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Lot 251
DAVID HOCKNEY (Né en 1937), D’Après. (After) "Portrait d’un Artiste (Bassin avec deux figures)". Lithographie sur papier . Signé dans la planche et numéroté à la main, Édition limitée de 200 pièces, Tamponné S.P.A.D.E.M. Paris. 50 x 35 cm Lithograph "Portrait of an Artist (Pool with two figures)", Signed of the plate and numbered by hand, Limited Edition of 200 pieces, Embossed stamp of S.P.A.D.E.M. Paris.
Lot 253
DAVID HOCKNEY (Né en 1937), D’Après. (After) Untitled. Lithographie sur papier . Signé dans la planche et numéroté à la main, Édition limitée de 200 pièces, Tamponné S.P.A.D.E.M. Paris. 50 x 35 cm Lithograph "Portrait of an Artist (Pool with two figures)", Signed of the plate and numbered by hand, Limited Edition of 200 pieces, Embossed stamp of S.P.A.D.E.M. Paris.
Lot 252
DAVID HOCKNEY (Né en 1937), D’Après. (After) "Santa Monica". Lithographie sur papier . Signé dans la planche et numéroté à la main, Édition limitée de 200 pièces, Tamponné S.P.A.D.E.M. Paris. 50 x 35 cm Lithograph "Portrait of an Artist (Pool with two figures)", Signed of the plate and numbered by hand, Limited Edition of 200 pieces, Embossed stamp of S.P.A.D.E.M. Paris.
Lot 254
DAVID HOCKNEY (Né en 1937), D’Après. (After) "La cinquième peinture VN". Lithographie sur papier . Signé dans la planche et numéroté à la main, Édition limitée de 200 pièces, Tamponné S.P.A.D.E.M. Paris. 50 x 35 cm Lithograph "Portrait of an Artist (Pool with two figures)", Signed of the plate and numbered by hand, Limited Edition of 200 pieces, Embossed stamp of S.P.A.D.E.M. Paris.
Lot 469
David Hockney OM, CH, RA (b.1937) “Diptychon” (1989) Signed and dated (19)89, numbered 6/50, homemade print, 43cm by 55cm Provenance: Gilden's Arts Gallery, LondonSold together with the Gilden's Arts certificate of authenticity Coloured photocopy on two sheets of laid paper.The piece is float-mounted and hinged at the corners to the backboard. It is made of two pieces of paper with a join down the middle. Slight cockling to the paper. Some very light surface dirt and debris trapped under the glass. Slight handling crease upper right-hand side and one to the top right corner. A thumb-sized yellow/brown mark right of centre of top edge above the red, possibly glue that has been transposed? A small mark of a similar colour below the third red line and two to the top left edge, one to the right of the numbering and one below. The tiniest nick to the right of the bottom edge. Not examined out of the frame.
Lot 428
David Hockney (British, b. 1937) Stanley Life Size by his Master 1995 Pencil and ink on paper Signed and titled lower right Provenance: Brian Baggott, a friend of the artist's and the author of 'Hockney Posters' Dimensions: (Frame) 16.75 in. (H) x 23.75 in. (W) (Paper) 12.75 in. (H) x 19.75 in. (W)
Lot 499
Y DAVID HOCKNEY (b.1937)Autumn Trees near Thixendale 28th October 2008, Salts Mill, Saltaire, Yorkshire, inkjet printed computer drawing on paper, 16 1/4" x 38 1/2" (I), framed and glazed (Illustrated) (subject to Artists Resale Right) (Est. plus 24% premium inc. VAT)Condition Report: Good condition
Lot 162
David Hockney 1937 Bradford - lebt und arbeitet in London und Los Angeles Peter, Powis Terrace, Sept. 1967. 1967. Schwarze Tintenzeichnung auf Papier. Rechts unten monogrammiert, datiert 'Sept. 1967', betitelt und bezeichnet 'Powis Terr.'. 31,6 x 50,6 cm (12,4 x 19,9 in), Blattgröße. [AR]. • Intimes Porträt in Hockneys typisch minimalistischem, auf die Linie reduzierten Zeichenstil. • Das Modell ist Peter Schlesinger, damaliger Lebensgefährte des Künstlers. • David Hockney gilt als Mitbegründer der britischen Pop-Art. • Seine Arbeiten befinden sich in wichtigen Sammlungen der Gegenwartskunst, darunter die Tate Gallery, London, das J. Paul Getty Museum, Los Angeles, und das Centre Pompidou, Paris. PROVENIENZ: Privatsammlung Süddeutschland. LITERATUR: Christie's, London, Contemporary Art, 18.10.1990, Los 380 (m. Abb.). Aufrufzeit: 07.06.2025 - ca. 15.22 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONDavid Hockney 1937 Bradford - lebt und arbeitet in London und Los Angeles Peter, Powis Terrace, Sept. 1967. 1967. Black Ink drawing on paper. Monogrammed, dated “Sept. 1967,” titled and inscribed “Powis Terr.” in the lower right. 31.6 x 50.6 cm (12.4 x 19.9 in), size of sheet. [AR]. • An intimate portrait in Hockney's typical minimalist style that is reduced to the lines • The model is Peter Schlesinger, the artist's partner at the time. • David Hockney is one of the co-founders of British Pop Art. • His works are in important collections of contemporary art, such as the Tate Gallery, London, the J. Paul Getty Museum, Los Angeles, and the Centre Pompidou, Paris. PROVENANCE: Private collection, South Germany. LITERATURE: Christie's, London, Contemporary Art, October 18, 1990, lot 380 (illustrated). Called up: June 7, 2025 - ca. 15.22 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 115
