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Click here to subscribeClive Woodward Signed Book Winning! Hardback Book 2004 First Edition with 464 pages Signed by Clive Woodward on the Title page published by Hodder and Stoughton Ltd some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Alex Hay Signed Book Ripening Hay Tales of A Golfing Life Hardback Book 1989 First Edition with 221 pages Signed by Alex Hay on the First page published by Partridge Press (Transworld Publishers) some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Sue Lawrence Signed Book The Sunday Times Cookbook Hardback Book 1998 First Edition with 192 pages Signed by Sue Lawrence on the Title page published by Harper Collins Publishers Ltd some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Matt Dawson Signed Book Nine Lives The Autobiography Hardback Book 2004 First Edition with 384 pages Signed by Matt Dawson on the Title page published by Harper Collins Publishers Ltd some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
The Art of Dora Carrington by Jane Hill 1994 First Edition Softback Book with 144 pages published by The Herbert Press Ltd good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Joanna Toye Signed Book Looking for Love Hardback Book 1999 First Edition with 314 pages Signed by Joanna Toye on the First page published by BBC Worldwide Ltd some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Michelle Paver Signed Book Wolf Brother Hardback Book 2004 First Edition with 236 pages Signed by Michelle Paver on the Title page published by Orion Children's Books (Orion Publishing Group Ltd) some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Pat Barker Signed Book Noonday Hardback Book 2015 First Edition with 258 pages Signed by Pat Barker on the Title page published by Hamish Hamilton (Penguin Books) some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Wolverine (Marvel Comics) by Chris Claremont and Frank Miller 1995 First Edition (Fifth Printing) Softback Book published by Marvel Entertainment Group Inc good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
John Connolly Signed Book The Black Angel Hardback Book 2005 First Edition with 532 pages Signed by John Connolly on the Title page published by Hodder and Stoughton Ltd some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Edward Bunker Signed Book Dog Eat Dog Hardback Book 1996 Limited and First Edition (437 of 500) with 235 pages Signed by Edward Bunker on the First page published by No Exit Press some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Graham Thorpe Signed Book The Autobiography Rising From The Ashes Hardback Book 2005 First Edition with 390 pages Signed by Graham Thorpe on the Title page published by Collins Willow (Harper Collins Publishers) some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Bernard Levin Signed Book Now Read On Hardback Book 1990 First Edition with 268 pages Signed by Bernard Levin on the Title page published by Jonathan Cape Ltd some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Dick Francis Signed Book Straight Hardback Book 1989 First Edition with 279 pages Signed by Dick Francis on the Title page published by Michael Joseph Ltd some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Joanna Toye Signed Book The Archers 19872000 Back To The Land Hardback Book 2000 First Edition with 352 pages Signed by Joanna Toye on the First page published by BBC Worldwide some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Bill Kincaid Signed Book A Dinosaur In Whitehall Hardback Book 1997 First English Edition with 167 pages Signed by Bill Kincaid on the Title page published by Brassey's Inc some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Frank McCourt Signed Book 'Tis A Memoir Hardback Book 1999 First Edition with 384 pages Signed by Frank McCourt on the Title page published by Flamingo (Harper Collins Publishers) some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Leon Claire Metz Signed Book The Shooters Hardback Book 1976 First Edition with 300 pages Signed by Leon Claire Metz on the Third page published by Mangan Books some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Tess Gerritsen Signed Book The Bone Garden Hardback Book 2007 First Edition with 370 pages Signed by Tess Gerritsen on the Title page published by Ballantine Books (Random House) some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Andrew White Signed Book Jaguar The History of A Great British Car Hardback Book 1980 First Edition with 249 pages Signed by Andrew White on the Second page published by Patrick Stephens Ltd some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
David Essex Signed Book A Charmed Life Autobiography Hardback Book 2002 First Edition with 248 pages Signed by David Essex on the Title page published by Orion Books Ltd some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Frederick Forsyth Signed Book The Afghan Hardback Book 2006 First Edition with 343 pages Signed by Frederick Forsyth on the Title page published by Bantam Press (Transworld Publishers) some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Adam Henson Signed Book Like Farmer, Like Son Softback Book 2016 First Edition with 312 pages Signed by Adam Henson on the Title page published by BBC Books (Ebury Publishing) some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Frederick Grisewood Signed Book The World Goes By Autobiography Hardback Book 1952 First Edition with 256 pages Signed by Frederick Grisewood on the Title page published by Martin Secker and Warburg Ltd some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Multisigned Book The Regency Detective Softback Book 2013 First Edition with 319 pages Signed by David Lassman and Terence James on the Title page published by The Mystery Press some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Wagon Train by Maurice Templar Illustrated by S Chapman (Adventure Stories) 1959 First Edition Hardback Book published by Daily Mirror / Revue Productions Inc / Western Printing and Lithographing Co, some ageing outer spine cover is loose at the front but still intact at rear, fair / good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Dick Francis Signed Book Trial Run Hardback Book 1978 First Edition with 238 pages Signed by Dick Francis on the Second page published by Michael Joseph Ltd (Penguin Books) some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
COLLECTION OF STAMPS AND FIRST DAY COVERS BRITISH AND INTERNATIONAL contained in folders, including the First Wedding Anniversary of the Duke and Duchess of Cambridge, along with many stamps, some depicting figural scenes, along with others of transport interest and various others, comprising 16 albums and also look examples of First Day CoversQty: contained in 3 bags
COLLECTION OF STAMPS BRITISH AND INTERNATIONAL including several examples of royal interest, depicting Windsor castle, Sarah Ferguson, Lady Diana Spencer and Queen Elizabeth II, as well as others of transport interest, showing the Inter-City 125 high speed train 1975 British Rail Inter-City Service HST, other railway locomotives and transport interest including Concorde and many other stams and first day coversQty: 13 albums
Three George III and Later Silver Vinaigrettes, Each Birmingham, One 1818, One 1825 and One 1881, each variously oblong or shaped oblong, opening to reveal differing pierced grilles, 30mm wide and smaller, 1oz 3dwt, 43gr (3)Each is marked as expected. There is some overall surface scratching and wear, consistent with age and use. The wear is most noticeable as a softening to the high points on the first two examples. The hinges generally function properly, though one example doesn't close fully.
A Green Glass String-Necked Wine Bottle, 18th century, together with a quantity of other 18th century and later glasses including wines and a custard glass (one tray)String necked bottle - some chips around the top. Sides heavily scratched and worn. No cracks.Small green bottle with pointed end - marked First Quality Guaranteed, no chips or cracks.Other items in the lot not reported.
A Ford Fiesta Firefly 1,242 cc petrol engined five-door hatch-back motor car in attractive metallic blue. First registered on 28/01/2005, registration no. PY54 LPP. Fitted with alloy wheels (Locking nuts key in office) and a C.D./Radio. MOT'd until 13/11/2023, currently showing 89,428 miles. (Warranted correct by the owner and appearing to be corroborated by the D.V.L.A. M.O.T. mileage history). The section 6 green slip from the V5C is present as is the 14/11/2022 M.O.T. certificate. N.B. BUYERS PREMIUM ON THIS LOT 10% + V.A.T. (total premium 12% plus specific on-line bidding fees).
