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Lithographie Pablo Picasso1881 Málaga - 1973 Mougins "Balzac" 1952 u. re. sign. Picasso u. re. im Druck dat. 25.11.52. Exemplar 7/25, 70 x 53 cm (Darstellung) 76 x 56 cm (Blattmaß) Wkvz.: Mourlot 226, Bloch 724 insges. etwas gebräunt und braunfleckig

LithographiePablo Picasso 1881 Málaga - 1973 Mougins "Le Mains Liees VI (IV)" 1952 einer der nicht signierten u. nummerierten Abzüge für den Künstler, außerhalb der nummerierten Auflage von 50 Stck.auf Arches (mit dem Wasserzeichen) 50,5 x 66 cm (Blattmaß), verso nicht bezeichnet. Wkvz.: Bloch 711, Rau 546 leicht, unregelmäßig gebräunt, auf den säurefreien Auflagekarton montiert

Lithographie Pablo Picasso1881 Málaga - 1973 Mougins "Faune musicien - No. 5" 1948 u. re. sign. Picasso Exemplar 48/50, 76 x 56 cm (Blattmaß) 69 x 50 (Darstellung) Wkvz.: Bloch 523; Rau 351 Provenienz: Privatsammlung Frankfurt Recto leicht durchscheinende Montagespuren, an den oberen Ecken, linke Seite mit einem geschlossenen kleinen Einriss, etwas gebräunt, minimal fleckig.

*AURELIO DE FELICE (1915-1996) 'Battaglia di Ragazzi', (Battle of the Boys), 1941, bas-relief panel, bronze, 100cm x 160cm, Note: This work is represented in the permanent collection of the Museo Aurelio De Felice, Terni, Umbria, Italy.De Felice was born in Torre Orsina, a small town on the hills around Terni. Of humble origins, he began his studies in contrast with his family at the Scuola Romana in the 1930s. He earned a degree at the Academy of Fine Arts of Rome, becoming a professor there. De Felice alternated lessons and artistic activity with many personal exhibitions. The most important in that period was the one in the Gallery of Rome, introduced by Renato Guttuso.At the end of the Second World War, De Felice started to travel across Europe. In those years he exhibited in Switzerland, Germany and France, where he created, in Paris, on behalf of the Italian Ministry of Foreign Affairs, the School of Italian Art. There he met Pablo Picasso, Fernand Léger, Jean Cocteau, Kees van Dongen, Ossip Zadkine, Mark Tobey and Constantin Brâncuși. He did not allow himself to be involved in the big debate between realism and formalism in the 1950s, continuing on his own road.In 1961 De Felice created the Institute of Arts in Terni. In those years he continued to exhibit all over Europe (Italy, Germany, Switzerland, France). In 1967 he was in charge of the Italian Institute of Culture in Hamburg and the Center of Italian Studies in Zurich.In 1977 he was invited to the National Museum of Modern Art, Tokyo, for a conference on Orneore Metelli, a "painter-shoemaker" from Terni, and father of the Naïve Italian movement, whose art had become famous thanks to De Felice's work.His last exhibition took place in 1982; after that, disease forced the sculptor to limit his activity. He spent the last years of his life in the quiet of his house on the hills of Torre Orsina, where he died on June 14, 1996.The celebrated Italian artist and politician Renato Guttuso (1911-1987) commented on the impact of the work offered here, in a letter to De Felice, remarking "I remember a work of yours from that time, a relief, which was your contribution to the approach of the two directions of research. The relief represents a battle. But a battle of boys. You had found the only possible poetic key (not heroic) to depict a battle! Even today, after twenty years, thirty years, reviewing your work, following its path, observing the changes, I find the same emotion in looking at your sculptures".

