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Lot 18
'Grand Prix de L'A.C.F. 1912' after Gamy,hand-coloured pochoir lithograph on paper, depicting Boillot in his winning Peugeot, 42 x 87cm, mounted, framed and glazed with Tru Vue. Footnotes:The Mabileau Company continued to be produced after Ernest Montaut's death in 1909 and it is thought that those signed 'Gamy' were created by Montaut's wife, Marguerite - 'Gamy' being an anagram of 'Magy', her nickname. Her works were occasionally signed 'M. Montaut'. Artists known to have collaborated with Mr and Mrs Montaut include Roowy, Nevil, Campion, Aldelmo, Brie, Dufourt and Jobbe du Val.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 19
A pair of motoring prints after A.Molynck, Belgian, circa 1905,each full colour lithograph on paper titled 'Proces-Verbal' and 'Poursuite', each on paper laid on linen, 44 x 88cm, matted for framing. (2)Lot to be sold without reserve.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 20
'Depart de L'Ambusque' and 'Arrive de L'Ambusque', a pair of prints, after Rene Vincent,each full colour lithograph on paper printed by Champenois of Paris, dated '15, 49 x 64cm, conservation linen mounted, matted for framing. (2)Lot to be sold without reserve.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 7
A Motorcycles Comiot poster after Steinlen, 1899,printed by Charle Verneau of Paris, lithograph on paper, flyer-size, 31 x 23cm, mounted, framed and glazed. Lot to be sold without reserve.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 122
Burgundy Benham Album Collection FDC 43 8 x 150th Anniversary Uniform Penny Post. Stanley Gibbons Birth 5/6 stamps plus double/triple postmarks 10/1/90 plus 9 x The Original Alexandra Palace from a Lithograph by King and Son 1873 four/six stamps plus single/double postmarks 6/3/90 and others. 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 77
PAULA REGO (BRITISH/PORTUGUESE 1935-2022) APRÈS LA FÊTE II, 2003 signed in pencil (lower right), numbered AP 2/14 (lower left) and dedicated Happy Birthday Dearest Colette, colour lithograph on Somerset wove paperPublished by Thames & Hudson Ltd, London to accompany the deluxe edition of Paula Rego: The Complete Graphic Work, 2003.Printed by The Curwen Studio, Cambridge. 37.5cm x 29.5cm (14 ¾in x 11 ½in), unframed A gift of the Artist to Colette Morey de Morand and thence by descent.
Lot 76
PAULA REGO (BRITISH/PORTUGUESE 1935-2022) UP THE TREE (FROM JANE EYRE - THE GUARDIANS), 2002 signed in pencil (lower right) and numbered A/P (lower left), lithograph on paper, an Artist's Proof aside from the edition of 35Published by Marlborough Fine Art, London 86cm x 62cm (33 ¾in x 24 ¼in), unframed A gift of the Artist to Colette Morey de Morand and thence by descent.
Lot 78
PAULA REGO (BRITISH/PORTUGUESE 1935-2022) FEEDING TIME (FROM O VINHO), 2007 (ROSENTHAL 243) signed in pencil (lower right), inscribed Unique Proof (lower left) and dedicated Happy Birthday dear Colette, much love, lithograph on Somerset satin paper, hand-coloured by the Artist with watercolour, a proof aside from the edition of 35Published by Marlborough Graphics, LondonPrinted by The Royal College of Art, London 46cm x 57cm (18 1/8in x 22 ½in), unframed A gift of the Artist to Colette Morey de Morand and thence by descent.
Lot 427
SIR TERRY FROST (BRITISH 1915-2003) TREMBATH BLUES, 2000 (KEMP 208) signed in pencil (lower right) and numbered 288/300 (lower left), lithograph on paper, from the edition of 300Published by Advanced Graphics and The Royal Academy of Art, London, to accompany the publication of the monograph Terry Frost - Six Decades. 23.5cm x 28.5cm (9 ¼in x 11 ¼in) The Royal Academy of Art, London, from whom acquired by the present owner;Private Collection, France.
