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ANDY WARHOL 1928-1987 Campbell's Soup I: Consomme (Beef) Soup, 1968 From the portfolio of ten screenprints on paper 35 x 23 inches (88.9 x 58.4 cm) Edition: 250, 26 AP signed and lettered A - Z in ball-point pen on verso This edition: 70/250 Signed and lettered in ball-point pen on verso Printer: Salvatore Silkscreen Co., Inc., New York Publisher: Factory Additions, New York Catalogue RaisonnĂŠ: Feldman & Schellmann II.52

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ANDY WARHOL 1928-1987 Campbell's Soup I: Onion Soup, 1968 From the portfolio of ten screenprints on paper 35 x 23 inches (88.9 x 58.4 cm) Edition: 250, 26 AP signed and lettered A - Z in ball-point pen on verso This edition: 180/250 Signed and lettered in ball-point pen on verso Printer: Salvatore Silkscreen Co., Inc., New York Publisher: Factory Additions, New York Catalogue RaisonnĂŠ: Feldman & Schellmann II.47

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ANDY WARHOL 1928-1987 Campbell's Soup I: Tomato Soup, 1968 From the portfolio of ten screenprints on paper 35 x 23 inches (88.9 x 58.4 cm) Edition: 250, 26 AP signed and lettered A - Z in ball-point pen on verso This Edition: 90/250 Signed and lettered in ball-point pen Signed and lettered in ball-point pen on verso Printer: Salvatore Silkscreen Co., Inc., New York Publisher: Factory Additions, New York Catalogue RaisonnĂŠ: Feldman & Schellmann II.49

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ANDY WARHOL 1928-1987 Campbell's Soup I: Beef Soup, 1968 From the portfolio of ten screenprints on paper 35 x 23 inches (88.9 x 58.4 cm) Edition: 250, 26 AP signed and lettered A - Z in ball-point pen on verso This edition: 104/250 Signed and lettered in ball-point pen on verso Printer: Salvatore Silkscreen Co., Inc., New York Publisher: Factory Additions, New York Catalogue RaisonnĂŠ: Feldman & Schellmann II.49

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ANDY WARHOL (1928 – 1987) Moonwalk, 1987 Unique Screenprint on Lenox Museum Board 38 x 38 inches (96.5 x 96.5 cm) Edition: 160, 31 AP, 5 PP, 5 EP, 66 individual TP not in portfolios This edition: TP 43/66 Signed with a printed signature and numbered in pencil lower right The print is also numbered in pencil and signed in pencil on verso by the executor of The Estate of Andy Warhol, the publisher, and the printer on a stamped certificate of authenticity Printer: Rupert Jasen Smith, New York Publisher: Ronald Feldman Fine Arts, Inc., New York Catalogue Raisonné: Feldman & Schellmann IIB.404-405 Based on Andy Warhol’s composite of two NASA photographs taken by Neil Armstrong of Edwin (“Buzz”) Aldrin, Jr. walking on the moon for the first time in 1969 during the Apollo 11 mission. Posthumously stamped in black on verso, Certificate of Authenticity Moonwalk © Andy Warhol 1987 We the undersigned hereby certify this to be an original Andy Warhol work of art bearing a stamped signature of the artist Print #: Frederick Hughes Executor Andy Warhol Estate Rupert Jasen Smith Master Printer Ronald Fedlman Fine Arts, Inc. Publisher. Bears the printer’s chop mark and publisher’s chop mark. NOTES: Warhol’s Catalogue Raisonne catalogues works released in limited editions which are usually signed and numbered. Prints completed but unsigned at the time of Warhol’s death bear a stamped certificate of authenticity on the verso with a signature of the executor of the Estate of Andy Warhol, the publisher, and the printer. These include Wayne Gretzky (#99) trial proof edition prints (IIB.306), Frolunda Hockey Player trial proof edition prints (II.B 366), Beethoven (II.390-393), Hans Christian Andersen (II.394-401), and Moonwalk (II.404-405). The Shadow (II.269A), Red Lenin (II.403), and Camouflage (II.406-413) are only signed by the executor of The Estate of Andy Warhol. All are numbered. There are also signed or signed and dedicated prints outside of the edition.