David Hockney 1937 Bradford - lebt und arbeitet in London und Los Angeles A Bigger Book. Art Edition No. 251–500. Untitled, 346. 2010. Multiple. Inkjet-Print in dazugehöriger Mappe. Hardcover-Buch mit Präsentationsstütze. Print signiert, datiert und nummeriert sowie mit dem Trockenstempel des Künstlers. Print: Eines von 250 Exemplaren. Buch: Eines von 1000 Exemplaren. Auf Archivpapier. Print: 44 x 33 cm (17,3 x 12,9 in). Papier: 56 x 43 cm (22 x 16,9 in). Buch: 71 x 51 cm (27,9 x 20 in). 498 Seiten, 13 Ausklappseiten. Herausgegeben vom Künstler und TASCHEN Art Edition, Berlin. [KA]. • 'A Bigger Book' – das überdimensionale Buch rekurriert auf eines seiner bekanntesten Pool-Gemälde, 'A Bigger Splash', 1967 (Tate Gallery, London). • Mit der Zeichnung auf dem Tablet, verbunden mit dem Inkjet-Printer, kreiert Hockney ein komplexes Zusammenspiel von Farbe, Licht und Linie. • Im Entstehungsjahr ist der Künstler mit der Ausstellung 'Fleurs fraîches – Dessins sur iPhone et iPad' in der Fondation Pierre Bergé-Yves Saint Laurent, Paris, aktuell. • Seit seiner ersten großen Retrospektive, die 1970 von der Whitechapel Gallery in London aus durch Europa wandert, zählt David Hockney zu den meistgezeigten und beliebtesten Künstlern unserer Zeit. • Gemälde, Grafiken und Fotografien des Künstlers befinden sich in wichtigen Sammlungen der Gegenwartskunst, darunter die Tate Gallery, London, das J. Paul Getty Museum, Los Angeles, und das Centre Pompidou, Paris. PROVENIENZ: Privatsammlung Süddeutschland (seit 2016, Frölich & Kaufmann). Aufrufzeit: 07.06.2025 - ca. 14.20 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONDavid Hockney 1937 Bradford - lebt und arbeitet in London und Los Angeles A Bigger Book. Art Edition No. 251–500. Untitled, 346. 2010. Multiple. Inkjet print in matching folder. Hardcover book with presentation stand. Print signed, dated, and numbered, with the artist's blind stamp. Print: One of 250 copies. Book: One of 1000 copies. On archival paper. Print: 44 x 33 cm (17.3 x 12.9 in). Sheet: 56 x 43 cm (22 x 16,9 in). Book: 71 x 51 cm (27,9 x 20 in). 498 pages, 13 Fold-out pages. Published by the artist and TASCHEN Art Edition, Berlin. [KA]. • “A Bigger Book” – this oversized book refers to one of his most famous pool paintings, “A Bigger Splash,” 1967 (Tate Gallery, London). • Drawing on a tablet connected to an inkjet printer, Hockney creates a complex interplay of color, light, and line. • In the year of its creation, the artist had the exhibition “Fleurs fraîches – Dessins sur iPhone et iPad” at the Fondation Pierre Bergé-Yves Saint Laurent in Paris. • Since his first major retrospective, which traveled through Europe from the Whitechapel Gallery in London in 1970, David Hockney has been one of the most exhibited and popular artists of our time. • The artist's paintings, prints, and photographs are part of important collection of contemporary art, including the Tate Gallery, London, the J. Paul Getty Museum, Los Angeles, and the Centre Pompidou, Paris. PROVENANCE: Private collection, South Germany (since 2016, Frölich & Kaufmann). Called up: June 7, 2025 - ca. 14.20 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 290
* DAVID HOCKNEY OM CH RA (BRITISH b. 1937), OLYMPISCHE SPIELE MÜNCHEN offset lithograph poster of 'The Diver' commissioned for the 1972 Summer Olympic Gamesunframedoverall size 98cm x 62cmNote: David Hockney (b. Bradford, 9 July 1937). British painter, draughtsman, printmaker, photographer, designer, and writer, active mainly in the USA. After a brilliant prize-winning career as a student at the Royal College of Art, Hockney had achieved considerable success by the time he was in his mid-twenties, and he has since consolidated his position as by far the best-known and most critically acclaimed British artist of his generation. His phenomenal success has been based not only on his flair and versatility as an artist, but also on his colourful and engaging personality, which has made him a recognizable figure even to people not particularly interested in art. In 1961 he emerged as one of the leaders of British Pop art at the Young Contemporaries exhibition. Hockney himself disliked the label ‘Pop’, but his work of this time makes many references to popular culture (notably in the use of graffiti-like lettering) and is often jokey in mood. His first retrospective exhibition came as early as 1970, at the Whitechapel Art Gallery, London (it subsequently toured to Hanover, Rotterdam, and Belgrade). By this time he was painting in a weightier, more traditionally representational manner, in which he did a series of large double-portraits of friends, including the well-known Mr and Mrs Clark and Percy (1970–1, Tate, London). These portraits are notable for their airy feeling of space and light and the subtle flattening and simplification of forms, as well as for the sense of stylish living they capture. Hockney often paints the people and places he knows best (his art is frequently autobiographical) and has memorably celebrated his romance with Los Angeles (he first visited the city in 1963 and settled there in 1978), particularly in his many paintings featuring swimming pools (A Bigger Splash, 