Lot 431
SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) JARID'S PORCH, 1977 (HEENK 34) signed and dated in pencil (lower right), and numbered 34/100 (lower left), lithograph with hand colouring on Lexington hand-made paper.Published by Petersburg Press, 1977.Printed and hand coloured by Bruce Porter and Jim Welty, The Petersburg Studios, New York. 52.5cm x 61.2cm (20 6/8in x 24in) Margot Gallery Inc., New York, from whom acquired by Steve Allison, May 2008;The Steve Allison Collection.
Lot 53
PIERRE BONNARD (FRENCH 1867-1947) LE BAIN (BOUVET 92a) lithograph on paper, from Album des peintres lithographes de Manet à Matisse, from the un-numbered edition of 525, printed by Atelier Duchatel, published by Edmond Frapier, Galerie des Peintres-Graveurs, Paris 31cm x 23cm (12 1/8in x 9in) with William Weston Gallery, London;Property of a Private Aficionado.
Lot 238
JOSEF HERMAN O.B.E., R.A. (POLISH/BRITISH 1911-2000) SONG OF THE MIGRANT BIRD, 1999 The complete boxed set of 54 colour lithographs, Archive 2, aside from the edition of 50, most of the lithographs signed in pencil (excluding Cover, For N., and In My Memory of Things, My Themes), with title page, editioned in pencil, and list of contents, printed by the Curwen Press, Chilford, with their blindstamp to each lithograph, loose as issued within the original burgundy linen covered box, with gold embossing to the front, each sheet 30cm x 21cm (11 ¾in x 8 ¼in), unframed;‘BIRD,’ Screenprint, Archive proof, aside from the edition of 50, inscribed Josef Herman and Archive in pencil, with the CC blindstamp, the sheet 56cm x 65cm (22in x 25 ½in), unframed;‘BIRD’, mixed media with collage working printer's proof, with printer's recommendations to the artist in ink (to lower edge), and further colour notations, the sheet 58cm x 42cm (22 ¾in x 16 ½in), unframed;‘BIRD,’ printed acetate, the sheet 36cm x 28cm (14 ½in x 11in), unframed (4) Curwen Studio;Private Collection, U.K. Josef Herman was captivated by birds and these printer's proofs and working sheets from the studio are part of his initial exploration into the concept of the bird. They were worked up into finished screenprints, both entitled ‘Bird’ and each published in an edition of 50. The culmination of the artist's interest in birds was the folio, Song of the Migrant Bird, with 53 vibrant and varied representations of their form.
Lot 11
Joan Miró (1893-1983), one plate, from Joan Miró Lithographs II (Mourlot 1037, Cramer bk. 198), 1975, lithograph on Arches paper, signed in pencil and numbered XXXVI/LXXX (there was also an edition of 150 in Arabic numerals), published/printed by Maeght/Mourlot, Paris, with margins, unframed, 30.5 x 24cm, full sheet 44.5 x 36.8cm ARR
Lot 84
Cambodia.- Vue Restaurée du Temple de Baïon, Ruines d'Ang-Kor Thôm (Cambodge). No.24, hand-coloured lithograph, some tears and repairs, a few small portions of loss, some light surface soiling, lightly browned, unframed, 332 x 444mm., Pnom-Penh, Cambodia, L. Jammes, [c.1890]; and 2 other Cambodian hand-coloured lithographs by the same, No. 20 & 21, both of sacred theme, v.s. (3) *** The first a view of the temple of Bayon at Angkor Thom. Jammes arrived in Cambodia around 1883 as a teacher, and rose to become director of the École Royale in Phnom-Penh by 1887.
Lot 21
British Isles.- Scrope (William) Days and Nights of Salmon Fishing in the Tweed, first edition, half-title, additional tinted lithograph vignette-title and 12 lithograph plates, several hand-coloured, publisher's advertisements to rear, most gatherings loose, a few minor instances of soiling and some light foxing, ink ownership inscription to front pastedown, hinges broken, original green cloth, pictorial gilt with device of otter and salmon (upper) and mermaid fly fishing (lower), spine tone and ends worn, [Wood BSS 53], 8vo, John Murray, 1843.*** First edition of this classic of salmon fishing literature, and recognised as one of the great works of on angling more widely.
