SCHEFFLER, Horst(*1935) Konkrete KompositionFarbsiebdruck auf Karton. Bleistiftsignatur. 1971. Exemplar: 5/75. Blatt: 50 x 50 cm. Unterer Rand etwas griffspurig. SCHEFFLER, Horst(*1935) Concrete CompositionColor silkscreen on cardboard. Pencil signature. 1971. copy: 5/75. Sheet: 50 x 50 cm. Lower margin somewhat traces of grip. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
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UNGERER, Tomi(1931 Straßburg - 2019 Cork) "Leda mit dem Schwan"Siebdruck. Bleistiftsignatur. Blatt: 42 x 29,5 cm. Ecke oben links mit Knick, etwas griffspurig. Französischer Grafiker, Illustrator und Schriftsteller. In Straßburg wurde 2007 das "Musée Tomi Ungerer - centre international de l'illustration" eröffnet, das erste Museum, welches einem noch lebenden Künstler in Frankreich gewidmet wurde. Literatur : https://www.tomiungerer.com. UNGERER, Tomi(1931 Strasbourg - 2019 Cork) "Leda with the Swan"Silkscreen print. Pencil signature. Sheet: 42 x 29.5 cm. Corner top left with crease, some traces of grip. French graphic artist, illustrator and writer. The "Musée Tomi Ungerer - centre international de l'illustration" opened in Strasbourg in 2007, the first museum dedicated to a living artist in France. Literature : https://www.tomiungerer.com. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
§ Connor Brothers (British, contemporary), 'Among the things she could not change were the past, the present and the future', 2017, hand-painted vintage book with silkscreen, 16 x 10.5cm, artist's proof 1/2, framed and glazed, bearing label to reverse of frame with artists' signature. Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org for more information
â–´ Henry Moore (1898-1986)'Two Standing Figures', 1949screenprint in colours on linen by Ascher Fabrics, signed and dated to the print 'Moore 49', numbered 7/30263 x 182cm In 1948, Henry Moore was commissioned by Lida and Zika Ascher to execute two large silkscreen-printed panels, of which this is one, the other entitled 'Reclining Figure'. They were each produced in a limited edition of thirty and exhibited at the Lefevre Gallery, London, from October to November 1948, alongside two silkscreens of similar scale by Henri Matisse.After the Lefevre exhibition, the panels were exhibited in art galleries in Britain and abroad, and received widespread coverage in the press. The couturier, Hardy Amies, made 'Two Standing Figures' a feature of his London flat and was portrayed in front of the panel in an article in the Daily Mail of 17 July 1967.Condition ReportSome minor stains occurring throughout. With some water marks along the bottom edge of the textile. The sides with some foxing to the edges. Some minor folding creases. Additional images uploaded.The colours are still saturated and clear. With a later application of velcro to the verso for suspension.(Henry Moore Foundation Tex. 20)
ACKERMANN, MAX (1887-1973), "Abstrakte Komposition in Rottönen", Farbserigraphie/Bütten, u.re. mit Bleistift von Hand signiert und datiert 1972, u.li mit Bleistift num. 80/150, HxB: Platte ca. 45x34 cm, Passepartoutausschnitt ca. 48x37 cm, Außenmaße Rahmen ca. 77x57 cm. Leicht gebräunt, Lichtrand. Im Passepartout hinter Glas gerahmt (Alters- und Beriebspuren).| ACKERMANN, MAX (1887-1975), "Abstract composition in shades of red", color silkscreen / handmade paper, signed and dated by hand in pencil (19)72, numbered in pencil lower left. 80/150, HxW: plate approx. 45x34 cm, passe-partout cut-out approx. 48x37 cm, outer dimensions of frame approx. 77x57 cm. Slightly browned, light edge. Framed behind glass in a passe-partout (Signs of age and rubbing).
ACKERMANN, MAX (1887-1973), Abstrakte Komposition in Gelbtönen" Farbserigraphie/Bütten, u.re. mit Bleistift von Hand signiert und datiert 1972, u.li mit Bleistift num. 80/150, HxB: Platte ca. 48,5x32 cm, Passepartoutausschnitt ca. 52x35 cm, Außenmaße Rahmen ca. 77x57 cm. Leicht gebräunt, Lichtrand. Im Passepartout hinter Glas gerahmt (Alters- und Beriebspuren).| ACKERMANN, MAX (1887-1975), "Abstract composition in shades of yellow", color silkscreen / handmade paper, signed and dated by hand in pencil 1972, numbered in pencil lower left. 80/150, HxW: plate approx. 48,5x32 cm, passe-partout cut-out approx. 52x35 cm, outer dimensions of frame approx. 77x57 cm. Slightly browned, light edge. Framed behind glass in a passe-partout (Signs of age and rubbing).
