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Click here to subscribeTÀPIES, ANTONI (1923-2012) "Berlin Suite" 1974 Farblithografie, das Blatt stammt aus der 10-teiligen "Berlin Suite", sig., Darstellungsmaß: 76 x 55cm. Unregelmäßig gebräunt. Rahmen, HxB: 90/70 cm. | TÀPIES, ANTONI (1923-2012) ‘Berlin Suite’ 1974Colour lithograph, the sheet is from the 10-part ‘Berlin Suite’, signed, image size: 76 x 55cm. Irregularly browned. Frame, hxw: 90/70 cm.
BRAQUE, GEORGES (1882-1963) "L'Oiseau traversant le nuage" 1957 Farblithographie, handsigniert und nummeriert 34/75, Platte monogram., HxB: 41/69 cm. Leichte Altersspuren. Rahmen, HxB: 80(107 cm. Provenienz: Bedeutende Privatsammlung moderner Kunst in Nordrhein-Westfalen.| BRAQUE, GEORGES (1882-1963) "L'Oiseau traversant le nuage" 1957Colour lithograph, signed and numbered 34/75, monogrammed plate, hxw: 41/69 cm. Slight traces of age. Frame, hxw: 80(107 cm. Provenance: Important private collection of modern art in North Rhine-Westphalia.
BUCHT IN VILLEFRANCHE, Farblithografie, im unteren Teil sign, betitelt und nummeriert: „F. Kiener (Kiener Florence) / 23/180 / Villefranche Provence“. HxBxT: 39/50 (65/72 mit Rahmen) cm. Leichte Altersspuren. | BAY IN VILLEFRANCHE, Colour lithograph, signed, titled and numbered in the lower part: ‘F. Kiener (Kiener Florence) / 23/180 / Villefranche Provence’. HxWxD: 39/50 (65/72 with frame) cm. Slight traces of age.
CHAGALL, MARC (1887-1985) "Selbstbildnis" 1974 Farblithografie auf Velin, WVZ Mourlot 709, signiert und nummeriert, aus einer Auflage von 50 Exemplaren, Blatt, HxB: 75,5/54 cm. Ränder min. verfärbt. Rahmen, HxB: 101/78 cm. Provenienz: Terminus Galerie, München. Privatsammlung Baden Baden. | CHAGALL, MARC (1887-1985) ‘Self-portrait’ 1974 Colour lithograph on wove paper, WVZ Mourlot 709, signed and numbered, from an edition of 50, sheet, HxW: 75.5/54 cm. Margins min. discoloured. Frame, hxw: 101/78 cm. Provenance: Terminus Gallery, Munich. Private collection Baden Baden.
CHAGALL, MARC (1887-1985) "La fenêtre entrouverte" 1975. Lithografie, signiert und nummeriert, aus einer Auflage von 50 Exemplaren, WVZ Mourlot 738, Bild: 37 x 27 cm., Papier: 59 x 44 cm. Rahmen, HxB: 71/57 cm. Provenienz: Terminus Galerie, München.Privatsammlung Baden Baden.| CHAGALL, MARC (1887-1985) "La fenêtre entrouverte" 1975.Lithograph, signed and numbered, from an edition of 50, WVZ Mourlot 738, image: 37 x 27 cm, paper: 59 x 44 cm. Frame, hxw: 71/57 cm. Provenance: Terminus Gallery, Munich.Private collection Baden Baden.
ARP, JEAN (1886-1966) "Konstellation von fünf Formen" 1956. Farblithografie, Ed. 124/125, signiert, HxB: 54,5/38,5 cm. (Bild) Minimal gebräunt. Rahmen, HxB: 82/66 cm. Provenienz: Bedeutende Privatsammlung moderner Kunst in Nordrhein-Westfalen.| ARP, JEAN (1886-1966) "Constellation of five forms" 1956.Colour lithograph, ed. 124/125, signed, HxW: 54.5/38.5 cm. (Image) Minimally browned. Frame, hxw: 82/66 cm. Provenance: Important private collection of modern art in North Rhine-Westphalia.
WUNDERLICH, PAUL (1927-2010), „Minerva“, Farblithografie, im unteren teil handschriftlich signiert und nummeriert „41/100“. HxB: 80,5/59 cm. Altersspuren.| WUNDERLICH, PAUL (1927-2010), ‘Minerva’, Colour lithograph, handwritten signature and numbered ‘41/100’ in the lower part. HxW: 80.5/59 cm. Traces of age.
