Color Etching, Signed (180 results)

Hardcover. 8°, Original-Leinen im originalen Umschlag, dieser ist etwas randlädiert. 132 Seiten in deutsch und englisch, reich einfarbig und farbig bebildert. Beiliegend eine farbige Originalradierung, diese wurde vom Künstler in Bleistift numeriert (141/150), signiert (K. Nagaoka) und datiert ('81). Druckvermerk mit der handschriftlichen Exemplar-Nummer in schwarzem Stift. In gutem Zustand. -- Original linen binding in the original dust jacket, which shows some edge wear. 132 pages in German and English, richly illustrated in monochrome and color. Enclosed is an original color etching, numbered (141/150), signed (K. Nagaoka), and dated ('81) in pencil by the artist. A colophon with the handwritten copy number in black pen is also present. In good condition. signed and numbered color etching 1-150: ISEKI/PY XXIX (see page 78) -- Bitte Portokosten außerhalb EU erfragen! / Please ask for postage costs outside EU! / S ' il vous plait demander des frais de port en dehors de l ' UE! // Bitte beachten Sie auch unsere Fotos! / Please also note our photos! / Veuillez noter nos photos -- Lesen Sie etwas Schönes auf einer Bank in der Frühlingssonne! Wir haben die passende Lektüre. -- Wir kaufen Ihre werthaltigen Bücher! K03405.

No Binding. Condition: Fine. First Printing. Original color etching, 15 3/4" h x 15" w , numbered 22/75, titled and pencil SIGNED BY ARTIST/ Fine, old pencil price verso, old Roten inventory number in pencil bottom edge front Karen Parker was known to have studied at Atelier 17, Paris with Stanley Hayter in the 1970s. .Well suited for framing, will be shipped flat, please select priority mail shipping to help defray expense. SIGNED BY ARTIST.

No Binding. Condition: Near Fine. First Printing. Original color etching, 20 1/2" h x 15" w taped in old Roten Galleries mat 24" x 20". Pencil SIGNED BY ARTIST and # 33 of an edition of 50 prints. (Roten Galleries catalogue 1969, p.55) Near Fine, old Roten inventory number in pencil bottom edge, tape shadows to margins of print hidden by old mat. With the old mat replaced, well suited for framing, will be shipped flat. Please select priority shipping to help defray shipping cost. . SIGNED BY ARTIST.

Original artist?s proof of Irwin Rosenhouse?s color etching ?Eve,? depicting the snake curling around Eve's body to bring the apple to her mouth. Cooper Union professor and Greenwich Village gallerist Rosenhouse (1924-2002) was a prolific painter, printmaker, and illustrator, best known for his album covers for Folkways Records and his iconic 1968 ?peace dove? design. A fine signed etching. Color etching, measuring 3 x 2 inches, on a sheet measuring 7.5 x 5.5 inches. Signed in pencil below image, with note ?AP Eve.?.

Condition: Collectible. Limited/Numbered/Signed/First. nFINE. Pale blue boards. The limited edition was restricted to 150 copies. Opposite the title page is an original frontis color etching of a miner - pencil signed and numbered 141/150. Evergood was based in NYC having studied in Paris. Discovered by the great art collector Joseph Hirshhorn, he worked in oils, sculpture, etchings and lithography, having studied with both André Lhote and Stanley William Hayter. His works have been highly sought after since then and examples can be found in the collections of America's most renowned museums. Scarce nFINE copy. Very desirable/collectible book with signed etching. [B13]. Signed by Author/Artist.

Condition: Collectible. Limited/Numbered/Signed/First. nFINE/VG+. Pale blue boards. complete jacket with 2 minor edge chips. FLAT SIGNED by AUTHOR-ARTIST with inscription dated 1950 on ffep, to patrons of his artwork. The limited edition was restricted to 150 copies. Opposite the title page is an original frontis color etching of a miner - pencil signed and numbered 150/150, making this the absolute last copy produced. Evergood was based in NYC having studied in Paris. Discovered by the great art collector Joseph Hirshhorn, he worked in oils, sculpture, etchings and lithography, having studied with both André Lhote and Stanley William Hayter. His works have been highly sought after since then and examples can be found in the collections of America's most renowned museums. Scarce nFINE copy with jacket. Very desirable/collectible book with signed etching. RARE with double signatures. [B13]. Signed by Author/Artist.

