Editions & Works on Paper New York / 23 & 24 July 2020
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Auction Schedule 2020 Spring New York 2 July
20th Century & Contemporary Art
13 July
Photographs
23 July
Editions
22–28 July
Jewels Online
29 July
Design
28 Aug–8 Sept
Phillips x Artsy: Summer School
| postponed from 14 & 15 May, New York and 24 June, London
| postponed from 2 April
| postponed from 21 April | postponed from 10 June
| postponed from 2 June | postponed from 25 June–8 July
London 15 July
New Now
22–30 July
Heatwave Online
10 Sept
Editions
25 Sept
Photographs
| postponed from 8 April | postponed from 15–24 July
| postponed from 10 June | postponed from 15 May
Geneva 27 & 28 June
The Geneva Watch Auction: ELEVEN
| postponed from 9–10 May
Hong Kong 8 & 9 July
20th Century & Contemporary Art
8 July
Jewels & Jadeite
10 July
The Hong Kong Watch Auction X
For additional information and updates, please visit us at phillips.com.
| postponed from 31 May & 1 June
| postponed from 1 June | postponed from 2 June
Editions
& Works on Paper New York / 23 & 24 July 2020
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Our team is comprised of experts from auction houses, museums, galleries and other leading arts institutions. In addition to auctions in our New York, London, Hong Kong and Geneva salerooms, Phillips holds private sales and curated selling exhibitions across all of our categories around the world. Our range of services includes appraisals for private clients, advisors, attorneys and other key fduciaries, and our dedicated Trusts, Estates & Valuations team provides complimentary reviews of collections.
BLEED
Evening Editions July 23, 4pm / lots 1–109
Day Editions July 24, 10am / lots 110–245
1. Pablo Picasso
1881-1973
Jeunesse (Youth), 1950 Lithograph, on Arches paper, with full margins. Mourlot’s second (fnal) state, signed and numbered 26/50 in pencil (there were also fve artist’s proofs), framed. I. 19 1/2 x 25 1/2 in. (49.5 x 64.8 cm) S. 22 1/2 x 30 in. (57.2 x 76.2 cm)
Estimate $25,000-35,000 Provenance Unidentifed collector’s stamp ‘dA’ in red oval on reverse (Fritz Lugt 4136) Literature Fernand Mourlot 188 Georges Bloch 675 Felix Reuße 545 see Christophe Czwiklitzer 6
Picasso was asked to make an image for a poster for a FrancoItalian Friendship Day in Nice. The frst version was drawn with litho crayon, brush and gouache and transferred to a zinc plate. During the transferring, the gouache was thinned too much and unable to ink properly. Picasso then reworked the image on the zinc with additional litho crayon and ink creating this much stronger composition. This image was used for the fnal poster which was a smaller format and photographically printed.
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2. Pablo Picasso
1881-1973
Quatre femmes nues et tête sculptée (Four Nude Women and a Carved Head), plate 82, from La Suite Vollard, 1934 Etching, on Montval laid paper watermark Vollard, with full margins. Signed in pencil, from the edition of 260 (there was also an edition of 50 with wide margins), numbered ‘347’ in the Henri Petiet inventory system lower lef corner, published by Ambroise Vollard, Paris, 1939, framed. I. 8 3/4 x 12 3/8 in. (22.2 x 31.4 cm) S. 13 1/4 x 17 5/8 in. (33.7 x 44.8 cm)
Estimate $25,000-35,000
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Provenance Ambroise Vollard, Paris Henri M. Petiet, Paris (from the estate above) Heirs of Henri M. Petiet, Paris Marc Rosen Fine Art, New York Private Collection, New England, acquired from the above in 2011 Literature Georges Bloch 219 Brigitte Baer 424
“The so-called Vollard Suite, one hundred etchings made from 1930 to 1937, are the most psychologically and formally complex of all Picasso’s treatments of antiquity, augmented by his 1930 illustrations for Ovid’s Metamorphoses and those of 1934 for Aristophanes’s Lysistrata. All these prints have a freshness and invention lacking in most of Picasso’s earlier images of this general type, as if his deep classicizing impulses had been stifed by his involvement with circles that failed to appreciate the full irony of his dalliance with academic art. Once the artist was back in the
company of the avant-garde, the pall that hung over his renditions of the Greco-Roman ideal evaporated, and what remained was a wondrously discursive evocation of a Golden Age of heroes and goddesses, satyrs and Minotaurs, bacchanalia and sexual paradise. Yet the Vollard Suite and related drawings and prints were as antiavant-garde as their immediate antecedents. As always, Picasso brushed aside notions of stylistic progress in favor of stylistic simultaneity at its most pronounced.” Robert Storr, Modern Art despite Modernism, Museum of Modern Art, New York, 2000, p. 48
3. Pablo Picasso
1881-1973
Minotaure caressant une femme (Minotaur Caressing a Woman), plate 84 from La Suite Vollard, 1933 Etching, on Montval paper watermark Vollard, with full margins. Signed in pencil, from the edition of 260 (there was also an edition of 50 with wider margins), numbered ‘354’ in the Henri Petiet inventory system lower lef corner, published by Ambroise Vollard, Paris, 1939, framed. I. 11 3/4 x 14 1/2 in. (29.8 x 36.8 cm) S. 13 1/2 x 17 5/8 in. (34.3 x 44.8 cm)
Estimate $10,000-15,000 Literature Georges Bloch 191 Brigitte Baer 350
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4. Pablo Picasso
1881-1973
1881-1973
Le Repos du sculpteur, IV (The Sculptor’s Rest IV), plate 65, from La Suite Vollard, 1933
Modèle accoudé sur un tableau (Model Leaning on a Table), plate 43, from La Suite Vollard, 1933
Etching, on Montval laid paper watermark Vollard, with full margins. Signed in pencil, from the edition of 260 (there was also an edition of 50 with wider margins), published by Ambroise Vollard, Paris, 1939, framed. I. 7 1/2 x 10 1/2 in. (19.1 x 26.7 cm) S. 13 3/8 x 17 5/8 in. (34 x 44.8 cm)
Etching, on Montval laid paper watermark Ambroise Vollard, with full margins. Signed in pencil, from the edition of 50 with wider margins (there was also an edition of 260 with smaller margins), published by Ambroise Vollard, Paris, 1939, framed. I. 10 3/8 x 7 1/2 in. (26.4 x 19.1 cm) S. 22 x 16 in. (55.9 x 40.6 cm)
Estimate $7,000-9,000 scan for more on lot 5
5. Pablo Picasso
Provenance Private Collection, California Literature Georges Bloch 174 Brigitte Baer 327
Estimate $6,000-8,000 Literature Georges Bloch 151 Brigitte Baer 303
6. Pablo Picasso
1881-1973
Garçon et dormeuse à la chandelle (Boy and Sleeping Woman by Candlelight), plate 26 from La Suite Vollard, 1934
Estimate $15,000-25,000 Literature Georges Bloch 226 Brigitte Baer 440
Etching and aquatint, on Montval paper watermark Picasso, with full margins. Signed in pencil, from the edition of 260 (there was also an edition of 50 with wider margins), evidence of the number ‘385’ in the Henri Petiet inventory system lower lef corner, published by Ambroise Vollard, Paris, 1939, framed. I. 9 1/4 x 11 5/8 in. (23.5 x 29.5 cm) S. 13 x 17 1/2 in. (33 x 44.5 cm)
Depicted amid a peaceful slumber, one hand entangled in hair while the other rests upon the pillow above her head, is Picasso’s muse, Marie-Thérèse. The orientation of Marie-Thérèse’s posture, as well as the sofness of her form relates to portrayals of Venus. “An antique prototype” as is described by Sebastian Goeppert and Herma C. Goeppert-Frank in Minotauromachy by Pablo Picasso, Marie-Thérèse’s positioning exudes the same voluptuous sensuality that emanates from similarly posed depictions of Venus. The candle emits a sof light over this intimate scene, and the seated boy (as well as the viewer) are invited to gaze over and contemplate Marie-Thérèse’s sleeping form.
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7. Pablo Picasso
1881-1973
Le Picasso de poche (The Pocket Picasso), 1964 The complete set of one signed engraving, folded (as issued), title page, text in English by Don Duhamel in a separate booklet, and bound book of reproductions of Picasso’s original illustrations, on wove paper, all contained in a wove paper envelope with color lithograph and original plastic slipcase with black screenprinted title and artist’s name. The engraving signed and numbered ‘LV/C’ in blue ink (there were also some hors commerce), published by Daniel Jacomet, Paris. engraving S. 3 3/4 x 5 5/8 in. (9.5 x 14.3 cm) slipcase 5 5/8 x 4 1/2 x 3/4 in. (14.3 x 11.4 x 1.9 cm) Estimate $2,000-4,000 Literature Georges Bloch 1177 Brigitte Baer 1177 Patrick Cramer books 129
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8.
Property from an Important Midwest Collection
8. Pablo Picasso
1881-1973
Profl et femme nue; and Sculpture (Profle and Naked Woman; and Sculpture), from Six Contes Fantasques (Six Whimsical Tales), 1953 Two drypoints, on Arches laid paper, the full sheets. From the unsigned edition of 100 on Arches (the total edition was 250), published in Six Contes Fantasques by Maurice Toesca, published by Flammarion, Paris, both framed. both S. 12 3/4 x 9 3/4 in. (32.4 x 24.8 cm) Estimate $1,800-2,500 Literature Georges Bloch 363, 368 Brigitte Baer 691, 694 see Patrick Cramer books 66
9. Pablo Picasso
1881-1973
L’Escalier de Flore (Flora’s staircase), Illustration I; frontispiece, 1958 Drypoint in colors from celluloid, on the lef side of a folded sheet of Auvergne Gourbeyre laid paper, the full sheet (with a vertical fold at center sheet, as issued). A proof aside from the total edition of 40 (there was also an edition of four in Roman numerals), published by P.A.B., Alès, France, unframed. folded S. 13 1/2 x 9 in. (34.3 x 22.9 cm) unfolded S. 13 3/8 x 17 3/4 in. (34 x 45.1 cm) Estimate $4,000-6,000 Literature Georges Bloch 865 Brigitte Baer 1020 see Patrick Cramer books 94
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9.
Property from a Midwestern Estate
10. Pablo Picasso
1881-1973
La Femme au collier (Woman with a Necklace), 1947 Lithograph, on Arches paper, with margins. Signed and numbered 28/50 in pencil (there were also fve artist’s proofs), framed. I. 23 x 16 in. (58.4 x 40.6 cm) S. 26 x 19 3/4 in. (40.6 x 50.2 cm)
Estimate $18,000-25,000
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Literature Fernand Mourlot 84 Georges Bloch 438 Felix Reuße 201
Pablo Picasso, Femme au collier jaune, 1946 oil on canvas, Private Collection © 2020 Estate of Pablo Picasso/Artists Rights Society (ARS), New York
Pablo Picasso Portrait de jeune flle, d’après Cranach le Jeune from 1958 is Picasso’s frst and most important linoleum cut print. He and the young printer, Hidalgo Arnéra, created this elaborate portrait of a 16th century girl four centuries afer the painting by German Renaissance painter, Lucas Cranach the Younger. Picasso found the painting’s fat, abstract two-dimensionality, the striking ornamental detail of the sitter’s clothing, and the eminently expressive shape in the shadow and curtain patterns the perfect source to transform an image by one of his artistic heroes. The layering of these fve elaborately cut blocks combines to create his most painterly of prints, transforming the old master’s portrait into a modern mastery of rhythm and meaning. Afer fnishing this print, Picasso found the traditional, multi-block process too labor-intensive and complicated, so he invented a ‘reduction’ printing method using just one piece of linoleum per print for future linocut editions, making this work all the more iconic. As explained in Cubism and its Legacy: The Gif of Gustav and Elly Kahnweiler: Although he had already made one linocut in 1939 (‘Pour la Tchécoslovaquie. Hommage à un pays martyr’), Picasso only started exploring this technique in earnest in 1953-4, with….Hidalgo Arnéra in Vallauris. At this time, he began to experiment with making linocuts in diferent colors on separate blocks, which he would then superimpose on the same sheet of paper. He frst attempted ‘Portrait of a Woman afer Cranach the Younger’ in two colours on 3 July 1958, but the following day returned to the same subject more ambitiously. On 4 July he made fve diferent linoleum blocks – sepia, yellow, red, blue and black – to be superimposed on each other in that order. He then proceeded to print diferent proofs, in the process making two diferent states of the colour blocks and three of the black in order to arrive at the fnal image. (Giorgia Bottinelli, Pablo Picasso, in Jennifer Mundy, Cubism and its Legacy: The Gif of Gustav and Elly Kahnweiler, Tate Modern, London, 2004, pp. 88-90, 100-1.) Portrait de jeune flle, has been written about extensively and exhibited in institutions and galleries worldwide. This print is included in many surveys on Picasso and portraiture chiefy because Picasso was able to synthesize critical elements so successfully: image, history, theory, complexity, scale and distinguish it with his unique dose of independent vitality. Picasso’s dealer Daniel-Henry Kahnweiler has explained the genesis of this work:
Portrait of a Young Woman, After Cranach the Younger, 1958 ‘One of Picasso’s notable characteristics was his need to transform existing works of art, to compose “variations on a theme”, as it were. His point of departure was ofen simply a reproduction in a book; or even a postcard sent by myself, such as ‘Cranach the Younger’s Portrait of a Woman’ [1564] in Vienna [collection Kunsthistorisches Museum], which became his frst linocut in color. Among other things, what struck him in particular about this painting was the way the woman’s shadow “rhymes” with the upper part of her body…. This need to transform was certainly an important characteristic of Picasso’s genius.’ (Daniel-Henry Kahnweiler, Introduction: A Free Man, in Roland Penrose and John Golding, Picasso 1881/1973, London, 1973, pp. 8-9.) Picasso was a passionate student and proponent of European painting, wanting to reinvigorate these traditions more than any other 20th century artist. His love of replaying the roles of earlier artists reached its height in the 1950s when he devoted himself in painting, drawing, sculpture and printmaking to reworking masterpieces. Cranach the Elder was second only to Rembrandt of the Northern masters who inspired Picasso. The rich territory that he was to mine intensively in his ‘old master period’ follows Cranach with El Greco and Courbet in 1950 and continues with Cranach the Younger and Van Gogh as well as Goya, Poussin, David and Degas….Picasso is taking on the artists who for him were still alive, and who he said he felt were ‘all standing behind me watching me at work’. At once reverential and competitive, Picasso’s relationships with his ‘collaborators’ became a means of appropriating and fusing the disparate elements of their great themes, in order to rewrite them in his own visual language. These homages afrm Picasso’s roots in the classical tradition in which imitation and originality are recognized as reciprocal parts of each other, and situate him frmly within the lineage of great artists. (Elizabeth Cowling, Picasso: Challenging the Past, National Portrait Gallery, London 2009, p.13.) Portrait de jeune flle, d’après Cranach le Jeune is the tour de force of Picasso’s print oeuvre. The print’s inventiveness both in form and medium are indicative of Picasso’s pursuit and ability to uncover something new. While it is a nod to one of his artistic idols, the image he created is imbued with a timelessness and an undeniable freshness.
Brigitte Baer, Picasso Peintre-graveur: Catalogue raisonné de l’oeuvre gravé et des monotypes, 1946-1958, vol. 4, individual linoleum block designs with associated color in printing order:
Red
Bistre
Yellow
Blue
Black
Property from a Private Collection, Beverly Hills
11. Pablo Picasso
1881-1973
Portrait de jeune flle, d’après Cranach le jeune (Portrait of a Young Woman, Afer Cranach the Younger), 1958 Linocut from fve blocks in colors, on Arches paper, with full margins. Signed in blue crayon and numbered 6/50 in pencil (there were also approximately 15 artist’s proofs), published by Galerie Louise Leiris, Paris, the surface printing with much texture and original condition, framed. I. 25 1/2 x 21 in. (64.8 x 53.3 cm) S. 30 x 22 1/2 in. (76.2 x 57.2 cm) Estimate $300,000-500,000
Provenance Galerie Michael, Beverly Hills
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Literature Georges Bloch 859 Brigette Baer 1053 Dore Ashton, Picasso on Art: A Selection of Views, London, 1972 Sir Roland Penrose and John Golding, Picasso 1881/1973, London, 1973 André Malraux, Picasso’s Mask, 1976, p. 118 Danièle Giraudy and Danièle Bourgois, Picasso Linograveur, Musée Picasso, Antibes, 1988-89 Jennifer Mundy, Cubism and its Legacy, Tate Modern, London, 2004, pp. 88-90, 100-1 Patrick Elliott, Picasso on Paper, National Gallery of Scotland, Edinburgh, 2007, no. 77 Christoper Riopelle and Anne Robbins, Picasso: Challenging the Past, National Gallery, London, 2009, no. 37 (partial list)
“I have a horror of copying myself. But when I am shown a portfolio of old drawings, for instance, I have no qualms about taking anything I want from them.” Pablo Picasso
Lucas Cranach the Younger, Female Portrait, 1564 oil on panel, © Kunsthistorisches Museum, Vienna
12. Salvador Dalí
1904-1989
Les Caprices de Goya de Dali (Dali’s ‘Caprichos’ by Goya): 10 plates, 1977 Ten heliogravures with extensive handcoloring, made from Goya’s print series (circa 1799 edition) reworked and altered with drypoint and unique coloring, before Dali’s titles and plate numbers were engraved in the plates, on Rives BFK paper, with full margins. All signed and
annotated ‘Premier Etat-Couleur’ (frst colored state) in pencil (all hand-colored proofs before the edition of 200 and 20 artist’s proofs), two with additional proofng notations in pencil, including a copy note from Denise Rigal (Atelier Rigal) dated ‘18.07.15’ describing how the series was printed and these examples were colored by Dalí, the edition published by Berggruen/Editions Graphiques Internationales, Paris, all unframed. all I. 9 5/8 x 8 1/8 in. (24.4 x 20.6 cm) all S. 17 1/2 x 12 1/4 in. (44.5 x 31.1 cm)
Estimate $20,000-30,000 Provenance Private Collection, France Literature Ralf Michler and Lutz W. Löpsinger 871, 877-879, 882, 888, 891, 902, 913, and 920
In this large-scale project, Dalí reinterpreted Goya’s famous series by introducing his own surrealist elements and satirical interpretation to the issues Goya presented in his etchings: vices, abuses of power and the relationship between men and women. For the published edition, the reworked plates were then re-titled by Dalí below the image with repartee to Goya’s titles. See online for titles.
