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Artist: Keith Haring (American, 1958 - 1990). Title: "Naples Suite #09 [untitled]". Medium: Lithograph. Date: Composed 1983. Printed 1989. Dimensions: Overall size: 12 5/8 x 9 5/16 in. (321 x 237 mm).Lot Note(s): Signed by Haring in silver marker; signed, dated, and titled in the plate. A proof (?) from the edition of unspecified size. Light cream smooth wove paper. The full sheet. Fine impression. Very good to fine condition; slight edge toning; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Scarce. No auction records of a signed impression located. A print from the group of 30 lithographs published on the occasion of the exhibition “Keith Haring 1983” which ran from January 15th to January 30th, 1990 in Paris at La Galerie de Poche/Galerie 1900-2000. This was the last Haring exhibition held in his lifetime. He signed this print shortly before his death on February 16, 1990. Image copyright © The Keith Haring Foundation. [29738-2-600]

Artist: Keith Haring (American, 1958 - 1990). Title: "Naples Suite #15 [untitled]". Medium: Lithograph. Date: Composed 1983. Printed 1989. Dimensions: Overall size: 12 5/8 x 9 5/16 in. (321 x 237 mm).Lot Note(s): Signed by Haring in silver marker; signed, dated, and titled in the plate. A proof (?) from the edition of unspecified size. Light cream smooth wove paper. The full sheet. Fine impression. Very good to fine condition; slight edge toning; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Scarce. No auction records of a signed impression located. A print from the group of 30 lithographs published on the occasion of the exhibition “Keith Haring 1983” which ran from January 15th to January 30th, 1990 in Paris at La Galerie de Poche/Galerie 1900-2000. This was the last Haring exhibition held in his lifetime. He signed this print shortly before his death on February 16, 1990. Image copyright © The Keith Haring Foundation. [29744-2-800]

Artist: Keith Haring (American, 1958 - 1990). Title: "Naples Suite #18 [untitled]". Medium: Lithograph. Date: Composed 1983. Printed 1989. Dimensions: Overall size: 12 5/8 x 9 5/16 in. (321 x 237 mm).Lot Note(s): Signed by Haring in silver marker; signed, dated, and titled in the plate. A proof (?) from the edition of unspecified size. Light cream smooth wove paper. The full sheet. Fine impression. Very good to fine condition; slight edge toning; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Scarce. No auction records of a signed impression located. A print from the group of 30 lithographs published on the occasion of the exhibition “Keith Haring 1983” which ran from January 15th to January 30th, 1990 in Paris at La Galerie de Poche/Galerie 1900-2000. This was the last Haring exhibition held in his lifetime. He signed this print shortly before his death on February 16, 1990. Image copyright © The Keith Haring Foundation. [29747-2-800]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Narretei ["Buffoonery"]". Medium: Original lithograph. Date: Composed 1922. Printed later. Dimensions: Overall size: 9 7/8 x 7 7/16 in. (251 x 189 mm).Lot Note(s): Signed, dated, and titled in the plate; Felix Paul Klee handstamp, verso. Edition unknown, presumed small. Cream wove textured paper. Ample margins. Fine impression. Very good to fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until after the war. It was printed under the immediate supervision of Klee's son, Felix Paul Klee (1907-1990), a prominent art historian and later director of the Paul Klee Foundation. Image copyright © Artists Rights Society (ARS), New York. [29306-1-600]

Artist: Lucian Freud (German/English, 1922-2011). Title: "Night Portrait". Medium: Color offset lithograph. Date: Composed 1977-78. Printed 1996. Dimensions: Overall size: 9 1/2 x 9 1/8 in. (241 x 232 mm).Lot Note(s): Signed in pencil with the initials (as customary), lower right. Edition unknown, presumed very small. Cream wove smooth paper. Wide margins. Fine impression. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Provenance: Private collection, Cumbria, England. Comment(s): Rare. No auction records located. Issued to promote the “Lucian Freud: Paintings and Etchings” exhibition at the Abbot Hall Art Gallery, Kendal, Cumbria, England. The show consisted of works created by Freud between 1939 and 1996. Apparently there were very small quantities of this lithograph printed for distribution at the opening night reception and they went quickly. The exhibition ran from June 25 to September 8, 1996. Printed by Balding + Mansell, Wisbech, England. Image copyright © The Lucian Freud Archive. [29447-2-800]

Artist: Andy Warhol (American, 1928 - 1987). Title: "One Multicolored Marilyn #2". Medium: Color offset lithograph. Date: Composed 1986. Dimensions: Overall size: 9 9/16 x 8 1/8 in. (243 x 206 mm).Lot Note(s): Signed in black felt tip pen, lower margin. Edition unknown, presumed very small. Cream wove smooth paper. Wide margins. Fine impression. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Literature/catalogue raisonne: cf. Feldman/Schellmann IIIA.3[a]. Comment(s): Rare. Issued to promote the 'Multicolored Marilyns Reversal Series' exhibition at the Akira Ikeda Gallery, Tokyo, Japan. The show consisted of 12 separate images of Marilyn. Apparently there were very small quantities of this lithograph printed for distribution at the opening night reception and they went quickly. The reception was held on December 5th, 1986 and the exhibition ran from December 6th to 25th. Printed by Takada Printing Co. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28813-1-600]

Artist: Damien Hirst (English, b.1965). Title: "Pharmacy Panel (Gold) (1997) (4 panel)". Medium: Color silkscreen and offset lithograph. Date: Composed 1997. Dimensions: Overall size: 36 x 42 1/2 in. (914 x 1079 mm). Image size: 36 x 42 1/2 in. (914 x 1079 mm).Lot Note(s): Signed lower right. Printed with five colors and metallic gold ink. The full sheet. Fine impression. Fine condition. Backed with a conservation support sheet. Provenance: Private collection, Birmingham, England. Comment(s): A panel of wallpaper (the complete pattern). In 1997, for his restaurant called 'The Pharmacy' located at Notting Hill Gate, London, Hirst designed wallpaper (the "wall chart") based on the pharmaceutical giant Merck’s handbook endpapers, showing pills and products and describing them with their pharmaceutical titles. Merck objected and he withdrew it as an artwork of wallpaper, after he had already plastered the restaurant with silver and gold sheets of the material. Hirst's venture gained further publicity thanks to a dispute with the Royal Pharmaceutical Society of Great Britain, which claimed the name, pill bottles, and medical items on display could confuse people looking for a real pharmacy. The name itself breached the Medicines Act 1968, which restricts the use of the word "pharmacy". The restaurant's name was subsequently changed to "Army Chap" and then "Achy Ramp" (anagrams of "pharmacy"). Initial plans to open further restaurants outside London were quietly dropped and the restaurant itself closed in September, 2003. Sotheby's dispersed its contents in 2004. There was a small overrun of the 1997 rolls, from which our example is a part. For the massive Pharmacy sale at Sotheby’s in 2004, though, new wallpaper was designed and made that didn’t offend copyright laws, using biblical titles and references to biblical passages. The 1997 wallpaper is much scarcer and more valuable than the 2004 version. Image copyright © Damien Hirst. [27848-6-1600]

Artist: Damien Hirst (English, b.1965). Title: "Pharmacy Panel (Silver) (1997) (4 panel)". Medium: Color silkscreen and offset lithograph. Date: Composed 1997. Dimensions: Overall size: 36 x 41 1/4 in. (914 x 1048 mm). Image size: 36 x 41 1/4 in. (914 x 1048 mm).Lot Note(s): Signed lower right. Printed with five colors and metallic silver ink. The full sheet. Fine impression. Fine condition. Backed with a conservation support sheet. Provenance: Private collection, Birmingham, England. Comment(s): A panel of wallpaper (the complete pattern). In 1997, for his restaurant called 'The Pharmacy' located at Notting Hill Gate, London, Hirst designed wallpaper (the "wall chart") based on the pharmaceutical giant Merck’s handbook endpapers, showing pills and products and describing them with their pharmaceutical titles. Merck objected and he withdrew it as an artwork of wallpaper, after he had already plastered the restaurant with silver and gold sheets of the material. Hirst's venture gained further publicity thanks to a dispute with the Royal Pharmaceutical Society of Great Britain, which claimed the name, pill bottles, and medical items on display could confuse people looking for a real pharmacy. The name itself breached the Medicines Act 1968, which restricts the use of the word "pharmacy". The restaurant's name was subsequently changed to "Army Chap" and then "Achy Ramp" (anagrams of "pharmacy"). Initial plans to open further restaurants outside London were quietly dropped and the restaurant itself closed in September, 2003. Sotheby's dispersed its contents in 2004. There was a small overrun of the 1997 rolls, from which our example is a part. For the massive Pharmacy sale at Sotheby’s in 2004, though, new wallpaper was designed and made that didn’t offend copyright laws, using biblical titles and references to biblical passages. The 1997 wallpaper is much scarcer and more valuable than the 2004 version. Image copyright © Damien Hirst. [27850-6-1600]