Rare Roger Hebbelinck - Hand Signed in pencil lower right, Limited edition 98/350 Color Aquatint Etching Landscape pencil titled "Chemin paisible"translates to "Peaceful Path" plate impression approx 6 1/4 x 12 ins- overall dimensions 12 1/4 x 17 1/2 ins- look out for more Hebbelinck aquatints too Roger Hebbelinck (1912-1987) was a Belgian painter and printmaker. Roger Hebbelinck was a Belgian artist who was born in Brussels in 1912 and who died there in 1987. He was a painter, etcher, watercolorist and cinematographer. Education at the Academy in Brussels under Bastien, Delville, Van Strydonck, Stevens and Mathieu and at the Academy in Ixelles under Omer Dierckx. At the Academy of Brussels he was taught watercolor painting by I. van Mens and engraving by J. van Santen. He etched a large number of picturesque city corners in historic towns. He provided the etchings for the book Les Villages Illusoires by E. Verhaeren. As a filmmaker, he made the documentary La Naissance d'une Eau-forte, which won a prize at the Cannes Film Festival, and a documentary about the construction of the Atomium. Before the war, he set up an etching printing studio as a visual artist and etched many picturesque cityscapes in Belgium. He also etched and watercolored in the Netherlands (Bergen op Zoom) and the south of France and Spain. Also special are his color etchings that he made after works by his colleagues V. de Saedeleer and A. Saverys. He signed it with the pseudonym "Belin". . From the press: ?As an accurate observer, R.H. his whole soul in the rendering of his subjects which he manages to capture with great precision, but which also bear witness to a poetic vision. He masters his technique in an exemplary way and thus fits in with the tradition of etching practiced by Ensor and De Bruycker. His painting, however, leans again towards post-symbolism, apart from the surrealistic visual language. The entire oeuvre of R.H. shows that he is again and again fascinated by human existence in general and the environment to which the fate of the individual is connected in particular, which can be a city (Rome, Bruges) as well as the countryside or villages in Italy or Spain.? "near fine , light handling wear".

Rare Roger Hebbelinck - Hand Signed in pencil lower right Limited edition 247/350 - Color Aquatint Etching - Windmill in Landscape pencil titled "Moulin de Liska?" plate impression approx 7 1/2 x 9 5/8 ins overall dimensions approx 12 1/4 x 16 1/4 ins look out for more Hebbelinck aquatints too Roger Hebbelinck (1912-1987) was a Belgian painter and printmaker. Roger Hebbelinck was a Belgian artist who was born in Brussels in 1912 and who died there in 1987. He was a painter, etcher, watercolorist and cinematographer. Education at the Academy in Brussels under Bastien, Delville, Van Strydonck, Stevens and Mathieu and at the Academy in Ixelles under Omer Dierckx. At the Academy of Brussels he was taught watercolor painting by I. van Mens and engraving by J. van Santen. He etched a large number of picturesque city corners in historic towns. He provided the etchings for the book Les Villages Illusoires by E. Verhaeren. As a filmmaker, he made the documentary La Naissance d'une Eau-forte, which won a prize at the Cannes Film Festival, and a documentary about the construction of the Atomium. Before the war, he set up an etching printing studio as a visual artist and etched many picturesque cityscapes in Belgium. He also etched and watercolored in the Netherlands (Bergen op Zoom) and the south of France and Spain. Also special are his color etchings that he made after works by his colleagues V. de Saedeleer and A. Saverys. He signed it with the pseudonym "Belin". . From the press: ?As an accurate observer, R.H. his whole soul in the rendering of his subjects which he manages to capture with great precision, but which also bear witness to a poetic vision. He masters his technique in an exemplary way and thus fits in with the tradition of etching practiced by Ensor and De Bruycker. His painting, however, leans again towards post-symbolism, apart from the surrealistic visual language. The entire oeuvre of R.H. shows that he is again and again fascinated by human existence in general and the environment to which the fate of the individual is connected in particular, which can be a city (Rome, Bruges) as well as the countryside or villages in Italy or Spain.? "near fine , light handling wear".

