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Click here to subscribeCarl Lallemand (1809 - 1880), portrait of an aristocratic lady with baby, watercolour on paper, signed and dated bottom left in original bronze and velvet mounted frame under glass, on the reverse old description saying about the sitter Duquesse Helene zu Waldeck Pürmont with her daughter, 43 x 38 cm.
Mary Ann "Toots" Zynsky (American, b. 1951). Filet-de-verre fused and thermo-formed colored glass threads titled "Italian Chaos X" in the form of a colorful undulating bowl, 1995. Signed with a Z in one thread along the underside. With a lucite stand for display.Provenance: Elliott Brown Gallery, Seattle, 1995; Private Minnesota Collection.Lot Essay:Zynksy went by the name of "Toots" almost from birth. She was raised in Massachusetts and studied at the Rhode Island School of Design (RISD) where she received a Bachelor of Fine Arts degree in 1973. It was here she was one of a group of pioneering glass artists who studied with Dale Chihuly. In the summer of 1971, she accompanied Chihuly along with fellow RISD students and friends of Chihuly to Washington state where she would participate in the founding and early development of the Pilchuck Glass School.In 1980 she would become the assistant director and head of hte hot shop at the New York Experimental Glass Workshop in New York City, now known as UrbanGlass. While there she experimented with barbed wire and glass which eventually evolved into "spun glass" vessels. Her 1982 vessel titled "Clipped Grass" was her first foray into the use of the filet-de-verre technique she would pioneer and that would soon become her hallmark.Filet-de-verre involves pulling fine threads from a glass cane. She then layers thousands of these strands onto a round heat-resistant fiberboard plate. These threads are then fused inside a kiln. While still hot, the glass is allowed to slump over bowl-shaped forms. After the glass has achieved the desired shape, she then reaches into the kiln with heat-resistant gloves and squeezes the glass into unique undulating forms.(Not including stand) Height: 7 1/2 in x width: 15 3/4 in x depth: 8 1/2 in.
Stephen "Steve" Rolfe Powell (American, 1951-2019). Massive hand-blown multi-colored murrine glass vase of double-lobed form, 2001. From the "Teasers" series, whose forms often resembled buttocks. Etched "2T," signed, and dated along the base.Provenance: Private Minnesota Collection.Lot Essay:In the 1980s, Powell established himself as a prominent figure in the contemporary glass art scene, drawing inspiration from a diverse array of sources, including nature, music, and the human form. His signature style was characterized by bold, gestural forms, richly layered colors, and intricate patterns, reflecting his improvisational approach to glassblowing. Powell's innovative techniques pushed the boundaries of traditional glassmaking, earning him widespread acclaim and recognition.One of Powell's most notable achievements was his development of the "color overlay" technique, which allowed him to create intricate patterns and textures by layering different colors of molten glass. This technique became a hallmark of his work, imbuing his sculptures with a sense of depth, movement, and luminosity. Powell's art transcended the confines of the studio, with his monumental glass sculptures adorning public spaces, museums, and private collections around the world.Beyond his artistic endeavors, Powell was also a dedicated educator and mentor, sharing his knowledge and passion for glassblowing with countless students and aspiring artists. His generosity and commitment to fostering the next generation of talent left an indelible mark on the glass art community.Height: 40 1/2 in x width: 25 in x depth: 6 in.
Dale Chihuly (American, b. 1941). Set of four "Persian Forms" handblown glass. With a spiderweb design in turquoise blue along one side and a variation from orange to black along the other. Rimmed in bright red. The forms range from large open bowls in resembling shells to curling floral vessels. They are able to be nested together in a variety of unique ways.Provenance: Savage Art Resources, Portland, OR; Distinguished Corporate Collection; Private Minnesota Collection.Lot Essay:Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and process truly flourished. In particular, Chihuly first fostered the collaborative method of glassblowing he had witnessed in Italy at Pilchuck, something that would become a hallmark of his artistic process.(Cone) height: 7 1/2 in x diameter: 3 3/4 in. (Small bowl & sphere) height: 3 3/4 in x width: 8 1/2 in x depth: 6 in. (Curling form) height: 2 3/4 in x width: 9 in x depth: 3 in. (Large bowl) height: 14 1/4 in x width: 23 in x depth: 15 in.