Artist: Jean-Michel Basquiat (American, 1960-1988). Title: "Piscine Versus the Best Hotels". Medium: Color offset lithograph. Date: Composed 1982. Printed 1984. Dimensions: Overall size: 7 1/8 x 8 1/4 in. (181 x 210 mm).Lot Note(s): Signed in black marker, lower right. Edition size unspecified, presumed very small. Very light cream wove paper. Wide margins. Fine impression. Very good to fine condition. Comment(s): Scarce, rare signed, and seldom seen. No auction records located. Issued for the opening night exhibition of "Jean Michel Basquiat – Paintings, 1981-1984" at the Fruitmarket Gallery, Edinburgh, Scotland (the exhibition ran from August 11th to September 23rd, 1984). Apparently there were very small quantities of this lithograph printed for distribution at the event and they went quickly. Published by The Fruitmarket Gallery. Printed in the Netherlands by Lecturis bv. This work was titled "The Hotel and the Piscine" at the exhibition. Image copyright © The Estate of Jean-Michel Basquiat/ADAGP, Paris; ARS, New York. [28983-2-600]

Artist: Al Hirschfeld (American, 1903 - 2003). Title: "Plastered [from the suite 'Harlem As Seen by Hirschfeld']". Medium: Original color lithograph. Date: Composed 1930s. Printed 1941. Dimensions: Overall size: 11 15/16 x 8 13/16 in. (303 x 224 mm).Lot Note(s): Signed in pencil, lower left; annotated "PP" in pencil, lower left; signed in the plate, lower right. A printer's proof aside from the edition of 1,000. Cream laid handmade Canson & Montgolfier (Annonay, France) paper. Wide margins. Fine impression. Fine condition. Provenance: Through Daniel W. Triggs, the executor of the estate of Frederick Triggs, Sr., the printer of the edition. Comment(s): Another impression of this lithograph, unsigned, was offered at $1,200 by Ro Gallery, Long Island City, New York, in April, 2020. Many of the Hirschfeld's images in the Harlem suite have become iconic representations of the African-American experience in the 1930's and are often considered to be the artist's best work. Printed by the Triggs Color Printing Corporation, New York; published by The Hyperion Press, New York. Image copyright © The Al Hirschfeld Foundation, New York. [30045-2-800]

Artist: E(rnest) H(oward) Shepard (British, 1879 - 1976). Title: "Pooh's Party". Medium: Original color offset lithograph. Date: Printed 1957. Dimensions: Overall size: 14 1/4 x 11 in. (362 x 279 mm).Lot Note(s): Signed with the initials in pencil, lower left; signed in the plate, lower right. Edition unknown, presumed small. Light cream textured laid paper. Wide margins. Fine impression. Good to very good condition; a few dimples in the sheet; minor creasing two corners and soft creasing upper right; pinhole in lower left margin; else very good. Comment(s): The lithograph illustrates a scene from “The World of Pooh.” Image copyright © The Disney Corporation and Dutton Children's Books. [30096-3-400]

Artist: Guillermo Meza (Mexican, 1917 - 1997). Title: "Que porque Eran Niños [plate 04 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel." Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez]". Medium: Lithograph in brown ink. Date: Composed 1962. Dimensions: Overall size: 17 7/8 x 13 11/16 in. (454 x 348 mm). Image size: 16 5/16 x 10 5/8 in. (414 x 270 mm).Lot Note(s): Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (of which all were printed?). Cream wove paper. Full margins. Fine impression. Very good condition. Provenance: Estate of Jaled Muyaes, one of the collaborators. Comment(s): Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. Prints by Meza are scarce. His work is in the collections of the Museo de Arte Moderno, Mexico City, the Museum of Modern Art, New York, the Art Institute of Chicago, and the San Francisco Museum of Modern Art. His 'expressionist - surrealist' paintings, with themes often drawn from Indian mythology, are often associated with artists such as Frida Kahlo and Agustín Lazo. [24466-3-225]

Artist: Andy Warhol (American, 1928 - 1987). Title: "Queen Margrethe (#2)". Medium: Color offset lithograph. Date: Composed 1985. Dimensions: Image size: 7 x 5 9/16 in. (178 x 141 mm).Lot Note(s): Signed in black felt tip pen, lower left. Edition unknown, presumed very small. Light cream wove paper. Fine impression. Fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Literature/catalogue raisonne: cf. Feldman/Schellmann II.343. Comment(s): Very scarce, and rare signed. Issued to promote the portfolio "Reigning Queens" published by George Mulder, Amsterdam. The portfolio consists of 16 separate images of each of four reigning queens: Queen Elizabeth II, Queen Beatrix, Queen Margrethe II, and Queen Ntombi Twala, all printed by Rupert Jasen Smith, New York. Apparently there were very small quantities of this lithograph printed for distribution at the opening night reception and they went quickly. The reception was held in the late afternoon of September 20th, 1985 at Castelli Uptown and the exhibition ran from September 21st to October 12th. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28665-1-500]

Artist: Keith Haring (American, 1958 - 1990). Title: "Barking Dog". Medium: Lithograph. Date: Composed 1982. Printed 1982. Dimensions: Overall size: 9 1/8 x 8 3/4 in. (232 x 222 mm).Lot Note(s): Signed by Haring in black marker, center right. A proof (?) from the edition of unspecified size. Cream wove paper. The full sheet. Fine impression. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Scarce. No auction records of a signed impression located. A print from the “portfolio” of 32 lithographs titled “Coloring Book [1982].” The print was issued as part of this work and since most of them were subsequently colored, few remain unblemished. Image copyright © The Keith Haring Foundation. [29124-2-800]

Artist: Willem de Kooning (Dutch/American, 1904 - 1997). Title: "Rainbow - Devil at the Keyboard [Thelonius Monk]". Medium: Color lithograph. Date: Composed 1975/76. Dimensions: Overall size: 35 1/2 x 24 1/2 in. (902 x 622 mm). Image size: 32 1/2 x 20 1/4 in. (825 x 514 mm).Lot Note(s): Signed in green crayon, lower right. A proof aside from the edition of 75/125. Light cream wove paper. Full margins. Fine impression with vibrant colors. Very good condition; minor handling dimples. Comment(s): Another impression of this print, also with the blue crayon signature, sold for $3,600 on May 16, 2013 at Swann Galleries, New York City, lot #10. According to 'Gordon's Art Reference' the auction record for the print is $5,124, sold May 3, 2011, Bonhams and Butterfields, San Francisco, lot #275. Published by the Rainbow Foundation, New York. Image copyright © The Willem de Kooning Foundation / Artists Rights Society (ARS), New York. [26897-6-1400]

Artist: Lucian Freud (German/English, 1922-2011). Title: "Reflection (Self-Portrait)". Medium: Color offset lithograph. Date: Composed 1985. Printed 1996. Dimensions: Overall size: 9 3/4 x 9 1/4 in. (248 x 235 mm).Lot Note(s): Signed in pencil with the initials (as customary), lower right. Edition unknown, presumed very small. Cream wove smooth paper. Wide margins. Fine impression. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Provenance: Private collection, Cumbria, England. Comment(s): Rare. No auction records located. Issued to promote the “Lucian Freud: Paintings and Etchings” exhibition at the Abbot Hall Art Gallery, Kendal, Cumbria, England. The show consisted of works created by Freud between 1939 and 1996. Apparently there were very small quantities of this lithograph printed for distribution at the opening night reception and they went quickly. The exhibition ran from June 25 to September 8, 1996. Printed by Balding + Mansell, Wisbech, England. Image copyright © The Lucian Freud Archive. [29449-2-800]

Artist: Kiki Kogelnik [kiki o.k.] (Austrian, 1935-1997). Title: "Rocket Ship". Medium: Color lithograph. Date: Composed 1963. Dimensions: Overall size: 16 x 23 1/8 in. (406 x 587 mm). Image size: 15 3/4 x 22 in. (400 x 559 mm).Lot Note(s): Signed with the initial in the plate, lower right. Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Joined sheets as issued; conservation backing. Comment(s): For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MoMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). [26803-4-300]

