Edition: From the edition of 99. These are numbered as follows:
There were also 15 artists proofs ads a number of HC copies.
Left & right panels number: 15/99, 58/99 . Central panel number: 80/99
The left hand panel depicts President Woodrow Wilson (Orozco 51). The prototype was an old press cutting.
The Central panel is a portrait of John Edwards - The artists long term lover and muse. Supplyed with this is a certificate of authenticity from the Publisher,
The right hand panel is after a photograph of Trotskys Study in Mexico taken after his murder. Bacon depicts the desk belonging to the assassinated Russian political figure, Trotsky. Murdered with an icepick in Mexico by a Spanish-born Soviet agent acting on Stalin's orders, Trotsky's body is draped in a bloodstained shroud. Although alluding to the violence of the act—eyewitnesses attested to Trotsky grappling with the assassin and even spitting in his face—the portrayal of the desk also alludes to the legacy of work that a great man leaves behind. When Bacon made this signed limited edition he was just five years before his own death, and clearly in contemplative mood.

Edition: There were 84 copies with Arabic numbering and 26 EA with Roman Numbering.
Printed by: Vigna Antoniniana, Rome
The prototype for this piece is a Triptych in the Museum of Modern Art. This was an Oil on Linen consisting of three panels each 198 x 147 cms. This was Bacon's final triptych, made at the end of his career, a composite figure steps in and out of stage-like spaces. Seemingly nailed to the canvas are closely cropped headshots of Bacon's face, at right, and, at left, that of a Brazilian racecar driver, placed above muscular lower bodies. The triptych form is rooted in Christian religious painting; the center panel is traditionally reserved for the object of devotion. Here, an abject mass of flesh spills forth from the black niche. Bacon said his triptychs were "the thing I like doing most, and I think this may be related to the thought I've sometimes had of making a film. I like the juxtaposition of the images separated on three different canvases.” In Volume IV of the Francis Bacon: Catalogué Raisonné 2016, Martin Harrison, FSA says of the painting:
‘The black rectangles resemble tomb slabs, or entrances, from which Capelo appears to advance and Bacon recede. Since, however, uncertainty remains concerning the direction the figures are taking, Bacon may again have been thinking of the Queen’s Chamberlain in the doorway at the rear of Velázquez’s Las Meninas, in which case his substitution of a black void for Velázquez’s flood of light is all the more poignant.’
In April 1992, against the advice of doctors and friends, the artist travelled to Madrid to see Capelo. He became unwell soon after, sadly passing away at the age of eight-two on 28 April. Our work was published by the Estate shortly after the artist’s death.

There was an edition of 100 copies with Arabic numbering and 46 copies with Roman numbering from which our example comes. There were no artists proofs or Hors Commerce copies made
Printed by: Georges Visat et Cie (Paris)
Size: plate: 475 by 363 mm 18 3/4 by 14 1/4 in
This item was a bookplate in: “Francis Bacon ou les ultimes convulsions de l’humaine” in the book “Requiem pour la fine des tennis” which has a text by Eddy Batch.

Edition: There were also 30 Hors Commerce proofs and 5 dedicated proofs made. The plate is destroyed.
Although the subject of this composition was John Edwards, Bacon's great friend for the later years of his life and the inheritor of his estate, it is nonetheless, like all Bacon's work, non specific. Bacon met Edwards whist he was working as a Barman in “The Swan”, one of three Pubs run by his elder brothers. He was asked to provide Champagne for Bacon - who never turned up. Later he met Bacon and abused him for this act of unkindness. As a result they became friends and would often eat breakfast together. The artist did not attend an exhibition of his paintings in Moscow but sent Edwards to represent him. A study of Edwards, painted for this show, was used by the French on their 5 Franc postage stamp. When the artist died in 1992 Edwards was devastated and he inherited Bacon’s house, studio, cash and a number of paintings. When Edwards himself died in Bankok. It is reported that he died as he had lived : laughing and joking.
Printed by: Arts Litho, Paris, 1986
Size: Image Size: 680 x 490 mms

Edition: HC - There were also a small unknown number of “Hors Commerce” and Artists Proofs also made. The signed and numbered edition was of 99 proofs
Published by: Michael Peppiatt for the review Art international
Printed by: Galerie Lelong, Paris, France

Edition: There were also a small unknown number of “Hors Commerce” and Artists Proofs also made.
Printed by: Galerie Lelong, Paris, France
Size: image: 650 by 450mm 23¾ by 17⅝in
Note: Alexandre Tacou created a celebrated collection of prints by Francis Bacon which was virtually complete. A catalogue of the collection was published by Collections de St-Cyprien in 2008. Our very piece (Edition 30/99) is illustrated on page 21

Patrick Caulfield’s use of bright blocks of flat colour and thick black outlines became a hallmark of his style and has gone on to influence other artists such as Michael Craig-Martin and Julian Opie.
The Royal Opera House put on a Ballet production by Michael Corder entitled “Party Games” which premiered on the 24th July 1984. This one act performance was set to the music of Igor Stravinsky. Patrick Caulfield was asked to design both the sets and the costumes. The main Set Design was a series of Gigantic lampshades forming a fantastical backdrop, shedding light in alternate bars of yellow and black, recalling the strong blocks of colour in his canvasses. These were not unlike those found on his print series ”Interior” in 4 parts. In 1995 he designed the sets and costumes for the production of Frederick Ashton’s "Rhapsody" at the Royal Opera House, Covent Garden, which went on to be performed at the Opera National de Paris in 1996.

Patrick Caulfield’s use of bright blocks of flat colour and thick black outlines became a hallmark of his style and has gone on to influence other artists such as Michael Craig-Martin and Julian Opie.
The Royal Opera House put on a Ballet production by Michael Corder entitled “Party Games” which premiered on the 24th July 1984. This one act performance was set to the music of Igor Stravinsky. Patrick Caulfield was asked to design both the sets and the costumes. The main Set Design was a series of Gigantic lampshades forming a fantastical backdrop, shedding light in alternate bars of yellow and black, recalling the strong blocks of colour in his canvasses. These were not unlike those found on his print series ”Interior” in 4 parts. In 1995 he designed the sets and costumes for the production of Frederick Ashton’s "Rhapsody" at the Royal Opera House, Covent Garden, which went on to be performed at the Opera National de Paris in 1996.