Lowell Nesbitt (American, 1933-1993). Large oil on canvas painting titled "Two Irises on Black" depicting two blooming pink-red irises against a pure black background. Signed and titled along the verso.Provenance: Private Minnesota Collection.Lot Essay:born in Maryland, Lowell Nesbitt studied art throughout his scholarly career, eventually earning a Bachelor of Fine Arts degree from Temple University in Pennsylvania. Additionally, he studied stained glass and printmaking during a fellowship with the Royal College of Art in London. After serving in the United States Army for two years, he worked as a night watchman at The Phillips Collection before relocating to New York City to pursue his career as an artist.While he hosted his first exhibition at the Baltimore Museum of Art in 1958, it would not be until his 1964 debut at the Corcoran Gallery of Art that he would receive widespread recognition for his works. The botanical works displayed, much like the painting offered here, were influenced by Robert Indiana. Upon viewing some of Nesbitt's works in the preceding years, he suggested that Nesbitt should move from abstraction to realism, which would come to be the artist's forte.The photorealistic paintings - a term that Nesbitt fought against - would define his career. He established that his works covered a wide diversity of techniques and styles. He painted flowers, studio interiors, articles of clothing, x-ray figures, fruits and vegetables, caverns and ruins, and a plethora of other subjects.In addition to his painting career, he fostered relationships with some of the greatest artistic names of the 20th century including Andy Warhol, Roy Lichtenstein, Jasper Johns, Robert Motherwell, Larry Rivers, James Rosenquist, and Robert Mapplethorpe. His relationship with the latter caused some controversy when the Corcoran Gallery canceled an exhibition for being too explicit. Nesbitt publically revoked a $1.5 million bequest and gifted it instead to the Phillips Collection when the Corcoran Gallery refused to reinstall Mapplethorpe's works in a show of support.Unframed; height: 57 in x width: 39 1/2 in. Framed; height: 58 1/2 in x width: 41 in.
Includes 1 Jeanette Lombardi pink milk glass footed bowl, 1 Imperial Glass Carmel Slag Bowl, 1 Westmoreland Milk Glass Compote, and 1 Westmorland milk glass bud vase. Largest bowl measures: 10.75"L x 7"W x 5"H. Compote measures: 5"W x 5.25"H. Bud vase measures: 2.5"L x 3"W x 10.25"H. Condition: Age related wear.
Assorted glass and brass oil-burning lamps, including three glass oil lanterns with hurricane glass. These lamps boast glass bodies with handles adorned with raised geometric details. The smallest lamp measures 5.75"L x 4.5"W x 11.25"H, the largest measures 16"H x 4.5" dia. Issued: 20th centuryCondition: Age related wear.
Banksy (British 1974-), 'Flying Copper', 2003, screen print in colours on wove paper, numbered from an edition of 600 in pencil, published by Pictures On Walls; sheet: 100 x 70cm (Framed)ARR sheet: 100 x 70cm Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity In very good condition No visible knocks or tears to the sheet One minor crease to the lower right corner of the sheet, by the blindstamp. This is visible upon close inspection. A small section of minor creasing to the top left corner of the sheet, visible upon very close inspection A section of 'matter' can be seen to the bottom right section of the figure, this is potentially matter attached beneath the glass of the frame. Framed edge to edge in a black frame, this work has not been examined out of the frame. This work is accompanied by a Pest Control Certificate of Authenticity.
Ai Weiwei (Chinese 1957-), 'Glass Vase', 2023, cast vase in translucent red glass, engraved with the Artists signature to the base, published by Avant Arte; 19cm x 21cm x 21.2cm19cm x 21cm x 21.2cmIn Very Good Condition/Artists ConditionNo chips or cracks to the vaseSome irregularities/imperfections to the vase, this is a result of the hand-made production process and not later damageNo apparent issuesStored inside its original packaging from the publishersIn Very Good Condition
Invader (French 1969-), 'Invasion Kit #14 (3D Vision)', 2012, 106 ceramic tiles + 2 glass tiles, signed, dated, and numbered from an edition of 200 in inks to the accompanying Invasion Kit User Guide, published by Space Shop; 18 x 24cm (Framed)ARR 18 x 24cm (Framed) Provenance: This work is accompanined by a copy of the Original Purchase Email from The Space Shop In very good condition No cracks to the tiles One minor chip to one of the black tiles on the second from top row, this is only visible upon very close inspection. This is potentially from time of production and not damage. Framed in a black frame with a black mount, using Anti-Reflective, Anti UV Artglass. This work has not been examined out of the frame.
