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Preisdatenbank abonnierenCandida Höfer Eberswalde 1944 - lebt in Köln Kupferstich-Kabinett Dresden VIII 2002. C-Print. 2002. 22,3 x 22 cm (26 x 24 cm). Rückseitig signiert und nummeriert. (36) Exemplar 30/100. – Erschienen als Beilage zur Vorzugsausgabe der Monographie im Münchner Schirmer/Mosel Verlag. – Auf Photopapier. – Mit dem Buch im originalen Schuber und verlagsfrisch erhalten.
1913 London Underground POCKET MAP 'What to See & How to See it. Stations everywhere'. This is the uncommon issue with print-code 220-139M-7.11.13. Opens out to 14 " x 11" (36cm x 28cm). Shows projected extensions to Ealing Broadway, Queens Park and Edgware as well as the LNWR line to Watford in anticipation of the proposed Bakerloo extension. Cover has one of the first printed 'bar & circle' logos. A very reasonable example in used condition with some cover stains, creasing and fragile folds. [1]
1935 London Underground diagrammatic, card POCKET MAP designed by Henry Beck. This is issue No 1, 1935 (no print-code) and shows the escalator connection between Bank and Monument stations. An excellent copy, crisp and firm. Carries a label on the front showing it was issued by Frames' Tours of London WC1. [1]
Southern Railway CARRIAGE PRINT 'Battle Abbey' by Donald Maxwell from the original SR series issued in 1936. In original-style mount, framed and glazed. Prints from this series are seldom seen. Measures 15.5" x 10" (39cm x 26cm) overall and is in very good condition with just a few very small stains and foxing marks. [1]
1933 first edition of the H.C. Beck London Underground diagrammatic card POCKET MAP with the famous cover slogan "A new design for an old map....." and print-code 750M - 1-33. A lightly-used example with a few tiny marks, very small bends at the corners and a crease to the rear cover/down the r/h side of the map but overall still in very good condition. [1]
1924 Metropolitan Railway POCKET MAP, the Met's own version of the London Underground map. This is the edition with print-code G.1608.100,000 and is the version with the overprint on the map for the British Empire Exhibition and Cup Final Stadium. A very good example, just lightly used with a few small blemishes. [1]
Trio of London Transport TROLLEYBUS FARECHARTS comprising a single-sided, paper issue for routes 517/617 dated January 1947 (marked 'proof' in the print-code, has extra margin) plus double-sided, card versions for routes 555/677 & 581, undated but carries 1958/59 'first & last' stickers, and routes 627 & 653 dated 8.5.60. Some marks of use and age but generally in good condition. [3]
Southern Railway CARRIAGE PRINT 'Near Bletchingley, Surrey' by Donald Maxwell from the original SR series issued in 1936. In original-style mount, framed and glazed. Prints from this series are seldom seen and this is a particularly uncommon example. Measures 15.5" x 10" (39cm x 26cm) overall and is in very good condition with just a slight damp stain at the l/h edge. [1]
Selection (4) of CATALOGUES of London Transport Maps comprising 2 x 'Burwood & Brady' 1982 first edition, generally in vgc except one has some loose pages, the other some ticks inside, and 2 x 'Letch', the 2000 and 2004 editions, both in vgc except for some ticks inside. Long out of print, these are highly sought-after reference works. The booklets are in very good condition other than as described. [4]
1914/5 London Underground pocket MAP OF THE ELECTRIC RAILWAYS OF LONDON 'What to See & How to See it'. Opens out to 17 " x 13.5" (43cm x 34cm) with 12 panels and pictorial views on the reverse. No date or print-code but c April 1914 - Jan 1915. Shows extensions to Ealing Broadway, Gunnersbury and Edgware as under construction. Circle of bullseye on cover is red. Generally a very good example with a couple of very small partings at the fold-corners and the usual age-darkening. [1]
1954 London Underground quad-royal POSTER MAP by H C Beck with print-code date of November 1954. Depicts the network in its settled post-war form that was to last until the construction of the Victoria Line in the 1960s. The lines have been thickened to allow the names to be shown within them. The term 'Railways' is now shown on the bar of the bullseye. Generally a very good example with a little age-darkening, tiny losses at the edge-corners and fold-corners, short pieces of tape at the edges on the reverse which partially shows through. Folded. [1]
