"Though there is typically some variability in size," Ledor said, a 1/4-inch variance is at the "upper range of acceptability."
Ledor, who only viewed a digital photo of the print, said he has "doubts" about the authenticity of the signature, though the color may have been distorted photographically.
First, Ledor said that it was "odd" that the signature appears to have faded unevenly.
"They generally fade homogeneously, and I have seen no exceptions to that rule," he said.
Second, the color of the red pencil that Picasso typically used to sign his prints was "a red bordering on orange, which fades to orange, then yellow or pale yellowish/brown, then disappears."
"There are many authentic, original Picasso prints with forged signatures, so a forged signature on this find would not necessarily damn the artwork," he said. "A forger could have easily used the wrong type of pencil."
Last, Ledor said it is "unusual" that the "P" in Picasso's name dips below the underlining, "but there are a number of known exceptions to that."
Florman said in 1954, when he was 72, Picasso discovered the linocut technique and advertisements for the Vallauris ceramics exhibitions were among the very first sorts of linocuts he made.
"Most of his early ones used only a single color and were quite simple in design," she said. "In that sense, they are remarkably similar to his ceramic work, for which he also typically used only one or two colors at a time and kept things simple. The image on the 1958 Vallauris linocut is, I think, meant to depict a plate of the sort that Picasso often made -- the "pattern" being simply a human face."