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Nine signed silkscreen prints, to include sic itus ad astra, blue bowl, and baby grandmultiples available

Fifteen silkscreen prints, to include Manifesto, In Memorium, In Proportion, The Mind of the Man, Kids, Manchester Victoria, High Street Lymington (15)multiples available

2004, signed in pencil, artist's proof, from an edition of 80 + 25 artist's proofs, silkscreen on paper.47cm x 87cm (18.5in x 34.25in)Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The print is in very good, original condition with no obvious faults to report. The print is framed and glazed.

Signed and numbered 251/595 in pencil in the margin, with DeMontfort blindstamp, certificate of authenticity attached to verso, silkscreen print,image size 81.5cm x 61cm (32in x 24in)Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The print is in very good, original condition with no obvious faults to report. The print is framed and glazed.

Jesus Rafael Soto (Venezuelan, 1923 - 2005) Titled: "Cuadrado y Curvas Virtuales", 1979 from Sintesis series. Signed "Soto" on a label affixed to the reverse. Numbered: (14/110) Medium: Silkscreen on Plexiglas with metal rods. Jesus Rafael Soto was born in Ciudad Bolivar and studied at the School of Visual and Applied Arts in Caracas. During this period he became acquainted with Los Disidentes, a group of artists that included Alejandro Otero and Carlos Cruz-Diez. In addition to his fellow compatriots, Soto's work was influenced by Kazimir Malevich and Piet Mondrian. The main artistic tenets evinced in Soto's works are pure abstraction, vibrations, progressions and geometric rigor. They can be seen through the use of lines and superimposed squares in his sculptures, made with paint and a series of industrial and synthetic materials. He spent much time in Europe, becoming a key member of the Group Zero movement, which included such artists as Lucio Fontana, Gunther Uecker and Yves Klein. As a result, Soto's work also incorporates modernist concepts such as light, time, movement, color manipulation and space. All of these facets place him as an important figure within the Kinetic and Op Art movements. Dimensions: 19.25 x 19.25 x 4 7/8 in. (48.9 x 48.9 x 12.4 cm)

Jesus Rafael Soto (Venezuelan, 1923 - 2005) Titled: Ovalo en el rojo (de la serie Sintesis) Signed "Soto" on a label affixed to the reverse. Numbered: (23/110) Medium: Silkscreen on Plexiglas with metal rods. Jesus Rafael Soto was born in Ciudad Bolivar and studied at the School of Visual and Applied Arts in Caracas. During this period he became acquainted with Los Disidentes, a group of artists that included Alejandro Otero and Carlos Cruz-Diez. In addition to his fellow compatriots, Soto's work was influenced by Kazimir Malevich and Piet Mondrian. The main artistic tenets evinced in Soto's works are pure abstraction, vibrations, progressions and geometric rigor. They can be seen through the use of lines and superimposed squares in his sculptures, made with paint and a series of industrial and synthetic materials. He spent much time in Europe, becoming a key member of the Group Zero movement, which included such artists as Lucio Fontana, Gunther Uecker and Yves Klein. As a result, Soto's work also incorporates modernist concepts such as light, time, movement, color manipulation and space. All of these facets place him as an important figure within the Kinetic and Op Art movements. Dimensions: 15.25 x 15.25 x 4.75 in. (38.7 x 38.7 x 12.1 cm.) Condition: scratches to front pane of plexiglass

C*** Nico Flowers, indistinctly signed in pencil, colour silkscreen, numbered 1/32, 64.5 x 49cms (image size), in frame.

Silkscreen printed nylon(35cm x 55cm (13.75in x 21.75in) 

Giclee print with silkscreen varnish, 212/300, signed and numbered in pencil to margin(41.5cm x 29 cm (16.25in x 11.5in), unframed )

* JACK VETTRIANO OBE (SCOTTISH b 1951), ALTAR OF MEMORY silkscreen print, signed and numbered 105/295 50cm x 40cm Mounted, framed and under glass Note: Printed in 2004.

* JACK VETTRIANO OBE (SCOTTISH b 1951), PARLOUR OF TEMPTATION silkscreen print, signed and numbered 248/295 in pencil 39cm x 47cm Mounted, framed and under glass Note: Printed in 2004, a rare silkscreen by the artist.

* JACK VETTRIANO OBE (SCOTTISH b 1951), WORDS OF WISDOM silkscreen print, signed and numbered 45/295 in pencil 46cm x 40cm Mounted, framed and under glass Note: Printed in 2004.

