Made on demande of FF Coppola for his winery in USA

Four prints framed together (screen prints on invitations) depicting a truck - each: 16.5 x 16.5 each signed is sold with the original folder/folder in which the invitation was sent and on which it is indicated "Commissioned work by the Bundesverband des Deutschen Guterfernverkehrs (BDF)" dd 1986

Silkscreen on 100% Acid Free Archival Museum Board after Andy Warhol and published by Sunday B. Morning. Inscriptions on the back: "Published by Sunday B. Morning" and "Fill in your own signature". These prints can be found in Feldman & Schellmann's "Andy Warhol's Catalog Raisonne".

Silkscreen on 100% Acid Free Archival Museum Board after Andy Warhol and published by Sunday B. Morning. Inscriptions on the back: "Published by Sunday B. Morning" and "Fill in your own signature". These prints can be found in Feldman & Schellmann's "Andy Warhol's Catalog Raisonne".

Silkscreen on 100% Acid Free Archival Museum Board after Andy Warhol and published by Sunday B. Morning. Inscriptions on the back: "Published by Sunday B. Morning" and "Fill in your own signature". These prints can be found in Feldman & Schellmann's "Andy Warhol's Catalog Raisonne".

Silkscreen on 100% Acid Free Archival Museum Board after Andy Warhol and published by Sunday B. Morning. Inscriptions on the back: "Published by Sunday B. Morning" and "Fill in your own signature". These prints can be found in Feldman & Schellmann's "Andy Warhol's Catalog Raisonne".

Silkscreen on 100% Acid Free Archival Museum Board after Andy Warhol and published by Sunday B. Morning. Inscriptions on the back: "Published by Sunday B. Morning" and "Fill in your own signature". These prints can be found in Feldman & Schellmann's "Andy Warhol's Catalog Raisonne".

Silkscreen on 100% Acid Free Archival Museum Board after Andy Warhol and published by Sunday B. Morning. Inscriptions on the back: "Published by Sunday B. Morning" and "Fill in your own signature". These prints can be found in Feldman & Schellmann's "Andy Warhol's Catalog Raisonne".

Silkscreen on 100% Acid Free Archival Museum Board after Andy Warhol and published by Sunday B. Morning. Inscriptions on the back: "Published by Sunday B. Morning" and "Fill in your own signature". These prints can be found in Feldman & Schellmann's "Andy Warhol's Catalog Raisonne".

Silkscreen on 100% Acid Free Archival Museum Board after Andy Warhol and published by Sunday B. Morning. Inscriptions on the back: "Published by Sunday B. Morning" and "Fill in your own signature". These prints can be found in Feldman & Schellmann's "Andy Warhol's Catalog Raisonne".

Silkscreen on 100% Acid Free Archival Museum Board after Andy Warhol and published by Sunday B. Morning. Inscriptions on the back: "Published by Sunday B. Morning" and "Fill in your own signature". These prints can be found in Feldman & Schellmann's "Andy Warhol's Catalog Raisonne".

Silkscreen on 100% Acid Free Archival Museum Board after Andy Warhol and published by Sunday B. Morning. Inscriptions on the back: "Published by Sunday B. Morning" and "Fill in your own signature". These prints can be found in Feldman & Schellmann's "Andy Warhol's Catalog Raisonne".

In 1970 Andy Warhol's original silkscreens were reproduced to create a new series of screenprints named the “Sunday B Morning” prints. These prints are recognized as authentic reproductions and are included in Andy Warhol’s catalogue raisonné

[Chagall, M.]. Gogol, N. Les ames mortes. French transl. H. Mongault. Paris, Tériade, 1948, 2 vols., (4),160,(2); (4),163-308,(10)p., 96 etchings, 11 etched headpieces and initials and 11 etched index plates of the etchings by M. CHAGALL, printed in 368 numb. copies SIGNED by the artist (285), loose as issued in orig. orig. wr. and board chemises w. paper letterpiece, in orig. board slipcase, folio. - Chemises sl. foxed and joints splitting. Slipcase foxed. = Cramer 17; Monod 5539. Printed from the copperplates engraved by Marc Chagall between 1923 and 1927.

Marc Chagall, in Paris, was commissioned to provide illustrations for this new, irreverent version of the Seven Deadly Sins with texts by contemporary French authors. Drawing on vivid memories and fantasies of his youth in the provincial Belarusian town of Vitebsk, he represents human foibles and weaknesses with wit and affection. Through his lively line, humorous exaggeration, and defiance of the laws of gravity, space, and time, he acknowledges and embraces our shortcomings as an integral, and even joyous, part of life. For his etchings illustrating the seven deadly sins, Marc Chagall took a satirical but affectionate look at village life in his native Vitebsk, Belarus. His self-deprecating sense of humor is perfectly highlighted by the frontispiece—a witty self-portrait of the artist at his easel, represented as Envy (traditional enemy of Painting), with the heads of the six other deadly sins piled upon his own. The book was conceived and coordinated by publisher Simon Kra, who was instrumental in disseminating early Surrealist writings (he published André Breton’s Surrealist Manifesto in 1924). Each of the Seven Deadly Sins is treated by a different author, selected from among the most important French writers of the day: Pride by Jean Giraudoux, playwright of Intermezzo and The Madwoman of Chaillot; Greed by Paul Morand, student of Giraudoux; Lust by novelist Pierre Mac Orlan; Envy by poet André Salmon; Gluttony by Surrealist writer Max Jacob; Anger by dramatist Jacques de Lacretelle; and Sloth by adventure novelist Joseph Kessel.

