Editions & Works on Paper New York, 25 October 2019
23. Joan Mitchell
59. Andy Warhol
Editions & Works on Paper New York, 25 October 2019
Auction & Viewing Location 450 Park Avenue, New York 10022
Auctions 25 October 2019, 10am, 2pm & 6pm Day Sale Morning Session 10am, lots 122–285 Afernoon Session 2pm, lots 286–415 Evening Sale Auction 6pm, lots 1–121
Viewing 17 – 25 October Monday – Saturday 10am – 6pm Sunday 12pm – 6pm
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101. After Jean-Michel Basquiat
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145. Pablo Picasso
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32. David Hockney
Evening Editions, 6pm Lots 1–121 Day Editions morning session, 10am Lots 122–285 Day Editions afternoon session, 2pm Lots 286–415
1. Marc Chagall
1887-1985
Les Arums (The Arums), 1975 Lithograph in colors, on Arches paper, with full margins. Signed and annotated ‘Epreuve d’artiste’ in pencil (an artist’s proof, the edition was 50), framed. I. 26 3/4 x 21 5/8 in. (67.9 x 54.9 cm) S. 33 3/8 x 25 5/8 in. (84.8 x 65.1 cm) Estimate $20,000-30,000 Literature Fernand Mourlot 748
2. Marc Chagall
1887-1985
L’âme du cirque (Spirit of the Circus), 1980 Lithograph in colors, on Arches paper, will full margins. Signed and numbered 48/50 in pencil, published by Maeght, Paris, framed. I. 23 3/4 x 37 1/4 in. (60.3 x 94.6 cm) S. 29 7/8 x 46 in. (75.9 x 116.8 cm) Estimate $20,000-30,000 Literature Fernand Mourlot 982
3. Henri Matisse
1869-1954
Danseuse au tabouret, from Dix danseuses (Dancer on Stool, from Ten Dancers), 1925-26 Lithograph, on Arches paper, the full sheet. Signed and numbered 68/130 in pencil (there were also 5 on Chine, 15 on Japon and 8 hors commerce), published by la Galerie d’Art Contemporain, Paris, framed. I. 17 3/4 x 11 in. (45.1 x 27.9 cm) S. 19 3/4 x 12 7/8 in. (50.2 x 32.7 cm) Estimate $8,000-12,000 Provenance Unidentifed Collector’s stamp (Fritz Lugt 4136) Literature Claude Duthuit 481
4. Henri Matisse
1869-1954
Danseuse endorme (Sleeping Dancer), 1926-27 Lithograph, on laid Japanese paper, with full margins. Signed and numbered ‘I’ in pencil (one of an unknown number of artist’s proofs, the edition was 50), framed. I. 8 1/2 x 18 in. (21.6 x 45.7 cm) S. 17 1/4 x 22 1/8 in. (43.8 x 56.2 cm) Estimate $6,000-8,000 Provenance Henri Petiet (Fritz Lugt 5031) (faded) Belgis-Freidel Ltd., Syosett, New York Literature Claude Duthuit 479
5. Pablo Picasso
1881-1973
Femme au corsage à feurs (Woman with Flower Bodice) (Jacqueline Roque), 1957 Lithograph, on Arches paper, the full sheet. Signed in red crayon (slightly faded) and numbered 23/50 in pencil (there were also a few artist’s proofs), the frst state (of three), published by Galerie Louise Leiris, Paris, framed. S. 25 3/4 x 19 7/8 in. (65.4 x 50.5 cm) Estimate $30,000-50,000 Literature Fernand Mourlot 307 Georges Bloch 846 Felix Reuße 728
6. Pablo Picasso
1881-1973
Portrait de femme II (Portrait of a Woman II) (Jacqueline Roque), 1955 Lithograph, on Arches paper, the full sheet. With the ‘Collection Mourlot’ inkstamp on the reverse and also inscribed ‘M272/Portrait de femme 2/pour Eric/FM’ in green ink, one of six proofs (aside from the edition of 50), framed. S. 26 1/8 x 19 7/8 in. (66.4 x 50.5 cm) Estimate $8,000-12,000 Provenance Fernand Mourlot (studio inkstamp on reverse) Sotheby’s New York, Picasso Lithographs from the Mourlot Collection, November 14, 1994, lot 200 Private Collection, New York, acquired from the above by the present owner Literature Fernand Mourlot 272 Georges Bloch 780 Felix Reuße 670
7. Pablo Picasso
1881-1973
Pique (rouge et jaune) (Spear, Red and Yellow), 1959 Linocut in colors, on Arches paper, with full margins. Signed and numbered 27/50 in pencil (there were also 6 artist’s proofs), published by Galerie Louise Leiris, Paris, framed. I. 21 x 25 1/8 in. (53.3 x 63.8 cm) S. 24 1/2 x 29 5/8 in. (62.2 x 75.2 cm) Estimate $25,000-35,000 Provenance Private Collection, New England Literature Georges Bloch 908 Brigitte Baer 1227
8. Jean Dubufet
1901-1985
L’enfÊ-chic I (The Infated Snob I), 1961-63 Lithograph in colors, on Arches paper, with full margins. Signed, dated and numbered 20/20 in pencil (there were also 5 hors commerce in Roman numerals), framed. I. 23 x 14 1/2 in. (58.4 x 36.8 cm) S. 25 5/8 x 19 3/4 in. (65.1 x 50.2 cm) Estimate $10,000-15,000 Provenance Private Collection, Midwest Literature Sophie Webel 814
9. Odilon Redon
1840-1916
Le Coursier (The Charger), 1894 Lithograph, on Chine appliqué to heavy wove paper, with full margins. Signed in pencil, with the printed line ‘Le Coursier_25 ep.’, from the edition of 25, printed by Monrocq, Paris, unframed. I. 9 1/2 x 7 3/4 in. (24.1 x 19.7 cm) S. 23 x 15 7/8 in. (58.4 x 40.3 cm) Estimate $7,000-10,000
Provenance Sotheby’s, New York, Property from the Estate of Lillian Rojtman Berkman, January 28, 2005, lot 828 Literature André Mellerio 129 Bulletin of the Art Institute of Chicago (19071951), vol. 15, no. 1, 1921 (another impression illustrated on the cover)
Cover of the Bulletin of the Art Institute of Chicago, January, 1921 (recent acquisitions)
The major French symbolist artist, Odilon Redon, developed a highly fnished lithographic technique and the style of these heavily contrasted black and white lithos form a backdrop to Munch’s early examples which he took up in 1895. Even Redon’s unnaturally huge eyes had some efect on Munch’s portraits. In 1896 while in Paris, Munch made fortynine prints using all techniques and wanting to introduce fne art printmaking to Norway where it did not exist per se. He understood and embraced the diferent processes due to his friends in the literary world who used graphic techniques such as close confdant and playwright, August Strindberg.
10. Edvard Munch
1863-1944
August Strindberg, 1896 Lithograph, on cream Japanese paper, with full margins. Signed in pencil, Woll’s fourth state, printed by Auguste Clot, Paris, framed. I. 19 3/4 x 14 3/8 in. (50.2 x 36.5 cm) S. 25 x 16 7/8 in. (63.5 x 42.9 cm) Estimate $18,000-25,000 Literature Gustav Schiefer 77 Gerd Woll 66
11. Erich Heckel
1883-1970
Zwei Frauen (Two Women), 1910 Woodcut, on laid paper, with full margins. Signed and dated in pencil, the frst state (of two), before the rework on the breasts of the lef woman, a rich impression of this rare print, framed. I. 11 x 14 3/8 in. (27.9 x 36.5 cm) S. 16 1/4 x 21 3/8 in. (41.3 x 54.3 cm) Estimate $20,000-30,000 Provenance Private Collection, Minneapolis Literature Annemarie and Wolf-Dieter Dube H182
In 19th-century carvings by the African Mbole tribe, solutions for dramatically outlining the facial features seem almost readymade for Heckel’s tightly contoured drawing style. The heart-shaped face, slit eyes, hourglass nose and grossly exaggerated navel are borrowed from the Mbole type: the V-like rendering of the breasts, the union of hand with thigh… Philip Larson, Brücke Primitivism: The Early Figurative Woodcuts, Print Collector’s Newsletter, vol. 6, no. 3, July–August 1975, pp. 63-64.
12. Salvador Dalí
1904-1989
Les Chants de Maldoror (Songs of Maldoror): plate 9, 1935 Etching over heliogravure, on wove paper with watermark, with full margins. Signed and dated ‘1935’ in pencil (a rare, early proof before the book edition published by A. Skira, Paris), printed by Roger Lacourière, Paris, framed. I. 8 3/4 x 6 5/8 in. (22.2 x 16.8 cm) S. 13 x 10 in. (33 x 25.4 cm) Estimate $15,000-25,000 Provenance Sotheby Parke Bernet & Co., London, Important Nineteenth Century and Modern Prints, The Collection of the Late Sir Rex De C. Nan Kivell, C.M.G., October 4, 1977, lot 50 Private Collection, New York, acquired from the above by the present owner Literature Ralph Michler and Lutz W. Löpsinger 19
I could fll an entire second life with working on my prints.
13. M.C. Escher
1898-1972
Eye, 1946 Mezzotint, on Van Gelder Zonen laid paper, with full margins. Signed, annotated ‘eigen druk’ (hand printed), numbered ‘No 16’ in pencil, also annotated ‘zwarte kunst prent “Oog”’ (black art print ‘eye’) lower right sheet edge, framed. I. 6 x 8 in. (15.2 x 20.3 cm) S. 10 x 11 5/8 in. (25.4 x 29.5 cm) Estimate $40,000-60,000 Provenance Private Collection, New York Literature Flip H. Bool, J.R. Kist, J.L. Locher and F. Wierda 344
Portrait of M.C. Escher © 2019 The M.C. Escher Company— The Netherlands. All rights reserved. www.mcescher.com
“. . . a last example of globular refection: an eye, which is of course my own, copied as faithfully as possible in a concave shaving glass. It was necessary and logical to portray somebody in a pupil, an observer, refected in the convex mirror of the eye. I chose the features of Good Man Bones, with whom we are all confronted whether we like it or not.” M.C. Escher, Exploring the Infnite
In 1946 Escher became interested in mezzotint, a technique that fascinated him because of the possibility of obtaining extremely subtle graduation of light and dark. Though new to Escher, the process of mezzotint was developed in 17th century Germany and named mezzo-tinto, or “half-tone.” English artists and printmakers then found it to be a perfect medium to express their obsession with portraiture. Lasting well into the 1820’s the mezzotint spread to the United States where it found footing among graphic artists. The mezzotint is a burnishing process that uniquely captures subtle gradient tonality and works from dark to light. A highly laborious process, Escher produced only eight mezzotints during his career, a feat given the fact that so few artists embrace the demanding technique today. He referred to mezzotint as ‘black art,’ and these prints are, undoubatly, among his most alluring. “White and black, day and night,” said Escher, “the graphic artist lives on these.”
14. Joan Miró
1893-1983
Le Pitre rose (The Pink Clown), 1974 Etching with aquatint in colors, on wove paper watermark Maeght, with full margins. Signed and numbered ‘HC XXI/XXIV’ in pencil (an hors commerce, the edition was 50 and some artist’s proofs), authenticated by Rosa Maria Malet, director of the Fundació Joan Miró, Barcelona on the reverse and dated ‘5 Novembre 2008’, published by Maeght, Paris, framed. I. 45 5/8 x 29 1/4 in. (115.9 x 74.3 cm) S. 54 3/8 x 37 7/8 in. (138.1 x 96.2 cm) Estimate $25,000-35,000 Provenance Sotheby’s, London, Old Master, Modern and Contemporary Prints, March 30, 2011, lot 100 Franklin Bowles Galleries, San Francisco and New York Private Collection, East Coast Literature Jacques Dupin 653
15. Joan Miró
1893-1983
Le Chef des équipages (The Crew Leader), 1973 Etching with aquatint in colors with carborundum, on Arches paper, the full sheet. Signed and annotated ‘H.C.’ in pencil (an hors commerce, the edition was 50), authenticated by Rosa Maria Malet, director of the Fundació Joan Miró, Barcelona on the reverse and dated ‘2 Octobre 2008’, published by Maeght, Paris, framed. S. 54 3/8 x 23 3/4 in. (138 x 60.2 cm) Estimate $15,000-25,000 Literature Jacques Dupin 574
16. Joan Miró
1893-1983
Centennaire pour l’Imprimerie Mourlot (Centenary of the Mourlot Printing House), 1953 Lithograph in colors, on Arches paper, the full sheet. Signed and annotated ÔeaÕ in blue ink (one of 30 artistÕs proofs, the edition was 75), published by Mourlot, Paris for the 100th anniversary of the Mourlot printshop, framed. S. 20 x 26 in. (50.8 x 66 cm) Estimate $15,000-25,000 Provenance Reiss Cohen Gallery, New York Winifred Breuning Fine Arts, Oaxaca, 1975 Literature Fernand Mourlot 190
17. Joan MirĂł
1893-1983
IntĂŠrieur et nuit (Interior and Night), 1969 Lithograph in colors, on textured wallpaper, the full sheet. Signed and numbered 73/75 in pencil, published by Maeght, Paris, framed. S. 37 1/2 x 21 1/2 in. (95.3 x 54.6 cm) Estimate $10,000-12,000 Provenance Galerie Tamenaga, Tokyo Literature Fernand Mourlot 590
18. Joan Miró
1893-1983
El Pi de Formentor (The Pine of Formentor), 1976 The set of six etchings with aquatint in colors, on Guarro paper (plate 4 watermark Sala Gaspar), with full margins and the full sheet. All signed and numbered 9/50 in pencil (there were also a few hors commerce), published by Sala Gaspar, Barcelona (with their blindstamp), all unframed. all I. various sizes all S. 41 1/4 x 35 1/2 in. (104.8 x 90.2 cm) Estimate $25,000-35,000 Literature Jacques Dupin 938-943 Patrick Cramer books 217
Miró was inspired by Costa i Llobera’s poem— an ode to the native cedar trees of Spanish Catalan island Majorca’s Formentor Peninsula.
Not it the soil sustaining his tower of living vigour, about the stubborn boulders his massy roots entwine: he greets the dews and showers, chill wind and torrid rigour; and, like the ancient prophet, the smiles of heaven transfgure his form with life divine stanza from El Pi de Formentor, Costa i Llobera, 1875
19. Antoni Tàpies
1923-2012
Collage noir (Black Collage), 1966 Paint, graphite and collage on paper collé to canvas. Signed in pencil. 25 5/8 x 19 7/8 in. (65.1 x 50.5 cm) Estimate $20,000-40,000 Provenance Martha Jackson Gallery, New York (label on reverse of frame) Private Collection, Los Angeles Exhibited Martha Jackson Gallery, New York, 1968, cat. no. 34 (reproduced) Literature Anna Agustí, Tàpies, Catalogue raisonné Volume 2. 1961-1968, no. 1542, p. 304
20. Antoni Tàpies
1923-2012
Bol (Bowl), 1996 Bronze assemblage. Incised with signature and stamp-numbered 4/7 on the underside, produced at Barberí Foneria Artística, Girona. 5 x 5 x 5 in. (12.7 x 12.7 x 12.7 cm) Estimate $6,000-9,000 Provenance acquired from the Artist PaceWildenstein, New York Private Collection, New Mexico Exhibited Waddington Galeries, London, 1996, Antoni Tàpies New Work (cast 2/7) PaceWildenstein Gallery, New York, 2000, Antoni Tàpies, Recent Work (this cast) Literature Anna Agusti, Tàpies Obra Completa, Volum 7è. 1991-1997, no. 6939, p. 450 James Hall, Antoni Tàpies: New Work, London: Waddington Galleries, 1996, no. 5, p. 19 (cast 2/7 illustrated) Dan Cameron, Antoni Tàpies: Recent Work, New York: PaceWildenstein, 2000, p. 29 (illustrated)
21. Robert Motherwell
1915-1991
Flags, 1989 Lithograph with embossing, on red Moriki appliqué to Rives BFK paper, with full margins. Signed with initials and numbered 34/68 in pencil (there were also 12 artist’s proofs), published by Tyler Graphics Ltd., Bedford, New York (with their blindstamp), framed. I. 28 x 25 in. (71.1 x 63.5 cm) S. 36 1/4 x 30 in. (92.1 x 76.2 cm) Estimate $7,000-10,000 Literature Siri Engberg and Joan Banach 470
22. Robert Motherwell
1915-1991
Delos, 1991 Lithograph in colors, on TGL handmade paper, with full margins. Signed and numbered 6/40 in pencil (there were also 16 artist’s proofs), published by Tyler Graphics Ltd., Mount Kisco, New York, framed. I. 36 1/2 x 23 1/2 in. (92.7 x 59.7 cm) S. 42 1/2 x 30 in. (108 x 76.2 cm) Estimate $8,000-12,000 Literature Siri Engberg and Joan Banach 525
23. Joan Mitchell
1925-1992
Sunfowers II, 1992 Lithograph in colors, on two sheets of wove paper (as issued), the full sheets. Signed, dated and numbered 24/34 in pencil (there were also 8 artist’s proofs), published by Tyler Graphics, Mount Kisco, New York, (with their blindstamp), framed. overall S. 57 x 82 1/2 in. (144.8 x 209.6 cm) Estimate $30,000-50,000
Belonging to the Post-War, New York School of Action painters, Joan Mitchell distinguished herself amongst her contemporaries as an accomplished printmaker. Joan Mitchell made prints throughout almost every stage of her career up until her death. With Tyler Graphics and its founder Kenneth Tyler in the early 1990’s, Mitchell embarked on the most innovative and ambitious prints of her oeuvre. Kenneth Tyler frst persuaded Joan Mitchell to make lithographs with him in the early 1980’s, urging that her paintings could be translated beautifully into lithography. She completed her frst suite of lithographs with Tyler in 1981, titled the Bedford Series, and thereafer a fruitful relationship was born. The lithographs of the Bedford Series (lot 210), 1981, and later Sunfower Series (lot 23), 1992, embrace the very nature of the medium. The greasiness, oiliness, and rubbings of lithographic crayon and tusche become as much the subject of these works as her gestural brushstrokes embody the emotional resonance of her paintings.
Sunfowers II, from the Sunfower Series, presents a pictorial achievement in Mitchell’s oeuvre. Here, Mitchell combined deep rich tones with gestural marks that greatly echo the ethos of her career. Through color and line, disordered bouquets of sunfowers appear and again disappear to the viewer. Joan Mitchell’s electric gestural prints were deliberate and considered. She worked on clear mylar sheets of color separation, revising until the composition was as she wanted. In Sunfowers II, Mitchell’s explosive mark-making meets the ethereal quality of paper, creating prints that are at once free-fowing while contained within the margins. Tyler Graphics allowed Mitchell to work in more colors than ever before, creating richly colored works that rivaled the more subdued hues of the prints she had produced in years before. Tyler was fexible, and Mitchell precise: “Ken,” she said to him in the studio, “I want to try a color like the color of dying sunfowers.”
From an Important Chicago Collection
24. Robert Motherwell
1915-1991
Ulysses portfolio; and book, 1988 The deluxe set including the suite of 22 etchings (20 in colors), on Johannot paper, with full margins, all contained in the original blue cloth-covered clamshell portfolio with printed label, and novel by James Joyce, the suite loose and the book bound (as issued). The loose prints signed with initials and numbered ‘PP V/V’ in pencil (a printer’s proof set, the edition was 150 and 5 artist’s proofs), the book signed and numbered by Andrew Hoyem (the designer) in pencil on the limitation page, published by Arion Press, San Francisco, the book contained in the original blue silkcovered cover with leather trim and matching slipcase, the 22 loose etchings all framed. all loose I. (20) 4 3/8 x 6 1/8 in. (11.1 x 15.6 cm) (2) 6 1/8 x 6 1/8 in. (15.6 x 15.6 cm) all S. 13 x 10 in. (33 x 25.4 cm) Portfolio 14 x 10 5/8 x 1 5/8 in. (35.6 x 27 x 4.1 cm) Book 13 1/2 x 11 x 5 in. (34.3 x 27.9 x 12.7 cm) Estimate $30,000-50,000 Literature Siri Engberg and Joan Banach 445.1-22, and 446-467
Property from an Important Private Collection
25. Helen Frankenthaler
1928-2011
26. Howard Hodgkin
1932-2017
Spring Run V, 1996 Monotype in colors, on Rives BFK mould-made paper, with full margins. Signed in pencil and dated ‘4/4/96’ and numbered ‘V’ on the reverse, published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), unframed. I. 36 x 26 1/2 in. (91.4 x 67.3 cm) S. 40 1/2 x 31 1/2 in. (102.9 x 80 cm)
As Time Goes By (blue), 2009 Monumental aquatint in colors, with carborundum and hand-painting, on fve hand torn sheets of Moulin de Gué paper, the full sheets. Signed with initials, dated ‘MMIX’, and numbered 6/7 in pencil on the center panel (there were also 3 artist’s proofs), published by Alan Cristea Gallery, London, each panel framed. overall S. 96 x 240 in. (243.8 x 609.6 cm)
Estimate $10,000-15,000
Estimate $40,000-50,000 Provenance Lombard Fried Gallery, New York
27. Yves Klein
1928-1962
Table Rose, designed 1961 Rose pigment, glass, Plexiglas, chrome-plated metal. Designed in 1961, this work is from an edition started in 1963, under the supervision of Rotraut Klein-Moquay, afer a model by Yves Klein and is signed ‘R. KL. Moquay’ and numbered ‘BGT-UYTR’ 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 $18,000-25,000
28. Beatriz Milhazes
b. 1960
O pato (The Duck), 1996-98 Screenprint in colors, on Somerset Satin paper, the full sheet. Signed, titled, dated and numbered 2/20 in pencil on the reverse (there were also 4 artist’s proofs), published by Durham Press, Durham, Pennsylvania, framed. S. 39 3/4 x 60 in. (101 x 152.4 cm) Estimate $25,000-35,000
29. David Hockney
b. 1937
The Wave, A Lithograph, 1990 Lithograph in colors, on Arches 88 paper, the full sheet. Signed, dated and numbered ‘A.P. VII/XII’ in pencil (an artist’s proof, the edition was 50), published by Tyler Graphics Ltd., Bedford, New York (with their blindstamp), framed. S. 27 x 38 in. (68.6 x 96.5 cm) Estimate $15,000-25,000 Literature Museum of Contemporary Art Tokyo 324
30. David Hockney
b. 1937
Lithographic Water made of lines, 1980 Lithograph in cyan blue, on TGL handmade paper, with full margins. Signed, dated ‘78’ and numbered 22/42 in pencil (there were also 12 artist’s proofs), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), framed. I. 20 5/8 x 29 5/8 in. (52.5 x 75.4 cm) S. 28 7/8 x 34 3/8 in. (73.5 x 87.2 cm) Estimate $25,000-35,000 Literature Tyler Graphics 253 Museum of Contemporary Art Tokyo 210
David Hockney discovered the Hotel Romano Angeles in the small town of Acatlán, Hidalgo Province, Mexico, by accident afer his car broke down on a trip from Mexico City to Oaxaca. Arranged around a courtyard with tropical plants and a well in the center, its rustic charm and vibrant colors immediately appealed to the artist inspiring fve images at the hotel.
“It has so many diferent perspectives that you are forced to move your eye constantly…It is a totally impossible view from one point, yet there is a clarity and order about the picture. The efect of the space is extremely strong, yet it is not an illusion you want to walk into, because you are already in the picture and walking around”. David Hockney in a letter to friend R.B. Kitaj, A Walk Around the Hotel Courtyard, Acatlán, Hockney: The Biography, p. 209
31. David Hockney
b. 1937
Hotel Acatlán: Second Day, from the ‘Moving Focus’ Series, 1984-85 Lithograph in colors, on two sheets of TGL handmade paper (as issued), the full sheets. Signed, dated and numbered 91/98 in pencil (there were also 34 artist’s proofs), published by Tyler Graphics Ltd., Bedford Village, New York, framed. S. 29 x 75 5/8 in. (73.7 x 192.1 cm) Estimate $50,000-70,000 Literature Tyler Graphics 283 Museum of Contemporary Art Tokyo 270
32. David Hockney
b. 1937
Potted Dafodils, 1980 Lithograph, on cream Rives BFK paper, the full sheet. Signed, dated and numbered 39/80 in pencil (there were also 18 artist’s proofs in Roman numerals), published by Tyler Graphics Ltd., Bedford, New York (with their blindstamp), framed. S. 44 1/8 x 30 in. (112.1 x 76.2 cm) Estimate $12,000-18,000 Literature Tyler Graphics 259 Museum of Contemporary Art Tokyo 237
33. David Hockney
b. 1937
Black Tulips, 1980 Lithograph, on cream Rives BFK paper, the full sheet. Signed, dated and numbered 41/100 in pencil (there were also 25 artist’s proofs), published by Tyler Graphics, Ltd., Bedford Village, New York (with their blindstamp), framed. S. 44 1/4 x 30 in. (112.4 x 76.2 cm) Estimate $12,000-18,000 Literature Tyler Graphics 258 Museum of Contemporary Art Tokyo 236
34. David Hockney
b. 1937
Marguerites, 1973 Etching with aquatint in colors, on wove paper, with full margins. Signed, dated and numbered 94/100 in pencil (there were also some artist’s proofs), published by Petersburg Press, London and New York, framed. I. 9 3/8 x 7 1/8 in. (23.8 x 18.1 cm) S. 16 1/4 x 12 1/2 in. (41.3 x 31.8 cm) Estimate $6,000-9,000 Literature Scottish Arts Council 157 Museum of Contemporary Art Tokyo 141
35. Marcel Duchamp
1887-1968
Mustache and Beard of L.H.O.O.Q., 1941 Pochoir in graphite (slightly smeared, as issued) on wove paper, tipped onto a single sheet of Havane de Montval laid paper, including title page, justifcation and poem by Georges Hugnet in blue letterpress, folded and scored (as issued) creating a booklet. Signed by Marcel Duchamp in black ink, also signed by Georges Hugnet and numbered 9/20 in red ink (from the very rare signed edition of 20, aside from the unsigned edition of 200, there were also 6 on Japanese paper), published by Georges Hugnet, Paris, framed folded. pochoir sheet 1 5/8 x 2 1/2 in. (4.1 x 6.4 cm) folded 3 7/8 x 5 3/4 in. (9.8 x 14.6 cm) unfolded 7 1/2 x 11 1/2 in. (19.1 x 29.2 cm) Estimate $6,000-9,000 Provenance Private Collection, Midwest Literature Arturo Schwarz 483 Francis Naumann, The Art of Making Art in the Age of Mechanical Reproduction, no. #5.33 Achim Moeller Fine Art, Marcel Duchamp exhibition catalogue, October 1999, Naumann, p. 13 (illustrated as fg. 6) and p. 26 as no. 40
The same metal stencil was used to apply the mustache and beard to Leonardo’s Mona Lisa in his 1940 edition of L.H.O.O.Q. in The Box in a Valise. See phillips.com for additional images of this work.
The following three prints, like Gober’s early sculptures—his domestic world of sinks and drains and slipcovered chairs are as real as they might appear at a glance or a longer study, Duchampian (facsimiles), despite their found on a sidewalk ephemeral immediacy, they are meticulously handcrafed by the artist.