1933 London Underground H C Beck diagrammatic, card POCKET MAP from the first-year series titled 'Underground Railways of London'. Issued c.December 1933 and has print reference 33-3636. This is a special edition produced for Davis Estates and shows the locations on the map of their head office and various estates. A superb copy in excellent condition - crisp and firm. [1]
1933 first edition of the H.C. Beck London Underground diagrammatic card POCKET MAP with the famous cover slogan "A new design for an old map....." and print-code 750M-1-33. A used but very reasonable example with small cover stains but the map side is very good with just a couple of very small marks. [1]
1914/5 London Underground pocket MAP OF THE ELECTRIC RAILWAYS OF LONDON 'What to See & How to See it'. Opens out to 17 " x 13.5" (43cm x 34cm) with 12 panels and pictorial views on the reverse. No date or print-code but c April 1914 - Jan 1915. Shows extensions to Ealing Broadway, Gunnersbury and Edgware as under construction. Circle of bullseye on cover is red. Generally a good example with short partings at two fold-corners and the usual age-darkening. [1]
1933 London Underground H C Beck diagrammatic, card POCKET MAP from the first-year series titled 'Underground Railways of London'. This is the edition with no print-code, issued c. August 1933 and has 'LPTB' inside the bullseye logos. Refers to re-naming of Dover St station to Green Park and the merger of Holborn and British Museum stations, all in September that year. A lightly-used example with a little wear and a short tear visible on the front cover to the right of 'London' and just visible on the map-side but otherwise a very good example. [1]
Eugene Fuller (1889-1968), a First World War print, Tanks on their Way to the Line, dated 1916; together with a 1978 exhibition catalogue. The former 30 x 24 cm overall. Note: Eugene Fuller served in the Great War and his duties consisted of motorcycle reconnaissance work, the sketching and reporting of enemy movements and installations. He sustained severe wounds in 1917 and then joined the Tank Corps in 1918 and was subsequently taken prisoner. Works by this artist are held by the Imperial War Museum. Provenance: By family descent.
A Victorian bronze equestrian figure of the young Queen Victoria modelled riding side saddle, on a naturalistic plinth base, inscribed 'Ct D'orsay Sculp 1848' and with applied presentation label inscribed 'Presented to R.E. Officers Mess Chatham by Captain T.T Grove R.E. 1909', cast from the model by ALFRED GUILLAUME-GABRIEL (Comte D'orsay) (1801-1852) French. 73 cm high x 63 cm long. Together with a print out from The Library Curator of the Royal Engineers Library Brompton Barracks, Chatham relating to Captain Thomas Grove and also stating that the bronze was purchased by Major (later Colonel) J C Peacey (the current vendor's father) at an auction held in January 1965 by the Headquarter Mess, Royal Engineers at being surplus to requirements.
Roy Schatt, James Dean (from the Torn Sweater Series), XL limited photographRoy Schatt, (1909-2002)1954/ 2000James Dean (aus der Torn Sweater Serie). Aus dem 2000 unter der Aufsicht von Roy Schatt herausgegebenem limitierten Portfolio 'JAMES DEAN NEW YORK 1954 IMAGES BY ROY SCHATT'. 1954/ 2000. Digital Print (Iris Glicee inkjet) auf Legion Somerset Velvet. 99,5 x 74 cm. Unten rechts mit Bleistift signiert: Roy Schatt. Insgesamt erschienen in dieser Serie 15 verschiedene Motive, von denen pro Motiv jeweils nur 2 Exemplare produziert werden. Das vorliegende Exemplar ist eines der beiden Stücke. Beiliegend Certificate of Authenticity des Ateliers Roy Schatt. Roy Schatt, James Dean (from the Torn Sweater Series), XL limited photographRoy Schatt, (1909-2002)1954/ 2000James Dean (from the Torn Sweater series). From the limited portfolio 'JAMES DEAN NEW YORK 1954 IMAGES BY ROY SCHATT' published under the supervision of Roy Schatt. 1954/2000. Digital print (Iris Glicee inkjet) on Legion Somerset Velvet. 99.5 x 74 cm. Signed in pencil lower right: Roy Schatt.A total of 15 different motifs appeared in this series, of which only 2 copies per motif are produced. The present copy is one of the two pieces.Enclosed Certificate of Authenticity from Atelier Roy Schatt.