A Nissan Navara 2,498 cc Turbo Intercooled Diesel-engined Crew-Cab Pick-up Truck in dark metallic blue. First registered on the 28th March 2007, registration No. DX07 DYV. Has been unused of late due to circumstances, the last M.O.T. at which time the mileage was 89,338 expired on 28/09/2021. There is no current M.O.T. on this vehicle, which is now showing 97,190 miles, the mileage appears fully corroborated by the DVLA M.O.T. history (But is not warranted correct). It is fitted with alloy wheels, a Panasonic Radio/C.D. player (not tested), a tow-bar and electrics, a plastic load-liner and an Ifor Williams truck top. A new battery has just been fitted and this capable 4 wheel-drive workhorse started instantly and appeared to drive satisfactorily when moved around the sale-yard this Thursday morning 20/04/2023. This vehicle has not been M.O.T. tested due to time constraints and lack of storage space and it is accordingly sold as seen. Currently SORN'd. The V5C is present as well as the previous, now expired M.O.T. certificate. N.B. BUYERS PREMIUM ON THIS LOT 10% + V.A.T. (total premium 12% plus specific on-line bidding fees).
A Piaggio Model ET 2-50 49cc petrol engined Moped/Scooter in white, first registered on 20/04/2002. Registration No. KL02 AYU. Currently showing 6,888 miles (Appears confirmed by M.O.T. history but not warranted). SORN'd, last tested on 21/07/2021 at 4,981 miles, now expired. An extremely economical means of transport in these days of soaring fuel prices and an opportunity to enjoy the fresh air and the fragrance of the countryside at the same time.
TAKANORI OGUISS (1901-1986)Marchand de couleurs ('Sunlight Savon') signed 'Oguiss' (lower right); signed and inscribed 'Marchand de couleur [sic] Oguiss 103 rue de Vaugirard Paris 6e' (on the reverse)oil on canvas60 x 73cm (23 5/8 x 28 3/4in).Painted circa 1929-1932Footnotes:The authenticity of this work has been confirmed by Emiko Oguiss Halpern. This work will be included in the forthcoming Takanori Oguiss catalogue raisonné, currently being prepared by Les Amis d'Oguiss.ProvenancePrivate collection, South Australia; their sale, Leonard Joel, Melbourne, 3 November 1976, lot 208.Private collection, Melbourne (acquired at the above sale).Intent on offering a candid and unpretentious glimpse into the heart of Paris, Takanori Oguiss delighted in its quaint and humble urban landscapes. He did not embellish imperfect details, in fact, he revelled in them, the battered brickwork, tattered placards, and weathered walkways. His work reminisces on the blueprint of Paris in its twilight years, prior to the assembling of glossy apartment blocks, shopping centres and wide boulevards. The physical remnants of wear in his scenes therefore evoke a nostalgia for old Paris, now a dim and distant memory. Peering into the crumbled and cluttered exterior of an ordinary Montparnasse shop, Marchand de Couleurs bears testament to this. Even the distorted perspective of the scene alludes to the meandering alleyways, now concealed within the arrondissements of contemporary Paris.In the present work, Oguiss sketches en plein air and forms a rich impasto layer, applying his paint in thick strokes and quick daubs. This creates a sense of urgency, an attempt to capture a scene on the brink of change. Though there appear to be no figures within this cropped composition, the shopfront is bursting with life. On display is an eclectic mix of colourful hardware tools and painting utensils, combined with flashy advertisements, hand-painted onto wooden blocks. Oguiss presents a charming local scene, with a variety of goods crammed into worn wooden cabinets, while the excess dangle in clusters from the awning.Declared the epicentre of Modern Art, Paris in the early twentieth century became a magnet for artists all over the world, including Oguiss. Born in Inazawa, Japan in 1901, he first studied at the Tokyo School of Fine Arts where he participated in numerous exhibitions. However, 1927 marked a pivotal shift in his artistic career, as he ventured to Montparnasse, Paris. As a pupil of Léonard Tsuguharu Foujita, he swiftly became an integral member of the Parisian avant-garde and began working in one of the ateliers of the 'Montmartre aux artistes'. He frequented La Ruche, a popular space for young artists, while also participating in esteemed exhibitions such as the Salon d'Automne and the Salon des Indépendants. Through his work, Oguiss sought to emulate the artists of the École de Paris, in particular Maurice Utrillo and Maurice de Vlaminck. This is evident in Marchand de Couleurs, as he employs a quintessential Post-Impressionist oil technique with his thick application of paint, patterned brush strokes and vivid colour. What is striking however is that he combines this with the renowned Japanese concept of wabi-sabi, a celebration of the imperfect and impermanent. The work therefore exists as a compelling fusion of aesthetics and attests to twentieth century Paris, as a concoction of cultures, in a period of flux.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
MAURICE UTRILLO (1883-1955)Moulin de Lavaugrasse à Bessines-sur-Gartempe (Haute-Vienne) signed 'Maurice, Utrillo, V,' (lower right)oil on canvas41.3 x 27.4cm (16 1/4 x 10 13/16in).Painted circa 1945-1948Footnotes:The authenticity of this work has been confirmed by the Comité Utrillo-Valadon. This work will be included in the forthcoming volume of the Maurice Utrillo catalogue raisonné, currently being prepared.ProvenanceAcquired directly from the artist by the first owner, circa 1945-1948; their sale, Christie's, London, 6 December 1977, lot 38.Private collection, South Africa (acquired at the above sale).Private collection, Australia (by descent from the above).ExhibitedLa Châtre en Berry, Hôtel de Villaines, Maurice Utrillo, 21 July – 16 August 1978.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
SALVADOR DALÍ (1904-1989)Rideau-chevelure semi-humain séparé par une fermeture éclair (Hairy half-human curtains separated by a zipper) signed 'Dalí' (lower right)pen and India ink on card27 x 22cm (10 5/8 x 8 11/16in).Executed circa 1937Footnotes:The authenticity of this work has been confirmed by Nicolas Descharnes.ProvenanceJohn U. Sturdevant Collection, Palm Beach (acquired by 1971).Daniel Varenne Collection, Switzerland.Thence by descent to the present owner.ExhibitedBaden-Baden, Staatliche Kunsthalle, Dalí, Gemälde, Zeichnungen, Objekte, Schmuck, 29 January – 18 April 1971, no. 139.LiteratureHouston Chronicle, 13 February 1937 (detail illustrated p. 9 with the caption: 'A Pair of 'Hairy, Half-Human Curtains Separated by a Zipper' Will Be a Feature of One of M. Dalí's Rooms Fifty Years From Now. In the Doorways of an Apartment These Curtains Will Be Hung to Warn a Person of the Fate That May Await in the Next Room. They Will Quiver and Shake at the Sign of Danger, and Caress the Oncomer If Joy or Good Fortune Waits Within'), later reproduced in Detroit Free Press, 18 February 1937; Florence (S.C.) News, 21 February 1937; Birmingham (ALA.) News-Age, 21 February 1937; Tulsa (OKLA.) Tribune, 21 February 1937).Exh. cat., Dalí, Paris, 2012 (illustrated p. 252).Rideau-chevelure semi-humain séparé par une fermeture éclair presents a rectangular doorway, entrance through which must be made through a zippered curtain of flowing hair. The hard vertical and horizontal ink strokes forming the