36. Robert Gober
b. 1954
Untitled (Climb Ev’ry Mountain), 2011 Potato print in red and black, on Borden and Riley Bond paper, with full margins, in the frame specifed by the artist. Signed, dated, inscribed ‘Hi Brad’ numbered 1/1 and annotated ‘printers proof’ in pencil on the reverse (the edition was 15), published by The Grenfell Press, New York. I. 9 1/4 x 5 in. (23.5 x 12.7 cm) S. 12 x 8 1/2 in. (30.5 x 21.6 cm) Frame 19 1/2 x 16 in. (49.5 x 40.6 cm) Estimate $15,000-25,000 Literature Museum of Modern Art, New York, Robert Gober: The Heart Is Not a Metaphor, October 4, 2014–January 18, 2015, p. 233 (another example exhibited and illustrated)
37. Robert Gober
b. 1954
Urology Appointment, 2007 Wood engraving, polymer engraving and letterpress, on wove paper, the full sheet, contained in the frame specifed by the artist. Signed, dated and annotated ‘Publisher’s Proof’ (the edition was 15), published by The Grenfell Press, New York. S. 2 x 3 1/2 in. (5.1 x 8.9 cm) Frame 12 3/8 x 11 in. (31.4 x 27.9 cm) Estimate $10,000-15,000
38. Robert Gober
b. 1954
Brokeback Mountain, 2012 Wood and polymer engraving in colors, on wove paper, the full sheet, contained in the frame specifed by the artist. Signed, dated and numbered ‘2/2 Printer’s Proof’on the reverse, (the edition was 20), published by The Grenfell Press, New York. S. 2 x 1 5/8 in. (5.1 x 4.1 cm) Frame 11 x 9 1/4 in. (27.9 x 23.5 cm) Estimate $8,000-12,000
39. Stanley Whitney
b. 1946
Untitled, 1985 Monotype in colors, on Rives BFK paper, the full sheet. Signed and dated in pencil, printed and published by the Robert Blackburn Printmaking Workshop, New York, framed. S. 30 1/2 x 44 3/4 in. (77.5 x 113.7 cm) Estimate $8,000-12,000
40. Jasper Johns
b. 1930
Usuyuki, 1980 Screenprint in colors, on Kurotani Kozo paper, with full margins. Signed, dated and numbered 61/90 in pencil (there were also 10 artist’s proofs), copublished by the artist and Simca Print Artists, Inc., New York (with their blindstamp), framed. I. 45 7/8 x 14 7/8 in. (116.5 x 37.8 cm) S. 51 7/8 x 19 7/8 in. (131.8 x 50.5 cm) Estimate $10,000-15,000 Literature Universal Limited Art Editions 210
Property from a Private Japanese Collection
41. Jasper Johns
b. 1930
Flags II, 1973 Screenprint in black and grays, on J.B. Green paper, with full margins. Signed, dated and annotated ‘1/2 Printer’s Proof’ (aside from the edition of 60 and 10 artist’s proofs), co-published by the artist and Simca Print Artists, Inc., New York and Tokyo (with their blindstamp), framed. S. 27 1/4 x 35 3/8 in. (69.2 x 89.9 cm) Estimate $25,000-35,000 Exhibited Jasper Johns Gray, Art Institute of Chicago, November 3, 2007–January 6, 2008 and The Metropolitan Museum of Art, New York February 5, 2008-May 4, 2008 (another impression exhibited) Literature Universal Limited Art Editions 129
...a density of surface characterizes the screenprint Flags II (1973; cat. no. 31), such that the print takes on an entirely new quality. It is neither a painting, drawing, nor relief sculpture, but a bit of all three. By adding varnish to some of the printing inks—notably on the right side— and using cut stencils in concert with more painterly resist stencils, Johns was able to make a surface that emulates encaustic on one side, oil paint on the other. Mark Pascale, Conditional Sates: The Appearance of Gray in Jasper John’s Graphic Work, The Art Institute of Chicago, 2007, p. 116-7)
42. Jasper Johns
b. 1930
Two Flags, 1981 Lithograph, on Eijiro Kikuchi Nishinouchi paper, with full margins. Signed, dated and numbered 41/45 in pencil (there were also 8 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 39 1/4 x 29 in. (99.7 x 73.7 cm) S. 47 1/2 x 36 1/4 in. (120.7 x 92.1 cm) Estimate $10,000-15,000 Literature Gemini G.E.L. 914 Universal Limited Art Editions 212
43. Jasper Johns
b. 1930
6 Lithographs (afer “UNTITLED 1975”), 1976 The complete set of six lithographs in colors, on Rives BFK paper, with full margins. All signed, dated and numbered ‘AP 6/13’, ‘AP 8/15’, ‘AP 5/11’, ‘AP 6/13’, ‘AP 6/13’ and ‘AP 20/20’ in pencil respectively (all artist’s proofs, the edition was 60), published by Gemini G.E.L. Inc., Los Angeles (with their blindstamps), all framed. all I. 28 5/8 x 28 5/8 in. (72.7 x 72.7 cm) all S. 30 1/4 x 29 7/8 in. (76.8 x 75.9 cm) Estimate $50,000-70,000 Provenance Christie’s, New York, Nineteenth and Twentieth Century Prints, November 6, 2002, lot 421 Literature Gemini G.E.L. 740-745 Universal Limited Art Editions 174-179
44. Jasper Johns
b. 1930
Red, Yellow, Blue, 1963 Lithograph in black and gray, on Angoumois laid paper, with full margins. Signed, dated and numbered 4/25 in pencil (there were also 3 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed. I. 10 1/2 x 7 3/4 in. (26.7 x 19.7 cm) S. 18 x 12 3/4 in. (45.7 x 32.4 cm) Estimate $5,000-7,000 Provenance Private Collection, Minneapolis Literature Universal Limited Art Editions 14
45. Jasper Johns
b. 1930
Land’s End, 1979 Lithograph, on Kurotani paper, the full sheet. Signed, dated and numbered 56/70 in pencil (there were also 12 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), framed. S. 52 x 36 1/4 in. (132.1 x 92.1 cm) Estimate $10,000-15,000 Literature Gemini G.E.L. 831 Universal Limited Art Editions 199
The planar surface of Lands End reveals itself through a complex overlapping of forms. Rife with motifs used by Johns throughout his work, an arm, an arrow, a target, and stenciled letters, all are defned by tones of gray. Gray tends to connote ambiguity, but in Land’s End, gray defnes surface, uncomplicated by additions of color. Created using a solid lithographic crayon and a single plate, Johns pushed the tonality of this print to its limits. The surface of the plate had to be inked with great precision in order to capture the slight variations in tone that Johns was afer. “… a long project,” said Tyler Graphics master printer, Charly Ritt, “there was something very subtle next to something very dark and you had to get that dark, dark and rich, and you had to keep that subtlety and openness of something that was light.”
46. Jasper Johns
b. 1930
Painting with Two Balls (Grays), 1971 Screenprint in black and grays, on J.B. Green paper, with full margins. Signed, dated and numbred 64/66 in pencil (there were also 9 artist’s proofs), published by Studio Heinrici, Ltd., New York, framed. I. 29 3/8 x 24 1/2 in. (74.6 x 62.2 cm) S. 34 3/8 x 28 in. (87.3 x 71.1 cm) Estimate $6,000-8,000 Provenance Pat Caporaso, New York Private Collection, New York, 1993 Literature Universal Limited Art Editions 88
“Great colorists know how to get an efect of color with a black suit, a white necktie, and a gray background.” Charles Baudelaire, Jasper Johns Gray, Art Institute of Chicago, 2007, p. 55
47. Jasper Johns
b. 1930
Figure 0, from Black Numeral Series, 1968 Lithograph in black and gray, on Copperplate Deluxe paper, with full margins. Signed, dated and numbered 65/70 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), framed. I. 28 x 22 in. (71.1 x 55.9 cm) S. 37 x 30 in. (94 x 76.2 cm) Estimate $8,000-12,000 Literature Gemini G.E.L. 87 Universal Limited Art Editions 44
From an Important Chicago Collection
48. Donald Judd
1928-1994
Untitled, 1993 The complete set of four woodcuts printed in black, orange, yellow and ultramarine blue, on Japanese paper, the full sheets, each with an oil paint stripe on the glass of the original galvanized iron frames. All with the Judd Estate inkstamp and numbered 24/25 in pencil on the reverse of the sheet, also numbered in black ink on the reverse of the frames (there were also 10 artist’s proofs), published by Edition Schellmann, Cologne and New York. all S. 23 5/8 x 31 1/2 in. (60 x 80 cm) all F. 24 x 31 7/8 x 7/8 in. (61 x 81 x 2.2 cm) Estimate $40,000-60,000 Literature Jörg Schellmann 298-301 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 178-179
Property of an Important New York Collector
49. Ellsworth Kelly
1923-2015
Colored Paper Image XVII (Green Square with Dark Grey), from Colored Paper Images, 1976 Pressed pigmented paper pulp, on TGL handmade paper, with full margins. Signed and numbered 17/22 in pencil (there were also 8 artist’s proofs), published by Tyler Graphics Ltd., Mt. Kisco, New York (with their and the artist’s blindstamps), framed. I. 29 x 29 in. (73.7 x 73.7 cm) S. 32 x 31 in. (81.3 x 78.7 cm) Estimate $12,000-18,000 Literature Richard Axsom 158 Tyler Graphics 314
50. Imi Knoebel
b. 1940
Anima Mundi 9-3 II Ed., 2009-10 The complete set of three acrylic and vinyl collages in colors, on vinyl, the full sheets. All titled, dated and numbered 2/3 in black ink on the reverse (one of three unique variant sets), all framed. all S. 14 5/8 x 11 3/8 in. (37.1 x 28.9 cm) Estimate $9,000-12,000
51. Sol LeWitt
1928-2007
Forms Derived from a Cubic Rectangle: eleven plates, 1990 Set of 11 aquatints in colors, on magnani paper, with full margins, lacking plate 4. All signed and numbered 1/20 in pencil (there were also 8 artist’s proofs), published by Multiples, Inc., New York, all framed. all I. 15 3/8 x 21 3/8 in. (39.1 x 54.3 cm) all S. 20 x 26 in. (50.8 x 66 cm) Estimate $18,000-25,000 Literature Barbara Krakow 1990.13
52. Sol LeWitt
1928-2007
Brushstrokes: Horizontal and Vertical, 1996 The complete set of 25 photolithographs in colors, on wove paper, the full sheets, with colophon and additional print laid to the accompanying original grey card portfolio. All signed and numbered 7/25 in pencil, further signed and numbered in pencil on the colophon (the total edition was 130), published by Marco Noire Editore, Turin, Italy, all framed. all S. 6 1/2 x 8 7/8 in. (16.5 x 22.7 cm) Estimate $15,000-25,000 Literature Barbara Krakow Gallery 1996.02
Property from an Important Chicago Collection
53. Richard Serra
b. 1938
Clara Clara I, 1985 Screenprint and Paintstick, on Japanese Kizuki Hanga Dosa paper, the full sheet. Signed, dated and numbered 19/28 in pencil on the reverse (there were also 7 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. S. 36 x 72 1/2 in. (91.4 x 184.2 cm) Estimate $7,000-10,000 Literature Gemini G.E.L. 1218 Silke von Berswordt-Wallrabe 34
54. Alberto Burri
1915-1995
Bianchi e Neri II, 1969 The complete set of six lithographs with embossing and acetate collage, on Fabriano Rosaspina paper, with full margins. All signed and numbered 32/90 in pencil (there were also 15 artist’s proofs numbered in Roman numerals), published by Stamperia 2RC (with their blindstamp), Rome, all framed. all I. various sizes all S. (three horizontal) 25 1/4 x 17 7/8 in. (64.1 x 45.4 cm) Estimate $8,000-12,000 Literature Maurizio Calvesi and Chiara Sarteanesi, pp. 58-59
55. Vija Celmins
b. 1938
Comet, from Skowhegan suite, 1992 Linocut, on Fabriano Tiepolo paper, with full margins. Signed and numbered 37/80 in pencil (there were also 12 artist’s proofs), published by The Skowhegan School of Painting and Sculpture, Maine, with Oberon Press, New York (with their blindstamp), unframed. I. 14 1/4 x 18 3/4 in. (36.2 x 47.6 cm) S. 20 5/8 x 22 7/8 in. (52.4 x 58.1 cm) Estimate $12,000-18,000 Literature Samantha Rippner p. 52
56. Peter Doig
b. 1959
Country Rock, from 100 Years Ago, 2000-01 Etching in colors, on Hahnemßhle paper, with full margins. Signed and numbered 12/46 in pencil (there were also 6 artist’s proofs), published by Paragon Press, London, framed. I. 27 3/4 x 39 1/8 in. (70.5 x 99.4 cm) S. 36 3/4 x 47 3/4 in. (93.3 x 121.3 cm) Estimate $9,000-12,000 Literature The Paragon Press 2001-2006, pp. 12, 14
57. Robert Rauschenberg
1925-2008
Signs, 1970 Screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 204/250 in pencil, published by Castelli Graphics, New York, framed. I. 35 1/4 x 26 3/4 in. (89.5 x 67.9 cm) S. 43 x 34 in. (109.2 x 86.4 cm) Estimate $20,000-30,000
58. Robert Rauschenberg
1925-2008
Soviet/American Array I, 1988-89 Etching in colors with collage, on Saunders and Oriental rice paper, the full sheet. Signed, dated and numbered 46/55 in pencil (there were also 11 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed. S. 88 1/4 x 53 in. (224.2 x 134.6 cm) Estimate $12,000-18,000
Known as an artist of the fabulous and the famous, Warhol created a vast oeuvre of prints unifed by his use of repetition and exploitation of the multiple. Warhol came to screenprinting in the early 1960’s, interested by the photomechanical processes of the medium. “I’m for mechanical art,” said Warhol. “When I took up silk screening, it was to more fully exploit the preconceived image through the commercial techniques of multiple reproduction.” In many ways Pop Art was the language of prints and multiples. It was a language of movie stills, consumer goods, cartoons, and closeups. Warhol made prints out of this very context, from his vibrant and lyrical Flowers (lot 60), sourced from a photograph of hibiscus blooms, to his Soup
59. Andy Warhol
Cans (lot 66), and images of Elizabeth Taylor and Marilyn Monroe (lots 59 and 68). All would come to proliferate society, to be consumed by the masses. Warhol’s Electric Chair series (lot 67), are from an extensive Death and Disaster series in which Warhol investigated his theory of seriality and the multiple. “When you see a gruesome picture over and over again,” Warhol said, “it doesn’t really have any efect.” One of Warhol’s last series, Cowboys and Indians, lot 70, features popular western icons from Annie Oakley to John Wayne, as well as important Native American fgures; a frowning Geronimo (lot 71). This series, while playful, was as Warhol wanted for “grown-ups” a Warholian take on a beloved West, and all its twentieth-century allure.
1928-1987
Liz, 1964 Ofset lithograph in colors, on wove paper, with full margins. Signed and dated in black ball-point pen (from the edition of approximately 300), published by Leo Castelli, New York, framed. I. 22 x 22 in. (55.9 x 55.9 cm) S. 23 1/8 x 23 1/8 in. (58.7 x 58.7 cm) Estimate $60,000-90,000 Provenance Acquired directly from Leo Castelli Gallery, New York, 1964 By descent to present owner, 2005 Literature Frayda Feldman and Jörg Schellmann 7
In 1964, Elizabeth Taylor was the perfect interplay of glamour and tragedy. At the height of her career and hospitalized for pneumonia, Warhol created this portrait from a blown-up publicity still of the actress. “I started those [pictures of Elizabeth Taylor] a long time ago, when she was so sick and everyone said she was going to die,” said Warhol. “Now I’m doing them all over, putting bright colors on her lips and eyes.”
“Ohhhh, Elizabeth Taylor, ohhhh. She’s so glamorous.” Andy Warhol Interviewed by John Giorno, 1963
60. Andy Warhol
1928-1987
Flowers, 1970 Screenprint in colors, on wove paper, the full sheet. Signed in black ball-point pen and stamp numbered 67/250 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 $30,000-50,000 Provenance Harcus-Krakow Gallery, Boston, 1971 Literature Frayda Feldman and JÜrg Schellmann 73
61. Andy Warhol
1928-1987
Mick Jagger, 1975 Screenprint in colors, on Arches Aquarelle paper, the full sheet. Signed in black marker and numbered 208/250 in pencil, additionally signed by Mick Jagger in black marker (there were also 50 artist’s proofs), published by Seabird Editions, London, with their inkstamp on the reverse, framed. S. 43 3/4 x 28 7/8 in. (111.1 x 73.3 cm) Estimate $30,000-50,000 Literature Frayda Feldman and JÜrg Schellmann 144
62. Andy Warhol
1928-1987
Mickey Mouse, from Myths, 1981 Screenprint in colors with diamond dust, on Lenox Museum Board, the full sheet. Signed and numbered 84/200 in pencil (there were also 30 artist’s proofs), published by Ronald Feldman Fine Arts, Inc., New York (with their and the artist’s copyright inkstamp on the reverse), framed. S. 38 x 38 in. (96.5 x 96.5 cm) Estimate $90,000-120,000 Literature Frayda Feldman and Jörg Schellmann 265
Wednesday, July 22, 1981 Got up early, it was a pretty day. I was going to go walking with Interviews but I had a lunch date with Mercedes Kellog and she brought the von Bulow guy, the one who’s accused of trying to kill his wife with insulin, she’s been in a coma for months. Ala von Auersperg is her daughter from her frst husband and she and her brother are accusing him. He’s about fftyfve, I think. He told anecdotes. At 4:00 the Walt Disney flm crew came and shot me in front of my Shoes and my Walt Disney drawings. They asked me who my favorite Disney character was and I said “Minnie Mouse, because she can get me close to Mickey”. The Warhol Diaries, Pat Hackett editor, p. 397
63. Andy Warhol
1928-1987
Mickey Mouse, circa 1983 Graphite drawing on wove paper. Signed in pencil, framed. 7 x 5 in. (17.8 x 12.7 cm) Estimate $7,000-10,000 Provenance Private Family Collection, circa 1985
64. Andy Warhol
1928-1987
Mickey Mouse, 1983 Ink drawing on a handkercheif. Signed and dated in black ink, framed. 15 1/4 x 16 1/4 in. (38.7 x 41.3 cm) Estimate $30,000-40,000 Provenance Private Family Collection, circa 1985
65. Andy Warhol
1928-1987
The New Spirit (Donald Duck), from Ads, 1985 Screenprint in colors, on Lenox Museum Board, the full sheet. Signed and numbered 82/190 in pencil (there were also 30 artist’s proofs), published by Ronald Feldman Fine Arts, Inc., New York, framed. S. 37 7/8 x 37 7/8 in. (96.2 x 96.2 cm) Estimate $30,000-50,000 Literature Frayda Feldman and JÜrg Schellmann 357
66. Andy Warhol
1928-1987
New England Clam Chowder, from Campbell’s Soup II, 1969 Screenprint in colors, on wove paper, with full margins. Signed in black ball-point pen and stamp-numbered 98/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed. I. 31 7/8 x 18 7/8 in. (81 x 47.9 cm) S. 35 x 23 in. (88.9 x 58.4 cm) Estimate $15,000-25,000 Literature Frayda Feldman and Jörg Schellmann 57
Property from a Private European Collection
67. Andy Warhol
1928-1987
Electric Chair, 1971 The complete set of 10 screenprints in colors, on wove paper, the full sheets. All signed in black ballpoint pen and stamp-numbered variously from the edition of 250 on the reverse (there were also 50 artist’s proofs in Roman numerals), published by Bruno Bischoferger, Zurich, all framed. all S. 35 3/8 x 47 7/8 in. (89.9 x 121.6 cm) Estimate $120,000-180,000 Literature Frayda Feldman and JÜrg Schellman 74-83
134504
68. Andy Warhol
1928-1987
Marilyn, 1967 Screenprint in colors, on wove paper, the full sheet. Stamp-numbered 151/250 and with the Andy Warhol Authentication Board Inc. inkstamp on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, please contact the department for a complete condition report, framed. S. 35 7/8 x 35 3/4 in. (91.1 x 90.8 cm) Estimate $70,000-90,000 Literature Frayda Feldman and JÜrg Schellmann 30
69. Andy Warhol
1928-1987
Letter to the World (The Kick), from Martha Graham, 1986 Screenprint in colors, on Lenox Museum Board, the full sheet. Signed and numbered 75/1 in pencil on the reverse (from the edition of 100, there were also 25 artist’s proofs), published by Martha Graham Center of Contemporary Dance, Inc., New York, framed. S. 36 x 36 in. (91.4 x 91.4 cm) Estimate $20,000-30,000 Literature Frayda Feldman and JÜrg Schellmann 389
“I was disappointed that nobody in Dallas wears cowboy hats anymore. The cowboy look is dead, I guess.” Andy Warhol, November 20, 1985, The Andy Warhol Dairies
70. Andy Warhol
1928-1987
Cowboys and Indians, 1986 The complete set of 10 screenprints in colors, on Lenox Museum Board, the full sheets, with justifcation. All signed in pencil, John Wayne inscribed ‘unique’ in pencil (as issued), remaining sheets numbered 23/250 in pencil (there were also 50 artist’s proofs in Roman numerals), published by Gaultney, Klineman Art, Inc., New York (with their and the artist’s copyright inkstamp on the reverse), all framed. all S. 36 x 36 in. (91.4 x 91.4 cm) Estimate $400,000-600,000 Literature Frayda Feldmann and Jörg Schellmann 377-386
Including: John Wayne; Annie Oakley; General Custer; Northwest Coast Mask; Kachina Dolls; Plains Indian Shield; Mother and Child; Geronimo; Indian Head Nickel; and Teddy Roosevelt
71. Andy Warhol
1928-1987
Geronimo, from Cowboys and Indians, 1986 Screenprint in colors, on Lenox Museum Board, the full sheet. Signed and numbered 236/250 in pencil (there were also 50 artist’s proofs), published by Gaultney, Klineman Art, Inc., New York (with their and the artist’s copyright inkstamp on the reverse), framed. S. 36 x 36 in. (91.4 x 91.4 cm) Estimate $18,000-25,000 Literature Frayda Feldman and Jörg Schellmann 384
72. Andy Warhol
1928-1987
Cow, 1979 Screenprint in colors with hand-painting, on wallpaper, the full sheet. Signed and dated in black ink, from the approximate edition of 100 (aside from the unlimited edition), published by Factory Additions, New York, framed. S. 46 1/8 x 29 1/2 in. (117.2 x 74.9 cm) Estimate $20,000-30,000 Provenance Private Family Collection, circa 1985 Literature Frayda Feldman and Jörg Schellmann 12A
Actual size
73. Tom Wesselmann
1931-2004
Still Life Collage, 1974 Acrylic and paper collage in colors, on canvas mounted to Korpine (as issued), the full sheet. Signed, dated and numbered 4/20 in pencil, published by Sidney Janis Gallery, New York, framed. S. 5 1/4 x 7 in. (13.3 x 17.8 cm) Estimate $18,000-25,000
74. Roy Lichtenstein
1923-1997
Crying Girl, 1963 Ofset lithograph in colors, on light-weight wove paper, laid down to board, with full margins. Signed in pencil, from an unknown edition size, published by Leo Castelli Gallery, New York, framed. I. 17 1/4 x 23 1/4 in. (43.8 x 59.1 cm) S. 18 x 24 in. (45.7 x 61 cm) Estimate $25,000-35,000 Literature Mary Lee Corlett 1
75. Roy Lichtenstein
1923-1997
The River, from The Landscape Series, 1985 Lithograph, woodcut and screenprint in colors, on Arches 88 paper, with full margins. Signed, dated and numbered 51/60 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 5/8 in. (102.2 x 141.3 cm) Estimate $60,000-80,000 Literature Gemini G.E.L. 1256 Mary Lee Corlett 214
76. Roy Lichtenstein
1923-1997
Study of Hands, 1981 Lithograph and screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 45/100 in pencil (there were also 24 artist’s proofs), published by Castelli Graphics, New York, framed. I. 25 1/2 x 24 1/2 in. (64.8 x 62.2 cm) S. 31 3/8 x 32 5/8 in. (79.7 x 82.9 cm) Estimate $10,000-15,000 Provenance Castelli Graphics, New York Private Collection, New York, 1981 Literature Mary Lee Corlett 191
77. Roy Lichtenstein
1923-1997
Venetian School II, 1996 Screenprint in colors, on Lana Lanaquarelle watercolor paper, with full margins. Signed, dated and numbered 42/50 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 40 x 26 7/8 in. (101.6 x 68.3 cm) S. 47 3/8 x 33 7/8 in. (120.3 x 86 cm) Estimate $8,000-12,000 Literature Gemini G.E.L. 1666 Mary Lee Corlett 296
78. 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, PÊrigny-sur-Yerres, France (stamped). 12 x 9 1/2 x 20 in. (30.5 x 24.1 x 50.8 cm) Estimate $10,000-15,000
79. Wayne Thiebaud
b. 1920
Large Sucker, from Seven Still Lifes and a Rabbit, 1971 Lithograph in colors, on Rives BFK paper, the full sheet. Signed, dated and numbered 22/50 in pencil, published by Parasol Press, Ltd., New York, unframed. S. 24 x 22 in. (61 x 55.9 cm) Estimate $12,000-18,000
80. Alex Katz
b. 1927
Black Dress, 2015 The complete set of nine screenprints in colors, on wove paper, the full sheets, all contained in the original yellow aluminum portfolio. All signed and numbered 12/35 in pencil, published by Lococo Fine Art, St. Louis, Missouri. all S. 80 x 30 in. (203.2 x 76.2 cm) Estimate $90,000-120,000
Including Cecily; Oona; Sharon; Ulla; Ruth; Yvonne; Yi; Carmen; and Christy
Cecily
Oona
Sharon
Ulla
Ruth
Yvonne
Yi
Carmen
Christy
81. Alex Katz
b. 1927
White Roses, 2014 Screenprint in colors, on 4-ply Museum Board, the full sheet. Signed and annotated ‘BAT’ in pencil (the good-to-print impression, the edition was 50 and 15 artist’s proofs), published by Lococo Fine Art, St. Louis, framed. S. 42 1/2 x 85 1/2 in. (108 x 217.2 cm) Estimate $18,000-25,000
82. Alex Katz
b. 1927
Late Summer Flowers, 2013 Screenprint in colors, on Museum board, the full sheet. Signed and numbered 16/50 in pencil (there were also 15 artist’s proofs), published by Lococo Fine Art, St. Louis (with their inkstamp on the reverse), framed. S. 40 x 55 in. (101.6 x 139.7 cm) Estimate $10,000-15,000
83. Alex Katz
b. 1927
Small Cuts, 2008-09 The complete set of six aquatints in colors, on Cartiere Magnani Carona paper, with full margins, with six poems by John Godfrey, all contained in the original pale, light blue paper-covered portfolio case with orange printed text. All signed and numbered 41/50 in pencil, additionally numbered in pencil on the colophon (there was also a special edition of 20 in Roman numerals and 4 artist’s proofs), published by Galleria Fabjbasaglia, Rimini, Italy. 15 1/4 x 21 in. (38.7 x 53.3 cm) Estimate $18,000-25,000 Literature Klaus Albrecht SchrÜder 476-481
Including Red Sails 2008, Figures on Beach 2008, Sunset Cove 2008, Untitled (Flying Carpet) 2009, House and Barn 2008, and Wildfowers in Vase 2008
