Polke, Sigmar (1941-2010) ‘Häuserfront (Anyone who can’t make this out must commute themselves)’ 1973, colour offset lithograph, signed below and on the reverse, SM 45.5 × 62.8 cm, yellowed, stained Polke, Sigmar (1941-2010) "Häuserfront (Wer hier nichts erkennen kann, muss selber pendeln)" 1973, Farboffsetlithographie, u. sign., BM 45,5x62,8cm, vergilbt, fleckig
(1941 Oels/Niederschlesien - 2010 Köln) Künstlerbuch "Sigmar Polke. Zeichnungen 1963-1969" mit Original-Zeichnung Hrsg. von Johannes Gachnang, Verlag Gachnang & Springer Bern u. Berlin 1987. Auf dem Schmutztitel Original-Zeichnung Polkes in schwarzem Filzstift, sign. u.dat. (19)91 mit Widmung "für E.K" (wohl für Erich Kukies). Original-Leinwand. Nicht kollationiert. Buch ca. 36 cm x 26,5 cm. Artist's book "Sigmar Polke. Zeichnungen 1963-1969" with original black felt-pen drawing by Sigmar Polke. The book published in 1987, the drawing on the half-title hand-signed and dated 1991 with dedicitation. Not collated.
Sigmar Polke, 1941-2010, #'B-Mode#' Museum Moderne Kunst Frankfurt 1994, poster, hand signed, approx. 84x59.5 cm . German Description: Sigmar Polke, 1941-2010, 'B-Mode' Museum Moderne Kunst Frankfurt 1994, Plakat, handsign., ca. 84x59,5 cm
Sigmar Polke Ten works from the Vollmond im Widder portfolio 2004 lithograph in colors image (each): 10.875 h x 8.125 w in (28 x 21 cm) sheet (each): 17.375 h x 13.625 w in (44 x 35 cm) Signed and numbered to lower edge of each work '37/40 Sigmar Polke'. These works are number 37 from the edition of 40 printed and published by Mike Karstens, Munster. Sold with original portfolio case. This work will ship from Lambertville, New Jersey.
Online - Modern and Contemporary Art Deutsche Nachkriegsmoderne Polke, Sigmar Jeux d'Enfants. 1988/96. Farboffset auf glattem Velin. 84,5 x 59,5 cm. Signiert und im Unterrand mit typographischer Bezeichnung. - In den Ecken mit kleinen Löchern ehemaliger Montierung, an den Rändern und verso dezent berieben. Insgesamt sehr gut. Prachtvoller und farbintensiver Druck der formatfüllenden Darstellung. Erschienen anlässlich der Ausstellung "Sigmar Polke" vom 13. Oktober bis 08. Dezember 1996 in den Staatlichen Museen Schwerin. - Nach dem gleichnamigen Gemälde von 1988. Color offset print on smooth wove paper. Signed and typographically titled in the lower margin. - Small holes from former mounting in the Corners, margins and verso with minor surface rubbing. Overall in very good condition. Splendid, color-intensive impression of the full-format composition. - Issued on the occasion of the exhibition 'Sigmar Polke', held from 13 October to 8 December 1996 at the Staatliche Museen Schwerin. - After the painting of the same title from 1988.
German Post War Polke, Sigmar Häuserfront (Wer hier nichts erkennen kann, muß selber pendeln). 1973. 4-Farb-Offset-Lithographie auf Pergaminpaper. 36,5 x 29,2 cm (45 x 62,5 cm). Signiert. - Unten rechts etwas knickspurig, im Blattrand mit ausradierter Anmerkung in Bleistift. Insgesamt sehr gut. Prachtvoller Druck mit Rand an drei Seiten. Becker/von der Osten 30. - Aus der Gesamtauflage von 564 (1. Auflage) und 290 (2. Auflage) signierten Exemplaren. - Darstellung des Bombenanschlags auf die Berliner Diskothek La Belle (1986) als Auslöser der militärischen Vergeltungsschläge der Vereinigten Staaten gegen Libyen. 4-colour offset lithograph on glassine paper. Signed. - Slight crease at bottom right, erased pencil note in the margin. Overall in very good condition. Splendid impression with margin on three sides. - From the total print run of 564 (1st edition) and 290 (2nd edition) signed copies. - Depiction of the bombing of the La Belle discotheque in Berlin (1986) as the trigger for the United States' military retaliatory strikes against Libya.
