70553 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

MIRÓ, JUAN, nach (1893-1983), „Céramique (La fête, grand composition). u. re. Im Druck signiert „Miró“, Farblithographie, HxB Platte: ca. 35x62 cm (Blatt: 54,5x76 cm), Alters- und Beriebsspuren, leicht gebräunt, leicht gewellt und Knickspuren durch gerollte Lagerung, Ecken und Kanten bestoßen,| MIRÓ, JUAN, nach (1893-1983), „Céramique (La fête, grand composition). below right signed "Miró" in print, color lithograph, HxW plate: approx. 35x62 cm (sheet: 54,5x76 cm), signs of age and rubbing, slightly browned, slightly wavy and crease marks due to rolled storage, corners and edges bumped,

CHAGALL, MARC, NACH (1887-1985), „Der Maler mit gelbem Esel und Palette“. Ursprünglich Beigabe zu „Chagall lithographie Band I“, Farblithographie, nicht signiert, HxB: 32x24 cm, Altersspuren, gebräunt. Gerahmt hinter Glas, VERSO Kopie mit Beschreibung, Zuordnung und Datierung. LITERATUR: Hg.: Ulrike Gauss: Marc Chagall. Die Lithographien, Ostfildern-Ruit 1998. S. 127, Katalognummer 282.| CHAGALL, MARC, AFTER (1887-1985), "The painter with yellow donkey and palette". Originally addition to "Chagall lithography Volume I", color lithograph, not signed, HxW: 32x24 cm, signs of age, browned. Framed behind glass, VERSO copy with description, attribution and dating. LITERATURE: Ed.: Ulrike Gauss: Marc Chagall. Die Lithographien, Ostfildern-Ruit 1998. p. 127, catalog number 282.BEI EINEM ZUSCHLAG ÜBER € 400 MÜSSEN 4% URHEBERRECHT AN DIE VG BILDKUNST ABGEFÜHRT WERDEN.

PICASSO, PABLO, nach (1881-1973), "Don Quijote und Sancho Panza", Lithographie/Papier, in der Platte bezeichnet und datiert 'Picasso 11. 3. 55', HxB: Platte ca. 43x35 cm, Blatt ca. 59x42 cm. Gebräunt, Knickspuren, Einrisse.| PICASSO, PABLO, after (1881-1973), "Don Quixote and Sancho Panza", lithograph/paper, inscribed and dated 'Picasso 11. 3. 55' in the plate, HxW: plate approx. 43x35 cm, sheet approx. 59x42 cm. Browned, creases, tears.

Miró, Joan1893 Barcelona - 1983 Palma de Mallorca.«Joan Miró, der Lithograph». Autor Fernand Mourlot. Bde. I - V. Herausgegeben von Weber, Genf 1972 - 75. Werkverzeichnis der Lithographien Mirós der Jahre 1930 bis 1975. Deutsche Ausgabe. Original Leinenbände mit original Schutzumschlägen und zahlreichen, teils doppelblattgroßen, eingebundenen original Lithographien.H. 33, B. 26 cm. Zustandsbericht:Guter Gesamteindruck. Bde. I - IV mit zusätzlichem, transparentem Überumschlag, Bde. II - IV mit Bauchbinde, Bd. V am Rücken oben etwas knittrig und leicht eingerissen.- - - - - - - - - -

After Pierre Auguste Renoir (French 1841-1919): Girl with a Bonnet, lithograph on Van Gelder Zonen laid paper (with fleur-de-lys crown watermark), signed with monogram in the plate, with Marées-Gesellschaft, R. Piper & Co., Munich blindstamp l.r. 26cm x 17.5cm (sight), 32cm x 23cm (full sheet) (mounted)Condition Report:Some foxing, mat burn, and discolouration to the paper.

A.A. Bonnaffe (active in Peru c.1845-57), A Carriage, coloured lithograph, inscribed "Lima 1856" and initialled within th eplate, framed (26.5cm x 36.5cm). Note : a rare lithograph from a series, "Recuerdos De Lima Album Tipos, Trajes y Costumbres Dibujados y Pulbicados Por A.A. Bonnaffe En Lima 1856".

A late Victorian lithograph fox hunting print, 'Mr Fox's Hunt Breakfast on Christmas Day', Harry B Neilson, 70cm x 33cm

MIRO, Joan, "Composition", Original-Farblithografie, ca. 32 x 48 (Mittelfalz), aus "Lithograph VIII", R.,

CHAGALL, Marc, "L'opéra de Paris", aus: Revue "Derrière le Mirroir", 1954, Original-Farblithografie, 38,5 x 28,4, (Blattmaß 39 x 29,1 cm), handsigniert und nummeriert 17/75, Lithograph I, 1922-1957, Monte Carlo 1960, WV 102, R.

A 1970's Picasso lithograph dated 12.8.69 upper right, of a nude woman, 17" x 21"

ISABEL VILLAR ORTIZ DE URBINA (Salamanca, 1934).Untitled.Lithograph on paper. Copy 102/125.Provenance: Private Collection of Luis García Berlanga.Signed and justified in pencil.Size: 24 x 33,5 cm; 27 x 38 cm (frame).A painter, sculptor and engraver, Isabel Villar began her training at the San Eloy School of Fine Arts, and later moved to Madrid to continue it at the San Fernando School (1952). In the capital she joined the group La Cepa, and in 1957 she made her name in a group exhibition held at the Casa de Salamanca in Madrid. The following year he made his individual debut in the Sala Miranda in his native city, where he returned after finishing his studies, joining the Koiné and Tormes groups. After a stay in Santander he returned to Madrid for good, and there he took part in important group exhibitions until 1971, when he presented himself individually for the first time in that city. His work is currently represented in the MNCA Reina Sofía, the Museums of Contemporary Art of Elche, Toledo, Seville, Villafamés and Santa Cruz de Tenerife, the National Library of Madrid, the Testimoni collection of La Caixa, the Vatican Museum and many other collections, both public and private.

