6275 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Tom Phillips RA (1937-2022) limited edition silkscreen print - 'Brunhilde Siegfried Act Three Das Ist Keinmann', signed, 122/275, 53cm x 34cm in glazed frame (68cm x 51cm overall)

Ann-Marie James (b. 1981) - 'Midas and Bacchus', silkscreen, no. 23 from the edition of 100, signed and dated 2018, 23 x 16 cm

KENNETH ARMITAGE (1916 - 2002)Daydream (1973)Polyester resin multiple with silkscreen elements in black, 27.5 x 12 x 9.8cm, with cardboard box cover

BAUDELAIRE, Ch. Les paradis artificiels. Paris, J. de Bonot, 1984. (16), xi, 243, (4) pp. W. 271 or. silkscreen prints by Ingo Avolta. 4º. Or. sheepskin, spine & sides blindtooled & richly dec. in gilt, top edge gilt. (Wear to upper corners). NOTE: Special edition, "exemplaire de tête", signed by both publisher and artist.

NEDERLANDSCHE VEREENIGING VOOR DRUK- EN BOEKKUNST -- BROUWERS, J. De zondvloed (Uitgegumde fragmenten). 1997. (W. 1 or. silkscreen print & 5 vignettes by Joost Veerkamp. Ocl. Printed in 220 copies. Signed by author and artist. W. extra copy of silkprint inserted. -- K. SCHIPPERS. De prinses zonder jaartal. 2000. W. copper-engr. by W. Zwiers. Ocl. Printed in 220 copies. Signed by author and artist. -- K. v. KOOTEN. Thalia, televisie en theater. (2001). W. front. by S. Woldhek. Ohcl. Printed in a limited edition of 225 copies, signed by the author. -- (3).

GUBBELS, Klaas (1934-). (Coffee/tea pot on table). 1987. Silkscreen print in brown and black. 495 x 600 mm (sheet size). Signed, dated & numb. in pencil. (Lower margin a bit discold. and partly a bit rumpled).

AFTER AUGUSTE RODIN (1840-1917) FEMME NUE ALLONGEE SUR LE VENTRE Silkscreen print, published by OvH, In a bespoke King & McGaw frame Image 68cm x 88cm Frame: 115cm x 135cm

Dancing in the Dark. Vintage Art Deco silkscreen housed in black with silver accent frame. Depicts elegant couple dancing under a light illuminating them. Signed by artist and numbered 95/250 lower right.Sight size: 24.5""L x 35""H. Frame size: 35.5""L x 45.5""H. Artist: Jorge Acevedo RafaelCondition: Age related wear.

20th Cent. Belgian silkscreen - signed Victor Noël and dated 1971||NOEL VICTOR (1916 - 2006) zeefdruk in kleuren n° 20/50 : "Geometrisch-abstracte compositie" - 44,5 x 54 getekend en gedateerd 1971

framed silk shawl with a silkscreen - plate signed Picasso||PICASSO PABLO, DIEGO, JOSÉ (1881 - 1973) silkscreen op zijde (sjaal) - 78 x 76 - ingekaderd getekend in de plaat

Andy Warhol "Panda" silkscreen from the series "Endangered Species" with the blind stamp of Warhol's master printer Rupert Smith and with on the back the red stamp of Ronald Feldman||WARHOL ANDY (1930 - 1987) silkscreen uit de reeks "Endangered Species" : "Panda" - 96,5 x 96,5 met blindstempel van de Warhol's meesterdrukker Rupert Smith met op verso de rode stempel van "Ronald Feldman"

Barbara Brody (American Bn. 1941), Peaceful Land I, limited edition silkscreen print, 224/395, signed and titled in pencil, 92cm x 45cm, certificate to verso

•Victoria Crowe O.B.E., F.R.S.E., R.S.A. (Scottish, b. 1945), "Encounter - Sinopia", silkscreen print, signed, titled and numbered in pencil, ed. 8/10, framed. 24.5cm by 31cm. Provenance: Thackeray Gallery, Kensington Square, London. Note: this lot may be subject to ARR.

A silkscreen 16/120 print Moderate Cantabile - frame size 93cm x 83cm

NO RESERVE Noonan (David) Scenes, Artist's Proof II signed by the artist on dust-jacket and with an original silkscreen print, illustrations, original cloth, dust-jacket, original print numbered and signed in pencil on verso, loose in card folder, together in original board drop-back box, slip-case, New York, 2009; and 16 others, mostly copies of the trade edition of the same, 4to (17)

Janka Malkowska (1912 - 1997) Six woodcut printing blocks, four of which cut front and verso, depicting children and nature, largest 38.5 x 56 cm [Born in Warsaw, where she studied art at the academy, she went on to study at the Vienna Kunstgewerbe. After Poland was invaded in 1939, she fled to hide in the countryside, learning to cut woodcut blocks. As the Nazis moved, she continued west, using false papers to board trains. She subsequently found her missing husband and after the war they settled in Dunblane, Scotland, becoming teachers. Her preferred subject matter were children, and animals, Despite trying other techniques such as silkscreen, she never tired of woodcut]

Artist Unknown Trinidad and Tobago silkscreen poster, condition B+; not backed Dimensions:32 x 22 (82 x 55cm.)