§ Pablo Picasso (1881-1973) A Los Toros, 1961the book comprising the set of four lithographs, one printed in colours, hors-texte, with title page and text in German, on wove from the unnumbered edition printed by Mourlot Frères, Paris, published by Andre Sauret, Monte Carlo, bound as issued and housed red slipcase26 x 33 x 3cmProvenance:Sale; Bonhams, 5 July 2017, lot 129Appears in very nice overall condition. The red slipcase with some minor knocks and edge damage. The book in clean and four lithographs in very nice, clean condition.

Pablo Picasso and Jean Cocteau an autographed Bull Fight Program signed by Picasso and Cocteau15 x 10.5cmProvenance: Signatures obtained by socialite Caroline Clothurst (1935-2010)With Newmarket Galleryunexamined out of frame, programme likely dates to 1950-60.

§ Pablo Picasso (1881-1973), Visage No.127, (Alain Ramie 478), 1963, the glazed white earthenware body painted in black and green, numbered 67/150, inscribed 'no. 127 Edition Picasso Madoura' on the underside25.5cm diameterThere is a glaze chip to rim and a small chip to footrim, otherwise condition is good.

λ&nbspMARIE LAURENCIN (FRENCH 1883-1956) L'ESPAGNOLE Oil on paper laid to canvas, oval Signed (lower right) 53 x 43cm (20¾ x 16¾ in.)Provenance: Peter Meltzer, Canada, Private Collection, where purchased by Count Manfredi della Gherardesca Exhibited: Toronto, Art Gallery of Ontario, on loan in memory of Elise and David Meltzer, 1979 Literature: Daniel Marchesseau, Catalogue raisonne de L'oeuvre peint, Volume II, Paris, 1999, no. 1362 Marie Laurencin's exposure to avant-garde movements at the turn of the 20th century in Paris were integral to her artistic development and heavily influenced her journey to find her unique and distinctive style. Her relationship with the poet Guillaume Apollinaire and introduction to Georges Braque, Pablo Picasso and important figures of l'ecole de Paris introduced Laurencin to artistic movements such as Cubism and Fauvism. Laurencin rose to prominence in Paris as a notable figure within the Cubist group and exhibited with the Section d'Or at the Salon des Independents in 1910-11. Following this, Laurencin was represented by Paul Rosenberg from 1913-1940.  Despite this, Laurencin remained on the periphery of Cubism and Fauvism borrowing elements of stylisation such as simplified lines and segmenting the subject into planes of colour and shapes but with her own interpretation and approach, the image remained realistic and immediately familiar. Her dreamlike colour palettes became integral to her work and this contrasted with piercing eyes conjures an emotional response, melancholic and erotic.  Marie Laurencin's ethereal female figure of a Spanish lady fills the oval composition. Her elongated face is balanced by the dramatic head piece which drapes across her forehead. The viewer is immediately struck by the jet-black eyes which penetrate through the canvas. Laurencin has used her distinctive colour palette of muted colours, blue, pink and pastel tones juxtaposed against the bold black lines which appear to represent the figure's mantilla held high upon the head traditionally by a peineta. Laurencin was exiled to Spanish with her husband at the start of the First World War until 1919, it is possible that this period inspired the present lot.  By 1920, Laurencin settled back in Paris and rose to prominence as an established portrait painter and illustrator. The strong female figures which sat at the heart of her subject matter were also the driving force behind her art. Laurencin strove to promote creativity and artistic endeavours amongst women in a male dominated society. Laurencin supported the Société des Femmes Artistes Modernes and exhibited with the group on several occasions between 1931-1938.  The Marie Laurencin Museum was opened in Japan in 1983 becoming the first museum in the world dedicated to a female painter. Condition Report: Oil on paper laid to canvas. Evidence of old craquelure visible to the headdress and background. Ultraviolet light reveals infilling to the craquelure in addition to scattered spots of retouching throughout. Condition Report Disclaimer

▲ Pablo Picasso (Spanish, 1881-1973), 'Oiseau au Ver', (AR 172), a white earthenware ashtray with black oxide and white glaze, stamped and marked 'Edition Picasso', 16cm diameterThis design was conceived in 1952 and executed in an edition of 500.Condition ReportChip to rim and outer rim. Some rubbing. There is also small cip to the underside of the rim and to the underside of the base, commensurate with use. Some slight bubbling to pale blue glaze. There is also some faint black marks to the rim of the bowl again commensurate with use. Please see additional photos.