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13. Joan Miró
1893-1983
La Femme des sables (The Woman of the Sands), 1959 Etching and aquatint in colors with carborundum, on Arches paper, the full sheet. Signed and annotated ‘HC’ in pencil (an hors commerce, the edition was 75), published by Maeght, Paris, framed. S. 41 1/2 x 26 1/4 in. (105.4 x 66.7 cm) Estimate $15,000-25,000 Provenance Private Collection, California Literature Jacques Dupin 500 scan for more on this lot
14. Joan Miró
1893-1983
Le Pitre rose (The Pink Clown), 1974 Etching and aquatint in colors, on wove paper watermark Maeght, with full margins. Signed and numbered 42/50 in pencil (there were also some artist’s proofs), published by Maeght, Paris, framed. I. 45 3/8 x 29 1/4 in. (115.3 x 74.3 cm) S. 54 x 37 3/4 in. (137.2 x 95.9 cm) Estimate $25,000-35,000 Literature Jacques Dupin 653
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15. Joan Miró
1893-1983
La Femme Angora (The Angora Woman), 1969 Etching and aquatint in colors with carborundum, on Arches paper, the full sheet. Signed and annotated ‘e.a.’ in pencil (an artist’s proof, the edition was 75), published by Maeght, Paris, framed. S. 41 x 27 1/4 in. (104.1 x 69.2 cm) Estimate $12,000-16,000 Provenance Private Collection, California Literature Jacques Dupin 499
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16. Joan Miró
1893-1983
Les Deux amis (The Two Friends), 1969 Etching and aquatint in colors with carborundum, on Mandeure rag paper watermark Maeght, with full margins. Signed and numbered 11/75 in pencil (there were also some hors commerce), published by Maeght, Paris, framed. I. 28 1/4 x 42 in. (71.8 x 106.7 cm) S. 37 5/8 x 55 1/8 in. (95.6 x 140 cm)
Estimate $12,000-16,000 Literature Jacques Dupin 493
Property from an American Collection
17. Wassily Kandinsky
1866-1944
Kleine Welten (Little Worlds), 1922 The set of 12 prints, including four lithographs in colors, two woodcuts in colors and two in black, and four drypoints, on various wove papers, most with full margins, contained in an original green half-leather folio with yellow paper sides with the cover vignette on the front and the title and artist’s name in gilt on the spine. All signed in pencil, from the total edition of 230, published by Propyläen Verlag, Berlin, printed at the Staatliches Bauhaus, Weimar, all unframed. all I. various sizes all S. lithos and woodcuts approximately 14 x 11 in. (35.6 x 27.9 cm) all S. etchings approximately 12 x 10 1/2 in. (30.5 x 26.7 cm)
Estimate $100,000-150,000 Literature Hans Konrad Roethel 164-175
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Full of geometric precision, Wassily Kandinsky’s Kleine Welten (Little Worlds) is a portfolio comprised of twelve prints divided evenly into drypoints, woodcuts, and lithographs. With an emphasis on craf, the prints were made shortly afer Kandinsky began teaching at the infuential Bauhaus school in Weimar, Germany. In the portfolio, each printing technique employed was chosen by Kandinsky specifcally for its unique qualities. Kandinsky preferred drypoint over other methods of intaglio printing because of its “haste” and “incisive character.” He liked woodcut because of the simple forms and rich textures it could efciently produce. And fnally, he enjoyed lithography, a ‘modern medium’ that allowed for a quick and smooth process, eliminating strenuous efort. In this portfolio, each print’s self-contained composition brings to a mind a ‘little world’ bursting with cosmic energy, by way of foating geometrical shapes, dissolving checkerboards, and wavy lines. The prints radiate in rhythmic confgurations, rich in texture and mark-making. Kleine Welten (Little Worlds) captures the potential Kandinsky saw for a coming together of traditional printmaking techniques into one portfolio, all exploring the same subject matter through varied tools.
Introduced in the 19th century, the German term Gesamtkunstwerk or ‘total work of art’, expressed the need for a synthesis within the arts, the creation of a more comprehensive work. Kandinsky saw this ‘combined art’ as benefcial to the spirit, “every man who steeps himself in the spiritual possibilities of this [total work of art] is a valuable helper in the building of the spiritual pyramid which will someday reach to heaven,” said Kandinsky. He believed that the only way to create works that would be truly monumental was by considering the total work. In Kandinsky’s oeuvre of printmaking, Kleine Welten (Little Worlds) is monumental and is an incarnation of the spiritual. “Kandinsky grew to perfection as naturally as a fruit develops and ripens. Anyone not resisting nature will become beauty and spirit. In time and space, those divine mirrors, his work is aglow with spiritual reality. Kandinsky loved life, he was intoxicated with the riches of earth and sky....Things blossom, sparkle, ripple in his paintings and poems. They speak of old blood and young stones.” Jean Arp, Hans Arp, Stone Formed by the Human Hand, 1948, p. 242
18. Louis Marcoussis
1883-1941
Cithare et Coquillage (Still Life: Guitar and Seashell), 1922 Etching and aquatint, on Arches paper, the seventh (fnal) state, with full margins. Signed and numbered 10/20 in pencil, framed. I. 19 1/2 x 27 in. (49.5 x 68.6 cm) S. 24 3/4 x 35 1/4 in. (62.9 x 89.5 cm) Estimate $6,000-8,000 Literature Solange Milet 44
“The drawing is extraordinarily complex, using edge as line,” wrote Jane Lee on Louis Marcoussis’ etching and aquatint Cithare et Coquillage in Print Quarterly vol. IX, March 1992. “The whole object is made of nothing more substantial than the distinct luminosity of various planes,” she continues, “it might dissolve at any moment into a seductive play of transparency, were it not bound by the knot of the sound-hole and loosely confned by the fne net of drawing thrown over its surface.” An important artist of the Cubist circle, Cithare et Coquillage remains Marcoussis’ most signifcant print. Printed in a small edition of 20, this etching and aquatint elegantly makes use of line, paper, and ink: richly defning surface and creating depth.
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19. After Georges Braque 1882-1963 L’Écho (The Echo), 1960 Lithograph in colors, on Arches paper, with margins. Signed and numbered 159/300 in pencil, published by Maeght, Paris (with their blindstamp), framed. I. 19 3/4 x 24 5/8 in. (50.2 x 62.5 cm) S. 24 x 30 5/8 in. (61 x 77.8 cm) Estimate $2,500-3,500 Literature Maeght 1041
Based on the painting of the same title and completed between 1949-1956 for an exhibition at Galerie Maeght, this image is in Braque’s studio in Varengeville on the Normandy coast. ‘I take years to fnish them [paintings], but I look at them every day’ Braque to Dora Vallier.
Property from an Important Midwest Collection
20. Henri Matisse
1869-1954
Nymphe, 1925 Lithograph, on wove paper, with full margins. Signed and annotated ‘bon à tirer’ in ink (slightly faded) (the good-toprint proof, the edition was 10, there were also 5 proofs), framed. I. 11 x 20 1/2 in. (27.9 x 52.1 cm) S. 18 x 22 in. (45.7 x 55.9 cm)
Estimate $8,000-12,000 Literature Claude Duthuit 458
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Property from an Important Midwest Collection
21. Jean Dubufet
1901-1985
Afairements, 1964 Lithograph in colors, on Arches paper, with full margins. Signed, dated and numbered 43/50 in pencil (there were also 13 artist’s proofs in Roman numerals), framed. I. 21 5/8 x 15 7/8 in. (54.9 x 40.3 cm) S. 26 x 19 3/4 in. (66 x 50.2 cm) Estimate $4,000-6,000 Literature Sophie Webel 992
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22. M.C. Escher
1898-1972
Regelmatige Vlakverdeling (Regular Division of the Plane), 1958 The complete set of six wood engravings in red, on wove paper, with full margins (loose as issued), with the accompanying book including seven wood engravings (one on the frontispiece, bound as issued) and colophon, all contained within paper-covered boards with the artist’s bird design in red, with green clothspine. The prints signed in the plates, an unnumbered set aside from the edition of 175, published by De Roos Foundation, Utrecht, Holland, the loose prints framed. I. 9 1/2 x 7 1/8 in. (24.1 x 18.1 cm) S. 13 x 9 1/2 in. (33 x 24.1 cm)
Estimate $9,000-12,000 Literature Flip H. Bool 368, 416-421
23. M.C. Escher
1898-1972
Ascending and Descending, 1960 Lithograph, on wove paper, with full margins. Signed and numbered ‘No. 86/108 III’ in pencil, unframed. I. 13 x 11 1/2 in. (33 x 29.2 cm) S. 18 3/4 x 15 1/2 in. (47.6 x 39.4 cm) Estimate $15,000-25,000 Literature Flip H. Bool 435
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24. Lynn Chadwick, R.A.
Estimate $12,000-18,000
1914-2003 Maquette VII Sitting Woman, 1986 Bronze with patina. Stamped ‘C39S’, dated ‘1986’ and numbered 1/9 on one side of the base. 7 1/2 x 5 1/2 x 8 3/4 in. (19.1 x 14 x 22.2 cm)
Literature Dennis Farr and Éva Chadwick C39
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25. Lynn Chadwick, R.A.
Estimate $7,000-10,000
1914-2003 Miniature Figure III, 1986 Bronze with a patina. Stamped ‘C’ (in a triangle), ‘C41S’ and numbered 2/30 on the underside. 3 3/4 x 3 1/2 x 2 3/4 in. (9.5 x 8.9 x 7 cm)
“I think that the idea in my mind was to go from the structure, the pure bones of things, to get into something with a skin, and become a solid thing … I felt that sculpture was, really, a solid thing, volume, not just a skeleton, not transparent that you could see through…” Lynn Chadwick
Literature Dennis Farr and Éva Chadwick C41
26. Francis Bacon
1909-1992
Seated fgure (afer, Study for a Portrait 1981), 1983 Etching and aquatint in colors, on Arches paper, with full margins. Signed and annotated ‘HC’ in pencil (an hors commerce, there were 99 in Roman numerals, there were also 99 on Guarro paper in Arabic numerals and 15 artist’s proofs for each paper), published by Ediciones Polígrafa, Barcelona, framed.
I. 28 3/4 x 21 3/8 in. (73 x 54.3 cm) S. 39 x 27 7/8 in. (99.1 x 70.8 cm) Estimate $10,000-15,000 Literature Bruno Sabatier 5 Alexandre Tacou 15
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Property from the Edwin C. Cohen Family Collection scan for more on this lot
27. Lucian Freud
1922-2011
The Painter’s Mother (fnal version), 1982 Etching, on wove paper, with full margins. Signed with initials and numbered ‘AP II/X’ in pencil (an artist’s proof, the edition was 25), published by James Kirkman, London, and Anthony d’Ofay, London, originally issued with deluxe edition (100 copies) of Lawrence Gowing’s book, Lucien Freud, framed.
I. 7 x 6 in. (17.8 x 15.2 cm) S. 11 5/8 x 9 1/2 in. (29.5 x 24.1 cm) Estimate $8,000-12,000 Literature Craig Hartley 20 Starr Figura 22
28. Lucian Freud
1922-2011
A Conversation, 1998 Etching, on Somerset Textured paper, with full margins. Signed with initials and numbered 8/30 in pencil (there were also 12 artist’s proofs), published by Matthew Marks Gallery, New York, unframed. I. 8 x 10 in. (20.3 x 25.4 cm) S. 13 x 15 in. (33 x 38.1 cm)
Estimate $6,000-9,000 Literature Craig Hartley 57 Yale 44
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Property from the Edwin C. Cohen Family Collection scan for more on this lot
29. Lucian Freud
1922-2011
Afer Chardin, 2000 Etching, on Somerset Textured paper, with full margins. Signed with initials and numbered 26/46 in pencil (there were also 12 artist’s proofs), published by Matthew Marks Gallery, New York, unframed. I. 23 3/8 x 28 7/8 in. (59.4 x 73.3 cm) S. 30 x 37 7/8 in. (76.2 x 96.2 cm)
Estimate $8,000-12,000 Literature Starr Figura 101
Property from a California Estate Sold to Beneft Major Universities
30. David Hockney
b. 1937
Potted Daffodils, 1980 Lithograph, on cream Rives BFK paper, the full sheet. Signed, dated and numbered 79/98 in pencil (there were also 18 artist’s proofs in Roman numerals), published by Tyler Graphics Ltd., Bedford, New York, framed. S. 44 x 30 in. (111.8 x 76.2 cm) Estimate $10,000-15,000 Literature Tyler Graphics 259 Museum of Contemporary Art Tokyo 237
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31. David Hockney
b. 1937
Twelve Fifeen, 1991 Lithograph in colors, on Rives BFK paper, the full sheet. Signed, dated and numbered 2/50 in pencil (there were also 19 artist’s proofs), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), framed. S. 44 1/4 x 57 in. (112.4 x 144.8 cm)
Estimate $10,000-15,000 Literature Museum of Contemporary Art Tokyo 327
32. Walton Ford
b. 1960
Benjamin’s Emblem, 2000 Etching with aquatint and drypoint in colors, on Somerset Satin paper, with full margins. Signed, dated and numbered 37/50 in pencil (there were also 12 artist’s proofs), published by Blue Heron Press, New York, framed. I. 35 7/8 x 23 7/8 in. (91.1 x 60.6 cm) S. 44 1/8 x 30 5/8 in. (112.1 x 77.8 cm) Estimate $12,000-18,000
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33. Walton Ford
b. 1960
Compromised, 2003 Etching with aquatint and drypoint in colors, on Somerset Satin paper, with full margins. Signed, dated and numbered 37/50 in pencil (there were also 12 artist’s proofs), published by Blue Heron Press, New York, framed. I. 35 7/8 x 23 7/8 in. (91.1 x 60.6 cm) S. 44 1/8 x 30 7/8 in. (112.1 x 78.4 cm) Estimate $12,000-18,000
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34. Walton Ford
b. 1960
Tale of Johnny Nutkin, 2001 Etching with aquatint and drypoint in colors, on Somerset Satin paper, with full margins. Signed, dated and numbered 37/50 in pencil (there were also 12 artist’s proofs), published by Blue Heron Press, New York, framed. I. 35 7/8 x 23 3/4 in. (91.1 x 60.3 cm) S. 44 x 30 3/4 in. (111.8 x 78.1 cm) Estimate $8,000-12,000
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35. Walton Ford
b. 1960
Visitation, 2004 Etching with aquatint and drypoint in colors, on Somerset Satin paper, with full margins. Signed, dated and numbered 37/50 in pencil (there were also 12 artist’s proofs), published by Blue Heron Press, New York, framed. I. 35 7/8 x 23 7/8 in. (91.1 x 60.6 cm) S. 44 x 30 7/8 in. (111.8 x 78.4 cm) Estimate $8,000-12,000
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36. Robert Rauschenberg 1925-2008 Bellini V, 1989 Etching in colors, on Arches paper, the full sheet. Signed, dated and numbered 6/50 in pencil (there were also 9 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed. S. 59 x 38 1/4 in. (149.9 x 97.2 cm) Estimate $8,000-12,000
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37. Robert Rauschenberg 1925-2008 Soviet/American Array I, 1988-99 Monumental etching in colors with collage, on Saunders and Oriental rice paper, the full sheet. Signed, dated and numbered 19/55 in pencil (there were also 11 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed. S. 88 1/4 x 53 in. (224.2 x 134.6 cm) Estimate $12,000-18,000
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38. Robert Rauschenberg 1925-2008 Sling-Shots Lit #2, 1985 Monumental lightbox with lithograph in colors with screenprint, and assemblage with a sailcloth, Mylar, a fuorescent light fxture, aluminum, a moveable window shade system, and Plexiglas bars. Incised with signature, date and numbered 9/25 on an aluminum plaque afxed to the lef side (there were also 7 artist’s proofs), published by Gemini G.E.L., Los Angeles. 84 1/2 x 51 x 12 3/8 in. (214.6 x 129.5 x 31.4 cm) Estimate $12,000-18,000 Literature Gemini G.E.L. 1170
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39. Robert Rauschenberg 1925-2008 Sling-Shots Lit #4, 1985 Monumental lightbox with lithograph in colors with screenprint, and assemblage with a sailcloth, Mylar, a fuorescent light fxture, aluminum, a moveable window shade system, and Plexiglas bars. Incised with signature, date and numbered 6/25 on an aluminum plaque afxed to the lef side (there were also 7 artist’s proofs), published by Gemini G.E.L., Los Angeles. 85 x 39 x 12 1/2 in. (215.9 x 99.1 x 31.8 cm) Estimate $12,000-18,000 Literature Gemini G.E.L. 1173
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40. Robert Rauschenberg 1925-2008 Sling-Shots Lit #6 (Black State), 1985 Monumental lightbox with lithograph in colors with screenprint, and assemblage with a sailcloth, Mylar, a fuorescent light fxture, aluminum, a moveable window shade system, and Plexiglas bars. Incised with signature, date and numbered 15/25 on an aluminum plaque afxed to the lef side (there were also 7 artist’s proofs), published by Gemini G.E.L., Los Angeles. 84 1/2 x 56 1/2 x 12 1/2 in. (214.6 x 143.5 x 31.8 cm) Estimate $12,000-18,000 Literature Gemini G.E.L. 1175
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41. Robert Rauschenberg
Estimate $20,000-30,000
1925-2008 Tibetan Garden Song, 1986 Cello, chrome-plated wash tub, glycerine, Chinese scrollmaker’s brush, and mirrored Plexiglas. Signed, dated and numbered 17/25 in beige paint on the right side (only 20 from the edition were completed, there were also 10 artist’s proofs), published by Graphicstudio, Tampa, Florida. diameter 43 x 18 1/4 in. (109.2 x 46.4 cm)
Literature Ruth Fine and Mary Lee Corlett 78
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Property from an Important Midwest Collection
42. Marcel Duchamp
1887-1968
Rotoreliefs (Optical Disks), 1935/1965 The complete set of twelve ofset lithographs in colors, on six doublesided round card discs, all contained in the original round, black, plastic and foam folio, to be viewed as they rotate at 33 1/3 revolutions per minute on the velvet-covered wallmounted turntable designed by Duchamp. The disc titled Lampe initialed in blue ink, additionally incised with signature, dated `1965’ and numbered 146/150 on an accompanying brass plaque afxed to the reverse of the turntable, published by Edition Galerie Schwarz, Milan. turntable 14 3/4 x 14 3/4 x 4 3/4 in. (37.5 x 37.5 x 12.1 cm)
Estimate $12,000-18,000 Literature Arturo Schwarz 441 d
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43. Olafur Eliasson
b. 1967
Eye see eye, 2005 Mirrored backboard with mounted lamp and copper, with accompanying custom crate. Signed, dated and numbered 2 of 20 in black ink on the accompanying Certicfcate of Authenticity (there were also 6 artist’s proofs), published by Independent Curators International, New York. 22 x 22 x 13 in. (55.9 x 55.9 x 33 cm) Estimate $30,000-50,000
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44. Richard Serra
b. 1938
Between the Torus and the Sphere II; and Between the Torus and the Sphere IV, 2006 Two etchings, on heavy wove paper, the full sheets. Both signed, dated and numbered 35/45 in pencil, published by Gemini G.E.L., Los Angeles (with their blindstamp), both framed. both S. 39 1/2 x 39 1/2 in. (100.3 x 100.3 cm) Estimate $8,000-12,000
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45. Michael Joo
b. 1966
7 Sins, 2016 Seven silver nitrate screenprints on Somerset White paper, the full sheets, with the original white cardboard portfolio. Signed, dated and numbered from the edition of 8 variants, published by the LeRoy Neiman Center for Print Studies at Columbia University, New York, all framed. S. 45 1/2 x 35 in. (115.6 x 88.9 cm) Estimate $10,000-15,000
Including: 0.1790696 CALORIES; 0.0316602 CALORIES; 0.0342333 CALORIES; 0.1988933 CALORIES; 0.0353213 CALORIES; 0.0632007 CALORIES; and 0.0605655 CALORIES scan for more on this lot
By screenprinting epoxy ink onto paper and then treating it with a mix of silvering chemicals, it was discovered that the result was a lasting silvered image. Because of the variety of ways the chemistry responded to the surface, the project developed into a small, variable edition of 8. Each image from 7 Sins incorporates a diferent number of calories, which corresponds with an activity and the energy units required to complete it. -LeRoy Neiman Center for Print Studies
46. Cy Twombly
1928-2011
Five Greek Poets and a Philosopher, 1978 The complete set of seven lithographs (six in colors) with embossment, on Richard de Bas mould-made paper, the full sheet and with full margins, with the accompanying original blue cloth-covered portfolio with printed title. All signed with initials and numbered 28/40 in pencil on the reverse (there were also 9 artist’s proofs), published by Propyläen Verlag, Berlin, all framed. all I. 10 x 13 in. (25.4 x 33 cm) all S. 25 1/2 x 19 5/8 in. (64.8 x 49.8 cm) Estimate $30,000-50,000 Literature Heiner Bastian 67-73
Including: Homer; Sappho; Pindar; Callimachus; Theocritus; Plato; and Title Print
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47. Blinky Palermo
1943-1977
Happier than the Morning Sun ‘to Stevie Wonder’, 1975 Plywood multiple and four granolithographs in red, on wove paper, with full margins and the full sheet. One signed, aside from the edition of 20, published by Heiner Friedrich, Cologne, the prints framed. prints S. 22 7/8 x 31 7/8 in. (58.1 x 81 cm) plywood triangle 22 x 9 3/4 in. (55.9 x 24.8 cm) Estimate $40,000-60,000 Provenance Christie’s New York, Prints & Multipes, October 26, 2011, lot 322 Private American Collection Literature Fred Jahn 36
Characterized as the “James Dean of German Art” by Deborah Wye, in Prints: Masterworks from the Museum of Modern Art, Blinky Palermo’s cool demeanor and untimely death have long created an elusive fgure. Growing up in Germany, Palermo was mesmerized by American culture, taking the name ‘Blinky Palermo’ from an American mobster. In title Palermo’s Happier than the Morning Sun to Stevie Wonder, notably recalls the artist’s fascination with popular American culture. Made afer the artist moved to New York in 1973, the four grano-lithographs and plywood multiple that comprise the present lot remind of Palermo’s ferce dedication to abstraction. Created a year afer his 1974 mixed media work of the same name, these prints and multiple celebrate two constants in Palermo’s work, the triangle and wood.