δ The Connor Brothers (b.1968)Death: That's LifeGiclée in colours with silkscreen varnish, 2022, signed and dated in pencil, a printer's proof aside from the edition of 75, on wove paper, with margins, sheet 750 x 500mm (29 1/2 x 19 5/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ The Connor Brothers (b.1968)Beauty Is in The Eye of The Wine HolderGiclée in colours with silkscreen varnish, 2022, signed and dated in pencil, a printer's proof aside from the edition of 75, on wove paper, with margins, sheet 750 x 500mm (29 1/2 x 19 5/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ The Connor Brothers (b.1968)The Truth: You Couldn't Make It UpGiclée in colours with silkscreen varnish, 2022, signed and dated in pencil, a printer's proof aside from the edition of 75, on wove paper, with margins, sheet 750 x 500mm (29 1/2 x 19 5/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ The Connor Brothers (b.1968)Anxiety: Not Worried About ItGiclée in colours with silkscreen varnish, 2022, signed and dated in pencil, a printer's proof aside from the edition of 75, on wove paper, with margins, sheet 750 x 500mm (29 1/2 x 19 5/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ The Connor Brothers (b.1968)Not Drunk Just TipysGiclée in colours with silkscreen varnish, 2022, signed and dated in pencil, a printer's proof aside from the edition of 75, on wove paper, with margins, sheet 750 x 500mm (29 1/2 x 19 5/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Ryan Callanan (b.1981)Happy HomeResin relief and silkscreen on glass, 2018, signed and dated in silver ink verso, from the open edition, overall 120 x 300 x 50mm (4 3/4 x 11 3/4 x 2in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Dumas, Peter (Rotterdam 1944) "City crane", signed in full in potless l.r. and '97, silkscreen / paper n r 34/50, h 55 x w 75 cm (certificate included).

Joseph Plaskett (1918-2014) signed silkscreen - Still Life with Paper Clip, dated 2009, 15/50, image 55cm x 32cm, unframed

Ayako Rokkaku (Japanese, b.1982)Untitledfull bleed UV-cured pigment print with a silkscreen varnish layer on 410gsm Somerset tub sized satin radiant white paper, a timed edition produced in association with Avant Arte, stamped with artist's signature and dated 2022, l.l.60 x 79.5cm, unframedCondition ReportIn good condition.

An original 1977 silkscreen poster for Sex Pistols - Never Mind The Bollocks. Measures approx 151 x 91cm. Strong VF condition, some age wear but colours still strong and bright.

Original vintage advertising poster titled Programacion Icaic featuring a great illustration by a Cuban poster artist Eduardo Munoz Bachs (1937-2001) depicting a red-haired gentleman in a blue jacket, pink striped trousers, colourful scarf and a bowler hat riding a high wheel bicycle, also known as a penny farthing. Silkscreen printed. Good condition, foxing, staining, creasing. Country of issue: Cuba, designer: Bachs, size (cm): 76x51, year of printing: 1970.

Original vintage advertising poster for International Youth Film Festival / Festival Internacional Del Cine Joven, featuring a bright illustration by a Cuban artist Antonio Fernandez Reboiro (b.1935), depicting circular geometrical shapes with yellow, orange and red lines and a plant sprouting at the bottom. Silkscreen printed. Good condition, creasing, staining, pinholes, small tears, paper losses on top edge. Country of issue: Cuba, designer: Antonio Reboiro, size (cm): 76x52, year of printing: 1978.

Original vintage movie poster for La Guerra Olvidada / The Forgotten War, a 1967 Cuban documentary by Santiago Alvarez about the liberation struggle of the Lao people, the poster features an image of a plane struck by a spear set over an orange and green background. Silkscreen printed. Good condition, tears, creasing, minor staining, paper loss on top edge. Country of issue: Cuba, designer: Rostgaard, size (cm): 76x51, year of printing: 1967.

Original vintage movie poster for Hanoi Martes 13 / Hanoi Tuesday 13th, a 1968 documentary film by Santiago Alvarez, portraying a day in the lives of people in Northern Vietnam, the poster features an image of bombs with a face set over a red background. Silkscreen printed. Good condition, creasing, tears, staining, printing errors. Country of issue: Cuba, designer: Rostgaard, size (cm): 77x52, year of printing: 1967.

Original vintage movie poster for Sao Paulo! Sociedad Anonima, a 1965 drama film by Luiz Sergio Person, starring Ana Esmeralda and Eva Wilma, the poster features a colourful image of a jukebox, poison, and a person's legs in water set over a black background. Silkscreen printed. Fair condition, tears, creasing, staining, paper loss on top edge, tape on reverse. Country of issue: Cuba, designer: Oliva, size (cm): 76x51, year of printing: 1968.

Original vintage movie poster for Fantomas vs Scotland Yard / Fantomas Contra Scotland Yard, a 1967 French adventure detective comedy directed by Andre Hunebelle, starring Jean Marais, Louis de Funes, and Mylene Demongeot, the poster features a handprint with colourful heads on each finger set over a yellow background by a Cuban poster artist Eduardo Munoz Bachs (1937-2001). Silkscreen printed. Fair condition, large repaired tear through image, restored paper loss on image, small tears on edges, small paper losses on edges, staining. Country of issue: Cuba, designer: Bachs, size (cm): 76x52, year of printing: 1968.

Original vintage movie poster for The Sandwich Man / Londres A Go-Go, a 1966 British comedy film directed by Robert Hartford-Davis, starring Michael Bentine, Harry H. Corbett and Diana Dors, the poster features a colourful image by a Cuban artist Antonio Fernandez Reboiro (b.1935) depicting a cube set over a light blue background. Silkscreen printed. Fair condition, creasing, tears, staining, paper losses, printing errors. Country of issue: Cuba, designer: Antonio Reboiro, size (cm): 76x51, year of printing: 1968.

Original vintage movie poster for La Difunta / The Deceased / A Falecia, a 1965 Brazilian drama film directed by Leon Hirszman, starring Fernanda Montenegro and Ivan Candido, the poster features an image by a Cuban poster artist Eduardo Munoz Bachs (1937-2001) depicting a lady in a floral dress set over a black background. Silkscreen printed. Fair condition, creasing, staining, tears, foxing. Country of issue: Cuba, designer: Bachs, size (cm): 76x51, year of printing: 1968.

Original vintage movie poster for El Cura Y La Muchacha / The Priest and the Girl, a 1966 Brazilian drama film directed by Joaquim Pedro de Andrade, based on Carlos Drummond de Andrade's poem of the same name, starring Helena Ignez and Paulo Jose, the poster features a great illustration by a Cuban poster artist Eduardo Munoz Bachs (1937-2001) depicting a green cross with black and red hearts set over a red background with an orange, green, and pink frame. Silkscreen printed. Fair condition, creasing, tears, staining, paper losses on edges. Country of issue: Cuba, designer: Bachs, size (cm): 76x51, year of printing: 1968.

