er Kunst Druckgrafik Offset KunstgeschichteErläuterungen zum Katalog

Picasso 200 Masterworks from 1898 to 1972 edited by B B Rose and B R Picasso Hardback Book 2002 First US Edition published by Bulfinch Press (Little, Brown and Co) some ageing good condition.

Je Suis Le Cahier The Sketch Books of Picasso edited by A and M Glimcher Hardback Book with Slipcase 1986 First Edition published by Thames and Hudson Ltd some ageing good condition.

Pablo Picasso 1881 1973 Genius of the Century by Ingo F Walther Softback Book 1986 First Edition published by Benedikt Taschen some ageing good condition.

Picasso my Grandfather by Marina Picasso Hardback Book 2001 First Edition published by Riverhead Books (Penguin Group) some ageing good condition.

JACINTO SALVADÓ ARAGONÉS (Montroig, Tarragona, 1892 - Le Castellet, France, 1983)."Abstraction", 1959.Oil on canvas.Signed in the upper right corner. Signed and dated on the back.Size: 89 x 57 cm; 95 x 63 cm (frame).After beginning his training at the La Lonja School in Barcelona, Salvadó made his first study trip to Paris in 1909. Five years later he settled in Marseilles and completed his studies at the School of Fine Arts. In 1919 he returned to Paris, where he visited the avant-garde art exhibitions and came into contact with Derain, Picasso, Torres-García and Julio González, among others. He alternated his residence between Paris and Barcelona until 1931, and made his individual debut in Barcelona in 1921 at the Galerías Dalmau. In 1924 he signed a contract with the Parisian Galeries Primtemps to decorate their shop windows. His first one-man show in Paris took place three years later at the Galerie Bing, where he was highly praised. He also took part in the Salons d'Automne and the Salons des Indépendants. He returned to his native Montroig in 1931, where he devoted himself for a time to plein air painting. His work acquired pictorial features of classicism, expressionism and surrealism, until he reached abstraction. During the 1930s and 1940s Salvadó, who first settled in Zurich and then in Le Castellet, began to combine figuration with geometric abstraction; in 1936 he painted his first abstract work, profoundly influenced by the geometric forms and precise calculation of Kandinsky. During the post-war period he took part in the Salon des Réalités Nouvelles, with compositions that were already close to Informalism, while retaining their geometrical basis. His last period, during the 1970s, centred on a return to flat geometry and strong chromatic ranges. He is currently represented at the Museo Nacional Centro de Arte Reina Sofía, the Museo de Arte Moderno de Tarragona, the Centre Pompidou in Paris and the IVAM in Valencia.

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Passage De L'Egyptienne 4.Etching aquatint on paper.Signed in pencil in lower right corner.Measurements: 56 x 43 cm; 82 x 69 cm (frame).In this work we can observe soft greyish lines on which a big eye is located on the left side of the composition, at the same time we can find the classic chromatic palette of the author with the use of red, blue, yellow and magenta.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 Dalmau Galleries 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, his style matures; he tries 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. His work can currently 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 Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

PABLO GALLO (La Coruña, 1975)"Inventory of dialogues".Acrylic on canvas.Size: 146 x 146 cm; 148 x 148 cm (frame).In this work of pop or Kistch aesthetics, the artist deploys a whole imaginary where he brings new meanings to economic elements of the collective imagination, such as the Snow White dwarfs, Tom and Jerry's mouse, Snoopy or Batman. However, the distortion of the forms with which he presents these characters, or the introduction of skulls, distances these stereotypes from the common ideal, raising questions about childhood and the way in which the adult world assimilates or understands what is childish.Pablo Gallo trained at the Pablo Picasso School of Art and later went on to study at the Massana School of Art in Barcelona. Despite having started his exhibition career some time before, he had his first solo exhibition in 1995. Throughout his professional career he has combined his work as a painter with that of video-creator and book promoter, having published and edited several literary and artistic works such as; El libro voyeur (2010), Hiperhibridos (2011), Manual de ruleta rusa (2015), dibujar en la oscuridad (2016), Siete días y siete calles (2018) and "Bestiario del norte" (2020).

