Andy Warhol 1928 Pittsburgh - 1987 New York Details of Renaissance Paintings (Sandro Botticelli, Birth of Venus, 1482). 1984. Farbserigrafie. Feldman/Schellmann/Defendi II.319. Signiert und nummeriert. Aus einer Auflage von 70 Exemplaren. Auf festem Velin. 63,5 x 94 cm (25 x 37 in). Papier: 82 x 112 cm (32,3 x 44,1 in). Blatt 4 des insgesamt 4 Farbserigrafien umfassenden Portfolios. Gedruckt von Rupert Jasen Smith, New York. Herausgegeben von den Editionen Schellman & Klüser, München/New York (verso mit dem Stempel). [JS]. • Botticellis Ikone der Renaissance, die 'Geburt der Venus' (Uffizien, Florenz), erklärt Warhol zu einer Ikone der Pop-Art. • Warhol ist ein Meister der Adaption und Verfremdung: stark fokussierter Bildausschnitt, intensive Pop-Art-Farbigkeit und Ausführung in mehreren Farbvarianten. • Durch die Konfrontation von Renaissance und Gegenwart, Einzigartigkeit und serieller Reproduktion, Aura und Adaption fordert Warhol unsere traditionellen Vorstellungen von Kunst heraus und schafft ein faszinierendes Sinnbild seines neuen Kunstbegriffes. • Warhols künstlerische Auseinandersetzung mit Sandro Botticellis 'Geburt der Venus' ist das berühmteste Blatt der Werkfolge 'Details of Renaissance Paintings' neben Meisterwerken von Piero della Francesca, Paulo Uccello und Leonardo da Vinci. PROVENIENZ: Edition Schellmann & Klüser, New York/München (Herausgeber). Privatsammlung Deutschland (1984 vom Vorgenannten erworben, seither in Familienbesitz). LITERATUR: Forty are better than one. Edition Schellmann, 1969-2009, hrsg. v. Jörg Schellmann, S. 345, Warhol, Kat.-Nr. 14 (m. Abb., wohl anderes Exemplar). 'Neulich hat eine Gesellschaft meine Aura kaufen wollen. Diese Leute wollen kein 'Produkt' von mir, sondern sagten: >>Wir wollen ihre Aura.ENGLISH VERSIONAndy Warhol 1928 Pittsburgh - 1987 New York Details of Renaissance Paintings (Sandro Botticelli, Birth of Venus, 1482). 1984. Silkscreen in colors. Feldman/Schellmann/Defendi II.319. Signed and numbered. From an edition of 70 copies. On firm wove paper. 63.5 x 94 cm (25 x 37 in). Sheet: 82 x 112 cm (32,3 x 44,1 in). Sheet 4 from the portfolio of a total of 4 color silkscreens. Printed by Rupert Jasen Smith, New York. Published by the Editions Schellman & Klüser, Munich/New York (with the stamp on the reverse). [JS]. • Warhol declares Botticelli's Renaissance icon 'Birth of Venus' (Uffizi Gallery, Florence) an icon of Pop Art. • Warhol is a master of adaptation and alienation: strongly focused image detail, intense Pop Art color and execution in several color variations. • By confronting Renaissance with the present, uniqueness with serial reproduction, aura with adaptation, Warhol challenges our traditional notions of art and creates a fascinating allegory of his new concept of art. • Warhol's artistic exploration of Sandro Botticelli's 'Birth of Venus' (Uffizi Gallery, Florence) is the most famous sheet in the series of works 'Details of Renaissance Paintings' based on masterpieces by Piero della Francesca, Paulo Uccello and Leonardo da Vinci. • Part of a German private collection since its creation. PROVENANCE: Edition Schellmann & Klüser, New York/Munich (publisher). Private collection Germany (acquired from the above in 1984, ever since family-owned). LITERATURE: Forty are better than one. Edition Schellmann, 1969-2009, ed. by Jörg Schellmann, p. 345, Warhol, cat. no. 14 (fig., presumably different copy). 'The other day a company wanted to buy my aura. These people did not want a 'product' from me, but said: >>We want your aura.
