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Lot 657
§ A group of nine unframed op-art prints, to include: Kenneth Martin (1905-1984), Chance and Order IV, signed and dated 'Kenneth Martin 76' (lower right), artist's proof, screenprint, 70 x 70cm, Winfred Gaul (1928-2003), Untitled, signed and dated 71 to the reverse, numbered 105/350, silkscreen, 60.5 x 49.5cm; Peter Stroud (1921-2012), Extended Yellow, signed 'Peter Stroud' (lower right), numbered 39/70, screenprint, 47.5 x 83.5cm; Jürgen Reipka (1936-2013), Untitled, signed 'Reipka' (lower right), numbered 80/150, serigraph,58.5 x 41.5cm; Bob Bonies (1937-), Composition in Red and Blue, signed and dated 'Bonies 68' (lower right), screenprint, 66 x 66cm; John Plumb (1927-2008), Untitled, signed and dated 'John Plumb 68' (lower right), screenprint, 76 x 101cm; Lothar Quinte (1923-2000), Composition in Yellow, signed and dated 'Quinte 69' (lower right), numbered 95/125, screenprint, 86 x 64.5cm; Gordon House (1932-2004), Arc B, signed and dated 'Gordon House 71' (lower right), artist's proof, screenprint, 104 x 71cm; and Angel Duarte (1930-2007), Kinetic Composition, signed 'A. Duarte' (lower right), screenprint on newspaper, 54 x 34.5cm
Lot 1801
HERTER, ERICH (1920-1986) Konvolut: Vier Papierarbeiten, "Ohne Titel", Serigraphie, sig., Ex. 25/120, HxB: 58/45 cm. Kratzen. "Engelstropfen", Lithograhie, sig., Ex. 146/150, HxB: 60/80 cm. Wasserflecken. "Konvergenz", Lithograhie, sig., Ex. 2/8, HxB: 62/49 cm. Wasserflecken. "Der Reigen", Lithograhie, unsig., HxB: 60/75 cm. Wasserflecken. | HERTER, ERICH (1920-1986) Konvolut: Vier Papierarbeiten."Untitled", serigraph, sig., Ex. 25/120, HxW: 58/45 cm. Scratch. "Angel Drops", lithograph, sig., ex. 146/150, HxW: 60/80 cm. Water stains. "Convergence", lithograph, sig., ex. 2/8, HxW: 62/49 cm. Waterstains. "Der Reigen", lithograph, unsig., HxW: 60/75 cm. Waterstains.
Lot 1525
Roy Lichtenstein (1923 - 1997), Woman In Bath (1963), colour serigraph/screen print, unsigned, numbered 15/50, with Certificate of Authenticity, 91cm x 91cm, aluminium and glass frame, overall frame dimensions 109cm x 109cm, provenance: purchased by the present vendor from Exhibition Very good condition, colours all bright, no paper damage creases or tears, frame also in good condition
Lot 312
VICTOR VASARELY (HUNGARIAN-FRENCH 1906-1997)Geometric Descent,serigraph72.5 x 69 cm (28 1/2 x 27 1/8 in.)framed dimensions: 93 x 90 cm (36 5/8 x 35 3/8 in.)signed lower right and iscribed with edition 12/20 lower leftLOT NOTESVictor Vasarely is considered a founder of the Op art movement. His work Zebra, 1937 is thought to be one of the earliest Op art examples.
Lot 313
VICTOR VASARELY (HUNGARIAN-FRENCH 1906-1997)Geometric Descent,serigraph64 x 71 cm (25 1/4 x 28 in.)framed dimensions: 84.5 x 91 (33 1/4 x 35 7/8 in.)signed lower right and iscribed with edition 24/250 lower leftLOT NOTESVictor Vasarely is considered a founder of the Op art movement. His work Zebra, 1937 is thought to be one of the earliest Op art examples.