Artist: El Lissitzky (Russian, 1890-1941). Title: "Beat the Whites with the Red Wedge". Medium: Original color lithograph. Date: Composed 1919. Printed c1926. Dimensions: Image size: 18 1/4 x 22 1/8 in. (464 x 562 mm).Lot Note(s): Edition unknown, presumed very small. Off-white wove paper. Margins. Fine, strong impression. Overall good condition with no serious issues. Minor edge tears, not into the image. The work could be conserved easily. It has not been hinged. Literature/catalogue raisonne: Lissitzky-Kuppers 40. Comment(s): An extremely important print and arguably El Lissitzky's most famous image. Our example compares favorably with the example printed c1926 which sold for $41,400 at Swann Galleries, New York City, April 21, 2005, lot #70. In this propaganda object published during the Russian Civil War, the intrusive red wedge symbolizes the Bolsheviks, who are penetrating and defeating their opponents, the White Movement. Lazar Markovich Lissitzky was a Russian artist, designer, photographer, typographer, polemicist, and architect. He was an important figure of the Russian avant garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the former Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design. [27851-5-16000]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Sangerin der komischen Oper ["Singer of the Comic Opera"]". Medium: Original color lithograph & stencil/ pochoir. Date: Composed 1925. Printed later. Dimensions: Overall size: 9 7/8 x 7 1/8 in. (251 x 181 mm).Lot Note(s): Dated in the plate, lower left; Felix Paul Klee handstamp, verso. Edition unknown, presumed small. Cream wove textured paper. Ample margins. Fine impression with bright, fresh colors. Very good to fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until after the war. It was printed under the immediate supervision of Klee's son, Felix Paul Klee (1907-1990), a prominent art historian and later director of the Paul Klee Foundation. Image copyright © Artists Rights Society (ARS), New York. [29300-2-800]

Artist: Andy Warhol (American, 1928 - 1987). Title: "Self-Portrait [print]". Medium: Original color offset lithograph. Date: Composed 1978. Printed 1982. Dimensions: Overall size: 8 11/16 x 8 5/16 in. (221 x 211 mm).Lot Note(s): Signed in black marker, lower right. Edition unknown, presumed very small. Light cream coated wove paper. Wide margins. Fine impression. Fine condition. Provenance: Private collection, Sweden, thence to our consignor. Comment(s): Issued for the September-December 1982 exhibition of "Andy Warhol: Celebrity Portraits" at "I, A Private Club" in Hong Kong. Apparently there were very small quantities of this lithograph printed for distribution during the show and they went quickly. Published by OLS Ltd., Hong Kong. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [29245-2-800]

Artist: Andy Warhol (American, 1928 - 1987). Title: "Sportswear Jeans International [poster]". Medium: Color offset lithograph. Date: Composed 1982. Dimensions: Overall size: 39 1/16 x 27 1/4 in. (992 x 692 mm).Lot Note(s): Signed in black marker, lower right. Edition size unspecified, presumed very small. Cream wove paper. The full sheet. Fine impression. Good to very good condition; handling creases; no tears, foxing, holes, skinning, never hinged; presents very well. Provenance: Acquired directly from, and signed by, Warhol at the opening launch of the publication “Sportswear/Jeans International USA.” A copy of a letter detailing the acquisition accompanies the lot. Comment(s): Very rare. Only two auction records located. The poster is unknown to Marechal, although he discusses the Sportswear Jeans International magazine cover and includes a picture of it in his catalogue raisonne (Paul Marechal, "Andy Warhol: The Complete Commissioned Posters, 1964-1987," figure 72, pg. 100). The image on the cover of the magazine is the same as the poster image. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [29049-6-2400]

Artist: Lucian Freud (German/English, 1922-2011). Title: "Standing by the Rags". Medium: Color offset lithograph. Date: Composed 1988-89. Printed 1996. Dimensions: Overall size: 11 1/8 x 9 1/4 in. (283 x 235 mm).Lot Note(s): Signed in pencil with the initials (as customary), lower right. Edition unknown, presumed very small. Cream wove smooth paper. Wide margins. Fine impression. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Provenance: Private collection, Cumbria, England. Comment(s): Rare. No auction records located. Issued to promote the “Lucian Freud: Paintings and Etchings” exhibition at the Abbot Hall Art Gallery, Kendal, Cumbria, England. The show consisted of works created by Freud between 1939 and 1996. Apparently there were very small quantities of this lithograph printed for distribution at the opening night reception and they went quickly. The exhibition ran from June 25 to September 8, 1996. Printed by Balding + Mansell, Wisbech, England. Image copyright © The Lucian Freud Archive. [29450-2-400]

Artist: Jean-Michel Basquiat (American, 1960-1988). Title: "Subjects". Medium: Color offset lithograph. Date: Composed 1983. Printed 1983. Dimensions: Overall size: 9 5/8 x 8 1/2 in. (244 x 216 mm).Lot Note(s): Signed in black marker, lower right. Edition size unspecified, presumed very small. Very light cream wove paper. Wide margins. Fine impression. Fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Scarce, rare signed, and seldom seen. No auction records located. Issued for the opening night exhibition of "Jean-Michel Basquiat: Painting" at the Akira Ikeda Gallery, Tokyo, Japan (the exhibition ran from November 14th to December 10th, 1983). Apparently there were very small quantities of this lithograph printed for distribution at the event and they went quickly. Published by the Akira Ikeda Gallery and printed by the Takada Printing Co. Image copyright © The Estate of Jean-Michel Basquiat/ADAGP, Paris; ARS, New York. [29088-2-800]

Artist: Keith Haring (American, 1958 - 1990). Title: "Ten Cats". Medium: Lithograph. Date: Composed 1985. Printed 1986. Dimensions: Overall size: 11 3/4 x 11 3/4 in. (298 x 298 mm).Lot Note(s): Signed by Haring in gold marker. A proof (?) from the edition of unspecified size, presumed small (c250?). White wove paper. The full sheet. Fine impression. Fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Scarce. No auction records located. A print from the “portfolio” of 20 lithographs commonly referred to as “Keith Haring’s Coloring Book [1986].” The print was issued as part of this work and since most of them were subsequently colored, few remain unblemished. Image copyright © The Keith Haring Foundation. [29111-3-800]

Artist: Jean-Michel Basquiat (American, 1960-1988). Title: "Black". Medium: Color offset lithograph. Date: Composed 1986. Printed 1987. Dimensions: Overall size: 10 5/8 x 8 1/4 in. (270 x 210 mm).Lot Note(s): Signed in black marker, lower right. Edition size unspecified, presumed very small. Very light cream wove paper. Wide margins. Fine impression. Fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Scarce, rare signed, and seldom seen. No auction records located. Issued for the opening night exhibition of "Jean-Michel Basquiat: New Works" at the Akira Ikeda Gallery, Tokyo, Japan (the exhibition ran from February 7th to the 28th, 1987). Apparently there were very small quantities of this lithograph printed for distribution at the event and they went quickly. Published by the Akira Ikeda Gallery and printed by the Takada Printing Co. Image copyright © The Estate of Jean-Michel Basquiat/ADAGP, Paris; ARS, New York. [29081-2-800]

Artist: Rafael Coronel (Mexican, 1931-2019). Title: "Tiempo Tiepolo". Medium: Color offset lithograph. Date: Printed 1978. Dimensions: Overall size: 24 3/4 x 18 7/8 in. (629 x 479 mm). Image size: 24 3/4 x 18 7/8 in. (629 x 479 mm).Lot Note(s): Signed with the signature stamp, lower right; dedicated with the stamp, lower left verso; signed in the plate, lower right. Print #128 from the edition of unknown size (c150-200?). Cream lightly textured wove paper. Printed to the sheet edges. Fine impression. Very good to fine condition. Comment(s): Rafael Coronel, born in Zacatecas, State of Zacatecas, is the son-in-law of Diego Rivera and the brother of Pedro Coronel. His representational paintings have a melancholic sobriety, and include faces from the past great masters, often floating in a diffuse haze. Image copyright © Rafael Coronel. [28018-5-400]

Artist: Andy Warhol (American, 1928 - 1987). Title: "Travel Piece". Medium: Color offset lithograph. Date: Composed 1970. Dimensions: Overall size: 12 x 9 in. (305 x 229 mm).Lot Note(s): Signed in black marker, left center. Edition unknown, few survive. Cream wove paper. The "full sheet". Fine impression. Very good to fine condition. Provenance: Ex-collection John McWhinnie, the noted NYC rare-book dealer and gallerist; Private collection, Sweden, thence to our consignor. Comment(s): The original very rare Warhol designed cover and complete issue of “artsmagazine” April, 1970. Includes a three page article titled “Andy Warhol’s Travel Piece.” Borje Bengtsson, a leading world-wide dealer in Warhol material for over 30 years, indicated that it is the only signed copy he has ever seen. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [29035-2-1600]