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Gerhard Richter 1932 Dresden - lebt und arbeitet in Köln Graphit. 2005. Serigrafie in vier Grautönen über Offsetdruck. Butin 129. Signiert, datiert und nummeriert. Aus einer Auflage von 90 Exemplaren. Auf Karton von Somerset (mit dem Wasserzeichen). 72 x 60,5 cm (28,3 x 23,8 in). Papier: 96 x 74,5 cm (37,7 x 29,3 in). Gedruckt von Mike Karstens, Münster (mit dem Trockenstempel). Herausgegeben von der Kunstsammlung Nordrhein-Westfalen, Düsseldorf. Im Künstlerrahmen. [AW]. • Verschleiernde Unschärfe in sanften Graumodulationen. • Das Bild, das Kohlenstoffatome von Graphit zeigt, wurde mithilfe eines kombinierten Rastertunnel- sowie Rasterkraftmikroskops erstellt und sodann am Computer modifiziert. • Neben seinem malerischen Werk hat Gerhard Richter seit 1965 ein ebenso umfangreiches wie vielseitiges grafisches Œuvre geschaffen. PROVENIENZ: Privatsammlung Berlin. Aufrufzeit: 08.12.2023 - ca. 15.13 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONGerhard Richter 1932 Dresden - lebt und arbeitet in Köln Graphit. 2005. Silkscreen in four shades of gray over offset print. Butin 129. Signed, dated and numbered. From an edition of 90 copies. On Somerset cardboard (with watermark). 72 x 60.5 cm (28.3 x 23.8 in). Sheet: 96 x 74,5 cm (37,7 x 29,3 in). Printed by Mike Karstens, Münster (with blindstamp). Published by Kunstsammlung Nordrhein-Westfalen, Düsseldorf. In artist frame. [AW]. • Veiling blur in soft gray modulations. • The image, which shows carbon atoms of graphite, was created using a combined scanning tunnelling and atomic force microscope and then modified on the computer. • In addition to his paintings, Gerhard Richter has created an extensive and varied graphic oeuvre since 1965. PROVENANCE: Private collection Berlin. Called up: December 8, 2023 - ca. 15.13 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
A. R. Penck (d.i. Ralf Winkler) 1939 Dresden - 2017 Zürich Folge und Konsequenz. 1991. Übermalung, Acryl auf serigrafierter Leinwand. Unikat. 130 x 160 cm (51,1 x 62,9 in). Übermalung aus der Folge 'Mensch und Tiere nach der Öffnung'. [EH]. • 'Menschen und Tiere nach der Öffnung' ist die wichtigste Werkgruppe des Künstlers nach dem Fall der Berliner Mauer. • Die Folge 'Menschen und Tiere nach der Öffnung' hat einen besonders hohen Stellenwert im Œuvre von A. R. Penck. • 1972, 1982 und 1992 stellt Penck auf der documenta in Kassel aus, 1984 auf der Biennale von Venedig. PROVENIENZ: Galerie Frank Hänel, Wiesbaden (auf dem Keilrahmen mit einem Etikett). Privatsammlung Frankfurt. Privatsammlung Nordrhein-Westfalen. AUSSTELLUNG: A. R. Penck. Menschen und Tiere nach der Öffnung, Übermalungen 1989-91, Galerie Frank Hänel, Frankfurt a. Main, 2003, Kat.-Nr. ARP 7001, S. 240 u. 254 (m. Abb. S. 255). 'Für viele, die aus dem Westen in den Osten gekommen sind, war der Westen bunt. Für mich war diese Buntheit nur Illusion. Ich sah dahinter das nackte schwarz-weiße Bild' A. R. Penck, zit. nach: Nathalie Acker, A. R.Penck, Wiesbaden 2003, S. 39. Aufrufzeit: 08.12.2023 - ca. 15.25 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONA. R. Penck (d.i. Ralf Winkler) 1939 Dresden - 2017 Zürich Folge und Konsequenz. 1991. Overpainting, Acrylic on canvas with silkscreen print. Unique object. 130 x 160 cm (51.1 x 62.9 in). Overpainting from the series 'Mensch und Tiere nach der Öffnung'. [EH]. • 'Menschen und Tiere nach der Öffnung' (People and Animals after the Opening) is the artist's most important group of works made after the fall of the Berlin Wall. • The series 'People and Animals after the Opening' is particularly significant in the oeuvre of A. R. Penck. • Penck exhibited at the documenta in Kassel in 1972, 1982 and 1992, and at the Venice Biennale in 1984. PROVENANCE: Galerie Frank Hänel, Wiesbaden (label on the stretcher). Private collection Frankfurt. Private collection North Rhine-Westphalia. EXHIBITION: A. R. Penck. Menschen und Tiere nach der Öffnung, Übermalungen 1989-91, Galerie Frank Hänel, Frankfurt a. Main, 2003, cat. no. ARP 7001, pp. 240 and 254 (fig. p. 255). 'For many people who came to the East from the West, the West was colorful. For me, this colorfulness was just an illusion. I saw the naked black and white picture behind it' A. R. Penck, quoted from: Nathalie Acker, A. R. Penck, Wiesbaden 2003, p. 39. Called up: December 8, 2023 - ca. 15.25 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Robert Indiana (American 1928-2018), 'Love Red/Blue', 1996, silkscreen in colours on wove paper, signed, dated, and numbered from an edition of 10 Prints Proofs in pencil, aside from the main edition of 200, published by American Image Editions, New York; sheet: 61 x 50.8cm (Framed)sheet: 61 x 50.8cm (Framed)
Connor Brothers (British Duo), 'The Idiot', 2022, giclee with silkscreen varnish on wove paper, signed, dated, and inscribed PP in pencil, aside from the main edition of 20; sheet: 41.5 x 29cmARR sheet: 41.5 x 29cm In very good condition No knocks or tears to the sheet One minor crease to the left hand edge of the sheet, visible upon close inspection Minor markings to the sheet verso, this is not visible recto Deckled edges in good condition This work has been stored flat and has not been framed.