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ANDY WARHOL 1928-1987 Moonwalk, 1987 Complete portfolio of two screenprints on Lenox Museum Board 38 x 38 inches (96.5 x 96.5 cm) Edition: 160, 31 AP, 5 PP, 5 EP, 66 TP not in portfolios This edition: 34/160 Signed with a printed signature and numbered in pencil lower right, also numbered in pencil and signed in pencil on verso by the executor of The Estate of Andy Warhol, the publisher, and the printer on a stamped certificate of authenticity Printer: Rupert Jasen Smith, New york Publisher: Ronald Feldman Fine Arts, Inc., New York Catalogue Raisonné: Feldman & Schellmann II.404-II.405 Based on Andy Warhol’s composite of two NASA photographs taken by Neil Armstrong of Edwin (“Buzz”) Aldrin, Jr. walking on the moon for the first time in 1969 during the Apollo 11 mission. Posthumously stamped in black on verso, Certificate of Authenticity Moonwalk © Andy Warhol 1987 We the undersigned hereby certify this to be an original Andy Warhol work of art bearing a stamped signature of the artist Print #: Frederick Hughes Executor Andy Warhol Estate Rupert Jasen Smith Master Printer Ronald Fedlman Fine Arts, Inc. Publisher. Bears the printer’s chop mark and publisher’s chop mark. NOTES: Warhol’s Catalogue Raisonne catalogues works released in limited editions which are usually signed and numbered. Prints completed but unsigned at the time of Warhol’s death bear a stamped certificate of authenticity on the verso with a signature of the executor of the Estate of Andy Warhol, the publisher, and the printer. These include Wayne Gretzky (#99) trial proof edition prints (IIB.306), Frolunda Hockey Player trial proof edition prints (II.B 366), Beethoven (II.390-393), Hans Christian Andersen (II.394-401), and Moonwalk (II.404-405). The Shadow (II.269A), Red Lenin (II.403), and Camouflage (II.406-413) are only signed by the executor of The Estate of Andy Warhol. All are numbered. There are also signed or signed and dedicated prints outside of the edition.

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ANDY WARHOL (1928 – 1987) Moonwalk, 1987 From the portfolio of two screenprints on Lenox Museum Board 38 x 38 inches (96.5 x 96.5 cm) Edition: 160, 31 AP, 5 PP, 5 EP, 66 individual TP not in portfolios Signed with a printed signature and numbered in pencil lower right, also numbered in pencil and signed in pencil on verso by the executor of The Estate of Andy Warhol, the publisher, and the printer on a stamped certificate of authenticity Printer: Rupert Jasen Smith, New York Publisher: Ronald Feldman Fine Arts, Inc., New York LITERATURE: Feldman & Schellmann II.405 NOTES: Based on Andy Warhol’s composite of two NASA photographs taken by Neil Armstrong of Edwin (“Buzz”) Aldrin, Jr. walking on the moon for the first time in 1969 during the Apollo 11 mission. Posthumously stamped in black on verso, Certificate of Authenticity Moonwalk © Andy Warhol 1987 We the undersigned hereby certify this to be an original Andy Warhol work of art bearing a stamped signature of the artist Print #: Frederick Hughes Executor Andy Warhol Estate Rupert Jasen Smith Master Printer Ronald Feldman Fine Arts, Inc. Publisher. Bears the printer’s chop mark and publisher’s chop mark. Warhol’s Catalogue Raisonne records works released in limited editions which are usually signed and numbered. Prints completed but unsigned at the time of Warhol’s death bear a stamped certificate of authenticity on the verso with a signature of the executor of the Estate of Andy Warhol, the publisher, and the printer. These include Wayne Gretzky (#99) trial proof edition prints (IIB.306), Frolunda Hockey Player trial proof edition prints (II.B 366), Beethoven (II.390-393), Hans Christian Andersen (II.394-401), and Moonwalk (II.404-405). The Shadow (II.269A), Red Lenin (II.403), and Camouflage (II.406-413) are only signed by the executor of The Estate of Andy Warhol. All are numbered. There are also signed or signed and dedicated prints outside of the edition.

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ANDY WARHOL (1928 – 1987) Moonwalk, 1987 From the portfolio of two screenprints on Lenox Museum Board 38 x 38 inches (96.5 x 96.5 cm) Edition: 160, 31 AP, 5 PP, 5 EP, 66 individual TP not in portfolios Signed with a printed signature and numbered in pencil lower right, also numbered in pencil and signed in pencil on verso by the executor of The Estate of Andy Warhol, the publisher, and the printer on a stamped certificate of authenticity Printer: Rupert Jasen Smith, New York Publisher: Ronald Feldman Fine Arts, Inc., New York LITERATURE: Feldman & Schellmann II.404 NOTES: Based on Andy Warhol’s composite of two NASA photographs taken by Neil Armstrong of Edwin (“Buzz”) Aldrin, Jr. walking on the moon for the first time in 1969 during the Apollo 11 mission. Posthumously stamped in black on verso, Certificate of Authenticity Moonwalk © Andy Warhol 1987 We the undersigned hereby certify this to be an original Andy Warhol work of art bearing a stamped signature of the artist Print #: Frederick Hughes Executor Andy Warhol Estate Rupert Jasen Smith Master Printer Ronald Feldman Fine Arts, Inc. Publisher. Bears the printer’s chop mark and publisher’s chop mark. Warhol’s Catalogue Raisonne records works released in limited editions which are usually signed and numbered. Prints completed but unsigned at the time of Warhol’s death bear a stamped certificate of authenticity on the verso with a signature of the executor of the Estate of Andy Warhol, the publisher, and the printer. These include Wayne Gretzky (#99) trial proof edition prints (IIB.306), Frolunda Hockey Player trial proof edition prints (II.B 366), Beethoven (II.390-393), Hans Christian Andersen (II.394-401), and Moonwalk (II.404-405). The Shadow (II.269A), Red Lenin (II.403), and Camouflage (II.406-413) are only signed by the executor of The Estate of Andy Warhol. All are numbered. There are also signed or signed and dedicated prints outside of the edition.