German Post War Polke, Sigmar Fernsehbild (Kicker) I. 1971. Offset-Lithographie auf blau marmorierten Jura-Büttenkarton. 63,8 x 84 cm. Signiert und datiert. - Die Ecken leicht und kaum merklich bestoßen, verso punktuell mit Spuren vorheriger Montierung. Insgesamt sehr gut. Prachtvoller, differenzierter Druck der Darstellung auf dem marmorierten und nahezu relieffiert anmutenden Blatt im vollen Format. Becker/von der Osten 16. - Eines von 142 Exemplaren. - Exemplar der Griffelkunst-Vereinigung, Hamburg (verso mit Stempel). Offset lithography on blue marbled Jura laid card. Signed and dated. - Corners slightly and barely noticeably bumped, on verso with traces of previous mounting. Very good overall. Splendid, differentiated impression of the depiction on the marbled and almost relief-like appearing sheet. - One of 142 copies. - Publ. by Griffelkunst-Vereinigung, Hamburg (stamped on the reverse). *Dieses Los ist regelbesteuert. Auf den Zuschlagspreis fallen 24,95% Aufgeld sowie auf den Rechnungsendbetrag 7% (Bücher, Kunst) bzw. 19% Mehrwertsteuer (Manuskripte, Siebdrucke, Offsetdrucke Photographien) in der Europäischen Union an. This work is subject to the regular margin scheme. There is a 24.95% buyer's premium on the hammer price and 7% (Books and Art) or 19% VAT (Manuscripts, Screenprints, Offsetprints and Photographs) on the final invoice amount in the European Union.
Sigmar Polke 1941 - 2010 German Pavilion, Venice Biennale signed, dated 1986 and inscribed Biennale Venedig (au dos) gelatin silver print toned with nitrate oxide 30 x 24 cm; 11 ¾ x 9 ½ in. Executed in 1986, this work is unique.
Sigmar Polke 1941 - 2010 Secrets of Love and Marriage signed (lower edge); titled (centre) ballpoint pen on paper 29.3 by 21 cm. 11½ by 8¼ in. framed: 71 by 56.5 cm. 28 by 22¼ in. Executed circa 1964. We are grateful to Mr. Michael Trier, Cologne, for the information he has kindly provided.
Sigmar Polke 1941 - 2010 Ohne Titel signed and dated 89 (lower centre) acrylic on paper 100 by 70 cm. 39⅜ by 27½ in. framed: 119.5 by 86.6 cm. 47 by 34⅛ in. Executed in 1989. We are grateful to Mr. Michael Trier, Cologne, for the information he has kindly provided.
Sigmar Polke 1941 - 2010 Ohne Titel signed and dated 1997 (lower left) acrylic and spray paint on paper 69.9 by 100.3 cm. 27½ by 39½ in. framed: 94.9 by 124 cm. 37⅜ by 48⅞ in. Executed in 1997. We are grateful to Mr. Michael Trier, Cologne, for the information he has kindly provided.
(1) Polke. Rotterdam, Museum Boymans van Beuningen, 1983. Softcover, 29.5 x 21 cm, Beautiful catalogue/ artists' book printed on different coloured stock, profusely illustrated in b/w and colour. Text in Dutch, English and German. (2) Sigmar Polke. Athanor. Venice, XLII Biennale di Venezia, 1986. Hardcover, 24 x 30 cm, 68 pp. Artists' book issued in connection with Polke's installation at the German pavilion at the Venice Biennale. Text in German with Italian language insert. Collection of ephemera including: (3-5) flyer, press photo and two invitation cards for Polke's show at the Goethe Institute Amsterdam in 1972. (6-9) invitation cards from Van Abbemuseum Eindhoven 1976; Seriaal Amsterdam 1976; Boymans van Beuningen Rotterdam 1984; Anthony D'Offay London 1985. (10-15) six large b/w press photos from the Van Abbemuseum Eindhoven 1976, and Museum Boymans van Beuningen Rotterdam 1984. (total 15)
Polke, Sigmar (1941-2010) ‘Untitled (Blob)’ 1989, silkscreen print on velour paper, signed and dated on the reverse, Griffelkunst, mounted on cardboard, BM 98 x 66.5 cm (100 x 70 cm) Polke, Sigmar (1941-2010) "o.T. (Klecks)" 1989, Serigraphie/Velourspapier, verso sign./dat., Griffelkunst, auf Karton fixiert, BM 98x66,5cm (100x70cm)
Ink over colour offset lithograph on cardboard. (19)90. Approx. 50 x 40 cm (sheet c. 60 x 45 cm). One of 20 copies, each unique. Signed and dated lower right.