![France.- [Funeral of the Emperor Napoleon], folding lithographed panorama on conjoined sheets forming continuous strip, c.150](https://cdn.globalauctionplatform.com/3e7721bc-9437-49c2-bd06-b2100119a9ed/0c306d24-ddf7-4a90-99d5-b210011ae075/468x382.jpg)
Lot 89
France.- [Funeral of the Emperor Napoleon], folding lithographed panorama on conjoined sheets forming continuous strip, c.150 x 3030mm., a little foxed and soiled, slight wear to folds, small tear to upper edge of first scene repaired, loose in original viridian glazed boards with additional lithograph 'Napoléon aux Invalides' mounted on upper cover, explanatory text mounted on front pastedown, additional engraved plate of the opening of Napoleon's coffin at St.Helena in 1840 trimmed and mounted on rear pastedown, rubbed, spine worn and defective at foot, [?Paris], [c.1840] § Paris Moderne et ses Environs, 24 hand-coloured lithographed views by Ch.Rivière on conjoined sheets folding concertina-style, c.130 x 3510mm., occasional foxing, original cloth-backed boards, spine worn, Paris, Becquet, [c.1850]; and a small bundle of others including a later version of the second, v.s. (a bundle)*** The panorama depicts the return of the Emperor Napoleon's body to Paris in 1840, from his tomb on St.Helena, transportation of the coffin back to France, the funeral cortège through Paris and subsequent reburial in the Hôtel des Invalides.
Lot 4066
An American Werewolf in London (1981), Lithograph Print, Regular Version, 36 x 24 inches, flat, Matt Ferguson artwork, hand numbered, number 17/250 Director John Landis Stars David Naughton, Jenny Agutter Condition Report: Excellent condition, Vice Press holographic sticker to otherwise clean reverse
Lot 4067
An American Werewolf in London (1981), Lithograph Print, Variant Version, 36 x 24 inches, flat, Matt Ferguson artwork, hand numbered, number 17/175 Director John Landis Stars David Naughton, Jenny Agutter Condition Report: Excellent condition, Vice Press holographic sticker to otherwise clean reverse
Lot 303
OGAWA KAZUMASA (CALLED KASUMA OR ISSHIN; 1860-1929) - PAEONIA ARBOREA (TREE PEONY); AND BLOSSOM. Chromo-collotypes, from the set of 15 published in 'Some Japanese Flowers', circa 1895, on wove paper, 39.2cm × 27.8 cm (unframed). Ogawa Kazumasa is considered a pioneer in the development of photography and photomechanical printing in Japan. 'A collotype is a kind of photo-lithograph (in which glass replaces stone as the printing surface) of Japanese flowers produced by a process that could not be duplicated outside Japan. The colours used and mounting methods are most impressive. 15 to 25 colours were used in a single picture and each print passed through a press for each shade' (J.B. Millet, publisher). (2)
Lot 357
ATTRIBUTED TO PIERRE-PAUL PRUD'HON (FRENCH 1758-1823) APOLLO AND THE MUSES ON MOUNT PARNASSUS Oil on canvas 54.5 x 64cm (21¼ x 25 in.)SALEROOM NOTICE: Please note the cataloguing has changed Provenance: Baron d'Olonne, Paris; Matthiesen, Ltd., London, by 1956 Paul Drey Gallery, New York Sale, Sotheby's, New York, 22 May 1986, lot 2 Literature: Advertisement supplement, The Burlington Magazine, vol. 98, no. 639, June 1956, reproduced plate VI Prud'hon's talent manifested itself early. As a young boy he was taken under the wing of Devosge, director of the drawing school in Dijon, who recommended him to his first major patron, the baron de Joursanvault. As early as 1780 we can see the young artist applying his delight in allegory and the classical world in his "Apotheosis of Baron Joursanvault" (Dijon, musee des beaux-arts). Joursanvault sponsored Prud'hon's move to Paris and he spent 3 years (1780-83) visiting galleries and churches and enrolling in the Academie Royale although we know from his letters that he much preferred to work alone at home. From 1783-4 he returned to Dijon in order to compete for the Prix de Rome, which he duly won. Rome was to prove pivotal to his development and subsequent success. Between 1784 and 1788 he was able to immerse himself in the art of the Eternal city and indeed to make important contacts, most notably with Canova. In Rome he was to prove assiduous in his study of the Renaissance masters and his overriding admiration of Leonardo is clearly expressed in his correspondence, although his contemporaries were to dub him France's Correggio. This period was certainly to influence the way he viewed allegory and mythology and its