Dewall (20th Century School) 'Figures in a bar' silkscreen, dated '29 45 07' signed in pen lower left 34cm x 16cm

Michael Challenger (b.1939) 'From nothing to one' screenprint, numbered 10/75 signed in pencil and dated 1974 lower right, one other indistinctly titled example by the same artist both measure 57cm x 77cm an Attributed to Rolf Gunther Dienst (1942-2016) silkscreen 60cm x 75cm and one other (4)

Tom Phillips (British, b.1937), Gogol puts his Biggles on, silkscreen print, signed and numbered 5/10, unframed, 39cm x 23cm. ARR

Bob Lees, Between Corrie and Brodick, silkscreen print ed. 10/12, signed pencil. 22cm by 38cm

Bridget Riley CH, CBE (b.1931) ''Coloured Greys III'' Signed, inscribed and dated (19)72, numbered 55/125, silkscreen, 70cm by 68cm (framed, un glazed) Provenance: The Open Eye Gallery, Edinburgh See illustration Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business Condition Report - Unglazed. Light cockling to paper. Some light surface dirt and time staining to paper. Handling crease left hand side edge to margin. Grey mark within the lower left of the image approximately 4cm in length, a blue mark below centre of image, one right of centre, a brown mark upper left of image, approximately 2cm in length. (see additional images). A number of very minor, tiny sporadic marks to lower margin. The odd thumb mark and smudge to margin, especially lower left.

A.R. Penck(German 1939 - 2017)UNTITLEDsigned on the reverseacrylic over silkscreen on paper10 by 14,5cm, unframedSince his death in 2017 there has been a resurgence of interest in the accomplishments of the German artist A.R Penck. His work has proven to be an excellent investment, fetching high prices on auction. The relevance of his work today is evidenced by the inclusion of his artwork in a number of current gallery exhibitions, including the solo show A.R Penck at Gallery Fetzer in Germany, which was held from 21 June – 20 July 2020 as well as the inclusion in the aptly titled Writing the History of the Future at the Zentrum für Kunst und Medien in Germany from the February 2019 – March 2020. A.R Penck remains one of the most internationally celebrated artists to emerge from post-war Germany. He is known for his pictographic Standart style, which is often infused with political commentary, but always carries the trauma of an artist who was born during World War II, a dissident who suffered under the oppression of the East German government, but who ultimately slipped through the system to exhibit and gain notoriety in the West. A.R. Penck’s works are in public and private collections worldwide, including the Museum of Modern Art, New York, Tate London, Museum Ludwig, Cologne, Neue National Galerie Berlin, the Centre Pompidou in Paris, and the Musee d’Art Moderne de la Ville de Paris. Source: Art Daily Galerie Fetzer Artfacts

Esther Mahlangu (South African 1935-)signed, dated 2007 in pencil on the plate and editioned 2/22 in pencil in the margin silkscreen on paper 34 Fine Art, Esther Mahlangu, Cape Town, 2007sheet size: 41 by 55cm PROVENANCE34 Fine Art Gallery, Cape TownFollowing in the traditions of Ndebele wall paintings passed down to her from her mother and grandmother, Esther Mahlangu creates artworks that include these geometric patterns, combined with her own personal style and colours, bringing the techniques of her culture into the gallery space.  By the time Esther was a teenager, she was considered an expert at mural painting in her local community and she began incorporating a widening range of brightly coloured wall paint as it became available to her. Between 1980 and 1991, Esther worked at the Botshabelo Historical Village, an open-air museum dedicated to the Ndebele culture. In 1986, researchers who were travelling the world to document traditional art came across Esther Mahlangu’s house and recognised her exceptional ability. They invited her to create murals for an exhibition that included a number of international contemporary art. The exhibition was Magiciens de la Terre (Magicians of the World) which turned out to be a groundbreaking exhibition at the time for its inclusivity. Curated by Jean-Hubert Martin whose intention was to hold the first truly international exhibition of contemporary art. He exhibited the work of more than 100 of the artists, from fifty countries, at the Centre Pompidou and the Grand Halle at Parc de le Villette in Paris. Half of the artists who were included in the exhibition were non-Western and during his travels to seek out new artists he purposefully denied the definitions of art and craft, or trained and self-taught, rather seeking talent above all else and pushing for equality rather than the narcissistic perspectives of ‘Western’ art. After her inclusion in this exhibition, Esther’s career took off. She travelled to France in 1989 where she painted a house in front of thousands of viewers as a performance of her skill. Over the course of the next few years she was invited to paint venues around the world. Soon Mahlangu transferred the traditional Ndebele technique onto canvas and also silkscreen. In 1991, she was the first woman to paint a BMW 525i as part of the BMW Art Car Project, previous artists included Pop Art stars, Andy Warhol and Roy Lichtenstein. Arguably, Esther can be linked to these as well as contemporary art stars who depict, repeat and employ the objectives of consumerism. Similarly to the Mr Brainwash (lot 471) and (lot 472) and Banksy (lot 473) works that we have included in our auction, Mahlangu also began painting on walls, although not illicitly, and then presented her work in the gallery space, on traditional art materials such as canvases and paper, which others could buy and place on their own walls. Mahlangu’s aim has always been to preserve her cultural heritage and she opened a small art school in the backyard of her home in Mapumalanga, where she mentors other pupils in the traditional Ndebele style. Source: SA History Contemporaryand