José Parlá (American 1973-), 'One Eighty Fourth Street', 2009, Giclee print overlayered with one handprinted silkscreen on 310gsm Hahnemuhle German Etching Paper, signed, titled, dated, and numbered from an edition of 100 in pencil, published by Elms Lesters; 87 x 150cm inc frame87 x 150cm inc frame
José Parlá (American 1973-), 'St. Giles', 2009, Giclee print overlayered with one handprinted silkscreen on 310gsm Hahnemuhle German Etching Paper, signed, titled, dated, and numbered from an edition of 100 in pencil, published by Elms Lesters; 79.5 x 120cm inc frame79.5 x 120cm inc frameIn very good conditionNo knocks, tears or creases to the sheetThis work has been framed in a wooden frame (painted silver), and mounted with a white mountWear and tear to the frameThis work has not been examined out of the frame of under the mountIn Very Good Condition
José Parlá (American 1973-), 'The World Touring Letter', 2009, Giclee print overlayered with one handprinted silkscreen on 310gsm Hahnemuhle German Etching Paper, signed, titled, dated, and numbered from an edition of 100 in pencil, published by Elms Lesters; 109.5 x 108.5cm inc frame109.5 x 108.5cm inc frameIn very good conditionNo knocks, tears or creases to the sheetThis work has been framed in a wooden frame (painted silver), and mounted with a white mountWear and tear to the frameThis work has not been examined out of the frame of under the mountIn Very Good Condition
Connor Brothers (British 1968-), 'A Load Of Fuss About Fuck All (Yellow)', 2015, giclee with silkscreen varnish on archival paper, signed, dated and numbered from an edition of 95 in pencil; 29 x 23 cm inc frameARR 29 x 23 cm inc frame In very good condition No knocks, tears or creases to the sheet Deckled edges in good condition This work has been framed in a black frame with a white mount This work has been examined inside and outside the frame.
David Hockney (British 1937-), 'Remember That You Cannot Look At The Sun Or Death For Very Long', 2021, Lithographic poster with a yellow silkscreen overlay on 170gsm paper, sheet; 25.4 x 89.4cmARR sheet; 25.4 x 89.4cm In very good condition No knocks, tears, or creases to the sheet This work has been stored flat and has never been framed.
Javier Calleja (Spanish 1971-), 'Once In My Life (Diptych)', 2023, two Hybrid UV flatbed pigment prints with red silkscreen details, varnishes, and embossment on 410gsm Somerset Tub Sized Radiant White paper, numbered from editions of 980 & 970 in pencil, published by Avant Arte; sheets: 53.5 x 55cm each (2)ARR sheets: 53.5 x 55cm each (2) In Very Good Condition No knocks, tears, or creases to the sheets Both prints have been stored flat inside their original Avant Arte shipping crate and have never been framed In Very Good Condition
Ayako Rokkaku (Japanese 1982-), 'Untitled', 2022, full bleed UV-cured pigment print with a silkscreen varnish overlay on 410gsm Somerset Tub Sized Satin paper, stamp-signed, dated and numbered from an edition of 3591, published by Avant Arte; sheet: 60 x 80cmsheet: 60 x 80cmIn Excellent ConditionNo knocks, tears it creases to the sheetThis work has been stored flat and never been framedIn Excellent Condition
ALAIN JACQUET (1939 -2008)Portrait of a Man 1964 signé, titré et daté 1964 au revers sérigraphie sur toile signed, titled and dated 1964 on the reversesilkscreen on canvas 162 x 116.5 cm. 63 3/4 x 45 7/8 in.Footnotes:Nous remercions l'Estate d'Alain Jacquet pour les informations qu'ils nous ont communiquées sur cette œuvre, un certificat d'authenticité pourra être obtenu à la charge de l'acquéreur et sur demande auprès de la Estate d'Alain Jacquet. Provenance Collection particulière, ParisBibliographieAlain Jacquet, Helen's Boomerang, Genève 1978, p. 48, illustré en couleurs (chromie saturée)Artiste majeur de la scène artistique française et internationale, il n'est pas aisé de résumer la création d'Alain Jacquet tant il n'eut de cesse de redéfinir son art. Souvent assimilé au mouvement Pop-Art, dont il est contemporain, Pierre Restany définira Alain Jacquet comme « un pionnier du multiple, poète du Braille et arpenteur de la fumée, fabriquant d'objet -sculpture à double sens... »Tout au long de son parcours artistique, l'artiste, représentant actif du Mec'Art, travaillera sur des supports et techniques novatrices, tout en interrogeant la frontière entre la figuration et l'abstraction, invitant ainsi le spectateur à appréhender sous un nouveau jour la lecture de ses œuvres. A partir de 1963, Alain Jacquet crée la célèbre série des camouflages, jeux de superpositions, de translations, de confusions et finalement d'absorptions des sujets les uns envers les autres. Dans le Camouflage que nous proposons, l'artiste suggère le corps d'une femme, renvoyant à la pin-up du marchandising américain, dissimulée sous ce que nous devinons être un logo commercial.Avec Portrait of a Man, Jacquet explore les ressources technologiques de son temps et met en place un processus de brouillage de l'image. La sérigraphie permet, en effet, à l'artiste de réinventer le point et d'aborder l'univers de l'abstraction, qui devient le véritable thème de son œuvre. Issu du célèbre Déjeuner sur l'herbe, ce portrait de l'artiste Mario Schifano est, à cet égard, iconique de son