This work is from a series entitled, “The Fourteen Large Lithographs of 1980” . They are truly monumental in scale and our example is no exception. It was the editor Aimé Maeght who had the idea of asking Chagall to realise a few large scale lithographs. At first Chagall was a little reticent. But he wanted to please Aimé Maeght and so he began to work. Almost at once he became completely absorbed in the project and went well beyond the editor's request, since he was soon working on fourteen plates. Utilising a vibrant colour palette and soft strokes, Chagall creates a whimsical work that conveys a sense of calm and ease. In our example two lovers stand side by side and gaze adoringly into each other's eyes. They appear in a field with the cityscape behind them. The young man holds a green bouquet and looks as though he is about to offer it to his lovely companion as a symbol of his love and affection. Throughout the composition, fanciful figures float and drift. A flute-player rests near the woman while a figure paints in the upper left corner and two lovers soar in the brilliant blue sky. However, the couple, placed strategically at the front of the composition, does not appear to notice the tiny figures amidst them; they are oblivious to the world around them, absorbed in their thoughts of love
A smaller unsigned version with no margins and on different paper was published in Derriere la Miroir.

Authentication: We have a certificate from Nicolas Descharnes dated 31st July 2017 number d6926.
Note on the framing: This is framed in a “Cassetta” frame consisting of 2 mouldings, 100% bespoke construction, double black float mount, uv filtration glazing

Authentication: Certificate from Nicolas Descharnes dated 31/7/2019 Archive number d6931
Note on Provenance: John Peter Moore, A former British Army captain , first met Dalí in 1956 when he was working with film producer and director Alexander Korda in Rome, and arranged for him to be paid in cash for a painting of Laurence Olivier as Richard III. The two became friends. In 1960 Dalí employed Moore as his personal secretary and, from 1965, as his business manager. Together with Dalí's wife, Gala, they travelled regularly to New York for the winter, Paris for the spring, and Cadaqués, in northern Spain, for the summer. Moore made money for Dalí through his merchandising schemes. "I was Goldfinger to Dalí," Moore said later. "I suggested he make graphics, lithographs, bed sheets, shoes, socks, ties anything saleable.” Although he was replaced in 1975, he maintained good relations with Dalí and Gala. With his wife, Catherine Perrot, he opened the Perrot-Moore Museum in Cadaqués in 1978 to show his collection of Dalís to the public. Some were gifts from the artist, others he had acquired through dealers, collectors or auctions. In 2003, aged 85 and with his reputation under fire, Moore closed the museum. He had no children and has decided to sell. Most works were sold at a huge auction in Paris organised by Artcuriel. Items coming from this source have, therefore, a direct link to Dali himself. Most if not all the works were stamped with the Museum stamp which can be seen on our work.

Authentication: Certificate from Nicolas Descharnes dated 31/7/2019 Archive number d6929
Note on Provenance: John Peter Moore, A former British Army captain , first met Dalí in 1956 when he was working with film producer and director Alexander Korda in Rome, and arranged for him to be paid in cash for a painting of Laurence Olivier as Richard III. The two became friends. In 1960 Dalí employed Moore as his personal secretary and, from 1965, as his business manager. Together with Dalí's wife, Gala, they travelled regularly to New York for the winter, Paris for the spring, and Cadaqués, in northern Spain, for the summer. Moore made money for Dalí through his merchandising schemes. "I was Goldfinger to Dalí," Moore said later. "I suggested he make graphics, lithographs, bed sheets, shoes, socks, ties anything saleable.” Although he was replaced in 1975, he maintained good relations with Dalí and Gala. With his wife, Catherine Perrot, he opened the Perrot-Moore Museum in Cadaqués in 1978 to show his collection of Dalís to the public. Some were gifts from the artist, others he had acquired through dealers, collectors or auctions. In 2003, aged 85 and with his reputation under fire, Moore closed the museum. He had no children and has decided to sell. Most works were sold at a huge auction in Paris organised by Artcuriel. Items coming from this source have, therefore, a direct link to Dali himself. Most if not all the works were stamped with the Museum stamp which can be seen on our work.

Before the Fourth is a portrait of society figure, actress and friend of Freud's, Annabel Mullion, pregnant with her fourth child William Ajax Baring, who was born in June 2004. Freud had painted Mullion once before, with her dog Rattler in 1998, and did so a second time a year after the present etching for the related painting Expecting the Fourth. The artist was a constant admirer of Mullion's enduring beauty, and she was described by the scholar Catherine Lampert in Freud's Guardian obituary as having "limbs still like a thoroughbred", and quoted one of Freud's favourite authors, Baudelaire, to describe the longevity of her youth: "vainly have time and love sunk their teeth into her”.
Related work: ‘Expecting the Fourth’ (2005), oil on canvas, 10.2 x 15.2 cm
Printed by : Marc Balakjian at Studio Prints, London

The work is one of Hirst's legendary spin paintings, the first of which he painted in 1992. Each brightly coloured spin painting has an elongated title that begins with 'Beautiful' and ends with 'Painting' and belies the childlike nature of the works which were made using a spin machine.
There is a label verso from Science, Hirsts Gallery. It was framed by Darbyshire in White Lion Street. A window cut verso shows the artists large signature and the Science reference number.

Fourteen poems by C P Cavafy chosen and illustrated with twelve unsigned etchings & Aquatints by David Hockney, translated by Nikos Stangos and Stephen Spender. The etchings on Crisbrook handmade paper, bound as issued . Edition A complete with Justification de tirage, signed on the limitation page by the artist.  Presented in the Publisher's purple cloth with slipcase.
Proofed & printed by: Maurice Payne and Danyon Back at Alecto Studios
Edition: AP - There were 550 impressions from the plates unsigned and bound (Our edition A consisted of 250 of these and 50 artists proofs);
Note: David Hockney has always considered himself to be something of a literary painter. With his series Illustrations For Fourteen Poems By C.P. Cavafy Hockney chooses to focus on a homosexual poet whose work he admired from a young age. Only four of the illustrations are actually set against a Middle Eastern backdrop, for in order to capture the mood and inherent sensuality of the poetry, Hockney had decided to use his own experiences and, for the most part, the illustrations are based on intimate drawings of his friends. Hockney first discovered Cavafy's poems at his local library, and reportedly subsequently stole the copy of the book. Though homosexuality was illegal in the United Kingdom until 1967, Hockney's etchings were instantly acclaimed and brought heightened visibility to Cavafy's poems.Today Constantine Cavafy (1863–1933) is recognised as one of the most important Greek language poets of his time. When he lived and wrote in Alexandria, Egypt, however, his poetry—some of which is intensely personal and deals in openly homoerotic themes—was seen by relatively few people.
This consists of the following (Lacking the signed etching - Portrait of Cavafy II) each with its poem:
Portrait of Cavafy in Alexandria (SCAC 47/Tokyo 47)
Two boys aged 23 or 24 (SCAC 48 / Tokyo 48)
He enquired after the quality (SCAC 49 / Tokyo 49)
To remain (SCAC 50 / Tokyo 50)
According to the prescriptions of ancient magicians (SCAC 51 / Tokyo 51)
In an old book (SCAC 57 / Tokyo 52)
The shop window of a tobacco store (SCAC 53 / Tokyo 53)
In the dull village (SCAC 54 / Tokyo 54)
The beginning (SCAC 55 / Tokyo 55)
One night (SCAC 56 / Tokyo 56)
In despair (SCAC57 / Tokyo 57)
Beautiful and white flowers (SCAC 58 / Tokyo 58)

