Offset Lithograph
Exhibition Poster
Signed in Plate
Paper size: 137 × 70.5cm
£3500 Framed
Offset lithographic poster from the late 1950s. Printed for the Stedelijk museum in Amsterdam. Printed in the Netherlands.
These posters were printed at the time when Guernica was being displayed in Amsterdam and these posters were pasted in the streets to advertise the monumental occasion.

Etching, Aquatint, 1968
Suite: La Célestine
Unsigned
Edition of 400
Paper size: 12.4 × 8.9cm
£2000 Framed
The etchings made for La Célestine are part of the famous '347' series.Between March 16 and October 5, 1968, Picasso worked on the plates almost daily, using various techniques (sometimes on the same plate); he was impatient to see the impression as soon as it was pulled by Aldo and Piero Crommelynck, who had installed their atelier at Mougins. This must rank as one of Picasso's most important and sought-after late suites.

Etching, 1968
Suite: La Célestine
Unsigned
Edition of 400
Paper size: 8.9 × 12.4cm
£1750 Framed
The etchings made for La Célestine are part of the famous '347' series.Between March 16 and October 5, 1968, Picasso worked on the plates almost daily, using various techniques (sometimes on the same plate); he was impatient to see the impression as soon as it was pulled by Aldo and Piero Crommelynck, who had installed their atelier at Mougins. This must rank as one of Picasso's most important and sought-after late suites.

Etching, 1968
Suite: La Célestine
Unsigned
Edition of 400
Paper size: 6 × 11.9cm
£1750 Framed
The etchings made for La Célestine are part of the famous '347' series.Between March 16 and October 5, 1968, Picasso worked on the plates almost daily, using various techniques (sometimes on the same plate); he was impatient to see the impression as soon as it was pulled by Aldo and Piero Crommelynck, who had installed their atelier at Mougins. This must rank as one of Picasso's most important and sought-after late suites.

Etching, Aquatint, 1968
Suite: La Célestine
Unsigned
Edition of 400
Paper size: 5.9 × 11.9cm
£1750 Framed
The etchings made for La Célestine are part of the famous '347' series.Between March 16 and October 5, 1968, Picasso worked on the plates almost daily, using various techniques (sometimes on the same plate); he was impatient to see the impression as soon as it was pulled by Aldo and Piero Crommelynck, who had installed their atelier at Mougins. This must rank as one of Picasso's most important and sought-after late suites.

Etching, Aquatint, 1968
Suite: La Célestine
Unsigned
Edition of 400
Paper size: 6 × 8.4cm
£1250 Framed
The etchings made for La Célestine are part of the famous '347' series. Between March 16 and October 5, 1968, Picasso worked on the plates almost daily, using various techniques (sometimes on the same plate); he was impatient to see the impression as soon as it was pulled by Aldo and Piero Crommelynck, who had installed their atelier at Mougins. This must rank as one of Picasso's most important and sought-after late suites.

Collotype, 1955-56
Suite: Californie
Unsigned
Edition of 1500
Paper size: 42 × 26.5cm
£1245 Framed
Collotype after one of Picasso's sketchbook drawings executed between November 1st 1955 and January 14th 1956. Printed by Imprimerie Duval, Paris.Published by Editions Cercle d'Art.
Edition of 1500, split between German, Italian and English editions, with this coming from the German edition of 500.

Collotype, 1955-56
Suite: Californie
Unsigned
Edition of 1500
Paper size: 42 × 26.5cm
£1245 Framed
Collotype after one of Picasso's sketchbook drawings executed between November 1st 1955 and January 14th 1956. Printed by Imprimerie Duval, Paris.Published by Editions Cercle d'Art.
Edition of 1500, split between German, Italian and English editions, with this coming from the German edition of 500.

Collotype, 1955-56
Suite: Californie
Unsigned
Edition of 1500
Paper size: 42 × 26.5cm
£1245 Framed
Collotype after one of Picasso's sketchbook drawings executed between November 1st 1955 and January 14th 1956. Printed by Imprimerie Duval, Paris.Published by Editions Cercle d'Art.
Edition of 1500, split between German, Italian and English editions, with this coming from the German edition of 500.

Collotype, 1955-56
Suite: Californie
Unsigned
Edition of 1500
Paper size: 42 × 26.5cm
£1245 Framed
Collotype after one of Picasso's sketchbook drawings executed between November 1st 1955 and January 14th 1956. Printed by Imprimerie Duval, Paris.Published by Editions Cercle d'Art.
Edition of 1500, split between German, Italian and English editions, with this coming from the German edition of 500.

