EDITIONS & WORKS ON PAPER [Catalogue]

Editi &W k P N Y k O b 8 N Y030218

Editions & Works on Paper New York, 17 October 2018

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98. Roy Lichtenstein

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Executives.

Edward Dolman

Cheyenne Westphal

Chief Executive Ofcer +1 212 940 1241

Chairman +44 20 7318 4044

edolman@phillips.com

cwestphal@phillips.com

Š Brigitte Lacombe

New York.

Cary Leibowitz

Kelly Troester

Kip Eischen

Jason Osborne

Worldwide Co-Head, Editions cleibowitz@phillips.com +1 212 940 1222

Worldwide Co-Head, Editions ktroester@phillips.com +1 212 940 1221

Specialist keischen@phillips.com +1 212 940 1332

Cataloguer josborne@phillips.com +1 212 940 1332

Robert Kennan

Anne Schneider-Wilson

Rebecca Tooby-Desmond Louisa Earl

Head of Editions, Europe rkennan@phillips.com +44 20 7318 4075

Senior Specialist aschneider-wilson@phillips.com +44 20 7318 4042

Specialist rtooby-desmond@phillips.com +44 20 7318 4079

London.

Cataloguer learl@phillips.com +44 20 7318 4069

Deputy Chairmen.

Svetlana Marich

Jean-Paul Engelen

Robert Manley

Jonathan Crockett

Peter Sumner

Worldwide Deputy Chairman +44 20 7318 4010 smarich@phillips.com

Deputy Chairman,

Worldwide Co-Head of 20th Century & Contemporary Art +1 212 940 1390 jpengelen@phillips.com

Deputy Chairman, Worldwide Co-Head of 20th Century & Contemporary Art +1 212 940 1358 rmanley@phillips.com

Deputy Chairman, Asia, Head of 20th Century & Contemporary Art, Asia +852 2318 2023 jcrockett@phillips.com

Deputy Chairman, Europe +44 20 7318 4063 psumner@phillips.com

Miety Heiden

Alexander Payne

Vanessa Hallett

Vivian Pfeifer

Marianne Hoet

Deputy Chairman, Head of Private Sales +44 20 7901 7943 mheiden@phillips.com

Deputy Chairman, Europe, Worldwide Head of Design +44 20 7318 4052 apayne@phillips.com

Deputy Chairman, Americas, Worldwide Head of Photographs +1 212 940 1243 vhallett@phillips.com

Deputy Chairman, Americas, Head of Business Development, Americas +1 212 940 1392 vpfeifer@phillips.com

Deputy Chairman, Europe +32 3257 3026 mhoet@phillips.com

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Evening & Day Editions New York, 17 October 2018, 10am, 2:30pm & 6pm

Auction and Viewing Location 450 Park Avenue New York 10022 Auctions 17 October 2018 Day Sale Morning Session 10am Lots 119–291 Afernoon Session 2:30pm Lots 292–405 Evening Sale Auction 6pm Lots 1–118 Viewing 10 – 17 October Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation In sending in written bids or making enquiries please refer to this sale as NY030218 or Editions.

Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

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Modern and Contemporary Editions Department +1 212 940 1220 editions@phillips.com Worldwide Co-Director Contemporary Editions Cary Leibowitz cleibowitz@phillips.com Worldwide Co-Director Modern Editions Kelly Troester ktroester@phillips.com Specialist Kip Eischen keischen@phillips.com Cataloguer Jason Osborne josborne@phillips.com Administrator Ana Ziegler aziegler@phillips.com Property Manager Paul Stefens pstefens@phillips.com

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50. Walton Ford

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Evening Editions, 6pm Lots 1–118 Day Editions morning session, 10am Lots 119–291 Day Editions afternoon session, 2:30pm Lots 292–405

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40. Robert Ryman

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A Tale of Two Cities: Property from The Estate of Howard Karshan The Karshan Collection encapsulates an exceptional odyssey of collecting, one that spans over 50 years and two continents. Living between London and New York, Howard Karshan together with his wife Linda, the distinguished artist, assembled one of the most signifcant collections of modern and post-war works on paper. A true ode to the intimacy and unique sensibility of drawing, the works within this collection perfectly encapsulate the transatlantic life led by Howard and his wife Linda, comprising examples by some of the greatest European and American masters known today; from Henri de Toulouse-Lautrec, Pablo Picasso and Henri Matisse, Jackson Pollock and Sam Francis, to Gerhard Richter and Sigmar Polke, Walter de Maria and Brice Marden.

Born in Brooklyn, New York in 1933, Howard Karshan studied philosophy and law at New York University before embarking upon a successful career as a flm rights negotiator at CBS, Viacom, MGM and Turner. It was in the early 1960s that he discovered his true passion, catching the “bug for collecting”, as he described it, when he was assigned to work for CBS in Paris in 1962. Guided by a close friend with a background in art, Howard spent much of his time in Paris going to museums, meeting dealers and learning more about art history. He met his wife Linda for the frst time travelling from England to New York on the transatlantic ocean liner SS France; Linda coincidentally catching his attention because she was reading a Henri Matisse catalogue.

A fne art and art history student at the time, Linda was crucial in guiding Howard in his journey of studying and collecting art. From his initial love of the great modern French masters his tastes grew to encompass a range of periods and styles.

Following frst acquisitions of a work by Alberto Giacometti and a Cycladic idol sculpture, Howard built with great care, passion and study one of the most renowned collections of modern and post-war works on paper that was not only of art historical importance, but also one that shaped the family’s life.

In many ways, the Karshan Collection is a tale of two cities.

Living between New York City and London, Howard became intimately acquainted with the art scene on both sides of the Atlantic. A true connoisseur with a curatorial sensibility, Howard pursued an in-depth approach to collecting that focused on acquiring work by select artists from their best periods. On the one hand, he built a superb collection of postwar European art, specifcally German, which includes works by Joseph Beuys, Gerhard Richter, Sigmar Polke, Georg Baselitz, Blinky Palermo, as well as Lucio Fontana and Jean Dubufet.

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Howard Karshan in his home, April 8, 2014. © Daniel Blau, Munich

On the other hand, he acquired representative works by some of the most signifcant American artists of the time, such as Agnes Martin, Dan Flavin, Carl Andre, Robert Smithson, Raymond Pettibon, and Wayne Thiebaud.

A labor of love, the Karshan Collection was not just one to be lived with, but also one to be shared to a wider public by way of exhibition loans and generous gifs to institutions such as the British Museum, London, The Morgan Library & Museum, New York, and the Museum of Modern Art, New York, among others. A true philanthropist, Howard also pursued his commitment and passion for art on an institutional level; he notably held the position of the Head of Patrons of New Art at the Tate, London, in which function he crucially initiated the Acquisitions Committee and was also selected to be on the Jury for the Turner Prize in 1992.

Phillips Editions is honored to be ofering lots 1, 38–41 in the Evening sale and 285–289 in the Day session from the Karshan Collection. Additional works will be sold in November - 20th Century Art Day sale in New York, December - New Now sale in London and March 2019 - New Now sale in New York.

As a collector or a curator it is always good to hear positive comments about a new acquisition, but if that praise comes from someone whose taste and judgement one rates then it is really special. For me and my colleague, Stephen Coppel, in the British Museum’s Prints and Drawings Department, one such person was Howard Karshan. —Hugo Chapman, The Simon Sainsbury Keeper of Prints & Drawings, The British Museum

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Property from The Estate of Howard Karshan ○

1. Henri de Toulouse-Lautrec

1864-1901

Débauche (deuxième planche), 1896 Crayon, brush and spatter lithograph in three colors, on silk (backed to fabric), the second (fnal) state. Signed in sanguine crayon, one of only four known proofs, three of which were on silk (before the numbered edition of 50, there was also a second edition of 100 with text, published by Arnould, Paris), framed.

I. 9 1/2 x 12 5/8 in. (24 x 32 cm) S. 16 1/8 x 20 1/2 in. (41 x 52 cm) Estimate $25,000-35,000 Provenance Maurice Loncle, Paris, inkstamp (Lugt 3489) ‘57’ inkstamp in red Sotheby & Co., London, Important 19th Century and Modern Prints, November 20, 1973, lot 261 (original invoice) Literature Wolfgang Wittrock 167 Loys Deteil 178 Götz Adriani 187 Jean Adhémar 212

Of the three impressions on silk, Wittrock records one in the collection of the Boston Public Library, one sold Christie’s, London, December 2, 1982, lot 278, and this impression based on a receipt in the Karshan records.

Debauchery was used as the cover image for publisher A. Arnould’s June 1896 sale of posters created by both French and international artists, which was a comprehensive look at the market during the height of the French poster craze.

Below, Lautrec is photographed on the lef alongside the painter-printmaker Maxime Dethomas, the male fgure in Débauche. A friend of the artist, Dethomas was known by Lautrec as Grosnabre (the big tree) and was considered a gentle giant, polite and discreet, despite his accompanying Lautrec to various Parisian brothels. In Débauche, Lautrec invoked a humorous dichotomy and depicted a contrast of dispositions between his friend: the keenly interested client, and his paramour: the bored, anonymous prostitute.

See lots 38–41 and 285–289 for additional Karshan Collection.

Maurice Loncle (1879-1966) collector’s inkstamp (Fritz Lugt 3489)

Maurice Guibert. Henri de Toulouse-Lautrec with Maxime Dethomas, in his studio, c.1895. © Musée Toulouse-Lautrec, Albi, France

A Tale of Two Cities

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Property from The Estate of Howard Karshan

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2. James Abbott McNeill Whistler 1834-1903 Nocturne, from Venice, a Series of Twelve Etchings (the First Venice Set), 1879-80 Etching, in brown ink with carefully wiped plate tone, on laid paper, trimmed to the platemark by the artist, with a signature tab, the ninth (fnal) state. Signed in pencil with the artist’s butterfy monogram and inscribed ‘imp’ on the tab, one of approximately 97 total impressions of all nine states, published by the Fine Art Society, London, framed.

S. 7 7/8 x 11 1/2 in. (19.9 x 29.1 cm) Estimate $15,000-20,000 Provenance Fine Art Society, London Literature Edward G. Kennedy 184 V University of Glasgow 222.IX

Glasgow notes that by 1889, Whistler had printed approximately 97 impressions of states 1-9. Fifynine impressions are known today and this image is considered to be his most atmospheric etching.

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Dominating the view across a wide stretch of water, to right of center, is the church of San Giorgio Maggiore on the island of San Giorgio. To lef is a large threemasted steamer with a lantern at the bow. Several gondolas are scattered over the lagoon. At far lef are the domes and cupola of Santa Maria della Salute. ‘..and we fnd a masterly treatment of the texture and transparency of the water, a treatment indeed which in etching is little short of surprising. This quality is found to a yet greater extent, or perhaps one should say allied with yet another quality, in “Nocturne Riva”, where the sky is excellent, and where not only is the water also excellent in depth and reality, but also in some hardly defnable way its peculiar colour is artfully suggested to those who know the Venetian waters. No doubt the efect is due to the rendering of the texture suggesting unconsciously the colour also, and if this is so the rendering of the texture demands all the more praise.’

The Saturday Review, Mr. Whistler’s Exhibition, February 24, 1883

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3. Henry Moore

1898-1986

Maquette for Seated Woman, 1957/1978 Bronze with brown patina. Incised with signature and numbered 5/9, with the Morris Singer, London, foundry stamp, on a wood base.

7 3/8 x 4 x 4 in. (18.7 x 10.2 x 10.2 cm) Estimate $20,000-30,000 Provenance Lillian Heidenberg Fine Art, New York, 1984 Literature Alan Bowness 439b

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4. Henry Moore

1898-1986

Male Torso, 1982 Bronze with patina. Incised with signature and numbered 9/9, on a wood base.

5 1/4 x 2 1/8 x 1 in. (13.3 x 5.4 x 2.5 cm) Estimate $15,000-25,000 Provenance Lillian Heidenberg Fine Art, New York, 1984 Literature Alan Bowness 860

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5. Henry Moore

1898-1986

Three-Quarter Figure: Chest, 1981 Bronze with brown patina. Incised with signature and numbered 7/9, with the Noack, Berlin, foundry stamp, on a wood base.

5 7/8 x 4 1/2 x 2 1/4 in. (14.9 x 11.4 x 5.7 cm) Estimate $15,000-25,000 Provenance Lillian Heidenberg Fine Art, New York, 1984 Literature Alan Bowness 846

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6. Francis Bacon

1909-1992

Étude pour un portrait de John Edwards (Study for a Portrait of John Edwards), 1986 Lithograph in colors, on Arches paper, with full margins. Signed and numbered 72/150 in pencil (there were also 30 hors commerce and 5 artist’s proofs), published by Yves Peyré for the literary review L’Ire des Vents, Paris, framed.

I. 23 3/4 x 17 3/4 in. (60.3 x 45.1 cm) S. 31 3/4 x 23 1/2 in. (80.6 x 59.7 cm) Estimate $12,000-18,000 Literature Bruno Sabatier 20 Alexandre Tacou 20

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7. Francis Bacon

1909-1992

Deuxième version du triptyque, 1944 (Second Version of the Triptych 1944), 1989 The complete set of three lithographs in colors, on Arches Infnity paper, with full margins. All signed and numbered 34/60 in pencil (there were also 8 artist’s proofs), published by Michel Archimbaud for the Librarie Séguier for IRCAM Centre Pompidou, Paris, all framed. all I. 24 1/2 x 18 1/4 in. (62.2 x 46.4 cm) all S. 29 5/8 x 22 in. (75.2 x 55.9 cm) Estimate $15,000-25,000 Literature Bruno Sabatier 24 Alexandre Tacou 25

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8. Lynn Chadwick, R.A.

1914-2003

Miniature Figure III, 1986 Bronze with a dark brown and polished patina.

Stamped ‘C’ (in a triangle), ‘C41S’ and numbered 14/30 on the underside.

3 3/4 x 3 1/2 x 2 3/4 in. (9.5 x 8.9 x 7 cm) Estimate $7,000-10,000 Provenance Acquired directly from the artist Literature Dennis Farr and Éva Chadwick C41

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9. Lynn Chadwick, R.A.

1914-2003

Miniature Figure II, 1986 Bronze with a dark brown and polished patina.

Stamped ‘C’, ‘C4OS’ and numbered 4/30 on the underside.

3 x 3 3/4 x 5 1/4 in. (7.6 x 9.5 x 13.3 cm) Estimate $7,000-10,000 Provenance Acquired directly from the artist Literature Dennis Farr & Éva Chadwick C40

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Property from a Private East Coast Collection

10. After Marc Chagall

1887-1985

Sirène et poisson, from Nice et la Côte d’Azur (Siren and Fish, from Nice and the French Riviera), by Charles Sorlier, 1967 Lithograph in colors, on Arches paper, with full margins. Signed and numbered 105/150 in pencil (there were also 75 in Roman numerals and 10 artist’s proofs), framed.

I. 24 x 18 in. (61 x 45.7 cm) S. 28 7/8 x 20 7/8 in. (73.3 x 53 cm) Estimate $10,000-15,000 Literature Fernand Mourlot and Charles Sorlier 28

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Property from a Private East Coast Collection

11. After Marc Chagall

1887-1985

Roses et mimosas, from Nice et la Côte d’Azur (Roses and Mimosas, from Nice and the French Riviera), by Charles Sorlier, 1967 Lithograph in colors, on Arches paper, with full margins. Signed and numbered 105/150 in pencil (there were also 75 in Roman numerals and 10 artist’s proofs), framed.

I. 24 x 18 in. (61 x 45.7 cm) S. 28 7/8 x 20 3/4 in. (73.3 x 52.7 cm) Estimate $8,000-12,000 Literature Fernand Mourlot and Charles Sorlier 29

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12. After Marc Chagall

1887-1985

Couple dans les mimosas, from Nice et la Côte d’Azur (Couple in Mimosas, from Nice and the French Riveria), by Charles Sorlier, 1967 Lithograph in colors, on Arches paper, with full margins. Signed and numbered XLI/LXXV in pencil (there was also an edition of 150 in Arabic numerals and 10 artist’s proofs), framed.

I. 24 1/8 x 18 in. (61.3 x 45.7 cm) S. 29 1/4 x 21 in. (74.3 x 53.3 cm) Estimate $10,000-15,000 Literature Fernand Mourlot and Charles Sorlier 32

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13. After Marc Chagall

1887-1985

Carmen, by Charles Sorlier, 1967 Lithograph in colors, on Arches paper, the full sheet. Signed in black crayon and numbered 116/150 in white crayon (there was also an edition of 200 without text and a poster edition of 3,000), published by the Metropolitan Opera, New York, framed.

S. 40 1/8 x 26 1/8 in. (101.9 x 66.4 cm) Estimate $10,000-15,000 Literature Charles Sorlier p. 108-109 see Fernand Mourlot and Charles Sorlier 39

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Picasso indexed his relationships with prints that collected moments and consolidated memories. His lithography practice broke almost every technical rule and reconciled his tumult in both the outside world and within.

Imperfection lent unique vitality to Picasso’s lithographs.

Legendary master printmaker Fernand Mourlot noted he was an assiduous artist who learned from masters that were trained to approach lithographic stones with great care, ofen in facial masks so as to avoid errant moisture.

Mourlot described that Picasso abandoned such strict processes, moving freely and uncovered, “[he] did the opposite of what he learned . . .”, and “ . . . is not prepared to accept the slightest retouching. . .” Picasso countered: “the saliva makes a blank, and we can make use of it!”

In 1944, a fateful printmaking ‘lesson’ began the courtship of the artist and his new young muse, Françoise Gilot; they studied proof images together of his 1930’s Vollard Suite which would be published in the 50’s. Françoise served as a catalyst for Picasso to work seriously with lithography and by the fall of 1945 he anxiously brought four frontal head drawings of Françoise to the Mourlot atelier ready to be transferred to the stone and developed into an edition.

Lot 15 from November 2, 1945, Tête de femme (Head of a Woman) is one of those images. Picasso’s 10-year relationship with Françoise led to a decade of masterwork with the medium as he produced three quarters of all of his lithographs during this time while he was with her.

She served as the woman who obsessed and disturbed him in all of his mediums: paintings, prints, sculpture and ceramics. Though, she did not see herself in many of these female portrait images.

Picasso’s lithographic portraits of women were at once iconoclastic, yet also rooted to the great traditions of Post-Impressionist and Spanish painting. Adhering to formats of formal portraiture seen in works by favorite masters such as Velázquez, Cranach, Delacroix, Ingres and Cézanne, Picasso did replace conventionally attractive pictures with emotionally belabored gestures. Lot 16 of 1946, Tête de juene flle (Head of a Young Girl) typifed this process: a portrait of Françoise in several states worked, re- and over-worked and erased countless times – each with pure virtuosity – ranging from painterly to rich density and, fnally to this tenth and fnal state, one that hews close to abstraction.

For Gagosian Gallery’s seminal exhibition in 2012 Picasso and Françoise Gilot, Paris-Vallauris, 1943-1953 - the art historian Charles Stuckey described Picasso’s lithographs as “his side of the story” that “go beyond documentation to diagnosis, providing something like case studies of how he understood his lovers’ multiple personalities and moods.” Gilot, however, never wanted to be the face of his art stating: I tried to explain to him that it was his work that held me, not the image of myself that I saw in it. What I did see in it, I told him, was him, not me. “In all of his lithographs of her, a constant tug-of-war presided, between how she wanted him to see her – the way she was – and how he saw her as she flled his consciousness with fantasies and frustrations. To the extent that they convey his mystifcation, as a group they stand among Picasso’s most moving portraits.” Charles Stuckey The Face of Picasso’s Lithography.

The next four lots from various owners form a crosssection of portraits illustrating the iconic role Françoise played in Picasso’s world during this time – some with more obvious likenesses than others, but each with her strong underlying identity.

Françoise Gilot. © Jody Rogac/Supervision

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14. Pablo Picasso

1881-1973

Tête de jeune flle (Head of a Young Girl), 1949 Lithograph, on Arches paper, with full margins, the second (fnal) state. Signed and numbered 20/50 in pencil (there were also 5 artist’s proofs), framed.

I. 15 5/8 x 11 3/4 in. (39.7 x 29.8 cm) S. 22 3/8 x 15 5/8 in. (56.8 x 39.7 cm) Estimate $20,000-30,000 Literature Fernand Mourlot 149 Georges Bloch 589 Feliz Reuße 456

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15. Pablo Picasso

1881-1973

Tête de femme (Head of a Woman), 1945 Lithograph, on Arches paper, with full margins, the second (fnal state). Signed in red pencil (slightly faded) and numbered 33/50 in pencil (there were also 18 artist’s proofs), framed.

I. 11 7/8 x 9 1/2 in. (30.2 x 24.1 cm) S. 17 1/4 x 12 1/2 in. (43.8 x 31.8 cm) Estimate $10,000-15,000 Literature Georges Bloch 384 Fernand Mourlot 4 Felix Reuße 38

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16. Pablo Picasso

1881-1973

Tête de jeune flle (Head of a Young Girl), 1946 Lithograph, on Arches paper, with full margins, the tenth (fnal state). Signed and numbered 34/50 in pencil (there were also 18 artist’s proofs), framed.

I. 12 3/8 x 9 1/2 in. (31.4 x 24.1 cm) S. 17 1/4 x 12 3/4 in. (43.8 x 32.4 cm) Estimate $10,000-15,000 Literature Georges Bloch 393 Fernand Mourlout 9 Felix Reuße 67

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17. Pablo Picasso

1881-1973

Buste au fond étoilé (Bust with Star Spangled Background), 1949 Lithograph, on Arches paper, the full sheet.

Signed and annonated ‘Bon à Tirer’ in red crayon (the good-to-print proof, the edition was 50 and 7 artist’s proofs), framed.

S. 25 7/8 x 19 5/8 in. (65.7 x 49.8 cm) Estimate $20,000-30,000 Literature Fernand Mourlot 163 Geroges Bloch 594 Felix Reuße 476

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Property from a Private Collection

18. Pablo Picasso

1881-1973

Portrait de Jacqueline de Face II (Portrait of Jacqueline, Face II), 1962 Linocut in colors, on Arches paper, with full margins. Signed and numbered 49/50 in pencil (there were also approximately 20 artist’s proofs), published by Galerie Louise Leiris, Paris, 1963, framed.

I. 25 1/8 x 20 5/8 in. (63.8 x 52.4 cm) S. 29 5/8 x 24 1/4 in. (75.2 x 61.6 cm) Estimate $80,000-120,000 Provenance Reiss-Cohen Gallery, New York, September 1978 Literature Georges Bloch 1063 Brigitte Baer 1280

“Are we to paint what’s on the face, what’s inside the face, or what’s behind it?”

Pablo Picasso

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19. Pablo Picasso

1881-1973

Au cabaret (At the Cabaret), 1934/61 Etching, on Richard de Bas laid paper, with full margins. Stamp-signed and numbered 3/50 in pencil (there were also 19 artist’s proofs and an unsigned and unnumbered edition of 108 in 1942), published

by Galerie Louise Leiris, Paris, 1981, framed.

I. 9 3/8 x 11 3/4 in. (23.8 x 29.8 cm) S. 15 3/4 x 19 3/4 in. (40 x 50.2 cm) Estimate $10,000-15,000 Literature Georges Bloch 286 Brigitte Baer 439

20. Pablo Picasso

1881-1973

Femme nue devant une statue (Naked Woman in Front of a Statue), plate 6 from La Suite Vollard, 1931 Etching, on Montval paper, with full margins. Signed in pencil, from the edition of 260 (there was also an edition of 50 with wide margins), printed by Roger Lacourière, published by Ambroise Vollard, Paris, 1939, framed.

I. 12 3/8 x 8 7/8 in. (31.4 x 22.5 cm) S. 17 5/8 x 13 3/8 in. (44.8 x 34 cm) Estimate $10,000-15,000 Literature Georges Bloch 139 Brigitte Baer 205

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21. Various Artists L’Art d’Aujourd’hui, 1924-1929 A group of seven portfolios containing 24 original intaglio and relief prints by various artists featured in introductory texts plus hundreds of facsimile reproductions, on Arches paper, contained in the original paper-covered portfolios within contemporary cloth-covered boxes. Each print signed or initialed, 22 inscribed ‘A’ or ‘A/E’, two inscribed ‘A/G’ (from 1924) in pencil, from the deluxe edition of 105, one of the frst of fve examples of 1925-1929 and the frst of seven of 1924 (there is also a regular edition without the signed prints), printed and published by Albert Morancé, Paris (the title pages note that this example, lettered ‘A’, was printed for Albert Morancé. all S. approximately 7 7/8 x 5 7/8 in. (20 x 15 cm) Estimate $10,000-15,000 Provenance Albert Morancé, the portfolio’s publisher.

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Vol. 1924: Spring/Summer: Henri Matisse Jeune flle aux boucles brunes (Duthuit 448), lithograph; Jean-Emil Laboureur Chez le pâtissier (Laboureur 278), engraving Vol. 1924: Autumn/Winter: Marc Chagall Bella (Kornfeld 41), etching; André Dunoyer de Segonzac Figure, etching Vol, 1925: Raoul Dufy, etching; D. Galanis, etching; Aristide Maillol, lithograph; Marie Laurencin Portrait de jeune flle (Marchesseau 76), lithograph Vol. 1926: Maurice de Vlaminck L’Eglise de Beauche (Walterskirchen 115), drypoint; Léopold-Lévy, etching; Jean Marchand, etching; Henri de Waroquier, etching

Vol. 1927: Pierre Bonnard La vieille femme, L’Enfant et le basset (Bouvet 104), drypoint; Léonard Tsuguharu Foujita Enfant à la capeline (Buisson 27.63), aquatint; Henry de Montfreid, [Portrait de P. Gaugin], woodcut; André Suréda, drypoint Vol. 1928: Georges Rouault, two lithographs with hand-coloring (folded, as issued); Rodolphe-Théophile Bosshard, lithograph; André Lhote, drypoint; Albert Marquet, drypoint Vol. 1929: Maria Blanchard, lithograph; Louis Charlot, lithograph; Jacqueline Marval, lithograph; Henri Manguin, drypoint

19/09/18 09:25

Property from a Private Collection, Florida

22. Diego Rivera

1887-1959

Desnudo de Lola Olmedo (Lola Olmedo Nude), 1930 Lithograph, on wove paper, with full margins. Signed, dated and numbered ‘68-100’ in pencil, published by Weyhe Gallery, New York, unframed.

I. 16 3/8 x 9 3/8 in. (41.6 x 23.8 cm) S. 23 x 15 in. (58.4 x 38.1 cm) Estimate $8,000-12,000 Provenance Ferdinand Roten Galleries, Baltimore, Maryland Literature Instituto Nacional de Bellas Artes 895

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19/09/18 09:25

23. Joan Miró

1893-1983

Femme (Woman), 1977 Graphite drawing, on the reverse of a terracotta-colored wove paper pamphlet, with accompanying certifcate of authenticity from ADOM dated April 25, 2012. Signed in pencil, also presumably dated ‘22/IX/77’ and titled in pencil on the reverse.

11 3/8 x 8 1/2 in. (28.9 x 21.6 cm) Estimate $15,000-25,000 Provenance The Artist’s Estate acquired from the above in the early 1980’s Christie’s South Kensington, Impressionist and Modern Art, October 25, 2012, lot 7 Mallet Tokyo, Modern and Contemporary Art, July 4, 2014, lot 361

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19/09/18 09:25

24. Joan MirĂł

1893-1983

Le Permissionaire (Soldier on Leave), 1974 Etching and aquatint in colors, on Arches paper, with full margins. Signed and numbered 4/50 in pencil (there were also some artist’s proofs), published by Maeght, Paris, framed.

I. 44 7/8 x 29 1/8 in. (114 x 74 cm) S. 54 1/4 x 37 3/4 in. (137.8 x 95.9 cm) Estimate $30,000-50,000 Literature Jacques Dupin 655

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19/09/18 09:26

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19/09/18 09:26

25. Joan MirĂł

1893-1983

Le Pitre rose (Pink Clown), 1974 Etching and aquatint in colors, on wove paper watermarked Maeght, with full margins. Signed and numbered 4/50 in pencil (there were also some artist’s proofs), published by Maeght Paris, framed.

I. 45 1/2 x 29 3/8 in. (115.6 x 74.6 cm) S. 54 1/8 x 37 3/4 in. (137.5 x 95.9 cm) Estimate $25,000-35,000 Literature Jacques Dupin 653

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19/09/18 09:26

26. Joan Mirรณ

1893-1983

Le Vieil Irlandais (The Old Irishman), 1969 Etching and aquatint with carborundum in colors, on wove paper, the full sheet. Signed and numbered 6/75 in pencil, published by Maeght, Paris, unframed.

S. 42 x 27 3/4 in. (106.7 x 70.5 cm) Estimate $15,000-25,000 Literature Jacques Dupin 521

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19/09/18 09:27

27. Robert Motherwell

1915-1991

Wave, 1989 Lithograph in colors, on Somerset mould-made paper, with full margins. Signed and numbered 25/92 in pencil (there were also 16 artist’s proofs), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), framed.

I. 39 x 54 3/4 in. (99.1 x 139.1 cm) S. 41 x 56 5/8 in. (104.1 x 143.8 cm) Estimate $15,000-25,000 Literature Siri Engberg and Joan Banach 475

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19/09/18 09:27

28. Sam Francis

1923-1994

Untitled (SFM 81-004), 1981 Monotype in oil paint, powedered pigment, ink and watercolor, on handmade paper, the full sheet.