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Property from an Important Midwest Collection
48. Gerhard Richter
49. Gerhard Richter
b. 1932
b. 1932
Eis 2 (Ice 2), 2003
Mao, 1968
Screenprint in colors, on heavy rag paper, with full margins. Signed, dated and numbered ‘P.P. 8/9’ in pencil (a printer’s proof, the edition was 108, there were also 18 artist’s proofs), published by Lincoln Center List Poster and Print Program, New York, framed. I. 40 x 32 in. (101.6 x 81.3 cm) S. 43 7/8 x 35 1/8 in. (111.4 x 89.2 cm)
Collotype in black-purple, on white lightweight card, the full sheet. Signed, dated and numbered 17/22 in pencil, published by Galerie H. Hanover, framed. S. 33 x 23 3/8 in. (83.8 x 59.4 cm)
Estimate $30,000-50,000 Literature Hubertus Butin 123 Charles Riley p. 197
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Estimate $12,000-18,000 Literature Hubertus Butin 13
50. Sigmar Polke
1941-2010
Sauberes Auto - gute Laune (Clean Car Good Mood), 2002 Screenprint in colors on unique fabric variant, stretched over a wood stretcher, backed with lightweight canvas. Signed, dated and numbered 33/66 in black marker (there were also some artist’s proofs) published by Mike Karstens Graphics, Münster (with their inkstamp on the reverse of the stretcher bars), framed. 47 1/4 x 35 1/8 x 7/8 in. (120 x 89.2 x 2.2 cm) Estimate $15,000-25,000
51. William Kentridge
b. 1955
Telephone Lady, 2000 Linocut, on Japanese Kozo paper, with full margins. Signed and numbered 11/25 in pencil (there was also an edition of 9 on canvas), published by David Krut, Johannesburg, framed. I. 80 7/8 x 39 3/8 in. (205.4 x 100 cm) S. 86 7/8 x 47 in. (220.7 x 119.4 cm) Estimate $15,000-25,000 Literature David Krut, p. 97
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52. Various Artists The MOCA portfolio; and Afer Chardin (Small Plate), 2000 The complete set of six prints plus one additional Lucien Freud print, including one mezzotint, one embossing, and fve etchings (one with lithograph, two with aquatint), on various wove papers (two with Chine collé), with full margins and the full sheet, with title page and justifcation, all contained in the original red linencovered portfolio. All signed, three dated and all numbered 45/80 in pencil, (there were also various artist’s proofs for all), co-published by the Museum of Contemporary Art, Los Angeles and Lapis Press, Culver City, California. all I. various sizes fve S. 30 x 22 in. (76.2 x 55.9 cm) one S. 23 x 18 1/4 in. (58.4 x 46.4 cm) Estimate $25,000-35,000 Literature Samantha Rippner p. 54 (Celmins) Silke von Berswordt-Wallrabe 134 (Serra)
Including: Lucien Freud, Afer Chardin (Small Plate); Vija Celmins, Untitled (Web 1); Ann Hamilton, Written; Brice Marden, L.A. Muses; Martin Puryear, Untitled; Ed Ruscha, Pico, Flower, Figueroa; and Richard Serra, MOCA print The MOCA Portfolio with prints by Vija Celmins, Ann Hamilton, Brice Marden, Martin Puryear, Ed Ruscha, and Richard Serra was originally intended to include an etching by Lucien Freud, however the portfolio, published in 2000, was ahead of Freud’s timeline for the edition. MOCA later gifed the etching to collectors in appreciation.
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53. Ellsworth Kelly
1923-2015
Colored Paper Image XV (Dark Gray and Blue), from Colored Paper Images series, 1976 Colored and pressed paper pulp, on white HMP handmade paper, with full margins. Signed and numbered 22/23 in pencil (there were also 8 artist’s proofs), published by Tyler Graphics Ltd., Bedford, New York (with their and the artist’s blindstamps), framed. I. 29 1/4 x 29 1/4 in. (74.3 x 74.3 cm) S. 32 x 31 in. (81.3 x 78.7 cm)
Estimate $10,000-15,000 Literature Richard Axsom 155 Tyler Graphics 311
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54. Dan Walsh
b. 1960
Untitled (set of nine woodcuts), 2007 Nine woodcuts in colors, on Torinoko paper, with full margins. All signed, dated, numbered ‘PP 2/3’, and titled in pencil (printer’s proofs, the edition was 18), published by Pace Editions, Inc., New York, all unframed. all I. 21 1/2 x 47 3/8 in. (54.6 x 120.3 cm) all S. 23 x 49 in. (58.4 x 124.5 cm) Estimate $10,000-15,000
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55. Various Artists Marginalia: Hommage to Shimizu, 1981 The complete set of three lithographs (the Christo with collage), one screenprint and one etching with aquatint in colors, on laid and wove papers, with full margins and the full sheet, with title page and justifcation, all contained in the original blue cloth-covered portfolio and cardboard slipcase. All signed and numbered 52/100, two dated in pencil (there were also 10 artist’s proofs), published by Marginilia Publication Group, Tokyo. all I. various sizes all S. 22 1/4 x 18 in. (56.5 x 45.7 cm)
Estimate $30,000-40,000 Literature Connie Lembark L 235 (Francis) Richard Axsom and David Platzker 176 (Oldenburg) Universal Limited Art Editions 204 (Johns) Jörg Schellmann 105 (Christo)
Including: Sam Francis, Untitled; Jean Tinguely, Untitled; Claes Oldenburg, Sketch for a Sculpture in the Form of a Steel Tack; Jasper Johns, Cicada; and Christo, Pink Store Front, Project
Property from a California Estate Sold to Beneft Major Universities
56. Richard Diebenkorn
1922-1993
Indigo Horizontal, 1985 Etching with aquatint and drypoint in colors, on Somerset paper, with full margins. Signed with initials, dated and numbered 30/50 in pencil (there were also 10 artist’s proofs), published by Crown Point Press, San Francisco (with their blindstamp), framed. I. 23 1/2 x 35 3/4 in. (59.7 x 90.8 cm) S. 35 5/8 x 48 3/4 in. (90.5 x 123.8 cm) Estimate $40,000-60,000
Richard Diebenkorn treated printmaking as an extension of his celebrated painting career, ofen working on these mediums in tandem. Printmaking allowed Diebenkorn to challenge himself and to push the boundaries of his abstractions, inspiring him to convey the fat quality of geometric shapes on a compressed, two-dimensional surface. Beginning with monotype, Diebenkorn later experimented with other techniques such as etching, which he used for Indigo Horizon. Indigo Horizon combines two of Diebenkorn’s major interests: color felds and geometric shapes. The Ocean Park series, a collection of 145 paintings created over 20 years, communicates the geometry of his Los Angeles neighborhood of the same name, as seen from his studio. His focus on light, enhanced by the architectural qualities of his windows, created a lyrical work further amplifed by the print medium.
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57. Joan Mitchell
1925-1992
Sunfowers III, 1992 Lithograph in colors, on two sheets of Rives BFK paper (as issued), the full sheets. Signed, dated and numbered 26/34 in pencil (there were also 8 artist’s proofs), published by Tyler Graphics, Mount Kisco, New York, (with their blindstamp), framed. overall S. 57 x 82 1/2 in. (144.8 x 209.6 cm) Estimate $40,000-60,000
“Sunfowers are something I feel very intensely. Tey look so wonderful when young and they are so very moving when they are dying. I don’t like felds of sunfowers. I like them alone or, of course, painted by Van Gogh.” Joan Mitchell
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58. Joan Mitchell
1925-1992
Trees IV, 1992 Lithograph in colors, on two sheets of Rives BFK paper (as issued), the full sheets. Signed, dated and numbered 9/34 in pencil (there were also 8 artist’s proofs), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), framed. overall S. 57 x 82 1/2 in. (144.8 x 209.6 cm) Estimate $20,000-30,000
59. Joan Mitchell
1925-1992
Flower I, from the Bedford Series, 1981 Lithograph in colors, on Arches 88 paper, with full margins. Signed and numbered 33/70 in pencil (there were also 16 artist’s proofs), published by Tyler Graphics Ltd., Bedford, New York (with their blindstamp), framed. I. 40 x 29 in. (101.6 x 73.7 cm) S. 42 1/2 x 32 1/2 in. (108 x 82.6 cm)
Estimate $6,000-8,000 Literature Tyler Graphics 369
60. Robert Motherwell
1915-1991
Ulysses portfolio; and book, 1988 The complete deluxe set of 62 etchings, including the suite of 22 etchings (20 in colors) and the bound set of 40 etchings (comprised of 22 line etchings, 20 in colors, and 18 etched Roman numerals), on Johannot paper, with full margins, with novel by James Joyce, the suite loose and the book bound (as issued). The loose prints signed with initials and numbered 12/40 in pencil, the book signed and numbered ‘12’ in pencil on the limitation page (one of 150 copies, of which 40 and 5 artist’s proofs included the suite of 22 loose etchings), published by Arion Press, San Francisco, the book contained in original blue silk-covered cover with leather trim and matching slipcase, the 22 loose etchings all unframed. I. (20) 4 3/8 x 6 1/8 in. (11.1 x 15.6 cm) (2) 6 1/8 x 6 1/8 in. (15.6 x 15.6 cm) all S. 13 x 10 in. (33 x 25.4 cm) portfolio 14 x 10 5/8 x 1 5/8 in. (35.6 x 27 x 4.1 cm) book 13 1/2 x 11 x 5 in. (34.3 x 27.9 x 12.7 cm) Estimate $30,000-50,000 Literature Siri Engberg and Joan Banach 445.1-22, and 446-467
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61. Norman Bluhm
1921–1999
Sibyls #1, 1971 Monumental acrylic painting on three sheets of heavy wove paper. Signed and dated in brown ink, framed. 90 3/8 x 22 in. (229.6 x 55.9 cm) Estimate $15,000-25,000 Provenance Loretta Howard Gallery, New York
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62. James Nares
b. 1953
Epigraph 1; and Epigraph 3, 2005 Two screenprints in colors, on Saunders paper, the full sheets. Both signed, dated and numbered 9/25 in pencil (there were also 5 artist’s proofs), published by Durham Press, Durham, Pennsylvania, both framed. both S. 47 3/4 x 24 1/2 in. (121.3 x 62.2 cm) Estimate $10,000-15,000
63. Wayne Tiebaud
b. 1920
Delights, 1965 The complete set of 17 etchings (some with aquatint and drypoint), on Rives BFK paper, with full margins, bound (as issued) in a black leather hard cover with gold printed title. All signed, titled, dated and numbered 70/100 in pencil (50 from the edition were unbound), additionally signed and dated ‘2014’ in blue ink and with a hand-drawn heart in red ink on an inside sheet, published by Crown Point Press, Berkeley, California. Bound Book 13 1/4 x 11 3/8 x 3/4 in. (33.7 x 28.9 x 1.9 cm)
Including: Lunch, Fish, Banana Splits, Cherry Stand, Bacon and Eggs, Double Deckers, Lunch Counter, Dispensers, Gum Machine, Lemon Meringue, Suckers, Candied Apples, Cake Window, Club Sandwich, Pies, Delicatessen, and Olives
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Estimate $60,000-90,000
“I love doing prints,” professed acclaimed artist Wayne Thiebaud in 1997 during a talk at the National Gallery of Art, Washington DC. Thiebaud reminisced that his frst etchings were made by “taking a piece of plastic, scratching on it and then running it through an old-fashioned washing machine wringer.” Thiebaud’s “scratches” have since grown into sophisticated etchings that explore the artist’s signature imagery on paper. The seventeen etchings of Delights showcase a mastery of medium and mark an important achievement in the artist’s oeuvre. Formatted as a book, inherent to half the edition, Delights is an homage to life’s simple pleasures. The jaunty gumball machine, hearty diner breakfast, and immaculate slice of cake depicted in these pages appear just like their namesake, total delights. Printed in 1964 and published in 1965, Delights was an early endeavor for Crown Point Press and its founder, master printer Kathan Brown. Afer seeing an exhibition of Thiebaud’s paintings in San Francisco, not knowing the artist, Brown invited him to her printshop to make an artist’s book. There, Thiebaud delved into etchings that explored the iconography of his paintings through a new medium. Delights marked the beginning of a more than 50-year printmaking partnership for Thiebaud at Crown Point Press where he has created over 100 diferent images.
With an emphasis on edges and negative space, Thiebaud’s prints appeal to the eye through rudimentary forms. The stark contrast of black ink on white paper follows the traditional arc of Thiebaud’s graphic works. The fne lines, spare in certain areas and brimming with cross-hatched details in others, are at frst direct, later revealing immense depth and solid form. The structure of Thiebaud’s images speaks to his ability to construct, in great detail, the candid compositions of our daily lives. Thiebaud created the seventeen etchings for Delights to handsomely document and enhance the appreciation of our existence. “We are hesitant to make our own life special ... set our still lifes aside,” wrote Thiebaud in Is a Lollipop Tree Worth Painting, San Francisco Chronicle, 1962. “If we sentimentalize or adopt a posture more polite than our own,” he continued, “we are not having a real look at ourselves for what we are.”
64. Wayne Tiebaud
b. 1920
Gumball Machine, 1971 Linocut in colors, on Arches paper, with full margins. Signed, dated and annotated ‘AP’ in pencil (an artist’s proof color variant, the edition was 50), published by Parasol Press, Ltd., New York, framed. I. 19 3/8 x 17 3/4 in. (49.2 x 45.1 cm) S. 30 x 22 1/4 in. (76.2 x 56.5 cm) Estimate $8,000-12,000
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65. Jim Dine
b. 1935
Fourteen Color Woodcut Bathrobe, 1982 Monumental woodcut in colors, on Rives BFK paper, with full margins. Signed, dated and annotated ‘P/P’ in pencil (one of four printer’s proofs, the edition was 75, there were also 15 artist’s proofs), published by Pace Editions, Inc., New York, framed. I. 64 x 34 1/8 in. (162.6 x 86.7 cm) S. 74 3/4 x 40 3/4 in. (189.9 x 103.5 cm) Estimate $8,000-12,000 Literature Ellen D’Oench and Jean Feinberg 112
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66. Jim Dine
b. 1935
The Kindergarten Robes, 1983 Monumental woodcut in colors, on Lenox paper, with full margins. Signed, dated and numbered 19/75 in pencil (there were also 10 artist’s proofs), published by Pace Editions, Inc., New York, framed. I. 54 3/8 x 70 7/8 in. (138.1 x 180 cm) S. 59 1/2 x 73 in. (151.1 x 185.4 cm)
Estimate $8,000-12,000 Literature Ellen D’Oench and Jean Feinberg 146
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67. Jim Dine
b. 1935
Yellow Watercolors, 1993 Woodcut with hand water-coloring, on wove paper, the full sheet. Signed, dated and numbered 18/24 in pencil (there were also 5 artist’s proofs), published by Pace Editions, Inc., New York, framed. S. 58 1/4 x 43 in. (148 x 109.2 cm)
Estimate $6,000-9,000 Literature Elizabeth Carpenter 61
Property from a California Estate Sold to Beneft Major Universities
68. Jim Dine
b. 1935
Anderson Ranch Series XII, 1983 Oil monotype with hand-coloring in oil and pastels, on three sheets of wove paper (as issued), the full sheets. Signed and dated in pencil, published by Pace Editions Inc., New York, framed. overall S. 41 x 88 1/2 in. (104.1 x 224.8 cm) Estimate $18,000-25,000
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69. Tom Wesselmann
1931-2004
Monica Sitting One Leg on the Other, 1986/1994 Laser-cut steel multiple, painted with alkyd oil in colors. Incised with the signature, date and numbered 3/25 on the reverse, additionally notated with the artist’s name, title, date and numbered 3/25 in black ink on the reverse, published by Sidney Janis Gallery, New York. 9 1/2 x 13 3/8 in. (24.1 x 34 cm) Estimate $12,000-18,000
70. Alex Katz
b. 1927
Samantha, 1987 Screenprint in colors, on wove paper, the full sheet. Signed and numbered 28/80 in pencil (there were also 12 artist’s proofs), published by Simca Print Artists, Inc., New York (with their blindstamp), framed. S. 66 1/2 x 28 5/8 in. (168.9 x 72.7 cm) Estimate $12,000-18,000 Literature Klaus Albrecht Schröder 212
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71. Alex Katz
b. 1927
Sharon, from Black Dress Series, 2015 Screenprint in colors, on wove paper, the full sheet. Signed and numbered 8/35 in pencil (there were also 15 artist’s proofs), published by Lococo Fine Art, St. Louis, framed. S. 80 x 30 in. (203.2 x 76.2 cm) Estimate $8,000-12,000
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72. Andy Warhol
1928-1987
73. Andy Warhol
1928-1987
Marilyn, 1967
Life Savers, 1985
Screenprint in colors, on wove paper, the sheet trimmed at the right sheet edge 1/4 inches. Signed in pencil and stampnumbered 180/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed. S. 36 x 35 3/4 in. (91.4 x 90.8 cm)
Screenprint in colors, on Lenox Museum Board, the full sheet, Signed and numbered ‘A/P 3/30’ in pencil (an artist’s proof, the edition was 190), published by Ronald Feldman Fine Arts, Inc., New York (with their blindstamp, and with the publisher’s and artist’s copyright inkstamps on the reverse), framed. S. 38 x 38 in. (96.5 x 96.5 cm)
Estimate $100,000-150,000 Literature Frayda Feldman and Jörg Schellmann 31
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Estimate $35,000-55,000 Literature Frayda Feldman and Jörg Schellmann 353
74. Andy Warhol
1928-1987
Mao, 1972 Screenprint in colors, on Beckett High White paper, the full sheet. Signed and numbered ‘AP 31/50’ in pencil on the reverse (an artist’s proof, the edition was 250), with the artist’s and printer’s copyright inkstamp on the reverse, co-published by Castelli Graphics and Multiples, Inc., New York, framed. S. 36 x 36 in. (91.4 x 91.4 cm)
Estimate $30,000-40,000 Literature Frayda Feldman and Jörg Schellmann 94
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75. Andy Warhol
1928-1987
Hammer and Sickle, 1977 The complete set of four screenprints in colors, on Strathmore Bristol paper, the full sheets. All signed and numbered 5/50 in pencil (there were also 10 artist’s proofs), published by Andy Warhol Enterprises, Inc., New York, all framed. all S. 30 1/8 x 40 in. (76.5 x 101.6 cm)
Estimate $40,000-60,000 Literature Frayda Feldman and Jörg Schellmann 161-64
Property from a Gentleman in Florida
76. Andy Warhol
1928-1987
Alexander the Great, 1982 Unique screenprint in colors, on Lenox Museum Board, the full sheet. Signed and numbered ‘TP 8/15’ in pencil (one of 15 unique color variant trial proofs, there were also 65 in Arabic numerals and 8 in Roman numerals, both on diferent sized papers, the regular edition was 25 and 5 artist’s proofs), published by Alexander lolas, New York (with the artist’s copyright inkstamp on the reverse), in co-operation
with the Hellenic Heritage Foundation to coincide with the Search for Alexander exhibition at the Metropolitan Museum of Art, New York, 27 October 1982 to 3 January 1983, framed. S. 39 7/8 x 39 7/8 in. (101.3 x 101.3 cm) Estimate $50,000-70,000 Literature see Frayda Feldman and Jörg Schellmann IIB. 291-292
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77. Andy Warhol
1928-1987
Mother and Child, from Cowboys and Indians, 1986 Screenprint in colors, on Lenox Museum Board, the full sheet. Signed and numbered 71/250 in pencil (there were also 50 artist’s proofs), published by Gaultney-Klineman Art, Inc., New York (with their and the artist’s copyright inkstamp on the reverse), framed. S. 36 x 36 in. (91.4 x 91.4 cm)
Estimate $20,000-30,000 Literature Frayda Feldman and Jörg Schellmann 383
78. Roy Lichtenstein
1923-1997
Refections on Conversation, from Refections Series, 1990
Estimate $100,000-150,000
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Literature Mary Lee Corlett 240
Lithograph, screenprint, woodcut, relief and metalized PVC collage with embossing in colors, on Somerset paper, with full margins. Signed, dated and numbered 22/68 in pencil (there were also 16 artist’s proofs), published by Tyler Graphics Ltd., Mount Kisco, New York (with their blindstamp), framed. I. 47 1/4 x 60 3/4 in. (120 x 154.3 cm) S. 53 7/8 x 66 3/4 in. (136.9 x 169.7 cm)
Heralded pop artist Roy Lichtenstein gained inspiration for the Refections Series (lot 78) from photographs that he took of a glasscovered Robert Rauschenberg print: streaks of light obscured areas of the work but lef enough of the print visible that the scene could be understood. Ben-Day dots, a signature of Lichtenstein’s work borrowed from mass-media cartoons, were also added to these images to foster a duality between Pop and Fine art. However, in each print, the focal illustration is partially concealed by smooth, mirror-like metalized PVC. The textural combination of collage, woodcut relief and embossing on top of screenprint and lithography constructs a methodical scene: one of certainty and ambiguity that invites the viewer to create his or her own interpretation.
frst time that Lichtenstein drew inspiration from the work of Claude Monet—in 1969, he painted versions of the famed Cathedral and Haystack series, adding a pop twist to pivotal impressionist works. Blue Lily Pads, from Water Lilies (lot 79) was a way for Lichtenstein to combine new techniques and materials: he drew on industrial patterns used in the dashboards of antique automobiles to create metallic textures that broke up the orderly dots and lines of his signature works. Each steel section of the print was created individually using an arduous process that involved suspending a drill press upside down from the ceiling. These refective surfaces capture the light and color of their surroundings, transforming as they are observed from diferent angles.