Jake & Dinos Chapman (British), 'Skull Panel', circa 2003, mixed media, fibreglass, glass, and resin, in artist's frame; 103 x 103cm inc frameARR 103 x 103cm inc frame In very good/artists condition No visible knocks, chips or cracks to the work This work has been framed in its original frame to the artists specification.
Invader (French 1969-), 'Home Mars (AP)', 2010, embossed screenprint in colours with applied foil on wove paper, signed and numbered from an edition of 5 APs in pencil, aside from the main edition of 50, published by Pictures On Walls; sheet: 29.5 x 42cm (Framed)ARR sheet: 29.5 x 42cm In very good condition No visible knocks, tears or creases to the sheet Framed in a white Conservation frame, using UV protective glass This work has not been examined outside of the frame.
Edward Ladell (British, 1821-1886)Still life with fruit, ivory box and glass vase signed with monogram (lower left)oil on canvas35.5 x 30.5cm (14 x 12in).Footnotes:ProvenanceWith M. Newman Ltd., London.Private collection, UK.For further information on this lot please visit Bonhams.com
Henry Ryland, RI (British, 1856-1924)Jasmine signed 'H.RYLAND' (lower right)watercolour over traces of pencil heightened with white43.5 x 28.9cm (17 1/8 x 11 3/8in).Footnotes:Henry Ryland began his formal training at the South Kensington School of Art before going on to attend the Heatherley School of Fine Art. He completed his training under Gustave Boulanger and Jules Joseph Lefebvre at the Académie Julian in Paris. When looking at Ryland's work, one can sense the influence of his education; there is a level of detail and quality to his draughtsmanship commensurate with training under two of the finest Orientalist painters in Europe. Throughout his career he turned his hand to a broad spectrum of artwork, including his widely exhibited oils and watercolours, but also as a designer in stained-glass, and illustrator for books and print adverts, notably for Pears soap.The present drawing is a wonderful example. A young maiden, beautifully conceived, is shown wearing a garland of Jasmine blossom - symbolic of innocence and purity. Her long hair falls over her shoulders as she stands in a woodland setting, her gaze is dream-like which adds to the ethereal nature of the drawing. The work is presented in a wonderful Secessionist frame with applied brass decoration. The stylised trees which flank the drawing echo the wood beyond.For further information on this lot please visit Bonhams.com
Edward Reginald Frampton, ROI (British, 1873-1923)'Or in a clear-wall'd city on the sea Near gilded organ pipes, her hair wound with white roses, slept St.Cecily, An angel look'd at her' signed 'E Reginald Frampton' (lower left)oil on canvas laid to panel94 x 40cm (37 x 15 3/4in).Footnotes:ProvenancePrivate collection, UK.The subject of the present work is taken form Tennyson's poem The Palace of Art, first published in 1832 and extensively revised by the poet ten years later. The poem expresses the spiritual despair of the Soul who isolates herself in her arts and can only be cured by leaving the palace of art for a cottage among men. Frampton would certainly have been familiar with The Palace of Art: St Cecilia published by Edward Moxon in 1857 with engraved illustrations by the Dalziel brothers after original designs by Rossetti.In the introduction to the Frampton Memorial Exhibition catalogue of 1924 the art critic Rudolf Dircks noted that the artist 'was amongst the few distinguished modern painters who sought to express decorative form in his pictures...his spirit moved in the type of legendary or religious subject which lends itself particularly to decorative treatment...' and 'the poetic and decorative fervour' of his works, which were 'all accomplished in detail, beautiful and sensitive in colour'1Frampton had travelled in Italy as a young man and this, combined with his love of the work of Puvis de Chavannes and Edward Burne-Jones informed his art and resulted in easel and mural painting and stained glass characterised by a 'restful and dignified serenity'.2Saint Cecilia is famous in Christian iconography as the patron saint of music and is shown here having fallen asleep whilst playing the organ, the instrument most usually associated with her. Her hair is adorned with a garland of white roses (an attribute often associated with her) and by her feet grow poppies a well-known emblem of oblivion and sleep as her guardian angel looks on.Frampton is known to have painted this subject on several occasions and exhibited versions at The Royal Academy in 1911 and 1917. Writing in The Art Journal in 1907, Rudolf Dircks reflects on Frampton's treatment of the subject 'In St Cecily, have we not a precise and sympathetic interpretation of the lines of Tennyson – in which the full poetic beauty is apprehended pictorially?'1R. Dircks, cited in Memorial Exhibition of Paintings and Water-Colours by the Late E.Reginald Frampton, London, 1924, pp. 3-4.2Aymer Vallance, The Paintings of Reginald Frampton, R.O.I., International Studio, 1919, p. 66.For further information on this lot please visit Bonhams.com
Humpen mit Ansichten aus der Sächsisch-Böhmischen Schweiz, Böhmen, Mitte 19. Jh.Farbloses Glas, Rotbeize, Schliff-und Schnittdekor in Felderunterteilung. Mattschnitt-Ansichten: Uttewald, Kuhstall, Winterberg, Königstein, Bastei, Prebischtor. Dazwischen Verkleinerungslinsen. H. 18,5 cm. Glass tankard with cutted views of Saxon Switzerland. Bohemia, mid 19th ct. H. 18,5 cm.