Roy Schatt, James Dean in his apartment, New York City, XL limited photographRoy Schatt, (1909-2002)1954/ 2000James Dean in his apartment, New York City. Aus dem 2000 unter der Aufsicht von Roy Schatt herausgegebenem limitierten Portfolio 'JAMES DEAN NEW YORK 1954 IMAGES BY ROY SCHATT'. 1954/ 2000. Digital Print (Iris Glicee inkjet) auf Legion Somerset Velvet. 74 x 99,5 cm. Unten rechts mit Bleistift signiert: Roy Schatt. Insgesamt erschienen in dieser Serie 15 verschiedene Motive, von denen pro Motiv jeweils nur 2 Exemplare produziert werden. Das vorliegende Exemplar ist eines der beiden Stücke. Beiliegend Certificate of Authenticity des Ateliers Roy Schatt. Roy Schatt, James Dean in his apartment, New York City, XL limited photographRoy Schatt, (1909-2002)1954/ 2000James Dean in his apartment, New York City. From the limited portfolio 'JAMES DEAN NEW YORK 1954 IMAGES BY ROY SCHATT' published under the supervision of Roy Schatt. 1954/2000. Digital print (Iris Glicee inkjet) on Legion Somerset Velvet. 74 x 99.5 cm. Signed in pencil lower right: Roy Schatt.A total of 15 different motifs appeared in this series, of which only 2 copies per motif are produced. The present copy is one of the two pieces.Enclosed Certificate of Authenticity from Atelier Roy Schatt.
Roy Schatt, James Dean (from the Torn Sweater series), Ltd. Edition 8/65Roy Schatt, (1909-2002)1954/ 1982James Dean (aus der Torn Sweater Serie). 1954/ 1982. Gelatine Silver Print. 40,5 x 50,5 cm. Aus einer limitierten Serie von 65 signierten und nummerierten Exemplaren. Hier das Exemplar mit der Nummer 8. Unten links nummeriert 8/65, unten rechts signiert Roy Schatt. Verso mit Stempel bezeichnet: ROY SCHATT PHOTOGRAPHER/ COPYRIGHT JAMES DEAN FOUNDATION TRUST 1982. Roy Schatt, James Dean (from the Torn Sweater series), Ltd. Edition 8/65Roy Schatt, (1909-2002)1954/ 1982James Dean (from the Torn Sweater series). 1954/1982. Gelatine Silver Print. 40.5 x 50.5 cm. From a limited series of 65 signed and numbered copies. Here the copy with the number 8. Numbered 8/65 lower left, signed Roy Schatt lower right. Inscribed with stamp on verso: ROY SCHATT PHOTOGRAPHER / COPYRIGHT JAMES DEAN FOUNDATION TRUST 1982.
Roy Schatt, James Dean with Rolleiflex, Limited edition Ex. 8/65Roy Schatt, (1909-2002)1954/ 1982James Dean (James Dean in New York with Rolleiflex). 1954/ 1982. Gelatine Silver Print. 50,5 x 40,5 cm. Aus einer limitierten Serie von 65 signierten und nummerierten Exemplaren. Hier das Exemplar mit der Nummer 8. Unten links nummeriert 8/65, unten rechts signiert Roy Schatt. Verso mit Stempel bezeichnet: ROY SCHATT PHOTOGRAPHER/ COPYRIGHT JAMES DEAN FOUNDATION TRUST 1982. Roy Schatt, James Dean with Rolleiflex, Limited edition Ex. 8/65Roy Schatt, (1909-2002)1954/ 1982James Dean (James Dean in New York with Rolleiflex). 1954/1982. Gelatine Silver Print. 50.5 x 40.5 cm. From a limited series of 65 signed and numbered copies. Here the copy with the number 8. Numbered 8/65 lower left, signed Roy Schatt lower right. Inscribed with stamp on verso: ROY SCHATT PHOTOGRAPHER / COPYRIGHT JAMES DEAN FOUNDATION TRUST 1982.
