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The Thing (1982), Lithograph Print (2021 release), 36 x 24 inches, flat, Matt Ferguson artwork, hand signed along with AP notation Director John Carpenter Stars Kurt Russell, Wilford Brimley Condition Report: Excellent condition, clean reverse

An American Werewolf in London (1981), Lithograph Print, Regular Version, 36 x 24 inches, flat, Matt Ferguson artwork, hand numbered, number 17/250 Director John Landis Stars David Naughton, Jenny Agutter Condition Report: Excellent condition, Vice Press holographic sticker to otherwise clean reverse

Bela Lugosi as Dracula (2020), Variant Edition Art, Lithograph Print, 36 x 24 inches, was rolled now flat, Greg Staples artwork, hand signed, hand numbered, number 10/175 Condition Report: Excellent condition, slight marking to reverse

The Thing (1982), 40th Anniversary, Lithograph Print, 36 x 24 inches, was rolled now flat, Les Edwards artwork, hand numbered, number 48/200 Director John Carpenter Stars Kurt Russell, Wilford Bramley Condition Report: Excellent condition, Vice Press holographic sticker to reverse

An American Werewolf in London (1981), Lithograph Print, Variant Version, 36 x 24 inches, flat, Matt Ferguson artwork, hand numbered, number 17/175 Director John Landis Stars David Naughton, Jenny Agutter Condition Report: Excellent condition, Vice Press holographic sticker to otherwise clean reverse

1972 Olympic Original Artwork Poster, designed by Serge Poliakoff. Measures 39.5'' x 24.75''. 'Abstract. 1972 Munich Olympics Poster' by Serge Poliakoff, Lithograph, signed in the plate. Date - 1972.

* MARCEL MOULY (FRENCH 1918 - 2008), LES FALAISES DE VERRE limited edition lithograph on paper, signed and numbered 55/150mounted, framed and under glassoverall size 78cm x 90cm

A large John Knapp Fisher 1931-2015 signed lithograph of Pembrokshire, framed under glass, 55cm x 99cm approx.  

HARRY WHINCAP MESSAGERIES MARITIMES, A 10 DAY-JOURNEY, LONDON-BEYROUT, BAGHDAD lithograph poster, c.1920, condition A; not backed 40 x 25in. (102 x 64cm.)

OGAWA KAZUMASA (CALLED KASUMA OR ISSHIN; 1860-1929) - PAEONIA ARBOREA (TREE PEONY); AND BLOSSOM. Chromo-collotypes, from the set of 15 published in 'Some Japanese Flowers', circa 1895, on wove paper, 39.2cm × 27.8 cm (unframed). Ogawa Kazumasa is considered a pioneer in the development of photography and photomechanical printing in Japan. 'A collotype is a kind of photo-lithograph (in which glass replaces stone as the printing surface) of Japanese flowers produced by a process that could not be duplicated outside Japan. The colours used and mounting methods are most impressive. 15 to 25 colours were used in a single picture and each print passed through a press for each shade' (J.B. Millet, publisher). (2)

Lithograph on kraft paper. Original poster from the Abstract Art Museum of Cuenca, 1980. Signed in plate in the lower right corner.Size: 74.5 x 55.5 cm

ATTRIBUTED TO PIERRE-PAUL PRUD'HON (FRENCH 1758-1823) APOLLO AND THE MUSES ON MOUNT PARNASSUS Oil on canvas 54.5 x 64cm (21¼ x 25 in.)SALEROOM NOTICE: Please note the cataloguing has changed Provenance: Baron d'Olonne, Paris; Matthiesen, Ltd., London, by 1956 Paul Drey Gallery, New York Sale, Sotheby's, New York, 22 May 1986, lot 2 Literature: Advertisement supplement, The Burlington Magazine, vol. 98, no. 639, June 1956, reproduced plate VI Prud'hon's talent manifested itself early. As a young boy he was taken under the wing of Devosge, director of the drawing school in Dijon, who recommended him to his first major patron, the baron de Joursanvault. As early as 1780 we can see the young artist applying his delight in allegory and the classical world in his "Apotheosis of Baron Joursanvault" (Dijon, musee des beaux-arts). Joursanvault sponsored Prud'hon's move to Paris and he spent 3 years (1780-83) visiting galleries and churches and enrolling in the Academie Royale although we know from his letters that he much preferred to work alone at home. From 1783-4 he returned to Dijon in order to compete for the Prix de Rome, which he duly won. Rome was to prove pivotal to his development and subsequent success. Between 1784 and 1788 he was able to immerse himself in the art of the Eternal city and indeed to make important contacts, most notably with Canova. In Rome he was to prove assiduous in his study of the Renaissance masters and his overriding admiration of Leonardo is clearly expressed in his correspondence, although his contemporaries were to dub him France's Correggio. This period was certainly to influence the way he viewed allegory and mythology and its lasting effect can be seen throughout his work in the years to come. After his return from Rome his reputation gradually increased despite the political upheavals that were erupting in France. He was much admired as a portraitist, gaining patrons and consequently expanding his oeuvre. Always aspiring to be a history painter, he provided designs for what has been termed the golden age of book illustration, and although relatively unknown he was sought out by the publisher Pierre Didot expressly for this purpose. Finally, during the Empire of Napoleon, Prudh'on would find the greatest favour of all from the Imperial court itself. This was the period of his grand portraits such as "Empress Josephine at Malmaison" and "Charles Maurice de Talleyrand-Perigourd" as well as large scale mythological paintings such as "Psyche carried off by the Zephyrs". He had previously shown a sure eye for decoration in a number of projects but he was now able to create independent works on a large scale. His position was sealed in 1810 when he was appointed drawing master to the new Empress, Marie Louise. The restoration of the Bourbon monarchy did not mark a fall from favour, and indeed Prud'hon was called upon to help create the official representation of the restored monarchy. He produced even more portraits, and at the very end of his life he was commissioned by the state to produce what has become one of his most famous works, "Christ on the Cross" for the cathedral at Strasbourg (Paris, Musee du Louvre).Apollo and the Muses on Mount Parnassus would certainly have appealed to Prud'hon as a subject. In essence the scene encompasses the ideals of classical learning through word and music and as such it became symbolic during the Renaissance of the re birth of knowledge. Prud'hon would have seen many Renaissance interpretations of this, from Raphael in Rome to Mantegna in Paris. The present sketch is remarkable in the vivacity of the figures, the bold under drawing being clear in many passages. Drawings of individual groups of figures for this composition exist in a private collection and were illustrated in Guiffrey's 1924 monograph. Indeed these drawings were then copied by Boilly (1) and were subsequently published as lithographs (2). In terms of Prud'hon's oeuvre, the present work is reminiscent of a number of allegorical and decorative schemes he produced in the period following his return from Rome. The decoration of the Hotel de Lannoy is the most famous of these schemes and was intended as a full cycle representing in essence the liberal arts through classical models. This work was followed by a period in which he expressed the aims and ambitions of the revolution in a series of allegories deeply rooted in the classical past. Dr Christoph Vogtherr, on examining the picture, has proposed that it could be a modello for a theatre curtain. Set designs were certainly produced by major artists and during the Napoleonic period such spectacles were as expected as the lavish court ceremonies that were staged throughout the reign. There is a 19th century copy of the work in the Musee des Beaux Arts in Dijon, at one time attributed to Prud'hon it was already viewed as a copy in the early years of the last century. 1) Julien-Leopold Boilly, Terpsichore and Erato, drawing, black and white pencil on paper, Paris, Louvre, inv. no. RF 46372) Julien-Leopold Boilly, Apollo and the Muses, lithograph, Washington, National Gallery of Art, inv. no. 2011.139.54 Condition Report: The canvas has been relined, and presents surface dirt and craquelure. Scattered retouching throughout. Rubbing and abrasions to the edges. The paint layer to the trees is starting to wear thin. Condition Report Disclaimer