Artist: Lucian Freud (German/English, 1922-2011). Title: "Two Plants". Medium: Color offset lithograph. Date: Composed 1977-80. Printed 1996. Dimensions: Overall size: 11 3/16 x 9 1/8 in. (284 x 232 mm).Lot Note(s): Signed in pencil with the initials (as customary), lower right. Edition unknown, presumed very small. Cream wove smooth paper. Wide margins. Fine impression. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Provenance: Private collection, Cumbria, England. Comment(s): Rare. No auction records located. Issued to promote the “Lucian Freud: Paintings and Etchings” exhibition at the Abbot Hall Art Gallery, Kendal, Cumbria, England. The show consisted of works created by Freud between 1939 and 1996. Apparently there were very small quantities of this lithograph printed for distribution at the opening night reception and they went quickly. The exhibition ran from June 25 to September 8, 1996. Printed by Balding + Mansell, Wisbech, England. Image copyright © The Lucian Freud Archive. [29448-2-400]

Artist: Sam Francis (American, 1923-1994). Title: "Uncle Sam Love Marilyn". Medium: Color lithograph. Date: Composed 1963. Dimensions: Overall size: 16 1/4 x 22 15/16 in. (413 x 583 mm). Image size: 16 x 22 7/16 in. (406 x 570 mm).Lot Note(s): Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Fine condition; centerfold as issued. Comment(s): For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MOMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). Text and/or image may be on verso. Image copyright © Estate of Sam Francis / Artists Rights Society (ARS), New York. [26796-4-225]

Artist: Keith Haring (American, 1958 - 1990). Title: "Untitled 1986 [postcard edition]". Medium: Color offset lithograph. Date: Composed 1987. Dimensions: Overall size: 6 x 4 1/4 in. (152 x 108 mm).Lot Note(s): Signed in black marker, lower right. Edition unknown. Light cream wove paper. Full margins. Fine impression. Fine condition. Comment(s): After the acrylic on canvas of the same name. Image copyright © The Keith Haring Foundation. [28403-1-300]

Artist: Andy Warhol (American, 1928 - 1987). Title: "Vesuvius #14". Medium: Color offset lithograph. Date: Composed 1985. Dimensions: Overall size: 8 7/8 x 9 in. (225 x 229 mm).Lot Note(s): Signed in black felt tip pen, center right. Edition unknown, presumed very small. Cream wove smooth paper. Ample margins. Fine impression. Fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Literature/catalogue raisonne: cf. Feldman/Schellmann II.365. Comment(s): Rare. Issued to promote the 'Vesuvius by Warhol' exhibition at the Museo di Capodimonte, Naples, Italy. The show consisted of over 30 separate images of Warhol's renditions of Vesuvius. Apparently there were very small quantities of this lithograph printed for distribution at the opening night reception and they went quickly. The reception was held on July 17th, 1985 and the exhibition ran from July 18th to October 31st. Printed by La Buona Stampa. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28837-2-800]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Zerstoerung und Hoffnung ["Destruction and Hope"]". Medium: Original color lithograph & stencil/ pochoir. Date: Composed 1916. Printed later. Dimensions: Overall size: 10 1/8 x 7 7/16 in. (257 x 189 mm).Lot Note(s): Signed in the plate, lower center; Felix Paul Klee handstamp, verso. Edition unknown, presumed small. Cream wove textured paper. Ample margins. Fine impression with bright, fresh colors. Very good to fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until after the war. It was printed under the immediate supervision of Klee's son, Felix Paul Klee (1907-1990), a prominent art historian and later director of the Paul Klee Foundation. Image copyright © Artists Rights Society (ARS), New York. [29293-1-600]

Artist: Roy Lichtenstein (American, 1923-1997). Title: "Brushstroke Contest". Medium: Color offset lithograph. Date: Composed 1988. Dimensions: Overall size: 34 x 24 in. (864 x 610 mm). Image size: 28 1/4 x 22 1/2 in. (718 x 571 mm).Lot Note(s): Signed in pencil, lower right. Edition size unspecfied, some printed, none distributed. White, medium-weight smooth wove paper. Full margins. Fine impression. Fine condition. Literature/catalogue raisonne: Unknown to Doering/Von der Osten. Not catalogued but existence noted in Corlett. Comment(s): An extremely rare poster. No auction records located. The contract to produce the posters for the XXIV Olympic Games in 1988 in Seoul was awarded to Lloyd Shin of Chicago, who had a gallery in Chicago and a gallery and contacts in Seoul. A number of prominent artists, including Lichtenstein, agreed to create images for the posters. It is unclear what happened but apparently the posters were never distributed, though a number were printed. A few were given to the participating artists. This image was then used by Lichtenstein later in 1988 for a lithograph of the same name, printed in 1989 (Corlett 235). Corlett states (pg.216) that "the image was initially designed for use as a poster for the 24th Olympiad, but it was never used for that purpose. The brushstrokes form the Chinese characters for 'contest'". Published by Lloyd Shin Gallery, Inc. Image © Estate of Roy Lichtenstein. [28315-6-2400]

Sir Terry Frost RA (British 1915-2003): 'It is True' (Lorca Sun) (Kemp 130), lithograph and etching on Somerset paper signed titled dated '91 and numbered 13/25 in pencil 56cm x 38cm with full margins

Harvey Daniels (British 1936-): 'Marc's Dogs', lithograph signed titled dated '75 and numbered 49/75 in pencil, pub. 'Portfolio of Prints by British Artists' by the United Kingdom National Committee of the International Association of Art, London 1975, 68cm x 48cm full sheet (unframed)

Morris Kestelman RA (British 1905-1998): 'Bonjour!', colour lithograph signed and numbered 49/50 in pencil, pub. 'Portfolio of Prints by British Artists' by the United Kingdom National Committee of the International Association of Art, London 1975, 50cm x 39cm with full margins (unframed)

CHAGALL, Marc, Werksverzeichnis III.Band "Lithograph", 1969, mit Original-Farblithos, Schutzumschlag

A Paul Hogarth ( 1917-2001) Artists Proof lithograph "Greenwich", 58cm x 78cm

Crimean War / Crimea - two antique 19th century Victorian prints:- A Panoramic View of the Sea of Azov, Kertch, Yenikale, Arabat etc. shewing the position recently taken by the Allies, likewise comprising the whole of the Crimea. Engraved by Butler, printed by Stannard and Dixon London June 5th1855, projected by kind permission from the latest government charts & plans & from sketches on the spot by a military engineer. On linen, size 75 by 56 cm. An original hand-coloured lithograph print.- Panoramic View of the Malakov Tower and Outworks, the Redan Battery, the Mamelon and the Quarries. Engraved by Thomas Packer, printed by Stannard and Dixon London June 9th1855. On linen, size 75 by 56 cm. An original hand-coloured lithographic print. Beneath the title is some text explaining the strategic importance of the quarries and the Mamelon works, with further information about the allied plans to attack. A French translation of title and text is also provided. Troops, gun batteries, and the Russian defences are shown in considerable detail.

Winston Churchill. Hand signed letter sent from Downing Street, 20th November 1951. To a Mr. Luton regarding the recent election success passing on the thanks of the Prime Minister. Framed and glazed and mounted, also with a limited edition lithograph numbered 62/250 with facsimile signature. Letter 16 x 17cm. Size of frame 103.5 x 63.5cm.