First edition of these poems by Viladot. Illustrated with a signed color etching by Josep Guinovart. Edition limited to 42 copies. Printed on fine wove paper. Large folio, original wraps. Fine.

Condition: Good. Original color etching on rag paper. 34 x 24.25 inches. Signed, titled, dated and annotated "Artist's Proof" in pencil.Creases in margins and central fold mark. Provenance, Suzy Locke. Tilting at Windmills Gallery:J.B. Thompson (1932 - 1984) began his career as an aspriring student of architecture. However, this endeavor soon gave way to a study of painting and sculpture. His mastery of the aforementioned three subjects was readily apparent in his early art. Later in life, he expanded into printmaking, which he synthesized with sculpture, creating sterling silver and copper collage prints, available only in limited edition and released in 1972. Throughout the 1970s, he continued to add various techniques and materials to his prints, including collograph, woodcut, lithograph, etching, carborundum surfaces and gold. The dramatic textural relief observable in his prints is a result of Thompson's masterful manipulation of the carborundum process. In terms of subject matter for the prints, he often used images which evoke the notion of a mental or physical voyage, generally with an overwhelming sense of movement. Others are based on metaphysical diagrams intended to represent various levels of the human psychic journey and the Earth's physical cosmos. Thompson believed wholeheartedly in the one-to-one communication process that occured between viewer and artist and felt his audience would know a great deal about him if they grasped the meaning of his work. Of his work it has been said that 'the source of J.B. Thompson's imagery was a direct, mystical experience of reality, which he did not try to define or control. He did not separate the creation of his art from the living of his life.' Thompson rather successfully combined technical expertise with creative intuition. He died of cancer in 1984.Recipient: Huntington Hartford Fellowship 1965-1966Listed in Who's Who in America 1979 and 1980.

No Binding. Condition: Good. this is a colored etching hand SIGNED by Penny Feder; limited edition 84/300; paper size 19-1/2 x 13 in., etching size: 15-3/4 x 9-3/4 in; there are 3 pieces of tape at top of paper when it was matted; edges of paper is matt burning; two tiny smuges at bottom of paper; otherwise in GOOD COND. Signed by Author(s).

Rare Roger Hebbelinck - Hand Signed in pencil lower right Limited edition 233/350 Color Aquatint Etching PEDRO pencil titled lower right plate impression approx 16 3/4 x 12 3/4 ins overall dimensions 25 x 19 1/2 ins look out for more Hebbelinck aquatints too Roger Hebbelinck (1912-1987) was a Belgian painter and printmaker. Roger Hebbelinck was a Belgian artist who was born in Brussels in 1912 and who died there in 1987. He was a painter, etcher, watercolorist and cinematographer. Education at the Academy in Brussels under Bastien, Delville, Van Strydonck, Stevens and Mathieu and at the Academy in Ixelles under Omer Dierckx. At the Academy of Brussels he was taught watercolor painting by I. van Mens and engraving by J. van Santen. He etched a large number of picturesque city corners in historic towns. He provided the etchings for the book Les Villages Illusoires by E. Verhaeren. As a filmmaker, he made the documentary La Naissance d'une Eau-forte, which won a prize at the Cannes Film Festival, and a documentary about the construction of the Atomium. Before the war, he set up an etching printing studio as a visual artist and etched many picturesque cityscapes in Belgium. He also etched and watercolored in the Netherlands (Bergen op Zoom) and the south of France and Spain. Also special are his color etchings that he made after works by his colleagues V. de Saedeleer and A. Saverys. He signed it with the pseudonym "Belin". . From the press: ?As an accurate observer, R.H. his whole soul in the rendering of his subjects which he manages to capture with great precision, but which also bear witness to a poetic vision. He masters his technique in an exemplary way and thus fits in with the tradition of etching practiced by Ensor and De Bruycker. His painting, however, leans again towards post-symbolism, apart from the surrealistic visual language. The entire oeuvre of R.H. shows that he is again and again fascinated by human existence in general and the environment to which the fate of the individual is connected in particular, which can be a city (Rome, Bruges) as well as the countryside or villages in Italy or Spain.? "near fine , light handling wear".

