Die Kunst der GraphikSammelmappe der Edition Volker Huber/Offenbach am Main, mit 6 von 7 Graphiken: Esteban Fekete, "La Poule", Farbholzschnitt, Ernst Fuchs, "Flora Okuli", Aquatintaradierung, Rudolf Hausner, "Adams Lebensbaum", Farb-Serigraphie, Horst Janssen, "Selbstporträt", Kaltnadelradierung, Karl Rössing, "Toskanische Landschaft", Farb-Linolschnitt u. Paul Wunderlich, "Kleiner Steindruck", Farblithographie, alle Graphiken von 1975 u. Ex 8417/10000 sowie handsign., Blattgröße ca. 41,5x30cm, min. Gebrauchsspuren Die Kunst der Graphikfolio edition Volker Huber/Offenbach am Main, containind 6 of 7 prints: Esteban Fekete, "La Poule", woodcut in colours, Ernst Fuchs, "Flora Okuli", aquatinta, Rudolf Hausner, "Adams Lebensbaum", colour-serigraph, Horst Janssen, "Selbstporträt", drypoint etching, Karl Rössing, "Toskanische Landschaft", colour linolcut a. Paul Wunderlich, "Kleiner Steindruck", colour-lithograph, each 1975 a. Ex 8417/10000, each signed, sheet ca. 41,5x30cm, min. signs of age
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CHAGALL, MARC (1887-1985), 4 Graphiken, 1x Farbholzstich aus der Folge "Poèmes", Auflage lt. Etikett 226 Exemplare, HxB: Platte ca. 32,5x25 cm; 1x "Der Zirkus", Lithographie, HxB: Blatt ca. 42,5x32,5 cm; 1x "Im Zirkus", wohl nach Marc Chagall, Farblithographie, HxB: Darstellung ca. 31x42 cm; 1x "Schwebende Figuren über Häusern", Farblithographie, HxB: Blatt ca. 31x24 cm; an zwei Ecken mit Klebestreifen im Passepartout montiert. Je Altersspuren, tlw. leicht gebräunt. Je mit Passepartout in verglastem Rahmen (Montur part. lose; Außenmaße bis 47x56 cm). Die ersten beiden Werke verso mit ETIKETT Galerie Valentien, Stuttgart. | CHAGALL, MARC (1887-1985), 4 graphics, 1x color wood engraving from the series "Poèmes", edition according to label 226 copies, HxW: plate approx. 32.5x25 cm; 1x "The Circus", lithograph, HxW: sheet approx. 42.5x32.5 cm; 1x "In the circus", probably based on Marc Chagall, color lithograph, HxW: image approx. 31x42 cm; 1x "Floating figures over houses", color lithograph, HxW: sheet approx. 31x24 cm; Mounted on two corners with adhesive strips in the mat. Signs of age, partly slightly browned. Each with a passepartout in a glazed frame (fitting partially loose; external dimensions up to 47x56 cm). The first two works on verso with ETIKETT Galerie Valentien, Stuttgart.