SIGMAR POLKE 1941 Oels (Niederschlesien) - 2010 Cologne 'UNERWÜNSCHTE GESCHENKE (UNWANTED GIFTS)' (2003) Colour serigraph on firm paper. Sheet size 70.2 x 50 cm. Signed and dated in pencil at lower right 'Sigmar Polke 2003' as well as inscribed at lower left 'A.P.'. Unframed. Provenance: Collection for Homeless Aid: 'Kunst hilft geben für Wohnungslose e.V.' (www.kunst-hilft-geben.de). SIGMAR POLKE 1941 Oels (Niederschlesien) - 2010 Köln 'UNERWÜNSCHTE GESCHENKE' (2003) Farbserigrafie auf festem Papier. BM 70,2 x 50 cm. Unten rechts in Bleistift sign. u. dat. 'Sigmar Polke 2003' sowie unten links bez. 'A.P.'. Ungerahmt. Provenienz: Sammlung für Obdachlosenhilfe 'Kunst hilft geben für Wohnungslose e.V.' (www.kunst-hilft-geben.de). Please note that this lot has a flat-rated charge of 2% of the hammer price which will be payable to satisfy the provisions of the statutory resale right pursuant to art. 26 of the German Copyright Act (Urhebergesetz, UrhG). Bitte beachten Sie, dass bei diesem Objekt wegen der Abgeltung des gesetzlichen Folgerechts § 26 UrhG eine pauschale Umlage von 2% auf den Zuschlagpreis zu entrichten ist.
SIGMAR POLKE 1941 Oels (Niederschlesien) - 2010 Cologne 'OBELISK' (1973) Colour offset print on light paper. Sheet size 62.6 x 45.2 cm. Signed in pencil at lower right 'S. Polke'. Inscribed in pencil by an unknown hand on the verso as well as with stamp 'griffelkunst'. Unframed. Provenance: Private collection in the Ruhr region. SIGMAR POLKE 1941 Oels (Niederschlesien) - 2010 Köln 'OBELISK' (1973) Farboffsetdruck auf leichtem Papier. BM 62,6 x 45,2 cm. Unten rechts in Bleistift sign. 'S. Polke'. Verso: Rückseitig von fremder Hand in Bleistift bez. sowie mit Stempel 'griffelkunst'. Ungerahmt. Provenienz: Privatsammlung Ruhrgebiet. Please note that this lot has a flat-rated charge of 2% of the hammer price which will be payable to satisfy the provisions of the statutory resale right pursuant to art. 26 of the German Copyright Act (Urhebergesetz, UrhG). Bitte beachten Sie, dass bei diesem Objekt wegen der Abgeltung des gesetzlichen Folgerechts § 26 UrhG eine pauschale Umlage von 2% auf den Zuschlagpreis zu entrichten ist.