Edition: there were also 20 artist’s proofs
The Gemini G.E.L. work number is inscribed in pencil, verso.
Printed by: Mark Schultz and Claudio Sticker in Los Angeles.
This subject was created in order to support the campaign for the LA City Councilman, Joel Wachs in 1993. Joel Wachs now holds the position of the President of the Andy Warhol Foundation for the Arts in NYC and has been a longstanding advocate of the Arts.

Printed by: Kenneth Tyler, Gemini G.E.L., Los Angeles
Note: In 1979, British artist David Hockney partnered with printmakers Gemini G.E.L. on a series of lithographs of his good friend and muse Celia Birtwell. Birtwell was a textile designer and was the wife of Ossie Clark, an established fashion designer in London during the 1960s and 1970s. Hockney is quoted as saying, “Celia is one of the few girls I know really well. I don’t bother getting the likeness in her face because I know it so well. She has many faces and I think if you looked through all the drawings I’ve done of her, you’d see that they don’t look alike.” In comparing this work with “Celia - Weary” , this print illustrates this sentiment. The variation he captured is quite remarkable, as he conveys her expression with so few strokes. This work and others like it, are a symbol of friendship at its finest, one that has lasted over half a century, and continues to this day.
Working at home the artist used large brushes and liquid washes in varying intensities to paint on aluminium plates. There were 5 images made for printed editions reflecting Celia’s moods and attitudes: Celia Musing, Celia Weary, Celia Amused, Celia Inquiring and Celia Elegant.

A larger version of this was also made entitled “A bigger Scrabble Players measuring 177.2 x 177.2 cms.

In the foreground can be seen two of Hockney’s Studio assistants : Jonathan Mills and Jonathan Wilkinson.

This depicts Hockney’s Studio assistants: Jean-Pierre Goncalves de Lima has been Hockney’s “right hand” for 20 years and helped the artist in his year in Normandy. His Matelot cousin was the subject, also, of two iPad drawings. Jonathan Mills and Jonathan Wilkinson are the other two assistants depicted here.. In the work cited above are also individual portraits of these three men.

Printed by: The Print Shop, Amsterdam

Printed by: Atelier Desjobert, Paris
Edition: there were also 16 artists proofs.
Notes: The prototype for this print is a painting in the Tete Gallery, London Tate Gallery, London: https://www.tate-images.com/T07296-Drawing-for-%27Glass-Table-with-Objects%27.html

SPRING - Gold, Blue, Yellow & Green
SUMMER - Gold & Blue
AUTUMN - Gold, Red & Yellow
WINTER- Gold, Blue, Turquoise, Pink
In 2008, Indiana used his LOVE image as the basis for a new work substituting the word HOPE, using it as the image for Barack Obama’s 2008 presidential campaign, in which the artist raised $1,000,000 for Obama featuring the candidate’s compelling slogan: HOPE.  Our work comes from a portfolio of 4 screenprints , “Four Seasons of Hope, Gold Portfolio” made in 2012 and our brown/Gold one is therefore Autumn. Alongside Shepard Fairey’s poster with the same slogan, Indiana’s HOPE raised money for the campaign and helped to define it visually. The present work deploys the word in a format related to the artist’s iconic LOVE. Dating from 1964, LOVE emerged during the social revolutions of the era and became an emblem of the decade’s utopian ideals. Indiana called HOPE “the long-awaited sibling of LOVE".
To create the powerful composition of LOVE and HOPE, Indiana arranged their four capital letters into a square configuration, using a distinctive bold typeface with prominent serifs. Each letter is placed without kerning or line spacing, so that it remains legible while existing as part of single, interconnected unit. As with LOVE, the O in HOPE tilts, imparting a sense of dynamic action to the grouping.
Like love, hope can be a noun or a verb—a feeling, an aspiration, or an invocation to envision a better world. Indiana was a politically and socially engaged artist throughout his career and was eager to use his art as a catalyst for positive change. HOPE epitomizes his lifelong understanding of the power of iconic communicative form.
Edition:  Numbered also in gold felt-tip pen on the portfolio case.

Roy Lichtenstein’s tongue-in-cheek humour is ever-present in this work as it makes a pun about the 15th-century Venetian school and the popular window coverings. Artists such as Titian and Veronese were considered to have brought a primacy of colour over the line of the artwork of this period. Lichtenstein subverts this with a cool palette and his recognisable bold outlines.

The verso of the piece shows that it was made on the frontispiece of a book and illustrates the Coat of Arms of the City of Segovia.
Authentication: The ADOM certificate form this item was lost by the previous owner. We submitted the work to ADOM for verification and they have provided an alternative document hypothecating the work dated 21st November 2017. This is a photo-document referring to the lost certificate dated 18th May 1992. Our present document cancels the previous certificate.
Note: This is a typical surrealistic piece by this artist showing the recognisable forms of the titled woman and bird. It is quite usual for Miro to use paper which is not fresh. We have seen drawings on letters and all manner of other pieces of paper and objects. The indenture of this work obviously appealed to him and is an interesting addition to the work.