lasting effect can be seen throughout his work in the years to come. After his return from Rome his reputation gradually increased despite the political upheavals that were erupting in France. He was much admired as a portraitist, gaining patrons and consequently expanding his oeuvre. Always aspiring to be a history painter, he provided designs for what has been termed the golden age of book illustration, and although relatively unknown he was sought out by the publisher Pierre Didot expressly for this purpose. Finally, during the Empire of Napoleon, Prudh'on would find the greatest favour of all from the Imperial court itself. This was the period of his grand portraits such as "Empress Josephine at Malmaison" and "Charles Maurice de Talleyrand-Perigourd" as well as large scale mythological paintings such as "Psyche carried off by the Zephyrs". He had previously shown a sure eye for decoration in a number of projects but he was now able to create independent works on a large scale. His position was sealed in 1810 when he was appointed drawing master to the new Empress, Marie Louise. The restoration of the Bourbon monarchy did not mark a fall from favour, and indeed Prud'hon was called upon to help create the official representation of the restored monarchy. He produced even more portraits, and at the very end of his life he was commissioned by the state to produce what has become one of his most famous works, "Christ on the Cross" for the cathedral at Strasbourg (Paris, Musee du Louvre).Apollo and the Muses on Mount Parnassus would certainly have appealed to Prud'hon as a subject. In essence the scene encompasses the ideals of classical learning through word and music and as such it became symbolic during the Renaissance of the re birth of knowledge. Prud'hon would have seen many Renaissance interpretations of this, from Raphael in Rome to Mantegna in Paris. The present sketch is remarkable in the vivacity of the figures, the bold under drawing being clear in many passages. Drawings of individual groups of figures for this composition exist in a private collection and were illustrated in Guiffrey's 1924 monograph. Indeed these drawings were then copied by Boilly (1) and were subsequently published as lithographs (2). In terms of Prud'hon's oeuvre, the present work is reminiscent of a number of allegorical and decorative schemes he produced in the period following his return from Rome. The decoration of the Hotel de Lannoy is the most famous of these schemes and was intended as a full cycle representing in essence the liberal arts through classical models. This work was followed by a period in which he expressed the aims and ambitions of the revolution in a series of allegories deeply rooted in the classical past. Dr Christoph Vogtherr, on examining the picture, has proposed that it could be a modello for a theatre curtain. Set designs were certainly produced by major artists and during the Napoleonic period such spectacles were as expected as the lavish court ceremonies that were staged throughout the reign. There is a 19th century copy of the work in the Musee des Beaux Arts in Dijon, at one time attributed to Prud'hon it was already viewed as a copy in the early years of the last century. 1) Julien-Leopold Boilly, Terpsichore and Erato, drawing, black and white pencil on paper, Paris, Louvre, inv. no. RF 46372) Julien-Leopold Boilly, Apollo and the Muses, lithograph, Washington, National Gallery of Art, inv. no. 2011.139.54 Condition Report: The canvas has been relined, and presents surface dirt and craquelure. Scattered retouching throughout. Rubbing and abrasions to the edges. The paint layer to the trees is starting to wear thin. Condition Report Disclaimer
Lot 306
GIOVANNI FRANCESCO BARBIERI, CALLED IL GUERCINO (ITALIAN 1591-1666) YOUNG DAVID Oil on canvas 69 x 56cm (27 x 22 in.) This unpublished canvas may be identified as the 'testa di un davide' that Guercino painted for his friend Gerolamo Panesi and for which he was paid 30 scudi on 16 October 1649.1 In her comment to the above entry in her 1997 edition of Guercino's Account Book, Barbara Ghelfi noted that a canvas corresponding to this payment had yet to be identified. In the painting, David holds the sword with which he had beheaded Goliath. Rather than engage the spectator he stares into the distance, as if pondering the consequences of his victory. The velvety paint textures, the attractive colouring, the