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

[Ephemera] Max Hetzler, Paul Maenz, Portikus Mixed German lot, contains (1) 9 items by Hetzler including a pricelist for Neugrafik 1984; a 1984 stocklist of 8 pp.; invitation cards for Günther Förg, Büttner, Herold, Oehlen, Mucha et all in 1983 and 1984. (2) Silkscreen printed A4 sheet featuring a drawing and text for Mimmi Paladino's show at Paul Maenz in Cologne, 1980.(3) Two large posters by Portikus Frankfurt, 62 x 80 cm, 1989. One features Katharina Fritsch (plus invitation card), the other On Kawara and a groupshow. (4) Poster for the group show 'Front' at Galerie Rolf Ricke in Cologne, 1981, 84 x 32 cm. (5) Xeroxed sheet with a photographic group portrait of Stefan Szczeny with Dokoupil, Dahn and Schulze. (total 15)

STAR TREK: ENTERPRISE - Logic ModuleA logic module from the sci-fi drama series Star Trek: Enterprise. These computer memory modules are predecessors to the data discs seen in the original series and were used throughout the series by the NX-01 and her crew. This module consists of a translucent green acrylic square with silkscreen-printed microchip-like details in the interior. It is affixed on one end with an opaque white rectangular accent with a red, black and white decal identifying it as a logic module. It exhibits minor scuffing on the square.Dimensions: 3.25" x 3" x 0.5" (8.25 cm x 7.75 cm x 1.25 cm) Estimate: $600 - 800This lot will be auctioned on Thursday, June 23rd. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, June 21st; Wednesday, June 22nd; or Friday, June 24th.

AFTER GEOFFREY KEY (born 1941); ten silkscreen prints from the Daydreams series, pub. B & P Screen Prints Ltd, sheet size 61.5 x 41.5cm.Additional InformationEach with minor folds and creases to the corners especially, the old white mark and scuff.

AFTER GEOFFREY KEY (born 1941); a boxed set of twenty silkscreen prints from the Daydreams series, pub. B & P Screen Prints Ltd, sheet size 61.5 x 41.5cm.Additional InformationThe box is af with rips, tears, stains and marks, a couple of the prints with staining to the borders and edges, creases, fold and turning to the corners.

DRAN (French, born in 1979) Tintin à Paris, 2018 Mixed media on silkscreen background, on paper numbered lower left, signed on the bottom right Edition of 50 copies 45 × 32 cm

DRAN (French, born in 1979) Pluie de couleurs Painting on silkscreen background, on paper numbered lower left, signed lower right Edition of 99 copies 42 × 30 cm

IAN HAMILTON FINLAY CBE (SCOTTISH 1925-2006) Eastview, miniature poem, paper and metal pins, 33+ parts, title inscribed to box in ink; Earthship, concertina silkscreen poem on card, stapled, signed (IHF), Wild Hawthorn Press, approx. 185cm (extended); Le circus, poster poem 1964, Wild Hawthorn Press, 44 x 56cm; Victor Vasarely, poster with laminated top layer (detached), Wild Hawthorn Press, together with another framed with laminated layer, 53 x 40cm (5) Condition Report:Available upon request

ALASDAIR GRAY (SCOTTISH 1934-2019) INSIDE THE BOX OF BONE  Silkscreen, signed lower left, numbered (20/60), 59 x 29cm (23.25 x 11.5") Condition Report:Available upon request

Natvar Bhavsar (Indian/American, b. 1934). Silkscreen in colors on paper titled "Cornered Yellow." Pencil signed, dated 1968, and numbered 20/20 along the lower center.Sight; height: 21 1/4 in x width: 21 1/4 in. Framed; height: 30 in x width: 29 1/2 in.

Yaacov Agam (Israeli, b. 1928). Silkscreen print on paper depicting an abstract geometric composition. Signed along the lower right and numbered 31/33 along the lower left.Sight; height: 28 3/4 in x width: 30 1/4 in. Framed; height: 37 1/4 in x width: 38 1/4 in.

Peter Blake"Victorian Postcard Series 2",pencil signed and numbered to the margin,limited-edition inkjet print with silkscreen glaze,44 x 28cms, in frame.

Sir Peter Blake (British, b.1932), All New Boots and Panties (Ian Dury), limited edition silkscreen print, signed l.r. by the artist and Chris Gabrin (who made the cover photograph for the original album), numbered 207/350 l.l., professionally framed & glazed, 55cm by 55cm (mount window)

GRAHAM SUTHERLAND, OM (British, 1903 ? 1980) 'Abstract', silkscreen printed scarf for Ascher studio, signed in the plate, edition of 195, 85cm x 80cm. framed. (Subject to ARR - see Buyers Conditions)