POLKE , SIGMAR 1941 Oels/Lower Silesia–2010 Cologne Title: Parkett Jubiläum II (Parkett 40/41). Date: 1994. Technique: Gouache on Semi card, bound as an artist’s book using sheets of maculature from parquet editions that have been overprinted several times (116 pages). Measurement: 25.5 x 21 cm. Notation: Signed and numbered verso: Sigmar Polke B-2/25. Publisher: Parkett-Verlag, Zurich (publisher). This booklet is one of 25 special editions of the anniversary issue featuring a bound-in gouache painting, published in 1994 to mark the magazine’s tenth anniversary. Provenance: - Sies + Höke, Düsseldorf (label) - Private collection North Rhine-Westphalia Literature: - Becker, Jürgen/von der Osten, Claus (eds.): Sigmar Polke - Editioned Works 1963-2000, Catalogue Raisonné, Ostfildern-Ruit 2000, cat. rais. no. 100 Estimated shipping costs for this lot: Inland: 32.77 Euro plus 6.23 Euro VAT EU: 50.42 Euro plus 9.58 Euro VAT Third country: 277.32 Euro plus 52.69 Euro VAT additional shipping insurance Shipping insurance up to total invoice amount of 25,000 Euros: max. 41.65 Euro over a total invoice amount of 25,000 Euros: 1.8 o/oo USA by individual arrangement after the auction. #Sigmar Polke #Capitalistic Realism #New Realism #Germany #Post-War Art #1990s #Post War. In accordance with §26 UrhG (German Copyright Act), VAN HAM is obliged to pay a statutory resale royalty on the sale proceeds of all original works of fine art and photography whose authors have not been deceased for 70 years prior to the end of the calendar year of the sale. The buyer shall contribute 1.5% of the hammer price to this fee.
POLKE , SIGMAR 1941 Oels/Lower Silesia–2010 Cologne Title: Freundinnen II. Date: 1967. Technique: Color offset, hand-coloured on thin card. Depiction Size: 46.5 x 59 cm. Sheet Size: 48 x 61 cm. Notation: Signed and dated bottom right: S. Polke 67. Publisher: Galerie h (August Haseke), Hanover (publisher). Frame: Framed. This work is from an edition of of 25 copies. 'Freundinnen II' is one of Sigmar Polke’s earliest editions. Through his individual hand-colouring, he gives this copy a unique character, making it a one-of-a-kind piece. We would like to thank Mr. Michael Trier of Cologne for his helpful information. Provenance: - Private collection North Rhine-Westphalia Literature: - Becker, Jürgen/von der Osten, Claus: Sigmar Polke – Editioned Works 1963–2000, Catalogue Raisonné, Ostfildern-Ruit 2000, cat. rais. no. 4, ill. - Freundinnen II is one of Polke’s most iconic motifs - In this work, Polke combines his ability to elevate the everyday to art whilst simultaneously subjecting it to critical scrutiny - A sought-after hand-coloured variant of this early edition - Unique work Overturning Old Conventions Sigmar Polke was born in 1941 in Oels, Lower Silesia. Following the end of the Second World War, his family fled to Thuringia in 1945 before ultimately settling in Düsseldorf in 1953. From 1961 to 1967, Polke studied at the Kunstakademie Düsseldorf under Karl Otto Götz and Gerhard Hoehme. During this period, he encountered artistic movements such as Dada and Fluxus, and together with Gerhard Richter and Konrad Fischer (formerly Konrad Lueg), he coined the term Capitalist Realism, conceived as a deliberate counter-position to the prevailing elitist art of the time. This new generation of artists—also referred to as “German Pop”—adopted elements of American Pop Art while distancing itself from the glorification of consumer culture. Polke’s oeuvre is marked by skepticism, irony, and an anarchic attitude toward artistic conventions. From 1977 to 1990, he himself taught at the Hamburg University of Fine Arts. In 1986, he was awarded the Golden Lion at the Venice Biennale. The Aesthetics of the Impersonal The offset lithograph Freundinnen II (Girlfriends II) from 1967 belongs to the artist’s earliest editions and is considered one of his most iconic motifs. Published by Galerie h in Hanover, the work was produced in an edition of only 25 copies, each rendered unique through individual hand-coloring. Polke based the composition on a newspaper advertisement, which he had previously incorporated into a 1965 painting and into the offset print Freundinnen I. He dramatically enlarged the source image and fragmented it through a grid of black and white dots reminiscent of newspaper printing—a technique that would become one of the defining characteristics of his oeuvre: “I like the technical means, the cliché-like character of the raster. (…) What appeals to me is its impersonal, neutral, and manufactured quality. (…) Understood in this way, I believe that the raster I use already presents a very specific perspective, a general situation and interpretation: namely, the structure of my time, the structure of a social order, a culture standardized, divided, categorized, grouped, and specialized.” — Sigmar Polke, quoted in Dieter Hülsmann, Kultur des Rasters. Ateliergespräch mit dem Maler Sigmar Polke, Rheinische Post, Düsseldorf, no. 108, May 10, 1966. The image depicts two young women in