EDUARDO ARRANZ BRAVO (Barcelona, 1941)."Dona-retalls", 1981.Oil on canvas.Signed and dated in the lower left corner; titled and located on the back.Measurements: 92 x 73 cm; 95 x 76 cm (frame)."Woman-cuts" is an emblematic painting of the direction Arranz-Bravo's creation took in the seventies and eighties, when he achieved a perfect harmony between the realistic sketch and the colour plane, entering with his neo-figurative language towards a redefinition of the portrait genre.Eduardo Arranz Bravo trained at the Sant Jordi School of Fine Arts in Barcelona between 1959 and 1962. He made his solo debut in 1961 at the University Club of Barcelona, but the exhibition that made him known to the Barcelona critics was organised by the Barcelona Athenaeum in 1961. Between 1968 and 1970 he formed part of the group made up of Gerard Sala, Robert Llimós and Rafael Lozano Bartolozzi. He continued to collaborate with the latter until 1982, alternating joint and solo exhibitions. His contact with these artists influenced his initially abstract style, which approached the new figuration and pop art. He has held exhibitions all over Spain, as well as in Paris, Amsterdam, Venice, São Paulo and Rio de Janeiro. In 1983 he held an anthological exhibition of his work at the Sala Gaspar in Barcelona, and between 1986 and 1988 he was in charge of the artistic direction of Jaime Camino's films "El balcón abierto" and "Luces y sombras". He took part in the VIII Salón de Mayo in Barcelona and in the exhibitions "Muestra de Arte Nuevo" (Barcelona, 1971), "Picasso 90" (Louvre Museum, 1971), "Experiencias conceptuales" (Barcelona, 1971-72), among others. In 1989 he presented an exhibition of the work of his last three years at the Museum of Modern Art in São Paulo, and an anthological exhibition at the Palau Robert in Barcelona. His prizes include the II Bienal Internacional del Deporte, the figure award of the Bienal Estrada Saladich, and the Ynglada-Guillot drawing prize. His work can be found in the Reina Sofía Museum in Madrid, the Fine Arts Museums of Vitoria and Seville, the Museum of São Paulo and the Museum of Modern Art in New York.

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Le ramoneur furax", 1978.Lithograph on Arches vellum, copy 16/30.Signed and justified by hand.Work published in "Miró lithograph VI, 1976-1981", Maeght Éditeur, p. 102, ref. 1175.Size: 63 x 90 cm; 93 x 120 cm (frame).Joan Miró trained in Barcelona, between the Escola de la Lonja and the Galí Academy. Already in the early date of 1918 he makes his first exhibition, in 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. His work can currently 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 Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

EDGAR PLANS (Madrid, 1977)."Pajaropolus", 2011.Mixed media on paper.Signed with initials, dated and titled in the lower margin.Provenance: Miguel Alzueta Gallery. Particular collection.Size: 70 x 48 cm; 79 x 57 cm (frame). Picasso claimed that learning to paint like the Renaissance artists took him only a few years, while painting like children took him a lifetime. The background of this mythical phrase of the painter from Malaga could well be applied to the singular vision that Edgar Plans imprints on his plastic universe: revealing himself in the face of the annihilation of the spirit of childhood, the artist from Gijón has decided, as Picasso said, to do the most difficult thing: to paint with the same freedom of a child.In the words of the artist himself, "Even as a very young child I have engraved in my memory the cocking of the keys of my father's typewriter (Juan José Plans, 1943-2014). In his studio he had a low table with four seats, and around it, while he was writing, I remember drawing with my brothers". His academic training began at the age of 15 when he started studying at the studio of the artist José María Ramos. Two years later, Plans, he opened his own studio, which had in turn been the studio of the artist Nicanor Piñole. Throughout his career he has participated in numerous group and solo exhibitions, including Art Notes 019, Ainori Gallery, Lisbon, Wall Art Notes, Galería Miquel Alzueta, Barcelona, ArtWynwood. Casa Cuadrada Gallery, Art Paris Art Fair. Miquel Alzueta Gallery, Art New York. Cuadrada Gallery, Busan, Korea. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Kiaf Art Fair. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Art Taipei, Ting Ting art Space, London Art Fair. Miquel Alzueta Gallery, Juxtapoz magazine selection, Tales of art Gallery, Imola, Italy, Kiaf Art Fair. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Art Miami. Miquel Alzueta Gallery. Currently his work can be found in numerous collections of great artistic relevance of particular character, and in relevant institutions such as; the Museum of Contemporary Art of Havana, Cuba, the Museum of Fine Arts of Asturias, the Pinacoteca Eduardo Úrculo, the Illuro Foundation, Masters of Contemporary Art, the Laboral, Contemporary Art Centre, the La Caixa Foundation, the Cristina Peterson Foundation, the Masaveu Foundation, and the Junta del Gobierno del Principado de Asturias, among many others.

