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Preisdatenbank abonnierenWEDGWOOD 'HATHAWAY ROSE' TEA WARES, comprising of eight tea cups and saucers, seven tea plates, milk, sugar, cake plate, together with a rose pink jasperware trinket pot and cover and a blue jasperware trinket dishCondition Report Due to the low value not all pieces have been checked. Some pieces show signs of light use, non of the random samples checked were chipped or cracked
THREE BOXES GLASSWARES, to include carnival glass footed bowl, pair silver rimmed cranberry vases, glass crocodile vase, glass snowman, a ceiling light, lemonade set, etcCondition Report Not all pieces checked due to low estimate. The fish and ballerina are in good condition, the preserve pot has flea bites to the underside rim. The rim of the lid is chipped, bruised and has flea bites. FRandom selectioon of other pieces seem to be in good age related condition
HARRY BECKER (BRITISH 1865-1928) 'THE TREE FELLERS' forestry workers beside a tree, signed to lower margin, sepia drypoint etching on paper, label verso stating this print was presented by Becker, mounted, framed and glazed, approximate size including margins 21cm x 26cm (condition:- light foxing to print and margins)
TWO BOXES OF CAMERAS, PHOTOGRAPHIC EQUIPMENT, BOXED FILM STRIP PROJECTOR, a Sovereign Hacker radio, model RP18, a Pentax MX fitted with Pentax 50mm f1.7 lens, an Olympus OM1N camera fitted with an Olympus 50mm f1.8 lens, a Kodak Retina Reflex 3, Lordomatic camera and other vintage camera and accessories (two boxes and loose)Condituion Report The Omin Speeds below 30TA of a second are slower than the indicated speeds. Film advance lever was slow to return until operated a few times. The 50mm lens has fungus. Pentax MX speeds below 30TA are slower than indicated. Two small areas of fungus to the edges of the 50mm lens. We do not have batteries to test the light meters both cameras are in good cosmetic condition
19th century English School, pencil and watercolour, View of San Filippo and The Tomb of Theron, inscribed in pencil, 24 x 34cmCONDITION: Both on light grey coloured paper, both a little faded with some discolouring and over exaggeration now of the white heightening, possibly the trace of a signature lower right, one with broken glass.
Albert Ludovici (1884-1923), set of four chromolithographs, Coaching, Hunting and Ballroom scenes, signed in pencil, 42 x 62.5cmCONDITION: All a little faded but still with fair strength of colour, ground paper has a light buff tone with some scattered fox marks and minor damp spots, one with broken glass, all in original oak frames.
A late Victorian silver topped cut glass scent bottle, William Comyns, London, 1900, 12cm, a late Victorian silver condiment stand(one bottle missing) and an Edwardian pierced silver light house caster (no liner).CONDITION: Scent bottle only- Numerous holes in the lid. Stopper ok. Some minor nibbles to the glass body in general. Hallmarks clear.
John Swatsley (American, B. 1937) "Spanish Imperial Eagle" Signed lower right. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 17c Official Mail stamp issued January 12, 1983. The eagle's fearsome beauty and impressive size have long won the respect and admiration of man ... in all areas of the world. The bird's image has been engraved in coins, like America's ten dollar gold piece. It has been proudly hoisted on battle standards ... leading the troops of Napoleon and the Caesars into battle. In this noble, seemingly fearless bird, the soldier took courage and found the strength he needed to meet his foe. To be like an eagle in courage and strength was a goal many soldiers found worth attaining. In light of this fact, it is easy to understand why this proud bird has been a favorite of military leaders for hundreds of years. The eagle featured in this artwork is the Spanish Imperial Eagle. It is a bird of courage and strength that has long won the admiration of mankind. Image Size: 17.75 x 15.5 in. Overall Size: 23.75 x 20 in. Unframed. (B07909)
Dennis Lyall (American, B. 1946) "Great Lakes Lighthouse" Signed lower right. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 32c Great Lakes Lighthouse stamp issued June 17, 1995. Although they are called lakes, from the point of view of a lighthouse keeper these bodies of water share nearly all the characteristics of seas -- including the difficulties that are often encountered in the construction of light towers. America's Great Lakes, like the nation's Atlantic and Pacific waters, require coastal lights, harbor lights, lightships and channel lights to provide safe passage for the vessels that ply their waters. Lighthouses are much-needed beacons that were built in a variety of challenging locales, including atop a reef, at the end of a pier and on a precipitous cliff. Image Size: 11.5 x 13.25 in. Overall Size: 14 x 16.25 in. Unframed. (B15041)