During the Summer of 1990, Lichtenstein began working on his bas-relief Suspended Mobile at Saf Tech Arts, the workshop of Donald Saf, who collaborated with notable artists such as Ed Ruscha, Jim Dine and Robert Rauschenberg. While producing his mobile, Lichtenstein created the Water Lilies series, drawing inspiration from Claude Monet’s paintings of the same name. This was not the
Analogous to the sculpture Lichtenstein created at Saf Tech Arts, Landscape Mobile (Limoges) (lot 80) presents a layered landscape scene composed to give the illusion of movement. This porcelain and bronze tabletop stabile brings Lichtenstein’s fat comic book style to three dimensions. Although vastly diferent in composition and medium, these lots each embody the trademark style of this legendary pop artist in fun and exuberant ways.
Property from an Important East Coast Collection
79. Roy Lichtenstein
1923-1997
Water Lilies - Blue Lily Pads, from Water Lilies Series, 1992 Color screenprinted enamel on processed and swirled stainless steel, contained in the artist’s painted relief wood frame. Signed, dated and numbered ‘STA I’ in black marker on the reverse (a Saf Tech Arts proof the edition was 23, there were also 6 artist’s proofs), published by Saf Tech Arts, Oxford, Maryland. 43 3/8 x 38 1/4 in. (110.2 x 97.2 cm)
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Estimate $80,000-120,000 Literature Mary Lee Corlett 262
80. Roy Lichtenstein
1923-1997
Landscape Mobile (Limoges), 1991 Painted bronze and porcelain. With printed signature, title, date and numbered 67/125 on the underside in black ink, published by Bernardaud & Artes Magnus Ltd., Limoges and New York. 21 3/4 x 25 1/2 x 5 3/4 in. (55.2 x 64.8 x 14.6 cm) Estimate $25,000-35,000
Property from The Museum of Modern Art, New York, Sold to Beneft the Acquisitions Fund
81. Roy Lichtenstein
1923-1997
Crying Girl, 1963 Ofset lithograph in colors, on lightweight wove paper, with full margins. Signed in pencil, from an unknown edition size, published by Leo Castelli Gallery, New York, framed. I. 17 1/4 x 23 1/4 in. (43.8 x 59.1 cm) S. 18 1/8 x 24 in. (46 x 61 cm)
Estimate $20,000-30,000 Provenance Jan Cowles, New York; bequest to The Museum of Modern Art, New York, 2019 Literature Mary Lee Corlett II.1
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82. Roy Lichtenstein
1923-1997
A Bright Night, from Surrealist Series, 1978 Lithograph in colors, on Arches 88 paper, with full margins. Signed and numbered 14/38 (there were also 7 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), framed. I. 18 3/8 x 21 in. (46.7 x 53.3 cm) S. 26 1/4 x 29 in. (66.7 x 73.7 cm)
Estimate $10,000-15,000 Literature Gemini G.E.L. 793 Mary Lee Corlett 155
Property from an Important Midwest Collection
83. Roy Lichtenstein
1923-1997
Modern Head Relief, 1970 Polished brass edition relief. Incised with signature, date and numbered 39/100 on a brass plaque afxed to the reverse of the frame (there were also 5 trial proofs), published by Gemini, G.E.L., Los Angeles, framed. 24 x 17 3/4 x 3/4 in. (61 x 45.1 x 1.9 cm) Estimate $25,000-35,000 Literature Gemini G.E.L. 247
Property from the Collection of Hanford Yang
84. Roy Lichtenstein
1923-1997
Sandwich and Soda, for Ten Works by Ten Painters portfolio, 1964 Screenprint in colors, on clear plastic, with full margins. Signed in black ink, (the regular edition was 500 and with larger dimensions), an unnumbered unique test proof for the Wadsworth Atheneum, Hartford, Connecticut, unframed. I. 4 1/2 x 5 1/2 in. (11.4 x 14 cm) S. 5 x 6 in. (12.7 x 15.2 cm) Estimate $8,000-12,000 Provenance Gif of the artist to the present owner. Literature see Mary Lee Corlett 35
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Sandwich and Soda is one of Lichtenstein’s frst Pop prints and the frst print he made on a surface other than paper. This proof is a miniaturized version of the fnal edition included in the iconic X + X (Ten Works by Ten Painters) portfolio in 1964. This proof is handsigned by the artist, whereas, the impressions included in the X + X portfolio are historically unsigned. Roy Lichtenstein’s Sandwich and Soda comes from the collection of architect and art collector Hanford Yang. Yang was an early friend and collector of Lichtenstein’s work (as well as other artists), and he designed Lichtenstein’s studio in East Hampton. A selection of Yang’s collection was shown at the Aldrich Museum of Contemporary Art in 1968 called, Art of the 60’s: Selections from the Collection of Hanford Yang.
85. Roy Lichtenstein
1923-1997
CRAK!, 1964 Ofset lithograph in colors, on wove paper, with full margins. Signed in pencil, aside from the edition of 300, published by Leo Castelli, New York, unframed. I. 18 1/2 x 26 3/4 in. (47 x 67.9 cm) S. 27 1/2 x 19 in. (69.9 x 48.3 cm)
Estimate $12,000-18,000 Literature Mary Lee Corlett ll.2
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86. Roy Lichtenstein
1923-1997
Shipboard Girl, 1965 Ofset lithograph in colors, on wove paper, laid to cardboard, with full margins. Signed in pencil, from the edition of unknown size, published by Leo Castelli Gallery, New York, framed. I. 26 x 19 1/8 in. (66 x 48.6 cm) S. 27 1/8 x 20 1/8 in. (68.9 x 51.1 cm)
Estimate $8,000-12,000 Provenance Private Collection, California Literature Mary Lee Corlett II.6
87. Roy Lichtenstein
1923-1997
Imperfect Diptych 46 1/4” x 91 3/8”, from Imperfect Series, 1988
Woodcut and screenprint in colors with mylar collage, on 4-ply Archivart rag board, with margins. Signed, dated and numbered ‘AP 13/14’ in pencil (an artist’s proof, the edition was 45), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 38 1/8 x 81 3/8 in. (96.8 x 206.7 cm) S. 46 1/8 x 91 1/4 in. (117.2 x 231.8 cm)
Estimate $30,000-50,000 Literature Gemini G.E.L. 1360 Mary Lee Corlett 219
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Property from The Museum of Modern Art, New York, Sold to Beneft the Acquisitions Fund
88. Roy Lichtenstein
1923-1997
Brushstroke, 1965 Screenprint in colors, on heavy wove paper, with full margins. Signed and numbered 18/280 in pencil (there were also approximately 15 hors commerce), published by Leo Castelli Gallery, New York, framed. I. 22 1/8 x 28 1/2 in. (56.2 x 72.4 cm) S. 23 x 29 in. (58.4 x 73.7 cm) Estimate $10,000-15,000
Provenance Jan Cowles, New York; bequest to The Museum of Modern Art, New York, 2019 Literature Mary Lee Corlett II.5
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89. Roy Lichtenstein
1923-1997
Brushstrokes, 1967 Screenprint in colors, on of-white wove paper, with full margins. Signed in pencil (one of an unknown number of artist’s proofs, the edition was 300), published by Leo Castelli Gallery, New York, for the Pasadena Art Museum, California, framed. I. 21 7/8 x 29 7/8 in. (55.6 x 75.9 cm) S. 23 x 31 in. (58.4 x 78.7 cm)
Estimate $12,000-18,000 Literature Mary Lee Corlett 45
90. Claes Oldenburg
b. 1929
Geometric Mouse - Scale C, 1971 Anodized aluminum sculpture. Incised with artist’s initials and numbered 108/120 on the window pull (there were also 3 artist’s copies), published by Gemini G.E.L., Los Angeles, (with their and the artist’s stamp). 24 x 20 in. (61 x 50.8 cm) or dimensions variable Estimate $18,000-25,000 Literature Gemini G.E.L. 281 David Platzker 14
Another example from this edition is housed in the permanent collection of the National Gallery of Art, Washington, D.C.
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91. Claes Oldenburg
b. 1929
Fire Plug Souvenir - Chicago, August 1968, 1968 Plaster sculpture painted in red. Signed with initials, numbered 84/100 in black marker, and stamped with initials, ‘Chicago’ and ‘August 1968’ on the underside (there were also an unknown number of artist’s proofs), published by Richard Feigen Gallery, Chicago. 8 3/8 x 7 1/2 x 8 in. (21.3 x 19.1 x 20.3 cm)
Estimate $8,000-12,000 Literature David Platzker 10
92. Tom Otterness
b. 1952
The Rich Visionaries pair (A and B), 2000 Pair of bronze multiples with light brown patina. Both incised with signature, date and numbered ‘AP 1/3’ , ‘A’ and ‘B’ respectively (artist’s proofs the edition was 9). A. 7 5/8 x 3 x 3 in. (19.4 x 7.6 x 7.6 cm) B. 7 3/8 x 3 x 3 in. (18.7 x 7.6 x 7.6 cm) Estimate $10,000-15,000
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93. Christian Marclay
b. 1955
Fwshum, 2006 Archival pigment print, on Arches paper, laid to heavy board (as issued), with full margins. Signed, dated and numbered 4/5 in black ink on the reverse of the frame. I. 60 x 26 in. (152.4 x 66 cm) S. 65 x 30 1/2 in. (165.1 x 77.5 cm) Estimate $12,000-18,000
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94. John Baldessari
1931-2020
Nose/Silhouette, 2010 The complete set of six lithographs with screenprint in colors, on wove paper, with full margins. All signed, dated and numbered 8/50 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L. (with their blindstamp), Los Angeles, all unframed. all I. various dimensions all S. 18 x 14 in. (45.7 x 35.6 cm) Estimate $15,000-25,000
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95. John Baldessari
1931-2020
Six Ear Drawings (Complementary Colors), 2007 The complete set of six etchings in colors, on Magnani Pescia paper, with full margins, contained in the original hard-cover folio with printed cover image. All signed and numbered 3/25 in pencil (there were also 2 artist’s proofs), published by Edition Jacob Samuel, Santa Monica (with their blindstamp). all I. 11 x 8 5/8 in. (27.9 x 21.9 cm) all S. 16 1/2 x 13 1/2 in. (41.9 x 34.3 cm) Estimate $6,000-9,000 Literature Sharon Coplan Hurowitz 175-180
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96. Ed Ruscha
b. 1937
Insects, 1972 The complete set of six screenprints in colors, three on paper-backed wood veneer and three on Fabriano paper, the full sheets, with title page/justifcafion, the sheets loose (as issued), contained in the original raw linen-covered portfolio with plastic cover encapsulating brownish-red sand. All signed, dated and numbered 40/100 in pencil (there were also 15 artist’s proofs in Roman numerals), published by Multiples, Inc., New York (with their and the artist’s copyright inkstamp on the reverse). portfolio 20 1/2 x 27 3/8 x 1 1/8 in. (52.2 x 69.5 x 3 cm) Estimate $15,000-25,000 Literature Siri Engberg/Walker Art Center 60-65
Including: Flies; Black Ants; Swarm of Red Ants; Red Ants; Cockroaches; and Pearl Dust Combination The dirt in these boxes comes from Ruscha’s elemantary school playground in Oklahoma City.
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97. Ed Ruscha
b. 1937
Olive and Marble, 1969 Lithograph in colors, on Rives paper, with full margins. Signed, dated and numbered 16/20 in pencil (there was also 1 artist’s proof), published by Tamarind Lithography Workshop, Los Angeles (with their blindstamp), framed. I. 5 x 7 in. (12.7 x 17.8 cm) S. 9 3/4 x 12 in. (24.8 x 30.5 cm) Estimate $10,000-15,000 Literature Siri Engberg 26 Tamarind 2547
“Absurdity for its own sake is rich. Te selection of something absurd or the absurd handling of an absurd subject has attracted many artists… and when it’s done right, it can be truly beautiful.” Ed Ruscha
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98. Ed Ruscha
b. 1937
Sin, 1970
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Screenprint in colors, on Louvain Opaque Cover paper, with margins, trimmed at the right and lower sheet edges. Signed, dated and numbered 42/150 in pencil (there were also 5 artist’s proofs), published by Cirrus Editions, Los Angeles (with their blindstamp), framed. I. 12 7/8 x 21 1/2 in. (32.7 x 54.6 cm) S. 18 5/8 x 26 1/4 in. (47.3 x 66.7 cm)
Estimate $8,000-12,000 Literature Siri Engberg 41 Cirrus Editions 338
99. Christopher Wool
b. 1955
My House II, 2000 Screenprint in colors, on Matt Custom Art paper, with full margins. Signed, dated and numbered 30/100 in pencil (there were also 25 artist’s proofs), published by Counter Editions, London, framed. I. 39 x 29 in. (99.1 x 73.7 cm) S. 40 x 29 7/8 in. (101.6 x 75.9 cm) Estimate $12,000-18,000
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100. Christopher Wool
b. 1955
My House III, 2000 Screenprint in colors, on Matt Custom Art paper, with full margins. Signed, dated and numbered 18/100 in pencil (there were also 20 artist’s proofs), published by Counter Editions, London, framed. I. 39 x 29 in. (99.1 x 73.7 cm) S. 40 x 29 7/8 in. (101.6 x 75.9 cm) Estimate $14,000-18,000
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101. Christopher Wool
b. 1955
Black Book, 1989 Book with 17 text images, on smooth wove paper, the full sheets, bound (as issued) in the original black paper-covered hardcover. Signed and numbered 191/350 in black ink on the justifcation (there were also 8 artist’s proofs), published by Gisela Capitain and Thea Westreich, New York. 23 1/8 x 16 1/8 in. (58.8 x 41 cm) Estimate $20,000-30,000
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102. Robert Longo
b. 1953
Untitled (Roaring Tiger Print), 2015 Monumental archival pigment print, on Epson Exhibition paper, with full margins. Signed, dated and numbered ‘AP II/III’ in pencil (an artist’s proof, the edition was 5), published by Adamson Editions, Washington DC, framed. I. 72 x 55 in. (182.9 x 139.7 cm) S. 75 x 58 in. (190.5 x 147.3 cm) Estimate $50,000-70,000
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103. Banksy
b. 1975
Soup Can (Original), 2005 Screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 49/50 in pencil (the edition was 50 signed and 250 unsigned impressions, there were also 10 artist’s proofs), published by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed. I. 10 x 5 7/8 in. (25.4 x 14.9 cm) S. 19 5/8 x 13 3/4 in. (49.8 x 34.9 cm) Estimate $20,000-30,000
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104. KAWS
b. 1974
Piranhas When You’re Sleeping, 2016 Screenprint in colors, on wove paper, with full margins. Signed, dated ‘17’ and numbered 14/50 in blue pencil (there were also 20 artist’s proofs), published by Pace Editions, Inc., New York, framed. S. 60 x 45 in. (152.4 x 114.3 cm.) Estimate $20,000-30,000
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105. KAWS
b. 1974
No One’s Home; Stay Steady; and The Things That Comfort, 2015 The complete set of three screenprints in colors, on Saunders Waterford paper, with full margins. All signed, dated and numbered 151/250 in pencil (there were also 50 artist’s proofs), published by Pace Editions, Inc., New York, all framed. all I. various sizes one S. 29 x 33 1/2 in. (73.7 x 85.1 cm) two S. 36 x 29 in. (91.4 x 73.7 cm), Estimate $35,000-55,000
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106. KAWS
b. 1974
DISSECTED COMPANION (BLACK), (GREY) and (BROWN), 2006 The complete set of three screenprints in colors, on wove paper, the full sheets. All signed, dated and numbered ‘AP 5/15’ in black ink or pencil (the edition was 100), published by KAWSONE, Brooklyn, all framed. all S. 20 x 20 in. (50.8 x 50.8 cm) Estimate $25,000-35,000
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107. KAWS
b. 1974
DISSECTED COMPANION (BLACK), 2006 Screenprint in colors, on wove paper, the full sheet. Signed, dated and numbered 5/100 in black ink (there were also 15 artist’s proofs), published by KAWSONE, Brooklyn, unframed. S. 20 x 20 in. (50.8 x 50.8 cm) Estimate $10,000-15,000
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108. Damien Hirst
b. 1965
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Flumequine, 2007 Aquatint in colors, on Hahnemühle etching paper, with full margins. Signed on the front and numbered 35/75 in pencil on the reverse (there were also 20 artist’s proofs), published by The Paragon Press, London, framed. I. 45 x 33 1/4 in. (114.3 x 84.5 cm) S. 55 x 42 1/2 in. (139.7 x 108 cm) Estimate $10,000-15,000 scan for more on lot 109
109. Jef Koons
b. 1955
Balloon Rabbit (Red); Balloon Monkey (Blue); and Balloon Swan (Yellow), 2017 Three porcelain multiples painted in chrome, all contained in the original Styrofoam-lined presentation boxes with silver printed signature. All with
printed signature, title, date and each numbered 503/999, 462/999 and 441/999 respectively on the underside, published by Bernardaud, Limoges, France (with their stamp on the underside). Rabbit 10 1/2 x 5 1/2 x 7 in. (26.7 x 14 x 17.8 cm) Monkey 9 3/4 x 8 1/4 x 16 1/2 in. (24.8 x 21 x 41.9 cm) Swan 9 3/4 x 6 x 8 in. (24.8 x 15.2 x 20.3 cm)
Estimate $30,000-40,000 Provenance Weng Contemporary, Zug Acquired from the above by the present owner
Day Editions July 24, 10am / lots 110–245
110. Ed Clark
1926-2019
Yucatan, 1976 Lithograph in colors, on wove paper, with full margins, folded at the right sheet edge. Signed, titled, dated and numbered 1/12 in pencil, unframed. I. 21 3/4 x 27 1/2 in. (55.2 x 69.9 cm) S. 29 1/2 x 41 1/2 in. (74.9 x 105.4 cm) Estimate $1,000-2,000
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111. Ed Clark
1926-2019
[Untitled], 1987 Lithograph in colors, on Arches paper, the full sheet. Signed, dated and annotated ‘AP’ in pencil (an artist’s proof), unframed. S. 22 x 30 in. (55.9 x 76.2 cm) Estimate $3,000-5,000
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Property from an Important Midwest Collection scan for more on this lot
112. Howard Hodgkin
1932-2017
Gossip, 1995 Screenprint in colors, on Somerset paper, with full margins. Signed with initials, dated, and numbered 42/108 in pencil (there were also 14 artist’s proofs), published by Lincoln Center List Poster and Print Program, New York, framed. I. 29 1/8 x 41 in. (74 x 104.1 cm) S. 36 x 47 in. (91.4 x 119.4 cm)
Estimate $3,000-5,000 Literature Charles Riley p. 180 Liesbeth Heenk p. 224
113. Gego
1912-1994
