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Click here to subscribeEight designer silk scarves, all approx 85 x 85cm, including Yves Saint Laurent, Gustav Klimt, Eliso Firenze, Pablo Picasso, Joseph Janard, Rodier, Echo etc, also a Ralph Lauren cream silk lady's scarf, with tasselled ends, 135 x 28cm, a further silk scarf, 178 x 35cm, and a Berta Maria silk scarf (boxed) (11).
Ets "Le repos du sculpteur devant des chevaux et un taureau" uit de Vollard Suite 2 door Pablo Picasso. Het werk toont een beeldhouwer die rust voor een centaur en een vrouw. In spiegelbeeld rechtsonder in de plaat gegraveerd Paris en gedateerd 18 maart XXXIII, rechtsonder gesigneerd Picasso. 20e eeuw.Herkomst Galerie Wiek XX Bad Nieuweschans. Conditie: In goede staat. Afmetingen: 27 cm x 19 cm.
Ets "Le Repos du Sculpteur devant un Centaure et une Femme" uit de Vollard Suite serie door Pablo Picasso (1881-1973). Het werk toont een beeldhouwer, een centaur en een vrouw. Linksboven in de plaat gegraveerd Paris en gedateerd 18 maart XXXIII, rechtsonder gesigneerd Picasso. 20e eeuw.Herkomst Galerie Wiek XX Bad Nieuweschans. Conditie: In goede staat. Afmetingen: 27,5 cm x 20 cm.
Nach PABLO PICASSO (1881 Málaga - 1973 Mougins)3 Radierungen auf Arches-Bütten, 1x "Sculpteur et modèle agenouillé" (1933, hier später), "Peintre devant son tableau" (1927, hier später) und "Jeune Sculpteur au travail" (1933, hier später), alle mit Stempel-/Drucksignatur "Picasso" unten rechts, jeweils rückseitig von fremder Hand bezeichnet, Druckmaß ca. 27,5x19cm (leicht variierend), ungerahmt, leichter Schmutzaufrieb
GEORG JENSEN, DESIGNED BY IBE DAHLQUIST: A SILVER NECKLACE, CIRCA 1960Composed of fancy fold-over links, in 925 silver, signed Georg Jensen, numbered 149B, stamped 925 S Denmark, French import marks, maker's mark, length 40.1cmA matching bracelet is illustrated page 120, 'Georg Jensen, A Tradition of Splendid Silver', by Janet Drucker (revised & expanded 2nd edition, with updated guide price)Inga-Britt “Ibe” Dahlquist (1924-1996) was a renowned Swedish silversmith whose nature-inspired, modernist jewellery left a lasting impact on the industry. Born on the Swedish island of Gotland, Dahlquist began incorporating natural elements such as fossils and beach stones into her work, creating pieces that were both unique and timeless. She studied at Stockholm’s Swedish School of Arts, Crafts, and Design, where she developed her distinctive style. Dahlquist gained early recognition for her work, particularly after exhibiting in the 1959 “Contemporary Jewellery” show at the National Museum of Sweden. At the 1961 International Exhibition of Modern Jewellery in London, Dahlquist captivated the public with her creations, while exhibiting alongside renowned names such as Harry Winston and Pablo Picasso. For nearly 30 years, Dahlquist worked in a shared studio in Visby, Gotland, alongside silversmith Olof Barve, a fellow graduate of Konstfack. While Dahlquist focused on design, Barve executed her ideas, allowing her to push the boundaries of silversmithing and modernist jewellery. In 1965, Dahlquist joined the prestigious Danish company Georg Jensen, where her naturalistic approach complemented the brand’s minimalist modernist aesthetic. Dahlquist’s work brought a distinctive organic touch to Jensen’s sleek, precise designs, blending the vitality of nature with the precision of modern craftsmanship. Today, Dahlquist’s work is held in high regard and can be found in prestigious institutions such as the British Museum, Stockholm’s National museum, and Goldsmith’s Hall in London. Her legacy continues to inspire, and her jewellery remains a symbol of the harmonious relationship between nature and craftsmanship. Condition Report: Clasp closes securelyNormal signs of wear, overall in good conditionTotal gross weight approx. 114.8g
Pablo Picasso (Spanish, 1881-1973) Nature morte à la cuillere 1952 Faience plate painted in black, white and grey With foundry mark "madoura plein feu" and "empreinte originale de Picasso" verso Provenance: Private collection in Spain since 2015 Literature: Alain Ramié, Picasso, Catalogue de l'oeuvre céramique édite 1947-1971, éd. Madoura, 1988, p.91, no 165, ill. Dimensions: 12.9 in. x 13.1 in.