swimwear presenting themselves to the viewer without interacting with one another. Their poses appear deliberately unnatural and exaggeratedly staged. The woman on the left stands sideways, her head turned toward the viewer, slightly set back, her upper body arched backward in a pose of proud display. She wears a long-sleeved shirt, polka-dot bikini bottoms, and a headscarf subsequently hand-colored in red. The figure on the right steps closer into the foreground and thus becomes the focal point of the composition. Only her upper body is visible. Her left arm is bent casually, with the elbow leaning against a wall while her hand supports her head. She wears a polka-dot bikini top and a pillbox hat—a fashionable style of headwear in the 1960s, popularized by Jacqueline Kennedy Onassis. Both garments of this figure are hand-colored in blue and green. The deliberate hand-coloring accentuates selected pictorial elements and disrupts the monochromatic raster structure. Unlike Warhol’s portraits, for example, the work does not depict icons of popular culture; the identity of the women portrayed is ultimately irrelevant to Polke. Rather, the image communicates a zeitgeist conveyed through fashion and bodily pose—a spirit of the 1960s shaped by constructed notions of femininity and the emergence of a new leisure culture. In elevating a trivial, mass-mediated image motif to the status of a work of art, Polke demonstrates his ability to transform the everyday into a multilayered image charged with critical reflection. Sophie Ballermann Estimated shipping costs for this lot: The lot is unsuitable for parcel shipping. Transport only by shipping company after consultation following the auction. additional shipping insurance Shipping insurance up to total invoice amount of 25,000 Euros: max. 41.65 Euro over a total invoice amount of 25,000 Euros: 1.8 o/oo USA by individual arrangement after the auction. #Sigmar Polke #Capitalistic Realism #New Realism #Germany #Post-War Art #Print #Woman #1960s #Prints. In accordance with §26 UrhG (German Copyright Act), VAN HAM is obliged to pay a statutory resale royalty on the sale proceeds of all original works of fine art and photography whose authors have not been deceased for 70 years prior to the end of the calendar year of the sale. The buyer shall contribute 1.5% of the hammer price to this fee.
Art & Design from The Collection of Barbara Gladstone Sigmar Polke 1941 - 2010 Untitled signed and dated 70 (lower right) watercolor on paper 11 ⅜ by 8 ¾ in. 28.9 by 22.2 cm. Executed in 1970. We are grateful to Mr. Michael Trier, Cologne, for the information he has kindly provided.
Art & Design from The Collection of Barbara Gladstone Sigmar Polke 1941 - 2010 Untitled signed and dated 68 (lower right) pen, felt-tip pen and graphite on paper 11 ¾ by 8 ⅜ in. 29.8 by 21.3 cm. Executed in 1968. We are grateful to Mr. Michael Trier, Cologne, for the information he has kindly provided.
Signed and dated 'S. Polke 93' verso on fabric and stamped 'SIGMAR POLKE' (barely legible) on fabric and on stretcher in red. We would like to thank Michael Trier, Cologne, for helpful information. The patterned fabric, which serves as the painting ground in the work from 1993, represents a visual level which Polke alienates and transforms through his painterly interventions. In doing so, he creates a dynamic tension between the predetermined order of the fabric pattern and the organic, sometimes seemingly random structure of his lacquer and acrylic overlays. “Seeing things as they are always means seeing the things behind the things. They do not exist alone, they are composed of other things, recursively and ad infinitum.” (Britta Schmitz, Zweigeteilt, in: Sigmar Polke, Die Drei Lügen der Malerei, exhib.cat. Nationalgalerie im Hamburger Bahnhof, Berlin 1997, n.pag.). A central element in Polke's work is the deliberate use of grid dots, which dominate in this work. This technique refers to image production in mass media, in particular to the reproduction techniques of offset printing and photography, which Polke repeatedly reflects on ironically. “I like the technical means, the cliché character of the grid. It makes me think of duplication and reproduction, which is also closely related to copying. I like the impersonal, neutral and fabricated. For me, the grid is a system, a principle, a method, a structure. It dissects, disperses, organises and makes everything the same.” (Sigmar Polke, in: Alibis, Sigmar Polke 1963-2010, exhib.cat. The Museum of Modern Art, New York, Munich 2014, p. 59). Polke combines different pictorial levels and techniques that oscillate between abstraction and figuration. The irregular white lines and shapes that extend across the painting are reminiscent of geological structures or organic tissue, which engage in an exciting dialogue with the precise grid points. This superimposition of chaotic and controlled pictorial elements illustrates Polke's interest in the field of tension between order and chance, logic and chaos, clarity and blurriness.