1967, Tate, London). In these works he skilfully exploited the qualities of the new acrylic paint. Hockney has also been outstanding as a graphic artist: his work in this field includes etched illustrations to Cavafy's Poems (1967) and Six Fairy Tales of the Brothers Grimm (1969), as well as many individual prints, often on homoerotic themes. In the 1970s he also came to the fore as a stage designer, notably with his set and costume designs for Stravinsky's The Rake's Progress and Mozart's The Magic Flute, produced at Glyndebourne in 1975 and 1978 respectively. The broader style demanded by stage design has been reflected in his subsequent easel paintings. In the 1980s he experimented a good deal with photography, producing, for example, photographic collages, in which numerous prints are made into a composite patchwork image. Subsequently, he has also produced paintings in a similar vein, using canvases arranged in a grid to create a huge overall image: the largest is Bigger Trees Near Warter (2007, Tate), painted in the open air near his Yorkshire studio, which is made up of 50 canvases in a rectangle measuring about 4.5 m (15 ft) by 12 m (40 ft). Hockney is a stimulating commentator on art and has published several books on his own life and work, as well as Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters (2001), in which he controversially argues that the use of optical aids such as the camera lucida and camera obscura has been much more common in European art than previously thought.
Lot 275
* DAVID HOCKNEY OM CH RA (BRITISH b. 1937), HE ENQUIRED AFTER THE QUALITY etching on paper, from the "Illustrations for Fourteen Poems from C P Cavafy',mounted, framed and under glassimage size 35cm x 22cm, overall size 55cm x 41cm Note: David Hockney (b. Bradford, 9 July 1937). British painter, draughtsman, printmaker, photographer, designer, and writer, active mainly in the USA. After a brilliant prize-winning career as a student at the Royal College of Art, Hockney had achieved considerable success by the time he was in his mid-twenties, and he has since consolidated his position as by far the best-known and most critically acclaimed British artist of his generation. His phenomenal success has been based not only on his flair and versatility as an artist, but also on his colourful and engaging personality, which has made him a recognizable figure even to people not particularly interested in art. In 1961 he emerged as one of the leaders of British Pop art at the Young Contemporaries exhibition. Hockney himself disliked the label ‘Pop’, but his work of this time makes many references to popular culture (notably in the use of graffiti-like lettering) and is often jokey in mood. His first retrospective exhibition came as early as 1970, at the Whitechapel Art Gallery, London (it subsequently toured to Hanover, Rotterdam, and Belgrade). By this time he was painting in a weightier, more traditionally representational manner, in which he did a series of large double-portraits of friends, including the well-known Mr and Mrs Clark and Percy (1970–1, Tate, London). These portraits are notable for their airy feeling of space and light and the subtle flattening and simplification of forms, as well as for the sense of stylish living they capture. Hockney often paints the people and places he knows best (his art is frequently autobiographical) and has memorably celebrated his romance with Los Angeles (he first visited the city in 1963 and settled there in 1978), particularly in his many paintings featuring swimming pools (A Bigger Splash, 1967, Tate, London). In these works he skilfully exploited the qualities of the new acrylic paint. Hockney has also been outstanding as a graphic artist: his work in this field includes etched illustrations to Cavafy's Poems (1967) and Six Fairy Tales of the Brothers Grimm (1969), as well as many individual prints, often on homoerotic themes. In the 1970s he also came to the fore as a stage designer, notably with his set and costume designs for Stravinsky's The Rake's Progress and Mozart's The Magic Flute, produced at Glyndebourne in 1975 and 1978 respectively. The broader style demanded by stage design has been reflected in his subsequent easel paintings. In the 1980s he experimented a good deal with photography, producing, for example, photographic collages, in which numerous prints are made into a composite patchwork image. Subsequently, he has also produced paintings in a similar vein, using canvases arranged in a grid to create a huge overall image: the largest is Bigger Trees Near Warter (2007, Tate), painted in the open air near his Yorkshire studio, which is made up of 50 canvases in a rectangle measuring about 4.5 m (15 ft) by 12 m (40 ft). Hockney is a stimulating commentator on art and has published several books on his own life and work, as well as Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters (2001), in which he controversially argues that the use of optical aids such as the camera lucida and camera obscura has been much more common in European art than previously thought.