Ralpf Ueltzhoeffer, Sex SellsRalph Ueltzhoeffer, (*1966)Sex Sells. 2008. Angelina Jolie. Lambda-Farbdruck (C-Print) 2009. 150 x 107 cm. Hier Nr. 27 aus einer Edition von 100 Exemplaren. Verso unten rechts signiert, datiert und beschrieben: Ralpf Ueltzhoeffer/ 2008/ No. 27/100. Lumas Edition Gallery, Germany. Referenz RUE27.Literatur: Lumas Edition Gallery, Germany. Referenz RUE27. Ralpf Ueltzhoeffer, Sex SellsRalph Ueltzhoeffer, (*1966)Sex sells. 2008. Angelina Jolie. Lambda color print (C-Print) 2009. 150 x 107 cm. Here No. 27 from an edition of 100 copies. Signed, dated and described on verso lower right: Ralpf Ueltzhoeffer / 2008 / No. 27/100. Lumas Edition Gallery, Germany. Reference RUE27.Literature: Lumas Edition Gallery, Germany. Referenz RUE27.
Mel Ramos, 2 prints, Navel Orange and Peek-a-BooMel Ramos, (1935-2018)2013, 2015Navel Orange. 2013. Beigabe des Werkverzeichnisses der Druckgrafiken Mel Ramos-New Prints. Digital Print. Hrsg. Galerie Ernst Hilger. Unten links Prägestempel: Hilger Edition. Motiv: 21 x 18 cm. Blatt: 28 x 22 cm. Unten links mit Bleistift nummeriert, unten rechts signiert: 208/999/ Mel Ramos. Ungerahmt.Peek-a-Boo (The Towel). 2015. Digital Print. Hrsg. Galerie Ernst Hilger. Motiv: 24 x 18 cm. Blatt: 29 x 22 cm. Unten links mit Bleistift nummeriert, unten rechts signiert: 575/999/ Mel Ramos. Ungerahmt.Literatur: Mel Ramos, Definitive catalogue raisonné of original prints, Hrsg. Galerie Ernst Hilger und The Estate of Mel Ramos, Verlag für moderne Kunst, S. 216, S.220. Mel Ramos, 2 prints, Navel Orange and Peek-a-BooMel Ramos, (1935-2018)2013, 2015Navel orange. 2013. Addition of the catalog raisonné of the prints by Mel Ramos-New Prints. Digital print. Ed. Galerie Ernst Hilger. Embossing stamp lower left: Hilger Edition. Motif: 21 x 18 cm. Sheet: 28 x 22 cm. Numbered in pencil lower left, signed lower right: 208/999 / Mel Ramos. Unframed.Peek-a-Boo (The Towel). 2015. Digital print. Ed. Galerie Ernst Hilger. Motif: 24 x 18 cm. Sheet: 29 x 22 cm. Numbered in pencil lower left, signed lower right: 575/999 / Mel Ramos. Unframed.Literature: Mel Ramos, Definitive catalogue raisonné of original prints, Hrsg. Galerie Ernst Hilger und The Estate of Mel Ramos, Verlag für moderne Kunst, S. 216, S.220.
James Rizzi, On Time-In Line-In Russia + Fabulous FoursomeJames Rizzi, (1950-2011)1990On Time - In Line - In Russia. 1990. 3D, triptych Farbserigraphie auf Papier. 8 x 30 cm. Hier Nr. 290 aus einer Auflage von 350 Exemplaren. Unten links mit Bleistift signiert, unten rechts nummeriert und datiert: RIZZI / 290/350 / 90. Mit Passepartout hinter Glas gerahmt. Fabulous Foursome. 1990. Farbdruck auf Papier. 6,5 x 9 cm. Unten rechts mit Filzstift signiert: J. RIZZI. Mit Passepartout hinter Glas gerahmt. James Rizzi, On Time-In Line-In Russia + Fabulous FoursomeJames Rizzi, (1950-2011)1990On Time - In Line - In Russia. 1990. Color silkscreen on paper. 3D, triptych. 8x 30 cm. Here No. 290 from an edition of 350 copies. Signed in pencil lower left, numbered and dated lower right: RIZZI / 290/350 / 90. Framed with passepartout behind glass.Fabulous Foursome. 1990. Colour print on paper. 6.5 x 9 cm. Signed in felt pen lower right: J. RIZZI. Framed behind glass with a passepartout.