flooring, skirting and architrave juxtapose sharply with the organic waves of hair which drape gently to the floor. Drawn circa 1937, the work is closely related to Dalí's magnificent oil and collage work, Singularitats of 1935-1936 – which was featured on the front cover of the catalogue for the 2022 exhibition Salvador Dalí: Myth and Singularity at the Museum of Cycladic Art in Athens. The finished composition picks out features in blood-red pigment against an inky black background and shows the curtained doorway of the present work to the left of an eerie landscape. Here, the door is situated on a small box-like red building, a certain faded elegance recalled by a triangular pediment and cracking exterior. The zip and curtains of hair conjure obvious sexual overtones, as does the intrigue of what is to be found within the box, guarded by a feathery silhouette to the right, and a flamboyant, goddess-like woman to the foreground.The concept of the door as a sexual gateway was revisited by Dalí in 1939 when he constructed the Dream of Venus installation at the New York World's Fair, transforming the pavilion into an erotic funhouse which was entered through a monumental pair of gartered legs. Dalí explored the use of different materials in the 1930s to enhance the erotic associations of an artwork, believing, in Dawn Ades' opinion, that 'the erotic can find expression in a variety of ways, most obviously via the gaze and the touch. The object as incarnation of desire is realised in, for instance, the fur pom-poms on Dalí's Venus de Milo with Drawers' (D. Ades, 'Eroticism', in Dalí/Duchamp, exh. cat., London, 2017, p. 108). Created in 1936, Dalí's version of the famous Venus de Milo was provocatively adorned with tactile mink tufts to her forehead, bare breasts, stomach, and uncovered knee.It is thought that the artist was a virgin when he first met his wife at the age of 25 ('until Gala entered his life, Dalí was clearly afraid of young women, with the fear of fascination' – R. Descharnes & G. Néret, Salvador Dalí, The Paintings, Vol. I, 1904-1946, Cologne, 2007, p. 70) and was rumoured to prefer masturbation or voyeurism more than the act of consummation. A fixation with sexuality played out across his oeuvre, noticeably in the late 1920s-1930s, a period which spawned controversial works such as Le grand masturbateur (1929) – Dalí's 'main obsession at that time can best be termed desire' (ibid, p. 145).The Mae West Room in the Dalí Theatre-Museum in Figueres (opened in 1974) revisits the idea of hair as curtain. Dalí constructed an apartment with the help of designer Òscar Tusequets, which, when viewed through a reducing lens, conjured the face of the Hollywood film star. Her out-scale hair was lavishly arranged to form a grand theatre-like curtain, framing the tableau formed by the furniture and paintings beyond. The concept came from the artist's collage of 1934-1935, Le visage de Mae West qui peut être utilisé comme appartement surréaliste, whose curtain-like hair and red tones echo elements of Singularitats.The present work was executed in the midst of Dalí's most successful years, following his marriage to Gala in 1934 and his celebrated debut in New York. During his trip to the US in 1934, Dalí held six solo exhibitions and delivered a lecture at MoMA. He embraced his fame, going out of his way to court publicity: 'Dalí liked going into drugstores with an immense loaf tucked under his arm, ordering fried eggs, and then eating them with a small piece of bread cut off the loaf – to the great amusement of anyone who happened to be there at the time [...] Before they departed, Caresse Crosby threw a Dream Ball in Dalí's honour. The Americans vied to out-Dalí each other. Dalí confessed that even he (who was so rarely impressed by anything) was astounded by the riotousness of the ball at the 'Coq Rouge'' (op. cit, p. 235).Despite his individual success, Dalí maintained a dialogue with his fellow Surrealists, most notably René Magritte, whose 1966 sketch Le Viol ('The Rape') undoubtedly echoes the present work. The composition by the same name to which it refers was painted in 1934, preceding Dalí's Singularitats, and depicts a female face formed by her torso, a triangle of pubic hair taking the place of her mouth, the whole framed by her auburn hair. When the painting was exhibited at the Palais des Beaux-Arts de Bruxelles in the year of its execution, it was deliberately excluded from the exhibition catalogue and displayed behind a velvet curtain, in an area reserved for adults only. The portrait is believed to allude to the artist's mother's tragic suicide by drowning when Magritte was just fourteen – she was discovered with her face veiled by her gown, her naked body exposed. The peep-show nature of the presentation of Le Viol in 1934 leads us to question what is behind the curtain in the present work, shown to be the portal to a red booth in the larger composition. Eroticism was intrinsically linked with danger and uncertainty for Dalí, as the enticement of sexual promise in Singularitats is threatened by the eerie setting, filled with unknown and inexplicable objects. An animate object is draped in red cloth to the lower left, while the Dalínian clock melts to the lower right, and the faceless female figure morphs into foliage. Choosing to focus solely on the curtained doorway in Rideau-chevelure semi-humain séparé par une fermeture éclair, Dalí invites the viewer to step through to an alluring unknown.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
SALVADOR DALÍ (1904-1989)Visage féminin pour l'hologramme 'Submarine Fisherman' signed 'Dalí' (lower left)oil on glass11.4 x 14cm (4 1/2 x 5 1/2in). (within the mount)Painted in 1972Footnotes:The authenticity of this work has been confirmed by Nicolas Descharnes.ProvenanceDr. Maury P. Leibovitz Collection, Connecticut (possibly acquired directly from the artist through M. Knoedler & Co., circa 1972).Private collection, US, UK and Greece (by descent from the above in 1992).Private collection, UK (by descent from the above).ExhibitedNew York, M. Knoedler & Co., Holograms Conceived by Dalí, 7 April - 13 May 1972 (as part of the hologram installation titled 'Submarine Fisherman').LiteratureS. & L. Lissack, Dalí in Holographic Space, Charleston, 2013 (illustrated p. 12; illustrated pp. 18 & 23 as part of the hologram installation titled 'Submarine Fisherman').S. Lissack, 'Dalí in Holographic Space, Salvador Dalí's contributions to art holograms', in Spie. The international society for optics and photonics, online article, January 2014 (illustrated as part of the hologram installation titled 'Submarine Fisherman').Salvador Dalí's enthusiasm for holography was proudly declared in his introduction to the catalogue for the important 1972 Knoedler Gallery exhibition dedicated to his holographic exploration: 'all artists have been concerned with three-dimensional reality since the time of Velázquez, and in modern times, the analytic cubism of Picasso tried again to capture the three dimensions of Velázquez. Now with the genius of Gabor, the possibility of a new Renaissance in art has been realized with the use of holography. The doors have been opened for me into a new house of creation' (Dalí quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 1).This interest started in the late 1940s with the discovery by British-Hungarian scientist, Dr. Dennis