EDWARD BAWDEN CBE RA (BRITISH, 1903-1989),WESTMINSTER ABBEY, THE ALBERT MEMORIAL,two monochrome studies, both with monogram and further annotations verso, the first 27.5cm x 35.2cm, the second 21.7cm x 28.1cmAdditional images uploaded,Both likely lithograph or some other original printed medium.

3 Large Didactic Astronomical Lithographs, Comprising of a lithograph titled 'Bewegung Der Erde Um Die Sonne', another titled 'Bewegung Des Mondes Un Die Erde' and ''Sonnen - Und Mondfinsternisse' all by 'Wandtafein zur mathematischen Geograpie von Rudolf Schmitt, Leipziger Schulbilderverlag F. E. Wachsmuth Leipzig' in a large period folder, damages and losses, 88cm x 66cm

George III. A Diary of the Royal Tour in June, July, August, and September, 1789. Interspersed with anecdotes, poetry, and descriptions, historical, typographical, &c. &c. To which is added, that of their Highness the Prince of Wales, and Duke of York, to York, &c. &c. with characters of The King, Prince of Wales, and the Dukes of York and Clarence; By an observer of the times, London: J. Southern, Scatcherd and Whitaker, 1789, half-title, edges untrimmed, modern dark blue half calf, gilt decorated spine, 8vo, together with:George III, A Faithful Account of the Processions and Ceremonies observed in the Coronation of the Kings and Queens of England: Exemplified in that of their late Most Sacred Majesties King George the Third, and Queen Charlotte: with all the other interesting proceedings connected with that magnificent festival, London: John Major, 1820, folding engraved frontispiece, folding plan and two engraved plates, occasional light dust-soiling, edges untrimmed, original printed boards, rebacked, boards dust-soiled and worn to extremities, 8vo,Sermons, A Sermon preached in Tunstall Church, on Wednesday evening, February 16th, on occasion of the Death of his Majesty, King George the Third..., by the Rev. W. Carus Wilson, Preston: Printed and sold by L. Clarke, 1820, some browning and spotting, bound with three other early 19th century sermons, modern half calf, 8vo,Yeomanry, An Address to the Yeomanry of England, by a Field Officer of Cavalry, London: J. Walter, 1795, half-title, publisher's advert leaf at rear, modern half calf, 8vo,Hallack (Thomas), Origin and Progress of the Proceedings which ultimately led to the Coronation Dinner on Parker's Piece, Cambridge, June the 28th, 1838. On which occasion upwards of fourteen thousand persons dined together, Cambridge: Printed by S. Wilson, [1838], folding lithograph plan frontispiece (strengthened to outer corners), some toning, modern boards, 8vo,Le Mesurier (Havilland), Thoughts on a French Invasion, with reference to the probability of its success, and the proper means of resisting it, 2nd edition, London: J. Wright, 1798, half-title and title with ink stamps, publisher's advert leaf at rear, bound with British Navy, Interesting particulars of the glorious victory, obtained over the Batavian fleet, on the 11th of October, 1797; by the British Fleet, under The Command of Admiral Duncan, by an Officer, Gosport: Printed by J. Watts, 1797, four engraved diagrams on two folding plates, with contemporary hand-colouring, light dust-soiling and few damp stains, 20th century marbled wrappers, 8vo, plus other 18th & 19th century pamphlets and periodical parts etc., some including reference to royal ceremonies and occasions QTY: (18)

Hall (S.C). The Book of Royalty. Characteristics of British Palaces, London: Ackermann and Company, 1839, additional colour lithograph title, 12 colour plates, lightly spotted, original red morocco gilt, all edges gilt, worn, folio, together with:Queen Caroline. Minutes of Evidence taken on the second reading of the bill, intituled "An act to deprive Her Majesty Caroline Amelia Elizabeth of the title prerogatives, rights, privileges, and exemptions of Queen Consort of this realm, and to dissolve the Marriage between His Majesty and the said Caroline Amelia Elizabeth", 2 volumes, [1820], full-page plans throughout, untrimmed, spotted, modern half calf gilt, 4to, withFairburn's edition of the life and death of her Majesty Caroline Amelia Elizabeth, Queen of England, including every interesting particular relative to her last moments, 3rd edition, London: John Fairburn, circa 1820, 24pp., engraved frontispiece, untrimmed, lightly spotted, original salmon wrappers bound in, modern black half calf gilt, 8vo with 4 others relatedQTY: (8)

Bell (John). Account of Queen Victoria passing through Newcastle upon Tyne, on Friday 28 September 1849, circa 1850, frontispiece, manuscript title with onlaid printed vignette, mounted newspaper articles throughout, numerous tipped-in folding broadsides, numerous lithograph illustrations, bookplates to front pastedown, light spotting and dust-soiling, hinges cracked, 20th-century burgundy half calf gilt over brown marbled boards, lightly rubbed, 4to, contained in custom slipcaseQTY: (1)NOTE:Provenance: John Bell, antiquary and surveyor, (1783-1864, his sale). Joseph Crawhall, artist (1861-1913, his sale). Matthew Mackey, bookplate. R.W. Martin, bookplate.An interesting volume compiled by John Bell for Queen Victoria's visit to Newcastle in 1849, containing a wide range of ephemeral items.