1970. Offset. 34,5 x 22 cm. Unframed. Autographed and dated Sigmar Polke 1970, numbered 110/250. From Kölner Kunstmarkt 70. In original paper envelope - German painter and graphic artist. P. is one of the formative figures of West German post-war art. After training as a glass painter, he studied at the Düsseldorf Academy under Karl Otto Götz and G. Hoehme from 1961-67. Under the slogan of 'Capitalist Realism', P. founded an artists' group in 1963 with other artists, including Gerhard Richter. In 1977-91 P. was a professor at the Hochschule für Bildende Künste in Hamburg, after which he settled in Cologne. He was a particularly versatile and versatile artist. Thus, on the one hand, there are works as highly reflective commentaries on art history and the mechanisms of the art market, on the other hand, the major commission to design the church windows in Zurich's Grossmünster. Mus.: Paris (Centre Pompidou), Los Angeles (Getty Mus.), Munich (Pinakothek der Moderne), Berlin (Hamburger Bahnhof), Hamburg (Kunsthalle) a. others.
POLKE, SIGMAR (1941-2010) “Fernsehbild Eishockey-Rauwolfiaalkaloide” (Television Image Ice Hockey Rauwolfia Alkaloids) 1973 Offset print on Chromolux paper, hand-signed, stamped “griffelkunst” on the reverse, one of 516 copies for the Griffelkunst Association Hamburg, sheet, HxW: 62.2/45.5 cm. Slight signs of age. SHIPPING TO THE USA MUST BE ARRANGED BY THE BUYER.
SIGMAR POLKE (1941-2010). Untitled (zu Weihnachten). silkscreen, ink, photo collage, tape, metal wire, pastel, and debossing on paper19 ½ x 25 3/8 x 1 ½ in. (49.5 x 64.5 x 3.8 cm.).
Sigmar Polke (German, 1941-2010), Foundation 20 21, 2005, (4) complete sets: silver-foil lined box containing 32 reproductions of Polke works, an essay, and a promotional poster, with black rubber band fastener, each 12.75"h x 9.75"w x 1"d
The Saul and Ellyn Dennison Collection Sigmar Polke 1941 - 2010 Untitled signed with the artist's initials and dated 90 (on the reverse); signed and dated 90 four times (on the overlap) oil, resin and silver compounds on canvas 19 ⅝ by 15 ¾ in. 49.8 by 40 cm. Executed in 1990. We are grateful to Mr. Michael Trier, Cologne, for the information he has kindly provided.
Sigmar Polke (1941-2010) Druckfelher, 1986 Acrylic sur on printed and sewn fabric Signed and dated on the fabric on the back Signed and dated on the back on the stretcher 147 × 129 cm Provenance: - Cologne auction, Lempertz, 2 December 2005, lot 426 - Winward Associate Ltd - Galeria Marta Cervera, Madrid - European private collection Sigmar Polke (1941-2010) Druckfelher, 1986 Acrylique sur tissu imprimé et cousu Signé et daté sur le tissu au revers Signé et daté au dos sur le châssis 147 × 129 cm Provenance : - Vente Cologne, Lempertz, 2 décembre 2005, lot 426 - Winward Associate Ltd - Galeria Marta Cervera, Madrid - Collection particulière européenne
Ohne Titel. 1989. Farbserigrafie auf leichtem Karton. Am unteren Blattrand mit Bleistift signiert: S. Polke. Blattmaß: 98,5 x 69 cm. Zustand: Leichte Randmängel.