Signed in pencil, framed.

S. 22 x 22 in. (55.9 x 55.9 cm) Estimate $10,000-15,000 Literature Daco-Verlag Gßnter Bläse The Monotypes of Sam Francis, 1994, pp. 118-119

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The birth of a monotype is more like a cataclysm. In the making of these prints, Francis uses presses of enormous power, and the color and the paper are fused together in a moment of volcanic magnitude, generating poisonous fumes and great heat. A certain number of required elements are assembled, and in a few seconds the new thing emerges.

Pontus Hulten

19/09/18 09:27

29. Josef Albers

1888-1976

Mitered Squares, 1976 The complete set of 12 screenprints in colors, on Arches 88 paper, with full margins, with the original black cloth-covered portfolio with title page, colophon, and artist’s texts. All signed, titled, and numbered 29/36 in pencil (there were also 10 artist’s proofs), published by Tyler Graphics Ltd., Bedford Village, New York (with their blindstamps), all framed. all I. 11 1/4 x 11 1/4 in. (28.6 x 28.6 cm) all S. 19 x 19 in. (48.3 x 48.3 cm) Estimate $12,000-18,000

All Art All real art is or was modern in its time daring and new, demonstrating a constant change in seeing and feeling.

If revival had been a perpetual virtue, we would still live in caves and earth pits.

In art, tradition is to create, not to revive.

Josef Albers

Literature Brenda Danilowitz 229

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19/09/18 09:30

30. Josef Albers

1888-1976

Never Before: nine plates, 1976 Nine screenprints in colors, on Arches 88 paper, with full margins, with the original blue cloth-covered portfolio and slipcase, with title page and colophon, lacking plates d, g and i. Seven signed (as issued), all titled, dated, and numbered 14/46 in pencil (there were also 10 artist’s proofs), published by Tyler Graphics, Bedford Village, New York (with their blindstamps), all framed. all I. 11 x 12 in. (27.9 x 30.5 cm) all S. 19 x 19 5/8 in. (48.3 x 49.8 cm)

This was Albers’ fnal print portfolio. At the time of his death, he had signed only eight of the 12 prints (d, h, i and l were unsigned) and those have no blindstamps.

Estimate $8,000-12,000 Literature Brenda Danilowitz 231

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19/09/18 09:31

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19/09/18 09:32

Property from the Edwin C. Cohen Family Collection

31. Anish Kapoor

b. 1954

15 Etchings, 1994 The complete set of 15 etching and aquatints in colors, on Zerkall paper, with full margins, all contained in the original black velvet-covered portfolio. All signed and numbered 2/30 in pencil (there were also 6 artist’s proofs), published by The Paragon Press, London. all I. 11 1/4 x 14 3/4 in. (28.6 x 37.5 cm) all S. 20 x 23 in. (50.8 x 58.4 cm) Estimate $12,000-18,000 Literature The Paragon Press 1986-1995, pp. 130-133

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19/09/18 09:33

32. Sol LeWitt

1928-2007

Vanish, 1994 The complete set of 40 screenprints in black, on Fabriano paper, the full sheets, loose (as issued) contained in the original gray fabriccovered portfolio with embossed artist’s name.

All signed in pencil on the front and numbered 25/28 in pencil on the reverse (there were also 8 artist’s proofs), published by Marco Noire Editore, Turin, Italy. all S. 17 7/8 x 13 1/4 in. (45.5 x 33.5 cm) Estimate $10,000-15,000 Literature Barbara Krakow 1994.07

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19/09/18 09:36

33. Richard Serra

b. 1938

WM V, 1996 Etching and aquatint, on Watson Handmade paper, the full sheet. Signed, dated and numbered 2/28 in pencil on the reverse (there were also 4 artist’s proofs), published by Matthew Marks Gallery, New York, framed.

S. 64 x 40 in. (162.6 x 101.6 cm) Estimate $10,000-15,000 Literature Silke von Berswordt-Wallrabe 101

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19/09/18 09:43

34. Richard Serra

b. 1938

Alberta Hunter, 1985 Paintstick on screenprint, on Arches Cover paper, with full margins. Signed, dated and numbered 27/28 in pencil (there were also 7 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 47 3/4 x 53 1/4 in. (121.3 x 135.3 cm) S. 52 1/2 x 60 in. (133.4 x 152.4 cm) Estimate $10,000-15,000 Literature Silke von Berswordt-Wallrabe 30

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19/09/18 09:43

35. Richard Serra

b. 1938

Level II, 2008 Etching, on Kozo Misumi paper, the full sheet. Signed and numbered 16/38 in pencil on the reverse (there were also 8 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their inkstamps on the reverse), framed.

S. 46 1/2 x 70 in. (118.1 x 177.8 cm) Estimate $8,000-12,000

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19/09/18 09:46

Property from a Private Collection, New York City and Palm Beach

36. Frank Stella

b. 1936

La penna di hu, from Italian Folktales, 1988 Relief, etching, woodcut, screenprint, stenciling and hand-coloring, on TGL handmade paper, with full margins. Signed, dated and numbered 37/50 in pencil (there were also 12 artist’s proofs), published

by Tyler Graphics Ltd., Mount Kisco, New York (with their blindstamp), framed.

I. 54 1/4 x 64 1/2 in. (137.8 x 163.8 cm) S. 55 x 65 3/4 in. (139.7 x 167 cm) Estimate $10,000-15,000 Literature Richard Axsom and Leah Kolb 182

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19/09/18 09:47

37. Frank Stella

b. 1936

Jonah Historically Regarded, from Moby Dick Engravings, 1991 Etching, aquatint, engraving, screenprint and carborundum in colors, on TGL handmade paper, the full sheet. Signed, dated and numbered 29/30 in pencil (there were also 14 artist’s proofs), published

by Tyler Graphics Ltd., Mount Kisco, New York (with their blindstamp), framed.

S. 73 x 54 3/4 in. (185.4 x 139.1 cm) Estimate $9,000-12,000 Literature Richard Axsom and Leah Kolb 204

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19/09/18 09:49

Property from The Estate of Howard Karshan

â—‹

38. Walter de Maria

b. 1935

The Pure Polygon Series: six plates, 1975-76 Six graphite template drawings, on American Etching paper, with full margins, all contained in the original pine and maple wood portfolio and canvas slipcase. All signed, titled, dated and numbered 12/21 in pencil on the reverse, published by the artist, lacking Polygon. all I. variable all S. 36 x 36 in. (91.4 x 91.4 cm) Estimate $15,000-25,000 Provenance Galerie Fred Jahn, Munich, 1989

Titles include: The Triangle of Seven Template Drawings; The Square of Seven Template Drawings; The Pentagon of Seven Template Drawings; The Hexagon of Seven Template Drawings; The Heptagon of Seven Template Drawings and The Octagon of Seven Template Drawings

A Tale of Two Cities

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19/09/18 09:50

Property from The Estate of Howard Karshan

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19/09/18 09:50

Property from The Estate of Howard Karshan

â—‹

39. Brice Marden

b. 1938

Five Plates, 1973 The complete set of fve, including four etchings and aquatint and one etching, on Rives BFK paper, with full margins. All signed, dated and numbered 35/50 in pencil (there were also 15 artist’s proofs), published by Parasol Press, Ltd., New York, all framed. all I. approximately 27 1/2 x 19 5/8 in. (69.8 x 50 cm) all S. approximately 39 7/8 x 29 1/2 in. (101.2 x 74.8 cm) Estimate $15,000-20,000 Literature Jeremy Lewison 23

A Tale of Two Cities

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19/09/18 09:52

Property from The Estate of Howard Karshan

â—‹

40. Robert Ryman

b. 1930

Seven Aquatints, 1972 The complete set of seven aquatints in white, on Rives BFK paper, with full margins. All signed, dated and numbered 3/50 in pencil (there were also 10 artist’s proofs lettered A-J), published by Parasol Press, Ltd., New York, all framed. all I. various sizes six S. 24 1/8 x 24 in. (61.2 x 61 cm) one S. diameter 19 5/8 in. (50 cm) Estimate $15,000-20,000 Literature Amy Baker Sandback RR G5/1-7

Property from The Estate of Howard Karshan

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19/09/18 09:53

Property from The Estate of Howard Karshan

â—‹

41. Ellen Gallagher

b. 1965

Untitled, 1997 Unique monoprint of ink transfer in colors, on Misu paper, with full margins. Another example in addition to the series of 20 unique monoprints published by the artist to beneft Artists Space, New York, framed.

I. 22 1/2 x 20 in. (57.2 x 50.8 cm) S. 42 3/4 x 28 1/2 in. (108.6 x 72.4 cm) Estimate $12,000-18,000

A Tale of Two Cities

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Property from The Estate of Howard Karshan

19/09/18 09:54

42. Kiki Smith

b. 1954

Untitled (Bosoms with Black Milk), 1994 Unique lithograph collaged on Nepal paper.

Signed and dated, framed.

S. 31 x 20 in. (78.7 x 50.8 cm) Estimate $10,000-15,000 Provenance Kiki Smith: Drawings, The Pace Gallery, New York, October 21-November 26, 1994

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19/09/18 09:54

Property from a Private Collection, Houston

43. 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 34/40 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 $50,000-70,000 Literature Heiner Bastian 67-73

Including: Title Print; Homer; Sappho; Pindar; Callimachus; Theocritus and Plato

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19/09/18 09:57

44. El Anatsui

b. 1944

Blue Variation, 2014 Pigment print and ofset lithograph in colors, with copper wire, on two sheets of wove paper adhered at the seam and folded (as issued), the full sheets. Signed, dated and numbered 7/10 twice (there were also 2 artist’s proofs), published by Beneft Print Project, New York, framed. overall approx. 31 x 25 x 3 1/4 in.

(78.7 x 63.5 x 8.3 cm) Estimate $12,000-18,000

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19/09/18 09:58

45. Lucian Freud

1922-2011

Head of a Man, 1986-87 Etching, on Rives BFK paper, with full margins.

Signed with initials and numbered 9/20 in pencil (there were also 6 artist’s proofs), co-published by James Kirkman, London and Brooke Alexander, New York, framed.

I. 9 x 7 1/4 in. (22.9 x 18.4 cm) S. 20 x 17 1/4 in. (50.8 x 43.8 cm) Estimate $25,000-35,000 Literature Craig Hartley 29 Starr Figura 66

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19/09/18 09:58

46. Bruce Nauman

b. 1941

Studies for Holograms, 1970 The complete set of fve screenprints in colors, all on Kromekote paper, the full sheets. All signed, dated and numbered 67/150, 146/150, 84/150, 139/150 and 146/150 in black ball-point pen (there were also 10 artist’s proofs), published by Castelli Graphics, New York, all framed. all I. 20 1/2 x 26 in. (51.7 x 66.1 cm) S. 26 x 26 in. (66.1 x 66.1 cm)

Including: Pinched Lips; Pulled Lower Lip; Pinched Cheeks; Pulled Neck and Pulled Lips Pinched Cheeks was used as the cover image for Christopher Cordes’ 1989 print catalogue raisonné.

Estimate $18,000-25,000 Literature Christopher Cordes 1-5

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19/09/18 09:59

47. Bruce Nauman

b. 1941

Infrared Outtakes, 1968/2006 The complete set of four ink-jet prints in colors, on wove paper, the full sheets. Signed, dated and numbered 18/60 in pencil on the reverse (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their inkstamps on the reverse), all unframed.

S. 19 x 28 in. (48.3 x 71.1 cm) Estimate $8,000-12,000

Including: Cockeye Lips, Neck Pull, Hands Only and Opened Eye.

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19/09/18 10:00

48. Wangechi Mutu

b. 1972

Eve, 2006 The complete set of seven etchings and aquatint with collage, on Surface Gampi paper mounted to musuem board (as issued), the full sheets, all contained in the original zebrawood box with title page and justifcation. All signed, dated and numbered 8/20 in pencil on the reverse (there were also 4 artist’s proofs), co-published by the artist and Jacob Samuel Editions, Santa Monica. all S. approximately 10 1/2 x 7 7/8 in. (26.6 x 20 cm) Estimate $8,000-12,000

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19/09/18 10:01

49. Wangechi Mutu

b. 1972

Second Born, 2013 24-karat gold, collagraph, relief, digital printing and hand-coloring, on wove paper, the full sheet.

Signed, dated and numbered ‘A.P. 11/11’ in pencil (an artist’s proof, the edition was 35), published by Pace Editions, Inc., New York, framed.

S. 36 x 43 in. (91.4 x 109.2 cm) Estimate $8,000-12,000

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19/09/18 10:02

In my case, I wanted to take the language of the nineteenth-century natural-history illustrators and use it in a way they would never have imagined—to plumb our own collective ways of thinking about the natural world and these beings we share the planet with.

Walton Ford “Man and Beast”, New Yorker, January 26, 2009

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19/09/18 10:04

Property from a Private American Collection

50. Walton Ford

b. 1960

Swadeshi-cide, 1998; La Historia Me Absolvera, 1999; Benjamin’s Emblem, 2000; Tale of Johnny Nutkin, 2001; Compromised, 2003; and Visitation, 2004, The complete series of six etchings in colors, on Somerset Satin paper, with full margins. All signed, dated and numbered ‘A.P. 12’ in pencil (one of 12 artist’s proofs, the edition was 50), published by Blue Heron Press, New York, all framed. all I. 35 3/4 x 23 7/8 in. (90.8 x 60.6 cm) all S. 44 x 30 1/2 in. (111.8 x 77.5 cm) Estimate $80,000-120,000 Literature Benedikt Taschen pp 100, 101, 131, 152, 153 and 227-8

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19/09/18 10:05

Jonas Wood interviewed by master printer Jacob Samuel, from “Nonstop: Jonas Wood Speaks with Jacob Samuel”, Art in Print, vol. 8, no. 1, 2018 I’ve also started to collect prints and look at prints, and see how other people have made prints—I just got this Lichtenstein print, a brushstroke one.

And when I started examining it, I discovered how amazing it was that he could translate his work so directly into printmaking. So yes, it really opens up—a few years afer we started I realized that drawing had always informed my painting; then I saw how collage had informed it. But once printmaking entered the equation, that also started informing my painting and vice versa.

Even when thinking about the process of making a painting, I started taking cues from printmaking and putting them back into paintings.

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JW Collaborating with Jean Milant at Cirrus in 2009 was my real frst experience making a set of editions with a print house. I had been in a three-person show at his gallery in 2006.

I didn’t know much about him then, but I went to his gallery and realized that he had made all of this amazing stuf with artists I love, like Ed Ruscha and Baldessari and…

JS Joe Goode…

JW Chris Burden…

JW We printed all the birds and the birdcages and then I hand-drew all of the details of the birds on each one. That was 2011, and then in 2014 I merged a collage concept with lithography to make cutout photos of landscape pots with silkscreen plants “growing” out of them. I had never used photolithography, I’d always used lithography for drawing (though in my frst set with Jean, we used the impression of wood grain to make a foor plane). We have made other things since then. It’s like he said, “You can’t stop.”

JS To me, Jean Milant is the great unsung hero of Los Angeles printmaking. He doesn’t get the credit he deserves.

19/09/18 10:05

51. Jonas Wood

b. 1977

Untitled, 2014 The complete set of four lithographs and screenprint in colors, on Coventry Rag paper, with full margins.

All signed, dated and numbered 33/50 in pencil, published by Cirrus Editions, Los Angeles (with their blindstamp), all framed. all I. various sizes all S. 48 x 37 1/8 in. (121.9 x 94.3 cm) Estimate $50,000-70,000

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19/09/18 10:11

Jonas Wood interviewed by master printer Jacob Samuel, from “Nonstop: Jonas Wood Speaks with Jacob Samuel”, Art in Print, vol. 8, no. 1, 2018, continued...

JS You grew up around Boston. Did you go to museums when you were young? Which ones did you like?

JW Well, certainly the Museum of Fine Arts, Boston. I was interested in fguration and I tried to paint or draw the fgure, but I was never really accurate. The modern masters were interesting because they had created their own language in fguration. I remember seeing a lot of Alexander Calder and a lot of art from Asia, like Japanese scrolls. My father was an architect and my mother was a drama teacher. We went to a lot of interesting buildings, like Walter Gropius’s house.

We went to the [Isabella Stewart] Gardner Museum and the deCordova [Sculpture Park and] Museum, and my parents would take us to New York, where we would visit MoMA, the Metropolitan Museum of Art and the Whitney. And because my grandfather collected, I grew up with art. That was kind of a big deal for me. He had a giant Francis Bacon painting, Picasso prints and Calder drawings. My parents had Andy Warhol’s pink and green cow prints, which felt important, but really it was an open-edition wallpaper that came in a couple of diferent colors. We had this downstairs all 18 years that I lived in my parents’ house. And we had Matisse prints, editions from the 1940s and ’50s.

could—not collaborate with—but outsource the work to. So now we are working with Kevin Gifen and Daniel Wlazlak. Kevin was Jef Wasserman’s apprentice. In the last year we’ve been making very detailed prints, around 30 colors, of red Matisse pots. We’re recreating works of mine that already exist, but making hybrid versions with more immediate drawing on top.

JS Well, one of the great things about printmaking is that you can edit. You can add and subtract.

JW Exactly. So it’s perfect because now we’ve started to work with them, and we can use their studio to make my prints. The only thing that I had to set up was the etching studio, and I started working with your apprentice Sam Gessow. That was when you and I decided to work together and you became my spiritual and professional printmaking guru.

There’s not a lot of young people making prints. And I like the idea of establishing that for myself, but also hopefully for other people in the future as time goes on, so I can do the same thing for a young artist that Ruscha did for me.

We haven’t really talked about it, but in the last couple of years, you helped me start my own print house, WKS Editions. We were thinking about setting up a whole silkscreen studio, and then realized that it’s probably best to fnd people who are excellent at this, who we

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52. Jonas Wood

b. 1977

Matisse Pot 1; Matisse Pot 2; and Matisse Pot 3, 2017-18 Three screenprints in colors, on Rising museum board, the full sheets. All signed, dated and two numbered ‘PP 1’ and one numbered ‘AP 2/10’ in pencil (printer’s proofs and an artist’s proof, the edition was 50), published by WKS (Wood Kusaka Studios), Culver City, California, all unframed. all S. 27 1/2 x 28 in. (69.9 x 71.1 cm) Estimate $40,000-60,000

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19/09/18 10:16

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19/09/18 10:17

53. David Hockney

b. 1937

The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) - 16 May, 2011, 2011 iPad drawing in colors, printed on wove paper, with full margins. Signed, dated and numbered 19/25 in pencil, published by the artist, framed.

I. 50 x 37 1/2 in. (127 x 95.3 cm) S. 55 x 41 5/8 in. (139.7 x 105.7 cm) Estimate $35,000-45,000

54. David Hockney

b. 1937

Views of Hotel Well I, from Moving Focus series, 1985 Lithograph in colors, on TGL handmade paper, with full margins, contained in the original frame designed by the artist. Signed, dated and numbered 56/75 in pencil (there were also 25 artist’s proofs), published

by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp). overall 47 x 36 3/4 in. (119.4 x 93.3 cm) Estimate $20,000-30,000 Literature Tyler Graphics 280 Museum of Contemporary Art Tokyo 272

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Property from a Private Collection, New York City and Palm Beach

55. David Hockney

b. 1937

White Porcelain, from Moving Focus series, 1985-86 Lithograph, etching and aquatint in colors, on TGL handmade paper, the full sheet. Signed, dated and numbered 61/80 in pencil (there were also 24 artist’s proofs), published by Tyler Graphics Ltd., Mount Kisco, New York (with their blindstamp), framed.

S. 19 x 22 in. (48.3 x 55.9 cm) Estimate $8,000-12,000 Literature Museum of Contemporary Art Tokyo 285

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19/09/18 10:18

56. David Hockney

b. 1937

The Student: Homage to Picasso, 1973 Etching, on Arches paper, with full margins.

Signed, dated and numbered XIV/XXX in pencil (there were also 15 artist’s proofs and an edition of 90 in Arabic numerals), published by Propyläen Verlag, Berlin, framed.

I. 22 5/8 x 17 1/2 in. (57.5 x 44.5 cm) S. 29 5/8 x 22 3/8 in. (75.2 x 56.8 cm) Estimate $8,000-12,000 Literature Scottish Arts Council 153 Museum of Contemporary Art Tokyo 143

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57. Richard Estes

b. 1932

D Train, 1988 Screenprint in colors, on three laminated sheets of custom-made German museum board, with full margins. Signed and annotated ‘A.P.’ in pencil (one of 15 artist’s proofs, the edition was 125), published by Parasol Press, Ltd., New York, framed.

I. 36 x 72 in. (91.4 x 182.9 cm) S. 42 x 80 in. (106.7 x 203.2 cm) Estimate $15,000-20,000 Literature John Arthur p. 128

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58. Richard Estes

b. 1932

Holland Hotel, 1984 Screenprint in colors, on Rives BFK paper, with full margins. Signed and annotated ‘AP’ in gold ink (one of 15 artist’s proofs, the edition was 100), published

by Parasol Press, Ltd., New York, unframed.

I. 45 1/2 x 72 1/8 in. (115.6 x 183.2 cm) S. 46 1/4 x 76 in. (117.5 x 193 cm) Estimate $10,000-15,000 Literature John Arthur p. 127

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“Nothing behind me, everything ahead of me, as is ever so on the road.”

Jack Kerouac, On the Road

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Property from a Distinguished Private Collection

â—‹

59. Ed Ruscha

b. 1937

Cheese Mold Standard with Olive, 1969 Screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 37/150 in pencil (there were also 10 artist’s proofs), published by the artist, framed.

I. 19 5/8 x 37 in. (49.8 x 94 cm) S. 25 3/4 x 40 in. (65.4 x 101.6 cm) Estimate $60,000-80,000 Literature Siri Engberg 31

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60. Ed Ruscha

b. 1937

Crackers, from Book Covers series, 1970 Lithograph, on Arches paper, with full margins.

Signed with initials, dated and numbered 23/30 in pencil (there were also 3 artist’s proofs), published

by Graphicstudio, University of South Florida, Tampa (with their blindstamp), framed.

I. 8 1/2 x 11 3/8 in. (21.6 x 28.9 cm) S. 16 x 20 in. (40.6 x 50.8 cm) Estimate $12,000-18,000 Literature Siri Engberg 50

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61. Jenny Holzer

b. 1950

When You’re on the Verge of Determining, from The Living Series, 1980-82 Cast bronze plaque multiple. Numbered 2/3 on a label afxed to the reverse (there was also 1 artist’s proof), published by the artist.

6 x 10 in. (15.2 x 25.4 cm) Estimate $8,000-12,000

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62. Marcel Duchamp

1887-1968

The Large Glass and Related Works, Vols. I-II, 1967-68 The complete set of 18 etchings, on handmade paper watermarked The Large Glass, with full margins and the full sheets, loose (as issued), hors-texte, titles, texts, facsimiles, reproductions, and justifcations, in two volumes: volume I with original folded paper wrappers, cloth-covered boards with title on spine, within Plexiglass case with color reproduction of The Large Glass and volume II within original paper wrappers, orange cloth-covered boards and slipcase. Signed by the artist and author (in both volumes) and numbered copy 108 of 135 in pencil on the colophon (there were also 15 artist’s proofs in Roman numerals), published by Galleria Schwarz, Milan. both 17 x 10 3/8 in. (43.2 x 26.4 cm) Estimate $8,000-12,000

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Literature Arturo Schwarz 643, 645-653 and 658

Volume I including: The Bride; The Top Inscription; The Nine Malic Moulds; The Sieves; Oculist Witnesses; The Water Mill; The Chocolate Grinder; The Large Glass (Etching); and The Large Glass Completed The Association Marcel Duchamp has confrmed the authenticity of this artwork and can issue a certifcate to the buyer.

19/09/18 10:24

“I thought a wine bottle was the perfect generic Modernist icon, having been so frequently used as a subject by the Cubists and Surrealists.�

Sherrie Levine, in conversation with Constance Lewallen, Journal of Contemporary Art, Inc.

Property from a Distinguished Private Collection

63. Sherrie Levine

b. 1947

Black and White Bottles, 1992 Two cast glass bottles. Numbered 8 from the edition of 12.

11 x 2 3/4 x 2 3/4 in. (27.9 x 7 x 7 cm) Estimate $25,000-35,000 Provenance Margo Leavin Gallery, Los Angeles Marvin Ross Friedman & Co., Miami Private Collection

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64. Richard Pettibone

b. 1938

Chicken Noodle; Cream of Vegetable; Cheddar Cheese and Tomato Rice, from Andy Warhol, ‘32 Cans of Campbell’s Soup,’ 1962, 1987 Four screenprints and synthetic polymer in colors, on canvas, over miniature wood stretchers. All signed with initials, dated and numbered 15/25 in pencil on the reverse. all 6 3/4 x 5 x 1/2 in. (17.1 x 12.7 x 1.3 cm) Estimate $30,000-40,000

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Property from a Private Collection, Los Angeles

65. Richard Pettibone

b. 1938

Roy Lichtenstein, Woman with Flowered Hat, 1963, 1970 Screenprint in colors, on canvas, on miniature stretcher bars with the original wood frame.

Signed, dated and numbered 37/100 in pencil on the reverse, additionally titled with an inkstamp on the reverse, published by the Men’s Committee of the Pasadena Art Museum. overall 7 1/2 x 6 1/4 x 1/4 in. (19.1 x 15.9 x .6 cm) Estimate $10,000-15,000

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66. Jasper Johns

b. 1930

0-9, 1975 Etching with aquatint, on Barcham Green paper, with full margins. Signed, dated and numbered 49/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, New York and London, framed.

I. 4 1/2 x 9 in. (11.4 x 22.9 cm) S. 17 x 13 1/2 in. (43.2 x 34.3 cm) Estimate $7,000-9,000 Literature Universal Limited Art Editions 155

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67. Jasper Johns

b. 1930

Periscope, 1981 Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 10/88 in pencil (there were also 12 artist’s proofs), published by Petersburg Press, London, framed.

I. 34 x 24 1/4 in. (86.4 x 61.5 cm) S. 41 5/8 x 29 1/2 in. (105.7 x 74.9 cm) Estimate $12,000-18,000 Literature Universal Limited Art Editions 218

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This Lot is to be Sold with No Reserve

68. Jasper Johns

b. 1930

69. Robert Rauschenberg

1925-2008

Flag (Moratorium), 1969 Ofset lithograph in colors, on wove paper, with full margins. Signed and numbered 293/300 in pencil, published by the Committee Against the War in Vietnam, framed.

I. 17 1/8 x 25 7/8 in. (43.5 x 65.7 cm) S. 20 1/2 x 28 1/2 in. (52.1 x 72.4 cm)

Signs, 1970 Screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 116/250 in pencil, published by Castelli Graphics, New York, framed.

I. 35 x 26 5/8 in. (88.9 x 67.6 cm) S. 42 5/8 x 33 7/8 in. (108.3 x 86 cm)

Estimate $18,000-22,000 •

Estimate $18,000-25,000

Literature United Limited Art Editions S5

Literature Edward A. Foster 155

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Andy Warhol Flowers, 1970 Andy Warhol said they were pretty; Flowers, the rarely complete portfolio of 1970, was Warhol’s decorative, even rebellious, response to the linear and all-over approach of then fashionable modernist painting. Floral paintings papered over the gallery walls in his coveted debut show with New York’s Leo Castelli. The garden fourished ever larger the next year in Paris with a boundless installation of foral paintings at Sonnabend Gallery.

Flowers served up a rainbow spectrum of technicolor possibilities; Warhol’s budding blossoms evoked selfimprovement, that most American enterprise. The hypnotic repetition of this fowery image that was clipped from a magazine mimicked the obsessive nature of a postwar public — inundated with images of opulence both on television as well as in printed ads — that was fxated like never before on beauty.

At attraction’s apex, these hibiscuses were most vulnerable, blooming in abundance for just feeting moments — much like Warhol’s favorite movie stars. Only after some demise would he capture Marilyn Monroe and Liz Taylor.

These ten screenprints were a clique of inevitably fading beauties verging upon surreal. At Factory Additions, Andy Warhol engineered the ephemeral into the immortal and ordinary into grandeur; no more so than in this wall-to-wall garden that alchemized commonplace forals into fresh buds that bloom on forever.

Andy Warhol in his studio with fowers ©Stephen Shore. Courtesy 303 Gallery, New York

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Property from an Important American Collection

70. Andy Warhol

1928-1987

Flowers, 1970 The complete set of 10 screenprints in colors, on wove paper, the full sheets. All signed in black ball-point pen and stamp numbered 134/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, all framed. all S. 36 x 36 in. (91.4 x 91.4 cm) Estimate $500,000-700,000 Literature Frayda Feldman and JÜrg Schellmann 64-73

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Property from the Diane and Alan Page Collection When NFL great, football Hall of Famer and former Minnesota Supreme Court Justice, Alan Page and his wife Diane Sims Page, a highly-regarded marketing consultant, built their contemporary home in Minneapolis’s traditional Kenwood neighborhood in 1973, they were making a radical break from the styles and expectations of that storied community by constructing a simple brown wooden box on a street that featured a mixture of stately Crafsman, Prairie-style and Victorian houses. The austere structure that the Pages built declared they were not afraid to be diferent. Soon, Alan’s bright yellow van would be stationed in the driveway.