Rare Roger Hebbelinck - Hand Signed in pencil lower right Limited edition 74/350 Color Aquatint Etching pencil titled lower right "Le Cher?" plate impression approx 10 3/4 x 20 1./4 ins overall dimensions approx 19 1/2 x 25 ins look out for more Hebbelinck aquatints too Roger Hebbelinck (1912-1987) was a Belgian painter and printmaker. Roger Hebbelinck was a Belgian artist who was born in Brussels in 1912 and who died there in 1987. He was a painter, etcher, watercolorist and cinematographer. Education at the Academy in Brussels under Bastien, Delville, Van Strydonck, Stevens and Mathieu and at the Academy in Ixelles under Omer Dierckx. At the Academy of Brussels he was taught watercolor painting by I. van Mens and engraving by J. van Santen. He etched a large number of picturesque city corners in historic towns. He provided the etchings for the book Les Villages Illusoires by E. Verhaeren. As a filmmaker, he made the documentary La Naissance d'une Eau-forte, which won a prize at the Cannes Film Festival, and a documentary about the construction of the Atomium. Before the war, he set up an etching printing studio as a visual artist and etched many picturesque cityscapes in Belgium. He also etched and watercolored in the Netherlands (Bergen op Zoom) and the south of France and Spain. Also special are his color etchings that he made after works by his colleagues V. de Saedeleer and A. Saverys. He signed it with the pseudonym "Belin". . From the press: ?As an accurate observer, R.H. his whole soul in the rendering of his subjects which he manages to capture with great precision, but which also bear witness to a poetic vision. He masters his technique in an exemplary way and thus fits in with the tradition of etching practiced by Ensor and De Bruycker. His painting, however, leans again towards post-symbolism, apart from the surrealistic visual language. The entire oeuvre of R.H. shows that he is again and again fascinated by human existence in general and the environment to which the fate of the individual is connected in particular, which can be a city (Rome, Bruges) as well as the countryside or villages in Italy or Spain.? "near fine , light handling wear".

Tjorg Douglas Beer, geboren 1973 in Lübeck. Studium an der Hochschule für bildende Künste Hamburg. Original-Farbradierung, 5-farbig von 2 Platten, mit Prägestücken auf Zerkall Bütten 300 g/qm, Drucker: Kunst- und Radierwerkstatt Willi Jesse, Inh. Jäger, Berlin. Unterhalb der Abbildung von Tjorg Douglas Beer in Blei signiert. Edition der Griffelkunst Hamburg, 2006. Griffelkunst Verzeichnis der Editionen 321 A 1. Maße Blatt: 57,0 x 76,0 cm. Maße Platte: 51,0 x 69,0 cm. Sehr gutes, tadelloses Exemplar. Original color etching, 5 colors from 2 plates, with embossed pieces on Zerkall handmade paper 300 g/sqm, printer: Willi Jesse art and etching workshop, owner Jäger, Berlin. Signed in lead below the image by Tjorg Douglas Beer. Edition of Griffelkunst Hamburg, 2006. Griffelkunst index of editions 321 A 1. Sheet dimensions: 57.0 x 76.0 cm. Plate dimensions: 51.0 x 69.0 cm. Very good, immaculate copy.

Tjorg Douglas Beer, geboren 1973 in Lübeck. Original-Farbradierung, 4-farbig von 3 Platten mit Prägestücken und Silberfolie auf Zerkall Bütten 300 g/qm, Drucker: Kunst- und Radierwerkstatt Willi Jesse, Inh. Jäger, Berlin. Unterhalb der Abbildung von Tjorg Douglas Beer in Blei signiert. Edition der Griffelkunst Hamburg, 2006. Griffelkunst Verzeichnis der Editionen 321 A 6. Maße Blatt: 57,0 x 76,0 cm. Maße Platte: 49,5 x 69,5 cm. Sehr gutes, tadelloses Exemplar. Original color etching, 4-colored from 3 plates with embossed pieces and silver foil on Zerkall handmade paper 300 g/sqm, printer: Kunst- und Etchingwerkstatt Willi Jesse, owner Jäger, Berlin. Signed in lead below the image by Tjorg Douglas Beer. Edition of Griffelkunst Hamburg, 2006. Griffelkunst List of Editions 321 A 6. Sheet dimensions: 57.0 x 76.0 cm. Plate dimensions: 49.5 x 69.5 cm. Very good, immaculate copy.