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ROBERT INDIANA b. 1928 The Book of Love, 1996 The complete set of 12 screen prints in colors (framed), on A.N.W. Crestwood Museum Edition paper, with full margins, with accompanying 12 poems, All signed, dated `96' and numbered 33/200 in pencil (there were also 50 artist's proofs), All poems signed and numbered in pencil, in original brown paper-covered portfolio. Sheet: 61 x 50.5 cm Image: 45 x 45 cm Publisher: American Image Editions, New York

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ANDY WARHOL 1928 - 1987 Alexander the Great 1982 From the portfolio of two screenprints on Lenox Museum Board, 39.5 x 39.5inches (100.3 x 100.3 cm). Edition: 25, 5 AP, 1 PP, signed and numbered in pencil lower right. This edition: 20/25 Printer: Rupert Jasen Smith, New York Publisher: Alexander Iolas, New York Feldman & Schellmann II.292

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HIROSHI SUGIMOTO b.1948 Chrysler Building, 1997 Gelatin-silver print (in artist's frame) Signed in pencil on artist's label, verso Edition: 5 120 x 180 cm

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HIROSHI SUGIMOTO b. 1948 World Trade Center, (Minoru Yamazaki) 1997 Gelatin-silver print (in artist's frame) Signed in pencil on the mount Number â&#x20AC;&#x2DC;006â&#x20AC;&#x2122; blindstamped in the margin Edition: 5/25 58.4 by 47.3 cm Provenance: Sonnabend Gallery, New York Literature: Hiroshi Sugimoto, p. 205)

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ANDY WARHOL 1928 - 1987 Four Marilyns (Reversal Series), 1979-1986 Acrylic and silkscreen on canvas Signed and dated 'Andy Warhol 79/86' on the reverse Authenticated by the Estate: A113.076 36 x 28 inches PROVENANCE: Galerie Bruno Bischofberger, Zurich L & M Arts, New York Jane Holzer, New York Andy Warhol’s art celebrated by popular culture and popular images throughout the world. By the late 1970s, his visual idiom was known throughout the world. The Warhol look had itself become part of popular culture, as recognisable as Coca-Cola. It was therefore only natural that Warhol should turn, at this point of his intensely successful career, to his own images as sources for his work. And of these, perhaps his Marilyns were the best known Warhol pictures. These works had gained him notoriety and had entered the cultural ether in a revolutionary and complete way that almost no art had managed before it. Rather than merely revisit his own older work, Warhol created a new visual idiom in order to reincarnate, to rebottle, his classic theme: the negative image. The ‘Reversal Series’ introduces an aesthetic that pulses with electricity. Warhol was a tireless innovator, and the negative images that he used in the Reversal Series showed his continuing willingness to experiment. Alongside the Reversals, we see works that show the artist to have been brimming with pioneering ideas, both in terms of content and of technique. Fusing both content and technique, Reversal Marilyns reveals the natural evolution of the thinking that lay behind Warhol’s Pop.

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ANDY WARHOL 1928 – 1987 Shoes, 1980 Synthetic polymer paint, silkscreen and diamond dust on canvas Stamped twice by the Estate of Andy Warhol and twice by the Andy Warhol Art Authentication Board, Inc., and numbered PA70033 on the overlap 90 x 70 inches (228.6 x 177.8 cm) PROVENANCE: The Estate of Andy Warhol, New York The Andy Warhol Foundation for the Visual Arts, Inc., New York Gagosian Gallery, New York Sotheby’s London: Contemporary Art Part I, 25 June 2003 [Lot 0042] Exhibited: New York, Gagosian Gallery, Diamond Dust Shoes, 1999, p. 15, illustrated in colour Andy Warhol’s art celebrated by popular culture and popular images throughout the world. By the late 1970s, his visual idiom was known throughout the world. The Warhol look had itself become part of popular culture, as recognisable as Coca-Cola. It was therefore only natural that Warhol should turn, at this point of his intensely successful career, to his own images as sources for his work. And of these, perhaps his Marilyns were the best known Warhol pictures. These works had gained him notoriety and had entered the cultural ether in a revolutionary and complete way that almost no art had managed before it. Rather than merely revisit his own older work, Warhol created a new visual idiom in order to reincarnate, to rebottle, his classic theme: the negative image. The ‘Reversal Series’ introduces an aesthetic that pulses with electricity. Warhol was a tireless innovator, and the negative images that he used in the Reversal Series showed his continuing willingness to experiment. Alongside the Reversals, we see works that show the artist to have been brimming with pioneering ideas, both in terms of content and of technique. Fusing both content and technique, Reversal Marilyns reveals the natural evolution of the thinking that lay behind Warhol’s Pop.