Pablo Picasso ( 1881-1973 )- graphic, Toreros , aqua tinta on paper, numbered 11/50 . 51x36 cm

Pablo Picasso ( 1881-1973 )- graphic, Colombe volant colour lithography on paper, signed and dated in the stone, on the back numbered and stamped , 49x65 cm .

Pablo Picasso, convex wall plaque, three figures on a trampoline on a black ground, edition of 500, 1956, with the Madoura Plein Fue stamp verso (wear to the black glazing), 190mm square Wear to black glazing, as shown in photos.

After Pablo Picasso (Spanish, 1881-1973), pair of prints, figures including mother and child, 40 x 55cm. Condition - good

PABLO PICASSO, Francoise Gilot 2, lithograph on wove paper, printed by Mourlot 1954, vintage French frame, 36cm x 26cm.

After Pablo Picasso (French, 1881 - 1973), woman with a crow, oil on panel, indistinctly inscribd verso, 30 x 26cm

Picasso (Pablo) (1881 - 1973), Toros Y Toreros, Editions Cercle D'Art, text Luis Miguel Dominguin, second edition 1962; Lautrec Par Lautrec, Huisman (P.H) and Dortu (M.G), Edita Lausanne 1964; Paris Et Ses Alentours, Préface D'Henry De Montherlant, Hachette 1961(3)

Pablo Picasso, after, a group of five lithographs, Don Quixote and Sancho Panza, 47cm x 31.5cm; Toros Y Toreros, I, II, III, and IV, Minerva Publications, Copenhagen, 1968, etc, (5).

Pablo Picasso - A folio of seven Lithographic prints - Tête de Femme, Figure, Figure Noir, La Fille au Chapeau, Faune Musician, Jacqueline au Mouchoir noir, Buste de Profil, published by Cosmopress Genf, Germany, 1969, 53.5cm x 43cm, (7).

Ceramic plate by Pablo Picasso. 1881 - 1973. No. 24/100. Edition Picasso. Size: 32,5 - 39 cm. In good condition. (Artist-right applies, +4% on hammer price)

λ&nbspHERMENEGILDO ANGLADA CAMARASA (SPANISH 1871-1959) SOLA EN EL PALCO - 'ALONE IN THE BOX' Oil on panel Signed 'H. Anglada Camarasa' (lower right) 32 x 34cm (12½ x 13¼ in.) Painted in 1911- circa 1952. Provenance: Mir Amorós, Barcelona (by 1981) with Galeria Manel Mayoral, Barcelona where purchased by the present owner in 1997 Literature: F. Fontbona and F. Miralles, Anglada-Camarasa, Barcelona, 1981, p. 298, no. G12 as Proyecto para un retrato Exhibitions: Barcelona, La Pinoteca, H. Anglada Camarasa, June 1952, as Proyecto para un retratoAfter training in Barcelona, the Catalan painter Hermenegildo Anglada-Camarasa, moved to Paris in 1894 where he attended the Académie Julian. He painted numerous pictures of Parisian night-life, concentrating on pallet and light effects. His paintings were visibly influenced by Toulouse Lautrec, Gustav Klimt and Kees van Dongen. A significant turning point in his style came in 1909, with the arrival in Paris of impresario Sergei Diaghilev's Ballets Russes, featuring Vaslav Nijinski and Anna Pavlova. They became a social and artistic sensation that revolutionised both tastes and customs. Camarasa was deeply moved by the sets and costumes of vibrant oranges, purples and greens, to the extent that from then on the pale shades in his female portraits were replaced by brilliant multicolours. His influence also reached young artists like Pablo Picasso, ten years younger than him and with whom he was in contact during his stay in Montmartre, or María Blanchard, who was his student between 1908 and 1913.The present lot is accompanied by a certificate from F. Fontbona and F. Miralles dated 24 February 1998, no. 403.    Condition Report: Some light craquelure throughout however the paint surface appears stable. Rubbing and abrasions to the framing edges with some associated paint loss and subsequent retouching along the upper edge (this is visible in a natural light). One or two superficial surface scratches and spots of surface dirt throughout. There is a black line running diagonally above the sitter's right shoulder however this appears to be original to the work rather than a condition issue. Inspection under UV light reveals some patches of retouching throughout; these are largely contained to the sitter's nose, right arm, and along the upper framing edge. Condition Report Disclaimer