Lot 168
David Hockney (b.1937)Celia Wearing Checked SleevesOffset lithograph printed in colours, 1973, from the edition of unknown size, published by Knoeder Gallery, London for the exhibition Prints of Celia and Flowers, 1965-1980, on wove paper, the full sheet printed to the edges, sheet 915 x 660mm (36 x 26in)
Lot 322
Mary Fedden OBE RA RWA, British 1915-2012 - Still life with flowers, 1946; oil on canvas, signed and dated lower right 'M Fedden 1946', inscribed on the reverse, 69 x 51 cm (ARR) Provenance: Christie's, London, British and Irish Modernist and Contemporary Paintings, Drawings and Sculpture, 10th November 1989, lot 303; private collection Note: inscribed on the reverse 'Maise Dèle Meiklejohn To the Secretary Edwin Austin Abbey Momorial Scholarship'. Upon returning to London in 1946 from Europe as a driver for the Navy, Army and Air Force Institutes, Fedden bought a house in Redcliffe Road with Maise Meiklejohn, a theatre designer. This floral still was one of a series which led to Fedden's first exhibition at Mansard Gallery in Heals in 1947. Mary Fedden is one of the most beloved British artists of the twentieth century, known for her harmonious and carefully composed landscapes and still lifes. This work is an excellent example of her nature style, in its contrasting colours and flattened perspective, that is comparable with her contemporaries Winifred Nicholson and Anne Redpath. Married to the painter Julian Trevelyan, Fedden exhibited in major events such as the 1951 Festival of Britain and later taught at the Royal College of Art, where her students included David Hockney and Patrick Caulfield. Her works are in major UK collections, including the Tate, New Hall Cambridge and Bristol Art Gallery.
Lot 471
John Hoyland RA, British 1934-2011 - Visit 18.10.93, 1993; acrylic on canvas, 86 x 60 cm (ARR) Provenance: Paintings in Hospitals, cat.no.13230 Note: the work will be included in the upcoming Catalogue Raisonne of the artist's paintings on canvas. John Hoyland was one of Britain's leading abstract artists, who pursued non-figurative painting for its potential to convey an advanced depth of emotion and feeling. The 1960s were a crucial decade for Hoyland, during which he found his voice as an artist. In 1964 he travelled to America, where he befriended Robert Motherwell, and visited the studios of Mark Rothco and Barnett Newman. In this same year he featured in Bryan Robertson’s ‘New Generation’ showcase, alongside the likes of David Hockney, Paul Caulfield and Briget Riley. Retrospectives of his work have been hosted at Serpentine Gallery (1979), Royal Academy (1999) and Tate St Ives (2006). He appears in public and private collections, including the Tate and Damien Hirst’s Muderme Collection.
Lot 475
Mary Fedden OBE RA RWA, British 1915-2012 - Yellow Carnations and Cup, 1979; watercolour on paper, signed and dated 'Fedden 1979', 24.1 x 14.5 cm (ARR) Provenance: with Century Galleries, Barnstaple (label attached to the reverse); Paintings in Hospitals, London, no.6807 Note: Mary Fedden is one of the most beloved British artists of the twentieth century, known for her harmonious and carefully composed landscapes and still lifes. This work is an excellent example of her nature style, in its contrasting colours and flattened perspective, that is comparable with her contemporaries Winifred Nicholson and Anne Redpath. Married to the painter Julian Trevelyan, Fedden exhibited in major events such as the 1951 Festival of Britain and later taught at the Royal College of Art, where her students included David Hockney and Patrick Caulfield. Her works are in major UK collections, including the Tate, New Hall Cambridge and Bristol Art Gallery.