Condition: Good. Original color etching. 29.75 x 22.5 inches. Signed, titled and annotated "A.P. 7/25" in pencil. Drystamp of Spectrum Press. Small marginal creases.Provenance, Suzy Locke.

Condition: Good. Original color etching on rag paper. 15.5 x 20 inches. Signed, titled and annotated "P.A." in pencil. Dry stamp:Impreso en el Atelier Antonio Diaz.Provenance, Suzy Locke.

Frank Maier, geboren 1966 in Stuttgart. Studium der Bildhauerei 19891994 an der Staatlichen Akademie der Bildenden Künste Karlsruhe bei Werner Pokorny, Elisabeth Wagner und Harald Klingelhöller, 1994 Meisterschüler bei Harald Klingelhöller. Original-Farbradierung auf 300 g/qm Hahnemühle-Büttenpapier. Druck durch Detlef Jäger, Kunst- und Radierwerkstatt W. Jesse, Berlin. Unterhalb der Abbildung mit Prägestempel "Helge", rückseitig von Frank Maier in Blei signiert und datiert (2013). Edition der Griffelkunst-Vereinigung, Hamburg, 2013. Griffelkunst Verzeichnis der Editionen 351 A3. Maße Blatt: 64,6 x 50,4 cm. Maße Platte: 47,6 x 33,6 cm. Sehr gutes Exemplar. Original color etching on 300 g/sqm Hahnemühle handmade paper. Printed by Detlef Jäger, art and etching workshop W. Jesse, Berlin. Embossed stamp "Helge" below the image, signed and dated (2013) by Frank Maier in lead on the reverse. Edition of the Griffelkunst Association, Hamburg, 2013. Griffelkunst List of Editions 351 A3. Sheet dimensions: 64.6 x 50.4 cm. Plate dimensions: 47.6 x 33.6 cm. Very good copy.

Rare Roger Hebbelinck - Hand Signed in pencil lower right Limited edition 284/350 Color Aquatint Etching pencil titled lower right "OSTENDE" plate impression approx 12 3/4 x 16 1/2 ins overall dimensions approx 19 1/2 x 25 1/2 ins attractive etching of boats in the harbour of the Belgian Port, Ostende look out for more Hebbelinck aquatints too Roger Hebbelinck (1912-1987) was a Belgian painter and printmaker. Roger Hebbelinck was a Belgian artist who was born in Brussels in 1912 and who died there in 1987. He was a painter, etcher, watercolorist and cinematographer. Education at the Academy in Brussels under Bastien, Delville, Van Strydonck, Stevens and Mathieu and at the Academy in Ixelles under Omer Dierckx. At the Academy of Brussels he was taught watercolor painting by I. van Mens and engraving by J. van Santen. He etched a large number of picturesque city corners in historic towns. He provided the etchings for the book Les Villages Illusoires by E. Verhaeren. As a filmmaker, he made the documentary La Naissance d'une Eau-forte, which won a prize at the Cannes Film Festival, and a documentary about the construction of the Atomium. Before the war, he set up an etching printing studio as a visual artist and etched many picturesque cityscapes in Belgium. He also etched and watercolored in the Netherlands (Bergen op Zoom) and the south of France and Spain. Also special are his color etchings that he made after works by his colleagues V. de Saedeleer and A. Saverys. He signed it with the pseudonym "Belin". . From the press: ?As an accurate observer, R.H. his whole soul in the rendering of his subjects which he manages to capture with great precision, but which also bear witness to a poetic vision. He masters his technique in an exemplary way and thus fits in with the tradition of etching practiced by Ensor and De Bruycker. His painting, however, leans again towards post-symbolism, apart from the surrealistic visual language. The entire oeuvre of R.H. shows that he is again and again fascinated by human existence in general and the environment to which the fate of the individual is connected in particular, which can be a city (Rome, Bruges) as well as the countryside or villages in Italy or Spain.? "near fine , light handling wear".