GIOVANNI FRANCESCO BARBIERI, CALLED IL GUERCINO (ITALIAN 1591-1666) YOUNG DAVID Oil on canvas 69 x 56cm (27 x 22 in.) This unpublished canvas may be identified as the 'testa di un davide' that Guercino painted for his friend Gerolamo Panesi and for which he was paid 30 scudi on 16 October 1649.1 In her comment to the above entry in her 1997 edition of Guercino's Account Book, Barbara Ghelfi noted that a canvas corresponding to this payment had yet to be identified.  In the painting, David holds the sword with which he had beheaded Goliath. Rather than engage the spectator he stares into the distance, as if pondering the consequences of his victory. The velvety paint textures, the attractive colouring, the figure's classical pose and the delicate rendering of selected details fit perfectly with Guercino's mid-Bolognese period. The occasional flourishes of impasto that punctuate the smooth paint surface include the plume on David's cap and the fur of the lining to his cloak, especially where it touches and slightly overlaps his right thumb. The beguiling combinations of a narrow range of forceful secondary colours, mostly of neighbouring hue, may also be seen in the Cleopatra, now in a private collection, which Panesi ordered from Guercino only a few months later.2 In 1648-1650 Panesi commissioned at least five pictures from Guercino. Panesi was a Genoese nobleman and art dealer and, during the artist's Bolognese period, was one of his more consistent and discerning clients, selling on some of the pictures he had commissioned from the master at a higher price in Rome, where he was mainly resident.3 Guercino stuck resolutely to his tariffs, yet somehow Panesi was able to persuade the painter to give him a discount, for example by reducing his standard-sized canvases in return for dropping his charge.  In the following year, Guercino painted a 'Meza Figura del davide con la Testa di Golia Gigante' for a Sig. Lodovico Fermi of Piacenza, for which he was paid 75 scudi on 12 October 1650.4 Fermi's David is known from two versions-the actual-sized sketch in the National Museum of Western Art, Tokyo, and the finished picture, now in a private collection.5 Both correspond almost exactly in size and are significantly larger than the present picture. 6 In format, a half-length was the next size up from a head-and-shoulders and it generally included extra details, such as, in this instance, Goliath's severed head. Fermi paid Guercino 75 scudi for his picture, as compared to Panesi's 30 scudi, for a picture just over half the size of Fermi's, painted in the previous year.  With such a busy practice, Guercino was inevitably asked to paint the same subject several times, especially for his half-lengths and heads. A commission for a subject, perhaps painted previously on other occasions, required a fresh invention. Guercino could avoid repetitions by referencing past drawings, but inevitably one compositional treatment morphed subtly into the next. From the point of view of Guercino's creative method, much may be learned by comparing Panesi's David with Fermi's, since similarities and differences abound, in costume, pose, studio props and facture.  Two further works by Guercino, both half-lengths, connect in design with the present picture. The first is a drawing in the Royal Library, Windsor Castle, ascribed to Guercino but clearly by him. Despite the composition's half-length format, it could well have been made as a study for this canvas, with the head of Goliath included as an alternative to David's sword.7 Notwithstanding these differences, the overall correspondence is close. The second is a painting formerly in the collection of the King of Sardegna, now belonging to the Galleria Sabauda, Turin, presently on show at the Venaria Reale, which is reproduced here from a lithograph by Luigi Poggioli.8 As here, Goliath's head is absent from the composition of the Turin picture. Its larger size and the introduction of the regal columnar architecture in the background bring it nearer to Fermi's canvas.  Strong echoes of the present painting are easily to be found in the Windsor drawing and the Turin picture. But it is the hybrid format of the present canvas that pins it down as the one ordered by Panesi. It is a reduced-sized half-length and is bigger and has more detail than Guercino's normal head-and-shoulders format. This rare exception to the painter's rule was probably the result of Panesi's successful haggling.  Notes: 1). B. Ghelfi (ed.), Il libro dei conti del Guercino, 1629-1666, Bologna, 1997, p. 143, no. 413. When the picture was first shown to me, on 17 January 2013, I wrongly attributed it to Guercino's nephew Cesare Gennari. Five years later, following my immersion in Guercino's works in preparation for my monograph on him published last year, the presence of the master's hand is all too clear to me, and I now have no hesitation in giving the picture to him in full. 2). N. Turner, The Paintings of Guercino. A Revised and Expanded Catalogue raisonné, Rome, 2017, p. 662, cat 3723). N. Turner, 'Mola's Caricature Portrait of the Genoese Collector and Dealer Gerolamo Panesi,' Master Drawings, xlvii, no 4 (2009), pp. 516-9.4). Ghelfi 1997, p. 149, no. 430. 5). Turner 2017, pp. 667-8, nos 377I and II, respectively. 6). The Tokyo canvas measures 120.5 x 102 cm, the finished version in a private collection 120 x 100 cm.7). Windsor Castle, Royal Library: inv. 2944 (Mahon and Turner 1989, no. 408): pen and brown ink; 203 x 161 mm. 8). A. Alberghini, Guercino: La collezione di stampe, Cento, 1991, p. 217, no. 435. We are grateful to Nicholas Turner for his expertise and assistance in writing this catalogue entry. Condition Report: The canvas has been lined. Rubbing and abrasions to the framing edges. Some light craquelure throughout however the paint surface appears stable. Inspection under UV light reveals light scattered retouching and infilling throughout. Overall the work appears to be in good restored condition.Condition Report Disclaimer