ACKERMANN, MAX (1887-1975), "Abstrakte Komposition in Blautönen", Farbserigraphie/Bütten, u.re. mit Bleistift von Hand signiert und datiert (19)72, u.li mit Bleistift num. 80/150, HxB: Platte ca. 48,5x31,5 cm, Passepartoutausschnitt ca. 51x34 cm, Außenmaße Rahmen ca. 77x57 cm. Leicht gebräunt, Lichtrand. Im Passepartout hinter Glas gerahmt (Alters- und Beriebspuren).| ACKERMANN, MAX (1887-1975), "Abstract composition in shades of blue", color silkscreen / handmade paper, signed and dated by hand in pencil (19)72, numbered in pencil lower left. 80/150, HxW: plate approx. 48.5x31.5 cm, passe-partout cut-out approx. 51x34 cm, outer dimensions of frame approx. 77x57 cm. Slightly browned, light edge. Framed behind glass in a passe-partout (Signs of age and rubbing).
ACKERMANN, MAX (1887-1973), "Abstrakte Komposition in Grün- und Violetttönen", Farbserigraphie/Bütten, u.re. mit Bleistift von Hand signiert und datiert 1973, u.li mit Bleistift num. 80/150, HxB: Platte ca. 48x31 cm, Passepartoutausschnitt ca. 51x34 cm, Außenmaße Rahmen ca. 77x57 cm. Leicht gebräunt, Lichtrand. Im Passepartout hinter Glas gerahmt (Alters- und Beriebspuren).| ACKERMANN, MAX (1887-1975), "Abstract composition in shades of green and violet", color silkscreen / handmade paper, signed and dated by hand in pencil 1972, numbered in pencil lower left. 80/150, HxW: plate approx. 48x31 cm, passe-partout cut-out approx. 51x34 cm, outer dimensions of frame approx. 77x57 cm. Slightly browned, light edge. Framed behind glass in a passe-partout (Signs of age and rubbing).
Russell Young (born 1960)Marilyn Goddess, 2009 signed, titled, dated and inscribed 2009 IX2009B+W on the reversesilkscreen, enamel and diamond dust on canvas78 x 67cm (30 11/16 x 26 3/8in). Footnotes:ProvenanceGuy Hepner, New YorkAcquired directly from the above by the present ownerThis 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
Mr. Brainwash (born 1966)Chaplin, 2017 signed; signed and dated 2017 on the reversesilkscreen and mixed media on paper127.5 x 96.5cm (50 3/16 x 38in).Footnotes:ProvenanceMaddox Gallery, LondonAcquired directly from the above by the present ownerThis 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
Mr. Brainwash (born 1966)Not Guilty, 2012 signed and dated 2012 on the reversesilkscreen and mixed media on paper75.6 x 56cm (29 3/4 x 22 1/16in). Footnotes:ProvenancePrivate Collection, ManchesterPrivate Collection, UKThis 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
Keith Haring (1958-1990), Plate 1 from 'Apocalypse', signed, dated, and numbered in pencil '90/90 K. Haring '88' (lower right), silkscreen in colours on museum board, image & full sheet 96,5x96,5 cm, Provenance: Acquired from Galerie VIP's, Rotterdam, by the present owner. Published in 1988 by George Mulder Fine Arts, New York and printed by Rupert Jasen Smith, New York, in an edition of 90 plus 20 artist's proofs.
Keith Haring (1958-1990), Plate 8 from 'Apocalypse', signed, dated, and numbered in pencil '90/90 K. Haring '88' (lower right), silkscreen in colours on museum board, image & full sheet 96,5x96,5 cm, Provenance: Acquired from Galerie VIP's, Rotterdam, by the present owner. Published in 1988 by George Mulder Fine Arts, New York and printed by Rupert Jasen Smith, New York, an edition of 90 plus 20 artist's proofs.