84. Alex Katz
b. 1927
Refection, 2010 Screenprint in colors, on Saunders Waterford paper, the full sheet. Signed and numbered 43/50 in pencil (there were also 12 artist’s proofs), published by Lococo Fine Art, St. Louis, framed. S. 58 x 58 in. (147.3 x 147.3 cm) Estimate $7,000-9,000 Literature Klaus Albrecht SchrÜder 475
85. Stephan Balkenhol
b. 1957
Man in White Shirt; and Woman in Orange Pants with Hand on Hip, 2001 Two painted bronze multiples. Incised with initials and numbered 12/25 and 4/25 respectively, published by Schmäke, Düsseldorf, with their foundry stamp on the underside of both. man 23 3/8 x 9 7/8 x 7 in. (59.4 x 25.1 x 17.8 cm) woman 21 3/8 x 8 x 5 1/2 in. (54.3 x 20.3 x 14 cm) Estimate $15,000-25,000
86. Chuck Close
b. 1940
Phil/Manipulated, 1982 Handmade pressed paper pulp in grays, with full margins. Singed, titled, dated and numbered 8/20 in pencil (there were also 5 artist’s proofs), published by Pace Editions, Inc., New York, framed. I. 51 1/2 x 42 in. (130.8 x 106.7 cm) S. 69 x 54 in. (175.3 x 137.2 cm) Estimate $15,000-25,000
87. Donald Sultan
b. 1951
Red Poppies, 2015 Powder coated aluminum on polished aluminum base, contained in the original foam lined white cardboard box. Incised with initials, title, date and stamped numbered 6/25 on the underside, published by Lococo Fine Art, St. Louis, Missouri. 24 x 21 x 3 1/2 in. (61 x 53.3 x 8.9 cm) Estimate $10,000-15,000
88. Julian Opie
b. 1958
Walking in Melbourne 3; and Walking in Melbourne 6, from Walking in Melbourne series, 2018 Two laser-cut museum board relief prints, the full sheets, contained in sprayed white frames specifed by the artist. Both signed in black ink and numbered 37/45 on the publisher’s label on the reverse of the frame (there were also 4 artist’s proofs of each), published by Alan Cristea Gallery, London. both F. 25 x 62 5/8 in. (63.5 x 159.1 cm) Estimate $20,000-30,000
89. Julian Opie
b. 1958
Rod Walking, 2010 Lenticular acrylic panel, comprised of a color inkjet print, back mounted and contained in a brushed aluminium frame specifed by the artist. Signed in black ink and numbered 17/35 (printed) on a label afxed to the reverse of the frame (there were also 10 artist’s proofs), published by Alan Cristea Gallery, London. F. 32 5/8 x 19 1/4 in. (82.9 x 48.9 cm) Estimate $10,000-15,000 Literature Alan Cristea Gallery 144
90. Julian Opie
b. 1958
Shahnoza Dancing in White Dress, 2008 Lenticular acrylic panel, comprised of a color inkjet print, back mounted and contained in a brushed aluminium frame specifed by the artist. Signed in black ink and numbered 20/45 (printed) on a label afxed to the reverse of the frame (there were also 10 artist’s proofs), published by Alan Cristea Gallery, London. F: 39 x 19 3/8 in. (99.1 x 49.2 cm) Estimate $10,000-15,000 Provenance Scai The Bathouse, Tokyo Literature Alan Cristea Gallery 124
91. Robert Longo
b. 1953
Anne, from Men in the Cities, 1985 Lithograph, on wove paper, with full margins. Signed, dated and numbered 14/38 in pencil (there were also 10 artist’s proofs), published by Brooke Alexander, New York, framed. I. 60 x 26 1/2 in. (152.4 x 67.3 cm) S. 68 x 39 1/4 in. (172.7 x 99.7 cm) Estimate $20,000-30,000
92. Robert Longo
b. 1953
Godzilla, 2005 Archival pigment print, on Epson hot-pressed paper, with full margins. Signed, dated and numbered 22/30 in pencil (there were also 5 artist’s proofs), published by Adamson Editions, Washington D.C., framed. I. 40 x 68 1/2 in. (101.6 x 174 cm) S. 43 1/2 x 70 in. (110.5 x 177.8 cm) Estimate $10,000-15,000
93. David Wojnarowicz
1954-1992
Untitled, 1982 Spray paint stencil in colors with unique collage, on wove paper, with full margins. Signed, dated, annotated ‘NYC’ and numbered 8/10 in pencil, published by the artist, unframed. I. 26 1/2 x 20 in. (67.3 x 50.8 cm) S. 28 1/2 x 22 in. (72.4 x 55.9 cm) Estimate $12,000-18,000
94. Bruce Nauman
b. 1941
Oiled Dead (State), 1975 Lithograph and screenprint in colors, on Arches paper, with full margins. Signed, dated and numbered 1/14 in pencil (there were also 7 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 41 3/4 x 45 in. (106 x 114.3 cm) S. 45 1/2 x 49 in. (115.6 x 124.5 cm) Estimate $10,000-15,000 Literature Gemini G.E.L. 608 Christopher Cordes 34
95. Christian Marclay
b. 1955
Ring Ring Ring, 2006 Archival pigment print, on Arches paper, laid to heavy board (as issued), with full margins. Signed, dated and numbered 5/5 in black marker on the reverse, published by the artist, framed. I. 40 x 38 5/8 in. (101.6 x 98.1 cm) S. 44 1/2 x 43 3/8 in. (113 x 110.2 cm) Estimate $12,000-18,000
96. Ed Ruscha
b. 1937
City, 1969 Unique lithograph in colors, on Arches paper, the full sheet. Signed, dated and annotated ‘Color Trial Proof’ in pencil (a unique color proof, the edition was 20, and 3 artist’s proofs), published by Tamarind Lithography Workshop, Los Angeles, with their inkstamp on the reverse, framed. S. 17 x 24 in. (43.2 x 61 cm) Estimate $12,000-18,000 Literature Siri Engberg 19
97. Ed Ruscha
b. 1937
Nine Swimming Pools, from the Book Covers series, 1970 Lithograph, on Arches paper, with full margins. Signed with initials, dated and numbered 16/30 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 1/2 in. (21.6 x 29.2 cm) S. 16 x 20 in. (40.6 x 50.8 cm) Estimate $10,000-15,000 Provenance Gagosian Gallery, Los Angeles Private Collection, Los Angeles Literature Siri Engberg 49
98. Ed Ruscha
b. 1937
Various Small Fires, from the Book Covers series, 1970 Lithograph, on Arches paper, with full margins. Signed with initials, dated and numbered 16/30 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 $10,000-15,000 Literature Siri Engberg 51
99. Christopher Wool
b. 1955
My House III, 2000 Screenprint in colors, on Matt Custom Art paper, with full margins. Signed, dated and numbered 28/100 in pencil (there were also 20 artist’s proofs), published by Counter Editions, London, framed. I. 39 x 29 in. (99.1 x 73.7 cm) S. 40 x 29 7/8 in. (101.6 x 75.9 cm) Estimate $12,000-18,000
100. Christopher Wool
b. 1955
Run Dog Run: one plate, 1991 Ofset lithograph in colors, on smooth wove paper, with full margins. Signed, dated and numbered 8/25 on the reverse (there were also 7 artist’s proofs), published by Gisela Capitain, Cologne, framed. I. 33 7/8 x 23 7/8 in. (86 x 60.6 cm) S. 34 5/8 x 25 3/8 in. (87.9 x 64.5 cm) Estimate $8,000-12,000
101. After Jean-Michel Basquiat
1960-1988
Portfolio I, 1983-2001 The complete set of four screenprints in colors, on Saunders Watercolor paper, the full sheets. All numbered ‘A.P. 4/15’ in pencil (artist’s proofs, the edition was 85), all signed and dated ‘11-19-01’ by Gerard Basquiat (Administrator of the Estate of Jean-Michel Basquiat) in pencil with the Estate stamp on the reverse, published by De Sanctis Carr Fine Art, Los Angeles, all framed. all S. 40 x 40 in. (101.6 x 101.6 cm) Estimate $200,000-300,000
Including: Untitled (Head), Untitled (Per Capita), Untitled (Rinso), and Untitled (Ernok)
102. After Jean-Michel Basquiat
1960-1988
Jawbone of an Ass, 1982/2004 Screenprint in colors, on Saunders paper, the full sheet. Numbered 2/85 in pencil (there were also 15 artist’s proofs), signed and dated ‘10.19.04’ by Gerard Basquiat (Administrator of the Estate of Jean-Michel Basquiat) in pencil with the Estate stamp on the reverse, published by David DeSanctis Contemporary Art, Inc., Los Angeles, framed. S. 42 3/4 x 60 in. (108.6 x 152.4 cm) Estimate $30,000-50,000
103. Mel Bochner
b. 1940
Complain/Kvetch, 2002 Monoprint with collage, engraving, embossing and oil paint in colors, on handmade and hand-dyed Twinrocker paper, the full sheet. Signed, titled, dated and numbered 1/1 in pencil on the reverse, published by Two Palms Press, New York, framed. S. 40 x 51 1/2 in. (101.6 x 130.8 cm) Estimate $30,000-40,000
104. 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, contained in the original black fabriccovered portfolio with embossed title. All signed, dated and numbered 88/100 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 $60,000-90,000
105. Keith Haring
1958-1990
The Fertility Suite, 1983 The complete set of fve screenprints in colors, on wove paper, with full margins, including the original cardboard portfolio with screenprinted image. All signed, dated and numbered 27/100 in pencil (there were also 15 artist’s proofs), published by Tony Shafrazi Gallery, New York, all framed. all I. 41 x 47 1/4 in. (104.1 x 120 cm) all S. 42 x 50 in. (106.7 x 127 cm) Estimate $180,000-250,000 Literature Klaus Littmann pp. 31-33
A simple line drawing of a crawling infant illuminated by radiating lines symbolized, perhaps, the most pervasive icon of Keith Haring’s oeuvre: the ‘Radiant Baby.’ “The reason that the ‘baby’ has become my logo or signature,” said Haring in 1981, “is that it is the purest and most positive experience of human existence. Children are the bearers of life in its simplest and most joyous form.” A child of Pop Art, Keith Haring grew up as the older brother to three younger sisters. The youngest, Kristen, was born when Haring was already eleven years old, and her young life would have a signifcant impact on the artist. Haring learned to draw when he was four years old. His father would draw him simple cartoon character line drawings which Haring would copy. Greatly infuenced by the linear nature and narrative power of cartoons and comics, Haring learned by emulating both. The Fertility Suite, a set of six screenprints draws upon comics through Haring’s use of thick contours and vivid colors. Large bellied dancing pregnant women appear to worship a kind of ‘fertility god’ in one scene, and a ‘radiant baby’ in another. Extraterrestrial space ships intervene beaming down upon a pyramid as a pregnant fgure cheers on. These are images that celebrate the creation of life in all its absurdity. Alongside the making of these prints in 1983, Haring’s close friends began to have babies. Kenny Scharf and Tereza Scharf, Haring’s contemporaries and friends had a daughter that very year, whose childhood touched Haring’s life. “I think Keith used the baby as a symbol of purity. It’s a symbol of hope,” said Kenny Scharf. “This world is so f—ked up, there’s disease and killings, but the baby is still born. Each baby embodies that hope that we all believe in and have to believe in if we’re going to keep on going. That’s so powerful.”
portfolio
106. Keith Haring
1958-1990
The Fertility Suite: one plate, 1983 Screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 30/100 in pencil (there were also 15 artist’s proofs), published by Tony Shafrazi Gallery, New York, unframed. I. 40 3/4 x 47 3/4 in. (103.5 x 121.3 cm) S. 42 1/8 x 49 7/8 in. (107 x 126.7 cm) Estimate $25,000-35,000 Literature Klaus Littmann p. 33
107. Keith Haring
1958-1990
Best Buddies, 1990 Screenprint in colors, on wove paper, with full margins. Titled and numbered ‘AP 16/30’ in pencil (an artist’s proof, the edition was 200), signed and dated ‘4/25/90’ by Julia Gruen (executor of the Keith Haring Foundation) in pencil with the Estate stamp on the reverse, also signed by Anthony Shriver, founder of the Best Buddies organization, framed. I. 22 x 27 5/8 in. (55.9 x 70.2 cm) S. 26 x 32 in. (66 x 81.3 cm) Estimate $15,000-25,000 Literature Klaus Littmann pp. 184-85
Best Buddies was Keith Haring’s last print.
108. Jonas Wood
b. 1977
Double Basketball Orchid (State II), 2017 Lithograph in colors, on Rives BFK paper, the full sheet. Signed, dated and numbered 5/15 in pencil, published by Hamilton Press, Venice, California (with their blindstamp), framed. S. 30 5/8 x 27 1/4 in. (77.8 x 69.2 cm) Estimate $25,000-35,000 Literature Gagosian Gallery, New York, Jonas Wood: Prints, pp. 98-99
109. Jef Koons
b. 1955
Monkey Train (Dots), 2007 Screenprint and Inkjet print in colors, on Somerset paper, with full margins. Signed, dated and numbered 21/40 in pencil (there were also 10 artist’s proofs), published by the artist, framed. I. 28 1/4 x 22 in. (71.8 x 55.9 cm) S. 32 3/4 x 26 in. (83.2 x 66 cm) Estimate $15,000-20,000
110. Jef Koons
b. 1955
Jef Koons, 1995 The complete set of seven ofset lithographs in colors, on coated Biber GS board, with full margins, with hanging mirror-polished stainless steel box and infatable plastic elephant. All lithographs signed, dated and numbered 33/50 in pencil, further signed and numbered 33/50 in pencil on the accompanying label (there were also 10 artist’s proofs), published by Edition Schellmann, Munich and New York. all I. various sizes all S. 39 3/8 x 27 1/2 in. (100 x 69.9 cm) box 40 1/2 x 28 3/4 in. (102.9 x 73 cm) elephant 35 3/4 x 17 1/2 x 28 in. (90.8 x 44.5 x 71.1 cm) Estimate $20,000-30,000 Literature JÜrg Schellmann, Forty Are Better Than One, Munich/New York, 2009, pp. 190-193
Including Infatable Flower (Tall White, Pink Bunny), 1979; New Hoover Deluxe Shampoo Polishers, 1980; One Ball Total Equilibrium Tank (Spalding Dr. J. 241 Series), 1985; Rabbit, 1986; Jim Beam - J.B. Turner Train, 1986, Michael Jackson and Bubbles, 1988; Bourgeois Bust, 1991; and Infatable Elephant, 1995
111. Jef Koons
b. 1955
Balloon Animals Collector’s Set, 2017 The complete set of six porcelain multiples painted in chrome, all contained in the original Styrofoam-lined boxes with silver printed signature. All with printed signature, title, date and each numbered 714/999 on the underside, published by Bernardaud, Limoges, France (with their stamp on the underside). largest 10 x 8 3/4 x 16 1/2 in. (25.4 x 22.2 x 41.9 cm) smallest 11 1/2 x 5 1/2 x 7 1/2 in. (29.2 x 14 x 19.1 cm) Estimate $50,000-70,000
Including Balloon Rabbit (Red); Balloon Rabbit (Purple); Balloon Monkey (Blue); Balloon Monkey (Orange); Balloon Swan (Yellow); and Balloon Swan (Pink)
112. Yayoi Kusama
b. 1929
Pumpkins (ceramics), 2002 Five glazed ceramic pumpkins in colors, all contained in the original colored, paper-covered presentation boxes with fabric lining. All stamp signed, dated and numbered 46/100 in black ink on the underside, published by Limoges, France. all 3 1/2 x 2 3/4 x 2 3/4 in. (8.9 x 7 x 7 cm) box 4 x 5 x 4 1/4 in. (10.2 x 12.7 x 10.8 cm) Estimate $15,000-25,000
113. Tom Sachs
b. 1966
Hello Kitty, 2001 Painted Bronze. Incised with signature, date and numbered 23/25 on the underside, and with the artist’s copyright stamp on the reverse of the fgure, published by Beyer Projects, New York. 6 1/2 x 5 1/2 x 4 1/2 in. (16.5 x 14 x 11.4 cm) Estimate $15,000-25,000
114. Yoshitomo Nara
b. 1959
Don’t Cry, 2012 Ukiyo-e woodcut in colors, on Japanese paper, the full sheet. Signed, dated and numbered 12/50 in pencil (there were also 12 artist’s proofs), co-published by Pace Editions, Inc. and Tomio Koyama Gallery, New York and Tokyo, unframed. S. 16 1/2 x 11 1/2 in. (41.9 x 29.2 cm) Estimate $20,000-30,000
115. Yoshitomo Nara
b. 1959
Guitar Girl, 2003 Lithograph in colors, on Japanese paper with Chine collĂŠ to Arches paper, with full margins. Signed, dated and numbered 34/75 in pencil, published by KIDO Press, Inc., Tokyo, framed. I. 19 5/8 x 15 3/4 in. (49.8 x 40 cm) S. 26 x 20 in. (66 x 50.8 cm) Estimate $15,000-25,000 Literature Noriko Miyamura E-2003-004
116. Ai Weiwei
b. 1957
Study of Perspective in Glass, 2018-19 The complete set of six cast Murano colored glass multiples, all contained in the original suede lined grey cloth-covered boxes. All incised with signature and numbered 66/100 on the underside, further signed in black ink and numbered (printed) on the accompanying Certifcates of Authenticity, fabricated by Berengo Studio, Murano. all 4 3/4 x 4 x 4 1/2 in. (12.1 x 10.2 x 11.4 cm) Estimate $30,000-40,000
Including: Cobalt Blue; Alexandrite; Deep Amber; Deep Grey; Opaline White; and Violet
117. Ai Weiwei
b. 1957
Bicycle, 2014 Stainless steel body, white tires and seat imprinted with an image of the artist’s face. Incised with signature, dated and numbered ‘015’ on a circular plate afxed to the handle bar stem (the edition was 60). 39 x 25 x 69 in. (99.1 x 63.5 x 175.3 cm) Estimate $12,000-18,000
Ai Weiwei’s custom-made, fully functioning bicycle edition—which the artist says symbolize the innate human desire for free will in expression and mobility—were frst exhibited during the Brooklyn Museum’s 2014 retrospective Ai Weiwei: According to What?
118. Damien Hirst
b. 1965
119. Damien Hirst
b. 1965
Pharmaceuticals, 2005 Inkjet print in colors, on Somerset paper, with full margins. Signed, titled, dated and numbered 12/75 in pencil (there were also 10 artist’s proofs), published by Other Criteria, Ltd., London, framed. I. 41 5/8 x 33 1/8 in. (105.7 x 84.1 cm) S. 50 x 40 1/4 in. (127 x 102.2 cm)
Doxylamine, 2007 Etching in colors, on Hahnemühle etching paper, with full margins. Signed and numbered 6/75 in pencil on the reverse (there were also 15 artist’s proofs), published by The Paragon Press, London, framed. I. 17 x 23 in. (43.2 x 58.4 cm) S. 32 x 37 in. (81.3 x 94 cm)
Estimate $18,000-25,000
Estimate $12,000-18,000
120. Damien Hirst
b. 1965
Exaudi, Domine, from Psalm Prints, 2009 Screenprint in colors, on Somerset Tub Sized paper, with full margins. Signed and numbered 20/50 in pencil (there were also 5 artist’s proofs), published by Other Criteria, London (with their and the artist’s blindstamp), framed. I. diameter 32 3/8 in. (82.2 cm) S. 42 7/8 x 42 1/4 in. (108.9 x 107.3 cm) Estimate $10,000-15,000
121. Damien Hirst
b. 1965
Big Love, 2011 Screenprint in colors, on heavy wove paper, with full margins. Signed and numbered 11/50 in pencil, published by Other Criteria, London (with their blindstamp), framed. I. 52 1/2 x 53 in. (133.4 x 134.6 cm) S. 60 7/8 x 59 1/2 in. (154.6 x 151.1 cm) Estimate $30,000-50,000
Day Editions morning session, 10am Lots 122–285 Day Editions afternoon session, 2pm Lots 286–415
122. Winslow Homer
1836-1910
Eight Bells, 1887/1941 Etching, 1887, on imitation Japanese paper, with full margins. With the artist’s anchor and dial remarqués, printed by Charles S. White, published by the Metropolitan Museum of Art, New York and with their stamped information on the reverse, framed. I. 18 7/8 x 24 1/2 in. (47.9 x 62.2 cm) S. 23 1/4 x 30 1/8 in. (59.1 x 76.5 cm) Estimate $2,500-3,500 Literature Lloyd Goodrich 96
123. Winslow Homer
1836-1910
Mending the Tears, 1888/1941 Etching, on imitation Japanese paper, with full margins. With the anchor remarqué and the artist’s copyright line, printed by Charles S. White, published by the Metropolitan Museum of Art, New York, framed. I. 17 1/2 x 23 in. (44.5 x 58.4 cm) S. 22 x 27 7/8 in. (55.9 x 70.8 cm) Estimate $1,500-2,500 Literature Lloyd Goodrich 97
124. Emil Nolde
1867-1956
Ada, 1906 Woodcut, on laid paper, with full margins. Signed and dated in pencil, from the edition of at least 8, the fourth (fnal) state, framed. I. 11 3/4 x 8 7/8 in. (29.8 x 22.5 cm) S. 13 3/8 x 11 in. (34 x 27.9 cm) Estimate $4,000-6,000 Provenance Gallery Garando, Tokyo Literature Gustav Schiefer and Christel Mosel H17
125. Heinrich Campendonk
1889-1957
Interieur mit zwei Akten, plate 1, from Die Schafenden, vol. I, no. 2 (Interior with Two Nudes, from The Creatives), 1918 Woodcut, on Japanese paper, with full margins. Signed in pencil, one of 25 on Japanese paper (there was also an edition of 100 on buf wove paper), published by Verlag Gustav Kiepenheuer, Weimar, with the Die Schafenden blindstamp, unframed. I. 10 1/8 x 8 5/8 in. (25.7 x 21.9 cm) S. 15 3/4 x 12 1/8 in. (40 x 30.8 cm) Estimate $1,500-2,500 Provenance Private Collection, Minneapolis Literature Nach Engels and Gerhart SÜhn 36
126. Max Beckmann
1884-1950
Morgue (Das Leichenhaus), 1915 Drypoint, on laid paper watermark Van Gelder Zonen, with full margins. Signed and numbered 10/20 in pencil (there were also a few various proofs), the fourth (fnal) state, published by Paul Cassirer, Berlin, 1918, unframed. I. 10 x 14 1/8 in. (25.4 x 35.9 cm) S. 15 3/4 x 23 in. (40 x 58.4 cm) Estimate $2,500-3,500 Provenance Private Collection, Minneapolis Literature James Hofmaier 83
127. Lyonel Feininger
1871-1956
Gelmeroda, from Meistermappe des Staatlichen Bauhauses (Masters’ Portfolio of the Staatliches Bauhaus), 1920 Woodcut, on thin Japanese paper, with full margins. Signed and titled in pencil, from the edition of 100 (there was also a posthumous edition of 300 published by The Print Club of Cleveland, 1958), published by Staatliches Bauhaus, Weimar, framed. I. 13 x 9 3/8 in. (33 x 23.8 cm) S. 15 3/4 x 11 5/8 in. (40 x 29.5 cm) Estimate $3,500-4,500 Provenance La boetie inc., New York, Fine Paintings and Sculpture, 1971 Private Collection, New York Literature Leona E. Prasse W237
Florence Knoll during a meeting of the Knoll Planning Unit (1956). Image Courtesy Knoll Archive.
Florence Knoll Bassett (1917-2019) was a celebrated architect and pioneer of modern interior design. Her career is inextricably linked with Knoll, Inc., the company she helped her husband and founder Hans Knoll bring to preeminence. Florence Knoll transformed the feld of “interior design” from a decorative practice to spatial architecture. Florence led the Knoll Planning Unit, shaping the standard aesthetic of modern corporate interiors of post-war America. Florence and the Knoll Planning Unit were responsible for the interiors of some of America’s largest corporations, including Heinz, GM, and CBS.
Art played a central role in all her interior projects. The showroom at 575 Madison Avenue was one of the frst furniture showrooms to incorporate contemporary art, contributing to Florence’s signature “Knoll look” that would epitomize the styles of the 1950s. The showroom included works such as a photomural by Max Bill, an “air wall” installation by Knoll’s creative director Herbert Matter, paintings by Angelo Testa and Jackson Pollock, sculptures by Alexander Calder—people she all had personal friendships with. Her sculpture by Marino Marini was a centerpiece of the Knoll showroom for many years.
Florence Knoll also served as the Design Director for Knoll Inc. where drawing on her background in architecture, she introduced modern notions of spatial planning and collaborated closely with important mid-century modern architects, such as Philip Johnson, Gordon Bunshaf and Marcel Breuer, as well as designers like Eero Saarinen, Harry Bertoia, and George Nakashima. With these collaborators, she developed high-quality furniture, textiles, and graphics for Knoll, Inc.
Florence Knoll Bassett believed art should be lived with and enjoyed daily. —Paul Makovsky, Critic and Curator Phillips Editions is pleased to ofer a selection of ceramics by Picasso (lots 128-131), Braque (lot 150) and Louise Nevelson (lot 241). Other works will be sold in our 20th Century & Contemporary Art and Design sales this fall.
128. Pablo Picasso
1881-1973
Geometric face (Visage géométrique), 1956 White earthenware oval dish. From the edition of 100, incised ‘R=D100’ and with the Empreinte Originale de Picasso and Madoura Plein Feu pottery stamps on the underside. 12 3/4 x 15 1/4 in. (32.4 x 38.7 cm) Estimate $8,000-12,000 Literature Alain Ramié 356
129. Pablo Picasso
1881-1973
Geometric face with lines (Visage géométrique aux traits), 1956 White earthenware square dish. From the edition of 100, incised ‘R=A103’ and with Madoura Plein Feu and Empreinte Original de Picasso pottery stamps on the reverse. 16 1/8 x 16 1/8 in. (41 x 41 cm) Estimate $7,000-9,000 Literature Alain Ramié 361
130. Pablo Picasso
1881-1973
Head with mask (Tête au masque), 1956 White earthenware round plate. From the edition of 100, incised ‘R=B100’ on the underside, with the Madoura Plein Feu and Empreinte Original de Picasso pottery stamps on the underside. diameter 12 3/8 in. (31.4 cm) Estimate $7,000-9,000 Literature Alain Ramié 363
131. Pablo Picasso
1881-1973
Four faces (Quatre Visages), 1959 White earthenware turned pitcher with decorations in oxides on white enamel. Inscribed ‘Edition Picasso’ and numbered 189/300 in black paint on the underside, with the Madoura Plein Feu and Edition Picasso pottery stamps on the underside. 9 x 5 1/2 x 8 in. (22.9 x 14 x 20.3 cm) Estimate $5,000-7,000 Literature Alain Ramié 436
132. Pablo Picasso
1881-1973
Jacqueline at the easel (Jacqueline au chevalet), 1956 White earthenware, round plate. Numbered 83/100 in black paint and incised ‘C119’ on the underside, with the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the underside. diameter 16 5/8 in. (42.2 cm) Estimate $8,000-12,000 Literature Alain Ramié 334
133. Pablo Picasso
1881-1973
[Tête de femme], 1945 Ink drawing on the title page from André Level’s Picasso, 1928. Signed, dated, inscribed ‘Paris 24 août 1945’ and dedicated ‘pour Lord’ in ink, framed. S. 10 3/8 x 7 1/8 in. (26.4 x 18.1 cm) Estimate $7,000-9,000 Provenance B.C. Holland Gallery, Chicago Literature see Patrick Cramer books 16
The dedication is to James Lord, an American writer and friend of Picasso’s who wrote Picasso and Dora, 1993. He also wrote a biography of Alberto Giacometti in 1985 the result of 15 years’ work.