* Irish-American Political Broadside. The Eviction: A Scene from Life in Ireland, New York: Robison & Mooney, [1871], hand-coloured lithograph after a painting by William Henry Powell, showing an eviction scene with evicted family in the foreground surrounded by their possessions, an old man lies dying on the ground with his son and a priest beside him, with verses especially written by Mrs O'Donovan-Rossa printed to lower margin, sheet size 50 x 63 cm, mountedQTY: (1)

* Irish-American Political Broadsides. Speech of Robert Emmet, Esq., delivered at the Sessions House, Dublin, Philadelphia: William Smith, circa 1860s, letterpress in 4 columns with large hand-coloured lithograph vignette at head, image approximately 280 x 360 mm, some light toning, visible sheet size 62 x 45 cm, together with two related contemporary lithographic broadsides from the same publisher and printer William Smith: Protest against the British Government [and] Ireland's Illustrious Sons, the first showing Emmet flanked by angels holding rolls of names of Irish patriots including Mitchel, Meagher, O'Brien, Gavan Duffy, et al., pencil inscription to lower right blank area, visible sheet size 74 x 52 cm, the last showing the figures of Sarsfield, Grattan, Wolfe Tone, Emmet, Curran and other great Irish patriots seated around the table, small tear (25 x 20 mm) within uppermost part of image, visible image area 53 x 68 cm, all mounted QTY: (3)

After Pablo Ruiz Picasso (20th/21st century) - "Gold Finch", two gold finch in a branch of tree, one sitting on a nest in the foreground, black and white print, possibly a lithograph, 13.75" x 10.5" - * Is accompanied with a small exhibition pamphlet title "Picasso Histoire Naturelle" exhibition guide sponsored by BT, held at The Southbank Centre. 

Walter Richard Sickert (British 1860-1942) - a scene from a stage play (possibly after Kenny Meadows) limited edition lithograph in colours. Signed in pencil by the artist to lower right margin. Fine Art Trade Guild blind stamp to lower left. Published by W J Stacey, London, circa 1930. Image size 19'' x 15'' (48 cm x 38 cm) excluding margins. Framed size 30'' x 23'' (75 cm x 58 cm) approx. In period wooden frame, with old gallery label verso for R Jackson & Sons - Printsellers, 18a Slater Street, Liverpool. Condition: strong colour, some age toning to mount.

Yvaral (Jean-Pierre Vasarely) after, untitled limited edition lithograph, nr 156/250, approx 45 x 40 cms, signed and numbered in the lower margin, mounted, framed and glazed. 

Yvaral (Jean-Pierre Vasarely) after, untitled limited edition lithograph, nr 148/340, approx 45 x 40 cms, signed and numbered in the lower margin, mounted, framed and glazed. 

† After Pablo Picasso (1881 - 1973) 'Femme au Fauteuil Canne', Picasso Estate Collection limited edition colour lithograph, signed and numbered in pencil 'Collection Marina Picasso, 34/500', with blind stamps 'A Limited Edition After A Work By Pablo Picasso' & 'A Bull', printed verso in English & French 'Limited edition re-creation of an oil on canvas entitled "Femme au fauteuil Canne" by Pablo Picasso created on May 21, 1939, Approved by the Heirs of Pablo Picasso' and '©James E Brown D/B/AJ & J Master Art Works, 1982', on Arches paper, with certificate of authenticity, Image 50cm x 41.5cm, Overall 75.8cm x 55.7cm

† Elizabeth Violet Blackadder (1931-2021), 'Calico and Black Cat Beside Vase', signed and dedicated 'To Anne from Elizabeth May 1982' in pencil, AP lithograph, 58 cm x 79.5 cm framed and glazed.Property of the Late Anne James - Anne James was a producer and director for the BBC specialising in Arts programming. She would later become an Executive Producer of Michael Palin's various travelogue series for the BBC.

Prof. Paul Müller-Kaempff, Winterabendabendlicher Blick auf tief verschneite, reetgedeckte Fischerkaten am Meer im Sonnenuntergang, wohl Motiv aus Ahrenshoop, stimmungsvolle, gering pastose Landschaftsmalerei mit fein abgestimmter Farbigkeit, Öl auf Leinwand, um 1930, links unten signiert "P. Müller-Kaempff", Craquelure, etwas reinigungsbedürftig, original im schönen Goldstuckrahmen gerahmt, Falzmaße ca. 51 x 70 cm. Künstlerinfo: auch Müller-Kämpf, dt. Landschaftsmaler, Zeichner, Lithograph, Entwerfer und Illustrator (1861 Oldenburg bis 1941 Berlin), studierte zunächst 1882 an der Akademie Düsseldorf, 1883-86 Studium bei Gustav Schönleber an der Akademie Karlsruhe und 1886-88 als Meisterschüler von Hans Fredrik Gude an der Akademie Berlin, 1889 erster Aufenthalt in Wustrow Fischland-Darß-Zingst, hierbei entdeckte er Ahrenshoop für sich, baute hier 1892 sein Haus "Villa St. Lucas" und betrieb 1892-08 die Malschule "St. Lucas", Gründungsmitglied der Künstlerkolonie Ahrenshoop, 1904 Mitbegründer des Oldenburger Kunstvereins und 1907-11 dessen Vorsitzender, 1907 Mitbegründer der Vereinigung nordwestdeutscher Künstler, 1906 Ernennung zum Professor durch den Großherzog von Oldenburg, ab 1908 Zweitwohnsitz in Hamburg und Mitglied des Hamburger Kunstvereins, 1909 Bau des Ahrenshooper Kunstkatens, 1914 Rückkehr nach Berlin, Ankauf zahlreicher Werke durch den kaiserlichen Hof in Berlin und vertreten in Museen in Rostock, Oldenburg, Kiel und Hamburg, Mitglied der Allgemeinen Deutschen Kunstgenossenschaft, Quelle: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", Dressler, Bruckmann "Lexikon der Düsseldorfer Malerschule", Feddersen "Schleswig-Holsteinisches Künstlerlexikon", Rump, Mülfarth, Müller-Singer, Boetticher und Wikipedia.