Inside the completed house, adjacent open-plan living and dining rooms featured Italian designer sofas, the dramatic arch of a foor-to-ceiling Achille Castiglione lamp, and not much else save for stacks of Italian Vogues on a low-slung chrome cofee table. These gallery-like spaces were the perfect setting for Diane and Alan to entertain friends – including their extended Minnesota Viking family – and the huge bare walls eventually became home to two iconic Warhol screenprints, displayed for maximum impact opposite each other. For the Pages, Marilyn was an homage in the hottest of pinks and the most acid of yellows, expressing the exuberance of her personality and helping to ensure that her image as an American cinematic icon would remain searingly, indelibly vivid. The Mao portrait (see next the lot) represented a modish fascination with Chinese culture and with Chairman Mao as a revolutionary whose image Warhol irreverently transformed, layering pastel tones over Mao’s famous Red Book portrait.

Diane and Alan responded to the works aesthetically, but also appreciated how Warhol re-purposed his favorite cultural icons and represented them through his own lens. In a similar way the Pages began to re-defne the American Dream for themselves, as a life lived on their own unique terms; committed to acting on their ideals while balancing ambitious careers and raising a blended, multi-race family. Over the years, as their commitment to social justice grew to include Alan’s 26-year tenure on the Minnesota Supreme Court and the founding of the Page Educational Foundation, which provides fnancial assistance and mentoring minority students in exchange for their commitment to community service, the scope of their collection has changed.

The focus of Diane and Alan Page Collection today is still radical, but derives its impact from art, artifacts and Americana that speak directly to our unresolved racial history and its current legacy. It is a selection of art and artifacts that paints a portrait of race relations and representation in the 19th through 21st centuries. Gathered during decades of social justice work and civic engagement in their community, the collection refects their belief that even as we confront the most painful aspects of our past, so that they will not be repeated, we must also seek moments of transcendence that point to a better way forward.

We were married in 1973 and building a new home. Refecting a break from the past with an eye to the present and future, we wanted our home and décor to be very contemporary. We had both grown up with what we thought was stufy and oldfashioned interior design. As part of our ‘backlash’ against that era we wanted crisp, clean, light, airy and open interiors. As the house was nearing completion we purchased Marilyn from a downtown gallery in 1976. We didn’t know much about art, but we went looking for a Warhol – the only name in art that we recognized. We loved his Campbell’s Soup cans, the Marilyns, Lizzes and Chairmans. Marilyn was an icon and when we sat it we knew. The huge scale and bright, vibrant colors appealed the most to us and made a perfect ft for our home, along with the portrait of Mao, which we bought shortly afer. Diane Sims Page These contrasting pieces marked the beginning of Diane’s and Alan’s art collection, which would grow and evolve to include works by such artists as Jean-Michel Basquiat, Romare Bearden, Jim Dine, Carrie Mae Weems, Clementine Hunter and Charles White.

Bill Davis © 1978 Collection of Diane and Alan Page

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Property from the Diane and Alan Page Collection

71. Andy Warhol

1928-1987

Marilyn, 1967 Screenprint in colors, on wove paper, the full sheet.

Signed in pencil and stamp-numbered 243/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed.

S. 36 x 36 in. (91.4 x 91.4 cm) Estimate $150,000-250,000 Literature Frayda Feldman and JĂśrg Schellmann 31

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Property from the Diane and Alan Page Collection

72. Andy Warhol

1928-1987

Mao, 1972 Screenprint in colors, on Beckett High White paper, the full sheet. Signed in blue ball-point pen and stamp numbered 32/250 on the reverse (there were also 50 artist’s proofs), with the artist and printer’s copyright inkstamp on the reverse, copublished by Castelli Graphics and Multiples, Inc., New York, framed.

S. 36 x 36 in. (91.4 x 91.4 cm) Estimate $30,000-50,000 Literature Frayda Feldman and Jörg Schellmann 94 Allan Page on the feld. Jack Gillis © 1975, Minneapolis Star Tribune

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73. Andy Warhol

1928-1987

$(1), 1982 Unique screenprint in colors, on Lenox Museum board, the full sheet. Signed and numbered 32/60 in pencil (there were also 10 artist’s proofs), published by the artist (with his copyright inkstamp on the reverse), framed.

S. 19 3/4 x 15 3/4 in. (50.2 x 40 cm) Estimate $30,000-50,000 Literature Frayda Feldman and JĂśrg Schellmann 276

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Andy Warhol Campbell’s Soup I Lots 74–83 Who doesn’t own a soup can? Campbell’s Soup was the preeminent emblem of a new world order’s consumerism and ubiquitous branding. Andy Warhol knew that cultural landmarks became most enduring once everyone took ownership.

In one of his very frst exhibitions, Warhol, like his abstractionist contemporaries, presented foating and vertical, all-over compositions of horizontal and brightly colored bands; Andy’s subjects, however, took shape as soup cans, a form that everyone understands. Warhol presaged this world of the commonplace broadcast as noteworthy—even including those great aluminum, cylindrical sculptures in your cupboard. He forever transformed the ordinary by constructing and then lending his “aura”, though Warhol added that “aura is something that only somebody else can see, and they only see as much of it as they want to.”

© Bob Adelman Estate

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Campbell’s Soup I, lots 74–83 Property from an Important American Collection

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74. Andy Warhol

1928-1987

Tomato, from Campbell’s Soup I, 1968 Screenprint in colors, on wove paper, with full margins. Signed in black ball-point pen and stamp-numbered 40/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed.

I. 31 3/4 x 18 3/4 in. (80.6 x 47.6 cm) S. 35 x 23 in. (88.9 x 58.4 cm) Estimate $50,000-70,000 Literature Frayda Feldman and Jörg Schellmann 46

75. Andy Warhol

1928-1987

Chicken Noodle, from Campbell’s Soup I, 1968 Screenprint in colors, on wove paper, with full margins. Signed in black ball-point pen and stamp-numbered 40/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed.

I. 31 3/4 x 18 3/4 in. (80.6 x 47.6 cm) S. 35 x 23 in. (88.9 x 58.4 cm) Estimate $25,000-35,000 Literature Frayda Feldman and Jörg Schellmann 45

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Campbell’s Soup I, lots 74–83 Property from an Important American Collection

76. Andy Warhol

1928-1987

77. Andy Warhol

1928-1987

Vegetable, from Campbell’s Soup I, 1968 Screenprint in colors, on wove paper, with full margins. Signed in black ball-point pen and stampnumbered 40/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed.

I. 31 3/4 x 18 3/4 in. (80.6 x 47.6 cm) S. 35 x 23 in. (88.9 x 58.4 cm)

Beef, from Campbell’s Soup I, 1968 Screenprint in colors, on wove paper, with full margins. Signed in black ball-point pen and stampnumbered 40/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed.

I. 31 3/4 x 18 3/4 in. (80.6 x 47.6 cm) S. 35 x 23 in. (88.9 x 58.4 cm)

Estimate $20,000-30,000

Estimate $20,000-30,000

Literature Frayda Feldman and Jörg Schellmann 48

Literature Frayda Feldman and Jörg Schellmann 49

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78. Andy Warhol

1928-1987

79. Andy Warhol

1928-1987

Green Pea, from Campbell’s Soup I, 1968 Screenprint in colors, on wove paper, with full margins. Signed in black ball-point pen and stampnumbered 40/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed.

I. 31 3/4 x 18 3/4 in. (80.6 x 47.6 cm) S. 35 x 23 in. (88.9 x 58.4 cm)

Cream of Mushroom, from Campbell’s Soup I, 1968 Screenprint in colors, on wove paper, with full margins. Signed in black ball-point pen and stampnumbered 40/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed.

I. 31 3/4 x 18 3/4 in. (80.6 x 47.6 cm) S. 35 x 23 in. (88.9 x 58.4 cm)

Estimate $20,000-30,000

Estimate $20,000-30,000

Literature Frayda Feldman and Jörg Schellmann 50

Literature Frayda Feldman and Jörg Schellmann 53

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Campbell’s Soup I, lots 74–83 Property from an Important American Collection

80. Andy Warhol

1928-1987

81. Andy Warhol

1928-1987

Consommé Beef, from Campbell’s Soup I, 1968 Screenprint in colors, on wove paper, with full margins. Signed in black ball-point pen and stampnumbered 40/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed.

I. 31 3/4 x 18 3/4 in. (80.6 x 47.6 cm) S. 35 x 23 in. (88.9 x 58.4 cm)

Pepper Pot, from Campbell’s Soup I, 1968 Screenprint in colors, on wove paper, with full margins. Signed in black ball-point pen and stampnumbered 40/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed.

I. 31 3/4 x 18 3/4 in. (80.6 x 47.6 cm) S. 35 x 23 in. (88.9 x 58.4 cm)

Estimate $20,000-30,000

Estimate $20,000-30,000

Literature Frayda Feldman and Jörg Schellmann 52

Literature Frayda Feldman and Jörg Schellmann 51

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82. Andy Warhol

1928-1987

83. Andy Warhol

1928-1987

Black Bean, from Campbell’s Soup I, 1968 Screenprint in colors, on wove paper, with full margins. Signed in black ball-point pen and stampnumbered 40/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed.

I. 31 3/4 x 18 3/4 in. (80.6 x 47.6 cm) S. 35 x 23 in. (88.9 x 58.4 cm)

Onion, from Campbell’s Soup I, 1968 Screenprint in colors, on wove paper, with full margins. Signed in black ball-point pen and stampnumbered 40/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, unframed.

I. 31 3/4 x 18 3/4 in. (80.6 x 47.6 cm) S. 35 x 23 in. (88.9 x 58.4 cm)

Estimate $12,000-18,000

Estimate $10,000-15,000

Literature Frayda Feldman and Jörg Schellmann 44

Literature Frayda Feldman and Jörg Schellmann 47

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84. Andy Warhol

1928-1987

Grace Kelly, 1984 Screenprint in colors, on Lenox Museum Board, the full sheet. Signed and numbered 46/225 in pencil (there were also 30 artist’s proofs), published by the Institute of Contemporary Art, University of Pennsylvania, Philadelphia, with the consent of the Princess Grace Foundation (with their and the artist’s copyright inkstamp on the reverse), framed.

S. 40 x 32 in. (101.6 x 81.3 cm) Estimate $70,000-100,000 Literature Frayda Feldman and Jörg Schellmann 305

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85. Andy Warhol

1928-1987

Details of a Renaissance Painting (Sandro Boticelli Birth of Venus 1482), 1984 Screenprint in colors, on Arches Aquarelle paper, with full margins. Signed and numbered 3/70 in pencil (there were also 18 artist’s proofs), published by Editions Schellmann & Klüser, Munich and New York (with their and the Andy Warhol Copyright inkstamp on the reverse), framed.

I. 25 x 37 in. (63.5 x 94 cm) S. 32 x 44 in. (81.3 x 111.8 cm) Estimate $60,000-80,000 Literature Frayda Feldmann and Jörg Schellmann 319

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86. Andy Warhol

1928-1987

In the Bottom of my Garden, 1956 The complete set of 21 ofset lithographs (including the cover), 16 with hand-coloring, on wove paper, the full sheets bound in paper-covered boards (as issued). Inscribed by another hand on the inside ‘To Joseph Christmas 1962 from Bob’ in black ink, from the edition of unkown size.

8 5/8 x 11 in. (21.9 x 27.9 cm) Estimate $15,000-25,000 Literature Freyda Feldman and Jörg Schellmann IV 86-105

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Property from a Private Collection, Philadelphia

87. Andy Warhol

1928-1987

Beethoven, 1987 Screenprint in colors, on Lenox Museum Board, the full sheet. Signed by the executor of the Estate of Andy Warhol, the publisher, the printer and numbered ‘AP 11/15’ in pencil on the stamped Certifcate of Authenticity on the reverse (an artist’s proof, the edition was 60), published by Herman Wüensche, Bonn, framed.

S. 40 x 40 in. (101.6 x 101.6 cm) Estimate $40,000-60,000 Literature Frayda Feldman and Jörg Schellmann 391

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88. Andy Warhol

1928-1987

Black Rhino, from Endangered Species, 1983 Screenprint in colors, on Lenox Museum Board, the full sheet. Signed and numbered 141/150 in pencil (there were also 30 artist’s proofs), published by Ronald Feldman Fine Arts, Inc., New York, framed.

S. 38 x 38 in. (96.5 x 96.5 cm) Estimate $40,000-60,000 Literature Frayda Feldman and Jörg Schellmann 301

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89. Andy Warhol

1928-1987

Red Lenin, 1987 Screenprint in colors, on Arches 88 paper, the full sheet. Signed by Frederick W. Hughes (Executor of the Estate of Andy Warhol), and numbered 27/120 in pencil on a stamped Certifcate of Authenticity on the reverse (there were also 24 artist’s proofs), published by Andy Warhol, New York, framed.

S. 39 1/4 x 29 3/8 in. (99.7 x 74.6 cm) Estimate $40,000-60,000 Literature Frayda Feldman and JĂśrg Schellmann 403

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90. Andy Warhol

1928-1987

Van Heusen (Ronald Reagan), from Ads, 1985 Screenprint in colors, on Lenox Museum Board, the full sheet. Signed and numbered 172/190 in pencil (there were also 30 artist’s proofs), published by Ronald Feldman Fine Art, Inc., New York (with their blindstamp and inkstamp), framed.

S. 38 x 38 in. (96.5 x 96.5 cm) Estimate $18,000-24,000 Literature Frayda Feldman and JĂśrg Schellmann 356

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91. Andy Warhol

1928-1987

Portrait of the Artists, from Ten from Leo Castelli, 1967 One hundred screenprints in 10 colors, on polystyrene boxes, the center purple Rosenquist box with a split (measures approx. 1-in.). Incised with signature and numbered 52/200 on the blue box with Warhol’s portrait (there were also 25 proofs lettered A-Y), to commemorate the 10th anniversary of the Leo Castelli Gallery, published by Tanglewood Press, Inc., New York, framed. overall 20 x 20 in. (50.8 x 50.8 cm)

Including: Roy Lichtenstein; Larry Poons; Selfportrait; Lee Bontecou; James Rosenquist; Donald Judd; Jasper Johns; Frank Stella; Robert Morris and Robert Rauschenberg

Estimate $12,000-18,000 Literature Frayda Feldman and Jörg Schellmann 17

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Roy Lichtenstein A Selection of Works from 1965–1996 Lots 92–104 In a trip through art history, Roy Lichtenstein was the ultimate voyager. As he painted during the postwar period, global travel, television and newsreels condensed the art of far-fung places and far-of times into pictures made universally accessible to the public for the frst time. To cultural theorists questioning whether or not high culture and low art could ever be unifed, Lichtenstein ofered the bold quotation of pleasurable subjects as a serious answer. He borrowed motifs from art history, art deco hotels, movie theaters and cruise ships; in bright, friendly colors his prints and paintings manufactured pastiches like those mass media replicated on screens.

Lichtenstein believed in the art object’s democracy and “smiled at the idea of making a mechanical Monet”; within just one year of his painting he not only took on the subject of modern masters (Picasso, Pollock et al.) but also comic book reproductions.

Lichtenstein elaborated that his work was “an involvement with what I think to be the most brazen . . .characteristics of our culture . . .which are also powerful in their impingement upon us . . .”

© Bob Adelman Estate

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92. Roy Lichtenstein

1923-1997

Refections on Crash, from Refections Series, 1990 Lithograph, screenprint, relief and metallized PVC collage with embossing in colors, on Somerset paper, with full margins. Signed, dated and numbered 30/68 in pencil (there were also 16 artist’s proofs), published by Tyler Graphics Ltd., Mount Kisco, New York (with their blindstamp), framed.

I. 53 x 69 in. (134.7 x 175.4 cm) S. 59 3/8 x 75 1/8 in. (150.7 x 190.8 cm) Estimate $100,000-150,000 Literature Mary Lee Corlett 239

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Property from a Private Collection, Philadelphia

93. Roy Lichtenstein

1923-1997

Reverie, from 11 Pop Artist’s, Volume II, 1965 Screenprint in colors, on smooth wove paper, with full margins. Signed and numbered ‘XLI’ in pencil (one of 50 proofs in Roman numerals, the edition was 200, there were also approximately 5 artist’s proofs), published by Original Editions, New York, framed.

I. 27 1/ 16 x 23 in. (68.7 x 58.4 cm) S. 29 15/ 16 x 24 in. (76 x 61 cm) Estimate $80,000-120,000 Literature Mary Lee Corlett 38

“(His) images don’t lower art to the level of the comic strip but raise the comic strip to the level of high art.”

John Dorsey, Baltimore Sun, October 1, 1997

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Property from a Private West Coast Collection

94. Roy Lichtenstein

1923-1997

Still Life with Portrait, from Six Still Lifes Series, 1974 Lithograph and screenprint in colors with debossing, on Rives BFK paper, with full margins. Signed, dated and numbered 92/100 in pencil (there were also 10 artist’s proofs), co-published by Multiples Inc. and Castelli Graphics, framed.

I. 38 x 28 1/2 in. (96.5 x 72.4 cm) S. 47 x 37 1/2 in. (119.4 x 95.3 cm) Estimate $10,000-15,000

Property from a Private West Coast Collection

95. Roy Lichtenstein

1923-1997

Musical Notes (Composition IV), 1995 Screenprint in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 59/120 in pencil (there were also 30 artist’s proofs), co-published by the artist and Kennedy for Senate, framed.

I. 13 1/8 x 19 1/4 in. (33.3 x 48.9 cm) S. 22 x 27 3/8 in. (55.9 x 69.5 cm) Estimate $10,000-15,000

Literature Mary Lee Corlett 131

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Property from a Private West Coast Collection

96. 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 4/23 in black marker on the reverse (there were also 6 artist’s proofs), published by Saf Tech Arts, Oxford, Maryland.

38 1/4 x 43 1/2 in. (97.2 x 110.5 cm) Estimate $80,000-120,000 Literature Mary Lee Corlett 262

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Property from a Private West Coast Collection

97. Roy Lichtenstein

1923-1997

Landscape with Poet, 1996 Lithograph with screenprint in colors, on Lana Lanaquarelle Watercolor paper, with full margins.

Signed, dated and numbered 9/60 in pencil (there were also 12 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 84 x 30 in. (213.4 x 76.2 cm) S. 90 3/8 x 36 1/8 in. (229.6 x 91.8 cm) Estimate $70,000-100,000 Literature Gemini G.E.L. 1637 Mary Lee Corlett 303

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Property from a Private Collection, Philadelphia

98. Roy Lichtenstein

1923-1997

The River, from Landscapes Series, 1985 Lithograph, woodcut and screenprint in colors, on Arches 88 paper, with full margins. Signed, dated and numbered 41/60 in pencil (there were also 11 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 37 1/4 x 52 1/2 in. (94.6 x 133.4 cm) S. 40 1/4 x 55 1/2 in. (102.2 x 141 cm) Estimate $60,000-80,000 Literature Gemini G.E.L. 1256 Mary Lee Corlett 214

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99. Roy Lichtenstein

1923-1997

The Couple, from Expressionist Woodcut Series, 1980 Woodcut and embossing in colors, on Arches Cover paper, with full margins. Signed, dated and numbered 4/50 in pencil (there were also 13 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 35 1/2 x 29 1/2 in. (90.2 x 74.9 cm) S. 40 x 36 in. (101.6 x 91.4 cm) Estimate $20,000-30,000 Literature Gemini G.E.L. 883 Mary Lee Corlett 175

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100. Roy Lichtenstein

1923-1997

Tel Aviv Museum Print, 1989 Lithograph in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 20/60 in pencil (there were also 20 artist’s proofs), published

by Tyler Graphics Ltd., Mount Kisco, New York (with their blindstamp), framed.

I. 20 5/8 x 51 1/2 in. (52.4 x 130.8 cm) S. 26 1/4 x 56 1/2 in. (66.7 x 143.5 cm) Estimate $35,000-45,000 Literature Mary Lee Corlett 238

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101. Roy Lichtenstein

1923-1997

Imperfect 44 3/4” x 103”, from “Imperfect” Series, 1988 Woodcut, screenprint and collage in colors, on Archivart 4-ply Museum Board, with full margins. Signed, dated and numbered 7/45 in pencil (there were also 14 artist’s proofs), published by Gemini G.E.L., Los Angles (with their blindstamps), framed.

I. 41 3/4 x 93 in. (106 x 236.2 cm) S. 44 3/4 x 103 in. (113.7 x 261.6 cm) Estimate $35,000-45,000 Literature Gemini G.E.L. 1361 Mary Lee Corlett 220

101.

102.

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Property from a Private Collection, Los Angeles

102. Roy Lichtenstein

1923-1997

Peace Through Chemistry III, 1970 Lithograph, on Special Arjomari paper, with full margins. Signed, dated and numbered 14/16 (there were also 6 artist’s proof), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 32 1/4 x 57 7/8 in. (81.9 x 147 cm) S. 37 3/4 x 63 3/8 in. (95.9 x 161 cm) Estimate $15,000-25,000 Literature Gemini G.E.L. 191 Mary Lee Corlett 98

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103. Roy Lichtenstein

1923-1997

Interior with Chair, from Leo Castelli 90th Birthday portfolio, 1997 Screenprint in colors, on Somerset paper, with full margins. Signed by Dorothy Lichtenstein (the artist’s widow and Executor of the Estate), dated ‘98’ and numbered ‘AP 14/15’ in pencil (an artist’s proof, the edition was 90), published by Forty/ Ninety, Inc., New York, unframed.

I. 27 x 20 1/2 in. (68.6 x 52.1 cm) S. 37 x 27 in. (94 x 68.6 cm) Estimate $10,000-15,000 Literature Mary Lee Corlett 309

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104. Roy Lichtenstein

1923-1997

Titled, 1996 Screenprint in colors, on Coventry Rag paper, with full margins. Signed, dated and numbered 71/175 in pencil (there were also 25 artist’s proofs), co-published by the artist and Ronald Feldman Fine Arts, Inc., New York to beneft the Campaign for Freedom of Expression, framed.

I. 24 x 32 1/2 in. (61 x 82.5 cm) S. 31 5/8 x 39 5/8 in. (80.2 x 100.5 cm) Estimate $18,000-25,000 Literature Mary Lee Corlett 307

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105. Tom Wesselmann

1931-2004

Monica Sitting with Mondrian, 1989 Screenprint in colors, on Museum board, with full margins. Signed, dated and numbered 27/100 in pencil (there were also 12 artist’s proofs), published by International Images Inc., Putney, Vermont (with their blindstamp), framed.

I. 40 x 27 in. (101.6 x 68.6 cm) S. 51 x 37 in. (129.5 x 94 cm) Estimate $10,000-15,000

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106. Wayne Thiebaud

b. 1920

Chocolate Pie, 1964/2008 Woodcut, on wove paper, with full margins. Signed, dated and numbered 8/10 in pencil (there were also some artist’s proofs), published by Allan Stone Gallery, New York, framed.

I. 8 1/2 x 8 7/8 in. (21.6 x 22.5 cm) S. 13 3/4 x 14 in. (34.9 x 35.6 cm) Estimate $8,000-12,000

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107. James Rosenquist

1933 - 2017

The Bird of Paradise Approaches the Hot Water Planet, from Welcome to the Water Planet, 1989 Monumental 33 color pressed paper pulp work with lithographic collage elements, on two sheets of TGL handmade paper and Rives BFK paper, the full sheets.

Signed, titled, dated and numbered ‘A/P 4/10’ in pencil (an artist’s proof, the edition was 28), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamps), framed.

S. 96 x 84 3/4 in. (243.8 x 215.3 cm) Estimate $12,000-15,000

108. James Rosenquist

1933 - 2017

The Stowaway Peers out at the Speed of Light, 2001 Lithograph in colors, on Saunders Waterford paper, with full margins. Signed, titled, dated and numbered ‘printers proof 1/4’ in pencil (there were also 12 artist’s proofs, the edition was 40), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed.

I. 36 x 96 1/4 in. (91.4 x 244.5 cm) S. 46 1/4 x 105 1/2 in. (117.5 x 268 cm) Estimate $12,000-18,000

Literature Constance Glenn 214

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109. Mel Bochner

b. 1940

110. Richard Prince

b. 1949

Blah, Blah, Blah, 2018 Monoprint with collage, engraving, embossing and oil paint in colors, on handmade and hand-dyed Twinrocker paper, the full sheet.

Signed and dated in pencil, a unique color variant, published by Two Palms Press, New York, framed.

S. 22 3/4 x 30 3/4 in. (57.8 x 78.1 cm)

Untitled, 2007 Two birch veneer wood panels, one with laser engraved text, fastened at the seam (as issued).

Signed, dated and numbered 3/8 in black ink and laser engraved with the artist’s name on the reverse (there were also 2 artist’s proofs), published by Two Palms Press, New York.

22 x 14 x 1 3/8 in. (55.9 x 35.6 x 3.5 cm)

Estimate $15,000-25,000

Estimate $12,000-18,000

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111. Keith Haring

1958-1990

Pop Shop II, 1988 The complete set of four screenprints in colors, on wove paper, with full margins. All signed, dated and numbered 123/200 in pencil (there were also 20 artist’s proofs), published by Martin Lawrence Limited Editions, New York, all framed. all I. 10 5/8 x 13 1/2 in. (27 x 34.3 cm) all S. 12 x 15 in. (30.5 x 38.1 cm) Estimate $40,000-60,000 Literature Klauss Littmann pp. 96, 97

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112. KAWS

b. 1974

Ups and Downs, 2013 The complete set of 10 screenprints in colors, on Saunders Waterford High White paper, the full sheets, with title page, loose (as issued) contained in the original black fabric-covered portfolio with embossed title.

All signed, dated and numbered 80/100 in pencil (there were also 20 artist’s proofs), published by the artist, New York. all S. 35 x 23 in. (88.9 x 58.4 cm) Estimate $40,000-60,000

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113. Niki de Saint Phalle

1930-2002

Elephant Vase, 1985 Ceramic and polystyrene vase, painted in colors. Incised with signature and numbered 25/50 on a brass plaque inset on the underside (there were also 7 artist’s proofs), published by Plastiques d’art R. Haligon, Périgny-sur-Yerres, France (stamped).

12 x 9 1/2 x 20 in. (30.5 x 24.1 x 50.8 cm) Estimate $15,000-25,000

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114. Niki de Saint Phalle

1930-2002

Serpent Vase, 1986 Ceramic and polystyrene vase, painted in colors.

Incised with signature and numbered ‘E.A. 4/7’ on a brass plaque inset on the underside (an artist’s proof, the edition was 50), published by Plastiques d’art R. Haligon, Périgny-sur-Yerres, France (stamped).

16 3/4 x 7 3/4 x 9 in. (42.5 x 19.7 x 22.9 cm) Estimate $15,000-25,000

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115. Yves Klein

1928-1962

Table Bleu KleinTM / Klein Blue® Table, designed 1961 IKB pigment, glass, Plexiglas, chrome-plated metal.

This work is from an edition begun in 1963, under the supervision of Rotraut Klein-Moquay based on a model by Yves Klein, signed by R. Klein Moquay and annotated with serial number ‘08UN-NEE’ (both printed) on a label afxed to the underside.

14 1/4 x 49 1/4 x 39 3/8 in. (36.2 x 125.2 x 100 cm) Estimate $12,000-18,000 Literature Barbara Bloemink and Joseph Cunningham, Design ≠ Art: Functional Objects from Donald Judd to Rachel Whiteread, exh. cat., Cooper-Hewitt Design Museum, New York, 2004, p. 27, fg. 14

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116. Jef Koons

b. 1955

Balloon Swan (Yellow); Balloon Monkey (Blue); and Balloon Rabbit (Red), 2017 Three porcelain multiples painted in chrome, all contained in the original foam lined boxes with silver printed signature. All with printed signature, titled, dated and numbered 596/999 on the underside, published by Bernardaud, Limoges, France (with their stamp on the underside).

Swan 9 3/4 x 6 x 8 in. (24.8 x 15.2 x 20.3 cm) Monkey 9 3/4 x 8 1/4 x 16 1/2 in. (24.8 x 21 x 41.9 cm) Rabbit 10 1/2 x 5 1/2 x 7 in. (26.7 x 14 x 17.8 cm) Estimate $25,000-35,000

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117. Damien Hirst

b. 1965

Mickey (Blue Glitter), 2016 Screenprint in colors with glitter, on wove paper, the full sheet. Signed and numbered 10/150 in pencil on the reverse (there were also 10 artist’s proofs), with the artist’s copyright inkstamp on the reverse, published by Other Criteria, London, framed.

S. 34 3/8 x 27 1/2 in. (87.3 x 69.9 cm) Estimate $15,000-25,000

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118. Damien Hirst

b. 1965

Minnie (Pink Glitter), 2016 Screenprint in colors with glitter, on wove paper, the full sheet. Signed and numbered 10/150 in pencil on the reverse (there were also 10 artist’s proofs), with the artist’s copyright inkstamp on the reverse, published by Other Critera, London, framed.

S. 34 3/8 x 27 1/2 in. (87.3 x 69.9 cm) Estimate $15,000-25,000

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170. Alexander Calder

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Day Editions morning session, 10am Lots 119–291 Day Editions afternoon session, 2:30pm Lots 292–405

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119. Pablo Picasso

1881-1973

Pitcher with birds (Pichet aux oiseaux), 1962 White earthenware pitcher, painted in colors with brushed glaze. Incised ‘Edition Picasso’, numbered 127/200, ‘Madoura’, and with the Madoura Plein Feu and Edition Picasso pottery stamps on the underside.