Alex Katz*, Homage to MonetAlex Katz*, (*1927)2019Homage to Monet. 2019. Dreiteilig. Farbgraphik, pigment print. Links: 117 x 39 cm, mittig: 117 x 58.5 cm , rechts: 117 x 39 cm. Hier Exemplar 18 aus einer Auflage von 100. Mit Bleistift signiert du nummeriert: alex katz/ 18/100. Hinter Glas gerahmt. Alex Katz*, Homage to MonetAlex Katz*, (*1927)2019Homage to Monet. 2019. Three parts. Color graphics (pigment print), (triptych). Left: 117 x 39 cm, center: 117 x 58.5 cm, right: 117 x 39 cm. Here copy 18 from an edition of 100. Signed and numbered in pencil: alex katz / 18/100. Framed behind glass.
Mel Ramos, Campbell'sMel Ramos, (1935-2018)about 2010Campbell's. Um 2010. Offset auf leichtem Karton. Karte/ Infokarte zum Erscheinen des Buches: Kerber/ Collector's Edition/ 100 + … Zeichnungen von MEL RAMOS. Verso im Druck so bezeichnet. 14,7 x 10,5 cm. Unten Mitte mit Bleistift signiert. Mel Ramos, Campbell'sMel Ramos, (1935-2018)about 2010Campbell's. Around 2010. Offset on light cardboard. Card / info card for the publication of the book: Kerber / Collector's Edition / 100 +… drawings by MEL RAMOS. Inscribed in print on verso. 14.7 x 10.5 cm. Signed in pencil lower center.
Andy Warhol, Purple Cows stampedAndy Warhol, (1928 - 1987)1967Purple Cows. 1967. Rubber Stempeldruck auf Rivers Papier. 28 x 21 cm. Aus einer Auflage von 225 signierten Exemplaren. Vorderseitig mit Rubber Stempeldruck signiert: Andy Warhol. Hinter Glas gerahmt.Literatur: Andy Warhol Prints. A Catalogue Raisonné 1962-1987. Frayda Feldmann & Jörg Schellmann. S. 65. Abb. II.17 A Andy Warhol, Purple Cows stampedAndy Warhol, (1928 - 1987)1967Purple Cows. 1967. Rubber stamp print on Rivers paper. 28 x 21 cm. From an edition of 225 signed copies. Signed on the front with rubber stamp: Andy Warhol. Framed behind glass.Literature: Andy Warhol Prints. A Catalogue Raisonné 1962-1987. Frayda Feldmann & Jörg Schellmann. S. 65. Abb. II.17 A
Andy Warhol, Marilyn - Sunday B.Morning, early and limited EditionAndy Warhol, (1928 - 1987)Marilyn - Sunday B. Morning limitierte Edition, 11.29: Marilyn Monroe. Siebdruck auf Museum Board, Flieder-Silber-Orange auf Türkis, 11.29. 91 x 91 cm. Hier Nr, 159 aus der Originalauflage von 250 Exemplaren. Verso gestempelt: fill in your own signature/ Published by Sunday B. Morning/ 159/250. Andy Warhol, Marilyn - Sunday B.Morning, early and limited EditionAndy Warhol, (1928 - 1987)Marilyn - Sunday B. Morning Edition, 11:29: Marilyn Monroe. Screen print on museum board, lilac-silver-orange on turquoise, 11.29. 91 x 91 cm. Here no. 159 from the original edition of 250 copies. Stamped on the reverse: fill in your own signature / Published by Sunday B. Morning / 159/250
Joseph Beuys*, Fish - Laichender Wels. Mixed Media (Print,Frottage,Pencil)Joseph Beuys*, (1921-1986)1957Fisch (Laichender Wels). Unikat. Holzschnitt, früher Eigendruck des Künstlers im Handabrieb, mit Bleistiftschraffuren auf dünnem bräunlichen Papier. Es handelt sich vermutlich um einen Probedruck, der im Entstehungsprozess des Motives individuell nachgearbeitet wurde. (Druckverfahren mit Druckstock mit Holzstruktur/ Frottage und Bleistiftschraffuren) Partiell sind Fingerabdrücke zu erkennen. Schätzungsweise gibt es sieben erhaltene Abzüge des Motives. Auf Karton montiert. Motiv: 17,3 x 39,3. Blatt: 30,5 x 42,7 cm. Hinter Glas gerahmt.Provenienz: Nachlass Hans van der Grinten, Kranenburg (D)Der Holzschnitt ist im Sommer 1957 in Kranenburg, unter Anwesenheit der Brüder van der Grinten, entstanden. Beuys lebte vom Frühjahr bis Sommer 1957 im Haus van der Grinten. Beuys selbst bezeichnete diese Phase verallgemeinert als 'Beuys arbeitet auf dem Felde'.Literatur: Dieter Koepplin, Joseph Beuys - in Basel, Bd. 2: Zeichnungen undHolzschnitte bis 1954, Basel 2006 (8. Auflg.), Hrsg. Öffentliche Kunstsammlung Basel. Nr. 28, Abb. S.188. Joseph Beuys*, Fish - Laichender Wels. Mixed Media (Print,Frottage,Pencil)Joseph Beuys*, (1921-1986)1957Fish (spawning catfish). Unique. Woodcut, early hand-rubbed printing by the artist, with pencil hatching on thin brownish paper. It is probably a test print that was individually reworked during the creation process of the motif. (Printing process with printing block with wood structure / frottage and pencil hatching) Fingerprints can be partially recognized. It is estimated that there are seven surviving prints of the motif. Mounted on cardboard. Motif: 17.3 x 39.3. Sheet: 30.5 x 42.7 cm. Framed behind glass.Provenance: Estate of Hans van der Grinten, Kranenburg (D)The woodcut was created in the summer of 1957 in Kranenburg, in the presence of the van der Grinten brothers. Beuys lived in the van der Grinten house from spring to summer 1957. Beuys himself generally referred to this phase as 'Beuys works in the field'.Literature: Dieter Koepplin, Joseph Beuys - in Basel, Bd. 2: Zeichnungen undHolzschnitte bis 1954, Basel 2006 (8. Auflg.), Hrsg. Öffentliche Kunstsammlung Basel. Nr. 28, Abb. S.188.
Joseph Beuys*, 2 Oil bottles, Edition A + B, 1984Joseph Beuys*, (1921-1986)19842 Ölflaschen. 1984. A.: Flasche Olivenöl mit bedrucktem, weißem Etikett. Höhe: 26cm, Durchmesser 8cm. Im Druck signiert. B.: Flasche Olivenöl mit bedrucktem, goldenem Etikett. Höhe: 26cm, Durchmesser 8cm. Im Druck signiert. Auflage A erschien unlimitiert und unsigniert, Auflage B in einer Edition von 12 nummerierten und signierten Exemplaren.Die Ölflasche mit dem goldenen Etikett ist Teil einer geplanten AP - Auflage, welche nicht verwirklicht wurde. Ein Großteil des Öls für die geplante Edition wurde in der Küche von Joseph Beuys genutzt. Provenienz: Privatsammlung Bergisches LandVerzeichnet Schellmann WVZ 504A und 504B.Literatur: Jörg Schellmann, Joseph Beuys - Die Multiples, Werkverzeichnis der Auflageobjekte und Druckgraphik, München 1997 (8. Auflg.), WVZ Nr. 504A, 504B, Abb.S.374u. S.493. Joseph Beuys*, 2 Oil bottles, Edition A + B, 1984Joseph Beuys*, (1921-1986)19842 bottles of oil. 1984. A) Bottle of olive oil with a printed white label. Height: 26cm, diameter 8cm. Signed in the print. B) Bottle of olive oil with a printed gold label. Height: 26cm, diameter 8cm. Signed in the print. Edition A appeared unlimited and unsigned, Edition B in an edition of 12 numbered and signed copies.The oil bottle with the golden label is part of a planned AP edition, which was not implemented. Much of the oil for the planned edition was used in Joseph Beuys' kitchen.Provenance: private collection Bergisches Land, Germany.Listed: Schellmann catalog of works 504A and 504B.Literature: Jörg Schellmann, Joseph Beuys - Die Multiples, Werkverzeichnis der Auflageobjekte und Druckgraphik, München 1997 (8. Auflg.), WVZ Nr. 504A, 504B, Abb.S.374u. S.493.