Original color etching, number 1/3, of American artist Marion Lerner Levine?s all-blue variant of ?Daffodils.? Daughter of renowned LSE economist Abba Lerner, Levine (1931-2023) emigrated to the United States as a child and enjoyed a long career as a painter and printmaker, represented for decades by the Prince Street Gallery in New York City. An example of the dreamlike compositions that Levine called ?tablescapes,? ?Blue Daffodils? riffs on (but does not exactly reproduce) two antiquarian gardening books: Jacob Biggle?s Biggle Berry Book (Philadelphia, 1911) and Joseph Jacob?s Daffodils (London, 1910). Levine explained: ?I paint from direct observation but allow surreal elements into my work, trying to transform still life into a poetic whole turning description into interpretation.? A fine signed etching. Color etching, measuring 13.75 x 17.5 inches, on a sheet measuring 19.75 x 25.75 inches. Titled, numbered, signed and dated in pencil below image.

Original color etching, number 1/1, of American artist Marion Lerner Levine?s ?Daffodils,? printed in red, yellow, blue, and green. Daughter of renowned LSE economist Abba Lerner, Levine (1931-2023) emigrated to the United States as a child and enjoyed a long career as a painter and printmaker, represented for decades by the Prince Street Gallery in New York City. An example of the dreamlike compositions that Levine called ?tablescapes,? ?Daffodils? riffs on (but does not exactly reproduce) two antiquarian gardening books: Jacob Biggle?s Biggle Berry Book (Philadelphia, 1911) and Joseph Jacob?s Daffodils (London, 1910). Levine explained: ?I paint from direct observation but allow surreal elements into my work, trying to transform still life into a poetic whole turning description into interpretation.? A fine signed etching. Color etching, measuring 13.75 x 17.5 inches, on a sheet measuring 19.75 x 25.75 inches. Titled, numbered, signed and dated in pencil below image.

Condition: Good. Color etching on thick rag paper. 30 x 30 inhches. One of 25 signed, numbered and titled impressions.Bill Wheeler is a printmaker and painter. He creates his artwork as a kind of visual music, tensions in balance, inspired by the musical elements of the fugue, counterpoint and thematic variations. And as Time is a major component of music, his interest in archaeology and the passage of time plays a major role in many of the pieces. "Printmaking is my primary medium of expression. I usually try to incorporate some kind of print media in most of my art. Even my paintings and drawings usually incorporate elements of or are influenced by the techniques of the original print, especially viscosity prints and relief prints. Artists traditionally test the limits of their preferred media, and printmakers have always been known to experiment. The inherent unpredictability of printmaking leads me to explore in new directions. I choose such a demanding form of expression because the visual effects made possible with the many print processes cannot be achieved by any other means. "For me, my work must convey a feeling of playfulness or I'm not interested in doing it. There is already enough angst in the world today without this artist contributing to it. Like Paul Klee and Wassily Kandinsky, two artists whose works have greatly influenced my style, I try to create my own fantasy world and invite my viewers in for the party.".Provenance: Suzy R. Locke & Associates, Oakland.

Condition: Good. Color etching on thick rag paper. 30 x 30 inhches. One of 25 signed, numbered and titled impressions.Bill Wheeler is a printmaker and painter. He creates his artwork as a kind of visual music, tensions in balance, inspired by the musical elements of the fugue, counterpoint and thematic variations. And as Time is a major component of music, his interest in archaeology and the passage of time plays a major role in many of the pieces. "Printmaking is my primary medium of expression. I usually try to incorporate some kind of print media in most of my art. Even my paintings and drawings usually incorporate elements of or are influenced by the techniques of the original print, especially viscosity prints and relief prints. Artists traditionally test the limits of their preferred media, and printmakers have always been known to experiment. The inherent unpredictability of printmaking leads me to explore in new directions. I choose such a demanding form of expression because the visual effects made possible with the many print processes cannot be achieved by any other means. "For me, my work must convey a feeling of playfulness or I'm not interested in doing it. There is already enough angst in the world today without this artist contributing to it. Like Paul Klee and Wassily Kandinsky, two artists whose works have greatly influenced my style, I try to create my own fantasy world and invite my viewers in for the party.".Provenance: Suzy R. Locke & Associates, Oakland.