figure's classical pose and the delicate rendering of selected details fit perfectly with Guercino's mid-Bolognese period. The occasional flourishes of impasto that punctuate the smooth paint surface include the plume on David's cap and the fur of the lining to his cloak, especially where it touches and slightly overlaps his right thumb. The beguiling combinations of a narrow range of forceful secondary colours, mostly of neighbouring hue, may also be seen in the Cleopatra, now in a private collection, which Panesi ordered from Guercino only a few months later.2 In 1648-1650 Panesi commissioned at least five pictures from Guercino. Panesi was a Genoese nobleman and art dealer and, during the artist's Bolognese period, was one of his more consistent and discerning clients, selling on some of the pictures he had commissioned from the master at a higher price in Rome, where he was mainly resident.3 Guercino stuck resolutely to his tariffs, yet somehow Panesi was able to persuade the painter to give him a discount, for example by reducing his standard-sized canvases in return for dropping his charge. In the following year, Guercino painted a 'Meza Figura del davide con la Testa di Golia Gigante' for a Sig. Lodovico Fermi of Piacenza, for which he was paid 75 scudi on 12 October 1650.4 Fermi's David is known from two versions-the actual-sized sketch in the National Museum of Western Art, Tokyo, and the finished picture, now in a private collection.5 Both correspond almost exactly in size and are significantly larger than the present picture. 6 In format, a half-length was the next size up from a head-and-shoulders and it generally included extra details, such as, in this instance, Goliath's severed head. Fermi paid Guercino 75 scudi for his picture, as compared to Panesi's 30 scudi, for a picture just over half the size of Fermi's, painted in the previous year. With such a busy practice, Guercino was inevitably asked to paint the same subject several times, especially for his half-lengths and heads. A commission for a subject, perhaps painted previously on other occasions, required a fresh invention. Guercino could avoid repetitions by referencing past drawings, but inevitably one compositional treatment morphed subtly into the next. From the point of view of Guercino's creative method, much may be learned by comparing Panesi's David with Fermi's, since similarities and differences abound, in costume, pose, studio props and facture. Two further works by Guercino, both half-lengths, connect in design with the present picture. The first is a drawing in the Royal Library, Windsor Castle, ascribed to Guercino but clearly by him. Despite the composition's half-length format, it could well have been made as a study for this canvas, with the head of Goliath included as an alternative to David's sword.7 Notwithstanding these differences, the overall correspondence is close. The second is a painting formerly in the collection of the King of Sardegna, now belonging to the Galleria Sabauda, Turin, presently on show at the Venaria Reale, which is reproduced here from a lithograph by Luigi Poggioli.8 As here, Goliath's head is absent from the composition of the Turin picture. Its larger size and the introduction of the regal columnar architecture in the background bring it nearer to Fermi's canvas. Strong echoes of the present painting are easily to be found in the Windsor drawing and the Turin picture. But it is the hybrid format of the present canvas that pins it down as the one ordered by Panesi. It is a reduced-sized half-length and is bigger and has more detail than Guercino's normal head-and-shoulders format. This rare exception to the painter's rule was probably the result of Panesi's successful haggling. Notes: 1). B. Ghelfi (ed.), Il libro dei conti del Guercino, 1629-1666, Bologna, 1997, p. 143, no. 413. When the picture was first shown to me, on 17 January 2013, I wrongly attributed it to Guercino's nephew Cesare Gennari. Five years later, following my immersion in Guercino's works in preparation for my monograph on him published last year, the presence of the master's hand is all too clear to me, and I now have no hesitation in giving the picture to him in full. 2). N. Turner, The Paintings of Guercino. A Revised and Expanded Catalogue raisonné, Rome, 2017, p. 662, cat 3723). N. Turner, 'Mola's Caricature Portrait of the Genoese Collector and Dealer Gerolamo Panesi,' Master Drawings, xlvii, no 4 (2009), pp. 516-9.4). Ghelfi 1997, p. 149, no. 430. 