MANOLO VALDÉS (Valencia, 1942)."Profile".Silkscreen. Copy 39/50.Signed and justified in pencil.Measurements: 167 x 128 cm; 195 x 155 cm (frame).In this piece Manolo Valdés reinterprets in his colourful style the portrait of the Duchess of Urbino, which was painted by Piero de la Francesca in 1472. Around 2006, Valdés focused on this model on which he explored the profile of the original work through shapes, colour and synthesis. Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humour and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently lives and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has won are the Lissone and Biella awards in Milan (1965), the silver medal at the II International Biennial of Engravings in Tokyo (1979), the Bridgestone Art Museum prize in Lisbon (1979), the National Plastic Arts Prize (1983), the medal at the International Festival of Plastic Artists in Baghdad (1986), the Decoration of the Order of Andrés Bello in Venezuela (1993), the prize of the National Council of Monaco (1997), the Gold Medal for Merit in Fine Arts (1998), the Prize of the Spanish Association of Art Critics (2000) and the Prize for the Best Print Artist (2002), among others. With Equipo Crónica, Valdés used figuration as a vehicle of expression for his approaches, for his criticisms of art, society and politics, but prioritising above all other content the pure act of painting. From the thematic point of view, Valdés was inspired by the art of the great masters of painting: Goya, Velázquez, El Greco, Ribera and Zurbarán, and he never concealed his models, but rather emphasised them, even in the titles of his works. Formally, he produces a large-format work in which the lights and colours express tactile values, due to the treatment given to the materials. His work forces the observer to delve into memory and search for significant images from the history of art. Valdés is represented in some of the world's leading museums, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Centre Georges Pompidou and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.

America: The Third Century The complete portfolio of thirteen prints comprising William H. Bailey (American 1930-2020), Still Life with Eggs, Candlestick and Bowl, collotype; James Brooks (American 1906-1992), Concord, silkscreen; Christo (Bulgarian 1935-2020), Texas Mastaba, lithograph with silkscreen and collage on chipboard; Allan D'Arcangelo (American 1930-1998), Beginning, lithograph with silkscreen and embossing; Roy Lichtenstein (American 1923-1997), Bicentennial Print, lithograph with silkscreen; Constantino Nivola (Italian 1911-1988), City, lithograph with silkscreen; Robert Andrew Parker (American b.1927), Sunrise, lithograph; Robert Rauschenberg (American 1925-2008), Deposit, silkscreen with hand colour; James Rosenquist (American 1933-2017), Miles, silkscreen with airbrush; Edward Ruscha (American b.1937), America Whistles, lithograph; Raymond Saunders (American b.1934), Duck Out of Water, lithograph with silkscreen and collage; Ben Schonzeit (American b.1942), Yankee Flam, collotype; and Velox Ward (American 1901-1994), The Home My Daddy Built, collotype Thirteen, each signed by the artist and numbered 83/200, with title and colophon pages, loose (as issued) within the original portfolio box Each 76.3 x 56.3 (sheet); 80.9 x 60.5cm (box) Provenance: Adi Gallery, San Francisco, where purchased by the present private collector, August 1976

Dan Baldwin (British, b. 1972) Disneyland Horrorshow / Politics Fuck Up #1, 2006 Giclee and silkscreen print with varnish on 310gsm paper Signed, titled and numbered 39/150 in pencil  80 x 80 cm (31 x 31 in)  Born in Manchester, Dan Baldwin is known for his vibrant style that blends the abstract and the figurative to create bold and vibrant pieces of art. Recognised as one of the leading figures in the Young British Artist movement, since early on in his career Dan has been established globally. Reflecting reality and imagination, Dan’s works are manifestations of his own mind, integrated with themes of love, memory, politics and psychological wonderings. Taking inspiration from everything, Dan’s work includes references to Pop Art as well as traditional Dutch painting. Most of Dan’s work takes the form of silkscreen prints. Integrating the real with the imaginary, Dan layers his work, both physically and conceptually. Glazes, collage and even diamond dust sit on silkscreen surfaces to give a textural depth to Dan’s work. Recurring motifs of skeletons, flowers, knives and cartoon figures characterise Dan’s style, with the stark contrast between them making for art that is both sinister and fantastical. The symbolism and stories that construct Dan’s work function to address each of us individually, making for a viewing experience that is personal and entirely unique.  Dan trained at Eastbourne College of Art before continuing his studies at Kent Institute of Art. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.      

Dan Baldwin (British, b. 1972) Disneyland Horrorshow / Politics Fuck Up #2, 2006 Giclee and silkscreen print with varnish on 310gsm paper Signed, titled and numbered 37/150 in pencil  80 x 80 cm (31 x 31 in)  Born in Manchester, Dan Baldwin is known for his vibrant style that blends the abstract and the figurative to create bold and vibrant pieces of art. Recognised as one of the leading figures in the Young British Artist movement, since early on in his career Dan has been established globally. Reflecting reality and imagination, Dan’s works are manifestations of his own mind, integrated with themes of love, memory, politics and psychological wonderings. Taking inspiration from everything, Dan’s work includes references to Pop Art as well as traditional Dutch painting. Most of Dan’s work takes the form of silkscreen prints. Integrating the real with the imaginary, Dan layers his work, both physically and conceptually. Glazes, collage and even diamond dust sit on silkscreen surfaces to give a textural depth to Dan’s work. Recurring motifs of skeletons, flowers, knives and cartoon figures characterise Dan’s style, with the stark contrast between them making for art that is both sinister and fantastical. The symbolism and stories that construct Dan’s work function to address each of us individually, making for a viewing experience that is personal and entirely unique.  Dan trained at Eastbourne College of Art before continuing his studies at Kent Institute of Art. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.  