The artist loved to re-use old pieces of wood and cardboard as backcloths for his art. In many ways it could be said that he was a pioneer of the concept of re-cycling so popular today. For him if the piece was damaged or irregular in shape it did not matter. It was part of his concept of the “destruction of Art”. Towards the end of his career, as well as expressing his commitment to social change through art, Miró also questioned the economic value of art, de-sanctifying art, acting without distinction between creation and destruction. Our work is painted on an irregular piece of discarded plywood. Other examples exist in a similar metier.
Of Miro's later work, Jacques Dupin writes, "During the final years of his life, Miro continued to execute magnificent paintings, densely inhabited, insurgent dances...The simplified aspect of these paintings evokes the barrenness of winter, long after the charm of falling leaves has worn thin" (Jacques Dupin, Miro, Barcelona, 1993, pp. 351-52). The present work embodies this stark intensity, resplendent in a variety of gestural brushstrokes and deliberate drippings. In an attempt to transform the wood's rigid grain, Miro imparts life through colour. The ambiguous title and the absence of figurative expression yield to the creative associations of the human mind. We as observers are consumed by this interpretive freedom, left to plunge wholeheartedly into the depths of our own fantastical whims. Dupin continues to assert that “Miro emphasized the painting's structure and pared its gesture to the bone. He emphasiced contrast, and revealed the armature and the framework...[These works] seem to live outside time, and outside the cycles and pendulum effects we are accustomed to finding in his work. Their existence is abrupt and detached, like death-stones, swirls of sand in a desert, or cliffs jutting into the sea" (ibid p. 352).
Authentication: The work has a certificate from ADOM, (Association pour la Défense de l'œuvre de Joan Miró) dated 4th December 2019

Edition: Epreuve d’artiste - There was also a signed and numbered edition of 100
Size: image: 24½ h × 18 w in (62 × 46 cm)
; Framed size: 88 x 112 cms
Printed by: Mourlot Frerers, Paris

Printed by: Morsang, Paris
Edition: 17/75 - Besides the editioned works there were also some signed and numbered HC copies
Framed under Plexiglas: 62" H x 46.25" W x 4" D - 118 x 159 cms
Note: This was part of a series of large colourful etchings which Miro made in the later 1960’s. Many collectors consider these as amongst his finest graphic works.Miró's La Sorcière is a monumental piece whose abstract, forms work in combination with splashes of green and red; each element coexists in perfect harmony, echoing a geometric, surrealist composition that leaves us both bewildered and amazed. The whimsical, central figure appears as if raising its arms, perhaps summonsing supernatural powers. Around this sorcerer, a stream of green, reminiscent of smoke, slithers up, perhaps the magic powers at hand. This is a Miró to be viewed in person, as its surface and textural quality cannot be duly translated through digital photography.

There were also 15 Not for sale (HC) copies.
This was part of a series of 21 works which Miro made to celebrate Antoni Gaudí the Catalan architect and designer from Spain known as the greatest exponent of Catalan Modernism. These were all of exceptionally bright colours and exuberant compositions. The printing by the legendary Barbarà is, as usual, clinically spotless and precise.

This is part of a series of neo-classical scenes Picasso depicted on his ceramic works

Edition: 6/20 (numbered verso); plus two exemplaires d’artiste and 8 HC copies numbered ⅓ and I/V
Note: In the same year that this was made Picasso created, at the Madoura pottery workshop in Vallauris, a White earthenware plate of the same title and design in red earthenware clay, reference Alain Ramie 308 and another version in white earthenware clay reference Alain Ramie 309
This design was also issued in 1956, in ceramic form as a circular earthenware clay dish. See : Alain Ramie: Catalogue of the illustrated ceramic works Number 361
Other stamps verso: The Edition number : 6/20
The reference number of Ateliers Hugo : 1426
Certificate of Authenticity: Signed by Pierre Hugo, of Atelier Hugo, dated 21st December 2020

This was issued in the book “Le Tricorne” . The etching was supplied loose in a japan folder with title on the front cover and printers address on the back, colophon and grey number on the inside flap.
This etching was the result of a co-operation with the Russian Ballet Master : Serge Diagalev who had been thinking of creating a Spanish ballet since 1916. Through his friend Igor Stravinsky he met the young Spanish Composer, Manuel de Falla and requested him to make the score for his new ballet. Diagalev went on to commission Picasso to design the sets and costumes for the ballet which was called “Le Tricorne” after the three cornered hat worn by the hero in the plot. Picasso and his wife Olga travelled to London and were in England for three months working on the project. Picasso created twenty different studies for the stage sets and the designs finally chosen were illustrated in the album containing our etching. The ballet was performed for the first time in London in 1919 and the following year it had it’s premier in Paris. The album was in fact published by Paul Rosenburg who by this time had become Picasso’s official dealer (Kahnweiller had lost his money by the French government requisitioning his business in the aftermath of the first World War. Faced with this tragedy the young art dealer was unable to pay Picasso moneys owed to him. The unforgiving artist, at this point, deserted his former patron, protector and friend). It happens that some of the documentation surrounding this etching is still to be found in the archives - but is in no way complete. There is a letter from Paul Rosenburg to Picasso dated 21/9/1919 suggesting an edition of 15 examples to be sold at 75 Francs per work. In the event this project was not fulfilled and the etching was created to accompany the album described above.
The Italian of the etching represents a character in the ballet and also a superb portrait of a similar theme was made in 1919 (see Zervos. III.363)
Printed by : Ateliers Andre Marty; Daniel Jacomet et Cie, Paris

Edition: Artist Proof (There were 5 or 6 artists proofs and an edition of 50 signed and numbered impressions.
Notes:
The composition was engraved on a zinc intended for etching. Unfortunately the zinc was slightly grained so instead Picasso had the negative printed on a lithographic press with an excellent result.
At the age of 21 Francois Gillot met Pablo Picasso, and the two embarked on a ten-year relationship. Gilot is considered by some to have been his muse, and though her work during this time was influenced by Picasso’s Cubism, her paintings are characterised by a preference for organic forms over Picasso’s use of sharp angles. In 1953, Gilot left Picasso, taking with her their two children, Claude and Paloma, and 11 years later, published the best-selling book Life With Picasso describing their intimate family life and artistic collaborations. Gilot went on to maintain studios in La Jolla, New York, and Paris, with her later paintings featuring saturated colour relationships and structured compositions. Picasso made numerous drawings, paintings and prints of his companion and Muse of which this is an excellent and dramatic example.
See Brigitte Baer 905 (Portrait de Francoise au long cou II) which suggests that the same zinc made for the etching was used to make this lithograph. In cataloguing this item in their 2019 sale Swann Auction states: “We have found only 16 other impressions at auction in the past 30 years”. This work rarely turns up for sale.
Printed by: Mourlot Freres, Paris

There were also 6 artists and printers proofs.
Note: The old lady on the extreme right can be identified as “La Celestine” who appears a lot in Picasso’s later works.The facing figure with the jaunty hat closely resembles Jean Cocteau.