Prof. Theodor Hosemann, Soldaten der LandwehrGruppe von sich unterhaltenden Soldaten der Landwehr (wohl Preußen), miniaturhaftes Aquarell, rechts unten schwer lesbar ligiertes Monogramm und datiert "TH 1842", auf Rahmenrückwand Rahmungsetikett "E. Heidkamp Potsdam ...", Papier leicht gegilbt und etwas fleckig, hinter Glas gerahmt, Falzmaße ca. 7 x 7,5 cm. Künstlerinfo: eigentlich Friedrich Wilhelm Heinrich Theodor Hosemann, dt. Genremaler, Lithograph, Zeichner, Illustrator und Karikaturist (1807 Brandenburg/Havel bis 1875 Berlin), Schilderer des Berliner Kleinbürgertums des Vormärz, ab 1819 Lehre zum Lithograph in der Lithographischen Anstalt „Arnz & Winckelmann", 1822 hier zum Jahresgehalt von 200 Talern als Zeichner angestellt, parallel Studium an der Akademie Düsseldorf, 1828 Übersiedlung mit Johann Christian Winckelmann nach Berlin und erster Zeichner (400 Taler Jahresgehalt) für den Verlag „Winckelmann & Söhne", schuf 1828 erste Kinderbuchillustrationen und 1830 erste Karikaturen, 1834-52 Zusammenarbeit mit dem Satiriker Adolf Glaßbrenner, 1857 zum Professor und 1860 zum Mitglied der Berliner Akademie der Künste berufen, tätig in Berlin, Quelle: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Monogrammlexikon Goldstein, Boetticher, Bénézit und Wikipedia.

Carl Grünwedel, Zu LohengrinDarstellung der Szene als Lohengrin, nachdem er der Herzogin von Brabant nach mehrmaligem Nachfragen seine Herkunft nannte, sie verlässt und in seinem von einem Schwan gezogenen Kahn davonfährt, Aquarell, um 1880, unten mittig in Blei signiert "C. Grünwedel", leicht gebräunt, rund unter Passepartout und hinter Glas im geschnitzten und teilvergoldeten Rahmen gerahmt, Durchmesser Passepartoutausschnitt ca. 26 cm. Künstlerinfo: auch Joseph Karl Grünwedel, dt. Maler und Lithograph (1815 Pappenheim bis 1895 München), ab 1831 Studium an der Akademie in München, nachfolgend in München ansässig, Quelle: Thieme-Becker und Matrikeln der Akademie in München.

Peter Fendi, attr., Mutterglückbäuerliche Stube mit junger Mutter, die freudestrahlend ihren in der Wiege liegenden Neugeborenen die Hände entgegenstreckt, minimal pastose Genremalerei, Öl auf Papier, um 1830, rückseitig in Blei "Fendi" und Nummer "N6/23", rechte obere Ecke fehlt, geringe Retuschen, Maße ca. 15,8 x 18 cm. Künstlerinfo: österr. Genre- und Portraitmaler, Aquarellist, Lithograph und Kupferstecher (1796 Wien bis 1842 Wien), 1810-13 Besuch der k. k. Zeichenakademie und hier Schüler von Johann Baptist Lampi, ab 1818 Kabinettzeichner des Münz- und Antikenkabinetts, zusammen mit Anton Steinbüchel Studienreisen nach Salzburg und Venedig, 1833 erlangte er durch Empfehlung die Gunst von Kaiserin Karolina Augusta, hier wurde er Zeichenlehrer am Hof, ab 1836 Mitglied der Akademie der bildenden Künste in Wien, er avancierte Ende der 1830er Jahre zum gefragtesten Portraitisten des Wiener Hochadels, der Künstler erhielt 1909 ein Ehrengrab auf dem Wiener Zentralfriedhof. Quelle: Thieme-Becker und Wikipedia.

Ernst Hecker, BlumenstilllebenMohnblüten in bauchiger Vase, pastose Malerei in Spachteltechnik, Öl auf Leinwand, links unten signiert "E. Hecker", etwas restaurierungsbedürftig, rückseitig signiert, ortsbezeichnet und datiert "Ernst Hecker Aue - Sa. [Sachsen] 1943", vor Entstehung des Gemäldes hinterlegte Fehlstelle in der Leinwand, gerahmt, Falzmaße ca. 54 x 48,5 cm. Künstlerinfo: eigentlich Heinrich Ernst Hecker, dt. Landschafts- und Portraitmaler, Radierer, Lithograph und Gebrauchsgraphiker (1907 Aue bis 1983 ebenda), zunächst 1922-26 Lehre als Graveur und Lithograph, künstlerisch weitestgehend Autodidakt, 1927-33 als Gebrauchsgraphiker tätig, 1943-44 Studium an der Hochschule für Bildende Künste Dresden bei Hanns Hanner, ab 1945 freischaffend in Aue, Mitglied des Verbandes Bildender Künstler (VBK) der DDR, beschickte die Kunstausstellungen der DDR, erhielt diverse Ehrungen wie 1956 den Max-Pechstein-Preis, tätig in Aue im Erzgebirge, Quelle: Vollmer, AKL, Saur "Bio-Bibliographisches Künstlerlexikon", Eisold "Künstler in der DDR", Rochhaus "Künstlerlexikon Erzgebirge" und Wikipedia.