KOTA RELIQUARY GABON carved wood and hammered copper, of classic abstract form, crescent coiffure leading to bi-planal features and diamond shaped handle, sand polished, mounted on a bespoke wooden stand(42.5cm tall)Provenance: Private collection, France Private collection, United Kingdom Note: The making of figures to honour ancestors and allow continued communication with them was once widespread. The Kota peoples of modern Gabon and Republic of Congo produced particularly elaborate reliquaries which reduced the human form to a distinctive flattened shape. Their use of wood and hammered metal is completely unique among African sculptural forms. The key characteristic of these icons is the oversized head composed of radically simplified features. No two were the same however, the Kota artists worked within some basic rules based on tradition but enjoyed significant freedom to adapt their creation. The figure was accentuated with strips of copper & brass, this use of metal not only heightened associations of wealth and prosperity, but its shiny surface was also considered to scare off malevolent spirits. It was around the end of the 19th century when the first Kota reliquaries began arriving in Europe. They became amongst the first sub-Saharan artworks to be displayed in the west, quickly becoming highly sought after by collectors. The avant-garde artists living in Paris in the early 20th century were particularly fascinated by the radical abstraction of the human form that the reliquaries embodied. Picasso & Giacometti both owned one, with the former’s Nude with Raised Arms being directly influenced by his example.

LARGE KUSURA IDOL ANATOLIA, EARLY BRONZE AGE, C. 2700 – 2100 B.C. carved marble, the disk-shaped head on a long tapering neck, with a sqaure shaped body(15.5cm long)Provenance: From the estate of Clodagh Waddington (1945 - 2019), London, United Kingdom, previously with Leslie Waddington by 1992. Please note that a letter detailing the provenance in further detail will be provided to the winning buyer. Note: The anonymous Bronze Age sculptor who produced this beautiful schematic idol has reduced the human form to a mere suggestion. The sense of abstraction offered by the ancient Bronze Age idols of Anatolia and the Cyclades stimulated many of the great twentieth century artists, including Brancusi, Modigliani, and Picasso. Perhaps the artist most closely linked with these ancient forms was the Scottish sculptor and painter William Turnbull. There are many suggestions of these influences in his work, perhaps none is more overt than Large Siren, a monumental bronze celebrating the evocative content of primitive art, its form closely following the "Violin" idol seen overleaf (lot 17). Interestingly, lots 15, 16 & 17 all originate from the estate of the late Clodagh Waddington, wife of Leslie Waddington, co-founder and chairman of Waddington Galleries (later Waddington Custot Galleries) who exhibited and championed William Turnbull’s work for more than four decades.