Plenkers, Stefan (1945 Ebern (Bamberg) - lebt und arbeitet in Dresden)Im Lokal (In der Bar). Aquatintaradierung, 1983. Unterhalb der Darstellung rechts signiert und datiert, links auflagenbezeichnet. Exemplar 23/100. Hinter Glas gerahmt. 24,5 x 29 cm (Pl), 50 x 47,5 cm (Ra). Leicht angegilbt und minimale Stockfleckchen. Werktypische Interieurszene des Dresdner Künstlers, in der die Affinität zur geometrischen Abstrahierung besonders feinsinnig augenscheinlich wird. Organische, weiche Stofflichkeiten reduzieren sich auf eckige Flächen und Körpernetze, die eine immanente Räumlichkeit ausblenden oder überdecken. Ein Abzug dieses Motivs findet sich in der Sammlung des Kupferstich-Kabinetts der Staatlichen Kunstsammlungen Dresden, Inventarnummer A 1989-250. In the bar. Etching, 1983. Signed and dated below the motif right. Copy 23/100. Framed behind glass. Very typical motif. A bit tanned yellowish and with some very fine foxing.
Körner, Gottfried. 1927 Werdau/ Sachsen - 2015."Winterabend", 2003, Aquarell, sign., dat., auf Rahmenrückwand bezeichnet. 23,5 x 34 cm (PA), hinter Glas mit Pp. gerahmt. Ra. 41 x 51 cm. Gottfried Körner: a winter's eve, 2003, watercolour, signed, dated, framed with glass and passepartout. 41 x 51 cm incl. frame.
Antike Nomaden-Zelttasche, sog. Torba, Afghanistan, Belutsch.Wolle. Flachgewebe / Kelim, geometrische Musterung, an den Rändern und auf der Front Quasten-Reihen mit Glasperlen. Ca. 60 x 66cm. Antique Afghan nomad Torba bag, wool/ glass beads, ca. 60 x 66 cm.
Hippold, Erhard. 1909 Wilkau - 1972 Bad Gottleuba.Herbstwald. 1963. Aquarell, re. u. sign. und dat., PA lichtgebräunt, 48,5 x 63,5 cm (PA), hinter Glas mit Pp. gerahmt, Ra. 74 x 87,5 cm. Autumn landscape, watercolour, 1963, signed and dated lower right. Tanned in passepartout cutout. Framed with glass. 74 x 87,5 cm.
Unger, Hans (1872 Bautzen - 1936 Dresden)"Birken am Meer". Radierung, 1896. Unterhalb der Darstellung rechts in Blei signiert. Im Passepartout hinter Glas gerahmt, hier rückseitig ausführlich durch Maja Unger, der Tochter des Künstlers, bezeichnet. 29 x 16 cm (Pl), 46,5 x 31,5 cm (Ra). Wohl etwas gebräunt. WVZ 12 - eine der zeitigen Radierungen, die motivisch nach einem Aufenthalt auf der Ostseeinsel Bornholm entstanden ist. Provenienz: Schenkung durch die Tochter des Künstlers an eine Dresdner Familie, aus deren Nachlaß in eine Dresdner Privatsammlung. Birch trees at the sea. Etching, 1896. Signed in pencil below the motiv right. Farmed behind glass; on backside of framing with detailed notes by Maja Unger, the artist's daughter. A bit tanned by the sunlight.