Otto Mueller - - 1874 Liebau/Riesengebirge - 1930 Obernigk bei Breslau Zigeunerfamilie am Planwagen. 1926/27. Farblithografie. Karsch 167 III. Auf bräunlichem Velin, auf Japan aufgezogen. 68,4 x 49,8 cm (26,9 x 19,6 in), Blattgröße. Blatt 8 der 'Zigeuner'-Folge. Abzug ohne die manuell aufgetragene Kolorierung mit Zinnoberrot, jedoch mit bräunlicher Färbung im Zaun und dem Tuch der Frau. [SM]. • Das Zigeunersujet ist gleichbedeutend mit dem Gesamtwerk Otto Muellers geworden. • Die 'Zigeuner'-Mappe ist das letzte große grafische Werk von Otto Mueller und nimmt eine zentrale Stellung in seinem Œuvre ein. Aufrufzeit: 18.06.2021 - ca. 13.45 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONOtto Mueller -1874 Liebau/Riesengebirge - 1930 Obernigk bei Breslau Zigeunerfamilie am Planwagen. 1926/27. Lithograph in colors. Karsch 167 III. On brownish wove paper, laid on Japon. 68.4 x 49.8 cm (26.9 x 19.6 in), size of sheet. Sheet 8 from the 'Zigeuner' series. Print without the manually applied coloring in vermilion, however, with brownish hue on the fence and the lady's scarf. [SM]. • The gipsy subject is tantamount to Otto Mueller's oeuvre. • The 'Zigeuner' (gipsy) portfolio is Otto Mueller's last graphic accomplishment and occupies a key position in his oeuvre. Called up: June 18, 2021 - ca. 13.45 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Otto Mueller - - 1874 Liebau/Riesengebirge - 1930 Obernigk bei Breslau Zwei Zigeunerkinder vor der Hütte. 1926/27. Farblithografie. Karsch 162 III B (von III B). Verso von Erich Heckel beschriftet: 'Maschka Mueller N. 9 Mappe III Zigeunerhütten mit Täubchen Mappe Nr. III Sonderdruck'. Eines von ca. 60 Exemplaren. Auf bräunlichem Maschinenbütten. 70 x 50 cm (27,5 x 19,6 in), Blattgröße. Blatt 3 der Folge 'Zigeuner', herausgegeben von der Galerie Neumann-Nierendorf, Berlin. [SM]. • Eines der besonders seltenen Blätter der 'Zigeuner'-Mappe auf dem internationalen Auktionsmarkt. • Die 'Zigeuner'-Mappe ist die letzte große grafische Leistung von Otto Mueller und nimmt eine zentrale Stellung in seinem Œuvre ein. PROVENIENZ: Aus dem Nachlass des Künstlers (verso mit dem nur noch schwer sichtbaren Stempel, Lugt 1829d). Privatsammlung Süddeutschland. Aufrufzeit: 18.06.2021 - ca. 13.46 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONOtto Mueller -1874 Liebau/Riesengebirge - 1930 Obernigk bei Breslau Zwei Zigeunerkinder vor der Hütte. 1926/27. Lithograph in colors. Karsch 162 III B (of III B). Verso inscribed by Erich Heckel: 'Maschka Mueller N. 9 Mappe III Zigeunerhütten mit Täubchen Mappe Nr. III Sonderdruck'. One of ca. 60 copies. On brownish paper. 70 x 50 cm (27.5 x 19.6 in), size of sheet. Sheet 3 from the series 'Zigeuner', published by Galerie Neumann-Nierendorf, Berlin. [SM]. • One of the very rare sheets from the 'Zigeuner' portfolio on the international auction market. • The 'Zigeuner' portfolio is Mueller's last great graphic accomplishment and has a key position in his oeuvre. PROVENANCE: From the artist's estate (with the barely visible stamp on the reverse, Lugt 1829d). Private collection Southern Germany. Called up: June 18, 2021 - ca. 13.46 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Otto Dix - - 1891 Gera - 1969 Singen Leonie. 1923. Farblithografie. Karsch 58/III b (von b). Signiert, datiert und nummeriert. Aus einer Auflage von 65 Exemplaren. Auf Maschinenbütten von Johann Wilhelm (mit den angeschnittenen Wasserzeichen). 47,4 x 37,4 cm (18,6 x 14,7 in). Papier: 59,6 x 46,6 cm (23,5 x 18,3 in). Herausgegeben von Karl Nierendorf, Berlin. [CH]. • Bei den Lithografien und Radierungen aus den frühen 1920er Jahren handelt es sich um die auf dem internationalen Auktionsmarkt gesuchtesten druckgrafischen Arbeiten des Künstlers. • Weitere Exemplare dieser Farblithografie befinden sich u. a. in der Sammlung des Museum of Modern Art, New York, des Kunstmuseums Bern und des Hammer Museum, Los Angeles. • Nach den traumatischen Erfahrungen und in der angespannten sozialen Lage nach dem Ersten Weltkrieg erhebt Dix die Außenseiter der Gesellschaft zum schillernden Motiv seiner Darstellungen. • Die karikaturesken, übersteigerten künstlerischen Mittel, mit denen Dix sein Anliegen zur Darstellung bringt, bestätigen seine große Wertschätzung als einer der bedeutendsten deutschen Grafikkünstler des frühen 20. Jahrhunderts. Aufrufzeit: 18.06.2021 - ca. 14.28 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONOtto Dix -1891 Gera - 1969 Singen Leonie. 1923. Lithograph in colors. Karsch 58/III b (of b). Signed, dated and numbered. From an edition of 65 copies. On machine-made laid paper from Johann Wilhelm (with the truncated watermark). 47.4 x 37.4 cm (18.6 x 14.7 in). Sheet: 59,6 x 46,6 cm (23,5 x 18,3 in). Published by Karl Nierendorf, Berlin. [CH]. • Lithographs and etchings from the early 1920s are among the artist's most sought-after graphic works on the international auction market. • Other copies of this color lithograph are part of the collections of, among others, the Museum of Modern Art, New York, the Kunstmuseum Bern and the Hammer Museum, Los Angeles. • Following the traumatic events of World War I and in context of an increasingly tense social situation, Dix declarde society's outsiders the dazzling main motif of his depictions. • The caricaturesque exaggerated artistic means that Dix uses to express his concern confirm his renown as one of most important German graphic artists of the early 20th century. Called up: June 18, 2021 - ca. 14.28 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Pablo Picasso - - 1881 Malaga - 1973 Mougins Faune aux branchages. 1948. Lithografie. Mourlot 113. Bloch 520. Signiert und nummeriert. Aus einer Auflage von 50 Exemplaren. Auf festem Velin von Arches (mit dem Wasserzeichen). 66 x 53 cm (25,9 x 20,8 in). Papier: 76,5 x 56 cm (30,1 x 22 in). [KT]. • Motivisch besonders harmonisches und daher gesuchtes Exemplar aus der am 10. März 1948 in Vallauris entstandenen Faun-Lithografiefolge. • Vor allem nach 1945 erreicht die Grafik in Picassos Schaffen ihren Höhepunkt an motivischer Vielfalt, Umfang und technischem Können. • Der Faun oder Satyr als mythologisches Wesen und Identifikationsfigur des Künstlers ist ein bedeutendes und wiederkehrendes Motiv im grafischen Werk Picassos. PROVENIENZ: Sammlung Dr. Ernst Hauswedell, Hamburg (bis 1957). Privatsammlung (1957 vom Vorgenannten erworben). Aufrufzeit: 18.06.2021 - ca. 15.49 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONPablo Picasso -1881 Malaga - 1973 Mougins Faune aux branchages. 1948. Lithograph. Mourlot 113. Bloch 520. Signed and numbered. From an edition of 50 copies. On firm Arches wove paper (with the watermark). 66 x 53 cm (25.9 x 20.8 in). Sheet: 76,5 x 56 cm (30,1 x 22 in). [KT]. • Particularly harmonious motif, sought-after copy from the Faun lithograph series created in Vallauris on March 10, 1948. • In terms of motif variety, scope and technical ability, Picasso's graphic accomplishments reached their peak after 1945. • The faun or satyr as a mythological being and a figure of identification for the artist is an important and recurring motif in Picasso's graphic work. PROVENANCE: Collection Dr. Ernst Hauswedell, Hamburg (until 1957). Private collection (acquired from the above in 1957). Called up: June 18, 2021 - ca. 15.49 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).