134. Pablo Picasso
1881-1973
Goat’s head in profle (Tête de chèvre de profl), 1952 White earthenware oblong dish, painted in colors with engobes and partial brushed glaze. From the edition of 250, with the Empreinte Originale de Picasso and Madoura Plein Feu pottery stamps on the underside. 12 1/2 x 20 3/8 in. (31.8 x 51.8 cm) Estimate $8,000-12,000 Literature Alain Ramié 145
135. Pablo Picasso
1881-1973
Blue fsh (Poisson bleu), 1953 White earthenware clay plate, with decoration in engobes under partial brushed glaze. Numbered 120/200 in black paint, with the Empreinte Originale de Picasso and Madoura Plein Feu pottery stamps on the underside. 12 5/8 x 15 3/8 in. (32.1 x 39.1 cm) Estimate $6,000-8,000 Literature Alain Ramié 180
136. Pablo Picasso
1881-1973
Landscape (Paysage), 1953 White earthenware plate, with decoration in engobes and knife engraving under partial brushed glaze. Numbered 46/200 in black paint, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. diameter 16 1/4 in. (41.3 cm) Estimate $7,000-10,000 Literature Alain Ramié 208
137. Pablo Picasso
1881-1973
Bulls (Toros), 1952 White earthenware turned plate painted in white enamel, blue, green and black with oxidized parafn. Incised ‘Edition Picasso’ with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside, from the edition of 500. diameter 8 in. (20.3 cm) Estimate $3,000-5,000 Literature Alain Ramié 161
138. Pablo Picasso
1881-1973
Toros en Vallauris, 1957 Linocut in colors, on wove paper, with margins. Signed in red crayon and numbered 69/198 in pencil (there were also 20 artist’s proofs), published by Association des potiers de Vallauris, France, framed. I. 25 1/4 x 21 in. (64.1 x 53.3 cm) S. 31 1/2 x 25 1/2 in. (80 x 64.8 cm) Estimate $7,000-9,000 Literature Georges Bloch 1276 Brigitte Baer 1045 Christophe Czwiklitzer 23
139. Pablo Picasso
1881-1973
Pase de muleta (Pass of the red cape), 1959 White earthenware round dish with decoration in engobes under partial brushed glaze and beige patina. Numbered 42/50 in black paint, with the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the underside. diameter 16 5/8 in. (42.2 cm) Estimate $4,000-6,000 Literature Alain RamiĂŠ 420
140. Pablo Picasso
1881-1973
Face in thick relief (Visage en gros relief), 1959 White earthenware round dish, with decoration in engobes and pastel crayon under partial brushed glaze. Numbered 10/100 in black paint with the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the underside. diameter 16 5/8 in. (42.2 cm) Estimate $6,000-8,000 Literature Alain RamiĂŠ 112
141. Pablo Picasso
1881-1973
Little square with sun (Petit carré au soleil); Circle with face (Cercle au visage); and Little square with face (Petit carré au visage), 1971 Three red earthenware tiles. All from the edition of 500, inscribed ‘J.169’, ‘J.170’ and ‘J.171’ and numbered 33/500, 46/500, and 22/500 in black ink respectively, with the Poinçon Original de Picasso stamp on the reverse. all 5 1/2 x 5 1/2 in. (14 x 14 cm) Estimate $2,000-4,000 Literature Alain Ramié 631, 632 and 633
142. Pablo Picasso
1881-1973
Lozenge with face (Losange au visage); and Lozenge with bearded man (Losange au barbu), 1971 Two red earthenware tiles. Inscribed ‘J.167’ and ‘J.168’ and numbered 33/500 and 43/500 in black ink respectively, with the Poinçon Original de Picasso pottery stamp on the reverse. both approximately 5 5/8 x 5 5/8 in. (14.3 x 14.3 cm) Estimate $1,500-2,500 Literature Alain Ramié 627 and 628
143. Pablo Picasso
1881-1973
Bullfghter (Picador), 1952 Red earthenware turned pitcher, painted in black and parafn decoration From the edition of 500, incised ‘Edition Picasso’ and ‘Madoura’ on the underside. 5 1/2 x 3 1/2 x 4 1/2 in. (14 x 8.9 x 11.4 cm) Estimate $2,500-3,500 Literature Alain Ramié 162
144. Pablo Picasso
1881-1973
Toros Vallauris, 1958 Linocut in black and orange, on smooth wove paper, with full margins. Signed in red crayon, erased pencil numbering (25/195?) (the edition was 195 and approximately 22 artist’s proofs), published by the Association des potiers de Vallauris, framed. I. 25 5/8 x 20 3/4 in. (65.1 x 52.7 cm) S. 31 5/8 x 24 1/4 in. (80.3 x 61.6 cm) Estimate $6,000-8,000 Literature Georges Bloch 1282 Brigitte Baer 1049 Christophe Czwiklitzer 28
145. Pablo Picasso
1881-1973
347 Series: plate 338, 1968 Etching, on Rives paper, with full margins. Signed and numbered 44/50 in pencil (there were also 17 artist’s proofs), published by Galerie Louise Leiris, Paris, 1969, framed. I. 8 1/8 x 10 1/2 in. (20.6 x 26.7 cm) S. 12 7/8 x 15 7/8 in. (32.7 x 40.3 cm) Estimate $7,000-10,000 Provenance Marlborough Gallery, New York, Celebrating the Muse: Women in Picasso’s Prints 1905-1968, 2010 Private Collection (acquired from the above)
Literature Georges Bloch 1818 Brigitte Baer 1835 Marlborough Gallery, Celebrating the Muse: Women in Picasso’s Prints 1905-1968, 2010, no. 203 (this impression illustrated).
146. Pablo Picasso
1881-1973
Femme au balcon, Afche ‘Oeuvre Gravé’ (Woman on the Balcony, Poster for Engraved Artwork), 1960 Lithograph, on Arches paper, with full margins. Signed in red crayon and numbered 126/145 in pencil (there were also 15 artists’s proofs and an unsigned poster edition), published by Galerie des Ponchettes, Nice, framed. I. 24 x 18 3/4 in. (61 x 47.6 cm) S. 25 3/4 x 19 3/4 in. (65.4 x 50.2 cm) Estimate $4,000-6,000 Literature Georges Bloch 1289 Fernand Mourlot 335 Christophe Czwiklitzer 38
147. Pablo Picasso
1881-1973
347 Series: plate 98, 1968 Etching, on Rives paper, with full margins. Signed in pencil, one of 17 unnumbered proofs (the edition was 50), published by Galerie Louise Leiris, Paris, 1969, framed. I. 11 5/8 x 13 5/8 in. (29.5 x 34.6 cm) S. 17 7/8 x 20 5/8 in. (45.4 x 52.4 cm) Estimate $2,500-3,500 Provenance Marina Picasso (inkstamp on the reverse) (Fritz Lugt 3698) Literature Georges Bloch 1578 Brigitte Baer 1594
148. Pablo Picasso
1881-1973
Femme à cheval (Woman on Horseback), 1967 Etching, on wove paper, with full margins. Stamp-signed and numbered ‘E.A. VII/ XV’ in pencil (an artist’s proof, the edition was 50), framed. I. 11 3/4 x 13 3/4 in. (29.8 x 34.9 cm) S. 17 3/4 x 20 3/8 in. (45.1 x 51.8 cm) Estimate $2,000-3,000 Provenance Marina Picasso (inkstamp on the reverse) (Fritz Lugt 3698) Literature Georges Bloch 1455 Brigitte Baer 1490
149. Pablo Picasso
1881-1973
Nu debout et cheval (Standing Nude and Horse), 1938/1942 Drypoint, on Montval laid paper watermark Vollard, with full margins. One of 56 unsigned and unnumbered proofs, printed by Roger Lacourière in 1942, published in 1984, framed. I. 9 5/8 x 13 1/2 in. (24.4 x 34.3 cm) S. 13 3/8 x 17 3/4 in. (34 x 45.1 cm) Estimate $1,500-2,500 Provenance Marina Picasso (inkstamp on the reverse) (Lugt 3698) Literature Georges Bloch 304 Brigitte Baer 632
150. Georges Braque
1882-1963
Astre et oiseau I (Star and Bird I), 1958-59 Lithograph in blue and black, on Arches paper, with full margins. Signed and numbered 7/75 in pencil (there was also an edition of 50 and a few hors commerce), published by Maeght, Paris, framed. I. 10 5/8 x 12 3/4 in. (27 x 32.4 cm) S. 17 1/2 x 20 5/8 in. (44.5 x 52.4 cm) Estimate $3,000-4,000 Literature Dora Vallier 129
151. Georges Braque
1882-1963
Oiseau dans son nid, from Août (Bird in his Nest, from August), 1958 Aquatint, on laid Auvergne paper with watermark, with full margins. Signed and numbered 22/70 in pencil (the total edition was 140), published by Louis Broder, Paris, framed. I. 5 1/2 x 8 in. (14 x 20.3 cm) S. 14 3/4 x 18 7/8 in. (37.5 x 47.9 cm) Estimate $1,200-1,800 Literature Dora Vallier 135, p. 192
152. Georges Braque
1882-1963
Pommes et feuilles (Apples and Leaves), 1958 Lithograph in colors, on Arches paper, with full margins. Signed and numbered ‘XII/XV’ in pencil (a proof, the edition was 75 and 30 hors commerce), published by Mourlot, Paris, framed. I. 12 x 17 5/8 in. (30.5 x 44.8 cm) S. 19 3/4 x 25 7/8 in. (50.2 x 65.7 cm) Estimate $1,200-1,800 Literature Dora Vallier 114
153. Marc Chagall
1887-1985
Der Esel ßber dem Dorf (The Donkey Above the Village), 1951 Etching and aquatint with hand-coloring, on wove paper, with full margins. Signed in pencil, from the special edition of 40 with hand-coloring (the total edition was 75), printed by Paul Haasen, Paris, for the deluxe edition of Isaac Kloomok’s Chagall, New York, 1952, framed. I. 10 3/4 x 7 1/2 in. (27.3 x 19.1 cm) S. 12 1/8 x 9 in. (30.8 x 22.9 cm) Estimate $7,000-10,000 Literature Eberhard W. Kornfeld 100 Patrick Cramer books 20
154. Marc Chagall
1887-1985
Vision de Jacob (Jacob’s Vision), 1971 Lithograph in colors, on Arches paper, with full margins. Signed and annotated ‘Epreuve d’artiste’ in pencil (an artist’s proof, aside from the edition of 50), framed. I. 29 5/8 x 21 in. (75.2 x 53.3 cm) S. 37 3/4 x 25 1/2 in. (95.9 x 64.8 cm) Estimate $6,000-8,000 Literature Fernand Mourlot 625
155. Marc Chagall
1887-1985
Jude mit Thora (Juif à la thora; Jew with Torah), 1922-23/1950 Woodcut, on wove paper, with full margins. Signed and numbered 4/20 in pencil, framed. I. 11 x 8 in. (27.9 x 20.3 cm) S. 19 x 13 in. (48.3 x 33 cm) Estimate $3,000-5,000 Literature Eberhard W. Kornfeld 35
156. Marc Chagall
1887-1985
Pierrot lunaire (Moon Pierrot), 1969 Lithograph in colors, on Arches paper, with full margins, the sheet laid to mat board. Signed and annotated ‘H.C.’ in pencil (an hors commerce, the edition was 50, plus 25 artist’s proofs in Roman numerals), published by Maeght, Paris, framed. I. 22 3/4 x 15 1/4 in. (57.8 x 38.7 cm) S. 29 7/8 x 21 1/8 in. (75.9 x 53.7 cm) Estimate $7,000-10,000 Literature Fernand Mourlot 574
157. Marc Chagall
1887-1985
Les Amoureux au soleil rouge (The Lovers in the Red Sun), 1960 Lithograph in colors, on Arches paper, the full sheet. Signed and numbered 3/40 in pencil, published by Mourlot, Paris, framed. I. 15 x 10 1/2 in. (38.1 x 26.7 cm) S. 18 7/8 x 12 7/8 in. (47.9 x 32.7 cm) Estimate $6,000-8,000 Literature Fernand Mourlot 285 see Patrick Cramer books 43
158. Marc Chagall
1887-1985
Nuit d’été (Summer’s Night), 1973 Lithograph in colors, on Arches paper, with full margins. Signed and numbered 36/50 in pencil (there were also 12 proofs in black), framed. I. 22 x 15 in. (55.9 x 38.1 cm) S. 27 x 19 7/8 in. (68.6 x 50.5 cm) Estimate $3,000-5,000 Literature Fernand Mourlot 696
159. Marc Chagall
1887-1985
Double visage gris (Double Gray Portrait), 1975 Lithograph, on Japon nacré paper, with full margins. Signed and numbered 22/50 in pencil, published by Maeght, Paris, framed. I. 16 5/8 x 12 1/2 in. (42.2 x 31.8 cm) S. 21 7/8 x 16 3/8 in. (55.6 x 41.6 cm) Estimate $2,500-3,500 Literature Fernand Mourlot 732
160. 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, with title page, colophon and original paper folders with text by André Parinaud, all contained in the original black linen-covered portfolio. All signed and numbered ‘A193/195’ in pencil, also signed in pencil and numbered in ink on the colophon (from the English edition of 195 with text in English, there was also a French edition of 195, both editions with 35 impressions in Roman numerals including a suite on Japon nacré, plus a few artist’s proofs), 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 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
161. Salvador Dalí
1904-1989
Le Pain (The Bread), 1967 Aquatint in colors, on Arches paper, with full margins. Signed and inscribed ‘ESSAI.’ in pencil (one of a few proofs aside from the edition of 10), printed by Atelier Rigal and inscribed ‘Epreuve faisant partie de notre collection, Denise Rigal’ on the reverse, unframed. I. 13 7/8 x 15 3/8 in. (35.2 x 39.1 cm) S. 19 3/4 x 26 in. (50.2 x 66 cm) Estimate $5,000-7,000 Literature Ralf Michler and Lutz W. Löpsinger 208
A formal edition of this print was never produced because it was too difcult for the printers to print 3-dimensionally, as Dali was envisioning. The painting of this image La Corbeille de pain is in the Teatro-Museo Dalí, Figueres, Spain
161.
162. Salvador Dalí
1904-1989
Begonia (Anacardium recordans), from Flordali® (Flora Dalinae), 1968 Etching with drypoint in colors, on Arches paper, with full margins. Signed and numbered 107/200 in pencil (there were also 200 on Japanese paper), published by Werbungs und Commerz Union Anstalt, Basel, unframed. I. 23 1/8 x 15 1/4 in. (58.7 x 38.7 cm) S. 30 x 22 3/8 in. (76.2 x 56.8 cm) Estimate $1,500-2,500
162.
Literature Ralf Michler and Lutz W. Löpsinger 233
163. Salvador Dalí
1904-1989
La Rose (The Rose), 1976-77 Etching with drypoint and stencil in colors, on Japon nacré paper, with full margins. Signed and numbered 118/200 in pencil (there were also 300 on Arches and 50 hors commerce), published by Gelander/Monterniers and distributed by Gerschman and Editions de Francony, unframed. I. 14 1/2 x 19 7/8 in. (36.8 x 50.5 cm) S. 22 1/2 x 30 1/4 in. (57.2 x 76.8 cm) Estimate $1,000-1,500 Literature Ralf Michler and Lutz W. Löpsinger 845 163.
164. Jean Cocteau
1889-1963
Scène d’intérieur (Interior Scene), from Le Satiricon, 1961 Red earthenware round dish, painted in colors, with touches of enamel. Signed and dated in burgundy paint on the front, inscribed ‘Edition originale de Jean Cocteau’, ‘Atelier MadeleineJolly’ and numbered 4/15 on the underside. diameter 14 in. (35.6 cm) Estimate $2,000-4,000 Literature Annie Guédras 126
165. Jean Cocteau
1889-1963
Le Mêlée des trois garçons (The Melee of the Three Boys), from Le Satiricon, 1962 Red earthenware round dish, painted in colors, with touches of enamel. Titled ‘Le Satiricon’ on the front, inscribed ‘Edition originale de Jean Cocteau’, ‘Atelier Madeleine-Jolly’ and numbered 11/15 on the underside. diameter 14 in. (35.6 cm) Estimate $2,000-4,000 Literature Annie Guédras 131
166. Jean Cocteau
1889-1963
Les Trois garçons à l’écharpe jaune (Three Boys and Yellow Scarf), from Le Satiricon, 1961 Red earthenware round dish, painted in colors, with touches of enamel. Signed, titled, and dated on the front, inscribed ‘Edition originale de Jean Cocteau’, ‘Atelier Madeleine-Jolly’ and numbered 9/15 on the underside. diameter 14 1/8 in. (35.9 cm) Estimate $2,000-4,000 Literature Annie Guédras 128
167. Man Ray
1890-1976
Les Trois nus (The Three Nudes), 1971 Screenprint in colors, on acrylic, with full margins. Incised with signature and numbered 18/35 (there were also some artist’s proofs), published by Georges Visat, Paris. I. 17 1/4 x 21 1/4 in. (43.8 x 54 cm) S. 19 3/4 x 23 5/8 in. (50.2 x 60 cm) Estimate $2,000-3,000 Literature Luciano Anselmino 96
Property from the Collection of Diane and Marc Grainer
168. Lynn Chadwick, R.A.
1914-2003
Study for Sculpture, 1966 Pen and colored ink drawing on graph paper. Signed and dated ‘August 66’ in black ink, framed. 29 7/8 x 22 in. (75.9 x 55.9 cm) Estimate $4,000-6,000 Provenance Thomas Agnew and Sons Ltd., London Beaux Arts, London
169. Henry Moore
1898-1986
Seated Mother and Child, 1977 Lithograph, on wove paper, with full margins. Signed and numbered 15/75 in pencil (there were also 10 artist’s proofs and 20 hors commerce), published by Ediciones Poligrafa SA, Barcelona, unframed. I. 10 1/4 x 8 1/2 in. (26 x 21.6 cm) S. 19 3/4 x 15 3/4 in. (50.2 x 40 cm) Estimate $1,500-2,500 Literature Patrick Cramer 437
170. Jean Dubufet
1901-1985
Scénario Bref (Brief Scenario), 1979 Screenprint, on Arches crème paper, with full margins. Signed with initials, dated and numbered 50/50 in pencil (there were also 5 artist’s proofs and 5 hors commerce in Roman numerals), published by Éditions La Hune, Paris, framed. I. 20 1/8 x 13 3/4 in. (51.1 x 34.9 cm) S. 26 1/2 x 18 3/8 in. (67.3 x 46.7 cm) Estimate $1,500-2,500 Provenance Richard Gray Gallery, Chicago Literature Sophie Webel 1265
171. Jean Dubufet
1901-1985
Evocations (Conjuring), from Fables, 1976 Screenprint, on Arches paper, with full margins. Signed with initials, dated and numbered 7/50 in pencil (there were also 2 artist’s proofs), published by Pace Editions, Inc., New York, framed. I. 19 1/2 x 31 1/2 in. (49.5 x 80 cm) S. 27 5/8 x 34 5/8 in. (70.2 x 87.9 cm) Estimate $3,000-5,000 Literature Sophie Webel 1178
172. Jean Dubufet
1901-1985
Epiphanor, from PrĂŠsences Fugace (Fleeting Presences), 1973 Screenprint in colors, on Dutch Etching paper, with full margins. Signed with initials, dated and numbered 44/100 in pencil (there were also 20 hors commerce in Roman numerals), published by Pace Editions Inc., New York. framed. I. 19 3/4 x 13 3/8 in. (50.2 x 34 cm) S. 30 x 21 7/8 in. (76.2 x 55.6 cm) Estimate $3,000-5,000 Literature Sophie Webel 1163
173. Joan Miró
1893-1983
Préparatifs d’oiseaux III (Bird Preparations III), 1963 Aquatint in colors, on Rives BFK paper, the full sheet. Signed and annotated ‘HC’ in pencil (one of a few hors commerce, aside from the edition of 75), published by Maeght, Paris, framed. S. 19 1/8 x 23 in. (48.6 x 58.4 cm) Estimate $3,000-5,000 Literature Jacques Dupin 365
174. Joan Miró
1893-1983
Les Géants III (The Giants III), 1960 Aquatint in black and gray with embossing, on Rives BFK paper, with full margins. Signed and annotated ‘H.C.’ in pencil (one of several hors commerce, the edition was 50), published by Maeght, Paris, framed. I. 23 x 36 1/4 in. (58.4 x 92.1 cm) S. 29 1/2 x 41 5/8 in. (74.9 x 105.7 cm) Estimate $3,000-5,000 Literature Jacques Dupin 278
175. Joan Miró
1893-1983
La Magie quotidienne (Daily Magic), 1968 Etching and aquatint in colors, on Rives paper, with full margins. Signed, dated ‘10/XII/59.’ and annotated ‘H.C.’ in pencil (an hors commerce aside from the edition of 12 and 8 touched up by the artist, the edition was 120), published by Louis Broder, Paris, framed. I. 6 3/8 x 16 1/2 in. (16.2 x 41.9 cm) Estimate $3,000-5,000 Literature Jacques Dupin 271
176. Joan Miró
1893-1983
Fusée (Rocket): one plate, 1959 Etching and aquatint in colors, on Rives paper, with full margins. Signed and numbered 42/50 in pencil (there were also 8 proofs on parchment paper touched-up by the artist, plus several hors commerce copies), published by Louis Broder, Paris, framed. I. 5 x 7 in. (12.7 x 17.8 cm) S. 11 x 15 in. (27.9 x 38.1 cm) Estimate $3,000-5,000 Literature Jacques Dupin 257; see Patrick Cramer books 54
177. Joan Miró
1893-1983
Partie de campagne II (Country Party), 1967 Etching and aquatint in colors, on wove paper, with full margins. Signed and annotated ‘HC’ in pencil (one of a few hors commerce, the edition was 75), published by Maeght, Paris, framed. I. 23 x 36 1/2 in. (58.4 x 92.7 cm) S. 29 1/2 x 41 1/4 in. (74.9 x 104.8 cm) Estimate $4,000-6,000 Literature Jacques Dupin 431
178. Joan Miró
1893-1983
Grand Duc II (Grand Duke II), 1965 Etching and aquatint in colors, on Arches paper, with full margins. Signed and numbered 38/75 in pencil (there were also some hors commerce), published by Maeght, Paris, framed. I. 26 7/8 x 20 7/8 in. (68.3 x 53 cm) S. 35 1/4 x 24 7/8 in. (89.5 x 63.2 cm) Estimate $3,000-5,000 Literature Jacques Dupin 395
179. Joan Miró
1893-1983
L’Enfance d’Ubu (Ubu’s Childhood): three signed plates, 1975 Eight lithographs in colors, on Arches paper, with full margins, contained in the original beige linen-covered portfolio with one of the unsigned lithographs mounted to the front (as issued), with colophon and title pages. Three signed and numbered 10/120 in pencil and fve unsigned lithographs from the portfolio, published by Tériade, Paris, all unframed. all I. various sizes all S. 11 5/8 x 19 7/8 in. (29.5 x 50.5 cm) Estimate $6,000-8,000 Literature Fernand Mourlot 1000, 1002, 1005, 1007 and 1021 see Patrick Cramer books 204
180. Joan Miró
1893-1983
L’Enfance d’Ubu (Ubu’s Childhood): three signed plates, 1975 Eight lithographs in colors, on Arches paper, with full margins. Three signed and numbered 10/120 in pencil and fve unsigned lithographs from the portfolio, published by Tériade, Paris, all unframed. all I. various sizes all S. 12 3/4 x 19 3/4 in. (32.4 x 50.2 cm) Estimate $6,000-8,000 Literature Fernand Mourlot 1009-1011 see Patrick Cramer books 204
181. Joan Miró
1893-1983
182. Joan Miró
1893-1983
L’Enfance d’Ubu (Ubu’s Childhood): three signed plates, 1975 Eight lithographs in colors, on Arches paper, with full margins. Three signed and numbered 10/120 in pencil and fve unsigned lithographs from the portfolio, published by Tériade, Paris, all unframed. all I. various sizes all S. 12 7/8 x 19 7/8 in. (32.7 x 50.5 cm)
L’Enfance d’Ubu (Ubu’s Childhood): three signed plates, 1975 Eight lithographs in colors, on Arches paper, with full margins. Three signed and numbered 10/120 in pencil and fve unsigned lithographs from the portfolio, published by Tériade, Paris, all unframed. all I. various sizes all. S. 12 7/8 x 19 7/8 in. (32.7 x 50.5 cm)
Estimate $6,000-8,000
Estimate $6,000-8,000
Literature Fernand Mourlot 1013-1014 and 1016 see Patrick Cramer books 204
Literature Fernand Mourlot 1017, 1019-1020 see Patrick Cramer books 204
183. Joan Miró
1893-1983
Suites pour Ubu Roi (Suite for King Ubu): plate 12, 1966 Lithograph in colors, on Arches paper, with full margins. Signed and numbered 34/75 in pencil (from the edition with large margins), published by Tériade, Paris, unframed. I. 16 3/8 x 24 5/8 in. (41.6 x 62.5 cm) S. 21 1/4 x 29 1/2 in. (54 x 74.9 cm) Estimate $3,500-4,500 Literature Fernand Mourlot 489 see Patrick Cramer books 108
184. After Joan Miró
1893- 1983
Et l’oiseau s’enfuit vers les pyramides.. (And the Bird Fled to the Pyramids..), 1954 Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 180/300 in pencil (there were also some hors commerce), published by Galerie Maeght, Paris, framed. I. 6 x 23 in. (15.2 x 58.4 cm) S. 12 3/8 x 30 in. (31.4 x 76.2 cm) Estimate $2,000-4,000 Literature Maeght 1707
185. Joan Miró
1893-1983
L’Eloge de la main (The Praise of the Hand), 1974 Etching and aquatint in colors, on wove paper, the full sheet. Signed and numbered ‘HC I/XXIV’ in pencil (an hors commerce, the edition was 50), with the Fundacio Joan Miró inkstamp signed by Rosa Maria Malet on the reverse, unframed. S. 26 x 20 1/4 in. (66 x 51.4 cm) Estimate $4,000-6,000 Literature Jacques Dupin 58
186. Joan Miró
1893-1983
Les Agulles del Pastor (The Shepherd’s Hands), 1973 Lithograph in colors, on Guarro paper, the full sheet. Signed and numbered 69/75 in pencil (there were also 30 hors commerce), published by Ediciones Polígrafa, S.A., Barcelona, unframed. S. 23 1/4 x 32 5/8 in. (59.1 x 82.9 cm) Estimate $2,500-3,500 Literature Fernand Mourlot 882
187. Joan Miró
1893-1983
Lithograph for the International Plastic Arts Association, Unesco, 1971 Lithograph in colors, on Arches paper, the full sheet. Signed and numbered 47/75 in pencil, published by AIAP Unesco, Paris, unframed. S. 29 7/8 x 22 1/8 in. (75.9 x 56.2 cm) Estimate $3,500-4,500 Literature Fernand Mourlot 834
188. Joan Miró
1893-1983
Le Marteau sans maître (The Hammer Without a Master): one plate, 1976 Etching and aquatint in colors, on Japon nacré paper, with full margins. Signed and numbered ‘L/L’ in pencil (there were also 125 in Arabic numerals and 25 hors commerce), published by Le Vent d’Arles, Paris, framed. I. 11 1/4 x 9 1/8 in. (28.6 x 23.2 cm) S. 17 1/4 x 13 in. (43.8 x 33 cm) Estimate $1,500-2,500 Literature Jacques Dupin 949 see Patrick Cramer books 216
This lot is to be Sold with No Reserve
189. Joan Miró
1893-1983
Miró Lithographs Catalogue Raisonné, Vols. I-VI: containing 32 original lithographs, 1972-1992 The complete set of six catalogue raisonnés for lithographs by the artist bound (as issued), with 32 original lithographs in colors. Published by Maeght, Paris. all approximately 13 x 10 x 1 5/8 in. (33 x 25.4 x 4.1 cm) Estimate $1,500-2,500 •
This lot is to be Sold with No Reserve
190. Joan Miró
1893-1983
Miró Engraver Catalogue Raisonné, Vols. I-IV: containing 8 original woodcuts, 1984-2001 The complete set of four catalogue raisonnés for engravings by the artist bound (as issued), with 8 original woodcuts (four in colors). Published by Daniel Lelong, Paris and Rizzoli, New York. all S. approximately 12 7/8 x 10 1/8 x 1 1/8 in. (32.7 x 25.7 x 2.9 cm) Estimate $1,500-2,500 •
191. After Fernand Léger
1881-1955
AccordianistÕs family, from Album of 10 Serigraphs, 1954 Screenprint in colors, on Arches paper, with full margins. Signed in blue ball-point pen (faded) and numbered 95/200 in pencil, published by Jean Bruller, Paris, framed. I. 17 7/8 x 13 3/8 in. (45.4 x 34 cm) S. 22 x 15 in. (55.9 x 38.1 cm) Estimate $1,000-1,500 Literature Lawrence Saphire E11
192. After Fernand Léger
1881-1955
Composition mécanique, 1953 Screenprint in colors, on wove paper, with full margins. Signed and numbered 24/300 in pencil and blue ball-point pen (faded), published by Edition Art d’aujourd’hui, Boulogne, framed. I. 16 3/4 x 12 3/4 in. (42.5 x 32.4 cm) S. 25 1/8 x 19 1/4 in. (63.8 x 48.9 cm) Estimate $1,000-1,500 Literature Lawrence Saphire E24
This lot is to be Sold with No Reserve
193. Friedensreich Hundertwasser
1928-2000
Goodbye from Africa, 1967 Lithograph in colors, on CM Fabriano paper, the full sheet. Signed, dated and numbered 68/90 in ink (the total edition was 160), published by Gallery La Medusa, Rome (with their blindstamp), framed. S. 19 1/2 x 27 1/2 in. (49.5 x 69.9 cm) Estimate $1,500-2,500 • Literature Walter Koschatzky 31
This lot is to be Sold with No Reserve
194. Friedensreich Hundertwasser
1928-2000
Die Flucht des Dalai Lama (The Flight of the Dalai Lama), 1959 Lithograph in colors, on two sheets of wove paper, taped on the reverse of the seam, the full sheets. Signed and dated ‘1960’ in ink, from the edition of 150 (there were approximately 1800 with the printed signature and date only), published by Carl László, Basel, framed together vertically. Frame: 22 3/8 x 24 1/8 in. (56.8 x 61.3 cm) Estimate $1,000-1,500 • Literature Walter Koschatzky 15
This lot is to be Sold with No Reserve
195. Friedensreich Hundertwasser
1928-2000
Die Häuser hängen unter den Wiesen (The Houses are hanging underneath the meadows), plate 9 from Look at it on a rainy day, 1971 Screenprint with metal imprints in colors, on Schoeller Parole paper, with full margins. Signed and numbered 230/300 in ink, also stamp-numbered 2299/3000, published by Edicion Lluvva, Zürich, framed. I. 17 1/2 x 23 5/8 in. (44.5 x 60 cm) S. 19 3/8 x 26 3/8 in. (49.2 x 67 cm) Estimate $900-1,200 • Literature Walter Koschatzky 52
196.