A.R. Penck(German 1939-2017)DER IEZTE NVA-PILOTsigned and editioned 3acrylic over silkscreen on canvasProvenanceGalerie Frank Hänel, Wiesbaden; Private Collection, Cape  This series of serigraphs was executed after the fall of the Berlin wall when the artist produced a number of artworks using the unusual technique of painting acrylic over silkscreen on canvas which the artist refers to as übermalungs (overpaintings) in this large format. This series is included in the catalogue Menschen Und Tiere Nach Der Offnung Ubermalungen 89 – 91, published by the Frank Hänel Galerie.  Like other artworks that feature in the above mentioned catalogue, for Der Ietzte NVA-Pilot he created a template which forms the main composition, which the artist silkscreened onto several canvas, before revising drastically by painting over the printed template with acrylic paint. An incredibly prolific time for the artist, the collectively 80 works that were made over this period are rich in symbols and Penck, perhaps expressing a liberation that he had not felt within the GDR before 1990, included much political commentary in the iconography. Der Ietzte NVA-Pilot translates to ‘The last NVA Pilot’ as a comment on how the artist viewed the German military at the time. Source: Art-service Since his death in 2017 there has been a resurgence of interest in the accomplishments of the German artist A.R Penck. His work has proven to be an excellent investment, fetching high prices on auction. The relevance of his work today is evidenced by the inclusion of his artwork in a number of current gallery exhibitions, including the solo show A.R Penck at Gallery Fetzer in Germany, which was held from 21 June – 20 July 2020 as well as the inclusion in the aptly titled Writing the History of the Future at the Zentrum für Kunst und Medien in Germany from the February 2019 – March 2020. A.R Penck remains one of the most internationally celebrated artists to emerge from post-war Germany. He is known for his pictographic Standart style, which is often infused with political commentary, but always carries the trauma of an artist who was born during World War II, a dissident who suffered under the oppression of the East German government, but who ultimately slipped through the system to exhibit and gain notoriety in the West. A.R. Penck’s works are in public and private collections worldwide, including the Museum of Modern Art, New York, Tate London, Museum Ludwig, Cologne, Neue National Galerie Berlin, the Centre Pompidou in Paris, and the Musee d’Art Moderne de la Ville de Paris. Source: Art Daily Galerie Fetzer Artfacts

Esther Mahlangu(South African 1935-)signed and dated 2012 in paint along the bottom edgeacrylic on canvas 34 Fine Art, Overlay solo exhibition, Cape Town, 201282 by 93cm PROVENANCE34 Fine Art, Cape TownFollowing in the traditions of Ndebele wall paintings passed down to her from her mother and grandmother, Esther Mahlangu creates artworks that include these geometric patterns, combined with her own personal style and colours, bringing the techniques of her culture into the gallery space.  By the time Esther was a teenager, she was considered an expert at mural painting in her local community and she began incorporating a widening range of brightly coloured wall paint as it became available to her. Between 1980 and 1991, Esther worked at the Botshabelo Historical Village, an open-air museum dedicated to the Ndebele culture. In 1986, researchers who were travelling the world to document traditional art came across Esther Mahlangu’s house and recognised her exceptional ability. They invited her to create murals for an exhibition that included a number of international contemporary art. The exhibition was Magiciens de la Terre (Magicians of the World) which turned out to be a groundbreaking exhibition at the time for its inclusivity. Curated by Jean-Hubert Martin whose intention was to hold the first truly international exhibition of contemporary art. He exhibited the work of more than 100 of the artists, from fifty countries, at the Centre Pompidou and the Grand Halle at Parc de le Villette in Paris. Half of the artists who were included in the exhibition were non-Western and during his travels to seek out new artists he purposefully denied the definitions of art and craft, or trained and self-taught, rather seeking talent above all else and pushing for equality rather than the narcissistic perspectives of ‘Western’ art. After her inclusion in this exhibition, Esther’s career took off. She travelled to France in 1989 where she painted a house in front of thousands of viewers as a performance of her skill. Over the course of the next few years she was invited to paint venues around the world. Soon Mahlangu transferred the traditional Ndebele technique onto canvas and also silkscreen. In 1991, she was the first woman to paint a BMW 525i as part of the BMW Art Car Project, previous artists included Pop Art stars, Andy Warhol and Roy Lichtenstein. Arguably, Esther can be linked to these as well as contemporary art stars who depict, repeat and employ the objectives of consumerism. Similarly to the Mr Brainwash (lot 471) and (lot 472) and Banksy (lot 473) works that we have included in our auction, Mahlangu also began painting on walls, although not illicitly, and then presented her work in the gallery space, on traditional art materials such as canvases and paper, which others could buy and place on their own walls. Mahlangu’s aim has always been to preserve her cultural heritage and she opened a small art school in the backyard of her home in Mapumalanga, where she mentors other pupils in the traditional Ndebele style. Source: SA History Contemporaryand