James Bond - 'Roger Moore 007' A Silkscreen print with white diamond dust by Robert McGinnis (American, 1926), printed on 410 Somerset Satin tube-size paper, from an edition of 75 with 7 Artist Proofs, the print signed and numbered by the Artist, 47/75, flat, Sheet size 75 cm x 100 cm, Image Size 54.8 cm x 79 cm. This image is one of the most iconic Bond poses from the early 1970s and was initially a pose which was depicted by Robert McGinnis in the poster design for the 1973 Bond film Live and Let Die starring Roger Moore and subsequently used in poster and promotional material both for this film and The Man with the Golden Gun (1974). It is thought that in this unfinished preparatory portrait, McGinnis was adapting the original pose of Sean Connery fromthe You Only Live Twice poster (designed together with Frank McCarthy) for the Roger Moore campaign when he became Bond in 1973. Condition Report: In mint condition.

James Bond - 'Roger Moore 007' A Silkscreen print by Robert McGinnis (American, 1926), printed on 410 Somerset Satin tube-size paper, from an Edition of 25 with 3 Artist Proofs, the print signed and numbered by the Artist 21/25, flat, Sheet size 75 cm x 100 cm, Image Size 54.8 cm x 79 cm. This image is one of the most iconic Bond poses from the early 1970s and was initially a pose which was depicted by Robert McGinnis in the poster design for the 1973 Bond film Live and Let Die starring Roger Moore and subsequently used in poster and promotional material both for this film and The Man with the Golden Gun (1974). It is thought that in this unfinished preparatory portrait, McGinnis was adapting the original pose of Sean Connery fromthe You Only Live Twice poster (designed together with Frank McCarthy) for the Roger Moore campaign when he became Bond in 1973. Condition Report: In mint condition.

Maggy Clarysee. Mimosa de Provence. Two signed, limited edition silkscreen prints, 6/80 and 13/80, with impressed MC stamp. 20 x 26cm. Together with another, Winters Delight, signed, limited edition 13/50. 23 x 18cm. (3)PROVENANCE; The residual studio collection of the artist. Maggy Clarysse (1931-2011), hidden away for the past decade, will come to auction in this sale.Consigned by her family, the art displays an extraordinary range, from pointillist studies of ponds, via Cézanne-inspired landscapes to Impressionist and post-Impressionist still lifes. In all, the auction will offer over 450 works by a woman who was obsessed with art and would rise early each day to get to her easel, completing 12 hours of painting, sketching, sculpting and drawing before turning her hand to crafts in the evening.BIOGRAPHY; The art came before and after a successful career as a model from the 1940s to 60s with the glamour that it brought with it.Born in Belgium, Maggy studied at art college in Brussels with the aim of becoming a Paris fashion designer. To that end, she eventually approached a leading couture house to show them her designs.To her delight, they agreed to take her on immediately. However, they did not want her as a designer, but as a model!This led to work in Paris, London and around Europe, with Maggy basing herself first in Germany and then in Paris as a couture house model and then a model for Vogue.She was photographed by Terence Donovan and David Bailey, with one shoot ending up with her pushing the then leading film star, Norman Wisdom, into a swimming pool her reasons for doing so remain shrouded in mystery!It was while on holiday in the south of France in the late 1950s that she met her future husband, an English businessman, and they then married and moved to Barnes in south-west London.She gave up modelling when her son was born, and the glamour days of chic long dresses were over, and she then turned her exceptional work ethic towards art.Maggy painted from dusk to dawn for many decades up until her death in 2011 and enjoyed considerable success commercially.She would divide her time between London and their apartment in the South of France, and she hosted several exhibitions a year between the early 1970s and the late 2000s in both London and Antibes. Works sold for up to £6,000-8,000 but are much more reasonably estimated here. Few of her works come on to the market and this sale provides a unique opportunity for collectors. In all, the auction will offer over 450 works by the artist.