Schildkröte. 2002. Farbserigrafie auf Offset, auf leichtem Karton. Am unteren Blattrand mit Bleistift signiert, datiert und nummeriert: Sigmar Polke, 2002, 56/75. Blattmaß: 70 x 50 cm. Im Objektrahmen freigestellt und unter Glas gerahmt: 76 x 55,5 cm.
In der Oper (Entscheidung der Frage, ob den Schwämmen Bewusstsein zukommt). 1973. Offset auf Velours-Papier. Am unteren Bildrand mit Bleistift signiert: Polke. Blattmaß: 37 x 44 cm. Werkverzeichnis: Becker/von der Osten 31. Zustand: kleine Fehlstelle am linken Blattrand.
Aurora. 2000. Farboffset auf Karton. Unterhalb der Darstellung mit Bleistift signiert und datiert: Sigmar Polke, 2000. Rahmenausschnitt: 62,2 x 66,4 cm. Unter Glas gerahmt: 64 x 68,2 cm.
Wer hier nichts erkennen kann, muß selber pendeln. 1973. Offset auf Pergaminpapier. Am unteren Blattrand signiert: S. Polke. Blattmaß: 45,5 x 62,8 cm. Unter Passepartout montiert: 50 x 65 cm. WVZ.: Becker/von der Osten 30.
Polke, Sigmar 1941 Olesnica - 2010 Köln Ohne Titel (Notenschlüssel). Blumentopf. Zwei Offsetdrucke. Handsigniert. Exemplar: 87/120 bzw 78/120. Je 126 x 90 cm (mit Rahmen).
Entartete Kunst. 1995. Offset auf Hahnemühle-Büttenkarton. Aus dem Mappenwerk "erinnern 1945-1995." Unterhalb der Darstellung mit Bleistift signiert, datiert und nummeriert: Sigmar Polke, 1995, A.P. Blattmaß: 59,2 x 84 cm. Unter Glas gerahmt: 73,6 x 98,2 cm. Hrsg. von: Edition Staeck, Heidelberg. WVZ.: Becker/von der Osten 108.
SIGMAR POLKE (German, 1941-2010) The Third Estate (Der dritte Stand) 1995, screenprint in colors on paper numbered 10/60 lower left; signed and dated Sigmar Polke 95 lower right
Polke, Sigmar (1941–2010), signed in the centre, framed behind glass, sheet size 18 x 15.5 cm, frame size 34 x 24.5 cm / Polke, Sigmar (1941-2010), mittig signiert, hinter Glas gerahmt, Blattmaß 18 x 15,5 cm, Rahmenmaß 34 x 24,5 cm
Polke, Sigmar (1941-2010), colour lithograph, signed lower right, titled in the centre and numbered and dated 6/10 1971 on the left, framed behind glass, sheet size 35 x 48.5 cm, frame size 43 x 53 cm / Polke, Sigmar (1941-2010), Lithographie in Farbe, rechts unten signiert, mittig betitelt und links nummeriert sowie datiert 6/10 1971, hinter Glas gerahmt, Blattmaß 35 x 48,5 cm, Rahmenmaß 43 x 53 cm
Polke, Sigmar (1941–2010), colour silkscreen print, framed with a mat behind glass, signed and dated ‘95’ in the lower right-hand corner, numbered ‘18/60’ on the left, image size 45 x 67 cm, frame size 68.5 x 88.5 cm / Polke, Sigmar (1941-2010), Serigraphie in Farbe, in Passepartout hinter Glas gerahmt, rechts unten signiert und datiert 95, links nummeriert 18/60, Lichtmaß 45 x 67 cm, Rahmenmaß 68,5 x 88,5 cm
Polke, Sigmar (1941–2010), colour phototype, die-cut, mounted on half-cardboard with colour silkscreen, in a passe-partout, framed behind glass, signed lower right, sheet size 57 × 76 cm, frame size 80 × 100 cm / Polke, Sigmar (1941-2010), farbiger Lichtdruck, gestanzt, über Halbkarton mit Farbserigrafie, in Passepartout, hinter Glas gerahmt, rechts unten signiert, Blattmaß 57 x 76 cm, Rahmenmaß 80 x 100 cm