Dennis Lyall (American, B. 1946) "Marblehead, Lake Erie Lighthouse" Signed lower right. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 32c Marblehead Lighthouse stamp issued June 17, 1995. Located on the northeastern tip of Ohio's Marblehead Peninsula is the oldest continuously-operating light on the Great Lakes. Marblehead Lighthouse -- known as Sandusky Bay Lighthouse until 1870 -- was erected in 1812 on the northern border of Sandusky Bay. It is located in a region called the Lake Erie Firelands, which was so named for the Connecticut citizens who were burned off their land during the American Revolution. In compensation for their losses they were given a portion of the 500,000-acre tract dubbed the Firelands that now spans four counties. One reason the lighthouse was built at this site is because the area is often subjected to fierce winds accompanied by "nor'easters" -- powerful storms that churn Lake Erie's waters from Buffalo, New York, to Marblehead. In fact, it's not unusual for tremendous waves to crash up against this limestone beacon, sending sprays to the top of its 65-foot tower. For more than half a century -- before a separate rescue station was established in a nearby location -- Marblehead housed crews that consistently risked their lives to save those whose crafts had been battered by the menacing storms. Over the years the light has undergone several renovations. Between 1897 and 1903, the tower was extended by 15 feet to its present height of 65 feet, and in 1923 it was first powered by electricity. Today, Marblehead Lighthouse continues to guide ships in and out of Sandusky Bay. Image Size: 13.25 x 11.5 in. Overall Size: 16.25 x 14 in. Unframed. (B15037)
19th C. Chinese Carved Flourite Snuff Bottle. Carved around the side walls in high relief with birds and flowers; the matrix of light green shade suffused with amethyst purple. Stopper having area of loss. Provenance: David Chang Collection (San Francisco California). Refer to a similar bottle published and illustrated The collector's book of Snuff Bottles by Bob C. Stevens 1976, Fig. 635. See last image.
Jim Butcher (American, B. 1944) "Probes of the Planets/Space Achievements" Signed lower right. Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. Space Achievements 18c Probes of the Planets stamp issued May 21, 1981. Pioneer 10 and 11 rendezvoused with the stars in 1973 and 1974. After a 620-million-mile flight, the Pioneers were within a celestial eyelash of Jupiter. Interest in the possibility of life on this planet has heightened due to space probes that were begun by the Pioneer spacecraft. Pioneer 10 could not see evidence of life from its closest distance of eighty-two thousand miles above the cloud tops, nor was it designed to detect life. Neither could Pioneer 11, though it passed within twenty-seven thousand miles. But as scientists analyze the data transmitted by these spacecraft about atmosphere, temperatures, gravity, radiation and magnetic fields, they are putting together new models of Jupiter that have implications about the possibilities of life. Pioneer 10 is now in headlong flight toward the red star Aldebaran, which it should reach in 1,700,000 years. In 1987 it will cross the orbit of Pluto. Years later it will flash by the last of the comets, becoming the first known man-made object to leave the solar system. Pioneer 11, meanwhile, has conducted the first spacecraft observations of Saturn. The Pioneers have only begun the exploration of Jupiter and the outer solar system. More sophisticated observations are being produced from the Mariner Jupiter-Saturn missions. No man knows what further searches will reveal. New light is yet to be shed on these mysteries of the universe. Image Size: 18 x 18 in. Overall Size: 22 x 22 in. Unframed. (B06942)
Tom McNeely (Canadian, B. 1935) "Columbus Coming Ashore" Signed lower right. Watercolor. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 29? Columbus Voyage; Coming Ashore issued April 24, 1992. "... they arrived at an island of the Bahamas that was called in the Indian tongue Guanahan?." An entry in the Journal of the First Voyage recorded Columbus's wondrous discovery of October 12, 1492. A veritable island paradise lay revealed in the sun's brilliant light, and the Italian mariner was eager to explore its lush interior. Accompanied by his two captains and other officials, Columbus marched ashore carrying the royal banner. Claiming the island for Spain's king and queen, Columbus renamed it San Salvador. Later journal entries maintained that the admiral "... never beheld so fair a thing: trees all along the river, beautiful and green, and ... many birds and little birds which sing very sweetly." Still convinced he had reached the Indies, Columbus called the local Arawak natives "indians," but he spent only three days exploring San Salvador before casting off to investigate what lay beyond the island. For nearly three months, the small fleet glided in and out of a dozen or more exotic ports, sailing coastlines from Cuba to Hispa?ola. On Christmas Eve, Columbus's sturdy flagship -- the Santa Maria shipwrecked during a gale on a reef off Haiti. But ever willing to take advantage of opportunity, Columbus ordered a fort built on the island and left 40 of his men to search for gold until his return. On January 16, 1493, the Ni?ia and Pinta triumphantly set sail for home. Image Size: 24.75 x 21.25 in. Overall Size: 24.75 x 21.25 in. Unframed. (B13757)
Zhenhua Wang (Chinese, 20th C.) "Red & Black Tulips" Signed and stamped upper left. Watercolor on Rice Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork originally appeared on the Fleetwood First Day of Issue Maximum Card for the U.S. 29c Tulip Booklet stamp issued January 22, 1991. "Clean as a lady, cool as glass, fresh without fragrance the tulip was," wrote poet Humbert Wolfe in 1924. His words aptly describe the crisp lines and austere elegance of this garden perennial. In 1554 O. de Busbecq, the Austrian ambassador to Turkey, spied tulips growing in a garden near Constantinople and brought a few bulbs back to Vienna. Conrad Gesner, a botanist of the era, began his own cultivation of tulips near Augsburg and soon word of this unusual flower spread throughout Europe. British and Dutch colonists brought the tulip to the Americas, and it has remained tremendously popular with serious and "week-end" gardeners alike. Lacking the heady perfume of a gardenia or tuberose and the dense, velvet blossoms of a rose, the tulip is a hardy but refined flower. Properly planted, it grows profusely but tidily. The tulip prefers moderate temperatures, well-drained soils and an occasional light shower. Like other bulb varieties, the tulip cannot withstand harsh winters. Conscientious gardeners must dig up the bulbs before the season's first hard freeze and store them in a cool, dry place. Perfect in floral arrangements, the tulip is equally impressive artfully placed in ornate bouquets or simply scattered in crystal vases. Size: 9.75 x 14 in. Unframed. (B12932)
Keith Reynolds (American, B. 1929) "Lighthouse and Sailboat" Signed lower right. Oil on Canvas Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. Although they are called lakes, from the point of view of a lighthouse keeper these bodies of water share nearly all the characteristics of seas -- including the difficulties that are often encountered in the construction of light towers. America's Great Lakes, like the nation's Atlantic and Pacific waters, require coastal lights, harbor lights, lightships and channel lights to provide safe passage for the vessels that ply their waters. Image Size: 12.5 x 15 in. Overall Size: 14.5 x 16.5 in. Unframed. (B07937)
Howard Koslow (1924 - 2016) "Tomb of the Unknowns" Signed lower left. Acrylic painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting was originally published on the Fleetwood Commemorative Proofcard for America's Greatest Military Heroes series, postmarked November 11, 1993. The "Tomb of the Unknowns" is, perhaps, the most sacred shrine to military heroes in the country. Originally designated the Tomb of the Unknown Soldier, this monument was built to honor all American soldiers killed during wars in the 20th century. The monument was established in March, 1921 when Congress, following the custom of European countries, approved the building of a national shrine to honor soldiers who could not be identified after they died in World War I. The first Unknown Soldier died in Europe during that war. He was selected on October 23, 1921, from among four unidentified American soldiers who were to be buried in military cemeteries in France. The shrine's name was changed in 1958 to the "Tomb of the Unknowns" when two servicemen, one killed in World War II and the other from Korea were interred. Since then, an American soldier who fought in Vietnam has also been interred. The Tomb has a perpetual honor guard by a member of the Sentinels of The Old Guard. A Sentinel is always there, in light or dark, eyes straight ahead, uniform immaculate. He paces back and forth while swiftly moving through the manual of arms: 21 paces south, left face, 21 seconds, left face, left shoulder arms, about face and so on. The 21 paces and seconds are symbolic of the 21-gun salute, the military's highest honor. Image Size: 13.75 x 12 in. Overall Size: 20.25 x 18 in. Framed behind glass. (B10468)