Lot 314
VICTOR VASARELY (HUNGARIAN-FRENCH 1906-1997)Geometric Descent,serigraph71 x 69 cm (28 x 27 1/8 in.)framed dimensions: 91 x 88.5 (35 7/8 x 34 7/8 in.)signed lower right and iscribed with edition 207/250 lower leftLOT NOTESVictor Vasarely is considered a founder of the Op art movement. His work Zebra, 1937 is thought to be one of the earliest Op art examples.
Lot 315
VICTOR VASARELY (HUNGARIAN-FRENCH 1906-1997)Harlequin,circa 1930sserigraph73 x 47 cm (28 3/4 x 18 1/2 in.)framed dimensions: 94 x 65.5 cm (37 x 25 3/4 in.)signed lower right and iscribed with edition 79/150 lower leftLOT NOTESVictor Vasarely is considered a founder of the Op art movement. His work Zebra, 1937 is thought to be one of the earliest Op art examples.
Lot 102
Blek le Rat (b.1952) French"The Man Who Walks Through Walls"Signed, serigraph, 72cm by 53cmThe work is on paper. It is not numbered.The print has a deckled edge. Very slight cockling to paper. The odd very tiny minor sporadic foxing spot, in particular to the right of the bag, lower right corner and lower left corner. Not examined out of the frame.
Lot 360
Alva. Images Sérigraphies Originales D'Alva, introduction de R. V. Gindertael, New York: Serigraph Galleries, 1954, 12 colour screen prints, original brown cloth, black dust jacket, lightly marked, folio, 88 of 160 copies, together with:Collis (Maurice). Alva, paintings and drawings, London: John Lane The Bodley Head, 1942, presentation copy signed by the author to front free endpaper, illustrations throughout (a few colour), light marginal toning, original brown cloth, dust jacket, lightly rubbed, 4to, withWilczynsky (Katerina). Daphnis and Chloe, twelve drawings, Oxford: Bruno Cassirer, [1943], 12 signed etched plates, lightly toned, contained in green pictorial quarter morocco folder, folio and another relatedQTY: (2)
Lot 238
Camaro, Alexander. 1901 Breslau - 1992O. T. (1966), Farbserigraphie, in Blei sign., als "Probedruck" bezeichnet. Trockenstempel Schoeller Turm. Gebräunt mit Lichtrand. Blattrand vereinzelt kl. Stockflecken. 37 x 56 cm (14,5 x 22 in). Bl. 44,8 x 65 cm (17,6 x 25,6 in). Hinter Glas gerahmt. Ra. 53 x 75 cm Aus der Mappe "Wegbereiter zur modernen Kunst. 50 Jahre Kestner-Gesellschaft. Ausgewählte Graphik. Mappe B", erschienen im Fackelträger-Verlag Schmidt-Küster GmbH, Hannover 1966. Alexander Camaro: colour serigraph, 1966, signed, artist's proof. Tanned. Dry stamp Schoeller Turm. 44,8 x 65 cm, framed with glass. Frame: 53 x 75 cm
Lot 242
Perrigo, DuaneExotische Szene (weiblicher Akt und Sklave mit Wedel). Farbsiebdruck auf Tonpapier, eingedruckte Signatur, hinter Glas mit Pp. gerahmt. Ra. 79 x 70 cm Duane Perrigo: scene with nude and slave, colour serigraph, printed signature, framed with glass and passepartout, frame: 79 x 70 cm
Lot 587
Dossi, Ugo (1943 München)"Byrne - Fischer (N.Y. 1956)". Farbserigraphie, 1973. In Blei unten rechts signiert und datiert. Betitelt oben Mitte. Exemplar 45/249. 65 x 50 cm (Bl). Leicht randgebräunt. Konzepthaftes Abbild der Spielzüge in der Schachpartie Donald Byrne gegen James "Bobby" Fischer a, 17. Oktober in New York City. "Byrne - Fischer (N.Y. 1956)" (Chess game). Colour serigraph, 1973. Signed and dated in pencil below the motif right, titled top middle. Copy 45/249. Tanned at the margins. Concept art showing the moves of the chess game Byrne - Fischer in New York City on October 17, 1956.