Ernst Hecker, "Crandorfer Häuser"freistehendes erzgebirgisches Bauernhaus mit Scheune im hellen Sonnenlicht, Aquarell über Graphit, links unten signiert und datiert "E. Hecker (19)46", auf Rahmenrückseite betitelt "Crandorfer Häuser" und bezeichnet "Aquarell von Erich Hecker Aue Sa.", leicht gegilbt, unter Passepartout und hinter Glas gerahmt, Passepartoutausschnitt ca. 18,5 x 24 cm. Künstlerinfo: eigentlich Heinrich Ernst Hecker, dt. Landschafts- und Portraitmaler, Radierer, Lithograph und Gebrauchsgraphiker (1907 Aue bis 1983 ebenda), zunächst 1922-26 Lehre als Graveur und Lithograph, künstlerisch weitestgehend Autodidakt, 1927-33 als Gebrauchsgraphiker tätig, 1943-44 Studium an der Hochschule für Bildende Künste Dresden bei Hanns Hanner, ab 1945 freischaffend in Aue, Mitglied des Verbandes Bildender Künstler (VBK) der DDR, beschickte die Kunstausstellungen der DDR, erhielt diverse Ehrungen wie 1956 den Max-Pechstein-Preis, tätig in Aue im Erzgebirge, Quelle: Vollmer, AKL, Saur "Bio-Bibliographisches Künstlerlexikon", Eisold "Künstler in der DDR", Rochhaus "Künstlerlexikon Erzgebirge" und Wikipedia.

Ernst Hecker, Kühe im Stallzwei Kühe in einem Stall mit Tonnengewölbe neben einem großen Heuhaufen, teils pastose Tiermalerei, rechts unten signiert und datiert "E. Hecker 1940", partiell leichtes Craquelure und farbschwundrissig, rückseitig hinterlegte Stelle, gerahmt, Falzmaße ca. 63 x 72 cm. Künstlerinfo: eigentlich Heinrich Ernst Hecker, dt. Landschafts- und Portraitmaler, Radierer, Lithograph und Gebrauchsgraphiker (1907 Aue bis 1983 ebenda), zunächst 1922-26 Lehre als Graveur und Lithograph, künstlerisch weitestgehend Autodidakt, 1927-33 als Gebrauchsgraphiker tätig, 1943-44 Studium an der Hochschule für Bildende Künste Dresden bei Hanns Hanner, ab 1945 freischaffend in Aue, Mitglied des Verbandes Bildender Künstler (VBK) der DDR, beschickte die Kunstausstellungen der DDR, erhielt diverse Ehrungen wie 1956 den Max-Pechstein-Preis, tätig in Aue im Erzgebirge, Quelle: Vollmer, AKL, Saur "Bio-Bibliographisches Künstlerlexikon", Eisold "Künstler in der DDR", Rochhaus "Künstlerlexikon Erzgebirge" und Wikipedia.

Prof. Theodor Hosemann, Österreichische Ulanenwohl österreichischer Gardeulan zu Pferd, im Gespräch mit einem Ulanenoffizier und im Hintergrund weitere Soldaten zu Pferd, mit spitzem Pinsel ausgeführtes Aquarell, im linken Bereich ligiertes Monogramm und datiert "TH 1842", auf Rahmenrückwand Rahmungsetikett "E. Heidkamp Potsdam ...", Papier leicht gegilbt und etwas fleckig, hinter Glas gerahmt, Falzmaße ca. 9,5 x 11,5 cm. Künstlerinfo: eigentlich Friedrich Wilhelm Heinrich Theodor Hosemann, dt. Genremaler, Lithograph, Zeichner, Illustrator und Karikaturist (1807 Brandenburg/Havel bis 1875 Berlin), Schilderer des Berliner Kleinbürgertums des Vormärz, ab 1819 Lehre zum Lithograph in der Lithographischen Anstalt „Arnz & Winckelmann", 1822 hier zum Jahresgehalt von 200 Talern als Zeichner angestellt, parallel Studium an der Akademie Düsseldorf, 1828 Übersiedlung mit Johann Christian Winckelmann nach Berlin und erster Zeichner (400 Taler Jahresgehalt) für den Verlag „Winckelmann & Söhne", schuf 1828 erste Kinderbuchillustrationen und 1830 erste Karikaturen, 1834-52 Zusammenarbeit mit dem Satiriker Adolf Glaßbrenner, 1857 zum Professor und 1860 zum Mitglied der Berliner Akademie der Künste berufen, tätig in Berlin, Quelle: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Monogrammlexikon Goldstein, Boetticher, Bénézit und Wikipedia.