AY-O (B.1931) Untitled Coloured silkscreen, 55 x 37cm Signed and dated (19)'75 Edition 65/75

Neil Young Poster, Numbered silkscreen poster signed by creators Gary Houston and Mike King for the 1997 HORDE Festival July 13 1997 (this is the "Richard Nixon" version) The Festival featured Neil Young & Crazy Horse, Primus, Ben Folds Five and many others - measures approximately 13" x 20" and numbered 81/100 - Rolled and in Excellent condition

A PAIR OF WORKS ON PAPER BY JEAN TINGUELY (SWISS 1925-1991)comprising:a) Eossilkscreen in colors, 55.3 x 48.1 cm (21 3/4 x 19 in), signed lower center, numbered 43/70 lower leftb) Eosfelt pen on paper, 51 x 40 cm (20 1/2 x 15 3/4 in.) CONDITIONa) Observed in frame, the work is in overall very good condition. No visible issues to report.b) Observed in frame, the work is in good condition with some areas of discoloration. Minor signs of age of the paper.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.

Peter Howell, The Last Furlong, four colour limited edition silkscreen print, 63/200, printed by Christie's Contemporary Art (60cm x 79cm)

Ronson, Campus Palms, silkscreen print, artist's proof no. 5., signed and dated 1995 (65cm x 49cm)

Jane O’Malley (British, b.1944). 'Fruit Bowl', limited edition silkscreen print, signed and numbered 82/100 in pencil to margin. Image size: 32 x 45.5cm. Framed and glazed, frame size: 59 x 72cm.

Roy Fairchild-Woodward (British, b.1953). 'Listen To Me', limited edition silkscreen print, signed and numbered 257/465 in pencil. Mounted. 105 x 84cm.

Roy Fairchild-Woodward (British, b.1953). 'Veronique', limited edition silkscreen print, signed, titled and numbered 39/350 in pencil. Mounted, 91 x 65cm.

Roy Fairchild-Woodward (British, b.1953). 'Patience', limited edition silkscreen print, signed, titled and numbered 376/465 in pencil, mounted. 82 x 65cm. No damage found.Overall size including mount 103.5cm x 84.5cm.

Beryl Cook (British, 1926-2008). 'Cocktails for Three', limited edition silkscreen print, signed and numbered 42/200 in pencil. 72.5 x 41cm. In wrapping with certificate from CCA Galleries.

Beryl Cook (British, 1926-2008). 'Line Dancing', limited edition silkscreen print, signed, titled and numbered 48/395 in pencil. 46 x 70cm. In wrapping with certificate from CCA galleries.

Beryl Cook (British, 1926-2008). 'Girls Night Out', limited edition silkscreen print, signed and numbered 220/300 in pencil. 61 x 55cm. With certificate from CCA Galleries.

Beryl Cook (British, 1926-2008). 'Bryant Park', limited edition artists proof silkscreen print, signed, titled and numbered AP 38/60 in pencil. 46 x 60cm. In wrapping with certificate from CCA Galleries.

Beryl Cook (British, 1926-2008). 'Bird In The Hand', limited edition silkscreen print, signed and numbered 201/300 in pencil. 67 x 53cm. In wrapping with certificate from CCA Galleries.

Beryl Cook (British, 1926-2008). 'Strippergram', limited edition silkscreen print, signed, titled and numbered 316/395 in pencil. 50 x 57cm. In wrapping with certificate from CCA Galleries.

Beryl Cook (British, 1926-2008). 'Tango Busking', limited edition silkscreen print, signed, titled and numbered 144/395 in pencil. 49 x 49cm. In wrapping with certificate from CCA Galleries.