Andy Warhol (1928-1987), Queen Ntombi Twala of Swaziland from the series 'Reigning Queens', signed and numbered '13/40 Andy Warhol' (lower right), and stamped with the artist's copyright (on the reverse), silkscreen in colours on Lenox museum board, image & full sheet 100x80 cm, Published in 1985 by George C. P. Mulder, Amsterdam, and printed by Rupert Jasen Smith, New York, in an edition of 40.Literature: -F.Feldman, J.Schellmann, 'Andy Warhol. Prints. A Catalogue Raisonné 1962-1987', 2003, p. 145, cat. no. II.347.
Tom Wesselmann (1931-2004), Great American Brown Nude Cut-out, signed, dated, and numbered in pencil 'Wesselmann 71 70/100' (lower left), silkscreen in colours on wove paper with die-cut museum board mount (as issued), image 35x45 cm,mount 40,5x51 cm, Provenance: From the estate of Andreas Landshoff, Amsterdam. Published in 1971 by the artist and printed by Chiron Press, New York, in an edition of 100 numbered copies (there was also an unknown number of artist's proofs).
Andy Warhol (1928-1987), Queen Ntombi Twala of Swaziland from the series 'Reigning Queens', signed and numbered '32/40 Andy Warhol' (lower right), and stamped with the artist's copyright (on the reverse), silkscreen in colours on Lenox museum board, image & full sheet 100x80 cm, Published in 1985 by George C. P. Mulder, Amsterdam, and printed at Rupert Jason Smith, New York, in an edition of 40.Literature: -F.Feldman, J.Schellmann, 'Andy Warhol. Prints. A Catalogue Raisonné 1962-1987', 2003, p. 145, cat. no. II.348.
Andy Warhol (1928-1987), Queen Ntombi Twala of Swaziland, from the series 'Reigning Queens', signed and numbered '13/40 Andy Warhol' (lower right), and stamped with the artist's copyright (on the reverse), silkscreen in colours on Lenox museum board, image & full sheet 100x80 cm, Published in 1985 by George C. P. Mulder, Amsterdam, and printed by Rupert Jasen Smith, New York, in an edition of 40.Literature: -F.Feldman, J.Schellmann, 'Andy Warhol. Prints. A Catalogue Raisonné 1962-1987', 2003, p. 145, cat. no. II.349.
Andy Warhol (1928-1987), Queen Beatrix of the Netherlands, from the series 'Reigning Queens', signed and numbered '23/40 Andy Warhol' (lower right), and stamped with the artist's copyright (on the reverse), silkscreen in colours on Lenox museum board, image & full sheet 100x80 cm, Published in 1985 by George C. P. Mulder, Amsterdam, and printed by Rupert Jasen Smith, New York, in an edition of 40.Provenance:-Kunsthandel Lambert Tegenbosch, Heusden, where acquired by the present owner.Literature: -F.Feldman, J.Schellmann, 'Andy Warhol. Prints. A Catalogue Raisonné 1962-1987', 2003, p. 143, cat. no. II.339. -G.Mulder, 'Reigning Queens, Andy Warhol', 1985, p. 21.
Andy Warhol (1928-1987), Queen Ntombi Twala of Swaziland from the series 'Reigning Queens', signed and numbered '27/40 Andy Warhol' (lower right), and stamped with the artist's copyright (on the reverse), silkscreen in colours on Lenox museum board, image & full sheet 100x80 cm, Published in 1985 by George C. P. Mulder, Amsterdam, and printed by Rupert Jasen Smith, New York, in an edition of 40.Literature: -F.Feldman, J.Schellmann, 'Andy Warhol. Prints. A Catalogue Raisonné 1962-1987', 2003, p. 145, cat. no. II.346.
Christo (1935-2020), Lower Manhattan Packed Building, 20 Exchange Place, Project for New York, signed and numbered in pencil 'Christo 14/100' (lower right), silkscreen in colours on wove paper, 71x55,5 cm, Provenance: From the estate of Andreas Landshoff, Amsterdam.Literatue: P. Hovdenakk, 'Christo complete editions 1964-1982', Munich 1983, cat. no. 34, Published in 1973 by Abrams Original Editions, New York and printed by Hans- Peter Haas, Stuttgart in an edition of 100 plus 10 artist's proofs.Made to help fund the book 'Valley Curtian' co-published by Hatje, Stuttgart; Abrams, New York, Horay Paris; Prearo, Milan. The image is part of the collage 'Lower Manhattan Packed Building, 20 Exchange Place, Project for New York' made in 1964, shortly after Christo arrived in New York.