8 1/2 x 7 1/2 x 8 in. (21.6 x 19.1 x 20.3 cm) Estimate $6,000-8,000 Literature Alain Ramié 456 Georges Ramié 741

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120. Pablo Picasso

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1881-1973

121. Pablo Picasso

1881-1973

Wood-owl (Chouette), 1959 White earthenware turned vase, painted in colors, knife engraved and partially glazed. Incised `Edition Picasso’, numbered 236/500, `Madoura’, and with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

11 1/2 x 5 3/4 x 8 3/4 in. (29.2 x 14.6 x 22.2 cm)

Wood-owl (Chouette), 1969 White earthenware turned vase, painted in colors with boring-rod engraving and partial brushed glaze. Incised ‘Edition Picasso’, numbered 266/350, ‘Madoura’, and with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

11 x 5 1/8 x 8 1/4 in. (27.9 x 13 x 21 cm)

Estimate $10,000-15,000

Estimate $10,000-15,000

Literature Alain Ramié 543

Literature Alain Ramié 602

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122. Pablo Picasso

1881-1973

Spanish pitcher (Pichet Espagnol), 1954 White earthenware turned vase painted in colors, with knife engraving and partial brushed glaze. Incised ‘Edition Picasso’, numbered 277/300, ‘Madoura’, and with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

8 7/8 x 9 1/2 x 4 in. (22.5 x 24.1 x 10.2 cm) Estimate $6,000-8,000 Literature Alain Ramié 244

123. Pablo Picasso

1881-1973

Young wood-owl (Chouetton), 1952 White earthenware turned vase painted in white enamel, brown and black and with knife engraving.

From the edition of 500, annotated ‘Edition Picasso’ and ‘Madoura’ in black paint on the underside, and with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

9 3/4 x 3 5/8 x 3 5/8 in. (24.8 x 9.2 x 9.2 cm) Estimate $4,000-6,000 Literature Alain Ramié 135 Georges Ramié 699

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124. Pablo Picasso

1881-1973

Hibou (Owl), 1954 White earthenware ceramic pitcher with blue and white engobe and glaze. From the edition of 500, annotated ‘Edition Picasso’ in black paint, and with the Madoura Plein Feu and Edition Picasso pottery stamps on the underside.

9 3/4 x 5 1/4 x 7 1/2 in. (24.8 x 13.3 x 19.1 cm) Estimate $5,000-7,000 Literature Alain Ramié 253

Property from a Private Collection, New York City and Palm Beach

125. Pablo Picasso

1881-1973

Face tankard (Chope visage), 1959 White earthenware turned pitcher, painted in colors with partial brushed glaze. Annotated ‘Edition Picasso’, numbered 233/300 and ‘Madoura’ in black paint, and with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

8 3/8 x 4 x 5 3/4 in. (21.3 x 10.2 x 14.6 cm) Estimate $4,000-6,000 Exhibited Alain Ramié 432

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126. Pablo Picasso

1881-1973

Face (Visage), 1955 White earthenware turned jug, painted in colors, with glaze on the inside. From the edition of 500, annotated ‘Edition Picasso’ and ‘Madoura’ in black paint, and with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

12 x 3 5/8 x 4 3/4 in. (30.5 x 9.2 x 12.1 cm) Estimate $6,000-8,000 Literature Alain Ramié 288

127. Pablo Picasso

1881-1973

Face with palm-leaves (Visage aux palmes), 1956 White earthenware round dish, with Bright mask painted in colors and glazed on the reverse. Incised ‘c116 BIS’ and numbered 31/100, and with Madoura Plein Feu and Empreinte Original de Picasso pottery stamps on the reverse. diameter 16 5/8 in. (42.2 cm) Estimate $5,000-7,000 Literature Alain Ramié 365-366

reverse

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128. Pablo Picasso

1881-1973

Yan face (Yan visage), 1963 Ceramic pitcher painted in black. Incised ‘Edition Picasso’, numbered 157/300, ‘Madoura’, and with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

9 7/8 x 4 1/2 x 6 in. (25.1 x 11.4 x 15.2 cm) Estimate $3,500-4,500 Literature Alain Ramié 512

129. Pablo Picasso

1881-1973

Little-headed Yan (Yan petites têtes), 1963 Ceramic pitcher painted in black. Incised ‘V 101’, ‘Edition Picasso’, numbered 152/300, and with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

10 3/8 x 4 1/2 x 6 in. (26.4 x 11.4 x 15.2 cm) Estimate $3,500-4,500 Literature Alain Ramié 515

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130. Pablo Picasso

1881-1973

Arrastro, 1959 White earthenware round platter, painted in colors with brushed glaze. Incised numbering 42/50 and with black ink, with the Madoura Plein Feu and Empriente Original de Picasso pottery stamps on the underside. diameter 16 5/8 in. (42.2 cm) Estimate $6,000-8,000 Literature Alain Ramié 423 Georges Ramié 576

131. Pablo Picasso

1881-1973

Picador, 1954 Glazed white earthenware cupel, painted in black, with engraving and oxidized parafn. From the edition of 100, with the Empriente Original de Picasso pottery stamp on the underside.

2 5/8 x 7 x 7 in. (6.7 x 17.8 x 17.8 cm) Estimate $2,000-4,000 Literature Alain Ramié 227

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132. Pablo Picasso

1881-1973

Centaur and Face (Centaure et visage), 1953 Red earthenware turned pitcher painted in colors with partial brushed glaze. Incised ‘R193’, ‘Edition Picasso’, numbered 68/125, ‘Madoura’, and with the Madoura Plein Feu pottery stamp on the underside.

10 1/2 x 7 1/2 x 8 1/2 in. (26.7 x 19.1 x 21.6 cm) Estimate $8,000-12,000 Literature Alain Ramié 188 Georges Ramié 168

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133. Pablo Picasso

1881-1973

Mat owl (Hibou mat), 1955 White earthenware rectangular dish painted in colors with partial brushed glaze on the underside. From the edition of 450, annotated ‘Edition Picasso Madoura’ in black paint, and with the Madoura Plein Feu and Edition Picasso pottery stamps on the underside.

15 1/8 x 12 1/2 in. (38.4 x 31.8 cm)

Literature Alain Ramié 284 Georges Ramié 726

Estimate $8,000-12,000

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134. Pablo Picasso

1881-1973

Grey engraved pitcher (Pichet gravé gris), 1954 White earthenware turned pitcher, painted in black, white and grey patina, with knife engraving and partial brushed glaze. From the edition of 500, annotated `Edition Picasso’ and ‘Madoura’ in black paint, and with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

11 3/8 x 7 x 9 in. (28.9 x 17.8 x 22.9 cm) Estimate $8,000-12,000 Literature Alain Ramié 246 Georges Ramié 718-9

135. Pablo Picasso

1881-1973

Goat’s head in profle (Tête de chèvre de profl), 1950 White earthenware round plate painted in colors with partial brushed glaze. Numbered 90/200 in black paint, with the Madoura Plein Feu and Empreinte Original de Picasso pottery stamps on the underside. diameter 9 7/8 in. (25.1 cm) Estimate $6,000-8,000 Literature Alain Ramié 112 Georges Ramié 398

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136. After Pablo Picasso

1881-1973

Le crâne de chèvre sur la table (Goat Skull on the Table), 1953 Aquatint in colors, on Rives BFK paper, with full margins. Signed and numbered 54/150 in pencil, printed and published by Lacourière, Paris (with the atelier blindstamp), framed.

I. 19 7/8 x 25 1/2 in. (50.5 x 64.8 cm) S. 22 x 30 in. (55.9 x 76.2 cm) Estimate $6,000-8,000

137. Pablo Picasso

1881-1973

Vieux clown avec une ravissante personne (Old Clown with a Lovely Person), plate 49 from the 347 Series, 1968 Aquatint, on Rives BFK paper, with full margins. Signed in pencil, one of 17 unnumbered artist’s proofs (aside from the numbered edition of 50), published by Galerie Louise Leiris, Paris, 1969, framed.

I. 4 7/8 x 3 1/2 in. (12.4 x 8.9 cm) S. 12 7/8 x 10 in. (32.7 x 25.4 cm) Estimate $2,500-3,500 Literature Georges Bloch 1529 Brigitte Baer 1545

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138. Zao Wou-Ki

1920-2013

Les cerfs (The Deer), 1952 Lithograph in colors, on Arches paper, with full margins. Signed and numbered 19/250 in pencil (there were also 25 artist’s proofs in Roman numerals), published by La Guilde Internationale de la Gravure, Geneva (with their blindstamp), unframed.

I. 12 3/4 x 19 1/2 in. (32.4 x 49.5 cm) S. 15 x 22 1/4 in. (38.1 x 56.5 cm) Estimate $3,000-5,000 Literature Jorgen Ågerup 76

139. Alberto Giacometti

1901-1966

Nu assis (Seated Nude), 1965 Lithograph, on Rives BFK paper, with full margins. Signed and numbered 9/100 in pencil, published by Gemini Ltd., Los Angeles (with their blindstamps), for the Graphic Arts Council at the Los Angeles County Museum of Art, framed.

I. 24 x 17 in. (61 x 43.2 cm) S. 32 x 22 1/4 in. (81.3 x 56.5 cm) Estimate $5,000-7,000 Literature Herbert Lust 53

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140. Georges Braque

1882-1963

Oiseaux en vol (Bird in Flight), 1961 Lithograph in colors, on Arches paper, with full margins. Signed and numbered 56/75 in pencil, published by Maeght, Paris, framed.

I. 26 5/8 x 22 in. (67.6 x 55.9 cm) S. 27 7/8 x 23 in. (70.8 x 58.4 cm) Estimate $5,000-7,000 Literature Dora Vallier 167

141. After Marc Chagall

1887-1985

Saint-Jean-Cap-Ferrat, 1952 Lithograph in colors, on wove paper, with full margins. Signed in pencil, one of some artist’s proofs (there was no published edition), published by Fernand Mourlot, Paris, framed.

I. 26 5/8 x 19 1/8 in. (67.6 x 48.6 cm) S. 33 5/8 x 24 5/8 in. (85.4 x 62.5 cm) Estimate $5,000-7,000 Literature Fernand Mourlot and Charles Sorlier 4

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142. Marc Chagall

1887-1985

Vision of Moses, second state, 1968 Lithograph in colors, on wove paper, the full sheet.

Signed and numbered 50/75 in pencil, published

by Maeght, Paris, framed.

S. 22 5/8 x 30 in. (57.5 x 76.2 cm) Estimate $4,000-6,000 Literature Fernand Mourlot 554bis

143. Marc Chagall

1887-1985

The Bible series: three plates, 1931-39 Three etchings and aquatint with hand-coloring in watercolor, on Arches paper, with full margins. All signed with initials and numbered 83/100 in pencil, published by Ambroise Vollard, Paris, all unframed. all I. approximately 11 1/2 x 9 1/4 in. (29.2 x 23.5 cm) all S. approximately 19 1/2 x 15 1/2 in. (49.5 x 39.4 cm) Estimate $4,000-6,000 Literature see Patrick Cramer books 30

Including: Pharaoh’s Dream, Moses Breaks the Tablets and Saul and David.

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Property from a Private Collection, New York

144. Lyonel Feininger

1871-1956

Mühlenstrasse, Swinemünde (Muhle Street, Swinemunde), 1916 Etching, on wove paper, with full margins.

Signed, titled, and dated ‘1916’ in pencil, one of only two known proofs, with the Feininger Estate inkstamp and stamped/annotated ‘GE No. 60’ on the reverse, framed.

I. 5 1/2 x 8 1/2 in. (14 x 21.6 cm) S. 12 5/8 x 18 3/8 in. (32.1 x 46.7 cm) Estimate $3,000-5,000 Literature Leona A. Prasse E57

Property from a Private Collection, New York

145. Lyonel Feininger

1871-1956

Kirche von Dröbsdorf (Church of Dröbsdorf), 1916-17 Etching, on cream laid paper, with full margins.

Signed, titled and dated ‘1916’ in pencil, one of only a few proofs, with the Feininger Estate inkstamp and stamped/annotated ‘GE No. v3’, on the reverse, framed.

I. 7 x 9 1/8 in. (17.8 x 23.2 cm) S. 9 7/8 x 13 3/8 in. (25.1 x 34 cm) Estimate $3,000-5,000 Literature Leona E. Prasse E58

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Property from a Private Collection, New York

146. Lyonel Feininger

1871-1956

Abendgruss (The Evening Greeting), 1916-17 Etching, on cream laid paper, with full margins.

Signed, titled and dated ‘1917’ in pencil, from the edition of approximately 16 (one of 10 dated ‘1917’), with the Estate stamp and stamped/ annotated ‘GE No. 70’ on the reverse, framed.

I. 5 1/2 x 8 5/8 in. (14 x 21.9 cm) S. 9 7/8 x 13 1/4 in. (25.1 x 33.7 cm) Estimate $3,000-5,000 Literature Leona E. Prasse E59

Property from a Private Collection, New York

147. Lyonel Feininger

1871-1956

Der Reeder (The Privateer), 1911-12/1950 Etching and drypoint, on Arches paper, with full margins.

Signed in pencil, state B (of B), from the edition of approximately 25 (there were six known proofs in the frst state), with the Estate inkstamp and stamped/ annotated ‘GE No. 3’ on the reverse, printed by Phillipe Molinié at L’Imprimerie Lacouriére, Paris, published by Curt Valentin, New York, framed.

I. 5 1/2 x 8 5/8 in. (14 x 21.9 cm) S. 9 3/4 x 13 in. (24.8 x 33 cm) Estimate $1,500-2,500 Literature Leona A. Prasse E41

148. James McBey

1883-1959

Venetian Night, 1925/30 Etching, a richly inked impression with considerable tone, on pale blue antique laid paper, watermarked with a bunch of grapes and initials ?&P, with narrow margins. Signed and numbered ‘XXXIX’ in black ink (from the British edition numbered I-LX, the total edition was 81, the American edition numbered AI-AXX, and one additional unnumbered proof), published by P. & D. Colnaghi, London, framed.

I. 10 7/8 x 16 7/8 in. (27.8 x 42.9 cm) S. 11 7/8 x 17 5/8 in. (30.4 x 44.8 cm) Estimate $3,500-4,500 Literature Martin Hardie 254

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actual size

Property from a Private Collection, New York City and Palm Beach

149. Rembrandt Harmensz van Rijn 1606-1699 Rembrandt’s Mother with her Hand on her Chest, 1631 Etching, on laid paper with unidentifable watermark, with small margins (thread at top). New Hollstein’s frst state (of six), before strong shading separating the fngers, this impression with her face and hands printing grayish, framed.

I. 3 7/ 16 x 2 9/ 16 in. (8.7 x 6.5 cm) S. 3 13/ 16 x 2 3/4 in. (9.7 x 7 cm) Estimate $5,000-7,000 Provenance Mark Humphrey Gallery, Southampton, New York Literature Adam Bartsch; F.W.H. Hollstein 349 Arthur M. Hind 50 New Hollstein 87

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150. Salvador Dalí

1904-1989

A.D., Hommage à Dürer, 1971 Etching and drypoint with hand-coloring, on Rives BFK paper, with full margins. Signed and annotated ‘No Épreuve D’artiste’ and ‘No Bon a Tirer’ in pencil, further annotated ‘BAT aquarelle faisant partie de notre collection N Rigal’ in pencil on the reverse (a hand-colored proof before the stenciled edition of 100 on Rives and 50 on Japanese paper), published by Editions Graphiques Internationales, Paris, unframed.

I. 11 5/8 x 15 1/4 in. (29.5 x 38.7 cm) S. 19 1/2 x 25 3/8 in. (49.5 x 64.5 cm) Estimate $5,000-7,000 Provenance Private Collection, France Literature Ralf Michler and Lutz W. Löpsinger 508

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151. Salvador Dalí

1904-1989

Song of Songs, 1971 The complete set of 12 etchings with stencil coloring and gold gilding, on Arches paper, with full margins, folded (as issued), with title, colophon and text pages, all contained in the original blue cloth-colored portfolio. All signed and numbered 50/250 in pencil (there were also I-VI on parchment; VII-L on Japanese paper and 20 hors commerce numbered A-T), published by Leon Amiel, New York (with blindstamps). all S. 22 1/8 x 14 7/8 in. (56.2 x 37.8 cm) Estimate $7,000-10,000 Literature Ralf Michler and Lutz W. Löpsinger 468-479

Including: King Solomon; The Kiss; The Shepherd; The King’s Train; The Dovelike Eyes of the Bride; The Bridegroom Leaps upon the Mountains; The Beloved Looks Forth Like a Roe; The Beloved is as Fair as a Company of Horses; Thou art Fair, My Love, and Thy Breasts...; The Beloved Feeds Among the Lilies; The Fruits of the Valley and Return, O Shulamite.

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152. Salvador Dalí

1904-1989

Afer 50 Years of Surrealism, 1974 The complete set of 12 drypoints with pochoir in colors, on Rives BFK paper, with full margins, lacking title page, colophon, original paper folders with text by André Parinaud and the original black linen-covered portfolio. All signed and annotated ‘A. EA’ in pencil (an artist’s proof from the English edition of 195 and 35 artist’s proofs in Roman numerals; there was also an edition of 29 on Japon nacré, an edition of 195 and 35 artist’s proofs in Roman numerals with text in French including a suite on Japon nacré) published by Transworld Art, Fribourg, Switzerland (with their blindstamp). all I. 15 7/8 x 11 7/8 in. (40.3 x 30.2 cm) all S. 26 x 19 7/8 in. (66 x 50.5 cm) Estimate $7,000-9,000

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Provenance Private Collection, France Literature Ralf Michler and Lutz W. Löpsinger 665-676

Including: The Laurels of Happiness; The Curse Overthrown; God, Time, Space and the Pope; Flung Out like a Fag-end by the Big-Wigs; Gala’s Godly Back; Picasso: a Ticket for Glory; The Great Inquisitor Expels the Saviour; Freud with a Snail Head; A Shattering Entrance upon the American Stage; The Divine Love of Gala; Gala’s Castle; and The Museum of Genius and Fancy.

19/09/18 11:23

153. Salvador Dalí

1904-1989

Manhattan, from New York City Suite, 1964 Etching in black and sepia, on Lana paper, with full margins. Signed and annotated ‘Epreuve d’Artiste’ in pencil (one of a few artist’s proofs in bistre, aside from the edition of 125, there were also 30 in Roman numerals), published by Jean Schneider, Basel, unframed.

I. 16 3/4 x 24 3/8 in. (42.5 x 61.9 cm) S. 22 1/8 x 30 in. (56.2 x 76.2 cm) Estimate $2,000-4,000 Literature Ralf Michler and Lutz W. Löpsinger 112

154. Salvador Dalí

1904-1989

Chinois, from Le Cirque (Chinese, from The Circus), 1965 Etching and aquatint in colors, on Arches paper, with full margins. Signed and numbered 94/175 in pencil (there were also various artist’s proofs), published by Jean Schneider, Basel & Berggruen, Paris. unframed.

I. 14 3/8 x 20 3/4 in. (36.5 x 52.7 cm) S. 20 3/4 x 26 3/8 in. (52.7 x 67 cm) Estimate $1,000-2,000 Literature Ralf Michler and Lutz W. Löpsinger 140

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155. Salvador Dalí

1904-1989

La Télévision; and La Tauromachine au tiroir, from Tauromachie surréaliste (Television; and Bullfght in a Drawer, from Surrealistic Bullfght), 1966-67 Two etchings with aquatint and stencil hand-coloring, on Arches paper, with full margins. Both signed, one dated, both numbered 98/150 in pencil (there was also an edition of 100 in Roman numerals on Japon nacré paper), published by Pierre Argillet, Paris (with the Dali blindstamp), both unframed.

La Télévision I. 11 3/4 x 15 5/8 in. (29.8 x 39.7 cm) S. 19 7/8 x 25 7/8 in. (50.5 x 65.7 cm) La Tauromachine I. 12 1/2 x 16 3/8 in. (31.8 x 41.6 cm) S. 19 3/4 x 26 in. (50.2 x 66 cm) Estimate $1,500-2,500 Literature Ralf Michler and Lutz W. Löpsinger 158 and 160

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156. Salvador Dalí

1904-1989

Ultra-Surrealistic Corpuscular Galutska; and The Eye of Surrealistic Time, from Memories of Surrealism, 1971 Two drypoints over lithograph in colors, on Arches paper, with full margins. Both signed and numbered ‘F 25/175’ in pencil (there was also an ‘A’ edition of 175 on Arches and various proofs), published by Transworld Art, New York, both unframed. both I. 20 5/8 x 16 3/8 in. (52.4 x 41.6 cm) both S. 29 5/8 x 20 3/8 in. (75.2 x 51.8 cm) Estimate $1,500-2,500 Literature Ralf Michler and Lutz W. Löpsinger 496 and 499

157. Joan Miró

1893-1983

Je travaille comme un jardinier (I work as a Gardener): one plate, 1963 Lithograph in colors, on Rives BFK paper, with full margins. Signed and annotated ‘e.a.’ in pencil (an artist’s proof, the edition was 75), published by XXè Siecle, Paris, framed.

I. 14 7/8 x 11 5/8 in. (37.8 x 29.5 cm) S. 16 x 13 in. (40.6 x 33 cm) Estimate $1,800-2,500 Literature Fernand Mourlot 285 see Patrick Cramer books 85

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158. Joan Miró

1893-1983

Rupestres IX; and Rupestres X (Cave Paintings IX; and Cave Paintings X), 1978 Two etchings in colors, on Arches paper, the full sheets. Both signed and numbered 28/30 and 29/30 in pencil (there were also 15 hors commerce in Roman numerals), published by Maeght, Barcelona, both framed. both S. 30 x 22 in. (76.2 x 55.9 cm) Estimate $3,000-6,000 Literature Jacques Dupin 1043 and 1044

159. Joan Miró

1893-1983

Joan Miró, 1974 Lithograph in black and beige, on Guarro paper, with full margins. Signed and annotated ‘H.C.’ in pencil (an hors commerce, aside from 45 numbered impressions and a color edition of 150), published by Art Conseil, Paris, framed.

I. 7 7/8 x 15 5/8 in. (20 x 39.7 cm) S. 13 5/8 x 20 3/8 in. (34.6 x 51.8 cm) Estimate $1,000-2,000 Literature Fernand Mourlot 934 Patrick Cramer books 191

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160. Rufno Tamayo

1899-1991

Interior con Sandía (Interior with Watermelon), 1975 Etching in colors, on Guarro paper, the full sheet.

Signed and numbered 55/75 in black crayon (there were also 10 artist proofs in Roman numerals and 10 hors commerce in Arabic numerals), published by Ediciones Polígrafa, Barcelona, framed.

S. 22 x 29 1/2 in. (55.9 x 74.9 cm) Estimate $2,500-3,500 Literature Juan Carlos Pereda 180

161. Various Artists Paroles Peintes IV (Painted Words IV), 1970 The complete set of seven etchings and aquatints (fve in color), on Richard de Bas paper, all loose (as issued) with wove paper folios and contained the original beige linen portfolio and slipcase. All signed and numbered 47/50 in pencil (aside from the total edition of 228, there were also 30 artist’s proofs in Roman numerals), published by Editions O. Lazar-Vernet, Paris.

Slipcase 16 1/4 x 12 1/4 x 2 1/4 in. (41.3 x 31.1 x 5.7 cm) Estimate $2,000-4,000

Including: Olivier Debré, Antoni Tàpies, Tal Coat, Alain Reynolds, Matta, Philippe Lapatre and Henry Moore

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162. Lucio Fontana

1899-1968

Concetto Spaziale, 1968 Etching and aquatint in black with punched holes, on wove paper, the full sheet. Signed, dated and numbered 184/210 in pencil, published by International Graphics Society, New York, framed.

S. 18 7/8 x 25 1/4 in. (47.9 x 64.1 cm) Estimate $3,000-5,000 Literature Harry Ruhé and Camillo Rigo E-47

163. Sonia Delaunay

1885-1979

La Rochelle, 1970 Lithograph in colors, on wove paper, with full margins. Signed and numbered ‘E.A. VIII/XXX in pencil’ (an artist’s proof), unframed.

I. 25 1/2 x 17 in. (64.8 x 43.2 cm) S. 33 3/8 x 22 1/2 in. (84.8 x 57.2 cm) Estimate $1,200-1,800

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Property from a Private Collection, Chicago

164. Alexander Calder

1898-1976

Les Vagues (The Waves), 1971 Lithograph in colors, on Arches paper, the full sheet. Signed and numbered 46/75 in pencil, published by Maeght, Paris, framed.

S. 29 1/2 x 43 1/4 in. (74.9 x 109.9 cm) Estimate $1,500-2,500 Provenance Galerie Maeght

165. Alexander Calder

1898-1976

Soucoupes dans le noir (Saucers in Black), 1969 Lithograph in colors, on chifon de Mandeure paper, the full sheet. Signed and numbered 26/75 in pencil, published by Maeght, Paris, framed.

S. 43 x 29 3/8 in. (109.2 x 74.6 cm) Estimate $1,500-2,500 Provenance Galerie Maeght Literature Maeght Editeur vol. 1, 1971, p. 46

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166. Alexander Calder

1898-1976

Cibles variables (Variable Targets), 1969 Lithograph in colors, on Lana paper, the full sheet. Signed and numbered 62/75 in pencil, published by Maeght, Paris, framed.

S. 29 1/2 x 43 1/4 in. (74.9 x 109.9 cm) Estimate $1,500-2,500 Provenance Galerie Maeght Literature Maeght Editeur vol. 1, 1971, p. 33

167. Alexander Calder

1898-1976

Plancton (Plankton), 1976 Lithograph in colors, on wove paper watermarked Maeght, the full sheet, with an accompanying certifcate of authenticity from Galerie Maeght, Zurich, October 14, 1977. Signed and numbered 50/75 in pencil, published by Maeght, Paris, framed.

S. 22 3/4 x 30 3/4 in. (57.8 x 78.1 cm) Estimate $1,500-2,500 Provenance Galerie Maeght, Zurich

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Property from a Private Collection, Chicago

168. Alexander Calder

1898-1976

Le Bateau lavoir (The Laundry Boat), 1969 Lithograph in colors, on wove paper, the full sheet, with an accompanying certifcate of authenticity from Galerie Maeght, Zurich, October 14, 1977. Signed and numbered 42/75 in pencil, published by Maeght, Paris, framed.

S. 21 7/8 x 29 5/8 in. (55.6 x 75.2 cm) Estimate $1,500-2,500 Provenance Galerie Maeght, Zurich Literature Maeght Editeur vol. 1, 1971, p. 43

169. Alexander Calder

1898-1976

Encore de l’acier (More Steel), 1969 Lithograph in colors, on Rives BFK paper, the full sheet.

Signed and numbered 69/75 in pencil, published by Maeght, Paris, framed.

S. 29 1/2 x 21 1/2 in. (74.9 x 54.6 cm) Estimate $1,500-2,500 Provenance Galerie Maeght Literature Maeght Editeur vol. 1, 1971, p. 43

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170. Alexander Calder

1898-1976

Jaune d’Ouef (Egg Yolk), 1969 Lithograph in colors, on Rives BFK paper, the full sheet, with an accompanying certifcate of authenticity from Galerie Maeght, Zurich, October 14, 1977. Signed and numbered 50/75 in pencil, published by Maeght, Paris, framed.

S. 21 7/8 x 29 3/4 in. (55.6 x 75.6 cm) Estimate $1,500-2,500 Provenance Galerie Maeght, Zurich Literature Maeght Editeur vol. 1, 1971, p. 35

171. Alexander Calder

1898-1976

La Vague (The Wave), 1971 Lithograph in colors, on Arches paper, the full sheet, with an accompanying certifcate from Maeght Editeur, Paris, September 12, 1977. Signed and numbered 77/100 in pencil, published by Maeght, Paris, framed.

S. 29 7/8 x 22 3/8 in. (75.9 x 56.8 cm) Estimate $1,500-2,500 Provenance Galerie Maeght, Paris

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Property from a Private Collection, Chicago

172. Alexander Calder

1898-1976

Zèbre jaune et zèbre noir (Zebra Yellow and Zebra Black), 1976 Lithograph in colors, on wove paper watermark Maeght, the full sheet. Signed and numbered 23/75 in pencil, published by Maeght, Paris, framed.

S. 30 3/4 x 22 3/4 in. (78.1 x 57.8 cm) Estimate $1,500-2,500 Provenance Galerie Maeght

173. Alexander Calder

1898-1976

Petite spirale, 1976 Lithograph in colors, on wove paper, the full sheet.

Signed and numbered 16/75 in pencil, published

by Maeght, Paris, framed.

S. 21 3/4 x 30 5/8 in. (55.2 x 77.8 cm) Estimate $1,500-2,500 Provenance Galerie Maeght

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174. Alexander Calder

1898-1976

Hélices (Propellers), 1969 Lithograph in colors, on chifon de Mandeure paper, the full sheet. Signed and numbered 66/75 in pencil, published by Maeght, Paris, framed.

S. 29 1/2 x 43 in. (74.9 x 109.2 cm) Estimate $1,500-2,500 Provenance Galerie Maeght Literature Maeght Editeur vol. 1, 1971, p. 39

This image was also used for the exhibition poster ‘Calder at Pace/Columbus.’