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ANDY WARHOL (1928 – 1987) Myths: Mickey Mouse 1981 From the portfolio of ten screenprints on Lenox Museum Board, 38 x 38 inches (96.5 x 96.5 cm). Edition: 200, 30 AP, 5 PP, 5 EP, signed and numbered in pencil, lower left. HC signed and numbered in pencil the same as above: Mickey Mouse HC 1/4 – 4/4. There are 30 TP signed and numbered in pencil lower left. All regular edition prints have diamond dust; most TP have diamond dust. (See Feldman & Schellmann IIB.258 – 267. Printer: Rupert Jasen Smith, New York Publisher: Ronald Feldman Fine Arts, New York LITERATURE: Feldman & Schellmann

II.265

NOTES: Stamped in black on verso, © Andy Warhol 1981 Publisher: Ronald Feldman Fine Arts, Inc. New York. Stamped in black on verso of Mickey Mouse, This interpretation created and copyrighted by Andy Warhol is derived from an original version of Mickey Mouse copyrighted by Walt Disney Productions, Inc. Bears the printer’s chop mark. Warhol made paintings of these subjects.

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ANDY WARHOL (1928 – 1987) Myths: Superman 1981 From the portfolio of ten screenprints on Lenox Museum Board, 38 x 38 inches (96.5 x 96.5 cm). Edition: 200, 30 AP, 5 PP, 5 EP, signed and numbered in pencil, lower right. HC signed and numbered in pencil the same as above: Superman HC 1 /12 – 12/12. There are 30 TP signed and numbered in pencil lower left. All regular edition prints have diamond dust; most TP have diamond dust. (See Feldman & Schellmann IIB.258 – 267.) Printer: Rupert Jasen Smith, New York Publisher: Ronald Feldman Fine Arts, New York LITERATURE: Feldman & Schellmann

II.260

NOTES: Stamped in black on verso, © Andy Warhol 1981 Publisher: Ronald Feldman Fine Arts, Inc. New York. Stamped in black on verso of Superman, © D.C. Comics, Inc. 1981 This interpretation created by Andy Warhol is derived from an original version of Superman copyrighted by D.C. Comics. Bears the printer’s chop mark. Warhol made paintings of these subjects.

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ANDY WARHOL (1928 – 1987) Myths: The Star 1981 From the portfolio of ten screenprints on Lenox Museum Board, 38 x 38 inches (96.5 x 96.5 cm). Edition: 200, 30 AP, 5 PP, 5 EP, signed and numbered in pencil on verso. HC signed and numbered in pencil the same as above: The Star, HC 1 /4 – 4 /4. There are 30 TP signed and numbered in pencil lower left. All regular edition prints have diamond dust; most TP have diamond dust. (See Feldman & Schellmann IIB.258 – 267.) Printer: Rupert Jasen Smith, New York Publisher: Ronald Feldman Fine Arts, New York LITERATURE: Feldman & Schellmann

II.258

NOTES: Photographic sources and credit: The Star, photograph of Greta Garbo as Mata Hari by Clarence Sinclair Bull Stamped in black on verso, © Andy Warhol 1981 Publisher: Ronald Feldman Fine Arts, Inc. New York. Bears the printer’s chop mark. Warhol made paintings of these subjects.

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ROY LICHTENSTEIN (1923-1997) Two Nudes 1994 Relief print on Rives BFK mold-made paper From the Nudes series Sheet: 48 1/16 x 41 3/16” (122.1 x 104.7) Image: 41⅝ x 35 1/16” (105.8 x 89.1) Inscription: Numbered, signed (rf Lichtenstein) and dated (’94) in pencil, lower right. Blind stamp, lower right: (Tyler Graphics Ltd, chop). Workshop number on verso in pencil, lower left (RL93-3103) Edition: 40; plus 12 AP, 1 RTP, 1 PPI, 1 PPII, 1 TGLimp. 1 A, 1 C

Publisher: Tyler Graphics Ltd, Mount Kisco, New York Printer: Tyler Graphics Ltd, Mount Kisco, New York LITERATURE: Cohen-Tyler (1994) Catalogue Raisonné Corlett 284 (Page 256)

Lichtenstein began working on collages for the Nudes series in his New York studio during the spring of 1993. Based on “love” and “girl” comic-book illustrations, not live models, these were the artist’s first images of the subject. Soon thereafter he explored the theme in his painting. The series, which consists of six images and three states, also contains iconographic references to others of his earlier works: the Mirrors, Imperfects, Waterlilies, and Interiors. Lichtenstein had often before used variable-sized dots in his images, but the dots in the Nudes series have a new characteristic, creating an undulation of light and space by flowing over several objects at a time, rather than being contained within the boundaries of a single object or outline. The dots function as both a two-dimensional pattern (overlay) and as a suggestion of three-dimensional space and form. Lichtenstein is quoted in a newspaper article in November 1994 as having said that the nude form itself is “a good excuse to contrast undulating volumetric form with rigid geometry.” This same contrast of undulation and rigidity can be seen in the dot patterns themselves, which cause the picture space seemingly to undulate forward and away from the picture plane, while at the same time each dot is a precise geometric circle.