Œuvre.Parquet's, montre ici la volonté de l'artiste de synthétiser l'idée de l'objet lui-même, pour donner au spectateur l'envie de s'interroger sur le devenir de l'image intrinsèque.L'année 1969 et la mission spatiale Apollo, offrira à l'artiste un nouveau sujet d'expression. Il s'approprie une image désormais ancrée dans l'imaginaire collectif : la Terre vue du ciel. De ce cliché historique, Jacquet interprète la planète comme un point à l'origine de toute chose, s'amusant à détourner celle-ci à sa guise ou quand la terre devient objet de convoitise et l'illustration du dicton Qui vole un œuf...A major artist on the French and international art scene, it is difficult to sum up Alain Jacquet's work, so constantly has he redefined his art. Often equated with the Pop-Art movement, of which he was a contemporary, Pierre Restany defined Alain Jacquet as 'a pioneer of the multiple, a poet of Braille and a surveyor of smoke, a maker of sculptures - objects with a double meaning...»Throughout his artistic career, as an active representative of Mec Art, the artist worked with innovative media and techniques, questioning the boundaries between figuration and abstraction, and inviting the viewer to see his work in a new light. From 1963 onwards, Alain Jacquet created the notorious Camouflage series: with a number of superimpositions, translations and confusions, ultimately the subjects absorb one another. In this Camouflage, the artist suggests the body of a woman, reminiscent of the American merchandising pin-up, hidden beneath what we guess is a commercial logo.With Portrait of a Man, Jacquet explores the technological resources of his time creating a process that blurs the image. Silk-screen printing allowed the artist to reimagine the dot to approach abstraction which became the core theme of his work. Taken from the famous Déjeuner sur l'herbe, this portrait of the artist Mario Schifano is, in this respect, iconic to his Oeuvre.Parquet's shows the artist's desire to synthesise the idea of the object itself. It encourages the viewer to question the evolution of an elemental image.The year 1969 and the Apollo space mission gave the artist a new subject to investigate. He appropriated an image that had become part of our collective imagination: the Earth seen from the sky. Using the historic snapshot, Jacquet interprets the planet as a dot at the origin of all things, and enjoys altering it at will; here representing the earth as an object of desire illustrating the French saying 'Qui vole an oeuf vole un boeuf' (who steals an egg steals an ox).This lot is subject to the following lot symbols: AR WAR Goods subject to Artists Resale Right Additional Premium.W Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
ALAIN JACQUET (1939 -2008)Qui vole un oeuf ... 1987 monogrammé, titré et daté 1987 au revers sérigraphie et antivol en plastique sur toile signed with the artist's monogram, titled and dated 1987 on the reverse silkscreen and plastic antithef tag on canvas87 x 68 x 4 cm. 34 1/4 x 26 3/4 x 1 9/16 in.Footnotes:Nous remercions l'Estate d'Alain Jacquet pour les informations qu'ils nous ont communiquées sur cette œuvre, un certificat d'authenticité pourra être obtenu à la charge de l'acquéreur et sur demande auprès de la Estate d'Alain Jacquet. ProvenanceCollection Cyrille Putman, France (don de l'artiste en 1989)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
Trevor Grimshaw (British 1947-2001) "Reflected Fence" Signed and annotated in pencil in the margins, working proof, published by Christie's Contemporary Art, silkscreen on BFK Rives paper.60.5 x 48.5cm (framed 64 x 52.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are some minor creases and surface marks across the sheet. The print is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Trevor Grimshaw (British 1947-2001) "Monoliths" Signed and marked A.P. (Artist's Proof) in pencil in the margin, published by Christie's Contemporary Art, with their blind stamp, silkscreen on BFK Rives paper.46.5 x 35.5cm (framed 65.5 x 53cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There is a faint mark to the paper in the upper left-hand margin. The print is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
† DAME PAULA REGO (Portuguese, 1935-2022); silkscreen print on paper 'The Blue Prince', signed, dated '74 and annotated 'PA' for artist's print 'VI/X', 56 x 41cm, framed and glazed, together with a letter from the artist to the vendor's father, dated 1976, stating 'This silkscreen series is of 75, but this one is an artist's proof, which makes it a little bit more special...'.Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
MICHELANGELO PISTOLETTO (NE EN 1933)Prima scena, 2009 Sérigraphie tableau-miroir sur acier inoxydable poli Edition signée et numérotée 205/300 au dos au feutre Editée par Cittadellarte Fashion Bio Ethical Sustainable Trend, TurinImprimée par Arte 3-Alberto Serighelli, Milan 45 x 37,5 cmMiror-canva silkscreen, signed and numbered 205/300Footnotes:ProvenanceCollection particulière, ParisBibliographieCatalogue della mostra Cittadellarte - Fondazione Pistoletto, Cittadellarte Fashion Bio Ethical Sustainable Trend by Federica Cerutti.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