Lot 175
Wilfred Avery, British 1926-2016 - Weather System; gouache and collage on paper, signed to the label attached to the reverse of the frame, 16.5 x 25.3 cm: together with a work on paper by Adrien de Menasce, Egyptian/British 1925-1995 - 'Figure Drawing, 1976'; pencil and coloured crayon on paper, signed lower left 'Menasce', 29.1 x 22.7 cm, Provenance: with The Mayor Gallery, London, where the works was purchased by the present owner in 1996 (2) (ARR) Note: in his early work of the 1950s, Avery would explore the rhythms and energy of the British landscape, combining a cubist visual approach with a deeply spiritual sense of the land itself. During the 1960s, Avery and his twin brother, Sam Lock, met artist Adrien de Menasce, who would become Locke's life partner. Avery and de Menasce's mature work would explore a similar visual language, looking at eroticism more deeply in their work, juxtaposing the landscape with the male body in both collage and painting. Both artists created a unique and highly individual contribution to Post-War British art and queer visual culture, and one that should be recognised alongside that of Keith Vaughan, Francis Bacon and David Hockney. Works by Wilfred Avery have recently been on display as part of 'Cruising the Collection' at Towner Eastbourne and a retrospective at the Museum of Barnstaple and North Devon in 2023. His works are in public collection including the Jerwood Collection, Southampton City Art Gallery, Royal Albert Memorial Museum & Art Gallery, Exeter and the Ingram Collection. He exhibited during his lifetime with Gallery One and Beaux Arts Gallery in London.
Lot 497
David Hockney, The Student (Aus: Homage to Picasso)Radierung und Aquatinta auf Karton 75,5 x 56,5 cm. Unter Glas gerahmt. Signiert, datiert und nummeriert. Exemplar XXIX/XXX (+90 +60). Edition Propyläen Verlag, Berlin. - Mit geringfügigen Altersspuren.Scottish Arts Council/Petersburg Press (Hg.), David Hockney prints 1954-77, London 1979, WVZ-Nr.153ProvenienzFirmensammlung, Frankfurt/M.; Privatbesitz, Hessen
Lot 74
El Lissitzky - Wladimir Majakowski. Dlia golosa. (russisch: Für die Stimme / Zum Vorlesen). Konstruktor knigi: El Lissitzky. Berlin, Lutze & Vogt für den Staatsverlag der RFSFR 1923. Mit illustriertem Titel, Typographiken und Illustrationen in Rot und Schwarz. Orangefarbene Originalbroschur mit Vorderdeckelillustration in Rot und Schwarz.Erste Ausgabe eines der wichtigsten Bücher des Konstruktivismus: »Majakowskis Gedichtband [...] wurde das einflußreichste Buch der typographischen Illustration des Konstruktivismus. Moholy-Nagy, van Doesburg, Teige und viele andere haben es gewürdigt und wurden von ihm in ihrer eigenen buchkünstlerischen Arbeit bestärkt und angeregt.« (Lothar Lang, S. 114). - »Furthermore, since Mayakovsky's volume of poetry was meant for recitation, Lissitsky's invention of a thumb-tab index for ease in finding each poem epitomizes the notion of the book as functional object« (Rowell and Wye, Seite 54). - »Der Ruhm Lissitzkys als Begründer einer neuen typografischen Kunst festigte sich endgültig nach Erscheinen des Majakowskischen Gedichtbandes „Zum Vorlesen" [...] Das Buch auszustatten wurde Lissitzky von Majakowski selbst vorgeschlagen. Der Dichter nahm dreizehn seiner bekanntesten und am häufigsten von der Bühne zitierten Gedichte hinein. [...] im Unterschied zur traditionellen Buchgrafik, die auf einer illusionistischen Illustrierung des Textes basiert, sind Lissitzky der Wortdynamik adäquate grafische Konstruktionen gelungen, die das ›Vorlesen‹ der Majakowskischen Verse lediglich ›begleiten‹. Das Buch des großen revolutionären Poeten wurde von einem echten Poeten der neuen Typografie ausgestattet. [...] In einem Interview, 1924 veröffentlicht, gab Majakowski der Arbeit Lissitzkys eine hervorragende Bewertung: ›Das im Berliner Verlag der RSFSR erschienene Buch ›Zum Vorlesen‹ (Gestaltung durch den Künstler Lissitzky) ist in technischer Hinsicht ausnahmslose Vollendung grafischer Kunst.‹« (N. Chardchiew, zitiert nach Lissitzky-Küppers, S. 385ff.). - Sehr schönes Exemplar.18,8 : 13,3 cm. 61, [3 leere] Seiten, 1 illustriertes Titelblatt. - Umschlag und eine Blattkante minimal angestaubt.From Manet to Hockney 68. - Johnson Artists' Books in the Modern Era 41. - Bowlt/Hernard 91. - Hellyer 305. - Rowell/Wye 478. - Dokumentations-Bibliothek VI, 679. - Lang, Konstruktivismus 49, S. 110ff. und als Umschlagillustration. - Papiergesänge 42
Lot 41
Mappenwerke - Rencontres. Jeune peinture et sculpture internationales. Suite No. 8. Genf, Galerie Krugier 1964. Mit sieben signierten Lithographien, davon fünf farbige und eine auf dem Umschlag. Mit zwei gefalzten Textblättern lose Doppelblätter in Originalumschlag.Eins von 200 nummerierten Exemplaren der signierten Vorzugsausgabe (Gesamtauflage 1500). - Nach den sieben »Suites«, die je einem Künstlern gewidmet waren, erschien diese graphische Anthologie mit je einer signierten Lithographie von Horst Antes, André Bertholo, David Hockney (einfarbig), Henri Luginbühl (einfarbig), Bernard Rancillac, Hervé Telemaque und Ghislain Uhry (Umschlag). - Alle Lithographien mit Mittelfalz.33 : 24,5 cm. - Vordere Umschlagkante mit schwachem Längsknick.