Dennis Lyall (American, B. 1946) "Statue of Liberty #2" Signed lower left. Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting appeared on the Fleetwood Mint Stamps of the World Statue of Liberty Centennial Collectors Panel produced July 4, 1986. The Lady, the Goddess, Miss Liberty -- she has been called many names, but she has always been the symbol of freedom. Our grand Lady of the Harbor evokes the hopes and dreams of all those who gaze upon her brilliant face and flock to her open shores. The Statue was a gift from France to the people of the United States -- whose striving for liberty and social justice helped inspire the French in their own search for liberty. To help bring the vision of the statue to reality, the French government enlisted the help of a young sculptor, Frederic Auguste Bartholdi. Initially given the name Liberty Enlightening the World, Bartholdi envisioned the statue to embody the everlasting spirit of Liberty, which would serve as an inspiration for all nations, for all peoples, for all times. After experimenting with several models, Bartholdi revealed the statue in her final form: a serene but forceful woman in classical garb, with an upheld torch of freedom, a crown of radiant light, with chains of bondage broken at her feet, and a sacred tablet inscribed with the date of the Declaration of Independence. Since her dedication in 1886, the Statue of Liberty has stood proudly in New York Harbor, beckoning the thousands of immigrants from faraway lands to her free and prospering shores. The story of over one hundred million Americans literally cannot be told apart from the story of the Statue of Liberty. Image Size: 26 x 21 in. Overall Size: 29.75 x 23.5 in. Unframed. (B10370)
Shannon Stirnweis (Arizona, New York, New Hampshire Oregon, B. 1931) "Statue of Liberty" Signed lower right. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 22c Statue of Liberty Stamp issued July 4, 1986. The Lady, the Goddess, Miss Liberty -- she has been called many names, but she has always been the symbol of freedom. Our grand Lady of the Harbor evokes the hopes and dreams of all those who gaze upon her brilliant face and flock to her open shores. The Statue was a gift from France to the people of the United States -- whose striving for liberty and social justice helped inspire the French in their own search for liberty. To help bring the vision of the statue to reality, the French government enlisted the help of a young sculptor, Frederic Auguste Bartholdi. Initially given the name Liberty Enlightening the World, Bartholdi envisioned the statue to embody the everlasting spirit of Liberty, which would serve as an inspiration for all nations, for all peoples, for all times. After experimenting with several models, Bartholdi revealed the statue in her final form: a serene but forceful woman in classical garb, with an upheld torch of freedom, a crown of radiant light, with chains of bondage broken at her feet, and a sacred tablet inscribed with the date of the Declaration of Independence. Since her dedication in 1886, the Statue of Liberty has stood proudly in New York Harbor, beckoning the thousands of immigrants from faraway lands to her free and prospering shores. The story of over one hundred million Americans literally cannot be told apart from the story of the Statue of Liberty. Image Size: 17.5 x 15 in. Overall Size: 21.75 x 18.75 in. Unframed. (B10255)
(See below for english version)„[2,3]“. 2011Original-Leinenbox mit 6 Falt-Pop-ups, jeweils in einem Leinenschuber. Schuber: 52,3 × 41,8 × 11,3 cm ( 20 ⅝ × 16 ½ × 4 ½ in.). Eines von 1000 nummerierten Exemplaren. New York, Tauba Auerbach und Printed Matter, 2011. [3159]Zustandsbericht: Ex. 490/1100. In gutem Zustand. Der Schuber mit leichten Gebrauchsspuren. Die einzelnen Papierobjekte ohne Einrisse oder Fehlstellen. Das Kugel-Objekt mit einem losen Teil. Dieses und ein weiteres Objekt mit vereinzelten kleinen Knickspuren. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.„[2,3]“. 2011Original linen box with 6 folding pop-ups, each in a linen-covered slipcase. Slipcase: 52,3 × 41,8 × 11,3 cm ( 20 ⅝ × 16 ½ × 4 ½ in.). One of 1000 numbered copies. New York, Tauba Auerbach and Printed Matter, 2011. [3159]Condition report: Ex. 490/1100. In good condition. Light handling marks on the the slipcase. The singlular paper objects are without tears or losses. The sphere-object has a loose part. This and one further object have isolated small crease marks. Fine harmonious overall appearanceWe charge 30% premium on the hammerprice.