Küppers, P. E. (Vorwort). Französische Malerei bis 1914 und Deutsche Künstler des Café du Dôme. Gemälde - Graphik. 20 Bl. Mit mehreren blattgr. Abbildungen. 20 x 14,5 cm. Illustr. OBroschur (etwas gebräunt und leicht fleckig). Hannover, Kestner-Gesellschaft, (1919). Katalog der XXVII.-XXVIII. Sonderausstellung im vierten Quartal 1919 der Kestner-Gesellschaft. Gezeigt wurden u. a. Werke von Gauguin, van Gogh, Monet, Braque, Bonnard, Cézanne, Delaunay, Dérain, van Dongen, Dufy, Ensor, Laurencin, Léger, Manet, Matisse, Rousseau, Pissaro, Signac, de Vlaminck, Vuillard - außerdem 18 Werke von Pablo Picasso. - Gut erhalten.

Picasso, Pablo, und André Villers. 3 Le corrigan du littoral aus "Diurnes. Découpages et Photographies". Lichtdruck mit rotem und blauem Fettstift und mit Signatur in der Platte. 39,5 x 30 cm. Um 1962.Der Lichtdruck stammt der Mappe "Diurnes. Découpages et Photographies", die Text und 30 Werke beinhaltete. Pablo Picasso (1881-1973) und André Villers (1930-2016) lernten sich im Sanatorium in Vallauris kennen und begannen ihre fotoexperimentelle Zusammenarbeit. - Leicht berieben und Kanten etwas bestoßen. Dekorativ.

Picasso, Pablo. Exposition Vallauris-57. Linolschnitt in Rostbraun auf festem Velin, links unten mit Auflagenbezeichnung, rechts vom Künstler in rotem Farbstift signiert. 63 x 53 cm (Darstellung), 80 x 61 cm. 1957.Bloch, 1277. Czwiklitzer, 24. - Eines von 175 nummerierten Exemplaren. Der Linolschnitt zeigt Motive aus einer Keramikwerkstatt. Die südfranzösische Gemeinde Vallauris, berühmt für ihre jahrhunderte alte Keramiktradition, wurde in den 1950er Jahren durch Picassos Aufenthalt künstlerisch nachhaltig bereichert und geprägt. - Sehr winzige Knickspur rechts am Rand, verso Montierungsreste, insgesamt in sehr guter Erhaltung.

Picasso, Pablo (nach). La dame à la collerette. Farblithographie von Henri Deschamps auf Arches nach einem Linolschnitt Picassos von 1963 (Ausstellungsplakat der Borstahusens Konstförening). 65,5 x 60 cm. 1973. Vgl. Bloch 1147. Czwiklitzer 448. - Eines von 200 Exemplaren (Gesamtauflage). - Einwandfrei.