Pablo Picasso - - 1881 Malaga - 1973 Mougins Femme assise (Dora Maar). 1955. Farblithografie nach dem gleichnamigen Gemälde von 1944. Czwiklitzer 104. Rodrigo 038. Signiert, nummeriert und mit der typografischen Bezeichnung 'Mourlot Lith.'. Exemplar aus einer Auflage von 100 Exemplaren. Auf Velin von BFK Rives (mit Wasserzeichen). 92 x 60,2 cm (36,2 x 23,7 in). Papier: 104 x 69 cm (41 x 27,2 in). Gedruckt von Fernand Mourlot. Plakat vor der Schrift für die Picasso-Ausstellung im Musée des Arts Décoratifs, Paris, Juni-Oktober 1955. [EH]. • Dora Maar und Picasso sind 8 Jahre ein Paar. • Als erfolgreiche Fotografin ist Dora Maar ein fester Bestandteil des Pariser Surrealistenkreises. • Ihre Porträts von Picasso zählen zu den berühmtesten Kunstwerken des 20. Jahrhunderts. Aufrufzeit: 18.06.2021 - ca. 15.50 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONPablo Picasso -1881 Malaga - 1973 Mougins Femme assise (Dora Maar). 1955. Lithograph in colors after the painting of the same name from 1944. Czwiklitzer 104. Rodrigo 038. Signed, numbered and with typographic inscription 'Mourlot Lith.'. From an edition of 100 copies. On wove paper by BFK Rives (with watermark) 92 x 60.2 cm (36.2 x 23.7 in). Sheet: 104 x 69 cm (41 x 27,2 in). Printed by Fernand Mourlot. Poster before letters for the Picasso exhibition at the Musée des Arts Décoratifs, Paris, June-October 1955. [EH]. • Dora Maar and Picasso were a couple for 8 years. • As a successful photographer, Dora Maar was an integral part of the Parisian circle of surrealists. • Her portraits by Picasso are among the most famous works of art of the 20th century. Called up: June 18, 2021 - ca. 15.50 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Marc Chagall - - 1887 Witebsk - 1985 Saint-Paul-de-Vence L'Écho. 1961. Farblithografie. Mourlot 340. Cramer Livres 46. Signiert. Außerhalb der Auflage. Auf festem Velin von Arches (mit Wasserzeichen). 42 x 64 cm (16,5 x 25,1 in). Papier: 53,5 x 75,5 cm (21 x 29,7 in). Blatt 33 der Folge 'Daphnis und Chloé', wohl unnummeriertes Exemplar aus der Suite neben der Buchauflage. Gedruckt bei Mourlot, Paris. Herausgegeben von Tériade Editeur, Paris 1961. [SM]. • Die Folge 'Daphnis und Chloé' ist bis heute das größte Zeugnis der grafischen Meisterschaft Chagalls. • 1959-1961 illustriert Marc Chagall für Tériade die antike, bukolische Erzählung des Longus von Daphnis und Chloé. • Die Bukolik der literarischen Vorlage wird von Chagall kongenial in eine Bildsprache umgesetzt, die das pastoral-märchenhafte des Textes betont. Aufrufzeit: 18.06.2021 - ca. 16.00 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONMarc Chagall -1887 Witebsk - 1985 Saint-Paul-de-Vence L'Écho. 1961. Lithograph in colors. Mourlot 340. Cramer Livres 46. Signed. Copy aside from the edition. On firm wove paper by Arches (with the watermark). 42 x 64 cm (16.5 x 25.1 in). Sheet: 53,5 x 75,5 cm (21 x 29,7 in). Sheet 33 from the series 'Daphnis and Chloé', presumably unnumbered copy from the suite next to the book edition. Printed by Mourlot Frères, Paris, published by Tériade Éditeur, Paris 1961. [SM]. • The series 'Daphnis and Chloé' is still the greatest testimony to Chagall's graphic mastery. • From 1959 to 1961 Marc Chagall illustrated the ancient, bucolic tale of Daphnis and Chloé by Longus for Tériade. • The bucolic of the literary model is ingeniosuly transferred to Chagall's pictorial language which empasizes the text's pastoral and magical appeal. Called up: June 18, 2021 - ca. 16.00 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Marc Chagall - - 1887 Witebsk - 1985 Saint-Paul-de-Vence Roses et mimosas. 1967. Farblithografie von Charles Sorlier nach einer Gouache von Marc Chagall. Sorlier CS 29. Signiert und nummeriert. Im Stein bezeichnet 'Ch. Sorlier Sculp.' und 'Marc Chagall Pinx.'. Aus einer Auflage von 75 römisch nummerierten Exemplaren. Verso ohne die typografische Bezeichnung von Charles Sorlier. Auf Velin. 61 x 45,5 cm (24 x 17,9 in). Papier: 75 x 55,5 cm (29,5 x 21,8 in). [EH]. • Aus der Folge 'Nizza und die Côte d'Azur'. • Die Folge ist eine Liebeserklärung Chagalls an seine zweite Heimat. • Chagall findet in der Farblithografie sein Medium der Druckgrafik. PROVENIENZ: Privatsammlung Norddeutschland. Aufrufzeit: 18.06.2021 - ca. 16.01 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONMarc Chagall -1887 Witebsk - 1985 Saint-Paul-de-Vence Roses et mimosas. 1967. Lithograph in colors by Charles Sorlier after a gouache by Marc Chagall. Sorlier CS 29. Signed and numbered. Inscribed 'Ch.Sorlier Sculp.' and 'Marc Chagall Pinx.' in the stone. From an edition of 75 Roman numbered copies. On wove paper. 61 x 45.5 cm (24 x 17.9 in). Sheet: 75 x 55,5 cm (29,5 x 21,8 in). • From the series 'Nice and the Côte d'Azur'. • With this series Chagall declares his love to his second home. • To Chagall the color lithograpph is the print medium of his choice. PROVENANCE: Private collection Northern Germany. Called up: June 18, 2021 - ca. 16.01 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Marc Chagall - - 1887 Witebsk - 1985 Saint-Paul-de-Vence Le Songe du Capitaine Bryaxis. 1961. Farblithografie. Mourlot 328. Cramer Livres 46. Signiert. Auf Velin von Arches. 42 x 64 cm (16,5 x 25,1 in). Papier: 53,5 x 75,5 c (21 x 29,7 in). Blatt 21 der Folge 'Daphnis und Chloé', aus der Suite neben der Buchauflage. Gedruckt bei Mourlot Frères, Paris, herausgegeben von Tériade Editeur, Paris. [EH]. • Die Folge 'Daphnis und Chloé' ist bis heute das größte Zeugnis der grafischen Meisterschaft Chagalls. • Zur Vorbereitung der literatischen Illustration reiste Chagall zwei Mal nach Griechenland. • Die Arbeit an den Lithografien zu 'Daphnis und Chloe' nahm drei Jahre in Anspruch. Aufrufzeit: 18.06.2021 - ca. 16.02 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONMarc Chagall -1887 Witebsk - 1985 Saint-Paul-de-Vence Le Songe du Capitaine Bryaxis. 1961. Lithograph in colors. Mourlot 328. Cramer Livres 46. Signed. On wove paper by Arches. 42 x 64 cm (16.5 x 25.1 in). Sheet: 53,5 x 75,5 c (21 x 29,7 in). Sheet 21 from the series 'Daphnis and Chloé', from the suite next to the book edition. Printed by Mourlot Frères, Paris, published by Tériade Éditeur, Paris. [EH]. • The series 'Daphnis and Chloé' is still the greatest testimony to Chagall's graphic mastery. • For the preparation of these illustrations Chagall visited Greece twice. • Work on the lithographs 'Daphnis and Chloe' took three years. Called up: June 18, 2021 - ca. 16.02 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Marc Chagall - - 1887 Witebsk - 1985 Saint-Paul-de-Vence Le jugement de Chloé. 1961. Farblithografie. Mourlot 315. Cramer Livres 46. Signiert und nummeriert. Eines von 60 Exemplaren. Auf festem Velin von Arches (mit dem Wasserzeichen). 42 x 64 cm (16,5 x 25,1 in). Papier: 54 x 75,5 cm (21,3 x 29,7 in). Blatt 8 der Folge 'Daphnis und Chloé', aus der Suite neben der Buchauflage. Gedruckt bei Mourlot Frères, Paris, herausgegeben von Tériade Éditeur, Paris. [KT]. • 1959-1961 illustriert Marc Chagall für Tériade die antike, bukolische Erzählung des Longus von Daphnis und Chloé. • Besonders zarte, atmosphärische Darstellung, erfüllt von der Luft und dem Licht Griechenlands. Aufrufzeit: 18.06.2021 - ca. 16.04 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).ENGLISH VERSIONMarc Chagall -1887 Witebsk - 1985 Saint-Paul-de-Vence Le jugement de Chloé. 1961. Lithograph in colors. Mourlot 315. Cramer Livres 46. Signed and numbered. From an edition of 60 copies. On firm wove paper by Arches (with the watermark). 42 x 64 cm (16.5 x 25.1 in). Sheet: 54 x 75,5 cm (21,3 x 29,7 in). Sheet 8 from the series 'Daphnis and Chloé', from the suite next to the book edition. Printed by Mourlot Frères, Paris, published by Tériade Éditeur, Paris. [KT]. • The series 'Daphnis and Chloé' is still the greatest testimony to Chagall's graphic mastery. • From 1959 to 1961 Marc Chagall illustrates the ancient, bucolic tale of Daphnis and Chloé by Longus for Tériade. • Particularly delicate, atmospheric depiction, filled with the air and light of Greece. Called up: June 18, 2021 - ca. 16.04 h +/- 20 min. This lot can only be purchased subject to regular taxation (R).