Gabor, that a three-dimensional image could be recorded on a two-dimensional space. It took several years and a few technical advancements before holograms finally took the shape they have today: a transparent photographic plate which has recorded a phenomenon of diffraction of light of a three-dimensional object. Then, when illuminated at a certain angle by a beam of light, the plate reproduces a relief image of the photographed object. This major discovery earned Dennis Gabor the 1971 Nobel Prize in Physics.Coincidentally, that year also marked Dalí's introduction to holography, when South African artist Selwyn Lissack approached him at the St. Regis Hotel in New York. Lissack recalls Dalí's immediate enthusiasm for the medium and what seemed like the endless possibilities it created, with laser lights now becoming the artist's brush. The hotel suite at the St. Regis became Lissack and Dalí's impromptu studio office as 'Dalí was thrilled with the notion of working with a medium which gave him the ability to create beyond the confines of linear space' (S. Lissack, 'Dalí in Holographic Space', in SPIE. The international society for optics and photonics, online article, 1 January 2014).The present work, Visage féminin pour l'hologramme 'Submarine Fisherman', is part of Dalí's second holographic work, executed under the guidance of Selwyn Lissack: Submarine Fisherman. It consisted of a holographic installation mixing different media: first, a holographic plate of a diver was isolated in a metallic box with laser. This was then incorporated within another larger box which had a separate source of lighting shining onto a transparency of Pablo Picasso's masterpiece, Les Demoiselles d'Avignon. This second box projected the image around the hologram – contained within the first box - like stained glass. Finally, Dalí painted an oil portrait of a Catalan girl on a glass plate – the present work – which he superimposed over the holographic plate. The multi-layered result showed the portrait of the Catalan girl projected over the hologram of a diver in the sea, superimposed on the reproduction of Les Demoiselles d'Avignon. The superposition of the oil portrait and the hologram was measured by Dalí so that the nose of the girl would coincide with the elbow of the diver in the holographic image projected. Dalí thus produced a three-dimensional image while mixing media and merging artistic and scientific dimensions, at the crossroads of painting, sculpture, and photography. Selwyn Lissack, who witnessed the creation of Submarine Fisherman, recalls that he 'stood mesmerized as Dalí created a perfect merging of three-dimensional space on a two-dimensional plane' (S. & L. Lissack, Dalí in Holographic Space, Charleston, 2013, p. 23).Dalí's choice of imagery for the final hologram was no coincidence and the individual images each have their own importance. Picasso's Les Demoiselles d'Avignon depicts prostitutes in a Spanish brothel on Avignon Street in Barcelona, and Dalí's Catalonian face is thought to be one of the young girls, her visage certainly reminiscent in appearance to the figures in Picasso's work, with her abstracted features and Cubist appearance. For Dalí, the underwater world, with its deep and dark waters, was the place of all buried secrets and a perfect metaphor for the human subconscious. As such, the diver is projected onto the Picasso, which we can interpret as a materialisation of the deeply buried sexual desire in the human psyche. This interpretation is further confirmed by the luscious red lips which recall Dalí's lifelong obsession with Mae West, a sex-symbol and an often recurring motif in his oeuvre. Visage féminin pour l'hologramme 'Submarine Fisherman' is an extremely rare piece, as Dalí only ever conceived of six other holograms. Thus, creating a new way of painting using light and technology and contributing to a new artistic paradigm, Dalí's process recalled the Renaissance geniuses who had been revolutionising painting with camera obscuras. The Nobel Laureate Dr. Gabor himself saw in Dalí, 'a genius [...], creating a new art of which old, great painters may have dreamed, but which could only be realized by combining art with the most modern technology' (Gabor quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 2).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
RAOUL DUFY (1877-1953)Étude pour 'Les nourritures terrestres' d'André Gide stamped with the artist's initials 'RD' (lower right)gouache and watercolour on paper19.5 x 24cm (7 5/8 x 9 7/16in).Executed circa 1950Footnotes:ProvenanceNeffe-Degandt Fine Arts, London.Lumley Cazalet Gallery, London.Private collection, London.ExhibitedTokyo, Galerie Nichido, Raoul Dufy, 19 – 30 March 1991, no. 37.London, J.P.L. Fine Arts, Raoul Dufy, Paintings, Watercolours and Drawings, 25 March – 22 May 1992, no. 18.LiteratureF. Guillon-Laffaille, Raoul Dufy, Catalogue raisonné aquarelles et gouaches, online catalogue, no. As-1476 (illustrated).The present work was executed as a study for one of the illustrations Raoul Dufy completed for André Gide's prose-poem, Les nourritures terrestres ('The fruits of the earth'). First published in 1897, Gide's multi-faceted text comprised travel anecdotes, philosophical musings and pseudo-narrative fragments inspired by his wanderings in North Africa. Les nourritures terrestres took its thematic cue from Friedrich Nietzsche's Thus Spoke Zarathustra, thence influencing a younger generation of existentialist writers such as Albert Camus and Jean-Paul Sartre. Dufy's illustrations for the text comprise poetic, fleeting impressions of the scenes Gide imagined and encountered as a wandering flâneur, including ancient ruins, rustic environments and mythological beings.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
CARL MOLL (1861-1945)Der Park von Schönbrunn mit Blick zur Gloriette signed 'C. Moll' (lower right)oil on panel34.3 x 35.6cm (13 1/2 x 14in).Painted circa 1910Footnotes:ProvenanceArthur Schnitzler Collection, Vienna (acquired directly from the artist on 6 December 1913).Heinrich & Lilly (née von Strakosch-Feldringen) Schnitzler Collection, Vienna (by descent from the above in 1931). Private collection, Vienna and US (by descent from the above). Private collection, Los Angeles (by descent from the above).Exhibited(Probably) Vienna, Galerie Miethke, Kollektiv-Ausstellung Max Kurzweil und Carl Moll, March 1911.LiteratureA. Schnitzler, 'Samstag, 6. Dezember 1913', in Tagebuch, December 1913.C. Cabuk, Carl Moll. Monografie und Werkverzeichnis, online catalogue, no. GE 256 (illustrated).Depicting the immaculately pruned Baroque gardens of Schönbrunn Palace, a UNESCO World Heritage site and to this day one of Vienna's most iconic, scenic and important cultural locations, the present works are undeniably bursting with Austrian cultural significance. Painted by Carl Moll circa 1910, the works have not been seen publicly in more than a hundred years, remaining as cherished heirlooms in the Schnitzler family since the day they were acquired directly from the artist by Arthur Schnitzler, on Saturday 6 December 1913.Widely unacknowledged outside of his native Austria, Arthur Schnitzler was in fact arguably one of the most important European authors of the twentieth century. A contemporary of Sigmund Freud, Ludwig Wittgenstein and Stefan Zweig, his writings were landmarks of European Modernism. As an