Carl Grünwedel, KriegsszeneSoldat beim Laden seines Gewehrs neben einer Kanone mitten im Kriegsgetümmel, fein ausgeführte Bleistiftzeichnung mit etwas Tusche, rechts unten signiert und datiert "C Grünwedel 1/2 (18)48", leicht braunfleckig, hinter Glas gerahmt, Falzmaße ca. 24 x 20 cm. Künstlerinfo: auch Joseph Karl Grünwedel, dt. Maler und Lithograph (1815 Pappenheim bis 1895 München), ab 1831 Studium an der Akademie in München, nachfolgend in München ansässig, Quelle: Thieme-Becker und Matrikeln der Akademie in München.

Josef Anton Straßgschwandtner, Vier Jagdszenen1.) Marderjagd mittels Falle, 2.) Jagd von Hirschen 3.) Anpirschen an Vögel und 4.) Jagd auf einem Auerhahn, Farblithographien, um 1860, drei Arbeiten im Stein signiert, teils gebräunt und etwas stockfleckig, zweimal unter Passepartout und hinter Glas gerahmt, Passepartoutausschnitte ca. 31,5 x 41 cm. Künstlerinfo: auch Tony Strassgschwandtner, österr. Maler und Lithograph (1826 Wien bis 1881 Wien), 1843-45 Studium an der Akademie in Wien bei Carl Schindler und August von Pettenkofen, beschäftigte sich hauptsächlich mit Jagd- und Militärszenen, verfiel 1879 der geistigen Umnachtung, Quelle: Thieme-Becker und Wikipedia.

Prof. Hans Thoma, "Feierabend"nachdenklich vorm Haus neben seinem Hund sitzender, Pfeife rauchender Bauer im Licht des zur Neige gehenden Tages, Radierung, unter der Darstellung rechts in Blei signiert "Hans Thoma" (etwas verwischt), in der Platte links unten ligiertes Monogramm und datiert "HT 1901", Blatt gebräunt, leicht wasserrandig und fleckig, unter Passepartout und hinter Glas gerahmt, Darstellungsmaße ca. 32 x 44,5 cm. Künstlerinfo: dt. Maler und Graphiker (1839 Bernau bis 1924 Karlsruhe), zunächst zeitweise Lehre als Lithograph und Stubenmaler in Basel sowie Uhrenschildermacher in Furtwangen, parallel autodidaktische Mal- und Zeichenstudien, studierte 1859-66 an der Kunstschule Karlsruhe bei Ludwig Des Coudres und Johann Wilhelm Schirmer, anschließend kurzzeitig in Basel und Düsseldorf, 1868 Aufenthalt in Paris, hier beeinflusst von Gustave Courbet und der Schule von Barbizon, 1870-76 in München, 1874 erste Italienreise mit Aufenthalt in Rom, ab 1878 tätig in Frankfurt am Main, 1899-1901 in Kronberg und Mitglied der Kronberger Malerkolonie, freundschaftlich verbunden und angeregt durch Arnold Böcklin, Wilhelm Leibl, Wilhelm Steinhausen und Wilhelm Trübner, 1899 zum Professor ernannt, 1899-1920 Direktor der Kunsthalle Karlsruhe, Quelle: Thieme-Becker und Internet.

Prof. Eugen Kampf, Gehöft mit BäuerinBäuerin auf dem Weg zu ihrem von Bäumen umgebenen ziegelgedeckten Bauernhaus unter locker bewölktem Himmel, pastose Malerei in warmer Farbigkeit, Öl auf Sperrholz, um 1920, links unten signiert "E. Kampf.", zwei kleine Fehlstellen in der Malschicht, gerahmt und hierauf Messingschild "Prof. Eugen Kampf", Falzmaße ca. 37,5 x 49,5 cm. Künstlerinfo: eigentlich Karl (Carl) Viktor Eugen Kampf, dt. Landschaftsmaler, Zeichner, Lithograph und Radierer (1861 Aachen bis 1933 Düsseldorf), studierte 1878-80 an der Akademie Antwerpen bei Jacob Jacobs und Jozef van Luppen, 1880-83 Studium an der Akademie Düsseldorf bei Eugen Dücker, 1883-84 Weiterbildung in Brüssel, unternahm Studienreisen in die Niederlande, die Eifel, nach Flandern, Italien und in die Schweiz, ab 1889 in Düsseldorf tätig, betrieb mit Wilhelm Schneider-Didam eine Damenmalschule in Düsseldorf, 1908 Berufung als Prof. an die Akademie Düsseldorf, beschickte 1890-1910 die Ausstellungen im Glaspalast München, 1891-1914 die Große Berliner Kunstausstellung sowie Ausstellungen in Düsseldorf, Dresden, Darmstadt, Leipzig, Wien und Rom sowie die Weltausstellungen Paris (1900) und die Exposition de arte alemán in Buenos Aires (1913), 1889 Mitbegründer des Düsseldorfer "St. Lukasklubs", der 1891 zeitweise in der Freien Vereinigung Düsseldorfer Künstler aufging, Mitglied des Deutschen Künstlerbundes, des Düsseldorfer Künstlerunterstützungsvereins, der Allgemeinen Deutschen Kunstgenossenschaft, Mitglied der Düsseldorfer Künstlervereinigungen "Orient" und "Laetitia" und 1891-1932 Mitglied des Düsseldorfer Künstlervereins "Malkasten", Ehrenmitglied der Akademie Düsseldorf, tätig in Oberkassel bei Düsseldorf, Quelle: Thieme-Becker, Vollmer, Dressler, Boetticher, Müller-Singer, Bruckmann "Lexikon der Düsseldorfer Malerschule", Saur "Bio-Bibliographisches Künstlerlexikon", Bénézit und Wikipedia.