Lot 1040
Máro, Antonio. 1928 Catacaos/ Peru, lebt und arbeitet in BelgienO.T. Farbserigraphie/ Karton, sign. in Bleistift, PA leicht gebräunt, Passepartout mit Rückkarton, BA 48 x 47,5 cm, Pp. 69 x 69,5 cm Untitled, colour serigraph, signed in pencil, with passepartout. Cutout slightly tanned. 48 x 47,5 cm (cutout), 69 x 69,5 cm (pp)
Lot 670
Vocke (?), 20. Jh.Element-Kugel. Farbserigrafie, 1969. In Blei unten rechts signiert und datiert. Exemplar 135/150. Ungerahmt. 85 x 84 cm (Bl). Ränder deutlicher angebräunt und staubig. Konstruktiv aufgebrochene Kugelform in Blau und Grün mit rotem Band. Nah an Victor Vaserlys Op-Art. Elemented ball. Colour serigraph, 1969. Signed and dated in pencil bottom right. Copy 135/150. Unframed. Margins visibly tanned brownish, dusty.
Lot 629
Lausen, Jens (1937 Altona - 2017 Hamburg)"Landkarte Nr. 55 / Hommage à C.D. Friedrich: 'Das Kreuz wird Fluchtpunkt". Farbserigraphie, 1976. In Blei unterhalb der Darstellung rechts signiert und datiert, Titel gedruckt unten links. Exemplar 221/300. Ungerahmt. 84 x 59 cm (Bl). Angestaubt und Blattränder leicht verfärbt. Pyramidale Interpretation des Gemäldes "Das Kreuz im Gebirge" (Tetschener Altar) von Caspar David Friedrich aus den Jahren 1807/08, Galerie Neue Meister der Staatlichen Kunstsammlungen Dresden. Hommage à CD Friedrich - The cross becomes vanishing point. Colour serigraph, 1976. Signed and dated below the motif right, title printed left. Copy 221/300. Unframed. Dusty and tanned at the margins. New interpretation of the famous Tetschen Altar painting (The cross in the mountains) by CD Friedrich, part of the SKD collection in Dresden.
Lot 264
*YAAKOV AGAM (JACOB GIPSTEIN B. 1928), 'Yehuda, from the Twelve Tribes of Israel' Op art composition, signed and numbered 97/99 in pencil to margin, limited edition serigraph, 33cm x 27cmProvenance: Bittan Fine Art and with their Certificate of Authenticity Lots Road Auctions, Chelsea, 18th November 2012, Lot 76.From the collection of an International Designer
Lot 265
*YAAKOV AGAM (JACOB GIPSTEIN) (B. 1928), 'Shimon, from the Twelve Tribes of Israel' Op art composition, signed and numbered 46/99 in pencil to margin, limited edition serigraph, 33cm x 27cmProvenance: Bittan Fine Art and with their Certificate of Authenticity Lots Road Auctions, Chelsea, 18th November 2012, Lot 76.From the collection of an International Designer
Lot 221
Thomas McKnight (American, b. 1941). Group of two serigraphs depicting interior scenes including:One serigraph titled "Antibes" signed along the lower right; numbered in Roman numerals CLXV/CC (165/200) along the lower left.One serigraph titled "Bennington" depicting a breakfast nook with a vase, painting, and a red bird.Provenance: Distinguished corporate collection, Minnesota.(Bennington) Sight; height: 25 1/2 in x width: 28 in. Framed; height: 35 in x width: 38 in. (Antibes) Sight; height: 17 in x width: 19 in. Framed; height: 24 1/2 in x width: 26 in.