197.
This lot is to be Sold with No Reserve
196. Le Corbusier
1887-1965
This lot is to be Sold with No Reserve
197. Le Corbusier
1887-1965
Unité, plate 14, 1963 Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed and numbered 110/130 in pencil (there were also 30 in Roman numerals), printed and published by Atelier Crommelynck, Paris, unframed. I. 16 3/8 x 12 1/2 in. (41.6 x 31.8 cm) S. 22 3/8 x 17 3/4 in. (56.8 x 45.1 cm)
Unité, plate 16, 1963 Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed and numbered 62/130 in pencil (there were also 30 in Roman numerals), printed and published by Atelier Crommelynck, Paris, unframed. I. 16 1/4 x 11 1/2 in. (41.3 x 29.2 cm) S. 22 1/2 x 17 7/8 in. (57.2 x 45.4 cm)
Estimate $1,500-2,500 •
Estimate $1,500-2,500 •
This lot is to be Sold with No Reserve
198. Le Corbusier
1887-1965
Unité, plate 11, 1963 Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed and numbered 110/130 in pencil (there were also 30 in Roman numerals), printed and published by Atelier Crommelynck, Paris, unframed. I. 16 1/2 x 12 3/8 in. (41.9 x 31.4 cm) S. 22 1/2 x 18 in. (57.2 x 45.7 cm) Estimate $1,500-2,500 • 198.
The Unité series are based on pastel drawings the artist made in 1953.
199. Le Corbusier
1887-1965
Je rêvais (I Dreamed), from Cortège (Procession); and Totem, 1960 and 1963 Two lithographs in colors, on wove and Rives BFK paper, the full sheets. Je rêvais numbered 162/300 and Totem signed and numbered 75/75 in pencil, published by Mourlot, Paris, both framed. Je rêvais 28 x 40 1/2 in. (71.1 x 102.9 cm) Totem S. 28 x 31 5/8 in. (71.1 x 80.3 cm) Estimate $2,000-4,000
Je rêvais
200. Alexander Calder
1898-1976
Stone Age, 1969 Lithograph in colors, on wove paper, the full sheet. Signed and numbered 49/100 in pencil, framed. I. 28 1/4 x 21 1/4 in. (71.8 x 54 cm) S. 30 7/8 x 23 in. (78.4 x 58.4 cm)
Totem
199.
Estimate $1,500-2,500
201. Alexander Calder
1898-1976
Loops and Yin Yang, 1969 Lithograph in colors, on Arches paper the full sheet. Signed and numbered 5/90 in pencil (there were also some artist’s proofs), unframed. S. 32 x 22 5/8 in. (81.3 x 57.5 cm) Estimate $2,000-3,000
200.
201.
Property of an Important New York Collector
202. Arman
1928-2005
Harpe de couleurs (Harp of Colors), 1975 Screenprint in colors on three sheets of Plexiglas, all framed together with standing base. Signed in the screen, incised ‘artcurial’ and numbered 137/2500, published by Artcurial, Paris. 29 x 10 3/4 x 6 in. (73.7 x 27.3 x 15.2 cm) Estimate $3,000-5,000
This work is recorded in the Arman Studio Archives New York under number: APA# 8400.76.049
203. Sonia Delaunay
1885-1979
Avec moi-même (With Myself): one plate, 1970 Etching and aquatint in colors, on Arches paper, with full margins. Signed and numbered II/XX in pencil (aside from the edition of 75), published by Société Internationale d’Art XXeme Siècle, Paris, framed. I. 19 1/2 x 15 5/8 in. (49.5 x 39.7 cm) S. 26 x 19 7/8 in. (66 x 50.5 cm) Estimate $1,500-2,500
This lot is to be Sold with No Reserve
204. Jean Arp
1886-1966
Le Soleil recerclé (Around the Sun): plate 18, 1962-65 Woodcut in colors, on Japon nacré paper, with full margins. Signed and numbered ‘X/X’ in pencil (a proof from the book edition of 185, there was also an edition of 60 on Auvergne paper), with the artist’s blindstamp, published by Louis Broder, Paris, 1966, unframed. I. 14 x 13 1/2 in. (35.6 x 34.3 cm) S. 19 x 15 in. (48.3 x 38.1 cm) Estimate $1,500-2,500 • Literature Wilhelm Arntz 267
This lot is to be Sold with No Reserve
205. Jean Arp
1886-1966
Le Soleil recerclé (Around the Sun): plate 13, 1962-65 Woodcut in colors, on Japon nacré paper, with full margins. Signed and numbered ‘X/X’ in pencil (a proof from the book edition of 185, there was also an edition of 60 on Auvergne paper), with the artist’s blindstamp, published by Louis Broder, Paris, 1966, unframed. I. 10 5/8 x 8 1/2 in. (27 x 21.6 cm) S. 19 x 14 7/8 in. (48.3 x 37.8 cm) Estimate $1,500-2,500 • Literature Wilhelm Arntz 262
206. Zao Wou-Ki
1920-2013
Untitled, 1959 Lithograph in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 67/140 in pencil (Ågerup calls for an edition of 95 and 20 artist’s proofs), published by l’Oeuvre Gravée, Zurich (with their blindstamp), unframed. I. 19 1/2 x 17 3/4 in. (49.5 x 45.1 cm) S. 25 3/4 x 19 7/8 in. (65.4 x 50.5 cm) Estimate $2,500-3,500 Literature Jørgen Ågerup 121
207. Zao Wou-Ki
1920-2013
À la gloire de l’image et Art poétique (In honour of the picture and of poetry): plate 7, 1976 Lithograph in colors, on Arches paper, with full margins. Signed and numbered 70/99 in pencil (there were also 15 artist’s proofs and 15 hors commerce), published by Ediciones Polígrafa, Barcelona, framed. I. 15 7/8 x 26 1/2 in. (40.3 x 67.3 cm) S. 19 5/8 x 29 5/8 in. (49.8 x 75.2 cm) Estimate $2,000-4,000 Literature Jørgen Ågerup 277
208. Mark Tobey
1890-1976
Transitions, 1971 The complete set of seven aquatints in colors, on wove paper, with full margins, all contained in the original beige cloth-covered portfolio, with justifcation. All signed, dated and numbered 48/75 in pencil (there were also a few proofs), published by Edition de Beauclair, Frankfurt, Germany (with their blindstamp). all I. 11 3/8 x 9 1/2 in. (28.9 x 24.1 cm) all S. 21 x 16 3/4 in. (53.3 x 42.5 cm) Estimate $2,500-3,500 Literature Hanns H. Heidenheim 1-7
Including Trio; Summer Breeze; Evocation; Afer Harvest; Devoted; Movement in White; and Blossoming
209. Antoni Tàpies
1923-2012
Due mans, from Negre i roig, 1976 Etching and aquatint in colors with embossing, on Guarro paper, the full sheet. Signed and numbered 68/75 in pencil (there were also 15 aritist’s proofs), published by Ediçiones Polígrafa, Barcelona, framed. S. 22 x 29 1/2 in. (55.9 x 74.9 cm) Estimate $1,000-1,500 Literature Mariuccia Galfetti 622
210. Joan Mitchell
1925-1992
Bedford I, from Bedford Series, 1981 Lithograph in colors, on Arches 88 mould-made paper, with full margins. Signed and numbered 13/70 in pencil (there were also 16 artist’s proofs), published by Tyler Graphics, Mount Kisco, New York (with their blindstamp), framed. I. 40 x 29 1/2 in. (101.6 x 74.9 cm) S. 42 1/2 x 32 5/8 in. (108 x 82.9 cm) Estimate $7,000-10,000 Literature Tyler Graphics 363
211. Jackson Pollock
1912-1956
Untitled (P 29), 1951/1964 Screenprint, on Strathmore paper, with full margins. Numbered 43/50 in pencil (from the posthumous printing of 50, there was also a lifetime edition of 25), with the artist’s estate blindstamp, printed by Bernard Stefen under the authorization of Lee Krasner and supervision of Mrs. Sanford McCoy, framed. I. 23 1/8 x 15 1/2 in. (58.7 x 39.4 cm) S. 29 x 23 in. (73.7 x 58.4 cm) Estimate $3,000-5,000 Literature Francis Valentine O’Connor and Eugene Victor Thaw 1093
212. Sam Francis
1923-1994
Untitled (SF-329), 1988 Lithograph in colors, on Waterleaf paper, the full sheet. Signed and numbered 31/50 in pencil (there were also 6 artist’s proofs), published by The Litho Shop, Inc., Santa Monica, California, framed. S. 45 1/8 x 28 1/8 in. (114.6 x 71.4 cm) Estimate $5,000-7,000 Literature Connie Lembark L 278
213. Philip Guston
1913-1980
Untitled, from a Suite of Ten Lithographs, 1966 Lithograph, on Rives BFK paper, with full margins. Signed, dated and annotated ‘Artist’s Proof’ in pencil (one of 2 artist’s proofs, the edition was 25), published by Hollanders Workshop, Inc., New York, unframed. I. 10 x 19 1/4 in. (25.4 x 48.9 cm) S. 22 x 29 7/8 in. (55.9 x 75.9 cm) Estimate $2,000-3,000 Literature Michael Semf 9
214. Helen Frankenthaler
1928-2011
The Red Sea, 1978-82 Lithograph in colors, on pink HMP handmade paper, with full margins. Signed, dated and numbered 43/58 in pencil (there were also 14 artist’s proofs), published by Tyler Graphics Ltd., Bedford Village, New York (with their blindstamp), framed. I. 15 3/4 x 20 3/4 in. (40 x 52.7 cm) S. 24 x 28 in. (61 x 71.1 cm) Estimate $4,000-6,000 Literature Tyler Graphics 200 Pegram Harrison 89
215. Helen Frankenthaler
1928-2011
Mirabelle, 1985-90 Lithograph in colors, on Arches paper, the full sheet. Signed, dated and numbered 25/56 in white pencil (there were also 14 artist’s proofs), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), framed. S. 30 x 37 in. (76.2 x 94 cm) Estimate $5,000-7,000 Literature Pegram Harrison 169
216. Helen Frankenthaler
1928-2011
SoHo Dreams, 1987 Etching, aquatint and drypoint in colors, on Magnani paper, with full margins. Signed, dated and numbered 53/71 in pencil (there were also 8 artist’s proofs), published by 2RC Edizioni d’Arte, Rome, unframed. I. 15 3/4 x 18 3/4 in. (40 x 47.6 cm) S. 25 1/2 x 30 3/4 in. (64.8 x 78.1 cm) Estimate $2,000-3,000 Literature Pegram Harrison 124
217. Helen Frankenthaler
1928-2011
Un Poco Más, 1987 Lithograph in colors, on Arches paper, the full sheet. Signed, dated and numbered 46/60 in white pencil, (there were also 12 artist’s proofs), published by Ediciones Polígrafa, S.A., Barcelona, framed. S. 27 x 37 in. (68.6 x 94 cm) Estimate $2,500-3,500 Literature Pegram Harrison 140
218. Pierre Soulages
b. 1919
219. Pierre Soulages
b. 1919
Sérigraphie no. 16, 1981 Screenprint in colors, on wove paper, the full sheet. Signed and numbered ‘EA 13/45’ in pencil (an artist’s proof, the edition was 250), published by Circle Fine Arts Inc., Chicago, unframed. S. 41 3/8 x 29 3/8 in. (105.1 x 74.6 cm)
Sérigraphie no. 15, 1981 Screenprint in colors, on wove paper, the full sheet. Signed and numbered ‘EA 13/45’ in pencil (an artist’s proof, the edition was 250), published by Circle Fine Arts Inc., Chicago, unframed. S. 41 5/8 x 28 3/4 in. (105.7 x 73 cm)
Estimate $5,000-7,000
Estimate $5,000-7,000
Literature Pierre Encrevé and Marie-Cecile Miessner 108
Literature Pierre Encrevé and Marie-Cecile Miessner 107
220. Ad Reinhardt
1913-1967
Ten Screenprints portfolio: nine plates, 1966 Nine screenprints in colors, on heavy wove paper, contained in the original paper folder, title page, justifcation and each in their corresponding numbered folio, lacking plate 5. All signed and numbered 19/250 in pencil (only the frst 20 sets were signed and numbered), each stamp numbered with the plate number on the reverse, co-published by the Wadsworth Atheneum, Hartford and Ives-Sillman, Inc., New Haven (with their blindstamp). all. I. various sizes all S. 22 x 17 in. (55.9 x 43.2 cm) Estimate $4,000-6,000
221. Josef Albers
1888-1976
Formulation and Articulation I and II, 1972 The complete set of 127 screenprints in colors, on 66 sheets of wove paper, folded (as issued), with full margins, with colophon, all contained in two original linen-covered portfolios and gray slip cases. Signed and numbered ‘786’ 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. each portfolio 20 3/4 x 15 5/8 x 2 1/2 in. (52.7 x 39.7 x 6.4 cm) Estimate $5,000-7,000 Literature Brenda Danilowitz Appendix C
222. Josef Albers
1888-1976
SP III, 1967 Screenprint in colors, on Schöllers Hammer Board paper, with full margins. Signed with initials, titled, dated and numbered ‘68-125’ in pencil (there were also some artist’s proofs), published by Editions Domberger, Stuttgart for Galerie der Spiegel, Cologne, framed. I. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm) S. 24 1/8 x 24 1/8 in. (61.3 x 61.3 cm) Estimate $1,500-2,500 Literature Brenda Danilowitz 175.111
223. Josef Albers
1888-1976
Silent, from “Die Oberfäche”, 1965 Screenprint in colors, on heavy wove paper, with full margins. Signed, titled, dated and numbered 85/120 in pencil, published by Ives-Sillman, Inc., New Haven, framed I. 11 x 11 in. (27.9 x 27.9 cm) S. 12 x 12 in. (30.5 x 30.5 cm) Estimate $1,000-2,000 Literature Brenda Danilowitz 167.2
224. Josef Albers
1888-1976
SP X, 1967 Screenprint in colors, on Schöllers Hammer Board, with full margins. Signed with initial ‘A’, titled, dated and numbered 12-125 in pencil (there were also some artist’s proofs), published by Editions Domberger, Stuttgart, for Galerie der Spiegel, Cologne, unframed. I. 19 1/2 x 19 1/2 in. (49.5 x 49.5 cm) S. 24 1/8 x 24 1/8 in. (61.3 x 61.3 cm) Estimate $1,500-2,500 Literature Brenda Danilowitz 175.10
225. John McLaughlin
1898-1976
Untitled, 1963 Lithograph in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 7/11 in pencil (there were also approximately 13 proofs), published by Tamarind Institute, Los Angeles (with their inkstamps), framed. I. 18 x 12 in. (45.7 x 30.5 cm) S. 20 x 14 3/4 in. (50.8 x 37.5 cm) Estimate $3,000-5,000 Provenance Felix Landau, Los Angeles The Corcoran Gallery of Art rental gallery, c. 1970 Literature Tamarind 781 Susan Sheehan 3
226.
226. Kenneth Noland
1924-2010
Shadow Line, 1968 Screenprint in colors, on linen laid to heavy board (as issued), the full sheet. Signed, dated and numbered 30/150 in pencil, published by Dokumenta IV, Kassel, Germany, unframed. S. 16 3/4 x 47 1/2 in. (42.5 x 120.7 cm) Estimate $3,000-5,000
227. Richard Anuszkiewicz
Study Inner Yellow on Red (Print Collage 1); and Study Inner Orange on Blue (Print Collage 1), 1991 Two screenprints on panel mounted to screenprinted paper in colors, on wove paper, with full margins. Both signed, dated and numbered 28/60 in pencil, both framed. both I. 22 5/8 x 28 in. (57.5 x 71.1 cm) both S. 31 5/8 x 37 in. (80.3 x 94 cm) Estimate $2,000-4,000
227.
b. 1930
228. Richard Anuszkiewicz
b. 1930
Banner #3, circa 1968 Felt banner with cotton backing. Signed and numbered 3/30 in black ink and additionaly numbered ‘Banner #3’ (printed) on a label afxed to the reverse, co-published by Betsy Ross Flag and Banner Co., and Multiples, Inc., New York and Los Angeles. 93 x 68 in. (236.2 x 172.7 cm) Estimate $2,000-3,000
This lot is to be Sold with No Reserve
229. Richard Anuszkiewicz
b. 1930
Untitled, 1970 Screenprint in colors, on wove paper, the full sheet. Signed and numbered ‘AP 144’ in pencil (an artist’s proof, the edition was 144), unframed. S. 39 1/8 x 30 in. (99.4 x 76.2 cm) Estimate $300-500 •
230. Frank Stella
b. 1936
Ileana Sonnabend; D.; Carl Andre; and Hollis Frampton, from Purple Series, 1972 Four lithographs in colors, on Zerkall Copperplate deluxe paper, with margins (three trimmed at the sheet edges). All signed, dated and numbered 11/100 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), all framed. all I. various sizes all S. approximately 16 x 22 in. (40.6 x 55.9 cm) Estimate $3,000-5,000 Literature Gemini G.E.L. 369, 371 and 374-75 Richard Axsom and Leah Kolb 65, 67, and 70-71
231. Frank Stella
b. 1936
York Factory I, 1972 Screenprint in colors, on Arjomari paper, with full margins. Signed, dated and numbered 47/100 in pencil (there were also 25 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), framed. I. 13 1/2 x 40 1/4 in. (34.3 x 102.2 cm) S. 17 1/2 x 44 1/2 in. (44.5 x 113 cm) Estimate $5,000-7,000 Provenance Private Collection, Minneapolis Literature Gemini G.E.L. 303 Richard Axsom and Leah Kolb 63
Property of an Important New York Collector
232. Frank Stella
b. 1936
Sinjerli Variation IV, from Sinjerli Variations, 1977 Ofset lithograph and screenprint in colors, on Arches Cover paper, with full margins. Signed, dated and numbered 99/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, New York, framed. I. diameter 25 in. (63.5 cm) S. 31 7/8 x 42 1/4 in. (81 x 107.3 cm) Estimate $5,000-7,000 Literature Richard Axsom and Leah Kolb 118
233. Frank Stella
b. 1936
Sinjerli Variation III, from Sinjerli Variations, 1977 Ofset lithograph and screenprint in colors, on Arches Cover paper, with full margins. Signed, dated and numbered 82/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, New York, framed. I. diameter 25 in. (63.5 cm) S. 32 x 42 1/4 in. (81.3 x 107.3 cm) Estimate $4,000-6,000 Literature Richard Axsom and Leah Kolb 117
234. Frank Stella
b. 1936
Shards IV, from Shards, 1982 Ofset lithograph and screenprint in colors, on Arches Cover paper, the full sheet. Signed, dated and numbered 38/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, New York, framed. S. 39 3/4 x 45 1/4 in. (101 x 114.9 cm) Estimate $5,000-7,000 Literature Richard Axsom and Leah Kolb 147
Property from an Important Private Collection
235. Frank Stella
b. 1936
Juam, from Imaginary Places II, 1997 Relief, etching, aquatint, lithograph, screenprint, woodcut, and engraving in colors, on two sheets of TGL handmade paper and hand-colored paper (as issued), the full sheet. Signed, dated and numbered 6/40 in pencil (there were also 14 artist’s proofs), published by Tyler Graphics, Mount Kisco, New York (with their blindstamp), framed. S. 79 3/4 x 60 5/8 in. (202.6 x 154 cm) Estimate $9,000-12,000 Literature Richard Axsom and Leah Kolb 248
Property of an Important New York Collector
236. Frank Stella
b. 1936
Then Came a Dog and Bit the Cat, from Illustrations Afer El Lissitzsky’s Had Gadya, 1984 Lithograph, linocut and screenprint in colors with hand-coloring and collage, on T.H. Saunders and Somerset paper, the full sheet. Signed, dated and numbered 46/60 in pencil (there were also 10 artist’s proofs), published by Waddington Graphics, London, framed. S. 53 1/2 x 51 1/2 in. (135.9 x 130.8 cm) Estimate $7,000-10,000 Provenance The Harcus Gallery, Boston Literature Richard Axsom and Leah Kolb 173
237. Frank Stella
b. 1936
Bene come il sale, 1989 Relief-printed etching in colors, on TGL handmade paper, the full sheet. Signed, dated, and numbered 22/50 in pencil (there were also 18 artist’s proofs), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), pale foxing in places (primarily in the unprinted areas), the light orange attenuated, scattered sticking of the black inks to the plexi, framed. S. 77 1/4 x 58 1/2 in. (196.2 x 148.6 cm) Estimate $7,000-10,000 Literature Richard Axsom and Leah Kolb 184
238. Carmen Herrera
b. 1915
Rojo y Negro (Red and Black), 1993 Screenprint in red and black, on wove paper, with full margins. Signed, titled, dated and numbered 126/200 in pencil (there were also approximately 25 artist’s proofs), published by Miami Press, Florida, framed. I. 16 1/8 x 13 in. (41 x 33 cm) S. 22 x 19 in. (55.9 x 48.3 cm) Estimate $3,000-5,000
239. William T. Williams
b. 1974
Untitled, 1970 The complete set of four screenprints in colors, on Rives BFK paper, with full margins, all contained in the original heavy black wove paper folio with colophon. All signed and numbered 31/144 in pencil (there were also 9 hors commerce in Roman numerals), published by H.K.L., Ltd., Boston. all I. 16 x 11 5/8 in. (40.6 x 29.5 cm) all S. 23 3/8 x 17 5/8 in. (59.4 x 44.8 cm) Estimate $3,000-5,000
240. Ellsworth Kelly
1923-2015
Blue/Red-Orange/Green, 1970-1971 Lithograph in colors, on Arjomari paper, with full margins. Signed and numbered 32/64 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 32 x 12 in. (81.3 x 30.5 cm) S. 42 3/8 x 30 in. (107.6 x 76.2 cm) Estimate $5,000-7,000 Literature Gemini G.E.L. 266 Richard Axsom 75
241. Louise Nevelson
1899-1988
Six Pointed Star, 1980 Handmade cast paper relief, the full sheet. Signed, dated and numbered 30/90 in pencil, published by Pace Editions, Inc., New York, framed. I. 31 x 27 1/4 in. (78.7 x 69.2 cm) S. 40 3/8 x 34 3/8 in. (102.6 x 87.3 cm) Estimate $2,500-3,500 Provenance Medici-Berenson Gallery, Bay Harbor Islands, Florida
242. Sarah Morris
b. 1967
Pegasus (Origami), 2007 Ink and gouache drawing, on paper. Signed, titled and dated in pencil, framed. 21 x 21 in. (53.3 x 53.3 cm) Estimate $2,500-3,500 Provenance Galerie Max Hetzler, Berlin, Paris, London
243. 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. I. 9 x 9 in. (22.9 x 22.9 cm) S. 11 3/4 x 11 3/4 in. (29.8 x 29.8 cm) Estimate $2,000-3,000
244. Robert Mangold
b. 1937
IV, from Attic series I, 1991 Etching and aquatint in colors, on Somerset paper, with full margins. Signed, titled and numbered 36/60 in pencil (there were also 12 artist’s proofs), published by Parasol Press, New York, framed. I. 23 7/8 x 20 1/2 in. (60.6 x 52.1 cm) S. 32 x 36 in. (81.3 x 91.4 cm) Estimate $1,000-2,000 Literature Amy Baker Sandback 34.01.04 Senior & Shopmaker Gallery, Inc., New York 1991.01.04
245. Sol LeWitt
1928-2007
Loopy Doopy Box, 1999 Painted wood box multiple with copper lined interior base. Signed and numbered 17/17 in pencil on the underside, published by Barbara Krakow Gallery, Boston. 7 x 7 x 3 1/2 in. (17.8 x 17.8 x 8.9 cm) Estimate $2,500-3,500
246. Jonathan Lasker
b. 1948
D-156, 2007 Ink and graphite drawing on wove paper. Signed, titled and dated on the reverse, framed. 22 x 30 in. (55.9 x 76.2 cm) Estimate $2,000-3,000 Provenance Cheim & Read, New York
Property of an Important New York Collector
247. Richmond Burton
b. 1960
Frequent Flyer, 1998 Woodcut in colors, on handmade Japanese paper, with full margins. Signed, dated and numbered 1/25 in pencil, published by K5 Editions, New Paltz, New York, framed. I. 17 1/4 x 25 in. (43.8 x 63.5 cm) S. 24 x 31 5/8 in. (61 x 80.3 cm) Estimate $500-800
248. Jasper Johns
b. 1930
Figure 1, from 0-9, 1975 Etching with aquatint, on Barcham Green paper watermark ‘J. Johns’, with full margins. Signed, dated and numbered 95/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, London, framed. I. 2 1/2 x 2 1/4 in. (6.4 x 5.7 cm) S. 8 3/8 x 6 in. (21.3 x 15.2 cm) Estimate $2,000-3,000 Literature Universal Limited Art Editions 157
249. Jim Dine
b. 1935
Wall Chart I, 1974 Lithograph in colors, on wove paper, with full margins. Signed and numbered 69/75 in pencil (there were also 15 artist’s proofs), published by Petersburg Press, London, framed. I. 42 x 30 in. (106.7 x 76.2 cm) S. 48 1/4 x 35 in. (122.6 x 88.9 cm) Estimate $3,000-5,000 Literature Williams College 166
Property of an Important New York Collector
250. Jim Dine
b. 1935
Eight Hearts, 1969 Etching with hand-coloring, on Chrisbrook handmade paper, with full margins. Signed, dated and numbered 23/50 in pencil, framed. I. 13 3/4 x 21 5/8 in. (34.9 x 54.9 cm) S. 22 1/4 x 31 in. (56.5 x 78.7 cm) Estimate $2,500-3,500 Literature Gallery Mikro 60
251. Jim Dine
b. 1935
Printing Outdoors, 1980 Etching and electric tool abrasion with handcoloring, on Copperplate Deluxe paper, with full margins. Signed, dated and numbered 13/40 in pencil (there were also 10 artist’s proofs), published by Pace Editions, Inc., New York, framed. I. 28 x 21 3/4 in. (71.1 x 55.2 cm) S. 38 1/8 x 30 in. (96.8 x 76.2 cm) Estimate $2,000-4,000 Literature Ellen D’Oench and Jean Feinberg 65
252. Howard Hodgkin
1932-2017
Red Listening Ear, 1986 Intaglio print with carborundum and hand-coloring, on TH Saunders paper, the full sheet. Signed with initials, dated and numbered 22/100 (there were also 9 artist’s proofs), published by Bernard Jacobson Ltd, London, framed. S. 19 x 25 1/2 in. (48.3 x 64.8 cm) Estimate $2,000-4,000 Literature Liesbeth Heenk 74
253. Julian Schnabel
b. 1951
Harp, from the Lola series, 1984 Unique aquatint, on two panels of J.B. Martin Co. Spanish gold velvet, stretched over wood strainer. Signed and dated in burgundy paint on the reverse fold, one of fve unique variants (there were also 5 unique variant proofs), published by Parasol Press, Ltd., New York, framed. 72 x 48 in. (182.9 x 121.9 cm) Estimate $8,000-12,000
254. Donald Sultan
b. 1951
Mimosa, April 30, 2015, 2015 Screenprint in colors with focking, on museum board, the full sheet. Signed with initials, titled, dated and numbered 22/40 in pencil, published by Lococo Fine Art, St. Louis, framed. S. 50 1/2 x 59 1/2 in. (128.3 x 151.1 cm) Estimate $4,000-6,000
255. Bertrand Lavier
b. 1949
Untitled, 1986 Acrylic on mirror multiple, contained in the original artist’s frame. Signed, dated and numbered 42/60 in black marker on the reverse. F. 28 1/2 x 28 1/2 in. (72.4 x 72.4 cm) Estimate $2,000-3,000 254.