Becherglas, Nancy, Daum Frères Verreries, um 1890/95.Farbloses Glas mit opalisierendem Unterfang, eisglasartig geätzte Oberflache, umalufend sehr fein dekoriert in Schwarzlotmalerei: holländische Landschaft. Boden bezeichnet: Daum Nancy mit Lothringer Kreuz in hellblauem Email. H. 11,5 cm Art nouveau glass beaker, Daum Frères, Nancy/ France, ca. 1890/95. Painted in black: dutch landscape. Enscribed underneath: Daum Nancy, Lorraine cross. H. 11,5 cm.
Bechervase, Peking-Glas, China.Form mit hexagonalem Querschnitt. Gelbes Glas mit Flocken, Überfänge in Blau und Rot, Hochschliffdekor Fische und Lotos. Bodenmarke. H. 10,5 cm. Peking glass vase, yellow glass with red and blue overlay, decorative cutting: fishes and lotus. Bottom mark. China. H. 10,5 cm.
Leonhardi, Eduard. 1828 Freiberg - 1905 Dresden.Edmundsgrund in der Böhmischen Schweiz. 1884. Aquarell, li. u. monogr. und dat., 40,5 x 28,5 cm (PA), hinter Glas mit Pp. gerahmt. Ra. 62 x 48,5 cm. Prov.: 1979 versteigert Kunstauktionshaus Karl & Faber, Auktion 149, Nr. 775; Ausst.: Gedächtnisausstellung Sächs. Kunstverein 1906, Kat. Nr. 77; Lit.: WV Weißbach Nr. 113 G-1884 (ohne Abb.) Landscape in Saxon Switzerland, 1884, watercolour, monogram and date lower left. Framed with glass and passepartout. 62 x 48,5 cm incl. frame.
Glasschale bzw. -dose, Böhmen, wohl Lötz Wwe., Klostermühle, um 1900.Grünes Glas, mit Fäden silbergelb umsponnen, irisiert. Rand abgeschliffen (?), Spannungsriss. D. Rand 11,5 cm. Art nouveau glass box or bowl, tension crack, rim abraised. Probaby Lötz widow, Klostermühle/ Bohemia. Ca. 1900.
Großer Glaspokal mit Allegorie auf die Religionsfreiheit, Schlesien, um 1720/25.Farbloses Glas mit reichem Mattschnitt-Dekor. Großer Scheibenfuß mit ornamentalem Schliff Behangmuster und Blattranke mit Kreuzblüten. Zwischen Doppelscheiben Balusterschaft mit zwei Reihen eingestochener Luftblasen und großer Luftblase. Konische Kuppa im Ansatz eingestochene Luftblasen in zwei Ebenen. Die Kuppa zeigt überreiches Dekor: unter Behangbordüre mit geblänkten Kugeln und Steinchen. Zwei gegenständige Medaillons mit allegorischen Darstellungen: a) Hoffnung, auf einer Schnecke sitzend, Inschrift "DIE HOFFNUNG BESRER ZEITEN/ WENN KOMMT SIE"; b) Allegorien der Züchtigkeit und Gerechtigkeit und des Glaubens, auf Denkmal die Inschrift "ZÜCHTIG/ GERECHT/ GOTTSELIG", Inschrift "SIE FRAGT NACH GUTEN LEUTHEN WO SIND SIE". Kuppa mit Spannungsriss. H. 25 cm. Die Darstellungen gehen auf eine von Kaspar Neumann entworfene Gedenkmünze zurück, die im Anschluss an den Altranstädter Vertrag von 1707 entstand. Weitere Beispiele für Verwendung der Vorlage auf böhmischen und schlesischen Gläsern u.a. im Museum f. Kunsthandwerk Dresden (Haase 1984, Nr. 64), Nationalmuseum Warschau (Inv. Nr. 188248), V & A Museum London / Sammlg. Buckley. Lit.: vgl. Klesse/ Mayr: Veredelte Gläser aus Renaissance und Barock, Sammlung Ernesto Wolf. Wien 1987, Kat. 108. Large and impressive glass goblet with allegoric decoration, Silesia, ca. 1720/25. Tension crack. H. 25 cm
Leibl, Wilhelm (1844 Köln - 1900 Würzburg)"Bildnis des Malers Josef Wopfner". Radierung, um 1874. Unsigniert. Oben links in der Platte abweichend der Initialen ligiert monogrammiert. Im Passepartout hinter Glas gerahmt. 10,8 x 8,0 (Pl), 34 x 26,5 cm (Ra). Lichtgebräunt, etwas fleckig. Das unter der Inventarnummer G 835 in der Sammlung des Lenbachhauses München befindliche Blatt weist die Initialen oben links nicht auf. Evtl. handelt es sich hier um eine Sonderauflage oder eine Wiederholung. Portrait of the painter Josef Wopfner. Etching, around 1874. Unsigned. Kind of a monogram in the plate top left corner. Framed behind glass. Tanned by the sunlight, some stains. The copy in the Lenbachhaus Munich shows no such monogram; pres. special edition or made after Leibl.