Untitled, 1963 Etching and aquatint, on Arches paper, with full margins. Signed and dated in pencil, with the accompanying catalogue issued by the Fundación Gego, Caracas, framed. I. 7 7/8 x 7 7/8 in. (20 x 20 cm) S. 21 1/2 x 19 in. (54.6 x 48.3 cm) Estimate $6,000-8,000
This work is registered with the Fundación Gego under No. CP-0449-OB
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114. Lucio Fontana
1899-1968
Untitled, from Ten Etchings and The Sword in the Water, 1962 Etching with aquatint and punctures (as issued), on CM Fabriano paper, with full margins. Signed and numbered 49/75 in pencil, from the book The Sword in the Water with text by Alain Joufroy, published by Galleria Schwarz, Milan, framed. I. 5 7/8 x 4 1/2 in. (14.9 x 11.4 cm) S. 10 x 8 in. (25.4 x 20.3 cm) Estimate $2,500-3,500 Literature Harry Ruhè and Camillo Rigo E6
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115. Antoni Tàpies
1923-2012
Lettre X, 1972 Lithograph in colors, on wove paper, with full margins. Signed and numbered 53/75 in pencil, published by Maeght, Paris, framed. I. 15 x 22 1/8 in. (38.1 x 56.2 cm) S. 22 5/8 x 28 3/8 in. (57.5 x 72.1 cm) Estimate $2,000-4,000 Literature Mariuccia Galfetti and Núria Homs 315
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116. Jesús Rafael Soto
1923-2005
Cuadrado y Curvas Virtuales, from Sintesis series, 1979 Screenprinted Plexiglas, plastic and metal multiple. Signed and numbered 11/110 in red ink on a label afxed to the reverse. 19 1/4 x 19 1/4 x 5 in. (48.9 x 48.9 x 12.7 cm) Estimate $5,000-7,000
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Property from The Museum of Modern Art, New York, Sold to Beneft the Acquisitions Fund
117. Henry Moore
1898-1986
Property from an Important Midwest Collection
118. Willem de Kooning
1904-1997
Four Reclining Figures, 1973
Two Women, 1973
Lithograph, on wove paper, with full margins. Signed, dated, dedicated ‘For Nina + Gordon /with love from Henry. February 16th/74’ and numbered ‘AP 7/15’ in pencil (aside from the total edition of 120), published by Propyläen Verlag, Berlin, and Pantheon Press, Rome, unframed. I. 16 1/2 x 24 1/2 in. (41.9 x 62.2 cm) S. 22 x 30 1/4 in. (55.9 x 76.8 cm)
Lithograph, on wove paper, with full margins. Signed, dated and numbered ‘P.P. 2/4’ in pencil (a printer’s proof, the edition was 100, there were also some artist’s proofs), published by Styria Studios, New York (with their blindstamp), framed. I. 13 1/2 x 11 1/4 in. (34.3 x 28.6 cm) S. 18 x 15 in. (45.7 x 38.1 cm)
Estimate $800-1,200 Provenance The artist Nina and Gordon Bunshaf, 1974 bequest to The Museum Of Modern Art, New York, 1994 Literature Patrick Cramer 282
Estimate $2,000-3,000
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Property from an Important Midwest Collection
119. Robert Motherwell
1915-1991
120. Robert Motherwell
1915-1991
121. Robert Motherwell
1915-1991
Untitled, 1973
Hommage à Picasso: Window, 1973
New York International: Untitled, 1966
Etching and aquatint in colors, on Arches paper, with full margins. Signed and numbered 12/50 in pencil (there were also 10 artist’s proofs), published by the artist and Dain-Schif Gallery, New York (with the artist’s blindstamp), framed. I. 23 5/8 x 19 5/8 in. (60 x 49.8 cm) S. 41 1/4 x 29 3/8 in. (104.8 x 74.6 cm)
Lithograph, on Arches paper, with full margins. Signed and numbered 45/90 in pencil (there were also 30 artist’s proofs), published by Propyläen Verlag, Berlin and Pantheon Press, Rome, with the artist’s and the Gemini G.E.L. blindstamp, framed. I. 19 1/2 x 15 in. (49.5 x 38.1 cm) S. 30 1/4 x 22 1/2 in. (76.8 x 57.2 cm)
Lithograph, on Rives BFK paper, with full margins. Signed and numbered 178/225 in pencil (there were also 25 artist’s proofs annotated A-Y), published by Tanglewood Press, New York, framed. I. 19 x 14 in. (48.3 x 35.6 cm) S. 22 x 17 in. (55.9 x 43.2 cm)
Estimate $4,000-5,000
Estimate $1,500-2,500
Literature Siri Engberg and Joan Banach 136
Literature Siri Engberg and Joan Banach 141
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Estimate $1,500-2,500 Literature Siri Engberg and Joan Banach 50
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122. Stanley Whitney
b. 1946
Black and White Series I-III, 2012 The complete set of three etchings and aquatint, on Magnani Incisioni paper, with full margins. All signed, dated and numbered 7/15 in pencil, published by Harlan and Weaver, New York, all unframed. all I. 15 3/4 x 20 in. (40 x 50.8 cm) all S. 22 1/4 x 26 1/2 in. (56.5 x 67.3 cm) Estimate $6,000-9,000
“I don’t force the work. Te work doesn’t follow me; I’m following the work. It has to be a slow mental and physical process. And that is where printmaking and drawing come in … I’m only rethinking the drawings, loosening up, not thinking about the paintings, and just seeing how that goes.” Stanley Whitney scan for more on this lot
Property from an Important Midwest Collection scan for more on lot 123
123. Elizabeth Murray
124. Mark di Suvero
b. 1933
Untitled (Black Cup), 1984
Rising (for Walt Whitman), 1981
Lithograph with hand-coloring in blue and green, on Arches paper, the full sheet. Signed, dated and numbered 4/10 in pencil (there were also 3 artist’s proofs), co-published by Brooke Alexander, Inc., and Paula Cooper Gallery, New York, unframed. S. 59 x 36 in. (149.9 x 91.4 cm)
Nickel-plated aluminum multiple in fve parts. Incised signature on one piece, stamped `MdS’, `S’, dated and numbered 18/25, additionally each component stamped ‘18N’ (there were also 7 artist’s copies), published by Gemini G.E.L., Los Angeles (with their stamped marks). fat 17 x 19 x 5/8 in. (43.2 x 48.3 x 1.6 cm) or dimensions variable
Estimate $1,000-1,500 scan for more on lot 124
1940-2007
Estimate $2,500-3,500 Literature Gemini G.E.L. 934
The confguration of the edition sculpture is variable and many sizes are possible. The listed dimensions represent the sculpture in its most compact arrangement, ft together like a puzzle.
125. Richard Diebenkorn
1922-1993
Green Tree Spade, from Five Spades, 1982 Etching and aquatint in colors, on J Whatman paper, with full margins. Signed with initials, dated and numbered 22/35 in pencil (there were also 11 artist’s proofs), published by Crown Point Press, San Francisco (with their blindstamp), framed. I. 9 x 11 3/4 in. (22.9 x 29.8 cm) S. 18 1/8 x 23 1/8 in. (46 x 58.7 cm) Estimate $3,500-4,500
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126. Frank Stella
b. 1936
Shards II, from Shards, 1982 Lithograph and screenprint in colors, on Arches Cover paper, the full sheet. Signed, dated and annotated ‘P.P. I’ in pencil (one of 4 printer’s proofs, the edition was 100 and 20 artist’s proofs), published by Petersburg Press, New York, framed. S. 39 3/4 x 45 1/4 in. (101 x 114.9 cm) Estimate $5,000-7,000 Literature Richard Axsom and Leah Kolb 145
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127. Frank Stella
b. 1936
One Small Goat Papa Bought for Two Zuzim, from Illustrations Afer El Lissitzky’s Had Gadya, 1984 Lithograph, linocut and screenprint in colors with hand-coloring and collage, on T.H. Saunders and hand-cut Somerset paper, the full sheet. Signed, dated and numbered 37/60 in pencil (there were also 10 artist’s proofs), published by Waddington Graphics, London, framed. S. 52 3/8 x 51 1/4 in. (133 x 130.2 cm)
Estimate $7,000-10,000 Literature Richard Axsom and Leah Kolb 171
128. Josef Albers
1888-1976
Formulation and Articulation I and II, 1972 The complete set of 127 screenprints in colours, on 66 sheets of wove paper, folded (as issued), with full margins, with colophon, all contained in the two original grey linen-covered portfolios, with printed spines. Signed and numbered ‘595’ in black ink on the colophon (the edition was 1000), co-published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New each portfolio 20 3/4 x 15 5/8 x 2 1/2 in. (52.7 x 39.7 x 6.4 cm)
Estimate $4,000-6,000 Literature Brenda Danilowitz Appendix C
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129. Josef Albers
1888-1976
Fenced, 1944 Linocut, on L. L. Brown Paper Company Linen Ledger paper, with full margins. Signed, titled, dated, inscribed ‘(proof)’ and dedicated ‘To Dr Justus BierSummers-1951 A’ in pencil (presumably one of 7 artist’s proofs, the edition was 30), published by Biltmore Press, Asheville, North Carolina, framed. I. 9 7/8 x 12 1/4 in. (25.1 x 31.1 cm) S. 12 3/8 x 15 3/8 in. (31.4 x 39.1 cm)
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Estimate $6,000-9,000 Literature Brenda Danoliwitz 113
130. Josef Albers
1888-1976
Gray Instrumentation Ib; Ii; and Ij, from Gray Instrumentation I portfolio, 1974 Three screenprints in colors, on Arches 88 mould-made paper, with full margins. I-b signed, titled and numbered 1/36, I-i and I-j signed with initials, titled, dated and inscribed ‘Ok to print’ in pencil (these two were the good to print proofs, there were also 10 artist’s proofs for each), published by Tyler Graphics Ltd., Bedford Village, New York, all framed. all I. 11 x 11 in. (27.9 x 27.9 cm) all S. 19 x 19 in. (48.3 x 48.3 cm) Estimate $7,000-10,000 Literature Brenda Danilowitz 225.4, 225.5, 225.8 Tyler Graphics 20, 27, 28
131. Josef Albers
1888-1976
WLS VII, from White Line Squares (Series I), 1966 Lithograph in colors, on Arches Cover paper, with full margins. Signed with initial ‘A’, titled, dated and numbered 57/125 in pencil (there were also 15 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), unframed. I. 15 5/8 x 15 5/8 in. (39.7 x 39.7 cm) S. 20 3/4 x 20 3/4 in. (52.7 x 52.7 cm) Estimate $2,000-3,000 Literature Gemini G.E.L. 8 Brenda Danilowitz 171.7 scan for more on this lot
132. Robert Mangold
b. 1937
Untitled [Lincoln Center/List Print at the Barbican Centre], 1997 Screenprint in colors, on Somerset paper, with full margins. Signed and numbered 83/108 in pencil (there were also 18 artist’s proofs), published by Lincoln Center List Poster and Print Program, New York, framed. I. 23 3/4 x 39 in. (60.3 x 99.1 cm) S. 31 1/4 x 45 in. (79.4 x 114.3 cm) Estimate $1,000-1,500 Literature Amy Baker Sandback 67 Senior & Shopmaker 1997.09 scan for more on this lot
133. Ellsworth Kelly
1923-2015
White Bar with Black, 1973 Lithograph with additions in pencil, on Arjomari paper, with full margins. Signed and numbered 5/50 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 21 1/4 x 34 in. (54 x 86.4 cm) S. 29 1/4 x 42 in. (74.3 x 106.7 cm) Estimate $2,500-3,500 Literature Gemini G.E.L. 464 Richard Axsom 89
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134. Sol LeWitt
1928-2007
Color Bands Plate #01; #05; and #08, 2000 Three linocuts in colors, on Somerset paper, with full margins. All signed, two numbered 33/75 and one numbered 32/75 in pencil (there were also 10 artist’s proofs), published by Parasol Press, Ltd, New York, two framed. all I. 24 x 24 in. (61 x 61 cm) all S. 29 x 29 in. (73.7 x 73.7 cm) Estimate $8,000-12,000 Literature Barbara Krakow Gallery 2000.07 Plate #1, #5 and #8 scan for more on this lot
135. Sol LeWitt
1928-2007
Folded Drawing (white on white), 1973 Torn and folded wove paper. Signed and dated in pencil, framed. 11 x 19 1/2 in. (27.9 x 49.5 cm)
Estimate $10,000-15,000 Provenance Texas Gallery, Houston
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Property from an Important Midwest Collection scan for more on lot 136
136. Sol LeWitt
1928-2007
From A Point Halfway Between The Midpoint Of The Top Side And The Upper Lef Corner Toward The Midpoint Of The Right Side, 1975
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137. Dorothea Rockburne
b. 1932
Locus 3, from Locus, 1972
Unique graphite text drawing on orange wove paper with artist’s cut sheet edge. Signed, titled, dated and annotated ‘R308’ in pencil, framed. 12 x 12 in. (30.5 x 30.5 cm)
Relief etching, aquatint, pencil and white oil paint on Strathmore Rag Bristol paper, the full sheet folded (as issued), lacking the original portfolio. Signed, titled, dated ‘72’ and numbered 20/42 in pencil, published by Parasol Press Ltd., New York, framed. S. 39 7/8 x 30 in. (101.3 x 76.2 cm)
Estimate $5,000-7,000
Estimate $2,500-3,500
138. Larry Bell
b. 1939
PCFBK 8 (Planal Curve Fade on Black), 1979 Aluminum and silicon monoxide drawing on black Arches paper. Signed and dated on the front, titled and dated ‘9-6-1979’ in pencil on the reverse, framed. 38 3/4 x 31 7/8 in. (98.4 x 81 cm) Estimate $8,000-12,000
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139. Bridget Riley
b. 1931
Untitled (Fragment 5), 1965 Screenprint in black and white on Plexiglas, the full sheet with scattered losses and touched-in spots in the black and white inks. Incised with signature, date and numbered 39/75 on the reverse in pencil, (there were also 10 artist’s proofs), published by Robert Fraser Gallery, London, framed. S. 23 1/2 x 30 3/4 in. (59.7 x 78.1 cm)
Estimate $7,000-10,000 Literature Karsten Schubert 5e
Property from the Edwin C. Cohen Family Collection
140. Agnes Martin
1912-2004
141. Brice Marden
b. 1938
Paintings and Drawings, 1974-1990
Distant Muses, 2000
The complete set of 10 lithographs in colors, on frm transparency paper, with full margins, with text, the sheets loose (as issued), contained in the original gray card portfolio with printed uppers. From the edition of 2,500 published by Nemela & Lenzen GmbH, Monchengladback and Stedelijk Museum, Amsterdam for Agnes Martin’s 1991 retrospective at the Stedelijk Museum. all I. 9 x 9 in. (22.9 x 22.9 cm) all S. 11 3/4 x 11 3/4 in. (29.8 x 29.8 cm)
Screenprint in colors, on Somerset Velvet paper, with full margins. Signed, dated and numbered 139/300 in pencil (there were also 45 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), unframed. I. 8 1/2 x 13 in. (21.6 x 33 cm) S. 23 3/8 x 19 in. (59.4 x 48.3 cm)
Estimate $2,000-3,000
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Estimate $4,000-6,000 Literature Gemini G.E.L. 1881
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142. Brice Marden
b. 1938
Adriatics: two plates, 1973 Two etchings on Rives BFK paper, with full margins. Both signed, dated and numbered 16/40 and 14/40 in pencil (there were also 12 artist’s proofs), published by Parasol Press Ltd., New York, unframed. both I. 23 3/4 x 14 in. (60.3 x 35.6 cm) both S. 34 1/4 x 24 in. (87 x 61 cm) Estimate $3,000-5,000 Literature Jeremy Lewison 22d and 22e
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143. Brice Marden
b. 1938
Five Plates: one plate, 1973 Etching, on Rives BFK paper, with full margins. Signed, dated and numbered 31/50 in pencil (there were also 15 artist’s proofs), published by Parasol Press, New York, unframed. I. 27 1/4 x 19 1/2 in. (69.2 x 49.5 cm) S. 39 1/2 x 29 1/4 in. (100.3 x 74.3 cm) Estimate $1,500-2,500 Literature Jeremy Lewison 23e
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This lot is to be Sold with No Reserve
144. John Cage
1912-1992
145. Danica Phelps
b. 1971
Global Village 37-48, 1989
Untitled, 2005
Aquatint on two sheets of gray smoked Fabriano paper (as issued), the full sheets. Signed, titled, dated and numbered 14/15 in pencil (a unique variant), published by Crown Point Press, San Francisco, framed. S. 35 x 25 3/4 in. (88.9 x 65.4 cm)
Unique drawing with assembled strips of wove paper, watercolor and collage. Signed, dated and titled in pencil. 15 1/8 x 11 in. (38.4 x 27.9 cm)
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Estimate $800-1,200 •
Estimate $4,000-6,000 scan for more on lot 145
Property from an Important Midwest Collection scan for more on lot 146
146. Roxy Paine
147. Roxy Paine
b. 1966
Scumak, 2002
Scumak, 2001
Unique low density polyethylene in orange and metal rod armature inside, with a painted white wood pedestal. Incised ‘S2-P2-09’ on the underside. overall 18 x 19 x 26 in. (45.7 x 48.3 x 66 cm)
Unique low density polyethylene in red, with metal rod armature inside. Incised `52-F2-R32’ on the underside. overall 19 x 20 x 22 in. (48.3 x 50.8 x 55.9 cm)
Estimate $2,000-3,000 scan for more on lot 147
b. 1966
Estimate $1,500-2,500 Provenance Carl Solway Gallery, Cincinnati
148. Mary Heilmann
b. 1940
149. Sean Scully
b. 1945
Joaquin’s Close Out, 2006
Shoji, 1992
Aquatint in colors, on Somerset paper, with full margins. Signed, dated and numbered 15/25 in pencil, published by Crown Point Press, San Francisco, framed. I. 29 7/8 x 21 7/8 in. (75.9 x 55.6 cm) S. 39 3/4 x 30 3/4 in. (101 x 78.1 cm)
Woodcut in colors, on Fujiwara Awagami paper, with full margins. Signed, titled, dated and numbered 26/30 in pencil (there were also 9 artist’s proofs), published by Garner Tullis Workshop, New York, framed. I. 9 x 12 in. (22.9 x 30.5 cm) S. 22 x 22 1/8 in. (55.9 x 56.2 cm)
Estimate $2,500-3,500
Estimate $5,000-7,000 Literature Graphische Sammlung Albertina 92002
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Property from an Important Midwest Collection scan for more on this lot
150. Alan Shields
1944-2005
Detroit, 1973 Double sided screenprint in colors, with interlacing strips of Morilla AP etching paper stitched and glued together in a network of grids, the full sheet. Signed, dated and numbered 8/13 in pencil, published by the Jones Road Print Shop and Stable, Barneveld, Wisconsin, framed. S. 22 1/8 x 22 1/8 in. (56.2 x 56.2 cm) Estimate $1,000-2,000 Literature David Acton 84
Alan Shields and Bill Weege (Master Pinter and Founder of Jones Road Print Shop and Stable) interviewed by artist Howardena Pindell in Barneveld, Wisconsin, November 16, 1974 HP: In some prints you deliberately use one side of the paper and others you print on both. Is there a reason? BW: It’s an accident. AS: It’s deliberately accidental. The grids are quite obviously, to me anyway, divided into two sides–they have two sides ... I don’t think that either way is right, I just do all that’s possible.