SHINODA, TOKO (1913-2021) "Between" Lithographie, handkoloriert, signiert und betitel unten rechts, Ex. 8/10, HxB: 53/70 cm. Blatt minimal gebräunt. Rahmen, HxB: 62/79 cm. | SHINODA, TOKO (1913-2021) ‘Between’ Lithograph, hand-coloured, signed and titled lower right, Ex. 8/10, HxW: 53/70 cm. Sheet minimally browned. Frame, hxw: 62/79 cm.
CHAGALL, MARC (1887-1985) "Der grüne Clown" 1967 Farblithographie auf Arches, aus der Buchausgabe von 250, WVZ 505, Blatt: 42/32 cm. Rahmen, HxB: 70/57 cm. Provenienz: Terminus Galerie, München.Privatsammlung Baden Baden.| CHAGALL, MARC (1887-1985) "The Green Clown" 1967Colour lithograph on Arches, from the book edition of 250, WVZ 505, sheet: 42/32 cm. Frame, HxW: 70/57 cm. Provenance: Terminus Gallery, Munich.Private collection Baden Baden.
Zwei Porsche-Plakate nach Entwurf von STRENGER, ERICH (1922-1993), 1) "Riverside Can-Am" 29. Oktober 1972, u.re. signiert und nummeriert 221/250, Farboffsetlithographie, HxB Platte ca. 56x42 cm, Blatt ca. 68x51 cm. Altersspuren.2) "Final Standings Can-Am Series" 1973, u.re. signiert und nummeriert 221/250, Farboffsetlithographie, HxB Platte ca. 56x42 cm, Blatt ca. 68x51 cm. Altersspuren.| Two Porsche posters after a design by STRENGER, ERICH (1922-1993),1) “Riverside Can-Am” October 29, 1972, signed and numbered 221/250 lower right, color offset lithograph, HxW plate approx. 56x42 cm, sheet approx. 68x51 cm. Traces of age.2) “Final Standings Can-Am Series” 1973, signed and numbered 221/250 lower right, color offset lithograph, HxW plate approx. 56x42 cm, sheet approx. 68x51 cm. Traces of age.
NOLDE, EMIL HANSEN (1867-1956) "Segler" 1910 Lithografie um 1910 von der Pinselzeichnung "Segler", auf Japanpapier, rechts unten handsigniert und datiert 10, Passepartoutausschnitt, HxB: 35,5/46,5 cm. Unter Glas gerahmt, HxB: 51/63 cm. | NOLDE, EMIL HANSEN (1867-1956) ‘Sailor’ 1910Lithograph c. 1910 from the brush drawing ‘Segler’, on Japanese paper, signed and dated 10 lower right, mat cut-out, hxw: 35.5/46.5 cm. Framed under glass, hxw: 51/63 cm.
COCTEAU,JEAN (1889-1963) "Profil avec les Yeux fermés" 1957 Farblithographie, sig., Ex. 45/150, HxB: 58/44 cm. Altersspuren, Ränder gering gebräunt, mit schwacher Druckspur. Rahmen, HxB: 78/64 cm. | COCTEAU,JEAN (1889-1963) ‘Profil avec les Yeux fermés’ 1957Colour lithograph, signed, Ex. 45/150, HxW: 58/44 cm. Traces of age, margins slightly browned, with faint pressure mark. Frame, hxw: 78/64 cm.
MIRO, JOAN, 1893-1983, (NACH) "Cartones" 1965 Lithographie/Pochoir, in der Platte signiert, Ex.1300/2000, Ex. 756/2000, Ex. 1151/2000, Maße: 32,5 X 23 cm, gerahmt.| MIRO, JOAN, 1893-1983, (AFTER) "Cartones" 1965Lithograph/pochoir, signed in the plate, Ex.1300/2000, Ex. 756/2000, Ex. 1151/2000, dimensions: 32.5 X 23 cm, framed.
WUNDERLICH, PAUL (1927-2010), ZWEI GRAFIKEN, „Korrespondenz“ Lithografie, E.A., HxB: 66/50 cm;„Mittagessen im Gras“ Lithografie, nummeriert 32/100, HxB: 93/67 cm, unten zwei Einrisse.Beide Grafiken Handschriftlich signiert. Altersspuren.| WUNDERLICH, PAUL (1927-2010), TWO GRAPHICS, ‘Korrespondenz’ lithograph, E.A., hxw: 66/50 cm; ‘Mittagessen im Gras’ Lithograph, numbered 32/100, HxW: 93/67 cm, two tears at the bottom.Both prints signed by hand. Traces of age.