(Friedrich Meckseper, geboren am 8. Juni 1936 in Bremen, gestorben 5. Juni 2019. Maler, Grafiker, Zeichner, Konstrukteur und Autor). Nummer 87 von 250 nummerierten Original-Farbradierungen auf Büttenpapier, von Friedrich Meckseper unterhalb der Abbildung in Blei signiert und datiert (75). Vernis mous, Aquatinta, Roulette auf Kupfer. 2 Platten, 3 Farben: gelb, graugrün, schwarz. Druck durch Hartmut Frielinghaus, Hamburg. Herausgegeben von der Griffelkunst-Vereinigung, Hamburg. Werkverzeichnis Cramer 169. Verzeichnis Griffelkunst F98. Hinter Glas/Passepartout im "antiken" schwarzen, teils vergoldeten Rahmen gerahmt. Maße Rahmen: 45,0 x 60,5 cm. Maße Abbildung: 18,0 x 22,0 cm. Rahmen altersbedingt mit Gebrauchsspuren, bestoßen. Grafik in sehr gutem Zustand. Number 87 of 250 numbered original colour etchings on handmade paper, signed and dated in lead by Friedrich Meckseper below the image (75). Vernis mous, aquatint, roulette on copper. 2 plates, 3 colours: yellow, grey-green, black. Printed by Hartmut Frielinghaus, Hamburg. Published by the Griffelkunst-Vereinigung, Hamburg. Catalogue raisonné Cramer 169, catalogue Griffelkunst F98. Framed behind glass/passepartout in an "antique" black, partly gilt frame. Dimensions of frame: 45,0 x 60,5 cm. Dimensions of image: 18,0 x 22,0 cm. Frame with age-related traces of use, bumped. Print in very good condition.

(Sub Signo Libelli), [1985]. Gilt orange-red morocco-backed boards (Phoenix Bindery). (4), 20 p. With two original, numbered and signed color lithographs by Chris Buursen. Set by hand from the Monotype Van Dijck and printed in red and black on heavy wove paper in 95 numbered copies. 1st edition. One of the 45 copies with the two fiery lithographs, beautifully bound in half morocco by Phoenix. This is a special copy: the binder has fastened an orange paper envelope onto the lower boards, holding two black and white proofs of the lithographs, a numbered and signed original color aquatint etching (portrait of Purdy), dedicated to Jan Bouman: '5/29 for Jan b. chris buursen 1985' (with accompanying silk paper cover) and a signed proof of this same etching in black and white (' test h.c.'). Also with two different prospectuses (one in blue and black, the other in black, but with different typography) and a smaller order form, all three in beautiful typography arranged by Ger Kleis and printed by hand. Breugelmans 137.