Marc Chagall began engraving the copperplates illustrating Nikolai Gogol's "Dead Souls" in 1923. The print was completed by Tériade in 1948.

Known as a Parisian artist, Marc Chagall always maintained an interest in his Russian origins and his Jewish heritage, and he often depicted scenes from his youth in the provincial town of Vitebsk. After working and exhibiting in Paris from 1910 to 1914, Chagall returned to Russia, where he remained until 1922. There he formed friendships with Russian avant-garde poets and painters and worked toward creating a modern Jewish art through his journal illustrations, children's books, and designs for the Jewish State Theater. Chagall was introduced to printmaking in Berlin in 1922, at the age of thirty-five. (He would eventually complete one hundred twenty-three intaglios and woodcuts, more than eleven hundred lithographs, and thirty-eight illustrated books.) He had arrived there with an autobiographical manuscript he had been working on since 1911. The gallerist Paul Cassirer saw the text, My Life, and hoped to publish a translation of it that would include prints by Chagall. Responding immediately to this new medium of printmaking, the artist completed his first etchings within three weeks. They were issued as a portfolio without text, due to translation difficulties with Chagall's unusual prose. Drawing on vivid childhood memories of village life in Vitebsk, the artist depicted himself, his wife and child, his parents, his childhood home, local figures such as the teacher of the Talmud, and events that had taken place there. These scenes of life in Russia were still fresh in Chagall's mind in 1923, when he began the etchings for Nikolai Gogol's novel Les Âmes mortes.

Marc Chagall began engraving the copperplates illustrating Nikolai Gogol's "Dead Souls" in 1923. The print was completed by Tériade in 1948.

This Etching is a part of Les Ames mortes (by N. Gogol), a very rare suite of etchings realized by Marc Chagall (1887-1985). Realized on Arches wove paper watermarked Les Ames mortes, with title, text in French and justification.

Marc Chagall began engraving the copperplates illustrating Nikolai Gogol's "Dead Souls" in 1923. The print was completed by Tériade in 1948.

Marc Chagall began engraving the copperplates illustrating Nikolai Gogol's "Dead Souls" in 1923. The print was completed by Tériade in 1948.

Marc Chagall began engraving the copperplates illustrating Nikolai Gogol's "Dead Souls" in 1923. The print was completed by Tériade in 1948.

Joseph Beuys, “Klaus Staeck is my...” published as a postcard in the Edition Staeck, on red background lettering “Klaus Staeck ist mein politischer Gegner” and printed signature “Klaus Staeck”, 1973, signed “Joseph Beuys” in lead in the center, matted and framed behind glass, mat cut-out approx. 10 x 14 cm.

View of Munich from the tower of the Ludwigskirche and the panorama of the Alps in the background, blue line in the upper area, color offset on light cardboard, 1971, signed “Joseph Beuys” in ballpoint pen above the image, matted and behind glass in a solid iron frame, mat cut-out approx. 10 x 14 cm.

For the “LIVING GODS” series, Reinar Foreman was inspired by Antiquity. The painter seeks to reinterpret myths by updating them. Halfway between figurative art and abstraction, he shows the powerful, sometimes severe, nature of human emotions, with simplified but vibrant shapes and colors. This complex vision of ancient mythology gives Foreman's paintings a particular magic, while his sources of inspiration are world-famous: the composition of Apollo and Daphne refers to Bernini's famous sculpture at the Galleria Borghese, while the construction of The Rape of the Sabine is reminiscent of that of Renaissance master Gianbologna. On custom-made canvases, stretched backwards to achieve the roughest texture desired by the artist, bare backgrounds juxtaposed with bursts of color create unique textures and leave strong impressions, while color combinations are based on unusual contrasts — green and pink, yellow and brown. As Foreman himself likes to explain: “I place a lot of emphasis on movement, my images are often destabilizing, and I work on them quickly. I don't draw, I don't use projectors or anything like that and, in fact, I'm always experimenting and seeing what works. I paint a lot and don't hesitate to destroy works or repaint them. I'm not a god, and I need to try a lot before I succeed in what I want to create.".

Porfolio with complete text, 2 woodcuts (1 on the printed cover, 1 on the index page) and 5 xylographs, 1909. Each 330x330 mm; 12 7/8x12 7/8 inches (sheets), full margins, loose as issued. Edition of 1000. Published by Édition des Tendances Nouvelles, Paris. Original gray printed paper wrappers. Roethel 70-71.

Mourlot entitles this piece “Le Poete”. Others call it “Cinq Poésies en Hommage à Georges Braque” after the book it illustrated. This was made to illustrate the front cover of a book by René Char published by Edwin Engelberts, Geneva in 1958. For the book edition the margins were folded. Our work comes from the signed and numbered edition on Japan paper with full unfolded margins. Tirage Mourlot, Paris

SONIA DELAUNAY (UKRAINIAN-FRENCH 1885-1979) Untitled from "Music Maestro Please", published by Editions Sonet, Stockholm, 1976 lithograph on paper 65 x 50 cm (25.6 x 19.7 in.) signed lower right, numbered VI/L (6/50) lower left