Artist's proof etching on paper by Vuk Vuchinich depicting Pablo Picasso in profile. This detailed and expressive portrait captures the Spanish artist in his later years with meticulous line work and a contemplative gaze. The annotation beneath the image reads Artist's Proof - Pablo Picasso - by Vuk Vuchinich, First Proof in Collection of Mme Jacqueline Picasso 1973, Chateau de Vauvenargues, Fr., referencing its connection to Jacqueline Picasso and the estate where Picasso lived and was buried. The etching is presented under glass in a gilt metal frame with cream matting. Professionally matted and housed in a gold-tone frame. Sight size: 8.50"L x 11.25"H. Frame size: 14"L x 1"W x 18.25"H. Artist: Vuk Vuchinich (Yugoslav/American 1901-1974)Issued: 1973Dimensions: See DescriptionCountry of Origin: Yugoslavia-USACondition: Age related wear.
Collection of four large scale unframed poster prints, two After Alphonse Mucha (Czech 1860-1939) 'Cherry Blossom and Water Lily' and 'Seasons: Autumn/Winter', two After Pablo Picasso (Spanish 1881-1973) 'Blue Nude 1902' and a poster for his 1980 retrospective exhibition at MoMA. All 92cm x 61.5cm.
Pablo PICASSO (1881-1973), d’Après.Contemplation (1979)Lithographie éditée en 1979 par le Studio d’Arte Perna , Milano.Numérotée en bas à gauche en chiffres romains “/ CC” ( /200 exemplaires)Signée dans la planche.Accompagné d'un document notarial et d'un certificat d'édition.Dimensions : 48 x 34 cm.
Picasso, Pablo - - Federico García Lorca. Chant funèbre pour Ignacio Sanchez Mejias. Mit 10 Textlithographien nach Picasso in schwarz-weiß im Text, 4 Prägedrucke nach Picasso von Guy Descouens und 4 farbige ganzseitige Lithographien nach Picasso. Paris, (Bièvres en Essone), Pierre de Tartas, 1976. 71 S., 2 Bl. Folio. Lose Doppelbogen in Original-Karton mit Prägedruck nach Picasso. In schwarzer OLeinen-Kassette (vereinzelt berieben). Monod 7276. - "5 empreintes gravées et compositions en couleurs et au lavis gravés sur bois". Eines von 220 nummerierten Exemplaren auf Grand Vélin d'Arches (GA 300 Ex.). Druckvermerk vom Verleger signiert. "Sanchez Mejias was a famous bullfighter, writer and passionate lover of literature. He and Lorca were destined to become friends, and did so through a mutual friend, Encarncion Lopez Julvez, who was a famous dancer and singer and was also known as 'La Argentinita'. Sanchez Mejias was her manager, and it was to her that Lorca dedicated the poem. On August 11th, 1934 at the age of 43, Sanchez Mejias re-entered the bullring at the request of another bull fighter who was injured. At this time Lorca was in the town of Santander. This seems to come across in the narrative style of the Lament, that Lorca has shown up sometime after the tragic event to see Mejias lying dead. Lorca used the lyrical devices learnt in his earlier poems and combined them with the narrative style of the historical ballad. Overall, the poem uses the rhythm of a 'gypsy lament' which carries the emotional impact of the tragedy. - Die Lithographien und Prägedrucke in der Platte von Picasso signiert. Stellenweise mit geringem Abklatsch, sonst sehr sauberes und wohlerhaltenes Exemplar. With 10 text lithographs in black and white in the text, 4 embossed prints after Picasso by Guy Descouens and 4 color full-page lithographs after Picasso. The lithographs and embossed prints in the plate signed by Picasso. - One of 220 numbered copies on Grand Vélin d'Arches (GA 300 copies). Printed note signed by the publisher. - In places with minor darkening, otherwise very clean and well-preserved copy.
Ramon Casas and Pere Romeu on a Tandem is a color print poster on paper after Casas' 1897 original oil on canvas painted for the interior of the progressist Barcelona bar Els Quatre Gats (The Four Cats) that Pablo Picasso frequented. Includes card from the 4 Gats on verso. Housed in a metallic frame. Sight size: 14.75"L x 11.25"H. Frame dimensions: 15.50"L x 12.25"H x 1"W. Artwork can be unframed and rolled for shipment.Artist: After Ramon Casas i Carbo (Spaniard 1866-1932)Issued: c. 1980Dimensions: See DescriptionCountry of Origin: SpainCondition: Age related wear.