Paula Rego RA (1935-2022, British/Portuguese)  Lithograph  "Jane Eyre", woman seated on step, signed in pencil lower right and numbered 65/75, 37cm x 25cm, framed and glazed  From the collection of the late Maurice Costley Condition ReportThe picture appears to be in very good condition, with no apparent issues. There is some slight buckling to the paper at the sides. Floating mount.

Lloyd's Incidents from The War in the Crimea, Skirmish of Light Cavalry, Before the Battle of Alma', by Day & Son, lithograph, later hand coloured, framed and glazed

Pictures & Prints - H.Callen, a near pair of Derbyshire Landscape watercolours, dated 1909, framed; After H.P.Parker by S.W.Reynolds a substantial early Victorian lithograph 'To the minister and members of the Wesleyan methodist socities throughout the world...'; Edwardian oil on canvas, Sweet Peas, framed; etc

Morris, Rev. F. O. A History of British Birds, London: John C. Nimmo 1895-97, 4th edition, 6 vols., 394 hand-coloured lithograph plates, one or two light spots, 3 pages loose towards end vols. 5 & 6, also another pl. loose in vol. 6, original cloth gilt, spine ends tatty, edges a little rubbed, some light fading and stains to covers, large 8vo (6)

DUVOISIN, Roger (illustrator). A Child's Garden of Verses by Robert Louis Stevenson, New York: The Limited Editions Club 1944, limited edition 409/1100 signed by the artist, lithograph illustrations, hand coloured, calf backed imitation cork boards, in original box. 4to; CRANE, Walter (illustrator), The Song of Sixpence Toy Book, London: Routledge nd (c. 1870s), col. plts., original pictorial cloth,worn, small 4to: CHILDREN'S BOOKS. Six vols. bound as one retaining orig. col. printed wraps, including Santa Claus & His Works, New York: McLoughlin Bros nd (other English pubs.); and other childrens (12 incl. pbks)

Tracey Emin (British b.1963), 'Every Bodies Been There', lithograph with the artist's stamp printed by Sky Editions, published by Contemporary Visual Arts Magazine in association with White Cube, London, with printer's blind stamp with label to the reverse. H.22 W.25 cm.

A limited edition lithograph of The Lion of Venice. signed, numbered and framed and glazed. H.73 W.53cm

LOUIS DUPRE (1789-1837): A FRENCH LITHOGRAPH HAND COLOURED WITH WATERCOLOUR TITLED 'KALIOUNDJI', OTTOMAN-TURKISH SAILORPublished in Paris, 1825 with plate number and embossed blind stamp of Dupre's monogram, by Lemercier.Plate 39.5cm x 28cm

LOUIS DUPRE (1789-1837): A FRENCH LITHOGRAPH HAND COLOURED TITLED 'UNE DEMOISELLE GRECQUE DE LIVADIE'From his travel book 'Voyage A Athens et a Constantinople'.Published 1825 with plate number and embossed stamp with Dupres' monogram.Plate 32cm x 23.5cm

PHYLLIS GINGER (BRITISH 1907-2005): A COLOUR LITHOGRAPH DEPICTING BRISTOL TOWN CENTREFramed and glazed 79cm x 52cm

RIVKA SINCLAIR: A LITHOGRAPH ON PAPER 'DESIGN 72'Signed in pencil.45cm x 28cmFramed and glazed 68cm x 48cm