![Kasimir Malewitsch - N[ikolai] N[ikolajewitsch] Punin. Pervyi tsikl lektsii (russisch: Erster Zyklus von Lektionen). Petrogra](https://cdn.globalauctionplatform.com/73ff6e71-cd75-4f64-aacf-b2cd00c96cfc/2d51e4d6-4ac2-405a-9a88-b2cd00d2722a/468x382.jpg)
Lot 71
Kasimir Malewitsch - N[ikolai] N[ikolajewitsch] Punin. Pervyi tsikl lektsii (russisch: Erster Zyklus von Lektionen). Petrograd 1920. Rosafarbene Originalbroschur, auf den Deckeln zwei Farbzinkographien von Kasimir Malewitsch.Erste Ausgabe. - Auf dem Höhepunkt von Malewitschs suprematististischem Schaffen entstand eine der bekanntesten Umschlaggestaltungen der russischen Avantgardezeit, die in jeder namhaften Publikation zum Thema abgebildet ist. - Von Malewitschs Konstruktionen wurde El Lissitzky zu seinen Proun-Schöpfungen inspiriert. - Punins acht Vorlesungen diskutieren Ziele der russischen Avantgarde und waren Bestandteil eines Erziehungsprogramms des 1917 von Lunatscharski gegründeten NAKOMPROS (Kommissariat für Volksaufklärung). - Sehr schönes Exemplar, der in Rosa, Blau, Gelb und Schwarz lithographierte Umschlag bemerkenswert gut erhalten und farbfrisch. - »The covers of this government publication represent the only application of Malevich´s suprematist design to book« (From Manet to Hockney).21,5 : 14 cm. 84 Seiten. - Leicht angestaubt, Rücken minimal brüchig. - Hinterdeckel (und Seite 84) mit russischem Stempel. - Im Falz am Ende etwas gelockert, ein Blatt mit kleinem Eckabriss. - In Glasolin-Umschlag und privater Schmuckkassette mit Deckelbild.Karshan 72 und 73. - Compton S. 128 (mit farbiger Abbildung auf Tafel 15. - Bowlt/Hernard 52. - Hellyer 431. - Rowell/Wye 306. - Lang, Konstruktivismus 70. - Papiergesänge 36. - Ilk Russia 2
Lot 120
David Hockney, artist. A signed (in green and blue ink) 1992 Single European Market FDC. The stamp was designed by Hockney, considered to be one of the most influential British artists of the 20th century. With insert and "CBI 13th October 1992 London WC1" cancellation. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 367
Walasse Ting One cent life. Herausgegeben von Sam Francis. Bern, E. W. Kornfeld 1964. Wichtiges Avantgarde-Malerbuch, - 'Inbild einer ganzen Epoche' (Wulf D. von Lucius) Die wohl bekannteste und wichtigste Synthese der avantgardistischen künstlerischen Strömungen Europas und Amerikas der 60er Jahre. - 1 von 2000 numerierten Exemplaren. Druck bei Maurice Baudet, Paris, die Typographie stammt von Georges Girard. Enthalten sind u. a. Arbeiten von Pierre Alechinsky (Rivière 324-238), Karel Appel, Enrico Bay, Allen Davie, Jim Dine (Bonin/Cullen 78), Sam Francis (Lembark L78-L83), Robert Indiana, Asger Jorn (van de Loo 266, 267), Roy Lichtenstein, Claes Oldenburg, Mel Ramos, Robert Rauschenberg, James Rosenquist, Antonio Saura, K. R. H.Sonderborg, Walasse Ting, Bram van Velde, Andy Warhol und Tom Wesselmann. 'In Wahrheit handelt es sich bei weitem nicht nur um Pop-Künstler, sondern ebenso um viele Vertreter des abstrakten Expressionismus wie Sam Francis oder außerhalb Amerikas A. Saura. Das vom Buch insgesamt ausstrahlende Lebensgefühl von Grellheit, Lebensfreude und Ansätzen von trash culture (z. B. bei Mel Ramos) ist aber doch ganz das der Pop-orientierten 60er Jahre.' (W. D. von Lucius) 'This book was characteristic of the casual and iconoclastic nature of the 1960s.' (Logan Coll.) EINBAND: Lose Bogen in farbig illustriertem Orig.-Leinenband mit Orig.-Umschlag, in Schuber. 41 : 30,5 cm. - ILLUSTRATION: Mit 62 tlw. doppelblattgroßen farbigen Orig.-Lithographien von S. Francis, W. Ting, P. Alechinsky, K. Appel, R. Lichtenstein, A. Warhol, J.-P. Riopelle u. a. - PROVENIENZ: Westfälische Privatsammlung. LITERATUR: Das Buch des Künstlers 14. - Splendid Pages (Bareiss Coll.) S. 204. - Castleman S. 208-209. - From Manet to Hockney 135. - Logan Collection 155. - Lucius, Bücherlust 40. - Arnold 2827. The presumably most renowned and most important synthesis of avant-garde artistic European and American tendencies of the late 1960s, a great publication of Pop art and Abstract expressionsim. With 62 orig. lithographs, partly double-page and in colors, by S. Francis, W. Ting, P. Alechinsky, K. Appel, R. Lichtenstein, A. Warhol, J.-P. Riopelle et al. Loose sheets in orig. cloth illustrated in colors with illustr. orig. wrappers, in slipcase. Partly slight creases in margins, slipcase clearly stained. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=569&obnr=425000030 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=569&obnr=425000030 This lot can be purchased subject to differential or regular taxation.