Original vintage movie poster for Viento Negro / Black Wind, a 1964 Mexican drama film directed by Servando Gonzalez, starring Jose Elias Moreno and David Reynoso, the poster features a great illustration by a Cuban poster artist Eduardo Munoz Bachs (1937-2001) depicting an image of a man in blue and purple set over a black background, stylised lettering in green, purple, and yellow colours. Silkscreen printed. Fair condition, creasing, tears, staining, foxing. Country of issue: Cuba, designer: Bachs, size (cm): 76x51, year of printing: 1968.

Original vintage movie poster for Vertical, a 1966 Soviet alpinism film directed by Stanislav Govorukhin, starring Margarita Kosheleva, Gennadi Voropayev, Aleksandr Fadeyev and Vladimir Vysotskiy, the poster features a colourful illustration by a Cuban poster artist Eduardo Munoz Bachs (1937-2001) depicting a man's silhouette with diagonal lines resembling a mountain peak set over an orange background. Silkscreen printed. Fair condition, creasing, staining, tears, small paper losses. Country of issue: Cuba, designer: Bachs, size (cm): 76x51, year of printing: 1969.

Original vintage movie poster for Crimenes Sin Castigo / Nihon rettô / A Chain of Islands, a 1965 Japanese mystery thriller film directed by Kei Kumai, starring Jurichi Uno, Izumi Ashikawa and Hideaki Nitani, the poster features a colourful illustration by a Cuban poster artist Antonio Pérez Ñiko (b.1941) depicting silhouettes of people. Silkscreen printed. Good condition, creasing, small tears, staining, Country of issue: Cuba, designer: Nico, size (cm): 76x51, year of printing: 1969.

Original vintage movie poster for Goyokin, a 1969 Japanese samurai action, adventure and drama film directed by Hideo Gosha, starring Tatsuya Nakadai and Tetsuro Tamba, the poster features an abstract image by a Cuban poster artist Eduardo Munoz Bachs (1937-2001) depicting a face in green, orange, pink, and yellow colours. Silkscreen printed. Fair condition, folds, tears, creasing, staining paper loss in top left corner. Country of issue: Cuba, designer: Bachs, size (cm): 76x51, year of printing: 1970.

Original vintage movie poster for Bodas de Oro / Czerwone i zlote / The Red and the Gold, a 1969 Polish comedy directed by Stanislaw Lenartowicz, starring Jadwiga Chojnacka and Zdzislaw Karczewski, the film tells the story of an old man who escapes the retirement home, impersonates his fellow who never went to see his bride after World War One. The poster features an image by a Cuban poster artist Eduardo Munoz Bachs (1937-2001) depicting a soldier in a helmet set over bright colourful background. Silkscreen printed. Good condition, creasing, staining. Country of issue: Cuba, designer: Bachs, size (cm): 76x51, year of printing: 1971.

Original vintage movie poster for El Azote de Dios / God's Whip / Bicz Bozy, a 1967 Polish action comedy film directed by Maria Kaniewska, starring Barbara Drapinska, Stanislaw Mikulski, Pola Raksa, the poster features a fun illustration by a Cuban poster artist Eduardo Munoz Bachs (1937-2001) depicting a devil set over a black background with colourful baubles with letters and numbers. Silkscreen printed. Good condition, creasing, staining, tears, printing errors. Country of issue: Cuba, designer: Bachs, size (cm): 76x51, year of printing: 1971.

Original vintage movie poster for Ichi y la fugitiva / Zatoichi and the Fugitives, a 1968 Japanese chambara or sword fighting film, directed by Kimiyoshi Yasuda, starring Shintaro Katsu, Yumiko Nogawa, and Kayo Mikimoto, the poster features a colourful illustration by a Cuban poster artist Eduardo Munoz Bachs (1937-2001) depicting a man reaching for his sword set over a black background. Silkscreen printed. Good condition, creasing, tears, staining, paper losses on edges. Country of issue: Cuba, designer: Bachs, size (cm): 76x51, year of printing: 1973.

Original vintage movie poster for Piedra Sobre Piedra / Stone on Stone, a 1970 Cuban documentary film by Santiago Alvarez telling the story of the Yungai area, Peru earthquake on 31 May 1970, the poster features an image by a Cuban poster artist Antonio Pérez Ñiko (b.1941) of rocks in black and white, a flower on top of a red cross. Silkscreen printed. Good condition, creasing, tears, minor staining. Country of issue: Cuba, designer: Niko, size (cm): 76x51, year of printing: 1973.

Original vintage movie poster for Copernico / Copernicus, a 1973 Polish historical film directed by Ewa and Czes?aw Petelski, starring Andrzej Kopiczynski, the poster features a bright illustration of a blond-haired gentleman in pink and blue clothing set over a blue background with pink and yellow stars. Silkscreen printed. Good condition, creasing, tears. Country of issue: Cuba, designer: Julioeloy, size (cm): 76x51, year of printing: 1974.

Original vintage movie poster for Mundial de Pesas, a Cuban documentary with an illustration by a Cuban poster artist Antonio Pérez Ñiko (b.1941) depicting a weightlifter with a colourful butterfly at the top of the image. Silkscreen printed. Good condition, creasing, staining, tears, paper loss in top left corner. Country of issue: Cuba, designer: Niko, size (cm): 76x51, year of printing: 1975.

Original vintage movie poster for Pieza Inconclusa Para Piano Mecanico / An Unfinished Piece for Mechanical Piano, a 1977 Soviet drama film directed by Nikita Mikhalkov, based on Anton Chekhov's story Platonov, the poster features an illustration by a Cuban artist Antonio Fernandez Reboiro (b.1935) depicting an arm holding a palm with a missing centre part. Silkscreen printed. Good condition, creasing, staining. Country of issue: Cuba, designer: Antonio Reboiro, size (cm): 76x51, year of printing: 1979.