Y After Georges Braque (French, 1882-1963)Derniers Messages, 1963 or 1967Lithograph on in 6 colours on Arches watermarked paperMounted, framed & glazed With Innocent Fine Art, Bristol label to back Georges Braque (French, 1882-1963) was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most notable contributions were in his alliance with Fauvism from 1905, and the role he played in the development of Cubism. Braque's work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame and notoriety of Picasso.Measures approx. 61cm x 45cm (24" x 17.5")

Y After Pablo Picasso (1881-1973)Woman in Hat, c.1980sLithograph on Arches paperNumber 22/500Signed & number in pencil by Marina PicassoAfter Pablo Picasso's death in 1973, his granddaughter Marina authorized the printing of these original lithographs, which have come to be known as the Picasso Estate Collection. The lithographs were meticulously created after the original works (Oil Paintings, Watercolors, Pastels, Charcoal Drawings, etc.) by Master Chromist Marcel Salinas, who worked closely with Picasso in his lifetime. They are printed in an edition of 500 on first-quality Arches paper. To ensure authenticity, each print is signed and numbered in pencil by Marina Picasso and embossed with the estate and chromist's seals, along with the legend on the reverse 'Approved by the heirs of Pablo Picasso'.Measures approx. 37 x 28cm (14.5" x 11").

Pablo Picasso (Spanish, 1881-1973), 'Mostra di Picasso, Milano, Palazzo Reale, Settembre Novembre 1953', lithographic poster Michel Graglia 21 Rue Maufoux 21 200 Beaune France, original Picasso print of a clown (his son), 138 x 95cm. Condition - fair

Artist: Pablo Picasso & Alain Ramie (20th Century). Title: "Picasso: Catalogue of the Edited Ceramic Works, 1947-1971 [Alain Ramie, author]". Medium: Book (catalogue raisonne). Date: Composed 1988. Dimensions: Overall size: 11 3/4 x 9 3/4 in. (298 x 248 mm).Pricing:   Starting Price: $800  Reserve Price: N.A.  Auction Sale Price Estimate: $1,200/1,500Lot Note(s): Published by Galerie Madoura, Madoura, France. Original English edition. Hardcover in tan cloth boards with white lettering with red pictorial dust jacket. Contains 320 pages with 570 color plates and 75 b&w illustrations. Includes Bibliography and list of Ceramic Exhibitions. Very good+ condition; a solid, tight, clean copy without any previous owner stamps, signatures, dedications, etc.; not ex-library; not a working copy; lower right front corner bumped; slight tanning to the page edges; in a very good+ dust jacket showing creasing where bumped and two horizontal lower center verso creases. The jacket is notoriously color-fragile with the jacket spine often found highly faded, our copy without a hint of fading. Overall a highly desirable copy of the scarce hardcover first edition. Comment(s): The first edition hardcover by Madoura has become very scarce, with a corresponding rise in the price. The most recent auction record we could find is a sale for $6,250 at Christie's New York, Noverber 15, 2022, with the dust jacket exhibiting a highly sunned spine. Edition copyright © Galerie Madoura. [30445-19-800-NA]

Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "Portrait du père et du fils". Medium: Color pencil drawing on paper. Date: Composed 1972. Dimensions: Overall size: 8 x 5 in. (203 x 127 mm).Pricing:   Starting Price: 1,000  Reserve Price: No reserve  Auction Sale Price Estimate: $18,000/25,000Lot Note(s): Signed in pencil, upper left; dated in pencil, lower right. Drawn on cream wove paper. Very good to fine condition. Provenance: The work comes from the collection of Urbano Quinto and was acquired directly from Picasso at his studio in Cannes, France, in 1972. A noted Italian art historian, art dealer, and art collector, Urbano Quinto acquired works from classical artists of the 20th Century as well as Jean-Michel Basquiat, Keith Haring, Andy Warhol, and other Pop and Graffiti artists, often directly from the artists themselves during the 1950’s through the 1980’s. The original Letter of Authenticity by Urbano Quinto pertaining to this work accompanies the lot. Comment(s): The complete title of the work, in English, is “Portrait of Urbano Quinto and Mauro Urbano with the gaze united in unison towards the same future to represent the Roman numeral “Five” that alludes to the name Quinto.” Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). Picasso image copyright © Artists Rights Society (ARS), New York. [30557-2-2000-NR]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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