LOUIS DUPRE (1789-1937): A FRENCH LITHOGRAPH HAND COLOURED WITH WATERCOLOUR TITLED 'AN ATHENIAN LADY'Published in Paris, 1825 with plate number and fascimile signature by Charles Motte.Plate 41.5cm x 30cm

PIERRE BONNARD (FRANCE 1867-1947) 'LA RUE MOLITAR', a monochrome lithograph depicting a French care, unnumberd trial proof, signed to lower margin, approximate size 40cm x 26cm, Condition Report: spots of foxing across the surface

Cecil Aldin (1870-1935), colour lithograph for The Sketch, 'The Model Who Wouldn't Sit', published with the sketch Christmas No. 1931, 29 x 38cm. Condition - fair to good

Jean Cocteau (French, 1889-1963), colour lithograph, L'Europe Notre Patrie, signed and dated 1961 in the plate, 31 x 39cm. Condition - fair

A set of four French lithograph depicting the four seasons (Frame size 70cm x 80cm)

STANLEY JONES (1933-2023) 'Madron - 1970', lithograph in colours, 63cm x 46cm, studio 1070, in lucite case, published Curwen Press.

PABLO PICASSO, Portrait, La Guerre, lithograph on wove paper 1954, vintage French frame, 38cm x 28cm.

MARINO MARINI 'The Rider', 1955, lithograph, signed and dated in the plate, 67cm x 51cm, framed and glazed. (Subject to ARR - please see Buyers Conditions)

PAUL KLEE 'WINTER', lithograph, 26cm x 35cm, framed.

AFTER PABLO PICASSO, 'Woman in green dress', off set lithograph 1954, suite: Toros, vintage French frame, 37.5cm x 27cm.

BIEDERMANN (XX.). Lithographie.Vier tanzende Personen. Lithographie. Mit Bleistift signiert und nummeriert 27/100. Gerahmt in Passepartout hinter Glas. Passepartoutausschnitt 42 x 48 cm. Zustand siehe Fotos. Versand kann organisiert werden.BIEDERMANN (XX.). Lithograph.Four dancing people. Lithograph. Signed and numbered 27/100 in pencil. Framed in passepartout behind glass. Passepartout section 42 x 48 cm. See photos for condition. Shipping can be organised.

Armin MÜLLER-STAHL (1930 -). Baumlandschaft II. Lithographie.Farblithographie. Auflage 180. Rückseitig signiert (laut Etkett). Zustand siehe Fotos. Versand kann organisiert werden.Armin MÜLLER-STAHL (1930 -). Treescape (Baumlandschaft II.) Color lithograph. Edition of 180, signed on the reverse (according to the label). See photos for condition. Shipping can be organised.

Karl Otto GÖTZ (1914 - 2017). Lithographie Tylin.Probe-Abzug E. A. Tylin. Von 2002. 44 cm x 35 cm. Herausgegeben von Manfred Hügelow. Handnummeriert und hansigniert mit Bleistift. Prachtvoller Druck. Zustand siehe Fotos. Versand kann organisiert werden.Karl Otto GÖTZ (1914 - 2017). Lithograph Tylin. Proof print E. A. Tylin. From 2002. 44 cm x 35 cm. Published by Manfred Hügelow. Hand numbered and signed in pencil. Splendid print. See photos for condition. Shipping can be organised.

Karl Otto GÖTZ (1914 - 2017). Lithographie Kylrom.Lithographie Kylrom 3/90 von 1995. Herausgegeben von Manfred Hügelow. Handnummeriert und hansigniert mit Bleistift. Prachtvoller Druck. Zustand siehe Fotos. Versand kann organisiert werden.Karl Otto GÖTZ (1914 - 2017). Lithograph Kylrom. Lithograph Kylrom 3/90 from 1995, published by Manfred Hügelow. Hand-numbered and signed in pencil. Splendid print. See photos for condition. Shipping can be organised.

Salvador Dali Lithograph 'The neglectful meets violent death

Salvador Dali, Lithograph Virgil's last words.

A lithograph on linocut, 1979, Pablo Picasso

A lithograph 'Fish and fruit' signed to the margin Guerrier. 40cm x 57cm.

Salvador Dali, lithograph Ugolino and Ruggieri inferno No23

A lithograph, Alexander Calder, Onion

Hugh Brandon Cox (Norfolk Artist, 1917-2003): lithograph of sailing boats in shore, with geese overhead, signed bottom right, 21 by 21cm, framed and glazed with label verso.

A quantity of prints and etchings including Dover Castle, Minster Church, David Roberts lithograph, Eastern prints, Ludlow Castle etc.

JOAN MIRÓ: DER LITHOGRAPH, Genf: Weber 1972 bis 1992, BAND I: unvollständig, NUR 10 von 11 Originallithographien, das Titelblatt und Inhaltsverzeichnis erhalten (Originallithographie III und das WVZ fehlend) mit Schutzumschlag; BAND II: 1953-1963, enthält 11 Originallithographien (unsigniert); BAND III: 1964-1969, enthält 5 Originallithographien (unsigniert); BAND IV: 1969-1972, enthält 5 Originallithographien (unsigniert), BAND V: 1972-1975, Verzeichnis von Patrick Cramer; BAND VI: 1976-1981, Verzeichnis von Patrick Cramer. Die Bände II bis VI vollständig, mit leichten Alters- und Gebrauchsspuren, Band II, III und IV mit Folien-Schutzumschlag; der Schutzumschlag Band V mit leichten Kratzern, die Einzelblätter und der Schutzumschlag aus Band I mit leichten Alters- und Knickspuren, der Umschlag gebräunt.| JOAN MIRÓ: DER LITHOGRAPH, Genf: Weber 1972 bis 1992, Volume I: incomplete, ONLY 10 of 11 original lithographs, the title page and table of contents preserved (original lithograph III and the WVZ missing) with dust jacket; VOLUME II: 1953-1963, contains 11 original lithographs (unsigned); VOLUME III: 1964-1969, contains 5 original lithographs (unsigned); VOLUME IV: 1969-1972, contains 5 original lithographs (unsigned), VOLUME V: 1972-1975, catalogue of Patrick Cramer; VOLUME VI: 1976-1981, catalogue of Patrick Cramer. Volumes II to VI complete, with slight signs of age and wear, volumes II, III and IV with foil dust jacket; the dust jacket volume V with slight scratches, the single sheets and the dust jacket from volume I with slight signs of age and creasing, the jacket browned.