256. Elizabeth Murray
1940-2007
Untitled, 1985 Pastel drawing, on Rives BFK paper. Signed, titled and dated ‘Nov. 1985’ in pencil on the reverse, framed. S. 44 1/2 x 30 1/4 in. (113 x 76.8 cm) Estimate $2,000-3,000 Provenance Barbara Krakow Gallery, Boston Susanne Hilberry Gallery, Brimingham, Michigan
255.
256.
257. 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 ‘A.P.’ in pencil (one of 15 artist’s proofs, the edition was 250), published by Parasol Press, Ltd., New York. 29 5/8 x 21 1/4 x 1 1/2 in. (75.2 x 54 x 3.8 cm) Estimate $8,000-12,000 Literature John Arthur pp. 121-123
Including Manhattan; Flughafen (Airport); Cafeteria; Vatican; Subway; Bus Interior; Eifel Tower Restaurant; Movies; and Lakewood Mall
258. Richard Estes
b. 1932
Holland Hotel, 1980 Screenprint in colors, on Rives BFK paper, with full margins. Signed and annotated 97/100 in gold ink (there were also 15 artist’s proofs), published by Parasol Press, Ltd., New York, unframed. I. 45 1/2 x 72 in. (115.6 x 182.9 cm) S. 46 1/2 x 76 in. (118.1 x 193 cm) Estimate $10,000-15,000 Literature John Arthur p. 127
259.
Property of an Important New York Collector
259. Jennifer Bartlett
b. 1941
Graceland Mansion, 1979 Drypoint, aquatint, screenprint, woodcut and lithograph in colors, on fve panels of J. Green Cold Press and Rives BFK paper, the full sheets. Signed, titled, dated and numbered 17/40 in pencil on the reverse across all fve panels (there were also 8 artist’s proofs), co-published by Brooke Alexander, Inc. and Paula Cooper Gallery, New York, framed together. overall 24 x 120 in. (61 x 304.8 cm)
260. Robert Cottingham
261. Robert Cottingham
b. 1935
An American Alphabet: C, 2010 Lithograph in colors, on wove paper, with full margins. Signed and numbered 32/40 in pencil, published by Tandem Press, Madison, Wisconsin, unframed. I. 24 x 18 1/2 in. (61 x 47 cm) S. 31 x 24 1/2 in. (78.7 x 62.2 cm)
An American Alphabet: S, 2007 Lithograph in colors, on wove paper, with full margins. Signed and numbered 39/50 in pencil, published by Tandem Press, Madison, Wisconsin, unframed. I. 24 x 17 3/8 in. (61 x 44.1 cm) S. 30 5/8 x 23 3/8 in. (77.8 x 59.4 cm)
Estimate $1,500-2,500
Estimate $1,500-2,500
Estimate $5,000-7,000
260.
b. 1935
Property of an Important New York Collector
261.
This lot is to be Sold with No Reserve
262. Friedrich Meckseper
1936-2019
Still Life, 1974 Etching and aquatint, on wove paper, with full margins. Signed, dated and numbered 221/500 in pencil, published by Fischer Fine Art Ltd., London, framed. I. 4 x 5 in. (10.2 x 12.7 cm) S. 10 1/2 x 7 5/8 in. (26.7 x 19.4 cm) Estimate $300-500 • Literature Pierre Crettenand 166
263. Chuck Close
264. Chuck Close
b. 1940
Phil/Fingerprint, 1981 Lithograph, on Kuratani Kozo Special Japanese paper, with full margins. Signed, titled, dated and numbered 22/36 in pencil (there were also 7 artist’s proofs), published by Pace Editions Inc., New York (with the artist’s blindstamp), framed. I. 43 x 31 3/4 in. (109.2 x 80.6 cm) S. 50 1/4 x 38 in. (127.6 x 96.5 cm)
b. 1940
Self Portrait I, 1997 Linocut, on wove paper, with full margins. Signed, titled, dated and numbered 34/70 in pencil (there were also 25 artist’s proofs), published by Pace Editions Inc., New York, framed. I. 11 3/4 x 9 in. (29.8 x 22.9 cm) S. 24 x 18 in. (61 x 45.7 cm)
262.
Estimate $1,500-2,500
Estimate $5,000-7,000
263.
264.
265. David Hockney
b. 1937
The Old Guitarist, plate 2, from The Blue Guitar, 1976-77 Etching and aquatint in colors, on Inveresk paper, with full margins. Signed and numbered 197/200 in pencil (there were also 35 artist’s proofs), published by Petersburg Press, London, framed. I. 16 7/8 x 13 3/4 in. (42.9 x 34.9 cm) S. 20 1/2 x 17 7/8 in. (52.1 x 45.4 cm) Estimate $6,000-9,000 Literature Scottish Arts Council 200 Museum of Contemporary Art, Tokyo 179
266. David Hockney
b. 1937
Complete Prints: Galerie Mikro Berlin, 1968 Ofset lithograph, on wove paper, the full sheet. Signed in pencil, unframed. S. 32 5/8 x 23 3/8 in. (82.9 x 59.4 cm) Estimate $600-900 265.
267. David Hockney
b. 1937
A Bigger Book, Art Edition C, 2010/2016 iPad drawing in colors, printed on archival paper, with full margins, with the illustrated 680-page chronology book, original print portfolio and adjustable book stand designed by Marc Newson, contained in original cardboard box with label stamp-numbered ‘0542’. iPad drawing signed, dated and numbered 42/250 in pencil, the book signed in black ink on the title page (one of four editions of 250 lettered A-D, there was also an edition of 10,000 without an iPad drawing), published by the artist (with their blindstamp) and Taschen, Berlin, the iPad drawing framed. I. 17 1/4 x 13 in. (43.8 x 33 cm) S. 22 x 17 in. (55.9 x 43.2 cm) book. 28 x 20 x 3 1/2 in. (71.1 x 50.8 x 8.9 cm) Estimate $5,000-7,000
266.
267.
268. Ed Ruscha
b. 1937
Vine/Melrose, 1999 Lithograph in colors, on Rives BFK paper, the full sheet. Signed, dated and numbered 2/60 in pencil, published by Parkett Editions, Zurich and New York, framed. S. 22 1/4 x 30 1/8 in. (56.5 x 76.5 cm) Estimate $4,000-6,000 Literature Edition for Parkett 55
269. Ed Ruscha
b. 1937
Jockey, 1988 Aquatint, on Somerset paper, with full margins. Signed, dated and numbered 19/20 in pencil (there were also 10 artist’s proofs), published by Crownpoint Press, San Francisco (with their blindstamp), framed. I. 29 5/8 x 17 3/4 in. (75.2 x 45.1 cm) S. 39 3/4 x 27 in. (101 x 68.6 cm)
268.
Estimate $3,000-5,000 Literature Siri Engberg 161
270. Ed Ruscha
b. 1937
America Whistles, 1976 Lithograph in colors, on Arches paper, the full sheet. Signed, dated and numbered 145/200 in pencil (there were also 25 artist’s proofs), published by APC Editions, New York, framed. S. 30 x 22 1/4 in. (76.2 x 56.5 cm) Estimate $2,000-3,000 Literature Siri Engberg 84
269.
270.
271. Francis Bacon
1909-1992
Logique de la sensation (afer Study from the Human Body 1981), 1981 Lithograph in colors, on wove paper, the full sheet. Signed and numbered 35/150 in pencil (there were also 25 in Roman numerals), printed by Arts Litho (with their blindstamp), published by Éditions de la DifÊrence, Paris, framed. S. 17 5/8 x 12 7/8 in. (44.8 x 32.7 cm) Estimate $8,000-12,000 Literature Juan Sabatier 28
272. Cecily Brown
b. 1969
Untitled, 2002 Monoprint in colors, on wove paper, the full sheet. Signed, dated and numbered 14/25 in pencil, framed. S. 19 3/4 x 23 3/4 in. (50.2 x 60.3 cm) Estimate $2,000-4,000
273. John Cage
1912-1992
Variations II, 1991 Uniquely branded and smoked Roma Guido Reni paper, the full sheet. Signed, titled, dated and numbered ‘AP 16’ in pencil (one of 16 unique artist’s proofs, the edition was 36 unique variants), published by Crown Point Press, San Francisco (with their blindstamp), framed. S. 26 x 19 in. (66 x 48.3 cm) Estimate $3,000-5,000
274. Franz West
1947-2012
Ottoman (Die Otomane), 2005 Steel rebar, foam and linen. Incised ‘FW EK’ and numbered 83/100 on one of the legs, produced by Galerie Elisabeth & Klaus Thoman, Innsbruck. 16 1/2 x 32 x 32 in. (41.9 x 81.3 x 81.3 cm) Estimate $10,000-15,000
275. Robert Rauschenberg
1925-2008
Cardbird IV, from Cardbird series, 1971 Collage print with corrugated cardboard, tape, photo ofset lithograph, and screenprint. Signed, dated and numbered 53/75 in black ink on the reverse (there were also 6 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their inkstamp on the reverse), unframed. 39 x 39 in. (99.1 x 99.1 cm) Estimate $2,500-3,500 Literature Gemini G.E.L. 306
275.
276.
277.
276. Robert Rauschenberg
1925-2008
277. Robert Rauschenberg
1925-2008
Urban; and Suburban, 1962 Two lithographs, on Rives BFK paper, with full margins. Both signed, dated, Urban numbered 12/38 and Suburban annotated ‘Artist’s Proof’ in pencil (the edition was 25), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), one framed. Urban I. 30 x 22 1/2 in. (76.2 x 57.2 cm) S. 41 x 29 1/2 in. (104.1 x 74.9 cm) Suburban I. 29 x 19 1/2 in. (73.7 x 49.5 cm) S. 41 3/8 x 29 1/2 in. (105.1 x 74.9 cm)
Tides; Drifs; and Gulf, 1969 Three lithographs in colors, on German Copperplate paper, the fullsheets. All signed, dated and numbered 4/28, 26/35 and 24/31 respectively (there were also 5 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), all framed. all S. 42 1/8 x 30 1/8 in. (107 x 76.5 cm)
Estimate $8,000-12,000
Literature Universal Limited Art Editions 38, 39 and 40 Edward Foster 68, 69 and 70
Literature Universal Limited Art Editions 3 and 4 Edward Foster 6 and 7
Estimate $7,000-10,000
278. Robert Rauschenberg
1925-2008
Sub-Total, from Stoned Moon Series, 1970 Lithograph in colors, on Rives BFK paper, the full sheet. Signed, dated and numbered 23/500 in pencil (there were also 25 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. S. 8 3/8 x 12 1/2 in. (21.3 x 31.8 cm) Estimate $900-1,200 Provenance Private Collection, Minneapolis Literature Gemini G.E.L. 429
This lot is to be Sold with No Reserve
279. Robert Rauschenberg
1925-2008
Visual Autobiography, 1968 The complete set of three ofset lithographs, on wove paper, the full sheets. Circle of Words signed with initials and dated in pencil, all stampnumbered 125 on the reverse (from the edition of 2,000), published by Broadside Art, Inc., New York (with their inkstamp), all unframed. all S. 66 x 48 5/8 in. (167.6 x 123.5 cm) Estimate $1,000-2,000 • Literature Edward Foster 60
Including X-Ray; Circle of Words; and Dance
280. Robert Rauschenberg
1925-2008
Features 73, from Currents, 1970 Screenprint in colors, on Aqua B 844 paper, with full margins. Signed, dated and numbered 4/50 in pencil (there were also 4 artist’s proofs), copublished by Dayton Gallery 12, Minneapolis and Leo Castelli Graphics, New York, framed. I. 35 x 35 in. (88.9 x 88.9 cm) S. 40 x 40 in. (101.6 x 101.6 cm) Estimate $800-1,200 Literature Edward Foster 144
281. Robert Rauschenberg
1925-2008
Etching I; Etching II; Etching III; and Etching VI, from The Razorback Bunch, 1980-83 Four photoetchings in colors, on various papers, the full sheet and with full margins. All signed, dated and numbered 7/24, 16/24, 16/26 and 2/24 in pencil respectively (there were also 5 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (all with their blindstamp), three framed. smallest S. 29 3/8 x 22 in. (74.6 x 55.9 cm) largest S. 47 3/4 x 31 1/2 in. (121.3 x 80 cm) Estimate $5,000-7,000 Literature Universal Limited Art Editions 106, 107 and 108
This series was created from Rauschenberg’s own photographs—some of which were used for the set of Trisha Brown Dance Company’s Glacial Decoy (1979)—largely taken in Mexico and Florida.
282. Robert Rauschenberg
1925-2008
Street Sounds West, 1993 Photogravure in colors with Chine collé, on Gampi paper, with full margins. Signed dated and numbered 17/37 in pencil, published by Universal Limited Art Editions, West Islip, New York, framed. I. 54 3/4 x 33 1/4 in. (139.1 x 84.5 cm) S. 56 1/8 x 34 7/8 in. (142.6 x 88.6 cm) Estimate $3,000-5,000
283. Robert Rauschenberg
1925-2008
Cinema (Tribute 21), 1994 Lithograph in colors, on wove paper, the full sheet. Signed, dated and numbered 50/50 in pencil (there were also 20 artist’s proofs), co-published by Felissimo Corporation, Tokyo and Universal Limited Art Editions, West Islip, New York, framed. S. 41 x 27 in. (104.1 x 68.6 cm) Estimate $1,500-2,500
Provenance Private Collection, New York
“Photography has always been a major
284. Robert Rauschenberg
1925-2008
Art (Tribute 21), 1994 Ofset lithograph in colors, on Arches Infnity paper, the full sheet. Signed, dated and numbered 50/50 in pencil (there were also 20 artist’s proofs), published by Felissimo Corporation, New York (with their blindstamp), framed. S. 41 x 27 in. (104.1 x 68.6 cm) Estimate $1,500-2,500
285. Robert Rauschenberg
1925-2008
Untitled, from Horchow Portfolio, 1972 Ofset lithograph in colors, on Arches paper, with full margins. Signed, dated and numbered 92/150 in pencil (there were also 15 artist’s proofs), published by Styria Studio, New York (with their blindstamp), framed. I. 38 3/4 x 28 in. (98.4 x 71.1 cm) S. 40 x 29 5/8 in. (101.6 x 75.2 cm) Estimate $1,500-2,500
part of my vision: my excuse for meddling with what the world looks like.”
286. Martin Puryear
b. 1941
Untitled, from MoCA portfolio, 1999 Etching and aquatint, with Chine collé to Rives BFK paper, with full margins. Signed and numbered 54/80 in pencil (there were also 12 artist’s proofs), co-published by Museum of Contemporary Art, Los Angeles and Lapis Press, Culver City, California, unframed. I. 23 7/8 x 17 3/4 in. (60.6 x 45.1 cm) S. 30 x 21 3/4 in. (76.2 x 55.2 cm) Estimate $4,000-6,000 Provenance Melva Bucksbaum
287. Robert Gober
b. 1954
Hanging Man/Sleeping Man, 1989 Screenprint in colors, on wallpaper. Framed. S. 52 1/4 x 29 3/4 in. (132.7 x 75.6 cm) Estimate $2,000-3,000 Literature Museum of Modern Art, New York, Robert Gober: The Heart Is Not a Metaphor, October 4, 2014–January 18, 2015, p. 20 (another example exhibited and illustrated).
288. Robert Gober
b. 1954
Untitled (Special Edition for Parkett No. 27), 1991 Photolithograph on newsprint, printed on both sides, with hand-torn edges, the full sheet. Signed, dated, and numbered 1/75 in pencil (there were also 25 artist’s proofs in Roman numerals), published by Parkett Editions, New York and Zurich framed. S. 22 1/4 x 14 in. (56.5 x 35.6 cm) Estimate $1,500-2,500 Literature Edition for Parkett 27
289. Richard Serra
b. 1938
Videy Afangar #9, 1991 Etching, on Hahnemühle German etching paper, with full margins. Signed, dated and numbered 56/75 in pencil (there were also 20 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 6 x 4 1/2 in. (15.2 x 11.4 cm) S. 10 1/2 x 13 1/2 in. (26.7 x 34.3 cm) Estimate $2,500-3,500 Literature Gemini G.E.L. 1518 Silke von Berswordt-Wallrabe 72
290. Bruce Nauman
b. 1941
Learned Helplessness In Rats: and I Learned Helplessness From Rats, 1988 One etching and one etching with drypoint, on Somerset Satin paper, with full margins. Both signed, dated and numbered 23/35 in pencil (there were also 10 artist’s proofs), published by Brooke Alexander Editions, New York, both framed. both I. 9 x 11 7/8 in. (22.9 x 30.2 cm) both S. 15 1/2 x 17 3/4 in. (39.4 x 45.1 cm) Estimate $7,000-10,000 Literature Christopher Cordes 60 and 61
291. Bruce Nauman
b. 1941
M. Ampere, 1973 Lithograph, on Rives BFK paper, with full margins. Signed, dated and numbered 15/50 in pencil (there were also 10 artist’s proofs), published by Cirrus Editions, Los Angeles (with their blindstamp), unframed. I. 30 1/4 x 44 1/8 in. (76.8 x 112.1 cm) S. 31 1/8 x 45 1/8 in. (79.1 x 114.6 cm) Estimate $3,000-5,000 Literature Christopher Cordes 21
292. Bruce Nauman
b. 1941
Untitled, 1973 Aquatint and drypoint, on Rives BFK paper, with full margins. Signed, dated and annotated ‘A/P’ in pencil (one of 5 artist’s proofs, the edition was 25), published by Cirrus Editions, Los Angeles (with their blindstamp), unframed. I. 29 1/2 x 20 7/8 in. (74.9 x 53 cm) S. 36 1/8 x 27 1/2 in. (91.8 x 69.9 cm) Estimate $1,000-1,500 Exhibited Christopher Cordes 19
293. Susan Rothenberg
b. 1945
Listening Bamboo, 1989-90 Monumental woodcut, on Japanese paper, with full margins. Signed, dated and numbered 5/23 in pencil (there were also 8 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed. I. 42 x 65 3/4 in. (106.7 x 167 cm) S. 54 1/2 x 84 in. (138.4 x 213.4 cm) Estimate $1,000-2,000
294. Raymond Pettibon
b. 1957
Untitled (When the Ground Becomes Hard and Firm), 2002 Etching and aquatint with hand-coloring, on Rives BFK paper, with full margins. Signed, dated and annotated ‘BAT’ in pencil (the good-to-print impression, the edition was 30 without hand-coloring, there were also approximately 7 artist’s proofs), published by GEM, Museum of Contemporary Art, The Hague, unframed. I. 15 7/8 x 12 3/8 in. (40.3 x 31.4 cm) S. 29 3/4 x 22 1/4 in. (75.6 x 56.5 cm) Estimate $5,000-7,000
295. Raymond Pettibon
b. 1957
Thinking of You, 1998 Drawing in watercolors, bound (as issued). Signed and dated in pencil, a special limited edition apart from the edition of 2000, published by The Renaissance Society at The University of Chicago on the occasion of the artist’s museum exhibition. 12 1/4 x 9 1/4 x 1 in. (31.1 x 23.5 x 2.5 cm) Estimate $2,000-3,000
296. Raymond Pettibon
b. 1957
Untitled, 1991 Ink and watercolor drawing on Cranes Distaf Linen paper. Signed and dated in black ball-point pen on the reverse, unframed. S. 22 x 17 in. (55.9 x 43.2 cm) Estimate $8,000-12,000
297. Louise Bourgeois
1911-2010
Baby and Butterfy, State II, 2007 Drypoint, engraving and collaged cloth in colors, on smooth wove Whatman paper, with full margins. Signed and numbered 14/15 in pencil and dated on the reverse (there were also 4 artist’s proofs), published by Harlan & Weaver, New York, framed. I. 7 x 5 3/4 in. (17.8 x 14.6 cm) S. 12 1/8 x 9 5/8 in. (30.8 x 24.4 cm) Estimate $4,000-6,000 Literature Museum of Modern Art Cat. No 223/II
298. Louise Bourgeois
1911-2010
I Love You, 2007 Drypoint and etching in red, on gampi paper Chine collé to handmade Twinrocker paper, with full margins. Signed with initials, dated, inscribed ‘To Paul 2007.’ and numbered 124/175 in pencil (there were also 25 artist’s proofs), published by the artist, unframed. I. 7 x 5 in. (17.8 x 12.7 cm) S. 12 x 9 1/4 in. (30.5 x 23.5 cm) Estimate $4,000-6,000 Literature Museum of Modern Art Cat. No. 1139
299. Louise Bourgeois
1911-2010
I Do, 2010 Digital print in colors, on fabric. With stitched initials in red thread, red printed title and numbered 188/300 in pencil (there were also 35 artist’s proofs), published by the artist in support of For Freedom To Marry, New York, framed. 16 x 12 in. (40.6 x 30.5 cm) Estimate $3,000-5,000 Literature Museum of Modern Art Cat. No. 226
300. Louise Bourgeois
1911-2010
I’ve Been to Hell and Back (Pink Edition), 1996 Machine embroidery on cotton. Printed signature and numbered 513/1000 in black ink, with the artist’s copyright stamp, published by Tate, London, framed. S. 11 3/4 x 11 1/2 in. (29.8 x 29.2 cm) Estimate $1,000-1,500
301. Louise Bourgeois
1911-2010
He Disappeared into Complete Silence: Untitled (Ceiling Floating), alternative plate, 1946-47 Unique engraving and drypoint, on smooth wove paper, with full margins. Inscribed ‘Plate’ in pencil by the artist, state V (of VI), one of six unpublished proofs printed by the artist at Atelier 17, New York, an alternative and additional plate not included in the 1947 version of the illustrated book, framed. I. 7 x 5 in. (17.8 x 12.7 cm) S. 10 x 6 5/8 in. (25.4 x 16.8 cm) Estimate $10,000-15,000 Literature Museum of Modern Art Cat. No. 998.1/V (illustrated)
302. Nancy Spero
1926-2009
Gorgon and Runner, 1995 Unique woodcut and collage with hand-coloring, on wove paper, the full sheet. Signed, titled and dated in pencil, framed. S. 19 5/8 x 24 1/2 in. (49.8 x 62.2 cm) Estimate $3,000-5,000
303. Kiki Smith
b. 1954
Puppet, 1993-94 Photgravure with collaged etching, aquatints and string additions in colors. Signed, dated and numbered 17/35, published by Universal Limited Art Editions, West Islip, New York, framed. I. 54 x 23 1/2 in. (137.2 x 59.7 cm) S. 58 x 29 in. (147.3 x 73.7 cm) Estimate $4,000-6,000 Provenance Private Collection, New York
304. Andy Warhol
1928-1987
305. Andy Warhol
1928-1987
Fellatio, 1978 Screenprint, on HMP paper, the full sheet. Signed and numbered 26/30 in pencil (there were also 4 artist’s proofs), published by Andy Warhol Enterprises, Inc., New York (with their inkstamp on the reverse), framed. S. 31 1/4 x 23 1/4 in. (79.4 x 59.1 cm)
Merce Cunningham I, from Cunningham I, 1974 Screenprint, on Japanese gif wrapping paper, the full sheet. Signed and numbered 42/100 in pencil on the reverse (there were also 30 artist’s proofs), published by Castelli Graphics and Multiples, Inc., New York, framed. S. 30 x 20 in. (76.2 x 50.8 cm)
Estimate $5,000-7,000
Estimate $5,000-7,000
Literature Frayda Feldman and Jörg Schellmann 178
Literature Frayda Feldman and Jörg Schellmann 124
306. Andy Warhol
1928-1987
Electric Chair, 1971 Screenprint in colors, on wove paper, the full sheet. Signed and dated in black ball-point pen and stampnumbered ‘A.p. XIV/L’ on the reverse (an artist’s proof, the edition was 250), published by Bruno Bischoferger, Zurich (with their and the printer’s copyright inkstamps on the reverse), framed. S. 35 1/2 x 47 7/8 in. (90.2 x 121.6 cm) Estimate $8,000-12,000 Literature Frayda Feldman and Jörg Schellmann 76
307. Andy Warhol
1928-1987
Mao (wallpaper): two panels, 1974 Two sheets of wallpaper. Both from the unlimited edition (Feldman and Schellmann call for 100 signed copies), published by Factory Additions, New York for an Andy Warhol exhibition at the Musée Galliera, Paris, both unframed. one S. 59 1/2 x 29 1/2 in. (151.1 x 74.9 cm) one S. 60 1/4 x 29 1/2 in. (153 x 74.9 cm) Estimate $3,000-5,000 Literature Frayda Feldman and Jörg Schellmann 125A
308. Andy Warhol
1928-1987
Happy Butterfy Day, 1955 Ofset lithograph with hand-coloring, on laid paper, with full margins (folded as issued). With the ‘Estate of Andy Warhol’ and ‘The Andy Warhol Foundation for the Visual Arts, Inc.’ inkstamps on the reverse (slightly faded). I. 11 x 16 1/2 in. (27.9 x 41.9 cm) S. 13 x 18 in. (33 x 45.7 cm) Estimate $6,000-8,000
309. Andy Warhol
1928-1987
25 Cats Name(d) Sam and One Blue (Pussy) book: two plates and colophon page, 1954 Three lithographs, two with extensive hand-coloring and one colophon page, on laid paper, the sheets trimmed along the lef sheet edge. The colophon and brown cat with the ‘Estate of Andy Warhol’ and the ‘Andy Warhol Foundation for the Visual Arts’ inkstamps and annotated ‘PM06.0339’ and ‘PM06.0365’ in pencil on the reverse, olive cat with the ‘Andy Warhol Art Authentication Board Inc.’ inkstamp and annotated ‘A147.111’ in pencil on the reverse, all unframed. all S. approximately 8 7/8 x 5 7/8 in. (22.5 x 14.9 cm) Estimate $5,000-7,000 Literature Frayda Feldman and Jörg Schellmann IV.66B-67B
310. Andy Warhol
1928-1987
Christmas Tree, 1957 Ofset lithograph Christmas card in gold and black, on wove paper, folded (as issued). Signed in black ink and inscribed ‘Merry Christmas’ on the inside, with the ‘The Estate of Andy Warhol’ and ‘The Andy Warhol Foundation for the Visual Arts, Inc.’ inkstamps on the reverse, framed. unfolded 12 7/8 x 19 3/8 in. (32.7 x 49.2 cm) folded 12 7/8 x 9 7/8 in. (32.7 x 25.1 cm) Estimate $5,000-7,000 Literature see Jesse Kornbluth, Pre-Pop Warhol, pp. 164-5
This Christmas Tree was used as the image for a Tifany’s Christmas card, and as Andy Warhol’s invitation to his “Golden Pictures Show” at Bodley Gallery, New York, 1957. A special edition of the lithograph was signed and has ‘Merry Christmas’ in Warhol’s signature loopy handwriting on the inside, originally copied from his beloved mother’s own hand.
311. Andy Warhol
1928-1987
Burnished Kid, from the Wonderful World of Fleming-Jofe, circa 1960 Lithograph, on wove paper, the full sheet. With the Andy Warhol Authentication stamp (faded) and annotated ‘A148.1010’ in pencil on the reverse, unframed. S. 19 3/4 x 14 1/2 in. (50.2 x 36.8 cm) Estimate $1,000-2,000 Literature Jesse Kornbluth, Pre-Pop Warhol, pp. 91-3 (not illustrated)
312. Andy Warhol
1928-1987
Campbell’s Soup Can (Tomato), 1966 Screenprint in colors, on a wove paper shopping bag, folded as issued. From the unlimited edition (an unknown number were signed), published by the Institute of Contemporary Art, Boston, framed. I. 16 1/2 x 9 1/2 in. (41.9 x 24.1 cm) S. with handles 24 x 17 in. (61 x 43.2 cm) Estimate $1,000-2,000 Literature Frayda Feldman and JÜrg Schellmann 4A
313. Andy Warhol
1928-1987
Marilyn (Invitation), 1981 Ofset lithograph in colors, on wove paper, the full sheet (folded as issued). Signed in black ink, published by Castelli Gallery, New York, on the occasion of the exhibition Andy Warhol, A Print Retrospective, framed. unfolded 7 x 14 in. (17.8 x 35.6 cm) folded 7 x 7 in. (17.8 x 17.8 cm) Estimate $5,000-7,000
314. Various Artists X + X (Ten Works by Ten Painters), 1964 The set of ten screenprints in colors, one with die-cut and one with collage in colors, on Mohawk Superfne Cover paper (Lichtenstein on clear Mylar), with full margins, lacking the portfolio and nine of the paper folios with artist’s names. Numbered 386/500 in black ink on the justifcation (there were also 10 artist’s proofs), published by Wadsworth Atheneum, Hartford, Connecticut, all unframed. all I. various sizes all S. 24 x 20 in. (61 x 50.8 cm) (vertical and horizontal) Estimate $10,000-15,000 Literature Richard Axsom App. 1A (Stella); Frayda Feldman and Jörg Schellmann II.3 (Warhol); Mary Lee Corlett 35 (Lichtenstein); Richard Axsom 2 (Kelly); Joan Banach 5 (Motherwell); Susan Sheehan 33 (Indiana); and Sylvan Cole 27 (Davis)
Including Frank Stella, Untitled (Rabat); Andy Warhol, Birmingham Race Riot; Roy Lichtenstein, Sandwich and Soda; Ellsworth Kelly, Red Blue; Robert Motherwell, Untitled; Robert Indiana, Eternal Hexagon; Stuart Davis, Untitled; George Ortman, Untitled; Ad Reinhardt, Untitled; and Larry Poons, Untitled.