Edition: There were also 5 or 6 proofs made for the artist and printer. Both Cantz and Mourlot fail to mention an edition of 50 but we have seen other examples passing through auction (cf: Swann 7/3/2013 - Lot 00386) so this must be an oversight.
The Dove was the famous symbol of World Peace used by Picasso for his support of the Movement during the cold war.
Printed by: Mourlot Freres, Paris, France

In Paris in the 1920s Picasso and his wife Olga Koklova were neighbours of the Rosenbergs (Leonce & Paul), who were both art dealers. Rosenberg would become Picasso's most important dealer and had first choice options on his pictures. In 1919 Rosenberg had opened an exhibition of Picasso's watercolours and drawings relating to his stage designs for Diaghilev's production of Le Tricorne. Very little is known about the edition although the pochoirs seem to relate to Picasso's set and costume designs for Parade. It was probably after this exhibition that Paul Rosenberg decided to edit a series of stencils showing the costumes and sets for this ballet, written by Jean Cocteau, with music by Erik Satie, featuring Picasso's cubist costumes and an imposing curtain representing saltimbanques.
A Pochoir is made by a stencilling technique and, consequently, these are not original prints and properly catalogued as “after Pablo Picasso” although they are signed and numbered by the artist.
Pierrot is a stock character of Pantomime and play whose organs are in the late 17th century. Italian troupe of players performing in Paris and known as the Comedie-Italienne ; the name is a diminutive of Pierre (Peter), via the suffix -ot. His character in contemporary popular culture—in poetry, fiction, and the visual arts, as well as works for the stage, screen, and concert hall—is that of the sad clown, pining for love of Coiumbine , who usually breaks his heart and leaves him for Harlequin. Performing unmasked, with a whitened https://p1.liveauctioneers.com/957/256252/133253155_2_x.jpg?quality=80&version=1659029015 face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim, more rarely with a conical shape like a dunce's cap.
Harlequin was a comic servant characters from the Italian Commedia del arte. The Harlequin is characterized by his chequered costume. His role is that of a light-hearted, nimble, and astute servant , often acting to thwart the plans of his master, and pursuing his own love interest, Columbina, with wit and resourcefulness, often competing with the sterner and melancholic Pierrot. He later develops into a prototype of the romantic hero. Harlequin inherits his physical agility and his trickster qualities, as well as his name, from a mischievous “devil” character in medieval passion plays.
Picasso when a young man was fascinated by the circus and many of his early works depict these two figures. They are frequently depicted in his cubist works as in this instance.

In Paris in the 1920s Picasso and his wife Olga Koklova were neighbours of the Rosenbergs (Leonce & Paul), who were both art dealers. Rosenberg would become Picasso's most important dealer and had first choice options on his pictures.
This work is based on the painting of the same name (cf. Zervos, vol.IV, illu. p.88).
From the portfolio "Pablo Picasso. Dix Pochoirs". Published by Galerie Rosenberg, Paris, 1920. A Pochoir is made by a stencilling technique and, consequently, these are not original prints and properly catalogued as “after Pablo Picasso” although they are signed and numbered by the artist.
The gouache which was a study for this piece was sold at Christies, New York, in November 2017 (sale 15005 Impressionist and Modern Art Works on Paper Sale) . It was estimated at $300/$500k and sold for $444,500. (C. Zervos, Pablo Picasso, Paris, 1951, vol. 4, no. 64 (illustrated, pl. 20). D. Cooper, Picasso, Theatre, New York, 1968, p. 349, no. 238 (illustrated)
Pierrot is a stock character of Pantomine and play whose organs are in the late 17th century. Italian troupe of players performing in Paris and known as the Comedie-Italienne ; the name is a diminutive of Pierre (Peter), via the suffix -ot. His character in contemporary popular culture—in poetry, fiction, and the visual arts, as well as works for the stage, screen, and concert hall—is that of the sad clown, pining for love of Coiumbine , who usually breaks his heart and leaves him for Harlequin. Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim, more rarely with a conical shape like a dunce's cap.
Harlequin was a comic servant characters from the Italian Commedia del arte. The Harlequin is characterized by his chequered costume. His role is that of a light-hearted, nimble, and astute servant , often acting to thwart the plans of his master, and pursuing his own love interest, Columbina, with wit and resourcefulness, often competing with the sterner and melancholic Pierrot. He later develops into a prototype of the romantic hero. Harlequin inherits his physical agility and his trickster qualities, as well as his name, from a mischievous “devil” character in medieval passion plays.
Picasso when a young man was fascinated by the circus and many of his early works depict these two figures. They are frequently depicted in his cubist works as in this instance.

This is also entitled “Verre et Compotier” by some sources and dated between 1920 and 1923. We follow the Online Picasso Project dating of 1920

This is a prototype for the poster made in 2021

Edition: Approximately 300 signed in Ballpoint pen on verso; Some (not ours) initialled below the image on right.
Campbell’s Soup Can (Tomato) 4 by Andy Warhol and his portfolios depicting Campbell’s Soup cans are arguably his most iconic and widely recognised series of artwork. In this collection, Warhol takes the ever-present American pantry staple and transforms it into high art. Warhol was originally a commercial graphic artist. He found the imagery of the Campbell’s soup label a powerful visual tool since the design had remained successfully unchanged for decades. This particular print is unique, as it is printed on a grocery bag and is commonly referred to as Campbell’s Soup Shopping Bag. This bag was created in 1964 for the American Supermarket Exhibition at the Bianchini Gallery.. The rest of the Campbell’s series were legitimate subjects as a modern still life during the postwar American society. First shown at the Ferus Gallery (Los Angeles) in 1962, the exhibit started as a series of paintings that eventually led to his fame and success. Furthermore, Warhol had just started to experiment with screenprinting a few years prior, which was a medium that would change the art world forever. Some of the most famous and recognisable images in art history come from Warhol’s Campbell’s Soup series. This is mostly because of his screenprinting process and decision to depict banal subject matter, which helped redefine and complicate the concept of high art. This series helped to usher in the Pop Art movement that endures today, renewed and rediscovered by artists such as Damien Hirst and Jeff Koons. Andy Warhol’s Campbell’s Soup Shopping Bag is a truly unique piece, which takes two ordinary objects of a shopping bag and a can of soup and transforms them into a work of art.