DALI, SALVADOR, nach (1904-1989), "Tienta en Espana", Farblithographie/Papier, im Druck unten mittig betitelt, signiert und datiert 1960, HxB: Passepartout-Ausschnitt ca. 63,5x85 cm, Außenmaße Rahmen ca. 85x107,5 cm. Alters- und Beriebsspuren, leicht gebräunt. Im Passepartout hinter Glas gerahmt.| DALI, SALVADOR, after (1904-1989), “Tienta en Espana”, color lithograph/paper, titled, signed and dated 1960 at bottom center of print, HxW: mat opening approx. 63.5x85 cm, outer frame dimensions approx. 85x107.5 cm. Signs of age and wear, slightly browned. Framed behind glass in passepartout.BEI EINEM ZUSCHLAG ÜBER €400 MÜSSEN 4% URHEBERRECHT AN DIE VG BILDKUNST ABGEFÜHRT WERDEN.

KOKOSCHKA, OSKAR (1886-1980), "Athlet" anlässlich der Olympischen Spiele 1972 in München, Farblithographie, u.re. von Hand nummeriert 137/200 und signiert, HxB: Passepartout-Ausschnitt ca. 92,5x64 cm, Außenmaße Rahmen ca. 129x100,5 cm. Altersspuren, leicht gebräunt, gewellt. Im Passepartout hinter Glas gerahmt (Alters- und Beriebsspuren). VERSO Etikett Galerie Vogel.| KOKOSCHKA, OSKAR (1886-1980), “Athlet”on the occasion of the 1972 Olympic Games in Munich, color lithograph, numbered 137/200 and signed by hand lower right, HxW: mat opening approx. 92.5x64 cm, outer frame dimensions approx. 129x100.5 cm. Traces of age, sligthly browned and wavy. Framed behind glass in passepartout (traces of age and wear). VERSO label Galerie Vogel.

MIRÓ, JOAN (1893-1983), Originallithographie VII aus "Lithograph I", 1972, Farblithographie, Nr. 8 aus der auf 150 Exemplare limitierten Luxusausgabe des "Lithograph I", vorderseitig am unteren Rand mit Bleistift num. 8/150, bezeichnet 'M. 863' (WVZ-Nr. Mourlot) und 'Miro', verso im Druck bezeichent, HxB: Blatt ca. 34x51 cm. Mittelfalz; Leichte Alters- und Knickspuren. Kopie der Rg. der Galerie Valentien,Stuttgart mit Werkangaben anbei. | MIRÓ, JOAN (1893-1983), original lithograph VII from ‘Lithograph I’, 1972, colour lithograph, no. 8 from the luxury edition of ‘Lithograph I’ limited to 150 copies, numbered 8/150 in pencil in the lower margin on the front, inscribed ‘M. 863’ (WVZ no. Mourlot) and ‘Miro’, inscribed in the print on the verso, HxW: sheet approx. 34x51 cm. Centrefold; slight traces of age and creasing. Copy of the reg. of Galerie Valentien, Stuttgart with work details enclosed.

Alexander Calder. Sammlung von 5 Werken mit zahlreichen lithographischen Illustrationen von Alexander Calder. New York, 1946-1985. 4°. OLwd. mit Umschlägen. (Leicht berieben und bestoßen.) Enthält: J. J. Sweeney. Three Young Rats and other rhymes. Mit 52 ganzseitigen und 33 halbseitigen Illustrationen in Lithographie nach Alexander Calder. New York, The Museum of Modern Art. 1946. (XIX) 130 S. (Mit einer Dublette.) - Jean de La Fontaine. Selected Fables. Mit 6 ganzseitigen und 30 halbseitigen Illustrationen, sowie 12 Vignetten in Lithographie nach Alexander Calder. New York, George Braziller, 1957. 88. - Richard Wilbur. A Bestiary. Mit 11 Tafeln in Lithographie nach Alexander Calder und zahlreichen weiteren lithographischen Illustrationen im Text. New York, Pantheon Books, 1985. 74 S. (Mit einer Dublette.) - Insgesamt in sehr gutem Zustand. Collection of 5 works with numerous illustrations by Alexander Calder. Original canvas with dust jackets. (Slightly rubbed and bumped.) - Includes: J. J. Sweeney. Three Young Rats and other rhymes. With 52 full-page and 33 half-page illustrations in lithograph after Alexander Calder. New York, The Museum of Modern Art. 1946. (XIX) 130 pp. (With a duplicate.) - Jean de La Fontaine. Selected Fables. With 6 full-page and 30 half-page illustrations, and 12 vignettes in lithograph after Alexander Calder. New York, George Braziller, 1957. 88 - Richard Wilbur. A Bestiary. With 11 plates in lithograph after Alexander Calder and numerous other lithographic illustrations in the text. New York, Pantheon Books, 1985. 74 pp. (With one duplicate.) - Overall in very good condition.