315. Various Artists 11 Pop Artists Vol. II: 8 plates, 1965 Eight screenprints in colors, six on wove paper, one on Plexiglas and one with diecut Mylar, the full sheets and with full margins, lacking Roy Lichtenstein Reverie, Andy Warhol Jacqueline Kennedy II, Tom Wesselmann, Nude and the original cloth-covered portfolio. All signed and numbered 49/200, fve dated, two with incised signature and number, the rest in pencil (there were also 50 artist’s proofs) published by Original Editions, New York, all unframed. all I. various sizes all S. 30 x 24 in. (76.2 x 61 cm) Estimate $4,000-6,000
Including: Allan D’Arcangelo, Landscape II; Jim Dine, Throat; Allen Jones, For the Lips (Pour les Lèvres); Gerald Laing, Slide; Peter Phillips, Custom Print II; Mel Ramos, Tobacco Rose; James Rosenquist, Whipped Butter for Eugen Ruchin; and John Wesley, Bird Lady
316. Wayne Thiebaud
b. 1920
Triangle, from Seven Still Lifes and Silver Landscape, 1971 Aquatint in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 22/50 in pencil (there were also 10 artist’s proofs), published by Parasol Press, Ltd., New York, framed. I. 22 x 17 5/8 in. (55.9 x 44.8 cm) S. 29 3/4 x 22 in. (75.6 x 55.9 cm) Estimate $5,000-7,000
317. Wayne Thiebaud
b. 1920
Toy Counter, from Seven Still Lifes and a Rabbit, 1971 Screenprint in colors, on Arches paper, with full margins. Signed, dated and numbered 8/50 in pencil (there were also some artist’s proofs), published by Parasol Press, New York, unframed. I. 18 x 24 in. (45.7 x 61 cm) S. 22 1/2 x 30 in. (57.2 x 76.2 cm) Estimate $7,000-10,000
318. Wayne Thiebaud
b. 1920
Delicatessen, from Delights, 1964 Aquatint, on Rives BFK paper, with margins, trimmed at the lef sheet edge. Signed, titled, dated and numbered 59/100 in pencil (there were also some artist’s proofs), published by Crown Point Press, Berkeley, framed. I. 4 7/8 x 4 7/8 in. (12.4 x 12.4 cm) S. 12 7/8 x 10 7/8 in. (32.7 x 27.6 cm) Estimate $2,500-3,500
319. Wayne Thiebaud
b. 1920
Olives, from Delights, 1964 Etching and aquatint, on Rives BFK paper, trimmed at the lef sheet edge. Signed, titled, dated and numbered 59/100 in pencil (there were also some artist’s proofs), published by Crown Point Press, Berkeley, framed. I. 3 x 4 in. (7.6 x 10.2 cm) S. 12 7/8 x 10 3/4 in. (32.7 x 27.3 cm) Estimate $2,500-3,500
320. Wayne Thiebaud
b. 1920
Fish, from Delights, 1964 Drypoint, on Rives BFK paper, with margins, trimmed at the lef sheet edge. Signed, titled, dated and numbered 59/100 in pencil (there were also some artist’s proofs), published by Crown Point Press, Berkeley, framed. I. 4 x 4 in. (10.2 x 10.2 cm) S. 12 7/8 x 10 7/8 in. (32.7 x 27.6 cm) Estimate $2,500-3,500
321. Donald Baechler
b. 1956
Chocolate Cone, 2007 Screenprint in colors, on wove paper, the full sheet. Signed, dated, annotated ‘BAT’ in pencil (the goodto-print impression, the edition was 69 and 15 artist’s proofs) with additional annotations, published by Pace Editions, Inc., New York, framed. S. 58 x 40 1/4 in. (147.3 x 102.2 cm) Estimate $2,800-3,500
322. Mimmo Rotella
1918-2006
Marilyn - La Storia di una delle donne piu belle, 1991 Screenprint in colors with torn paper collage, on wove paper, the full sheet. Signed and numbered ‘I/XX’ in pencil (an artist’s proof, the edition was 80), additionally signed and dated on the reverse, unframed. S. 38 7/8 x 29 3/8 in. (98.7 x 74.6 cm) Estimate $800-1,200
323. Tom Wesselmann
1931-2004
Look at Wesselmann, Nude with Still Life, 1968 Screenprint in colors, on heavy wove paper, with full margins. Signed in pencil, published by Galerie Thomas, Munich on the occasion of the exhibition Look at Wesselmann, framed. I. 23 x 27 1/2 in. (58.4 x 69.9 cm) S. 25 x 32 in. (63.5 x 81.3 cm) Estimate $5,000-7,000
324.
324. Mel Ramos
1935-2018
Cacciucco Coco Pazzo New York City, 1999 Six porcelain bowls with ofset lithography printing. All with printed signature and numbered 26/100, 27/100, 29/100, 30/100, 38/100 and 99/100 on the underside, published by Buon Ricordo America Inc., New York. diameter 10 in. (25.4 cm) Estimate $2,000-3,000
325. John Wesley
b. 1928
Maiden, from 11 Pop Artists, Volume I, 1965 Screenprint in colors, on wove paper, the full sheet. Signed, dated and numbered ‘XLIII’ in pencil (one of 50 artist’s proofs, the edition was 200), published by Original Editions, New York, unframed. S. 23 7/8 x 20 in. (60.6 x 50.8 cm)
325.
Estimate $800-1,200
326. Mario Testino
b. 1954
Kate Moss, London, 2006 Chromogenic print, on Fujifex Crystal Archive Supergloss paper, with full margins, contained in the original black cardboard portfolio. Signed and numbered 33/175 in black ink on a label afxed to the reverse (there were also 25 artist’s proofs), published by Counter Editions, London, framed. I. 16 1/2 x 23 in. (41.9 x 58.4 cm) S. 20 x 23 7/8 in. (50.8 x 60.6 cm) Estimate $3,000-5,000
326.
327. Roy Lichtenstein
1923-1997
Bicentennial Print, from America: The Third Century, 1975 Lithograph and screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 79/200 in pencil (there were also 25 artist’s proofs), published by APC Editions, New York, framed. I. 25 x 17 7/8 in. (63.5 x 45.4 cm) S. 30 x 22 1/4 in. (76.2 x 56.5 cm) Estimate $7,000-9,000 Literature Mary Lee Corlett 136
328. Roy Lichtenstein
1923-1997
Dancing Figures, from American Indian Theme, 1980 Etching, aquatint and engraving in colors, on Lana paper, with full margins. Signed, dated and numbered 30/32 in pencil (there were also 12 artist’s proofs), published by Tyler Graphics Ltd., Mount Kisco, New York (with their blindstamp), framed. I. 11 1/2 x 10 1/2 in. (29.2 x 26.7 cm) S. 25 x 22 1/4 in. (63.5 x 56.5 cm) Estimate $7,000-9,000 Literature Tyler Graphics 356 Mary Lee Corlett 171
329. Roy Lichtenstein
1923-1997
Figure with Teepee, from American Indian Theme, 1980 Etching and engraving in colors, on Lana paper, with full margins. Signed, dated and numbered ‘AP 10/12’ in pencil (an artist’s proof, the edition was 32), published by Tyler Graphics Ltd., Bedford Village, New York, framed. I. 10 5/8 x 9 in. (27 x 22.9 cm) S. 24 1/4 x 20 3/4 in. (61.6 x 52.7 cm) Estimate $2,500-3,500 Literature Tyler Graphics 353 Mary Lee Corlett 167
330. Jim Nutt
b. 1938
Who Chicago?; and I Have Been Waiting!, 1980 Lithograph in black and light gray, on buf wove paper, the full sheet with accompanying specially bound Who Chicago? exhibition catalogue and cloth-covered portfolio with screenprinted text. Signed, titled and numbered 45/125 in pencil on the reverse of the print (there were also 5 artist’s proofs), published by Four Brothers Press, Chicago (with their inkstamp on the reverse). S. 7 5/8 x 7 1/2 in. (19.4 x 19.1 cm) Portfolio 9 3/8 x 9 3/8 x 1 1/2 in. (23.8 x 23.8 x 3.8 cm) Estimate $1,500-2,500 Literature Dennis Adrian and Richard H. Born 204 and 205
331. Jim Nutt
b. 1938
Tack, 1991 Lithograph, on wove paper, with full margins. Signed, titled and numbered 9/30 in pencil, unframed. I. 7 3/4 x 7 1/8 in. (19.7 x 18.1 cm) S. 17 1/2 x 15 1/8 in. (44.4 x 38.4 cm) Estimate $1,000-2,000
332. George Condo
b. 1957
Mental States, 2011 Graphite drawing, on a playing card with accompanying limited edition set of playing cards, all contained in the original purple paper covered box. The drawing signed and dated in pencil, published by Hayward Gallery, London, on the occasion of the artist’s exhibition George Condo: Mental States. card 3 1/2 x 2 1/2 in. (8.9 x 6.4 cm) box 5 1/2 x 8 1/4 x 2 in. (14 x 21 x 5.1 cm) Estimate $4,000-6,000
333. William Copley
1919-1996
Woman Taken in Adultery, 1964 Black marker drawing on wove paper. Signed ‘CPLY’ in black marker, additionally signed, titled, dated and inscribed ‘Bill Copley c/o David Stuart Gallery’ in pencil on the reverse, framed. S. 10 x 14 in. (25.4 x 35.6 cm) Estimate $1,500-2,500 Exhibited CPLY, David Stuart Gallery, Los Angeles, July 7-August 1, 1964
334. William Copley
1919-1996
Untitled, circa 1965 Black marker drawing on cardboard. Signed ‘CPLY’ in black ink, framed. S. 11 3/4 x 9 in. (29.8 x 22.9 cm) Estimate $1,500-2,500
335. Sean Landers
b. 1962
Cartoon (I’ve Got a Show Up this Month); Cartoon (I Know It’s Art); and Cartoon (Chip), 1992 three ink drawings on yellow legal pad paper. All signed and dated in pencil on the reverse, framed. I’ve Got a Show Up this Month S. 7 x 5 1/2 in. (17.8 x 14 cm) It’s Art S. 7 1/8 x 7 in. (18.1 x 17.8 cm) Chip S. 6 1/2 x 4 1/4 in. (16.5 x 10.8 cm) Estimate $3,000-5,000
336. Tomoo Gokita
b. 1969
Untitled; and Untitled, 2006 Two drawings with collage, one in black ink and one in white and black acrylic with black ink, on wove paper. Abstract signed and dated in pencil on the reverse, Hand signed in black ink and partially signed in pencil on the reverse, both unframed. hand 4 3/8 x 2 1/4 in. (11.1 x 5.7 cm) abstract 3 1/8 x 2 3/8 in. (7.9 x 6 cm) Estimate $1,000-2,000 Provenance Gif of the artist
both actual size
337. Willie Cole
b. 1955
American Domestic, 2016 Digital pigment print and screenprint. Signed, titled, dated and numbered 6/30 in pencil (there were also some artist’s proofs), published by the David C. Driskell Center, College Park, Maryland, unframed. I. 33 3/4 x 27 3/4 in. (85.7 x 70.5 cm) S. 37 x 30 7/8 in. (94 x 78.4 cm) Estimate $2,000-3,000
338. Kerry James Marshall
b. 1955
Dailies, 2010 Screenprint in colors, on Rives BFK paper, with full margins. Signed, titled, dated and numbered ‘1/5 II’ in pencil, published by the artist and Hummingbird Press, Chicago, unframed. I. 21 1/4 x 29 in. (54 x 73.7 cm) S. 22 1/4 x 30 in. (56.5 x 76.2 cm) Estimate $3,000-5,000
339. Kerry James Marshall
b. 1955
Supermodel, from the Exit Art portfolio twoandthreezeros, 2000 Woodcut in colors, on wove paper, with full margins. Signed, titled, dated and numbered 45/50 in pencil (there were also 8 artist’s proofs), published by Exit Art, New York, framed. I. 29 3/8 x 21 in. (74.6 x 53.3 cm) S. 30 x 22 in. (76.2 x 55.9 cm) Estimate $8,000-12,000
340. Kerry James Marshall
b. 1955
Keeping the Culture, 2010 Screenprint and linocut in colors, on Arches paper, with full margins. Signed, titled, dated and numbered ‘PP 1/5’ in pencil (the edition was 100), unframed. I. 17 1/2 x 28 1/4 in. (44.5 x 71.8 cm) S. 20 3/8 x 30 1/8 in. (51.8 x 76.5 cm) Estimate $6,000-9,000
339.
340.
341. Wadsworth Jarrell
b. 1929
Revolutionary, 1972 Screenprint in colors, on wove paper, the full sheet. Signed, titled, dated and numbered 165/300 in pencil, published by the artist, unframed. S. 33 x 26 1/2 in. (83.8 x 67.3 cm) Estimate $4,000-6,000
Revolutionary is based on a photograph of political activist and professor Angela Davis speaking at a rally in spring 1970, published in Life magazine on September 11 of that year in an article titled “The Making of a Fugitive.” At the time, Davis was feeing a warrant for her arrest in connection with the murder of a prison guard, a story that captured national attention. (She was later arrested, tried, and, in 1972, found not guilty). This screenprint was made by the artist while he was teaching at Howard University in 1972. Jarrell changed the source image by clothing Davis in artist Jae Jarrell’s Revolutionary Suit and adding words from Davis’s speeches that radiate from her face.
341.
342. Andres Serrano
b. 1950
Ku Klux Klan, 1998 Digital print in colors, on wove paper, with full margins. Signed, dated and numbered 8/50 in pencil, co-published by Fine Art Printing, Ltd. and Laumont Photographics, New York, unframed. I. 38 7/8 x 31 3/8 in. (98.7 x 79.7 cm) S. 47 x 35 in. (119.4 x 88.9 cm) Estimate $3,000-4,000 This lot is to be Sold with No Reserve
343. William Kentridge
b. 1955
Art in a State of Grace, from Art in a State of Siege, 1988 Screenprint in colors, on Arches crème paper, the full sheet. Signed, dated and numbered 10/13 in pencil, published by the artist, framed. S. 64 1/2 x 38 1/2 in. (163.8 x 97.8 cm)
342.
Estimate $5,000-10,000 Literature David Krut p. 34
343.
344.
344. Jose Luis Cuevas
1934-2017
La Máscara (The Mask), plate 2 from Homage to Quevedo, 1969 Etching with lithographed mylar collage in colors, on Fabriano paper, the full sheet. Signed and numbered ‘II’ in white pencil (the edition was 100 and 25 in Roman numerals), with the Collector’s Press blindstamp, framed. S. 30 x 22 1/2 in. (76.2 x 57.2 cm) Estimate $2,000-3,000 •
345. Zhang Xiaogang
b. 1958
Bloodline: Big Family, from The Storyteller’s Enchantments, 2019 Lithograph in colors, on wove paper, the full sheet. Signed and numbered XLII/CXXX in pencil (the edition was 130 and 4 artist’s proofs in Roman numerals), published by Delight Editions, framed. S. 31 1/4 x 47 in. (79.4 x 119.4 cm) Estimate $3,000-5,000
346. Yan Pei-Ming
b. 1960
Icons, 2013 The complete set of four lithographs in colors, on Rives BFK paper, with full margins, all contained in the original cream cloth-covered portfolio. All signed and numbered 29/75 in pencil. three I. 29 1/8 x 29 1/8 in. (74 x 74 cm) one I. 37 1/8 x 29 1/2 in. (94.3 x 74.9 cm) all S. 47 x 31 1/2 in. (119.4 x 80 cm) Estimate $6,000-8,000
348.
347.
347. Wade Guyton
b. 1972
X Poster (Untitled, 2007, Epson UltraChrome inkjet on linen, 84 x 69 inches, WG1209), 2013 Digital print with archival UV curable inks, the full sheet, hand-folded (as issued). Signed in black ink and numbered 95/100 in pencil on a label afxed to the sleeve, published by Printed Matter, Inc., New York, contained in the original white cardboard sleeve, unframed. S. 84 x 69 in. (213.4 x 175.3 cm) Estimate $1,000-2,000
349. Jordan Wolfson
b. 1980
Fresh, Love, Tea Bag, 2013 Digital print in colors, on Sunset cotton paper, the full sheet. Signed, dated and numbered 22/65 on the reverse (there were also 10 artist’s proofs), framed. S. 23 1/4 x 16 1/2 in. (59.1 x 41.9 cm) Estimate $1,500-2,500 349.
348. Nate Lowman
b. 1979
Bullet Hole, 2010 Screenprint, on silver metallic paper, with full margins. Signed, dated and numbered 50/50 in black ink on the reverse, published by The Details Guild, New York, framed. S. 19 x 33 in. (48.3 x 83.8 cm) Estimate $2,500-3,500
350. Various Artists Artist’s Space Annual Edition Portfolio: fve works, 2011 Five works in various mediums, all contained in the original artist’s portfolio, lacking the Trisha Donnelly. With the accompanying receipt signed by Stefan Kelmar, the Executive Director, the Guyton/Walker and Anne Collier signed and numbered in black ink on the accompanying Certifcate of Authenticity, the Dexter Sinister signed and numbered in black ink, published by and to beneft Artists Space, New York. Portfolio 25 x 21 x 2 in. (63.5 x 53.3 x 5.1 cm) Estimate $1,000-1,500
Including Anne Collier, Tear Sheet; Wade Guyton and Kelley Walker, Fruit Stickers for Artists Space; Dexter Sinister with Nick Relph, A List of Incorrect Things; T.J. Wilcox, I Fell in Love With Vanessa Redgrave; and Dan Vo, Chevrolet Suburban.
351. Various Artists White Columns Print Portfolio, 2014 The complete set of fve screenprints and one vinyl cut-out, on wove paper, with full margins and the full sheet. All signed, two dated and all numbered 77/100 in pencil, published by White Columns, New York, all unframed. smallest S. 7 1/2 x 8 1/2 in. (19.1 x 21.6 cm) largest S. 24 1/2 x 20 in. (62.2 x 50.8 cm) Estimate $1,000-1,500
Including Carol Bove, Jacqueline Humphries, Virginia Overton, Josh Smith, Ned Vena and Michael Williams
352. Tauba Auerbach
b. 1981
50/50, Zoom In/Zoom Out; and and A Half Times A Half Times A Half (Coarse), 2008 Two etchings with aquatint (one in colors), on Somerset paper, with full margins. Both signed, dated and numbered 12/15 and 25/30 in pencil respectively, published by Paulson Bott Press, Berkeley, California (with their blindstamp), both framed. Zoom I. 43 5/8 x 27 3/4 in. (110.8 x 70.5 cm) S. 54 1/4 x 36 3/4 in. (137.8 x 93.3 cm) A Half I. 27 5/8 x 22 in. (70.2 x 55.9 cm) S. 38 3/4 x 30 1/2 in. (98.4 x 77.5 cm) Estimate $4,000-6,000
353. Tauba Auerbach
b. 1981
Static 18, 2011 Chromogenic print, on wove paper, the full sheet. Signed, dated and numbered 3/30 in black marker (the total edition was 60 and 20 artist’s proofs), published by Texte Zur Kunst, Berlin, framed. S. 22 7/8 x 16 in. (58.1 x 40.6 cm) Estimate $800-1,200
354. Abdulnasser Gharem
b. 1973
In-Transit (with Diamond Dust), 2013 Screenprint in colors with diamond dust, on wove paper, with full margins. Signed, dated and numbered 11/45 in pencil, framed. I. 45 x 62 3/4 in. (114.3 x 159.4 cm) S. 54 x 71 1/2 in. (137.2 x 181.6 cm) Estimate $5,000-7,000
This lot is to be Sold with No Reserve
355. Michael Wolf
1954-2019
tc06, from Transparent City, 2007-09 Chromogenic Print. Signed, dated and numbered 21/50 in black ink on the reverse, framed. I. 18 x 14 in. (45.7 x 35.6 cm) S. 20 x 16 in. (50.8 x 40.6 cm) Estimate $800-1,500 •
Property from an Important Private Collection
356. Julian Opie
b. 1958
View of Moon over Manatsuru Peninsula, 2009 Lenticular acrylic panel, comprised of an inkjet print in colors, on specialist paper, mounted to twenty line 3D and iMotion lenses, contained in a white sprayed aluminium frame specifed by the artist. Signed in black ink and numbered 4/50 (printed) on a label afxed to the reverse of the frame (there were also 5 artist’s proofs), published by Alan Cristea Gallery, London. F. 35 1/2 x 49 1/4 in. (90.2 x 125.1 cm) Estimate $3,000-5,000 Literature Alan Cristea 137
357. Spencer Finch
b. 1962
Moonlight (Luna County, New Mexico), 2003 Flourescent light fxture, nine colored flters adhered to a fourescent tube light (as issued), with accompanying extra set of flters. Signed in blue ink, titled, dated and numbered 88/100 (printed) on the accompanying Certifcate of Authenticity label, published by Cabinet magazine, New York, for their 2003 holiday beneft. 3 3/8 x 24 x 3 in. (8.6 x 61 x 7.6 cm) Estimate $3,000-5,000
The glow of this fltered fuorescent light precisely replicates the light of the full moon over Luna County, New Mexico, on 13 July, 2003.
358. Candida Hรถfer
b. 1944
Teatro Degollado Guadalajara III, 2015 Chromogenic print. Signed in black ink, titled, dated and numbered 78/100 (printed) on a label afxed to the reverse, framed. I. 11 3/4 x 15 1/2 in. (29.8 x 39.4 cm) S. 15 x 17 5/8 in. (38.1 x 44.8 cm) Estimate $2,000-3,000
359. Thomas Struth
b. 1954
Museo del Prado, RM 12, Madrid, 2005 Chromogenic print. Signed, titled, dated and numbered ‘AP 6/20’ in pencil on the reverse (the edition was 100), framed. I. 8 x 10 7/8 in. (20.3 x 27.6 cm) S. 9 3/4 x 11 3/8 in. (24.8 x 28.9 cm) Estimate $1,500-2,500
360. Various Artists Valley of Mist 2, 2012 The complete set of eight archival inkjet prints in colors, on wove paper, with full margins, all contained in the original gray cloth-covered portfolio. All signed and numbered 1/20 in pencil on the reverse (there were also 8 artist’s proofs) published by Friends Seminary, New York. all I. various sizes all S. 14 x 11 in. (35.6 x 27.9 cm) Portfolio 15 3/8 x 12 3/8 x 1 1/8 in. (39.1 x 31.4 x 2.9 cm) Estimate $2,500-3,500
Including John Currin; Rachel Feinstein; Liam Gillick; Jacqueline Humphries; Sean Landers; Sarah Morris; Tony Oursler; and Richard Phillips
This lot is to be Sold with No Reserve
361. Matthew Ritchie
361.
b. 1964
Sea State I-V, 2003 The complete set of fve etchings in colors, on wove paper, with full margins. All signed, titled, dated and numbered 12/28 in and pencil on the reverse, published by Two Palms Press, New York, all framed. all I. 15 3/4 x 31 in. (40 x 78.7 cm) all S. 24 1/2 x 38 3/4 in. (62.2 x 98.4 cm) Estimate $3,000-5,000 •
This lot is to be Sold with No Reserve
362. Matthew Ritchie
362.
b. 1964
Sea State One, 2001 Relief print in colors, on Somerset paper, the full sheet, with accompanying wove paper artist’s book/Certifcate of Authenticity. Signed, dated and numbered 6/70 in pencil on the reverse, additionally signed, dated and numbered on the accompanying Certifcate of Authenticity in black ink, published by Two Palms Press, New York, framed. S. 16 x 32 in. (40.6 x 81.3 cm) Estimate $800-1,200 •
363. Lawrence Weiner
b. 1942
The Travel of Margaret Mary, 2013 Mixografa® print in colors, on handmade paper, with full margins. Signed, dated and numbered 16/35 in pencil (there were also 5 artist’s proofs), published by Mixografa®, Los Angeles, unframed. I. 15 1/2 x 26 1/4 in. (39.4 x 66.7 cm) S. 21 3/4 x 31 1/2 in. (55.2 x 80 cm) Estimate $800-1,200
363.
364. Martin Creed
b. 1968
CHICAGO (Work #1370), 2012 Two unique watercolors, on paper record sleeve, each with accompanying 180-gram heavyweight vinyl of four new songs recorded by Martin Creed. Both signed, dated, titled ‘Work #1370’ and numbered 196/200 and 199/200 in pencil on the reverse, also signed and titled in white pen on the vinyl record, created in collaboration with MCA Chicago, and produced by The Vinyl Factory and Telephone Records, London, both framed. both 12 1/4 x 12 1/4 in. (31.1 x 31.1 cm) Estimate $1,200-1,800
365. Matt Connors
b. 1973
Gate(s), 2014 Four screenprints with hand-coloring, on wove paper, the full sheets, each with the original accompanying vinyl record Phasing Out/Happy Burnout by Phillip Sollmann, contained in the wove paper record covers. All signed, dated and numbered 18/25 in pencil (the total edition was 100 with 4 variants of 25 and 8 artist’s proofs), published by EN/OF Editions, Germany. all S. 12 x 10 in. (30.5 x 25.4 cm) Estimate $600-900
366.
367.
This lot is to be Sold with No Reserve
366. Christo
b. 1935
This lot is to be Sold with No Reserve
367. Christo
b. 1935
The Gates: Project for Central Park, New York City, XXIII, 2004 Ofset lithograph in colors, on wove paper, with full margins. Signed in pencil, co-published by Kunstverlag Schumacher GmbH, Dusseldorf and NYGS Nurture for New York’s Nature, unframed. I. 24 1/4 x 31 1/2 in. (61.6 x 80 cm) S. 28 1/4 x 36 1/4 in. (71.8 x 92.1 cm)
The Gates, Project for Central Park, VIII, New York City, 2003 Ofset lithographs in colors, on wove paper, with full margins. Signed in pencil, co-published by Kunstverlag Schumacher GmbH, Dusseldorf and NYGS Nurture for New York’s Nature, unframed. I. 31 x 24 1/4 in. (78.7 x 61.6 cm) S. 39 1/4 x 27 1/2 in. (99.7 x 69.9 cm)
Estimate $600-900 •
Estimate $600-900 •
368. Darren Almond
b. 1971
Fullmoon @ Valley Floor, 2014 Inkjet print, on Arches digital paper, with full margins. Signed and numbered 24/100 in pencil on the reverse, published by White Cube, London, framed. I. 13 3/4 x 13 3/4 in. (34.9 x 34.9 cm) S. 22 x 21 5/8 in. (55.9 x 54.9 cm) Estimate $500-1,000
368.
369. Bernd and Hilla Becher 1931-2007 and 1934-2015 Trier-Ehrang, from Wassertürme, 1982/2009 Gelatin silverprint. Signed and numbered 35/100 in pencil, published by Schirmer/ Mosel, Munich, framed. I. 7 7/8 x 6 1/2 in. (20 x 16.5 cm) S. 9 1/2 x 7 1/4 in. (24.1 x 18.4 cm) Estimate $2,000-3,000
370. Olafur Eliasson
b. 1967
Contact is content at Seljalandsfoss, 2014 Two chromogentic prints, with the accompanying artist’s book and specially designed portfolio case. Signed in blue ink and numbered 35/100 (printed) on a label afxed to the reverse (there were also 25 artist’s proofs), published by the artist, both framed. each Print 21 x 16 1/2 in. (53.3 x 41.9 cm) Installed 44 x 17 1/2 in. (111.8 x 44.5 cm)
369.