Property from an Important Midwest Collection
151. Jasper Johns
b. 1930
152. Bruce Nauman
b. 1941
Evian, 1972
Untitled (Gray), 1971
Lithograph in colors, on Angoumois à la main paper, the full sheet. Signed and numbered 11/64 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), framed. S. 43 3/4 x 29 1/2 in. (111.1 x 74.9 cm)
Lithograph in colors, on Rives BFK paper, the full sheet. Signed, dated and numbered 66/75 in pencil (there were also 15 artist’s proofs), co-published by Castelli Graphics, New York, Nicholas Wilder Gallery and Cirrus Editions, Los Angeles, framed. S. 30 x 42 in. (76.2 x 106.7 cm)
Estimate $4,000-6,000 Literature Gemini G.E.L. 346 Universal Limited Art Editions 115
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Estimate $1,500-2,000 Literature Christopher Cordes 9
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153. Ernesto Neto
b. 1964
Once in Love, 2010 Plywood and polyamide textile containing glass beads sculpture. From the edition of 20 (there were also 5 artist’s proofs), published by Independent Curators International, New York. 13 x 13 x 13 in. (33 x 33 x 33 cm) Estimate $1,500-2,500
154. Robert Beck
b. 1959
Untitled (“The Video Manuel” by David Cheshire/”Art Therapy: In Theory and Practice” ed Elinor Ullman and Penny Dachinger), 1998/2005 Mixed media drawing with acrylic paint, carbon, charcoal, graphite, and latent fnger print powder, on paper. Signed, titled and dated twice on the reverse in pencil (once in 1998 and once in 2005), framed. 14 x 11 in. (35.6 x 27.9 cm)
155. Jack Pierson Untitled, 1999
Unique photographic taped collage. Signed and dated in black ink on the reverse. 13 7/8 x 11 in. (35.2 x 27.9 cm) Estimate $800-1,200 Provenance Cheim and Read, New York
Estimate $1,000-2,000 Provenance CRG Gallery, New York Anthony Meier Fine Arts, San Francisco
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b. 1960
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Property from the Edwin C. Cohen Family Collection
156. Dan Graham
b. 1942
157. Stan Douglas
View Interior, New Highway Restaurant, Jersey City, NJ (diptych), 1968 Two color coupler prints, mounted on one sheet of museum board (as issued) Signed, titled, dated and numbered 12/30 in pencil, published by Patrick Painter Editions, Los Angeles, framed. both I. 20 x 30 in. (50.8 x 76.2 cm) overall S. 50 1/2 x 40 in. (128.3 x 101.6 cm)
Property from the Edwin C. Cohen Family Collection
158. Tomas Struth
b. 1960
b. 1954
False Creek Flats, Vancouver, 2002
Yosemite 1977-2002, 2004
Chromogenic print. Signed, dated and numbered 64/200 in black marker on the reverse, unframed. I. 14 x 36 in. (35.6 x 91.4 cm) S. 22 3/8 x 43 7/8 in. (56.8 x 111.4 cm)
Chromogenic print, with two accompanying musical cd’s of performances at exhibition venues in Los Angels and New York by Evan Parker and Frank Bungarten, and the bound book Thomas Struth 1977-2002, all contained in the original grey cloth-covered presentation slipcase. The chromogenic print signed, titled, dated and numbered 16/300 in pencil, additionally numbered on a label afxed to the inside of the porfolio, published by Marian Goodman Gallery, New York, the print unframed. print 11 5/8 x 23 3/8 in. (29.5 x 59.4 cm) portfolio 12 1/4 x 12 7/8 x 3 3/4 in. (31.1 x 32.7 x 9.5 cm)
Estimate $800-1,200
Estimate $3,000-5,000
Estimate $1,200-1,800
157.
158.
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156.
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159. Richard Haas
160. Robert Cottingham
b. 1935
Manhattan View, Governor’s Island, 1999
Travel Notes, 2006
Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed, titled, dated and numbered 81/85 in pencil (there were also 15 artist’s proofs), published by John Szoke Editions, New York (with their blindstamp), framed. I. 22 1/4 x 34 in. (56.5 x 86.4 cm) S. 28 5/8 x 40 1/4 in. (72.7 x 102.2 cm)
The complete set of eight chromogenic prints. All signed and numbered 6/9 on the reverse in black marker (there were also 3 artist’s proofs), all framed. all I. 20 x 20 in. (50.8 x 50.8 cm) all S. 22 1/4 x 22 3/8 in. (56.5 x 56.8 cm)
Estimate $1,000-2,000 scan for more on lot 160
b. 1936
Literature John Szoke 136
Estimate $4,000-6,000
161. Rodney Graham
b. 1949
Weather Vane, 2002 Black enameled stainless steel multiple. Signed and numbered 55/70 in blue ink on the accompanying Parkett certifcate (there were also 20 artist’s proofs numbered in Roman numerals), published by Parkett Editions, New York and Zurich. 27 x 25 x 21 in. (68.6 x 63.5 x 53.3 cm) Estimate $1,000-1,500 Literature Parkett No. 64 scan for more on this lot
Property from the Edwin C. Cohen Family Collection
162. Gerhard Richter
b. 1932
Prisma II, 2002 Heavy fint glass prism, in the original dark gray cloth-lined presentation case. Signed and numbered 29/88 in black ink on the inside of the case, additionally embossed with title, date, number and artist’s name on the front of the presentation case (there were also 12 artist’s proofs in Roman numerals), published by Deutsche Guggenheim, Berlin. Prism 1 5/8 x 4 3/4 x 1 5/8 in. (4.1 x 12.1 x 4.1 cm) Case 2 x 8 x 2 1/2 in. (5.1 x 20.3 x 6.4 cm) Estimate $2,500-3,500 Literature Hubertus Butin 121 scan for more on this lot
Property from an Important Midwest Collection
163. Buckminster Fuller
1895-1983
Single-cell Jitterbug, 1976 Brushed chrome and etched copper. With incised signature on one of the triangle panels, from the edition of 150. open 9 x 13 5/8 x 13 5/8 in. (22.9 x 34.6 x 34.6 cm) or dimensions variable Estimate $2,500-3,500
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Object viewed in various positions
This lot is to be Sold with No Reserve
164. Fred Tomaselli
b. 1956
Phrase Book, 2000 The complete set of one etching, three relief prints and fve ofset lithographs in colors, on wove paper, all bound and the relief prints tipped-in (as issued), all contained in the oroginal wood and epoxy, hangable, presentation box designed by the artist. Signed by the artist and author and numbered 131/150 in pencil on the justifcation, published by the Whitney Museum of American Art, New York. 14 5/8 x 10 3/4 x 2 in. (37.1 x 27.3 x 5.1 cm) Estimate $800-1,200 •
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165. Donald Sultan
b. 1951
Red Poppies, April 25, 2007, 2007 Screenprint with focking and handapplied silica in colors, on 2-ply museum board, with full margins. Signed, titled, dated and numbered 31/75 in pencil (there were also 20 artist’s proofs), published by Lococo Fine Art, St. Louis, framed. I. 22 3/4 x 23 in. (57.8 x 58.4 cm) S. 24 x 24 in. (61 x 61 cm) Estimate $1,200-1,800
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166. Donald Sultan
b. 1951
Orange and Black March 22 2011; and Black and Blues March 30 2011, 2011 Two screenprints with hand-applied silica in colors, on 2-ply museum board, the full sheets. Both signed, titled, dated and numbered 22/75 in silver ink, published by Hamilton Selway, Los Angeles, both framed. both S. 38 x 38 in. (96.5 x 96.5 cm) Estimate $4,000-6,000
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167. James Rosenquist
1933-2017
Spaghetti, 1970 Lithograph in colors, on Copperplate Deluxe paper, with full margins. Signed, titled, dated and numbered 35/50 in pencil (there were also 10 artist’s proofs), co-published by Castelli Graphics and Hollander’s Workshop, New York, framed. I. 29 1/8 x 41 1/4 in. (74 x 104.8 cm) S. 31 x 42 in. (78.7 x 106.7 cm) Estimate $3,000-5,000 Literature Constance Glenn 31
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168. James Rosenquist
1933-2017
Cabeza de Vaca, Sorcerer, 2003 Lithograph in colors, on Arches paper, the full sheet. Signed, titled, dated and numbered 26/50 in pencil (there were also 10 artist’s proofs), published by Universal Limited Art Editions, Inc., West Islip, NY framed. S. 45 x 31 5/8 in. (114.3 x 80.3 cm) Estimate $2,500-3,500
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169. Christo and Jeanne-Claude 1935-2020 and 1935-2009 Red Store Front, Project; Orange Store Front, Project; and Yellow Store Front, Project, 1979-80 One screenprint with collage of brown wrapping paper and two lithographs with collage of brown wrapping paper, cloth and acetate on heavy white board, Arches, and Arches paper mounted to cardboard (as issued), the full sheets and with full margins. All signed and numbered (red) 37/110, (orange) ‘A.P. 16/25’ and (yellow)
15/100 in (there were also 10, 18 and 23 artist’s proofs) co-published by Edition Schellmann & Klüser, Munich, and Verlag Gerd Hatje, Stuttgart, Ediciones Polígrafa, Barcelona and Abrams Original Editions, New York, respectively, all unframed. Red S. 27 3/4 x 21 3/4 in. (70.5 x 55.2 cm) Orange S. 14 x 10 3/4 in. (35.6 x 27.3 cm) Yellow S. 31 3/4 x 23 3/8 in. (80.6 x 59.4 cm) Estimate $6,000-9,000 Literature Jörg Schellmann 93, 102 and 104
170. Christo and Jeanne-Claude 1935-2020 and 1935-2009 Surrounded Islands, Project for Biscayne Bay, Greater Miami, Florida (Print in Two Parts), 1987 One photograph with collotype, screenprint and masking tape collage mounted to ragpaper (as issued) and one collotype and screenprint with map, pink woven polypropylene fabric and masking tape collage on Fabriano paper, the full sheets. Both signed, annotated ‘part I’ and ‘part II’, and numbered 34/125 in pencil respectively (there were also 30 artist’s proofs in Arabic numerals and 15 artist’s proofs in Roman numerals), published by Edition Schellmann, Munich/New York, both framed. both S. 15 x 15 3/4 in. (38.1 x 40 cm) Estimate $2,500-3,500 Literature Jörg Schellmann 132 scan for more on lot 170
Property from an Important Midwest Collection
171. Claes Oldenburg
b. 1929
Miniature Sof Drum Set, 1969 Screenprint on canvas, wash-line, wood and spray painted multiple, with accompanying screenprinted wove papercovered wood base (as issued) Signed with initials and numbered 153/200 in black marker on the large drum, published by Multiples Inc., New York (with their and the artist’s inkstamp on the underside). 11 3/4 x 19 x 14 in. (29.8 x 48.3 x 35.6 cm) dimensions variable Estimate $2,500-3,500 Literature David Platzker 12 scan for more on this lot
This lot is to be Sold with No Reserve
172. Claes Oldenburg
b. 1929
Sof Drum Set, 1972 Lithograph in black, on Angoumois à la main paper, with full margins. Signed, dated, and numbered 48/68 in pencil (there were also 6 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), framed. I. 25 1/2 x 34 in. (64.8 x 86.4 cm) S. 29 x 34 in. (73.7 x 86.4 cm) Estimate $600-900 • Literature Gemini G.E.L. 417 scan for more on this lot
173. Jim Dine
b. 1935
Two Robes with Watercolor, 1980-83 Lithograph with hand-additions in watercolor and hand scraping afer printing, on two sheets of Arches cover paper (as issued), the full sheets. Signed, dated and numbered 5/9 in pencil (there were also 3 artist’s proofs), published by Pace Editions, Inc., New York, framed. overall S. 38 x 58 7/8 in. (96.5 x 149.5 cm) Estimate $4,000-6,000 Literature Ellen D’Oench and Jean Feinberg 63
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Property from an Important Midwest Collection
174. George Segal
1924-2000
Girl on a Chair, 1970 Plaster and painted wood assemblage. Incised with signature, date, title and numbered 29/150 on a metal plaque afxed to the reverse, published by Editions Alecto Limited, London. 35 3/4 x 24 x 11 5/8 in. (90.8 x 61 x 29.5 cm) Estimate $2,500-3,500
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Property from an Important Midwest Collection
175. George Segal
1924-2000
Untitled, 1964 Chalk pastel drawing on wove paper. Signed and dated in pencil. 17 7/8 x 12 in. (45.4 x 30.5 cm) Estimate $1,500-2,500 Provenance Sidney Janis Gallery, New York scan for more on lot 176
Property from an Important Midwest Collection
176. Marc Chagall
1887-1985
La Leçon de Philétas (Philétas Lesson), from Daphnis et Chloé, 1961 Lithograph in colors, on Arches paper, the full sheet. From the unsigned edition of 250 without margins (there was also a signed and numbered edition of 60 with margins), published by Tériade Editeur, Paris, framed. S. 16 1/2 x 12 5/8 in. (41.9 x 32.1 cm) Estimate $3,000-5,000 Literature Fernand Mourlot 323 Patrick Cramer books 46
This lot is to be Sold with No Reserve
177. Allen Jones
b. 1937
178. David Hockney
b. 1937
Concerning Marriages: one plate, 1964
A Bigger Book, Art Edition C, 2010/2016
Lithograph in colors, on wove paper, the full sheet. Signed, dated and numbered 44/75 in pencil (there were also 15 artist’s proofs), published by Editions Alecto, London (with their blindstamp), framed. S. 29 5/8 x 22 in. (75.2 x 55.9 cm)
iPad drawing in colors, printed on archival paper, with full margins, with the illustrated 680-page chronology book, numbered ‘0556’ (printed), original print portfolio and adjustable book stand designed by Marc Newson, contained in the original cardboard box with label stamp-numbered ‘0556’. iPad drawing signed, dated and numbered 56/250 in pencil, the book signed in black ink on the title page (one of four editions of 250 lettered A-D, there was also an edition of 10,000 without an iPad drawing), published by the artist (with their blindstamp) and Taschen, Berlin, the iPad drawing unframed.
Estimate $300-500 • Literature Richard Lloyd 24c
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I. 17 1/4 x 13 in. (43.8 x 33 cm) S. 22 x 17 in. (55.9 x 43.2 cm) book. 28 x 20 x 3 1/2 in. (71.1 x 50.8 x 8.9 cm) Estimate $5,000-7,000
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Property from an Important Midwest Collection
179. David Hockney
b. 1937
Henry Reading Newspaper, from Friends, 1977 Lithograph, on Laurence Barker handmade paper, the full sheet. Signed and numbered 59/71 in red pencil, slightly faded (there were also 14 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. S. 24 3/8 x 18 in. (61.9 x 45.7 cm) Estimate $3,000-5,000 Literature Gemini G.E.L. 767
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This lot is to be Sold with No Reserve
180. David Hockney
b. 1937
A Souvenir of a Triple Bill (for Daryll), 1982 Etching and aquatint with hand-coloring, on wove paper, with full margins. Signed, inscribed ‘for Daryll Barnett’ and numbered 192/300 in pencil, published by the artist, framed. I. 15 3/4 x 21 1/4 in. (40 x 54 cm) S. 22 1/4 x 31 1/4 in. (56.5 x 79.4 cm) Estimate $2,000-3,000 •
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181. Various Artists The New York Collection for Stockholm Portfolio, 1973 The complete set of 30 prints including 17 screenprints, nine lithographs, two lithographs with screenprint, one photocopy and one photograph, 11 in colors, on wove papers, with full margins and the full sheets with the original wove paper folios and title page and justifcation, all contained in the original beige paper covered folio and slipcase, with red printed title. 26 signed, some dated and all numbered 233/300 in various media, published by Experiments in Art and Tehcnology, New York. all I. various sizes all S. various sizes slipcase 12 3/8 x 9 3/8 x 1 in. (31.4 x 23.8 x 2.5 cm) Estimate $12,000-18,000 scan for more on this lot
182. Wayne Tiebaud
b. 1920
Suckers State II, 1968 Lithograph in red, on Rives BFK paper, with full margins. Signed, titled and numbered 49/150 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 8 x 14 in. (20.3 x 35.6 cm) S. 16 x 22 in. (40.6 x 55.9 cm) Estimate $5,000-7,000 Literature Gemini G.E.L. 86 scan for more on this lot
183. Roy Lichtenstein
1923-1997
Entablature V, from Entablature series, 1976 Screenprint, lithograph and collage in colors with embossing, on Rives BFK paper, with full margins. Signed, dated and numbered `AP V’ in pencil (one of 9 artist’s proofs, the edition was 30), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), framed. I. 21 3/4 x 38 in. (55.2 x 96.5 cm) S. 29 x 44 7/8 in. (73.7 x 114 cm) Estimate $6,000-9,000 Literature Mary Lee Corlett 142 scan for more on this lot
Property from The Museum of Modern Art, New York, Sold to Beneft the Acquisitions Fund
184. Roy Lichtenstein
1923-1997
Sunrise, 1965 Ofset lithograph in colors, on lightweight wove paper, with full margins. Signed in pencil, from an unknown edition size, published by Leo Castelli Gallery, New York, framed. I. 17 3/8 x 23 1/4 in. (44.1 x 59.1 cm) S. 18 1/4 x 24 3/8 in. (46.4 x 61.9 cm) Estimate $5,000-7,000 Provenance Jan Cowles, New York; bequest to The Museum of Modern Art, New York, 2019 Literature Mary Lee Corlett II.7
Property from The Museum of Modern Art, New York, Sold to Beneft the Acquisitions Fund
185. Roy Lichtenstein
1923-1997
Landscape 1, from Ten Landscapes, 1967 Screenprint in colors, on heavy wove paper, the full sheet. Signed, dated and numbered 13/100 in pencil on the reverse (there was also an edition of 10 in Roman numerals), co-published by Original Editions and Leo Castelli Gallery, New York, framed. S. 10 7/8 x 17 7/8 in. (27.6 x 45.4 cm) Estimate $4,000-6,000 Provenance Jan Cowles, New York; bequest to The Museum of Modern Art, New York, 2019 Literature Mary Lee Corlett 51
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Property from The Museum of Modern Art, New York, Sold to Beneft the Acquisitions Fund
186. Roy Lichtenstein
1923-1997
Whaam! Poster, 1967 Two ofset lithographs in colors, on wove paper, with full margins. Signed, from the edition of 1,450 printed in 1967 (there were also two editions of 2,000 in 1968 and 1971, an edition of 2,500 in 1973, an edition of 4,000 in 1978, and four editions of 3,000 in 1982, 1984, 1986, and 1988), published by The Tate Gallery, London, framed. both I. 24 3/4 x 29 in. (62.9 x 73.7 cm) both S. 25 1/4 x 29 1/2 in. (64.1 x 74.9 cm) Estimate $2,000-4,000 Provenance Jan Cowles, New York; bequest to The Museum of Modern Art, New York, 2019 Literature Mary Lee Corlett Appendix 7
Property from the Collection of Hanford Yang
187. Roy Lichtenstein
1923-1997
Dinnerware (six pieces), 1966 The complete set of one six-piece glazed ceramic place setting. All with the artist’s stamped signature and additionally hand signed in black ink on the underside, from the edition of 800, published by Rosenthal Limitierte Kunstreihen, Germany. Plates diameter 10 1/4 in. (26 cm) dimensions variable Estimate $2,000-3,000
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188. Andy Warhol
1928-1987
Merce Cunningham I, from Cunningham I, 1974 Screenprint, on Japanese gif wrapping paper, the full sheet. Signed, dedicated ‘To Hilary’ and numbered 11/100 in pencil on the reverse (there were also 30 artist’s proofs), published by Castelli Graphics and Multiples, Inc., New York, framed. S. 30 x 20 in. (76.2 x 50.8 cm) Estimate $5,000-7,000 Literature Frayda Feldman and Jörg Schellmann 184
Hilary Knight, to which this print is dedicated, was a friend of Warhol’s and a well known writer and illustrator of dozens of books including the Eloise series by Kay Thompson.