Alexander Kosolapov (Russian-American 1943-) Malevich Marlborosigned 'Alexander Kosolapov' (lower right); numbered 18/25 A.P.silkscreen21.5 x 28cmProvenance:Private collection, London

§ A folio of op art prints, to include: Kaspar Thomas Lenk (German 1933-2014), Untitled, signed and dated 'Lenk 69' (lower right), silkscreen, unframed, 60 x 60cm; Ludwig Wilding (German, 1927–2010), Untitled, signed and dated 'Wilding 69' (lower right), serigraph, unframed, 50 x 50cm; and Rosemonde Bron-Pache (Swiss 1945-), five unframed etchings and aquatints, each signed and numbered (7)Pioneered in the 1960s by artists including Victor Vasarely and Bridget Riley, op art, an abbreviation of optical art, is characterised by the interplay of geometric and abstract patterns to create kinetic images that appear to pulse, swell, twist and vibrate with often disquieting sentience. Coined by Time Magazine in 1964 in response to Julian Stanczak's show at the Martha Jackson Gallery, New York, op art was not simply a visual phenomenon, but drew upon a spectrum of influences including mathematics, colour theory and the physiology and psychology of perception.

§ Francisco Sobrino (Spanish 1932-2014) Untitled Isigned 'Sobrino' (lower right); numbered 190/200 and bearing Denise Rene embossed stampsilkscreen on plastic, unframed118 x 39.5cmUnframed, but loosely adhered to cardboard backing by tape at six points. Print is stamped, signed and bears the embossed Denise Rene stamp. Colours are very bold and bright. There is some yellowing to the margins, most notably at the left and right hand edges but this does not interfere with the image itself. There are some very minor blemishes elsewhere in the margins. As the work is on a thin plastic support rather than paper it is too brittle to roll for shipping.

§ Francisco Sobrino (Spanish 1932-2014) Untitled (Rectangles)signed 'Sobrino' (lower right); numbered 33/200 and bearing Denise Rene embossed stampsilkscreen on plastic, unframed 118.5 x 44.5cmUnframed, but loosely adhered to cardboard backing by tape at six points. Print is stamped, signed and bears the embossed Denise Rene stamp. Colours are very bold and bright. There is a small loss to the top right hand corner and some minor accretions of small redd spots along the left hand edge. There is some yellowing to the margins, most notably at the left and right hand edges but this does not interfere with the image itself. There are some very minor blemishes elsewhere in the margins, including a grubby mark along the lower margin. As the work is on a thin plastic support rather than paper it is too brittle to roll for shipping.

Dia Azzawi (Iraq, born 1939)The Seven Golden Odes (The Mu'allaqat) silkscreen print in eight parts in original folio and caseeach print signed 'Dia Azzawi', titled and dated '1978' in Arabic, each print numbered 43/60, executed in 1978Each print: 103 x 72 cm (8)Footnotes:Provenance:Property from the collection of Alecto Editions1. Introduction2. Mu'allaqat Imru Al Qayess3. Mu'allaqat Lubid Ibn Rabia4. Mu'allaqat Tarafa Ibn Al Abd5. Zuhair Bin Abi Sulma6. Mu'allaqat Antarra Ibn Shaddad7. Mu'allaqat Amr Ibn Kalthoum8. Mu'allaqat Al Hareth ben Halza'Oh you long night! Will you not yield to the dawn?Though daylight, like the night.. bears its share of worriesWhat an interminable night you are! As if the stars were bound to the mountains by the tightest of chords... or as though the Pleiades were hung, unmoving in their place by ropes tied to solid rock'- Muallaqat IA HIGHLY SOUGHT AFTER AND INTACT FULL SET OF DIA AZZAWI'S MU'ALLAQATSpectacularly detailed, rich and intricately worked, Bonhams presents a rare, intact and unopened full set of Dia Azzawi's famed Muallaqat prints; a homage to a group of seven long Arabic poems that are considered some of the defining literary works of the pre-Islamic era. The name means The Suspended Odes or The Hanging Poems, the traditional explanation being that these poems were hung on or in the Ka'ba at Mecca. The name Mu'allaqāt has also been explained figuratively, as if the poems 'hang' in the reader's mind.The Hanging OdesIn the eighth century, Hammad al-Rawiya—Iraq's last reciter of tribal poetry—compiled these timeless Hanging Odes. Hammad al-Rawiya, last of the true rawis or reciters of tribal poetry, was renowned among the newly urbanized Arabs of Damascus and Baghdad for declaiming poems he had heard recited by the Bedouin of the Arabian heartland. In the latter half of the eighth century he put together a collection of seven remarkable poems known collectively as the Mu'allaqat, or Hanging Odes.The Hanging Odes have always been shrouded in mystery. Legend tells that in the sixth century, some years before the rise of Islam, the poems were transcribed in letters of gold on the finest Egyptian linen and suspended from the Ka'ba in Mecca as trophies during the Sacred Months of Peace, when the Bedouin laid down their arms and went on their annual pilgrimage to the fairgrounds of 'Ukaz, near Mecca. Rival clans mingled in the marketplace, and, when not feasting or buying and selling wares, gathered round as the rawis swayed and pitched their lines to the rapt audience.The image of pagan poetry hung from the holy shrine of the Ka'ba serves to bind the ancient world of desert lore to Islam, and the poets themselves — Imru al-Qays ('the Vagabond Prince'), Tarafa ('the One the Gods Loved'), Zuhair ('the Moralist'), Labid ('the Man with the Crooked Staff'), Antara ('the Black Knight'), Amr Ibn Kulthum ('the Regicide'), and Harith ('the Leper') — have passed into legend, each lapped in a vast oral tradition.The Mu'allaqat are the most famous — and among the earliest — examples of the qasida (commonly translated as 'ode'), a form that frequently runs to some hundred and twenty lines. The term may derive from the root qasada, meaning 'to aim' or 'go forward,' or else from qasar, 'to break,' in reference to the mandatory division of the line into two rhythmically equal halves — a binary thrust and parry not unlike the alliterative line in Anglo-Saxon verse.The seven Mu'allaqat, and also the poems appended to them cover a vast array of topics. Tarafa's long, for example, anatomically exact description of his camel was a charming representation of the importance of this domesticated beast in the daily life of the Bedouins. In the Mu'allaqat of 'Amr and Harith we can read the haughty spirit of the powerful chieftains, boastfully celebrating the splendors of their tribe. The other poems are fairly typical examples of the customary qasida, the long poem of ancient Arabia, and bring before us the various phases of Bedouin life. In the Mu'allaqat of 'Antara, whose heroic temperament had overcome the scorn with which the son of a black slave-mother was regarded by the Bedouins.Azzawi's illustrated depiction of the Muallaqat is one of the most vibrant and richly composed examples of the artist's fascination with Iraq and the Arab world's pre-Islamic history and its influence on contemporary visual culture.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