Schmidt, Max Walther. 1869 Dresden-1915 Frezenberg bei Ypern.Hockstein-Ansicht Sächsische Schweiz. 1910. Aquarell, re. u. sign., ortsbezeichnet und dat. "d. 31. Aug(ust) 1910". Verso altes Label der Kunsthandlung Ernst Arnold Dresden sowie Etikett mit handschriftl. Bez. und Werk-Nr. "82". Ca. 55,5 x 39 cm, hinter Glas gerahmt, 62 x 45 cm. View of the Hockstein mountain in Saxon Switzerland, 1910, watercolour, signed, dated, located lower right. Framed with glass. 62 x 45 cm incl. frame.
Schicktanz, Karl (1858 Dresden - um 1938 ebenda)Blaumeisenpärchen auf Birkenzweigen. Gouache auf Papier, um 1910. Unten rechts signiert "von K. Schicktanz". Hinter Glas gerahmt. 25 x 26,5 cm (Bl), 27 x 29 cm (Ra). Etwas lichtgebräunt, dezent fleckig. Couple of chiadees on a birch branch. Watercolours on paper, around 1910. Signed bottom right. Framed behind glass. A bit tanned brwonish, some decent spots.
Kallmorgen, Friedrich. 1856 Altona - 1924 Grötzingen."Dinkelsbühl", Farblithographie, sign. i. Stein und auf Blattrand, betitelt/ ortsbezeichnet. Passepartout verschmutzt, 28,5 x 42 cm (St), hinter Glas mit Pp. gerahmt, Ra. 44,5 x 56 cm. View of Dinkelsbühl, colour lithograph, signed, passepartout soiled, framed with glass. Frame: 44,5 x 56 cm.
Regulator, Deutschland, um 1910/1920Gustav Becker. Korpus aus Eichenholz, Vordertür teilweise verglast, kleine Verzierung mit Jugendstilelement. Silberfarbenes Zifferblatt mit arabischen Ziffern und Logo des Herstellers, Spade-Zeiger, Tonschlag auf Tonstäbe. Schlüssel vorhanden. Funktion kann nicht zugesichert werden. 78 x 35 x 17 cm Regulator Gustav Becker. Oak body, front door partially with glass, small decoration with Art Nouveau element. Silver-coloured dial with Arabic numerals and manufacturer's logo, spade hands, sound strike on soundbars. Key present. Function cannot be guaranteed.
Schmitz, Günther. 1909 Chemnitz-2002 Radebeul.Radebeuler Weinberge mit Blick zum Bismarkturm und Spitzhaus im Herbst. 1996. Aquarell, re. u. monogr. und dat., Rahmenrückwand Adress-Stempel des Malers. 29 x 35,5 cm, hinter Gas gerahmt, Ra. 46 x 56 cm. View of Dresden-Radebeul in autumn, 1996, watercolour, monogram and date lower right, framed with glass. 46 x 56 cm incl. frame.
Wittig, Werner. 1930 Chemnitz - 2013 Dresden-Radebeul."Seußlitz". 1983. Holzriss, sign., betitelt, als Vorzugs-Exemplar gekennzeichnet. Auflage: 85 Ex. 239 x 318 mm, hinter Glas mit Pp. gerahmt. 41 x 48 cm. WV Reinhardt 2000, Nr. 136. Woodcut, 1983, signed, entitled "Seußlitz", artist's proof. Framed with glass and passepartout. 41 x 48 cm.
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