JOHN 'HB' DOYLE (1797-1868) THREE OF 'HB'S SKETCHES' Fall of the Vaux-Hall Performer' no. 348, depicting Henry Brougham, 1st Baron Brougham and Vaux, Lord Chancellor, on a tightrope, coloured lithograph, 29cm x 36cm; 'A Cabinet Council', no. 355, depicting Prime Minister Arthur Wellesley, 1st Duke of Wellington seated at an otherwise empty table, coloured lithograph, 29cm x 38cm; and 'Unhappy Ghosts Crossing the Styx', no. 359, depicting King William IV receiving payment to cross the river from noble gentleman, coloured lithograph, 24cm x 40cm (3). Note: John Doyle was born in Dublin and moved to London in 1822 where he initially worked as a portrait lithographer. In 1827 Doyle began publishing political prints anonymously. From 1829-1851 Doyle published his well-known Political Sketches series, signing his work with the initials "HB" to hide his identity. He was the paternal grandfather of Arthur Conan Doyle, who wrote of him "My father was the youngest son of John Doyle, who under the nom de crayon of "H. B." made a great reputation in London from about 1825 to 1850. He came from Dublin about the year 1815 and may be said to be the father of polite caricature, for in the old days satire took the brutal shape of making the object grotesque in features and figure. Gilray and Rowlandson had no other idea. My grandfather was a gentleman, drawing gentlemen for gentlemen, and the satire lay in the wit of the picture and not in the mis-drawing of faces. This was a new idea, but it has been followed by most caricaturists since and so has become familiar. There were no comic papers in those days, and the weekly cartoon of "H. B." was lithographed and distributed. He exerted, I am told, quite an influence upon politics, and was on terms of intimacy with many of the leading men of the day. I can remember him in his old age, a very handsome and dignified man with features of the strong Anglo-Irish, Duke of Wellington stamp. He died in 1868."
JOHN 'HB' DOYLE (1797-1868) THREE OF 'HB'S SKETCHES' The State Cerberus', no. 360, depicting Sir Robert Peel, 2nd Bt (1788-1850), Prime Minister, Arthur Wellesley, 1st Duke of Wellington (1769-1852), Field Marshal and Prime Minister and King William IV (1765-1837) as the three headed dog, coloured lithograph, 29cm x 36cm; 'New State Omnibus', no. 363, depicting John Bull, the fictitious epitomist of Englishness and British imperialism, Sir Robert Peel, 2nd Bt (1788-1850), Prime Minister, Arthur Wellesley, 1st Duke of Wellington (1769-1852), Field Marshal and Prime Minister and King William IV (1765-1837), coloured lithograph, 29cm x 40cm; and 'The Vaux and the Grapes', no. 364, depicting Henry Brougham, 1st Baron Brougham and Vaux (1778-1868), Lord Chancellor, as a fox leaving the office of James Scarlett, 1st Baron Abinger (1769-1844), Chief Baron of the Exchequer, coloured lithograph, 27.5cm x 35cm (3). Note: John Doyle was born in Dublin and moved to London in 1822 where he initially worked as a portrait lithographer. In 1827 Doyle began publishing political prints anonymously. From 1829-1851 Doyle published his well-known Political Sketches series, signing his work with the initials "HB" to hide his identity. He was the paternal grandfather of Arthur Conan Doyle, who wrote of him "My father was the youngest son of John Doyle, who under the nom de crayon of "H. B." made a great reputation in London from about 1825 to 1850. He came from Dublin about the year 1815 and may be said to be the father of polite caricature, for in the old days satire took the brutal shape of making the object grotesque in features and figure. Gilray and Rowlandson had no other idea. My grandfather was a gentleman, drawing gentlemen for gentlemen, and the satire lay in the wit of the picture and not in the mis-drawing of faces. This was a new idea, but it has been followed by most caricaturists since and so has become familiar. There were no comic papers in those days, and the weekly cartoon of "H. B." was lithographed and distributed. He exerted, I am told, quite an influence upon politics, and was on terms of intimacy with many of the leading men of the day. I can remember him in his old age, a very handsome and dignified man with features of the strong Anglo-Irish, Duke of Wellington stamp. He died in 1868."