Jean-Michel Folon (Belgian 1934-2005): 'The Red Head', silkscreen print on aluminium foil 28cm x 27cm

Storm Thorgerson, 1944-2013, Anthrax/Stomp 442, 1995, silkscreen print for the American rock band Anthrax, signed in pencil to the margin, 65 x 85cm. Storm Thorgerson was a graphic designer best known for his work with Pink Floyd and Led Zeppelin. Sold in aid of Summerhill school

680A Friedensreich HundertwasserSAD NOT SO SAD IS RAINSHINE -FROM RAINDAY ON A RAINY DAYTRISTE PAS SI TRISTEVenice 1968/197074 x 56 cmHerausgegeben von Hundertwasser, Berkeley, USA, 1968 Siebdruck in 15 Farben mit Metallprägungen in 3 Farben Gedruckt von: Galleria L'Elefante, Venedig, 1968, überdruckt von Studio Quattro, Campalto, Venedig, März 970Koordinator: Alberto della Vecchia Auflage: 250, signiert und nummeriert 1-250/250; 139 Abzüge in 6 Farbversionen und 111 Abzüge überdruckt in 5 Farben und 1 MetallprägungXXVIII Probedrucke, signiert und nummeriert I-XXVIII/XXVIIIPublished by: Hundertwasser, Berkeley, U.S., 1968 Silkscreen in 15 colours with metal embossings in 3 colours Printed by: Galleria L'Elefante, Venice, 1968; Overprinted by Studio Quattro, Campalto, Venice, March 1970Coordinator: Alberto della Vecchia Edition: 250, signed and numbered 1-250/250; 139 prints in 6 colour variants and 111 prints overprinted in 5 colours and 1 metal embossing; XXVIII proofs, signed and numbered I-XXVIII/XXVIII.Liste der Farbversionen auf dem Druck / List of colour variants on the print:A1 GREEN GR 1-75A2 GREEN RED 76-150B1 BLACK GREEN 151-175B2 BLACK RED 175-200C1 YELLOW GR 201-225C2 YELLOW RED 226-250Liste der Überdrucke und Probedrucke auf dem Druck / List of the overprints and proofs, on the print:111 overprintedM A R C H 1970A1 46-75A2 121-137139-147149-150B1 166-175B2 191-200C1 216-225C2 241-250,III VI IX XXIII XIV XVIXIX-XXIVKoschatzky / Fürst HWG 39Nr. 57/250680A Friedensreich HundertwasserSAD NOT SO SAD IS RAINSHINEFROM RAINDAY ON A RAINY DAYTRISTE PAS SI TRISTEVenice 1968/197074 x 56 cmHerausgegeben von Hundertwasser, Berkeley, USA, 1968 Siebdruck in 15 Farben mit Metallprägungen in 3 Farben Gedruckt von: Galleria L'Elefante, Venedig, 1968, überdruckt von Studio Quattro, Campalto, Venedig, März 970Koordinator: Alberto della Vecchia Auflage: 250, signiert und nummeriert 1-250/250; 139 Abzüge in 6 Farbversionen und 111 Abzüge überdruckt in 5 Farben und 1 MetallprägungXXVIII Probedrucke, signiert und nummeriert I-XXVIII/XXVIIIPublished by: Hundertwasser, Berkeley, U.S., 1968 Silkscreen in 15 colours with metal embossings in 3 colours Printed by: Galleria L'Elefante, Venice, 1968; Overprinted by Studio Quattro, Campalto, Venice, March 1970Coordinator: Alberto della Vecchia Edition: 250, signed and numbered 1-250/250; 139 prints in 6 colour variants and 111 prints overprinted in 5 colours and 1 metal embossing; XXVIII proofs, signed and numbered I-XXVIII/XXVIII.Liste der Farbversionen auf dem Druck / List of colour variants on the print:A1 GREEN GR 1-75A2 GREEN RED 76-150B1 BLACK GREEN 151-175B2 BLACK RED 175-200C1 YELLOW GR 201-225C2 YELLOW RED 226-250Liste der Überdrucke und Probedrucke auf dem Druck / List of the overprints and proofs, on the print:111 overprintedM A R C H 1970A1 46-75A2 121-137139-147149-150B1 166-175B2 191-200C1 216-225C2 241-250,III VI IX XXIII XIV XVIXIX-XXIVKoschatzky / Fürst HWG 39Nr. 57/250

686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,8 x 55,8 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM-NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 970/10000686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,8 x 55,8 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000,signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM- NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 970/10000Hundertwassers Kommentar zum Werk:Dies ist meine erste durchnummerierte Großauflage, die eigentlich gar keine ist, da sie aus vielen Variationen besteht. …. Ich habe Monate in der Druckerei in Campalto verbracht, während ich auf der "Regentag" nicht weit davon in einem Kanal der Lagune bei Ca'Noghera lag. Es war wie ein Simultan-Schachspiel mit über vierzig Gegnern. Ich tat dies noch konsequenter mit dem späteren Siebruck 860 Homo Humus come va. Ich glaube nicht, dass mir jemand dieses gigantische Unternehmen gleichtun kann, das mich zwei Jahre beanspruchte. Ich verwendete völlig neue Techniken in der Druckgraphik: Metallprägedruck, Phosphorfarben, die in der Nacht leuchten, reflektierende Glasperlen-Aufdrucke, konvexe Prägungen und eine unglaubliche Anzahl von Farbüberdrucken, die ich einzeln auf Transparentfolien malte und die dann auf Sieb übertragen wurden. Dann die Probedrucke der unendlich gewordenen Farbkombinationen. Ich wollte das Fließband ad absurdum führen. In die Enge getrieben, zwischen einer unglaublich einsetzenden Nachfrage und meinem Stolz, Originale und nicht Massenware zu schaffen, und bestrebt, soviel von meinem inneren Selbst wie nur möglich zu geben. Es kam zu einem Prozess, den ich auch gewann, weil ich die Preise (…) niedrig halten wollte - 100 Mark pro Blatt, damit es vielen zugänglich ist. Es war verlorene Mühe. Den freien Marktwert konnte ich nicht bestimmen. Es war Sieg und Niederlage zugleich. (aus: Hundertwasser 1928-2000, Catalogue Raisonné, Bd. 2, Taschen, Köln 2002, S. 812)Hundertwasser's comment on the work:This is my first large print edition, which I numbered from beginning to end; but actually it isn't one, since it consists of many variations. (…) I spent months in the print shop in Campalto, while the Regentag lay in berth not far away, in a canal of the lagoon near Ca' Noghera. It was like a simultaneous chess match with more than forty opponents. I did this even more radically later with the silkscreen print 860 Homo Humus come va. I don't think anyone can outdo me in this gigantic enterprise, which took up two years of my life. I used completely new techniques in print graphics: metallic-stamp printing, phosphorescent colours that glow in the dark, reflecting glass-bead appliqués, convex embossing and an incredible number of colour overprints which I painted separately on transparent foil, from where they were transferred to the screen. Then the proofs of the infinite number of colour combinations. I wanted to reduce the conveyor belt to absurdity. I got myself into a bind between the incredible demand which had materialised and my pride in creating something original, not mass-produced, and I wanted to give as much of my inner self as I could. I went to court and won because I wanted to keep the prices low (…) - 100 marks per print, to make it accessible to many people. It was all for nought. I could not fix the price on the open market. It was a victory and a defeat all in one. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 812-813)