Lot 223
Linnea Pergola (American, b. 1953). Serigraph on paper titled "One World," depicting a nighttime scene of London with double decker red buses and taxies. Pencil signed along the lower right and numbered 175/295 along the lower left.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 35 in x width: 44 in. Framed; height: 41 1/2 in x width: 51 in.
Lot 230
LeRoy Neiman (American, 1921-2012). Serigraph on paper titled "Jack of Diamonds," depicting a jockey racing on a black racing horse. Pencil signed along the lower right and numbered 57/97 along the lower left.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 27 1/2 in x width: 21 1/2 in. Framed; height: 35 in x width: 28 in.
Lot 241
Alexander Calder (American, 1898-1976). Serigraph on paper titled "La Petite Pyramids," depicting colorful abstract circles and pyramids. Pencil signed along the lower right and annotated "E.A." along the lower left.Provenance: Distinguished corporate collection, Minnesota.Unframed; height: 18 1/2 in x width: 13 1/2 in. Framed; height: 26 in x width: 20 in.
Lot 246
Victor Vasarely (Hungarian/French, 1906-1997). Op-art abstract serigraph on paper titled "Microcosmos Cubes." Pencil signed along the lower right; numbered 135/250 along the lower left. With a certificate of authenticity from Park West Galleries affixed to the verso.Unframed; height: 13 in x width: 10 in. Framed; height: 23 1/2 in x width: 20 1/2 in.
Lot 247
Victor Vasarely (Hungarian/French, 1906-1997). Op-art abstract serigraph on paper titled "Tri Vega II," from the portfolio "Kunst-Oslo," 1985/86. Published by Editions Falaize/Paris. Pencil signed along the lower right; numbered 185/295 along the lower left.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 39 1/2 in x width: 27 in. Framed; height: 48 in x width: 35 in.
Lot 248
Victor Vasarely (Hungarian/French, 1906-1997). Op-art abstract serigraph on paper titled "Oltar-Zoeld," possibly alternately titled "Double Vega." From the portfolio "Kunst-Oslo," 1985/86. Published by Editions Falaize/Paris. Pencil signed along the lower right; numbered 185/295 along the lower left.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 39 in x width: 26 1/2 in. Framed; height: 48 in x width: 35 in.
Lot 249
Victor Vasarely (Hungarian/French, 1906-1997). Op-art abstract serigraph on paper titled "Ter-Ur 3," from the portfolio "Kunst-Oslo," 1985/86. Published by Editions Falaize/Paris. Pencil signed along the lower right; numbered 185/295 along the lower left.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 39 in x width: 26 1/2 in. Framed; height: 48 in x width: 35 in.
Lot 255
Louise Nevelson (American, 1899-1988). Screenprint on acetate over serigraph on glossy white wove paper titled "I Do Like To Be Beside the Seaside," from the portfolio "Facade," 1966. Faintly pencil signed and dated along the lower right; inscribed "Artist's Proof" along the lower left. Titled and with a poem by British poet Edith Sitwell printed along the verso. This work depicting an abstract collage of Nevelson's own sculptures inspired by Sitwell's poetry.Lot Essay: Louise Nevelson was a powerhouse of modernist sculpture. Her bold constructions using found objects shook the art world, as did her often scandalous, larger-than-life persona. Her work was cutting-edge during her lifetime and remains relevant, her unique approach to storytelling and her breathtaking, gothic silhouettes as fascinating to modern viewers as they were to her contemporaries.Louise Nevelson was born to a poor Jewish family in Kiev in what was then the Russian Empire in 1899, but immigrated to the United States with her family in 1901. The family settled in Rockland, Maine, where her father ran a lumber yard. She often played with the scraps as a child, taking an early interest in sculpture. In school, she had no aptitude for academics, but excelled in her art classes, and enjoyed creating whimsical clothing for herself, constructing hats and other items. When she was eighteen, she was introduced to