Beryl Cook (British, 1926-2008). 'The Staircase', limited edition silkscreen print, signed, titled and numbered 243/395 in pencil. 58 x 49cm. In wrapping with CCA Galleries certificate.

δ The Connor Brothers (b.1968)I Don't Want To Go To Heaven None Of My Friends Are There, 2019Giclee with silkscreen varnish printed in colours, 2019, signed and numbered from the edition of 35 in pencil, on archival paper, with full margins, sheet 750 x 500mm (29 1/2 x 19 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

* ALASDAIR GRAY (SCOTTISH 1934 - 2019),FROM AN EASTERN EMPIREsilkscreen print, signed, numbered 2/90 and dated 1.1.2006 in pencil37cm x 25cmMounted and framed

Jane Mackay (contemporary) - "Canticle of Light - Before and After", silkscreen monoprint No.1 of 1, artist's hand-written note verso, 11.4" x 8.2"

Fernand Leger (French, 1881-1955), "Femmes et Enfants a l'Accordeon," 1954/1955, silkscreen, signed in plate lower right, edition 21/200, pencil signed lower right, embossed stamp lower right, image: 17.75"h x 13.25"w, sheet (unframed): 22"h x 15"w

(lot of 2) Millard Sheets (American, 1907-1989), Harbor Scene, silkscreen, edition 55/250, and "New Arrivals," lithograph in colors, edition 18/400, each pencil signed lower right, images: 21.5"h x 29.5"w/17"h x 22"w, overalls (with frames): 28.25"h x 36.25"w/25.5"h x 31.5"w

Five (5) Woody Wilson Crumbo (Oklahoma/Kansas/New Mexico, 1912-1989) silkscreen prints depicting Southwest Native Americans in various tribal costumes and engaged in dance poses. Signed "Crumbo" in the stencil, lower right, signed "Woody Crumbo" in pencil, lower right. Hinge mounted, housed and double matted under glass in identical wooden frames. Sight - 12" H x 8 3/4" W. Framed - 24 1/2" H x 20" W. American, mid/late 20th century. CONDITION: Overall good condition with some acid burn/toning, areas of dampstaining. One pencil signature partially obscured by mat. Not examined outside of frames.

New York Suite signed and dated 71; numbered 23/100 silkscreen, unframed 71 x 95cm

Jesus Rafael Soto (Venezuelan, 1923 - 2005) Title: "Sotomagie" - 1967 Medium: Silkscreen on plexiglass with metal rods. Editions Denise Rene, Paris Gallery label verso with title, signature and numbered (64/100). Dimensions: 13 7/16 x 13 7/16 x 7.5 in.

Jesus Rafael Soto (Venezuelan, 1923 - 2005) Title: "Espiral Doble" (de la serie Sintesis) - 1979 Medium: Silkscreen on plexiglass with metal rods. Signed, titled and numbered (54/110) on label verso. Dimensions: 15.25 x 15.25 x 6.5 in.

(See below for english version)Ohne Titel. 1974Farbserigrafie auf Karton. 69,5 × 58 cm (90 × 70 cm) ( 27 ⅜ × 22 ⅞ in. (35 ⅜ × 27 ½ in.)). Signiert und datiert.Einer von 150 nummerierten Abzügen. St. Gallen, Erker Presse, 1974. [3068]Zustandsbericht: Ex. 121/150. Harmonischer Gesamteindruck. Die Blattkanten ohne Fehlstellen. An der linken Blattkante ein kleiner Einriss (0,1 cm), an der rechten Blattkante drei kleine Einrisse (bis zu 1 cm). In der linken oberen Ecke ein schwacher Knick parallel zur linken Blattkante (ca 10 cm). Innerhalb der Darstellung ein kleiner Fleck (0,1 x 0,2 cm). Im Randbereich leichte Spuren vom Anheben. Rückseitig in den oberen Ecken und mittig der oberen Kante mit Japanfaser auf den Unterlagekarton montiertWir berechnen auf den Hammerpreis 30% Aufgeld.Untitled. 1974Colour silkscreen on cardboard. 69,5 × 58 cm (90 × 70 cm) ( 27 ⅜ × 22 ⅞ in. (35 ⅜ × 27 ½ in.)). Signed and dated.One of 150 numbered prints. St. Gallen, Erker Presse, 1974. [3068]Condition report: No. 121/150. Harmonious overall appearance. The sheet edges are without losses. One small tear (0,1 cm) on the left sheet edge, three small tears (up to 1 cm) on the right sheet edge. A faint crease in the upper left corner parallel to the left edge of the sheet (ca 10 cm). One small stain within the image (0,1 x 0,2 cm). Slight traces of lifting at the margins. Mounted at the upper corners and in the centre of the upper margin, on the reverse with Japan fibre on cardboardWe charge 30% premium on the hammerprice.