Bruce Onobrakpeya (Nigerian, born 1932)Leopard in Cornfield inscribed '11/60', titled 'Leopard in Cornfield' (lower left); signed and dated twice 'Bruce P.O. Onobrakpeya/ 1965' (lower right)silkscreenimage: 60.7 x 44.5 cm (23 7/8 x 17 1/2 in)sheet: 62.5 x 46 cm (24 5/8 x 18 1/8 in)(framed)Footnotes:ProvenanceA private collection.ExhibitedLagos, Lagos Court of Arbitration, Onobrakpeya & the Harmattan Workshop, September - December 2016. LiteratureSafy Quel, ed., Bruce Onobrakpeya Symbols of Ancestral Groves (Lagos, 1985), (illustrated, p. 213).Kenny Da'Silve and Ekpo Udoma, ed., Bruce Onobrakpeya Serigraphs: A Revisit to the Sunshine Period 1960 - 1970 (Lagos, 2012), p. 2, (illustrated, p.1).Dele Jegede, ed., Onobrakpeya Masks of the Flaming Arrows (Milan, 2014), (illustrated, p.25).SMO Contemporary Art, Onobrakpeya & the Harmattan Workshop, (Lagos, 2016), illustrated p. 54.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Set Czech glassware to include pair candlesticks, ring holder, trinket box and lamp; collection green onyx items including candlesticks lidded jars; five mid-20th century dolls of various origin including 'Snake-Charmer' and Rabbit plushie with rabbit fur; Pair of J and J Cash woven silkscreen prints of flowers, L. Kersh horological collage of a London bus together with two coronation souvenir books etc.
Derrick Greaves (born 1927)/Four Flowers/signed and dated '77/colour silkscreen, 64.75cm x 52.75cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
JOSEPH BEUYS (GERMAN 1921-1986)A concert at the ICA,1975silkscreen on record cover31.7 x 31.7 cm (12 1/2 x 12 1/2 in.)unframedPROVENANCEJohn Gibson GalleryAcquired from the above by the present ownerLITERATUREBeuys Die Multiples 1992, no. 158.LOT NOTESJoseph Beuys was a revolutionary artist, performer and theorist of the post-war era, who viewed art as a vehicle for social change and transformation. He is mostly associated with Fluxus movement. Beuys produced assemblages, installations, performances, prints, and drawings, among other media in which he reflected on humanism, sociology and anthroposophy. Beuys participated in the Venice Biennale and Documenta multiple times, and his works are in the collections of Harvard Art Museum, Moderna Museet, Tate Modern, the Kunsthalle Bern, the Guggenheim Museum, and the Museum of Modern Art and others.
MUHAMMAD ALI: OLYMPIC GOLD "RED, WHITE AND BLUE"STEVE KAUFMAN (AMERICAN, 1960-2010)limited edition hand-embellished silkscreen print on canvassigned to front in gold pen 'Muhammad Ali aka Cassius Clay', further signed with monogram by the artist verso and numbered 13/10096 x 96cm, unframedwith certificate signed by Mark Taliani and two clippings relating to Steve Kaufman
ROBERT RAUSCHENBERG (1925-2008)Night Walk (Urban Bourbon) 1988 signed and dated 88; dated and numbered 88.194 on the reverseacrylic and silkscreen ink on enamelled aluminium 121.7 by 183.5 cm. 47 15/16 by 72 1/4 in. Footnotes:This work is registered in the archives of the Robert Rauschenberg Foundation, New York, under RRF 88.194.ProvenanceGuy Pieters Gallery, Knokke-HeistAcquired directly from the above by the present owner circa 1989Night Walk (Urban Bourbon) from 1988 is a superbly atmospheric example from the celebrated Urban Bourbon series of paintings on metal that Robert Rauschenberg created between 1988 and 1996. Having travelled widely throughout his life, Rauschenberg participated in numerous international ventures and believed in the power of art as a catalyst for positive social change. From 1984 to 1991 he embarked on the ROCI project, the Rauschenberg Overseas Culture Interchange, intended to spark a dialogue and achieve mutual understanding through creative work. The project was an expression of his long-term commitment to human rights and on a trip to Chile in 1984 Rauschenberg visited a copper mine and foundry where he learned from artist Benito Rojo about the potential of tarnishing agents on copper. He liked the metal's warm reflective qualities, explaining that, 'the metal carries the image instead of the opposite way around, where the paint is the image on the surface.' (the artist in: Galerie Thaddaeus Ropac press release, BOREALIS 1988-92, www.ropac.net, 21 September 2021). Between 1985 and 1995 Rauschenberg went on to create fifteen different series of metal paintings including Urban Bourbon, all on varying supports that incorporated brass, aluminium and copper. The images featured in Night Walk (Urban Bourbon) have been taken from this trip to Chile, although much of the subject matter is familiar and appears in the artist's work throughout his career.Rauschenberg didn't want his paintings to be didactic; rather they are a collection