Edition: 11/50 - There was an edition of 100 signed and numbered proofs.
Printed by: Alexander Heinricht, New York
Note: This is part of a suite of 10 screenprints on the theme of flowers.
This suite was also published in a hand coloured version (See F & S 11.110/112.119)

Edition: Artists proof 11/50 - There was an edition of 100 signed and numbered proofs.
Printed by: Alexander Heinricht, New York
Note: This is part of a suite of 10 screenprints on the theme of flowers.
This suite was also published in a hand coloured version (See F & S 11.110/112.119)

Edition: Each painting was a unique work created by the algorytham. There were, however, 606 examples of this size and shape created.
Note: The Beautiful Paintings, are a group of revolutionary new artworks from Damien Hirst which blurs the boundaries between digital and physical art creation using generative and machine learning algorithms. Marking the newest iteration of Hirst’s iconic ‘Spin Paintings’ series, known for their energetic splashes of colour, this work invites collectors to take part in the process of generating their own ‘Spin Paintings’ using a digital platform. Collectors had the option to generate the artwork either as a physical print, digital artwork (NFT), or both. The physical artworks are printed on canvas and are available in two shapes (square or circular) and four sizes. Each artwork in the series is unique, and the physical artworks will be hand-signed with a paint pen on the front by Damien Hirst. The Beautiful Paintings were available for purchase for a limited time only, from Thursday, 31 March to Monday, 10 April. Despite their name, The Beautiful Paintings are not actually paintings - they are Giclée prints printed on canvas. Each artwork in the series is unique, and the physical artworks are hand-signed by Damien Hirst in paint pen on the front of the work.

Edition: Each painting was a unique work created by the algrathym. There were, however, 606 examples of this size and shape created.
Note: The Beautiful Paintings, are a group of revolutionary new artworks from Damien Hirst which blurs the boundaries between digital and physical art creation using generative and machine learning algorithms. Marking the newest iteration of Hirst’s iconic ‘Spin Paintings’ series, known for their energetic splashes of colour, this work invites collectors to take part in the process of generating their own ‘Spin Paintings’ using a digital platform. Collectors had the option to generate the artwork either as a physical print, digital artwork (NFT), or both. The physical artworks are printed on canvas and are available in two shapes (square or circular) and four sizes. Each artwork in the series is unique, and the physical artworks will be hand-signed with a paint pen on the front by Damien Hirst. The Beautiful Paintings were available for purchase for a limited time only, from Thursday, 31 March to Monday, 10 April. Despite their name, The Beautiful Paintings are not actually paintings - they are Giclée prints printed on canvas. Each artwork in the series is unique, and the physical artworks are hand-signed by Damien Hirst in paint pen on the front of the work.

Edition: Each painting was a unique work created by the algorithm. There were, however, 606 examples of this size and shape created.
Note: The Beautiful Paintings, are a group of revolutionary new artworks from Damien Hirst which blurs the boundaries between digital and physical art creation using generative and machine learning algorithms. Marking the newest iteration of Hirst’s iconic ‘Spin Paintings’ series, known for their energetic splashes of colour, this work invites collectors to take part in the process of generating their own ‘Spin Paintings’ using a digital platform. Collectors had the option to generate the artwork either as a physical print, digital artwork (NFT), or both. The physical artworks are printed on canvas and are available in two shapes (square or circular) and four sizes. Each artwork in the series is unique, and the physical artworks will be hand-signed with a paint pen on the front by Damien Hirst. The Beautiful Paintings were available for purchase for a limited time only, from Thursday, 31 March to Monday, 10 April. Despite their name, The Beautiful Paintings are not actually paintings - they are Giclée prints printed on canvas. Each artwork in the series is unique, and the physical artworks are hand-signed by Damien Hirst in paint pen on the front of the work.

Printed by: Atelier Maeght, Saint Paul de Vence, France
Edition: Besides the editioned works there were also some signed and numbered HC copies.
A luminous red orb drifts above whimsical forms and colourful layers in this stunning, large-scale work. Miró is known for his great innovation and experimentation in the printmaking medium, and this work stands as proof of his immense talent as a printmaker. Combining the printing techniques of etching, aquatint, and carborundum within a single print, Miró creates a richly textured and boldly coloured masterpiece. As its title suggests, this work emanates with a warmth and energy that is sure to brighten the spirits of those who view it. Soleil Ébouillanté (The Scalding Sun) is representative of Miró at his best, and as such, it is one of the most desirable and awe-inspiring prints of his artistic oeuvre.

There is a certificate from ADOM, Paris, dated 7th June 2017. This body is the sole authenticator of the works of Joan Miro and their certificates are accepted universally.
Note on the framing: This is framed in a “Cassata” frame consisting of 2 mouldings, 100% bespoke construction, double black float mount, uv filtration glazing

We have seen a signed photograph by Andre Villers entitled “Picasso en Popeye” which shows a
humorous depiction of the artist dressed up as Popeye the Sailor Man with his fancy
hat and beard. It is a very well known work. In the background, middle right, it can be seen that a copy of our
lithograph, unframed, is hanging on the wall.

Edition: There were also some HC and artists proofs made.
The prototype for this was a Diptych in Oil, pastel and dry transfer lettering, on canvas made in 1982. The work is now in Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Since his death Bacon’s reputation and market value have grown steadily, and his work is among the most acclaimed, expensive and sought-after.
This work was sold in the same Christies Auction as another from the series “The Left Hand panel” which was dedicated to John Edwards. The Central Panel seems now to be missing. Both left and right panels were catalogued as coming from the John Edwards collection and are the same edition number. John Edwards was Francis Bacon's closest friend for 18 years, and inherited the artist's £11 million estate. There were those who considered it a curious friendship. Although both men were homosexuals, Edwards maintained that they were never lovers. Furthermore, Edwards had never learned to read or write, and knew nothing of art or books. None of this, however, appeared to matter to Bacon. "I think he felt very free with me, because I was a bit different from most people he knew," Edwards once said. "I wasn't asking him about his painting or anything like that . . . I asked him once, 'what do you see in me?' And he laughed and said, 'You're not boring like most people'."