(See below for english version)„The Colourful Venus I“. 1985Farbserigrafie auf Velin. 59,7 × 50,1 cm (88,9 × 63,4 cm) ( 23 ½ × 19 ¾ in. (35 × 25 in.)). Signiert und datiert.Nicht bei D'Oench/Feinberg / nicht bei Carpenter.–Einer von 400 nummerierten Abzügen. Blatt 4 (von 5) der Serie: The Astra Set. London, AB Astra und Jim Dine/Waddington Graphics, und New York, Pace Editions, 1985. [3297]Zustandsbericht: Ex. 132/400. Harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Im Randbereich vereinzelt schwachen Dellen. Im unteren Randbereich mittig blassrote Farbspur (vom Druck). Vereinzelt winzige hellbraune Fleckchen. Rückseitig wenige blassgelbe FleckenWir berechnen auf den Hammerpreis 30% Aufgeld.„The Colourful Venus I“. 1985Colour silkscreen on wove paper. 59,7 × 50,1 cm (88,9 × 63,4 cm) ( 23 ½ × 19 ¾ in. (35 × 25 in.)). Signed and dated.Not in the catalogue raisonné by D'Oench/Feinberg / not in the catalogue raisonné by Carpenter.–One of 400 numbered prints. Sheet 4 (of 5) of the series: The Astra Set. London, from Astra and Jim Dine/Waddington Graphics, and New York, Pace Editions, 1985. [3297]Condition report: No. 132/400. Harmonious overall appearance. The sheet edges are without tears or losses. Isolated faint dents in the margins. Pale red colour tracing in the middle of the lower margin (from printing). Isolated minuscule light brown stains. A few pale yellow stains on the reverseWe charge 30% premium on the hammerprice.

(See below for english version)Wolf. 1989Farbserigrafie auf Papier. 87,8 × 124,1 cm ( 34 ⅝ × 48 ⅞ in.). Signiert.Einer von 50 nummerierten Abzügen. [3412]Zustandsbericht: Ex. 1/50. Harmonischer Gesamteindruck. Die Blattkanten ohne Fehlstellen. An der unteren Blattkante ein kleiner Riss (ca. 1,4 cm). An der rechten Kante unten zwei kleine Risse (bis zu 1,5 cm). Stellenweise leichte Bereibungsspuren. Die linke obere Ecke leicht bestoßen, dort auch Reste alter KlebemontierungWir berechnen auf den Hammerpreis 25% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.Wolf. 1989Colour silkscreen on paper. 87,8 × 124,1 cm ( 34 ⅝ × 48 ⅞ in.). Signed.One of 50 numbered prints. [3412]Condition report: No. 1/50. Harmonious overall appearance. The sheet edges are without losses. One small tear at the lower sheet edge (approx. 1,4 cm). Two short tears on the right edge at the bottom (up to 1,5 cm). Slight scuff marks in places. The left upper corner is lightly bumped, there too remains of old adhesive mountingWe charge 25% premium on the Hammerprice and VAT applies to hammerprice and premium.

(See below for english version)„Green Power“. 1972Farbserigrafie und Metalldruck auf Karton. 76,2 × 55,8 cm (83,3 × 63,4 cm) ( 30 × 22 in. (32 ¾ × 25 in.)). Bezeichnet, datiert, gestempelt, signiert und mit der Werknummer versehen: Marghera 629.Koschatzky 57.–Einer von 249 nummerierten Abzügen. Venedig, Ugo Meneghini und Glarus/Schweiz, Gruener Janura AG, 1972 (mit den Prägestempeln). [3092]Zustandsbericht: Ex. 166/249. Harmonischer Gesamteindruck. An der Oberkante mittig zwei kurze Einrisse (je 0,3 cm). Entlang der Blattkanten in regelmäßigen Abständen Abdrücke und kleine Löcher von ehemaligen Tackerklammern (stellenweise ausgerissen und mit minimalen Rostspuren). Das Papier ungleichmäßig gebräunt und mit winzigen Stockfleckchen. Die obere linke Ecke leicht bestoßen. Unterhalb der Oberkante mittig eine schwache Knickspur (ca. 10 cm). Rückseitig in den oberen Ecken mit Japanfaser auf den Unterlagekarton montiertWir berechnen auf den Hammerpreis pauschal 30% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.„Green Power“. 1972Colour silkscreen and metal printing on cardboard. 76,2 × 55,8 cm (83,3 × 63,4 cm) ( 30 × 22 in. (32 ¾ × 25 in.)). Inscribed, dated, stamped, signed and inscribed with the work number: Marghera 629.Koschatzky 57.–One of 249 numbered prints. Venice, Ugo Meneghini and Glarus/Switzerland, Gruener Janura AG, 1972 (with the blindstamps). [3092]Condition report: No. 166/249. Harmonious overall appearance. Two short tears at the centre upper edge (each 0,3 cm). Marks and small holes from former staples along the sheet's edges in uniform spacing (torn and with minimal rust stains in places). The paper has irregular time staining and minuscule pinpoint foxing. Lightly bumped on the upper left corner. Faint crease mark below the centre upper edge (approx. 10 cm). Mounted on the reverse in the upper corners with Japan fibre on cardboard mountWe charge 30% premium and 7% import tax on the hammerprice.