JOHN 'HB' DOYLE (1797-1868) TWO OF 'HB'S SKETCHES' Breaking in the Reform Colt', no. 365, depicting King William IV (1765-1837) and Sir Robert Peel, 2nd Bt (1788-1850) driving a horse drawn cart as other noble gentleman run alongside, coloured lithograph, 28cm x 38.5cm; 'Swing Caught at Last', no. 366, depicting Sir Robert Peel, 2nd Bt (1788-1850) presenting Henry Brougham, 1st Baron Brougham and Vaux (1778-1868), Lord Chancellor and accomplices to King William IV (1765-1837) and John Bull, coloured lithograph, 27.5cm x 35.5cm; together with a similar satirical political print 'Symptoms of Ejection and Rejection' presumed to be by Thomas Hood, coloured lithograph, 27.5cm x 37.5cm (3). Note: John Doyle was born in Dublin and moved to London in 1822 where he initially worked as a portrait lithographer. In 1827 Doyle began publishing political prints anonymously. From 1829-1851 Doyle published his well-known Political Sketches series, signing his work with the initials "HB" to hide his identity. He was the paternal grandfather of Arthur Conan Doyle, who wrote of him "My father was the youngest son of John Doyle, who under the nom de crayon of "H. B." made a great reputation in London from about 1825 to 1850. He came from Dublin about the year 1815 and may be said to be the father of polite caricature, for in the old days satire took the brutal shape of making the object grotesque in features and figure. Gilray and Rowlandson had no other idea. My grandfather was a gentleman, drawing gentlemen for gentlemen, and the satire lay in the wit of the picture and not in the mis-drawing of faces. This was a new idea, but it has been followed by most caricaturists since and so has become familiar. There were no comic papers in those days, and the weekly cartoon of "H. B." was lithographed and distributed. He exerted, I am told, quite an influence upon politics, and was on terms of intimacy with many of the leading men of the day. I can remember him in his old age, a very handsome and dignified man with features of the strong Anglo-Irish, Duke of Wellington stamp. He died in 1868."
Dialectic Man signed and dated 'P. NEAGU 1979' (lower right); titled and numbered 7/45 with artist's stamp in red hand coloured lithograph 76 x 56cm, unframedCondition report: Slight discolouration around the edge, approximately 1 inch crease to the right and creases to the top right hand side corner
Landscape Sketchings signed and dated 'Music 68' (lower right); numbered 6/150 lithograph printed in colours 52 x 65cm, unframed; Paysage Siennois signed in pencil 'Music' (lower right); numbered 64/100 etching printed in colours, 1953 50 x 66cm, unframed (2)Condition report: 6/150 good condition, possibly slightest of discolouration Other one a little bit of discolouration, thumb print to right hand side, crayon mark to left hand side plate margin
First Folio, D signed and dated 'Harold Cohen 1965' (lower right); numbered 13/50 screenprint 69 x 69cm unframed; lithograph, #6 signed and dated 'Harold Cohen / 1967' (lower right); numbered 16/75 lithograph 57.5 x 57.5cm, unframed; Klaus Peter Brehmer (German 1938-1997) Farben Geographie 3 signed 'Brehmer' (lower centre) screenprint 68 x 98cm, unframed (3)
Untitled etching signed 'Fiorini' (lower right); numbered 22/55 55 x 38cm, unframed; Lourdes Castro (Portuguese 1930-) female figure lithograph 20.5 x 15cm, unframed; Lucio Del Pezzo (Italian 1933-) untitled lithograph signed and dated 'Del Pezzo 60' (lower right); numbered 4/300 23.5 x 25.5cm, unframed; Carl Laszlo (Hungarian 1923-2013) lithograph from La Lune en Rodage, Volume 2, 1965 signed 'Carl Laszlo' (centre right) 32.5 x 31cm, unframed together with two other unframed lithographs from the series (6)
William Scott R.A. (British, 1913-1989)Three Pears and a Pan, 1955 (Archeus 11) Lithograph printed in colours, on wove, with printed signature and date, printed by Bath Academy of Art, Corsham, the full sheet printed to the edges, unframed250 x 335mm (9 7/8 x 13 1/8in)(SH)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
William Scott R.A. (British, 1913-1989)Composition, from 'Thirty-Five Artists', 1982 (Archeus 59) Lithograph printed in colours, on wove, signed, dated and inscribed 'H.C.' in pencil, an hors commerce impression aside from the numbered edition of 50, published by the Royal College of Art, London, the full sheet printed to the edges, unframed500 x 650mm (19 5/8 x 25 5/8in)(SH)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
David Bowie - A Rex Ray (1956-2015) David Bowie limited edition lithograph, signed, numbered 87/100 and dated 2002 in pencil by the artist, also signed and dated 2002 in pencil by David Bowie, framed, overall 48 x 58cm. This image was used for the cover of the 'Best of Bowie' album in 2002. Condition Report: As new.