Grass, Günter - - Hans Christian Andersen. Der Schatten. Skyggen. 10 Lithografien zu Märchen von Hans Christian Andersen. Mit 10 OLithographien sowie 1 Titellithographie von Günter Grass. Lübeck, Kunsthaus Lübeck, 2005. 2 Bll. 10 Lithographien. Gr. Fol. Die Bll. lose eingelegt in orig. rote Lwd. Kassette mit DTitel (nur vereinzelt mit punktueller Anschmutzung). Eines von 120 Exemplaren. Jede Lithographie je signiert und nummeriert. - Die Lithographien gedruckt auf festes Hahnemühle Velin (Titelbl. mit dem Wasserzeichen). - Mappengestaltung von Weber und Poulsen, Svendborg. - Das Mappenwerk entstand in Zusammenarbeit mit der Königlich Dänischen Botschaft in Berlin aus Anlass des 200. Geburtstags von Hans Christian Andersen. - Druck der Lithographien bei Christian Müller, Leipzig, Blätter mit seinem Blindstempel. - Insgesamt sehr gut erhalten. Die Lithographien durchweg prachtvoll und kreidig im Druck. With 10 orig. lithographs and 1 title lithograph by Günter Grass. Together with title and imprint loosely inserted in red orig. cloth cassette with title on cover (only occasionally with isolated stains). One of 120 copies. Each lithograph signed and numbered. - The lithographs printed on firm Hahnemühle wove paper (title page with the watermark). - Portfolio design by Weber and Poulsen, Svendborg. - The portfolio was created in co-operation with the Royal Danish Embassy in Berlin on the occasion of the 200th birthday of Hans Christian Andersen. - Lithographs printed by Christian Müller, Leipzig, sheets with his blindstamp. - Overall in very well preserved condition. The lithographs throughout splendid and chalky in print.

Joan Miró. Sammlung von 5 Publikationen mit ingesamt 12 Original-Holzschnitten und 10 Original-Lithographien von Miró. 4°. Je OLwd. In ill. OUmschlägen. Enthält: Jacques Dupin. Miró Radierungen / engraver I, II, III u. IV. 4 Bände. Mit insgesamt 12 Original-Holzschnitten, davon 4 auf den Umschlägen. Paris, Lelong, 1984-2001. Bd. I u. IV in engl. Sprache, II u. III in deutscher Sprache. - Michel Leiris u. Fernand Mourlot. Joan Miró Lithographs I. Mit 11 (von 12) Original-Lithographien, davon eine auf dem Umschlag. New York, Tudor, 1972. Lithographie XI fehlend, die Lithogr. IV, VII, VIII, IX u. X herausgetrennt aber lose beiliegend. Umschlag hinten mit Anschmutzung. - Insgesamt sehr gut erhalten, insbesondere die Original-Graphiken sehr sauber. Collection of 5 publications with a total of 12 original woodcuts and 10 original lithographs by Miró. Each orig. cloth in orig. ill. wrappers. - Contains: Jacques Dupin. Miró etchings / engraver I, II, III and IV. 4 volumes. With a total of 12 original woodcuts, 4 of them on the wrappers. Paris, Lelong, 1984-2001. vols. I and IV in English, II and III in German. - Michel Leiris and Fernand Mourlot. Joan Miró Lithographs I. With 11 (of 12) original lithographs, one of them on the wrappers. Lithograph XI missing, lithographs IV, VII, VIII, IX and X detached but loosely enclosed. Back cover soiled. - Overall in very good condition, especially the original prints very clean.

Roger Mühl. o.T. (1963). Farblithographie auf BFK Rives (mit Wasserzeichen). Signiert und nummeriert. 47 x 40 cm (65 x 48,5 cm). Eines von 65 nummerierten Exemplaren. - Farbfrisch erhalten. - Dabei: Plakat der Galerie Valentien, Stuttgart. Farblithographie unter Verwendung des gleichen Motivs. Druck bei Mourlot. Leichte Anschmutzungen im Blattrand. Colour lithograph on BFK Rives (with watermark). Signed and numbered. - One of 65 numbered copies. - Preserved in fresh colours. - Added: Poster of the Galerie Valentien, Stuttgart. Colour lithograph using the same motif. Printed by Mourlot. Slight soiling in the margin.

Salmon. Art Russe Moderne. Préface de André Salmon. Mit einer Original-Lithographie von Georges Annenkoff auf dem Umschlag und zahlr. Abbildungen. Paris, Laville, 1928. 93 S., 1 Bl. 4°. Original-Broschur eingebunden in mod. marmorierten Kt. mit goldgeprägtem RSchild. Die zahlreichen Abbildungen zeigen Arbeiten von u.a. Annenkoff, Barthe, Chagall, Deyneka, Epstein, Gontcharova, Larionoff, W. Lebedeff, Lipchitz, Loutchansky, Mané-Katz, Mitchine, Niwinsky, Orloff, Soutine, Sterling, Sternberg, Terechkovitch, Zadkine. - Sehr gutes Exemplar. With an original lithograph by Georges Annenkoff on the cover and numerous illustrations. Original brochure bound in mod. marbled hardcover with gilt-stamped spine label. - The numerous illustrations show works by Annenkoff, Barthe, Chagall, Deyneka, Epstein, Gontcharova, Larionoff, W. Lebedeff, Lipchitz, Loutchansky, Mané-Katz, Mitchine, Niwinsky, Orloff, Soutine, Sterling, Sternberg, Terechkovitch, Zadkine, among others. - Very good copy.