(See below for english version)Aus: „Rot Gelb Blau“. 1993Farbserigrafie auf Papier. 90,5 × 63,2 cm (92,9 × 65 cm) ( 35 ⅝ × 24 ⅞ in. (36 ⅝ × 25 ⅝ in.)). Signiert und datiert.Einer von 25 nummerierten Abzügen. Ein Blatt (von 54) der Serie. Berlin, Galerie Fahnemann. [3342]Zustandsbericht: Ex. 4/25. In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Die äußerste obere rechte Ecke minimal bestoßen. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.From: "Rot Gelb Blau“. 1993Colour silkscreen on paper. 90,5 × 63,2 cm (92,9 × 65 cm) ( 35 ⅝ × 24 ⅞ in. (36 ⅝ × 25 ⅝ in.)). Signed and dated.One of 25 numbered prints. One sheet (of 54) from the series. Berlin, Galerie Fahnemann. [3342]Condition report: No. 4/25. In good condition. The sheet edges without tears or losses. The outermost upper right corner minimal bumped. Fine harmonious overall appearanceWe charge 30% premium on the hammerprice.

(See below for english version)Ohne Titel. 1992Serigrafie auf gestrichenem Papier. 78,5 × 57 cm ( 30 ⅞ × 22 ½ in.). Signiert.Einer von 100 nummerierten Abzügen. Köln, Edition Texte zur Kunst, 1992. [3171]Zustandsbericht: Ex. 36/100. Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. In der unteren linken Ecke ein Knick (ca. 10 cm). Stellenweise ein paar leichte Dellen vom Anheben und vereinzelt BereibungsspurenWir berechnen auf den Hammerpreis 30% Aufgeld.Untitled. 1992Silkscreen on coated paper. 78,5 × 57 cm ( 30 ⅞ × 22 ½ in.). Signed.One of 100 numbered prints. Cologne, Edition Texte zur Kunst, 1992. [3171]Condition report: No. 36/100. Fine harmonious overall appearance. The sheet edges are without tears or losses. At the lower left corner a crease (approx. 10 cm). A few slight dents from lifting in places and isolated scuff marksWe charge 30% premium on the hammerprice.

(See below for english version)Jagd. 1991Farbserigrafie auf Velin. 85,9 × 122 cm ( 33 ⅞ × 48 in.). Signiert.Einer von 55 nummerierten Abzügen. [3342]Zustandsbericht: Ex. 32/55. Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Entlang der Blattkanten stellenweise mit schwachen Bereibungsspuren. Unten links mit einer schwacher Knickspur (1,1 cm). Rückseitig jeweils in den Ecken sowie in der Mitte der Seitenränder mit Papierklebeband auf den Unterlagekarton montiertWir berechnen auf den Hammerpreis 30% Aufgeld.Ohne Titel. 1991Colour silkscreen on wove paper. 85,9 × 122 cm ( 33 ⅞ × 48 in.). Signed.One of 55 numbered prints. [3342]Condition report: No. 32/55. Fine harmonious overall appearance. The sheet edges are without tears or losses. Faint scuff marks in places along the sheet's edges. Lower left has a faint slight crease (1,1 cm). Mounted on the reverse at each corner, as well as on the centre side edges, with paper tape on cardboardWe charge 30% premium on the hammerprice.

(See below for english version)„ohne titel“. 1967Farbserigrafie auf schwarzem Tonkarton. 64,7 × 50 cm ( 25 ½ × 19 ⅝ in.). Signiert und datiert.Piene 25.–Einer von 100 nummerierten Abzügen. München, Galerie Thomas, 1967 (mit dem Prägestempel). [3268]Zustandsbericht: Ex. 62/100. In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Vereinzelt kleine Kratzer im Streiflicht erkennbar. In der unteren rechten Ecke schwache Papierausdünnung (0,5 cm). Rückseitig in den oberen Ecken minimaler Papierverlust. In den oberen Ecken mit Japanfaser auf den Unterlagekarton montiert. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.„ohne titel“. 1967Colour silkscreen on black craft paper. 64,7 × 50 cm ( 25 ½ × 19 ⅝ in.). Signed and dated.Piene 25.–One of 100 numbered prints. Munich, Galerie Thomas, 1967 (with the blindstamp). [3268]We charge 30% premium on the hammerprice.