accomplished doctor in his pre-writing years and as a regular correspondent with Freud, Schnitzler was fascinated by the human psyche. He often explored dreams and the unconscious in his writings; most notably, he was the first German-speaking writer to pen fiction using the Freudian stream-of-consciousness technique. As a subject for his writings, Schnitzler sought to dissect and comment on the hypocrisy of bourgeois life in Vienna, simultaneously exploring society's hidden impulses and motivations. As had been done to his infamous contemporary, Egon Schiele, he was in fact branded a pornographer after the release of his play Reigen, in 1900. Perhaps his depiction of a supposedly morally superior Viennese society exposed and shown to be as promiscuous and sexually driven as the common man, cut too close to the bone. After his death in 1931, Schnitzler's works were subsequently subjected to the Nazis, who deemed them Entartete ('Degenerate') and burned them. Stanley Kubrick's final film, Eyes Wide Shut, is based on Schnitzler's 1926 novella, Traumnovelle.As Arthur Schnitzler was to literary modernism, Carl Moll was a leading proponent of the Austrian avant-garde. A founding member of the Wiener Secession and close friend of Gustav Klimt, he was an integral artist to the development of Modernism in Austria at the turn of the century. Whilst certainly remaining more conservative in his style, opting to emulate more the French Impressionists and Pointillists, he was nevertheless a very prominent proselytiser for younger, more Expressionistic, artists. He would thoroughly encourage important galleries such as the Belvedere to show Modern Austrian art and was extremely active in supporting these displays, even after his separation from the Secession in 1905 with Klimt and other important members. One of his most notable contributions to the exhibition scene was the first Viennese show of Vincent van Gogh's work. Moll clearly appreciated the young artist's skill and in fact included Van Gogh's Portrait of the artist's mother in his 1906 self-portrait. He placed the work above a version of George Minne's Small Kneeling Youth, a beautiful marble figure, clasping themselves under the burden of sorrow at the dawn of the Modern age.The present two works are classically Modern-Austrian in their square format, a shape favoured by the Secessionist artists and immortalised by Moll, as well as the likes of Klimt, Schiele and Koloman Moser. Indeed, the present panels are particularly reminiscent of the small 'jewel-like' Bretter that Schiele was gifted by Arthur Roessler during his time in Krumau and Neulengbach, in 1911. These smaller panels enabled Schiele to engage in a more spontaneous working method due to their manoeuvrable size; especially the ability to work en plein air. This immediacy and intention to capture the light and the moment is especially prevalent in both of these depictions of Schönbrunn. In lot 8, identified by the edge of the famous Gloriette building in the south of the gardens, Johann Wilhelm Beyer's 1777 statue of Bacchantin and the long westward shadows cast over the tall hedgerows, Moll has evidently set up his easel near the Taubenhaus, on the edge of the wide Grosses Parterre that runs between the hilltop and the palace. He quietly captures a serene summer's morning, with people ambling their daybreak stroll; a pair of elegantly dressed ladies in their summer blouses seated in the centre, perhaps quietly discussing the latest in the Viennese art scene. A more solitary but nonetheless tranquil view in lot 9, the gentle flow of one of the two Najadenbrunnen fountains can be seen, caught in a ray of sun, whose beams have trickled through the branches to dapple the shaded foreground. It is most likely the Östlicher Najadenbrunnen, or Eastern Naiad Fountain, just down from the Taubenhaus.The palace was originally intended as a hunting lodge, however swiftly developed into a palatial residence over the course of the eighteenth century. Evidenced in its popularity to the present day it has remained a favoured recreational amenity for the Viennese populace since its creation. Its connection to the Imperial Monarchy of Austria-Hungary meant that the subject was particularly en vogue for collectors of the time and in fact Moll was focusing on the gardens of Schönbrunn in the 1910-1911 period for an exhibition at the Galerie Miethke, Kollektiv-Ausstellung Max Kurzweil und Carl Moll. The present two works are part of this group and were most likely shown in the exhibition, though their number in the catalogue is difficult to discern. Other panels from the series are held by the Neue Galerie Graz, Van Gogh Museum, Amsterdam, and other private collections, with works from Moll's entire oeuvre held in almost all of Austria's leading public collections.Arthur Schnitzler, whilst focusing his written themes on cross-examining the conservative classes of high-brow Vienna, clearly was also taken by the beauty of these works shortly after their creation. Having kept a meticulous diary from the age of 17 until two days before his death in 1931, his flowing dialogue offers us a snapshot into his visit to Moll's studio with his wife, Olga Gussmann: '6/12 With O. at Antiquitäten Berger's. - Then at Moll Hohe Warte, in the studio. His pictures (Schönbrunn, Venice, Göding) very fine. Choice? [...] We took five pictures with us, want to keep 2 of them. [...] Julius, Helene, Richard Paula Gustav with us in the evening. The Moll pictures were very pleasing.' (A. Schnitzler, 'Samstag, 6. Dezember 1913', in Tagebuch, December 1913). It was in fact Schnitzler's dedication to note writing that later saved the life of his then ex-wife, Olga (listed as 'O.' in the aforementioned diary). With the rise of the Nazis and the subsequent persecution of Jews and those deemed Entartete, she escaped Vienna by convincing Cambridge University - the guardians of Schnitzler's notes and archives - that she was the only person who could... 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
686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,8 x 55,8 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM-NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 970/10000686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,8 x 55,8 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000,signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM- NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 970/10000Hundertwassers Kommentar zum Werk:Dies ist meine erste durchnummerierte Großauflage, die eigentlich gar keine ist, da sie aus vielen Variationen besteht. …. Ich habe Monate in der Druckerei in Campalto verbracht, während ich auf der "Regentag" nicht weit davon in einem Kanal der Lagune bei Ca'Noghera lag. Es war wie ein Simultan-Schachspiel mit über vierzig Gegnern. Ich tat dies noch konsequenter mit dem späteren Siebruck 860 Homo Humus come va. Ich glaube nicht, dass mir jemand dieses gigantische Unternehmen gleichtun kann, das mich zwei Jahre beanspruchte. Ich verwendete völlig neue Techniken in der Druckgraphik: Metallprägedruck, Phosphorfarben, die in der Nacht leuchten, reflektierende Glasperlen-Aufdrucke, konvexe Prägungen und eine unglaubliche Anzahl von Farbüberdrucken, die ich einzeln auf Transparentfolien malte und die dann auf Sieb übertragen wurden. Dann die Probedrucke der unendlich gewordenen