Léopold Sédar Senghor. Les Élégies Majeures". 1978. Hg. v. Éditions Regard, Genf. Verschiedene Techniken: Farblithographie, Farbaquatinta, Aquatinta und Linolschnitt. Je auf Velin d'Arches (mit dem Wz). Je signiert. Blattmaße von 43 x 32,5 cm bis 132 x 43 cm. Ings. 6 Bände. Lose Lagen in Original-Umschlägen, diese in Original-Leinwandmappen. Zusammen im illustrierten Original-Schuber. - Lediglich vereinzelt leichter Farbabrieb. Der Schuber außen punktuell leicht angeschmutzt. Insgesamt sehr gut und ausgesprochen schön. Prachtvolle, farbkräftige und malerische Werte umsetzende Drucke. Die überwiegend formatfüllenden Darstellungen u. A. mit Facetten, mitzeichnender Plattenkante und zartem Plattenton. Jeweils rechts mit dem Schöpfrand. Für uns im internationalen Handel derzeit nicht nachweisbar. Vollständige Ausgabe. Äußerst selten. - Nicht bei Monod. - Je eines von 40 römisch nummerierten Exemplaren der Vorzugsausgabe. - Jeweils im Druckvermerk nummeriert und von Senghor und dem jeweiligen Künstlern signiert. - Enthält: 3 Farbaquatinta-Radierungen von Hans Hartung, in: Élégie des Alizées. Druck bei Crommelynck, Lacourière und Frélaut. - 4 Farblithographien von Zao Wou-Ki, in: Élégie pour Jean-Marie. Je 2 Lithographien als Triptychon mit einem Textblatt im Zentrum. 2 Lithographien signiert. Druck bei Bellini. - 3 Farblithographien von Alfred Manessier, in: Élégie pour Martin Luther King. Die Lithographien auf 2 zusammenhängenden Bogen. Druck bei Mourlot. - 4 Farblithographien von Marie-Hélène Vieira da Silva, in: Élégie pour Georges Pompidou. Druck bei Bellini, mit Blindstempel. - 1 Aquatinta-Radierung und 5 Vignetten von Pierre Soulages, in: Élégie de Carthage. Druck der Radierung bei Lambillotte. - 1 Linolschnitt und 13 Vignetten von Étienne Hadju, in: Élégie pour la Reine de Saba. Druck bei Fequet-Baudier. - In Ehrung der Elegien von Léopold Sédar Senghor beschäftigt sich diese luxuriöse Publikation mit seinen Epen und Elegien, die Lobgesänge auf die Liebe, Schönheit Afrikas ebenso wie auf bedeutende Staatsmänner wie Georges Pompidou oder Martin Luther King darstellten. Senghor verwob wie kein anderer Staatsmann seine politische Tätigkeit mit philosophischen Gedanken, die eng verknüpft waren mit seinem breitgefächerten und detaillierten Wissen und Interesse an der europäischen Kultur, insbesondere der Lyrik. Senghor war Staatsmann, Dichter und Humanist. Die Bedeutung seiner Poesie ist unbestritten und so galt es 1978, die Elegien Senghors in einer luxuriösen Publikation durch facettenreiche Illustrationen zu bebildern. Hierfür wurden die bedeutenden Künstler des europäischen Informel Hans Hartung, Zao Wou-Ki, Alfred Manessier, Marie-Hélène Vieira da Silva, Pierre Soulages und Étienne Hadjun mit den Illustrationen beauftragt. Entstanden sind kaleidoskopartige Schöpfungen, für die sich jeder Künstler mit einer Elegie beschäftigte. Die bildgewaltigen und tiefgründigen künstlerischen Auseinandersetzungen zeugen von einem tiefen Verständnis für Senghors Elegien. 16 works by Hans Hartung, Zao Wou-Ki, Alfred Manessier, Marie-Hélène Vieira da Silva, Pierre Soulages and Étienne Hadjun in "Léopold Sédar Senghor, Les Élégies Majeures". Various techniques: Colour lithograph, colour aquatint, aquatint and linocut. Each on wove paper d'Arches (with the watermark). Loose quires in original wrappers, these in original canvas folders. Together in original illustrated slipcase. - Only occasional slight colour abrasion. The slipcase slightly soiled in places on the outside. Overall very good and exceptionally fine. Splendid, colourful impressions realising painterly values. The predominantly full-format depictions with facets, platemark and delicate plate tone. Each with the scooped margin on the right. - This edition currently not verifiable for us in international trade. Complete edition. Extremely rare. - One of 40 Roman numbered copies of the special edition. - Published by Éditions Regard, Geneva. - Each numbered in the printer's mark and signed by Senghor and the respective artists. - Contains: 3 colour aquatint etchings by Hans Hartung, in: Élégie des Alizées. Printed by Crommelynck, Lacourière and Frélaut. - 4 colour lithographs by Zao Wou-Ki, in: Élégie pour Jean-Marie. 2 lithographs each as a triptych with a text sheet in the centre. 2 lithographs signed. Printed by Bellini. - 3 colour lithographs by Alfred Manessier, in: Élégie pour Martin Luther King. The lithographs on 2 contiguous sheets. Printed by Mourlot. - 4 colour lithographs by Marie-Hélène Vieira da Silva, in: Élégie pour Georges Pompidou. Printed by Bellini, with blindstamp. - 1 aquatint etching and 5 vignettes by Pierre Soulages, in: Élégie de Carthage. Print of the etching by Lambillotte. - 1 linocut and 13 vignettes by Étienne Hadju, in: Élégie pour la Reine de Saba. Printed by Fequet-Baudier. - In honour of the elegies of Léopold Sédar Senghor, this luxurious publication deals with his epics and elegies, which were songs of praise to the love and beauty of Africa as well as to important statesmen such as Georges Pompidou or Martin Luther King. Like no other statesman, Senghor interwove his political activities with philosophical thoughts, which were closely linked to his wide-ranging and detailed knowledge of and interest in European culture, especially poetry. The importance of his poetry is undisputed and so in 1978, Senghor's elegies were to be illustrated in a luxurious publication with multifaceted illustrations. The important European Informel artists Hans Hartung, Zao Wou-Ki, Alfred Manessier, Marie-Hélène Vieira da Silva, Pierre Soulages and Étienne Hadjun were commissioned to create the illustrations. The result is kaleidoscope-like creations for which each artist worked on an elegy. The visually powerful and profound artistic explorations bear witness to a deep understanding of Senghor's elegies.