Charles Nevelson, a wealthy New Yorker, by his brother Bernard, with whom she had become friends when his work in the shipping business had taken him to Rockland. They married in 1918, and she moved to New York City. She was immediately enraptured by the city, and took full advantage of the opportunities it offered to a young woman with a thirst to learn: she took acting and music classes, attended concerts and lectures, and visited museums. Despite her love for her new home, Nevelson found herself very unhappy in her marriage, particularly after the birth of her son. She found escape in visiting museums, where she was inspired by things as diverse as Japanese Noh theater costumes and cubist artworks, and by attending art classes at the Art Students League. Finally, in 1931, she left her husband and traveled to Munich to study with Hans Hofmann. Cubism as he taught it resonated with Nevelson, and had a major effect on shaping her later work. In her words, “[i]f you read my work, no matter what it is, it still has that stamp. The box is a cube.†After traveling for a few more months, she returned to the United States to be with her family, but soon returned to Europe, eager to learn more in the art schools of Paris. After a brief stay there, she returned to the United States and the Art Students League. She soon met Diego Rivera, and began working as an assistant to him. She continued to take every opportunity to expand her art horizons, even taking up modern dance as part of her ongoing fascination with space and how space is occupied. In 1941, Nevelson had her first show at Nierendorf Gallery, marking her breakthrough in the fine art world. She displayed sculptures created from boxes, leveraging her Cubist roots and obsession with space into something entirely new. She began receiving critical recognition, and continued expanding her work, moving literally outside the box. Around this time, Nevelson first began working with found objects. She felt that found objects already had stories of their own to tell, and assembling them as she was allowed her to contribute to those stories, and to keep the stories of discarded objects alive in a powerful way. While the way she manipulated these objects in her sculptures varied significantly throughout her career, their presence remained a constant. In the mid-1940s, she began exhibiting her work regularly, and her success continued from there. Throughout the 1950s and 1960s, her work was purchased by major museums, and she began receiving commissions to create the kinds of found-object sculptures for which she had become well known. These iconic sculptures were dark, monochromatic spires, disguising and making majestic the most mundane of objects. She was often grouped in exhibitions with the most influential artists of her time. Through the 1970s and 1980s, she received numerous honorary degrees and even had several books published on her. She continued working and experimenting until her death in 1988, pushing the boundaries of color, texture, and form. She continued to try new sculptural media—though always admitting that wood was her favorite—along with making prints, designing costumes, and writing poetry.Sight; height: 22 3/4 in x width: 17 1/4 in. Framed; height: 23 1/2 in x width: 18 in.
Lot 283
Tiefeng Jiang (Chinese, b. 1938). Serigraph on paper titled "Moonlight Dance," depicting a group of four dancers in black, white, red, blue, and green. Pencil signed along the lower right and numbered 123/260 along the lower left.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 40 in x width: 40 in. Framed; height: 50 in x width: 50 in.
Lot 284
Tiefeng Jiang (Chinese, b. 1938). Serigraph on paper titled "Freedom Suite," depicting a blue woman on horseback. Signed and numbered 146/300 along the lower right. With an article titled "The Contemporary Art of Jiang Tiefeng" by Richard A. Schindler of Regency Fine Art affixed along the verso.Sight; height: 24 in x width: 24 in. Framed; height: 37 in x width: 37 in.