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ROY LICHTENSTEIN (1923-1997) Two Nudes, State I 1994 Relief print on Rives BFK mold-made paper From the Nudes series Sheet: 48⅛ x 41⅛ (122.2 x 104.5) Image: 41 9/16 x 35 1/16 (105.6 x 89.1) Inscriptions: Inscribed (State I), numbered, signed (rf Lichtenstein), and dated (’94) in pencil, lower right. Blind stamp, lower right: (Tyler Graphics Ltd., chop). Workshop number on verso in pencil, lower left: (RL93 – 3103A) Edition: 10; plus 6 AP, 1 RTP, 1 PPI, 1 PPII, 1 TGLimp, 1 A Publisher: Tyler Graphics Ltd., Mount Kisco, New York Printer: Tyler Graphics Ltd., Mount Kisco, New York Comments: The three ultra blues, listed in the Runs section above with a number following the colour, areso designated because there is only a very slight difference between each – not enough to warrant classification with the terms light, medium, etc. See comments for cat. no. 290. LITERATURE: Cohen-Tyler (1994) Catalogue Raisonné Corlett 285 (Page 257) Lichtenstein began working on collages for the Nudes series in his New York studio during the spring of 1993. In December of that year he hand-cut the Rubylith stencils for the key (outline) relief plates for each image, and in February 1994 he made his first visit to the workshop for this project. Most of the plates used to print the series were assembled using an aluminium or in some cases Lexan – a rigid, thick plastic – base plate on which were mounted the irregularly shaped photopolymer plastic pieces that created the image areas. The key (outline) plates, with one exception, were made of an irregularly shaped magnesium plate mounted onto a base plate. (For one key plate, the irregularly shaped plate was made of plastic.) Based on “love” and “girl” comic-book illustrations, not live models, these were the artist’s first images of the subject. Soon thereafter he explored the theme in his painting. The series, which consists of six images and three states, also contains iconographic references to others of his earlier works: the Mirrors, Imperfects, Waterlilies, and Interiors. Lichtenstein had often before used variable-sized dots in his images, but the dots in the Nudes series have a new characteristic, creating an undulation of light and space by flowing over several objects at a time, rather than being contained within the boundaries of a single object or outline. The dots function as both a two-dimensional pattern (overlay) and as a suggestion of three-dimensional space and form. Lichtenstein is quoted in a newspaper article in November 1994 as having said that the nude form itself is “a good excuse to contrast undulating volumetric form with rigid geometry.” This same contrast of undulation and rigidity can be seen in the dot patterns themselves, which cause the picture space seemingly to undulate forward and away from the picture plane, while at the same time each dot is a precise geometric circle.

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ROY LICHTENSTEIN 1923-1997 Nude Reading 1994 Relief print on Rives mold-made paper From the Nudes series Sheet: 30⅝ x 36 5/16” (77.8 x 92.3) Image: 23 15/16 x 30⅜” (60.7 x 77.1) Inscriptions: Numbered, signed (rf Lichtenstein) and dated (’94) in pencil lower right. Blind stamp lower right: (Tyler Graphics Ltd chop). Workshop number on verso in pencil, lower left (RL94-3102) Edition: 60; plus 12 AP, 1 RTP, 1 PPL, 1 PPII, 1 PPIII, 1 TGLimp, 1 A, 1 C Publisher: Tyler Graphics Ltd, Mount Kisco, New York Printer: Tyler Graphics Ltd, Mount Kisco, New York LITERATURE: Cohen-Tyler (1994) Catalogue Raisonné Corlett 288 (Page 259) Lichtenstein began working on collages for the Nudes series in his New York studio during the spring of 1993. In December of that year he hand-cut the Rubylith stencils for the key (outline) relief plates for each image, and in February 1994 he made his first visit to the workshop for this project. Most of the plates used to print the series were assembled using an aluminium or in some cases Lexan – a rigid, thick plastic – base plate on which were mounted the irregularly shaped photopolymer plastic pieces that created the image areas. The key (outline) plates, with one exception, were made of an irregularly shaped magnesium plate mounted onto a base plate. (For one key plate, the irregularly shaped plate was made of plastic.) Based on “love” and “girl” comic-book illustrations, not live models, these were the artist’s first images of the subject. Soon thereafter he explored the theme in his painting. The series, which consists of six images and three states, also contains iconographic references to others of his earlier works: the Mirrors, Imperfects, Waterlilies, and Interiors. Lichtenstein had often before used variable-sized dots in his images, but the dots in the Nudes series have a new characteristic, creating an undulation of light and space by flowing over several objects at a time, rather than being contained within the boundaries of a single object or outline. The dots function as both a two-dimensional pattern (overlay) and as a suggestion of three-dimensional space and form. Lichtenstein is quoted in a newspaper article in November 1994 as having said that the nude form itself is “a good excuse to contrast undulating volumetric form with rigid geometry.” This same contrast of undulation and rigidity can be seen in the dot patterns themselves, which cause the picture space seemingly to undulate forward and away from the picture plane, while at the same time each dot is a precise geometric circle.