The new film “Colette” directed by Wash Westmorland tells the life story of the subject of our dtrawing. This was executed for the work “Portraits - Souvenirs (1900 - 1914) by Grasset in 1935.
Collette was a scandalously talented performer, a practiced seductress of both men and women and the flamboyant author of some of the greatest works of 20th century literature. Having spent her childhood in the shadow of an overpowering mother, Colette escaped at age twenty into a turbulent marriage with the sexy, unscrupulous Willy--a literary charlatan who took credit for her bestselling Claudine novels. Weary of Willy's sexual domination, Colette pursued an extremely public lesbian love affair with a niece of Napoleon's. At forty, she gave birth to a daughter who bored her, at forty-seven she seduced her teenage stepson, and in her seventies she flirted with the Nazi occupiers of Paris, even though her beloved third husband, a Jew, had been arrested by the Gestapo. And all the while, this incomparable woman poured forth a torrent of masterpieces, including Gigi, Sido, Cheri, and Break of Day.
Colette’s husband, Willy, wrote “Claudine at school” and the stage version was a great success. The persona of “Claudine” was played by the actress Polaire. Willy had the two ladies dress as girlish twins and showed them off in Paris, in Polaire’s words, “Like one would walk a couple of greyhounds” Such outings played up the erotic ambiguity of the relationship between the two ladies and the portly and middle aged Willy. The play’s subject was a sexual one showing the appeal of schoolgirl precociousness in which Claudine and her classmates understood themselves as nubile subjects for older men, their teachers and each other. It was, in the nomenclature of the period “un success de scandale”
Cocteau was a great friend of Colette whose literary works he admired greatly. Our drawing, made in about 1935, harps back to an earlier period in Colette’s life and is an amusing portrait of the trio in an ice cream palace with their pet dog, Toby, sitting at a table enjoying an afternoon excess. They are attired in fashionable garb and obviously all smiling, laughing and enjoying the occasion.
Authentication: A certificate from the Jean Cocteau expert, Annie Guedras, comes with this item.

Celia Birtwell. Birtwell was a textile designer and the wife of Ossie Clark, an established fashion designer in London during the 1960s and 1970s. Hockney is quoted as saying, “Celia is one of the few girls I know really well. I don’t bother getting the likeness in her face because I know it so well. She has many faces and I think if you looked through all the drawings I’ve done of her, you’d see that they don’t look alike.” This work and others like it, are a symbol of friendship at its finest, one that has lasted over half a century, and continues to this day.

Printed on Parsons linen laser paper mounted to Arches paper.
Presented in original red and green cloth-covered portfolio with printed title page inset, glassine interleafing with printed names
Note: The front of the portfolio reads as follows: “The Visitors were just that. No-one dressed up for these pictures. They were simply asked to stand in natural light in front of a painting in my studio. Most of the portraits were made at the same time of day recording the visitors and work people over a period of a few months ion 1990 - 1991”

Note: The artist made two Lithographic full length nude portraits in 1963 of which this is one. Both are illustrated in Lust.

This work is very similar to many others that the artist made at this period in his life as studies for sculpture projects. We have, alas, been unable to establish who the deduce, Elaine, was.

Sold with this is the paper portfolio cover imprinted “Suite sur Japan Nacre”. This is framed beneath the piece to keep the two items together proving provenance from the portfolio.
Edition: the unbound book edition was 80 and 45 hors commerce in Roman numerals)
Printed by: Atelier Dupont-Visat, l'Inéditeur, Paris 
Note: This is from a suit of 10 Etchings with Aquatint
In 1991, Lichtenstein was approached to provide illustrations for a French edition of Allen Ginsberg's “The New Fall of America”. Ginsberg selected 11 poems to be translated into French and Lichtenstein created 10 collages inspired by them, from which etchings were printed for the book. The imagery is characteristic of Lichtenstein's work in popular illustrations. The image of Ginsberg as a Buddha in a lotus pose, for instance, was inspired by a vignette symbolising meditation on a yoga class sheet. Other prints in the series show cubistic visions of the city and emblems of explosions alternating with more peaceful landscapes to provide a visual counterpart to Ginsberg's vivid evocation of contemporary America.
The piece Illustrates Ginsberg’s poem “Northwest Passage”, which details the harrowing consequences of local pollution and industrial reach. To this day, the Northwest Passage represents centuries of effort to find a route westward from the Atlantic to the Pacific ocean. Ginsberg’s poem calls to attention the inherent financial and materialistic passage that this endeavour imposed across the North American continent. It is the only black and white work in the series, compiled out of broken black lines set against an off-white background.  Lichtenstein’s Passage Du Nord-Ouest appropriates the long standing tradition of saint portraiture, presenting a minimalistic depiction of Ginsberg as a divine spiritual leader.

Printed by: M.E. Wolsensberger, A.G. Zurich.
Note: Most of the works by this famous and notable artist are, in fact, reproductions or Offset Lithographs. These were usually made In large editions and often the colours faded. The 16 Lithographs published by Ganymede, of which this is an example, are the only Original Prints the artist made and therefor in considerable demand.

Printed by: Arte Adrien Maeght, Paris
Edition: HC (Hors Commerce); There was a signed and numbered edition of 75 and an unknown number of HC copies produced.

Printed by: Maeght, Levallois-Perret, France.

This whimsical and humorous face echoes that of a clown, conveying a sense of light-heartedness and childlike sentiment. The bright glaze adds to the deep blue and forest green cheeks set against the brilliant white background. Deep, bold strokes of black come together to create the minimalist features of the eyes, bridge of the nose, and wide smile. The coloration serves as another character to this work, adding life and depth to this visage. Picasso had created a number of faces for a series of ceramic plates; this particular example stands out as one of his more cheerful and exuberant works.

Created by: Madoura Potteries, Vallauris, France
Note: This whimsical and humorous face echoes that of a clown, conveying a sense of light-heartedness and childlike sentiment. The bright glaze adds to the deep blue and forest green cheeks set against the brilliant white background. Deep, bold strokes of black come together to create the minimalist features of the eyes, bridge of the nose, and wide smile. The coloration serves as another character to this work, adding life and depth to this visage. Picasso had created a number of faces for a series of ceramic plates; this particular example stands out as one of his more cheerful and exuberant works.