of motifs that lead the viewer on their own journey, and are subject to the viewer's own thoughts, perceptions, and feelings. Photography and printmaking were two of his abiding interests, allowing him to document and reflect the countries he visited and the world around him, and the photographs used in his work are taken by the artist – often on his extensive travels. The title of the present work - Night Walk (Urban Bourbon) – alludes to the dark blue and black background that emphasises the silkscreened and somewhat familiar, everyday imagery of a commercial sign, a classical sculpture, the petals of a rose, a row of open windows and the lattice of patio chairs. The stark contrast of the images overlapping, cropped and interspersed with swift gestural brushstrokes, set against the bi-tonal background conjures up the feeling of a walk at dusk or in the night, when familiar shapes appear from and disappear into the shadows and become less recognisable. The Urban Bourbon works are paintings with expressionistic brushwork and silkscreened images on enamelled, mirrored and anodised aluminium. The title may reference an exchange between Rauschenberg and Willem de Kooning, where the latter artist was offered a bottle of Jack Daniel's by the former in exchange for participating in the now legendary Erased de Kooning Drawing (1953). The rhyme of 'urban' and 'bourbon' also reflects Rauschenberg's appreciation of wordplay. Works from the popular series can be found in the collections of some of the world's most esteemed institutions such as The Albertina Museum in Vienna; ARoS Aarhus Kunstmuseum in Denmark; Fondation Beyeler, Riehen; Los Angeles County Museum of Art; Museum of Contemporary Art and the Whitney Museum of American Art, New York amongst others.Over the course of his 60-year career, Rauschenberg worked in a wide range of media including painting, sculpture, fabric collage, printmaking, photography and performance, challenging gestural abstract painting at a time where Abstract Expressionism was the dominant creative philosophy in America. Studying at the famed Black Mountain College under the tutelage of Josef Albers, he quickly rose to be one of the most influential and experimental artists of his time, a progenitor of practically every post-war artistic development since Abstract Expressionism and the first American to win the Golden Lion, the top prize at the Venice Biennale in 1964. Today, his works are highly sought after internationally, and Night Walk (Urban Bourbon) incorporates some of the artist's most recognisable and iconic techniques. With its juxtaposition between two different modes of paint application: gestural brushstrokes and mechanically reproduced imagery; the artist bridges the gap between Pop Art and Abstract Expressionism and wonderfully demonstrates his skill and keen eye for how imagery in modern media culture could be propagated, transformed and composed.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
"KAWS" Brian Donnelly (New Jersey, 1974)."Alone again", 2019.Silkscreen on paper.Publisher: MOCAD (Museum of Contemporary Art Detroit).Features ink stamp of the artist.Signed and dated.Size: 25.5 x 20.5 cm; 47.5 x 42.5 cm (frame).Brian Donnelly, known professionally as Kaws (stylised as KAWS), is an American artist and designer. His work includes the repeated use of a cast of figurative characters and motifs, some of which date back to the beginning of his career in the 1990s, initially painted in 2D and later realised in 3D. Some of his characters are his own creations, while others are modified versions of existing icons. Kaws' sculptures range in size from a few centimetres to ten metres tall, and are made of various materials including fibreglass, aluminium, wood, bronze and an inflatable steel pontoon raft. His work is exhibited in galleries and museums, held in permanent collections in public institutions, and avidly collected by individuals, including music producer Swizz Beatz and rapper Pharrell Williams. Several books illustrating his work have been published. He lives and works in Brooklyn, New York, creating sculptures, acrylic paintings on canvas and screen prints, while also collaborating commercially, predominantly on limited edition toys, but also on clothing, skateboards and other products.Kaws' work can be characterised by an emphasis on colour and line, distinctive graphics, such as the repeated use of "x" in the hands and eyes, and a re-appropriation of pop culture icons such as Mickey Mouse, the Michelin Man, the Smurfs, Snoopy, and Snoopy. Snoopy, and SpongeBob SquarePants. His characters are generally depicted in a timid or helpless pose often with their hands over their eyes.