Terry Frost (British, 20th Century), Vertical, Blue Collage, silkscreen print 19/30, signed. 39x37cm.

John Lennon, "It's Only Rock 'n' Roll", silkscreen print, 1989., 39x29ins., approx., unframed.

Ruth Adler (British, Contemporary), Two silkscreen prints, titled "Palm" & "Cacti", unframed.

A poster print, after Bridget Riley, Touring Exhibition of Silkscreen Prints 1965-78, signed and dated (19)73, 58 x 75cm, plus frame and glazed Framed, has a printed signiture

Andy Capp 1982silkscreen on paper49 x 44 cm (19 1/4 x 17 3/8 in.) [image size]framed dimensions: 71 x 65 cm (28 x 25 5/8 in.)signed lower right, edition 214/250 lower left all in pencilPROVENANCEAcquired directly from BAM (Brooklyn Academy of Music)Private Brooklyn Heights collection since 1987-1988CONDITIONObserved in frame and under glass, the silkscreen is in very good condition.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Caviar silkscreen on paper92.5 x 62.5 cm (36 3/8 x 24 5/8 in.)framed dimensions: 115 x 86.5 cm (45 1/4 x 34 in.)signed lower left, edition Artist Proof 3/25 lower right, all in pencilCONDITIONObserved in frame, under glass and float mounted. The work is in very good condition, minor curling along the top edge.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Luc Tuymans ( 1958 - ) Silkscreen from the series ' Fenêtres ' Monogram LT Grafiek uit de reeks ‘ Fenêtres ‘ Monogram LT 30 x 22 cm

Raoul DE KEYSER (1930-2012) Silkscreen 'Voetbalveld te Deinze te koop' 1975. Signed and numbered 36/100. Zeefdruk ‘Voetbalveld Deinze te koop‘ 1975. Getekend en genummerd 36/100. 50 x 50 cm

Raoul DE KEYSER (1930-2012) Retour (2007) Silkscreen 60/60, signed and dated 2007 Retour (2007) Zeefdruk 60/60, gesigneerd en gedateerd 2007 28.5 x 44.5 cm

Guy VANDENBRANDEN (1926-2014) Silkscreen composition 1975. Signed and numbered 36/100. Zeefdruk Compositie 1975. Getekend en genummerd 36/100 54 x 54 cm

Poster Raoul De Keyser Original silkscreen print “Rondom de werkelijkheid” exhibition in Groningen 1970 - With poem by Roland Jooris. Originele zeefdruk “Rondom de werkelijkheid” Tentoonstelling in Groningen 1970 -Met gedicht van Roland Jooris. 72 x 51.5 cm

Adam Barsby 'Rise Away' Painting, contemporary artwork signed to bottom right, depicting a hot air balloon. Measures approx 10'' x 10'', overall size 22'' x 24''. Mounted, glazed and framed in modern silver tone frame. Adam Barsby born Leicester in 1969 and has a successful launch of limited editions and silkscreen prints, with his trademark simple styles and rich colours and textures. Best up and coming artist for 1999.

Adam Barsby 'Turning Twilight' Painting, contemporary artwork signed to bottom right, depicting a windmill. Measures approx 11'' x 11'', overall size 23'' x 23''. Mounted, glazed and framed in modern silver tone frame. Adam Barsby born Leicester in 1969 and has a successful launch of limited editions and silkscreen prints, with his trademark simple styles and rich colours and textures. Best up and coming artist for 1999.