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ROY LICHTENSTEIN (1923 – 1997) Reflections on Girl, 1990 (From the Reflections series) Lithograph, screenprint, relief, and metalized PVC collage with embossing on mold-made Somerset paper. Sheet: 45 1/8 x 54 ¾ (114.6 x 139.1) Image: 38 11/16 x 48 11/16 (98.3 x 123.7) Inscription: Numbered, signed (rf Lichtenstein), and dated (’90) in pencil, lower right. Blind stamp, lower right: (Tyler Graphics Ltd. chop). Workshop number on verso in pencil, lower left: (RL89 – 984) Edition: 68; plus 16AP, 1 RTP, 1 PPI, 1 PPII, 1A, 1C. Publisher: Tyler Graphics Ltd., Mount Kisco, New York Printer: Tyler Graphics Ltd., Mount Kisco, New York Comments: The lithography was printed on a flatbed offset press. LITERATURE: Corlett 245 NOTES: Reflections Series (Corlett 239 – 245) In 1988 Lichtenstein began work on a group of Reflections painting in which the central image is partly obscured by reflective streaks as if behind glass of reflected in a mirror. By the end of 1990, Lichtenstein had completed a large body of work on the theme, often looking for inspiration to other artists’ work as well as revisiting past subject ins his own art. Work began in 1989 at Tyler Graphics Ltd on the seven prints of this series, which combine lithography, screenprint and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates. Two other prints on the theme were in progress or completed by Expressionist Painting (Catalogue Number 255) printed at Saff Tech Arts, Oxford, Maryland, and Reflections on Soda Fountain (Cat. No. 257), which was begun at Gemini G.E.L.. in October 1990 and published in the spring of 1991).

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ROY LICHTENSTEIN 1923 – 1997 Wallpaper with Blue Floor Interior, 1992, Screenprint on Paper Technologies, Inc., Waterleaf paper, in five panels Sheet & Image: 102 x 30 7/16 (259.1 x 77.3) (each panel); 102 x 150 (259.1 x 381) (overall) Inscriptions: Numbered. Signed (rf Lichtenstein), and dated (’92) in silver marker, bottom centre of fourth panel: (copyright symbol, publication date, artist’s initials, and Gemini G.E.L. chop) Edition: 300; plus 50 AP, 1 RTP, 1 PPII, 3 GEL, 1 C, 7 SP. Publisher: Gemini G.E.L., Printer: La Paloma, , under the supervision of Gemini G.E.L., . Comments: The Gemini workshop number for this project is RL90 – 5196, which is not inscribed on the work. The line drawing is the same as in Blue Floor, from the Interior series (Cat. No.254), but there are variations in the colour and slight variations in the wood grain of the floor. LITERATURE: Gemini Catalogue Raisonne No 1558 Corlett 260 (Page 238)

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ANDY WARHOL 1928 - 1987 Beethoven, 1987 From the portfolio of four screenprints on Lenox Museum Board 40 x 40 inches (101.6 x 101.6 cm) Edition: 60, 15 AP, 10 PP, 20 numbered in Roman numerals, 72 individual TP not in portfolios Signed and numbered in pencil on verso by the executor of The Estate of Andy Warhol, the publisher, and the printer on a stamped certificate of authenticity Printer: Rupert Jasen Smith, New York Publisher: Hermann Wunsche, Bonn, Germany LITERATURE: Feldman & Schellmann II.393 NOTES: Based on Karl Josef Stieler’s 1819 painting Beethoven, in the Beethoven-Haus, Bonn, Germany; the musical notes are from Beethoven’s 1801 Moonlight Sonata, Opus 27, no.2. Bears the printer’s chop mark. Warhol made paintings of this subject. Warhol’s Catalogue Raisonne, Feldman & Schellmann records works released in limited editions which are usually signed and numbered. Prints completed but unsigned at the time of Warhol’s death bear a stamped certificate of authenticity on the verso with a signature of the executor of the Estate of Andy Warhol, the publisher, and the printer. These include Wayne Gretzky (#99) trial proof edition prints (IIB.306), Frolunda Hockey Player trial proof edition prints (II.B 366), Beethoven (II.390-393), Hans Christian Andersen (II.394-401), and Moonwalk (II.404-405). The Shadow (II.269A), Red Lenin (II.403), and Camouflage (II.406-413) are only signed by the executor of The Estate of Andy Warhol. All are numbered. There are also signed or signed and dedicated prints outside of the edition.