Warhol, Andy (Pittsburgh 1928 - 1987 New York)"Flowers"; 4 hellblaue Blüten vor Grasbüschel in schwarz/weiß; Acryl/Serigraphie/Leinwand, 1964, auf der umgeklappten, überlappenden Leinwand Widmung mit Bleistift "Drue 75 LOVE sowie Signatur"; 12,7 x 12,7 cm; Provenienz: - Geschenk des Künstlers an Frau Drue Heinz (Ketchup-Dynastie); - Geschenk an ihren Verwalter- ab 2019 Süddeutsche Sammlung"Flowers"; acryl/silkscreen/canvas; signed and dedicated "Drue 75 LOVE"; 5 inch;Provenance:- a gift from the artist to Ms. Drue Heinz (Heinz-Ketchup)- a gift to her caretaker- since 2019 private german collection
Warhol, Andy (Pittsburgh 1928 - 1987 New York)"Flowers"; 4 orangefarbene Blüten vor Grasbüschel in schwarz/weiß; Acryl/Serigraphie/Leinwand, 1964; auf der umgeklappten, überlappenden Leinwand verso signiert und datiert 64; (sowie in Klammer nummeriert 134); 12,7 x 12,7 cm; Provenienz: - Geschenk des Künstlers an Frau Drue Heinz (Heinz Ketchup-Dynastie); - Geschenk an ihren Verwalter- ab 2019 Süddeutsche Sammlung"Flowers"; acryl/silkscreen/canvas; signed and dated 64 and bracketed numbered 134; 5 inch;Provenance:- a gift from the artist to Ms. Drue Heinz (Heinz Ketchup)- a gift to her caretaker- since 2019 german collection
Futura (American 1955-), 'The Good, The Bad And The Ugly', 2022, silkscreen in colours on 320g Coventry Rag Paper, signed and numbered from an edition of 100 in pencil; sheet: 83.8 x 101.5cm83.8 x 101.5cmIn good conditionNo visible knocks or creases to the sheetOne minor tear to lower deckled edge of the sheetMinor waving to top edge of sheet, visible in raking lightMinor handling creases can be seen in the border of the sheet, visible upon close inspectionThis work has been stored flat and has not been framed
Connor Brothers (British Duo), 'The Idiot', 2022, giclee with silkscreen varnish on wove paper, signed, dated, and inscribed AP in pencil, aside from the main edition of 20; sheet: 41.5 x 29cm; 58.5 x 43cm inc frameARRsheet: 41.5 x 29cm; 58.5 x 43cm inc frameIn excellent conditionNo visible knocks, tears or creases to the sheetFramed in a wooden frame, float mounted leaving all edges and corners of the sheet visibleThis work has not been examined under the frame.
Connor Brothers (British Duo), 'In A World Where You Can Be Anything Be Kind', 2022, pigment print with silkscreen varnish on wove paper, signed, dated, and numbered from an edition of 50 in pencil; sheet: 41.5 x 29cmARRsheet: 41.5 x 29cm ARRIn Excellent ConditionNo knocks, tears, or creases to the sheetThis work has been stored flat and never been framedIn Excellent Condition
James McQueen (British 1977-), 'You Don't Know The Half Of It', 2022, mixed media, archival pigment and silkscreen on 410gsm Somerset Satin paper, signed and numbered from an edition of 95; sheet: 101.5 x 67.5cm; 112 x 78cm inc frameARRsheet: 101.5 x 67.5cm; 112 x 78cm inc frameIn excellent conditionNo visible knocks, tears, or creases to the sheetDeckled edges in good conditionFramed to a high standard in a black frame, float mounted leaving all edges and corners of the sheet visible.This work has not been examined out of the frame.
