OLGA STEPANOVNA KHOKHLOVA- PICASSO. SEATED WITH ROSE DECORATED HAT. RUSSIA / UKRAINE BORN (JUNE 17, 1891). MOTHER OF PAULO PICASSO (PICASSO’S FIRST BORN CHILD). DIED- FEBRUARY 11, 1955 IN CANNES, FRANCE. OLD ANTIQUE ORIGINAL OIL PORTRAIT. 31 3/4″ x 43 1/4″ FRAME. 81 cm x 110 cm. 28″ X 39″ PAINTING ON CANVAS. 71 cm x 99 cm. THIS PAINTING CONTAINS VERY SIMILAR DRAFTSMANSHIP, FACIAL AND TECHNICAL FEATURES TO THESE OTHER CERTIFIED PICASSO PAINTINGS. LE FEMME DE L’ARTISTE (1920). SIMILAR LAYOUT, BRUSH SKETCH LINES AND THEME. PORTRAIT D’ OLGA (1921) SEATED / FACE DETAIL. VERY SIMILAR LAYOUT AND THEME SAME PALETTE KNIFE EDGE SCRATCH LINES AROUND HAIRLINE AND FACE. OLGA WITH FUR COLLAR – BRUSH STUDY AND PENCIL SKETCH (FALL 1923). AKA OLGA AU COL DE FOURRURE’ (MUSEE PICASSO-PARIS). STRUCTURALLY AND ARTISTICALLY THE SAME PIECE. NOTE EXACT SITTING POSTURE , SIMILAR FACE AND NOSE , SLOPE OF SHOULDERS, ARMS AND HANDS PLACEMENT. ARGUABLY DONE WITHIN A CLOSE TIME PROXIMITY OF EACH OTHER… ONLY DIFFERENCE IS THE FUR COLLAR AND THE ADDITION OF THE FLORAL HAT TO HER LAP (EUROPEAN WINTER WEAR TRANSITIONED INTO SPRING OR SUMMER CLOTHING). THE SAME PERSON LIKELY CREATED BOTH WORKS WITH PERSONAL ACCESS TO OLGA DURING SEASONAL WEATHER CHANGES. A FLORAL HAT ALSO APPEARS IN HIS PREVIOUS 1921 “FEMME AU CHAPEAU”. NOTE THE ROBUST APPEARANCE OF OLGA IN THAT PARTICULAR PIECE, AS SHE HAD RECENTLY GIVEN BIRTH TO PAULO A FEW MONTHS EARLIER. THE FLORAL HAT DID INDEED EXIST AND WAS A PART OF HER SPRING AND SUMMER WARDROBE, AS PICASSO PAINTED SEVERAL TOTALLY DIFFERENT VERSIONS. ANOTHER FLORAL HAT ALSO POPS UP IN A LATER MORE ABSTRACT PAINTING… AND THE BASE COLOR IS STRAW TAN / YELLOW OCHER, AND IT HAS ROSES IN THE SAME CONFIGURATION AS THIS PAINTING. ALSO SEE “GRANDE TETE FEMME “AND “FEMME AU CHAPEAU FLEURI”. YOU CAN LOOK AND SEE FOR YOURSELF! WOMAN IN WHITE (1924). VERY SIMILAR FACE, BODY POSTURE, HAIR LENGTH AND BACK SHOULDER HAIR PLACEMENT. SAME EXACT HAIR STRAND HIGHLIGHT DETAILING WITH DARKER PAINT. YOU LOOK AND SEE FOR YOURSELF! PAUL IN A CLOWN SUIT (1924). SIMILAR BRUSH LINE SKETCH DISPLACEMENT PRESENT IN PAUL’S LEGS AS IN HIS MOTHER’S LEFT FOREARM… WHO ELSE WILL DO THE SAME EXACT INSANE THING ACROSS SEVERAL WORKS?? THE BROWN PAINT THAT FRAME’S OLGA’S LEFT ARM IN THIS PAINTING SHOULD HAVE THE SAME EXACT CHEMICAL CONFIGURATION AS THE BROWN PAINT IN “PAUL IN A CLOWN SUIT”. A SCIENTIFIC TEST CAN BE PERFORMED BY ANY NEW YORK STATE LICENSED UNIVERSITY OR FORENSICS SPECIALIST BY TAKING A SAMPLE. BASED ON LOGIC, THEY WOULD OF BEEN