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ANDY WARHOL 1928 – 1987

Grace Kelly, 1984 Screenprint on Lenox Museum Board 40 x 32 inches (101.6 x 81.3 cm) Edition: 225, 30 AP, 8 PP,2 HC, 50 numbered in Roman numerals, 20 TP This edition: 71/225 Signed and numbered in pencil lower left Printer: Rupert Jasen Smith, New York Publisher: Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pennsylvania, with the consent of the Princess Grace Foundation (USA), New York Catalogue Raisonnè: Feldman & Schellmann II.305 Andy Warhol was the leading exponent of the Pop Art movement in the U.S. in the 1960s. Following an early career as a commercial illustrator, Warhol achieved fame with his revolutionary series of silkscreened prints and paintings of familiar objects, such as Campbell's soup tins, and celebrities, such as Marilyn Monroe. Obsessed with popular culture, celebrity and advertising, Warhol created his slick, seemingly mass-produced images of everyday subject matter from his famed Factory studio in New York City. His use of mechanical methods of reproduction, notably the commercial technique of silk screening, wholly evolutionized art-making. Working as an artist, but also director and producer, Warhol produced a number of avantgarde films in addition to managing the experimental rock band The Velvet Underground and founding Interview magazine. A central figure in the New York art scene until his untimely death in 1987, Warhol was notably also a mentor to such artists as Keith Haring and Jean-Michel Basquiat. Grace Kelly was created in 1984 with the consent of the Princess Grace Foundation, USA, based on a film still from the 1951 film Fourteen Hours. Stamped in black on verso, © Andy Warhol 1984 Institute of Contemporary Art, University of Pennsylvania with the consent of the Princess Grace Foundation, U.S.A.

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ANDY WARHOL (1928 – 1987) Mick Jagger 1975 From the portfolio of ten screenprints on Arches Aquarelle (Rough) paper, 43 and 1Ž2 x 29 inches (110.5 x 73.7 cm). Edition: 250, 50 AP, 3 PP, signed in pencil lower right and numbered in pencil lower left; some signed in felt pen. Most of the prints are also signed in black, green or red felt pen by Mick Jagger. Printer: Alexander Heinrici, New York Publisher: Seabird Editions, London, England LITERATURE: Feldman & Schellmann

II.143

NOTES: Based on photographs by Andy Warhol. Stamped in black on verso, © Seabird Editions. Bears the papermaker’s chop mark and watermark. Warhol made paintings of these subjects.

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ANDY WARHOL (1928 – 1987) Muhammad Ali, 1978 Portfolio of four screenprints on Strathmore Bristol paper 40 x 30 inches (101.6 x 76.2 cm) Edition: 150, 10 Ap, 1 PP Signed and numbered in felt pen lower right, except II.179 - lower left Printer: Rupert Jasen Smith, New York Publisher: Andy Warhol Enterprises, Inc., New York LITERATURE: Feldman & Schellmann II.179-182 NOTES: Based on photographs by Andy Warhol. Stamped in black on verso, © Andy Warhol Enterprises, Inc. 1978. Bears the printer’s chop mark and papermaker’s watermark. Warhol made paintings of these subjects. In 1977, Andy Warhol received a commission from the art collector and sports enthusiast, Richard Weisman to create a sports figures, among them Chris Evert, Pele, Dorothy Hamill, Jack Nicklaus, Kareem Abdul Jabaar. Muhammad Ali, 1978 was the first published edition portfolio depicting a sports figure, inspired by this commission. By the time Warhol created Muhammad Ali, he was himself enough of a celebrity that, rather than rely on the found images that had been his source material earlier in his career, he was able to photograph the boxer in person. Executed in 1978, Warhol's picture of Muhammad Ali shows the boxer at the height of his fame. At that point he was - for the third time - the World Boxing Association Heavyweight Champion. After more than a decade of professional bouts, he remained able to stun his opponents with his agility, winning fight after fight. Warhol has chosen to portray this giant of boxing, this sporting hero, in a combative pose; the raised fists are the tools of his trade, the attributes, his only necessary paraphernalia - they are the raw materials with which the boxer made his name and reputation. Muhammad Ali is presented here as a Pop icon, a god of the modern age, a contemporary hero.

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ANDY WARHOL (1928 – 1987) Red Lenin, 1987 Screenprint on Arches 88 paper, 39 3/8 x 29½ inches (100 x 74.9 cm). Edition: 120, 24 AP, 6 PP, 10 HC numbered in pencil and signed in pencil on verso by the executor of The Estate of Andy Warhol on a stamped certificate of authenticity. There are 46 TP (II.402 and II.403 signed and numbered in pencil lower left. See IIB.402, IIB403, p.210.) Printer: Rupert Jasen Smith, New York Publisher: Andy Warhol, New York LITERATURE: Feldman & Schellmann II.403 NOTES: Based on a photograph by Philipp Schönborn. Posthumously stamped in black on verso, Certificate of Authenticity I the undersigned hereby certify this to be an original work of art by Andy Warhol completed by him © Andy Warhol 1987 Title Year Medium Description Dimensions Inventory # Frederick W. Hughes Executor Estate of Andy Warhol. The inventory number, noted above on the stamp, indicates the edition number. Bears the printer’s chop mark. Warhol made paintings of this subject. Warhol’s Catalogue Raisonne records works released in limited editions which are usually signed and numbered. Prints completed but unsigned at the time of Warhol’s death bear a stamped certificate of authenticity on the verso with a signature of the executor of the Estate of Andy Warhol, the publisher, and the printer. These include Wayne Gretzky (#99) trial proof edition prints (IIB.306), Frolunda Hockey Player trial proof edition prints (II.B 366), Beethoven (II.390-393), Hans Christian Andersen (II.394-401), and Moonwalk (II.404-405). The Shadow (II.269A), Red Lenin (II.403), and Camouflage (II.406-413) are only signed by the executor of The Estate of Andy Warhol. All are numbered. There are also signed or signed and dedicated prints outside of the edition.