Joseph Beuys*, Multiple Mach den Mund weit aufJoseph Beuys*, (1921-1986)1978Mach den Mund weit auf. Multiple. 1978. Druck auf Papier. Aus einer Edition von 200 Exemplaren hier die Nr. 156. 8 x 31,5cm. Unten links mit Bleistift signiert: Joseph Beuys, Jörg Frank und nummeriert: 156/200.Schellmann WVZ 246.Jörg Frank klebte diese Zettel auf Beuys-Plakate, die zur Ankündigung einer Diskussion, Fondazione per la rinascita dell'agricoltura in Pescara, entstanden. Beuys machte diese spontan zur Edition.Literatur: Jörg Schellmann, Joseph Beuys - Die Multiples, Werkverzeichnis der Auflageobjekte und Druckgraphik, München 1997 (8. Auflg.), WVZ Nr. 246, Abb.S.222 u. S.462. Joseph Beuys*, Multiple Mach den Mund weit aufJoseph Beuys*, (1921-1986)1978Mach den Mund weit auf (Open your mouth wide). Multiple. 1978. Print on paper. From an edition of 200 copies here No. 156. 8 x 31.5cm. Signed in pencil lower left: Joseph Beuys, Jörg Frank and numbered: 156/200.Schellmann Catalog raisonné 246.Jörg Frank stuck these notes on Beuys posters that were created to announce a discussion, Fondazione per la rinascita dell'agricoltura in Pescara. Beuys spontaneously turned this into an edition.Literature: Jörg Schellmann, Joseph Beuys - Die Multiples, Werkverzeichnis der Auflageobjekte und Druckgraphik, München 1997 (8. Auflg.), WVZ Nr. 246, Abb.S.222 u. S.462.
Joseph Beuys*, Multiple Stück 17 1972Joseph Beuys*, (1921-1986)1972Stück 17. Multiple. 1972. Offsetdruck auf braunem Papier. Aus einer Edition von 1000 Exemplaren, unnummeriert. 29,5 x 21cm. Verso mit Bleistift signiert Beuys. Schellmann WVZ 46.Literatur: Jörg Schellmann, Joseph Beuys - Die Multiples, Werkverzeichnis der Auflageobjekte und Druckgraphik, München 1997 (8. Auflg.), WVZ Nr.46, Abb.S. 84 u. Abb.S.438. Joseph Beuys*, Multiple Stück 17 1972Joseph Beuys*, (1921-1986)1972Stück 17 (Piece 17). Multiple. 1972. Offset print on brown paper. From an edition of 1000 copies, unnumbered. 29.5 x 21 cm. Verso signed Beuys in pencil. Schellmann Catalog raisonné 46.Literature: Jörg Schellmann, Joseph Beuys - Die Multiples, Werkverzeichnis der Auflageobjekte und Druckgraphik, München 1997 (8. Auflg.), WVZ Nr.46, Abb.S. 84 u. Abb.S.438.
Joseph Beuys*, Der Sonnenschlitten 1984 Sample print / misprintJoseph Beuys*, (1921-1986)1984Sonnenschlitten. 1984. Siebdruck auf Schöller-Karton. 62,5 x 89,5cm. Probedruck oder Fehldruck. Schellmann WVZ 498.Literatur: Jörg Schellmann, Joseph Beuys - Die Multiples, Werkverzeichnis der Auflageobjekte und Druckgraphik, München 1997 (8. Auflg.), WVZ Nr. 489, Abb.S.371 u. S.492. Joseph Beuys*, Der Sonnenschlitten 1984 Sample print / misprintJoseph Beuys*, (1921-1986)1984Der Sonnenschlitten (Sun sled). 1984. Screen print on Schöller cardboard. 62.5 x 89.5 cm. Sample print or misprint. Schellmann VMS 498.Literature: Jörg Schellmann, Joseph Beuys - Die Multiples, Werkverzeichnis der Auflageobjekte und Druckgraphik, München 1997 (8. Auflg.), WVZ Nr. 489, Abb.S.371 u. S.492.