Guido Gambone (Italian, 1909-69), a rare early-mid 1950s oval studio pottery dish hand-decorated in yellow, brown and mottled pink-tinged cream glazes with an abstract stylised horse and rider surrounded by geometric shapes, stars and a moon in the manner of Pablo Picasso, the reverse signed 'GAMBONE ITALY' with the donkey mark, 36.4cm x 24cm. FOOTNOTE: Executed at Gambone's La Tirenna pottery in Florence, this scarce, highly pictorial, Picasso-inspired pattern is sometimes known as 'Night Rider'. A similar example was sold at Freeman's of Philadelphia in 2016.CONDITION: There is a hairline crack running from the knee of the horse's front left leg, around the rim, and through the foot rim into the base of the body under the 'ITALY' mark, however, the extremities of this on the base may possibly be to the glaze only. A 4cm wide by 1.5cm high (approx) flake has been reglued. There is also a 1cm chip to the footrim. Please refer to photographs.Packing & Shipping Let us take the hassle of sorting out packing and shipping from you. Mark Hill Auctions is delighted to be able offer the buyer an in-house packing and shipping service for this lot. We use UPS for shipping and all packages are sent insured with a tracked service. We do not ship without insurance. We do not use any other service such as Royal Mail, FEDEX or DHL.Please see below for estimated packing and shipping prices: UK (Estimated): £21.16 USA (Estimated): £61.00 EU (Estimated): £27.50 R.O.W. (Estimated): £58.00In addition to these packing and shipping estimates, insurance will be charged as described below.INSURANCE We only ship with insurance. Insurance costs 1.5% of the total of the hammer price plus buyer’s premium and any applicable VAT, so you can work this cost out yourself when you have won a lot and received your invoice. As such, the price for insurance will be added to the above estimates if you request your item(s) to be shipped.HOW TO REQUEST SHIPPING To request packing and shipping, please wait for your invoice to arrive by email and click on the ‘Request Postage’ button on your invoice, or contact us by email at admin@markhillauctions.com requesting packing and shipping for your lot(s). The actual packing, shipping and insurance cost will then be added to your invoice and your invoice will be resent to you for payment.VAT All above quoted packing, shipping and insurance prices will have VAT added at 20%.IMPORTANT When you request your lot(s) to be packed and shipped, you understand and agree that you are committing to pay for packing and shipping because, in order for us to give you an accurate cost, we need to pack the lot(s) to ascertain the final weight and size. By doing that, we have already incurred cost by spending time and using materials to pack your lot(s). Therefore this charge must be paid, even if you later decide to collect your lot.Please note that this packing and shipping service is undertaken entirely at the buyer’s risk. Whilst we are careful and experienced and take the utmost care to pack items as well as we can, we cannot be held responsible for any damage to, or loss of, items packed and sent to you. By paying for our in-house packing and shipping service, the buyer agrees that any items are sent entirely at their own risk and that no compensation can be offered by us for any loss or damage. Lots must be paid for in full before they will be packed and released.MULTIPLE PURCHASES The estimates above are for this lot only. If you buy multiple lots from this auction, they can be combined where possible into one or more packages - size, shape and weight permitting. For these packages containing multiple lots, you will receive a discount of 17.5% of the total of the applicable quotes listed for those lots.IMPORT DUTIESWhen your item(s) arrive in your country, import duties & taxes and other service charges may be payable before goods are released to you. These duties, taxes and charges vary for each country and are entirely your responsibility and must be paid by you. Please note that we have no way of knowing what they will be. If you do not pay these charges, your item(s) will be returned to us.