686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,8 x 55,5 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM-NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 9364/10000686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,8 x 55,5 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000,signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM- NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 9364/10000Hundertwassers Kommentar zum Werk:Dies ist meine erste durchnummerierte Großauflage, die eigentlich gar keine ist, da sie aus vielen Variationen besteht. …. Ich habe Monate in der Druckerei in Campalto verbracht, während ich auf der "Regentag" nicht weit davon in einem Kanal der Lagune bei Ca'Noghera lag. Es war wie ein Simultan-Schachspiel mit über vierzig Gegnern. Ich tat dies noch konsequenter mit dem späteren Siebruck 860 Homo Humus come va. Ich glaube nicht, dass mir jemand dieses gigantische Unternehmen gleichtun kann, das mich zwei Jahre beanspruchte. Ich verwendete völlig neue Techniken in der Druckgraphik: Metallprägedruck, Phosphorfarben, die in der Nacht leuchten, reflektierende Glasperlen-Aufdrucke, konvexe Prägungen und eine unglaubliche Anzahl von Farbüberdrucken, die ich einzeln auf Transparentfolien malte und die dann auf Sieb übertragen wurden. Dann die Probedrucke der unendlich gewordenen Farbkombinationen. Ich wollte das Fließband ad absurdum führen. In die Enge getrieben, zwischen einer unglaublich einsetzenden Nachfrage und meinem Stolz, Originale und nicht Massenware zu schaffen, und bestrebt, soviel von meinem inneren Selbst wie nur möglich zu geben. Es kam zu einem Prozess, den ich auch gewann, weil ich die Preise (…) niedrig halten wollte - 100 Mark pro Blatt, damit es vielen zugänglich ist. Es war verlorene Mühe. Den freien Marktwert konnte ich nicht bestimmen. Es war Sieg und Niederlage zugleich. (aus: Hundertwasser 1928-2000, Catalogue Raisonné, Bd. 2, Taschen, Köln 2002, S. 812)Hundertwasser's comment on the work:This is my first large print edition, which I numbered from beginning to end; but actually it isn't one, since it consists of many variations. (…) I spent months in the print shop in Campalto, while the Regentag lay in berth not far away, in a canal of the lagoon near Ca' Noghera. It was like a simultaneous chess match with more than forty opponents. I did this even more radically later with the silkscreen print 860 Homo Humus come va. I don't think anyone can outdo me in this gigantic enterprise, which took up two years of my life. I used completely new techniques in print graphics: metallic-stamp printing, phosphorescent colours that glow in the dark, reflecting glass-bead appliqués, convex embossing and an incredible number of colour overprints which I painted separately on transparent foil, from where they were transferred to the screen. Then the proofs of the infinite number of colour combinations. I wanted to reduce the conveyor belt to absurdity. I got myself into a bind between the incredible demand which had materialised and my pride in creating something original, not mass-produced, and I wanted to give as much of my inner self as I could. I went to court and won because I wanted to keep the prices low (…) - 100 marks per print, to make it accessible to many people. It was all for nought. I could not fix the price on the open market. It was a victory and a defeat all in one. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 812-813)

686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,6 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM-NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 5370/10000686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,6 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000,signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM- NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 5370/10000Hundertwassers Kommentar zum Werk:Dies ist meine erste durchnummerierte Großauflage, die eigentlich gar keine ist, da sie aus vielen Variationen besteht. …. Ich habe Monate in der Druckerei in Campalto verbracht, während ich auf der "Regentag" nicht weit davon in einem Kanal der Lagune bei Ca'Noghera lag. Es war wie ein Simultan-Schachspiel mit über vierzig Gegnern. Ich tat dies noch konsequenter mit dem späteren Siebruck 860 Homo Humus come va. Ich glaube nicht, dass mir jemand dieses gigantische Unternehmen gleichtun kann, das mich zwei Jahre beanspruchte. Ich verwendete völlig neue Techniken in der Druckgraphik: Metallprägedruck, Phosphorfarben, die in der Nacht leuchten, reflektierende Glasperlen-Aufdrucke, konvexe Prägungen und eine unglaubliche Anzahl von Farbüberdrucken, die ich einzeln auf Transparentfolien malte und die dann auf Sieb übertragen wurden. Dann die Probedrucke der unendlich gewordenen Farbkombinationen. Ich wollte das Fließband ad absurdum führen. In die Enge getrieben, zwischen einer unglaublich einsetzenden Nachfrage und meinem Stolz, Originale und nicht Massenware zu schaffen, und bestrebt, soviel von meinem inneren Selbst wie nur möglich zu geben. Es kam zu einem Prozess, den ich auch gewann, weil ich die Preise (…) niedrig halten wollte - 100 Mark pro Blatt, damit es vielen zugänglich ist. Es war verlorene Mühe. Den freien Marktwert konnte ich nicht bestimmen. Es war Sieg und Niederlage zugleich. (aus: Hundertwasser 1928-2000, Catalogue Raisonné, Bd. 2, Taschen, Köln 2002, S. 812)Hundertwasser's comment on the work:This is my first large print edition, which I numbered from beginning to end; but actually it isn't one, since it consists of many variations. (…) I spent months in the print shop in Campalto, while the Regentag lay in berth not far away, in a canal of the lagoon near Ca' Noghera. It was like a simultaneous chess match with more than forty opponents. I did this even more radically later with the silkscreen print 860 Homo Humus come va. I don't think anyone can outdo me in this gigantic enterprise, which took up two years of my life. I used completely new techniques in print graphics: metallic-stamp printing, phosphorescent colours that glow in the dark, reflecting glass-bead appliqués, convex embossing and an incredible number of colour overprints which I painted separately on transparent foil, from where they were transferred to the screen. Then the proofs of the infinite number of colour combinations. I wanted to reduce the conveyor belt to absurdity. I got myself into a bind between the incredible demand which had materialised and my pride in creating something original, not mass-produced, and I wanted to give as much of my inner self as I could. I went to court and won because I wanted to keep the prices low (…) - 100 marks per print, to make it accessible to many people. It was all for nought. I could not fix the price on the open market. It was a victory and a defeat all in one. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 812-813)