Estimate $3,000-5,000
371. Sigmar Polke
370.
1941-2010
Die Waschung Der Lineale (The Washing of the Rulers), 1972/1999 The complete set of seven gelatin silver prints, with text by Ernst Mitzka, all contained in the original grey mat board portfolio with linen cloth back. Signed in pencil by the artist and Ernst Mitzka on the colophon, from the edition of 310, published by Grifelkunst-Vereinigung HamburgLangenhornt e.V., Hamburg, Germany. all I. 10 x 14 in. (25.4 x 35.6 cm) all S. 12 x 16 in. (30.5 x 40.6 cm) Estimate $600-900 Literature Jürgen Becker and Claus von der Osten 139 371.
373.
372. John Baldessari
b. 1931
French Horn Player (with Three Contexts-One Uncoded), from A French Horn Player, A Square Blue Moon, and Other Subjects, 1994 Lithograph and screenprint in colors, on Arches 88 paper, the full sheet. Signed and numbered 29/60 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. S. 60 x 22 in. (152.4 x 55.9 cm) Estimate $4,000-6,000 Literature Gemini G.E.L. 1608 Sharon Coplan Hurowitz 72
373. John Baldessari 372.
b. 1931
The News: Four Ducks Standing on a Bench..., 2014 Screenprint in colors, on Lanaquarelle paper, the full sheet. Signed with initials, dated and numbered 35/50 in pencil (there were also 12 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), unframed. S. 46 1/4 x 35 in. (117.5 x 88.9 cm) Estimate $3,000-5,000
374. Vija Celmins
b. 1938
Saturn Stamps, 1995 Ofset lithograph, on wove paper, the full sheet. Signed, and numbered 154/200 in pencil (there were also 30 artist’s proofs), published by Richard Anderson Fine Art, New York, framed. S. 12 1/4 x 9 3/8 in. (31.1 x 23.8 cm) Estimate $2,000-3,000 Literature Samantha Rippner p. 35
375. Karen Kilimnik
b. 1955
Surf & turf, Belgian Cats on the Northern Coast of Belgium, 1996-2001 Collotype with hand-coloring and applied glitter, on Fabriano Butten paper, with full margins. Signed, dated and numbered 35/80 in pencil on the reverse, published by Edition Patrick Frey, Zurich, framed. I. 16 3/8 x 19 5/8 in. (41.6 x 49.8 cm) S. 19 3/4 x 23 1/2 in. (50.2 x 59.7 cm) Estimate $1,500-2,500
376. Iran do EspĂrito Santo
b. 1963
CRTN XXIV, 2004 Permanent marker drawing on wove paper. Signed, dated and titled in pencil on the reverse. 11 x 14 in. (27.9 x 35.6 cm) Estimate $2,500-3,500 Provenance Sean Kelly Gallery, New York
377.
378.
377. Robert Longo
b. 1953
378. Julian Opie
Body of a Comic (Clown Bank), 1989 Lithograph in colors, on Arches paper, with full margins. Signed, titled, dated, numbered ‘AP 5/15’ and dedicated ‘for Paul Many Thanks XXX’ in pencil (an artist’s proof, the edition was 75) published by Brand X Editions, New York, framed. I. 29 x 21 1/2 in. (73.7 x 54.6 cm) S. 41 1/2 x 29 3/8 in. (105.4 x 74.6 cm) Estimate $2,500-3,500
This lot is to be Sold with No Reserve
379. 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 $800-1,200 • 379.
b. 1958
Vase, 2010 Ceramic vase, contained in the original cardboard box. Printed signature on the underside, published by the artist. 15 x 11 5/8 in. (38.1 x 29.5 cm) Estimate $600-900
380.
381.
380. Cindy Sherman
b. 1954
Untitled (Madonna), 1975/97 Gelatin silver print. Signed and dated ‘1975/97’ in pencil on the reverse, unframed. I. 7 x 5 in. (17.8 x 12.7 cm) S. 10 x 8 in. (25.4 x 20.3 cm) Estimate $4,000-6,000
382. Allan McCollum
381. Cindy Sherman
b. 1954
Untitled, from The Lily Sarah Grace Portfolio, 2013 Chromogenic print. Signed and numbered 25/100 in pencil (there were also 30 artist’s proofs), published by Carolina Nitsch for the Lily Sarah Grace Fund, unframed. I. 7 3/4 x 10 in. (19.7 x 25.4 cm) S. 11 x 14 in. (27.9 x 35.6 cm) Estimate $3,000-5,000
b. 1944
Visible Markers; one work, 2012 Reinforced fberglass resin functional sculpture, suitable for indoor or outdoor seating. Incised signature on an aluminum plaque afxed to the underside, originally fabricated in sets of 3, from the edition of 10, published by Carl Solway Gallery, Cincinnati. 16 1/2 x 25 x 25 in. (41.9 x 63.5 x 63.5 cm) Estimate $1,200-1,800
A continuing series of multiples in diferent sizes and shapes designed for use in expressing gratitude. 382.
383.
383. Banksy
b. 1975
384. Banksy
b. 1975
Morons, 2007 Screenprint in colors, on Arches 88 paper, with full margins. Signed, dated and numbered 79/150 in pencil (there was also an unsigned edition of 500), published by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed. I. 20 x 28 in. (50.8 x 71.1 cm) S. 22 3/4 x 30 in. (57.8 x 76.2 cm)
Police Kids (Jack and Jill), 2005 Screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 233/350 in pencil (there was also an unsigned edition of 350 and 22 artist’s proofs), published by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed. I. 17 3/4 x 25 1/2 in. (45.1 x 64.8 cm) S. 19 5/8 x 27 3/8 in. (49.8 x 69.5 cm)
Estimate $12,000-18,000
Estimate $8,000-12,000
384.
385. Robert Lazzarini
b. 1965
Brass Knuckles (iv), 2010 Brass sculpture. Signed and numbered 8/12 on the accompanying copy of the Certifcate of Authenticity (there was also 1 artist’s proof), published by the artist. 5 x 7 x 4 in. (12.7 x 17.8 x 10.2 cm) Estimate $6,000-8,000 Literature Judith Rodenbeck, Alva NoÍ, Jonathan T.D. Neil, Guns, Knives, Brass Knuckles: Robert Lazzarini, Los Angeles: Honor Fraser, 2012, p. 80 and 91 (illustrated)
385.
386. Keith Haring
1958-1990
Best Buddies, from Pop Shop I, 1987 Screenprint in colors, on Coventry rag paper, with full margins. Signed, dated and numbered 179/200 in pencil (there were also 20 artist’s proofs), published by the artist, framed. I. 10 5/8 x 13 3/8 in. (27 x 34 cm) S. 12 x 15 in. (30.5 x 38.1 cm) Estimate $6,000-9,000 Literature Klaus Littmann p. 82
387. Jef Koons
b. 1955
Balloon Dog (Yellow), 2015 Porcelain multiple painted in chrome, contained in the original Styrofoam-lined presentation box with silver printed signature and original plastic stand. Stamp-numbered 0582/2300 in gold ink on the underside, further numbered in black ink on the accompanying Bernardaud card, manufactured by Bernardaud Limoges, published by the Museum of Contemporary Art, Los Angeles. diameter 10 1/2 in. (26.7 cm) Estimate $6,000-9,000
388. Jef Koons
b. 1955
Balloon Dog Magenta, 2015 Porcelain multiple painted in chrome, contained in the original Styrofoam-lined presentation box with silver printed signature and original plastic stand. Stamp numbered 1541/2300 in gold ink on the underside, additionally numbered in black ink on the accompanying Bernardaud card, manufactured by Bernardaud Limoges, published by the Museum of Contemporary Art, Los Angeles. diameter 10 3/8 in. (26.4 cm) Estimate $4,000-6,000
389. Jef Koons
b. 1955
Tulip (Bottle Topper), 2012 Plastic and gold paint, contained in the original pink manufacturers box. Co-published by the artist and Keihl’s, beneftting The Koons Family Institute, an initiative of the International Centre for Missing and Exploited Children (ICMEC.) 2 x 2 x 2 in. (5.1 x 5.1 x 5.1 cm) Estimate $1,000-2,000
390. Erik Parker
b. 1968
Excessive Charm, 2006 Mixed media drawing including acrylic, colored pencil and foam paint, on black wove paper. Signed, titled, and dated in white pencil on the reverse. 22 x 30 in. (55.9 x 76.2 cm) Estimate $2,000-3,000 Provenance Leo Koenig Inc., New York
391. Erik Parker
b. 1968
Mind Revolution, from the Exit Art portfolio Tantra, 2005 Screenprint with hand-coloring, on shaped wove paper, the full sheet. Signed, dated and numbered 2/50 in pencil (there were also 6 artist’s proofs), published by Exit Art, New York, framed. S. 30 x 21 1/4 in. (76.2 x 54 cm) Estimate $1,000-1,500
392. Richard Prince
b. 1949
Untitled (Hippie Drawing), from In The Darkest Hour There May Be Light, 2006 Lithograph in colors, on wove paper, the full sheet hinged to wove paper (as issued). Signed, dated and numbered 43/50 in pencil (there were also 29 artist’s proofs) co-published by the Serpentine Gallery and Other Criteria, London, framed. S. 11 x 8 1/2 in. (27.9 x 21.6 cm) Estimate $500-1,000
392.
Property of an Important New York Collector
393. Richard Lindner
1901-1978 393.
New York Men, from Fun City, 1971 Lithograph with collotype in colors, on wove paper, the full sheet. Signed and numbered 170/175 in pencil (there were also 15 artist’s proofs), published by Shorewood Publishers Inc., New York, framed. S. 25 1/4 x 19 7/8 in. (64.1 x 50.5 cm) Estimate $500-700
394. Ayako Rokkaku
b. 1982
Hayaumare March, 2017 The complete set of four screenprints in colors, on cardboard, the full sheets, all contained in the original light blue paper-covered portfolio. All signed, dated and numbered 54/66 in pencil, published by Gallery Target & contrarede, Tokyo (with their inkstamps on the reverse). all S. 17 1/2 x 23 1/2 in. (44.5 x 59.7 cm) one vertical Estimate $7,000-9,000
394.
395. Deborah Kass
b. 1952
Vote Hillary, 2016 Screenprint in colors, on Stonehenge paper, with full margins. Signed, dated and numbered 169/250 in pencil on the reverse, published by Brand X Editions, New York (with their blindstamp), unframed. I. 40 7/8 x 40 7/8 in. (103.8 x 103.8 cm) S. 41 7/8 x 41 7/8 in. (106.4 x 106.4 cm) Estimate $1,500-2,500
396. Deborah Kass
b. 1952
Enough Already, 2012 Neon and transformer. Signed and dated in black ink and numbered (printed) 10/18 on the accompanying Certifcate of Authenticity, published by Paul Kasmin Gallery, New York. 18 1/2 x 14 in. (47 x 35.6 cm) Estimate $6,000-9,000
397. Ai Weiwei
b. 1957
Artist’s Hand, 2017 Cast urethane resin multiple with electroplated rhodium, contained in the original cardboard presentation box. With incised 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
398. Mel Bochner
b. 1940
Kick Against The Pricks, 2018 Screenprint in colors, on Boutique Silk Fair Blue paper, the full sheet. Signed, dated and numbered 24/30 in pencil (there were also 5 artist’s proofs), published by Two Palms Press, New York, to beneft Downtown For Democracy, unframed. S. 10 1/2 x 28 in. (26.7 x 71.1 cm) Estimate $2,500-3,500 Literature Barbara Krakow Gallery 2018.01 Jordan D. Schnitzer Family Foundation and Philbrook Museum of Art, Tulsa, Amazing! Mel Bochner Prints, p. 258
399. Barbara Kruger
b. 1945
You’re Right, 2010 Lithograph in colors, on wove paper, the full sheet. Signed with initials, dated and numbered 199/200 in pencil, published by Brooke Alexander, Inc., New York, framed. S. 9 x 23 7/8 in. (22.9 x 60.6 cm) Estimate $1,500-2,500
400. Gerhard Richter
b. 1932
Tulips, 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 276/500 in black ink on the reverse (there were also 2 artist’s proofs), published by Heni Productions, London, unframed. 14 1/8 x 16 1/8 in. (35.9 x 41 cm) Estimate $3,000-5,000 Literature Heni Productions P17
401. Damien Hirst
b. 1965
The Hours Spin Skull, 2009 Gloss enamel paint in colors, on a plastic skull, with inset watch faces, lacking ‘The Hours’ album. Unsigned, titled in black paint on the back, one of 210 color variants, published by Other Criteria, London. Lacking The Hours album. 6 x 5 1/2 x 8 in. (15.2 x 14 x 20.3 cm) Estimate $5,000-7,000
402. Damien Hirst
b. 1965
Providence, from Butterfy Etchings, 2009 Etching and aquatint in colors, on wove paper, with full margins. All signed and numbered 27/45 in pencil, published by Other Criteria, London (with their inkstamp), framed. I. 11 3/4 x 9 3/4 in. (29.8 x 24.8 cm) S. 18 5/8 x 15 1/2 in. (47.3 x 39.4 cm) Estimate $4,000-6,000
403. Damien Hirst
b. 1965
Andromeda (H4-2), 2017 Diasec mounted GiclÊe print on aluminum panel mounted to an aluminum strainer (as issued). Signed in pencil and stamp-numbered 52/75 (printed) on a label afxed to the reverse (there were also 10 artist’s proofs), published by Heni Productions, London. 36 3/8 x 49 5/8 in. (92.4 x 126 cm) Estimate $5,000-7,000 Literature Heni Productions H4-2
404. Damien Hirst
b. 1965
Rafes (H5-5), 2018 Diasec mounted Giclée print on aluminum panel mounted to an aluminum strainer (as issued). Signed in pencil and stamp-numbered 65/100 (printed) on a label afxed to the reverse (there were also 10 artist’s proofs), published by Heni Productions, London. 35 3/8 x 35 3/8 in. (89.9 x 89.9 cm) Estimate $5,000-7,000 Literature Heni Productions H5-5
405. Damien Hirst
b. 1965
Claridges (H5-4), 2018 Diasec mounted Giclée print on aluminum panel mounted to an aluminum strainer (as issued). Signed in pencil and stamp-numbered 50/100 (printed) on a label afxed to the reverse (there were also 10 artist’s proofs), published by Heni Productions, London. 35 3/8 x 35 3/8 in. (89.9 x 89.9 cm) Estimate $5,000-7,000 Literature Heni Productions H5-4
406. Damien Hirst
b. 1965
407. Damien Hirst
b. 1965
Colour Chart (Glitter), 2017 Screenprint with glitter on UV printed brushed aluminum panel, mounted to an aluminum strainer (as issued), the full sheet. Signed in black ink and numbered 190/250 (printed) on the reverse (there were also 8 artist’s proofs), published by Heni Productions, London. 35 5/8 x 73 3/4 in. (90.5 x 187.3 cm)
Colour Chart, 2017 Giclée print with UV spot varnish on aluminum panel, mounted to an aluminum strainer (as issued), the full sheet. Signed in black ink and numbered 166/250 (printed) on the reverse (there were also 8 artist’s proofs), published by Heni Productions, London. 31 1/2 x 65 1/2 in. (80 x 166.4 cm)
Estimate $5,000-7,000
Estimate $5,000-7,000
Literature Heni Productions H3
Literature Heni Productions H2
408. Takashi Murakami
b. 1962
Monogramoufage Treillis, 2008 Editioned canvas on wood and aluminum stretcher (as issued), with the accompanying Certifcate of Authenticity, contained in the original presentation box. Signed and dated in black marker on the reverse of the aluminum stretcher and numbered 16/100 (printed) on the accompanying Certifcate of Authenticity, additionally with the artist’s copyright monogram on the reverse of the stretcher and the Certifcate of Authenticity, co-published by Louis Vuitton, New York and Paris and Kaikai Kiki Co., Ltd., Tokyo. 15 3/4 x 15 3/4 in. (40 x 40 cm) Estimate $5,000-7,000
Artwork Š 2008 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
409. 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
This lot is to be Sold with No Reserve
410. Takashi Murakami
b. 1962
Kansei: Fresh blood; Kansei: Wildfowers Glowing in the Night; Korin: Flowers; and Korin: Stellar River in the Heavens, 2014-15 Four ofset lithographs in colors, on smooth wove paper, the full sheets. All signed and numbered 182/300, 163/300, 96/300 and 172/300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. diameter all S. 28 in. (71.1 cm) Estimate $5,000-7,000 •
Artworks © 2014-15 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is to be Sold with No Reserve
411. Takashi Murakami
b. 1962
Space Show; Hold me tight; and Cosmic power, 2016 Three ofset lithographs in colors, on smooth wove papers, the full sheets. All signed and numbered 189/300, 189/300 and 195/300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. diameter all S. 27 3/4 in. (70.5 cm) Estimate $2,500-3,500 •
Artworks © 2016 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is to be Sold with No Reserve
412. Takashi Murakami
b. 1962
An Homage to Yves Klein, Multicolor C; An Homage to Monogold 1960 A; and An Homage to Monopink 1960 C, 2012 Three ofset lithographs in colors, on smooth wove paper, the full sheets. All signed and numbered 167/300, 203/300 and 206/300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 29 x 20 7/8 in. (73.7 x 53 cm) Estimate $3,000-5,000 •
Artworks © 2012 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is to be Sold with No Reserve
413. Takashi Murakami
b. 1962
Self-Portrait of the Manifold Worries of a Manifoldly Distressed Artist; The Artist’s Agony and Ecstacy, 2012 Two ofset lithographs in colors, on smooth wove paper, the full sheets. Both signed and numbered 112/300 and 122/300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both S. 28 3/8 x 38 3/8 in. (72.1 x 97.5 cm) Estimate $2,000-3,000 •
Artworks © 2012 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is to be Sold with No Reserve
414. Takashi Murakami
b. 1962
There’s bound to be difcult times There’s bound to be sad times but we won’t lose heart; we’d rather not cry, so laugh, we will!; and Fortune Favors the Merry Home, Kaikai and Kiki, 2017 Both signed and numbered 179/300 and 178/300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both S. 28 3/8 x 20 3/8 in. (72.1 x 51.8 cm) Estimate $2,000-3,000 •
Artworks © 2017 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is to be Sold with No Reserve
415. Takashi Murakami
b. 1962
Ensō: with Tranquility; Ensō: the Heart; Agama; and Ensō: Memento Mori Boo, 2015 Four ofset lithographs, on smooth wove paper, the full sheets. All signed and numbered 70/300, 70/300, 119/300, 164/300 in sliver or 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 $2,500-3,500 •
Artworks © 2015 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
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20th Century & Contemporary Art Day Sale 13 November New York Public viewing 1 - 13 November at 450 Park Avenue or at phillips.com Enquiries John McCord jmccord@phillips.com Rebekah Bowling rbowling@phillips.com
Gerhard Richter Montag (detail) oil on paper 33 7/8 x 24 1/6 in. (86 x 61.4 cm) Executed in 1983. Š Gerhard Richter, 2019 (09092019)
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Roy Lichtenstein Refections on Girl, from Refections Series sold for £112,500 © Estate of Roy Lichtenstein/DACS 2019.
Damien Hirst Fluoroiodobenzene, from 12 Woodcut Spots sold for £30,000 © Damien Hirst and Science Ltd. All rights reserved, DACS 2019.
Editions Evening & Day Sales London, 23 January 2020
Louise Bourgeois Sainte Sébastienne, sold for £42,500 © The Easton Foundation/VAGA at ARS, NY and DACS, London 2019.
2019 has been an outstanding year for London Editions, realising over £10 million from three auctions of Modern and Contemporary prints and multiples. We look forward to continuing this momentum in 2020 and are now inviting consignments for our January auction. Enquiries editionslondon@phillips.com +44 207 318 4077
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Sale Information Auction & Viewing Location 450 Park Avenue New York 10022 Auctions 25 October 2019, 10am, 2pm & 6pm Day Sale Morning Session 10am, lots 122–285 Afernoon Session 2pm, lots 286–415 Evening Sale Auction 6pm, lots 1–121 Viewing 17 – 25 October Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY030219 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 cleibowitz@phillips.com Worldwide Co-Director Modern Editions Kelly Troester ktroester@phillips.com Associate Specialist/ Cataloguer Jason Osborne josborne@phillips.com Sale Coordinator Ana Ziegler aziegler@phillips.com Associate Researcher Audrey Bastian abastian@phillips.com Property Manager Paul Stefens pstefens@phillips.com Photography Jean Bourbon Kent Pell Mark Babushkin
Front cover Keith Haring, The Fertility Suite, 1983, lot 105 (detail) © Keith Haring Foundation Inside front cover Joan Mitchell, Sunfowers II, 1992, lot 23 (detail) © Estate of Joan Mitchell Frontispiece Andy Warhol, Liz, 1964, lot 59 (detail) © 2019 The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by Artists Rights Society (ARS), New York Afer Jean-Michel Basquiat, Portfolio I, 1983-2001, lot 101 (detail) Pablo Picasso, 347 Series: plate 338, 1968, lot 145 (detail) David Hockney, Potted Dafodils, 1980, lot 32 (detail) Raymond Pettibon, Untitled (When the Ground Becomes Hard and Firm), 2002, lot 294 (detail) Jasper Johns, Red, Yellow, Blue, 1963, lot 44 (detail) Andy Warhol, Mickey Mouse, from Myths, 1981, lot 62 (detail) Inside back cover Joan Miró, Centennaire pour l’Imprimerie Mourlot, 1953, lot 16 (detail) © Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris 2019 Back cover M.C. Escher, Eye, 1946, lot 13 © 2019 The M.C. Escher Company—The Netherlands. All rights reserved. www.mcescher.com
Auction License 2013224 Auctioneers Hugues Joffre - 2028495 Sarah Krueger - 1460468 Henry Highley - 2008889 Adam Clay - 2039323 Jonathan Crockett - 2056239 Samuel Mansour - 2059023 Rebecca Tooby-Desmond - 2058901 Susan Abeles - 2074459 Aurel Bacs – 2047217 Blake Koh – 2066237 Susanna Brockman – 2058779 Rebekah Bowling - 2078967 Catalogues catalogues@phillips.com New York +1 212 940 1240 London +44 20 7318 4024 Hong Kong +852 2318 2000 $35/€25/£22 at the gallery Client Accounting Sylvia Leitao +1 212 940 1231 Michael Carretta +1 212 940 1232 Buyer Accounts Dawniel Perry +1 212 940 1317 Seller Accounts Carolina Swan +1 212 940 1253 Client Services 450 Park Avenue +1 212 940 1200 Shipping Steve Orridge +1 212 940 1370 Anaar Desai +1 212 940 1320 Daren Khan +1 212 940 1335
44. Jasper Johns
Index Albers, J. 221–224
Feininger, L. 127
Man Ray 167
Sachs, T. 113
Almond, D. 368
Feinstein, R. 360
Mangold, R. 244
Saint Phalle, N. de 78
Anuszkiewicz, R. 227–229
Finch, S. 357
Marclay, C. 95
Schnabel, J. 253
Arman 202
Francis, S. 212
Marshall, K.J. 338–340
Serra, R. 53, 289
Arp, J. 204–205
Frankenthaler, H. 25, 214–217
Martin, A. 243
Serrano, A. 342
Matisse, H. 3–4
Sherman, C. 380–381
Gharem, A. 354
McCollum, A. 382
Sinister, D. 350
Bacon, F. 271
Gillick, L. 360
McLaughlin, J. 225
Smith, J. 351
Baechler, D. 321
Gober, R. 36–38, 287–288
Meckseper, F. 262
Smith, K. 303
Baldessari, J. 372–373
Gokita, T. 336
Milhazes, B. 28
Soulages, P. 218–219
Balkenhol, S. 85
Guston, P. 213
Miró, J. (Afer) 184
Spero, N. 302
Banksy 383–384
Guyton, W. 347, 350
Miró, J. 14–18, 173–183, 185–190
Stella, F. 230–237, 314
Mitchell, J. 23, 210
Struth, T. 359 Sultan, D. 87, 254
Auerbach, T. 352–353
Bartlett, J. 259 Basquiat, J. (Afer) 101–102
Haring, K. 105–107
Moore, H. 169
Beckmann, M. 126
Heckel, E. 11
Morris, S. 242, 360
Becher, B. and H. 369
Herrera, C. 238
Motherwell, R. 21–22, 24, 314
Tàpies, A. 19–20, 209
Bochner, M. 103, 398
Hirst, D. 118–121, 401–407
Munch, E. 10
Testino, M. 326
Bourgeois, L. 297–301
Hockney, D. 29–34, 265–267
Murakami, T. 408–415
Thiebaud, W. 79, 316–320
Bove, C. 351
Höfer, C. 358
Murray, E. 256
Tobey, M. 208
Braque, G. 150–152
Homer, W. 122–123
Brown, C. 272
Hugnet, G. 35
Nara, Y. 114–115
Various Artists 314–315, 350–351, 360
Burri, A. 54
Humphries, J. 351, 360
Nauman, B. 94, 290–292
Vena, N. 351
Burton, R. 247
Hundertwasser, F. 193–195
Nevelson, L. 241
Vo, D. 350
Noland, K. 226 Cage, J. 273
Indiana, R. 314
Calder, A. 200–201
Nolde, E. 124
Walker, K. 350
Nutt, J. 330–331
Warhol, A. 59–72, 304–314
Campendonk, H. 125
Jarrell, W. 341
Celmins, V. 55, 374
Johns, J. 40–47, 248
Opie, J. 88–90, 356, 378
Weiwei, A. 116–117, 399
Chadwick, L. 168
Jones, A. 315
Ortman, G. 314
Wesley, J. 315, 325
Chagall, M. 1–2, 153–159
Judd, D. 48
Oursler, T. 360
Wesselmann, T. 73, 323
Overton, V. 351
West, F. 274
Christo 366–367
Weiner, L. 363
Close, C. 263–264
Kass, D. 395–396
Cocteau, J. 165–166
Katz, A. 80–84
Parker, E. 390–391
Wilcox, T.J. 350
Cole, W. 337
Kaws 104
Pettibon, R. 294–296
Williams, M. 351
Collier, A. 350
Kelly, E. 49, 240, 314
Phillips, P. 315
Williams, W.T. 239
Condo, G. 332
Kentridge, W. 343
Phillips, R. 360
Wojnarowicz, D. 93
Connors, M. 365
Kilimnik, K. 375
Picasso, P. 5–7, 128–149
Wolf, M. 355
Copley, W. 333–334
Klein, Y. 27
Polke, S. 371
Wolfson, J. 349
Cottingham, R. 260–261
Knoebel, I. 50
Pollock, J. 211
Wood, J. 108
Creed, M. 364
Koons, J. 109–111, 387–389
Poons, L. 314
Wool, C. 99–100
Cuevas, J. 344
Kruger, B. 397
Prince, R. 392
Currin, J. 360
Kusama, Y. 112
Puryear, M. 286
Yan Pei-Ming 346
D’Arcangelo, A. 315
Laing, G. 315
Ramos, M. 315, 324
Zao Wou-Ki 206–207
Dalí, S. 12, 160–163
Landers, S. 335, 360
Rauschenberg, R. 57–58, 275–285
Zhang Xiaogang 345
Davis, S. 314
Lasker, J. 246
Redon, O. 9
Delaunay, S. 203
Lavier, B. 255
Reinhardt, A. 220, 314
Diamond, J. 379
Lazzarini, R. 385
Relph, N. 350
Dine, J. 249–251, 315
Le Corbusier 196–199
Richter, G. 400
Doig, P. 56
Léger, F. (Afer) 191–192
Ritchie, M. 361–362
Dubufet, J. 8, 170–172
LeWitt, S. 51–52
Rokkaku, A. 394
Duchamp, M. 35
Lichtenstein, R. 74–77, 314, 327–329
Rosenquist, J. 315
Lindner, R. 393
Rotella, M. 322
Eliasson, O. 370
Longo, R. 91–92, 377
Rothenberg, S. 293
Escher, M.C. 13
Lowman, N. 348
Ruscha, E. 96–98, 268–270
Espírito Santo, I. do 376 Estes, R. 257–258
Whitney, S. 39
62. Andy Warhol
16. Joan Mirรณ
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