Lot 468
Yves Klein - - Den inre och den yttre rymden, en utställning rörande universell konst. The inner and the outer space. An exhibition on universal art. Herausgegeben von Bergqvist Lindegren u. Karin-Hultén. Gruppenausstellungskatalog mit zahlreichen, teils farbingen Abbildungen sowie einer monochrom blauen Original-Serigraphie und einem goldfarbenen Blatt von Yves Klein. Stockholm, Moderna Museet, 1965. Quarto. OSchraubenbindung, vorn mit weißem Vinyl und dem hinteren Deckel aus Wellpappe (etwas angestaubt). Katalog der von Hultén kuratierten Gruppenausstellung im Stockholmer Moderna Museet vom 26.12.1965 bis 13.02.1966 - Enthält die 4 Teilen: 1) Kasimir Malevich, Text von Troels Andersen, 2) Naum Gabo, Text von K.G. Hultén, 3) Yves Klein, Text von Ulf Linde, IV) Katalog zu 35 Künstler, deren Arbeiten sich mit der Erforschung des Raums befassen (u.a. Max Bill, Enrico Castellani, Piero Dorazio, Lucio Fontana, Don Judd, Piero Manzoni, Otto Piene, Robert Rauschenberg, Frank Stella, Mark Tobey, Günther Uecker, Herman de Vries etc.) - Kleins Serigraphie am unteren, überstehenden Rand etwas angestaubt u. berieben, das goldfarbene Blatt u. verso gestempelt "Guld är Solljuset fotograferat och fixeradt. August Strindberg". - Die blaue Serigraphie durch weiße Streifen stark berieben, am Rand wie immer etwas bestoßen, die Goldfolie etwas knickspurig, vor allem am Rand. With num. ill., some in colour, as well as an original monochrome blue serigraph and a gold-coloured leaf by Y. Klein. - Catalogue of the group exhibition curated by Hultén at the Stockholm Moderna Museet from 26.12.1965 to 13.02.1966 - Contains the following 4 parts: 1) Kasimir Malevich, 2) Naum Gabo, 3) Yves Klein, IV) catalogue of 35 artists whose works deal with the exploration of space. - Klein's serigraph at the lower, overlapping margin somewhat dusty and rubbed. The gold coloured sheet somewhat creased and stamped on verso "Guld är Solljuset fotograferat och fixeradt. August Strindberg". The blue serigraph heavily rubbed by white stripes, a bit bumped at the edges as always, the gold foil a bit creased, especially at the edges.
Lot 1816
HUNDERTWASSER, FRIEDENSREICH (1928-2000), "Good Morning City - Bleeding Town", Farbserigraphie mit Metallfolien/Papier, in der Platte bezeichnet und datiert '686, Giudecca 1969', bezeichnet 'Serie X X' und num. 9590/10.000, Trockenstempel und rote Signaturstempel, mit Tusche von Hand signiert, datiert und bezeichnet 'Friedensreich, am 13. Juli 1970, Giudecca', HxB: Blatt ca. 85x56 cm, Außenmaße Rahmen ca. 85x56 cm. Altersspuren, leicht gebräunt, part. fleckig. Mit verglastem Klemmrahmen (Altersspuren). ANBEI Rechnungskopie Artes 1979.| HUNDERTWASSER, FRIEDENSREICH (1928-2000), "Good Morning City - Bleeding Town", Color serigraph with metal foil/paper, inscribed and dated '686, Giudecca 1969' in the plate, inscribed 'Serie X X' and num. 9590/10,000, dry stamp and red signature stamp, signed in ink by hand, dated and inscribed 'Friedensreich, am 13. Juli 1970, Giudecca', HxW: sheet approx. 85x56 cm, external dimensions of frame approx. 85x56 cm. Signs of age, slightly browned, part. blotchy. With glazed clamping frame (signs of age). ATTACHED Invoice copy Artes 1979.BEI EINEM ZUSCHLAG ÜBER € 400 MÜSSEN 4% URHEBERRECHT AN DIE VG BILDKUNST ABGEFÜHRT WERDEN.
Lot 167
* JOSE ROYO (SPANISH b. 1941), TODAS AS LUCES DEL DIA II (All The Lights Of The Day) limited edition serigraph on paper, signed and numbered 135/295 image size 35cm x 35cm, overall size 64cm x 61cm Mounted, framed and under glass. Note: one of the four serigraphs which comprise the "Todas As Luces del Dia Suite" of four serigraphs priced at $4500 (for the suite of four) and long sold out.
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