189. Andy Warhol
1928-1987
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Untitled 12, for For Meyer Shapiro, 1974 Screenprint in colors, on Arches paper, with full margins. An unsigned trial proof with the accompanying Andy Warhol Foundation for the Visual Arts Inc. Certifcate of Authenticity and with the Andy Warhol Authentication Board Inc. and The Estate of Andy Warhol inkstamps on the reverse, framed. I. 19 x 15 7/8 in. (48.3 x 40.3 cm) S. 30 x 22 1/2 in. (76.2 x 57.2 cm) Estimate $6,000-9,000 Literature see Frayda Feldman and Jörg Schellmann 120
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190. Andy Warhol
1928-1987
Mao (wallpaper), 1974 Screenprint in colors, on wallpaper, the full sheet. Signed and numbered 13/300 in black ball-point pen, slightly faded (Feldman and Schellmann call for approximately 100 signed), published by Factory Additions, New York, for an Andy Warhol exhibition at the Musée Galliera, Paris, unframed. S. 40 x 29 1/2 in. (101.6 x 74.9 cm) Estimate $6,000-8,000 Literature Frayda Feldman and Jörg Schellmann 125A
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191. Andy Warhol
1928-1987
From A to B and Back Again, the Philosophy of Andy Warhol book with drawing, 1975 Hard cover book with original dust jacket cover, with hand drawing of a Tomato Soup can in black marker on the title page. Signed, titled and dedicated ‘To Dan’ in black marker, the book published by Harcourt Brace Jovanovich. 8 1/2 x 5 3/4 x 1 in. (21.6 x 14.6 x 2.5 cm) Estimate $1,000-1,500
192. Ed Ruscha
b. 1937
Two People Temporarily Separated; and Man Walking Away from it All, 1980 Two etchings in colors, on R.K. Burt paper, with full margins. Both signed and dated, Two People Temporarily Separated numbered 5/55 in pencil and A Man Walking Away From It All annotated ‘AP’ in pencil, (one is an artist’s proof and there were also 5 artist’s proofs for both), published by Bernard Jacobson, Ltd. London, both framed. both I. 10 3/8 x 31 5/8 in. (26.4 x 80.3 cm) both S. 19 1/4 x 39 1/4 in. (48.9 x 99.7 cm)
Estimate $6,000-9,000 Literature Siri Engberg 109, and 111
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193. Ed Ruscha
b. 1937
New Wood, Old Wood, 2007 Diptych of Mixografía® relief prints in colors, on handmade paper, the full sheets. Both signed, dated and numbered 21/75 in pencil (there were also 10 artist’s proofs), published by Mixografía, Los Angeles, both framed. both S. 13 1/4 x 33 7/8 in. (33.7 x 86 cm) Estimate $4,000-6,000
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194. Ed Ruscha
b. 1937
Bowl, from Domestic Tranquility series, 1974 Lithograph in colors, on Arches Cover paper, with full margins. Signed, dated, and numbered 54/65 in pencil (there were also 24 artist’s proofs), co-published by Multiples, Inc., and Castelli Graphics, New York (with their blindstamp and inkstamp), unframed. I. 12 x 15 in. (30.5 x 38.1 cm) S. 18 x 22 1/4 in. (45.7 x 56.5 cm) Estimate $1,500-2,500
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195. Jef Wall
b. 1946
Torso, 1997 Contact photograph, on photo paper, with full margins. Signed with initials, dated and numbered 3/50 in pencil on the reverse (there were also 20 artist’s proofs), co-published by Edition Schellmann, Munich and New York, and Patrick Painter Editions, Vancouver, for documenta X, Kassel, 1997, framed. I. 9 5/8 x 7 1/2 in. (24.5 x 19.2 cm) S. 17 x 14 5/8 in. (43.3 x 37.2 cm) Estimate $1,200-1,800 Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 415
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196. Hannah Wilke
1940-1993
In the Doghouse, 1973 Screenprint in colors, with pencil additions, on wove paper, the full sheet. Signed, dated and annotated ‘Color Trial 3/4’ in pencil (from the edition of 50), published by Multiples, Inc., New York, framed. S. 17 3/4 x 24 in. (45.1 x 61 cm) Estimate $3,000-5,000
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197. William Kentridge
b. 1955
Funnel and Tap, 2002/2010 Etching and drypoint, on wove paper, with full margins. Signed, and numbered 11/40 in pencil (there were also 4 artist’s proofs), published by the artist, framed. I. 7 1/2 x 9 3/4 in. (19.1 x 24.8 cm) S. 14 x 15 3/8 in. (35.6 x 39.1 cm) Estimate $1,200-1,800
198. William Kentridge scan for more on this lot
b. 1955
Eros in School, 2001 Lithograph on book pages, with Chinecollé to Rives BFK paper, with full margins. Signed and numbered 17/45 in pencil (there were also 4 artist’s proofs), published by the artist, framed. I. 8 x 10 5/8 in. (20.3 x 27 cm) S. 11 x 15 in. (27.9 x 38.1 cm) Estimate $2,000-3,000
199. William Kentridge
b. 1955
Flower, 2003
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Etching, on Somerset velvet paper, with full margins. Signed and numbered 18/40 in pencil, published by the LeRoy Neiman Center for Print Studies at Columbia University, New York, framed. I. 8 x 6 in. (20.3 x 15.2 cm) S. 11 3/4 x 9 1/2 in. (29.8 x 24.1 cm) Estimate $1,500-2,000
200. Louise Bourgeois
1911-2010
Montée Difcile (Slow Climb): Version 2, circa 1990 Photogravure, on Arches paper, with full margins. Signed with initials in pencil (one of two known impressions of version 2), printed by Iris Editions, New York, not issued as a published edition, framed. I. 7 1/4 x 5 in. (18.4 x 12.7 cm) S. 15 x 11 in. (38.1 x 27.9 cm)
Estimate $7,000-9,000 Literature Museum of Modern Art Cat. 656.2
Version one of Slow Climb was made in 1946-47 as an unnumbered and unpublished engraving and drypoint. Years later, the composition from version one was transferred to a new matrix for version two using photogravure. This second version of Slow Climb made circa 1990, also unnumbered and unpublished, was printed by Deli Sacilotto of Iris Editions. Sacilotto is a master printer who specialized in the photogravure technique. Bourgeois met Sacilotto through mutual friends and established a warm relationship with him.
“Te poor devils are climbing up step by step; they are trying their best. Tis will become the Myth of Sisyphus.” Louise Bourgeois
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201. Louise Bourgeois
1911-2010
Ear, 2004 Drypoint and aquatint with hand-coloring with hand cut-out, on Hahnemühle paper, with full margins. Signed, dated and numbered 22/25 in pencil (there were also 7 artist’s proofs), published by Harlan & Weaver, New York, framed. I. 10 x 6 1/8 in. (25.4 x 15.6 cm) S. 17 1/8 x 15 in. (43.5 x 38.1 cm) Estimate $4,000-6,000 Literature Museum of Modern Art Cat. No. 416/VI
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202. Louise Bourgeois
1911-2010
Hands, 2003/2008 Photogravure with Chine collé to wove paper, with full margins. Signed, dated, annotated ‘FH’ (Felix Harlan) and numbered 29/65 in pencil (there were also 10 artist’s proofs), published by Harlan and Weaver, New York, framed. I. 7 1/2 x 10 in. (19.1 x 25.4 cm) S. 15 1/4 x 16 3/8 in. (38.7 x 41.6 cm) Estimate $2,500-3,500
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Property from an Important Midwest Collection
203. Kiki Smith
b. 1954
Untitled (Flower Farts), 2004 The complete set of fve Iris prints with tissue paper collage, on wove paper, the full sheets. All signed, dated and numbered 14/20 in pencil, published by Pace Editions Inc., New York, all framed together in one frame. all S. 4 7/8 x 7 in. (12.4 x 17.8 cm)
Estimate $4,000-6,000 Provenance Albright-Knox Art Gallery, Bufalo
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204. Kiki Smith
b. 1954
Dandelions, 1999 The complete set of six mezzotints, on mould-made Hahnemühle paper, with full margins. All signed, dated and numbered 4/24 in pencil (there were also 7 artist’s proofs), published by Pace Editions Inc., New York, all framed. all I. 3 7/8 x 3 1/2 in. (10 x 8.8 cm) all S. 10 x 8 3/4 in (25.4 x 22.2 cm) Estimate $3,000-5,000
Property from an Important Midwest Collection
205. Kiki Smith
b. 1954
206. Sarah Sze
b. 1969
Untitled, 1991
Far Site/Near Site, 1999
Multiple of high-fred enamel on glass, lacking wood shelf. Incised with signature and numbered 34/50, published by Artists Space, New York. 17 5/8 x 17 in. (44.8 x 43.2 cm)
The complete set of two lithographs in blue, on Okawara paper, the full sheets. Both signed, dated and numbered 18/25 in pencil, published by Marianne Boesky Gallery, New York, framed together. overall S. 39 x 15 1/4 in. (99.1 x 38.7 cm)
Estimate $1,500-2,500
Estimate $2,000-3,000
Literature Wendy Weitman and Museum of Modern Art 25
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Property from the Edwin C. Cohen Family Collection
207. Karen Kilimnik
b. 1955
Dancers in the Wings, Moths, Paris Opera, Degas, 2007 Giclée print in colors, on Somerset paper, with full margins. Signed in pencil on the reverse, from the edition of 100 (there were also 25 artist’s proofs), published by Serpentine Gallery, London, unframed. I. 15 7/8 x 11 3/4 in. (40.3 x 29.8 cm) S. 19 7/8 x 16 5/8 in. (50.5 x 42.2 cm) Estimate $800-1,200
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208. Peter Doig
b. 1959
Canoe Island, 2000 Screenprint in colors, on Somerset paper, the full sheet. Signed and numbered 70/300 in pencil on the reverse (there were also 30 artist’s proofs), published by Counter Editions, London, framed. S. 28 3/4 x 39 1/4 in. (73 x 99.7 cm) Estimate $3,000-5,000
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209. Shara Hughes
b. 1981
[Untitled]; and [Untitled] two drawings, 2006
Estimate $7,000-9,000 Provenance Rivington Arms, New York
Two mixed media drawings with colored pencil, acrylic paint, marker and graphite. Both signed and dated in pencil, framed together. both 11 3/4 x 9 3/4 in. (29.8 x 24.8 cm)
“I was making interiors for a long time. When I was making those paintings, there was a tragedy in my family that I was dealing with so everything in the paintings became a symbol of protection, armor, escape or a pair of threes that symbolized my brothers and me. Ten, when I got over those situations, I realized I only knew how to paint when I had a reason or something I was going through to give me motivation. I thought that was how you were supposed to be an artist. But, that doesn’t really make sense. You’re not going to always be struggling with something.” Shara Hughes
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210. Peter Saul
b. 1934
White Sex, 1967 Lithograph in colors, on wove paper, the full sheet. Signed, titled, and annotated ‘artist’s proof’ in pencil, one of a small number of artist’s proofs (there was no recorded edition), printed by Jack Lemon (with his blindstamp), published by Allan Frumkin Gallery, Chicago, framed. S. 22 3/8 x 30 in. (56.8 x 76.2 cm) Estimate $800-1,200
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211. Ai Weiwei
b. 1957
Deluxe Wanted Poster, 2014 Pigment print in colors, on Canson Rag Photographique paper, with full margins. Signed in red ink and stamp-numbered 34/60, published by Francis Naumann Fine Art, New York, unframed. I. 23 x 19 in. (58.4 x 48.3 cm) S. 23 7/8 x 20 in. (60.6 x 50.8 cm) Estimate $5,000-7,000
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This lot is to be Sold with No Reserve
212. Robert Gober
b. 1954
Untitled (Fresh Pigs), 1993-94 Photolithograph in colors, on French DurO-Tone paper, folded (as issued), with full margins. Signed, dated, and numbered 61/75 in pencil (there were also 10 artist’s proofs), published by the artist, framed. I. 11 1/8 x 11 in. (28.3 x 27.9 cm) S. 12 1/4 x 11 3/4 in. (31.1 x 29.8 cm) Estimate $1,000-1,500
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213. Hans Haacke
b. 1936
Untitled, from The New York Collection for Stockholm, 1973 Screenprint, on wove paper, with full margins, contained within the original wove paper folio with screenprinted artist’s name. Numbered 240/300 in pencil on the reverse, published by Experiments in Art and Technology Inc., New York, unframed. I. 5 x 6 1/2 in. (12.7 x 16.5 cm) S. 12 x 9 in. (30.5 x 22.9 cm)
214. Hans Haacke
b. 1936
Helmsboro Country (Unfolded), 1990 Screenprinted diptych in colors, one with cibachrome collage, on wove paper, with full margins. Numbered 14/36 in pencil on the reverse, published by John Weber Gallery, New York, both framed. pack 39 7/8 x 17 1/2 in. (101.3 x 44.5 cm) cigarette 39 7/8 x 12 1/2 in. (101.3 x 31.8 cm) Estimate $3,000-5,000
Estimate $400-600 •
Provenance John Weber Gallery, New York Private Midwestern Collection
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215. Walton Ford
b. 1960
216. Donald Baechler
b. 1956
217. Tom Otterness
b. 1952
Nila, 2000
Horse, from Increments, 1987
Giant, 1994
Lithograph in colors, on Arches Cover paper, with full margins. Signed, dated and numbered 72/150 in pencil (there were also 30 artist’s proofs), published by Paul Kasmin Gallery, New York, unframed. I. 40 1/4 x 29 1/2 in. (102.2 x 74.9 cm) S. 45 3/8 x 31 1/2 in. (115.3 x 80 cm)
Etching and aquatint, on Fabriano Tiepolo paper, with full margins. Signed, dated and numbered 13/17 in pencil (there were also 3 artist’s proofs), published by Mark Baron, New York, framed. I. 29 3/4 x 23 1/2 in. (75.6 x 59.7 cm) S. 35 x 27 1/2 in. (88.9 x 69.9 cm)
Drypoint, on wove paper, with full margins. Signed with initials and numbered 14/25 in pencil, published by Brooke Alexander Editions Inc., New York, framed. S. 79 1/2 x 31 1/4 in. (201.9 x 79.4 cm)
Estimate $1,500-2,500
Estimate $1,000-1,500
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Estimate $1,500-2,500
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Property from an Important Midwest Collection
218. Joel Otterson
b. 1959
Wet and Wild Ken & Barbie Andiron Set, 1993 Unique copper pipe and cast bronze sculpture. 27 x 39 x 12 1/2 in. (68.6 x 99.1 x 31.8 cm) Estimate $2,000-3,000
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219. Clayton Brothers b. 1963 and b. 1967 Untitled, 2005 Acrylic on wove paper. Signed by both artist’s Christian and Rob Clayton in pencil on the reverse, framed. 38 x 50 in. (96.5 x 127 cm) Estimate $3,000-5,000
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220. Umar Rashid (Frohawk
Two Feathers)
b. 1976
Pompey, Blind Faith, 2012 Acrylic, ink, cofee, and tea on wove paper. Signed and dated in black ink on the reverse. 43 5/8 x 30 in. (110.8 x 76.2 cm) Estimate $2,000-3,000 Provenance Morgan Lehmann Gallery, New York scan for more on this lot
221. Walter Martin and
Paloma Muñoz b. 1953 and b. 1965 Traveler IX at Night; and Traveler CLXVI, 2002-05 Chromogenic print mounted to Plexiglas and artist designed Snow Globe. The chromogenic print signed and numbered 1/5 in black ink on a label afxed to the reverse, the Snow Globe signed in black ink on a label afxed to the underside. Chromogenic Print 40 x 33 in. (101.6 x 83.8 cm) Snow Globe 7 x 5 3/4 x 5 3/4 in. (17.8 x 14.6 x 14.6 cm) Estimate $1,000-2,000 Provenance P.P.O.W Gallery, New York scan for more on this lot
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222. Kara Walker
b. 1969
The Bush; Skinny; and De-boning (three sculptures), 2002 The complete set of three free-standing, laser-cut stainless steel multiples, painted black. Signed and numbered 10/100 in black ink on a label afxed to the cover of the original box, published by Deutsche Guggenheim, Berlin. The Bush 6 1/2 x 5 3/8 x 5/8 in. (16.5 x 13.7 x 1.6 cm) Skinny 5 3/4 x 6 x 5/8 in. (14.6 x 15.2 x 1.6 cm) De-Boning 4 3/8 x 4 x 5/8 in. (11.1 x 10.2 x 1.6 cm) Estimate $3,000-5,000
This lot is to be Sold with No Reserve scan for more on this lot
223. William Cordova
b. 1972
Untitled (lineage), 2008 Two reclaimed book covers and chocolate. 9 1/4 x 9 1/2 x 5 1/2 in. (23.5 x 24.1 x 14 cm) dimensions variable Estimate $1,000-1,500 •
224. Arturo Herrera
b. 1959
Brinco, 2007 Untreated, watercut steel, contained in the original black case. Incised signature and stamped with date and numbered 1/18 (there were also 4 artist’s proofs), published by Independent Curators International, New York. 6 5/8 x 11 in. (16.8 x 27.9 cm) scan for more on this lot
Estimate $2,000-3,000
This work is made from untreated steel with the rust being part of the fnished work.
225. Mark Bradford
b. 1961
Can You Feel It? (Sissafed; Putcho Dress Down; Big daddy; fasss 2; and mijo), 2004 Five unique lithographs with hand applied endpaper, on fve brown paper bags. All signed with initials and variously numbered in pencil (all unique variants from the edition of 50), published by Artists Space, New York, all framed. all S. 10 3/4 x 5 1/8 in. (27.3 x 13 cm) Estimate $12,000-18,000
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226. Lorna Simpson
b. 1960
Double Portrait, 2013 The complete set of two screenprints in colors, on felt, with full margins. One signed and dated on the front, one titled and numbered 4/27 on the reverse in pencil, published by Lincoln Center Vera List Project, New York, both unframed. both I. approximately 18 x 14 1/4 in. (45.7 x 36.2 cm) both S. 34 1/2 x 20 in. (87.6 x 50.8 cm) Estimate $5,000-7,000
227. Mickalene Tomas
b. 1971
Trois Divas I-III (AEIOU and sometimes Y), 2010 The complete set of three screenprints in colors with hand-applied rhinestones, on Museum Board, the full sheets. All signed, dated and numbered 1/20 in pencil, published by Brand X Editions, New York, all framed. all I. 12 x 12 in. (30.5 x 30.5 cm) all S. 16 1/8 x 16 in. (41 x 40.6 cm) Estimate $8,000-12,000
228. John Baldessari
1931-2020
Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts), 1973 The complete set of 12 ofset lithographs in colors, on coated stock paper, with full margins, with title page and justifcation and the accompanying original blue letterpressed paper folder with die-cut window opening. From the edition of 2000 (there was also an edition of 500 signed by the publishers and numbered), co-published by Edizioni Giampaolo Prearo and Galleria Toselli, Milan, all framed. I. 7 x 10 1/4 in. (17.8 x 26 cm) S. 9 5/8 x 12 3/4 in. (24.4 x 32.4 cm) Estimate $2,500-3,500
229. Julian Opie
b. 1958
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Crow Turning, 2018 Continuous computer animation on LCD screen, with all electrical components, mounting hardware and contained in the original cardboard box with gallery label. Signed in black ink and numbered 15/20 (printed) on a label afxed to the reverse (there were also 5 artist’s proofs), published by Alan Cristea Gallery, London. 10 1/4 x 13 1/8 x 1 1/2 in. (26 x 33.3 x 3.8 cm) Estimate $2,500-3,500 scan for more on lot 229
230. George Condo
b. 1957
Paper Faces, 2000 Screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 71/108 in pencil (total edition includes 18 artist’s proofs), published by Lincoln Center for the Performing Arts, Inc., New York, framed. I. 25 1/4 x 42 3/8 in. (64.1 x 107.6 cm) S. 32 1/4 x 48 3/8 in. (81.9 x 122.9 cm) Estimate $2,000-3,000
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231. George Condo
b. 1957
Untitled (Mental States playing card drawing), 2011 Ink drawing, on a playing card with accompanying limited edition set of playing cards, all contained in the original purple paper-covered box. The drawing signed and dated in black ink, published by Hayward Gallery, London, on the occasion of the artist’s exhibition George Condo: Mental States. card 3 1/2 x 2 1/2 in. (8.9 x 6.4 cm) box 5 1/2 x 8 1/4 x 2 in. (14 x 21 x 5.1 cm) Estimate $4,000-6,000
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232. Cindy Sherman
b. 1954
Madame de Pompadour (née Poisson) soup tureen, 1990 Porcelain soup tureen in three parts, with screenprinted elements, handpainting in platinum and glaze Each element with printed signature and numbered ‘20 j 25’ in black (there were four editions of 25 in pink, green, blue and yellow), published by Artes Magnus, New York 12 x 21 3/4 x 14 in. (30.5 x 55.2 x 35.6 cm) Estimate $8,000-12,000
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Madame de Pompadour (née Poisson) was an unfappable force within the court of Louis XV. The French beauty’s early exercises in self-promotion landed her the position of maîtresse en titre, the chief royal mistress at court. Portraits of this Madame by Francois Boucher, her painter of choice, depicted a cunning arts patron. Such depictions came to surprising fruition in 1756 when, afer her partnership with Louis XV ended, she maintained her courtly position through the takeover of a previously failing porcelain
factory. She fipped the frm just a few years later in a sale directly to the royal court. In 1988 as she began her history portraits, Cindy Sherman started to devise this service-set that was inspired by designs of Madame de Pompadour’s factory in Vincennes. Like that 18th-century ingénue, Sherman sported a powdered wig and famboyant costume—as well as prosthetic breasts—in this reminder of the historical fgure’s astonishing shrewdness and critique upon complicity in the commodifcation of one’s own body.