DAVID HOCKNEY (BRITISH, B. 1937)Remember You Cannot Look At The Sun Or Death For Very Long (2021)with David Hockney Circa Economy label (verso), edition '2751/3000'lithographic poster with a yellow silkscreen overlay89.4 x 25.4cm(unframed)with Circa Economy certificate of authenticity(2)ARR

VORMEN VAN DE KLEUR. New Shapes of Color. Amst., Stedelijk Mus., 1966. 8, (38) pp. W. 4 silkscreen prints by B. Bonies, Elsworth Kelly, G.-K. Pfahler & W. Turnbull (27x27 cm), & num. ills. 4°. Loose as issued in or. chemise & obrds. portfol. (Small tears in chemise & portfol., portfol. slightly rubbed).

DARREN ALMOND (British, b.1971) 'A Light Impression', embossed silkscreen print on Velin Arches Blanc 300gsm paper, from an edition of 50, signed in pencil, published by White Cube, 61cm x 60cm, framed. (Subject to ARR - see Buyers Conditions)

A Rosenthal vase and a large handpainted silkscreen wall plaque by Figoflint Norway

Andy Warhol (1928 Pittsburgh - 1987 New York)"Campbell’s Soup Cans II: Cheddar Cheese". OriginaltitelFarbserigraphie/festes, glattes Papier (Velin), 1969. Verso sign. mit Kugelschreiber u. gestempelter Nummerierung 29/250. Blatt aus dem Portfolio "Campbell's Soup II" mit 10 Siebdrucken. Gedruckt bei Salvatore Silkscreen Co., Inc., New York; Hrsg. Factory Additions, New York 1969. Wvz. Feldman/Schellmann II. 63. Die Suppendose von Campbell's ist ein Synonym für Warhol - obwohl viele seiner Werke im Laufe der Jahre an Bekanntheit gewannen, gibt es außer seiner "Marilyn" vielleicht kein anderes Motiv, das so eng mit dem Künstler verbunden ist. Nachdem er 1962 die ersten 32 Dosen seiner Pop-Art-Behandlung unterzogen hatte, kehrte er 1968 und 1969 zum Thema zurück. Bemerkenswerterweise zählt das "Campbell’s Soup Cans II"-Portfolio zu Warhols Top 10 der am höchsten bewerteten Portfolios aller Zeiten. Das Blatt "Cheddar Cheese" spiegelt den Geist von "Campbell’s Soup Cans II" wider, in dem er sich auf ungewöhnliche Geschmacksrichtungen konzentrierte. Er hat auch einige der einzigartigen Merkmale dieser Suppendosen integriert. In "Cheddar Cheese" ruft ein goldenes Banner aus: "Great as a sauce, too!" (Toll auch als Soße!). Warhol mochte nicht nur die kommerzielle Kultur, sondern war auch selbst ein Fan der Campbell's Suppen und aß sie regelmäßig. Blatt 88,9 cm x 58,4 cm. Verso auf dem Rückenkarton Etikett der Gagosian Gallery, New York, mit Beschreibung. Rahmen.Provenienz: Gagosian Gallery, New York; Norddeutsche Privatsammlung.Screenprint in colour on smooth wove paper, 1969. Hand-signed in ball-point pen on the reverse, numbered 29/250 (there were also 26 artist's proofs). Published by Factory Additions, New York. Label of the Gagosian Gallery, New York, on the backing cardboard.

Salvador Dali. 1958. “The Riderâ€. Gold and Black Silkscreen on Crystal. Crystal and brass box. Signed "Dali" on the top of the box and "Salvador Dali" inside the box. Numbered inside. - Weight: 2.50 kg - Sizes: a boite en cristal : 180 mm x 115 mm x 110 mm Dimensions du coffret : 260 mm x 200 mm x 130 mm - Condition: at first sight - good condition - no restoration - no repair - Author / artist: Salvador DALI

Alexander Kosolapov, Red Caviar, silkscreenAlexander Kosolapov, (*1943)1990Red Caviar. 1990. Farbserigraphie auf Velin. 63,5 x 94 cm. Mit Bleistift signiert seitlich rechts: Alexander Kosolapov. Hinter Glas gerahmt.Alexander Kosolapov, *1943 Moskau, russisch-amerikanischer Bildhauer und Maler. 1975 emigrierte nach Konflikten mit dem sowjetischen Staat in die USA und lebt seither in New York City. Kosolapov gilt als führender Vertreter der Sots Art (Lautschreibung des russischen Soz = Sozialistisch). Diese wird als Pendant zur amerikanischen Pop-Art gesehen, bei der kommunistische und westlich-kapitalistische Motive verarbeitet werden und aufeinandertreffen.