(See below for english version)Frau mit Kind. 2004Tempera, Deckweiß und Tusche auf Papier. 104 × 79 cm ( 41 × 31 ⅛ in.). Unten rechts mit Bleistift signiert und datiert: Bach 2004.[3095]Zustandsbericht: In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.Woman with Child. 2004Tempera, opaque white and India ink on paper. 104 × 79 cm ( 41 × 31 ⅛ in.). Signed and dated in pencil lower right: Bach 2004.[3095]Condition report: In good condition. The sheet edges are without tears or losses. Ultraviolet light reveals no retouchings or repairs. Fine harmonious overall appearanceWe charge 30% premium on the hammerprice.
(See below for english version)„The Colourful Venus I“. 1985Farbserigrafie auf Velin. 59,7 × 50,1 cm (88,9 × 63,4 cm) ( 23 ½ × 19 ¾ in. (35 × 25 in.)). Signiert und datiert.Nicht bei D'Oench/Feinberg / nicht bei Carpenter.–Einer von 400 nummerierten Abzügen. Blatt 4 (von 5) der Serie: The Astra Set. London, AB Astra und Jim Dine/Waddington Graphics, und New York, Pace Editions, 1985. [3297]Zustandsbericht: Ex. 132/400. Harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Im Randbereich vereinzelt schwachen Dellen. Im unteren Randbereich mittig blassrote Farbspur (vom Druck). Vereinzelt winzige hellbraune Fleckchen. Rückseitig wenige blassgelbe FleckenWir berechnen auf den Hammerpreis 30% Aufgeld.„The Colourful Venus I“. 1985Colour silkscreen on wove paper. 59,7 × 50,1 cm (88,9 × 63,4 cm) ( 23 ½ × 19 ¾ in. (35 × 25 in.)). Signed and dated.Not in the catalogue raisonné by D'Oench/Feinberg / not in the catalogue raisonné by Carpenter.–One of 400 numbered prints. Sheet 4 (of 5) of the series: The Astra Set. London, from Astra and Jim Dine/Waddington Graphics, and New York, Pace Editions, 1985. [3297]Condition report: No. 132/400. Harmonious overall appearance. The sheet edges are without tears or losses. Isolated faint dents in the margins. Pale red colour tracing in the middle of the lower margin (from printing). Isolated minuscule light brown stains. A few pale yellow stains on the reverseWe charge 30% premium on the hammerprice.
(See below for english version)„Is this desire?“. 2005Öl auf Leinwand. 40 × 40,2 cm ( 15 ¾ × 15 ⅞ in.). Rückseitig mit Kugelschreiber in Schwarz signiert, datiert, betitelt und mit der Werknummer versehen: M Edmondson 2005 Is this desire? 17.[3282]Zustandsbericht: In gutem Zustand. Die Leinwand ist nicht doubliert und befindet sich auf dem originalen Keilrahmen. Unter UV-Licht sind keine Retuschen erkennbar. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.„Is this desire?“. 2005Oil on canvas. 40 × 40,2 cm ( 15 ¾ × 15 ⅞ in.). In black ballpoint pen signed, dated, titled and inscribed with the work number on the reverse: M Edmondson 2005 Is this desire? 17.[3282]Condition report: In good condition. The canvas is not relined and is mounted on the original stretcher. There are no retouchings visible under ultraviolet light. Fine harmonious overall appearanceWe charge 30% premium on the hammerprice.
(See below for english version)„Angler und Schiffe“. 1919Holzschnitt auf Japanbütten. 8 × 11,5 cm (13 × 19 cm) ( 3 ⅛ × 4 ½ in. (5 ⅛ × 7 ½ in.)). Signiert und mit der Werknummer bezeichnet: 1916.Prasse W 135 II (von II).–Blatt 8 (von 10) der Mappe: Ten Woodcuts by Lyonel Feininger. New York, Buchholz Gallery via Curt Valentin, 1941. [3394]Zustandsbericht: In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Unter UV-Licht sind keine Restaurierungen erkennbar. Schöner Harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.„Angler und Schiffe“. 1919Woodcut on Japan laid paper. 8 × 11,5 cm (13 × 19 cm) ( 3 ⅛ × 4 ½ in. (5 ⅛ × 7 ½ in.)). Signed and inscribed with the work number: 1916.Prasse W 135 II (of II).–Sheet 8 (of 10) from the portfolio: Ten Woodcuts by Lyonel Feininger. New York, Buchholz Gallery via Curt Valentin, 1941. [3394]Condition report: In good condition. The sheet edges are without tears or losses. There are no repairs visible under ultraviolet light. Fine harmonious overall appearanceWe charge 30% premium on the hammerprice.