JEFF KOONS (NE EN 1955)Monkey Train (Blue)- Hulk Elvis, 2007 Sérigraphie d'encre pigmentaire sur papier SomersetSignée et numérotée 8/40Editée par the American Friends of the Tel Aviv Museum of Art, New York83,5 x 66, 5 cm Silkscreen with archival pigmented inkjet on Somerset paper, signed and numbered 8/40Footnotes:ProvenanceAmis du Musée d'Art de Tel AvivGalerie Jérôme de Noirmont, Paris Exposition« Influence Pop » , Galerie Jérome de Noirmont, Paris, 6 Février au 28 Mars 2009'Popular: Brand, Symbols, Icons. From 1960 to the present day', Galerie Thomas, Münich, 25 novembre 2010 - 19 février 2011. (n° 10/40 exposé)Bibliographie 'Freedom Not Genius - Works from Dabmien Hirst's Murderme Collection', textes de Mario Codognato, Ginevra Elkann, Elena Geuna, Damien Hirst, Editions Other Criteria / Fondazione Pinacoteca Del Lingotto Giovanni e Marella Agnelli, Londres, 2012 ; toile originale reproduite en pleine page couleur, p. 119.'Popular : Brands – Symbols – Icons 1960 – 2010', Galerie Thomas Modern, Munich, Allemagne, 2010 ; oeuvre reproduite en couleur, p. 55.For further information on this lot please visit Bonhams.com
JEAN-MARC BUSTAMANTE (NE EN 1952)Trophée, 2006 Sérigraphie sur plexiglas et cadre en métal lacqué Signée et numérotée 13/25 sur une étiquette au dos Editée par Kunsthaus Bregenz60 x 50 x 4 cmGalvanized sheet iron and perspex (silkscreen printed on the reverse), signed and numbered 13/25 on a label on the backFootnotes:Provenance Collection privée, AllemagneThis 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
Arsenal's Ian Wright signed 179 silkscreen, featuring Ian Wright with 179, signed in pencil, above six player collectors stickers and a Premier League Memories That Stick image, glazed and framed, 92.5 x 64.5cm. The following Lots 328 to 354 are the property of David Dein MBE, former co-owner and vice-chairman of Arsenal FC and former vice-chairman of the F.A. The lots are being offered for Charity and all proceeds will be donated to The Twinning Project charity which David set up connecting football clubs with prisons helping rehabilitate prisoners.
Silkscreen printed in blue and grey, 24 x 17.5 cm, signed, dated 1959 and "E.A. 6" in pencil, on the front of a bifolium w. dedication in pen on the back: "Aan Maarten en Margreet Mourik met al onze beste wenschen voor het nieuwe jaar en prettige Kerstdagen Ruth en César". (2) Terar dum prosim (...). F. Domela Nieuwenhuis Monument. Programma der onthulling 29 augustus 1931. The Hague, Drukkerij Nieuw Leven, 1931, (20) p. (incl. wr.), printed in black, blue and silver, typography, (photomontage) ills. and orig. wr. by Domela Nieuwenhuis, obl. 8vo. Wr. rubbed and sl. creased, vertical folds throughout. Maan/ Van der Ree '90, p. 67. Rare. César was the youngest son of F. Domela Nieuwenhuis (1846-1919). (3) 25 Jahre AEG-Dampfturbinen. Herausgegeben von der allgemeinen Elektrizitätsgesellschaft Berlin. Berlin, by Otto Elsner for VDI-Verlag, 1928, (4),132,(2) p., 191 (photogr.) ills., typography and orig. wr. (in Bauhaus-style) des. by Domela Nieuwenhuis, folio. Owner's stamp on first free endpaper. Spine ends neatly restored, some edge wear to wr. (4) Zervos, C. Art et architecture au Pays-Bas. Domela. Amst., J.M. Meulenhoff, 1965, 19 p., 4 col. plates and 24 b/w plates, orig. wr., 4to. Signed dedication on h-title, dated 1967. -and 6 others, incl. a booklet w. dedication "Een zeer hartelijken groet Ces" in pen and a portrait card showing F. Domela Nieuwenhuis. (total 10)
Ed. by R. McLean. London, Shenval Press, 1959-62. Vols. 2-5 and 7-9. Beautiful silkscreen covers and endpapers des. by a.o. R. Stewart, L. Scarfe, R. Guyatt, R. Brazil and E. Bawden, ills. throughout. All hc. 4to. Some wear to covers and spines. Periodical covering a wide variety of topics such as art history, graphic design, architecture, typography and photography. (total 7)
(1) "Solliciteren randstad heeft daar een boekje over". (2) "Werk maken van je sollicitatie". (3) "Nu even meenemen praktische pocket". All silkscreen, 70 x 50 cm. Added: Voltage control. Danskomposities van Krisztina de Chatel op muziek van Philip Glass. All in excellent condition. (total 4)
Printed wrappers, 25.5 x 17 cm, 31 pp. Limited edition of 500 copies. Contributions by Lourdes Castro, Alfredo Margarido, Michel Tapié et al. Includes 2 original silkscreens by Gonçalo Duarte, 2 original silkscreens by José Escada, and 1 original silkscreen by Antonio Saura, folding out to 25 x 48 cm. Loosely inserted is a pictorial flyer printed on pink tissue paper titled 'Homenagem de KWY'. Added is a large folded poster announcing an exhibition by Lourdes Castro and René Bertholo at Galeria Divulgacao in Lisbon, 1964. The magazine is in fine condition. Rare. (total 2) KWY magazine was founded in Paris in 1958 by the Portuguese artist couple Lourdes Castro and René Bertholo, named after the three letters that do not exist in the Portuguese alphabet. Starting out as a vehicle for the Portuguese avant-garde in exile, it grew to include contributors such as Christo, Pol Bury, Gonçalo Duarte, Escada and Jan Voss. Twelve issues were produced between 1958-1963. The KWY Group was active between 1960-1967, its members were regular contributors to the magazine who often exhibited together.