686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197085 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM-NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 7970/10000686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197085 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000,signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM- NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 7970/10000Hundertwassers Kommentar zum Werk:Dies ist meine erste durchnummerierte Großauflage, die eigentlich gar keine ist, da sie aus vielen Variationen besteht. …. Ich habe Monate in der Druckerei in Campalto verbracht, während ich auf der "Regentag" nicht weit davon in einem Kanal der Lagune bei Ca'Noghera lag. Es war wie ein Simultan-Schachspiel mit über vierzig Gegnern. Ich tat dies noch konsequenter mit dem späteren Siebruck 860 Homo Humus come va. Ich glaube nicht, dass mir jemand dieses gigantische Unternehmen gleichtun kann, das mich zwei Jahre beanspruchte. Ich verwendete völlig neue Techniken in der Druckgraphik: Metallprägedruck, Phosphorfarben, die in der Nacht leuchten, reflektierende Glasperlen-Aufdrucke, konvexe Prägungen und eine unglaubliche Anzahl von Farbüberdrucken, die ich einzeln auf Transparentfolien malte und die dann auf Sieb übertragen wurden. Dann die Probedrucke der unendlich gewordenen Farbkombinationen. Ich wollte das Fließband ad absurdum führen. In die Enge getrieben, zwischen einer unglaublich einsetzenden Nachfrage und meinem Stolz, Originale und nicht Massenware zu schaffen, und bestrebt, soviel von meinem inneren Selbst wie nur möglich zu geben. Es kam zu einem Prozess, den ich auch gewann, weil ich die Preise (…) niedrig halten wollte - 100 Mark pro Blatt, damit es vielen zugänglich ist. Es war verlorene Mühe. Den freien Marktwert konnte ich nicht bestimmen. Es war Sieg und Niederlage zugleich. (aus: Hundertwasser 1928-2000, Catalogue Raisonné, Bd. 2, Taschen, Köln 2002, S. 812)Hundertwasser's comment on the work:This is my first large print edition, which I numbered from beginning to end; but actually it isn't one, since it consists of many variations. (…) I spent months in the print shop in Campalto, while the Regentag lay in berth not far away, in a canal of the lagoon near Ca' Noghera. It was like a simultaneous chess match with more than forty opponents. I did this even more radically later with the silkscreen print 860 Homo Humus come va. I don't think anyone can outdo me in this gigantic enterprise, which took up two years of my life. I used completely new techniques in print graphics: metallic-stamp printing, phosphorescent colours that glow in the dark, reflecting glass-bead appliqués, convex embossing and an incredible number of colour overprints which I painted separately on transparent foil, from where they were transferred to the screen. Then the proofs of the infinite number of colour combinations. I wanted to reduce the conveyor belt to absurdity. I got myself into a bind between the incredible demand which had materialised and my pride in creating something original, not mass-produced, and I wanted to give as much of my inner self as I could. I went to court and won because I wanted to keep the prices low (…) - 100 marks per print, to make it accessible to many people. It was all for nought. I could not fix the price on the open market. It was a victory and a defeat all in one. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 812-813)

686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197085 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM-NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 9570/10000686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197085 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000,signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM- NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 9570/10000Hundertwassers Kommentar zum Werk:Dies ist meine erste durchnummerierte Großauflage, die eigentlich gar keine ist, da sie aus vielen Variationen besteht. …. Ich habe Monate in der Druckerei in Campalto verbracht, während ich auf der "Regentag" nicht weit davon in einem Kanal der Lagune bei Ca'Noghera lag. Es war wie ein Simultan-Schachspiel mit über vierzig Gegnern. Ich tat dies noch konsequenter mit dem späteren Siebruck 860 Homo Humus come va. Ich glaube nicht, dass mir jemand dieses gigantische Unternehmen gleichtun kann, das mich zwei Jahre beanspruchte. Ich verwendete völlig neue Techniken in der Druckgraphik: Metallprägedruck, Phosphorfarben, die in der Nacht leuchten, reflektierende Glasperlen-Aufdrucke, konvexe Prägungen und eine unglaubliche Anzahl von Farbüberdrucken, die ich einzeln auf Transparentfolien malte und die dann auf Sieb übertragen wurden. Dann die Probedrucke der unendlich gewordenen Farbkombinationen. Ich wollte das Fließband ad absurdum führen. In die Enge getrieben, zwischen einer unglaublich einsetzenden Nachfrage und meinem Stolz, Originale und nicht Massenware zu schaffen, und bestrebt, soviel von meinem inneren Selbst wie nur möglich zu geben. Es kam zu einem Prozess, den ich auch gewann, weil ich die Preise (…) niedrig halten wollte - 100 Mark pro Blatt, damit es vielen zugänglich ist. Es war verlorene Mühe. Den freien Marktwert konnte ich nicht bestimmen. Es war Sieg und Niederlage zugleich. (aus: Hundertwasser 1928-2000, Catalogue Raisonné, Bd. 2, Taschen, Köln 2002, S. 812)Hundertwasser's comment on the work:This is my first large print edition, which I numbered from beginning to end; but actually it isn't one, since it consists of many variations. (…) I spent months in the print shop in Campalto, while the Regentag lay in berth not far away, in a canal of the lagoon near Ca' Noghera. It was like a simultaneous chess match with more than forty opponents. I did this even more radically later with the silkscreen print 860 Homo Humus come va. I don't think anyone can outdo me in this gigantic enterprise, which took up two years of my life. I used completely new techniques in print graphics: metallic-stamp printing, phosphorescent colours that glow in the dark, reflecting glass-bead appliqués, convex embossing and an incredible number of colour overprints which I painted separately on transparent foil, from where they were transferred to the screen. Then the proofs of the infinite number of colour combinations. I wanted to reduce the conveyor belt to absurdity. I got myself into a bind between the incredible demand which had materialised and my pride in creating something original, not mass-produced, and I wanted to give as much of my inner self as I could. I went to court and won because I wanted to keep the prices low (…) - 100 marks per print, to make it accessible to many people. It was all for nought. I could not fix the price on the open market. It was a victory and a defeat all in one. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 812-813)