Kein Einband. Condition: Sehr gut. Dust Jacket Condition: Sehr gut. Signed and numbered Etching with Color Aquatint - by Sol LeWitt - in ochre and black on Rives BFK paper , created in 1991. The artwork, inscribed " C ", is printed on Rives BFK paper, showcasing LeWitt s meticulous exploration of line and form within a monochromatic ochre composition. Work is part of the six-part suite "Vertical Lines Not Straight Not Touching on Colour". The fine, non-touching vertical lines create a mesmerizing texture that enhances the depth and structure of the surface. Splendid, rich impression with delicate etching elements of the format-filling depiction *** Work is professionally framed, in a high-quality, handcrafted dark grey wooden frame with PLEXIGLAS Optical HC, scratch-resistant and UV-protected, offering a clear, deep view and significantly reduced weight compared to traditional glass. Framed approx. 120 x 90 cm *** This work is a rich, format-filling impression that exemplifies LeWitt s dedication to systematic variation, geometric abstraction, and conceptual rigor. The delicate etching technique captures the interplay between control and chance, a hallmark of his approach to printmaking *** *** Sol LeWitt (1928 2007) was a key figure in Conceptual Art and Minimalism, emphasizing idea over execution. His works, often executed through predefined instructions, challenge the traditional notions of authorship and artistic intervention. This exceptional piece, catalogued as Catalogue Raisonné #1991.12, stands as an important representation of LeWitt s enduring influence in contemporary art *** LeWitt s influence can be seen across generations of conceptual and minimal artists, with his works housed in major institutions worldwide, including MoMA, the Tate Modern, and the Centre Pompidou. Framed elegantly in a white wooden frame, this edition captures the essence of LeWitt s artistic philosophy a balance between structure and spontaneity, logic and intuition making it a valuable addition to any collection of contemporary and conceptual art **** SHIPPING: Worldwide shipping available *** CONDITION: in very good condition *****. Signatur des Verfassers.

Hannelore Adams, geboren am 29.11.1938 in Meerbusch bei Düsseldorf, Studium an der Werkkunstschule Düsseldorf und an der Akademie für Bildende Künste in Hamburg bei Prof. Garve. Nummer 9 von 50 nummerierten, datierten (83) und von Hannelore Adams signierten und beschrifteten Exemplaren auf Büttenpapier BFK Rives und dem Prägestempel Hoeppner. Maße Abbildung/Platte: 19,8 x 24,5 cm. Maße Blatt: 50,5 x 66,0 cm. Sehr gutes Exemplar. Number 9 of 50 numbered, labeled and signed original etchings by Hannelore Adams on handmade paper. Measure image/etching: 19,8 x 24,5 cm. Measure sheet: 50,5 x 66,0 cm. Fine condition.

Hannelore Adams, geboren am 29.11.1938 in Meerbusch bei Düsseldorf, Studium an der Werkkunstschule Düsseldorf und an der Akademie für Bildende Künste in Hamburg bei Prof. Garve. Nummer 10 von 50 nummerierten, datierten (83) und von Hannelore Adams signierten und beschrifteten Exemplaren auf Büttenpapier BFK Rives und dem Prägestempel Hoeppner. Maße Abbildung/Platte: 24,8 x 19,8 cm. Maße Blatt: 66,0 x 50,5 cm. Sehr gutes Exemplar. Number 10 of 50 numbered, labeled and signed original etchings by Hannelore Adams on handmade paper. Measure image/etching: 24,8 x 19,8 cm. Measure sheet: 66,0 x 50,5 cm. Fine condition.

Hannelore Adams, geboren am 29.11.1938 in Meerbusch bei Düsseldorf, Studium an der Werkkunstschule Düsseldorf und an der Akademie für Bildende Künste in Hamburg bei Prof. Garve. Nummer 14 von 50 nummerierten, datierten (83) und von Hannelore Adams signierten und beschrifteten Exemplaren auf Büttenpapier BFK Rives und dem Prägestempel Hoeppner. Maße Abbildung/Platte: 24,8 x 20,0 cm. Maße Blatt: 66,0 x 50,5 cm. Sehr gutes Exemplar. Number 14 of 50 numbered, labeled and signed original etchings by Hannelore Adams on handmade paper. Measure image/etching: 24,8 x 20,0 cm. Measure sheet: 66,0 x 50,5 cm. Fine condition.

Condition: Sehr gut. (Marie-Antoinette Rouilly de Chevalier, geboren 1925.) Nummer 33 von 60 Original-Farbradierungen auf Büttenpapier. Unterhalb der Abbildung in Blei von Marie-Antoinette Rouilly de Chevalier signiert. Maße Blatt: 30,5 x 40,5 cm. Maße Abbildung: 22,0 x 29,5 cm. Sehr gutes Exemplar. Number 33 of 60 original color etchings on laid paper. Signed in pencil by Marie-Antoinette Rouilly de Chevalier below the image. Sheet dimensions: 30.5 x 40.5 cm. Image dimensions: 22.0 x 29.5 cm. Very good copy.