Silkscreened card covers in black slide binder, 30.5 x 20.5 cm, ca. 36 pp. with fold-outs. Limited edition of 300 copies. Features colour silkscreen prints by Guido Biasi, Georges Noel, Jan Voss, Paul Wunderlich and Rene Berthelo. Also includes b/w reproductions of works by Christo, Cy Twombly and Lourdes Castro as well as several performance scores in French and English by Fluxus artist Benjamin Patterson. Text contributions by Francois Dufrene, Carl Laszlo, J.J. Leveque and others. Very good copy, rare.
Original glued card covers, 30.5 x 20.5 cm, 18 perforated cardboard sheets, each containing 3 postcards. Front cover with silkscreen by Lourdes Castro. Limited edition of 300 copies. Featured are 54 original postcard size (mostly colour) serigraphs, some with original collages and drawings. Contributions by Pierre Alechinsky, André Balthazar, René Bertholo, Corneille, Dick Cassee, Carlos Cruz-Diez, Ferro, Marta Minujin, André Morain, Le Parc, Mercedes Pardo, Shunk-Kender, Jan Voss and others. Rare publication of the artists' group KWY. In very good condition, the pages still unusually firm in spine.
München, Galerie Heseler, 1972. Special limited edition, this one numbered 965/1000. Catalogue of an exhibition of works by Piene and other members of the Zero Group active from 1957-1966. Loosely inserted is a list of exhibited works by the participants such as Arman, Aubertin, Castellani, Dorazio, Fontana, Schoonhoven, de vries et al. Original colour silkscreen cover by Otto Piene, with transparent dust-jacket, 29 x 21.5 cm, 67 pp. profusely ill. in b/w, with one image by Yves Klein in black and blue. Text in German and English. Includes six original prints bound to spine, folded once in the middle, ca. 29 x 28.5 cm, rubber stamped with the artists' names. The works comprise a blind print by Günter Uecker (nails), and original silkscreen prints by Ruprecht Geiger, Hermann Goepfert, Oskar Hollweg, Heinz Mack and Otto Piene (twice, including the cover). The prints are all in very fine condition, with a tiny dog ear at the lower corner of Piene's work (1 cm). Very light abrasions to the cover edges, generally a crisp copy.
Includes: (1) Most Wanted flyer announcement from Galerie Rudolf Zwirner, Cologne, 1967. Offset lithograph in black and grey, 29 x 21 cm, folded once as issued. Depicted on the flyer is John Joseph H (from The Thirteen Most Wanted Men. Police Department, City of New York. Dossier N° 2357). In very good condition, rare. (2) Marilyn Monroe, amazing silkscreened promotional/order card for seriograph portfolios published by Sunday B. Morning. Undated, (early 1970s), Berlin. Printed glossy black on dark grey card, 15 x 15 cm. Light corner bump, else fine. (3) Invitation card Andy Warhol, Sperone Gallery, Milano, 1966. 15.5 x 15 cm. (4) Promotional card for Andy Warhol's Campbell's Soup by Seriaal Gallery, Amsterdam, ca. 1970. (5) Andy Warhol, Mao Tse-Tung at Galleria Multipli, Torino, 1973. Announces a silkscreen portfolio. (6) Invitation card for a Warhol show at Alexandre Iolas and Luciano Anselmino, Milan, 1974. (7) Two exhibition cards for 'Torsos' by Warhol at Ace Gallery Venice (1978) and Ace Gallery Vancouver (1979). All near mint cards. (total 8)
Two cards and 3 original b/w photographs. (1) Exhibition announcement card 'Andy Warhol Electric Chairs', Seriaal Gallery Amsterdam and Des Bouvrie Bussum, 1972, 20 x 14 cm. (2) Three b/w analogue photo prints, all with copyright stamp of Ad Petersen Amsterdam. Handwritten text on rear of one picture mentions 'Andy Warhol Electric Chairs 1971, from the portfolio with 10 silkscreens, Seriaal'. The photo was used for the Seriaal invitation card. (3) Announcement card for the same silkscreen series by Galleria Multipli in Torini, 1971. Electric Chairs by Andy Warhol embodies a portfolio of ten different electric chairs, published in 1971 in an edition of 250. (total 5)