COMPLETED AROUND THE SAME TIME. SIMILAR PINK ROSE IN HAIR, SAME SKIN TONES, AND BRUSH LINES, SAME FOREARM SUB-SKETCH ACTIVITY. SIMLAR BRUSH LINES AND SKETCH DISPLACEMENT ACTIVITY AS IN PAUL IN A CLOWN SUIT. GARCON A LA PIPE (1905). SIMILAR DECORATIVE ROSES PRESENT IN BACKGROUND AS IN OLGA’S EASTER HAT. BASED ON AGE, FACIAL STRUCTURE, SPONTANEITY OF BRUSH STROKES AND ARTISTIC SKETCH LINES PRESENT IN THIS PAINTING, I DO BELIEVE THAT THIS WAS PAINTED BY PABLO PICASSO HIMSELF. ENTER EACH ONE OF THE ABOVE INDIVIDUAL TITLES INTO GOOGLE SEARCH, AND YOU WILL QUICKLY SEE THAT THIS PAINTING WAS ARGUABLY CREATED BY THE SAME HAND. THE PAINTER ALSO HAD TO BE IN THE DIRECT PRESENCE OF OLGA TO HAVE CAPTURED HER SO ACCURATELY WITH NO OTHER SIMILAR SURVIVING PAINTINGS OR PHOTOGRAPHS TO PROVE THAT IT IS A RECREATION OF ANOTHER PICASSO ARTIFACT. ALSO NOTE THE SLIGHT MELANCHOLY DEMEANOR OF OLGA, AS THERE WAS KNOWN TURMOIL BETWEEN HER AND HER HUSBAND DURING THIS TIME IN THEIR LIVES BECAUSE HE WAS HAVING AN AFFAIR WITH A NEW MUSE AT THEIR RUE LA BOETIE HOME. PICASSO EXECUTED MANY PORTRAITS OF OLGA DURING THIS PERIOD WHILE LIVING NEXT TO HIS ART DEALER FRIEND, PAUL ROSENBERG IN FRANCE- WHO WAS ALSO VERY CLOSE TO OLGA AND HER NEWBORN SON, PAUL. PICASSO OFTEN PAINTED OLGA LOOKING SOMEWHAT DETACHED, READING A BOOK OR SITTING IN A CHAIR…. AND THIS PAINTING HAS MANY OF THOSE CLEARLY RECOGNIZABLE CHARACTERISTICS. PROPER SCIENTIFIC AND TECHNICAL RESEARCH SHOULD ALSO CONFIRM THE AGE, PAINT AND CANVAS TYPE (SOME POSSIBLE HAIR OR BRUSH DNA MATERIAL REMAINS NEXT TO HER RIGHT WRIST AND ENGRAINED IN OTHER PARTS OF THE PAINTING). ALSO SEE UNUSUAL CANVAS THREAD LINES AND STITCHING ON REAR THAT CAN BE SCIENTIFICALLY COMPARED TO OTHER PICASSO PAINTINGS. UPON CLOSE OBSERVATION, THERE MAY ALSO BE A LOST OR HEAVILY FADED SIGNATURE ON THE TOP LEFT SIDE THAT MAY NEED X-RAY PHOTOGRAPHY OR LAB MAGNIFICATION TO REVEAL. THE WORK IS EXTREMELY STRONG AND CONVINCING IN MY HUMBLE OPINION AND IS WORTHY OF EXECUTIVE RESEARCH. PLEASE FEEL FREE TO COMPARE IT TO OTHER PICASSO PAINTINGS FROM HIS NEOCLASSICAL PERIOD AND SEE WHAT YOU THINK?? NOTE THE JUXTAPOSITION OF HER LEFT ARM WHICH MATCHES THE SAME REPOSITIONING OR CORRECTION THEORY AS THE LEGS AND FEET OF PICASSO’S 1924. PAUL IN A CLOWN SUIT. (AKA PAUL EN ARLEQUIN’). SAME DARK BROWN PAINT FORMS THE OUTLINE OF HER ARM. SAME UNUSUAL PLAYFUL REPOSITIONING OF EXTREMITIES (ARM-THIS PAINTING) AS IN THE PAINTING OF PAUL (HIS LOWER LEGS AND FEET). THE SAME LINES ARE ALSO PRESENT IN PICASSO’S 1903 “SEATED