Connor Brothers (British Duo), 'The Idiot (Ukraine)', 2022, giclee print in colours with silkscreen in varnish on wove paper, signed, dated, and numbered from an edition of 20 in pencil; sheet: 41.5 x 29cmARRsheet: 41.5 x 29cmIn very good conditionNo knocks, tears or creases to the sheet Deckled edges in good condition This work has been stored flat and has never been framed.
James McQueen (British 1977-), 'I Had Fun Once It Was Awful', 2022, mixed media, archival pigment and silkscreen on 410gsm Somerset Satin paper, signed and numbered from an edition of 95; sheet: 101.5 x 67.5cm (framed)ARRsheet: 101.5 x 67.5cmIn excellent conditionNo knocks, tears or creases to the sheetDeckled edges in good conditionFramed in a black frame, float mounted leaving all corners and edges of the sheet visible.This work has not been examined under the frame.
Connor Brothers (British Duo), 'We Are All In The Gutter', 2021, pigment print with silkscreen varnish on wove paper, signed, dated, and inscribed AP in pencil, aside for the main edition of 75, published by Jealous Gallery; sheet: 75 x 50cmARRsheet: 75 x 50cmIn Excellent ConditionNo knocks, tears, or creases to the sheetThis work has been stored flat and never been framedIn Excellent Condition
Connor Brothers (British Duo), 'The Secret Garden Party (Orange)', 2022, hand embellished pigment print with silkscreen varnish on wove paper, signed, dated, and numbered from an edition of 5APs in pencil, sheet: 41.5 x 29cm; 58.5 x 45.5cm inc frameARRsheet: 41.5 x 29cm; 58.5 x 45.5cm inc frame
Connor Brothers (British Duo), 'There's Only One Thing Worse Than Being Talked About', 2021, giclee with silkscreen varnish on wove paper, signed, dated, and numbered from an edition of 150 in pencil; sheet: 120 x 76cm (Framed)ARRsheet: 120 x 76cm (Framed)In Excellent ConditionNo knocks, tears, or creases to the sheetFloat mounted and framed in a wooden frameFramed by the Publishing GalleryNot examined out of the frameIn Excellent Condition
James McQueen (British 1977-), 'Happiness Is Expensive', 2022, mixed media, archival pigment and silkscreen on 410gsm Somerset Satin paper, signed and numbered from an edition of 95; sheet: 101.5 x 67.5cm; 112 x 78cm inc frameARRsheet: 101.5 x 67.5cm; 112 x 78cm inc frameIn excellent conditionNo visible knocks, tears, or creases to the sheetDeckled edges in good conditionFramed to a high standard in a black frame, float mounted leaving all edges and corners of the sheet visible.This work has not been examined out of the frame.
Connor Brothers (British Duo), 'Absence Makes The Days Grow Longer', 2020, hand-painted vintage paperback with silkscreen, signed and numbered from an edition of 2 plus 2 artist's proofs to the authenticity label verso; 27 x 20.5cm inc frameARR27 x 20.5cm inc frameIn very good condition/artist's conditionNo sign of later paint loss. This work is executed on a vintage paperback book and is framed by the artist/to the artist's specifications.This work has not been examined out of the frame.
James McQueen (British 1977-), 'If You Ever Leave Me I'm Coming With You', 2022, mixed media, archival pigment and silkscreen on 410gsm Somerset Satin paper, signed and numbered from an edition of 95; sheet: 101.5 x 67.5cmARRsheet: 101.5 x 67.5cmIn excellent conditionNo knocks, tears or creases to the sheetDeckled edges in good condition This work has been stored flat and has never been framed.
Chagall, Marc. 1887 Witebsk - 1985 Paul de VenceSelbst mit Bella an der Staffelei (Der Geburtstag/ The birthday), Siebdruck nach Zeichnung, Edition Metropolitan Museum of Art and Israel Museum Jerusalem 2003. Auf Bütten mit Trockenstempel, 28,5 x 19 cm (Bl), hinter Glas gerahmt. Marc Chagall: The birthday. Silkscreen on woven paper, dry stamp, edition of The Metropolitan Museum of Art in corporation with Israel Museum Jerusalem 2003. 28,5 x 19 cm, glass frame.

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