Markus Prachensky, signed silkscreen, redMarkus Prachensky, (1932-2011)Ohne Titel. Farbsiebdruck auf Papier. 70 x 50 cm. Signiert mit Bleistift oben rechts: Prachensky. Nummeriert oben links 56/100. Hinter Glas gerahmt.

Geneviève CLAISSE (French, 1935-2018)Green and blue squares on black backgroundColoured silkscreen on paper annotated "Archiv" in the lower left and signed in pencil in the lower rightDrystamp Galerie F Editions24,6 x 23,8 in

Geneviève CLAISSE (French, 1935-2018)Coloured circlesColoured silkscreen on paper annotated "Archiv" in the lower left and signed in pencil in the lower rightDrystamp Galerie F Editions24,6 x 23,8 in

Gottfried HONEGGER (Swiss, 1917-2016)Abstract composition in black and blueColoured silkscreen on paper annotated "Archiv" in the lower left and signed in pencil in the lower rightDrystamp Galerie F Editions31,3 x 24 in

Gottfried HONEGGER (Swiss, 1917-2016)Abstract composition in black and blueColoured silkscreen on paper annotated "Archiv" in the lower left and signed in pencil in the lower rightDrystamp Galerie F Editions31,3 x 24 in

GERARD SCHLOSSER (French born in 1931)Je suis monté jusqu'ici, 1993Coloured silkscreen on paper annotated on the bottom left and signed in pencil the bottom rightEdition of 20 copies 63 x 47 in FramedExhibition : Permanence, Pfizer Foundation, Musée des Beaux-Arts, Clermont-Ferrand, 1994 KoeR, Apacc, Montreuil, 2007

BEN (French from Switzerland, born in 1935)Nous aussi on veut la gloireSilkscreen in black and white on paper numbered and signed in the lower rightEdition of 50 copies16,5 x 23,6 in Framed .

Roby Owi ANTONO (Indonésien, né en 1990) x DECK'ONBening, 2020Silkscreen on a skateboard deck, numberedEdition of 50 copiesSignatures carved with a lazerIn its original packaging32 x 8 in 

ADOR (French, XXth Century)A lost kid, 2016Pen and watercolours on a silkscreen on paper, drystamp Graffiti Street Limited Edition, numbered in pencil in the lower left and signed in pen in the lower rightEdition 1/119,7 x 27,6 inFramed

Gottfried HONEGGER (Swiss, 1917-2016)Abstract compositionColoured silkscreen on paper annotated "Archiv" in the lower left and signed in pencil in the lower rightDrystamp Galerie F Editions27,4 x 23,9 in

ANDY WARHOL (Pittsburgh, USA, 1928 - New York, USA, 1987)."Ladies and Gentlemen.Silkscreen, copy 73/125.Signed and justified on the back.Enclosed certificate from the Aurora Gallery.Measurements: 110.5 x 73 cm (paper); 116.5 x 78 cm (frame).In 1975 Warhol made a series of portraits of New York transvestites called "Ladies and Gentlemen". Bob Colacello, in charge of recruiting the models, found most of them at "The Gilded Grape" club, sending them to "The Factory" to be immortalised by the master of artpop. Following the usual procedure for his portraits, Warhol screen-printed the Polaroid photographs on canvas and then hand-painted them using polymer paint. He deployed a bright, feminine palette of reds, pinks, purples and yellows, resulting in an accentuated glamorous character to the figures. During September and October 1997 the prestigious Gagosian Gallery in New York devoted an exhibition to "Ladies and Gentlemen". In the 1970s in New York, the gay and drag community began to boldly embrace their sexuality. This atmosphere inspired Warhol to create this series of 10 silkscreen prints entitled Ladies and Gentlemen. The idea for the series originally came from art dealer Luciano Anselmino.Warhol made a number of screen-printed images representative of advertising, media and film glamour from photographs of celebrities such as Marilyn Monroe. Being an icon of all the symbols of glamour and fatalism, Warhol exacerbated these symbols through the expressive force of the silkscreen technique: the skilful play of colours used and the strength of the strokes that silkscreen printing gives, achieve a timeless and inexhaustible icon. Andrew Warhola, commonly known as Andy Warhol, was an American visual artist, filmmaker and music producer who played a crucial role in the birth and development of pop art. Considered in his time a guru of modernity, Warhol was one of the most influential artists of the 20th century. He is now represented in the world's most important contemporary art museums, including MoMA, the Metropolitan and Guggenheim in New York, Fukoka in Japan, the Kunstmuseum in Basel, the National Museum of 21st Century Art in Rome, MUMOK in Vienna, SMAK in Ghent and the Tate Gallery in London, as well as in the museums that bear his name in Pittsburgh and Medzilaborce (Slovakia).