Edition: There were also 50 proofs on large Montval paper with Montgolfier watermark and 260 proofs on small Montval paper with the watermark Picasso or Vollard Signature. 3 signed BAT proofs also exist.
The publication of the hundred etchings created by Picasso between 1930 and 1937 was one of Ambroise Vollard's most impressive undertakings. Vollard was one of the greatest art dealers and publishers of his time and his championship of some of the most celebrated artists of the day deserves the thanks of later generations. His artists, to name but a few, included Cezanne, Renoir, Gauguin, Van Gogh, Rousseau, Rouault and Picasso. Picasso met Vollard in Paris in 1901 and worked with him over an extended period. When the Vollard Suite etchings were first made they were in fact rarely signed (with the exception of some rare proofs made on vellum in editions of 3). Vollard died tragically in a car accident in 1939 and eventually, after the Second World War, most of the Vollard Suite passed into the hands of the famous Dealer Petiet. Petiet knew that Picasso , would never sign anything until he was paid for it and the artist required a substantial fee for putting his signature on the Vollard Suite etchings. Accordingly Petiet gave his buyers the option of buying them either unsigned or, for 10% more on the cost, signed. This meant that Picasso signatures from 1939 until the artists death appear on Vollard Suite etchings. Obviously there is a difference in the artists signature as he aged. The plate for this was cancelled in 1956 and still exists in the Musee Picasso, Paris
Printed by: Lacouriere in 1939.
The “regular” Vollard Suite etchings on Montval paper are slightly smaller measuring 450 x 340 cms

Edition: 260 unnumbered proofs (there was also an edition of 50 with wider margins)
The publication of the hundred etchings created by Picasso between 1930 and 1937 was one of Ambroise Vollard's most impressive undertakings. Vollard was one of the greatest art dealers and publishers of his time and his championship of some of the most celebrated artists of the day deserves the thanks of later generations. His artists, to name but a few, included Cezanne, Renoir, Gauguin, Van Gogh, Rousseau, Rouault and Picasso. Picasso met Vollard in Paris in 1901 and worked with him over an extended period. When the Vollard Suite etchings were first made they were in fact rarely signed (with the exception of some rare proofs made on vellum in editions of 3). Vollard died tragically in a car accident in 1939 and eventually, after the Second World War, most of the Vollard Suite passed into the hands of the famous Dealer Petiet. Petiet knew that Picasso , would never sign anything until he was paid for it and the artist required a substantial fee for putting his signature on the Vollard Suite etchings. Accordingly Petiet gave his buyers the option of buying them either unsigned or, for 10% more on the cost, signed. This meant that Picasso signatures from 1939 until the artists death appear on Vollard Suite etchings. Obviously there is a difference in the artists signature as he aged.
Printed by: Lacouriere in 1939

Edition: There were also some artists proofs.
Printed by: Mourlot Freres, Paris
Note: The first State of this Lithograph was made in 1957. A year later, on Saturday January 10, 1959, the painter returns to take the plate to add a dark shadow on the left side of the drawing. This new plate is also commercially edited with paper of the same size and quality.

Printed by: Mourlot Freres, France
Edition: There were also 15 signed artists proofs on the same paper. The book included, within text, a large edition of this Lithograph and 4 black and white ones, all unsigned.
Picasso was fascinated by the Corrida and often attended Bullfights. In 1961 the artists Secretary, Jaime Sabres, published the book “A Los Toros aves Picasso”. To accompany the book Picasso made a suite of 3 black and white and one colour lithographs. Unsigned and unnumbered were included within the text of the book which was made in a large edition. In addition to these separate suites, of all 4 pieces, were made in an edition of 50 signed and numbered works from which our example comes. When first presented the Publisher, Andre Sauret, asked Fernand Mourlot to suggest to the artist the “he put a little colour in the plates”. Picasso obliged by colouring “Le Picador” with wax crayons from a box of 24. Fernand Mourlot told proudly that his atelier succeeded the difficult task of printing 24 colours - plus black - that the artist had used. He concluded: “This time, I believe, it was our great friend (Picasso) who was a little surprised”

The lithographs were executed by Marcel Salinas under Picasso’s commission to reproduce a series of imaginary portraits painted on packing cardboard in Mougins between February and May 1969
Printed by: Marcel Salinas in 1969
Edition: French Edition: There were 250 copies for the French edition, marked F and 250 for the American edition, marked A.
Note: At the beginning of 1969 Picasso was in Mougins, on the French Riviera. It was a tiring time for the great artist. He was having a series of exhibitions in Avignon, and was being ferociously attacked in some of the press. He had been quite ill, and recuperation was taking its time. And, at 88, old age was finally knocking strongly at his door. In Mougins he salvaged and recycled a set of cardboard sheets, some say from a consignment of art materials, others from the packing boxes of a new kitchen. The different textures and appearances of these sheets of carton appealed to him and he viewed the large panels of cardboard as canvases, so he set to work: from the 30th of January 1969 to the 7th of May, during one of his famous bursts of creative energy, he created a number of portraits on different sheets of card- board, all variants of XVIIth century musketeer-type of gentlemen (and two women, one in a Mantilla, the other naked). Each portrait was in gouache with simple and brilliant colours. They are all clearly linked together, each a transformation, or mutation, from the earlier one. As usual, Picasso did not title his works but the individual portraits can be identified with the date, appearing in the same style on them all, and, if more than one was produced in the same day, with a sequential number that he added in Roman numerals. The whole series became known as Portraits Imaginaires or Imaginary Portraits. The series was first exhibited at the Galerie du Dragon in Paris, belonging to his friend Zervos, and there a young publisher called Charles Feld saw them and conceived the idea of reproducing some of them in lithography. He submitted the idea to Picasso and, for the first time in his life, the artist consented to have 29 of the portraits reproduced in lithography. An important part of the stipulation was that the different types of cardboard were to be reproduced exactly. The artist chosen for the task was Marcel Salinas, and Picasso supervised the process throughout, authoring the printing only when completely satisfied. The printing was done at the Ateliers Dethuit and Guillard-Gourdon; the process took over a year and, upon completion, the plates were destroyed. This was going to be the last of the great cycles of Picasso lithographs. Each print is hand numbered and carries, in the plate, the signature of Picasso as it appears on the original gouache portraits. Two editions exist: “A” for the American Market and “F” for the French market