(See below for english version)Barcelona Pavillon Mies van der Rohe. 19893 S/W-Fotografien. Jeweils ca. 21,5 × 29,7 cm (30,6 × 40,5 cm) bzw. 31,6 × 22 cm (40,5 × 30,6 cm) ( 8 ½ × 11 ¾ in. (12 × 16 in.) bzw. 12 ½ × 8 ⅝ in. (16 × 12 in.)). Jeweils rückseitig signiert und datiert.[3275]Zustandsbericht: Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Zwei Blätter mit jeweils vier, eines mit zwei leicht bestoßenen Ecken. Ein Blatt mit leichten Knickspuren (bis zu 6 cm) in der rechten unteren Ecke, dort auch leicht fleckigWir berechnen auf den Hammerpreis 30% Aufgeld.Barcelona Pavillon Mies van der Rohe. 19893 black and white-photographs. Each approx. 21,5 × 29,7 cm (30,6 × 40,5 cm) and 31,6 × 22 cm (40,5 × 30,6 cm) ( 8 ½ × 11 ¾ in. (12 × 16 in.) and 12 ½ × 8 ⅝ in. (16 × 12 in.)). Each signed and dated on the reverse.[3275]Condition report: Fine harmonious overall appearance. The sheet edges are without tears or losses. Two sheets each with four bumped corners, and one with two slightly bumped corners. One sheet with light creases (up to 6 cm) in the right lower corner, there slightly stained tooWe charge 30% premium on the hammerprice.
(See below for english version)„Jimmy Paulette after the Parade, NYC“. 1991C-Print. 50,7 × 61 cm ( 20 × 24 in.). Rückseitig signiert.Hamburg, Griffelkunst, 1996. [3079]Zustandsbericht: Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Im Randbereich vereinzelt schwache Fingerabdrücke. Die Oberfläche stellenweise mit minimalen, leicht glänzenden Spuren, wahrnehmbar nur aus nächster Nähe im StreiflichtWir berechnen auf den Hammerpreis 30% Aufgeld.„Jimmy Paulette After the Parade, NYC“. 1991C-print. 50,7 × 61 cm ( 20 × 24 in.). Signed on the reverse.Hamburg, Griffelkunst, 1996. [3079]Condition report: Fine harmonious overall appearance. The sheet edges are without tears or losses. Isolated faint finger prints in the margins. Minimal, slightly shiny traces in places on the surface, perceptible only from very close proximity in raking lightWe charge 30% premium on the hammerprice.
(See below for english version)„Fünf Musical-Clowns“. Um 1957Tuschfeder auf Papier. 15,3 × 21 cm ( 6 × 8 ¼ in.). Rückseitig mit dem Nachlassstempel in Blau.Zesch F IV 513.–[3207]Zustandsbericht: Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Das Papier ungleichmäßig schwach gebräunt. Die Unterkante minimal gewellt. Stellenweise mit winzigen hellbraunen Fleckchen. Rückseitig oben mittig ein kleiner Rest Tesafilm. In den Ecken Reste ehemaliger Papiermontierung. In den oberen Ecken mit Japanfaser auf den Unterlagekarton montiertWir berechnen auf den Hammerpreis 30% Aufgeld.„Fünf Musical-Clowns“. Circa 1957Pen and India ink on paper. 15,3 × 21 cm ( 6 × 8 ¼ in.). Estate stamp in blue on the reverse.Zesch F IV 513.–[3207]Condition report: Fine harmonious overall appearance. The sheet edges are without tears or losses. The paper has irregular, minor time staining. Minimally warped on the bottom edge. Minuscule, light brown, small stains in places. One small remnant of adhesive tape on the reverse at the centre top. Remains of the former paper mount on the corners. Mounted on the upper corners with Japan fibre on cardboardWe charge 30% premium on the hammerprice.