175. Alexander Calder

1898-1976

Pyramid and Red Sun, from La Mémoire élémentaire (The Elementary Memory), 1978 Lithograph in colors, on wove paper, the full sheet.

Signed and numbered 6/100 in pencil (there was also an edition of 50 in Roman numerals), published by Editions de la Diférence, Paris, framed.

S. 28 3/8 x 20 1/2 in. (72.1 x 52.1 cm) Estimate $1,500-2,500 Provenance Galerie Maeght

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176. Willem de Kooning

1904-1997

The Man and the Big Blonde, 1982 Ofset lithograph in colors, on wove paper, with full margins. Numbered CXXIII/CL in pencil (from the unsigned edition of 150 in Roman numerals and 15 artist’s proofs, there was also a signed edition of 150 in Arabic numerals), published by The Rainbow Art Foundation, New York (with their blindstamp), framed.

I. 21 1/4 x 27 in. (54 x 68.6 cm) S. 26 1/2 x 36 in. (67.3 x 91.4 cm) Estimate $8,000-12,000

Property from a Private Collection, New York City and Palm Beach

176.

177. Joan Mitchell

1925-1992

Tree II, 1992 Lithograph in colors, on wove paper, the full sheet. Signed and numbered 89/100 in pencil (there were also 15 artist’s proofs), published

by Tyler Graphics Ltd., Mount Kisco, New York (with their blindstamp), framed.

S. 24 1/2 x 20 in. (62.2 x 50.8 cm) Estimate $4,000-6,000

178. Joan Mitchell

1925-1992

Poems, 1992 Eight lithographs in colors, on TGL handmade paper, with full margins, two folded (as issued), all with text by the poet Nathan Kern and contained in the original red cloth-covered portfolio with title page and colophon. Signed by the artist and poet and numbered ‘A.P. 3/12’ in pencil on the colophon (an artis’t proof, the edition was 26), published by Tyler Graphics Ltd., Mount Kisco, New York. all I. various sizes six S. 19 1/4 x 14 in. (48.9 x 35.6 cm) two S. 19 1/4 x 28 in. (48.9 x 71.1 cm) Estimate $2,500-3,500 177.

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179. Helen Frankenthaler

1928-2011

La Sardana, 1987 Lithograph with aquatint in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 12/60 in pencil (there were also 12 artist’s proofs), published by Ediciones Polígrafa, S.A., Barcelona, framed.

I. 27 1/2 x 18 7/8 in. (69.9 x 47.9 cm) S. 35 1/8 x 25 3/8 in. (89.2 x 64.5 cm) Estimate $3,000-5,000 Literature Pegram Harrison 138

180. Helen Frankenthaler

1928-2011

What Red Lines Can Do: one plate, 1970 Screenprint in colors, on Arches handmade paper, the full sheet, adhered along the edges.

Signed, dated and numbered ‘SS 53/75’ in pencil (there were also 24 artist’s proofs), published by Multiples Inc., New York, framed.

S. 38 3/4 x 26 in. (98.4 x 66 cm)

179.

Estimate $1,500-2,500 Literature Pegram Harrison 26

178.

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180.

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181. Robert Motherwell

1915-1991

Red Open with White Line, 1979 Etching and aquatint in colors, on Georges Duchêne Hawthorne of Larroque handmade paper, the full sheet. Signed with initials and numbered 31/56 in black ink (there were also 10 artist’s proofs), published by the artist (with his blindstamp), framed.

S. 18 1/8 x 35 1/2 in. (46 x 90.2 cm) Estimate $6,000-9,000 Literature Siri Engberg and Joan Banach 238

182. Robert Motherwell

1915-1991

Beau Geste VIII, 1989 Lithograph in colors, on Gampi handmade paper, the full sheet. Signed and numbered 21/35 in pencil (there were also 15 artist’s proofs), published by the artist (with his blindstamp), unframed.

22 x 15 in. (55.9 x 38.1 cm) Estimate $1,200-1,800 Literature Siri Engberg and Joan Banach 487

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183. Robert Motherwell

1915-1991

America - La France Variations VII, 1984 Lithograph and collage in colors, on Arches Cover paper, the full sheet. Signed and numbered ‘a.p. XVII/XX’ in pencil (an artist’s proof, the edition was 68) published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), framed.

S. 52 3/4 x 36 in. (134 x 91.4 cm) Estimate $2,000-3,000 Literature Tyler Graphics 449 Siri Engberg and Joan Banach 335

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184. Robert Motherwell

1915-1991

Open on Two Whites, 1973 Lithograph, on Arches Cover paper, the full sheet. Signed in purple pencil and annotated ‘artist’s proof I/IV’ in green pencil (the edition was 30), published by Universal Limited Art Editions, West Islip, New York, unframed.

S. 47 5/8 x 31 5/8 in. (121 x 80.3 cm) Estimate $1,500-2,500 Literature Siri Engberg and Joan Banach 132

185. Robert Motherwell

1915-1991

Poet I, 1962 Lithograph, on Arches paper, with full margins. Signed, dedicated ‘for Bernard Rapheal’ and numbered 22/22 pencil (there were also 2 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York, framed.

I. 22 1/2 x 16 1/4 in. (57.2 x 41.3 cm) S. 30 x 22 1/2 in. (76.2 x 57.2 cm) Estimate $3,000-5,000 Literature Siri Engberg and Joan Banach 6

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186. Sam Francis

1923-1994

Untitled III (SFE-066), 1987 Etching, aquatint and drypoint in colors, on Fabriano paper, with full margins. Signed and numbered 51/76 in pencil (there were also 14 artist’s proofs), published by 2RC Edizioni d’Arte, Rome (with their blindstamp), framed.

I. 35 x 39 1/4 in. (88.9 x 99.7 cm) S. 48 3/4 x 53 in. (123.8 x 134.6 cm) Estimate $4,000-6,000 Literature Connie Lembark I 89

Property from a Private Collection, Los Angeles

187. Sam Francis

1923-1994

Spun for James Kirsch, 1972 Screenprint in colors, on Arches 88 paper, the full sheet. Signed and numbered 52/100 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), unframed.

S. 29 7/8 x 22 1/2 in. (75.9 x 57.2 cm) Estimate $2,500-3,500 Literature Gemini G.E.L. 411 Connie Lembark S3

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188. Sam Francis

1923-1994

Sulfur Sails, 1969 Lithograph in colors, on Rives BFK paper, the full sheet. Signed and numbered 7/20 in pencil (there were also 3 artist’s proofs and 7 unique color trial proofs), published by Tamarind Lithography Workshop, Los Angeles (with their blindstamp), framed.

S. 38 3/8 x 26 in. (97.5 x 66 cm) Estimate $1,000-2,000 Literature Connie Lembark L107

189. Various Artists Marginalia: Hommage to Shimizu: four plates, 1981 Four lithographs in colors, on 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 90/100 in pencil (there were also 10 artist’s proofs), published by Marginilia Publication Group, Tokyo, lacking the Jasper Johns. all I. various sizes S. 22 1/4 x 18 in. (56.5 x 45.7 cm) Estimate $3,000-5,000 Literature Connie Lembark L 235 Richard Axsom and David Platzker 176 Jörg Schellmann 105

Including: Christo, Pink Store Front, Project; Sam Francis, Untitled; Claes Oldenburg, Sketch for a Sculpture in the Form of a Steel Tack; and Jean Tinguely, Untitled.

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190. Jim Dine

b. 1935

Two Red Hearts, 1993 Woodcut and photo-engraving in colors, on two sheets of Stonehenge paper joined (as issued), with full margins. Signed, dated and numbered 43/120 in pencil (there were also 20 artist’’s proofs), published by the Takashamaya Corporation, Tokyo, framed.

I. 22 x 36 in. (55.9 x 91.4 cm) S. 30 x 43 1/4 in. (76.2 x 109.9 cm) Estimate $6,000-8,000 Literature Elizabeth Carpenter 59

From a Private Collection, New York City and Palm Beach

191. Jim Dine

b. 1935

Black Venus in the Wood, 1983 Woodcut, on Rives BFK paper, with full margins.

Signed, dated, and numbered 10/36 in pencil (there were also 10 artist’s proofs), published by Pace Editions Inc., New York, framed.

I. 39 x 27 3/4 in. (99.1 x 70.5 cm) S. 48 x 31 1/2 in. (121.9 x 80 cm) Estimate $1,500-2,500 Literature Ellen D’Oench and Jean Feinberg 161

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This Lot is to be Sold with No Reserve

192. Janet Fish

b. 1938

Pears and Glove, 1985 Woodcut in colors, on Sekishu paper, the full sheet. Signed and numbered 9/45 in pencil (there were also 10 artist’s proofs), published by 724 Prints, New York, unframed.

S. 19 1/2 x 27 5/8 in. (49.5 x 70.2 cm) Estimate $300-500 • Literature Linda Konheim Kramer 13

193. Howard Hodgkin

1932-2017

Late Afernoon In the Museum of Modern Art, from In the Museum of Modern Art, 1979 Etching, on buf Rives BFK paper, the full sheet.

Signed, dated and annotated ‘AP’ in red pencil (one of 20 artist’s proofs, the edition was 100), published

by Petersburg Press, London, unframed.

S. 30 x 39 3/8 in. (76.2 x 100 cm) Estimate $1,000-1,500 Literature Liesbeth Heenk 50; Tate Gallery 21

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Property from a Private Collection, New York City and Palm Beach This Lot is to be Sold with No Reserve

194. Chuck Close

b. 1940

Self Portrait/Squiggle/Etching, 2000 Etching in colors, on Hahnemühle paper, with full margins. Signed, dated, and numbered 47/60 in pencil (there were also 15 artist’s proofs), published

by Pace Editions, Inc., New York, framed.

I. 9 3/4 x 8 1/8 in. (24.8 x 20.6 cm) 18 1/4 x 15 1/4 in. (46.4 x 38.7 cm)

195. William Bailey

b. 1930

Untitled, 1982 The set of two etchings, on wove paper, with full margins. Both signed, dated and numbered 35/50 in pencil, both framed. both S. 27 1/2 x 22 in. (69.9 x 55.9 cm) Estimate $800-1,200 •

Estimate $3,000-5,000

This Lot is to be Sold with No Reserve

196. Wayne Thiebaud

b. 1920

Untitled (Bird), 1958 Screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 4/40 in pencil, unframed.

I. 21 1/4 x 31 1/4 in. (54 x 79.4 cm) S. 26 1/2 x 37 1/2 in. (67.3 x 95.3 cm) Estimate $2,000-4,000 •

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197. Richard Estes

b. 1932

Urban Landscapes No. 3, 1981 The complete set of eight screenprints in colors, on Fabriano Cottone paper, with full margins, all contained in the original olive green cloth-covered portfolio. All signed and annotated 157/250 in pencil (there were also 15 artist’s proofs), published by Parasol Press, Ltd., New York, all framed. all I. 14 x 20 in. (35.6 x 50.8 cm) all S. 19 3/4 x 27 5/8 in. (50.2 x 70.2 cm)

Including: Manhattan; Flughafen; Cafeteria, Vatican; Subway; Bus Interior; Eifel Tower Restaurant; Movies; and Lakewood Mall.

Estimate $10,000-15,000 Literature John Arthur pp. 121-123

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198. Donald Sultan

b. 1951

Black Eggs November 1989, 1989 Charocoal on heavy wover paper. Signed with initials, titled and dated in pencil, framed.

60 1/4 x 48 in. (153 x 121.9 cm) Estimate $5,000-7,000 Provenance Knoedler & Company, New York

199. Günther Uecker

b. 1930

Visionäre Landschaf; and Visionäre Landschaf II, 1992 Two lithographs in colors, on wove paper, the full sheets. Both signed, dated, Visionäre Landschaf numbered XIV/XV and Visionäre Landschaf II annotated ‘e.a’ in pencil, (Visionäre Landschaf II an artist’s proof, the edition was 15), published by ErkerPresse St. Gallen, Switzerland, both framed. both S. approximately 19 1/2 x 27 1/2 in. (49.5 x 69.9 cm) Estimate $800-1,200

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200. Donald Sultan

b. 1951

Silver Lantern Flowers, 2014 Polished aluminum on painted aluminum base. Incised with initials, titled, dated and numbered 10/12 on the underside, published by Lococo Fine Art, St. Louis (with their incised stamp on the underside).

18 x 19 1/2 x 3 in. (45.7 x 49.5 x 7.6 cm) Estimate $4,000-6,000

201. Donald Sultan

b. 1951

Seven Diamonds March 17, 1989; Ten Hearts March 23, 1989; Jack of Spades April 11, 1989; Six Clubs March 14; and Five Clubs March 13, 1989 Five charcoal and graphite drawings, on Auvergne a la Main paper. All signed with initials, titled and dated in pencil, framed. all 11 5/8 x 8 in. (29.5 x 20.3 cm) Estimate $5,000-7,000

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202. David Hockney

b. 1937

Celia Seated on an Ofce Chair, 1974 Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 9/60 in pencil (there were also 16 artist’s proofs), published by Petersburg Press, New York, unframed.

I. 27 x 21 1/2 in. (68.6 x 54.6 cm) S. 35 1/2 x 29 1/2 in. (90.2 x 74.9 cm) Estimate $8,000-12,000 Literature Museum of Contemporary Art Tokyo 160

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203. David Hockney

b. 1937

Celia Observing, 1976 Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 39/60 in pencil (there were also 14 artist’s proofs), published by Petersburg Press, London and New York, unframed.

I. 27 x 21 1/2 in. (68.6 x 54.6 cm) S. 35 1/2 x 29 1/2 in. (90.2 x 74.9 cm) Estimate $7,000-9,000

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Property from the Edwin C. Cohen Family Collection

204. David Hockney

b. 1937

Alka Seltzer, 1961 Etching and aquatint, on Crisbrook handmade paper, unevenly trimmed at the lef and right sheet edges.

Signed in pencil, presumably an earlier proof apart from the edition of 15 (there were also 16 artist’s proofs), published in 1969 by Petersburg Press, New York, framed.

I. 11 x 5 in. (27.9 x 12.7 cm) S. 15 1/4 x 11 in. (38.7 x 27.9 cm) Estimate $6,000-8,000 Literature Museum of Contemporary Art Tokyo 6

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205. David Hockney

b. 1937

Portrait of Cavafy in Alexandria, from Illustrations for Fourteen Poems by C.P. Cavafy, 1966 Etching and aquatint, on Crisbrook handmade paper, with full margins. Signed, dated and numbered 18/75 in pencil (there were also 15 artist’s proofs), published

by Editions Alecto, London, framed.

I. 13 3/4 x 8 7/8 in. (34.9 x 22.5 cm) S. 22 1/2 x 16 in. (57.2 x 40.6 cm) Estimate $800-1,200 Literature Scottish Arts Council 47; Museum of Contemporary Art Tokyo 47

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206. David Hockney

b. 1937

Hockney Paints the Stage: two books with handdrawings, 1983 Two hardcover books, each with felt-tip pen hand drawings with additional hand-coloring in marker on the inside title pages, bound (as issued). Both signed and dedicated, one dated in black felt-tip pen on the inside title page. both 10 1/2 x 10 1/2 x 1 1/8 in. (26.7 x 26.7 x 2.9 cm) Estimate $4,000-6,000 Provenance Gif of the Artist

Property from a Private Collection, Los Angeles

207. David Hockney

b. 1937

Tree, 1968 Lithograph in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 88/95 in pencil, published by Petersburg Press, London and New York, framed.

I. 22 x 17 in. (55.9 x 43.2 cm) S. 25 5/8 x 19 5/8 in. (65.1 x 49.8 cm) Estimate $2,000-3,000 Literature Museum of Contemporary Art Tokyo 61

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208. David Hockney

b. 1937

Untitled (iPad drawing), from A Bigger Book, Art Edition A, 2010/2016 iPad drawing in colors, printed on archival paper, with full margins, contained in the original blue clothcovered folio. Signed, dated and numbered 47/250 in pencil (one of four editions of 250 lettered A-D), published by the artist (with his blindstamp) and Taschen, Berlin, unframed.

I. 17 1/4 x 13 in. (43.8 x 33 cm) S. 22 x 17 in. (55.9 x 43.2 cm) Estimate $5,000-7,000

209. David Hockney

b. 1937

White Lines Dancing in Printing Ink, 1990 Lithograph in colors, on Arches paper, the full sheet.

Signed, dated and numbered 9/35 in pencil (there were also 10 artist’s proofs), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), framed.

S. 29 3/8 x 39 in. (74.6 x 99.1 cm) Estimate $2,500-3,500 208.

Literature Museum of Contemporary Art Tokyo 323

210. David Hockney

b. 1937

Ann Looking at Her Picture, 1980 Lithograph, on Rives BFK mould-made paper, with full margins. Signed, dated and numbered 8/50 in pencil (there were also 19 artist’s proofs), published by Tyler Graphics Ltd., Mount Kisco, New York, framed.

I. 35 x 26 1/4 in. (88.9 x 66.7 cm) S. 44 3/8 x 30 in. (112.7 x 76.2 cm) Estimate $2,500-3,500 Literature Museum of Contemporary Art Tokyo 235 Tyler Graphics 270

209.

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211. David Hockney

b. 1937

Etching is the Subject, from The Blue Guitar, 1977 Etching and aquatint in colors, on Inveresk mould-made paper, with full margins. Signed and numbered 20/200 in pencil (there were also 37 artist’s proofs), published by Petersburg Press, New York, framed.

I. 13 3/4 x 16 3/4 in. (34.9 x 42.5 cm) S. 18 x 20 1/2 in. (45.7 x 52.1 cm) Estimate $1,500-2,500 Literature Museum of Contemporary Art Tokyo 191 Scottish Arts Council 14

211.

Property from a Private Collection, Philadelphia

212. David Hockney

b. 1937

Hollywood Bowl Poster, 1966 Ofset lithograph in colors, on wove paper, with full margins.

Signed and dated in pencil, from the edition of 85, published by Editions Electo, London, framed.

I. 22 x 13 in. (55.9 x 33 cm) S. 30 x 22 in. (76.2 x 55.9 cm) Estimate $300-500 Literature Brian Baggott 8

210.

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212.

19/09/18 11:13

213.

214.

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Property from a Private Collection, Los Angeles

213. Wayne Thiebaud

b. 1920

Lipstick Row, from Seven Still Lifes and a Rabbit, 1970 Screenprint in colors, on Arches paper, with full margins. Signed, dated and numbered 19/50 in pencil (there were also some artist’s proofs), published by Parasol Press, Ltd., New York, framed.

I. 5 x 22 7/8 in. (12.7 x 58.1 cm) S. 22 1/2 x 30 in. (57.2 x 76.2 cm) Estimate $7,000-10,000

214. Alex Katz

b. 1927

Blue Flags, 2014 Woodcut in colors, on Echizen Kozo paper, the full sheet. Signed and numbered 60/76 in pencil (there were also 7 artist’s proofs), co-published by the artist and Collaborative Art Editions, St. Petersburg, Florida, unframed.

S. 23 3/8 x 36 in. (59.4 x 91.4 cm) Estimate $5,000-7,000

215. Alex Katz

b. 1927

Samantha, 1987 Screenprint in colors, on wove paper, the full sheet. Signed and annotated ‘R.T.P.’ in pencil (the right-to-print proof, the edition was 80 and 12 artist’s proofs), published by Simca Print Artists, Inc., New York (with their blindstamp), framed.

S. 66 1/2 x 28 1/2 in. (168.9 x 72.4 cm) Estimate $10,000-15,000 Literature Klaus Albrecht Schröder 212

215.

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Property from a Private Collection, Philadelphia

216. Tom Wesselmann

1931-2004

Still Life with Fruit, Petunias and Claire, 1988 Glazed porcelain mounted to a gray backing board (as issued). With printed signature and numbered 226/229 on the reverse, published by Rosenthal, Hamburg. porcelain. 13 x 14 1/2 in. (33 x 36.8 cm) gray mount. 18 5/8 x 20 in. (47.3 x 50.8 cm) Estimate $3,000-5,000

217. Tom Wesselmann

1931-2004

Stil Life with Lilies and Mixed Fruit, 1998 Screenprint in colors, on Museum board, with full margins. Signed and numbered ‘DP XXII/XXV’ in pencil (a proof, the edition was 55 and 12 artist’s proofs), published by Cooper Square Prints, New York, framed.

I. 23 5/8 x 29 3/4 in. (60 x 75.6 cm) S. 31 3/4 x 38 in. (80.6 x 96.5 cm) Estimate $5,000-7,000

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218. Wayne Thiebaud

b. 1920

The Physiology of Taste, 1994 The complete book, comprised of nine lithographs in colors, on wove paper, text by Jean Anthelme Brillat-Savarin on French mould-made Lana Royale paper, all bound (as issued) and contained in the original slate gray cloth-covered portfolio. Signed and numbered copy 13 of 200 in pencil on the title page (there were also 26 lettered copies hors de commerce), published by Arion Press, San Francisco.

14 1/4 x 11 x 2 3/8 in. (36.2 x 27.9 x 6 cm) Estimate $4,000-6,000

Property from a Private Collection, Philadelphia

219. Roy Lichtenstein

1923-1997

Dinnerware, 1966 Group of six glazed ceramic dishes in colors, including two cups, two saucers, and two bowls.

With printed signature and date on the underside, from the edition of 800, published by Jackson China for Durable Dish Co. various sizes Estimate $600-900

Property from a Private Collection, Philadelphia

220. Roy Lichtenstein

1923-1997

Modern Head Brooch, 1968 Color enamel on metal. Incised with artist’s signature and dated on the reverse, published by Multiples Inc., New York (with their stamp).

3 x 2 1/4 in. (7.6 x 5.7 cm) Estimate $2,000-3,000

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Property from a Private West Coast Collection

221. Roy Lichtenstein

1923-1997

Mirror #4, from Mirror Series, 1972 Linocut and screenprint in colors with embossing, on Arjomari paper, with full margins. Signed, dated and numbered ‘A/P X’ in pencil (one of 10 artist’s proofs, the edition was 80), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. diameter I. 21 in. (53.3 cm) S. 28 x 28 in. (71.1 x 71.1 cm) Estimate $6,000-8,000 Literature Gemini G.E.L. 385 Mary Lee Corlett 109

This Lot is to be Sold with No Reserve

222. Jasper Johns

b. 1930

Two Flags, 1980 Lithograph, on Eijiro Kizuki Nishinouchi paper, with full margins. Signed, dated and numbered 45/56 in pencil (there were also 13 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), a professionally repaired crescent shaped split at the lower lef sheet edge (measuring 3-in.), a professionally repaired split at the upper center image (measuring 3/4-in.), two abrasions at the lower lef and right sheet edges (measuring 3/4-in. each), unframed.

I. 39 1/4 x 28 3/4 in. (99.7 x 73 cm) S. 47 1/2 x 36 in. (120.7 x 91.4 cm) Estimate $5,000-7,000 • Literature Gemini G.E.L. 878 Universal Limited Art Editions 209

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223. Robert Indiana

1928 - 2018

Golden Love, 1973 Screenprint in colors, on wove paper, with full margins.

Signed and numbered 29/150 in pencil, published by Encounter, New York, framed.

I. 30 x 30 in. (76.2 x 76.2 cm) S. 35 x 35 in. (88.9 x 88.9 cm) Estimate $4,000-6,000 Literature Susan Sheehan 77

Property from a Private Collection, Los Angeles This Lot is to be Sold with No Reserve

224. Richard Pettibone

b. 1938

Appropriation Print (with Andy Warhol, Frank Stella and Roy Lichtenstein), 1970 Screenprint in colors, on wove paper, with full margins. Signed and dated in pencil, unframed.

I. 11 1/4 x 14 3/4 in. (28.6 x 37.5 cm) S. 12 1/8 x 16 in. (30.8 x 40.6 cm) Estimate $800-1,200 •

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225. Jasper Johns

b. 1930

Summer (Blue), 1991 Lithograph in colors, on pale blue J. Whatman paper, with full margins. Signed, dated and numbered 61/225 in pencil (there were also 19 artist’s proofs), published by Brooke Alexander Editions, New York, framed.

I. 9 1/2 x 6 1/4 in. (24.1 x 15.9 cm) S. 16 1/4 x 11 1/4 in. (41.3 x 28.6 cm) Estimate $1,800-2,500 Literature Universal Limited Art Editions 254

226. Claes Oldenburg

b. 1929

Pork Chops Compared to Breasts, from Notes in Hand, 1972 Ofset lithograph in colors, colléd to Dacapo Art paper, with full margins. Signed with initials and numbered 68/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, London, framed.

I. 5 7/8 x 4 in. (14.9 x 10.2 cm) S. 9 7/8 x 7 7/8 in. (25.1 x 20 cm)

225.

Estimate $400-600 Literature Richard Axsom and David Platzker 78.8

226.

Property from the Collection of Ambassador John L. Loeb, Jr. This Lot is to be Sold with No Reserve

227. James Rosenquist

1933–2017

Whipped Butter for Eugene Ruchin, from 11 Pop Artists, Volume II, 1965 Screenprint in colors, on Italia handmade Beckett paper, the full sheet. Signed and numbered ‘XXXIII’ in pencil (one of 50 artist’s proofs, the edition was 200), published by Original Editions, New York, framed.

S. 24 x 30 in. (61 x 76.2 cm) Estimate $600-900 • Provenance Constance Glenn 11 227.

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This Lot is to be Sold with No Reserve

228. Claes Oldenburg

b. 1929

Profterole/Gray State, 1990 Lithograph in colors, on HMP Koller handmade paper, with full margins. Signed and numbered 35/58 in pencil (there were also 12 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 22 x 31 in. (55.9 x 78.7 cm) S. 29 3/4 x 40 in. (75.6 x 101.6 cm) Estimate $1,000-2,000 • Literature Gemini G.E.L. 1444 Richard Axsom and David Platzker 216

Property from a Private Collection, New York City and Palm Beach

229. Tom Slaughter

1955–2014

Hats; and Shoes, 1989 Two tempra paintings on heavy wove paper. Shoes signed and dated in pencil, both framed. both 43 3/4 x 30 1/4 in. (111.1 x 76.8 cm) Estimate $2,000-3,000

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230.

231.

232.

230. Allen Jones

b. 1937

Thrill Me, 1969 Ofset lithograph in colors, with photolithographic element, on wove paper, the full sheet. Signed, dated and annotated ‘artist’s proof’ in pencil (the edition was 120), published by Editions Alecto, London, framed.

S. 26 5/8 x 39 in. (67.6 x 99.1 cm) Estimate $800-1,200 Literature Richard Lloyd 50

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231. Allen Jones

b. 1937

232. R.B. Kitaj

1932-2007

Untitled, from Album, 1971 Lithograph in colors, on Rives BFK paper, the full sheet. Signed, dated and numbered 36/75 in pencil, published by Marlborough Graphics, London, framed.

S. 25 1/4 x 19 in. (64.1 x 48.3 cm)

The Most Important Film Ever Made, 1972 Screenprint and paper collage in colors, on wove paper, the full sheet. Signed and numbered 2/70 in pencil (there were also some artist’s proofs), published by the artist, framed.

S. 27 5/8 x 40 5/8 in. (70.2 x 103.2 cm)

Estimate $500-700

Estimate $400-600

Literature Richard Lloyd 60f

Literature Jane Kinsman 56 Jennifer Ramkalawon 164

19/09/18 11:17

This Lot is to be Sold with No Reserve

233. William Copley

1919-1996

Man and Woman, 1978 Screenprint in colors, on Somerset paper, with full margins. Signed `CPLY’ and numbered 62/200 in pencil (there were also 30 artists proofs), unframed.

I. 24 1/4 x 32 in. (61.6 x 81.3 cm) S. 26 1/8 x 34 in. (66.4 x 86.4 cm) Estimate $500-800 •

This Lot is to be Sold with No Reserve

234. Malcolm Morley

b. 1931

Miami Postcards: two plates, 1973 Two lithographs in colors, on Rives BFK paper, the full sheets. Both signed and numbered 3/30 in pencil (there was also an edition of 150 and 25 artist’s proofs), published by Abrams Original Editions, New York, both framed. both S. 24 x 34 in. (61 x 86.4 cm) Estimate $400-600 •

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235. Carmen Herrera

b. 1915

Red with White Triangle, 2009 Screenprint in red and white, on Somerset paper, the full sheet. Signed, dated and numbered 21/25 in black ink on the a label afxed to the accompanying cellophane folio, published by Ikon Gallery, Birmingham, England, unframed.

S. 27 x 19 1/2 in. (68.6 x 49.5 cm) Estimate $6,000-9,000

236. Ellsworth Kelly

1923-2015

Red, from Fourth Curve Series, 2003 Lithograph, on Rives BFK paper, with full margins. Signed and numbered 4/45 in pencil (there were also 12 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 19 1/2 x 12 7/8 in. (49.5 x 32.7 cm) S. 29 x 22 1/4 in. (73.7 x 56.5 cm) Estimate $6,000-8,000 Literature Gemini G.E.L. 1987 Richard Axsom 305

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237. Ellsworth Kelly

1923-2015

Four Panels, 1970-71 Screenprint in colors, on Arjomari paper, with full margins, adhered along the edges. Signed and numbered 6/50 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 28 7/8 x 54 in. (73.3 x 137.2 cm) S. 36 7/8 x 61 7/8 in. (93.7 x 157.2 cm) Estimate $6,000-9,000 Literature Gemini G.E.L. 263 Richard Axsom 72

238. Ellsworth Kelly

1923-2015

Green (Vert), from Suite of Twenty-Seven Color Lithographs, 1964-65 Screenprint in colors, on Rives BFK paper, with full margins.