BENGT LINDSTRÖM (Sweden, 1925 - 2008).Untitled.Silkscreen on paper, copy 25/99.Signed and justified in pencil.Size: 60 x 78 cm.Lindström trained in Stockholm with I. Grünewald, at the Academy of Fine Arts in Copenhagen and at the Art Institute of Chicago. In 1947 he settled in Paris, where he completed his studies with A. Lothe and F. Léger, as well as experimenting with a wide variety of procedures and techniques. Recognised from the 1950s onwards, Lindström held solo exhibitions in cities such as Paris, London, Brussels, Cincinnati and Tokyo. Most of his work is now held by the Krimaro Foundation, as well as the Museo Reina Sofía in Madrid, the Carnegie Institute, the Centre Pompidou in Paris and the Tate Gallery in London, among many others.

EDUARDO ÚRCULO FERNÁNDEZ (Santurce, Vizcaya, 1938 - Madrid, 2003)."Characters with hats", 1995.Silkscreen, copy P.A. 4/5.Signed, dated, justified and dedicated by hand.Size: 46 x 61 cm; 50 x 66 cm (frame).Following his particular aesthetic, Úrculo composes his works through enigmatic objects and indeterminate, anonymous figures, which, remotely inspired by fashion illustrations and art deco posters, evoke a whole range of the contemporary popular imaginary.A painter and sculptor, one of the best exponents of pop art in Spain, Eduardo Úrculo began to paint as a child, without any artistic training, and in 1957 he published his first illustrated strips in the Oviedo newspaper "La Nueva España". Shortly afterwards he moved to Madrid and began to take classes at the Círculo de Bellas Artes. During these years he earned his living as an illustrator and set designer, and cultivated a style of painting marked by social expressionism. In 1959 he went to Paris, where he furthered his training at the Académie de la Grande Chaumière. In the French capital he worked as a graphic designer and met Eduardo Westerdahl, whose influence led his painting to evolve towards abstraction. Four years later, however, he returned to figuration and social criticism. In 1967 he made a trip to northern Europe, and it was then that he first came into contact with American pop art. From then on, Úrculo's work would be marked by a realism based on a very vivid colouring and, in the seventies, by erotic, satirical and critical themes. In the eighties he lived in New York, where he carried out important projects. In 1992 he returned to Paris. In the latter period he added to his repertoire the theme of the traveller confronted with the great modern city, an ironic variant of the figure of the romantic overwhelmed by the landscape. This formal evolution could be seen through the numerous individual exhibitions he held around the world since 1959, as well as in anthologies (Centro Cultural de la Villa de Madrid, 1997, and Museo del Grabado Español Contemporáneo de Marbella, 2000). Úrculo is currently present in numerous museums and collections of modern art, including the Museo Nacional Centro de Arte Reina Sofía, the Galleria Nazionale d'Arte Moderno in Rome, the Biblioteca Nacional de Madrid, the Museo de Arte Contemporáneo de Bogotá, the AENA, Testimoni and Fundesco collections, the Museo del Dibujo Castillo de Larrés, the Museo de Arte Contemporáneo de Vilafamés and others.

Peter Blake (British b.1932) Babe Rainbow, 1968, from the edition of 10,000, screenprint on pressed tin, measurements 66 x 44 cm, sold together with the publication Farland E. & L., 1978, Posters by Painters, Harry N Abrams, The Netherlands featuring the Blake poster on the cover (2) Blake was part of the 1960s movement which believed that art should be available and accessible to everyone. This design was created as a silkscreen on tin and sold at the price of £1. Babe Rainbow was based on a fictional character of a London-born lady wrestler who was 23 years old, had broken her nose in the ring and regularly wrestled in Europe and America. She was one of a series of wrestler portraits and characters Blake created around this time.Condition report: The print is a work on tin, the tin sheet does not lie completely flat- the top corners push backwards slightly. There are some small dents to the surface as well as dirt/accretions- it would benefit from a clean. There are some scratches and scruffs to the surface- some with resultant surface loss including to the boxer's chest area and in the bottom rainbow border (see additional images on the catalogue) There are some dents to the corners

Piene, Otto - - Rose Ausländer. Inventar. Mit 4 signierten Farbserigraphien von Otto Piene. Duisburg, Hildebrandt, 1972. Folio. Farb. OPp. mit OPp.-Schuber und bedrucktem Folienumschlag (Schuber etwas lädiert). Hundertdruck XIII. - Eins von 100 numer. Exemplaren. - Druckvermerk von der Autorin, 3 Graphiken und der Umschlagsiebdruck vom Künstler signiert. Schöne ZERO Arbeiten. Die Texte setzte Guido Hildebrandt aus der Egizio von Novarese, gedruckt wurden sie in verschiedenen, mit denen der Serigraphien korrespondierenden, Farben. - Auf Kupfertiefdruckbütten gedruckt und als Blockbuch gebunden. - Gutes Exemplar. With 4 signed serigraphs. Printer's note by the author, 3 prints and the cover silkscreen signed by the artist. Beautiful ZERO works. The texts were set by Guido Hildebrandt from the Egizio of Novarese, printed in different colours corresponding to those of the serigraphs. - Printed on copper relief printing handmade paper and bound as a block book. - Good copy.