*ISABEL LAMBERT RAWSTHORNE (NÉE NICHOLAS) (1912-1992) Double portrait circa 1960s, oil on canvas, 60cm x 50cmProvenance: The picture was inherited by descent from mother to daughter. The mother was friends with both Constant Lambert and Alan Rawsthorne (two of Isabel's husbands), as part of the same music circle. She remained friends with Isabel right up her twilight years when she lived in a cottage in Essex. Indeed the daughter vividly recalls visits, and the kind donation of old canvases to her brother as a young artist.Note: Isabel has been subjected to relative obscurity, probably due to her name changes from three marriages, and from being dismissed by society as merely the striking studio model, lover or muse of artistic icons such as Alberto Giacometti, Pablo Picasso, and Francis Bacon. Despite highly acclaimed exhibitions in the 50s and 60s, she has only recently received serious renewed recognition, which is now gaining pace and several paintings have entered public collections as a result.From a humble background she studied at the Liverpool College of Art, later winning a scholarship to the Royal Academy in London. After working with Jacob Epstein she moved to Paris to study at the Academie de la Grande Chamiere and associated with Giacometti, Tristan Tzara and the Surrealist Circle. Throughout her life she was within leading artistic circles, be they composers, dancers, artists or writers. It is notable that she became a respected scenery and costume designer for ballet and opera productions at the Royal Opera House.From 1949 she and Bacon showcased their figurative brand of modern art at the Hanover Gallery and exhibited in the ICA and British Council. Indeed the critic David Sylvester ranked her alongside Bacon, Lucien Freud, John Craxton and Peter Lanyon.It was during the 1960s and 1970s, with the deaths of Giacometti and her third husband, that the ethereal double portraits emerged and where the distinctive dead and sculpted likenesses evolved. This painting is almost certainly one of a portrait series of her late husband Alan Rawsthorne and his sister Barbara. The spectral faces dissolve into a void-like background, capturing the fragility of the human body. The doubling effect suggests the mirrored ballet studios in which she drew dancers at their craft. The grainy texture, created with sand highlighted with hints of pink, yellow and white, emphasises the shafts of light and the window behind.
After Pablo Picasso (Spanish, 1881 - 1973)Apres la Pique, Taureau et PicadorLinocut printed in ColorsUnsigned, from an edition of 520, 1962Provenance:- Acquired from a Book Dealer in Michigan- Private Collection, MichiganPrint Size: 12 x 14.25 in.Overall Framed Size: 19.75 x 24 in.Framed behind glass.
After Pablo Picasso (Spanish, 1881 - 1973)Picador, Femme et ChevalLinocut printed in ColorsDated in the Plate in Reverse 25,9,59Unsigned, from an edition of 520, 1962Provenance:- Acquired from a Book Dealer in Michigan- Private Collection, MichiganPrint Size: 12.25 x 10.25 in.Overall Framed Size: 16.5 x 14 in.Framed behind glass.
PABLO PICASSO Malaga 1881 - 1973 Mougins: Cavalier et Cheval. Henkelkrug, weißer Scherben, mit Engobenbemalung (in Schwarz, Braun, Blau und Grün) und Ritzungen, teils glasiert, 1952. A. Ramié 137. - Expl. 48/300. Mit der Bezeichnung „Edition Picasso“ in Schwarz sowie den Prägestempeln „Madoura Plein Feu“ und „Edition Picasso“ Höhe: 22 cm. Breite: 18,5 cm. Tiefe: 14 cm. Geringfügig angestaubt. Picasso, der 1946 eine Keramikausstellung in Vallauris besuchte, lernte dort die Eigentümer der Madoura Manufaktur kennen. Das Ehepaar Ramié lud ihn ein, ein paar Keramiken zu modellieren. Dies war der Beginn einer langen und fruchtbaren Geschäftsbeziehung, in der zahlreiche Unikate und Editionen mit Tiermotiven und teils der Antike nahe stehenden Darstellungen entstanden. [ms]