Lot 62
Clemens Brentano Rarissimum! Fanferlieschen Schönefüßchen. Berlin, Fr. Gurlitt 1924. • Eine der großen Seltenheiten in Beckmanns graphischem Oeuvre • 1 von 30 numerierten Exemplaren der Vorzugsausgabe • Mit einer zusätzlichen Radierung von Max Beckmann, die nur für die Luxusausgabe vorgesehen war • Laut Hofmaier nur 4 nachweisbare Exemplare vorhanden, darunter 3 der Vorzugsausgabe 'Bis auf wenige Exemplare verbrannt oder in irgendeiner Form durch einen Unglücksfall vernichtet' (Ralph Jentsch) Entgegen der Kolophonangabe sind alle bisher aufgetauchten Exemplare der Vorzugsausgabe unsigniert. Uns ist lediglich ein Exemplar der Normalausgabe mit signierten Graphiken bekannt, das wir im November 2019 versteigert haben (A 491 Los 67, Zuschlag 50.000 €). Das letzte davor bekannte Exemplar dieses Werkes wurde 1991 bei Brandes in Braunschweig versteigert und erzielte dort mit ebenfalls unsignierten Graphiken der Luxusausgabe einen Zuschlag von 15.000 DM (A 96, Los 1853). Ursprünglich war eine Edition von insgesamt 220 Exemplaren vorgesehen. Hofmaier konnte lediglich 4 Exemplare lokalisieren, davon 3 unsigniert. - 'The by Beckmann illustrated Fanferlieschen Schönefüsschen is conspicuously rare; of a total edition of 220 copies, only four copies - three of the deluxe edition, one of general edition - have been located. It is to be assumed that nearly the entire edition has been lost. Although reasonably the disappearance should be involved with the events of the Second World War, the fact that in known copies of the deluxe edition Beckmann apparently refused to sign the illustrations, as required by the specifications of the colophon, proposes that a dissatisfaction on the part of the artist might have caused at least the withdrawal of the book from circulation. Although this proposal is highly speculative, the absence of the book in German institutional collections - indeed, at even the Deutsche Bücherei in Leipzig, where by law a copy of every publication was to be deposited - would seem to indicate that the book had become 'unavailable' soon after it had been issued' (Hofmaier). - 'Dieses Buch ist ein Meisterwerk der neueren deutschen Illustration' (Adolf Jannasch). - Fünfte Reihe der Neuen Bilderbücher. EINBAND: Orig.-Halbpergamentband mit goldgeprägtem Rückentitel und Kopfgoldschnitt, in HLwd-Schuber. 34,5 : 26,5 cm. - ILLUSTRATION: Mit 8 Orig.-Radierungen von Max Beckmann. - PROVENIENZ: Seit 1991 in einer Hessischen Privatsammlung. LITERATUR: Lenz, Max Beckmanns Illustrationen zu Fanferlieschen Schönefüßchen, in: Bild und Schrift in der Romanik. Hrsg. von G. Neumann und G. Oesterle, 1999, S. 447-462. - Hofmaier 291-298 B a. - Jentsch 145 - Lang 14. - Schauer II, 117. - Nicht in der Rifkind Collection, ferner nicht im Katalog From Manet to Hockney und bei Matuszak. Dabei eine im gleichen Stil nachgebundene HLwd-Mappe mit Kopien zum Werk, beides zusammen in HLwd-Schuber. One of the great rarities in Beckmann's graphic oeuvre. 1 of 30 numbered copies of the special edition with an additional, eighth etching by Max Beckmann, which was only intended for the luxury edition. According to Hofmaier 4 traceable copies exist today, including 3 of the special edition. With 8 orig. etchings by Max Beckmann. Orig. half vellum with gilt lettering and top edge gilt, in slipcase. 34,5 : 26,5 cm. - Apart from a few foxing spots, this is a beautiful and very wide-margined copy. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=569&obnr=425000059 Dieses Objekt wird regelbesteuert angeboten (R). Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=569&obnr=425000059 This lot can only be purchased subject to regular taxation (R).