5). Turner 2017, pp. 667-8, nos 377I and II, respectively. 6). The Tokyo canvas measures 120.5 x 102 cm, the finished version in a private collection 120 x 100 cm.7). Windsor Castle, Royal Library: inv. 2944 (Mahon and Turner 1989, no. 408): pen and brown ink; 203 x 161 mm. 8). A. Alberghini, Guercino: La collezione di stampe, Cento, 1991, p. 217, no. 435. We are grateful to Nicholas Turner for his expertise and assistance in writing this catalogue entry. Condition Report: The canvas has been lined. Rubbing and abrasions to the framing edges. Some light craquelure throughout however the paint surface appears stable. Inspection under UV light reveals light scattered retouching and infilling throughout. Overall the work appears to be in good restored condition.Condition Report Disclaimer
Lot 675
Pictures & Prints - H.Callen, a near pair of Derbyshire Landscape watercolours, dated 1909, framed; After H.P.Parker by S.W.Reynolds a substantial early Victorian lithograph 'To the minister and members of the Wesleyan methodist socities throughout the world...'; Edwardian oil on canvas, Sweet Peas, framed; etc
Lot 307
Morris, Rev. F. O. A History of British Birds, London: John C. Nimmo 1895-97, 4th edition, 6 vols., 394 hand-coloured lithograph plates, one or two light spots, 3 pages loose towards end vols. 5 & 6, also another pl. loose in vol. 6, original cloth gilt, spine ends tatty, edges a little rubbed, some light fading and stains to covers, large 8vo (6)
Lot 65
DUVOISIN, Roger (illustrator). A Child's Garden of Verses by Robert Louis Stevenson, New York: The Limited Editions Club 1944, limited edition 409/1100 signed by the artist, lithograph illustrations, hand coloured, calf backed imitation cork boards, in original box. 4to; CRANE, Walter (illustrator), The Song of Sixpence Toy Book, London: Routledge nd (c. 1870s), col. plts., original pictorial cloth,worn, small 4to: CHILDREN'S BOOKS. Six vols. bound as one retaining orig. col. printed wraps, including Santa Claus & His Works, New York: McLoughlin Bros nd (other English pubs.); and other childrens (12 incl. pbks)
Lot 12
Paula Rego RA (1935-2022, British/Portuguese) Lithograph "Jane Eyre", woman seated on step, signed in pencil lower right and numbered 65/75, 37cm x 25cm, framed and glazed From the collection of the late Maurice Costley Condition ReportThe picture appears to be in very good condition, with no apparent issues. There is some slight buckling to the paper at the sides. Floating mount.
Lot 288
BIEDERMANN (XX.). Lithographie.Vier tanzende Personen. Lithographie. Mit Bleistift signiert und nummeriert 27/100. Gerahmt in Passepartout hinter Glas. Passepartoutausschnitt 42 x 48 cm. Zustand siehe Fotos. Versand kann organisiert werden.BIEDERMANN (XX.). Lithograph.Four dancing people. Lithograph. Signed and numbered 27/100 in pencil. Framed in passepartout behind glass. Passepartout section 42 x 48 cm. See photos for condition. Shipping can be organised.
Lot 271
Armin MÜLLER-STAHL (1930 -). Baumlandschaft II. Lithographie.Farblithographie. Auflage 180. Rückseitig signiert (laut Etkett). Zustand siehe Fotos. Versand kann organisiert werden.Armin MÜLLER-STAHL (1930 -). Treescape (Baumlandschaft II.) Color lithograph. Edition of 180, signed on the reverse (according to the label). See photos for condition. Shipping can be organised.
Lot 225
Karl Otto GÖTZ (1914 - 2017). Lithographie Tylin.Probe-Abzug E. A. Tylin. Von 2002. 44 cm x 35 cm. Herausgegeben von Manfred Hügelow. Handnummeriert und hansigniert mit Bleistift. Prachtvoller Druck. Zustand siehe Fotos. Versand kann organisiert werden.Karl Otto GÖTZ (1914 - 2017). Lithograph Tylin. Proof print E. A. Tylin. From 2002. 44 cm x 35 cm. Published by Manfred Hügelow. Hand numbered and signed in pencil. Splendid print. See photos for condition. Shipping can be organised.
Lot 224
Karl Otto GÖTZ (1914 - 2017). Lithographie Kylrom.Lithographie Kylrom 3/90 von 1995. Herausgegeben von Manfred Hügelow. Handnummeriert und hansigniert mit Bleistift. Prachtvoller Druck. Zustand siehe Fotos. Versand kann organisiert werden.Karl Otto GÖTZ (1914 - 2017). Lithograph Kylrom. Lithograph Kylrom 3/90 from 1995, published by Manfred Hügelow. Hand-numbered and signed in pencil. Splendid print. See photos for condition. Shipping can be organised.
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