(See below for english version)„Bourse du Travail Calais 2001“. 2001C-Print auf Papier. 30 × 23,9 cm ( 11 ¾ × 9 ⅜ in.). Rückseitig signiert.Einer von 65 nummerierten Abzügen. [3263]Zustandsbericht: Ex. 61/65. In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Unter UV-Licht sind keine Aufheller erkennbar. Harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.„Bourse du Travail Calais 2001“. 2001C-print. 30 × 23,9 cm ( 11 ¾ × 9 ⅜ in.). Signed on the reverse.One of 65 numbered prints. [3263]Condition report: No. 61/65. In good condition. The sheet edges without tears or losses. No brightners are visible under ultraviolet light. Harmonious overall appearanceWe charge 30% premium on the hammerprice.
(See below for english version)„Talos I“. 1968Öl auf Leinwand, mit Künstlerleiste. 150 × 130 cm ( 59 × 51 ⅛ in.). Rückseitig mit Bleistift bezeichnet, signiert, datiert und betitelt: 150 x 130 cm 29 [durchgestrichen] oben [eingekreist] Ulrich Knispel, Dortmund Münsterstraße 122 1969 Talos I. Sowie einem Etikett des Deutschen Künstlerbundes. Dort mit Kugelschreiber in Blau signiert: Ulrich Knispel.[3188]Zustandsbericht: Schöner harmonischer Gesamteindruck. Die Leinwand ist nicht doubliert und befindet sich auf dem originalen Keilrahmen (originale Aufspannung). Unter UV-Licht sind kleine Retuschen erkennbar. Insgesamt etwas unfrisch und angestaubtWir berechnen auf den Hammerpreis 30% Aufgeld.„Talos I“. 1968Oil on canvas, with artist's framing. 150 × 130 cm ( 59 × 51 ⅛ in.). Inscribed, signed, dated and titled in pencil on the reverse: 150 x 130 cm 29 [crossed out] oben [circled] Ulrich Knispel, Dortmund Münsterstraße 122 1969 Talos I. As well as a label from the Deutsche Künstlerbundes. Signed there in blue ballpoint pen: Ulrich Knispel.[3188]Condition report: Fine harmonious overall appearance. The canvas is not relined. Mounted on the original stretcher (original tacking). Minor retouchings are visible under ultraviolet light. Overall somewhat lightly soiled and dustyWe charge 30% premium on the hammerprice.
(See below for english version)„Tafel IV“. 1968Öl auf Leinwand, mit Künstlerleiste. 118 × 110,8 cm ( 46 ½ × 43 ⅝ in.). Rückseitig mit Bleistift auf dem Keilrahmen bezeichnet, datiert, betitelt und signiert: 118 x 110 cm 1968 Tafel IV Ulrich Knispel.[3188]Zustandsbericht: Harmonischer Gesamteindruck. Die Leinwand ist nicht doubliert und befindet sich auf dem originalen Keilrahmen. Unter UV-Licht sind im Randbereich vereinzelt kleine Retuschen erkennbar. Oben rechts stellenweise Craquelé-Risse und leichter Oberflächenverlust (1 x 0,5 cm). Stellenweise Bereibungsspuren und insgesamt etwas unfrischWir berechnen auf den Hammerpreis 30% Aufgeld.„Tafel IV“. 1968Oil on canvas, with artist's framing. 118 × 110,8 cm ( 46 ½ × 43 ⅝ in.). Inscribed, dated, titled and signed in pencil on the stretcher on the reverse: 118 x 110 cm 1968 Tafel IV Ulrich Knispel.[3188]Condition report: Harmonious overall appearance. The canvas is not relined. Mounted on the original stretcher. Under ultraviolet light there are isolated, minor retouchings in the margins visible. Upper right some craquelure-tears and slight surface loss (1 x 0,5 cm). Scuff marks in places and overall somewhat lightly soiledWe charge 30% premium on the hammerprice.