Archizoom, Poltronova, modular Sofa/Divano SafariArchizoomPoltronova, ItalyDesign 1968Modulare Sitzgruppe / Sofa Modell Safari. Entwurf 1968. Weiß lackiertes Fiberglas, Stoff mit Leopardenmuster. 64 x 132/86 x 132/86 cm.Un pezzo imperiale nello squalore delle vostre pareti domestiche/ Ein imperiales Stück in der Ödnis Ihrer häuslichen Wände – mit diesem humorvollen Slogan wurde das Modell Safari in den 1960er Jahren von Poltronova beworben. Das spektakuläre modulare Sofasystem Safari, das zu einem großen Medienerfolg wurde, besteht aus je 2 Sessel- und Zweisitzerecksofa-Modulen, die sich individuell zu einer Wohnlandschaft zusammenstellen lassen. Die Gruppe Archizoom aus Florenz – Andrea Branzi, Gilberto Corretti, Paolo Deganello and Massimo Morozzi,– hatte sich 1966 mit dem Ziel zusammengeschlossen, Traditionen und bürgerliche Werte zu überwinden und mit neuen Ideen zu provozieren. Sergio Cammilli, der Gründer von Poltronova, hatte die Gruppe 1966 bei der Ausstellung Superarchitettura in Pistoia kennengelernt und lud sie ein, Entwürfe für sein Unternehmen zu entwickeln. Bis 1973 entstanden mehrere Modelle, die die Era des ‚new design‘ einläuteten.Literatur: Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, Turin 2003, Abb. S. 142, Bd. I. Archizoom, Poltronova, modular Sofa/Divano SafariArchizoomPoltronova, ItalyDesign 1968Modular seating group / sofa model Safari. Designed in 1968. White lacquered fiberglass, fabric with leopard print. 64 x 132/86 x 132/86 cm.Un pezzo imperiale nello squalore delle vostre pareti domestiche / An imperial piece in the wasteland of your home walls - Poltronova advertised the Safari model in the 1960s with this humorous slogan.The spectacular modular sofa system Safari, which became a great media success, consists of 2 armchair and two-seater corner sofa modules, which can be individually combined to form a living area. The Archizoom group from Florence - Andrea Branzi, Gilberto Corretti, Paolo Deganello and Massimo Morozzi - came together in 1966 with the aim of overcoming traditions and bourgeois values ​​and provoking them with new ideas. Sergio Cammilli, the founder of Poltronova, met the group in 1966 at the Superarchitettura exhibition in Pistoia and invited them to develop designs for his company. Several models were created by 1973 that heralded the era of 'new design'.Literature: Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, Turin 2003, Abb. S. 142, Bd. I.
Joseph Beuys (1921 Kleve - 1986 Düsseldorf)Fotosiebdruck, 1973. Aus der sogenannten 3-Tonnen-Edition. Edition Staeck, Heidelberg. Beidseitiger Druck auf PVC-Folie mit Motiven zur Installation "Das Rudel". Auf einer Seite handsigniert und mit kleiner Hut-Zeichnung versehen. Ca. 45 cm x 45 cm. Rahmen.Photo screen print, 1973. Motifs taken from the installation "The Pack", one on each side, to be seen from both sides. Hand-signed.
Henri Matisse (1869 Le-Cateau-Cambrésis - 1954 Cimiez) nach"La Danse" (Der Tanz). OriginaltitelPochoir/Velin, 1959. Nach einem Aquarell von Matisse. Druck Jacomet, Paris. Sign. im Druck. Passepartoutausschnitt 32,5 x 25,5 cm. Rahmen.After Henri Matisse (1869 - 1954), Pochoir on wove paper. Signed in the print.
Pablo Picasso (1881 Málaga - 1973 Mougins) nachDrei weibliche Akte in einem InterieurLithographie/Papier. Im Druck bez.; Nach einer Picasso-Zeichnung ausgeführte Druckgrafik. 55 cm x 40,5 cm (Passepartoutausschnitt).After Pablo Picasso (1881 - 1973). Lithograph on paper. Inscribed in the print.
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