Verso with dedication "I very much regret that our collaboration at the Angermuseum was so short. All the best for the future. Yours, Karl Römpler. Erfurt September 1964"

1964 Radierung, 8/20 signiert

Litho 1968 13/30 , signed

"Dream ballet", "Egg dancers" and "Maiden garland"

"Kopf", color lithograph, pencil signature, [19]64, copy: 2/100, sheet: 58.5 x 42 cm | "Gehäuse", color lithograph, pencil signature, [19]65, copy: 74/100, sheet: 59 x 42 cm

"Alfons Spandl kramt in der Vergangenheit", printing plate: 23.5 x 18.5 cm, sheet: 45 x 37.8 cm, Edition Griffelkunst-Vereinigung Hamburg e.V. No. 167 B2, verso somewhat soiled | 2x "Die unbelehrbare Mitwelt", printing plate: 39.5 x 29.5 cm, sheet: 59 x 47 cm, 1 sheet somewhat foxed | "Der idealistische Mechaniker. The bicycle bride has admitted everything.", 2 printing plates: total 29.5 x 15 cm, sheet: 43 x 28.7 cm, sheet minimally foxed | "Unerwartete Verhältnisse", copy: 39/100, printing plate: 21.3 x 24.5 cm, sheet: 50 x 37.5 cm | "Guten Tag meine Nacht", copy: 30/100, printing plate: 39.5 x 29.5 cm, sheet: 59.3 x 47 cm | "Meine Liebe zur Erde", printing plate: 23.5 x 18.5 cm, sheet: 45 x 37.8 cm, Edition Griffelkunst-Vereinigung Hamburg e.V. No. 167 B5, somewhat soiled on verso

Holzschnitt, 1965

Radierung "13. Selbstdruck", signiert

Holzstich, I/22/36, signiert

Bleistiftzeichnung auf dem Katalog-Vorsatz "Erste Biennale Berlin 1974", mit Widmung. Katalog mit 212 einfarbig illustrierten Seiten

Nummeriert: 40/55, bezeichnet. Verglaster geschwärzter Wechselrahmen

1991, Radierung, monogrammiert

1926, Farblithografie von zwei Steinen, signiert, datiert

Radierung? gerahmt, in Passepartout

"Dorf im Winter", proof, copy: 1/20 and "Stockfischhafen", copy: 84/100

Exhibition poster on the occasion of the exhibition "Dieter Krieg. Paintings and Drawings. Galerie Thomas. Munich [...] 1969"

"Strandgut", [19]64, printing plate: 21.3 x 28.4 cm, sheet: 38.5 x 53.5 cm | "Nächtlicher Hafen", [19]66, printing plate: 33.5 x 48.5 cm, sheet: 53.5 x 77 cm

On the occasion of the exhibition at the Tate Gallery London, 1982; in a suitably designed frame

Labeled: "The surface can be divided into different rhythms by variable bending of the punchings"

früher Holzschnitt [19]53 (achtung: kein zweiter abzug 78)

gelber anlässlich Fritz Winter Haus

ACC 1 Catalá Contemporani, Brossa-Miró-Tápies, Museu de Granollers 1977. Cartes per a la Teresa, D. Blanco-Editart, Genéve 1971-1991. 50 Gravats Recents, Galeria Maeght-Barcelona 1976-1977. Verglaste Metall-Wechselrahmen

Abstract composition, etching, pencil signature, [19]74, printing plate: 30.7 x 42 cm, sheet: 49.8 x 64.8 cm, crease marks at margins | motif for Griffelkunst poster, lithograph, watermark Griffelkunst-Vereinigung Hamburg e.V., pencil signature, [19]67, sheet: 63 x 49.3 cm, crease marks at margins

18/27 E/A

23/23 E/A 1973

aus der Zeitschrift Reflex

E.A nicht aus der Hand des Künstlers

Aquatinta

Reiner Noeres, Osmar Osten und Alfonso Hübi

Nummeriert: 62/95, Prägestempel: manus presse, Wasserzeichen Arches France

Mythological scene with Venus, Cupid and Chronos in a wild landscape

Good copy after the Italian original from the Renaissance, which was created in 1578 and can be seen today in the Palazzo Vecchio in Florence

Many horsemen in a dense crowd in front of a forest during the Battle of Lützen on 16.11.1632