(See below for english version)Auge / Mund. 2 Farbserigrafien, jeweils auf Papier. 45,3 × 58,5 cm (59,5 × 72 cm) bzw. 35 × 30,2 cm (60 × 50,2 cm) ( 17 ⅞ × 23 in. (23 ⅜ × 28 ⅜ in.) bzw. 13 ¾ × 11 ⅞ in. (23 ⅝ × 19 ¾ in.)). Jeweils signiert.Einer von 1000 bzw. 110 nummerierten Abzügen. [3193]Zustandsbericht: Auge: Ex. 48/1000. Harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Das Papier ungleichmäßig schwach gebräunt. An den Blattkanten vereinzelte winzige Kerben. Die untere linke Ecke schwach bestoßen. Das Papier schwach gewellt. An der Unterkante links ein blasser Feuchtigkeitsfleck (ca. 12 x 1,5 cm) und kleine Fleckchen.Mund: Ex. 90/110. Harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Das Papier ungleichmäßig schwach gebräunt. Die obere und untere Blattkante schwach gewellt. Mit vereinzelten schwachen Dellen und winzigen hellbraunen Fleckchen. Rückseitig in der oberen rechten Ecke schwache Papierausdünnung und entlang der Blattkanten stellenweise minimale getrocknete Reste ehemaliger KlebestreifenWir berechnen auf den Hammerpreis 30% Aufgeld.Auge / Mund. 2 colour silkscreens, each on paper. 45,3 × 58,5 cm (59,5 × 72 cm) and 35 × 30,2 cm (60 × 50,2 cm) ( 17 ⅞ × 23 in. (23 ⅜ × 28 ⅜ in.) and 13 ¾ × 11 ⅞ in. (23 ⅝ × 19 ¾ in.)). Each signed.One of 1000 and 110 numbered prints. [3193]Condition report: Eye: Ex. 48/1000. Harmonious overall appearance. The sheet edges without tears or losses. The paper has irregular, minor time staining. Isolated minuscule dents along the sheet's edges. The lower left corner faintly bumped. The paper faintly warped. A pale water stain at the left lower edge (approx. 12 x 1,5 cm) and small stain.Mouth: Ex. 90/110. Harmonious overall appearance. The sheet edges without tears or losses. The paper has irregular, minor time staining. The upper and lower sheet edge are faintly warped. With isolated faint dents and minuscule light brown stains. Faint thinning on the reverse in upper right corner and minimal dried remains from former adhesive strip in places along the sheet's edgesWe charge 30% premium on the hammerprice.
(See below for english version)„Picture Paper“. 1977Buntstift in Weiß über Acryl auf Leinwand. 89,5 × 89,5 cm ( 35 ¼ × 35 ¼ in.). Rückseitig mit Bleistift bezeichnet, betitelt, datiert und signiert: KRIWET PICTURE PAPER 1977 Kriwet. Auf dem Keilrahmen signiert, betitelt und datiert: KRIWET PICTURE PAPER 1977.[3258]Zustandsbericht: In gutem Zustand. Die Leinwand ist nicht doubliert und befindet sich auf dem originalen Keilrahmen (originale Aufspannung). Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Rechts mittig ein kleiner dunkler Fleck (ca. 1 x 1,5 cm) darüber vier kleine Fleckchen (bis zu 0,2 x 0,5 cm). Im oberen Bildbereich vereinzelt schwache Bereibungsspuren. Die Leinwand in der unteren linken und oberen rechten Ecke leicht gewellt. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.„Picture Paper“. 1977White coloured pencil over acrylic on canvas. 89,5 × 89,5 cm ( 35 ¼ × 35 ¼ in.). Inscribed, titled, dated and signed in pencil on the reverse: KRIWET PICTURE PAPER 1977 Kriwet. Signed, titled and dated on the stretcher : KRIWET PICTURE PAPER 1977.[3258]Condition report: In good condition. The canvas is not relined. Mounted on the original stretcher (original tacking). Ultraviolet light reveals no retouchings or repairs. One small dark stain on the centre right (approx. 1 x 1,5 cm) above this four small stains (up to 0,2 x 0,5 cm). Isolated, faint scuff marks on the upper image area. The canvas is slightly warped on the lower left and upper right corner. Fine harmonious overall appearanceWe charge 30% premium on the hammerprice.
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![(See below for english version)„[2,3]“. 2011Original-Leinenbox mit 6 Falt-Pop-ups, jeweils in einem Leinenschuber. Schuber: 5](https://cdn.globalauctionplatform.com/28ef4753-1fdc-4126-9ced-abc3008ef5c6/ada1969a-e4ab-417a-8d7f-abdd014490e3/468x382.jpg)