Linocut, 1962
Suite: Linogravures
Unsigned
Paper size: 32.5 × 27cm
£1150 Framed
Between 1958 and 1961 Picasso made many linocuts, a process that he found hugely stimulating.First issued in signed editions of 50 by Galerie Louise Leiris, many of which now sell at between £8,000 and £80,000 each. Picasso invented the ‘reduction’ method, progressively cutting the same linoblock for each new colour, making it impossible to take any further prints from the original block.In 1962, in collaboration with Picasso and Galerie Louise Leiris, new linoleum plates were made at 42% of the original size, and it was from these that the prints on offer here were made.

Linocut, 1962
Suite: Linogravures
Unsigned
Paper size: 32.5 × 27cm
£850 Framed
Between 1958 and 1961 Picasso made many linocuts, a process that he found hugely stimulating.First issued in signed editions of 50 by Galerie Louise Leiris, many of which now sell at between £8,000 and £80,000 each. Picasso invented the ‘reduction’ method, progressively cutting the same linoblock for each new colour, making it impossible to take any further prints from the original block.In 1962, in collaboration with Picasso and Galerie Louise Leiris, new linoleum plates were made at 42% of the original size, and it was from these that the prints on offer here were made.

Linocut, 1962
Suite: Linogravures
Unsigned
Paper size: 32.5 × 27cm
£1150 Framed
Between 1958 and 1961 Picasso made many linocuts, a process that he found hugely stimulating.First issued in signed editions of 50 by Galerie Louise Leiris, many of which now sell at between £8,000 and £80,000 each. Picasso invented the ‘reduction’ method, progressively cutting the same linoblock for each new colour, making it impossible to take any further prints from the original block.In 1962, in collaboration with Picasso and Galerie Louise Leiris, new linoleum plates were made at 42% of the original size, and it was from these that the prints on offer here were made.

Linocut, 1962
Suite: Linogravures
Unsigned
Paper size: 32.5 × 27cm
£750 Framed
Between 1958 and 1961 Picasso made many linocuts, a process that he found hugely stimulating.First issued in signed editions of 50 by Galerie Louise Leiris, many of which now sell at between £8,000 and £80,000 each. Picasso invented the ‘reduction’ method, progressively cutting the same linoblock for each new colour, making it impossible to take any further prints from the original block.In 1962, in collaboration with Picasso and Galerie Louise Leiris, new linoleum plates were made at 42% of the original size, and it was from these that the prints on offer here were made.

Linocut, 1962
Suite: Linogravures
Unsigned
Paper size: 32.5 × 27cm
£850 Framed
Between 1958 and 1961 Picasso made many linocuts, a process that he found hugely stimulating.First issued in signed editions of 50 by Galerie Louise Leiris, many of which now sell at between £8,000 and £80,000 each. Picasso invented the ‘reduction’ method, progressively cutting the same linoblock for each new colour, making it impossible to take any further prints from the original block.In 1962, in collaboration with Picasso and Galerie Louise Leiris, new linoleum plates were made at 42% of the original size, and it was from these that the prints on offer here were made.

Linocut, 1962
Suite: Linogravures
Unsigned
Paper size: 32.5 × 27cm
£1150 Framed
Between 1958 and 1961 Picasso made many linocuts, a process that he found hugely stimulating.First issued in signed editions of 50 by Galerie Louise Leiris, many of which now sell at between £8,000 and £80,000 each. Picasso invented the ‘reduction’ method, progressively cutting the same linoblock for each new colour, making it impossible to take any further prints from the original block.In 1962, in collaboration with Picasso and Galerie Louise Leiris, new linoleum plates were made at 42% of the original size, and it was from these that the prints on offer here were made.

Linocut, 1962
Suite: Linogravures
Unsigned
Paper size: 32.5 × 27cm
£850 Framed
Between 1958 and 1961 Picasso made many linocuts, a process that he found hugely stimulating.First issued in signed editions of 50 by Galerie Louise Leiris, many of which now sell at between £8,000 and £80,000 each. Picasso invented the ‘reduction’ method, progressively cutting the same linoblock for each new colour, making it impossible to take any further prints from the original block.In 1962, in collaboration with Picasso and Galerie Louise Leiris, new linoleum plates were made at 42% of the original size, and it was from these that the prints on offer here were made.

Linocut, 1962
Suite: Linogravures
Unsigned
Paper size: 32.5 × 27cm
£950 Framed
Between 1958 and 1961 Picasso made many linocuts, a process that he found hugely stimulating.First issued in signed editions of 50 by Galerie Louise Leiris, many of which now sell at between £8,000 and £80,000 each. Picasso invented the ‘reduction’ method, progressively cutting the same linoblock for each new colour, making it impossible to take any further prints from the original block.In 1962, in collaboration with Picasso and Galerie Louise Leiris, new linoleum plates were made at 42% of the original size, and it was from these that the prints on offer here were made.

Lithograph, 1940’s
Suite: The School Prints
Signed in Plate
Paper size: 76 × 49.5cm
£1400 Framed
From the European School Prints Series. Published by School Prints Ltd and printed in Great Britain by W.S. Cowell Ltd