MIRÓ,JOAN (1893-1983) "Ma de Proverbis" 1970 Farblithographie, Bleistift signiert, nummeriert 55/75, HxB: 56,5/76 cm. Rahmen, HxB: 69/89 cm. Provenienz: Bedeutende Privatsammlung moderner Kunst in Nordrhein-Westfalen. | MIRÓ,JOAN (1893-1983) "Ma de Proverbis" 1970 Colour lithograph, signed in pencil, numbered 55/75, HxW: 56.5/76 cm. Frame, hxw: 69/89 cm. Provenance: Important private collection of modern art in North Rhine-Westphalia.
CHAGALL, MARC (1887-1985) "Artiste et thèmes bibliques" 1974 Farblithographie auf Arches, mit Bleistift signiert, nummeriert 3/50, HxB: 56,6/75 cm. Oberfläche durch Sonnenlicht etwas verfärbt, Rahmen, HxB: 67/85 cm. Provenienz: Bedeutende Privatsammlung moderner Kunst in Nordrhein-Westfalen.| CHAGALL, MARC (1887-1985) "Artiste et thèmes bibliques" 1974Colour lithograph on Arches, signed in pencil, numbered 3/50, hxw: 56.6/75 cm. Surface somewhat discoloured by sunlight, frame, hxw: 67/85 cm. Provenance: Important private collection of modern art in North Rhine-Westphalia.
CHAGALL, MARC (1887-1985) "La Nuit à Paris" Farblithographie aus Derrière le miroir von 1954, HxB: 31/27 cm. Rahmen, HxB: 58/46 cm. Provenienz: Bedeutende Privatsammlung moderner Kunst in Nordrhein-Westfalen.| CHAGALL, MARC (1887-1985) "La Nuit à Paris"Colour lithograph from Derrière le miroir from 1954, HxW: 31/27 cm. Frame, HxW: 58/46 cm. Provenance: Important private collection of modern art in North Rhine-Westphalia.
40 Original Athena posters - Various themes, all printed on paper stock, flat, various sizes, mainly 35 x 23.5 inches. Running Horse, 1984, artworks by Jan Huston at Michael Woodward Associates, printed on paper stock, flat, 35 x 23.5 inches; Sunday Supper, 1982 Tony Stone Photo Library, printed on paper stock, flat, 35 x 23.5 inches; The Team, 1982 - Photography by Tony Stone Associates, printed on paper stock, flat, 35 x 23.5 inches; Dream Horses, 1975 - W&S Fotographi, printed on paper stock, flat, 35 x 23.5 inches; The Boss, 1982, printed on paper stock, flat, 35 x 23.5 inches; Uncle Albert, 1982, Boisgibault, 1981, Sancere from Les Nues, 1981, artworks by Ha Van Vuong; La Grande Rue, 1980, Galerie De La Presidence, 1979, artworks by M. De Gallard; Woodland Water, 1979, Frosty Stile, 1981, Meadowlands, 1981, artworks by Colin Paynton; Morning Calm, 1978, artwork by E J Spencer; Thai Fisherman, 1979, Man Of La Mancha, 1980, artworks by Frank Paynton; Blue Model (aka Blue Nude), artwork by Pablo Picasso; The Luncheon Of The Boating Party, Path Climbing Through Long Grass, 1874, artworks by Pierre Auguste Renoir; Hunters In The Snow, artwork by Pieter Brueghel; Peach Tree, artwork by Vincent Van Gogh.Les Grandes Baigneuses, - artwork by Auguste Renoir; Road With Cypress And Star, 1890, artwok by Vincent Van Gogh; Lithograph Originales, - artwork by Georges De Feure; Expectation, - artwork by Gustav Klimt; Evening Tide, 1979, - artwork by James Spencer; The Butterfly Ferry, The Nightingale, - artworks by Ida Outhwaite; Mona Lisa, - artwork by Leonardo Da Vinci; A Bar At The Folies-Bergere, - artwork by Edouard Manet; Metamorphosis Of Narcissus, - artwork by Salvador Dali; Hylas And The Nymphs, Echo And Narcissus, - artworks by John Waterhouse; Carnival Evening, 1866, - artwork by Henri Rousseau; Ville De Avray, Jean Corot; Jane Avril, - artwork by Toulouse-Lautrec; Dawn Anchorage, 1980, - artwork by Jim Spencer; Cheetahs, 1984, Prowling Tiger, 1984, artworks by Jan Huston at Michael Woodward Associates, Wine, 1983, Cocktails, 1983, - artworks by Jim Spencer
Henri Matisse (1869-1954), lithograph in colours on paper, Travail et Joie (Work and Joy) 1947, signed in the plate, 26.5cm x 16cm, mounted, glazed and framed. Thislithograph was printed in 1959 by Mourlot Freres, the original printer of the poster. It is an exact reprint of the original ten colour lithographic poster in all but size . Condition Report:
Henri Toulouse-Lautrec (1864-1901), limited edition lithograph in five colours on watermarked paper, La Clownesse assisse, numbered in pencil lower right with the blindstamp of the Toulouse-Lautrec Circle lower left, 51cm x 38cm, Ed. 33/1250, mounted, glazed and framed. From Elles, Toulouse-Lautrec’s controversial suite oflithographs of the life of prostitutes in a Paris brothel originally published in 1896. This edition of the suite was published by the Toulouse-Lautrec Circle of London inNovember 1969 in a limited edition of 1250 and printed on watermarked paper specially made by Papeteries de Lana of Docelles, France and printed by the Westerham Press in Kent . Condition Report:
Edward Bawden (1903-1989), original colour lithograph on paper, The Bell, from Life in an English Village, printed at the Curwen Press in 1949, 9.7cm x 15.5cm, mounted. These drawings of his home village, Great Bardfield, were made directly on to lithographic zinc plates by Bawden for this famous work. The customer on the left is a portrait of the artist John Aldridge . Condition Report:
George Grosz (1893-1959), lithograph on paper, Eheszene – Marriage Scene (1915), 20.5cm x 19.5cm, mounted, glazed and framed, from the first edition of EcceHomo, Berlin, 1923. Ecce Homo, Grosz’s depiction of the sordid and corrupt night-life of Berlin in the early 1920’s, is considered one of his greatest works, but only a small proportion of the first edition survived, as a result of the public book burnings of the Nazis in 1933 . Condition Report:
Lyell (Charles) Principles of Geology, 3 vol., mixed set, vol.1 and 2 second edition, vol.3 first edition, 2nd edition of volumes 1 and 2, 1st edition of volume 3, 2 hand-coloured aquatint plates, 6 uncoloured engraved or lithograph plates and 3 maps (2 hand-coloured and 2 folding), numerous wood-engravings illustrations, without publisher's adverts at rear of each vol., lacking half-title to volume 3, some foxing and offsetting, contemporary green half calf, burgundy spine labels, spines gilt,, a little rubbed, [PMM 344; Dibner 96; Grolier/Horblit 70; Milestones of Science 140; Norman 1398, all for first edition], 8vo, 1832-33.
Sowerby (James de Carle) and Edward Lear. Tortoises, Terrapins, and Turtles, first edition, 60 fine lithograph plates, all but 3 hand-coloured and heightened with gum arabic, some foxing, mostly to text and to plate guards, gutta percha perished with all leaves loose, original morocco-backed cloth, spine lettered in gilt, a little rubbed, [Nissen ZBI 1701], folio, London, Paris, and Frankfurt, Henry Sotheran, Joseph Baer & Co., 1872.*** Lear originally prepared the plates from Sowerby's drawings for Bell's Monograph of the Testudinata, published in parts from 1836 to 1842 but with only 40 plates as the publication was never completed. Sotherans bought up the remaining stock of plates including 20 unpublished ones and issued them in this format with text by J.E.Gray of the British Museum.
Asia.- Tassin (Jean-Baptiste Athanase) Map of Eastern Asia, comprising China, parts of Tibet and Mongolia, Bootan, Assam, Burma and Eastern Bengal with Anam, Cambodia, Siam, Laos, the Malay Peninsula and the Indian archipelago, lithograph with fine hand-colouring, sheet 1050 x 735 mm (41 1/4 x 28 7/8 in), dissected and mounted on linen, minor surface dirt and browning, folding with green coloured endpapers, in green slipcase with publisher's printed label to upper cover, worn, 4to, Calcutta, 1840. *** Scarce map, published in Calcutta. We cannot trace another example at auction. Tassin joined a voyage to East Asia as a naturalist, but his ship was wrecked in the Malay Archipelago, leaving Tassin impoverished in Singapore. He is recorded being in Calcutta by 1828, where he set up his own printing press, the Oriental Lithographic Press, which he ran until 1842 to great success.