Farbkombinationen. Ich wollte das Fließband ad absurdum führen. In die Enge getrieben, zwischen einer unglaublich einsetzenden Nachfrage und meinem Stolz, Originale und nicht Massenware zu schaffen, und bestrebt, soviel von meinem inneren Selbst wie nur möglich zu geben. Es kam zu einem Prozess, den ich auch gewann, weil ich die Preise (…) niedrig halten wollte - 100 Mark pro Blatt, damit es vielen zugänglich ist. Es war verlorene Mühe. Den freien Marktwert konnte ich nicht bestimmen. Es war Sieg und Niederlage zugleich. (aus: Hundertwasser 1928-2000, Catalogue Raisonné, Bd. 2, Taschen, Köln 2002, S. 812)Hundertwasser's comment on the work:This is my first large print edition, which I numbered from beginning to end; but actually it isn't one, since it consists of many variations. (…) I spent months in the print shop in Campalto, while the Regentag lay in berth not far away, in a canal of the lagoon near Ca' Noghera. It was like a simultaneous chess match with more than forty opponents. I did this even more radically later with the silkscreen print 860 Homo Humus come va. I don't think anyone can outdo me in this gigantic enterprise, which took up two years of my life. I used completely new techniques in print graphics: metallic-stamp printing, phosphorescent colours that glow in the dark, reflecting glass-bead appliqués, convex embossing and an incredible number of colour overprints which I painted separately on transparent foil, from where they were transferred to the screen. Then the proofs of the infinite number of colour combinations. I wanted to reduce the conveyor belt to absurdity. I got myself into a bind between the incredible demand which had materialised and my pride in creating something original, not mass-produced, and I wanted to give as much of my inner self as I could. I went to court and won because I wanted to keep the prices low (…) - 100 marks per print, to make it accessible to many people. It was all for nought. I could not fix the price on the open market. It was a victory and a defeat all in one. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 812-813)
686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,8 x 55,5 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM-NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 9364/10000686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,8 x 55,5 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000,signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM- NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 9364/10000Hundertwassers Kommentar zum Werk:Dies ist meine erste durchnummerierte Großauflage, die eigentlich gar keine ist, da sie aus vielen Variationen besteht. …. Ich habe Monate in der Druckerei in Campalto verbracht, während ich auf der "Regentag" nicht weit davon in einem Kanal der Lagune bei Ca'Noghera lag. Es war wie ein Simultan-Schachspiel mit über vierzig Gegnern. Ich tat dies noch konsequenter mit dem späteren Siebruck 860 Homo Humus come va. Ich glaube nicht, dass mir jemand dieses gigantische Unternehmen gleichtun kann, das mich zwei Jahre beanspruchte. Ich verwendete völlig neue Techniken in der Druckgraphik: Metallprägedruck, Phosphorfarben, die in der Nacht leuchten, reflektierende Glasperlen-Aufdrucke, konvexe Prägungen und eine unglaubliche Anzahl von Farbüberdrucken, die ich einzeln auf Transparentfolien malte und die dann auf Sieb übertragen wurden. Dann die Probedrucke der unendlich gewordenen Farbkombinationen. Ich wollte das Fließband ad absurdum führen. In die Enge getrieben, zwischen einer unglaublich einsetzenden Nachfrage und meinem Stolz, Originale und nicht Massenware zu schaffen, und bestrebt, soviel von meinem inneren Selbst wie nur möglich zu geben. Es kam zu einem Prozess, den ich auch gewann, weil ich die Preise (…) niedrig halten wollte - 100 Mark pro Blatt, damit es vielen zugänglich ist. Es war verlorene Mühe. Den freien Marktwert konnte ich nicht bestimmen. Es war Sieg und Niederlage zugleich. (aus: Hundertwasser 1928-2000, Catalogue Raisonné, Bd. 2, Taschen, Köln 2002, S. 812)Hundertwasser's comment on the work:This is my first large print edition, which I numbered from beginning to end; but actually it isn't one, since it consists of many variations. (…) I spent months in the print shop in Campalto, while the Regentag lay in berth not far away, in a canal of the lagoon near Ca' Noghera. It was like a simultaneous chess match with more than forty opponents. I did this even more radically later with the silkscreen print 860 Homo Humus come va. I don't think anyone can outdo me in this gigantic enterprise, which took up two years of my life. I used completely new techniques in print graphics: metallic-stamp printing, phosphorescent colours that glow in the dark, reflecting glass-bead appliqués, convex embossing and an incredible number of colour overprints which I painted separately on transparent foil, from where they were transferred to the screen. Then the proofs of the infinite number of colour combinations. I wanted to reduce the conveyor belt to absurdity. I got myself into a bind between the incredible demand which had materialised and my pride in creating something original, not mass-produced, and I wanted to give as much of my inner self as I could. I went to court and won because I wanted to keep the prices low (…) - 100 marks per print, to make it accessible to many people. It was all for nought. I could not fix the price on the open market. It was a victory and a defeat all in one. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 812-813)
686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,6 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM-NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 5370/10000686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,6 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000,signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM- NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 5370/10000Hundertwassers Kommentar zum Werk:Dies ist meine erste durchnummerierte Großauflage, die eigentlich gar keine ist, da sie aus vielen Variationen besteht. …. Ich habe Monate in der Druckerei in Campalto verbracht, während ich auf der "Regentag" nicht weit davon in einem Kanal der Lagune bei Ca'Noghera lag. Es war wie ein Simultan-Schachspiel mit über vierzig Gegnern. Ich tat dies noch konsequenter mit dem späteren Siebruck 860 Homo Humus come va. Ich glaube nicht, dass mir jemand dieses gigantische Unternehmen gleichtun kann, das mich zwei Jahre beanspruchte. Ich verwendete völlig neue Techniken in der Druckgraphik: Metallprägedruck, Phosphorfarben, die in der Nacht leuchten, reflektierende Glasperlen-Aufdrucke, konvexe Prägungen und eine unglaubliche Anzahl von Farbüberdrucken, die ich einzeln auf Transparentfolien malte und die dann auf Sieb übertragen wurden. Dann die Probedrucke der unendlich gewordenen Farbkombinationen. Ich wollte das Fließband ad absurdum führen. In die Enge getrieben, zwischen einer unglaublich einsetzenden Nachfrage und meinem Stolz, Originale und nicht Massenware zu schaffen, und bestrebt, soviel von meinem inneren Selbst wie nur möglich zu geben. Es kam zu einem Prozess, den ich auch gewann, weil ich die Preise (…) niedrig halten wollte - 100 Mark pro Blatt, damit es vielen zugänglich ist. Es war verlorene Mühe. Den freien Marktwert konnte ich nicht bestimmen. Es war Sieg und Niederlage