Signed and numbered 5/75 in pencil (there were also 10 artist’s proofs), published by Maeght Éditeur, Paris, framed.

I. 24 7/8 x 18 in. (63.2 x 45.7 cm) S. 35 x 23 1/2 in. (88.9 x 59.7 cm) Estimate $5,000-7,000 Literature Richard Axsom 7

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239. Ellsworth Kelly

1923-2015

Sunfower II, from Series of Five Plant and Flower Lithographs, 1995-2004 Lithograph, on Rives BFK paper, with full margins.

Signed and numbered ‘AP 11/12’ in pencil (an artist’s proof, the edition was 60), published by Gemini G.E.L., Los Angeles (with their blindstamps), unframed.

I. 28 1/2 x 19 in. (72.4 x 48.3 cm) S. 37 x 29 in. (94 x 73.7 cm) Estimate $6,000-9,000 Literature Gemini G.E.L. 2010 Richard Axsom 314

240. Ellsworth Kelly

1923-2015

Wild Grape Leaves I, from Series of Five Plant and Flower Lithographs, 2004 Lithograph, on Rives BFK paper, with full margins.

Signed and numbered ‘AP 10/10’ in pencil (an artist’s proof, the edition was 45), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 12 x 27 in. (30.5 x 68.6 cm) S. 23 x 31 in. (58.4 x 78.7 cm) Estimate $6,000-9,000 Literature Gemini G.E.L. 2011 Richard Axsom 311

239.

241. Ellsworth Kelly

1923-2015

Oak VI, from Series of Oak Leaves, 1992 Lithograph, on Rives BFK paper, with full margins.

Signed and numbered 10/30 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), unframed.

I. 23 x 21 in. (58.4 x 53.3 cm) S. 30 x 36 in. (76.2 x 91.4 cm) Estimate $6,000-9,000 Literature Gemini G.E.L. 1570 Richard Axsom 264

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240.

241.

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242. Ellsworth Kelly

1923-2015

Amden, from Series of Seven Lithographs, 1980 Lithograph, on Rives BFK paper, with full margins.

Signed and numbered 18/25 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 23 x 24 1/4 in. (58.4 x 61.6 cm) S. 29 x 31 3/4 in. (73.7 x 80.6 cm) Estimate $3,000-5,000 Literature Gemini G.E.L. 858 Richard Axsom 184

243. Ellsworth Kelly

1923-2015

Blue Curve (Black State), from Third Curve Series, 2000 Lithograph in black, on Rives BFK paper, the full sheet. Signed and numbered 39/58 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles, framed.

S. 8 x 6 in. (20.3 x 15.2 cm) Estimate $2,000-3,000 Literature Gemini G.E.L. 1811 Richard H. Axsom 284

244. Al Held

1928-2005

Stone Ridge: four plates, 1983 Four etchings in colors, on wove papers, the full sheets. All signed, dated and numbered 7/65 13/65 43/65 and 43/65 in pencil, published by Pace Editions, Inc, New York, all unframed. all S. 26 5/8 x 39 3/4 in. (67.6 x 101 cm) Estimate $2,000-4,000

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245. Richard Anuszkiewicz

b. 1930

Refections VI - Fire Red; and Refections VI Deep Blue, 1979 The complete pair of two hand-painted multiples in colors, on gessoed masonite. Both signed, dated and numbered 7/70 in pencil (there were also 15 artist’s proofs), published by Editions Lassiter-Meisel, New York. both 63 3/4 x 47 in. (161.9 x 119.4 cm) Estimate $5,000-7,000

These two works form a ‘refective’ pair and there are seven pairs in the series. Less than half of the edition was manufactured.

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246.

246. Kenneth Noland

1924-2010

Untitled, 2009 Etching and aquatint in colors, on wove paper, with full margins. Signed with initials and numbered 42/65 in pencil, published by Pace Editions, Inc., New York, framed.

I. 29 1/2 x 30 in. (74.9 x 76.2 cm) S. 35 1/4 x 35 in. (89.5 x 88.9 cm) Estimate $6,000-9,000

247. John Chamberlain

Flashback, 1979 The complete set of eight lithographs in colors, on Arches paper, with full margins. All signed and numbered variously from the edition of 175 in pencil (there were also some artist’s proofs), published by London Arts Inc., Detroit (with their blindstamps and the blindstamp of Topaz Editions Inc., Tampa), all unframed. all I. approximately 19 1/2 x 15 in. (49.5 x 38.1 cm) all S. 28 x 20 in. (71.1 x 50.8 cm) Estimate $4,000-6,000

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1927-2011

248. John Chamberlain

1927-2011

Welding Series I-III, 1978 The complete set of three lithographs in colors, on wove paper, with full margins. All signed, dated and numbered 20/27 in pencil, published by Topaz Editions Inc., Tampa (with their blindstamps), all framed. all I. various sizes S. 32 x 24 in. (81.3 x 61 cm) Estimate $2,000-4,000 Provenance Albright-Knox Members’ Art Gallery

19/09/18 11:20

247.

248.

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249. Josef Albers

1888-1976

DR-a, 1968 Screenprint in colors, on heavy wove paper, with full margins. Signed with initial ‘A’, titled, dated and numbered 38/100 in pencil (there were also 25 artist’s proofs), published by Galerie Denise René, Paris (with their blindstamp), unframed.

I. 23 5/8 x 23 5/8 in. (60 x 60 cm) S. 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm) Estimate $6,000-9,000 Literature Brenda Danilowitz 180

250. Josef Albers

1888-1976

DR-b, 1968 Screenprint in colors, on heavy wove paper, with full margins. Signed with initial ‘A’, titled, dated and numbered 38/100 in pencil (there were also 25 artist’s proofs), published by Galerie Denise René, Paris (with their blindstamp), unframed.

I. 23 5/8 x 23 5/8 in. (60 x 60 cm) S. 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm) Estimate $4,000-6,000 Literature Brenda Danilowitz 181

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251. Josef Albers

1888-1976

I-S LXXII a, 1972 Screenprint in colors, on German Etching paper, with full margins. Signed with initial ‘A’, titled, dated and numbered 94/100 in pencil (there were also 25 artist’s proofs), published by Ives-Sillman, Inc., New York, to commemorate Albers’ 84th birthday, framed.

I. 17 3/8 x 17 3/8 in. (44.1 x 44.1 cm) S. 27 7/8 x 27 7/8 in. (70.8 x 70.8 cm) Estimate $2,500-3,500 Literature Brenda Danilowitz 215

252. Josef Albers

1888-1976

I-S LXX a, 1970 Screenprint in colors, on German Etching paper, with margins, unevenly trimmed (1/8-in. at the lef sheet edge). Signed with the initial ‘A’, titled, dated and numbered 95/125 in pencil, published by Ives-Sillman, Inc., New Haven (with their blindstamp), on the occasion of Albers’ 82nd birthday, unframed.

I. 12 x 12 in. (30.5 x 30.5 cm) S. 21 x 20 7/8 in. (53.3 x 53 cm) Estimate $2,500-3,500 Literature Brenda Danilowitz 196

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253. Josef Albers

1888-1976

WLS III, 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 104/125 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), framed.

I. 15 3/4 x 15 3/4 in. (40 x 40 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. 4 Brenda Danilowitz 171.3

254. Josef Albers 253.

1888-1976

WLS I, 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 60/125 in pencil (there were also 15 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), framed.

I. 15 5/8 x 15 5/8 in. (39.7 x 39.7 cm) S. 20 1/2 x 20 1/2 in. (52.1 x 52.1 cm) Estimate $2,500-3,500 Literature Gemini G.E.L. 2; Brenda Danilowitz 171.1

255. Josef Albers

1888-1976

WLS IV, from White Line Squares (Series I), 1966 Lithograph in colors, on Arches Cover paper, with full margins. Signed with the initial ‘A’, titled, dated and numbered 51/125 in pencil (there were also 15 artist’s proofs), published by Gemini G.E.L., Los Angeles, unframed.

I. 15 5/8 x 15 5/8 in. (39.7 x 39.7 cm) S. 20 5/8 x 20 5/8 in. (52.4 x 52.4 cm) Estimate $2,500-3,500 Literature Gemini G.E.L. 5 Brenda Danilowitz 171.4

254.

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256. Josef Albers

1888-1976

WLS V, from White Line Squares (Series I), 1969 Lithograph in colors, on Arches Cover paper, with full margins.

Signed with initial ‘A’, titled, dated and numbered 33/125 in pencil (there were also 15 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), framed.

I. 15 5/8 x 15 5/8 in. (39.7 x 39.7 cm) S. 20 5/8 x 20 5/8 in. (52.4 x 52.4 cm) Estimate $2,500-3,500 Literature Gemini G.E.L. 6 Brenda Danilowitz 171.5

257. 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)

256.

Estimate $2,500-3,500 Literature Gemini G.E.L. 8 Brenda Danilowitz 171.7

255.

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257.

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258. Josef Albers

1888-1976

I-S j, 1973 Screenprint in colors, on heavy etching paper, with full margins. Signed with initial ‘A’, titled, dated and numbered ‘hc 12/35’ in pencil (an hors commerce impression, the edition was 100), published by IvesSillman, Inc., New Haven (with their blindstamp), framed.

I. 25 x 25 in. (63.5 x 63.5 cm) S. 26 5/8 x 26 3/8 in. (67.6 x 67 cm) Estimate $2,500-3,500 Literature Brenda Danilowitz 220

259. Josef Albers

1888-1976

Never Before f; from Never Before portfolio, 1976 Screenprint in colors, on Arches 88 paper, with full margins. Signed, titled, and annotated ‘PP’ in pencil (the printer’s proof, the edition was 46 and 10 artist’s proofs), published by Tyler Graphics, Bedford Village, New York, unframed.

I. 10 7/8 x 12 in. (27.6 x 30.5 cm) S. 18 7/8 x 19 7/8 in. (47.9 x 50.5 cm) Estimate $2,500-3,500 Literature Tyler Graphics 63 Brenda Danilowitz 231.6

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260. Josef Albers

1888-1976

Slate and Sky, 1964 Screenprint in colors, on Mohawk Superfne bristol paper, with full margins. Signed, titled, dated and numbered 28/100 in pencil, published by IvesSillman Inc., New Haven, framed.

I. 7 x 7 in. (17.8 x 17.8 cm) S. 10 1/2 x 8 1/8 in. (26.7 x 20.6 cm) Estimate $2,000-3,000 Literature Brenda Danilowitz 159

261. Josef Albers

1888-1976

Formulation Articulation I and II, 1972 The complete set of 127 screenprints in colors, on 66 sheets of wove paper, each folded (as issued), with full margins, all contained in two original linen-covered gray portfolios and slip case. Signed and numbered 774 in black ink on the colophon (the edition was 1000), co-published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New Haven.

20 3/4 x 15 3/4 in. (52.7 x 40 cm) Estimate $5,000-7,000

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262. Agnes Martin

1912-2004

Paintings and Drawings 1974-1990, 1991 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. portfolio 12 1/4 x 12 1/4 in. (31.1 x 31.1 cm) Estimate $2,000-3,000

263. Robert Mangold

b. 1937

Multiple Panel Paintings 1973-1976, edition B, 1988 The complete set of nine screenprints in colors, on Fabriano paper, with title page and full margins, with the original plastic binding clip. One signed and numbered 294/300 in pencil, published by Edition Domberger, Filderstadt, Germany and Parasol Press, New York, unframed. all I. various sizes all S. 11 3/4 x 24 in. (29.8 x 61 cm) Estimate $2,000-3,000 Literature Amy Baker Sandback 12.01B-12.09B; Senior & Shopmaker Gallery, Inc., New York 1977.02

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264. Fred Sandback

1943-2003

Serie von 6 Lithographien (Six Lithographs), 1975 The complete set of six lithographs in colors, on handmade paper, with full margins. All signed and dated in pencil (from the edition of 300, there was also an edition of 25 plus 10 numbered with Roman numerals on Japanese laid paper), published by Grifelkunst-Vereinigung, Hamburg, all unframed. all I. various sizes; all S. 17 1/2 x 21 in. (44.5 x 53.3 cm) Estimate $2,500–3,500 Literature Fred Jahn 22-27

265. Fred Sandback

1943-2003

Eight Variations for Galerie Heiner Friedrich, 1971-73 The complete set of eight screenprints in colors, on yellow wove paper, with full margins. All signed, dated and numbered 4/50 in pencil (there were also 15 artist’s proofs in Roman numerals), published by Edition Heiner Friedrich, Munich, all framed. all I. various sizes all S. 15 3/8 x 18 7/8 in. (39.1 x 47.9 cm) Estimate $5,000-7,000 Literature Fred Jahn 3-10

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266. Sol LeWitt

1928-2007

Stars, 2002 The complete set of six linocuts in colors, on Somerset Satin paper, with full margins. All signed and numbered 89/100 in pencil (there were also 10 artist’s proofs), published by Parasol Press Ltd., New York, all unframed. all I. diameter 23 1/8 in. (58.7 cm) all S. 27 x 27 in. (68.6 x 68.6 cm) Estimate $8,000-12,000 Literature Barbara Krakow 2002.02

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267. Sol LeWitt

1928-2007

Concentric Irregular Bands, 1997 The complete set of four woodcuts in colors, on Tobashi paper, with full margins. All signed and numbered 9/30 in pencil (there were also 8 artist’s proofs), published by Quartet Editions, New York, all framed. all I. 12 1/4 x 12 1/4 in. (31.1 x 31.1 cm) all S. 15 1/4 x 15 1/4 in. (38.7 x 38.7 cm) Estimate $6,000-8,000 Literature Barbara Krakow 1997.03

Property from a Private Collection, New York City and Palm Beach

268. Sol LeWitt

1928-2007

Color & Black, 1991 The complete set of four etchings and aquatint in colors, on Somerset paper, with full margins. All signed and numbered 22/25 (there were also 10 artist’s proofs), published by Crown Point Press, San Francisco (with their blindstamps), all framed. all I. 11 7/8 x 11 7/8 in. (30.2 x 30.2 cm) all S. 24 1/2 x 23 3/4 in. (62.2 x 60.3 cm) Estimate $3,000-5,000 Literature Barbara Krakow 1991.05

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269. Donald Judd

1928-1994

Untitled, 1961/1993-94 Woodcut in black, on frostlite vellum paper, with full margins. Signed, dated and annotated ‘Trial-proof’ in pencil (one of four proofs, from an ‘edition in progress’, but never went to edition), published by the artist, framed.

I. 7 x 17 in. (17.8 x 43.2 cm) S. 17 x 20 1/2 in. (43.2 x 52.1 cm) Estimate $6,000-9,000 Literature Jörg Schellmann 23

270. James Siena

b. 1958

Multi-colored Nesting Unknots, 2005 Ukiyo-e woodcut, in colors, on Torinoko paper, with full margins. Signed, dated and numbered 5/40 in pencil, published by Pace Editions Inc., New York, framed.

I. 13 1/2 x 10 1/2 in. (34.3 x 26.7 cm) S. 21 1/2 x 17 1/2 in. (54.6 x 44.5 cm) Estimate $800-1,200

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271. Sarah Crowner

b. 1974

The Color 3 - 6 Portfolio, 2013 The complete set of four screenprints in colors, on wove paper, with full margins and one paperback risograph catalogue with unique insert. Both signed, the screenprints numbered 22/25 in pencil, the catalogue from the edition of 100, published by Printed Matter, New York, the screenprints for the New York Art Book Fair Fundraiser, the screenprints framed. all I. various sizes all S. 12 x 9 in. (30.5 x 22.9 cm) Estimate $1,500-2,500

272. Richard Tuttle

b. 1941

Print (diptych), 1976 Two screenprints, on heavy handmade paper, the full sheets. Signed, titled, dated and numbered 23/31 in pencil on the reverse, published by Brooke Alexander Editions, New York, both unframed. both S. 31 x 22 in. (78.7 x 55.9 cm) Estimate $1,000-1,500

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273. Frank Stella

b. 1936

Itata, from V series, 1968 Lithograph in colors, on Lowell paper, with full margins. Signed, dated and numbered ‘A.P. XI’ in pencil (one of 12 artist’s proofs, the edition was 100), published by Gemini G.E.L. Inc., Los Angeles (with their blindstamps), framed.

I. 11 x 19 in. (27.9 x 48.3 cm) S. 16 1/8 x 22 in. (41 x 55.9 cm) Estimate $3,000-5,000 Literature Gemini G.E.L. 76 Richard Axsom and Leah Kolb 23

Property from a Private Collection, Los Angeles

274. Frank Stella

b. 1936

Palmito Ranch, from Benjamin Moore series, 1971 Lithograph, on Arches paper, with full margins.

Signed, dated and numbered 99/100 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 9 1/4 x 9 1/4 in. (23.5 x 23.5 cm) S. 16 x 16 in. (40.6 x 40.6 cm) Estimate $1,500-2,500 Literature Gemini G.E.L. 301 Richard Axsom and Leah Kolb 62

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Property from a Private Collection, Los Angeles

275. Frank Stella

b. 1936

Delphine and Hippolyte, from Black Series II, 1967 Lithograph, on Barcham Green paper, with full margins. Signed, dated, and numbered 54/100 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 10 x 16 in. (25.4 x 40.6 cm) S. 15 x 22 in. (38.1 x 55.9 cm) Estimate $2,000-3,000 Literature Gemini G.E.L. 71 Richard Axsom and Leah Kolb 18

276. Frank Stella

b. 1936

Polar Co-ordinates IV (from Polar Co-Ordinates for Ronnie Peterson), 1980 Ofset lithograph and screenprint in colors, on Arches paper, the full sheet. Signed, dated and numbered 39/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, New York, framed.

S. 38 x 38 1/2 in. (96.5 x 97.8 cm) Estimate $6,000-8,000 Literature Richard Axsom and Leah Kolb 122

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277. Peter Halley

b. 1953

Untitled, 1991 Acrylic painting on graph paper. Signed and dated in pencil.

18 x 22 1/2 in. (45.7 x 57.2 cm) Estimate $2,500-3,500 Provenance Jason Rubell Gallery, Palm Beach, Florida

Property from a Private West Coast Collection

278. Richard Serra

b. 1938

Untitled, 1996 Etching, on Fabriano Murillo paper, with full margins. Signed, dated and numbered ‘SP 14/22’ in pencil (a special proof, the edition was 100 and 20 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 8 7/8 x 11 7/8 in. (22.5 x 30.2 cm) S. 14 7/8 x 17 3/4 in. (37.8 x 45.1 cm) Estimate $2,500-3,500 Literature Gemini G.E.L. 1680

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Property from a Private West Coast Collection

279. Richard Serra

b. 1938

Eidid III, 1991 Etching, on Fabriano Murillo paper, with full margins. Signed, dated and numbered 30/54 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 17 3/4 x 23 7/8 in. (45.1 x 60.6 cm) S. 25 1/8 x 30 3/4 in. (63.8 x 78.1 cm) Estimate $3,000-5,000 Literature Gemini G.E.L. 1557

Property from a Private West Coast Collection

280. Richard Serra

b. 1938

Videy Afangar #9, 1991 Etching, on Hahnemühle German etching paper, with full margins. Signed, dated and numbered 68/75 in pencil (there were also 20 artist’s proofs), published Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 6 x 4 1/2 in. (15.2 x 11.4 cm) S. 13 1/2 x 10 1/2 in. (34.3 x 26.7 cm) Estimate $2,500-3,500 Literature Gemini G.E.L. 1518

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281. Brice Marden

b. 1938

Untitled, from Ten Days, 1971 Etching and aquatint, on Arches paper, with full margins. Signed, dated and annotated ‘A.P.’ in pencil (one of 20 artist’s proofs, the edition was 30), published by Parasol Press, New York, framed.

I. 15 3/4 x 20 3/4 in. (40 x 52.7 cm) S. 22 x 30 in. (55.9 x 76.2 cm) Estimate $2,500-3,500 Literature Jeremy Lewison 20a

282. Brice Marden

b. 1938

Grid I, 1971 Etching, on Arches paper, with full margins. Signed, titled, dated and numbered 32/50 in pencil (there was also 1 artist’s proof), published by Parasol Press, New York, unframed.

I. 14 7/8 x 23 3/4 in. (37.8 x 60.3 cm) S. 22 x 29 3/4 in. (55.9 x 75.6 cm) Estimate $2,500-3,500 Literature Jeremy Lewison 17

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283. Brice Marden

b. 1938

Adriatics: plates b; and e, 1973 One etching and one etching with aquatint, on Rives BFK paper, with full margins. Both signed, dated and (b) annotated ‘AP’ in pencil (1 of 12 artist’s proofs, the edition was 40 for each), published by Parasol Press, New York, both framed. b. I. 23 3/4 x 14 in. (60.3 x 35.6 cm) S. 32 1/2 x 22 1/4 in. (82.6 x 56.5 cm) e. I. 23 3/4 x 14 in. (60.3 x 35.6 cm) S. 34 1/4 x 24 in. (87 x 61 cm) Estimate $5,000-7,000 Literature Jeremy Lewison 22b and 22e

284. Brice Marden

b. 1938

Untitled Press: plate #3, 1972 Lithograph in colors, on Rives BFK paper, with full margins. Signed and numbered 8/40 in pencil (there were also 3 artist’s proofs), published by Untitled Press Inc., Captiva, Florida (with their blindstamp), framed.

I. 16 x 10 5/8 in. (40.6 x 27 cm) S. 26 x 19 in. (66 x 48.3 cm) Estimate $2,000-3,000 Literature Jeremy Lewinson 21.3

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Property from The Estate of Howard Karshan ○

285. Robert Ryman

b. 1930

Etching in Four Parts, 1972 The complete set of four etchings in colors, on Rives BFK paper, with full margins. All signed, dated, annotated ‘a/p’ and numbered 1-4 in pencil respectively (one of 5 artist’s proofs, the edition was 30), published by the artist, all framed. all I. 5 7/8 x 5 7/8 in. (14.9 x 14.9 cm) all S. 11 x 11 in. (27.9 x 27.9 cm)

Provenance Anthony d’Ofay Gallery, London, 1989 Literature Amy Baker Sandback RRG6/1-4

Estimate $4,000-6,000

A Tale of Two Cities

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Property from The Estate of Howard Karshan ○

286. Blinky Palermo

1943-1977

Projektion, 1971 Ofset lithograph in colors, on cardboard, with full margins, with the original paper folder. Signed, dated and numbered 141/150 in pencil (there were also 10 to 15 artist’s proofs), published by Belser Kunstverlag, Stuttgart, unframed.

I. 7 5/8 x 14 1/8 in. (19.4 x 25.8 cm) S. 15 3/4 x 15 3/4 in. (40 x 40 cm) Estimate $1,000-1,500 Provenance Galerie Fred Jahn, Munich, 1990 Literature Fred Jahn 24

Property from The Estate of Howard Karshan

○

287. Blinky Palermo

1943-1977

Siegel, 1970 Screenprint in colors, on heavy wove paper, the full sheet. Signed, dated and inscribed in pencil on the reverse, a dedicated proof aside from the edition of 100 (there were also 10 artist’s proofs), published by Edition Staeck, Heidelberg, framed.

S. 24 3/4 x 19 1/8 in. (63 x 48.5 cm) Estimate $2,000-4,000 Literature Fred Jahn 14

Property from The Estate of Howard Karshan

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Property from The Estate of Howard Karshan

â—‹

288. Richard Artschwager

1923-2013

Matrosen (Sailors), 1972 Screenprint, on Rives BFK paper, with full margins.

Signed, dated and numbered 159/180 in pencil, published by German Art Dealer Association, Cologne, framed.

I. 14 3/4 x 13 1/8 in. (37.6 x 33.3 cm) S. 24 3/4 x 17 3/4 in. (62.9 x 45.1 cm) Estimate $800-1,200 Provenance Galerie Fred Jahn, Munich, 1989

Property from The Estate of Howard Karshan

â—‹

289. Various Artists Rubber Stamp, 1976-77 The complete set of 13 rubber stamp prints, on various papers, with full margins and the full sheets, each contained in the original paper envelopes. All numbered 573/1000 in pencil on the reverse (Buren numbered 104/250, one of four color combinations of 250 each), published by Parasol Press, Ltd., New York. twelve envelopes: 8 1/2 x 8 1/2 in. (21.6 x 21.6 cm) Martin envelope: 11 1/2 x 11 1/2 in. (29.2 x 29.2 cm) Estimate $1,800-2,500 Literature Barbara Krakow Gallery 1976.06 (LeWitt)

Including: Daniel Buren 1000 Placements, 1977; Don Nice Bear with Pedella, 1976; Barry Le Va Installation Floor Plan for any Space Surrounded

by Four Walls, 1976; Sol LeWitt Lines in Four Directions, 1976; Joe Zucker The Relocation of Property by Natural Forces, 1976; Robert Mangold A Square with Four Squares Cut Away, 1976; Carl Andre Untitled, 1976; Richard Artschwager Untitled, 1976; Myron Stout Untitled, 1976; Sylvia Mangold Six Inches Four Ways, 1976; Chuck Close Phil, 1976; Tom Wesselmann Shiny Nude, 1977; and Agnes Martin Praise, 1976

A Tale of Two Cities

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Property from The Estate of Howard Karshan

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290. Tom Wesselmann

1931-2004

Still Life with Apple, Orange and Radio, 1991 Screenprint in colors, on Arches paper. Signed and numbered 5/5 in pencil (there was also an edition of 100 and 12 artist’s proofs), published by International Images Inc., Putney, Vermont, framed.

I. 19 1/2 x 26 in. (49.5 x 66 cm) S. 30 x 36 3/4 in. (76.2 x 93.3 cm) Estimate $2,000-4,000

This Lot is to be Sold with No Reserve

291. Larry Rivers

1923-2002

Stencil Pack Camel, 1978 Lithograph with hand-coloring, on wove paper, the full sheet. Signed, dated and numbered 42/120 in orange pencil (there were also 25 artist’s proofs), published by Marlborough Graphics Inc., London, framed.

S. 22 1/2 x 30 in. (57.2 x 76.2 cm) Estimate $400-600 •

End of morning session

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Day Editions, afternoon session, 2:30pm Lots 292–405

292. Ai Weiwei

b. 1957

Artist’s Hand, 2017 Cast urethane resin multiple with electroplated rhodium, contained in the original cardboard presentation box. With inscribed signature on the underside, from the edition of 1000, published by the Public Art Fund, USA in collaboration with eBay for Charity to beneft the exhibition Ai Weiwei: Good Fences Make Good Neighbors, New York, 12 October 2017 - 11 February 2018 5 x 3 3/4 x 4 1/4 in. (12.7 x 9.5 x 10.8 cm) Estimate $2,500-3,500

This Lot is to be Sold with No Reserve

293. Erwin Wurm

b. 1954

Fear, 2007 Chromogenic print, with accompanying exhibition catalogue. Signed in black ink, dated and numbered 38/40 (printed) on a label afxed to the reverse, unframed.

29 1/8 x 22 3/4 in. (74 x 57.8 cm) Estimate $800-1,200 •

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This Lot is to be Sold with No Reserve

294. Laurie Simmons

b. 1949

House, from Food, Clothing and Shelter portfolio, 1996 Photogravure in colors, on wove paper, the full sheet. Signed, dated and numbered 24/40 in pencil (there were also 8 artist’s proofs), published by Fred Dorfman Inc., New York, framed.

S. 28 1/2 x 18 7/8 in. (72.4 x 47.9 cm) Estimate $800-1,200 • Provenance Dorothy Blau Gallery Inc., Bay Harbor Island, Florida

295. Laurie Simmons

b. 1949

The Instant Decorator (Pink Bedroom), 2001 Flex print in colors, the full sheet. Signed, dated and numbered ‘A/P 1/2’ in black ink on a label afxed to the reverse (an artist’s proof, the edition was 5), framed.

S. 30 x 40 in. (76.2 x 101.6 cm) Estimate $4,000-6,000

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296. Julian Opie

b. 1958

Waitress, from Walking in London, 2014 Lenticular acrylic panel comprised of four inkjet prints in colors, printed directly onto 20 lpi lenticular animating lenses, back mounted with 3mm Dibond, contained in a brushed aluminium frame specifed by the artist. Signed in black ink and numbered 47/50 (printed) on a label afxed to the reverse (there were also 10 artist’s proofs), published by Alan Cristea Gallery, London.

F. 32 1/2 x 20 in. (82.6 x 50.8 cm) Estimate $8,000-12,000 Literature Alan Cristea 269

297. Julian Opie

b. 1958

Elena and Cressie Get Ready for the Party. 4, 2011 Screenprint, on Perspex with background inkjet print in colors on paper, the full sheet, contained in the original aluminum frame specifed by the artist. Signed in black ink and numbered 2/30 on a label afxed to the reverse (there were also 7 artist’s proofs), published by Alan Cristea Gallery, London.

F. 24 3/8 x 30 5/8 in. (61.9 x 77.8 cm) Estimate $3,000-5,000 Literature Alan Cristea Gallery 167

298. Julian Opie

296.

b. 1958

Elena And Cressie Get Ready for the Party. 1, 2011 Screenprint, on Perspex with background inkjet print in colors on paper, the full sheets, contained in the original aluminum frame specifed by the artist. Signed in black ink and numbered 2/30 on a label afxed to the reverse (there were also 7 artist’s proofs), published by Alan Cristea Gallery, London.