780 Friedensreich HundertwasserFALL IN CLOUD - FALL IN FOG - FALL OUTVenice 197935 x 29 x 3,2 cmDreidimensionales ObjektHerausgegeben von: Gruener Janura AG, Glarus, 1979Entwickelt und ausgeführt von 1973 bis 1979Technische Forschung, Entwicklung und Koordination: Alberto della Vecchia, VenedigAcrylplatten: Rimpla, TrevisoSiebdruck und Metallprägung: Giuseppe Barbato, VenedigInsgesamt 61 Druckvorgänge, davon 29 mit Siebdruck in 13 Farben und 32 Metallprägungen in 7 FarbenMontiert in handgebeiztem HolzrahmenAuflage: 999, signiert und nummeriert 1-999/999Three-dimensional objectPublished by: Gruener Janura AG, Glarus, 1979Developed and executed from 1973 to 1979Technical research, development and coordination: Alberto della Vecchia, VeniceAcrylic plates: Rimpla, TrevisoSilkscreen printing and metal embossing: Guiseppe Barbato, VeniceA total of 61 printing runs, comprising 29 with silk screen using 13 colours, and 32 metal embossings in 7 coloursIn hand-stained wooden framesEdition: 999, signed and numbered 1-999/999Fürst APA 158Das dreidimensionale Bild besteht aus fünf Platten aus Plexiglas. Eine grüngetönte Platte wurde zur Verbesserung des Ferneffektes in der Mitte hinzugefügt. Jede Plexiglasplatte wurde mit farbserigraphischen Druckvorgängen überzogen, dazu mehrfarbige Metallprägungen."Das Plexiglas ist ein faszinierendes Material, durchsichtig wie die Luft, mit erstaunlichen Lichtbrechungen, die durch den bearbeiteten Plexiglasschnitt zur Geltung kommen.", so Alberto della Vecchia, Koordinator, in einem Text über die komplexe Entstehungsgeschichte des Objekts von 1980.*The three-dimensional piece is made up of five Perspex panels, called metacrilato in Italian. Later, a panel with a green tint was added in the centre to enhance the distance effect.Each Perspex panel was layered with 10 to 15 colour silkscreen print stages, in addition to multicoloured metal embossing,"Perspex is a fascinating material, it is transparent like air, with amazing light refraction visible in the prepared Perspex cut" wrote Alberto della Vecchia, coordinator, in a text on the complex genesis of the object in 1980.Nr. 959/999780 Friedensreich HundertwasserFALL IN CLOUD - FALL IN FOG - FALL OUTVenice 197935 x 29 x 3,2 cmDreidimensionales ObjektHerausgegeben von: Gruener Janura AG, Glarus, 1979Entwickelt und ausgeführt von 1973 bis 1979Technische Forschung, Entwicklung und Koordination: Alberto della Vecchia, VenedigAcrylplatten: Rimpla, TrevisoSiebdruck und Metallprägung: Giuseppe Barbato, VenedigInsgesamt 61 Druckvorgänge, davon 29 mit Siebdruck in 13 Farben und 32 Metallprägungen in 7 FarbenMontiert in handgebeiztem HolzrahmenAuflage: 999, signiert und nummeriert 1-999/999Three-dimensional objectPublished by: Gruener Janura AG, Glarus, 1979Developed and executed from 1973 to 1979Technical research, development and coordination: Alberto della Vecchia, VeniceAcrylic plates: Rimpla, TrevisoSilkscreen printing and metal embossing: Guiseppe Barbato, VeniceA total of 61 printing runs, comprising 29 with silk screen using 13 colours, and 32 metal embossings in 7 coloursIn hand-stained wooden framesEdition: 999, signed and numbered 1-999/999Fürst APA 158Das dreidimensionale Bild besteht aus fünf Platten aus Plexiglas. Eine grüngetönte Platte wurde zur Verbesserung des Ferneffektes in der Mitte hinzugefügt. Jede Plexiglasplatte wurde mit farbserigraphischen Druckvorgängen überzogen, dazu mehrfarbige Metallprägungen."Das Plexiglas ist ein faszinierendes Material, durchsichtig wie die Luft, mit erstaunlichen Lichtbrechungen, die durch den bearbeiteten Plexiglasschnitt zur Geltung kommen.", so Alberto della Vecchia, Koordinator, in einem Text über die komplexe Entstehungsgeschichte des Objekts von 1980.*The three-dimensional piece is made up of five Perspex panels, called metacrilato in Italian. Later, a panel with a green tint was added in the centre to enhance the distance effect.Each Perspex panel was layered with 10 to 15 colour silkscreen print stages, in addition to multicoloured metal embossing,"Perspex is a fascinating material, it is transparent like air, with amazing light refraction visible in the prepared Perspex cut" wrote Alberto della Vecchia, coordinator, in a text on the complex genesis of the object in 1980.Nr. 959/999Signiert und nummeriert.Signed and numbered.