Lot 73
Walasse Ting Grell und voller Leben One cent life. Herausgegeben von Sam Francis. Bern, E. W. Kornfeld 1964. • Eines der großen Malerbücher der 60er Jahre • Eine der schönsten Publikationen der Pop-Art und des abstrakten Expressionismus • Gemeinsames Künstlerprojekt von europäischer und amerikanischer Avantgarde 'Die Bibel der amerikanischen Pop-Art' (Wulf D. von Lucius) Die wohl bekannteste und wichtigste Synthese der avantgardistischen künstlerischen Strömungen Europas und Amerikas der 60er Jahre. Unter anderem im Stil des abstrakten Expressionismus, Tachismus und der Pop-Art verbinden sich hier Text und Illustration auf einfallsreiche Art. - 1 von 2000 numerierten Exemplaren. Druck bei Maurice Baudet, Paris, die Typographie stammt von Georges Girard. Enthalten sind u. a. Arbeiten von Pierre Alechinsky (Rivière 324-238), Karel Appel, Enrico Bay, Allen Davie, Jim Dine (Bonin/Cullen 78), Sam Francis (Lembark L78-L83), Robert Indiana, Asger Jorn (van de Loo 266, 267), Roy Lichtenstein, Claes Oldenburg, Mel Ramos, Robert Rauschenberg, James Rosenquist, Antonio Saura, K. R. H.Sonderborg, Walasse Ting, Bram van Velde, Andy Warhol und Tom Wesselmann. 'In Wahrheit handelt es sich bei weitem nicht nur um Pop-Künstler, sondern ebenso um viele Vertreter des abstrakten Expressionismus wie Sam Francis oder außerhalb Amerikas A. Saura. Das vom Buch insgesamt ausstrahlende Lebensgefühl von Grellheit, Lebensfreude und Ansätzen von trash culture (z. B. bei Mel Ramos) ist aber doch ganz das der Pop-orientierten 60er Jahre.' (W. D. von Lucius) 'This book was characteristic of the casual and iconoclastic nature of the 1960s.' (Logan Coll.) EINBAND: Lose Bogen in farbig illustriertem Orig.-Leinenband mit Orig.-Umschlag, in Schuber. 41 : 30,5 cm. - ILLUSTRATION: Mit 62 tlw. doppelblattgroßen farbigen Orig.-Lithographien von S. Francis, W. Ting, P. Alechinsky, K. Appel, R. Lichtenstein, A. Warhol, J.-P. Riopelle u. a. - PROVENIENZ: Privatsammlung München. LITERATUR: Das Buch des Künstlers 14. - Splendid Pages (Bareiss Coll.) S. 204. - Castleman S. 208-209. - From Manet to Hockney 135. - Logan Collection 155. - Lucius, Bücherlust 40. - Arnold 2827. The presumably most renowned and most important synthesis of avant-garde artistic European and American tendencies of the late 1960s, a great publication of Pop art and Abstract expressionsim. With 62 orig. lithographs, partly double-page and in colors, by S. Francis, W. Ting, P. Alechinsky, K. Appel, R. Lichtenstein, A. Warhol, J.-P. Riopelle et al. Loose sheets in orig. cloth illustrated in colors with illustr. orig. wrappers, slipcase in Purple. - Good copy. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=569&obnr=425000224 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=569&obnr=425000224 This lot can be purchased subject to differential or regular taxation.
Lot 1287
David HockneyIllustrations for Fourteen Poems from C.P. Cavafy196712 Radierungen zu Texten von C.P. Cavafy + 1 zusätzliche Originalradierung; ungerahmt48,3 x 43 cm (Mappe), 46,5 x 32,5 cm (Blattmaß), 34,5 x 22,2 (Platte)Editions Alecto Limited, 1966.Edition A: 12 Radierungen + 1 zusätzliche Originalradierung "Portrait of Cavalfy II". Jede Radierung rückseitig gestempelt: Edition AIn Original-Leinenkassette.Handschriftlich signiert und nummeriert auf letzter Seite: David Hockney 25/500Geschäftsauflösung Wolfdietrich Hassfurther
Lot 2331
Large quantity of coffee table style books and others to include "Horace Walpole's Strawberry Hill", "English Medieval Embroidery", "French Interiors of the 18th Century", "Art and Architecture of the Late Middle Ages", Warwick, Christopher and Golden Ruel (ed) "Her Majesty", published by Taschen, modern art to include Stanley Spencer, David Hockney, Christopher Dresser and many other volumes (3 boxes)
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