Dia Azzawi (Iraq, born 1939)We Are Not Seen, But, Corpses (The Massacre of Sabra and Shatila) etching and lithograph on paper in nine partseach work is signed, dated '1983', titled and numbered, number 10 from an edition of 60, executed in 1983100 x 70 cm eachFootnotes:A rare full set of Dia Azzawi's 'We Are not Seen, But Corpses' in its original presentation caseExhibited:National Council for Art and Culture, Kuwait, 1983Galerie des Arts, Tunis, 1990The British Museum, London, 1991The University of Nevada, USA, 1991Galerie Claude Lemand, Paris, 1995Bibliotheque Nationale, Paris, 1995Qatar Museum Authority, Doha, 2016Institut Du Monde Arabe, 2018 'After the Palestinian fighters left Lebanon, the Phalangists had their opportunity to take revenge on old people, women and children. I have a lot of Palestinian friends, some artists and writers, and I knew those camps. Within two days, up to 3,500 people were killed. So, this work had a moral side: to defend unarmed people with no voice.'- Dia AzzawiDia Al-Azzawi was deeply moved in September 1982 by the massacre of civilian Palestinians in the camps of Sabra and Shatila. The Iraqi artist had first started drawing in his studio in London the polyptych entitled The Sabra and Shatila Massacres, mixed media on paper laid down on canvas, 300 x 750 cm, in the collections of the London Tate Modern since 2012. As often was the case, he took his inspiration from photographs of the massacre published by the media and international newspapers.A few months later, in January 1983, he was inspired by Four hours in Chatila, a report that was written on the spot by the French writer Jean Genet, who has just reached Beirut with Leïla Shahid and who had visited the Palestinian camps the day after the massacres and it would be the source of inspiration for the images of nine original prints (eight etchings and one lithograph, 100 x 75 cm.) that he would publish in a portfolio with a title page and a page taken from Jean Genet's text, in a trilingual edition: We are not seen but Corpses. The Sabra and Shatila Massacres - Lâ nara illa juthathan - Nous ne voyons que des cadavres, London, 1983.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Francis Kelly (1927-2012). Bronte country, artist signed limited edition lithograph, 19/50, with Colin Jellicoe private view card, 41cm x 48cm.

After Normandie. Lithograph, licensed reprint 1979 from the original 1935, ?6cm x 63cm.

Keith Vaughan (British, 1912-1977)Second Study for Walled Garden signed 'Keith Vaughan.' (lower right); titled and dated 'Second Study for Walled Garden 1946' (on label attached to backboard)watercolour, gouache, ink, pen and ink and wax crayon on paper8.5 x 13cm (3 3/8 x 5 1/8in).Footnotes:ProvenanceWith The Redfern Gallery, London, where acquired by the family of the present owner, 5 November 1973, and thence by descentPrivate Collection, U.K.ExhibitedLondon, Olympia Fine Art and Antiques Fair, Keith Vaughan 1912-1977: An Exhibition of Paintings and Drawings, 26 February-3 March 2002, no. KV 095Vaughan made several jewel-like studies for Walled Garden. Despite this, he produced no oil painting with that title in 1946. Five years later he returned to the theme and made a lithograph with similar imagery and the same title. The motif of a felled tree, loosely resembling a human figure, can be traced back to the early 1940s when he made around a dozen studies for a symbolic painting, representing the fallen youth of the war. At the time he was serving in the non-combatant corps, clearing the grounds of an estate with a large walled garden. Vaughan was unable to make easel paintings while serving in the army and adopted, what he called his 'volatile' medium, consisting of ink, gouache and wax crayons. We are grateful to Gerard Hastings for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Thurston Magic Poster c' 1926 American Howard Thurston (1869-1936) was one of the foremost magicians of the early 20th century. This poster presents the impressive gent staring intently while two devils whisper into his ears. A striking piece of poster illustration. Poster printed by The Otis Lithograph Co. Cleveland.... Poster conservation paper-backed, with old foldlines, a few light scuffs, several closed edge tears (longest 1 3/4" to left upper), small mark bottom left corner & several small infills to paper loss on rim (left corners), overall in good condition, poster 27" x 41"

George Magic Poster c' 1924-25 Striking poster illustration of the American illusionist George (George Grover 1887-1958) hailing his American Tour & heralding him as the "Supreme Master Of Magic". The poster shows the illusionist with an owl whispering in his ear, red devilish figures in the tree above & flying bats to the left. Poster printed by The Otis Lithograph Co. Cleveland.... Poster conservation paper-backed, unfolded with small tear to paper-backing rim (does not affect poster), in excellent condition, poster 26 1/8" x 40 1/2"

George Magic Poster c' 1928 Dramatic poster illustration showing "The Supreme Master Of Magic" with cards flowing from his hand while an eclectic group of western girls in geisha dress & red devilish creatures gather around him. Poster printed by The Otis Lithograph Co. Cleveland.... Poster conservation paper-backed, with damage to top right including closed tears & some paper loss to rim, touch-ins to other small areas of rim paper loss elsewhere, poster 26 1/2" x 40 1/2"

Carter The Great Magic Poster c' 1930 The American magician shown riding a camel, a Sphinx top left, a terrified Arab bottom left & to the right an array of devilish, demonic creatures. A striking piece of commercial graphic design & not a common Carter poster to see. Printed by "The Otis Lithograph Co." Poster conservation paper-backed, with some old scuffs/creases, several small closed tears mostly to rim, longest 4" to left side, overall very good condition, 26 1/4" x 40 1/4"