Marc Chagall - - 1887 Witebsk - 1985 Saint-Paul-de-Vence Paris de la fenêtre. 1969/70. Farblithografie. Mourlot 599. Signiert und nummeriert. Eines von 50 Exemplaren. Auf Velin von Arches (mit dem Wasserzeichen). 83 x 60 cm (32,6 x 23,6 in). Papier: 99,5 x 70 cm (39,1 x 27,5 in). [EH]. • Marc Chagall nennt Paris den Wiederschein seines Herzens. • Paris, diese zweite Heimat Chagalls, taucht immer wieder in seinen Werken auf. • Die Bildikonografie ist bei Marc Chagall immer von seinen persönlichen Gefühlen geprägt. • Marc Chagalls lithografisches Werk besticht durch seine außerordentliche Güte. PROVENIENZ: Privatsammlung Baden-Württemberg (seit 1971 in Familienbesitz). Aufrufzeit: 18.06.2021 - ca. 16.05 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONMarc Chagall -1887 Witebsk - 1985 Saint-Paul-de-Vence Paris de la fenêtre. 1969/70. Lithograph in colors. Mourlot 599. Signed and numbered. From an edition of 50 copies. On wove paper by Arches (with the watermark). 83 x 60 cm (32.6 x 23.6 in). Sheet: 99,5 x 70 cm (39,1 x 27,5 in). [EH]. • Marc Chagall calls Paris the reverberation of his heart. • Paris, Chagall's second home, appears again and again in his works. • Marc Chagall's pictorial iconography is always shaped by his personal feelings. • Marc Chagall's lithographic work impresses with its extraordinary quality. PROVENANCE: Private collection Baden-Württemberg (family-owned since 1971). Called up: June 18, 2021 - ca. 16.05 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Ernst Ludwig Kirchner - - 1880 Aschaffenburg - 1938 Davos Badende. 1908/09. Farbige Kreidezeichnung. Verso mit dem kaum leserlichen Nachlassstempel des Kunstmuseums Basel (Lugt 1570 b) und der kaum lesbaren handschriftlichen Registriernummer 'FS / Dre [..]'. Auf leichtem, chamoisfarbenem Büttenkarton. 42,7 x 34,3 cm (16,8 x 13,5 in), nahezu blattgroß. [CH]. • Dynamisches, kräftiges und besonders farbstarkes Werk aus der besten 'Brücke'-Zeit. • Eindrucksvolle Körperlichkeit bei größter Freiheit des Duktus und strenger Reduzierung auf die Kontur. • Zur gleichen Zeit schafft der Künstler motivisch ähnliche Gemälde, u. a. 'Drei Akte im Walde' (1908, Stedelijk Museum, Amsterdam) oder 'Stehender und liegender Akt' (1908, Gordon 51). • Das Motiv der Badenden und der Akt im Freien zählen zu den Hauptmotiven der 'Brücke'-Künstler. Das Werk ist im Ernst Ludwig Kirchner Archiv, Wichtrach/Bern, dokumentiert. PROVENIENZ: Nachlass des Künstlers (Davos 1938, Kunstmuseum Basel 1946). Privatsammlung Frankreich. Privatsammlung Belgien (1999 durch Erbschaft vom Vorgenannten erhalten). Gemeinsam mit Karl Schmidt-Rottluff, Erich Heckel und Fritz Bleyl gründet Ernst Ludwig Kirchner 1905 in Dresden die Künstlergruppe 'Die Brücke'. In Ablehnung eines klassischen Kunststudiums studieren die Freunde stattdessen die moderne Kunst ihrer Zeit und widmen sich dem reinen Naturstudium, ohne sich von den traditionellen formalen, technischen und ästhetischen Regeln der Akademielehren beeinflussen zu lassen. Selbstbewusst und unbeirrt suchen sie nach ihrer ganz eigenen, individuellen künstlerischen Sprache. In dieser so bedeutenden, richtungsweisenden Zeit - der Geburtsstunde des Expressionismus - steht insbesondere die Darstellung des Menschen im Fokus der jungen Maler. Der Akt bildet für die 'Brücke'-Künstler 'die Grundlage aller bildenden Kunst', wie E. L. Kirchner selbst in seiner 'Chronik' schreibt (1913, zit. nach: Ausst.-Kat. Bremer Kunsthalle, 100 Jahre Brücke, Bremen 2005, S. 65). Dem Aktzeichnen widmet sich Kirchner in der Entstehungszeit unserer Arbeit nicht nur auf seiner ersten Fehmarn-Reise 1908 und während ausgedehnter Aufenthalte an den Moritzburger Teichen (ab 1909), sondern insbesondere auch im gemeinsamen Atelier im Arbeiterviertel Dresden-Friedrichstadt. In spontanen, dynamischen Zeichnungen studiert er die Eigenschaften des weiblichen Akts, den er nicht in erstarrt-akademischen, sondern in natürlichen und ungezierten Posen und Bewegungsabläufen zeichnet. Das Dresdener Atelier ist in diesen Jahren nicht nur Lebens- und Arbeitsraum der 'Brücke'-Künstler, sondern auch Treffpunkt für viele weibliche Amateurmodelle, die insbesondere E. L. Kirchner in zahlreichen, aus dem Moment geborenen Zeichnungen skizziert. Ebenso wie sich Kirchners künstlerisches Schaffen in diesen Jahren gegen das traditionelle Kunstverständnis richtet, entspricht auch sein Privatleben nicht den konservativen Moralvorstellungen der Wilhelminischen Ära. In seinem mit Vorhängen und Paravents dekorierten Atelier herrscht in diesen Jahren eine ungezwungene Freizügigkeit, die sich auch in den frei formulierten, lebhaften Zeichnungen widerspiegelt, in denen die akademische Darstellung des Aktes endgültig überwunden scheint. Innerhalb seines gesamten Schaffens räumt Kirchner der Zeichnung einen besonders hohen Stellenwert ein. Das Medium erlaubt ihm, die von den 'Brücke'-Künstlern gesuchte Unmittelbarkeit, die aus dem Moment geborene, natürliche Pose oder eine flüchtige Bewegung festzuhalten. So ist die hier angebotene, eindrucksvolle Darstellung einer momenthaften Atelierszene in ihrer Vereinfachung der Form, der Reduzierung auf raffinierte und selbstbewusst gesetzte Konturen in starken, kräftigen Farben sowie sicher geführtem Strich und der ungezwungenen Nacktheit der weiblichen Dargestellten nicht nur ein Zeugnis des bahnbrechenden künstlerischen Schaffens von E. L. Kirchner und der radikalen Kunstauffassung der 'Brücke'-Kunst, sondern auch des gesamten deutschen Expressionismus. [CH] Aufrufzeit: 18.06.2021 - ca. 19.24 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner -1880 Aschaffenburg - 1938 Davos Badende. 1908/09. Farbige Chalk drawing. With the barely legible estate stamp of the Kunstmuseum Basel (Lugt 1570 b) and the hand-written registration number 'FS / Dre [..]' on the reverse. On light creme board. 42.7 x 34.3 cm (16.8 x 13.5 in), nearly the full sheet. [CH]. • Dynamic, powerful and particularly colorful work from the best 'Brücke' times. • Impressive physicality with the greatest freedom of style and strict reduction to the contour. • At the same time the artist created, among others, the painting 'Drei Akte im Walde' (1908, Stedelijk Museum, Amsterdam) with a similar motif. • Bathers and plein-air nudes are among the main motifs of the 'Brücke' artists. The work is registered at the Ernst Ludwig Kirchner Archive, Wichtrach/Bern. PROVENANCE: From the artist's estate (Davos 1938, Kunstmuseum Basel 1946). Private collection France. Private collection Belgium (inherited from above in 1999). Together with Karl Schmidt-Rottluff, Erich Heckel and Fritz Bleyl, Ernst Ludwig Kirchner founded the artist group 'Die Brücke' in Dresden in 1905. In the established Dresden art scene, the young artists saw no significant prospects for themselves or their modern, progressive work at that time and tried to arouse the interest of a larger audience with their work in joint exhibitions. Rejecting classical art studies, the friends studied the modern art of their time instead and devoted themselves to the pure study of nature without the influence of the traditional, formal, technical and aesthetic rules of the academy. Confidently and unswervingly, they were on a quest for their very own, individual artistic style. Today 'Die Brücke' is considered to be one of the most important artist groups of the early 20th century. Naked people in free movement were the central theme for the painters of the 'Brücke'. They were not interested in studying a figure ideal in the traditional academic manner, but rather wanted to reproduce real life in their art in an unadulterated way, and this could be experienced most directly in the natural movement of naked people. During their summer stays at the Moritzburg Lakes near Dresden, the 'Brücke' painters developed a liking for the paradisiacal, sexually explicit life in nature. Drawing together in nature, which mainly yielded nude studies, the three artists Kirchner, Heckel and Pechstein developed their characteristic sharp style in the year 1910. The carefree summer stays also echo in the subsequent work, which the artists executed in their studios, such as it s the case with the lithograph 'Drei Akte im Wasser' (Three Nudes in Water). The seemingly simple work delivers proof of Kirchner's outstanding graphic skills. Kirchner's drawings, are characterized by an arrestingly poised line and a powerful expressiveness, from the years before World War I, testify to everything that made German Expressionism so unique. Ernst Ludwig Kirchner's drawings from this period are among the most important accomplishments of this era. Traditional viewing habits are questioned and focus was put on the pure drawing. Due to their unmatched quality, Kirchner's drawings make up an independent body of works in German Expressionism. Called up: June 18, 2021 - ca. 19.24 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Joseph Beuys - - 1921 Krefeld - 1986 Düsseldorf Proof zu Blatt 8 aus der Folge 'Zeichnungen zu Leonardo Codices Madrid'. 