zugleich. (aus: Hundertwasser 1928-2000, Catalogue Raisonné, Bd. 2, Taschen, Köln 2002, S. 812)Hundertwasser's comment on the work:This is my first large print edition, which I numbered from beginning to end; but actually it isn't one, since it consists of many variations. (…) I spent months in the print shop in Campalto, while the Regentag lay in berth not far away, in a canal of the lagoon near Ca' Noghera. It was like a simultaneous chess match with more than forty opponents. I did this even more radically later with the silkscreen print 860 Homo Humus come va. I don't think anyone can outdo me in this gigantic enterprise, which took up two years of my life. I used completely new techniques in print graphics: metallic-stamp printing, phosphorescent colours that glow in the dark, reflecting glass-bead appliqués, convex embossing and an incredible number of colour overprints which I painted separately on transparent foil, from where they were transferred to the screen. Then the proofs of the infinite number of colour combinations. I wanted to reduce the conveyor belt to absurdity. I got myself into a bind between the incredible demand which had materialised and my pride in creating something original, not mass-produced, and I wanted to give as much of my inner self as I could. I went to court and won because I wanted to keep the prices low (…) - 100 marks per print, to make it accessible to many people. It was all for nought. I could not fix the price on the open market. It was a victory and a defeat all in one. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 812-813)
686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197085 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM-NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 7970/10000686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197085 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000,signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM- NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 7970/10000Hundertwassers Kommentar zum Werk:Dies ist meine erste durchnummerierte Großauflage, die eigentlich gar keine ist, da sie aus vielen Variationen besteht. …. Ich habe Monate in der Druckerei in Campalto verbracht, während ich auf der "Regentag" nicht weit davon in einem Kanal der Lagune bei Ca'Noghera lag. Es war wie ein Simultan-Schachspiel mit über vierzig Gegnern. Ich tat dies noch konsequenter mit dem späteren Siebruck 860 Homo Humus come va. Ich glaube nicht, dass mir jemand dieses gigantische Unternehmen gleichtun kann, das mich zwei Jahre beanspruchte. Ich verwendete völlig neue Techniken in der Druckgraphik: Metallprägedruck, Phosphorfarben, die in der Nacht leuchten, reflektierende Glasperlen-Aufdrucke, konvexe Prägungen und eine unglaubliche Anzahl von Farbüberdrucken, die ich einzeln auf Transparentfolien malte und die dann auf Sieb übertragen wurden. Dann die Probedrucke der unendlich gewordenen Farbkombinationen. Ich wollte das Fließband ad absurdum führen. In die Enge getrieben, zwischen einer unglaublich einsetzenden Nachfrage und meinem Stolz, Originale und nicht Massenware zu schaffen, und bestrebt, soviel von meinem inneren Selbst wie nur möglich zu geben. Es kam zu einem Prozess, den ich auch gewann, weil ich die Preise (…) niedrig halten wollte - 100 Mark pro Blatt, damit es vielen zugänglich ist. Es war verlorene Mühe. Den freien Marktwert konnte ich nicht bestimmen. Es war Sieg und Niederlage zugleich. (aus: Hundertwasser 1928-2000, Catalogue Raisonné, Bd. 2, Taschen, Köln 2002, S. 812)Hundertwasser's comment on the work:This is my first large print edition, which I numbered from beginning to end; but actually it isn't one, since it consists of many variations. (…) I spent months in the print shop in Campalto, while the Regentag lay in berth not far away, in a canal of the lagoon near Ca' Noghera. It was like a simultaneous chess match with more than forty opponents. I did this even more radically later with the silkscreen print 860 Homo Humus come va. I don't think anyone can outdo me in this gigantic enterprise, which took up two years of my life. I used completely new techniques in print graphics: metallic-stamp printing, phosphorescent colours that glow in the dark, reflecting glass-bead appliqués, convex embossing and an incredible number of colour overprints which I painted separately on transparent foil, from where they were transferred to the screen. Then the proofs of the infinite number of colour combinations. I wanted to reduce the conveyor belt to absurdity. I got myself into a bind between the incredible demand which had materialised and my pride in creating something original, not mass-produced, and I wanted to give as much of my inner self as I could. I went to court and won because I wanted to keep the prices low (…) - 100 marks per print, to make it accessible to many people. It was all for nought. I could not fix the price on the open market. It was a victory and a defeat all in one. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 812-813)
686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197085 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM-NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 9570/10000686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197085 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000,signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM- NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 9570/10000Hundertwassers Kommentar zum Werk:Dies ist meine erste durchnummerierte Großauflage, die eigentlich gar keine ist, da sie aus vielen Variationen besteht. …. Ich habe Monate in der Druckerei in Campalto verbracht, während ich auf der "Regentag" nicht weit davon in einem Kanal der Lagune bei Ca'Noghera lag. Es war wie ein Simultan-Schachspiel mit über vierzig Gegnern. Ich tat dies noch konsequenter mit dem späteren Siebruck 860 Homo Humus come va. Ich glaube nicht, dass mir jemand dieses gigantische Unternehmen gleichtun kann, das mich zwei Jahre beanspruchte. Ich verwendete völlig neue Techniken in der Druckgraphik: Metallprägedruck, Phosphorfarben, die in der Nacht leuchten, reflektierende Glasperlen-Aufdrucke, konvexe Prägungen und eine unglaubliche Anzahl von Farbüberdrucken, die ich einzeln auf Transparentfolien malte und die dann auf Sieb übertragen wurden. Dann die Probedrucke der unendlich gewordenen Farbkombinationen. Ich wollte das Fließband ad absurdum führen. In die Enge getrieben, zwischen einer unglaublich einsetzenden Nachfrage und meinem Stolz, Originale und nicht Massenware zu schaffen, und bestrebt, soviel von meinem inneren Selbst wie nur möglich zu geben. Es kam zu einem Prozess, den ich auch gewann, weil ich die Preise (…) niedrig halten wollte - 100 Mark pro Blatt, damit es vielen zugänglich ist. Es war verlorene Mühe. Den freien Marktwert konnte ich nicht bestimmen. Es war Sieg und Niederlage zugleich. (aus: Hundertwasser 1928-2000, Catalogue Raisonné, Bd. 2, Taschen, Köln 2002, S. 812)Hundertwasser's comment on the work:This is my first large print edition, which I numbered from beginning to end; but actually it isn't one, since it consists of many variations. (…) I spent months in the print shop in Campalto, while the Regentag lay in berth not far away, in a canal of the lagoon near Ca' Noghera. It was like a simultaneous chess match with more than forty opponents. I did this even more radically later with the silkscreen print 860 Homo Humus come va. I don't think anyone can outdo me in this gigantic enterprise, which took up two years of my life. I used completely new techniques in print graphics: metallic-stamp printing, phosphorescent colours that glow in the dark, reflecting glass-bead appliqués, convex embossing and an incredible number of colour overprints which I painted separately on transparent foil, from where they were transferred to the screen. Then the proofs of the infinite number of colour combinations. I wanted to reduce the conveyor belt to absurdity. I got myself into a bind between the incredible demand which had materialised and my pride in creating something original, not mass-produced, and I wanted to give as much of my inner self as I could. I went to court and won because I wanted to keep the prices low (…) - 100 marks per print, to make it accessible to many people. It was all for nought. I could not fix the price on the open market. It was a victory and a defeat all in one. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 812-813)