§ Roger Dean (b.1944) - lithograph for the album art 'Relayer' by Yes, hand signed by keyboardist Patrick Moraz, part of an edition of 9,800, together with a letter of provenance, rolled, 21 1/2 x 34 inches.Please note Artist's Resale Right may be additionally payable on this lot on top of the hammer price up to a maximum of 4%, where above threshold, for more information please visit www.dacs.org.ukProvenance: from a private collector.
The Rolling Stones - a group of 7 posters and prints including for a handbill for the San Jose Arena concerts on the No Security Tour 1999, two small posters for the Steel Wheels tour, a reproduction lithograph for the St Mary's stadium concert, Southampton, 29th May 2018, a Licks World Tour 2002 reproduction tour poster, and others, mostly flat. (7)Provenance: from a private collector.
Prof. Hans Thoma, "Bernauer Hirten" fünf ins Gespräch vertiefte Hirten auf einer Wiese und im Hintergrund Schafe, Radierung, unter der Darstellung rechts in Blei signiert „Hans Thoma“ und in der Platte ligiertes Monogramm und datiert „HTH 1913“, rückseitig betitelt und datiert „Bernauer Hirten 1913“, leicht braunfleckig, hinter Glas gerahmt, Darstellungsmaße ca. 15 x 21 cm. Künstlerinfo: dt. Maler und Graphiker (1839 Bernau bis 1924 Karlsruhe), zunächst zeitweise Lehre als Lithograph und Stubenmaler in Basel sowie Uhrenschildermacher in Furtwangen, parallel autodidaktische Mal- und Zeichenstudien, studierte 1859-66 an der Kunstschule Karlsruhe bei Ludwig Des Coudres und Johann Wilhelm Schirmer, anschließend kurzzeitig in Basel und Düsseldorf, 1868 Aufenthalt in Paris, hier beeinflusst von Gustave Courbet und der Schule von Barbizon, 1870-76 in München, 1874 erste Italienreise mit Aufenthalt in Rom, ab 1878 tätig in Frankfurt am Main, 1899-1901 in Kronberg und Mitglied der Kronberger Malerkolonie, freundschaftlich verbunden und angeregt durch Arnold Böcklin, Wilhelm Leibl, Wilhelm Steinhausen und Wilhelm Trübner, 1899 zum Professor ernannt, 1899-1920 Direktor der Kunsthalle Karlsruhe, Quelle: Thieme-Becker und Internet.
Eduard Kaiser, Bildnis eines Kaufmanns an einem Tisch sitzender Mann mittleren Alters, mit roter Kutte und Kappe, bei der Schreibarbeit, nach historischem Vorbild, Aquarell, 2. Hälfte 19. Jh., links unten signiert und bezeichnet „Eduard Kaiser cop.“, rückseitig Reste alter Montierung, Blattmaße ca. 38,5 x 27 cm. Künstlerinfo: österr. Maler und Lithograph (1820 Graz bis 1895 Wien), Sohn des Joseph Franz Kaiser, Studium an der Akademie in Wien bei Josef Danhauser, 1848 Beitritt zur Akademischen Legion und Portraitierung zahlreicher Persönlichkeiten der Märzrevolution, 1852-53 Romaufenthalt, hierauf Rückkehr nach Wien, geschätzter Portraitlithograph unter anderem des Kaiserhauses und von Clara und Robert Schumann, 1867-86 in Rom tätig und hier erlangte er Bekanntheit als Aquarellkopist nach alten Meisterwerken, Reproduktionen der Aquarelle wurden in England vertrieben, Quelle: Thieme-Becker und Wikipedia.
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