F. 24 3/8 x 30 5/8 in. (61.9 x 77.8 cm) Estimate $3,000-5,000 Literature Alan Cristea Gallery 164

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297.

298.

299. Julian Opie

b. 1958

Tourist with Blouse, from Tourists, 2014 Screenprint in colors, with hand-painting on Somerset Velvet paper, with full margins, contained in a sprayed white wooden frame specifed by the artist. Signed and numbered 5/20 in pencil on the reverse (there were also 7 artist’s proofs), published

by Alan Cristea Gallery, London.

F. 41 1/4 x 31 in. (104.8 x 78.7 cm) Estimate $6,000-8,000 Literature Alan Cristea 279

299.

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300. Paula Scher

b. 1948

Manhattan at Night, 2008 Screenprint in colors, on Deluxe Lana Quarelle paper, with full margins. Signed, dated and numbered 20/90 in pencil (there were also 10 artist’s proofs), published by Stendhal Gallery, New York, framed.

I. 52 1/4 x 28 1/2 in. (132.7 x 72.4 cm) S. 60 x 33 1/2 in. (152.4 x 85.1 cm) Estimate $3,000-5,000

301. Mark Bennett

b. 1956

M*A*S*H, 1995 Graphite and ink drawing on vellum. Signed and dated in pencil, framed.

24 x 36 in. (61 x 91.4 cm) Estimate $1,500-2,500 Provenance The Corcoran Gallery of Art, Washington D.C.

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302. Mark Bennett

b. 1956

Home of Mike and Carol Brady [The Brady Brunch], from TV Sets and the Suburban Dream, 1995 Graphite and ink drawing on vellum. Signed and dated in pencil, framed.

24 x 36 in. (61 x 91.4 cm) Estimate $1,500-2,500

303. Maurizio Cattelan

b. 1960

The 1:6 Scale Wrong Gallery, 2006 Multiple comprising wood, brass, steel, aluminium, resin, plastic, glass and electric lighting, with accompanying copy of the Wrong Gallery Times, all contained in the original cardboard box. Numbered 56/2500 in black ink on the base, with the printed Cattelan copyright, published by Cerealart Multiples, Philadelphia.

18 3/8 x 11 1/2 x 6 3/4 in. (46.7 x 29.2 x 17.1 cm) Estimate $1,200-1,800

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Property from the Edwin C. Cohen Family Collection Property from the Edwin C. Cohen Family Collection

304. Karen Kilimnik

b. 1955

Dancers in the Wings, Moths, Paris Opera, Degas, 2007 Giclée 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 3/4 x 11 3/4 in. (40 x 29.8 cm) S. 19 7/8 x 16 5/8 in. (50.5 x 42.2 cm) Estimate $300-500

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This Lot is to be Sold with No Reserve

305. John Currin

b. 1962

Rachel as the Hag, 2003 Giclée print on tracing paper to Somerset Velvet support, the full sheet. Signed and numbered 77/100 in black ink, published by the Serpentine Gallery, London, framed.

S. 16 3/4 x 11 3/4 in. (42.5 x 29.8 cm) Estimate $500-700 •

19/09/18 11:37

This Lot is to be Sold with No Reserve

306. Kelly McLane

b. 1968

American Idle (Awesome Spots), 2007 Graphite on wove paper. Signed, titled, and dated in pencil on the reverse, framed.

15 x 11 1/4 in. (38.1 x 28.6 cm) Estimate $300-500 •

307. Aura Rosenberg

b. 1946

Mike Kelley/Carmen, from Who Am I? What Am I? Where Am I?, 1996 Chromogenic print, signed, dated and numbered 3/3 in pencil on the reverse, framed.

40 x 29 3/4 in. (101.6 x 75.6 cm) Estimate $1,000-2,000

Provenance CRG Gallery

308. Mike Kelley

1954-2012

Street Sign, 2004 Screenprint in colors, on white baked enamel aluminum panel with puncture holes. Signed, dated and numbered 100/100 in black ink on the reverse, published by Contemporary Editions, Los Angeles, for the 25th Annual Beneft Art Auction for Los Angeles Contemporary Exhibitions.

S. 15 x 24 in. (38.1 x 61 cm) Estimate $1,500-2,500

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309. Harland Miller

b. 1964

Wherever You Are, Whatever You’re Doing,This One’s For You, from Pengiun Plays series, 2013 Screenprint in colors, on Somerset paper, the full sheet. Signed, and numbered 5/50 in pencil (there were also 10 artist’s proofs), published by Refex Editions Amsterdam, framed.

S. 54 1/4 x 43 1/4 in. (137.8 x 109.9 cm) Estimate $5,000-7,000

310. Jessica Diamond

b. 1957

Commemorative Gold Pieces, 1990 The complete set of 15 lithographs in colors with embossing, on Rives BFK paper, with full margins, contained in the original gold wove paper covered cardboard box. Signed, dated and numbered 9/25 in pencil on the colophon, all additionally stamp-signed in gold ink on the reverse, published by Landfall Press, Inc., Chicago. all I. 2 5/8 x 4 in. (6.7 x 10.2 cm) all. S. 9 x 9 5/8 in. (22.9 x 24.4 cm) Estimate $2,000-3,000

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311. Katharina Fritsch

b. 1956

Mouse, 1998 Painted polyester resin multiple. From the edition of 240.

7 x 2 1/2 x 9 3/8 in. (17.8 x 6.4 x 23.8 cm) Estimate $2,000-3,000

312. Ed Ruscha

b. 1937

Bailarina, from Portfolio California, 1988 Lithograph in colors, on Guarro paper, the full sheet.

Signed, dated and numbered 57/75 in pencil (there were also 10 artist’s proofs), published by Ediciones Polígrafa, Barcelona, framed.

S. 29 3/4 x 22 in. (75.6 x 55.9 cm) Estimate $5,000-7,000 Literature Siri Engberg 164

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313. Ed Ruscha

b. 1937

Time is Up, 1989 Lithograph in colors, on gray Rives BFK paper, the full sheet. Signed, dated and numbered 9/35 in pencil (there were also 5 artist’s proofs), published by the artist, framed.

S. 36 x 27 in. (91.4 x 68.6 cm) Estimate $5,000-7,000 Literature Siri Engberg 171

314. Ed Ruscha

b. 1937

Blue Suds; and Green Suds, 1971 Two screenprints in colors, on Arches paper, the full sheets. Both signed, dated and numbered 99/100 and 36/100, respectively (there were also 15 artist’s proofs), published by Edizioni O, Milian, both framed. both S. 18 x 24 in. (45.7 x 61 cm) Estimate $4,000-6,000 Literature Siri Engberg 57 and 58

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315. Ed Ruscha

b. 1937

Here and Now, 2009 Lithograph in colors, on Kohler HMP paper, with full margins. Signed, dated and numbered 60/75 in pencil (there were also 20 artist’s proofs), published by Gemini G.E.L. Los Angeles (with their blindstamps), framed.

I. 14 1/2 x 20 5/8 in. (36.8 x 52.4 cm) S. 17 1/4 x 23 1/4 in. (43.8 x 59.1 cm) Estimate $5,000-7,000

316. Ed Ruscha

b. 1937

News, Mews, Pews, Brews, Stews & Dues: fve plates, 1970 The incomplete set of fve organic screenprints in colors, on Silverbrook Antique Finish paper, with full margins, with title page and colophon listing the ingredients used for each print, the sheets loose (as issued) contained in the original red velvet portfolio. All signed, dated and numbered 125/125 in pencil, also signed and numbered in pencil on the colophon (there were also 25 artist’s proofs), published by Editions Alecto, London (with their inkstamp on the reverse), lacking News. all S. 22 7/8 x 31 7/8 in. (58.3 x 80.9 cm) Estimate $8,000-12,000 Literature Editions Alecto 982- 987 Siri Engberg 34-39 For additional information, please refer to phillips.com.

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317.

317. Ed Ruscha

b. 1937

318. Ed Ruscha

b. 1937

Pershing Square Underground Lot, 5th & Hill; and Rocketdyne, Canoga Park, from Parking Lots, 1967/1999 Two gelatin silver prints, with full margins. Both signed and numbered 9/35 in pencil on the reverse (there were also 11 artist’s proofs), published by Patrick Painter Editions, Vancouver and Hong Kong, both framed. both I. 15 x 15 in. (38.1 x 38.1 cm) both S. 19 7/8 x 15 7/8 in. (50.5 x 40.3 cm)

Western Horizontal; and Western Vertical, 1986 Two lithographs in colors, on Arches 88 paper, with full margins. Both signed dated and numbered 5/35 in pencil (there were also 10 artist’s proofs), published by Cirrus Editions, Los Angeles, both unframed. vertical I. 42 1/2 x 28 in. (108 x 71.1 cm) S. 53 3/4 x 36 5/8 in. (136.5 x 93 cm) horizontal I. 28 x 48 in. (71.1 x 121.9 cm) S. 38 x 56 in. (96.5 x 142.2 cm)

Estimate $7,000-10,000

Estimate $3,000-5,000

Literature Siri Engberg 279 and 290

Literature Siri Engberg 146 and 147

318.

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319.

This Lot is to be Sold with No Reserve

319. Robert Rauschenberg

320. Robert Rauschenberg

1925-2008

1925-2008

Test Stone 5, 1967 Lithograph in black and red, on Rives BFK paper, with full margins. Signed, dated and numbered 19/30 in pencil (there were also 8 artist’s proofs), published by Gemini G.E.L., Los Angeles, framed.

I. 21 3/8 x 32 in. (54.3 x 81.3 cm) S. 25 x 33 in. (63.5 x 83.8 cm)

Untitled, 1973 Screenprint and collage in colors, on Rives BFK paper, the full sheet.

Signed, dated and numbered 44/100 in pencil, published by Styria Studio, New York, unframed.

S. 28 x 20 1/4 in. (71.1 x 51.4 cm)

Estimate $1,000-1,500 •

320.

Estimate $1,000-1,500

Literature Gemini G.E.L. 30

321. Robert Rauschenberg 1925-2008 Pre-Moroco, from Eight by Eight to Celebrate the Temporary Contemporary, 1983 Lithograph in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 195/250 in pencil (there were also 30 artist’s proofs), published by the Museum of Contemporary Art, Los Angeles, unframed.

I. 34 x 23 1/2 in. (86.4 x 59.7 cm) S. 42 x 29 5/8 in. (106.7 x 75.2 cm) Estimate $1,000-1,500 321.

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H. C. Westermann, lots 322–328

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322. H. C. Westermann

1922-1981

Six Lithographs, 1972 The complete set of six lithographs in colors, on Rives BFK paper, with full margins, all contained in the original brown paper portfolio with printed title. All signed and numbered 44/60 in pencil (there were also 10 artist’s proofs), published by Kansas City Art Insitute Impressions. all I. 21 3/4 x 30 in. (55.2 x 76.2 cm) all S. 25 1/2 x 37 in. (64.8 x 94 cm) Estimate $8,000-12,000 Literature Dennis Adrian and Richard A. Born 19

Including; Death Ship in Port; Green River; The Lost Planet; “J” Print; An Afair in the Islands; and Holiday Inn

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323. H. C. Westermann

1922-1981

Dust Pan, 1972 Galvanized sheet metal, brass, and Vermilion wood.

Stamp-signed and dated on an anchor shaped brass plaque, stamp-numbered 30/10 (one of 30 unique wood variants) on the galvanized metal and incised ‘VERMILION WOOD’ and ‘ANDAMAN ISLANDS’on the handle.

5 x 11 1/2 x 15 1/2 in. (12.7 x 29.2 x 39.3 cm.)

Estimate $8,000-12,000 Literature Michael Rooks and Lynne Warren, H.C. Westermann: Exhibition Catalogue and Catalogue Raisonné of Objects, exh. cat., Chicago, Museum of Contemporary Art, 2001, pp. 324-325 (another example illustrated)

19/09/18 11:53

324. H. C. Westermann

1922-1981

Death Ship of No Port (Deathship of No Port, Red Deathship), 1967 Lithograph in colors, on Arches paper, the full sheet. Signed, dated and numbered 22/50 in pencil (there were also 3 known artist’s proofs), published by Kansas City Art Insitute Impressions, Kansas City, unframed.

S. 18 x 24 in. (45.7 x 61 cm) Estimate $1,200-1,800 Literature Dennis Adrian and Richard A. Born 12

324.

325. H. C. Westermann

1922-1981

Green Planet, 1978 Lithograph in colors, on Arches paper, the full sheet.

Signed and annotated ‘Bon A Tirer’ (the good-to-print proof, the edition was 15, there were no artist’s proofs), published by Kansas City Art Insitute Impressions, unframed.

S. 18 x 24 in. (45.7 x 61 cm) Estimate $1,200-1,800 Literature Dennis Adrian and Richard A. Born 11

326. H. C. Westermann

1922-1981

Red Planet “J” (Red Planet J), 1967 Lithograph in colors, on Arches paper, the full sheet.

Signed and numbered 42/50 in pencil (there were also 2 known artist’s proofs), published by Kansas City Art Insitute Impressions, Kansas City, unframed.

S. 30 x 22 1/2 in. (76.2 x 57.2 cm) Estimate $1,200-1,800 Literature Dennis Adrian and Richard A. Born 10 325.

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327. H. C. Westermann

1922-1981

Woman from Indianapolis, 1967 Lithograph, on Arches paper, the full sheet. Signed and numbered 11/12 in pencil (there are also 2 known artist’s proofs), published by Kansas City Art Insitute Impressions, Kansas City, unframed.

S. 18 x 24 in. (45.7 x 61 cm) Estimate $2,000-3,000 Literature Dennis Adrian and Richard A. Born 9

328. H. C. Westermann

1922-1981

Port of Shadows (Pier 31), 1967 Lithograph, on Arches paper, the full sheet. Signed and numbered 1/20 in pencil (there were also 3 known artist’s proofs), published by Kansas City Art Insitute Impressions, Kansas City, unframed.

S. 24 x 18 in. (61 x 45.7 cm) Estimate $1,000-1,500

327.

Literature Dennis Adrian and Richard A. Born 13

326.

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328.

19/09/18 11:57

329. Christo

b. 1935

330. Christo

b. 1935

Ericsson Display Monitor Unit 3111, Wrapped Project for Personal Computer, 1985 Lithograph with photograph, twine and plastic collage, on Arches Cover paper mounted to Museum board (as issued), the full sheet. Signed, dated and numbered 43/100 in pencil (there were also 35 artist’s proofs), published by L.M. Ericsson, New Jersey, framed.

S. 28 x 22 3/8 in. (71.1 x 56.8 cm)

Wrapped Telephone, Project for L.M. Ericcson Model, 1985 Lithograph with photograph, twine and fabric collage, on Arches Cover paper mounted to Museum board (as issed), the full sheet. Signed, dated and numbered 59/100 in pencil (there were also 35 artist’s proofs), published by L.M. Ericsson, New Jersey, framed.

S. 28 x 22 in. (71.1 x 55.9 cm)

Estimate $3,000-5,000

Estimate $3,000-5,000

Literature Jörg Schellmann 120

Literature Jörg Schellmann 119

This Lot is to be Sold with No Reserve

331. Tony Crag

b. 1949

Laboratory Still Life No. 4, 1988 Etching and aquatint, on Somerset Textured paper, with full margins. Signed, titled, dated and numbered 30/40 in pencil (there were also 10 artist’s proofs), published by Crown Point Press, San Francisco (with their blindstamp), framed.

I. 18 1/8 x 19 in. (46 x 48.3 cm) S. 30 1/4 x 30 in. (76.8 x 76.2 cm) Estimate $500-1,000 •

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19/09/18 12:01

332. Philip Guston

1913-1980

Elements, 1980 Lithograph, on Arches 88 paper, with full margins.

Signed, titled, dated and numbered 39/50 in pencil (there were also 11 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 27 x 39 1/2 in. (68.6 x 100.3 cm) S. 32 5/8 x 42 5/8 in. (82.9 x 108.3 cm) Estimate $4,000-6,000 Literature Gemini G.E.L. 871 Michael Semf 28

333. Philip Guston

1913-1980

Untitled, 1963 Lithograph, on natural Nacre paper, the full sheet.

Signed, dated and numbered IV/V in pencil (there were also 15 on Rives and 3 artist’s proofs), published

by Tamarind Lithography Workshop, Los Angeles (with thier blindstamps), framed.

S. 22 1/2 x 30 3/4 in. (57.2 x 78.1 cm) Estimate $3,000-5,000 Literature Tamarind 836 Michael Semf 2

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334. Louise Bourgeois

1911-2010

Twosome, frst version, state VI, 2005 Etching and drypoint in colors, with Shikibu gampi chine collÊ to wove paper, with full margins. Signed, dated and numbered 25/25 in pencil (there were also 7 artist’s proofs), published by Harlan & Weaver, New York, framed.

I. 8 1/2 x 11 in. (21.6 x 27.9 cm) S. 15 x 17 in. (38.1 x 43.2 cm) Estimate $5,000-7,000 Literature Museum of Modern Art Cat. No. 246.1/VI

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335. Barbara Bloom

b. 1951

The Reign of Narcissism, Mirror I; and The Reign of Narcissism, Mirror VI, 1989 Two chromogenic prints. Both from the edition of 2, both framed.

Mirror I. 25 3/8 x 19 in. (64.5 x 48.3 cm) S. 27 3/4 x 23 3/8 in. (70.5 x 59.4 cm) Mirror VI I. 24 1/4 x 13 1/4 in. (61.6 x 33.7 cm) S. 29 1/4 x 17 1/4 in. (74.3 x 43.8 cm) Estimate $2,000-3,000

336. Yasumasa Morimura

b. 1951

Gyoshu (Sparrows and Pigeon), 1990 Chromogenic print mounted on aluminum. From the edition of 10, framed.

I. 38 1/2 x 52 1/2 in. (97.8 x 133.4 cm) S. 47 x 61 in. (119.4 x 154.9 cm) Estimate $4,000-6,000

Another example is also in the collection of the San Fransisco Museum of Modern Art, gif of Sally Larsen and Charles Wehrenberg.

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337. David Wojnarowicz

1954-1992

Untitled (Bufaloes), 1988/1994 Platinum print on rag paper, with the original wove paper folio, lacking the original artist’s text sheet.

Signed with initials by the Executor of the Estate of David Wojnarowicz in ink and numbered 58/100 in black ink (there were also 20 artist’s proofs), with the estate inkstamp on the reverse, published by Aperture Foundation Inc., New York, framed.

I. 10 5/8 x 13 7/8 in. (27 x 35.2 cm) S. 16 x 20 in. (40.6 x 50.8 cm) Estimate $4,000-6,000

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338. David Wojnarowicz

1954-1992

Jean Genêt Masturbating in Metteray Prison (London Broil), 1983 Screenprint in colors, on wove paper, with full margins. Signed, titled, annotated ‘©1983 NYC’ and numbered 15/43 in pencil, published by the artist, unframed.

I. 30 5/8 x 22 1/2 in. (77.8 x 57.2 cm) S. 34 x 25 in. (86.4 x 63.5 cm) Estimate $4,000-6,000

339. David Wojnarowicz

1954-1992

Untitled, 1990 The complete set of two screenprints in colors, on wove paper, with full margins. One signed and dated, one numbered 39/100 in pencil, published by ACT UP, New York, both framed. both I. 18 1/2 x 23 5/8 in. (47 x 60 cm) both S. 23 1/8 x 27 5/8 in. (58.7 x 70.2 cm) Estimate $5,000-7,000

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340. Andy Warhol

1928-1987

Electric Chair: one plate, 1971 Screenprint in colors, on wove paper, the full sheet.

Signed and dated in black ball-point pen and stampnumbered 152/250 on the reverse (there were also 50 artist’s proofs in Roman numerals), published by Bruno Bischoferger, Zurich (with their inkstamp), framed.

S. 35 1/2 x 48 in. (90.2 x 121.9 cm) Estimate $8,000-12,000 Literature Frayda Feldman and Jörg Schelmann 76

341. Andy Warhol

1928-1987

Sex Parts: one plate, 1978 Screenprint, on HMP paper, the full sheet. Signed and numbered 15/30 in pencil (there were also 4 artist’s proofs), published by Andy Warhol Enterprises, Inc., New York (with their copyright inkstamp on the reverse), framed.

S. 31 1/2 x 23 1/2 in. (80 x 59.7 cm) Estimate $5,000-7,000 Literature Fradya Feldman and Jörg Schellmann 173

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Property from the Locksley Shea Gallery

342. Andy Warhol

1928-1987

Torso, 1977 Unique screenprint, on Lenox Museum board, the full sheet. With the ‘© Andy Warhol’ inkstamp, ‘Andy Warhol Art Authentication Board, Authentic’ inkstamp and annotated ‘A 196 995’ in pencil on the reverse, framed.

S. 60 x 40 in. (152.4 x 101.6 cm) Estimate $25,000-35,000 Literature Frayda Feldman and Jörg Schellmann IIIA.2 (b)

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Property from a Private Collection, Los Angeles This Lot is to be Sold with No Reserve

343. Bruce Nauman

b. 1941

Untitled, 1970 Ofset lithograph in colors, on Kromekote paper, with full margins. Signed in black ink, from an unknown edition size, published by Leo Castelli Gallery, New York, unframed.

I. 23 x 19 in. (58.4 x 48.3 cm) S. 24 x 20 in. (61 x 50.8 cm) Estimate $1,000-1,500 • Literature Christopher Cordes section V - Commissioned Posters p. 130

344. Bruce Nauman

b. 1941

Life Mask, 1981 Lithograph, on Arches Cover paper, with full margins. Signed, dated and numbered 44/50 in pencil (there were also 13 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 25 1/4 x 34 1/2 in. (64.1 x 87.6 cm) S. 28 x 38 in. (71.1 x 96.5 cm) Estimate $3,000-5,000 Literature Gemini G.E.L. 941 Christopher Cordes 41

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345. Bruce Nauman

b. 1941

Untitled (Green), 1971 Lithograph in colors, on Arches paper, with full margins. Signed, dated and numbered 59/100 in pencil (there were also 10 artist’s proofs), co-published by Castelli Graphics and Nicholas Wilder Gallery, New York and Los Angeles, framed.

S. 22 1/2 x 28 in. (57.2 x 71.1 cm) Estimate $2,000-3,000 Literature Christopher Cordes 8

346. Bruce Nauman

b. 1941

Suposter, 1973 Lithograph and screenprint in colors, on Arjomari paper, the full sheet. Signed, and numbered 50/72 in pencil (there were also 12 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

S. 36 x 29 3/4 in. (91.4 x 75.6 cm) Estimate $1,500-2,500 Literature Gemini G.E.L. 430 Christopher Cordes 12

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347. Marilyn Minter

b. 1948

Prism, 2009 Chromogenic print. Signed in black ink and numbered (printed) 23/27 on a label afxed to the reverse (there were also 18 artist’s proofs), unframed.

I. 19 1/2 x 13 3/8 in. (49.5 x 34 cm) S. 20 x 15 7/8 in. (50.8 x 40.3 cm) Estimate $4,000-6,000

Property from the Estate of Martin Lipton, Boca Raton

348. Robert Longo

b. 1953

Wave, for Lincoln Center Festival, 2003 Lithograph and screenprint, on wove paper, the full sheet. Signed, dated and numbered 93/108 in pencil (there were also 18 artist’s proofs), published by the Lincoln Center List Poster and Print Project, New York, unframed.

S. 15 1/4 x 40 in. (38.7 x 101.6 cm) Estimate $2,000-3,000 Literature Charles Riley p. 196

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349. Robert Longo

b. 1953

Jules, from Men in the Cities, 1983 Lithograph with embossing, on Arches paper, with full margins. Signed, dated and numbered 33/45 in pencil (there were also 10 artist’s proofs), published by Brooke Alexander Gallery, Inc., New York, framed.

I. 30 1/8 x 15 in. (76.5 x 38.1 cm) S. 36 7/8 x 21 in. (93.7 x 53.3 cm) Estimate $5,000-7,000

350. Hilary Harkness

b. 1971

Discharge, 2004 Graphite on paper. Signed and dated in pencil, framed.

6 7/8 x 10 in. (17.5 x 25.4 cm) Estimate $1,500-2,500 Provenance Mary Boone Gallery, New York

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351. Bill Jacobson

b. 1955

Interim Portrait #388; and Interim Portrait #522, 1992 Two chromogenic prints, mounted (as issued). Both from the edition of 5, both framed. woman 35 1/2 x 29 3/4 in. (90.2 x 75.6 cm) man 35 1/2 x 29 3/4 in. (90.2 x 75.6 cm) Estimate $2,000-3,000

352. Bill Jacobson

b. 1955

Song of Sentient Beings #1583, 1995 Gelatin Silver Print. From the edition of 5, framed.

35 x 28 3/4 in. (88.9 x 73 cm) Estimate $1,000-2,000

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353. Bill Jacobson

b. 1955

Thought Series #2571, 1998 Gelatin silver print. Signed, titled, dated and numbered 3/9 in pencil on the reverse, framed.

23 3/4 x 19 3/4 in. (60.3 x 50.2 cm) Estimate $800-1,200

354. Francesco Clemente

b. 1952

Morning, 1982 Woodcut in colors, on Kozo paper, with full margins.

Signed and numbered 55/100 in pencil (there were also 10 artist’s proofs), published by Crown Point Press, San Francisco, framed.

I. 14 1/8 x 20 in. (35.9 x 50.8 cm) S. 16 7/8 x 22 1/2 in. (42.9 x 57.2 cm) Estimate $2,000-3,000

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355. Gerhard Richter

b. 1932

Tulips (P17), 1995/2017 Diasec-mounted giclée print, fush-mounted to aluminium with metal strainer on the reverse (as issued). This facsimile object is unsigned and numbered 313/500 in black ink on the reverse (there were also 2 artist’s proofs), published by Heni Productions, London, unframed.

14 x 16 in. (35.6 x 40.6 cm) Estimate $5,000-7,000 Literature Heni Productions P17

356. Peter Doig

b. 1959

Canoe Island, 2000 Screenprint in colors, on Somerset paper, the full sheet. Signed and numbered 69/300 in pencil on the reverse (there were also 30 artist’s proofs), published

by Counter Editions, London, framed.

S. 28 7/8 x 39 1/4 in. (73.3 x 99.7 cm) Estimate $4,000-6,000

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357.

358.

This Lot is to be Sold with No Reserve

357. Raymond Pettibon

b. 1957

Untitled (When the Ground Becomes Clear and Firm), 2002 Etching and aquatint with hand-coloring, on Rives BFK paper, with full margins. Signed, dated and annotated ‘A/P’ in pencil (an artist’s proof, the edition was 30 without handcoloring), unframed.

I. 15 3/8 x 19 3/4 in. (39.1 x 50.2 cm) S. 26 x 19 3/4 in. (66 x 50.2 cm) Estimate $4,000-6,000

358. Jim Hodges

b. 1957

Two Way Mirror, 2005 Screenprint on chalkboard, eraser and two boxes of chalk, all contained in the original grey cardboard box. Signed, titled, dated and numbered 6/35 in black ink on the reverse, published by The Museum of Contemporary Art, Cleveland to beneft the Cleveland Exhibition Program.

24 x 18 in. (61 x 45.7 cm) Estimate $1,000-2,000 •

359. Jim Hodges

b. 1957

I Remember Heaven, 2012 Digital print in colors, on hand-embroidered silk scarf. Signed with initials in stitching, from the edition of 30 produced for the Fire Island Artists Residency. Signed with initials in stitching, framed.

S. 24 1/2 x 17 1/2 in. (62.2 x 44.5 cm) Estimate $2,500-3,500 359.

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360. Julie Mehretu

b. 1970

The Residual, 2007 Etching, aquatint and drypoint with burnishing in colors, on wove paper, with full margins. Signed, dated and numbered 11/25 in pencil, published by Crown Point Press, Oakland (with their blindstamp), framed.

I. 36 x 45 in. (91.4 x 114.3 cm) S. 41 x 50 1/4 in. (104.1 x 127.6 cm) Estimate $7,000-10,000

361. Julie Mehretu

b. 1970

Untitled, 2006 Etching, engraving and drypoint in colors, on Somerset paper, with full margins.

Signed, dated and numbered 50/60 in pencil (there were also 25 artist’s proofs in Roman numerals), published by Parkett Editions, Zurich and New York, framed.

I. 16 x 19 3/4 in. (40.6 x 50.2 cm) S. 23 1/4 x 28 1/4 in. (59.1 x 71.8 cm) Estimate $3,000-5,000 Literature Parkett No. 76

Here’s neither bush nor shrub, to bear of any weather at all, and another storm brewing. Shakespeare, The Tempest act 2, scene II

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362. Lee Bontecou

b. 1931

Fourteenth Stone, 1968-72 Lithograph in white, on black laid Japan paper, the full sheet. Signed, dated and numbered 14/17 in silver pencil (there were also 3 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York, framed.