780 Friedensreich HundertwasserFALL IN CLOUD - FALL IN FOG - FALL OUTVenice 197935 x 29 x 3,2 cmDreidimensionales ObjektHerausgegeben von: Gruener Janura AG, Glarus, 1979Entwickelt und ausgeführt von 1973 bis 1979Technische Forschung, Entwicklung und Koordination: Alberto della Vecchia, VenedigAcrylplatten: Rimpla, TrevisoSiebdruck und Metallprägung: Giuseppe Barbato, VenedigInsgesamt 61 Druckvorgänge, davon 29 mit Siebdruck in 13 Farben und 32 Metallprägungen in 7 FarbenMontiert in handgebeiztem HolzrahmenAuflage: 999, signiert und nummeriert 1-999/999Three-dimensional objectPublished by: Gruener Janura AG, Glarus, 1979Developed and executed from 1973 to 1979Technical research, development and coordination: Alberto della Vecchia, VeniceAcrylic plates: Rimpla, TrevisoSilkscreen printing and metal embossing: Guiseppe Barbato, VeniceA total of 61 printing runs, comprising 29 with silk screen using 13 colours, and 32 metal embossings in 7 coloursIn hand-stained wooden framesEdition: 999, signed and numbered 1-999/999Fürst APA 158Das dreidimensionale Bild besteht aus fünf Platten aus Plexiglas. Eine grüngetönte Platte wurde zur Verbesserung des Ferneffektes in der Mitte hinzugefügt. Jede Plexiglasplatte wurde mit farbserigraphischen Druckvorgängen überzogen, dazu mehrfarbige Metallprägungen."Das Plexiglas ist ein faszinierendes Material, durchsichtig wie die Luft, mit erstaunlichen Lichtbrechungen, die durch den bearbeiteten Plexiglasschnitt zur Geltung kommen.", so Alberto della Vecchia, Koordinator, in einem Text über die komplexe Entstehungsgeschichte des Objekts von 1980.*The three-dimensional piece is made up of five Perspex panels, called metacrilato in Italian. Later, a panel with a green tint was added in the centre to enhance the distance effect.Each Perspex panel was layered with 10 to 15 colour silkscreen print stages, in addition to multicoloured metal embossing,"Perspex is a fascinating material, it is transparent like air, with amazing light refraction visible in the prepared Perspex cut" wrote Alberto della Vecchia, coordinator, in a text on the complex genesis of the object in 1980.Nr. 960/999780 Friedensreich HundertwasserFALL IN CLOUD - FALL IN FOG - FALL OUTVenice 197935 x 29 x 3,2 cmDreidimensionales ObjektHerausgegeben von: Gruener Janura AG, Glarus, 1979Entwickelt und ausgeführt von 1973 bis 1979Technische Forschung, Entwicklung und Koordination: Alberto della Vecchia, VenedigAcrylplatten: Rimpla, TrevisoSiebdruck und Metallprägung: Giuseppe Barbato, VenedigInsgesamt 61 Druckvorgänge, davon 29 mit Siebdruck in 13 Farben und 32 Metallprägungen in 7 FarbenMontiert in handgebeiztem HolzrahmenAuflage: 999, signiert und nummeriert 1-999/999Three-dimensional objectPublished by: Gruener Janura AG, Glarus, 1979Developed and executed from 1973 to 1979Technical research, development and coordination: Alberto della Vecchia, VeniceAcrylic plates: Rimpla, TrevisoSilkscreen printing and metal embossing: Guiseppe Barbato, VeniceA total of 61 printing runs, comprising 29 with silk screen using 13 colours, and 32 metal embossings in 7 coloursIn hand-stained wooden framesEdition: 999, signed and numbered 1-999/999Fürst APA 158Das dreidimensionale Bild besteht aus fünf Platten aus Plexiglas. Eine grüngetönte Platte wurde zur Verbesserung des Ferneffektes in der Mitte hinzugefügt. Jede Plexiglasplatte wurde mit farbserigraphischen Druckvorgängen überzogen, dazu mehrfarbige Metallprägungen."Das Plexiglas ist ein faszinierendes Material, durchsichtig wie die Luft, mit erstaunlichen Lichtbrechungen, die durch den bearbeiteten Plexiglasschnitt zur Geltung kommen.", so Alberto della Vecchia, Koordinator, in einem Text über die komplexe Entstehungsgeschichte des Objekts von 1980.*The three-dimensional piece is made up of five Perspex panels, called metacrilato in Italian. Later, a panel with a green tint was added in the centre to enhance the distance effect.Each Perspex panel was layered with 10 to 15 colour silkscreen print stages, in addition to multicoloured metal embossing,"Perspex is a fascinating material, it is transparent like air, with amazing light refraction visible in the prepared Perspex cut" wrote Alberto della Vecchia, coordinator, in a text on the complex genesis of the object in 1980.Nr. 960/999Signiert und nummeriert.Signed and numbered.

Monky (Pedro Rojas Mesa), Peruvian, b.1961- No Se Gana Pero Se Goza, 2015;  ( VAT charged on Hammer Price)silkscreen print on paper, signed and dated lower right 'Monky 2015', 49.3 x 64.5 cm 

Nancy Spero,American 1926-2009 - The Dance, 1993;7 colour silkscreen on 29 gsm Kawanaka paper,signed, dated, titled and numbered 23/200,published by ICA and Quadrocolour,sheet: 33 x 41 cm,(unframed)

Robert Hindel, Study for The Fun House, silkscreen print, ex William Hardy Gallery, Regent Street Glasgow, ebonised glazed mounted frame, signed in pencil and embossed seal bottom right, 40/192, (75cm x 54cm)