Canon and Rare

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Pablo Picasso’s Femme dans un fauteuil; in fine collotype of 1946.
04/06/2026

Pablo Picasso’s Femme dans un fauteuil; in fine collotype of 1946.

04/06/2026

When Marc Chagall painted Hommage à la fiancée (To My Fiancée, 1911) in Paris, he was intensely homesick for his fiancée, Bella Rosenfeld, who was still living back in Vitebsk (modern-day Belarus). His close friend, the avant-garde poet Blaise Cendrars, saw the painting in Chagall's studio and named it Hommage à la fiancée. Chagall loved the title because it perfectly captured the romantic longing he felt while working in exile. Find the art that matters at Canon & Rare

Pablo Picasso’s Femme au Chapeau Assise; in fine collotype of 1930
02/06/2026

Pablo Picasso’s Femme au Chapeau Assise; in fine collotype of 1930

Salvador Dali’s Le Clef de Songe; in fine lithograph of 1946
01/06/2026

Salvador Dali’s Le Clef de Songe; in fine lithograph of 1946

Pablo Picasso - Pichet tête carrée / Square head pitcher (Alain Ramié 223). Conceived in 1953 and executed in a limited,...
31/05/2026

Pablo Picasso - Pichet tête carrée / Square head pitcher (Alain Ramié 223). Conceived in 1953 and executed in a limited, numbered edition of 300. Hand-numbered 14/300 to the underside.

31/05/2026

Up close with Ray Fawcett’s Fraisthorpe (1967); oil on canvas

31/05/2026

Inscribed by Alice B. Toklas and directly addressing the mother or Mrs. Wilde - a woman whose only place in history is for the birth and torment of Constance Wilde. This association copy is an act of revenge by Alice Toklas on behalf of Constance Wilde. To find out more about this extraordinary discovery and its significance, visit Canon & Rare and search, The Mother of Mrs. Oscar Wilde

Georges Braque’s Picador, in fine lithograph of 1955.
30/05/2026

Georges Braque’s Picador, in fine lithograph of 1955.

Ray Fawcett - Wetherby (1967); original in oils on canvas.
29/05/2026

Ray Fawcett - Wetherby (1967); original in oils on canvas.

28/05/2026

Pablo Picasso’s Le Banderillas, in fine linocut print of 1962. Produced during Picasso’s lifetime and overseen by him. The original linocuts were pressed following Picasso’s own reduction technique. Together with Galerie Leiris, Picasso had agreed to publish the first portfolio of those originals at 42% of the size. This 1962 first edition therefore became scarce due a much superior quality to the reprint editions which followed in later years

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