1974. Lithografie mit Bleistift. Rechts unten signiert und datiert sowie bezeichnet 'Litho und Bleistift', links unten bezeichnet 'proof'. Auf festem, glattem Velin. 25 x 32 cm (9,8 x 12,5 in), fast blattgroß. Probeabzug mit eigenhändigen Text-Ergänzungen des Künstlers in Bleistift zu Blatt 8 aus der Folge 'Zeichnungen zu Leonardo Codices Madrid'. Die Folge wurde herausgegeben von der manus presse, Stuttgart, 1975 (Schellmann 172). [EH]. • Proof zu einem Blatt aus der Mappe 'Zeichnungen zu Leonardo Codices Madrid'. • Joseph Beuys bewundert die Kunst, den wissenschaftlichen Ansatz und die Legende um die Person Leonardo da Vincis. • Zeichnen als Prozess und das Atelier als Laboratorium. PROVENIENZ: Privatsammlung Deutschland (direkt vom Künstler erworben). AUSSTELLUNG: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, 26.3.–22.5.2021. Als 1965 in der spanischen Nationalbibliothek in Madrid von dem Romanisten Jules Piccus die später als Codices Madrid bekannt gewordenen zwei Bände mit Notizen und Zeichnungen von Leonardo da Vinci entdeckt werden, gilt das als Sensation. Zehn Jahre später schafft Beuys eine Serie von Zeichnungen, die sich auf diese Bücher Leonardos beziehen. Seine Zeichnungen werden als Granolithografien in einer limitierten Buchauflage veröffentlicht. Beuys’ Beschäftigung mit Leonardo beginnt in den 1950er Jahren, in denen er eine „Giocondologie“, eine Wissenschaft von der Gioconda, der Mona Lisa, erfindet. In Leonardo sieht Beuys einen Ansatz, der ihn für seine Erweiterungsideen interessiert: „Da liegt ein Modell vor in Leonardo.“ (J. Beuys, zit. nach: Joseph Beuys, Spuren in Italien, Kunstmuseum Luzern, 1979, o. S.). In dem vorliegenden Druck mit angedeuteten oder ausgeführten tierischen Schädelformen und den Ergänzungen – neben dem Schädel rechts unten die Wörter „exterminated“ und „fossil“ – ist Beuys‘ Interesse für naturwissenschaftliche Zusammenhänge deutlich wahrnehmbar. [Eugen Blume] Aufrufzeit: 19.06.2021 - ca. 12.43 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJoseph Beuys -1921 Krefeld - 1986 Düsseldorf Proof zu Blatt 8 aus der Folge 'Zeichnungen zu Leonardo Codices Madrid'. 1974. Lithograph with pencil. Signed and dated in lower right, as well as inscribed 'Litho und Bleistift', lower left inscribed 'proof'. On firm smooth wove paper. 25 x 32 cm (9.8 x 12.5 in), nearly the full sheet. Trial proof with autogr. text additions by the artist in pencil for sheet 8 from the series 'Zeichnungen zu Leonardo Codices Madrid '. The series was released by manus presse, Stuttgart, 1975 (Schellmann 172). [EH]. • Proof for a sheet from the portfolio 'Zeichnungen zu Leonardo 'Codices Madrid' '. • Joseph Beuys admires the art, the scientific approach and the legends around Leonardo da Vinci. • Drawing as a process and the studio as a laboratory. PROVENANCE: Private collection Germany (acquired directly from the artist). EXHIBITION: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, March 26 – May 22, 2021. The discovery of two volumes of notes and drawings by Leonardo da Vinci, later known as Codices Madrid, by the romanist Jules Piccus in the Spanish National Library in Madrid in 1965 was a sensation. Ten years later, Beuys created a series of drawings that refer to these books by Leonardo. His drawings were published as granolithographs in a limited book edition. Beuys’ occupation with Leonardo began in the 1950s, when he invented a 'Giocondology', a science of the Gioconda, the Mona Lisa. Beuys sees an approach in Leonardo‘s work that he finds interesting in terms of his own ideas of expansion: “There is a certain model in Leonardo.” (J. Beuys, quote from: Joseph Beuys, Spuren in Italien, Kunstmuseum Luzern, 1979, no p.). With this print with the suggested or executed animal skulls and the additional inscription 'exterminated' and 'fossil', Beuys expresses his interest in science. [Eugen Blume] Called up: June 19, 2021 - ca. 12.43 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Cy Twombly - - 1928 Lexington - 2011 Rom Natural History Part I, Mushrooms. 1974. Folge von 10 Farblithografien mit Lichtdruck, Fotochromdruck, Collagen und Farbkreidezeichnung. Bastian 42-51. Alle monogrammiert, nummeriert sowie mit der geprägten römischen Blattnummer und dem Copyright-Vermerk. Aus einer Auflage von 98 Exemplaren. Auf Velin von Rives (ohne Wasserzeichen), eines auf Velin von Richard de Bas (mit Wasserzeichen). Jeweils 76 x 56 cm (29,9 x 22 in), Blattgröße. Gedruckt von Matthieu Studio, Zürich-Dielsdorf (mit dem Trockenstempel). Kassette nicht original. Blatt X stammt aus anderer Reihe des gleichen Mappenwerks. [AM]. • Besonders reizvolle druckgrafische Arbeit mit Unikatcharakter. • Zählt zu den bedeutendsten grafischen Werken Cy Twomblys. • 1977 und 1982 Teilnahme an der documenta 6 und 7. • Twombly verbindet hier collageartig Fotoarbeiten mit Zeichnungen. PROVENIENZ: Privatsammlung Norddeutschland. Aufrufzeit: 19.06.2021 - ca. 16.06 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONCy Twombly -1928 Lexington - 2011 Rom Natural History Part I, Mushrooms. 1974. Series of 10 Lithograph in colors with heliotype, photochrome, collages and color chalks drawing. Bastian 42-51. All monogrammed, numbered and with ebossed Roman sheet number and copyright note. From an edition of 98 copies. On wove paper by Rives (without atermark), one on Richard de Bas wove paper (with watermark). Each 76 x 56 cm (29.9 x 22 in), size of sheet. Printed by Matthieu Studio, Zürich-Dielsdorf (with blindstamp). Not in original case. Sheet X from another series of the same portfolio. [AM]. • Particularly appealing graphic series of unique character. • One of Cy Twombly's most important graphic works. • The artist participated in documenta 6 and 7 in 1977 and 1982 • Twombly combines photo works with drawings. PROVENANCE: Private collection Northern Germany. Called up: June 19, 2021 - ca. 16.06 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Anke Doberauer - - 1962 Bad Homburg - lebt und arbeitet in Marseille und München Leentje & Sauro. 2014. Farblithografie. Signiert, datiert, nummeriert und bezeichnet. Aus einer Auflage von 50 Exemplaren. Auf Velin. 50,2 x 40,1 cm (19,7 x 15,7 in), Blattgröße. [AM]. • Erstmals auf dem internationalen Auktionsmarkt. • Anke Doberauer ist seit 2003 Professorin für Malerei und Grafik an der Akademie der Bildenden Künste München. • 2006 Teilnahme an der Art Basel 37. Aufrufzeit: 19.06.2021 - ca. 17.53 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAnke Doberauer -1962 Bad Homburg - lebt und arbeitet in Marseille und München Leentje & Sauro. 2014. Lithograph in colors. Signed, dated, numbered and inscribed. From an edition of 50 copies. On wove paper. 50.2 x 40.1 cm (19.7 x 15.7 in), size of sheet. [AM]. • On the international auction market for the first time. • Since 2003 Anke Doberauer has been teaching painting and graphic art in Munich. • In 2006 the artist participated in Art Basel 37. Called up: June 19, 2021 - ca. 17.53 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

A lithograph after Henri Matisse, One Thousand and One Nights, 20' x 47'

An indisdinctly signed lithograph of a female nude, numbered 3/8. 19' x 13½'

ALFONS MUCHA (1860 – 1939) Bruyère de Falaisesigned in plate (lower right) lithograph in colours proof before letters, A+ 66.5 x 27.3 cm executed in 1902 Provenance: Private collection, Monaco

JEAN COCTEAU (1889-1963) Chapelle Saint-Pierre, Villefranche-sur-Merlithograph in colours 75 x 52 cm, framed 80 x 60 cm printed by Mourlot Paris, 1957 Provenance: Private collection, South of France

PETER BEHRENS (1868 – 1940) The Kiss (Der Kuss)monogram (lower edge) lithograph in colours 27 x 21,5 cm

Walasse Ting (1929 - 2010)Reclining nudesigned (lower right) and numbered 31/100 (lower left)lithograph in colours72x101 cm