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ANDY WARHOL (1928 – 1987) Lenin, 1987 Screenprint on Arches 88 paper 39 3/8 x 29½ inches (100 x 74.9 cm). Edition: 120, 24 AP, 6 PP, 10 HC, signed and numbered in pencil lower left. There are 46 TP for II.402 and II.403 signed and numbered in pencil lower left. (See IIB.402, IIB.403, p. 210.) Printer: Rupert Jasen Smith, New York Publisher: Galerie Bernd Klüser, Munich, Germany LITERATURE: Feldman & Schellmann II.402 NOTES: Based on a photograph by Philipp Schönborn. There are at least two trial proofs in the edition on brown paper. Stamped in black on verso, © Andy Warhol 1987. Bears the printer’s chop mark. Warhol made paintings of this subject.

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ANDY WARHOL (1928 – 1987) Shadows II 1979 From the portfolio of six screenprints with diamond dust on Arches 88 paper, 43 x 30 and ½ inches (109.2 x 77.5 cm). Edition: 10, 2 AP, signed and numbered in pencil on verso. Portfolios are assembled in mixed variations. Each print is unique. Printer: Rupert Jasen Smith, New York Publisher: Andy Warhol, New York LITERATURE: Feldman & Schellmann

II.210

NOTES: Based on photographs by Ronnie Cutrone Stamped in black on verso, © Andy Warhol 1979 Marked in pencil on verso, Shadows II. Bears the printer’s chop mark.

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ANDY WARHOL (1928 – 1987) After the Party, 1979 Screenprint on Arches 88 paper 21 1/2 x 30 1/2 inches (54.6 x 77.5 cm) Edition: 1,000, 30 AP, 3 PP, 10 HC Numbered in pencil lower right Included with the Gold Edition of the 1979 book Exposures by Andy Warhol published by Grosset and Dunlap, Inc., New York Printer: Rupert Jasen Smith, New York Publisher: Grosset and Dunlap, Inc., New York LITERATURE: Feldman & Schellmann II.183 NOTES: Based on a photograph by Andy Warhol. The image is printed on a half-sheet of Arches 88 paper with one edge machine-trimmed and the other edge deckled. The rainbow roll drawing line varies from print to print. Bears the printer’s chop mark.

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ANDY WARHOL 1928 – 1987 Ladies and Gentlemen 1975 Portfolio of ten screenprints on Arches paper, 43 and 1Ž2 x 28 and 1Ž2 inches (110.5 x 72.4 cm); Image, approximately 33 and 1Ž2 x 26 and 1Ž2 inches (85.1 x 67.3 cm). Edition: 250, 25 AP, 1 PP, signed, numbered and dated ’75 in pencil on verso. This Edition: each signed in pencil verso, dated, inscribed '@ A W E' (apart from F. & S. II.132) and numbered 93/125 verso Printer: Alexander Heinrici, New York Publisher: Luciano Anselmino, Milan, Italy Feldman & Schellmann

II.128-137

In 1975, art dealer Luciano Anselmino for whom Warhol had previously completed an edition of his Man Ray portrait commissioned Warhol to produce a series of drag queens. Under Warhol’s instruction, Bob Colacello went to The Gilded Grape, a club frequented by trans people and drag performers of colour, to recruit several willing participants. These individuals were offered $50 an hour in exchange for their portrait. Never introduced to Warhol by name, the sitters arrived at the Factory and had their polaroid taken. Describing these images in a review of the paintings in October 1975, Pier Paolo Pasolini wrote: ‘…It is to be noticed that the photographs always seemed to be obsessively the same, always from the front or form a three-quarter view, never in profile: always “posed”, never from life, always in the manner of the film “Stars”, never in the manner of everyday passing shots.’ In their poses, these sitters were placed on equal footing with the cultural icons Warhol had previously depicted. Similarities in pose, collaged colour and androgyny can be drawn between these sitters and the Mick Jagger series produced the same year. Both of these new series of prints are exhibited at Max Protect gallery in December 1975 along with ‘Gerald Ford Political Portraits, Flowers and other Warhol favourites. The sitters here included: Alphanso Panell, Broadway, Wilhelmina Ross, Monique, Marsha P. Johnson, Iris, Easha McCleary, and Vicki Peters.

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