A FIRST EDITION HARDBACK PICASSO, CREATOR AND DESTROYER BY ARIANNA STASSINOPOULOS HUFFINGTON WITH DUST COVER PUBLISHED 1988

PABLO PICASSO (1881-1973), Portrait of Francoise Gilot, Giclee print with blindstamp, 20 3/4" x 17 3/4", ebonised frame (Est. plus 21% premium inc. VAT)Good

PABLO PICASSO (1881-1973), L'Odalisque, Portrait of Genevieve Laporte, Giclee print with blindstamp, 17 1/2" x 20 3/4", ebonised frame (Est. plus 21% premium inc. VAT)Good

Sven BERLIN (1911-1999)'Incomplete Everest Text & Drawings Without Typescript of Poem - Also Carbon Copy TS' and 'Everest Handwritten Text & Drawings Incomplete'Two folders including typescript, various photocopied pages, handwritten text and some original drawings relating to 'Everest'.Also included within one of the two folders is a collection of Berlin's poems named 'Six Great Men As Artists', signed and dated 1997. Artists mentioned include Picasso, Dante, Homer, Michaelangelo, and Van Gogh.As described in Berlin's 1994 book, 'Coat of Many Colours', the influence for 'Everest' was Berlin's second cousin, scientific explorer Sven Hedin. Berlin states that 'although I never met him, he was a major influence on my early life'. He admired his emblematic spirit and confessed that 'Although I was early to realise I could not become an explorer I was led by Hedin's influence to discover the ancient tombs of the mind which visual images awakened in me and with which their secret chambers are filled. The living Gods and Goddesses who guard them in those ruined cities through which my tiger has led me down the years have taught me to weave them into the fabric of daily life through rare and extraordinary processes of art.' Although Berlin did not climb Mount Everest, Sven Hedin did, and he documented this feat in his 1923 book, 'Mount Everest', which Berlin read as a child. Although Berlin was not a typical 'physical' explorer, influences such as Hedin's inspire exploration of creativity, rather than that of physical place.

Sven BERLIN (1911-1999) Early writing.Two pieces of handwritten text. One is a diary entry dated 1941, where Berlin details his early years in Cornwall, living on the North Cliffs with his first wife Helga. The other is an essay titled 'The Power of Picasso A Terrible Beauty is Born', dated 1943.

A TIFFANY & CO. LEATHER AND SILVER NECKLACE AND BRACELET By Paloma Picasso With original pouch and box TIFFANY BY PALOMA PICASSO Necklace 44cm long; bracelet 19cm long Condition: Minor signs of wear commensurate with age and use

A pablo Picasso print, Mother and Child, watercolour, pencil study and a print

[*] Mappenwerke -- Die Kunst der Gegenwart3 Kaltnadelarbeiten und 2 Holzschnitte auf Velin, 39 Bl. Faksimiles und 8 Bl. Titel, Einleitung, Inhaltsverzeichnis und Druckvermerk. In Orig.-Passepartouts, lose in Orig.-Halbleinenportfolio. 1923.64 x 48,4 cm.Die Druckgraphiken jeweils signiert. Auflage 500 Ex.Die originalgraphischen Arbeiten von: Max Beckmann, "Bildnis Frau H. M. (Naila)" (Holzschnitt, Hofmaier 282 IV B b); Lovis Corinth, "Der Heilige Michael" (Kaltnadel, Müller 672); Rudolf Grossmann, "Der Tanz" (Kaltnadel); Erich Heckel, "Am Strand" (Holzschnitt, Dube H 336/III/B); Felix Meseck, "Landschaft" (Kaltnadel). Es fehlt die Lithographie von Paul Klee. Dazu 39 (statt 42) Faksimiles in 37 Orig.-Passepartouts, "nach Aquarellen und Zeichnungen zeitgenössischer Künstler Deutschlands, Frankreichs, Oesterreichs, Englands, der Schweiz, Italiens, Norwegens und der Vereinigten Staaten", darunter u.a. Barlach, Beckmann, Bonnard, Braque, Chagall, Derain, Gauguin, Grossmann, Heckel, Hodler, Hofer, Klee, Kokoschka, Lehmbruck, Maillol, Manguin, Marc, Matisse, Munch, Pascin, Pechstein, Picasso, Rouault, Dunoyer de Segonzac, Vallotton, Vlaminck. Mit einer Einleitung von Julius Meier-Graefe; erschienen als 42. Druck der Marées-Gesellschaft, München, R. Piper & Co., 1923. Unten rechts jeweils mit dem Blindstempel der Marées-Gesellschaft. Ausgezeichnete Drucke mit dem vollen Rand. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.