715 Friedensreich HundertwasserHOMMAGE TO SCHRÖDER-SONNENSTERNHOMMAGE À SCHRÖDER-SONNENSTERNLengmoos 1972100 x 69,8 cmHerausgegeben von: Ars Viva, Zürich, 1972 Siebdruck in 8 Farben mit Metallprägungen in 5 Farben und 1 Filzfaser-Applikation auf weißem Papier Gedruckt von: Dietz Offizin, Lengmoos, Bayern, 1972, in Kooperation mit Günter DietzAuflage: Originalversion: 416, signiert von Hundertwasser und Sonnenstern, nummeriert 1-416/416Published by: Ars Viva, Zürich, 1972 Silk screen in 8 colours with metal imprints in 5 colours and an electrostatic application of felt fibrils on white paperPrinted by: Dietz Offizin, Lengmoos, Bavaria, 1972, in cooperation with Günter DietzEdition: 416, signed by Hundertwasser and by Sonnenstern, and numbered 1-416/416Koschatzky / Fürst HWG 56a OriginalversionNr. 317/416Hundertwasser war einer der ersten, die das Genie des Malers Friedrich Schröder-Sonnenstern, Schöpfer von surrealen Buntstiftmalereien, erkannten. Bereits 1964 hatte Hundertwasser das "Sonnensterngedicht" als eine Hommage für einen Ausstellungskatalog des Künstlers verfasst. Beide Künstler erarbeiteten gemeinsam den Siebdruck, wobei das zentrale Motiv der "Eva" von Schröder Sonnenstern stammt. Hundertwasser was one of the first to recognize the genius of painter Friedrich Schröder-Sonnenstern, creator of surreal coloured pencil paintings. As early as 1964, Hundertwasser had written the "Sonnenstern Poem" as a homage for an exhibition catalog of the artist. Both artists worked together on the silk screen, with the central motif of "Eva" coming from Schröder Sonnenstern.715 Friedensreich HundertwasserHOMMAGE TO SCHRÖDER-SONNENSTERNHOMMAGE À SCHRÖDER-SONNENSTERNLengmoos 1972100 x 69,8 cmHerausgegeben von: Ars Viva, Zürich, 1972 Siebdruck in 8 Farben mit Metallprägungen in 5 Farben und 1 Filzfaser-Applikation auf weißem Papier Gedruckt von: Dietz Offizin, Lengmoos, Bayern, 1972, in Kooperation mit Günter DietzAuflage: 416, signiert von Hundertwasser und Sonnenstern, nummeriert 1-416/416Published by: Ars Viva, Zürich, 1972 Silk screen in 8 colours with metal imprints in 5 colours and an electrostatic application of felt fibrils on white paperPrinted by: Dietz Offizin, Lengmoos, Bavaria, 1972, in cooperation with Günter DietzEdition: 416, signed by Hundertwasser and by Sonnenstern, and numbered 1-416/416Koschatzky / Fürst HWG 56Nr. 317/416Hundertwasser war einer der ersten, die das Genie des Malers Friedrich Schröder-Sonnenstern, Schöpfer von surrealen Buntstiftmalereien, erkannten. Bereits 1964 hatte Hundertwasser das "Sonnensterngedicht" als eine Hommage für einen Ausstellungskatalog des Künstlers verfasst. Beide Künstler erarbeiteten gemeinsam den Siebdruck, wobei das zentrale Motiv der "Eva" von Schröder Sonnenstern stammt. Hundertwasser was one of the first to recognize the genius of painter Friedrich Schröder-Sonnenstern, creator of surreal coloured pencil paintings. As early as 1964, Hundertwasser had written the "Sonnenstern Poem" as a homage for an exhibition catalog of the artist. Both artists worked together on the silk screen, with the central motif of "Eva" coming from Schröder Sonnenstern.
715 Friedensreich HundertwasserHOMMAGE TO SCHRÖDER-SONNENSTERNHOMMAGE À SCHRÖDER-SONNENSTERNLengmoos 197299,7 x 69,7 cmHerausgegeben von: Ars Viva, Zürich, 1972 Siebdruck in 8 Farben mit Metallprägungen in 5 Farben auf grau-braunem PapierGedruckt von: Dietz Offizin, Lengmoos, Bayern, 1972, in Kooperation mit Günter DietzAuflage: Posterversion: 4.200, stempelsigniert "Hundertwasser" und "Sonnenstern", stempelnummeriert 1-4200/4200Published by: Ars Viva, Zürich, 1972Silk screen in 8 colours with metal imprints in 5 colours on gray-brown paperPrinted by: Dietz Offizin, Lengmoos, Bavaria, 1972, in cooperation with Günter DietzEdition: 4,200, imprint-signed: "Hundertwasser" and "Sonnenstern", and mechanically numbered 1-4200/4200Koschatzky / Fürst HWG 56b PosterversionNr. 1985/4.200Hundertwasser war einer der ersten, die das Genie des Malers Friedrich Schröder-Sonnenstern, Schöpfer von surrealen Buntstiftmalereien, erkannten. Bereits 1964 hatte Hundertwasser das "Sonnensterngedicht" als eine Hommage für einen Ausstellungskatalog des Künstlers verfasst. Beide Künstler erarbeiteten gemeinsam den Siebdruck, wobei das zentrale Motiv der "Eva" von Schröder Sonnenstern stammt. Hundertwasser was one of the first to recognize the genius of painter Friedrich Schröder-Sonnenstern, creator of surreal coloured pencil paintings. As early as 1964, Hundertwasser had written the "Sonnenstern Poem" as a homage for an exhibition catalog of the artist. Both artists worked together on the silk screen, with the central motif of "Eva" coming from Schröder Sonnenstern.715 Friedensreich HundertwasserHOMMAGE TO SCHRÖDER-SONNENSTERNHOMMAGE À SCHRÖDER-SONNENSTERNLengmoos 197299,7 x 69,7 cmHerausgegeben von: Ars Viva, Zürich, 1972 Siebdruck in 8 Farben mit Metallprägungen in 5 Farben auf grau-braunem PapierGedruckt von: Dietz Offizin, Lengmoos, Bayern, 1972, in Kooperation mit Günter DietzAuflage: Posterversion: 4.200, stempelsigniert "Hundertwasser" und "Sonnenstern", stempelnummeriert 1-4200/4200Published by: Ars Viva, Zürich, 1972Silk screen in 8 colours with metal imprints in 5 colours on gray-brown paperPrinted by: Dietz Offizin, Lengmoos, Bavaria, 1972, in cooperation with Günter DietzEdition: 4,200, imprint-signed: "Hundertwasser" and "Sonnenstern", and mechanically numbered 1-4200/4200, Koschatzky / Fürst HWG 56Nr. 1985/4.200Hundertwasser war einer der ersten, die das Genie des Malers Friedrich Schröder-Sonnenstern, Schöpfer von surrealen Buntstiftmalereien, erkannten. Bereits 1964 hatte Hundertwasser das "Sonnensterngedicht" als eine Hommage für einen Ausstellungskatalog des Künstlers verfasst. Beide Künstler erarbeiteten gemeinsam den Siebdruck, wobei das zentrale Motiv der "Eva" von Schröder Sonnenstern stammt. Hundertwasser was one of the first to recognize the genius of painter Friedrich Schröder-Sonnenstern, creator of surreal coloured pencil paintings. As early as 1964, Hundertwasser had written the "Sonnenstern Poem" as a homage for an exhibition catalog of the artist. Both artists worked together on the silk screen, with the central motif of "Eva" coming from Schröder Sonnenstern.
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