(See below for english version)„1/2 Butterflly Silver“. 1971/72Farbserigrafie auf silberbeschichtetem Karton. 61,5 × 83 cm ( 24 ¼ × 32 ⅝ in.). Signiert und datiert.Piene 120.–Einer von 50 nummerierten Abzügen. Karlsruhe, Edition Rottloff, 1972. [3054]Zustandsbericht: Ex. 1/50. In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Die linke obere Ecke minimal bestoßen (0,1 cm). Oben mittig eine winzige Bestoßung (0,9 x 0,1 cm). Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.„1/2 Butterflly Silver“. 1971/72Colour silkscreen on silver coated cardboard. 61,5 × 83 cm ( 24 ¼ × 32 ⅝ in.). Signed and dated.Piene 120.–One of 50 numbered prints. Karlsruhe, Edition Rottloff, 1972. [3054]We charge 30% premium on the hammerprice.

(See below for english version)„Salut Pablo“. 1973Farbserigrafie auf Papier. 50 × 64 cm (55,6 × 76 cm) ( 19 ⅝ × 25 ¼ in. (21 ⅞ × 29 ⅞ in.)). Signiert.Nicht bei Chenivesse.–Einer von 90 nummerierten Abzügen. Ein Blatt (von 31) der Mappe: Hommage à Picasso. Berlin, Propyläen Verlag, und Rom, Pantheon Presse, 1973. [3030]Zustandsbericht: Ex. 25/90. In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.„Salut Pablo“. 1973Colour silkscreen on paper. 50 × 64 cm (55,6 × 76 cm) ( 19 ⅝ × 25 ¼ in. (21 ⅞ × 29 ⅞ in.)). Signed.Not in the catalogue raisonné by Chenivesse.–One of 90 numbered prints. One sheet (of 31) from the portfolio: Hommage à Picasso. Berlin, Propyläen Verlag, and Rome, Pantheon Presse, 1973. [3030]Condition report: No. 25/90. In good condition. The sheet edges are without tears or losses. Fine harmonious overall appearanceWe charge 30% premium on the hammerprice.

(See below for english version)„Die Signatur, das Datum und die Nummerierung sind abgerissen worden“. 1973Serigrafie auf Velin. 76,5 × 53,5 cm ( 30 ⅛ × 21 ⅛ in.). Einer von 100 Abzügen. Kölnischer Kunstverein, 1973 (Jahresgabe). [3040]Ben Vautier signiert, datiert, nummeriert am 1. Okt. 1973 die 100 Siebdrucke seiner Jahresgabe für den Kölnischen Kunstverein. Dann reißt er dies ab und verbrennt alle Signaturen, Datierungen und NummerierungenZustandsbericht: Harmonischer Gesamteindruck. Das Papier unregelmäßig schwach gebräunt. Vereinzelte kleine Dellen. Rückseitig in den oberen Ecken jeweils mit einem Papierklebestreifen auf den Unterlagekarton montiertWir berechnen auf den Hammerpreis 30% Aufgeld.„Die Signatur, das Datum und die Nummerierung sind abgerissen worden“. 1973Silkscreen on wove paper. 76,5 × 53,5 cm ( 30 ⅛ × 21 ⅛ in.). One of 100 prints. Kölnischer Kunstverein, 1973 (annual edition). [3040]Ben Vautier signed, dated, numbered am 1st oct. 1973 the 100 screenprints his annual edition for the Cologne Kunstverein. Dann reißt er dies from and verbrennt all signatures, Datierungen and NummerierungenCondition report: Harmonious overall appearance. The paper has uneven, minor time staining. Isolated small dents. Mounted on the reverse at each upper corner with paper tape on cardboardWe charge 30% premium on the hammerprice.

* ALASDAIR GRAY (SCOTTISH 1934 - 2019), FROM AN EASTERN EMPIRE silkscreen print, signed, numbered 2/90 and dated 1.1.2006 in pencil 37cm x 25cm Mounted and framed

* ALASDAIR GRAY (SCOTTISH 1934 - 2019), THE STAR silkscreen print, signed, dated 13-12-2005 and numbered 1/125 in pencil 31cm x 21cm Mounted, framed and under glass