Zeitschriften - - Frans Masereel. Le Patriote Lundi. N°38. Lundi 13 Fevrier 1961. Mit signierter Offset-Farblithographie von Masereel auf dem Titel sowie zahlr. weiteren Illustrationen. Nizza, 1961. 1 S. 62 x 43 cm. Lose Bll. in OFaltung. Bereits seit 1916 schuf Masereel politisch aufgeladene Bilder und beteiligte sich hiermit auch am Kampf gegen den Krieg. Seine Werke wurden in zahlreichen Zeitungen und Zeitschriften abgedruckt und präsentierten der Öffentlichkeit unmissverständliche, gesellschaftskritische Motive. - Die Zeitschrift "Le Patriote lundi" erschien in den Jahren von 1951-1967. - Papierbedingt zart u. gleichmäßig gebräunt, mit horizontaler u. vertikaler Mittelfalz, vereinzelt mit kl. Fehlstellen sowie tls. mit kl. Randläsuren. Insgesamt wohlerhalten. Le Patriote Lundi. N°38 Lundi 13 Fevrier 1961 with signed offset colour lithograph by Masereel on the title and numerous other illustrations. Orig. loose folded sheets.

Afrika - - Scipione Losio. Reisekarte des Heimwegs. Zweiteilige Karte. Um 1900. Farblithographie auf Papier, mehrfach gefaltet. Maße aufgefaltet: 58,5 x 78,5 cm. Äußerst seltene Karte des italienischen Kartographen Scipione Losio. Sie beschreibt die Route vom Edwardsee, Uganda, in Zentralafrika nach Bagamoyo, Tansania, an der Küste des Indischen Ozeans beschreibt. Bagamoyo war die erste Hauptstadt des kolonialen Tansania und diente gleichzeitig als deutsches Hauptquartier für Deutsch-Ostafrika und als Tor für Entdecker auf der Suche nach der Quelle des Nils. - In den Falzen teils mit kleinen Einrissen sowie vereinzelt mit minimalen Fehlstellen ohne Bildverlust. Papierbedingt leicht gebräunt. Insgesamt schön erhalten. Africa - Map in colour lithograph on paper. Folded several times. - Extremely rare map by the Italian cartographer Scipione Losio. It describes the route from Lake Edward, Uganda, in Central Africa to Bagamoyo, Tanzania, on the coast of the Indian Ocean. Bagamoyo was the first capital of colonial Tanzania and also served as the German headquarters for German East Africa and as a gateway for explorers in search of the source of the Nile. - Some small tears in the folds and occasional minimal losses without loss of image. Slightly browned due to paper. Overall wel preserved.

Horace Vernet (nach). La chasse aux sangliers dans la plaine de Sahara. Farblithographie auf Velin. Mit typographischer Angabe im Druck. Zürich, J. Bachmann, um 1850. 46 x 61 cm. Punktuell montiert, im Passepartout. Bis an den Plattenrand beschnitten. Ein Druck von J. Bachmann nach dem Gemälde von Horace Vernet um 1835. - Blattränder mit minimalen Läsuren unter dem Passepartout. Leicht braungefleckt. Farbleuchtend erhalten. Color lithograph on wove paper. With typographical indication in the print. Mounted in spots, in passepartout. Trimmed to the platemark. - A print by J. Bachmann after the painting by Horace Vernet c. 1835 - Margins with minimal losses under the passepartout. Slightly brownstained. Preserved with vibrant colors.

Acht Büsten des Vatikan. Mythologische und historische Personen der Griechen und Römer. Ausgewählt aus dem "Museo Pio Clementino"... als Ergänzungen der Bildniss-Sammlungen: Der römischen Kaiser, der griechischen und römischen Schriftsteller, so wie als Zeichenbuch antiker Köpfe. Mit 8 lithographischen Tafeln. Leipzig, Köhler, 1830. 4°. Original-Broschur mit lithograph. DTitel (etwas fleckig, Rücken mit Tesafilm verstärkt). Sehr selten. - Die Tafeln in Stein gezeichnet von Friedrich August Fricke (1784-1858). - Eingebunden: Philologische Kupferwerke im Verlage von Karl Franz Köhler in Leipzig. 2 Bll. - Etwas stockfleckig und leicht knitterig. Wohlerhalten. With 8 lithographic plates. Original wrappers with lithographed title (somewhat stained, spine reinforced with tape). - Very rare. - The plates drawn in stone by Friedrich August Fricke (1784-1858). - Some foxing and slightly creased. Well preserved.