from prospectus brochures by Tyler Graphics, New York. Includes: (1) Josef Albers, Gray Instrumentation II, 1975. Prospectus, 23 x 23 cm, 4 pp. Promotional text for the portfolio consisting of 12 original printed silkscreen prints in an edition of 36 plus 10 artists proof. Pasted in is a handprinted screen miniature of Gray Instrumentation III, 20.5 x 20.5 cm, printed in light tones of brown and blue on Arches paper. Tiny browning spot to lower right corner (on white border), else very good. (2) Josef Albers, Never Before, 1976. Prospectus, 23 x 23 cm, 4 pp. plus loose inlaid sheet. Promotional text about the portfolio offering 12 original 5-colour screen prints in an edition of 46 plus 10 artists proof. Pasted in is a handprinted screen miniature of Never Before, 19.5 x 20.5 cm, printed in ochre, brow, pink and purple tones on Arches paper. Mint copy. (3) Announcement card for an exhibition by Albers at Landesmuseum Münster, 1968. 10.5 x 15 cm, 4 pp. Cover image features a silkscreened work in 4 colours. All prints are gems. (total 3)
Éditions Moulinsart/ Casterman, 2022. Hc. (2) De Avonturen van Kuifje. De Sigaren van de Farao. Casterman, n.d. (2010). One of 99 copies incl. numb. print. Hcl. (3) Bosschaert, J. Tintin au pays Sumo. Silkscreen print. 17.5 x 24.5 cm. (4) (Pastiche) Les aventures de Tintin. L'Affaire Roswell. Masterdman, ca. 2015. 21 p. (5) Anthologie des parodies, pastiches et hommages. GLC, 2015. -and 5 more. (total 10)
(1) Four colour slides featuring Andy Mouse screenprints, 1986. (2) Postcard promoting Keith Haring's Bad Boys portfolio published by Bébert, Rotterdam 1986. (3) Announcement card for Haring's exhibition 'Recent work' at Tony Shafrazi Gallery New York, Dec. 3 1988 - Jan 7 1989. Features a great b/w photo portrait of Keith Haring at 12 years old. (4) Promotional card for Apocalypse, a portfolio of silkscreen prints by Keith Haring and William S. Burroughs, published by George Mulder Fine Arts, 1988. (5) Exhibition card for Keith Haring Sculptures, at Tony Shafrazi Gallery New York, November 8 - December 22, 1990. Folding card, exterior toned, interior with colour image is fine. (6) Keith Haring, Apocalypse. Exhibition poster Jeffrey Deitch Projects, New York Nov. - Dec. 1999. 64 x 29 cm, folded for mailing as issued. (7) Two original b/w photographs with reproductions of Haring drawings, stamped George Mulder Fine Arts. (8) Two colour photos featuring the artist at work, with label of Philip Samuels Fine Art on rear. (9) Three postcards including one with a portrait of the artist by Annie Leibovitz, 1986 and Haring at the Berlin wall. (total 13)
Hamburg, Edition Helga Maria Klosterfelde, 1992. Ship flag, silkscreen print on fabric, 100 x 150 cm, in custom made box. Edition of 500, 60 signed and numbered, 440 numbered. This copy is numbered 168/500 on the back of the box. Each skull on the flag refers to one member of General Idea. Fine copy. General Idea (Toronto, 1967-1994) was an artists' collective made up of Felix Partz, Jorge Zontal and AA Bronson, striving to critique popular and media culture by way of humour, parody, and irony. From 1987 onwards their work addressed the AIDS crisis, both Partz and Zontal died of AIDS in 1994.
Serigraph and pencil on paper, 39 x 39 cm. Signed and dated 27.1.99 in pencil on vers. Printed in orange with hand added drawings in pencil. Curiously the work is printed on the back of a silkscreen by Robert Barry, with white printed lettering along the margins, almost invisible. The work derives from the private collection of Paul and Helene Panhuysen, who ran the Apollohuis in Eindhoven (NL), a space for experimental music and art. Rudolf exhibited there in 1991, in a groupshow 'Rules of the Game' curated by Jiri Valoch. Pavel Rudolf (1943) is an important representative of Czech geometric abstraction, conceptual art and visual poetry.