C.B. HOYO (1995) 'Stand in front and pretend you're into art' a lithograph, 2022.Numbered bottom leftSigned bottom rightProvenance: Acquired directly from the artist by the present owner (W: 40 x H: 60 cm)

CORNEILLE (1922-2010) 'No title'A lithograph, 84/100. 1975. Light foxing.  (W: 39 x H: 50 cm)

Henri Victor WOLVENS (1896-1977) 'Beach Cabins' a lithograph.Signed. 4/50. (W: 72 x H: 54 cm)

Jef VAN TUERENHOUT (1926-2006) 'Lady with a cat'A lithograph, numbered 70/150 (W: 52 x H: 75 cm)

Ceri Richards The Bee KeeperLimited edition lithograph in colours, No. 3/30Signed in pencil59 x 43cm***Artists Resale Rights may apply to this lot***

After Emily J Harrington (British, b.1877), A pair of lithograph prints titled 'The Angel of Pity" and "Until We Meet Again", dated 1913/4. 22x11ins.Qty: 2

John Piper (British, 1903-1992), Long Melford Church, limited edition colour lithograph, numbed 212/275, signed in the margin by the artist. 18x24ins, framed and glazed. Literature: Orde Levinson, The Prints of John Piper: A Catalogue Raisonné 1923-1991, London: Lund Humphries, 2010, p.148, No.336Qty: 1

A set of twelve lithograph waistcoat buttons, each with variant head and shoulder study of a young woman, gilt rims, 1.4cms dia.

Buttons - three card displays, comprising a card of forty five enamel buttons, largest 3.5cms dia., a card of thirty porcelain buttons, including eight in metal mounts, largest 3.5cms, and a card of fifty seven metal and lithograph buttons, largest 3.7cms. (3) Ê

A 19th century coloured lithograph, a print of dogs after Nigel Hemming and a print after Auguste Toulbouche.

Full title: Roger Somville (1923-2014): A head, lithograph, ed. XIII/XXV, dated 1974Description:Work: ca. 70 x 50 cm Frame: 100 x 80 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Issachar Ryback (1897-1935): The dance, lithograph in colours, ed. E.A.Description:Work: ca. 56 x 42 cm Frame: 79 x 63,2 cm The Ukrainian born Jewish artist Issachar Ryback (Elisabethgrad, 1897 - Paris, 1935) is part of the Ukrainian school and one of the famous students of the School of Paris: "Ryback was born into a Hassidic family and left his parents' home at a young age. He took drawing classes in his hometown and studied at the Academy of Kiev between 1911 and 1916. When the revolution broke out in 1917, the central committee for Jewish culture in Kiev ordered propaganda posters and street decorations from him. At that time, he met El Lissitzky. Together with the latter, he participated in an expedition to Ukrainian villages, financed by the Jewish Society of Ethnography and History, whose purpose was to produce a series of paintings on Jewish cemeteries and synagogues. In 1918, he lived in Moscow where he taught painting. In 1921, he left for Berlin. In collaboration with the Yiddish poet Leib Kvitko, he published stories for children (USSR state editions) and an album of thirty lithographs entitled Shtetl (1923). In 1924, he published the Jewish Types of Ukraine, an album reminiscent of Cubism and Expressionism that recounts the threatening atmosphere of a pogrom. In Berlin, he became a member of the Novembergruppe and exhibited his work at the Secession. At that time, he produced supremacist engravings for the Yiddish avant-garde journal Albatros. In 1925, he was invited to return to Russia by the Jewish Theater in Moscow, and designed sets and costumes for I.L. Peretz's play In Folisch Oyf Der Keit. The same year, he spent time in the Jewish agricultural colonies in Ukraine, where he produced drawings representing everyday life. These drawing were published when he arrived in Paris in 1926. Between 1928 and 1934, Ryback exhibited his work in Paris, The Hague, Amsterdam, Brussels, Rotterdam, Antwerp, and Philadelphia. His last exhibition took place at the Wildenstein gallery in Paris. His works are a.o. in the Issachar Ryback museum in Bat Yam, Israel." (link) This lithograph in colours is part of the 16-part series 'Mon village'. The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Antoni Tàpies Puig (1923-2012): 'A Cortázar', lithograph in colours, ed. HC, [1979]Description:Work: 58 x 39,5 cm Paper: 70,6 x 53,7 cm Ref.: - Galfetti, 730. The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Christian Dotremont (1922-1979): Logograms, lithograph, dated 1973Description:Work: 69 x 49,5 cm Frame: 97 x 77 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: René Magritte (1898-1967, after): 'La Géante', lithograph in colours, ed. 14/150Description:Work: ca. 63,5 x 52 cm Paper: ca. 70,5 x 55,2 cm Frame: 78,4 x 63,2 cm In the lower left corner with the following text: "Lithographie d'apres le tableau original de mon mari Rene Magritte "La Geante" tiree en 150 exemplaires numerotes et signes de ma main. Georgette Magritte" (Lithograph after the original painting by my husband Rene Magritte 'La Geante', printed in 150 copies, numbered and signed by my hand. Georgette Magritte). The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Pierre Alechinsky (1927): 'L'inconditionnement humain', lithograph in colours, ed. E.A., [1970]Description:Work: ca. 100 x 63,8 cm Frame: 131,2 x 96,3 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com