S. 25 3/4 x 37 3/4 in. (65.4 x 95.9 cm) Estimate $2,500-3,500 Literature Universal Limited Art Editions 28

363. Sue Williams

b. 1954

Untitled, 1997 Three screenprints in colors, on transparent Mylar paper layered (as issued), the full sheets. One incised with signature and numbered 27/60 (there were also 25 artist’s proofs), published by Parkett Editions, Zurich and New York, framed together. all S. 10 x 16 1/2 in. (25.4 x 41.9 cm) Estimate $600-900 Literature Parkett No. 50-51

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364. Cecily Brown

b. 1969

Untitled #6, 1999 Monotype in colors, on Somerset paper, with full margins. Signed, dated and numbered ‘6’ in pencil.

I. 24 x 34 in. (61 x 86.4 cm) S. 29 3/8 x 38 5/8 in. (74.6 x 98.1 cm) Estimate $4,000-6,000

365. Arturo Herrera

b. 1959

Untitled, 2005 Watermarked pigmented abaca on pigmented cotton base, the full sheet.

Signed, dated and numbered 1/15 on the reverse, published by Dieu Donné, New York, framed.

S. 24 x 40 in. (61 x 101.6 cm) Estimate $4,000-6,000

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366. Arturo Herrera

b. 1959

Richard, 2012 Screenprint, etching, relief, pochoir, collagraph and digital pigment printing with felt in colors, on wove paper, the full sheet. Signed with initials, dated and numbered 11/35 in pencil (there were also 4 artist’s proofs), published by Pace Editions Inc., New York, framed.

S. 56 x 48 in. (142.2 x 121.9 cm.)

Estimate $3,000-5,000

367. Rashid Johnson

b. 1977

I Love Music, 2012 Cast bronze multiple. Signed and numbered 23/35 in black ink on the accompanying Certifcate of Authenticity, published by Parkett Editions, Zurich and New York.

9 1/2 x 7 5/8 in. (24.1 x 19.4 cm) Estimate $4,000-6,000 Literature Parkett 90

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368. Adrian Piper

b. 1948

Word and Will, 1992 Ofset lithograph in colors, on 80# Dulcet Cover acid free paper, with full margins. Signed, dated and numbered 25/81 in black ink (there were also 14 artist’s proofs), co-published by The Jewish Museum, New York and Vera G. List New Year’s Graphic Fund, framed.

I. 43 3/8 x 29 3/8 in. (110.2 x 74.6 cm) S. 44 1/2 x 34 1/4 in. (113 x 87 cm) Estimate $3,000-5,000

369. Kara Walker

b. 1969

Freedom: a Fable, 1997 Laser-cut paper pop-up book, bound in brown leather (as issued), contained in the original cardboard packing box. From the edition of 4000, published by Peter Norton Family Christmas Project, Santa Monica.

9 1/4 x 8 1/4 x 3/4 in. (23.5 x 21 x 1.9 cm) Estimate $1,800-2,400

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370. Kara Walker

b. 1969

Untitled (Canisters), 1997 The complete set of six etched glass canisters. From the edition of 100, published by The Renaissance Society at the University of Chicago. all 11 x 4 x 4 in. (27.9 x 10.2 x 10.2 cm) Estimate $3,000-5,000

371. Marina Abramović

b. 1946

Chair for the Spirit, Chair for the Man, 1999 Etching and aquatint, on chine collĂŠ to wove paper, with full margins. Signed and numbered 7/21 in pencil, published by Lapis Press, Culver City, California, framed.

I. 47 3/4 x 19 3/4 in. (121.3 x 50.2 cm) S. 55 5/8 x 26 7/8 in. (141.3 x 68.3 cm) Estimate $4,000-6,000

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372. Joseph Beuys

1921-1986

Buttocklifing, 1974 Baked enamel on convex metal sheet. Signed and numbered 62/80 in black ball-point pen on the Edition Staeck label on the reverse, one of 25 unnumbered copies (there was also an unnumbered edition of 25 and 20 artist’s proofs in Roman numerals), published

by Edition Staeck, Heidelberg.

7 7/8 x 12 in. (20 x 30.5 cm) Estimate $6,000-8,000 Literature JĂśrg Schellmann 120

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373. Joseph Beuys

1921-1986

3 Tonnen Edition (3 Ton edition), 1973-85 The complete set of six screenprints, printed on both sides of PVC, the full sheets. Three signed and with an illustration of a hat in blue ink, two signed in red ink, one stamped, from the edition of approximately 500, published by Edition Staeck, Heidelberg, all unframed. all S. 18 x 18 in. (45.7 x 45.7 cm) Estimate $8,000-12,000 Literature Jรถrg Schellmann 74

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374. Joseph Beuys

1921-1986

3 Tonnen Edition (3 Ton Edition): one plate, 1973-85 Screenprint with hand additions in brown paint, printed on both sides of PVC, the full sheet. Signed and numbered 571/3t in black ink (slightly faded), from the approximate edition of 560, published by Edition Staeck, Heidelberg, all unframed. all S. 18 x 18 in. (45.7 x 45.7 cm) Estimate $2,000-3,000 Literature Jörg Schellmann 74

375. Bernd and Hilla Becher 1931-2007 and 1934-2015 Hochofen; and Ilsede/Hannover (Blastfurnace; and Ilsede/Hannover), from Sequence portfolio, 1998 Two ofset lithographs, on wove paper, with full margins. Signed by both artist’s and numbered 47/60 in pencil (there were also 12 artist’s proofs), published by Edition Schellmann, New York, München, both framed. both I. 12 3/4 x 9 3/4 in. (32.4 x 24.8 cm) both S. 19 1/2 x 15 3/4 in. (49.5 x 40 cm) Estimate $1,500-2,500

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This Lot is to be Sold with No Reserve

376. Nam June Paik

1932-2006

März, 1992 The complete set of 20 lithographs with screenprint, one with hand-coloring, on Rives BFK paper, with full margins, all contained in the original gray clothcovered portfolio with title page and colophon. All signed and numbered 79/93 in pencil (there were also 20 artist’s proofs), co-published by Galerie Hyundai and Gallery Won, Seoul. portfolio 21 x 29 x 1 1/4 in. (53.3 x 73.7 x 3.2 cm)

377. George Baselitz

b. 1938

Kopf (Head), 1986 Woodcut in colors, on laid paper, with full margins.

Signed, dated and numbered 20/20 in pencil, framed.

I. 19 1/2 x 12 1/2 in. (49.5 x 31.8 cm) S. 29 1/2 x 21 in. (74.9 x 53.3 cm) Estimate $1,000-2,000 •

Estimate $6,000-9,000

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378. James Rosenquist

1933 - 2017

Skull Snap (Red), 1989 Pressed paper pulp with lithographic collage in colors, on BFK Rives and TGL handmade paper, the full sheet.

Signed, titled, dated and numbered 15/25 in pencil (there were also 10 artist’s proofs), published by Tyler Graphics, Ltd., Mount Kisco (with their blindstamp), framed. diameter 59 in. (149.9 cm) Estimate $5,000-7,000 Literature Constance Glenn 221

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379. James Rosenquist

1933 - 2017

Skull Snap (Black), 1989 Pressed paper pulp with lithographic collage in colors, on BFK Rives and TGL handmade paper, the full sheet.

Signed, titled, dated and numbered 12/38 in silver ink (there were also 10 artist’s proofs), published by Tyler Graphics, Ltd., Mount Kisco, New York, framed. diameter 59 in. (149.9 cm) Estimate $5,000-7,000 Literature Constance Glenn 220

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380.

380. Mike Kelley

1954-2012

381. Mike Kelley

1954-2012

382. Mike Kelley

1954-2012

Satan’s Nostrils, from Pansy Metal/ Clovered Hoof, 1989 Screenprint in colors, on silk. Signed, dated and numbered 17/40 in black ink on the fabric hanging strips (there were also 10 artist’s proofs), published by Julie Sylvester Cabot, New York.

52 1/2 x 37 1/2 in. (133.4 x 95.3 cm)

Emerald Eyehole, from Pansy Metal/ Clovered Hoof, 1989 Screenprint in colors, on silk. Signed, dated and numbered 17/40 in black ink on the fabric hanging strips (there were also 10 artist’s proofs), published by Julie Sylvester Cabot, New York.

52 1/2 x 37 3/4 in. (133.4 x 95.9 cm)

Peat Spade, from Pansy Metal/ Clovered Hoof, 1989 Screenprint in colors, on silk. Signed, dated and numbered 17/40 in black ink on the fabrichanging strips (there were also 10 artist’s proofs), published by Julie Sylvester Cabot, New York.

52 1/2 x 37 3/4 in. (133.4 x 95.9 cm)

Estimate $3,000-5,000

Estimate $3,000-5,000

Estimate $3,000-5,000

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381.

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382.

19/09/18 12:34

383.

383. Mike Kelley

1954-2012

384. Mike Kelley

1954-2012

385. Mike Kelley

1954-2012

Master Dik, from Pansy Metal/ Clovered Hoof, 1989 Screenprint, on silk. Signed, dated and numbered 17/40 in black ink on the fabric hanging strips (there were also 10 artist’s proofs), published by Julie Sylvester Cabot, New York.

52 1/4 x 37 1/2 in. (132.7 x 95.3 cm)

Hangin’-Heavy-Hairy-Horny, from Pansy Metal/Clovered Hoof, 1989 Screenprint in colors, on silk. Signed, dated and numbered 17/40 in black ink on the fabric hanging strips (there were also 10 artist’s proofs), published by Julie Sylvester Cabot, New York.

51 1/4 x 38 in. (130.2 x 96.5 cm)

Twisted Shamrock, from Pansy Metal/ Clovered Hoof, 1989 Screenprint in colors, on silk. Signed, dated and numbered 17/40 in black ink on the fabric hanging strips (there were also 10 artist’s proofs), published by Julie Sylvester Cabot, New York.

52 1/2 x 38 in. (133.4 x 96.5 cm)

Estimate $3,000-5,000

Estimate $3,000-5,000

Estimate $3,000-5,000

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384.

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385.

19/09/18 14:01

386. Damien Hirst

b. 1965

387. Damien Hirst

b. 1965

For the Love of God, 2007 Screenprint in colors, on heavy wove paper, the full sheet. Signed and numbered 82/1700 in white crayon, published by Other Criteria, London, framed.

S. 12 3/4 x 9 1/2 in. (32.4 x 24.1 cm)

Valium 5mg Roche (Yellow), 2014 Polyurethane resin multiple with ink pigment, contained in the original pale yellow cardboard box. Incised with signature, date and numbered 4/30, published by Other Criteria, London.

3 1/4 x 3 1/4 x 1/2 in. (8.3 x 8.3 x 1.3 cm)

Estimate $800-1,200

Estimate $1,200-1,800

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388. KAWS

b. 1974

Presenting the Past, 2014 Screenprint in colors, on Sanders Waterford paper, the full sheet. Signed, dated and numbered 85/250 in pencil (there were also 50 artist’s proofs), published by the artist, unframed.

S. 32 x 32 in. (81.3 x 81.3 cm) Estimate $5,000-7,000

This Lot is to be Sold with No Reserve

389. Ronnie Cutrone

b. 1948

Krackel - Crunch, 1990 Graphite drawing and watercolor, on Arches paper.

Signed, titled, and dated in pencil.

29 1/2 x 41 1/4 in. (74.9 x 104.8 cm) Estimate $400-600 •

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390. Jef Koons

b. 1955

391. Jef Koons

b. 1955

Flowers, 2001 Lithograph in colors, on Somerset Velvet paper, with full margins. Signed, dated and numbered 61/150 in pencil (there were also 10 artist’s proofs), published

by Art of This Century, New York, framed.

I. 37 1/2 x 27 in. (95.3 x 68.6 cm) S. 41 3/8 x 29 1/2 in. (105.1 x 74.9 cm)

New Hoover Deluxe Shampoo Polishers, from Untitled Portfolio, 1995 Ofset lithograph in colors, on wove paper, the full sheet. Signed, dated and numbered 49/50 in pencil (there were also 10 artist’s proofs), published by Edition Schellmann, New York and Munich, framed.

S. 39 x 27 3/8 in. (99.1 x 69.5 cm)

Estimate $5,000-7,000

Estimate $2,000-4,000

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392. Jef Koons

b. 1955

Balloon Dog (Yellow), 2015 Porcelain multiple painted in chrome. Numbered 0539/2300 in gold ink on the underside, contained in the original Styrofoam-lined cardboard box, published by the Museum of Contemporary Art, Los Angeles, with the original plastic stand. diameter 10 1/2 in. (26.7 cm) Estimate $5,000-7,000

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393. Gary Hume

b. 1962

Fuzzy Snowman, 2000 Blue focked ground with detachable white fuzzy felt circles, on heavy wove paper, the full sheet.

Signed in blue ink on the reverse, published by Momart, London, framed.

S. 10 3/4 x 7 3/8 in. (27.3 x 18.7 cm) Estimate $400-600

19/09/18 14:02

394.

395.

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396.

394. Keith Haring

1958-1990

Pop Shop I: one plate, 1987 Screenprint in colors, on Coventry rag paper, with full margins. Signed, dated and numbered 70/200 in pencil (there were also 20 artist’s proofs), 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 $10,000-15,000 Literature Klaus Littmann p. 82

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395. Keith Haring

1958-1990

396. Keith Haring

1958-1990

Pop Shop IV: one plate, 1989 Screenprint in colors, on wover paper, with full margins. Signed, dated and numbered, 7/200 in pencil (there were also 25 artist’s proofs), published

by Martin Lawrence Editions Ltd., New York, framed.

I. 11 1/4 x 14 3/8 in. (28.6 x 36.5 cm) S. 13 1/2 x 16 1/2 in. (34.3 x 41.9 cm)

Chocolate Buddha: plate 5, 1989 Lithograph in colors, on Arches paper, with full margins. Signed, dated and numbered 20/90 in pencil (there were also 15 artist’s proofs), published

by Editions F.B., Paris, framed.

I. 19 1/4 x 24 3/8 in. (48.9 x 61.9 cm) S. 22 x 27 7/8 in. (55.9 x 70.8 cm)

Estimate $6,000-9,000

Estimate $5,000-7,000

Literature Klaus Littmann p. 142

Literature Klaus Littmann p. 123

19/09/18 14:03

397. Takashi Murakami

b. 1962

Eye Love Superfat (Pink), 2003 Screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 20/50 in pencil (there were also 8 artist’s proofs), published by Kaikai Kiki Co., Ltd., Tokyo, framed I. 11 3/4 x 11 3/4 in. (29.8 x 29.8 cm) S. 17 1/4 x 17 1/4 in. (43.8 x 43.8 cm) Estimate $3,000-5,000

Artwork Š2003 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

398. Takashi Murakami

b. 1962

Oval (Peter Norton Christmas Project 2000), 2000 Polychrome plastic multiple containing a mini CD. From the edition of 2000, published by Peter Norton Family Christmas Project, Santa Monica.

10 1/4 x 7 1/4 x 7 1/4 in. (26 x 18.4 x 18.4 cm) Estimate $1,500-2,500

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This Lot is to be Sold with No Reserve

399. Takashi Murakami

b. 1962

Mamu Came from the Sky; Yoshiko and the Creatures came from Planet 66; and Planet 66 Summer Vacation, 2003 and 2004 Three ofset lithographs in colors, on wove paper, the full sheets.

All signed and and numbered 99/300, 109/300 and 175/300 respectively in silver black ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed.

Mamu Came from the Sky S.30 1/4 x 35 3/8 in. (76.8 x 89.9 cm) Yoshiko and the Creatures S. 23 x 39 1/2 in. (58.4 x 100.3 cm) Summer Vacation S. 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm) Estimate $3,000-5,000 •

Artworks ©2003 and 2004 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

This Lot is to be Sold with No Reserve

400. Takashi Murakami

b. 1962

Jellyfsh Eyes - Black 2; and Jellyfsh Eyes, 2004 and 2013 Two ofset lithographs in colors, on smooth wove paper, the full sheets. Both signed and numbered 139/300 and 111/300 in silver ink respectively, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both S. 19 1/2 x 19 1/2 in. (49.5 x 49.5 cm) Estimate $2,000-3,000 •

Artworks ©2004 and 2013 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

This Lot is to be Sold with No Reserve

401. Takashi Murakami

b. 1962

We are Destined to Meet Someday! But for Now, We Wander in Diferent Dimensions; Chaos: Primordial Life; DOB: Myxomycete, 2016-17 Three ofset lithographs in colors, on wove papers, the full sheets. All signed and numbered 52/300, 53/300 and 51/300 in black ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm) Estimate $2,000-3,000 •

Artworks ©2016-17 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

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This Lot is to be Sold with No Reserve

402. Takashi Murakami

b. 1962

And then and then and then and then and then (Yellow); and And then and then and then and then and then (Pink), 1999 Two ofset lithographs in colors, on wove paper, the full sheets. Both signed and numbered 238/300 and 240/300 in black marker, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both S. 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm) Estimate $2,000-3,000 •

Artworks ©1999 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

This Lot is to be Sold with No Reserve

403. Takashi Murakami

b. 1962

Blue Flower & Skulls; MG, 1960->2012; and Skulls & Flowers Red, 2012-13 Three ofset lithographs in colors, on wove paper, the full sheets. All signed and numbered 117/300, 94/300 and 122/300 in silver ink respectivelly, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 27 1/8 x 20 7/8 in. (68.9 x 53 cm) Estimate $3,000-5,000 •

Artworks ©2012-13 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

This Lot is to be Sold with No Reserve

404. Mark Grotjahn and Takashi Murakami b. 1968 and b. 1962 Untitled (Scarlet Lake and Indigo Blue Butterfy 826); and Untitled (Canary Yellow and Black Butterfy 830), 2008-10 Two ofsett lithographs in colors, on wove paper, the full sheets. Both signed by both artist’s and numbered 99/300 and 104/300 in silver and black inks, published by Kaikai Kiki Co., Ltd., Tokyo, both unframed.

S. 27 1/2 x 22 in. (69.9 x 55.9 cm) Estimate $1,500-2,500 •

Artworks ©2008-2010 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

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This Lot is to be Sold with No Reserve

405. Takashi Murakami

b. 1962

A Red River is Visible; Kansei: Wildfowers Glowing in the Night; Kōrin: Stellar River in the Heavens; Kōrin: Azure River, 2014-2015 Four ofset lithographs in colors, on wove paper, the full sheets. All signed and numbered 80/300, 83/300, 53/300 and 80/300 respectively in black or silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all diameter. 28 in. (71.1 cm) Estimate $5,000-7,000 •

Artworks ©2014 and 2015 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

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Editions.

Sell With Us.

Afer a record-breaking year celebrating our 10th anniversary, Phillips Editions is looking forward to another decade of success. Our January 2019 auction will present museum-quality, original artist prints and multiples as well as a dedicated section of text-based artworks. We look forward to welcoming budding and seasoned collectors alike to join us in the new season.

Evening & Day Editions Auctions, London 24 January 2019 Deadline to Consign 15 November 2018

KAWS Man’s Best Friend, 2016 The complete set of 10 screenprints in black and white Estimate: £25,000–35,000

Enquiries +44 20 7318 4069 editionslondon@phillips.com

© KAWS 2018

phillips.com

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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 9-12-2017) 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. 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. Presale 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 $300,000, 20% of the portion of the hammer price above $300,000 up to and including $4,000,000 and 12.5% 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 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:

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O ♦ Guaranteed Property The seller of lots designated with the symbol O has been guaranteed a minimum price fnanced solely by Phillips. Where the guarantee is provided by a third party or jointly by us and a third party, the property will be denoted with the symbols O ♦. When a third party has fnanced all or part of our fnancial interest in a lot, it assumes all or part of the risk that the lot will not be sold and will be remunerated via a fxed fee, a percentage of the hammer price or the buyer’s premium or some combination of the foregoing. The third party may bid on the guaranteed lot during the auction. If the third party is the successful bidder, the remuneration may be netted against the purchase price. Where Phillips has guaranteed a minimum price on every lot in the catalogue, Phillips will not designate each lot with the symbol(s) for the guaranteed property but will state our fnancial interest at the front of the catalogue. ∆ 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.

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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.

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Sadie Laska Untitled, 2015

unbound

Online Auction 18-30 October Bidding will close at 2pm edt Enquiries klukacher@phillips.com +1 212 940 1215

phillips.com/unbound

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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 a resale certificate, corporate bank information or the certificate of incorporation) 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 printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of 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 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 $300,000, 20% of the portion of the hammer price above $300,000 up to and including $4,000,000 and 12.5% of the portion of the hammer price above $4,000,000 on each lot sold.

• “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.

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• Your bid must be submitted in the currency of the sale and will 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 $10,000), credit card (up to $50,000), money order, wire transfer, bank check or personal check with identification.

• 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 in our catalogues and on our website.

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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.

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INTERNATIONAL PRINT CENTER NEW YORK PRESENTS

PRIN FES 20 8

NEW VENUE! 508 W. 26TH ST., NYC 3RD & 5TH FLOORS

OCTOBER 25–27 THURS. 5–9PM FRI. 12–6PM SAT. 12–6PM

PRINTS FOR SALE

IPCNY.ORG/PRINTFEST

@IPCNY #PRINTFEST

MFA & SENIOR BFA PRINT FAIR

Edge of Visibility International Print Center New York 508 West 26th Street, 5A, NYC 10001 October 4–December 19, 2018 ipcny.org/visibility • artinprint.org

+

Image: Samuel Levi Jones. Nina Simone, Philippa Duke Schuyler, and Gwendolyn Brooks from 48 Portraits (Underexposed), 2012. 48 digital prints on pulped encyclopedia pages. Sheet: 24 1/2 x 22 inches each.

Printed and published by the artist. Edition: 2. Courtesy of Galerie Lelong & Co., New York and PATRON, Chicago. © Samuel Levi Jones

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Sale Information Auction & Viewing Location 450 Park Avenue New York 10022 Auctions 17 October 2018 Day Sale Morning Session 10am, lots 119–291 Afernoon Session 2:30pm, lots 293–405 Evening Sale Auction 6pm, lots 1–118 Viewing 10 – 17 October Monday – Saturday 10am - 6pm Sunday 12pm - 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY030218 or Editions.

Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

Modern & Contemporary Editions Department +1 212 940 1220 editions@phillips.com Worldwide Co-Director Contemporary Editions Cary Leibowitz +1 212 940 1222 cleibowitz@phillips.com Worldwide Co-Director Modern Editions Kelly Troester +1 212 940 1221 ktroester@phillips.com Specialist Kip Eischen keischen@phillips.com Cataloguer Jason Osborne +1 212 940 1322 josborne@phillips.com Administrator Ana Ziegler +1 212 940 1238 aziegler@phillips.com Property Manager Paul Stefens +1 212 940 1351 pstefens@phillips.com Photography Kent Pell Matt Kroenig Jean Bourbon Marta Zagozdzon

Auction License 2013224 Auctioneers Hugues Joffre - 2028495 Sarah Krueger - 1460468 Henry Highley - 2008889 Adam Clay - 2039323 Jonathan Crockett - 2056239 Kaeli Deane - 2058810 Samuel Mansour - 2059023 Rebecca Tooby-Desmond - 2058901 Catalogues Danielle Polovets +1 212 940 1240 catalogues@phillips.com $35/€25/£22 at the gallery Client Accounting Sylvia Leitao +1 212 940 1231 Michael Carretta +1 212 940 1232 Buyer Accounts Dawniel Perry +1 212 940 1371 Seller Accounts Carolina Swan +1 212 940 1253 Client Services 450 Park Avenue +1 212 940 1200 Shipping Steve Orridge +1 212 940 1370 Oscar Samingoen +1 212 940 1373 Anaar Desai +1 212 940 1320 Deren Khan +1 212 940 1335

Front cover Andy Warhol, Flowers, 1970, lot 71 (detail) © 2018 The Andy Warhol Foundation for the Visual Arts, Inc./Licensed

by Artists Rights Society (ARS), New York Inside front cover Roy Lichtenstein, The River, from Landscapes Series, 1985, lot 98 (detail) © Estate of Roy Lichtenstein Walton Ford, Benjamin’s Emblem, 2000, lot 50 (detail) Robert Ryman, Seven Aquatints, 1972, lot 40 (detail) Alexander Calder, Jaune d’Ouef (Egg Yolk), 1969, lot 170 (detail) Opposite index Pablo Picasso, Portrait de Jacqueline de Face II (Portrait of Jacqueline, Face II), 1962, lot 18 (detail) Inside back cover Henri de Toulouse-Lautrec, Débauche (deuxième planche), 1896, lot 1 (detail) Ellsworth Kelly, Oak VI, from Series of Oak Leaves, 1992, lot 241 Back cover Jonas Wood, Matisse Pot 2, 2017–18, lot 53

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THE INTERNATIONAL ART FAIR FOR PRINTS AND EDITIONS OCTOBER 25–28 RIVER PAVILION JAVITS CENTER NEW YORK CITY

TICKETS AVAILABLE AT PRINTFAIR.COM

Edvard Munch, The Scream, 1895; Lithograph. (detail)

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Index Abramović, M 371

Feininger, L 144–147

Mangold, R 263, 289

Saint Phalle, N de 113–114

Albers, J 29–30, 249–261

Fish, J 192

Mangold, S 289

Sandback, F 264–265

Andre, C 289

Fontana, L 162

Marden, B 39, 281–284

Scher, P 300

Anuszkiewicz, R 245

Ford, W 50

Maria, W de 38

Serra, R 33–35, 278–280

Artschwager, R 288–289

Francis, S 28, 186–189

Martin, A 262, 289

Siena, J 270

Frankenthaler, H 179–180

Matisse, H 21

Simmons, L 294–295

Bacon, F 6–7

Freud, L 45

Matta 161

Slaughter, T 229

Bailey, W 195

Fritsch, K 311

McBey, J 148

Smith, K 42

McLane, K 306

Stella, F 36, 37, 273–276

Baselitz, G 377 Becher, Bernd & Hilla 375

Gallagher, E 41

Mehretu, J 360–361

Stout, M 289

Bennett, M 301–302

Giacometti, A 139

Miller, H 309

Sultan, D 198, 200–201

Beuys, J 372–374

Guston, P 332–333

Minter, M 347

Blanchard, M 21

Grotjahn, M 404

Miró, J 23–26, 157–159

Tamayo, R 160

Mitchell, J 177–178

Tàpies, A 161

Bloom, B 335 Bochner, M 109

Halley, P 277

Moore, H 3–5, 161

Thiebaud, W 106, 196, 213, 218

Bonnard, P 21

Haring, K 111, 394–395

Morimura, Y 336

Tinguely, J 189

Bontecou, L 362

Harkness, H 350

Morley, M 234

Toulouse-Lautrec, H de 1

Bourgeois, L 334

Held, A 244

Motherwell, R 28, 181–185

Tuttle, R 272

Braque, G 140

Herrera, A 365–366

Murakami, T 397–405

Twombly, C 43

Brown, C 364

Herrera, C 235

Mutu, W 48–49

Buren, D 289

Hirst, D 117–118, 386–387

Uecker, G 199

Hockney, D 53–56, 202–212

Nauman, B 46–47, 343–346

Calder, A 164–175

Hodges, J 358–359

Nice, D 289

Various Artists 21, 161, 189, 289

Cattelan, M 303

Hodgkin, H 193

Noland, K 246

Vlaminck, M de 21

Chadwick, L 8–9

Holzer, J 61

Chagall, M 21, 142–143

Hume, G 393

Oldenburg, C 189, 226, 228

Walker, K 369–370

Opie, J 296–299

Warhol, A 70–91, 340–342

Chagall, M (Afer) 10–13, 141 Chamberlain, J 247–248

Indiana, R 223

Christo 189, 329–330

Weiwei, A 292 Paik, N J 376

Wesselmann, T 105, 216–217,

Clemente, F 354

Jacobson, B 351–353

Palermo, B 286–287

289–290

Close, C 194, 289

Johns, J 66–68, 222, 225

Pettibon, R 357

Westermann, H. C. 322–328

Coat, T 161

Johnson, R 367

Pettibone, R 64–65, 224

Whistler, J M 2

Copley, W 233

Jones, A 230–231

Picasso, P 14–20, 119–135, 137

Williams, S 363

Cragg, T 331

Judd, D 269

Picasso, P (Afer) 136

Wojnarowicz, D 337–339

Piper, A 368

Wood, J 51–52

Prince, R 110

Wurm, E 293

Crowner, S 271 Currin, J 305

Kapoor, A 31

Cutrone, R 389

Katz, A 214–215 KAWS 112, 388

Rauschenberg, R 69, 319–321

Zao Wou-Ki 138

Dabré, O 161

Kelley, M 308, 380–385

Rembrandt Harmensz Van Rijn 149

Zucker, J 289

Dalí, S 150–156

Kelly, E 236–243

Reynolds, A 161

D’Archangelo, A 227

Kilimnik, K 304

Richter, G 355

Delaunay, S 163

Kitaj, R.B. 232

Rivera, D 22

Diamond, J 310

Klein, Y 115

Rivers, L 291

Dine, J 190–191

Kooning, W de 176

Rosenberg, A 307

Doig, P 356

Koons, J 116, 390–392

Rouault, G 21 Rosenquist, J 107–108, 227,

Duchamp, M 62 Lapatre, P 161

378–379

Le Va, B 289

Ruscha, E 59–60, 312–318

El Anatsui 44

Levine, S 63

Ryman, R 40, 285

Estes, R 57–58, 197

LeWitt, S 32, 266–268, 289

Dufy, R 21

Lichtenstein, R 92–104, 219–221 Longo, R 348–349

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18. Pablo Picasso

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1. Henri de Toulouse-Lautrec

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241. Ellsworth Kelly

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p 7

phillips.com

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