(1) Richard Tuttle, Sprengel Museum Hannover, 1990. Exhibition catalogue/artists' book in a cardboard box, 23 x 23 x 3 cm, containing 4 individual publications in different sizes and a colour silkscreen multiple, 17.5 x 10.5 cm, stamped and dated 'Richard Tuttle 1990' on the back. 2) Richard Tuttle, Reading Red. Cologne, Walther König, 1998. Numbered and signed copy, 141/250. Hardcover with mounted illustration, 20.5 x 20.5 cm, 25 pp. Beautifully designed artists' book in which Tuttle illustrates the poetry of Charles Bernstein in circular coloured fold-outs. The book was published in connection with the Kunstpreis Aachen, awarded to Tuttle in 1998. Both publications in near mint state. (total 2)
Published by Peninsula, Eindhoven, in conjunction with the annual meeting of the Internationales Künstler Gremium and the 10th anniversary of the Apollohuis, Eindhoven. Comprises a large cardboard box, 80 x 100 x 4.5 cm, containing 15 prints by members of the IKG produced in various techniques (photography, silkscreen, etching, computer print, monotype). Printed in an edition of 40 copies, all prints numbered and signed. This is copy X/XV. Artists include: Marina Abramovic (Dragon Head, colour photograph, 50 x 66 cm), Claudia Costa, Gunter Demnig, Andrzej Dluznieuwski, Hetum Gruber, Franziska Megert, Maurizio Nannucci (The possible Plan, silkscreen), Boris Nieslony, Ann Noël (Bo Peep-Caution Explosive, silkscreen), Jürgen O. Olbrich/Wolfgang Hainke, Paul Panhuysen, Sef Peeters, Maria Anna Potocka, Eva-Maria Schön and Nicholaus Urban. Large box in fine state, prints are very good. The international artists' committee (IKG), was founded in Cologne in 1976 by renowned artists such as Joseph Beuys, Jochen Gerz, Klaus Staeck et al, committed to freedom of art, information and press.
(1) Le mystère de la grande pyramide. Dessin inédit projet de couverture. Archives internationales, 1987. (2) Le mystère de la grande pyramide. Tome 2. La Chambre de Horus. Decalage, 1984. Both silkscreen, 100 x 70 cm, framed under glass. Good condition, not inspected outside frames. (total 2)
Includes: (1) the poster for Beuys' first exhibition in the USA at Harcus Krakow Gallery, Boston, 1972, 38 x 28.5 cm. Mailed to Seriaal in Amsterdam, copy with wear. (2) Videogalerie Schum, 1970. Filz-TV, video object by Joseph Beuys. Postmarked card, printed black on brown stock. (3) Two cards by galerie Schmela. Includes the large folding card 'Barraque d'dull odde 1961-1967', 1971 and 'Fettecke', 1972. (4) Three cards by René Block, one from the New York space announcing a one week performance in May 1974 'Joseph Beuys: I like America and America likes Me', and two from the Berlin space, 1972 and 1979. (5) Vettor Pisani, Il coniglio non ama Joseph Beuys. Gian Enzo Sperone, Rome, 1975. (6) Joseph Beuys, Chi non sa o non ricorda ripete, Pescara, 1978. (Joseph Beuys, those who do not know or remember, repeat). Double sided card printed in red and green silkscreen, announcing an exhibition of political works, with text and a swastika on the front. Rare set. (total 9)
Stripgalerie Panda, 1988. Portfolio consisting of title leaf, 2 b/w screenprints and 7 full col. plates on art paper, each leaf signed and numb. (74/100) in pencil by Kresse. Together in orig. faux leather portfolio w. cl. ties, 71.5 x 51.5 cm. W. Eric de Noorman no. 12, De Heer der Heruli and De Gebroken Pijl, also signed and numb. (42/100) by Kresse. Excellent condition. Added: (1) 5 silkscreen prints by Kresse, all 40 x 50 cm and printed in 100 copies by Stichting de Kressekring, 1992. Excellent condition. (2) Eric de Noorman, nos. 1-11, Wolters-Noordhoff, 1969-72. -and 5 other Kresse prints and posters. (total 23)
Amst., Oog & Blik, 1994. 4 col. silkscreen prints, each 44 x 30 cm, all signed "Joost Swarte", titled and "HS" in pencil and "Joost Swarte 93" in the print, printed in 150 copies, loose as issued in orig. cardboard portfolio w. paper flaps, des. by the artist. Folio. Some smudges on paper flaps, edges of portfolio sl. worn. Added: 2 posters by Swarte, Comix Factory and Toneelschuur Smedestraat 23, Haarlem. Both signed. Some browning, a few sm. marginal tears. (total 3)
(1) Le reveil. Griffioen Grafiek, 2014. Silkscreen, 50 x 40 cm. Signed and numb. (79/124) in pencil. (2) The General/ Gare Montparnasse. Idem, 2018, 60 x 60 cm. Signed and numb. (61/100) in pencil. (3) Jooste Swarte Bijna Compleet. Oog & Blik. De Bezige Bij. 40 x 30 cm. All framed, glued to cardboard backing. Added: 1 Swarte poster, "North Sea Jazz Festival". 2002, 100 x 70 cm, signed and dated in pencil by Swarte. Excellent condition. (total 4)
Recklinhausen, Verlag Aurel Bongers, 1977. 9 silkscreen prints on thick paper, essays "Homages to the Square als wechselwirkung der Farbe", "Strukturale Konstellationen als Mehrdeutigkeit der Linie" and a chapter "Gedichte und Statements" and biographical data. Cl. 4to. Cl. sl. discol., fine copy.
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