NUDE” PAINTING. HINTS OF ROSE PERIOD COLORING LEGACY VISIBLE IN THE FLORAL HAT, DRESS AND BACKGROUND. AND THE SAME IMPRESSIONIST PINK ROSE IS PRESENT IN HIS 1905 MATERNITY PAINTING AS CAPTURED ON THE HAT IN THIS PIECE. THE PAINTING HAS AN UNKNOWN TITLE OR ENDORSEMENT ON REAR “J LEY”? THERE APPEARS TO BE NO ARTIST BY THAT NAME, SO THIS COULD BE MARKED BY A PREVIOUS OWNER OR HANDLER AT SOME POINT IN TIME, AND HAS LIKELY CAUSED THE PAINTING TO GO UNDISCOVERED FOR DECADES. IT COULD ALSO HAVE BEEN WRITTEN BY THE ARTIST HIMSELF, WHO WAS KNOWN TO WRITE NEAR GIBBERISH ON THE REAR OF HIS PAINTINGS AT TIMES? THERE IS ALSO A VERY SMALL PARTIALLY ILLEGIBLE INK STAMP FT. ALLOWANCE ON THE BACK OF THE FRAME. IT COULD OF BEEN IMPORTED TO THE UNITED STATES FROM EUROPE AND STAMPED UPON ENTRY. ALSO SOME ATTIC CRITTER FOOTPRINTS ON BACK CANVAS… POSSIBLY A RACCOON THAT HAD THE PRIVILEGE OF WALKING OVER A POSSIBLE GENUINE ORIGINAL PICASSO PAINTING OVER THE YEARS.. IF THIS CAN BE VERIFIED AS A PAINTING BY HER HUSBAND, PABLO PICASSO, IT CAN BE WORTH MILLIONS OF DOLLARS! IT WILL EVENTUALLY GO TO A VERY WISE AND KNOWLEDGEABLE ART COLLECTOR. SCIENTIFIC TESTS AND COMPARISONS GLADLY WELCOMED WITHOUT PREJUDICE! ANY OPINION CAN BE VERIFIED WITH SCIENTIFIC CONFIRMATION! ALSO FEEL FREE TO BRING ALONG ANY NEEDED SCIENTIFIC EQUIPMENT OR EXPERTS TO REMOVE A PAINT OR CANVAS SAMPLE. IF YOU ARE A MUSEUM OR ALREADY OWN A CERTIFIED PICASSO PAINTING FROM THIS TIME PERIOD, SIMPLY COMPARE THE CANVAS THREAD CONFIGURATION DEPICTED IN DETAIL HERE TO YOURS. YOU CAN ALSO TEST FOR TITANIUM WHITE. BASED ON THE BLUEISH GREY AGE TONING OF THE SKIN TONES-THERE SHOULD BE NONE PRESENT IN THIS PAINTING. TITANIUM WHITE WAS NOT HEAVILY DISTRIBUTED IN EUROPE UNTIL AFTER 1930. History of Titanium white. In 1916, the Titanium Pigment Corporation of Niagara Falls, New York and the Titan Co. The item “OLGA KHOKHLOVA PICASSO OIL PAINTING OLD ORIGINAL PORTRAIT SEATED WITH ROSE HAT” is in sale since Friday, May 24, 2019. This item is in the category “Art\Paintings”. The seller is “galleryoriginals” and is located in Garden City, New York. This item can be shipped to United States.

• Size: Large (up to 60in.)
• Region of Origin: Europe
• Artist: CIRCLE OF PABLO RUIZ PICASSO
• Style: NEO CLASSICAL-NEO CLASSICISM
• Painting Surface: Canvas
• Medium: Oil
• Date of Creation: 1900-1949
• Original/Reproduction: Original
• Features: Framed
• Width (Inches): 28″ X 39″ PAINTING
• Subject: OLGA PICASSO
• Originality: Original
• Height (Inches): 31 3/4″ X 43 1/4″ FRAME