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233. Cindy Sherman
b. 1954
Untitled (Lucille Ball), 1975/2001 Fujicolor Crystal Archive print. Signed and dated on the reverse in black ink, framed. I. 10 1/2 x 8 1/4 in. (26.7 x 21 cm) S. 12 x 9 1/2 in. (30.5 x 24.1 cm) Estimate $6,000-9,000 Provenance Metro Pictures Gallery, New York
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234. Jef Koons
b. 1955
Fisherman Golfer, from Luxury and Degradation, 1986 Photolithograph in colors, on Ragcote paper, the full sheet. Signed with initials in pencil on the reverse, presumably an unnumbered proof (the edition was 60, there were also 10 artist’ proofs), published by Ilene Kurtz, New York (with their inkstamp on the reverse), framed. S. 32 x 24 1/4 in. (81.3 x 61.6 cm) Estimate $1,000-2,000
235. Keith Haring
1958-1990
The Valley, with William S. Burroughs, 1990 Fourteen etchings, on Twinrocker HMP paper, with full margins, with text (etchings) by William S. Burroughs and colophon, the sheets contained in a black cloth-covered folio, all contained in the original red cloth-covered portfolio, lacking plate 15. Fourteen signed by the artist, one signed by the author, all dated and numbered 71/80 in pencil (there were also 13 artist’s proofs), published by George Mulder Fine Art, London. Portfolio 16 3/8 x 14 1/2 x 2 5/8 in. (41.6 x 36.8 x 6.7 cm)
Estimate $12,000-18,000 Provenance Private Collection, California Literature Klaus Littmann pp. 136-141
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236. Keith Haring
1958-1990
Pop Shop I: one plate, 1987 Screenprint in colors, on Coventry rag paper, with full margins, the colors slightly attenuated. Signed, dated and numbered ‘AP 6/30’ in pencil (an artist’s proof, the edition was 200), published by the artist, framed. I. 10 1/2 x 13 1/2 in. (26.7 x 34.3 cm) S. 12 x 15 in. (30.5 x 38.1 cm) Estimate $7,000-10,000 Literature Klaus Littmann p. 82
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237. Keith Haring
1958-1990
Pop Shop IV: one plate, 1989 Screenprint in colors, on wove paper, with full margins. Signed, dated and numbered ‘AP 11/25’ in pencil (an artist’s proof, the edition was 200), published by Martin Lawrence Editions Ltd., New York, framed. I. 11 3/8 x 14 5/8 in. (28.9 x 37.1 cm) S. 13 1/2 x 16 3/8 in. (34.3 x 41.6 cm) Estimate $8,000-12,000 Literature Klaus Littmann p. 147
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238. Keith Haring
1958-1990
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Untitled (two lovers), 1989 Screenprint in colors, on canvas over wood stretchers. Signed in black ink on a label afxed to the reverse, a proof (the edition was 60 and there were also 25 artist’s proofs), framed. 8 x 8 in. (20.3 x 20.3 cm) Estimate $12,000-18,000 Literature Klaus Littmann p. 153
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239. Keith Haring
1958-1990
240. Keith Haring
1958-1990
241. Keith Haring
1958-1990
Pop Shop VI: one plate, 1989/1995
Pop Shop VI: one plate, 1989/1995
Pop Shop V: one plate, 1989/1994
Screenprint in colors, on wove paper, with full margins. Signed by Julia Gruen (Executor for the Keith Haring Estate), dated ‘3/9/95’ and numbered 168/200 in pencil on the Estate Stamp on the reverse, published by Martin Lawrence Limited Editions, New York, with an Iguana blindstamp, framed. I. 11 1/2 x 14 1/2 in. (29.2 x 36.8 cm) S. 13 1/2 x 16 1/2 in. (34.3 x 41.9 cm)
Screenprint in colors, on wove paper, with full margins. Signed by Julia Gruen (Executor for the Keith Haring Estate), dated ‘3-9-95’ and numbered 159/200 in pencil on the Estate Stamp on the reverse, published by Martin Lawrence Limited Editions, New York, with an Iguana blindstamp, framed. I. 11 3/8 x 14 1/2 in. (28.9 x 36.8 cm) S. 13 1/2 x 16 1/2 in. (34.3 x 41.9 cm)
Screenprint in colors, on wove paper, with full margins. Signed by Julia Gruen (Executor for the Keith Haring Estate), dated ‘3/25/94’ and numbered 181/200 in pencil on the Estate Stamp on the reverse, published by Martin Lawrence Limited Editions, New York, with an Iguana blindstamp, framed. I. 11 3/8 x 14 1/2 in. (28.9 x 36.8 cm) S. 13 1/2 x 16 1/2 in. (34.3 x 41.9 cm)
Estimate $5,000-7,000
Estimate $4,000-6,000
Estimate $4,000-6,000
Provenance Private Collection, California
Literature Klaus Littmann p. 149
Literature Klaus Littmann p. 143
Literature Klaus Littmann p. 150
239.
240.
241.
242. Damien Hirst
b. 1965
The Souls IV: Chilli Red-Oriental Gold, 2010 Foil block print in colors, on Arches 88 Archival paper, with full margins. Signed and numbered 11/15 in pencil (there were also 5 artist’s proofs), co-published by Other Criteria and Paul Stolper, London, framed. I. 16 1/4 x 12 in. (41.3 x 30.5 cm) S. 28 3/8 x 20 in. (72.1 x 50.8 cm) Estimate $3,000-5,000
243. Damien Hirst
b. 1965
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Grace (H6-2), 2019 Diasec mounted Giclée print on aluminum panel mounted to an aluminum strainer (as issued). Signed in pencil and stampnumbered 50/50 (printed) on a label afxed to the reverse (there were also 10 artist’s proofs), published by Heni Productions, London. 39 3/8 x 39 3/8 in. (100 x 100 cm) Estimate $7,000-10,000 scan for more on lot 243
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244. Assume Vivid Astro Focus est. 2001 a very anxious feeling, 2007 Neon tubing. Signed by principal members Eli Sudbrack and Christophe Hamaide-Pierson and numbered 3 of 22 in black ink on the acccompanying Certifcate of Authenticity (there were also 3 artist’ proofs), published by Independent Curators International, New York. 6 x 29 x 2 in. (15.2 x 73.7 x 5.1 cm)
scan for more on lot 245
Estimate $3,000-5,000
245. Haroshi
b. 1978
BE@RBRICK X KARIMOKU (400%), 2019 Hand-produced maple wood multiple, contained in the original presentation box. Produced by Karimoku, Japan, with the Medicom Toy Life Entertainment and Karimoku stamps on the ankle. 10 1/2 x 5 x 4 3/4 in. (26.7 x 12.7 x 12.1 cm) Estimate $1,000-2,000
Sale Information Auction & Viewing Location
Auction License
450 Park Avenue, New York 10022
2013224
Modern and Contemporary Editions Department
Auctions
Auctioneers
+1 212 940 1220 editions@phillips.com
Evening Sale Thursday, 23 July, 4pm (lots 1–109)
18–23 July Monday to Saturday 10–6 Sunday 12–6 Contact AppointmentsNewYork@phillips.com or +1 212 940 1200 to arrange your visit
Hugues Joffre - 2028495 Sarah Krueger - 1460468 Henry Highley - 2008889 Adam Clay - 2039323 Jonathan Crockett - 2056239 Samuel Mansour - 2059023 Rebecca Tooby-Desmond - 2058901 Susan Abeles - 2074459 Aurel Bacs – 2047217 Blake Koh – 2066237 Susanna Brockman – 2058779 Rebekah Bowling - 2078967
Sale Designation
Catalogues
When sending in written bids or making enquiries please refer to this sale as NY030120 or Editions.
Sarah Browne sbrowne@phillips.com
catalogues@phillips.com New York +1 212 940 1240 London +44 20 7318 4024 Hong Kong +852 2318 2000 $35/€25/£22 at the gallery
Associate Specialist/ Cataloguer
Day Sale Friday, 24 July, 10am (lots 110–245) Viewing by appointment
Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com
Client Accounting Sylvia Leitao +1 212 940 1231 Michael Carretta +1 212 940 1232 Buyer Accounts Dawniel Perry +1 212 940 1317 Seller Accounts Carolina Swan +1 212 940 1253 Client Services 450 Park Avenue +1 212 940 1200
Worldwide Co-Director Contemporary Editions Cary Leibowitz cleibowitz@phillips.com Worldwide Co-Director Modern Editions Kelly Troester ktroester@phillips.com Associate Specialist
Jason Osborne josborne@phillips.com Associate Researcher Audrey Bastian abastian@phillips.com Sale Coordinator Ana Ziegler aziegler@phillips.com Property Manager
Shipping
Paul Stefens pstefens@phillips.com
Steve Orridge +1 212 940 1370 Anaar Desai +1 212 940 1320
Photography Jean Bourbon Kent Pell Matt Kroenig Mark Babushkin
Front cover Pablo Picasso, Portrait de jeune flle, d’après Cranach le jeune (Portrait of a Young Woman, Afer Cranach the Younger), 1958, lot 11 © 2020 Estate of Pablo Picasso/Artists Rights Society (ARS), New York Inside front cover Andy Warhol, Life Savers, 1985, lot 73 (detail) © 2020 The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by Artists Rights Society (ARS), New York. Roy Lichtenstein, Refections on Conversation, from Refections Series, 1990, lot 78 (detail) Wayne Thiebaud, Delights, 1965, lot 63 (detail) Joan Mitchell, Sunfowers III, 1992, lot 57 (detail) Ed Ruscha, Olive and Marble, 1969, lot 97 (detail)
John Baldessari, Nose/Silhouette, 2010, lot 94 (detail) Keith Haring, Untitled (two lovers), 1989, lot 238 (detail) Louis Marcoussis, Cithare et Coquillage (Still Life: Guitar and Seashell), 1922, lot 18 (detail) Inside back cover Andy Warhol, Marilyn, 1967, lot 72 (detail) © 2020 The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by Artists Rights Society (ARS), New York. Roy Lichtenstein, Crying Girl, 1963, lot 81 (detail) © Estate of Roy Lichtenstein Back cover Wassily Kandinsky, Kleine Welten (Little Worlds), 1922, lot 17 (detail) © 2020 Artists Rights Society (ARS), NY
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NY Guide for Prospective Buyers Each Phillips auction is governed by the applicable Conditions of Sale and Authorship Warranty. All prospective bidders should read these sections carefully. They govern the purchasing agreement under which you buy at auction from Phillips. They may be also amended by saleroom addendum or auctioneer’s announcement during the auction. The complete Conditions of Sale and Authorship Warranty applicable to this auction (Version September 4, 2019) are found online at phillips.com, along with detailed information on each lot. Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective Buyers and are based upon the condition, rearity, quality, provenance of the lot, and on prices recently paid at auction for similar property. Any bid within the high and low estimate range should, in our opinion, ofer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. All Lots are Subject to ‘Buyer’s Premium’ Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $400,000, 20% of the portion of the hammer price above $400,000 up to and including $4,000,000 and 13.5% of the portion of the hammer price above $4,000,000. Condition and Condition Reports Phillips does not warrant or guarantee condition on any lot. Solely as a convenience to clients, Phillips may provide condition reports on many lots, which are also available online on the lot detail pages. If there is not a condition report available, that is not a representation that a lot is in perfect condition. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect all lots at our pre-sale exhibitions, and contact our staff with any questions. Bidding at Auction The auctioneer may, at his or her own option, bid on behalf of the seller up to, but not including the lot’s reserve or above the reserve, either by making consecutive bids or by making bids in response to other bidders. The auctioneer will not identify these bids made on behalf of the seller. You may bid in the auction in person, online, on the phone, or by placing an absentee bid. The easiest way to arrange or register to bid at auction is to set up a client account online. Go to our homepage, phillips.com and fill out the account form. When you want to register for an auction, click Register on sale pages or lot detail pages, and you’ll confirm your account details, be asked for a credit card number for identification purposes and our Bids Department will process your request. We recommend
registering at least 24 hours prior to sale to ensure that you can bid. Good luck! Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand carry only. Alternatively, we will either provide packing, handling and shipping services or coordinate with shipping agents in order to facilitate such services for property purchased at Phillips. In the event that the property is collected in New York by the buyer or the buyer’s designee (including any private carrier) for subsequent transport out of state, Phillips may be required by law to collect New York sales tax, regardless of the lot’s ultimate destination. Please refer to Paragraph 17 of the Conditions of Sale for more information. Some lots are sold under special conditions. Phillips uses the following symbols to designate these lots: O Guaranteed Property Lots designated with the symbol [O] are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the fnancial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be signifcant Phillips may choose to share the burden of that fnancial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the third party guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee. In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fxed fee or an amount calculated by reference to the hammer price of the lot. If the third party guarantor is the successful bidder they will be required to pay the full hammer price and buyer’s premium and will not be otherwise compensated. Disclosure of fnancial interest by third parties Phillips requires third party guarantors to disclose their fnancial interest in the lot to anyone whom they are advising. If you are contemplating bidding on a lot which is the subject of a third party guarantee and you are being advised by someone or if you have asked someone to bid on your behalf you should always ask them to confrm whether or not they have a fnancial interest in the lot. ∆ Property in Which Phillips Has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.
•No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot will not exceed the low pre-sale estimate. Σ Regulated Species Items made of or incorporating certain designated plant or animal material, including but not limited to coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, (irrespective of age, percentage, or value), may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We recommend that prospective bidders check with their own local restrictions regarding such requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species. Privacy Our Privacy Policy is available at www.phillips.com or by emailing dataprotection@phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. Phillips premises, sale, and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes. Phillips’ auctions will be filmed for simultaneous live broadcast on Phillips’ and third party websites and applications. Your communications with Phillips, including by phone and online (e.g. phone and on-line bidding) may be recorded for security, client service and bid monitoring purposes. Where we record such information we will process it in accordance with our Privacy Policy.
450 Park Avenue New York 10022 phillips.com +1 212 940 1200 bidsnewyork@phillips.com Please return this form by email to bidsnewyork@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying as an individual or on behalf of a company. Please select the type of bid you wish to make with this form (please select one): Paddle Number
In-person Absentee Bidding Telephone Bidding
• Company purchases: If you are buying under a business entity, we require a copy of government-issued identification (such as the certificate of incorporation) as well as proof of owners and directors to verify the status of the company. • Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale published online at www.phillips.com. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 in the Conditions of Sale.
Please indicate in what capacity you will be bidding (please select one):
As a private individual On behalf of a company
• If you cannot attend the sale, we can execute bids confidentially on your behalf.
Sale Title Title
• Private purchases: Proof of identity in the form of government-issued identification and proof of address will be required.
Sale Number First Name
Sale Date
Surname Account Number
Company (if applicable) Address
• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $400,000, 20% of the portion of the hammer price above $400,000 up to and including $4,000,000 and 13.5% of the portion of the hammer price above $4,000,000.
• “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.
City
• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable sales or use tax. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specified, if less than 50% of the low estimate.
State/Country
Zip Code Phone
Mobile
Fax
• Your bid must be submitted in the currency of the sale and may be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.
Phone (for Phone Bidding only)
• If we receive identical bids, the first bid received will take precedence.
Phone number to call at the time of sale (for Phone Bidding only) 1.
2.
Please complete the following section for telephone and absentee bids only Lot Number
Brief Description
In Consecutive Order
US $ Limit* Absentee Bids Only
• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of willful misconduct. Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded. • Please submit your bids to the Bid Department by email to bidsnewyork@phillips.com or by fax at +1 212 924 1749 at least 24 hours before the sale. You will receive confirmation by email within one business day. To reach the Bid Department by phone please call +1 212 940 1228. • Absent prior payment arrangements, please provide a bank reference. Payment can be made by cash (up to $2,000, per calendar year), credit card (up to $30,000), money order, wire transfer, bank check or personal check with identification, drawn on US banks. • Lots cannot be collected until payment has cleared and all charges have been paid. • By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips. com or available by emailing dataprotection@phillips.com. • Phillips’s premises may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.
* Excluding Buyer’s Premium and sales or use taxes
Signature
Date
By checking this box, you confrm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as stated on our website.
Please check this box to receive emails about upcoming sales, exhibitions, and special events ofered by members of the Phillips group, as referenced in our Privacy Policy available on our website at www.phillips.com, where you may also update your email preferences or unsubscribe at any time.
Index Albers, J. 128–131
Gego 113
Nares, J. 62
Walker, K. 222
Assume Vivid Astro Focus 244
Gober, R. 212
Nauman, B. 152
Wall, J. 195
Graham, D. 156
Neto, E. 153
Walsh, D. 54
Bacon, F. 26
Warhol, A. 72–77, 188–191
Graham, R. 161
Baechler, D. 216
Oldenburg, C. 55, 90–91, 171–172
Wesselmann, T. 69
Baldessari, J. 94–95, 228
Haacke, H. 213–214
Opie, J. 229
Weiwei A. 211
Banksy 103
Haas, R. 159
Otterness, T. 92, 217
Whitney, S. 122
Beck, R. 154
Hamilton, A. 52
Otterson, J. 218
Wilke, H. 196
Bell, L. 138
Haring, K. 235–241
Wool, C. 99–101
Bluhm, N. 61
Haroshi X Karimoku 245
Paine, R. 146–147
Bourgeois, L. 200–202
Heilmann, M. 148
Palermo, B. 47
Bradford, M. 225
Herrera, A. 224
Phelps, D. 145
Braque, G. (Afer) 19
Hirst, D. 108, 242–243
Picasso, P. 1–11
Hockney, D. 30–31, 178–180
Pierson, J. 155
Cage, J. 144
Hodgkin, H. 112
Polke, S. 50
Celmins, V. 52
Hughes, S. 209
Puryear, M. 52
Chagall, M. 176
Johns, J. 55, 151
Rashid, U. 220
Christo 55, 169–170
Jones, A. 177
Rauschenberg, R. 36–41
Clark, E. 110–111
Joo, M. 45
Richter, G. 48–49, 162
Chadwick, L. 24–25
Riley, B. 139
Clayton Brothers 219 Condo, G. 230–231
Kandinsky, W. 17
Rockburne, D. 137
Cordova, W. 223
Katz, A. 70–71
Rosenquist, J. 167–168
Cottingham, R. 160
KAWS 104–107
Ruscha, E. 52, 96–98, 192–194
Kelly, E. 53, 133 Dalí, S. 12
Kentridge, W. 51, 197–199
Saul, P. 210
de Kooning, W. 118
Kilimnik, K. 207
Scully, S. 149
di Suvero, M. 124
Koons, J. 109, 234
Segal, G. 174–175 Serra, R. 44, 52
Diebenkorn, R. 56, 125 Dine, J. 65–68, 173
LeWitt, S. 134–136
Sherman, C. 232–233
Doig, P. 208
Lichtenstein, R. 78–89, 181, 183–187
Shields, A. 150
Douglas, S. 157
Longo, R. 102
Simpson, L. 226 Smith, K. 203–205
Dubufet, J. 21 Mangold, R. 132
Soto, J. 116
Marclay, C. 93
Stella, F. 126–127
Eliasson, O. 43
Marcoussis, L. 18
Struth, T. 158
Escher, M.C. 22–23
Marden, B. 141–143, 52
Sultan, D. 165–166
Martin, W. & Pamela Muñoz 221
Sze, S. 206
Duchamp, M. 42
Fontana, L. 114
Martin, A. 140
Ford, W. 32–35, 215
Matisse, H. 20
Tàpies, A. 115
Francis, S. 55
Miró, J. 13–16
Thiebaud, W. 63–64, 182
Freud, L. 28–29, 52
Mitchell, J. 57–59
Thomas, M. 227
Fuller, B. 163
Moore, H. 117
Tinguely, J. 55
Motherwell, R. 60, 119–121
Tomaselli, F. 164
Muñoz, P. & Walter Martin 221
Twombly, C. 46
Murray, E. 123
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