Mediterranean.- Lear (Edward) Journals of a Landscape Painter in Albania, &c., first edition, presentation copy signed and inscribed by the author to William Holman Hunt on front free endpaper and at head of title, engraved map frontispiece and 20 tinted lithograph plates, foxing, mostly to plates, original cloth, recased, rubbed and soiled, 8vo, 1851.*** A lovely association copy. Lear first met Holman Hunt in 1852, the year of this book's presentation, when Lear was aged 40 and Holman Hunt was 25. It was Holman Hunt who was the established artist and Lear who was the artistically uneducated junior. The friendship between the two men would last over three decades until Lear’s death in 1888 with Lear addressing the younger man as “my dear Daddy” or “my dear old Daddy”.
LAURENCE STEPHEN LOWRY (BRITISH, 1887-1976)The Fever Van signed in biro 'L. S. Lowry' and with Fine Art Trade Guild blind stamp EJE, no. 475 (in lower margin), number 475 from the edition of 700 lithograph in colours 41.5 x 51.5cm ARR Provenance Private collection, UK Footnote The Fine Art Trade Guild blind stamp indicates that this is number 475 from the edition of 700Condition reportAcidic mount.Some discolouration/yellowing, mostly to borders/margins.Otherwise appears generally good and colours appear strong.Under glass and not examined out of frame.
DAVID HOCKNEY (BRITISH, B. 1937)Diver, Olympische Spiele München 1972 offset lithograph on heavy stock paper 98 x 62cm (unframed) ARRCondition reportA little discolouration and yellowing to edges of paper in lower section (under main image), to lower left, right and bottom edge of paper.Otherwise appears generally good.
LAURENCE STEPHEN LOWRY (BRITISH, 1887-1976)The Notice Board (1975) signed in pencil 'L S Lowry' and with Fine Art Trade Guild Stamp CAD, no. 204 (in lower margin) lithograph in colours 40 x 50.5cm ARR Provenance Private collection, UKCondition reportAcidic mount.A little discolouration/yellowing to borders/margins.Otherwise appears generally good and colours appear strong.Under glass and not examined out of frame.
JOAN MIRO (SPANISH, 1893-1983)Lucifer signed and numbered 'Miro 24/75' (in lower margin) lithograph 77 x 56cm ARR Provenance Alley Gallery; Private collection, UKCondition reportThe sheet is sound, good condition overall, no discolouration or fading. Framed and under glass; unexamined out of frame.
LAURENCE STEPHEN LOWRY (BRITISH, 1887-1976)The Family signed in pencil 'L. S. Lowry' and with Fine Art Trade Guild blind stamp JBE, no. 715 (in lower margin) lithograph in colours 26 x 21cm ARR Provenance Private collection, UKCondition reportThe sheet is sound, strong colour; in excellent condition throughout; framed and under glass, unexamined out of frame.
GRAHAM SUTHERLAND (BRITISH, 1903-1980)Fossil with Rock and Flames (1975) (Tassi 170) signed and numbered in pencil 'Sutherland 98/99' (in lower margin) lithograph in colours, printed by Fernand Mourlot, Paris, published by Ediciones Poligrafa S. A., Barcelona 27.5 x 54cm ARR Provenance Alley Gallery, Richmond-upon-Thames, London (as Flames in a Rock Form); Private collection, UK
HENRY MOORE (BRITISH, 1898-1986)Three Reclining Figures on Pedestals (1966) signed, dated and numbered in pencil 'Moore 66 61/75' (in lower margin) lithograph in six colours 31 x 26.5cm CGM 62 ARR Provenance Sale, Christie's, 19th July 2000, lot 40; Private collectionCondition reportThe sheet is sound and the work in good, overall condition, strong colour; framed and under glass, unexamined out of frame.
JULIAN TREVELYAN (BRITISH, 1910-1988)Green Oxen (1968) signed, numbered and titled 'Julian Trevelyan 6/25' (in lower margin) lithograph in colours 38 x 50.5cm (unframed) ARR Provenance Private collection, UKCondition reportLight creasing to lower and right borders; crease and light staining to upper right corner of sheet; media spot off upper central border; generally sound overall.
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