PABLO PICASSO Malaga 1881 - 1973 Mougins: Vase de Fleurs. Farblithographie 1957. Bloch 841. Mourlot 305. Rau 659. - Abdruck außerhalb der numerierten Auflage. Mit dem Datum „7.12.57“ im Stein. Auf kräftigem chamoisfarbenem Vélin de Rives. 63 x 43,5 cm (Blatt: 65 x 50 cm). An den Rändern schwach fleckig. [ms]
PABLO PICASSO Malaga 1881 - 1973 Mougins: Picasso. Un demi-siècle de Livres illustrés (Portrait de Jacqueline). Ausstellungsplakat der Galerie H. Matarasso, Nizza 1956/57. Farboffsetlitho nach einer 1956 entstandenen Zinkographie Picassos, um 1956. Czwiklitzer (dtv) 126. Vgl. Bloch 1274. - Mit dem Datum „4.12 56“ in der Darstellung sowie typographischem Plakattext, Druckeradressen von Devaye, Cannes und J. Berto, Marseille. Auf Vélin. 70 x 50,4 cm. Mit leichten Randlknickspuren. [bg]
PABLO PICASSO Malaga 1881 - 1973 Mougins: Picasso. Sueño y Mentira de Franco. Traum und Lüge Francos. Mit 2 Bll. Orig.-Aquatintaradierungen mit 18 Einzeldarstellungen sowie faksimiliertem handschriftlichem Gedichttext von Picasso mit typographischer Transkription in Spanisch, Französisch und Englisch. (Paris, Eigenverlag des Künstlers, 1937/39). Qu.-Gr.-Fol. Lose in illustr. OPp.-Umschlag. Goeppert 28. Bloch 297 und 298. Baer 615, II und 616, V, jeweils, B, e (von C). - Expl. 699/850 (Gesamtaufl. 1000). Beide mit der Stempelsignatur (etwas verblichen) sowie mit dem seitenverkehrten Datum (Bl. 1 zweifach) in der Platte. Auf Papier de Montval. Je 31,7 x 42,2 cm (Blatt: jeweils 38,8 x 57 cm). Hauptsächlich an den Rändern teils gering gebräunt, schwach wellig und vereinzelt fleckig. Bl. 1 mit Eckfehlstelle rechts unten. Umschlag gering angestaubt und mit wenigen Gebrauchsspuren. Die vorliegenden Graphiken entstanden zeitgleich mit dem Gemälde „Guernica“ und spiegeln wie dieses die Zeit des Spanischen Bürgerkriegs wider, in der sich die Armee der zweiten spanischen Republik gegen die nationalistischen Putschisten um General Francisco Franco stellte. In seinem Gedicht wie auch in den 18 als Folge auf zwei Platten angeordneten Szenen - die ursprünglich als Postkarten gedacht waren - zeigt Picasso seinem Unmut gegenüber dem faschistischem Regime. [bg]
PABLO PICASSO Malaga 1881 - 1973 Mougins: La petite Corrida. Farblithographie 1957. Bloch 839. Mourlot 302. - Mit dem Namenszug und Datum „23.11.57“ im Stein. Auf Vélin. 29,8 x 23,5 cm. Linker Rand mit Spuren der Klebebindung. Erschienen in „XXe Siècle“. Ränder gering unfrisch und mit zwei winzigen, schwachen Eckknickspuren. [ms]
PABLO PICASSO Malaga 1881 - 1973 Mougins: Fleurs dans un Verre N° 6. Frontispiz aus „Lithographe II“, 1950. Lithographie auf der linken Seite eines rechts gefalteten Bogens 1947. Bloch 450. Mourlot 98. Rau 208. - Mit dem Datum im Stein. 23,5 x 15,5 cm. An den drei ungefalteten Papierrändern gering gebräunt. [ms]
PABLO PICASSO Malaga 1881 - 1973 Mougins: Nu au Collier. Planche II aus Maurice Toesca, „Six Contes fantastiques“, Paris 1953. Kaltnadelradierung 1944. Bloch 365. Baer 692, B, 5. Aus Goeppert 66. - Auf kräftigem chamoisfarbenem Vélin. 32,5 x 22 cm (Darstellung; Blatt: 33,5 x 25,5 cm). Abdruck mit spürbarem Grat. [ms]
PABLO PICASSO Malaga 1881 - 1973 Mougins: Céret-Picasso. Ausstellungsplakat des Musée municipale d’Art moderne, Céret 1958. Farblinolschnitt 1958. Czwiklitzer (dtv) 33. Bloch 1283. Baer 1048, B, c, 2. - Eines von 875 Expl. Mit der gedruckten Druckeradresse von Arnera, Vallauris und Text in Blau. Auf Vélin. 67 x 49,8 cm. Mit leichten Randknickspuren. [ms]
PABLO PICASSO Malaga 1881 - 1973 Mougins: Affiche Exposition Céramique Vallauris 1959. Plakat für die Association des Potiers de Vallauris. Linolschnitt in Schwarz und Rotbraun 1959. Czwiklitzer (dtv) 35. Bloch 1286. Baer 1216, B, a (von b). - Expl. 49/175. Signiert sowie mit dem Namenszug, Datum und Text im Stock. Auf kräftigem chamoisfarbenen Vélin d’Arches. 64,2 x 53 cm (Blatt: 76,5 x 57 cm). Ränder schwach gebräunt. [ms]
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